Opera Books
TWO HUNDRED
OPERA PLOTS
GLADYS DAVIDSON
Opera in
Four Acts
Giuseppe Verdi
Libretto
Antonio Ghislanzoni
First
Produced
Cairo, December, 1871
Chief
Characters
Aïda, Amneris, Radames, Amonasro (King ot Ethiopia), Ramphis (High
Priest of Isis), The King of Egypt
THE scene is laid in Memphis and Thebes in the time of the Pharaohs. Aïda, daughter of Amonasro, King of Ethiopia, has fallen into the hands of the Egyptians, and is given as a slave to Amneris, the proud Princess of Egypt. She attracts the attention of the young military commander, Radames, who falls in love with her, and whose affection she returns. Amneris also has conceived a violent passion for Radames, who, however, only treats her with cold respect; and she becomes jealous of Aïda when she suspects that he loves the new slave. Radames heads a campaign against the Ethiopians, who are vanquished, and amongst the captives brought to Memphis is Amonasro, King of Ethiopia, who passes himself off as a plain officer. Radames, on his return, i received with acclamation; and the King of Egypi as a reward, bestows upon him the hand of hi daughter, Amneris. Radames, however, has though for no one but Aïda, whom he meets secretly at night and Amonasro, being allowed considerable liberty and discovering the love of his daughter for th young commander, persuades her to get information from him as to the plan of war, which he hopes t find means to despatch to his own general. Ramphis the High Priest of Isis, overhears this conversation between the lovers; and, issuing forth with th guards, he arrests Radames, who is now accused c high treason, and condemned to death by being buried alive in a tomb beneath the temple of the god Ptah. Amneris, in her mad jealousy, has also joined in the denunciation of Radames; but now eager to save his life, she offers to secure his pardon if he wil wed with her and renounce Aïda. Radames refuse to give up his beloved one; and, consequently, he i compelled to face his awful doom. As he is walled up in the tomb, however, he finds the faithful Aïda a his side; for she has crept within, unnoticed, pre ferring to die with him rather than live on without his love. The lovers, therefore, calmly await death in each other’s arms; whilst Amneris, now full on of remorse, sinks heartbroken beside the tomb.
Opera in
Four Acts
By Giuseppe Verdi
Libretto
By Méry and Du Locle
First
Produced
Paris, 1867
Chief
Characters
Elizabeth of Valois, Princess Eboli, Don Carlos, King Philip of Spain,
Marquis de Posa, The Grand Inquisitor
THE scene is laid in Spain during the sixteenth century. Don Carlos, the Crown Prince of Spain, has conceived an unfortunate passion for his stepmother, the beautiful young Elizabeth of Valois; but he is advised by the Chief Minister, the Marquis de Posa, to withdraw from temptation and engage in a special mission to Flanders, since his father, the cruel, ambitious King Philip II, already suspects the attachment between the two, and is jealous, having always treated his son harshly. Carlos, though secuofing an interview with the Queen—who returns his love and also begs him to depart on the mission for safety’s sake—puts off the evil day; and in Act 2 he unfortunately betrays his unhappy passion to the Princess Eboli, whom, at a garden fête, he mistakes for the Queen. The Princess herself is in love with Carlos; but, now seeing that she is nothing to him, she determines to be revenged for her slighted affection, and hands over to the King a miniature of Carlos, which the Queen cherishes as a keepsake, and of which she manages to get possession. The King, now more jealous than ever of his son, seeks to bring him into trouble with the Inquisition, when, on Carlos passionately protesting against an auto-da-fé of heretics, he is denounced as a traitor. The Grand Inquisitor, however, seeing the influence which is exerted over the young Prince by Posa, demands the latter’s life instead; and the King has to consent to the death of his favourite Minister. Meanwhile, Elizabeth is accused of infidelity by the jealous King; but her innocency is proved by the Princess Eboli, who, now filled with remorse for her betrayal of the gentle Queen, confesses her misdeed, and is dismissed from Court. Posa is not put to death at once, and he now obtains the release of Carlos by making the King believe that he himself committed the deeds of which the young Prince is accused. Posa is shot by one of the guards, and the King pardons his son, whose release is loudly acclaimed by the people. In the final scene, the Queen meets Carlos once more in a convent, to bid him a last farewell; and here the King, suspecting that they are still lovers, follows them in company with the Grand Inquisitor, to whom he again accuses his son of rebellion against the Church and State. Carlos is therefore borne away to face the awful Inquisition, from the dread condemnation of which there is no escape; and the unhappy Queen is left in despair.
Opera in
Four Acts
By Giuseppe Verdi
Libretto
By Piave (Adapted from Victor Hugo’s Drama)
First
Produced
Venice, March, 1844
Chief
Characters
Elvira, Ernani, Don Carlos (King of Spain), Don Gomez de Silva
THE scene is laid in Arragon during the early part of the sixteenth century. Ernani, an exiled Castilian Duke, has become a bandit, and has won the love of Lady Elvira, niece of Don Gomez, a Gofandee of Spain, who, though advancing in years, intends to marry her, and has forced her into a betrothal. Ernani disguises himself, and gains entrance into the castle of De Silva, having formed a plan to elope with the willing Elvira; but, on the unexpected arrival of Don Carlos, the newly-ascended King of Spain, he hides in an adjoining cupboard. Don Carlos, being young and dashing, has been greatly attracted by the beauty of Elvira, and has now come to make love to her, endeavouring to carry her away by force. Elvira calls for help, upon which Ernani comes forth to her assistance; and, at the same time, De Silva enters, and furiously challenges both intruders, but, finding one of them to be the King, he humbly asks forgiveness, which is readily granted. The King banishes Ernani on a distant mission, and they both depart from the Castle; and then De Silva makes arrangements for his early marriage with Elvira, in spite of her protestations. Just as the ceremony is about to take place, however, Ernani returns in the disguise of a pilgrim; and, thinking Elvira false to him, he reveals himself, and demands that De Silva shall give him up to the King, since he no longer desires to live. De Silva, however, declares himself bound by the laws of hospitality not to betray a guest; and, when the King at this moment is heard clamouring for admittance, he conceals the bandit in a secret cupboard, though he vows to be revenged upon him later when he surprises the lovers in each other’s arms, Elvira having found an opportunity of explaining how she had been forced to agree to her uncle’s plans. When the King enters and demands Ernani to be given up to him, having learned that he has been seen there in the disguise of a pilgrim, De Silva, proudly determined to adhere to the ancient laws of hospitality, refuses to reveal the bandit’s hiding-place; and he even goes so far as to give Elvira into the hands of Don Carlos as a hostage for the safe delive ring up of her lover later on. When the King has departed with Elvira, De Silva brings forth Ernani, and informs him that the Kihg also is his rival. The pair, having now a common cause against Don Carlos, determine to join their forces, and gather the nobles together in a conspiracy against the newly-ascended monarch; but upon De Silva declaring that Ernani’s life is still forfeited to him, the latter agrees to kill himself at any time his death shall be demanded, and gives De Silva a horn to sound whenever he desires him to carry out his promise. In the third act Don Carlos, knowing that the conspirators are to meet in the Catacombs, hides himself behind the tomb of Charlemagne, and hears their plans; and then, stepping forth, as he is joined by his own party, he condemns them to death, but afterwards magnanimously par-dons them all. During his vigil in the vaults he has made the resolution to renounce his youthful follies; and he now presents Elvira to Ernani, and gives them permission to marry, at the same time creating the bridegroom a Duke. In the last act, therefore, Ernani and Elvira are seen celebrating their nuptials; but, just as the guests have departed, and they are rejoicing in their happiness, the weird sound of a hunting-horn is heard, and De Silva appears to claim the fulfilment of Ernani’s promise to yield up his life when called upon to do so. Though full of grief and disappointment, Ernani faces this terrible blow calmly, too proud either to plead for mercy, or to seek escape from the keeping of a sacred promise; and, seizing the dagger offered by the inexorable De Silva, he stabs himself in the heart, and expires, as Elvira falls senseless beside him.
Opera in
Three Acts
By Giuseppe Verdi
Libretto
By Arrigo Boito (Adapted from Shakespeare’s Comedy “The Merry Wives of
Windsor”)
First
Produced
Milan, March, 1893
Chief
Characters
Mistress Ford, Mistress Page, Nannetta, Mistress Quickly, Falstaff,
Fenton, Ford, Dr Caius, Bardolph, Pistol
THE
story is based on Shakespeare’s Comedy and follows on very similar lines
to the libretto of Nicolai’s “ Merry Wives of Windsor,” with some slight
alterations in the names and action — Anne Page in this version
appearing as Nannetta, and being represented as the daughter of Ford.
Act 1 takes place in the Inn at Windsor, where Falstaff treats with
merriment the complaints of Dr Caius relating to the tricks played on
him by the fat Knight’s rascally followers, Bardolph and Pistol.
Falstaff then sends the famous duplicate love-letters to the Merry
Wives, Mistress Ford and Mistress Page, who, on receiving them, are very
indignant, and arrange their amusing plot to make a laughing-stock of
their old admirer, and to bring on him the righteous wrath of the
jealous Ford. A side plot is also unfolded here, relating to Nannetta,
who, though desired by her parents to accept as a suitor old Dr Caius,
is in love with a handsome but poorer lover, Fenton, and determines to
marry the latter at all costs.
Act 2 is taken up with the reception by the lively dames of their
elderly would-be lover, Falstaff, his concealment in the washing-basket
on the approach of the jealous husband, and his subsequent sousing in
the river Thames.
In Act 3 the Merry Wives send a further invitation to the jolly old
Knight by the hands of Dame Quickly, who entices him to meet the ladies
in Windsor Forest, where they have arranged a Masque for the better
carrying-out of their plot for his undoing. Falstaff accepts the
invitation, and arrives at the rendezvous in the disguise of Herne the
Hunter; and here he is assailed by the colleagues of the Merry Wives,
who, in the guise of gnats, wasps, fairies and gnomes, tease, and pinch,
and plague him until he roars for mercy. Finally, having played out the
farce, and punished him well for his ridiculous impudence in posing as
the lover of two respectable dames, the ladies desist, and explanations
and mutual pardons follow. Also, the dainty and clever Nannetta has
during the Masque succeeded in eluding her elderly and undesired
admirer, Dr Caius, and, joining her lover, Fenton, she is united to him.
Opera in
Three Acts
By Giuseppe Verdi
Libretto
By M. Somma
First
Produced
Rome, February, 1849
Chief Characters
Adelia, Ulrica, Riccardo, Renato, Edgar
THE scene is laid in Boston, Massachusetts, during the Colonial Period. Riccardo, Earl of Warwick and Governor of Boston, has fallen in love with Adelia, the beautiful young wife of his Creole Secretary, Renato, who is unaware of this state of affairs. Adelia returns the love of the Governor ; but, full of dismay at the guilty passion she has conceived, she seeks the aid of Ulrica a fortune-teller, who bids her gather a certain herb at midnight in a desolate spot. Riccardo overhears this, having also visited the gipsy in disguise in norder to learn his own fate, in spite of the warnings of Renato that a serious conspiracy against his life is afoot; and he determines to follow her. The gipsy also prophesies that the governor will shortly be assassinated by the next person who touches his hand; and it is Renato who, unwittingly, takes his hand on coming to seek him. Adelia, on searching for the magic herb at midnight, is joined by Riccardo, who declares his love for her; and here they are interrupted by Renato, who bids his master fly from the conspirators, who are on his track. Adelia is closely veiled, and Renato takes her in charge, unaware of her identity. They meet the conspirators, who taunt Renato; and Adelia, on coming to his assistance, reveals the fact that she is his wife. Renato, furious at Riccardo’s betrayal of their friendship, now joins the conspirators; and when they later on draw lots for the assassination of the Governor, he draws the winning number. Adelia, though not admitted to her husband’s confidence, suspects danger, and sends a message to Riccardo, entreating him not to attend the masked ball at the palace, at which he had intended to preside. Riccardo, however, has now determined to cut himself off from all further temptation by giving Renato a high commission in England, whither he may retire with his wife; and, in spite of Adelia’s warning, he decides to attend the ball, in order to place the commission in his secretary’s hands at once. Renato, learning fromn a page, Edgar, of the disguise which Riccardo has adopted, tracks him to the spot where he has just met with Adelia, who, anxious for his safety, is begging him to depart, whilst he is taking a last farewell of her; and, full of jealous rage at the sight of the pair, he stabs his master in the back. As Riccardo falls dying, he declares to Renato that Adelia is innocent, and that they were even then parting for ever; and, having also handed him his new commission, he falls back, dead.
Opera in
Four Acts
By Giuseppe Verdi
Libretto
By, Arrigo Boito (Adapted from Shakespeare ‘s Tragedy )
First
Produced
Milan, February, 1887
Chief
Characters
Desdemona, Emilia, Othello, Iago, Cassio, Roderigo
THE
story follows very closely that of the great Shakespearean drama,.
especially in the finale.
Act 1 opens in Cyprus, with the landing of Othello, the Moor
of Venice, after his victory over the Turks. Iago, his Ancient, or
General, a cross-grained evil pessimist, refusing to believe in any
human goodness or fidelity, soon changes the happiness of his chief into
woe. He begins by leading Cassio, a young captain, into excesses which
lead to his disgrace and loss of office; and then he determines to
undermine Othello’s perfect joy and faith in his pure and beautiful
wife, Desdemona. He sends Cassio to the gentle lady, to beg her to plead
for him with her husband; and then he brings Othello to look on at their
interview, and by cunning insinuations sows the first seeds of jealousy
in the Moor’s heart. When Desdemona, therefore, pleads for Cassio, he
angrily refuses her request; and upon her dropping a lace handkerchief,
with which she had endeavoured to cool her lord’s heated brow, Iago
picks it up and makes use of it to further his evil designs by telling
Othello that he found it in the possession of Cassio, whom he also
declares often murmurs the name of “ Desdemona “ in his sleep. He fans
the flame of Othello’s jealousy still further by causing him to overhear
a conversation between Cassio and himself, in which the former speaks of
his own lady-love, Bianca, in affectionate terms; and by letting Othello
believe that it is Desdemona of whom they have been speaking his cruel
object of wrecking the domestic happiness of his general is
accomplished. Othello is now madly jealous of his gentle wife, who is
filled with grief on seeing his — to her, unaccountable — change of
manner. In the last act Desdemona, in her chamber, talks of the matter
sadly with her waitinglady, Emilia, the wife of Jago; but after a
fervent prayer for the return of her husband’s love she retires to rest.
When she is asleep, Othello, goaded to the deed by Iago, comes into the
room with intent to destroy her; and after awakening her with a kiss,
he passionately accuses her of infidelity with Cassio. The unhappy
Desdemona in vain protests her innocence; for the Moor is beside
himself with jealous passion, and seizing the cushions and bedclothes,
he smothers the wife whom he loves so dearly that the thought of her
supposed infidelity is more than he can tolerate. Emilia entering, and
beholding the dreadful deed which has been done, shrieks for help; and
when several officials and lords enter with Iago, she discovers the
perfidy of her husband,, and revealing to Othello the fact that he has
been deceived, is slain by her furious husband for her boldness. In
despair at having thus been enticed into slaying the sweet innocent wife
he loved so well, the Moor seizes his dagger, and, stabbing himself,
falls dead at the feet of the cruelly wronged Desdemona.
Grand
Opera in Three Acts
By Giuseppe Verdi
Libretto
By Piave (Adapted from Victor Hugo’s Tragedy “ Le Roi s’Amuse”)
First
Produced
Venice, March, 1851
Chief Characters
Gilda, Maddalena, Rigoletto, Duke of Mantua, Count Monterone, Count Ceprano, Sparafucile
THE scene is laid in Mantua, where the gay, licentious young Duke of Mantua lives a life of great extravagance and frivolity. In all his love intrigues he is assisted by his jester, Rigoletto, a dissolute and unscrupulous hunchback; and in the opening scene, the Count Monterone appears at Court to demand the restoration of his daughter, the Countess Ceprano, who is the latest victim of the vicious young Duke, who treats him with tyrannical insolence and orders him to be conveyed to the dungeons. Rigoletto callously makes fun of the outraged father; but he is terrified when the latter utters a deadly curse upon him as he is being led away. Even the gay courtiers hate Rigoletto, since he has assisted in bringing dis-honour on many of their families; and having learnt that he visits a mysterious and beautiful maiden, they hatch a plot to steal her away, and actually entice the Jester to help in the abduction by leading him to suppose it is the wife of Count Ceprano whom they are seizing. This unknown maiden is in reality Rigoletto’s daughter, Gilda, whom he loves passionately and has kept hidden safely, as he thinks, from the sight of his covetous royal master; but, unknown to the Jester, the Duke has seen Gilda at Church, and, in the disguise of a student, he has already made love to her and gained her affections in return, frequently visiting her in secret. Rigoletto, unaware of the plot against him, assists in the proposed abduction, allowing himself to be led blindfold to his own house, against the walls of which he holds the ladder, whilst his companions bring out the fainting Gilda, and dash off with her to the Palace, leaving him behind. As he snatches away the handkerchief from his eyes, and, seeing where he is, realises that his beloved and innocent daughter has been conveyed with his connivance to the chamber of his infamous master, he becomes nearly mad with rage and grief; and he rushes to the palace, wildly demanding the restoration of his daughter, only to meet with laughter and scorn, such as he has himself so often meted out to like sufferers. Finally, Gilda escapes from the Duke’s room and returns to her father, whose entreaties, however, are powerless to keep her from still thinking kindly of her royal sweetheart, whom she loves passionately, in spite of the deception he has practised upon her. Rigoletto now determines to be revenged upon the ravisher of his daughter, and he bribes Sparafucile, a bravo, to murder the Duke on his next visit to a certain lonely inn. Sparafucile’s sister, Maddalena, however, loves the Duke, who has also paid her attention; and when he retires for the night, she begs her brother to spare his life. Sparafucile agrees to do so, if any other stranger shall arrive, whom he may murder instead and pass his dead body off as that of the Duke’s when Rigoletto comes for the sack into which it is to be placed. Meanwhile, Rigoletto brings Gilda, disguised as a page, to the outside of the inn, bidding her listen at the keyhole to the tender speeches made by her faithless lover to the pretty Maddalena; but Gilda, in spite of this proof of his perfidy, still loves the Duke, and refuses to leave the spot, though her father desires to send her to another city for safety. When Rigoletto retires for a short time, she listens again, and overhearing the plot to murder the Duke, who has now gone to the chamber upstairs, she determines to save him. She therefore boldly knocks at the door of the inn; and Sparafucile, on opening it and seeing as he supposes a youth outside, he stabs the new-coiner on entering. He then places the still body of the stranger in a sack, which he hands over to Rigoletto when the hunchback presently appears and demands his victim. Rigoletto drags the sack to the river side, and is about to cast it into the water, when he hears the voice of the Duke singing gaily as he walks by in the distance with Maddalena; and furious at the deception which has been played upon him, he tears open the sack, and is horrified on beholding the pale features of his beloved daughter, who recovers for a few moments, and then expires in his arms. Over-come with grief and dismay at this dreadful fulfilment of Monterone ‘s curse, the despairing hunchback falls senseless beside the corpse of his murdered child.
Opera in
Three Acts
By Guiseppe Verdi
Libretto
By Piave (Adapted from Dumas’ “Dame Aux Camélia”)
First
Produced
Venice, March, 1853
Chief
Characters
Violetta Valéry, Flora Bervoix, Annina, Alfred Germont, The Elder
Germont, Baron Duphol
THE
scene is laid in Paris, and the first act takes place in the house of
the beautiful courtesan, Violetta Valéry, who, although she knows
herself to be the victim of the fatal disease of consumption, and has
not long to live, yet determines to indulge in every possible pleasure.
Amongst the guests enjoying her hospitality is Alfred Germont, a young
man of good family, from Provence, who loves her passionately; and
Violetta, loving him also, determines to give up her present life, and
retires with him to her country house, where they spend a long time
together in deep happiness. During the absence of Alfred one day,
however, his father arrives, and entreats the courtesan to renounce his
son, since her connection with him will bring disgrace on their family,
and already prevents his sister from making a suitable alliance; and
Violetta is so overcome by the evident distress of the elder Germont
that she gives him the promise he requires, and, leaving a letter of
farewell to her lover, she returns to Paris and tries to drown her grief
in the excitements of her old life.
In Act 2 Alfred follows her to the house of her friend,
Flora Bervoix, who is holding a ball; and seeing her accepting the
attentions of Baron Duphol, a former admirer, he is furious, and
thinking this to be the real reason for her desertion of him he insults
her openly before all the guests, and is challenged by his rival.
In Act 3 Violetta is seen in a dying state, awaiting the arrival of
Alfred, who, having now heard of the sacrifice she has made for him, is
gladly returning to her once more, having received permission from his
father to make her his wife. When he arrives, however, he sees that she
is dying, and is filled with the utmost grief; and Violetta herself begs
the doctor to save her a little longer to enjoy the happiness now
offered to her. But when she realises that there is no hope for her, she
gathers her courage together, and, bidding a tender farewell to. her
lover, quietly expires in his arms.
179.—IL TROVATORE; OR, “THE GIPSY’S VENGEANCE”
Opera in
Four Acts
By Guiseppe Verdi
Libretto
By Cammarano
First
Produced
Rome, January, 1853
Chief
Characters
Leonora, Azucena, Manrico, Count Luna, Ferrando, Ruiz
THE scene is laid in Biscay and Arragon during the Middle Ages. The Count di Luna’s infant son haying fallen ill with some childish complaint is believed to have been bewitched by an old gipsy-woman, who has been seen hovering around the castle, and who is consequently seized and burnt at the stake as a sorceress. Her daughter, Azucena, full of frantic grief at her mother’s fate, is determined to be revenged. She therefore makes her way to the castle at once, and steals away the sick child, whom she casts into the still-burning fire which has consumed the gipsy; but, too late, she discovers to her horror that, in the confusion and blind passion of the moment, she has thrown her own infant into the flames by mis-take, and that the Count’s child is still alive. She still cherishes her desire for vengeance; but she now clings to the strange child, and has him brought up as her own son, no one else knowing of his true birth. He is named Manrico; and as he grows up he goes to the wars, and distinguishes himself by his bravery. At the opening of the opera he has just won the chief honours at a grand tournament, where he is crowned the victor by the beautiful young Countess Leonora. The pair fall mutually in love and Manrico afterwards visits Leonora several times, disguised as a troubadour, whose serenades are the introduction to many stolen love-meetings. Leonora also has another suitor, the reigning Count di Luna, who is in reality Manrico’s elder brother, and who, little dreaming of their relationship, is filled with a violent jealousy against his rival, and treats him with deadly enmity. The Count appears on the scene during one of the lovers’ twilight meetings; and when Leonora firmly announces her love and preference for Manrico, he challenges the latter to fight. Manrico is wounded; but, in the end, he gains the advantage over the Count, whose life, however, he spares. Azucena seeks out Manrico, and takes him to the gipsy encampment in the mountains, where she nurses him back to health; and here, in Act 2, he learns that Leonora, having heard a report of her lover’s death, is, in despair, about to enter a convent. He at once hurries to the convent, where he is just in time to save Leonora from falling into the hands of Count di Luna, who has planned to kidnap her. The lovers take refuge in the Castle of Castellar, which Manrico s troops are at the time defending against an opposing party headed by the Count di Luna. The latter succeeds in storming the castle, and Manrico is taken prisoner and thrust into a dungeon to await execution. Azucena, seeking him, is taken as a spy; and being recognised by the Count’s attendant, Ferrando, as the daughter of the burnt gipsy, she is doomed also to the stake, and is imprisoned with Manrico. Leonora, who has been set at liberty, visits the outside of the castle at night, and by singing a sweet and passionate love-song, she discovers that her lover is still within and alive, since he answers her also in song. She now seeks an interview with Count di Luna, and entreats him to spare her lover’s life; and this he agrees to do, if, in return, she will promise to become his bride. In despair, Leonora agrees to the terms, and Luna bids her go and set her lover free; but on the way she swallows some poison, in order to escape marriage with the Count. Manrico receives her with open arms; but, soon guessing the terms upon which his liberty has been secured, he repulses her. As she falls dying, however, he discovers her sacrifice; and, with a few tender words of farewell, she breathes her last in his arms. The Count now enters; and, furious at being thus baulked of his desire, he orders Manrico to be instantly beheaded, forcing the grief-stricken Azucena to witness the execution of the man he believes to be her son. His vengeful exultation, however, is quickly changed to utmost horror, when Azucena now reveals the fact that it is his own long-lost brother whom he has thus brought to an untimely death. Her own long-desired vengeance being thus accomplished, the gipsy falls lifeless at the feet of the remorseful and grief-stricken Count.
Romantic
Opera in Three Acts
By Richard Wagner
Libretto
By the Composer (Adapted from Heine ‘s version of “The Flying Dutchman”
Legend)
First
Produced
Dresden, January, 1843
Chief
Characters
Senta, Mary, The Flying Dutchman, Daland, Erik
THE
scene is laid in Norway and deals with the famous legend of “ The Flying
Dutchman,” a Dutch sea-captain who, having sworn that he would double
the Cape of Good Hope during the progress of a wild gale, is overheard
by the Devil, who condemns him to furiously sail the seas for ever,
unless he can find a r maiden who will love him faithfully unto death,
when the spell will be broken. Once in every seven years he is allowed
to go on shore ,to seek a maiden who will be true to him; but although
he has suffered his penalty for many ages he has not yet found the
faithful love he seeks.
In Act 1, another seven years having just elapsed, he brings his
enchanted vessel into a bay on the coast of Norway, where he meets with
Daland, a Norwegian captain, whom he greets; and on learning that
Daland has a fair daughter he begs to be permitted to woo her, offering
immense treasures for the privilege. Daland agrees; and the pair set out
for the latter’s home.
Act 2 takes place in the house of Daland, whose daughter, Senta,
sits spinning with her maidens and her old nurse, Mary. Senta is a
dreamy, romantic girl, and has been strangely attracted by the
well-known story of “The Flying Dutchman,” for whose sad fate she has
great pity, and whose image appears to her in her dreams. She has
another suitor, Erik the Huntsman; but she does not return his affection
with much fervour, having already conceived a secret love for the sad
wanderer, whose fate haunts her sleeping and waking thoughts. When,
therefore, her father presently enters with the stranger, she at once
recognises him as the hero of her dreams, though his identity is not as
yet known to the others; and when he, equally attracted by her sweet and
pure beauty, woos her, she eagerly responds, and the pair are betrothed.
Erik, however, is very distrustful of the stranger; for mysterious
phenomena take place upon the phantom ship, the crew of which reveal
their demoniac origin by indulging in eldritch laughter, and by the
sudden electrical illuminations in which their vessel is at times
enveloped. He therefore endeavours to persuade Senta to renounce the
stranger who has enthralled her, and to accept his own love instead; and
when she still declares that her heart is entirely given to her unknown
suitor, he angrily reproaches her with unfaithfulness to him, since he
has regarded her as his sweetheart from early childhood. The Dutchman
overhears this conversation, and is filled with despair, thinking that
if Senta has deserted one lover, she will also forsake him, and his
cruel fate will thus remain unchanged. He therefore rushes off to his
vessel like one distraught and forsaken; and Senta, imploring him to
remain, and passionately assuring him that her love has always been his
alone, flies after him, but is caught and held back by Erik, whose calls
for help quickly bring others on the scene. The Dutchman now stops and
reveals his true identity to the astonished and horrified bystanders;
and then, hastening on board his vessel, he bids Senta a tender farewell
and sets sail. Senta, however, is determined to link her fate with the
doomed man, whose image has been in her heart since childhood, and to
save him from his dreadful fate, even at the sacrifice of her own life;
and breaking away from the detaining arms of Erick, she hastens to the
edge of the cliff and casts herself into the sea, calling upon her
beloved hero. By her loving sacrifice and true proof of faithfulness
until death, the magic spell is broken; and the phantom ship
immediately sinks beneath the waves. Then, as the awed bystanders still
gaze at the seething whirlpool, they behold the revivified forms of
Senta and the Flying Dutchman, folded in each other’s arms, rising from
the sea, and soaring upwards into the heavens.
Last updated October 31, 2006