Opera Books
TWO HUNDRED
OPERA PLOTS
GLADYS DAVIDSON
Fantastic
Opera in Three Acts with Prologue and Epilogue
By Jacques Offenbach
Libretto
By Jules Barbier (Adapted from three of E. T. A. Hoffmann’s Tales)
First
Produced
Paris, February, 1881
Chief
Characters
Olympia, Guilietta, Antonia, Hoffmann, Nicklaus, Spallanzani, Coppelius,
Dapurtutto, Dr Mirakel, Schlemil, Crespel
THE
scene of the prologue is laid in Nuremberg in Luther’s celebrated
wine-cellar, where Hoffmann and his friend, Nicklaus, meet their boon
companions and make merry between the acts of the opera, which is being
performed in the adjoining theatre. Hoff-mann, being charged by his
companions with sadness, offers to explain to them the reason by
relating the stories of his three unfortunate love-affairs; and the
students all desert the opera and remain to listen to the three
enthralling love-stories, which are now revealed to the audience by the
three acts that follow.
In Act 1 we have the story of Hoffmann’s first love. The
young man has fallen in love with the beautiful Olympia, who is believed
by him to be the daughter of a well-known physiologist, Spallanzani;
and, accompanied by his friend Nicklaus, he offers himself as a pupil
to the scientist, in order to be near the object of his affection.
Olympia is, however, only a marvellously life-like automaton made by
Spallanzani, who has been assisted in the work by Coppelius, a
mysterious man who sets up to be a magician, and who now claims a
substantial share in the profits which may accrue, he having supplied
the doll with her beautiful eyes. Spallanzani, however, agrees to buy
his partner out; and to that end he gives him a draft on a Jew whom he
knows to be already bankrupt. Coppelius accepts the cheque with
pleasure; and he then contrives to sell a pair of magic spectacles to
the love-sick Hoffmann, by means of which inanimate objects appear to be
endowed with life. Spallanzani now gives a party to his friends, at
which he introduces them to the doll, Olympia, who, on being wound up,
sings, speaks, and dances. The guests are all filled with admiration for
the wonderful piece of work; but Hoffmann, wearing his magic glasses,
believes her to be a living maiden, and having already conceived a
violent passion for her, declares his love for her at the first
opportunity, regardless of her mechanical replies of “ Yes! Yes! “ He
next engages her to dance with him; but the doll, having been
over-wound, gets out of control, and Hoffmann is whirled with her about
the room until he falls in a faint. On recovering, he learns that
Coppelius, having discovered the deception practised on him by his
colleague, is at that moment destroying the doll in revenge; and as
Hoffmann’s spectacles have been broken during his swoon he now realises
the foolish mistake he has made, and retires crestfallen before the
jeers of the laughing guests.
In Act 2 we are taken to Venice, where Hoffmann and Nicklaus
are found in the luxurious palace of the beautiful courtesan, Guilietta.
Hoffmann loves Guilietta, and seeks to win her, in spite of Nicklaus’
wise warning that she will deceive him. Dapurtutto, a demon-magician,
has obtained the mastery of Guilietta, who, at his command, has
obtained for him the shadow of Schlemil, one of her lovers, and now
agrees to take the reflection of Hoffmann in a magic mirror he gives
her. It is in this way the demon gains the soul he covets. Guilietta
encourages Hoffmann to make love to her, and soon persuades him to gaze
into the magic mirror. When Dapurtutto presently places another
looking-glass before him, Hoffmann is much alarmed on finding that it
gives back no reflection—a sure sign that magic is at work; and he grows
suspicious. Schlemil, his rival, now appearing, he challenges him; and,
by the influence of Dapurtutto, he kills Schlemil. Almost immediately
after, a gondola passes by, in which the laughing, faithless Guilietta
is seen reclining in the arms of a new lover; and Hoffmann is a second
time unsuccessful in his love-making.
In Act 3 Hoffmann is seen to be passionately in love with Antonia,
the fair but frail daughter of Councillor Crespel. She has inherited
from her mother the gift of a beautiful voice; but her father has
forbidden her to sing, as the exertion and excitement is too great for
her and may cause her death. For the same reason he disapproves of her
love for Hoffmann; but during his absence the lovers meet in Crespel’s
house. When the father returns, Hoffmann hides behind a curtain, and
overhears an interview between Crespel and Dr Mirakel, a mysterious
person whom the former dislikes and distrusts, believing him to have
been the cause of his wife’s early death. Mirakel is in reality an evil
spirit, who has dogged the path of Hoffmann throughout his three
adventures under different names—first as Coppelius, secondly as
Dapurtutto, and now as Mirakel — and from him he now learns that Antonia
has a fatal disease. He therefore, when they are next alone, begs her to
sing no more; and she promises not to do so. She is, however, presently
visited by Dr Mirakel, who invokes the spirit of her dead mother, whom
he causes to persuade her that it is wrong for her not to use such a
wonderful gift. Antonia is therefore persuaded to sing once more; but
the effort is too much for her, and she expires as Hoffmann rushes to
her side.
In the epilogue Hoffmann is shown overcome by his sad recollections
of the three love episodes he has just related to his friends; but upon
the students calling for their wine-cups to be refilled he joins them
once more in an uproarious carousal, upon which the curtain falls.
Opera in
Three Acts
By Ignaz Jan Paderewski
Libretto
By Alfred Nossig (Adapted from Kraszewski ‘s Novel)
First
Produced
Dresden, May, 1901
Chief
Characters
Ulana, Hedwig, Asa, Manru, Urok, Oros
THE
scene is laid in the mountains of Hungary, where Manru, a gipsy, is seen
living in a hut with his wife, Ulana, a peasant girl, for love of whom
he has abandoned his own people, and whom he has married against the
wishes of her mother, Hedwig. Ulana is disowned by her mother, who,
however, agrees to receive her back if she will leave her gipsy husband.
This Ulana refuses to do; and her only friend now is Urok, a hunchback
dwarf, who loves her, and endeavours to entice her from her husband by
declaring that the latter’s gipsy blood will not permit him to remain
faithful to her for long, but that he will soon have the roving fever
upon him once more. Ulana, who passionately loves Manru, begs Urok to
procure for her a potion which will cause her husband’s already waning
love to revive again; and this Urok very unwillingly does.
In Act 2, whilst Ulana is soothing her child with a crooning
song, Manru is shown in a restless mood, already tired of cabin life,
and longing for freedom and wanderings once more; and his longings are
increased by presently hearing the exquisitely wild music of a violin,
played by one of his old gipsy companions, who has been sent to entice
him back to his people. Ulana begs her husband not to desert her; and
finally her entreaties prevail, and Manru drinks the potion she offers
him, upon which his love for her returns for a season.
In the last act, however, the old wandering fever returns with such
irresistible force that Ulana’s entreaties and potions can no longer
prevail against it; and Manru rushes away to join his people. He is soon
found by his former gipsy sweetheart, Asa, who receives him joyfully,
and for whom his old-time love is passionately renewed; and though the
tribe at first refuse to admit the deserter, their objections are at
length over-ruled by the eager Asa, who promises to make Manru their
leader. The leadership of the tribe has, however, been assumed by Oros,
a former rival of Manru’s; and he is furious at the return of the
wanderer, who is now gladly acclaimed by the gipsies. Ulana, seeking her
faithless husband, and seeing him caressing Asa, is filled with despair;
and she flings herself into a lake near by, as the gipsy pair stroll
away together. Manru, however, is not long left to enjoy his liberty;
for Urok the dwarf, determined to be revenged for the death of the
unhappy Ulana, creeps up behind the lovers, and, with a sudden movement,
thrusts Manru into the lake, where he perishes.
Opera in
One Act
By Emilio Pizzi
Libretto
By Luigi Illica
Chief
Characters
Rosalba, Firmiani, Ezio Colonna
THE scene is laid in Venice, about the middle of the sixteenth century, and the opera opens in the studio of Firmiani, who is at work trying to finish a song he is to send in for a musical competition at St Zaccaria. Bending over him is Rosalba, the beautiful Roman singer, whose love and fair personality inspires his work; but the soul of the artist is not yet satisfied with his efforts to clothe in song the beautiful thoughts suggested by the inspiring presence of Rosalba, who is a veritable Queen of Love and Beauty. Though Firmiani is unaware of the fact, Rosalba has been a celebrated courtesan in Rome; but having now conceived a real passion for the young Venetian, she hopes to enter upon a new and better life with him, and has therefore kept him in ignorance of her old life. She is so anxious for Firmiani to secure the prize in the competition that she presently sings to him a beautiful melody which was composed by her last Roman lover, Ezio Colonna, which she now states to be the production of Firmiani, declaring that she heard him murmuring it in his sleep one day. Firmiani is so fascinated by this lovely melody, and so delighted by her declaration that it is his own composition, that he agrees to give it in the competition; and as a bell announces that it is now time for the competitors to assemble, he passionately kisses Rosalba, and hurries away to put it to the test. When he has gone, Rosalba is overcome with shame and remorse for the base deed she has done; and she determines to write a note to her lover confessing the deception she resorted to in his interest. Before the confession is written, however, the bell again announces that the competition is over; and the passing gondoliers cry out the name of the winner — Firmiani. Realising that it is now too late to carry out her good resolve, Rosalba destroys the letter she began to write; and as Firmiani hurries in, flushed with the triumph of his success, she accepts his joyous embrace, and resigns herself to the happiness of the moment. Firmiani now entreats his beloved one to marry him that day; and Rosalba consents, and retires to don her bridal garments, whilst Firmiani orders a perfect bower of exquisite exotic flowers to be brought into the room to celebrate the occasion. Presently the musician hears the sound of a scuffle on the piazza below; and seeing a man fighting for his life with a gang of ruffians, he seizes his sword and goes to his assistance. He soon returns with the rescued man, who is none other than the once famous composer, Ezio Colonna, of Rome, who is now in a state of poverty. He relates to Firmiani the story of his fallen life, his bright prospects having been ruined by a beautiful courtesan, who, by her fascinations, lured him into the wildest excesses, and then cast him aside for a new lover. This courtesan is the famous singer, Rosalba; and he has come to Venice to track her down. Firmniani at first passionately refuses to believe that his loved one has been a false woman of this description; and whilst the two hotly argue, Rosalba herself enters clad in bridal array. The singer receives a terrible shock on beholding her old lover, and at first refuses to recognise him; but when Colonna reminds her of the song he wrote in her honour, and sings the opening lines of it, she is overcome with confusion and stands convicted. Firmiani now realises how he has been tricked into gaining the prize under false colours; and full of grief and disappointment at this rude awakening from his rosy love-dream, he resolves to live no longer. When Colonna has gone, he ceases to upbraid Rosalba, whom he still loves in spite of all; and he determines they shall die together on their wedding-night. He therefore closes the windows and doors; and then, clasped in each other’s arms, the unhappy lovers are gradually overcome by the poisonous exhalations given out by the exotic blooms which crowd the room. Firmiani is the first to succumb; and the last sound heard by the expiring Rosalba is the voice of Colonna on the piazza beneath, singing the fatal song which has been the means of bringing woe and death upon her lover and herself.
124. — LES CLOCHES DE CORNEVILLE
Opera
Comique in Three Acts
By Robert Jean Planquette
Libretto
By Clairville and Gabet
First
Produced
Paris, April, 1877
Chief
Characters
Serpolette, Germaine, Henri (Marquis de Villeroi), Old Gaspard (The
Miser), Jean Grenicheux
THE scene is laid in the old Norman village of Corneville during the reign of Louis XV. Henri, the young Marquis of Villerci, has just returned from exile, and goes to the fair to engage servants to take to his château, which is reported to be haunted, strange lights and weird sounds having been seen and heard by the villagers. At the fair he meets Serpolette, a pretty girl who has lived in the village all her life, but of whose parentage nothing is known. Here also comes Germaine, the niece of an old miser named Gaspard, who desires her to marry the rich sheriff. Germaine, however, declines to do so, declaring that Jean Grenicheux, a young fisherman, has more claim upon her favour since he once saved her life. In order to escape the unwelcome attentions of the sheriff, Germaine engages herself as a servant to the young Marquis; and she persuades Jean and Serpolette to join her as companions. The Marquis, on introducing his three new servants to the château, determines to fathom the mystery of the supposed ghost; and after a grand search at midnight, after the ringing of the bells, they discover old Gaspard, the Miser, who has been using one of the rooms as a store place for his ill-gotten gains, having found a secret way into the closed castle. The discovery of his hiding-place drives him half-crazy for the time being. Some papers are now found, giving information as to treasures in the château belonging to a lost heiress; and all points to the fact that Serpolette is the missing heiress. When the Marquis presently gives a grand ball to his tenants, Serpolette therefore appears in the garb of a great lady. Germaine is also there, and she and the Marquis fall in love with one another and agree to marry. Old Gaspard now comes forward, his reason having returned, and confesses that it is Germaine who is the missing heiress, and that she is a Marchioness in her own right; also that the treasure he has hoarded is hers. Germaine, therefore, comes into her fortune and title, and marries the Marquis; and she keeps the merry Serpolette with her as her companion.
125. — THE VAGABOND AND THE PRINCESS
Opera in
One Act
By E. Poldini
Libretto
By A. E. Seligman (Adapted from one of Hans Andersen’s Fairy Tales
Chief)
Characters
The Princess, The Prince, The King, The Ambassador, The Court Astrologer
THE scene opens in the garden before the King’s palace. The King and the Princess are seated on thrones upon the terrace, surrounded by their courtiers; and before them stands the Ambassador from the Prince of Pallagonia with his suite. The Ambassador brings an offer of marriage from his royal master, who, having once seen the fair Princess, has fallen in love with her, and desires to make her his Queen; and as his lover’s gifts he has sent to her a rose-bush crowded with exquisite blooming roses — the symbols of love—and a poem he has written, in which he bids the roses reveal to her by their beauty and sweetness the message of his burning love and devotion for the mistress of his heart. The Ambassador calls upon a minstrel in his suite to step forth and sing his master’s love-song; and the troubadour — who is the Prince himself in disguise — sings the beautiful song of love with all the fervour and depth of a true devotion. The courtiers express great admiration of the roses and the song; but the Princess, who, though fair, is proud and unappreciative of true beauty, disdains the offering which has been made to her, and, declaring the roses and the song to be “ shabby gifts,” declines to accept a suitor who has nothing better to offer her. She therefore departs with her ladies, leaving the Ambassador and the rejected suitor in a state of amazement. The young Prince, realising that the haughty Princess is unworthy of his love, now determines to be even with her by humbling her pride, and at the same time to teach her the folly of despising the beautiful gift of love, which she shall now court in vain. He therefore procures a puppet-show, and disguising himself as a gipsy showman he again enters the palace gardens at dusk, accompanied by his Ambassador, also similarly disguised, who plays a hurdy-gurdy. The Princess and her ladies have been laughing together over the humble gifts brought by the Ambassador, and are now playing at “ Blindman’s Buff"; but hearing the sound of the hurdy-gurdy they hasten to the garden wall, and cry out with delight at the sight of the marionette show. Eager for a change of amusement, the Princess bids the gipsy bring his puppet-show into the garden and perform before her. The disguised Prince obeys with alacrity; and the play he makes his puppets act is a picture of his own experiences, and is as follows : The shepherdess, Phyllis, is beloved by two shepherds. As she sleeps on the grass, the sincere lover, Philidor, awakens her with a kiss, offering her his devoted heart; but she rejects him, and sends him away with a box on the ear. Then Punchinello appears, and awakens her by striking the ground with his wand; and she is delighted with all the foolish pranks he plays before her, and, accepting his admiration, lets him kiss her. The two suitors then meet and fight a duel, in which both fall dead; and when Phyllis appears and sees the tragedy which has taken place, and realises that she has lost both lovers, she falls dead beside the two. This is the end of the play; and the Princess, not perceiving the lesson it has for herself, is so delighted that she desires to buy the show. The gipsy, however, refuses all offers of money for his show, and declares he will only sell it for one hundred kisses from the Princess. The royal maiden is most indignant at his daring to ask such terms, and refuses the offer at first; but when the gipsy prepares to depart, her longing for the toys is so great that she calls him back, and declares she will give him the payment he requires. The pretended showman thereupon returns, and bids the ladies count the salutes and not cheat him of his dues; and the toll of the kisses begins, and proceeds to the increasing joy of the Princess, who feels her heart strangely stirred for the first time. It has now grown dark; and presently the King and his attendants appear on the terrace above with torches; and the King is so enraged and disgusted at beholding his daughter in the arms of a vagabond gipsy, whose kisses she is accepting so willingly, that he Casts her off for ever, and declares she shall never darken his doors again. As the King and his attendants. retire into the palace the Princess remains alone, weeping; and then the vagabond, stripping off his outer rags, reveals himself in his true character as the Prince of Pallagonia, and scornfully tells her that by refusing his gifts of song and roses, which told the story of his true love for her, and by showing herself willing to let a mere vagabond kiss her for the sake of securing a worthless toy, she has forfeited his love and regard for ever, since he now has only contempt for her. He then proudly walks out through the gate, and, too late, the Princess realises that through her own haughty scorn of a lover’s true offering she has lost love and home and rank; and as she wanders forth from her father’s palace, an outcast, she sadly plucks off a bloom from the once-despised rose-bush and kisses it tenderly in remembrance of the love which is now lost to her for ever.
Opera in
Four Acts
By Amilcare Ponchielli
Libretto
By Tobic Garrio (Adapted from Victor Hugo’s Drama, “The Tyrant of
Syracuse”)
First
Produced
Milan, April, 1876
Chief
Characters
Gioconda, Laura, La Cieca, Emzo, Barnaba, Aloise
THE
action takes place in Venice in the seventeenth century.
In Act 1 a great festival is taking place; and as the
revellers wander forth from the Duke’s palace, the Inquisitor’s spy,
Barnaba, comes forth. He is in love with a beautiful maiden, Gioconda;
and when she presently appears with her blind mother, La Cieca, he
endeavours to seize her, and declares his violent love for her. Gioconda,
however, repulses him, for she is in love with Enzo, whom she knows only
as a young noble, but who is in reality the exiled Prince of Santifior.
Barnaba, enraged at Gioconda’s coldness, accuses her mother of
witchcraft, and an angry crowd gathers. Enzo appears opportunely, and
endeavours to protect the distressed maiden and her helpless mother; and
in this he is assisted by one of the Inquisition chiefs, Aloise, who now
appearing with his wife, Laura, sets free the terrified La Cieca, who,
in gratitude, gives her rosary to Laura. The latter now recognises Enzo,
who was once betrothed to her before his exile, and for whom she still
cherishes a passionate affection, and who also loves her in return; and
she reveals this fact to Barnaba, who decides to assist the lovers, in
order to secure an open field in regard to Gioconda. He therefore
arranges that Laura shall elope with Enzo that night in the latter’s
vessel; and at the same time he warns the husband, Aloise, of his wife’s
intention, for he is treacherous, and desires also to stand well with
the Inquisition. Gioconda is meanwhile filled with grief on discovering
that Enzo has no love for her, as she had imagined; and she is quickly
jealous of Laura.
Act 2 takes place in the vessel in which Enzo intends to
elope with Laura. As he waits anxiously for her, she approaches in a
small boat, accompanied by Barnaba, who is still playing his double
game; for as the lovers are rejoicing in each other’s arms he departs
and presently returns with Aloise. Gioconda has also managed to secretly
board the vessel, and she has a passionate scene with Laura, whom she
attempts to stab, but refrains upon the latter holding up the rosary
which La Cieca had given her. Gioconda now makes friends with Laura; and
when they see Aloise drawing near, she manages to get the terrified wife
away before he boards the vessel. Enzo sets his vessel on fire when he
finds himself surrounded by the State galleys; but he and Gioconda
manage to make their escape.
In Act 3 Aloise has captured his runaway wife, and commands her to
drink a cup of poison he places before her; but when the angry husband
departs Gioconda appears, and, pouring out the poison, gives Laura a
potion, which makes her fall into a deep slumber, so that she appears to
be in a trance. When Aloise returns, therefore, and sees the empty cup,
and Laura lying still, he thinks he has gained his revenge; but when he
has again departed, Gioconda comes once more, and carries the sleeping
Laura away to her own abode in a ruined palace.
Here, in Act 4, the temptation seizes her to slay the helpless
sleeper; but her better feelings prevail, and she cannot do the deed.
Enzo presently enters, and believing the still and silent Laura to be
dead he at once suspects Gioconda of having murdered her, and is about
to destroy’ her in his despair; but at this moment Laura awakens from
her trance and explains how Gioconda has really saved her life. The
lovers now depart together, leaving Gioconda full of grief at her
unrequited love. But she nevertheless dresses herself in gay wedding
apparel, having promised herself to the cunning Barnaba as a bribe for
his help in her plans for the escape of the lovers; but when he
presently appears to claim his reward she stabs herself in his presence.
Before she dies, however, she has to endure the additional woe of
learning from the angry and disappointed Barnaba that he has strangled
her blind mother.
Opera in
Four Acts
By Giacomo Puccini
Libretto
By Giacosa and Illica (Adapted from a series of Scenes taken from
Murger’s “L’Vie de Bohême”)
First
Produced
Turin, February, 1896
Chief
Characters
Mimi, Musette, Rudoiphe, Marcel, Schaunard, Colline
THE
subject-matter of this opera is more a series of character sketches,
giving a vivid picture of Paris student Bohemian life than a story
containing any very definite plot.
In Act 1 the happy-go-lucky, but desperately poor students,
Rudolphe the Poet and Marcel The Artist, are shown at work in their
garret, cold and hungry. Rudolphe sacrifices his MSS. to keep the fire
alight; but presently their comrade, Schaunard the Musician, appears,
having had an unexpected windfall, which he proceeds to share with his
friends in true Bohemian fashion. He brings with him quite an
extravagant feast which they at once proceed to enjoy, being joined by
another friend, Colline the Philosopher. When the landlord comes angrily
to demand his long-overdue rent, they merrily force him to join them at
supper, and soon make him jolly and forgetful of his rent by copious
draughts of good wine. After supper three of them go off to join in the
fun of a fair being held in the streets opposite the celebrated Café
Momus; but Rudolphe remains behind to finish a MS., promising to join
them later. When the hilarious students have gone, Rudolphe is
interrupted by the entrance of pretty little Mimi, an embroiderer, who
has come for a light, and who half-faints on her entrance, being very
frail, and, in fact, consumptive. Rudolphe has before been struck with
the ethereal beauty of this girl; and he now contrives to extinguish the
light, and as they both search for a key which Mimi has dropped, their
hands meet in the dark, and, being thrilled by the touch, they confess
their love for one another. Rudolphe now takes Mimi out to the fair with
him.
Here we find all the merry friends taking refreshment outside the
Café Momus; and here also Marcel meets his sweetheart, the coquettish
Musette, who is at the moment accepting the attentions of a rich but
foolish old banker. She soon manages to hoodwink her aged admirer,
however, by despatching him to buy her a new pair of shoes; and then she
quickly makes friends with her beloved Marcel once more, and departs
with him.
In Act 3 we have many little quarrels and reconciliations between
the two pairs of lovers; and in this act, also, we see that Mimi s
malady is gaining a fatal hold upon her.
In Act 4 Rudolphe and Marcel are shown in their garret once more,
very wretched because their sweethearts seem to have deserted them
altogether; but their commise-rations with each other are presently
interrupted by the hurried entrance of Musette, full of anxiety and
excitement, who aunounces that she has brought Mimi to bid them
farewell, as she is now in a dying state. Very tenderly the two students
carry in the exhausted girl, and Rudolphe lays her upon his bed and
folds her in his arms, weeping. The other students enter, and one by one
they go out to pawn their coats in order to buy wine and restoratives
for the dying girl. But Mimi is beyond all human help; and after
uttering a tender farewell to her beloved Rudolphe she expires happily
in his arms, and the curtain descends upon the despairing collapse of
the bereaved lover and the sympathising sorrow of his faithful
companions.
128.—THE GIRL OF THE GOLDEN WEST
Opera in
Three Acts
By Giacomo Puccini
Libretto
By Guelfo Civinni and Carlo Zangarini (Adapted from the Drama of David
Belasco)
First
Produced
New York, 1911
Chief
Characters
Minnie, Wowkle, Dick Johnston (Ramerrez), Jack Rance, Nick, Billy
Jackrabbit, Castro
THE
scene is laid in California, the action taking place in a mining camp at
the foot of the Cloudy Mountains during the period of the gold fever,
about the middle of the nineteenth century.
Act 1 shows the inside of the “ Polka,” a rough-and-ready
miners’ tavern and gambling-house; and a number of the miners are
gathered there, drinking, smoking, and playing cards. Nick, the
bar-tender, is kept busy serving the” boys,” some of whom are suffering
from an attack of homesickness, which is increased on the arrival of
the mail with letters from home. Their spirits are, however, presently
revived by the entrance of a beautiful young woman—Minnie, the Girl of
the Golden West, who is adored by all the rough miners, who regard her
as their “ Good Angel.” Minnie is the mistress of the “ Polka”;
and she cares for the miners with great affection, and permits them to
keep their precious gold in a barrel at the back of the bar. She even
holds a school for the great rough fellows during the winter months,
teaching them what little she knows herself, and endeavouring to keep
them steady and honest. Minnie, on entering, scolds the miners for their
rowdy conduct, since a squabble was proceeding as she appeared; and
then, all smiles again, she accepts from them several little gifts they
have brought her—the one a ribbon, the other a scarf, etc. Rance, the
Sheriff, has conceived a violent, passion for her, and now begs her to
accept him s her lover; but Minnie dislikes and distrusts this man, and
coldly keeps him at arm’s length. Presently another interruption comes,
by the arrival of a stranger, who gives his name as Dick Johnston, and
comes for refreshment and rest. Minnie at once recognises him as the
stranger she has met once before on a lonely hillside, where they struck
up an acquaintance and were mutually drawn to each other; and Johnson
also recognises her, and seems much upset at finding her here. On seeing
that Minnie is acquainted with the stranger, Rance is filled with
jealousy; and the miners also are not pleased. Soon, however, a report
is brought that the famous Ramerrez, the leader of a gang of “
greasers,” or bandits, who existed at that time by plundering the
various gold-mining camps of California, as well as by highway robbery,
has been seen with some of his company skulking in the district; and the
miners all depart to search for this despicable enemy, leaving Minnie in
charge of their gold, with Nick the bar-tender, and the stranger,
Johnson, with whom she has a pleasant chat when they haye gone, inviting
him to visit her later in her own little home on the hillside.
In Act 2, therefore, Minnie is seen in her little house,
which only consists of one room, with a loft above it; and here she is
waiting for her visitor. She is attended by Wowkle, an Indian squaw, who
prepares the supper whilst her mistress decks herself in all her little
bits of finery, ready for her expected guest. Wowkle’s lord, Billy
Jackrabbit, also appears, but is soon dismissed by Minnie; and when the
latter has completed her toilet, and her guest arrives, she sends away
the squaw and her papoose also. Johnson and Minnie soon make a mutual
declaration of the love they have felt from their first meeting; and
they are so happy that they are utterly oblivious of time. When they
presently discover that a terrible blizzard is raging outside, Minnie
invites her visitor to remain the night beneath her roof; but they are
soon interrupted by a loud knocking on the door, and are surprised to
hear the loud voices of the miners demanding entrance. Not wishing to
arouse the jealous anger of her rough friends by letting them find the
distrusted stranger in her house, Minnie makes Johnson hide behind her
bed-curtains; and then she admits the clamouring miners, who rush in
excitedly, and are relieved to find her safe, declaring that they have
discovered that the stranger, Johnson, who had visited the “Polka “ that
evening, is none other than Ramerrez, the infamous chief of the “
Greaser “ band, who evidently intended to rob them of their gold, but
had been prevented from so doing by the presence of Minnie herself.
Fearing lest he had now followed her to her home, they have come to
assure themselves of her safety, and to continue their search for the
robber. Minnie is struck to the heart on thus learning that the man to
whom she has given her love is a thieving bandit; but being nevertheless
unable to betray him, she controls her feelings for the moment, and
contrives to despatch the miners once more on their search. When they
have gone, however, she turns upon Johnson, and scornfully denounces him
for obtaining her love under false colours; but the wretched man
implores her forgiveness, declaring that his love for her is sincere. He
explains that he has been brought up in this evil course of life by his
thieving father; but now that Minnie’s sweet and pure influence has come
into his life he is determined to make a fresh start and earn an honest
living. Minnie’s outraged feelings and pride, however, are not easily
soothed; and Johnson recklessly rushes outside to give himself up to the
prowling miners. He instantly receives a pistol shot in the dark and
falls wounded; and Minnie, unable to let the man she loves be taken
after all, rushes out and drags him back, half-fainting, into the house.
She just has time to help him into the loft above when Rance, the
Sheriff, enters, declaring that she is hiding the refugee, since he saw
him fall outside her door after the pistol shot. Minnie holds him at bay
for a short time; but drops of blood fall upon the Sheriff from above,
and in triumph he drags forth the wounded man. Minnie, in despair, now
makes the bold proposal that they shall play a game of poker — the best
two out of three — which shall decide the fate of the captive. If Rance
wins his reward shall be the man’s life and her own hand into the
bargain; and if Minnie wins, Johnson shall be hers. Rance agrees,
gambling being his greatest passion; and the game begins. Minnie
manages to conceal a set of high cards about her person; and after she
has gained one point she complains of faintness, and whilst Rance is
fetching brandy for her from the shelf, she has an opportunity to place
the concealed cards in such a way that they shall fall to her, and
consequently she wins the game and wager. Rance keeps to his bargain,
but departs in rage and disappointment. Minnie nurses her lover tenderly
for a week,, until he has recovered from his wounds; and then his
hiding-place having been discovered by the miners, Johnson is forced to
take to flight.
In Act 3 an exciting chase takes place, which ends in Johnson being
captured by the miners, who, furious at the robberies he has committed,
clamour that the summary justice of lynch law shall be meted out to him.
The Sheriff, Rance, readily agrees; and as the noose is being prepared,
he triumphantly boasts over his fallen rival. Johnson faces his awful
position calmly; and he only begs the miners not to tell Minnie of his
fate, but to let her think he has escaped. Just as the lynching is about
to take place, Minnie herself rushes to the spot, and flinging herself
in front of her lover, she entreats the miners to spare his life,
telling them that he was even now on his way to another country, there
to earn an honest livelihood. Finding the sullen men still obdurate,
she begs them for her own sake to release their victim, reminding them
of her loving devotion to them in the past, which they can now repay by
granting her request. This last appeal is effectual, and the miners
over-rule the baffled Rance and set their prisoner free; and as Johnson
and Minnie depart hand in hand to seek a new and better life together
elsewhere, the rough men are left sad and forlorn, and are overcome with
the deepest emotion as they realise that the Girl of the Golden West has
now passed out of their lives for ever.
Opera in
Three Acts
By Giacomo Puccini
Libretto
By Illica and Giacosa (Adapted from the Romance of J. L. Long and D.
Belasco)
First
Produced
Milan, 1904
Chief
Characters
Cho Cho San (Butterfly), Suzuki, Kate Pinkerton, Lieutenant B. F.
Pinkerton, Sharpless, Goro, Yamadori
THE
action takes place in Nagasaki, Japan, during the present time.
In Act 1 Lieutenant B. F. Pinkerton, a young American naval
officer, is being shown round a pretty Japanese house, which has just
been secured for him by Goro, the marriage broker, who has also made the
arrangements for his “Japanese” marriage with Cho Cho San, a pretty
little geisha maiden, known by her friends as “ Butterfly,” which
ceremony is about to take place in accordance with the easy Japanese
law — the husband’s absence for even so short a time as a month
constituting divorce. When Goro has departed Sharpless, the American
Consul, appears, who, having learnt of the real love which Butterfly has
for her American sweetheart, begs Pinkerton to do nothing rashly, and,
above all, not to hurt such a sensitive and loving nature. Pinkerton,
however, only laughs at this serious talk, for he thinks only of the
pleasure of the moment; and when Butterfly presently appears with her
girl companions he welcomes her with all the ardour of a young man’s
first love. For a moment, when the generous-hearted Butterfly tells him
that she has cut herself off entirely from her past life by giving up
the gods of her people and accepting the religion of her lover, he has
some slight qualms of conscience; but these soon disappear on the
arrival of the bride’s relations and the officials, who unite the happy
pair in Japanese style. After the ceremony the guests are enjoying the
feast provided by the rich young American, when they are interrupted by
the sudden entrance of a Bonze, or Japanese Priest, who is Butterfly’s
uncle, and who now denounces her for having forsaken her religion. On
hearing this the other relations also hurl forth curses upon the now
weeping bride; but Pinkerton promptly turns them all out of the house,
and soon succeeds in comforting his pretty little wife by making love to
her in the moonlight.
In Act 2 three years have elapsed, and we find Butterfly alone with
her maid, Suzuki, Pinkerton having returned to America long ago; but as
he has promised her to come back “when the robins nest,” she still hopes
constantly for his return, and refuses to listen to a word against his
fidelity. A rich young Japanese noble, Yamadori, who has long loved her,
entreats her to marry him, announcing that Pinkerton’s desertion of her
constitutes divorce according to Japanese law; but Butterfly firmly
refuses, proudly declaring that she considers herself bound by the laws
of America to her husband, whom she still loves passionately. Even when
Sharpless enters and endeavours to induce her to accept Yamadori’s
offer, knowing only too well that Pinkerton’s desertion is intended, he
makes no impression on her; and when she shows him her bonnie
fair-haired boy (Pinkerton’s child), his pity for the poor little
deserted wife is increased. He bears with him a letter from Pinkerton,
whose ship is now due, announcing his lawful marriage to an American
girl, and begging him to break the news to Butterfly; but he has not the
heart for such a cruel task. Just then a cannon shot announces the
arrival of the vessel; and as Sharpless hurries away to meet his friend,
Butterfly, full of excitement and joy at the probable return of her
beloved husband, and trustfully expecting his speedy entrance, at once
bids her maid decorate the house with flowers from the garden. Then,
having decked herself and the child in bravest array, she sits down with
him to await Pinkerton’s entrance, watching for him through holes which
she makes in the “ shosi,” or blinds.
In Act 3 Butterfly, Suzuki and the child are found still in the
same position, having watched vainly throughout the evening and night;
and now in the early morning Suzuki begs her drooping but still hopeful
mistress to retire to her chamber and take a little rest, adding that
her lord must not find her weary-looking on his return. These last words
alone induce Butterfly to take her maid’s advice, and she retires
upstairs, taking the sleeping child with her. Soon after, Pinkerton and
Sharpless enter and eagerly greet Suzuki, whose fears for her mistress’s
happiness are confirmed by observing a lady outside, who Sharpless
informs her is Kate Pinkerton, his friend’s lawful American wife.
Pinkerton himself is so upset and conscience-stricken on beholding all
the signs of his little Japanese sweetheart’s constancy and undying love
that he rushes away, leaving Sharpless to settle matters. Kate Pinkerton
now comes forward and says she wishes to adopt her husband’s little son;
and whilst she is speaking Butterfly herself comes down into the room.
At a glance she at last understands all; and as the dreadful truth dawns
upon her she bears the blow with wonderful calmness, and listens quietly
to the gentle request of Kate to adopt the boy. She has no jealousy of
her rival, but sweetly wishes her joy; and then she adds that Pinkerton
shall have his child if he will himself return to fetch him in
half-an-hour. Kate, overcome with pity at the sight of such resigned
suffering, retires weeping, with Sharpless, who is also greatly
affected; and when they have gone Butterfly sends her child out to play
in the garden with Suzuki, whilst she herself takes down from the wall a
Japanese sword with which her father had committed “ Harikiri
“(compelled suicide). She kisses the blade, welcoming it as a kindly
friend; for now, deprived of husband and child, she has no further
desire for life. When, therefore, Pinkerton at last enters and calls for
his “little Butterfly,” he finds that she has slain herself with the “
sword of honour,” and that her loving, faithful heart has ceased to
beat.
Opera in
Four Acts
By Giacomo Puccini
Libretto arranged by the Composer from Abbe Prevost’s Novel
First
Produced
Turin, February, 1893
Chief
Characters
Manon Lescaut, The Chevalier Des Grieux, Lescaut, Geronte de Ravoir,
Edmond
THE action takes place towards the end of the eighteenth century, and Act 1 opens in the courtyard of an inn at Amiens, where a number of merry students are gathered awaiting the arrival of the diligence. Amongst these is the Chevalier des Grieux, a handsome young student, who is destined for the Church, and who is now teased by his companions for his lack of a sweetheart, they themselves having already secured favours from the pretty work-girls who are passing. Presently the diligence arrives, and Des Grieux immediately becomes interested in a beautiful maiden who alights, and whose grace and irresistible charm so completely enthralls him that he instantly falls in love with her. This maiden is Manon Lescaut, whose brother is conveying her to a convent to take the vows, this being the fate ordained for her by her parents. Manon, being young and fond of life, and desiring to taste of all that pleasure has to offer, is sad at the thought of her impending incarceration; and the brother, Lescaut, is also reluctant to throw so fair a life away. He therefore determines to disobey his instructions, and to use Manon’s beauty as a means for securing wealth for them both. To this end he encourages the attentions of Geronte de Ravoir, a rich old libertine, who has travelled with them in the diligence, and is so attracted by Manon’s loveliness that he desires to possess her; and he invites the pair to join him at supper. Des Grieux, meanwhile, has found means to speak with Manon, and is overjoyed to find in her an answering sympathy, which also quickly develops into love, and he secures her promise to meet him a little later. The old roué, Geronte, now determines to elope with Manon that evening, and he arranges with the landlord of the inn to have a postchaise in readiness at a certain hour. He is pleased on presently seeing Lescaut closely engaged in gambling with some of the students, and he endeavours to keep him thus occupied, so that he may abduct Manon the more readily. His arrangements, however, have been overheard by a friendly student, Edmond, who, having noticed the quick passion which has sprung up between Des Grieux and Manon, at once informs the former of the proposed abduction, and advises him to run off with the maiden first, making use of the carriage which will be in waiting. When Manon presently appears, therefore, Des Grieux entreats her to fly with him to Paris, and thus escape the convent and also the clutches of the elderly beau into whose arms she is likely to be driven by her unscrupulous brother; and upon Manon, after some hesitation, accepting, the lovers jump into the waiting postchaise and drive off, leaving the deserted Geronte and Lescaut speechless with fury. The latter, however, knowing well his fair sister’s passionate love of luxury and hatred of poverty, bids Geronte not despond, since Manon may yet be won by him when her student lover’s slender means have been spent; and in Act 3 his selfish schemes have triumphed, and Manon is shown living as the mistress of Geronte in a sumptuous house and surrounded by all the luxuries and extravagances which her pleasure-loving soul craves for. She has been thus tempted to leave the humble cottage in which she has lived a short, happy time with the devoted Des Grieux; but in spite of her every whim being gratified by her elderly admirer, she still loves Des Grieux and pines for him. Lescaut knows this and is disturbed, not desiring to lose the means of gratifying his own low tastes and love of gambling which his sister’s luxury affords him the means to do; and he therefore seeks out Des Grieux, and encourages him to gamble desperately and thus secure the wealth which will enable him to win back the radiant Manon, whom he still so fondly loves. He even arranges an interview between the pair; but dire misfortune comes of this. As Manon and Des Grieux embrace one another on the latter’s arrival at the roué’s hotel they are interrupted by Geronte himself, who is furious at the sight, and in revenge he at once denounces Manon to the authorities, and she is condemned to deportation. Lescaut, for his own selfish ends, endeavours to save her from her awful fate, but he is unsuccessful. Des Grieux is overcome with grief and despair at the fate which awaits his beloved one, and rather than be parted from her, when the last chance of rescue has vanished, he offers himself as a cabin-boy on the vessel which conveys her to America. But even here fate is still against the lovers, and Manon and Des Grieux are compelled to make a sudden, hurried flight to escape a worse dan-ger. In the last act they are shown as fugitives in a vast, solitary wilderness, far from human habitation and aid, and here Manon sinks to the ground dying from exhaustion. Des Grieux vainly seeks water and refreshment to save her life, but Manon, knowing herself to be past human aid, calls him to her side once more, and folded in his embrace she expires, declaring her love for him with her last breath. As the curtain descends, Des Grieux, with a cry of woe, falls senseless beside the dead body of his beloved Manon—that Manon so fair and so alluring; such a bewildering contrast of passionate love and dainty coquetry, a sunshine-loving butterfly, with the heart of a true woman.
Last updated October 31, 2006