Opera Books
THE OPERA
EDITED BY
ALBERT HILLERY BERGH
VOLUME IV.
1909
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Kienzl.
Wilhelm Kienzl was
born in Waitzenkirchen, Upper Austria, on January 17, 1857. He attended
the Gymnasium at Graz, and was a pianoforte pupil of Ignaz Uhl and
Mortier de Fontaine. Kienzl studied music at Prague, Leipsic and Vienna,
and finally took his degree of doctor of philosophy in the ‘latter city.
In 1879 he joined Wagner at Bayreuth, and in 1880 gave musical lectures
at Munich.
In 1899 Kienzl became kapellmeister of the theatre at Hamburg.
Kienzl is the composer of works of a light genre, among the most
popular of which are the operas Urvasi (1886); The Evangelist
(1895), and Don Quixote (1898).
Opera in two acts by
Wilhelm Kienzl. Libretto adapted from the novel of Dr. L. F. Meiszner by
the composer.
Characters: Friedrich Engel; Martha, his niece; Magdalena, her
friend; Yohannes Freudhöfer, teacher at St. Othmar; Matthias Freudhöfer,
his brother, clerk
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at the convent; Zitterbart; Schauppauf; Aibler; his wife; Frau Huber;
Hans.
Place, Convent of the Benedictines at St. Otbmar and Vienna. Time,
Nineteenth Century. First produced at Berlin in 1895.
The first scene represents the courtyard of the convent of the
Benedictines at St. Othmar. Yohannes Freudhöfer is a teacher there, and
his brother, Matthias, is a clerk. Both brothers are in love with Martha,
the niece of Friedrich Engel. Yohannes takes it upon himself to inform
the girl’s father of the clerk’s attentions to his niece, and Matthias
is at once dismissed from the convent.
While the citizens are amusing themselves with a game of ninepins,
Matthias asks Magdalena to tell Martha to come to the arbor at night,
where he can bid her farewell. Yohannes has listened to this
conversation, and plans to make the meeting prove the lovers’ ruin.
Yohannes’ treachery is not suspected, and, while they are taking’ leave,
the arbor bursts out in flames. Matthias immediately begins to assist in
putting out the fire, but his unexpected presence there causes suspicion
to rest on him as the incendiary, and he is arrested.
Ten years after Matthias has served his twenty years’ sentence he
comes to Vienna. Here he meets Magdalena in a courtyard. They recognize
each other, and he tells her that he has become an evangelist, because,
after his release from twenty years’ confinement, he had heard that his
beloved Martha had drowned herself on account of his sentence and
because his guilt of incendiarism had never been disproved. Magdalena,
who is acting as nurse to Yohannes, sees Matthias again
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the next day. Yohannes bears the man’s voice, and sends for him.
Matthias goes to the invalid, who, though he does not recognize his
brother, confesses to him that he had set fire to the arbor. Matthias
then recognizes Yohannes, and, after a short struggle with himself,
forgives him. At the end Yohannes dies.
Opera in three acts by
Wilhelm Kienzl. Libretto by the composer.
Characters: The Duke; the Duchess; Don Clavijo; Alonzo Quixano (called
Don Quixote de la Mancha); Mercedes, his niece; Sancho Pansa, a peasant;
Carrasco, an innkeeper; Tirante; Maritornes, his daughter; Aldouza; a
messenger; a scullery boy; girls in the service of the Duchess.
Place, La Mancha, Spain. Time, Sixteenth Century. First produced at
Berlin in 1898.
The story of Don Quixote is that of a gentleman of Spain who has
allowed the tales of chivalry which he has been reading to take such a
hold on his mind that he has become insanely impressed with the idea
that he is the hero of each story. When the opera begins, the delusive
dreams which he has while reclining in a large armchair are presented to
view by three tableaux. The first shows Don Quixote in combat with a
knight. The second reveals the Twelve Champions at the Round Table, with
King Arthur in the centre. In the last one Don Quixote is seen kneeling
before Dulcinea of Tobosa, who is placing a laurel wreath on his head.
Don Quixote’s niece, Mercedes, enters, and awakens him. He tells
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her that he is a knight and must wander in search of adventure. She
realizes that his mind is unbalanced.
Don Quixote actually tries to be a hero of each of his tales of
chivalry, and the comedy of the situation lies in the incongruous
background and opportunities which his amused friends provide for his
glorious deeds of valor. He goes to an inn, in the belief that it is a
castle, and demands of the innkeeper, Carrasco, “owner of the castle,”
that he strike him on the head with his sword and dub him a knight. The
mock ceremony is performed by Tirante. Carrasco, who knows of Don
Quixote’s state of mind, helps his friends supply him with stories of
maidens who have been taken captive by giants, and who await him as
their deliverer. Even the Duke and his court join in the sport, and
invite Don Quixote to the palace to amuse them. His caprice here
consists in his ride on a wooden horse with Sancho, the peasant, whom he
has appointed his “squire.” He is hastening, in his way, to conquer the
giant Malambruno, who has magically transformed the Dulcinca maid, and
is Don Clavijo in disguise. The jesters ignite fireworks near the wooden
horse, and both riders fall.
In the third act the humorous conspiracy is put to use by Mercedes.
Carrasco desires to win her, and she promises to give him the
opportunity if he will succeed in bringing her uncle back home. Mercedes
and Carrasco impersonate characters of the tableaux, and await Don
Quixote on a romantic path. Sancho, who has had to bear the penalty of
his “knight’s” extravagance, is beaten by a mob, and there ensues a
combat between Don Quixote and Carrasco, as the “Knight of the
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White Moon.” Don Quixote, the loser, is compelled to accompany
Carrasco, who takes him home.
Don Quixote, in the final act, realizes that the tales of chivalry
have led to his idiotic actions and throws them into the fire. But his
strength is spent; he makes his will and falls dead, to the great sorrow
of Mercedes,. Carrasco and Sancho.
Der Kuhreigen.
(Le Ranz des Vaches).
Opera in three acts by
Wilhelm Kienzl. Libretto by Dr. Richard Batka, adapted from “Vom
Sterbenden Bokoko,” a story of the French Revolution, in Rudolf Hans
Bartsch’s collection of tales.
Characters: Louis XVI, King of France; Marquis Massinelle,
commandant; Blanchefleur (Marquise Massinelle); the Chancellor; Capt.
Bravole; Marquis de Chezy; Cleo; Primus Thaller, of the Swiss Troops;
Dursel, a Swiss Officer; Marion; Favart, a French Officer; Doris, the
innkeeper’s daughter; French chasseurs and Swiss mercenaries in the
King’s service; aristocrats; sans-culottes; courtiers; physicians;
tailors.
Place, Paris and Versailles. Time, Period of the French Revolution
(1789). First produced at Vienna in 1911. First American production at
New York.
The curtain rises on the parade ground of the barracks of St.
Honoré, in Paris. The Swiss are drilling, while a company of French
cavalry officers are seated on the terrace, laughing and drinking, and
joking about the gloom of the Swiss, who will not join in the singing,
as they are forbidden under pain of death to sing the
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“Kuhreigen” or “Ranz des Vaches” of their native land, and they prefer
to keep silent.
Meanwhile, Dursel, a Swiss officer, has been making love to Doris,
the innkeeper’s daughter, who repulses his advances. Favart and Dursel
quarrel over the smiles of Doris, and Primus Thaller separates them and
draws Dursel to one side, chiding him for quarreling with a comrade for
such a hussy. Their discussion is interrupted by the appearance of the
Orderly, who warns the soldiers to he careful as the officers are
coming. Then the Marquis Massionelle, the commandant, appears,
accompanied by his wife, Blanchefleur, and the military staff. The Swiss
have now withdrawn to one side and the coming of twilight sets them to
thinking of their native land. Almost unconsciously Primus Thaller
begins to sing the Kuhreigen, and the soldiers join in the chorus.
Favart then has Primus arrested, and as they lead the prisoner away, the
French soldiers appear, singing a revolutionary song.
The second act presents the bedroom of King Louis XVI at
Versailles. The scene opens with the awakening of his Majesty, the
arrival of the royal family, followed by the courtiers, the physicians,
tailors and barbers. The King is finally dressed, and after his morning
prayer holds his court. Before him appears Marquis Massionelle, with the
death warrant of Primus Thaller. The King reminds him that the Swiss
officer defended the Marquise the day before, when some revolutionary
soldiers were making disrespectful allusions to her. The Marquise asks
the King to pardon the Swiss officer. The King grants her petition and
the entire Court start for their day of hunting.
Blanchefleur tells Cleo, when they are alone, that she
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is planning a charming pastoral idyll with the Swiss soldier, when the
door opens and Primus Thaller appears. The Marquise apparently falls in
love with him, while Primus is equally fascinated with the lady’s
beauty. She tells him that she longs for happiness far away from the
fickle gaiety of the Court. A commotion is heard on the street outside,
and Primus warns her that the revolution is spreading. He begs her to
flee from Paris in order to reach a place of safety. The Marquise
suggests that they fly to her father’s castle, La Raeol, in Savoy, where,
amid the peaceful flocks, she would create a Shepherd’s paradise; but
the young lieutenant tells her frankly that he cannot go with her, as
she is the wife of the Marquis. Blanchefleur then exclaims, “Farewell,
my shepherd dream of La Raeol,” while Primus kisses her hand and leaves
her.
In the third act the opening scene is that of the dining-room of
the Palace Massinelle, which is now in the hands of the revolutionists.
The Marquis has been taken to the Temple to await his death, and
Blanchefleur is dragged out of a secret chamber, where she has been
hiding, just before Primus Thaller, appointed Captain by the Directory,
arrives to take command. From the window he sees the Marquis on the
guillotine, and he rushes off to the prison in the Temple to save the
Marquise, while outside the crowds are singing the “Marseillaise” in
their frantic delight at the overthrow of tyrany.
There is a transformation of the scene, and Primus Thaller appears
in the dungeon, where the aristocrats are awaiting their doom while
dancing to the strains of the minuet. Primus beseeches Blanchefleur, as
she is now a widow, to flee with him and become his wife,
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but the Marquise cannot abide the idea of associating with the
bourgeois for the rest of her life. She prefers to die in her own
world, and when her summons comes she goes forth to the guillotine with
aristocratic dignity, while Primus is left alone in his despair.
Kienzel’s fluency in the composition of taking tunes’ and effective
ensembles is matched by the smoothness and pleasing quality of his
orchestration. Thus, on the whole, Der Kuhreigen is ably
orchestrated, exhibits exceptional skill in musical workmanship and
technical detail, and reveals its composer as a craftsman of commendable
abilities, but no element of genius illumines the score, in which it
would be difficult to point out anything that is not in the nature of
conventional mediocrity.
Last updated April 19, 2007