THE STANDARD OPERAGLASS

CHARLES ANNESLEY

ABU HASSAN

Comic Opera in one act by Weber

Text by Heimer

     This little opera, composed by Weber in his early youth and first represented at Dresden under the composer’s own direction, for a time fell into utter oblivion, but has lately been reproduced.
     Though short and unpretending, it really deserves to be heard, the music is so full of sweetness, so fresh and pretty.
     The text is taken from a tale of the Arabian Thousand and One Nights, and though full of nonsense, it amuses by its lightheartedness and gaiety of spirit.
     Abu Hassan, favorite of the Calif of Bagdad, has lived above his means, and is now regaled with bread and water by his wife Fatima, whose only fault is that she sings better than she cooks. In order to better his fortunes, Abu Hassan hits upon a strange plan. He sends his wife to the Calif’s wife, Zobeïde, to announce his (Hassan’s) death, for which she will obtain 50 gold pieces and a piece of brocade. Fatima departs, and in the meantime enter Abu Hassan ‘s creditors with the appeal for money. Unable to satisfy them, the debtor approaches the eldest and richest among them, and so pacifies him with sweet words, which he is given to under­stand Fatima has sent him, that old Omar con­sents to pay all the creditors.
     When they are gone, Fatima returns with Zobeïde’s presents, and Abu Hassan prepares to go in his turn to the Calif, in order to repeat a similar death-story about his wife and get a like sum. While he is away Omar reappears. He has bought all Hassan’s accounts from his numerous creditors and offers them to Fatima for a kiss. At this moment the husband re­turns. Omar is shut into the adjoining cabinet, and the wife secretly points out the caged bird to her spouse, who begins to storm at finding the door of the next room closed, greatly to the anguish of the old sinner Omar, — anguish which is enjoyed by his tormentors to the full. In the midst of this scene Mesrur, messenger of the Calif, appears, to find out whether Fatima is really dead. The Calif and his wife having each received news of the death of the other’s favorite, want to know who it was that died, and, if both are dead, who died first. The Calif affirms that it is Fatima — his wife, that it is Abu Hassan. They have made a bet, and Mesrur, seeing Fatima lying motionless on the divan, covered with the brocade, and her hus­band in evident distress beside her, runs away to convey the tidings to the Calif. He is hardly gone when Zobeïde’s nurse, Zemrud, comes on a similar errand from her mistress. Fatima, who has j just covered her husband with the brocade, receives her with tears and laments, and the nurse departs triumphantly.
     Hassan presently comes to life again, but he and Fatima are not long permitted to con­gratulate one another ou the success of their scheme, for the arrival of the Calif with his wife is pompously announced. Both throw themselves on the divans, covering themselves, and so the august couple finds them dead. The Calif, much afflicted by the sight, offers 1000 gold pieces to any one who can tell him which of the two died first. No sooner does Hassan hear this than, tearing aside his cover, he throws himself at the Calif’s feet, crying out : “It was I who died first !“ at the same time craving the Calif’s pardon together with the gold pieces. Fatima is also speedily resuscitated and the Calif pardons his favorites, Hassan meanwhile asserting that he only died badly in order to live better. Omar, who has paid their bills in the hope of winning Fatima’s love, is driven away in disgrace.

L’AFRICAIINE

Opera in five acts by Meyerbeer

Text by E. Scribe, translated by Gumpert

     L’Africaine, one of the Maestro’s last operas (1865), unites in itself all the strength and at the same time all the weakness of Meyerbeer’s composition.
     The music is easy-flowing and enthralls us with its delicious melodies; but it only appeals to our senses, and nobler thoughts are altogether wanting. Nevertheless the opera finds favor by reason of these advantages, which are supple­mented by an interesting though rather improb­able libretto.
     The famous Portuguese navigator Vasco da Gama (born in 1469) is the hero, though he does not appear in the best possible light, and is by no means strictly historical.
     The first scene is laid in Lisbon. Donna Inez, Admiral. Diego’s daughter, is to give her hand to Don Pedro, a counsellor of King Emmanuel of Portugal. But she has pledged her faith to Vasco da Gama, who has been sent with Diaz, the navigator, to double the Cape, in order to seek for a new land, containing treas­ures similar to those discovered by Columbus. Reports have reached Lisbon that the whole fleet has been destroyed, when suddenly Vasco da Gama appears before the assembled council of state.
     He eloquently describes the dangers of the unknown seas near the Cape and gives an account of the shipwreck, from which he alone has escaped. He them places his maps before the cojuncil, endeavoring to prove that beyond Africa there is another country, yet to he ex­plored and conquered.
     Vasco has ou his way home picked up a man and a woman’ of an unknown race. Those slaves however stubbornly refuse to betray the name of their country, and a lively debate ensues between the Grand Inquisitor and the younger, more enlightened members of the council as to the course which should be adopted with Vasco. At last, owing to the irritation caused by his violent reproaches, fanaticism is victorious, and instead of being furnished with a ship to explore those unknown lands, he is thrown into prison, on the plea of his being a heretic, for having maintained the existence of countries which were not mentioned in the Holy Scriptures.
     The second act takes place in a cell of the Inquisition, in which Vasco has been languishing for a month past, in the company of the strange slaves Nelusko and Selika. The latter has lost her heart to the proud Portuguese, who saved her and her companion from a slave-ship. But Vasco is only thinking of Inez, and Nelusko, who honors in Selika not only his Queen, but the woman of his love, tries to stab Vasco, the Christian, whom he hates with a deadly hatred. Selika hinders him and rouses the sleeping Vasco, who has been dreaming of and plan­ning his voyage to the unknown country.
     Selika now shows him on the map the way to her native isle, and he vows her eternal grati­tude. His liberty is indeed near at hand, for hardly has he given his vow, than Inez steps in to announce that Vasco is free. She has paid dearly for her lover’s deliverance, however, for she has given her hand to Vasco’ a rival, Don Pedro, who, having got all Vasco’s plans and maps, is commnissioned by government to set out ou the voyage of discovery.
     Inez has been told that Vasco has forgotten her for Selika the slave. In order to prove his fidelity, our ungrateful hero immediately pre­sents her with the two slaves, and Don Pedro resolves to make use of them for his exploration.
     In the third act we are on board of Don Pedro’s ship in the Indian seas. Donna Inez is with her husband and Nelusko has been ap­pointed pilot. Don Alvar, a member of the council and Don Pedro’s friend, warns the latter that Nelusko is meditating treason, for they have already lost two ships; but Pedro disregards the warning. A typhoon arises, and Nelusko turns the ship again northward. But Vasco has found means to follow them on a small sailing vessel ; he overtakes them, and knowing the spot well where Diaz was shipwrecked, he entreats them to change their course, his only thought being Donna Inez’s, safety. But Pedro, delighted to have his rival in his power, orders him to be bound and shot. Inez, hearing his voice, invokes her husband’s mercy. Just then the tempest breaks out, the vessel strikes upon a rock, and the cannibals in­habiting the neighboring country leap on board to liberate their Queen Selika and to massacre the whole crew, in the fulfilment of which intention they are, however, arrested by Selika.
     In the following acts Selika resides as Queen on the Isle of Madagascar. The people render her homage, but her priests demand the strangers’ lives as a sacrifice to their gods, while the women are condemned to inhale the poisoned perfume of the manzanilla-tree. — In order to save Vasco, Selika proclaims him her husband, and takes Nelusko as witness, swearing to him that if Vasco is sacrificed she will die with him. Nelusko, whose love for his Queen is greater even than his hatred for Vasco, vouches for their being man and wife, and the people now proceed to celebrate the solemn rites of marriage.
     Vasco, at last recognizing Selika’s great love, and believing Inez dead, once more vows eternal fidelity to her ; but, alas! hearing the voice of Inez, who is about to be led to death, he turns pale, and Selika but too truly divines the reason.
     In the fifth act Selika is resolved to put her rival to death. She sends for her, but perceiving Inez’s love, her wrath vanishes, her magma­nimity soars above her hatred of the Christians, and she orders Nelusko to bring Inez and Vasco on board of a ship about to sail for Portugal.
     Selika herself, unable to endure life without her beloved one, proceeds to the Cape, where the manzanilla-tree spreads its poisonous shade. Her eyes fastened on the vast ocean and on the white sail of the retiring vessel, she inhales the sweet but deadly perfume of the blossoms, and the returning Nelusko finds her dying, while an unseen chorus consoles her with the thought that in Love’s eternal domain all are equal.

AÏDA

Grand romantic Opera in four acts by GIUSEPPI VERDI

Text by Antonio Ghislanzoni.
Translated into German by S. Schanz.
English version by Kenney

     This opera owes its great popularity not only to its brilliant music and skilful instrumenta-Lion, but also to its really magnificent outfit and decorations. Aïda ranks among the best operas of Verdi. The plot is taken from old Egypt ; and the music, with its Eastern and somewhat sensuous coloring, is exquisitely adapted to the scenery.
     The scene of action is alternately Memphis and Thebes, and the story belongs to the period when the Pharaohs sat ou the throne.
     In the first act we see the King’s palace at Memphis. Ramphis, the Highpriest of Pharaoh, announces to the Egyptian General Radamès that the Ethiopians are in revolt and that the goddess Isis has decided who shall be leader of the army sent out against them. Radamès secretly hopes to be the elected, in order to win the Ethiopian slave Aïda, whom he loves, not know-ing that she is a King’s daughter.
     Enter Amneris, daughter of Pharaoh. She loves Radamès, without his knowledge, and so does AIda. Amneris, suspecting this, swears to avenge herself should her suspicion prove correct.
     The King’s messenger announces that Amonasro, the Ethiopian King (Aïda’s father), is marching to the capital, and that Radamès is chosen to conquer the foe. Radamès goes to the temple to invoke the benediction of the goddess and to receive the sacred arms.
     In the second act Amneris, in order to test Aida’s feelings, tells her that Radamès fell in battle, and finds her doubts confirmed by Aïda’s terror. Amneris openly threatens her rival, and both hasten to receive the soldiers, who return victorious. In Radamès’ suite walks King Amonasro, who has been taken prisoner, disguised as a simple officer. Aïda recognizes her father, and Amonasro, telling his conqueror that the Ethiopian King has fallen, implores his clemency. Radamès, seeing Aïda in tears, adds his entreaties to those of the Ethiopian; and Pharaoh decides to set the prisoners free, with the exception of Aïda’s father, who is to stay with his daughter. Pharaoh then gives Ainneris to Radamès as a recompense for his services.
     In the third act Amonasro has discovered the mutual love of his daughter and Radamès and resolves to make use of it. While Amneris prays in the temple that her bridegroom may give his whole heart to her, Amonasro bids his daughter discover the secret of the Egyptian war plans from her lover. Amomasro hides himself, and Aïda has an interview with Radamès, in which he reveals all to her. She persuades him to fly with her, when Amonasro shows himself, telling him that he has heard all and confessing that he is the Ethiopian King. While they are speaking, Ainneris overtakes and denounces them. Amonasro escapes with hiss daughter, Radamès remains in the hand of Ramphis the Highpriest.
     In the fourth act Radamès is visited in his cell by Amneris, who promises to save him from the awful death of being buried alive, if he renounces Aida. But. Radamès refuses, though she tells him that Aïda has fled into her country, her father being slain on their flight.
     Ainneris at length regrets her jealousy and repents, but too late ! Nothing can save Radamès; and she is obliged to see him led into his living tomb. Ainneris curses the priests, who close the subterranean vaults with a rock. Radamès, preparing himself for death, discovers Aïda by his side. She has found means to penetrate into his tomb, resolved to die with her lover.
     While she sinks into his arms, Amneris prays outside for Radamès’ peace and eternal happiness.

ALESSANDRO STRADELLA

Romantic Opera in three acts by Flotow

Text after the French by W. Friedrich

     Flotow, who composed this little opera when at Paris in the year 1844, that is long before his Martha, had the satisfaction of scoring a great success ou the evening of its first representation in Hamburg. The pleasant impression then made by its agreeable and lovely melodies has not faded the less that, after hearing many of our stormy and exciting modern operas, one often and ardently longs for the restful charm and guileless pleasure of a piece like this.
     The libretto is interesting and touching, with­out being over-sensational.
     Stradella, the celebrated Venetian singer, has fallen in love with Leonore, ward of a rich Venetian citizen named Bassi. She returns his love, but is strictly guarded by her uncle, who wants to marry her himself. Stradella succeeds in deceiving Bassi and, aided by his friend, carries her off during the Carnival. In the second act we find the lovers in a little village near Rome, where a priest unites them for ever and gives them his benediction.
     But Malvolio, a bandit, has sought them by Bassi’s orders, and discovers their refuge. Ent­tering the villa, where he finds open doors but no people, he meets with another bandit, in whom he recognizes his friend Barbarino, also sent, as it turns out, on the same errand.
     They decide to do the business together, that is to say, to kill Stradella, and to carry his wife back to her guardian. Under the mask of pil­grims going to a sacred festival they find a kindly shelter in Stradella’s house and are won by the latter’s fine voice, as well as by the charm of his noble behavior, so that they wholly abandon their evil purpose.
     But in the third act Bassi appears, and, not finding his order executed, offers such a large sum of gold to the banditti that they at length promise to stab Stradella during his next singing performance. While they lie in wait for him, Stradella sings the hymn of the Holy Virgin’s clemency towards sinners so touchingly that his pursuers cast their swords away and sink on their knees, joining in the refrain. Full of astonishment, Stradella learns of the danger in which he had been, but in the end he will­ingly pardons not only the banditti but also his wife’s uncle, who, won over, like the ruffians, by the power of Stradella’s song, humbly asks for the singer’s friendship, which is granted to him.
     The people lead their favorite in triumph to the festival, which he helps’ to glorify with his wondrous voice.

THE APOTHECAIRY
(LO SPEZIALE)

Comic Opera by Josef Haydn (1768)

     After a sleep of 125 years in the dust of Prince Esterhazy’s archives at Eisenstadt, Dr. Hirsch-feld received permission from Prince Paul Ester-hazy of Galantha to copy the original manuscript.
     It is Dr. Hirschfeld’s merit to have revived and rearranged this charming specimen of the old master’s genius. And again it was Ernst Schuch, the highly gifted director of the Dres­den opera, who had it represented on this stage in 1895, and at the same time introduced it to the Viennese admirers of old Haydn by some of the best members of his company.
     The music is truly Haydnish, simple, naïve, fresh and clear as crystal, and it forms an oasis of repose and pure enjoyment to modern ears, accustomed to and tired of the astonishing odd­ities of modern orchestration.
     The plot is simple but amusing. A young man, Mengone, has entered the service of the apothecary Sempronio, though he does not pos­sess the slightest knowledge of chemistry. His love for Sempronio’s ward Grilletta has induced him to take this step, and in the first scene we see him mixing drugs, and making melancholy reflections on his lot, which has led him to a master who buries himself in his newspapers instead of attending to his business, and letting his apprentices go ou as best they may.
     Sempronio, entering, relates that the plague is raging in Russia ; and another piece of news, that an old cousin of his has married his young ward, is far more interesting to him than all his drugs and pills, as he intends to act likewise with Grilletta. This young lady has no fewer than three suitors, one of whom, a rich young coxcomb, enters to order a drug. His real in­tention is to see Grilletta. He is not slow to see that Mengino loves her too, so he sends him into the drug kitchen, in order to have Grilletta all to himself. But the pert young beauty only mocks him, and at Mengino’s return Volpino is obliged to retire.
     Alone with Mengino, Grilletta encourages her timid lover, whom she likes very much, but just when he is about to take her hand, Sempronio returns, furious to see them in such intimacy. He sends Mengino to his drugs and the young girl to her account books, while he buries him­self once more in the study of his newspapers. Missing a map, he is obliged to leave the room. The young people improve the occasion by making love, and when Sempronio, having lost his spectacles, goes to fetch them, Mengino grows bolder and kisses Grilletta. Alas, the old man returns at the supreme moment and, full of rage, sends them to their rooms.
     Mengino’s effrontery ripems the resolution in the guardian’s breast to marry Grilletta at once. He is, however, detained by Volpino, who comes to bribe him by an offer from the Sultan to go into Turkey as apothecary at court, war having broken out in that country. The wily young man insinuates that Sempronio will soon grow stone-rich, and offers to give him 10,000 ducats at once if he will give him Grilletta for his wife. Sempronio is quite willing to accept the Sultan’s proposal, but not to cede Grilletta. So he sends Mengino away to fetch a notary, who is to marry him to his ward without delay. The maiden is quite sad, and vainly tortures her brain how to rouse her timid lover into action. Sempronio, hearing her sing so sadly, suggests that she wants a husband, and offers her his own worthy person. Grilletta accepts him, hoping to awaken Mengino’s jealousy and to rouse him to action. The notary comes, in whom Grilletta. at once recognizes Volpino in disguise. He has hardly sat down, when a second notary enters, saying that he has been sent by Mengino, anti claiming his due. The latter is Mengino himself, and Sempronio, not recognizing the two, bids them sit down. He dictates the marriage contract, in which Grilletta is said to marry Sempronio by her own free will, besides making over her whole fortune to him. This scene, in which the two false notaries distort every word of old Sempronio’s, and put each his own name instead of the guardian’s, is overwhelmingly comical. When the contract is written, Sem­pronio takes one copy, Grilletta the other, and the whole fraud is discovered. Volpino van­ishes, but Mengino promises Grilletta to do his best in order to win her.
     In the last scene Sempronio receives a letter from Volpino, telling him that the Pasha is to come with a suite of Turks to buy all his medicines at a high price, and to appoint him solemnly as the Sultan’s apothecary.. Volpino indeed arrives, with his attendants, all disguised as Turks, but he is a again recognized by Grilletta. He offers his gold, and seizes Grilletta's hand, to carry her off, but Sempronio interferes.  then the turks begin to destroy all the pots and glasses and costly medicines, and when Sempronio resents this the false Pasha draws his dagger, but Mengino interferes and at last induces the frightened old man to promise Grilletta to him if he succeeds in saving him from the Turks. No sooner is the promise written and signed, than Grilletta tears off the Pasha's fase beard and reveals Volpino, who retires baffled, while the false Turks drink the young couple's health at the cost of the two defeated suitors.

ARMIDA

Grand heroic Opera in five acts by Gluck

Text by Phil. Quinault

     The poet Guinault wrote the libretto of this opera for another composer, Lully, but almost one hundred years later, Gluck, recognizingthe genuine richness of this French production, availed himself of it for an opera the music of which is so sublime that it will for ever be considered a classic.
     The libretto is founded on an episode of Tasso’s “Gerusalemme liberate.”
     The scene is laid in Damascus, where, during the Crusade of the year 1099, the Crusaders have arrived at the place and gardens of Armida, the Queen and enchantress. Rinaldo, the greatest hero in Godfrey of Bouillon’s army, is the only one who not only does not stoop to adore the beautiful Armida, but, on the contrary, pursues and hates her. He has been banished from Bouillon’s presence, charged with the rash deed of another knight, who has not dared to confess his guilt, and he now wanders lonely in the forest.
     Warned by a fellow-warrior, Artemidor, to avoid Armida’s enchanting presence, he scorns the warning, saying that love for a woman is to him a thing unknown. In reality, however, Armida is already ensnaring ‘him with her sorcery; he presently hears exquisitely sweet and dreamy melodies and, finding himself in a soft, green valley, he lies down and falls asleep.
     Armida’s opportunity has come, and she means to stab him, but love conquers hatred, and the dagger’ falls from her hand. She vainly invokes the furies of hate; none can change her passion for the hero, and at last, ceasing to strive against her tender feelings, she surrenders her-self entirely to him, and even succeeds by her charms and her devotion in enthralling him. Meanwhile Bouillon has sent two of his knights, Ubalt and a Danish warrior, to recall Rinaldo to his duty. They are detained by Armida’s witchery; the Danish knight meets a demon, who has taken his bride’s face, and tenderly calls him to her, hut Ubalt destroys the charm and both succeed in approaching Rinaldo, who, his love-dream dissipated by the call of honor, resolves to return to the army with his companions. In vain Armida tries to change his resolution. In despair she curses him and her love, but, being unable to kill the man she loves, she suffers him to go away and turns her beautiful palace and gardens into a desert.

DER WAFFENSCHMIED
(THE ARMORER)

Comic Opera in three acts by ALBERT LORTZING

Text by himself

     Though this opera does not equal in value Lortzing’s “Czar and Zimmermann,” it has nevertheless proved an admirable addition to the operatic repertory. It is attractive both on account of the freshness of its melodies and the popular character of its music and text.
     The scene is located in Worms, in the 16th century. The Count of Liebenau has fallen in love with Mary, the daughter of a celebrated ‘armorer, named Stadinger, and in order to win her, he wooes her at first in his own rank as Count, then in the guise of a smith-journeyman, named Conrad. Mary, who cannot permit herself to think of love in connection with a person of such a position as a Count, nevertheless pities him and at last confesses, blushing, that she loves the poor smith Conrad. Inwardly triumphant, the Count pretends to be jealous. But father Stadinger, who more than once showed the door to the Count, will not accept either of the suitors, the Count standing too high above him, and his journeyman, Conrad, being too bad a laborer, though he has once saved Mary’s life.
     In order to withdraw her from the reach of her lovers, the armorer resolves to wed his daughter to his second journeyman, George, who is no other than the Count’s valet. Stadinger is determined to present him as Mary’s bridegroom on the occasion of a festival which is to take place in the course of the afternoon, and at which Stadinger’s jubilee as master of armorers is to be celebrated. In vain George refuses his consent to this proposal. He is at length obliged to inform the Count, and the latter feigns to assault Stadinger’s house. But it is of no avail; the old citizen, more firm than ever, denies him his child again, and as George decidedly refuses to marry his daughter, he gives her at last to Conrad. Great is Mary’s surprise, and her father’s wrath, when they discover that the Count and simple Conrad are one and the same person, but at last the old father yields, and the lovers receive his benediction.

L'AMORE DEI TRE RE

Tragic Grand Opera in Italian. Three acts. By

Italo Monte Mezzi

Text by Sem. Benelli

     Thee first production occurred in Milan, 1913. Thee scene is thee remote mountain country of Italy, and the action is supposed to happen about the tenth century. In the mythical country of Altura thee rule of King Archibaldo, one of thee northern barbarian conquerors, has been established. Forty years have elapsed since then, and the king is now blind. His beloved son Manfredo, carefully nurtured, is absent in war. Two of the conquered royal line, Fiora, now spouse of Manfredo, and Avito, are remaining with the hoary King Archibaldo, within the castle.
     During Act I the old king, sleepless and a prey to unrest, visits the impregnable battlements of the castle, being accompanied by his trusty attendant Flaminio. On the walls of the fastness a torch is kept flaring as a sign for Manfredo’s return. The aged ruler, harassed by strange forebodings, talks to Flaminio about his son, speculating on the latter’s homecoming. Fiora, whose union with Manfredo was an enforced one, suddenly makes her appearance with Avito, the man to whom she was formerly betrothed, just after Archibaldo has gone back to his chamber for rest. The two converse, but at dawn Avito goes away. Archibaldo now shows himself once more, and although Fiora attempts to conceal her presence the old king becomes aware of her proximity, and when she avoids replying to him, he suspects her of having met a lover secretly. However, he keeps his suspicions to himself. Manfredo now is seen returning. Longing for his beautiful wife has hastened his coming. But to his impassioned avowals of his feelings Fiora turns an indifferent ear. Both retire to their nuptial chamber, and the blind old father, more than ever troubled, thanks a kind fate that he cannot see approaching disaster.
     The second act touchingly portrays Manfredo’s dignified but earnest wooing of his young and charming spouse. Upon the ramparts of the stately stronghold he takes leave of her, asking her for some farewell token of her wifely love. She rather coldly agrees. Standing upon the terrace in front of thee castle she waves her scarf at the departing hero and his band of followers, in sign of good wishes. The departing Manfredo and his men remain for a long time within vision. But as they draw out of sight, Avito again may be noticed climbing up the stairs. He is disguised in the garb of Flaminio. She recognizes him, however, and meaning to be faithful to her lord she pleads with him to leave her. Avito, blinded by passion, refuses to listen to her. Fiora once more resorts to her scarf, waving it at the departing husband as a pledge of her affection. While Avito stormily continues to plead his cause with her, kneeling and uttering endearments, Fiora’s resistance droops more and more. Avito seizes the hem of her robe which he kisses rapturously. Fiora yields to him. But while this takes place the king steals upon them. Avito, though, swiftly vades pursuit, and is not recognized, while the blind man has clearly made out the voice of Fiora. To his insistent inquiries she acknowledges having a lover, but will not betray his name. Archibaldo thereupon becomes angered beyond all self-control. seizes Fiora by the throat, and when she still declines to confess the name of the guilty one, he throttles her. The dead body of Fiora is stretched out upon the ground, and the aged ruler is standing before it in an effort to conceal it, when Manf redo enters. Man redo has hastened home when he no longer noticed his wife signaling to him, as agreed, with her scarf. Then he becomes aware of the lifeless body, and his father, torn by pity and remorse, tells Manfredo the sad facts, but is unable to give the culprit’s name. Manfredo is broken-hearted, being at a loss, besides, to account for the fact that his wife, when he had such a wealth of love to bestow on her, should have been unresponsive. He conceives a hatred for his father, whom he shrinks from as a murderer, and the old king bears the corpse away.
     In the last act Fiora lies dead in the mausoleum of the castle, being lamented over by old and young in the castle. They are whispering that she was wickedly murdered out of’ revenge. Avito enters, approaches the bier on which the body lies in state, and after driving the curious away, kneels down in utter woe and prays that he may die with her. Imprinting wild kisses on the still lips, he imbibes a virulent poison which the old king, hoping thereby to trap the unknown guilty, has spread over them. Avito falls down lifeless. Manfredo also enters, approaches the bier, and perceives Avito, already breathing his last. The truth that Avito must be the lover of his dead -wife, then dawns on him, and in his wrath he comes near stabbing the moribund Avito. The latter taunts him and forbids his touching the lips of the dead. But Manfredo does, and dying in his turn, is surprised by his blind father who has not recognized the voice of his own son and deems him to be the illegitimate lover for whom he had spread the deadly snare. Manfredo, however, with the broken accents of the dying, reveals to him the fact that he himself, the blind king, has caused not alone the death of the guilty couple but also that of his innocent son.

ANDRE CHÉNIER

Tragic Opera in four acts by Umberto Giordano

Text by VICTORIEN Decazes

     This opera was first produced at Milan, 1896. The book is based on historical facts interwoven with events during the great French revolution.
     The first act takes place during the early part of the Revolution. The scene is a ballroom, being prepared for a festivity. Gérard, a serv-ant secretly devoted to the revolutionary cause, is anxiously awaiting the end of his term of service, avowing his principles in the course of a conversation. The Countess de Coigny, the hostess, comes in accompanied by Madeleine, a young girl, and by Bersi, her attendant. Madeleine speaks reprovingly of the great extravagance shown in the preparations for the ball, contrasting them with the general misery under which the people are groaning. André Chénier, the rising young poet, and Fleville, the author, arrive among the first guests. The good abbé deplores the lot of the poor, and tells the latest disquieting news. But Fleville laughingly tells everybody to enjoy themselves, for après nous le déluge. The festivity proceeds, and during its continuance Madeleine begs Chénier, the poet, to compose on the spot a poem glorifying Love. Chénier does so, but in the course of it draws a bitter parallel between wealth and poverty. The countess animates her guests to dance and forget what to-morrow may ave in store for them. There is gay dancing merry jesting, when Gérard breaks in upon e scene with a ragged crowd. The countess ders the intruders to leave, and the father of and the ball goes on. Gérard, an old and attached servant, vainly urges indulgence. The rabble are driven out, and the ball goes on.
The second act is at the Café Hottot, Paris. Bersi and a spy for the Jacobin Club are at one table, and André Chénier at another. A sansculotte, by name Mathieu, and a waiter are in attendance. A tumbrblil with the day’s condemned rumbles heavily past on its way to the guillotine. A friend of André Chénier, Roucher, enters and implores the poet to take flight, having secured for him a passport signed by the committee of safety. The poet, however, being engrossed with a love affair, scorns to take advantage of the offer. His friend earnestly warns him to be careful. Robespierre, with a ragged throng of his followers behind, him, passes by in the street. Gérard enters and inquires of the spy the whereabouts of Madeleine. Bersi asks Chénier to await the coming of an unknown lady whom she calls "Speranza." Chénier decides to wait. Darkness falls, and the spy watches in the shadows until Madeleine enters, meeting Chénier. Then he recognizes them and runs to inform Gérard. Madeleine asks André to save her, and both avow their love. When on the point of flight Gérard stops them, and tries to spirit away Madeleine. Roucher takes her home. There is a duel between André and Gérard, and when the latter is wounded he begs André to take care of Madeleine. The poet becomes a fugitive, and a mob gathers about the wounded Gérard, demanding to know the. name of his assailant, but he pretends ignorance.
     In the third act the revolutionary tribunal is seen, and Mathieu greets the mob when Gérard is brought in. Gérard makes an appeal to the mob. An old woman, Madelon, pushes her way to the front, and presents her young grandson to the country’s service. The spy enters and tells Gérard that André has just been apprehended and that Madeleine is close by. Gérard, torn by a conflict of feelings, means to denounce André to the revolutionary tribunal, but finally refrains from doing so. Madeleine comes in, and Gérard declares affection for her. She tries to flee, but then offers her honor for André’s life. Gérard is touched by her grief and unselfish love, and promises to assist her. The judges arrive, and André is brought in to face instant trial. He denies, however, the charge and offers proof of the contrary. Gérard also pleads for him, but the bloodthirsty rabble demand his head. He is led away to prison.
     In the last act night has come, and André is seen in prison. He writes and composes a ove song. Roucher is close by, and a touching farewell scene between the two takes place. Madeleine enters with Gérard, and she bribes the guards to let her take the place of another woman condemned to death and who is also on the list of that day’s victims. She desires to perish together with André, her lover.  Her wish is gratified, and jointly they ascend the scaffold.

L’AMORE MEDICO

An opera bouffe in two acts by E. Wolf-Ferrari

Book founded on Molière’s comedy "L’Amour Medico,"
by E. Golischiani

     This opera, "L’Amore Medico" (Dr. Cupid), saw its first presentation at the royal opera house in Dresden, 1913. The scene is in France, and the time is the 17th century.
     The first act occurs at the villa of a wealthy landowner. Arnolfo, a very selfish father, cannot explain to himself his daughter’s curious illness. She is wasting away, and the doctor is unable to fathom the reason. To prevent her from leaving home and marrying, he is treating her as a child. She must dress in .infantile fashion, and he addresses her in the same way, presenting dolls ,and toys,, and even using baby talk to her. The daughter is listless in his presence, until he puts to her the question whether some young gaby has found approval in her eyes. She- instantly replies "Yes, papa!" The father grows angry at this, and still more when the pert maid, Lisetta, joins the conversation by saying that what Lucinda, the daughter, really requires to cure her is a husband. Later Clitandro, the young gallant who has made an impression on Lucinda’s heart, is serenading her and after a song in which he ardently confesses his love, he throws a rose through the window. Lucinda is so overwhelmed by her feelings that she faints. Arnolfo returns and there is a monologue in which he expresses longing for the time when his daughter will be too old and unattractive to marry, and may thus devote’ all her time to the nursing of her father, as all daughters ought to do. He falls asleep, but is awakened by outcries from his child, and loud demands by Lisetta for a doctor. He sends her forth to get doctors, and they come in a mass.
     The second act exhibits the doctors in conclave. At first they behave with courtesy toward one another, and each listens to the theory of the other as to the causes of the young girl’s illness. But soon they disagree, and almost come to blows. Arnolfo enters, and the four physicians deluge him . with Latin nonsense, and all demand a fat fee. These are paid before Arnolfo remembers that with all their noise they have not told him what was really the matter with his child and what treatment should be given her. But just at that moment Lisetta comes in, having Clitandro with her, who is disguised in the long wig and formal costume of a physician. The new doctor proclaims as his specialty the healing of sick hearts. Arnolfo watches the doctor, who seems unnecessarily long about the person of the patient. The final diagnosis is that Lucinda’s trouble is mental. As she merely imagines that she wants a husband,, the best way would be to humor her and pretend to give her one. For that purpose even he, the doctor, will offer himself as the subject of an experiment. Arnolfo consents to enter into the plan and promises, always in jest only, to give the two half his property. A notary is called and draws up the settlements, a ceremony is performed, and then a group of merrymakers stream in. The father becomes too late aware that he has been the victim of a successful practical joke.

APHRODITE

Tragic Opera in five acts by Camille Erlanger

Text after Pierre Louys’ romance of the same name by Louis de Gramont

     This opera was first performed in Paris, 1906, and has since been heard everywhere. The action occurs at Alexandria, Egypt,  in B. C. 50. The scene shifts with every act, and the setting requires great pageantry and much gorgeous costume. The music shows originality and most of it is decidedly pleasing in character.
     In the first act throngs are gathered upon the pier of Alexandria, among whom may be distinguished philosophers, courtiers, sailors, beggars, wandering traders, gay courtesans, and a rabble of the merely curious. There is talk of a splendid feast to be given by Bacehis, a wealthy woman of the town, who is to celebrate in that fashion the freeing of her pet slave girl, Corinna. A flute duet is being played by Myrto and Rhodis, and Theano dances publicly to its measure. Demetrius enters, the crowd opening a way for him. He is a famous sculptor whose latest work, an entrancing statue of Aphrodite, the goddess of love, has recently been placed in the temple devoted to her cult. Some of the courtesans present,— Musarion, Seso, Tryphera, and Philotis,— comment on the haughty ways of Demetrius, who is said to be the lover of the hour of Queen Berenice.
     Then, after he has scorned all this gabble, the dreaded sorceress Chimairis comes on the scene and pronounces the doom of Demetrius, saying that his future will be one of crime and bloodshed. The death of two women will be on his hands, and thereafter his own. The sculptor scoffs at the prediction.
     When the throng disperses, a noted wanton, Chrysis, passes near him. He is struck with her exquisite charms, and some bantering dialogue ensues. Chrysis refuses his gold for .her favor, saying she craves but three things: a miror, a necklace and a comb, in exchange for which she vows to render the giver happy. Demetrius takes a solemn oath that he will procure the, three gifts for her. But these three things, she goes on, are not easy to obtain. For the mirror is the famous silver one of Rhodope, the one that Sappho the fair once gazed upon; the comb is now in the tresses of the spouse of the high priest; and the necklace is hung in . seven rows of matchless pearls around the marble neck of his own Aphrodite in the inmost temple hall. But nothing daunts Demetrius. He swears he will obtain these fateful objects for her or die in the attempt. Chrysis smiles derisively, but pledges the delights of the gods in exchange if. he makes his boasting come true.
     In the next act the interior of the temple is seen. Demetrius has possessed himself of two of .the desired objects, committing murder to do so. He now is on the point of robbing his own handiwork, the . statue of Aphrodite, of the coveted necklace when temple servants enter and drive him to hiding. The high priest makes his entrance at this juncture, with a body of courtesans in his train. The latter offer sacrifice, and while so employed Chrysis appears. There is question of admitting her, since she is only part Greek, part Jewess, but the high priest himself takes her side, and she is welcomed. Chrysis, too, bears priceless offerings for the shrine of the goddess, among these being a necklace of emeralds. Demetrius unseen witnesses all this, and the sight of Chrysis infiames him with wild desire, and he renews, his vow to despoil the goddess of the cherished bauble.
     In the third act, the one replete with feverish action, revelry is in full swing at the house of Bacchis. Corinna is seated next to her mis-tress on a daïs. Her six sisters, likewise slaves, are intensely jealous of the honors bestowed on their sister. Chrysis is one of the guests, with Timon beside her, but she is dispirited. Theano dances, and the feast waxes furious until the theft of the costly mirror. is accidentally discovered. Chrysis rejoices. Bacchis suspects Corinna of having purloined the mirror, and Corinna’s sisters amplify her charges. In a rage Bacchis orders Corinna to be crucified, and she herself helps the carrying out of the sentence. Chrysis has eyes and ears for nothing but the evidence that her lover, Demetrius, has risked much for her favor. The banquet is resumed, while Timon stands by the cross whereto is nailed the dying Corinna and solaces her last moments.
     During the fourth act Demetrius is seen in his studio, when suddenly shouts of the multitude crying "sacrilege," pierce the distance. He is smitten with remorse at his crimes, when Chrysis comes forth from behind the screen, and all his thoughts turn to her. He puts the three coveted objects into her hands, she disrobes and adorns herself with his gifts, and the couple forget everything else in their passion. They exchange oaths of undying affection, and Chrysis offers to prove it by doing even more for him than he has for her. She swears it by the living God of Israel.
     In the last act a maddened crowd, beside themselves with horror at the sacrilege, committed upon the goddess Aphrodite, and dreading the wrath of the outraged deity, is swaying to and fro between the pier and Pharos. That the high priest’s wife has been cruelly slain for the sake of her marvelous comb becomes known at this juncture. The throng, wrought to the highest pitch of excitement; are on their knees pleading for mercy from Aphrodite. Suddenly, in the midst of their despair, they perceive, on top of the first landing of the spiral stairs leading up to the tower of Pharos, a nude woman of ravishing beauty, wearing the mirror, comb and necklace which are attributes of the divine Aphrodite. The credulous mob leap at the conclusion that this is the goddess herself, and Chrysis (for she it is in reality) strengthens this belief by shouting down from her eminence that she is indeed the immortal goddess. But some have recognized her, and instantly there is a rush, and the woman is captured and borne by a furious, fanatical crowd to the prison, there to await the awful sentence for her sacrilegious deception. A touching jail scene shows Chrysis ready to die. The Queen sends her the fateful hemlock bowl to drink. Gradually her senses are benumbed, but she murmurs the words "Demetrius" and "loves" till the last, while Demetrius himself is slain by outraged Love in a vision.

ARIANE ET BARBE BLEUE

Dramatic Opera in three acts by Paul Dukas

The libretto is by MAURICE Materlinck, after the well-known tale about Bluebeard

     The opera was first seen at Paris, 1907. The time is the Middle Ages, and the scene, a strong castle. Maeterlinck has here added a tinge of mysticism to the fairy tale, Ariane being, in a sense, a forerunner of the modern woman.
     At the castle of Bluebeard a great uproar is going on. As the curtain rises the angry roar of the maddened crowd outside the strong walls is heard. This is because the news has spread that the evil knight has again succeeded in inveigling a new victim into, his possession. It is known that he has murdered or tortured to death five previous wives, but Ariane, the latest addition, cannot believe these popular rumors, and insists on finding out the truth herself. She is particularly bound to learn the secret underlying it all, for secret there must be, she thinks. Ariane now enters with the attendant, carrying with her seven keys, silver all of them, save the last, which is of gold. And it is the last which opens the door behind which is hidden the mystery of mysteries, she has been told, the one which she is forbidden to use on pain of her life. One after the other these six less important keys are inserted in the locks, and as the threshold of each door is crossed a delightful surprise has been laid bare, and rarest gems have been found to ravish the eye. But the young wife is not gratified by all this display. She conceives it to be her duty and her woman’s privilege to bare the mysterious attractions of the room from which alone she is to be excluded. The nurse in her wake begs and implores her to desist, but Ariane is stubborn. Curiosity piques her too strongly. So they turn the golden lock with the golden key, and as they do so they hear from afar the distant groans and tearful appeals of women. And before they can penetrate further or close and lock once more the portal they see Blue-beard coming in very coolly, saying : "Aha, you, too!"" Then he tells Ariane in a lenient voice that he will exonerate her trespass if only she will abandon her project of further inspection. But Ariane is unable to do that. She is urged on by a power stronger even than life, and she bids Bluebeard defiance. The knight now becomes enraged, and tells her to follow in his steps. Her faithful attendant, however, once more hearing the bellowing throng outside the castle gates, rushes off and lets in the rabble. They advance upon him, but he draws his sword valiantly and prepares to sell his life dearly. At that point Ariane herself becomes the advocate of her husband, swearing that he is doing her no harm, and thus the crowd withdraws.
     In the second act there is an underground chamber, and Ariane and her faithful nurse have been left in a secret vault close by the seventh room, the forbidden one, and still persist in their desire to investigate it. Ariane is convinced that those previous wives have not been murdered at all, but are merely kept prisoners. They have with them an ancient flickering lamp, and by its uncertain glare they see upon the floor of their dungeon, huddled in strange shapes, the shadowy forms of women. These, they discover, are really the previous five wives, not dead, but leading a wretched and cramped existence. So Ariane attempts to hearten them, and in trying to find some means of rescuing them, she sees at the far end of the gloomy room, the lamp having gone out, a faint glimmer of dawning light, and when they all turn thither, they become aware that it comes from a gate that has stood always open, by passing which they all of them are at large, and may issue into the wide realms of the world.
     In the third act there is again the great hall of the castle. It turns out that the grounds surrounding the castle as well as the latter are enchanted, so that, after all, the wives cannot escape from its thrall. So they have turned back to the hall, where they find richest finery in great assortment, and they are all donning it by turns, simply to amuse themselves and while away time which is hanging heavily on their hands. Ariane is instructing the five wives how to win back their lost beauty, not only by dressing gaily, but by fresh air and exercise. The nurse comes to warn the women that Bluebeard is on his way back, and that the villagers are threatening to kill him. The fight takes place, and Bluebeard is defeated, together with his strong bodyguard, and is wounded grievously. The crowd are on the point of drowning him in the deep moat of the castle, having manacled him, But Ariane and the other wives interpose. Ariane in addressing the crowd dwells on the fact that it is she who is the most concerned in the whole business, and she induces them to carry Bluebeard into the hall of the castle, where she cuts his bonds, and next dresses his injuries. The throng leave her in undisputed possession of the field. Bluebeard, whose wounds are not very serious, now rises and gazes by turns at this and that one of the wives, but he has no more any desire to molest them. Ariane says farewell to him, and states that now her mission is over and that she must go away. Bluebeard regrets this, and in answer confesses his love and admiration for her. But Ariane smilingly does not respond to his pleading. The, other five wives are told they may have their freedom if they so choose. But they, after consultation, declare their decision to stay with Bluebeard.

L'ATTAQUE DU MOULIN

A four-act Opera, music by C. Bruneau

Text founded on a story by A. Daudet

     The first performance of this work took place in Paris, 1893. It is of a patriotic nature, and has enjoyed popularity in France.
     The scene of the first act is laid in the mill of Father Merlier, shortly before the outbreak of the war of 1870-71. The housekeeper, Marcelline, is making great preparations in order to celebrate the formal engagement of Merlier’s daughter, Franchette, to her young lover, Dominic. Old Merlier has become reconciled to the match, although at first he was strongly opposed to it. He indulges in pleasant speculation as to the prospective new management of the mill by the young couple. Swarms of guests are arriving, and all of them give joy to the lovers. Dancing is begun, and toasts to the happy couple are being proposed when a drum is heard. It is officially declared that war has commenced, whereupon the guests disperse in affright.
     The second act happens but one month thereafter. It is the very day when the wedding of Franchette and Dominic was to be celebrated, but instead fighting is going on around the mill. A detachment of French soldiers have occupied the mill, and the Prussians are attacking it from without. Merlier, the miller, has been wounded while defending his homestead. Dominic, a skilled marksman, has scored many a hit. After a brave defense the French captain orders his men to retreat by way of the near-by forest. They go off in that direction. Franchette comes in with a knife in her hands. She explains that she carries it for’ self-protection. The Prussian troops now take possession of the mill. Their commander wants to know why Dominic has not gone with his company. Dominic in reply says he is not a Frenchman and did not belong to the company. He says he is Flemish, and only fought out of friendship for the family. Whereupon the Prussian captain, saying that he is a freebooter, declares his life forfeit and orders him shot for joining in the fight, but offers to pardon him if he will lead the Prussian troops through the woods. Dominic indignantly refuses. Alone in prison Dominic in a moving song bids farewell to life and home. Franchette, climbing ·to his window, points out to him a way of escape and gives him the details.
     In the third act Dominic, after climbing out of his window, is discovered by the sentry, whom in the ensuing scuffle he stabs and mortally wounds. He has used Franchette’s knife in doing so, and has dropped that before he escapes. Soldiers rush in and make Merlier and his daughter prisoners. Merlier is held responsible for the murder of the sentry. Although the miller knows the hiding place of Dominic, his future son-in-law, he resolves not to give up the latter to the enemy, as has been demanded, and rather to suffer the death penalty himself in order not to destroy Franchette’s happiness. He informs the Prussian commanding officer that he is ready to undergo the full penalty. Franchette is unable to bear the strain and falls unconscious to the ground.
     .The fourth act opens again in the place before the mill. It is dawn. Marcelline, the housekeeper, looks about her and notes the Prussians wrapped in slumber. Franchette appears, and a trumpet signal is heard telling of an approaching body of French soldiers. Dominic steals into the yard in disguise. He has wandered about the woods all night, unquiet regarding the fate of his friends. His sweetheart dares not tell him the truth. Just then Merlier and the Prussian captain enter, and Merlier, in an aside, implores his daughter not to reveal the facts, for fear that Dominic will spoil his plan. So they all purposely mislead Dominic. He thinks all is well. French bugles are heard again, and Merlier, in order to save at least his daughter and her betrothed, orders Dominic to run and advise the approaching French troops to come to the rescue. He bids farewell to his daughter, reminding lier of happy days. Franchette thinks the Prussian captain has relented, and is calmed. The French soldiers appear at the same time as the Prussians, and just when the mill and its inhabitants seem safe at last, the Prussian commander gives orders to shoot Merlier, who falls riddled with bullets.

L’AUBE ROUGE

Tragic Opera in two acts by CAMILLE Erlanger

Text by M. Marcon

This opera had its première at Rouen, in 1912.
     Act I. Olga is informed by her father, a Russian general named Lavaroff, that her lover Serge, a Nihilist, is dead in Siberia. ‘Her father urges her to marry a famous French surgeon, M. Ruys. But Serge appears at the wedding supper, and Olga flees with him to the haunts of the Nihilists in the Quartier Latin, Paris. There Serge and she devote themselves with great enthusiasm to the "cause." Serge is chosen by his comrades to throw a bomb at a reactionary Russian diplomat visiting Paris. The struggle in his soul between his love for Olga and his devotion to his fellows is great, and he hesitates. His comrades, deeming him a traitor, sentence him to death. But the shot merely inflicts a severe wound, and he is taken to the hospital. When he wakes there from his narcotic slumber he finds he has been saved by the skill of his rival, the famous surgeon Ruys. Feeling conscious, however, of his duty to his mates he throws the bomb and is killed in the explosion. His sweetheart

Last updated October 21, 2006