THE STANDARD OPERAGLASS

CHARLES ANNESLEY

IL SERAGLIO

Opera in three acts by Mozart

Text after Bretzner by G. Stephanie

     Mozart modestly called this opera a vaudeville (in German, Singspiel). They were the fashion toward the end of the last century, but “Il Seraglio” ranks much higher, and may be justly called a comic opera of the most pleasing kind. The music is really charming, both fresh and original.
     The libretto is equally happy. It particularly inspired Mozart, because given him by the Emperor Joseph II. at the time when he, Mozart, a happy bridegroom, was about to conduct into his home his beloved Constauze. The story is as follows:
     Constanza, the betrothed bride of Belmonte, is with her maid Bionda (Bhondchen) and Pedrillo, Belmonte’s servant, captured by pirates. All three are sold as shaves to Selim Pasha, who keeps the ladies in his harem, taking Constanza for himself and giving Bionda to his overseer Osmin. Pedrillo has found means to inform his master of their misfortune, and Belmonte comes seeking entrance to the Pasha’s villa in the guise of an artist. Osmin, who is much in love with Bionda, though she treats him haughtily, distrusts the artist and tries to interfere. But Pedrillo, who is gardener in the Pasha’s service, frustrates Osmin’s purpose and Belmonte is engaged. The worthy Pasha is quite infatuated with Constanza, and tries hard to gain her affections. But Constanza has sworn to be faithful till death to Belmonte, and great is her rapture when Bionda brings the news that her hover is near.
     With the help of Pedrillo, who manages to intoxicate Osmin, they try to escape, but Osmin overtakes them and brings them hack to the Pasha, who at once orders that they be brought before him. Constanza, advancing with noble courage, explains that the pretended artist is her lover, and that she will rather die with him than leave him. Selim Pasha, overwhelmed by this discovery, retires to think about what he shall do, and his prisoners prepare for death, Belmonte and Constanza with renewed tender protestations of love, Pedrillo and Bionda without either fear or trembling.
     Great are their happiness and Osmin’s wrath when the noble Pasha, touched by their constancy, sets them free, aud asks for their friendship, bidding them remember him kindly after their return into their own country.

SIEGFRIED

Second day of the Nibelungen Ring by Wagner

Musical Drama in three acts

     The first act represents a part of the forest where Fafuer guards the Rhinegold and where Sieglinda has found refuge. We find her son Siegfried — to whom when she was dying she gave birth — in the rocky cave of Mime the Nibelung, brother of Alberich, who has brought up the child as his own, knowing that he is destined to slay Fafner and to gain the ring, which he covets for himself. Siegfried, the brave and innocent boy, instinctively shrinks from this father, who is so ugly, so mean and vulgar, while he has a deep longing for his dead mother, whom he never knew. He gives vent to these feelings in impatient questions about her. The dwarf answers unwillingly and gives him the broken pieces of the old sword Nothung (needful), which his mother left as the only precious remembrance of Siegfried’s father.
     Siegfried asks Mime to forge the fragments afresh, while he rushes away into the woods.
     During his absence Wotan comes to Mime in the guise of a wanderer. Mime, though he knows him not, fears him, and would fain drive him away. Finally he puts three questions to his guest. The first is the name of the race which lives in earth’s deepest depths, the second the name of those who live on earth’s back, and the third that of those who hive above the clouds. Of course Wotan answers them all, redeeming his head and shelter thereby; but now it is his turn to put three questions. He first asks what race it is that Wotan loves most, though he dealt hardly with them, and Mime answers rightly that they are the Waelsungs, whose son Siegfried is; then Wotan asks after the sword which is to make Siegfried victorious. Mime joyously names “Nothung,” but when Wotan asks him who is to unite the pieces he is in great embarrassment, for he remembers his task and perceives too late what question he ought to have asked. Wotan leaves him, telling him that only that man can forge it who never knew fear. Siegfried, finding the sword still in fragments when he returns, melts these in fire, and easily forges them together, to Mime’s great awe, for he sees now that this boy is the one whom the stranger has meant.
     In the second scene we see the opening of Fafner’s cavern, where Alberich keeps watch for the dragon’s slayer, so long predicted.
     Wotan, approaching, warns him that Al­berich’s brother Mime has brought up the boy who is to slay Fafner, in the hope of gaining Alberich’s ring, the wondrous qualities of which are unknown to Siegfried.
     Wotan awakes Fafner, the dragon, telling him that his slayer is coming.
     Mime, who has led Siegfried to this part of the forest under the pretext of teaching him fear, approaches now, and Siegfried, eager for combat, kills the dreadful worm. Accidentally tasting the blood, he all at once understands the language of the birds. They tell him to seek for the Tarnhelm and for the ring, which he finds in the cavern. Meanwhile the brothers, Alberich and Mime, quarrel over the treasure, which they hope to gain. When Siegfried returns with ring and helmet he is again warned by the voice of a wood-bird not to trust in Mime. Having tasted the dragon’s blood, Siegfried is enabled to probe Mime’s innermost thoughts, and so learns that Mime means to poison him, in order to obtain the treasure. He then kills the traitor with a single stroke. Stretching himself under the linden-tree to repose after that day’s hard work, he again hears the voice of the wood-bird, which tells him of a glorious bride, sleeping on a rock surrounded by fire; and flying before him, the bird shows Siegfried the way to the spot.
     In the third scene we find Wotan once more awakening Erda, to seek her counsel as to how best to avert the doom which he sees coming, but she is less wise than lie and so he decides to let fate have its course. When he sees Siegfried coming, he for the last time tries to oppose him by barring the way to Brünnhilde, but the sword Nothung splits the god’s spear. Seeing that his power avails him nothing be retires to Walhalla, there to await the “Dusk of the Gods.”
     Siegfried plunges through the fire, awakes the Walkyrie, and after a long resistance wins the proud virgin.

SILVANA

Romantic Opera in four acts by Weber

Text by Ernst Pasqué

     This opera was heft unfinished by Weber. It has, however, recently been completed, the text by Ernst Pasqué, and the music by Ferdinand Langer, who rearranged the manuscript with loving care, interweaving different compositions from Weher, as, for instance, his “Invitation à la valse” and his “Polonaise,” which are dexterously introduced into the ballet of the second act.
     The action is taken from an old German legend which comes to us from the land of the Rhine. There we may still find the ruins, of the two castles Sternberg and Liebenstein.
     Of these our legend says that they belonged to two brothers, who hated each other, for the one, Boland, loved his brother’s bride and was refused by her. By way of revenge he slew his brother and burned down his castle. But in the fray the wife he coveted disappeared with her child, and both were supposed to have perished in the flames.
     Since then Boland has fallen into deep melancholy, and the consequences of his dreadful deed have never ceased to torment him. His only son, who lost his mother in early childhood, has grown up solitary, knowing nothing of woman’s sweetness, of peace and happiness. His only passion is the hunt. He has grown into manhood, and his father and his vassals wish him to marry, but never yet has he found a woman who has touched his heart with love.
     In the beginning of the first act we see him hunting in the forest. He has lost his way and his companions, and finds himself in a spot which he has never before seen. A beautiful maiden comes out of a small cottage, and both fall in love at first sight. The returning collier would fain keep his only child, who has not yet seen anything of the world; but the nymph of the forest, Silvana’s protectrice, beckons him away. When at length the Count’s fellow. hunters find him, he presents Silvana to them as his bride. The unfortunate collier is made drunk with wine, and during his sheep they take his daughter away to the castle of the old Rhinegrave.
     But Silvana is protected in the new world into which she enters by the nymph, who follows her in the guise of a young minstrel. The old Count, hearing of his son’s resolution, is quite willing to receive the bride, and even consents to go to the peasants’ festival and look at the dancing and frolicking given in honor of his son’s bridal.
     There we find Ratto, the collier, who seeks his daughter Silvana, telling everybody that robbers took her away from him, and beseeching help to discover her. Meanwhile Silvana arrives in rich and costly attire between Gerold, the young Count, and the old Rhinegrave. The latter, attracted by her fairness and innocence, has welcomed her as his daughter without asking for antecedents When the dances of the villagers have ended, the nymph enters in the guise of a minstrel, asking to be allowed to sing to the hearers, as was the custom on the banks of the Rhine.
     She begins her ballad, the contents of which terrify the Rhinegrave, for it is his own awful deed which lie hears. Springing up, he draws his sword against the minstrel, but Silvana rises, protecting him with outstretched arms. All are stupefied; Gerold hooks with suspicion on his bride, hanging on the breast of the stranger. He asks for an explanation, hut Silvana is silent. It is part of her trial, not to betray the nymph. At the same moment Ratto, the collier, recognizes and claims Silvana as his daughter. Everybody now looks with contempt on the low-born maiden, and the Rhinegrave commands them to be put into prison; but Gerold, believing in his bride’s innocence, though appearances are against her, entreats her once more to defend herself. Silvana only asserts her innocence and her love for Gerold, but will give no proofs. So the collier and his daughter and the minstrel are taken to prison. But when the keeper opens the door in the morning the minstrel has disappeared.
     The old Count, disgusted at the idea of his son’s union with a collier’s daughter, accuses her of being a sorceress. He compels her to confess that she seduced his son by magic arts, and Silvana consents to say anything rather than injure her lover. She is conducted before a court and condemned to the fuueral pile. Gerold, not once doubting her, is resolved to share her death, when in the last critical moment the minstrel once more raises his voice and finishes the ballad which the Rhinegrave had interrupted so violently. He tells the astonished hearers that the wife and daughter of the Count, who was slain by his brother, were not burned in the castle, but escaped to the forest, finding kindly refuge in a poor collier’s hut, where the mother died, leaving her child, Silvana, under his protection.
     The Rhinegrave, full of remorse, embraces Silvana, beseeching her forgiveness, and the lovers are united.

THE SOLD BRIDE

Comic Opera in three acts by Fr. Smetana

Libretto by K. Sabina

German text by Max Kalbeck

     Poor Smetana! Nature had put on his brow the stamp of genius, but he never lived to see his glory. After grief and sorrow and direst need he died in a mad house, and now posterity heaps laurels on his grave. “The Sold Bride” has been represented in Prague over 300 times, and it begins to take Possession of every noted stage in Europe.
     The subject forms a simple village idyll, without any strong contrasts. Its ethical motive lies in its representation of quaint old customs and in the deep-rooted patriotic love; but the whole opera is literally steeped in euphony.
     The overture has its equal only in “Figaro,” and a perfect stream of national airs flows through the whole.
     The first chorus, “See the buds open on the bush,” is most original, the national dance in the second act is full of fire, and the rope-dancers’ march is truly Shavonic in its quaintness.
     The scene is laid in a village in Bohemia. It is Spring-Kirmess, and everybody is gay. Only Mary, the daughter of the rich peasant Kruschina, carries a heavy heart within her, for the day has come on which the unknown bridegroom, chosen by her parents, will claim her hand. She loves Hans, known to her as a poor servant, who has come to her village lately, and who is in reality her bridegroom’s half-brother. He consoles her, beseeching her to cheer up and be faithful to him, and then tells her that he comes of wealthy people. Having lost his mother early, his father wedded a second wife, who estranged his heart from the poor boy so that he had to gain his daily bread abroad. She deeply sympathizes with him, without guessing his real name.
     Meanwhile, Mary’s parents approach with the matchmaker, Kezul, a personage common in Bohemia, who has already won Kruschina’s con-sent to his daughter’s marriage with Wenzel, son of the rich farmer Micha by a second marriage. Mary’s mother insisting that her child’s will is to be consulted before all, the father consents to let her see the bridegroom before she decides. Kezul, though angry at this unhooked for obstacle, excuses the bridegroom’s absence volubly, and sings his praise loudly, at the same time touching upon the elder son’s absence, and hinting that he may probably be dead. When Mary steps in, Kezul wooes her in due form, but is at once repulsed by her. The young girl owns to having given her heart to the humble servant Hans, in whom nobody has yet recognized Micha’s son. Father Kruschina angrily asserts his promise to Kezul, cursing Weuzel’s timidity, which hindered him from making his proposal in person. Kezul, however, resolves to talk Hans over to reason.
     We find him in the second act, singing and highly praising the god of love. Afterward the would-be bridegroom, Weuzel, finds himself face to face with Mary, whom he does not know. When he tells her of his purpose, timidly and stammeringly, she asks him if he is not ashamed to woo a girl who loves another man, and who does not love him in the least. She at last so frightens the lad that he prom­ises to look out for another bride, if his mother permits it. Mary flirts with him, until he swears never to claim Kruschina’s daughter. Meanwhile Kezul does his best to convert Hans. He promises to provide for him another bride, much richer than Mary, but Hans refuses. He offers him money, first one, then two, then three hundred florins. Hans, looking incredulous, asks: “For whom are you wooing my bride?” “For Micha’s son,” the matchmaker replies. “Well,” says Hans, “if you promise me that Micha’s son shall have her, and no other, I will sign the contract, and I further stipulate that Micha’s father shall have no right to reclaim the money later; he is the one to bear the whole costs of the bargain.” Kezul gladly consents and departs to fetch the witnesses, before whom Hans once more renounces his bride in favor of Micha’s son. He coolly takes the money, at which they turn from him in disgust, and signs his name Hans Ebrentraut at the foot of the document.
     The third act opens with a performance by tight-rope dancers. Wenzel, who has been quite despondent about his promised bride, is enraptured by their skill. He especially admires the Spanish dancer Esmeralda, who bewitches him so entirely that he wooes her. The director of the band, being in want of a dancing bear, is not loath to take advantage of the lad’s foolishness. He engages him as a dancer, and easily overcomes Wenzel’s scruples by promising him Esmeralda’s hand. Just when they are putting him in bear’s skin, his parents appear on the scene with the marriage contract. To their great dismay he refuses to sign it, and when pressed runs away. Meanwhile, Mary has heard of her lover’s fickleness, which she would fain disbelieve, but, alas! Kezul shows her the document by which Hans renounces her. Nevertheless, she refuses to wed any other man than the one her heart has chosen. Wenzel, approaching again and recognizing in Mary the bride he had renounced, is now quite sorry to give her up, and very willing to take her if she will only yield. Mary, praying to be left alone for a little while, abandons herself to her grief and is thus found by Hans, whom she bitterly reproaches for his faithlessness. But he only smiles, and recalls the whole chorus, coolly saying that it is his wish that Mary should wed Micha’s son. That is too much for poor Mary’s feelings. She declares that she is ready to do as they wish, but before she signs the contract Hans steps forth in full view of his parents, who at last recognize in him their long-lost eldest son. Though his stepmother, Agnes, is in a rage about his trick, he claims his rights as son and heir, and the bride, of course, is not loath to choose between the two brothers. Kezul, the matchmaker, retires shamefaced, and when Wenzel shows himself in the last scene as a dancing bear, and stammeringly assures the laughing public that they need not be afraid of him, as be is “not a bear but only Wenzel,” the final blow is dealt whereby he loses all favor in the eyes of Kruschina, who is now quite reconciled to give his daughter to Micha’s elder son.

LA SONNAMBULA

Opera in two acts by Vincenzo Bellini

Text by Felice Romani

     This opera is decidedly of the best of Bellini’s muse. Though it does not reach the standard of “Norma,” its songs are so rich and melodious that they seem to woo the ear and cannot be heard without pleasure.
     Add to these advantages a really fine as well as touching libretto, and it may be easily understood why the opera has not yet disappeared from the stage repertory, though composed more than fifty years ago.
     It is a simple village-peasant story which we have to relate. The scene of action is a village in Switzerland, where the rich farmer Elvino has married a poor orphan, Amina. The ceremony has taken place at the magistrate’s, and Elvino is about to obtain the sanction of the church to his union, when the owner of the castle, Count Rndolph, who fled from home in his boyhood, returns most unexpectedly and, at once making love to Amina, excites the bridegroom’s jealousy. Lisa, the young owner of a little inn, who wants Elvino for herself and disdains the devotion of Alexis, a simple peasant, tries to avenge herself on her happy rival. Lisa is a coquette and flirts with the Count, whom the judge recognizes. While she yet prates with him, the door opens, and Amina enters, walking in her sleep and calling for Elvino. Lisa conceals herself, but forgets her handkerchief. The Count, seeing Amina’s condition and awed by her purity, quits the room, where Amina lies down, always in deep sleep. Just then the peo-pie, having heard of the Count’s arrival, come to greet him and find Amina instead. At the same moment Elvino, summoned by Lisa, rushes in, and finding his bride in the Count’s room turns away from her in disdain, snatching his wedding ring from her finger in his wrath, and utterly disbelieving Amina’s protestations of innocence and the Count’s assurances. Lisa succeeds in attracting Elvino’s notice and he promises to marry her.
     The Count once more tries to persuade the angry bridegroom of his bride’s innocence, but without result, when Teresa, Amina’s foster-mother, shows Lisa’s handkerchief, which was found in the Count’s room. Lisa reddens, and Elvino knows not whom he shall believe, when all of a sudden Amina is seen, emerging from a window of the mill, walking in a trance., and calling for her bridegroom in most touching accents.
     All are convinced of her innocence when they see her in this state of somnamnbulism, in which she crosses a very narrow bridge without falling. Elvino himself replaces the wedding ring on liner finger, and she awakes from liner trance in his arms. Everybody is happy at the turn which things have taken; Elvino asks Amina ‘s forgiveness and leaves Lisa to her own bitter reflections.

SEMIRAMIDE

Lyric Tragedy in two acts by Gioachini Rossini

Text by Gaetano Rossi

This is one of the best of the fifty operas written by Rossini. The subject is taken from Voltaire’s “Semiramis.” It was first presented in Venice in 1823. The music is stirring in its passion, and has throughout the smoothness and richness of melody which characterizes the work of its versatile composer.
     The scene is laid in Babylon. In the first act, Ninus, the King, is murdered by his Queen, Semiramis, who is assisted in her evil design by her lover Assur, an aspirant to the throne. Semiramis had given over her son, Ninia, at an early age, to the priest Oroe, who had brought him up to believe that he was of Scythian origin. Ninia enters the service of the Queen under the name of Arsaces, and soon becomes a renowned warrior.
     On returning victorious from the wars, he is loaded with honors by Semiramis, who, totally ignorant of his parentage, falls in love with him and openly avowing her passion, asks him to marry her. Arsaces refuses, as he is already in love with the royal princess Azema.
     During a gathering of the Babylonians in the temple, while Semiramis is announcing to her people her choice for their future King, the gates of Ninus’ tomb suddenly open, and his ghost appears in their midst, predicting that Arsaces will be his successor to the throne, and commanding him to avenge his death upon the enemy who shall visit the tomb that night. In the meantime the Priest Oroe has revealed to Arsaces the true circumstances of his birth, whereupon he informs his mother of his parentage. The repentant Queen declares that he shall be the successor to the crown, and warns him against the aspiring and evil Assur.
     At midnight Arsaces descends to the tomh of his father, and is followed by Assur, who has deliberately planned to murder him. Semiramis, fearful for the life of her son, follows Assur into the tomb, and Arsaces, who is lying in wait for him, hears the footsteps of his mother approaching, and, thinking her to be Assur, stabs her. She dies in his arms, and Assur, being imprisoned, all obstacles are removed, and Arsaces, after marrying Azema, is proclaimed King of Babylon.

SAPPHO

Grand Opera in five acts by Jules Massenet

     The opera of "Sappho," by Jules Massenet, has for its plot the love-story of modern Parisian life, as told in Alphonse Daudet’s novel of the same name. The libretto was written in French by Henri Cain and Bernède.
     The first act takes place in the drawing-room of the house of the sculptor Caoudal, in which a masquerade ball is in progress. As the curtain rises the music of a make-believe Gypsy orchestra is heard playing loudly from the studio leading off the drawing-room. Caoudal and his friend, La Borderie, now enter, accompanied by the gnests, and all in a merry humor. La Borderie complains of being tired and tries to get away. He is, however, brought back in triumph by the girls, who will not let him go. Jean Gaussin, the hero of the play and a simple young man from the country, is also a guest. He comes in from the studio in his desire to get away from the hubbub and merrymaking. Caoudal jeers him for his mood and points out the pretty ladies to him. He will not be presented to them for fear of their ridicule; nor will he go back with them into the studio. He is left alone and is about to depart, when he hears the voice of Fanny, the model, singing the old studio song in company with the rest of the merrymakers. Jean’s spirit is at variance with his surroundings; he sighs for his home where the Rhone bounds along, the land of promise that nursed him. Fanny enters suddenly, followed by a crowd of artists, among whom are Caoudal and La Borderie. They clamor for her kisses, but she repels them laughingly. They surround her, but as she tries to free herself she sees Jean. Turning aside to Caoudal, she asks him who the handsome boy is, but he answers absently. In the meantime Jean has been gazing at her as if spellbound. He falls in love with her at first sight, so to speak, while she, on her part, is inexplicably drawn towards him. She manages to get him aside, and on questioning him discovers, to her joy, that he is not an artist, knows nothing of the life of the Latin Quarter, but is just arrived fresh from the country of Provence. She is afraid he will find out who she is and what the life is that she is leading. Anxious to retain his good will, she persuades him to slip away with her quietly, as Caoudal comes out from the studio and summons all to supper. From the studio comes cries of "Sappho! Sappho!" The great curtain at the back is drawn aside and the guests are all disclosed sitting at small tables at supper. Caoudal, who has noticed Fanny leaving with Jean, calls some friends to him, and they laughingly exchange gestures of pity for the young fellow. As the curtain falls some gypsies at the back execute a dance.
     The action of the second act takes place in Jean Gaussin’s lodgings in the Rue d’Amsterdam, Paris. Jean is discovered at his work in company with his father, Césaire. Jean is singing while working. Passing from singing to talk, we learn that Césaire and Divonne, his wife, have come to Paris to place Jean in some position, and to take home with them, on their return to Provence, Jean’s cousin, Irene, the companion of his childhood days. Divonne and Irene then come in, the former in a great state of excitement from seeing Paris. Césaire and Divonne go off to make ready for their departure, and Jean and Irene indulge in sentimental recollections of the happy days they spent together in the past. The parents come in and catch the young people in a lover’s embrace, and laugh good-naturedly at their embarrassment. A touching scene follows, in which the parents take leave of Jean and finally depart with Irene. Jean is left meditating sadly on his loneliness. He is not alone long. Fanny enters without knocking and approaches him quietly. She has waited until he should be alone, and finds him in the very mood for her companionship. She examines the room and admires its pretty arrangement. Noticing a statuette of Sappho by Caoudal for which she herself had been the model, she becomes confused and almost betrays herself. Recovering herself, she turns the conversation and hums him a tune which reminds Jean of his old country life. Jean, transported with passion, declares his love for her and they plight their troth to each other.
     When the curtain goes up on the third act, a year is supposed to have elapsed. Jean is now living with Fanny as husband and wife. He is, if anything, more in love with her now than he was when she came to his lodgings. Fanny, on her part, is really in love with him. She is overjoyed in the belief that her new life may continue, and that she has left for ever the old life of the Latin Quarter. The first scene of this act is a passionate love duet, in which each expresses to the other -the depth of their mutual affection, They walk off together, happy in their love. As they disappear Caoudal, La Borderie, and some young people enter. They see an inn near the cottage, and, attracted by its appearance, call to the rest of their companions to join them, and ask loudly for the landlord. A lively scene ensues, followed by a supper. Strolling musicians passing by, the company follow them, with the exception of Caoudal and La Borderie, who remain behind. Jean returns alone to meet his Bohemian friends. In a casual way Caoudal asks Jean if he is still living with "Sappho," the name by which Fanny has been known among the artists of the Latin Quarter. Jean does not understand to whom his friend refers. The truth, however, is soon made evident to him, and he realizes for the first time that the model of the statuette Caoudal gave him is the girl to whom he has given his whole heart. The realization fills him with disgust, and he denies to Caoudal that Fanny is still with him. Caoudal then tells him of some of Fanny’s adventures as a model, and that she has a child living with her father got by a former lover. Jean, overcome with rage and anger, voices his feelings in terms of hatred against her. Fanny enters at this instant radiant with happiness. Seeing Caoudal and La Borderie with Jean and noticing Jean’s disfigured countenance, she realizes that she has been betrayed. Jean reviles her for her deception. "All my love has been changed to gall," he cries. Fanny curses her past friends as a pack of cowards. She believes they have purposely told on her to deprive her of the joy of the one pure love of her life, and the curtain falls on the agony of her despair.
     In the fourth act we are taken to Jean Gaussin’s parental home in Provence. A house to the right and a garden with a well to the left are backed by the Rhone and the landscape of the country round Villeneuve. Césaire, Divonne, and Irene are present with Jean, who is distressed and sad because he finds himself unable to endure his old life in the country. The parents try to comfort him, and his cousin reminds him of the days of their childhood when they were Joseph and Mary to each other. But all is of no avail. Césaire suddenly comes in and bids his wife and Irene to go away. While they are there he will not explain his reason for the request, but when they leave he tells Jean that "Sappho" is come. He begs his son to be brave, and Jean promises his father that he will never give way. Césaire goes out and Fanny comes in, walking slowly and looking about her. Seeing Jean, she rushes toward him as if to throw her arms about his neck, but Jean’s aspect holds her back. "Blame me not that I have sought you," she cries; she cannot bear his absence from her. Her seductive beauty and simple pleading so touch him that his resolves melt away, and he is about to become reconciled to her when his father and mother come in. They are just in time, as they see, and Césaire orders his son into the house. Fanny steps forward to go to Jean, but finds herself face to face with his mother. Fanny asks her who she is and Divonne tells her she is Jean’s mother. Fanny, in confusion, begs her pardon, and then, seeing Jean going away, she ‘stretches out her arms to him and leaves, sobbing.
     It is winter when the curtain rises on the fifth act. The scene is the dismantled room of the little house at Ville d’Avray, where Jean and Fanny had lived their year’s happiness. The snow-covered country can be seen through a glass door at the back. Fanny is alone, sad, but resigned. She tears up some letters of Jean’s she has been reading, and resolves to devote herself to the upbringing of her child. Jean enters suddenly and surprises her in the midst of her meditations. He could not stay away any longer. He has come back to live with her. He has left his parents, given up his home, resigned his career, only that he might be with her again. He is tired and worn out by the conflict of emotions he has endured since she left him. In this reconciliation Fanny calls him by the endearing "my love," which sends Jean back again into a fit of doubt and jealousy. He is reminded by it of Caoudal’s vivid description of an earlier love adventure Fanny had played with another lover, and the recollection maddens him. Tired out, however, he falls wearily into a chair and goes off. to sleep. Fanny has now realized that she can never again live with Jean in the happy state she had dreamed of, and of which she had had so intoxicating a draught. She writes him a letter of farewell, while he is restlessly sleeping, and, bidding him good-by, she goes out slowly, leaving him still sleeping.

SALOMÉ

Opera in one act by Richard Strauss

     The production of this now famous opera, by Richard Strauss, at Dresden, on December 9, 1905, created a tremendous excitement at the time. Its success was immense and its performance became the subject of much discussion, both in England and America. In England it was forbidden by the censor. In America, however, it was produced with great magnificence, and obtained an enormous vogue. Strauss took for his text the play as written by Oscar Wilde. In this play Salomé is given an individuality totally different from that which the Biblical tale presents. In the Bible story, Salomé is simply the tool of her mother, Herodias, who urges her to ask for the head of Jokanaan. In Wilde’s play she is a passionate woman, in revolt against the life of the court of Herod the Tetrarch, and in love with Jokanaan, whom she admires for his courage and daring. Jokanaan, however, repulses her and declines to accept her love. It is because of this that her love turns into hatred and makes her determined to avenge herself on him.
     Jokanaan had aroused Herod’s anger for preaching against his marriage with his brother’s wife. He has Jokanaan imprisoned in a cistern in the palace and guarded by Roman soldiers. Salomé, passing by the cistern, hears the voice of the prisoner prophesying the ruin of Jerusalem. Attracted by his beautiful voice, she asks the guard to let her see the prisoner.
     The scene of the play is the great terrace of Herod’s palace, set above the banqueting ball, where some soldiers are seen hanging over the balcony. It is a moonlight night, and a young Syrian soldier is telling of Salomé’s beauty, as he saw her that night. Salomé enters and hears Jokanaan crying from the cistern. She begs the young Syrian for a sight of the prisoner, and fascinates him into an obedience, though he knows he is acting against orders. When Jokanaan comes out of the cistern, he begins a prophetic anathema against him "who in a robe of silver shall one day die in the face of all the people," and against her "who bath given herself to the young men of the Egyptians." He will not have Salomé look at him. He does not desire to know who she is. It is not to her that he would speak. Salomé begs him to go on speaking. "Thy voice is as music to mine ear," she tells him. He tells her to get a way from him, but she answers that she is amorous of his body. When he spurns her she scorns him and derides him. The young Syrian soldier, unable to endure her words to Jokanaan, kills himself and falls between Salomé and Jokanaan. Salomé continues to beg Jokanaan to let her kiss his mouth, hut he curses her and goes down into the cistern again.
     Herod, Herodias, and the court now enter and see the dead body of the soldier. The body is removed and the Tetrarch calls for wine, asking Salomé to drink. She declines to drink or to eat. The voice of Jokanaan is now heard from the cistern, prophesying that the day of which he spoke is at hand. Herodias bids that he be silenced, but Herod tells the Jews that the prophet is a holy man and must be kept from harm. Five Jews declare him to be an impostor, and ask for his death, but Herod agrees with the Nazarenes that he is the prophet Elias. Jokanaan’s voice is again heard telling of the coming of the Savior. Herod asks who the Savior is, and the Nazarenes tell him that he is the Messiah who is already come and who has performed many miracles, even to raising the dead. Herod is incredulous, declaring that the dead should not be raised.
     The voice of Jokanaan is again heard, declaring that the coming Messiah will ascend Herod’s throne. Herod, trembling with fear, asks Salomé to dance for him, hoping that by this means his mind will be diverted from thinking on the prophet’s warnings and words. She declines to dance, but Herod promises her anything she asks of him, even to the half of his kingdom, if she will but dance for him. Herodias does not wish Salomé to dance, but Herod insists that he will have her dance. He gives a solemn oath that he will keep his promise to grant her any wish.
     In spite of Herodias’s repeated command that she should not dance, Salomé declares herself ready. The musicians then begin to play a furious dance music. Salomé, at first motionless, straightens herself and makes a sign to the musicians, who suddenly change the impetuous music to a sweet, lulling melody. Salomé then executes the "Dance of the Seven Veils." At one time, in the dance, she appears to weaken, but, beginning again with renewed passion, she dances so that she approaches the cistern in which Jokanaan is imprisoned. She remains for an instant, as if in an ecstacy, at the edge of the cistern. Then, rushing forward, she falls in a sweep at Herod’s feet.
     Herod praises her dancing and asks what he shall give her. Salomé requests that she shall have brought to her, on a silver charger, the head of Jokanaan. Herod cries, “No, no”; but Herodias says that Salomé has done well to ask for Jokanaan’s head. Herod begs Salomé to listen to him. He has ever been kind to her, let her therefore not ask this thing of him. Salomé simply repeats her demand for the head of the prophet. "Give .me the head of Jokanaan," is her repeated answer to all Herod’s pleadings. Finally he consents, and the executioner is sent into the cistern to bring the head. Salomé leans over the cistern and listens eagerly. She wonders why there is no sound; but when the executioner comes but of the cistern hearing the head on a silver shield, Salomé seizes it, while Herod hides his face in his cloak, and Herodias smilingly fans herself. The Nazarenes fall on their knees in prayer. The head of the prophet in her possession, Salomé, in an amorous cestacy, makes love to it, kissing its lips and caressing it passionately. Herod looks on in dreadful astonishment. "She is monstrous, thy daughter," he says to Herodias, in a low voice, but Herodias replies: “I am well pleased with my daughter. She has done well.” Herod, rising, says : "Ah, there speaks my brother’s wife." He will stay no longer in this place, but, rising, commands that the torches be extinguished. " Hide the moon," he cries; "hide the stars! Let us hide ourselves, Herodias! I begin to be afraid." Salomé is on the ground, exhausted, but still caressing the head and toying with its hair. "I have kissed thy mouth, Jokanaan," she keeps repeating, exultingly. As Herod is about to leave, he turns and sees Salomé in this position, illumined in a ray of the moonlight. A great disgust overcomes him. "Kill that woman!" he cries. The soldiers rush forward and crush Salomé beneath their shields.

THE SACRIFICE

A Dramatic Opera in three acts by Frederic S. Converse

The text likewise by him

     It was first produced in Boston, 1911. The scene is laid in California, in 1846.
     The first act takes place in the house of Sennora Anaya, a lady of distinction and entirely of Mexican lineage. Her niece, the beautiful Senorita Chonita, is visiting her, in order to be near her lover, Bernal, an officer in the Mexican army, then at war with the United States. The latter have been defeating the Mexicans, and California is passing out of Mexican control. Bernal is compelled by these novel circumstances to pay clandestine visits to his sweetheart. She has another wooer, Captain Burton, who is fighting in the American army, and who is calling on the handsome Mexican lady to push his own suit. Bernal, hiding in a clump of bushes, jealously watches the American officer, grinding his teeth in impotent rage. Meanwhile Sennorita Chonita is pretending to return Burton’s affection so as to enjoy his favor during the dangerous war times. But Bernal, unmindful of these facts, is merely roused more and more to anger by the rivalry existing between himself and the American protector of the family.
    The second act passes in the interior of a church structure. American invaders have converted a mission church into their barracks, demolishing shrines and altars in the process. There is a typical camp scene. American troopers are relating their adventures during the last battle with the Mexicans. Suddenly a company of gay girls, dancers and singers enter and then go with the American soldiers into the large gardens of the mission. Chonita and her maid Tomasa enter unobserved, their purpose being to inform themselves of the events previous to the recent fighting. Burton, being appealed to for information, tells about Bernal’s death. He then learns for the first time that Bernal was betrothed to Chonita. However, it turns out that Bernal, instead of having been killed in the engagement, has only been wounded, and a while after he seeks shelter in the church, where Chonita conceals him in one of the confessionals. The American soldiers become aware of the presence of a supposed spy, and suddenly Bernal betrays himself by creeping out of his hiding and springing on his rival, Burton, who has joined Chonita in order to renew his wooing. When Bernal makes his attack on Burton, Chonita throws herself between the two men, and accidentally is wounded by Burton, while Bernal is taken captive by the American troops.
     The last act is in the bedchamber of Chonita, where she lies seriously injured and in a delirium of fever. In that state she imagines that Bernal is being executed by the Americans as a spy. A Mexican priest has been sent for. He obeys the call, and a band of Mexicans follow in his wake. The padre conveys a message to Burton, requesting his permission to Bernal’s paying a call on the sick girl. Burton not only allows this, but comes in person with Bernal. He witnesses the meeting of the two Mexican lovers, and the latter forgot everything else in the transports of their reunion. Burton makes up his mind not to stand in their way any longer, but to yield the way to his rival. His regard for the girl is great and unselfish enough to wish for her happiness above all. Suddenly the band of Mexicans creep up and make an attack upon the house. Burton recklessly exposes himself to their bullets, is hit, and dies soon after. Chonita only then understands the great sacrifice her American suitor made in her behalf. She rises with difficulty from her couch, is helped to where the body of her generous wooer lies, and kneels down and says a prayer for the soul of him who was slain for her sake.

THE SECRET OF SUSANNE

Intertude in one act by E. Wolf-Ferrari Text by E. Golisciani

     The first production was at Berlin, 1910. The scene is Piedmont, and the time the present. Count Gil and his bride Susanne are spending their honeymoon at the young husband’s estates in Piedmont, and here, in the pleasant drawing-room of the old chateau, the count coming in suddenly, notices the unmistakable odor of tobacco smoke. It is really the bride, Susanne, who is passionately fond of her cigarette, and who is mortally afraid this may displease her husband. She has therefore bribed the butler, Sante, to connive at the deception and to give her an opportunity every little while to indulge her foible. But Count Gil has, of course, no notion of this simple truth. Instead, the young husband, when he kisses his bride on her hair and discovers the traces of smoke, jumps at once to the conclusion that he has a rival even thus early, and grows desperately jealous. He begins to heap reproaches on his young wife, and she, thinking he refers only to her habit of smoking, tries to pacify him, but in a rather light vein. The count deems this quite intolerable, and takes exception to her tone of levity, without, however, speaking out plainly as to his suspicions. Thus the couple talk and upbraid each other at cross-purposes, until a full-sized quarrel ensues, in the course of which furniture is overturned and glassware is smashed. A sort of reconciliation is patched up, and Susanne reminds Gil that he has an engagement at that hour. He says nothing, goes off, but has his suspicions newly aroused by the above circumstance. Therefore he returns without warning to Susanne’s boudoir, and detects anew the odor of cigarette smoke. In his uncontrollable fury he seizes the supposed culprit’s hand, and in doing so burns his fingers with the glowing cigarette she had attempted to hide. Gil, instantly sizing up the situation, sees that he has made a fool of himself, bursts out in hearty laughter, and Susanne confesses the whole awful truth to him. As a token that he has forgiven her he even hands his wife a new cigarette, and daintily helps her light it.

SIBERIA

Tragic Opera in three acts by Umberto Giordano

Text by F. Civinini

     This opera was first produced in 1903, at Milan.
     The first act takes place in a palace at Petrograd, which was given by Prince Alexis to his mistress, Stephana. Ivan, a trusted servant of the prince, and Nikona are watching for the homecoming of their mistress. Ivan drops off to sleep. Day breaks at last. Gleby, a spy in the pay of the prince, enters and inquires for Stephana. He is told that she is still abed, but he opens the door to her chamber, and finds the room empty and the bed undisturbed. Prince Mexis suddenly appears, having friends with him, whom he wishes to entertain. He asks for Stephana, and this time Gleby, in order to shield himself for neglect of duty, pushes Nikona into the vacant room, and pretends that Stephana has not yet risen and must not be disturbed. Alexis remains for some little while, awaiting Stephana, but when she does not appear, departs with his friends. Hardly, however, has he done so, when Stephana is seen at the garden gate. Gleby, the spy, stops her, asking her who her new lover may be. But Stephana ignores his questions, and is about to enter her own room, when Prince Alexis, who has Captain Walitzin with him, returns. The latter has come to bid farewell to Stephana, having been summoned to join his regiment which is stationed in a Siberian town. The prince leaves with Walitzin. Vassili, a young officer, enters. He tells Nikona about a young girl he has met and with whom he is smitten. Stephana enters, and Vassili recognizes in her his unknown fair one. But Stephana is not aware of his adoration, and takes him to be a spy of the prince, sent by him to watch her, and upbraids him. Nikona gives Stephana the key to the situation, and Vassili declares his love for Stephana, who accepts it. Then she and Nikona both press Vassili to leave before the prince should discover him. Suddenly Alexis returns, and finding Vassili present under suspicious circumstances, he wants to know who he is. Stephana replies : "It is he whom I love." Alexis is stung by jealousy, and makes an insulting remark to Vassili. Both draw, and Vassili wounds the prince, his superior in the army. With this he realizes his dangerous position, and cries out : "Farewell to glory!"
     The second act shows a convict station at the borders of Siberia. A captain is awaiting with impatience a body of political offenders banished to Siberia. Incidental scenes in which pedlars and peasants figure. The train of convicts halts at the station. Stephana comes in and shows a written permit to speak to Convict No. 107, who is brought in. It is Vassili, and the two have a tender meeting, Vassili speaking pathetically of the tortures he has suffered lately. Stephana implores him to allow her to join the band of convicts and share his fate, but he demurs, saying that the sacrifice would be too great. Stephana persists, and both enter the ranks of the banished and march into exile.
     The scene of the third act is at the prison town in Siberia. It is Eastertime. Walitzin, who is in command, orders that work cease and the holidays be observed. The rude blockhouse of Vassili and Stephana is visible in the rear. A fugitive comes and outlines plans of escape to the two lovers, who decline. Walitzin expresses his sympathy for the fate of Stephana, but she repels his advances, and tells him she is happy to share the lot of her beloved. Gleby enters and details a plan to ameliorate the harsh conditions under which Stephana is living. She however, refuses to listen to him. Gleby, who had acted under instructions from Prince Alexis, grows angry at being spurned and falsely informs Vassili that Stephana has been unfaithful to him. Vassili is heartbroken at the news, but is soon furnished proof that the charge is false. The two then prepare for flight, but Gleby betrays their intentions to the guards, who shoot at the fugitives. The report of a gun is heard. Stephana has been mortally wounded and Vassili is apprehended. Stephana appeals to Walitzin to set her lover free, and Walitzin, touched at her devotion, complies with her request. Stephana is overjoyed, rallies, and sinks into the arms of her lover, where she finally breathes her last.

SIGURD

Grand Opera in four acts by Charles Reyer

Text is drawn from Northern mythology

     This opera saw its premier performance at the Monnaie Theater, Brussels, in 1884.
     Act I. Sigurd has rescued Hilda, the young sister of King Gunther, who had been enslaved. She is passionately in love with him, and tells her devoted attendant, Ute, that she will marry her deliverer, even though King Attila has already sent an embassy to ask her hand in wedlock. Ute employs a magic philtre with Sigurd to bring him to her foster-child’s feet. At a great banquet given in honor of Attila’s envoys there is told a tale about Brunhild, the valkyrie, whom Odin had enthralled and held in sleep while a wall of fire encircles her to keep off intruders. Gunther wishes to free the divine warrior maiden and so does Sigurd himself. Sigurd defies Gunther, who is deeply indebted to him, and offers his favor and great riches. Sigurd accepts these proffers, but stipulates that Gunther must aid in the rescue of Brunhild. Meanwhile the magic potion has been administered to Sigurd by Ute’s cunning, and Sigurd’s love changes. He is now violently enamored of Hilda, but by the terms of his bargain with Gunther is forced to aid him first in the deliverance of the valkyrie. He obtains, however, Gunther’s solemn pledge to wed his sister, Hilda, to the young hero in reward for services rendered. Gunther, Sigurd, and Hagen together depart for Iceland where Brunhild dwells.
     The second act takes the audience first to the sacred forest in Iceland, where the high priest is celebrating a feast in honor of Freya,.the North-ern goddess of love. The three wayfarers con-. fide their purpose to the priest. The latter discourages them, but finally says that in any case Odin ‘will allow only a single hero to attempt the great feat. Sigurd is the one chosen, and the priest gives him the magical horn which he must wind thrice to make the enchanted castle rise from the waters. Gunther and Hagen leave for home. There is a change of scene, and Sigurd is observed near Brunhild; she welcomes her deliverer and in token of her great love presents him with her virgin girdle. She and Sigurd are borne off by a vessel drawn by three swans.
     In Act III Brunhild is asleep in Gunther’s garden, Sigurd watching by her side. Magic voices summon Sigurd away, and when Brunhild wakes she deems Gunther, who has stolen to her side, her hero. The scene changes. Homage is paid by Gunther’s subjects in the sacred woods. Sigurd demands of Gunther the hand of his sister in marriage and receives it. During the wedding ceremonial, however, as Brunhild is holding ililda’s and Sigurd’s hands and joining them, the gods reveal to Brunhild that Gunther has deceived her, and that it was not he who delivered her out of the magic sleep.
     The fourth act discovers Brunhild now married to Gunther, but ever sighing and complaining to Odin, her godfather, that she has become the wife of Gunther, instead of Sigurd. Out of pride Ililda shows Brunhild the girdle which she once gave to Sigurd. This proves to the latter conclusively that not Gunther but Sigurd is the one to Whom she bared her maiden soul. She feels that by Odin’s own law it is Sigurd she should love, although Hilda stands in the way of that. She. accuses Gunther, telling him that she can never love him, but must always cherish Sigurd, and she urges, therefore, that the two heroes should fight a duel to the death, in order to determine which of the two is the master and which should perish. Brunhild’s magical charms have also opened Sigurd’s eyes, and he now violently falls in love with Brunhild. Gunther, convinced that Sigurd and Brunhild are plotting together, orders his vassal, Hagen, to murder Sigurd. Hagen does so. Hilda then summons the wild hordes of Attila to wreak vengeance on her perfidious brother.

SUOR ANGELICA

Romantic Opera in three acts by Giacomo Puccini

Text by Illica and Giacosa

     First performance in Rome, 1914. The scene is Italy, end of the fifteenth century.
     Act I. Sister Angelica, a daughter of a noble family of Florence, has been compelled by her proud relatives to take the veil because of a youthful error. For seven long years she has been vainly waiting to hear from all those dear to her. Her soul has been torn by repentance and longing. The abbess of the convent of which she is an inmate enters and makes announcement that Angelica’s aunt, the princess,. has come to call on her. The abbess warns the sister that she must be full of submission and humility in conversation with her visitor.
     Act II. The princess coldly tells Angelica that she has come to ask her to sign a certain act of release, a document made legally necessary by the approaching nuptials of Angelica’s younger sister. She adds that only bne course is open to Angelica, namely, strict and lifelong expiation. Finally, in answer to urgent questions by Sister Angelica, the princess in-forms her that her child, "the babe she had seen and kissed only once since its birth," had died two years previously.
     Act III. Angelica, in a sudden frenzy of despair, after hearing this news, concocts a poison and attempts suicide. But remorse seizes her. She implores the Virgin not to let her die in mortal sin, and then the miracle takes place. The Mother of Comfort suddenly appears on the threshold of the little church, enveloped in heavenly radiance; a blond child walks in front of the Virgin who, with a gesture of ineffable benevolence, gently pushes the boy into the arms of his dying mother, whilst a choir of nuns and angels sings: "Thou art saved!"

SADKO

Opera in seven tableaux by Nicolai Rimksy-Korsakoff

The libretto is based on russian folk tales

     The first production was given at Moscow in 1897. The scenes are laid in Russia and in a mythical kingdom of the sea.
     Sadko, skilled both as a singer and a gusli-player, lives in the city of Novgorod on Lake Ilmen near the Baltic sea. One day while wandering despondent beside the seashore, depressed by the mockery of his townsmen, his song captivates the Princess Volkhova, daughter of the sea king Morskoi. She tells him that there are golden fish in Lake Ilmen which will make him the wealthiest man in the world. When he asks his townsmen to help him catch the golden fish, they think him insane. He wagers his head that the fish are in the lake and when he wins the bet, the people hail him as the reincarnation of their legendary hero.
     Sadko becomes rich and powerful as Princess Volkhova had predicted. Eager to gain even greater wealth, he determines to set sail for distant shores. After hearing a Viking, an Indian and a Venetian sing of the charms of their native lands, he decides to sail for Venice.
     Twelve years later, his ship laden with fabulous treasures, Sadko starts for home. One day they are becalmed, for the sea king Morskoi is angry with Sadko for not paying him tribute during the past twelve years. A human sacrifice is demanded and Sadko is placed adrift upon a raft while the ship sails homeward. Sadko is carried to the depths of the sea where Morskoi dwells in a strange and beautiful palace. Sadko strikes up a dance whose rhythm the sea king and his court cannot resist. The swaying dancers call in vain on the minstrel to stop while the upper waters of the sea, stirred by the mad whirl of the lower depths, tear down cities along the shore and strew the waves with wreckage. At last as Morskoi sinks exhausted, the Princess Volkhova snatches the gusli from Sadko’s hand and the waters grow calm as the two rise to the surface and are borne along toward Novgorod. They reach the coast of Sadko’s home at last but the sea princess cannot live out of the water and so she is transformed into a mighty river, the Volkhova. Sadko’s wife and friends discover him on the shore the next morning. He believes that the past twelve years is a dream until, at the shouts of his townsmen, he looks up to see his treasure-laden fleet sailing up the new river of Volkhova. A chorus of rejoicing ends the opera.

SALAMMBO

Opera in five acts by Ernest Reyer

Libretto by du Locle after Flaubert’s novel

     The first production was given in Brussels in 1890. The scenes are laid in Carthage during the third century.
     Act I. In the gardens of Hamilcar at Megara, the mercenaries are feasting in honor of their victories. While they are toasting their protecting deities, Salammbo, Hamilcar’s daughter, enters to reprove them for their license. She accepts the goblet of wine offered by Matho, one of the barbarian chiefs, while Narr’Havas, a Numidian king, looks on jealously. After Salammbo leaves, Spendius convinces Matho that he can win Salammbo by leading a revolt of the mercenaries.
     Act II. Spendius brings Matho into the temple of Tanit, tutelary deity of Carthage, while the high priest Shahabarin is holding worship. Matho is to steal the Zaimph, the sacred veil of Tanit, and symbol of the city’s safety and greatness. Salammbo enters and seeks to persuade the high priest to let her hold the sacred veil and thus ease the fears she has for the welfare of Carthage. Shahabarin, horrified by her sacrilegious desire to touch the Zaimph, leaves her. Matho steps from the shadows where he has been hiding with Spendius and gives her the veil. Salammbo believes him to be a god and is ready to worship him. When his protestations of love prove his mortality, she is outraged and her cries bring the priests, whom Matho defies as he escapes wrapped in the sacred veil of Tanit.
     Act III. The ancients are holding council when Hamilcar enters and is told of the revolt of the mercenaries, the loss of the veil and the love of his daughter for Matho. He denies the possibility of Salammbo’s loving the leader of the mercenaries.
     Meantime, Salammbo is suffering from bitter self-reproach for the theft of the Zaimph and is readily persuaded by Shahabarin that she should go to the barbarian camp to reclaim the veil. She is robed in the rich garments prepared for her wedding.
     Act IV. Narr’Havas is treacherously offering to aid the mercenaries when Salammbo enters veiled. Matho refuses to give her the Zaimph until they both succumb to a true and passionate love when he wraps the veil about her. Their exchange of vows is interrupted by the entrance of Hamilcar and his generals shouting their triumphs. Salammbo exhibits the sacred veil and Matho, whose defeat is due to the traitor Narr’Havas, is sentenced by Hamilcar to be sacrificed on the altar of Tanit.
     Act V. A joyous crowd swarms about the forum of Carthage for it is the wedding day of Salammbo and Narr’Havas. Matho is brought forth and Salammbo, as the rescuer of the sacred veil, is given the honor of killing him. To the horror of all she stabs herself instead and the Libyan, taking her in his arms, kills himself with the same sword.

LE SAUTERIOT

Opera in two acts by Sylvio Lazzari

Libretto by Roche and Perrier, based on Keyserling’s
drama, "Sacre de Printemps"

     This opera was first produced in Chicago in 1918. Lithuania of the past century provides the setting.
     Orti, a Lithuanian Cinderella, nicknamed the Grasshopper, is the natural daughter of Mikkel whose wife Anna lies dying as the curtain rises. The doctor gives Orti medicine for Anna in case she grows worse, warning the girl that more than ten drops of the .drug would be fatal. Anna’s old mother, Trine, tells Orti the legend of the woman who prayed that she might die instead of her baby — and her prayer was granted. Knowing that she is despised and a drudge, Orti prays that death will take her in Anna’s place.
     Orti is secretly in love with Indrik who has eyes for no one save Madda, Mikkel’s young sister. At the village festival, Indrik, who has been cast off by Madda after a quarrel, fights with Josef, his successor in her affections. As knives flash, Orti rushes forward in time to prevent Josef’s fatal thrust. She is the heroine of the festival. Indrik makes love to her and for the first time the little Grasshopper tastes happiness. A few days later however she dis-covers that he has gone back to Madda, and, believing that she no longer has anything to live for, Orti takes a fatal overdose of Anna’s medicine.

SHANEWIS

Opera in two parts by Charles Wakefield Cadman

Book by Eberhart

     This opera was produced for the first time in 1918 in New York. The action takes place in a modern American city and on an Oklahoma Indian reservation.
     Act I. Shanewis, an Indian girl whose voice has been cultivated through the generous aid of Mrs. Everton, a wealthy society woman, sings at a fashionable soirée given to celebrate the return of Amy Everton from Europe. At the entertainment Lionel Rhodes, Amy’s fiancé, falls in love with Shanewis at first sight and proposes to her. She tells him that her acceptance depends upon the consent of her people on the Oklahoma reservation. She is unaware that Lionel is already engaged to Amy who does not suspect her fiancé’s unfaithfulness.
     Act II. During the ceremonial dances on the Indian reservation, Lionel tries to persuade the dark eyed Shanewis to marry him. Her Indian suitor, Philip, gives her a bow and poisoned arrow which another Indian maiden has used to slay a false white lover. Suddenly Mrs. Everton and Amy appear, and poor Shanewis learns of Lionel’s duplicity. She curses the white race but does not use the poisoned arrow. Philip, however, has no such compunctions and shoots the gay deceiver through the heart while Shanewis cries : "He is mine in death!"

SNEGOUROCHKA

Opera in four acts with a prologue by
Nicolai Rimsky-Korsakoff

Book by Ostravsky based upon a national epic

     The first performance took place at Petrograd in 1882. The setting is legendary Russia.
     In the prologue, Snegourochka, daughter of Winter and Spring, begs her parents to permit her to lead the existence of a mortal. She has heard the song of the Shepherd Lel, and longs to leave the forest where she has been carefully sheltered since Summer has decreed her death with the first ray of sunshine and love that touches her. Unwillingly her parents entrust her to the care of a peasant couple, Bobyl and Bobylika, and Spring bids her daughter seek her by the lakeside should she encounter trouble.
     Act I. Snegourochka is seen outside the cottage of the peasants. She is attracted to Lel, darling of the village girls, who will have none of her. Mizgyr, a wild young Tartar merchant, loves the Snow Maiden at first sight and abandons Kupava, his betrothed bride, for her sake. Lel comforts the unhappy Kupava.
     Act II. At the court of the mythical king of Benderei, Kupava demands justice. Mizgyr pleads the beauty of Snegourochka in his defence. When the Snow Maiden appears, she wins the Tsar’s favor and he promises her hand to any of his courtiers who can win her love before sunrise the next morning.
     Act III. The people of Benderei hold arcadian revels. Lel and Kupava wander with them through the forests while Mizgyr continues his vain wooing of Snegourochka who is protected by the wood sprites that force him to lose his way. The Snow Maiden goes in search of her mother.
     Act IV. Spring comes to her daughter and grants her wish to love as a mortal. Mizgyr appears and she responds to his renewed pleading. But at the same moment a ray of sunlight strikes her and she vanishes, leaving her lover to kill himself as the people’s chant to the midnight sun rises on the air.

Last updated October 21, 2006