95- ■ G-7 ^ UC NRLF B M DIpD 3 a^ THE BOOK O F OPERA STORIES Tells the stories of the operas announced to be sung here this season in such a way that the reader can identify the principal characters Rhinegold has been added because it is necessan,- to an understanding of the succeeding "Ring" operas and the unusual interest in Parsifal at this time justifies its being included PRICE 2> CENTS or THE r M I \J ?■ .") i^l -r V -) PUBLISHED BY MARIAN E. GREENE 269 Dearborn Street Chicago COPYRIGHTED 1904 BY Marian E. Greene 1 'V' INDEX TITLE Barber of Seville. The Carmen Cavalleria Rusticana Das Rheingold Der Ring des Nibelungen Dictionary of "Ring" Operas Die Gotterdammerung Die Walkure .... Faust La Tosca L'Elisir d'Amore Les Dragons de Villars Lohengrin .... Magic Flute, The Marriage of Figaro, The Mefistofele .... Parsifal Siegfried Tannhauser .... Tristan and Isolde COMPOSER PAGE Rossini 7 Bizet 8 Alascagni 9 li'agner 26 23 24 Wagner 29 Wagner 27 Gounod lO Puccini 1 1 Donizetti 12 Mai Hart 13 Wagner i8 Mozart 14 Mozart 15 Boito 17 Wagner 19 Wagner 28 Wagner 21 Wagner 22 oOhb THE BARBER OF SEVILLE. Composer. Rossini. IL BARBIERE DI SIVIGLIA. ^'"'' ^^'"'' .^p^'"* Many of the characttrs in this opera reappear in the Marriau^e of h'igaro. Count Almaviva. uinlcr the name of Lintlor. is wooinij^ Rosina, the iieautiful ward of Dr. llartolo. The doctor himself has liopes of winning Rosina and guards her closely ; but love will find a way. ACT L Count Almaviva and some friends serenading Rosina ; as the friends leave, Figaro, singing "Largo al Factotum" ("Make Way for the Factotum") enters, and the count tells him of his infatu- ation for Rosina. Figaro promises to help. Rosina appears on the balcony ; liartolo soon follows ; she manages to drop a note to Lindor. Figaro suggests a stratagem by which the count may get into Bar- tolo's house : He is to don the uniform of a soldier and, presenting a billet from the military authorities quartering him upon Dr. Bartolo, simply go there and settle down for a siege of the damsel's heart. The count is to feign drunkenness, as the doctor will be less likely to suspect him. Figaro finds Rosina alone and tells her he has news; before he can deliver his message, Bartolo and Basilio enter and, thinking they are alone, discuss means of destroying the counts pres- tige with the maiden. Basilio suggests, in the famous Calumny aria, that they spread some malicious report in regard to the count ; it will soon reach Rosina's ears, and she will dismiss him. Figaro has over- heard them, and he discloses the scheme to Rosina. He pictures Lindor's impatience and hints that a note from her would raise him to the heaven of delight ; the fnodest senorita could not even think of writing to a man ! Figaro persists. She will — maybe — perhaps — consider it. And then she calmly draws from her bosom a note already written to him. Figaro makes haste to deliver it. Enter Bartolo, suspicious. What brought Figaro? How came the ink on her finger? Some paper is missing? He warns her she must not trifle with him. The count appears dressed as a soldier. Bartolo resists his entrance ; the guard is called and arrests the count. ACT. H. Bartolo more suspicious than ever; the count, once more — this time as a music teacher. Basilio. he explains, is ill and has sent him to give Rosina her music lesson. He gains Bartolo's confidence by showing him the letter Rosina wTOte to himself and promises to convince her that the count had been so base as to give it to another woman. Bartolo falls into the snare and allows the lesson to proceed. The count makes such good use of this advantage that Rosina agrees to elope with him at midnight. Bertha bewails the sad situation of her young mistress. Basilio appears and denies he sent a substitute. The count, of course, departs hurriedly. Bartolo shows the letter which the count gav.c him to Rosina. She is so angry with her lover that she promises to marry her guardian. Bartolo leaves to get the license. The count and Figaro appear ; Almaviva satisfactorily explains about the letter, and the lovers are married just as Bartolo arrives with officers to arrest' the count. The good doctor, of course, forgives them. CARMEN. Composer, Bizet. Scene, Seville,' J 820. ACT I. Public square ; soklitrs ; loungers awaiting the appear- ance of the pretty girls from the cigarette factory, especially Carmen, the gypsy. IVIichaela, betrothed to Don Jose, enters with a message from his mother. He is not there ; she leaves. When the guard is changed, Don Jose enters ; Carmen, seeing him sitting dejectedly at one side, throws a flower at him. Alichaela returns and cfves him her message, also a kiss — from his mother. Don Jose is about to throw away Carmen's flower when a disturbance is heard in the fac- tory. In a quarrel Carmen has stabbed one of the other girls. She is arrested and her hands tied behind her back. Don Jose is told to guard her. He falls a prey to her blandishments and lets her escape. For this, he is sentenced to two months' imprisonment. ACT n. Carmen in the gypsy camp. Morales, an officer, is unsuccessful in an attempt to win her favor. Escamilkx the bull- fighter, sings the famous Toreador song. Carmen, knowing that Don Jose's term of imprisonment is over, expects him. When he ap])ears she coaxes him to join the band. An officer who orders him to rejoin his regiment is overpowered by the gypsies whom Carmen has sum- moned.. Don Jose goes with her. ACT HI. Haunt of the smugglers. Carmen is becoming tired of Don Jose and now looks with growing admiration upon Escamillo. The rivals are about to settle their diflferences in a fight, when the others interfere. Michaela returns and Ijegs Don Jose to hasten to his mother's bedside; she is dying. Her plea prevails and he leaves with her. ACT IV. (lala day in Seville; F.scamillo is to give an exhil)i- tion of liis skill. Carmen is among the gayest of the throng. Her comi)anii)ns warn her that Don jose has been seen; S(Xmi he apjv.'ars. He ])leads with her to return to him. and when she spurns him, he sta1)s licr just as Ivscamillo apjiears. CAVALLERIA RUSTICANA. Composer, Mascagni. RUSTIC CHIVALRY. ^'°'' ^''"^* Turridu. a young peasant, returning from military duty, finds that his old sweetheart. Lola, has married Alfio, a carter. He trans- fers his affections temporarily to Santuzza, but soon tires of her ana becomes again the slave of the flirtatious Lola. Santuzza goes to Lucia, Turridu's mother, with her woes. Alfio, with accompanying male chorus, enters singing. In the next scene. Santuzza again pours out her grief to Lucia in a song of great beauty and power ; and the unhappy girl begs the latter to pray for her. Turridu enters. San- tuzza appeals to him. Lola approaches, singing to harp accompani- ment. After exasperating the wretched Santuzza with her bitter sarcasm. Lola enters the church, knowing that Turridu will follow her. Santuzza renews her pleading and falls fainting as her lover enters the church. Alfio appears at this moment, and to him San- tuzza reveals Turridu's perfidy. The extremely popular Intermezzo is played as if to give a breathing spell between the passionate scenes of the opera. In the ne.xt scene the congregation is coming out of the church, singing a chorus ; then follows a drinking song, "\"iva al vino," sung by Turridu with Lola and others joining in the chorus. Alfio comes in. He refuses Turridu's invitation to join the party, and the quarrel starts. The women withdraw. Turridu bites Alfio's right ear. which in Sicily is taken as a challenge. In the duel that follows, Alfio kills Turridu. FAUST. Composer, Gounod. Scene, Germany. ACT I. Faust, an a.^cd (icrnian scholar, discouraged that after all his years of study he knows so little, is about to end all, when, to his amazement, ^lephistophelcs answers his almost involuntary appeal to the powers below. His Satanic maj.esty offers to confer upon Faust the boon of youth if the doctor will sign a contract giving his soul to the devil in return. As an evidence of his power. Mephis- topheles calls up a vision of a beautiful young girl, ^Marguerite, whose hand is to be bestowed upon Faust, if he will sign. Faust puts his name to the paper. ACT IL r^Iarket place of the town ; villagers, soldiers and students join in chorus. Valentine, Marguerite's brother, sings, "O, Santa Aledaglia," to a portrait of his beloved sister. He is going away to the wars. Siebel, in love with ^Marguerite, promises to watch over her. Mephistopheles appears. \'alentine resents an insult to his sister, and the fiend by his evil ix)wer causes his sword to break. All recognize the presence of an evil spirit ; soldiers and students form a cross with the hilts of their swords. ^Mephistopheles is powerless. Faust sees ^Marguerite for the first time and speaks to her, but is repulsed. ACT III. The famous garden scene. Siebel sings a beautiful ballad to Marguerite and leaves a bouqtiet on her doorstep. Faust and Mephistopheles appear ; the latter goes out. but presently returns with a casket of rare gems which Faust jilaces beside the bouquet. Marguerite, at her window, sings the Spinning song ; going to the door, she sees the bouquet, but throws it awa\- when she spies the gems. While she is trying them on. Dame Martha arrives and both admire the jewels. Mephistopheles draws Martha away, loa\ing Faust and Marguerite alone. As the two couples wander, arm in arm, around the garden, they sing a striking (|uartet. Then follows a duet for Marguerite and Faust. ACT IV. Two years have elapsed. Marguerite laments l"aust"s desertion; Siebel tries to comfort her. \'alentine returns from the wars and goes to seek his sister, l^'aust and .Mephistopheles are before her house, the latter singing an insulting song, \alentine is slain in a (|uarrel with him and (lies cursing his sister. The church scene follows. Marguerite's jiitiful a])]x'als for mercy are mingled with the mocking of the tempter and the chanting of the monks. ( Sometimes the church scene is given before the scene with \ ali^uine.) ACT \'. The ])rison scene. Marguerite has been condemned to death for killing her child. I'^aust a])pears and urges her to tly with him; she refuses. .As she dies, repentant, angels apjxar and bear her soul to heaven. 10 LA TOSCA G)mFOser, Puccini. Scene, Rome, 1800. ACT I. Aii^i^clotli. an escaped prisoner, seeks refuse in tlie church of Sant" Andrea. The sacristan enters; later Cavaradossi, the painter who is decorating; the chajx^l. La Tosca. his mistress, arrives, Ixxonies jealous because the door was locked, then because the picture of the Madonna he is painting; resembles another woman. He soothes her. When she leaves Angclotti comes out of hiding and tells his friend that his sister, anticipating his escape, has put some clothing for him under tiie altar. They find it and leave. The sacristan and others come ; Scarpia, the chief of police, with Spoletta, appears. They search for the prisoner ; find a fan belonging to Angelotti's sister. La Tosca returns for another interview with her lover. Scarpia tells her he found the fan on the painter's easel. Then he orders that she be followed, knowing she will go to Cavaradossi's house, and demand explanation. ACT IL Scarpia summons La Tosca; Cavaradossi has been arrested, but no trace of the prisoner Angelotti has been found. The painter stoutly denies all knowledge of him. La Tosca arrives. Cav- aradossi is led into the torture chamlxT. Scarpia and La Tosca remain in the anteroom. The judges begin to torture Cavaradossi, whose groans are distinctly heard ; but the victim resolutely sticks to his story that he knows nothing of Angelotti. La Tosca begs him to tell, but he commands her to be silent. At last, she tells that An- gelotti is concealed in the old well in the garden. Cavaradossi is furious with her. His own life is forfeit now because he has defiantly proclaimed his sympathy with the revolutionary party to which Angelotti belonged. Scarpia and La Tosca are left alone again. He tells her that the only way to save her lover's life now is to accept his advances, and he promises safe conduct for Cavaradossi and herself if she will do so. She consents. He gives the order to Spoletta that the execution of Cavaradossi be a sham. Then he writes out the passport. When he approaclies her. she stabs him. and after securing the precious bit of paper goes out. ACT HL Cavaradossi. later La Tosca. She shows him the safe conduct, tells him how she obtained it and how she killed Scarpia. They a'-e exultant at the prospect of freedom. She tells him how to fall when the soldiers fire at him. and that he must lie perfectly still until she tdls him to get up. Then waits for the farce to be over with ; discovers that her lover has been killed ; hears the outcry about Scarpia's death, and when Spoletta rushes to arrest her, throws herself over the parapet into the Tiber. 11 V ELISIR D'AMORE. Composer, Donizetti. THE ELIXIR OF LOVE. ^'°'' Anywhere. ACT I. Adina, the village belle, is unable to make up her mind which of her lovers to marry. There is Xemorino. a likely young farmer ; but on the other hand, Sergeant Belcore's uniform is very attractive. Dulcamara, a traveling quack, makes his entry into the town. Xemorino promptly seeks his aid. \\'ill the good doctor sell him a bottle of the Elixir of Love, about which Adina had that very morning been reading to him? If he could get some and drink it, Adina must love him — for the book said so. Dulcamara had nothing" with that label on it, but sold Xemorino something warranted just as good. In fact, as long as his customer liked the name the doctor was content to christen the bottle of wine he sold him the "Elixir of Love." The lover is taking no chances ; mstead of an ordinary dose, he swallows the whole bottleful. Thus it happens that when he ad- dresses Adina, she thinks that he has been drinking ( ?) : and she indignantly notifies him that she intends to marry his rival. The wedding is set to take place that week, but the sergeant's regiment is ordered away before that, and he gains her consent to have the cere- mou}- performed that very day. ACT II. Adina, the sergeant and the notary retire to sign the contract. Xemorino is desperate ; he still has faith in the Elixir, and begs Dulcamara to trust him for another bottle, as his money is all gone. The good doctor does business on the cash basis only. Re-enter Belcore, in a rage. Adina has capriciously declined to sign the contract until evening. Xemorino takes hope again, and when he learns that any man who joins the army receives a bonus of twenty crowns from the government he at once enlists. On receipt of the money he goes again to Dulcamara. He wants the XX brand of the Elixir now, and pays double price, too. Even the quack himself is astonished at the change. All the village maidens crowd about Xemorino. craving his favor. (The girls have learned that his rich uncle has died, leaving him a fortune ; but lioth Xemoriut^* and Dul- camara give the credit to the Elixir.) Adina's jealousy is aroused. She decides she wants him. To Dulcamara she goes ; he sells her some of the same brand, and incidentally remarks upon the (i'?votion of Xemorino, who even enlisted in order to get money to buy the Elixir and thus win her. Of course, her heart is touched h\ this and she relentlessly jilts the sergeant. She and X'^cmorino live happy ever after. 12 LES DRAGONS DE VILLARS. Composer, Maillart. THE BELL OF THE HERMIT. Scene, France, 1720. Interest in the opera centers about a legend believed in by the people of a small village in France, near Savoy. St. Gratien, though dead some two hundreil years, still watches the married women of the conmnmity so closely that he instantly detects the slightest in- discretion on their ])art. and he rings a bell which announces their lault to the whole village. The government at this time is per- secuting the Camisards, and a party of them is in hiding lx>yond the town and near the cave of the Hermit St. Gratien. Belamy with a detachment of soldiers is hunting for this very party, and Silvain, a servant of Thibault, is carrying food to the fugitives. Some time before the opera opens he had earned the gratitude of Rose Friquet, a goat keeper, by saving her from injury. ACT I. Thibault's orchard; Georgette, his wife, sings a song. Thibault rushes in and warns the women that the soldiers are coming ; lie conceals his own wife in the pigeon house. Belamy demands food for his soldiers. Silvain appears, and his master scolds him for neglecting his duties. Rose Friquet brings back some mules belonging to Thibault. Belamy finds Georgette's hat. and demands to know where the women all are. Rose tells him where Georgette may be found. The latter, repulsing the soldier's attentions, explains the story about St. Gratien's bell. Belamy determines to test the truth of the legend. ACT II. Rose and Silvain at the cave of the hermit; Rose promises to lead the Camisards safely out of France. Thibault comes and goes seeking his wife, whom he has seen with Belamv. The latter now appears with Georgette. Rose hides ; every time the soldier tries to kiss Georgette, Rose rings the bell. Thibault, hearing the bell, runs in and Belamy attempts to convince him that the bell rang for Rose (although St. Gratien never spied upon maidens at all). Belamy returns after Thibault leaves; he decides to investigate the mystery thoroughly. He comes upon Silvain leading the Camisards. to whom he is presenting Rose as their deliverer. Silvain declares he will marry Rose after she has guided them safely over the frontier. Belamy hastens to rouse his soldiers, that they mav pursue the fugi- tives. ACT III. Thibault tells Silvain that Belamy has followed the Camisards and that he believes Rose betrayed them for the reward. Belamy swears his appointment the evening before was with Rose. After Thibault leaves, Belamy tests the legend once more bv kissing Georgette ; and the bell fails to ring. Rose in her bridal dress appears ; Silvain. having heard that the Camisards have been captured, denounces her. She produces a paper proving that they have escaped. Belamy, furious at having missed his prey, rushes in and orders Silvain to be shot. Rose threatens to reveal Belamy's conduct unless the latter re- calls his order. When his superior officer appears. Belamy smooths the matter over. Georgette is spared and the wedding of Rose and Silvain proceeds. 13 THE MAGIC FLUTE. Composer, Mozart. IL FLAUTO MAGICO. ^"'' ^^^'' DIE ZAUBERFLOTE. Astrafiamente, Queen of the Night, personifies the spirit of evil. Sarastro, hip;h priest of Isis, represents enlightenment. He has in- duced Pamina, daughter of Astrafiamente, to become a novice in the temple of Isis, his object being to remove her from evil surroundings. ACT I. Tamino, a prince, runs in and falls fainting ; a huge serpent pursuing him is killed by three ladies, attendants upon the queen. They then go back to tell their mistress about this handsome young prince. Papageno, the bird catcher, arrives and takes upon himself the credit of killing the serpent, for which falsehood a padlock is placed upon his lips. Tamino receives a portrait of Pamina, the daughter of the queen, and is told that she is kept a prisoner by the wicked Sarastro ; the queen enters and promises him great reward if he will restore Pamina to her arms. The Magic Flute, which has the power of warding off danger, is then bestowed upon Tamino, and Papageno receives a set of bells which can change anger into merri- ment. An Egyptian room ; Pamina in charge of Alonostatos, a Moor, who places her in chains because she will not listen to his advances. Enter Papageno, who compares her with the portrait and then tells her of the handsome prince who is seeking to rescue her. They go to find Tamino. In the next scene, the prince appears and plays upon the Magic Flute, winning an answer from Papageno. who is within the palace. He goes out to seek Papageno ; Pamina and the bird catcher enter. Monostatos discovers their flight and gives the alarm. Priests enter, later Sarastro, to whom Pamina confesses her fault and is forgiven. Tamino comes in. The lovers recognize each other, but Sarastro orders that they undergo the ordeal of purification, and they are led out. ACT. II. A forest. Sarastro learns that Tamino is worthy of being admitted to the temple. In the next scene Pamina is told by her mother that her father when dying gave to Sarastro the sacred symbol ofthe sun, by virtue of which he holds his power. The queen gives her daughter a dagger and tells her she must kill Sarastro and recover the sacred symbol. Monostatos has overheard all. When Pamina repulses him, he tries to stab her. Sarastro saves her and advises her to have faith in him and all will be well. Tamino is for- bidden to speak to Pamina. Other tests are imposed also. Papageno is accosted by an old woman who informs him he can have his choice of taking her or going to jirison. AA'luii he chooses her. she is trans- formed into a beautiful young woman — Papagena. Pamina. with a dagger, is about to jnit an end lo her despair over Tamino's coldness when she is told that he loves her still. Soon she meets her lover, and together they pass through the ordeals of fire and water to the inner temple. Papageno mourns the disap]")earance of Pa])agena, who comes running in after he sounds the bells. Monostatos. .Astrafia- mente and her attendants api)ear, bent upon the destruction of the tem])le; a clap of thunder is heard and the place is llooded with light — darkness in the person of the <|ueen being forever overctnue. .Sarastro seated on his throne welcomes Tamino and Pamina into the tcinpK'; and their steadfastness, courage and faith ari' n-warilcd. 14 THE MARRIAGE OF FIGARO. Composer. Morart. LE MARRIAGE DE FIGARO. ^'"'' Seville, Spain. LE NOZZE DI FIGARO. J/a^j> of the same charm fcrs appear in (he liarbcr of Seville and in the Marriage of Figaro. ACT I. Figaro, the valet of Count Alniaviva, and Susanna, the countess' maid, are to I)e married on the following day. Susanna admits to Figaro that the count's attentions have been rather embar- rassing. Entvr Dr. Juutolo and Marcellina (Susanna in hiding). Marcellina exhibits a contract given her by Figaro, engaging himself to marry her should he not repay a certain sum he borrowed from her. Bartolo promises to enlist the count in her cause. Cherubino. a page who is much in love with the countess, comes in now, deploring his dismissal by the count, who caught him making love to the gardener's daughter, Barberina. Fie hopes the countess will save him. A knock at the door, the page hides, the count enters. The count offers to Susanna a large dowry if she will meet him that evening in the garden ; but slie will have nothing to say to him. Basilio is heard inquiring for the count ; the latter runs behind a chair to hide, while Cherubino slips in front and throwing himself into its capacious arms, is covered with a mantle by Susanna. Basilio urges the count's suit upon Susanna, but happening to mention the devotion of the page to tiie countess, the count comes forth and furiously denounces his emis- sary. While illustrating 'now upon a former occasion he had dis- covered a hidden foe. he lifts the mantle from the chair, disclosing the unfortunate page. Prudence restrains the count from wreaking vengeance upon the little listener, but he decides to send the lad off to the wars in order to get him out of the way. Figaro now appears and asks the count's consent to his marriage. The latter is compelled of course to give it, but he manages to have the ceremony postponed somewhat. In the next scene the countess and her maid are discuss- ing matters when Figaro enters. All three have some grudge against the lord of the house, and they plot to have some revenge. Figaro writes a note to the count, telling him that the countess intends to keep an appointment in the garden that evening with a stranger, and also stating that Susanna has agreed to meet the count there. The note is not signed, of course. They intend to dress Cherubino up in Susanna's gown and let him keep the appointment with the count. When the page appears the ladies proceed to array him in feminine finery ; the count demands admittance. Cherubino runs into a closet ; his master demands to know who is in there, and goes out to get some weapon with which to break open the door. He drags the countess with him to save her the humiliation of being shamed before servants. \\'hile he is gone. Cherubino jumps out of the window and Susanna takes his place in the closet. When the count bursts open the door, the maid calmly confronts him, to his intense mortification. He is ready to apologize to his wife when Antonio, the gardener, comes in to complain that some one had jumped from the window into his flower beds and destroyed some of his plants ; Figaro's ready wit 15 saves them all. for he declares that he was the culprit, but Antonio produces Cherubino's commission which he had found in the ruined flower bed. Figaro explains that by stating that he had taken the commission to have the notary's seal affixed. Marcellina next appeals to the count to compel Figaro to keep his agreement with her. This the count gladly declares he will do ; Figaro must marry Marcellina. ACT II. The count urges Susanna to meet him in the garden; Figaro enters, apd Susanna joyfully tells him that the dowry the count will give her will be sufficient to pay off his debt to Marcellina. The count overhears her, and in revenge encourages her uncle. An- tonio, to refuse his consent to the marriage. Figaro proves that he is the son of Marcellina and Dr. Bartolo. Antonio presents Cheru- bino's hat to the count — the little rascal is supposed to be with his regiment. This proves that he is somewhere in the castle. They go in search of the culprit. Susanna and her mistress enter, and they jointly write a letter, fastened with a needle which the count is to return in token that he understands the message. Susanna when receiving her wedding hat from her master slips the note into his hand. In the next scene, Barberina. who has been intrusted with the needle, has lost it and tells Figaro. The latter is becoming sus- picious, and determines to be in the garden himself that evening. Susanna and the countess exchange garments and go to the garden. Cherubino, mistaking the countess for Susanna, is about to bestow the favor of a kiss upon the damsel when the irate count appears and aims a blow at him ; unfortunately Figaro stepping out at that moment receives the blow. The count now proceeds with his love- making to the supposed maid (in reality to his own wife), while Figaro and Susanna hugely enjoy the joke from their hiding places. Figaro, happy in the knowledge that Susanna is faithful to him. now helps out the plot for his master's undoing. He falls on his knees before Susanna (who is wearing the countess' gown) ; the count comes upon them and thinking he has caught his lady in a fault, calls for light. It is brought. He promises to be good ever after. K) MEFISTOFELE Composer, Boilo. mnr O l Ur CLU. ^^^^^ Germany. This opera, like Gounod's "Faust, " is leased upon Goethe's poem of "Faust"; Gounod has treated only the affair of Faust with Marguerite, while Boito has followed the aged scholar through nianv incidents. PROLOGUE. In the Heavens. ACT I. Easter Sunday ; Frankfort ; students, huntsmen, peasants. Faust and ^^'agner appear and then leave ; Faust returns, followed by a gray friar (Mefistofele ). Scene 2. Faust's laboratory; Mefis- tofelc reveals his identity, and in return for Faust's soul confers vouth, wealth and beauty upon the wearied student. ACT II. The Garden Scene. Faust (known as Henry), Mar- guerite, INIarta and Mefistofele strolling through the garden. Faust gives to Marguerite a sleeping potion which she is to administer to Marta to render her less watchful. Scexe 2. Walpurgis Night revels ; the Witches" Sabbath on the Brocken ; Faust sees a vision of Mar- guerite's sorrow. ACT III. The Prison Scene. Marguerite is condemned to death for killing her child ; her insane ravings are pitiful. Faust appears and begs her to fly with him. but she refuses. ACT ly. Greece. Xight of the Classical Sabbath. Faust is wooing Helen of Troy, who describes the destruction of Trov. EPILOGUE. Faust's death bed. Mefistc.^ele urges him to con- tinue his career of evil, but Faust, seizing the Bible, declares he relies upon it for salvation. The fiend is overcome. LOHENGRIN. Composer. Wagner. Scene, Brabant. ACT I. King Henry I. of Germany, surrounded by his nobles, announces that the Hungarians are about to invade the land ; he calls upon all to rally to his standard. Telramund of Brabant steps for- ward to explain to the king the disturbed condition of affairs in the duchy. He. as guardian of the late duke's children, Elsa and God- frey, had faithfully discharged his trust. One day recently Elsa and her brother had gone into the forest together ; Elsa returned without Godfrey, nor could she give any explanation of his disappearance. Telramund accused her of murdering him to get the title and estates. As next of kin, he claims the succession. Elsa, in answer to this hideous charge, can only say that she places her hope of vindication upon a mysterious knight of whom she has dreamed ; she asks that the trumpets summon him. At the third blast. Lohengrin appears in a boat drawn by swans. Elsa recognizes him as the knight of her dreams. He offers to champion her if she wnll promise to become his bride and never to ask his name or lineage. She promises. He defeats Telramund. The latter and his wife Ortrud are publicly disgraced. ACT H. Telramund and Ortrud reproach each other ; Ortrud suggests that if Lisa's curiosity can be so aroused that she will insist upon Lohengrin's disclosing his identity, the knight's prestige w'ill vanish. She incites her husband to accuse Lohengrin of sorcery, which would disqualify him for knighthood. -As a final resort. Telra- mund is to attempt Lohengrin's life. Ortrud now appeals to Elsa, professing sorrow for her past conduct. She cunningly rouses sus- picion of Lohengrin in Lisa's mind. In the next scene. Telramund is proclaimed a traitor and Lohengrin designated Duke of Brabant. Elsa arrives in her bridal robes. Ortrud disputes her right to prece- dence and taunts the bride with her ignorance of Lohengrin's name even. The entrance of Lohengrin.and the king puts an end to this, and Lohengrin drives Ortrud away. Telramund rushes in and makes his accusation of sorcery, but is thrust out. ACT III. Opens with the famous wedding march. Elsa. left alone with Lohengrin entreats him to tell her his name and whence he came — forgetful of her promise. Telramund and four of his friends rush in with evil intent, but Lohengrin strikes him dead, and the others beg fo'-giveness. Lohengrin tells Elsa he will reveal his name. In the Ir'lt scene, King Henry and his nobles are again gath- ered on the b-^-iks of the Scheldt ; knights bearing Tolranunid's body enter; Elsa follows, then Lohengrin. The latter declares himself son of Parsifal, lord of INlontsalvat, where the Holy (irail is guarded. Llis mission is to help the weak, but his identity being known, he nuist return to Alontsalvat. Lie breaks Xlrtrud's spell over the white swan, thus releasing (iodfrey, who is promptly restored to his title. Elsa is heartbroken over her champion's departure. He enters the swan boat and Elsa sees him no more. Had she waited a year, he could have revealed who lie was; her lack of f:iith destmyed her happiness. IS PARSIFAL. Composer, Wagner. Scene, Mont&alvat. Titurcl fouiuled the brotlicrhood of Knij^lits of the Holy (jrail, whose mission was to jjuard tlie sacred cup and spear ; they dwelt in the castle of Montsalvat. jjiously believed to be situated in northern Spain. The Grail was the chalice from which Christ drank at the Liist Supper, and in which Joseph of Arimathea caug^ht the blood which flowed from His side on the cross. It was believed that on every Good I'riday there fell into the Grail a wafer which furnished food for the kni:^hts — thus commemorating.:: the I^st SupiJer and the miracle of the feeding" of the multitude with the loaves and fishes. If any one wiio was not pure approached the chalice it vanished. The spear with which He was wounded by the soldier was also a precious possession of the knights. None but those absolutely chaste in thought and deed could hope to Ix: admitted to the community of Grail defenders. One Klingsor had sought to enter the brotherhood, but had been rejected as unworthy. He then studied the magic arts, that he might revenge himself. Xcar Montsalvat lie established a castle with gar- dens of enchantment and beautiful maidens who lured many of the knights to destruction. Titurel had grown old, and his son Amfortas performed the offices of king. Amfortas. anned with the sacred spear, set out to destroy Klingsor's stronghold. He fell a victim to the charms of Kundry. and let fall the spear, which was instantly seized by Klingsor. The magician wounded Amfortas with the spear, which he then carried away. While the king was praying for relief from his awful suttering, a voice was heard saying that only a "guile- less fool" could wrest the sacred spear from Klingsor, and by touching with it the wound of Amfortas restore him to bodily and spiritual health. This fool must all his life have been ignorant pf sin. he must realize through compassion what anguish Amfortas suflfered and he must be one who could resist temptation though it come to him in the most seductive form. Parsifal proved true to every condition. This Kundry in the intervals when Klingsor released her from his spell seemed to prefer to serve the Grail knights, but the magician could at will, apparently, recall her to his service and compel her to do his bidding. It was alleged by some that she was the woman who laughed at Qirist as He w-as carrying the cross, and that for this she was condemned to wander over the world, a prey to remorse. Parsifal's first act as king of the knights was to baptize her into the faith ; she lived only long enough after that to see him cure Amfortas' wound Avith the sacred spear. ACT I. Dawn. Gurnemanz awakens the two pages who are sleeping at the gates. Two Knights of the Grail go to prepare Amfortas' bath in the forest lake, where he seeks relief from his suf- fering. Kundry rushes in with some balsam from Arabia for Am- fortas' wound. A company of knights bearing the king in a litter cross toward the lake. After the procession has passed. Gurnemanz relates to the two youths how Amfortas came by his wound. Shouts are heard ; one of the sacre'd swans flutters down \\-(^unded, and dies at Gurnemanz' feet. Parsifal, who killed the bird, is seized: Gurne- manz rebukes him. Parsifal, from boasting of his marksmanship, is brought to realize that he has done wrong. Gurnemanz questions him concerning his birth and history, but to every question he merely answers that he does not know, except that his mother's name was Herzeleid and that they had always lived in the forest, entirelv alone. 19 One day a party of kniglits in shining armor had passed their dwell- ing. He followed them and lost, his way. He could never find his dear mother again, and had wandered around until at last he reached Montsalvat. Gurncmanz begins to hope that he has found the one who is to save the brotherhood. Here is a fool surely, but whether he is the i^iiilclcss fool of the prophecy remains to be seen. Kundry tells Parsifal that his mother Hcrzeleid (Heart's Affliction) is dead — at which Parsifal is overcome with grief. Gurnemanz bids Parsifal accompany him to the castle, there to witness the ceremony of Com- munion. The knights file in and take their places around the table ; Amfortas. preceded by the Holy Grail borne by pages, is carried in on a litter. Titurel calls upon his son to uncover the chalice. Am- fortas. knowing that he is unworthy, prays to be released from the duty, but for the sake of the others he oflfers the sacrifice. The bread and wine are distributed. The ceremony over, Gurnemanz asks Par-. sifal if he understood what he had seen, and when Parsifal says no, he thrusts the fool out and bids him begone. ACT n. Klingsor's Gardens of Enchantment. The magician sees Parsifal wending his way toward the castle. He summons Kundry, whom he commands to ensnare the youth. Parsifal, over- coming the guards, enters the enchanted gardens, where he is imme- diately surrounded by the lovely flower maidens, who sing and dance about him. He mingles with them with all the abandon of a child. The flower girls vanish, and the irresistible Kundry appears on a couch of roses. She gains his interest by talking of his mother and her sore grief when he ran away. Having wrought him up by these distressful details, she suddenly leans over and kisses him. Like a revelation, he understands the cause of Amfortas' suffering, and, enlightened bv pity, he determines to bring him relief. Thenceforth he is deaf to the entreaties of the temptress. Kimdry calls upon Klingsor to aid her. The magician appears and throws the sacred spear at Parsifal. It is by a miracle suspended over his head. He promptly seizes it and making the sign of the cross with, it, destroys Klingsor's power. Down crumbles the magician's stronghold. Par- sifal asks Kundry the way to the castle of the Grail, but she will not tell him. He starts out to find it himself. ACT HI. Gurnemanz, now a very aged man, coming out of his lodge discovers Kimdry lying in the bushes, nearly dead. He revives her. Parsifal, clad in black armor, comes in. He tiirusts the spear into the ground and kneels before it in ]ira\er. (lurnemanz and Kundry recognize him. Gurnemanz tells him of Titurel's death ; then leads him to the Holy Spring near b). Kundry washes his feet and Giu'uemanz bajitizes him, acknowledging him as the coming redeemer of the knights. Then (lurnemanz anc^nts him king. Par- sifal now l)a])tizes Kundr\. It is Good I-'riday. and music wonder- fully expressive of the spiritual exaltation of the da\' is heard. All three set out for the castle. Titurel's bier is carried into the hall, and later Amfortas. in his litter, is borne in. All beg him to uncover the Grail. Lamenting his guilt, .Amfortas refuses. The knights, de- prived so long of their spiritual food which alone snst;nns them, threaten him. He tears open his cloak and shows tlinn bis l)li'e(ling wound. Parsifal steps for\\;u(l and touches tlu- wound with the l)oint of the sacred spear, and U is lualed. Then Parsifal, acclaimed liE NIBELUNGS. 1 hrouf^hout the loi.r operas, Das Khcintiold, Die Walkiirc, Sieg- fried and Die (icUtertUininierun^. there runs the thread of the story of the Rin,<;- made froni the Rhein^old. "Das Rheinj^old." in one act, is really in the nature of a prelude to the three reniainin<^ music dramas. Jmlx-'ddcd in a rock m the Rhine was a mass of pure gold pos- sessed of magic virtues. Alberich, king of the Nibelungs, stole the gold and fashioned from it a Ring which insured to its wearer the sovereignty of the world. Wotan, father of the gods, coveted the Ring and contrived by trickery to gain possession of it. Alberich cursed it — "May he wlio has it not, covet it with rage; and may he who has it. retain it with anguish of fear." Wotan was comp<-'lled to give up the Ring to Fasolt and Fafner, the giants who have built Walhalla for him. The curse began to work ; at once the two giants fell to quarreling over the Ring, and Fafner killed his brother in order to secure it for himself. P'afner did not enjoy his treasure ; he changed himself into a huge serpent and through a long term of years jealously guarded the spoil. Wotan founded the race of \'ol- sungs, hoping through them to prevent the Ring from falling into the hands of any enemy of the gods: Siegfried, the \'olsung. killed the giant Fafner and secured the Ring. He gave it to Briinnhilde, his bride, and then he sallied forth in search of adventures. Hagen. son of Alberich, thought he had the best right to the Ring because his father stole it first, and he plotted the downfall of Sieg- fried, that he might obtain it. Siegfried arrived at the residence of Gunther, Hagen's half-brother. At the instigation of Hagen. Gutrune. Gunthcr's sister, gave Siegfried a draught which caused him to forget liriinnhilde completely and to fall in love with her. Sieg- fried asked for Gutrune's hand. He was told that if he would bring liriinnhilde as bride to Gunther, he might wed Ciutrune. He has- tened to do so. By means of the Tarnhelm which he put on, he assumed the form of Gunther and after tearing the Ring from Brijnn- hilde's finger, he compelled her to follow him. Briinnhilde accused him of treachery and Gunther, thinking he had violated his trust, agreed to Hagcn's suggestion that Siegfried be killed. Hagen and (lunther then quarreled over the Ring, and Hagen killed Gunther. Hagen himself was drowned in a final attempt to get it bv plunging into the Rhine after Brimnhildc had restored it to the Rhine Daugh- ters, thus lifting the curse. It is important to bear in mind that the gods represented here are not immortal. The decrees of fate are inexorable and Wotan having oflfended against justice has involved the whole world, over which he rules, in ruin with himself. Wotan is always represented as having only one eye. Fie carries a spear in his hand with which he can cause thunder and lightning. Several orders of beings are encountered in the course of the story — the gods, like Wotan, Fricka and Loki ; the Xibelungs or dwarfs who dwell underground and are the workers in metals, Alberich and 'Slum are types: the giants. Fafner and Fasolt; the Yolsungs, children of Wotan by a human mother. Siegmund and Sieglinde and their son Siegfried : the Gibichungs. Gunther and Gutrune. and finally, the Xiedings, Hunding's tribe. Vlain mortals. 23 DICTIONARY OF THE "RING" OPERAS. Der Ring des Nibelungen (The Ring of the Nibelungs). Alberich, king of the Xibelungs. Brunnhilde, favorite daughter of Wotan ; one of the \'alkyrs. DoNNER, see Thor. Erda. the all-knowing prophetess ; goddess of wisdom ; mother of the \'alkyrs. Fafner, a giant ; killed his brother Fasolt for the Ring. Fasolt, a giant. Flosshilde, one of the Rhine Daughters. Freya, goddess of eternal youth. Fricka, wife of Wotan, and guanlian of the marriage tie. Froh (Frey, Freyr), god of fruitfulness ; brother of Freya. GiBiCHUNGS, a tribe of which Gunther was chief. Gotterdammerung, The Twilight (or Dusk) of the Gods; a title significant of their approaching doom. Grimhilde. mother of the (iibichungs ; also of Hagen. Gunther, the Gibichung ; son of Grnnhilde ; half-brother of Hagen. GuTRUNE, sister of Gunther. Hagen, son of Alberich and Grimhilde ; half-brother of Gunther. HuNDiNG, husband of Sieglinde and slayer of Siegmund. Leit Motif (Leading Motive), the name expressed in music of a per- son, object or feeling. Whenever the action of the drama concerns such person, object or feeling, this music-name is repeated. LoGE or LoKi, the god of fire ; also the god of trickery. MiMi, the Nibelung, brother of Alberich ; he brought up young Sieg- fried after the death of Sieglinde. NiBELHEiM, home of the Nibelungs (the underworld). Nibelungs, a race of dwarfs inhabiting the interior of the earth. NiEDiNGS, a band of robbers; Hunding was one of them. NoRNS, the Fates in Norse mythology. NoTHUNG (Needful), the sword of Siegmund, broken in the fight with Hunding; forged anew by Siegfried. Rhine D.\ughters, nymphs of the Rhine and guardians «)f its treas- ure, the Rhinegold. RiiiNEGOEi), a mass of pure gold imbedded in a rock in the Rhine. It possessed magical ])roperties. See Ri.nc; and T.\rnhelm. Ring, the Ring made from the Rhinegold, which endowed its wearer with power over all living lieings, gods as well as mortals, it became an object of gri'at desire to all, in spite oi the awful ciu^se upon it. Ring Oi'ERAS, Das Rheingold, Die Walkiire. Siegfried and Gotter- dammerung. The one story runs all tlu-ough these four ojXTas, though laeh is complete in itsell'. Siii;! Kill), son of Si<.'j;niuiui iju\ >ui;liii(if ( iIk- X'olsun^s); this was the k-arlcss hero who was to redeem the jj;o(ls from the curse. He was stahhed in the .back In IIa.u;en. SiKci.iNDK. sister and wife of Sief^mimd. In mytholoj^ical times such iniions were not res^arded witli the horror that would attach to lliem now. SiECMUNi). the Xolsunsj. son of WOtan and fatlur of Siegfried. T.\k.\iii:L-M, a hehnet made of the Rhinefjold. which rendered its wearer invisible and also enabled him to assume any shape he desired. TiioR (Donncr). god of thunder; brother of I-Veya. V.\i.ii.\LL.\. home of the gods. \'.\i.K\ Rii:s. "Choosers of the Slain." Their mission was to visit bat- tlefields and to fetch the bodies of dead heroes to Valhalla, the heaven of warriors. They rode on horses through the air, and were armed with s])ejfr, breastplate and shield. They were the daughters of W'otan and Krda ; their names were Briinnhilde. (lorhilde. (irimherde, Flelmwige. ( )rtlinde. Ross- weisse, Siegrune. Schwertkite and Waltraute. Valse or \'oLSE. a name assumed by Wotan ; see X'oi.suxg. V.\LSUXG or \'or.SLXG. children of Wotan by a human mother. Wo- lan's compact with Fafner prevented any of the gods from attempting to recover the Ring ; yet there was always the danger that ,the Xibelungs might regain it from the giant and thus bring about the destruction of the gods. Wotan therefore founded this family of \'olsungs. hoping that there might arise from them a hero who would be able to take the Ring from Fafner and b}- restoring it to the Rhine Daughters lift from the world the curse which Alberich had placed upon the gold. His plans failed because Siegmund and Sieg- linde offended against the sanctity of marriage and aroused the ire of Fricka, who compelleil \\'otan to withdraw his pro- tection from them : and Siegfried, their son. was killed by Hagen. Walhall.\, see \'alhalla. Walkure, same as \'alkyries. Walse or Walsuxg, see \'alsr and \'ai.suxg. Waltraute, one of the \'alkyries. Wanderer, Wotan in "Siegfried." Wellgunda,. one of the Rhine Daughters. WoGLiXDE, one of the Rhine Daughters. WoTAX, father of the gods. DAS RHEINGOLD. Composer, Wagner. RHINEGOLD. ^'°*'' ^ ^^"^ ^^•°'' ACT I. The Rhine Daugliters arc guarding the Rhinegold. Alberich, king of Xibelheim, appears and tries to catch one of the maidens ; they all elude him, make sport of his awkward wooing. He sees the Rhinegold shining, and learns from its guardians of the wonderful powder it possesses. Whoever fashions a Ring from it becomes the ruler of the world — but he must renounce love. Alberich suddenly makes a dive for the treasure and succeeds in carrying it ofif, to the dismay of the Rhine Daughters. In the next scene. W'otan and Fricka behold for the first time the new castle of Walhalla which the giants Fafner and Fasolt have built for them. Freya. goddess of eternal youth, rushes in and begs for protection from the giants ; Wotan had promised that she should be theirs as reward for their labor in building the castle. Thor and Froh, brothers of Freya, try to protect her. Wotan reminds them that the compact must be kept. Nevertheless, he anxiously awaits the return of Loki, whom he has sent to search the whole world for a suitable ransom for Freya. At length Loki appears ; he has found among all peoples that "woman's worth and love" are held priceless. The gods are in despair at the prospect of losing Freya. Loki relates the story of the theft of the Rhinegold, declaring that Alberich alone of all creatures valued gold above woman. Then he describes the wonderful properties of the gold in such glowing terms that the greed of the giants is excited and they announce that they will exchange Freya for the treasure. Meanwhile they hold Freya as security. As they lead her away, the gods visibly grow older, having lost eternal youth. Wotan and Loki descend to Nibelheim where Alberich had taken the gold. Sckxk 3. Alberich snatches from Mimi the "i'arnhelm, made from the Rhine- gold. This magic helmet has the virtue of rendering its wearer invisible, and also gives him the power to assume any sha])e he may w^ish. Alberich puts on the helmet and vanishes. Fnter Wotan and Loki. Alberich retiUMis, and seeing them he lirags of his ]X">wer, even threatening to overwhelm Walhalla itself. He puts on the Tarnhelm and changes himself into a huge serpent. Loki cunningly challenges him to assume the form of a toad, and when he does so, Wotan and Loki seize and bind him. Scene 4. Alberich is compelled to give up his ill-gotten wealth, including the Tarnhelm and the Ring. He puts a curse upon the Ring and its possessor forever. The giants insist that the i'iing and the Tarnhelm are part of Freya's ransom. Wotan reluctantl}' gives up the 'i'arnhelm. but greedily hoUls on to the Ring. Frda a])pcars and warns him of the curse. Instead of giving the Ring back to the Rhine Daughters. W(Uan hands it over to the giants, whd inuiudiately fall to f|uarre1ing over it. b'afner kills L'asolt, i^roving that the ciu-se is effective. Thor, the gixl of thunder, with his hammer drives away the lowering clouds; all lieliold the stately castle of Walhalla. their new home. ( )n a bridge formed by a rainbow, the gods emss ii\rr in Huir nrw strdughnld. Loki being the last to follow. DIE WALKURE. Composer. Wagner. THE VALKYRIES. ^""'' °" '^' ^^'"'• Ac r 1. Hut of 1 liindiiiii. the rohlKr. huilt aioiiiul a j^rvat ash Iri'o. Siognnind, the Volsunp:. ilecinjr from i)ursucrs, enters and sinks exhausted on the hearth. Sie.t,dinde. wife of Hundinj:;:. finds him there. HuiKhn^: returns and invites him to remain as j^nie.st. Sieg- niund relates his story, how his twin sister was stolen, his mother killed and later his father disappeared. Then Sie.u;mnnd ineurred the enmity of the Xiedings and in fiu'it. killed one of them. Hundinp belono:s to this tribe, and he is compelled to avenge the death of his kinsman, but the laws of hospitality demand that he shelter his guest for the night. He notifies Sicgmund, though, that in the morning he will exact satisfaction. Sicglinde. whose growing interest in the stranger is very marked, mixes a sleeping i)otion in Hnnding's night draught. Siegmund is left alone. Sicglinde returns and tells him how at her wedding with Hunding. a stranger (Wotan. their father) appeared. He buried the blade of a sword in the trunk of the ash tree, leaving only the hilt visible. He told her that the sword be- longed to the man who could pull it out. All the tribesmen tried to ])ull it out, but in vain. Siegmund and Sicglinde recognize each other as brother and sister; their mutual sympathy quickly ripens into love, and they resolve to fly together. The hilt of the sword is grasped by Siegmund. who pulls it out. ACT n. ^^'otan orders Briinnhilde. tlie A'alkyr. to aid Sieg- mund in the coming fight with Hunding. l^ricka. guardian of the marriage tie, demands that the victory be given to Hunding, and \\'otan is compelled to promise that it shall be so. Briinnhilde re- turns, and he relates the story of the ^''olsungs — Siegmund and Sicg- linde — how he had hoped through this race to redeem the gods from the curse, but fate had willed otherwise and he must bow to its decrees. He orders her to defeat Siegmund. Siegmund, supporting Sicglinde, appears, the latter exhausted. Briinnhilde warns Siegmund that he must away to Walhalla. He asks if Sicglinde may bear him company, and being told she may not, he refuses to go ; rather than leave her alone, he will kill her. Briinnhilde then declares she will disobey Wotan and help him — not Hunding. In the fight. Briinn- hilde shields Siegmund, but when he is about to give Hunding the fatal thrust with his sword, Wotan interferes and shatters Siegmund's sword, enabling Hunding to kill him. Briinnhilde flees from her father's wrath, taking Sicglinde with her. ACT HI. Home of the A'alkyrics ; Briinnhilde enters with Sicg- linde. She begs her sisters to shield Sicglinde, but they fear Wotan too much. r)riiiinhilde gives Sicglinde the pieces of Siegmund's sword and bids her flee into the forest ; she remains to brave Wotan's wrath. When Wotan appears. r)riinnhilde makes no defense except to say that, divining the secret wish of her father's heart, she had tried to give the victory where, had he been free, he would have had it go. Wotan is bound to punish her, but their leave taking is most pathetic. He pronounces her doom : A deep sleep shall fall upon her ; w-hoever wakes her shall have her for his bride. Briinnhilde pleads with her father that at least she shall be surrounded by such dangers that only a hero would brave them. He grants her prayer and commands Loki. the god of fire, to enclose her in a wall of flame after he has cast her into the sleep. 27 SIEGFRIED. Composer, Wagner. Scene, On the Rhine. Mimi. the Nibeluno;. had sheltered Sieghnde when she tied from Wotan's wrath. She ched when Siegfried was born, and he had brought up the child, knowing that he was destined to overcome Fafncr and thus come into possession of the magic Ring which insured to its possessor the rulcrship of the world. ACT I. Mimi at the forge trying to make a sword for Sieg- fried the fearless ; but when the young hero tries it. it breaks like all the others. Siegfried asks who his parents were. Mimi tries to convince him that he was both father and mother to him ; Siegfried scof¥s at this, declaring that he has noticed that the young always resemble their parents. Becoming impatient, he compels the dwarf to tell him all he knows of his birth. 'Slum does so, and brings out the pieces of Siegmund's sword in proof of his story. Siegfried orders him to make a new sword out of the pieces, then goes out. Enter W'otan (the Wanderer) ; lie and ]\Iimi go over the whole story of the Ring. Wotan accidentally lets his spear touch the ground, and a jjeal of thunder startles the dwarf. Siegfried returns; the sword has not been fashioned, and he sets about forging it himself. Mimi asks him if he knows what fear is; Siegfried does not. but is willing to learn this new accomplishment. ]\Iimi tells him about the giant Fafner. who has changed himself into a serpent and dwells at the end of the forest — a visit there will surely teach Siegfried to fear. Siegfried has finished the sword by this time, and now sings the beau- tiful song to this sword. "Nothung" ( "Xeedful"' ). Then he sets out to learn what fear is. Mimi-^«--pl;ui is to let Siegfried kill the ser]K'nt ; then to give the hero a poisoned drink, and when Siegfried is dead Mimi will possess himself of the Ring, the Tarnhelm and the rest of the treasure. ACT II. Night in the forest. Alberich learns from Wotan of Siegfried's approach, and tries in vain to inchice the giant to give him the Ring. ])romising to help him defend the rest of the treasure. At dawn Mimi and Siegfried arrive. Mimi retires and Siegfried listens to the Waldweben ("Forest Weaving"), in wliicli ilie music imitates the singing of birds, the rustling of leaves and other forest sounds. Fafner comes out, and Siegfried slays him. lie happens to taste the dragon's blood, and at once understands what ihe birds are saying. A songster on a branch alcove him tells him where to fintl the treasure. Presently Siegfried returns with the Ring and (he Tarnhelm. The bird now warns him against .Mimi, who offers Siegfried a ]ioisonetl drink. Siegfried kills him. 'I'he i)ird then iells him about llriinnliildf. and how the liero wbo l)raves the fiery wall about her shall ha\-e her for his bride. Tlu- bird llics l)efore him to show the way. ACT ill. 'Ihe Wanderer .seeks comfort from I'^rda ; bm she can give none. The gods are doomed. .\s I'.rda vanishes Siegfried rushes in, following thr l)ird. Wotan obstructs him. Siegfried shatters his spear with the sword Xotluing. .\ clap of tlumder follows. Wotan de])arts. .Soon .Siegfried reaches the rock where ilriinnhilde lies sleep- ing, lie (lashes through the ilames. removes her armor and awakens her with a kiss. DIE GOTTERDAMMERUNG. Composer. Wagnrr. THE TWILIGHT (OR DUSK) OF Scene, On the Rhine. THE GODS. PRELUDE. The three Xorns unravehns^ the secrets of the past, the present and the future. The tliread snaps ; as dawn approaches they hasten away, foretelhng; the doom of the gods. The N'alkyrie rock. Siegfried about to set out in search of new adventurts gives tile magic King to Uriinnhilde. and she bestows upon him her horse Crane and her shield. ACT I. Hall of the Cibichungs on the Rhine, (iunther and Cutrune seated on a throne, Hagen their iialf-brother. below them. The latter tells of Siegfried's exploits, and suggests that he would be a suitable mate for Cutrune. whUe Uriinnhilde would make a worthy wife for (nmther. Hagen conceals the fact of I'runnhilde's marriage tt> Siegfried. Hagen hopes in some way to secure the King if Sieg- fried can be lured away from Briinnhilde. Siegfried now appears and is welcomed by Cunther. Cutrune, at the suggestion of Hagen, brings to the guest a draught in which she has mixed a love potion which makes the hero forget Briinnhilde entirely and fall in love with herself. As he raises the cup, he drinks to I'riinnhilde. but almost immediately begins to look upon the fair (iutrune with growing admiration, and soon demands her hand in marriage, (junthcr consents on condition that Siegfried shall bring Brunnhilde to him. They seal the compact with their blood, and Siegfried sets out. Hagen is left to guard the hall. In the next scene W'altraute. one of Briinnhilde's sisters, pleads with her to return the fatal Ring to its rightful guardians, the Rhine Daughters, and thus avert the disaster that threatens W'alhalla. Briinnhilde will not part with this pledge of Siegfried's love. Soon Siegfried's horn is heard ; she goes to meet him. He appears, but by virtue of the Tarnhelm has assumed Cunther's form, and when he commands her to follow she fiercely resists. He seizes the Ring, and she is powerless. Drawing his sword, he places it between them to signify that in his wooing of Briinnhilde for Cunther he has kept faith. ' -ACT II. Hall of the Cibichungs. Black Allx^rich urges his son Hagen to secure the Ring. Dawn approaches. Siegfried hastens to tell Cutrune how he won Briinnhilde for Cunther. and that the lat- ter and his bride are following. Hagen calls the vassals and bids them prepare the wedding feast. Cunther leads in Briinnhilde: she keeps her eyes on the ground until she hears Siegfried's name spoken as he comes forward with (jutrune. She is horrified ; sees the magic Ring on his finger and declares he. not Cunther. is her husband. Sieg- fried (still under the spell of the potion administered by Cutrune) in- dignantly denies her charge and swears it on Hagen's spear. Briinn- hilde likewise swears that she speaks the truth. Briinnhilde. Cunther and Hagen are left alotie. (^nly Siegfried's death can atone for the wrong he has done, and Hagen suggests that at to-morrow's hunt. Sieg- fried be killed. To this the others agree. ACT III. The Rhine Daughters implore Siegfried to restore the Ring to them, warning him that if he keeps it he will die that 29 very clay. . .Vs they disappear, Hagen. (iunther and the others arrive. Siegfried is led to Lell the story of his life. Hagen with fiendish de- sign, gives him a draught whicli restores the faded memory of Pjriinn- hildc's rescue and Siegfried's marriage to her. The young hero tells how he killed the giant, how the bird warned him against Mimi and then led him to the Valkyrie rock, and finally how he braved the fire and won Briinnhilde. The others, thinking he is speaking of the occasion when he went to woo Briinnhilde for Gunther, are shocked by the open avowal of his treachery ; and Hagen seizes a moment when Siegfried's back is turned to thrust a spear into him. Hagen hurries off, and the others, placing Siegfried's body upon his shield, bear him toward the castle to the accompaniment of the matchless strains of the "Siegfried Death Music." First the mere mutterings of sullen, almost speechless grief ; at length the outbreak of wrath and despair when it is realized that he who lies dead was the one for whose coming gods and men had hoped and prayed, whose death involved the annihilation of the existing order of things. The hall of the Gibichungs is next shown. Hagen is telling Gutrune that her husband has been killed by a wild boar. Gunther accuses him of the murder and when Hagen tries to take the Ring off Siegfried's finger, Gimther interferes. Hagen kills him too. Then he makes another attempt to get the Ring, but the corpse raises its arm threateningly, and Hagen shrinks back. Briinnhilde enters. She knows now the treachery of which she and Siegfried were the victims, and she forgives. Siegfried's body is placed on a funeral pyre, which she mounts on her horse Grane, hav- ing first placed the Ring on her own finger. The Rhine Daughters recover it. Hagen plunges into the Rhine in a last attempt to get the Ring, but he is dragged below by the indignant Rhine Daughters. Walhalla is seen on the heights to be burning, and the "Twilight of the Gods" deepens into endless night. A woman's sacrifice has estab- lished love as the ruling principle of the world instead of greed. 30 (i'4oo5.sJ 0)476 "^^^S. MT95.G7 C036927973 UC BFRKELFY LIBRARIFS l||inillli||lllnii||ni|ili DATE DUE Music Library University of California at Berkeley