Opera Books
TWO HUNDRED
OPERA PLOTS
GLADYS DAVIDSON
Grand
Opera in Three Acts
By Johann Chrysostomus Wolfgang Amadeus Mozart
Libretto
By Abbate Gian Battista Varesco
First
Produced
Munich, 1781
Chief
Characters
Ilia, Elektra, Idomeneus, Idamantes, Arbaces
THE scene is laid in the Island of Crete, immediately following the Trojan War. Ilia, Priam’s daughter, weeps in captivity; but when her captor, Idamantes, son of Idomeneus, the King of Crete, sets her free, with the other captive Trojans, she regains her interest in life. The tender-hearted and brave young Prince falls in love with her; and though Ilia at first fights against it she soon returns his affection. This rouses hate and jealousy in the heart of Elektra, the daughter of Agamemnon; for she loves Idamantes, and had received his attentions before the arrival of the captive Princess. The news is brought that Idomeneus has been shipwrecked, and all the people are plunged in grief. The report proves a false one, however; for Idomeneus has been saved by the god Neptune, to whom he had prayed in his distress, and who saves his life on condition that he offers up as a sacrifice of thanksgiving the first person who meets him on his return. Unhappily Idamantes, hastening to the beach to greet his rescued father, is the first person he greets, and Idomeneus is filled with grief and despair. He says nothing to his son about his vow, but tries to save him by sending him on a foreign journey with Elektra, who is delighted that her beloved one should be removed from the company of her hated rival, Ilia. As the ship is about to set sail, however, a terrific storm arises and prevents them from starting; and at the same time they see near the shore a terrible monster of the deep, which presently begins to work havoc amongst all who approach the water’s edge. This monster has been sent by Neptune, whose anger has been kindled because Idomeneus has not offered up the sacrifice demanded; and Idamantes boldly announces his intention to slay the beast or perish in the attempt. The High Priest, Arbaces, now commands the King to name the victim for the sacrifice, reproaching him for bringing trouble on the land by holding back the information; and the wretched Idomeneus is at last compelled to admit that his own son was the first person to greet him on his return from the wreck. As Idamantes returns from his fight with the sea monster, which he has successfully disposed of, he hears of the vow made by his father, and he at once announces his willingness to offer himself as the sacrifice demanded by Neptune. Ilia, however, despairing at the fate in store for her lover, falls on her knees and frantically entreats to be permitted to take his place. This Idamantes will not listen to; but Ilia finally wins the consent of the High Priest in her favour, and is about to be offered as the sacrifice when the god Neptune himself intervenes and annou noes that Idomeneus shall be released from his vow, but that he must resign his sovereignty in favour of the brave Idamantes. This condition is gladly accepted by the relieved father, and all the company join in a hymn of praise to the magnanimous god, with the exception of the unhappy Elektra, who beholds with renewed jealousy and grief the union of Idamantes and Ilia.
Grand Op
era in Two Acts
By Johann Chrysostomus Wolfgang Amadeus Mozart
Libretto
By Schikaneder
First
Produced
Vienna, September, 1791
Chief
Characters
Queen of the Night, Pamina, Papagena, Tamino, Sarastro, Papageno
THE scene is laid in ancient Egypt. The Queen of the Night is furious with the High Priest of Isis, Sarastro, because he has taken away her daughter, Pamina, in order to bring her up in the temple in the paths of purity and goodness, away from the evil influence of her mother. Tamino, a young Prince wandering forth in search of adventure, is saved from a monster by the attendants of the Queen of the Night who, in return for the service rendered him, sends him on the mission to rescue her daughter from the hands of the High Priest. Tamino eagerly undertakes the task; and he is joined by a merry bird-catcher, Papageno, who wears a feather dress as an aid to his profession. The Queen gives a magic golden flute to Tamino, which he is to play in times of danger, when the trouble will vanish; and to his companion she gives a peal of bells for the same purpose. As the pair approach the Temple of Isis they succeed in saving Pamina from the unwelcome attentions of a negro slave, who is terrified at the unusual appearance of the feather-garbed Papageno. The new-comers are brought before Sarastro, who proves to the young Prince that he is really doing right in detaining Pamina from her mother; and, seeing that the pair are already in love with one another, he promises them future happiness if they are only willing to go through many ordeals to purify their hearts and prove themselves worthy of the great gift of Love. The lovers agree to all the conditions, and they go bravely and without hesitation through the many ordeals placed in their way, finally even making their way through a fiery lake, which leads them to the altar. Even now, however, their trials are not over, for the Queen of the Night still determines upon revenging herself upon Sarastro; and she visits her daughter in a vision and commands her to slay the High Priest. This Pamina refuses to do, still calmly going forward with her sacred duties; but her courage is further tried by the absence of Tamino, who is taken from her side to be initiated into the mysteries of the rites of the goddess Isis. For a while Pamina is tempted to believe her absent lover false, since he fails to return to her; but once again she is reassured and permitted to join in the trials to which he is next exposed. Papageno accompanies Tamino in most of his adventures; and in all their times of difficulty, by the use of the magic flute and the peal of bells, they are able to conquer the dangers that beset them, since the music of the fairy instruments has the power to change anger into loving-kindness and storm into calm. Finally all the plots of the Queen of the Night are frustrated, and Pamina and Tamino come through all their trials and troubles cleansed and purified. Even the merry Papageno secures a reward by finding a helpmeet in a pretty little feather-clothed maiden, who appears at the sound of his magic bells. As soon as the evil of the Queen of the Night is finally conquered Sarastro appears, and, making a sign, the sunshine of goodness and joy drives away the former darkness; and as a reward of their true love and faithfulness throughout all their trials Pamina and Tamino are united. Thus love and integrity conquer all that is evil and dark.
Opera
Comique in Four Acts
By Johann Chrysostomus Wolf g ang Amadeus Mozart
Libretto
By Lorenzo da Ponta (Adapted from Beaumarchais’ Comedy)
First
Produced
Vienna, May, 1786
Chief
Characters
Susanna, Countess Almaviva, Marcellina, Count Almaviva, Figaro,
Cherubino, Dr Bartolo, Basilio
THE story of this opera forms a continuation of the plot of “ The Barber of Seville,” and the same characters are met with. The scene is laid in Spain, the action taking place in Count Almaviva’s château and grounds. The Count is now married to the fair Rosina, whose hand he secured through the help of the merry Figaro, the quick-witted Barber of Seville; but in spite of his real affection for his wife the amorous Count cannot yet refrain from flirting with every pretty woman he meets. He is here seen paying attentions to Susanna, the Countess’s dainty, coquettish maid, who is betrothed to Figaro, who has now entered the Count’s service. The happy pair are only awaiting the latter’s consent to their marriage, their household arrangements being already completed; but the Count keeps putting them off from day to day whilst he enjoys his little flirtation with the bride-elect. In order to punish him, Susanna and the Countess arrange a plot. The latter pretends to encourage the attentions of her page, Cherubino, who adores her, so that the Count becomes jealous of the youth. In order to get the page out of the way the Count gives him a commission and commands him to join the army at once; but the Countess and Susanna come to the aid of the crestfallen young man by dressing him up in female garments so that he shall escape the notice of his master. Whilst they are engaged in this masquerading the Count, whose jealousy has been aroused afresh by a note which has been handed to him as being a love-letter from Cherubino to the Countess, comes to the door of the latter’s room and, finding it locked, angrily demands entrance. As soon as Cherubino has managed to jump out of the window the Count is admitted and is nonpiussed at finding his wife in the company of Susanna only. His suspicions return, however, on the entrance of the old gardener, who is aggrieved at the damage done to his window-plants and flower-beds by some one choosing to make his exit through the window; but Figaro now appears and declares mendaciously that he did the damage himself. Complications quickly follow; for old Doctor Bartolo and his housekeeper, the elderly Marcellina, are also bent on flirtation, and the latter now appears with a written promise of marriage from the lively Figaro, on whom she dotes, and who has signed the paper for a joke. The merry Barber is relieved from his quandary, however, by the discovery that Marcellina is his mother whilst his father is none other than Dr Bartolo. More shocks are in store for him, however; for the Countess and Susanna determine to punish both him and the Count for their roving fancies for the opposite sex by means of another plot. Susanna invites the delighted. Count to meet her in the grounds after dark, and then she changes gowns with the Countess, and the two plotters repair to the rendezvous. The Count presently appears and begins to make love to the Countess, whom he mistakes for Susanna; and upon Figaro presently appearing on the scene he is rendered furious at beholding his betrothed accepting these attentions willingly. Young Cherubino also appears, and on making a declaration of love to the person he imagines to be his beloved mistress, he promptly receives a smart box of the ears from the merry Susanna. Having played out their little farce with much enjoyment the Countess and Susanna finally reveal themselves in their true characters as lights are brought on the scene; and the now repentant Count sues for the pardon of his fair wife, who very readily grants it. Figaro and Susanna also make up their little differences, and the opera ends with their union.
Opera
Comique in Three Acts
By Johann Chrysostomus Wolfgang Amadeus Mozart
Libretto
By G. Stéphanle (Adapted from Bretzner)
First
Produced
Vienna, 1782
Chief
Characters
Constanza, Blonda, Belmonte, Selim Pasha, Pedrillo, Osmin
THE scene is laid in the East. Constanza, a beautiful lady betrothed to one Belmonte, has to undertake a journey, in which she is accompanied by her maid, Blonda, and Pedrillo, the servant of her lover; and, to their dismay, they are kidnapped by pirates, who sell them as slaves to a rich Eastern Governor named Selim Pasha. The latter falls in love with Constanza and causes her to be brought to his harem with her maid, Blonda, who is quickly marked out for favour by his steward, Osmin. The man-servant, Pedrillo, is made a gardener; and, by means of a bribed messenger, the latter is able to bring the news of their capture to the notice of his master. In despair Belmonte seeks means to rescue his beloved Constanza, and at length he disguises himself as a traveling artist and endeavours to seek work in the abode of the Pasha. The steward, Osmin, is suspicious of the stranger, and tries to prevent his admission to the house; but Pedrillo perseveres in his scheme and finally the pretended artist is installed. Belmonte soon makes known his identity to the relieved Constanza, and by his aid the captives all make their escape. They are, however, pursued and recaptured by the vigilant Osmin, who brings them back in triumph to his master; and on being brought before Selim Pasha, the despairing Constanza confesses that the supposed artist is in reality her lover, to whom she declares she will always be true, Belmonte also firmly announcing the same resolve. The Pasha retires to consider their sentence, and the four prisoners, expecting nothing less than death, take a loving farewell of each other. But Selim Pasha is of a noble disposition, and being greatly impressed by the faithfulness of the lovers and their brave determination to die rather than be separated, he announces on his return that they are free to depart to their own land once more. Osmin is disappointed and full of wrath at losing the pretty Blonda, who, however, very gladly departs with her sweetheart, Pedrillo; but Selim Pasha generously wishes the happy lovers, Belmonte and Constanza, joy in their union, entreating them to regard him ever as their friend.
Fantastic
Opera in Five Acts
By Victor E. Nessler
Libretto
By F. Hoffmann (From the Legend of Julius Wolff)
First
Produced
Leipzig, 1879
Chief
Characters
Regina, Gertrud, Hunold (The Piper), Ethelrus, Sunneborn, Rynperg
THE
story is taken from the old legend, the time being the thirteenth
century. The Burgomaster and Council of the ancient town of Hamelyn are
consulting how they shall rid themselves of a plague of rats, when one
of their clerks, Ethelrus, brings in a stranger, who has offered to lure
all the rats away for them. The stranger is a mysterious individual
named Hunold, and he bargains with the Council to rid the town of all
the rats for the payment of one hundred marks, stipulating that he shall
be permitted to carry out the work in silence and alone. The terms are
agreed upon, a drink of wine at the end of his work being added to the
reward; and the Piper departs until the night of the full moon shall
arrive. Meanwhile the Burgomaster’s daughter, Regina, receives a visit
from her sweetheart, Sunneborn, the son of the Chief Magistrate, whom
she is seen greeting affectionately by Ethelrus, who is filled with
jealousy at the sight, he himself having sought the love of this maiden,
who has repulsed him with scorn; and he seeks means to be revenged upon
his rival.
In Act 2 Hunold, the Piper, is found playing his pipe in the inn,
where he meets with a lovely maiden named Gertrud, whom he has seen in
visions and fallen in love with. Gertrud returns his love, though she is
fearful lest he should be dealing in magic in his agreement to rid the
town of the rat plague; but when the lovers meet again alone Hunold
assures her that he does not dabble in magic.
In Act 3 Ethelrus finds means to mortify his rival Sunneborn by
making a wager with Hunold that the latter will entice Regina to give
him a willing and uninvited kiss, the Piper having boasted that with his
music he can make any woman love him. In the next scene he gives proof
of his power by playing a wild tune, which causes all the rats in the
town to come forth from their hiding-places and follow him to the river,
where they are all drowned. When he comes to claim his reward, however,
the Burgomaster and Council do not wish to part with so much money, and
pretend that there is still the Rat-King in a cellar; but Hunold
indignantly demands his due, and insists also that instead of the drink
of wine promised him in addition he shall receive a kiss from the fair
Regina. Finding his insistence of his promised reward being received
with scorn and indignation he at once commences to play on his pipe; and
so tender and enthralling a tune does he play, that all the maidens
around immediately fall in love with him, and the once-proud Regina,
quite overcome by her infatuation, comes of her own accord to his side
and gives him a loving and uninvited kiss. Hunold has therefore won his
wager with Ethelrus, who is filled with mortification and rage; and,
declaring Hunold to be a sorcerer, he causes him to be flung into prison
by the Magistrates, who are only too glad to thus be rid of the
necessity of paying the money demanded by the Piper. The fair maiden,
Gertrud, however, determines to save him; and when Hunold is brought
before the Judges she comes forward and claims his life, it being an
ancient custom of the place to set free a captive should a maiden of the
town choose to claim him. Hunold, however, is banished, and has to
promise never to return; and Gertrud is so filled with despair at his
sentence that she drowns herself in the river. Hunold now vows vengeance
on the citizens for being the cause of his sweetheart’s death, and for
refusing to pay him his promised reward; and whilst they are at their
devotions, he pipes such a merry dancing tune that all the children
come running out of their homes and follow him wherever he cares to lead
them. When the citizens come out of church they are just in time to see
the hillside open and’ all their children following the piping Piper
into its very heart. As soon as the last child has crossed the threshold
the hillside closes; and the Piper has thus claimed his reward, the
citizens of Hamelyn being left desolate.
116. — THE TRUMPETER OF SARKINGEN
Romantic
Opera in Three Acts
By Victor Nessler
Librett
By Rudolf Bunge (Adapted from the Poem of Scheffel)
First
Produced
Leipzig, May, 1884
Chief
Characters
Margarita, Countess Wildenstein, Werner Kirchoff, Konradin, The Baron
von Schoenau Count Damian
THE scene is laid in Heidelberg and Säkkingen on the Rhine, about the middle of the seventeenth century. The opera opens in old Heidelberg, where the students are indulging in a very noisy and unruly frolic. One of their number, Werner Kirchoff, the adopted’ son of one of the professors, is an excellent player on the trumpet; and he presently serenades the Princess with a solo performance on his instrument. His playing is admired by Konradin, the trumpeter of a recruit-ing company, who endeavours to engage his services. The young man laughingly declines; but when presently the students are all expelled from the University for their unruly behaviour, he decides to throw in his lot with the soldiers, and joins the company as trumpeter. On arriving at Säkkingen on the Rhine Werner makes the acquaintance of the Baron von Schoenau’s daughter, the beautiful young Lady Margarita, whom he protects from the incivility of the rough peasantry of the district, who are in rebellion against her father. Margarita is accompanied by a cousin of the Baron’s, the Countess Wildenstein, a lady who is separated from her husband, and whose only child, a son, was stolen by gipsies in his early childhood; and she is struck by the resemblance of Werner to her lost child. Margarita and Werner fall in love with one another at first sight, and the former persuades her father to appoint Werner as his trumpeter. The Baron agrees, being greatly pleased with the young man’s fine playing; but when the Countess Wildenstein later on discovers the new trumpeter and the Lady Margarita indulging in a pretty love scene Werner is sternly forbidden to enter the castle again. Meanwhile the Baron has arranged a marriage for his daughter with Count Damian, the son of Count Wildenstein by his second wife; and, in spite of the suitor proving to be a weak-minded, foolish young fop, poor Margarita’s approaching union with him is publicly announced at a festival, and her protestations of everlasting fidelity to her beloved Werner are unheeded. However, the castle is presently stormed by the peasant rebels; and upon the Baron calling upon his future son-in-law to lead the retainers against them the weak Damian is terrified and proves himself an arrant coward. The situation is saved, however, by the timely arrival of Werner, who, with a few of his military companions, dashes bravely into the midst of the rebels and disperses them. He is slightly wounded in the fray, and on his wound being dressed by the grateful ladies a birthmark upon his arm proclaims him to be indeed the kidnapped son of the Countess Wildenstein. The craven-hearted Damian is therefore declined as a suitor by the indignant Baron, who is now willing enough to bestow his fair daughter. upon the gallant young lord, Werner, and the happy lovers are united.
117.—THE MERRY WIVES OF WINDSOR
Opera
Comique in Three Acts
By Otto Nicolai
Libretto
By Mosenthal (Adapted from Shakespeare’s Comedy)
First
Produced
Berlin, March, 1849
Chief
Characters
Mrs Ford, Mrs Page, Ann Page, Sir John Falstaff, Ford, Page, Fenton
THE story is adapted from the comedy of Shakespeare, dealing chiefly with the fooling of Falstaff by the Merry Wives and the love-making of Anne Page and Fenton. In the first act the Merry Dames of Windsor, Mrs Ford and Mrs Page, having received identical love-letters from the jovial and amorous old rake, Sir John Falstaff, hatch a plot to punish him by bringing upon him the rage of Mrs Ford’s very jealous husband. They invite the fat knight to the house of Mrs Ford, who pretends to receive him as a gallant; but Mrs Page presently enters in a flutter to announce the approach of the already suspicious Ford, and they bundle the visitor into a huge “ buck-basket “ containing some soiled linen, in which he is carried away by a couple of serving-men, who, acting on the whispered instructions of the merry ladies, contrive to drop their victim into the Thames, from whence he emerges in a sorry state. When Ford arrives at his house, he is nonplussed at finding no lover there as he expected; but, being still suspicious, he later on seeks an interview with Falstaff himself, disguising himself and taking another name, and so bribes the old reprobate to assist at his own undoing. Meanwhile pretty Mistress Anne Page has fallen in love with Fenton, a charming but somewhat poor suitor; and, in spite of the fact that her parents have chosen a foolish but rich old fogey as a likely husband for her, she stoutly declares her intention to marry her own chosen sweetheart, and the lovers meet constantly, finally arranging an elopement. The Merry Wives now invite Falstaff to visit them a second time, and upon the jealous Ford again appearing inopportunely they disguise the scared knight as a deaf old countrywoman who is, nevertheless, very roundly chastised by the irate husband, who disapproves of her supposed fortune-telling propensities. Not content with having twice caused their would-be lover to be roughly handled, the Dames now take their husbands into their confidence and all join in a final frolic. They arrange a masque in the Forest of’ Windsor, persuading the jolly knight to join them in the disguise of Herne the Hunter, with horns on his head; and when he appears at the rendezvous beneath Herne’s Oak, they scare him nearly out of his wits by bringing on the scene a number of merry colleagues disguised as demons, fairies, goblins, wasps and mosquitoes, who swarm about the victim, pinching and teasing him to their hearts’ content. Finally he yells for mercy and pardon, which is readily enough granted, his punishment having been quite sufficiently thorough; and as Anne Page and Fenton, in the disguise of Oberon and Titania, have managed to elude the other stupid suitors for the fair maiden’s hand and have secured an obliging priest to marry them, the merry opera ends with general forgiveness all round and renewed festivities.
Opera
Comique in Three Acts
By Jacques Offenbach
Libretto
By Meilhac and Halévy
First
Produced
Paris, December, 1864
Chief
Characters
Helen of Troy, Paris, Menelaus, Calchas
THE
story of this opera presents in humorous fashion the love passages of
Helen of Troy and Paris, dealing with these and certain other mythical
heroes of Greece in present-day burlesque form as in “Orpheus aux Enfers.”
In Act 1 Helen is seen trying to devise with Calchas the Augur a
means to avoid the decree of the oracle, which has announced that she is
destined to desert her husband, Menelaus, and to elope with Paris, the
handsome son of Priam, King of Troy. Even as they confer Paris himself
appears in shepherd garb and begins his wooing at once; and in a very
short time the pair are passionate lovers. Their love is strengthened by
a second meeting at a comical tournament, in which Paris defeats the
most illustrious heroes; and the oracle encourages them by decreeing
that Menelaus must set off on a journey to Crete at once. When he has
gone Helen makes an attempt to struggle against her destiny, and she
refuses to accept the further eager advances of Paris. The latter,
however, bribes the augur to admit him one night to the chamber of the
sleeping Queen; but here their pretty love scene is cut short by the
unexpected return of Menelaus, and a stormy interview ensues.
In Act 3 Menelaus and Helen are seen engaged in a lively squabble,
the former being still jealous and suspicious of his beautiful wife, who
indignantly repudiates his insinuations; and in the midst of this
domestic altercation a golden galley is seen approaching, in which a new
augur is announced as bringing a message from Venus. This augur is Paris
in disguise, and he announces that Venus is much offended that Helen
has not yet obeyed the command of the oracle. The goddess will only be
appeased if Helen will at once return with this new augur to sacrifice
at her shrine; and the beautiful Queen, unable to longer resist the
decrees of fate, finally decides to obey the command of the intriguing
goddess. She therefore enters the galley and sails away with her lover
Paris to Troy; and the opera closes with the declaration of vengeance by
the deserted and furious Menelaus, which reaches its fulfilment in the
famous Trojan War.
119. — THE GRAND DUCHESS OF GEROLSTEIN
Opera
Comique in Three Acts
By Jacques Offenbach
Libretto
By Meilhac and Halévy
First
Produced
Paris, April, 1867
Chief
Characters
The Grand Duchess, Wanda, Fritz, General Bourn, Baron Grog, Baron Puck,
Prince Paul
THE Grand Duchess of Gerolstein attends a review of the troops and is greatly struck with the good looks and gallant bearing of a young recruit named Fritz, much to the chagrin of the Commander, General Boum, a fussy old beau, who is ambitious, and desires to stand first in the great lady’s favour. Fritz, however, is in love with a beautiful peasant girl, Wanda, whom the Duchess endeavours to separate him from by raising him first to the rank of corporal, next to that of lieutenant, and finally to that of general, with the title of Baron. Her own royal suitor, Prince Paul, a somewhat dull and feeble wooer, she neglects entirely; and she sends out her new favourite to lead a campaign against an enemy. Fritz returns covered with glory; but when the amorous Duchess almost openly offers him her hand and heart he gently but firmly declines her advances, and announces his intention to remain faithful to his beloved Wanda. This resolution so enrages the Duchess that she joins the deposed General Boum, Baron Puck and Prince Paul in a plot against the new commander’s life. She is further encouraged in her change of conduct by the arrival of Baron Grog, an Ambassador sent by Prince Paul’s father to bring the desired marriage about; and she is so pleased by the new-coiner’s willingness to join the conspiracy that she gives her consent to her union with the young Prince. She afterwards relents, however, and refuses to allow the assassination to proceed, agreeing instead to permit Fritz to marry Wanda; but the young man is nevertheless set upon by the conspirators and very roughly handled. The Grand Duchess adds to his troubles by depriving him of his command and reinstating General Boum. Finally, however, the petty quarrels and misunderstandings are all settled, and the relieved Fritz is free to marry his simple peasant sweetheart Wanda, whilst the Grand Duchess accepts Prince Paul as her future husband.
Opera
Comique in Three Acts
By Jacques Offenbach
Libretto
By Crémieux
First
Produced
Paris, October, 1858
Chief
Characters
Eurydice, Juno, Venus, Diana, a Shepherdess, Orpheus, Aristeus (Pluto in
disguise), Jupiter, John Styx, Public Opinion
THE
fantastic plot of this opera is a clever burlesque upon the classical
story of Orpheus and Eurydice, many modern references being introduced.
Orpheus and Eurydice are seen in the first act to be each carrying on a
flirtation—Orpheus with a pretty shepherdess and Eurydice with Aristeus,
a reputed shepherd, who is really Pluto in disguise. When they make a
mutual discovery of each other’s infidelity a quarrel ensues, and they
separate. Eurydice, on going to her shepherd for protection, learns that
her lover is none other than the god Pluto, who now boldly carries her
off to his infernal regions. Orpheus is rejoicing at the disappearance
of his somewhat shrewish wife when he is commanded by Public Opinion to
immediately demand her return from Jupiter, the chief god of Olympus;
and, much against his will, he is compelled to obey.
In Act 2 much amusing by-play is afforded by the petty
squabbles of Juno, Venus, Jupiter, Diana and Pluto, which is presently
ended by the arrival of Public Opinion, who brings the reluctant Orpheus
to demand the restoration of his wife. Jupiter grants his request and
bids him follow him to Hades, where Eurydice is found, watched over by
John Styx. Jupiter takes on the form of a fly, which Eurydice catches,
whereupon he reveals himself and transforms her temporarily into a merry
bacchante on the arrival of Pluto. Presently Orpheus appears sailing up
the Styx in a boat, and playing upon a modern violin instead of a lyre;
and Jupiter now promises that he shall lead forth Eurydice to his boat,
adding the condition that, if he looks back, she will be snatched back
from him once more. Orpheus therefore proceeds to lead forth his runaway
and reluctant wife; but upon sly Jupiter dropping a thunderbolt in his
path he turns round, and Eurydice is instantly snatched back to Hades.
Public Opinion is much upset by this turn of affairs; but Orpheus sings
a song of rejoicing at what he considers his happy release, and he
returns in high good humour to his pretty shepherdess.
Last updated October 31, 2006