•TAT- 
 
 •AM T 
 
 8 O 6" f
 
 The Standard Operaglass
 
 The Standard Operaglass 
 
 Detailed Plots of Two Hundred 
 and Thirty-five Celebrated Operas 
 
 With Critical and Biographical Remarks, Dates, Etc. 
 
 BY 
 CHARLES ANNESLEY 
 
 WITH A PRELUDE BY 
 
 J'AMES H U N E K E R 
 
 NEW EDITION, REVISED 
 AND BROUGHT UP TO DATE 
 
 NEW YORK 
 
 BRENTANO'S 
 
 1920
 
 Copyright, 1899, 1904, 1910, 1920, by 
 
 BRENTANO'S 
 
 Printed in the U.S.A.
 
 
 SANTA BARBARA COLLEGE LIBRARY 
 
 INDEX OF THE OPERAS 
 
 OPERAS 
 
 Abu Hassan 
 
 Africaixe 
 
 A'iDA 
 
 Alessandro Stradella 
 L'Amore Dei Tre Re . . . 
 L'Amore Medico .... 
 
 Andre Chenier 
 
 Aphrodite 
 
 Apothecary 
 
 Ariane et Barbe Bleue . 
 
 Armida 
 
 Armorer (Wapfenschmied) . 
 L'Attaque du Moulin 
 
 L'Aube Rouge 
 
 Ballo in Maschera 
 Ballo in Maschera 
 Barber of Bagdad .... 
 Barbiere di Seviglia . 
 Bartered Bride .... 
 Benvenuto Cellini 
 
 Boheme 
 
 Bohemian Girl 
 
 Boris Godounov .... 
 By Order of His Highness . 
 Carlo Broschi (Teufel's An- 
 
 theil) 
 
 Carmen 
 
 Cavalier of the Rose . 
 Cavalleria Rusticana . 
 
 Cendrillon 
 
 Le Chemineau 
 
 Chimes of Normandy . 
 
 Cid 
 
 Cleopatra 
 
 Coppelia 
 
 cosi fan tutte 
 
 Cricket on the Hearth . 
 Crispino e la Comare . . . 
 
 COMPOSERS 
 
 FOL. 
 
 Weber 
 
 . 9 
 
 Meyerbeer . 
 Verdi 
 
 . 12 
 . lb 
 
 Flotow . 
 
 . 19 
 
 Montemezzi . 
 
 . 590 
 
 Wolf-Ferrari 
 
 . 598 
 
 Giordano 
 
 . 594 
 
 Erlanger 
 
 Haydn 
 
 Dukas 
 
 . 600 
 . 21 
 . 605 
 
 Gluck . . 
 
 . 25 
 
 Lortzing 
 Bruneau 
 
 . 27 
 . 610 
 
 Erlanger 
 Auber 
 
 . 613 
 . 29 
 
 Verdi 
 
 . 32 
 
 Cornelius 
 
 . 37 
 
 Rossini . 
 
 . 42 
 
 Smetana 
 
 . 399 
 
 Berlioz . 
 
 . 45 
 
 Puccini . 
 
 . 446 
 
 Balfe . . 
 
 . 618 
 
 Moussorgsky 
 Reinecke 
 
 . 614 
 . 51 
 
 Auber 
 
 . 54 
 
 Bizet 
 
 . 57 
 
 Richard Strauss 623 
 
 Maseagni 
 Massenet 
 
 . 627 
 
 Leroux . 
 
 . 629 
 
 Planquette . 
 Massenet 
 
 . 632 
 . 449 
 
 Leroux . 
 
 . 635 
 
 Delibes . 
 
 . 451 
 
 Mozart . 
 
 . 63 
 
 Goldinark 
 
 . 66 
 
 Ricci 
 
 . 637 
 
 libr;. 
 
 ■ TATE TEACHER* 
 SANTA BARBARA. Ca... ilA 
 
 . $0S$
 
 Index of the Operas 
 
 OPERAS COMPOSERS FOL. 
 
 Cyrano de Bergerac . . . Damrosch 
 Czar and Zimmermann . . Lortzing 
 
 Dalila Saint-Saens 
 
 Dame Blanche Boieldieu 
 
 Damnation op Faust . . . Berlioz . 
 
 Dejanire Saint-Saens 
 
 Demonio Kubinstein 
 
 Djamileh Bizet 
 
 La Dolores Breton . 
 
 Domino Noir Auber 
 
 Le Donne Curiose .... Wolf -Ferrari 
 
 Don Carlos Verdi 
 
 Don Juan Mozart . 
 
 Don Pasquale Donizetti 
 
 Don Quichotte Massenet 
 
 Donna Diana Beznicek 
 
 Dragons de Villars . . . Maillart 
 Dusk of the Gods .... Wagner . 
 
 Electra Richard Strauss 575 
 
 Elisir D 'Amore .... Donizetti 
 L 'Enfant Prodigue . . . Debussy . 
 
 Ernani Verdi 
 
 L'Etoile du Kord .... Meyerbeer 
 
 Euryanthe Weber . 
 
 Evangelimann Kienzl . 
 
 Fairyland Parker . 
 
 Falstaff Verdi 
 
 Faust Gounod . 
 
 Favorita Donizetti 
 
 La Fete Chez Therese . . Hahn 
 
 Fidelio Beethoven 
 
 Figlia del Beggimento . . Donizetti . 
 La Fille de Madame Angot . Lecocq . 
 Fledermaus, Die .... Johann Strauss 48 
 Flying Dutchman .... Wagner . 
 
 Folkungs Kretschmer 
 
 Fra Diavolo Auber 
 
 Francesca da Rimini . . . Zandonai 
 
 Frauenlob Becker . 
 
 Freischutz Weber 
 
 Friend Fritz Mascagni 
 
 Genoveva Schumann 
 
 vi 
 
 638 
 70 
 
 445 
 73 
 
 457 
 
 642 
 77 
 79 
 
 646 
 83 
 
 648 
 85 
 88 
 91 
 
 652 
 95 
 
 101 
 
 107 
 
 459 
 654 
 460 
 655 
 112 
 115 
 656 
 120 
 262 
 463 
 660 
 123 
 127 
 661 
 
 130 
 134 
 138 
 665 
 141 
 146 
 150 
 154
 
 Index of the Operas 
 
 OPERAS COMPOSERS 
 
 Germania Francketti 
 
 Gioconda, la Ponchielli 
 
 Girl of the Golden West . Puccini . 
 
 Les Girondins Le Borne 
 
 Golden Cross Briill 
 
 Gotterdaemmerung . . . Wagner 
 Grenadiers, Two .... Lortzing 
 
 Griselidis Massenet 
 
 Gwendoline Chabrier 
 
 La, Habanera Laparra 
 
 vHamlet Thomas . 
 
 Hansel and Gretel . . . Humperdinck 
 
 Hans Heiling Marschner . 
 
 Henry VIII Saint-Saens 
 
 Henry the Lion .... Kretschmer 
 
 Herodias Massenet 
 
 Herrat Draeseke 
 
 Hochzeitsmorgen .... Kaskel . 
 
 Huguenots Meyerbeer 
 
 Idle Hans Ritter 
 
 Idomeneus Mozart . 
 
 Ingrid Grammann 
 
 Iphigenia in Aulis . . . Gliiek 
 Iphigenia in Tauris . . . Gliiek 
 
 Iris Mascagni 
 
 Irrlicht (Will-0 '-the- Wisp) Grammann 
 
 . Jean de Paris Boieldieu 
 
 Jessonda Spohr 
 
 Jewels op the Madonna . . Wolf-Ferrari 
 Jongleur de Notre Dame . Massenet 
 Joseph in Egypt .... Mehul 
 
 La Jota Laparra . 
 
 JurvE Halevy . 
 
 Junker Heinz (Sir Harry) . Perfall . 
 King Against his Will . . Chabrier . 
 
 Konigskinder Humperdinck 
 
 Kuhreigen Kienzl 
 
 Lakme Delibes . 
 
 Life for the Tsar, A . " . . Glinka 
 
 Lobetanz . . Thuille . 
 
 Lohengrin Wagner . 
 
 Loreley Catalani 
 
 vii 
 
 F0L. 
 
 669 
 
 498 
 
 671 
 
 675 
 
 157 
 
 107 
 
 160 
 
 677 
 
 680 
 
 681 
 
 164 
 
 167 
 
 172 
 
 682 
 
 176 
 
 530 
 
 180 
 
 184 
 
 187 
 
 192 
 
 195 
 
 199 
 
 203 
 
 206 
 
 685 
 
 208 
 
 211 
 
 214 
 
 , 688 
 
 547 
 
 , 216 
 
 , 692 
 
 , 218 
 
 . 221 
 
 226 
 
 . 693 
 
 . 696 
 
 . 465 
 
 . 697 
 
 . 700 
 
 . 230 
 
 . 704
 
 Index of the Operas 
 
 OPERAS COMPOSERS FOL. 
 
 Lorle . Forster . . .. 235 
 
 Louise Charpentier . 539 
 
 Love's Battle Meyer-Helmund 240 
 
 Lucia di Lammermoor . . . Donizetti . . 243 
 
 Lucrezia Borgia .... Donizetti . . 245 
 
 Maccabees Rubinstein . . 248 
 
 Madame Butterfly . . . Puccini . . . 553 
 
 Madame Chrysantheme . . Messager . . 706 
 
 Madame Sans-Gene . . . Giordano . . 708 
 
 Madeleine Herbert . . . 712 
 
 Magic Flute Mozart . . 252 
 
 Maidens of Schilda . . . Forster . . 256 
 
 Manon Massenet . . 467 
 
 Manon Lescaut .... Puccini . . 513 
 
 Manru Paderewski . 470 
 
 Marga Pittrich . . . 261 
 
 Marguerite (or Faust) . . Gounod . . . 262 
 
 Maritana Wallace . . . 714 
 
 Martha Flotow . . . 265 
 
 Mason Auber . . . 279 
 
 Master-Singers of Nurem- 
 berg Wagner . . 269 
 
 Master-Thief Lindner . . . 274 
 
 Mefistofele Boito . . . 473 
 
 Melusine Grammann . .281 
 
 Merlin Goldmark . . 287 
 
 Merry Wives of Windsor . Nicolai . . . 290 
 
 Mignon Thomas . . . 293 
 
 Mikado Sullivan . . 717 
 
 Le Miracle Hue .... 720 
 
 Mireille Gounod . . . 723 
 
 Miser Knight Rakhmaninoff . 724 
 
 Mona Parker . . .726 
 
 Monna Vanna Fevrier . . . 729 
 
 Muette de Portici .... Auber . . . 296 
 Nachtlager von Granada 
 
 (Night's Camp) . . Rreutzer . . 299 
 
 Natoma Herbert . . 735 
 
 La Navarraise Massenet . . 734 
 
 Niebelung's Ring: I. Rhine- 
 gold Wagner . . . 369 
 
 viii
 
 Index of the Operas 
 
 OPEEAS COMPOSERS 
 
 Niebelung's King: II. Wal- 
 
 kyrie Wagner . 
 
 Niebelung's Ring: III. Sieg- 
 fried Wagner . 
 
 Niebelung's Ring: IV. Dusk 
 
 of the Gods .... Wagner . 
 
 Noel Erlanger 
 
 Norma Bellini . 
 
 Nozze di Figaro .... Mozart . 
 Nuremberg Doll .... Adam 
 
 Oberon Weber 
 
 Odysseus 's Return . . . Bungert . 
 
 L'Oracolo Leoni 
 
 Obfeo e Eurydice .... Gliick 
 
 UOthello Verdi 
 
 Pagliacci Leoncavallo 
 
 Paoletta Floridia . 
 
 Parsifal Wagner . 
 
 Les Pecheurs de Perles . . Bizet 
 Pelleas and Melisande . . Debussy . 
 
 Petrouchka Stravinsky 
 
 Philemon and Baucis . . Gounod . 
 
 Pintos Weber . 
 
 Pipe of Desire Converse 
 
 Piper of Hameln .... Nessler . 
 Poacher (Wildschutz) . . Lortzing 
 Postilion of Longjumeau . Adam 
 
 Preciosa Weber 
 
 Prince Igor Borodin, Korsa- 
 koff & Glazou- 
 noff 
 La Princesse D'Auberge . Blocks . 
 
 Prophete Meyerbeer 
 
 Puritani Bellini . 
 
 Queen of Sheba .... Goldmark 
 
 Quo Vadis Nougues 
 
 La Reginetta Delle Rose . Leoncavallo 
 La Reine Fiametta . . . Leroux . 
 
 Rhinegold Wagner . 
 
 Rienzi Wagner . 
 
 Rigoletto Verdi 
 
 Robert le Diable .... Meyerbeer 
 
 ix 
 
 POL. 
 
 . 440 
 
 . 392 
 
 . 107 
 
 . 739 
 
 . 301 
 
 . 304 
 
 . 308 
 
 . 312 
 
 . 316 
 
 . 741 
 
 . 326 
 
 . 328 
 
 . 332 
 
 . 744 
 
 . 337 
 
 . 745 
 
 . 566 
 
 . 750 
 
 . 341 
 
 .. 344 
 
 . 583 
 
 . 348 
 
 . 352 
 
 . 355 
 
 . 358 
 
 751 
 755 
 361 
 475 
 365 
 757 
 759 
 761 
 369 
 373 
 376 
 378
 
 Index of the Operas 
 
 OPERAS 
 
 COMPOSERS 
 
 Roi l'a dit Delibes . 
 
 Romeo, e Giulietta . . . Gounod . 
 Russlan and Ludmilla . . Glinka 
 
 Sacrifice Converse 
 
 Salome Richard Strauss 560 
 
 Sappho Massenet 
 
 Secret of Susanne . . . Wolf-Ferrari 
 
 Semiramide Rossini 
 
 Seraglio Mozart 
 
 Siberia Giordano 
 
 Siegfried Wagner 
 
 Sigurd Reyer 
 
 Silvana . Weber 
 
 Sold Bride Smetana 
 
 Sonnambula Bellini 
 
 Suor Angelica Puccini 
 
 Taming of the Shrew . . Goetz 
 Tales of Hoffmann . . . Offenbach 
 
 Tannhaeuser Wagner . 
 
 Tell Rossini 
 
 Templar and the Jewess . Marschner 
 
 Thais Massenet 
 
 Tiefland D 'Albert 
 
 Tosca Puccini . 
 
 Traviata Verdi 
 
 Tristan and Isolda . . . Wagner . 
 
 Trovatore Verdi 
 
 Les Troyens Berlioz . 
 
 Trumpeter of Saekkingen . Nessler . 
 
 Undine Lortzing 
 
 Urvasi Kienzl . 
 
 Vampire Marschner 
 
 Versiegelt Blech 
 
 Le Vieil Aigle Gunsbourg 
 
 La Vivandiere Godard . 
 
 Walkyrie Wagner . 
 
 Werther Massenet 
 
 William Tell Rossini . 
 
 Zampa Herold . 
 
 Zingari Leoncavallo 
 
 FOL. 
 383 
 388 
 762 
 766 
 
 505 
 769 
 477 
 390 
 771 
 392 
 774 
 395 
 399 
 404 
 777 
 406 
 490 
 408 
 412 
 415 
 520 
 779 
 479 
 417 
 420 
 426 
 782 
 423 
 429 
 432 
 436 
 784 
 786 
 787 
 440 
 789 
 412 
 444 
 790
 
 INDEX OF THE COMPOSERS 
 
 roL. 
 
 Adam, Adolphe Charles, b. July 24, 1803, 
 Paris; d. May 3, 1856, Paris. 
 
 1. Nuremberg Doll 308 
 
 2. Postilion of Longjumeau 355 
 
 D 'Albert, Eugene, b. April 10, 1864, Glasgow. 
 
 Tiefland 779 
 
 Auber, Daniel Francois Esprit, b. Jan. 29, 
 1784, Caen (Normandy) ; d. May 12, 
 1871, Paris. 
 
 1. Ballo in Maschera 29 
 
 2. Carlo Broschi (Teufel's Antheil) . . 54 
 
 3. Domino Noir 83 
 
 4. Fra Diavolo 138 
 
 5. Mason 279 
 
 6. Muette de Portici 296 
 
 Balfe, M. W., b. May 15, 1808, Dublin; d. Oct. 
 
 20, 1870, England. 
 
 Bohemian Girl 618 
 
 Becker, Reinhold, b. 1842, Adorf i. V. (Sax- 
 ony). 
 
 Frauenlob 141 
 
 Beethoven, Ludwig van, b. Dee. 16, 1770, Bonn; 
 d. March 26, 1827, Vienna. 
 
 Fidelio 123 
 
 Bellini, Vincenzo, b. Nov. 3. 1802, Catania; 
 d. Sept. 23, 1835, Puteaux, n. Paris. 
 
 1. Norma 301 
 
 2. T Puritani 475 
 
 3. Sonnambula 404 
 
 Berlioz, Hector, b. Dec. 11, 1803, Cote St. 
 
 Andr6 (Dep. Isere) ; d. March 9, 1869, 
 Paris. 
 
 1. Bonvenuto Cellini 45 
 
 2. Damnation of Faust 457 
 
 3. Les Troyens 782 
 
 XI
 
 Index of the Composers 
 
 FOL. 
 
 Bizet, Georges, b. Oct. 25, 1838, Paris; d. June 
 3, 1875, Paris. 
 
 1. Carmen 57 
 
 2. Djamileh 79 
 
 3. Les Pecheurs de Perles 745 
 
 Blech, Leo, b. April 22, 1871, Aachen. 
 
 Versiegelt 784 
 
 Blockx, Jan., b. Jan. 25, 1851, Antwerp; d. 
 May 26, 1912, Antwerp. 
 
 La Princesse d'Auberge 755 
 
 Boieldieu, Francois Adrien, b. Dec. 16, 1775, 
 Eouen; d. Oct. 8, 1834, Jarcy. 
 
 1. Dame Blanche 73 
 
 2. Jean de Paris 211 
 
 Boito, Arrigo, b. Feb. 24, 1842, Padua, Italy. 
 
 Mefistofele 473 
 
 Borodin, Korsakoff and Glazounoff. 
 
 Prince Igov 751 
 
 Breton, Thomas, b. Dec. 29, 1850, Salamanca. 
 
 La Dolores 646 
 
 LeBorne, Yves, b. March 10, 1862, Paris. 
 
 Les Girondins 675 
 
 Brull, Ignaz, b. Nov. 7, 1846; Prosnitz (Mo- 
 ravia. 
 
 Golden Cross 158 
 
 Bruneau, Alfred, b. March 3, 1857, Paris. 
 
 L'Attaque du Moulin 610 
 
 Bungert, August, b. March 14, 1846, Miihl- 
 heim (Euhr). 
 
 Odysseus 's Eeturn 316 
 
 Catalani, Alfredo, b. July 19, 1854, Lucca; d. 
 Aug. 7, 1893, Milan. 
 
 Loreley 704 
 
 Chabrier, Emanuel, b. Jan. 18, 1841, Ambert 
 (Puy de D6me); d. Sept. 13, 1894, 
 Paris. 
 
 1. A King Against His Will . . . .226 
 
 2. Gwendoline 680 
 
 Charpentier, Gustave, b. June 25, 1860, Dieuze, 
 
 Lorraine. 
 
 Louise 539 
 
 Converse, Frederick S. 
 
 1. The Pipe of Desire 583 
 
 2. Sacrifice 766 
 
 xii
 
 Index of the Composers 
 
 FOL. 
 
 Cornelius, Peter, b. Dec. 24, 1824, Mayence; 
 d. Oct. 24, 1874, Mayence. 
 
 Barber of Bagdad 37 
 
 Damrosch, Walter, b. Jan. 30, 1862, Breslau. 
 
 Cyrano de Bergerac 638 
 
 Debussy, Claude, b. 1862, Paris. 
 
 1. PellSas and Melisande 56&, 
 
 2. L 'Enfant Prodigue 654 
 
 Delibes, Leo, b. Feb. 21, 1836, St. Germain du 
 
 Val (Sarthe) ; d. Jan. 16, 1891, Paris. 
 
 1. Coppelia 451 
 
 2. Lakme 465 
 
 3. Le Roi l'a dit 383 
 
 Donizetti, Gaetano, b. Nov. 29, 1797, Ber- 
 gamo; d. April 8, 1848, Bergamo. 
 
 1. Don Pasquale 91 
 
 2. L'Elisir D'Amore 459 
 
 3. La Favorita 463 
 
 4. Figlia del Reggimento 127 
 
 5. Lucia di Lammermoor 243 
 
 6. Lucrezia Borgia 245 
 
 Draeseke, Felix, b. Oct. 7, 1835, Coburg. 
 
 Herrat 180 
 
 Dukas, Paul, b. Oct. 1, 1865, Paris. 
 
 Ariane et Barbe Bleue 605 
 
 Erlanger, Camillo, b. May 25, 1863, Paris; 
 d., 1919, Paris. 
 
 1. Aphrodite 600 
 
 2. L'Aube Eouge . . . . . . . . 613 
 
 3. Noel 739 
 
 Fevrier, Henri, b. Oct. 2, 1875, Paris. 
 
 Monna Vanna 729 
 
 Flotow, Friedrich von, b. April 27, 1812, Ren- 
 tendorf (Mecklenburg); d. Jan. 24, 
 1883, Darmstadt. 
 
 1. Alessandro Stradella, 19 
 
 2. Martha 265 
 
 Floridia, Pietro, b. May 5, 1860, Sicily. 
 
 Paoletta 744 
 
 Forster, Alban, b. Oct. 23, 1849, Reichenbach 
 (Saxony). 
 
 1. Lorle 235 
 
 2. Maidens of Schilda 256 
 
 xiii
 
 Index of the Composers 
 
 FOL. 
 
 Franchetti, Baron Alberto, b. Sept. 18, 1860, 
 Turin. 
 
 Germania . 669 
 
 Giordano, Umberto, b. Aug. 27, 1867, Foggia. 
 
 1. Andre Chenier 594 
 
 2. Siberia 771 
 
 3. Madame Sans Gene 708 
 
 Glinka, M. I., b. June 1, 1804, Smolensk; d. 
 
 Feb. 15, 1857, Berlin. 
 
 Busslan and Ludmilla 762 
 
 A Life for the Tsar 697 
 
 Gluck, Christopher Willibald, b. July 2, 1714, 
 Weidenwang (Palatine) ; d. Nov. 15, 
 1787, Vienna. 
 
 1. Armida 25 
 
 2. Iphigenia in Aulis 203 
 
 3. Iphigenia in Tauris . . . . . • 206 
 
 4. Orfeo e Eurydice 326 
 
 Godard, Benjamin, b. Aug. 18, 1849, Paris. 
 
 La Vivandiere 787 
 
 Gostz, Hermann, b. Dec. 17, 1840, Konigsberg, 
 in Prussia; d. Dec. 3, 1876, Zurich. 
 
 Taming of the Shrew 406 
 
 Goldmark, Carl, b. May 18, 1832, Keszthely 
 (Hungaria). 
 
 1. Cricket on the Hearth 66 
 
 2. Merlin 287 
 
 3. Queen of Sheba 365 
 
 Gounod, Charles FRANgois, b. June 17, 1818, 
 
 Paris; d. Oct. 18, 1893, Paris. 
 
 1. Faust 262 
 
 2. Philemon and Baucis 341 
 
 3. Romeo e Giulietta 388 
 
 4. Mireille 723 
 
 Grammann, Karl, b. June 3, 1844, Liibeck; 
 
 d., 1897, Dresden. 
 
 1. Ingrid 199 
 
 2. Irrlicht 208 
 
 3. Melusine 281 
 
 Gunsbourg, b. 1886, Paris. 
 
 Le vieil Aigle 786 
 
 Hahn, Reynaldo, b. Aug. 9, 1874, Caracas. 
 
 La Fete Chez Therese 660 
 
 xiv
 
 Index of the Composers 
 
 FOL. 
 
 Halevt, Jacques FRANgois Fromental, b. May 
 27, 1799, Paris; d. March 17, 1862, 
 Nice. 
 
 Juive .218 
 
 Haydn, Josef, b. March 31, 1732, Rohrau; d. 
 May 31, 1809, Vienna. 
 
 Apothecary 21 
 
 Herbert, Victor, b. Feb. 1, 1859, Dublin. 
 
 1. Madeleine 712 
 
 Natoma 1^5 
 
 Herold, Louis Josef Ferdinand, b. Jan. 28, 
 1791, Paris; d. Jan. 19, 1833, Paris. 
 
 Zampa ^44 
 
 Hue, J. B., b. May 6, 1858, Versailles. 
 
 Le Miracle • 720 
 
 Humperdinck, Engelbert, b. Sept. 1, 1854, Sieg- 
 burg on the Ahme. 
 
 1. Hansel and Gretel 167 
 
 2. Konigskinder 693 
 
 Kaskel, Karl, b. Oct. 10, 1866, Dresden. 
 
 Hochzeitsmorgen 184 
 
 Kienzl, Wilhelm, b. Jan. 17, 1857, Weitzen- 
 kirchen (Austria). 
 
 1. Evangelimann H5 
 
 2. Urvasi 432 
 
 3. Kuhreigen .696 
 
 Kretschmer, Edmund, b. Aug. 31, 1830, Ostntz 
 
 (Saxony). 
 
 1. Folkungs • ^* 
 
 2. Henry the Lion .... ... 176 
 
 Kreutzer, Conradin, b. Nov. 22, 1780, Moss- 
 
 kirch (Baden); d. Dec. 14, 1849, Riga. 
 Nachtlager von Granada (Night's Camp) . 299 
 Laparra, Raoul, b. May 13, 1876, Bordeaux. 
 
 1. La Habanera 68 1 
 
 2. La Jota • • 692 
 
 Lecocq, Charles, b. June 3, 1832, Paris; d., 
 
 1918, Paris. 
 
 La Fille de Madame Angot 661 
 
 Leoncavallo, R., b. 1859, Bologna. 
 
 1. Pagliacci 332 
 
 2. La Reginetta delle Rose < 59 
 
 3. Zingari 790 
 
 XV
 
 Index of the Composers 
 
 FOL. 
 
 Leoni, Franco, b. Oct. 24, 1864, Milan. 
 
 L'Oracolo .•••••■••; 741 
 LeKoux, X. H. N., b. Oct. 11, 1863, Veletri, 
 
 Italy> • R2Q 
 
 1. Le Chemmeau °^ 
 
 2. Cleopatra 635 
 
 3. La Reine Fiametta • 7 
 
 Lindner, Eugen, b. Dec. 11, 1858, Leipzig; 
 
 lives in Weimar. 
 
 Master-Thief 
 
 Lortzing Albert, b. Oct. 23, 1803, Berlin; d. 
 Jan. 20, 1851, Berlin. 
 
 1. Armorer (Waffenschmied) . . • • 27 
 
 2. Czar and Zimmermann 70 
 
 3. Two Grenadiers 160 
 
 4. Poacher (Wildschiitz) 352 
 
 5. Undine 429 
 
 Maillart, Louis Aime, b. March 24, 1817, Mont- 
 
 pellier; d. May 26, 1871, Moulins. 
 Les Dragons de Villars . . • • • • 101 
 Marschner, Heinrich, b. Aug. 16, 1796, Zittau; 
 d. Dee. 14, 1861, Hanover. 
 
 1. Hans Heiling JJ2 
 
 2. Templar and Jewess 415 
 
 3. The Vampire 436 
 
 Mascagni, Pietro, b. Dec. 7, 1863, Livorno. 
 
 1. Cavalleria Rusticana 60 
 
 2. Friend Fritz 150 
 
 3. Iris ,o 
 
 Massenet, Jules bmile Frederick, b. May 12, 
 
 1842, Saint-fitienne (Dep. Loire) ; d. 
 Aug. 13, 1912. 
 1- Le Cid 449 
 
 2. Manon 46 7 
 
 3. Le Jongleur de Notre Dame . • • -547 
 
 4. Herodias SfO 
 
 6- Sappho 505 
 
 6. Thais 520 
 
 7. Cendrillon 6Z/ 
 
 8. Werther ^ 
 
 9. Don Quichotte 65J 
 
 10. Griselidis 6/7 
 
 11. La Navarraise 7<J4 
 
 xvi
 
 Index of the Composers 
 
 FOL. 
 
 Mehul, etienne Nicolas, b. June 22, 1763, 
 Givet; d. Oct. 18, 1817, Paris. 
 
 Joseph in Egypt 216 
 
 Messager, F., b. Dec. 30, 1853, Montlugon. 
 
 Madame Chrysanthenie 706 
 
 Meyerbeer, Jacob, b. Sept. 5, 1791, Berlin; d. 
 May 2, 1864, Paris. 
 
 1. Africaine 12 
 
 2. Huguenots 187 
 
 3. Prophete 361 
 
 4. Robert le Diable 378 
 
 5. L'Etoile du Nord 655 
 
 Meyer-Helmund, Erik, b. April 25, 1865, St. 
 
 Petersburg. 
 
 Love's Battle 240 
 
 Montemezzi, Italo, b. 1875, Verona. 
 
 L'amore dei Tre Re 590 
 
 Moussorgsky, M. P., b. March 28, 1835, Karev, 
 Russia; d. March 28, 1881, St. Peters- 
 burg. 
 
 Boris Godounov 614 
 
 Mozart, Wolfgang Amadeus, b. Jan. 27, 1756, 
 Salzburg; d. Dec. 5, 1791, Vienna. 
 
 1. Cosi fan tutte 63 
 
 2. Don Juan 88 
 
 3. Idomeneus 195 
 
 4. Magic Flute 252 
 
 5. Nozze di Figaro 304 
 
 6. Seraglio 390 
 
 Nessler, Victor, b. Jan. 28, 1841, Baldenheim 
 
 (Alsace) ; d. May 28, 1890, Strassburg. 
 
 1. Piper of Hameln 348 
 
 2. Trumpeter of Saekkingen 423 
 
 Nicolai, Otto, b. June 9, 1810, Konigsberg; d. 
 
 May 11, 1849, Berlin. 
 
 Merry Wives of Windsor 290 
 
 Nououes, b. 1876, Bordeaux. 
 
 Quo Vadis 757 
 
 Offenbach, Jacques, b. June 21, 1819, Cologne; 
 d. Oct. 5, 1880, Paris. 
 Tales of Hoffmann 490 
 
 xvii
 
 Index of the Composers 
 
 FOL. 
 
 Paderewski, Ignaz Johann, b. November 6, 
 1859, Podolien (Poland). 
 
 Manru • ; * * ' 
 
 Parker, Horatio, b. Sept. 15, 1863, Auburndale, 
 
 Mass. __ R 
 
 1. Fairyland ££ 
 
 2. Mona 
 
 Perfall, Karl Freiherr von, b. Jan. 29, 1824, 
 
 Munich. 9 _ 
 
 Junker Heinz (Sir Harry) . . . ■ • <" x 
 Pittrich, Georg, b. Feb. 22, 1870, Dresden. 
 
 Marga • •. • • • ^ D1 
 
 Planquette, E., b. July 31, 1850, Paris; d. Jan. 
 28, 1903, Paris. 
 Chimes of Normandy . . • • • • ' ™ 
 Ponchielli, A. B. Aug 31, 1834, Cremona; d. 
 Jan. 16, 1886, Milan. 
 La Gioconda . • • • • ■ • • , 
 Puccini Giacomo, b. June 22, 1858, Lucca, Italy. 
 
 1. La Boheme T? Q 
 
 2. La Tosca • • ,:,, 
 
 3. Manon Lescaut °£, 
 
 4. Madame Butterfly jj™ 
 
 5. Girl of the Golden West 
 
 6. Suor Angelica 
 
 777 
 
 Rakhmaninoff, S. V., b. April 2, 1873, Onega, 
 
 Russia. _24 
 
 Miser Knight • • '. ' 
 
 Reinecke, Carl, b. June 23, 1824, Altona; since 
 1860 in Leipzig. _ 
 
 By Order of His Highness (Auf hohen 
 
 Befehl) « •, V * 
 
 Reyer, Louis, b. Dec. 1, 1823, Marseilles, d. Jan. 
 
 15, 1909, Hyeres. 774 
 
 Reznicek, E. N. Freiherr von b. May 4, 1861, 
 
 Vienna. gg 
 
 Donna Diana • , * ,* 
 
 Ricci, Frederico, b. Oct. 22, 1809, Naples; d. 
 
 Dec. 10, 1877. fi „ 7 
 
 Crispino e la Comare . . • • • • • 
 Ritter, Alexander, b. June 27, 1M6, JNarva 
 ' (Russia) ; d. April 12, 1896, Munich. 
 Idle Hans . . 
 
 • • • 
 
 xvm
 
 Index of the Composers 
 
 FOL. 
 
 Rossini, Gioacchino Antonio, b. Feb. 29, 1792, 
 Pesaro; d. Nov. 13, 1868, Paris. 
 
 1. Barbiere di Seviglia 42 
 
 2. Semiramide 477 
 
 3. William Tell 412 
 
 Rubenstein, Anton, b. Nov. 30, 1830, Wechwoty- 
 
 netz (Moscow); d. Nov. 25, 1894, St. 
 Petersburg. 
 
 1. Demonio 77 
 
 2. Maccabees 248 
 
 Saint-Saens, Camille, b. October 9, 1835, Paris, 
 
 France. 
 
 1. Dalila 455 
 
 2. Dejanire 642 
 
 3. Henry "VTII 682 
 
 Schumann, Robert, b. June 8, 1810, Zwickau; d. 
 
 July 29, 1856, Endenich, near Bonn. 
 
 Genoveva 154 
 
 Smetana, Fredr., b. March 2, 1824, Leitomischl; 
 d. May 12, 1884, Prague. 
 
 Sold Bride 399 
 
 Spohr, Ludwig, b. April 5, 1784, Brunswick; d. 
 Nov. 22, 1859, Kassel. 
 
 Jessonda 214 
 
 Strauss, Johann, b. Oct. 25, 1825; Vienna; d. 
 June 3, 1899. 
 
 Die Fledermaus (The Bat) 483 
 
 Strauss, Richard, b. June 11, 1864 Munich. 
 
 1. Salome 560 
 
 2. Elektra 575 
 
 3. Cavalier of the Rose 623 
 
 Stravinsky, Igor F., b. June 17, 1882, Petrograd. 
 
 Petrouchka 750 
 
 Sullivan, Sir Arthur, b. May 13, 1842, London; 
 d. Nov. 22, 1900, London. 
 
 Mikado 717 
 
 Thomas, Charles Louis Ambroise, b. Aug 5 
 1811, Metz; d. Feb. 12, 1896, Paris. 
 
 1. Hamlet 164 
 
 2. Mignon 293 
 
 Thuille, Ludwig, b. Nov. 30, 1861, Bozen; d. 
 
 Feb. 5, 1907, Munich. 
 Lobetanz 700 
 
 xix
 
 Index of the Composers 
 
 FOL. 
 
 Verdi, Giuseppe, b. 9, 1813, Bcmcole (Lom- 
 bardy) ; d Jan. 27, 1901, Milan. 
 
 1. Aula 16 
 
 2. Ballo in Maschera 32 
 
 3. Don Carlos 85 
 
 4. Ernani 460 
 
 5. Falstaff 120 
 
 6. Othello 328 
 
 7. Eigoletto 376 
 
 8. Traviata 417 
 
 9. Trovatore 426 
 
 Wagner, Eichard, b. May 22, 1813, Leipzig; d. 
 
 Feb. 13, 1883, Venice. 
 
 1. Dusk of the Gods 107 
 
 2. Flying Dutchman 130 
 
 3. Lohengrin 230 
 
 4. Master-Singers of Nuremburg .... 269 
 
 5. Parsifal 337 
 
 6. Bhinegold 369 
 
 7. Rienzi 373 
 
 8. Siegfried 392 
 
 9. Tannhauser 408 
 
 10. Tristan and Isolde 420 
 
 11. Walkyrie 440 
 
 Wallace, William V., b. June 1, 1813, Water- 
 ford, Ireland; d. Oct. 12, 1865, France. 
 
 Maritana 714 
 
 Weber, Carl Maria von, b. Dec, 1786, Eutin; 
 d. June 5, 1826, London. 
 
 1. Abu Hassan . 9 
 
 2. Euryanthe 112 
 
 3. Freischiitz 146 
 
 4. Oberon 312 
 
 5. Three Pintos 344 
 
 6. Preciosa 358 
 
 7. Silvana 395 
 
 Wolf-Ferrari, Ermano, b. Jan. 12, 1876, Venice. 
 
 1. L 'Amore Medico ' . . 598 
 
 2. Secret of Suzanne 769 
 
 3. Le Donne Curiose . 648 
 
 4. Jewels of the Madonna 688 
 
 Zandonai, Eicardo, b. May 28, 1883, Trentino. 
 
 Francesca da Eimini 665 
 
 xx
 
 Prelude
 
 THE 
 
 STANDARD OPERAGLASS 
 
 PRELUDE 
 
 After all, editions do count for something, 
 particularly if you are confronted by the fif- 
 teenth edition of a book that deals with such 
 a fleshless subject as an opera plot. But Mr. 
 Charles Annesley may point the index-finger 
 of pride at "The Standard Operaglass" as a 
 triumphant refutation of the notion that de- 
 scription of a libretto of necessity entails dry- 
 ness of treatment. This modest-appearing vol- 
 ume contains the detailed plots of one hundred 
 and fifty-five well-known operas and music 
 dramas. It ranges from 1714, when Gluck was 
 born, to 1863, when Mascagni saw the light ; 
 from "Armida" of Gluck to "The Cricket 
 on the Hearth" of Goldmark. Such a various 
 range is valuable as it is satisfying. 
 
 It was Theophile Gautier, master of pictu- 
 resque French prose, who read the dictionary 
 every day, searching for now words, for unex- 
 
 i
 
 The Standard Operaglass 
 
 pected combinations. Walter Pater, the Eng- 
 lish composer of beautiful sentences, read his 
 dictionary daily, but for another reason. He 
 sought for the word to be avoided, for the 
 word to be forever banned. Yet one is in- 
 clined to agree with a later writer, who openly 
 avowed a morbid appetite for dictionaries, in- 
 dexes, and books of reference. A delightful 
 train of association may be set spinning on 
 smooth rails round about the land of memory, 
 and I confess, without reservation, to digging 
 up without toil many pleasant moments whilst 
 reading the index of "The Standard Opera- 
 glass." 
 
 Let us look at it closely. 
 
 It begins quite properly with " Ab " — " Abu 
 Hassan," by Weber. Who has ever heard this 
 work ? Not I ; yet it was once — alas, fatal 
 indication of fashion's changes! — a popular and 
 sprightly little piece, written, as Mr. Annesley 
 says, in the composer's youth. It has been re- 
 vived, but operatic resurrections usually are, as 
 we know, futile things. Any opera of value 
 survives, not only in the music of its successors 
 — as some wit maliciously remarked — but in 
 some collection culled from the past, some sing- 
 er's repertoire album. So Weber's youthful 
 piece is recalled to us by the occasionally sung 
 contralto solo, " Fatima, gift sent from 
 heaven." 
 
 3
 
 Prelude 
 
 Then, to continue our meandering through 
 the few examples of the initial letter of the al- 
 phabet, we have " L'Africaine." Thanks to 
 some who still discern in Meyerbeer vestiges of 
 a striking manner, if not a wealth of thematic 
 matter, this greatest of his works — I say " great- 
 est " quite in variance to popular critical opin- 
 ion — is not fallen into the dust-bin of opera- 
 land. Oddly enough, the index gives us " A'ida " 
 as its companion. This jostling of titles has a 
 pretty significance. With a genius more alert, 
 vivid, and vigorous, Verdi nevertheless had 
 " L'Africaine " in his mind's eye when he 
 penned "Ai'da." With the same complexion, 
 two works could not be more remotely sun- 
 dered, but there is a general resemblance: Both 
 are tropical themes, tropically treated. Almost 
 symphonic in outline is Meyerbeer's effort; tor- 
 rentially dramatic is Verdi's handling. Both 
 men are master colorists. 
 
 Shall I dwell upon Flotow's "Stradella" 
 when Stradella's original air, " Pity, Saviour," 
 is still sung ? And where hath vanished Flotow's 
 music — all except delightful " Martha " ? " Ar- 
 mida " brings us back to Gluck, the father of 
 the modern music drama; " The Armorer," by 
 Lortzing, suggests that this neglected composer 
 is now winning his just dues in Germany. 
 What memories are evoked by Auber's " Ballo 
 in Maschera," which, as the editor reminds us, 
 
 3
 
 The Standard Operaglass 
 
 has not been quite superseded by Verdi's opera 
 of the same title. Auber, creator of genuine 
 light opera, was crowded out by Offenbach-a 
 buffoon of genius. " The Barber of Bagdad, 
 by Peter Cornelius, is but a sbadow of a name 
 to many, yet when played at the Metropolitan 
 Opera-bouse, New York, not a decade ago, its 
 musical beauty and spontaneity were instantly 
 recognized. It deserves a prominent place in 
 the repertory of all model opera-houses because 
 of its brightness, ligbtness of touch, and, above 
 all, for the famous bass solo, with chorus, 
 " Salaam ! Aleikonm." 
 
 The temptation to proceed alphabetically 
 must be resisted, else this idle preluding might 
 be magnified into grave rivalry with the editor. 
 This temptation is all the harder to overcome 
 when one reads such titles as " Barber of Se- 
 ville" and "Benvenuto Cellini," titles that 
 quite allure to garrulousness. Think of the 
 critical sport missed in not being able to ]uggle 
 with the names of Rossini and Berlioz ! The 
 fat and lean of music ! The one fairly exuding 
 melodies, oily, suave, happy, cynical, and an 
 amateur cook; the other gaunt and often hun- 
 gry cynical with the cynicism of the neglected, 
 and a man who literally made his harmonies by 
 the sweat of his brow. Ah, here would be a fine 
 chance to pit the two dead men in critical com- 
 bat.' 
 
 4
 
 Prelude 
 
 A hurried survey of the excellent index of 
 this book gives some idea of the mortality of 
 music. Who was it that said women and music 
 age quickly ? The life of the average woman is 
 long compared to the life of most lyric dramas. 
 A sympathetic shudder seizes me as I read the 
 names of operas long since forgotten, operas 
 over which blood and ink were spilled, operas 
 that made famous their creators. 
 
 Solomon might have aptly remarked of ope- 
 ratic music, " All is vanity." No form decays 
 so rapidly ; of no musical form does the public 
 so quickly tire. Who remembers Maillart's 
 " Dragons de Villars " ? How thickly the dust 
 coats Weber's " Euryanthe," all except the 
 overture! Who cares for Schumann's " Gen- 
 oveva," the overture not included? And 
 Adams' " Nuremberg Doll," which was the 
 forerunner of several modern ballets with me- 
 chanical dolls? Where are Boieldieu's "Jean 
 of Paris " and Spohr's " Jessonda " ? Mehul's 
 " Joseph of Egypt " is crystallized in a few tenor 
 airs served up at classical concerts, and for the 
 most part served coldly. If you protest that 
 these are not masterpieces, and deserve the dust's 
 doom, what can you say to Gluck's two " Iphi- 
 genias " ? They are masterpieces. Does even 
 " Freischiitz " get fair play? We hear "Lu- 
 cia," but how often " Preciosa"? We are over- 
 whelmed with " Les Huguenots," but why noi 
 
 5
 
 The Standard Operaglass 
 
 "Orfeo" oftener? Goldmark's "Queen of 
 Sheba" has almost vanished from most operatic 
 bill-boards, yet why is " Faust " sung so often ? 
 This, of course, is not an attempt at comparative 
 criticism, but merely a plea for more variety— 
 for fair play. Mr. Annesley's index yields mauy 
 suggestions; throws up many comparisons. 
 From Bizet's " Carmen" we may never expect 
 to be released, nor would we. It is, of its 
 kind, a masterpiece ; but could not " Magic 
 Flute " be given once a season ? " Eigoletto " 
 has a thrill enclosed in its dramatic framework, 
 yet could we not spare it for that frolicksome 
 child of the octogenarian Verdi, "Falstaff"? 
 Who would listen to "Hamlet" nowadays, es- 
 pecially the perverted Gallic version of Ambroise 
 Thomas, were it not for the solitary soprano aria 
 at the close ? Personally I would give not one 
 " Hansel and Gretel " f or a hundred such mel- 
 ancholy Danes — Danes who sing an optimistic 
 drinking-song almost within the awful shadow 
 of the paternal ghost ! 
 
 Richard Wagner is treated ae fully as the con- 
 fines of such a handy book of reference permits. 
 ••' Rienzi," "Flying Dutchman," "Lohengrin," 
 " Tannhauser," " The Ring of the Nibelungs ' : 
 —with its four evenings— " Meistersinger," 
 "Tristan and Isolde," and even "Parsifal," 
 are skeletonized and set forth in clear phrasing. 
 Modern operatic works, such as " Folkungs," 
 
 6
 
 Prelude 
 
 by Kretschmer; " Ingrid," by Gramman; Cha- 
 brier's " King Against His AVill "; " Maiden of 
 Schilda " and " Lorle," by Foerster; " Marga," 
 by Pittrich ; " The Master Thief " and ' ' Ramiro, " 
 by Eugen Lindner; " Pagliacci," by Leonca- 
 vallo; "Love's Battle," by Meyer-Helmund; 
 Perfall's " Sir Harry "; " Roi Pa Dit," by De- 
 libes; "Urvasi," by Kienzl; "The Evangeli- 
 mann," by the same composer; " Donna Diana," 
 by Reznicek; "The Sold Bride," by Smetana; 
 "The Cricket on the Hearth," by Goldmark; 
 and "Odysseus' Return," by Bungert, are all 
 duly exploited. Many of these names are un- 
 familiar to the majority of opera-goers, but with 
 the expansion of operatic repertories we hope 
 soon to hear them all. Some of them are reign- 
 ing European successes, whilst the wisdom of 
 the inclusion of the plots of many half-forgotten 
 and almost buried operas is evidenced by the 
 fact that revivals are of annual occurrence; be- 
 sides, the book is a standard one, not merely a 
 guide for the passing novelties of the hour. We 
 may expect to hear Haydn's "Apothecary"; 
 and what pleasure the performance of Bizet's 
 "Djamileh" would give! Who knows the 
 plot of Herold's " Zampa " and Weber's " Sil- 
 vana"? These titles mean little to cultivated 
 music lovers. However, it is not safe to predict 
 that such two forgotten worthies will never be 
 exhumed. Mr. Annesley's volume is well- 
 
 7
 
 The Standard Operaglass 
 
 named. " The Standard Operaglass " is much 
 in miniature. It maybe put in your pocket, 
 and read at home or abroad. The author does 
 not burden you with superfluous comment, and 
 he tells his story neatly, rapidly, and without 
 undue emphasis. He reverences the classics, 
 does not disdain mediocrity, admires Wagner, 
 and is liberal to the younger men. What more 
 can one ask ? 
 
 James Hunekeb.
 
 ABU HASSAN 
 
 Comic Opera in one act by WEBER 
 Text by HEIMER 
 
 This little opera, composed by Weber in his 
 early youth and first represented at Dresden 
 under the composer's own direction, for a time 
 fell into utter oblivion, but has lately been re- 
 produced. 
 
 Though short and unpretending, it really de- 
 serves to be heard, the music is so full of sweet- 
 ness, so fresh and pretty. 
 
 The text is taken from a tale of the Arabian 
 Thousand and One Nights, and though full of 
 nonsense, it amuses by its lightheadedness and 
 gaiety of spirit. 
 
 Abu Hassan, favorite of the Calif of Bagdad, 
 has lived above his means, and is now regaled 
 with bread and water by his wife Fatima, whose 
 only fault is that she sings better than she 
 cooks. In order to better his fortunes, Abu 
 Hassan hits upon a strange plan. He sends his 
 wife to the Calif's wife, Zobei'de, to announce 
 his (Hassan's) death, for which she will obtain 
 50 gold pieces and a piece of brocade. Fatima 
 
 9
 
 The Standard Operaglass 
 
 departs, and in the meantime enter Abu Hassan's 
 creditors with the appeal for money. Unable 
 to satisfy them, the debtor approaches the eldest 
 and richest among them, and so pacifies him 
 with sweet words, which he is given to under- 
 stand Fatima has sent him, that old Omar con- 
 sents to pay all the creditors. 
 
 When they are gone, Fatima returns with 
 Zobeide's presents, and Abu Hassan prepares 
 to go in his turn to the Calif, in order to repeat 
 a similar death -story about his wife and get a 
 like sum. While he is away Omar reappears. 
 He has bought all Hassan's accounts from his 
 numerous creditors and offers them to Fatima 
 for a kiss. At this moment the husband re- 
 turns. Omar is shut into the adjoining cabinet, 
 and the wife secretly points out the caged bird 
 to her spouse, who begins to storm at finding 
 the door of the next room closed, greatly to the 
 anguish of the old sinner Omar,— anguish 
 which is enjoyed by his tormentors to the full. 
 In the midst of this scene Mesrur, messenger 
 of the Calif, appears, to find out whether Fatima 
 is really dead. The Calif and his wife having 
 each received news of the death of the other's 
 favorite, want to know who it was that died, 
 and, if both are dead, who died first. The 
 Calif affirms that it is Fatima— his wife, that it 
 is Abu Hassan. They have made a bet, and 
 Mesrur, seeing Fatima lying motionless on the 
 
 IO
 
 Abu Hassan 
 
 divan, covered with the brocade, and her bus- 
 baud in evident distress beside her, runs away 
 to convey the tidings to the Calif. He is hardly 
 gone when Zobeide's nurse, Zemrud, conies on 
 a similar errand from her mistress. Fatima, who 
 has just covered her husband with the brocade, 
 receives her with tears and laments, and the 
 nurse departs triumphantly. 
 
 Hassan presently comes to life again, but he 
 and Fatima are not long permitted to con- 
 gratulate one another on the success of their 
 scheme, for the arrival of the Calif with his 
 wife is pompously announced. Both throw 
 themselves on the divans, covering themselves, 
 and so the august couple finds them dead. 
 The Calif, much afflicted by the sight, offers 
 1000 gold pieces to any one who can tell him 
 which of the two died first. No sooner does 
 Hassan hear this than, tearing aside his cover, 
 he throws himself at the Calif's feet, crying 
 out : "It was I who died first \" at the same 
 time craving the Calif's pardon together with 
 the gold pieces. Fatima is also speedily re- 
 suscitated and the Calif pardons his favorites, 
 Hassan meanwhile asserting that he only died 
 badly in order to live better. Omar, who has 
 paid their bills in the hope of winning Fatima's 
 love, is driven away in disgrace. 
 
 XI
 
 The Standard Operaglass 
 L'AFRICAIKE 
 
 Opera in five acts by MEYERBEER 
 Text by E. SCRIBE, translated by GUMPERT 
 
 L'Africaine, one of the Maestro's last operas 
 (1865), unites in itself all the strength and at 
 the same time all the weakness of Meyerbeer's 
 composition. 
 
 The music is easy-flowing and enthralls us 
 with its delicious melodies; but it only appeals 
 to our senses, and nobler thoughts are altogether 
 wanting. Nevertheless the opera finds favor by 
 reason of these advantages, which are supple- 
 mented by an interesting though rather improb- 
 able libretto. 
 
 The famous Portuguese navigator Vasco da 
 Gama (born in 1469) is the hero, though he 
 does not appear in the best possible light, and is 
 by no means strictly historical. 
 
 The first scene is laid in Lisbon. Donna 
 Inez, Admiral Diego's daughter, is to give her 
 hand to Don Pedro, a counsellor of King Em- 
 manuel of Portugal. But she has pledged her 
 faith to Vasco da Gama, who has been sent 
 with Diaz, the navigator, to double the Cape, 
 in order to seek for a new land, containing treas- 
 ures similar to those discovered by Columbus. 
 Keports have reached Lisbon that the whole
 
 L'Africaine 
 
 fleet ha8 been destroyed, when suddenly Vasco 
 da Gama appears before the assembled council 
 of state. 
 
 He eloquently describes the dangers of the 
 unknown seas near the Cape and gives an ac- 
 count of the shipwreck, from which he alone 
 has escaped. He then places his maps before 
 the council, endeavoring to prove that beyond 
 Africa there is another country, yet to be ex- 
 plored and conquered. 
 
 Vasco has on his way home picked up a man 
 and a woman of an unknown race. Those 
 slaves however stubbornly refuse to betray the 
 name of their country, and a lively debate ensues 
 between the Grand Inquisitor and the young- 
 er, more enlightened members of the coun- 
 cil au to the course which should be adopted 
 with Vasco. At last, owing to the irritation 
 caused by his violent reproaches, fanaticism is 
 victorious, and instead of being furnished with 
 a ship to explore those unknown lands, he is 
 thrown into prison, on the plea of his being a 
 heretic, for having maintained the existence of 
 countries which were not mentioned in the 
 Holy Scriptures. 
 
 The second act takes place in a cell of the 
 Inquisition, in which Vasco has been languish- 
 ing for a month past, in the company of the 
 strange slaves Nelusko and Selika. The latter 
 has lost her heart to the proud Portuguese, who 
 
 x 3
 
 The Standard Operaglass 
 
 saved her and her companion from a slave-ship. 
 Bat Vasco is only thinking of Inez, and Nelusko, 
 who honors in Selika not only his Queen, but 
 the woman of his love, tries to stab Vasco, the 
 Christian, whom he hates with a deadly hatred. 
 Selika hinders him and rouses the sleeping 
 Vasco, who has been dreaming of and plan- 
 ning his voyage to the unknown country. 
 
 Selika now shows him on the map the way to 
 her native isle, and he vows her eternal grati- 
 tude. His liberty is indeed near at hand, for 
 hardly has he given his vow, than Inez steps in 
 to announce that Vasco is free. She has paid 
 dearly for her lover's deliverance, however, for 
 she has given her hand to Vasco's rival, Don 
 Pedro, who, having got all Vasco's plans and 
 maps, is commissioned by government to set 
 out on the voyage of discovery. 
 
 Inez has been told that Vasco has forgotten 
 her for Selika the slave. In order to prove his 
 fidelity, our ungrateful hero immediately pre- 
 sents her with the two slaves, and Don Pedro 
 resolves to make use of them for his exploration. 
 
 In the third act we are on board of Don 
 Pedro's ship in the Indian seas. Donna Inez is 
 with her husband and Nelusko has been ap- 
 pointed pilot. Don Alvar, a member of the 
 council and Don Pedro's frieud, warns the lat- 
 ter that Nelusko is meditating treason, for they 
 have already lost two ships; but Pedro disre- 
 
 14
 
 L'Africaine 
 
 gards the warning. A typhoon arises, and Ne- 
 lusko turns the ship again northward. But 
 Vasco has found means to follow them on a 
 small sailing vessel; he overtakes them, and 
 knowing the spot well where Diaz was ship- 
 wrecked, he entreats them to change their 
 course, his only thought being Donna Inez's, 
 safety. But Pedro, delighted to have his rival 
 in his power, orders him to be bound and shot. 
 Inez, hearing his voice, invokes her husband's 
 mercy. Just then the tempest breaks out, the 
 vessel strikes upon a rock, and the cannibals in- 
 habiting the neighboring country leap on board 
 to liberate their Queen Selika and to massacre 
 tbe whole crew, in the fulfilment of which in- 
 tention they are, however, arrested by Selika. 
 
 In the following acts Selika resides as Queen 
 on the Isle of Madagascar. The people render 
 her homage, but her priests demand the stran- 
 gers' lives as a sacrifice to their gods, while the 
 women are condemned to inhale the poisoned 
 perfume of the manzanil la-tree. — In order to 
 save Vasco, Selika proclaims him her husband, 
 and takes Nelusko as witness, swearing to him 
 that if Vasco is sacrificed she will die with him. 
 Nelusko, whose love for his Queen is greater 
 even than his hatred for Vasco, vouches for their 
 being man and wife, and the people now proceed 
 + o celebrate the solemn rites of marriage. 
 
 Vasco, at last recognizing Selika's great love, 
 
 15
 
 The Standard Operaglass 
 
 and believing Inez dead, once more vows eternal 
 fidelity to lier ; but, alas! hearing the voice of 
 Inez, who is about to be led to death, he turns 
 pale, and Selika but too truly divines the reason. 
 
 In the fifth act Selika is resolved to put her 
 rival to death. She sends for her, but perceiv- 
 ing Inez's love, her wrath vanishes, her magna- 
 nimity soars above her hatred of the Christians, 
 and she orders Nelusko to bring Inez and Vasco 
 on board of a ship about to sail for Portugal. 
 
 Selika herself, unable to endure life without 
 her beloved one, proceeds to the Cape, where 
 the manzanilla-tree spreads its poisonous shade. 
 Her eyes fastened on the vast ocean and on the 
 white sail of the retiring vessel, she inhales the 
 sweet but deadly perfume of the blossoms, and 
 the returning Nelusko finds her dying, while an 
 unseen chorus consoles her with the thought 
 that in Love's eternal domain all are equal. 
 
 AlDA 
 
 Grand romantic Opera in four acts by GITJSEPPI 
 
 VERDI- 
 
 Text by ANTONIO GHISLANZONI. Translated into German by 
 S. SCHANZ. English version by KENNEY 
 
 This opera owes its great popularity not only 
 to its brilliant music and skilful instrumenta- 
 tion, but also to its really magnificent outfit and 
 
 16
 
 Alda 
 
 decorations. Alda ranks among the best operas 
 of Verdi. The plot is takeu from old Egypt ; 
 aud the music, with its Eastern and somewhat 
 sensuous coloring, is exquisitely adapted to the 
 scenery. 
 
 The scene of action is alternately Memphis 
 and Thebes, and the story belongs to the period 
 when the Pharaohs sat on the throne. 
 
 In the first act we see the King's palace at 
 Memphis. Ramphis, the Highpriest of Pharaoh, 
 announces to the Egyptian General Radames 
 that the Ethiopians are in revolt and that the 
 goddess Isis has decided who shall be leader of the 
 army sent out against them. Radames secretly 
 hopes to be the elected, in order to win the 
 Ethiopian slave Ai'da, whom he loves, not know- 
 ing that she is a King's daughter. 
 
 Enter Amneris, daughter of Pharaoh. She 
 loves Radames, without his knowledge, and so 
 does Ai'da. Amneris, suspecting this, swears to 
 avenge herself should her suspicion prove cor- 
 rect. 
 
 The King's messenger announces that Amo- 
 nasro, the Ethiopian King (Aula's father), is 
 marching to the capital, and that Radames is 
 chosen to conquer the foe. Radames goes to 
 the temple to invoke the benediction of the 
 goddess and to receive the sacred arms. 
 
 In the second act Amneris, in order to test 
 Ai'da's feelings, tells her that Radames fell in 
 
 2 17
 
 The Standard Operaglass 
 
 battle, and finds her doubts confirmed by A'ida's 
 terror. Amneris openly threatens her rival, 
 and both hasten to receive the soldiers, who re- 
 turn victorious. In Eadames' suite walks King 
 Amonasro, who has been taken prisoner, dis- 
 guised, as a simple officer. Aida recognizes her 
 father, and Amonasro, telling his conqueror 
 that the Ethiopian King has fallen, implores his 
 clemency. Eadames, seeing Aida in tears, adds 
 his entreaties to those of the Ethiopian; and 
 Pharaoh decides to set the prisoners free, with 
 the exception of A'ida's father, who is to sta 
 with his daughter. Pharaoh then gives Amueri 
 to Eadames as a recompense for his services. 
 
 In the third act Amonasro has discovered the 
 mutual love of his daughter and Eadames and 
 resolves to make use of it. While Amneris prays 
 in the temple that her bridegroom may give his 
 whole heart to her, Amonasro bids his daughter 
 discover the secret of the Egyptian war plans 
 from her lover. Amonasro hides himself, and 
 Aida has an interview with Eadames, in which 
 he reveals all to her. She persuades him to fly 
 with her, when Amonasro shows himself, telling 
 him that he has heard all and confessing that 
 he is the Ethiopian King. While they are 
 speaking, Amneris overtakes and denounces 
 them. Amonasro escapes with his daughter, 
 Eadames remains in the hand of Eamphis the 
 
 Highpriest. 
 
 18
 
 Alessandro Stradella 
 
 In the fourth act Radames is visited in his 
 cell by Amneris, who promises to save him 
 from the awful death of beiug buried alive, if 
 he renounces Aida. But Radames refuses, 
 though she tells him that Aida has fled into 
 her country, her father being slain on their 
 flight. 
 
 Amneris at length regrets her jealousy and 
 repents, but too late! Nothing can save Ea- 
 dames; and she is obliged to see him led into 
 his living tomb. Amneris curses the priests, 
 who close the subterranean vaults with a rock. 
 Radames, preparing himself for death, discovers 
 Ai'da by his side. She has found means to pene- 
 trate into his tomb, resolved to die with her 
 lover. 
 
 While she sinks into his arms, Amneris prays 
 outside for Radames' peace and eternal, happi- 
 ness. 
 
 ALESSANDRO STRADELLA 
 
 Romantic Opera in three acts by FLOTOW 
 Text after the French by W. FRIEDRICH 
 
 Flotow, who composed this little opera when 
 at Paris in the year 1844, that is long before his 
 Martha, had the satisfaction of scoring a great 
 success on the evening of its first representation 
 in Hamburg. The pleasant impression then 
 made by its agreeable and lovely melodies has 
 
 19
 
 The Standard Operaglass 
 
 not faded the less that, after hearing many of 
 our stormy and exciting modern operas, one 
 often and ardently longs for the restful charm 
 and guileless pleasure of a piece like this. 
 
 The libretto is interesting and touching, with- 
 out being over-sensational. 
 
 Stradella, the celebrated Venetian singer, has 
 fallen in love with Leonore, ward of a rich 
 Venetian citizen named Bassi. She returns his 
 love, but is strictly guarded by her uncle, who 
 wants to marry her himself. Stradella succeeds 
 in deceiving Bassi and, aided, by his friend, 
 carries her off during the Carnival. In the 
 second act we find the lovers in a little village 
 near Rome, where a priest unites them for ever 
 and gives them his benediction. 
 
 But Malvolio, a bandit, has sought them by 
 Bassi's.orders, and discovers their refuge. En- 
 tering the villa, where he finds open doors but 
 no people, he meets with another bandit, in 
 whom he recognizes his friend Barbarino, also 
 sent, as it turns out, on the same errand. 
 
 They decide to do the business together, that 
 is to say, to kill Stradella, and to carry his wife 
 back to her guardian. Under the mask of pil- 
 grims going to a sacred festival they find a 
 kindly shelter in Stradella's house and are won 
 by the latter's fine voice, as well as by the charm 
 of his noble behavior, so that they wholly aban- 
 don their evil purpose. 
 
 20
 
 The Apothecary 
 
 But in the third act Bassi appears, and, not 
 finding his order executed, offers such a large 
 sum of gold to the banditti that they at length 
 promise to 6tab Stradella during his next sing- 
 ing performance. While they lie in wait for 
 him, Stradella sings the hymn of the Holy Vir- 
 gin's clemency towards sinners so touchingly 
 that his pursuers cast their swords away and 
 sink on their knees, joining in the refrain. Full 
 of astonishment, Stradella learns of the danger 
 in which he had been, but in the end he will- 
 ingly pardons not only the banditti but also his 
 wife's uncle, who, won over, like the ruffians, by 
 the power of Stradella's song, humbly asks for 
 the singer's friendship, which is granted to him. 
 
 The people lead their favorite in triumph to 
 the festival, which he helps to glorify with his 
 wondrous voice. 
 
 THE APOTHECARY 
 
 (LO SPEZIALE) 
 Comic Opera by JOSEF HAYDN (1768) 
 
 After a sleep of 125 years in the dust of Prince 
 Esterhazy's archives at Eisenstadt, Dr. Hirsch- 
 feld received permission from Prince Paul Ester- 
 hazy of Galantha to copy the original manu- 
 script. 
 
 It is Dr. Hirschfeld's merit to have revived 
 
 21
 
 The Standard Operaglass 
 
 and rearranged this charming specimen of the 
 old master's genius. And again it was Ernst 
 Schuch, the highly gifted director of the Dres- 
 den opera, who had it represented on this stage 
 in 1895, and at the same time introduced it to 
 the Viennese admirers of old Haydn by some of 
 the best members of his company. 
 
 The music is truly Haydnish, simple, naive, 
 fresh and clear as crystal, and it forms an oasis 
 of repose and pure enjoyment to modern ears, 
 accustomed to and tired of the astonishing odd- 
 ities of modern orchestration. 
 
 The plot is simple but amusing. A young 
 man, Mengone, has entered the service of the 
 apothecary Sempronio, though he does not pos- 
 sess the slightest knowledge of chemistry. His 
 love for Sempronio's ward Grilletta has induced 
 him to take this step, aud in the first scene we 
 see him mixing drugs, and making melancholy 
 reflections on his lot, which has led him to a 
 master who buries himself in his newspapers 
 instead of attending to his business, and letting 
 his apprentices go on as best they may. 
 
 Sempronio, entering, relates that the plague is 
 raging in Eussia; and another piece of news, 
 that an old cousin of his has married his young 
 ward, is far more interesting to him than all his 
 drugs and pills, as he intends to act likewise 
 with Grilletta. This young lady has no fewer 
 than three suitors, one of whom, a rich young 
 
 22
 
 The Apothecary 
 
 coxcomb, enters to order a drug. His real in- 
 tention is to see Grilletta. He is not slow to 
 see that Mengino loves her too, so he sends him 
 into the drug kitcheu, in order to have Grilletta 
 all to himself. But the pert young beauty only 
 mocks him, and at Mengino's return Yolpino is 
 obliged to retire. 
 
 Alone with Mengino, Grilletta encourages her 
 timid lover, whom she likes very much, but just 
 when he is about to take her hand, Sempronio 
 returns, furious to see them in such intimacy. 
 He sends Mengino to his drugs and the young 
 girl to her account books, while he buries him- 
 self once more in the study of his newspapers. 
 Missing a map, he is obliged to leave the room. 
 The young people improve the occasion by mak- 
 ing love, and when Sempronio, having lost his 
 spectacles, goes to fetch them, Mengino grows 
 bolder and kisses Grilletta. Alas, the old man 
 returns at the supreme moment and, full of 
 rage, sends them to their rooms. 
 
 Mengino's effrontery ripens the resolution in 
 the guardian's breast to marry Grilletta at once. 
 He is, however, detained by Volpino, who comes 
 to bribe him by an offer from the Sultan to go 
 into Turkey as apothecary at court, war having 
 broken out in that country. The wily young 
 man insinuates that Sempronio will soon grow 
 .stone-rich, and offers to give him 10,000 ducats 
 at once if he will give him Grilletta for his wife. 
 
 23
 
 The Standard Operaglass 
 
 Sempronio is quite willing to accept the Sultan's 
 proposal, but not to cede Grilletta. So he sends 
 Mengino away to fetch a notary, who is to 
 marry him to his ward without delay. The 
 maiden is quite sad, and vainly tortures her 
 brain how to rouse her timid lover into action. 
 Sempronio, hearing her -sing so sadly, suggests 
 that she wants a husband, and offers her his own 
 worthy person. Grilletta accepts him, hoping 
 to awaken Mengino's jealousy and to rouse him 
 to action. The notary comes, in whom Grilletta 
 at once recognizes Volpino in disguise. He has 
 hardly sat down, when a second notary enters, 
 saying that he has been sent by Mengino, and 
 claiming his due. The latter is Mengino him- 
 self, and Sempronio, not recognizing the two, 
 bids them sit down. He dictates the marriage 
 contract, in which Grilletta is said to marry 
 Sempronio by her own free will, besides making 
 over her whole fortune to him. This scene, in 
 which the two false notaries distort every word 
 of old Sempronio's, and put each his own name 
 instead of the guardian's, is overwhelmingly 
 comical. When the contract is written, Sem- 
 pronio takes one copy, Grilletta the other, and 
 the whole fraud is discovered. Volpino van- 
 ishes, but Mengino promises Grilletta to do his 
 best in order to win her. 
 
 In the last scene Sempronio receives a letter, 
 from Volpino, telling him that the Pasha is to 
 
 24
 
 Armida 
 
 come with a suite of Turks to buy all his medi- 
 cines at a high price, and to appoint him sol- 
 emnly as the Sultan's apothecary. Volpino in- 
 deed arrives, with his attendants, all disguised 
 as Turks, but he is again recognized by Grilletta. 
 He offers his gold, and seizes Grilletta's hand, 
 to carry her off, but Sempronio interferes. Then 
 the Turks begin to destroy all the pots and glasses 
 and costly medicines, and when Sempronio re- 
 sents this the false Pasha draws his dagger, but 
 Mengino interferes and at last induces the fright- 
 ened old man to promise Grilletta to him if he 
 succeeds in saving him from the Turks. No 
 sooner is the promise written and signed, than 
 Grilletta tears off the Pasha's false beard and 
 reveals Volpino, who retires baffled, while the 
 false Turks drink the young couple's health at 
 the cost of the two defeated suitors. 
 
 ARMIDA 
 
 Grand heroic Opera in five acts by GLUCK 
 Text by PHIL. QUINAULT 
 
 The poet Quinault wrote the libretto of this 
 opera for another composer, Lully, but almost 
 one hundred years later, Gluck, recognizing the 
 genuine richness of this French production, 
 availed himself of it for an opera the music of 
 which is so sublime that it will for ever be con- 
 sidered classic. 
 
 25
 
 The Standard Operaglass 
 
 The libretto is founded on an episode of Tas- 
 so's " Gerusalemme liberata." 
 
 The scene is laid in Damascus, where, during 
 the Crusade of the year 1099, the Crusaders 
 have arrived at the place and gardens of Armida, 
 the Queen and enchantress. Rinaldo, the great- 
 est hero in Godfrey of Bouillon's army, is the 
 only one who not only does not stoop to adore 
 the beautiful Armida, but, on the contrary, pur- 
 sues and hates her. He has been banished from 
 Bouillon's presence, charged with the rash deed 
 of another knight, who has not dared to confess 
 his guilt, and he now wanders lonely in the forest. 
 
 Warned by a fellow- warrior, Artemidor, to 
 avoid Armida's enchanting presence, he scorns 
 the warning, saying that love for a woman is to 
 him a thing unknown. In reality, however, Ar- 
 mida is already ensnaring him with her sorcery; 
 he presently hears exquisitely sweet and dreamy 
 melodies and, finding himself in a soft, green 
 valley, he lies down and falls asleep. 
 
 Armida's opportunity has come, and she means 
 to stab him, but love conquers hatred, and the 
 dagger falls from her hand. She vainly in- 
 vokes the furies of hate; none can change her 
 passion for the hero, and at last, ceasing to strive 
 against her tender feelings, she surrenders her- 
 self entirely to him, and even succeeds by her 
 charms and her devotion in enthralling him. 
 Meanwhile Bouillon has sent two of his knights, 
 
 26
 
 Der Waffenschmied 
 
 Ubalt and a Danish warrior, to recall Rinaldo to 
 his duty. They are detained by Armida's witch- 
 ery; the Danish knight meets a demon, who has 
 taken his bride's face, and tenderly calls him to 
 her, but Ubalt destroys the charm and both suc- 
 ceed in approaching Rinaldo, who, his love- 
 dream dissipated by the call of honor, resolves 
 to return to the army with his companions. In 
 vain Armida tries to change his resolution. In 
 despair she curses him and her love, but, being 
 unable to kill the man she loves, she suffers him 
 to go away and turns her beautiful palace and 
 gardens into a desert. 
 
 DEE WAFFENSCHMIED 
 
 (THE ARMORER) 
 
 Comic Opera in three acts by ALBERT LORTZING 
 Text by himself 
 
 Though this opera does not equal in value 
 Lortzing's "Czar and Zimmermann," it has 
 nevertheless proved an admirable addition to 
 the operatic repertory. It is attractive both on 
 account of the freshness of its melodies and the 
 popular character of its music and text. 
 
 The scene is located in "Worms, in the 16th 
 century. The Count of Liebeuau has fallen in 
 love with Mary, the daughter of a celebrated 
 armorer, named Stadinger, and in order to win 
 
 27
 
 The Standard Operaglass 
 
 her, he wooes her at first in his own rank as 
 Count, then in the guise of a smith-journey- 
 man, named Conrad. Mary, who cannot per- 
 mit herself to think of love in connection with a 
 person of such a position as a Count, neverthe- 
 less pities him and at last confesses, blushing, 
 that she loves the poor smith Conrad. Inwardly 
 triumphant, the Count pretends to be jealous. 
 But father Stadinger, who more than once 
 showed the door to the Count, will not accept 
 either of the suitors, the Count standing too 
 high above him, and his journeyman, Conrad, 
 being too bad a laborer, though he has once 
 saved Mary's life. 
 
 In order to withdraw her from the reach of 
 her lovers, the armorer resolves to wed his daugh- 
 ter to his second journeyman, George, who is no 
 other than the Count's valet. Stadinger is de- 
 termined to present him as Mary's bridegroom 
 on the occasion of a festival which is to take 
 place in the course of the afternoon, and at 
 which Stadinger 's jubilee as master of armorers 
 is to be celebrated. In vain George refuses his 
 consent to this proposal. He is at length obliged 
 to inform the Count, and the latter feigns to as- 
 sault Stadinger's house. But it is of no avail; 
 the old citizen, more firm than ever, denies him 
 his child again, and as George decidedly refuses 
 to marry his daughter, he gives her at last to 
 Conrad. Great is Mary's surprise, and her fa- 
 
 28
 
 Ballo in Maschera 
 
 ther's wrath, when they discover that the Count 
 and simple Conrad are one and the same person, 
 but at last the old father yields, and the lovers 
 receive his benediction. 
 
 BALLO m MASCHERA 
 
 or 
 
 GUSTAVUS THE THIRD 
 
 Grand historic Opera in five acts by AUBER 
 Text by SCRIBE 
 
 This opera has had a curious fate, its histor- 
 ical background having excited resistance and 
 given rise to scruples. The murder of a king 
 was not thought a fit subject for an opera, and 
 so the libretto was altered and spoilt. 
 
 The Italians simply changed the names and 
 the scene of action; Verdi composed a new opera 
 from the same matter and succeeded admirably; 
 nevertheless Auber's composition is preferred in 
 Germany, Scribe's libretto being by far the bet- 
 ter, while the music is original and vivacious, as 
 well as full of pleasant harmony and fine instru- 
 mentation. 
 
 The scene is laid in Stockholm in the year 
 1792. Gustavus the Third, King of Sweden, 
 loves the wife of his friend and counsellor An- 
 karstrdm, and is loved in return, both strug- 
 gling vainly against this sinful passion. An- 
 
 29
 
 The Standard Operaglass 
 
 karstrom has detected a plot against the King's 
 life, and, warning him, asks that the traitor be 
 punished, but Gustavus refuses to listen, trust- 
 ing in his people and in his friend's fidelity. 
 His minister Kaulbart desires him to condemn 
 a sorceress named Arvedson, who is said to be 
 able at will, by means of certain herbs and po- 
 tions, to cause persons to love or hate each other. 
 The King refuses to banish the Avoman unheard 
 and decides to visit her. Ankarstrom tries to 
 dissuade, but the King insists, and accordingly 
 goes to Arvedson in disguise. During the 
 witch's conjuration, Malwina, his lady-love, ap- 
 pears, who seeks help from the sorceress against 
 her forbidden passion. The concealed King 
 hears Arvedson tell her to go at midnight and 
 gather a herb which grows on the graves of 
 criminals, and, triumphant in his knowledge of 
 Malvvina's confessed love, Gustavus decides to 
 follow her there. 
 
 When she has gone he mockingly orders the 
 witch to tell him his fortune, and hears from 
 her that he shall be killed by the man who first 
 tenders him his hand. Just then Ankarstrom, 
 who comes to protect the King against his 
 enemy, enters, and they shake hands. 
 
 In the third act Malwina meets the King on 
 the dismal spot to which she had been directed, 
 but Ankarstrom, whose watchful fidelity never 
 suffers him to be far from the King, and who is 
 
 30
 
 Ballo in Maschera 
 
 utterly ignorant of the deception being practised 
 upon him, saves the lovers from further guilt. 
 After a severe conflict with himself, Gustavus 
 consents to fly in his friend's cloak, Ankarstrom 
 having pledged his honor not to ask the veiled 
 lady's secret, and to conduct her safely back to 
 the city. This plan is frustrated by the con- 
 spirators, who rush in and are about to attack 
 the Count. Malwina throws herself between 
 him and the combatants, and the husband then 
 recognizes in the King's companion his own 
 wife. Full of indignation, he turns from her 
 and joins the conspirators, promising to be one 
 of them. 
 
 He swears to kill his unhappy wife, but not 
 until another has first fallen. 
 
 In the fourth act the conspirators have a 
 meeting in Ankarstrom's house, where they de- 
 cide to murder the King. The lots being cast, 
 the duty to strike the deathblow falls on An- 
 karstrom, and Malwina herself draws the fatal 
 paper. At this moment an invitation to a 
 masked ball is brought by the King's page Os- 
 car, and the conspirators resolve to take advan- 
 tage of this opportunity for the execution of 
 their design. 
 
 In the last act the King, happy to know Mal- 
 wina safe from discovery, resolves to sacrifice his 
 love to honor and friendship. He is about to 
 give Ankarstrom the proof of his friendship, by 
 
 3i
 
 The Standard Operaglass 
 
 naming him Governor of Finland, and the min- 
 ister is to depart with his wife on the morning 
 after the hall. Meanwhile the King is warned, 
 by a missive from an unknown hand, not to ap- 
 pear at the ball, but he disregards it. He meets 
 Malwina at the ball. His page, thinking to do 
 the King a service, has betrayed his mask to 
 Ankarstrom. Malwina warns the prince, but in 
 vain, for, while he presents her with the paper 
 which is to send her and her husband to their 
 own beloved country, Ankarstrom shoots him 
 through the heart. G-ustavus dies, pardoning 
 his murderer. 
 
 BALLO m MASCHEKA 
 
 A Lyric Drama in five acts by VERDI 
 Text by F. M. PIAVE 
 
 Auber's success with the opera of the same 
 name inspired Verdi to try his hand at it. He 
 ordered his friend Piave to write the libretto 
 for him, and in 1854 the opera was handed to 
 the San Carlo Theatre in Naples, but was refused 
 on the ground that the murder of a king must 
 not be represented on the stage. Then Verdi 
 laid the scene in Boston, and in this shape the 
 opera was performed in Kome on Feb. 17, 1859, 
 and met with great success. 
 
 From this time it conquered the stages of Eu- 
 
 32
 
 Ballo in Maschera 
 
 rope, all but one, Auber's widow having stipu- 
 lated that no opera rival to that of her husband's 
 was to be given in Paris. The Ballo in Maschera 
 was revived in Dresden in October, 1897, after 
 having lain buried for over fifteen years ; its 
 success showed that it is still full of vitality. 
 The music is exceedingly fresh aud character- 
 istic; indeed it p"~passes both Trovatore and 
 Rigoletto in beauty and originality. Verdi has 
 scarcely ever written anything finer than the 
 ensemble at the end of the second act, and the 
 delightful quartetto " Is it a jest or madness, 
 that comes now from her lips? " 
 
 The libretto may be explained shortly, as it is 
 almost identical with Auber's Masked Ball. 
 
 Count Richard, Governor of Boston, is adored, 
 by the people, but hated by the noblemen, who 
 resolve upon his death. He loves Amelia, the 
 wife of his secretary and best friend Rene, who 
 in vain tries to warn him of the plots of his 
 enemies, but who faithfully watches over his 
 safety. 
 
 An old sorceress of negro blood, Ulrica, is to 
 be banished by the decree of the high judge, 
 but Richard's page Oscar speaks in her favor, 
 and the Count decides to see her himself and 
 test her tricks. lie invites his lords to accom- 
 pany him to the sibyl's dwelling, and orders 
 Oscar to bring him a fisherman's disguise. His 
 enemies Samuel and Tom follow him. 
 3 33
 
 The Standard Operaglass 
 
 The second act shows Ulrica in her cottage, 
 seated at a table, conjuring Satan. A crowd of 
 people are around, her, amongst them Richard 
 in disguise. A sailor, Sylvan, advances first to 
 hear his fate, and while Ulrica is prophesying 
 that better days await him, Richard slips a roll 
 of gold, with a scroll into Sylvan's pocket and 
 so makes the witch's words true. Sylvan, search- 
 ing in his pockets, finds the gold and reads the 
 inscription on the scroll: " Richard to his dear 
 officer Sylvan," and. all break out into loud 
 praises of the clever sibyl. 
 
 A short while after a servant announces 
 Amelia, and the sorceress, driving the crowd 
 away, ushers her in, while Richard, conceals him- 
 self. He listens with delight to the confession 
 of her siuful love for himself, against which she 
 asks for a draught which might enable her to 
 banish it from her heart. Ulrica advises her to 
 pluck at midnight a magic herb which grows 
 in the field where the criminals are executed. 
 Amelia shudders, but promises to do as she is 
 bidden, while Richard secretly vows to follow 
 and protect her. Amelia departs, and the peo- 
 ple flock in again. Richard is the first to ask 
 what is his fate. The sibyl reluctantly tells 
 him that his life is to be destroyed by the first 
 person who shall touch his hand on this very day. 
 Richard vainly offers his hand to the bystanders, 
 they all recoil from him, when suddenly his 
 
 34
 
 Ballo in Maschera 
 
 friend Rene comes in, and heartily shakes Rich- 
 ard's outstretched hand. This seems to break 
 the spell, for everybody knows Rene to be the 
 Count's dearest friend, and now believes the 
 oracle to be false. Xevertheless Ulrica, who 
 only now recognizes the Count, warns him once 
 more against his enemies, but he laughs at her, 
 and shows the sorceress the verdict of her ban- 
 ishment, which, however, he has cancelled. Full 
 of gratitude, Ulrica joins in the universal song 
 of praise sung by the people to their faithful 
 leader. 
 
 The third act opens on the ghostly field where 
 Amelia is to look for the magic 1" 3rb. She is 
 frozen with horror, believing tha she sees a 
 ghost rise before her; Richard n^v turns up, 
 and breaks out into passionate words, entreating 
 her to acknowledge her love for him. She does 
 so, but implores him at the same time not to 
 approach her, and to remain true to his friend. 
 While they speak Rene surprises them. He has 
 followed Richard to save him from his enemies, 
 who are waiting to kill him. Richard wraps 
 himself in his friend's cloak, after having taken 
 Reno's promise to lead the veiled lady to the 
 gates of the town without trying to look at her. 
 Rene swears, but fate wills it otherwise, for 
 hardly has Richard departed when the con- 
 spirators throng in, and, enraged at finding only 
 the friend, try to tear the veil off the lady's 
 
 35
 
 The Standard Operaglass 
 
 face. Rene guards her with his sword, but 
 Amelia, springing between the assailers, lets fall 
 her veil, and reveals her face to her husband 
 and to the astonished men, thereby bringing 
 shame and bitter mockery on them both. Rene, 
 believing himself betrayed by wife and friend, 
 asks the conspirators to meet him in his own 
 house on the following morning, and swears to 
 avenge the supposed treachery. 
 
 In the fourth act, in his own house, Rene bids 
 his wife prepare herself for death. He disbe- 
 lieves in her protest of innocence, but at last, 
 touched by her misery, he allows her to take a 
 last farewell of her son. When she is gone he 
 resolves rather to kill the seducer than his poor 
 weak wife. When the conspirators enter he 
 astonishes them by his knowledge of their dark 
 designs, but they wonder still more when he 
 offers to join them in their evil purpose. As 
 they do not agree who it shall be that is to kill 
 Richard, Rene makes his wife draw the lot from 
 a vase on the table. The chosen one is her own 
 husband. At this moment Oscar enters with 
 an invitation to a masked ball from the court. 
 Rene accepts, and the conspirators decide to 
 seize the opportunity to put their foe to death. 
 They are to wear blue dominoes with red rib- 
 bons; their password is "death." 
 
 The next scene shows a richly decorated ball- 
 room. Rene vainly tries to find out the Count's 
 
 36
 
 The Barber of Bagdad 
 
 disguise, until it is betrayed to him by the page, 
 who believes that Rene wants to have some fun 
 with his master. Amelia, waylaying Richard, 
 implores him to fly, and when he disbelieves her 
 warnings bIiows him her face. When he rec- 
 ognizes her he tenderly takes her hand, and 
 tells her that he too has resolved to conquer his 
 passion, and that he is sending her away to Eng- 
 land with her husband. They are taking a last 
 farewell, but, alas, fate overtakes Richard in the 
 shape of Rene, who runs his dagger through 
 him. The crowd tries to arrest the murderer, 
 but the dying Count waves them back and with 
 his last breath tells his unhappy friend that his 
 wife is innocent. Drawing forth a document 
 and handing it to Rene, the unfortunate man 
 reads the Count's order to send them to their 
 native country. Richard pardons his misguided 
 friend and dies with a blessing on his beloved 
 country. 
 
 THE BAKBER OF BAGDAD 
 
 Comic Opera in two acts by PETER CORNELIUS 
 
 It was a long time before this charming lit- 
 tle opera took its place amongst so many fellow 
 operas much less entitled to notice. The com- 
 poser had died 15 years previously, without hav- 
 ing gained the success he so fully deserved as 
 poet as well as composer. 
 
 37
 
 The Standard Operaglass 
 
 Liszt, the great redeemer of many a tried 
 genius, brought the opera upon the stage on the 
 15th of December, 1858, in Weimar. 
 
 But the Intendant Dingelstedt was against 
 him; the opera proved an entire failure, though 
 it was meant more as demonstration against 
 Liszt than against the opera. Liszt, tired of 
 these disgraceful intrigues, quitted Weimar, 
 only to return there from time to time in pri- 
 vate. With his abdication, Weimar's glorious 
 time was passed. In 1889 at last the Barber of 
 Bagdad took its rightful place after many years 
 of oblivion. 
 
 Munich, Mannheim and Vienna came first, 
 and, the music having been enthusiastically ap- 
 plauded, Dresden followed the good example in 
 October, 1890. The music is full of sweet mel- 
 ody, the composition masterfully set. Its comic 
 parts are not quite natural, but the lyric is al- 
 most classical, and the text, written by the com- 
 poser himself, though lacking in action, shows 
 that Cornelius was a true poet as well as a true 
 musician. 
 
 The scene takes place in Bagdad, in the house 
 of a wealthy young Mussulman called Nurredin. 
 He is lying on a couch, surrounded by his ser- 
 vants, who think him dying. But it is only 
 the flame of love which devours his strength 
 and deprives him of all energy. As soon as 
 Bostana, an old relative and companion of his 
 
 38
 
 The Barber of Bagdad 
 
 lady-love, appears,, in order to tell him that Mar- 
 giaua, his adored, .is willing to receive him, 
 Nurredin forgets his illness and only longs for 
 the promised interview. The ensuing duet be- 
 tween him and Bostana, wherein she gives in- 
 struction about time and hour of the rendez- 
 vous, is delightfully fresh and piquant. 
 
 As Nurredin has neglected his personal ap- 
 pearance during his malady his first wish is for 
 a barber, who is speedily sent to him by Bos- 
 tana. This old worthy, Abul Hassan Ali Ebe 
 Bekar, the barber, makes him desperate by his 
 vain prattle. Having solemnly saluted Nur- 
 redin, he warns him not to leave the house to- 
 day, as his horoscope tells him that his life is in 
 danger. The young man not heeding him, Abul 
 Hassan begins to enumerate all his talents as 
 astrologer, philologer, philosopher, etc. ; in short, 
 he is everything and knows everything. When 
 ISurredin orders him to begin his shaving he 
 relates the fate of his six brothers, who all died 
 before him and always of love. At last Nur- 
 redin's patience giving way, he calls his ser- 
 vants in to throw the old dotard out of doors. 
 But Abul drives them all back, and Nurredin 
 tries to pacify him with flattery, and finally suc- 
 ceeds. 
 
 Now Abul is curious, as all barbers are, and 
 having heard Nurredin's sighs he determines 
 to find out all about the young man's love. This 
 
 39
 
 The Standard Operaglass 
 
 scene is most ludicrous, when Abul sings his air 
 '' Margiana," which name he has heard from 
 Nurrediu's lips, and the latter is in despair at 
 being left with only one side of his head shaved. 
 This great work done at last, Abul wants to 
 accompany the young lover to the house of the 
 Cadi Baba Mustapha, Margiana's father. Nur- 
 redin again summons his servants, who begin to 
 surround Abul, pretending to doctor him. Nur- 
 redin escapes, but Abul, after having shaken off 
 the servants, runs after him. 
 
 The second act takes place in the Cadi's house. 
 
 Margiana is full of sweet anticipation, while 
 her father, who has already chosen a husband 
 for his daughter in the person of an old friend 
 of his youth, shows her a large trunk full of 
 gifts from the old bridegroom. Margiana ad- 
 mires them obediently. A musical scene of sur- 
 passing beauty follows, where we hear the call 
 of the Muezzin summoning the faithful to 
 prayer. It is also the sign for Nurrediu to ap- 
 pear. The Cadi hurries to the Mosque, and 
 Bostana introduces the lover. Here ensues a 
 charming love-duet, accompanied, originally 
 enough, by a song from the old barber, who 
 watches before the house. Suddenly they are 
 interrupted by cries of alarm, and with dismay 
 they learn from Bostana that the Cadi has re- 
 turned to punish a slave who has broken a pre- 
 cious vase. 
 
 40
 
 The Barber of Bagdad 
 
 Nurredin, unable to escape unobserved, is 
 hidden in the big trunk. Meanwhile Abul, 
 having heard the slave's cries, and mistaking 
 them for Xurredin's, summons the latter's ser- 
 vants and breaks into the Cadi's house to avenge 
 his young friend, whom he believes to be mur- 
 dered. Bostana angrily bids him carry away the 
 trunk, signifying to him whom she has hidden 
 in it, but the Cadi intervenes, believing the ser- 
 vants to be thieves who want to rob his daugh- 
 ter's treasure. The rumor of the murder grad- 
 ually penetrates the whole town; its inhabitants 
 gather before the house, and the appointed 
 wailing women mingle their doleful lamenta- 
 tions with the general uproar. At last the Calif 
 himself appears in order to settle the quarrel. 
 
 The Cadi accuses the barber of theft, while 
 Abul calls the Cadi a murderer. To throw light 
 upon the matter the Calif orders the trunk to 
 be opened, which is done'with great hesitation 
 by Margiana. When the lid gives way, Nurredin 
 is lying in it in a deep swoon. All are terrified, 
 believing him to be murdered, but Abul, ca- 
 ressing him, declares that his heart still throbs. 
 The Calif bids the barber show his art, and Abul 
 wakens Nurredin by the love-song to Margiana. 
 The young man revives, and the truth dawns 
 upon the deceived father's mind. The Calif, a 
 very humane and clement prince, feels great sym- 
 pathy with the beautiful young couple, and ad- 
 
 41
 
 1 he Standard Operagiass 
 
 vises the Cadi to let his daughter have her treas- 
 ure, because he had told them himself that it 
 was Margiana's treasure, kept hidden in the 
 trunk. 
 
 The Cadi consents, while the Calif bids the 
 funny barber come to his palace to entertain 
 him with his stories, and invites all present to 
 the wedding of the betrothed pair, to the great 
 satisfaction of the people, who sing their Salaam 
 Aleikum in praise of their prince — a brilliant 
 finale, full of energy and melody. 
 
 IL BAKBIEKE DI SE^VIGLIA 
 
 Comic Opera in two acts by ROSSINI 
 
 This opera may be called a miracle of Ros- 
 sini's creation, as it not only is his best work 
 but was written by him in a fortnight, a per- 
 formance nearly incredible, for the music is so 
 finely worked out, and so elegant, that the opera 
 has grown to be a favorite with all nations. 
 
 The subject, taken from Beaumarchais's witty 
 trilogy of "Figaros," had ere this lent inspira- 
 tion to more than one composer ; Mozart's 
 " Figaro," though done before the " Barbiere," 
 is in a certain sense the continuation of Ros- 
 sini's opera. 
 
 The Barbiere had the peculiar misfortune to 
 experience an utter reverse on the occasion of 
 
 42 

 
 II Barbiere di Seviglia 
 
 its first representation. It was composed for 
 the Duke Cesarini, proprietor of the Argentina 
 Theatre in Home, and the cabals and intrigues 
 of Paesiello's partisans (who had composed the 
 same subject) turned the balance in Rossini's 
 disfavor. But on the second evening good taste 
 prevailed, and since then the opera has been a 
 universal favorite. 
 
 Beaumarchais's tale was worked out anew by 
 the Roman poet Sterbini; in our opera it runs 
 as follows: 
 
 Count Almaviva is enamored of Rosina, the 
 ward of Doctor Bartolo. She is most jealously 
 guarded by the old man, who wishes to make 
 her his own wife. In vain the Count serenades 
 her; she does not appear, and he must needs in- 
 vent some other means of attaining his object. 
 Making the acquaintance of the lighthearted 
 and cunning barber Figaro, the latter advises 
 hi in to get entrance into Bartolo's house in the 
 guise of a soldier possessing a billet of quarter- 
 ing for his lodgings. Rosina herself has not 
 failed to hear the sweet love-songs of the Count, 
 known to her only under the simple name of 
 Lindoro; and with southern passion, and the 
 lightheadedness which characterizes all the 
 persons who figure in this opera, but which is 
 not to be mistaken for frivolity, Rosina loves 
 her nice lover, and is willing to be his own. 
 Figaro has told her of Almaviva's love, and in 
 
 43
 
 The Standard Operaglass 
 
 return she gives him a note, which she has writ- 
 ten in secret. But the old Doctor is a sly fox, 
 he has seen the inky little finger, and deter- 
 mines to keep his eyes open. 
 
 When the Couut appears in the guise of a 
 half-drunken dragoon the Doctor sends Eosina 
 away, and tries to put the soldier out of the 
 house, pretending to have a license against all 
 billets. The Count resists and, while Bartolo 
 seeks for his license, makes love to Rosina, but 
 after the Doctor's return there arises such an 
 uproar that all the neighbors and finally the 
 guards appear, who counsel the Count to retire 
 for a time. 
 
 In the second act the Count gaius entrance to 
 Bartolo's house as a singing-master who is 
 deputed to give a lesson instead of the fever- 
 stricken Basil io. Of course the music lesson is 
 turned into a love lesson. 
 
 When all seems to be going well the real 
 Maestro, Basilio, enters and all but frustrates 
 their plans. With gold and promises Figaro 
 bribes him to retreat, and the lovers agree to 
 flee on the coming night. 
 
 Almost at the last moment the cunning of 
 Bartolo hinders the projected elopement. He 
 shows a letter, which Rosina has written, and 
 makes Rosina believe that her lover, whom she 
 only knows as Lindoro, in concert with Figaro 
 is betraying her to the Count. Great is her joy 
 
 44
 
 Benvenuto Cellini 
 
 when she detects that Lindoro and Count Alma- 
 viva are one and the same person, and that he 
 loves her as truly as ever. They bribe the old 
 notary who has been sent for by Bartolo to ar- 
 range his own (Bartolo's) wedding with Eosina. 
 Bartolo signs the contract of marriage, with 
 Figaro as witness, and detects too late that he 
 has been duped, and that he has himself united 
 the lovers. At last he submits with pretty good 
 grace to the inevitable, and contents himself 
 with Rosina's dowry, which the Count gener- 
 ously transfers to him. 
 
 BENVENUTO CELLINI 
 
 Opera in three acts by HECTOR BERLIOZ 
 
 Text by de WAILLY and BARBIER, translated into German by 
 PETER CORNELIUS 
 
 This opera by the spirited French musician 
 has had a singular fate. Composed more than 
 forty years ago, it never had in France the success 
 it merited; a " succes d'estime" was the only 
 result. Liszt, who was the saviour of many a 
 talented straggler, was the first to recognize the 
 genius of the French composer. He brought 
 the opera out upon the stage at Weimar, but 
 without much success. Berlioz was not under- 
 stood by the public. Devrient, in Carlsruhe, 
 tried a similar experiment and failed, and so the 
 
 45
 
 The Standard Operaglass 
 
 opera was almost forgotten, until Germany, re- 
 membering the duty owed to genius, of what- 
 ever nationality it may be, placed it upon the 
 stage in Dresden, on the 4th of November, 1888, 
 under the leadership of one of the ablest of 
 modern interpreters of music, Director Schuch. 
 Its representation was a triumph. Though 
 Berlioz can in nowise be compared with Wag- 
 ner, whose music is much more realistic and 
 sensual, Wagner may nevertheless be said to 
 have opened a path for Berlioz's style, which, 
 though melodious, differs widely from that of 
 the easy-flowing Italian school, beiug more seri- 
 ous, as well as more difficult for the musical 
 novice to understand. This explains why Ber- 
 lioz's compatriots esteemed but never liked him; 
 he was too scientific. To-day our ears and un- 
 derstanding are better prepared for striking in- 
 tervals and complicated orchestration, which 
 latter is the most brilliant feature in the 
 opera. 
 
 Indeed the instrumentation is simply perfect, 
 the choruses are masterpieces of originality, life 
 and melody, and the rhythm, with its syncopes, 
 is so remarkable that one is more than justified 
 in calling the style unique; it is Berlioz and no 
 other. 
 
 The text is far less good than the music, 
 though the hero, whose life Goethe found 
 worthy of description in the 24th and 25th vol- 
 
 4 6
 
 Benvenuto Cellini 
 
 ume of his works, might well interest The 
 libretto is by no means strictly historical, and 
 suffers from improbabilities which can only be 
 excused in an opera. 
 
 The tale is laid in Rome in the year 1532, un- 
 der Pope Clement VII., and comprises the events 
 of three days, Monday before Shrove-tide, 
 Sh rove-Tuesday and Ash- Wednesday. Ben- 
 venuto Cellini, the Tuscan goldsmith, has been 
 called to Rome by the Pope, in order to em- 
 bellish the city with his masterpieces. He loves 
 Teresa, the daughter of the old papal treasurer 
 Balducci, and the love is mutual. At the same 
 time another suitor, Fieramosca, the Pope's 
 sculptor, is favored by her father. Old Bal- 
 ducci grumbles in the first scene at the Pope's 
 predilection for Cellini, declaring that such an 
 excellent sculptor as Fieramosca ought to suffice. 
 He goes for a walk, and Cellini finds Teresa 
 alone. To save her from Fieramosca he plans 
 an elopement, selecting the close of the Carni- 
 val as the time best suited for carrying out 
 their design. The rendezvous is to be the 
 Piazza di Colonna, where he will wait for her, 
 disguised as a monk in white, accompanied by 
 a Capuchin, his pupil Ascanio. Unhappily the 
 rival Fieramosca has entered unseen, and over- 
 heard all. The ensuing terzetto is a master- 
 piece. While the lovers are bidding each other 
 farewell Balducci returns ; and Cellini has 
 
 47
 
 The Standard Operaglass 
 
 scarcely time to hide behind the window-cur- 
 tain before he enters. The father is surprised to 
 find his daughter still up, and Teresa, seeking 
 for an excuse to send him away, feigns to be 
 frightened by a thief in her chamber. There 
 Balducci finds the hapless Fieramosca hidden, 
 and Cellini meanwhile escapes. Balducci and 
 his daughter calling for help, all the female ser- 
 vants and women of the neigbborhood appear 
 armed with brooms and wooden spoons. They 
 fall upon the hapless lover, and finally force bim 
 to escape through the window. 
 
 In the second act we find Cellini in a tavern 
 with his pupils and friends. They have no 
 money left to pay for their wine, when Ascanio 
 brings gold from the Pope, which, however, he 
 only delivers after Cellini has given a solemn 
 promise to finish at once the statue of Perseus 
 he is engaged upon. Great is the general wrath 
 when they find the money consists of but a paltry 
 sum, and they resolve to avenge themselves on 
 the avaricious treasurer, Balducci, by personat- 
 ing him in the theatre. Fieramosca, who has 
 again been eavesdropping, turns for help to his 
 friend Pompeo, a bravo. And they decide to 
 outwit Cellini, by adopting the same costumes 
 as he and his pupil. 
 
 The scene changes ; we see the Piazza di 
 Colonna and the theatre in which the panto- 
 mime of King Midas is acted. Balducci, who is 
 
 48
 
 Benvenuto Cellini 
 
 there with his daughter among the spectators, 
 recognizes in the snoring King a portrait of 
 himself, and furiously advances to grapple with 
 him. Cellini profits by the ensuing tumult to 
 approach Teresa, but at the same time Fiera- 
 mosca comes up with Pomjieo, and Teresa can- 
 not discern which is the true lover, owing to the 
 masks. A fight ensues, in which Cellini stabs 
 Pompeo. He is arrested, and Teresa flies with 
 the Capuchin Ascanio to Cellini's atelier. The 
 enraged people are about to lynch the murderer, 
 when three cannon shots are fired announcing 
 that it is Ash-Wednesday; the lights are extin- 
 guished, and Cellini escapes in the darkness. 
 
 The third act represents Cellini's atelier with 
 the workmen in it. Teresa, not finding her 
 lover, is in great distress. Ascanio consoles her, 
 and when the Miserere of the Penitents is heard 
 both join in the prayer to the Holy Virgin. 
 
 Suddenly Cellini rushes in, and, embracing 
 Teresa, relates that he fled the night before into 
 a house. A procession of penitent monks pass- 
 ing by in the morning he joined them, as their 
 white cowls were similar to his own disguise. 
 He decides to escape at once to Florence with 
 Teresa, but is already pursued by Balducci, who 
 appears with Fieramosca and insists on his 
 daughter's returning and marrying the latter. 
 At this moment the Cardinal Salviati steps in 
 to look for the statue. He is highly indignant 
 
 4 49
 
 The Standard Operaglass 
 
 that Cellini, thoughtless like all artists, has not 
 kept his promise. Hearing him, moreover, ac- 
 cused hy Balducci, he threatens severe punish- 
 ment, and finally declares that Perseus shall be 
 cast by another. Cellini, in the pride of genius 
 and full of rage, seizes a hammer, and, sur- 
 rounded by his workmen, declares that he will 
 rather destroy his work than see it finished by 
 another. 
 
 The Cardinal, overcome by fear of the loss, 
 changes his tactics, and, in compliance with Cel- 
 lini's request, promises him full pardon and 
 Teresa's hand if he finishes Perseus in an 
 hour's time, as Cellini offers to do. Should he 
 fail in his gigantic task, his life will be forfeit. 
 All set to work at once; even Fieramosca, at 
 the Cardinal's request, assists. More and more 
 metal is demanded; Cellini sacrifices all his 
 masterpieces in gold and silver. At last the 
 casting is completed, Cellini breaks the mould, 
 and the statue of Perseus shines faultlessly forth, 
 a wonder of art, a thing of glory, bringing im- 
 mortality to its maker. All present bend before 
 the greatness of genius, and Fieramosca, the 
 rival in art and love, is the first to kiss and em- 
 brace Cellini, who obtains full pardon and the 
 hand of Teresa, along with her father's blessing. 
 
 50
 
 By Order of His Highness 
 
 BY ORDER OF HIS HIGHNESS 
 
 (AUF HOHEN BEFEHL) 
 
 Comic Opera in three acts by CARL REINECKE 
 
 Text by the composer after KIEHL's novel : " Ovidius at Court " 
 
 Reinecke of Leipzig is known both as excel- 
 lent pianist and composer of no ordinary talent. 
 The Dresden theatre has been one of the first to 
 put the new opera upon its boards, and with re- 
 gard to the music the expectations entertained 
 have been fully realized. 
 
 It is true music, melodious and beautiful. 
 Reinecke's musical language, free, untrammeled 
 and suggestive, only assumes decided form in 
 the character of a song, or when several voices 
 are united. The instrumentation is very inter- 
 esting, and the popular melody remarkably well 
 characterized. 
 
 So he introduces, for instance, the well-known 
 popular song " Kein Feuer, keine Kohle " (no 
 fire, no coal can burn) with the most exquisite 
 variations. 
 
 The libretto is not as perfect as the music, be- 
 ing rather improbable. 
 
 A little German residential capital of the last 
 century forms the background to the picture. 
 
 Franz, the son of the organist Ignaz Laemml, 
 introduces himself to Dal Segno, the celebrated 
 Italian singing-master, as the Bohemian singer 
 
 5i
 
 The Standard Operaglass 
 
 Howora. He obtains lessons from the capricious 
 old man, who, however, fails to recognize in him 
 the long-absent son of his old enemy. Cornelia, 
 Dal Segno's daughter, however, is not so slow in 
 recognizing the friend of her childhood, who 
 loves her and has all her love, as we presently 
 learn. Franz has only taken the name of Ho- 
 wora in order to get into favor with the maiden's 
 father, an endeavor in which he easily succeeds, 
 owing to his musical talents. 
 
 Meanwhile the Prince is determined to have 
 an opera composed from Ovid's Metamorphoses. 
 He has chosen Py ramus and Thisbe, but, as the 
 Princess is of a very gay disposition, a request 
 is made that the tragedy have a happy solution, 
 a whim which puts old pedantic Laemml quite 
 out of sorts. 
 
 In the second act Louis, one of the princely 
 lackeys, brings a large cracknel and huge paper- 
 cornet of sweets for Cornelia, whom he courts, 
 and whose favor he hopes in this way to win. 
 
 When he is gone, Dal Segno's sister Julia, 
 lady's maid to the Princess, enters with birth- 
 day-presents for her niece Cornelia, and, among 
 the things which attract her attention, sees the 
 cracknel, beside which she finds a note from her 
 own faithless lover Louis. Filled with right- 
 eous indignation, she takes it away. 
 
 Cornelia, stepping out to admire her birthday- 
 presents, meets Franz, and, after a tender scene, 
 
 52
 
 By Order of His Highness 
 
 the young man tells his lady-love that he lias 
 been fortunate enough to invent for his father 
 a happy issue to the tragedy of Pyramus and 
 Thisbe, and that they may now hope the best 
 from the grateful old master. 
 
 Meanwhile good old Laemml himself appears 
 to ask his old enemy Dal Segno to give singing- 
 lessons to his dear son. The Italian teacher is 
 very rude and ungracious, Laemml 's blood rises 
 also, and a fierce quarrel ensues, which is inter- 
 rupted by the arrival of the Prince. Having 
 heard their complaints, he decides that the 
 quarrel is to be settled by a singing competition 
 in which Howora, Dal Segno's new and greatly 
 praised pupil, and Franz, Laemml's son, are to 
 contest for the laurels. Both masters are con- 
 tent, and decide on a duet for tenor and soprano. 
 This is a happy choice, and Franz, who, with 
 Cornelia, has heard everything, causes his lady- 
 love to disguise herself, in order to play the 
 part of Franz, while he decides to appear as 
 Howora. 
 
 In the third act the Princess receives old 
 Laemml, who comes to tell her that he has com- 
 plied with her wishes as to the happy issue of the 
 tale, and confides to her his son's secret that 
 Franz and Howora are one and the same person. 
 The gracious Princess promises her assistance, 
 and Laemml leaves her very happy, dancing and 
 merry-making with the Prince's fool. 
 
 53
 
 The Standard Operaglass 
 
 In the evening Louis finds Julia attired in 
 Cornelia's dress, and believing her to be her 
 niece he places a ring on her finger, and once 
 more pledges his faith to his old love. 
 
 The two singers perform their duet so per- 
 fectly that Laemml, uncertain who will obtain 
 the prize, begs for a solo. Each one then sings 
 a popular song (Volkslied), and all agree that 
 Howora has triumphed. The happy victor is 
 crowned with the laurels. But the Princess, 
 touched by the ^weet voice of the other singer, 
 puts a rose wreath on his brow. When the cap 
 is taken off Dal Segno perceives that the pre- 
 tended Franz has the curls of his own daughter. 
 Howora being presented to him as Laemml's 
 son, he can do no other than yield. He em- 
 braces old Laemml and gives his benediction to 
 the lovers. 
 
 CAELO BEOSCHI 
 
 or 
 
 THE DEVIL'S PAET 
 
 Comic Opera in three acts by ATJBER 
 Text by SCRIBE 
 
 This composition might rather be called a 
 vaudeville, with musical accompaniment, than 
 an opera. The music is not above mediocrity, 
 though we find many pleasing and even ex- 
 
 54
 
 Carlo Broschi 
 
 quisite melodies in it. That it has held its pres- 
 ent place on the stage for the past forty years is 
 due principally to its excellent libretto, which 
 is full of comical and ingenious situations. The 
 principal role is given to Carlo Broschi. He is 
 no other than the famous singer Farinelli, who, 
 as a matter of fact, did heal a Spanish King from 
 madness, though it was not Ferdinand IV., hut 
 his predecessor, Philip V., the husband of Eliza- 
 beth of Ferrara. Notwithstanding these anach- 
 ronisms, the libretto ranks with the best. 
 
 Carlo Broschi has placed his only sister Casil- 
 da in a convent near Madrid, to save her from 
 the persecutions of the clergy, who have been 
 trying, for reasons of their own, to give the beau- 
 tiful maiden to the King. Casilda confesses to 
 her brother that she is in love with an unknown 
 cavalier, who entertains a like passion for her, 
 but Carlo, a poor minstrel, considers that his 
 sister, a milliner, does not stand high enough in 
 the social scale to permit a lawful union with a 
 nobleman. 
 
 Carlo meets the King accidentally. He has 
 fallen into deep melancholy, and Carlo succeeds 
 in cheering him by singing an old romance, 
 which he learnt from his mother. Both King 
 and Queen are full of gratitude, and Carlo soon 
 finds himself at court, and loaded with honors. 
 In his new position he meets with Raphael 
 d'Estuniga, Casilda'e lover. 
 
 55
 
 The Standard Operaglass 
 
 In despair at having lost his lady-love he is 
 about to appeal to the Devil for help, when 
 Carlo appears, presenting himself as Satan. 
 He promises his help on condition that Eaphael 
 shall give him one-half of all his winnings. 
 This is a condition easily accepted, and Eaphael 
 is made a court official through Carlo's influ- 
 ence. 
 
 Meanwhile the clergy vainly try to ensnare the 
 King again; Carlo is like his better self; be dis- 
 perses his sire's melancholy by singing to him, 
 and rekindles his interest in government. 
 
 Raphael, feeling quite secure in his league 
 with the Devil, begins to play; he is fortunate, 
 but Carlo never fails to claim his share, which 
 is willingly surrendered to him. 
 
 All at once Casilda appears on the scene to 
 put herself under the protection of her brother, 
 the priests having found out her refuge. She 
 recognizes the King, and tells her brother that 
 it was he to whom she was taken against her 
 will. The King believes her to be a ghost, and 
 his reason threatens to give way, but Carlo as- 
 sures him that the girl is living. The Queen, 
 who knows nothing of her husband's secret, 
 here interrupts the conversation and bids Carlo 
 follow her. 
 
 Meanwhile Raphael and Casilda have an in- 
 terview, but the King comes suddenly upon 
 them and at once orders Raphael to be put to 
 
 56
 
 Carmen 
 
 death, the latter having failed in the reverence 
 due to his sovereign. Raphael, howevey, trust- 
 ing in the Devil's help, does not let his spirits 
 sink, and Carlo actually saves him by telling the 
 King that Casilda is Raphael's wife. 
 
 But the Grand Inquisitor succeeds in discov- 
 ering this untruth and in exciting the King's 
 anger against his favorite. Carlo, much em- 
 barrassed, obtains an interview with the King, 
 and, confessing the whole truth, assures him that 
 the Queen knows as yet nothing, and implores 
 him to give his thoughts and his affections once 
 more to her and to his country. The King, 
 touched to generosity, gives his benediction to 
 the lovers, together with a new title for Raphael, 
 who is henceforth to be called Count of Puy- 
 cerda. Now, at last, Raphael learns that the so- 
 called Devil is his bride's brother, who tells him 
 that this time his share lies in making two lovers 
 happy, a share which gives him both pleasure 
 and content. 
 
 CABMEN 
 
 Opera in four acts by GEORGE BIZET 
 
 This opera is essentially Spanish. The music 
 throughout has a southern character, and is pas- 
 sionate and original to a high degree. 
 
 Carmen, the heroine, is a Spanish gipsy, fickle 
 and wayward, but endowed with all the wild 
 
 57
 
 The Standard Operaglass 
 
 graces of her nation. She is adored by her peo- 
 ple, and so it is not to be wondered at that she 
 has many of the stronger sex at her feet. She 
 is betrothed to Don Jose, a brigadier of the 
 Spanish army; of course he is one out of many; 
 she soon grows tired of him, and awakens his 
 jealousy by a thousand caprices and cruelties. 
 
 Don Jose has another bride, sweet and lovely, 
 Micaela, waiting for him at home, but she is 
 forgotten as soon as he sees the proud gipsy. 
 
 Micaela seeks him out, bringing to him the 
 portrait and the benediction of his mother, ay, 
 even her kiss, which she gives him with blushes.- 
 His tenderness is gone, however, so far as 
 Micaela is concerned, as soon as he casts one 
 look into the lustrous eyes of Carmen. This 
 passionate creature has involved herself in a 
 quarrel, and wounded one of her companions, a 
 laborer in a cigarette manufactory. She is to 
 be taken to prison, but Don Jose lets her off, 
 promising to meet her in the evening at an inn 
 kept by a man named Lillas Pastia, where they 
 are to dance the Seguedilla. 
 
 In the second act we find them there together, 
 with the whole band of gipsies. Don Jose, 
 more and more infatuated by Carmen's charms, 
 is willing to join the vagabonds, who are at the 
 same time smugglers. He accompanies them in 
 a dangerous enterprise of this kind, but no 
 sooner has be submitted to sacrifice love and 
 
 58
 
 Carmen 
 
 honor for the gipsy than she begins to tire of 
 his attentions. Jose has pangs of conscience, 
 he belongs to another sphere of society, and his 
 feelings are of a softer kind than those of Na- 
 ture's unruly child. She transfers her affections 
 to a bull-fighter named Escamillo, another of 
 her suitors, who returns her love more passion- 
 ately. A quarrel ensues between the two rivals. 
 Escamillo's knife breaks, and he is about to be 
 killed by Don Jose, when Carmen intervenes, 
 holding back his arm. Don Jose, seeing that 
 she has duped him, now becomes her deadly foe, 
 filled with undying hatred and longing foi 
 revenge. 
 
 Micaela, the tender-hearted maiden, who fol- 
 lows him everywhere like a guardian angel, 
 reminds him of his lonely mother. Everybody 
 advises him to let the fickle Carmen alone — 
 Carmen who never loved the same man for more 
 than six weeks. But in vain, till Micaela tells 
 him of the dying mother, asking incessantly for 
 her son; then at last he consents to go with 
 her, but not without wild imprecations on his 
 rival and his faithless love. 
 
 In the fourth act we find ourselves in Mad- 
 rid. There is to be a bull-fight; Escamillo, its 
 hero, has invited the whole company to be 
 present in the circus. 
 
 Don Jose appears there too, trying, for the 
 last time, to regain his bride. Carmen, though 
 
 59
 
 The Standard Operaglass 
 
 warned by a fellow gipsy, Frasquita, knows no 
 fear. She meets her old lover outside the arena, 
 where he tries hard to touch her heart. He 
 kneels at her feet, vowing never to forsake her, 
 and to be one of her own people, but Carmen, 
 though wayward, is neither a coward nor a liar, 
 and boldly declares that her affections are given 
 to the bull-fighter, whose triumphs are borne to 
 their ears on the shouts of the multitude. Al- 
 most beside himself with love and rage, Jose 
 seizes her hand and attempts to drag her away, 
 but she escapes from him, and, throwing the 
 ring, Jose's gift, at his feet, rushes to the door 
 of the arena. He overtakes her, however, and, 
 just as the trumpets announce Escamillo's vic- 
 tory, in a perfect fury of despair he stabs her 
 through the heart, and the victorious bull- 
 fighter finds his beautiful bride a corpse. 
 
 CAVALLERIA RUSTICANA 
 (SICILIAN EUSTIC CHIVALKY) 
 
 Opera in one act by PIETRO MASCAGNI 
 
 Text after Verga's drama of the same name by 
 
 TARGIONI-TOZZETTI and MENASCI 
 
 The composer of this very brief opera is a 
 young man, who has had a most adventurous 
 life, notwithstanding his youth. Son of a 
 
 60
 
 Cavalleria Rusticana 
 
 baker in Livorno, he was destined for the bar* 
 But his love for music made him enter clan- 
 destinely into the Institute Luigi Cherubini, 
 founded by Alfreddo Soffredini. When his 
 father heard of this, he confined him in his 
 chamber, until Pietro's uncle Steffano prom- 
 ised to care for him in future. Pietro now was 
 enabled to study diligently. He composed at 
 the age of 13 years a small opera " In filanda," 
 which was put on the stage by Soffredini. An- 
 other composition, on Schiller's poem "An die 
 Freude " (To Joy), brought him money and 
 Count Larderell's favor, who allowed him to 
 study at his expense at the Conservatory at 
 Milan. But Mascagni's ambition suffered no re- 
 straint, so he suddenly disappeared from Milan 
 and turned up as musical director of a wander- 
 ing troupe. In Naples he grew ill, a young lady 
 nursed him, both fell in love and she became his 
 wife. Hearing that Sonzogno offered a prize 
 for the best opera, he procured himself a li- 
 bretto, and composed the Cavalleria Rusticana in 
 little more than a week, and gained the prize. 
 
 Henceforward all, of course, were anxious to 
 hear the music of the unknown artist, and lo! 
 the opera was an immense success. 
 
 It cannot be called a masterpiece, yet it is 
 certainly the offspring of genius, as fresh and 
 as absolutely original as it is highly dramatic. 
 
 The text, though retaining little of the ex- 
 
 6l
 
 The Standard Operaglass 
 
 quisite beauty of the original drama, which 
 ought to be read before hearing its fragments 
 in the opera, assists the music a good deal. 
 The wave of human passion sweeps over it, pas- 
 sion as it occurs in daily life, for the compo- 
 sition belongs to the realistic style, as far as it 
 is based on truth and reality alone. 
 
 The true local color makes it doubly attrac- 
 tive. 
 
 The following are the very simple facts of the 
 story, which takes place in a Sicilian village. 
 
 Turridu, a young peasant, has loved and wooed 
 Lola before entering military service. At his 
 return he finds the flighty damsel married to 
 the wealthy carrier Alfio, who glories in his 
 pretty wife and treats her very well. Turridu 
 tries to console himself with another young 
 peasant girl, Sautuzza, who loves him ardently, 
 and to whom he has promised marriage. 
 
 The opera only begins at this point. 
 
 Lola, the coquette, however, cannot bear to 
 know that her former sweetheart should love 
 another woman. She flirts with him, and be- 
 fore the curtain has been raised, after the over- 
 ture, Turridu's love-song is heard for Lola, who 
 grants him a rendezvous in her own house. 
 
 This excites Santuzza's wildest jealousy. She 
 complains to Turridu's mother, who vainly tries 
 to soothe her. Then she has a last interview 
 with Turridu, who is just entering the church. 
 
 62
 
 Cosi Fan Tutte 
 
 She reproaches him first with his treachery, then 
 implores him not to forsake her and leave her 
 dishonored. 
 
 But Turridu remains deaf to all entreaty, and 
 flings her from him. At last, half mad through 
 her lover's stubbornness, Santuzza betrays him 
 and Lola to Alfio, warning the latter that his 
 wife has proved false. After church, Alfio and 
 Turridu meet in mother Lucia's tavern. Alfio 
 refusing to drink of Turridu's wine, the latter 
 divines that the husband knows alb The men 
 and women leave while the two adversaries, after 
 Sicilian custom, embrace each other, Alfio biting 
 Turridu in the ear, which indicates mortal chal- 
 lenge. Turridu, deeply repenting his folly, as 
 well as his falseness, towards poor Santuzza, 
 recommends her to his mother. He hurries 
 into the garden, where Alfio expects him; a 
 few minutes later his death is announced by the 
 peasants, and Santuzza falls back in a dead 
 swoon; with which the curtain closes over the 
 tragedy. 
 
 COSI FAN TUTTE 
 
 Comic Opera in two acts by MOZART 
 
 Text by DA PONTB, newly arranged by L. SCHNEIDER aud 
 ED. DEVRIENT 
 
 This opera, though lovely in its way, has 
 never had the success which the preceding 
 
 63
 
 The Standard Operaglass 
 
 Figaro and Don Juan attained, and this is due 
 for the most part to the libretto. In the original 
 text it really shows female fickleness, and justi- 
 fies its title. But the more Mozart's music was 
 admired, the less could one be satisfied with 
 such a libretto. Schneider and Devrient there- 
 fore altered it and in their version the two 
 female lovers are put to the test, but midway in 
 the plot it is revealed to them that they are be- 
 ing tried — with the result that they feign faith- 
 lessness, play the part out, and, at the close, de- 
 clare their knowledge, turning the sting against 
 the authors of the unworthy comedy. The con- 
 tents may be told shortly. 
 
 Don Fernando and Don Alvar are betrothed 
 to two Andalusian ladies, Eosaura and Isa- 
 bella. 
 
 They loudly praise their ladies' fidelity, when 
 an old bachelor, named Onofrio, pretends that 
 their sweethearts are not better than other 
 women, and accessible to temptation. The lovers 
 agree to make the trial, and promise to do every- 
 thing which Onofrio dictates. Thereupon they 
 announce to the ladies that they are ordered to 
 Havana with their regiment, and, after a ten- 
 der leavetaking, they depart, to appear again, in 
 another guise, as officers of a strange regiment. 
 Onofrio has won the ladies' maid, Dolores, to aid 
 in the furtherance of his schemes, and the officers 
 enter, beginning at once to make love to Isabella 
 
 64
 
 Cosi Fan Tutte 
 
 and Rosaura, but each, as was before agreed, to 
 the other's affianced. 
 
 Of course, the ladies reject them, and the 
 lovers begin to triumph, when Onofrio prompts 
 them to try another temptation. The strangers, 
 mad with love, pretend to drink poison in the 
 young ladies' presence. Of course, these tender- 
 hearted maidens are much aggrieved; they call 
 Dolores, who bids her mistresses hold the pa- 
 tients in their arms; then, coming disguised as a 
 physician, she gives them an antidote. By this 
 clumsy subterfuge they excite the ladies' pity, 
 and are nearly successful in their foolish en- 
 deavors, when Dolores, pi tying the cruelly tested 
 women, reveals the whole plot to them. 
 
 Isabella and Rosaura now resolve to enter into 
 the play. They accept the disguised suitors, 
 and even consent to a marriage. Dolores ap- 
 pears in the shape of a notary, without being 
 recognized by the men. The marriage contract 
 is signed, and the lovers disappear, to return in 
 their true characters, full of righteous con- 
 tempt. Isabella and Rosaura make believe to 
 be conscience stricken, and for a long while tor- 
 ment and deceive their angry bridegrooms. But 
 at last they grow tired of teasing, they present 
 the disguised Dolores, and they put their lovers 
 to shame by showing that all was a farce. Of 
 course, the gentlemen humbly ask their pardon, 
 and old Onofrio is obliged to own himself beaten. 
 5 65
 
 The Standard Operaglass 
 THE CRICKET ON THE HEARTH 
 
 Opera in three acts by CARL GOLDMARK 
 Text after Dickens's tale by M. WILLNER 
 
 With this opera Goldmark has entered a novel 
 way in composing. He has renounced all sen- 
 sational effects and has produced an opera which 
 is full of charming melodies, but which lacks 
 the high dramatic verve to which we are accus- 
 tomed from this composer; there are, however, 
 remarkably fine pieces in the whole, the best of 
 them being Dot's dancing song in the second 
 act, the quintetto at the end of it, and the pre- 
 lude in the third act, into which Goldmark has 
 interwoven the popular song " Weisst Du, wie 
 viel Sternlein stehen." 
 
 The story is soon told, as everybody is sup- 
 posed to know its contents from Dickens's fa- 
 mous fairy-tale. That it is less pretty than the 
 original is not Mr. Willner's fault, who did his 
 best to endue it with dramatic strength, and to 
 make it more effective, an elevation to which 
 the tale never aspired, its poetic simplicity be- 
 ing its great charm. 
 
 The scene is laid in an English village. 
 
 The cricket, a little fairy, lives with a pos- 
 tilion, John, and his wife Dot. They are a 
 happy couple, the only thing wanting to their 
 complete happiness being children, and even 
 
 66
 
 The Cricket on the Hearth 
 
 this ardent wish Dot knows will be fulfilled be- 
 fore long. 
 
 A young doll-maker, May, visits Dot to un- 
 burden her heavy heart. The young girl is to 
 marry her old and rich employer Tackleton, in 
 order to save her foster-father from waut, but 
 she cannot forget her old sweetheart, a sailor 
 named Eduard, who left her years ago, never to 
 come back. Dot tries to console her, and gives 
 her food for her old father. When May has 
 taken leave, Dot's husband John enters, bring- 
 ing a strange guest with him. 
 
 It is Eduard, who has, however, so disguised 
 himself that nobody recognizes him. Dot re- 
 ceives him hospitably, and while he follows her 
 in another room, a very lively scene ensues, all 
 the village people flocking in to receive their 
 letters and parcels at John's hands. 
 
 In the second act John rests from his labor 
 in his garden, while Dot, who finds her hus- 
 band, who is considerably older than herself, 
 somewhat too self-confident and phlegmatic, 
 tries to make him appreciate her more by arous- 
 ing his jealousy. While they thus talk and jest, 
 May enters, followed by her old suitor, who has 
 already chosen the wedding-ring for her. 
 Eduard listens to his wooing with ill-concealed 
 anxiety, and Tackleton, not pleased to find a 
 stranger in his friend's house, gruffly asks his 
 name. The strange sailor tells him that he 
 
 67
 
 The Standard Operaglass 
 
 left his father and his sweetheart to seek his 
 fortune elsewhere, and that he has come back, 
 rich and independent, only to find his father 
 dead and his sweetheart lost to him. His voice 
 moves May strangely, but Tackleton wants to 
 see his riches. Eduard shows them some fine 
 jewels, which so delight Dot that she begins to 
 adorn herself with them and to dance about the 
 room. Eduard presents her with a beautiful 
 cross, and seizes the opportunity to reveal to 
 her his identity, entreating her not to betray 
 him. Then he turns to May, begging her to 
 choose one of the trinkets, but Tackleton inter- 
 feres, saying that his promised bride does not 
 need any jewels from strange people. Dot is 
 greatly embarrassed, and Tackleton, mistaking 
 her agitation, believes that she has fallen in 
 love with the sailor, and insinuates as much to 
 her husband, whom he invites to have a glass 
 of beer with him. 
 
 This unusual generosity on the part of the 
 avaricious old man excites the clever little wife's 
 suspicion. May having withdrawn, she greets 
 the friend of her youth with great ostentation 
 (knowing herself secretly watched by John and 
 Tackleton), and promises to help him to regain 
 his sweetheart. John and his friend, who sud- 
 denly return, see them together, and poor old 
 John gets wildly jealous. But when he is alone 
 be falls asleep, and the faithful cricket pro- 
 
 6g
 
 The Cricket on the Hearth 
 
 phetically shows him his wife fast asleep in a 
 dream, while a little boy in miniature pos- 
 tilion's dress plays merrily in the background. 
 
 In the third act Dot adorns May with the 
 bridal wreath, but the girl is in a very sad 
 mood. All at once she hears the sailor sing; 
 Dot steals away, and May, vividly reminded of 
 her old love by the song, decides to refuse old 
 Tackleton at the last moment, and to remain 
 true to Eduard until the end of her life. The 
 sailor, hearing her resolve, rushes in, tearing off 
 his false gray beard, and catches May, who at 
 last recognizes him, in his arms. Meanwhile 
 Tackleton arrives gorgeously attired ; he brings a 
 necklace of false pearls and invites May to drive 
 with him to the wedding ceremony in the church 
 at once. A whole chorus of people interrupt 
 this scene, however; they greet him, saying they 
 are his wedding guests, exciting the miser's 
 wrath. At last May, who had retired to put on 
 her bridal attire, reappears, but, instead of tak- 
 ing Tackleton 's arm, she walks up to Eduard, 
 who, courteously thanking the old lover for the 
 carriage standing at the door, suddenly disap- 
 pears with May. The chorus detains the furi- 
 ous old Tackleton until the lovers are well out 
 of the way. 
 
 Meanwhile Dot has explained her behavior 
 to John, and, whispering her sweet secret into 
 hia ear, makes him the happiest man on earth 
 
 69
 
 The Standard Operaglass 
 
 The cricket, the good fairy of the house, 
 chirps sweetly and the last scene shows once 
 more a picture of faithfulness and love. 
 
 CZAK AND ZIMMEKMANN 
 
 or 
 
 THE TWO PETERS 
 
 Comic Opera in three acts by LORTZING 
 
 This charming little opera had even more 
 success than Lortzing's other compositions; it 
 is a popular opera in the best sense of the word. 
 Lortzing ought to have made his fortune by it, 
 for it was soon claimed by every stage. He had 
 composed it for Christmas, 1837, and in the 
 year 1838 every street organ played its principal 
 melodies. But the directors paid miserable 
 sums to the lucky composer. (For example, a 
 copy of the work cost him 25 thalers, while he 
 did not get more than 30 to 50 thalers from the 
 directors.) 
 
 The libretto was composed by Lortzing him- 
 self; he took it out of an old comedy. 
 
 Peter, Emperor of Russia, has taken service 
 on the wharfs of Saardam as simple ship-car- 
 penter under the assumed name of Peter 
 Michaelow. Among his companions is another 
 Peter, named Ivauow, a Russian renegade, who 
 
 70
 
 Czar and Zimmermann 
 
 has fallen in love with Mary, the niece of the 
 burgomaster Van Bett. 
 
 The two Peters, being countrymen and fear- 
 ing discover}^, have become friendly, but Ivanow, 
 instinctively feeling his friend's superiority, is 
 jealous of him, and Mary, a little coquette, 
 nourishes his passion. 
 
 Meanwhile the ambassadors of France and 
 England, each of whom wishes for a special 
 connection with the Czar of Russia, have discov- 
 ered where he must be, and both bribe the con- 
 ceited simpleton Vau Bett, who tries to find out 
 the real Peter. 
 
 He assembles the people, but there are many 
 Peters amongst them, though only two strangers. 
 He asks them whence they come, then takes 
 aside Peter Ivanow, cross-questioning him in 
 vain as to what he wishes to know. 
 
 At last, being aware of Peter's love for Mary, 
 he gives him some hope of gaining her hand, 
 and obtains in exchange a promise from the 
 young man to confess his secret in presence of 
 the foreign nobleman. The cunning French 
 ambassador, the Marquis de Chateauneuf, has 
 easily found out the Czar and gained his pur- 
 pose, while the phlegmatic English Lord, falsely 
 directed by the burgomaster, is still in trans- 
 action witli Ivanow. All this takes place dur- 
 ing a rural festivity, where the Marquis, not- 
 withstanding the claims upon his attention, finds 
 
 7i
 
 The Standard Operaglass 
 
 time to court pretty Mary, exciting Ivanow's 
 hate and jealousy. Ivanow with difficulty plays 
 the role of Czar, which personage he is supposed 
 to be as well by Lord Syndham as by Van 
 Bett. He well knows that he deserves punish- 
 ment if he is found out on either side. The 
 burgomaster, getting more and more confused, 
 and fearing himself surrounded by spies and 
 cheats, examines one of the strangers after the 
 other, and is, of course, confounded to hear their 
 high-flown names; at last he seizes the two 
 Peters, but is deterred from his purpose by the 
 two ambassadors. They are now joined by a 
 third, the Eussian General Lefort, who comes 
 to call back his sovereign to his own country. 
 In the third act Van Bett has prepared a solemn 
 demonstration of fealty for the supposed Czar, 
 whom he still mistakes for the real one, while 
 the real Czar has found means to go on board 
 of his ship with the Marquis and Lefort. Be- 
 fore taking farewell, he promises a passport to. 
 Ivanow, who is very dubious as to what will be- 
 come of him. Meanwhile Van Bett approaches 
 him with his procession to do homage, but dur- 
 ing his long and confused speech cannon-shots 
 are heard, and an usher announces that Peter 
 Michaelow is about to sail away with a large 
 crew. The background opens and shows the 
 port with the Czar's ship. Everybody bursts 
 into shouts "Long live the Czar!" and Ivan- 
 
 72
 
 La Dame Blanche 
 
 ow, opening the paper which his high-born 
 friend left to him, reads that the Czar grants 
 him pardon for his desertion and bestows upon 
 him a considerable sum of money. 
 
 LA DAME BLANCHE 
 
 Comic Opera in three acts by BOIELDIEU 
 Text by SCRIBE 
 
 Boieldieu is for the French almost what 
 Mozart was for the German. This opera espe- 
 cially may be called classic, so delibeiate and 
 careful is its execution. 
 
 The " Lady in "White " is the chef-d'oeuvre of 
 all comic operas in French, as Mozart's Figaro 
 is in German. The success of this opera, whose 
 composer and whose poet were equally liked and 
 esteemed in Paris, was enormous, and since then 
 it has never lost its attraction. 
 
 The scene is laid in Scotland, the subject be- 
 ing taken from "Walter Scott's romance "The 
 Monastery." 
 
 George Brown, the hero of the opera, a young 
 lieutenant in English service, visits Scotland, 
 lie is hospitably received by a tenant of the late 
 Count Avenel, who has been dead for some 
 years. When he arrives the baptism of the 
 tenant's youngest child is just being celebrated, 
 
 73
 
 The Standard Operaglass 
 
 and seeing that they lack a godfather he good- 
 naturedly consents to take the vacant place. 
 
 Seeing the old castle of the Avenels he asks 
 for its history, and the young wife Jenny tells 
 him that, according to the traditions of the 
 place, it is haunted by a ghost, as is the case in 
 almost every old castle. This apparition is 
 called the "White Lady," but, unlike other 
 ghosts, she is good, protecting her sex against 
 fickle men. All the people around believe 
 firmly in her and pretend to have seen her 
 themselves. In the castle there exists a statue 
 which bears the name of this benevolent genius, 
 and in it the old Lord has hidden treasures. 
 His steward Gaveston, a rogue, who has taken 
 away the only son of the Count in the child's 
 earliest days, brings the castle with all its acres 
 to public sale, hoping to gain it for himself. 
 
 He has a charming ward, named Anna. It is 
 she who sometimes plays the part of the White 
 Lady. She has summoned the young tenant 
 Dickson, who is sincerely devoted to her, into 
 the castle, and the young man, though full of 
 fear, yet dare not disobey the ghostly com- 
 mands. 
 
 George Brown, thirsting for a good adven- 
 ture, and disbelieving in the ghost-story, de- 
 clares that he will go in Dickson's place. 
 
 In the second act George, who has found en- 
 trance into the castle, calls for the White Lady, 
 
 74
 
 La Dame Blanche 
 
 who appears in the shape of Anna. She he- 
 lieves that Dickson is before her, and she reveals 
 her secret to him, imploring his help against 
 her false guardian Gaveston, who means to rob 
 the true and only heir of his property. She 
 knows that the missing son of the Avenels is 
 living, and she has given a promise to the dying 
 Countess to defend his rights against the rapa- 
 cious Gaveston. George gives his hand to the 
 pretended ghost in token of fidelity, and the 
 warm and soft hand which clasps his awakes 
 tender feelings in him. On the following morn- 
 ing Dickson and his wife Jenny are full of cu- 
 riosity about George's visit, but he does not 
 breathe a word of his secret. 
 
 The sale of the castle, as previously announced, 
 is to begin, and Dickson has been empowered 
 beforehand by all the neighboring farmers to 
 bid the highest price, in order not to let it fall 
 into the hands of the hateful Gaveston. They 
 bid higher and higher, but at length Dickson 
 stops, unable to go farther. Gaveston feels as- 
 sured of his triumph, when George Brown, re- 
 calling his vow to the White Lady, advances 
 boldly, bidding one thousand pounds more. 
 Anna is beside him, in the shape of the spectre, 
 and George obediently bids on, till the castle is 
 his for the price of three hundred thousand 
 pounds. Gaveston, in a perfect fury, swears to 
 avenge himself on the adventurer, who is to 
 
 75
 
 The Standard Operaglass 
 
 pay the sum in the afternoon. Should he prove 
 unable to do so, he shall be put into prison. 
 George, who firmly believes in the help of his 
 genius, is quietly confident, and meanwhile 
 makes an inspection of the castle. Wandering 
 through the vast rooms, dim recollections arise 
 in him, and heariug the minstrel's song of the 
 Avenels, he all at once remembers and finishes 
 the romance, which he heard in his child- 
 hood. 
 
 The afternoon comes, and with it Mclrton, 
 the justice of peace. He wants the money, and 
 George begs to await the White Lady, who prom- 
 ised her help. Anna appears, bringing the 
 treasure of the Avenels hidden in the statue, 
 and with them some documents which prove 
 the just claims of Edwin Count Avenel. This 
 long-lost Count she recognizes in George Brown, 
 whose identity with the playmate of her youth 
 she had found out the night before. Gaveston 
 approaches full of wrath to tear aside the ghost's 
 white veil, and sees his OAvn ward, Anna. 
 
 The happy owner of castle and country holds 
 firm to the promise which he gave the White 
 Lady and offers hand and heart to the faithful 
 Anna, who has loved him from her child- 
 hood. 
 
 76
 
 II Demonio 
 IL DEMONIO 
 
 Fantastic Opera in three acts by 
 ANTON RUBINSTEIN 
 
 Text after the Russian of ALFRED OFFERMANN 
 
 This opera of the great Russian musician has 
 an entirely national character. The great feat- 
 ures of Rubinstein's Avork are most fertile 
 imagination and an immense power of expres- 
 sion, which, however, sometimes almost passes 
 the permitted bounds, although the forms are 
 perfectly mastered, and the fanciful subject is 
 well calculated to afford it room for play. It is 
 taken from the celebrated poem of Lermontoff, 
 and it treats of the devices by which Satan seeks 
 to ensnare the immortal souls on earth. 
 
 The plot is laid in Grusia, in the Caucasus. 
 
 The first scene represents a wild and lonely 
 country; in the raging storm voices are heard of 
 good and bad spirits alternately. The Arch- 
 Fiend appears, weary of everything, even of his 
 power. He curses the world; in vain he is 
 warned by the Angel of Light to cease his strife 
 against Heaven; the Demon's only satisfaction 
 lies in opposition to and battle with all that is 
 living and good. 
 
 He sees Tamara, daughter of Prince (xudal, 
 who expects her bridegroom, the Prince of 
 Sinodal, and, full of admiration for her loveli- 
 
 77
 
 The Standard Operaglass 
 
 ness, he wooes her. Tamara, frightened, calls 
 her companions, and they all return to the cas- 
 tle, but the words of the stranger, whom she 
 has recognized, by the halo of light surrounding 
 him, as a being from a higher world, vibrate in 
 her ears: " Queen of my love, thou shalt be the 
 Empress of Worlds." 
 
 The following scene shows Prince Sinodal, 
 encamping for the night with his suite; the 
 roughness of the way has delayed his coming to 
 Tamara. Near the camp is a chapel, erected in 
 memory of one of his ancestors, who was slain 
 there by a ruffian, and the Prince's old servant 
 admonishes him to pray for his soul.. To his 
 destruction, he postpones it till morning, for 
 during his sleep the Demon brings up his 
 enemies, the Tartars, and the Prince's caravan 
 is robbed, and he himself killed. 
 
 In the second act Tamara stands ready to re- 
 ceive her bridegroom, whose coming has been 
 announced to her by a messenger. 
 
 Tamara's thoughts are with the stranger 
 though against her will, when an escort brings 
 the dead body of Sinodal. While the poor bride 
 is giving vent to her sorrow, and her fathe"" 
 seeks to comfort her by offering religious con 
 solation, she again hears the voice of the Demon 
 Avhispering soft seductions to her. At last sir* 
 feels that her strength is failing before a super 
 natural power, and so she begs her father to le 
 
 78
 
 Djamileh 
 
 her enter a monastery. After offering many ob 
 jections, he finally consents, for in truth his 
 thoughts are only of avenging his children. 
 
 In the third act the Demon, who really loves 
 Tamara, and regrets his wickedness, seeks tc 
 see her. The Angel of Light denies him the 
 entrance, which, however, he finally forces. 
 Passionately he invokes Tamara's pity and her 
 love, and she, rent by unutterable feelings, im- 
 plores Heaven's aid, but her strength gives way, 
 and the Demon embraces and kisses her. At 
 this moment the Angel of Light appears, and 
 Tamara is about to hasten to him, when, with a 
 loud cry, she sinks down lifeless. Satan has 
 lost; despairing and cursing all, he vanishes 
 and a thunder-bolt destroys the cloister, from 
 amid the ruins of which the Angels bear the 
 poor love-tortured Tamara to Heaven. 
 
 DJAMILEH 
 
 A romantic Opera in one act by GEORGES BIZET 
 
 Text by LOUIS GALLET 
 
 German Translation by LUDWIG nARTMANN 
 
 Djamileh was composed before Carmen, and 
 was given in Paris in 1872. But after the years 
 of war and bloodshed its sweetness was out of 
 place, and so it was forgotten, until it was re- 
 vived again in Germany. Though the text is 
 
 79
 
 The Standard Operaglass 
 
 meagre, the opera had great success on the 
 stages of Berlin, Leipsic, Vienna and Dresden, 
 and so its publisher, Paul Choudens in Paris, 
 was right when he remarked, years ago, to a 
 German critic, "l'AUemagne un jour com- 
 prendra les beautes de Djamileh." 
 
 There is no more exquisite music than the 
 romance of the boatsmen on the Nile, sung with 
 closed lips at the opening of the first scene, and 
 the ravishing dance of the Almee, an invention 
 of Arabic origin, is so original, so wild and 
 melancholy, and yet so sweet, that it enchants 
 every musical ear. The plot is very simple and 
 meagre. 
 
 Harun, a rich young Turk, has enjoyed life to 
 its very dregs. He gives dinners, plays at dice, 
 he keeps women, but his heart remains cold and 
 empty; he disbelieves iu love, and only cares for 
 absolute freedom in all his actions, but withal 
 his life seems shallow and devoid of interest. 
 Every month he engages a new female slave, 
 with whom he idles away his days, but at the 
 end of this time she is discarded. His an- 
 tipathy to love partly arises from the knowl- 
 edge of his father's unhappy married life. 
 
 At the opening of the scene Harun lies on a 
 couch, smoking, too lazy to move a finger, and 
 lulled into dreams by the boatmen's songs. At 
 last he rouses himself from his lethargy, and 
 tells his secretary and former tutor, Splendiano, 
 
 80
 
 Djamileh 
 
 of his visions. The latter is looking over his 
 master's accounts, and now tells him dryly 
 that if he continues his style of living he will 
 he ruined before the end of the year. This 
 scarcely moves the young man, to whom a year 
 seems a long way off; he also takes it coolly 
 when Splendiano remarks that the latest fa- 
 vorite's month is up, and that Djamileh is to 
 leave towards evening, to make room for another 
 beauty. Harun carelessly charges his servant to 
 look out for another slave. When Splendiano 
 sees that Djamileh' s unusual beauty has failed 
 to impress his master, he owns to a tender feel- 
 ing for her himself, and asks permission to win 
 the girl. Harun readily grants this request; 
 but when he sees Djamileh enter with sad and 
 dejected looks he tenderly inquires what ails 
 her. She sings him a strange and melancholy 
 " Ghasel " about a girl's love for a hero, and he 
 easily guesses her secret. In order to console 
 her, he presents her with a beautiful necklace, 
 and grants her her freedom, at which she bright- 
 ens visibly, but refuses it. Harun, however, has 
 no idea of losing either heart or liberty, and 
 when some friends visit him he turns from her, 
 to join them in a game, leaving her unveiled, 
 and exposed to their insolent stares and admira- 
 tion. Djamileh, covered with confusion, begins 
 to weep, at which Splendiano interposes, trying 
 to console her by the offer of his hand. Scorn- 
 6 81
 
 The Standard Operaglass 
 
 fully repulsed by her, he reveals to her the cruel 
 play of his master, and her approaching dis- 
 missal, and drives her almost to despair. But 
 she resolves to show her love to her master be- 
 fore she leaves him, and for this purpose entreats 
 Splendiano to let her disguise herself and per- 
 sonate the new slave; promising to be his if 
 her plans should fail, but vowing to herself to 
 choose death rather than leave her beloved mas- 
 ter. The evening approaches, and with it the 
 slave-dealer with a whole bevy of beautiful young 
 girls. Harun turns from them indifferently, 
 ordering Splendiano to choose for him, but the 
 slave-dealer insists upon showing up the pearl of 
 his flock, a young Almee, who dances the most 
 weird and passiouate figures until she sinks back 
 exhausted. She is selected, but Splendiano gives 
 200 zechines to the dealer, who consents to let 
 her change her clothes with Djamileh. When 
 the latter re-enters Harun's room veiled, he is 
 astonished to find her so shy and sad. In vain 
 he tries to caress her, she escapes him, but, sud- 
 denly unveiling herself, he recognizes her. With 
 wild and passionate entreaty, she begs him to let 
 her be a slave again, as she prefers his presence 
 to freedom and fortune. At first he hesitates, 
 but true love conquers, and he takes her in his 
 arms. He has found his heart at last, and owns 
 that love is stronger and better than any other 
 
 charm. 
 
 82
 
 Le Domino Noir 
 LE DOMINO NOIR 
 
 Comic Opera in three acts by AUBER 
 Text by SCRIBE 
 
 This is one of the most charming comic operas 
 which were ever written by this master. Grace- 
 ful archness and elegance of style are its char- 
 acteristics, and these lose nothing from the pres- 
 ence of a gay and easy temper which makes itself 
 felt throughout. The same may be said of the 
 libretto. 
 
 The plot is well worked out and entertaining. 
 The scene is laid in Madrid in our century. 
 
 The Queen of Spain gives a masked ball, at 
 which our heroine Angela is present, accom- 
 panied by her companion Brigitta. There she 
 is seen by Horatio di Massarena, a young noble- 
 man, who had met her a year before at one of 
 these balls and fell in love with her, without 
 knowing her. 
 
 This time he detains her, but is again unable 
 to discover her real name, and, confessing his 
 love for her, he receives the answer that she 
 can be no more than a friend to him. Mas- 
 sarena detains her so long that the clock strikes 
 the midnight hour as Angela prepares to seek 
 her companion. Massarena confesses to having 
 removed Brigitta under some pretext, and An- 
 
 83
 
 The Standard Operaglass 
 
 gela, in despair, cries out that she is lost. She 
 is, in reality, member of a convent, and destined 
 to be Lady Abbess, though she has not yet 
 taken the vows. She is very highly connected, 
 and has secretly helped. Massarena to advance in 
 his career as a diplomatist. Great is her anxiety 
 to return to her convent after midnight, but 
 she declines all escort, and walking alone 
 through the streets she comes by chance into 
 the house of Count Juliano, a gentleman of 
 somewhat uncertain character, and Massarena's 
 friend. Juliano is just giving a supper to his 
 gay friends, and Angela bribes his housekeeper, 
 Claudia, to keep her for the night. She ap- 
 pears before the guests disguised as an Arra- 
 gonian waiting-maid, and charms them all, and 
 particularly Massarena, with her grace and co- 
 quetry. But as the young gentlemen begin to 
 be insolent, she disappears, feeling herself in 
 danger of being recognized. Massarena, discov- 
 ering in her the charming black domino, is 
 very unhappy to see her in such company. 
 Meanwhile Angela succeeds in getting the keys 
 of the convent from Gil-Perez, the porter, who 
 had also left his post, seduced by his love of 
 gormandizing, and had come to pay court to 
 Claudia. Angela troubles his conscience, and 
 frightens him with her black mask, and flies. 
 When she has gone, the housekeeper confesses 
 that her pretended Arragonian was a stranger, 
 
 84
 
 Don Carlos 
 
 by all appearance a noble lady, who sought ref- 
 uge in Juliano's house. 
 
 In the third act Angela reaches the convent, 
 but not without having had some more adven- 
 tures. Through Brigitta's cleverness her ab- 
 sence has not been discovered. At length the 
 day has come when she is to be made Lady 
 Abbess, and she is arrayed in the attire suited to 
 her future high office, when Massarena is an- 
 nounced to her. He comes to ask to be relieved 
 from a marriage with Ursula, Lord Elfort's 
 daughter, who is destined for him, and who is 
 also an inmate of the convent, but whom he 
 cannot love. " Notwithstanding her disguise, he 
 recognizes his beloved domino, who, happily for 
 both, is released by the Queen from her high 
 mission and permitted to choose a husband. 
 Of course, it is no other than the happy Mas- 
 sarena; while Ursula is consoled by being made 
 Lady Abbess, a position which well suits her 
 ambitious temper. 
 
 DON CARLOS 
 
 Opera in four acts by VERDI 
 Text by MERY and CAMILLA DU LOCLE 
 
 This opera is one of the first of Verdi's. It 
 was half forgotten, when being suddenly recalled 
 to the stage it met with considerable success. 
 
 85
 
 The Standard Operaglass 
 
 The music is fine and highly dramatic in many 
 parts. 
 
 The scene of action lies in Spain. Don Car- 
 los, Crown Prince of Spain, comes to the convent 
 of St. Just, where his grandfather, the Em- 
 peror Charles the Fifth, has just been buried. 
 Carlos bewails his separation from his step- 
 mother, Elizabeth of Valois, whom he loves with 
 a sinful passion. His friend, the Marquis Posa, 
 reminds him of his duty, and induces him to 
 leave Spain for Flanders, where an unhappy 
 nation sighs under the cruel rule of King 
 Philip's governors. Carlos has an interview 
 with the Queen, but, beside himself with grief, 
 he again declares his love, though having re- 
 solved only to ask for her intervention with the 
 King on behalf of his mission to Flanders. 
 Elizabeth asks him to think of duty and dis- 
 misses him. Just then her jealous husband en- 
 ters, and finding her lady of honor, Countess 
 Aremberg, absent, banishes the latter from 
 Spain. King Philip favors Posa with his par- 
 ticular confidence, though the latter is secretly 
 the friend of Carlos, who is ever at variance 
 with his wicked father. Posa uses his influ- 
 ence with the King for the good of the people, 
 and Philip, putting entire confidence irv him, 
 orders him to watch his wife. 
 
 The second act represents a fete in the royal 
 gardens at Madrid, where Carlos mistakes the 
 
 86
 
 Don Carlos 
 
 Princess Eboli for the Queen and betrays his 
 unhappy love. The Princess, loving Carlos her- 
 self, and having nurtured hopes of her love be- 
 ing responded to, takes vengeance. She pos- 
 sesses herself of a casket in which the Queen 
 keeps Carlos's portrait, a love-token from her 
 maiden years, and surrenders it to Philip. The 
 King, though conscious of his wife's innocence, 
 is more than ever jealous of his son, and seeks 
 for an occasion to put him out of the way- It 
 is soon found, when Carlos defies him at an au- 
 todafe of heretics. Posa himself is obliged to 
 deprive Carlos of his sword, and the latter is im- 
 prisoned. The King has an interview with the 
 Grand Inquisitor, who demands the death of 
 Don Carlos, asserting him to be a traitor to his 
 country. As Philip demurs, the priest asks 
 Posa's life as the more dangerous of the two. 
 The King, who never loved a human being ex- 
 cept Posa, the pure-hearted Knight, yields to 
 the power of the Church. 
 
 In the following scene Elizabeth, searching 
 for her casket, is accused of infidelity by her 
 husband. The Princess Eboli, seeing the trouble 
 her mischievous jealousy has brought upon her 
 innocent mistress, penitently confesses her fault 
 and is banished from court. In the last scene 
 of the third act Carlos is visited by Posa, who 
 explains«to him that he has only imprisoned 
 him in order to save him, and that he has an- 
 
 87
 
 The Standard Operaglass 
 
 nounced to the King that it was himself, Posa, 
 who excited rebellion in Flanders. While they 
 speak, Posa is shot by an arquebusier of the 
 royal guard; Philip enters the cell to present 
 his sword to Carlos, but the son turns from his 
 father with loathing, and explains his friend'fe 
 pious fraud. While Philip bewails the loss of 
 the best man in Spain, loud acclamations are 
 heard from the people, who, hearing that their 
 prince is in danger, desire to see him. 
 
 In the last act the Queen, who promised Posa 
 to watch over Carlos, meets him once more in 
 the convent of St. Just. They are surprised by 
 the King, who approaches, accompanied by the 
 Grand Inquisitor, and into his hands the un- 
 happy Carlos is at last delivered. 
 
 DON JUAN" 
 
 Opera in two acts by MOZART 
 Text by DA PONTE 
 
 Don Juan is Mozart's most beautiful opera; 
 we may even say that it is the greatest work of 
 this kind which was ever written by a German 
 musician. The text, too, written by Mozart's 
 friend, is far above the level of ordinary opera 
 texts. • 
 
 The hero, spoilt by fortune and blase, is ever 
 
 88
 
 Don J 
 
 uan 
 
 growing more reckless. lie even dares to attack 
 the virtue of Donna Anna, one of the first ladies 
 of a city in Spain, of which her father, an old 
 Spanish grandee, also noble and as strict in 
 virtue as Don Juan is oversatiated and frivol- 
 ous, is governor. The old father, coming for- 
 ward to help his beloved daughter, with drawn 
 dagger attacks Don Juau, who, compelled to de- 
 fend himself, has the misfortune to stab his 
 assailant. 
 
 Donna Anna, a lady not only noble and virtu- 
 ous but proud and high-spirited, vows to avenge 
 her father's death. Though betrothed to a 
 nobleman named Octavio, she will never know 
 any peace until her father, of whose death she 
 feels herself the innocent cause, is avenged. 
 Her only hope is death, and in that she offers 
 the liveliest contrast to her betrothed, who 
 shows himself a gentleman of good temper and 
 qualities, but of a mind too weak for his lady's 
 high-flown courage and truly tragic character. 
 Though Octavio wants to avenge Donna Anna's 
 father, he would do it only to please her. His 
 one aim is marriage with her. Her passionate 
 feelings he does not understand. 
 
 Don Juau, pursued not only by Donna Anna 
 but also by his own neglected bride, Donna El- 
 vira, tries to forget himself in debauches and 
 extravagances. His servant Leporello, in every 
 manner the real counterpart of his master, is his 
 
 89
 
 The Standard Operaglass 
 
 aider and abettor. A more witty, a more amus- 
 ing figure does not exist. His fine sarcasm 
 brings Don Juan's character into bold relief; 
 they complement and explain each other. 
 
 But Don Juan, passing from one extravagance 
 to another, sinks deeper; everything he tries be- 
 gins to fail him, and his doom approaches. He 
 begins to amuse himself with Zerlina, the young 
 bride of a peasant named Masetto, but each 
 time when he seems all but successful in his 
 aim of seducing the little coquette, his enemies, 
 who have united themselves against him, inter- 
 fere and present a new foe in the person of the 
 bridegroom, the plump and rustic Masetto. At 
 last Don Juan is obliged to take refuge from 
 the hatred, of his pursuers. His flight brings 
 him to the grave of the dead governor, in whose 
 memory a life-size statue has been erected in his 
 own park. Excited to the highest pitch and 
 almost beside himself, Don Juan even mocks 
 the dead; he invites him to a supper. The 
 statue moves its head in acceptance of the dread- 
 ful invitation of the murderer. 
 
 Towards evening Donna Elvira comes to see 
 him, willing to pardon everything if only her 
 lover will repent. She fears for him and. for his 
 fate, she does not ask for his love, but only for 
 the repentance of his follies, but all is in vain. 
 The half-drunken Don Juan laughs at her, and 
 so she leaves him alone. Then the ghostly 
 
 90
 
 Don Pasquale 
 
 guest, the statue of the governor, enters. He 
 too tries to move his host's conscience; he fain 
 would save him in the last hour. Don Juan 
 remains deaf to those warnings of a better self, 
 and so he incurs his doom. The statue vanishes, 
 the earth opens, and the demons of hell devour 
 Don Juan and his splendid palace. 
 
 DOj* PASQUALE 
 
 Comic Opera in three acts by DONIZETTI 
 
 Text done after SER MARCANTONIO 
 by SALVATORE GAMMERANO 
 
 This opera, one of Donizetti's last compo- 
 sitions, is a little jewel of the modern Italian 
 kind. Its music is sparkling with wit and 
 grace, and may rank among the best comic 
 operas, of which we have not too many. The 
 reason why it does not occupy the place on the 
 German stage which is due to its undoubted 
 merit is the somewhat deficient German trans- 
 lation of the text book, and the very small frame 
 in which it plays, without any of the dramatic 
 pomp and decoration the people are wont to see 
 in our times, and finally it does not occupy a 
 whole evening, and must needs have a ballet to 
 fill it up. The four persons acting in the play 
 
 91
 
 The Standard Operaglass 
 
 have excellent parts for good singers, as Doni- 
 zetti thoroughly knew how to treat the human 
 voice. 
 
 The Avealthy old bachelor Don Pasquale de- 
 sires to marry his only nephew to a rich and 
 noble lady, but, finding a hindrance in Ernesto's 
 love for another, decides to punish his head- 
 strong nephew by entering himself into mar- 
 riage and thus disinheriting Ernesto. 
 
 His physician Malatesta, Ernesto's friend, 
 pretends to have discovered a suitable partner 
 for him in the person of his (Malatesta's) sister, 
 an "ingenue," educated in a convent and ut- 
 terly ignorant of the ways of the world. 
 
 Don Pasquale maliciously communicates his 
 intentions to the young widow Nbrina, telling 
 her to distrust Malatesta. The latter, however, 
 has been beforehand with him, and easily per- 
 suades Norina to play the part of his (Mala- 
 testa's) sister, and to endeavor, by the beauty 
 of her person and the modesty of her demean- 
 or, to gain the old man's affections. Should 
 she succeed in doing so, Don Pasquale and 
 Norina are to go through a mock form of mar- 
 riage — a notary, in the person of a cousin 
 named Carlo, has already been gained for the 
 purpose — after which Norina, by her obstinacy, 
 extravagance, capriciousness and coquetry, is to 
 make the old man repent of his infatuation and 
 ready to comply with their wishes. 
 
 92
 
 Don Pasquale 
 
 Urged on by her love for Ernesto, Norina 
 consents to play the part assigned to her, and 
 the charming simplicity of her manners, her 
 modesty and loveliness so captivate the old man 
 that he falls into the trap and makes her an offer 
 of his hand. The marriage takes place, and 
 one witness failing to appear, Ernesto, who 
 happens to be near, and who is aware of the 
 plot, is requested to take his place. Besides 
 appointing Norina heiress of half his wealth, 
 Don Pasquale at once makes her absolute mis- 
 tress of his fortune. Having succeeded in at- 
 taining her aim, Norina throws aside her mask, 
 and by her self-willedness, prodigality and way- 
 wardness drives her would-be husband to de- 
 spair. She squanders his money, visits the 
 theatre on the very day of their marriage, ignor- 
 ing the presence of her husband in such a man- 
 ner that he wishes himself in his grave, or rid 
 of the termagant who has destroyed the peace 
 of his life. The climax is reached on his dis- 
 covering among the accounts, all giving proof of 
 his wife's reckless extravagance, a billet-doux, 
 pleading for a clandestine meeting in his own 
 garden. Malatesta is summoned, and cannot 
 help feeling remorse on beholding the wan and 
 haggard appearance of his friend. He recom- 
 mends prudence, advises Don Pasquale to assist, 
 himself unseen, at the proposed interview, and 
 then to drive the guilty wife from the house. 
 
 93
 
 The Standard Operaglass 
 
 The jealous husband, though frankly confessing 
 the folly he had committed in taking so young 
 a wife, at first refuses to listen to Malatesta's 
 counsel, and determines to surprise the lovers 
 and have them brought before the judge. 
 Finally, however, he suffers himself to be dis- 
 suaded, and. leaves the matter in Malatesta's 
 hands. 
 
 In the last scene the lovers meet, but Ernesto 
 escapes on his uncle's approach, who is sorely 
 disappointed at having to listen to the bitter re- 
 proaches of his supposed wife, instead of being 
 able to turn her out of doors. 
 
 Meanwhile Malatesta arrives, summons Er- 
 nesto, and in his uncle's name gives his (Don 
 Pasquale's) consent to Ernesto's marriage with 
 Norina, promising her a splendid dowry. 
 
 Don Pasquale's wife, true to the part she has 
 undertaken to play, of course opposes this ar- 
 rangement, and Don Pasquale, too happy to be 
 able to thwart his wife, hastens to give his con- 
 sent, telling Ernesto to fetch his bride. His 
 dismay on discovering that his own wife, whom 
 he has only known under the name of Sophronia, 
 and his nephew's bride are one and the same 
 person may be easily imagined. His rage and 
 disappointment are, however, somewhat dimin- 
 ished by the reflection that he will no longer 
 have to suffer from the whims of the young 
 wife, who had inveigled him into the ill-assorted 
 
 94
 
 Donna Diana 
 
 marriage, and he at length consents, giving the 
 happy couple his blessing. 
 
 DONNA DIANA 
 
 Comic Opera in three acts by E. VON REZNICEK 
 
 Text after a free translation of MORETO'S 
 comedy of the same name 
 
 Many are the authors who have dramatized 
 this old but ever young and fresh comedy, but 
 yet none have so nearly reached the ideal as 
 this young composer. His manner of inter- 
 weaving Spanish national airs is particularly 
 successful, because they tinge the piece with 
 peculiar local coloring. 
 
 The Spanish melodies are chosen with ex- 
 quisite elegance and skill. 
 
 Reznicek's manner of composing is thor- 
 oughly modern; he has learnt much from Wag- 
 ner and Liszt and not least from Verdi's " Fal- 
 staff "; nevertheless he is always original, fresh 
 and so amusing, so sparkling with wit and 
 genius, that I am tempted to call Donna Diana 
 the modern comic opera par excellence. Some- 
 times the orchestra is almost too rich for More- 
 to's playful subject, but this is also quite mod- 
 ern, and besides it offers coloristic surprises very 
 rare in comic operas. 
 
 95
 
 The Standard Operaglass 
 
 In the first act the waltz is particularly charm- 
 ing; in the second the ballet music and Flo- 
 retta's song (im Volkston) are so beautiful that 
 once heard they can never be forgotten. The 
 bolero-rhythm and the three-eight measure are 
 typical of the Spanish style, which flows through 
 almost all the songs and recitations, giving spark- 
 ling piquancy to the opera. In the last act, 
 where love conquers intrigue and gaiety, the 
 music reaches its culminating point. 
 
 The scene is laid in Don Diego's palace at 
 Barcelona at the time of Catalonia's independ- 
 ence. 
 
 Don Cesar, Prince of Urgel, is resting in 
 Diego's hall, after having won the first prize in 
 a tournament. He muses sadly on Donna 
 Diana's coldness, which all his victories fail to 
 overcome. Perrin, the clown, takes pity on him , 
 and, after having won his confidence, gives him 
 the advice to return coldness for coldness. Don 
 Cesar promises to try this cure, though it seems 
 hard to hide his deep love. Floretta, Donna 
 Diana's foster-sister, enters to announce the issue 
 of the tournament. She fain would flirt with 
 Perrin, to whom she is sincerely attached, but 
 he turns a cold shoulder to her, and lets her de- 
 part in a rage, though he is over head and ears 
 in love with the pretty damsel. The next scene 
 opens on a brilliant crowd, all welcoming the 
 Count Sovereign of Barcelona and his daughter 
 
 96
 
 Donna Diana 
 
 Donna Diana. The Count accosts them gracious- 
 ly, and making sign to the three gallant Princes, 
 Don Cesar of Urgel, Don Louis of Bearne and 
 Gaston Count de Foie, they advance to receive 
 their laurels on bended knee from the fair hands 
 of the Princess, who crowns Cesar with a golden 
 wreath, while the two other princes each win a 
 silver prize. When the ceremony is ended, Don 
 Diego turns to his daughter, beseeching her to 
 give an heir to the country by selecting a hus- 
 band, but Diana declares that, though she is 
 willing to bend to her father's will, love seems 
 to poison her, and marriage is death. Gaston and 
 Louis, nothing daunted, determine to try their 
 luck even against the fair lady's will, and while 
 the father prays to God, to soften his daughter's 
 heart, Cesar's courage sinks ever lower, though 
 Perrin encourages him to begin the farce at once. 
 Donna Diana alone is cool and calm; inwardly 
 resolved to keep her hand and heart free, she is 
 deeply envied by her two cousins, Fenisa and 
 Laura, who would gladly choose one of the gal- 
 lant warriors. Perrin now advises the Princes 
 to try their wit and gallantry on the Princess, 
 and Don Diego consenting to his daughter's 
 wish, that she need only suffer their courtship 
 for a short time, she coolly accepts this pro- 
 posal. Gaston begins to plead his cause, declar- 
 ing that he will not leave Barcelona without a 
 bride, and Louis follows his example; both are 
 7 97
 
 The Standard Operaglass 
 
 greatly admired, and applauded by the assist- 
 ants, only Diana finds their compliments ridicu- 
 lous and their wit shallow. Cesar, without a 
 word, retires to the background, and. when asked 
 by the Princess why he does not compete with 
 his rivals answers "Because I will not love, 
 nor ever wish to be loved; I only woo you to 
 show you my regard." Greatly mortified, Diana 
 resolves to punish such pride by subjugating 
 him to her charms. 
 
 In the second act a fancy ball is going on in 
 the Prince's gardens. Each of the ladies has a 
 bunch of different colored ribbons, and decides 
 to get the man she loves for her own. Diana 
 now explains that each knight is to choose a 
 color which entitles him to own the lady who 
 wears the same colors as long as the masquer- 
 ade lasts. Don Louis, choosing green, gets 
 Donna Laura; Don Gaston, wearing red, is 
 chosen by Fenisa; Perrin, loudly asserting that, 
 abhorring love, he chooses the obscure color 
 black, wins Floretta; and Don Cesar, choosing 
 white, finds himself Donna Diana's champion. 
 She takes his arm, and soon her beauty so in- 
 flames him that, forgetting good advice and pru- 
 dence, he throws himself at her feet, confessing 
 his love. Triumphant, but mockingly, she turns 
 from him, and thereby suddenly recalls his 
 pride. In a bantering tone he asks her if she 
 really believed that his love making, to which 
 
 98
 
 Donna Diana 
 
 duty compelled him for the evening, was true? 
 Hot with wrath and shame at being so easily 
 duped, she bids him leave her, and when alone 
 resolves to have her revenge. She calls Perrin 
 to fetch her cousins, and charges him to lei 
 Cesar know that he can hear her sing in the 
 gardens. Then she is adorned with the most 
 bewitching garments, and, surrounded by her at- 
 tendants, begins to play and sing most sweetlv 
 as soon as she hears Don Cesar's steps. The 
 latter would have succumbed to the temptation 
 if he had not been warned by Perrin not to 
 listen to the siren. So they philander in the 
 grounds, admiring the plants, and to all appear- 
 ance deaf to beauty and song. Impatiently 
 Diana signs Floretta to let Cesar know that he 
 is in the presence of his Princess, at which our 
 hero, like one awaking from a dream, turns, and 
 bowing to the Princess, and excusing himself 
 gravely, disappears, leaving Diana almost de- 
 spairing. 
 
 In the third act Perrin gives vent to his 
 happy feelings about his love for Floretta, and 
 about the Princess, whose state of mind he 
 guesses. He is delighted to see his scheme suc- 
 cessful, and sings a merry air, which is heard 
 by Diana. Behind the scene Don Louis is 
 heard, singing a serenale to Donn i Laura, 
 with whom he has fallen in love, and on the 
 other side Don Gaston sings Fenisa's praise, so 
 
 9Q
 
 The Standard Operaglass 
 
 that poor Diana, sinking back on a sofa, is all at 
 once surrounded by loving couples, who shame- 
 lessly carry on their courting before her very 
 eyes, and then retire, casting mischievous glances 
 at their disgusted mistress. Diana, who sees 
 Cesar approaching, determines to try a last ex- 
 pedient, in order to humble his pride. Coolly 
 she explains to him that she has resolved to yield 
 to her father's wish, and to bestow her hand on 
 Prince Louis. For a moment Cesar stands pet- 
 rified, but his guardian angel, in the guise of 
 Perrin, whispers, from behind the screen, to hold 
 out, and not to believe in woman's wiles. So 
 he controls himself once more, and congratu- 
 lates her, wishing the same courtesy from the 
 Princess, because, as he calmly adds, he has got 
 betrothed to Donna Laura. 
 
 That is the last stroke for Diana; her pride is 
 humbled to the dust. All her reserve vanishes, 
 when lier secret love for the hero, which she has 
 not even owned to herself, is in danger. She 
 altogether breaks down, and so she is found by 
 her father, who enters, loudly acknowledging 
 Don Louis as his son-in-law, and sanctioning 
 Don Cesar's choice of Donna Laura. But Cesar 
 begs to receive his bride from Diana's own 
 hands, at which the latter rising slowly, asks 
 her father if he is still willing to leave to her 
 alone the selection of a husband. Don Diego 
 granting this, she answers: "Then I choose 
 
 ioo
 
 Les Dragons de Villars 
 
 him who conquered pride through pride." 
 "And who may this happy mortal be?" says 
 Cesar. " You ask? It's you, my tyrant," she 
 replies, and with these words sinks into her 
 lover's open arms. 
 
 LES DRAGONS DE YILLARS 
 (THE BELL OF THE HERMIT) 
 
 Comic Opera in three acts 
 
 by LOUIS AIM£ MATLLART 
 
 Text after the French by G. ERNST 
 
 Mai Hart, who studied under Halevy in Paris, 
 and received the Roman prize (prix de Rome) 
 in the year 1841, composed six operas, all of 
 .vhich are now almost forgotten with the single 
 exception of "Les Dragons de Villars" (in 
 1856), which found favor in Germany by virtue 
 of its wit and grace. 
 
 The music sparkles with French charm and 
 gaiety of the most exquisite kind and these are 
 the merits by which this unpretentious opera 
 has kept its place by the side of its grander and 
 more pompous sisters. 
 
 The tale is clever and amusing. 
 
 The scene is laid in a French mountain village 
 near the frontier of Savoy, towards the close of 
 the war in the Cevennes, in 1704. 
 
 ior 
 
 ■TATB 
 •ANTA 
 
 - 
 
 So*" 
 
 '* 
 
 i*
 
 The Standard Operaglass 
 
 In the first act peasant women in the service 
 of Thibaut, a rich country Squire, are collecting 
 fruit. Georgette, Thibaut's young wife, con- 
 trols their work. In compliance with a general 
 request she treats them to a favorite Provencal 
 song, in which a young girl, forgetting her first 
 vows made to a young soldier, gives her hand to 
 another suitor. She is interrupted by the sound 
 of trumpets. Thibaut, hurrying up in great dis- 
 tress, asks the women to hide themselves at once, 
 because soldiers are marching into the village. 
 He conceals his own wife in the pigeon-house. 
 A detachment of dragoons arrives, and Belamy, 
 their corporal, asks for food and wine at Thi- 
 baut's house. He learns that there is nothing 
 to be had, and in particular that all the women 
 have fled, fearing the unprincipled soldiers of 
 King Louis XIV., sent to persecute the poor 
 Huguenots or Camisards, who are hiding in the 
 mountains — further that the " Dragons de Vil- 
 lars" are said to be an especially wild and dis- 
 solute set. 
 
 Belamy is greatly disgusted, and, after having 
 had his dinner and a sleep in Thibaut's own bed, 
 decides to march on. The Squire gladly offers 
 to accompany the soldiers to St. Gratien's grotto, 
 near the hermitage, where they have orders to 
 search for the Huguenot refugees. 
 
 While Belamy is sleeping, Thibaut calls his 
 servant Silvain and scolds him because, though 
 
 102
 
 Les Dragons de Villars 
 
 his best servant, lie has now repeatedly been ab- 
 sent over-long on his errands; finally orders him 
 to saddle the mules. 
 
 Stammering, Silvain owns that they have gone 
 astray in the mountains, but that he is sure of 
 their being fouud in due time. AVhile Thibant 
 expresses his fear that they may be stolen by the 
 fugitives, Rose Friquet, an orphan girl, brings 
 the mules, riding on the back of one of them. 
 Thibant loads her with reproaches, but Silvain 
 thanks her warmly, and though she mockingly 
 repudiates his thanks, he discovers that she has 
 taken the mules in order not to let the provost 
 into Silvain's secret. The fact is that Silvain 
 carries food every day to the refugees, and Eose 
 Friquet, the poor goat-keeper, who is despised 
 and supposed to be wicked and malicious, pro- 
 tects him in her poor way, because he once in- 
 tercepted a stone which was meant for her 
 head. 
 
 While the soldiers are dining, Belamy, who 
 has found Georgette's bonnet, demands an ex- 
 planation. 
 
 Thibant, confused, finds a pretext for going 
 out, but Rose betrays to Belamy first the wine- 
 cellar and then Georgette's hiding-place. The 
 young wife cries for help, and Rose rnns in to 
 fetch Thibaut. Belamy is delighted with the 
 pretty Georgette, but she tells him, rather anx- 
 iously, that all the wives of the village must 
 
 103
 
 The Standard OperagJass 
 
 needs remain entirely true to their husbands, 
 for the hermit of St. Gratien, though dead for 
 two hundred years, is keeping rigid watch, and 
 betrays every case of infidelity by ringing a little 
 bell, which is heard far and wide. 
 
 Belamy is somewhat desirous to try the ex- 
 periment with Georgette, and asks her to accom- 
 pany him to the hermitage instead of her hus- 
 band. 
 
 After having found the other women in the 
 village, the soldiers, to Thibaut's great vexa- 
 tion, decide to stay and amuse themselves. Sil- 
 vain rejoices, and, after a secret sign from Rose, 
 resolves to warn the refugees in the evening. 
 
 In the second act Eose and Silvain meet near 
 St. Gratien. Rose, after telling him that all 
 the paths are occupied by sentries, promises to 
 show him a way for the refugees, which she and 
 her goat alone knows. Silvain, thanking her 
 warmly, endeavors to induce her to care more 
 for her outward appearance, praising her pretty 
 features. Rose is delighted to hear for the first 
 time that she is pretty, and the duet ensuing is 
 one of the most charming things in the opera. 
 Silvain promises to be her friend henceforth, and 
 then leaves, in order to seek the Camisards. 
 After this Thibaut appears, seeking his wife, 
 whom he has seen going away with Belamy. 
 Finding Rose, he imagines he has mistaken her 
 for his wife, but she laughingly corrects him, 
 
 104
 
 Les Dragons de Villars 
 
 and he proceeds to search for Georgette. Bel- 
 amy now comes and courts Thibaut's wife. 
 But Rose, seeing them, resolves to free the path 
 for the others. Xo sooner has Belamy tried to 
 snatch a kiss from his companion, than Rose 
 draws the rope of the hermit's bell, and she re- 
 peats the proceeding, until Georgette takes 
 flight, while Thibaut rushes up at the sound of 
 the bell. Belamy reassures him, intimating 
 that the bell may have rung for Rose (though it 
 never rings for girls), and accompanies him to 
 the village. But he soon returns to look for 
 the supposed hermit, who has played him this 
 trick, and finds Rose instead, who does not per- 
 ceive him. To his great surprise, Si 1 vain comes 
 up with the whole troop of refugees, leading 
 the aged clergyman who had been a father to 
 them in his childhood. Silvaiu presents Rose to 
 them as their deliverer, and vows to make her his 
 wife. Rose leads them to the secret path, while 
 Silvain returns to the village, leaving Belamy 
 triumphant at his discovery. 
 
 In the third act we find the people, on the fol- 
 lowing morning, speaking of nothing but Sil- 
 vain's wedding with Rose and of the hermit's 
 bell. Nobody knows who has been the culprit, 
 but Thibaut slily calculates that the hermit has 
 rung beforehand, when Rose, the bride, kissed 
 the dragoon. Having learned that the soldiers 
 had been commanded to saddle their horses in 
 
 105
 
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 the midst of the dancing, the night before, and 
 that Belamy, sure of his prey, has come back, 
 he believes that Rose has betrayed the poor 
 Camisards in order to win the price set on their 
 heads, and this opinion he now communicates to 
 
 Silvain. 
 
 To keep Belamy away from Georgette, the 
 sly Squire has conducted him to the wine-cellar, 
 and the officer, now half drunk, admits having 
 had a rendezvous with Rose. When Thibaut 
 has retired, Belamy again kisses Georgette, and, 
 lo, the bell does not ring this time ! 
 
 Meanwhile Rose comes down the hill, neatly 
 clad, and glowing with joy and pride, and Geor- 
 gette, disregarding Thibaut's reproofs, offers 
 her the wedding garland. The whole village is 
 assembled to see the wedding, but Silvain ap- 
 pears with dark brow, and when Rose radiantly 
 greets him, he pushes her back fiercely, believing 
 that she betrayed the refugees, who are, as he 
 has heard, caught. Rose is too proud to defend 
 herself, but when Georgette tries to console her 
 she silently draws from her bosom a paper con- 
 taining the information that the refugees have 
 safely crossed the frontier. Great is Silvain's 
 shame, and heartfelt his repentance. Suddenly 
 Belamy enters, beside himself with rage, for his 
 prey has escaped, and he has lost his patent as 
 lieutenant, together with the remuneration of 
 200 pistoles, and he at once orders Silvain to be 
 
 1 06
 
 The Dusk of the Gods 
 
 shot. But Rose bravely defends her lover, 
 threatening to reveal the dragoon's neglect of 
 duty. When, therefore, Belamy's superior ap- 
 pears to hear the important news of which the 
 messenger told him, his corporal is only able to 
 6tammerout that nothing in particular has hap- 
 pened, and so, after all, Georgette is saved from 
 discovery, and Rose becomes Silvain's happy 
 bride. 
 
 THE DUSK OF THE GODS 
 
 Third day of the Nibelungen Ring by WAGNER 
 
 This is the end of the great and beautiful 
 tragedy, and really it may be called both a sub- 
 lime and grand conclusion, which unites once 
 again all the dramatic and musical elements of 
 the whole, and presents to us a picture the more 
 interesting and touching, as it is now purely 
 human. The Gods who, though filled with pas- 
 sions and faults like mortals, never can be for 
 us living persons, fall into the background and 
 human beings, full of high aspirations, take 
 their places. The long and terrible conflict be- 
 tween the power of gold and that of love is at 
 last fought out, and love conquers. 
 
 In the Dusk of the Gods we see again the 
 curse which lies on gold, and the sacred bene- 
 diction of true love. Can there bo anything 
 
 107
 
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 more noble, more touching, than Briinnhilde's 
 mourning for Siegfried and the grand sacrifice 
 of herself in expiation of her error? 
 
 The third day opens with a prelude, in which 
 we see three Noras, weaving world's fate. When 
 the cord breaks, they fly; the dawn of another 
 world is upon them. 
 
 In the first act Siegfried bids Briinnhilde fare- 
 well. His active 60ul thirsts for deeds, and 
 Briinnhilde, having taught him all she knows, 
 does not detain him. He gives her the fatal 
 ring in token of remembrance, confiding her to 
 the care of Loge. Then we are transported to 
 the Gibichung's hall on the Ehine. Gunther 
 and his sister Gutruue sit there, together with 
 their gloomy half-brother Hagen. The latter 
 advises his brother to marry, telling him of the 
 beautiful woman guarded by the flames. When 
 he has sufficiently excited Gunther's longing, 
 he suggests that, as Siegfried is the only one 
 able to gain Briinnhilde, Gunther should attach 
 him to his person by giving him Gutrune as 
 wife. This is to be achieved by a draught 
 which has the power of causing oblivion. Who- 
 ever drinks it forgets that ever a woman has ex- 
 isted beside the one who has tended the potion. 
 Hagen well knows of Siegfried's union with 
 Briinnhilde, but Gunther and Gutrune are both 
 ignorant of it. 
 
 Siegfried arrives and is heartily welcomed. 
 
 10S
 
 The Dusk of the Gods 
 
 All turns out as Hageu has foretold. By the 
 fatal potion Siegfried falls passionately in love 
 with Gutrune, so that he completely forgets 
 Briinnhilde. He swears blood brothership to 
 Gunther; and promises to win Briinnhilde for 
 him. Then the two depart on their errand. 
 
 Meanwhile the Walkyrie Waltraute comes to 
 Briinnhilde and beseeches her to render Sieg- 
 fried's ring to the Rhine daughters, in order to 
 save the Gods' from destruction. Briinnhilde 
 refuses to part with the token of her husband's 
 love, and hardly has Waltraute departed than 
 fate overtakes her in the person of Siegfried, 
 who ventures through the flames in Guuther's 
 shape. She vainly struggles against him, he 
 snatches the ring from her, and so she is con- 
 quered. Siegfried holds vigil through the night, 
 his sword separating him and the woman he 
 wooed, and in the early dawn he leads her away 
 to her bridegroom, who takes Siegfried's place 
 unawares. 
 
 In the second act Alberich appears to Hagen. 
 He tells his son of the story of the ring and bids 
 him kill Siegfried and recover the stolen treas- 
 ure for its owner. Siegfried appears, announc- 
 ing Gunther's and Briinnhilde's arrival. The 
 bridal pair is received by all their men, but the 
 joy is soon damped by Briinnhilde recognizing 
 in the bridegroom of Gutrune her own husband. 
 Siegfried does not know her, but she discovers 
 
 109
 
 The Standard Operaglass 
 
 her ring on his hand, and asserting that Gunther 
 won it from her, this hero is obliged to acknowl- 
 edge the shameful role he played. Though 
 Siegfried swears that his sword Northung 
 guarded him from any contact with Gunther's 
 bride, Briinnhilde responds in a most startling 
 manner, and both swear on Hagen's spear that 
 it may pierce them should their words prove 
 false. All this makes a dreadful impression on 
 the weak mind of Gunther. 
 
 When Siegfried has withdrawn in high spirits 
 with his bride Gutrune, Hagen, hoping to gain 
 the ring, offers to avenge Briinnhilde on the 
 faithless Siegfried. Briinnhilde, in her deadly 
 wrath, betrays to him the only vulnerable spot 
 beneath Siegfried's shoulder. Gunther con- 
 sents reluctantlv to their schemes. 
 
 The third act opens with a scene on the 
 Ehine. The Ehine daughters try to persuade 
 Siegfried to render them the ring. He is about 
 to throw it into the water, when they warn him 
 of the evil which will befall him should he re- 
 fuse their request. This awakens his pride, and, 
 laughing, he turns from them, he, the fearless 
 hero. His fellow hunters overtake him, and 
 while he relates to them the story of his life, 
 Hagen mixes a herb with his wine which en- 
 ables him to remember all he has forgotten. 
 Hagen then treacherously drives his spear into 
 Siegfried's back, killing him. He dies with 
 
 no
 
 The Dusk of the Gods 
 
 Brunnhilde's praise on his lips. The funeral 
 march which here follows is one of the most 
 beautiful ever written. When the dead hero is 
 brought to the Gibichung's hall, Gutrune be- 
 wails him loudly. A dispute arises between 
 Hagen and Gunther about the ring, which ends 
 by Hagen slaying Gunther. But, lo, when 
 Hagen tries to strip the ring off the dead hand, 
 the fingers close themselves, and the hand raises 
 itself, bearing testimony against the murderer. 
 Briinnhilde appears to mourn for the dead; 
 6he drives away Gutrune, who sees too late that, 
 under the influence of the fatal draught, Sieg- 
 fried forgot his lawful wife, whom she now rec- 
 ognizes in Briinnhilde. The latter, taking a 
 long farewell of her dead husband, orders a 
 funeral pile to be erected. As soon as Sieg- 
 fried's body is placed on it she lights it with a 
 firebrand, and when it is in full blaze she 
 mounts her faithful steed, leaping with it into 
 the flames. 
 
 When the fire sinks, the Rhine daughters are 
 seen to snatch the ring, which is now purified 
 from its curse by Brunnhilde's death. 
 
 Hagen, trying to wrench it from them, is 
 drawn into the waves and so dies. 
 
 A dusky light, like that of a new dawn, spreads 
 over heaven, and through a mist, Walhalla, with 
 all the Gods sleeping peacefully, may be per- 
 ceived. 
 
 in
 
 The Standard Operaglass 
 EUKYANTHE 
 
 Grand romantic Opera by C. M. VON WEBER 
 Text by HELMINA VON CHBZY 
 
 This opera has not had the success of Oberon 
 or Freischiitz, a fact to be attributed to the 
 weakness of its libretto, and not to its music, 
 which is so grand and noble that it cannot but 
 fill the hearer with admiration and pleasure. 
 
 The overture is one of the finest pieces ever 
 written, and the choruses and solos are equally 
 worthy of admiraton. 
 
 The plot is as follows: 
 
 Adolar, Count of Nevers and Bethel, is be- 
 trothed to Euryanthe of Savoy, and the wedding 
 is to take place, when one day, in the King's 
 presence, Lysiart, Count of Forest and Beau- 
 jolais, suggests that all women are accessible to 
 seduction. He provokes Adolar so much that 
 he succeeds in making him stake his lands and 
 everything he possesses on his bride's fidelity. 
 Lysiart, on the other hand, promises to bring a 
 token of Euryanthe's favor. 
 
 In the following scene we find Euryanthe in 
 the company of Eglantine de Puiset. This 
 lady is a prisoner who has taken refuge in the 
 castle of Nevers, and has ingratiated herself so 
 much with Euryanthe that the latter tenderly 
 
 112
 
 Euryanthe 
 
 befriends the false woman. Asking Euryanthe 
 why she always chooses for her recreation the 
 dreary spot of the park where Adolar's sister 
 Emma lies buried, she is told by her, in confi- 
 dence, that she prays for Emma, who poisoned 
 herself after her lover's death in battle. Her 
 soul could find no rest until the ring which 
 contained the venom should be wet with the 
 tears of a faithful and innocent maid,- shed in 
 her extreme need. No sooner has Euryanthe 
 betrayed her bridegroom's secret than she re- 
 pents doing so, foreboding ill to come. Lysiart 
 enters to escort her to the marriage festival, but 
 he vainly tries to ensnare her innocence, when 
 Eglantine comes to his rescue. She loves 
 Adolar, and, her passion not being returned, she 
 has sworn vengeance. Stealing the fatal ring 
 from the sepulchre, she gives it to Lysiart as a 
 token of Euryanthe's faithlessness, and Lysiart, 
 after having brought Euryanthe to Adolar, 
 shows the ring in presence of the whole court, 
 pretending to have received it from Euryanthe. 
 The poor maideu denies it, but as Lysiart re- 
 veals the mystery of the grave, she cannot deny 
 that she has broken her promise of never tell- 
 ing the secret. 
 
 Adolar, full of despair, surrenders everything 
 to his rival, leading Euryanthe, whom he be- 
 lieves to be false, into the wilderness to kill her. 
 A serpent is about to sting him, when his bride 
 8 "3
 
 The Standard Operaglass 
 
 throws herself between. He kills the reptile, 
 but, after her sacrifice, he is unable to raise 
 his arm against her and so leaves her to her 
 fate. 
 
 She is found by the King and his hunters, 
 and to them she relates the whole story of her 
 error of confiding in the false Eglantine. The 
 King promises to inform Adolar and takes her 
 back with him. Meanwhile Adolar, returning 
 once more to his grounds, is seen by his people. 
 One of them, Bertha, tells him that Euryanthe 
 is innocent, and that Eglantine, who is about 
 to marry Lysiart and to reign as supreme 
 mistress over the country, has been the cul- 
 prit. 
 
 Eglantine, appearing in bridal attire, led by 
 Lysiart, suddenly becomes a prey to fearful re- 
 morse; she sees Emma's ghost, and in her anx- 
 iety reveals the whole plot. Her bridegroom 
 stabs her in his fury, but is at once seized by 
 order of the King, who just then comes upon 
 the scene. Adolar, believing Euryanthe dead, 
 demands a meeting with Lysiart. But the King 
 declares that the murderer must incur the pen- 
 alty of the laws. He renders up to Adolar his 
 possessions and his bride, who the more easily 
 pardons her repentant bridegroom that she has 
 saved his sister's soul by the innocent tears of 
 her misfortune. 
 
 114
 
 The Evangelimann 
 THE EVANGELIMANN 
 
 A Musical Drama in two acts 
 With Text and Music by WILHELM KIENZL 
 
 The author has learnt a great deal since the 
 days in which he composed Urvasi. His music 
 has become more origiual and more independent 
 of great models. The new opera, while not so 
 poetical, is eminently touching and true; the 
 text, founded on fact, runs smoothly and is 
 cleverly done, the verses being well adapted to 
 the music. Like Verga's Cavalleria, the sub- 
 ject is such as to be impressive even without 
 music. 
 
 It is necessary to explain the title of this 
 opera, which signifies a man who goes about 
 reciting biblical verse, after the fashion of street 
 singers. This means of earning a livelihood is 
 unknown in Germany, but forms a specialty in 
 Austria. 
 
 The music of the first act puts one in mind 
 of the Meistersingers; as a whole it is very cap- 
 tivating, fresh and drastic, especially during the 
 ninepin scene. The orchestra predominates, 
 but there are truly poetic airs, which will linger 
 as much in the heart as in the ear of the hearer. 
 Such is: ''0 sweet days of my youth," and in 
 the last act: " Blessed are they who are perse- 
 
 "5
 
 The Standard Operaglass 
 
 cuted," from Christ's Sermon on the Mount. 
 Another charming bit of music is the children's 
 waltz, in which the composer has paraphrased 
 one of Lanner's well-known waltz motives. 
 
 The first scene is laid in the village of St. 
 Ochmar, in Austria, or rather in the court of the 
 convent of the Benedictines of that place. 
 Mathias, a young clerk of the convent, has an 
 interview with Martha, the niece and ward of 
 Frederic Engel, the rich warden of the convent. 
 John, Mathias's elder brother and the village 
 schoolmaster, sees them together. Being in 
 love with the girl himself, he warns her uncle of 
 his brother's courtship and excites his wrath 
 against the lovers, so that Engel, coming across 
 the young people, gruffly tells Mathias that he 
 has already chosen a rich bridegroom for his 
 ward. In vain, the lovers beseech the old man's 
 pity, for his anger only waxes stronger, and he 
 goes so far as to discharge Mathias, warning 
 him to leave the place altogether. Martha, left 
 alone, bemourns her guardian's hardness, and 
 John, thinking to profit by the occasion, ap- 
 proaches her and asks for her hand. But he is 
 so decidedly rejected by Martha that he swears 
 to have his revenge. 
 
 Meanwhile the evening approaches,' and the 
 country folk come to the inn next to the con- 
 vent to play their game of ninepins. During 
 this very animated scene Mathias finds Mag- 
 
 116
 
 The Evangelimann 
 
 dalen, his sweetheart's friend, whom lie entreats 
 to take a message to Martha, asking her to meet 
 him at eleven o'clock in the bower near the 
 skittleground for a last farewell. John hears 
 this, aud when night sets in, and the gates of the 
 convent are closed, he remains outside alone, 
 hiding behind the barn floor. When the clock 
 strikes eleven, Martha and Mathias approach the 
 bower. They swear to remain true to each other, 
 come what may. Their tender words excite 
 Johu's jealousy to the utmost, aud while the 
 lovers are engrossed with their sorrow and make 
 plans for the future, he sets fire to the barn 
 floor. Soon the flames leap up to the sky, but 
 the lovers are oblivious of everything, till they 
 hear the watchman's cry of fire. Mathias per- 
 suades Martha to hide herself; so he is found 
 alone on the place and seized by the crowd and 
 brought before the warden. Engel at once 
 jumps to the conclusion that he has been the 
 incendiary, to revenge himself for Engel r s hard- 
 heartedness, and, despite his protestations of in- 
 nocence, Mathias is put in chains and carried 
 away, while Martha, who comes out from her 
 hiding-place, falls back in a swoon, after pro- 
 claiming his innocence. 
 
 The second act takes place thirty years later 
 in Vienna. Magdalen sits under a lime-tree, in 
 the court of an old house, and muses sadly over 
 days gone by. After long, lonely years, she has 
 
 "7
 
 The Standard Operaglass 
 
 found the schoolmaster John sick unto death, 
 and now finds comfort in nursing him. Noth- 
 ing has ever been heard of Mathias again, and 
 she wonders sadly what has become of him. 
 Children throng into the court, they dance 
 around the lime-tree, while an old organ grinder 
 plays pretty waltz tunes to their steps. While 
 they are dancing, an Evangelimann comes into 
 the court. He reads and sings to the children 
 the verses from Christ's Sermon on the Mount, 
 and teaches them to repeat the melody. When 
 they are able to sing it faultlessly, he faintly 
 asks for a drink of water, which Magdalen 
 brings him. She asks him whence he comes, 
 and when he tells her that his father's house 
 stood in St. Othmar, she recognizes in him her 
 old friend Mathias. Then he relates his sad 
 story, how he lay imprisoned for twenty years, 
 the real incendiary having never been discov- 
 ered. When he was set free, he returned home, 
 only to find that his bride had drowned herself. 
 All his efforts to earn a livelihood were fruit- 
 less; nobody would employ the convict, until he 
 was at last obliged to become an Evangelimann, 
 and wandered from place to place, preaching 
 the gospel to the poor, and getting such small 
 bounties they could afford to give. Exhausted 
 by hunger and overcome by sad remembrances, 
 Mathias sinks down on the bench half fainting, 
 but is revived by bread and broth brought to 
 
 118
 
 The Evangelimann 
 
 him by Magdalen, who earnestly entreats him 
 to return soon, and to bring comfort to the sick 
 man she is nursing. 
 
 The last scene takes place a day later in 
 John's sick-room. He is lying on a couch, a 
 prey to bitter thoughts and pangs of conscience, 
 when his brother's voice reaches his ear from 
 below, and dimly awakens sweet memories in 
 him. He bids Magdalen to fetch the singer, 
 and when the latter enters he feels so drawn 
 to him, without recognizing his brother, that he 
 begs leave to unburden his soul to him. 
 
 Mathias, soon recognizing his brother, is about 
 to fold him in his arms, but John despairingly 
 shrinks from him, while confessing his guilt in 
 broken words and beseeching his forgiveness. 
 The unfortunate Mathias, whose life has been 
 so utterly ruined by his brother, battles fiercely 
 with his natural feelings. But when he sees 
 the wretched John on his knees before him, so 
 broken down and exhausted, he finally forgives 
 him. With a last faint gasp of thanks, John 
 falls back and dies, while Magdalen prays, " And 
 forgive us our trespasses, as- we forgive those 
 that trespass against us." Outside the chil- 
 dren's voices are heard once more: "Blessed 
 are they that are persecuted for righteousness' 
 sake; for theirs is the Kingdom of Heaven." 
 
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 FALSTAFF. 
 
 A lyric Comedy in three acts by GIUSEPPE VERDI. 
 Text by ARRIGO BOITO. 
 
 Nobody who hears this opera would believe 
 that it has been written by a man in his eigh- 
 tieth year. So much freshness, wit and origi- 
 nality seem to be the privilege of youth alone. 
 But the wonder has been achieved, and Verdi 
 has won a complete success with an opera which 
 runs in altogether different lines from his old 
 ones, another wonder of an abnormally strong 
 and original mind. 
 
 Falstaff was first represented in Milan in 
 February, 1893; since then it has made its way 
 to all theatres of renown, and it is now indis- 
 putable that we have in it a masterpiece of com- 
 position and orchestration. Those who only 
 look for the easy-flowing melodies of the 
 younger Verdi will be disappointed; art is pre- 
 dominant, besides an exuberant humor, full of 
 charm for every cultivated hearer. The num- 
 bers which attract most are the gossiping scene 
 between the four women in the first act, Fal- 
 staff's air " Quand'ero paggio del Duca di Nor- 
 folk era sottile " in the second, and the fairy 
 music in the last act. 
 
 The text is so well known to all readers of 
 Shakespeare, that it may be recorded quite 
 
 120
 
 Falstaff 
 
 briefly. It is almost literally that of " The Merry 
 Wives of Windsor." The first scene is laid in 
 the Garter Inn of that town. After a quarrel 
 with the French Physician Dr. Cajns, who has 
 been robbed while drunk by FalstafTs servants 
 Bardolph and Pistol, Falstaff orders them off 
 with two love-letters for Mrs. Alice Foi'd and 
 Mrs. Meg Page. The knaves refusing indig- 
 nantly to take the parts of go-betweens, Falstaff 
 sends them to the devil and gives the letters to 
 the page Robin. 
 
 In the second act the two ladies, having shown 
 each other the love-letters, decide to avenge 
 themselves on the- fat old fool. 
 
 Meanwhile FalstafTs servants betray their 
 master's intentions towards Mrs. Ford to her 
 husband, who swears to guard his wife, and to 
 keep a sharp eye on Sir John. Then ensues a 
 love scene between Fenton and Mr. Ford's 
 daughter Anna, who is destined by her father 
 t> marry the rich Dr. Cajus, but who, by far, 
 prefers her poor suitor Fenton. 
 
 After a while, the merry wives assemble again, 
 in order to entice Falstaff into a trap. Mrs. 
 Quickley brings him an invitation to Mrs. 
 Ford's house, in absence of the lady's husband, 
 which Sir John accepts triumphantly. 
 
 Sir John is visited by Mr. Ford, who assumes 
 the name of Mr. Horn, and is nothing loath to 
 drink the bottles of old Cyprus wine which the 
 
 121
 
 The Standard Operaglass 
 
 latter has brought with him. Born also pro- 
 duces a purse filled with sovereigns, and entreats 
 Falstaff to use it in order to get admittance to a 
 certain Mrs. Ford, whose favor Born vainly 
 sought. Falstaff gleefully reveals the rendez- 
 vous which he is to have with the lady, and 
 thereby leaves poor disguised Mr. Ford a prey 
 to violent jealousy. 
 
 The next scene contains Falstaff 's well-known 
 interview with mischievous Alice Ford, which 
 is interrupted by Mrs. Meg's announcement of 
 the husband. 
 
 Falstaff is packed into a washing basket, while 
 husband and neighbors search, for him in vain. 
 This scene, in which Falstaff, half suffocated, 
 alternately sighs and begs to be let out, while 
 the women tranquilly sit on the basket and 
 enjoy their trick, is extremely comic. The bas- 
 ket, with Falstaff, wash and all, is turned over 
 into a canal, accompanied by the women's 
 laughter. . 
 
 In the third act Mrs. Quickley succeeds once 
 more in enticing the old fool. She orders him to 
 another rendezvous in the Park at midnight, 
 and advises him to come in the disguise of 
 Heme, the black hunter. The others hear of 
 the joke, and all decide to punish him thor- 
 oughly for his fatuity. Ford, who has promised 
 Dr. Cajus to unite Anna to him that very 
 night, tells him to wear a monk's garb, and also 
 
 122
 
 Fidelio 
 
 reveals to him that Anna is to wear a white 
 dress with roses. But his wife, overhearing 
 this, frustrates his designs. She gives a black 
 monk's garb to Fenton, while Anna chooses the 
 costume of the Fairy Queen Titania. When 
 Falstaff appears in his disguise he is attacked on 
 all sides by fairies, wasps, flies and mosquitoes, 
 and they torment him long, until he cries for 
 mercy. Meanwhile Cajus, in a gray monk's garb, 
 looks for his bride everywhere, until a tall veiled 
 female, in flowing white robes (Bardolph), falls 
 into his arms; on the other side Anna appears 
 with Fenton. Both couples are wedded, and 
 only when they unveil is the mistake discov- 
 ered. With bitter shame the men see how they 
 have all been duped by some merry and clever 
 women, but they have to make the best of a 
 bad case, and so Ford grants his benediction to 
 the happy lovers, and embraces his wife, only 
 too glad to find her true and faithful. 
 
 FIDELIO 
 
 Opera in two acts by L. van BEETHOVEN 
 
 This opera, the only one by the greatest of 
 German composers, is also one of the most ex- 
 quisite we possess. The music is so grand and 
 sublime, so passionate and deep, that it enters 
 
 123
 
 The Standard Operaglass 
 
 into the heart of the hearer. The libretto is also 
 full of the highest and most beautiful feeling. 
 
 Florestan, a Spanish nobleman, has dared to 
 blame Don Pizarro, the governor of the state 
 prison, a man as cruel as he is powerful. Pi- 
 zarro has thus become Florestan 's deadly foe; 
 he has seized him secretly and thrown him into 
 a dreadful dungeon, reporting his death to the 
 Minister. 
 
 But this poor prisoner has a wife, Leonore, 
 who is as courageous as she is faithful. She 
 never believes in the false reports, but, disguis- 
 ing herself in male attire, under the name of 
 Fidelio, resolves not to rest until she has found 
 her husband. 
 
 In this disguise we find her in the first act; 
 she has contrived to get entrance into the fort- 
 ress where she supposes her husband imprisoned, 
 and by her gentle and courteous behavior and 
 readiness for service of all kinds has won not 
 only the heart of Rocco, the jailer, but that of 
 his daughter Marcelline, who falls in love with 
 the gentle youth, and neglects her former lover, 
 Jaquino. Fidelio persuades Eocco to let her 
 help him in his office with the prisoners. Quiv- 
 ering with mingled hope and fear, she opens the 
 prison gates, to let the state prisoners out into 
 the court, where they may for once have air and 
 sunshine. 
 
 But, seek as she may, she cannot find her hus- 
 
 124
 
 Fidelio 
 
 band, and, in silent despair, she deems herself 
 baffled. 
 
 Meanwhile Pizarro has received a letter from 
 Sevilla announcing the Minister's forthcoming 
 visit to the fortress. Pizarro, frightened at the 
 consequences of such a call, resolves to silence 
 Florestan for ever. He orders the jailer to kill 
 him, but the old man will not burden his soul 
 with a murder, and refuses firmlv. Then Pi- 
 zarro himself determines to kill Florestan, and 
 summons Rocco to dig a grave in the dungeon, 
 in order to hide all traces of the crime. 
 
 Rocco, already looking upon the gentle and 
 diligent Fidelio as his future son-in-law, con- 
 fides to him his dreadful secret, and, with fear- 
 ful forebodings, she entreats him to accept her 
 help in the heavy work. Pizarro gives his per- 
 mission, Rocco being too old and feeble to do 
 the work quickly enough if alone; Pizarro has 
 been rendered furious by the indulgence granted 
 to the prisoners at Fidelio's entreaty, but a feel- 
 ing of triumph overcomes every other when he 
 sees Rocco depart for the dungeon with his as- 
 sistant. 
 
 Here we find poor Florestan chained to a 
 stone; he is wasted to a skeleton, as his food has 
 been reduced in quantity, week by week, by the 
 cruel orders of his tormentor. He is gradually 
 losing his reason; he has visions, and in each 
 one beholds his beloved wife. 
 
 125
 
 The Standard Operaglass 
 
 When Leonore recognizes him she well-nigh 
 faints, but, with a supernatural effort of strength 
 she rallies,' and begins her work. She has a 
 piece of bread with her, which she gives to the 
 prisoner, and with it the remainder of Rocco's 
 wine. Rocco, mild at heart, pities his victim 
 sincerely, but he dares not act against the orders 
 of his superior, fearing to lose his position, or 
 even his life. 
 
 While Leonore refreshes the sick man, Rocco 
 gives a sign to Pizarro that the work is done, 
 and bids Fidelio leave; but she only hides her- 
 self behind a stone pillar, waiting with deadly 
 fear for the coming event and decided to save 
 her husband or to die with him. 
 
 Pizarro enters, secretly resolved to kill not 
 only his foe but also both witnesses of his 
 crime. He will not kill Florestan, however, 
 without letting him know who his assailant is. 
 So he loudly shouts his own much-feared name, 
 but while he raises his dagger, Leonore throws 
 herself between him and Florestan, shielding 
 the latter with her breast. Pizarro, stupefied 
 like Florestan, loses his presence of mind. 
 Leonore profits by it, and points a pistol at 
 him, with which she threatens his life should 
 he attempt another attack. At this critical 
 moment the trumpets sound, announcing the 
 arrival of the Minister, and Pizarro, in im- 
 potent wrath, is compelled to retreat. They 
 
 126
 
 La Figlia del Reggimento 
 
 are all summoned before the Minister, who is 
 shocked at seeing his old friend Florestan in 
 this sad state, but not the less delighted with, 
 and full of reverence for, the noble courage of 
 Leonore. 
 
 Pizarro is conducted away in chains, and the 
 faithful wife with her own hands removes the 
 fetters which still bind the husband for whom 
 she has just won freedom and happiness. 
 
 Marcelline, feeling inclined to be ashamed of 
 her mistake, returns to her simple and faithful 
 lover Jaquino. 
 
 LA FIGLIA DEL KEGGIMENTO 
 
 Comic Opera in two acts by GAETANO DONIZETTI 
 Text by ST. GEORGE and BAYARD 
 
 This opera is one of the few of Donizetti's 
 numerous works which still retain their attrac- 
 tion for the theatre visitor; the others are his 
 Lucrezia Borgia and Lucia di Lammermoor. 
 
 The "Daughter of the Regiment " happily 
 combines Italian richness of melody with French 
 "esprit" and French sallies, and hence the 
 continued charm of this almost international 
 music. 
 
 The libretto can be accounted good. 
 
 The scene in the first act is laid near Bologna 
 
 127
 
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 in the year 1815, the second act in the castle of 
 the Marchesa di Maggioriviglio. 
 
 Mary, a vivandiere, has been found and edu- 
 cated by a French sergeant named Sulpice, and 
 therefore belongs in a sense to his regiment, 
 which is on a campaign in Italy. She is called 
 the "daughter" of the regiment, which has 
 adopted her, and she has grown up, a bright 
 and merry girl, full of pluck and spirit, the pet 
 and delight of the whole regiment. 
 
 Tonio, a young Swiss, who has fallen in love 
 with Mary, is believed by the grenadiers to be a 
 spy, and is about to be hanged. But Mary, 
 knowing that he has only come to see her, tells 
 them that he lately saved her life, when she 
 was in danger of falling over a precipice. This 
 changes everything, and on his expressing a de- 
 sire to become one of them the grenadiers suf- 
 fer the Swiss to enlist into their company. 
 After the soldiers' departure he confesses his 
 love to Mary, who returns it heartily. The 
 soldiers agree to give their consent, when the 
 Marchesa di Maggiorivoglio appears, and by a 
 letter once affixed to the foundling Mary, ad- 
 dressed to a Marchesa of the same name, and 
 carefully kept by Sulpice, it is proved that 
 Mary is the Marchesa's niece. Of course this 
 noble lady refuses her consent to a marriage 
 with the low-born Swiss, and claims Mary from 
 her guardian. With tears and laments, Mary 
 
 128
 
 La Figlia del Reggimento 
 
 takes leave of her regiment and her lover, who 
 at once decides to follow her. But he has en- 
 listed as a soldier, and is forbidden to leave the 
 ranks. Sulpice and his whole regiment curse 
 the Marchesa who thus carries away their joy. 
 
 In the second act Mary is in her aunt's cas- 
 tle. She has masters of every kind for her edu- 
 cation, in order to become a lady comme il faut, 
 but she cannot forget her freedom and her 
 dear soldiers, and instead of singing solfeggios 
 and cavatinas she is caught warbling her 
 " Rataplan," to the Marchesa's grief and sor- 
 row. Xor can she cease to think of Tonio, and 
 only after a great struggle has she been induced 
 to promise her hand to a nobleman, when she 
 suddenly hears the well-beloved sound of drums 
 and trumpets. It is her own regiment, with 
 Tonio as their leader, for he has been made an 
 officer on account of his courage and brave be- 
 havior. Hoping that his altered position may 
 turn the Marchesa's heart in his favor, he again 
 asks for Mary, but his suit is once more re- 
 jected. Then he proposes flight, but the Mar- 
 chesa, detecting his plan, reveals to Mary that 
 she is not her niece, but her own daughter, 
 born in early wedlock with an officer far be- 
 neath her in rank, who soon after died in bat- 
 tle. This fact she has concealed from her 
 family, but, as it is now evident that she has 
 closer ties with Mary, the poor girl dares not 
 9 129
 
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 disobey her, and, though broken-hearted, con- 
 sents to renounce Tonio. 
 
 The Marchesa invites a large company of 
 guests to celebrate her daughter's betrothal to 
 the son of a neighboring duchess. But Mary's 
 faithful grenadiers suddenly appear to rescue 
 her from those hateful ties, and astonish the 
 whole company by their recital of Mary's early 
 history. The obedient maiden, however, sub- 
 missive to her fate, is about to sign the mar- 
 riage contract, when, at last, the Marchesa, 
 touched by her obedience and her sufferings, 
 conquers her own pride and consents to the 
 union of her daughter with Tonio. Sulpice 
 and his soldiers burst out into loud shouts of 
 approbation, and the high-born guests retire 
 silently and disgusted. 
 
 DER FLIEGENDE HOLLANDER 
 
 (THE FLYING DUTCHMAN) 
 
 Romantic Opera in three acts by WAGNER 
 
 This fine opera is Wagner's second work, 
 which he composed, in direst need, when living 
 at Paris with his young wife. The songs, 
 which so well imitate the hurricane and the 
 howling of the ocean, he himself heard during 
 an awful storm at sea. The whole opera is ex- 
 
 130
 
 Der Fliegende Hollander 
 
 ceedingly characteristic and impressive. "Wag- 
 ner arranged the libretto himself, as he did for 
 all his operas which succeeded this one. He 
 found the substance of it in an old legeud that 
 dates from the 16th century. The flying Dutch- 
 man is a sort of wandering Jew, condemned to 
 sail for ever on the seas, until he has found a 
 woman whose love to him is faithful unto death. 
 
 In the first act we find ourselves on the high 
 seas. Daland, a Norwegian skipper, has met 
 with several misfortunes on his way home, and 
 is compelled to anchor on a deserted shore. 
 There he finds the flying Dutchman, who vainly 
 roves from sea to sea to find death and with it 
 peace. His only hope is doomsday. He has 
 never found a maiden faithful to him, and he 
 knows not how often and how long he has vainly 
 tried to be released from his doom. Once every 
 seven years he is allowed to go on shore and 
 take a wife. This time has now come again, 
 and hearing from Daland that he has a daugh- 
 ter, sweet and pure, he begins to hope once 
 more, and offers all his wealth to the father for 
 a shelter under the Norwegian's roof and for 
 the hand of his daughter Senta. Daland is only 
 too glad to accept for his child what to him 
 seems an immense fortune, and so they sail home 
 together. 
 
 In the second act we find Senta in the spin- 
 ning-room. The servants of the house are to- 
 
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 gether, Bpiuning and singing. Senta is amongst 
 them, but her wheel does not turn — she is 
 dreamily regarding an old picture. It is that 
 of the flying Dutchman, whose legend so deeply 
 touches her that she has grown to love its hero, 
 without having in reality seen him. 
 
 Senta has a wooer already in the person of 
 Erick the hunter, but she does not care much 
 for him. With deep feeling she sings to the 
 spinning maidens the ballad of the doomed, 
 man, as she has heard it from Mary, her nurse: 
 
 An old captain wanted to sail round the 
 Cape of Good Hope, and as the wind was 
 against him he swore a terrible oath that he 
 never would leave off trying. The devil heard 
 him, and doomed him to sail on to eternity, but 
 God's angel had pity on him, and showed him 
 how he could find deliverance through a wife, 
 faithful unto the grave. 
 
 All the maidens pray to God to let the 
 maiden be found at last, when Senta ecstatically 
 exclaims: " I will be his wife ! " At this mo- 
 ment her father's ship is announced. Senta is 
 about to run away to welcome him, but is de- 
 tained by Erick, who tries to win her for him- 
 self. She answers evasively; then Daland en- 
 ters and with him a dark and gloomy stranger. 
 Senta stands spell-bound; she recognizes the 
 hero of her picture. The Dutchman is not less 
 impressed, seeing in her the angel of his dreams 
 
 133
 
 Der Fliegende Hollander 
 
 and, as it were, his deliverer, and so, meeting by 
 the guidauce of a superior power, tbey seem 
 created for eacb otber, and Senta, accepting 
 the offer of bis band, swears to bim eternal 
 fidelity. 
 
 In tbe third act we see the flying Dutchman's 
 ship; everybody recognizes it by its black mast 
 and its blood-red sail. The Norwegian sailors 
 call loudly to tbe mariners of the strange ship, 
 but nothing stirs — everything seems dead and 
 haunted. At last the unearthly inhabitants of 
 the Dutch ship awake; they are old and gray 
 and wrinkled, all doomed to the fate of their 
 captain. They begin a wild and gloomy song, 
 which sends a chill into the hearts of the stout 
 Xorwegians. 
 
 Meanwhile Erick, beholding in Senta the be- 
 trothed of the Dutchman, is in despair. Im- 
 ploring her to turn back, he calls up old mem- 
 ories and at last charges her with infidelity tc 
 him. 
 
 As 60on as the Dutchman hears this accusa- 
 tion he turns from Senta, feeling that he is 
 again lost. But Senta will not break her faith. 
 Seeing the Dutchman fly from her, ready to 
 sail away, she swiftly runs after him and throws 
 herself from the cliff into the waves. 
 
 By this sacrifice the spell is broken, the 
 ghostly ship sinks for ever into the ocean, and 
 an angel bears the poor wanderer to eternal 
 
 i33
 
 The Standard Operaglass 
 
 rest, where he is reunited to the bride who 
 has proved faithful unto death. 
 
 THE FOLKUNGS 
 
 Grand Opera in five acts by EDMUND KRETSCHMER 
 Text by MOSENTHAL 
 
 The composer of this opera evidently belongs 
 to the most talented of our days, and it is no 
 wonder that his two operas, " Henry the Lion " 
 and " The Folkungs," have rapidly found their 
 way to every stage of importance. Particu- 
 larly "The Folkungs" is such a happy combi- 
 nation of modern orchestration, abundance of 
 fine melody, and northern characteristic color- 
 ing, that it charms the connoisseur as well as 
 the unlearned. 
 
 The scene is laid in Sweden, in the 13th cen- 
 tury. 
 
 The first act represents the convent Nydal on 
 the snowy heights of the Kydles. Sten Patrife, 
 the confidant and abettor of Bengt, Duke of 
 Schoonen, has allured Prince Magnus, second 
 son of King Erick of Sweden, to follow him 
 out of his convent, and has brought him hither 
 by ruse and force. He now announces to the 
 Prince that he may choose between death and 
 
 134
 
 The Folkungs 
 
 a nameless life in the convent Nydal, and Mag- 
 nus, having no choice, swears on Sten's sword 
 that he, Prince Magnus, will be forever dead to 
 the world* 
 
 The monks receive him into their brother- 
 hood, as he answers to the Abbot Ansgar's ques- 
 tions that he is an orphan, homeless, aban- 
 doned, seeking peace only. The Abbot first 
 subjects Magnus to a trial of his constancy, by 
 letting him hold the night vigil in storm and 
 snow. The monks retire, leaving the unhappy 
 Prince outside the gates. While he sinks into 
 deep reverie, Lars Olafson, the castellan of the 
 King's castle of Bognas, and son of the Prince's 
 nurse, appears. He seeks his Prince, who so 
 mysteriously disappeared from the world, and 
 relates to Magnus that King Erick is dead, as 
 well as his eldest son, and that Prince Magnus 
 is called to come and claim his throne and 
 bride. Princess Maria, the only surviving Folk- 
 ung, is already being wooed by their enemy, 
 Duke Bengt of Schoonen, and now the listener 
 understands the vile plot against himself. And 
 as Lars calls him to defend his country and his 
 Princess against the Duke and his confederates 
 the Danes, Magnus considers it a sign from 
 Heaven that he is to die for his country, a course 
 of action which his oath does not prohibit. 
 
 When the Abbot calls his new guest, he has 
 disappeared, and Sten Patrik consoles himself 
 
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 The Standard Operaglass 
 
 with the thought that the fugitive must have 
 perished in the raging snow-storm. 
 
 The second act shows us Princess Maria in 
 her castle Bognas on the lake of Malar. She is 
 the King's niece and. successor to the throne. 
 She takes a last farewell from her people, and 
 Bengt appears to lead her to Upsala for the 
 coronation. 
 
 The nurse Karin and her son Olaf assure her 
 of her folk's fidelity, and when she has de- 
 parted Lars calls the men together and, pre- 
 senting the youth from Skolen as their leader, 
 makes them take oath of faith on their stand- 
 ard. Karin recognizes the Prince in the 
 stranger, but he firmly denies his identity, and 
 with glowing words calls the people to rise 
 against their common foe. 
 
 The next scene begins with the act of corona- 
 tion. The crowned Queen Maria is to announce 
 her choice of a husband from the Mora-stone, 
 when her words are arrested by a look from 
 Magnus, in whom she recognizes the youth she 
 loved. 
 
 But, though almost mad with longing and 
 torment, Magnus, mindful of his oath, still 
 denies himself, and the Duke and his friend 
 Sten, who both believe themselves lost, im- 
 petuously demand the impostor's arrest. But 
 the Queen asserts her right to judge him her- 
 self. In the fourth act Magnus is brought to 
 
 136
 
 The Folkungs 
 
 his mother's sleeping room. The charm of 
 youthful remembrances surrounds him, and 
 hearing an old ballad, which Karin sings, he 
 forgets himself and so proves his identity be- 
 yond any doubt to the hidden listeners. Maria 
 rushes forward ; he folds her to his breast in a 
 transport of loye, and only when Karin greets 
 him as her King he remembers that he has 
 broken his oath, and, without more reflection, 
 precipitates himself from the balcony into the 
 sea. Maria sinks back in a swoon. 
 
 In the last act Sten Patrik comes to remind 
 Bengt of his promise to give him Schoonen. 
 The Duke refuses to pay him, now that Sweden 
 is in revolt and the Prince living. Sten threat- 
 ens to reveal his treachery against Magnus. 
 Bengt is about to kill the only accomplice in 
 his deed, when Maria, who has heard all, arrests 
 his arm, and accuses him of murder. Then she 
 rushes to the balcony to call her people to ven- 
 geance. Bengt draws his sword to stab her, but 
 the people throng in, seize and throw him into 
 the sea. Xow Maria hears with rapture that 
 .Ma'Mius lives and has driven awav the Danes. 
 With him enter the monks, whose Abbot releases 
 the Prince from his oath. Maria, lovingly em- 
 bracing him, places her crown on her bride- 
 groom's head and all cry hail ! to their King 
 Magnus Ericson. 
 
 137
 
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 FRA DIAYOLO 
 
 Comic Opera in three acts by AUBER 
 Text by SCRIBE 
 
 This is a nice little opera; though not equal 
 in beauty and perfection to the " Muette de 
 Portici," by the same author, it is, notwithstand- 
 ing, a happy invention of Auber's, particularly 
 because the local tints are so well caught. The 
 banditti are painted with bright and glowing 
 colors, and the part of the heroine Zerline is 
 the most grateful ever written for a soubrette. 
 The text by Scribe abounds in happy sallies and 
 lively details. It is laid at Terracina in Italy. 
 Fra Diavolo is a celebrated and. much feared 
 chief of brigands. The Koman court of justice 
 has set a price of 10,000 piastres on his head. 
 In the first act we meet with the Eoman sol- 
 diers who undertake to win the money. Their 
 captain, Lorenzo, has a double aim in trying to 
 catch the brigand. He is Zerline's lover, but, 
 having no money, Zerline's father Matteo, the 
 owner of a hotel, threatens to give her to a rich 
 farmer's son. Meanwhile Fra Diavolo has 
 forced his society on a rich English lord, Cook- 
 burn by name, who is on his wedding-tour with 
 his fair young wife Pamela. Lord Cookburn 
 looks jealously at Fra Diavolo, though he does 
 
 138
 
 Fra Diavolo 
 
 not recognize in him a brigand. The English 
 are robbed by Diavolo's band. Disgusted with 
 the insecurity of " la bella Italia " they reach 
 the inn at Terraciua, where the dragoons, hear- 
 ing the account of this new robbery, believe that 
 it was Fra Diavolo with his baud, and at once 
 decide to pursue him. 
 
 Shortly afterwards Fra Diavolo arrives at the 
 inn, disguised as the Marquis of San Marco, 
 under which name the English lord has already 
 made his acquaintance. He is not enchanted 
 by the arrival of this Marquis; he fears a new 
 flirtation with his own fair wife. Pamela wears 
 most valuable diamonds, and these strike the 
 eye of Fra Diavolo. 
 
 He sees that the English have been clever 
 enough to conceal the greater part of their 
 wealth, and resolves to put himself speedily into 
 possession of it. 
 
 He is flirting desperately with Pamela, and 
 looking tenderly at the pretty Zerline, when the 
 soldiers return, having captured twenty of the 
 brigands and retaken the greater part of Lord 
 Cookburn's money and jewels. Lorenzo, the 
 captain of dragoons, is rewarded by the mag- 
 nanimous lord with 10,000 lire, and may now 
 hope to win Zerline's hand. But Fra Diavolo 
 vows to avenge the death of his comrades on 
 Lorenzo. 
 
 In the second act he conceals himself behind 
 
 139
 
 The Standard Operaglass 
 
 the curtains in Zerline's sleeping-room, and dur- 
 ing the night he admits his two companions, 
 Beppo and Giacomo. Zerline enters and is 
 about to retire to rest, after prayiug to the 
 Holy Virgin for protection. During her sleep 
 Giacomo is to stab her, while the two others are 
 to rob the English milord. 
 
 But Zerline's prayer and her innocence touch 
 even the robbers, the deed is delayed, and this 
 delay brings Lorenzo upon them. Fra Diavolo's 
 two companions hide themselves, and the false 
 Marquis alone is found in Zerline's room. He 
 assures Lorenzo that he had a rendezvous with 
 his bride, and at the same time whispers into 
 milord's ear that he came by appointment with 
 milady, showing her portrait, of which he had 
 robbed her the day before, as proof. The con- 
 sequence of these lies is a challenge from Lo- 
 renzo, and a meeting with Diavolo is fixed. The 
 latter is full of triumphant glee; he has ar- 
 ranged a deep-laid plan with the surviving 
 members of his band, and hopes to ensnare not 
 only Lorenzo but his whole company. Ordi- 
 narily Diavolo is a noble brigand; he never 
 troubles women, and he loads poor people with 
 gifts, taking the gold out of rich men's purses 
 only, but now he is full of ire, and his one 
 thought is of vengeance. 
 
 Finally he is betrayed by the carelessness of 
 his own helpmates. Reppo and Giacomo, see- 
 
 140
 
 Frauenlob 
 
 ing Zerline, recognize in her their fair prey of 
 the evening before, and betray themselves by re- 
 peating some of the words which she had given 
 utterance to. Zerline, hearing them, is now 
 able to comprehend the wicked plot which was 
 woven to destroy her happiness. The two ban- 
 ditti are captured, and compelled to lure their 
 captaiii into a trap. Diavolo appears, not in 
 his disguise as a Marquis, but in his own well- 
 known dress, with the red plume waving from 
 his bonnet, and, being assured by Beppo that 
 all is secure, is easily captured. Now all the 
 false imputations are cleared up. Milord is 
 reconciled to his wife, and Lorenzo obtains the 
 hand of the lovely Zerline. 
 
 FKATTENLOB 
 
 Opera in three acts by REINHOLD BECKER 
 
 Text by FRANZ KOPPEL-ELLFELD 
 
 Becker, the well-known Dresden composer, 
 has long won name and fame by his beautiful 
 songs, which may be heard all over the Conti- 
 nent, lie is a first-rate " Liedermeister," and 
 great was the excitement with which his friends 
 looked forward to his first opera. 
 
 Their expectations were not deceived, for the 
 
 1 4.1
 
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 opera was put on the stage in Dresden on De- 
 cember 8, 1892, and was received with unani- 
 mous applause. 
 
 Becker is not one of those high-flown artists 
 who elevate us to the skies; he rather lacks 
 dramatic strength; the lyric element is his 
 strong point. By the Lied he finds his way 
 direct to the hearts of his hearers, and wher- 
 ever this could be woven into the action of his 
 opera he has done it with subtle taste. Tilda's 
 dancing-air in the first act, the evening song — 
 sung while the people are gliding down the 
 Rhine in boats, whose lovely variations remind 
 us of quaint old airs of bygone days — the chorus 
 of the stone-masons in the second act, and the 
 love duet in the third are brilliant gems in 
 Becker's music. 
 
 The libretto rivals the best of its kind. 
 
 The scene is laid near and in Maintz in the 
 year 1308; it takes place during the reign of 
 Ludwig, Emperor of Bavaria. 
 
 Heinrich Frauenlob, the famous minstrel, 
 who had won his name by his songs in women's 
 praise, is by birth a knight, Dietherr zur 
 Meise. Years ago he slew the Truchsess of 
 Maintz in self-defense, and having, therefore, 
 become an outlaw, had entered the service of 
 the Emperor. In the beginning of the opera 
 we find him, however, near Maintz, where he 
 stays as a guest at his friend Wolf's castle. 
 
 142
 
 Frauenlob 
 
 He takes part in the people's festival on Mid- 
 summer day, deeming himself unknown. 
 
 When the customary St. John's fire is lighted, 
 no one dares leap over it, for fear of an old 
 gipsy's prophecy which threatened with sud- 
 den death the first who should attempt it. 
 Frauenlob, disregarding the prophecy, per- 
 suades Hildegund, Ottker von Scharfenstein's 
 fair ward, to venture through the fire with 
 him. Hildegund is the slain Truchsess's daugh- 
 ter, and has sworn to wed the avenger of her 
 father's death ; but each lover is unconscious of 
 the other's name. The gipsy Sizyga alone, who 
 had been betrayed in her youth by Frailer 
 lob's father, recognizes the young knight, and 
 though he has only just saved the old hag 
 from the people's fury, she wishes to avenge 
 her wrongs on him. To this end she betrays 
 the secret of Frauenlob's birth to Hildegund's 
 suitor, Servazio di Bologna, who is highly jeal- 
 ous of this new rival, and determines to lay 
 hands on him as soon as he enters the gates of 
 Maintz. Frauenlob, though warned by Sizyga, 
 enters Maintz, attracted by Hildegund's sweet 
 graces; he is determined to confess everything, 
 and then to fly with her, should she be willing 
 to follow him. 
 
 The second act opens with a fine song of the 
 warder of the tower. The city awakes ; the 
 stone-masons assemble, ready to greet the Em- 
 
 143
 
 The Standard Operaglass 
 
 peror, whose arrival is expected. Tilda, Hilde- 
 gund's friend, and daughter of Klas, chief of 
 the stone-masons, is going to church, but on her 
 way she is accosted by the knight Wolf, who 
 has lost his heart to her, and now, forgetting 
 his plan to look for Frauenlob, follows the lovely 
 damsel. When Frauenlob comes up and sees 
 again the well-known places of his youth, he is 
 deeply touched ; bat seeing his lady-love step on 
 the balcony and soon after come clown to enter 
 the dome, he accosts her, imploring her to fly 
 with him. At this moment Servazio, who has 
 lain in wait, steps forth with officers, who cap- 
 ture Frauenlob. Servazio now reveals the sing- 
 er's secret, and Hildegund hears that. her lover is 
 her father's murderer. Though Frauenlob tells 
 Hildegund that he killed her father in self-de- 
 fence, she turns from him shuddering. Feeling 
 that all hopes of his future happiness are at an 
 end, he washes to atone for his deed by death, 
 refusing the lielp of Wolf, who comes up with 
 his men to release him. But the stone-masons, 
 having recognized the celebrated minstrel, with 
 whose song they are about to greet the Em- 
 peror, decide to invoke the latter's clemency. 
 
 In the third act the citizens of Maintz hail 
 the Emperor, after which Frauenlob's cause is 
 brought before him. The whole population de- 
 mands his pardon, and the monarch, who loves 
 the singer, would fain liberate him, had not 
 
 144
 
 Frauenlob 
 
 Servazio roughly insisted on the culprit's pun- 
 ishment. Uncertain what to do, the Emperor 
 receives a long procession of ladies, with Tilda 
 at its head, >vho all beseech pardon for Frauen- 
 lob. At last the Emperor calls for Hildegund, 
 leaving in her hands tbe destiny of tbe pris- 
 oner. Left alone with him, the latter, prepared 
 to die, only craves her pardon. After a hard 
 struggle with her conscience, love conquers, and 
 she grants him pardon. "When the Emperor 
 re-entei's with his suite, to hear the sentence, 
 they find the lovers in close embrace. To the 
 joy of everybody, the monarch sanctions the 
 union and orders the nuptials to be celebrated 
 at once. Another pair, Wolf and Tilda, are 
 also made happy. But Servazio vows ven- 
 geance. Sizyga having secretly slipped a powder 
 into his hands, he pours it into a cup of wine, 
 which he presents to Frauenlob as a drink of 
 reconciliation. The Emperor, handing the gob- 
 let to Hildegund, bids her drink to her lover. 
 Testing it, she at once feels its deadly effect. 
 Frauenlob, seeing his love stagger, snatches the 
 cup from her, emptying it at one draught. He 
 dies, still praising the Emperor and women, 
 breathing the name of his bride with his last 
 breath. Servazio is captured; and while Hildo- 
 gund's body is strewn with roses, the wailing 
 women of Maintz carry their beloved minstrel 
 to his grave. 
 
 10 145
 
 The Standard Operaglass 
 
 DEE FKEISCHUTZ 
 
 Romantic Opera in three acts by C. M. VON WEBER 
 Text by FRIEDRICH KIND 
 
 This charming opera, done at Dresden 1820, 
 is the most favored of Weber's compositions. 
 It is truly German, being both fantastic and 
 poetic. The libretto is an old German legend, 
 and runs thus : 
 
 A young huntsman, Max, is in love with 
 Agathe, daughter of Cuno, the chief ranger of 
 Prince Ottocar of Bohemia. Max wooes her; 
 but their union depends on a master shot 
 which he is to deliver on the following morn- 
 ing. 
 
 During a village festival he has all day been 
 unlucky in shooting, and we see him full of 
 anger and sorrow, being mocked at by peasants 
 more lucky than he. 
 
 His comrade, Caspar, one of the ranger's 
 older huntsmen, is his evil genius. He has sold 
 himself to the devil, is a gloomy, mysterious 
 fellow, and hopes to save his soul by delivering 
 some other victim to the demon. He wants to 
 tempt Max to try enchanted bullets, to be ob- 
 tained at the cross-road, during the midnight 
 hour, by drawing a magic circle with a bloody 
 sword and invoking the name of the mysterious 
 
 146
 
 Der Freischiitz 
 
 huntsman. Father Cuno, hearing him, drives 
 him away, begging Max to think of his bride 
 and to pray to God for success. 
 
 But Max cannot forget the railleries of the 
 peasants ; he broods over his misfortunes, and 
 when he is well-nigh despairing, Caspar, who 
 meanwhile calls Samiel (the devil in person) to 
 help, encourages him to take refuge in stimu- 
 lants. He tries to intoxicate the unhappy lover 
 by pouring drops from a phial into his wine. 
 When Max has grown more and more excited, 
 Caspar begins to tell him of nature's secret 
 powers, which might help him. Max first 
 struggles against the evil influence, but when 
 Caspar, handing him his gun, lets him shoot 
 an eagle soaring high in the air, his huntman's 
 heart is elated, and he wishes to become pos- 
 sessed of such bullet. Caspar tells him that they 
 are enchanted, and persuades him to a meeting 
 in the Wolf's Glen at midnight, where the bul- 
 lets may be moulded. 
 
 In the second act Agathe is with her cousin 
 Annchen. Agathe is the true German maiden, 
 serious and thoughtful almost to melancholy. 
 She presents a marked contrast to her gay and 
 light-hearted cousin, who tries to brighten 
 Agathe with fun and frolic. They adorn them- 
 selves with roses, which Agathe received from a 
 holy hermit, who blessed her, but warned her 
 of impending evil. So Agathe is full of dread 
 
 i47
 
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 forebodings, and after Annclien's departure 
 she fervently prays to Heaven for her beloved. 
 When she sees him come to her through the 
 forest with flowers on his hat, her fears vanish, 
 and she greets him joyously. But Max only 
 answers hurriedly that, having killed a stag in 
 the Wolf's Grlen, he is obliged to return there. 
 Agathe, filled with terror at the mention of this 
 ill -famed name, wants to keep him back, but 
 ere she can detain him he has fled. With 
 hurried steps Max approaches the Wolf's Glen, 
 where Caspar is already occupied in forming 
 circles of black stones, In the midst of which he 
 jflaces a skull, an eagle's wing, a crucible, and a 
 bullet mould. Caspar then calls on Samiel, in- 
 voking him to allow him a few more years on 
 earth. To-morrow is the day appointed for 
 Satan to take his soul, but Caspar promises to 
 surrender Max in exchange. Samiel, who ap- 
 pears through the cleft of a rock, agrees to let 
 him have six of the fatal balls, reserving only 
 the seventh for himself. 
 
 Caspar then proceeds to make the bullets, 
 Max only looking on, stunned and remorseful 
 at what he sees. His mother's spirit appears 
 to him; but he is already under the influence of 
 the charm ; lie cannot move. The proceeding 
 goes forward amid hellish noise. A hurricane 
 arises, flames and devilish forms flicker about, 
 wild and horrible creatures rush by, and others 
 
 148
 
 • Der Freischutz 
 
 follow in hot pursuit. The noise grows worse, 
 the earth seems to quake, until, at length, after 
 Caspar's reiterated invocations, Samiel shows 
 himself at the word, "seven." Max and Cas- 
 par both make the sign of the cross, and fall on 
 their knees more dead than alive. 
 
 In the third act we find Agathe waiting for 
 her bridesmaids. She is perturbed and sad, 
 having had frightful dreams, and not knowing 
 what has become of Max. Annchen consoles 
 her, diverting her with a merry song until the 
 bridesmaids enter, bringing flowers and gifts. 
 They then prepare to crown her with the bridal 
 wreath, when, lo! instead of the myrtle, there 
 lies in the box a wreath of white roses, the orna- 
 ment of the dead. 
 
 Meanwhile everybody is assembled on the lawn 
 near Prince Ottocar's tent, to be present at the 
 firing of the master shot. The Prince points 
 out to Max a white dove as an object at which 
 to aim. At this critical moment Agathe ap- 
 pears, crying out: "Don't shoot, Max, I am 
 the white dove ! " But it is too late; Max has 
 fired, and Agathe sinks down at the same time 
 as Caspar, who has been waiting behind a tree, 
 and who now falls heavily to the ground, while 
 the dove flies away unhurt. Everybody believes 
 that Max has shot his bride, but she is only in a 
 swoon; the bullet has really killed the villain 
 Caspar. It was the seventh, the direction of 
 
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 which Samiel reserved for himself, and Satan 
 having no power over the pious maiden, directed 
 it on Caspar, already forfeited to him. Max 
 confesses his sin with deep remorse. The Prince 
 scornfully bids him leave his dominions for 
 ever. But Agathe prays for him, and at last 
 the Prince follows the hermit's advice, giving 
 the unhappy youth a year of probation, during 
 which to prove his repentance and grow worthy 
 of his virtuous bride. 
 
 FKIEND FKITZ 
 
 A lyric Comedy in three acts by PIETRO MASCAGNI 
 Text after ERCKMANN-CHATEIAN'S novel of the same name 
 
 After the immense success of Cavalleria Rus- 
 ticana, the first representation of Amico Fritz 
 was awaited with feverish impatience by the 
 whole musical world. 
 
 But the high-strung expectations were not 
 fulfilled. Though many pretended that the 
 music was nobler and more artistic than that of 
 the author's first work, the success was by no 
 means as great as Mascagni's friends anticipated. 
 In Vienna and Berlin it was even received with 
 partial coolness. But, lo! the first representa- 
 tion in Dresden on June 2, 1892, took place 
 with a marked and decided success. 
 
 150
 
 Friend Fritz 
 
 The artistically trained orchestra brought out 
 to perfection all the finesses, all the delightful 
 shades of the music, and since that day the 
 opera has not failed to bring a full house. 
 
 The subject in itself is too simple for Mas- 
 cagni's strong dramatic talent, hence the lack 
 of interest, hence the disillusion of so many. 
 
 Granting this, we cannot but admire the 
 genius which can compose an opera so full of 
 refined and noble sentiment, based on such a 
 simple plot. 
 
 No music more charming than the march, 
 taken as well as the Pastorale from a national 
 Alsacian' song, none more sweet and melodi- 
 ous than the Intermezzo and the Cherry duet. 
 The finely depicted details in the orchestra are 
 a delight for musical ears. 
 
 The simple text follows strictly the French 
 original. 
 
 Fritz Kobus, a well-to-do landowner, receives 
 the felicitations of his friends on his fortieth 
 birthday. At the same time his old friend 
 Rabbi David, as consummate a match-maker 
 as Fritz is an inveterate bachelor, receives from 
 the latter a loan of 1,200 francs, which is to en- 
 able a poor girl to marry her lover. Fritz gives 
 it very graciously, congratulating himself that 
 he is free from hymen's bonds. 
 
 lie treats his friends to a hearty dinner, in 
 which Susel, his tenant's daughter, who comes 
 
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 to present her landlord with a nosegay of vio- 
 lets, joins. Fritz makes her sit beside him, and 
 for the first time remarks the growing loveliness 
 of the young maiden. While they are feasting, 
 a gipsy Seppel plays a serenade in honor of 
 the birthday, which makes a deep impression on 
 fair Susel. When the latter has departed, the 
 joviality of the company increases. Hanczo and 
 Friedrich, two friends, laughingly prophesy to 
 the indignant Fritz that he will soon be mar- 
 ried, and David even makes a bet, which, should 
 lie prove right, will make him owner of one of 
 his friend's vineyards. At the end of the first 
 act a procession of orphans hail the landlord as 
 their benefactor. 
 
 In the second act we find our friend Fritz as 
 guest in the house of his tenant. Susel is sedu- 
 lously engaged in selecting flowers and cherries 
 for her landlord, who, coming down into the 
 garden, is presented by her with flowers. Soon 
 she mounts a ladder, and, plucking cherries, 
 throws them to Fritz, who is uncertain which 
 are the sweeter, the maiden's red lips, or the 
 ripe cherries which she offers him. In the 
 midst of their enjoyment the sound of bells and 
 crackling of whips is heard; Fritz's friends en- 
 ter. He soon takes them off for a walk; only 
 old David stays behind with Susel, pleading 
 fatigue. Taking occasion of her presenting him 
 with a drink of fresh water, he makes her tell 
 
 152
 
 Friend Fritz 
 
 him the old story of Isaac and Rebecca, and is 
 quite satisfied to guess at the state of her feel- 
 ings by the manner in which she relates the sim- 
 ple story. On Fritz's return he archly com- 
 municates to him that he has found a suitable 
 husband for Susel, and that he has her father's 
 consent. The disgust and fright which Fritz 
 experiences at this news reveal to him some- 
 thing of his own feelings for the charming 
 maiden. He decides to return home at once, 
 and does not even take farewell of Susel, who 
 weeps in bitter disappointment. 
 
 In the third act Fritz, at home again, can 
 find no peace anywhere. When David tells 
 him that Susel's marriage is a decided fact he 
 breaks out, and in his passion downright for- 
 bids the marriage. At this moment Susel ap- 
 pears, bringing her landlord a basket of fruit. 
 She looks pale and sad; and when Fritz sarcas- 
 tically asks her whether she comes to invite him 
 to her wedding, she bursts into tears. Then 
 the real state of her heart is revealed to him, 
 and with passionate avowal of his own love, 
 Aniico Fritz takes her to his heart. So David 
 wins his wager, which, however, he settles on 
 Susel as a dowry, promising at the same time to 
 procure wives before long for the two friends 
 standing by. 
 
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 GENOYEVA 
 
 Opera in four acts by ROBERT SCHUMANN 
 Text after HEBBEL and TIECK 
 
 The music of this opera is surpassingly de- 
 lightful. Though Schumann's genius was not 
 that of a dramatist of a very high order, this 
 opera deserves to be known and esteemed univer- 
 sally. Nowhere can melodies be found finer or 
 more poetical and touching than in this noble 
 musical composition, the libretto of which may 
 also be called interesting, though it is faulty in 
 its want of action. 
 
 It is the old legend of Genoveva somewhat 
 altered. Siegfried, Count of the Palatinate, is 
 ordered by the Emperor Charles Martell to join 
 him in the war with the infidels who broke 
 out of Spain under Abdurrahman. The noble 
 Count recommends his wife Genoveva and all 
 he possesses to the protection of his friend 
 Golo, who is, however, secretly in love with his 
 master's wife. After Siegfried has said fare- 
 well, she falls into a swoon, which Golo takes 
 advantage of to kiss her, thereby still further 
 exciting his flaming passion. Genoveva finally 
 awakes and goes away to mourn in silence for 
 her husband. 
 
 Golo being alone, an old hag, Margaretha, 
 
 154
 
 Genoveva 
 
 whom he takes for his nurse, comes to console 
 him. 
 
 She is in reality his mother, and has great 
 schemes for her son's future happiness. She 
 insinuates to him that Genoveva, being alone, 
 needs consolation, and will easily be led on to 
 accept more tender attentions, and she prom- 
 ises him her assistance. The second act shows 
 Genoveva's room. She longs sadly for her hus- 
 band, and sees with pain and disgust the inso- 
 lent behavior of the servants, whose wild song,? 
 penetrate into her silent chamber. 
 
 Golo enters to bring her the news of a great 
 victory over Abdurrahman, news which fill her 
 heart with joy. 
 
 She bids Golo sing and sweetly accompanies 
 his song, which so fires his passion that he falls 
 upon his knees and frightens her by glowing 
 words. Vainly she bids him leave her; he only 
 grows more excited, till she repulses him with 
 the word "bastard." Now his love turns into 
 hatred, and when Drago, the faithful steward, 
 comes to announce that the servants begin to be 
 more and more insolent, daring even to insult 
 the good name of the Countess, Golo asserts 
 that they speak the truth about her. He per- 
 suades the incredulous Drago to hide himself 
 in Genoveva's room, the latter having retired 
 for the night's rest. 
 
 Margaretha, listening at the door, hears 
 
 155
 
 The Standard Operaglass 
 
 everything. She tells Golo that Count Sieg- 
 fried lies wounded at Strassbourg; she has in- 
 tercepted his letter to the Countess, and prepares 
 to leave for that town, in order to nurse the 
 Count and kill him slowly by some deadly 
 poison. Then Golo calls quickly for the ser- 
 vants, who all assemble to penetrate into their 
 mistress's room. She repulses them, full of 
 wounded pride, but at last she yields, and her- 
 self taking the candle to light the room, proceeds 
 to search, when Drago is found behind the cur- 
 tains and at once silenced by Golo, who runs his 
 dagger through his heart. Genoveva is led into 
 the prison of the castle. 
 
 The third act takes place at Strassbourg, where 
 Siegfried is being nursed by Margaretha. His 
 streugth defies her perfidy, and he is full of impa- 
 tience to return to his loving wife, when Golo en- 
 ters, bringing him the news of her faithlessness. 
 
 Siegfried, in despair, bids Golo kill her with 
 his own sword. He decides to fly into the wil- 
 derness, but before fulfilling his design, he goes 
 once more to Margaretha, who has promised to 
 show him all that passed at home during his 
 absence. He sees Genoveva in a magic look- 
 ing-glass, exchanging kiudly words with Drago, 
 but there is no appearance of guilt in their in- 
 tercourse. The third image shows Genoveva 
 sleeping on her couch, and Drago approaching 
 her. With an imprecation Siegfried starts up, 
 
 156
 
 The Golden Cross 
 
 bidding Golo avenge him, but at the same in* 
 stant the glass flies in pieces with a terrible 
 crash, and Drago's ghost stands before Margare- 
 tha, commanding her to tell Siegfried the truth. 
 In the fourth act Genoveva is being led into 
 the wilderness by two ruffians, who have orders 
 to murder her. Before this is done, Golo ap- 
 proaches her once more, showing her Siegfried's 
 ring and. sword, with which he has been bidden 
 to kill her. He tries hard to win her, but she 
 turns from him with scorn and loathing, pre- 
 ferring death to dishonor. At length relin- 
 quishing his attempts, he beckons to the mur- 
 derers to do their work, and. hands them Count 
 Siegfried's weapon. Genoveva, in her extreme 
 need, seizes the cross of the Saviour, praying 
 fervently, and detains the ruffians, till at the 
 last moment Siegfried appears, led by the re- 
 pentant Margaretha. There ensues a touching 
 scene of forgiveness, while Golo rushes away to 
 meet his fate by falling over a precipice. 
 
 THE GOLDEN CROSS 
 
 Opera in two acts by IGNAZ BRULL 
 Text by MOSENTHAL 
 
 Brull, born at Prossnitz in Moravia, Novem- 
 ber 7, 1840, received his musical education in 
 
 157
 
 The Standard Operaglass 
 
 Vienna, and is well known as a good pianist. 
 He has composed different operas, of which, 
 however, the above-mentioned is the only popu- 
 lar one. 
 
 This charming little opera, which rendered 
 its composer famous, has passed beyond the 
 frontiers of Germany, and is now translated into 
 several languages. 
 
 The text is skilfully arranged, and so com- 
 bined as to awaken our interest. 
 
 The scene is laid in a village near Melun in 
 the years between 1812 and 1815. 
 
 Nicolas (or Cola) Pariset, an innkeeper, is be- 
 trothed to his cousin Ther&se. Unfortunately, 
 just on his wedding-day a sergeant, named 
 Bombardon, levies him for the army which is 
 to march against the Russians. Vainly does 
 Therese plead for her betrothed, and equally in 
 vain is it that she is joined in her pleading by 
 Nicolas's sister Christine. The latter is passion- 
 ately attached to her brother, who has hitherto 
 been her only care. Finally Christine promises 
 to marry any man who will go as substitute for 
 her brother. Gontran de l'Ancry, a young 
 nobleman, whose heart is touched by the 
 maiden's tenderness and beauty, places himself 
 at Bombardon's disposal and receives from him 
 the golden cross, which Christine has placed in 
 his hands to be offered as a pledge of fidelity to 
 her brother's deliverer. Christine does not get 
 
 158
 
 The Golden Cross 
 
 to know him, as Gontran departs immediately. 
 The act closes with Cola's marriage. 
 
 The second act takes place two years later. 
 Cola, who could not be detained from marching 
 against the enemy, has been wounded, but saved 
 from being killed by an officer, who received 
 the bullet instead. Both return to Cola's house 
 as invalids aud are tended by the two women. 
 The strange officer, who is no other than Gon- 
 tran, loves Christine, and she returns his pas- 
 sion; but deeming herself bound to another, she 
 does not betray her feeling. Gontran is about 
 to bid her farewell, but when in the act of tak- 
 ing leave he perceives her love and tells her 
 that he is the officer who was once substitute 
 for her brother in the war. 
 
 Christine is full of happiness; Gontran, when 
 asked for the token of her promise, tells her 
 that the cross was taken from him as he lay 
 senseless on the field of battle. At this mo- 
 ment Bombardon, returning also as an invalid, 
 presents the cross to Christine, and she, believ- 
 ing that Gontran has lied to her and that Bom- 
 bardon is her brother's substitute, promises her 
 hand to him, with a bleeding heart; but Bom- 
 bardon relates that the true owner of the cross 
 has fallen on the battle-field and that he took 
 it from the dead body. Christine now resolves 
 to enter a convent, when suddenly Gontran's 
 voice is heard. Bombardon recognizes his 
 
 i59
 
 The Standard Operaglass 
 
 friend, whom he believed to be dead, every- 
 thing is explained, and the scene ends with the 
 marriage of the good and true lovers. 
 
 THE TWO GEENADIEES 
 
 Comic Opera in three acts by ALBERT LORTZING 
 Text adapted from the French 
 
 After a long interval of quiet, Lortzing's 
 charming' music seems to be brought to honor 
 again, and no wonder. The ears of the public 
 grow over- tired, or may we say over-taxed by 
 Wagner's grand music, which his followers still 
 surpass, though only in noise and external 
 effects: they long for simplicity, for melody. 
 Well, Lortzing's operas overflow with real, true, 
 simple melody, and generally in genuine good 
 humor. For many years only two of his operas 
 have been performed, viz., "Undine" and 
 "Czar and Zimmermann. " Now Hamburg 
 has set the good example by representing a 
 whole cyclus (seven operas of Lortzing's), and 
 Dresden has followed with "The Two Grena- 
 diers." 
 
 The opera was composed in the year 1837, and 
 is of French origin, and though its music breathes 
 German humor and naivete, the French influ- 
 ence may be felt clearly. The persons show life 
 
 1 60
 
 The Two Grenadiers 
 
 and movement, the music is light-hearted, grace- 
 ful, and truly comic. 
 
 The scene takes place in a little country town, 
 where we find Busch, a wealthy innkeeper, 
 making preparations for the arrival of his ouly 
 son. The young man had entered a Grenadier 
 regiment at the age of sixteen, ten years before, 
 so the joyful event of his home-coming is looked 
 forward to with pleasure by his father and sister 
 Suschen, but with anxiety by a friend of hers, 
 Caroline, to whom young Busch had been 
 affianced before joining his regiment, 
 
 Enter two young Grenadiers from the regi- 
 ment on leave, the younger of whom falls in 
 love with Suschen at first sight. However, as 
 the elder Grenadier, Schwarzbart, dolefully re- 
 marks, they are both almost penniless, and he 
 reflects how he can possibly help them in their 
 need. His meditations are interrupted by the 
 arrival of the landlord, who, seeing the two 
 knapsacks, and recognizing one of them as that 
 of his son, naturally supposes the owner to be 
 his offspring, in which belief he is confirmed by 
 Schwarzbart, who is induced to practise this de- 
 ceit, partly by the desire of getting a good din- 
 ner and the means of quenching his insatiable 
 thirst, partly by the hope of something turning 
 tip in favor of his companion in arms, Wil- 
 helm. As a matter of fact, the knapsack does 
 not belong to Wilhelm at all. On leaving the 
 :i 161
 
 The Standard Operaglass 
 
 inn at which the banquet following the wed- 
 ding of one of their comrades had been held, 
 the knapsacks had inadvertently been exchanged, 
 much to Wilhelm's dismay, his own containing 
 a lottery ticket which, as he has just learnt, had 
 won a great prize. The supposed son is, of 
 course, received with every demonstration of 
 affection by his fond parent; but, though submit- 
 ting with a very good grace to the endearments 
 of his supposed sister — the maiden with whom 
 he had fallen in love so suddenly — he resolutely 
 declines being hugged and made much of by 
 the old landlord, this double part being entirely 
 distasteful to his straightforward nature. Nor 
 does his affianced bride, the daughter of the 
 bailiff, fare any better, his affections being 
 placed elsewhere, and their bewilderment is only 
 somewhat appeased by Schwarzbart's explana- 
 tion that his comrade suffers occasionally from 
 weakness of the brain. 
 
 In the next act Peter, a youth of marvellous 
 stupidity, and cousin of the bailiff, presents 
 himself in a woful plight, to which he has been 
 reduced by some soldiers at the same wedding 
 festivities, and shortly after, Gustav, the real son, 
 appears on the scene. He is a manly fellow, 
 full of tender thoughts for his home. Great is, 
 therefore, his surprise at finding himself repulsed 
 by his own father, who, not recognizing him, 
 believes him to be an impostor. All the young 
 
 162
 
 The Two Grenadiers 
 
 man's protestations are of no avail, for in his 
 knapsack are found the papers of a certain Wil- 
 helm Stark, for whom he is now mistaken. 
 When silly Peter perceives him, he believes him 
 to be the Grenadier who had so ill-treated him 
 at the wedding, though in reality it was 
 Schwarzbart. Gustav is shut up in a large 
 garden-house of his father's, the small town 
 lacking a prison. 
 
 In the third act the Magistrate has found out 
 that AVilhelm's papers prove him to be the 
 bailiff's son, being the offspring of his first 
 love, who had been with a clergyman, and 
 who, after the death of the bailiff's wife, is 
 vainly sought for by his father. Of course, this 
 changes everything for the prisoner, who is 
 suddenly accosted graciously by his gruff guard- 
 ian Barsch, and does not know what to make of 
 his mysterious hints. 
 
 Meanwhile Caroline's heart has spoken for 
 the stranger, who had addressed her so courte- 
 ously and chivalrously; she feels that, far from 
 being an impostor, he is a loyal and true- 
 hearted young fellow, and therefore decides to 
 liberate him. At the same time enter Wilhelm 
 with Schwarzbart, seeking Suschen; Peter slips 
 in for the same reason, seeking her, for Suschen 
 is to be his bride. Gustav (the prisoner), hear- 
 ing footsteps, blows out the candle, in order to 
 save Caroline from being recognized, and so they 
 
 163
 
 The Standard Operaglass 
 
 all ran about in the dark, playing hide and. seek 
 in an infinitely droll manner. At last the 
 bailiff, having heard that his son has been 
 found, comes up with the innkeeper. The 
 whole mystery is cleared up, and both sons em- 
 brace their respective fathers and their brides. 
 
 HAMLET 
 
 Grand Opera in five acts by AMBROISE THOMAS 
 
 Text taken from SHAKESPEARE 
 
 by MICHEL CARRE and JULES BARBIER 
 
 Hamlet was first reproduced in Paris in 1868, 
 a year after the representation of Mignon, but 
 it never reached the hitter's popularity. jThis 
 is not due to the music, which is very fine, and 
 even nobler than in Mignon, but to the horrid 
 mutilation of Shakespeare's glorious tragedy, 
 which almost turns into ridicule the most sub- 
 lime thoughts. 
 
 The text is soon explained. We find the 
 Shakespearian names with their thoughts and 
 deeds turned into operatic jargon. 
 
 The first act shows Hamlet's disgust and pain 
 at his. mother's early wedding with Claudius, 
 King of Denmark, only two months after her 
 first husband's death. Ophelia vainly tries to 
 
 164
 
 Hamlet 
 
 divert his sombre thoughts; he finds her love 
 very sweet, however, and when her brother 
 Laertes, before starting on a long journey, com- 
 mends her to his friend's protection, Hamlet 
 swears to be true to her unto death. 
 
 In the interview at midnight with his father's 
 ghost, Hamlet experiences great revulsion of 
 feeling when he discovers that his mother's 
 second husband is his father's murderer. The 
 ghost urges Hamlet to avenge his parent, which 
 he swears to do. 
 
 In the second act we find Hamlet quite 
 changed. He not only avoids his father and 
 mother, but also shuns Ophelia, who vainly tries 
 to understand his strange behavior. Deter- 
 mined to find out the truth about Claudius's 
 guilt, Hamlet has paid some actor to play the 
 old tragedy of Gonzaga's murder. When the 
 actor pours the poison into the sleeping King's 
 ear, Claudius sinks back half fainting, and 
 Hamlet, keenly observant, loudly accuses him 
 of his father's death. But he is unable to act, 
 ami after the King's escape he seeks his moth- 
 er's room to ponder on his wrongs. Hidden be- 
 hind a pillar, he overhears from Claudius's own 
 lips that Ophelia's father, old Polonius, is the 
 King's accomplice. This destroys the last spark 
 of his belief in humanity. Thrusting the weep- 
 ing Ophelia from him, he advises her to shut 
 herself in a convent and to bid farewell to all 
 
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 earthly joys. Left alone with his mother, he 
 wildly reproaches her, and at last so far forgets 
 himself that he is about to kill her, had not his 
 father's ghost appeared once more, exhorting 
 him to take vengeance, but to spare his mother. 
 
 This scene is very powerful, the music of 
 strange and weird beauty. 
 
 In the fourth act poor demented Ophelia 
 takes part in the plays of the village maidens. 
 The Swedish song she sings to them is full of 
 sweet pathos. When her playmates leave her, 
 she hides among the willows, enticed into the 
 water by the " Neck " (Swedish for Sirens), 
 whose own song she has sung. Slowly floating 
 out on the waves, her voice dies away softly. 
 With her death the interest in the opera ends; 
 however, a fifth act takes us to her grave, where 
 the whole funeral procession arrives. The ghost 
 once more appeals to Hamlet for vengeance, un- 
 til he rouses himself and runs his sword through 
 Claudius, after which the ghost disappears, 
 while Hamlet is elected King of Denmark on 
 the spot. 
 
 [The audience in German theatres is spared 
 this last piece of absurdity, and the play is 
 brought to a more appropriate close by Hamlet's 
 stabbing himself on his bride's bier. 
 
 166
 
 Hansel and Gretel 
 HANSEL AND GRETEL 
 
 A Fairy tale in three pictures by ADELHEID WETTE 
 Music by ENGELBERT HUMPEKDINCK 
 
 After a long period of " Sturm und Drang," 
 we have an opera so fresh and simple that any 
 child will delight in it. It not only captivates 
 children and people of simple tastes, but the 
 most bluve must acknowledge its charms. No 
 thrilling drama, but a simple fairy tale, known 
 in every nursery, has achieved this wonder. It 
 is a revelation. True music finds its way to the 
 heart, and how wonderfully refreshing are these 
 simple nursery songs, recalling days of sweet 
 childhood, how droll and truly realistic are 
 these children in their natural and naive sauci- 
 ness! Here is no display of human passions; 
 simply and clearly the old fairy tale goes on, 
 embellished by the masterly way in which the 
 musician handles the modern orchestra. 
 
 The first act represents the miserable little hut 
 of a broom-maker. Hansel is occupied in bind- 
 ing brooms, Gretel is knitting and singing old 
 nursery songs, such as " Susy, dear Susy, what 
 rattles in the straw?" Both children are very 
 hungry, and wait impatiently for the arrival of 
 their parents. Hansel is particularly bad-tem- 
 pered, but the merry and practical Gretel, find- 
 ing some milk in a pot, soon soothes his ruffled 
 
 167
 
 The Standard Operaglass 
 
 feelings by the promise of a nice rice-pap in the 
 evening. Forgetting work and hunger, they 
 begin to dance and frolic, until they roll on the 
 ground together. At this moment their moth- 
 er enters, and seeing the children idle, her 
 wrath is kindled, and she rushes at them with 
 the intention of giving them a sound whipping. 
 Alas, instead of Hansel, she strikes the pot and 
 upsets the milk. The mother's vexation cools, 
 and only sorrow remains, but she quickly puts a 
 little basket into Gretel's hands, and drives the 
 children away, bidding them look for straw- 
 berries in the woods. Then sinking on a chair, 
 utterly exhausted, she falls asleep. She is 
 awakened by her husband, who comes in sing- 
 ing and very gay. She sees that he has had a 
 drop too much, and is about to reproach him; 
 but the words die on her lips when she sees him 
 unfold his treasures, consisting of eggs, bread, 
 butter, and coffee. He tells her that he has been 
 very fortunate at the church ale (Kirmes), and 
 bids her prepare supper at once. Alas, the pot 
 is broken, and the mother relates that, finding 
 the children idle, anger got the better of her, 
 and the pot was smashed to pieces. He good- 
 naturedly laughs at her discomfiture, but his 
 merriment is changed to grief when he hears 
 that their children are still in the forest, per- 
 haps even near the Ilsenstein, where the wicked 
 fairy lives who entices children in order to bake 
 
 168
 
 Hansel and Gretel 
 
 and devour them. This thought so alarms the 
 parents that they rush off to seek the children 
 in the forest. 
 
 The second act is laid near the ill-famed 
 Ilsenstein. Hansel has filled his basket with 
 strawberries, and Gretel is winding a garland 
 of red hips, with which Hansel crowns her. 
 He presents her also with a bunch of wild- 
 flowers and playfully does homage to this queen 
 of the woods. Gretel, enjoying the play, pops 
 one berry after another into her brother's 
 mouth; then they both eat, while listening to 
 the cuckoo. Before they are aware of t it, they 
 have eaten the whole contents of the basket and 
 observe with terror that it has grown too dark 
 either to look for a fresh supply or to find their 
 way home. Gretel begins to weep and to call 
 for her parents; but Hansel, rallying his cour- 
 age, takes her in his arms and soothes her, until 
 they both grow sleepy. The dustman comes, 
 throwing his dust into their eyes, but before 
 their lids close they say their evening prayer; 
 then they fall asleep and the fourteen guardian 
 angels, whose protection they invoked, are seen 
 stepping down the heavenly ladder to guard 
 their sleep. 
 
 In the third act the morning dawns. Crystal 
 drops are showered on the children by the angel 
 of the dew : Gretel opens her eyeB first and wakes 
 her brother with a song. They are still en- 
 
 l6q
 
 The Standard Operaglass 
 
 tranced by the beautiful angel dream they have 
 had, when suddenly their attention is aroused 
 by the sight of a little house, made entirely of 
 cake and sugar. Approaching it on tiptoe, they 
 begin to break off little bits, but a voice within 
 calls out " Tip tap, tip tap, who raps at my 
 house ? " " The wind, the wind, the heavenly 
 child," they answer, continuing to eat and to 
 laugh, nothing daunted. But the door opens 
 softly, and out glides the witch, who quickly 
 throws a rope around Hansel's throat. Urging 
 the children to enter her house, she tells her 
 name, Kosina Sweet-tooth. The frightened chil- 
 dren try to escape, but the fairy raises her staff, 
 and by a magic charm keeps them spellbound. 
 She imprisons Hansel in a small stable with a 
 lattice door, and gives him almonds and cur- 
 rants to eat; then turning to Gretel, who has 
 stood rooted to the spot, she breaks the charm 
 with a juniper bough, and compels her to enter 
 the house and make herself useful. 
 
 Believing Hansel to be asleep, she turns to 
 the oven and kindles the fire; then, breaking 
 into wild glee, she seizes a broom and rides on it 
 round the house singing, Gretel all the while 
 observing her keenly. Tired with her exertions, 
 the witch awakes Hansel and bids him show 
 his finger, at which command Hansel stretches 
 out a small piece of wood. Seeing him so thin, 
 the witch calls for more food, and while she 
 
 170
 
 Hansel and Gretel 
 
 turns her back, Gretel quickly takes up the 
 juniper bough, and speaking the formula, dis- 
 enchants her brother. Meanwhile the witch, 
 turning to the oven, tells Gretel to creep into 
 it, in order to see if the honey-cakes are ready, 
 but the little girl, affecting stupidity, begs her 
 to show how she is to get in. The witch im- 
 patiently bends forward, and at the same mo- 
 ment Gretel, assisted by Hansel, who has escaped 
 from his prison, pushes her into the hot oven 
 and slams the iron door. The wicked witch 
 burns to ashes, while the oven cracks and roars 
 and finally falls to pieces. With astonishment 
 the brother and sister see a long row of chil- 
 dren, from whom the honey-crust has fallen off, 
 standing stiff and stark. Gretel tenderly ca- 
 resses one of them, who opens his eyes and smiles. 
 She now touches them all, and Hansel, seizing 
 the juniper bough, works the charm and recalls 
 them to new life. The cake children thank 
 them warmly, and they all proceed to inspect the 
 treasures of the house, when Hansel hears their 
 parents calling them. Great is the joy of father 
 and mother at finding their beloved ones safe 
 and in the possession of a sweet little house, 
 The old sorceress is drawn out of the ruins ol 
 the oven in the form of an immense honey-cake, 
 whereupon they all thank Heaven for having so 
 visibly helped and protected them. 
 
 171
 
 The Standard Operaglass 
 HANS HEILING 
 
 Romantic Opera in three acts with a prelude 
 by HEINRICH MARSCHNER 
 
 Text by EDUARD DEVRIENT 
 
 The text to this opera, which was written by 
 the celebrated actor and sent to Marschner 
 anonymously, so struck the composer by its 
 beauty that he adapted music to it, music which 
 ought to be heard much oftener on our stages 
 on account of its freshness, and its healthy 
 dramatic action, which never flags, but contin- 
 ues to interest and move the hearer with ever- 
 increasing effect till the end is reached. 
 
 The contents are as follows: 
 
 Hans Heiling, King of the gnomes, has fallen 
 in love with a daughter of the earth, the charm- 
 ing Anna. This maiden, a poor country girl in 
 the first freshness of youth, has been induced 
 by her mother to consent to a betrothal with the 
 rich stranger, whom she esteems, but nothing 
 more, her heart not yet having been touched by 
 love. 
 
 In the prelude we are introduced into the 
 depths of earth, where the gnomes work and 
 toil incessantly, carrying glittering stones, gold 
 and silver, and accumulating all the treasures 
 on which men's hearts are set. 
 
 172
 
 Hans Heilin 
 
 g 
 
 Their King announces to them that he will 
 no longer be one of theirs; he loves, and there- 
 fore he resigns his crown. All the passionate 
 entreatings of his mother and of the gnomes are 
 of no avail. At the Qneen's bidding he takes 
 with him a magic book, without which he should 
 lose his power over the gnomes; and after giving 
 to her beloved son a set of luminous diamonds, 
 mother and son part, Heiling with joy in his 
 heart, the mother in tears and sorrow. 
 
 In the first act Heiling arises from the earth, 
 forever closing the entrance to the gnomes. 
 
 Anna greets him joyously, and Gertrud, her 
 mother, heartily seconds the welcome. Heiling 
 gives to his bride a golden chain, and Anna, 
 adorning herself, thinks, with pleasure, how 
 much she will be looked at and envied by her 
 companions. She fain would show herself at 
 once, and begs Heiling to visit a public festival 
 with her. But Heiling, by nature serious and 
 almost taciturn, refuses her request. Anna 
 pouts, but she soon forgets her grief when she 
 sees the curious signs of erudition in her lover's 
 room. Looking over the magic book, the 
 leaves begin to turn by themselves, quicker and 
 quicker, the strange signs seem to grow, to 
 threaten her, until, stricken with horrible fear, 
 Anna cries out, and Heiling, turning to her, 
 sees too late what she has done. Angry at her 
 curiosity, he pushes her away, but she clings to 
 
 i73
 
 The Standard Operaglass 
 
 him with fervent entreaties to destroy the dread- 
 ful book. His love conquers his reason; and 
 he throws the last link which connects him with 
 his past into the fire. A deep thunder-peal is 
 heard. Anna thanks him heartily, but from 
 this hour the seed of fear and distrust grows in 
 her heart. 
 
 Heiling, seeing her still uneasy, agrees to visit 
 the festival with her upon condition that she 
 refrains from dancing. She gladly promises, 
 but as soon as they come to the festival, Anna is 
 surrounded by the village lads, who entreat her 
 to dance. They dislike the stranger, who has 
 won the fairest maiden of the village, and Con- 
 rad the hunter, who has long loved Anna, is 
 particularly hard on his rival. He mocks him, 
 feeling that Heiling is not what he seems, and 
 tries to lure Anna away from his side. At last 
 Heiling grows angry, forbidding Anna once more 
 to dance. She is wounded by his words, and 
 telling him abruptly that she is not married 
 yet, and that she never will be his slave, she 
 leaves him. 
 
 In despair, Heiling sees her go away with Con- 
 rad, dancing and frolicking. 
 
 In the second act we find Anna in the forest. 
 She is in a deep reverie; her heart has spoken, 
 but, alas, not for her bridegroom, whom she 
 now fears: it only beats for Conrad, who has 
 owned his love to her. Darkness comes on, and 
 
 i74
 
 Hans Heiling 
 
 the gnomes appear with their Queen, who re- 
 veals to the frightened girl the origin of her 
 bridegroom, and entreats her to give back the 
 son to his poor bereft mother. When the 
 gnomes have disappeared, Conrad overtakes 
 Anna, and she tells him all, asking his help 
 against her mysterious bridegroom. Conrad, 
 seeing that she returns his love, is happy. He 
 has just obtained a good situation, and will now 
 be able to wed her. 
 
 He accompanies her home, where Gertrud 
 welcomes them joyously, having feared that 
 Anna had met with an accident in the forest. 
 
 While the lovers are together, Heiling enters, 
 bringing the bridal jewels. Mother Gertrud is 
 dazzled, but Anna shrinks from her bridegroom. 
 When he asks for an explanation, she tells him 
 that she knows of his origin. Then all his 
 hopes die within him; but determined that his 
 rival shall not be happy at his. cost, he hurls his 
 dagger at Conrad and takes flight. 
 
 In the last act Heiling is alone in a ravine 
 in the mountains. He has sacrificed everything 
 and gained nothing. Sadly he decides to re- 
 turn to the gnomes. They appear at his bid- 
 ding, but they make him feel that he no longer 
 has any power over them, and by way of adding 
 still further to his sorrows they tell him that his 
 rival lives and is about to wed Anna. Then in- 
 deed all seems lost to the poor dethroned King. 
 
 17*
 
 The Standard Operaglass 
 
 In despair and repentance lie casts himself to 
 the earth. But the gnomes, seeing that he 
 really has abandoned all earthly hopes, swear 
 fealtv to him once more and return with him to 
 their Queen, by whom he is received with open 
 arms. 
 
 Meanwhile Conrad, who only received a 
 slight wound from Heiling's dagger and has 
 speedily recovered, has fixed his wedding day, 
 and we see Anna, the happy bride, in the midst 
 of her companions, prepared to go to church 
 with her lover. But when she looks about her, 
 Heiling is at her side, come to take revenge. 
 Conrad would fain aid her, but his sword breaks 
 before it touches Heiling, who invokes the help 
 of his gnomes. They appear, but at the same 
 moment the Queen is seen, exhorting her son to 
 pardon and to forget. He willingly follows her 
 away into his kingdom of night and darkness, 
 never to see earth-'s surface again. The anxious 
 peasants once more breathe freely and join in 
 common thanks to God. 
 
 HEKRY THE LION 
 
 Opera in four acts by EDMUND KRETSCHMER 
 
 This opera has not had the same success as 
 "The Folkungs," which maybe attributed in 
 part to the subject, which is less attractive. 
 
 176
 
 Henry the Lion 
 
 Nevertheless it has great merit, and has found 
 its way to the larger stages of Germany. The 
 libretto is written by Kretschmer himself. The 
 background is in this instance also historical. 
 
 The scene, which takes us back to the middle 
 of the 12th century, is laid, in the first act, in 
 Home; in the second and fourth in Henry the 
 Lion's castle, and in the third act on the coast of 
 Ancona. 
 
 In the first act Henry's praise is sung; he has 
 gained the victory for his Emperor, Frederick 
 Barbarossa, over the Italians. Frederick enters, 
 thanking the Duke heartily for his fidelity and 
 fortitude. A stranger, named Astoc, comes, 
 prophesying an unhappy end to the Emperor 
 if he continues to seek his laurels in strange 
 lands. To the anger of everybody, Henry sec- 
 onds him, entreating his master to return into 
 his own country, where his presence is neces- 
 sary. The Emperor rebukes him sternly, 
 Henry grows hot, and is finally, by order of 
 Frederick, fettered and led away. 
 
 The second act shows the park in Henry's 
 castle. His lovely wife Clementina, whose veil 
 he wears on his helmet as a talisman, receives 
 the country people, who come to congratulate 
 ner on the first anniversary of her wedding day. 
 Irrngard, sister-in-law of Duke Henry, sees with 
 envy how much Clementina is loved by every- 
 one; she had herself hoped to become Duchess 
 12 177
 
 The Standard Operaglass 
 
 of Saxony, and from the time when Henry 
 brought home his lovely bride, Irmgard has 
 hated her. Conrad von Wettin, Henry's 
 friend, appears in pilgrim's garb, to announce 
 to the lonely wife the sad news of her husband's 
 captivity, and she at once resolves to travel to 
 Ancona in order to entreat the Emperor's par- 
 don. 
 
 Irmgard, thinking she sees in the disguised 
 pilgrim, whose gait she recognizes to be that of 
 a knight, a lover of Clementina's, believes that 
 already the day of revenge is dawning. 
 
 In the third act the Emperor mourns the loss 
 of his bravest hero, who firmly refuses to retract 
 his rash words. A German song is heard, and 
 Conrad von Wettin presents a young minstrel 
 to the homesick Prince. The former begs for 
 the favor of celebrating the coming festival in a 
 German song. This is permitted, and the festi- 
 val begins. The Anconites, whom Frederick 
 delivered from their captivity, appear to thank 
 him; then Henry the Lion is conducted to his 
 presence and ordered to ask his foi'giveness. 
 But Henry repeats that he did nothing wrong 
 in telling the truth. The Emperor decides to 
 give him an hour for reflection, after which, if 
 Henry does not bend his will, he shall be 
 banished. 
 
 When this hard sentence is heard, Clementina, 
 in minstrel's guise, sings her song of the Ger- 
 
 178
 
 Henry the Lion 
 
 man's fidelity to his Prince and his country, and 
 of his wife's faithfulness and her highest glory. 
 
 The song so touches the Emperor that he 
 bids her ask a favor. She takes Henry the 
 Liou's sword and buckler, which are lying near, 
 and handing them to the captive, entreats the 
 Emperor to give him his liberty and to pardon 
 him. Her request is granted by Frederick; and 
 Henry, shamed by his Prince's magnanimity, 
 bends his knee, swearing eternal fidelity to him. 
 From Henry the young minstrel only asks a 
 piece of the veil fastened round his helmet, in 
 memory of his deliverance. 
 
 The last act carries us back to Henry's castle, 
 where the wife receives her husband full of joy. 
 Clementina asks for the missing piece of veil, 
 and Henry tells her how he gave it away. In 
 the midst of this intercourse horns sound, and 
 the Emperor appears with his whole suite. He 
 comes to recompense his hero, who has again 
 won for him honor and glory, with the duchy 
 of Bavaria. Henry presents his consort as the 
 best and most faithful of wives, when Irmgard 
 steps forth, accusing her sister-in-law of faith- 
 lessness, and relating that she left the castle 
 with a young knight in pilgrim's attire, aud 
 only returned when the news spread that the 
 Duke would come home victorious. Clementina 
 is too proud to defend herself, and forbids even 
 Conrad von Wettin to speak. 
 
 179
 
 The Standard Operaglass 
 
 Everybody is convinced of her innocence, but 
 her husband, always rash and violent, turns 
 from her when she refuses to say nay, and 
 banishing her from his castle, casts his glove 
 before Conrad von Wettin. 
 
 Clementina silently goes away, but soon re- 
 appears in her minstrel's garb; with the piece 
 of veil in her hand she sings the song which 
 they heard in Ancona. Now she is at once rec- 
 ognized; and. the opera ends with a paean of 
 praise to the faithfulness of German wives. 
 
 HEEEAT 
 
 Grand Opera in three acts by FELIX DRAESEKE 
 
 The first representation of Herrat took place 
 in Dresden on the 10th of March, 1892. Its 
 author is long known as one of the first living 
 composers, but his music is so serious, so ex- 
 tremely difficult in its execution, that this is 
 probably the cause why his operas have been 
 almost unknown hitherto. Like Wagner, he 
 did the libretto himself ; like him, he chose his 
 subject from the old. " Heldensaga," but here 
 all likeness ends. There is no relation between 
 Draeseke and Wagner; each goes his own way, 
 each is an original genius. 
 
 1 80
 
 Herrat 
 
 The Amelungenlied, a translation of which 
 has appeared from Simrock, bears great likeness 
 to the Nibelungen; we even find in part the 
 same persons. The subject is a bloody one; 
 love and heroism are the poles which move it. 
 The music is grand, stern, sometimes sublime, 
 but we look vainly for grace and sweetness. 
 The libretto is rather poor, the rhymes un- 
 melodiousand uneven; nevertheless the musical 
 effect is deep and lasting; the breath of a mas- 
 ter genius has brought it to life. 
 
 The first scene is laid in Etzel's (Attila's) Cas- 
 tle Gran. The King of the Hun's best vassal, 
 Dietrich von Bern, has been severely wounded, 
 and sent by his Sire to Gran, that he might be 
 tended by Queen Helke, Etzel's wife. Instead 
 of taking care of the hero, she leaves him to her 
 maid Herlinde, who has naught but water at 
 her disposition, while the Queen nurses her 
 kinsman Dietrich der Reusse, a prisoner of war. 
 The consequence of this is that Etzel, coming 
 home, finds his friend sicker than before, while 
 his enemy is well and strong. Full of wrath, 
 he orders the Queen to keep Dietrich der Reus- 
 se prisoner, without leaving her any guards; 
 should he escape, she is to be beheaded. 
 
 After Etzel's departure to the army Dietrich 
 der Reusse escapes, notwithstanding the Queen's 
 entreaties. In her distress Helke turns to the 
 sore wounded Dietrich von Bern, who, though 
 
 181
 
 The Standard Operaglass 
 
 bitterly cursing her ingratitude, rises from his 
 sick-bed in order to pursue the fugitive. 
 
 In the second act Dietrich der Reusse arrives 
 on foot at Saben's castle in Esthonia. (Saben is 
 a usurper, who has dispossessed King Nentwin 
 and taken possession of his castle and his daugh- 
 ter Herrat.) Dietrich's steed is dead; but hear- 
 ing his pursuer close upon his heels, he takes 
 refuge in an adjacent wood. Herrat, standing 
 on a balcony, has recognized him. She sees 
 him vanish with regret, because prediction told 
 her that a Dietrich would be her deliverer ; but 
 when another hero comes up she directs him 
 to the wood to which Dietrich has flown. She 
 hears the combat going on between the two, and 
 soon the pursuer comes back, telling her that 
 his enemy is dead and begging for rest and 
 shelter. When he tells her his name, she starts 
 back, well knowing that Saben, who has slain 
 Dietrich's relatives, will not receive him gra- 
 ciously. She, however, accompanies him to a 
 room, and, determined to protect him against 
 Saben's wiles, she binds up his wounds and 
 nurses him tenderly. Saben, entering, recog- 
 nizes the Berner by his celebrated helmet; he 
 leaves the room, telling Herrat to look well after 
 such a famous guest. But Herrat's mind mis- 
 gives her; she tries to rouse the hero, who has 
 sunk into the sleep of exhaustion, and, not suc- 
 ceeding, places his arms well within his reach. 
 
 182
 
 Herrat 
 
 When she is about to withdraw, she sees Saben 
 return with a band of assassins. Their murmurs 
 rouse Dietrich, who defends himself bravely, slay- 
 ing one after another. But his strength is fail- 
 ing, when suddenly a disguised youth rushes to 
 his assistance with eight well-armed companions. 
 Saben's men are slain; Saben himself falls a vic- 
 tim to Dietrich's sword. When the youth un- 
 masks, Dietrich recognizes in his deliverer Her- 
 rat, his sweet nurse, whose likeness to his own 
 dead wife, Gotlinde, has moved him from the 
 first. She offers him her father's kingdom, 
 which he, though full of love and gratitude, is 
 loath to accept, as he only claims her heart and 
 hand. But ambition urges him to accept her 
 offer, and so he not only obtains her hand, but 
 is proclaimed King of Esthonia. 
 
 The third act presents the camp of the Huns, 
 pitched southwards of Gran, near the Danube. 
 Etzel has already twice granted respite to the 
 Queen; but as there is no trace of the two Diet- 
 richs, Helke is now to be executed. Old Hilde- 
 brand, one of the Berner's followers, is particu- 
 larly inimical to her, because he believes her to 
 be the cause of his beloved master's death. 
 
 Suddenly everybody's attention is attracted 
 to a ship approaching the camp. Hildebrand, 
 perceiving on it a hero in disguise, wearing 
 Dietrich's helmet, with Waldemar and Ilias, 
 EtzeL's enemies, on his side, calls the people to 
 
 183
 
 The Standard Operaglass 
 
 arms. But when the foreign knight disembarks 
 and, unmasking, shows the face of Dietrich von 
 Bern, everybody is full of joy. He brings the 
 two hostile kings as prisoners to Etzel, and lays 
 the two crowns of Esthonia and of the Wiking 
 country at his feet. 
 
 Etzel's brow, however, remains sombre; he 
 sternly asks after Dietrich der Eeusse. The 
 Berner, unwilling to sing his own praise, is 
 silent, when his wife, Herrat, steps forth, relating 
 how her hero killed his antagonist in Saben's 
 woods. Now, at last, Etzel relents; he draws 
 his wife to his breast in forgiveness, and all sing 
 hail to Etzel and Dietrich and to their Queen. 
 
 HOCHZEITSMOKGEN 
 (WEDDING MORNING) 
 
 Opera in one act by KARL VON KASKEL 
 
 Text by FKANZ KOPPEL-ELLFELD 
 
 This opera, which was represented for the 
 first time at the Eoyal Opera in Dresden, on 
 April 29, 1893, is the first attempt of its young 
 composer, and, as such, shows considerable tal- 
 ent, even genius. 
 
 Indeed, it sins rather in too much thau in too 
 little inventions; it would seem that Kagkel's 
 
 184
 
 Hochzeitsmorgen 
 
 brain, overflowing with musical ideas, wanted 
 to put them all into this* one first child of his 
 muse. This promises well for the future, but 
 it explains why it lacks the great attraction of 
 Cavalleria,with which it has some relation, with- 
 out imitating it in the least. The hearer's at- 
 tention is tired by too much, and divided by 
 lack of, unity. Nevertheless the composer has 
 understood how to make the most of a some- 
 what weak libretto, and the manner in which 
 the musical interest increases from scene tc 
 scene is admirable in a beginner. 
 
 The scene is laid in an Italian frontier fort- 
 ress near Mentone, at the foot of Col di Tenda. 
 It may be added here that the national color- 
 ing is particularly well hit. 
 
 Giovanna, the daughter of Kegina Negri, an 
 innkeeper, is betrothed to Pietro Montalto, Cap- 
 tain of the Bersaglieri; and the wedding is fixed 
 for the following morning. Before her be- 
 trothal Giovanna has carried on a flirtation with 
 Paolo Tosta, a wild fellow, who unfortunately 
 took the girl's play seriously, and, seeing the 
 friend of his childhood estranged from him, has 
 turned smuggler and head of a band of an- 
 archists. Giovanna is afraid of him, and trem- 
 bles for her bridegroom, whom she loves truly. 
 
 However, when she sees Paolo taken captive 
 and sentenced to death by her own lover, she 
 implores the latter to deal mercifully with the 
 
 185
 
 The Standard Operaglass 
 
 miscreant. She has neglected to tell him of 
 her early friendship -for the captive, and so 
 Pietro, who does not understand her softness 
 for the ruffian, refuses, his soldierly honor be- 
 ing at stake. But at last love conquers, and 
 Giovanna extracts a jiromise from him to let the 
 prisoner escape during the night. 
 
 Left alone, Pietro's keen sense of duty re- 
 awakes, and he leaves the place without freeing 
 the captive. 
 
 However, Toto, a dealer in tobacco, Paolo's 
 friend and helpmate in smuggling, arrives and 
 releases him. Instead of escaping, Paolo seeks 
 Giovanna, and when she turns from him with 
 loathing, he swears either to possess her or to 
 destroy her bridegroom. 
 
 On the following morning Pietro hears from 
 Bastiano, the Bersaglieri sergeant, that the 
 keys of the prison have been stolen, and the 
 prisoner has escaped. Pietro rejoices that this 
 happened without his own intervention, and 
 turns full of happiness to his bride, who stands 
 ready for the wedding. The wedding proces- 
 sion is slowly moving towards church, when it 
 is suddenly arrested by Paolo, who throws him- 
 self between the lovers. " Mine she was before 
 she knew you," he cries out ; " to me she swore 
 eternal faith, which she has now falsely broken." 
 Giovanna, struck dumb by terror, is unable to 
 defend herself, Pietro orders his men to re« 
 
 186
 
 Les Huguenots 
 
 capture the ruffian; but quick as thought Paolo 
 has deprived the soldier nearest to him of his 
 6abre and, with the words "Thou shalt die 
 first," has thrust it towards Pietro. Alas! it is 
 Giovauna's breast he pierces; she has shielded 
 her lover with her own body. With a sweet 
 smile she turns to Pietro, who implores her to 
 speak. "Pardon me," she sighs faintly, "he 
 was long a stranger to my heart; thee alone I 
 loved, to thee I was faithful unto death." With 
 these loving words she sinks back, expiring. 
 
 LES HUGUENOTS 
 
 Grand Opera in five acts by GIACOMO MEYERBEER 
 Text by SCRIBE 
 
 This is the best opera of this fertile composer, 
 and one with which only his " Eobert le diable " 
 can compare. 
 
 The music is not only interesting, but highly 
 dramatic; the "mise en scene," the brilliant 
 orchestration, the ballet, everything is com- 
 bined to fascinate the hearer. We find such an 
 abundance of musical ideas, that we feel Berlioz 
 but spoke the truth when he said that it would 
 do for twenty others of its kind. 
 
 The scene is laid in France, at the time of the 
 bloody persecutions of the Protestants or Hu- 
 
 187
 
 The Standard Operaglass 
 
 guenots by the Catholics. The Duke of Medi- 
 cis has apparently made peace with Admiral 
 Coligny, the greatest and most famous of the 
 Huguenots; and we are introduced into the cas- 
 tle of Count Nevers, where the Catholic noble- 
 men receive Raoul de JSTangis, a Protestant, Avho 
 has lately been promoted to the rank of captain. 
 During their meal they speak of love and its 
 pleasures, and everybody is called on to give the 
 name of his sweetheart. Raoul begins by tell- 
 ing them that once, when taking a walk, he 
 surprised a band of students molesting a lady 
 in a litter. He rescued her, and as she gra- 
 ciously thanked him for his gallant service, he 
 thought her more beautiful than any maiden 
 he had ever before seen. His heart burnt with 
 love for her, though he did not know her name. 
 While Eaoul drinks with the noblemen, Marcel, 
 his old servant, warns him of the danger of do- 
 ing so. 
 
 Marcel is a strict old Protestant; and sings a 
 ballad of the Huguenots to the young people, a 
 song wild and fanatic. They laugh at his im- 
 potent wrath, when a lady is announced to 
 Count Nevers, in whom Raoul recognizes the 
 lady of his dreams. 
 
 Of course, he believes her false and bad, while, 
 as a matter of fact, she only comes to beseech 
 Nevers, her destined bridegroom, to set her 
 free. Nevers does so, though not without pain. 
 
 m
 
 Les Huguenots 
 
 When he returns to his companions, he conceals 
 the result of the interview, and presently TJr- 
 bain, a page, enters with a little note for Eaoul 
 de Naugis, in which he is ordered to attend a 
 lady unknown to him. The others recognize 
 the seal of Queen Margarita of Valois, and, find- 
 ing him so worthy, at once seek to gain his 
 friendship. 
 
 In the second act we find Raoul with the 
 beautiful Queen, who is trying to reconcile the 
 Catholics with the Protestants. To this end the 
 Queen has resolved to unite Eaoul with Valen- 
 tine, her lady of honor, and daughter of the 
 Count of St. Bris, a staunch Catholic. Valen- 
 tine tells her heart's secret to her mistress, for 
 to her it was that Raoul brought assistance, and 
 she loves him. The noble Raoul, seeing Mar- 
 garita's beauty and kindness, vows himself her 
 knight, when suddenly the whole court enters 
 to render her homage. Recognizing her at last 
 to be the Queen, Raoul is all the more willing 
 to fulfil her wishes, and offers his hand in recon- 
 ciliation to the proud St. Bris, promising to wed 
 his daughter. But when he perceives in her the 
 unknown lady whom he believes to be so un- 
 worthy, he takes back his word. All are sur- 
 prised, and the offended father vows bloody 
 vengeance. 
 
 In the third act Marcel brings a challenge to 
 St. Bris, which the latter accepts, but Maure- 
 
 189
 
 The Standard Operaglass 
 
 vert, a fanatical Catholic nobleman, tells him 
 of other ways in which to annihilate hiB foe. 
 Valentine, though deadly offended with her 
 lover, resolves to save him. Seeing Marcel, 
 she bids him tell his master not to meet his 
 enemy alone. Meanwhile Eaoul is already on 
 the spot, and so is St. Bris with four witnesses. 
 While they fight, a quarrel arises between the 
 Catholic and the Protestant citizens, which is 
 stopped by Queen Margarita. The enemies 
 accuse each other, and when the Queen is in 
 doubt as to whom she shall believe, Valentine 
 appears to bear witness. Then Eaoul hears that 
 her interview with Nevers had been but a fare- 
 well, sought for but to loosen forever the ties 
 which her father had formed for her against 
 her will; but the knowledge of his error comes 
 too late, for St. Bris has once more promised his 
 daughter to Nevers, who at this moment arrives 
 with many guests, invited for the wedding. The 
 presence of the Queen preserves peace between 
 the different parties, but Eaoul leaves the spot 
 with death in his heart. 
 
 In the fourth act the dreadful night of St. 
 Bartholomew is already beginning. 
 
 We find Valentine in her room despairing. 
 Eaoul comes to take a last farewell; but almost 
 immediately St. Bris enters with a party of 
 Catholics, and Eaoul is obliged to hide in the 
 adjoining room. There he hears the whole con- 
 
 190
 
 1 
 
 Les Huguenots 
 
 spiracy for the destruction of the Protestants, 
 beginning with their leader, Admiral Coligny. 
 The Catholics all assent to this diabolical plot. 
 Nevers alone refuses to soil his honor, and 
 swears only to fight in open battle. The others, 
 fearing treason, decide to bind and keep him 
 prisoner until the next morning. Eaoul pre- 
 pares to save his brethren or die with them. 
 Vain are Valentine's entreaties; though she con- 
 fesses to her love for him, he yet leaves her, 
 though with a great effort, to follow the path of 
 duty. 
 
 In the last act Eaoul rushes pale and bloody 
 nto the hall, where Queen Margarita sits with 
 her husband, Henry of Navarre, surrounded by 
 the court. 
 
 He tells them of the terrific events which are 
 going on outside, and beseeches their help. It 
 is too late, however ; Coligny has already fallen, 
 and with him most of the Huguenots. 
 
 Kaoul meets Valentine once more. She prom- 
 ises to save him if he will go over to her faith. 
 But Marcel reminds him of his oath, and Valen- 
 tine, seeing that nothing can move her lover's 
 fortitude and firmness, decides to remain with 
 him. She accepts his creed, and so they meet 
 death together, Valentine falling by the side of 
 her deadly wounded lover, both praising God 
 with their last breath. 
 
 IQI
 
 The Standard Operaglass 
 
 IDLE HANS 
 
 (DER FAULE HANS) 
 
 Opera in one act by A. RITTER 
 
 Text after a poetic tale by FELX DAHN 
 
 The composer of this hitherto unknown opera 
 is no young man. He is over sixty, and his 
 well-deserved fame reaches him but tardily. 
 Alexander Ritter, a relation and a true friend 
 of Wagner's, was one of the few who gave his 
 help to the latter when he fled to Switzerland 
 poor and abandoned. Though a warm admirer 
 of Wagner's music, Ritter is not his echo. His 
 music, saturated with the modern spirit, is abso- 
 lutely independent and original. His compo- 
 sitions are not numerous: two operas and a few 
 songs are almost all he did for immortality, but 
 they all wear the stamp of a remarkable talent. 
 " Idle Hans " is a dramatic fairy tale of poetical 
 conception. Its strength lies in the orchestra, 
 which is wonderfully in tune with the different 
 situations. After having been represented in 
 Weimar ten years ago, the opera fell into obliv- 
 ion, from which it has now come forth, and was 
 given on the Dresden stage on November 9, 
 1892. It has met with unanimous approval 
 from all those who understand fine and spir- 
 itual music. 
 
 192
 
 Idle Hans 
 
 The plot is soon told. 
 
 Count Hartung has seven sons, all grown up 
 after his own heart except the youngest, Hans, 
 called the Idle, who prefers basking in the sun- 
 shine and dreaming away his life to hunting 
 and fighting. He is a philosopher and a true 
 type of the German, patient, cpiiet, and phleg- 
 matic, who does not deem it worth his while to 
 move a finger for all the shallow doings of the 
 world in general, and his brothers in particular. 
 The son's idleness so exasperates his father that 
 he orders him to be chained like a criminal to a 
 huge oaken post standing in the court-yard, for- 
 bidding anybody, under heavy penalty, to speak 
 to him. His brothers pity him, but they obey 
 their father. 
 
 Left alone, Hans sighs after his dead mother, 
 who so well understood him, and who had 
 opened his eyes and heart to an ideal world, 
 with all that is good and noble. Far from loath- 
 ing his father, he only bewails the hardness of 
 him, for whose love he craves in vain. At last 
 he falls asleep. Seeing this, the maid-servants 
 come to mock him (by the by, a delightful piece 
 of music is this chatter chorus). When Hans 
 has driven away the impudent hussies, his 
 brother Ralph, the singer, approaches to assure 
 him of his unvarying love. He is the only one 
 who believes in Hans's worth, and now tries 
 hard to rouse him into activity, for he has 
 13 J 93
 
 The Standard Operaglass 
 
 heard that the Queen is greatly oppressed by 
 her enemies, the Danes. But Hans remains 
 unmoved, telling him quietly to win his laurels 
 without him. In the midst of their colloquy 
 the Herald's voice announces that the battle is 
 lost, and that the Queen is coming to the castle, 
 a fugitive. The old Count descends from his 
 tower to assemble his sons and his vassals. 
 Hardly are they ready, when the Queen rides 
 up to ask for protection. The gate closes be- 
 hind her, and the old Count does homage, while 
 Hans, still lying idle on his straw, stares at her 
 beauty with new awakened interest. But the 
 enemy is coming nearer; all the Count's well- 
 trained soldiers are defeated, and already 
 Harald, the Danish King, peremptorily orders 
 them to surrender. Now Hans awakes. His 
 effort to break his chains excites the Queen's 
 attention, who asks the old Count for what 
 crime the beautiful youth is punished so 
 severely. The father disowns his son; but at 
 this moment the gate gives way and in rushes 
 Harald, who is met by old Hartung. Alas! the 
 Count's sword breaks in pieces. With the cry, 
 "Now it is worth while acting," Hans breaks 
 his fetters, and brandishing the oaken post to 
 which he was chained, he fells Harald to the 
 ground with one mighty stroke. Konrad, the 
 valet, fetters the giant, and Hans slays every 
 one wh» tries to enter; then, rushing out, de- 
 
 194
 
 Idomeneus 
 
 livers his brothers and puts the whole army to 
 flight. Then lie returns to the Queen, who has 
 witnessed his deeds with a heart full of deep 
 admiration, and swears allegiance. Heartily 
 thanking him, she only now hears that the young 
 hero is Hartung's son, and, full of gratitude, she 
 offers him one-half of her kingdom. But Hans 
 the Idler does not care for a crown; it is her 
 own sweet self he wants, and boldly he claims 
 her hand. Persuaded to have found in him a 
 companion for life as true and loyal as ever 
 lived, she grants him her heart and kingdom. 
 
 IDOMENEUS 
 
 Opera in three acts by W. A. MOZART 
 Text by ABBATE GIANBATTISTA VARESCO 
 
 This opera, which Mozart composed in his 
 twenty-fifth year for the Opera-seria in Munich, 
 was represented in the year 1781, and won bril- 
 liant success. 
 
 It is the most remarkable composition of Mo- 
 zart's youthful age, and though he wrote it un- 
 der Gluck's influence, there is many a spark of 
 his own original genius, and often he breaks the 
 bonds of conventional form and rises to heights 
 hitherto unanticipated. The public in general 
 does not estimate the opera very highly. In con- 
 
 i95
 
 The Staadard Operaglass 
 
 sequence Idomeneus was represented in Dresden, 
 after the long interval of twenty-one years, only 
 to find the house empty and the applause luke- 
 warm. But the true connoisseur of music 
 ought not to be influenced by public opinion, 
 for though the action does not warm the hearer, 
 the music is at once divinely sweet and har- 
 monious; no wild excitement, no ecstatic feel- 
 ings, but music pure and simple, filling the soul 
 with sweet content. 
 
 The scene takes place in Cydonia, on the isle 
 of Crete, soon after the end of the Trojan war. 
 
 In the first act Ilia, daughter of Priam, be- 
 wails her unhappy fate ; but won by the mag- 
 nanimity of Idamantes, son of Idomeneus, King 
 of Crete, who relieves the captive Trojans from 
 their fetters, she begins to love him, much 
 against, her own will. Electra, daughter of 
 Agamemnon, who also loves Idamantes, per- 
 ceives with fury his predilection for the captive 
 princess and endeavors to regain his heart. 
 
 Arbaces, the High-priest, enters, to announce 
 that Idomeneus has perished at sea in a tem- 
 pest. All bewail this misfortune and hasten to 
 the strand to pray to the gods for safety. 
 
 But Idomeneus is not dead. Poseidon, whose 
 help he invoked in his direst need, has saved 
 him, Idomeneus vowing to sacrifice to the god 
 the first mortal whom he should encounter on 
 landing. Unfortunately, it is his own son, who 
 
 196
 
 Idomeneus 
 
 comes to the strand to mourn for his beloved 
 father. Idomeneus, having been absent during 
 the siege of Troy for ten years, at first fails to 
 recognize his son. But when the truth dawns 
 on both, the son's joy is as great as his father's 
 misery. Terrified, the latter turns from the 
 aggrieved and bewildered Idamantes. Mean- 
 while the King's escort has also safely landed, 
 and all thank Poseidon for their delivery. 
 
 In the second act Idomeneus takes counsel 
 with Arbaces, and resolves to send his son away, 
 in order to save him from the impending evil. 
 The King speaks to Ilia, whose love for Ida- 
 mantes he soon divines. This only adds to his 
 poignant distress. Electra, hearing that she is 
 to accompany Idamantes to Argos, is radiant, 
 hoping that her former lover may then forget 
 Ilia. They take a tender farewell from Ido- 
 meneus, but just when they are about to em- 
 bark, a dreadful tempest arises, and a monster 
 emerges from the waves, filling all present with 
 awe and terror. 
 
 In the third act Idamantes seeks Ilia to bid 
 her farewell. Not anticipating the reason of 
 his father's grief, which he takes for hate, he is 
 resolved to die for his country, by either van- 
 quishing the dreadful monster sent by Posei- 
 don's wrath, or by perishing in the combat. 
 
 Ilia, unable to conceal her love for him anv 
 longer, bids him live, live for her. In his new- 
 
 '97
 
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 found happiness Idamantes forgets his grief, 
 and when his father surprises the lovers, he im- 
 plores him to calm his wrath, and rushes away, 
 firmly resolved to destroy the monster. 
 
 With terrible misgivings Idomeneus sees Ar- 
 baces approach, who announces that the people 
 are in open rebellion against him. The King 
 hastens to the temple, where he is received with 
 remonstrances by the High -priest, who shows 
 him the horrid ravages which Poseidon's wrath 
 has achieved through the monster; he entreats 
 him to name the victim for the sacrifice and to 
 satisfy the wishes of the god. Eent by remorse 
 and pain, Idomeneus finally names his son. 
 
 All are horror-stricken, and falling on their 
 knees, they crave Poseidon's pardon. While 
 they yet kneel, loud songs of triumph are heard, 
 and Idamantes returns victorious from his fight 
 with the monster. 
 
 With noble courage he throws himself at his 
 father's feet, imploring his benediction and — 
 his death. For, having heard of his father's un- 
 happy vow, he now comprehends his sorrow, 
 and endeavors to lessen his grief. 
 
 Idomeneus, torn by conflicting feelings, at 
 last is about to grant his son's wish, but when 
 he lifts his sword, Ilia throws herself between, 
 imploring him to let her be the victim. A 
 touching scene ensues between the lovers, but 
 Ilia gains her point. Just when she is about to 
 
 198
 
 Ingrid 
 
 receive her death-stroke, Poseidon's pity is at 
 last aroused. In thunder and lightning he de- 
 crees that Idomeueus is to renounce his throne 
 in favor of Idamantes, for whose spouse he 
 chooses Ilia. 
 
 In a concluding scene Ave see Electra tor- 
 mented by the furies of hate and jealousy. 
 Idomeneus fulfils Poseidon's request, and all in- 
 voke the god's benediction on the happy royal 
 house of Crete. 
 
 INGRID 
 
 Opera in two acts by KARL GRAMMANN. 
 
 Text by T. KERSTEN 
 
 Ingrid is a musical composition of consider- 
 able interest, the local toue and coloring being 
 so well hit. It is a Norwegian picture, with 
 many pretty and original customs, to which the 
 music is well adapted and effective, without be- 
 ing heart-stirring. 
 
 The scene is laid in Varo in Norway. Helga, 
 the rich Norwegian peasant, Wandrup's daugh- 
 ter, is to wed Godila Swestorp, her cousin, and 
 the most desirable young man in the village. 
 She entertains but friendly feelings for him, 
 while her heart belongs to a young German 
 traveller; and Godila, feeling that she is differ- 
 
 199
 
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 ent from what she was, keeps jealous watch over 
 her, and swears to destroy his rival. 
 
 In the second scene Ingrid, a young girl 
 (coach maid) whose business it is to direct the 
 carioles from station to station, drives up with 
 the German Erhard, who, meeting with a severe 
 accident in the mountains, is saved by her cour- 
 age. Full of tenderness, she dresses his wounds; 
 he thanks her warmly, and presents her with a 
 miniature portrait of his mother. She mistakes 
 his gratitude for love, and it fills her with hap- 
 piness, which is instantly destroyed when Helga 
 appears and sinks on the breast of her lover. 
 Ingrid, a poor orphan, who never knew father 
 or mother, is deeply disappointed, and bitterly 
 reproaches Heaven for her hard fate. The 
 scene is witnessed by old father Wandrup, in 
 whose heart it arouses long-buried memories, 
 and he tries to console Ingrid. But When she 
 claims the right to hear more of her parents he 
 only says that she was found a babe at his 
 threshold twenty-five, years ago, and that noth- 
 ing was ever heard of her father and mother. 
 
 The second act opens with a pretty national 
 festival, in which the youths and maidens, 
 adorned with wild carnations, wend their way in 
 couples to Ljora (love's bridge in the people's 
 mouth), from whence they drop their flowers 
 into the foaming water. If they chance to be 
 carried out to sea together, the lovers will be 
 
 200
 
 Ingrid 
 
 united ; if not, woe to them, for love and friend- 
 ship will die an untimely death. Godila tries 
 to offer his carnations to Helga, but she dex- 
 terously avoids him. and succeeds in having a 
 short interview with Erhard, with whom she is 
 to take flight on a ship, whose arrival is just 
 announced. Erhard goes off to prepare every- 
 thing, and a few minutes afterwards Helga 
 comes out of the house in a travelling dress. 
 But Godila, who has promised Wandrup to 
 watch over his daughter, detains her. 
 
 Wild with love and jealousy, he strains her 
 to his breast and drags her towards the Ljora 
 bridge. Helga vainly struggles against the 
 madman; but Ingrid, who has witnessed the 
 whole occurrence, waves her white kerchief in 
 the direction of the ship, and calls back Erhard, 
 who is just in time to spring on the bridge, 
 when its railing gives way, and Godila, w r ho 
 has let Helga fall at the approach of his enemy, 
 is precipitated into the waves. Erhard tries to 
 save him, but is prevented by Ingrid, who inti- 
 mates that all efforts would be useless. Helga, 
 in a swoon, is carried to the house, when Wand- 
 rup, seeing his child wounded and appai-ently 
 lifeless, calls Godila, and hears with horror that 
 his body has been found dashed to pieces on the 
 rocks. Now the father's wrath turns against 
 Erhard^ in whom he 6ees Godila's murderer, 
 but Ingrid, stepping forth, relates how the 
 
 201 
 
 LIBRARY 
 
 8TATS- 
 •ANTA BAH 
 
 £
 
 The Standard Operaglass 
 
 catastrophe happened, and. how Godila seemed to 
 be punished by Heaven for his attack on Helga. 
 Everybody is touched by poor, despised Ingrid's 
 unselfishness; she even pleads for Iielga's union 
 with Erhard, nobly renouncing her own claims 
 on his love and gratitude. Wandrup relents, 
 and the happy lovers go on the Ljora bridge, 
 whence their carnations float out to sea side by 
 side. The ship's departure is signalled, and all 
 accompany the lovers on board. Only Ingrid 
 remains. Her strength of mind has forsaken 
 her; a prey to wild despair, she resolves to de- 
 stroy herself. Taking a last look at Erhard's 
 gift, the little medallion picture, she is sur- 
 prised by Wandrup, who recognizes in it his own 
 dead love. " She is thy mother, too, Ingrid," 
 he cries out. " My mother, she, and Erhard 
 my brother ! " This is too much for Ingrid. 
 With an incoherent cry she rushes on the bridge, 
 intending to throw herself over. But Wand- 
 rup beseechingly stretches out his arms, crying, 
 "Ingrid, stay, live for thy father." At first 
 the unhappy girl shrinks back, but seeing the 
 old man's yearning love, she sinks on her knees, 
 then, slowly rising, she returns to her father, 
 who folds her in loving embrace. 
 
 202
 
 Iphigenia in Aulis 
 
 IPHIGENIA IN AULIS 
 
 Grand Opera in three acts by GLUCK 
 Text of the original rearranged by R. WAGNER 
 
 This opera, though it does not stand, from the 
 point of view of the artist, on the same level 
 with Iphigenia in Tauris, deserves, nevertheless, 
 to be represented on every good stage. It may 
 be called the first part of the tragedy, and 
 Iphigenia in Tauris very beautifully completes 
 it. The music is sure to be highly relished by 
 a cultivated hearer, characterized as it is by a 
 simplicity which often rises into grandeur and 
 nobility of utterance. 
 
 The first scene represents Agamemnon rent 
 by a conflict between his duty and his fatherly 
 love; the former of which demands the sacri- 
 fice of his daughter, for only then will a favor- 
 able wind conduct the Greeks safely to Ilion. 
 Kalchas, the High -priest of Artemis, appears to 
 announce her dreadful sentence. Alone with 
 the King, Kalchas vainly tries to induce the 
 unhappy father to consent to the sacrifice. 
 
 Meanwhile Iphigenia, who has not received 
 Agamemnon's message, which ought to have 
 prevented her undertaking the fatal journey, 
 arrives with her mother, Klytemnestra. They 
 
 203
 
 The Standard Operaglass 
 
 are received with joy by the people. Agamem- 
 non secretly informs his spouse that Achilles, 
 Iphigenia's betrothed, has proved unworthy of 
 her, and that she is to return to Argos at once. 
 Iphigenia gives way to her feelings. Achilles 
 appears, the lovers are soon reconciled, and pre- 
 pare to celebrate their nuptials. 
 
 In the second act Iphigenia is adorned for her 
 wedding, and Achilles comes to lead her to the 
 altar, when Arkas, Agamemnon's messenger, 
 informs them that death awaits Iphigenia. 
 
 Klytemnestra, in despair, appeals to Achilles, 
 and the bridegroom swears to protect Iphigenia. 
 She alone is resigned in the belief that it is her 
 father's will that she should face this dreadful 
 duty. Achilles reproaches Agamemnon wildly, 
 and leaves the unhappy father a prey to mental 
 torture. At last he decides to send Arkas at 
 once to Mykene with mother and daughter, and 
 to hide them there until the wrath of the god- 
 dess be appeased. But it is too late. 
 
 In the third act the people assemble before 
 the royal tent and, with much shouting and 
 noise, demand the sacrifice. Achilles in vain 
 implores Iphigenia to follow him. She is ready 
 to be sacrificed, while he determines to kill any 
 one who dares touch his bride. Klytemnestra 
 then tries everything in her power to save her. 
 She offers herself in her daughter's stead, and 
 finding it of no avail, at last sinks down in a 
 
 204
 
 Iphigenia in Aulis 
 
 swoon. The daughter, having bade her an 
 eternal farewell, with quiet dignity allows her- 
 self to be led to the altar. When her mother 
 awakes, she rages in impotent fury; then she 
 hears the people's hymn to the goddess, and 
 rushes out to die with her child. The scene 
 changes. The High-priest at the altar of Ar- 
 temis is ready to pierce the innocent victim. 
 A great tumult arises; Achilles with his native 
 Thessalians makes his way through the crowd, 
 in order to save Iphigenia, who loudly invokes 
 the help of the goddess. But at this moment a 
 loud thunder-peal arrests the contending parties, 
 and when the mist, which has blinded all, has 
 passed, Artemis herself is seen in a cloud with 
 Iphigenia kneeling before her. 
 
 The goddess announces that it is Iphigenia's 
 high mind which she demands, and not her 
 blood ; she wishes to take her into a foreign 
 land, where she may be her priestess and atone 
 for the sins of the blood of Atreus. 
 
 A wind favorable to the fleet has risen, and 
 the people, filled with gratitude and admiration, 
 behold the vanishing cloud and praise the god- 
 dess. 
 
 ao5
 
 The Standard Operagiass 
 IPHIGENIA IN TAURIS 
 
 Opera in four acts by GLUCK 
 Text by GU1LLARD 
 
 Gluck's Iphigenia stands highest among his 
 dramatic compositions. It is eminently classic, 
 and so harmoniously finished that Herder called 
 its music sacred. 
 
 The libretto is excellent. It follows pretty 
 exactly the Greek original. 
 
 Iphigenia, King Agamemnon's daughter, who 
 has been saved by the goddess Diana (or Ar- 
 temis) from death at the altar of Aulis, has been 
 carried in a cloud to Tauris, where she is com- 
 pelled to be High-priestess in the temple of the 
 barbarous Scythians. There we find her, after 
 having performed her cruel service for fifteen 
 years. Human sacrifices are required, but more 
 than once she has saved a poor stranger from 
 this awful lot. 
 
 Iphigenia is much troubled by a dream in 
 which she saw her father deadly wounded by 
 her mother, and herself about to kill her brother 
 Orestes. She bewails her fate in having, at 
 the behest of Thoas, King of the Scythians, to 
 sacrifice two strangers who have been thrown 
 on his shores. Orestes and his friend Pylades, 
 
 206
 
 Iphigenia in Tauris 
 
 for these are the straugers, are led to death, 
 loaded with chains. 
 
 Iphigenia, hearing that they are her country- 
 men, resolves to save at least one of them, in 
 order to send him home to her sister Electra. 
 She does not know her brother Orestes, who, 
 having slain his mother, has fled, pursued by 
 the furies, but an inner voice makes her choose 
 him as a messenger to Greece. A lively dispute 
 arises between the two friends. At last Orestes 
 prevails upon Iphigenia to spare his friend, by 
 threatening to destroy himself with his own 
 hands, his life being a burden to him. Iphi- 
 genia reluctantly complies with his request, 
 giving the message for her sister to Py lades. 
 
 In the third act Iphigenia vainly tries to steel 
 her heart against her victim. At last she seizes 
 the knife, but Orestes's cry: " So you also were 
 pierced by the sacrificial steel, my sister 
 Iphigenia!" arrests her; the knife falls from 
 her hands, and there ensues a touching scene of 
 recognition. 
 
 Meanwhile Thoas, who has heard that one of 
 the strangers was about to depart, enters the 
 temple with his body-guard, and though Iphi- 
 genia tells him that Orestes is her brother and 
 entreats him to spare Agamemnon's son, Thoas 
 determines to sacrifice him and his sister Iphi- 
 genia as well. But his evil designs are frus- 
 trated by Pylades, who, returning with several 
 
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 of his countrymen, stabs the King of Tauris. 
 The goddess Diana herself appears, and helping 
 the Greeks in their fight, gains for them the 
 victory. Diana declares herself appeased by 
 Orestes's repentance, and allows him to return to 
 Mykene with his sister, his friend, and all his 
 followers. 
 
 IKKLICHT 
 
 (WILL-O'-THE-WISP) 
 Opera in one act by KARL GRAMMANN. 
 Text by KURT GEUCKE 
 
 With "Irrlicht" the composer takes a step 
 towards verism ; both subject and music are 
 terribly realistic, though without the least shade 
 of triviality. The music is often of brilliant 
 dramatic effect, and the fantastic text, well 
 matching the music, is as rich in thrilling facts 
 as any modern Italian opera. Indeed this seems 
 to be by far the best opera which the highly 
 gifted composer has written. 
 
 The scene is laid on a pilot's station on the 
 coast of Normandy. A pilot-boat has been 
 built and is to be baptized with the usual cere- 
 monies. Tournaud, an old ship captain, expects 
 his daughter Gervaise back from a stay in Paris. 
 He worships her, and when she arrives he is 
 
 2o9
 
 Irrlicht 
 
 almost beside himself with joy and pride. But 
 Gervaise is pale and sad, and hardly listens to 
 gay Marion, who tells her of the coming festi- 
 val. Meanwhile all the fisher people from far 
 and near assemble to participate in the baptism, 
 and Andre, who is to be captain of the boat, 
 is about to choose a godmother amongst the 
 fair maidens around, when he sees Gervaise com- 
 ing out of the house, where she has exchanged 
 her travelling garb for a national dress. For- 
 gotten are all the village lassies, and Andre 
 chooses Gervaise, who reluctantly consents to 
 baptize the boat, and is consequently received 
 very ungraciously by the maidens and their 
 elders. She blesses the boat, which sails off 
 among the cheers of the crowd with the simple 
 words: "God bless thee." Andre, who loves 
 Gervaise with strong and everlasting affection, 
 turns to her, full of hope. He is gently but 
 firmly rebuked, and sadly leaves her, while Ger- 
 vaise is left to her own sad memories, which 
 carry her back to the short happy time when 
 she was loved and won and, alas ! forsaken by a 
 stranger of high position. Marion, who loves 
 Andre hopelessly, vainly tries to brighten up 
 her companion. They are all frightened by the 
 news of a ship being in danger at sea. A vio- 
 lent storm has arisen, and when Maire Grisard, 
 the builder of the yacht, pronounces her name 
 "Irrlicht," Gervaise starts with a wild cry. 
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 The ship is seen battling with the waves, while 
 Andre rushes in to bring Gervaise a telegraphic 
 dispatch from Paris. It tells her that her child 
 is at death's door. Tournaud, catching the pa- 
 per, in a moment guesses the whole tragedy of 
 his daughter's life. In his shame and wrath 
 he curses her, but all her thoughts are centred 
 on the ship, on which the Count, her child's 
 father, is struggling against death. She im- 
 plores Andre to save him, but he is deaf to her 
 entreaties. Then she rushes off to ring the 
 alarm-bell, but nobody dares to risk his life in 
 the storm. At last, seeing all her efforts vain, 
 she looses a boat, and drives out alone into 
 night and perdition. As soon as Andre per- 
 ceives her danger he follows her. At this mo- 
 ment a flash of lightning, which is followed by a 
 deafening crash, shows the yacht rising out of 
 the wavfts for the last time, and then plunging 
 down into a watery grave forever. The whole 
 assembly sink on their knees in fervent prayer, 
 which is so far granted that Andre brings back 
 Gervaise unhurt. She is but in a deep swoon, 
 and her father, deeply touched, pardons her. 
 When she opens her eyes and shudderingly 
 understands that her sacrifice was fruitless, she 
 takes a little flask of poison from her bosom and 
 slowly empties it. Then, taking a last farewell 
 of the home of her childhood and of her early 
 love, she recommends Marion to Andre's care. 
 
 2IO
 
 Jean de Paris 
 
 By this time the poison has begun to take effect, 
 and the poor girl, thinking that in the waving 
 willow branches she sees the form of her lover, 
 beckoning to her, sighs " I come, beloved," and 
 sinks back dead. 
 
 JEAN BE PAEIS 
 
 Comic Opera in three acts by ADRIEN BOIELDIEU 
 Text by ST. JUST 
 
 After a lapse of many years this spirited little 
 opera has again been put upon the stage, and its 
 success has shown that true music never grows 
 old. 
 
 Next to the "Dame blanche " "Jean de Paris" 
 is decidedly the best of Boieldieu's works; the 
 music is very graceful, fresh, and lively, and the 
 plot, though simple and harmless, is full of 
 chivalric honor and very winning. 
 
 The scene takes us back to the 17th century, 
 and we find ourselves in an inn of the Pyrenees. 
 
 The young and beautiful Princess of Navarre, 
 being widowed, and her year of mourning hav- 
 ing passed, is induced by her brother, the King 
 of Navarre, to marry again. The French 
 Crown Prince has been selected by the two courts 
 as her future husband, but both parties are of a 
 
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 somewhat romantic turn of mind, and desire to 
 know each other before being united for life. 
 
 For this purpose the Prince undertakes a 
 journey to the Pyrenees, where he knows the 
 Princess to be. 
 
 In the first scene we see preparations being 
 made for the reception of the Princess, whose 
 arrival has been announced by her Seneschal. 
 In the midst of the bustle there enters a simple 
 page to demand rooms for his master. As he 
 is on foot, the host treats him spitefully, but his 
 daughter Lorezza, pleased with his good looks, 
 promises him a good dinner. While they are 
 still debating, the numerous suite of the Prince 
 comes up and, without further ado, takes posses- 
 sion of the house and stables which have been 
 prepared for the Princess and her people. The 
 host begins to feel more favorably inclined to- 
 wards the strange Seigneur, though he does not 
 understand how a simple citizen of Paris (this 
 is the Prince's incognito) can afford such luxury. 
 By the time " Monsieur Jean de Paris " ar- 
 rives the host's demeanor has entirely changed, 
 and seeing two large purses with gold, he aban- 
 dons the whole house to the strange guest, hop- 
 ing that he shall have prosecuted his journey 
 before the arrival of the Princess. But he has 
 been mistaken, for no sooner are Jean de Paris's 
 people quartered in the house than the Sen- 
 eschal, a pompous Spanish Grandee, arrives to 
 
 212
 
 Jean de Paris 
 
 announce the coming of the Princess. The 
 host is hopelessly embarrassed, and the Seneschal 
 rages at the impudence of the citizen, but Jean 
 de Paris quietly intimates that the house and 
 everything in it are hired by him, and courte- 
 ously declares that he will play the host and 
 invite the Princess to his house and dinner. 
 
 While the Seneschal is still stupefied by such 
 unheard-of impudence, the Princess arrives, and 
 at once takes everybody captive by her grace and 
 loveliness. Jean de Paris is fascinated, and the 
 Princess, who instantly recognizes in him her 
 future bridegroom, is equally pleased by his ap- 
 pearance, but resolves to profit and to amuse 
 herself by her discovery. 
 
 To the Seneschal's unbounded surprise she 
 graciously accepts Jean's invitation. 
 
 In the second act the preparations for the 
 dinner of the honored guests have been made. 
 Olivier, the page, shows pretty Lorezza the min- 
 uets of the ladies at court, and she dances in 
 her simple country fashion, until Olivier seizes 
 her, and they dance and sing together. 
 
 Jean de Paris, stepping in, sings an air in 
 praise of God, beauty, and chivalry, and when 
 the Princess appears, he leads her to dinner, to 
 the unutterable horror of the Seneschal. Din- 
 ner, service, plate, silver, all is splendid, and all 
 belongs to Jean de Paris, who sings a tender 
 minstrel's song to the Princess. She sweetly an- 
 
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 swers him, and telling him that she has already 
 chosen her knight, who is true, honest, and of 
 her own rank, makes him stand on thorns for a 
 while, lest he be too late, until he perceives 
 that she only teases in order to punish him for 
 his own comedy. Finally they are enchanted 
 with each other, and when the people come up, 
 the Prince, revealing his true name, presents 
 the Princess as his bride, bidding his suite ren- 
 der homage to their mistress. The Seneschal 
 humbly asks forgiveness, and all unite in a 
 chorus in praise of the beautiful pair. 
 
 JESSONDA 
 
 Opera in three acts by LOUIS SPOHR 
 Text by HENRY GEHE 
 
 Spohr wrote this opera by way of inaugura- 
 tion to his charge as master of the court chapel 
 at Cassel, and with it he added to the fame 
 which he had long before established as master 
 of the violin and first-rate composer. His music 
 is sublime, and sheds a wealth of glory on the 
 somewhat imperfect text. 
 
 The story introduces us to Goa, on the coast of 
 Malabar, at the beginning of the 16th century. 
 
 A Rajah has just died, and is bewailed by his 
 people, and Jessonda, his widow, who was mar- 
 
 214
 
 Jessonda 
 
 ried to the old man against her will, is doomed 
 to be burnt with him, according to the conn- 
 try's laws. Nadori, a young priest of the God 
 Brahma, is to announce her fate to the beautiful 
 young widow. But Nadori is not a Brahmin 
 by his own choice; he is young and passionate, 
 and though it is forbidden to him to look at 
 women, he at once falls in love with Jessonda's 
 sister Amazili, whom he meets when on his sad 
 errand. He promises to help her in saving her 
 beloved sister from a terrible death. 
 
 Jessonda meanwhile hopes vainly for the ar- 
 rival of the Portuguese General, Tristan 
 d'Acunha, to whom she pledged her faith long 
 ago, when a cruel fate separated her from him. 
 She knows that the Portuguese are at this mo- 
 ment besieging Goa, which formerly belonged 
 to them. Jessonda is accompanied by her 
 women through the Portuguese camp, to wash 
 away in the floods of the Ganges the last traces 
 of earthliness. She sacrifices a rose to her early 
 love. 
 
 Turning back into the town, she is recog- 
 nized by Tristan, but, alas, a truce forbids him 
 to make an assault on the town in order to de- 
 liver his bride. Jessonda is led back in triumph 
 by the High-priest Daudon, to die an untimely 
 death. 
 
 In the third act Nadori visits Tristan in se- 
 cret, to bring the welcome news that Daudon 
 
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 himself broke the truce, by sending two spies 
 into the enemy's camp to burn their ships. 
 This act of treachery frees Tristan from his 
 oath. Nadori conducts him and his soldiers 
 through subterranean passages into the tem- 
 ple, where he arrives just in time to save Jes- 
 sonda from the High-priest's sword. She gives 
 him hand and heart, and Nadori is united to 
 her sister Amazili. 
 
 JOSEPH INT EGYPT 
 
 Opera in three acts by ETIENNE HENRY MEHUL 
 Text after ALEXANDER DUVAL 
 
 This opera, which has almost disappeared 
 from the French stage, is still esteemed in Ger- 
 many, and always will be so, because, though 
 clad in the simplest garb, and almost without 
 any external outfit, its music is grand, noble, 
 and classic; it equals the operas of Gluck, whose 
 influence may be traced, but it is free from all 
 imitation. Here we have true music, and the 
 deep strain of patriarchal piety, so touching in 
 the Biblical recital, finds grand expression. 
 
 Joseph, the son of Jacob, who was sold by his 
 brothers, has by his wisdom saved Egypt from 
 threatening famine; he resides as governor in 
 Memphis under the name of Cleophas. But 
 
 216
 
 Joseph in Egypt 
 
 though much honored by the King and all the 
 people, he never ceases to long for his old fa- 
 ther, whose favorite child he was. 
 
 Driven from Palestine by this same famine, 
 Jacob's sons are sent to Egypt to ask for food 
 and hospitality. They are tormented by pangs 
 of conscience, which Simeon is hardly able to 
 conceal, when they are received by the governor, 
 who at once recognized them. Seeing their sor- 
 row and repentance, he pities them, and prom- 
 ises to receive them all hospitably. He does not 
 reveal himself, but goes to meet his youngest 
 brother Benjamin and his blind father, whose 
 mourning for his lost son has not been dimin- 
 ished by the long years. Joseph induces his 
 father and brother to partake in the honors 
 which the people render to him. The whole 
 family is received in the governor's palace, 
 where Simeon, consumed by grief and con- 
 science-stricken, at last confesses to his father 
 the selling of Joseph. Full of horror, Jacob 
 curses and disowns his ten sons. But Joseph 
 intervenes. Making himself known, he grants 
 full pardon and entreats his father to do the 
 same. 
 
 The old man yields, and together they praise 
 God's providence and omnipotence. 
 
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 LA JTTIVE (THE JEWESS) 
 
 Grand Opera in five acts by HALEVY 
 Text by EUGENE SCRIBE 
 
 This opera created a great sensation when it 
 first appeared on the stage of the Grand Opera 
 at Paris in the year 1835, and it has never lost 
 its attraction. It was one of the first grand 
 operas to which brilliant mise en scene, gor- 
 geous decorations, etc., added success. 
 ' Halevy's great talent lies in orchestration, 
 which is here rich and effective; his style, half 
 French, half Italian, is full of beautiful effects 
 of a high order. 
 
 The libretto is one of the best which was ever 
 written by the dextrous and fertile Scribe. 
 
 The scene of action is laid in Constance, in 
 the year 1414, during the Council. 
 
 In the first act the opening of the Council is 
 celebrated with great pomp. 
 
 The Catholics, having gained a victory over 
 the Hussites, Huss is to be burnt, and -the Jews, 
 equally disliked, are oppressed and put down 
 still more than before. All the shops are closed, 
 only Eleazar, a rich Jewish jeweller, has kept 
 his open, and is therefore about to be impris- 
 oned and put to death, when Cardinal de 
 Brogni intervenes, and saves the Jew and his 
 
 tl8
 
 La Juive (The Jewess) 
 
 daughter Recha from the people's fury. Thb 
 Cardinal has a secret liking for Eleazar, though 
 he once banished him from Rome. He hopes 
 to gain news from him of his daughter, who 
 was lost in early childhood. But Eleazar hates 
 the Cardinal bitterly. When the mob is dis- 
 persed, Prince Leopold, the Imperial Com- 
 mander-in-Chief, approaches Recha. Under 
 the assumed name of Samuel he has gained her 
 affections, and she begs him to be present at a 
 religious feast, which is to take place that even- 
 ing at her father's house. The act closes with 
 a splendid procession of the Emperor and all 
 his dignitaries. Ruggiero, the chief judge in 
 Constance, seeing the hated Jew and his daugh- 
 ter amongst the spectators, is about to seize 
 them once more, when Prince Leopold steps 
 between and delivers them, to Recha's great as- 
 tonishment. 
 
 In the second act we are introduced to a great 
 assembly of Jews, men and women, assisting at 
 a religious ceremony. Samuel is there with 
 them. The holy act is, however, interrupted by 
 the Emperor's niece, Princess Eudora, who 
 comes to purchase a golden chain, which once 
 belonged to the Emperor Constantin, and which 
 she destines for her bridegroom, Prince Leo- 
 pold. Eleazar is to bring it himself on the fol- 
 lowing day. Samuel, overhearing this, is full of 
 trouble. "When the assembly is broken up and 
 
 219
 
 The Standard Operaglass 
 
 all have gone, he returns once more to Recha, 
 and finding her alone, confesses that he is a 
 Christian. Love prevails over Recha's filial 
 devotion, and she consents to fly with her lover, 
 but they are surprised by Eleazar. Hearing of 
 Samuel's falseness, he first swears vengeance, 
 but, mollified by his daughter's entreaties, he 
 only bids him marry Recha. Samuel refuses, 
 and has to leave, the father cursing him, Recha 
 bewailing her lover's falseness. 
 
 In the third act we assist at the Imperial ban- 
 quet. Eleazar brings the chain, and is accom- 
 panied by Recha, who at once recognizes in 
 Eudora's bridegroom her lover, Samuel. She 
 denounces the traitor, accusing him of living in 
 unlawful wedlock with a Jewess, a crime which 
 is punishable by death. 
 
 Leopold (alias Samuel) is outlawed, the Car- 
 dinal Brogni pronounces the anathema upon all 
 three, and they are put into prison. 
 
 In the fourth act Eudora visits Recha in 
 prison, and by her prayers not only overcomes 
 Recha' s hate, but persuades her to save Leopold 
 by declaring him innocent. Recha, in her 
 noblemindedness, pardons Leopold and Eudora, 
 and resolves to die alone. 
 
 Meanwhile the Cardinal has an interview with 
 Eleazar, who tells him that he knows the Jew 
 who once saved the Cardinal's little daughter 
 from the flames. Brogni vainly entreats him 
 
 220
 
 Junker Heinz (Sir Harry) 
 
 to reveal the name. He promises to save 
 Reoha, should Eleazar be willing to abjure his 
 faith, but the latter remains firm, prepared to 
 die. 
 
 In the fifth act we hear the clamors of the 
 people, who furiously demand the Jew's death. 
 
 Ruggiero announces to father and daughter 
 the verdict of death by fire. Leopold is set free 
 through Recha's testimony. When in view of 
 the funeral pile, Eleazar asks Recha if she 
 would prefer to live in joy and splendor and to 
 accept the Christian faith, but she firmly an- 
 swers in the negative. Then she is led on to 
 death, and she is just plunged into the glowing 
 furnace when Eleazar, pointing to her, in- 
 forms the Cardinal that the poor victim is his 
 long-lost daughter; then Eleazar follows Recha 
 into the flames, while Brogni falls back sense- 
 less. 
 
 JUNKER HEINZ (SIE HARRY) 
 
 Opera in three acts by KARL VON PERPALL 
 Text after Hertz's poem, " Henri of Suabia," 
 
 by FRANZ GRANDOUR 
 
 This opera, composed recently by the Super- 
 intendent of the Royal Opera in Munich, has 
 made its way to the most renowned stages in 
 
 221
 
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 Germany, which proves that the composition is 
 not a common one. 
 
 Indeed, though it is not composed in the 
 large style to which we are now accustomed 
 from hearing so much of Wagner, the music is 
 interesting, particularly so because it is entirely 
 original and free from reminiscences. There 
 are some little masterpieces in it which deserve 
 to become popular on account of their fresh- 
 ness; wit and humor, however, are not the com- 
 poser's "forte," and so the first act, in which 
 the vagabonds present themselves, is by far the 
 least interesting. 
 
 The libretto is very well done; it has made 
 free use of Hertz's pretty poem. 
 
 The scene is laid in the beginning of the elev- 
 enth century. The first act lands us near Ess- 
 lingen, in Suabia, the two following near Speier. 
 
 Three swindlers concoct a plot to acquire 
 wealth by robbing the Emperor's daughter. 
 To this end, one of them, Marudas, a former 
 clerk, has forged a document, in which the 
 Emperor of Byzantium asks for the hand of 
 Agnes, daughter of Conrad, Emperor of Ger- 
 many, who, just approaching with his wife 
 Gisela, is received with acclamation by the citi- 
 zens of Esslingen. Soon after, the three vaga- 
 bonds appear in decent clothes, crying for help; 
 they pretend to have been attacked and robbed 
 by brigands. Boccanera, the most insolent of 
 
 222
 
 Junker Heinz (Sir Harry) 
 
 them, wears a bloody bandage round his head. 
 The document is presented to the Emperor, 
 who turns gladly to his wife and tells her of the 
 flattering offer of the Greek Prince. After he 
 has ordered that the ambassador be taken good 
 care of, the Emperor is left alone with his wife. 
 She tenderly asks him why he always seems so 
 sorrowful and gloomy, and after a first evasive 
 answer, he confides to his faithful wife what 
 oppresses him. 
 
 Twenty years ago he gave orders to kill a little 
 infant, the son of his deadliest enemy, Count of 
 Calw, his astronomer Crusius having prophesied 
 that this child would wed the Emperor's daugh- 
 ter and reign after him. The remembrance of 
 this cruelty now torments him, but Gisela con- 
 soles her husband, hoping and praying that God 
 will pardon the repentant sinner. During this 
 intercourse, a young man comes up, entreating 
 the Emperor to read a document which was 
 given to the youth by his dying uncle and 
 destined for the Emperor. As Conrad reads it, 
 he learns that this youth is the child he would 
 have had killed years ago, and who was carried 
 to the forester house and brought up there. 
 The Emperor and his wife thank Heaven that 
 they have been spared so dreadful a sin, but 
 Conrad, afraid of the prophecy, determines to 
 send the young man, who is called Junker 
 Heinz, away. He gives him a document, in 
 
 223
 
 The Standard Operaglass 
 
 which he orders Count Gerold, governor of 
 Speier, to give his daughter to the three am- 
 bassadors of the Emperor of Byzantium. 
 
 In the second act we see Agnes, the Em- 
 peror's daughter, working and singing with her 
 damsels. • She is well guarded by old Hiltrudis, 
 but the worthy lady is obliged to leave for some 
 days, and departs with many exhortations. 
 Hardly has she gone than all the working ma- 
 terial disappears, and the maidens begin to sing 
 and frolic. The appearance of Junker Heinz 
 frightens them away. Heinz, who has ridden 
 long, thinks to take a little rest, now that he 
 sees the towers of Speier before him. He 
 stretches himself on a mossy bank and is soon 
 asleep. Shortly afterwards, the Princess Agnes 
 peeps about with her companion Bertha. She 
 is highly pleased with the appearance of the 
 strange hunter, and seeing him asleep, she gazes 
 at him, until she insensibly falls in love with 
 him. Observing the document which the 
 stranger has in his keeping, she takes and reads 
 it, and, disgusted with its contents, throws it 
 into the fountain, quickly fetching another 
 parchment which was once given to her by her 
 father, and which contains both permission to 
 wish for something and her father's promise to 
 grant her wish. 
 
 When Heinz awakes, and finds the loveliest 
 of the maidens beside him, he falls as deeply in 
 
 224
 
 Junker Heinz (Sir Harry) 
 
 love as the } r oung lady, but their tender inter- 
 view is soon interrupted by the blowing of hunt- 
 ers' horns.* 
 
 In the third act Count Gerold, who has come 
 with a suite to accompany the Princess on a 
 hunt, is presented with the Emperor's docu- 
 ment by Heinz, who cannot read, and who is 
 wholly ignorant of the change which Agnes has 
 made. Though greatly astonished at the Em- 
 peror's command to wed Agnes to the bringer 
 of his letter, Count Gerold is accustomed to 
 obey, and Heinz, who first refuses compliance 
 with the strange command, at once acquiesces 
 when he sees that his lady-love and the Princess 
 are one and the same person. About to go to 
 church, they are detained by the Emperor, Avho 
 scornfully charges Heinz with fraud. 
 
 But when Count Gerold presents the docu- 
 ment, his scorn turns on Agnes and he orders 
 her to a convent. Heinz fervently entreats 
 the Emperor to pardon Agnes, and takes a 
 tender farewell of her. On the point of depart- 
 ing for ever, he sees the three ambassadors, 
 whom he recognizes and loudly denounces as 
 robbers and swindlers. Boccanera is obliged to 
 own that his wound came from Junker Heinz, 
 who caught him stealing sheep. They are led 
 to prison, while the Emperor, grateful to Heinz 
 for his daughter's delivery from robbers, gives 
 her to him and makes Heinz Duke of Suabia, 
 15 22$
 
 The Standard Operaglass 
 
 persuaded that it is useless to fight against that 
 which the stars have prophesied. 
 
 A KING AGAINST HIS WILL 
 
 (DER KO-NIG WIDER WILLEN) 
 
 Comic Opera in three acts by EMANUEL CHABRIER 
 
 Text after a comedy written by ANCELOT 
 from EMILE DE NAJAC and PAUL BUKANI 
 
 The composer has recently become known in 
 Germany by his opera Gwendoline, performed 
 at Leipsic a short time ago. His latest opera, 
 " A King Against His Will," was represented on 
 the Royal Opera in Dresden, April 26, 1890, 
 and through its wit, grace, and originality won 
 great applause. Indeed, though not quite free 
 from " raftinement," its melodies are exquis- 
 itely interesting and lovely. Minka's Bohemian 
 song, her duet with De Nangis, her lover, as 
 well as the duet between the King and Alexina, 
 are masterpieces, and the national coloring in 
 the song of the Polish body-guard is character- 
 istic enough. 
 
 The libretto is most amusing, though the 
 plot is complicated. The scene is laid at Cracow 
 in the year 1574. Its subject is derived from a 
 historical fact. Henry de Valois has been 
 
 226
 
 A King Against His Will 
 
 elected King of Poland, through the machina- 
 tions of his ambitious mother, Caterina de' 
 Medici, to whom it has been prophesied that 
 all her sons should be crowned. 
 
 The gay Frenchman most reluctantly accepts 
 the honor, but the delight of his new Polish 
 subjects at having him is not greater than his 
 own enchantment with his new kingdom. 
 
 The first act shows the new King surrounded 
 by French noblemen, gay and thoughtless like 
 himself, but watching all his movements by 
 order of his mother, who fears his escape. By 
 chance the King hears from a young bondwom- 
 an, Minka, who loves De Nangis, his friend, and 
 wishes to save him a surprise, that a plot had 
 been formed by the Polish noblemen, who do not 
 yet know him personally, and he at once decides 
 to join the conspiracy against his own person. 
 Knowing his secretary, Fritelli, to be one of the 
 conspirators, he declares that he is acquainted 
 with their proceedings and threatens him with 
 death should he not silently submjt to all his 
 orders. The frightened Italian promises to lead 
 him into the house of Lasky, the principal con- 
 spirator, where he intends to appear as De 
 Nangis. But before this, in order to prevent 
 discovery, he assembles his guard and suite, and 
 in their presence accuses his favorite De Nangis 
 with treachery, and has him safely locked up in 
 apparent deep disgrace. 
 
 227
 
 The Standard Operaglass 
 
 The second, act opens with a festival at 
 Lasky's, under cover of which the King is to be 
 arrested and sent over the frontier. Now the 
 King, being a total stranger to the whole as- 
 sembly, excepting Fritelli, presents himself as 
 De Nangis and swears to dethrone his fickle 
 friend, the King, this very night. But mean- 
 while De Nangis, who, warned by Minka's song, 
 has escaped from his confinement through the 
 window, comes up, and is at once presented by 
 the pretended De Nangis as King Henry. The 
 true De Nangis, complying with the jest, at once 
 issues his Kingly orders, threatening to punish 
 his antagonists and proclaiming his intention to 
 make the frightened Minka his Queen. He is 
 again confined by the conspirators, who, finding 
 him so dangerous, resolve to kill him. This is 
 entirely against King Henry's will, and he at 
 once revokes his oath, proclaiming himself to 
 be the true King, and offering himself, if need 
 shall be, as their victim. But he is not be- 
 lieved; the. only person who knows him, 
 Fritelli, disowns him, and Alexina, the secre- 
 tary's wife, a former sweetheart of the King in 
 Venice, to whom he has just made love again 
 under his assumed name, declares that he is 
 De Nangis. Henry is even appointed by lot to 
 inflict the death-stroke on the unfortunate 
 King. Determined to destroy himself rather 
 than let his friend suffer, he opens the door to 
 
 ?38
 
 A King Against His Will 
 
 De Xangis's prison, but the bird has again 
 flown. Minka, though despairing of ever be- 
 longing to one so high-born, has found means to 
 liberate him, and is now ready to suffer for her 
 interference. She is, however, protected by 
 Henry, who once more swears to force the King 
 from the country. 
 
 The third act takes place in the environs of 
 Crakow, where preparations are made for the 
 King's entry. Ko one knows who is to be 
 crowned, Henry de Valois or the Archduke of 
 Austria, the pretender supported by the Polish 
 nobles, but Fritelli, coming up, assures the inn- 
 keeper that it is to be the Archduke. Mean- 
 while the King enters in hot haste, asking for 
 horses, in order to take himself away as quickly 
 as possible. Unfortunately, there is only one 
 horse left and no driver, but the King orders 
 this to be got ready, and declares that he will 
 drive himself. During his absence Alexina and 
 Minka, who have proceeded to the spot, are full 
 of pity for the unfortunate King, as w T ell as for 
 his friend De Nangis. Alexina resolves to put 
 on servant's clothes, in order to save the fugi- 
 tive, and to drive herself. Of course Henry is 
 enchanted when recognizing his fair driver, and 
 both set about to depart. 
 
 Minka, left alone, bewails her fate and wants 
 to stab herself, whereupon De Nangis suddenly 
 appears in search of the King. At the sight 
 
 229
 
 The Standard Operaglass 
 
 of him, Minka quickly dries her tears, being 
 assured that her lover is true to her. Fritelli, 
 however, who at first had rejoiced to see his 
 wife's admirer depart, is greatly dismayed at 
 hearing that his fair wife was the servant- 
 driver. He madly rushes after them to arrest 
 the fugitives. But the faithful guard is already 
 on the King's track, and together with his Cav- 
 aliers, brings them back in triumph. 
 
 Finding that, whether he will or no, he must 
 abide by his lot, and hearing further that the 
 Archduke has renounced his pretensions to 
 the crown of Poland, the King at last submits. 
 He unites the faithful lovers De Nangis and 
 Minka, sends Fritelli as Ambassador to Venice, 
 accompanied by his wife Alexina, and all hail 
 Henry de Valois as King of Poland. 
 
 LOHENGKIN 
 
 Romantic Opera in three acts 
 by RICHARD WAGNER 
 
 This is the most popular of all Wagner's 
 operas. No need to say more about its music, 
 which is so generally known and admired that 
 every child in Germany knows the graceful aria 
 where Lohengrin dismisses the swan, the superb 
 
 bridal chorus, etc. 
 
 230
 
 Lohengrin 
 
 Wagner again took his material from the 
 old legend which tells us of the mystical knight 
 Lohengrin (Veron of Percival), Keeper of the 
 "Holy Grail." 
 
 The scene is laid near Antwerp, where 
 " Heinrich der Yogler," King of Germany, 
 is just levying troops amongst his vassals of 
 Brabant to repulse the Hungarian invaders. 
 The King finds the people in a state of great 
 commotion, for Count Frederick Telramund 
 accuses Elsa of Brabant of having killed her 
 young brother Godfrey, heir to the Duke of 
 Brabant, who died a short time ago, leaving his 
 children to the care of Telramund. Elsa was 
 to be Telramund's wife, but he wedded Ortrud 
 of Friesland, and now claims the deserted Duchy 
 of Brabant. 
 
 As Elsa declares her innocence, not knowing 
 what has become of her brother, who was taken 
 from her during her sleep, the King resolves to 
 decide by a tourney in which the whole matter 
 shall be left to the judgment of God. Tel- 
 ramund, sure of his rights, is willing to fight 
 with any champion who may defend Elsa. 
 All the noblemen of Brabant refuse to do so, 
 and even the King, though struck by Elsa's 
 innocent appearance, does not want to oppose 
 his valiant and trustworthy warrior. 
 
 Elsa alone is calm; she trusts in the help of 
 the heavenly knight, who has appeared to her 
 
 231
 
 The Standard Operaglass 
 
 in a dream, and publicly declares her intention 
 of offering to her defender the crown and her 
 hand. While she prays, there arrives a knight 
 in silver armor; a swan draws his boat. He 
 lands; Elsa recognizes the knight of her dream, 
 and he at once offers to fight for the accused 
 maiden on two conditions: first, that she shall 
 become his wife, and second, that she never 
 will ask for his name and his descent. 
 
 Elsa solemnly promises, and the combat be- 
 gins. The strange knight is victorious, and 
 Telramund, whose life the stranger spares, is, 
 with his wife Ortrud, outlawed. 
 
 The latter is a sorceress; she has deceived 
 her husband, who really believes in the murder 
 of Godfrey, while as a matter of fact she has 
 abducted the child. In the second act we see 
 her at the door of the Ducal palace, where 
 preparations for the wedding are already being 
 made. She plans vengeance. Her husband, 
 full of remorse, and feeling that his wife has 
 led him on to a shameful deed, curses her as 
 the cause of his dishonor. She derides him, 
 and rouses his pride by calling him a coward. 
 Then she pacifies him with the assurance that 
 she will induce Elsa to break her promise and 
 ask for the name of her husband, being sure 
 that then all the ^ower of this mysterious cham- 
 pion will vanish. 
 
 When Elsa steps en the balcony to confide 
 
 232
 
 Lohengrin 
 
 her happiness to the stars, she hears her name 
 spoken in accents so sad that her tender heart 
 is moved. Ortrud bewails her lot, invoking 
 Elsa's pity. The Princess opens her door, 
 urging the false woman to share her palace 
 and her fortune. Ortrud at once tries to sow 
 distrust in Elsa's innocent heart. 
 
 As the morning dawns, a rich procession of 
 men and women throng to the Munster, where 
 Elsa is to be united to her protector. Tel- 
 ramund tries vainly to accuse the stranger; 
 he is pushed back, and silenced. As Elsa is 
 about to enter the church, Ortrud steps for- 
 ward, claiming the right of precedence. Elsa, 
 frightened, repents, too late, having protected 
 her. Ortrud upbraids her with not even having 
 asked her husband's name and descent. All 
 are taken aback, but Elsa defends her husband, 
 winning everybody by her quiet dignity. 
 
 She turns to Lohengrin for protection, but, 
 alas ! the venom rankles in her heart. 
 
 When they are all returning from church, 
 Telramund once more steps forth, accusing 
 Lohengrin, and demanding from the King to 
 know the stranger's name. Lohengrin declares 
 that his name may not be told excepting his 
 wife asks. Elsa is in great trouble, but once 
 more her love conquers, and she does not put 
 the fatal question. 
 
 But in the third act, when the two lovers 
 
 233
 
 The Standard Operaglass 
 
 are alone, she knows no rest. Although her 
 husband asks her to trust him, she fears that 
 he may leave her as mysteriously as he came, 
 and at last she cannot refraiu from asking 
 the luckless question. From this moment all 
 happiness is lost to her. Telramund enters 
 to slay his enemy, but Lohengrin, taking his 
 sword, kills him with one stroke. Then he 
 leads Elsa before the King, and loudly an- 
 nounces his secret. He tells the astounded 
 hearers that he is the Keeper of the Holy 
 Grail. Sacred and invulnerable to the villain, 
 a defender of right and virtue, he may stay 
 with mankind as long as his name is unknown. 
 But now he is obliged to reveal it. He is Lohen- 
 grin, son of Percival, King of the Grail, and 
 is now compelled to leave his wife and return 
 to his home. The swan appears, from whose 
 neck Lohengrin takes a golden ring, giving it 
 to Elsa, together with his sword and golden horn. 
 Just as Lohengrin is about to depart Ortrud 
 appears, triumphantly declaring that it was she 
 who changed young Godfrey into a swan, and 
 that Lohengrin would have freed him, too, had 
 Elsa not mistrusted her husband. Lohengrin, 
 hearing this, sends a fervent prayer to Heaven, 
 and loosening the swan's golden chain, the ani- 
 mal dips under water, and in his stead rises God- 
 frey, the lawful heir of Brabant. A white dove 
 descends to draw the boat in which Lohengrin 
 
 234
 
 Lorle 
 
 glides away, and Elsa falls senseless in her 
 brother's arms. 
 
 LOELE 
 
 Opera in three acts by ALBAN FOERSTER 
 Text by HANS HEINRICH SCHEFSKY 
 
 With this opera its composer has made a lucky- 
 hit; it stands far higher than the " Maidens of 
 Schilda," by dint of the charming subject, 
 founded on Auerbach's wonderful village story, 
 "Die Frau Professorin.*' This romance is so 
 universally known and admired all over Ger- 
 many that it ensures the success of the opera. 
 The music is exceedingly well adapted to the 
 subject; its best parts are the "Lieder" 
 (songs), which are often exquisitely sweet, har- 
 monious, and refined. They realize Foerster's 
 prominent strength, and nowhere could they be 
 better placed than in this sweet and touching 
 story. 
 
 Though the libretto is not very carefully writ- 
 ten, it is better than the average performances 
 of this kind, and with poetical intuition Schef- 
 sky has refrained from the temptation to make 
 it turn out well, as Charlotte Birch- Pfeiffer has 
 done in her play of Lorle, which is a weak 
 counterpart of Auerbach's village tragedy. 
 
 235
 
 The Standard Opcraglass 
 
 The first representation of the opera took 
 place in Dresden on June 18, 1891 ; it won the 
 success it truly deserves. 
 
 The first act, which is laid in a village of the 
 Black Forest, represents the square before the 
 house of the wealthy Lindenhost. He wishes 
 his only daugther Lorle to marry a well-to-do 
 young peasant named Balder, who loved her 
 from her childhood. But Lorle rejects him, 
 having lost her heart to a painter who had 
 stayed in her father's house, and who had taken 
 her as a model for a picture of the Madonna 
 which adorns the altar of the village church. 
 Lorle' s friend Barbele guesses her secret, and 
 advises her to consult fate by wreathing secretly 
 a garland of bluebells and reed grass. This 
 wreath she is to throw into the branches of an 
 oak, calling aloud the name of her lover. If 
 the garland is stopped by the boughs, her 
 wishes are fulfilled; if it falls back into the 
 girl's hands, she must give up hope for the 
 year. 
 
 Both maidens resolve to try their fate on the 
 very same night, which happens to be St. 
 John's (midsummer night), the true night for 
 the working of the charm. 
 
 Meanwhile the Hussars arrive to carry away 
 the newly enlisted peasants. The sergeant will- 
 ingly permits a last dance, and all join in it 
 heartily ; but when the hour of parting comes, 
 
 236
 
 Lorle 
 
 the frightened Balder hides in an empty barrel. 
 Unfortunately, his officer happens to choose this 
 one barrel for himself, deeming it filled with 
 wine. "When it is laid on the car, the missing 
 recruit is promptly apprehended. 
 
 The scene changes now to one of sylvan soli- 
 tude, through which two wanderers are saunter- 
 ing. They are artists, and one of them, Bern- 
 hardt, is attracted to the spot by his longing for 
 the sweet village flower, whom he has not for- 
 gotten in the whirl of the great world. Al- 
 ready he sees the windows of his sweetheart 
 glimmer through the trees, when suddenly light 
 footsteps cause the friends to hide behind a 
 large oak tree. The two maidens who appear 
 are Lorle and Biirbele. The former prays fer- 
 vently, then throwing her garland, she shyly 
 calls her lover's name, Eeinhardt. The latter 
 stepping from behind the tree skilfully catches 
 the wreath — and the maiden. This moment 
 decides their fates; Reinhardt passionately de- 
 clares his love, while Walter amuses himself 
 with pretty Biirbele, whose nai've coquetry 
 pleases him mightily. 
 
 The following act introduces us to Rein- 
 hardt's studio in a German residence. A year 
 has gone by since he wooed and won his bride; 
 alas! he is already tired of her. The siren 
 Maria, Countess of Matran, with whom he was 
 enamored years ago, and whose portrait he has 
 
 237
 
 The Standard Operaglass 
 
 just finished, has again completely bewitched 
 him. 
 
 In vain Lorle adorns herself in her bridal 
 attire at the anniversary of their wedding; the 
 infatuated husband has no eye for her loveli- 
 ness, and roughly pushes her from him. Left 
 alone, the poor young wife gives vent to her 
 feelings in an exquisite sigh of longing for her 
 native country: " Hatt' ich verlassen nie dich, 
 meine Haiden " (" Would I had never left thee, 
 my heath "). 
 
 A visit from her dear Barbele somewhat con- 
 soles her, and delights Walter, the faithful 
 house-friend. Balder, Lorle's old playmate, 
 still recruit, also comes iu and gladdens her by 
 a bunch of heath-flowers. But hardly have 
 they enjoyed their meeting when the Prince is 
 announced, who desires to have a look at the 
 Countess's portrait. The rustic pair is hastily 
 hidden behind the easel, and Lorle receives his 
 Koyal Highness with artless gracefulness, pre- 
 senting him with the flowers she has just re- 
 ceived. Her husband is on thorns, but the 
 Prince affably accepts the gift, and invites her to 
 a festival which is to take place in the evening. 
 Then he looks at the picture, expressing some 
 disappointment about its execution, which so 
 vexes the sensitive artist that he roughly pushes 
 the picture from the easel, thereby revealing 
 the two innocents behind it. Great is his wrath 
 
 238
 
 Lorie 
 
 at his wife's imprudence, while the Prince exits 
 with the Countess, unable to repress a smile at 
 the unexpected event. 
 
 There now ensues a very piquant musical 
 intermezzo, well making np for the missing 
 overture. The rising curtain reveals a brilliant 
 court festival. Reinhardt has chosen the Count- 
 ess for his shepherdess, while Lorle, standing 
 a moment alone and heartsore, is suddenly 
 chosen by the Prince as Queen of the fete. 
 After a charming gavotte, the guests disperse in 
 the various rooms. Only the Countess stays be- 
 hind with Reinhardt, and so enthralls him that 
 he forgets honor and wife, and falls at her feet, 
 stammering words of love and passion. Unfor- 
 tunately, Lorle witnesses the scene; she staggers 
 forward, charging her husband with treason. 
 The guests rush to her aid, but this last stroke 
 is too much for the poor young heart; she sinks 
 down in a dead faint. 
 
 The closing act takes place a year later. 
 Walter and Barbele are married, and only 
 Lorle's sad fate mars their happiness. Lorle 
 has returned to her father's home broken- 
 hearted, and grief for his only child has changed 
 the old man sadly. 
 
 Again it is midsummer night, and the father 
 is directing his tottering steps to the old oak, 
 when he is arrested by a solitary wanderer, whom 
 sorrow and remorse have also aged considerably. 
 
 239
 
 The Standard Operaglass 
 
 "With disgust and loathing he recognizes his 
 child's faithless husband, who comes to crave 
 pardon from the wife he so deeply wronged. 
 Alas ! he only comes to see her die. 
 
 Lorle's feeble steps are also guided by her 
 friends to the old oak, her favorite resting- 
 place. There she finds her last wish granted; 
 it is to see Eeinhardt once more before she dies, 
 and to pardon him. The luckless husband 
 rushes to her feet, and tries vainly to restrain 
 the fast-ebbing life. With the grateful sigh, 
 " He loves me," she sinks dead into his arms, 
 while a sweet and solemn choir in praise of St. 
 John's night concludes the tragedy. 
 
 LOYE'S BATTLE 
 (DEE LIEBESKAMPF) 
 
 Opera in two acts 
 Music and Text by ERICK MEYER-HELMUND 
 
 This young composer, whose first opera was 
 brought on the stage in Dresden in the spring 
 of 1892, has been known for several years to 
 the musical world by his most charming and 
 effective songs. That he has talent, even gen- 
 ius, is a fact which this opera again demon- 
 strates, but the "making" is somewhat too 
 
 240
 
 Love's Battle 
 
 easy, not to say negligent, and it reminds us of 
 Mascagni, whose laurels are an inducement to 
 all our young geniuses to " go and do likewise." 
 Even the plot, with its Corsican scenery, has a 
 strong resemblance to " Cavalleria Kusticana." 
 Its brevity — both acts last but fifty minutes — is a 
 decided advantage, for the easy-flowing melodies, 
 which come quite naturally to the composer, 
 cannot fail to attract the public without being 
 able to tire them. One of the most delightful, 
 a really exquisite piece of music, is the duet be- 
 tween Giulietta and Giovanni. 
 
 The text, which is likewise written by the 
 musician himself, has a very simple plot. 
 
 Pietro, a sailor, returns from a long voyage 
 only to find his promised bride, Maritana, the 
 wife of another. 
 
 After having waited three years for his re- 
 turn, she fell into dire distress, which was 
 augmented by the report that Pietro's ship 
 "Elena" had been wrecked and her lover 
 drowned. An innkeeper, Arrigo, came to her 
 aid, and not only rescued her from misery, but 
 also adopted her child, the offspring of Mari- 
 tana's love for Pietro, after which she promised 
 him her hand in gratitude. 
 
 Not long after their marriage the "Elena" 
 returns with Pietro, who never doubts his sweet- 
 heart's constancy. Great is his dismay when he 
 hears from Arrigo and his father that Maritana 
 16 241
 
 The Standard Operaglass 
 
 is lost to him. Pietro endeavors to persuade 
 Maritana to fly with him, but the young wife, 
 although conscious of her affections for him, 
 denies that she ever loved him. 
 
 The second, act begins Avith the wedding festi- 
 val of Giovanni and Giulietta, Arrigo's niece. 
 After the charming love duet above mentioned, 
 Pietro once more offers his love to Maritana, 
 but in vain. 
 
 In the midst of the turmoil of frolic, in which 
 Pietro seems one of the wildest and gayest, 
 Arrigo takes him aside, whispering: "There is 
 no room here for both of us unless you leave 
 Maritana in peace. Quit this place; there are 
 more girls in the world to suit you." Pietro 
 promises, and in his passion he at once turns to 
 the bride Giulietta, whom he embraces. Of 
 course her bridegroom, Giovanni, is not willing 
 to put up with this piece of folly ; a violent 
 quarrel ensues, in which the men rush upon 
 Pietro with daggers drawn. 
 
 Maritana, willing to sacrifice herself in a 
 quarrel for which she feels herself alone re- 
 sponsible, rushes between the combatants. 
 Then Pietro, fully awake to her love, but see- 
 ing that she is lost to him, quickly ascends a 
 rock, and calling out, " Sea eternal, I am 
 thine; farewell, Maritana, we shall meet in 
 heaven! " he precipitates himself into the waves, 
 while Maritana falls back in a faint. 
 
 242
 
 Lucia di Lammermoor 
 LUCIA DI LA^DIERMOOE 
 
 Tragic Opera in three acts by GAETANO DONIZETTI 
 Test from Scotfs romance by SALYATOEE CAMMERANO 
 
 This opera is Donizetti's masterpiece, and, 
 except his " Figlia del Eeggimento " and " Lu- 
 crezia Borgia," is the only one of his fifty 
 operas which is still given on all stages abroad. 
 The chief parts, those of Lucia and Edgardo, 
 offer plenty of scope for the display of brilliant 
 talent, and Lucia in particular is a tragic hero- 
 ine of the first rank. 
 
 In the libretto there is not much left of Scott's 
 fine romance. Edgardo, the noble lover, is 
 most sentimental, and, generally, English char- 
 acteristics have had to give place to Italian 
 coloring. 
 
 Henry Ash ton, Lord of Lammermoor, has 
 discovered that his sister Lucia loves his mortal 
 enemy, Sir Edgardo of Ravenswood. He con- 
 fides to Lucia's tutor, Raymond, that he is lost 
 if Lucia does not marry another suitor of his 
 (her brother's) choice. 
 
 Lucia and Edgardo meet in the park. Ed- 
 gardo tells her that he is about to leave Scot- 
 land for France in the service of his country. He 
 wishes to be reconciled to his enemy, Lord Ash- 
 ton, for though the latter has done him all kinds 
 
 243
 
 The Standard Operaglass 
 
 of evil, though he has slain liis father and burnt 
 his castle, Edgardo is willing to sacrifice his 
 oath of vengeance to his love for Lucia. But 
 the lady, full of evil forebodings, entreats him 
 to wait, and swears eternal fidelity to him. 
 After having bound himself by a solemn oath, 
 he leaves her, half distracted with grief. 
 
 In the second act Lord Ashton shows a forged 
 letter to his sister, which goes to prove that her 
 lover is false. Her brother now presses her 
 more and more to wed his friend, Arthur, Lord 
 Bucklaw, declaring that he and his party are 
 lost, and that Arthur alone can save him from 
 the executioner's axe. At last, when even her 
 tutor Raymond beseeches her to forget Edgardo, 
 and, like the others, believes him to be faith- 
 less, Lucia consents to the sacrifice. The wed- 
 ding takes place in great haste, but just as Lucia 
 has finished signing the marriage contract, Ed- 
 gardo enters to claim her as his own. 
 
 With grief and unbounded passion he now 
 sees in his bride a traitoress, and tearing his 
 ring of betrothal from her finger, he throws it 
 at her feet. 
 
 Henry, Arthur, and Raymond order the rav- 
 ing lover to leave the castle, and the act closes 
 in the midst of confusion and despair. 
 
 The third act opens with Raymond's an- 
 nouncement that Lucia has lost her reason, and 
 has killed her husband in the bridal room. 
 
 244
 
 Lucrezia Borgia 
 
 Lucia herself enters to confirm his awful news; 
 she is still in bridal attire, and in her demented 
 condition believes that Arthur will presently 
 appear for the nuptial ceremony. Everybody 
 is full of pity for her, and her brother repents 
 his harshness. Too late, alas! — Lucia is fast 
 dying, and Eliza leads her away amid the lam- 
 entations of all present. 
 
 Edgardo, hearing of these things while wan- 
 dering amid the tombs of his ancestors, resolves 
 to see Lucia once more. When dying, she asks 
 for him, but he comes too late. The funeral 
 bells toll, and he stabs himself, praying to be 
 united to his bride in heaven. 
 
 LTTCKEZIA BOKGIA 
 
 Tragic Opera in three acts by DONIZETTI 
 Text by FELICE ROMANI, after Victor Hugo's drama 
 
 Donizetti's Lucrezia was one of the first tragic 
 operas to command great success, notwithstand- 
 ing its dreadful theme and its light music, 
 which is half French, half Italian. It is in 
 some respects the predecessor of Verdi's operas, 
 " Rigoletto," " Trovatore," etc., which have till 
 now held their own in many theatres because the 
 subject is interesting and the music may well 
 entertain us for an evening, though its value 
 
 245
 
 The Standard Operaglass 
 
 often lies only in the striking harmonies. The 
 libretto cannot inspire us with feelings of par- 
 ticular pleasure, the heroine, whose part is by 
 far the best and most interesting, being the cele- 
 brated murderess and poisoner, Lucrezia Borgia. 
 At the same time she gives evidence, in her deal- 
 ings with her son Gennaro, of possessing a very 
 tender and motherly heart, and the songs in 
 which she pours out her love for him are really 
 fine, as well as touching. 
 
 Lucrezia, wife of Don Alfonso, Duke of Fer- 
 rara, goes to Venice in disguise to see the son of 
 her first marriage, Gennaro. In his earliest 
 youth he was given to a fisherman, who brought 
 him up as his own son. Gennaro feels himself 
 attracted towards the strange and beautiful 
 woman who visits him, but hearing from his 
 companions, who recognize and charge her with 
 all sorts of crimes, that she is Lucrezia Borgia, 
 he abhors her. Don Alfonso, not knowing the 
 existence of this son of an early marriage, is 
 jealous, and when Gennaro comes to Ferrara, 
 and in order to prove his hatred of the Borgias 
 tears off Lucrezia's name and 'scutcheon from 
 the palace gates, Rustighello, the Duke's confi- 
 dant, is ordered to imprison him. Lucrezia, 
 hearing from her servant Gubetta of the out- 
 rage to her name and honor, complains to the 
 Duke, who promises immediate punishment of 
 
 the malefactor. 
 
 246
 
 Lucrezia Borgia 
 
 Gennaro enters, and terror-stricken Lucrezia 
 recognizes her son. Vainly does she implore 
 the Duke to spare the youth. With exquisite 
 cruelty he forces her to hand the poisoned 
 golden cup to the culprit herself, and, depart- 
 ing, bids her accompany her prisoner to the 
 door. This order gives her an opportunity to 
 administer an antidote by which she saves Gen- 
 naro's life, and she implores him to fly. But 
 Gennaro does not immediately follow her ad- 
 vice, being induced by his friend Orsini to as- 
 sist at a grand festival at Prince Negroni 's. 
 
 Unhappily all those young men who formerly 
 reproached and offended Lucrezia so mortally 
 in presence of her son are assembled there by 
 Lucrezia's orders. She has mixed their wine 
 with poison, and herself appears to announce 
 their death. Horror-stricken, she sees Gennaro, 
 who was not invited, among them. He has par- 
 taken of the wine, like the others, but on her 
 offering him an antidote he refuses to take it; 
 its quantity is insufficient for his friends, and 
 he threatens to kill the murderess. Then she 
 reveals the secret of his birth to him, but he 
 only turns from this mother, for whom he had 
 vainly longed his whole life, and dies. The 
 Duke, coming up to witness his wife's horrible 
 victory, finds all either dead or dying, and Lu- 
 crezia herself expiree, stricken down by deadly 
 remorse and pain. 
 
 247
 
 The Standard Operaglass 
 THE MACCABEES 
 
 Opera in three acts by ANTON RUBINSTEIN 
 
 Text by MOSENTHAL, taken from Otto Lndwig's drama of the 
 
 same name 
 
 This opera when it appeared created a great 
 sensation in the musical world. In it the emi- 
 nent pianist and composer has achieved a splen- 
 did success. The music belongs to the noblest 
 and best, and is in most masterly fashion adapted 
 to the Jewish character. Ludwig and Mosen- 
 thal, both names of renown in Germany, have 
 given a libretto worthy of the music. 
 
 The hero is the famous warrior of the Old 
 Testament. The scene takes place 160 years 
 before Christ, partly at Modin, a city in the 
 mountains of Judah, and partly in Jerusalem 
 and its environs. 
 
 The first act shows Leah with three of her 
 sons, Eleazar, Joarim and Benjamin. Eleazar 
 is envious of Judah, the eldest son, whose cour- 
 age and strength are on everybody's lips, but 
 his mother consoles him by a prophecy that 
 Eleazar shall one day be High-priest and King 
 of the Jews. 
 
 The fete of the sheep-shearing is being cele- 
 brated, and Noemi, Judah's wife, approaches 
 Leah with garlands of flowers, asking for her 
 benediction, But she is repulsed by her moth- 
 
 248
 
 The Maccabees 
 
 er-in-law, who is too proud to recognize the low- 
 born maid as her equal, and slights her son 
 Judah for his love. She tries to incite him into 
 rebellion against the Syrians, when Jojakim, a 
 priest, appears. He announces the death of 
 Osias, High-priest of Zion, and calls one of 
 Leah's sons to the important office. As Judah 
 feels no vocation for such a burden, Eleazar, his 
 mother's favorite, is chosen, and so Leah sees 
 her dream already fulfilled. They are about to 
 depart, when the approaching army of the 
 Syrians is announced. Terror seizes the people 
 as Gorgias, the leader of the enemy, marches up 
 with his soldiers, and loudly proclaims that the 
 Jews are to erect an altar to Pallas Athene, to 
 whom they must pray henceforth. Leah seeks 
 to inflame Eleazar 's spirit, but his courage fails 
 him. The altar is soon erected, and as Gorgias 
 sternly orders that sacrifices are to be offered to 
 the goddess, Boas, Noemi's father, is found will- 
 ing to bow to the enemy's commands. But the 
 measure is full; Judah steps forth and striking 
 Boas, the traitor to their faith, dead, loudly 
 praises Jehova. He calls his peojale to arms, 
 and repulses the Syrians, and Leah, recogniz- 
 ing her son's greatness, gives him her benedic- 
 tion. 
 
 The second act represents a deep ravine near 
 Emaus; the enemy is beaten, and Judah is re- 
 solved to drive him from Zion's walls, but Joja- 
 
 249
 
 The Standard Operaglass 
 
 kim warns him not to profane the coming Sab- 
 bath. 
 
 Judah tries to overrule the priests and to ex- 
 cite the people, but he is not heard, and the 
 enemy is able to kill the psalm-singing soldiers 
 like lambs. 
 
 The next scene shows us Eleazar with Cleo- 
 patra, daughter of King Antiochus of Syria. 
 
 They love each other, and Eleazar consents to 
 forsake his religion for her, while she promises 
 to make him King of Jerusalem. 
 
 In the next scene Leah, in the city of Modin, 
 is greeted with acclamations of joy, when Simei, 
 a relative of the slain Boas, appears to bewail 
 Judah's defeat: other fugitives coming up con- 
 firm his narrative of the massacre. Leah hears 
 that Judah fled and that Antiochus approaches, 
 conducted by her own son Eleazar. She curses 
 the apostate. She has still two younger sons, 
 but the Israelites take them from her to give as 
 hostages to the King Antiochus. Leah is bound 
 to a cypress tree by her own people, who attrib- 
 ute their misfortunes to her and to her sons. 
 Only Noemi, the despised daughter-in-law, re- 
 mains to liberate the miserable mother, and to- 
 gether they resolve to ask the tyrant's pardon 
 for the sons. 
 
 In the third act we find Judah, alone and un- 
 recognized, in the deserted streets of Jerusalem. 
 Hearing the prayers of the people that Judah 
 
 250
 
 The Maccabees 
 
 may be sent to them, he steps forth and tells 
 them who he is, and all sink at his feet, swear- 
 ing to fight with him to the death. While 
 Judah prays to God for a sign of grace, Noemi 
 comes with the dreadful news of the events at 
 Modin, which still further rouses the anger and 
 courage of the Israelites. Meanwhile Leah has 
 succeeded in penetrating into Antiochus's pres- 
 ence to beg the lives of her children from him. 
 Eleazar, Gorgiasand Cleopatra join their prayers 
 to those of the poor mother, and at last Anti- 
 ochus consents, and the two boys are led into 
 the room. 
 
 But the King only grants their liberty on con- 
 dition that they renounce their faith. They are 
 to be burnt alive should they abide by their 
 heresy. The mother's heart is full of agony, 
 but the children's noble courage prevails. They 
 are prepared to die for their God, but the un- 
 happy mother is not even allowed to share their 
 death. AVhen Eleazar sees his brothers' firm- 
 ness his conscience awakens, and notwithstand- 
 ing Cleopatra's entreaties he joins them on 
 their way to death. The hymns of the youth- 
 ful martyrs are heard, but with the sound of 
 their voices there suddenly mingles that of a 
 growing tumult. Antiochus falls, shot through 
 the heart, and the Israelites rush in, headed by 
 Judah, putting the Syrians to flight. Leah sees 
 her people's victory, but the trial has been too 
 
 251
 
 The Standard Ope'raglass 
 
 great — she sinks back lifeless. Judah is pro- 
 claimed King of Zion, but he humbly bends his 
 head, giving all glory to the Almighty God. 
 
 THE MAGIC FLUTE 
 (DIE ZAUBEKFLOTE) 
 
 Opera in two acts by MOZART 
 Text by SCHIKANEDER 
 
 This last opera of Mozart's, written only a 
 few months before his death, approaches so near 
 to perfection that one almost feels in it the mo- 
 tion of the spirit-wings which were so soon, alas! 
 to bear away Mozart's genius from earth, too 
 early by far, for he died at the age of thirty- 
 five, having accomplished in this short space of 
 time more than other great composers in a long 
 life. 
 
 The Magic Flute is one of the most remark- 
 able operas known on the stage. It is half fic- 
 titious, half allegorical. The text, done by the 
 old stage-director, Schikaneder, was long mis- 
 taken for a fiction without any common sense, 
 but Mozart saw deeper, else he would not have 
 adapted his wonderful music to it. It is true 
 that the tales of old Egypt are mixed up in a 
 curious manner with modern Freemasonry, but 
 
 252
 
 The Magic Flute 
 
 nobody, except a superficial observer, could fail 
 to catch a deep moral sense in the naive rhymes. 
 
 The incidents of the opera are the following: 
 Prince Tamino, a youth as valiant as he is noble 
 and virtuous, is implored by the Queen of Night 
 to save her daughter, whom the old and sage 
 High-priest Sarastro has taken from her by 
 force. The bereaved mother pours forth her 
 woe in heart-melting sounds and promises every- 
 thing to the rescuer of her child. Tamino is 
 filled with ardent desire to serve her. On his 
 way he meets the gay Papageno, who at once 
 agrees to share the Prince's adventures. Papa- 
 geno is the gay element in the opera; always 
 cheerful and in high spirits, his ever-ready 
 tongue plays him many a funny trick. So we 
 see him once with a lock on his mouth by way 
 of punishment for his idle prating. As he 
 promises never to tell a lie any more, the lock 
 is taken away by the three ladies of the Queen 
 of Night. Those ladies present Tamino with a 
 golden flute, giving at the same time an instru- 
 ment made with little silver bells to Papageno, 
 both of which are to help them in times of dan- 
 ger. The Queen of Night even sends with 
 them three boy-angels. These are to point out 
 to them the ways and means by which they may 
 attain their purpose. 
 
 Now the young and beautiful Princess Pamina 
 is pursued by declarations of love from a negro 
 
 253
 
 The Standard Operaglass 
 
 servant of Sarastro. Papageno comes to her 
 rescue, frightening the negro Monostatos with 
 his feathery dress. Papageno, on the other 
 hand, fears the negro on account of his black- 
 ness, believing him to be the devil in person. 
 Papageno escapes with Paulina, but the negro 
 overtakes him with his servants. Then Papa- 
 geno shakes his bells, and lo! all, forgetting their 
 wrath, forthwith begin to dance. 
 
 Meanwhile Tamino reaches Sarastro's castle, 
 and at once asks for the High-priest, poor Pa- 
 mina's bitter enemy. The Under-priests do not 
 allow him to enter, but explain that their mas- 
 ter Sarastro is as good as he is sage, and that he 
 always acts for the best. They assure Tamino 
 that' the Princess lives and is in no danger. 
 Full of thanks, the Prince begins to play on his 
 flute; and just then he hears Papageno's bells. 
 At this juncture Sarastro appears, the wise 
 Master, before whom they all bow. He pun- 
 ishes the wicked negro; but Tamino and his 
 Pamina are not to be united without first having 
 given ample proof of their love and constancy. 
 Tamino determines to undergo whatever trials 
 may await him, but the Queen of Night, know- 
 ing all, sends her three ladies to deter Tamino 
 and his comrade from their purpose. But all 
 temptation is gallantly set aside; they bave given 
 a promise to Sarastro which they will keep. 
 Even the Queen of Night herself is unable to 
 
 254
 
 The Magic Flute 
 
 weaken their strength of purpose; temptations 
 of every kind overtake them, but Tamino re- 
 mains firm. He is finally initiated into the 
 mysteries of the goddess Isis. 
 
 In the interval Pamina deems Tamino faith- 
 less. She would fain die, but the three celestial 
 youths console her by assuring her that Ta- 
 mino's love is true, and that he passes through 
 the most severe trials solely on her behalf. 
 
 On hearing this, Pamina at once asks to share 
 in the trials, and so they walk together through 
 fire and water, protected by the golden flute, as 
 well as by their courage and constancy. They 
 come out purified and happy. 
 
 Papageno, having lost his companion, has 
 grown quite melancholy, and longs for the little 
 wife that was promised to him and shown to him 
 only for a few moments. He resolves at last to 
 end his life by hanging himself, when the celestial 
 youths appear, reminding him of his bells. He 
 begins to shake them, and Papagena appears in 
 feathery dress, the very counterpart of himself. 
 All might now be well, were it not that the 
 Queen of Night, a somewhat unreasonable lady, 
 broods vengeance. She accepts the negro Mono- 
 statos as her avenger, and promises to give him 
 her daughter. But already Sarastro has done 
 his work; Tamino is united to his Pamina, and 
 before the 6unny light of truth everything else 
 vanishes and sinks back into night. 
 
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 THE MAIDENS OF SCHILDA 
 
 Comic Opera in three acts by ALBAN FORSTER 
 Text by RUDOLF BUNGE 
 
 The first work of this composer was produced 
 on the stage of the Eoyal Dresden Theatre on 
 the 12th of October, 1889, and was received 
 with great applause. This surprising success is 
 due firstly to the great popularity which Forster 
 enjoyed as former Director of the renowned 
 " Liedertafel " (society for vocal music) and. as 
 teacher, then to the numerous pretty melodies, 
 intermixed with national airs, in which par- 
 ticularly the old " Dessauer march " is skilfully 
 interwoven, and then the well-known student 
 air "Was kommt dort von der Hoh," which 
 of course gladdens the heart of every student, 
 old or young. 
 
 Nevertheless, it might be called an operette 
 rather than an opera. The text at least does 
 not range any higher; it is often almost silly, 
 the rhymes are bad and unequal. 
 
 Nevertheless those who like to be amused by 
 a light and agreeable flow of music may pass a 
 merry evening listening to the droll exploits of 
 the two Schilda maidens. Schilda and Schild- 
 burghers are, in Germany, synonymous with 
 narrow-mindedness, which is indeed strongly 
 
 256
 
 The Maidens of Schilda 
 
 marked in the inhabitants of this out-of-the- 
 way town. 
 
 The scene is laid in the last century. 
 
 In the first act an order of the Prince of 
 Dessau calls all the youngsters of Schilda to 
 arms. The chief magistrate, with the charac- 
 teristic name of Eiipelmei (Riipel, clown), who 
 has already given to the town so many wise 
 l aws — as, for instance, the one which decrees 
 that the Schilda maidens under thirty are not 
 allowed to marry — now demonstrates to his two 
 nieces, Lenchen and Hedwig, the benefit of his 
 legislation, inasmuch as they might otherwise 
 be obliged to take leave of their husbands. He 
 wants to marry one of them himself, but they 
 have already given their hearts to two students, 
 and only laugh at their vain uncle. This tyrant 
 now orders all the maidens to be locked up in a 
 place of safety every evening, in order to guard 
 them from outsiders ; further, the worthy 
 Schildaers resolve to build a wall which is to 
 shut them out from the depraved world. 
 
 While Riipelmei is still reflecting upon these 
 ingenious ideas, a French Courier, the Marquis 
 de Maltracy, enters, imploring the Burgomaster 
 to hide him from the Prussian pursuers, who 
 are on his track. He promises a cross of honor 
 to the ambitious Riipelmei, who at once hides 
 him in the Town Hall. Meanwhile a chorus of 
 students approaches, who have left Halle to 
 
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 avoid being enlisted in the army. Lenchen 
 and Hedchen, recognizing their sweethearts 
 among them, greet them joyfully, and when 
 Kupelmei appears they propitiate him by flat- 
 tery. 
 
 A lively scene of student life ensues, in which 
 the maidens join, after their old night-guard- 
 ian, Schlump, has been intoxicated. 
 
 Kupelmei, returning and seeing this spectacle, 
 orders the police to seize the students ; but in- 
 stead of doing so they thrust him into the very 
 same barrel which he has invented for the pun- 
 ishment of male citizens, and so he is obliged 
 to be an impotent spectator of their merry- 
 making. 
 
 In the second act he has been liberated by his 
 faithful citizens; the students have escaped, and 
 the maidens are waiting to be locked up in their 
 place of refuge. But in the shades of evening 
 the two students, Berndt and Walter, return 
 and are hidden by their sweethearts, Lenchen 
 and Hedchen, among the other maidens, after 
 having put on female garments. They all have 
 hardly disappeared in the Town Hall when the 
 Prince of Dessau arrives with his Grenadiers to 
 seize the students, of whose flight to Schilda he 
 has been informed. Riipelmei. tells him that he 
 has captured and killed many of them, but the 
 Prince, disbelieving him, orders his soldiers to 
 search the houses, beginning with the Town 
 
 258
 
 The Maidens of Schilda 
 
 Hall. Rupelmei, remembering the Marquis, 
 implores him to desist from his resolution, the 
 Town Hall being the nightly asylum for 
 Schilda's daughters, but in vaiu. Schlump, 
 the snoring guardian, is awakened and. ordered 
 to open the door to the room where the maid- 
 ens are singing and frolicking with their guests. 
 The Marquis de Maltracy has also introduced 
 himself, but, perceiving that he is a spy, they all 
 turn from him in disdain; when the Prussian 
 Grenadiers are heard, they quickly hide him in 
 a large trunk. 
 
 The Prince, finding all those pretty girls, is 
 quite affable, and a general dancing and merry- 
 making ensues, during which the students 
 vainly try to escape, when suddenly two of the 
 Grenadiers perceive that their respective beauties 
 have beards. The students are discovered and 
 at once ordered to be put into the uniform, 
 while Rupelmei is arrested and handcuffed, not- 
 withstanding his protestations. 
 
 When the third act opens, drilling is going 
 on in the town, and Walter and Berndt are 
 among the recruits. 
 
 Lenchen and Hedwig arrive with the other 
 girls to free the students. They flatter the 
 drill-sergeant, and soon the drilling is forgot- 
 ten, and they are dancing merrily, when the 
 Prince of Dessau arrives in the midst of the 
 fun, and threatens to have the officer shot for 
 
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 neglect of duty and the students as deserters. 
 While the maidens are entreating him to be 
 merciful, Berndt suddenly remembers the 
 French Courier. He quickly relates to the 
 Prince that they have captured a French Mar- 
 quis, who has a most important document in 
 his possession, the plan of war. The Prince 
 promising to set them free if that proves to be 
 true, the Marquis is conducted before the 
 Prince, and the latter discovers that he is a 
 messenger to the King of France, and that his 
 letter is to show how the French army might 
 attack the Russians unawares. By this discov- 
 ery the Germans are saved, for Dessau has time 
 to send an officer to Saxony with orders to oc- 
 cupy Dresden before the arrival of the enemy. 
 
 Of course, the students are set free, and each 
 of them obtains an office and the hand of his 
 maiden besides. The luckless Riipelmei is also 
 liberated, being too much of a fool to deserve 
 even the Prince's scorn, who further decrees 
 that the foolish town may keep its Burgomas- 
 ter, as best suited to its narrow-mindedness. 
 
 260
 
 Marga 
 - MAKGA 
 
 Opera in one act by GEORG PITTRICH 
 Text by ARNO SPIESS 
 
 The first performance of this highly interest- 
 ing little opera took place in Dresden in Febru- 
 ary, 1894, and awakened the interest of every 
 music-lover in the hitherto quite unknown com- 
 poser. Scenery and music are of the coloring 
 now common to modern composers ; for whom, 
 unfortunately, Mascagni is still the god at 
 whose shrine they worship. 
 
 The scene is laid in a Bulgarian village at the 
 foot of the Schipka Pass. Marga, the heroine, 
 a Roumanian peasant-girl, has had a sister, 
 Petrissa, who, suffering cruel wrong at the 
 hands of Vasil Kiselow, has cursed her seducer 
 and sought death in the waves. Marga, who 
 had vowed to avenge her sister, is wandering 
 through the world in vain search of Vasil. 
 When the curtain opens she has just reached 
 the village where Vasil occupies the most con- 
 spicuous position of judge. Thoroughly ex- 
 hausted she sinks down at the foot of a cross, 
 and falls asleep. 
 
 Vasil's son, Manal, finding her thus, detects 
 a wonderful likeness between the sleeping beauty 
 and a picture which he had found some time 
 
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 ago in the miraculous Sabor Cave, and which 
 for him is the ideal of love and beauty. This 
 picture, a likeness of Petrissa, had been hung 
 there by Vasil, in order to exorcise the curse of 
 the unhappy virgin, but Manal has no knowl- 
 edge of his father's misdeed. 
 
 When Marga awakes the young people of 
 course fall in love with each other; and Marga 
 discovers too late that Manal is the son of her 
 sister's destroyer. Hesitating between love and 
 her vow of vengeance she wildly reproaches 
 Vasil, who falls at her feet in deep contrition, 
 beseeching her forgiveness, which she grants at 
 last. Full of penitence, he relinquishes his 
 property to the young people, and exhorting 
 Manal to be a just and clement judge, he be- 
 takes himself to the mountains, resolved to join 
 in the war against the Turks. 
 
 MAKGTJERITE (OE FAUST) 
 
 Opera in five acts by CHARLES GOUNOD 
 
 The subject of this piece is taken from the 
 first part of Goethe's greatest drama, " Faust." 
 
 Faust, a celebrated old doctor, is consumed by 
 an insatiable thirst for knowledge, but, having 
 already lived through a long life devoted to the 
 acquirement of learning and to hard works as a 
 
 262
 
 Marguerite 
 
 scholar, without having his soul-hunger appre- 
 ciahly relieved, is dissatisfied, and in his disap- 
 pointment wishes to be released from this life, 
 which has grown to be a burden to him. At 
 this moment Mephistopheles, the incarnation 
 of the Evil One, appears and persuades him to 
 try life in a new shape. The old and learned 
 doctor has only known it in theory; Mephisto 
 will now show it to him in practice and in all 
 the splendor of youth and freshness. Faust 
 agrees, and Mephisto endows him with youth 
 and beauty. In this guise he sees earth anew. 
 It is Easter-time, when all is budding and aglow 
 with freshness and young life, and on such a 
 brigbt spring day he first sees Margaretha, and 
 at once offers her his arm. 
 
 But this lovely maiden, pure and innocent, 
 and well guarded by a jealous brother, named 
 Valentin, refuses his company somewhat sharply. 
 Nevertheless she cannot help seeing the grace 
 and good bearing of the fine cavalier, and the 
 simple village-maiden is inwardly pleased with 
 his flattery. A bad fate wills it that her broth- 
 er, Valentin, who is a soldier, has to leave on 
 active service, and after giving many good ad- 
 . vices and warnings for his beautiful sister's wel- 
 fare, he goes, and so Mephisto is able to intro- 
 duce Faust to the unprotected girl by means of 
 a message, which he is supposed to have received 
 for an old aunt of Margaretha's, Frau Marthe 
 
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 Schwertlein. This old gossip, hearing from 
 Mephisto that her husband has been killed in 
 battle, lends a willing ear to the flatteries of the 
 cunning Devil; and Margaretha is lef t to Faust, 
 who wins her by his love and easy manners. 
 She is only a simple maiden, knowing nothing 
 of the world's ways and wiles, and she accepts 
 her lover's precious gifts with childish delight. 
 
 By and bye her brother Valentin returns vic- 
 torious from the war, but alas! too late. He 
 challenges his sister's seducer; Mephisto, how- 
 ever, directs Faust's sword, and the faithful 
 brother is, much against Faust's own will, slain, 
 cursing his sister with his last breath. 
 
 Now Margaretha awakes to the awful reality 
 of her situation, and she shrinks from her broth- 
 er's murderer. Everybody shuns her, and she 
 finds herself alone and forsaken. In despair 
 she seeks refuge in church, but her own con- 
 science is not silenced ; it accuses her more loudly 
 than all the pious songs and prayers. Perse- 
 cuted by evil spirits, forsaken and forlorn, Mar- 
 garetha's reason gives way, and she drowns her 
 new-born child. 
 
 Meanwhile Mephisto has done everything to 
 stifle in Faust the pangs of conscience. Faust 
 never wills the evil ; he loves Margaretha sin- 
 cerely, but the bad spirit urges him onward. 
 He shows him all the joys and splendors of earth 
 and antiquity in its most perfect form in the 
 
 264
 
 Martha 
 
 person of Helena, but in the midst of all his 
 orgies Faust sees Margaretha. He beholds her, 
 pale, unlike her former self, in the white dress 
 of the condemned, with a blood-red circle round 
 the delicate neck. Then he knows no rest; he 
 feels that 6he is in danger, and he bids Mephisto 
 save her. 
 
 Margaretha has actually been thrown into 
 prison for her deed of madness, and now the 
 executioner's axe awaits her. She sits on the 
 damp straw, rocking a bundle, which she takes 
 for her baby, and across her poor, wrecked brain 
 there flit once more pictures of all the scenes of 
 her short-lived happiness. Then Faust enters 
 with Mephisto, and tries to persuade her to es- 
 cape with them. But she instinctively shrinks 
 from her lover, loudly imploring God's and the 
 Saints' pardon. God has mercy on her, for, 
 just as the bells are tolling for her execution, 
 she expires, and her 6oul is carried to Heaven 
 by angels, there to pray for her erring lover, 
 Mephisto disappears into the earth. 
 
 MAETHA 
 
 Comic Opera in four acts by FLOTOW 
 Text by W. FRIEDRICH 
 
 This charming opera finally established the 
 renown of its composer, who had first found his 
 
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 way to public favor through " Stradella." It 
 ranks high among our comic operas, and has 
 become as much liked as those of Lortzing and 
 Nicola i. 
 
 Not the least of its merits lies in the text, 
 which Friedrich worked out dexterously, and 
 which is amusing and iuteresting throughout. 
 
 Lady Harriet Durham, tired of the pleasures 
 and splendors of Court, determines to seek else- 
 where for a pastime, and, hoping to find it in 
 a sphere different from her own, disguises her- 
 self and her confidant Nancy as peasant girls, in 
 which garb they visit the Fair at Eichmond, 
 accompanied by Lord Tristan, who is hopelessly 
 enamored of Lady Harriet, and unwillingly 
 complies with her wish to escort them to the 
 adventure in the attire of a peasant. They join 
 the servant girls who are there to seek em- 
 ployment, and are hired by a tenant, Plunkett, 
 and his foster brother, Lionel, a youth of some- 
 what extraordinary behavior, his air being noble 
 and melancholy, and much too refined for a 
 country squire, while the other, though some- 
 what rough, is frank and jolly in his manner. 
 
 The disguised ladies take the handsel from 
 them, without knowing that they are bound by 
 it, until the sheriff arrives to confirm the bar- 
 gain. Now the joke becomes reality, and they 
 hear that they are actually hired as servants for 
 a whole year. 
 
 266
 
 Martna 
 
 Notwithstanding Lord Tristan's protesta- 
 tions, the ladies are carried off by their mas- 
 ters, who know them under the names of Martha 
 and Julia. 
 
 In the second act we find the ladies in the 
 company of the tenants, who set them instantly 
 to work. Of course they are totally ignorant of 
 household work, and as their wheels will not go 
 round, Pluukett shows them how to spin. In 
 his rough but kind way he always commands 
 and turns to Nancy, with whom he falls in love, 
 but Lionel only asks softly when he wishes any- 
 thing done. He has lost his heart to Lady 
 Harriet, and declares his love to her. Though 
 she is pleased by his gentle behavior, she is by 
 no means willing to accept a country squire, 
 and wounds him by her mockery. Meanwhile 
 Plunkett has sought Nancy for the same pur- 
 pose, but she hides herself, and at last the girls, 
 are sent to bed very anxious and perplexed at 
 the turn their adventure has taken. But Lord 
 Tristan comes to their rescue in a coach, and 
 they take flight, vainly pursued by the tenants. 
 Plunkett swears to catch and punish them, bu J 
 Lionel sinks into deep melancholy, from which 
 nothing can arouse him. 
 
 In the third act we meet them at a Court- 
 hunt, where they recognize their hired servants 
 in two of the lady hunters. They assert their 
 right, but the ladies disown them haughtily, 
 
 267
 
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 and when Lionel, whose reason almost gives way 
 under the burden of grief and shame which over- 
 whelms him at thinking himself deceived, by 
 Martha, tells the whole story to the astonished 
 Court, the ladies pronounce him insane, and 
 Lord Tristan sends him to prison for his in- 
 solence, notwithstanding Lady Harriet and 
 Nancy's prayer for his pardon. 
 
 Lionel gives a ring to Plunkett, asking him 
 to show it to the Queen, his dying father having 
 told him that it would protect him from every 
 danger. 
 
 In the fourth act Lady Harriet feels remorse 
 for the sad consequences of her haughtiness. 
 She visits the prisoner to crave his pardon. 
 She tells him that she has herself carried his 
 ring to the Queen, and that he has been recog- 
 nized by it as Lord Derby's son, once banished 
 from Court, but whose innocence is now proved. 
 Then the proud lady offers hand and heart to 
 Lionel, but he rejects her, believing himself 
 duped. Lady Harriet, however, who loves 
 Lionel, resolves to win him against his will. 
 She disappears, and dressing herself and Nancy 
 in the former peasant's attire, she goes once 
 more to the Fair at Eichmond, where Lionel is 
 also brought by his friend Plunkett. He sees 
 his beloved Martha advance toward him, prom- 
 ising to renounce all splendors and live only for 
 him; then his melancholy vanishes, and he 
 
 268
 
 Tne Master-Singers of Nuremberg 
 
 weds her, his name and possessions being re- 
 stored to him, while Plunkett obtains the hand 
 of pretty Nancy, alias Julia. 
 
 THE MASTER- SINGERS OF 
 NUREMBERG 
 
 Opera in three acts by WAGNER 
 
 This opera carries us back to the middle of 
 the sixteenth century, and the persons whom 
 we meet are all historical. 
 
 Amongst the tradesmen whose rhyme-making 
 has made them famous, Hans Sachs, the shoe- 
 maker, is the most conspicuous. 
 
 The music is highly original, though not pre- 
 cisely melodious, and is beautifully adapted to 
 its characteristically national subject. 
 
 In the first act we see St. Catharine's church 
 in Nuremberg, where Divine Service is being 
 celebrated, in preparation for St. John's Day. 
 Eva, the lovely daughter of Master Pogner, the 
 jeweller, sees the } r oung knight, Walter Stolz- 
 ing, who has fallen in love with Eva, and who 
 has sold his castle in Franconia to become a 
 citizen of Nuremberg. She tells him that her 
 hand is promised to the winner of the prize for 
 a master-song, to be sung on the following 
 morning. 
 
 25<)
 
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 We are now called to witness oue of those an- 
 cient customs still sometimes practised in old 
 German towns. The master-singers appear, 
 and the apprentices preparf everything needful 
 for them. Walter asks one of them, called 
 David, an apprentice of Sachs, what he will 
 have to do in order to compete for the prize. 
 He has not learned poetry as a profession like 
 those worthy workmen, and David vainly tries 
 to initiate him into their old-fashioned rhym- 
 ing. Walter leaves him, determined to win the 
 prize after his own fashion. 
 
 Pogner appears with Beckmesser the clerk, 
 whom he wishes to have as son-in-law. Beck- 
 messer is so infatuated that he does not douht 
 of his success. Meanwhile Walter comes up to 
 them, entreating them to admit him into their 
 corporation as a master-singer. 
 
 Pogner consents, but Beckmesser grumbles, 
 not at all liking to have a nobleman among 
 them. When all are assembled, Pogner declares 
 his intention of giving his daughter to the win- 
 ner of the master-song on the day of St. John's 
 festival, and all applaud his resolution. Eva 
 herself may refuse him, but never is she to wed 
 another than a crowned master-singer. Sachs, 
 who loves Eva as his own child, seeks to change 
 her father's resolution, at the same time pro- 
 posing to let the people choose in the matter of 
 the prize, but he is silenced by his colleagues. 
 
 270
 
 The Master-Singers of Nuremberg 
 
 They now want to know where Walter has 
 learned the art of poetry and song, and as he 
 designates Walter von der Vogelweide and the 
 birds of the forest, they shrug their shoulders. 
 
 He begins at once to give a proof of his art, 
 praising Spring in a song thrilling with melody. 
 Beckmesser interrupts him; he has marked the 
 rhymes on the black tablet, but they are new 
 and unintelligible to this dry verse-maker, and 
 he will not let them pass. The others share his 
 opinion; only Hans Sachs differs from them, 
 remarking that Walter's song, though new and 
 not after the old use and wont rules of Nurem- 
 berg, is justified all the same, and so Walter is 
 allowed to finish it, which he does Avith a bold 
 mockery of the vain poets, comparing them 
 to crows oversounding a singing-bird. Sachs 
 alone feels that Walter is a true poet. 
 
 In the second act David the apprentice tells 
 Magdalene, Eva's nurse, that the new singer 
 did not succeed, at which she is honestly 
 grieved, preferring the gallant younker for her 
 mistress, to the old and ridiculous clerk. The 
 old maid loves David; she provides him with 
 food and sweets, and many are the railleries 
 which he has to suffer from his companions in 
 consequence. 
 
 The eveuing coming on, we see Sachs in his 
 open workshop; Eva, his darling, is in confi- 
 dential talk with him. She is anxious about to- 
 
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 morrow, and rather than wed Beckmesser she 
 would marry Sachs, whom she loves and honors 
 as a father. Sachs is a widower, but he rightly 
 sees through her schemes, and resolves to help 
 the lovers. 
 
 It has now grown quite dark, and "Walter 
 comes to see Eva, but they have not sat long to- 
 gether when the sounds of a lute are heard. 
 
 It is Beckmesser trying to serenade Eva, but 
 Sachs interrupts him by singing himself, and 
 thus excites Beckmesser's wrath and despair. 
 At last a window opens, and Beckmesser, tak- 
 ing Magdalene for Eva, addresses her in louder 
 and louder tones, Sachs all the time beating the 
 measure on a shoe. The neighboring windows 
 open, there is a general alarm, and David, see- 
 ing Magdalene at the window apparently listen- 
 ing to Beckmesser, steals behind this unfortu- 
 nate minstrel, and begins to slap him. In the 
 uproar which now follows, Walter vainly tries 
 to escape from his refuge under the lime-tree, 
 but Sachs comes to his rescue, and takes him 
 into his own workshop, while he pushes Eva 
 unseen into her father's house, the door of 
 which has just been opened by Pogner. 
 
 In the third act we find Sachs in his room. 
 Walter enters, thanking him heartily for the 
 night's shelter. Sachs kindly shows him the 
 rules of poetry, encouraging him to try his luck 
 once more. Walter begins, and quite charms 
 
 272
 
 The Master-Singers of Nuremberg 
 
 Sachs with his love-song. After they have left 
 the room, Beckmesser enters, and reading the 
 poetry, which Sachs wrote down, violently 
 charges the shoemaker with wooing Eva him- 
 self. Sachs denies it, and allows Beckmesser to 
 keep the paper. The latter, who has vainly 
 ransacked his brains for a new song, is full of 
 joy, hoping to win the prize with it. 
 
 When he is gone, Eva slips in to fetch her 
 shoes, and she sees Walter stepping out of his 
 dormitory in brilliant armor. He has found a 
 third stanza to his song, which he at once pro- 
 duces. They all proceed to the place where the 
 festival is to be held, and Beckmesser is the first 
 to try his fortunes, which he does by singing 
 the stolen song. He sadly muddles both melody 
 and words, and being laughed at, he charges 
 Sachs with treachery ; but Sachs quietly denies 
 the authorship, pushing forward Walter, who 
 now sings his stanzas, inspired by love and 
 poetry. No need to say that he wins the hearers' 
 hearts as he has won those of Eva and Sachs, 
 and that Pogner does not deny him his beloved 
 daughter's hand. 
 18 
 
 273
 
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 THE MASTER-THIEF 
 
 A. German Legend in three parts by EUGEN LINDNER 
 
 After Fitger's poem by GUSTAV KASTROPP r 
 and the composer 
 
 The young composer has hitherto been little 
 heard of by the public, though he has a good 
 name in the musical world, as he has already 
 written an opera called "Ramiro," which was 
 put on the stage in Leipsic, and excited consid- 
 erable controversy among his admirers and his 
 opponents. Lindner then left Leipsic for Wei- 
 mar, where he studied zealously, and composed 
 the above-mentioned opera, which was at once 
 accepted on the small but celebrated stage of 
 this town, and has now appeared on the greater 
 one of Dresden. This opera is half romantic, 
 half lyric, and does not lack the humorous 
 elements. It abounds in melody, a great rarity 
 in our times, and the romance (Lied) is its best 
 part. 
 
 Though the music is not precisely overpower- 
 ing, it is very sweet and pleasing; one sees that 
 a great talent has been at work, if not a genius. 
 
 The libretto is very nice on the whole, in some 
 parts even charmingly poetical and melodious. 
 
 The scene is laid in an Earldom on the Rhine. 
 
 The master-thief, Wallfried, a young noble- 
 man who ten years before had been put into a 
 
 274
 
 The Master-Thief 
 
 convent as younger sou, has fled from it, and 
 has since then been the companion of roving 
 minstrels and Bohemians. Having heard of his 
 eider brother's death, he comes home to claim 
 his rights. There he sees Waldmuthe, the only 
 daughter of Count Berengar, the Seigneur of 
 the Earldom. As her features are as sweet as 
 her voice, and as the father guards his treasures 
 better than his daughter, Wallfried falls in love 
 with her, and after artfully robbing her of her 
 necklace, he even steals a kiss from her rosy 
 lips. At first she reproaches him, but at last 
 willingly leaves her ornament in his hands, which 
 he keeps as a token of seeing her again. 
 
 At a fair, where "Wallfried for the last time 
 makes merry with his companions, and sings to 
 them the song of the pretty Annchen — by the 
 bye, a pearl of elegance and delicacy — he sees 
 Count Berengar and his daughter, and at once 
 reclaims his own name and castle as Heir von 
 Sterneck from the Seigneur. But Waldmuthe's 
 companion, Hertha, sees her mistress' chain on 
 "Wallfried's neck, and as our hero will not tell 
 how he came by it, he is considered a thief. 
 His friend Marquard now pleads for him, inti- 
 mating that he took the chain only to show his 
 adroitness as a master-thief. Count Berengar, 
 hearing this, orders him to give three proofs of 
 his skill. First he is to rob the Count of his 
 dearest treasure, which is guarded by his sol- 
 
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 The Standard Operaglass 
 
 diers and which then will be his own ; secondly 
 he is to steal the Count himself from his palace, 
 and finally he must rob the Count of his own 
 personality. Should he fail in one of these 
 efforts, he is to be hanged. 
 
 These tests seem to be very difficult, but 
 Wallfried promises to fulfil his task on the 
 very same day. 
 
 In the second act Wallfried arrives with two 
 friends at the Count's castle. All three are in 
 pilgrim's garb, and bring a beautiful wassail- 
 horn to the Count in token of friendship from 
 the Sire of Rodenstein. The sentry and the 
 Count consider these pious guests harmless, and 
 the Count, being a great amateur of good wine, 
 drinks and sings with them, and soon gets 
 drunk. The roundelays are full of wit and 
 humor, and particularly Wallfried's song, with 
 the charming imitation of the spinning-wheel 
 in the orchestra, is of great effect. At last one 
 of the pilgrims intimates that though the wine 
 be good, they have drunk a far better at the 
 clergyman's in the village. This seems in- 
 credible to the Count, and he is willing to put 
 it to the test. He goes with his guests out of 
 his castle, and so the second of his orders, to 
 steal his own person, is already accomplished. 
 
 Wallfried, however, stays behind to rob the 
 Count of his most valuable treasure, which he 
 deems to be the young Countess herself. While 
 
 276
 
 The Master-Thief 
 
 the soldiers carefully guard the jewels and dia- 
 monds in the tower, Waldmuthe steps on her 
 balcony and confides her love to the moon. 
 Wallfried, hearing her confession, easily per- 
 suades her to follow him, as she hopes thereby 
 to save his life, and so the first condition is like- 
 wise fulfilled. 
 
 In the third act the Bohemians (Wallfried's 
 companions) have carried the Count into the 
 forest, and having robbed him of his clothes, 
 dress him in the clergyman's cassock. The 
 Count, awaking from his inebriety, is quite 
 confused. His misery after the debauch is most 
 funnily and expressively depicted in the or- 
 chestration. His confusion increases when the 
 Bohemians, dressed as peasants, greet him as 
 " Seigneur Pastor," and when even Benno, the 
 warden of Sterneck, calls him by this name — 
 for everybody is in the plot — he storms and 
 rages, but grows the more troubled. At last 
 AVallfried makes his appearance in the mask of 
 Count Berengar, speaking of his presumed 
 daughter and of her love. Then the mists of 
 the wine gather thicker around the Count's tor- 
 tured brain ; he repeats Wallfried's words, and 
 when alone says aloud, "There goes Count 
 Berengar; now I believe myself to be the pas- 
 tor." Thus, too, the third order is fulfilled; 
 he is robbed of himself. 
 
 Waldmuthe, stealing up to him, roguishly 
 
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 laughing, repeats the tests, and now the Count 
 at once becomes sober. Of course he is in wrath 
 at first, and most unwilling to give his only 
 child to one who has passed part of his life with 
 Bohemians. But Waldmuthe reminds him of 
 his own youth, how audaciously he had won his 
 wife, her mother, and how he had promised her 
 to care for their daughter's happiness. The 
 tender father cannot resist her touching and in- 
 sinuating appeal, but resolves to try Wallfried's 
 sincerity. When the latter reminds him that 
 he has only executed the Count's own orders, 
 though in a somewhat different sense, Berengar 
 willingly grants him the title and domains of 
 Sterneck, but refuses his daughter, telling him 
 , to choose instead his finest jewels. Wallfried 
 haughtily turns from him to join his old com- 
 rades, and refuses name and heritage, which 
 would be worthless to him without bis bride. 
 But the maiden is as noble as her lover; she 
 rushes up to him, ready to brave her father's 
 scorn as well as the world's dangers. Then the 
 Count, persuaded of the young fellow's noble 
 heart, folds him in his embrace, and readily 
 gives his benediction to the union.
 
 Der Maurer 
 
 DEE MAURER 
 (THE MASON) 
 
 Opera in three acts by AUBER 
 Text by SCRIBE 
 
 This charming little work is one of the best 
 semi-comic operas ever composed; from the 
 time of its first representation in Paris until 
 now it has never lacked success. 
 
 The libretto is founded on a true anecdote, 
 and is admirably suited to the music. 
 
 The scene is laid in Paris in the year 1788. 
 
 The first act represents the merry wedding of 
 Roger, a mason, with Henrietta, sister of Bap- 
 tiste, a locksmith. A jealous old hag, Mistress 
 Bertrand, who would fain have married the nice 
 young man, is wondering whence the poor mason 
 has the money for his wedding, when suddenly 
 a young nobleman, Leon de Merinville, ap- 
 •pears, greeting Roger warmly. He relates to 
 the astonished hearers that Roger saved his life, 
 but would not take any reward, nor tell his 
 name. Roger explains that the nobleman put 
 so much money into his pocket, that it enabled 
 him to marry his charming Henrietta, but Merin- 
 ville is determined to do more for him. Mean- 
 while Roger tries to withdraw from the ball 
 with his young wife; but Henrietta is called 
 
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 back by her relations according to custom. 
 Roger, being left alone, is accosted by two un- 
 known men, who, veiling his eyes, force him to 
 follow them to a spot unknown to him, in order 
 to do some mason -work for them. It is to the 
 house of Abdallah, the Turkish ambassador, 
 that he is led. The latter has heard that his 
 mistress Irma, a young Greek maiden, is about 
 to take flight with a French officer, who is no 
 other than de Merinville. 
 
 The lovers are warned by a slave, named 
 Rica, but it is too late; Abdallah's people over- 
 take and bind them. They are brought into a 
 cavern, the entrance to which Roger is ordered 
 to wall up. There, before him, he finds his 
 friend and brother-in-law, Baptiste, who was 
 likewise caught, and is now forced to help him. 
 Recognizing in the officer his benefactor, 
 Roger revives hope in him by singing a song 
 which Leon heard him sing at the time he 
 saved his life. 
 
 Meanwhile, Henrietta has passed a dreadful- 
 night, not being able to account for her hus- 
 band's absence. In the morning Mistress Ber- 
 trand succeeds in exciting the young wife's sor- 
 row and jealousy to a shocking degree, so that 
 when Roger at last appears, she receives him 
 with a volley of reproaches and questions. 
 
 Roger, unhappy about Merinville's fate and 
 ignorant of where he has been in the night, 
 
 280
 
 Melusine 
 
 scarcely listens to his wife's complaints, until 
 Henrietta remarks that she well knows where 
 he has been, Mistress Bertrand having recog- 
 nized the carriage of the Turkish ambassador, 
 in which he was wheeled away. 
 
 This brings light into Eoger's brain, and 
 without more ado he rushes to the police, with 
 whose help the poor prisoners are delivered. 
 Roger returns with Merinville to his wife's 
 house, where things are cleared up in the most 
 satisfactory manner. 
 
 MELUSINE 
 
 Romantic Opera in three acts by CARL GRAMMANN 
 
 Text after C. CAMP'S poem of the same name 
 
 Tableaux and mise en scene after SCHWIND'S composition 
 
 The composer of this opera is known in the 
 musical world as the author of many other fine 
 works. He has given us several operas worthy 
 of mention, "St. Andrew's Night" and 
 "Thusnelda" among others, which were 
 brought on the stage in Dresden some years 
 ago. 
 
 Melusine was first represented in Wiesbaden 
 in 1874 with but small success. Since then 
 the opera has been rewritten, and in part com- 
 pletely changed by the author, and in this new 
 
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 garb has found its first representation in the 
 Dresden Opera House, on May 23, 1891. 
 
 Neither music nor libretto is strikingly 
 original; both remind vividly of Wagner. 
 Nevertheless the opera met with warm ap- 
 plause, the principal part being splendidly ren- 
 dered in Teresa Mai ten, and the mise en scene 
 justifying the highest expectations. _ The 
 beauty of the music lies principally in its col- 
 oring, which is often very fine. Its best parts 
 are the tender songs of the nymphs, those parts 
 which lead into the realm of dream and of 
 fairy-land. Once only it soars to a higher dra- 
 matic style; it is in the second act (the one 
 which has undergone an entire revision), when 
 Bertram, the natural son, bewails his father. 
 
 On the whole the weak libretto forbids every 
 deeper impression. It is neither natural nor 
 dramatic, and leaves our innermost feelings as 
 cold as the watery element from which it 
 
 springs. 
 
 The scene is laid in a French Department on 
 the Upper Rhine, where a Duchy of Lusignan 
 can never have existed, about the time of the 
 first Crusade. The first act shows a forest, 
 peopled by water-nymphs and fairies, who enjoy 
 their dances in the light of the full moon. Me- 
 lusine, their princess, emerges from her grotto. 
 While they sing and dance, a hunter's bugle is 
 heard, and Count Raymond of Lusignan appear* 
 
 283
 
 Melusine 
 
 with Bertram, his half-brother, seeking anx- 
 iously for their father. Both search on opposite 
 sides; Bertram disappears, while Raymond, 
 hearing a lond outcry for help, rushes into the 
 bushes whence it comes, not heeding Melusine's 
 warning, who watches the proceedings half hid- 
 den in her grotto. The nymphs, foreseeing 
 what is going to happen, break out into lamen- 
 tations, while Melusine sings an old tale of the 
 bloody strife of two brothers. She is already 
 in love with Raymond, whose misfortune she 
 bewails. "When he hurries back in wild despair 
 at having slain his father, whose life he tried to 
 save from the tusks of a wild, boar — his sword 
 piercing the old man instead of the beast (a 
 deed decreed by fate) — he finds the lovely 
 nymph ready to console him. She presents 
 him with a draught from the magic well, which 
 instantly brings him forgetfulness of the past 
 (compare Xibehmg's-ring). The Count drinks 
 it, and immediately glowing with love for the 
 beautiful maiden, wooes her as his wife. Me- 
 lusine consents to the union under the condition 
 that he pledges himself by a solemn oath never 
 to blame her, nor to spy her out should she leave 
 him in the full-moon nights. Raymond prom- 
 ises, and the sun having risen, the hunters find 
 him in his bride's company. He presents their 
 future mistress to them, and all render homage; 
 only Bertram, struck to the heart by Melusine's 
 
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 loveliness, which is not for him, stands scorn- 
 fully aside. 
 
 The first scene of the second act represents 
 the sepulchral crypt of the Lusignan family. 
 The old Duke has been found dead in the for- 
 est, and a choir of monks sings the Requiem. 
 Bertram's mournful song and the lament of the 
 women are of surpassing beauty; also the con- 
 trasting sounds from merry music of Eaymond's 
 wedding procession, now and then heard, cause 
 an excellent musical effect. A hermit, Peter 
 von Amiens, now entering, comforts the wid- 
 owed Duchess and warns them all of Melusine. 
 He relates the legend of the water-fairy, who 
 with sweet voice and mien entices and seduces 
 human beings. The poor mother implores 
 Heaven to save her son, while Bertram invokes 
 Hell to avenge his father on the murderer. 
 
 The scene changes into the park belonging to 
 Raymond's palace. Raymond and Melusine 
 enjoy their nuptial bliss, until the rising of the 
 full-moon awakes in Melusine the irresistible 
 longing for her native element. Notwithstand- 
 ing her husband's entreaties, she tears herself 
 from him, and Raymond, mindful of his oath, 
 retires. But Melusine's steps are interrupted 
 by Bertram, who has tracked her, and now de- 
 clares his love. She scornfully rejects him, and 
 he, enraged and jealous, threatens to betray 
 Raymond, whose bloody sword he has found at 
 
 284
 
 Melusine 
 
 the spot where their father was murdered. But 
 Melusine escapes to the gray temple in the gar- 
 den, and she prophesies that Raymond will be 
 happy as long as he keeps her faith, and then 
 vanishes into the interior. Bertram remains 
 motionless and stunned, until he hears Ray- 
 mond's voice, who is waiting for his wife. 
 Spurred by every evil feeling of hate and envy, 
 he peremptorily asks Raymond to surrender all 
 his possessions, his wife Melusine, even his life, 
 deeming that his brother has forfeited every 
 right through the murder. But Raymond, 
 oblivious of the deed through the effect of the 
 magic draught, draws his sword, when his 
 mother interferes. The Duchess repeats to her 
 son the suspicion expressed by the hermit in re- 
 gard to Melusine, and Raymond anxiously calls 
 for her to refute the accusation. But instead 
 of his Avife, sweet songs are heard from the tem- 
 ple ; he forgets his oath, spies into its interior 
 through a cleft, and perceives the place of the 
 nixies, with Melusine in their midst. Recog- 
 nizing his fate, Raymond sinks back with a de- 
 spairing cry. 
 
 In the third act the fishermen and women as- 
 semble on the banks of the Rhine at day-break, 
 preparing for their daily work. They also 
 know the Count's wife to be a mermaid, and 
 they sing a ballad of the water-nymph. Sud- 
 denly Melusine appears, and they take flight. 
 
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 Melusine, finding the gates of her husband's 
 castle closed, vainly calls for him. His mother 
 answers in his stead, charging her with witch- 
 craft, and refusing to admit her. Melusine, 
 sure of Kaymond's love, undauntedly answers 
 that only Kaymond's want of faith could undo 
 her. In the meantime a herald announces the 
 arrival of Crusaders with Peter von Amiens. 
 The latter exhorts Count Raymond to join the 
 holy army in order to expiate his father's mur- 
 der. Raymond is willing to go, when Melusine 
 entreats him not to leave her. All present press 
 around to insult her, only Bertram steps forth 
 as her protector, once more showing Raymond's 
 bloody sword, an act which she alone under- 
 stands. She kneels to him in order to save her 
 husband, but Raymond, misunderstanding her 
 movements, accuses her of secret intercourse 
 with Bertram, and in a fit of jealousy disowns 
 her. Scarcely have the luckless words . escaped 
 his lips, than a violent sound of thunder is 
 heard. Melusine curses the palace, and throws 
 her husband's ring at his feet. She disappears 
 in the Rhine, Bertram leaping after her ; the 
 stream overflows its banks, and a flash of light- 
 ning destroys the castle. Gradually the scene 
 changes to the one of sylvan solitude in the first 
 act. Raymond appears in pilgrim's garb to seek 
 for his lost love (see " Tannhauser ") ; Melusine 
 once more emerges from her grotto to comfort 
 
 286
 
 Merlin 
 
 him, but also to bring him death. Happily, lie 
 dies in her embrace, she buries him under 
 water-lilies, and returns to her watery domains. 
 
 MERLIJST 
 
 Opera in three acts by CHARLES GOLDMARK 
 Text by SIEGFRIED LIPINER 
 
 This creation of the talented composer at 
 once proved itself a success when produced for 
 the first time in the Opera House in Vienna. 
 Since then it has quickly passed to all the larger 
 stages. 
 
 Merlin surpasses the Queen of Sheba in dra- 
 matic value, and is equal to it in glowing color- 
 ing and brilliant orchestration. Goldmark is 
 quite the reverse of Wagner. Though equally 
 master of modern instrumentation, he abounds 
 in melodies. Airs, duets, and choruses meet us 
 of surpassing beauty and sweetness. The text 
 is highly fantastic, but interesting and poetical. 
 
 King Artus is attacked by the Saxons and 
 almost succumbs. In his need he sends Lance- 
 lot to Merlin, an enchanter and seer, but at 
 the same time the King's best friend and a 
 knight of his table. 
 
 MerlUi, offspring of the Prince of Hell and of 
 a pure virgin, has power over the demons, 
 
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 whom, however, he only employs in the service 
 of Heaven, his good, mother's spirit protecting 
 him. Merlin calls up a demon, whom he forces 
 to blind, the heathen Saxons, so that the Britons 
 may be victorious. The demon obeys unwill- 
 ingly, and after Merlin's departure he calls up 
 the fairy Morgana, who knows all the secrets of 
 the world. Morgana tells the demon that if 
 Merlin loves an earthly woman, his power will 
 be gone, and. the demon resolves to tempt Mer- 
 lin with the most beautiful woman on earth. 
 He vanishes, and the Britons return victorious, 
 Merlin with prophetic insight recognizing the 
 knight who had betrayed his people to the 
 Saxons. While he sings a passionate chant in 
 honor of his King and his country, Vivien, a 
 Duke's daughter, appears, and they are at once 
 attracted to each other. But Merlin vanquishes 
 his love, and refuses to accept the crown of oak- 
 leaves which his King offers him by the hand, of 
 Vivien. Then Artus takes his own crown and 
 puts it on Merlin's curls. 
 
 The second act begins Avith a conspiracy 
 headed by Modred, Artus' nephew, against his 
 uncle. Lancelot openly accuses him of trea- 
 son, and the King sends to Merlin for judg- 
 ment. But alas! Merlin's love has already 
 blinded his understanding; he fails to detect 
 the culpable Modred, and declares that he is 
 not able to find fault in him. King Artus and 
 
 288
 
 Merlin 
 
 his knights depart to seek new laurels, leaving 
 the country in Modred's hands. Merlin stays 
 in his sanctum, to where the demon now leads 
 Vivien, who has lost her way. The doors of the 
 temple open by themselves at Vivieu's request, 
 and she finds a rosy, glittering veil, which, 
 thrown into the air, causes various charming 
 apparitions to present themselves. When Mer- 
 lin comes, the whole charm vanishes into air. 
 Vivien tells him of her delightful adventure, 
 but Merlin, frightened, informs her that who- 
 ever is touched by the veil will be in the power 
 of demons, chained to a rock forever. Love 
 conquers, and the short hour succeeding is for 
 both filled with earth's greatest bliss. The 
 news of Modred's treachery to King Artus 
 awakes Merlin from his dream. He tears him- 
 self from his love, vowing to shun her forever, 
 and to return to the well of grace. But Vivien, 
 finding all her prayers vain, throws the fatal 
 veil over him to hinder his flight. The dread- 
 ful effect becomes instantl}' apparent; the rose- 
 garden disappears, mighty rocks enclose the 
 vale on all sides, and Merlin is held down by 
 burning chains. 
 
 While Vivien is consumed by self-reproach 
 and pain, the fairy Morgana appears, telling 
 her that love, which is stronger than death, can 
 bring Merlin eternal grace. Vivien is led away 
 by her maid, and Lancelot enters with the 
 19 289
 
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 knights to seek Merlin's help against the 
 treacherous Modred. 
 
 Seeing Merlin in this pitiful state, he sadly 
 turns from him, but Merlin in despair promises 
 his soul to the demon, if he but assist to deliver 
 his King and his country. The demon breaks 
 the chains, and Merlin rushes with the knights 
 into battle. During his absence Vivien pre- 
 pares herself to receive her hero, but though 
 she sees him return victorious, he is wounded 
 to death. The demon comes up to claim his 
 victim, but Vivien, remembering Morgana's 
 Avords, sacrifices herself, piercing her. heart at 
 Merlin's feet. The demon disappears, cursing 
 heaven and earth, while Artus and his knights, 
 though they sadly mourn for their hero, yet 
 praise the victory of true love. 
 
 THE MERRY WIVES OF WINDSOR 
 
 Comic Opera in three acts by OTTO NICOLAI 
 Text by MOSENTHAL 
 
 This charming opera has achieved the fame 
 of its composer, of whom very little is known, 
 except that he is the author of this really ad- 
 mirable musical composition, which is valued 
 not only in Germany but all over Europe. Its 
 overture is played by almost every orchestra, 
 
 290
 
 The Merry Wives of Windsor 
 
 and the choruses and songs are both delightful 
 and original. As may be gathered from the 
 title, the whole amusing story is taken from 
 Shakespeare's comedy. 
 
 Falstaff has written love-letters to .the wives 
 of two citizens of Windsor, Mrs. Fluth and 
 Mrs. Reich. They discover his duplicity and 
 decide to punish the infatuated old fool. 
 
 Meanwhile, Mr. Fen ton, a nice but poor 
 young, man, asks for the hand of Miss Anna 
 Reich. But her father has already chosen a 
 richer suitor for his daughter in the person of 
 silly Mr. Sparlich. 
 
 In the following scene Sir John Falstaff is 
 amiably received by Mrs. Fluth, when suddenly 
 Mrs. Reich arrives, telling them that Mr. Fluth 
 will be with them at once, having received 
 notice of his wife's doings. Falstaff is packed 
 into a washing basket and carried away from 
 under Mr. Fluth's nose by two men, who are 
 bidden to put the contents in a canal near the 
 Thames, and the jealous husband, finding no- 
 body, receives sundry lectures from his offended 
 wife. 
 
 In the second act Mr. Fluth, mistrusting his 
 wife, makes Falstaff 's acquaintance, under the 
 assumed name of Bach, and is obliged to hear 
 an account of the worthy Sire's gallant .adven- 
 ture with his wife, and its disagreeable issue. 
 Fluth persuades Falstaff to give him a rendez- 
 
 291
 
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 vous, swearing inwardly to punish the old cox- 
 comb for his impudence. 
 
 In the evening Miss Anna meets her lover, 
 Fenton, in the garden, and. ridiculing her two 
 suitors, Sparlich and Dr. Caius, a Frenchman, 
 she promises to remain faithful to her love. 
 The two others, who are hidden behind some 
 trees, must perforce listen to their own dis- 
 praise. 
 
 When the time has come for Falstaff's next 
 visit to Mrs. Fluth, who of course knows of her 
 husband's renewed suspicion, Mr. Fluth sur- 
 prises his wife and reproaches her violently with 
 her conduct. During this controversy Fal- 
 staff is disguised as an old woman, and when the 
 neighbors come to help the husband in his 
 search they find only an old deaf cousin of 
 Mrs. Fluth 's who has come from the country to 
 visit her. Nevertheless the hag gets a good 
 thrashing from the duped and angry husband. 
 
 In the last act everybody is in the forest, pre- 
 paring for the festival of Heme the Hunter. 
 All are masked, and Sir John Falstaff, being 
 led on by the two merry wives, is surprised by 
 Heme (Fluth), who sends the whole chorus of 
 wasps, flies, and mosquitoes onto his broad back. 
 They torment and punish him till he loudly 
 cries for mercy. Fenton, in the mask of Oberon, 
 has found his Anna in Queen Titania, while 
 Dr. Caius and Sparlich, mistaking their masks 
 
 292
 
 Mignon 
 
 for Anna's, sink into each other's arms, much 
 to their mutual discomfiture. 
 
 Mr. Fluth and Mr. Keich, seeing that their 
 wives are innocent and that they only made fun 
 of Falstaff, are quite happy, and the whole 
 scene ends with a general pardon. 
 
 MIGNON 
 
 Opera in three acts by AMBROISE THOMAS 
 Text by MICHEL CARRE and JULES BARBIER 
 
 This opera is full of French grace and viva- 
 city, and has been favorably received in Ger- 
 many. The authors have used for their libretto 
 Goethe's celebrated novel, " Wilhelm Meister," 
 with its typical figure, Mignon, as heroine, 
 though very much altered. 
 
 The first two acts take place in Germany. 
 
 Lothario, a half-demented old man, poorly 
 clad as a wandering minstrel, seeks his lost 
 daughter, Sperata. Mignon comes with a band 
 of gipsies, who abuse her because she refuses to 
 dance. Lothario advances to protect her, but 
 Jarno, the chief of the troop, only scorns him, 
 until a student, Wilhelm Meister, steps forth 
 and rescues her, a young actress named Philine 
 compensating the gipsy for his loss by giving 
 him all her loose cash. Mignon, grateful for 
 
 2Q3
 
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 the rescue, falls in love with Wilhelm and wants 
 to follow and serve him, but the young man, 
 though delighted with her loveliness and hu- 
 mility, is not aware of her love. Nevertheless 
 he takes her with him. He is of good family, 
 but by a whim just now stays with a troop of 
 comedians, to whom he takes his protegee. 
 The coquette Philine loves Wilhelm, and has 
 completely enthralled him by her arts and 
 graces. She awakes bitter jealousy in Mignou, 
 who tries to drown herself, but is hindered by 
 the sweet strains of Lothario's harp, which ap- 
 peal to the nobler feelings of her nature. The 
 latter always keeps near her, watching over the 
 lovely child. He instinctively feels himself at- 
 tracted towards her; she recalls his lost daugh- 
 ter to him, and he sees her as abandoned and 
 lonely as himself. Mignon, hearing how cele- 
 brated Philine is, wishes that the palace within 
 which Philine plays might be struck by light- 
 ning, and Lothario at once executes her wish by 
 setting the house on fire. 
 
 While the guests rush into the garden, Philine 
 orders Mignon to fetch her nosegay, the same 
 flowers which the thoughtless youth offered to 
 his mistress Philine. Mignon, reproaching her- 
 self for her sinful wish, at once flies into the 
 burning house, and only afterward does her 
 friend Laertes perceive that the theatre has 
 caught fire too. Everybody thinks Mignon 
 
 294
 
 Mignon 
 
 lost, but Wilhelm, rushing into the flames, is 
 happy enough to rescue her. 
 
 The third act carries us to Italy, where the 
 sick Mignon has been brought. Wilhelm, hav- 
 ing discovered her love, which she reveals in 
 her delirium, vows to live only for her. Lothario, 
 no longer a minstrel, receives them as the owner 
 of the palace, from which he had been absent 
 since the loss of his daughter. While he shows 
 Mignon the relics of the past, a scarf and a 
 bracelet of corals are suddenly recognized by 
 her. She begins to remember her infantine 
 prayers, she recognizes the hall with the marble 
 statues and her mother's picture on the wall. 
 With rapture Lothario embraces his long-lost 
 Sperata. But Mignon's jealous love has found 
 out that Philine followed her, and she knows 
 no peace until Wilhelm has proved to her satis- 
 faction that he loves her best. 
 
 At last Philine graciously renounces Wilhelm 
 and tarns to Friedrich, one of her many adorers, 
 whom to his own great surprise she designates 
 as her future husband. Mignon at last openly 
 avows her passion for Wilhelm. The people, 
 hearing of the arrival of their master, the Mar- 
 quis of Cypriani, alias Lothario, come to greet 
 him with loud acclamations of joy, which grow 
 still louder when he presents to them his daugh- 
 ter Sperata, and Wilhelm, her chosen husband. 
 
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 LA MTTETTE DE PORTICI 
 
 Grand historical Opera in five acts by AUBER 
 Text by SCRIBE 
 
 This opera was first put on the stage in the 
 G-rand Opera House at Paris in the year 1828, 
 and achieved for its author universal celebrity, 
 not only because in it Auber rises to heights 
 which he never reached either before or after, 
 but because it is purely historical. The 
 " Muette " is like a picture which attracts by 
 its vivid reproduction of nature. In the local 
 tone, the southern temper, Auber has succeeded 
 in masterly fashion, and the text forms an ad- 
 mirable background to the music. Its subject 
 is the revolution of Naples in the year 1647, 
 and the rise and fall of Masaniello, the fisher- 
 man King. 
 
 In the first act we witness the wedding of Al- 
 fonso, son of the Viceroy of Naples, with the 
 Spanish Princess Elvira. Alfonso, who has 
 seduced Fenella, the Neapolitan Masaniello's 
 dumb sister, and abandoned her, is tormented 
 by doubts and remorse, fearing that she has 
 committed suicide. During the festival Eenella 
 rushes in to seek protection from the Viceroy, 
 who has kept her a prisoner for the past month. 
 She has escaped from her prison and narrates 
 
 296
 
 La Muette de Portici 
 
 the story of her seduction by gestures, showing 
 a 6carf which her lover gave her. Elvira prom- 
 ises to protect her, and. proceeds to the altar, 
 Fenella vainly trying to follow. In the chapel 
 Fenella recoguizes her seducer in the bride- 
 groom of the Priucess. When the newly mar- 
 ried couple come out of the church, Elvira pre- 
 sents Fenella to her husband, and discovers 
 from the dumb girl's gestures that he was her 
 faithless lover. Fenella flies, leaving Alfonso 
 and Elvira in sorrow and despair. 
 
 In the second act the fishermen, who have been 
 brooding in silence over the tyranny of their 
 foes, begin to assemble. Pietro, Masaniello's 
 friend, has sought for Fenella in vain, but at 
 length she appears of her own accord and con- 
 fesses her wrongs. Masaniello is infuriated, and 
 swears to have revenge, but Fenella, who still 
 loves Al f onso, d oes not mention his name. Then 
 Masaniello calls the fishermen to arms, and they 
 swear perdition to the enemy of their country. 
 
 In the third act we find ourselves in the 
 market place in Xaples, where the people go to 
 and fro, selling and buying, all the while con- 
 cealing their purpose under a show of merri- 
 ment and carelessness. Selva, the officer of the 
 Viceroy's body-guard, from whom Fenella has 
 escaped, discovers her, and the attempt to rear- 
 rest her is the sign for a general revolt, in which 
 the people are victorious. 
 
 297
 
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 In the fourth act Fenella comes to her broth- 
 er's dwelling and describes the horrors which 
 are taking place in the town. The relation 
 fills his noble soul with sorrow and disgust. 
 When Fenella has retired to rest, Pietro enters 
 with comrades and tries to excite Masaniello to 
 further deeds, but he only wants liberty and 
 shrinks from murder and cruelties. 
 
 They tell him that Alfonso has escaped, and 
 that they are resolved to overtake and kill him. 
 Fenella, who hears all, decides to save her lover. 
 At this moment Alfonso begs at her door for a 
 hiding place. He enters with Elvira, and Fe- 
 nella, though at first disposed to avenge herself 
 on her rival, pardons her for Alfonso's sake. 
 Masaniello, reentering, assures the strangers of 
 his protection, and even when Pietro denounces 
 Alfonso as the Viceroy's son he holds his prom- 
 ise sacred. Pietro, with his fellow-conspirators, 
 leaves him full of rage and hatred. 
 
 Meanwhile the magistrate of the city presents 
 Masaniello with the royal crown, and he is pro- 
 claimed King of Naples. 
 
 In the fifth act we find Pietro, with the other 
 fishermen, before the Viceroy's palace. He con- 
 fides to Moreuo that he has administered poison 
 to Masaniello in order to punish him for his 
 treason, and that the King of one day will soon 
 die. While he speaks, Borella rushes in to tell 
 of a fresh troop of soldiers marching against 
 
 298
 
 Nacht lager von Granada 
 
 the people, with Alfonso tit their head. Know- 
 ing that Masauiello alone can save them, the 
 fishermen entreat him to take the command of 
 them once more, and Masaniello, though deadly 
 ill and half bereft of his reason, complies with 
 their request. The combat takes' place while 
 an eruption of Vesuvius is going on. Masaniello 
 falls in the act of saving Elvira's life. On hear- 
 ing these terrible tidings, Fenella rushes to the 
 terrace, from which she leaps into the abyss be- 
 neath, while the fugitive noblemen again take 
 possession of the city. 
 
 NACHTLAGEE YON GRANADA 
 (A NIGHT'S CAMP AT GRANADA) 
 
 Romantic Opera in two acts by 
 CONRADIN KREUTZER 
 
 Text taken from Kind's Drama of the same name by 
 Freiherr K. VOX BRONN 
 
 This little opera, which literally overflows 
 with charming songs and true German melody, 
 has never passed the bounds of the country 
 which gave it birth, for notwithstanding its 
 beauties, which endear it to the German people, 
 it lacks dramatic life and action. But in Ger- 
 many its melodies have penetrated into the 
 
 299
 
 The Standard Operaglass 
 
 hearts of the people, and will never be taken 
 thence. 
 
 The tale is very simple, and treats of Spanish 
 life in the middle of the sixteenth century. 
 
 The Crown Prince of Spain has strayed from 
 his train, and, disguised as a simple hunter, has 
 found some shepherds,- who grant him a night's 
 rest in an old castle. He excites their jealousy, 
 however, by kissing the pretty shepherdess Ga- 
 briela, and they resolve to kill and rob him. 
 Gabriela has two suitors, the kind shepherd 
 Gomez, whom she loves, and Vasco, a wild 
 youngster, who calls her his bride against her 
 wish and will. In her distress she turns to the 
 hunter, who promises to apply to the Crown 
 Prince on her and her lover's behalf. 
 
 Gabriela, hearing of the plot against the 
 hunter, becomes his guardian angel, for just as 
 the Prince is about to succumb to the ruffians 
 she brings on his followers, who have been 
 found out by her lover, Gomez. The robbers 
 are punished, and Gabriela, being allowed to 
 ask for a boon, begs to be united to Gomez. 
 The Crown Prince himself joins their hands, 
 granting them rich presents, and takes leave of 
 the peasants amid loud acclamations and bene- 
 dictions. 
 
 300
 
 Norma 
 
 NOKMA 
 
 Tragic Opera in two acts by BELLINI 
 Text by ROMANI 
 
 Few operas can boast of as good and effective 
 a libretto as that which Romani wrote for Bel- 
 lini's " Norma." He took his subject from a 
 French tragedy, and wrote it in beautiful Italian 
 verse. 
 
 With this work Bellini won his fame and 
 crowned his successes. Again it is richness of 
 melody in which Bellini excels — highly finished 
 dramatic art and lofty style he does not possess 
 — and it is this very richness of melodv which 
 makes him, and specially his " Norma,"' such a 
 favorite in all theatres. His music is also par- 
 ticularly well suited to the human voice, and 
 Norma was always one of the most brilliant 
 parts of our first dramatic singers. 
 
 The story is as follows: 
 
 Norma, daughter of Orovist, chief of the 
 Druids, and High Priestess herself, has broken 
 her vows and secretly married Pollio, the Roman 
 Proconsul. They have two children. But 
 Pollio's love has vanished. In the first act he 
 confides to his companion, Flavius, that he is 
 enamored of Adalgisa, a young priestess in the 
 temple of Irminsul, the Druids' god, 
 
 301 
 
 LIBRARY 
 •TATE TEACHER* 
 fANTA BARBl - ■ 

 
 The Standard Operaglass 
 
 Norma, whose secret nobody knows but her 
 friend Clothilde, is worshipped by the people, 
 being the only one able to interpret the oracles 
 of their god. She prophesies Rome's fall, which 
 she declares will be brought about, not by the 
 prowess of Gallic warriors, but by its own weak- 
 ness. She sends away the people to invoke 
 alone the benediction of the god. When she 
 also is gone, Adalgisa appears, and is persuaded 
 by Pollio to fly with him to Rome. But re- 
 morse and fear induce her to confess her sinful 
 love to Norma, whom she, like the others, adores. 
 Norma, however, seeing the resemblance to her 
 own fate, promises to release her from her vows 
 and give her back to the world and to happi- 
 ness ; but hearing from Adalgisa the name of 
 her lover, who, as it happens, just then ap- 
 proaches, she of course reviles the traitor, tell- 
 ing the poor young maiden that Pollio is her 
 own spouse. The latter defies her, but she bids 
 him leave. Though as he goes he begs Adalgisa 
 to follow him, the young priestess turns from 
 the faithless lover, and craves Norma's pardon 
 for the offence of which she has unwittingly 
 been guilty. 
 
 In the second act, Norma, full of despair at 
 Pollio's treason, resolves to kill her sleeping boys. 
 But they awake, and the mother's heart shud- 
 ders as she thinks of her purpose; then she calls 
 for Clothilde and bids her fetch Adalgisa. 
 
 302
 
 Norma 
 
 When she appears, Norma entreats her to be 
 a mother to her children, and to take them to 
 their father, Pollio, because she has determined 
 to free herself from shame and sorrow by a vol- 
 untary death. But the noble-hearted Adalgisa 
 will not hear of this sacrifice, and promises to 
 bring Pollio back to his first love. After a 
 touching duet, in which they swear eternal 
 friendship to each other, Norma takes courage 
 again. Her hopes are vain, however, for Clo- 
 thilde enters to tell her that Adalgisa's prayers 
 were of no avail. Norma, distrusting her rival, 
 calls her people to arm against the Eomans, and 
 gives orders to prepare the funeral pile for the 
 sacrifice. The victim is to be Pollio, who was 
 captured in the act of carrying Adalgisa off 
 by force. Norma orders her father and the 
 Gauls away, that she may speak alone with 
 Pollio, to whom she promises safety if he will 
 renounce Adalgisa and return to her and to her 
 children. But Pollio, whose only thought is of 
 Adalgisa, pleads for her and for his own death. 
 Norma, denying it to him, calls the priests of 
 the temple, to denounce as victim a priestess 
 who, forgetting her sacred vows, has entertained 
 a sinful passion in her bosom and betrayed the 
 gods. Then she firmly tells them that she her- 
 self is this faithless creature, but to her father 
 alone does she reveal the existence of her chil- 
 dren. 
 
 303
 
 The Standard Operaglass 
 
 Pollio, recognizing the greatness of her char- 
 acter, which impels her to sacrifice her own life 
 in order to save him and her rival, feels his love 
 for Norma revive, and stepping forth from the 
 crowd of spectators, he takes his place beside her 
 on the funeral pile. Both commend their chil- 
 dren to Norma's father, Orovist, who finally 
 pardons the poor victims. 
 
 LE NOZZE DI FIGARO 
 
 Comic Opera in four acts by MOZART 
 Text by LORENZO DA PONTE 
 
 This opera may be said to be the continua- 
 tion of Rossini's " Barbiere di Seviglia." The 
 text, too, is taken from Beaumarchais's Fi- 
 garoade, and the principal persons in it we find 
 to be old acquaintances. It is the same Count 
 Alma viva, now married to Rosina; Figaro, the 
 cunning barber, has entered the Count's ser- 
 vice, and is about to marry Rosina's maid, Su- 
 sanna. We meet among the others old Doctor 
 Bartolo and Basilic Even in the management 
 of the subject and in the music we find some 
 resemblance. "Figaro's wedding" has the 
 same character of gaiety; no storms, very few 
 clouds; there prevails throughout an atmos- 
 sphere of sunshine and brightness. After " Don 
 
 304
 
 Le Nozze di Figaro 
 
 Juan," "Figaro " was Mozart's darling, and it 
 shines radiantly in the crown of his fame. 
 There is no triviality in it, as we find in most 
 of the comic operas of Offenbach and others; it 
 is always noble, as well as characteristic in every 
 part. 
 
 The text may be paraphrased thus: 
 
 Count Almaviva, though married to Eosina 
 and loving her ardently, cannot bring himself 
 to cease playing the role of a gallant cavalier; 
 he likes pretty women wherever he finds them, 
 and notwithstanding his high moral principles 
 is carrying on a flirtation with Rosina's maid, 
 the charming Susanna. This does not hinder 
 him from being jealous of his wife, who is here 
 represented as a character both sweet and pas- 
 sive. He suspects her of being overfond of her 
 Page, Cherubino. From the bystanders, Doc- 
 tor Bartolo and Marcellina, we hear that their 
 old hearts have not yet ceased to glow at the 
 touch of youth and love; Bartolo would fain 
 give his affections to Susanna, while Marcellina 
 pretends to have claims on Figaro. 
 
 These are the materials which are so dexter- 
 ously woven into the complicated plot, and 
 which furnish many funny quid pro quos. 
 
 In the second act we find Cherubino, the Page, 
 
 in the rooms of the Countess, who, innocent 
 
 and pure herself, sees in him only a child; but 
 
 this youth has a passionate heart, and he loves 
 
 20 305
 
 The Standard Operaglass 
 
 his mistress ardently. Mistress and maid have 
 amused themselves with Cherubino, putting 
 him into women's dresses. The Count, ren- 
 dered suspicious by a letter given to him by 
 Basilio, bids his wife open her door. The 
 women, afraid of his jealousy, detain him a 
 while, and only open the door when Cherubino 
 has got safely through the window and away 
 over the flower beds. The Count, entering full 
 of wrath, finds only Susanna with his wife. 
 Ashamed, of his suspicions, he asks her pardon 
 and swears never to be jealous again. All 
 blame in the matter of the letter is put on Fi- 
 garo's shoulders, but this cunning fellow lies 
 boldly, and the Count cannot get the clew to 
 the mystery. Figaro and Susanna, profiting by 
 the occasion, entreat the Count at last to con- 
 sent to their wedding, which he has always put 
 off. At this moment the gardener Antonio 
 enters, complaining of the spoiled flower beds. 
 Figaro, taking all upon himself, owns that he 
 sprang out of the window, having had an inter- 
 view with Susanna and fearing the Count's 
 anger. All deem themselves saved, when An- 
 tonio presents a document which the fugitive 
 has lost. The Count, not quite convinced, asifs 
 Figaro to tell him the contents; but the latter, 
 never at a loss, and discovering that it is the 
 Page's patent, says that the document was 
 given to him by the Page, the seal having been 
 
 306
 
 Le Nozze di Figaro 
 
 B" 
 
 forgotten. The Count is about to let him off, 
 when Bartolo appears with Marcellina, who 
 claims a matrimonial engagement with Figaro. 
 Her claim is favored by the Count, who wishes 
 to see Susanna unmarried. Out of this strait, 
 however, they are delivered by finding that Fi- 
 garo is the son of the old couple, the child of 
 their early love; and all again promises well. 
 But the Countess and Susanna have prepared a 
 little punishment for the jealous husband as 
 well as for the flighty lover. 
 
 They have both written letters in which they 
 ask the men to au interview in the garden. 
 Susanna's letter goes to the Count, Eosina's to 
 Figaro. Under the wings of night the two 
 women meet each her own lover, but Susanna 
 wears the Countess's dress, while Eosina has 
 arrayed herself in Susanna's clothes. 
 
 The Countess, not usually . given to such 
 tricks, is very anxious. While she awaits her 
 husband, Cherubino approaches, and taking her 
 for Susanna, he, like a little Don Juan as he is, 
 makes love to her. Hearing the Count's steps, 
 he disappears. Almaviva caresses the seeming 
 Susanna, telling her nice things and giving her 
 a ring, which she accepts. They are observed 
 by the other couple and the sly Figaro, who has 
 recognized Susanna, notwithstanding her dis- 
 guise, denounces the Count to her, vows eternal 
 love and generally makes his bride burn with 
 
 307
 
 The Standard Operaglass 
 
 wrath. In her anger she boxes his ears, upon 
 which he confesses to having known her from 
 the first, and at once restores her good humor. 
 
 Seeing the Count approach, they continue to 
 play their former roles, and the false Countess 
 makes love to Figaro, till the Count accosts her 
 as "traitress." For a while she lets him suffer 
 all the tortures of jealousy, then the lights ap- 
 pear and the Count stands ashamed before his 
 lovely wife, recognizing his mistake. The gen- 
 tle Countess forgives him, and the repenting 
 husband swears eternal fidelity. He speedily 
 unites the lovers Figaro and Susanna, and for- 
 gives even the little Page Cherubino. 
 
 THE NUREMBERG DOLL 
 (DIE NURNBERGER PUPPE) 
 
 Comic Opera in four acts by A. ADAM 
 
 Text by LEUVEN and BEA.UPLAN, translated into Germap 
 by ERNST PASQUE' 
 
 This operette, though almost buried in ob 
 livion, has been revived by merit of its true 
 comic humor, which is so rare uowadays. The 
 music is very simple, but melodious and natural, 
 and in Bertha's part offers ample scope to a 
 good songstress. 
 
 The scene takes place in a toy-shop at Nurem- 
 
 308
 
 The Nuremberg Doll 
 
 berg. Cornelius, the owner, has an only son, 
 Benjamin, whom he dearly loves, notwithstand- 
 ing his stupidity, while he is most unjust to his 
 orphan nephew, Ileinrich, whom he keeps like 
 a servant, after having misappropriated the 
 latter's inheritance. 
 
 The old miser wants to procure a wife for his 
 darling, a wife endowed with beauty and every 
 virtue, and as he is persuaded that such a para- 
 gon does not exist in life, he has constructed a 
 splendid doll, which he hopes to endow with 
 life by help of Doctor Faust's magic book. 
 
 He only awaits a stormy night for executing 
 his design. Meanwhile he enjoys life, and when 
 presented to us is just going with Benjamin to 
 a masked ball, after sending at the same time 
 his nephew sujrperless to bed. When they have 
 left, Heinrich reappears in the garb of Mephis- 
 topheles, and clapping his hands, his fiancee, 
 Bertha, a poor seamstress, soon enters. 
 
 Sadly she tells her lover that she is unable to 
 go to the ball, having given all her money, 
 which she had meant to spend on a dress, to a 
 poor starving beggar-woman in the street. 
 
 Heinrich, touched by his love's tender heart, 
 good-humoredly determines to lay aside his 
 mask, in order to stay at home with Bertha, 
 when suddenlv a bright idea strikes him. Be- 
 membering the doll which his uncle hides so 
 carefully in his closet — which has, however, long 
 
 309
 
 The Standard Operaglass 
 
 been spied out by Heinrich — he shows it to 
 Bertha, who delightedly slips into the doll's 
 beautiful clothes, which fit her admirably. 
 
 Unfortunately, Cornelius and his son are heard 
 returning, while Bertha is still absent dressing. 
 The night has grown stormy, and the old man 
 deems it favorable for his design; so he at once 
 proceeds to open Faust's book and to begin the 
 charm. 
 
 Heinrich, who has hardly had time to hide 
 himself in the chimney, is driven out by his 
 cousin's attempts to light a fire. He leaps 
 down into the room, and the terrified couple 
 take him for no other than the Devil in person, 
 Heinrich wearing his mask and being besides 
 blackened by soot from the chimney. Perceiv- 
 ing his uncle's terror, he profits by it, and at 
 once beginning a conjuration, he summons the 
 doll — that is to say, Bertha in the doll's dress. 
 Father and son are delighted by her perfor- 
 mances, but when she opens her mouth and re- 
 veals a very wilful and wayward character, Cor- 
 nelius is less charmed. The doll peremptorily 
 asks for food, and Mephistopheles indicates that 
 it is to be found in the kitchen. While the 
 worthy pair go to fetch it, Mephistopheles, 
 hastily exchanging words with his lady-love, 
 vanishes into his sleeping-room. 
 
 The doll now begins to lead a dance which 
 makes the toymaker's hair stand on end. She 
 
 310
 
 The Nuremberg Doll 
 
 first throws the whole supper out of the win- 
 dow, following it with plate, crockery, toys, etc. 
 Then, taking a drum, she begins to drill them 
 like a regular tambour-major, slapping their 
 ears, mouths, and cheeks as soon as they try to 
 approach her. 
 
 At last, when they are quite worn out, she flies 
 into the closet. But now the father's spirit is 
 roused; he resolves to destroy his and the Devil's 
 work. However, he is hindered by Heinrich, 
 who now makes his appearance, and seems 
 greatly astonished at the uproar and disorder 
 he finds in the middle of the night. He only 
 wants to gain time for Bertha to undress and 
 then escape. 
 
 Eesolutely the old man walks into the closet 
 to slay the doll. But he returns pale and trem- 
 bling, having destroyed her while asleep, and 
 believing to have seen her spirit escape through 
 the window with fiendish laughter. Yet awed 
 by his deed, he sees Heinrich returning, who 
 confesses to his uncle that he has found out his 
 secret about the doll, and that, having acci- 
 dentally broken it, he has substituted a young 
 girl. Cornelius, half dead with fright, sees 
 himself already accused of murder; his only 
 salvation seems to lie in his nephew's silence 
 and instant flight. Heinrich is willing to leave 
 the country, provided his uncle give him back 
 his heritage, which consists of 10,000 thalers. 
 
 311
 
 The Standard Operaglass 
 
 After some vain remonstrances, the old man 
 gives him the gold. Heinrich, having gained 
 his ends, now introduces Bertha, and the wicked 
 old fool and his son see too late that they have 
 been the dupes of the clever nephew. 
 
 OBEKON 
 
 Romantic Opera in three acts by WEBER 
 English Text by PLANCHE, translated by TH. HELL 
 
 Oberon is Weber's last work. In the year 
 1824 he had the honor of being commissioned 
 to compose this opera for the Covent Garden 
 Theatre. He began at once to study English, 
 but, his health giving way, he progressed slowly. 
 Notwithstanding his illness, however, he worked 
 on and finished the opera in the year 1826. He 
 had the happiness of seeing it crowned with 
 success when he travelled to London in Febru- 
 ary of that year, but he could not witness its 
 triumphs in Germany, for he died in the fol- 
 lowing July. 
 
 The text is most fantastic, without any strict, 
 order of succession either in the matter of time 
 or locality. It is taken from Wieland's fairy 
 tale of the same name. 
 
 In the first act we find Oberon, the Elfin King, 
 in deep melancholy, which no gaiety of his sub- 
 
 312
 
 Oberon 
 
 jects, however charming, avails to remove. He 
 has quarrelled with his wife Titania, and both 
 have vowed never to be reconciled until they 
 find a pair of lovers faithful to each other in 
 all kinds of adversity. Both long for the re- 
 union, but the constant lovers are not to be 
 found. 
 
 Oberon's most devoted servant is little Puck, 
 who has vainly roved over the world to find 
 what his master needs. He has, however, heard 
 of a valiant knight in Burgundy, Huon, who 
 has killed Carloman, the son of Charlemagne, in 
 a duel, haviug been insulted by him. Charle- 
 magne, not willing to take his life for a deed of 
 defence, orders him to go to Bagdad, to slay the 
 favorite sitting to the left of the Calif, and to 
 wed the Calif's daughter Bezia. Puck resolves 
 to make this pair suit his ends. He tells Oberon 
 the above-mentioned story, and by means of his 
 lily sceptre shows Huon and Beza to him. At 
 the same time these two behold each other in a 
 vision, so that when they awake both are deeply 
 in love. 
 
 Oberon wakes Huon and his faithful shield - 
 bearer, Scherasmin, and promises his help in 
 every time of need. He presents Huon with a 
 rnagio horn, which will summon him at any 
 time; Soherasmin receives a cup which fills with 
 wine of itself. Then he immediately transports 
 them to Bagdad. 
 
 313
 
 The Standard Operaglass 
 
 There we find Rezia with her Arabian maid, 
 Fatima. The Calif's daughter is to wed Babe- 
 kan, a Persian Prince, but she has hated him 
 ever since she saw Huon in her vision. Fatima 
 has discovered the arrival of Huon. It is high 
 time, for in the beginning of the second act we 
 see the Calif with Babekan, who wants to cele- 
 brate the nuptials at once. Eezia enters, but at 
 the same time Huon advances, recognizing in 
 Rezia the fair one of his dream. He fights, and 
 stabs Babekan. The Turks attack him, but 
 Scherasmin blows the magic horn, and compels 
 them to dance and laugh until the fugitives 
 have escaped. 
 
 In the forest they are overtaken, but Huon 
 and Scherasmin, who has come after his master 
 with Fatima, put the pursuers to flight. 
 
 Oberon now appears to the lovers, and makes 
 them promise upon oath that they will remain 
 faithful to each other under every temptation. 
 He immediately after transports them to the 
 port of Ascalon, from which they are to sail 
 homeward. Oberon now puts their constancy 
 to the proof. Puck conjures up the nymphs 
 and the spirits of the air, who raise an awful 
 tempest. Hiion's ship sinks; the lovers are 
 shipwrecked. While Huon seeks for help, 
 Rezia is captured by the pirates, and Huon, re- 
 turning to save her, is wounded and left sense- 
 Jess on the beach. Oberon now causes him to 
 
 314
 
 Oberon 
 
 fall into a magic sleep, which is to last seven 
 days. 
 
 In the third act we find Scherasmin and his 
 bride, Fatima, in Tunis, dressed as poor gar- 
 deners. 
 
 A corsair has saved the shipwrecked and sold 
 them as slaves to the Emir of Tunis. Though 
 poor and in captivity they do not lose courage, 
 and are happy that they are permitted to bear 
 their hard lot together. 
 
 Meanwhile the seven days of Hiion's sleep 
 have passed. Awaking, he finds himself, to his 
 astonishment, in Tunis, in the Emir's garden, 
 with his servant beside him, who is not less as- 
 tonished at finding his master. 
 
 Fatima, coming back, relates that she has 
 discovered Rezia in the Emir's harem. Huon, 
 who finds a nosegay with a message which bids 
 him come to the myrtle bower during the night, 
 believes that it comes from Eezia, and is full of 
 joy at the idea of meeting his bride. Great is 
 his terror when the lady puts aside her veil 
 and he sees Roschina, the Emir's wife. She 
 has fallen in love with the noble knight, whom 
 she saw in the garden, but all her desires are in 
 vain; he loathes her, and is about to escape, 
 when the Emir enters, captures and sentences 
 him to be consumed by fire. Roschina is to be 
 drowned. Rezia, hearing of her lover's fate, 
 implores the Emir to pardon him. But she has 
 
 3i5
 
 The Standard Operaglass 
 
 already offended him by her unwillingness to 
 listen to his protestations of love, and when he 
 hears that Hiion is her husband he condemns 
 them to be burned together. Their trials, how- 
 ever, are nearing their end. Scherasmin has 
 regained the long-lost horn, by means of which 
 he casts a spell on everybody, until, blowing it 
 with all his might, he calls Oberon to their aid. 
 The Elfin King appears, accompanied by Queen 
 Titania, who is now happily reconciled to him, 
 and, thanking the lovers for their constancy, he 
 brings them safely back to Paris, where Charle- 
 magne holds his court. The Emperor's wrath 
 is now gone, and he warmly welcomes Sir Hiion 
 and his lovely bride, promising them honor and 
 glory for their future days. 
 
 ODYSSEUS'S RETURN 
 
 A Musical Tragedy in three acts, with a Prelude, by 
 AUGUST BUNGERT 
 
 A musical drama of the highest interest, one 
 which may be considered equal to Wagner's 
 great Nibelung series, has been created at last. 
 
 " Odysseus's Eeturn " is the third of four 
 parts of a cyclus called the Odyssey, and its 
 success since its first representation, in Dresden 
 gn December 12, 1896, has been so absolute that 
 
 316
 
 Odysseus's Return 
 
 one may hope to bear the other parts before 
 long. It must be admitted here that this is due 
 partly to its splendid rendering under Schuch's 
 genial conductorship, and to the interpreters of 
 the two principal roles in the drama. Frau 
 Wittich as Penelope is the very incarnation of 
 womanliness and queenliness, and no singer 
 could be a truer and. nobler Odysseus than Karl 
 Scheidemantel. Whoever had the advantage 
 of hearing these two great singers in these roles 
 must forever identify them with the grand 
 characters of ancient Greece. 
 
 Bungert is happy in having found a subject 
 so noble and so sympathetic, and his music does 
 full justice to these sentiments. 
 
 The orchestration is simple in character, 
 sometimes of classic naivete, and though the 
 composer keeps to measures without csesuras 
 (destitute of rhythm), which are peculiar to 
 Wagner, he differs from him, inasmuch as the 
 orchestra is always merely the accompaniment 
 of the voice and never drowns it. 
 
 All the characters are most life-like, and they 
 thrill with those never-changing emotions which 
 are the same to-day as they were a thousand 
 years ago. 
 
 The plot treats of Homer's Odyssey with a 
 poetic license. 
 
 In the prelude, Pallas Athene appears, con- 
 veying the impression of a statue, and forthwith 
 
 3*7
 
 The Standard Operaglass 
 
 producing the right frame of mind in the hearer 
 by the original song of thirty measures, all in C. 
 After her disappearance Penelope's suitors as- 
 semble and form a plot to destroy Telemachus, 
 the queen's son, of whom they are afraid. Hy- 
 perion, Telemachus's intimate friend, tries to 
 frustrate their plans, but in vain. When left 
 alone, he reproaches himself bitterly for his 
 treachery to his friend, and decides to warn 
 him. Hyperion, too, is in love with the queen, 
 but he is at the same time deeply attached to 
 her noble son, who at this juncture is seen ar- 
 riving in a vessel, in which he is setting out in 
 quest of his father, Odysseus. Hyperion en- 
 treats Telemachus to let him accompany him 
 on this dangerous voyage, but the latter begs 
 him to remain with his lonely mother, and em- 
 barks after taking a tender leave of Hyperion. 
 
 Then the scene changes. The first act takes 
 place in a bay of the isle of Ithaca, in which 
 Odysseus has landed after many years of fruit- 
 less wandering. He has fallen asleep near a 
 grotto which is the abode of nymphs; beside 
 him lie the gifts of the Phseaces. On the 
 heights the hut of old Eumaeus, Odysseus's 
 steward, is seen. He sits on a bench beside the 
 aged Laertes, Odysseus's father, awaiting his 
 master. Shepherds, dancing and frolicking 
 past him, laugh and mock at the faithful ser- 
 vant's belief in Odysseus's return. 
 
 3*8
 
 Odysseus' s Return 
 
 By and by Odysseus half awakes from the 
 deep slumber into which the gods have thrown 
 him; the whole country seems to be enveloped 
 in mist, and he does not recognize it, although 
 the songs of the peasants fill him with thoughts 
 of his youth and his home. Dreamily he sinks 
 back on his couch, while Pallas appears attired 
 in beggar's garb, which she throws off and is 
 seen clad fantastically in the costume of a royal 
 shepherdess. She waves her hand, and the mist 
 clears away, when the whole country is seen 
 bathed in moonlight, and Odysseus, opening 
 his eyes, recognizes Mount Xeritos and his own 
 beloved island. Blinded with tears, he kisses 
 the sacred soil, and returns thanks to the gods, 
 who have at last led him back to his home. 
 
 Suddenly he hears Eumams's voice, and find- 
 ing the beggar's cloak, which the goddess has 
 left him, he wraps himself in it and hides his 
 weapons and the treasures of the Pha?aces in 
 the grotto. Eumams loudly bewails Penelope's 
 fate, and curses the wicked suitors. At the 
 same time the sound of oars is heard, and Tele- 
 machus's vessel passes by, pursued by the suit- 
 ors. Eumaeus, too weak to render aid, contin- 
 ues to wail, when suddenly Odysseus rises up 
 before him, saying: "The gods will conquer." 
 The old man, not recognizing his king, contin- 
 ues to accuse the Fates, and tells the stranger 
 how badly things have fared since the king's 
 
 319
 
 The Standard Operaglass 
 
 absence. " And Penelope, my friend ? " asks 
 Odyssens. " Penelope is faithful," answers the 
 servant. " Then be it known to you, friend, 
 that Odysseus will return," quoth the stranger. 
 Struck by a dim foreboding of the truth, 
 Eumaeus promises to lead the stranger into the 
 queen's palace this very night. 
 
 While they converse, Telemachus calls upon 
 Eumaeus for help, and when the vessels come 
 into siglit the prince is seen fighting against 
 his pursuers. He slays one of them, but their 
 number far exceeds that of his own followers. 
 Odysseus, who has vainly looked for the boat 
 which the suitors have stolen, throws his club 
 at them, and springs into his sou's vessel just 
 in time to rescue the lad, whose sword has been 
 broken, but who continues to fight, nothing 
 daunted. Odysseus kills some of his foes and 
 pushes their vessel far off, after which they 
 escape, while the father carries his fainting son 
 on shore. At this moment Eumaeus recognizes 
 his mighty guest. Telemachus, still half un- 
 conscious, calls for another sword. When he 
 at last opens his eyes he stares in wonder at the 
 mysterious stranger, whom he deems a god in 
 beggar's garb. Eumaeus informs him that the 
 stranger brings news of their long-lost king, 
 which fills the son's heart with joy. At this 
 point the low songs of the nymphs are heard, 
 welcoming the hero to Ithaca, while Laertes, 
 
 320
 
 Odysseus's Return 
 
 slowly descending from the heights, prophesies 
 Odysseus's return as one in a dream. Odysseus 
 can hardly restrain his tears at seeing his father 
 looking so old and so woebegone. He meets 
 him humbly, and all their voices mingle in a 
 chorus of triumph and welcome, while Odysseus, 
 stepping forward, vows that he will annihilate 
 the suitors. 
 
 The second act opens in Penelope's room. 
 
 She sits at her loom, looking out over the far- 
 stretching sea, and bewailing her lot. Behind 
 the scene the evoes and drunken cries of the 
 suitors are heard, and with bitter tears she prays 
 to the gods to help her and to protect her son, 
 whom she knows to be on the treacherous 
 waves. Suddenly Hyperion rushes in, and, pros- 
 trating himself at her feet, offers her a bunch of 
 orange blossoms, and pays homage to her in sen- 
 timental, poetic language. Penelope quietly 
 congratulates him on having escaped from the 
 nets of his paramour, Despoina; and the lover, 
 taking this as a favorable sign, breaks out into 
 passionate words, but is at once checked by the 
 queen. He then reveals to her the shameful 
 plot of the suitors, and Penelope becomes 
 speechless with horror. Before she recovers her 
 self-possession the suitors rush into the apart- 
 ment, insolently reminding her of her promise 
 to choose one of them as soon as the garment 
 which she has been weaving for so many years 
 21 321
 
 The Standard Operaglass 
 
 for Laertes shall be completed, and wildly up- 
 braiding her with undoing her work during the 
 night. Penelope tries to hold them in check, 
 but they only grow more shameless, and at last 
 Antinous tries to embrace her. Quick as 
 thought she draws her dagger, and when it is 
 wrenched, from her she snatches his own sword 
 and directs it against him. But Eurymachus, 
 another suitor, comes forward, and attacking 
 Hyj^erion, pierces him with his sword; then 
 turns to the queen, swearing to kill Telemachus 
 as well should she not yield to their demands. 
 The queen wavers, when renewed acclamations 
 are heard, and Telemachus enters with EumEeus 
 and Odysseus, the latter still wearing his dis- 
 guise. The mother rushes forward to embrace 
 her son, but he is seized by the suitors, who 
 peremptorily require the queen's oath. "Save 
 thy son, queen," says the stranger, and 
 Penelope at last swears to give her hand to him 
 who shall be victorious in the contest held on 
 Apollo's festival on the following day. There- 
 upon the suitors promise to protect Telemachus, 
 and retire, leaving mother and son together. 
 
 Not until then does Telemachus recognize in 
 the prostrate form his friend Hyperion, who, 
 dying, tells him that he has betrayed his friend 
 and loved his mother. Terrified though he is, 
 the tender-hearted youth forgives him, and en- 
 treats his mother to do the same. But the 
 
 322
 
 Odysseus' s Return 
 
 queen stands as one turned to stone, not heed- 
 ing the stranger, who likewise bids her say a 
 word to the man who is dying for her, and who 
 is now in his last moments raving of his unholy 
 love. Telemachus at last seizes his friend's 
 hand and closes his dim eyes with a kiss, while 
 the queen, with a last despairing cry for Odys- 
 seus, sinks back senseless, and is carried away by 
 her son and her nurse, Eurycleia. Left alone, 
 Odysseus remains a prey to doubt and jealousy. 
 AYhen Penelope, recovering, hears the news of 
 her lost husband, Odysseus promises her the 
 speedy return of the latter, answering her ex- 
 cited questions with, "I know him as I know 
 myself." The queen fears he will be too late, 
 and when the stranger insinuates to her that 
 the king will perhaps kill the suitors whom he 
 has discovered in the queen's apartments, and 
 cunningly asks whether she wants their protec- 
 tion, her long pent-up rage against her pursuers 
 finds vent in a terrible cry for vengeance and 
 for the annihilation of all her enemies, and fall- 
 ing on her knees before the beggar she beseeches 
 him to hasten Odysseus's return. The latter, 
 being at last sure of his wife's faithfulness, re- 
 assures her, and tells her to confide in the gods. 
 The third act opens with Apollo's festival. 
 The statue of the god is carried before the peo- 
 ple, adorned with roses and ivy. The suitors 
 banquet in the palace, while the true master 
 
 323
 
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 sits aloof on the steps of the temple, and is 
 mocked at by the crowd; he, however, remains 
 qniet, only invoking the god to direct his fate. 
 Trumpets announce the arrival of the queen, 
 who is loudly hailed by the crowd. She carries 
 her husband's own bow, and promises to marry 
 whomsoever shall succeed in bending it and in 
 shooting the arrow through a series of twelve 
 rings. Telemachus is the first to try his luck, 
 hoping to redeem his beloved mother. But, 
 alas! his strength fails him, and he has to hand 
 the bow on to the suitors, who so goad and 
 taunt him that the boy draws his sword. But 
 they are stronger; Telemachus stumbles, and 
 the beggar catches him in his arms and unfolds 
 his mantle to protect him, whispering: " Tele- 
 machus, my son, I am thy father." The youth 
 sinks on his knees, but Odysseus enjoins silence 
 upon him, and warns him to be ready for battle. 
 Meanwhile the boy is derided by the crowd, 
 aud the queen, bitterly disappointed, turns to 
 the beggar, whispering: "Thy words, old man, 
 were false! " But Odysseus replies: "The gods 
 will prove victorious," and kisses the queen's 
 hand so fervently that she stares at him as one 
 in a trance, until he, recovering himself, kisses 
 it again in due humility. Her eyes once more 
 grow dim, and she leaves the grounds in dull 
 despair. During this time the bow has passed 
 from hand to hand, but none can bend it, and 
 
 324
 
 Odysseus's Return 
 
 the augur, Theocly menus, who hears Jupiter's 
 thunder and sees the ravens fly over the temple, 
 prophesies their destruction. 
 
 Eurymachus at last proposes to throw the 
 bow into the fire, when the beggar advances and 
 asks leave to try. his strength at bending it, 
 which, though indignantly refused by the suit- 
 ors, is immediately granted by Telemachus, who 
 owns the bow. Odysseus bends it and shoots 
 through all the rings. 
 
 During this scene Pallas appears in the air, 
 holding her shield aloft. Horror seizes the 
 wooers when they recognize the mighty arm 
 which alone can bend the bow, and Odysseus, 
 flinging his cloak from him and standing erect 
 in his shining armor, slays his enemies, aided by 
 his son and those of his servants who have re- 
 mained true to him and to their queen. The 
 latter, walking slowly over the peristyle, all at 
 once sees Odysseus and recognizes her lord, who 
 folds her to his heart. When the palace is 
 cleared of the dead, the people press in to hail 
 their king, and Athene appears once more, 
 holding her shield over the happy crowd and 
 blessing the faithful spouse. 
 
 325
 
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 OEFEO E EURYDICE 
 
 Opera in three acts by GLUCK 
 Text by KANliRO DI CALZABIGI 
 
 This opera is the oldest of all we possess in 
 our repertoire. Gluck had already written 
 more than forty operas,, of which we do not 
 even know the names now, when he composed 
 his " Orfeo," breaking with the old Italian tra- 
 ditions and showing a new and more natural 
 taste. All the charm of Italian melody is still 
 to be found in this composition, but it is blent 
 with real feeling united to great strength of ex- 
 pression, and its value is enhanced by a total 
 absence of all those superfluous warbles and 
 artificial ornaments which filled the Italian 
 operas of that time. The libretto, taken from 
 the old and beautiful Greek tragedy, is as effec- 
 tive as the music. 
 
 Orpheus, the celebrated Greek musician and 
 singer, has lost his wife, Eurydice. His mourn- 
 ful songs fill the groves where he laments, and 
 with them he touches the hearts not only of his 
 friends but of the gods. On his wife's grave 
 Amor appears to him, and bids him descend 
 into Hades, where he is to move the Furies and 
 the Elysian shadows with his sweet melodies, 
 and win back from them his lost wife. 
 
 326
 
 Orfeo e Eurydice 
 
 He is to recover her on a condition, which is, 
 that he never cast a look on her during their 
 return to earth, for if he fail in this, Eurydice 
 will he forever lost to him. 
 
 Taking his lyre and casque, Orpheus promises 
 obedience, and with renewed hope sallies forth 
 on his mission. The second act represents the 
 gates of Erebus, from which flames arise. Or- 
 pheus is surrounded by furies and demons, who 
 try to frighten him; but he, nothing daunted, 
 mollifies them by his sweet strains, and they set 
 free the passage to Elysium, where Orpheus has 
 to win the happy shadows. He beholds Eury- 
 dice among them, veiled; the happy shadows 
 readily surrender her to him, escorting the pair 
 to the gates of their happy vale. 
 
 The third act beholds the spouses on their 
 way back to earth. Orpheus holds Eurydice by 
 the hand, drawing the reluctant wife on, but 
 without raising his eyes to her face — on and on 
 through the winding and obscure paths which 
 lead out of the infernal regions. Notwithstand- 
 ing his protestations of love and his urgent de- 
 mands to her to follow him, Eurydice never 
 ceases to implore him to cast a single look on 
 her, threatening him with her death should he 
 not fulfil her wish. Orpheus, forbidden to tell 
 her the reason of his strange behavior, long re- 
 mains deaf to her cruel complaints, but at last 
 he yields, and looks back, only to see her expire 
 
 327
 
 The Standard Operaglass 
 
 under his gaze. Overwhelmed by grief and de- 
 spair, Orpheus draws his sword to destroy him- 
 self, when Amor appears, and stays the fatal 
 stroke. 
 
 In pity for Orpheus's love and constancy he 
 reanimates Eurydice (contrary, however, to the 
 letter of the Greek tragedy), and the act closes 
 with a beautiful chorus sung in Amor's praise. 
 
 OTHELLO 
 
 Opera in four acts by GIUSEPPE VERDI 
 
 Text by ARRIGO BOITO 
 Translated into the German by MAX KALBECK 
 
 In his seventy-third year the maestro has 
 given to his time an opera which surpasses his 
 former compositions in many respects. It 
 proves that Verdi's genius has remained ad- 
 mirably fresh, and that the new views and reve- 
 lations which Wagner opened to the musical 
 world have been fully understood by the Italian. 
 He has now broken with the unnatural tradi- 
 tions of the Italian opera, and has in " Othello " 
 given us a work which secures to him an hon- 
 ored place among the best dramatic composers. 
 
 It must not be forgotten that Verdi had a 
 splendid second in the person of Boito, the 
 high-minded and capable composer of " Mefisto- 
 fele." He omits in his action all that is inci- 
 
 328
 
 Othello 
 
 dental, and as a consequence the force of 
 thought and expression is the more powerful. 
 It is written clearly after Shakespeare's original. 
 
 The opera was put on the stage in Munich in 
 the summer of 1888 with great success. 
 
 The first scene represents the people follow- 
 ing excitedly the course of Othello's ship, which 
 battles with the waves. After he has landed 
 and informed the assembly of his victory over 
 the Turks, shouts of joy and exultation rend 
 the air. 
 
 Then follows a convivial chat between Cassio, 
 Rodirigo, and Iago, in the course of which the 
 latter makes Cassio drunk. Iago's demoniacal 
 nature is masterfully depicted here, where lie 
 soon succeeds in ruining Cassio, who loses his 
 rank as captain. 
 
 In the third scene we see Desdemona with her 
 husband, both rejoicing in the felicity of their 
 mutual love. 
 
 In the second act Iago proceeds to carry out 
 his evil intents, by sending Cassio to Desde- 
 mona, who is to intercede for him with Othello. 
 Iago then calls Othello's attention to the retir- 
 ing Cassio, and, by making vile insinuations, in- 
 flames his deadly jealousy. Desdemona appears, 
 surrounded by women and children, who offer 
 her flowers and presents. She comes forward 
 to plead for Cassio, and Othello suspiciously re- 
 fuses. She takes out her handkerchief to cool 
 
 329
 
 The Standard Operaglass 
 
 her husband's aching forehead with it, but he 
 throws it down, and Emilia, Iago's wife, picks 
 it up. Iago wrenches it from her and hides it. 
 
 In the next scene Iago's villainous insinua- 
 tions work upon Othello, who becomes wildly 
 suspicious. Iago relates a dream of Cassio's, in 
 which he reveals his love for Desdemona, then 
 he hints that he has seen Othello's first love- 
 token, her lace handkerchief, in Cassio's hands, 
 and both swear to avenge Desdemona's infidelity. 
 
 In the third act Othello, pretending to have 
 a headache, asks for Desdemona's lace handker- 
 chief. She has lost it, she tells him, but he 
 is incredulous and charges her with infidelity. 
 All her protests are useless, and at length he 
 forces her to retire. Meanwhile Iago has 
 brought Cassio and urges Othello to hide him- 
 self. Oassio has a lady-love named Bianca, 
 and of her they speak, but Iago dexterously 
 turns the dialogue so as to make Othello believe 
 that they are speaking of his wife. His jealousy 
 reaches its climax when Cassio draws forth 
 Desdemona's handkerchief, which Iago has de- 
 posited in Cassio's house. All his doubts now 
 seem to be confirmed. A cannon shot an- 
 nouncing the arrival of a galley interrupts the 
 conversation and Cassio quickly leaves. 
 
 In the following scene Iago advises Othello 
 to strangle his wife. Othello consents and gives 
 Iago a captaincy. 
 
 330
 
 Othello 
 
 Lodovico, an Ambassador of Venice, arrives 
 with other nobles to greet their liberator, 
 Othello. Desdemona ouce more asks pardon 
 for Cassio, but is roughly rebuked by her hus- 
 band. The latter reads the order which has 
 been brought to him, and tells Cassio that he is 
 to be General in his stead by will of the Doge 
 of Venice, but while Cassio is confounded by 
 this sudden change of fortune, Iago secretly 
 vows his death, instigating his rival Eodirigo to 
 kill him. At last Othello faints, overcome by 
 conflicting emotions. 
 
 In the fourth act Desdemona, filled with sad 
 forebodings, takes a touching farewell of Emilia. 
 When she has ended her fervent prayer (one of 
 the most beautiful things in the opera) she falls 
 into a peaceful slumber. Othello awakes her 
 with a kiss, and tells her immediately thereafter 
 that she must die. She protests her innocence, 
 but in vain, for Othello, telling her that Cassio 
 can speak no more, smothers her. Hardly has 
 he completed his ghastly work than Emilia 
 comes up, announcing that Rodirigo has been 
 killed by Cassio. Desdemona with her dying 
 breath once more asserts her innocence, while 
 Emilia loudly screams for help. When the 
 others appear, Emilia discovers her husband's 
 villainy, Iago flies, and Othello stabs himself 
 at the feet of his innocent spouse. 
 
 331
 
 The Standard Operaglass 
 
 PAGLIACCI 
 (MEERY ANDREW) 
 
 Musical Drama in two acts and a Prologue 
 Music and Text by R. LEONCAVALLO 
 
 Translated into the German by LUDWIG HARTMANN 
 
 In the summer of the year 1892 a rumor was 
 going through the musical world that Mascagni 
 had found his equal, nay, his superior, in the 
 person of another young Italian composer. 
 When the "Pagliacci," by Leoncavallo, was 
 executed in Italy, it excited a transport of en- 
 thusiasm almost surpassing that of " Caval- 
 leria," so that Berlin and Leipsic brought the 
 opera on the stage as quickly as possible, and 
 Dresden followed their example on January 22, 
 1893, with the same great success. 
 
 The opera is indeed eminently qualified to 
 produce impression. Though less condensed in 
 its tragic depths than " Cavalleria," the music 
 is nobler without being less realistic. In Leon- 
 cavallo the feeling of artistic form is more de- 
 veloped. Though of southern temper, he never 
 lets passion get the better of the beautiful and 
 true harmony; also he is Mascagni's senior by 
 eight years. 
 
 Leoncavallo's excellent musical education is 
 
 332
 
 Pagli 
 
 lacci 
 
 as unmistakable as the influence of "Wagner's 
 music on his genius. He, too, introduces the 
 " leading motives," but he is far from imitating 
 his great predecessor. Like Wagner, he did his 
 text himself, and it must be owned that it is 
 very good. The idea was suggested to him by 
 an event which he witnessed at Montalto in 
 Calabria during the summer of 1865, and which 
 impressed him deeply. 
 
 In the Prologue, a wonderful piece of music, 
 Tonio the Fool announces to the public the 
 deep tragic sense which often is hidden behind 
 a farce, and prepares them for the sad end of 
 the lovers in this comedy. 
 
 The introduction, with its wonderful largo, 
 is like a mournful lamentation; then the cur- 
 tain opens, showing the entry of a troop of 
 wandering actors, so common in southern Italy. 
 They are received with high glee by the peas- 
 ants, and Canio, the owner of the troop, invites 
 them all to the evening's play. Canio looks 
 somewhat gloomy, and he very much resents 
 the taunts of the peasants, who court his beau- 
 tiful wife Kedda, and make remarks about the 
 Fool's attentions to her. Nevertheless Canio 
 gives way to his friends' invitation for a glass 
 of Chianti wine, and he takes leave of his wife 
 with a kiss, which, however, does not quite re- 
 store her peace of mind, Nedda's conscience be- 
 ing somewhat disturbed. But soon she casts 
 
 333
 
 The Standard Operaglass 
 
 aside all evil forebodings, and vies with the 
 birds in warbling pretty songs, which, though 
 reminding the hearer of Wagner's " Siegfried," 
 are of surpassing harmony and sweetness. 
 Tonio the Fool, spying the moment to find 
 Nedda alone, approaches her with a declaration 
 of love, but she haughtily turns from him, and 
 as he only grows more obtrusive and even tries 
 to embrace her, she seizes a whip and slaps him 
 in the face. Provoked to fury, he swears to 
 avenge himself. Hardly has he turned away 
 when the peasant Silvio appears on the wall. 
 He is Ned da's lover, and, having seen Canio 
 sitting in the tavern, he entreats her to separate 
 herself from the husband she never loved and 
 take flight with him. JSTedda hesitates between 
 duty and passion, and at last the latter prevails, 
 and she sinks into his arms. This love duet is 
 wonderful in style and harmony. Tonio unfor- 
 tunately has spied out the lovers and returns 
 with Canio. But on perceiving the latter's ap- 
 proach Silvio has leaped over the wall, his 
 sweetheart's body covering his own person, so 
 that Canio is unable to recognize his rival; he 
 once more reminds Nedda to be ready that 
 night and then takes flight. With an inarticu- 
 late cry Canio rushes after him and Nedda falls 
 on her knees to pray for her lover's escape, 
 while Tonio the Fool triumphs over her misery. 
 The husband, however, returns defeated; pant- 
 
 334
 
 Pagliacci 
 
 ing, he claims the lover's name, and, Nedda's 
 lips remaining sealed, he is about to stab his 
 wife, when Beppo the Harlequin intervenes, 
 and, wrenching the dagger from his unfor- 
 tunate master's hands, intimates that it is time 
 to prepare for the play. While Nedda retires, 
 Caaio breaks out into a bitter wail of his hard 
 lot, which compels him to take part in the 
 farce, which for him is bitter reality. With 
 this air the tragic height of the opera is reached. 
 In the second act the spectators throng before 
 the small stage, each of them eager to get the 
 best seat. Nedda appears, dressed as Colum- 
 bine, and while she is collecting the money she 
 finds time to warn Silvio of her husband's 
 wrath. The curtain opens, and Nedda is seen 
 alone on the stage, listening to the sentimental 
 songs of Arlequin, her lover in the play. Be- 
 fore she has given him the sign to enter, Tonio, 
 in the play called Taddeo the Fool, enters, bring- 
 ing the food which his mistress has ordered for 
 herself and Arlequin. Just as it really hap- 
 pened in the morning, the poor Fool now makes 
 love to her in play; but when scornfully re- 
 pulsed he humbly retires, swearing to the good- 
 ness and pureness of his lady-love. Arlequin 
 entering through the window, the two begin 
 to dine merrily, but Taddeo reenters in mock- 
 ing fright, to announce the arrival of the hus- 
 band Bajazzo (Canio). The latter, however, is 
 
 335
 
 The Standard Operaglass 
 
 terribly in earnest, and when he hoarsely exacts 
 the lover's name, the lookers-on, who hitherto 
 have heartily applauded every scene, begin to 
 feel the awful tragedy hidden behind the 
 comedy. Xedda remains outwardly calm, and 
 mockingly she names innocent Arlequin as the 
 one who had dined with her. Then Bajazzo 
 begins by reminding her how he found her in 
 the street, a poor waif and stray, whom he 
 nursed, petted, and loved, and, Nedda remain- 
 ing cold, his wrath rises to fury and he wildly 
 curses her, shrieking " The name ! I will know 
 his name! " But Nedda, though false, is no 
 traitress. " Should it cost my life, I will never 
 betray him," she cries, at the same time trying 
 to save her life by hurrying from the stage 
 amongst the spectators. Too late, alas! Canio 
 already has reached and stabbed her, and Silvio, 
 who rushes forward, also receives his death- 
 stroke from the hands of the deceived husband, 
 who has heard his name slip from the dying 
 lips of his wife. All around stand petrified; 
 nobody dares to touch the avenger of his honor, 
 who stands by his wife's corpse limp and broken- 
 hearted : "Go," says he, "go, the farce is 
 ended." 
 
 33 6
 
 Parsifal 
 
 PARSIFAL 
 A festival Drama by RICHARD WAGNER 
 
 Though " Parsifal " is never to be given on any 
 stage except in Baireuth until 1913 (by Wag- 
 ner's express wish), it must find its place here, 
 bv reason of beiug the master's last and most 
 perfect composition. 
 
 In " Parsifal " the heavenly greatness of the 
 Christian idea of God, which is at the founda- 
 tion of the legeud of the holy Grail, finds grand 
 expression. There scarcely exists another com- 
 position of such lofty and religious spirit as 
 finds expression in the communion scene. It 
 is not possible to imagine a more vivid contrast 
 than that between the saintly melodies and 
 those of the "fascinating fairies, which latter, 
 glowing with poetry and ravishing music, capti- 
 vate all senses. 
 
 The contents are those of the ancient German 
 legend. The first scene is laid in a forest on 
 the grounds of the keepers of the Grail, near 
 Castle Monsalvat. Old Gurnemanz awakes two 
 young Squires for their morning prayer, and 
 bids two Knights prepare a bath for the sick 
 King Amfortas, who suffers cruelly from a 
 wound dealt him by the sorcerer Klingsor, the 
 deadly foe of the holy Grail. The Grail is a 
 sacred cup, from which Christ drank at the last 
 22 337
 
 The Standard Operaglass 
 
 Passover, and which also received his holy 
 blood. Titurel, Amfortas's father, has built 
 the castle to shield it, and appointed holy men 
 for its service. While Gurnemanz speaks with 
 the Knights about their poor master's suffer- 
 ings, in rushes Kundry, a sorceress in Kling- 
 sor's service, condemned to laugh eternally as a 
 punishment for having derided Christ while he 
 was suffering on the cross. She it was who 
 with her beauty seduced Amfortas, and deprived 
 him of his holy strength, so that Klingsor was 
 enabled to wring from the King his holy spear 
 Longinus, with which he afterward wounded 
 him. Kundry is in the garb of a servant of 
 the Grail; she brings balm for the King, who 
 is carried on to the stage in a litter, but it 
 avails him not: "a guileless fool" with a 
 child's pure heart who will bfing back the 
 holy spear and touch him with it, can alone 
 heal his wound. 
 
 Suddenly a dying swan sinks to the ground, 
 and Parsifal, a young knight, appears. Gurne- 
 manz reproaches him severely for having shot 
 the bird, but he appears to be quite ignorant of 
 the fact that it was wrong, and, when ques- 
 tioned, proves to know nothing about his own 
 origin. He only knows his mother's name 
 " Herzeleid " (heart's affliction), and Kundry, 
 who recognizes him, relates that his father, 
 Gamuret, perished in battle, and that his mother 
 
 338
 
 Parsifal 
 
 reared him, a guileless fool, in the desert. When 
 Kundry mentions that his mother is dead, and 
 has sent her last blessing to her son, Parsifal is 
 almost stunned by this, his first grief. Gurne- 
 manz conducts him to the castle, where the 
 Knights of the Grail are assembled in a lofty 
 hall. Amfortas is laid on a raised couch, and, 
 from behind, Titurel's voice is heard, implor- 
 ing his son to efface his guilt in godly works. 
 Amfortas, writhing with pain, is comforted by 
 the prophecy: 
 
 By pity lightened, the guileless fool — 
 Wait for him, — my chosen tool. 
 
 The Grail is uncovered, the blessing given, 
 and the repast of love begins. Amfortas's hope 
 revives, but toward the end his wound bursts 
 out afresh. Parsifal, on hearing Amfortas's cry 
 of agony, clutches at his heart, without, how- 
 ever, understanding his own feelings. 
 
 The second act reveals Klingsor's magic cas- 
 tle. Kundry, not as a demon now, but as a 
 woman of imperious beauty, is awakened by 
 Klingsor to seduce Parsifal. She yearns for 
 pardon, for sleep and death, but she struggles 
 in vain against the fiendish Klingsor. 
 
 The tower gradually sinks; a beautiful gar- 
 den rises, into which Parsifal gazes with rapture 
 and astonishment. Lovely maidens rush to- 
 ward him, accusing him of having destroyed 
 
 339
 
 The Standard Operaglass 
 
 their lovers. Parsifal, surprised, answers that 
 he slew them because they checked his approach 
 to their charms. But when their tenderness 
 waxes hotter, he gently repulses the damsels 
 aad at last tries to escape. He is detained, 
 however, by Kundry, who tells him again of his 
 beloved mother; and when Parsifal is sorrow- 
 stricken at having forgotten her in his thought- 
 less rambles, she consoles him, pressing his lips 
 with a fervent kiss. This rouses the dreamy 
 youth: he awakes to his duty, he feels the 
 King's spear-wound burning; the unconscious 
 fool is a fool no longer, but conscious of his 
 mission and distinguishing right from wrong. 
 He calls to the Saviour to save him from a guilty 
 passion, and at last he starts up, spurning 
 Kundry. She tells him of her own crime, of 
 Amfortas's fall, and curses all paths and ways 
 which would lead him from her. Klingsor, 
 appearing at her cry, flings the holy spear at 
 Parsifal, but it remains floating over his head, 
 and the youth, grasping it, destroys the magic 
 by the sign of the cross. 
 
 In the third act Gurnemanz awakes Kundry 
 from a death-like sleep, and is astonished to 
 find her changed. She is penitent and serves 
 the Grail. Parsifal enters from the woods. 
 Gurnemanz recognizes and greets him, after his 
 wanderings in search of the Grail, which have 
 extended over long years. Kundry washes his 
 
 340
 
 Philemon and Baucis 
 
 feet and dries them with her own hair. Parsi- 
 fal, seeing her so humble, baptizes her with some 
 water from the spring, and the dreadful laugh 
 is taken from her; then she weeps bitterly. 
 Parsifal, conducted to the King, touches his 
 side with the holy spear, and the wound is 
 closed. Old Titurel, brought on the stage in 
 his coffin, revives once more a moment, raising 
 his hands in benediction. The Grail is re- 
 vealed, pouring a halo of glory over all. Kun- 
 dry, with her eyes fixed on Parsifal, sinks dead 
 to the ground, while Amfortas and Gurnemanz 
 render homage to their new King. 
 
 PHILEMON AND BAUCIS 
 
 Opera in two acts by CHARLES GOUNOD 
 
 Text by JULES BARBIER and MICHEL CARRE, with an 
 intermezzo 
 
 This is a truly delightful musical composition, 
 and though unpretending and not on the level 
 with Gounod's " Margaretha," it does not de- 
 serve to be forgotten. 
 
 The libretto is founded on the well-known 
 legend. 
 
 In the first act Jupiter comes to Philemon's 
 hut, accompanied by Vulcan, to seek refuge 
 from a storm which the god himself has 
 
 341
 
 The Standard Operaglass 
 
 caused. He has come to earth to verify Mer- 
 cury's tale of the people's badness, and finding 
 the news only too true, besides being uncourte- 
 ously received by the people around, he is glad 
 to meet with a kindly welcome at Philemon's 
 door. 
 
 This worthy old man lives in poverty, but in 
 perfect content with his wife Baucis, to whom 
 he has been united in bonds of love for sixty 
 long years. Jupiter, seeing at once that the 
 old couple form an exception to the evil rule, 
 resolves to spare them, and to punish only the 
 bad folks. The gods partake of the kind peo- 
 ple's simple meal, and Jupiter, changing the 
 milk into wine, is recognized by Baucis, who is 
 much awed by the discovery. But Jupiter re- 
 assures her and promises to grant her only wish, 
 which is to be young again with her husband, 
 and to live the same life. The god sends them 
 to sleep, and then begins the intermezzo. 
 
 Phrygians are seen reposing after a festival, 
 bacchants rush in and the wild orgies begin 
 afresh. The divine is mocked and pleasure 
 praised as the only god. Vulcan comes, sent 
 by Jupiter to warn them, but as they only laugh 
 at him, mocking Olympus and the gods, Jupiter 
 himself appears to punish the sinners. An 
 awful tempest arises, sending everything to rack 
 and ruin. 
 
 In the second act Philemon's hut is changed 
 
 342
 
 Philemon and Baucis 
 
 into a palace; he awakes to find himself and his 
 wife young again. Jupiter, seeing Baucis's 
 beauty, orders Vulcan to keep Philemon apart 
 while he courts her. Baucis, though determined 
 to remain faithful to her Philemon, feels never- 
 theless flattered at the god's condescension, and 
 dares not refuse him a kiss. Philemon, appear- 
 ing on the threshold, sees it, and violently re- 
 proaches her and his guest, and though Baucis 
 suggests who the latter is, the husband does 
 not feel in the least inclined to share his wife's 
 love even with a god. The first quarrel takes 
 place between the couple, and Vulcan, hearing 
 it, consoles himself with the reflection that he 
 is not the only one to whom a fickle wife causes 
 sorrow. Philemon bitterly curses Jupiter's 
 gift; he wishes his wrinkles back, and with 
 them his peace of mind. Throwing down Jupi- 
 ter's statue, he leaves his wife to the god. 
 Baucis, replacing the image, Avhich happily is 
 made of bronze, sorely repents her behavior 
 toward her beloved husband. Jupiter finds her 
 weeping, and praying that the gods may turn 
 their wrath upon herself alone. The god 
 promises to pardon both if she is willing to 
 listen to his love. She agrees to the bargain 
 on one condition, namely, that Jupiter shall 
 grant her a favor. He consents, and she en- 
 treats him to make her old again. Philemon, 
 listening behind the door, rushes forward to 
 
 343
 
 The Standard Operaglass 
 
 embrace the true wife and joins his entreaties 
 to hers. Jupiter, seeing himself caught, would 
 fain be angry, but their love conquers his 
 wrath. He does not recall his gift, but, giving 
 them his benediction, he promises never more 
 to cross their happiness. 
 
 THE THEEE PINTOS 
 
 Comic Opera in three acts by C. M. v. WEBER 
 
 After WEBER'S manuscripts and designs, and TH. HELL'S text- 
 book. The musical part completed by GUSTAV MAHLER, the 
 dramatic part by CARL VON WEBER 
 
 Thanks to the incessant endeavors of Weber's 
 grandson and of Gustav Mahler, the gifted dis- 
 ciple of Weber, a real treasure in German music 
 has been disinterred from the fragments of 
 the past long after its composer's death. It 
 is a striking illustration of the universality of 
 Weber's genius that aught like this should 
 prove to have been written by him, for his 
 manuscript is a fragment of a comic opera of 
 the best kind. Although only seven parts were 
 completed by the composer himself, Mahler took 
 the remaining ten mostly from Weber's other 
 manuscripts. He completed them himself so 
 adroitly that the best musicians cannot distin- 
 guish Weber from Mahler. We owe a debt of 
 gratitude to both composer and poet, who have 
 
 344
 
 The Three Pintos 
 
 performed this act of piety toward the great 
 deceased and at the same time have preserved 
 us real musical pearls. The text is well done, 
 though not important enough for three acts; 
 two would have been quite sufficient. 
 
 The first scene takes us into a little village in 
 Spain, where a student, Don Gaston Piratos, 
 bids farewell to his fellows. He is a gay and 
 gallant youth, whose money dwindles to a paltry 
 sum before mine host's long account. But this 
 cunning host has a charming daughter, Ines, 
 and light-hearted Gaston flirts with the damsel; 
 his servant Ambrosio valiantly assisting him. 
 
 The Kater-romance sung by Ines is as grace- 
 ful as it is droll and effective. 
 
 Don Pinto de Fonseca now arrives on horse- 
 back. He is so corpulent that he is scarcely 
 able to dismount, and lie excites the curiosity 
 and amusement of all. Having called for food 
 and drink, he tells Gaston that he comes to 
 marry a rich and noble lady, Donna Clarissa 
 de Pacheco. Fonseca's father had once ren- 
 dered a great service to Don Pantaleone Roiz de 
 Pacheco, and in reward he destined his only 
 child Clarissa for Fonseca's son. This promising 
 young knight has a letter of recommendation 
 from his father. He is in perplexity as to his 
 behavior toward such a young lady, and Gas- 
 ton offers to instruct him therein. Ambrosio 
 nets as bride. Gaston shows how she is to be 
 
 345
 
 The Standard Operaglass 
 
 courted, and Don Pinto gawkishly imitates his 
 teacher's gestures. This scene is most irre- 
 sistibly comic. When wine and food are brought 
 by lues and her servants, Don Pinto so entirely 
 absorbs himself in satisfying his hunger and 
 thirst that at last the wine gets the better of 
 him. He falls asleep, and Gaston, thinking it 
 an injury to a noble lady to be wooed by such a 
 clown, takes away old Fonseca's letter and de- 
 parts with Ambrosio. Don Pinto is carried into 
 the house on a grass-covered litter. 
 
 In the second act Don Pantaleone's servants 
 are assembled in the ancestral hall, where their 
 master announces to them the approaching ar- 
 rival of Don Pinto, his daughter's future bride- 
 groom. Donna Clarissa, who already loves Don 
 Gomez Freiros, a knight of wealth, noble birth 
 and bearing, is in despair, as is also her lover, 
 but Laura, her pretty maid, promises to find 
 ways and means to avert the dreaded marriage. 
 
 In the third act Laura and the servants are 
 decorating the hall with flowers. The major- 
 domo sends them away, proclaiming Don Pinto's 
 arrival. All go except Laura, who hides behind 
 a bosquet. Gaston, entering with Ambrosio, 
 sees all those preparations with wonder. Am- 
 brosio detects Laura and, according to his wont, 
 begins to court her. Gaston warns the damsel, 
 and she, entering into the joke, mockingly 
 quits them. Gay Ambrosio is consoling him- 
 
 34^
 
 The Three Pintos 
 
 self in a charming song of which the burden is 
 girls' fickleness, when Don Gomez enters and 
 touches Gaston's kind heart by the description 
 of his love for Clarissa. Gaston tenders him 
 Fonseca's letter, counselling Gomez to play the 
 part of Don Pinto, for Don Pantaleone has 
 never seen either of them. Gomez accepts the 
 letter gratefully from the supposed Don Pinto, 
 and presents it to Don Pantaleone, who has 
 entered with his daughter and his whole suite. 
 Of course the father, struck by the knight's 
 noble bearing, gives his consent to the union 
 with his daughter and adds his benedictions. 
 But their joy is disturbed by the entrance of 
 the real Don Pinto, who at once begins woo- 
 ing in the manner he has practised with Don 
 Gaston. 
 
 The ridiculous fellow is thought mad and is 
 about to be turned out, when, catching sight of 
 Gaston, he loudly accuses him of treachery. 
 Gaston, however, draws his sword and menaces 
 Don Pinto, upon which the poor swain cries for 
 mercv, and is thereafter removed from the hall 
 amidst the laughter of the whole chorus. 
 
 Imagine the assistants' astonishment when 
 Gaston declares that they have turned out the 
 true Don Pinto. Gomez, believing himself be- 
 trayed, challenges Gaston, and the father rages 
 against the two pretenders. But Clarissa pleads, 
 and Gaston quietly shows to Don Pantaleone 
 
 347
 
 The Standard Operaglass 
 
 the contrast between the two suitors, while 
 Gomez is obliged to acknowledge gratefully 
 that he owes his lovely bride solely to Don Gas- 
 ton's joke. So the lovers are united. 
 
 THE PIPEK OF HAMELK 
 
 Opera in five acts by VICTOR NESSLER 
 
 Text by FR. HOFMANN from JULIUS WOLFF'S legend of the 
 
 same name 
 
 Without any preliminary introduction to the 
 musical world, Xessler wrote this opera and at 
 once became not only known, but a universal 
 favorite; so much so that there is scarcely a 
 theatre in Germany in which this work of his 
 is not now given. 
 
 The subject of the libretto is a most favorable 
 one, like that of Nessler's later composition, 
 " The Trumpeter of Saekkingen," the princi- 
 pal personage, Singuf, being particularly well 
 suited for a first-rate stage hero. 
 
 Then Wolff's poetical songs are music in 
 themselves, and it was therefore not difficult 
 to work out interesting melodies, of which, as a 
 matter of fact, we find many in this opera. 
 
 The scene of the following events is the old 
 town of Hameln on the Weser in the year 1284. 
 The citizens are assembled in council as to 
 
 348
 
 The Piper of Hamelh 
 
 how the rat-plague of the town is to be got 
 rid of. No one is able to suggest a remedy, 
 when suddenly the clerk of the senate, Ethel- 
 erus, announces a stranger, who offers to destroy 
 all the rats and mice in the place, solely by the 
 might of his pipe. Hunold Singuf, a wander- 
 ing Bohemian, enters and repeats his offer, ask- 
 ing one hundred marks in silver as his reward, 
 and forbidding anybody to listen or to be pres- 
 ent while he works his charm. 
 
 The senators comply with his request, prom- 
 ising him in addition a drink from the town- 
 cellar when the last rat shall have disappeared, 
 which is to be when the moon is full. 
 
 In the following scene the Burgomaster's 
 daughter, Regina, is with her old cousin, Doro- 
 thea. She expects her bridegroom, the archi- 
 tect of the town and son of the chief magistrate, 
 Heribert Sunneborn, who has just returned 
 home from a long stay abroad. While the 
 lovers greet each other, Ethelerus, who has 
 wooed Regina in vain, stands aside greatly mor- 
 tified. 
 
 The second act opens in an inn, where Hunold 
 makes the people dance and sing to his won- 
 derful melodies. There he first sees the maid 
 who has appeared to him in his dreams. She 
 is Gertrud, a fishermaiden, and " to look is 
 to love " — they are attracted to each other as 
 by a magic spell. Wulf, the smith, who loves 
 
 349
 
 The Standard Operaglass 
 
 Gertrud, sees it with distrust, but Hunold be- 
 gins to sing his finest songs. In the evening 
 the lovers meet before Gertrud's hut, and, full 
 of anxious forebodings, she tries to turn him 
 from his designs, and is only half quieted when 
 he assures her that no fiendish craft is at work, 
 and that he will do it for the last time. 
 
 In the third act Ethelerus holds council with 
 magister Ehynperg as to the means by which 
 they can best succeed in teasing and provoking 
 the proud Sunneborn. Hunold enters and, 
 agreeable to an invitation of theirs, sits down 
 to drink a bottle of wine. They make him 
 drink and sing a good deal, and he boasts of 
 being able to make the maidens all fall in love 
 with him, if he chooses. Rhynperg suggests 
 that he must omit the Burgomaster's daughter, 
 Eegina, and he succeeds in making Hunold 
 accept a wager that he will obtain a kiss from 
 her before his departure. 
 
 The following night Hunold accomplishes 
 the exorcism of the rats, which may be seen 
 running toward him from every part of the 
 town and precipitating themselves into the 
 river. Unhappily, Wulf, standing in a recess, 
 has seen and heard all and, coming forward to 
 threaten Hunold, the latter hurls his dagger 
 after him, upon which Wulf takes flight. 
 
 In the fourth act the whole town is assembled 
 to rejoice in its deliverance from the awful 
 
 350
 
 The Piper of Hameln 
 
 plague, but when Hunold asks for his reward 
 the Burgomaster tells him that a so-called rat- 
 king, a beast with five heads, has been seen in 
 his (the Burgomaster's) cellar, to which com- 
 plaint Hunold replies that it is the smith's 
 fault, who listened against his express pro- 
 hibition. He promises to destroy the rat-king 
 on the same day, and once more claims his due, 
 together with the promised parting gift, which 
 he begs to be, not a drink of wine, but a kiss 
 from Regina's lips. Of course everybody is 
 astounded at his insolence, and the angry Bur- 
 gomaster bids him leave the town at once, with- 
 out his money. But Hunold, nothing daunted, 
 begins to sing so beautifully that the hearts of 
 all the women yearn toward him; he contiuues 
 still more passionately, addressing himself 
 directly to Regina, and never stops till the 
 maiden, carried away by a passion unconquer- 
 able, offers her lips for a kiss, swearing to be 
 his own forever. A great tumult arises and 
 Hunold is taken to prison, notwithstanding the 
 remonstrances of Ethelerus, who bitterly re- 
 pents having had anything to do with Rhyn- 
 perg's bad joke. 
 
 The fifth act takes us to the banks of the 
 Weser, where Gertrud sits in despair. She 
 deems herself betrayed by Hunold, but resolves, 
 nevertheless, to save his life. 
 
 Hunold is brought before the judges and con- 
 
 35i
 
 The Standard Operaglass 
 
 demned to be burnt alive as a sorcerer, when 
 Gertrud steps forth, claiming his life. In pur- 
 suance of an old privilege, Hunold is free when 
 a maid of the town claims him, but he is ban- 
 ished from the country and Gertrud with him. 
 
 Hunold promises never to return, but Gertrud 
 throws herself iuto the river. 
 
 Then Hunold swears to avenge the death of 
 his bride. While the citizens are in church he 
 lures away their children by playing on his pipe; 
 all follow him, both great and small. When he 
 has led them safely over the bridge, he calls the 
 people from church. All gather on the banks 
 of the stream, but they are only just in time to 
 see the bridge fall into the river, while the moun- 
 tain opposite opens, swallowing up Hunold and 
 the children for ever. 
 
 THE POACHEE 
 
 OK 
 
 "THE YOICE OF NATURE" 
 
 by LORTZING 
 Text after a comedy by KOTZEBUE 
 
 The music of this opera is so fresh, so full of 
 gayety and of charming melodies, that it might 
 be compared with Lortzing's "Czar and Zim- 
 
 352
 
 The Poacher 
 
 raermann," if only the text were as well done. 
 Unhappily, it lacks all the advantages which 
 characterize the opera just named, as it is frivo- 
 lous, without possessing the grace and " esprit " 
 which distinguish French composition of a sim- 
 ilar kind. 
 
 Nevertheless the good music prevails over the 
 bad text, and the opera holds its own with suc- 
 cess in every German theatre. 
 
 The contents of the libretto are as follows: 
 A schoolmaster, Bacillus by name, has had 
 the misfortune unintentionally to shoot a roe- 
 buck belonging to the forest of his master, 
 Count of Eberbach. Bacillus, who is on the 
 eve of his wedding with a young girl named 
 Gretchen, is much afraid when the consequences 
 of his unlucky shot show themselves in the 
 shape of a summons to the castle, where he is 
 looked on as a poacher, and is in danger of los- 
 ing his position. His bride offers to entreat the 
 Count to pardon him, but the jealous old school- 
 master will not allow it. In this embarrassing 
 position the Baroness Freimann, a young wid- 
 ow, appears, disguised in the suit of a student, 
 and accompanied by her chambermaid ITanette, 
 who is dressed as her famulus or valet. Hear- 
 ing of the schoolmaster's misfortune, she pro- 
 poses to put on Gretchen's clothes and to crave 
 the Count's pardon under the bride's name. 
 Baculus gladly accepts the student's proposal 
 33 353
 
 The Standard Operaglass 
 
 and accompanies him to the castle. Everybody 
 is charmed by the graces and naivete of the 
 country girl. The Count tries to make love to 
 her, while Baron Kronthal, who is present, is 
 so much enamored that he thinks of marrying 
 her despite her low birth. Kronthal is the 
 Countess of Eberbach's brother, but she does 
 not know him as such, though she feels herself 
 greatly attracted by him. In order to save the 
 girl from persecution the Countess takes her 
 with her into her room. Meanwhile the Count 
 offers the sum of 5,000 thalers to Baculus for 
 the renunciation of his bride. The silly school- 
 master accepts the offer, thinking that the 
 Count wishes to win the real Gretchen. By 
 waking the latter' s vanity he succeeds in turn- 
 ing her affection to the Count, but great is his 
 perplexity when the Count rejects his bride and 
 scornfully asks for the other Gretchen. Ba- 
 culus avows at last that the latter is a disguised 
 student. Baron Kronthal, full of wrath, asks 
 for satisfaction, the student having passed the 
 night in his sister's room. On this occasion 
 the others for the first time hear that the Count- 
 ess is the Baron's sister. He demands an ex- 
 planation, and then it is discovered that the 
 student is the Baroness Freimann, sister of the 
 Count of Eberbach. Everybody is content, for 
 the Count, who was detected in the act of kiss- 
 ing the country girl, declares that with him it 
 
 354
 
 The Postilion of Longjumeau 
 
 was the voice of nature that spoke, and the 
 Countess, to whom he now presents Kronthal 
 as her brother, makes a like statement. The 
 unhappy Bacillus receives full pardon from the 
 Count, on condition that he will henceforth 
 teach the children of the village instead of 
 shooting game. 
 
 THE POSTILION OF LONGJUMEAU 
 
 Comic Opera in three acts by ADOLPHE ADAM 
 Text by LEUVEN and BRUNSWICK 
 
 This charming little opera is well worthy of 
 being named among the best of its kind, both 
 on account of its delightful music and because 
 the text is so entertaining and funny as entirely 
 to captivate the hearer's interest. 
 
 The whole opera is essentially French in the 
 best sense of the word, and we scarce can find a 
 more graceful and witty composition. Its sub- 
 ject, written originally in good French verse, is 
 as follows: 
 
 Chapelou, stage-driver at Longjumeau, is 
 about to celebrate his marriage with the young 
 hostess of the post-house, Madeleine. The wed- 
 ding has taken place, and the young bride is led 
 away by her friends, according to au old cus- 
 tom, while her bridegroom is held back by his 
 
 • 355
 
 The Standard Operaglass 
 
 comrades, who compel him to sing. He begins 
 the romance of a young postilion who had the 
 luck to be carried away by a Princess, having 
 touched her heart by his beautiful playing on 
 the cornet. Chapelou has such a fine voice that 
 the Superintendent of the Grand Opera at 
 Paris, the Marquis de Corey, who hears him, is 
 enchanted, and, being in search of a good tenor, 
 succeeds in winning over Chapelou, who con- 
 sents to leave his young Avife in order to follow 
 the Marquis's call to glory and fortune. He 
 begs his friend Bijou, a smith, to console Made- 
 leine, by telling her that he will soon return to 
 her. "While Madeleine calls for him in ten- 
 derest accents, he drives away with his protect- 
 ors, and Bijou delivers his message, determined 
 to try his fortune in a similar way. The. des- 
 perate Madeleine resolves to fly from the un- 
 happy spot where everything recalls to her her 
 faithless husband. 
 
 In the second act we find Madeleine under 
 the assumed name of Madame de Latour. She 
 has inherited a fortune from an old aunt, and 
 makes her appearance in Paris as a rich and 
 noble lady, with the intention of punishing her 
 husband, whom she, however, still loves. Dur- 
 ing the six years that have passed since their 
 wedding day Chapelou has won his laurels un- 
 der the name of St. Phar, and is now the first 
 tenor of the Grand Opera and everybody's 
 
 356 .
 
 The Postilion of Longjumeau 
 
 spoiled favorite. Bijou is with him as leader of 
 the chorus, and is called Alcindor. We pres- 
 ently witness a comical rehearsal in which the 
 principal singers are determined to do as badly 
 as possible. They all seem hoarse, and, instead 
 of singing, produce the most lamentable sounds. 
 The Marquis de Corey is desperate, having 
 promised this representation to Mme. Latour, 
 at whose country seat near Fontainebleau he is 
 at present staying. As soon as St. Phar hears 
 the name of this lady, his hoarseness is gone, 
 and all sing their best. We gather from this 
 scene that Mme. Latour has succeeded in en- 
 thralling St. Phar; he has an interview with 
 her, and, won by his protestations of love, she 
 consents to marry him. 
 
 St. Phar, not wishiug to commit bigamy, begs 
 his friend Bijou to perform the marriage cere- 
 mony in a priest's garb; but Mme. Latour locks 
 him in her room, along with Bourdon, the 
 second leader of the chorus, while a real priest 
 unites the pair for the second time. 
 
 St. Phar enters the room in high spirits, when 
 his companions, beside themselves with fear, tell 
 him that he has committed bigamy. While 
 they are in mortal terror of being hanged, Mme. 
 Latour enters in her former shape as Madeleine, 
 aud, blowing out the candle, torments St. Phar, 
 assuming now the voice of Mme. Latour, now 
 that of Madeleine. After having sent her 
 
 357
 
 The Standard Operaglass 
 
 fickle husband, into an abyss of unhappiness 
 and fear, the Marquis de Corey, who had him- 
 self hoped to wed the charming widow, appears 
 with the police to imprison the luckless St. 
 Phar. who already considers himself as good as 
 hanged, and in imagination sees his first wife, 
 Madeleine, rejoicing over his punishment. But 
 he has been made to suffer enough, and at the 
 last moment Madeleine explains everything, 
 and Chapelou obtains her pardon. 
 
 PEECIOSA 
 
 A Drama in four acts by ALEXANDER WOLFF 
 Musical accompaniment by CHARLES MARIA VON WEBER 
 
 Though Preciosa is not an opera, we may feel 
 justified in admitting it into our collection, as 
 the music which "Weber wrote to it has alone 
 given celebrity to Wolff's drama, which would 
 otherwise have long been forgotten. 
 
 This musical composition is justly called one 
 of the German nation's jewels, and it shows all 
 the best qualities of Weber's rich music. It 
 was written after the " Freisclmtz," and done in 
 the incredibly short space of nine days, and 
 owed its success principally to the really national 
 coloring of melody, which has made some of its 
 songs so popular. 
 
 358
 
 Preciosa 
 
 The libretto is well done, the subject both 
 attracting and interesting the hearer. The 
 scene is laid in Spain. The first act introduces 
 us to Madrid and takes us into the house of a 
 noble Spaniard, named Don Fraucesco de Car- 
 cano. His son, Don Alonzo, has fallen vio- 
 lently in love with a Bohemian girl, called 
 Preciosa, whose beaut}', virtue, and charms are 
 on everybody's lips. The father, wishing to 
 know her, calls her before him, and she comes 
 with her people, enchanting the old nobleman 
 as well as his son by her noble bearing and her 
 exquisite songs. 
 
 The second act represents a forest with the 
 gipsies' camp. Alonzo, who has told his father 
 that he followed the army, but has in reality 
 been seeking Preciosa, at length finds her out 
 and tries to win her. But though she returns 
 his love, she is yet unwilling to follow him, and 
 he resolves to link his fate with that of the 
 Bohemians, in order to prove to Preciosa that 
 his love is real and true. Dressed as a common 
 hunter, he follows his new friend, and the 
 gipsies, who are all governed by Preciosa's will, 
 swear never to betray him. 
 
 The third act introduces us into the castle of 
 Don Azevedo in Valencia, a friend of Don 
 Francesco's. The former is about to celebrate 
 his silver wedding. Eugenio, his son, hearing 
 that Preciosa is in the neighborhood, resolves 
 
 359
 
 The Standard Operaglass 
 
 to win her for his father's festival, having heard 
 of the latter's delight at seeing the gipsy girl in 
 his friend's house at Madrid. Engenio rouses 
 the jealousy of Alonzo, who begins a quarrel 
 which ends by Alonzo's being sent to prison. 
 
 The chief of the Bohemians and old mother 
 Viarda, wlio see too late that they have come 
 into dangerous grounds, break up their camp, 
 but Preciosa, anxious about her lover, takes 
 flight. 
 
 She is caught by the chief, but, seizing 
 Alonzo's gun, which was left lying under a tree, 
 •and threatening to fire if he does not obey her, 
 she forces him to follow her into the castle. 
 
 The last act takes place in Azevedo's castle, 
 where his wife, Donna Clara, touched by Pre- 
 ciosa's loveliness, is willing to assist her in lib- 
 erating her lover. Meanwhile mother Viarda 
 comes with the other gipsies to betray Alonzo's 
 secret, asking one thousand scudi and her chief's 
 liberty. At this moment the youth's father, 
 Don Francesco, comes to offer his congratula- 
 tions at the silver wedding of his friend. He 
 finds his son, whom he pardons, Preciosa hav- 
 ing for his sake agreed to renounce her bride- 
 groom. AVhilo bidding her hosts a sad farewell, 
 Preciosa is so overcome by her feelings that 
 Donna Clara entreats her husband to buy the 
 girl, whom she believes to be a stolen child. 
 Don Fernando explains to the Bohemians that 
 
 360
 
 Le Prophete 
 
 he has the right to liberate Preciosa, who has 
 been taken in his grounds, if they should be 
 unable to prove her gipsy descent. Old Viarda, 
 finding that her schemes have fallen through, 
 shows by a mark on Preciosa's shoulder that 
 the girl is Donna Clara's own daughter, who 
 was stolen many years before and was believed by 
 her desolate parents to be drowned. In con- 
 sideration of Preciosa's entreaties, the gipsies 
 are pardoned and only ordered to leave the 
 country forever. Preciosa is, of course, united 
 to her faithful lover, Alonzo. 
 
 LE PEOPH^TE 
 Opera in five acts by GIACOMO MEYERBEER 
 
 Text by SCRIBE 
 
 Though Meyerbeer never again attained the 
 high standard of his "Huguenots," the "Proph- 
 et " is not without both striking and powerful 
 passages; it is even said that motherly love never 
 spoke in accents more touching than in this 
 opera. The text is again historical, but though 
 done by Scribe it is astonishingly weak and un- 
 interesting. 
 
 The scene is laid in Holland at the time of 
 the wars with the Anabaptists. 
 
 Fides, mother of the hero, John von Leyden, 
 keeps an inn near Dordtrecht. She has just 
 
 361
 
 The Standard Operaglass 
 
 betrothed a young peasant girl to her son, but 
 Bertha is a vassal of the Count of Oberthal and 
 dares not marry without his permission. 
 
 As they set about getting his consent to the 
 marriage, three Anabaptists, Jonas, Mathisen, 
 and Zacharias, appear, exciting the people with 
 their speeches and false promises. While they 
 are preaching, Oberthal enters; but, smitten 
 with Bertha's charms, he refuses his consent to 
 her marriage and carries her off, with Fides as 
 companion. 
 
 In the second act we find John waiting for 
 his bride; as she delays, the Anabaptists try to 
 win him for their cause; they prophesy him a 
 crown, but as yet he is not ambitious, and life 
 with Bertha looks sweeter to him than the great- 
 est honors. As night comes on, Bertha rushes 
 in to seek refuge from her pursuer, from whom 
 she has fled. Hardly has she hidden herself, 
 when Oberthal enters to claim her. John re- 
 fuses his assistance; but when Oberthal threat- 
 ens to kill his mother, he gives up Bertha to 
 the Count, while his mother, whose .life he has 
 saved at such a. price, asks God's benediction on 
 his head. Then she retires for the night, and 
 the Anabaptists appear once more, again trying 
 to win John over. This time they succeed. 
 Without a farewell to his sleeping mother, John 
 follows the Anabaptists, to be henceforth their 
 leader, their Prophet, their Messiah. 
 
 362
 
 Le Prophete 
 
 In the third act we see the Anabaptists' camp. 
 Their soldiers have captured a party of noble- 
 men, who are to pay ransom. They all make 
 merry, and the famous ballet on the ice forms 
 part of the amusement. In the background 
 we see Miinster, which town is in the hands of 
 Count Oberthal's father, who refuses to sur- 
 render it to the enemy. They resolve to storm 
 it, a resolution which is heard by young Ober- 
 thal, who has come disguised to the Anabaptists' 
 camp in order to save his father and the town. 
 
 But as a light is struck he is recognized and 
 is about to be killed, when John hears from 
 him that Bertha has escaped. She sprang out 
 of the window to save her honor, and, falling 
 into the stream, was saved. When John learns 
 this he bids the soldiers spare Oberthal's life, 
 that he may be judged by Bertha herself. 
 
 John has already endured great pangs of con- 
 science at seeing his party so wild and blood- 
 thirsty. He refuses to go further, but hearing 
 that an army of soldiers has broken out of 
 Miinster. to destroy the Anabaptists, he rallies. 
 Praying fervently to God for help and victory, 
 inspiration comes over him and is communi- 
 cated to all his adherents, so that they resolve 
 to storm Miinster. They succeed; and in the 
 fourth act we are in the midst of this town, 
 where we find Fides, who, knowing that her 
 son has turned Anabaptist, though not aware 
 
 363
 
 The Standard Operaglass 
 
 of bis being tbeir Prophet, is receiving alms to 
 save his soul by masses. She meets Bertha, 
 disguised in a pilgrim's garb. Both vehemently 
 curse the Prophet, when this latter appears, to 
 be crowned in state. 
 
 His mother recognizes him, but he disowns 
 her, declaring her mad, and by strength of will 
 be compels the poor mother to renounce him. 
 Fides, in order to save his life, avows that she 
 was mistaken, and she is led to prison. 
 
 In the last act we find the three Anabaptists, 
 Mathisen, Jonas, and Zacharias, together. The 
 Emperor is near the gates of Miinster, and they 
 resolve to deliver their Prophet into his hands 
 in order to save their lives. 
 
 Fides has been brought into a dungeon, where 
 John visits her to ask her pardon and to save 
 her. She curses him, but his repentance moves 
 her so that she pardons him when he promises 
 to leave his party. At this moment Bertha en- 
 ters. She has sworn to kill the false Prophet, 
 and she comes to the dungeon to set fire to the 
 gunpowder hidden beneath it. Fides detains 
 her, but when she recognizes that her bride- 
 groom and the Prophet are one and the same 
 person she wildly denounces him for his bloody 
 deeds, and stabs herself in his presence. Then 
 John decides to die also, and after the soldiers 
 have led his mother away he himself sets fire 
 to the vault. 
 
 364
 
 The Queen of Sheba 
 
 Then he appears at the coronation banquet, 
 where he knows that he is to be taken prisoner. 
 When Oberthal, the Bishop and all his treacher- 
 ous friends are assembled, he bids two of his 
 faithful soldiers close the gates and fly. This 
 done, the castle is blown into the air, with all its 
 inhabitants. At the last moment Fides rushes 
 in to share her son's fate, and all are thus buried 
 under the ruins. 
 
 THE QUEEN OF SHEBA 
 (DIE KONIGIN VON SABA) 
 
 Grand Opera in four acts by CHARLES GOLDMARK 
 Text by MOSENTHAL 
 
 Charles Goldmark was born in Hungary in 
 1852. He received his musical education in 
 Vienna. 
 
 The well-known name of Mosenthal is in it- 
 self a warrant that the libretto is excellently 
 suited to the music. The opera is considered 
 one of the best and finest of our modern com- 
 positions. 
 
 It is noble, original, and full of brilliant or- 
 chestral effects, which, united to a grand, not 
 to say gorgeous, mise en scdne, captivate our 
 Benses. 
 
 365
 
 The Standard Operaglass 
 
 The incidents are these : 
 
 A magnificent wedding is to be celebrated in 
 King Solomon's palace at Jerusalem. The 
 High-priest's daughter, Sulamith, is to marry 
 Assad, King Solomon's favorite. But the lover, 
 who has, in a foreign country, seen a most beau- 
 tiful and haughty woman bathing in a forest 
 well, is now in love with the stranger and has 
 forgotten his destined bride. 
 
 Returning home, Assad confesses his error to 
 the wise King, and Solomon bids him wed Sula- 
 mith and forget the heathen. Assad gives his 
 promise, praying to God to restore peace to his 
 breast. 
 
 Then enters the Queen of Sheba in all her 
 glory, followed by a procession of slaves and 
 suitors. Nest to her litter walks her principal 
 slave, Astaroth. 
 
 The Queen comes to offer her homage to the 
 great Solomon, with all the gifts of her rich 
 kingdom. 
 
 She is veiled, and nobody has seen her yet, as 
 only before the King will she unveil herself. 
 
 When she draws back the veil, shining in all 
 her perfect beauty, Assad starts forward; he 
 recognizes her; she is his nymph of the forest. 
 But the proud Queen seems to know him not; 
 she ignores him altogether. Solomon and Sula- 
 mith try to reassure themselves to console 
 Assad, and the Queen hears Solomon's words: 
 
 366
 
 The Queen of Sheba 
 
 " To-morrow shall find you united to your 
 bride! " She starts and casts a passionate look 
 on the unfortunate Assad. 
 
 The Queen is full of raging jealousy of the 
 young bride. But though she claims Assad's 
 love for herself, she is yet too p.*oud to resign 
 her crown, and so, hesitating between love and 
 pride, she swears vengeance on her rival. Un- 
 der the shade of night her slave-woman, Asta- 
 roth, allures Assad to the fountain, where he 
 finds the Queen, who employs all her arts again 
 to captivate him, succeeding, alas! only too well. 
 
 Morning dawns, and with it the day of Assad's 
 marriage with Sulamith. Solomon and the 
 High-priest conduct the youth to the altar; but 
 just as he is taking the ring, offered to him by 
 the bride's father, the Queen of Sheba appears, 
 bringing as a wedding gift a golden cup filled 
 with pearls. 
 
 Assad, again overcome by the Queen's daz- 
 zling beauty, throws the ring away and precipi- 
 tates himself at her feet. The Levites detain 
 him, but Solomon, guessing at the truth, im- 
 plores the Queen to speak. Assad invokes all 
 the sweet memories of their past; the Queen 
 hesitates, but her pride conquers. For the sec- 
 ond time she disowns him. Now everybody be- 
 lieves Assad possessed by an evil spirit, and the 
 priests at once begin to exorcise it; it is all but 
 done, when one word of the Queen's, who 
 
 367
 
 The Standard Operaglass 
 
 sweetly calls him "Assad," spoils everything. 
 He is in her power : falling on his knees before 
 her, he prays to her as to his goddess. Wrath- 
 ful at this blasphemy in the temple, the priests 
 demand his death. 
 
 Assad asks no better, Sulamith despairs, and 
 the Queen repents having gone so far. In the 
 great tumult Solomon alone is unmoved. He 
 detains the priests with dignity, for he alone 
 will judge Assad. 
 
 There now follows a charming ballet, given in 
 honor of the Queen of Sheba. At the end of 
 the meal, the Queen demands Assad's pardon 
 from Solomon. He refuses her request. She 
 now tries to ensnare the King with her charms 
 as she did Assad, but in vain. Solomon sees 
 her in her true light and treats her with cold 
 politeness. Almost beside herself with rage, 
 the Queen threatens to take vengeance on the 
 King and to free Assad at any risk. 
 
 Solomon, well understanding the vile tricks 
 of the eastern Queen, has changed the verdict 
 of death into that of exile. Sulamith, faithful 
 and gentle, entreats for her lover, and has only 
 one wish : to sweeten life to her Assad, or to 
 die with him. 
 
 We find Assad in the desert. He is broken 
 down and deeply repents his folly, when, lo! the 
 Queen appears once more, hoping to lure him 
 with soft words and tears. But this time her 
 
 368
 
 The Nibelungen Ring 
 
 beauty is lost upon him; he has at last recog- 
 nized her false soul; with noble pride he scorns 
 her, preferring to expiate his follies by dying 
 in the desert. He curses her, praying to God 
 to save him from the temptress. Henceforth 
 he thinks only of Sulamith, and invokes Heav- 
 en's benediction on her. He is dying in the 
 dreadful heat of the desert, when Sulamith ap- 
 pears, the faithful one who, without resting, has 
 sought her bridegroom till now. But alas! in 
 vain she kneels beside him, couching his head 
 on her bosom; his life is fast ebbing away. 
 Heaven has granted his last wish; he sees Sula- 
 mith before his death, and with the sigh " Lib- 
 eration! " he sinks back and expires. 
 
 THE NIBELUNGEN KING 
 
 A Festival Play in three days and a fore-evening by 
 
 RICHARD WAGNER 
 
 THE RHINEGOLD 
 
 This grand dramatic work, which cannot any 
 longer with justice be called an opera, differing 
 as it does so considerably from the ordinary 
 style of operas, is the result of many years of 
 study and hard work. 
 
 Wagner took the subject from the German 
 24 369
 
 The Standard Operaglass 
 
 mythology, the oldest representative of which is 
 found in the Edda. 
 
 We have first to do with the fore-evening, 
 called the "Khinegold." 
 
 The first scene is laid in the very depths of 
 the Ehine, where we see three nymphs frolick- 
 ing in the water. They are the guardians of 
 the Rhinegold, which glimmers on a rock. 
 
 Alberich, a Nibelung, highly charmed by 
 their grace and beauty, tries to make love to 
 each one of them alternately. As he is an ugly 
 dwarf, they at first allure and then deride him, 
 gliding away as soon as he comes near, and 
 laughing at him. Discovering their mockery 
 at last, he swears vengeance. He sees the 
 Ehinegold shining brightly, and asks the 
 nymphs what it means. They tell him of its 
 wonderful qualities, which would render the 
 owner all-powerful if he should form it into a 
 ring and forswear love. 
 
 Alberich, listening attentively, all at once 
 climbs the rock, and, before the frightened 
 nymphs can cry for help, has grasped the 
 treasure and disappeared. Darkness comes on; 
 the scene changes into an open district on 
 mountain heights. In the background we see 
 a grand castle, which the rising sun illumines. 
 Wotan, the father of the gods, and Fricka, his 
 wife, are slumbering on the ground. Awaken- 
 ing, their eyes fall on the castle for the first 
 
 37o
 
 The Nibelungen Ring 
 
 time. It is the "Walhalla," the palace which 
 the giants have built for them at Wotan's bid- 
 ding. As a reward for their services they are 
 to obtain Freia, the goddess of youth; but 
 already Wotan repents of his promise and forms 
 plans with his wife to save her lovely sister. 
 The giants Fafner and Fasold enter to claim 
 their reward. While they negotiate, Loge, the 
 god of fire, comes up, relates the history of 
 Alberich's theft of the Ehinegold, and tells 
 Wotan of the gold's power. Wotan decides to 
 rob the dwarf, promising the treasure to the 
 giants, who consent to accept it in Freia's 
 stead. But they distrust the gods and take 
 Freia with them as a pledge. As soon as she 
 disappears, the beautiful gods seem old and 
 gray and wrinkled, for the golden apples to 
 which Freia attends, and of which the gods par- 
 take daily to be forever youthful, wither as 
 soon as she is gone. Then Wotan, without any 
 further delay, starts for Nibelheim with Loge, 
 justifying his intention by saying that the gold 
 is stolen property. They disappear in a cleft, 
 and we find ourselves in a subterranean cavern, 
 the abode of the Nibelungs. 
 
 Alberich has forced his brother Mime to forge 
 a " Tarnhelm " for him, which renders its 
 wearer invisible. Mime vainly tries to keep it 
 for himself; Alberich, the possessor of the all- 
 powerful ring, which he himself formed, takes 
 
 37i
 
 The Standard Operaglass 
 
 it by force and, making himself invisible strikes 
 Mime with a whip, until the latter is half dead. 
 
 Wotan and Loge, hearing his complaints, 
 promise to help him. Alberich, coming forth 
 again, is greatly flattered by Wotan and dexter- 
 ously led on to show his might. He first 
 changes himself into an enormous snake and 
 then into a toad. Wotan quickly puts his foot 
 on it, while Loge seizes the Tarnhelm. Al- 
 berich, becoming suddenly visible in his real 
 shape, is bound and led away captive. The 
 gods return to the mountain heights of the 
 second scene, where Alberich is compelled to 
 part with all his treasures, which are brought 
 by the dwarfs. He is even obliged to leave the 
 ring, which Wotan intends to keep for himself. 
 With a dreadful curse upon the possessor of the 
 ring, Alberich flies. 
 
 When the giants reappear with Freia, the 
 treasures are heaped before her; they are to 
 cover her entirely, so it is decided, and not be- 
 fore will she be free. When all the gold has 
 been piled up, and even the Tarnhelm thrown 
 on the hoard, Fasold still sees Freia's eye shine 
 through it, and at last Wotan, who is most un- 
 willing to part with the ring, is induced to do 
 so by Erda, goddess of the earth, who appears 
 to him and warns him. Now the pledge is 
 kept and Freia is released. The giants quarrel 
 over the possession of the ring, and Fafner kills 
 
 372
 
 Rienzi, the Last of the Tribunes 
 
 Fasold, thereby fulfilling Alberich's curse. 
 With lightened hearts the gods cross the rain- 
 bow bridge and enter Walhalla, while the songs 
 and wailings of the Rhine nymphs are heard, 
 imploring the restitution of their lost treasure. 
 
 RIENZI, THE LAST OF THE 
 TRIBUKES 
 
 Grand tragic Opera in five acts by 
 RICHARD WAGNER 
 
 In this first opera of Wagner's one hardly 
 recognizes the great master of later times. 
 Though Wagner himself disowned this early 
 child of his muse, there is a grand energy in it, 
 which preserves it from triviality. The or- 
 chestration is brilliant, and here and there one 
 may find traces of the peculiar power which 
 led up to the greatness of after years, and which 
 sometimes make one think of " Tannhauser." 
 
 The libretto, taken by Wagner from Bulwer's 
 novel, is attractive and powerful. 
 
 The hero, a pontifical notary, is a man of 
 lofty ambition, dreaming in the midst of the 
 depravity of the fourteenth century of reerect- 
 ing the old Roma, and making her once more the 
 Sovereign of the world. He receives help and 
 encouragement from the Church ; Cardinal Rai- 
 
 373
 
 The Standard Operagl'ass 
 
 mondo even bids him try all means in order to 
 attain his end. The clergy as well as the peo- 
 ple are oppressed by the mighty and insolent 
 nobles. 
 
 In the first scene we witness an act of bru- 
 tality directed against Eienzi's sister, Irene, 
 who is, however, liberated by Adriano, son of the 
 noble Colon na. A Colonna it was who mur- 
 dered Rienzi's little brother in sheer wanton- 
 ness. Rienzi has sworn vengeance, but, seeing 
 Adriano good and brave and in love with his 
 sister, he wins him to his cause. 
 
 The nobles having left Rome to fight out a 
 quarrel which had been started among them, 
 are forbidden to reenter the town. Rienzi 
 calls the people to arms and is victorious. The 
 strongholds of the nobles are burned, and they 
 are only admitted into Rome on promising 
 submission to the new laws, made and repre- 
 sented by Rienzi, who has been created Tribune 
 of Rome. 
 
 The hostile parties of Colonna and Orsini 
 then join to destroy the hated, plebeian. In the 
 midst of the festivity in the Capitol, Orsini 
 makes an attempt to murder Rienzi, but the 
 latter wears a shirt of mail under his garments, 
 and, besides, he is warned by Adriano, who 
 has overheard the conspiracy. The whole plot 
 fails, and the nobles who have taken part in it 
 are unanimously condemned to death. But 
 
 374
 
 Rienzi, the Last of the Tribunes 
 
 Adriano, full of remorse on account of his treason 
 against his own father, implores Eienzi to save 
 their lives, and as Irene joins her prayers to 
 those of her lover, the culprits are pardoned 
 and obliged to renew their oath of fidelity. 
 From this time on Rienzi's star begins to pale. 
 The nobles do not adhere to their oath; in the 
 third act they again give battle, and though 
 Rienzi is again victorious, it is only at the cost 
 of severe sacrifices. The nobles are slain, and 
 now Adriano, who had in vain begged for 
 peace, turns against Rienzi. 
 
 In the fourth act Adriano denounces him as 
 a traitor; the people, easily misled, begin to 
 mistrust him, and when even the Church, 
 which has assisted him up to this time, anathe- 
 matizes him on account of his last bloody deed, 
 all desert him. Irene alone clings to her 
 brother, and repulses her lover scornfully when 
 he tries to take her from Rienzi's side. Both 
 brother and sister retire into the Capitol, where 
 Adriano once more vainly implores Irene to fly 
 with him. For the last time Rienzi attempts 
 to reassert his power, but his words are drowned 
 in the general uproar. They are greeted by a 
 hail of stones, the Capitol is set on fire, and 
 they perish like heroes in the flames, through 
 which Adriano makes his way at the last mo- 
 ment, and thus finds a common grave with his 
 bride and her brother, the last of the Tribunes. 
 
 375
 
 The Standard Operaglass 
 EIGOLETTO 
 
 Opera in three acts by VERDI 
 Text by PIAVE from VICTOR HUGO'S drama : " Le roi s'amuse " 
 
 No opera has become popular in so short a 
 time as ' ' Eigoletto ' ' in Italy. The music is very 
 winning and is, like all that Verdi has written, 
 full of exquisite melodies. 
 
 In Germany it has not met with the same 
 favor, which is due in great part to its awful 
 libretto, which is a faithful copy of Hugo's 
 drama, and developed in a truly dramatic man- 
 ner. The subject is, however, rather disgust- 
 ing. Excepting Gilda, we do not meet with 
 one noble character. 
 
 The Duke of Mantua, a wild and debauched 
 youth, covets every girl or woman he sees, and 
 is assisted in his vile purpose by his jester, 
 Eigoletto, an ugly, hump-backed man. We 
 meet him first helping the Duke to seduce the 
 wife of Count Ceprano, and afterward the wife 
 of Count Monterone. Both husbands curse the 
 vile Eigoletto and swear to be avenged. Monte- 
 rone especially, appearing like a ghost in the 
 midst of a festival, hurls such a fearful curse at 
 them that Eigoletto shudders. 
 
 This bad man has one tender point: it is his 
 blind love for his beautiful daughter Gilda, 
 
 376
 
 Rigoletto 
 
 whom he brings up carefully, keeping her hid- 
 den from the world, and shielding her from all 
 wickedness. 
 
 But the cunning Duke discovers her, and 
 gains her love under the assumed name of a 
 student, called Gualtier Malde. 
 
 Gilda is finally carried off by Ceprano and 
 two other courtiers, aided by her own father, 
 who holds the ladder, believing that Count Ce- 
 prano 's wife is to be the victim. A mask blinds 
 Rigoletto, and he discovers, too late, by Gilda's 
 cries that he has been duped. Gilda is brought 
 to the Duke's palace. Rigoletto appears in the 
 midst of the courtiers to claim Gilda, and then 
 they hear that she, whom they believed to be 
 his mistress, is his daughter, for whose honor 
 he is willing to sacrifice everything. Gilda 
 enters and, though she sees that she has been 
 deceived, she implores her father to pardon the 
 Duke, whom she still loves. But Rigoletto 
 vows vengeance, and engages Sparaf ucile to stab 
 the Duke. Sparafucile decoys him into his inn, 
 where his sister Maddalena awaits him. She, 
 too, is enamored of the Duke, who makes love 
 to her, as to all young females, and she entreats 
 her brother to have mercy on him. Sparafucile 
 deolares that he will wait until midnight, and 
 will spare him if another victim should turn up 
 before then. Meanwhile Rigoletto persuades 
 his daughter tq fly from the Puke's pursuit, 
 
 377
 
 The Standard Operaglass 
 
 but before he takes her away he wants to show 
 her lover's fickleness, in order to cure her of 
 her love. 
 
 She conies to the inn in masculine attire, and, 
 hearing the discourse between Sparafucile and 
 his sister, resolves to save her lover. She en- 
 ters the inn and is instantly put to death, placed 
 in a sack and given to Eigoletto, who proceeds 
 to the river to dispose of the corpse. At this 
 instant he hears the voice of the Duke, who 
 passes by, singing a frivolous tune. Terrified, 
 Eigoletto opens the sack, and recognizes his 
 daughter, who is yet able to tell him that she 
 gave her life for that of her seducer, and then 
 expires. With an awful cry, the unhappy fa- 
 ther sinks upon the corpse. Count Monterone's 
 curse has been fulfilled. 
 
 EOBERT LE DIABLE 
 
 Opera in five acts by MEYERBEER 
 Text by SCRIBE and DELAVIGNE 
 
 Though the text which embodies the well- 
 known story of Robert the Devil, Duke of Nor- 
 mandy, is often weak and involved, Meyerbeer 
 has understood in masterly fashion how to adapt 
 his music to it, infusing into it dramatic 
 strength and taking his hearer captive from 
 
 578
 
 Robert le Diable 
 
 beginning to end. The instrumentation is bril- 
 liant, and the splendid parts for the human 
 voice deserve like praise. The famous cava- 
 tina, " Air of Grace," as it is called, where the 
 bugle has such a fine part, and the duet in the 
 fourth act between Robert and the Princess 
 Isabella, in which the harp fairly rouses us to 
 wonder whether we are not listening to celestial 
 music, are but two of the enchanting features 
 of an opera in which such passages abound. 
 
 The following are the contents of the libretto: 
 
 Robert, Duke of Normandy, has a friend of 
 gloomy exterior, named Bertram, with whom 
 he travels, but to whose evil influence he owes 
 much trouble and sorrow. Without knowing it 
 himself, Robert is the son of this erring knight, 
 who is an inhabitant of hell. During his wan- 
 derings on earth he seduced Bertha, daughter 
 of the Duke of Normandy, whose offspring 
 Robert is. This youth is very wild, and has 
 therefore been banished from his country. 
 
 Arriving in Sicily, Isabella, the King's daugh- 
 ter, and he fall mutually in love. 
 
 In the first act we find Robert in Palermo, 
 surrounded by other knights, to whom a young 
 countryman of his, Raimbaut, tells the story of 
 " Robert le Diable " and his fiendish father, 
 warning everybody against them. Robert, giv- 
 ing his name, is about to deliver the unhappy 
 Raimbaut to the hangman, when the peasant is 
 
 379
 
 The Standard Operaglass 
 
 saved by his bride Alice, Robert's foster sister. 
 She has come to Palermo by order of Robert's 
 deceased mother, who sends her last will to her 
 son, in case he should change his bad habits 
 and prove himself worthy. Robert, feeling 
 that he is not likely to do this, begs Alice to 
 keep it for him. He confides in the innocent 
 maiden, and she promises to reason with Isa- 
 bella, whom Robert has irritated by his jealousy, 
 and- who has banished him from her presence. 
 
 As a recompense for her service Alice asks 
 Robert's permission to marry Raimbaut. See- 
 ing Robert's friend, Bertram, she recognizes 
 the latter's likeness to Satan, whom she saw in 
 a picture, and instinctively shrinks from him. 
 When she leaves her master, Bertram induces 
 his friend to try his fortune with the dice, and 
 he loses all. 
 
 In the second act we are introduced into the 
 palace of Isabella, who laments Robert's incon- 
 stancy. Alice enters, bringing Robert's letter, 
 and the latter instantly follows to crave his 
 mistress's pardon. She presents him with a 
 new suit of armor, and he consents to meet the 
 Prince of Granada in mortal combat. But 
 Bertram lures him away by deceiving him with 
 a phantom. Robert vainly seeks the Prince in 
 the forest, and the Prince of Granada is in his 
 absence victorious in the tournament and ob- 
 tains Isabella's hand.
 
 Robert le Diable 
 
 The third «,ct opens with a view of the rocks 
 of St. Irene, where Alice hopes to be united 
 with Raimbaut. The peasant expects his bride, 
 but meets Bertram instead, who makes him 
 forget Alice, by giving him gold and dangerous 
 advice. Eaimbaut goes away to spend the 
 money, while Bertram descends to the evil 
 spirits in the deep. When Alice comes, Raim- 
 baut is gone, and she hears the demons calling 
 for Bertram. Bertram extracts a promise from 
 her not to betray the dreadful secret of the 
 cavern. She clings to the Saviour's cross for 
 protection, and is about to be destroyed by Ber- 
 tram, when Robert approaches, to whom she de- 
 cides to reveal all. But Bertram's renewed 
 threats at last oblige her to leave them. 
 
 Bertram now profits by Robert's rage and de- 
 spair at the loss of his bride, his wealth and his 
 honor, to draw him on to entire destruction. 
 He tells Robert that his rival used magic arts, 
 and suggests that he should try the same ex- 
 pedient. Then he leads him to a ruined 
 cloister, where he resuscitates the guilty nuns. 
 They try to seduce Robert first by drink, then 
 by gambling, and last of all by love. In the 
 last, Helena, the most beautiful of the nuns, 
 succeeds and makes him remove the cypress 
 branch, a talisman by which in the fourth act 
 he enters Isabella's apartment unseen. He 
 awakes his bride out of her magic sleep, to 
 
 381
 
 The Standard Operaglass 
 
 carry her off, but overcome by her tears and 
 her appeal to his honor, he breaks the talis- 
 man, and is seized by the now awakened sol- 
 diers; but Bertram appears, and takes him un- 
 der his protection. 
 
 The fifth act opens with a chorus sung by 
 monks, which is followed by a prayer for mercy. 
 Robert, concealed in the vestibule of the cathe- 
 dral, hears it full of contrition. But Bertram 
 is with him, and, his term on earth being short, 
 he confides to Eobert the secret of his birth and 
 appeals to him as his father. 
 
 He almost succeeds, when Alice comes up, 
 bringing the news that the Prince of Granada 
 renounces Isabella's hand, being unable to pass 
 the threshold of the Church. Bertram urges 
 Eobert all the more vehemently to become one 
 with him, suggesting that Isabella is likewise 
 lost to him, who has transgressed the laws of 
 the Church, when in the last extremity Alice 
 produces his mother's will, in which she warns 
 him against Bertram, entreating him to save 
 his soul. Then at last his good angel is victori- 
 ous, his demon-father vanishes into the earth, 
 and Robert, united by prayer to the others, is 
 restored to a life of peace and goodness. 
 
 382
 
 Le Roi l'a Dit 
 
 LE EOI L'A DIT 
 (THE KING HAS SAID IT) 
 
 Comic Opera in three acts by L^ON D&LIBES 
 Text by EDMOND GONDINET 
 
 It is impossible to imagine music more charm- 
 ing or more full of grace and piquancy than 
 that which we find in this delightful opera. 
 Every part abounds in exquisite harmonies, 
 which no words can give any idea of. On hear- 
 ing them one is compelled to the conclusion 
 that all the graces have stood godmother to this 
 lovely child of their muse. 
 
 The libretto, though on the whole somewhat 
 insipid, is flavored with naive and good-natured 
 coquetry, which lends a certain charm to it. 
 
 The Marquis de Moncontour has long wished 
 to be presented to the King Louis XIV., and as 
 he has been fortunate enough to catch the es- 
 caped paroquet of Mme. de Maintenon, he is at 
 last to have his wish accomplished. By way of 
 preparation for his audience he tries to learn 
 the latest mode of bowing, his own being some- 
 what antiquated, and the Marquise and her four 
 lovely daughters, and even Javotte, the nice little 
 ladies' maid, assist him. After many failures 
 the old gentleman succeeds in making his bow 
 to his own satisfaction, and he is put into a lit- 
 
 383
 
 The Standard Operaglass 
 
 ter, and borne off, followed by his people's bene- 
 dictions. When they are gone, Benoit, a young 
 peasant, comes to see Javotte, who is bis sweet- 
 heart. He wishes to enter the Marquis's ser- 
 vice. Javotte thinks him too awkward, but she 
 promises to intercede in his favor with Miton, 
 a dancing master, who enters just as Benoit 
 disappears. He has instructed the graceful 
 Javotte in all the arts and graces of the noble 
 world, and when he rehearses the steps and all 
 the nice little tricks of his art with her, he is so 
 delighted with his pupil that he pronounces 
 her manners worthy of a Princess; but when 
 Javotte tells him that she loves a peasant, he is 
 filled with disgust, and orders her away. His 
 real pupils, the four lovely daughters of the 
 Marquis, now enter, and while the lesson goes 
 on Miton hands a billet-doux from some lover 
 to each of them. The two elder, Agatha and 
 Chimene, are just in the. act of reading theirs, 
 when they hear a serenade outside, and shortly 
 afterward the two lovers are standing in the 
 room, having made their way through the win- 
 dow. The Marquis Flarembel and his friend, 
 the Marquis de la Bluette, are just making a 
 most ardent declaration of love, when Mme. la 
 Marquise enters to present to her elder daugh- 
 ters the two bridegrooms she has chosen for 
 them. The young men hide behind the ample 
 dresses of the young ladies, and all begin to 
 
 384
 
 Le Roi l'a Dit 
 
 sing with great zeal, Miton beating the meas- 
 ure, so that some time elapses before the Mar- 
 quise is able to state her errand. Of course her 
 words excite great terror, the girls flying to the 
 other side of the room with their lovers and re- 
 ceiving the two elderly suitors, Baron de Mer- 
 lussac, and Gautru, a rich old financier, with 
 great coolness and a refusal of their costly gifts. 
 When the suitors are gone the two young 
 strangers are detected, and the angry mother 
 decides at once to send her daughters to a con- 
 vent, from which they shall only issue on their 
 wedding day. 
 
 When they have departed in a most crest- 
 fallen condition, the old Marquis returns from 
 his audience with the King and relates its as- 
 tounding results. His Majesty had been so 
 peremptory in his questioning about the Mar- 
 quis's son and heir, that the Marquis, losing his 
 presence of mind, promised to present his son 
 at Court on the King's demand. The only 
 question now is where to find a son to adopt, as 
 the Marquis has only four daughters. Miton, 
 the ever-useful, at once presents Benoit to the 
 parents, engaging himself to drill the peasant 
 into a nice cavalier in ten lessons. Benoit takes 
 readily to his new position; he is fitted out at 
 once, and when the merchants come, offering 
 their best in cloth and finery, he treats them 
 with an insolence worthy of the proudest sei- 
 35 385
 
 The Standard Operaglass 
 
 gneur. He even turns from his sweetheart, 
 Javotte. 
 
 In the second act Benoit, dressed, like the 
 finest cavalier, gives a masked ball in his fa- 
 ther's gardens. Half Versailles is invited, but, 
 having taken the Court Almanac to his aid, he 
 has made the mistake of inviting many people 
 who have long been dead. Those who do ap- 
 pear seem to him to be very insipid, and, want- 
 ing some friends with whom he can enjoy him- 
 self, the useful Miton presents the Marquises de 
 la Bluette and de Flarembel, who are delighted 
 to make tbe acquaintance of their sweethearts' 
 brother. 
 
 Benoit hears from them that he has four 
 charming sisters who have been sent to a con- 
 vent, and he at once promises to assist his new 
 friends. Meanwhile Javotte appears in the 
 mask of an Oriental Queen and Benoit makes 
 love to her, but he is very much stupefied when 
 she takes off her mask, and he recognizes Ja- 
 votte. She laughingly turns away from him, 
 when the good-for-nothing youth's new parents 
 appear, to reproach him with his levity. But 
 Benoit, nothing daunted, rushes away, telling 
 the Marquis that he intends to visit his sisters 
 in the convent. Miton tries in vain to recall 
 him. Then the two old suitors of Agathe and 
 Chimene appear, to complain that their deceased 
 wife and grandmother were invited, and while 
 
 386
 
 Le Roi l'a Dit 
 
 the Marquis explains his son's mistake, the four 
 daughters rush in, having been liberated by 
 their lovers and their unknown brother, whom 
 they greet with a fondness very shocking to the 
 old Marchioness. The elderly suitors withdraw, 
 swearing to take vengeance on the inopportune 
 brother. 
 
 In the last act Benoit appears in his father's 
 house in a somewhat dilapidated state. He has 
 spent the night amongst gay companions and 
 met Gautru and de Merlussac successively, who 
 have both fought him and believe they have 
 killed him, Benoit having feigned to be dead 
 on the spot. 
 
 When the old Marquis enters, he is very much 
 astonished at receiving two letters of condolence 
 from his daughters' suitors. Miton appears in 
 mourning, explaining that, Mme. de Mainte- 
 non's visit being expected, they must all wear 
 dark colors, as she prefers these. Meanwhile 
 Benoit has an interview with Javotte, in which 
 he declares his love to be undiminished, and he 
 at once asks his father to give him Javotte as 
 his wife, threatening to reveal the Marquis's 
 deceit to the King if his request is not granted. 
 In this dilemma help comes in the persons of 
 the two young Marquises, who present their 
 King's condolences to old Moncontour. This 
 gentleman hears to his great relief that his son 
 is supposed to have fallen in a duel, and so he 
 
 387
 
 The Standard Operaglass 
 
 is disposed of. Nobody is happier than Ja- 
 votte, who now claims Benoit for her own, 
 while the Marquis, who receives a Duke's title 
 from the King in compensation for his loss, 
 gladly gives his two elder daughters to their 
 young and noble lovers. 
 
 The girls, well aware that they owe their hap- 
 piness to their adopted brother, are glad to pro- 
 vide him with ample means for his marriage 
 with Javotte, and the affair ends to everybody's 
 satisfaction. 
 
 ROMEO E GIULIETTA 
 
 Grand Opera in five acts by CH. GOUNOD 
 Text by BARBEER and CARRE 
 
 This highly favored opera by Gounod presents 
 much that is worthy of admiration, though it 
 does not rise to the high level of his " Marguer- 
 ite " ("Faust"). The libretto follows Shake- 
 speare's version pretty accurately. 
 
 The first act opens with the masked ball in 
 Capuletti's palace, where the first meeting be- 
 tween the lovers takes place, Eomeo being dis- 
 guised as a pilgrim. They fall in love with each 
 other, and Tybalt, Capulet's nephew, recogniz- 
 ing Eomeo, reveals, bnt too late, their true 
 names and swears to take revenge on his foe, 
 
 3S8
 
 Romeo e Giulietta 
 
 who has thus entered the Capulet's house unin- 
 vited. 
 
 The second act represents the famous scene 
 on the balcony between Juliet and her lover. 
 
 In the third act Romeo visits Friar Lorenzo's 
 cell, to get advice from him. There he meets 
 Juliet. Lorenzo unites the lovers, hoping there- 
 by to reconcile the hostile houses of the Mon- 
 tagus and the Capulets. 
 
 The following scene represents the street be- 
 fore Capulet's palace, where the rivals meet; 
 there ensues the double duel, first between Ty- 
 balt and Romeo's friend Mercutio, who falls, 
 and then between Romeo, who burus to avenge 
 his comrade, and Tybalt. Tybalt is killed, and 
 Romeo is obliged to fly, all the Capulets being 
 after him. 
 
 In the fourth act Romeo sees Juliet in her 
 room, but when the morning dawns he is obliged 
 to leave, while Juliet's father comes to remind 
 her of his last promise to the dying Tybalt, 
 which was to marry Juliet to Count Paris. 
 
 Juliet in great perplexity turns to Friar Lo- 
 renzo for help. He gives her a draught which 
 will cause her to fall into a deep swoon, and 
 after being laid in her ancestors' tomb she is to 
 be awakened by Romeo and carried away into 
 security. 
 
 In the fifth act Romeo, after having taken 
 poison, enters the tomb to bid farewell to Juliet, 
 
 389
 
 The Standard Operaglass 
 
 whom he, by a fatal misunderstanding, believes 
 to be dead. She awakes, and seeing her bride- 
 groom die before her eyes, she stabs herself, to 
 be united, with her lover in death, if not in life. 
 
 IL SERAGLIO 
 
 Opera in three acts by MOZART 
 Text after BEETZNER by G. STEPHANIE 
 
 Mozart modestly called this opera a vaude- 
 ville (in German, Singspiel). They were the 
 fashion toward the end of the last century, but 
 " II Seraglio " ranks much higher, and may be 
 justly called a comic opera of the most pleasing 
 kind. The music is really charming, both fresh 
 and original. 
 
 The libretto is equally happy. It particularly 
 inspired Mozart, because given him by the Em- 
 peror Joseph II. at the time when he, Mozart, 
 a happy bridegroom, was about to conduct into 
 his home his beloved Constanze. The story is 
 as follows: 
 
 Constauza, the betrothed bride of Belmonte, 
 is with her maid Bionda (Blondchen) and Pe- 
 drillo, Belmonte's servant, captured by pirates. 
 All three are sold as slaves to Selim Pasha, who 
 keeps the ladies in his harem, taking Constanza 
 
 390
 
 II Seraglio 
 
 for himself and giving Bionda to his overseer 
 Osmin. Pedrillo has found means to inform 
 his master of their misfortune, and Belmonte 
 comes seeking entrance to the Pasha's villa in 
 the guise of an artist. Osmin, who is much in 
 love with Bionda, though she treats him 
 haughtily, distrusts the artist and tries to inter- 
 fere. But Pedrillo, who is gardener in the 
 Pasha's service, frustrates Osmin's purpose and 
 Belmonte is engaged. The worthy Pasha is 
 quite infatuated with Constanza, and tries hard 
 to gain her affections. But Constanza has sworn 
 to be faithful till death to Belmonte, and great 
 is her rapture when Bionda brings the news 
 that her lover is near. 
 
 With the help of Pedrillo, who manages to 
 intoxicate Osmin, they try to escape, but Osmin 
 overtakes them and brings them back to the 
 Pasha, who at once orders that they be brought 
 before him. Constanza, advancing with noble 
 courage, explains that the pretended artist is 
 her lover, and that she will rather die with him 
 than leave him. Selim Pasha, overwhelmed by 
 this discovery, retires to think about what he 
 shall do, and his prisoners prepare for death, 
 Belmonte and Constanza with renewed tender 
 protestations of love, Pedrillo and Bionda with- 
 out either fear or trembling. 
 
 Great are their happiness and Osmin's wrath 
 when the noble Pasha, touched by their con- 
 
 391
 
 The Standard Operaglass 
 
 stancy, sets them free, and asks for their friend- 
 ship, bidding them remember him kindly after 
 their return into their own country. 
 
 SIEGFKIED 
 
 Second day of the Nibelungen Ring by WAGNER 
 Musical Drama in three acts 
 
 The first act represents a part of the forest 
 where Fafner guards the Ehinegold and where 
 Sieglinda has found refuge. We find her son 
 Siegfried — to whom when she was dying she 
 gave birth — in the rocky cave of Mime the Ni- 
 belung, brother of Alberich, who has brought 
 up the child as his own, knowing that he is 
 destined to slay Fafner and to gain the ring, 
 which he covets for himself. Siegfried, the 
 brave and innocent boy, instinctively shrinks 
 from this father, who is so ugly, so mean and 
 vulgar, while he has a deep longing for his dead 
 mother, whom he never knew. He gives vent 
 to these feelings in impatient questions about 
 her. The dwarf answers unwillingly and gives 
 him the broken pieces of the old sword Nothung 
 (needful), which his mother left as the only pre- 
 cious remembrance of Siegfried's father. 
 
 Siegfried asks Mime to forge the fragments 
 afresh, while he rushes away into the woods. 
 
 392
 
 Siegfried 
 
 During his absence Wotan comes to Mime in 
 the guise of a wanderer. Mime, though he 
 knows him not, fears him, and would fain drive 
 him away. Finally he puts three questions to 
 his guest. The first is the name of the race 
 which lives in earth's deepest depths, the sec- 
 ond the name of those who live on earth's back, 
 and the third that of those who live above the 
 clouds. Of course Wotan answers them all, re- 
 deeming his head and shelter thereby; but now 
 it is his turn to put three questions. He first asks 
 what race it is that Wotan loves most, though 
 he dealt hardly with them, and Mime answers 
 rightly that they are the Waelsungs, whose 
 son Siegfried is; then Wotan asks after the 
 sword which is to make Siegfried victorious. 
 Mime joyously names "Nothung," but when 
 Wotan asks him who is to unite the pieces he 
 is in great embarrassment, for he remembers his 
 task and perceives too late what question he 
 ought to have asked. Wotau leaves him, tell- 
 ing him that only that man can forge it who 
 never knew fear. Siegfried, finding the sword 
 still in fragments when he returns, melts these 
 in fire, and easily forges them together, to 
 Mime's great awe, for he sees now that this boy 
 is the one whom the stranger has meant. 
 
 In the second scene we see the opening of 
 Fafner's cavern, where Alberich keeps watch 
 for the dragon's slayer, so long predicted. 
 
 393
 
 The Standard Operaglass 
 
 Wotan, approaching, warns him that Al- 
 berich's brother Mime has brought up the boy 
 who is to slay Fafner, in the hope of gaining 
 Alberich's ring, the wondrous qualities of which 
 are unknown to Siegfried. 
 
 Wotan awakes Fafner, the dragon, telling 
 him that his slayer is coming. 
 
 Mime, who has led Siegfried to this part of 
 the forest under the pretext of teaching him 
 fear, approaches now, and Siegfried, eager for 
 combat, kills the dreadful worm. Accidentally 
 tasting the blood, he all at once understands 
 the language of the birds. They tell him to 
 seek for the Tarnhelm and for the ring, which 
 he finds in the cavern. Meanwhile the broth- 
 ers, Alberich and Mime, quarrel over the treas- 
 ure, which they hope to gain. When Siegfried 
 returns with ring and helmet he is again 
 warned by the voice of a wood-bird not to trust 
 in Mime. Having tasted the dragon's blood, 
 Siegfried is enabled to probe Mime's inner- 
 most thoughts, and so learns that Mime means 
 to poison him, in order to obtain the treasure. 
 He then kills the traitor with a single stroke. 
 Stretching himself under the linden-tree to re- 
 pose after that day's hard work, he again hears 
 the voice of the wood-bird, which tells him of 
 a glorious bride, sleeping on a rock surrounded 
 by fire; and flying before him, the bird shows 
 Siegfried the way to the spot. 
 
 394
 
 Silvana 
 
 In the third scene we find Wotan once more 
 awakening Erda, to seek her counsel as to how 
 best to avert the doom which he sees coming, 
 but she is less wise than he and so he decides to 
 let fate have its course. When he sees Sieg- 
 fried coming, he for the last time tries to oppose 
 him by barring the way to Briinnhilde, but the 
 sword Nothung splits the god's spear. Seeing 
 that his power avails him nothing he retires 
 to Walhalla, there to await the "Dusk of the 
 Gods." 
 
 Siegfried plunges through the fire, awakes 
 the Walkyrie, and after a long resistance wins 
 the proud virgin. 
 
 SILVANA 
 
 Romantic Opera in four acts by WEBER 
 Text by ERNST PASQUE 
 
 This opera was left unfinished by Weber. It 
 has, however, recently been completed, the text 
 by Ernst Pasque, and the music by Ferdinand 
 Langer, who rearranged the manuscript with 
 loving care, interweaving different compositions 
 from Weber, as, for instance, his " Invitation a 
 la valse " and his " Polonaise," which are dex- 
 terously introduced into the ballet of the second 
 act. 
 
 395
 
 The Standard Operaglass 
 
 The action is taken from an old German 
 legend which comes to us from the land of the 
 Rhine. There we may still find the ruins of 
 the two castles Sternberg and Liebensteiu. 
 
 Of these our legend says that they belonged 
 to two brothers, who hated each other, for the 
 one, Boland, loved his brother's bride and was 
 refused by her. By way of revenge he slew his 
 brother and burned down his castle. But in 
 the fray the wife he coveted disappeared with 
 her child, and both were supposed to have per- 
 ished in the flames. 
 
 Since then Boland has fallen into deep melan- 
 choly, and the consequences of his dreadful 
 deed have never ceased to torment him. His 
 only son, who lost his mother in early child- 
 hood, has grown ujd solitary, knowing nothing 
 of woman's sweetness, of peace and happiness. 
 His only passion is the hunt. He has grown 
 into manhood, and his father and his vassals 
 wish him to marry, but never yet has he found 
 a woman who has touched his heart with love. 
 
 In the beginning of the first act we see him 
 hunting in the forest. He has lost his way and 
 his companions, and finds himself in a spot 
 which he has never before seen. A beautiful 
 maiden comes out of a small cottage, and both 
 fall in love at first sight. The returning collier 
 would fain keep his only child, who has not yet 
 seen anything of the world; but the nymph of 
 
 396
 
 Silvana 
 
 the forest, Silvana's protectrice, beckons him 
 away. When at length the Count's fellow- 
 hunters find him, he presents Silvana to them 
 as his bride. The unfortunate collier is made 
 drunk with wine, and during his sleep they 
 take his daughter away to the castle of the old 
 Rhinegrave. 
 
 But Silvana is protected in the new world into 
 which she enters by the nymph, who follows 
 her in the guise of a young minstrel. The old 
 Count, hearing of his son's resolution, is quite 
 willing to receive the bride, and even consents 
 to go to the peasants' festival and look at the 
 dancing and frolicking given in honor of his 
 son's bridal. 
 
 There we find Ratto, the collier, who seeks 
 his daughter Silvana, telling everybody that 
 robbers took her away from him, and beseech- 
 ing help to discover her. Meanwhile Silvana 
 arrives in rich and costly attire between Gerold, 
 the young Count, and the old Rhinegrave. The 
 latter, attracted by her fairness and iunocence, 
 has welcomed her as his daughter without ask- 
 ing for antecedents. When the dances of the 
 villagers have ended, the nymph enters in the 
 guise of a minstrel, asking to be allowed to sing 
 to the hearers, as was the custom on the banks 
 of the Rhine. 
 
 She begins her ballad, the contents of which 
 terrify the Rhinegrave, for it is his own awful 
 
 397
 
 The Standard Operaglass 
 
 deed which he hears. Springing up, he drawB 
 his sword against the minstrel, but Silvana 
 rises, protecting him with outstretched arms. 
 All are stupefied; Gerold looks with suspicion 
 on his bride, hanging on the breast of the 
 stranger. He asks for an explanation, but Sil- 
 vana is silent. It is part of her trial, not to 
 betray the nymph. At the same moment Eatto, 
 the collier, recognizes and claims Silvana as his 
 daughter. Everybody now looks with contempt 
 on the low-born maiden, and the Ehinegrave 
 commands them to be put into prison; but 
 Gerold, believing in his bride's innocence, 
 though appearances are against her, entreats 
 her once more to defend herself. Silvana only 
 asserts her innocence and her love for Gerold, 
 but will give no proofs. So the collier and his 
 daughter and the minstrel are taken to prison. 
 But when the keeper opens the door in the 
 morning the minstrel has disappeared. 
 
 The old Count, disgusted at the idea of his 
 son's union with a collier's daughter, accuses 
 her of being a sorceress. He compels her to 
 confess that she seduced his son by magic arts, 
 and Silvana consents to say anything rather 
 than injure her lover. She is conducted before 
 a court and condemned to the funeral pile. 
 Gerold, not once doubting her, is resolved to 
 share her death, when in the last critical mo- 
 ment the minstrel once more raises his voice and 
 
 398
 
 The Sold Bride 
 
 finishes the ballad which the Rhinegrave had 
 interrupted so violently. He tells the aston- 
 ished hearers that the wife and daughter of the 
 Count, who was slain by his brother, were not 
 burned in the castle, but escaped to the forest, 
 finding kindly refuge iu a poor collier's hut, 
 where the mother died, leaving her child, Sil- 
 vana, under his protection. 
 
 The Rhinegrave, full of remorse, embraces 
 Silvana, beseeching her forgiveness, and the 
 lovers are united. 
 
 THE SOLD BRIDE 
 
 Comic Opera in three acts by FR. SMETANA 
 
 Libretto by K. SABINA 
 
 German test by MAX KALBECK 
 
 Poor Smetana! Nature had put on his brow 
 the 6tamp of genius, but he never lived to see 
 his glory. After grief and sorrow and direst 
 need he died in a mad house, and now posterity 
 heaps laurels on his grave. " The Sold Bride " 
 has been represented in Prague over 300 times, 
 and it begins to take possession of every noted 
 stage in Europe. 
 
 The subject forms a simple village idyll, with- 
 out any strong contrasts. Its ethical motive lies 
 
 399
 
 The Standard Operaglass 
 
 in its representation of quaint old customs and in 
 the deep-rooted patriotic love; but the whole 
 opera is literally steeped in euphony. 
 
 The overture has its equal only in "Figaro," 
 and a perfect stream of national airs flows 
 through the w r hole. 
 
 The first chorus, " See the buds open on the 
 bush," is most original, the national dance in 
 the second act is full of fire, and the rope- 
 dancers' march is truly Slavonic in its quaint- 
 ness. 
 
 The scene is laid in a village in Bohemia. It 
 is Spring-Kirmess, and everybody is gay. Only 
 Mary, the daughter of the rich peasanb Krusch- 
 ina, carries a heavy heart within her, for the 
 day has come on which the unknown bride- 
 groom, chosen by her parents, will claim her 
 hand . She loves Hans, known to her as a poor 
 servant, who has come to her village lately, and 
 who is in reality her bridegroom's half-brother. 
 He consoles her, beseeching her to cheer up aud 
 be faithful to him, and then tells her that he 
 comes of wealthy people. Having lost his moth- 
 er early, his father wedded a second Avife, who 
 estranged his heart from the poor boy so that 
 he had to gain his daily bread abroad. She 
 deeply sympathizes with him, without guessing 
 his real name. 
 
 Meanwhile, Mary's parents approach with the 
 matchmaker, Kezul, a personage common in 
 
 400
 
 The Sold Bride 
 
 Bohemia, who has already won Kruscliina's con- 
 sent to his daughter's marriage with Wenzel, 
 son of the rich farmer Micha by a second mar- 
 riage. Mary's mother insisting that her child's 
 will is to be consulted before all, the father 
 consents to let her see the bridegroom before 
 she decides. Kezul, though angry at this un~ 
 looked for obstacle, excuses the bridegroom's 
 absence volubly, and sings his praise loudly, at 
 the same time touching upon the elder son's 
 absence, and hinting that he may probably be 
 dead. When Mary steps in, Kezul wooes her in 
 due form, but is at once repulsed by her. The 
 young girl owns to having given her heart to 
 the humble servant Hans, in whom nobody has 
 yet recognized Micha's son. Father Kruschina 
 angrily asserts his promise to Kezul, cursing 
 Wenzel's timidity, which hindered him from 
 making his proposal in person. Kezul, how- 
 ever, resolves to talk Hans over to reason. 
 
 We find him in the second act, singing and 
 highly praising the god of love. Afterward 
 the would-be bridegroom, Wenzel, finds him- 
 self face to face with Mary, whom he does not 
 know. When he tells her of his purpose, 
 timidly and stammeringly, she ask him if he is 
 not ashamed to woo a girl who loves another 
 man, and who does not love him in the least. 
 She at last so frightens the lad that he prom- 
 ises to look out for another bride, if his mother 
 26 401
 
 The Standard Operagiass 
 
 permits it. Mary flirts with him, until he 
 swears never to claim Kruschina's daughter. 
 Meanwhile Kezul does his best to convert Hans. 
 He promises to provide for him another bride, 
 much richer than Mary, but Hans refuses. 
 He offers him money, first one, then two, then 
 three hundred florins. Hans, looking incredu- 
 lous, asks: "For whom are you wooing my 
 bride ? " " For Micha's son," the matchmaker 
 replies. "Well," says Hans, "if you promise 
 me that Micha's son shall have her, and no 
 other, I will sign the contract, and I further 
 stipulate that Micha's father shall have no right 
 to reclaim the money later; he is the one to 
 bear the whole costs of the bargain." Kezul 
 gladly consents and departs to fetch the wit- 
 nesses, before whom Hans once more renounces 
 his bride in favor of Micha's son. He coolly 
 takes the money, at which they turn from him 
 in disgust, and signs his name Hans Ehrentraut 
 at the foot of the document. 
 
 The third act opens with a performance by 
 tight-rope dancers. Wenzel, who has been 
 quite despondent about his promised brid,e, is 
 enraptured by their skill. He especially ad- 
 mires the Spanish dancer Esmeralda, who be- 
 witches him so entirely that he wooes her. The 
 director of the band, being in want of a dancing 
 bear, is not loath to take advantage of the lad's 
 foolishness. He engages him as a dancer, and 
 
 402
 
 The Sold Bride 
 
 easily overcomes Wenzel's scruples by promis- 
 ing him Esmeralda's hand. Just when they 
 are putting him in bear's skin, his parents ap- 
 pear on the scene with the marriage contract. 
 To their great dismay he refuses to sign it, and 
 when pressed runs away. Meanwhile, Mary 
 has heard of her lover's fickleness, which she 
 would fain disbelieve, but, alas! Kezul shows 
 her the document by which Hans renounces 
 her. ^Nevertheless, she refuses to wed any other 
 man than the one her heart has chosen. "Wen- 
 zel, approaching again and recognizing in Mary 
 the bride he had renounced, is now quite sorry 
 to give her up, and very willing to take her if 
 6he will only yield. Mary, praying to be left 
 alone for a little while, abandons herself to her 
 grief and is thus found by Hans, whom she bit- 
 terly reproaches for his faithlessness. But he 
 only smiles, and recalls the whole chorus, coolly 
 saying that it is his wish that Mary should wed 
 Micha's son. That is too much for poor Mary's 
 feelings. She declares that she is ready to do as 
 they wish, but before she signs the contract 
 Hans steps forth in full view of his parents, 
 who at last recognize in him their long-lost 
 eldest son. Though his stepmother, Agnes, is 
 in a rage about his trick, he claims his rights as 
 son and heir, and the bride, of course, is not 
 loath to choose between the two brothers. Kezul, 
 the matchmaker, retires shamefaced, and when 
 
 403
 
 The Standard Operaglass 
 
 Wenzel shows himself iu the last scene as a 
 dancing bear, and stammeringly assures the 
 laughing public that they need not be afraid of 
 him, as he is " not a bear but only Wenzel," the 
 final blow is dealt whereby he loses all favor in 
 the eyes of Kruschina, who is now quite recon- 
 ciled, to give his daughter to Micha's elder son. 
 
 LA SONNAMBULA 
 
 Opera in two acts by VINCENZO BELLINI 
 Text by FELICE ROMANI. 
 
 This opera is decidedly of the best of Bellini's 
 muse. Though it does not reach the standard 
 of "Norma," its songs are so rich and melo- 
 dious that they seem to woo the ear and cannot 
 be heard without pleasure. 
 
 Add to these advantages a really fine as well 
 as touching libretto, and it may be easily under- 
 stood why the opera has not yet disappeared 
 from the stage repertory, though composed 
 more than fifty years ago. 
 
 It is a simple village-peasant story which we 
 have to relate. The scene of action is a village 
 in Switzerland, where the rich farmer El vino 
 has married a poor orphan, Amina. The cere- 
 mony has taken place at the magistrate's, and 
 Elvino is about to obtain the sanction of the 
 
 404
 
 La Sonnambula 
 
 church to his union, when the owner of the cas- 
 tle, Count Kudolph, who fled from home in his 
 boyhood, returns most unexpectedly and, at 
 once making love to Amina, excites the bride- 
 groom's jealousy. Lisa, the young owner of a 
 little iun, who wants Elvino for herself and dis- 
 dains the devotion of Alexis, a simple peasant, 
 tries to avenge herself on her happy rival. Lisa 
 is a coquette and flirts with the Count, whom 
 the judge recognizes. While she yet prates with 
 him, the door opens, and Amina enters, walk- 
 ing in her sleep and calling for Elvino. Lisa 
 conceals herself, but forgets her handkerchief. 
 The Count, seeing Amina's condition and awed 
 by her purity, quits the room, where Amina lieb 
 down, always in deep sleep. Just then the peo- 
 ple, having heard of the Count's arrival, come 
 to greet him and find Amina instead. At the 
 same moment Elvino, summoned by Lisa, rushes 
 in, and finding his bride in the Count's room 
 turns away from her in disdain, snatching his 
 wedding ring from her finger in his wrath, and 
 utterly disbelieving Amina's protestations of in- 
 nocence and the Count's assurances. Lisa suc- 
 ceeds in attracting Elvino's notice and he prom- 
 ises to marry her. 
 
 The Count once more tries to persuade the 
 angry bridegroom of his bride's innocence, but 
 without result, when Teresa, Amina's foster- 
 mother, shows Lisa's handkerchief, which was 
 
 405
 
 The Standard Operaglass 
 
 found in the Count's room. Lisa reddens, and 
 El vino knows not whom he shall believe, when 
 all of a sudden Amina is seen, emerging from a 
 window of the mill, walking in a trance, and 
 calling for her bridegroom in most touching 
 accents. 
 
 All are convinced of her innocence when they 
 see her in this state of somnambulism, in which 
 she crosses a very narrow bridge without fall- 
 ing. Elvino himself replaces the wedding ring 
 on her finger, and she awakes from her trance 
 in his arms. Everybody is happy at the turn 
 which things have taken; Elvino asks Amina's 
 forgiveness and leaves Lisa to her own bitter 
 reflections. 
 
 THE TAMING OF THE SHEEW 
 
 Comic Opera in four acts by HERMANN GOETZ 
 Text done after Shakespeare's comedy by J. V. WIDMANN 
 
 This beautiful opera is the only one which 
 the gifted young composer left complete, for he 
 died of consumption in his early manhood. His 
 death is all the more to be lamented, as this 
 composition shows a talent capable of perform- 
 ances far above the average. Its melodies are 
 very fresh and winning, and above all original. 
 
 As the subject of the libretto is so generally 
 
 40$
 
 The Taming of the Shrew 
 
 known, it is not necessary to do more than 
 shortly epitomize here. Of the libretto itself, 
 however, it may be remarked, in passing, that it 
 is uncommonly well done; it is in rhymes which 
 are harmonious and well turned. The transla- 
 tion is quite free and independent, but the sense 
 and the course of action are the same, though 
 somewhat shortened and modified, so that we 
 only find the chief of the persons we so well 
 know. 
 
 Kate is the same headstrong young lady, 
 though she does not appear in a very bad light, 
 her wilfulness being the result of maidenly pride, 
 which is ashamed to appear weak before the 
 stronger sex. She finds her master in Petru- 
 chio, however, and after a hard and bitter fight 
 with her feelings she at last avows herself con- 
 quered, less by her husband's indomitable will 
 than by her love for him, which acknowledges 
 him as her best friend and protector. 
 
 Then her trials are at an end, and when her 
 sister Bianca, and her young husband, Lucentio, 
 and her father, Baptista, visit her, they are wit- 
 nesses of the perfect harmony and peace which 
 reign in Kate's home. 
 
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 TANNHAUSEK 
 
 Romantic Opera in three acts by RICHARD WAGNER 
 
 "With this opera begins a new era in the his- 
 tory of the German theatre. " Tannhauser " is 
 more a drama than an opera; every expression 
 in it is highly dramatic. The management of the 
 orchestra, too, is quite different from anything 
 hitherto experienced; it dominates everywhere, 
 the voice of the performer being often only an 
 accompaniment to it. " Tannhauser " is the first 
 opera, or, as Wagner himself called it, drama, of 
 this kind, and written after this one all Wag- 
 ner's works bear the same stamp. 
 
 Wagner took his subject from an old legend, 
 which tells of a minstrel called Tannhauser 
 (probably identical with Heinrich von Ofter- 
 dingen), who won all prizes by his beautiful 
 songs and all hearts by his noble bearing. So 
 the palm is allotted to him at the yearly 
 "Tournament of Minstrels " on the Wartburg, 
 and his reward is to be the hand of Elizabeth, 
 niece of the Landgrave of Thuringia, whom he 
 loves. But instead of behaving sensibly this 
 erring knight suddenly disappears, nobody knows 
 where, leaving his bride in sorrow and anguish. 
 He falls into the hands of Yenus, who holds 
 court in the Horselberg, near Eisenach, and 
 Tannhauser, at the opening of the first scene, 
 
 408
 
 Tannhauser 
 
 has already passed a whole year with her. At 
 length he has grown tired of sensual love and 
 pleasure, and notwithstanding Venus' allure- 
 ments he leaves her, vowing never to return to 
 the goddess, but to expiate his sins by a holy 
 life. He returns to the charming vale behind 
 the Wartburg, he hears again the singing of the 
 birds, the shepherds playing on the flute, the 
 pious songs of the pilgrims on their way to 
 Rome. Full of repentance he kneels down and 
 prays, when suddenly the Landgrave appears 
 with some minstrels, among them Wolfram von 
 Eschinbach, Tannhauser's best friend. They 
 greet their long-lost companion, who, however, 
 cannot tell where he has been all the time, and 
 as Wolfram reminds him of Elizabeth, Tann- 
 hauser returns with the party to the Wartburg. 
 It is just the anniversary of the Tournament 
 of Minstrels, and in the second act we find 
 Elizabeth with Tannhauser, who craves her par- 
 don and is warmly welcomed by her. The high 
 prize for the best song is again to be Elizabeth's 
 hand, and Tannhauser resolves to win her once 
 more. The Landgrave chooses " love " as the 
 subject whose nature is to be explained by the 
 minstrels. Everyone is called by name, and 
 Wolfram von Eschinbach begins, praising love 
 as a well, deep and pure, a source of the highest 
 and most sacred feeling. Others follow; Wal- 
 ther von der Vogelweide praises the virtue of 
 
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 love, every minstrel celebrates spiritual love 
 alone. 
 
 But Tannhauser, who has been in Venus' fet- 
 ters, sings of another love, warmer and more 
 passionate, but sensual. And when the others 
 remonstrate, he loudly praises Venus, the god- 
 dess of heathen love. All stand aghast; they 
 recognize now where he has been so long. He is 
 about to be put to death, wheu Elizabeth prays 
 for him. She loves him dearly and hopes to 
 save his soul from eternal perdition. Tann- 
 hauser is to join a party of pilgrims on their way 
 to Eome, there to crave for the Pope's pardon. 
 
 In the third act we see the pilgrims return 
 from their journey. Elizabeth anxiously ex- 
 pects her lover, but he is not among them. 
 Fervently she prays to the Holy Virgin; but not 
 that a faithful lover may be given back to her 
 — no, rather that he may be pardoned and his 
 immortal soul saved. Wolfram is beside her, 
 he loves the maiden, but he has no thought for 
 himself; he only feels for her, whose life he sees 
 ebbing swiftly away, and for his unhappy friend. 
 
 Presently, when Elizabeth is gone, Tann- 
 hauser comes up in pilgrim's garb. He has 
 passed a hard journey, full of sacrifices and 
 castigation, and all for nought, for the Pope 
 has rejected him. He has been told in hard 
 words that he is for ever damned, and will as 
 little get deliverance from his grievous sin as 
 
 410
 
 Tannhauser 
 
 the stick in his hand will ever bear green leaves 
 afresh. 
 
 Full of despair Tannhauser is returning to 
 seek Venus, whose siren songs already fall allur- 
 ingly on his ear. Wolfram entreats him to fly, 
 and when Tannhauser fails to listen, he utters 
 Elizabeth's name. At this momeut a proces- 
 sion descends from the Wartburg, chanting a 
 funeral song over an open bier. Elizabeth lies 
 on it, dead, and Tannhauser sinks on his knee 
 beside her, crying: " Holy Elizabeth, pray for 
 me." Then Venus disappears, and all at once 
 the withered stick begins to bud and blossom, 
 and Tannhauser, pardoned, expires at the side 
 of his beloved. 
 
 " Tannhauser " was represented in the Dres- 
 den Theatre in June, 1890, according to Wag- 
 ner's changes of arrangement, done by him in 
 Paris, 1861, for the Grand Opera, by order of Na- 
 poleon III. This arrangement the composer ac- 
 knowledges as the only correct one. These 
 alterations are limited to the first scene in the 
 mysterious abode of Venus, and his motives for 
 the changes become clearly apparent when it is 
 remembered that the simple form of " Tann- 
 hauser " was composed in the years 1843 and 
 '45 in and near Dresden, at a time when there 
 were neither means nor taste in Germany for 
 such high-flown scenes like those which excited 
 Wagner's brain. Afterwards success rendered 
 
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 Wagner bolder and more pretentious, and so 
 he endowed the person of Venus with more 
 dramatic power, and thereby threw a vivid light 
 on the great attraction she exercises on Tann- 
 haueer. The decorations are by far richer and 
 a ballet of sirens and fauns has been added, 
 a concession which Wagner had to make to the 
 Parisian taste. Venus' part, now sung by the 
 first prima donnas, has considerably gained by 
 the alterations, and the first scene is far more 
 interesting than before, but it is to be regretted 
 that the Tournament of Minstrels has been 
 shortened and particularly the fine song of Wal- 
 ther von der Vogelweide omitted by Wagner. 
 All else is as of old, as indeed Elizabeth's part 
 needed nothing to add to her purity and loveli- 
 ness, which stands out now in even bolder relief 
 against the beautiful but sensual part of Venus. 
 
 GUGLIELMO TELL 
 
 Grand Opera in three acts by ROSSINI 
 
 This last opera of Eossini's is his most perfect 
 work and it is deeply to be regretted that when 
 it appeared he left the dramatic world, to live in 
 comfortable retirement for thirty-nine years. 
 How much he could still have done if he had 
 chosen ! In " Tell " his genius attains its full 
 
 412
 
 Guglielmo Tell 
 
 depth. Here alone we find the highly dramatic 
 element united to the infinite richness of melody 
 which we have learned to associate with his 
 name and work. 
 
 The text is founded on the well-known story 
 of Tell, who delivered his Fatherland from one 
 of its most cruel despots, the Austrian governor 
 Gessler. 
 
 The first act opens with a charming introduc- 
 tory chorus by peasants, who are celebrating a 
 nuptial f£te. 
 
 Tell joins in their pleasure, though he cannot 
 help giving utterance to the pain which the 
 Austrian tyranny causes him. Arnold von 
 Melchthal, son of an old Swiss, has conceived 
 an unhappy passion for Mathilda, Princess of 
 Hapsburg, whose life he once saved; but he is 
 Swiss and resolved to be true to his country. 
 He promises Tell to join in his efforts to liberate 
 it. Meanwhile Leuthold, a Swiss peasant, comes 
 up. He is a fugitive, having killed an Austrian 
 soldier, to revenge an intended abduction of his 
 daughter. His only safety lies in crossing the 
 lake, but no fisherman dares to row out in the 
 face of the coming storm. Tell steps forth and, 
 seizing the oars, brings Leuthold safely to the 
 opposite shore. When Rudolf von Harras ap- 
 pears with his soldiers, his prey has escaped and, 
 nobody being willing to betray the deliverer, old 
 father Melchthal is imprisoned. ■ 
 
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 In the second act we find Princess Mathilda 
 returning from a hunt. She meets Arnold, and 
 they betray their mutual passion. Arnold does 
 not yet know his father's fate, but presently 
 Tell enters with Walter Fiirst, who informs 
 Arnold that his father has fallen a victim to the 
 Austrian tyranny. Arnold, cruelly roused from 
 his love-dream, awakes to duty, and the three 
 men vow bloody vengeance. This is the famous 
 oath taken on the Rutli. The deputies of the 
 three cantons arrive, one after the other, and 
 Tell makes them swear solemnly to establish 
 Switzerland's independence. Excited by Ar- 
 nold's dreadful account of his father's murder, 
 they all unite in the fierce cry: "To arms ! " 
 which is to be their signal of combat. 
 
 In the third act Gessler arrives at the market- 
 place of Altdorf, where he has placed his hat on 
 a pole, to be greeted instead of himself by the 
 Swiss who pass by. 
 
 They grumble at this new proof of arrogance, 
 but dare not disobey the order, till Tell, passing 
 by with his son Gemmy, disregards it. Refus- 
 ing to salute the hat, he is instantly taken and 
 commanded by Gessler to shoot an apple off his 
 little boy's head. After a dreadful inward 
 struggle Tell submits. Fervently praying to 
 God, and embracing his fearless son, he shoots 
 with steady hand, hitting the apple right in the 
 centre. But Gessler has seen a second arrow, 
 
 414
 
 The Templar and the Jewess 
 
 which Tell has hidden in his breast, and he asks 
 its purpose. Tell freely confesses that he would 
 have shot the tyrant had he missed his aim. 
 Tell is fettered, Mathilda vainly appealing for 
 mercy. But Gessler's time has come. The 
 Swiss begin to revolt. Mathilda herself begs to 
 be admitted into their alliance of free citizens 
 and offers her hand to Arnold. The fortresses 
 of the oppressors fall. Tell enters free and vic- 
 torious, having himself killed Gessler, and in 
 a chorus at once majestic and grand the Swiss 
 celebrate the day of tlieir liberation. 
 
 THE TEMPLAE AKD THE JEWESS 
 
 Opera in three acts by HENRY MARSCHNER 
 Text by W. A. WOHLBRUCK 
 
 The subject of this opera is the well-known 
 romance of " Ivanhoe," by Sir Walter Scott. 
 The poet understood pretty well how to make an 
 effective picture with his somewhat too exten- 
 sive and imposing material. 
 
 Its chief defect lies in the conclusion, which 
 is lacking in poetic justice and cannot be con- 
 sidered satisfactory, for the heroine Rebecca, who 
 loves her knightly succorer, Ivanhoe, is only 
 pitied by him, and so the difficulty of the situa- 
 tion is not solved to our liking. Apart from 
 
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 this defect, the opera is most interesting and we 
 are won by its beautiful music, which may be 
 called essentially chivalrous and therefore par- 
 ticularly adapted to the romantic text. 
 
 In the opening scene we are introduced to the 
 Knight Templar, Brian de Bois Guilbert, who 
 has fallen in love with the beautiful Jewess Ee- 
 becca, and has succeeded in capturing and de- 
 taining her in his castle. At the same time Sir 
 Cedric of Eotherwood, a Saxon knight (father 
 of Ivanhoe, whom he has disinherited), has been 
 taken captive with his ward, the Lady Eowena, 
 by their enemies, the Normans. Eebecca re- 
 fuses to hear the Templar's protestations of 
 love, and threatens to precipitate herself from 
 the parapet if he dares to touch her. Her wild 
 energy conquers; and when he leaves her, Ivan- 
 hoe, the wounded knight to whom Eebecca is 
 assigned as nurse, tells her that friends have 
 come to deliver them all. 
 
 The outlaws, commanded by Eichard Cceur 
 de Lion, under the guise of the Black Knight, 
 assault the castle, burn it and deliver the cap- 
 tives. Poor Eebecca alone falls into the hands 
 of the Templar, who does not cease to press his 
 love suit. Brian's deed soon becomes known, 
 and his brother Templars, believing Brian to be 
 innocent, but seduced by a sorceress, condemn 
 Eebecca to the stake. She makes use of her 
 right to ask for a champion, and is allowed till 
 
 416
 
 La Traviata 
 
 sunset to find one. Brian himself tries all he 
 can to save her, but she rejects his aid, for she 
 loves Ivanhoe, though she is well aware that this 
 noble knight loves his beautiful cousin Kowena. 
 The day has nearly passed, the funeral pile 
 awaits its victim, and no champion appears. 
 The trumpets sound for the last time, when 
 Ivanhoe presents himself in the lists to fight 
 Brian, whom the Templars have appointed as 
 his adversary. Ivanhoe is victorious; Brian 
 falls lifeless, even before the enemy's sword 
 touches him. All recognize the judgment of 
 God, and Rebecca is given back to her desolate 
 father. At the last moment King Richard, who 
 has long been absent on a crusade to Jerusalem, 
 appears on the scene. He announces that hence- 
 forth he alone will govern the land and punish 
 all injustice. Ivanhoe and Rowena are united 
 by consent of Sir Cedric, who is now. wholly 
 reconciled to his valorous son. 
 
 LA TKAYIATA (OR YIOLETTA) 
 
 Opera in three acts by VERDI 
 Text taken from the French by PIAVE 
 
 The original of the libretto is Dumas' cele- 
 brated novel " La dame aux camelias." 
 
 The opera is, like all of Verdi's works, full of 
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 melody, and there are numberless special beau- 
 ties in it. The prelude which opens the opera, 
 instead of an overture, is in particular an elegy 
 of a noble and interesting kind. But as the 
 text is frivolous and sensual, of course the music 
 cannot be expected to be wholly free from these 
 characteristics. 
 
 The scene is laid in and near Paris. Alfred 
 Germont is passionately in love with Violetta 
 Valery, one of the most frivolous beauties in 
 Paris. She is pleased with his sincere passion, 
 anything like which she has never hitherto 
 known, and openly telling him who she is, she 
 warns him herself; but he loves her all the 
 more, and, as she returns his passion, she aban- 
 dons her gay life and follows him into the coun- 
 try, where they live very happily for some 
 months. 
 
 Annina, Violetta's maid, dropping a hint to 
 Alfred that her mistress is about to sell her 
 house and carriage in town in order to avoid 
 expenses, he departs for the capital to prevent 
 this. 
 
 During his absence Violetta receives a visit 
 from Alfred's father, who tries to show her that 
 she has destroyed not only his family's but his 
 son's happiness by suffering Alfred to unite 
 himself to one so dishonored as herself. He 
 succeeds in convincing her, and, broken-hearted, 
 she determines to sacrifice herself and leave 
 
 418
 
 La Traviata 
 
 Alfred Becretly. Ignoring the possible reason for 
 this inexplicable action, Alfred is full of wrath 
 and resolves to take vengeance. He finds Vio- 
 letta in the house of a former friend, Flora Ber- 
 voix, who is in a position similar to that of Vio- 
 letta. The latter, having no other resources 
 and feeling herself at death's door (a 6tate of 
 health suggested in the first act by an attack of 
 suffocation), has returned to her former life. 
 
 Alfred insults her publicly. The result is a 
 duel between her present adorer, Baron Dauphal, 
 and Alfred. 
 
 From this time on Violetta declines rapidly, 
 and in the last act, which takes place in her 
 sleeping room, we find her dying. Hearing 
 that Alfred has been victorious in the duel, and 
 receiving a letter from his father, who is now 
 willing to pardon and to accept her as his daugh- 
 ter-in-law, she revives to some extent and Alfred, 
 who at last hears of her sacrifice, returns to her, 
 but only to afford a last glimpse of happiness to 
 the unfortunate woman, who expires, a modern 
 Magdalen, full of repentance, and striving ten- 
 derly to console her lover and his now equally 
 desolate father. 
 
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 TKISTAN AND ISOLDA 
 
 Lyric Drama in three acts by RICHARD WAGNER 
 
 The music to this drama is deemed by con- 
 noisseurs the most perfect ever written by Wag- 
 ner, but it needs a fine and highly cultivated 
 understanding of music to take in all its beauty 
 and greatness. There is little action in it, and 
 very often the orchestra has the principal part, 
 so that the voice seems little more than an 
 accompaniment; it has musical measures, too, 
 which cannot be digested by an uneducated 
 hearer, but, nevertheless, many parts of it will 
 interest everyone. 
 
 Isolda's love song, for instance, is the noblest 
 hymn ever sung in praise of this passion. 
 
 The first act represents the deck of a ship, 
 where we find the two principal persons, Tristan 
 and Isolda together. Tristan, a Cornish hero, 
 has gone over to Ireland, to woo the Princess 
 for his old uncle, King Marke. Isolda, however, 
 loves Tristan, and has loved him from the time 
 when he was cast sick and dying on the coast 
 of Ireland and was rescued and nursed by her, 
 though he was her enemy. But Tristan, hav- 
 ing sworn faith to his uncle, never looks at her, 
 and she, full of wrath that he wooes her for an- 
 other instead of for himself, attempts to poison 
 herself and him by a potion. But Brangana, 
 
 420
 
 Tristan and Isolda 
 
 her faithful attendant, secretly changes the poi- 
 soned draught for a love potion, so that they are 
 inevitably joined in passionate love. Only when 
 the ship lands, its deck already covered with 
 knights and sailors, who come to greet their 
 King's bride, does Brangiina confess her fraud, 
 and Isolda, hearing that she is to live, faints iu 
 her attendant's arms. 
 
 In the second act Isolda has been wedded to 
 Marke, but the love potion has worked well, 
 and she has secret interviews at night with Tris- 
 tan, whose sense of honor is deadened by the 
 fatal draught. Brangana keeps watch for the 
 lovers, but King Marke's jealous friend Melot 
 betrays them, and they are found out by the 
 good old King, who returns earlier than he had 
 intended from a hunt. 
 
 Tristan is profoundly touched by the grief of 
 the King, whose sadness at losing faith in his 
 most noble warrior is greater than his wrath 
 against the betrayer of honor. Tristan, unable 
 to defend himself, turns to Isolda, asking her to 
 follow him into the desert, but Melot opposes 
 him, and they fight, Tristan falling back deadly 
 wounded into his faithful servant Kurvenal's 
 arms. 
 
 The third act represents Tristan's home in 
 Brittany, whither Kurvenal has carried his 
 wounded master in order to nurse him. Isolda, 
 bo skilled in the art of healing wounds, has been 
 
 421
 
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 sent for, but they look in vain for the ship 
 which is to bring her. 
 
 When at last it comes into sight, Tristan, 
 who awakes from a long swoon, sends Kurvenal 
 away, to receive his mistress, and as they both 
 delay their coming his impatient longing gets 
 the better of him. Forgetting his wound, he 
 rises from his couch, tearing away the bandages, 
 and so Isolda is only just in time to catch him 
 in her arms, where he expires with her name on 
 his lips. "While she bewails her loss, another 
 ship is announced by the shepherd's horn. King 
 Marke arrives, prepared to pardon all and to 
 unite the lovers. Kurvenal, seeing Melot ad- 
 vance, mistakes them for foes, and running his 
 sword through Melot's breast, sinks, himself 
 deadly wounded, at his master's feet. King 
 Marke, to whom Brangana has confessed her 
 part in the whole matter, vainly laments his 
 friend Tristan, while Isolda, waking from her 
 swoon and seeing her lover dead, pours forth 
 rapturous words of greeting, and, broken- 
 hearted, sinks down dead at his side. 
 
 422
 
 Der Trompeter von Sakkingen 
 
 DER TROMPETER VON SlKKINGEN 
 (THE TRUMPETER OF SAEKKINGEN) 
 
 Opera in three acts, with a prelude, by VICTOR 
 NESSLER 
 
 Text by RUDOLF BUNGE after SCHEFFEL'S poem 
 
 Seldom in our days is an opera such a com- 
 plete success in all German theatres as this com- 
 position of Nessler's has proved to be. To tell 
 the truth, it owes its popularity in great degree 
 to the libretto, which has taken so many fine 
 songs and ideas from its universally known and 
 adored original. Nessler's "Trompeter" is, 
 however, in every way inferior to Scheffel's cele- 
 brated poem. 
 
 Nevertheless, the music, though not very pro- 
 found, is pleasing, and there are several airs in 
 it which have already become popular. 
 
 The prelude opens at Heidelberg, where a 
 chorus of students make a great noise after one 
 of their drinking bouts. They presently sere- 
 nade the Princess-Electress, and a law-student, 
 named Werner, a foundling and the adopted 
 son of a professor, distinguishes himself by a 
 solo on the trumpet. He is heard by the trum- 
 peter of the Imperial recruiting officers, who 
 tries to win him, but without success, when 
 
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 suddenly the Rector Magnificus appears to as- 
 sist the major-domo, and announces to the as- 
 tounded disturbers of peace that they are dis- 
 missed from the university. 
 
 Werner, taking a sudden resolution, accepts 
 the press-money from Konradin the trumpeter, 
 marches away with the soldiers, and the prelude 
 is closed. 
 
 The first act represents a scene at Sakkingen 
 on the Rhine. There is a festival iu honor of 
 St. Fridolin, at which young Baroness Maria 
 assists. She is insulted by the peasants and 
 Werner protects her from them. She is much 
 pleased by the noble bearing of the trumpeter, 
 and so is her aunt, the Countess of Wildenstein, 
 who detects a great resemblance between him 
 and her son, who was stolen by gipsies in his 
 childhood. The second scene takes us into the 
 Baron's room, where w*e find the gouty old 
 gentleman in rather a bad humor. He is re- 
 stored to good temper by a letter from his friend 
 the Count of Wildenstein, who lives separated 
 from his first wife, the above-mentioned Count- 
 ess, and who proposes his son, born in second 
 wedlock, as Maria's husband. 
 
 The Baron receives Maria kindly, when she 
 relates her adventure and begs him to engage 
 Werner as trumpeter in the castle. At this 
 moment the latter is heard blowing his instru- 
 ment, and the Baron, who has a great predilec- 
 
 424
 
 Der Trompeter von ISakkingen 
 
 tioa for it, bids "Werner present himself, and at 
 once engages him. 
 
 In the second act Werner gives lessons on the 
 trumpet to the lovely Maria; of course the 
 young people fall in love with each other, but 
 the Countess watches them, until friend Kon- 
 radin for once succeeds in drawing her aside, 
 when there follows a glowing declaration of love 
 on both sides. Unhappily it is interrupted by 
 the Countess, who announces her discovery to 
 the Baron. Meanwhile the destined bridegroom 
 has arrived with his father. Damian, that is 
 the young man's name, is a simpleton, and 
 Maria declares at once that she never will be 
 his. But in the presence of the whole company, 
 assembled for a festival, the Baron proclaims 
 Maria Count Damian's bride; to the over-bold 
 Werner he forbids the castle. 
 
 The last act opens with a siege of the castle 
 by the rebellious peasants. Damian shows him- 
 self a coward. In the last extremity they are 
 relieved by Werner, who drives the peasants 
 back with his soldiers. He is wounded in the 
 fray, and while the wound is being dressed a 
 mole detected on his arm proclaims him the 
 stolen child of Countess Wildeustein. All now 
 ends in joy and happiness; the Baron is willing 
 enough to give his daughter to the brave young 
 nobleman and very glad to be rid of the cow- 
 ardly Damian. 
 
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 IL TBOVATOEE 
 
 Opera in four acts by GIUSEPPE VERDI 
 
 Text by Salvatore Commerano 
 
 Though Verdi is far beneath his celebrated 
 predecessors Eossini and Bellini, he is highly 
 appreciated in his own country, and the " Trova- 
 tore " counts many admirers not only in Italy 
 but also abroad. This is easily accounted for 
 by the number of simple and catching melodies 
 contained in his operas, and which have be- 
 come so quickly popular that we hear them on 
 every street-organ. Manrico's romance, for ex- 
 ample, is a good specimen of the work for which 
 he is admired. 
 
 The text of "71 Trovatore " is very gloomy 
 and distressing. 
 
 Two men of entirely different station and 
 character woo Leonore, Countess of Sergaste. 
 The one is Count Luna, the other a minstrel, 
 named Manrico, who is believed to be the son 
 of Azucena, a gipsy. 
 
 Azucena has, in accordance with gipsy law, 
 vowed bloody revenge on Count Luna, because 
 his father, believing her mother to be a sorceress 
 and to have bewitched one of his children, had 
 the old woman burned. To punish the father 
 for this cruelty Azucena took away his other 
 
 426
 
 II Trovatore 
 
 child, which was vainly sought for. This story 
 is told in the first scene, where we find the 
 Count's servants waiting for him, while he 
 stands sighing beneath his sweetheart's win- 
 dow. But Leonore's heart is already capti- 
 vated by Manrico's sweet songs and his valor in 
 tournament. She suddenly hears his voice, and 
 in the darkness mistakes the Count for her 
 lover, who, however, comes up just in time to 
 claim her. The Count is full of rage, and 
 there follows a duel in which Manrico is 
 wounded, but though it is in his power to kill 
 his enemy, he spares his life, without, however, 
 being able to account for the impulse. 
 
 In the second act, Azucena, nursing Man- 
 rico, tells him of her mother's dreadful fate and 
 her last cry for revenge, and confesses to having 
 stolen the old Count's son with the intention 
 of burning him. But in her despair and confu- 
 sion, she says, she threw her own child into the 
 flames, and the Count's son lived. Manrico is 
 terrified, but Azucena retracts her words and 
 regains his confidence, so that he believes her 
 tale to have been but an outburst of remorse 
 and folly. 
 
 Meanwhile he hears that Leonore, to whom 
 he was reported as dead, is about to take the veil, 
 and he rushes away to save her. Count Luna 
 arrives before the convent with the same pur- 
 pose. But just as he seizes his prey, Manrico 
 
 427
 
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 comes up, and liberates with her the aid of his 
 companions, while the Count curses them. 
 
 Leonore becomes Manrico's wife, but her hap- 
 piness is short-lived. 
 
 In the third act the Count's soldiers succeed 
 in capturing Azucena, in whom they recognize 
 the -burned gipsy's daughter. She denies all 
 knowledge of the Count's lost brother, and as 
 the Count hears that his successful rival is her 
 son, she is sentenced to be burned. Kuiz, Man- 
 rico's friend, brings the news to him. Manrico 
 tries to rescue her, but is seized too, and con- 
 demned to die by the axe. 
 
 In the fourth act Leonore offers herself to the 
 Count as the price of freedom for the captives, 
 but, determined to be true to her lover, she 
 takes poison. She hastens to him, announcing 
 his deliverance. Too late he sees how dearly 
 she has paid for it, when, after sweet assurance 
 of love and fidelity, she sinks dead at his feet. 
 
 The Count, coming up and seeing himself 
 deceived, orders Manrico to be put to death in- 
 stantly. 
 
 He is led away, and only after the execu- 
 tion does Azucena inform the Count that his 
 murdered rival was Luna's own long-sought 
 brother. 
 
 428
 
 Undine 
 UKDIKE 
 
 Romantic Opera in four acts by ALBERT LORTZING 
 Text after FOUQITE'S tale 
 
 With this opera Lortzing for the first time 
 tried his genius in another field. Until then 
 he had only composed comic operas, which had 
 met with a very fair measure of success, but in 
 this opera he left the comic for the romantic, 
 and was peculiarly happy both in his ideas and 
 choice of subject, which, as it happened, had 
 previously had the honor of being taken up by 
 Weber. The first representation of " Undine " 
 at Hamburg in the year 1845 was one of the few 
 luminous moments in Lortzing's dark life. 
 
 His melodies are wonderfully captivating and 
 lovely, and the whole charm of German romance 
 lies in them. 
 
 The contents of the libretto are : 
 
 The gallant knight, Hugo von Eingstetten, 
 has been ordered by the Duke's daughter, Ber- 
 thalda, to go in search of adventures, accom- 
 panied by his attendant Veit. Being detained 
 for three months in a little village cut off from 
 communication with the outer world by an in- 
 undation, he sees Undine, the adopted daughter 
 of an old fisherman, named Tobias, and falling 
 in love with her he asks for her hand. In the 
 
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 first act we see the priest uniting the young 
 couple. The knight recognizes in the old man 
 a traveller whom he once saved from robbers, 
 and is glad to see him. Undine behaves most 
 childishly, and finally says that she has no soul. 
 She is herself grieved, and the others do not be- 
 lieve her. Hugo now tells them of the proud 
 and beautiful Berthalda, whose scarf he re- 
 ceived in a tournament, and who sent him away 
 on this adventure. He then returns to the 
 capital with his young wife, in order to present 
 her at the ducal court. Meanwhile Veit has 
 met Kiihleborn, the mighty King of the water- 
 fairies, and is asked by him whether his master 
 has quite forgotten Berthalda. The valet gives 
 as his opinion that the poor fisher-maiden is de- 
 ceived, and will soon be abandoned by her hus- 
 band. This excites Kiihleborn 's wrath, for 
 Undine is his daughter, and he forthwith re- 
 solves to protect her. 
 
 In the second act Undine confesses to her 
 husband that she is a water-fairy, one of those 
 whom men call "Undinas." They have no 
 soul, but if they are loved faithfully by man 
 they are able to gain a soul, and through it im- 
 mortality. Though he shudders inwardly, Un- 
 dine's purity and loveliness conquer Hugo's 
 fright, and he once more swears to be eternally 
 true to her. 
 
 The proud Berthalda, who loves Hugo, has 
 
 430
 
 Undine 
 
 heard with feelings of mingled anger and de- 
 spair of the knight's marriage. She determines 
 to honor the King of Naples with her hand; 
 but before her wedding takes place a sealed 
 document has to be opened, which says that 
 Berthalda, instead of being a Duke's daughter, 
 is a poor foundling. Kuhleborn, who is pres- 
 ent, declares that she is the real child of Un- 
 dine's foster parents. Berthalda is now obliged 
 to leave the palace. She loathes her fate and 
 curses her low-born parents. Then Kuhleborn 
 derides her, and the attendants ai'e about to 
 seize him in order to turn him out of doors, 
 when the statue of the water-god breaks into 
 fragments, while Kuhleborn stands in its place, 
 the waters pouring down upon him. All take 
 flight, but Undine raises the prostrate Ber- 
 thalda, promising her protection iu her hus- 
 band's castle. 
 
 In the third act Berthalda succeeds in again 
 drawing Hugo into her toils. Though warned 
 by the water-fairies not to perjure himself, he 
 neglects their advice, and Undine finds him in 
 the arms of her rival. He repels his wife, and 
 Kuhleborn takes her back into his watery king- 
 dom. But Undine has lost bar peace of mind 
 forever; she cannot forget her husband. 
 
 In the fourth act Hugo has given orders to 
 close the well with stones, to prevent all possi- 
 ble communication with the water-fairies. Un- 
 
 43i
 
 The Standard Operaglass 
 
 dine's pale face pursues him everywhere, he 
 continually fancies he hears her soft voice and 
 touching entreaties, and to stifle his remorse he 
 appoints the day of his wedding with Berthalda. 
 
 His attendant, Veit, however, unahle to for- 
 get his sweet mistress, removes the stones which 
 cover the well. Undine rises from it and appears 
 at midnight at the wedding. Hugo, forgetting 
 Berthalda, and drawn toward his lovely wife 
 against his will, falls into her arms and dies at 
 her feet. The castle comes crashing down, 
 floods penetrate everywhere and carry Hugo and 
 Undine into Kuhleborn's crystal palace. 
 
 Undine obtains pardon for Hugo, and his only 
 punishment is that he must forever stay with 
 his wife in her fairy domains. 
 
 UEYASI 
 
 Opera in three acts by WILHELM KTENZL 
 Text after the Indian legend of KALIDASA 
 
 This opera is so brilliantly supplemented by 
 decorations and poetic enchantment of every 
 kind that it would be worth while to see those 
 triumphs of modern machinery alone. But not 
 only on account of external effect is Urvasi ad- 
 mired — the music is in itself well worth hearing, 
 though it contains many reminiscences of other 
 
 432
 
 Urvasi 
 
 well-known composers. It is pleasing and grace- 
 ful, and the orchestration is so brilliant that it 
 may even deceive the hearer as to the poverty 
 of invention. 
 
 The subject, arranged by Kienzl himself, is 
 highly romantic. 
 
 The Apsares (virgins of heaven), who are 
 sometimes allowed to visit earth and its inhabi- 
 tants, have just made use of this permission. 
 
 Urvasi, their Princess, isolates herself from 
 their dances, and is, with two sisters, caught by 
 the wild Prince of the Asures, their enemy. 
 They cry for help, when the King of Persia, 
 hunting in those grounds, appears with his suite 
 and saves Urvasi. 
 
 They fall in love with each other, though 
 Brahma has prophesied to the King that he will 
 die poor and unknown if he does not wed the 
 last Princess of the Persian kingdom, Ausinari, 
 to whom he is already betrothed. 
 
 Urvasi tells him that, not being a daughter 
 of earth, she can only be allowed to see him 
 from time to time. The King swears eternal 
 fealty to her, and she in return promises to be 
 his in heaven. But should he prove false, noth- 
 ing can save them both from fearful punish- 
 ment. 
 
 Then she bids him farewell, promising to 
 send a rose every time she is allowed to descend 
 from heaven. 
 
 28 433
 
 The Standard Operaglass 
 
 In the second act Ausinari, walking in the 
 moonshine, mourns for the King's love, which 
 she has lost. Mandava, priest of the moon, 
 consoles her, designing the present night, that 
 of the full moon, as the one in which the King's 
 heart shall again turn to her. 
 
 After his departure Ausinari first prays to the 
 good and mild god of the moon, but afterward 
 invokes Ahriman, the Spirit of Night, lest the 
 moon-god should prove too weak. When she has 
 left the park, the King walks in dreamily. His 
 whole soul is filled by Urvasi; he fervently calls 
 for her, and a rose, her love token, falls at his 
 feet. But he waits in vain for her, she does not 
 come, and as the priests of the moon appear to 
 celebrate the festival of their god he retires dis- 
 appointed into a bower. 
 
 Now follows a sort of ballet. All the maidens 
 and their lovers who desire to be united sacri- 
 fice to the god ; the young men throw a bloom- 
 ing rose into the flame, the girls a palm-branch. 
 
 Ausinari appears, and is greeted with joyous 
 acclamations, while Manava enters the bower to 
 conduct the King to the sacrifice. He vainly 
 strives against Ausinari and the priests, who 
 urgently demand the sacrifice of the red rose, 
 which he still carries in his hand. After a long 
 resistance he abandons himself to despair and 
 throws the rose into the blaze, thinking himself 
 forsaken by Urvasi. But hardly has he done
 
 Urvasi 
 
 so than Urvasi's form rises from the flame, 
 solemnly reminding him of the oath which he 
 has broken. She has only been testing his firm- 
 ness, and finding him weak she is obliged to 
 disappear forever as Urvasi and to live in an- 
 other form, while only deepest contrition and 
 ardent love can ever help him to find her again. 
 Urvasi vanishes and the King leaves Ansinari, 
 his tbrone, and his land, to seek as a poor pil- 
 grim for his beloved. 
 
 In the last act we find Urvasi's friend, the 
 Apsare Tschitralekha, watering a rose-bush, 
 into which her Princess has been transformed. 
 
 The King enters in the garb of an Indian 
 penitent. His strength is nearly exhausted, he 
 has sought his bride all over the earth, and he 
 now demands her from the spirit of the rock and 
 from that of the cataract, but all tell him that 
 she is only to be found where glowing life grows. 
 Tired to death, he draws his sword to end his 
 life, when Tschitralekha, laying her hand on his 
 arm, points out the rose-bush. The King kisses 
 it, and falling on his knee beside the virgin, 
 who joins in his devotions, fervently prays to 
 Indra that at last his love may be given to him 
 again. Slowly Urvasi rises from the rose-bush. 
 A long and exalted love duet follows, then the 
 Indian heaven opens and the King dies at Ur- 
 vasi's feet, struck by a ray from the celestial 
 sun. 
 
 435
 
 The Standard Operaglass 
 THE VAMPIKE 
 
 Romantic Opera in two acts by 
 HEINRICH MARSCHNER 
 
 Text by W. A. WOHLBRUCK 
 
 This opera had long fallen into oblivion, 
 when Hofrath Schuch of Dresden was struck 
 with the happy idea of resuscitating it. And, 
 indeed, its music well deserves to be heard. It 
 is both beautiful and characteristic, and par- 
 ticularly the drinking scenes in the second act; 
 and the soft and. graceful airs sung by Emma 
 and Edgar Aubry belong to the best of Marsch- 
 ner's work. He is, it is true, not quite original, 
 and often reminds one of Weber, but that can- 
 not well be called a fault, almost every genius 
 having greater prototype. This opera was long 
 neglected on account of its libretto, the subject 
 of which is not only unusual but far too roman- 
 tic and ghastly for modern taste. It is taken 
 from an old tale of the same name, and written 
 by Marschner's own brother-in-law. The scene 
 is laid in Scotland in the seventeenth century, 
 and illustrates the old Scottish legend of the 
 Vampire, a phantom-monster which can only 
 exist by sucking the heart-blood of sleeping 
 mortals. 
 
 Lord Ruthven is such a Vampire. He vic- 
 
 436
 
 The Vampire 
 
 timizes young maidens in particular. His soul 
 is sold to Satan, but the demons have granted 
 him a respite of a year, on condition of his 
 bringing them three brides, young and pure. 
 His first victim is Janthe, daughter of Sir John 
 Berkley. She loves the monster, and together 
 they disappear into a cavern. Her father as- 
 sembles followers and goes in search of her. 
 They hear dreadful wailings, followed by mock- 
 ing laughter, proceeding from the ill-fated 
 Vampire, and entering, they find Janthe life- 
 less. The despairing father stabs Ruthven, who, 
 wounded to death, knows that he cannot sur- 
 vive but by drawing life from the rays of the 
 moon, which shines on the mountains. Unable 
 to move, he is saved by Edgar Aubry, a relative 
 of the Laird of Davenant, who accidentally 
 comes to the spot. 
 
 Lord Ruthven, after having received a prom- 
 ise of secrecy from Aubry, tells him who he is, 
 and implores him to carry him to the hills as 
 the last favor to a dying man. 
 
 Aubry complies with the Vampire's request, 
 and then hastily flies from the spot. Ruthven 
 revives and follows him in order to win the love 
 of Malwina, daughter of the Laird of Davenant 
 and Aubry's betrothed. 
 
 His respite now waxing short, he tries at the 
 save time to gain the affections of John Perth's, 
 the steward's, daughter Emma. 
 
 437
 
 The Standard Operaglass 
 
 Malwina meanwhile greets her beloved Au- 
 bry, who has returned after a long absence. 
 Both are full of joy, when Malwina's father 
 enters to announce to his daughter her future 
 husband, whom he has chosen in the person of 
 the Earl of Marsden. Great is Malwina's sor- 
 row, and she now for the first time dares to tell 
 her father that her heart has already spoken, 
 and to present Aubry to him. The Laird's 
 pride, however, does not allow him to retract 
 his word, and when the Earl of Marsden ar- 
 rives he presents him to his daughter. In the 
 supposed Earl, Aubry at once recognizes Lord 
 Ruthven, but the villain stoutly denies his iden- 
 tity, giving Lord Ruthven out as a brother, who 
 has been travelling for a long time. Aubry, 
 however, recognizes the Vampire by a scar on 
 his hand, but he is bound to secrecy by his 
 oath, and so Ruthven triumphs, having the 
 Laird of Davenant's promise that he will be 
 betrothed before midnight to Malwina, as he 
 declares that he is bound to depart for Madrid 
 the following morning as Ambassador. 
 
 In the second act all are drinking and frolick- 
 ing on the green, where the bridal is to take 
 place. 
 
 Emma awaits her lover, George Dibdin, who 
 is in Davenant's service. While she sings the 
 ghastly romance of the Vampire, Lord Ruthven 
 approaches, and by his sweet flattery and prom- 
 
 438
 
 The Vampire 
 
 ise to help the lovers he easily causes the simple 
 maiden to grant him a kiss in token of her 
 gratitude. In giving this kiss she is forfeited 
 to the Evil One. George, who has seen all, is 
 very jealous, though Emma tells him that the 
 future son-in-law of the Laird of Davenant will 
 make him his steward. 
 
 Meanwhile Aubry vainly tries to make Ruth- 
 ven renounce Malwina. Ruthven threatens that 
 Aubry himself will be condemned to be a Vam- 
 pire if he breaks his oath, and depicts in glow- 
 ing colors the torments of a spirit so cursed. 
 While Aubry hesitates as to what he shall do, 
 Ruthven once more approaches Emma aud suc- 
 ceeds in winning her consent to follow him to 
 his den, where he murders her. 
 
 In the last scene Malwina, unable any longer 
 to resist her father's will, has consented to the 
 hateful marriage. Ruthven has kept away 
 rather long and comes very late to his wed- 
 ding. Aubry implores them to wait for the 
 coming day, but in vain. Then he forgets his 
 own danger and only sees that of his beloved, 
 and when Ruthven is leading the bride to the 
 altar he loudly proclaims Ruthven to be a 
 Vampire. At this moment a thunder peal is 
 heard, and a flash of lightning destroys Ruth- 
 ven, whose time of respite has ended at mid- 
 night. The old Laird, Avitnessing Heaven's 
 punishment, repents his error and gladly gives 
 
 439
 
 The Standard Operagiass 
 
 Malwina to her lover, while all praise the Al- 
 mighty, who has turned evil into good. 
 
 THE WALKYEIE 
 
 ' First day of the Nibelungen Ring by WAGNER 
 
 In the first scene we are introduced into the 
 dwelling of a mighty warrior, Hunding, in 
 whose house Siegmund, a son of Wotan and of 
 a mortal woman, has sought refuge, without 
 knowing that it is the abode of an enemy. 
 Sieglinda, Hunding's wife, who, standing alone 
 and abandoned in the world, was forced into 
 this union against her will, attracts the guest's 
 interest and wins his love. 
 
 When Hunding comes home from the fight 
 he learns to his disgust that his guest is the 
 same warrior who killed his kinsmen, and whom 
 they vainly pursued. The laws of hospitality 
 forbid him to attack Siegmund under his own 
 roof, but he warns him that he shall only await 
 the morrow to fight him. 
 
 Sieglinda, having fallen in love with her 
 guest, mixes a powder with her husband's 
 potion, which sends him into profound sleep. 
 Then she returns to Siegmund, to whom she 
 shows the hilt of the sword, thrust deep into 
 the mighty ash-tree's stem, which fills the mid- 
 440
 
 The Walkyrie 
 
 die 6pace of the hut. It has been put there by an 
 unknown one-eyed wanderer (Wotan, who once 
 sacrificed one of his eyes to Erda, wishing to gain 
 more knowledge for the sake of mankind). No 
 hero has succeeded until now in loosening the 
 wondrous steel. Siegmund reveals to Sieglinda 
 that he is a son of the " Waelsung," and they 
 recognize that they are twin brother and sister. 
 Then Sieglinda knows that the sword is destined 
 for Siegmund by his father, and Siegmund, 
 with one mighty effort, draws it out of the ash- 
 tree. Sieglinda elopes with him and the early 
 morning finds them in a rocky pass, evading 
 Hunding's wrath. 
 
 In the second scene we see Wotan giving 
 directions to the Walkyrie Briinnhilde, who is 
 to shield Siegmund in his battle with Hunding. 
 Briinnhilde is Wotan's and Erda's child and 
 her father's favorite. But Fricka comes up, 
 remonstrating violently against this breach of 
 all moral and matrimonial laws; she is the pro- 
 tector of marriages and most jealous of her some- 
 what fickle husband, and she forces Wotan to 
 withdraw his protection from Siegmund, and to 
 remove the power of Siegmund's sword. 
 
 Wotan recalls Briinnhilde, changing his orders 
 with heavy heart and sending her forth to tell 
 Siegmund his doom. She obeys, but Siegmund 
 scorns all her fine promises of Walhalla. Though 
 he is to find his father there and everything be- 
 
 441
 
 The Standard Operaglass 
 
 sides that he could wish, he prefers foregoing 
 all this happiness when he hears that Sieglinda, 
 who has been rendered inanimate by grief and 
 terror, cannot follow him, but must go down to 
 Hel after her death, where the shadows lead a 
 sad and gloomy existence. He wins Briinnhilde 
 by his love and noble courage, and she for the 
 first time resolves to disobey Wotan's orders 
 given so unwillingly, and to help Siegmund 
 against his foe. 
 
 Now ensues the combat with Hunding, Briinn- 
 hilde standing on Siegmund's side. But Wotan 
 interferes, breaking Siegmund's sword; he falls, 
 and Wotan kills Hunding, too, by one wrathful 
 glance. 
 
 Then he turns his anger against the Walkyrie 
 who dared to disobey his commands, and Briinn- 
 hilde flies before him, taking Sieglinda on her 
 swift horse Grane, which bears both through 
 the clonds. 
 
 In tlie third scene we find the Walkyries ar- 
 riving through the clouds on horseback one after 
 the other. Every one has a hero lying before 
 her in the "saddle. It is their office to carry 
 these into Walhalla, while the faint-hearted, 
 or those of mankind, not happy enough to fall 
 in battle are doomed to go to Hel after their 
 death. 
 
 There are eight Walkyries without Briinn- 
 hilde, who comes last with Sieglinda in her sad- 
 
 442
 
 The Walkyrie 
 
 die, instead of a hero. She implores her sisters 
 to assist her and the unhappy woman. But 
 they refuse, fearing TVotan's wrath. Then she 
 resolves to save Sieglinda and to brave the re- 
 sults of her rash deed alone. She first summons 
 back to the despairing woman courage and de- 
 sire to live, by telling her that she bears the 
 token of Siegmund's love, then sends her east- 
 ward to the great forest with Grane, where 
 Fafner the giant, changed into a dragon, guards 
 the Rhinegold and the ill-fated ring, a spot 
 which Wotan avoids. 
 
 She gives to Sieglinda the broken pieces of 
 Siegmund's sword, telling her to keep them for 
 her son, whom she is to call Siegfried and who 
 will be the greatest hero in the world. 
 
 Wotan arrives in thunder and lightning. 
 Great is his wrath, and in spite of the interces- 
 sion of the other Walkyries he deprives Briinn- 
 hilde of her immortality, changing her into a 
 common mortal. He dooms her to a long magic 
 sleep, out of which any man who happens to 
 pass that way may awaken her and claim her as 
 his property. 
 
 Brunnhilde's entreaties, her beauty and noble 
 bearing at last prevail upon him, so that he en- 
 circles her with a fiery wall, through which none 
 but a hero may penetrate. 
 
 After a touching farewell the god, leading 
 her to a rocky bed, closes her eyes with a kiss, 
 
 443
 
 The Standard Operaglass 
 
 and covers her with shield, spear and helmet. 
 Then he calls up Loge, who at once surrounds 
 with glowing flames the rock on which Briinn- 
 hilde sleeps. 
 
 ZAMPA 
 
 Opera in three acts by HEROLD 
 Text by MELLESVILLE 
 
 This opera has met with great success both in 
 France and elsewhere; it is a favorite of the 
 public, though not free from imitating other 
 musicians, particularly Auber arid Eossini. The 
 style of the text is somewhat bombastic, and 
 only calculated for effect. Notwithstanding 
 these defects the opera pleases; it has a bril- 
 liant introduction, as well as nice chorus pieces 
 and cavatinas. 
 
 In the first act Camilla, daughter of Count 
 Lugano, expects her bridegroom, Alfonso di 
 Monza, a Sicilian officer, for the wedding cere 
 mony. Dandolo, her servant, who was to fetch 
 the priest, comes back in a fright and with him 
 the notorious pirate captain, Zampa, who has 
 taken her father and her bridegroom captive. 
 He tells Camilla who he is, and forces her to 
 renounce Alfonso and consent to a marriage 
 with himself, threatening to kill the prisoners 
 \f she refuses compliance. Then the pirates 
 
 444
 
 Zampa 
 
 hold a drinking bout in the Count's house, and 
 Zampa goes so far in his insolence as to put his 
 bridal ring on the finger of a marble statue 
 standing in the room. It represents Alice, 
 formerly Zampa's bride, whose heart was broken 
 by her lover's faithlessnss; then the fingers of 
 the statue close over the ring, while the left 
 hand is upraised threateningly. Nevertheless 
 Zampa is resolved to wed Camilla, though Alice 
 appears once more, and even Alfonso, who in- 
 terferes by revealing Zampa's real name aud by 
 imploring his bride to return to him, cannot 
 changethe brigand's plans. Zampa and his 
 comrades have received the Viceroy's pardon, 
 purposing to fight against the Turks, and so 
 Camilla dares not provoke the pirate's wrath 
 by retracting her promise. Vainly she implores 
 Zampa to give her father his freedom and to let 
 her enter a convent. Zampa, hoping that she 
 only fears the pirate in him, tells her that he is 
 Count of Monza, and Alfonso, who had already 
 drawn his sword, throws it away, terrified to 
 recognize in the dreaded pirate his own brother, 
 who has by his extravagances once already im- 
 poverished him. 
 
 Zampa sends Alfonso to prison and orders the 
 statue to be thrown into the sea. Camilla once 
 more begs for mercy, but, seeing that it is likely 
 to avail her nothing, she flies to the Madonna's 
 altar, charging him loudly with Alice's death. 
 
 445
 
 The Standard Operaglass 
 
 With scorn and laughter he seizes Camilla, to 
 tear her from the altar, but instead of the living 
 hand of Camilla he feels the icy hand of Alice, 
 who draws him with her into the waves. 
 
 Camilla is saved and united to Alfonso, while 
 her delivered father arrives in a boat, and the 
 statue rises again from the waves, to bless the 
 union. 
 
 LA BOHEME 
 
 Opera in four acts by GIACOMO PUCCINI 
 Text dy G. GIACOSA and L. ILLICA 
 
 This charming opera was first presented at 
 the Eegio Theatre, Turin February 1, 1896, 
 and has been widely popular ever since. The 
 material was gathered from Miirger's novel 
 " Vie de Boheme," and the music, which is 
 thoroughly Italian in character, is full of life 
 and vigor, interspersed here and there with rare 
 touches of sweetness and grace. 
 
 The scene is laid in the Quartier Latin of 
 Paris in the year 1830, and the first act opens 
 in a bare attic studio where Marcel, an artist, 
 and his friend Eudolph, a poet, are seen hud- 
 dled over a small stove, endeavoring to keep 
 themselves warm by burning the numerous 
 manuscripts of the good-natured poet. They are 
 shortly joined by their friends Colline, a phil- 
 osopher, and Schaunard, a musician. These 
 
 446
 
 La Boheme 
 
 four Bohemians form an inseparable quartet, 
 who live, love, and work together in perfect 
 harmony. They live entirely by their wits, 
 spending their money freely when they have it, 
 and cheerfully submitting to misfortune when 
 she sees fit to frown upon them. Greatly to 
 the surprise of his friends, Schaunard produces 
 a pocket full of gold, with which they imme- 
 diately purchase the much needed fuel, and a 
 sumptuous feast. Their appetites not yet being 
 appeased they decide to visit a nearby cafe to 
 continue their meal, but Eudolph who has an 
 important manuscript to finish, remains behind, 
 promising to join them presently. He is inter- 
 rupted in his work by a knock at the door, and 
 Mimi, a beautiful flower girl who rooms below, 
 enters to beg the loan of a candle. Her refined 
 features and graceful figure appeal to the ar- 
 tistic sense of Rudolph, who immediately falls 
 in love with her and induces her to accompany 
 him to the Cafe Momus, where his friends are 
 dining. In the midst of tbeir jolly meal, 
 Mademoiselle Musetta, a pretty and coquettish 
 damsel, enters in company with a pompous old 
 gentleman named Alcindoro, and they seat 
 themselves at an adjoining table. It so hap- 
 pens that Musetta is an old time love of Mar- 
 cel's, and on seeing him she declares that the 
 shoes she has on are pinching, and begs her dig- 
 nified esoort to go out and purchase a larger 
 
 447
 
 The Standard Operaglass 
 
 pair. As soon as he disappears, Musetta joins 
 the merry Bohemians, and leaving both bills for 
 poor old Alcindoro to pay they take their de- 
 parture. 
 
 After a time Mimi and Musetta become dis- 
 satisfied with their Bohemian, lovers on account 
 of their poverty, as their chief ambition in life 
 is to wear fine clothes and ride in broughams. 
 They therefore leave them to seek the luxuries 
 offered elsewhere. Their hearts, however, still 
 yearn for their old lovers and the delightful 
 little suppers of the Quartier Latin. 
 
 Eudolph and Marcel lead lonely and dejected 
 lives after the departure of their sweethearts, 
 and secretly long for the return of the 
 old happy days. Some months after, while in 
 the studio discussing the virtues of their re- 
 spective loves, Musetta suddenly rushes in upon 
 them in a state of great agitation, exclaiming 
 that the deserted Mimi is below, half starved 
 and dying. Eudolph runs madly down the 
 stairs, and bringing up the unconscious girl in 
 his arms, lays her tenderly upon the couch, and 
 pours forth the love of his heart in her willing 
 ear, swearing that never shall they be parted 
 again. Soothed by his words of love, Mimi falls 
 into a deep and peaceful sleep. The others, in 
 the meantime, have brought food and medicine 
 for the patient, and Eudolph going softly to the 
 bedside to awaken her, finds that she has passed 
 
 448
 
 Le Cid 
 
 away. With an agonizing cry he falls sobbing 
 on her lifeless body, while his sorrowful friends, 
 dazed at the suddennes of the catastrophe, 
 gather in pitying silence around them. 
 
 LE CID 
 
 Opera in four acts by JULES MASSENET 
 
 Text by DENNERY, GALLET and BLAU 
 
 This is considered by many to be the com- 
 poser's best work, and it has been immensely 
 popular from the time of its production in Paris 
 in 1885. The music is easy flowing and brilliant, 
 and is beautifully adapted to the libretto. 
 
 The first scene is in the house of the Count 
 de Gormas, where several noblemen are discuss- 
 ing the coming honor of knighthood, which the 
 King of Spain is about to confer on the popu- 
 lar young hero Eodrigo, son of Don Diego, a 
 renowned warrior. The King is also to appoint 
 on that day a preceptor for his daughter, and 
 it is the general opinion that Count de Gormas 
 will be the one selected to fill this . honorable 
 position. 
 
 Ximene, the beautiful daughter of Count de 
 Gormas, is deeply in love with Eodrigo, who 
 returns her affection. She confides her love to 
 the Infanta, who in her turn confesses a pas- 
 sion for Rodrigo, but realizing her position as 
 2Q 449
 
 The Standard Operaglass 
 
 heir to the throne of Castile, promises Ximene 
 to conceal her own feelings, and to assist in 
 uniting the lovers. 
 
 In the next scene the knighthood of Kodrigo 
 takes place amid the great rejoicing of the 
 people. After the ceremony, the King appoints 
 Don Diego preceptor for his daughter, much 
 to the chagrin of Count de Gormas, who inten- 
 tionally picks a quarrel with the aged Don 
 Diego, and easily disarms him. Don Diego, 
 overcome with shame at this disgrace, calls on 
 his son to avenge his honor. Rodrigo is over- 
 whelmed with grief when he hears that it is 
 Ximene's father that he must meet, but the 
 family name is at stake, and he swears to de- 
 fend it. 
 
 They meet in a moonlit street near the 
 Count's palace, and the Count is slain by Rod- 
 rigo. Ximene, hearing the disturbance comes 
 forth, and finding her father's dead body, 
 swears to be revenged on his murderer, and 
 goes immediately to the King, demanding jus- 
 tice. The King is about to regretfully con- 
 demn Rodrigo to death, when a messenger ar- 
 rives with news that a great army of Moors 
 is approaching, and Rodrigo obtains the grace 
 of a day to lead the attack against the enemy, 
 promising that, if he survives, he will return 
 and give himself up to justice. Before leaving 
 he seeks an interview with Ximene, and tells 
 
 450
 
 Coppelia 
 
 her that he intends to let himself be killed in 
 battle. This so frightens her that she confesses 
 her love, and begs him to protect himself and 
 defeat the enemy, and thus atone for his crime. 
 Kodrigo goes forth to war with a light heart 
 and vanquishes the Moors, and is hailed by them 
 the " Cid " or conqueror. On his return he 
 gives himself up to the King according to his 
 promise, who gladly pardons him on hearing 
 that Ximene has confessed her love and re- 
 nounced her vengeance, and the lovers are hap- 
 pily betrothed amid great rejoicing of the 
 people. 
 
 COPPELIA 
 
 Grand Ballet in three acts by LEO DELIBES 
 Text by CHARLES NUITTER and A. SAINT-LEON 
 
 The ballet of action, when well conducted, 
 is always a pleasing form of entertainment, and 
 Coppelia has been a decided success from the 
 time of its first production in Paris in 1870. 
 The plot, which is founded on Hoffman's story 
 " Der Sandmann," is clever and amusing. The 
 ballet throughout is arranged with considerable 
 skill and taste, and the music is bright and 
 sparkling. 
 
 The scene is laid in a small town near Galicia, 
 and in the first act the public square is shown 
 with the residence of Coppelius prominently in 
 
 451
 
 The Standard Operaglass 
 
 view. At one of the barred windows of the 
 house sits Coppelia, the beautiful and myste- 
 rious daughter of old Coppelius. She is appar- 
 ently a prisoner in her father's house, as no one 
 has ever seen her outside or even heard the 
 sound of her voice. Many young gallants have 
 tried to gain admittance, but old Coppelius will 
 admit no one, and Coppelia remains the mys- 
 tery of the village. 
 
 Swanilda, a young maiden of the town, sus- 
 pects her lover Frantz of being in love with 
 Coppelia, and appears before the house trying 
 every means in her power to attract the atten- 
 tion of her rival, but all in vain. Becoming 
 impatient, she is in the act of knocking at the 
 door to gain admittance, when Coppelius ap- 
 pears at one of fhe windows. She then conceals 
 herself in the shadow of the house, and while 
 hiding there, her lover Frantz appears on the 
 scene, and, observing Coppelia at her window, 
 bows and throws kisses to her. Swanilda be- 
 comes madly jealous, and, pretending not to 
 see Frantz, runs gaily after a passing butterfly. 
 Frantz follows her, and, catching the butterfly, 
 pins it to her coat, for which he is severely 
 reproached by Swanilda for his cruelty. She 
 then tells him that she has discovered his treach- 
 ery, and that she no longer cares for him, and 
 while Frantz is endeavoring to defend himself, 
 they are interrupted by the entrance of the 
 
 452
 
 Coppelia 
 
 Burgomaster, and many peasants, who are pre- 
 paring for the grand fete which is to take place 
 the next day. Observing Swanilda, the Burgo- 
 master promises that on the morrow she shall 
 be wedded to Frantz, but she declares that she 
 no longer cares for her fiance, and will not 
 marry him. 
 
 The peasants gradually disperse, and when 
 the street is deserted Coppelius comes forth 
 from his house and disappears in the darkness. 
 Swanilda and some girl friends, who are se- 
 cretly watching Coppelius, notice that he drops 
 a key from his pocket, and on discovering that 
 it is the key to his house, their curiosity gets 
 the better of them, and they enter. Meanwhile, 
 Frantz, who has been lurking in the neighbor- 
 hood, has also noticed the departure of Coppe- 
 lius, and obtaining a ladder, is in the act of 
 entering the window of Coppelia's chamber 
 when he is discovered by the enraged Coppelius, 
 who has returned to look for his key. 
 
 The second act discloses the studio of Cop- 
 pelius. where the frightened maidens are seen 
 examining the weird ornaments of the myste- 
 rious room. At length they discover that Cop- 
 pelia and all the figures are in reality nothing 
 but automatons, and losing their fear they press 
 the springs, and set the numerous figures to 
 dancing and playing. They soon are disturbed 
 in their merriment by the entrance of the en- 
 
 453
 
 The Standard Operaglass 
 
 raged Coppelius, but all succeed in making 
 their escape with, the exception of Swanilda, 
 who conceals herself behind a curtain. The 
 persistent Frantz in the meantime again makes 
 use of the ladder and enters the studio window, 
 only to be pounced upon by Coppelius, who, 
 pretending friendliness, induces him to drink 
 of a magic potion, which he hopes will have the 
 effect of taking a few sparks of life from 
 Frantz's body, which he then will infuse into 
 the automaton Coppelia. Mistaking Swanilda 
 for Coppelia, he becomes wild with joy when he 
 sees that his experiment is evidently success- 
 ful, and that Coppelia is actually turning into 
 a living woman. After practicing the deception 
 for a time, Swanilda restores Frantz to himself, 
 and they rush from the house together, leaving 
 poor old Coppelius in the belief that his reason 
 has deserted him. 
 
 In the tableau which follows, Frantz and 
 Swanilda are happily married, and the house 
 of Coppelius is ransacked by the guards, and 
 his pieces of workmanship are smashed to atoms. 
 He is partly appeased, however, by the Lord of 
 the Manor, who, at Swanilda's request, gives 
 him a purse of money. 
 
 The third act, which is a pantomime, deals 
 with the fete of the Bell. First is seen the 
 morning prayer, which is followed by the work- 
 ing hours, when the young girls and reapers 
 
 454
 
 Dalila 
 
 begin their work. The bell rings, and their 
 labors being over for the day, the evening is 
 given over to pleasure-making. 
 
 DALILA 
 
 French Opera-biblique in three acts by C. SAINT- 
 
 SAENS 
 
 Text by FERDINAND LEMAIRE 
 
 Dalila is probably the masterpiece of the 
 composer, the music being rich and varied, and 
 eminently dramatic in its composition. The 
 score contains some perfect melodies, the duet 
 between Samson and Dalila ranking among the 
 finest love scenes ever written. 
 
 The opera opens in the city of Gaza, in Pales- 
 tine, where Samson is discovered trying to re- 
 vive the courage of the disheartened Hebrew 
 soldiers. 
 
 Abimelech, Satrap of Gaza, appears on the 
 scene with a throng of Philistines, but they 
 are quickly dispersed, and the Satrap himself 
 is slain by Samson. The High Priest of Dagon, 
 on discovering the dead body of Abimelech, 
 calls on his followers to avenge the murder, 
 but all in vain. Finding that Samson is not to 
 be captured by force, the wily priest devises a 
 more cunning mode of attack. He seeks the 
 assistance of the beautiful Dalila, and persuades 
 
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 her to exert her charms upon his enemy. Her 
 graces prove so seductive that Samson half suc- 
 cumbs, in spite of the warnings of the Hebrews. 
 
 The scene of the second act is in the valley of 
 Soreck, where Dalila and the High Priest are 
 found conspiring to deliver Samson to the Phi- 
 listines, by means of the blandishments of the 
 enchantress. Samson, yielding to her continued 
 entreaties, tells her that his strength lies in his 
 hair. Soothing him to sleep, she shaves off his 
 locks and puts out his eyes. He is then easily 
 captured and put in prison, where we find him 
 in the third act, shorn and blind, meekly turn- 
 ing a hand-mill, and sorrowfully listening to 
 the rebukes of his fellow Hebrew captives, for 
 his weakness in yielding to the love of a woman. 
 
 The last scene is the temple of Dagon, 
 where the Philistines are celebrating their vic- 
 tory and praising Dalila for her cleverness. 
 Samson is led in by a youth, and is hailed with 
 shouts of derision by his enemies, who scoff him 
 for being enticed by a woman's wiles. Samson, 
 overwhelmed with grief, remains silent, his lips 
 moving in prayer. The High Priest, deter- 
 mined upon his death, pours a deadly poison 
 into a cup of wine, and commands Dalila to 
 serve it to the blind hero, who, while pretending 
 to approach the shrine, whispers to the youth 
 to guide him to the pillars of the temple. This 
 being done, he prays aloud to the God of Israel 
 
 456
 
 Damnation of Faust 
 
 to renew his strength for just one instant. The 
 prayer is granted, and seizing the pillars he 
 overturns them, the temple collapsing amid the 
 shrieks and cries of the terrified Philistines, 
 
 DAMNATION OF FAUST 
 
 Dramatic Legend in four acts by HECTOR BERLIOZ 
 
 Text by BERLIOZ, GERARD and GANDONNIERE 
 
 This remarkable opera, while deviating from 
 Goethe's poem, is well worthy of being placed 
 beside the original drama. The orchestral 
 composition is probably unsurpassed in its 
 weirdness and passion, and the opera as a whole 
 ranks among the noblest examples of dramatic 
 music. It was first presented in Paris in 184fi. 
 
 The scene opens with Faust wandering alone 
 in the fields of Hungary, singing to the awaken- 
 ing spring. The sight of the merry soldiers 
 and peasants sends him home sad and melan- 
 choly, where we find him in the second act 
 preparing a dose of poison to end his sufferings. 
 The sweet strains of religious music in the dis- 
 tance stays his hand, and while in meditation. 
 Mephistopheles suddenly appears, and persuades 
 him to accompany him to the Inn of Auerbach 
 in Leipsic. Faust soon tires of the vulgar 
 songs of the students, and Mephistopheles wafts 
 
 457
 
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 him away to the beautiful banks of the River 
 Elbe, where the enchanting voices of sylphs and 
 fairies soothe him to sleep, only to dream and 
 long for his love, Marguerite. 
 
 In the third act Mephistopheles takes Faust 
 secretly to Marguerite's chamber, where Faust 
 pours forth his love in a song of such deep pas- 
 sion that the mother and friends of Marguerite 
 are awakened, and come knocking at the door. 
 The demon drags Faust away unseen, and the 
 unhappy girl is left alone and defenceless. 
 
 At the opening of the fourth act Marguerite 
 is in her chamber weeping and yearning for 
 Faust, who has meanwhile retreated to a cavern 
 in the forest, where he is bemoaning his separa- 
 tion from his love. Mephistopheles again visits 
 him, and, working on his sympathy, persuades 
 him to sign an oath to enter his service on the 
 morrow, promising as a reward to conduct him 
 immediately to Marguerite. Mounting two 
 black steeds, they rush wildly through space, and 
 after passing among witches and hideous mon- 
 sters arrive in hell, where Faust is received 
 with shouts of satanic joy by the demons. 
 
 In the epilogue which follows, the unhappy 
 and repentant Marguerite is pardoned by the 
 Almighty and ascends with the virgins to the 
 Kingdom of Heaven. 
 
 458
 
 L'Elisir D'Amore 
 
 L'ELISIR D'AMORE 
 
 An Italian Buffa in two acts by GOETANO 
 DONIZETTI 
 
 Text by ROMAM 
 
 This graceful little opera was first presented 
 in Milan in 1832. It is bright and gay in its 
 construction, and the music throughout is me- 
 lodious and pleasing, especially the charming 
 romanza in the second act (" Una furtiva la- 
 crima"), which is one of the most popular 
 songs in light opera. 
 
 Adina, a wealthy and capricious young coun- 
 try girl, is devotedly loved by Nemorino, a hand- 
 some, but poor, young peasant. She looks rather 
 favorably upon his suit until Belcore, the dash- 
 ing sergeant of the village garrison, begins to 
 pay her attention. Nemorino, in despair at the 
 success of his rival, visits Doctor Dulcamara, 
 a quack physician, and purchases from him 
 the Elixir of Love, by which he hopes to win 
 back Adina. The mountebank gives him a bottlo 
 of Bordeaux wine, which the simple peasant 
 drinks at a gulp, and, becoming typsy, so en- 
 rages Adina, that she promises to marry Bel- 
 core on the morrow. The gallant sergeant un- 
 expectedly receiving orders to leave the village 
 urges Adina to marry him immediately. Nemo- 
 rino is in despair upon hearing this, for tho 
 
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 Elixir was not to take effect until the following 
 day. He therefore goes again to the mounte- 
 bank, imploring him for another vial, but hav- 
 ing no money the Doctor refuses to supply him. 
 
 In despair, Nemormo enlists in the army on 
 the advice of Belcore, thereby securing the pay 
 of twenty crowns, with which he purchases a 
 second bottle of the famous Elixir. 
 
 In the meantime the maidens in the village 
 have learned that Nemormo's rich uncle has 
 died, leaving him all his property. They crowd 
 about him, showing the greatest respect and 
 attention, which Nemorino naturally attributes 
 to the Elixir, knowing nothing of the death of 
 his uncle. Adina seeks Doctor Dulcamara, and 
 hearing from him of Nemorino's. devotion, is 
 filled with remorse. She goes at once to Bel- 
 core, and announcing her change of mind, pays 
 off Nemorino's ransom, which releases him from 
 his obligations to the sergeant. She then be- 
 stows her hand upon her happy lover, who is 
 firm in his belief that he owes his good fortune 
 to the magic influence of the Elixir of Love. 
 
 EENANI 
 
 Tragic Opera in four acts by GIUSEPPE VERDI 
 
 Text by COUNT PI AVE 
 
 The story of this opera was taken from Victor 
 Hugo's tragedy " Hernani." It was received 
 
 460
 
 Ernani 
 
 with enthusiasm when first presented in Venice 
 in 1844, though later productions gave the com- 
 poser much trouble on account of the hostility 
 of Victor Hugo, who demanded that the libretto 
 should be changed. Later the poet was appeased 
 and the opera became immensely popular. The 
 music is full of that genuine passionate warmth 
 and dramatic power which characterizes all the 
 works of this composer. 
 
 The action takes place in Aragon, Spain, in 
 the year 1519. Ernani, the son of the Duke of 
 Segorbia, has been outlawed by the King, and 
 has become chief of a band of noted brigands. 
 He is deeply in love with Elvira, a noble Span- 
 ish lady, and on hearing that she is betrothed to 
 Don Gomez de Silva, an aged grandee of Spain, 
 determines to intervene, and to carry her off 
 if possible. 
 
 During the preparations for the marriage, 
 Don Carlos, King of Spain, enters Elvira's 
 chamber, and, declaring his passion, tries to 
 steal her away from the castle. Her cries for 
 help bring Ernani and Silva to her rescue, and 
 the latter, after challenging both of his rivals, 
 recognizes his King, and, falling on his knees, 
 craves pardon, which is granted. 
 
 As the wedding nuptials are about to be sol- 
 emnized, Ernani makes his appearance, dis- 
 guised as a pilgrim, and, believing Elvira to be 
 false to him, discards his disguise in the pres- 
 
 461
 
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 ence of Silva, and scornfully demands to be 
 given up to the King. Silva at first refuses to 
 betray his guest, but, on finding that Ernani and 
 Elvira still love each other, swears to be re- 
 venged. 
 
 The King again appears, and demands the 
 arrest of Silva if he does not give up Ernani, 
 but Elvira pleads so strongly for them that he 
 relents and takes her away as a hostage of the 
 faith of Silva. Silva at once challenges Er- 
 nani, who refuses to fight with his aged pro- 
 tector, but promises to give himself up to the 
 King if he may be permitted to see Elvira 
 again before he dies. On hearing that the 
 King has carried her oif, Ernani determines 
 on revenge, and promises Silva that he will 
 forfeit his life at any time if he will assist him 
 in his vengeance. To bind the contract Er- 
 nani presents him with a horn, which he is to 
 sound when he wishes the promise fulfilled. 
 
 The King hears of the plot against his life, 
 and conceals himself in the Catacombs in 
 Aquisgrana, knowing that the assassins are to 
 gather there. During the meeting of the con- 
 spirators the King suddenly appears in their 
 midst, condemning all the commoners to prison 
 and the nobles to execution. Ernani, by right 
 of birth, demands to be sentenced with the 
 nobles, but the King, wishing to reign by love 
 rather than by fear, magnanimously pardons all 
 
 462
 
 La Favorita 
 
 the conspirators, and consents to the union of 
 Ernani and Elvira. 
 
 This enrages the jealous Silva, who appears 
 in disguise at the wedding festivities, and 
 blows a blast upon the fatal horn. Ernani, true 
 to his promise, stabs himself to the heart, and 
 dies in the arms of Elvira. 
 
 LA FAVORITA 
 
 Grand Opera in four acts by GOETANO DONIZETTI 
 Text by KOYER and WAETZ 
 
 This opera is most powerful in its dramatic 
 effect, and the score contains some marvelous 
 melodies, not only in passion and fury, but also 
 in pathos and solemnity. It was first presented 
 at the Academie Royale de Musique, Paris, De- 
 cember 2, 1804. 
 
 The action of the opera is supposed to take 
 place in Spain in the year 1340. Ferdinand, 
 a novice in the convent of St. James, is about 
 to assume vows, when he sees and falls in love 
 with Leonora di Gusman, who, unknown to him 
 is the favorite of Alfonso XI, King of Castile. 
 Ferdinand leaves the convent in pursuit of 
 Leonora, and succeeds in obtaining access to her 
 at her beautiful home on the Isle of St. Leon. 
 He declares his love for her, and finds it purely 
 reciprocated, Leonora being careful not to re- 
 veal her real position. Ferdinand urges her to 
 
 463
 
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 fly with him; this she cannot do, but secures 
 for him a commission in the army, and tells 
 him to go to the wars and prove himself worthy 
 of her hand. 
 
 King Alfonso wishes to divorce his Queen and 
 marry Leonora, but the Papal throne is so 
 openly opposed to this that he dares not do it. 
 At this juncture, Ferdinand returns from the 
 wars, where he has gallantly defeated the Moors 
 and practically saved the kingdom from ruin. 
 The King heaps rewards upon him, and, fearing 
 the Papal malediction, consents to his marriage 
 with Leonora. Ferdinand, still ignorant of 
 Leonora's relations to the King, presses his suit, 
 and is accepted, she believing that her lover 
 knows all and has forgiven. 
 
 After his marriage the nobles taunt him of 
 the stain upon his honor, and even his beloved 
 friend Balthazar, superior of the convent, re- 
 coils from him. Finally, learning the truth, 
 he renounces his bonds, and madly cursing the 
 King ahd Leonora, returns once more to the 
 convent. The heartbroken Leonora, disguised 
 as a novice, goes to the convent of St. James, 
 where she is forgiven by Ferdinand, who, over- 
 come by his great love, again urges her to fly 
 with him. It is too late, however, for with 
 a prayer of thanksgiving at her absolution, the 
 repentant Leonora expires in the arms of her 
 grief-stricken lover. 
 
 464
 
 Lakmd 
 
 LAKME 
 Romantic Opera in three acts by LEO DELIBES 
 
 Text by GONDINET and PH. GILLE 
 
 This opera was adopted from the romance 
 " Le Mariage de Loti," and was first given in 
 Paris in 1883. Delibes is at his best in light 
 opera and ballets. The composition which is 
 Oriental in character, lacks the dramatic inter- 
 est which the libretto demands, nevertheless, 
 it is attractive when performed by good artists. 
 because of its charming love songs and graceful 
 duets. 
 
 The scene is laid in India in a locality re- 
 cently subdued by the English. The first act 
 presents the private gardens of Nilakantha, an 
 Indian priest, who has a great dislike for all 
 foreigners. A small party of English ladies 
 and British officers, including Gerald and Fred- 
 erick, intrude upon his sacred grounds while 
 strolling about in search of amusement. They 
 discover some magnificent jewels, which Lakme. 
 daughter of Nilakantha, has left upon a shrine, 
 and Gerald is so struck by their beauty that he 
 remains to make a sketch of them for his fiancee, 
 Ellen, while the others, realizing the impro- 
 priety of their intrusion, retire unnoticed. 
 Lakme soon returns, and on seeing Gerald im- 
 mediately falls in love with him, and warns 
 
 465
 
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 him of the death penalty which will result 
 if his presence is discovered. Gerald hastily 
 conceals himself as Nilakantha enters, but the 
 wily priest discovers his footprints, and declares 
 that he must be captured, and suffer the penalty 
 for his rashness. 
 
 In the second act, Lakme and her father, dis- 
 guised as Penitents, appear in the public square, 
 where a grand festival is taking place in honor 
 of the Gods of India. Many English people are 
 present, and the priest commands his daughter 
 to sing before them, hoping she will be recog- 
 nized by the intruder, and that he will thus be 
 induced to disclose himself. The plan succeeds, 
 and Xilakantha, determined on revenge, steals 
 up behind Gerald and stabs him in the back. 
 Lakme, who witnesses the deed, hurries to the 
 assistance of her lover, and with aid of Hadji, 
 her slave, removes him to a hut in the forest, 
 where he is seen in the third act being nursed 
 back to life and strength by the faithful Lakme, 
 who, knowing the secret properties of the In- 
 dian plants, soon restores him to perfect health. 
 Under her tender care and affection Gerald for- 
 gets his former love and duties, and swears eter- 
 nal love for Lakme. To prove his constancy, 
 he begs her to procure a draught of the sacred 
 water which possesses the property of making 
 earthly love eternal. While she is absent in 
 search of it, Frederick appears on the scene, 
 
 466
 
 M 
 
 anon 
 
 urges his friend to leave Lakme and his present 
 mode of living and to return to his fiancee and 
 his duties in the army. Gerald reluctantly con- 
 sents on hearing that his regiment is about to 
 be ordered into action, and Frederick leaves just 
 as Lakme returns with the magic potion. She 
 lovingly offers it to him, but as she does so 
 the fifes and drums of his troop are heard in the 
 distance preparing for their departure, and the 
 love of duty overmastering him, Gerald refuses 
 to drink. The heart-broken Lakme immediately 
 sees they are estranged forever, and in despair 
 she takes a deadly poison, and falls dying in 
 the arms of her lover as the angry priest and his 
 Hindoo followers arrive on the scene. With 
 her last breath Lakme urges her father to for- 
 give him, and, the request being granted, Ger- 
 ald is allowed to depart unharmed. 
 
 MANON" 
 
 Opera in five acts by JULES MASSENET 
 Text by H. MEILHAC and P. GILLE 
 
 Massenet possesses the foresight to always 
 select subjects for his operas which are emi- 
 nently suited to his peculiar genius, and this 
 is especially true in the adoption of Manon from 
 Abbe Prevost's famous romance " Manon Les- 
 caut." The music, which is full of poetry and 
 
 467
 
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 refinement, suits the story admirably. It was 
 first presented with great success at the Opera 
 Comique, Paris, in 1884, and is considered to 
 be one of the best of modern French operas. 
 
 The action takes place in the year 1721, the 
 first act presenting the inn at Amiens, where 
 Guillot Monfontain, Minister of Finance, and 
 a roue, is making merry with a party of friends. 
 In the midst of their festivities, Manon, a vain 
 and beautiful adventuress, arrives at the Inn, 
 in company with her cousin, Lescaut, of the 
 Eoyal Guards. Guillot, struck with the beauty 
 of Manon, leaves his friends, and tries to entice 
 her to go with him, but is rebuked by her, and 
 is finally compelled to retreat. Lescaut, after 
 warning his cousin against Guillot, leaves her 
 for a short time on business, and during his 
 absence the Chevalier Des Grieux arrives at the 
 Inn, and immediately falls in love with Manon 
 on account of her beauty and seeming simplic- 
 ity. Although about to take holy orders, he 
 becomes so infatuated with her that he consents 
 to her plan of making use of Guillot's carriage 
 to elope, and they drive to Paris, where they 
 are found in the second act, comfortably estab- 
 lished in cozy apartments in the Hue Vivienne. 
 They are interrupted by the entrance of the 
 enraged Lescaut and his friend De Bretigny, 
 a nobleman who is in love with Manon. The 
 two men are pacified on hearing that Des 
 
 468
 
 Manon 
 
 » 
 Grieux has written to his father for consent to 
 his marriage with Manon, but it so happens that 
 the Count, his father, refuses to give his con- 
 sent, and Des Grieux is seized by men in his 
 father's employ, and is taken away from his love 
 and placed in captivity. 
 
 The third act reveals the fete of Cours la 
 Eeine where Manon is under the protection of 
 De Bretigny. They encounter Count Des 
 Grieux, who informs De Bretigny that his son 
 has entered the Seminary of St. Sulpice, as a 
 priest, on account of the conduct of Manon. 
 On hearing this, all Manon's love for the Che- 
 valier returns, and she flies from De Bretigny 
 to rejoin her lover. After a great struggle with 
 •himself Des Grieux finally succumbs to the en- 
 treaties of Manon, and renouncing the priest- 
 hood, goes forth again into the gay world. 
 
 The fourth act is the interior of a fashionable 
 gambling house in Paris. Des Grieux and 
 Manon enter, and, after much persuasion, the 
 Chevalier consents to play, in hopes of winning 
 riches for the pleasure-loving Manon. He plays 
 in remarkable luck, and after winning contin- 
 ually from Guillot, is unjustly accused by him 
 of cheating, and trouble ensues. The Chevalier 
 and Manon are both on the point of being ar- 
 rested when the Count Des Grieux appears and 
 releases his son, but Manon, is captured and 
 
 condemned to exile. 
 
 469
 
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 In the last act, Lescaut and Des Grieux are 
 seen hiding in a lonely spot on the road to 
 Havre, where Manon is to pass on her way to 
 exile. By bribing a soldier, the unhappy lover 
 succeeds in obtaining an interview with Manon. 
 He urges her to try and escape with him, but 
 she is too weak from fatigue, and, after praying 
 him to forgive her for unworthiness, the repen- 
 tant Manon dies in the arms of the grief- 
 stricken Chevalier. 
 
 MANEU 
 
 Romantic opera in three acts by I. J. PADEREWSKI 
 Text by ALFRED NOSSIG 
 
 The plot of this opera is Paderewskrs own 
 conception. It was first presented under his 
 direction at the Court Theatre, Dresden, May 
 29, 1901. The opera as a piece of real musical 
 workmanship proves conclusively the author's 
 right to recognition as a composer, as well as 
 a musician. He skilfully introduces the violin 
 and other musical instruments, and there is a 
 delicacy and beauty throughout the score which 
 secures a distinct success for'the opera. 
 
 The scene is laid in the Tatra Mountains, be- 
 tween Gralicia and Hungary. The first acts pre- 
 sents a village scene in the mountains where 
 Hedwig js se§ji bgmoaning the loss of her 
 
 470
 
 Manru 
 
 daughter Ulana, who has run away with gypsy 
 Manru. Ulana suddenly appears in the village, 
 and coming to her mother's cottage begs for- 
 giveness for herself and her lover. Hedwig 
 promises to forgive her if she will renounce 
 Manru forever, but this the girl persistently re- 
 fuses to do, and finally her mother in a rage 
 drives her from the door with curses. Ulana 
 then seeks the assistance of Urok, a dwarf and 
 , reputed sorcerer, who has often confessed his 
 love for her. From him she obtains a magic 
 potion with which she hopes to win back the 
 love of Manru, who has already begun to tire of 
 his exile, and to long for the old roving life 
 of the Gypsies. 
 
 The second act shows a hut in the mountains, 
 where Ulana is singing a lullaby to her infant, 
 while Manru is struggling between his love and 
 his desire to join the Gypsies. Urok enters the 
 hut, and suddenlv beautiful violin music is 
 heard in the distance, which Manru recognizes 
 as coming from the Gypsy fiddler, Jogu. 
 The charm of the music proves too much for 
 him, and he rushes from the hut and dis- 
 appears in the forest. Jogu tries to persuade 
 him to rejoin the band and be their chief, telling 
 him that the beautiful Gypsy maiden Asa is 
 pining with love for him. In the midst of his 
 temptation Ulana appears and finally persuades 
 him to return to the hut, where she gives him a 
 
 471
 
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 drink of the magic potion. This has the effect 
 of temporarily winning back his love. 
 
 The third act reveals a lake in the mountains, 
 where Manru is seen wandering in the moon- 
 light. He hears strange voices echoing through 
 the mountains, and, becoming weary, falls asleep 
 beneath the trees, where he is found shortly 
 after by the band of Gypsies. The maiden Asa 
 recognizes him immediately, and begs Oros, the 
 Gypsy chief, to forgive him and receive him 
 back into the tribe. Oros refuses to comply with 
 her wishes, and finding his people ready to for- 
 give Manru, leaves the band in anger. Manru 
 is finally persuaded by Asa to accept the posi- 
 tion of chief in Oros' stead. Urok suddenly ap- 
 pears in their midst and pleads with Manru not 
 to desert Ulana and his child, but all in vain, 
 as Manru finally succumbs to the alluring smiles 
 of Asa and disappears in the mountains with the 
 Gypsy band. 
 
 On hearing of her desertion, Ulana, mad- 
 dened with grief, throws herself into the lake 
 and is drowned. Manru and Asa, walking down 
 the mountain path with their arms about each 
 other, are suddenly confronted by Oros, who, 
 grappling with Manru, hurls him into the abyss, 
 thereby regaining his position as chief of the 
 Gypsies. 
 
 472
 
 Mefistofele 
 
 MEFISTOFELE 
 
 Grand Opera in prologue, four acts, and epilogue 
 
 Music and text by AKRIGO BOITO 
 
 This is one of the strongest Italian operas, 
 and the composer is often called the " Italian 
 Wagner." It was first presented in Milan in 
 1868. The libretto is a paraphrase of Goethe's 
 Faust, and is treated from a dramatic, rather 
 than a philosophical, point of view. The music, 
 which is a combination of Italian and German 
 styles, is strikingly powerful and original in 
 character. 
 
 The scene of the Prologue is laid in the re- 
 gions of space, where Mefistofele makes a wager 
 with the Deity that he will gain a victory over 
 the powers of Heaven by enticing Faust to com- 
 mit evil. 
 
 The first act is in the city of Frankfort-on- 
 the-Main, where Faust and his pupil, Wagner, 
 are seen amid the crowd, followed continually 
 by a Gray Friar, who is Mefistofele in disguise. 
 Faust returns to his laboratory, still pursued 
 by the Friar, who conceals himself in an alcove. 
 The sight of Faust reading the Bible brings 
 Mefistofele out with a shriek, and throwing off 
 his disguise appears in the dress of a knight, 
 and reveals his real identity. Faust promises 
 to serve him under certain conditions, and the 
 
 473
 
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 compact being made the demon spreads his cloak 
 and both disappear through the air. 
 
 The second act discloses Faust (under the 
 name of Henry) and Margaret, Mefistofele and 
 Martha strolling through a rustic garden, chat- 
 ting and love-making. The scene suddenly 
 changes to the heights of the Brocken, where, 
 amid the celebration of the Witches' Sabbath, 
 Mefistofeles discloses to Faust a vision of the 
 sorrowful Margaret, fettered in chains. 
 
 In the third act, Margaret is seen in prison, 
 lying upon a heap of straw, where she has been 
 committed for poisoning her mother and killing 
 her babe. Mefistofele and Faust appear, and 
 the latter urges Margaret to escape with him, 
 but Mefistofele recalls to her the reality of her 
 situation, and she shrinks away from her lover 
 and falls dying. The voices of angels are soon 
 heard in the distance, announcing that her soul 
 has been received in Heaven. 
 
 In the fourth act, Mefistofele takes Faust to 
 the beautiful banks of the Peneus, in the vale 
 of Tempe, during the night of the classic Sab- 
 bath. Faust pays court to Helen of Troy, and 
 pledging their love and devotion, they wander 
 in ecstasy amid the beauties of their surround- 
 ings. 
 
 In the Epilogue which follows, the aged 
 Faust is seen in his laboratory mourning over 
 his past life and praying for a happier one to 
 
 474
 
 I Puritani 
 
 come. Mefistofele, fearing to lose him, urges 
 him to fly once more, but he resists the tempta- 
 tion. As a last resort, Mefistofele summons 
 a vision of beautiful sirens, and Faust, though 
 sorely tempted, again resists the demon by turn- 
 ing to his Bible and praying for help. 
 
 His prayer is answered, and, as he dies, the 
 celestial choir announces his salvation. 
 
 I PUEITANI 
 
 Grand Opera in three acts by VINCENZO BELLINI 
 Text by COUNT PEPOLI 
 
 The libretto of this, the last work of Bellini, 
 is the poorest of all his operas, yet the score con- 
 tains some of his most finished and fascinating 
 melodies. It was first presented at the Theatre 
 Italian, Paris, in 1835. 
 
 The scene is laid in England during the 
 reign of Charles II, and the principal incidents 
 take place in a fortress near Plymouth, held 
 by the parliamentary forces, under command of 
 Lord Walton, a Puritan general. 
 
 Elvira, daughter of Lord Walton, is in love 
 with Lord Arthur Talbot, a partisan knight 
 of the Stuarts, but her hand has been promised 
 to Sir Richard Forth, a Puritan colonel. Her 
 uncle, Sir George Walton, at last gains the con- 
 
 475
 
 The Standard Operaglass 
 
 sent of her father to her marriage with Lord 
 Arthur, who therefore is admitted to the fort- 
 ress in order to celebrate the nuptials. 
 
 Henrietta of France, widow of Charles I, is a 
 prisoner in the fortress, and has been con- 
 demned to death by Cromwell. She discloses her 
 identity to Arthur who, in order to assist his 
 Queen to escape, conceals her in Elvira's wed- 
 ding veil. Just as they are making their escape 
 they are met by Arthur's rival, Sir Eichard, but 
 on discovering that the lady is Henrietta and 
 not Elvira, he allows them to pass. Elvira and 
 the soldiers discover the fleeing couple as they 
 are passing the drawbridge, and she, thinking 
 that her lover has eloped with Henrietta, loses 
 her reason. Arthur is condemned to death by 
 the Parliament, and a large reward is offered for 
 his capture. Sir George and Sir Eichard realize 
 that if Elvira is to be restored to reason Arthur 
 must be saved, so they agree to use their in- 
 fluence in his behalf, providing that he is cap- 
 tured without arms. 
 
 In spite of the vigilant watch, Arthur suc- 
 ceeds in getting access to his beloved, and the 
 sudden joy of seeing him, and hearing that he 
 still loves her, restores her to reason. Their 
 interview is interrupted by the entrance of sol- 
 diers, who arrest him in the name of the Par- 
 liament, and are about to condemn him to death 
 when the order comes from Cromwell to pardon 
 
 476
 
 Semiramide 
 
 all captives and political offenders, as the King 
 has been defeated and the peace of England re- 
 established. Thus the lovers are happily united. 
 
 SEMIRAMIDE 
 Lyric Tragedy in two acts by GIOACHINI ROSSINI 
 
 Text by GAETANO ROSSI 
 
 This is one of the best of the fifty operas 
 written by Rossini. The subject is taken from 
 Voltaire's "Serniramis." It was first presented 
 in Venice in 1823. The music is stirring in 
 its passion, and has throughout the smoothness 
 and richness of melody which characterizes the 
 work of its versatile composer. 
 
 The scene is laid in Babylon. In the first 
 act, Ninus, the King, is murdered by his Queen, 
 Serniramis, who is assisted in her evil design 
 by her lover Assur, an aspirant to the throne. 
 Serniramis had given over her son, Ninia, at an 
 early age, to the priest Oroe, who had brought 
 him up to believe that he was of Scythian 
 origin. Xinia enters the service of the Queen 
 under the name of Arsaces, and soon becomes a 
 renowned warrior. 
 
 On returning victorious from the wars, he is 
 loaded with honors by Serniramis, who, totally 
 ignorant of his parentage, falls in love with him 
 and openly avowing her passion, asks him to 
 
 477
 
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 marry her. Arsaces refuses, as he is already in 
 love with the royal princess Azema. 
 
 During a gathering of the Babylonians in 
 the temple, while Semiramis is announcing to 
 her people her choice for their future King, the 
 gates of Ninus' tomb suddenly open, and his 
 ghost appears in their midst, predicting that 
 Arsaces will be his successor to the throne, and 
 commanding him to avenge his death upon the 
 enemy who shall visit the tomb that night. In 
 the meantime the Priest Oroe has revealed to 
 Arsaces the true circumstances . of his birth, 
 whereupon he informs his mother of his parent- 
 age. The repentant Queen declares that he shall 
 be the successor to the crown, and warns him 
 against the aspiring and evil Assur. 
 
 At midnight Arsaces descends to the tomb of 
 his father, and is followed by Assur, who has 
 deliberately planned to murder him. Semi- 
 ramis, fearful for the life of her son, follows 
 Assur into the tomb, and Arsaces, who is lying 
 in wait for him, hears the footsteps of his 
 mother approaching, and, thinking her to be 
 Assur, stabs her. She dies in his arms, and 
 Assur, being imprisoned, all obstacles are re- 
 moved, and Arsaces, after marrying Azema, is 
 proclaimed King of Babylon. 
 
 478
 
 La Tosca 
 
 LA TOSCA 
 
 Melodrama in three acts by GIACOMO PUCCINI 
 
 Text by SARDOU, ILLICA and GIACOSA 
 
 La Tosca was first presented at Covent Gar- 
 den, London, in 1900, and though it was a gor- 
 geous production it was not as well received 
 as La Boheme. The libretto, which is taken 
 from Sardou's tragedy, is not one adapted to 
 operatic treatment. It is cleverly orchestrated, 
 however, and the intensely dramatic action 
 is handled with considerable skill. The music 
 is strong in effect, and original and vivacious 
 in style. 
 
 The scene is laid in Eome in the year 1800, 
 and the first act presents the interior of the 
 Church of Sant' Andrea. Angelotti, an im- 
 prisoned consul of the Roman Eepublic, makes 
 his escape with the assistance of his sister, and 
 appears in the church in prison garb, hunting 
 for the key which she has hidden there for him. 
 Just as he is about to make his escape, he hears 
 footsteps approaching, and hastily conceals him- 
 self as Cavaradossi, an artist, enters the church 
 and proceeds to paint a portrait of the Madonna. 
 Cavaradossi, hearing a noise behind him, inves- 
 tigates, and discovers Angelotti, who proves to 
 be an old friend of his. He promises to help 
 him escape, but is interrupted by the entrance 
 
 *79
 
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 of Tosca, a celebrated songstress, who is madly 
 in love with him. Hearing whispers she be- 
 comes suspicious, believing that Cavaradossi 
 has played her false, but, after much persuasion, 
 is finally induced to withdraw. Cavaradossi 
 is then about to conduct his friend to his own 
 villa, when the booming of cannon is heard, 
 announcing the escape of the prisoner. They 
 hurry out just as Scarpia, the chief of police, 
 enters the church in search of Angelotti. Tosca 
 returns hoping to see her artist lover, and the 
 wily Scarpia, who is jealous of Cavaradossi and 
 himself in love with Tosca, makes her believe 
 that her lover has fled with another woman, by 
 showing her a fan which has been left behind 
 by the sister of Angelotti. 
 
 The second act presents the apartments of 
 Scarpia in Farnese Palace. Cavaradossi who 
 has been captured in his villa, is brought before 
 the Chief of Police, and, on being commanded 
 to reveal the hiding place of Angelotti, denies 
 all knowledge of the whereabouts of the fugi- 
 tive. Scarpia, therefore, devises a fiendish plan 
 to discover his secret. He orders Tosca to be 
 brought before him, and she, having learned 
 that it was the prisoner and not a rival that 
 Cavaradossi had fled with, throws herself into 
 his arms at finding him safe and unharmed. 
 Scarpia, enraged and jealous, orders Cavara- 
 dossi to be taken to the torture chamber, and 
 
 480
 
 La Tosca 
 
 the distracted Tosca, hearing his groans of pain, 
 is at last persuaded to reveal the hiding place 
 of Angelotti. Cavaradossi is then brought in, 
 bleeding and unconscious, and Scarpia gives the 
 order for his execution. 
 
 Tosca beseeches him not to fulfil the order, 
 and he promises to save her lover if she will 
 grant him her favor. After vain prayer, she 
 consents to his wish, under the condition that 
 he will write out a passport to enable Cavara- 
 dossi and herself to leave the country in safety. 
 Scarpia consents to her plan, but gives a secret 
 order for Cavaradossi to be hung at sundown. 
 He then proceeds to write out the passport, and 
 while doing so Tosca steals up from the rear 
 and stabs him in the back, making good her 
 escape. 
 
 The third act presents a cell in the Castle 
 Sant Angelo, where Cavaradossi is imprisoned, 
 awaiting his sentence. Tosca rushes in with the 
 passport, and, after explaining how she killed 
 Scarpia, tells him that the soldiers are to pre- 
 tend to shoot him, and that he must fall as if 
 really shot, after which she will take him se- 
 cretly away in her carriage. He is placed 
 against the wall, and after a volley of shots 
 from the soldiers, falls as directed by Tosca. 
 After the guard has disappeared she hurries to 
 his side, only to find his body riddled with bul- 
 lets. In an agony of grief she throws herself 
 
 401
 
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 on his dead body. The soldiers entering at this 
 moment accuse her of the murder of Scarpia, 
 but she, eluding their efforts to seize her, leaps 
 upon the parapet of the terrace, and throws her- 
 self into space, before the horror-stricken sol- 
 diers are aware of her intention. 
 
 &
 
 Die Fledermaus 
 
 DIE FLEDERMAUS 
 (THE BAT) 
 Comic Opera by JOHANN STRAUSS 
 
 The delightful music of Johann Strauss's 
 comic opera has always been welcome to the 
 music lovers of Germany, where " Die Fleder- 
 maus " is a regular piece in opera houses. In 
 this country and in England, however, it has 
 been only within the past three years that peo- 
 ple have had many opportunities to hear it. In 
 England, indeed, it has never been given as 
 Grand Opera. In Xew York its enthusiastic 
 reception has assured it a place in every season's 
 programme. It was first performed in Vienna 
 in 1874. 
 
 The plot of the libretto, written by Meilhac 
 and Halevy, is rather a complicated one, ow- 
 ing to the many situations in which the leading 
 characters are placed. The pivot, so to speak, 
 on which the whole plot revolves is Eisenstein, 
 a banker, who, when the curtain rises, is about 
 to go to prison for five days for an indiscretion 
 which his quick temper made him commit. 
 Eisenstein's friend, Dr. Falke, a notary, in- 
 vites the banker to a supper to be given by 
 Prince Orlofsky, a young and rich Eussian, to 
 the members of the Ballet and Dramatic corps. 
 
 483
 
 The Standard Operaglass 
 
 He does this in order to pay back Eisenstein 
 for a practical joke the latter once played on 
 him. Eisenstein accepts the invitation, telling 
 his wife that he is going to deliver himself up 
 to justice to serve his sentence. 
 
 The first act opens with a serenade sung by 
 Alfred, a rather persistent lover of Eosalind 
 Eisenstein, which is listened to by Adele, Mrs. 
 Eisenstein's maid, but which is really intended 
 for her mistress. Adele has just received an 
 invitation from her sister Ida, a member of the 
 ballet, to go to a splendid party to be given by 
 a Eussian prince, and is most anxious to be 
 present. When Mrs. Eisenstein comes in Adele 
 begs for leave of absence for the evening in 
 order to see her aunt, who, she says, is very ill. 
 The leave is refused, and Adele goes off the 
 stage in a sulky dudgeon. Rosalind, left alone, 
 is suddenly met by her lover, Alfred, who 
 comes in through the window. Her weakness 
 for tenors causes her to promise to permit him 
 to return later when her husband is gone. 
 Eisenstein comes in with Dr. Blind, his lawyer, 
 who has conducted the case badly, and now re- 
 ceives Eisenstein's upbraidings. Blind is turned 
 out in anger, and Eosalind tries to comfort her 
 husband by promising him a good supper. 
 Ealke comes in and invites Eisenstein to the 
 Prince's supper party, and, before Eosalind re-
 
 Die Fledermaus 
 
 turns, he has joyfully accepted Falke's invita- 
 tion. He declines his wife's supper and tells 
 her he must go to prison at once. He dresses 
 himself in his evening clothes, takes a tender 
 farewell of his wife, and leaves with Falke. 
 Adele then comes in, and Rosalind, in order to 
 have her out of the way for her reception of 
 Alfred, gives her permission to go to see her 
 sick aunt. Adele goes out in high glee, to make 
 room for Alfred's reappearance. The tenor 
 prepares to make himself at home by going into 
 Eisenstein's room and coming back in the 
 banker's dressing-gown. The supper prepared 
 for Eisenstein by his wife is now partaken of by 
 Alfred, much to the chagrin and vexation of 
 Rosalind, who only wants to hear the tenor sing. 
 Alfred, however, finds the place so comfortable 
 that he partakes freely of wine, becomes some- 
 what hilarious, and is ready to remain all night. 
 Rosalind, in distress, knows not what to do. 
 Just then a ring is heard at the door, and 
 Franke, the governor of the prison, appears. 
 He is come to take Eisenstein to prison. Rosa- 
 lind, terrified to be found in so compromising 
 a position with the tenor, introduces Alfred to 
 the governor as her husband, and Alfred, in 
 good humor, allows himself to be carried off to 
 gaol in Eisenstein's place. The curtain goes 
 down here on the first act. 
 
 485
 
 The Standard Operaglass 
 
 The second act represents the garden of a 
 cafe, where Prince Orlofsky is giving the ban- 
 quet. Adele enters, attired in her mistress's 
 best dress, and looking smart and roguish, 
 Eisenstein recognizes her at once, and begins to 
 make love to her. She pretends to be very 
 angry with him for mistaking her for his wife's 
 maid and flirtingly repulses his advances. 
 Prince Orlofsky now comes in and tells Eisen- 
 stein that Dr. Falke has promised him much 
 fun in a practical joke he intends to play on 
 the banker. Eisenstein, not knowing what is 
 about to happen, is rendered very uncomfort- 
 able. Falke, in the meantime, has sent for 
 Eosalind, who just then enters unrecognized be- 
 cause of her mask. Falke introduces her as a 
 Hungarian Countess who, because of her rank, 
 desires to remain unknown. Rosalind quickly 
 finds her husband flirting with Adele and de- 
 termines to punish him, not only for making 
 love to her maid, but for deceiving her by say- 
 ing he was going to prison. Eisenstein, on his 
 part, is much attracted by the magnificence of 
 the dress and charming figure of the supposed 
 Countess, and transfers his attentions to her. 
 He makes such violent love to her that he even 
 counts her heart-beats with the aid of a watch 
 which he promises to give her. He irritates 
 Rosalind by withholding the present, but she 
 
 4S6
 
 Die Fledermaus 
 
 manages to get possession of it and slips away 
 before he can recover it from her. The entire 
 party now sit down to supper, and Eisenstein, 
 partaking rather freely of wine, tells the com- 
 pany the practical joke he once played on his 
 friend Falke. He once attended with his friend 
 a masquerade ball to which Falke had gone in 
 the costume of a bat. He had made his friend 
 drink more than was good for him, so that 
 Falke had gone to sleep in the street, where 
 Eisenstein had left him all night. When Falke 
 woke up in the morning he found himself sur- 
 rounded by a great crowd of jeering people, who 
 had nicknamed him "Die Fledermaus." The 
 story Eisenstein told with great glee is re- 
 ceived by the company with much laughter. 
 Falke, however, only smiles, and says simply 
 that he laughs best who laughs last. Dancing 
 follows the supper, and when the clock strikes 
 six Eisenstein remembers he ought to be in 
 prison. He therefore takes leave of the com, 
 pany and goes out with Franke, the govermt 
 of the prison, who was present at the banqnU 
 as the Chevalier Chagrin, but who is not known 
 to Eisenstein as the prison governor. 
 
 The curtain rises on the third act, showing 
 the prison-governor's office. Franke returns 
 and is received by his jailor, Frosch, who has 
 taken advantage of his master's absence to get 
 
 487
 
 The Standard Operaglass 
 
 thoroughly drunk. Frosch's play as a drunken 
 man trying to find his lamp is highly amusing. 
 Franke, musing over the night's entertainment, 
 becomes drowsy and falls asleep. He is awak- 
 ened, however, by the entrance of Adele and her 
 sister Ida, who have come from the party to ask 
 the supposed Chevalier to intercede for Adele 
 with his friend Eisenstein. Adele confesses to 
 him that she is not what she pretends to be, be- 
 ing only a lady's maid, but that she has talents 
 for the stage. She proceeds to show by demon- 
 stration how well she can dance. She is in- 
 terrupted by a ring at the door, and Franke, to 
 get the two women out of the way, orders 
 Frosch to put them into a cell to wait until his 
 visitors have gone. Frosch conducts them to 
 cell number 13, next to the one in which the 
 supposed Eisenstein is confined. The ring at 
 the door came from Eisenstein, who now enters 
 to give himself up. He recognizes in Franke 
 the Chevalier Chagrin he had met at Orlofsky's 
 party, and each is surprised to meet the other 
 in this place. Dr. Blind now enters to shield 
 the supposed Eisenstein and meets the real 
 Eisenstein, who again hustles him out and, pos- 
 sessing himself of Blind's cap, coat, and spec- 
 tacles, returns to interview the man who has 
 been locked up in his stead. As Alfred is being 
 brought from his cell Rosalind enters ready to 
 
 488
 
 Die Fledermaus 
 
 revenge herself on her husband. She has her 
 husband's watch with her. Seeing Alfred, she 
 and he begin to vent their grievances to the dis- 
 guised Eisenstein, who, when he learns of Al- 
 fred's visit to his wife at his house, becomes 
 greatly enraged. Throwing off his disguise, he 
 reveals himself as Rosalind's husband and turns 
 on her in righteous anger. She, on her part, 
 scorns him for his treachery and deception. 
 The mutual recriminations between husband 
 and wife are interrupted by the entrance of Dr. 
 Falke, accompanied by all those who were pres- 
 ent at Prince Orlofsky's banquet. Falke clears 
 up the misunderstanding and explains that the 
 whole affair is a stupendous practical joke on 
 his part, played on Eisenstein by way of re- 
 venge for the joke Eisenstein had played on 
 him. The prince had been aware of his inten- 
 tion and had entered into the spirit of the joke. 
 Eisenstein, seeing the turn matters have taken, 
 and, convinced of his wife's innocence, embraces 
 Rosalind, and all toast each other in champagne. 
 
 489
 
 The Standard Operaglass 
 
 THE TALES OF HOFFMANN" 
 
 A fantastic Opera in three acts by 
 
 JACQUES OFFENBACH 
 
 Of the many operas by the brilliant Jacques 
 Offenbach this of " Hoffmann's Tales " is ac- 
 knowledged to be the masterpiece. Offenbach 
 composed it during the summer of 1880, and 
 became seriously ill before he had finally re- 
 vised and orchestrated it. He himself felt it 
 was the finest work he had done, and was most 
 anxious to be present at its performance. But 
 he was destined not to have his wish fulfilled. 
 In October of 1880 Offenbach was dead, and 
 the opera could not be got ready before the 
 February of 1881, when it was given for the 
 first time at the Opera Comique in Paris. The 
 best judges of music consider this posthumous 
 opera the work of a genius. 
 
 It is charming in its grace and is filled with 
 true poetic feeling. It is remarkable in its 
 realization of the fantastic imagination of the 
 tales themselves. 
 
 The libretto, written in French by Jules Bar- 
 bier, is founded on three tales by that poetically 
 gifted and highly imaginative writer, E. Th. A. 
 Hoffmann, whose " Tales " are classics in Ger- 
 many. 
 
 490
 
 The Tales of Hoffmann 
 
 The first act is really a prologue to the opera. 
 Its scene is laid in Luther's famous wine cellar 
 in Nuremberg. When, the curtain rises on the 
 interior of the German inn a chorus of students 
 praises the master of the tavern. Hoffmann, 
 the hero of the opera, is also there drinking and 
 carousing with the rest, but seemingly despon- 
 dent and morose. He is asked by the students 
 to sing them a song, and he begins to sing the 
 weird ballad of " Klein-Zach," but instead of 
 finishing the ballad he wanders off into a chant 
 of praise for a beautiful woman. His comrades 
 chaff him and tell him he is in love. He as- 
 sures them that he has left love and such mat- 
 ters behind him. He is depressed because of 
 his past unfortunate experiences and promises 
 to tell them of his three love adventures which 
 brought him to his present state of mind. The 
 rest of the opera, with the exception of the 
 Epilogue, is devoted to the enactment of the 
 three adventures, and the first act begins with 
 that of the first, the one relating to Olympia. 
 
 In the first act the curtain rises and reveals 
 the house of Spalanzani, the famous scientist. 
 Hoffmann is in the house ostensibly as a pupil 
 of the physiologist, but in reality to become ac- 
 quainted with his beautiful daughter Olympia, 
 whom he had only seen at a distance through a 
 window. Olympia is not Spalanzani's daughter, 
 
 491
 
 The Standard Operaglass 
 
 but an automaton made by the scientist and his 
 friend Coppelias. She is a doll that can sing, 
 dance, and talk like a human being. It does 
 this so successfully that the professor buys it 
 from Coppelias in order to enrich himself by 
 means of it. He pays his friend for it with a 
 draft on a Jew, Elias by name, who, Spalanzani 
 knows, will not meet the draft because he is a 
 bankrupt. Coppelias has persuaded Hoffmann 
 to buy a pair of spectacles through which to 
 look at Olympia, and seeing her thus Hoffmann 
 takes her for a beautiful living woman, and 
 falls passionately in love with her. When left 
 alone with her Hoffmann tells her of his pas- 
 sion, and in his ardor believes she returns his 
 love, though she only answers him with " Ja, 
 Ja." He tries to embrace her, but she trips 
 away immediately he touches her. His friend 
 Nickias, who knows of the truth of Olympia, 
 tries to enlighten him, but Hoffmann is too ex- 
 alted by love to understand or even to listen to 
 him. At the entertainment which Spalanzani 
 gives, Hoffmann engages Olympia in a dance, 
 and the two dance on, faster and faster, until 
 Hoffmann sinks to the floor in a swoon. In his 
 fall the spectacles he is wearing are broken. 
 Olympia, however, still keeps on dancing by 
 herself, faster and faster, until she dances out 
 of the room in spite of an attempt of Cochenille 
 
 492
 
 The Tales of Hoffmann 
 
 to stop her. Dr. Coppelias now enters in a rage 
 with Spalanzani, having found that his draft 
 had been dishonored and was worthless. He 
 rushes into the room into which Olympia has 
 disappeared. When Hoffmann recovers from his 
 swoon he hears a tremendous noise as of break- 
 ing and smashing, and is amazed at Spalanzani 
 bursting upon him with cries that Coppelias 
 had destroyed his priceless automaton. It is 
 then that Hoffmann learns that he has been in 
 love with a mere doll. The guests, entering, 
 confuse the poor fellow with shouts of laughter, 
 the while Spalanzani and Coppelias are quarrel- 
 ing and abusing each other. Thus ends Hoff- 
 mann's first love adventure. 
 
 The second deals with Giulietta, and the sec- 
 ond act shows us her palace in Venice. She is 
 in love with Schlemihl, but she nevertheless re- 
 ceives Hoffmann graciously, much to the dis- 
 gust of Schlemihl. Nickias, Hoffmann's friend, 
 who is also courting the beautiful lady, warns 
 him against her and thinks she is no better than 
 she ought to be. Hoffmann laughs at Nickias 
 and ridicules the suggestion that he would be 
 likely to make love to a courtesan. Giulietta is 
 really a creature of the magician Dapertutto, 
 who is in truth the evil spirit maleficent to- 
 wards Hoffmann in all the three adven- 
 tures. Giulietta it is who for him has stolen 
 
 493
 
 The Standard Operaglass 
 
 Schlemihl's shadow, and he now bribes her with 
 a magic diamond to enslave Hoffmann so that 
 she might get from him his reflection in a look- 
 ing glass, as she got Schlemihl's shadow. Da- 
 pertutto plays on her wounded vanity by telling 
 her that Hoffmann has spoken disdainfully of 
 her. Hoffmann is soon brought to her feet, and 
 in a beautiful love-duet in which she succeeds 
 by her wiles, they are surprised by the jealous 
 Schlemihl. Giulietta promises Hoffmann the 
 key of her room if he can get it from Schlemihl, 
 her former lover. Hoffmann is then left alone 
 with Schlemihl and Dapertutto, and demands 
 the key of the former. When his demand is re- 
 fused a duel follows, for which Dapertutto sup- 
 plies Hoffmann with his own sword. Schlemihl 
 is killed after a few passes, and Dapertutto dis- 
 appears. A moment later Giulietta's gondola is 
 seen by him passing before the balcony, and he 
 finds her leaning on Dapertutto's arm, singing 
 a mocking farewell to him. Thus ends Hoff- 
 mann's second love adventure. 
 
 The third adventure deals with Antonia. The 
 curtain of the third act rises on a room in Eath 
 Krespel's house in Munich. Krespel's daughter 
 Antonia is gifted, like her mother, with a re- 
 markably beautiful voice, but, like her mother, 
 also, she is afflicted with the deadly disease of 
 consumption. Although singing gives her the 
 
 494 

 
 The Tales of Hoffmann 
 
 greatest happiness, her father had forbidden her 
 tasking her strength in this way because he 
 knows it will be fatal for her. She is engaged 
 to be married to Hoffmann, but Krespel does 
 not encourage the alliance. He fears for his 
 daughter's life, because he knows Hoffmann to 
 be very fond of music and would delight in 
 hearing Antonia sing. He keeps his daughter 
 confined in the house and has given his servant, 
 Franz, strict injunctions not to permit anybody 
 to see Antonia when he is away from home. 
 Franz, however, is quite deaf, and, misunder- 
 standing Krespel's orders, eagerly welcomes 
 Hoffmann when he comes to visit Antonia. In 
 a charming love scene between Hoffmann and 
 Antonia the girl proves to her lover that her 
 voice has in no way lost its beauty. They re- 
 frain from further love making when they 
 hear Krespel returning. Antonia, to avoid her 
 father, retires to her own room, and Hoffmann, 
 anxious to know why Krespel keeps his daughter 
 so confined, hides himself in an alcove. Kres- 
 pel comes in and is followed immediately by Dr. 
 Mirakel. Mirakel is the evil genius of Hoff- 
 mann. He is the Coppelias of the first adven- 
 ture and the Dapertutto of the second. Krespel 
 is terribly afraid of this man, because he be- 
 lieves it was he who killed his wife, and because 
 he fears he has now designs to kill his daughter. 
 
 495
 
 The Standard Operaglass 
 
 As Hoffmann listens to the talk between Kres- 
 pel and Mirakel he learns the secret of An- 
 tonia's affliction and why it is that she is so 
 carefully guarded by her father. When Mirakel 
 has finally been sent out and Krespel has also 
 left, the two lovers meet again. Hoffmann now 
 earnestly begs Antonia never to sing again. 
 After much entreaty, she finally gives him her 
 promise not to sing again. When Hoffmann, 
 however, leaves, Mirakel returns and goads her 
 on to break her promise. He invokes the spirit 
 of her mother to assist him in his arguments, 
 so that she is persuaded to sing. He urges her 
 on to further effort, but the girl sinks back ex- 
 hausted. Krespel and Hoffmann, returning, 
 find her dying, and with some short words of 
 farewell she dies in her father's arms, Hoff- 
 mann a heart-broken witness. Thus ends the 
 third and last adventure. 
 
 The Epilogue takes us back to Luther's wine 
 cellar in Nuremberg, the same scene in which 
 the prologue was enacted. His boon compan- 
 ions cheer him their thanks for his three tales, 
 and leave him. In their place comes the Muse 
 of Art to offer Hoffmann consolation as a balm 
 for his wounded heart. For a moment he is 
 roused and his soul filled with an ecstatic joy, 
 but his drinking has been too much for him. 
 He falls face forward on the table and goes 
 
 496
 
 The Tales of Hoffmann 
 
 sound asleep. When Stella asks Xicklausse if 
 Hoffmann is asleep, he answers, " No, dead 
 drunk." As Stella takes Lindorf's arm to leave, 
 she turns to look at Hoffmann and throws a 
 flower from her bouquet at his feet. 
 
 497
 
 The Standard Operaglass 
 
 LA GIOCONDA 
 Grand Opera in four acts by PONCHIELLI 
 
 This opera, by Ponchielli, for which Tobio 
 Gorrio wrote the libretto, was first produced in 
 America at the Metropolitan Opera House, New 
 York, on December 20, 1883. The scene of the 
 play is laid in Venice in the seventeenth 
 century. 
 
 The first act, titled in the story " The Lion's 
 Mouth," takes place in the Grand Courtyard of 
 the Ducal Palace. On one side of the court- 
 yard is seen one of the historical " lion's 
 mouths," in which letters were dropped by any 
 person who desired to inform the Inquisition 
 as to any plot, or conspiracy, or person danger- 
 ous to the State. 
 
 As the curtain rises a chorus, by sailors/ 
 monks, and masquers, is sung in praise of the 
 Doge and the Eepublic. Barnaba, a spy in the 
 employ of the Inquisition, jeers in moody medi- 
 tation at the people singing. Pointing to the 
 gratings of the subterranean prisons, he says 
 they are dancing on their graves. He is longing 
 to make captive the wayward Gioconda, a bal- 
 lad singer, with whom he is in love. Gioconda 
 now enters, leading her blind mother, Cieca. 
 Barnaba, seeing them coming, hides himself be- 
 
 498
 
 La Gioconda 
 
 hind one of the columns, and listens to their 
 conversation. Gioconda tolls her mother that 
 she is going to look for Enzo, a Genoese noble, 
 and will return with him. Cieca calls down 
 Heaven's blessings on her footsteps, and Gio- 
 conda is about to leave when Barnaba steps for- 
 ward and commands her to remain. He loves 
 her, he says, and will bar her way if she return 
 not his love. She repulses his advances. He 
 seizes her to prevent her running away, but she 
 escapes. Barnaba is now determined to revenge 
 himself on her. With that end in view he plans 
 to persecute Cieca, her mother, place the blind 
 woman in a position where she will have no 
 means to escape, and prevail on Gioconda by 
 reason of his power over the mother. Barnaba 
 thereupon tells Zuane, the defeated contestant 
 at the regatta, that Cieca practiced witchcraft 
 on him, and because of this he lost the race. 
 The ignorant boatman and his equally ignorant 
 friends seize on the excuse and, for a time, the 
 life of Cieca is in grave danger. The people 
 cry to burn her, and they are about to carry 
 their suggestions into execution when Gioconda 
 rushes in with Enzo, who prevents the immedi- 
 ate execution of the old woman. Alvise, chief 
 of the Council of Ten, and Laura, his wife, now 
 enter. Gioconda begs Alvise to save her moth- 
 er's life, and Enzo commands his sailors to help 
 
 499
 
 The Standard Operaglass 
 
 him to protect her. Laura, hearing Enzo's 
 voice, is arrested by it, and looks at him curi- 
 ously. She seems to know him. Enzo recog- 
 nizes Laura as the woman who was once be- 
 trothed to him. Barnaba does not miss the 
 looks each is giving the other, and feels that he 
 is being foiled. Alvise pardons Cieca, who, 
 when Laura approaches her, gives her a rosary. 
 The recognition between Laura and Enzo is 
 now mutual. All leave, at the command of Al- 
 vise, for the church, except Enzo, and Barnaba, 
 who is watching Enzo closely. Barnaba knows 
 Enzo to be the Prince of Santa Fior, and sus- 
 pecting that he loves Laura, tells him that Laura 
 will be on his ship at nightfall. Enzo, filled 
 with delight at the news, leaves to go on board 
 to wait for her coming. Barnaba has done this 
 on purpose to get Enzo out of the way of meet- 
 ing Gioconda, and to further a new scheme of 
 villainy he has conceived. Being assured that 
 the unsuspecting Enzo will fall into his trap, he 
 dictates a letter to Alvise in which he informs 
 the Chief of the State Inquisition that his wife 
 is about to elope with Enzo. Gioconda, behind 
 a column, overhears Barnaba dictating the let- 
 ter. She is sunk in despair at the perfidy of 
 Enzo. From the church is heard the vesper 
 hymn sung by the monks and people, and the 
 curtain falls as Gioconda and Cieca leave, the 
 
 500
 
 La Gioconda 
 
 mother endeavoring to comfort her broken- 
 hearted daughter. 
 
 The second act, entitled " The Rosary," takes 
 place on board Enzo's brigantine, lying by the 
 deserted bank of an uninhabited island in the 
 Fusina Lagoon. The curtain rises discovering 
 sailors, some seated on the deck, others standing 
 in groups. Remaining thus, they sing a ma- 
 rinaresca. Barnaba enters with Isepo, both dis- 
 guised as fishermen. Barnaba sends Isepo to 
 summon three war galleys. Enzo comes on deck 
 and sends his sailors below, remaining alone on 
 deck in expectation of Laura's arrival. Laura 
 enters, and the two lovers determine to sail that 
 night. Enzo goes to make preparations for 
 their departure. Laura is alone, and Gioconda 
 steals in and is about to kill her, but stays her 
 hand when she sees the rosary Laura is holding. 
 She recognizes her as the lady who saved her 
 mother's life. Gioconda is now determined to 
 save Laura. She lends her her own mask, and, 
 calling two boatmen, she places Laura in their 
 boat and bids her leave before Alvise and Bar- 
 naba come and find her there. The war galleys 
 summoned by Barnaba attack Enzo's yacht, but 
 Enzo sets fire to his ship as the curtain falls. 
 
 The third act, bearing, in the libretto, the 
 title, " The House of Gold," takes place in a 
 chamber of Alvise's residence. It is the night 
 
 501 
 
 LIBRARY 
 
 * T ' --* 
 
 ■AN 
 
 -SaaTH
 
 The Standard Operaglass 
 
 after Laura's escapade on board Enzo's yacht. 
 Alvise is alone, meditating on Laura's perfidy, 
 and has determined to kill her. He summons 
 her to him and tells her that she must drink 
 the phial of poison he gives her before the last 
 note of the serenade is sung that some passing 
 gondoliers are singing. He leaves Laura stand- 
 ing with the poison in her hand, while the 
 chorus is singing the serenade. Gioconda now 
 enters, bringing a flask containing a powerful 
 sleeping draught. She persuades Laura to 
 drink this instead of the poison her husband 
 gave her. Then, pouring into the empty flask 
 the poison contained in the phial, she departs, 
 leaving the empty phial behind her. Alvise en- 
 ters, and, seeing the empty phial, is convinced 
 that Laura has done what he commanded her 
 to do. " All now is over," he says. He believes 
 he is revenged. 
 
 The scene now changes to a hall magnifi- 
 cently adorned for a festivity. Cavaliers, ladies, 
 and masquers enter and Alvise greets them. 
 Gioconda also enters, but her arrival is unper- 
 ceived. A charming ballet, " The Dance of the 
 Hours," is now executed. Barnaba then enters, 
 dragging Cieca, whom he found in one of the 
 adjoining rooms. Cieca excuses her presence 
 by saying that she came to pray for the lady 
 who is just dead. The guests are astonished to 
 
 502
 
 La Gioconda 
 
 hear that Alvise's wife is no longer living. 
 Enzo, who is also present, masked, learning that 
 Laura is dead, tears off his mask and denounces 
 Alvise. Alvise orders him to be seized by the 
 guards, and holds Barnaba responsible if Enzo 
 shall escape. Gioconda, seeing that Enzo's fate 
 is doomed, begs Barnaba to set him free, prom- 
 ising to become his wife if he will give Enzo his 
 liberty. Barnaba accepts her offer. The act 
 comes to a close as Alvise opens the curtain at 
 the back, revealing Laura, laid out on her bier. 
 He declares he has killed her to avenge his 
 honor. 
 
 The fourth act takes place in the vestibule of 
 a ruined palace on the island of Giudeca. On 
 the right of the scene is a long and dimly 
 lighted street. At the back is a large porch, 
 through which can be seen the Lagoon and the 
 brilliantly lighted square of St. Mark. Gio- 
 conda is alone, buried in thought. Two men 
 come along the street, bearing the body of a 
 woman between them. It is Laura they are 
 bringing. When they knock at the entrance of 
 the palace, Gioconda opens the door and bids 
 them enter. They place Laura on a bed behind 
 a screen. Gioconda then pays them, and begs 
 them to try and find her mother, and, when 
 they do find her, to bring her to Canreggio, 
 where Gioconda will be waiting, because she is 
 
 5°3
 
 The Standard Operaglass 
 
 soon to leave Giudeca. Gioconda, alone once 
 more, determines on suicide, and is tempted to 
 kill Laura. While she is hesitating, Enzo ar- 
 rives. He is deeply grateful to her for having 
 obtained for him his liberty, but is resolved to 
 end his life. Laura, now waking up from the 
 effects of the drug Gioconda gave her, calls for 
 Enzo, and comes from behind the screen. The 
 lovers meet in a transport of joy, and, with 
 gratitude to their deliverer, they leave the pal- 
 ace and escape in a boat. Gioconda now realizes 
 the price she has paid for her love. She remem- 
 bers her promise to Barnaba, and resolves to 
 run away. She prays to the Virgin Mary to 
 deliver her from the foul demon, as she calls 
 Barnaba. Barnaba overhears her from behind 
 a half-open door and confronts her, as she is 
 about to leave. Determined to outwit him, she 
 assumes a gay demeanor and tells him that she 
 is going to adorn herself in order to do him 
 honor. Barnaba is delighted. As Gioconda is 
 putting on her jewels she manages to seize a 
 dagger and stabs herself, crying, in her death 
 throes. " Take me, I am thine ! " 
 
 5°4
 
 Sappho 
 
 SAPPHO 
 Grand Opera in five acts by JULES MASSENET 
 
 The opera of " Sappho," by Jules Massenet, 
 has for its plot the love-story of modern Paris- 
 ian life, as told in Alplionse Daudet's novel of 
 the same name. The libretto was written in 
 French by Henri Cain and Bernede. 
 
 The first act takes place in the drawing-room 
 of the house of the sculptor Caoudal, in which 
 a masquerade ball is in progress. As the cur- 
 tain rises the music of a make-believe Gypsy 
 orchestra is heard playing loudly from the 
 studio leading off the drawing-room. Caoudal 
 and his friend, La Borderie, now enter, accom- 
 panied by the guests, and all in a merry humor. 
 La Borderie complains of being tired and tries 
 to get away. He is, however, brought back in 
 triumph by the girls, who will not let him 
 go. Jean Gaussin, the hero of the play and 
 a simple young man from the country, is also a 
 guest. He comes in from the studio in his de- 
 sire to get away from the hubbub and merry- 
 making. Caoudal jeers him for his mood and 
 points out the pretty ladies to him. He will not 
 be presented to them for fear of their ridicule ; 
 nor will he go back with them into the studio. 
 He is left alone and is about to depart, when he 
 
 505
 
 The Standard Operaglass 
 
 hears the voice of Fanny, the model, singing the 
 old studio song in company with the rest of the 
 merrymakers. Jean's spirit is at variance with 
 his surroundings ; he sighs for his home where 
 the Ehone bou"nds along, the land of promise 
 that nursed him. Fanny enters suddenly, fol- 
 lowed by a crowd of artists, among whom are 
 Caoudal and La Borderie. They clamor for her 
 kisses, but she repels them laughingly. They 
 surround her, but as she tries to free herself she 
 sees Jean. Turning aside to Caoudal, she asks 
 him who the handsome boy is, but he answers 
 absently. In the meantime Jean has been gaz- 
 ing at her as if spellbound. He falls in love 
 with her at first sight, so to speak, while she, 
 on her part, is inexplicably drawn towards him. 
 She manages to get him aside, and on question- 
 ing him discovers, to her joy, that he is not an 
 artist, knows nothing of the life of the Latin 
 Quarter, but is just arrived fresh from the coun- 
 try of Provence. She is afraid he will find out 
 who she is and what the life is that she is 
 leading. Anxious to retain his good will, she 
 persuades him to slip away with her quietly, 
 as Caoudal comes out from the studio and sum- 
 mons all to supper. From the studio comes 
 cries of " Sappho ! Sappho ! " The great cur- 
 tain at the back is drawn aside and the guests 
 .are #11 disclosed sitting at small tables at sup- 
 
 506
 
 Sappho 
 
 per. Caoudal, who has noticed Fanny leaving 
 with Jean, calls some friends to him, and they 
 laughingly exchange gestures of pity for the 
 young fellow. As the curtain falls some gypsies 
 at the back execute a dance. 
 
 The action of the second act takes place in 
 Jean Gaussin's lodgings in the Kue d' Amster- 
 dam, Paris. Jean is discovered at his work in 
 company with his father, Cesaire. Jean is sing- 
 ing while working. Passing from singing to 
 talk, we learn that Cesaire and Divonne, his 
 wife, have come to Paris to place Jean in some 
 position, and to take home with them, on their 
 return to Provence, Jean's cousin, Irene, the 
 companion of his childhood days. Divonne and 
 Irene then come in, the former in a great state 
 of excitement from seeing Paris. Cesaire and 
 Divonne go off to make ready for their de- 
 parture, and Jean and Irene indulge in senti- 
 mental recollections of the happy days they 
 spent together in the past. The parents come 
 in and catch the young people in a lover's em- 
 brace, and laugh good-naturedly at their embar- 
 rassment. A touching scene follows, in which 
 the parents take leave of Jean and finally de- 
 part with Irene. Jean is left meditating sadly 
 on his loneliness. He is not alone long. Fanny 
 enters without knocking and approaches him 
 quietly. She has waited until he should be 
 
 507
 
 The Standard Operaglass 
 
 alone, and finds him in the very mood for her 
 companionship. She examines the room and 
 admires its pretty arrangement. Noticing a 
 statuette of Sappho by Caoudal for which she 
 herself had been the model, she becomes con- 
 fused and almost betrays herself. Eecovering 
 herself, she turns the conversation and hums 
 him a tune which reminds Jean of his old coun- 
 try life. Jean, transported with passion, de- 
 clares his love for her and they plight their 
 troth to each other. 
 
 When the curtain goes up on the third act, a 
 year is supposed to have elapsed. Jean is now 
 living with Fanny as husband and wife. He is, 
 if anything, more in love with her now than he 
 was when she came to his lodgings. Fanny, 
 on her part, is really in love with him. She 
 is overjoyed in the belief that her new life may 
 continue, and that she has left for ever the 
 old life of the Latin Quarter. The first scene 
 of this act is a passionate love duet, in which 
 each expresses to the other the. depth of their 
 mutual affection. They walk off together, 
 happy in their love. As they disappear Ca- 
 oudal, La Borderie, and some young people 
 enter. They see an inn near the cottage, and, 
 attracted by its appearance, call to the rest 
 of their companions to join them, and ask 
 loudly for the landlord. A lively scene ensues, 
 
 508
 
 Sappho 
 
 followed by a supper. Strolling musicians pass- 
 ing by, the company follow them, with the ex- 
 ception of Caoudal and La Borderie, who re- 
 main behind. Jean returns alone to meet his 
 Bohemian friends. In a casual way Caoudal 
 asks Jean if he is still living with " Sappho," 
 the name by which Fanny has been known 
 among the artists of the Latin Quarter. Jean 
 does not understand to whom his friend refers. 
 The truth, however, is soon made evident to 
 him, and he realizes for the first time that the 
 model of the statuette Caoudal gave him is the 
 girl to whom he has given his whole heart. The 
 realization fills him with disgust, and he denies 
 to Caoudal that Fanny is still with him. 
 Caoudal then tells him of some of Fanny's 
 adventures as a model, and that she has a 
 child living with her father got by a former 
 lover. Jean, overcome with rage and anger, 
 voices his feelings in terms of hatred against 
 her. Fanny enters at this instant radiant with 
 happiness. Seeing Caoudal and La Borderie 
 with Jean and noticing Jean's disfigured coun- 
 tenance, she realizes that she has been betrayed. 
 Jean reviles her for her deception. " All my 
 love has been changed to gall," he cries. Fanny 
 curses her past friends as a pack of cowards. 
 She believes they have purposely told on her to 
 deprive her of the joy of the one pure love of 
 
 509
 
 The Standard Operaglass 
 
 her life, and the curtain falls on the agony 
 of her despair. 
 
 In the fourth act we are taken to Jean Gaus- 
 sin's parental home in Provence. A house to 
 the right and a garden with a well to the left 
 are backed by the Ehone and the landscape of 
 the country round Yilleneuve. Cesaire, Di- 
 vonne, and Irene are present with Jean, who is 
 distressed and sad because he finds himself un- 
 able to endure his old life in the country. The 
 parents try to comfort him, and his cousin re- 
 minds. him of the days of their childhood when 
 they were Joseph and Mary to each other. But 
 all is of no avail. Cesaire suddenly comes in 
 and bids his wife and Irene to go away. While 
 they are there he will not explain his reason 
 for the request, but when they leave he tells 
 Jean that " Sappho " is come. He begs his son 
 to be brave, and Jean promises his father that 
 he will never give way. Cesaire goes out and 
 Fanny comes in, walking slowly and looking 
 about her. Seeing Jean, she rushes toward him 
 as if to throw her arms about his' neck, but 
 Jean's aspect holds her back. . " Blame me not 
 that I have sought you/' she cries; she cannot 
 bear his absence from her. Her seductive 
 beauty and simple pleading so touch him that 
 his resolves melt away, and he is about to be- 
 come reconciled to her when his father and 
 
 510
 
 Sappho 
 
 mother come in. They are just in time, as they 
 see, and Cesaire orders his son into the house. 
 Fanny steps forward to go to Jean, but finds 
 herself face to face with his mother. Fanny 
 asks her who she is and Divonne tells her she 
 is Jean's mother. Fanny, in confusion, begs 
 her pardon, and then, seeing Jean going away, 
 she stretches out her arms to him and leaves, 
 sobbing. 
 
 It is winter when the curtain rises on the 
 fifth act. The scene is the dismantled room of 
 the little house at Ville d'Avray, where Jean 
 and Fanny had lived their year's happiness. 
 The snow-covered country can be seen through 
 a glass door at the back. Fanny is alone, sad, 
 but resigned. She tears up some letters of 
 Jean's she has been reading, and resolves to de- 
 vote herself to the upbringing of her child. 
 Jean enters suddenly and surprises her in the 
 midst of her meditations. He could not stay 
 away any longer. He has come back to live 
 with her. He has left his parents, given up his 
 home, resigned his career, only that he might 
 be with her again. He is tired and worn out 
 by the conflict of emotions he has endured since 
 she left him. In this reconciliation Fanny calls 
 him by the endearing " my love," which sends 
 Jean back again into a fit of doubt and jealousy. 
 He is reminded by it of Caoudal's vivid descrip- 
 
 5"
 
 The Standard Operaglass 
 
 tion of an earlier love adventure Fanny had 
 played with another lover, and the recollection 
 maddens him. Tired out, however, he falls 
 wearily into a chair and goes off to sleep. Fan- 
 ny has now realized that she can never again 
 live with Jean in the happy state she had 
 dreamed of, and of which she had had so in- 
 toxicating a draught. She writes him a letter 
 of farewell, while he is restlessly sleeping, and, 
 bidding him good-by, she goes out slowly, leav- 
 ing him still sleeping. 
 
 51a
 
 Manon Lescaut 
 
 MANON LESCAUT 
 Opera in four acts by GIACOMO PUCCINI 
 
 The plot of this opera, by Giacomo Puccini, 
 is founded on the famous story by the Abbe 
 Prevost, entitled " Manon Lescaut." The 
 opera was first produced in 1893, in Milan. 
 
 The first act takes place at Amiens. The 
 scene is a large square near the Paris Gate. On 
 the right is an avenue, and on the left an inn, 
 under whose porch are tables for customers. 
 An outer staircase leads to the upper floor of 
 the inn. A mixed crowd of students, citizens, 
 women, and soldiers are strolling about the 
 square and along the avenue. Some are gam- 
 ing. Edmund enters with some other stu- 
 dents, followed later by Des Grieux. The stu- 
 dents act as a chorus to Edmund's "Hail, 
 beautiful night!" When Des Grieux enters 
 in melancholy mood the students joke him. 
 The girls, for whom the students have been 
 waiting, now enter from their work. They 
 turn away from Des Grieux, and Edmund begs 
 his friends to leave him alone. A postillion's 
 horn is heard and a diligence arrives, from 
 which Lescaut, Geronte, and Manon alight. Des 
 Grieux is enchanted with Manon's beauty, and 
 when Lescaut goes into the inn, approach. ■< 
 
 5'3
 
 The Standard Operaglass 
 
 Manon, and obtains her consent to meet him 
 later. Lescaut comes back with Geronte. He 
 has brought his sister Manon to enter her in a 
 convent. Geronte, who is enamored of the girl, 
 tells Lescaut that his pretty little sister seems 
 unhappy. He invites Lescaut to sup with him, 
 and Lescaut accepts the invitation. Lescaut is 
 attracted by the gamblers and takes part in 
 their gaming. Geronte, seeing Lescaut ab- 
 sorbed in the game, determines to run away 
 with Manon. He tells the innkeeper he will 
 want horses and a carriage in an hour, and that 
 he must keep silent if he sees a man and a 
 maiden go off. Edmund overhears the conver- 
 sation, and suggests to Des Grieux that he 
 should run away with Manon and take Ge- 
 ronte's place in the carriage. Manon keeps her 
 assignation with Des Grieux, and the two go 
 off as Lescaut and Geronte appear on the scene. 
 Geronte is then told by Edmund that Manon 
 has gone off with the young student. In dis- 
 gusted astonishment, Geronte disturbs Lescaut 
 in his play and tries to prevail upon him to 
 follow the flying pair. Lescaut, however, will 
 have the supper promised him, and says he will 
 go after Manon in the morning. The curtain 
 falls to the sound of loud laughter from the 
 students. 
 
 In the second act the scene changes from 
 
 5H
 
 Marion Lescaut 
 
 Amiens to Paris. The curtain goes up discov- 
 ering a handsomely furnished room in Geronte's 
 house, in which Manon is now living as his mis- 
 tress. She had left Des Grieux when his money 
 was gone. Manon is seated at her toilet-table, 
 waited on by the hair-dresser with two assistants. 
 She is instructing the hair-dresser to be careful 
 in the work of doing her hair. Lescaut now 
 enters and congratulates his sister on her 
 change in life. Manon keeps instructing the 
 hair-dresser, and, when the toilet is finally com- 
 - pleted, steps forward to be admired by her 
 brother. In spite of her brother's praise of her 
 beauty and position, Manon is sad at having left 
 Des Grieux. She is always thinking of him. 
 Geronte is old, and bad, and a bore. Singers 
 now enter, sent by Geronte to amuse Manon, 
 and they sing a madrigal in praise of Manon's 
 beauty. Manon gives her brother money with 
 which to pay the singers, but Lescaut pockets 
 the purse, saying he could not insult them by 
 offering them money. He bids them farewell 
 in the name of glory, and the singers bow them- 
 selves out. Geronte now enters, bringing with 
 him a dancing-master, musicians, and some old 
 friends. Manon is bored by them all. Under 
 Geronte's instructions a minuet is danced, in 
 which Manon takes part, led by the dancing- 
 master. 
 
 5i5
 
 The Standard Operaglass 
 
 Geronte now suggests that it is time to take a 
 stroll on the boulevards, and begs Manon to 
 join them there later. He leaves, kissing 
 Manon's hand, and all depart with him. Manon 
 is alone, and busies herself arranging her toilet 
 for the promenade, while waiting for the sedan 
 chair Geronte has gone to order. Des Grieux 
 suddenly appears, and they renew their love 
 vows in a charming duet. They have barely 
 finished embracing each other when Geronte 
 comes back. They separate hurriedly, in sur- 
 prise at being discovered. Des Grieux makes 
 a menacing step forward towards Geronte, but 
 Manon places herself between them. Geronte 
 jeers at her and reminds her of all that he 
 has done for her. She answers him by plac- 
 ing a mirror in his hand and bids him look 
 there and he will see why she cannot love him. 
 Geronte controls his ang^r and leaves the two 
 together, smiling in sarcasm, and promising 
 them that they will meet again quickly. The 
 lovers are overjoyed at being left alone. They 
 determine to go away together. Manon, how- 
 ever, is loth to leave her jewels and pretty 
 dresses. Des Grieux is bitter at her disposi- 
 tion, which can be so easily led by the allure- 
 ments of pretty things rather than by love. 
 Manon is moved by his despair and begs for- 
 giveness. She cwears to be true and faithful 
 
 5 i6
 
 Manon Lescaut 
 
 to him. Lescaut now enters hurriedly and en- 
 treats them to get away at once. The vile old 
 scoundrel, as he calls Geronte, has called the 
 guards, and these must be now on their way. 
 Manon quickly seizes her jewels, and she and 
 Des Grieux make for the door. They find 
 it locked. Lescaut pushes Manon and Des 
 Grieux into an alcove and follows after them. 
 A scream from Manon is heard, and imme- 
 diately after she rushes out of the alcove, fol- 
 lowed by Des Grieux and her brother. From 
 the open curtains of the alcove come soldiers. 
 The door is now burst open and soldiers rush in 
 to arrest Manon. In trying to escape, Manon 
 lets fall the jewels. She is dragged away by the 
 soldiers, who will not permit Des Grieux to go 
 with them. 
 
 An Intermezzo is now played, during which 
 Des Grieux declares his intention to follow 
 Manon even to the end of the world. 
 
 The third act takes place in Havre. The 
 scene is a square near the harbor. On the left 
 is a soldiers' prison, showing a window pro- 
 tected by iron bars. On the side looking to- 
 wards the square is a large closed gate, at which 
 a sentinel stands guard. In the distant harbor 
 a man-of-war ship is partly visible. Manon is 
 in prison, and Des Grieux and Lescaut have 
 come to Havre to be near her. Des Grieux is 
 
 5'7
 
 The Standard Operaglass 
 
 distracted with grief. Lescaut tells Des Grieux 
 he has bribed an archer, who will take the 
 guard's place when the latter is relieved. As 
 the dawn breaks Lescaut approaches the bar- 
 racks, and, exchanging a sign with the new sen- 
 tinel, goes up to the barred window and taps 
 cautiously. Manon appears at the window, and 
 is overjoyed at seeing Des Grieux. She tells 
 them she is to be taken to America. They at- 
 tempt a rescue, but they are disturbed in their 
 efforts by the firing of shots. They are com- 
 pelled to leave. A guard appears, bringing a 
 number of women who are to sail to America; 
 Manon is one of them. As they pass by, Lescaut 
 points out his sister to one of the citizens, who 
 have come to watch the embarkation, and tells 
 him that he knows her story. She was abducted 
 from her young lover. Des Grieux attempts to 
 walk by Manon's side, but the sergeant of the 
 guard pushes him aside roughly. Des Grieux 
 threatens him, and entreats Manon to cling to 
 him. Urged on by Lescaut, the citizens take 
 Des Grieux's part. The captain of the vessel 
 suddenly appears, and, learning what the trouble 
 is, takes pity on Des Grieux and permits him to 
 go on board with the rest for America. Des 
 Grieux is overcome with joy, and Manon, realiz- 
 ing the help that is come to her, opens her arms 
 to her lover, who embraces her. Lescaut, as- 
 
 5i8
 
 Manon Lescaut 
 
 tonislied at the turn things have taken, shakes 
 his head and walks away. 
 
 The fourth act takes us to America. The 
 scene is a great plain near New Orleans. The 
 sky is overcast, and night is falling. Manon 
 and Des Grieux enter, poorly clothed and evi- 
 dently worn out from fatigue. Manon is ex- 
 hausted and leans heavily on Des Grieux. They 
 do not know where to find either food or shelter, 
 or even water to drink. Manon is in the last 
 stages of weakness, and Des Grieux is beside 
 himself with despair. He finds a resting place 
 for her, and goes off to look for water. Manon, 
 thinking he has forsaken her entirely, feels 
 there is now no hope for her at all. Only the 
 tomb, she cries, can release her from her bur- 
 den. Des Grieux comes back in time to be pres- 
 ent at her last moments. She dies, declaring 
 her love for him. Des Grieux falls senseless on 
 her body. 
 
 5*9
 
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 THAIS 
 Opera in three acts by JULES MASSENET 
 
 The libretto of Thais, by Louis Gallet, for 
 which Jules Massenet wrote the music, is taken 
 from the novel, by Anatole France, which deals 
 with a monk of the sect of Cenobites who, in 
 his enthusiasm for his religion, determines to 
 convert the famous beauty and reigning cour- 
 tesan of Alexandria, Thais by name. This 
 monk is known as Athanael. In his more 
 youthful days he had been a man about town, 
 who had lived the gay, dissipating life of the 
 rich aristocrat of the city. He had, however, 
 turned away from this life of pleasure, and 
 sought to repent for the error of his ways by 
 turning monk. The opera was first produced 
 in Paris, in 1894. 
 
 The first scene of the first act is laid in the 
 Thebaid, the desert of Thebes in Egypt. Here 
 are the huts of the Cenobites. It is the evening 
 of the day, and twelve monks and old Palemon 
 are sitting at a long table partaking of the 
 frugal repast. Athanael's seat is vacant. The 
 monks discuss Athanael and wonder at his long 
 absence. Palemon tells them the hour of his 
 return is near, because a dream showed him to 
 him. Athanael appears, advancing slowly, as 
 
 520
 
 Thais 
 
 if exhausted with fatigue and sorrow. The 
 brothers greet him respectfully, and Athanael 
 sits down wearily, gently declining the food 
 they offer him. His heart is filled with bitter- 
 ness. He has been to the city given over to sin, 
 and he returns now in mourning and affliction. 
 A woman, Thais, fills Alexandria with scandal, 
 and, through her, hell reigns there. Falemon 
 prays him not to meddle with the people of the 
 time, and the monks, with mysterious fear, pray 
 that the black demons of the abyss may move 
 off from their way. 
 
 Athanael stretches himself before his hut and 
 lays his head on a wooden pallet. Then, pray- 
 ing a short prayer, he falls asleep. The evening 
 becomes darker until black night is over all. 
 After a short space of quiet, a light appears in 
 the midst of the darkness, and in a mist which 
 rises appears the interior of the theater at Alex- 
 andria. The place is crowded with people, and 
 on the stage is Thais, half clothed, but with face 
 veiled, performing the dance of Aphrodite. As 
 if from a great distance is heard the applause 
 of the audience, calling on Thais by name. The 
 vision disappears, and suddenly the day breaks, 
 and it is dawn. 
 
 Athanael gradually awakes. He has been 
 dreaming. When he realizes what it was he had 
 seen in his vision, he prays to God for help. He 
 
 521
 
 The Standard Operaglass 
 
 vows he will deliver this woman from the thral- 
 dom of the flesh. The more guilty she is the 
 more compassionate does he feel. His mission 
 is now revealed to him, he prays, and he must 
 return to the accursed city. God forbid, he 
 cries, lest Thais sink deeper in the pit of wick- 
 edness. Palemon comes in just then and re- 
 peats what he had said at the table the night 
 before, that they should not meddle with the 
 people of the time. But Athanael is already 
 preparing to leave. The Cenobites surround 
 him and accompany him on the road; then, 
 kneeling in groups, they answer to him as his 
 voice is lost to them in the desert, praying that 
 his spirit be armed for the combat, and that he 
 be stronger than the archangel against the 
 charms of the demon. 
 
 The second scene represents the terrace in the 
 house of Nicias at Alexandria, which overlooks 
 the town and the sea. Athanael slowly appears 
 and stops at the back. A servant, seeing him, 
 rises and bids the beggar, as he thinks he is, 
 to go and find alms elsewhere. Athanael gently 
 begs the servant to tell his master that a friend 
 desires to speak with him. The servant is 
 about to strike Athanael, but is restrained by 
 the calm dignity of Athanael's attitude, and 
 goes to inform his master. Voices and laughter 
 are heard, and shortly afterwards Nicias ap- 
 
 522
 
 Thais 
 
 pears, leaning on the shoulders of two beautiful 
 -and smiling slaves, Crobyle and Myrtale. At 
 the sight of Athanael he stops; then, recogniz- 
 ing him as his old friend of the earlier and gay 
 days, he welcomes him with open arms. When 
 he is told of AthanaeFs mission, he laughs and 
 warns him not to offend Venus, whose priestess 
 Thais is. Athanael, however, is determined, 
 and Nicias listens to his request for some decent 
 clothes in which he may meet Thais. Athanael 
 is dressed and perfumed by Crobyle and Myrtale, 
 who admire him for his handsome appearance. 
 As they finish dressing him in his fine clothes, 
 acclamations are heard from a distance, and 
 Nicias, mounting the terrace, announces the 
 c« miing of Thais. 
 
 Thais now enters, preceded by actors and 
 actresses and some friends of Nicias. Nicias re- 
 ceives her gallantly, and leads them all to the 
 banquet ing-room behind the draperies. When 
 Athanael leaves the banqueting-room later with 
 Xicias's philosopher friends, Thais, who has 
 been attracted by the stranger with the fierce 
 eyes, asks Xicias as to who he is. Nicias tells 
 her he is a philosopher of a rude soul, and bids 
 her take heed, since he has come for her. 
 Athanael, coming in, advances towards her, but 
 she tells him to begone, because she believes in 
 love only. He tells her straight that he is come 
 
 5 2 3
 
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 to take her to the only true God, and shall van- 
 quish Hell in triumphing over her. As he is . 
 about to leave, he says to her : " I shall go to 
 thy palace and bring thee salvation." Thais, as 
 she makes ready to enact the Aphrodite love 
 scene, dares him to brave Venus. Athanael, 
 seeing her preparing to unrobe herself, rushes 
 away in horror. 
 
 The first scene of the second act takes us into 
 Thais's house. A statue of Venus is in the fore- 
 ground, before which is a censer. Thais enters 
 with her train, but immediately dismisses them. 
 She is tired to death of men, their brutality, 
 and their indifference. Her life of gay love is 
 become a weariness to her. She prays to Venus 
 for eternal beauty. Athanael appears, and she 
 turns to him, bidding him beware lest he love 
 her. He does love her, he tells her, but not as 
 she understands love. He loves her in spirit, 
 and in truth. She asks to be shown that love. 
 He tells her that the love she knows begets 
 only shame ; but the love he brings her is glori- 
 ous love. He would not offend her, he would 
 but try to make her yield to the truth. Thais 
 looks at .him with a vague fear. She cannot 
 understand hirn when he speaks to her of the 
 life everlasting. She takes a spatula of gold 
 and throws some incense in the censer. The 
 aroma excites Athanael, and a light mist en- 
 
 524
 
 Thais 
 
 velopes Thais and the statue as she prays to 
 Venus. Athanael, tearing his borrowed rohe 
 from off him, cries to her to arise. Thais, in 
 fear, begs him not to harm her. He, on his 
 part, conjures her to become the bride of 
 Christ. A new strength comes to her at his 
 words. The voice of Xicias, approaching, is 
 then heard calling on Thais. She cries out that 
 he has never loved anyone; that he has only 
 loved love. She bids Athanael to go and tell 
 Xicias that she despises all rich men; that 
 Nicias must forget her. Athanael says sternly 
 that he will be at her doorstep until dawn, and 
 await her coming; but she, with a last effort at 
 resistance, cries out that she will remain Thais, 
 Thais the courtezan. She believes in nothing 
 and wants nothing more. She breaks off into a 
 nervous laugh, and then throws herself face 
 down on the pillows, sobbing, as Athanael 
 departs. As the curtains slowly come together, 
 hiding her from the audience, the orchestra 
 plays a symphonic religious music. 
 
 The second scene is the square facing Thais's 
 house. It is not yet daylight. On the last steps 
 of the portico, under which is seen a small 
 >tatue of Eros, lies Athanael, asleep. In the 
 rear is a house in which Nicias and his friends 
 are still making merry. The windows are 
 lighted up. The door of Thais's house opens, 
 
 525
 
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 *md she appears, carrying a lamp over her head. 
 Seeing Athanael lying there, she puts the lamp 
 down and approaches him mysteriously. She 
 is come as Athanael commanded. She will fol- 
 low if he will lead. She begs but for one thing 
 to take with her, the statuette of Eros. She 
 explains that it was Mcias who had given it to 
 her. Athanael, in great anger, curses the 
 poisoned source of the gift, and smashes the 
 statuette on the pavement, and tells her to put 
 a lighted torch to all her possessions. When 
 Thais and Athanael have gone into the house, 
 Mcias and his friends appear. Singing and 
 dancing are in progress, when Athanael comes 
 quickly from the house, carrying a lighted torch 
 in his hand. Mcias recognizes him, and his 
 friends jeer him. Athanael bids them be silent. 
 Thais is the spouse of God, he says. The in- 
 fernal Thais is dead, dead for ever. Thais now 
 appears, meanly clad, with her hair in disorder. 
 The house takes fire and a crowd, attracted by 
 the noise and the laughter, fills the stage. 
 Athanael is begging Thais to come away with 
 him, while Mcias is incredulous at the idea 
 that she is willing to go. Athanael is wounded 
 by a stone thrown from a man in the crowd. 
 Great confusion and uproar ensues. Athanael 
 and Thais are ready to die. The crowd roars 
 "Death/' and Mcias tries to appease them by 
 
 526
 
 Thais 
 
 throwing gold to them. As the mob scrambles 
 for the gold, Nicias bids farewell to Athanael 
 and Thais, who escape. The palace continues 
 to burn, and the curtain falls. 
 
 Athanael and Thais have travelled a long 
 journey and are now, as the curtain rises on the 
 first scene of the third act, arriving at an oasis 
 in the desert. Thais is overcome by fatigue and 
 can scarcely move. She is faint from the jour- 
 ney and the heat, and when she complains, beg^ 
 ging to stay awhile, Athanael will have her walk 
 on. She must purify the body she gave to 
 pagans and infidels by breaking it, by destroy- 
 ing the flesh. Thais can go no further. She 
 sways and is about to fall, when he holds her 
 in his arms and seats her in the shade. As he 
 contemplates her, he notices the blood flowing 
 from the bruised feet, and compassion for her 
 fills him. He falls before her and kisses her 
 feet, calling her a saint. Thais, recovering, 
 would go on ; but now Athanael would have her 
 rest, and he gives her food. As she is eating the 
 fruit he has brought her, the music of psalmody 
 is heard in the distance, and voices chanting 
 the Paternoster. Albine and the White Ladies 
 now appear, and Athanael places Thais in their 
 care. Thais bids him a touching farewell, as 
 she moves away with the White Ladies, and 
 Athanael is left alone, leaning on his stick and 
 
 527
 
 The Standard Operaglass 
 
 looking longingly down the road taken by 
 Thais. The curtain falls. 
 
 The second scene takes us back to the The- 
 baid and the huts of the Cenobites, by the river 
 Nile. The monks are looking towards the sky 
 with a vague terror. Sounds of a windstorm 
 are heard in the distance. Palemon suggests 
 that the food be placed within the huts to save 
 it from the storm. One monk asks where 
 Athanael is. Palemon says he has been back 
 for twenty days, and has not eaten or drunk in 
 all that time. Athanael comes out of his hut 
 and passes through without noticing his brother 
 monks. When he is left alone with Palemon, 
 he turns to him in humility and begs him to 
 remain. He confesses he cannot keep the image 
 of Thais's face out of his thoughts. Palemon 
 simply and gently repeats his old advice : " Let 
 us not meddle, my son, with the people of the 
 time." Athanael rises from the ground by the 
 feet of Palemon, where he has fallen in shame 
 of his confession, and kneels on the mat. Pale- 
 mon leaves him, and Athanael stretches himself 
 and goes to sleep. 
 
 Thais appears to him in a vision in the same 
 guise in which he first saw her. She tempts 
 him to the love of Venus, and Athanael cries 
 out in his sleep : " I die, Thais ! Come ! " Thais 
 disappears, laughing loudly, and a new vision 
 
 528
 
 Thais 
 
 appears, revealing Thais stretched motionless in 
 the garden of the convent of the White Ladies. 
 Around her are kneeling the nuns. Voices 
 mourn that Thais is about to die. Athanael, in 
 his dream, becomes wildly excited and cries 
 aloud that Thais must not die. He will come 
 to take her. She must be his. He rises from 
 his sleep and rushes out into the night. The 
 curtain closes to music. 
 
 The last scene is the garden of the convent 
 
 of Albine. Thais is stretched out beneath a fig 
 
 tree as if dead. She is surrounded by Albine 
 
 and the nuns. All pray. Athanael appears at 
 
 the entrance of the garden, and Albine, seeing 
 
 him, goes toward him, while the White Ladies 
 
 surround the prostrate form of Thais so that he 
 
 may not see it. Albine bids Athanael welcome. 
 
 He asks eagerly for Thais. She tells him that 
 
 she is about to see the eternal light. He sees 
 
 Thais, and, calling her by name, he falls, broken 
 
 with grief, kneeling, by her side. Opening her 
 
 eyes to answer his call, she reminds him of his 
 
 words to her and tells him that she sees heaven 
 
 opening for her. As she dies, he gives a terrible 
 
 cry and falls prostrate by her side. 
 
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 HERODIAS 
 A Biblical Opera in four acts by JULES MASSENET 
 
 The libretto of this opera, by Jules Massenet, 
 was written by Messrs. Milliet, Gremont, and 
 Zanardini, and the opera itself completed by 
 the composer in 1880. Its first performance 
 took place in Brussels, on December 19, 1881. 
 
 The first act takes place in the large outer 
 court of Herod's palace, overlooking the valley 
 of Jerusalem, and affording a view in the dis- 
 tance of the Dead Sea. The dawn is about 
 breaking, though it is still dark, and caravans 
 of Jewish merchants and chieftains are seen 
 sleeping on the ground near the outer gate, 
 waiting for the daylight to come ere entering the 
 palace to present Herod with the gifts they are 
 bringing him. As the day dawns the chiefs 
 awake and call to the merchants to rise, for the 
 palace is open. Two groups of merchants begin 
 quarrelling as to the merit of their horses when 
 Phanuel, a young Jew, enters and puts a stop 
 to the dispute. He rails at them for fighting 
 with each other when the times are such that 
 they ought to prepare for a more serious fight, 
 for a revolt against Rome is at hand. The mer- 
 chants go down to the city, while the chiefs, 
 
 53o
 
 Herodias 
 
 with the presents for the king, borne by the 
 slaves, enter the palace. 
 
 As they disappear Salome comes out, looking 
 anxiously about her. Phanuel asks her what 
 fate has brought her to the palace. She tells 
 him she is still looking for her mother. She is 
 come to Jerusalem because the prophet is here, 
 and he is kind and good. She was sick and 
 alone, but her heart grew peaceful when she 
 heard his tender and musical voice. Phanuel 
 bids her go, and assures her that a faithful 
 friend will watch over her while she is here. 
 Distant voices are heard shouting, " Jerusalem ! 
 Jerusalem! Hail!" As Phanuel watches 
 Salome leaving, the slaves of the king appear 
 and go toward the palace. 
 
 Herod now enters suddenly by the door 
 through which Salome had passed and cries out 
 excitedly for Salome : " Thee I adore, Salome ! " 
 he cries. " Return once more." Herodias, pale 
 and distraught, comes in and demands of him 
 to avenge her for a deep insult given her. She 
 had been walking that morning in the desert, 
 when a half-naked man had followed her with 
 threats, and calling her " Jezebel ! " The man 
 was John. When Herod asks her what he 
 can do, she tells him he can give her his 
 head. Herod says he cannot do this. The 
 man is revered by the Jews, and he would 
 
 531
 
 The Standard Operaglass 
 
 lose their good opinion if he granted her dev- 
 ilish wish. She tells him he no longer loves 
 her, and that she will accomplish her own 
 vengeance. " John ! " she cries, " I will strike 
 you down ! " 
 
 John enters at that moment, and, overhear- 
 ing these last words, bids her strike, then. 
 Herod and Herodias start back with a cry at 
 his sudden appearance. John curses Herodias 
 and fills her with fear. Herod drags his wife 
 away with him into the palace, both flying from 
 John as if in terror. Salome appears, and, see- 
 ing John, she rushes up to him and, falling at 
 his feet, cries, " John ! I have found thee ! " 
 John asks her kindly what it is she wants of 
 him. She tells him she loves him and that she 
 belongs to him. He pities her and asks what 
 place her beauty can have in his gloom of life. 
 He bids her kindly to go and leave him. She 
 will not leave him. Her love is no blasphemy, 
 she cries ; she loves him only, and would spread 
 the glory of her hair upon his knees. She em- 
 braces him passionately. John, as if inspired, 
 bids her love him then, but her love must be 
 the love of dreams and not the unholy love of 
 the body. He bids her to raise up her soul till 
 it shall soar, and realize the new faith. Salome 
 tells him that the light of his eyes is to her 
 more splendid than the sun, and falls at his feet 
 
 532
 
 Herodi 
 
 erodias 
 
 in an ecstasy of passion. He leaves her, point- 
 ing to the skv. while the curtain falls. 
 
 The first scene of the second act shows us 
 Herod's chamber in the palace. Herod is seen 
 reclining on his couch, with his slaves about him. 
 He cannot sleep, and is restless for thinking 
 of Salome. He bids the slaves dance. A Baby- 
 lonian dance follows. A young woman offers 
 him a love draught, which he no sooner drinks 
 than an ecstasy of passion seizes him. He be- 
 lieves Salome is with him, and appeals to her 
 to come to him. Tired out, he falls asleep. 
 Phanuel comes in and speaks of Herod as a man 
 blasted by the delirium of his love. Herod 
 awakes and begs Phanuel to cure him of his 
 passion for Salome, but Phanuel upbraids him 
 for thinking of a woman at a time when his 
 kingdom is in danger of destruction. Herod 
 retorts that he will conquer the prophets of the 
 people when the Romans have been driven out, 
 and as the people without are heard crying, 
 " Hail to the Tetrarch," Herod turns to Phan- 
 uel, encouraged by the cry, and tells him he 
 would face all dangers. 
 
 The scene changes to the great square in 
 Jerusalem, showing on the right the principal 
 entrance to Herod's palace. The city itself can 
 be -'••■n in the distance, with Solomon's temple 
 on Mounl Moriah. A motley crowd of prie.-t-^. 
 
 533
 
 The Standard Operaglass 
 
 Jews, sailors, merchants, soldiers, chieftains, 
 and ambassadors are surging beneath the shade 
 of the trees awaiting the arrival of Herod. The 
 square is most animated. Herod enters, de- 
 scending the steps of the palace, and is cheered 
 by the people, who promise him their aid in 
 gaining independence. 
 
 A fanfare of Eoman trumpets is heard in the 
 distance, and Herodias appears on the top of 
 the steps and motions for silence. She an- 
 nounces the coming of Vitellius, the Proconsul. 
 The trumpets are heard more distinctly, and the 
 people rush about distractedly in fear of the 
 coming of the Eoman soldiers. The Proconsul 
 arrives, preceded by torchbearers and the Ro- 
 man Standard bearers. Vitellius asks the people 
 what it is they want. The Jewish priests ask 
 that the Temple be given back to Israel. Vitel- 
 lius answers them that Tiberius will grant their 
 reasonable request. A great cheering follows, 
 and the Proconsul is hailed with Caesar. He- 
 rodias invites Vitellius to enter the palace, and 
 while the soldiers make ready again to march, 
 Salome and John appear on the scene, followed 
 by the Canaanite women. They sing " Hosan- 
 na ! Hosanna ! Hosanna ! " Vitellius stops in 
 surprise at the honor done to John, while Herod, 
 seeing Salome, points her out to Phanuel, He- 
 rodias looking on the scene in jealous anger. 
 
 534
 
 Herodias 
 
 John addresses the people and Vitelline and 
 prophesies against Yitellins. The women with 
 Salome take up the chant again, while the 
 people hail the Proconsul. Herodias and Vitel- 
 lius go into the palace, and Phanuel leads away 
 Herod, whose eyes are riveted on Salome. 
 
 The first scene of the third act takes us to 
 Phanuel's home, at the hack of which is a large 
 opening overlooking Jerusalem. It is a fine, 
 starlit night. Phanuel apostrophises the city 
 and wonders who this John is who is come into 
 its life. As he remains wrapt in thought Hero- 
 dias enters, greatly agitated. She is come seek- 
 ing revenge. At her request he reads her 
 horoscope and tells her that the star of Salome 
 is continually eclipsing her star. She hids him 
 look again, and he sees her star quenched by 
 blood. He leads her to the opening at the back 
 and points to Salome as she is going to the 
 Temple : " Your child ! " he says. " My daugh- 
 ter ! " she cries. " She ? My rival ! " Phanuel 
 bids her go. " You are but a woman," he says; 
 " a mother, never ! " 
 
 The scene changes to the interior of the Tem- 
 ple, that part of it before the Sanctuary. Voices 
 of women are heard off the stage, singing in 
 praise of Herod and his Queen. Salome enters, 
 almost fainting, and scarcely able to support 
 herself. John has been thrown into prison and 
 
 535
 
 The Standard Operaglass 
 
 his fate is causing her to suffer. She prays that 
 he may be saved, and falls down before the 
 bars of his prison. Herod enters, preoccupied, 
 soliloquizing as to John's fate and determined 
 to save him. He sees Salome and declares his 
 love for her, begging her to go with him. 
 Salome is indignant that he should speak to her 
 thus, and repulses his advances. She despises 
 him and his love and his power, and calls him 
 a disgusting brute. Herod leaves her threaten- 
 ingly, as Salome sinks before the Sanctuary. 
 The priestly nobles now enter and the people 
 follow quietly and reverently. As the high 
 priest himself finally comes in the people fall 
 prostrate. Worship is conducted by the high 
 priest, at the end of which a sacred dance is 
 danced by the daughter of Manahim. Herodias, 
 Herod, Vitellius, and Phanuel now enter, fol- 
 lowed by the Romans, and later by John and 
 Salome. The priests demand that John be put 
 to death. When John is brought in Herod 
 questions him and then answers that the man 
 cannot be condemned because he is mad. Hero- 
 dias would have the impostor crucified, and 
 the people, incited by the priests, cry aloud for 
 his death. At a signal from the priests the 
 guards of the Temple advance to seize John, 
 when Salome breaks suddenly through the 
 crowd and rushes to John, crying that she be 
 
 536
 
 Herodias 
 
 allowed to share his fate. She falls at John's 
 feet. Herod, consumed by jealousy, denounces 
 both John and Salome, and condemns them 
 both to death. The Temple guards then ad- 
 vance and seize them. 
 
 The opening scene of the fourth and last act 
 represents the dungeon in the Temple, a cir- 
 cular vault arched at the top. John is sitting 
 in the middle, and a funeral lamp sheds a faint 
 light beside him. John, soliloquizing, dedicates 
 himself to God. He will die for justice and 
 liberty. A luminous glow now fills the dun- 
 geon and Salome appears in it. He is aston- 
 ished to see her in this place and bids her go. 
 The priests in the Temple are heard shouting 
 " Death to the Prophet ! " John again implores 
 her to leave him, but she will not go. In his 
 arms she will die, she cries, as she embraces him. 
 The chief priest now comes in, followed by the 
 slaves of Herod, and tells John his hour is 
 come. Herodias has commanded that he be put 
 to death. The slaves seize Salome, tearing her 
 away from John, and John places himself vol- 
 untarily in the hands of the guards of the Tem- 
 ple, whom he follows, while Salome is being 
 '1 ragged away. 
 
 The scene changes to the great hall in the 
 palace of the Proconsul, in which a festival is 
 about to take place. Herod, Herodias, Vitel- 
 
 537
 
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 lius, and a number of Eomans enter, the last 
 singing a chorus in praise of their arms. Vitel- 
 lius is acclaimed as Caesar's representative, and 
 a ballet is enacted by women of Egypt, Baby- 
 lonia, Gaul, and Phoenicia. At the conclusion 
 of the ballet Salome enters, her hair dishevelled, 
 endeavoring to free herself from the slaves who 
 are holding her. Phanuel and people also en- 
 ter. She asks Herod why she is refused the last 
 favor of dying with John. She implores him 
 to let John live. She turns to Herodias and 
 makes the same supplication. Herodias is in- 
 dignant that she should so curse her mother, 
 and Herod again offers her his love. Salome's 
 pleading seems to have some effect on her 
 mother, who is about to give way, when the 
 executioner appears at the back with his sword 
 dripping with blood. Salome utters a loud cry 
 and the people exclaim : " The Prophet is 
 dead ! " Salome, drawing a dagger from her 
 girdle, turns on the Queen and accuses her of 
 having slain John. In a rage of hate for her 
 mother she stabs herself and dies. 
 
 538
 
 Lou 
 
 lse 
 
 LOUISE 
 Opera in four acts by GUSTAVE CHARPENTIER 
 
 Both libretto and music of this opera are by 
 Gustave Charpentier, who took for his subject 
 matter the French law, which requires the con- 
 sent of the parents for a child of either sex to 
 marry. Charpentier endeavors to show how 
 cruelly this law works when a genuine love 
 inspires the child and when the parent, acting 
 from motives of prudence and foresight, refuses 
 to recognize the profounder impulse which 
 brings young people of different sexes together. 
 A young working girl, Louise by name, falls 
 in love with a young man, Julien, the poet of 
 Montmartre. Her beauty and sweetness of 
 character have wrought a similar feeling in him 
 for her. The father of Louise, however, re- 
 fuses his consent to Louise's marriage with 
 Julien because he does not approve of the poet's 
 way of life. This is the beginning of the 
 tragedy of the lives of the young people. The 
 opera was performed for the first time in Paris, 
 in 1900. 
 
 The first act introduces us to Louise's garret 
 room in her father's home, which is an ordinary 
 workman's lodging in Paris. Poofs of houses 
 are to be seen, and a terrace fronting an artist's 
 
 539
 
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 studio is opposite to the window of Louise's 
 chamber. Julien, standing on the terrace, dis- 
 cusses with Louise at her window the refusal, 
 Julien's letter to her father for her hand had 
 met with. They are both much depressed, but 
 comfort each other with expressions ' of love. 
 Louise advises Julien to write again to her 
 father, and, in the event of a second refusal, 
 promises to run away from her home and live 
 with him. The mother then comes in and over- 
 hears part of what has been said by the young 
 lovers. She is angry with Louise for listening 
 to " a rascal, a starveling, a dissipator." It is 
 of no avail for Louise to plead that he is " so 
 good, so courageous " ; in her mother's eyes he 
 is " the pillar of a wine shop." The mother be- 
 comes furiously angry with Louise and attempts 
 to chastise her, but Louise avoids her by run- 
 ning behind the table. They cease their quar- 
 relling on hearing steps on the stairs, and 
 listen, frightened, for the arrival of the father, 
 who comes in bearing a letter in his hand. On 
 his entrance the mother leaves for the kitchen. 
 The father sits down, opens the letter, and reads 
 it. After he has read it he looks at his daughter 
 and opens his arms for her embrace. She rushes 
 into them. The mother, in the meantime, has 
 been preparing the supper, and when it is ready 
 they all sit down and partake of it. After the 
 
 540
 
 .Louise 
 
 meal the father promises Louise to look into 
 Julien's prospects and antecedents; but the 
 mother still remains implacable and resents his 
 attitude towards a marriage with a good-for- 
 nothing who laughs in her face when he meets 
 her. He is a debauchee, and she could tell some 
 dreadful things about him. Louise indignantly 
 denies her mother's insinuations, and is slapped 
 in the face. The father interferes, but the 
 mother continues with her jibes, singing mock- 
 ingly a song of Julien's. The father tries to 
 comfort Louise and gives her the newspaper to 
 read to him. They all seat themselves at the 
 table, the mother sewing, while Louise reads: 
 " The Spring Season is most brilliant. All 
 Paris is in holiday garb." Louise stops for a 
 moment in her reading and sobs: " Paris — ," 
 as the curtain slowly descends. 
 
 The second act consists of two scenes. The 
 first scene represents the meeting-place of sev- 
 eral streets in the Montmartre quarter of Paris. 
 On the left of the stage is seen a shed, and on 
 the right a house and a drinking shop. People 
 are going and coming, shopping during the 
 early morning hours. Various types of the dis- 
 trict are introduced chatting and joking with 
 each other. Julien enters with his companions 
 of the cafe. He has come to waylay Louise on 
 her way to work. Prior to her arrival Julien 
 
 541
 
 The Standard Operaglass 
 
 and his Bohemians make fun and horseplay 
 after the usual manner of students and night- 
 walkers. Julien is left waiting and watching 
 for Louise. When she does come she is accom- 
 panied hy her mother, who leaves her, after 
 making sure no one is about, and after Louise 
 has entered the house. Julien comes in quietly 
 and then rushes into the house, reappearing 
 again, dragging Louise with him. He wants to 
 know what is the answer to his letter written 
 to her father. Louise tells him that it is not 
 favorable. He then reminds her of her promise 
 to go with him, but Louise refuses to go with 
 him. He begs and implores her, but Louise 
 remains firm in her refusal. She knows she 
 will break her father's heart if she goes away 
 with Julien. He tries to drag her with him, 
 but she struggles in resistance. Finally she 
 embraces him, after promising to be his wife, 
 and goes back into the house, leaving Julien 
 filled with despondency. The second scene of 
 this act shows a workroom for sewing girls, 
 with a number of girls sitting at work, Louise 
 being among them. They are gossiping to-' 
 gether and busy with their labors. Some of the 
 girls twit Louise on being in love. Their teas- 
 ing is interrupted by some one singing from the 
 courtyard below. It is Julien serenading Lou- 
 ise, determined to show her his love in every 
 
 542
 
 Louise 
 
 way he can. The girls in the room throw him 
 pennies and kisses by way of gratuity. Julien, 
 enraged at this reception, still continues with 
 his serenade, but the girls, getting tired of him, 
 ask him to stop. He still goes on, and the girls, 
 becoming angry, shout to the musicians in the 
 street to play. The musicians obey and a great 
 din ensues, during which Louise, no longer able 
 to stand the trying situation, takes up her hat 
 and goes out. The girls are astonished at her 
 behavior, and rush .to the window to see what 
 she is going to do. They find her walking away 
 with Julien. The work-girls are highly amused, 
 and the curtain falls on their hilarious laughter. 
 The curtain of the third act rises and reveals 
 a small house and garden situated at the apex 
 of the Butte Montmartre. This is the home to 
 which Julien has brought Louise to live with 
 him, she having at last consented to leave her 
 parents and keep her promise. The two are in 
 the midst of the enjoyment of their happiness 
 in each other, and a very charming and tender 
 love scene is enacted. Their friends, having 
 prepared a surprise for them, now come to 
 crown Louise as the Muse of Montmartre. They 
 come in by twos and threes — Bohemians, gris- 
 ettes, urchins, carriers, loafers, and others — and 
 decorate the house with flowers, garlands, and 
 lanterns. A chorus in procession arrives and 
 
 543
 
 The Standard Operaglass 
 
 greets Louise as the Muse, presenting her with 
 the black and silver shawl as the badge of her 
 office. Singing and dancing follow as part of 
 the ceremonial, and a great concourse of people 
 arrive to assist in the joyful celebration. As the 
 crowd gives way, Louise sees her mother, and 
 flies to the arms of Julien in fear. The mother 
 comes forward humbly, and tells Julien that 
 she is come not as an enemy. She is come to 
 tell Louise that her father is suffering, and that 
 she alone can save him. Julien looks incred- 
 ulous, but the mother assures him of her hus- 
 band's pitiable condition. On the mother's 
 promise that Louise shall be allowed to return, 
 he gives his permission for her to go and see 
 her father. Louise takes off the shawl of her 
 office and hands it to Julien. The mother goes 
 to the garden gate and Louise follows. She 
 returns for a tender separation from Julien, 
 and the curtain goes down as she goes out 
 backward, with her finger on her lips, as Ju- 
 lien spreads his arms toward her. 
 
 The scene of the fourth and last act is the 
 same as that of the first, except that the terrace 
 of Julien's studio is not there. It is nine o'clock 
 of a summer's evening. Louise's father is seated 
 near the table, while Louise can be seen through 
 a glass door, in her room. The mother comes in 
 from the kitchen and invites the father to drink. 
 
 544
 
 Louise 
 
 He seems not to hear her, as he keeps his eyes 
 fixed on Louise. He becomes peevish as his 
 wife tries to comfort him, and talks bitterly of 
 the ingratitude of children, who forget all that 
 their parents have done for them, who leave 
 father and mother at the first sight of an at- 
 tractive face, and become lost to all sense of 
 decency and honor. The mother calls to Louise 
 and asks for her help in the house. Louise rises, 
 arranges her sewing, and puts out her lamp. 
 As she opens her door to come in her father 
 opens his arms for an embrace, but she passes 
 him by without noticing his appeal, and disap- 
 pears in the kitchen. Her mother scolds her 
 for her behavior and begs her to be reasonable 
 and good to her father, who is suffering so 
 much. Louise replies that she was promised 
 leave to go back to her lover — to a love that is 
 free. The mother mocks her — " free love/' she 
 cries ; " that's a fine story." Louise comes back 
 and goes up to her father, bids him good night, 
 and offers her forehead for a kiss. The father 
 embraces her passionately, but Louise is cold 
 and unresponsive. She tries to go, but he re- 
 strains her, begging her to remain as in the old 
 days. He and her mother, he says, only live 
 for her happiness. They argue with each other, 
 Louise for her love and freedom, he from his 
 fear for her life in the city. The mother comes 
 
 545
 
 The Standard Operaglass 
 
 in and Louise turns on her also. Finally the 
 parents become angry, and their anger arouses 
 in Louise a passion for her lover, on whom she 
 calls. She wants only Julien and Paris — Paris 
 the beautiful. As she cries the words aloud, the 
 City becomes gradually lighted up. The father, 
 enraged, attempts to strike her, but, changing 
 his mind, throws open the door and bids her go, 
 dragging her to the exit. " Here's your pleas- 
 ure, ladies," he cries, pointing to the brighten- 
 ing City ; " they'll dance till they die, they'll 
 laugh till they cry." Louise, trembling, runs 
 round the room in deadly fear of her father. 
 The mother begs her husband to cease raging, 
 but the father, now maddened into a fury, 
 rushes at Louise. Louise escapes with a cry and 
 is gone. The father, dazed, looks about him 
 for a moment, then, realizing that she is gone, 
 he runs to the staircase crying aloud his daugh- 
 ter's name. " Louise ! . . . Louise ! " He re- 
 turns and looks for a moment through the win- 
 dow; then, shaking his fist in a rage at the 
 City, he cries : " Oh, Paris ! " 
 
 546
 
 Le Jongleur de Nutre Dame 
 
 LE JONGLEUR DE XOTRE DAME 
 
 (THE JUGGLER OF XOTRE DAME) 
 
 Opera by JULES MASSENET 
 
 The plot of the libretto of this opera is sim- 
 ilar to that employed by the writers of the 
 miracle plays of the middle ages. Not that the 
 story is in any way the story of one of these 
 miracle plays, but a miracle is employed to give 
 dramatic value to the denouement. Maurice 
 Lena, the writer of the book of the libretto, calls 
 it " a miracle play," and, in a sense, the phrase 
 is applicable; but the old miracle plays were 
 altogether interpretative in their character and 
 wire acted to satisfy the demand of the time for 
 a more objective presentation of religious ideas. 
 In this sense " Le Jongleur de Notre Dame n is 
 not a miracle play, but a play with a miracle. 
 This opera, by Jules Massenet, was first pro- 
 duced in Paris, in 1903. 
 
 The first act takes place in one of the squares 
 of Cluny — a suburb of Paris — some time in the 
 fourteenth century. It is the first day of the 
 month of Marie, or May Day, and the people are 
 about to celebrate the occasion in front of the 
 monastery. Citizens and their wives, knights 
 and their squires, peasants, priests, women, and 
 common people are seen coming and going 
 
 547
 
 The Standard Operaglass 
 
 through the marketplace. Among those to ar- 
 rive is Jean, a poor juggler, who performs his 
 tricks for their gratuities, and who makes the 
 people laugh by his remarks and performances. 
 He is asked to sing a drinking song, and Jean, 
 loth to do it, yet anxious to earn his day's ex- 
 penses, asks pardon of the Virgin before he 
 complies with the people's request. Jean barely 
 gets through three of the verses of his parody 
 on the Paternoster, Ave, and Credo, when the 
 door of the convent opens violently and the 
 Prior steps out in anger. The people run away 
 in fear, leaving Jean, alone and amazed, with 
 the Prior. The Prior turns on Jean and scolds 
 him for his wicked ways, threatening him with 
 the fires " of formidable hell " if he mend not 
 his life. Jean, terrified, falls to the ground 
 in an agony of supplication and craves pardon 
 at the foot of the Virgin's statue. The Prior, 
 seeing Jean humbling himself, thinks that a 
 convert may be made of the man. He promises 
 Jean pardon if he will change his life, and 
 asks him to become a monk, instead of going 
 about as a vagabond. Jean pleads for his lib- 
 erty. While he is still young liberty, the " care- 
 less fay of the golden smile," is very dear to his 
 heart. The two are interrupted by the entrance 
 of Boniface, the cook of the monastery, mounted 
 on a donkey which carries also the provisions 
 
 548
 
 Le Jongleur de Notre Dame 
 
 for the monks' refectory. The sight of the pro- 
 visions does for Jean what all the Prior's argu- 
 ments failed to do. He consents to become a 
 monk, and follows Prior and Boniface into the 
 monastery, though not before he has retained 
 possession of his juggler's outfit. 
 
 The second act takes place in the abbey's 
 study room, which opens on the garden of the 
 monastery. A picture of the Virgin is well in 
 sight, on which a monk is at work finishing it 
 in colors. The musician monk is rehearsing a 
 hymn to the Virgin with a number of other 
 monks who are grouped around him. It is the 
 morning of Assumption Day. Jean, musing 
 sadly by himself, is bewailing that he cannot 
 sing praises to the Virgin in Latin, because he 
 does not know that language, and she would 
 not understand him if he spoke to her in com- 
 mon French. He knows nothing but the re- 
 fectory, and begs the Prior to turn him away 
 for fear he bring ill-luck. The monks beg Jean 
 to take to their arts. One asks him to be a 
 painter, another a sculptor, still another a mu- 
 sician. They quarrel with each other over the 
 merits of their respective arts, and almost come 
 to blows in the heat of their discussions. The 
 Prior intervenes and orders them all to chapel, 
 tln-re to practice humility. Jean gets into a 
 conversation with Boniface and deplores his 
 
 549
 
 The Standard Operaglass 
 
 ignorance and bewails the fact that he can do 
 nothing to please the Virgin. Boniface, to 
 comfort and encourage him, tells him that the 
 Virgin understands French also and that she 
 is as good as a sister. He tells him a story of 
 how a common sage plant saved the life of 
 Jesus when he was being pursued by the bloody 
 cavalier of the King, the child-killer. Jean is 
 much moved, and finally is convinced that his 
 prayers, even if offered in vulgar French, may 
 reach as high as the King's. Advancing 
 toward the picture, Jean lifts his eyes toward 
 Heaven and prays, remaining in an attitude of 
 ecstatic devotion as the curtain falls, the or- 
 chestra playing, the while, the mystic pastorale 
 that unites the two acts. 
 
 The curtain rises on the third act discov- 
 ering the chapel of the Abbey. On the 
 altar, and plainly visible, is the painted pic- 
 ture of the Virgin. Jean is present with 
 his juggler's outfit, but so placed that he can be 
 seen without his perceiving those who see him. 
 In the distance the monks are singing the hymn 
 to the Virgin. In front of the picture, and 
 alone, is the Painter Monk. He gives a last 
 look at his handiwork, and, noticing Jean en- 
 tering, hides behind a column. Jean enters on 
 tiptoe and approaches the altar. He tells the 
 picture that, knowing naught else but his trade 
 
 55°
 
 Le Jongleur de Notre Dame 
 
 by which to do her honor, he will go through 
 the performance of his craft under her eyes, in 
 order that she may take it as an expression of 
 his devotion. Dropping his monk's robe, he 
 shows himself in the vest of a juggler. Then, 
 spreading his carpet, he takes out his playing 
 instrument and plays the same tune he played 
 in the market-place of Cluny. The Painter 
 Monk, thinking Jean has gone crazy, runs off 
 to bring the Prior. Jean, bowing to the Vir- 
 gin, begins his performance, interrupting him- 
 self to tell her that some of his songs are hardly 
 fit for her ears. Still, he intends to be en- 
 tirely respectful toward her. He then sings 
 the pastoral. While he is singing, the Prior, 
 led by the Painter Monk, arrives on the scene 
 with Boniface, the cook. They are unseen by 
 Jean, who still continues with his juggling per- 
 formance, but the Prior and his monks can 
 easily see him. Several times the scandalized 
 Prior attempts as if to rush forward and put a 
 stop to the sacrilege that is taking place; but 
 he is withheld by Boniface. Jean, in the mean- 
 time, has arrived at that stage of his perform- 
 ance when it is his business to dance. He 
 begins the dance of a country step, with tap- 
 ping of feet and exclamations of enjoyment. 
 Faster and faster he dances until, tired out, he 
 falls at the feet of the Virgin and prostrates 
 
 55*
 
 The Standard Operaglass 
 
 himself in profound adoration. The monks, 
 who have, in the meantime, come in, seeing this 
 performance, cry " Sacrilige ! " Just when they 
 can no longer restrain themselves, the face of 
 the Virgin in the picture is seen to become ani- 
 mated; her arms extend towards the praying 
 and worshipping Jean. It is Boniface who 
 draws the attention of the monks to this won- 
 der, and when they see it they cry, " Oh, 
 miracle ! " Voices of invisible angels are heard 
 singing " Hosannah ! " and the monks, led by 
 the Prior, approach the prostrate Jean. Jean 
 rises, and, seeing himself surprised in the cos- 
 tume of the juggler, falls on his knees before 
 the Prior for pardon. The Prior bids him rise. 
 "'Tis for me to be at your knees," he says to 
 Jean. " You are a great saint ; pray for us." 
 Jean, thinking he is being mocked, begs to be 
 punished, but the Prior asks him how can he 
 mock the honor of the monastery when he sees 
 with his own eyes the Virgin bless him. The 
 altar, until now dimly lighted, is illumined by 
 an intense light, while the nimbus of the 
 chosen, detaching itself from the hands of the 
 Virgin, sparkles over the head of Jean. Jean, 
 as if stricken to the heart, dies in an ecstacy 
 of exaltation, while the monks recite litanies. 
 The final scene shows the Virgin mounting 
 slowly to Heaven. 
 
 552
 
 Madame Butterfly 
 
 MADAME BUTTERFLY 
 
 A musical tragedy in three acts by 
 GIACOMO PUCCINI 
 
 The plot of this opera is founded on the book 
 by John Luther Long and the play by David 
 Belasco. The scene is laid in Nagasaki, Japan, 
 and the action of the drama takes place in our 
 own time. The music, by Puccini, if not of the 
 excellence of the composer's " La Boheme," is 
 yet of so beautifully melodious a quality and so 
 richly colored by the spirit of the place, which 
 Puccini has felt, that " Madame Butterfly " will 
 undoubtedly remain a standard opera. The 
 opera was first performed in Milan, in 1904. 
 
 The story is the old story of a lover loving 
 a maid and then forsaking her. In this par- 
 ticular instance, however, the novelty lies in 
 the maid being a Japanese lady and the man a 
 lieutenant in the American navy. 
 
 The curtain rises discovering Goro, the 
 matchmaker, showing Lieutenant Pinkerton 
 over the house the latter had just purchased. 
 Pinkerton is to occupy it as soon as he has been 
 married to Cho-Cho-San, the beautiful Japan- 
 ese girl, who is better known as Butterfly. 
 Goro, who sold Pinkerton the house, also sold 
 him Cho-Cho-San, and the first scene is occu- 
 
 553
 
 The Standard Operaglass 
 
 pied with Goro's enjoyment and Pinkerton's 
 delight in the place. Suzuki, Butterfly's maid, 
 and two other servants are then introduced to 
 Pinkerton, who is patiently awaiting the arrival 
 of his bride. 
 
 Sharpless, the American Consul at Nagasaki, 
 is heard climbing the hill, and comes on the 
 scene to dissuade his friend Pinkerton from the 
 step he is about to take. He begs Pinkerton to 
 think seriously of what he is doing, because 
 what may be a passing fancy for him may be a 
 serious affair for the girl. Pinkerton, who is 
 much in love with the girl, laughs at his 
 friend's arguments, and their talk is inter- 
 rupted by the arrival of Butterfly and her 
 friends. In the midst of the general greetings 
 Sharpless enters into a conversation with But- 
 terfly and finds that his reading of her attitude 
 to Pinkerton is correct. She tells Sharpless 
 her history, and informs him that, owing to the 
 death of her father, she has had to support her- 
 self and her mother by becoming a Geisha. 
 After the relatives of the girl have made their 
 formal greetings to Pinkerton, Butterfly and 
 Pinkerton go over the house alone, and in a 
 charming conversation the girl's love for the 
 American sailor is laid bare in all its simple 
 sincerity. More relatives arriving, as well as 
 the proper officials, the ceremony of the mar- 
 
 554
 
 Madame Butterfly 
 
 riage contract is duly gone through. In the 
 midst of the joyous toasts an interruption oc- 
 curs in the coming of Butterfly's uncle, the 
 Bonze, or Japanese priest, who, learning that 
 his niece has renounced the faith of her an- 
 cestors in order to wed the foreigner, has come 
 to curse her. He urges all her relatives to for- 
 sake her for what she has done, and they rush 
 from her in horror. Butterfly, weeping bitterly, 
 is consoled by Pinkerton, who brings her back 
 to smiles and joy. The scene between the two 
 is most charming. The act closes on the hap- 
 piness of the strangely assorted pair who have 
 thus entered on theii life together. 
 
 When the curtain goes up on the second act, 
 three years are supposed to have elapsed, dur- 
 ing which time Pinkerton has gone back to 
 America, after promising his wife to return 
 "when the robins nest." Butterfly is alone 
 with her maid, Suzuki, who invokes the gods 
 for the return of the faithless Pinkerton. But- 
 terfly, in spite of the three years' waiting, is 
 still firm in her faith in her husband. She re- 
 fuses the Prince Yamadori, who has loved her 
 for years, and who sues her now. In declining 
 the Prince's offer of marriage she tells him that, 
 though she might consider herself a free woman 
 according to the law of Japan, she has married 
 an American, and must abide by the laws of his 
 
 555
 
 The Standard Operaglass 
 
 country. * How can I marry him," she cries, 
 "when I am married already?" Yamadori 
 leaves and Sharpless enters, bearing a letter 
 from Pinkerton. He is afraid to tell her im- 
 mediately what the letter says, so he prepares 
 the way by warning her that Pinkerton will 
 never come back. He advises her to accept 
 Prince Yamadori's offer. Butterfly will not 
 listen to him. She points to her little baby, a 
 boy with the blue eyes and fair hair of Pinker- 
 ton, and asks, " Can such as this well be for- 
 gotten ? " She begs Sharpless to write to her 
 husband and tell him what a fine child is wait- 
 ing for him. Sharpless, much touched, leaves 
 Butterfly without showing her the letter. Su- 
 zuki then enters, screaming and denouncing 
 Goro for spreading a report that the child's 
 father is not known. Butterfly, goaded almost 
 to madness by this calumny, seizes a knife to 
 kill Goro, but, suppressing her anger, she 
 throws the knife away, spurning the wretched 
 man with her foot. 
 
 Cannon shots are just then heard announc- 
 ing the arrival of a man-of-war ship. Butter- 
 fly rushes to the terrace with her maid Suzuki, 
 and both find that it is the Abraham Lincoln 
 come back again. Immediately Butterfly is 
 transported with joy. She has proved her faith 
 and her husband is coming back to her. It is 
 
 556
 
 Madame Butterfly 
 
 her reward for her fidelity. She bids Suzuki 
 gather flowers from the garden, and spreads 
 these round the room in honor of Pinkerton's 
 home-coming. Then the child is brought in, 
 and while Suzuki is combing his hair Butterfly 
 rouges her face to make ready for the meeting 
 with her husband. They all sit down behind 
 a partition, in which they have made holes so 
 as to watch and see Pinkerton's arrival. Night 
 falls and Pinkerton does not come. Suzuki and 
 the baby fall asleep, but Butterfly stands mo- 
 tionless, looking and waiting. The curtain 
 falls on this moving picture of the loving and 
 faithful wife waiting in loving expectation the 
 return of the lover who has left her alone. 
 
 The curtain rises on the third act and dis- 
 covers Butterfly in the same position in which 
 she was when the second act closed. Suzuki 
 and the child are still asleep, and Butterfly is 
 still gazing through the holes of the shosi, or 
 partition. Suzuki awakes and, seeing it is 
 morning, she begs her mistress to lie down and 
 take some rest herself. Butterfly then turns 
 to her child, takes it into her arms, and retires 
 into an inner room. Butterfly has barely re- 
 tired when a loud knock causes Suzuki to be- 
 stir herself. She opens the shosi and sees Sharp- 
 less and Pinkerton standing before her. Pin- 
 kerton motions to her not to disturb Butterfly, 
 
 557
 
 The Standard Operaglass 
 
 and Suzuki, in her joy at seeing him back again, 
 shows him the room decorated with flowers for 
 his arrival. Suddenly she notices a strange 
 lady walking in the garden, and learns that she 
 is Pinkerton's American wife. 
 
 Sharpless takes Suzuki aside and asks her to 
 prepare Butterfly for what is coming, telling 
 her that the lady is come to adopt the little boy. 
 Pinkerton, realizing Butterfly's faith and life, 
 is overcome by remorse. He begs Sharpless to 
 comfort her as best he can, and leaves the house 
 in tears. Mrs. Pinkerton also comes forward 
 and urges her desire to take the child with her. 
 Suzuki has barely time to act in the situation 
 when Butterfly returns from her room expect- 
 ing to see her husband. She finds instead 
 Sharpless, a foreign lady, and Suzuki in tears. 
 The truth then suddenly overwhelms her. " Is 
 he alive ? " she asks, and Suzuki answers he is. 
 The answer and the manner in which it is given 
 tells Butterfly the terrible truth. She now 
 knows that her husband has forsaken her. She 
 listens dumbly and pathetically to Mrs. Pin- 
 kerton's offer to take the boy and bears the 
 news with a gentle and touching dignity. When 
 her answer comes it is said quietly : " I will 
 give up my child to him only; let him come 
 and take him. I shall be ready in half an 
 hour." Sharpless and Kate Pinkerton then 
 
 558
 
 Madame Butterfly 
 
 leave her. When they have gone Butterfly asks 
 Suzuki to go into another room with the child. 
 She then takes her father's long knife and, 
 throwing a white veil over the folding screen 
 she kisses the blade, noticing as she does so the 
 inscription engraved on it : " He dies in honor 
 who no longer lives in honor." Raising the 
 knife to her throat, she is about to kill herself, 
 when the door opens and her child runs towards 
 her with outstretched arms. She snatches the 
 little one to her bosom and covers him with 
 kisses. She then sends him into the garden. 
 Then, seizing the knife again, she rushes behind 
 the screen, and a little later the sound of the 
 knife falling to the ground is heard. 
 
 Pinkerton returns and calls for Butterfly. 
 She hears him and drags herself from behind 
 the screen to the door, but her strength fails 
 her, and when Pinkerton comes in he finds her 
 lying dead. 
 
 559
 
 The Standard Operaglass 
 
 SALOME 
 Opera in one act by RICHARD STRAUSS 
 
 The production of this now famous opera, by 
 Eichard Strauss, at Dresden, on December 9, 
 1905, created a tremendous excitement at the 
 time. Its success was immense and its per- 
 formance became the subject of much discus- 
 sion, both in England and America. In Eng- 
 land it was forbidden by the censor. In 
 America, however, it was produced with great 
 . magnificence, and obtained an enormous vogue. 
 Strauss took for his text the play as written by 
 Oscar Wilde. In this play Salome is given an 
 individuality totally different from that which 
 the Biblical tale presents. In the Bible story, 
 Salome is simply the tool of her mother, 
 Herodias, who urges her to ask for the head of 
 Jokanaan. In AVilde's play she is a passionate 
 woman, in revolt against the life of the court 
 of Herod the Tetrarch, and in love with 
 Jokanaan, whom she admires for his courage 
 and daring. Jokanaan, however, repulses her 
 and declines to accept her love. It is because 
 of this that her love turns into hatred and 
 makes her determined to avenge herself on him. 
 Jokanaan had aroused Herod's anger for 
 preaching against his marriage with his broth- 
 
 560
 
 Salome 
 
 er's wife. He lias Jokanaan imprisoned in a 
 cistern in the palace and guarded by Boman 
 soldiers. Salome, passing by the cistern, hears 
 the voice of the prisoner prophesying the ruin 
 of Jerusalem. Attracted by his beautiful voice, 
 she asks the guard to let her see the prisoner. 
 
 The scene of the play is the great terrace of 
 Herod's palace, set above the banqueting hall, 
 where some soldiers are seen hanging over the 
 balcony. It is a moonlight night, and a young 
 Syrian soldier is telling of Salome's beauty, as 
 he saw her that night. Salome enters and hears 
 Jokanaan crying from the cistern. She begs 
 the young Syrian for a sight of the prisoner, 
 and fascinates him into an obedience, though 
 he knows he is acting against orders. When 
 Jokanaan comes out of the cistern, he begins a 
 prophetic anathema against him " who in a 
 robe of silver shall one day die in the face of 
 all the people," and against her " who hath 
 given herself to the young men of the Egyp- 
 tians." He will not have Salome look at him. 
 He does not desire to know who she is. It is 
 not to her that he would speak. Salome begs 
 him to go on speaking. " Thy voice is as music 
 to mine ear," she tells him. He tells her to get 
 away from him, but she answers that she is 
 amorous of his body. When he spurns her she 
 scorns him and derides him. The young Syrian 
 
 561
 
 The Standard Operaglass 
 
 soldier, unable to endure her words to Jokanaan, 
 kills himself and falls between Salome and 
 Jokanaan. Salome continues to beg Jokanaan 
 to let her kiss his mouth, but he curses her and 
 goes down into the cistern again. 
 
 Herod, Herodias, and the court now enter 
 and see the dead body of the soldier. The body 
 is removed and the Tetrarch calls for wine, ask- 
 ing Salome to drink. She declines to drink or 
 to eat. The voice of Jokanaan is now heard 
 from the cistern, prophesying that the day of 
 which he spoke is at hand. Herodias bids that 
 he be silenced, but Herod tells the Jews that 
 the prophet is a holy man and must be kept 
 from harm. Five Jews declare him to be an 
 impostor, and ask for his death, but Herod 
 agrees with the Nazarenes that he is the prophet 
 Elias. Jokanaan's voice is again heard telling 
 of the coming of the Savior. Herod asks who 
 the Savior is, and the Nazarenes tell him that 
 he is the Messiah who is already come and who 
 has performed many miracles, even to raising 
 the dead. Herod is incredulous, declaring that 
 the dead should not be raised. 
 
 The voice of Jokanaan is again heard, de- 
 claring that the coming Messiah will ascend 
 Herod's throne. Herod, trembling with fear, 
 asks Salome to dance for him, hoping that by 
 this means his mind will be diverted from 
 
 562
 
 Salome 
 
 thinking on the prophet's warnings and words. 
 She declines to dance, but Herod promises her 
 anything she asks of him, even to the half of his 
 kingdom, if she will but dance for him. Hero- 
 dias does not wish Salome to dance, but Herod 
 insists that he will have her dance. He gives 
 a solemn oath that he will keep his promise to 
 grant her any wish. 
 
 In spite of Herodias's repeated command 
 that she should not dance, Salome declares her- 
 self ready. The musicians then begin to play 
 a furious dance music. Salome, at first motion- 
 less, straightens herself and makes a sign to the 
 musicians, who suddenly change the impetuous 
 music to a sweet, lulling melody. Salome then 
 executes the " Dance of the Seven Veils." At 
 one time, in the dance, she appears to weaken, 
 but, beginning again with renewed passion, she 
 dances so that she approaches the cistern in 
 which Jokanaan is imprisoned. She remains 
 for an instant, as if in an ecstacy, at the edge 
 of the cistern. Then, rushing forward, she falls 
 in a sweep at Herod's feet. 
 
 Herod praises her dancing and asks what he 
 shall give her. Salome requests that she shall 
 have brought to her, on a silver charger, the 
 head of Jokanaan. Herod cries, " No, no " ; 
 but Herodias says that Salome has done well to 
 ask for Jokanaan's head. Herod begs Salome 
 
 563 

 
 The Standard Operaglass 
 
 to listen to him. He has ever been kind to her, 
 let her therefore not ask this thing of him. 
 Salome simply repeats her demand for the 
 head of the prophet. " Give me the head 
 of Jokanaan," is her repeated answer to all 
 Herod's pleadings. Finally he consents, and 
 the executioner is sent into the cistern to bring 
 the head. Salome leans over the cistern and 
 listens eagerty. She wonders why there is no 
 sound ; but when the executioner comes out of 
 the cistern bearing the head on a silver shield, 
 Salome seizes it, while Herod hides his face in 
 his cloak, and Herodias smilingly fans herself. 
 The Nazarenes fall on their knees in prayer. 
 The head of the prophet in her possession, 
 Salome, in an amorous ecstacy, makes love to it, 
 kissing its lips and caressing it passionately. 
 Herod looks on in dreadful astonishment. 
 " She is monstrous, thy daughter," he says to 
 Herodias, in a low voice, but Herodias replies: 
 " I am well pleased with my daughter. She 
 has done well." Herod, rising, says : " Ah, 
 there speaks my brother's wife." He will stay 
 no longer in this place, but, rising, commands 
 that the torches be extinguished. " Hide the 
 moon," he cries ; " hide the stars ! Let us hide 
 ourselves, Herodias! I begin to be afraid." 
 Salome is on the ground, exhausted, but still 
 caressing the head and toying with its hair. " I 
 
 5^4
 
 Salome 
 
 have kissed thy mouth, Jokanaan," she keeps 
 repeating, exultingly. As Herod is about to 
 leave, he turns and sees Salome in this position, 
 illumined in a ray of the moonlight. A great 
 disgust overcomes him. " Kill that woman ! " 
 he cries. The soldiers rush forward and crush 
 Salome beneath their shields. 
 
 565
 
 The Standard Operaglass 
 
 PELLEAS AND MELISANDE 
 Opera in four acts by CLAUDE DEBUSSY 
 
 The libretto of " Pelleas and Melisande," for 
 which Claude Debussy wrote the music, is taken 
 from the play of that name, by Maurice Maeter- 
 linck, the famous Belgian dramatist and mystic. 
 
 The first scene of the first act discovers 
 Melisande sitting on the edge of a fountain, 
 weeping. Prince Golaud, the eldest grandson 
 of old King Arkel, of Allemond, enters and 
 sees her. He has been hunting in the forest 
 and has lost his way. Seeing Melisande, he 
 asks her why she is there alone and weeping. 
 She tells him not to touch her. He questions 
 her as to who she is and where she comes from. 
 She tells him that her name is Melisande, and 
 that she has been cruelly treated. She will not 
 tell him anything now. The bright thing shin- 
 ing at the bottom of the water is the crown 
 some one gave her, which she let fall when cry- 
 ing; but she does not wish Golaud to recover 
 it for her. If he does she says she will throw 
 herself in its place. She asks him why he 
 came there, and he tells her he lost his way fol- 
 lowing a boar. He asks her to go with him, and 
 when she wants to know where he is going, he 
 
 566
 
 Pelleas and Melisande 
 
 replies he does not know; he has lost his way. 
 They depart together. 
 
 The second scene of the same act is a room 
 in the castle, in which are discovered Gene- 
 vieve, mother of Golaud and Pelleas, and Arkel, 
 the King of Allemond. Genevieve reads to 
 Arkel a letter from Golaud to Pelleas, in which 
 Golaud tells his brother that he has wedded 
 Melisande. He is afraid that the step he has 
 taken might not be pleasing to his grandfather, 
 and asks Pelleas to prepare his return for him. 
 If the king consents to receive Melisande, then 
 Pelleas shall place a. lighted lamp in the tower 
 that looks on the sea, so that he may see it from 
 his ship. If there is no light, he will know his 
 grandfather disapproves, and will sail on, never 
 to return. Arkel will say nothing, but he feels 
 that Golaud, since the death of his wife, has 
 been sad in being alone. It is destiny, there- 
 fore, and he will not interfere. Let it, then, be 
 as Golaud wishes. Pelleas enters and tells 
 Arkel that he has just received a letter from 
 his friend Marcellus, who is about to die, and 
 who has written calling on him to see him. 
 Arkel asks Pelleas to wait awhile, and leaves. 
 Genevieve warns Pelleas to be careful to light 
 the lamp in the tower. 
 
 The third scene shows the front of the castle. 
 Genevieve and Melisande enter. Melisande 
 
 567
 
 The Standard Operaglass 
 
 complains of the gloom of the gardens and the 
 forests about the castle. She hears a noise, and 
 Genevieve tells her it is Pelleas. Pelleas enters 
 to show Melisande the way. He offers his sup- 
 port, for the way is steep and dark. 
 
 The first scene of the second act shows Pel- 
 leas and Melisande standing by a fountain in 
 the park of the castle. Melisande tries to reach 
 the water and fails to do so; her hair, however, 
 falls down and gets wet, for it is very long. She 
 plays with her wedding ring, tossing it in the 
 air and catching it again. Pelleas warns her 
 to take care, begging her not to throw it so high. 
 An exclamation from Melisande follows, and 
 the ring falls, sinking out of sight into the 
 water. She is greatly distressed at the mishap, 
 and asks : " What shall we say to Golaud if he 
 asks where it is ? " " The truth, the truth, the 
 truth ! " cries Pelleas. 
 
 The second scene is an apartment in the 
 castle, in which Golaud is seen lying sick on his 
 bed, with Melisande waiting on him at the head. 
 At the very moment when Melisande's wedding 
 ring had fallen into the water Golaud's horse 
 had run away with him and Golaud was dashed 
 against a tree. Tenderly Melisande nurses him, 
 but he begs her not to tire herself. She bursts 
 into tears, and Golaud asking her the reason 
 for her weeping, she tells him that she is sick 
 
 568
 
 
 Pelleas and Melisande 
 
 here, that she is not happy. Golaud questions 
 Melisande as to a reason for her unhappiness. 
 " Is it Pelleas, perhaps ? " he asks. She thinks 
 Pelleas does not like her; but Golaud advises 
 her not to mind him. Caressing her hand, he 
 notices that she no longer wears her wedding 
 ring. He asks her where it is. She says it 
 slipped off her finger while she was looking for 
 shells for little Yniold (Golaud's son) and fell 
 into the sea. The tide coming in, she had to 
 go before she could find it again. 
 
 Golaud tells her he would sooner have lost 
 all he has than lose this ring. »She must go 
 that night and find it; she must take Pelleas 
 with her. She leaves, weeping. 
 
 In the third scene of this second act Pelleas 
 and Melisande are seen before the entrance to 
 the grotto. Pelleas begs Melisande to wait until 
 the moon appears to light the place. She must 
 be able, he says, to describe the place if Golaud 
 questions her. The moon, coming out from 
 behind a bank of clouds, lights up the entrance 
 and they see three old blind men with white 
 hair, seated side by side, supporting each other 
 and asleep against a boulder. Melisande is 
 greatly afraid and cries out, begging Pelleas to 
 come away. Pelleas fears that the old blind 
 men presage a famine in the land. The two 
 
 leave. 
 
 569
 
 The Standard Operaglass 
 
 The first scene of the third act discovers 
 Melisande at a window of one of the towers of 
 the castle combing her hair, preparatory to ar- 
 ranging it for the night. A watchman passes 
 under a window of the tower. She is singing, 
 " My long hair hangs to the base of the tower." 
 Pelleas comes in and, seeing her, calls out to 
 her. He asks her to lean forward that he may 
 see her loosened hair and to kiss her hand be- 
 fore he departs. She will not give him her 
 hand unless he promises to stay. In her en- 
 deavors to give him her hand she leans so far 
 forward that, her hair falls down and covers 
 him. An ecstacy of love seizes Pelleas, and 
 Melisande herself is filled with the same emo- 
 tion. Pelleas, in spite of her remonstrances, 
 will not release her. While they are thus bound 
 to each other two doves come out of the tower 
 and fly about them. Melisande begs Pelleas to 
 let her lift her head, for she hears footsteps 
 approaching. Just then Golaud enters. He 
 tells Melisande not to lean that way out of the 
 window. It is late, he says, and they must not 
 play thus in the dark. " You are two children," 
 he says, laughing nervously. And Golaud goes 
 out with Pelleas. 
 
 The second scene shows the vaults of the 
 castle. Golaud enters, leading Pelleas to the 
 edge of a rock overlooking a stagnant lake. 
 
 57o
 
 Pelleas and Melisande 
 
 This is the water of which Golaud had spoken 
 to his brother. " Do you see the abyss ? " he 
 asks Pelleas. Pelleas begs that they go away. 
 They leave in silence. 
 
 The third scene is the outside of the vaults. 
 Pelleas is delighted to find himself once more 
 breathing the pure air. He espies Melisande 
 and Genevieve at a window of the tower. Go- 
 laud is dispirited, and tells Pelleas that he 
 heard of what took place between him and 
 Melisande last night. He knows it was only a 
 child's game they were playing, but he says 
 it must not be repeated. Melisande is delicate 
 of health, and the least emotion might bring 
 about a misfortune. He has noticed before that 
 there was something between them, and he asks 
 Pelleas to avoid her as much as possible. 
 
 The fourth scene shows the castle tower and 
 the window of Melisande's room. Golaud en- 
 ters, leading his little child Yniold. He ques- 
 tions him as to the doings of Pelleas and Melis- 
 ande, and the child tries to shield them. He 
 lifts him to Melisande's window, which is 
 lighted up, so that he might find out what is 
 going on in the room. The child tells him he 
 sees Melisande and Pelleas in the room. When 
 he asks him what they are doing he tells him 
 they are standing motionless, looking at the 
 light. Yniold begs his father to let him down, 
 
 571
 
 The Standard Operaglass 
 
 as he is afraid he is going to cry out. They 
 leave together. 
 
 The first scene in the fourth act is a passage- 
 way in the castle. Pelleas is begging Melisande 
 to meet him at the fountain in the park, for 
 this last time before he goes away. They sepa- 
 rate and go out on hearing voices talking be- 
 hind the door. Arkel comes in, accompanied 
 by Melisande. He sympathizes with her on her 
 joyless life in the castle, telling her how he has 
 pitied her these past months. Golaud enters, 
 enraged. Arkel notices some blood on his fore- 
 head, but Golaud explains it away. Melisande 
 offers to wipe it off, but he pushes her away, 
 demanding his sword. He is not going to kill 
 her, he says, but hints darkly at danger for her. 
 In a fit of maddened rage, he seizes her by the 
 hair, dragging her hither and thither. Arkel 
 runs forward to interfere, when Golaud sud- 
 denly ceases his rage, and saying " I shall await 
 chance," goes out. 
 
 The second scene is the terrace shrouded in 
 gloom. Yniold is trying to lift a rock in order 
 to find his golden ball. Bleating of sheep is 
 heard in the distance, and the boy asks a shep- 
 herd, who is not seen, why the sheep no longer 
 speak. The voice of the shepherd answers: 
 " Because it is not the way to the stable." The 
 child becomes afraid of the dark, and goes out. 
 
 572
 
 Pelleas and Melisande 
 
 In the third scene Pelleas is waiting in the 
 park at the fountain for the arrival of Melis- 
 ande. She comes late, but explains that Golaud 
 had a bad dream and that her gown was torn 
 by being caught on the nails of the gate. Pel- 
 leas, embracing her, confesses his love, and she 
 tells him that she loves him, too. The mutual 
 confession causes both of them to be overcome 
 alternately with joy and fear. Melisande hears 
 a noise, the crackling of dead leaves, she says. 
 Pelleas only hears the beating of her heart in 
 the darkness. By the light of the moon, how- 
 ever, they see Golaud. Eealizing that they are 
 lost, they throw themselves into each other's 
 arms as Golaud rushes forward with drawn 
 sword and strikes his brother with it on the 
 head. Melisande flies, terror-stricken, with 
 Golaud pursuing her through the wood in 
 silence. 
 
 The fifth act consists of but one scene. It is 
 an apartment in the castle, in which Melisande 
 is lying extended on her bed. Arkel, Golaud, 
 and the physician are in the room also. The 
 physician is assuring them that Melisande can- 
 not die from the little wound she has received, 
 and begs them not to grieve. Melisande has 
 been ill for weeks, but she now partly recovers 
 consciousness. Golaud, dragging himself to- 
 ward the bed, calls on her by name. She an- 
 
 573
 
 The Standard Operaglass 
 
 swers him that she barely recognizes him. 
 Golaud begs Arkel and the physician to leave 
 him alone with his wife. When they have gone 
 he begs Melisande for forgiveness ; but he must 
 know the truth. Did she love Pelleas ? " Yes," 
 she answers. Has she been guilty with him? 
 He will have the truth. She seems not to un- 
 derstand him. Seeing Arkel and the physician 
 at the door he tells them they can come in, for 
 she is already far from them. He believes he 
 has killed her. Melisande becomes conscious 
 again, but has not the strength to do what 
 Arkel asks of her. The room is then filled, 
 one by one, with the maid servants of the 
 castle, who range themselves in silence by the 
 walls and wait. All realize that Melisande is 
 dying, and on.Arkel's request that all speak 
 low, the servants fall suddenly on their knees. 
 Arkel asks what is the matter; the physician 
 approaches the bed and feels the body. " They 
 are right," he says. Melisande was dead. 
 
 574
 
 Electra 
 
 ELECTEA 
 Tragic opera in one act by RICHARD STRAUSS 
 
 This opera, by Richard Strauss, produced 
 after much preparation by Mr. Oscar Hammer- 
 stein, at the Manhattan Opera House, in the 
 season of 1909-10, aroused such a difference of 
 opinion as to its musical merits, that critics in 
 England, Germany, and America carried on 
 quite an animated discussion for many weeks. 
 Mr. Bernard Shaw praised it highly; Mr. 
 Ernest Newman condemned it. Be opinion, 
 however, what it may, the opera is remarkably 
 effective in its dramatic power, and an astonish- 
 ing musical feat. It was first performed in 
 Dresden, on January 25, 1909. 
 
 The text of the opera is by Hugo Yon Hof- 
 mannsthal, a young Austrian poet. It deals 
 with the tragic incident in Electra's life which 
 makes her the avenger of her father's death on 
 both her mother, Clytemnestra, and on her 
 mother's paramour, iEgisthus. The entire ac- 
 tion takes place in one act in an inner court of 
 the palace of the King at Mycene. 
 
 When the curtain rises serving-women at the 
 well are discussing Electra's whereabouts. As 
 one of them remarks that it is the hour when 
 she cries" out upon her father, Electra comes 
 
 575
 
 The Standard Operaglass 
 
 running out of a door and springs back like a 
 wild beast into its lair. The servants continue 
 their remarks, telling how Electra lives and 
 how she is behaving madly towards them. The 
 overseer now comes in and dismisses them into 
 the palace, he going with them. 
 
 Electra then comes out of the house. She 
 appears in the red flickerings of light which 
 fall through the branches of the fig trees. She 
 bewails her father's loss in a speech of passion- 
 ate feeling, and swears to avenge his death with 
 the help of Orestes, her brother. When she and 
 he and her sister Chrysothemis shall have done 
 this, then the three of them will dance about 
 their graves. Chrysothemis enters and looks 
 anxiously for Electra, calling on her softly. 
 Electra turns round like a night wanderer and 
 staggers as she sees her sister's face. She asks 
 Chrysothemis what she wants, and Chryso- 
 themis tells her that Clytemnestra and iEgis- 
 thus intend to shut Electra up in a dark tower. 
 Electra laughs and is not afraid. Chrysothemis 
 blames Electra for what is happening to them 
 both. But for her hate and immitigable mind 
 they would have let them out of this prison. 
 She will not sleep in the place every night until 
 she come to die. She will endure no more to 
 herd with menials. Electra answers her that 
 she will wrest the axe out of her motKer's hand 
 
 576
 
 Electra 
 
 and kill her. She it was who, from her breast, 
 sent bad dreams to their mother. She will yet 
 drive her before her and kill her. They hear 
 a noise as of some people approaching, and 
 Chrysothemis fears it is her mother coming. 
 She begs Electra not to cross her mother's path 
 if only but for this one day. Electra answers 
 that she has a mind to speak to her mother as 
 she has never spoken to her before. 
 
 Against the brightly lighted corridor shuffles 
 and clatters a hurrying procession. There is a 
 tugging and hauling of beasts, a smothered 
 chiding, a quickly stifled cry, the swish of a 
 whip, a pulling back and staggering forward. 
 Chrysothemis, in fear, leaves by the door of the 
 court, and Clytemnestra appears in the wide 
 window. She leans on her waiting- woman, her 
 sallow and bloated face looking whiter above 
 her scarlet dress in the glare of the torches. 
 She is bedecked all over with precious stones 
 and talismans. Electra stands rigid and still, 
 her face turned toward the window. Clytem- 
 nestra suddenly opens her eyes, and, trembling 
 with anger, points with her staff at Electra. 
 She rails at her for her conduct; she calls her 
 a serpent rearing its tongue at her, and calls on 
 the immortal gods asking them why is this done 
 to her. A splendidly powerful and dramatic 
 dialogue follows between Electra and her 
 
 577
 
 The Standard Operaglass 
 
 mother, in which Clytemnestra, with royal dig- 
 nity, and. Electra, with terrible hate, lay bare 
 the tragedy of Agamemnon's death by the hand 
 of iEgisthus. Electra, to the speechless horror 
 of her mother, pictures to her the terrible state 
 in which she must live with iEgisthus. Mated 
 to this man, she cries, the bitter gall-drops must 
 fall on her heart. She, Electra, stands before 
 her so that she may see in her face the mingled 
 features of her father and her own. Her silent 
 presence has brought to nought her last word, 
 and her soul has hanged itself within its self- 
 slung noose. They stand eye to eye, Electra in 
 the wildest intoxication, Clytemnestra breath- 
 ing horribly with fear. At this moment a wait- 
 ing-woman comes running and whispers some 
 words into Clytemnestra's ear. At first Clytem- 
 nestra seems not to understand, but the waiting- 
 woman repeating the message, they both hur- 
 riedly run into the house. Electra wonders 
 what was said to Clytemnestra, and Chryso- 
 themis comes running to the door of the court, 
 crying aloud that Orestes is dead. The news 
 renders Electra almost speechless. She had been 
 expecting Orestes, for whom she had sent, to 
 help her in carrying out her scheme for venge- 
 ance. She will not believe the news, but 
 when there seems to be no doubt about it she 
 tells her sister that the work must now fall on 
 
 578 

 
 Electra 
 
 the two left. She and Chrysothemis must kill 
 " the woman and her husband." Chrysothemis 
 is speechless with horror at the idea of killing 
 her mother, and thinks Electra is beside her- 
 self. Electra tells her she is strong, and with a 
 knife or an axe she could easily do it. Chryso- 
 themis recoils in horror and will have nothing 
 to do with Electra's plans. Electra begs on her 
 knees for her help, but Chrysothemis says she 
 simply cannot. When she runs awo.y from 
 Electra through an inner door, Electra sends a 
 curse after her. 
 
 Realizing at last that she alone must do the 
 deed, she says, " Then, alone ! ' ; She begins to 
 dig hurriedly at the wall of the house, like an 
 animal. As she goes on digging, Orestes stands 
 at the door of the court and sees her. He had 
 been banished from the court from fear of what 
 he might do. Clytemnestra has been living in 
 daily dread of his return. What the waiting- 
 woman had whispered into Clytemnestra's ear 
 was the information that two messengers, an 
 old man and a youth, had arrived in the palace 
 bringing the news that Orestes was dead. It 
 was this news that had made Clytemnestra's 
 face take on its glad look when she left Electra. 
 Orestes stands now looking at his sister. She 
 sees him, but does not recognize him in his dis- 
 guise. She tells him she has nothing to give 
 
 579
 
 The Standard Operaglass 
 
 him, but he tells her he is come with another 
 with an errand for a lady. She begs him to go 
 away and leave her. He is a herald of misfor- 
 tune. When, later, he tells her that Orestes 
 lives, she flings herself round and cries aloud 
 to know where he is. When he discovers him- 
 self, she flings herself into his arms, sobbing. 
 Eagerly she returns to her thoughts of venge- 
 ance, and asks him if he will do it. Yes, the 
 doer shall be he, he answers. Orestes leaves 
 later with his foster-father, who is the old mes- 
 senger, to perform the act of revenge. Electra 
 is left alone in intolerable suspense. She runs 
 to and fro before the door, with bowed head, 
 like a wild beast in its cage. Suddenly from 
 within is heard the cry of Clytemnestra. Elec- 
 tra shrieks like a demon. " Strike again ! " she 
 cries. A second cry is heard from within, and 
 Chrysothemis enters from the servants' door 
 and sees Electra standing with her back against 
 the door. Chrysothemis is followed by the 
 servants and they beg her to let them pass 
 through, to find out what is happening. A wait- 
 ing-woman runs out to bring help, but she 
 quickly returns, announcing the coming of 
 iEgisthus. ^Egisthus enters, demanding why 
 it is there is no one to light the way for him. 
 Electra takes the torch out of the ring, and, 
 running toward him, bows before him. She 
 
 580
 
 Electra 
 
 offers to light him. Then, circling him in a 
 weird dance, she makes him a deep bow. as he 
 goes into the house. He has barely got into 
 the house when his cry is heard, shouting, 
 " Murder ! Murder ! " and his face appears 
 at a little window. He is dragged away, but he 
 reappears, asking if no one hears him. " Aga- 
 memnon hears you ! " cries Electra, drawing 
 herself up. As iEgisthus is again dragged 
 away, crying, " Woe is me ! " Electra stands 
 back, breathing fearfully, her face turned to- 
 ward the door. Women come running wildly 
 out, Chrysothemis among them. She begs 
 Electra to come away with her, because Orestes 
 has done it. The women leave, while the noise 
 without increases. 
 
 Chrysothemis is alone with Electra, who lies 
 crouching on the threshold. She cries shriek- 
 ingly to Electra to listen to the weeping. Elec- 
 tra raises herself and steps down, her head 
 thrown back like a Maenad. 
 
 She lifts her knees, stretches out her arms, 
 and begins her incredible dance. Chrysothemis, 
 who appears against the door with a throng of 
 men and women, cries out against Electra. 
 Electra bids them be silent and dance. She 
 bears the burden of joy, she cries, and she will 
 dance before them there. Only one thing re- 
 mains for all who are as happy as she is — to be 
 
 581
 
 The Standard Operaglass 
 
 silent and. dance. She does a few more steps 
 of tense triumph, and falls a-heap. Chryso- 
 themis runs to her, but Electra lies motion- 
 less. 
 
 582
 
 The Pipe of Desire 
 
 THE PIPE OF DESIEE 
 Opera in one act by FREDERICK S. CONVERSE 
 
 The music, by Frederick S. Converse, to 
 George Edward Barton's dramatic poem, was 
 first played in New York during the opera season 
 of 1909-10, at the Metropolitan Opera House. 
 It is, perhaps, a misnomer to call the work an 
 opera. It is not an opera, in the usual mean- 
 ing of that word. It is rather a dramatic can- 
 tata for the stage. But, whether an opera or 
 cantata, the work is the production of a musical 
 poet, and its analysis deserves a place in this 
 volume, if only for the fact that it is the first 
 opera by an American produced for the first 
 time in America. 
 
 The entire opera consists of but one act, the 
 scene of which is laid in an imaginary sylvan 
 place during the first day of Spring. When 
 the curtain rises a level grass-covered place is 
 discovered, backed by a boulder and the trees 
 of an old forest. A dozen elves are busily and 
 merrily engaged in their work. One of them 
 is scattering seeds to the wind, others are re- 
 moving dead leaves from flowers and breathing 
 on them to melt the frost which has covered 
 them. As they work they sing of the awaken- 
 ing of Nature from her winter's sleep, of the 
 
 583
 
 The Standard Operaglass 
 
 sap rising in the stems of growing things, and 
 of the sun's coming to free them from the 
 prison of frost. In the midst of their singing 
 the voice of Iolan, a peasant, is heard carolling 
 in the distance, and growing more and more 
 distinct as he approaches. The elves know him, 
 and plan to play a trick upon him and tease 
 him. The sylphs suggest that they cheer him 
 on his way or dance to him. The gnomes and 
 undines are surprised that it should be sug- 
 gested they should show themselves to a man, 
 but the others can see no harm in it. So they 
 call to him. As they call the Old One enters 
 and upbraids the elves for their madness in de- 
 siring to show themselves to a man. Iolan 
 demands to know now who is calling, and as he 
 enters the elves hide behind the boulder. Iolan 
 imagines himself to be dreaming, he feels so 
 full of joy. He catches sight of the elves as 
 they emerge from behind the trees, and knows 
 they are the wood-folk. 
 
 The elves dance round him and promise to 
 protect his vine and roof and grant joy to all 
 who trust in their good-will. Iolan shows them 
 money he has earned, and tells them he is to 
 wed Naoia to-morrow. He bids them come to 
 the feast. The Old One tells him it is for- 
 bidden to show themselves to man. No good 
 can come of it. When Iolan asks to know who 
 
 584
 
 The Pipe of Desire 
 
 this gloomy person is, he is : informed, with 
 great reverence, that he is the mightiest of 
 them all — the Old One. Iolan asks to see his 
 crown and sceptre and purse of gold. The Old 
 One tells him the ten thousand years of life is 
 his crown, the earth itself his purse of gold, 
 and his sceptre is the Pipe which hangs round 
 his neck. Iolan jests at the Pipe ; his goat-horn 
 could he heard ten times as far. He is warned 
 not to mock at the Pipe. A dance is called for 
 by the third elf, and the cry is taken up by the 
 rest in a semi-chorus. 
 
 The Old One is asked to play for them, but 
 he refuses. It is madness. They press him to 
 play, and finally he consents, though he tells 
 them it is an evil hour in which he plays. He 
 plays a weird tune. Gnomes, sylphs, undines, 
 and salamanders come out as he plays. The 
 sky becomes overcast, but in a soft green light 
 which suffuses the place the undines dance their 
 mad dance, Iolan watching the while, sitting on 
 a log, highly amused. As the elves dance, they 
 sing their Spring Song, which ends in a burst 
 of victorious joy. When dance and song are 
 ended most of the elves disappear in the woods, 
 leaving behind the Old One and a few of his 
 companions. 
 
 The fourth elf asks Iolan if he now believes 
 in the power of the Pipe, but Iolan thinks any 
 
 585
 
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 other would have done just as well for those 
 who wished to dance. The elf retorts by say- 
 ing that it would make him, also, dance. Iolan 
 answers that no power on earth could make him 
 dance, except with his bride. The elves feel 
 their Pipe to be insulted, and ask the Old One 
 to make him dance. The Old One would pre- 
 fer not to do this, but, being urged by the elves, 
 he sadly accedes, Iolan protesting that he will 
 not dance. 
 
 The Old One plays, and Iolan, unable to re- 
 sist dancing, begs him to stop playing. The 
 elves laugh and shout at him to dance. Iolan 
 is compelled to dance, and in dancing curses the 
 Pipe. He snatches the Pipe from the hands of 
 the Old One and breaks the cord which holds it. 
 A cry of terror from the elves, and all are 
 silent. When Iolan now tells the Old One that 
 his feet must now win back the sceptre, because 
 he is going to play on it and make him dance, 
 the Old One begs him not to blow on the Pipe. 
 They will give him anything he may want — 
 power, gold, or wine; but let him not play on 
 the Pipe. Iolan jeers at him to think that he 
 is afraid. The Old One tells him then that it 
 is the Pipe God gave to Lilith, who played it to 
 Adam in Eden, but since woman broke its 
 charm, it is now played by the elves that its 
 music may be heard by those who walk in soli- 
 
 586
 
 The Pipe of Desire 
 
 tude and are restlessly searching. Iolan calls 
 this a tale to tell to children. The elves warn 
 him not to play, and the Old One now pro- 
 nounces the curse and tells Iolan that the 
 mortal who plays the Pipe without knowl- 
 edge of its secret will die when he has under- 
 stood it. 
 
 Iolan now puts the Pipe to his mouth and 
 hlows a harsh, discordant note. As the sound 
 issues from the Pipe the Sun hecomes clouded 
 over, the elves vanish with a startled cry. The 
 Old One also is about to run away, but Iolan 
 catches him and prevents him going off by plac- 
 ing a stone on his cloak so that he cannot free 
 himself. Iolan blows again on the Pipe, but 
 seems unable to master it. If only he could 
 play the music that is now rising up in his soul, 
 he cries. He begins once again, and this time 
 beautiful music issues from it, which he re- 
 peats. He drops the Pipe, and his eyes become 
 fixed, as if looking at a vision before him. He 
 speaks to himself, and says the music was the 
 music he heard within his soul. The vision 
 that he is seeing, he says, pictures the utmost 
 of his desires. He is wealthy, has horses, goats, 
 and wine. His harvesters are singing at their 
 work. He sees his house and his children play- 
 ing at the door. His wife, Naoia, is coming to 
 him through the roses. He calls on her pas- 
 
 587
 
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 sionately to leave everything and come to him. 
 With the last note of his call the sun shines 
 again, and the Old One recovers his Pipe and 
 frees himself from the stone. 
 
 As Iolan turns to go the Old One bids him 
 stay and listen to what he has to say. The 
 Pipe, the Old One tells him, when he played it 
 sounded but what he, Iolan, desired; but if he 
 will listen again he will see the ill he had 
 wrought. The Old One plays, and at the first 
 note the vision he before saw comes again to 
 Iolan. Naoia now enters, her clothing in rags 
 and her face bleeding. She tells him she has 
 come to his call. Iolan, seeing her thus, be- 
 moans his folly. He who loved her so had, 
 through his own heedlessness, brought her mis- 
 fortune. Had he but known, he would have 
 spared her all the agony she tells him she has 
 endured. He will never leave her more. She 
 becomes delirious and talks of being together 
 with him and their son, little Iolan. They ex- 
 change beautifully expressed wishes to each 
 other, and Naoia, begging him to hold her 
 closer, closer, dies. 
 
 Iolan is broken from grief, and almost be- 
 reft of his reason. He curses and invokes God, 
 who has given him gold, only to turn it into 
 lead. The Old One tells him God's laws are 
 eternal and may not be disobeyed with im- 
 
 588
 
 The Pipe of Desire 
 
 punity. If man has his will, man must pay the 
 penalty. 
 
 The elves now come out and wail because, in- 
 tending to give Iolan joy, they brought only 
 grief on him. The Old One now takes the Pipe 
 and plays on it the Song of Autumn. Iolan 
 listens, and the notes send his soul back to his 
 loved one. The Pipe soothes him to sleep, and 
 he sinks down by the body of Naoia and dies in 
 a burst of glad music. The elves come out and 
 say that they who die for love have accom- 
 plished their life. Nothing is wasted. 
 
 589
 
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 L'AMORE DEI TEE EE 
 
 Tragic Grand Opera in Italian. Three acts. By 
 ITALO MONTE MEZZI 
 
 Text by SEM BENELLI 
 
 The first production occurred in Milan, 1913. 
 The scene is the remote mountain country of 
 Italy, and the action is supposed to happen 
 about the tenth century. In the mythical 
 country of Altura the rule of King Archibaldo, 
 one of the northern barbarian conquerors, has 
 been established. Forty years have elapsed since 
 then, and the king is now blind. His beloved son 
 Manfredo, carefully nurtured, is absent in war. 
 Two of the conquered royal line, Fiora, now 
 spouse of Manfredo, and Avito, are remaining 
 with the hoary King Archibaldo, within the 
 castle. 
 
 During Act I the old king, sleepless and a 
 prey to unrest, visits the impregnable battle- 
 ments of the castle, being accompanied by his 
 trusty attendant Flaminio. On the walls of 
 the fastness a torch is kept flaring as a sign 
 for Manfredo's return. The aged ruler, harassed 
 by strange forebodings, talks to Flaminio about 
 his son, speculating on the latter's homecoming. 
 Fiora, whose union with Manfredo was an en- 
 forced one, suddenly makes her appearance with 
 
 590
 
 L'Amore Dei Tre Re 
 
 Avito, the man to whom she was formerly be- 
 trothed, just after Archibaldo has gone back 
 to his chamber for rest. The two converse, 
 but at dawn Avito goes away. Archibaldo now 
 shows himself once more, and although Fiora 
 attempts to conceal her presence the old king 
 becomes aware of her proximity, and when she 
 avoids replying to him, he suspects her of hav- 
 ing met a lover secretly. , However, he keeps his 
 suspicions to himself. Manfredo now is seen 
 returning. Longing for his beautiful wife has 
 hastened his coming. But to his impassioned 
 avowals of his feelings Fiora turns an indif- 
 ferent ear. Both retire to their nuptial 
 chamber, and the blind old father, more than 
 ever troubled, thanks a kind fate that he can- 
 not see approaching disaster. 
 
 The second act touchingly portrays Man- 
 fredo's dignified but earnest wooing of his 
 young and charming spouse. Upon the ram- 
 parts of the stately stronghold he takes leave 
 of her, asking her for some farewell token of 
 her wifely love. She rather coldly agrees. 
 Standing upon the terrace in front of the 
 castle she waves her scarf at the departing hero 
 and his band of followers, in sign of good wishes. 
 The departing Manfredo and his men remain 
 for a long time within vision. But as they 
 draw out of sight, Avito again may be noticed 
 
 59i
 
 The Standard Operaglass 
 
 climbing up the stairs. He is disguised in the 
 garb of Flaminio. She recognizes him, how- 
 ever, and meaning to be faithful to her lord 
 she pleads with him to leave her. Avito, 
 blinded by passion, refuses to listen to her. 
 Flora once more resorts to her scarf, waving it 
 at the departing husband as a pledge of her 
 affection. While Avito stormily continues to 
 plead his cause with her, kneeling and uttering 
 endearments, Fiora's resistance droops more and 
 more. Avito seizes the hem of her robe which 
 he kisses rapturously. Fiora yields to him. But 
 while this takes place the old king steals upon 
 them. Avito, though, swiftly evades pursuit, 
 and is not recognized, while the blind man has 
 ciearly made out the voice of Fiora. To his in- 
 sistent inquiries she acknowledges having a 
 lover, but will not betray his name. Archibaldo 
 thereupon becomes angered beyond all self-con- 
 trol, seizes Fiora by the throat, and when she 
 still declines to confess the name of the guilty 
 one, he throttles her. The dead body of Fiora 
 is stretched out upon the ground, and the aged 
 ruler is standing before it in an effort to conceal 
 it, when Manfredo enters. Manfredo has 
 hastened home when he no longer noticed his 
 wife signaling to him, as agreed, with her scarf. 
 Then he becomes aware of the lifeless body, and 
 his father, torn by pity and remorse, tells Man- 
 
 592
 
 L'Amore Dei Tre Re 
 
 fredo the sad facts, but is unable to give the 
 culprit's name. Manfredo is broken-hearted, 
 being at a loss, besides, to account for the fact 
 that his wife, when he had such a wealth of love 
 to bestow on her, should have been unresponsive. 
 He conceives a hatred for his father, whom he 
 shrinks from as a murderer, and the old king 
 bears the corpse away. 
 
 In the last act Fiora lies dead in the mauso- 
 leum of the castle, being lamented over by old 
 and young in the castle. They are whispering 
 that she was wickedly murdered out of revenge. 
 Avito enters, approaches the bier on which the 
 body lies in state, and after driving the curious 
 away, kneels down in utter woe and prays that 
 he may die with her. Imprinting wild kisses 
 on the still lips, he imbibes a virulent poison 
 which the old king, hoping thereby to trap the 
 unknown guilty, has spread over them. Avito 
 falls down lifeless. Manfredo also enters, ap- 
 proaches the bier, and perceives Avito, already 
 breathing his last. The truth that Avito must 
 be the lover of his dead wife, then dawns on 
 him, and in his wrath he comes near stabbing 
 the moribund Avito. The latter taunts him and 
 forbids his touching the lips of the dead. But 
 Manfredo does, and dying in his turn, is sur- 
 prised by his blind father who has not recog- 
 nized the voice of his own son and deems him 
 
 593
 
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 to be the illegitimate lover for whom he had 
 spread the deadly snare. Manfredo, however, 
 with the broken accents of the dying, reveals to 
 him the fact that he himself, the blind king, has 
 caused not alone the death of the guilty couple 
 but also that of his innocent son. 
 
 ANDKE CHENIER 
 
 Tragic Opera in four acts by UMBEETO GIOR- 
 DANO * 
 
 Text by VICTORIEN DECAZES 
 
 This opera was first produced at Milan, 1896. 
 The book is based on historical facts interwoven 
 with events during the great French revolution. 
 
 The first act takes place during the early 
 part of the Revolution. The scene is a ballroom, 
 being prepared for a festivity. Gerard, a serv- 
 ant secretly devofed to the revolutionary cause, 
 is anxiously awaiting the end of his term of 
 service, avowing his principles in the course of a 
 conversation. The Countess de Coigny, the 
 hostess, comes in accompanied by Madeleine, 
 a young girl, and by Bersi, her attendant. 
 Madeleine speaks reprovingly of the great 
 extravagance shown in the preparations for the 
 ball, contrasting them with the general misery 
 under which the people are groaning. Andre 
 
 594
 
 Andre Chenier 
 
 Chenier, the rising young poet, and Fleville, 
 the author, arrive among the first guests. The 
 good abbe deplores the lot of the poor, and tells 
 the latest disquieting news. But Fleville laugh- 
 ingly tells everybody to enjoy themselves, for 
 apres nous le deluge. The festivity proceeds, 
 and during its continuance Madeleine begs 
 Chenier, the poet, to compose on the spot a 
 poem glorifying Love. Chenier does so, but in 
 the course of it draws a bitter parallel between 
 wealth and poverty. The countess animates her 
 guests to dance and forget what to-morrow may 
 have in store for them. There is gay dancing 
 and merry jesting, when Gerard breaks in upon 
 the scene with a ragged crowd. The countess 
 orders the intruders to leave, and the father of 
 Gerard, an old and attached servant, vainly 
 urges indulgence. The rabble are driven out, 
 and the ball goes on. 
 
 The second act is at the Cafe Hottot, Paris. 
 Bersi and a spy for the Jacobin Club are at 
 one table, and Andre Chenier at another. A 
 sansculotte, by name Mathieu, and a waiter are 
 in attendance. A tumbril with the day's con- 
 demned rumbles heavily past on its way to the 
 guillotine. A friend of Andre Chenier, Roucher, 
 enters and implores the poet to take flight, hav- 
 ing secured for him a passport signed by the 
 committee of safety. The poet, however, being 
 
 595
 
 The Standard Operaglass 
 
 engrossed with a love affair, scorns to take ad- 
 vantage of the offer. His friend earnestly warns 
 him to be careful. Kobespierre, with a ragged 
 throng of his followers behind him, passes by 
 in the street. Gerard enters and inquires of the 
 spy the whereabouts of Madeleine. Bersi asks 
 Chenier to await the coming of an unknown 
 lady whom she calls " Speranza." Chenier de- 
 cides to wait. Darkness falls, and the spy 
 watches in the shadows until Madeleine enters, 
 meeting Chenier. Then he recognizes them 
 and runs to inform Gerard. Madeleine asks 
 Andre to save her, and both avow their love. 
 When on the point of flight Gerard stops them, 
 and tries to spirit away Madeleine. Eoucher 
 takes her home. There is a duel between Andre 
 and Gerard, and when the latter is wounded he 
 begs Andre to take care of Madeleine. The 
 poet becomes a fugitive, and a mob gathers about 
 the wounded Gerard, demanding to know the 
 name of his assailant, but he pretends ignorance. 
 In the third act the revolutionary tribunal is 
 seen, and Mathieu greets the mob when Gerard 
 is brought in. Gerard makes an appeal to the 
 mob. An old woman, Madelon, pushes her way 
 to the front, and presents her young grandson 
 to the country's service. The spy enters and 
 tells Gerard that Andre has just been appre- 
 hended and that Madeleine is close by. Gerard, 
 
 596
 
 Andre Chenier 
 
 torn by a conflict of feelings, means to denounce 
 Andre to the revolutionary tribunal, but finally 
 refrains from doing so. Madeleine comes in, 
 and Gerard declares affection for her. She 
 tries to flee, but then offers her honor for 
 Andre's life. Gerard is touched by her grief 
 and unselfish love, and promises to assist her. 
 The judges arrive, and Andre is brought in 
 to face instant trial. He denies, however, the 
 charge and offers proof of the contrary. 
 Gerard also pleads for him, but the bloodthirsty 
 rabble demand his head. He is led away to 
 prison. 
 
 In the last act night has come, and Andre 
 is seen in prison. He writes and composes a 
 love song. Roucher is close by, and a touching 
 farewell scene between the two takes place. 
 Madeleine enters with Gerard, and she bribes 
 the guards to let her take the place of another 
 woman condemned to death and who is also on 
 the list of that day's victims. She desires to 
 perish together with Andre, her lover. Her 
 wish is gratified, and jointly they ascend the 
 scaffold. 
 
 597
 
 The Standard Operaglass 
 L'AMORE MEDICO 
 
 An opera bouffe in two acts by E. WOLF-FERRARI 
 
 Book founded on Moliere's comedy " L'Amour Medico," 
 by E. GOLISCHIANI 
 
 This opera, " L'Amore Medico " (Dr. Cupid), 
 saw its first presentation at the royal opera 
 house in Dresden, 1913. The scene is in 
 France, and the time is the 17th century. 
 
 The first act occurs at the villa of a wealthy 
 landowner. Arnolfo, a very selfish father, can- 
 not explain to himself his daughter's curious 
 illness. She is wasting away, and the doctor 
 is unable to fathom the reason. To prevent 
 her from leaving home and marrying, he is 
 treating her as a child. She must dress in 
 infantile fashion, and he addresses her in the 
 same way, presenting dolls and toys, and even 
 using baby talk to her. The daughter is list- 
 less in his presence, until he puts to her the 
 question whether some young gaby has found 
 approval in her eyes. She instantly replies 
 " Yes, papa ! " The father grows angry at 
 this, and still more when the pert maid, Lisetta, 
 joins the conversation by saying that what 
 Lucinda, the daughter, really requires to cure 
 her is a husband. Later Clitandro, the young 
 gallant who has made an impression on 
 Lucinda's heart, |§ serenading her and after a 
 
 598
 
 L'Amore Medico 
 
 song in which he ardently confesses his love, he 
 throws a rose through the window. Lucinda 
 is so overwhelmed by her feelings that she faints. 
 Arnolfo returns and there is a monologue in 
 which he expresses longing for the time when 
 his daughter will be too old and unattractive to 
 marry, and may thus devote all her time to the 
 nursing of her father, as all daughters ought to 
 do. He falls asleep, but is awakened by out- 
 cries from his child, and loud demands by 
 Lisetta for a doctor. He sends her forth to 
 get doctors, and they come in a mass. 
 
 The second act exhibits the doctors in con- 
 clave. At first they behave with courtesy 
 toward one another, and each listens to the 
 theory of the other as to the causes of the 
 young girl's illness. But soon they disagree, 
 and almost come to blows. Arnolfo enters, and 
 the four physicians deluge him with Latin 
 nonsense, and all demand a fat fee. These are 
 paid before Arnolfo remembers that with all 
 their noise they have not told him what was 
 really the matter with his child and what treat- 
 ment should be given her. But just at that 
 moment Lisetta comes in, having Clitandro with 
 her, who is disguised in the long wig and formal 
 costume of a physician. The new doctor pro- 
 claims as his specialty the healing of sick hearts. 
 Arnolfo watches the doctor, who seems unneces- 
 
 599
 
 The Standard Operaglass 
 
 sarily long about the person of the patient. 
 The final diagnosis is that Lucinda's trouble is 
 mental. As she merely imagines that she wants 
 a husband, the best way would be to humor her 
 and pretend to give her one. Tor that pur- 
 pose even he, the doctor, will offer him- 
 self as the subject of an experiment. Arnolfo 
 consents to enter into the plan and promises, 
 always in jest only, to give the two half his prop- 
 erty. A notary is called and draws up the 
 settlements, a ceremony is performed, and 
 then a group of merrymakers stream in. The 
 father becomes too late aware that he has been 
 the victim of a successful practical joke. 
 
 APHRODITE 
 
 Tragic Opera in five acts by CAMILLE EELANGEE 
 
 Text after Pierre Louys' romance of the same name by 
 LOUIS DE GRAMONT 
 
 This opera was first performed in Paris, 1906, 
 and has since been heard everywhere. The 
 action occurs at Alexandria, Egypt, in B. C. 50. 
 The scene shifts with every act, and the setting 
 requires great pageantry and much gorgeous 
 costume. The music shows originality and 
 most of it is decidedly pleasing in character. 
 
 In the first act throngs are gathered upon the 
 
 600
 
 Aphrodite 
 
 pier of Alexandria, among whom may be dis- 
 tinguished philosophers, courtiers, sailors, beg- 
 gars, wandering traders, gay courtesans, and a 
 rabble of the merely curious. There is talk of a 
 splendid feast to be given by Bacchis, a wealthy 
 woman of the town, who is to celebrate in that 
 fashion the freeing of her pet slave girl, 
 Corinna. A flute duet is being played by Myrto 
 and Ehodis, and Theano dances publicly to its 
 measure. Demetrius enters, the crowd opening 
 a way for him. He is a famous sculptor whose 
 latest work, an entrancing statue of Aphrodite, 
 the goddess of love, has recently been placed in 
 the temple devoted to her cult. Some of the 
 courtesans present, — Musarion, Seso, Tryphera, 
 and Philotis, — comment on the haughty ways 
 of Demetrius, who is said to be the lover of 
 the hour of Queen Berenice. 
 
 Then, after he has scorned all this gabble, the 
 dreaded sorceress Chimairis comes on the 
 scene and pronounces the doom of Demetrius, 
 saying that his future will be one of crime and 
 bloodshed. The death of two women will be on 
 his hands, and thereafter his own. The sculp- 
 tor scoffs at the prediction. 
 
 When the throng disperses, a noted wanton, 
 Chrysis, passes near him. He is struck with 
 her exquisite charms, and some bantering 
 dialogue ensues. Chrysis refuses his gold for 
 
 601
 
 The Standard Operaglass 
 
 her favor, saying she craves but three things: 
 a miror, a necklace and a comb, in exchange 
 for which she vows to render the giver happy. 
 Demetrius takes a solemn oath that he will 
 procure the three gifts for her. But these 
 three things, she goes on, are not easy to obtain. 
 For the mirror is the famous silver one of 
 Ehodope, the one that Sappho the fair once 
 gazed upon ; the comb is now in the tresses of 
 the spouse of the high priest; and the necklace 
 is hung in seven rows of matchless pearls 
 around the marble neck of his own Aphrodite 
 in the inmost temple hall. But nothing daunts 
 Demetrius. He swears he will obtain these 
 fateful objects for her or die in the attempt. 
 Chrysis smiles derisively, but pledges the de- 
 lights of the gods in exchange if he makes his 
 boasting come true. 
 
 In the next act the interior of the temple is 
 seen. Demetrius has possessed himself of two 
 of the desired objects, committing murder to do 
 so. He now is on the point of robbing his own 
 handiwork, the statue of Aphrodite, of the 
 coveted necklace when temple servants enter 
 and drive him to hiding. The high priest 
 makes his entrance at this juncture, with a 
 body of courtesans in his train. The latter 
 offer sacrifice, and while so employed Chrysis 
 appears. There is question of admitting her, 
 
 602
 
 Aphrodite 
 
 since she is only part Greek, part Jewess, but 
 the high priest himself takes her side, and she 
 is welcomed. Chrysis, too, bears priceless 
 offerings for the shrine of the goddess, among 
 these being a necklace of emeralds. Demetrius 
 unseen witnesses all this, and the sight of 
 Chrysis inflames him with wild desire, and he 
 renews his vow to despoil the goddess of the 
 cherished bauble. 
 
 In the third act, the one replete with feverish 
 action, revelry is in full swing at the house of 
 Bacchis. Corinna is seated next to her mis- 
 tress on a dai's. Her six sisters, likewise slaves, 
 are intensely jealous of the honors bestowed on 
 their sister. Chrysis is one of the guests, with 
 Timon beside her, but she is dispirited. 
 Theano dances, and the feast waxes furious un- 
 til the theft of the costly mirror is accidentally 
 discovered. Chrysis rejoices. Bacchis sus- 
 pects Corinna of having purloined the mirror, 
 and Corinna's sisters amplify her charges. In 
 a rage Bacchis orders Corinna to be crucified, 
 and she herself helps the carrying out of the 
 sentence. Chrysis has eyes and ears for noth- 
 ing but the evidence that her lover, Demetrius, 
 has risked much for her favor. The banquet is 
 resumed, while Timon stands by the cross 
 whereto is nailed the dying Corinna and solaces 
 her last moments. 
 
 603
 
 The Standard Operaglass 
 
 During the fourth act Demetrius is seen in 
 his studio, when suddenly shouts of the multi- 
 tude crying " sacrilege/' pierce the distance. 
 He is smitten with remorse at his crimes, when 
 Chrysis comes forth from behind the screen, 
 and all his thoughts turn to her. He puts the 
 three coveted objects into her hands, she dis- 
 robes and adorns herself with his gifts, and the 
 couple forget everything else in their passion. 
 They exchange oaths of undying affection, and 
 Chrysis offers to prove it by doing even more 
 for him than he has for her. She swears it 
 by the living God of Israel. 
 
 In the last act a maddened crowd, beside 
 themselves with horror at the sacrilege com- 
 mitted upon the goddess Aphrodite, and dread- 
 ing the wrath of the outraged deity, is swaying 
 to and fro between the pier and Pharos. That 
 the high priest's wife has been cruelly slain for 
 the sake of her marvelous comb becomes known 
 at this juncture. The throng, wrought to the 
 highest pitch of excitement, are on their knees 
 pleading for mercy from Aphrodite. Suddenly, 
 in the midst of their despair, they perceive, on 
 top of the first landing of the spiral stairs lead- 
 ing up to the tower of Pharos, a nude woman 
 of ravishing beauty, wearing the mirror, comb 
 and necklace which are attributes of the divine 
 Aphrodite. The credulous mob leap at the 
 
 604
 
 Ariane Et Barbe Bleue 
 
 conclusion that this is the goddess herself, and 
 Chrysis (for she it is in reality) strengthens 
 this belief by shouting down from her eminence 
 that she is indeed the immortal goddess. 
 But some have recognized her, and instantly 
 there is a rush, and the woman is cap- 
 tured and borne by a furious, fanatical crowd 
 to the prison, there to await the awful sentence 
 for her sacrilegious deception. A touching jail 
 scene shows Chrysis ready to die. The Queen 
 sends her the fateful hemlock bowl to drink. 
 Gradually her senses are benumbed, but she 
 murmurs the words " Demetrius " and " love " 
 till the last, while Demetrius himself is slain 
 by outraged Love in a vision. 
 
 ARIANE ET BARBE BLEUE 
 
 Dramatic Opera in three acts by PAUL DUKAS 
 
 The libretto is by MAURICE MAETERLINCK, after the 
 well-known tale about Bluebeard 
 
 The opera was first seen at Paris, 1907. The 
 time is the Middle Ages, and the scene, a strong 
 castle. Maeterlinck has here added a tinge of 
 mysticism to the fairy tale, Ariane being, in a 
 sense, a forerunner of the modern woman. 
 
 At the castle of Bluebeard a great uproar is 
 going on. As the curtain rises the angry 
 
 605
 
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 roar of the maddened crowd outside the strong 
 walls is heard. This is because the news has 
 spread that the evil knight has again succeeded 
 in inveigling a new victim into his possession. 
 It is known that he has murdered or tortured 
 to death five previous wives, but Ariane, the 
 latest addition, cannot believe these popular 
 rumors, and insists on finding out the truth 
 herself. She is particularly bound to learn the 
 secret underlying it all, for secret there must 
 be, she thinks. Ariane now enters with the 
 attendant, carrying with her seven keys, silver 
 all of them, save the last, which is of gold. 
 And it is the last which opens the door behind 
 which is hidden the mystery of mysteries, she 
 has been told, the one which she is forbidden 
 to use on pain of her life. One after the other 
 these six less important keys are inserted in 
 the locks, and as the threshold of each door is 
 crossed a delightful surprise has been laid bare, 
 and rarest gems have been found to ravish the 
 eye. But the young wife is not gratified by all 
 this display. She conceives it to be her duty 
 and her woman's privilege to bare the mysterious 
 attractions of the room from which alone she 
 is to be excluded. The nurse in her wake begs 
 and implores her to desist, but Ariane is stub- 
 born. Curiosity piques her too strongly. So 
 they turn the golden lock with the golden key, 
 
 606
 
 Ariane Et Barbe Bleue 
 
 and as they do so they hear from afar the dis- 
 tant groans and tearful appeals of women. 
 And before they can penetrate further or close 
 and lock once more the portal they see Blue- 
 beard coming in very coolly, saying: "Aha, 
 you, too ! ,; Then he tells Ariane in a lenient 
 voice that he will exonerate her trespass if 
 only she will abandon her project of further 
 inspection. But Ariane is unable to do that. 
 She is urged on by a power stronger even than 
 life, and she bids Bluebeard defiance. The 
 knight now becomes enraged, and tells her to 
 follow in his steps. Her faithful attendant, 
 however, once more hearing the bellowing throng 
 outside the castle gates, rushes off and lets in 
 the rabble. They advance upon him, but he 
 draws his sword valiantly and prepares to sell 
 his life dearly. At that point Ariane herself 
 becomes the advocate of her husband, swearing 
 that he is doing her no harm, and thus the 
 crowd withdraws. 
 
 In the second act there is an underground 
 chamber, and Ariane and her faithful nurse 
 have been left in a secret vault close by the 
 seventh room, the forbidden one, and still per- 
 sist in their desire to investigate it. Ariane 
 is convinced that those previous wives have not 
 been murdered at all, but are merely kept 
 prisoners. They have with them an ancient 
 
 607
 
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 flickering lamp, and by its uncertain glare they 
 see upon the floor of their dungeon, huddled in 
 strange shapes, the shadowy forms of women. 
 These, they discover, are really the previous 
 five wives, not dead, but leading a wretched and 
 cramped existence. So Ariane attempts to 
 hearten them, and in trying to find some means 
 of rescuing them, she sees at the far end of the 
 gloomy room, the lamp having gone out, a faint 
 glimmer of dawning light, and when they all 
 turn thither, they become aware that it comes 
 from a gate that has stood always open, by 
 passing which they all of them are at large, 
 and may issue into the wide realms of the 
 world. 
 
 In the third act there is again the great hall 
 of the castle. It turns out that the grounds 
 surrounding the castle as well as the latter are 
 enchanted, so that, after all, the wives cannot 
 escape from its thrall. So they have turned 
 back to the hall, where they find richest finery 
 in great assortment, and they are all donning it 
 by turns, simply to amuse themselves and while 
 away time which is hanging heavily on their 
 hands. Ariane is instructing the five wives how 
 to win back their lost beauty, not only by dress- 
 ing gaily, but by fresh air and exercise. The 
 nurse comes to warn the women that Bluebeard 
 is on his way back, and that the villagers are 
 
 608
 
 Ariane Et Barbe Bleue 
 
 threatening to kill him. The fight takes place, 
 and Bluebeard is defeated, together with his 
 strong bodyguard, and is wounded grievously. 
 The crowd are on the point of drowning him 
 in the deep moat of the castle, having manacled 
 him, but Ariane and the other wives interpose. 
 Ariane in addressing the crowd dwells on the 
 fact that it is she who is the most concerned in 
 the whole business, and she induces them to carry 
 Bluebeard into the hall of the castle, where she 
 cuts his bonds, and next dresses his injuries. 
 The throng leave her in undisputed possession 
 of the field. Bluebeard, whose wounds are not 
 very serious, now rises and gazes by turns at 
 this and that one of the wives, but he has no 
 more any desire to molest them. Ariane says 
 farewell to him, and states that now her mis- 
 sion is over and that she must go away. Blue- 
 beard regrets this, and in answer confesses his 
 love and admiration for her. But Ariane 
 smilingly does not respond to his pleading. 
 The other five wives are told they may have 
 their freedom if they so choose. But they, 
 after consultation, declare their decision to stay 
 with Bluebeard. 
 
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 L'ATTAQUE DU MOULIN 
 
 A four-act Opera, music by C. BRTJNEAU 
 Text founded on a story by A. DATJDET 
 
 The first performance of this work took place 
 in Paris, 1893. It is of a patriotic nature, and 
 has enjoyed popularity in France. 
 
 The scene of the first act is laid in the mill 
 of Father Merlier, shortly before the outbreak 
 of the war of 1870-71. The housekeeper, Mar- 
 celline, is making great preparations in order 
 to celebrate the formal engagement of Merlier's 
 daughter, Franchette, to her young lover, 
 Dominic. Old Merlier has become reconciled 
 to the match, although at first he was strongly 
 opposed to it. He indulges in pleasant specu- 
 lation as to the prospective new management of 
 the mill by the young couple. Swarms of 
 guests are arriving, and all of them give joy 
 to the lovers. Dancing is begun, and toasts to 
 the happy couple are being proposed when a 
 drum is heard. It is officially declared that war 
 has commenced, whereupon the guests disperse 
 in affright. 
 
 The second act happens but one month there- 
 after. It is the very day when the wedding of 
 Franchette and Dominic was to be celebrated, 
 but instead fighting is going on around the 
 mill. A detachment of French soldiers have 
 
 610
 
 L'Attaque Du Moulin 
 
 occupied the mill, and the Prussians are attack- 
 ing it from without. Merlier, the miller, has 
 been wounded while defending his homestead. 
 Dominic, a skilled marksman, has scored many 
 a hit. After a brave defense the French cap- 
 tain orders his men to retreat by way of the 
 near-by forest. They go off in that direction. 
 Franchette comes in with a knife in her 
 hands. She explains that she carries it for 
 self-protection. The Prussian troops now take 
 possession of the mill. Their commander 
 wants to know why Dominic has not gone with 
 his company. Dominic in reply says he is not 
 a Frenchman and did not belong to the com- 
 pany. He says he is Flemish, and only fought 
 out of friendship for the family. Whereupon 
 the Prussian captain, saying that he is a free- 
 booter, declares his life forfeit and orders him 
 shot for joining in the fight, but offers to 
 pardon him if he will lead the Prussian troops 
 through the woods. Dominic indignantly re- 
 fuses. Alone in prison Dominic in a moving 
 song bids farewell to life and home. Fran- 
 chette, climbing to his window, points out to 
 him a way of escape and gives him the 
 details. 
 
 In the third act Dominic, after climbing out 
 of his window, is discovered by the sentry, 
 whom in the ensuing scuffle he stabs and mor- 
 
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 tally wounds. He has used Franchette's 
 knife in doing so, and has dropped that 
 before he escapes. Soldiers rush in and 
 make Merlier and his daughter prisoners. Mer- 
 lier is held responsible for the murder of the 
 sentry. Although the miller knows the hiding 
 place of Dominic, his future son-in-law, he re- 
 solves not to give up the latter to the enemy, 
 as has been demanded, and rather to suffer the 
 death penalty himself in order not to destroy 
 Franchette's happiness. He informs the Prus- 
 sian commanding officer that he is ready to 
 undergo the full penalty. Franchette is unable 
 to bear the strain and falls unconscious to the 
 ground. 
 
 The fourth act opens again in the place be- 
 fore the mill. It is dawn. Marcelline, the 
 housekeeper, looks about her and notes the 
 Prussians wrapped in slumber. Franchette 
 appears, and a trumpet signal is heard telling 
 of an approaching body of French soldiers. 
 Dominic steals into the yard in disguise. He 
 has wandered about the woods all night, un- 
 quiet regarding the fate of his friends. His 
 sweetheart dares not tell him the truth. Just 
 then Merlier and the Prussian captain enter, 
 and Merlier, in an aside, implores his daughter 
 not to reveal the facts, for fear that Dominic 
 will spoil his plan. So they all purposely mis- 
 
 612
 
 L'Aube Rouge 
 
 lead Dominic. He thinks all is well. French 
 bugles are heard again, and Merlier, in order 
 to save at least his daughter and her betrothed, 
 orders Dominic to run and advise the approach- 
 ing French troops to come to the rescue. He 
 bids farewell to his daughter, reminding her of 
 happy days. Franchette thinks the Prussian 
 captain has relented, and is calmed. The 
 French soldiers appear at the same time as the 
 Prussians, and just when the mill and its in- 
 habitants seem safe at last, the Prussian com- 
 mander gives orders to shoot Merlier, who falls 
 riddled with bullets. 
 
 L'AUBE KOUGE 
 
 Tragic Opera in two acts by CAMILLE ERLANGER 
 Text by M. MARCON 
 
 This opera had its premiere at Eouen, in 
 1912. 
 
 Act I. Olga is informed by her father, a Rus- 
 sian general named Lavaroff, that her lover 
 Serge, a Nihilist, is dead in Siberia. Her 
 father urges her to marry a famous French 
 surgeon, M. Ruys. But Serge appears at the 
 wedding supper, and Olga flees with him to the 
 haunts of the Nihilists in the Quartier Latin, 
 Paris. There Serge and she devote themselves 
 
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 with great enthusiasm to the " cause." Serge 
 is chosen by his comrades to throw a bomb at a 
 reactionary Eussian diplomat visiting Paris. 
 The struggle in his soul between his love for 
 Olga and his devotion to his fellows is great, and 
 he hesitates. His comrades, deeming him a 
 traitor, sentence him to death. But the shot 
 merely inflicts a severe wound, and he is taken 
 to the hospital. When he wakes there from 
 his narcotic slumber he finds he has been saved 
 by the skill of his rival, the famous surgeon 
 Ruys. Feeling conscious, however, of his duty 
 to his mates he throws the bomb and is killed in 
 the explosion. His sweetheart Olga becomes 
 insane. 
 
 BORIS GODOUNOV 
 
 A Russian Tragic Opera, in a prologue and four 
 acts. Music by M. P. MOUSSORGSKY 
 
 Libretto founded on PUSHKIN and KARAMZIN'S great 
 
 historical drama of the same name, written by 
 
 the composer 
 
 The first performance of this work was at 
 
 Petrograd, in 1874. The scene is in Moscow, 
 
 partly on the frontiers of Poland, between 1598 
 
 and 1605, the time of the usurper, Boris 
 
 Godounov. The music is characteristically 
 
 Slavic. 
 
 614
 
 Boris Godounov 
 
 In the prologue a vast concourse of people is 
 seen in the interior of a monastery near Mos- 
 cow, where Boris Godounov, although voices 
 are whispering against him, is proclaimed czar 
 of Russia. Boris, being appointed guardian of 
 the minor children of Czar Ivan the Terrible, 
 has caused the young heir to the throne, Dmitri, 
 to be foully murdered, in order to become ruler 
 himself. His coronation at the Kremlin is 
 celebrated with great rejoicing on the part of 
 the people. 
 
 Act I is in a cell of the Monastery of the 
 Miracle, where the pious monk, Pimen, is labori- 
 ously writing a history of Russia. This he 
 does with the fervid desire to tell the un- 
 varnished truth, so that " he may not be 
 ashamed " when God himself reads it. There 
 is with him in the cell a youth named Gregory, 
 his features, his age and his general appearance 
 presenting a great resemblance to the murdered 
 Dmitri. The monk Pimen comments on this 
 and tells the youth the circumstances of 
 Dmitri's death and also other facts in con- 
 nection with it. Gregory is much struck 
 with the tale. Later on Gregory, disguised, 
 escapes over the Russian border, being in 
 great danger of arrest by the guards of Boris 
 Godounov, as he is pursued for having escaped 
 from the monastery with the intention of per- 
 
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 sonating the vanished heir to the throne, 
 Dmitri. Warrants are out for Gregory's ap- 
 prehension, but he escapes. 
 
 In the second act the apartments at the 
 Kremlin are seen, with the son, Feodor, and the 
 daughter, Xenia, of the usurper. The latter 
 enters, caresses his children, and then sits 
 down to brood over his cares and fears. A war 
 with Poland is threatening, and a party of his 
 own nobles are plotting a rebellion. Prince 
 Shouisky enters, seeking audience with the czar, 
 who grants it reluctantly. Shouisky then tells 
 about the rising of a pretender against Boris, 
 and the latter in his fears and doubts asks 
 Shouisky whether he really carried out the order 
 to put Dmitri out of the way. Prince Shouisky 
 relates all the grewsome details of the death of 
 Dmitri, and convinces the usurper that he 
 speaks the truth. But at the same time he 
 gives the czar facts about the danger threaten- 
 ing from the pretender (Gregory), who has ob- 
 tained the support of the Poles and is 
 on the point of enforcing his claims. Boris 
 is harried by the torments of his conscience 
 and fears. 
 
 The third act opens in the apartments of 
 Marina Mnichek in Poland, where a Jesuit 
 priest influences her to use all her charms to 
 beguile Dmitri (Gregory), to help in the 
 
 616
 
 Boris Godounov 
 
 plot of unseating Boris, and to seize the supreme 
 power for the Polish pretender to the Bussian 
 throne. Dmitri overhears the plans of the 
 Polish nohles. Marina later inflames Gregory's 
 ambition that he may become a pliant tool in 
 the hands of the Polish plotters. It is resolved 
 to march, with a Polish army, to Moscow, oust 
 Boris, and crown Gregory (as the false Dmitri) 
 instead. 
 
 The last act takes us to Krom, where there 
 is a rebellion of the peasants against the usurp- 
 ing czar and his adherents. Gregory (Dmitri) 
 comes on the scene with a body of troops sup- 
 porting him, and they acclaim him ruler of 
 Russia. Meanwhile in the Kremlin a council 
 of the nobles is in deliberation as to how to 
 defeat the pretender and crush the uprising of 
 the people. Shouisky enters and brings dreary 
 news about Boris, who is haunted by spectres. 
 While still reporting this Boris comes in, under 
 the complete spell of visions. Voices are whis- 
 pering to him : " Thou art a murderer ! " 
 Boris recovers, but soon after an old monk begs 
 for an audience, and the monk historian, 
 Pimen, enters, and relates the story of a miracle 
 in which Dmitri appeared to an old shepherd. 
 At the end of the tale Boris loses his senses, but 
 comes once more to himself, and gives tearful 
 advice to his son and heir, when he expires. 
 
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 THE BOHEMIAN" GIEL 
 
 Opera in three acts. Music by M. W. BALFE 
 Text by ALFRED BUNN, founded on " The Gypsy," by 
 
 ST. GEORGES and MARZILLIER 
 
 This English sentimental opera, one of the 
 earliest successful ones, was originally produced 
 in London, 1843. The romantic plot has its 
 scene laid in Hungary, the time being the 18th 
 century. This operatic work is one of the most 
 tuneful, although florid in style. 
 
 Count Arnheim, the imperial governor of 
 Pressburg, Hungary, in the first act has in his 
 palace assembled a vast number of nobles, re- 
 tainers and servants for the chase. Not far 
 away, on the banks of the Danube, a statue of 
 the emperor is being unveiled with impressive 
 ceremonies, the Austrian flag being raised. 
 Count Arnheim and his nephew, Florestan, 
 enter, and Arline, his little daughter, is being 
 affectionately greeted by him. They all leave 
 together, and the place before the castle is 
 empty, when Thaddeus, a Polish nobleman in 
 exile, rushes forth, and perceiving the statue 
 of the emperor, he becomes aware that he is 
 still in danger of discovery and death, and looks 
 about for means of disguising himself. A 
 wandering band of gypsies opportunely puts in 
 an appearance, and their leader, Devilshoof, 
 is spoken to by Thaddeus, who implores' his 
 
 618
 
 The Bohemian Girl 
 
 help. He promises Thaddeus immediate assist- 
 ance, puts him in gypsy garb, and makes him 
 join the band. The pursuing soldiery are thrown 
 off the right track, and the Pole goes off with 
 the gypsies. Meanwhile Arline and her attendant 
 have been attacked by some wild beast that was 
 being pursued by the Count's huntsmen, and a 
 fear is entertained that she may have been 
 killed. Florestan has fled from the onslaught 
 of the quarry, and Thaddeus, coming upon him 
 in the deep woods, and hearing the latter's tale, 
 wrests the weapon from his grasp, and hastens 
 to the defense of the child. While everybody 
 is still searching for the Count's little daughter, 
 Thaddeus returns with her in safety. In recog- 
 nition of his services the father thanks him and 
 invites him to a banquet at the castle. Thad- 
 deus, being urged, finally accepts. During the 
 meal a toast is being drunk to the emperor, but 
 the Pole haughtily declines to do so, splashing 
 the contents of his goblet at the statue of the 
 monarch. Count Arnheim, remembers that 
 Thaddeus is the savior of little Arline, forgives 
 him, throws him a purse of gold for his re- 
 ward, and bids him begone. The nobles 
 present are about to seize the hot-headed Pole, 
 when Devilshoof comes on the scene, threaten- 
 ing those who wish to harm the man he has 
 taken under his protection. 
 
 619
 
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 Devilshoof, thereupon, himself is over- 
 powered and cast into a dungeon, while Thad- 
 deus is permitted to leave unharmed. But a 
 short while after the word comes that Arline, 
 left for a few moments to herself in her room, 
 has vanished, and on search being made it is seen 
 that the gypsy chief has escaped from his cell. 
 He is seen by his pursuers climbing a steep 
 mountain path, holding the girl in his arms. 
 He eludes the retainers of the Count, by 
 fleeing into the woods across a fallen tree 
 trunk, and casting it behind him down the 
 chasm. 
 
 Twelve years are supposed to have elapsed, 
 and Arline is next seen asleep in the tent of the 
 gypsy queen, Thaddeus guarding them, while 
 the band are off on a nocturnal venture. 
 Florestan, nephew of the Count, is robbed by 
 the gypsies when returning from a drinking 
 bout, and is despoiled of all his valuables. 
 Count Arnheim is still mourning his daughter 
 for lost or dead, never having been able in all 
 that time to trace her. The gypsy queen, how- 
 ever, has Florestan summoned before her, and 
 returns all his stolen property to him, save 
 a gem-encrusted locket, Devilshoof having 
 secreted that without her knowledge. There 
 follows a scene in which Thaddeus declares his 
 love for Arline, the latter having now become 
 
 620
 
 The Bohemian Girl 
 
 a very lovely young woman. They exchange 
 vows, and he tells her of the adventure years 
 before, when he rescued her from death, but 
 he does not disclose her real identity. Then, at 
 fair time, in Pressburg, Count Arnheim and his 
 nephew are accidentally observing a group of 
 gypsies, and Florestan falls in love with 
 Arline's beauty. Later on he makes advances 
 to her, but the girl spurns him. The gypsy 
 queen artfully praises her for her independence 
 of spirit, and adorns her with the locket as a 
 reward. Florestan, angered at his being re- 
 pulsed, causes the arrest of both Arline and 
 Thaddeus, who had vigorously interfered with 
 Florestan's pretensions. 
 
 In the justice hall of his palace is the Count, 
 indulging in sad reminiscences of his vanished 
 child. Just then Arline is brought before him 
 on the charge of theft. The girl only now sees 
 through the perfidy of the gypsy queen who, out 
 of revenge for the preference shown by Thad- 
 deus for Arline, instead of herself, has resorted 
 to the ruse of decking her rival in stolen jewels. 
 Arline too late discovers that she had no de- 
 fense to make against the accusation, and in 
 despair tries to stab herself. The Count stops 
 her hand, and in doing so sees the tell-tale scar 
 upon his daughter's wrist. Thaddeus, having 
 just recovered his liberty, impressively con- 
 
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 firms the girl's own stor}', and he and Devils- 
 hoof disappear during a scene of general re- 
 joicing. 
 
 The third and last act shows Arline in the 
 great hall of her father's palace, awaiting the 
 guests to whom her father wants to introduce 
 her. Florestan and her father join her, and 
 Florestan once more asks her hand in marriage. 
 But Arline rejects him, treasuring in her heart 
 Thaddeus as her lover, even refusing her father 
 when the latter seconds his nephew's suit. 
 Thaddeus and Devilshoof enter the castle sur- 
 reptitiously, and urge her to follow them and 
 again join the gypsy band. Arline regret- 
 fully recalls all the happiness she enjoyed while 
 roving with the gypsies, but she delays her de- 
 cision so long that guests are approaching. 
 Devilshoof takes flight, and Thaddeus is forced 
 to hide. Meanwhile the gypsy queen has clan- 
 destinely followed these two, being still ani- 
 mated with vengeful feelings because of being 
 scorned by Thaddeus, and now enters the castle 
 and announces to Count Arnheim that his 
 daughter is concealing a lover in her chamber. 
 The angry father charges his daughter with this 
 when Thaddeus steps forth from hiding and 
 boldly confesses his passion for Arline. The 
 Count orders him to leave instantly, but Arline 
 threatens to follow him; and when it is later 
 
 622
 
 The Cavalier of the Rose 
 
 proven that Thaddeus himself comes of noble 
 family, and can show his patent of nobility, the 
 father relents. The marriage takes place with 
 great solemnity. The gypsy queen, however, 
 thirsting for revenge and having been so far 
 baffled in all her schemes, hires an assassin from 
 amongst her band, to murder Thaddeus. 
 Devilshoof, though, succeeds in turning aside 
 the weapon, so that the queen herself becomes 
 the victim of her own murderous plot. 
 
 THE CAVALIER OF THE EOSE 
 
 Comic Grand Opera in three acts by RICHARD 
 STRAUSS 
 
 Book by HUGO VON HOFFMANNSTHAL 
 
 This work was first heard in Dresden, in 
 1911. The scene is laid in Vienna, in the time 
 of Empress Maria Theresa. 
 
 The first act shows the drawing rooms of the 
 Princess von "Werdenberg. Her husband is 
 conveniently absent on a trip to Arabia, hunt- 
 ing wild beasts, and the inconsolable spouse 
 meanwhile is trying to make up for her loss by 
 splendidly entertaining a young cavalier, the 
 Count Octaviano Rofrano. While he is pay- 
 ing her fulsome compliments and maintaining a 
 love-lorn attitude, she is Only too conscious of 
 
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 The Standard Operaglass 
 
 her own dwindling attractions. Loud and im- 
 portunate ringing at the house bell frightens 
 the princess, who suspects a too early return of 
 her lord. The count finds a ready way out of 
 the embarrassing situation. He hastily dons 
 the garments of the coquettish chambermaid, 
 and then opens the door himself. It is only a 
 cousin of the princess from the provinces, Baron 
 Ochs von Lerchenau, who comes to ask his- rela- 
 tive for advice in an important venture. His 
 aim is to wed Sophie, the daughter of a wealthy 
 army contractor, or rather her fat dowry. This 
 wooer, puffed up with self-importance, shallow 
 and vain, confesses outright that the bride-to-be 
 does not matter to him, but solely her money. 
 To open his campaign as a suitor for the young 
 lady's hand, he proposes to send to her a per- 
 sonal representative with a rose fashioned of 
 silver, as a time-honored emblem of his earnest 
 intentions. And he desires the princess to tell 
 him whom to send as a trusty messenger. 
 Luncheon is served, of which both he and the 
 princess partake, waited on during the meal by 
 Octaviano in his role as maid. The baron is 
 condescending enough to be smitten with the 
 fascinations of this supposed waitress, and 
 makes an appointment to meet her, or rather 
 him. This angers the princess' notions of de- 
 corum, and in a spirit of spite she suggests 
 
 624
 
 The Cavalier of the Rose 
 
 Octaviano for the part of cavalier of the rose. 
 This suits the baron. He goes away, and the 
 princess, left by herself, sees a number of per- 
 sons, needy and otherwise. Incidentally she 
 once more consults her mirror as to whether 
 she has not made a mistake in recommending 
 Octaviano for the bearer of the baron's message, 
 for she fears thereby to lose control of him. 
 
 The army contractor's luxurious apartments 
 are the scene of the second act. Octaviano ap- 
 pears, solemn as a high priest, with the silver 
 rose for Sophie. Her father, Faninal by name, 
 is intensely flattered at the prospect of intimate 
 connections with the higher nobility. But 
 Octaviano is gTeatly impressed with the girl 
 herself, and resolves to outdo the foolish old 
 baron. Sophie on her part also likes him 
 very much and feels a strong aversion to 
 the baron when she meets him a little 
 later. The baron leaves, and Octaviano is 
 left alone for a short while with Sophie. 
 He makes good use of his opportunity, and the 
 two spying servants in the pay of the baron 
 report these facts to the latter. A lively dis- 
 cussion between Octaviano and the baron fol- 
 lows, in which that worthy is practically told 
 that he is an idiot and unworthy of such a 
 phenix as Sophie. At this they draw their 
 swords, and fall to. The baron, as great a 
 
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 poltroon as he is an absurd wooer, is slightly 
 wounded and cries out in pain. There is an 
 uproar and Sophie's father comes on the scene. 
 He comrrfands his daughter to accept the baron 
 for a husband, or else to go to a nunnery for 
 life. The baron at this awakes from his swoon, 
 especially as he remembers his appointment 
 with the fictitious maid. 
 
 In act three Octaviano is seen hurrying to a 
 hotel in a secluded part of the city, wearing a 
 maid's costume over his own clothes. He has 
 bribed some of the baron's servants to aid him 
 in duping their master. Everything has been 
 provided by the baron to capture the coy maid, 
 as he supposes. There is a table laden with 
 delicacies, gay music, choice wines, and a cloud 
 of menials to carry out every one of his desires. 
 But the flirting with the "maid" lags. The 
 baron is irritated. Besides, the apartment seems 
 to be haunted. Furious at meeting with this cold 
 reception, he is beside himself when suddenly 
 there enters the official Guardian of Good 
 Morals, and forthwith proceeds to demand the 
 " maid's " name and business. The baron 
 vouches for his guest as Sophie, his betrothed. 
 But the latter, informed in advance of what is 
 going on, here enters with her father, and a 
 complete exposure ensues. The baron becomes 
 the butt of all when the maid slips off her outer 
 
 626
 
 Cendrillon 
 
 costume and stands revealed as Octaviano. Of 
 course, Octaviano now becomes the accepted 
 lover of Sophie with her father's consent. 
 
 CEXDRILLOX (Cinderella) 
 
 Fairy Opera in four acts by J. MASSENET 
 Text based on a French collection of fairy tales 
 
 Initial performance in Paris, 1899. 
 
 Act I. Shows Cendrillon at the home of her 
 stepmother, Mme. Haltiere, who with her two 
 daughters is treating Cendrillon abominably. 
 While the three are making elaborate prepara- 
 tions to attend a splendid court ball, Cendrillon 
 is told to stay at home and mind the household. 
 She is sitting before the hearth dreaming of 
 future happiness, when her godmother, a benevo- 
 lent fairy, makes her appearance. She brings 
 magnificent garments with her, together with 
 a marvelously small pair of slippers, and these 
 fit as only fairy slippers ever do. Poor Cen- 
 drillon rapidly dons all, and the fairy tells her 
 she may go to the ball herself, but must leave 
 there promptly at twelve, unless evil is to befall 
 her. A splendid glass coach and six are wait- 
 ing, and she drives off with attendants in full 
 
 livery. 
 
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 Act II. Meanwhile the stepmother is vainly 
 plying all her arts to make the host, Prince 
 Charming, fall in love with one of her own 
 daughters, but the prince pays no attention to 
 either of them. Cendrillon enters, quite un- 
 recognizable in her magnificent attire, and 
 creates an enormous sensation. The prince is 
 instantly bewitched by her charms, and devotes 
 his attentions to her exclusively. It is a case 
 of love at first sight, both for him and her. 
 Time flies, and before Cendrillon realizes it, 
 midnight strikes. She swiftly runs to the fairy 
 coach that is waiting for her, but in her haste 
 she loses one of her slippers. 
 
 Act III. The next day things at the house 
 of Mme. Haltiere are rather uncomfortable. 
 She herself is furious at the success of her step- 
 daughter, and she upbraids her husband. Cen- 
 drillon sheds tears because she never expects to 
 see the prince again, and when her father comes 
 to console her, thinking that she is unhappy 
 because of her treatment by the stepmother, he 
 promises her to go with her and seek refuge 
 elsewhere. But Cendrillon will not accept such 
 a sacrifice. She flees alone into the dark, 
 stormy night. The scene changes to the fairies' 
 great oak tree. The weather is mild and clear 
 and fairies are skipping about. Cendrillon 
 comes, imploring protection. But Prince 
 
 628
 
 Le Chemineau 
 
 Charming is also there, in search of his beau- 
 tiful unknown. Each recognizes the other's 
 voice. 
 
 Act IV. Cendrillon is at home again. She is 
 recovering from a fever. Suddenly a messenger 
 from the king is heard proclaiming in the 
 streets that on that very day Prince Charming 
 will receive the ladies of the kingdom at his 
 palace, and that she whose foot fits the small 
 crystal slipper left behind at the recent court 
 ball shall be his wife. All the ladies try, but 
 only Cendrillon can get the slipper on her tiny 
 foot. The change of scene shows Cendrillon 
 acknowledged as the promised spouse of the 
 prince, and the whole court does homage to her. 
 
 LE CHEMINEAU 
 
 Opera in four acts by XAVIER H. N. LEROUX 
 Text based on a novel by LUCIEN FAVRE 
 
 In the first act Le Chemineau, the best farm- 
 hand of Pierre, a well-to-do farmer in France, 
 and one who is always cheerful and ready for a 
 joke, is introduced. Toinette, who is also in 
 Pierre's employ, is deeply in love with him, and 
 he with her. But Le Chemineau is even more 
 fond of a roving life, and hates to assume 
 steady responsibilities. Hence he makes up 
 
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 his mind to resume his wanderings and tells 
 Toinette. She attempts to restrain him, and 
 Frangois, likewise in love with Toinette, min- 
 gles in the conversation, belittles Le Chemineau, 
 and pleads with her. Pierre, the farmer, en- 
 courages Toinette to stay, while she wishes to 
 join her sweetheart in his roving life. Le 
 Chemineau cuts short the discussion by strid- 
 ing off, and while Toinette falls in a swoon and 
 confesses that she has been his mistress, Le 
 Chemineau's song of departure is heard from 
 a distant field. 
 
 Twenty years have gone, and Francois has 
 really married Toinette. But Frangois is now 
 an invalid, and both he and his wife worry be- 
 cause their only son, Toinet, is always sad. 
 Aline, old Pierre's daughter, is fond of Toinet, 
 but her father is opposed to marriage with him. 
 Pierre even says that sooner than see her the 
 wife of Toinet he would have her dead. He 
 finally drives Toinette and Frangois from 
 his farm, and threatens to betray the fact that 
 Toinet is really an illegitimate son of Le Chemi- 
 neau. Frangois, enraged, rushes at Pierre, but 
 feebly totters and falls prone to the floor, 
 upbraiding his wife for hiding for so many 
 years the fact from him that Toinet is not his 
 own son at all. 
 
 630
 
 Le Chemineau 
 
 In Act III two farm hands, former co- 
 workers with Le Chemineau and Francois, are 
 discussing Toinet's hard lot, when the latter, 
 wearied from long walking, enters the wayside 
 inn where the discussion takes place. Catherine, 
 the hostess, sends Toinet to the barn for a rest, 
 while Le Chemineau, still very much his old 
 self, drops in, singing and jolly. He has been 
 all this time moving about from place to place. 
 The farm hands recognize him, but he does not 
 know them. From their talk he learns what 
 became of Toinette, his former sweetheart, and 
 feels sorry for her. "While he is still seated 
 Toinette comes to look for her vanished son, and 
 she is taken to his couch. Chemineau remains, 
 realizing with difficulty that Toinet is his own 
 son. He also goes to the barn and there he 
 meets Toinette, who accuses him of being the 
 author of all her present misfortunes. He begs 
 for her forgiveness, which she grants. 
 . The last act shows Toinette's house on Christ- 
 mas eve. Aline and Toinet are now married, 
 and prepare to go to midnight mass. Le 
 Chemineau is also there, and he offers to stay 
 with the invalid Francois if Toinette will join 
 the young couple in their walk to church. 
 Toinette accedes and hopes that her former 
 lover, Le Chemineau, will never leave them. 
 Old Pierre comes in and tells Le Chemineau 
 
 631
 
 The Standard Operaglass 
 
 that if only he will marry Toinette after 
 Frangois has died, he will make him comforta- 
 ble for the rest of his life. Le Chemineau de- 
 clines. Frangois has heard all and thanks Le 
 Chemineau. The latter goes away, resuming 
 his wandering existence, while the bells are 
 heard announcing the end of the mass. 
 
 THE CHIMES OF NORMANDY 
 
 Light Opera in three acts by E. J. PLANQTJETTE 
 Libretto by CLAIRVILLE AND GABET 
 
 The first production took place at Paris, in 
 1877. The scene is laid in Normandy, among 
 the inhabitants of a fishing village. 
 
 The first act presents an attractive picture of 
 village life with the annual fair at Corneville. 
 The old Marquis de Villeroi has returned after 
 a long absence from his estates, and the village 
 population is therefore celebrating this event. 
 Everybody is at the fair, old gossips and 
 rustic lovers in particular. Their tongues wag 
 most about Serpolette, a pert village beauty, 
 and Gaspard, an old miser, whom folks envy 
 and curse because of his wealth for which he is 
 said to have sold himself to the evil one. It 
 is mainly because of old Gaspard's cruel treat- 
 ment of his niece, Germaine, that he is hated 
 
 632
 
 The Chimes of Normandy 
 
 and despised. He wants to force her to marry 
 the sheriff, an elderly and unattractive person, 
 whereas she herself inclines much more to Jean 
 Grenicheux, a bold young fisherman, who once 
 rescued her from drowning. As servants are 
 hired at the fair, Germaine and Jean both 
 engage themselves to the marquis, hoping in 
 this way to escape the sordid plans of old 
 Gaspard. 
 
 The marquis has resolved to restore thor- 
 oughly his chateau, fallen into decay during the 
 many years of his absence, and popularly be- 
 lieved to be haunted, so that the villagers have 
 held it in great fear. At the beginning of the 
 second act the marquis has therefore given 
 orders that the whole of the immense building 
 be completely overhauled. In doing this Gas- 
 pard, the old miser, who had purposely fostered 
 the notion of spooks in the cellars because he 
 has there kept his bags of gold, is found gloat- 
 ing over his treasures. The sudden interrup- 
 tion, together with the grief of being found 
 out and perhaps losing all his gold, weigh so 
 much on his mind that he runs off into the cold 
 night a shrieking maniac. 
 
 The last act is presented at the banquet hall 
 of the chateau, which now has been entirely 
 restored and embellished. The marquis is feast- 
 ing the whole village, and joy runs high among 
 
 633
 
 The Standard Operaglass 
 
 his guests. Serpolette is most conspicuous, and 
 Jean, who formerly scorned her, assiduously is 
 wooing her, for after the flight of Gaspard 
 documents were found among his papers which 
 seem to prove that she is the heiress to the 
 miser's wealth. Gaspard himself has all this 
 time been strolling about bereft of reason. The 
 marquis on his part has fallen in love with 
 Germaine, although she fills but the place of a 
 servant in his household. The day comes, how- 
 ever, when the miser recovers his senses, and 
 then everything changes, for it is then shown 
 that, after all, Germaine, is his niece and right- 
 ful heiress, and so the marquis may wed her. 
 Serpolette steps down from her height and con- 
 tents herself with an ordinary husband. 
 
 634
 
 Cleopatra 
 
 CLEOPATRA 
 
 Tragic Opera in four acts by X. H. X. LEROUX 
 Text based on SARDOU'S drama of the same name 
 This opera was first performed in Paris, 1890, 
 and in America first in Chicago, 1919. The 
 libretto follows closely historical events. 
 
 Mark Anthony, in camp at Tarsus, is pro- 
 claimed victorious general of Pome, in the first 
 act. The delegates of the conquered nations 
 withdraw, save alone Spakos, the favorite of 
 Cleopatra. Preceded by Charmion, her trusted 
 slave girl, Cleopatra enters. Anthony, at first 
 haughty and suspicious, is completely fascinated 
 by Egypt's queen. Envoys from Rome bring 
 an order from the Senate for his return, but he 
 refuses to leave Cleopatra. 
 
 In the second act preparations are being 
 made for the marriage of Anthony with Octavia. 
 Ennius, just back from the Nile, tells of 
 Anthony's orgies there. Octavia, on her way 
 to the nuptial chamber, enters with -Anthony; 
 the latter demands of Ennius news regarding 
 Cleopatra. Learning that Spakos is for the 
 moment high in her favor, Mark Anthony grows 
 fiercely jealous. When Octavia returns he dis- 
 closes to her his relations with Cleopatra, and 
 Octavia falls fainting. The scene that follows 
 takes us to Alexandria, Egypt. Spakos and 
 
 635
 
 The Standard Operaglass 
 
 Cleopatra, disguised as a boy, enter an inn 
 together. There is a mob, and one of 
 them, a public dancer named Adamos, attracts 
 Cleopatra. Spakos becomes frantic with jeal- 
 ousy, while Cleopatra takes off her costly head- 
 dress and praises the crowd for having amused 
 her. Suddenly the approach of Mark Anthony 
 is announced to her, and despite the furious 
 outbreaks of Spakos she hastens to meet him. 
 
 There is a garden scene in the third act, with 
 Cleopatra and Mark Anthony loitering in the 
 shady paths. She offers to kiss that man who 
 will afterwards empty a chalice filled with 
 deadly poison. He dashes the vessel to the 
 ground. Octavia enters unannounced, begging 
 her husband to return to Rome for important 
 affairs. Anthony, however, scorns her and her 
 advice and prepares to meet Octavius on the 
 battlefield. Spakos assures Octavia that Cleo- 
 patra has been his and shall be his again. 
 Anthony comes in his battle chairiot to bid 
 farewell to Cleopatra. 
 
 In the last act Cleopatra is waiting news of 
 the fight at Actium, lolling on a terrace over- 
 looking the sea. She has made preparations 
 for suicide in case Anthony is dead. Charmion 
 comes with a basket of flowers in which an asp 
 is concealed, and Cleopatra says she prefers 
 death from snakebite to being exhibited in 
 
 636
 
 Crispino E La Comare 
 
 Octavius' triumphal procession. Spakos enters, 
 telling her that Anthony believes her dead and 
 will never return to her. Then he protests his 
 undying love for her. Cleopatra stabs him to 
 the heart. Anthony, having fallen on his own 
 sword on hearing of Cleopatra's death, enters 
 mortally wounded. As he expires, Cleopatra 
 lays the asp to her bosom and dies before the 
 entrance of victorious Octavius. 
 
 CRISPINO E LA COMARE 
 
 Fairy Opera in three acts by G. EICCI 
 Words by P. CAVALIERI and D. VESTRI 
 
 This tuneful opera was first given six years 
 after the composer's death, in 1865, in Paris. 
 
 Act I. Crispino and Annetta, his wife, are a 
 luckless, penniless couple with a large family. 
 He is a cobbler and she a street ballad vendor, 
 and their miserly landlord is about to put them 
 on the pavement for non-paid rent. Crispino, 
 in despair, wants to throw himself into an old 
 deep well, when a fairy appears in a mist, and 
 hinders this attempt at self-destruction, promis- 
 ing henceforth to take care of him. The bar- 
 gain she makes with him is this: he is to be- 
 come a famous physician, and to perfect a cure 
 
 637
 
 The Standard Operaglass 
 
 in every instance where she, the fairy, will not 
 be visible to him at the patient's bed. 
 
 Act II. Happiness at last seems to have come 
 to the couple, for marvelous cures are effected 
 by Crispino. This arouses the jealousy of the 
 doctors. 
 
 Act III. Crispino, spoiled by success, becomes 
 cruel to his wife and even forgets the fairy's 
 warning. For punishment the fairy makes the 
 ground swallow him up. Crispino sees terrible 
 visions. As a last request he begs his pro- 
 tectress to let him see his wife and children 
 once more. This brings about his forgiveness, 
 and he finds himself again at home. 
 
 CYRANO DE BERGERAC 
 
 Dramatic Opera in four acts by FRANK DAM- 
 
 EOSCH 
 
 Text based on ROSTAND'S well-known drama 
 
 The opening performance of this work oc- 
 curred in New York, 1913. The plot is a very 
 clever condensation of Rostand's spirited drama, 
 and is replete with action. The scene is laid in 
 the year 1640. 
 
 Act I shows the Hotel de Bourgogne where 
 the play, " La Clorisse," is about to begin. 
 Montfleury, the leading actor, is in disgrace, and 
 
 638
 
 Cyrano De Bergerac 
 
 has been forbidden to act for a whole month by 
 Cyrano's whim, the unfortunate star having in- 
 curred his displeasure not alon» for bad playing 
 but for his presumption in glancing at Cyrano's 
 cousin, Eoxane. Cyrano, although madly in 
 love with Eoxane, does not trust himself to 
 avow his state of feelings, merely because nature 
 has endowed him with a monstrous nose, and 
 he fears ridicule like death. Christian, Baron 
 de Neuvillette, is also secretly in love with 
 Eoxane, but her relative Guiche favors none 
 of these, but rather the Viscount de Valvert 
 for her suitor. However, Guiche fails in this, 
 and a friend of Christian's, Ligniere, has even 
 composed a song of derision at Guiche's expense. 
 LeBret, Cyrano's friend, is impatiently expect- 
 ing the latter. Christian is jealous of Valvert. 
 Christian detects the hand of a pickpocket in 
 his clothes, and to obtain pardon the thief re- 
 veals to him a plot to set upon Ligniere at the 
 Porte de Nesle. So Christian goes to warn 
 Ligniere. Meanwhile Cyrano and Valvert 
 cross swords, and the latter is wounded. Cyrano 
 confesses to LeBret his love for Eoxane. 
 Cyrano is informed that Eoxane wishes to meet 
 him next morning. 
 
 In the second act this meeting takes place. 
 It is at a fashionable cookshop's, and Cyrano 
 sits down at a table to write a note to Eoxane 
 
 639
 
 The Standard Operaglass 
 
 confessing all. Eoxane enters and thanks Cyrano 
 for the service done her and Christian the night 
 before. She asks Cyrano to shield Christian 
 with his invincible sword, because she loves him. 
 Cyrano becomes depressed because of Eoxane's 
 confidences, especially as she does not scruple 
 to admit her partiality for Christian. Guiche 
 comes in, and Cyrano purposely offends him. 
 Guiche is afraid to pick a quarrel with him. 
 Christian, not knowing that Eoxane has pleaded 
 with her cousin to protect him, and being tired 
 of serving forever as the butt for his fellow- 
 cadets in the regiment, taunts Cyrano with the 
 size and shape of his nose. Cyrano, although 
 angered greatly, controls his wrath for the sake 
 of his beloved Eoxane. Left alone with Chris- 
 tian, Cyrano tells the young lover that he is 
 conversant with all the facts, and that Eoxane 
 expects a letter from him. Christian is crest- 
 fallen, admits that writing is not his strong 
 point, and then Cyrano offers him the letter he 
 had written, but never delivered, to Eoxane, 
 telling him that it will do very well under the 
 circumstances. 
 
 In Act III Guiche bids adieu to Eoxane, be- 
 ing commanded to go with his regiment in 
 defense of the town of Arras. Since her own 
 lover, as one of the cadets, forms part of that 
 regiment, she fears that Guiche may mean harm 
 
 640
 
 Cyrano De Bergerac 
 
 to Christian. So she impresses him with the 
 notion that it would be wise to leave Cyrano's 
 company behind, thus frustrating the latter's 
 ambitious plans. Guiche does so. Cyrano, 
 out of regard for his pledged word, makes love 
 for Christian, deftly plying his powers of 
 vicarious seduction until Roxane kisses the 
 youth in Cyrano's very presence. Guiche re- 
 turns, but Cyrano delays his interference 
 long enough to have a priest pronounce 
 Christian and Eoxane man and wife. Out 
 of revenge Guiche at once orders the young hus- 
 band off to active service, to aid in the siege of 
 Arras. 
 
 The last act shows the cadets, with Christian 
 among them, before Arras. Famine is weaken- 
 ing their ranks. Dawn breaks and the reveille 
 is heard. Guiche, more hated than ever, re- 
 bukes his troops fiercely. Cyrano comments on 
 the injustice of it. There is a conversation be- 
 tween Christian and C) 7 rano, in which the 
 former, unaware hitherto of Cyrano's passion 
 for Roxane, comes to realize it. Roxane ap- 
 pears. She has all along received from her 
 young husband letters so affectionate and high- 
 souled as to make her fall in love with him 
 deeper and deeper, but letters, unknown to her, 
 every one of which was written by Cyrano. 
 She is now resolved to join Christian in the 
 
 641
 
 The Standard Operaglass 
 
 field at all hazards. Full of overflowing en- 
 thusiasm she tells her husband that she would 
 love him if he were ugly. Christian at last sees 
 clearly that it is not himself in reality whom 
 his wife loves, but the author of those letters, 
 Cyrano. He frankly tells Cyrano about this. 
 Then an assault is made by the foe, and Chris- 
 tian is killed. Cyrano rushes off to take part 
 in the fight. Then there is a change of scene. 
 When the battle ends LeBret is seen carrying 
 Cyrano, mortally wounded, to a convent close 
 by, and Eoxane likewise goes there to join 
 him. 
 
 DEJANIKE 
 
 Tragic Grand Opera by C. C. SAINT-SAENS 
 Text by LOUIS GALLET and the composer 
 
 This opera saw its first production at Monte 
 Carlo, in 1911. The book is based on early 
 Greek mythology. 
 
 In the first act the scene is placed upon a 
 colonnade in front of the palace of Hercules, 
 with the Acropolis visible in th'e distance. The 
 followers of Hercules are lauding the valiant 
 deeds of their hero, who is a son of Zeus and 
 of Alkmene. Among his achievements they 
 speak of his conquering Eurytus, the tyrant, and 
 
 642
 
 Dejanire 
 
 of his bringing back with him the latter's 
 daughter, Iole. Iole appears, weeping at her 
 lot and that of her women, the Oechalians. 
 Philoetetes and Hercules enter, Hercules speak- 
 ing of the hatred borne for him by Juno, and 
 of the criminal passion he has for Iole. He 
 begs his friend Philoetetes to convey a message 
 of love to Iole and to appease the wrath of his 
 legitimate wife, Dejanira, who is awaiting his 
 return to her in Calydon. Then Phenice, sent by 
 Dejanira, tells him that his wife wishes to meet 
 him at the foot of the Acropolis, but Hercules 
 declines to do this, and bids Dejanira return 
 to Calydon. Phenice, who is a seeress, prophe- 
 sies great evil, has visions of horrible events 
 and sees rising flames. Then she rushes away 
 in terror. Philoetetes discharges his mission, 
 confessing the love Hercules bears to Iole, 
 who scorns it, and the two instead avow an un- 
 dying affection for each other. Dejanira on 
 being told by Phenice that her husband com- 
 mands her to go back to Calydon, is seized by 
 convulsive jealousy, and goes to the palace to 
 demand justice from Hercules. She recounts 
 to a circle of admiring Aetolian women all the 
 wonderful exploits divine Hercules has per- 
 formed to win her. She deplores the fact that 
 now her husband is proving faithless, and re- 
 lates how Hercules and Xessus, the Centaur, 
 
 643
 
 The Standard Operaglass 
 
 met and how the latter was wounded mortally. 
 In a transport of rage she finally disappears 
 within the palace. 
 
 When the curtain rises on Act II Dejanira 
 meets Iole. The two women silently appraise 
 each other, and Dejanira boasts that she will 
 take the sweetheart of her husband to Calydon 
 with her, chained to the spokes of her chariot. 
 Hercules enters, furious at his wife's conduct. 
 Dejanira flees. But Hercules follows her, ex- 
 acting her promise that she will obey his order. 
 A fierce conjugal quarrel ensues, the wife de- 
 nouncing the husband's errant fancies. Her- 
 cules sends for Iole and tells her of his love. He 
 is answered that she cannot command her feel- 
 ings, and when Philoctetes comes in, he is 
 watched closely by Hercules who suspects him. 
 Philoctetes and Iole confess their mutual love 
 to Hercules, and Hercules replies by casting 
 his follower into prison. 
 
 In Act III Dejanira is recounting the inci- 
 dents prior to the death of Nessus, and espe- 
 cially how the latter made her a gift of his 
 robe with the injunction that if donned this 
 robe would infallibly work a renewal of love in 
 the wearer. Iole enters, casts herself at the feet 
 of Dejanira, and implores her assistance in try- 
 ing to effect a union of herself and Philoctetes. 
 Dejanira softens and promises her aid. Her- 
 
 644
 
 Dejanire 
 
 cules surprises Iole, and forces her to submit 
 to him by threatening her with the shameful 
 death of Philoctetes. She yields. Later De- 
 janira gives the shirt of Xessus to Iole, instruct- 
 ing her to present it to Hercules as a token of 
 love. Iole consents, unwitting of the true sig- 
 nificance of the matter. Phenice predicts evil 
 to come from it all. 
 
 In the fourth and last act the scene is en- 
 acted before a temple of Jove, and Hercules, 
 preparing sacrifices in honor of his nuptials with 
 Iole, plays the lyre and sings of the joys of love. 
 Iole comes with her companion women and 
 bears the fatal gift, the garment of Nessus. De- 
 janira, having understood the meaning of this 
 gift to be a renewal of her husband's affection 
 for herself, is unobserved among the crowd of 
 sightseers. Hercules dons the garment, and 
 then leads Iole to the epithalamian throne. 
 He gives the signal for the commencement 
 of the sacrifices, scattering incense in the tripod, 
 and calling upon his father, Jove, to descend 
 in the rays of the setting sun and thus light 
 the altar fire. As he, however, is pouring out 
 the libation, he drops the cup, and grasp- 
 ing his bosom, cries out in sudden, intoler- 
 able torture : " The fire burns my flesh ! " 
 The ill-omened shirt is torn off his body, but 
 Hercules is dying. Dejanira, now repentant, 
 
 645
 
 The Standard Operaglass 
 
 deplores her own fate and that of her truant 
 husband. Hercules in agony mounts the altar 
 and begs Jove to deliver him from his misery. 
 A thunderbolt flashes out of a clear sky, and 
 the fuel on the altar flames. Thick smoke 
 obscures the whole scene, and when it clears off 
 Hercules is seen seated on high among the 
 gods, his mortal part consumed by fire. 
 
 LA DOLOEES 
 
 Grand Opera in three acts by JUAN BEETON 
 Texf from a tale by SALARES 
 
 "La Dolores" was first sung in Madrid, in 
 1895. 
 
 The popular waitress at the tavern kept by 
 Gaspara in the Spanish town of Catalayud, is 
 named Dolores. She has a host of admirers. 
 One of them is the wealthy Patrizio whom 
 Celemino, another one, advises to forget her, 
 since she for the moment loves Melchior, 
 a barber. Soldiers enter the inn, and their 
 commander, Sergeant Eojas, at once falls 
 in love with her. Gaspara's son, the priest 
 Lazaro, secretly is likewise infatuated with Do- 
 lores. Melchior comes in and tells Dolores that 
 he is about to marry another girl. Dolores 
 threatens him with revenge. Patrizio enters 
 
 646
 
 La Dolores 
 
 with a merry t chorus, the Rondalla, in which 
 every participant imitates a musical instrument. 
 The Jota (a favorite dance of Aragon) is being 
 performed, all the dancers improvising couplets 
 to accompany the measure. Melchior's mock- 
 ing song impugns the honor of Dolores, who 
 curses him. 
 
 The second act takes place in the yard of the 
 tavern. Lazaro sings of his hopeless love for 
 Dolores, when Patrizio enters with gifts for 
 Dolores, and later bullfighters come, and Rojas 
 boasts of his skill. Melchior asserts he is the 
 favored lover of Dolores; she denies his claim, 
 but secretly she makes an appointment with 
 him. Lazaro enters, avows to Dolores his 
 passion, and clasps her in his arms. Celemino 
 roughly jests, and the two men fight. People 
 are hurrying off for the bullfight. Rojas is 
 almost killed by the enraged bull, when Lazaro, 
 the priest, rushes in and stabs the raging beast 
 to death. There is great . applause and Dolores 
 promises her love to Lazaro. 
 
 The third act takes place at a room at 
 the inn. Lazaro, the priest, is chanting the 
 litany and Gaspara, his mother, retires for the 
 night. Dolores whispers to Lazaro not to come 
 to her that night, and Celemino tells Lazaro 
 about Melchior's boast. Dolores invites both 
 Rojas and. Patrizio to her room and speaks of 
 
 647
 
 The Standard Operaglass 
 
 her fear of Melchior. She tells Gaspara that 
 her son is in love with her, and the mother 
 is horrified and bids him leave the house. 
 Melchior enters and insults Dolores grossly. 
 Suddenly Lazaro rushes into the chamber and 
 seizes Melchior. Both fall out of the window. 
 Melchior is killed by the fall, but Lazaro is 
 merely injured. Patrizio and others rush in, and 
 Dolores accuses herself before them all of having 
 caused Melchior's death, but Lazaro takes the 
 guilt of it upon himself. 
 
 LE DONNE CURIO SE 
 
 A Comic Opera in three acts by E. WOLF-FEEEAEI 
 
 The text is by LUIGI STJGANA, based on a comedy by 
 CARLO GOLDONI 
 
 The first production was at Munich, 1903. 
 The scene is Venice, in the eighteenth century. 
 
 The curtain rises showing the quarters of a 
 fashionable social club, where a number of 
 Venetian gentlemen are quietly amusing them- 
 selves. Women are excluded from the club- 
 house by the strict rules of its members. This 
 fact is even proclaimed by a sign over the en- 
 trance door, reading : " No women admitted." 
 
 648
 
 Le Donne Curiose 
 
 The wives of the club members are aware of this 
 prohibition and are chafing at it. For some 
 time their dissatisfaction has found vent in 
 gossip among themselves and in all sorts of 
 surmises as to the mysteries of the club. They 
 are unable to credit the statement of their hus- 
 bands that no secret doings occur at the club, 
 but suspect the most dreadful things. The plain 
 truth is that nothing more reprehensible is in- 
 dulged in there than the playing of chess and 
 the giving of dinners, and that the presence of 
 women is only forbidden to allow the men to be 
 among themselves now and then. Thus, Pan- 
 talone issues an invitation to a score of his 
 friends for a dinner, and instructs his servant 
 to attend to all the details. 
 
 In the next scene there is shown a room in 
 Ottavio's house, where his wife, Beatrice, his 
 daughter, Rosaura, and Lelio's wife, Eleonora, 
 are intensely interested in a discussion as to 
 what there is concealed within the walls of 
 this awful club that is the bugbear of all the 
 women. Each fair one indulges in a guess. 
 Columbine, the maid, swears that the club mem- 
 bers are really only combined to uncover buried 
 treasure. Arlecchino, Columbine's good friend, 
 surmises a lot of ridiculous things. Ottavio, 
 who opportunely drops in on the confabulation, 
 is made to undergo a rigid cross-examination, 
 
 649
 
 The Standard Operaglass 
 
 but is unable to reveal anything of value. As 
 the last one Florindo, the young cavalier who is 
 the favored suitor of Eosaura, the daughter of 
 the house, is made to appear before this dread 
 court of investigation. He is so hard pressed 
 by mistress and maid that at last he cannot help 
 betraying the password of the club, — " Here's 
 to friendship." 
 
 In the second act Eleonora, in '-a room in 
 Lelio's house, gets hold of her husband's 
 breeches, and searches in the pockets for the 
 keys of the clubhouse. But Lelio, a stern man 
 who disapproves even of the indulgence of this 
 connubial prerogative, surprises his wife at this 
 examination. He mercilessly covers her with 
 confusion, and then he leaves for the club. 
 There is a change of scene to Ottavio's house, 
 where one learns from Eosaura and Colum- 
 bine that the password has been discovered. 
 Columbine now proves her skill by changing 
 the keys in her master's coat for others of simi- 
 lar pattern, and thus possesses herself of the 
 keys to the clubhouse. Next, she elaborately 
 plans to put on male attire and then proceed 
 on her way to the club. This the other. ladies 
 also do, setting forth on their travels with 
 all the delicious anticipati6n of unheard-of ad- 
 ventures. Even Eosaura, first forbidden by her 
 mother to join on the plea of being yet too 
 
 650
 
 Le Donne Curiose 
 
 young for " such things;" manages to have 
 Florindo, her suitor, lend her his keys, and she 
 also is on the way to that terrible den of infamy, 
 as they suspect it to be. 
 
 The third act first shows the street outside 
 the clubhouse, where a great confusion of miss- 
 ing or wrong keys takes place. Eleonora drops 
 her own key, stolen from her husband's pockets. 
 Then Columbine, although armed with the right 
 key, meets Pantalone, who forces her to deliver 
 it up. Then one and all of the legitimate 
 owners of the keys, to wit, the club members, 
 on arriving at the door, discover that their keys 
 have been stolen. Pantalone, though this thing 
 seems weird to him, nevertheless lets them in 
 with his own key. Florindo detects Eosaura in 
 the throng and tears off her mask. Thus, one 
 by one, despite the cunning of the wives and 
 sweethearts, the men find their way into the 
 clubhouse. And then the women, although 
 somewhat ashamed of the part they have played, 
 appear once more on the square, and at last, 
 by bribing Arlecchino, are admitted to the club- 
 house. 
 
 The concluding scene .takes place in the 
 dining-room of the clubhouse. There is in the 
 rear a door having semi-transparent glass 
 panes in its upper portion. And one by one, 
 with much shoving and screaming, the curious 
 
 651
 
 The Standard Operaglass 
 
 wives are permitted to peep through the glass at 
 the interior of the handsome hall. But they are 
 enormously disappointed, for there is nothing 
 more sensational to see than a body of men 
 peaceably eating a good dinner amid occasional 
 bursts of laughter. But the women are so eager 
 to see the supposed mysteries hidden from them 
 so far that they tumble over each other, and 
 burst open the door, breaking into the room 
 amongst the merry diners. A good dinner, 
 however, predisposes to leniency and good na- 
 ture, and so the over curious wives are forgiven, 
 and the women are at last easy in their minds 
 about the real nature of this much-suspected 
 club. There is a dance in which all join. Ar- 
 lecchino weds his Columbine, and Florindo his 
 Kosaura, and the world goes wagging on. 
 
 DON QUICHOTTE 
 
 Comic Opera in five acts by JULES MASSENET 
 The text based on the famous tale by CERVANTES 
 
 This work was first seen in Monte Carlo, 
 1910. The scene of the opera is Spain. 
 
 Act I. It is a gay holiday. On a public 
 square before the house of Dulcinea are assem- 
 bled a number of her admirers, among them 
 
 652
 
 Don Quichotte 
 
 Don Quichotte with, his squire, Sancho Panza, 
 at whose appearance there is great laughter. 
 When Don Quichotte ventures to serenade 
 his mistress, Juan, another of the damsel's 
 suitors, provokes a quarrel. Dulcinea her- 
 self prevents a duel, being only highly amused 
 at the gaunt knight's antics. But to en- 
 courage him she says he may think of her as 
 much as he pleases if he will first restore to 
 her the precious necklace stolen by robbers. 
 
 Act II. Don Quichotte with his squire on the 
 road seeking adventures, the master on his 
 sorry mare Eosinante, the other on his donkey. 
 Sancho is making fun of his master's achieve- 
 ments. He scatters a herd of swine, and next 
 fights windmills, being caught by one of the 
 wings and cast about in the air. 
 
 Act III. A mountain scene. Brigands are 
 encountered, and Sancho uses the better part of 
 valor. But the Don defies his assailants, end- 
 ing as their captive. While waiting for the 
 death stroke, he keeps on repeating the name 
 of Dulcinea. The robbers are impressed with 
 his courage and constancy, and end by turning 
 over to him Dulcinea's necklace. 
 
 Act IV. A festival at the house of Dulcinea. 
 She tires of the meaningless gallantries of her 
 wooers, when Don Quichotte and Sancho enter 
 and restore her necklace. She embraces and 
 
 653
 
 The Standard Operaglass 
 
 thanks him. He renews his declaration of love 
 to her, hut she admits that she is not fit to be 
 a cavalier's wife. Nevertheless, Don Quichotte 
 affirms his undying affection. 
 
 Act V. This passes in a forest, where the 
 noble-hearted knight is dying. As a priceless 
 legacy the knight leaves to his faithful servant 
 an island — " the most beautiful island there 
 is," The Island of Dreams. 
 
 L'ENFANT PRODIGUE 
 
 (The Prodigal Son ) 
 One-act interlude by CLAUDE DEBUSSY 
 The text is anonymous. 
 This was first presented in 1910 at London. 
 As the sun rises Simeon and Leah mourn 
 their long-lost prodigal son, Azael. Youths and 
 maidens bring gifts of fruits and flowers, when 
 Azael enters. He is in tattered raiment, re- 
 pentant, and utterly exhausted from wandering 
 in a famished condition. He sinks to the 
 ground. Both father and mother forgive him, 
 and kneel down to render thanks to God for 
 his safe return. 
 
 654
 
 L'Etoile Du Nord 
 
 L'ETOILE DU NORD 
 
 A three-act Opera by GIACOMO MEYERBEER 
 Text by CAMILLE MEUNIER 
 
 This opera was first performed in Paris in 
 185-L The scene is laid in Eussia and Finland. 
 
 Act I. The czar, Peter the Great, is disguised 
 as a carpenter, and as such he meets and loves 
 Catharine, who is on the point of donning 
 male attire to serve in the army in place of her 
 brother George. 
 
 Act II. At the Bussian camp. Catharine, 
 now a recruit in a dragoon regiment, discovers 
 a plot to murder the czar. She betrays the 
 secret and thus enables the czar to spoil the 
 plot and seize the conspirators. 
 
 Act III. This happens at the palace of the 
 czar. Peter longs for Catharine whom he 
 has not met of late and thinks she must be 
 dead, for his inquiries have been in vain. But 
 at last he has news that she is alive but insane. 
 The czar sends for her. To please her he has 
 his garden laid out so as to resemble the one 
 he tended in Viborg, Finland, where he first 
 met her. He also puts on his carpenter's cos- 
 tume, and as she sees him she falls into his 
 arms. He makes her his wife. 
 
 655
 
 The Standard Operaglass 
 
 FAIRYLAND 
 
 A three-act American allegorical Opera by HOEATIO 
 
 PAEKEE 
 
 Libretto by BRIAN HOOKER 
 
 This work was first performed at Los Angeles, 
 1915. The scene is supposed to be a picturesque 
 valley in a hilly district of Europe, about 1300 
 A.D. 
 
 The dwellers in a charming valley are wend- 
 ing homewards one autumn eve, their way lead- 
 ing them past the abbey. Rosamund, a novice, 
 all clad in white, is gazing out afar from a 
 balcony and longing to mingle with the world. 
 Eagerly she stretches out her arms towards that 
 unknown region. In the distance she spies a 
 horseman and she implores him in her thoughts 
 to bear her away to scenes of action. The 
 angelus is tolled, she crosses herself and goes 
 within. Corvain, striding over a frail bridge, 
 pauses at the gate of the abbey. Robin coming 
 from the woods, is hailed by Corvain who in- 
 quires which way the king went. Robin's an- 
 swer is given tauntingly, and he insinuates that 
 Corvain harbors plots against the king. The nuns 
 of the abbey come forth in a procession, walk- 
 ing slowly by twos and threes, Rosamund last. 
 They carry garlands with which to wreathe the 
 shrine near-by. Corvain blocks the path, and 
 
 656
 
 Fairyland 
 
 Myriel, the abbess, demands to know what is his 
 object there. Corvain rejoins curtly, betraying 
 contempt for his saintly brother. He speaks 
 of taking the king's place. While talking to- 
 gether, Corvain points to the approaching figure 
 of Auburn, the king. Corvain asks the thought- 
 ful monarch who is to bear rule in his absence, 
 and Auburn feels indifferent about it. The ab- 
 bess claims the rule for the Church and drives 
 Corvain to flight. At Myriel's demand Auburn 
 destroys the bridge leading across the chasm. 
 Auburn prays by the shrine for a clear answer 
 as to the real meaning of life, but in the gather- 
 ing gloom of night Corvain has stolen up by 
 crooked paths, and now strikes Auburn sense- 
 less and seizes the crown. At this moment the 
 red rose within the shrine gleams brightly, and 
 fairy voices are heard singing. Conscience 
 wakes within Corvain, who now flings away the 
 stolen crown and disappears. A fairy scene en- 
 sues. Eobin comes in, scatters the last drops 
 of wine out of his cup, after drinking to the 
 health of the king and queen of Fairyland, and 
 the unconscious king awakes. He sees Eosa- 
 mund enthroned on the shrine, in lieu of the 
 Virgin, and they both avow their love and know 
 they are in Fairyland. 
 
 At the opening of the second act Corvain 
 stands in his castle attired in garments of roy- 
 
 657
 
 The Standard Operaglass 
 
 alty, granting audience to Eobin and his fellows, 
 all of whom ask for justice. They are driven 
 away, and Eosamund is brought in foot-sore 
 and in hard plight. She says she is seeking 
 the king in Fairyland. He invites her to stay 
 with him, making love to her, but she rejects his 
 wooing and sings the song of the rose. Eobin 
 hears it, and is followed in by Auburn clad as 
 a pilgrim. Eosamund instantly recognizes him, 
 though Auburn has forgotten her and merely 
 stares at her uncomprehendingly. Eosamund col- 
 lapses at his feet. Auburn lays claim to king- 
 ship in the palace, but Eosamund tells him his 
 real rule is in Fairyland. She attempts 
 to make Auburn recall the past and his ruler- 
 ship in Fairyland, until Myriel, the abbess, ap- 
 pears and puts a stop to the growing confidences 
 of these two, telling them to forbear. Myriel 
 and the nuns drag Eosamund away, despite the 
 protests of Auburn. Corvain comes on the scene 
 with a body of stout followers and tries to claim 
 Eosamund for himself, but Myriel disputes his 
 right, and Auburn suddenly interferes and 
 stands confessed as the king. Corvain in turn 
 denies this and the two contend against each 
 other, Corvain resting his claim on the weapons 
 of his men-at-arms, while Auburn relies on the 
 masses of the people. The latter, however, are 
 led astray by the specious eloquence of Corvain, 
 
 653
 
 Fairyland 
 
 and disown Auburn. When he summons the 
 light of the rose to his aid, that, too, fades away. 
 The last act shows Rosamund tied to a stake 
 ready for death, and the abbey bell rings, Myriel 
 approaching Rosamund with sympathy and help. 
 Rosamund is endeavoring to explain to Myriel 
 'the reasons for the choice she has made, but the 
 abbess fails to understand her. Myriel, how- 
 ever, offers to the girl life, absolution and saint- 
 hood, if only she will repent. Rosamund re- 
 fuses, whereupon Myriel sadly goes away, and 
 Auburn stealthily comes up, and vainly makes 
 an attempt to free her. He acknowledges 
 that it was she who in the past was his friend 
 when all the world reviled him and he 
 kneels to her. Then memory returns to both, 
 and Auburn murmurs happily: "My Queen 
 of Fairyland !" Meanwhile day has come, peo- 
 ple wander about ; there is life and noise in the 
 tavern, and when Auburn asks Robin to pro- 
 claim him the rightful king, Robin is ready to 
 do so. But Corvain comes now with strong 
 armed support, and after a struggle between 
 him and Auburn, the latter is seized and con- 
 demned to share the fate of Rosamund. Auburn 
 is fastened to the stake alongside of the girl. 
 At the last moment when Rosamund in sym- 
 pathy and pity lays her hand upon Auburn's, 
 the fairy rose blooms afresh, the common people 
 
 659
 
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 change to fairies, and before them the soldiers 
 retreat, the nuns lay down the crozier, and the 
 flames of the fagots, already kindled to consume 
 those two, die down. Their chains fall away, 
 and they are placed on a throne and clad in 
 costly robes. They have attained rulership in 
 Fairyland and are forever happy. 
 
 LA FETE CHEZ THEKESE 
 
 Operatic comedy in two acts by VICTOE HAHN 
 Text after a Parisian vaudeville 
 
 This was first produced in Paris, 1910. 
 
 Act I. A charming young duchess during a 
 visit at her modiste's, accidentally meets an at- 
 tractive young man, but in a wholly informal 
 manner. While waiting for the appearance of 
 her dressmaker, she casually inspects the con- 
 tents of the room, and in doing so she peeps 
 around a long mirror. Her eyes meet those of 
 the young man, evidently admiring her. But 
 the young duchess does not feel like adventures 
 that day, and so she hurries away without fur- 
 ther ado. 
 
 Act II. But she has not reckoned with the 
 young man, for he has become enamored of 
 her, and therefore introduces himself at a 
 
 660
 
 La Fille De Madame Angot 
 
 masquerade ball. She, however, still pur- 
 sues the same tactics : she runs away from him. 
 He is persistent, and in a second disguise pre- 
 vails upon the duchess to grant him at last a 
 meeting. But now that things begin to be seri- 
 ous the modiste herself takes a hand. She calls 
 upon the duchess, and although the latter is 
 her best customer, she successfully appeals to 
 her, making it plain that the young man is her 
 betrothed. The duchess relinquishes him. 
 
 LA FILLE DE MADAME AXGOT 
 
 Comic Opera in three acts by LECOCQ 
 Book by GIRARDIN, CLAIRVILLE and KONAG 
 
 The first production took place in Brussels, 
 1872. Scene, Paris, and time, 1797, during the 
 French Directorate. 
 
 The first act takes place at a corner of the 
 central market in Paris. Madame Angot is a 
 politically influential leader of the Dames des 
 Halles, who during the horrors of the Eevolu- 
 tion played quite a part. She with her fol- 
 lowing is in opposition to the present govern- 
 ment of which Barras is the head. Her 
 daughter, Clairette, is on the point of being 
 married to Pomponnet, a smirking hairdresser 
 whom she does not love, since her fickle heart is 
 
 661
 
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 for the time being in the keeping of Ange Pitou, 
 a young and enterprising poet and author of 
 popular ballads. Ange just then has written a 
 song in which he has ridiculed the recognized 
 mistress of Barras, the actress Mademoiselle 
 Lange, who is also the pet of the Paris audi- 
 ences, and in which he dwells on this young 
 lady's desperate flirtations with a citizen of 
 substance, M. Larivaudiere. Clairette is much 
 opposed to wedding Pomponnet, and sees only 
 one way out of it, — to get herself locked 
 up for the grave offense of singing this lam- 
 pooning song of Ange's making. So she goes 
 out into the street and sings the ballad. 
 
 The second act occurs in the drawing room 
 of Mile. Lange. That young woman is the 
 owner of a lively sense of humor, and so being 
 informed of the attack made upon her reputa- 
 tion and of the arrest of Clairette, she has the 
 prisoner brought before her. Pomponnet, who is 
 waiting on her as one of his most valued cus- 
 tomers, is anxious to shield Clairette, assuring 
 the theatrical star that she is innocent, and that 
 only the anonymous author of the scurrilous 
 sheet is the culprit. When Clairette is brought 
 before her, the actress at once identifies her as 
 a friend of her childhood, with whom she at- 
 tended school and perpetrated impish tricks. 
 So. Mile, Lange, out of the goodness of 
 
 662
 
 La Fille De Madame Angot 
 
 her heart, takes an interest in the lively girl, and 
 tries to procure not alone her freedom, but also 
 promises to bestir herself in her behalf, so that 
 the girl will marry the man of her own choice, 
 not knowing, however, that that would be Ange 
 Pitou, in which young man she herself is more 
 than slightly interested. It so happens that 
 Ange Pitou, who frequently pays visits to the 
 actress, is an invited guest of hers that day. 
 He arrives while Mile. Lange is still engaged 
 in retrospect and conversation with Clairette. 
 Another guest is Larivaudiere, to quell whose 
 instantly aroused jealousy she invents the 
 fiction that Ange Pitou has come to pay his 
 addresses to Clairette, and that he, too, is to 
 join a body of conspirators who are to meet at 
 her house at midnight in a plot to overturn the 
 existing government. Then Pomponnet, . al- 
 though wholly harmless, is arrested for having 
 on his person a copy of the prohibited ballad. 
 At the appointed hour the conspirators all ar- 
 rive at the place of meeting, and then it is dis- 
 covered that this house is surrounded by a de- 
 tachment of hussars who have through a private 
 source received trustworthy information of 
 the dark plot. But at a previously agreed signal 
 all the conspirators hide their insignia, and 
 Mile. Lange herself fools the soldiers sent out 
 to bag all those present by pretending that what 
 
 663
 
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 is going on is a wedding ball and reception in 
 honor of Clairette and Ange Pitou. In the 
 course of the festivity, however, Clairette and 
 the actress find out that they both love the 
 same man, namely, Ange Pitou. 
 
 In Belleville, a suburb of Paris, a garden 
 party is given, the grounds being splendidly lit 
 up for a ball. Clairette, who, after all, had to 
 serve a short term in jail, has obtained her 
 liberty, and now is trying to ascertain whether 
 Mile. Lange and the young poet are really in 
 love with each other or merely coquetting. So 
 she has despatched three letters, whereof one is 
 supposed to be from Ange Pitou to the actress, 
 the other from the latter to the poet, and a 
 third to Larivaudiere, appointing for them all as 
 meeting-place this very rustic fete. So the 
 young poet meets Mile. Lange and is caught 
 by Clairette. There is a short-lived quarrel be- 
 tween the young ladies for the possession of the 
 poet, which winds up sensibly enough by Clair- 
 ette's abandoning all hope of securing Ange, and 
 rewarding the steady-going and ever faithful 
 hairdresser with her hand. 
 
 664
 
 Francesca Da Rimini 
 FRANCESCA DA RIMINI 
 
 Tragic Opera in five acts. The book based on the 
 drama by GABRIELE D'ANNUNZIO 
 
 Music composed by R. ZANDONAI 
 
 This work was first produced in 1914, at 
 Turin, and the scene is laid in Ravenna and 
 Rimini, during the thirteenth century. 
 
 The first act occurs at Ravenna. Four 
 .female attendants of Francesca are conversing 
 with a jester who has arrived at the castle of the 
 Polentani. He is told that their master, Guido 
 da Polenta, intends to give his beautiful 
 daughter, Francesca, to one of the sons of 
 Malatesta of Yerucchio. The jester replies that 
 he is to sing at the wedding festivities. Ostasio 
 is heard approaching, and the women save them- 
 selves. Ostasio is accompanied by the no- 
 tary, to whom he explains his plans. Fran- 
 cesca is to wed Gianciotto Malatesta, a cripple 
 of evil mind and looks, since the hand- 
 some brother, Paolo, i3 already married. But 
 Paolo is to be sent to represent his brother, and 
 Ostasio, who knows his high-spirited sister well, 
 urges haste before Francesca learns the full 
 truth. The notary falls in with the scheme, and 
 they further discuss the political advantages to 
 accrue to the Polentani family by means of this 
 projected union. But Ostasio is not quite satis- 
 
 665
 
 The Standard Operaglass 
 
 fied with the terms, for he considers them un- 
 fair. After they leave Francesca and her sister 
 Samaritana enter, and the former gives expres- 
 sion to her forebodings. News is brought of 
 the arrival of Francesca's betrothed, and in fear 
 and trembling she goes to meet him. It is, of 
 course, Paolo, and they look upon each other in 
 silence, Francesca finally plucking a red rose 
 and handing it to him as a love token. 
 
 On a strong tower of the Malatesta fortalice- 
 the Malatesta are preparing for battle with their 
 Ghibelline foes. Francesca has meanwhile be- 
 come the spouse of Giovanni, the cripple, and 
 now lives with the latter and his young 
 brother, the one-eyed Malatestino, at Eimini. 
 She treasures wrath at Paolo for his part in 
 misleading her into her first belief that he, 
 Paolo, was to be her husband, and feels she can- 
 not forgive him for what she deems his decep- 
 tion. Paolo enters, and despite her attempts to 
 avoid him, follows her steps, and makes a con- 
 fession to the effect that'he feels bitter shame at 
 the part he was iorced to play in deceiving her. 
 Francesca, as punishment, exacts from him a 
 promise that he will fight without helmet or 
 shield, thus leaving the issue of the ordeal to 
 God. Fighting begins, and when imminent 
 danger threatens Paolo because of his agree- 
 ment with her, Francesca rushes out to shield 
 
 666
 
 Francesca Da Rimini 
 
 him with her own body, love for him having 
 suddenly entered her heart. After the fighting 
 has ceased, it is found that Paolo is uninjured, 
 and to Francesca this seems like a message from 
 on high that she may now hold Paolo in her 
 bosom as immaculate. His brother Gianciotto 
 enters, upbraiding his men fiercely for what he 
 holds their lack of valor. He announces to his 
 brother that envoys from Florence have come to 
 summon Paolo there, since he has been chosen 
 for a high post of command in that city, and 
 that therefore he must leave at once. 
 
 Francesca within the security of her sumptu- 
 ously furnished chamber is discovered in the 
 third act reading aloud to her women the story 
 of Lancelot and Queen Guinevere, and after dis- 
 missing them Paolo enters. Paolo has been 
 driven there from Florence by his unappeased 
 longing for Francesca. While they make every 
 effort to suppress their mutual passion, it is 
 constantly felt by both of them. Finally they 
 begin to read together the story of Guinevere, 
 each taking the corresponding part. When they 
 reach the passage : " She takes him by the 
 chin and slowly kisses him on the mouth," they 
 suit the action to the words. 
 
 In the next act, the fourth, the young brother, 
 Malatestino, is seen talking with Francesca, and 
 suddenly he owns to an overwhelming passion, 
 
 667
 
 The Standard Operaglass 
 
 for her. Knowing that she hates her husband, 
 he offers to get rid of him for her by poison. 
 Francesca is aghast at the youth's schemes, but 
 in pity for his tender years is willing to forgive 
 him. She hears a terrible cry, and the young 
 man informs her it comes from an imprisoned 
 foe, one who is waiting to be ransomed. Mala- 
 testino goes out, saying he will silence the noise. 
 He returns and finds his brother Gianciotto who 
 asks what he is concealing under the folds of a 
 cloth. It is the head of the foe, whom he has 
 decapitated. When his elder brother reproaches 
 him for this act and shows besides some 
 suspicion of him, Malatestino tries to save him- 
 self by making dark insinuations against Paolo 
 and Francesca. Gianciotto's jealousy is roused 
 and he decides on a plan by which he hopes to 
 surprise his brother and his wife, and to lull the 
 latter's uneasiness he tenderly bids her farewell, 
 and then starts out ostensibly for Pesaro. 
 
 The fifth act takes place in Francesca's apart- 
 ments, where her women are watching and she 
 herself is fitful and restless. At last she dis- 
 misses all attendants, and after they are gone 
 she opens her door to Paolo. The lovers em- 
 brace, and later on read and talk together. But 
 without warning the deformed husband is heard 
 shouting for admission, and Paolo hastily seeks 
 a hiding-place, going down a few steps to a 
 
 668
 
 tjermama 
 
 trapdoor. The angry husband discovers him, 
 however, and flings himself with a naked sword 
 upon him. Francesca rushes between them to 
 save Paolo and is mortally hurt in doing so. 
 Paolo receives her in his arms and Gianciotto 
 stabs him likewise. Then Gianciotto breaks his 
 own sword. 
 
 GERMANIA 
 
 Dramatic Opera in four acts by ALBEETO 
 FRANCHETTI 
 
 The libretto is by LUIGI ILLICA 
 
 This work was first produced at Milan, in 
 1902. The action is supposed to take place in 
 various parts of Germany. The time is 1806. 
 
 Act I shows an old mill in Nuremberg, which 
 has been dismantled and fitted up by a band 
 of men, secretly organized to resist the power 
 of Napoleon, as a printing plant to distribute 
 propaganda. Palm, the leader in these attempts 
 to resist Napoleon's sway, is being hotly pur- 
 sued by the French police, but has so far 
 escaped them. He goes on writing pamphlets 
 against Napoleonic rule. The printed matter 
 is surreptitiously sent out in sacks in the guise 
 of flour. Worms, who has charge of the print- 
 ing press, is accused by Eicke, his sweetheart, 
 
 669
 
 The Standard Operaglass 
 
 of being a traitor to the cause of liberating Ger- 
 many. Loewe, Eicke's former lover, is expected 
 back almost immediately, and Worms by fierce 
 threats attempts to cow the girl into submis- 
 sion to his plans. 
 
 In Act II the scene changes to the Black 
 Forest, where Loewe, Eicke, and some of their 
 friends seek shelter in a deserted mountain 
 cabin. Loewe has been added to the list of 
 proscribed felons after Napoleon's most recent 
 victories. Eicke, who has not the courage 
 to speak of her past relations with Worms, 
 has promised to marry Loewe. But just 
 as the simple wedding ceremony has been per- 
 formed by the clergyman, Worms mysteriously 
 appears and summons Loewe to an important 
 rally of the fraternity. Eicke fears evil conse- 
 quences from this summons ; she disappears and 
 in a note begs her young husband not to try and 
 find her hiding-place. In casting about for an 
 explanation for all this mystery, Loewe acci- 
 dentally is told by Eicke's small sister of the 
 true state of the case. 
 
 Act III transpires at a secret hall in Koenigs- 
 berg, where those opposed to Napoleonic su- 
 premacy hold an important meeting. They 
 discuss plans to defeat the invader of their 
 country. One man alone, who stands at a dis- 
 tance closely masked, takes no part. This in- 
 
 670
 
 The Girl of the Golden West 
 
 truder is Loewe and he threatens Worms with 
 a violent death. The quarrel, however, is 
 stopped by others. 
 
 Act IV takes place on the battlefields of 
 Leipsig. The whole plain is covered with the 
 bodies of the slain. Ricke is there among those 
 who seek their loved ones and finds at last 
 not only the corpse of her husband, Loewe, but 
 also that of "Worms, her lover. 
 
 THE GIRL OF THE GOLDEN WEST 
 
 A Sentimental Opera in three acts by GIACOMO 
 
 PUCCINI 
 
 Text by DAVID BELASCO 
 
 This opera was performed for the first time 
 in Xew York, in 1910. The book is based on 
 an Italian drama by Zangarini and Civinini. 
 The scene of the action is a mining camp in 
 California, during the gold fever of 1849-50. 
 
 When the curtain rises a number of miners 
 are seen in a barroom, among them Jack 
 Ranee, the sheriff. Ashby, agent of the Wells- 
 Fargo Company, appears and declares that he is 
 on the track of Ramirez, chief of a band of Mexi- 
 can outlaws who committed a big robbery some 
 time before. Ranee in talking with the other 
 
 671
 
 The Standard OperaglasS 
 
 men brags of his relations with Minnie, saying 
 she is on the point of manning him. A miner 
 takes exception to this, and there is a brawl 
 when Minnie herself enters and stops it. Min- 
 nie with the aid of an assistant, runs the bar- 
 room, as she is the orphan child of a man 
 who had started the place and died there. When 
 Ranee tries to' make good his claim on her, 
 Minnie scorns him, threatening her importunate 
 suitor with a revolver. A stranger enters, giv- 
 ing his name as Dick Johnson, from Sacra- 
 mento. The sheriff suspects him, but Minnie 
 takes his part, alleging that she met him 
 before. The stranger in reality is none other 
 than the sought-for Ramirez and has come 
 to rob the saloon. Minnie does not know 
 this and rehearses with Dick the events of 
 their first meeting when they both fell in 
 love with each other. Dick, who is not without 
 some good points, becomes more and more enam- 
 ored of the girl and makes up his mind to re- 
 linquish his plan of robbing the place. After 
 Minnie and the others have gone to the dance 
 hall, Jose Castro, a member of Ramirez' band, 
 is brought in a prisoner, captured by Ashby's 
 men. The men are in favor of " stringing up " 
 Castro, who volunteers to lead them to the 
 hiding-place of his chief, Ramirez, for he 
 has recognized the latter's horse and saddle. 
 
 672
 
 The Girl of the Golden West 
 
 A strong body of men go in search of Dick, 
 or Eaniirez, and meanwhile they leave their 
 hoard of gold dust in Minnie's charge, with 
 only Nick, the bartender, and Billy Jackrabbit, 
 the Indian, to help protect it. Minnie says that 
 anyone wishing to steal the gold of the miners 
 must do so over her dead body. Dick (Ramirez) 
 admires her courage. Minnie invites him to 
 pay her a visit at her " shack " later on, when 
 the miners shall have returned, and he accepts 
 and walks out. 
 
 In Act II while the Indian squaw is rocking 
 her baby, Minnie and the Indian, Billy, enter 
 the cabin, and Minnie adorns herself as best 
 she may in honor of the visitor whom she 
 graciously entertains. They plight their troth, 
 and when a sudden snowstorm surprises them, 
 she invites her lover to spend the night at the 
 cabin. Suddenly in the darkness outside shots 
 are heard. Dick swears they shall not take him 
 alive. Nick, the bartender, is searching for 
 Minnie and calls out her name. She hides 
 Dick and then admits Nick, Eance, Ashby, and 
 a number of miners. They are looking for Dick, 
 whom they know to be near and whom they 
 have discovered to be Eamirez. Minnie, how- 
 ever, declines the protection of any men against 
 the robber chief and the men all leave. 
 Then she faces Ramirez — Dick — with the reve- 
 
 673
 
 The Standard Operaglass 
 
 lations the men have made, and Dick acknowl- 
 edges the facts, but explains how he drifted into 
 his lawless life. Minnie cannot overlook his 
 having deceived her after confessing his love 
 and sends him out of the cabin into the night. 
 He goes in a desperate mood and soon after 
 shots are heard outside. Minnie opens her door 
 and drags in Dick, seriously wounded, hiding 
 him in a hayloft under her roof. The sheriff 
 follows in search of the fugitive, and Minnie 
 has almost overcome his suspicions, when a 
 drop of blood falls on his hand from the 
 wounded man above his head, and he discovers 
 Dick. As a last resort Minnie, knowing Ranee 
 to be a desperate gambler, offers to play with 
 him at a game of draw-poker, the stakes to be 
 either Dick and her own hand, or else Dick's 
 freedom. They play, and Minnie cleverly cheats 
 and wins the hand. Eance is as good as his 
 word, and leaves her in possession of the field. 
 The last act is on the fringe of the great Cali- 
 fornia forest, it being early dawn, and Eance, 
 Ashby, and Nick waiting. Ranee stands telling 
 how Dick has been nursed back to life and 
 health by his faithful Minnie, when Dick is 
 brought in by Ashby's men. He is fettered, in 
 soiled and tattered clothing, and the men now 
 surround him and cruelly jest about the fate 
 awaiting him. Dick nevertheless is defiant and 
 
 674
 
 Les Girondins 
 
 prepares to die. As the only favor he re- 
 quests that they never tell Minnie how he 
 died. But Minnie herself rushes in on 
 horseback just when the lynchers are about 
 to draw the noose of the rope taut. She 
 gets in front of the condemned man and 
 with her drawn gun holds the crowd at bay, 
 while Eance chafes and foams in impotent rage. 
 She strongly appeals to them all, reminds them 
 how she has always cared for them faithfully, 
 and how they must not fail her now in their 
 turn. Her natural eloquence wins them at last 
 to her side, and despite the sheriff's objections 
 they cut the rope, turn Dick loose, and restore 
 him to Minnie, who bids them farewell. 
 
 LES GIRONDINS 
 
 Tragic Opera in four acts by YVES LE BORNE 
 Text by P. CHABRIER and A. PETIT 
 
 The first performance of this opera took place 
 at Lyons, France, 1905. 
 
 The first act discloses a plot at the home of 
 Jean Duclos, one of the leading deputies of 
 the Gironde to the French national convent at 
 Paris, its object being to punish Varlet, a 
 traitor to the cause of his party. Varlet has 
 meanwhile secured the aid of the terrorist sec- 
 
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 tion, especially of Eobespierre, whose agents 
 force their way into the house. Duclos is 
 arrested and carried off to prison. Varlet seeks 
 Laurence, the mistress of Duclos, for it was 
 to possess himself of her that he caused Duclos's 
 arrest, but, he assures her if she will give up 
 Duclos, he will be liberated forthwith. 
 
 During the second act Varlet confers with 
 Eobespierre as to the arrest of the whole Giron- 
 dist faction in the convention. Varlet counsels 
 that all of them be gathered in, and Eobespierre, 
 with a fatal smile, decides to that effect. 
 Eichard, a Jacobin of the extreme wing, accom- 
 panied by Laurence is sent with an order from 
 Eobespierre freeing Duclos. Varlet corroborates 
 the order that Duclos is to be discharged. 
 Snatching away the document and hiding it in 
 her bosom, Laurence instantly shoots down 
 Varlet. 
 
 Duclos and Fonfrede, Girondist leaders, to- 
 gether are looking for Laurence. The Jacobin 
 Eichard, informs them of Laurence's call on 
 Varlet. Duclos's suspicion is aroused that he 
 owes his freedom to Laurence's sacrifice, and 
 he purposely insults Eobespierre, seeking death 
 thereby. Eichard returns, saying that Varlet 
 is merely wounded, not killed. The rabble of 
 Paris cries out against the Girondists, demand- 
 ing their destruction. Laurence, meeting at last 
 
 676
 
 Griselidis 
 
 her lover Duclos, affirms her fidelity and 
 offers to go with him to the scaffold. Varlet ap- 
 points Richard chief jailer, while Artemise, the 
 mistress of Richard, begs of him the release of 
 Duclos and Laurence. 
 
 The fourth act occurs at the Bastille prison, 
 whither Laurence has been permitted to go by 
 Richard, with his secret connivance in case she 
 wants to save Duclos, whom she finds there. 
 They perfect their arrangements for flight 
 from the place, but on the point of escaping 
 they both hear the farewell hymn sung by the 
 chorus of Girondists and they consider it 
 ignoble to flee. Thus they remain to die for 
 their country with their comrades. 
 
 GRISELIDIS 
 
 Romantic Opera in three acts by J. MASSENET 
 Text based on chronicles of the Provence 
 
 This work was first presented at Paris, 1901. 
 The scene is the south of France. 
 
 Act I. Time, 14th century. The shepherd 
 Alain and the shepherdess Griselidis, herding 
 their flocks and piping their lays together, are 
 vastly in love with each other. But the powerful 
 
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 and wealthy Marquis de Saluzzo comes between 
 them, and Griselidis listens to his voice, and 
 jilts her Alain. In due time a son is born to 
 her, who is christened Loys. Just at this time 
 the marquis feels an overpowering desire to 
 fight the infidels. The priest tries hard to dis- 
 suade him from this adventure, but he will not 
 heed. In his arguments with the marquis the 
 priest has much to say about the devil and his 
 cunning schemes for leading men and par- 
 ticularly women astray. Long absence of her 
 lord would not be good for Griselidis. How- 
 ever, the marquis goes forth to fight the 
 Saracens and leaves his charming wife to all 
 the temptations the devil can devise. So sure 
 of his wife is the marquis that he even hands the 
 devil his wedding ring, a very foolish thing for 
 a departing husband to do. 
 
 Act II. The scene changes to a pretty 
 garden overlooking the sea. The devil and his 
 wife (Fiamina) argue with Griselidis that the 
 latter should become housekeeper during the ab- 
 sence of the marquis. After settling this point 
 Fiamina facilitates the appearance at the castle 
 of Alain, one-time wooer of Griselidis, who 
 makes good use of his opportunity. But in the 
 nick of time Loys, the baby son of Griselidis, 
 saves his mother from infidelity and perdition. 
 At this the devil is so wroth that he seizes the 
 
 678
 
 Griselidis 
 
 little fellow and runs off with him to parts 
 unknown. 
 
 Act III. However, his satanic majesty keeps 
 on tempting the pretty grass widow. His next 
 move is an offer from him to return the child 
 to the mother if she will but give him a kiss, 
 one measly little kiss. Griselidis is in doubt; 
 she hesitates. But again chance favors her, for 
 her truant husband, the marquis, returns from 
 fighting the Saracens precisely at the time when 
 the devil has left to the young wife only the 
 above alternative. The marquis is mightily 
 aggrieved at the disappearance of his son and 
 heir and makes up his mind to search for him 
 high and low. The devil, however, causes his 
 weapons to vanish without which in those days 
 searching parties could not get along. There- 
 upon he and his wife, scenting something 
 fiendish, begin to pray earnestly. Then the 
 triptych over the altar opens, and lo ! the boy 
 walks out of it. 
 
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 GWENDOLINE 
 
 Tragic Opera in two acts by EMANUEL CHABRIER 
 Text by MARTEATJ and SIMON 
 
 This opera was first performed at Paris, in 
 1893. 
 
 Act I. Harald, king of the Vikings, has made 
 war upon the Saxons under Armel whom he 
 has conquered and condemned to execution. 
 But the victor sees Armel's fair daughter, 
 Gwendoline, the first woman he has ever beheld, 
 and to him, matchless. Instantly his savage 
 nature undergoes a radical change. He feels a 
 deep and pure affection for Gwendoline and 
 asks her to wed him. With her father's consent 
 Gwendoline accepts Harald as her future hus- 
 band. But Armel secretly gives instructions 
 to his men to slaughter the Danes at the mar» 
 riage feast when they will be disabled by drink. 
 
 Act II. This transpires in the bridal chamber, 
 whither Armel has followed the bride. He 
 hands her a sharp dagger, exacting a promise 
 that she will slay the sleeping Harald as the 
 foe of her people. She refuses to comply, and 
 at the cry of the Danes she gives the weapon 
 to her husband and remains by his side. 
 But in the last scene, at sea, the Saxons kill 
 
 680
 
 La Habanera 
 
 all the Danes and Harald falls by the hand of 
 Armel. Gwendoline stabs herself over hia 
 corpse. 
 
 LA HABANERA 
 
 Tragic Opera in three acts by JUAN LAPARRA 
 Text by C. PETIT and M. BOISVENT 
 
 This work was first heard at Paris, 1908. 
 The scene is Spain. 
 
 Act I. At a tavern. There is first a noisy 
 drinking scene and next a love duet between 
 Pedro and his betrothed, Pilar. Then Pilar 
 hurries off to join a group of dancers in the 
 street who are performing the Habanera. 
 Ramon, brother of Pedro, secretly infatuated 
 with his brother's fiancee, provokes a violent 
 quarrel with Pedro and finally stabs him to 
 death. 
 
 Act II. The murder has remained a mystery, 
 for nobody suspects Eamon. In a courtyard are 
 assembled the father of the two brothers, Pilar, 
 Ramon, and several neighbors, all of them 
 speaking of the young man's death with deep 
 regret. Ramon, in order to hide his guilt the 
 better, has sworn to his father to avenge the 
 death of his brother. Again the company dance 
 the Habanera, and in the midst of them appears 
 Pedro's ghost, but visible only to the murderer, 
 
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 to whom he whispers that if the truth is not 
 confessed by the following day, his sweetheart 
 Pilar, madly beloved by Ramon, shall die. 
 
 Act III. This act occurs in a cemetery. 
 Flowers are placed on the tombs by a number 
 of mourners. Pilar and Ramon are among 
 them. After the others are gone Ramon is 
 courting Pilar, who wavers in her mind. 
 But suddenly the remembrance of the day be- 
 fore comes back to Ramon, and he finally con- 
 fesses that he killed his brother Pedro. Pilar 
 is unable to bear the truth and sinks dead on 
 the grave of her dead lover, Pedro. Ramon 
 himself rushes madly off the scene as the cur- 
 tain falls. 
 
 HENRY VIII 
 
 Opera in four acts by CAMILLE SAINT-SAENS 
 The libretto is based on English sources 
 
 This interesting opera was first produced in 
 Paris, in 1883, but for unknown reasons has not 
 often been given elsewhere. 
 
 The first act shows a hall in Westminster. 
 The Spanish ambassador, Gomez, acknowledges 
 to the Duke of Norfolk that he is insanely en- 
 amored of Anne Boleyn, a fact of which Queen 
 Catherine is aware. He adds that he has 
 
 682
 
 Henry VIII 
 
 in his possession a letter from Anne wherein 
 she confesses her love for him. Xorfolk 
 tells him to beware, for King Henry him- 
 self is smitten with the charms of the fair 
 Anne. Xews comes that King Henry has con- 
 demned the Duke of Buckingham to die. When 
 the king enters all save Gomez, Norfolk, and 
 Surrey leave the hall. Henry speaks of the 
 new maid of honor, Anne Boleyn, to the great 
 consternation of Gomez. There is a change of 
 scene. Henry converses with Surrey concerning 
 the Pope's unwillingness to grant him a divorce. 
 Catherine is summoned and dares to inter- 
 cede for Buckingham. The king refuses; she 
 chides him for his lack of consideration towards 
 herself, whereupon he retorts that morally their 
 married union has been wrong from the first. 
 When Anne Boleyn presents herself, the king 
 is assiduous in his attentions to her and makes 
 her Marchioness of Pembroke. From outside 
 come the sounds of the funeral march for Buck- 
 ingham, who has just been executed. Anne 
 says this is a fateful omen. 
 
 Act II takes place at Richmond Park, where 
 Gomez appears, soon followed by Anne, who is 
 accompanied by a number of ladies. She ex- 
 presses her love for Gomez. But the king pur- 
 sues her and to his wooing Anne makes reply 
 that she will marry him if he will make her 
 
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 queen. The king promises. Queen Catherine 
 strongly reproves Anne for her godless ambition, 
 but she is obdurate and turns to King Henry 
 asking him to help her out of her straits. A 
 royal messenger arrives in great haste from 
 Koine, — the bearer of evil news. However, 
 Henry postpones receipt of his message until 
 the next day and bids those present to enjoy 
 the moment with dancing and banqueting. 
 
 In the third act Henry confers with the 
 legate from Eome, who upholds the spiritual 
 suzerainty of the Pope, which is met by Henry 
 with bold defiance. Anne Boleyn enters and 
 Henry betrays jealousy of her very palpably. 
 After more talk with the papal legate Henry 
 threatens to make a direct appeal to his sub- 
 jects, announces himself head of the Church in 
 England, and makes Anne his wife. 
 
 The fourth act passes in the apartments of 
 the new queen, where Norfolk and Surrey 
 are discussing the suspicions which the king has 
 of her. Gomez brings a singular letter to the 
 king from the former queen, Catherine, 
 who is still in possession of the com- 
 promising letter from Anne. Henry rages and 
 bids Anne to quit his presence and Gomez to 
 leave England. A change of scene. Catherine, 
 who is dying, with her last strength casts Anne's 
 love letter into the fire. 
 
 684
 
 Ins 
 
 IRIS 
 
 A Tragic Opera in three acts by PIETRO MAS- 
 
 CAGNI 
 
 Book by LUIGI ILLICA 
 
 This work was first performed at Rome, in 
 November, 1898, and was revised a year later. 
 The scene of the opera is Japan and the time 
 is the present. 
 
 The first act shows a Japanese garden, where 
 a hymn is sung to the sun, as the cause of all 
 life. Iris and her blind father are there. The 
 latter listens with pleasure to the prattle of the 
 little girl, who is playing with her doll. There 
 enters Osaka, a libertine, who desires the young 
 girl for his evil purposes. Kyoto is bribed by 
 him to arrange for the abduction of Iris. She 
 is attracted away from her other companions, 
 who are washing soiled linen by the river front, 
 in order to attend a puppet show gotten up by 
 Kyoto, and then is seized by men and carried 
 off, while a sum of money is left behind for the 
 father to bind the bargain and make it legal. 
 Geishas are fluttering all about Iris during the 
 6cene of abduction, and her father, the blind 
 old man, is given strong evidence that Iris 
 really went voluntarily to Kyoto's house of 
 6hame. The deserted father, forced to believe 
 this, pronounces a solemn curse on the head of 
 
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 his daughter, and becomes a strolling vagabond 
 upon the face of the earth. 
 
 In the second act the scene is a yoshiwara, 
 and Iris, slumbering while other geishas strum 
 the lute and softly sing a plaintive melody, 
 Osaka makes his entrance, and bargains with 
 Kyoto for possession of Iris. Kyoto demands 
 a high figure for Iris, and after some haggling 
 Osaka agrees to the terms, because, as he puts 
 it, Iris is a " creature with a soul." When 
 Iris wakes she finds herself in a wonderful, a 
 lovely place, where all is perfume and song. 
 And as Osaka first approaches her she is un- 
 aware of his purpose and salutes him as a son 
 of light. Kyoto becomes wearied of the poor 
 girl's complete innocence and bids the keeper 
 of the place to take her away. Besides, he also 
 orders his geishas to robe Iris in transparent 
 veils and thus to expose her to the gaze of the 
 passers-by. Osaka's pity is aroused and he 
 promises Kyoto his own price. During this 
 auction the victim herself still remains com- 
 pletely ignorant of its true meaning. And 
 towards its end her blind father appears as 
 one of the crowd surrounding the show window, 
 and his daughter shouts with joy at seeing him, 
 but the blind man hurls mud at her and heaps 
 curses upon her. Iris, not having the key to 
 it all, sinks to the ground with despair, and 
 
 686
 
 Iris 
 
 flings herself down a precipice, being thought 
 to be killed by the fall. 
 
 In Act III is seen a huge heap 01 garbage, 
 on the outskirts of the city. In rumaging 
 through it the ragpickers discover the body of 
 Iris, clothed in its finery, and the men scatter 
 and run away in fright. But Iris is not yet 
 dead. Voices seem to come to her from a 
 distance and murmur phrases that she is dimly 
 aware to have heard before but not understood. 
 She hears Osaka telling her that she is perish- 
 ing as a flower that sheds its fragrance only in 
 death. She hears her father justifying him- 
 self. She wonders what it all means. She re- 
 members her own hymn to the sun, as the cause 
 of all life, and thus she passes away — the 
 refuse becomes a flowery path, and her soul 
 hovers over it all in light and gladness. 
 
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 THE JEWELS OF THE MADONNA 
 
 Dramatic Opera in three acts. Music by ERMANNO 
 WOLF-FERRARI 
 
 Book by C. ZANGARINI and E. GOLISCIANI 
 
 First performance at Berlin, 1911. The 
 scene is Naples of the present day. The plot is 
 simple, hinging on a popular superstition of the 
 lower class Neapolitans, and on the jealousy be- 
 tween a wayward girl's two lovers. 
 
 In Act I it is the afternoon of a great proces- 
 sion in honor of the Holy Virgin. Maliella, 
 beautiful and high-spirited, but a creature of 
 impulse alone, escapes from her quiet home, 
 with dress disordered and hair flying, in order 
 to join a joyous crowd dancing and shouting 
 on a small public square near the sea, and 
 awaiting the passing of the festival procession. 
 Gennaro, her foster-brother, who secretly adores 
 her, has followed her from his home, and en- 
 deavors to induce her to come back with him. 
 She indulges in banter and flatly refuses to 
 obey, then sings a song of challenge, in which 
 she dares the youths present to rob her of a kiss. 
 She resents Gennaro's interference, and he 
 vainly tries to control her reckless gaiety. On 
 the square meanwhile a dance is improvised, 
 and Maliella rushes into the crowd where she 
 disappears for the moment from view. Raf- 
 
 688
 
 The Jewels of the Madonna 
 
 faelle, one of the chief Camorrists of Naples, 
 notices the girl as she goes whirling in the 
 mazes of the dance, and tries to seize and sub- 
 due her. She pushes him back, however, and 
 when he uses physical force to make her do his 
 bidding, she stabs him with her silver hairpin, 
 wounding him in the hand. Instead of re- 
 proaching her, the Camorrist chief laughs, 
 kisses the wound, and then picks up a flower 
 and flings it so it falls into her bosom. But 
 Maliella takes out the flower and casts it on 
 the ground, trampling on it. Now the pro- 
 cession comes in sight, and while the others 
 kneel Eaffaelle remains by the side of the girl, 
 pleading his love with her. As the image of 
 the Madonna passes by, adorned and loaded 
 with precious stones, he whispers to her that to 
 win her love he is even ready to risk his soul 
 by snatching the jewels of the Madonna from 
 its- neck and placing it around her own fair 
 shoulders. But Maliella is terrified at the 
 thought, and shrieks out her horror. Eaffaelle 
 and his criminal followers merely laugh her to 
 scorn, while she runs off towards home. He 
 follows and as she is about to enter the house 
 again, -he throws another flower at her, which 
 this time she receives in thoughtful mood, 
 places between her lips and goes within. 
 
 The second act passes at the house of Car- 
 
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 mela, mother of Gennaro and Maliella's foster- 
 mother, on the evening of the same day. The 
 festival is not yet over, and Carmela soon leaves 
 them to retire. Gennaro left alone with Ma- 
 liella, pleads his passion to her and vows his 
 devotion. But the girl is wearied with it. 
 She complains of the monotonous life she is 
 condemned to lead in her humble home, and 
 taunts Gennaro with the daring and generosity 
 shown by the Camorrist lover, telling him at 
 last of the supreme proof of affection offered 
 by him to her, namely, the purloining of the 
 very jewels of the Madonna for her sake. She 
 threatens to leave her home for good. Gennaro 
 begs for a farewell kiss, but the girl scornfully 
 denies it, and speaks once more in high praise 
 of Eaffaelle. To cut short his weary plaints 
 the girl escapes from him, and Gennaro now 
 indulges his bitter reflections. It seems to him 
 that nothing can win the love of Maliella save 
 the very thing the Camorrist boasted of in ad- 
 vance, and he reaches the resolution to forestall 
 Eaffaelle and do the thing himself which the 
 other merely meant to do. Maliella comes 
 back, and he takes keys and his blacksmith 
 tools with him, locks the garden gate, and 
 leaves. Eaffaelle arrives at the outside of the 
 house to serenade the girl, bringing with him 
 a host of his friends and fellow-Camorrists. 
 
 690
 
 The Jewels of the Madonna 
 
 The music and the words draw the girt into 
 the garden, and the two embrace through the 
 bars of the garden enclosure, avowing their 
 mutual love. But Gennaro returns, pallid and 
 sombre, and Raffaelle leaves the field to him. 
 When she asks him the meaning of it all, Gen- 
 naro places the jewels of the Madonna around 
 her neck, and after a moment's hesitation 
 Maliella looks at the glittering gems admiringly 
 in the pale moonlight, and rejoices at possession 
 of them. 
 
 The last act occurs the next day, at the 
 rendezvous of the Camorrists, where men and 
 women are holding high revel. Some are 
 alseep ; and others are one by one returning from 
 some secret expedition. Raffaelle appears with 
 some of his close friends, and is greeted with 
 shouts of applause. A while after he sings a 
 song in praise of Maliella and her charms, 
 whereat the women grow furious. Dancing 
 follows, which degenerates into a wild orgy. 
 Maliella, invited to join Raffaelle there, now 
 rushes in in desperation, and on being asked 
 the reason, confesses to the ownership of the 
 far-famed jewels of the Madonna. All are 
 horror-struck and call her accursed. When 
 Raffaelle hears that Gennaro is the malefactor 
 he summons his men and tells them to bring 
 him in dead or alive, — to capture him at all 
 
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 costs. Then Gennaro himself enters, half 
 demented, and is spurned alike by the girl and 
 the band of criminals. The girl, in an access 
 of despair, casts herself into the sea, and Gen- 
 naro, after adorning afresh the image of the 
 Madonna with the stolen jewels, stabs himself 
 to death at the altar. 
 
 LA JOTA 
 
 Tragic Opera in two acts by MANUEL LAP AREA 
 Text by an anonymous Spanish writer 
 
 The first performance of this work occurred 
 at Paris in 1911. The theme of the text is 
 taken from the Carlist wars in Northern Spain, 
 and the name of the opera is that of a well- 
 known Spanish dance. 
 
 The scene of the first act is Anso, a place in 
 the Spanish Pyrenees, and the time is 1835. 
 Juan Zumarragua is a Basque, and though he 
 is the lover of Soledad, a Spanish girl, he will 
 not deny his race for love of her. They argue 
 and quarrel on this point, and are about to 
 separate, but finally there is a reconciliation, 
 and they embrace. Juan, however, is sum- 
 moned to arms, as the Carlist War has broken 
 out. He follows the call, intending to do his 
 duty as a soldier. So the two dance a last jota 
 
 together and then bid each other good-by 
 
 692
 
 Koenigskinder 
 
 Soledad, however, has bewitched Mosen Jago, 
 a curate, who in vain attempts to save himself 
 from the enthralment of her beauty. 
 
 In the second act the Carlist forces have 
 reached Anso, and the church building itself 
 has been destroyed. The curate and his flock 
 are crowded within around the shrine of the 
 Virgin, but outside Soledad leads the attack, 
 and the curate is defeated with his men. Among 
 the victorious Carlists is also Juan. He ha? 
 had to fight against his own brothers and 
 friends. Soledad herself meets her lover in the 
 throng, and there is a reunion. The curate is 
 nailed to the cross by the Carlists. 
 
 KOENIGSKINDER 
 
 Fairy Opera in three acts by EXGELBEET HUM- 
 PEEDIXCK 
 
 Book by ERNEST HOSMER 
 
 First production in New York, 1910. The 
 scene is at Hellabrunn, in the mountains of 
 Germany, and the time is the Middle Ages. 
 
 Act I. The hut and garden of the witch, 
 situated in a secluded valley. A young girl is 
 kept prisoner there who knows nothing of her 
 parentage. A spell has been cast over the 
 valley by the witch, so that the girl may not 
 
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 run away. She simply tends her flock of geese, 
 and dreams of the unknown world. Because of 
 this the witch charges her with idleness, and 
 orders her to knead the dough for the magic 
 bread which never grows stale and will some 
 day bring death to whosoever eats it. The girl 
 reluctantly obeys. Next the girl returns to the 
 open, and there she meets a man, a stranger, 
 the first one who ever succeeded in coming so 
 far. He turns out to be the prince, son of the 
 king sent into exile. The two recognize each 
 other as " King's Children." When he invites 
 her to come with him into the big world out- 
 side, she finds she cannot follow him because 
 of the spell cast on her and the valley. But 
 the prince is unable to fathom the girl's mean- 
 ing and hence goes away in angry mood. The 
 king has died, and a delegation from Hella- 
 brunn arrives inquiring of the witch who is to 
 be the next ruler. He who at noon to-morrow 
 ehall knock first at the city gate," she replies. 
 One of the delegation, the fiddler, lingers and 
 takes the goose girl with him, although the 
 witch curses him for doing it. 
 
 Act II. At the gates of Hellabrunn the 
 municipal authorities are waiting for the ful- 
 filment of the prophecy. In the crowd is also 
 the king's son, clad in rags, for he has been 
 toiling at common labor. At the stroke of 
 
 694
 
 Koenigskinder 
 
 noon the goose girl with her geese demands 
 admittance at the gate. Seeing her the prince 
 bounds forward with the cry : " My queen ! " 
 But the magistrates laugh these two to scorn, 
 and turn them away. 
 
 Act III. It is winter, and the hut of the 
 witch is all buried in snow and desolate, for 
 the people in their rage have burned the witch 
 herself. Only the fiiddler, lame and decrepit, 
 has there found a refuge. The prince and his 
 goose girl, after having vanished for so long, 
 appear together and apply at the hut for ad- 
 mittance. It is denied them by a woodcutter, 
 who sells them a loaf of bread, the same 
 poisoned loaf which never grows stale. The two 
 "King's Children" die from it. They are 
 buried together, and now they lie in a grave 
 dug on the summit of the mountain. There 
 they dream of those other "King's Children" 
 who, almost every day in the week, perish be- 
 cause they go unrecognized. 
 
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 KUHEEIGEN 
 
 (Ranz de Vaches) 
 
 Two-act Opera by WILHELM KIENZL 
 
 This work was first performed in Vienna in 1911 
 
 Act 1. — During the French revolution the 
 army was forbidden to sing a certain Swiss 
 air — the Kuhreigen, or Ranz de Vaches — 
 which often caused the desertion of Swiss 
 volunteers in the ranks of the French, since it 
 made them homesick and melancholy. One of 
 the Swiss soldiers is about to be shot for dis- 
 obeying the order, when a powerful marquise 
 takes an interest in his case and brings about 
 his pardon, making him overseer of her estates. 
 Act 2. — Later on, when under the Terror both 
 the marquise and her husband are sentenced 
 by the Revolutionary tribunal to be beheaded, 
 the grateful overseer exerts himself to the 
 utmost to save his benefactress, but she scorns 
 such plebian aid and prefers to mount the scaf- 
 fold with a mocking smile. 
 
 696
 
 A Life for the Tsar 
 A LIFE FOR THE TSAR 
 
 Russian Historical Opera in four acts and an epilogue 
 by M. I. GLINKA 
 
 Text after MerimeVs " Les Faux De*m£trius " 
 
 When Dehn, Glinka's teacher, told the latter : 
 " Go and write Russian music," the Russian 
 opera did not exist. Glinka not only composed 
 real Russian music for this opera, but also took 
 his facts for the book from Russian history. 
 The period of Russian history ensuing on the 
 death of Ivan the Terrible and lasting until the 
 accession of Michael Romanov, is known as the 
 Time of Trouble, culminating in the reign of 
 the usurper Boris Godounov. Russia was be- 
 set on all sides by cruel foes, of whom the Poles 
 were the most formidable. It is on this state 
 of affairs that the curtain rises. 
 
 The first act occurs in a village where Ivan 
 Soussanin, a simple but heroic peasant, lives 
 with his daughter Antonida and his son Vanya. 
 A celebration is going on to mark the approach- 
 ing end of the long struggle with Russia's 
 enemies. Antonida rapturously gazes in the 
 direction whence she expects the return from 
 the wars of her lover Sobinin. The father, 
 however, is still oppressed with fear that all is 
 not going well. Sobinin arrives and gives an 
 account, from which it seems that a Tsar has 
 
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 been chosen at last. Thereupon Soussanin con- 
 sents to the marriage, long delayed, of his 
 daughter with the warrior Sobinin. 
 
 The second act takes us to Poland, where the 
 nobles, confident of vanquishing the Russians, 
 are reveling. Towards the close of the feast- 
 ing, however, a messenger arrives bearing new3 
 of the retreat of the Polish forces and of the 
 election of a national Russian for Tsar. 
 
 The third act strikes a high, note of patriot- 
 ism, although its background is humble. In 
 the izba, or" hut, of the peasant Soussanin we 
 see in progress general rejoicings. A chorus 
 of peasants, singing some wonderful folksongs, 
 Soussanin, Yanya, and the pair of lovers, all 
 participate in the merrymaking. This scene 
 is interrupted by the noise of approaching 
 soldiers. It is a detachment of approaching 
 Polish soldiers, and these burst into the izba a 
 moment later. The intruders are on the march 
 to Moscow whence they reckon on bringing back 
 the newly elected Tsar as a prisoner. Being, 
 however, unacquainted with the road they force 
 Soussanin to act as their guide. The latter, 
 scenting the imminent danger to his new 
 sovereign, resolves to lead the Polish forces 
 astray. Lulling the foes into false security, he 
 seizes an opportunity before leaving his cabin 
 to whisper instructions to his son Vanya, tell- 
 
 698
 
 A Life for the Tsar 
 
 ing him to hasten with all speed to the retreat 
 of the Tsar and acquaint him with the circum- 
 stances, enabling him to forestall the danger. 
 Soussanin then leaves with the Poles. An- 
 tonida's young playmates enter singing a 
 nuptial song and find her in deep grief. 
 Sobinin, on arriving, is also made acquainted 
 with the state of things, and at once determines 
 on pursuit of the enemy forces. 
 
 The fourth act is divided into three scenes. 
 Sobinin and his men are seen hunting for traces 
 of the enemy. The second scene discovers 
 young Yanya at the monastery of Kostroma, 
 where Michael Eomanov, the newly chosen 
 Tsar, has taken refuge. Help is summoned to 
 warn the Tsar and his followers of the approach- 
 ing enemy. Then the Polish band is seen led 
 by Soussanin. He has taken them to a marshy 
 forest where snow is falling fast. The night is 
 beginning to close in, and the Poles suspect that 
 they have been betrayed by their guide. -They 
 encamp while the sleepless Soussanin prepares 
 for death. A storm arises and during its roar 
 the patriotic peasant prays. He now scorns to 
 dissemble any longer, feeling sure that his lord, 
 the Tsar, must now have attained shelter from 
 his foes. At the first dawn, therefore, he boldly 
 
 owns up to having betrayed the enemies of his 
 
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 country, whereupon they fall upon him and put 
 an end to his life. 
 
 The epilogue is acted on the famous Eed 
 Square of Moscow. A crowd of jubilant Rus- 
 sians sing the magnificent " Slavsya " chorus, 
 acclaiming the newly crowned monarch. 
 Among them are Antonida and Vanya. To- 
 gether they intone one of the finest pieces of 
 music in the opera, the unrivaled trio. The 
 curtain drops amid loud acclaims. 
 
 LOBETANZ 
 
 A Fairy Opera in three acts by LUDWIG THUILLE 
 Text by OTTO JULIUS BIBRBAUM 
 
 The first production of this work was at 
 Mannheim, Germany, 1898. The scene is laid 
 in Germany, during the Middle Ages. 
 
 In the first act a garden, with adjoining 
 palace, is seen. There is a festival of song, 
 on a sunny day of spring, and joy unrestrained 
 reigns. Girls dance, strew roses, and chant 
 pleasant ditties. Lobetanz, a homeless, wan- 
 dering troubadour, happens along, and drawn 
 by all this gayety, ventures into the garden. 
 His garments are torn, and he himself is 
 famished, but his faithful violin he carries with 
 him, and the joyous maidens, seeing he can play 
 
 700
 
 Lobetanz 
 
 for their dancing, invite him to join in their 
 revel. They tell this strolling musician that 
 the king has set aside this day for singing and 
 general rejoicing, hoping that thus his daughter, 
 who has been ailing with a mysterious com- 
 plaint, may find a cure. It appears, they say, 
 that all the physicians of the country have been 
 unable to reach the seat of her malady, and that 
 only a song touching her heart may heal her. 
 Therefore the poets and composers and min- 
 strels of the entire realm have been bidden to 
 do their utmost. Lobetanz is urged to attempt 
 a song. He looks down at his tattered clothing, 
 and says that he alas, is no fit company for 
 royalty. He even tries to hide when a gorgeous 
 procession, headed by the king himself, is seen 
 approaching. The sympathetic damsels, telling 
 him to pluck up courage, hide the minstrel's 
 shabby clothes with garlands of roses, just be- 
 fore the royal party reaches the spot. Courtiers 
 and harpers, flutists and fiddlers, poets and 
 rhymesters do their best, but the princess, in- 
 different to their efforts, remains listless and 
 melancholy. Still others try their skill, violently 
 quarreling about their precedence. Of a sudden 
 the soft, sweet strains of a violin, coming from 
 a leafy bower, arrest her attention, and she is 
 spellbound by the lay. When the last notes 
 float away, she begs the musician may be 
 
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 brought to her. Lobetanz is dragged out of his 
 hiding place, and the princess is charmed with 
 him. Next she begs him to sing to her, and 
 when he intones a rare melody, the princess 
 faints from sheer excess of delight. There is an 
 uproar, ending with the minstrel's being 
 charged with black art. In the confusion, how- 
 ever, Lobetanz slips off unobserved. 
 
 The second act happens in the forest, where 
 Lobetanz has found shelter in the cabin of the 
 gamekeeper. Lobetanz seeks repose in the shade 
 of a far-spreading lime-tree, and while asleep 
 there a raven pounces upon his cap, and car- 
 ries it off toward hangman's hill. The forester, 
 his friend, tells the waking man of this inci- 
 dent, and augurs ill therefrom, but the laugh- 
 ing minstrel scorns the omen. Then along 
 comes the princess, taking the fresh air in the 
 quiet woods, and instantly recognizes her un- 
 known minstrel, him of whom she has been 
 dreaming all along, ever since the day he sang 
 to her. She shows her delight at finding him, 
 and they confess their mutual love. This 
 scene is cut short by the arrival of the king 
 with his retinue, who have been hunting in the 
 glades. Lobetanz is seized, and the death 
 sentence is passed on him as being a sorcerer, 
 
 702
 
 Lobetanz 
 
 to the utter despair of his sweetheart, the 
 princess. 
 
 The first scene of the third act shows the 
 dungeon in which Lobetanz is chained up se- 
 curely waiting his doom. Some of his fellow- 
 prisoners mock him for his presumption in dar- 
 ing to aspire to the hand of a princess, but 
 Lobetanz keeps his air of serenity. He even 
 is handed his fiddle, and with his manacled 
 hand he plays a hymn to Death, while the 
 motley crowd about him, one of them assum- 
 ing the character of the grim destroyer, act a 
 gruesome pantomine. In the midst of the noise 
 the executioner comes in, claiming Lobetanz as 
 his prey. 
 
 The last scene is enacted on hangman's hill 
 outside the town, where a great throng has 
 gathered to see the gay minstrel die. The 
 executioner proclaims publicly why Lobetanz is 
 to be put to death, saying that only the de- 
 linquent's blood can redeem the princess from 
 the wicked spell that she is suffering under. 
 The princess at this juncture is carried to the 
 foot of the gallows, nearly lifeless, and Lobe- 
 tanz, seeing her, begs as a last favor that he 
 may play one more tune to her. After some 
 discussion the request is granted, and the effects 
 of the music are marvelous. At the first stroke 
 of the bow she revives, and with every new tone 
 
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 she recovers more and more. When the music 
 ceases, the princess sits up, gazes lovingly at 
 Lobetanz, and finally stretches out her arms to 
 him; she is fully recovered. Her royal father 
 instantly grants a full pardon to the condemned 
 man, and gives his consent to the marriage with 
 his daughter. Minstrel and princess join 
 hands and blithely lead in the merry dance 
 that follows, a dance in which even king and 
 hangman take part. And at this moment, too, 
 the solemn raven that had carried off the min- 
 strel's cap, drops it from the top of the gallows. 
 This, the old cronies aver, means the height 
 of good fortune, and no longer shameful death. 
 And so they all meander forth. 
 
 LORELEY 
 
 Romantic Opera in three acts by ALFREDO CATA- 
 
 LANI 
 
 Llbrette by A. ZANARDINI and CARLO D'ORMVILLB 
 
 This opera was first heard in Chicago, April, 
 1919. The scene is laid on the banks of the 
 Rhine, during medieval times. 
 
 In the first act Walter, the governor of Ober- 
 wesel, meets the Loreley wandering the shores 
 of the river, and although betrothed to Anna of 
 Rehberg, niece of the margrave, he is smitten 
 
 704
 
 Loreley 
 
 with a sudden passion for the alluring stranger. 
 He confides the facts to his friend, Herman, 
 who solemnly urges him to remain faithful to 
 Anna, although he himself is deeply in love 
 with the latter and has merely yielded to his 
 friend heretofore because Anna favored him 
 in her love. But Loreley coming in search of 
 Walter, hears that he is already betrothed to 
 another, and swoons at the news. Herman, 
 lamenting that he has yielded up Anna to 
 another, appeals to the god of the Rhine to 
 avenge Anna's wrongs. Loreley seeks the 
 nymphs of the river and the spirits of the air, 
 who all are singing in praise of Thor, and of 
 the river god, bemoaning her lost chastity and 
 foretelling revenge. The spirits tell her that 
 Alberich, the cunning, godlike dwarf, can assist 
 her by rendering her irresistible and thus 
 capable of torturing the faithless one with new 
 pangs of love. But she must swear fidelity. 
 She does so and rises instantly, transformed, 
 with golden hair and wearing the golden comb 
 of the Loreley. 
 
 The second act transpires in front of the 
 castle of the margrave. When Walter and Anna 
 are both on their way to church to be married, 
 they are confronted by Loreley, who appears 
 in a mystic light, and who sjngs her song of 
 love to Walter. He casts Anna from him, and 
 
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 as he rushes into the arms of Loreley, she eludes 
 him, plunging into the Ehine and leaving Wal- 
 ter forlorn on its bank. As Anna falls lifeless.. 
 Loreley reappears on the rock. 
 
 The third act shows the obsequies of Anna. 
 Walter meets the mourning procession, and be- 
 ing informed it is that in honor of Anna, he falls 
 in a swoon by the river, and as he wakes he sees 
 Loreley on her rock, singing her song of love 
 to him. As she is about to embrace him, 
 threatening voices from the deep remind her 
 of her oath to the river god. She tears herself 
 from "Walter and returns to her rock. Walter, 
 in a frenzy, throws himself into the river, and 
 Loreley sings her song of enticement for the 
 last time. 
 
 MADAME CHKYSANTHEME 
 
 A Eomantic Opera in fours acts, with epilogue and 
 prologue, by F. MESSAGES 
 
 Text based on PIERRE LOTI'S tale of the same name 
 
 The lieutenant and his faithful Yves are on 
 board their ship, and the former tells of his 
 intention of contracting a temporary marriage 
 with one of the pretty girls at Nagasaki, a 
 region famed for its lovely women. This is 
 the prologue. 
 
 706
 
 Madame Chrysantheme 
 
 Act I. Pierre meets Madame Chrysantheme 
 for the first time. M. Kangourou, a matri- 
 monial agent, arranges matters and the bridal 
 veil is handed to Chrysantheme. 
 
 Act II. Pierre and his bride are enjoying 
 themselves at Mine. Prune's sunny cottage, and 
 his comrades arrive with their own feminine 
 charmers and serenade him. All of them, in- 
 cluding Mines. Strawberry, Daffodil and Cow- 
 slip, stop for luncheon. 
 
 Act III. There is a festival going on at the 
 house of Lieut. Pierre, and little Chrysantheme 
 is singing her best. But he becomes jealous, 
 thinking she is flirting with Yves and flies into 
 a tremendous rage, which results in a serious 
 quarrel with her. 
 
 Act IV. A peace is patched up between the 
 couple, and their happiness restored, when the 
 boom of guns aboard ship calls the lieutenant to 
 duty. The epilogue is again between the lieu- 
 tenant and Yves, who both mourn for little 
 Chrysantheme. 
 
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 MADAME SANS-GENE 
 
 Historical Opera in four acts by UMBEETO 
 GIOEDANO 
 
 Text by RENATO SIMONI, after a play by VICTORIBN 
 
 SARDOU 
 
 The first production of this work, which is 
 really a "musical comedy," so colorful and in- 
 teresting is the plot, occurred at the Metropoli- 
 tan Opera House, New York, in 1915. The 
 scene is laid partly in Paris and partly in 
 Compiegne, and the action stretches over a 
 period of nineteen years, from August 10, 1792, 
 to September, 1811. The opera is also unique 
 in that it brings the great figure of Napoleon 
 on the stage with an important singing part. 
 
 The first act takes place in the Paris laundry 
 of Catherine Huebscher, the Madame Sans- 
 Gene of history, a pretty, frank and courageous 
 figure of the Napoleonic era. Although the 
 French revolution is at its height and the royal 
 chateau, the Tuileries is being stormed by the 
 people, work goes on as usual at the laundry. 
 Catherine enters, followed by an amused crowd, 
 because one of the soldiers in the streets has 
 kissed her against her will. Triumphant shouts 
 are heard outside. The royal residence has just 
 been taken, and both king and queen made 
 prisoners. Catherine gives her laundry girls a 
 holiday to rejoice in the popular victory. 
 
 708
 
 Madame Sans-Gene 
 
 Fouche, then an officer in the National Guards, 
 but later police minister under Napoleon, is in 
 the place to get his linen. There is conversa- 
 tion about the political outlook, Catherine's 
 sweetheart, Sergeant Lefebvre, and a third 
 customer of Catherine's, the poverty-stricken 
 artillery lieutenant, Napoleon Buonaparte. 
 Outside the noise of the street fighting increases. 
 Catherine, from pity, finally admits a wounded 
 royalist, Count de Neipperg and sends him to 
 her own room in the rear. Her lover, Lefebvre 
 rushes in precipitately with a squad of soldiers, 
 searching for a royalist fugitive, the very one 
 who is in hiding there. Catherine treats the 
 guests to wine, but the sergeant accidentally 
 discovers the wounded royalist in Catherine's 
 chamber. His jealousy is roused at first, but he 
 soon convinces himself that there is no reason 
 for it. 
 
 The second act is in Compiegne, in Septem- 
 ber, 1811, and Catherine, although still as " free 
 and easy" as ever, has become the wife of 
 Lefebvre, now one of Napoleon's great generals 
 and created Duke of Danzig. She, however, 
 is too unceremonious for these changed times, 
 and Napoleon has found fault with Lefebvre 
 for disgracing his court by the many blunders 
 of his wife regarding court etiquette. Lefebvre 
 and Catherine talk things over and resolve 
 
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 not to separate in any event. Catherine is just 
 taking a belated lesson in dancing and bowing 
 from Despreaux, but dismisses the dancing 
 master for more important affairs. Fouche, 
 now at the head of the imperial police, comes 
 and advises Catherine and her husband to show 
 more circumspection in dealing with high per- 
 sonages, such as the emperor's sisters, Queen 
 Caroline and Princess Elisa, who are to be her 
 guests that day. Count Neipperg pays a 
 clandestine visit and asks advice. He says he 
 is in love with Napoleon's wife, Marie Louise, 
 and has been banished from court on that ac- 
 count by Napoleon. He is told to forget her, 
 but he insists on paying her a farewell call be- 
 fore leaving for good. Meanwhile the guests 
 begin to arrive, and Catherine, delayed by Neip- 
 perg, comes late in receiving them. Napoleon's 
 sisters are especially angry at this supposed 
 slight, and treat their outspoken hostess with 
 much hauteur, but are paid back in kind. The 
 two sisters lay their complaint before the em- 
 peror, who summons Catherine to exculpate 
 herself. 
 
 This she does in the third act. Catherine is 
 at first received with rigor by Napoleon. But 
 she tells him precisely how she was provoked 
 by his sisters into paying them in their own 
 coin, and the emperor admits she was justified. 
 
 710
 
 Madame Sans-Gene 
 
 Then she draws forth from her bosom a soiled 
 and creased bit of paper and presents it to 
 Xapoleon. It is an old bill of his for laundry 
 work done by her for him, left unpaid during 
 the days when he was half starving in a Paris 
 garret. He remembers the debt and its cir- 
 cumstances, and recognizes her as the Madame 
 Sans-Gene of those days. She next tells him 
 of her experience as Lefebvre's wife, how she 
 followed him and the army in several campaigns 
 as vivandiere, and was even wounded, exhibit- 
 ing the scar. The emperor kisses the scar and 
 says that Lefebvre ought to be proud of such 
 a wife, promising that she shall in future find 
 full recognition at his court. But while still 
 talking, they both notice a man secretly ap- 
 proaching the apartments of the empress. It 
 turns out to be Xeipperg, he who was banished 
 by Napoleon for suspicious behavior. The in- 
 truder is seized and sentenced to be shot at 
 dawn of day, although he is the Austrian am- 
 bassador. 
 
 At the beginning of the last act Napoleon is 
 seen pacing his chamber restlessly when Cath- 
 erine requests audience with him. She fur- 
 nishes proof that Xeipperg is, after all, only 
 suspected, not convicted, of any serious miscon- 
 duct, while there is not even a shadow of evi- 
 dence against the empress herself. She pro- 
 
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 poses a test of Marie Louise's own feelings in 
 the matter. Napoleon adopts her stratagem, 
 and the empress proves herself innocent. Neip- 
 perg is freed and sent home to Vienna, and 
 Catherine herself earns the emperor's high 
 praise. 
 
 MADELEINE 
 
 A Lyrie Opera in one act by VICTOE HEEBEBT 
 
 Text by GRANT STEWART, being based on a French 
 
 play 
 
 This was first produced in New York, 1914. 
 The scene is Paris, on New Year's Day, 1760. 
 
 At her luxurious apartments Madeleine 
 Fleury, the great diva of the Paris opera, re- 
 members suddenly, when a load of costly gifts 
 from her admirers is brought in, that it is New 
 Year's Day. She enjoys these attentions, but 
 the thought occurs to her where and with whom 
 she can dine that day in a manner satisfactory 
 to herself. One by one her friends decline her 
 invitation. Her lover, the Chevalier de Mau- 
 prat, is unable to do so because on that day he 
 must be with his mother at home. The Duke 
 d'Esterre pleads the same excuse, and even her 
 threat, to turn to his rival, Fontanges, does not 
 
 712
 
 Madeleine 
 
 alter his decision. She carries out this inten- 
 tion and hastily scribbles off a note to Fon- 
 tanges. But that means simply another re- 
 fusal. Even her own maid, coquettish Nichette, 
 else always so pliant, at the risk of offending 
 her generous mistress, says that she cannot stay 
 that day, because she has previously promised 
 her mother to dine with her. 
 
 Madeleine is in real despair. All her 
 blandishments to obtain the presence of some- 
 one to keep her company on the most joyous 
 day of the whole year are wasted, and she feels 
 chagrined and outraged. She throws herself 
 on her divan in a fit of sobbing and disguest, 
 and there her old schoolmate and protege, the 
 impecunious painter Didier, finds her in a tear- 
 ful mood. When she tells him the cause he 
 replies that he is sorry, for he, too, must dine 
 on that day with his poor old mother. He in- 
 vites her, however, as his guest. Madeleine de- 
 clines, and when Nichette soon after comes back, 
 saying that her mother has sent her to keep her 
 mistress company, she again declines. Instead 
 the operatic star takes down from the wall a 
 speaking likeness of her own mother, dead some 
 time ago, places it opposite her plate on the 
 dining table, and thus also finds somebody she 
 loves to dine with. 
 
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 MAKITANA 
 
 Komantic Opera in three acts by ROBERT C. 
 WALLACE 
 
 This tuneful and interesting work was first 
 seen in London, in 1845, and then on every 
 stage elsewhere, particularly America. 
 
 The scene of the first act is Madrid. Charles, 
 the Spanish King, has fallen desperately in love 
 with a charming young gypsy, who with her 
 band sings in the open squares of the city. The 
 royal minister of state, in order to promote 
 dark plans of his own, heats the king's fancy 
 still more, dwelling enthusiastically on the girl's 
 extraordinary beauty and verve. Don Caesar, 
 a Spanish noble and formerly an intimate 
 friend of Jose, the minister, is seen reeling 
 out of a tavern. In his inebriated condition he 
 espouses the cause of Lazarillo, an unfortunate 
 waif, and this involves him in a duel for which 
 he is arrested and sentenced to death. He is 
 incarcerated. During this time Don Jose has 
 been exercising his arts on Maritana, the gypsy 
 girl, telling her wonderful tales of wealth and 
 a great marriage, and thus spurring on her am- 
 bition. 
 
 In the second act Don Caesar is seen in the 
 dungeon, with his devoted Lazarillo asleep be- 
 side him. He is to be executed at seven in the 
 
 714
 
 Maritana 
 
 morning, and it is now live. Don Jose, his 
 false friend, enters and offers his services. 
 Caesar wishes to die a soldier's death, and wants 
 to escape the gallows. After appearing to 
 hesitate, Don Jose accedes to this plea, but in- 
 sists that the condemned must first marry. Don 
 Caesar declines, but is finally persuaded to 
 do as Jose has urged. Although royal 
 clemency has not yet been vouchsafed and Don 
 Caesar has, therefore, but two more hours to 
 live, the nuptual banquet is prepared, and 
 everything got ready for the wedding ceremony. 
 Then Lazarillo enters, bearing the king's 
 pardon. He is, however, waylaid by the cun- 
 ning Don Jose, and prevented from handing 
 the document to Don Caesar. The bride, 
 Maritana, who is to be made a wife of con- 
 venience, but in reality the mistress of the 
 monarch, enters, and just as the priest pro- 
 nounces Don Caesar and Maritana duly wedded, 
 soldiers come in for the carrying out of the 
 death penalty on Don Caesar. However, Laza- 
 rillo, his humble friend, has by a ruse managed 
 to draw the bullets from the rifles, and when 
 the shots are fired Don Caesar falls apparently 
 lifeless. Don Caesar, after escaping from 
 prison, goes away in a reckless mood to attend 
 a gorgeous ball given by the Marquis de Monte- 
 fiori. Maritana is there palmed off, under in- 
 
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 structions from Don Jose, as his niece. When 
 Don Caesar demands Maritana as his lawful 
 wife, the minister manages to spirit her away. 
 
 The last act shows Maritana in the royal 
 palace, where she has been taken in ignorance. 
 Don Jose, in the belief that Don Caesar will at 
 least not dare to present himself in the royal 
 palace, introduces the king, whom he attempts 
 to play off as Maritana's husband. The girl 
 resents this, while the king in vain flatters and 
 woos her. Caesar at this juncture breaks into 
 the royal closet and demands his wife, the 
 Countess de Bazan, that being the name given 
 Maritana by the Marquis de Montefiori on in- 
 structions from Don Jose. The king retorts: 
 l 'I am Don Caesar." And Don Caesar tops 
 this by saying " I am the king." Then comes 
 word from the queen that she is waiting for 
 the king. The latter hastens away, leaving for 
 the moment Don Caesar and Maritana together. 
 Explanations follow, and Don Caesar resolves 
 to ask the queen for her intervention. As he 
 is waiting for the appearance of the queen, he 
 hears in the next room Don Jose telling her that 
 the king is to meet his mistress that evening. 
 At this Don Caesar breaks in, confronts Don 
 Jose, exposes his treachery, and kills him on the 
 spot. Then he hurries back to Maritana, with 
 whom he finds the king. Don Caesar boldly 
 
 716
 
 The Mikado 
 
 proclaims what he has just done, and says: 
 " I myself have safeguarded the king's honor. 
 Will the king in return deprive me of my own 
 honor ? " The king sees the point, makes Don 
 Caesar the governor of Valencia, and yields 
 Maritana up to his rival. 
 
 THE MIKADO 
 
 A Comic Opera in two acts by AETHUE S. 
 SULLIVAN 
 
 The text is by WILLIAM S. GILBERT 
 
 First production in London, 1885. The 
 scene is at " Titipu," Japan, and the time is 
 the past. 
 
 The first act happens in a street of Titipu. 
 The Mikado's son, Nanki-Poo, rather than wed 
 an elderly charmer, by the name of Katisha, 
 has run away from court and leads the merry 
 though impecunious life of a strolling minstrel 
 youth. He has gone from town to town, hear- 
 ing all sorts of things, when in Titipu he hap- 
 pens to fall in love head over heels with the 
 charming Yum-Yum. This Yum-Yum is a 
 minor and therefore one of the many wards of 
 Ko-Ko, a high official who has a monopoly on 
 
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 guardianship throughout the empire. Yum- 
 Yum in fact is still a schoolgirl, a naive young 
 creature, who is home during vacation with two 
 of her equally charming friends. Ko-Ko had 
 had an idea of marrying this particular ward 
 himself, not having much else to do just about 
 this time. But Xanki-Poo's affection is to the 
 full returned by Yum- Yum, and this is the way 
 matters stand when Pooh-Bah drifts in from 
 some other point of the compass, and messes 
 matters up by his arrival. Pooh-Bah is not 
 alone the depositant and purveyor of all state 
 secrets, holding also every office in the gift of 
 the country with the single exception of that 
 of Lord High Executioner, which is the pre- 
 rogative of his friend Ko-Ko, but he is always 
 loaded with schemes. Ko-Ko had been a tailor 
 by trade, until he was offered this fat office, and 
 he is by no means as bloodthirsty as the Mikado 
 would like him to be, in fact since the day of 
 his inauguration there has not been even one 
 execution. The Mikado has now come out with 
 an ultimatum: if within a month nobody has 
 been beheaded or otherwise disposed of for good, 
 Ko-Ko will lose his remunerative job. It is in 
 this dilemma that Xanki-Poo, having of late 
 found the strolling minstrel business particu- 
 larly unremunerative, steps forth and offers to 
 serve Ko-Ko as a client at the end of the month 
 
 7i8
 
 The Mikado 
 
 if he be allowed to marry Yum-Yum first and 
 live with her for that space. This proposal ap- 
 pears to both Ko-Ko and Pooh-Bah to hit the 
 bullseye and they accept it forthwith. 
 
 The second act is at the home of little Yum- 
 Yum, where the wedding of the maid with 
 Xanki-Poo is to take place. An unlooked-for 
 complication arises by Ko-Ko's unearthing an 
 obsolete law to the effect that when a man is 
 beheaded his widow also must be buried alive. 
 But Xanki-Poo's chivalry is not to be outdone. 
 Driven by his code, the Japanese bushido, the 
 young man offers to solve the difficulty by 
 stabbing himself with neatness and dispatch. 
 But unfortunately this will not serve the need 
 of Ko-Ko, who is driven into a corner and 
 makes up a false statement as to the execution. 
 It is precisely at this juncture that the Mikado 
 himself comes to Titipu, quite accidentally, and 
 learns with exquisite pleasure that after such a 
 long delay an execution, and that a fine 
 sanguinary one, described with much gusto by 
 the old swindler, Ko-Ko, has actually taken 
 place. The Mikado grunts approval of all the 
 horrible things that have been done to the 
 wretched delinquent. But suddenly he learns 
 that the delinquent is his own son, for whom he 
 has been looking high and low, and this, of 
 course, changes the aspect of affairs. He decrees 
 
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 forthwith that the Lord High Executioner shall 
 be boiled in oil for his blunder. But the gods are 
 merciful. Nanki-Poo shows up very much alive 
 just in the nick of time, and the Mikado remits 
 all other penalties to Ko-Ko save only the one 
 of marrying Katisha, the elderly court beauty. 
 
 LE MIEACLE 
 
 Sentimental Opera in four acts by G. A. Hue 
 
 Text based on a legend of Burgundy dating from the 
 fifteenth century 
 
 This work was first produced in Paris, 1910. 
 
 Act I. A strong town in France is be- 
 leaguered by an army of mercenaries, and in- 
 side its walls suffering from famine and dis- 
 ease is great. The commander of these troop8 
 sends word that he will raise the siege of the 
 place if Alix, a noted courtesan of great beauty, 
 is surrendered to him. He asserts that she has 
 bewitched him by black art. To save her home 
 town Alix agrees to his condition, and the citi- 
 zens of the freed city, to express their grate- 
 fulness to Heaven for the timely rescue, give an 
 order to their best sculptor, Soys, to make a 
 statue of their patron saint, St. Agnes, to be 
 placed in the church devoted to her service in 
 memory of her aid. But Alix is not satisfied 
 
 720
 
 Le Miracle 
 
 with this. She attributes entirely the saving of 
 the city to her great charms and to her spirit of 
 sacrifice, and she conceives a plan by which the 
 artist is to carve the statue in her own like- 
 ness, thus immortalizing herself instead of the 
 saint who really had nothing to do with it. 
 
 Act II. Meanwhile Soys, the sculptor, hav- 
 ing seen and admired Alix, has also been be- 
 witched by her. He is unable to drive her 
 picture from his mind. Night and day it dwells 
 there, despite all his prayers. It glows and 
 glitters in his fancy, and delays his work on 
 the statue of the saint. In desperation, finally, 
 he throws the half-finished figure from its 
 scaffold at the moment when Alix enters his 
 studio. Her robe clings to her divine form. 
 Her presence is alluring, irresistible. Soys 
 kneels down and worships her. 
 
 Act III. The scene shows the Church of St. 
 Agnes, with the veiled statue in one of its 
 cloisters. It is the day when the artist is to 
 turn over the finished statue to the city author- 
 ities. The whole populace are astir to do honor 
 to the patron saint, and flags and flowers testify 
 to the general joy. But as Soys slowly with- 
 draws the cloth hiding the figure, it is seen to 
 be a nude representation of Alix. Fanatical 
 rage seizes all. Everybody cries out at the 
 sacrilege. The bishop in his golden vestments 
 
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 threatens to put the whole town under the ban. 
 The crestfallen, humbled artist has nothing to 
 say in his defense. But Alix rejoices. She is 
 proud and satisfied. The governor who now ap- 
 proaches the statue and prepares to destroy it 
 is struck dead by Alix. 
 
 Act IV. The outraged church and clergy de- 
 mand condign punishment. Alix has been re- 
 moved to a narrow dungeon cell. Soys attempts 
 to save her, but she scorns to be saved. She 
 follows a procession of nuns to the scene of her 
 late triumph, where the statue, again closely 
 veiled, stands mutely in the corner. It falls to 
 her, in atonement for her insolence, to shatter 
 her own image, for only then will Soys be par- 
 doned. Soys, frantic, broken, and yet still un- 
 der the seductive spell of Alix, is in the pro- 
 cession. Alix approaches the statue, lifts the 
 heavy hammer, and strikes — a bolt of light- 
 ning shoots forth from the stone, and she lies 
 dead. Soys tears off the veil. A miracle has 
 been wrought. It is now the calm, sweet image 
 of St. Agnes. And the whole town now blesses 
 the sculptor. 
 
 722
 
 Mireille 
 
 MIREILLE 
 
 Romantic Opera in four acts by CH. GOUNOD 
 
 Words by PAUL CARRE, after the story " Mire'o " by 
 FREDERIC MISTRAL 
 
 This dainty work was first seen at Paris, 
 1878. Its scene is the south of France, in the 
 recent past. 
 
 The first act discovers Mireille, the daughter 
 of Ramon, a wealth}- farmer, in a mulberry 
 plantation, surrounded by village girls and 
 neighbors, who rally her on her affection for 
 Vincent, a handsome but poor youth. The 
 girl, being very naive, admits her passion with- 
 out reservation. Taven, a reputed witch, 
 cautions her not to bare her heart too quickly. 
 
 The second act opens with a chorus and dance 
 in the arena at Aries, where Mireille and Yin- 
 cent meet again. But Taven warns her that 
 she has heard Ourrias, a wealthy but semi-sav- 
 age cattle owner, boast that he would wed her. 
 Ourrias is repulsed by Mireille and reports 
 these facts to Eamon, who vows that his 
 daughter shall obey him. 
 
 In the third act a harvest festival is being 
 celebrated, and Andreloun, a poor shepherd 
 boy, enters playing his bagpipe. Ramon and 
 his whole household are in festive mood, but 
 Mireille cannot shake off her melancholy. News 
 
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 is brought that Ourrias, the suitor favored by 
 her father, has met Vincent and attacked him 
 with a trident, injuring him seriously. Taven 
 nurses Vincent and predicts his recovery, but 
 Mireille wants to implore the aid of heaven, and 
 undertakes a pilgrimage to the shrine at the 
 St. Mary's Church, situated in the Cro, a desert 
 region. 
 
 In the last act the two lovers meet at the 
 famous shrine, where Vincent opens his arms to 
 his sweetheart. There is religious music, and 
 the pilgrim's march is chanted. This and the 
 presence of Vincent restore Mireille once more 
 to sanity, and her father, Eamon, at last relents. 
 
 THE MISEE KNIGHT 
 
 Fantastic Opera in three acts by VLADIMIR 
 BAKHMANINOFF 
 
 This opera was first seen at Moscow, 1905. 
 It is in some respects quite unique. 
 A nobleman, who has amassed much wealth, 
 has become extremely penurious. He allows his 
 castle to go to ruin, to save the cost of repairs, 
 and. his only son to go about in rags and to 
 suffer from hunger. The youth defeats a rival 
 knight in a duel and then muses as to the causes 
 of his success. He comes to the conclusion that 
 
 724
 
 The Miser Knight 
 
 it was owing to his sorry equipment, for once 
 his anger was roused by the shattering of his 
 helmet, he displayed superhuman strength. 
 But further reflecting he feels wrath at his 
 father's miserliness, which deprives him of all 
 enjoyment of life and youth. He thereupon 
 looks up a usurer, who advises him to poison his 
 father and thus come into possession of all his 
 riches. 
 
 The second act is peculiar because there ap- 
 pears but one person, the miser, on the stage. 
 It shows him in the lowest cellars of his 
 strong castle, where he is surrounded on all 
 sides by kegs and pouches of gold and silver. 
 He is counting his treasures over and over 
 again, and tells with ecstasy of the thrills of 
 pleasure he gets from the feel of the gold 
 pieces, which he terms his " little friends." He 
 sings in equal measure of the awful struggle 
 going on all over the world for the winning, 
 keeping, and increasing of gold. 
 
 The third and last act shows the appalling 
 death agony of the miser, who at last dies with 
 the keys still in a grasp of steel, unlocking his 
 treasures. 
 
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 MONA 
 
 A Dramatic Opera in three acts by HORATIO 
 PARKER 
 
 The book by BRIAN HOOKER 
 
 The first production was in New York, 1912 
 The scene is Southwestern Britain in ancient 
 times. 
 
 This work earned the prize of $10,000 offered 
 that year by the Metropolitan Opera House, 
 New York. 
 
 In the first act the interior of Arth's hut in 
 the dense woodland is seen. The Britons are 
 wroth at tyrannical Roman rule in their island, 
 and the priests are seeking some chieftain of 
 high courage and influence among the warriors 
 of their race to lead them forth again to combat 
 the Roman legions. Mona, last of the royal 
 strain that gave Boadicea to Britain, is chosen 
 by the priests, for they discover in this woman 
 an unbending will and a more than manly am- 
 bition. Mona herself has been brought up by 
 Arth and Enya as their foster child. Mona on 
 her part has as a lover Gwynn, one of a party 
 attempting to reconcile Romans and Britons, 
 and throughout a man of peace. She does not 
 know it, but Gwynn is really the son of the 
 Roman proconsul who has been administering 
 Britain for years, while his mother is of British 
 
 726
 
 Mona 
 
 extraction. Naturally the Roman father has 
 steadily been endeavoring to bring about recon- 
 ciliation between the two races. Gwynn, whose 
 Roman name is Quintus, does his best to wean 
 Mona away from her bellicose ideals and to in- 
 duce her to marry him. Mona, however, al- 
 though fond of Gwynn, cannot prevail upon her- 
 self to abandon her visions of greatness, and is, 
 besides, convinced that fate calls upon her to 
 imitate the deeds of her ancestress, Boadicea. 
 
 The second act reveals a druidic fane in the 
 depth of the forest. The Roman proconsul in 
 command of the island is informed by his spies 
 that the druidical priesthood are once more 
 solemnizing their rude rites, and hence he con- 
 cludes that a great uprising is near. Gwynn, 
 still pursuing his plan of mutual reconciliation, 
 urges Mona to become his wife. His father, 
 who is rather cynical as to his son's intentions, 
 gives him leave to try his scheme. Gwynn 
 meets Mona after one of the great national 
 ceremonials instigated by the druids, and she 
 yields to his persuasive eloquence and confesses 
 her love for him. But she quickly recants when 
 he owns to his Roman descent, and curses her 
 feminine weakness. She even summons her 
 attendants, and they take Gwynn captive. 
 
 The third act reveals a forest in front of a 
 British town with a Roman garrison and a 
 
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 The Standard Operaglass 
 
 Romanized population. Enya, the foster 
 mother of Mona, and Nial, a half-witted youth, 
 are watching the battle. The besieging Britons 
 are unable to withstand Roman military dis- 
 cipline, and they fall back, Mona among them. 
 Mona is unwounded, but in great dan- 
 ger of being seized by the Eomans as a rebel. 
 Gwynn, who has torn his fetters during the 
 engagement, arrives in search of Mona, and 
 again offers her his affection and a peaceful 
 home. He is not recognized by Mona, who 
 sees in him a traitor to his native land. In an 
 access of fury she stabs him to death, while 
 he does not resist her at all. When the Romans 
 next pursue the foe they take Mona a prisoner, 
 and as such she is brought face to face with the 
 Roman ruler of the country, Gwynn's father. 
 He tells her the full truth that Gwynn, the 
 man she slew, was the best friend the country 
 had, and that with him perished all hope of a 
 peaceful settlement. Mona too late becomes 
 conscious that she has overstepped the bound- 
 aries set for true womanhood. 
 
 728
 
 Monna Vanna 
 MONNA VANNA 
 
 Sentimental Grand Opera in four acts by HENRI 
 FEVRIER 
 
 Text by MAURICE MAETERLINCK 
 
 The first-night performance of this opera was 
 in Paris. 1909. The action occurs in Pisa, 
 Italy, during the fifteenth century, and is based 
 on an historical incident. 
 
 Act I. Made frantic by a long and cruel siege 
 and brought to the verge of actual starvation, 
 the Florentine army investing the city being 
 on the point of enforcing surrender, the clamor- 
 ing population of Pisa are before the palace of 
 Guido Colonna, commander of the brave garri- 
 son, and demand the death of the general, since 
 it was he who brought about the war. Guido 
 Colonna himself is seated inside, wrapt in 
 melancholy thought, and hears the shouts of the 
 maddened crowd. His officers, Borso and 
 Torello, come to him with the report that the 
 ammunition is giving out. He replies that he 
 has already sent his own father, the venerable 
 Marco, to Prinzivalle, commanding the besieg- 
 ing Florentine army, to obtain favorable terms. 
 His father returns, and his report is to the 
 effect that Prinzivalle will deal leniently with 
 Pisa and send them a large convoy of food and 
 ammunition if Guido will accept his terms. 
 
 729
 
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 These terms, Marco announces, are that in 
 token of submission, Guido himself send his 
 wife, the beautiful Monna Vanna, to the tent 
 of Prinzivalle. The lady, it is conditioned, is 
 to come without arms, nude, wrapped only in a 
 cloak, and is to stay with the general of the 
 foe until dawn of the next day. Guido is 
 shocked and humiliated, and demands to know 
 the reason of such singular conditions. The 
 father replies that Prinzivalle is enamored of 
 Monna. And when Guido remains of the 
 opinion that that cannot be true since Prinzi- 
 valle has never seen Monna, Marco answers that 
 Prinzivalle certainly must have met Monna 
 before, and that the latter, having been told by 
 Marco of these conditions, has declared herself 
 ready to carry them out. Vanna is summoned, 
 and hears the ferocious cries of the throng 
 outside, all shouting for the death of her hus- 
 band, whereupon she reiterates her willingness 
 to fulfil the terms of the victor. Her husband, 
 unable to fathom her motive, and not inclined 
 to put such deep trust in his wife's affection, 
 is roused to insane jealousy, and at first will 
 not agree to the conditions imposed. He pro- 
 tests wrathfully, but finding his wife firm in her 
 resolution, he cannot help believing that her 
 love for him has died, and puts her coldly from 
 him, asserting that his love also is now dead. 
 
 730
 
 Monna Vanna 
 
 In the second act Prinzivalle is awaiting the 
 coming of Monna in his tent, but is told by 
 his secretary, Vedio, that a letter has just been 
 received from Florence in which the general 
 is ordered to storm the beleaguered city of 
 Pisa next morning, in default of which he will 
 be regarded a traitor and taken into custody 
 to await trial. The envoy from Florence, Tri- 
 vulzio, a venomous enemy of Prinzivalle, enters 
 the tent just as the signal agreed upon, show- 
 ing that Monna has started for her ordeal, is 
 beginning to flash on the ramparts of Pisa. 
 Prinzivalle has been watching this signal. Tri- 
 vulzio is confronted by the commander with 
 several letters from partisans in Florence show- 
 ing clearly that Trivulzio and a number of his 
 fellow-conspirators have resolved on Prinzi- 
 valle's death even if the latter should end the 
 siege successfully. Trivulzio, seeing himself be- 
 trayed, treacherously attempts to stab the gen- 
 eral with a poniard. But he only wounds him 
 in the face, and is then disarmed and handed 
 over to the guards for safekeeping. Vedio 
 warns his master that his foes in Florence are 
 bent on his destruction, but Prinzivalle laughs 
 at him. Vedio leaves, and Monna enters. The 
 dialogue between these two shows that Monna 
 still cherishes a single purpose in coming, 
 namely, to save the people of Pisa and to re- 
 
 73i
 
 The Standard Operaglass 
 
 deem her husband. It is also shown that Prinzi- 
 valle was her playmate during childhood and 
 has treasured her memory. He behaves toward 
 her with so much delicacy and forbearance that 
 he earns her gratitude and respect, and she 
 allows him to caress her hand in token of these 
 feelings, but no further intimacy is attempted 
 on either side. Vedio at this juncture rushes 
 in to let his principal know that an officer from 
 Florence with a body of soldiers are proclaim- 
 ing him a traitor throughout the camp. Prinzi- 
 valle is urged to flee, and now Monna wants 
 him to come with her to Pisa, where he would 
 be safe. He accepts her offer, and they both go. 
 The third act opens with Guido's plans for 
 vengeance. Monna Yanna comes acclaimed by 
 the people as their savior. The aged father, 
 Marco, affectionately embraces her, but her hus- 
 band will have none of her, and drives out the 
 joyful crowd that has followed her to the palace. 
 He notices a man in her wake, and inquires as 
 to his identity. When he hears that it is Prinzi- 
 valle, he is seized with a paroxysm of unreason- 
 ing rage, but suddenly the assumption comes 
 over him that his wife has brought this man 
 for him to wreak his vengeance on, and then 
 he goes to the other extreme, taking her to his 
 arms and begging her forgiveness for having 
 misconstrued her past behavior. In his mind 
 
 732
 
 Monna Vanna 
 
 he is hatching schemes for the torture of Prinzi- 
 valle. Pie calls back the populace and tells 
 them who the stranger is. Vanna makes every 
 endeavor to be heard and to explain the facts 
 in the case, but when at last she is permitted 
 to say something, Guido flatly disbelieves her, 
 and tauntingly parades his incredulity that 
 Prinzivalle did spare her from shame and out- 
 rage just because he loved her. He asks her, 
 however, to come to his arms and be caressed, 
 which she coldly refuses to do. Neither do the 
 throng of people whom she has saved by her 
 own sacrifice believe her pure and unsullied 
 because of the deep respect felt for her by 
 Prinzivalle. Guido prepares to feast on the 
 tortures which he has in store for Prinzivalle, 
 and when Monna Vanna thus realizes the truth, 
 she pretends that her husband's surmises have 
 been correct, and claims Prinzivalle as her own 
 victim, to do with as she chooses. Prinzivalle 
 accordingly is cast into a dungeon, manacled 
 and treated cruelly, and the key to his cell is 
 confided to her. 
 
 In the last and rather short act, Monna 
 Vanna frees Prinzivalle from his bonds, and 
 the two bare their souls to each other. She 
 makes it clear why she can no longer love 
 her husband after the foul suspicions he has 
 had of her, and after the fiendishly cruel in- 
 
 733
 
 The Standard Operaglass 
 
 stincts shown by him throughout the whole mat- 
 ter. On the other hand she now feels the most 
 enduring affection for Prinzivalle. She opens 
 the doors of the prison to him, and the two go 
 forth to buffet the world together. 
 
 LA NAVAEEAISE 
 
 A two-act Komantie Opera by J. MASSENET 
 Text after the Spanish 
 
 This work was first played in London, 1894. 
 The scene is in Spain, during the Carlist war. 
 
 'Act I. A poor peasant girl, Anita, (La Navar- 
 raise) is in love with Araquil, sergeant in the 
 Spanish army, and he reciprocates. When the 
 curtain rises the Carlists have won the day, and 
 Araquil is anxiously looking for his sweetheart. 
 Their meeting is most tender and touching. 
 AraquiPs father, Eemigo, also meets his boy; 
 Anita appeals to the father to be lenient in the 
 matter of dowry with her, because while he has 
 two thousand douros, — she has nothing. In 
 another scene there is a battle, and General 
 Garrido, on the Spanish side, offers a fortune 
 to the soldier who will kill or take the redoubted 
 Carlist leader, Zucarraguay, prisoner during the 
 engagement and bring him to the commander. 
 
 734
 
 Natoma 
 
 Anita, disguised as a soldier, hears this and 
 rushes off towards the camp of the enemy. 
 
 Act II. Xight. A camp scene. As day 
 breaks, fighting is resumed. The rumor spreads 
 that Zucarraguay has been stabbed by a woman, 
 a spy. A change. Anita presents herself be- 
 fore General Garrido, and furnishes proof of 
 having killed the Carlist leader. She receives 
 the reward. But at the same time Araquil, her 
 lover, is brought in dying from a wound. He 
 has heard of her visiting the enemy camp, and, 
 unaware of her having killed Zucarraguay, 
 he reproaches her for having sold herself to 
 obtain riches. He curses her and dies. Anita, 
 becomes a raving maniac, and expires over the 
 body of her lover. 
 
 NATOMA 
 
 A Eomantic Opera in three acts by VICTOR 
 HERBERT 
 
 Text by JOSEPH D. REDDING 
 
 This opera was first produced at Philadelphia, 
 1911. The scene is laid in Southern California, 
 and the time is 1820, during the Spanish occu- 
 pation. 
 
 The first act occurs at the island of Santa 
 Cruz. A wealthy Spaniard, Don Francisco, is 
 
 735
 
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 expecting the return from a convent on the 
 mainland of his daughter Barbara. She has 
 completed her education at the convent, and 
 everybody on Don Francisco's vast estate is im- 
 patient to welcome her. Alvarado, a young 
 Spaniard of distinction, has been courting the 
 Sefiorita Barbara for some time. Natoma, the 
 young lady's Indian maid, is greatly attached 
 to her mistress. And somebody else, too, is 
 anxious to meet her, namely, Lieutenant Mer- 
 rell, of the U. S. Navy, who happens to be 
 stationed at Santa Cruz at the behest of his 
 government. Without his own knowledge, Na- 
 .toma, who is quite a superior person for an 
 Indian, is deeply in love with the young officer, 
 whereas he treats her with indulgence, but as 
 a mere child of the wilderness. Nevertheless, 
 Natoma, not fathoming his true state of feel- 
 ings, harbors hopes of ultimately winning Mer- 
 rill's affections. And strangely enough, it is 
 owing precisely to Natoma's vivid descriptions 
 of the sweet charms of her mistress that the 
 lieutenant is prepared in advance to fall in love 
 with her. Natoma after some chance remark 
 of his, suddenly realizes this, and from that 
 moment on her fellings are strongly divided be- 
 tween loyalty to her mistress and uncontrollable 
 love for Merrill. When Barbara at last does 
 arrive, and is greeted most enthusiastically by 
 
 736
 
 Natoma 
 
 everybody, an attachment between herself and 
 the young officer ripens speedily into love, ex- 
 actly as Xatoma had forebodingly felt would be 
 the case. When in the evening after her arrival 
 a ball is given in Barbara's honor, Alvarado, 
 whose suit has not prospered, becomes aware 
 that a new and formidable obstacle to his as- 
 pirations exists in the person of Merrill. When 
 he pleads his cause with Barbara he is definitely 
 repulsed, and he then lays plots with his half- 
 breed servant, Castro, to possess himself of the 
 person of Barbara by abduction. But Natoma 
 becomes aware of Alvarado's criminal designs 
 and conceives a means of foiling them. 
 
 The second act opens with a scene on the 
 public plaza of Santa Barbara. A fair is being 
 celebrated in the ancient town, and among the 
 attractions offered there is the presence of a 
 body of American marines. Alvarado invites 
 Barbara to the dance, and despite her reluctance 
 she is told by her father not to refuse, and hence 
 accepts his company. But Alvarado wounds the 
 girl's feelings, and she leaves him to join her 
 father. Alvarado, though, keeps a sharp lookout 
 for her, trying to find a favorable opportunity 
 to get her into his power. He has Castro and 
 some other ruffians to aid him. As part of the 
 plot Castro issues a challenge to all present to 
 share with him in a public display of the dagger 
 
 737
 
 The Standard Operaglass 
 
 dance. He thrusts his dagger deep into the soil, 
 and a crowd of admirers is quickly formed about 
 him. Natoma takes up his challenge, and both 
 then keep on whirling cautiously about, each 
 intent on seizing the other's weapon. Suddenly 
 Natoma leaps forward, pushes Castro's dagger 
 aside, and coming at one bound up to Alvarado, 
 stabs him to the heart, just as he was on 
 the point of seizing Barbara. Merrill and his 
 marines take the side of jSTatoma, and prevent 
 the crowd of enraged villagers from wreaking 
 vengeance on her. At this moment Father 
 Peralta, appearing on the threshold of the 
 near-by church, offers sanctuary to Xatoma. 
 She disappears within. 
 
 The interior of the church is seen in the last 
 act. Natoma is kneeling there before the altar, 
 and a conflict of feelings is raging in her bosom. 
 The old instincts of her race have reawakened, 
 and she dreams of the rude freedom of the 
 forest. There is no regret for what she has 
 done, but her love for Merrill is as strong as 
 ever. She still feels loyal towards her beloved 
 mistress, but she does not intend to give up the 
 lieutenant even to her. It is in that frame of 
 mind that the gentle old priest meets her within 
 the church. When he accosts her with authority 
 regarding her deed, she at first scorns him and 
 his teachings. But he speaks with so much 
 
 738
 
 Noel 
 
 persuasion and understands the workings of her 
 heart so well, that gradually he softens her, and 
 finally Xatoma sinks on her knees. She re- 
 nounces all her dreams, and is anxious to enter a 
 convent and lead a penitential life. Worship- 
 pers now arrive, unheeded by Xatoma, and then 
 mass is celebrated by Father Peralta, and the 
 nuns are seen approaching across the sun-lit 
 gardens of the cloister. At last the Indian 
 maiden takes eternal leave of her beloved mis- 
 tress, and vanishes through the gate that leads 
 to peace. 
 
 XOEL 
 
 Musical Tragedy in three acts by CAMILLE 
 ERLANGEE 
 
 Text by LA ROSE 
 
 This work was first heard in Paris, 1906. 
 The scene is laid in Paris. 
 
 Act I. It is Christmas eve, and a snowstorm 
 is raging. On a public square the pastor and 
 his sacristan, Simplice, are about to enter their 
 parish church. Opposite is situated the dwell- 
 ing of Mme. Herblet. As they enter, Made- 
 leine is seen knocking at the door of Mme. 
 Herblet's house, bearing in her arms a new- 
 born babe. Mme. Herblet refuses to let her 
 enter or to see Jacques, her lover, and shuts the 
 
 730
 
 The Standard Operaglass 
 
 door upon her. Madeleine, unconscious, falls in 
 a faint. Midnight rings out, and the voices 
 of distant children, singing carols, are heard 
 dimly. Madeleine rises, and enters the church, 
 saying : " Holy Virgin, be pitiful to me ! * 
 
 Act II. Interior of the church, with the 
 Virgin's chapel on one side, showing lighted 
 candles. A wax figure of the Christ-child in 
 a cradle below. Madeleine kneels in the shadow 
 of a pillar. Jacques, Blanche, his betrothed, 
 Mine. Herblet, and the clergyman are praying. 
 After they leave, Madeleine goes up to the altar, 
 saying : " Holy Mother, hear my prayer. Look 
 thou upon my son, no less beautiful to me than 
 thine. Take for thine own this child of no 
 heritage, which I give thee." Putting her own 
 child into the manger of the Christ-child, she 
 leaves. The pastor soon after enters, finds the 
 strange child, and his sacristan says : " This is 
 a miracle." But he answers : " No, some poor 
 woman left her child to the Virgin's protection." 
 
 Act III. The pastor enters a hospital where, 
 unknown to him, Madeleine has been received. 
 Madeleine is still delirious and sings softly 
 a stave from a Christmas carol : " Live the 
 flower of the Thorn Bush!" Blanche and 
 Jacques, now married and coming from their 
 wedding feast, enter next, bound to do some 
 kindness to the unfortunate. Blanche rises to 
 
 740
 
 L'Oracolo 
 
 bring the baby to its mother, and Jacques recog- 
 nizing Madeleine, says : " This is Madeleine, 
 whom I hoped to make my wife, if she had only 
 been true to me." Madeleine, unable to answer, 
 clasps the hand of Jacques, and sinks back on 
 her pillow lifeless, as Blanche returns with the 
 living child. Blanche says : " He shall be as 
 our own. He shall be called Noel." 
 
 L'ORACOLO 
 
 Tragic Grand Opera in Italian by FEANCO LEONI 
 
 Text based upon an American melodrama, " The Child 
 
 and the Cherub," by C. B. FERNALD. Libretto 
 
 by CAMILLO ZANONI 
 
 The first production took place in 1905, in 
 London. The scene is Chinatown, San Fran- 
 cisco, before the great fire of 1906. There is 
 only one act, but a number of scenes, with 
 change of location. 
 
 In Hatchet Row, Chinatown, the early dawn 
 of the Chinese New Year sees the keeper of an 
 opium den, Chim Fen, eject an obstreperous 
 client, and having done so, he shakes his fist 
 at the gleaming windows of his neighbor, 
 the wealthy Hoo Tsin. He is enraged at the 
 contrast between his own misery and the wealth 
 of his neighbor. Meeting the nurse employed 
 in Hoo Tsin's home, he demands from her the 
 
 74i
 
 The Standard Operaglass 
 
 return of a handsome fan, a gift from San Luy 
 to the merchant's beautiful daughter, Ah Yoe. 
 The nurse is greatly frightened and promises 
 to obey him. A Chinese sage, Win Shee, deeply 
 learned and of great influence among his coun- 
 trymen, in passing Chim Fen's place, answers 
 Chim Fen's wishes of the season by stopping 
 and warning the other of the sinfulness of his 
 calling. When a policeman passes, Win Shee, al- 
 though such a sage, nevertheless is particular 
 to caution Chim Fen not to pay attention to 
 this "American dog." Afterwards San Luy, the 
 sage's son, under the window of Ah Yoe sings 
 a serenade in her praise, and the two exchange 
 holiday greetings. Chim Fen amid all the re- 
 joicing of the day plucks up courage enough 
 to ask Hoo Tsin for the hand of his daughter. 
 Hoo Tsin, instead of declining outright, merely 
 hopes that all the opium in Chinatown may pass 
 through his neighbor's hands. Chim Fen, how- 
 ever, understands the reply to be a negative one, 
 and flies into a rage, all the more because the 
 rabble in the street mocks at him. 
 
 On this same New Year's day Hoo Tsin, in 
 conformity with ancient home tradition, has the 
 oracle consulted relative to the fortune of his 
 infant son and heir. The oracle plays on the 
 safe side : part of it is favorable, part unfavor- 
 able. But before the little child can be taken 
 
 742
 
 L'Oracolo 
 
 home again, Chim Fen, out of a feeling of re- 
 venge, kidnaps him, and hides him in the depths 
 of his cellar. Then he visits the inconsolable 
 father, to whom he makes a proposition. He 
 pledges himself to make a thorough search for 
 the missing baby, and asks, in case he should 
 find him and restore the child unharmed to the 
 father, for the hand of Ah Yoe. San Luy, not 
 to be behindhand, makes the same bargain. By 
 him the baby is traced to Chim Fen's cellar, 
 but when he attempts to penetrate there, Chim 
 Fen discovers him, and the two rivals during 
 a struggle fall down the steps of the cellar, and 
 San Luy is killed. The news spreads. Ah 
 Yoe mourns for her lover, and Win Shee, the 
 sage and father of the victim, resolves to exact 
 retribution. He finds the missing child, and 
 when Chim Fen tries to prevent him from carry- 
 ing off the baby, they grapple, and Chim Fen 
 is slain. Just after the deed, one of those 
 vigilant American policemen draws near and is 
 on the point of discovering the murder. Win 
 Shee adopts a singular stratagem to deceive him. 
 He props up the corpse on the sidewalk, and as 
 the officer comes nearer he apparently carries 
 on a spirited conversation with the dead man. 
 The officer is deceived and goes on. Justice ac- 
 cording to the Chinese notion, has been done. 
 
 743
 
 The Standard Operaglass 
 
 PAOLETTA 
 
 Romantic Opera by L. FLORIDIA 
 Text based on Spanish sources 
 
 This work was first performed in Cincinnati, 
 1910. The scene is medieval Spain. 
 
 The kingdoms of Aragon and Castile have 
 been making war upon each other, and Aragon 
 has conquered. The King of Castile has been 
 strangely disappointed in the potency of the 
 Sacred Mirror, a holy talisman brought from 
 Jerusalem. This wonderful mirror gives forth 
 a ray of light possessing marvelous power, both 
 for love and war. To prevent its being stolen 
 it is kept in a sanctuary where, on pain of death, 
 none but the priest may look upon it. But 
 owing to recent misadventures, the King of 
 Castile loses faith in the mirror and applies 
 to the Moorish prince Gomarez to read his horo^ 
 scope. Gomarez is really a servant of Azazil, a 
 Spirit of Evil, and, although old in years, he 
 is smitten with the charms of the king's 
 daughter Paoletta. Gomarez predicts that 
 Paoletta's wedding alone will bring back glory 
 to Castile once more. The king holds a festival 
 of flowers and promises the hand of Paoletta to 
 him who will achieve the greatest feats of arms. 
 Gomarez is among the* competitors, declaring, 
 however, that he is merely acting for his 
 
 744
 
 Les Pecheurs De Pedes 
 
 nephew, Prince Muza. Gomarez appeals to 
 Azazil to grant him renewed youth which is 
 given him. Paoletta, so far not in favor of 
 Gomarez, now turns to him. The wedding is 
 taking place. Muza has won. In the Hall of 
 the Scarlet Poppies the ceremony is to take 
 place, and great pomp is seen. Suddenly Don 
 Pedro, formerly in the good graces of the 
 princess, but displaced by Gomarez by means of 
 sorcery, enters and challenges Muza to mortal 
 combat. The priests bring in the Sacred 
 Mirror, and as its rays fall upon the princess, 
 the magic spell wrought by Muza is broken. 
 She rushes into Pedro's arms, and as the mirror 
 further turns to Muza, he is instantly trans- 
 formed into an old man with the face of 
 Gomarez and falls dead. 
 
 LES PECHEURS DE PERLES 
 
 Tragic Grand Opera in three acts by GEORGES 
 
 BIZET 
 
 T(*t by M. CARRE and P. E. PIESTRE 
 
 The first production was in Paris, 1863. The 
 action takes place in Ceylon, in the remote past. 
 The cast comprises but four persons. 
 
 In the first act pearl fishers of Ceylon are seen 
 celebrating an annual festival on the shore of 
 
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 the sea, near their native village. Seizing this 
 opportunity one of them, Zurga, proposes the 
 selection of a chief to bear authority, and he 
 himself is chosen. Nadir enters, being wel- 
 comed by Zurga as a friend of former days. 
 Subsequently the two converse, and Nadir says 
 that he has overcome his early love, although 
 he has not forgotten it. They recall how, dur- 
 ing their joint travels, they had once seen a 
 vision of loveliness. The apparition, in the 
 shape of a woman of exquisite beauty, had been 
 seen by them in a Brahman temple, and had 
 been adored by the people as a goddess. This 
 woman had spread out her arms to them both, 
 as if in longing, and hence had sprung jealousy 
 and rivalry. Finally, they remind each other, 
 they had agreed to shun this woman altogether, 
 so as to preserve their own friendship. After 
 the recital they pledge each other anew to a 
 mutual regard that nothing shall destroy. 
 
 Then a small vessel is seen approaching the 
 shore. Zurga relates how according to im- 
 memorial custom, a fair stranger, charming and 
 wise, is being brought to the village frean afar, 
 to dwell in the ancient temple on the summit of 
 a steep rock close by, and how she is to drive 
 away demons and obtain an increase in the catch 
 of the fishermen by her prayers and incanta- 
 tions. When the boat lands, Nourabad, the 
 
 746
 
 Les Pecheurs De Perles 
 
 priest of Brahma, and Leila, closely veiled, leave 
 it and are greeted with shouts of joy by the 
 fisher-folk. Zurga as chief makes her take the 
 oath : never to remove her veil, never to betra) 
 her vows of chastity, and never to cease praying 
 both night and day to the all-powerful gods. 
 The maiden makes a solemn pledge to this 
 effect, and Zurga promises that she shall be re- 
 warded for such faithful service by receiving 
 the most flawless and costly pearl of the season, 
 but if she prove fickle she shall die. Upon 
 hearing this terrible alternative, Nadir trembles 
 with foreboding, and the virgin herself — for 
 she is none other than the divine apparition of 
 Zurga's tale — also shivers and her voice breaks. 
 Zurga notes this and points out to the fair un- 
 known that she has her choice. Leila's pride is 
 touched and she elects to stay. The priest and 
 the virgin withdraw to the interior of the temple. 
 Nadir is left alone, but he has recognized Leila, 
 and felt again the violence of his love for her. 
 Although he deplores his insincerity towards 
 his generous friend Zurga, love proves the 
 stronger, and slowly draws him nearer and 
 nearer to her. "When the priest at last emerges 
 from the rock-bound temple, Xadir ventures to 
 approach Leila, murmuring to her that he will 
 watch over her, that he still loves her dearly, 
 and that in case of need he will defend her. 
 
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 Leila, rejoicing, confesses her own passion for 
 Nadir and thanks him for his promises of pro- 
 tection. 
 
 In the second act Nourabad warns Leila to be 
 careful in keeping her vow, assuring her that 
 in that case she need have no fear. Leila in 
 token of her intended obedience, tells the priest 
 that once when still a child, she was threatened 
 with death for not revealing the hiding place of 
 a fugitive who had implored her aid, but that 
 she did not betray her trust, and that the fugi- 
 tive out of gratitude gave her a costly necklace 
 as a gift. Later Leila is unable to sleep and 
 suspects that Nadir is near. He reveals his 
 presence by a love song, after which she 
 in her joy tells him about the hidden path that 
 leads to her retreat. He ascends it, and she then 
 out of fear bids him leave her. But Nadir 
 soothes her and then swears he is unable to re- 
 strain his passion for her. Since Leila shares 
 his feelings they vow to be true to each other, 
 although fear again becomes uppermost with 
 the maiden, and the risks they both run make 
 her despondent. However, she promises to meet 
 him on the morrow. Nourabad, the priest, sus- 
 picious of Leila's faith, enters with a throug 
 of people, and a great thunderstorm breaks, 
 this being interpreted by the superstitious lay- 
 men as indicative of the wrath of the gods. 
 
 748 

 
 Les Pecheurs De Pedes 
 
 Nadir has escaped, but is apprehended and 
 brought back. The people condemn the two 
 lovers to death. But Zurga enters, and 
 drives the people away, saying that it is his own 
 prerogative to punish or forgive. Out of pity 
 for his old friend, he wants to show hirn 
 leniency and bids them both be gone. But the 
 priest, in a rage, tears off the veil from Leila's 
 face. Zurga then for the first time becomes 
 aware that Leila is the unknown beauty of the 
 temple and that Nadir has been guilty of 
 double treason, wherefore he, too, pronounces 
 the death sentence over him. Leila's pleading 
 for mercy is unavailing. Since the fury of 
 the storm is increasing, the people want to 
 appease the gods by offering the two guilty ones 
 as a sacrifice. 
 
 The last act shows Zurga mourning because 
 Nadir, whom he, after all, treasures as his 
 friend from childhood up, is to die ignomini- 
 ously and by his own doing. Leila seeks an 
 interview with him, exonerates Nadir, and 
 assumes all the guilt herself, begging him to 
 save her lover. But Zurga's own passion for 
 Leila is roused by her charms, and he avows 
 his love for her. She scorns him and taunts 
 him for being false to his friend and cruel to 
 them both. Nourabad interrupts, announcing 
 that the hour for expiation has struck. Leila 
 
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 submits and hands to Zurga a necklace, to give 
 to her mother when she is dead. Zurga recog- 
 nizes the necklace as the one with which he re- 
 warded Leila for having saved his life many 
 years ago, for he was the fugitive whom the 
 child had saved. Meanwhile the people are 
 dancing with joy at the expected death of the 
 two victims. The sacrificial pile is erected, and 
 Leila and Nadir mount it and encourage each 
 other. Zurga suddenly enters, shouting that 
 their village is on fire, and that the rabble had 
 better save what they can. They hastily dis- 
 perse and run home. Then Zurga owns that he 
 himself has been the incendiary and commands 
 the lovers to flee together. They do so. But 
 Nourabad has overheard Zurga's words, de- 
 nounces him to the people and forces him to 
 ascend the funeral pyre. 
 
 PETROUCHKA 
 
 A Ballet -burlesque by IGOE STEAVINSKT 
 First production, Petrograd, 1912 
 
 In a public square of Petrograd a magician 
 is giving his puppet show before a motley crowd. 
 He sets his little ballerina with her two com- 
 panions a-dancing. These companions are the 
 romantic Petrouchka and the sensual Moor. A 
 
 750
 
 Prince Igor 
 
 fierce quarrel breaks out between these two 
 suitors to her favor. Petrouchka is overpowered 
 by the gigantic Moor and is thrust into a dark 
 dungeon, there to bemoan his ill-luck in failing 
 to captivate the ballerina and in missing even 
 his opportunity to effect an escape. He is un- 
 able to win sympathy for his hard fate until 
 finally the Moor kills him outright. This vio- 
 lent episode causes consternation among the 
 spectators, until the magician shows the audi- 
 ence that what lies stark and stiff on the ground 
 is not a man but merely a rag-doll. 
 
 PRINCE IGOR 
 
 Sentimental Grand Opera in a prologue and four acts 
 by A. P. BORODIN, N. A. RIMSKY-KORSA- 
 KOFF, and A. C. GLAZOUNOFF 
 
 First produced in Petrograd, in 1890 
 
 The text is based on an ancient Russian na- 
 tional epic, called " The Epic of the Army of 
 Igor," and the scene is laid in Southern Russia, 
 in the twelfth century. The text is alive with 
 Russian sentiment, and the plot is colorful and 
 characteristic. 
 
 The prologue shows a public square of Pou- 
 tivle, where the populace are assembled to bid 
 God-speed to the departing troops. Prince Igor 
 
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 is going to war against an invading Mongolian 
 foe, the Polovtsi and enters the square with 
 great pomp, followed by his warriors and nobles, 
 all streaming out of the cathedral. But of a 
 sudden the sky darkens and the sun is eclipsed. 
 The people are dismayed, while the nobles, es- 
 pecially Galitsky his brother-in-law and Vladi- 
 mir, his son, regard it as an evil omen. They 
 try to hold Prince Igor back from the expedi- 
 tion, but he is unafraid and orders a review 
 of his army before starting. Two gamblers, 
 Eroshka and Scoula, do their best to stir up 
 a mutiny. Igor sends for the women to bid 
 them farewell, and his wife, Jaroslavna, wants 
 him to stay, but he gently reminds her that it 
 is his duty as a ruler to go. He commends 
 her to the care of Galitsky, who accepts the 
 charge. 
 
 Prince Galitsky is seen at work in the first 
 act trying to wean away the people from their 
 loyalty to Igor by lavish hospitality and gifts. 
 In return Galitsky is flattered by the whole 
 court. To the people he often points out the 
 difference between himself and his brother-in- 
 law, the latter merely carrying on bloody and 
 unprofitable war and he himself cherishing the 
 delights of peace. A young girl has been ab- 
 ducted for Galitsky by the scoundrel Eroshka, 
 and a petition is presented by a delegation of 
 
 752
 
 Prince Igor 
 
 maidens to restore her to her family, but Gal- 
 itsky laughs them to scorn. The fickle people 
 offer him the crown in place of the absent 
 Igor, and proclaim him ruler. Meanwhile 
 Jaroslava mourns her husband's absence. She 
 hears from a deputation of Galitsky's vile deeds, 
 and when the latter enters she threatens him 
 with a complaint on Igor's return, but her 
 brother mocks her, saying that Igor is dead 
 and he himself, master. After Galitsky leaves, 
 news comes to Jaroslavna that her husband has 
 lost a battle and been taken captive by the 
 enemy. A delegation of nobles offer to defend 
 the city against the pagan assaults of the 
 Polovtsi, but while they are boasting flames pro- 
 claim that the city has been surprised and 
 taken. 
 
 In the second act Prince Igor and his son 
 Vladimir are in the camp of the Polovtsi as 
 prisoners of war, and the son has fallen in love 
 with Khan Kontchak's handsome daughter. A 
 chorus of young girls sing of the joys of love, 
 and the chief's daughter joins them. As the 
 imprisoned Russians pass by, the girls offer 
 them food and drink. Vladimir serenades the 
 maiden who converses with him. Finally they 
 confess their mutual love. Ovlour, a Polovtsian 
 convert to Christianity, favors Vladimir and 
 offers him the means of flight from camp. But 
 
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 Igor scouts the idea. Kontchak himself tries 
 to reconcile his vanquished foe, being willing to 
 liberate him, merely on condition of abandon- 
 ing any revengeful war and becoming his friend 
 and ally. Igor refuses. There is dancing and 
 singing, both by men and maidens. 
 
 The third act opens with the return of tlio 
 other khan, Gzak, who has taken Poutivle and 
 now brings with him many prisoners. Tales are 
 told by the victors which grieve the souls of 
 the Russian prisoners at the camp, by showing 
 the destruction of their old home. Igor and 
 his son Vladimir lament the misfortunes of 
 their country, and the former becomes con- 
 vinced that his duty lies in escaping from 
 prison and rallying all for the defense of home. 
 In fleeing Igor reaches Poutivle, but Vladimir, 
 his son, is caught and owes his life onlv to the 
 intervention of Kontchak's daughter. 
 
 Act four opens with Igor's return to Poutivle, 
 and the reunion of husband and wife. A grand 
 reception is given him by the populace who have 
 wearied of Galitsky's rule. 
 
 754
 
 La Princesse D'Auberge 
 
 LA PRIXCESSE D'AUBERGE 
 
 Tragic Opera in three acts by JEAN BLOCKX 
 Text by PIERRE VANEGIIEM 
 
 The first production of this work took place 
 in Brussels, in 1902. 
 
 Act I. The scene is at Brussels, in 1750, dur- 
 ing Austrian rule, and Rita, the handsome 
 daughter of Bluts, the innkeeper, has made his 
 tavern very popular by reason of her beauty, 
 recklessness and gay humor, so that it is the 
 resort of the young " sports " of the town. 
 Rabo, a blacksmith, is awaking at dawn on the 
 steps of the inn, having been ejected from there 
 Peasants are coming to market. A blustering 
 scene follows. Merlyn, a composer and man of 
 great talent, is inveigled by Rita to join in a 
 debauch. Reinilde, in love with Merlyn, is un- 
 able to restrain him from following Rita's invi- 
 tation. Marcus, enamored of Reinilde, is jilted 
 by her. Rabo is witnessing a love scene between 
 Merlyn and Rita, and threatens both. 
 
 Act II. Katelyne, mother of Reinilde, deplores 
 Merlyn's downfall. Since Rita has taken hold 
 of him he has sadly deteriorated, drinking all 
 day long, and Merlyn promises to change his 
 ways. Reinilde sings one of the songs composed 
 by him, and declares she loves him still. He 
 denounces Rita as the source of all his woes. 
 
 755
 
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 Marcus enters, and tempts him to come to the 
 inn. When Merlyn refuses, he excites his 
 jealousy, telling him that Rita, weary of being 
 left alone, shows favor to others. He sets out 
 for the inn, and Eita induces him to go with 
 her to the carnival. In the next scene Eita and 
 Merlyn are the centre of the gay mummers. 
 Eabo threatens violence. 
 
 Act III. At the inn. Eita watches Merlyn 
 recovering from his last debauch. Eabo comes, 
 and declares his passion for Eita, but she rejects 
 him and shows him the door. He threatens 
 those present with death. Eita's sisters enter and 
 upbraid her for imagining herself to be a 
 w,t tavern princess," and next Katelyne and 
 Eeinilde come, seeking Merlyn. They are turned 
 away, but at that moment Merlyn drops in, and 
 he is followed by Eabo, Marcus, and others. 
 Eabo and Merlyn, both enamored of Eita, fight 
 to the death. As Merlyn falls the news is 
 brought in that he has been victorious in the 
 great national music contest for which he com- 
 peted. Merlyn dies in the arms of his mother, 
 and Eeinilde curses Eita as the cause of his 
 murder. 
 
 750
 
 Quo Vadis 
 
 QUO VADIS 
 
 Religious Opera in five acts by J. NOUGUES 
 
 Text based on SIENKIEVICZ' famous novel of the saint 
 
 name 
 
 The initial performance of this work was 
 given at Nice, 1909. The scene is laid in Rome, 
 about 50 A. D.' 
 
 Act I. At the gardens of Petronius. Eunice 
 and Iras, slaves, decorate statues. Petronius 
 enters with Vinicius, the latter telling of his 
 infatuation for Lygia. Eunice tells Vinicius 
 of a soothsayer who can predict the future. He 
 is summoned and says Lygia is daughter of a 
 king, and is now a Roman hostage. Chilon. 
 the fortune-teller, is sent out to ascertain the 
 meaning of a symbol — a fish — which Lygia 
 had once traced in the sand. 
 
 Act II. Nero, the emperor, gives a great fes- 
 tival. At Nero's side is a beautiful stranger, 
 Lygia, and this arouses the jealousy of Nero's 
 favorite mistress, Poppaea, but Petronius 
 soothes her. Vinicius and Lygia are left alone 
 together, and he pleads for her love. Lygia 
 answers that she cannot be his because she is a 
 Christian and he a pagan. Suddenly a ruddy 
 glare overspreads the sky. It is Rome burning, 
 but Nero goes on singing and playing the lyre 
 untroubled by the danger. The populace sud- 
 
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 denly rise, accusing Nero of having caused the 
 great fire. Poppaea begs Petronius to allay the 
 roused passion of the multitude. 
 
 Act III. The scene is a wineshop on the banks 
 of the Tiber, filled with soldiers, gladiators, and 
 sailors. Chilon traces the sign of a fish. Dernas, 
 a Christian, tells him that the apostle will be 
 among them that night. Chilon has ascertained 
 that the fish is a symbol of Christianity. He 
 also learns that Lygia is with Demas's wife, 
 Myriam, and that these two will go forth that 
 evening. Chilon bids Croton, the giant gladi- 
 ator, come with him. The Christians assemble 
 at a house on the river, and Lygia and St. Peter, 
 entering this house, are observed, and many of 
 the Christians taken prisoner. 
 
 Act IV. First scene is at the arena of the 
 Colosseum. Christian martyrs are seen, among 
 them Demas and Myriam. Peter comforts 
 them. Vinicius enters, telling Lygia to be hope- 
 ful, as he has contrived for her escape. But 
 Petronius shuts off the means of escape, and 
 Vinicius declares his intention of following 
 Lygia to death. The next scene shows the im- 
 perial box, with Nero and Poppaea. Ursus, a 
 slave of Lygia's down in the arena, by his 
 enormous strength saves Lygia from being 
 killed by a fierce aurochs, and Nero grants her 
 life, Chilon creates a mob scene in, the circus, 
 
 T58
 
 La Reginetta Delle Rose 
 
 and Xero is charged with heing the incendiary 
 that set Rome afire, and has to flee from the 
 popular fury. 
 
 Act V. Petronius at his rural estate is urged 
 hy Lygia and Yinicius to go with them to 
 Sicily, but he declines, and issues a letter of 
 parting to Xero. Being convinced that this will 
 mean his death, he has his arteries opened by 
 Theocles, the physician, and dies with Eunice, 
 who confesses her love for him toward the last. 
 The news of Xero's death and of the safety of 
 Petronius arrives too late to prevent Petronius' 
 end. 
 
 LA REGIXETTA DELLE ROSE 
 
 Sentimental Opera in three acts by RUGGIERO 
 LEONCAVALLO 
 
 Text by ZANDONAI 
 
 This opera was first produced in Rome, 1912. 
 The scene changes several times. 
 
 Act I. At a charity fair in London, Max, 
 the heir-apparent of Portowa, is among the 
 visitors. He there sees an extremely pretty 
 flower girl, Lillian, and falls desperately in love 
 with her. The tutor of Max, Gin, prevails upon 
 her to follow the prince of Portowa, as without 
 her he will not return there. Max is on his 
 way to his own coronation, his father having 
 
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 just died, but Lillian is ignorant of this and 
 of his royal rank, acting in the matter just 
 out of mere good-nature. 
 
 Act II. This is at the palace of Portowa. 
 Lillian is at once arrested after her arrival as 
 a dangerous person. She sees her lover in royal 
 robes, but thinks she is the victim of a plot. 
 Max reassures her. The dowager queen, Max's 
 mother, schemes to make him marry his royal 
 cousin, Anita, but Anita is in love with Max's 
 cousin, Pedro, and is not inclined to further 
 this plan. The populace of Portowa, being of a 
 free-and-easy disposition, in the meantime have 
 heard of Lillian's incarceration, and threaten 
 to upset the throne if she is not liberated imme- 
 diately. The dowager stops interfering and 
 leaves for parts unknown. 
 
 Act III. Max, after freeing Lillian, invites her 
 to share the throne with him. He proclaims her 
 hot alone his consort, but dubs her his 
 " reginetta delle rose" (little queen of roses), 
 and signs the act of succession with a rose stem 
 instead of a penholder. 
 
 760
 
 La Reine Fiametta 
 
 LA REIXE FIAMETTA 
 
 Tragic Opera by XAVIER H. N. LEROUX 
 Book based on Italian chronicles 
 
 The initial performance of this work took 
 place at Paris, 1903. The scene is Bologna, and 
 the time the fifteenth century. 
 
 A military adventurer, Giorgio d'Asti, meets 
 the Cardinal Cesare Sforza, who offers him the 
 throne if he will rid the country of Queen Or- 
 landa. Together they concoct a clever plot for 
 the assassination of the queen. A youth, 
 Danielo, is chosen as the fittest instrument. 
 At first Danielo refuses to listen, as he is 
 unwilling to kill a woman. But Sforza pre- 
 vails upon him by telling him a mendacious 
 storv to the effect that his brother had been 
 murdered at the instigation of the queen. Then 
 he is given a dagger and speeded on his mis- 
 sion of death. 
 
 The queen, ignorant of the plot, is meanwhile 
 greatly enjoying herself in a Clarissian convent, 
 where she has been admitted under the pseu- 
 donym of Helena. And it is there she meets 
 Danielo. Instantly they fall in love with each 
 other, neither being aware of the purposes or 
 identity of the other. At last, though, Danielo 
 discovers who it is he has learned to love. The 
 discovery unmans him. He is handed over to a 
 
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 tribunal of Franciscan friars. Queen Orlanda, 
 abdicating in order to save her lover's life, is 
 herself condemned as a heretic. But the two 
 lovers are nevertheless united in death. The 
 same axe strikes both. 
 
 EUSSLAN AXD LUDMILLA 
 
 Fairy Opera in five acts by MICHAEL IVANO- 
 VITCH GLINKA 
 
 Text after a poem of the same name by PUSHKIN 
 
 This highly tuneful opera has been the fore- 
 runner of fanciful works of a similar scope by 
 later Eussian composers like Bimsky-Korsakoff, 
 Stravinsky, and others. It uses for the first 
 time in Eussian opera a deal of Oriental color, 
 and is in this as in other respects a pioneer 
 work. 
 
 It was first produced in Petrograd, where it 
 shocked many by its lack of conventionality, and 
 delighted others, and has since been performed 
 with great approval at Berlin and other capitals. 
 
 The first act takes us to the festivities held 
 by Prince Svetozar of Kiev in honor of his 
 daughter's suitors, these being Eussian, the 
 Eussian knight-errant ; Eatmir, the ardent Tar- 
 tar prince ; and a rather faint-hearted Varangian 
 chief, Farlaf. The daughter, fair Ludmilla, 
 
 76z
 
 Russian and Ludmilla 
 
 smiles on Eusslan, and her father orders there- 
 upon the nuptials to be solemnized immediately. 
 But mortals must reckon with the favor or dis- 
 favor of supernatural beings. And scarcely is 
 finished the jubilant invocation to Lei, the god 
 of Love, when a terrific storm approaches. 
 Flashes of lightning and terrific claps of thunder 
 are heard, and darkness descends upon the scene. 
 When light returns it is seen that the princess 
 is missing. Then Svetozar, distracted at the 
 loss of his child, makes a solemn vow to bestow 
 her upon him who will discover Ludmilla and 
 restore her to him. The three suitors at once 
 take up this challenge and set out for unknown 
 parts to find the missing princess. 
 
 The second act deals with the supernatural 
 beings who are concerned in the fate of Lud- 
 milla. Russian finds Finn, a mighty sorcerer 
 and the good genius of Russian, in his cave, 
 and discloses to him that Ludmilla has been 
 carried off by Chernomor, the wonder-working 
 dwarf, who is enamored of the princess. Finn 
 warns Russian against the magical schemes of 
 Naina, tells him how to avoid her counter-plots, 
 and speeds him on the way. Farlaf meanwhile 
 has already despaired of winning the maiden by 
 legitimate means. He meets Naina, who ad- 
 vises him to steal Ludmilla from whoever is 
 going to rescue her. She promises to frustrate 
 
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 The Standard Operaglass 
 
 the efforts of both Eusslan and Ratmir to over- 
 come him. 
 
 Eusslan arrives upon a deserted battle-field 
 shrouded in mist and strewn with the bodies 
 of the fallen. He picks up there a wondrous 
 spear and shield and perceives simultaneously 
 the severed gigantic head of Chernomor's 
 brother. The lifeless head nevertheless blows 
 in self-protection a devastating gale through its 
 nostrils, a breath sufficient in its power to 
 kill Eusslan. However, our hero by a mighty 
 spear-thrust renders the head impotent, and 
 imderneath this head Eusslan unearths the 
 magical sword by which he will free his sweet- 
 heart. 
 
 In the third act the scene shifts to the en- 
 chanted abode of Naina. A chorus of seductive 
 Persian virgins is wheedling Eatmir, the Tartar 
 suitor, and Gorislava pleads with Eatmir to 
 come back to her whom he has basely deserted. 
 Her appeal is heard, but Eatmir soon forgets 
 her again to follow the fascinations of the other 
 maidens. Eusslan enters the place, and likewise 
 is threatened by a similar fate. Finn, his pow- 
 erful protector, saves him, and by the incan- 
 tations of Finn the splendid palace of Naina 
 crumbles into dust, whereupon Eusslan is at 
 liberty to continue his search for Ludmilla. 
 
 The fourth act at last discovers Russian on 
 
 764
 
 Russian and Ludmilla 
 
 the right track, in the enchanted domain of 
 Chernomor. Ludmilla is there, having suc- 
 cumbed from weariness to sleep. The powerful 
 ogre, Chernomor, suddenly makes his appear- 
 ance, seats himself near Ludmilla, and orders 
 the festivities in her honor continued. It is at 
 this moment that Russian intrudes, and the 
 wonder-working dwarf plunges her immediately 
 into a trance, and then issues forth to encounter 
 his bold foe, Russian. But Russian by the aid 
 of the magic sword conquers. However, he is 
 unable to break the spell which holds Ludmilla 
 in the bonds of unconsciousness. Ratmir and 
 his reconciled sweetheart, Gorislava, now join 
 him, and on their advice he takes his way back 
 to Kiev. 
 
 The fifth act opens with the display of Naina's 
 power, since Russian's bride has, by the con- 
 nivance of this female demon, been taken away 
 from Russian by Farlaf. Chernomor's spell, 
 though, still holds good. Farlaf is unable to 
 awaken Ludmilla to life, although he brings her 
 back to her father's home in Kiev. But at last 
 Russian comes on the scene ready and able to 
 rescue her, for Russian brings with him the 
 magic ring of Finn, and delivers her. The opera 
 concludes with general rejoicing. 
 
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 THE SACEIFICE 
 
 A Dramatic Opera in three acts by FREDERIC S. 
 CONVERSE 
 
 The text Unwise by him 
 
 It was first produced in Boston, 1911. The 
 scene is laid in California, in 1846. 
 
 The first act takes place in the house of Sen- 
 nora Anaya, a lady of distinction and entirely 
 of Mexican lineage. Her niece, the beautiful 
 Sefiorita Chonita, is visiting her, in order to 
 be near her lover, Bernal, an officer in the Mexi- 
 can army, then at war with the United States. 
 The latter have been defeating the Mexicans, 
 and California is passing out of Mexican con- 
 trol. Bernal is compelled by these novel cir- 
 cumstances to pay clandestine visits to his sweet- 
 heart. She has another wooer, Captain Burton, 
 who is fighting in the American army, and who 
 is calling on the handsome Mexican lady to push 
 his own suit. Bernal, hiding in a clump of 
 bushes, jealously watches the American offi- 
 cer, grinding his teeth in impotent rage. Mean- 
 while Sennorita Chonita is pretending to return 
 Burton's affection so as to enjoy his favor during 
 the dangerous war times. But Bernal, un- 
 mindful of these facts, is merely roused more 
 and more to anger by the rivalry existing be- 
 
 766
 
 The Sacrifice 
 
 tween himself and the American protector of 
 the family. 
 
 The second act passes in the interior of a 
 church structure. American invaders have 
 converted a mission church into their barracks, 
 demolishing shrines and altars in the process. 
 There is a typical camp scene. American 
 troopers are relating their adventures during 
 the last battle with the Mexicans. Suddenly a 
 company of gay girls, dancers and singers enter 
 and then go with the American soldiers into the 
 large gardens of the mission. Chonita and her 
 maid Tomasa enter unobserved, their purpose 
 being to inform themselves of the events pre- 
 vious to the recent fighting. Burton, being ap- 
 pealed to for information, tells about Bernal's 
 death. He then learns for the first time that 
 Bernal was betrothed to Chonita. However, it 
 turns out that Bernal, instead of having been 
 killed in the engagement, has only been 
 wounded, and a while after he seeks shelter in 
 the church, where Chonita conceals him in one 
 of the confessionals. The American soldiers be- 
 come aware of the presence of a supposed spy, 
 and suddenly Bernal betrays himself by creeping 
 out of his hiding and springing on his rival, 
 Burton, who has joined Chonita in order to re- 
 new his wooing. When Bernal makes his attack 
 on Burton, Chonita throws herself between the 
 
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 two men, and accidentally is wounded by 
 Burton, while Bernal is taken captive by the 
 American troops. 
 
 The last act is in the bedchamber of Chonita, 
 where she lies seriously injured and in a de- 
 lirium of fever. In that state she imagines 
 that Bernal is being executed by the Americans 
 as a spy. A Mexican priest has been sent for. 
 He obeys the call, and a band of Mexicans fol- 
 low in his wake. The padre conveys a message 
 to Burton, requesting his permission to Bernal's 
 paying a call on the sick girl. Burton not only 
 allows this, but comes in person with Bernal. 
 He witnesses the meeting of the two Mexican 
 lovers, and the latter forgot everything else in 
 the transports of their reunion. Burton makes 
 up his mind not to stand in their way any longer, 
 but to yield the way to his rival. His regard for 
 the girl is great and unselfish enough to wish for 
 her happiness above all. Suddenly the band of 
 Mexicans creep up and make an attack upon the 
 house. Burton recklessly exposes himself to 
 their bullets, is hit, and dies soon after. Chonita 
 only then understands the great sacrifice her 
 American suitor made in her behalf. She rises 
 with difficulty from her couch, is helped to 
 where the body of her generous wooer lies, and 
 kneels down and says a prayer for the soul of 
 him who was slain for her sake. 
 
 768
 
 The Secret of Susanne 
 THE SECRET OF SUSAXXE 
 
 Interlude in one act by E. WOLF-FERRARI 
 Text by E. GOLISCIANI 
 
 The first production was at Berlin, 1910. The 
 scene is Piedmont, and the time the present. 
 
 Count Gil and his bride Susanne are spend- 
 ing their honeymoon at the young husband's 
 estates in Piedmont, and here, in the pleasant 
 drawing-room of the old chateau, the count com- 
 ing in suddenly, notices the unmistakable odor 
 of tobacco smoke. It is really the bride, 
 Susanne, who is passionately fond of her cigar- 
 ette, and who is mortally afraid this may dis- 
 please her husband. She has therefore bribed 
 the butler, Sante, to connive at the deception 
 and to give her an opportunity every little 
 while to indulge her foible. But Count Gil has, 
 of course, no notion of this simple truth. In- 
 stead, the young husband, when he kisses his 
 bride on her hair and discovers the traces of 
 smoke, jumps at once to the conclusion that he 
 has a rival even thus early, and grows des- 
 perately jealous. He begins to heap reproaches 
 on his young wife, and she, thinking he refers 
 only to her habit of smoking, tries to pacify 
 him, but in a rather light vein. The count deems 
 this quite intolerable, and takes exception to her 
 tone of levity, without, however, speaking out 
 
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 plainly as to his suspicions. Thus the 
 couple talk and upbraid each other at cross- 
 purposes, until a full-sized quarrel ensues, in 
 the course of which furniture is overturned and 
 glassware is smashed. A sort of reconciliation 
 is patched up, and Susanne reminds Gil that he 
 has an engagement at that hour. He says noth- 
 ing, goes off, but has his suspicions newly 
 aroused by the above circumstance. Therefore 
 he returns without warning to Susanne's bou- 
 doir, and detects anew the odor of cigarette 
 smoke. In his uncontrollable fury he seizes the 
 supposed culprit's hand, and in doing so burns 
 his fingers with the glowing cigarette she had 
 attempted to hide. Gil, instantly sizing up the 
 situation, sees that he has made a fool of him- 
 self, bursts out in hearty laughter, and Susanne 
 confesses the whole awful truth to him. As a 
 token that he has forgiven her he even hands his 
 wife a new cigarette, and daintily helps her 
 light it. 
 
 770
 
 Siberia 
 
 SIBERIA 
 
 Tragic Opera in three acts by UMBERTO GIOR- 
 DANO 
 
 Text by F. CIVININI 
 
 This opera was first produced in 1903, at 
 Milan. 
 
 The first act takes place in a palace at Petro- 
 grad, which was given by Prince Alexis to his 
 mistress, Stephana. Ivan, a trusted servant of 
 the prince, and Xikona are watching for the 
 homecoming of their mistress. Ivan drops off 
 to sleep. Day breaks at last. Gleby, a spy in 
 the pay of the prince, enters and inquires for 
 Stephana. He is told that she is still abed, but 
 he opens the door to her chamber, and finds the 
 room empty and the bed undisturbed. Prince 
 Alexis suddenly appears, having friends with 
 him, whom he wishes to entertain. He asks for 
 Stephana, and this time Gleby, in order to shield 
 himself for neglect of duty, pushes Xikona into 
 the vacant room, and pretends that Stephana has 
 not yet risen and must not be disturbed. 
 Alexis remains for some little while, awaiting 
 Stephana, but when she does not appear, departs 
 with his friends. Hardly, however, has he done 
 60, when Stephana is seen at the garden gate. 
 Gleby, the spy, stops her, asking her who her 
 new lover may be. But Stephana ignores his 
 
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 questions, and is about to enter her own room, 
 when Prince Alexis, who has Captain Walitzin 
 with him, returns. The latter has come to bid 
 farewell to Stephana, having been summoned 
 to join his regiment which is stationed in a 
 Siberian town. The prince leaves with Walitzin. 
 Vassili, a young officer, enters. He tells Nikona 
 about a young girl he has met and with whom 
 he is smitten. Stephana enters, and Vassili 
 recognizes in her his unknown fair one. But 
 Stephana is not aware of his adoration, and 
 takes him to be a spy of the prince, sent by him 
 to watch her, and upbraids him. Nikona gives 
 Stephana the key to the situation, and Vassili 
 declares his love for Stephana, who accepts it. 
 Then she and Nikona both press Vassili to leave 
 before the prince should discover him. Sud- 
 denly Alexis returns, and finding Vassili present 
 under suspicious circumstances, he wants to 
 know who he is. Stephana replies : " It is he 
 whom I love." Alexis is stung by jealousy, and 
 makes an insulting remark to Vassili. Both 
 draw, and Vassili wounds the prince, his su- 
 perior in the army. With this he realizes his 
 dangerous position, and cries out : " Farewell 
 to glory ! " 
 
 The second act shows a convict station at the 
 borders of Siberia. A captain is awaiting with 
 impatience a body of political offenders banished 
 
 772
 
 Siberia 
 
 to Siberia. Incidental scenes in which pedlars 
 and peasants figure. The train of convicts halts 
 at the station. Stephana comes in and shows a 
 written permit to speak to Convict No. 107, 
 who is brought in. It is Yassili, and the 
 two have a tender meeting, Yassili speak- 
 ing pathetically of the tortures he has suffered 
 lately. Stephana implores him to allow her to 
 join the band of convicts and share his fate, 
 but he demurs, saying that the sacrifice would 
 be too great. Stephana persists, and both 
 enter the ranks of the banished and march into 
 exile. 
 
 The scene of the third act is at the prison 
 town in Siberia. It is Eastertime. Walitzin, 
 who is in command, orders that work cease and 
 the holidays be observed. The rude blockhouse 
 of Yassili and Stephana is visible in the rear. 
 A fugitive comes and outlines plans of escape 
 to the two lovers, who decline. Walitzin ex- 
 presses his sympathy for the fate of Stephana, 
 but she repels his advances, and tells him she is 
 happy to share the lot of her beloved. Gleby 
 enters and details a plan to ameliorate the harsh 
 conditions under which Stephana is living. She 
 however, refuses to listen to him. Gleby, 
 who had acted under instructions from Prince 
 Alexis, grows angry at being spurned and 
 falsely informs Yassili that Stephana has been 
 
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 unfaithful to him. Vassili is heartbroken at 
 the news, but is soon furnished proof that the 
 charge is false. The two then prepare for flight, 
 but Gleby betrays their intentions to the guards, 
 who shoot at the fugitives. The report of a 
 gun is heard. Stephana has been mortally 
 wounded and Vassili is apprehended. Stephana 
 appeals to Walitzin to set her lover free, and 
 Walitzin, touched at her devotion, complies with 
 her request. Stephana is overjoyed, rallies, and 
 sinks into the arms of her lover, where she 
 finally breathes her last. 
 
 SIGURD 
 
 Grand Opera in four acts by CHARLES REYER 
 Text is drawn from Northern mythology 
 
 This opera saw its premier performance at the 
 Monnaie Theater, Brussels, in 1884. 
 
 Act I. Sigurd has rescued Hilda, the young 
 sister of King Gunther, who had been enslaved. 
 She is passionately in love with him, and 
 tells her devoted attendant, Ute, that she will 
 marry her . deliverer, even though King Attila 
 has already sent an embassy to ask her hand 
 in wedlock. Ute employs a magic philtre with 
 Sigurd to bring him to her foster-child's feet. 
 At a great banquet given in honor of Attila's 
 envoys there is told a tale about Brunhild, the 
 
 774
 
 Sigurd 
 
 valkyrie, whom Odin had enthralled and held in 
 sleep while a wall of fire encircles her to keep 
 off intruders. Gunther wishes to free the divine 
 warrior maiden and so does Sigurd himself. 
 Sigurd defies Gunther, who is deeply indebted 
 to him, and offers his favor and great riches. 
 Sigurd accepts these proffers, but stipulates 
 that Gunther must aid in the rescue of 
 Brunhild. Meanwhile the magic potion has 
 been administered to Sigurd by Ute's cunning, 
 and Sigurd's love changes. He is now violently 
 enamored of Hilda, but by the terms of his bar- 
 gain with Gunther is forced to aid him first in 
 the deliverance of the valkyrie. He obtains, 
 however, Gunther's solemn pledge to wed his 
 sister, Hilda, to the young hero in reward for 
 services rendered. Gunther, Sigurd, and Hagen 
 together depart for Iceland where Brunhild 
 dwells. 
 
 The second act takes the audience first to the 
 sacred forest in Iceland, where the high priest is 
 celebrating a feast in honor of Freya, the North- 
 ern goddess of love. The three wayfarers con- 
 fide their purpose to the priest. The latter dis- 
 courages them, but finally says that in any case 
 Odin will allow only a single hero to attempt the 
 great feat. Sigurd is the one chosen, and the 
 priest gives him the magical horn which he must 
 wind thrice to make the enchanted castle rise 
 
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 from the waters. Gunther and Hagen leave for 
 home. There is a change of scene, and Sigurd 
 is observed near Brunhild; she welcomes her 
 deliverer and in token of her great love presents 
 him with her virgin girdle. She and Sigurd 
 are borne off by a vessel drawn by three swans. 
 
 In Act III Brunhild is asleep in Gunther's 
 garden, Sigurd watching by her side. Magic 
 voices summon Sigurd away, and when Brunhild 
 wakes she deems Gunther, who has stolen to her 
 side, her hero. The scene changes. Homage is 
 paid by Gunther's subjects in the sacred woods. 
 Sigurd demands of Gunther the hand of his 
 sister in marriage and receives it. During 
 the wedding ceremonial, however, as Brunhild 
 is holding Hilda's and Sigurd's hands and join- 
 ing them, the gods reveal to Brunhild that Gun- 
 ther has deceived her, and that it was not he 
 who delivered her out of the magic sleep. 
 
 The fourth act discovers Brunhild now mar- 
 ried to Gunther, but ever sighing and complain- 
 ing to Odin, her godfather, that she has be- 
 come the wife of Gunther, instead of Sigurd. 
 Out of pride Hilda shows Brunhild the girdle 
 which she once gave to Sigurd. This proves 
 to the latter conclusively that not Gunther but 
 Sigurd is the one to whom she bared her maiden 
 soul. She feels that by Odin's own law it is 
 Sigurd she should love, although Hilda stands 
 
 7/6
 
 Suor Angelica 
 
 in the way of that. She accuses Gunther, telling 
 him that she can never love him, but must 
 always cherish Sigurd, and she urges, there- 
 fore, that the two heroes should fight a duel 
 to the death, in order to determine which of the 
 two is the master and which should perish. 
 Brunhild's magical charms have also opened 
 Sigurd's eyes, and he now violently falls in love 
 with Brunhild. Gunther, convinced that Sigurd 
 and Brunhild are plotting together, orders his 
 vassal, Hagen, to murder Sigurd. Hagen does 
 so. Hilda then summons the wild hordes of 
 Attila to wreak vengeance on her perfidious 
 brother. 
 
 SUOR ANGELICA 
 
 Romantic Opera in three acts by GIACOMO PUC- 
 CINI 
 
 Text by ILLICA and GIACOSA 
 
 First performance in Rome, 1914. The 
 scene is Italy, end of the fifteenth century. 
 
 Act I. Sister Angelica, a daughter of a noble 
 family of Florence, has been compelled by her 
 proud relatives to take the veil because of a 
 youthful error. For seven long years she has 
 been vainly waiting to hear from all those dear 
 to her. Her soul has been torn by repentance 
 and longing. The abbess of the convent of 
 
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 which she is an inmate enters and makes an- 
 nouncement that Angelica's aunt, the princess, 
 has come to call on her. The abbess warns the 
 sister that she must be full of submission and 
 humility in conversation with her visitor. 
 
 Act II. The princess coldly tells Angelica 
 that she has come to ask her to sign a certain 
 act of release, a document made legally neces- 
 sary by the approaching nuptials of Angelica's 
 younger sister. She adds that only one course 
 is open to Angelica, namely, strict and life- 
 long expiation. Finally, in answer to urgent 
 questions by Sister Angelica, the princess in- 
 forms her that her child, "the babe she had 
 seen and kissed only once since its birth," had 
 died two years previously. 
 
 Act III. Angelica, in a sudden frenzy of 
 despair, after hearing this news, concocts a 
 poison and attempts suicide. But remorse 
 seizes her. She implores the Virgin not to 
 let her die in mortal sin, and then the miracle 
 takes place. The Mother of Comfort sud- 
 denly appears on the threshold of the little 
 church, enveloped in heavenly radiance; a 
 blond child walks in front of the Virgin who, 
 with a gesture of ineffable benevolence, gently 
 pushes the boy into the arms of his dying 
 mother, whilst a choir of nuns and angels sings : 
 " Thou art saved ! " 
 
 7/8
 
 Tiefland 
 
 TIEFLAND 
 
 A Dramatic Opera in prologue and *hree acta by 
 EUGENE D 'ALBEET 
 
 The book is by RUDOLPH LOTHAR, after a story 
 
 This work was first seen at Prague, 1903. 
 The scene is laid in the Pyrenees and a valley 
 in Catalonia; time, the present. 
 
 The prologue shows a mountain pass in the 
 Pyrenees. Pedro, the shepherd, has hitherto 
 passed his days in these mountains and has 
 seldom seen any other human face save that of 
 Xando, his comrade. Scarcely ever has he met 
 women, but he longs for the day when the 
 Virgin will send him some nice woman for 
 a wife. One day Pedro's employer comes to 
 see him, leading by the hand a handsome girl 
 from the plains below. He tells him that 
 this shall be his wife if he will come forth 
 from his rocks and go to live with her near 
 the mill. Pedro does not know when this offer 
 is made to him that Martha, the girl thus 
 offered to him, has been the mistress of 
 Sebastiano, and that the latter is simply using 
 this means with unsophisticated Pedro to re- 
 store before the world Martha's respectable 
 name. 
 
 The interior of the mill is shown in Act I. 
 The servants of Sebastiano are all aware of 
 
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 Martha's intimate relations, with the exception 
 of Pedro himself, and in consequence they 
 amuse themselves highly with his ignorance. 
 Sebastiano at this time is engaged to a well-to-do 
 farmer's daughter, and plans that the marriage 
 with Pedro should furnish a convenient cloak 
 for his illicit relations with Martha. The latter, 
 however, is not at bottom of a deceitful nature, 
 and as she has found much in Pedro she likes 
 and esteems, she hates deluding him constantly 
 as Sebastiano expects her to do. She is unable 
 to discover a way out of the difficulty, and at 
 last the wedding of Pedro and Martha is cele- 
 brated with much noise. Pedro in his igno- 
 rance of the real state of affairs accepts delight- 
 edly the mock congratulations of the other ser- 
 vants. Sebastiano's purpose is to continue 
 his relations with Martha immediately after the 
 wedding ceremony, but Martha foils him by a 
 ruse and knows also how to baffle her nomi- 
 nal husband. 
 
 In the second act Nuri, a young peasant girl 
 who is secretly in love with Pedro, accidentally 
 finds him alone and begins to chat with him. 
 Martha surprises these two, and straightway 
 gr,ows jealous. She orders Nuri out of the 
 house, and Pedro goes with her. Martha is 
 wretched and goes to old Tomaso for advice, 
 but when he says the best way would be to make 
 
 780
 
 
 Tiefland 
 
 a clean breast of it to Pedro she is unwilling to 
 do that, because she fears to lose Pedro alto- 
 gether thereby. Then Pedro comes back to her, 
 saying that he has been considering matters and 
 finds his proper place is the highland, not the 
 plains. Martha then pleads : " Ah, take me 
 along ! " But Pedro, now enlightened, sud- 
 denly flares up and advances with a dagger, but 
 is prevented from harming her. Then the two 
 patch up a sort of peace and resolve to flee. 
 This for the moment is rendered impossible by 
 the entrance of Sebastiano, who is followed by 
 a group of villagers eager to reap all the amuse- 
 ment possible from the situation. Sebastiano 
 thrums a guitar and bids Martha to dance for 
 the crowd. But Pedro in a rage flies at Sebas- 
 tiano's throat, and the puzzled villagers have to 
 separate these two. 
 
 The last act shows the rupture of Sebastiano's 
 engagement because his betrothed has dis- 
 covered his duplicity and immoral conduct. 
 When he next approaches Martha and wishes to 
 resume their former relations, she spurns him 
 to his utter amazement. He flies into a fury 
 and tries to overpower the girl. But Martha 
 screams for help, and Pedro comes to the 
 rescue, his trusty dagger in his hand. See- 
 ing that Sebastiano is unarmed, he throws 
 the weapon aside, and attacks his opponent with 
 
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 Ms bare fists. After a terrific struggle he is 
 victorious and throws Sebastiano into a corner, 
 powerless. The crowd of villagers, who came to 
 jeer at him, are now dumb with fear. Pedro 
 hurls defiance at them all. "Why don't you 
 laugh now ? " he demands. Then he shoulders 
 his handsome young bride and strides off into 
 the freedom of his mountains. 
 
 LES TROYENS 
 
 (The Trojans ) 
 
 Musical Drama in two parts and eight acts by 
 HECTOR BERLIOZ 
 
 The text by MERIM^E 
 
 This work was first shown in Paris, 1863. 
 The action is partly based on the Aeneid. 
 
 Part I. Act I. The Trojans are robbing the 
 deserted camp of the Greeks before Troy and 
 gazing upon the great wooden horse left behind ; 
 Cassandra prophesies that evil will befall them. 
 
 Act II. News of the dreadful death of the 
 priest, Laocoon, is brought to the Trojans, and 
 to appease the goddess, Pallas, whom the priest 
 had slighted, they drag inside the city walls the 
 gigantic horse. Again Cassandra presages 
 terrible consequences. 
 
 Act III. The spirit of Hector tells Aeneas 
 
 783
 
 Les Troyens 
 
 of the sad fate of Troy and urges him to land 
 on Ansonian shores and found a new nation. 
 The Greeks meanwhile are burning Troy. In 
 the next scene, at the palace of Priam, Cas- 
 sandra relates the facts about the death of 
 Choroebus and the retreat of Aeneas. She her- 
 self, rather than be taken prisoner, commits 
 suicide. 
 
 Part II. Act I. Dido's palace. Jarbas en- 
 deavors to coerce Dido to marry him. She re- 
 ceives Aeneas kindly. 
 
 Act II. Aeneas and his companions defeat 
 Jarbas and rescue Dido, who falls in love with 
 the hero. Mercury, the messenger of the gods, 
 advises Aeneas not to loiter, but to speed on to 
 Italy. 
 
 Act III. Xarbal warns Dido that Aeneas will 
 not neglect his mission because of her love. In 
 another scene Dido and Aeneas, while out on 
 the chase, are overtaken by a storm and seek 
 shelter in a cave. 
 
 Act IV. Aeneas now makes up his mind to 
 return to Italy. He sees the vessels of the 
 Trojans in the harbor. Although Dido attempts 
 to hold him back from departure, he succeeds 
 in boarding his ship. 
 
 Act V. First scene, Dido's palace. The 
 queen is still bent on delaying Aeneas' going, 
 btft in vain. "When she realizes that he has 
 
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 sailed away she issues orders that her own 
 funeral pyre be erected. In the next scene she 
 is seen mounting the pyre, whence she predicts 
 that an avenger will rise from her ashes. 
 
 VEESIEGELT 
 
 Comie Opera in one act by LEO BLECH 
 Text by BATKA and PORDES-MILO 
 
 This was first produced in Hamburg, 1908. 
 The scene is a small town in Germany; time, 
 1830. 
 
 Braun, the burgomaster, is in love with a 
 pretty widow, Frau Schram, but she has thus 
 far avoided a definite answer to his suit. 
 Braun's daughter, Else, is in love with Bertel, 
 the town clerk. This, however, does not please 
 the mayor, who desires a more exalted match 
 for his child. In attempting to visit his wrath 
 upon Bertel's mother, Frau Willmer, he is about 
 to seize her furniture for unpaid taxes. A huge 
 wardrobe, the most cherished piece of her house- 
 hold goods, she begs Frau Schramm, who is 
 friendly to her, to keep at her house till the 
 trouble is over. Lampe, the bailiff, accidentally 
 sees this bulky piece of furniture being de- 
 posited at Frau Schramm's, whereupon that 
 petty official hies him to the burgomaster and 
 reports the case. Braun does call, but when he 
 
 784
 
 Versiegelt 
 
 confronts Frau Schramm he is much more con- 
 cerned with herself than with the wardrobe. 
 The widow has pity upon the love-lorn burgo- 
 master at least to the extent of permitting him 
 to implant a chaste kiss. But at that moment 
 there is a knock at the door, and Braun conceals 
 himself in the huge piece of furniture. 
 Lampe enters and places the official seal upon 
 the wardrobe, but immediately thereafter hears 
 a queer noise issuing from the locked and sealed 
 wardrobe. He calls for help, and Else and 
 Bertel enter. The arch widow now makes these 
 two play a bit of wilful comedy for the benefit 
 of the hidden burgomaster. In a bantering 
 conversation the two young lovers say they 
 would not elope — oh, no — but that they will 
 not unlock that wardrobe and let out its " con* 
 tents " until Braun has indicated his consent to 
 their union. So Braun at last gives his ap- 
 proval, and when Lampe, who all this time has 
 been away to summon aid, now returns, Bertel 
 pretends that he was locked up accidentally 
 in the wardrobe. The doughty burgomaster is 
 accepted as her second husband by the blooming 
 widow, and everything is once again in order. 
 
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 LE VIEIL AIGLE 
 
 Lyric Drama in one act 
 Words and music by RAOTJL GUNSBOURG 
 
 This work was for the first time produced at 
 Monte Carlo, in 1909. The scene of the story 
 is the rocky coast of Crimea in the fourteenth 
 century. The Khan . Asvez el Moslaim is a 
 feudal lord who rules over several provinces. 
 When the curtain rises he is discovered with 
 his son Tolaik, who is just back from a success- 
 ful campaign against the Russians. The khan 
 informs him that great preparations have been 
 made to celebrate his return, but Toliak is sad 
 and informs his father that he only seeks forget- 
 fulness in death. He has asked the khan to 
 accompany him to a secluded spot on the sea- 
 shore, and there Toliak asks him if the dearest 
 wish of his heart will be granted by his father. 
 On being assured by the khan that it will make 
 him happy to do so, the son confesses that he 
 loves Zina, the favorite slave of his father. De- 
 spite the great affection the khan has for her, 
 he agrees to give her to his son. He sends for 
 Zina, and bids her follow Toliak, but she re- 
 fuses to comply, preferring to remain faithful 
 to the old chieftain, the " old eagle." The khan, 
 not wishing to lose the love of his son, decides 
 to sacrifice his slave. Zina, understanding his 
 
 786
 
 La Vivandiere 
 
 motive, throws herself into the sea. But the 
 breach between father and son remains un- 
 healed. So the khan himself follows Zina to 
 the grave. 
 
 LA VIVANDIERE 
 
 Romantic Opera in three acts by J. GODARD 
 Text after an historical novel 
 
 This work saw its initial performance in 
 Paris, 1875. The scene is in France, during the 
 great revolution. 
 
 The first act happens in Lorraine, 1794. Re- 
 publican soldiers are quartered near the mansion 
 of the Marquis de Rieul, a royalist, and the 
 latter's son, Georges, who favors the cause of 
 the republic, is in love with Jeanne, a peasant 
 maid who has been reared at the mansion. 
 Marion, the vivandiere, arriving with her 
 donkey cart, serves wines to the soldiers who 
 sing a merry song. Georges comes upon this 
 scene by accident, and being asked by Marion 
 to join the defenders of his country, declares 
 himself ready for it at once. Before enlisting 
 he bids farewell to Jeanne, but is discovered 
 by his father, who disowns his son and drives 
 Jeanne from his estate. Georges follows the 
 Republican ranks, in order to enlist, Jeanne 
 
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 faints on the spot, and is dumped by the 
 vivandiere into her famous donkey cart. 
 
 The second act occurs a year after, in the 
 Vendee, where Eepublican troops are waiting 
 for reinforcements in order to attack a royalist 
 stronghold. Unknown to Georges it is his 
 father who commands the royalist forces in the 
 town. Marion, aware of this, induces Georges 
 to go off on a special military mission. Some 
 pretty by-play between the vivandiere and 
 Jeanne occurs. Sergeant La Balafre tells of 
 stirring battle feats. 
 
 Act III. The Eepublicans have won the long 
 and bloody campaign, and the civil war is over. 
 The victory is being celebrated. The marquis, 
 father of Georges, is taken prisoner and held 
 in Marion's hut, but she permits him to escape 
 at the risk of her own life. Marion is tried 
 by a court martial, despite the efforts of Captain 
 Bernard to shield her. Sentence of death is 
 on the point of being pronounced against her, 
 when Sergt. Le Balafre brings news of pardon, 
 granted to all concerned. 
 
 788
 
 Werther 
 
 WERTHER 
 
 Opera in four acts by JULES MASSENET 
 The book follows rather closely GOETHE'S famous story 
 
 In Act I Werther, a young man of hyper- 
 sensitive disposition, is secretly in love with 
 Charlotte, although the latter is already be- 
 trothed to Albert, an old and intimate friend 
 of his. Charlotte on her part has a preference 
 for Werther and returns his feelings, but con- 
 siders herself by honor bound to Albert. The 
 latter is not aware of the true state of affairs, 
 and Charlotte implores her despondent lover 
 to leave her forever. 
 
 When the second act opens Albert and Char- 
 lotte have been married for three months, while 
 Werther is still unable to hide his sentiments. 
 He departs finally, in conformity with a promise 
 exacted from him by Charlotte. 
 
 At the opening of Act III Werther, finding 
 his exile unbearable, returns and at a chance 
 meeting with Charlotte cannot withhold a re- 
 newed confession of his passion. He contem- 
 plates suicide, as that seems to him the only 
 way out of the dilemma. Pretending to set out 
 on a lonely journey, he writes a note to Albert, 
 requesting the loan of his pistol. After receiv- 
 ing the weapon Werther shoots himself. 
 
 The last act shows Charlotte who has sus- 
 
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 pected Werther's intentions, and now finds him 
 in a dying condition. This last scene is perhaps 
 the most effective, as there is a strongly dra- 
 matic clash between this last melancholy meet- 
 ing of the lovers, the merry Christmas carols 
 of the children, and the pealing of the bells. 
 
 ZINGARI 
 
 Tragic Opera in two acts by K. LEONCAVALLO 
 Text by the composer 
 
 The first performance of this work occurred 
 in London, 1912. 
 
 The first act is supposed to happen at a gypsy 
 camp. Fleana, queen of the band, has been 
 watched, and the fact has been noticed that 
 every night she steals away to meet her lover 
 outside. On one occasion several members of 
 the band follow her, and take the two lovers 
 captive. The stranger is not a gypsy, but he 
 makes a solemn declaration that he will become 
 one and join the band if Fleana is wedded to 
 him. The stranger, Radir by name, is pardoned 
 and takes oath not to have any more dealings 
 with his own people. The band is satisfied with 
 this arrangement, but Tamar, the gypsy poet, 
 takes exception to this. He protests vehemently, 
 avows his passion for Fleana, and is by her re- 
 
 700
 
 Zingari 
 
 buked for his presumption. Radir wants to 
 fight Tamar, but the latter ignores him and 
 vanishes. The wedding of Radir and Fleana is 
 celebrated with great pomp and the observation 
 of quaint rites, while in the distance may be 
 heard the mourning song of Tamar. 
 
 In the second act Fleana's love for Radir has 
 grown cold, although she sings an exuber- 
 ant love song in her tent. At this Radir is 
 troubled for he realiizes that her affections have 
 swerved elsewhere. She confesses that her love 
 for him is dead, while her song waxes wilder and 
 wilder. He attempts to prevent her flight, but 
 she eludes him and goes to meet Tamar, who 
 has returned and whose jubilant voice is heard 
 from afar. Together they disappear in the lat- 
 ter's tent. Radir is left without in despair, 
 brooding upon revenge and sure that Fleana 
 has merely played with him. In a gust of fury 
 lie steals up to the tent which houses the two 
 and sets it on fire. Both Fleana and Tamar 
 perish in the flames. 
 
 791
 


 
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