THE STANDARD OPERAGLASS

CHARLES ANNESLEY

THE QUEEN OF SHEBA
(DIE KÖNIGIN VON SABA)

Grand Opera in four acts by Charles Goldmark

Text by Mosenthal

     Charles Goldmark was born in Hungary in 1852. He received his musical education in Vienna.
     The well-known name of Mosenthal is in itself a warrant that the libretto is excellently suited to the music. The opera is considered one of the best and finest of our modern compositions.
     It is noble, original, and full of brilliant orchestral effects, which, united to a grand, not to say gorgeous, mise en scène, captivate our senses.
     The incidents are these:
     A magnificent wedding is to be celebrated in King Solomon’s palace at Jerusalem. The High-priest’s daughter, Sulamith, is to marry Assad, King Solomon’s favorite. But the lover, who has, in a foreign country, seen a most beautiful and haughty woman bathing in a forest well, is now in love with the stranger and has forgotten his destined bride.
     Returning home, Assad confesses his error to the wise King, and Solomon bids him wed Sulamith and forget the heathen. Assad gives his promise, praying to God to restore peace to his breast.
     Then enters the Queen of Sheba in all her glory, followed by a procession of slaves and suitors. Next to her litter walks her principal slave, Astaroth.
     The Queen comes to offer her homage to the great Solomon, with all the gifts of her rich kingdom.
     She is veiled, and nobody has seen her yet, as only before the King will she unveil herself.
     When she draws back the veil, shining in all her perfect beauty, Assad starts forward; he recognizes her; she is his nymph of the forest. But the proud Queen seems to know him not; she ignores him altogether. Solomon and Sulamith try to reassure themselves to console Assad, and the Queen hears Solomon’s words: “To-morrow shall find you united to your bride!” She starts and casts a passionate look on the unfortunate Assad.
     The Queen is full of raging jealousy of the young bride. But though she claims Assad’s love for herself, she is yet too proud to resign her crown, and so, hesitating between love and pride, she swears vengeance on her rival. Under the shade of night her slave-woman, Astaroth, allures Assad to the fountain, where he finds the Queen, who employs all her arts again to captivate him, succeeding, alas! only too well.
     Morning dawns, and with it the day of Assad’s marriage with Sulamith. Solomon and the High-priest conduct the youth to the altar; but just as he is taking the ring, offered to him by the bride’s father, the Queen of Sheba appears, bringing as a wedding gift a golden cup filled with pearls.
     Assad, again overcome by the Queen’s dazzling beauty, throws the ring away and precipitates himself at her feet. The Levites detain him, but Solomon, guessing at the truth, implores the Queen to speak. Assad invokes all the sweet memories of their past; the Queen hesitates, but her pride conquers. For the second time she disowns him. Now everybody believes Assad possessed by an evil spirit, and the priests at once begin to exorcise it; it is all but done, when one word of the Queen’s, who sweetly calls him “Assad,” spoils everything. He is in her power: falling on his knees before her, he prays to her as to his goddess. Wrathful at this blasphemy in the temple, the priests demand his death.
     Assad asks no better, Sulamith despairs, and the Queen repents having gone so far. In the great tumult Solomon alone is unmoved. He detains the priests with dignity, for he alone will judge Assad.
     There now follows a charming ballet, given in honor of the Queen of Sheba. At the end of the meal, the Queen demands Assad’s pardon from Solomon. He refuses her request. She now tries to ensnare the King with her charms as she did Assad, but in vain. Solomon sees her in her true light and treats her with cold politeness. Almost beside herself with rage, the Queen threatens to take vengeance on the King and to free Assad at any risk.
     Solomon, well understanding the vile tricks of the eastern Queen, has changed the verdict of death into that of exile. Sulamith, faithful and gentle, entreats for her lover, and has only one wish: to sweeten life to her Assad, or to die with him.
     We find Assad in the desert. He is broken down and deeply repents his folly, when, lo! the Queen appears once more, hoping to lure him with soft words and tears. But this time her beauty is lost upon him; he has at last recognized her false soul; with noble pride he scorns her, preferring to expiate his follies by dying in the desert. He curses her, praying to God to save him from the temptress. Henceforth he thinks only of Sulamith, and invokes Heaven’s benediction on her. He is dying in the dreadful heat of the desert, when Sulamith appears, the faithful one who, without resting, has sought her bridegroom till now. But alas! in vain she kneels beside him, couching his head on her bosom; his life is fast ebbing away. Heaven has granted his last wish; he sees Sulamith before his death, and with the sigh “Liberation!” he sinks back and expires.

QUO VADIS

Religious Opera in five acts by J. Nougues

Text based on Sienkievicz’ famous novel of the same name

     The initial performance of this work was given at Nice, 1909. The scene is laid in Rome, about 50 A. D.
     Act I. At the gardens of Petronius. Eunice and Iras, slaves, decorate statues. Petronius enters with Vinicius, the latter telling of his infatuation for Lygia. Eunice tells Vinicius of a .soothsayer who can predict the future. He is summoned and says Lygia is daughter of a king, and is now a Roman hostage. Chilon, the fortune-teller, is sent out to ascertain the meaning of a symbol — a fish — which Lygia had once traced in the sand.
     Act II. Nero, the emperor, gives a great festival. At Nero’s side is a beautiful stranger, Lygia, and this arouses the jealousy of Nero’s favorite mistress, Poppaea, but Petronius soothes her. Vinicius and Lygia are left alone together, and he pleads for her love. Lygia answers that she cannot be his because she is a Christian and he a pagan. Suddenly a ruddy glare overspreads the sky. It is Rome burning. but Nero goes on singing and playing the lyre untroubled by the danger. The populace suddenly rise, accusing Nero of having caused the great fire. Poppaea begs Petronius to allay the roused passion of the multitude.
     Act III. The scene is a wineshop on the banks of the Tiber, filled with soldiers, gladiators, and sailors. Chilon traces the sign of a fish. Demas, a Christian, tells him that the apostle will be among them that night. Chilon has ascertained that the fish is a symbol of Christianity. He also learns that Lygia is with Demas’s wife, Myriam, and that these two will go forth that evening. Chilon bids Croton, the giant gladiator, come with him. The Christians assemble at a house on the river, and Lygia and St. Peter, entering this house, are observed, and many of the Christians taken prisoner.
     Act IV. First scene is at the arena of the Colosseum. Christian martyrs are seen, among them Demas and Myriam. Peter comforts them. Vinicius enters, telling Lygia to be hopeful, as he has contrived for her escape. But Petronius shuts off the means of escape, and Vinicius declares his intention of following Lygia to death. The next scene shows the imperial box, with Nero and Poppaea. Ursus, a slave of Lygia’s down in the arena, by his enormous strength saves Lygia from being killed by a fierce aurochs, and Nero grants her life. Chilon creates a mob scene in the circus, and Nero is charged with being the incendiary that set Rome afire, and has to flee from the popular fury.
     Act V. Petronius at his rural estate is urged by Lygia and Vinicius to go with them to Sicily, but he declines, and issues a letter of parting to Nero. Being convinced that this will mean his death, he has his arteries opened by Theocles, the physician, and dies with Eunice, who confesses her love for him toward the last. The news of Nero’s death and of the safety of Petronius arrives too late to prevent Petronius’ end.

Last updated October 21, 2006