Opera Books
TWO HUNDRED
OPERA PLOTS
GLADYS DAVIDSON
Opera in
Four Acts
By Francesco Cilea
Libretto,
adapted from Scribe and Legouve’s Play
by A. Colautti
Chief
Characters
Adrienne Lecouvreur, Princess de Bouillon, Maurice (Comte de Saxe),
Prince de Bouillon, Abbé de Chazeuil, Michonnet
THE
scene is laid in Paris during the year 1730.
Act 1 takes place in the green-room of the Comédie Française, where
Michonnet, the stage manager, is being driven nearly frantic by the
constant calls on his attention and services by the various artistes,
who are dressing for the play which is about to be per-formed. The
Prince de Bouillon and his friend, the Abbé de Chazeuil, enter. The
former, though elderly and devoted to the study of chemistry, is paying
court to the gay actress, La Duclos; and the Abbé, being a frivolous
gossip and intriguer, encourages and assists him in his amour. They stay
to give a cordial welcome to the beautiful and talented actress,
Adrienne Lecouvreur, who now appears; and then they stroll off.
Michonnet has long cherished a deep and sincere love for this beautiful
actress; and he now approaches her, intending to declare his passion.
His courage fails him, however; and on presently learning that she has
lost her heart to another, he decides to suppress his own love and to
serve her as a true friend instead Maurice de Saxe, the lover of
Adrienne, now enters; and a happy scene and mutual declaration of love
ensues between the pair. As Adrienne is called away to the stage, they
arrange to meet again after the performance; and the fair actress places
in the hand of Maurice a bunch of violets she has been wearing, as a
token of her love. Although Adrienne imagines Maurice to be a plain
lieutenant in the army, he is in reality the Comte de Saxe, and holds a
most important military and political position; and for diplomatic
reasons, he is often compelled to accept the amorous attentions and
favours of certain fair and intriguing ladies of high rank, with whom he
is a great favourite. On returning to the green-room, the Prince de
Bouillon and the Abbé intercept a note addressed to Maurice, and written
by the actress La Duclos on behalf of the Princess de Bouillon, who has
conceived a violent passion for him, and desires him to visit her at her
villa that night, ostensibly for political reasons. The Prince,
recognising the handwriting as that of La Duclos, and imagining that she
is carrying on an amour with the popular Maurice, becomes jealous; and
considering himself slighted, he determines to interrupt the appointment
by visiting the villa himself and bringing a party to supper there. He
therefore allows the letter to be handed to Maurice, who, on reading it,
is annoyed; but, thinking it may prove of some political importance to
him, he decides to keep the appointment, and so sends a note of excuse
to Adrienne. The latter is much upset and disappointed on receiving his
message; but when the Prince presently invites her to join his
supper-party at the villa, promising to introduce her to the celebrated
Comte de Saxe, she gladly accepts, thinking to interest the great man in
her lover’s favour, still not knowing them to be one and the same
person.
Act 2 takes place at the villa of the Princess de Bouillon,
who awaits the arrival of Maurice. When he appears she reproaches him
for his recent neglect; and, seeing the bunch of violets he is wearing,
she jealously accuses him of loving another. Maurice, wishing to
propitiate the lady, gallantly presents her with the flowers; and he
then has great difficulty in checking the audacious love-making of the
enamoured Princess. He is, however, relieved by the arrival of the
Prince with his supper guests; whereupon the Princess, terrified lest
she should be discovered indulging in a secret amour, takes refuge in an
adjoining ante-room, which is in complete darkness. The Prince and the
Abbé, however, catch a glimpse of her vanishing skirts; and, imagining
the lady to be La Duclos, they determine to keep her a prisoner in the
dark room, in revenge for her fickleness. When Adrienne appears, and is
presented to the Comte de Saxe, she is delighted to discover that he is
her own lover; and Maurice, anxious to protect the Princess’s good name,
manages to whisper to Adrienne that it is not the actress Duclos who is
hiding in the ante-room, but another lady, who, for diplomatic reasons,
he wishes to remain unknown, and he begs her to guard the door of the
room. Adrienne agrees to do so; and presently she gets an opportunity to
enter the anteroom, having arranged with Michonnet, who has accompanied
her, to provide a way of escape for the lady through the garden. The two
women now meet, but in the darkness are unable to learn each other’s
identity; and the Princess becomes furiously jealous on discovering that
her rival is so closely in the confidence of Maurice as to be sent by
him to her assistance. She nevertheless takes advantage of the means
offered for escape, and so succeeds in avoiding discovery by her
husband. Michonnet presently returns to Adrienne a bracelet which the
unknown lady dropped on her way through the garden; and, on learning
that Maurice departed with her, she is filled with grief.
Act 3 takes place in the salon of the Princess, who is giving a grand
fête, at which Maurice is present. On asking for some powder for her
face, the Abbé brings her a box containing powder, which the Prince
hastily snatches away, declaring it to be a deadly poison from his
chemical laboratory. On hearing of its fatal power, the Princess is
strangely interested, and determines to secure some of the poison for
the destruction of her rival, whose identity she does not yet know.
During the entertainment, however, Adrienne Lecouvreur appears, having
been engaged to recite; and then the Princess recognises the voice of
the actress as that of the lady who helped her to escape from her recent
awkward predicament, and on seeing the tender glances bestowed on her by
Maurice she is filled with a raging jealousy. Her anger is increased
when Adrienne selects as her recitation the great speech of “ Phèdre,”
in which the latter denounces her hostess; and she determines on a
speedy and terrible revenge.
In Act 4 Adrienne is seen in her own home, very unhappy, because of
Maurice’s recent absence from her side. Michonnet, still her devoted
friend and admirer, endeavours to comfort her; and some of her
companions from the theatre enter to bring her birthday greetings, and
to entreat her to return to the stage, which she has almost deserted of
late. She promises to do so; and when they have gone, the devoted
Michonnet presents her with a casket containing her own valuable jewels,
which she had recently pledged to pay certain debts of Maurice’s, and
which the kindly manager has redeemed as a birthday gift. Another casket
is now handed to her by a servant; and in this Adrienne finds the faded
bunch of violets which she gave to Maurice, and, imagining its return to
be the sign that he loves her no more, she is filled with despair, and
presses the dead blossoms passionately to her lips. By this fatal
caress, she brings death upon herself; for the violets have been
sprinkled by the Princess de Bouillon with the deadly powdered poison
made by her husband, and sent by her to her hated rival. When,
therefore, Maurice himself presently enters to explain his unavoidable
absence of late and to declare his still passionate love for her, he is
horrified at the sudden deadly pallor and convulsive agony which seizes
her; and, supporting her lovingly, he loudly calls for help. Michonnet
and others rush in at his cries; but the beautiful Adrienne is past all
human aid, and, with a last shuddering sigh, she expires in her lover’s
arms.
Opera Comique in Two Acts.
By Peter Cornelius
Libretto
By the Composer
First
Produced
Weimar, December, 1858
Chief
Characters
Margiana, Bostana, Noureddin, Abdul Hassan (The Barber), The Cadi Baba
Mustapha, The Caliph Haroun Alraschid
THE
story of this amusing opera is adapted from the “Arabian Nights”
story of the
barber. Noureddin, a rich and handsome young man of Bagdad, has fallen
so violently in love with Margiana, the beautiful daughter of the Cadi
Baba Mustapha, that, knowing how strictly she is guarded, and, fearing
his suit will be in vain, he has become ill with melancholy; and when
the curtain rises he is discovered lying upon a couch, utterly
disconsolate and exhausted with his love-sickness. He quickly revives,
however, on receiving a visit from Bostana, the old nurse of Margiana,
who comes to tell him that her young mistress returns his affection, and
is willing to grant him an interview that evening, as the muezzin
sounds, when her vigilant father will betake himself to the mosque for
prayer. The young man is delighted at the news, and proceeds to array
himself for the interview; and, having neglected his toilet during his
attack of melancholy, he calls for a barber to be sent to him at once.
The barber arrives, Abdul Hassan, a garrulous, meddlesome old gossip,
whose chatter nearly drives the impatient lover frantic. The old
chatterbox, declaring himself to be greatly versed in the arts of
astrology, philosophy, and alchemy, begs the youth not to go forth from
his house that day, since some misfortune threatens; and when Noureddin
pooh-poohs his remarks, he tries to detain him by long tales of his own
brothers’ mishaps in love, and by delaying the completion of his toilet.
On learning the name of the young man’s lady-love, the old dotard leaves
his client with only one side of his head shaved, whilst he sings to him
an impromptu love-song addressed to “ Margiana”;
and it is only by calling in his servants to his aid that Noureddin
can complete his toilet and prevent the meddlesome barber from
hindering him. Finally, he sets out for his promised interview; and the
nonpiussed old barber, determined to see the end of this interesting
love affair, follows him.
In Act 2 the fair Margiana is found in her apartment with her
father, who, informing her that he has promised her in marriage to an
old friend of his own, shows her a trunk full of rich stuffs, jewels,
and other gifts, which have been sent to her as gifts from the elderly
bridegroom-elect. Margiana, thinking only of her secret lover, pretends
to be pleased with the gifts, in order to prevent her father from
suspecting that her heart is engaged elsewhere; and as the muezzin
sounds for prayer, the Cadi departs to the mosque. No sooner has he gone
than Noureddin appears; and the lovers have a very happy interview.
Their love-making, however, is interrupted by the unexpected return of
the Cadi, who has come back to beat a disobedient slave; and, there
being no means of escape, Noureddin is thrust into the trunk containing
his rival’s gifts. The old barber, hearing the cries of the slave who is
being punished, thinks that Noureddin is being maltreated; and, having
taken a real fancy to the young man, and wishing him to succeed in his
love-making, he rouses the populace around, and brings an excited mob
into the house of the Cadi, who is furious at the invasion, and accuses
the intruders of having come thither for the purpose of stealing his
daughter’s treasures during his own absence. The commotion is so great
that the Caliph Haroun Alraschid himself comes to inquire into the
matter; whereupon the Cadi denounces the excited old barber as a robber,
whilst the indignant Abdul accuses the chief magistrate of murdering his
client, the young Noureddin. Upon the Cadi drawing attention to the
trunk in which Margiana declares tearfully that her treasure lies, the
Caliph commands his attendants to open the box; and, when the lid is
removed, they discover therein the still form of the lover, who has
fainted from excitement and want of air. The old barber, however,
quickly restores him once more, by singing to him the love-song he had
composed to Margiana; and the truth of the situation dawns upon all. The
Caliph, feeling sympathy for the dismayed lovers, asks the irate father
to consent to their union; and finally the Cadi relents and bestows his
blessing upon the now happy pair. The Caliph then declares that the
amusing old barber shall become his chief story-teller, and the opera
ends with the royal invitation to all present to feast and dance at the
wedding of Noureddin and his lady-love.
Lyrical Opera in One Act
By Claude Debussy
Libretto
By E. Guinard
First
Produced
Paris, 1884
Chief
Characters
Lia, Azaël, Simeon
THE story is based on the Biblical parable of “ The Prodigal Son,” omitting the incident of the brother’s complaint, and ending with the father’s forgiveness of his repentant son. The setting is a peaceful village scene near the Lake of Genesareth: From the distance comes the sound of the happy voices of merrymakers, who are singing joyful songs in celebration of a summer revel; and, contrasted with them is the drooping figure of Lia, who has left the gay scene to seek a quiet spot where she may weep undisturbed. She still mourns the loss of her best-beloved child, Azaël, the Prodigal Son, who left his home long since to indulge in wild excesses and extravagant pleasures, and is now an outcast wanderer. She constantly prays for his return, and has already forgiven him for his wrongdoing. As she weeps alone, her husband, Simeon, appears, and tenderly bids her forget her grief; and when the happy youths and maidens enter with their garlands of flowers and offerings of fruit she follows in their train with her lord. As the last of the revellers depart Azaël himself emerges from the trees and bushes where he has been hiding, and gazes upon the scene of his happy childhood with a breaking heart. He is clad in rags — an outcast, indeed — worn out and utterly exhausted with suffering and weary wanderings; and, after giving vent to a passionate outburst, in which he blames himself for his folly and sin, and longs for the love of his parents and the peace of his home once more, he falls to the ground unconscious, unable to bear such sad thoughts. Presently, Lia returns, having escaped again from the jarring mirth of the merrymakers; and, seeing the prostrate figure, she approaches, full of compassion for one who is an outcast as is her own erring child — but, when she see that the new-coiner is her beloved Azael, she is full of joy at his return. Her joy is changed to despair, however, when, on beholding his pallor, she believes him to be dead; but Azaël presently recovers, and is filled with happiness at the loving greeting of his mother. The merrymakers now enter with Simeon, and Lia brings forward the outcast, and bids all greet him as her long-lost son. Simeon, however, hesitates, as his repentant child kneels at his feet and asks forgiveness; but he is not long able to resist the promptings of his paternal heart nor the appeals of the eager Lia, and he presently folds the prodigal in his arms with great joy. He then bids his followers give welcome to the wanderer and kill the fatted calf and make merry in his honour; and the scene ends with renewed revels and a song of thanksgiving for the return of the repentant sinner.
Tragic Opera in Five Acts
By Claude Debussy
Libretto, adapted from the lyrical drama of Maurice Maeterlinck
First
Produced
Paris, 1902
Chief
Characters
Melisande, Queen Genevieve, Pelleas, Golaud, King Arkel, Little Yniold
HE
curtain rises upon a charming sylvan scene, where, beside a well in the
midst of the forest, sits a lovely maiden, weeping. This is Melisande, a
mysterious maiden, who has been forsaken by her friends and protectors;
and she is presently accosted by a wandering huntsman, Prince Golaud,
who, attracted by her loveliness, enters into conversation with her,
endeavouring to discover her antecedents. The beautiful stranger,
however, can give him no information beyond the fact that her name is
Melisande, and that she is a friendless: wanderer. Golaud tells
her of his royal home, of his grandfather, King Arkel, his mother, Queen
Genevieve, of his sick and suffering father, his beloved younger
brother, Pelleas, and his little son, Yniold — he himself being a
widower; and he succeeds in somewhat comforting Melisande, with whom he
falls in love, and makes his wife. Melisande, however, though grateful
for her husband’s love and protection, has not yet experienced true love
herself; but when Golaud brings his mysterious bride home, and she meets
his brother Pelleas, the tragedy begins. No sooner have Pelleas and
Melisande beheld each other than a mutual and passionate love grows up
within their hearts; and Golaud’s jealousy is soon aroused. Melisande,
however, in spite of her joy in the presence of Pelleas, firmly resolves
to remain true to her husband, and endeavours to keep out of the way of
the man she loves.
In Act 2 Pelleas and Melisande meet beside an old fountain;
and in her agitation on hearing the words of love and devotion which
fall from the ardent Pelleas, she drops her betrothal ring into the
water, and it is lost. She is full of fear for the wrath of Golaud,
which indeed falls upon her when she returns. Golaud has met with a
slight accident whilst out hunting during her absence; and when he hears
that she has lost the ring he gave her, he is furious and commands her
to seek for it, bidding Pelleas accompany her — for he is already
jealous and suspicious of his brother, and seeks proof of the latter’s
love for Melisande. The wretched pair therefore — once more deliberately
thrust in temptation’s way — depart to the water grotto, not daring to
offend Golaud further by telling him that the ring is beyond recovery.
The lovers still speak with each other at intervals, though they avoid
actual meetings; and on one occasion when Melisande leans forth from her
chamber window in answer to the call of Pelleas, her beautiful long hair
falls down and envelops in a golden cloud the delirious Pelleas, who
kisses the shining locks passionately. This interview is interrupted by
Golaud; and Melisande now has to undergo the petty persecutions of her
jealous husband, who even becomes violent at times, twining her hair
about her body, and terrifying her by his outbursts of passionate love.
Pelleas, fearing for the safety of his beloved one, pleads with his
brother to be more gentle with Melisande, whose quickly failing health
alarms him; but in a violent scene Golaud accuses him of treachery and
Melisande of infidelity. In order to procure definite proofs of his
suspicions, he forces little Yniold, his young son by his first wife, to
watch the actions of the pair. In Act 4 Golaud follows Melisande to the
forest fountain, where she has arranged to meet Pelleas for the last
time, to bid him farewell, having resolved to see him no more; and here
he interrupts their sorrowful and passionate interview, and in a
paroxysm of wild jealousy springs upon his brother from behind and slays
him. In Act 5 Melisande is seen on her death-bed, after the birth of her
child; and here at last she gathers up her failing strength, and
convinces her husband of her unfailing fidelity, declaring that her
unfortunate love for his brother was innocent; and as Golaud sinks at
her feet, overcome with remorse and grief, she expires.
Opera Comique in Three Acts
By Léon Délibes
Libretto
By Edmond Gondinet
First
Produced
Paris, 1873
Chief
Characters
Javotte, Agathe, Chimène, Marquise de Montcontour, Benoit, Miton,
Marquis de Montcontour, Marquis de Flarembel, Marquis de la Bluette
THE
scene is laid in a château not far from Versailles. The old Marquis de
Montcontour is very excited because he is at last to have an audience
with Louis XIV., having obtained the coveted honour by being fortunate
enough to capture an escaped parrot belonging to Madame de Maintenon.
After practising elaborate court bows for some time, he ‘departs; and
then there is a pretty love scene between the young lady’s waiting-maid,
Javotte, and her sweetheart, Benoit, a young peasant, who is eager to
enter the Marquis’s service, which the merry soubrette promises to
arrange with Miton, an old dancing-master, who presently arrives to give
a lesson to the four lovely daughters of the house. The lesson proceeds;
but in the midst of it the lovers of the two elder girls, Agathe and
Chimène, enter through the window. These are the young Marquis de
Flarembel and the Marquis de la Bluette; and as they commence a
declaration of Jove to the girls, their mother, the Marquise, enters
with two elderly suitors whom she has selected for them, the one a Baron
the other a rich financier. The clandestine lovers hide themselves for a
short time behind the wide-hooped skirts of the young ladies; but they
are discovered at last, and then the angry Marquise packs off the four
girls at once to a neighbouring convent, to be out of harm’s way. The
old Marquis now returns from his royal interview, being in a great
flutter because the King has commanded him to present his son at court
on a certain day; and not daring to inform His Majesty that he has made
a mistake, since he has no son, but only four daughters, the old lord is
greatly distressed, declaring that he must present a son at the
next audience, since “the King has said it! “ The dancing-master
suggests a way out of the difficulty by offering the peasant sweetheart
of Javotte as a substitute for the imaginary heir; and he promises to
transform the young Benoit into a gay cavalier within ten days. The old
Marquis is delighted at this way out of the difficulty; and the pleased
Benoit proves such an apt pupil, that he soon has the grace and bearing
of a haughty young aristocrat, and even disdains his humble sweetheart,
and lords it over his pretended parents.
In Act 2 the bogus heir is shown in the midst of the
extravagant pleasures he has taken to so readily; and a grand masked
ball is in progress in his so-called father’s grounds, to which he has
invited everybody whose name is on the Court Almanac, many of whom have
been deceased some time. Their relations are naturally hurt at such
indiscriminate invitations being sent out; and the old Marquis has to
smooth matters over. He has to endure other shocks, however, from the
frolicsome Benoit, who plays many merry tricks on the amazed guests,
committing constant outrages on the prim etiquette of the day. Finally
the youth, hearing from the lovers of Agathe and Chimène that he has
four charming “sisters “ in the neighbouring convent, departs with De
Flarembel and De la Bluette, and sets the girls free; and as the
reunited sweethearts greet one another with great joy, the two elderly
suitors withdraw in anger, vowing to be revenged on the boorish and
indiscreet “ brother.” In the last act, Benoit appears, looking somewhat
the worse for wear, having had a good frolic in the city, and fought
with both the irate old suitors, in each case allowing his opponent to
think him dead, though in reality he was unhurt; and presently the
worried old Marquis is amazed to receive letters of condolence from the
suitors, and also from the King, expressing sympathy with him for the
loss of his gay young son. Here, however, he now finds a way out of his
difficulties; for his pretended son being reported dead, there is no
need to keep up the tiresome deception any longer. Even Benoit himself
is tired of the farce; and on obtaining permission to wed the charming
Javotte, and receiving generous gifts of money from the young ladies for
assisting them in their love-making, he is rendered happy. The King
having bestowed a dukedom on the old Marquis in sympathy for his
supposed loss, the delighted father feels he can afford to behave
generously to his daughters; and the girls are therefore permitted to
accept the gallant young suitors of their own choice.
Romantic Opera in Three Acts
By Léon Délibes
Libretto
From the Poem of Edmond Gondinet and Philippe Gille
First
Produced
Paris, 1883
Chief
Characters
Lakmé, Gerald, Nilakantha, Frederick
THE
action takes place in India, and opens in the sacred grounds of the
Hindoo Priest, Nilakantha, who has an inveterate hatred for the English.
During his absence, however, a party of English officers and ladies
enter, out of curiosity, and are charmed with the lovely garden. They
soon depart, with the exception of the officer, Gerald, who remains to
make a sketch, in spite of the warnings of his friend, Frederick.
Presently the priest’s lovely daughter, Lakmé, enters, having come by
the river; and as she steps from her boat, and encounters the admiring
gaze of the fascinating Gerald, a mutual love springs within the hearts
of the pair, who make friends, their passion rapidly increasing. They
are interrupted, however, by the return of the priest, who is furious at
the presence of a foreign stranger in his sacred grounds; and Gerald has
to make a quick escape, being assisted by a sudden thunderstorm, which
prevents Nilakantha from following. The angry priest, however, is
determined to discover the intruder who has dared to make love to his
daughter, and to be revenged upon him; and for this purpose, in the next
act, we find him in the city market-place, with Lakmé, both disguised in
the garments of beggars. He forces Lakmé to sing, hoping thus to attract
the attention of her lover, should he be amongst the party of English
who are buying in the bazaars; and this cunning plan succeeds, for
Gerald, who is indeed present, instantly recognises the thrilling voice
of the fair Hindoo maiden whose bower he had invaded, and he eagerly
moves towards her. The outraged priest, however, by a dexterous
movement, savagely stabs him in the back, and vanishes before the deed
has been discovered.
Act
3 takes place in a beautiful jungle whither Gerald has been brought by
the loving Lakmé, and nursed back to health by the tender maiden with
whom he passes his days in happy idleness during the healing of his
wound. Lakmé, however, fearing lest his love may be but evanescent, goes
forth to seek the magic water, which, according to a Hindoo
superstition, will render the drinker of it eternally constant in love;
and during her absence Gerald’s resting-place is discovered by his
English friends, who gladly welcome him, having believed him dead. His
fellow-officer, Frederick, entreats him to return with them at once to
his duty, being eager to entice him from the Hindoo maiden; and Gerald
is at length persuaded to do so, remembering, with remorse, the fair
English girl to whom he is betrothed. Lakmé now returns, and on learning
that her lover is about to leave her, and that he will be lost to her
for ever, she gathers some poisonous. herbs, the deadly juices of which
she drinks; and as Gerald hastens to her side for a last embrace, she
dies in his arms. At this moment,. the angry Nilakantha appears; but as
the supposed wrath of his gods is appeased by one victim, he permits
Gerald and his friends to depart, and remains alone to mourn his dead.
37. — THE DAUGHTER OF THE REGIMENT
Opera Comique in Two Acts
By Gaetana Donizetti
Libretto
By St Georges and Bayard
First
Produced
Opéra Comique, Paris, Feb., 1840
Chief
Characters
Marie, Marchioness de Berkenfeld, Tony, Sergeant Sulpice
THE
scene is laid in the Tyrol, where the French army is in occupation.
Marie, a young vivandière attached to the Twenty-first Grenadiers, and
toasted by them as “ The Daughter of the Regiment,” is believed to be an
orphan, having been discovered when a tiny child upon the battlefield by
Sergeant Sulpice, who took her in charge, he and his companions adopting
her and bringing her up as their pet. The Sergeant, however, carefully
preserves a letter which he found affixed to the child’s clothes when he
took her in charge, and which is addressed to the Marchioness de
Berkenfeld. At the opening of the opera Marie is seen, a merry young
vivandière, happy in her free life, and the darling of her many soldier
“ fathers,” who all adore her. She has a sweetheart, a young Swiss named
Tony, who has recently saved her life; and at the opening of the opera
he has come to visit her. At first the Grenadiers take him for a spy;
but on Marie explaining that he has saved her life, they gladly welcome
him, and persuade him to join their ranks. On hearing that he loves
their beloved “daughter,” at the entreaties of Marie they give their
consent to the betrothal of the pair; but this happy plan is frustrated
by the arrival of a stranger, who is none other than the Marchioness de
Berkenfeld, to whom Sergeant Sulpice hands the letter he had found on
the deserted child. The Marchioness is filled with emotion on reading
the letter, and announces that Marie is her own niece, who had been
lost in infancy; and she therefore claims her from the regiment, refuses
the humble Tony as an unsuitable husband, and declares that Marie shall
accompany her to her château at once. Tony is in despair, but he cannot
follow his sweetheart because he has joined the regiment and is bound to
serve with them; and Marie, after taking a tearful farewell of her
beloved soldier friends, is taken away by her new relation.
In Act 2 Marie is seen in her aunt’s château, attired as a
fine young lady, and instructed in music and every fashionable
accomplishment; but her heart is still with her old friends, and on
receiving a visit from Sergeant Sulpice, she sings the old regimental
songs with him, thereby greatly shocking her prim aunt. The Marchioness
has arranged a marriage for her with a foolish young nobleman; and,
after a great struggle, Marie is at last forced to consent, though her
heart is still with her old sweetheart, Tony. At this moment, how ever,
there is a sound of drums and fifes; and Marie is delighted to find that
it is her beloved regiment, the Twenty-first, coming to see how their “
daughter “ is progressing. At their head is Tony, now a colonel, having
risen rapidly by his gallant behaviour during the war; and after a
loving greeting between the pair, the young colonel once more asks her
hand in marriage, feeling that his new rank justifies such an action.
The Marchioness, however, still refuses to permit her niece to wed one
below her own rank; and when Marie refuses to obey her commands, and is
arranging to elope with Tony, her stern guardian reveals to her the fact
that she is in reality her own daughter, being the offspring of a
marriage she contracted in early youth with an officer much below her in
social rank, a mésalliance which she has kept hidden from all her
relations and friends, the young man having died soon after their union.
Marie, feeling that filial duty compels her to obey her mother, now
consents to renounce Tony; but seeing that she is quite broken-hearted
the Marchioness at last relents, and gives her consent to the lovers’
union. The company of aristocratic guests who had assembled to witness
the marriage contract of the young nobleman retire in high disdain at
this turn of affairs; but Marie and her beloved Tony embrace with great
joy, and receive the blessings and good wishes of the gallant
Twenty-first, who raise hearty cheers for the happiness of their
cherished “ daughter.”
Opera Comique in Three Acts
By Gaetano Donizetti
Libretto
adapted from Ser Marcantonio By Salvatore Gammerano
First
Produced
Paris, January, 1843
Chief
Characters
Norina, Don Pasquale, Ernesto, Dr Malatesta
THE action takes place in Rome, in the house of a rich old bachelor, Don Pasquale, who is angry with his nephew, Ernesto, because the latter refuses to accept a certain wealthy but uninteresting lady whom the uncle desires him to marry, declaring that he will wed none other than a pretty young lady named Norina, with whom he is in love. The Don has a friend, Dr Malatesta, whom he hopes will help him to manage his headstrong nephew; but Malatesta has also much affection for Ernesto, and determines to assist him to gain his heart’s desire. He therefore visits Don Pasquale, and persuades him to punish his disobedient nephew by entering into a marriage himself; and he offers to provide the old bachelor with a bride in the person of a lady whom lie describes as his sister, but who is in reality the young Norina, with whom Ernesto is in love. Don Pasquale thinks he will enjoy revenging himself on his nephew in this manner, and agrees to the project; and then Malatesta arranges a plot with Norina, whereby the latter shall enter into a bogus marriage contract with the old bachelor, afterwards leading him such a dance with wild extravagances and indiscreet behaviour that he will be only too glad to be rid of her, and to hand her over to his nephew. Everything is arranged; and Norina is brought to Don Pasquale’s house, where, after some hesitation, she agrees to sign the contract on the arrival of the notary. The contract is of course a bogus one, and the notary a friend of the Doctor’s, who has consented to masquerade in the character; but Don Pasquale thinks that matters are in regular order. Ernesto is amongst the witnesses, and though amazed at first on discovering his uncle’s bride to be his own sweetheart, Norina, he is soon made acquainted with the true facts of the case, and joins in the plot willingly. After signing the bogus contract, Norina suddenly changes the quiet and demure air she has worn until now; and at once she proceeds to reveal herself in another character, as a woman of the wildest extravagance — ordering expensive decorations for the house, and valuable clothes and jewellery for herself, and announcing her intention to pass a life of unbounded pleasure now that she is the wife of such a rich man. Don Pasquale is dumbfounded at her behaviour; and throughout the next scene, he is seen squirming under the absolute rule of the capricious and extravagant girl, suffering agonies of fear at her squandering of his wealth, and her unbounded coquetries with outside admirers. Finally, the limit of his patience is reached on discovering a love-letter amongst the flighty Norina’s papers; and when Dr Malatesta comes in to condole with him on this ill-assorted contract, he declares he will turn the frivolous lady away from his house. Malatesta then paves the way for the revealing of his plot; and, the old Don, thoroughly wearied with his recent experiences, is only too glad to discover that he is not really contracted to such a troublesome partner, and willingly hands her over to his delighted nephew. The lovers, having thus gained their wish, all ends happily.
Opera Comique in Two Acts
By Gaetano Donizetti
Libretto
By Romani
First
Produced
Milan, 1832
Chief
Characters
Adina, Nemorino, Dulcamara, Belcore
THE scene is laid in an Italian village, where a pretty and coquettish country belle, Adina, is amusing herself by keeping on tenter-hooks her two sweethearts, Nemorino, an honest young farmer, and Belcore, a recruiting sergeant from the next village. After much lively flirtation, matters are brought to a climax by a visit to the village of a quack, from whom Nemorino purchases a bottle supposed to contain “the Elixir of Love,” but which is in reality only ordinary wine, since the quack, Dulcamara, not possessing the drug asked for, still desires the simple peasant’s money. Being eager to put the Elixir to a good test, Nemorino swallows the whole contents of the bottle; with the result that the wine makes him half-drunk, so that Adina is shocked at his unseemly behaviour, and declares she will marry Belcore. The marriage contract is to be signed next day; and Nemorino, in despair, seeks a second bottle of Elixir from the quack, permitting Belcore to enter him as a recruit, in order to secure the bonus money, wherewith he is able to pay for the drug, the effect of which — being still merely strong wine — is, however, to place him still further in the black books of his ladylove. Next day, the village girls, having discovered that Nemorino’ s uncle has died and left him a fortune — a fact not yet known to the young man—begin to pay great attention to the now eligible farmer, who is much surprised, but takes advantage of the circumstance to rouse the jealousy of Adina who has — much to the chagrin of Belcore — postponed the signing of the wedding contract until evening. Seeing the girl looking dejected, Dulcamara, struck with remorse, reveals to her his deception of her sweetheart; and Adina, pleased with this proof of the true love and sincerity of the young farmer, decides to reward his faithfulness by granting him his heart’s desire. Belcore reminds her that the new recruit, having spent part of his bonus money, must depart to take up his military duties; but when Adina herself repays the money, the disappointed suitor retires crestfallen, whilst the triumphant village belle bestows her hand upon the delighted Nemorino.
Grand Opera in Four Acts
By Gaetana Donizetti
Libretto
By Waetz and Royer
First
Produced
Paris, December, 1840
Chief
Characters
Leonora, Inez, Fernando, Alphonso (King of Castile), Baithasar
THE scene is laid in Spain, in the Middle Ages. Alphonso, King of Castile, has a beautiful mistress, Leonora, whom he keeps in secret splendour in the Island of St Leon, and, despite the anger of the Pope, he declares his intention to put away his Queen and to marry his paramour instead. Leonora, however, has fallen in love with Fernando, a young novice of the monastery of St James, where she goes to worship in the cloisters; and Fernando, having observed the lovely lady at her devotions, has also conceived a violent passion for her. This he confides to his superior, Balthasar, on the eve of his initiation; and the stern monk sends him forth into the world, as unfit for the holy brotherhood. Leonora sends her maidens to bring Fernando to her retreat; and upon the enraptured young man declaring his love for her, she confesses that it is returned. Through Leonora ‘s influence, Fernando obtains an important post in the army; and later, he returns from the wars victorious, having covered himself with glory. Meanwhile, the King has been visited by Balthasar, who again threatens him with papal excommunication unless he gives up his guilty intercourse with Leonora ;and on the return of Fernando, Alphonso, having discovered the real love that exists between his mistress and the returning hero, and now anxious to avoid the papal wrath threatened, decides to make the lovers happy. He therefore advances Fernando still further, and informs him that he has found a bride for him in the beautiful Leonora. Fernando is overjoyed, knowing nothing of his beloved one’s former relations with the King; but Leonora, fearing her lover’s scorn on learning the truth, desires to inform him of the true facts of the case before their marriage, and sends her attendant, Inez, to tell him all. Alphonso, however, learning Inez’s mission, and anxious that nothing shall happen to prevent the marriage, keeps her from giving Leonora’s confession to her lover; and the marriage therefore takes place, whilst Fernando is still in ignorance of the fact that the bride he so gladly receives has been the King’s mistress. After the ceremony, however, the courtiers soon reveal the truth of the matter by their insolent behaviour; and then, full of shame and grief, the deluded Fernando flees from the Court, and finds refuge once more in the monastery by taking the vows. Here, he is followed by the wretched Leonora, who tells him in broken accents of her passionate longing for a pure love, begging his forgiveness for her past life, and her unwillingness to deceive him; and having obtained his forgiveness, she dies in his embrace.
Last updated October 31, 2006