Opera Books
THE OPERA
EDITED BY
ALBERT HILLERY BERGH
VOLUME III.
1909
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Cornelius.
Peter Cornelius, a
prominent representative of the so-called New German school, was born at
Mayence, December 24, 1824. He was originally intended for the stage,
and it was not till after his first performance, which seems to have
been unsuccessful, that he decided to adopt music as a profession. His
musical education had been incomplete, but his dramatic studies had made
him acquainted with literature, and were of considerable service in
developing his poetic faculties. He acquired a vast amount of general
information, and after the death of his father, in 1844, he pursued
music with energy and thoroughness. His tendencies, however, were to
follow modern innovations rather than to adhere to the strict rules of
counterpoint. In 1852 he went to Weimar and joined the young artists who,
under Liszt’s leadership, were striving to carry out the ideas of
Richard Wagner. They eventually formed a separate school, to which the
name “New German” became attached. It was here that Cornelius became
acquainted with Wagner’s works, and formed ties of the closest intimacy
with Liszt His active and versatile pen was of great service to the
young enterprise. He strove to elucidate the new principles in the
Neue Zeitschrift für Musik, the organ of the party, both by original
articles and by translating a series of lectures given in French by
Liszt.
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As a practical embodiment of the new views he composed a comic
opera, Der Barbier von Bagdad, of which only a single performance
took place in 1858. Liszt resented the judgment of the public on this
opera, and left Weimar, which ceased to be the centre of the school. In
1858 Cornelius went to Vienna, where Wagner was then living, and became
intimate with him also.
When in 1865 Ring Ludwig II invited Wagner to Munich, Cornelius
followed him there, first as reader to the King, and later as professor
of harmony and rhetoric at the Conservatoire, after it had been
transformed into the Königliche Musik-schule with Hans von Bülow as
principal.
Cornelius’ grand opera, Le Cid, produced at Weimar in 1865,
may be considered as the fruit of his intercourse with Wagner. He was
working at another opera entitled Gunlöd, the subject of which,
after Wagner’s example, he had taken from the legends of the Edda, when
he died at Mayence, October 24, 1874.
Long after his death it was completed by Sassen, and produced at
Strasburg. It is unnecessary to say that it invited comparison with the
Wagnerian operas, and was not considered either original or very
meritorious. The effect of his dramatic works in furthering the Wagner
movement cannot fairly be estimated, as the public have never had a real
opportunity of judging of them. His published works, principally vocal,
include Duets for Soprano and Baritone, Lieder-cyclus,
Weihnachslieder, and Trauerchöre. Most of these are settings
of his own poems. He published a volume called Lyrische Poesien
in 1861. Der Barbier von Bagdad
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is now included in the standard repertoire of various opera houses in
Germany. He also wrote the librettos of his own operas and translated
many works.
Opera in two acts by
Peter Cornelius.
Characters: Nurredin; Abdul Hassan Ali Ebe Bekar, the barber; the
Calif; the Cadi; Margiana; Bostana; people and slaves.
Place, Bagdad. Time, Middle Ages. First produced at Weimar in 1858.
The first scene takes place in the house of a wealthy young
Mussulman, called Nurredin. He is lying on a couch, surrounded by his
servants, who think he is dying. But it is only the flame of love which
devours his strength and deprives him of all energy. ‘As soon as Bostana,
an old relative and companion of his lady-love, appears in order to tell
him that Margiana, his adored, is willing to receive him, Nurredin
forgets his illness and only longs for the promised interview. The
ensuing duet between him and Bostana, wherein she gives instruction
about time and hour of the rendezvous, is delightfully fresh and
piquant.
As Nurredin has neglected his personal appearance during his malady,
he asks for a barber, who is sent to him by Bostana. The loquacious
barber, Abdul Hassan Ali Ebe Bekar, makes him desperate by his vain
prattle. having solemnly greeted Nurredin, he warns him not to leave the
house that day, as his horoscope tells him that his life is in danger.
The young man, not heeding him, Abdul Hassan begins to enumerate
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all his talents as astrologer, philologer, philosopher, and so forth. In
short, he is everything and knows everything. When Nurredin orders him
to begin his shaving he relates the fate of his six brothers, all of
whom died before him, and always of love. At last Nurredin’s patience
giving way, he calls his servants in to throw the old fool out of doors.
But Abdul drives them all back, and Nurredin tries to pacify him with
flattery, and finally succeeds.
Now Abdul is curious, as all barbers are, and having heard
Nurredin’s sighs, he determines to find out all about the young man’s
love. The scene is most ludicrous, when Abdul sings his air “Margiana,”
a name he has heard from Nurredin’s lips, and the latter is in despair
at being left with only one side of his head shaved. The tonsorial work
done at last, Abdul wants to accompany Kurredin to the house of the Cadi
Baba Mustapha, Margiana’s father. Nurredin again summons his servants,
who begin to surround Abdul, pretending to administer medicine. Kurredin
escapes, but, after having shaken off the servants, Abdul runs after him.
The second act takes place in the Cadi’s house. Margiana is full of
sweet anticipation, while her father, who has already chosen a husband
for his daughter in the person of an old friend of his youth, shows her
a large trunk full of gifts from the old bridegroom. Margiana admires
them obediently. A musical scene follows, wherein is heard the call of
the Muëzzin summoning the faithful to prayer. It is also the sign for
Nurredin to appcar. The Cadi hurries to the Mosque, and Bostana
introduces the lover, while the old barber watches
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before the house. Suddenly they are interrupted by cries of alarm, and
with dismay they learn from Bostana that the Cadi has returned to punish
a slave who has broken a precious vase.
Nurredin, unable to escape unobserved, is hidden in a big trunk.
Meanwhile Abdul, having heard the slave’s cries and mistaking them for
Nurredin’s, summons the latter’s servants and breaks into the Cadi’s
house to avenge his friend, believing that he has been murdered. Bostana
angrily bids him carry away the trunk, signifying to him whom she has
hidden in it, but the Cadi intervenes, believing the servants to be
thieves who want to steal his daughter’s treasure. The rumor of the
murder gradually penetrates the whole town; its inhabitants gather
before the house, and the appointed wailing-women mingle their doleful
lamentations with the general uproar. At last the Calif himself appears
in order to settle the quarrel.
The Cadi accuses the barber of theft, while Abdul calls the Cadi a
murderer. To throw light upon the matter, the Calif orders the trunk to
be opened, which is done with great hesitation by Margiana. When the lid
gives way, Nurredin is found lying in it in a deep swoon. All are
terrified, believing him to be murdered, but Abdul, caressing him,
declares that his heart still throbs. The Calif bids the barber show his
art, and Abdul wakens Kurredin by the love-song to Margiana. The young
man revives and the truth dawns upon the deceived father’s mind. The
Calif, a very humane and clement prince, feels great sympathy with the
handsome young couple, and advises the Cadi to let his daughter have her
treasure, because he had told them himself
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that it was Margiana’s treasure, kept hidden in the trunk.
The Cadi consents, while the Calif bids the funny barber come to
his palace to entertain him with his stories, and invites all present to
the wedding of the betrothed pair, to the great satisfaction of the
people, who sing their Salaam Aleikum in praise of their Prince.
Last updated March 14, 2007