Opera Books
THE OPERA
EDITED BY
ALBERT HILLERY BERGH
VOLUME I.
1909
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Cherubini.
Luigi Cherubini
(1760-1842), who takes rank among the greatest of Italian musicians of
his period, was born in Florence. lie was the son of a musician, and
soon gave evidence of his ability by writing a mass when only thirteen
years of age. The Grand Duke Leopold II., struck by this and other
compositions of the boy, granted him a pension to enable him to study
under Sarti, then living at Bologna. In addition to strict theoretical
studies, the master employed him in writing airs for the less important
characters in his operas, and under this guidance he learned all that a
master could teach. His first opera, Quinto Fabio, was composed
in 1780, and had but moderate success; but his reputation gradually
increased, and in 1784 he was invited to London, where he remained two
years. In 1786 he settled in Paris, and produced his Demophoon,
Lodoiska, Les deux Journées and Anacréon. These
exhibited more science and more musical effect than the Parisians were
used to. Unfortunately, with the exception of Les Deux Journées, they
were handicapped by uninteresting libretti, so that Les Deus, {Journées}
is the only one which keeps the stage; but they are all distinguished by
nobility of style, and led up to the modern grand opera. In 1806 he
brought out his Faniska at Vienna, which caused him to be
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pronounced, both by Haydn and Beethoven, the first dramatic composer of
his time.
It is to be regretted that Napoleon had an antipathy to Cherubini.
The manner of the composer was cold and reserved, and probably he may
not have shown that respect for the First Consul which he conceived to
be his due. Certain it is, however, that no adequate provision was made
for the great composer. An inspectorship of the Conservatoire was the
only post given to him. Probably this neglect weighed on his mind, for,
on his return to Vienna, he ceased altogether to occupy himself in
composition. By the persuasion of friends he was induced to write an
opera, Pimmalione, for the theatre of the Tuileries, which wrung
a tribute of admiration even from Napoleon. But after this effort he
again forsook his art, devoting himself entirely to the study of botany.
While on a visit to Prince de Chimay, a local musical society was
anxious to celebrate St. Cecilia’s Day. The president and leading
members of the society waited on Cherubini with the request that he
would write them a mass. Cherubini replied with coldness that it was
impossible, and the deputation retired in dismay. It was observed,
however, that the composer took his walk alone in the park, with an air
of pre-occupation, and that he was not botanizing, as was his usual
habit. Madame de Chimay advised that no notice should be taken, but was
wise enough to leave plenty of music paper on his table. In a few days
the Kyrie and Gloria were completed, in time for the Saint’s feast. The
rest of the work was subsequently written in Paris, and performed at the
house of Prince
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de Chimay. It was a noble work, and the forerunner of much beautiful
church music, distinguished by a lofty severity of style.
After the events of 1815 the Conservatoire was abolished. To
indemnify Cherubini for the loss of his position, he was appointed
superintendent of the King’s chapel, and in that capacity produced much
of the church music of which we have just spoken. On the resumption of
the Conservatoire he was appointed Professor of Composition, and in 1821
became Director. He lived till March, 1842, a power in the musical
world, and was buried with every testimony of respect, to the beautiful
music of his own requiem.
Although born in Florence and educated in the traditions of the
Neapolitan school, Cherubini belongs by right to the French school. His
Lodoiska, which was produced in Paris in 1791, established his
reputation; and Les Deux Journeés, sung in English as The
Water-Carrier, placed him, in the estimation of Beethoven, at the
head of all living composers of opera. Posterity has scarcely endorsed
Beethoven’s dictum, but it is impossible to ignore the beauty of
Cherubini’s work. The solidity of his concerted pieces and the
picturesqueness of his orchestration go far to explain the enthusiasm
which his works aroused in a society which as yet knew little, if
anything, of Mozart. Cherubini’s finest works suffer from a frigidity
and formality strangely in contrast with the grace of Grétry or the
melody of Méhul, but the infinite resources of his musicianship make
amends for lack of inspiration, and Les Deux Journeés may still
be listened to with pleasure, if not with enthusiasm. In spite of the
serious
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and even heroic cast of the plot, the use of spoken dialogue compels us
to class Les Deux Journeés as an opéra comique; and spoken
dialogue is also introduced in Médée, Cherubini’s finest work, an
opera which for dignity of thought and grandeur of expression deserves
to rank high among the productions of the period.
Opera in three acts by
Cherubini. Libretto by Bouilly.
Characters: Count Armand; Costanza, his wife; Michele, Savoyard
water-carrier; Daniel, his father; Anton, his grandchild; Marcelline,
his sister; Semos, a rich countryman; Angelina, his daughter; captain of
Italian troops; lieutenant; sergeant; corporal.
Place, Paris and vicinity. Time, seventeenth century. First
produced in Paris in 1800.
The first scene brings us to the house of Michele, a water-carrier
of Paris, whose son, Antonio, is just about to marry Angeline, a wealthy
young peasant girl living in Genesse. Michele has a daughter,
Marcelline, and is indebted for past favors to Count Armand, President
of the Parliament of Paris, who is opposed to Cardinal Mazarin, and is
accordingly persecuted by the latter. The gates of the city are closed
and guarded to prevent the Count from escaping. Nobody is permitted to
leave without a pass, but Michele has passes for his son and daughter,
and prepares a plan for the escape of Count Armand and his wife,
Costanza.
{99}Michele
induces Marcelline to absent herself from her brother’s wedding, and
arranges for Costanza to take her place, and thus pass the city gates,
followed by Antonio. This plan is easily carried out, but Michele has
now to arrange for Count Armand to join Costanza. The Count hides in one
of Michele’s water barrels, and is thus borne past the city gates, but
during the trip he is compelled to seek refuge in a hollow tree.
As a signal to her husband that everything is safe, it is agreed
that Costauza shall clap her hands three times. However, as soldiers are
concealed behind the rocks, they capture Costanza, and the Count hastens
to her rescue, defending her with the pistols he carries. On being
questioned, he has to reveal his real name and rank. Whereupon he is
seized and about to be imprisoned, when Michele appears and brings news
that the feud between Armand and Mazarin has ended, and that the Count
is to have his estates and titles restored to him.
Last updated January 17, 2007