Opera Books
THE OPERA
EDITED BY
ALBERT HILLERY BERGH
VOLUME II.
1909
{1}
The Opera.
PART II.
Rossini.
The
most famous and the most brilliant rtalian composer of his time was
undoubtedly Gioacchino Rossini, born at Pesaro in 1792. His father was a
horn-player and inspector of slaughter-houses; while his mother was a
sufficiently good singer to take an occasional engagement in a traveling
operatic company.
When only seven years old, he took a child’s part in Paer’s
Camilla. It is on record that nothing could be more tender or more
touching than his voice and action in this small part. His father taught
him the horn, so that before he was twelve years old he was able to play
second to his father in the tours which the family took. In course of
time he became a pupil of Mattei, at the Liceo of Bologna. Such drudgery
did not suit this lively youngster, and he asked his master if he had
not acquired sufficient knowledge to compose. Mattei replied that for
the strict church style much more thorough study was required, but that
in the free style he might pass muster. “You mean, then, that I know
enough to write operas?—that is all I want; » and his lessons were
brought to an end. But he continued to work on his own account, his
studies taking the form of putting the symphonies
{2}
and quartets of Haydn and Mozart into score. His first work was a
cantata, Il Pianto d’Armonia, which was performed at Bologna in
1808; but he also wrote a symphony, as well as several quartets, which
have been since published. He returned to Pesaro in 1810, and by the
help of friends in that city was engaged to write the opera La
Cambiale di Mat rimonio for Venice. From that time he never wanted
occupation. In 1813, the first of those works which made his name
famous, Tancredi, was brought out at the Fenice in Venice, and
L’Italiana in Algieri at the San Benedetto, in the same city. At
once he was hailed as the foremost composer of Italy. The pedants
objected, but the Italian audiences were mad with delight, and in four
years Tancredi had made the tour of Europe. All the principal
theatres were clamorous for operas from his pen. He could only be
brought to work under pressure, but he contrived to send forth a
continual stream of operas at the rate of three or four a year. Among
these the best known are Elisabetta, Torvaldo, Il Barbiere di
Seviglia, Otello, Cenerentola, La gazza Ladra, Moïse, La Donna del La
go, Maometto, and Semiramide.
The life of Rossini would not be complete without mention of
Barbaja, impresario, and proprietor of the gambling saloon attached to
the San Carlo theatre in Naples. He had been waiter in this
establishment, but contrived to become lessee not only of this theatre,
as well as of the Teatro del Fondo in that city, but also of La Scala in
Milan and of the opera-house in Vienna. In this capacity he had most of
the leading vocalists in his employ. The success of Tancredi at
{3} once induced him to offer an
engagement to Rossini, who signed an agreement for several years with
him. He was to receive two hundred ducats a month ($200)—with a share in
the profits of the gaming rooms. For this he was to write two operas
annually, and to arrange any old works which might be mounted. Barbaja
was a man of great ignorance, but a good judge of what music would suit
the public. Under this engagement it was that most of Rossini’s works
mentioned above were written.
The prima donna at Naples was Mademoiselle Colbran, a fine dramatic
singer. Rossini soon conceived a passion for this lady, and some of his
best parts were written to display her voice and style. In 1822 she
became his wife. His contract with Barbaja allowed him to accept other
offers, and Il Barbiere di Sivigtia was written for Rome.
Beaumarchais’ comedy had been already set to music by Paisiello, and
probably owing to the opposition of the friends of the latter composer,
and partly owing to a series of those accidents which sometimes attend a
first night, it was received with great disfavor. The second
performance, however, served to open the public ears to its merits, and
it has ever since taken that place which charming melody and delightful
comedy entitle it to.
Semiramide was
written for the Fenice at Venice, for the carnival of 1823. It was
composed in too broad and elevated a style for the Venetians, and was
received coldly. This indifference decided Rossini to write no more for
Italy, and he at once set out with his wife for Paris and London. Up to
this time he had made but a modest income. On arriving in England,
{4} he was received with open arms by the
Prince Regent and the élite of society, and was overwhelmed with
engagements for his wife as singer with himself as accompanist, for
which he fixed the fee at £50. It is said that by these engagements and
lessons, with two benefit concerts, he made no less than £10,000 during
his five months’ visit. In the autumn he returned to Paris, where he had
arranged to become director of the Théâtre Italien with a salary of
20,000 francs. In this capacity he produced Le Siège de Corinth—
a rearrangement of Maometto—Moïse, and Le Comte Ory, which
also contained much old material.
But his admirers were anxious that he should write an entirely new
work for the French opera. For several years, up to 1819, Spontini had
lived in Paris, where his operas had habituated the Parisians to a
passion and energy which became the characteristics of the French school.
We cannot help thinking that these considerations weighed with Rossini
in the composition of Guillaume Tell, in which his previous style
was abandoned and he at once became the greatest composer of the French
school.
Tell was
produced in 1829. The composer was only thirty-seven years of age, and
seemed to be entering on a new career. It was his masterpiece. Suddenly
he decided to write no more for the stage. The reason has been much
debated. He is reported to have said, “Another success would add nothing
to my reputation; a failure might damage it. I have no need for the one,
and do not choose to subject myself to the other!”
The directorship of the opera was not a congenial
{5}
post for a man of his self-indulgent habits. Under his management it
soon drifted into difficulties, and it became necessary to appoint a
more vigorous substitute. He was, however, made inspector-general of
singing in France—a sinecure office, with his original salary and a
pension if his duties should cease! The post was of course made for him,
hoping that he would be induced to continue to write for the opera. The
Revolution of 1830 abolished the office, and after much litigation he
substantiated his claim to the pension. This lawsuit detained him in
Paris till 1836, when he determined to revisit Italy.
In the year 1832 he had written some movements of a Stabat Mater
for a rich Spanish amateur. In 1841 Troupenas, the publisher,
prevailed on him to complete this work—in order to prevent the missing
portions from being supplied by another hand. This is the origin of the
well-known Stabat Mater. Special concerts were got up for its
performance, and copies could not be supplied fast enough to satisfy the
demand. It is said that Rossini did not intend it for church use, for
which its style is most inappropriate. This the Church has failed to
recognize, and continues to use it whenever a large congregation is to
be attracted. In ridicule of its secular style, the late J. W. Davison,
the well-known critic, arranged it in the form of a set of quadrilles.
Political events in 1853 forced him once more back to Paris, which
became his home for the rest of his life. In 1845 his wife, Madame
Colbran, died, and he subsequently married Mdlle. Olympe Pelissier, also
a singer, who survived him. A wit and a bon-vivant, he
{6}
made his house a centre of attraction to all who were eminent in the
musical world. His advice was always at the disposal of artists, both
young and old. He amused himself from time to time with composition,
mostly for the pianoforte, although the only work of any importance was
a mass which he characteristically described as “Ni Bach ni
Offenbach”! He died in 1868.
Opera
by Rossini. Libretto by Ferretti.
Characters: Angelina, daughter-in-law of Don Magnifico, under the
name of Cinderella (La Cenerentola); Clorinda and Thisbe, daughters of
Don Magnifico; Don Ramiro, Prince of Salerno; Dandini, his valet; Don
Magnifico, Baron of Monte Fiascone; Alidoro, Philosopher, and Don
Ramiro’s Preceptor; chorus of the Prince’s attendants.
The action takes place at the residence of Don Magnifico, and at a
palace or country seat of Prince Ramiro, in the neighborhood. First
produced at Rome in 1817.
The Baron Don Magnifico has three daughters, Clorinda, Thisbe and
Cinderella. In the opening scene Clorinda is trying a dance step, Thisbe
is arranging flowers, while his third daughter, Cinderella, is blowing
the fire with a pair of bellows. Alidoro enters as a beggar. Clorinda
and Thisbe angrily order him away, but Cinderella offers him some coffee
and bread, for which she receives a severe chiding at the hands of her
sisters.
Knights appear, and announce that Prince Ramiro, who is going to
choose a wife from among the most
{7}
beautiful of the ladies who visit his court, is about to visit them.
Clorinda and Thisbe immediately begin to prepare themselves for the
visit of the Prince, making poor Cinderella act as their maid.
The Prince, disguised as a squire, arrives and immediately falls in
love with Cinderella. Shortly afterwards Dandini appears, dressed as the
Prince. Cinderella pleads hard to be allowed to go to the ball at the
Prince’s palace, but Magnifico angrily refuses. They all leave for the
ball except Cinderella. Alidoro then enters dressed as a pilgrim,
bringing with him dresses and jewels, and promises that Cinderella shall
accompany him to the ball in the Prince’s carriage.
In the ball-room we see Dandini, still dressed as a prince, and the
two sisters using all their arts to enslave him. Cinderella appears and
Dandini dances with her, when Ramiro overhears her telling him that she
loves his squire (of course meaning Ramiro). Ramiro proposes marriage,
but Cinderella, bidding him wait, gives him a bracelet, the companion to
which she will be wearing when next they meet. Dandini, after having
been asked by Clorinda and Thisbe to marry them, discloses the fact that
he is only the Princess valet and that he has been duping them.
In the last scene we find Cinderella at home again, her sisters and
father not in a very good temper. Soon Ramiro and Dandini enter, having
taken shelter from a furious storm. The Prince is not long in
recognizing Cinderella by her bracelet, and proposes marriage to her, at
which the two sisters and Magnifico are at first furious, but are
forgiven by Cinderella. Thus all ends happily.
{8}
Opera
by Rossini. Libretto by Anelli.
Characters: Mustafa, Bey of Algiers; Elvira, wife of Mustafa; Haly,
Captain of Corsairs; Lindoro, an Italian prisoner; Isabella; Taddeo.
Place, Algiers. First produced at Venice in 1813.
The story of the opera is centered in an amatory intrigue of
Mustafa, the Bey of Algiers. Under the decidedly unpleasant threat of
impalation, he engages the services of Haly, Captain of Corsairs, to
procure for him a lady of attractive qualifications in the place of his
wife Elvira, who has no longer any charms for the old reprobate. To get
Elvira off his hands, he conceives the idea of uniting her to a young
Italian prisoner, Lindoro by name; but Lindoro, unfortunately, is
smitten with another lady, Isabella, separation from whom only makes his
love the stronger.
Isabella is endeavoring to discover the whereabouts of Lindoro, and,
to attain her object, pretends to be fond of a certain Taddeo. Together
with Taddeo she is wrecked, and, as fate will have it, on the coast of
Algiers. Here she falls into Haly’s hands, and his discriminating turn
of mind leads him to imagine that she is a likely person to suit the
ideas of the Bey. Isabella pretends to comply with his wishes, until she
finds out the real state of affairs. Incidentally she recognizes Lindoro.
Taddeo is persuaded by Mustafa to endeavor to forward his suit, having
represented to Mustafa that he is Isabella’s uncle.
Isabella’s archness and scheming secure from the Bey the freedom of
herself, Lindoro and Taddeo, and,
{9}
after thoroughly deceiving and misleading the Bey in a diverting way,
she and her friends leave him either to become reconciled to his wife or
to repent his credulity at leisure.
Opera by Rossini. Libretto by Rossi.
Characters: Orbazzano; Tancred; Arigirio; Amen-aide, sister of
Arigirio.
Place, Sicily. First produced at Venice in 1813.
The Saracens are, at the commencement of the opera, shown as the
professed enemies of the Syracusans. Tancred, a scion of a once
influential house of Syracuse, has just been banished from his country,
and Orbazzano has been given his possessions. Rivals in war, they are
also rivals in love, a lady named Amenaide being the object of their
affections. Amenaide’s love, however, inclines to Tancred,
notwithstanding that her brother Arigirio enjoins her to give the
preference to the now prosperous Orbazzano.
Amenaide in her perplexity despatches a missive to Tancred. It is
intercepted by Orbazzano, whose love turns to hate, and he alters the
name of Tancred into that of Solamin, the Saracen commander. Suspected
in consequence of treason, the unhappy lady is thrown into prison and
condemned to die.
Tancred arrives with a small band and learns the case of Amenaide.
Having no alternative but to believe the correctness of the report, he
regards her conduct as a breach of faith towards himself. By the laws of
Syracuse, however, a delinquent may be spared
{10}
should a gallant knight be found to challenge and slay the accuser.
Orbazzano, ignorant of his opponent, is challenged by Tancred and
accepts the challenge, with the result that he falls.
Tancred still supposes Amenaide false, and with his followers
attacks the Saracens, slaying Solamin, their chief, who, in his dying
moments, restores to Tancred peace of mind and happiness by divulging
the cruel injustice which has been practiced with regard to Amenaide.
Opera by iRossini. Libretto by Gherardi.
Characters: Fabrizio, a villager; Gianetto, his son; Fernando,
father of Ninetta; Il Podesta, a village magistrate; Pippo, servant to
Fabrizio; Lucia, wife of Fabrizio; Ninetta, in the service of Fabrizio.
Place, Italy. First produced at Milan in 1817.
The family of Fabrizio are busy preparing to welcome home their son
Gianetto, who has been at the wars. Among the most busy of the family is
the magpie in the cage, which takes a prominent part in the
conversation, suggesting Ninetta’s name as the future bride of Gianetto
most opportunely. Ninetta’s father is away at the war, and her mother is
dead. So she is for the present a servant ‘at Fabrizio’s. Gianetto at
last arrives, and a grand family repast takes place, at which
drinking-songs are freely introduced. Fernando, Ninetta’s father, now
returns, but he is a fugitive from martial law—he has quarrelled, and
drawn his sword on his superior officer, and has been condemned to be
shot. Ninetta gives him food at Fabrizio’s
{11}
when the magistrate, who has designs upon Ninetta’s affections, enters.
Her one thought is to avert his suspicion from her father. She cleverly
does so, but, becoming more importunate in his love-making, the
magistrate is severely rebuked by Fernando, who leaves the house with
Ninetta.
At this moment the magpie flies down and steals a spoon from the
table. Fernando, her father, before he left gave her a silver spoon and
fork to convert into money for him, and accordingly she has sold them to
the pedlar, and has promised her father to hide the money in a tree for
him. A terrible complication now arises. Lucia, Fabrizio’s wife, comes
in and counts the silver; the spoon is missing, also a fork, which had
disappeared before. The magistrate is still in the house, and proceeds
to question Ninetta. She cries, and the money she got from the peddler
rolls on the floor. The pedlar is questioned, and the case seems
conclusive against Ninetta. Angry at being repulsed by her, the
magistrate orders her to prison.
In the second act Ninetta is in prison. By the favor of Antonio,
the gaoler, she manages to see Gianetto, and also to send the money by
Pippo, a servant of Fabrizio, to the old tree where her father was to
find it. The vicious magistrate once more endeavors to induce her to
purchase her liberty at the price of her virtue, but she refuses, and is
condemned to death for theft. Pippo goes to hide the money, when the
magpie again appears, snatches away one of the coins, and flies with it
to the steeple. Pippo follows, and discovers the missing spoon and fork
hidden there also.
{12}
Ninetta is being led to execution. It is a race for time. Pippo
sets the bells ringing, and restores the spoon and fork to Lucia just in
time to save Ninetta. She, to save her father, would not tell the truth
about the fork and spoon she had sold to the pedlar, but Fernando has
heard of the situation, and hastens to explain all to the judges.
Ninetta is pardoned, and most opportunely a pardon for Fernando arrives,
in consideration of his past services. Gianetto and Ninetta are united,
and thus the opera is brought to a happy conclusion.
Opera by Rossini. Libretto by Rossi from Voltaire’s
tragedy Semiramis.
Characters: Semiramide, Queen of Babylon; Arsaces, afterwards
Ninius; Oroe, chief of the Magi; Prince Assur; Princess Azema; Idrenus;
Mitranes, Magi, guards, satraps and slaves.
Place, Babylon. First produced at Venice in 1823. The opera opens
with a scene in the Temple of Belus, in Babylon. A mysterious ceremony
is proceeding, conducted by Oroc, chief of the Magi, connected with the
election of a successor to the late King Ninus. Semiramide, his widow,
has the right to nominate whom she thinks fit. Assur, a prince of royal
blood, hopes to be chosen, and Kinius, son and proper heir of Ninus, is
supposed to be dead. The omens being unpropitious, the nomination is put
off until the return of Arsaces, a commander in the army, who has been
sent by the Queen to consult the oracle.
{13}
Semiramide has a violent passion for this same Arsaces, but he in no way
returns it, his affections being taken up by Azema, with whom ‘Assur is
also in love.
The second act opens with the Queen nominating the successor to the
throne. To the astonishment of all she declares Arsaces to be the man of
her choice, and further announces her intention of making him her
husband. On this the tomb of Kinus opens, and his shade coming out calls
upon Arsaces to follow him into the grave, there to hear of certain
crimes which have been committed, and which he must avenge. This
incident brings the second act to a close.
In the next scene, from a conversation which takes place between
Semiramide and Assur, the fact is gathered that they poisoned the late
King Ninus. Later on, in a scene in the sanctuary, Arsaces is made
acquainted with this fact, and also told that he is the lost Kinius, son
of Ninus and Semiramide. Oroe calls upon him to avenge his father’s
death with the blood of his mother and Assur. life agrees to take the
life of Assur, but feels compunction in slaying his mother. Semiramide,
still ignorant of the birth of Arsaces, tries to make love to him, when
he hands her a paper written by his father in his dying moments, by
which she learns that her crime is exposed, and that her lost son stands
before her. She is overwhelmed with shame, but Arsaces forgives her, and
departs to avenge his father’s death on Assur.
The last scene is the interior of the mausoleum of Ninus at night,
into which Arsaces has followed Assur. Stabbing at random in the dark,
he unwittingly slays his mother. Assur is then seized by the attendants,
to
{14}
be dealt with as the murderer of his late king. While being led off he
tells Arsaces that he has slain his own mother. Arsaces is so horrified
that he attempts to take his own life, and is only prevented from doing
so by Oroe, in whose arms he faints away.
Opera by Rossini. Libretto adapted by Tottola
from Scott’s Lady of the Lake.
Characters: Ellen, Lady of the Lake; Douglas of Angus, her father;
King James V, of Scotland; Malcolm Graeme; Roderick Dhu, a chieftain.
Place, Scotland. Time, Sixteenth Century. First produced at Naples
in 1819.
Ellen, Lady of the Lake (Loch Katrine, in Scotland), and daughter
of Douglas of Angus, a rebellious Scottish chieftain, is met by King
James V, of Scotland, now disguised as Hubert, Knight of Snowdon. While
on a hunting expedition he has lost his way, and is offered shelter by
Ellen. He is alarmed at finding himself under the roof of his rebellious
subject, and quickly takes himself off, but not before he has declared
his admiration for Ellen, who, however, is in love with Malcolm Graeme.
Douglas desires his daughter to marry Roderick Dhu, a chieftain, also a
rebel against the King. Malcolm and Roderick are about to commence a
quarrel, when the royal army is seen approaching, and all march off to
meet the enemy.
The King, again disguised, meets Ellen, and declares his love. On
hearing from her that she loves another, he generously gives her a ring,
and tells her
{15}
that whenever she shows this to him she will obtain any favor she may
ask. Unfortunately, Roderick Dhu makes his appearance, and he and the
King, after a quarrel, leave to fight a duel. Meantime, the rebel clans
have been defeated. Roderick is slain, and Ellen hastens away to look
after her father and Malcolm.
To celebrate his victory King James holds a grand tournament, at
which Douglas, in disguise, assists, and manages to carry away the
prizes. He then asks for pardon for his daughter and his clan; but Ellen
with her ring obtains this favor for him. The King completes their
happiness by forgiving Douglas and joining the hands of Malcolm and
Ellen.
Opera in two acts by Rossini. Libretto adapted by
Sterbini from the comedy by Beaumarchais.
Characters: Count Almaviva; Bartolo, physician; Rosina, his ward;
Basilio, music master; Marcelline; Figaro; Fivrillo, servant to the
count; a Notary; Ambrosio, servant to Bartolo.
Place, Seville. Time, Seventeenth Century. First produced at Rome
in 1816.
The scene opens in a street at Seville. It is dawn, and the Oount
Almaviva, with musicians, serenades his mistress, Rosina, the ward of
Doctor Bartolo. Figaro appears upon the scene. He is the barber and
factotum of the town, who busies himself in everybody’s affairs. The
Count has just divulged to him his passion for Rosina, when she appears
upon the balcony. Bartolo, her guardian, also steps out, but by a ruse
{16} Rosina gets rid of him, and succeeds
in dropping a note to the Count in the street. The Count then endeavors
to obtain an interview with Rosina in the disguise of a drunken soldier,
lie forces himself into Bartolo’s home, claiming lodging under a billet
of quartering, but Bartolo sends for the police and gives him into
custody.
In the second act the Count enters Bartolo’s home as a music-master,
affirming that Dr. Basilio, Rosina’s music-master, is ill and has sent
him, his pupil, in his place. Bartolo is suspicious of him, but the
Count gives him Rosina’s letter to himself, suggesting that Rosina
should be made to believe it was written by another lady to the Count,
and so be induced to give him up. The barber also comes in to shave the
Doctor, and succeeds in getting from him the key of the balcony, with a
view to the elopement of Rosina with the Count. Basilio, however,
arrives, and is with some difficulty got rid of, since he scarcely
believes the assurances of the Count, Figaro, and Rosina that he is
looking very ill. The barber then shaves Bartolo, the Count and Rosina
meanwhile laying their plans under cover of the music lesson. But the
Doctor finds them out, and Basilio again appears, and assures the Doctor
he knows nothing of any pupil, and that he never sent the Count to take
his place. Bartolo is very angry, for he himself means to marry his ward,
Rosina, and has taken Basilio into his confidence on the subject. He
craftily uses the letter the Count gave him to create suspicion in her
mind, assures her she is deceived, and induces her to consent to marry
her guardian himself.
{17}
Figaro and the Count come, as arranged, to the verandah by night to
take liosina with them, but she repulses the Count. The mistake, however,
is explained, and they prepare to descend by the ladder, when it is
discovered that some one has removed the ladder. Basilio comes in with a
notary and marriage contract, and under the joint persuasion of a ring
given to him by the Count, and a threat of a bullet if he refuses, he
stands by while the Count and Bosina sign the contract. The Doctor
Bartolo arrives with the police just too late to prevent the Count’s
success, but becomes rapidly reconciled to the inevitable, and gives
them his blessing.
Opera in three acts by iRossini. Libretto by Bis
and Jouy.
Characters: Gessler; Rudolf von Harras; William Tell; Walter Fiirst;
iMielchthal; Arnold, his son; Lenthold; Mathilda, daughter of Gessler;
Hedwig, Tell’s wife; Gemmy, Tell’s son; Ruodi, a fisherman.
Place, Switzerland. Time, Thirteenth Century. First produced at
Paris in 1829.
The first act opens with a charming introductory chorus by peasants,
who are celebrating a nuptial fete. Tell joins in their pleasure, though
he cannot help giving utterance to the anxiety which the Austrian
tyranny causes him. Arnold von Melchthal, son of an old Swiss, has
conceived an unhappy passion for Mathilda, Princess of Habsburg, whose
life he once saved; but he is a Swiss and resolved to be true to his
country. He
{18}
promises Tell to join in his efforts to liberate Switzerland. Meanwhile
Leutbold, a Swiss peasant, comes in. He is a fugitive, having killed an
Austrian soldier, to revenge an intended abduction of his daughter. His
only safety lies in crossing the lake, but no fisherman dares to row him
over the lake in the face of the coming storm. Tell steps forth, and,
seizing the oars, brings Leuthold safely to the opposite shore. When
Rudolf von Harras appears with his soldiers, his prey has escaped, and,
nobody being willing to betray the deliverer, old Mielchthal, the father
of Arnold, is imprisoned.
In the second act we find the Princess Mathilda returning from a
hunt. She meets Arnold, and they betray their mutual passion. Arnold
does not yet know his father’s fate, but presently Tell enters with
Walter Fürst, who informs Arnold that his father has fallen a victim to
the Austrian tyranny. Arnold, cruelly roused from his love-dream, awakes
to duty, and the three men take a vow of vengeance. This is the famous
oath taken on the Rütli. The deputies of the three Cantons arrive, one
after the other, and Tell makes them swear solemnly to establish
Switzerland’s independence. Excited by Arnold’s dreadful account of his
father’s murder, they all unite in the fierce cry: “To arms!” which is
to be their general signal of combat.
In the third act Gessler arrives at the market-place of Altdorf,
where he has placed his hat on a pole, to be greeted instead of himself
by the Swiss who pass by. The people grumble at this new proof of
arroganee, but dare not disobey the order, till Tell, passing by with
his son, Gemmy, disregards it. Refusing to salute the hat, he is
instantly taken and commanded by Gessler to shoot
{19}
an apple off his own boy’s head. After a dreadful inward struggle Tell
submits. Fervently praying to God and embracing his fearless son, he
shoots with steady hand, hitting the apple right in the center. But
Gessler has seen a second arrow, which Tell has hidden in his breast,
and he asks its purpose. Tell freely confesses that he would have shot
the tyrant had he missed his aim. Tell is fettered, Mathilda vainly
appealing for mercy. But Gessler has gone too far. The Swiss begin to
revolt. Mathulda herself begs to be admitted into their alliance of free
citizens, and offers her hand to Arnold. The fortresses of the
oppressors fall, Tell enters free and victorious, having himself killed
Gessler, and in a majestic chorus the Swiss celebrate the day of their
liberation.
Last updated February 09, 2007