Opera Books

The
Complete Opera Book

Gustav Kobbé

Italian Opera

ERO E LEANDRO

OPERA in three acts by Luigi Mancinelli; libretto by Arrigo Boïto. First produced in America at the Metro-politan Opera House, March 10, 1899, with the composer conducting and the following cast : Hero, Mine. Eames; Leandro, Saleza, and Plancon as Ariofdrno.
     In the first act the lovers meet at a festival. Leandro, victor in the Aphrodisian games both as a swordsman and cytharist, is crowned by Hero. He sings two odes borrowed from Anacreon. Ariofarno, the archon, loves Hero. When he seeks to turn her from her sacred mission as priestess of Aphrodite she spurns his love. She invokes an omen from a sea shell, on the altar of the goddess, and hears in it rushing waters and the surging sea, that will eventually turn her romance to tragedy. When she kneels before the statue of Apollo and pleads to know her fate, Ariofarno, concealed, answers: "Death."
     The second act takes place in the temple of Aphrodite. The archon claims that he has been warned by the oracle to reinstate a service in a town by the sea. He consecrates Hero to the duty of giving warning of approaching storms, so that the raging waters may be appeased by priestly ritual. He offers to release her from this task if she will return his love. When she again spurus him, Leandro attempts to attack him. For this, the young man is banished to the shores of Asia, while Hero sadly pledges herself to the new service.
     In the third act Leandro has performed his famous swimming feat. The lovers sing their ecstasy. Meanwhile a storm arises unobserved. The trumpet that should have been sounded by Hero is sounded from the vaults beneath the tower. Leandro throws himself into the Hellespont while Ariofarno and his priests chide Hero for her neglect as they discover its cause. A thunderbolt shatters a portion of the tower wall and Leandro’s body is disclosed. Hero falls dying to the ground, while the archon rages.

CONCHITA

     Opera in four acts by Riccardo Zandonai; text by Vaucaire ad Zangarini, based on Pierre Louys’s "La Femme et le Pantin" (The Woman and the Puppet). Produced, Milan, 1911.

CHARACTERS

Time—The Present.

Place—Seville.

     Act I. In a cigar factory. Among the visitors Conchita, one of the cigar girls, recognizes Mateo, a wealthy Spaniard, who rescued her from the forced attentions of a policeman. She invites Mateo to her home. The girl’s mother, delighted that her daughter has attracted a wealthy man, goes out to make some purchases. Love scene for Mateo and Conchita. The mother returns, and, unseen by’ Conchita, Mateo gives her money. When Mateo leaves, and Conchita discovers he has given her mother money, she is furious and vows never to see Mateo again, because she thinks he has endeavoured to purchase her love. In her anger she leaves her home.
     Act II. A dance hall, where Conchita earus a living by her risque dances. Mateo, who finds her after a long search, is astounded. He begs her to go away with him. She refuses, and executes a most daring dance for a group of visitors. Mateo, watching her from outside, and wild with jealousy, breaks through the window. Conchita, angry at first, takes from him the key to a little house he owns and tells him that, if he comes at midnight, she will open her lattice to him as to a mysterious lover.
     Act III. A street in Seville. Mateo stands before the house. But instead of admitting him, when he pleads his love, she turns and calls, as if to someone within, "Morenito! "—the name of a man he saw her dancing with at the dance hall. Mateo tries to break into the house. Conchita taunts him. He staggers away.
     Act IV. Mateo is desperate. Conchita comes to his home and says she certainly expected him to kill himself for love of her. Enraged, he seizes her. She tries to stab him. He beats her without mercy. At last—and it seems about time—Conchita now sees how desperately he must love her. She declares that she has loved him all the time. He takes her, radiant, into his arms.

CRISTOFORO COLOMBO

     Opera in three acts and an epilogue, by Alberto Franchetti, text by Luigi Illica. Produced, Genoa, i892; in revised version, same year, at La Scala, Mila. Metropolitan Opera House, Philadelphia, November 20, 1913, with Titta Ruffo.

CHARACTERS

Time—Before, during, and soon after Columbus’s voyage of discovery.

Place—Spain and America.

     In act first, on the square in Salamanca, Colombo learns that the council has. rejected his plans. In the convent of San Stefano Queen Isabella is praying. Colombo tells her of the council’s acts. She promises him the ships. In act second, on the Santa. Maria, the sailors mutiny. At the critical moment Colombo points to a distant shore. In act three, Ronaldo, an enemy to Colombo, has slain an Indian king. The Indian queen, Anacona, pretends to love her husband’s slayer, hoping. for opportunity to avenge his death. But an Indian uprising is quelled and Bobadilla, a false messenger arriving from Spain, announces that Colombo has been deposed from authority, and Ronaldo been made viceroy in his stead.
     The epilogue shows the royal tombs of Spain. Colombo—the librettist here stretching historical license—learning that Queen Isabella has died and is buried here, expires; upon her tomb.

CRISPINO E LA COMARE

(The Cobbler and The Fairy)

     Opera "Bouffe" in three acts by Luigi and Federigo Ricci; text by Francesco Maria Piave. Produced, Venice, 1850.

CHARACTERS

Place—Venice.

Time—Seventeenth Century.

     Act I. Crispino, the cobbler, and Annetta, his wife, the ballad singer, are in sore straits. Don Asdrubale, their landlord, who is a miser, is about to put them out for nonpayment of rent, but hints that if Annetta will respond to his suit he may reconsider. Crispino, in desperation, runs away, and is followed by Annetta. He is about to drown himself in a well when a fairy appears to him. She predicts that he will be a famous doctor. Crispino and Annetta rejoice.
     Act II. Crispino nails up a physician’s sign. The neighbours rail, but soon a mason is brought in severely hurt, and, though the doctors fail to bring him around, Crispino cures him.
     Act III. Crispino, overbearing since his good fortune, has built a fine house. He ignores former friends and even is unkind to Annetta. He even berates the Fairy. Suddenly he is in a cavern. The Fairy’s head has turned into a skull. She has become Death. Humbled, he begs for another glimpse of Annetta and the children. He awakes to find himself with them and to hear a joyous song from Annetta.

LORELEY

     Alfred Catalani’s "Loreley" was presented by the Chicago Opera Company for the first time in New York, at the Lexington Theatre, on Thursday evening, February 13, 1919, with Anna Fitziu, Florence Macbeth, Virgilio Lazzari, Alessandro Dolci, and Giacomo Rimini. The librettists are Messrs. D’Orinville and Zanardini.
     The legendary siren who sits combing her hair on a rock in the traditional manner, is in this opera the reincarnated spirit of a young orphan, who has been jilted by her fiancé, Walter, Lord of Oberwessel. When the faithless young man is about to marry another beautiful maiden, Anna, Loreley casts her spell upon him, and Anna, too, is thrown over. Walter follows Loreley to a watery grave, and Anna dies of grief.

FEDORA

     Opera in three acts, by Umberto Giordano; text, after the Sardou drama, by Colautti. Produced, Milan, 1898.

CHARACTERS

Time—Present

Place—Paris and Switzerland.

     Act I. Home of Count Vladimir, St. Petersburg. While the beautiful Princess Fedora awaits the coming of her betrothed, Count Vladimir, he is brought in, by De Siriex, mortally wounded. Suspicion for the murder falls upon Count Loris. Fedora takes a Byzantine jewelled cross from her breast and swears by it to avenge her betrothed.
     Act II. Salon of Fedora in Paris. Loris is entertained by her. She uses all her arts of fascination in hope of securing proof of his guilt. He falls desperately in love with her, and she succeeds in drawing from him a confession of the murder. Grech, a police officer, plans to take Loris after all the guests have left. Then, however, Loris tells her further that he killed the Count because he betrayed his young wife and brought about her untimely death. Fedora, who herself has fallen in love with Loris, now takes him into her arms. But the trap is ready to be sprung. She is, however, able to escape with him.
     Act III. Switzerland. Loris and Fedora are married. Loris’s footsteps, however, are followed by a spy. Fedora learns that because of Loris’s act his brother has been thrown into prison and has died there. Loris’s mother has died of shock. He discovers that it was Fedora who set the secret service on his track. He is about to kill her when, in despair, she swallows poison. Loris now pleads with her to live, but it is too late. She dies in his arms.

GERMANIA

     Opera in a prologue, two acts and an epilogue, by Alberto Franchetti; text by Luigi Illica. Produced, Milan, March 11, 1902; in this country, January 22, 1910.

CHARACTERS

Time—Napoleonic Wars.

Place—Germany.

     Prologue. An Old Mill near Nuremberg. Students under Palm are shipping out in grain-bags literature directed against the invader—Napoleon. Ricke tells Worms, whose mistress she has been, that her sweetheart, the poet Loewe, will soon return, and that she must confess to him her guilty secret. Worms dissuades her. Loewe arrives and is joyously welcomed by his comrades.. The police break in, arrest Palm, and take him off to be executed.
     Act I. A Hut in the Black Forest. Seven years are supposed to have passed. Loewe, his aged mother, and Ricke and Jane have found refuge here from the victorious troops of Napoleon. Worms is thought to be dead. Loewe is to be married to Ricke. But suddenly the voice of Worms is heard in the forest. Loewe joyously meets his old friend, who, however, is much disconcerted at the sight of Ricke, and goes away. Ricke flees from her husband, who concludes that she has fled with Worms.
     Act II. Secret Cellar at Koenigsberg. Worms and others plot to overthrow Napoleon. Loewe challenges Worms to a duel. Worms, penitent, asks Loewe to kill him. But the preparations are stayed by Queen Louise. She declares they should be fighting against Napoleon, not against each other.
     Epilogue. Battlefield of Leipzig. Napoleon has been defeated. The great field is strewn with dead and dying. Among the latter, Ricke, still loving Loewe, finds him. He asks her to forgive Worms, who lies dead. She forgives the dead, man, then lies down beside her dying husband. Distant view of the retreat of Napoleon’s shattered legions.

Last updated October 22, 2006