Opera Books
TWO HUNDRED
OPERA PLOTS
GLADYS DAVIDSON
Grand Opera in Three Acts
By Carl Goldmark
Libretto
By Siegfried Lipiner
First
Produced
Vienna, November, 1886
Chief
Characters
Vivien, the Fairy Morgana, Merlin, The Demon, King Arthur, Modred,
Lancelot
THE story of the opera is based on the Arthurian legend, the scene being laid in Wales. King Arthur is engaged in a losing struggle with the heathen Saxon invaders; and in his difficulty he sends Lancelot to seek the counsel of the magician Merlin, who is the offspring of the Devil with a pure virgin. The desire of the Evil One had been to beget a child who would assist him to overcome the good in the world; but Merlin has inherited the goodness of his gentle mother, whose spirit still protects him, and he uses his energies chiefly against the evil around him, utilising his powers of calling up demons and spirits to secure good ends rather than bad. On the arrival of Lancelot, he calls up his Demon Familiar, by whose help he enables Arthur to gain many victories over his enemies. The Demon, however, being in league with the Devil, does this work unwillingly, and he presently relates his grievances to the Fairy Morgana, who comforts him by declaring that Merlin will lose all his magic power if he falls in love. The Demon, therefore, seeks out Vivien, the most beautiful woman at Arthur’s Court, and arranges a meeting between her and the magician. They mutually fall in love; but for a while Merlin tries to conquer his passion, knowing that his powers will leave him if he yields. His love, however, is even stronger than his will, and when Modred, Arthur’s nephew, is hatching plots against the throne during the King’s absence at the wars, he fails to discover the traitor’s ambitious schemes. Meanwhile Vivien is led by the Demon into the enchanted garden of Merlin, and there the lovers declare their passion, and enjoy an interval of perfect joy. When, however, the King once more sends for Merlin’s help in a crisis, the enchanter makes a feeble effort to free himself from his enslaver’s detaining hands, and is in despair at finding himself so weakened by the indulgence of his passion; but Vivien, angry at his desire to leave her, casts over him a magic veil which the Demon has provided for her use, and the enchanter is at once a prisoner. The lovely flower garden vanishes, and amidst a scene of desolation Merlin is seen chained to a mighty rock by ropes of fire. Vivien is now filled with remorse for her rash act, and in despair she is led away by her maidens. The Fairy Morgana, however, appears to her, declaring that Merlin can only be released from perdition by a woman laying down her life as a sacrifice for his. Meanwhile the Knights come once more to seek Merlin’s aid for their harassed King, and are full of grief at sight of the tormented captive; and Merlin, fuming at his impotency, now passionately calls upon his Demon Familiar, recklessly promising his soul to the Powers of Evil in return for his liberty, to enable him to serve his country once again. The compact is accepted, and as his chains fall from him, Merlin dashes off with his friends into the midst of the battle. The beautiful and sorrowful Vivien appears to greet him on his return, but she is filled with despair when he is brought to her in a dying condition, having gained the victory for his King, but received mortal injury in so doing. As he lies dying, the Demon appears to claim his reward — the soul of the mighty Merlin; but Vivien, remembering the message of the Fairy Morgana, and determined to save her beloved one from perdition, snatches up a dagger and stabs herself to the heart, and the lovers expire side by side.
Grand Opera in Four Acts
By Carl Goldmark
Libretto
By Mosenthal
First
Produced
Vienna, March, 1875
Chief
Characters
The Queen of Sheba, Sulamith, Astaroth, King Solomon, High Priest
THE
subject of this opera has little to do with the Bible narrative, an
original and most dramatic plot having been evolved by the librettist.
Assad, chief courtier of King Solomon, has been despatched by his royal
master to escort his beautiful and celebrated visitor, the Queen of
Sheba, to the palace; and on returning to announce the approach of the
gorgeous Princess, he appears so disturbed that King Solomon, and also
his betrothed sweetheart, Sulamith, daughter of the High Priest, inquire
the cause. Assad tells his master that on his journey he met a
mysterious nymph bathing in a well, who, by her alluring beauty and
magic spells, won his adoration. The King is greatly disturbed, and he
makes arrangements for the wedding of the young man with Sulamith on the
morrow. The Queen of Sheba is now announced, and received with great
pomp and state; and when she presently unveils, Assad is amazed and
horrified to discover that she is the enchantress he met in the desert.
At first the Queen affects not to know or be interested in Assad; but on
learning that he is to wed Sulamith on the morrow a sudden jealous
passion for him springs up within her, and she endeavours to lure him
away from his devoted sweetheart and secure him as her own lover. When
night falls, she comes into the palace gardens with her chief slave,
Astaroth, with whose sweet singing she entices the sleepless Assad to
come forth; then, meeting him, she uses all her best arts to captivate
the young man, who finds himself unable to resist her wiles, even though
he struggles against his passion.
In the next act the marriage of Assad and Sulamith is about to take
place in the Temple; and here again the Queen of Sheba, who is present,
exercises her arts upon her victim, luring him to her side by tenderly
whispering his name in accents of love; and Assad, forgetful of his fair
bride, flings himself at the feet of the siren and madly declares his
passion for her. The High Priest upbraids him for thus desecrating the
Temple, and the infatuated young man is condemned to death. Both the
Queen of Sheba and Sulamith, however, plead for him, and finally the
King changes the sentence to banishment. In the last act Assad is found
in the desert, whither he has retired in despair, having now realised
and repented of his foolish and guilty passion for the heathen woman;
and he is overcome with remorse for his cruel treatment of the gentle
Sulamith, whom he has always loved. As these thoughts pass through his
mind, the enchantress again visits him, and tries her witching arts on
him once more; but Assad this time scornfully repulses her advances, and
after a passionate struggle between the two opposing wills, the young
man finally conquers, and the Queen departs, crestfallen. Exposure to
many days of burning heat has by this time utterly exhausted the weary
Assad, who is dying, when Sulamith presently appears, having taken the
long and perilous journey, heedless of danger and discomfort, that she
may be near at hand to comfort the exile; but she has no sooner appeared
than a terrible simoon suddenly sweeps down upon them, and as the
blinding sand gradually clears away, and the daylight once more appears,
the lovers are seen dead in each other’s arms.
Opera in Four Acts
By A. Goring Thomas
Libretto
based on Victor Hugo’s “Hunchback of Notre Dame,”
by Alberto Randegger
First
Produced
Drury Lane, March, 1883
Chief
Characters
Esmeralda, Fleur-de-Lys, Phoebus de Chateaupers, Claude Frollo,
Quasimodo, Gringoire, Clopin
THE
story of this charming opera is founded upon Victor Hugo’s romance, “The
Hunchback of Notre Dame,” which it follows pretty closely in its main
outlines, although, in order to fulfil the demands of opera comique, the
tragic and dramatic dénouement of the original tale is converted into
the requisite happy ending for the pretty heroine and her lover. The
scene is laid in Paris, during the fifteenth century, where Esmeralda, a
beautiful gipsy-girl, is seen heading the revels in the Beggars’
Quarter, she being respected by these careless folk as their Queen.
Esmeralda leads about with her a pet goat, of which she is passionately
fond; and she is gaily dressed in spangled garments, and earns her
living by singing and dancing. At the beginning of the opera, Gringoire,
a poor poet, is captured by the beggars as a spy who ought not to have
looked upon their revels; and Clopin, the rough and hilarious King of
the Beggars, nonchalantly orders his instant execution, declaring that
he can only be saved from such a fate if he can find a wife amongst the
lively company. None of these merry maidens, however, will consent to
wed a poet, and Gringoire is about to be delivered to a summary death,
when Esmeralda appears and announces that she will wed the
stranger. She tells the poet, however, that she will be his wife in name
only, for she has no love for him, and only does the deed to save his
life; and the Beggar King then unites them in gipsy fashion, and the
merry company dance off. Claude Frollo, an unprincipled and dissolute
priest, now appears with his panderer, Quasimodo, the hunchback
bellringer of Notre Dame, who is in his pay, and has been his tool in
many evil doings; and the pair now hatch a plot to kidnap the lovely
Esmeralda and take her to the abode of Frollo, who has conceived a
violent passion for her. When the gipsy-girl presently appears alone,
therefore, she is seized by Quasimodo, who endeavours to carry her off;
but her cries of distress bring upon the scene the watch, headed by
Phoebus de Chateaupers, a handsome young officer, who quickly rescues
the girl, whilst his followers capture Quasimodo, whom they are about to
commit to the hangman’s hands when Esmeralda, full of compassion for the
poor, misshapen creature, intercedes for him, and he is released.
Phoebus and Esmeralda fall in love with one another, and the young
officer gives the girl as a keepsake a finely embroidered scarf, which
has been a present to him from his fiancée, Fleur-de-Lys, whom he has
never truly loved.
In Act 2 this gay and frivolous lady is seen holding a smart
fête, which is attended by her many admirers. When Phoebus appears, she
reproaches him for his recent absences and coldness of manner; but she
soon perceives the reason for it. For, by a curious chance, the chief
dancer in the ballet she has provided to amuse her guests is the
gipsy-girl, Esmeralda, who charms all by her beauty and exquisite
movements; and as she happens to be wearing the scarf given her by
Phoebus, she is at once pounced upon by the indignant Fleur-de-Lys. A
stormy scene ensues, and Fleur-de-Lys roundly upbraids her truant
fiancé, Phoebus, who boldly protects the trembling Esmeralda, and,
announcing his love for her, leads her away.
Act 3 takes place in Esmeralda’s humble chamber, where Gringoire, the
poet, begs for the consummation of his unconventional union with the
gipsy-girl, who, however, promptly orders him away, since the ceremony
was but a meaningless farce. After he has departed, grumbling, Esmeralda
goes out to watch for her lover, Phoebus, whom she is expecting; and
during her absence the evil Frollo enters and hides behind a curtain as
the lovers enter. Their sweet love-making so fills him with rage and
jealousy that he springs out and stabs Phoebus, rushing away before he
is seen by Esmeralda, who, kneeling beside her fallen lover, is so dazed
by the sudden- calamity that when a crowd of people enter in response to
her first cries of woe, she is utterly unable to say a word explaining
her position, and is consequently accused of having murdered the popular
Phoebus, and is dragged away a captive.
Act 4 opens with the Beggars’ celebration of the Feast of Folly,
after which a procession enters, leading the unfortunate Esmeralda to
execution, she having been convicted of the murder of her lover, there
being no witnesses to speak for her. The villain, Frollo, however,
offers to rescue her if she will consent to accept his love; but upon
Esmeralda scornfully declaring she would rather die than suffer his
hateful embraces, she is about to be hurried to the stake, there to be
burnt as a witch and murderess, when there comes a welcome interruption.
Gringoire suddenly appears with Phoebus himself, whose wound not having
proved fatal after all, has recovered, and has just managed to reach the
place of execution in time to save his beloved one from her awful fate.
The baffled Frollo, furious at this turn of affairs, springs forward
once more to stab his rival; but he is stopped by Quasimodo, who, ever
since her compassionate pity for him, has been the devoted slave of
Esmeralda, and who now, by receiving the blow intended for her lover,
gladly gives his own life to save her happiness. The wicked Frollo is
seized and led away captive, and the opera ends with the union of the
now happy lovers.
Grand Opera in Five Acts
By Charles Gounod
Libretto
By Jules Barbier and Michel Carré
First
Produced
Paris, March, 1859
Chief
Characters
Margarita, Martha, Faust, Mephistopheles, Valentine, Siebel
THE story is founded on the first part of Goethe’s great drama, the scene taking place in a German town. Faust, an old and learned student, is in his study, philosophising on the unsatisfying results of his life’s labours, his insatiable thirst for knowledge having brought him little reward; and, chafing at his advancing age, which will prevent his further studies, he summons to his assistance an Evil Spirit, who appears in the guise of a dashing cavalier, Mephistopheles, who persuades him to try life in a new form, promising him renewed youth, beauty, and wit, in exchange for his soul. The compact is made; and by the demoniacal powers of Mephistopheles, Faust is transformed into a handsome young cavalier, full of an eager desire for pleasure, and possessed with ample means for the gratifying of his wishes. Mephistopheles shows him in a vision a lovely village maiden, the gentle Margarita; and Faust, falling desperately in love with her, seeks an opportunity to gratify his longing. In this he is assisted by the evil Mephistopheles, who quickly finds an opportunity for bringing the pair together. Margarita, who is greatly beloved by her brother and guardian, Valentine, is left by him in the charge of an elderly dame named Martha, when he himself is called away to the wars; and Margarita being as virtuous a maiden as she is lovely, he feels that she will be safe until his return. Dame Martha, however, is not a very prudent guardian; for when Faust, having made the acquaintance of the lovely maiden, is brought to her retreat by Mephistopheles, the foolish Dame allows the lovers entire freedom for the satisfying of their passion, being herself too much occupied with the flatteries and attentions lavished upon her by the cunning Demon, in whom she only sees a very fascinating cavalier. At first Margarita resists her lover, but her own love is so strong that she is powerless to fight against it, and, being childishly innocent of the ways of the world, she is irresistibly led away from the paths of virtue. The awakening from her blissful dream comes at last, however; and when Valentine returns from the wars and hears of his sister’s undoing, he furiously challenges her betrayer, and a fierce fight ensues. Faust has no wish to harm the brother of his beloved one, but Mephistopheles, by a dexterous movement, directs the sword of his protégé to the heart of Valentine, who falls dying at his feet. Margarita shrieks as her brother falls, and rushes to his side; but Valentine, with his last breath, curses her for the evil she has wrought. The poor girl is so overcome with horror at this terrible ending to her fair love-dream, and so harassed by the persecutions of her friends and neighbours, that her mind gives way, and in a sudden frenzy she takes the life of her new-born babe. For this unresponsible crime she is thrown into prison and condemned to death. Meanwhile Faust, who has been transported by Mephistopheles into other regions of pleasure, cannot forget his beloved Margarita, for whom he had conceived a true affection; and seeing in a vision that she is in trouble and danger, he will not rest until he sees her again. He therefore gains access to her prison, accompanied by Mephistopheles, and passionately implores the exhausted and grief-stricken girl to fly with him and thus escape the shameful death before her, Mephistopheles joining his entreaties also, hoping to thus gain another soul. But Margarita is now once more in her right mind, and resists the temptations which they bring before her; and, feeling only remorse and true repentance, she refuses all their entreaties, declaring that her only hope now is in Heaven, and the acceptance of her sincere prayers for forgiveness. Her prayers are answered, and ere the time arrives for her execution, the unhappy girl dies peacefully. Faust is overcome with grief; and even Mephistopheles is cowed, and shrinks back, baulked of his prey, as angel voices are heard rejoicing over the “ sinner that repenteth,” and welcoming the spirit of the gentle Margarita as it is carried by the angels into the realms of bliss.
Opera in Two Acts
By Charles Gounod
Libretto
By Jules Barbier and Michel Carré
First
Produced
Paris, February, 1860
Chief
Characters
Baucis, Philemon, Jupiter, Vulcan
THE story is founded on the old Greek legend. Philemon and Baucis are two humble peasants, who, though now old and worn, have not ceased to love one another; and they still dwell contentedly in their poor cottage, living a simple pastoral life. They are speaking of their happiness, and only regretting that their youth has gone, and that they must soon be separated by death, when two strangers crave shelter from a sudden violent storm. These are the two gods, Jupiter and Vulcan, who have come to punish certain wicked mortals who have offended them; but they are disguised as ordinary wanderers, and the old couple merely regard them as strangers. They bid them a hearty welcome, and set before them a meal, which, though humble, is the best they can produce; and they treat their guests so well that the gods are delighted, and Jupiter proceeds to astonish them. He changes the milk offered to him into wine; and by this act Baucis recognises his divinity, and is greatly awed thereby. Jupiter, however, reassures her, and the meal proceeds; and when, later on, touched by the kindly hospitality of the good old couple, he promises to grant any request they may make, the eager Baucis declares that she has only one desire — that she and her beloved husband may together enjoy the pleasures of their happy youth once more. When they retire to rest, therefore, Jupiter casts a spell over the pair; and when they awaken next morning, they are overjoyed to find themselves young and beautiful as in the days of their first youth. Not only that, but their humble cottage has been transformed into a fine palace; and the happy couple are filled with delight and gratitude at this wonderful realising of their dearest wish. Clouds quickly gather, however; for Jupiter, attracted by the fair beauty of the rejuvenated Baucis, falls in love with her himself — a fact which pleases the vanity of the lovely maiden, so that she is willing to mildly coquette with him. This makes Philemon furiously jealous; and a strained state of affairs quickly comes to pass, in which the morose Vulcan gets involved, greatly to his disgust, since he has himself suffered much from such scenes with his own faithless wife, Venus. When Baucis, however, discovers that she has offended her husband, she is quickly filled with remorse and grief, since her love for him has never changed; and humbly kneeling before Jupiter, she entreats him to restore her to her old age once more, since his gift of youth has caused her to grieve her beloved husband, for which act she only longs now to atone. Philemon hears this request, and sees that his wife still loves him; and he hurries to her side, and clasping her in his arms, also begs the god to leave them to their old age and poverty, in which state they were at least happy in each other’s love. Jupiter is touched and amazed at the sight of such real devotion and perfect love; and declaring that they shall still retain their youth and beauty, he magnanimously renounces the gratifying of his own pleasure, and withdraws with Vulcan, leaving the reunited couple to happiness and contentment in their new life.
Grand Opera in Five Acts
By Charles Gounod
Libretto,
adapted by Shakespeare’s Tragedy,
By Jules Barbier and Michel Carré
First
Produced
Paris, April, 1867
Chief
Characters
Juliet, Gertrude (the Nurse), Romeo, Tybalt, Mercutio, Benvolio, Friar
Laurence, Paris
THE story follows on very similar lines to Shakespeare ‘s tragedy, the action taking place in Verona. The first act opens at the festival held at the house of Capulet, to which come uninvited the young lords, Romeo, Mercutio, and Benvolio, of the Montague family, in defiance of the great feud which exists between these two foremost houses of the city. Here Romeo meets and falls in love with Capulet’s fair young daughter, Juliet, who is betrothed, against her will, to her kinsman, Paris; and his passion is quickly returned by the maiden. Romeo is masked, but his disguise is soon penetrated by the young Capulet lord, Tybalt, who seeks a quarrel with this rash young man for thus venturing into an enemy’s house. Old Capu-let, however, puts an end to the disturbance, and the festivities are renewed. After the guests have departed, we are taken to the garden outside Capulet’s house, whither Romeo has come to seek his lady-love; and when Juliet presently appears at the balcony he is enraptured, and the two declare their love. They are interrupted by the girl’s old nurse, Gertrude, and some of the retainers; but when all is still once more, the lovers arrange to be married in secret, knowing that the family feud will prevent them from securing the consent of their parents. In the next scene the secret marriage takes place in the cell of a friendly monk, Friar Laurence; and when Juliet has again returned to her home Romeo and his friends have a stormy meeting with the hot-tempered young Capulet lord, Tybalt, which results in a fierce quarrel. Tybalt and Mercutio fight, the latter being slain; and on seeing his beloved friend fall mortally wounded, Romeo furiously attacks Tybalt, and kills him in his turn. The noise of the fighting quickly brings around a crowd of Capulets and Montagues, each loudly defending his own partisans; and, finally, the Duke of Verona himself appears on the scene, and condemns Romeo to banishment. Before being driven to exile, however, Romeo determined to see his beloved Juliet once more; and making his way to the garden of the Capulets, he is assisted by the old nurse in obtaining a last interview with his bride. The lovers spend a short blissful interview together; and then, after a passionate farewell, they separate, Romeo departing at dawn to another city. He has been scarcely gone a few minutes when Capulet enters, bidding his daughter prepare for her marriage with the Count Paris, which he has determined shall take place that day, heedless of Juliet’s entreaties for the ceremony to be delayed. Still not daring to reveal the fact that she is already wedded, he refuses to listen to her plea, and sternly commands her to make ready. Juliet, in despair, seeks the counsel of friendly Friar Laurence, who gives her a potion, which he bids her to take just before the ceremony, and the effect of which will be that she will fall into a trance and appear as one dead. Her friends will then lay her in the vault of the Capulets; and in the early dawn she will awaken, and be rescued from her temporary prison by Romeo, who will return for the purpose and bear her away with him into exile. Juliet agrees to follow out these directions, whilst the Friar sends off a messenger to acquaint Romeo with the plan. The next scene is the wedding festival, at which the guests are presently horrified at seeing Juliet (who has taken the potion) fall to the ground, apparently dead; and the scene ends in confusion and dismay and the grief of the bereaved parents. The final act takes place in the vault of the Capulets, where Juliet has been laid, being deemed dead by her friends. Thither comes Romeo, full of woe; for the news of Juliet’s death has reached him on his journey, and he has hastened back to Verona, before Friar Laurence’s servant has arrived with the message giving him the true facts of the case. On entering the vault, therefore, he believes that Juliet is indeed dead, and gives vent to a passionate outburst of grief; then, determining that he will not live without his beloved one, he swallows the contents of a phial of poison he has purchased for the purpose. As he falls dying beside the bier, however, Juliet awakens from her trance, and is full of joy on beholding her husband, thinking he has come to take her away, as arranged by the old Friar; but when she grasps the terrible truth she also determines to live no longer, and, seizing a dagger she had concealed upon her before taking the potion, she stabs herself. Thus the devoted lovers die in each other’s arms, and are united in death.
Opera in Three Acts
By Carl Gramman
Libretto
Adapted from the Poem of C. Camp
First Produced
Wiesbaden, 1874
Chief
Characters
Melusine, Duchess de Lusignan, Raymond, Bertram, Peter the Hermit
THE scene is laid in the Rhine-land country during the Crusade period. In a forest of the Duchy of Lusignan dwells Melusine, Queen of the River Nymphs and Fairies; and during one of the fairy revels by moonlight the bugles of a hunting-party are heard, and the young Count Raymond, son of the Duke de Lusignan, appears with his half-brother, Bertram, both of them seeking their father who has got separated from the party. Bertram is jealous of his brother, and plots for his ruin. He presently hides in the forest; and Raymond, hearing a loud cry for help, hastens to the bushes from whence it comes, thinking it is his father’s voice. Melusine, however, issues from her grotto to warn him not to go, knowing that he is fated to slay his father unwittingly; but Raymond heeds her not and rushes off. He soon returns in wildest grief; for, in trying to save his father from the attack of a4 wild boar, his weapon entered the heart of the old Duke, instead of that of the savage beast. As the distraught young man gazes around him, he beholds the lovely nymph, who comes forward to offer him comfort and sympathy; and the pair fall in love with one another. Then Melusine offers the Count a magic draught, which, when he has swallowed it, causes him to forget what has recently happened, and to think only of his newly-born love. He implores the beautiful Fairy to be his wife; and Melusine consents on condition that he will never pry upon her should she ever leave him on the nights of full-moon. He agrees; and when the hunters presently appear he introduces the nymph as his chosen bride. On beholding the loveliness of his envied brother’s sweetheart, Bertram becomes more jealous of him than ever, for he also falls in love with Melusine. In the next act, after the burial rites of the old Duke have taken place, Raymond introduces Melusine to his mother and friends as his forest bride; but she is looked upon with suspicion by all, and Peter the Hermit, who is present, warns them against her as a fairy spirit whose lures and spells’ are dangerous to mortals. Later, when Raymond and Melusine are alone, rejoicing in each other’s love, seeing that it is the time of full-moon, the latter hastens from her husband’s side, eager to join in the fairy revels she knows will now be held in the forest. Raymond, remembering his promise, reluctantly remains alone; but the crafty Bertram sees and follows her, to pour forth his own protestations of love for the beautiful maiden. But Melusine scornfully repulses him; and then, in revenge, Bertram finds an opportunity to accuse his half-brother of the murder of their father, since his blood-stained sword was discovered beside the dead Duke when found in the forest. Raymond repudiates the accusation, and prepares to attack his accuser; but his mother entreats him to lay aside his sword. Then, hearing sounds of singing and revels near at hand, and believing that Melusine is enjoying herself with her spirit companions, Raymond hurries to an ancient temple or arbour in the garden, and, looking within, he indeed beholds the lovely water nymph disporting herself with her fairy friends amidst the fountains, and dancing in the moonlight. Then, recollecting his broken promise, he is filled with grief, knowing that misfortune will now befall his love. Melusine is now avoided by the mortals around her; and when, after her moonlight revels, she finds her husband’s portals closed upon her by orders of the Duchess, she entreats Raymond to assure her of his love once more. But Peter the Hermit has now appeared with a band of Crusaders and has gained Raymond’s promise to join the Holy Wars; yet Melusine implores him to stay with her, and pleads with Bertram also. Then Raymond, seeing her kneel to Bertram, who has again threatened to prove ‘that his half-brother murdered their father, is filled with mad jealousy, believing her unfaithful; and, full of anger, he repudiates and casts her off. Instantly, as Melusine flings her betrothal ring at her husband’s feet, there is a terrific storm of thunder, which wrecks the palace, and causes the Rhine to overflow its banks, whilst the heartbroken nymph returns to the water once more; and’ Bertram, leaping in after her, is drowned. The scene quickly changes to the peaceful forest dell, where Raymond presently appears in the dress of a pilgrim. He is seeking his lost spirit wife; and’ when Melusine, hearing his voice, comes forth from her river-cave, he hastens to her side, and gladly greets her. Having once spurned the river-nymph, however, her embrace can only bring him death; and as the lovers are folded’ in each other’s arms, the young man dies, and Melusine lays him to rest beneath the lilies in the stream.
Opera Comique
By Jacques François Fromenthal Elias Halévy
Libretto
By St George and Planard
First
Produced
Opera Comique, Paris, Dec., 1835
Chief
Characters
Henriette, Madame Darlbel, Lionel, George
THE scene is laid in Boston, Massachusetts, at the end of the eighteenth century. Madame Darbel, a lively young widow of Boston, and her sister Henriette, receive a visit from their cousin, George, an Englishman, who has been sent to them by a rich uncle with strict instructions that he is to marry one of the sisters, when he will divide his fortune between them. George, however, is very conceited, and proceeds to flirt with both the ladies; but the sisters are quite equal to the occasion, and secure much good entertainment at the young man’s expense. After teasing him mcrcilessly, they finally leave him to partake of a meal; and whilst alone he is visited by a young American naval officer, Lionel, who has come ashore for a few hours to hunt. Lionel presently departs, and takes a boat back to his ship; but he is caught by a violent thunderstorm, and’ his boat is struck and capsized’. Lionel himself is struck by the lightning and’ blinded, in which helpless state he is cast on shore. He is found by Henriette and brought to her sister’s house, where she nurses him back to health; but as his blindness continues, he puts himself under the care of the sister’s uncle, who is a doctor. Meanwhile he and Henriette have fallen in love with one another; but George, taking it for granted’ that she will accept him, has by this time decided that he prefers to marry Henriette rather than her sister. Therefore, when he sees Henriette and Lionel enjoying a happy little love scene,- he receives a great shock to his vanity. Meanwhile, Lionel has received such good’ treatment for his eyes from the old uncle that when he is at last able to remove his bandages it is found that his temporary blindness is a thing of the past. However, having never yet beheld Henriette, and happening to see her sister first after receiving back his sight, he mistakes the lively widow for his sweetheart, the voices of the two sisters being very similar. He gives her a loving greeting; and’ before the widow has time to rectify his mistake the pair are seen by Henriette, who, deeming her lover to be false, is filled with grief, and runs away immediately from the neighbourhood. From her hiding-place she writes to Lionel advising him to marry her sister; and’ at the same time she sends a message to George saying that she is willing to become his wife, and ‘so please the uncle. She is not, however, long permitted to remain under this misapprehension; and’ by pretending that Madame Darbel and Lionel have been married, the friend’s induce her to return; and then after hearing the true explanation of the matter, she is reconciled to Lionel, and they are betrothed. George now assures Madame Darbel that she has been his favourite from the first; and the widow therefore bestows herself on him, and the two couples are satisfied.
Grand Opera in Five Acts
By Jacques François Fromenthal Elias Halévy
Libretto
By Eugene Scribe
First
Produced
Paris, February, 1835
Chief
Characters
Rachel, Princess Eudossia, Eleazar, Cardinal di Brogni, Leopold
THE scene is laid in Constance, in the Middle Ages. The Cardinal de Brogni exercises much power in the city; and he is a man who suffers from a continual grief. Before entering the Church, when Chief Magistrate of Rome, he had banished all the Jews from the city. Before the harassed Hebrews had all departed, however, Rome was attacked by the Neapolitan army, and De Brogni’s palace was burned, his wife and child being believed to have perished in the flames. The child, a baby girl, however, was rescued from the burning building by a Jew named Eleazar, who took her away with him into exile. When the opera begins Eleazar is in Constance, where he has become a wealthy jeweller; but he and his supposed daughter, Rachel, have rendered themselves unpopular from the fact that they belong to the Jewish faith, and have refused to join in the general holiday on the return of the Christian Emperor Sigismund. They are mobbed by the people, and are twice saved from their fury, first by the Cardinal de Brogni, and secondly by the young Prince Leopold, who has seen and fallen in love with the beautiful Rachel. He is, however, the affianced husband of the Princess Eudossia, niece of the Emperor; and so he disguises himself as a young Jew, calling himself Samuel, and thus makes friends with Eleazar and his daughter, even joining in the religious ceremonies which are held in the jeweller’s house. The simple Rachel returns the love of the supposed Samuel, who poses as an artist; and when their passion is discovered by Eleazar, the old Jew consents to their union, even when Leopold confesses that he is no Jew but a Christian. The Princess Eudossia visits the jeweller’s house whilst Leopold is there; and whilst the latter keeps his face concealed from her, she orders a magnificent chain from Eleazar, bidding him bring it to the palace on the morrow, as she intends it as a gift for her affianced husband, of whom she speaks in such loving terms that Leopold is filled with remorse, and determines in his own mind to have nothing further to do with Rachel. Consequently, in the next scene, when Eleazar and Rachel bring the chain to the palace, and are shown into the presence of Princess Eudossia and the Prince, and the Jewish maiden recognises in the latter her own lover, the supposed Samuel, he refuses to acknowledge her, and basely repudiates her claim upon him as her lover. Rachel, then, indignantly denounces him, and proclaims to all the assembled courtiers that he has been guilty of a passion for her, a Jewess, being already the affianced husband of the Princess Eudossia. Thus, by the laws then ‘existent, she dooms both herself and her lover to death, since it is regarded as a crime for a Christian to enter into such a contract with a Jewess. The Cardinal de Brogni therefore orders the young Prince and Rachel to be imprisoned, under sentence of death; and Eleazar is committed with them as an accomplice. The Cardinal offers Eleazar a pardon if he and his daughter will become Christians; but the Jew proudly refuses to do so, and, in revenge, taunts the Cardinal by announcing that he knows the proud Churchman’s own child, so long thought to have expired in the burning palace, to be alive, refusing, however, to declare her whereabouts until after Rachel’s execution. Eudossia visits Rachel in prison, and implores her to save Leopold’s life by declaring her accusation against him to be a false one; and the Jewess, touched by the sight of another’s grief, and, feeling remorse for her denunciation of the man she still loves, generously promises to grant her request. On Rachel’s declaration that the young Prince has never been her lover, therefore, Leopold is liberated; but Rachel and her father are still condemned to death for conspiring against the life of a Christian, and are sentenced to be thrown into a cauldron of boiling oil. Eleazar, horrified at the terrible death before his adopted daughter, now beseeches the poor girl to renounce her faith, and, by becoming a Christian, secure the pardon offered by the Cardinal; but Rachel staunchly declares her determination to remain true to the faith she has been brought up in, and she willingly ascends to the place of execution. The Cardinal once more entreats Eleazar to reveal the place where his long-lost child may be found; and the triumphant Jew points to Rachel as she leaps into the seething cauldron, declaring that she is the child whom he had rescued and brought up as his own. He then leaps into the cauldron after her; and the proud Cardinal, realising with horror that he has thus condemned his own child to death, falls senseless to the ground.
Opera Comique in Three Acts.
By Louis Joseph Ferdinand Hérold
Libretto
by De Planard, adapted from Prosper Merimée’s Romance
First
Produced
Paris, December, 1832
Chief
Characters
Countess Isabella, Nicette, Marguerite de Valois, Mergy, Comminge, Girot
THE scene is laid in Paris, in the time of Charles IX. A young ambassador, named Mergy, is sent from the King of Navarre to negotiate with Catherine, the Queen-Mother, for -the return of his beautiful and lively wife, Marguerite, who is being compelled to remain in Paris, practically a prisoner. Mergy finds his task a difficult one, owing to the many intrigues of the French Court, and whilst he is carrying out his negotiations his own love romance brings him into fresh difficulties. He is in love with a beautiful young lady of the Court, the Countess Isabella, who also has another ardent admirer in Comminge, a particular friend of Charles IX, who quickly becomes extremely jealous of the ambassador, and tries desperately to ingratiate himself with the lady. Isabella, however, loves Mergy, and disdains the attentions of Comminge, whom she knows to be a bully and noted duellist; but by accepting the suit of the former she brings him into great danger. Comminge soon finds an opportunity to pick a quarrel with his rival; and the result is that a duel takes place between the pair at a celebrated duelling meeting-place, known as the Pré aux Clercs. Isabella is in terror on hearing that her lover has been challenged by the famous duellist, fearing that he can have no chance of coming through the meeting alive; but Mergy happens to be exceedingly skilful himself with his weapon, and in the encounter he kills his opponent. However, Mergy is still in danger, because of the edict against duelling; and he is compelled to remain in hiding. Isabella, however, meets him again, and they enter into a secret marriage. They have friends in the innkeeper at the Pré aux Clercs, Girot and his sweetheart Nicette; and with the help also of the Queen of Navarre, the newly-married pair at length are able to escape from Paris and reach a place of safety.
Last updated October 31, 2006