Opera Books
The Opera Goer’s
COMPLETE GUIDE
LEO MELITZ
Copyright 1908, 1911, 1921
Lyrical drama in three acts by
Niccola Spinelli. Libretto founded upon the work of Goifredo Cognetti by Eugene Checchi.
CAST: Mother Mary—Soprano. Her children Sesella—
Soprano, Luigino—Tenor. Ciccillo—Baritone. Pascale, innkeeper—Basso.
Pichillo—Tenor. Time, the present. First production, Cologne, 1894.
ACT I. Acquaquilia Street “at the lower harbour.”
Pichillo, Pascale and Luigino are gambling with other members of the Camorra. [A secret
Italian society.] Maria attempts to free her son of his passion for gambling but fails.
Ciccillo quarrels with his companions, while in another group Maria and Sesella endeavour
to pacify the son and brother, who, however, retaliates by deriding his sister for her
love for Ciccillo. When the others have departed, Ciccillo detains Sesella and proposes
flight. Luigino, who has been listening, attempts to stab Ciccillo, but is prevented by
Maria and Sesella. Ciccillo, formerly in love with Maria, determines to revenge himself
against her by compelling Sesella to lead a degraded life and by making Luigino a convict.
Pascale appears shouting that the Camorra has been betrayed. Ciccillo, who committed this
traitorous act through love of power, stands calmly by, but is suspected by Maria.
ACT II. Interior of Pascale’s inn. Pichillo and Luigino
are singing with a chorus of boon companions, when Ciccillo enters the inn and strikes
Luigino in the face. Swearing vengeance Luigino is thrust out by his companions while
Ciccillo accuses him of treason. When alone Ciccillo deplores his past life and vows to
live for vengeance alone. He again implores Sesella to flee with him, but Maria reveals to
her his true character and discloses the fact that he is the real traitor. The Camorra
meet in council, condemn Ciccillo to death and order Luigino to carry out the sentence.
ACT III. Street as in Act I. Maria prays, that Luigino may
not kill Ciccillo and thus make himself a murderer. When Ciccillo appears she counsels
flight. He, however, has again denounced his comrades to the authorities, and believing
them already surrounded by the military, ignores Maria’s warning. As he attempts to
call the soldiers to destroy the band, Maria draws a knife and stabs him to the heart.
Comic Opera in three acts by
Mozart. Libretto by Lentzner. Adapted by Stephanie.
CAST: Selim Bassa—speaking part.
Konstanze—Soprano. Blöndchen, her servant—Soprano. Belmonto— Tenor.
Pedrillo, his servant—Tenor. Osmin, overseer of the country house of the
Bassa—Basso. Place, the country house of the Bassa. Time, the sixteenth century.
First produced at the command of Joseph II in 1782 at the National Theatre at Vienna. This
opera is the first real German opera, as former works were mostly imitations and
translations of foreign productions.
ACT I. Belmonte seeks everywhere his betrothed, Konstanze,
who with her attendant Blöndchen has fallen into the hands of Selim Bassa. (Aria:
“Here shall I see you, Konstanze, you my hope.”) When Osmin Bassa’s servant
comes to pluck figs in the garden Belmonte retires. (Aria: “Who a love has
found.”) Belmonte returns to obtain news of his servant, Pedrillo. (Duet:
“Confounded be you and your song.”) Osmin is angry. (“Such
ragamuffins.”) Belmonte hears news of Pedrillo and resolves to abduct Konstanze.
(Aria: “Konstanze, Konstanze, to see thee again”; chorus: “Sing to the
great Bassa.”) Selim presently appears with Konstanze, for whose love he strives m
vain. (Aria of Konstanze: “0 forgive! Oh, I loved—”) Upon the
recommendation of Pedrillo, the Bassa engages Belmonte as builder, but Osmin refuses him
access to the palace. (Terzett: “March! March! March!”)
ACT II. Blöndchen repulses the rough lovemaking of Osmin.
(Aria: “By tenderness and flattery.”) After a duet (“I go, but counsel thee
to avoid the villain Pedrillo”), Osmin departs. Konstanze greets Blöndehen in
distress (Aria: “Sorrow is my lot”), informing her that Selim demands her love
and threatens to use force. (Aria: “This also will I bear.”) When she has gone,
Pedrillo comes to Blöndchen, who is his sweetheart, and informs her that Belmonte is near
and that all is ready for flight. Blöndehen is filled with joy. (Aria: “What
happiness, what delight.”) Pedrillo invites Osmin to drink, hoping that he will
become intoxicated. (Aria: “On to the combat” and duet: “Vivat Bacchus! may
Bacchus live!”) He succeeds in this plan and gets Osmin out of the way so that
Belmonte again sees his beloved Konstanze. (Quartet, Belmonte, Konstanze, Pedrillo,
Blöndehen: “Oh, Belmonte, oh my life.”)
ACT III. — Belmonte and Pedrillo come to the garden
with ladders. (Aria, Belmonte: “When the tears of joy do fall”; Romanze,
Pedrillo: “Captive in the land of the Moors.”) Belmonte succeeds in abducting
Konstanze, but when Pedrillo is about to escape with Blöndchen, they are caught by Osmin
(Aria: “Ho, how I will triumph”), and Belmonte and Konstanze are also brought
back by the guard. Selim Bassa, who recognises in Belmonte the son of an enemy, is about
to order their death. (Duet: “Oh what a fate, oh soul’s misery.”) His
heart, however, is touched by their sorrow; he forgives, and all are set at liberty.
(Finale: “Never will I thy kindness forget.”)
Lyrical drama in four acts. Music
by Francesco Ciléa; text by Scribe and Legouvé.
CAST: Maurice, Count de Saxe—Tenor. Prince de
Bouillon—Basso. Abbé de Chazeuil—Tenor. Michonnet, stage manager of the
Comédie Française—Baritone. Quinault, actor—Basso. Poisson, actor—Tenor.
Jouvenot, actress—Soprano. Dangeville, actress—Mezzo-soprano. Adrienne
Lecouvreur, a famous actress—Soprano. Princesse de Bouillon—Mezzo-soprano.
Place, Paris. Time, about 1730. First production, Milan, 1902.
ACT I. The foyer of the Comédie Française. A performance
of Racine’s Bajazet is to be presented, in which two famous actresses, Mlle. Duclos
and Adrienne Lecouvreur, are to appear. Michonnet, the stage manager, is hurrying about
trying to satisfy everybody. (Michonnet: “Michonnet here, Michonnet there.”)
The Prince de Bouillon, interested for the moment in La Duclos, arrives with the frivolous
Abbé de Chazeuil. Amid compliments and gossip Adrienne appears in costume. She is talking
with Michonnet (Adrienne: “The humble handmaid I of glorious art”) when Maurice
de Saxe enters. Adrienne loves him, believing that be is a poor young officer. (Maurice:
“In your sweet, smiling face.”) In reality lie is the hero of the day in war and
love. (Adrienne: “For you and you alone.”) She gives him a bunch of violets and
hurries away to play her part. The Princess de Bouillon also loves Maurice, and has
persuaded La Duclos to make an appointment for her with him at the country villa of the
actress. The wording of the note, which is intercepted by the prince, makes it appear to
appoint a rendezvous for La Duclos herself with Maurice. The prince is furious. Resealing
the letter, he sends it to Maurice, but plans with the abbé to take Adrienne to supper at
the villa and entrap the faithless Duclos. (Duet: “What is to be done?”) Four
members of the company come in gossiping. (Quartet: “How absurd! How
diverting!”) The prince departs hastily with the abbé. Michonnet stands in the wings
watching Adrienne’s performance. (Michonnet: “Good ! Splendid!”) Maurice
sends a message to Adrienne on a scroll used in the play putting off his appointment with
her. The four actors return, grumbling volubly. (Quartet: “They are mad!”)
Adrienne appears, half fainting. She accepts the prince’s invitation. He promises her
that the famous Count de Saxe will be present at the supper.
ACT II. The villa, La Grange Bateličre. The princess awaits
Maurice in a frenzy of passion. (Princess: “O bitter joy, O torture sweet!”) He
enters, wearing Adrienne’s violets, which provoke the princess’s jealousy.
Appealing to his ambition, she endeavors fruitlessly to awaken his love (Maurice:
“Pity, I implore”), and departs in a jealous rage. The prince and the abbé
appear in jesting mood, having observed the sudden departure of a lady. Maurice changes
the subject, as Adrienne comes in, joyfully recognising in the great Count de Saxe her
adored lover. They are left alone while the others arrange for supper. (Duet, Maurice,
Adrienne: “Thou art my conquest, thou my crown.”) Michonnet and the abbé appear
with the prince’s order that no one is to leave the grounds. (Abbé: “This is
her bower of love’s delight.”) The abbé tells Adrienne she is at the villa of
La Duclos, and she of course thinks Maurice’s appointment was with the actress.
Maurice denies it, and implores Adrienne’s aid in securing the escape of the fair
unknown. Adrienne enters the adjoining room and talks with the princess in the dark. Each
avows her love for Maurice. (Duet: “I love him ardently.”) The princess flees at
the approach of her husband, whom the abbé is trying to convince that La Duclos was not
the unknown lady. As they depart arguing, Michonnet enters with a bracelet dropped by a
lady who had passed through the garden with Maurice. Adrienne quickly hides the bracelet
as the prince enters with his guests for supper. ACT III. The salon of the princess. The
abbé is arranging a reception, aided by numerous servants. The princess enters and a
rather questionable flirtation ensues (Abbé: “Tell me, the god of love”), which
is interrupted by the prince. The princess having asked for face powder, the abbé
accidentally gives her a poison, the subtle qualities of which the prince points out.
(Prince: “Glittering, light, as snowflake white.”) Observing the princess’
interest in the methods of using it, the prince hurriedly takes the box to his laboratory.
The princess tries to discover from the abbé the name of her rival. Michonnet enters
arranging with the prince for a loan to Adrienne on her celebrated diamonds. The guests,
who now arrive, are all gossiping about the imprisonment of the Count de Saxe for debt.
Adrienne is announced; she wears no jewels. The princess lays a trap for her by saying
that Maurice has been wounded in a duel. Adrienne faints. Maurice is announced..
Imperturbably he tells of his adventures in Courland. (Maurice: “The Russian,
Mentschikoff.”) All applaud. (Ballet: “The Judgment of Paris.”) The guests
are still gossiping. Adrienne shows them the bracelet, and the princess, to divert
attention, asks her to recite. She gives a scene from “Phédre,” in which she
covertly insults the princess. Maurice remains at the palace when Adrienne leaves.
ACT IV. A room in Adrienne’s house. Michonnet enters,
asking for the actress. (Michonnet: “Peace, weary heart of mine.”) Adrienne
appears, depressed and sad. She has determined to leave the stage. Michonnet tells her
that he, too, loves hopelessly, but that in art lies the remedy for sorrow.
Adrienne’s fellow-actors bring gifts in honour of her birthday. Michonnet gives her
back her diamonds, which he has redeemed. She is deeply touched. All implore her to return
to her profession. They divert her with gossip. (Quartet: “Once there was a prince,
they say.”) The maid brings a casket and a letter from Maurice. Michonnet hurries the
comedians off. Adrienne opens the casket, which contains a faded bunch of violets. The
princess has impregnated the flowers with poison. (Adrienne: “Poor little
flowers.”) Adrienne is plunged in grief. Michonnet tries to comfort her, confessing
that he has written to Maurice to come. Maurice appears, but Adrienne receives him coldly.
He tells her he still loves her and asks her to marry him. (Duet: “Ah nobler far than
any royal queen.”) The poison begins to take effect. Adrienne speaks of the flowers;
her mind wanders. Not recognising Maurice, she calls him piteously. Maurice summons
assistance. Michonnet rushes in. They try restoratives without avail. Michonnet realises
at last that the flowers were poisoned, but Adrienne is past human aid. The four actors
enter. She begs all to save her (Adrienne: “Save me ! I do not want to die”),
and falls back dead. The two men are heartbroken. “She is dead,” says Michonnet.
“Dead,” echo the others. But Maurice cries exultantly, “No ! Glory cannot
die!”
Grand opera in four acts by Verdi.
Text by Ghislanzoni.
CAST: The King of Egypt—Basso. Amneris, his
daughter—Mezzo-soprano. Aďda, Ethiopian slave—Soprano. Radames—Tenor. The
high priest—Basso. Amonasro, King of Ethiopia—Baritone. The action takes place
in Egypt during the reign of the Pharaohs.
Verdi wrote this opera for Ismael Pacha, Khedive of Egypt,
and received from him 80,000 francs. First produced at Cairo in 1871.
ACT I. Aďda, the unknown daughter of King Amonasro, lives
at Memphis as a slave. Her father has made an incursion into Egypt to deliver her. Aďda
loves Radames, a young warrior (Romanza, Radames: “Heavenly Aďda”), but has a
dangerous rival in Amneris, the daughter of the king. (Duet, Radames, Amneris: “In
thy visage I trace.”) Incited by Amneris, the high priest Ramfis (Terzett, Aďda,
Amneris, Radames: “Oh fate o’er Egypt looming”) declares that Radames has
been selected by Isis to be the leader of the army against Amonasro. (Battle Hymn:
“On ! Of Nilus’ sacred river, guard the shores.”) Aďda’s heart is
torn between her love for her father and for Radames, and she remains at Memphis. (Scene,
Aďda: “Return a conqueror.”) Change of scene: Temple of Vulcan. Solemn
ceremonies and dance of priestesses. (Chorus of priestesses: “O mighty Ptha.”)
Installation of Radames to the office of commander-in-chief. (Prayer, Ramfis and chorus:
“O mighty one, guard and protect!”)
ACT II. Amneris’ chamber. Festal dances and music.
(Chorus of women: “Our songs his glory praising.”) Amneris receives her slave
Aďda and cunningly draws from her the avowal of her love for Radames. (Scene and duet,
Amneris, Aďda: “The chances of war afflict thy people, poor Aďda;” Aďda:
“O love, O joy tormenting.”) Change of scene: Radames returns victorious.
(Chorus, king and people: “Glory to Egypt, to Isis!”) Grand triumphal march,
Amonasro appears as a captive; unrecognised except by Aďda. He declares that the
Ethiopian king has been slain in battle. (Amonasro: “This my garment has told you
already.”) The prisoners are released at the request of Radames, and the grateful
King of Egypt declares him his successor and the betrothed of his daughter.
ACT III. On the banks of the Nile, near the temple of Isis.
(Chorus of priests and priestesses: “O thou who to Osiris art!”) Amonasro and
Aďda are held as hostages (Aria, Aďda: “Oh, my dear country!”) and he forces
her to learn from Radames the position of the Egyptian army. (Duet, Aďda, Amonasro:
“Once again shalt thou gaze.”) Radames only seemingly consents to become the
husband of Amneris, and is persuaded through love for Aďda to give her the information
required by her father. (Duet, Radames, Aďda: “Again I see thee.”) When
Amonasro reveals his identity and flies with Aďda. the despairing Radames allows himself
to be taken prisoner. (Terzett, Amonasro, Aďda, Radames: “I am dishonoured.”)
ACT IV. A hall in the temple of justice. Amneris (Scene,
Amneris: “My hated rival has escaped me”) desires to save Radames, but he
repulses her (Duet, Amneris, Radames: “Now to the hall the priests proceed”),
and is condemned to death. The sentence is that he shall be buried alive. (Judgment scene,
Amneris, Ramfis and chorus: “Heavenly spirit, descend.”) Change of scene: The
lower portion of the stage shows the burial place in the temple of Vulcan; the upper
portion represents the temple itself. Aďda has come to die with Radames. (Scene and duet,
Radames, Aďda: “The fatal stone now closes over me.”) They accept their
terrible fate (Radames: “To die, so pure and lovely”)’ while Amneris prays
above their tomb in the midst of the priestly ceremonies, and the jubilant dance of the
priestesses. (Finale, chorus of priests and priestesses: “Almighty Ptha.”)
Opera in three acts by Gluck.
Libretto by Calzabigi.
CAST: Admetos, King of Pharae—Tenor. Alceste, his
wife—Soprano. Evander—Tenor. High priest of Apollo—Basso.
Heracles—Basso. Apollo—Baritone. Thanatos, God of Death—Basso. Place,
Pharae, in ancient Greece. Among the many operas upon the subject, that of Gluck, which
was first presented at Vienna in 1767, has alone survived. It is founded upon the
well-known mythological tale of Alcestes, who suffers death for her husband and is
brought back from Hades by Heracles.
ACT I. Alceste and the populace are engaged in prayer to
Apollo for the dying Admetos. Change of scene: The Temple of Apollo. After the prayers of
the priests Alceste presents her petition for her husband’s life. The voice of Apollo
is heard saying: “Admetos is dedicated to the Styx unless in his place a victim is
found.” The crowd flees in dismay, but Alceste offers her life as a sacrifice. The
priests announce its acceptance by Apollo.
ACT II. In the palace. Admetos has recovered and the people
rejoice. The king resolves to die with Alceste. Heracles, who has come to visit Admetos,
arrives and is informed of Apollo’s decree by Evander. He resolves in defiance of the
god to rob him of his prey. Change of scene: Entrance to Hades. Alceste, who has appeared
to fulfil the sacrifice, is ordered by the Gods of Death to await the evening, and is
joined by Admetos, who wishes to share her fate. The Gods of Death end the strife of love
and drag Alceste away, whereupon Heracles rushes forward and rescues the wife of his
friend, and the peace-loving Apollo relents and gives his blessing. The people assemble
and the scene ends in general rejoicing.
Opera in three acts by Verdi.
Libretto by Piave.
CAST: Count
Richard, Governor of Boston—Tenor. Renato, his secretary—Baritone. Amelia, wife
of Renato—Soprano. Ulrica, fortune teller—Alto. Oscar, page— Soprano.
Silvan, sailor—Baritone. Samuel and Tom, conspirators—Basso. Place, in and near
Boston. Time, the end of the seventeenth century. First produced at Rome in 1859. The
libretto was originally written by Scribe for Rossini’s “Gustavus III,”
then composed by Auber (see “Gustav or the Masked Ball”). At the request of
Verdi the original libretto of Scribe was rewritten by Piave.
ACT I. Officers and citizens in the house of Count
Richard express their love for him, while the negro Conspirators, Samuel, Tom and their
friends, declare their hatred. Ulrica, a negress, is about to be banished as a witch.
Richard rd loves Amelia, the wife of his
secretary. Her husband, having seen a list of the invited guests, warns the governor of
treachery to come, and he resolves to visit Ulrica in disguise. The conspirators, learning
of this, determine to take advantage of the opportunity to wreak their yengeance. Change
of scene: Ulrica’s dwelling. Incantation scene. Amid a crowd of women and children,
Richard appears in the disguise of a fisherman and is recognised by Ulrica. When Amelia
also arrives the witch dismisses the crowd; Richard overhears that he is beloved by
Amelia, who desires forgetfulness from the sorceress. Ulrica tells Amelia to pluck a
certain plant at midnight in a lonely place, and she departs. Richard now has his fortune
told, and hears that death is his portion and that the man who first presses his hand that
day will be the murderer. Renato appears, and extends his hand to Richard. Richard is
recognised as the governor and is joyfully greeted by the people.
ACT II. Midnight. A deserted spot. Amelia, conquering her
fears, approaches; she meets Richard and both declare their love. Renato unexpectedly
arrives on the scene to save the governor from the conspirators. He does not recognise his
disguised wife, and first having changed cloaks with Richard, promises to escort her to
safety. The Conspirators are foiled, but in revenge tear the veil from Amelia’s face,
and Renato, thunderstruck, recognises his wife. Renato’s love for the governor turns
to hate and he arranges for the conspirators to meet him on the morrow. He keeps his word
to the governor and escorts Amelia to the city.
ACT III. Renato’s chamber. Renato plans to kill
his wife, but changes his mind and determines to avenge the insult he has received in the
blood of Richard. He promises aid to the conspirators and compels Amelia to take part in
the drawing of lots; his name is found on the slip and Amelia suspects his design. Oscar,
the page, brings an invitation to the masked ball, which Renato accepts. Change of scene:
Masked ball at the palace of the governor. Richard resolves to allow Renato and Amelia to
sail for England and thus be true to honour and duty. Crowd of maskers. The conspirators
seek the governor, but he is warned by Amelia and bids her farewell, renouncing his love
for her. He is stabbed by Renato, who has followed him. Dying, he declares Amelia’s
innocence and forgives Renato.
Opera in four acts by Umberto
Giordano. Libretto by Luigi Illica.
CAST: André Chenier—Tenor. Charles
Gerard—Baritone. Madeleine de Coigny—Soprano. Bersi—Mezzo-soprano.
Mine. 1a Comtesse de Coigny—Soprano. Madelon, an old woman—Soprano. Mathieu, a sans culotte—Bari-tone. The Abbé—Tenor.
A Spy—Tenor. Fouquier-Tinville—Basso. Roucher—Basso. Place, the Château
de Coigny, Paris. Time, the French Revolution. First production, Milan, 1896.
ACT I. Ball-room at the Chateau de Coigny. The
majordomo and Gerard, with other servants, are preparing for a ball. A heavy carved sofa
is carried in. Gerard apostrophises it. (Gerard: “Thou hast patiently
list.ened.”) As a Revolutionary, he awaits with impatience his escape from servitude.
The countess enters with Madeleine and her attendant Bersi. (Madeleine: “Now fades
the day.”) Madeleine rebels against a life of fashion and longs for freedom.
Madeleine: “As in a vice one struggles gasping.”) The guests arrive, among them
the ahbé, Fléville, an author, and André Chenier, a young poet. The abbé relates the
latest news. Fléville exhorts everybody to be gay (Fléville ,,What matters that, my
friends”), in spite of the ominous rumours of uprisings among the people. To amuse
the guests shepherds and shepherdesses enter singing. (Eclogue: “0 gentle nymphs,
adieu”; Abbé: “A hungry fox was sighing.”) Madeleine, who is a mere
school-girl, coquettishly asks Chenier to improvise upon the theme of love, which he
willingly does. (Chenier: “Your scorn has touched me here.”) He speaks of the
pride of the rich and its effect upon the poor. All are indignant at his lack of taste,
and the countess orders the musicians to strike up a dance. As the guests choose partners
doleful music is heard without, and Gerard appears, followed by a crowd of ragged men and
women. (Chorus: “Each day, each morrow, brings want and sorrow.”) The countess
angrily orders them out. Gerard’s father, in the service of the family for sixty
years, intercedes for him. The servants roughly force the intruders to retire, and the
ball goes on.
ACT II. Paris, 1794. The Café Hottot, near which
stands an altar, with a bust of Marat in place of a holy image. Chenier sits by himself at
one table, Bersi and the spy at another, while Mathieu and a waiter bustle about. Bersi
asks whether it is true that spies are being sent through the city. The spy inquires if
she fears anything. (Bersi: “Afraid? Not I.”) The death wagon rattles by. The
spy notes the query in his book with the opinion that both Bersi and Chenier will bear
watching. Roucher brings André’s passport and begs him to leave Paris. He refuses,
saying that he loves an unknown lady, whom he is to meet that day. (Chenier: “Do you
believe in Fate?”) He shows Roucher a letter. (Roucher: “A truly feminine
hand.”) The latter begs him to disregard it. Robespierre passes, followed by the mob.
Gerard entering, questions the spy about Madeleine. (Gerard: “Her eyes are like the
sky.”) Bersi, returning, goes into the café with the spy, but presently returns, and
mingling with the crowd addresses Chenier (Chorus of Revolutionaries: “Let us make
merry like Barras”), begging him to await a lady—whom she calls
“Speranza.” Darkness falls—Mathieu brings a lantern—the spy steals
along in the shadows watching. Madeleine comes to meet André. She throws back her hood
when he asks her name. Both he and the spy recognise her; the spy hurries away to report
to Gerard. (Madeleine: “In your hour of fame.”) She asks André to save her.
(Chenier: “Hail! golden hour !“) They avow their love and are about to fly when
Gerard intercepts them, trying to drag Madeleine away. Roucher interferes and escorts the
girl to her home. André and Gerard draw their swords. Gerard, wounded, warns André that
he is proscribed, begging him to save Madeleine. Chenier flees, the mob surround the
wounded man, vowing vengeance. He pretends his assailant is unknown to him.
ACT III. The Revolutionary Tribunal. Mathieu, a sans culotte, addresses the mob (Mathieu:
,,Dumouriez, the traitor, has betrayed us”) when Gerard appears, still suffering from
his wound. He makes an eloquent plea to the mob for money. (Gerard: “Citizens, France
is weeping tears of blood; “Chorus: “Take them, my earrings.”) Old Madelon
pushes through the crowd (Madelon: “Make way there! I am old Madelon”), bringing
with her a young boy, whom she devotes to the service of France, while the mob sings the
Carmagnole. The spy tells Gerard that Chenier has been arrested (Spy: “When lovesick
maid complaining”), and that Madeleine is not far away. Gerard is about to denounce
Chenier, but cannot do it. The spy urges him on, and he begins to draw up the necessary
papers. (Gerard: “Time was when I rejoiced.”) He signs them and hands them to
the spy as Madeleine appears on the threshold. He tells her André is in prison, and
passionately declares his love for her. (Gerard: “Why would I have you here?”)
Madeleine tries to escape, then turning back offers her honour for André’s life.
(Madeleine: “Ere death had taken my darling mother.”) Documents are brought to
Gerard; the mob is heard outside gathering to see the executions. Madeleine’s grief
moves Gerard; he promises to do what he can. The mob comes into the tribunal. (Chorus of
old women: “Mother Cadet! sit by the barrier there.”) The judges and the jury
arrive, then the prisoners; André is the last to appear. The accusations are read, amid
the brutal comments of the mob. Chenier is denounced as a traitor. He denies it, and is
called upon to defend himself. (Chenier: ,,I was a soldier, and faced death in the
field.”) He speaks with deep feeling. Gerard rushes forward, crying that the
indictment is false and inspired by jealous hate. He embraces Chenier, pointing out
Madeleine in the crowd. (Gerard: “Our country? Justice, did you dare to say?”)
The mob cries out, “Ŕ la lanterne,” and Chenier is led away.
ACT IV. The prison of St. Lazare. Midnight. André is
seated, writing. Roucher stands near. The poet reads the verses he has just composed
(Chenier: “Like summer day that closes”), and the two friends say farewell.
Madeleine enters with Gerard. She offers the gaoler money to substitute her for another
woman on the death list, that she may die with André. (Chenier: ,,From thee, beloved, my
restless soul”; Madeleine: “I will not leave thee.”) Together they await
the gendarmes; together they go to the scaffold.
Opera in three acts by Heinrich
Hofman. Libretto by Feld.
CAST: Simon Dach, professor—Baritone. Neander, pastor
of Tharau—Basso. Ännchen, his daughter—Soprano. Gretchen, daughter of the
innkeeper—Soprano. Hen.. newitz, recruiting officer of the Elector—Basso.
Yohannes von Berkow—Tenor. Place, in Tharau at the end of the Thirty Years’ War.
First production, Hamburg, 1878.
ACT I. Simon Dach, the author of the song “Ännchen of
Tharau,” loves the daughter of the pastor Neander. Just as Simon has proposed for her
hand in marriage and has gained the consent of her father the recruiting officers of the
Elector of Brandenburg appear under the leadership of Yost von Hennewitz. A lively scene
follows. Yohannes von Berkow, student of theology, a native of Tharau, approaches and
tells Hennewitz of his love for Ännchen. The dedication of a new church in Tharau, to be
presided over by Simon Dach, is being celebrated. During the festival Ännchen gives her
consent to the wooing of Simon, but when she sees Yohannes, the friend of her youth, she
leaves Simon and joyfully accompanies Yohannes to the dance. ACT II. In the garden of the
pastor Ännchen finds she loves Yohannes and is distressed that she has promised to marry
Dach. Her friend Gretchen, having found the song composed by Dach, brings it to Ännchen,
who believes Yohannes to be the author. The lively Gretchen coquettes with the recruiting
officer; when Yohannes arrives Gretchen gives him the poem and he reads it aloud, while
Simon listens. An altercation between the two begins. Ännchen is forced to decide which
of them she loves. She keeps her word and gives her hand to Simon, but afterward confides
her sorrow to Gretchen. Yohannes is about to depart when a deputation from the University
of Königsberg announces to Simon Dach his appointment as rector. The young student
refuses the proffered hand of friendship offered by Dach, and as Ännchen defends her
betrothed from his insults, despairingly throws himself into the arms of the recruiting
officers.
Act III. In the house of the pastor. Ännchen, now ill and
wretched, resignedly endures the affection of Simon, but begs him to procure the release
of Yohannes from the army. Through her fervent pleadings Dach realises that she loves the
youth. No longer young, the rector feels that without Ännchen Paradise is lost. He is
present at a scene in which Ännchen rejoices with Yohannes, who has rescued her from some
rough soldiers, and hearing them declare their mutual affection, he exercises his
prerogative as magistrate to obtain the release of Yohannes, and places Ännchen in the
arms of her lover.
Opera in one act by Ferd. Hummel.
Libretto by Axel Delmar.
CAST: Emperor Charles the Great, disguised as a
monk—Basso. Bishop Balduin, his ambassador—Tenor. Widukind, Duke of
Saxony—Tenor. Hereford, Priest of Wotan—Baritone. Angla, beloved by
Widukind—Sprano. Place, Grove of Wotan. Time, A.D. 800. First production, Berlin,
1893.
Widukind, the heathen Duke of Saxony, opponent of Charles
the Great, slumbers in his tent, guarded by Angla. Meanwhile the priest, Hereford, is
consulting the oracle of the sacred oak, dedicated to Wotan, which is within the grove.
(Chorus: “Wotan, All father, we call”; Hereford: “Sacred voices in the
boughs hear I in silvery tones.”) The branches of the oak rustle, Widukind hears them
in a dream and Angla lulls him to sleep. (Song: “Blooming spring’s sweet
caress.”) The duke awakens, having dreamed of the fall of the holy tree, but hearing
the war cry of the Saxons, he arises and endeavours to soothe Angla’s alarm.
(Widukind: “Dost fear for me, my love”; Angla’s answer: “My noble
hero, in fear and trembling leave me not alone.”) But she has seen tokens of peace in
the sky and prays Widukind to forswear Wotan and accept the Christian faith. Widukind
fears to lose her through their differing beliefs and falls despairing at her feet.
Hereford, to the consternation of the Saxons, foretells disaster from the whispering of
the sacred oak, and in the midst of his prophecy, the song of approaching women is heard
in the distance. (,,Harbingers of peace are we, the women.”) The Saxons gaze in
mute astonishment. The ambassador of Charles the Great, Bishop Balduin, now approaches
with a number of Christian women, accompanied by the emperor, clad in the garb of a simple
pilgrim. (“Balduin at the emperor’s wise behest is here as his
ambassador.”)
He offers peace to Widukind, but Hereford reminds him of the
massacre which took place by the Aller. (“Will you receive the enemy of your
country”; Chorus of Saxons: “Defenceless were ye butchered.”) The priest of
Wotan demands that the Christian women be offered as a blood sacrifice to Wotan. The
emperor interferes, disclosing his rank and offers to die in their stead. As the branches
of the oak rustle in the breeze he relates his dream that a beautiful and good woman had
grasped his sword and felled the sacred oak, and that he had selected the purest maidens
of his realm and journeyed thither with them. Balduin interprets the dream by declaring
that the holy woman represented Christianity, and demands of the Saxons that they accept a
test. Hereford believes that the hammer of Thor will destroy whoever touches the tree and
willingly gives permission; but as the holy tree begins its mysterious whispering the
Christian women become frightened and retreat. Hereford is about to triumph, when Angla
seizes the sword of the emperor, and fells the tree, calling on the name of the Father,
Son and Holy Ghost. The branches fall apart and a cross appears lighted by the rays of the
morning sun. Widukind bends low in reverent prayer, and, accompanied by Angla, proceeds to
the brook and is baptised by Balduin. (Closing chorus: “The right way have ye
chosen.”)
Music drama in two acts by Hans
Pfitzner. Romance by Grau.
CAST: Heinrich, a German knight—Tenor. Dietrich, one of
his men—Baritone. Hilda, Dietrich’s wife—Soprano. Agnes, their
daughter—Soprano. The physician of Salerno—Basso. Place, Act I, Heinrich’s
castle in Suabia. Act II, convent at Salerno. Time, 1100.
ACT I. The first act is preceded by a long introduction.
Heinrich, who is very ill, is nursed by Hilda and Agnes. He has sent his servant Dietrich
to Salerno to a miracle-working monk. Returning, Dietrich delivers the message of the
physician that Heinrich can be cured only through a pure virgin who will give her blood in
sacrifice for his sake. (“When she lies naked upon the stone and her heart is cut in
two, then will you recover.”) Heinrich believes himself lost, but, inspired by God,
Agnes resolves to save her dear master and offer her heart’s blood to preserve his
life.
Act II. Again a long introduction ushers in the second act.
Dietrich and Hilda have accompanied the suffering Heinrich and Agnes to Salerno. As the
physician is about to sacrifice Agnes a wonderful change takes place in Hein-rich. He, who
loves life so well that he would offer up another’s life to save his own, refuses to
accept it and desires to die that Agnes may live. A storm rages around the convent.
Heinrich, with returning strength, tears Agnes from the knife of the physician. He is
saved and the monks adore Agnes as a saint.
Grand opera in five acts by Gluck.
Libretto founded upon Tasso’s “Jerusalem Saved,” by Quinault.
CAST: Armide—Soprano. Phenice and Sidonie, her
confidants—Sopranos. Hidroat, King of Damascus— Baritone. Aront, his
commander-in-chief—Basso. Rinaldo, commander of the army of Godfrey of Bouillon—
Tenor. Artemidor, a knight—Tenor. Ubaldo—Baritone. A Danish knight—Tenor.
The Fury of Hate.—Alto. Demon as Lucinda—Soprano. Demon as
Melissa—Soprano. A Naiad—Soprano. First production, Paris, 1777.
Act I. The beautiful Armide, who is endowed with magic
power, complains to her friends Phenice and Sidonie that Rinaldo, the crusader, has proved
insensible to her charms. As her uncle Hidroat insists that she choose a husband, she
declares she will wed the conqueror of Rinaldo. A grand festival and dance is given to
celebrate the victory of Aront, who is expected to return with a band of captive
crusaders. He arrives wounded, for Rinaldo has freed the captives. The act closes with
cries of vengeance from the populace.
ACT II. A wood. Rinaldo explains to Artemidor, whom he has
freed, that Godfrey de Bouillon is angered with him and that therefore he will go
independently on his quest. Left alone, Rinaldo is dazzled by the magic of Armide, through
which a wood is transformed into a garden of wonders. Armide desires to slay the sleeping
Rinaldo, but conquered by the power of love she carries the hero off with her.
ACT III. Hall in the palace of Armide. Armide endeavours
to conquer her love for Rinaldo, and calls the Fury of Hate to her assistance. Armide,
irresolute, thrusts the Fury away, and becoming angered she declares she will never
return.
ACT IV. The magic wood. The crusaders have sent Ubaldo and a
Danish knight to recall Rinaldo. Armide tries to prevent their approach, but is overcome
by a consecrated sceptre in the hand of Ubaldo. The images of the loved ones of both
knights appear, but this magic also is destroyed by Ubaldo.
ACT V. Palace of Armide. Armide and Rinaldo in the power of
love. Ballet. As Armide, driven by unrest, leaves her lover, the crusaders arrive and
bring Rinaldo to a true comprehension of his position. He recovers his sanity, grasps his
sword, bids farewell to Armide and leaves her in despair. She abjures her magic, the
demons destroy the palace and Armide is buried in its ruins.
Opera in four acts by Heinrich
Hofman. Libretto by Felix Dahn.
CAsT: Varus, Roman general—Basso. Fulvia, his
daughter—Soprano. Vala and Lucius, his legates—Tenor and Basso.
Arminius—Tenor. Segest—Basso. Thusnelda— Soprano. Katwald, friend of
Arminius—Baritone. Albrun, a young priestess—Soprano. Germanic princes. Place,
Ancient Germany A.D. 9. First production, Dresden, 1877.
ACT I. Camp of the Romans. Varus is seated at the banquet
table with Arminius, surrounded by Allemanians and Romans. Arminius tries to lull Varus
into security, but is planning to break the yoke of the enemy. He begs his friends to have
patience, and to further his design endeavours to gain the friendship of Segest, who
favours the Romans, by asking the hand of his daughter Thusnelda in marriage. He succeeds
in making peace between the Romans and Allemanians, who threaten to come to blows.
ACT II. Thusnelda’s apartments. Thusnelda loves
Arminius, upon whom her hopes are centred. She sternly repulses the Roman Vala, whom
Segest has chosen for her husband, but allows herself to be carried off by Arminius, who
defends her from Segest and Vala.
Act III. Fulvia’s apartments in the Roman castle.
Fulvia has induced Arminius to come to her, promising to reveal an important secret. She
gives him a love potion, which he drinks, and discloses to him that Varus has determined
to destroy the assembled Allemanians at the coming festival. Arminius declares to the
astonished Fulvia that he does not love her, but his wife Thusnelda. He then escapes
through the window to go to the assistance of his countrymen.
Change of scene: Sacred forest of the Allemanians.
Religious festival and dance. The Romans surprise and capture the Allemanians, but
Arminius rushes to the rescue and beguiles his enemies into allowing him to guard the
prisoners.
ACT IV. A wood. Thusnelda is overpowered by the Romans led
by Fulvia and carried off.
Change of scene: A primitive forest of the Weser Mountains.
Arminius frees the captives and puts the Roman guard in chains. He discloses his plan for
freedom and the Allemanians arm themselves enthusiastically.
Change of scene: The battlefield. Upon Vala’s report of
the deliverance of the German princes, the Romans under Varus rush to the battle. Fulvia
comes to be near Arminius. Varus returns wounded from the field and discovering what
Arminius has accomplished commits suicide. Vala drags in the captive Thusnelda and Fulvia,
attempting to stab her, is prevented by the appearance of Arminius and Katwald. Fulvia
thrusts the dagger into her own heart and the Allemanians rejoice over their recovered
freedom.
Comic opera in three acts by
Lortzing. Text by the composer.
CAST: Hans Stadinger, armourer and veterinarian— Basso.
Marie, his daughter—Soprano. Count von Liebenau—Baritone. Georg, his shield
bearer—Tenor. Adelhof, a knight of Suabia—Basso. Irmentraut, Marie’s
governess—Alto. Brenner, innkeeper—Tenor. Place, Worms. Time, the sixteenth
century. First production, Leipsig, 1846..
The Count von Liebenau loves Marie, the daughter of the
armourer Stadinger, and as her father is averse to the union, he comes to Worms with his
shield bearer Georg, attired as a simple journeyman, wins Marie’s affection in this
disguise and retains it even after he avows himself a knight. But Stadinger has learned to
like Georg and wishes to have him as a son-in-law. Liebenau now tries to win favour with
the old man, and to further his plan has Marie abducted by his retainers so that he may,
in the person of Konrad, a workman, restore her to her father. This plan does not succeed,
so he leads his army to Worms, and the councillors of the city, fearing it will be taken,
pray Stadinger to give his daughter to the knight. This he does, and it is now disclosed
that Liebenau and Konrad are one and the same person. An amusing figure in the opera is
the Suabian knight Adelhof, who always stumbles in at critical moments to seek Liebenau
and is prevented in droll ways from disclosing the knight’s identity. Another
humorous personage is the old maid Irmentraut, who has no luck in her love affairs.
Brenner only plays a subordinate rôle.
ACT I. Work room of Stadinger. (Chorus of journeymen, among
them Liebenau and Georg: “Sparkle flame, glow iron.”) Georg reports to the count
that his intended bride, the lady of Katzenstein, has arrived. Liebenau loves Marie and
does not wish to meet her. (Aria of Stadinger: “Bring quickly hat and cloak.”)
He orders the journeymen to invite the neighbours and friends to the master’s jubilee
the following day. (Georg’s aria: “We are born only once” with the refrain:
“One lives only once in this world.”) Aria of Irmentraut, who scorns all men,
because they scorn her. (,,I am dissatisfied with the world?”) When all have retired,
Konrad appears in his true guise to court Marie. (Finale, Count, Marie, Irmentraut:
“In nightly darkness come I here.”’) The count is about to declare himself
(“Gladly gave I riches and power for your love”), when Stadinger appears. The
latter suspects him to be the count, but Liebenau outwits him by repairing hastily to his
room and changing back into Konrad’s dress. Marie, alone, gives expression to her
love for Konrad. (Aria: “He is so good, so brave and tender.”)
Act II. A room in Stadinger’s house. Liebenau as Konrad
pretends to be jealous of the count (Duet with Marie: “You know he loves
you”’), but is easily consoled by Marie, who repeats his own words: “Gladly
give I riches and power for your love.” Adelhof arrives seeking the count, sent by
the lady of Katzenstein. (Sextet. Marie, Adelhof, Stadinger, the Count, Georg, Irmentraut:
“The man seems to be witless.”) Adelhof is quickly disposed of, but now
Stadinger accosts Georg, whom he desires as a son-in-law. (Duet: “You are an
industrious fellow.”) Georg makes excuses. (This is sometimes followed by the
reappearance of Adelhof: ,,I must show the people what wisdom I possess.”)
Change of scene: The jubilee festival of Stadinger in his
vineyard. (Chorus: “How beautiful the spring”; Song of Georg: “Was once a
young popinjay,”’ with the refrain of the chorus: “That follows when you
travel.”) The count now goes to work on his plans of elopement, and, as Konrad, saves
his beloved Marie. Stadinger is incensed against the count and determines to send Marie to
a convent. (Closing ensemble: “His cheeks are reddened in anger.”)
ACT III. Stadinger’s room. (Marie’s aria: “We
poor, poor girls are so unfortunate.”’) Stadinger arrives with his people and
inquires into the abduction affair, but the more he learns, the more he becomes confused.
Adelhof again appears. (Ensemble: “Good that I meet you.”) As Liebenau has
accomplished nothing he leads his men against the city, to the amusement of Georg, who is
anticipating with joy the closing scene. Stadinger left alone thinks of his early youth.
(Song: “I also was a youth with curly hair.””)
Change of scene: A square in Worms. Liebenau enters with
Marie as his bride. (Recognition scene and closing song: “Gladly gave I riches and
power.”)
Melodrama in two acts by Tosca.
Libretto founded upon the work of Cognetti by Golisciani.
CAST: Totonno, oyster merchant—Baritone. Ciccillo and
Concettina, his children—Tenor and Soprano. Rosella— Mezzo-soprano. Nannina,
their little child. Maria—Alto. Tore, police agent—Basso. A
fisherman—Tenor. Time, the present. Place, Naples. First production, Berlin, 1892.
Act I. At Santa Lucia at Naples. Ciccillo, the son of the
oyster merchant Totonno, betrothed to Maria, is in love with Rosella, by whom he has a
child. Maria is suspicious and plans the death of Rosella. Totonno is apparently averse to
the love of his son for Rosella, but is himself infatuated with her, as she resembles
her mother, who was his early love. Maria begins a quarrel with Rosella and angers her to
such an extent that she draws a knife and is arrested by the police agent Tore, who has
been bribed by Maria. Totonno procures her release and takes her to his home, while
Ciccillo is absent fulfilling his duties in the navy. Before his departure Ciccillo has
sworn to marry Rosella on his return.
Act II. Same scene. Maria believes that Rosella had had
intimate relations with Totonno, which seems the more probable as Totonno makes no secret
of his love for Rosella and really intends to marry her. Maria takes advantage of this to
enrage Ciccillo, and in his jealous anger he believes her untrue, has a stormy scene with
his father and repulses Rosella. When Rosella learns of the dreadful accusation of
Ciccillo of her love for both father and son and finds her protestations of innocence
doubted, she plunges into the sea. Ciccillo dives after her, but rescues a dying woman,
who is only able to whisper the words, “It is not true.”
Opera in three acts by Ferd.
Hummel. Libretto, founded on one of Wildenbruch’s ballads, by Dora Duncker.
CAST: Atahualpa, last king of the Incas. Assarpai, his
daughter. Odahia, her companion. Pizarro, leader of the Spaniards. Inez, his daughter.
Alonzo, Spanish officer. Pedro, horse boy. Place, Peru. Time, 1533.
Act I. Valley of Quito. Atahualpa takes leave of his
daughter to fight against the Spaniards. He leaves her in the care of Odahia, who reveres
Assarpai as the saviour of her life. She is dumb, but expresses by signs that danger is
near. Assarpai refuses to believe that any one can enter the valley until she is suddenly
confronted by Alonzo. Both pause as if turned to stone; Odahia sharply watches the maiden.
Assarpai, who has never been out of the valley, listens with increasing interest to
Alonzo’s tales of the sea and of strange lands. Odahia, who tries to separate them,
is sent away at the request of Alonzo. The dumb girl departs unwillingly and Alonzo is
told her story, that Assarpai had saved her from a burning hut and that she had lost her
speech on that night of horror. During the recital night has set in, and Alonzo, despite
her struggles, draws Assarpai to his breast and their hearts are united. After a long
embrace they separate.
Act II. An open country. Tent of Pizarro. It is night. The
crafty Pedro proposes to Pizarro to conquer the renowned Inca by carrying off his greatest
treasure, his daughter. He has found secret paths which lead into the valley and proposes
to despatch a troop thither under the leadership of Alonzo. Pizarro, who sees in Alonzo
his future son-in-law, consents, and gives the order. Alonzo, absorbed in dreams of
Assarpai, hardly comprehends the command; when he realises what is required of him he is
in despair and refuses to obey. Pizarro is astounded at his conduct and threatens him with
imprisonment, but promises him the hand of his daughter if he obeys. This makes no
impression on Alonzo, and he remains indifferent even after the mild reproof of Inez.
Again commanded by Pizarro he reluctantly obeys.
Change of scene: The valley of Quito, as in Act I. Assarpai
greets the rising sun (“Thee greet I, day”) and disappears in the forest.
Alonzo, hardly conscious of what he is doing, with Pedro and the other soldiers creeps
through the forest. His conduct is remarked by his companions, and when Assarpai is seen
on the brow of a hill slowly descending, he becomes incapable of giving orders. Assarpai
is alarmed when she sees the soldiers, but is reassured by the appearance of Alonzo. Only
when she is about to be bound at the command of Pedro does she realise her peril, or
endeavour to thrust back her captors. She is overpowered, however, and her piteous plea to
Alonzo for freedom is denied. Odahia tries fruitlessly to rescue Assarpai, and Alonzo
allows the dumb girl to accompany her friend.
Act III. Camp of the Spaniards by the sea. The field altar
at which the marriage ceremony of Alonzo and Inez is to take place is prepared, but
Pizarro almost regrets having promised his daughter to the weak Alonzo. He impatiently
awaits Pedro, whom he has sent to make terms with the Inca. At last he arrives, and
reports that the Inca has refused to surrender even though Pizarro should carry out his
threat to burn Assarpai. The angry Pizarro has the girl brought before him and a pyre
erected. She proudly approaches Pizarro without replying to his ironical salutation. Her
thoughts are with her father, but when informed that he has deserted her, she remains
apparently unmoved. Pizarro cannot but admire her beauty and courage and offers to
postpone her death if she will try to influence her father. She refuses his offer and
arouses his anger by her contempt. He leaves her to conduct his daughter to the altar. At
the sight of the sea Assarpai’s memory of the past revives (“From distant
shores”), but she is led away by the watch and tied to the stake. The bridal
procession approaches and the pyre is lighted. When the despairing Odahia sees Alonzo she
thrusts him forward to behold the scene, and with a shrill scream her voice returns. In
the confusion which follows Alonzo rushes into the flames and he and Assarpai find death
together.
Comic opera in two acts by Peter
Cornelius. Libretto by the composer.
CAST: The
Caliph—Baritone. Baba Mustapha, a cadi— Tenor. Morgiana, his
daughter—Soprano. Bostana, a relative of the cadi—Mezzo-soprano.
Nureddin—Tenor. Abul Hassan, barber—Basso. The action takes place in the houses
of Nureddin and the cadi at Bagdad. The opera was first produced at Weimar and was coldly
received, but was subsequently a great success.
Act I. An apartment at the house of Nureddin. Nureddin raves
of Morgiana, by whom he hopes to be cured of his illness. Bostana brings him the happy
tidings that Morgiana will visit him, and he summons the loquacious barber Abul to improve
his appearance. After several intermezzos, in which Abul hears of the love of Nureddin
for Morgiana, the barber completes his task but remains, talking continuously. He even
proposes to accompany Nureddin to Morgiana, and to be rid of him Nureddin hands him over
to the servants, passing him off as the sick man.
ACT II. An apartment at the house of the cadi. Morgiana is
happy at the expected visit to Nureddin, and the cadi is likewise delighted, as he expects
a friend from Damascus, to whom he has promised the hand of Morgiana. As the cadi goes to
prayer, leaving Morgiana alone, Nureddin arrives, but the happiness of the pair is soon
disturbed; first by the song of the barber on the street, then by the appearance of
Bostana, who reports the unlooked-for return of the cadi. Nureddin hurriedly conceals
himself in a box. Abul rushes into the room, mistaking the cries of a beaten slave for the
voice of Nureddin. Bostana tries to have the box removed, but is prevented by the cadi.
The disturbance has caused a crowd to collect and the caliph is drawn to the spot by the
confusion. Abul accuses the cadi of the murder of Nureddin, and when the caliph has the
box opened, the half-suffocated Nureddin is discovered within. Upon the request of the
caliph the couple are united by the cadi, while the barber, who has been taken for a
madman, is appointed story-teller to the caliph.
Comic opera in two acts by
Rossini. Text founded on Beaumarchais’ comedy by Sterbini.
CAST: Count Almaviva—Tenor. Bartholo,
physician— Basso. Rosina, his
ward—Soprano. Basilio—Music Master—Basso. Marcelline—Soprano.
Figaro—Baritone. Fivrillo, servant to the count—Tenor. A notary, Ambrosio,
servant to Bartholo. Place, Seville. Time, the seventeenth century. Music for this text
has been composed by Paesiello, Isonard and Rossini. Though the work of Paesiello
triumphed for a time over that of Rossini, the latter alone has stood the test of time and
is still the mainstay of the operatic repertoire. First produced at Rome in 1816.
Act I. Seville. Square before the house of Bartholo.
Almaviva serenades Rosina, whom Bartholo desires to marry for her fortune. (“See, the
morn appears.”) Figaro approaches singing. (Aria: “I am the factotum of the
ladies.”) The count, who knows the merry barber, asks him for assistance in meeting
Rosina. (Duet: “The shine of gold falls upon me.”) Figaro advises the count to
disguise himself as a soldier and by feigning drunkenness gain entrance to the house. For
this suggestion he is richly rewarded.
Change of scene Chamber of Dr. Bartholo. (Rosina’s
cavatina: “I ask my timid heart.”) Knowing the count only under the name of
Lindoro, she writes to him, and is leaving the room when Bartholo and Basilio enter.
Bartholo suspects the count, and Basilio advises that he be put out of the way. (Aria:
“Calumny is light as air.”) When the two have gone Rosina and Figaro enter. The
latter asks Rosina for a few words for Lindoro, which she has already written. (Duet:
“Is it I that you mean ?“) Surprised by Bartholo, she manages to fool him, but
he is still suspicious. (Aria: “A doctor, perhaps.”) When the stage is empty,
Marcelline tries to pass through the exit, but is met by the count disguised as an
intoxicated soldier. She rushes to Bartholo for protection, being in fear of the drunken
man: Bartholo endeavours to remove the supposed soldier, but does not succeed. The count
manages to see Rosina, whispers that he is Lindoro, gives her a letter, and she hands the
watching Bartholo the list of the wash. When Basilio, Figaro and Marcelline disappear, the
noise attracts the watch. Bartholo believes that the count has been arrested, but Almaviva
mentions his name to the officer and is released. Bartholo and Basilio are astounded,
and Figaro makes sport of them.
Act II. Almaviva again appears at the house of the doctor,
this time disguised as a tutor, and acting as substitute for the supposedly ailing
Basilio, who gives lessons to Rosina. In order that he may not be alone with Rosina, the
doctor has himself shaved by Figaro. (Quintet: “What, Basilio! what do I see?”)
When Basilio suddenly appears he is bribed by a full purse from Figaro, to play the part
of an invalid. Finally Bartholo detects the trick, drives everybody out of the room, and
rushes to a notary to draw up the marriage contract between himself and Rosina. The stage
remains empty, while the music describes a thunder storm, then the count and Figaro enter
through a window. When Basilio arrives with the notary, he is again bribed. and he and
Figaro witness the signatures to a marriage contract between the count and Rosina. The
befooled Bartholo is pacified by being allowed to retain Rosina’s dowry.
Comic opera in three acts by
Smetana. Text by Sabina.
Cast: Kruschina, peasant—Baritone. Katinka, his
wife—Soprano. Maria, their daughter—Soprano. Micha, a landowner—Basso.
Agnes, his wife—Mezzo-soprano. Wenzel, their son—Tenor. Hans, Micha’s son
by a former marriage—Tenor. Kezal, marriage broker—Basso. Springer, manager of a
theatrical troupe—Tenor. Esmeralda, dancer—-Soprano. Muff, comedian—Tenor:
Place, a village in Bohemia. Time, the present: First production, Prague, 1866.
Act I. Village square and inn: A festival: (Chorus:
“See the buds are opening.”) Maria loves Hans, but is to marry another, whom
Kezal has recommended to her father. (Aria, Maria: “Indeed I will trust thee:”)
It is Wenzel, son of Micha, a landowner. The mother is on the side of Maria, but Kruschina
goes with the marriage broker to interview Micha at the inn. (Terzett, Kruschina, Katinka,
Kezal: “All is as good as settled.”)
Act II. Room at the inn: The stuttering Wenzel arrives at
the inn (Aria, Wenzel: “Dear son”) and meets Maria, who is to him unknown, and
who warns him against his bride-to-be: (Duet, Wenzel, Maria: “I also knew a dear
sweetheart.”) She coquets with him and induces him to promise not to go near Maria:
Hans in the meantime has reeived 300 guilders from Kezal, as an inducement to give up
Maria, but has accepted the money only on condition that she marry Micha’s son. Kezal
calls in Kruschina and the peasants and in their presence Hans signs a paper declaring
that he has sold his bride: (Hans, Aria: “It must succeed.”)
Act III. The village square as in Act I. Performance of the
comedians, during which Wenzel is entirely captivated by Esmeralda. (Wenzel: “Oh,
what ails me!”). The manager induces him to play the part of a bear as a substitute
for one of the actors who is intoxicated. When he is found by his parents practising a
droll dancing part, he refuses to marry Maria and runs away. (Quartet: “This comes
like a thunder clap.”) Maria, in tears, enters with her parents, and as she has heard
of the agreement is quite ready to accept WenzeL (Sextet: “Consider a little while,
Maria.”) But now Hans is recognised by Micha as his eldest son, and as Hans knew of
the relationship, from the first he had only been joking about the agreement. Wenzel, who
makes his appearance as a bear (Wenzel: “Be without fear, all is well”; Terzett:
“Blessed be they who love and trust”), willingly retires and Hans and Maria,
having obtained the consent of their parents (Duet, Maria and Hans: “My dearest
sweetheart”), are married. (Finale: “Willingly come we!”)
Lyric opera in three acts and a
prelude by Karl von KaskeL Libretto adapted from Hauff’s novel by Ludwig.
Cast: Baron von Faldern, a German nobleman—Basso.
Fröben, his university friend—Tenor. Josepha, a beggar, afterward wife of
Faldern—Soprano. Don Pedro y Genos, retired Spanish colonel—Baritone. Diego, his
servant— Tenor. Arabella, maid—Soprano. Place, Paris and Germany. Time, 1823.
PROLOGUE: Paris, at Pont des Arts. Josepha stands shivering
and begging at the bridge and sings. (“Let, what I suffer.”) As Froben and
Faldern pass by they give her alms and stand aside to make room for a company of
masqueraders. (Chorus: “May the storm blow out the lights.”) When they have
departed, the compassionate Fröben again approaches the beggar girl. She tells him of the
distress of her mother and herself, but refuses to disclose her residence or show her
face. Fröben again gives her money, and she rapidly disappears in order to purchase
medicine for her mother. Faldern laughs at his friend and tells him he has been fooled by
a loose woman. The departing beggar is molested by several young men: Fröben drives them
away, and asks Josepha for her confidence. She relates to him (“In my
childhood”) that her father has left them to fight for Napoleon in Spain, but has not
returned. Meanwhile the mother and child remain in poverty. Fröben, touched by
Josepha’s grief, draws her to him (Duet: “Oh child, let me in thine eyes”),
and prays that she come with him to Germany, the birthplace of her mother. He kisses her,
gives her a ring and promises to return at Easter.
Act I. Hotel at Stuttgart. Diego and Arabella love each
other. He praises the land of Spain (“There, in the land of the chestnuts”) and
relates to her the story of Don Pedro, who fought for Napoleon in that country. When he
returned after a long illness, he was told that his wife had disappeared with another,
taking her child with her. It was supposed that the seducer had fallen at Marengo, and now
Don Pedro was seeking through the world for wife and daughter. He had discovered in
Stuttgart the picture of a woman who resembled his wife, and carried a copy of it with him
wherever he went. As Diego finishes his narration Don Pedro appears, and announces that he
will depart for Mayence in an hour. He first receives a visit from Fröben, who believes
he has found a clue to the missing ones. He tells Don Pedro of his Paris adventure, hut
adds that he failed to find the beggar upon his return.
Change of scene: Picture gallery in Stuttgart. Pedro,
already known as an eccentric, arrives with Fröben to gaze upon the picture once more. He
departs, but Fröben remains, without observing that he has been locked in. He has a vision, in which the persons represented
in the pictures step from their frames, and arrange themselves in groups in the chamber.
At last, Faldern, who has been seeking his friend, arrives and releases him. He finds
Fröben pale and abstracted and determines to take him to his country seat on the Rhine.
Act II. A park at Faldern’s country seat. Fröben
believes he has found in the wife of Faldern, Josepha, a resemblance to the beggar of
the Pont des Arts. Faldern disclaims this and declares that his wife has no mother, but
had a protectress in the Countess Landskrön. Josepha is greatly disturbed by seeing
Fröben, particularly when he tells her that in his youth he became enamoured of a
picture; she has recognised him at once and is overjoyed at his fidelity. The practical
nature of Faldern does not harmonise with the poetic temperament of Fröben, and Josepha
is compelled to interfere between them to avoid a conflict. Numerous guests arrive
(Chorus: “Good neigh’ hours”) and to amuse themselves they begin a play on
rhymes; Fröben, being vanquished in the contest, is ordered to sing “What is a kiss?
“The song is so suggestive of what has actually occurred that Josepha faints. Faldern
gazes suspiciously at Fröben and the guests depart. Josepha recovers and is led into the
house by her husband. Later, her face masked, she again enters the dark garden (Song:
“Thou ring, that he gave me”), finds Fröben sleeping in the arbour, and places
the ring on his finger. He awakes, feigns sleep, and as she bends over him, draws her
toward him. She relates that upon the night that they met her mother had died; a Countess
Landskrön had saved her from despair; that she had sought Fröben for four years, and
finally had resigned herself to become the wife of Faldern. Fröben and Josepha embrace
again for the last time (Duet: “The stars are paling”), when Faldern, who has
been watching, appears and denounces Josepha. When he hears from Fröben that she was once
a beggar girl, he angrily thrusts her from the house. A violent altercation ensues, which
leads to a duel; Fröben is wounded and tells Faldern that Don Pedro, who has just arrived
upon the scene, is the father of Josepha. Faldern, in great anger, advances to slay him
also, but falls on the point of Don Pedro’s sword and dies.
Act III. Terrace at the castle of Countess Landskrön on the
Rhine. Don Pedro wishes to return to Spain and declares to Fröben that Josepha can never
be his wife. Fröben hopes she will change her mind; Don Pedro does not believe it. (Aria:
“Is what I do wrong?”) As Josepha appears Fröben retires. (Aria of Josepha:
“Without complaint.”) The peasants arrive to celebrate the winter festival.
(Chorus: “Turn ye around.”) After they have departed Fröben and Josepha are
left alone to say farewell. (Duet: “Not that which the world builds.”) She
cannot leave him and throws herself upon his breast. Don Pedro is won over and gives his
consent to their union. (Closing Chorus: “Love is over all.”)
Opera in three acts by Donizetti.
Libretto founded upon the drama of Schenk by Cammarano.
Cast: Justinian, Emperor of the East—Basso. Belisarius,
his commander-in-chief—Baritone. Antonina, his wife-—Soprano. Irene, his
daughter—Soprano. Eudoxia, her friend—Soprano. Alamir, prisoner to
Belisarius—Tenor. Eutropius, one of the Imperial Guard—Tenor. Eusebius, governor
of the prison—Basso. Ottavio, leader of the Alannć—Tenor. Place, Byzantium
and the Hamus mountains. Time, sixth century B.C. First production, Venice, 1836.
Act I. Hall in the emperor’s palace. Irene and the
populace greet the victor Belisarius. Antonina hates her husband because Proclus, the
slave of Belisarius, has confessed on his deathbed, that upon ‘command of his master
he had exposed her son on the shore of the ocean, thus causing his death. The Emperor
Justinian greets his commander and grants his prayer for the release of the prisoners. The
captive, Alamir, who adores Belisarius, refuses to leave him. (Recitative and duet:
“What do I see, does Alamir reject my gift?”) The general adopts him in place of
his long lost son. Irene congratulates her father, but Antonina has already begun her work
of hate, by traducing Belisarius to Justinian, and the innocent man is accused of high
treason and thrown into prison on the evidence of his wife.
Act II. Before the prison. Alamir and his friends lament the
fate of Belisarius. His eyes have been put out by his enemies, who have falsely construed
and disobeyed the commands of the emperor. Alamir swears vengeance. (Aria: “Tremble,
Byzantia, I will repay.”) Irene clad as a youth arrives to act as guide to her
father, who is about to be released from prison. (Duet: “Oh thou, who in terrible
darkness.”)
Act III. In the mountains. As the clang of weapons is heard
Irene leads Belisarius to a cave for safety. Alamir now leads the army of the Alannae
against Byzantium to avenge Belisarius. Belisarius confronts him and recognises him as his
son through an amulet. At his father’s request, the son leaves the ranks of the
enemies of Byzantium, and the Alannae, now under the command of Ottavio, march to
Byzantium, having no fear, as the emperor’s army is bereft of its leader.
Change of scene: Hall in Byzantium. Antonina, in remorse,
tells the emperor that her testimony against Belisarius was false. Irene approaches with
news of the victory and informs Antonina that Alamir is her son, and that it was the
slave, not Belisarius, who had planned his death. Meanwhile the blind Belisarius has led
the Byzantine army and defeated the Alannć, who had threatened Byzantium, but an arrow
has mortally wounded him. He is carried in dying, and the sorrowing emperor promises to
be a father to Alamir and Irene.
Opera in three acts by Berlioz.
Libretto by Du Wailly and Barbier.
Cast: Cardinal Salviati—Basso. Balducci, treasurer of
the Pope—Basso. Teresa, his daughter—Soprano. Ben-venuto Cellini, Florentine
goldsmith—Tenor. Ascanio, his apprentice—Mezzo-soprano. Francesco and
Bernardino, artists in Cellini’s studio—Tenor and Basso. Fieramosca,
sculptor to the Pope—Baritone. Pompeo, a bravo—Baritone. Place, Rome, 1532,
under Pope Clement VII.
The opera was produced at Paris and London in 1853, and met
with little success, but was received at Weimar in 1855 and at Hanover in 1879 with great
applause. The opera has scarcely kept its place, but is occasionally produced in
prominent cities.
Act I. Hall in the Palazzo Balducci. Cellini wishes to elope
with Teresa Balducci, but their conversation is overheard by Fieramosca. As Balducci
appears, Cellini manages to escape, while Fieramosca is treated as an intruder.
Act II. A tavern. Cellini receives a sum of money from the
Pope to finish his statue of Perseus. As the sum is too small, however, the pupils of
Cellini plan revenge against Balducci, the treasurer of the Pope. Cellini has arranged
with Teresa to escape in the guise of masqueraders, which Fieramosca, who has again
listened, and who hates the goldsmith, determines to prevent.
Change of scene: Crowd of masqueraders at the Colonna
square. As Fieramosca and Pompeo arrive in the same costumes as Cellini and his apprentice
Ascanio, an altercation takes place. Cellini stabs Pompeo, but escapes, and Fieramosca is
arrested instead.
Act III. Before the foundry of Cellini. Cellini appears in a
procession of monks, and Balducci tries to force Teresa to marry Fieramosca. A cardinal
endeavours to arrest Cellini on the charge of murder, particularly as the statue of
Perseus has not been finished. Cellini thereupon orders that all his works of art shall be
melted to form part of the statue. He breaks the plaster cast, and all stand enthralled
with the masterpiece. The master is pardoned.
Grand opera in three acts by
Michael William Balfe. Libretto by Alfred Bunn.
CAST: Count Arnheim, governor of Presburg—Baritone.
Thaddeus, a Polish exile—Tenor. Florestein, nephew of the count—Tenor.
Devilshoof, chief of the gipsies— Basso. Captain of the Guard—Basso. An
officer--Tenor. Arline—Soprano. Buda, her nurse—Soprano. Queen of the
Gipsies—Soprano. Gipsies, huntsmen, guests. Place, Presburg and its environs. Time,
the eighteenth century. First production, London, 1843.
Act I. Scene 1. Count Arnheim’s grounds near Presburg.
(Chorus of huntsmen: “Up with the banner.”) Count Arnheim’s retainers are
waiting to accompany him to the hunt. He appears with his foppish nephew Florestein, who
is afraid of a gun. (Count: “A soldier’s life.”) He bids farewell to his
little daughter Arline, and she goes up a mountain path with Buda, her nurse, and
Florestein. Thaddeus, a Polish exile, enters exhausted from pursuit. (Cavatina, Thaddeus:
“‘Tis sad to leave our fatherland.”) Gipsies appear, headed by Devilshoof.
They at-tempt to rob Thaddeus, but after some parley he decides to join their band.
Devilshoof takes everything he has except his commission, but gives him a ragged gipsy
dress in return. He mingles with the gipsies just as a troop of soldiers come to apprehend
him. (Chorus: “In the gipsies’ life you read.”) Huntsmen return in
excitement; Flore-stein appears, terrified. (Florestein: “Is no succour near?”)
Arline has been attacked by a wild animal. Thaddeus rescues her, and the count in
gratitude invites him to a feast, during which he refuses to drink to the emperor. He is
repudiated by all, but Devilshoof comes to his aid. As a reward for the rescue of Arline
the count offers the exile a purse, which he proudly refuses. Thaddeus and Devilshoof are
imprisoned, but the latter escaping carries off Arline. He is seen by the count and his
guests crossing a frail bridge between two rocks with the child in his arms. He breaks
down the bridge and disappears. (Prayer: “Thou who in might supreme.”)
Act II. Scene 1. Twelve years later. Street in Presburg.
Tent of the queen of the gipsies. Arline sleeps while Thaddeus keeps watch. (Chorus:
“Silence! Silence!”) Devilshoof enters with a new project to rob Florestein, who
is flushed with wine. (Florestein: “Wine, Wine.”) They secure his valuables, but
the gipsy queen makes them return everything. Florestein is solicitous about a medallion
which has disappeared and which is an heirloom of great value. Devilshoof has secreted it.
Arline awakens and tells Thaddeus her dream. (Aria: ,,I dreamt I dwelt in marble
halls.”) Thaddeus and Arline declare their love. The queen, through jealousy, is
angry, but, ridiculed by Devilshoof, joins their hands according to the gipsy rite.
(Queen, ballad: “Would I had died ere now.”)
Scene 2. Another street. (Arline, song: “Come with the
gipsy’s bride.”)
Scene 3. A fair. Count Arnheim and Florestein appear.
Florestein compliments Arline, which amuses her, until he tries to kiss her, and she slaps
him vigorously. The queen, recognising him, gives Arline the stolen medallion, so that she
will be accused of robbing him. This plan succeeds, but Thaddeus and the gipsies protect
Arline. Nevertheless, she and Thaddeus are imprisoned.
Scene 4. Count Arnheim’s apartments with a portrait of
Arline in her childhood. The count enters sadly, and gazes at the portrait. (Count:
“The heart bowed down.”) The captain of the guard reports Arline’s capture.
She is brought in and pleads her innocence, but in her humiliation is about to stab
herself. The count, while stopping her, observes a scar by which he recognises her as his
daughter, and Thaddeus, who enters at that moment, as her preserver. (Count: “Mine
own, my long lost child.”)
Act III. Count’s castle. Arline in rich attire is sad
and lonely. She looks with longing at her gipsy dress. Devilshoof boldly enters the room
and begs her to rejoin the tribe. Thaddeus appears at the window. (Thaddeus: “Then
you’ll remember me”; Trio: “Through the world wilt thou fly.”) The two
men hide themselves as the guests enter. The queen of the gipsies suddenly appears and
tells the count Thaddeus is concealed in his daughter’s room. (Quintet: “To
shame and feeling dead.”) The count denounces his daughter. (Arline: “See at
your feet a suppliant.”) Thaddeus comes from his hiding-place, and declares Arline
innocent. (Thaddeus: “When the fair land of Poland.”) He proclaims his identity
as a Polish noble. The count is reassured, but the gipsy queen tries to kill Thaddeus, and
Devilshoof, while attempting to snatch the rifle from her hands, accidentally shoots her.
The joy of the lovers is too great to be marred, and all ends happily. (Chorus: “Oh,
what full delight.”)
Fairy opera in three acts. By
Auber. Libretto by Scribe.
Cast: Yang-Yang, prince imperial of China—Tenor.
Tsing-Tsing, a Mandarin—Baritone. Tao-chin, one of his wives—Soprano.
Tschin-Kao, farmer and keeper of tea house—Basso. Peki, his
daughter—Mezzo-soprano. Yanko, a young peasant—Tenor. Stella, daughter of the
Grand Mogul—Soprano. Heliante, a siren. Place, a Chinese village, the third act
partly on the planet Venus. First production, Paris, 1835.
Act I. The Mandarin Tsing-Tsing has four wives, of whom one,
Tao-chin, by virtue of her descent from the emperor, enjoys considerable liberty, but
makes life a burden to him. He desires to take a fifth wife, the pretty Peki, daughter of
the keeper of the tea house. Peki, however, loves the young peasant Yanko, and is in
despair at being compelled to marry the Mandarin. Everything is prepared for the wedding.
(Chorus of peasants: “Ring, bells of the pagoda,” and Aria of Tsing-Tsing:
“Maiden, since first I beheld thee.”) Tao-chin approaches to prevent the
marriage, then Prince Yang-Yang (Song: “Love and mirth as companions”), who has
seen a heavenly picture in his dreams (Aria: “Lulled in soulful dreams”), and
expects to find his ideal on the planet Venus. He forces Tsing-Tsing, who has been
appointed his tutor by the emperor, to mount a miraculous bronze horse which stands on a
pinnacle of rocks above the village, and which quickly carries off in the air any person
who seats himself upon it. On this horse the two go forth to seek Yang-Yang’s fate.
Act II. He who is brought back by the bronze horse must not
reveal what he has seen, otherwise he will be turned to stone or wood. The tea-house
keeper, Tschia-Kao, wishes Peki to marry another rich man (Aria: “Oh daughter, you my
pride”), and she is compelled to submit. (Song: “Hear, unmarried.”) Yanko,
who has also taken a ride on the horse, advises his loved one to don man’s attire and
to flee with him. Tsing-Tsing returns upon the horse. Weary, he falls asleep and reveals
the secret of his journey in his dreams to the listening Peki, whereupon he is changed to
wood. He is found in this plight, and Yanko whispers into the ear of Tschia-Kao the cause
of the change. He also suffers a like transformation. When Peki, who is now aware of the
secret and has already donned male clothes for flight, sees that her lover is bewitched,
she resolves to save him, and mounting the bronze horse, rides away in the sight of the
astonished people.
Act III. Fairy landscape on the planet Venus. (Chorus of
sirens: “Oh, the groves of Paradise.”) Stella, the daughter of the Grand Mogul,
has been transported to Venus because she was too shy when upon the earth. Now she loves
the man of her dreams, the Prince Yang-Yang. He has come to capture her and conquer the
fairyland she inhabits, but must remain silent till midnight, a condition to all riders of
the bronze horse. In the duet (“Of what do you complain ?“) he passionately
kisses Stelia, is brought back to earth by the bronze horse, and as he also speaks, is
changed to wood, like Tschia-Kao and Yanko. All three are erected as pagodas in the
temple. In the meantime, Peki has arrived upon the planet Venus, endures the test, returns
to earth with Stella and releases the victims of enchantment. Tsing-Tsing receives back
Tao-chin, the prince marries Stella, and Peki is rewarded by wedding her beloved Yanko.
Opera in three acts by Meyerbeer.
Text by Rellstab.
Cast: Saldorf, retired captain—Basso. Therese, his
niece—Mezzo-soprano. Vielka—Soprano. Konrad— Tenor. Tronk, leader of the
Hungarian cavalry—Baritone. A Hungarian rider—Tenor. A corporal of
grenadiers—Basso. A corporal of artillery—Baritone. A huzzar of
Ziethen—Tenor. A Black Huzzar—Basso. Steffen, an old countryman—Tenor.
Place, Silesia and Sans Souci. Time, during the seven years’ war. First production,
Berlin, 1843.
Act I. A room in a country house. Frederick the Great is in
danger of being captured by Hungarian huzzars. While Vielka, the adopted daughter of old
Saldorf, engages the attention of her countrymen, Konrad exchanges clothes with the king
and he escapes.
Act II. The camp of the Prussians. Songs, marches and
dances. Upon the report that Saldorf has delivered the king to the Hungarians, the old
captain is in danger of being put to death, but is saved by the arrival of the king.
Act III. In Sans Souci. Leopold, the nephew and adopted son
of old Saldorf, and foster brother of Konrad, is condemned to death for desertion, but
Vielka and Konrad, the saviours of Frederick the Great, obtain his pardon. (This opera was
utilised by Meyerbeer for the Star of the North.”)
Opera in four acts by Bizet. Text
by Meilhac and Halévy, founded on the novel of Prosper Mérimée.
Cast: Zuniga, lieutenant—Basso. José,
sergeant-Tenor. Morales, sergeant—Basso. Escamillo, bull fighter—Basso.
Dancairo and Remendado, smugglers—Tenor and Baritone. Carmen, Frasquita and Mercedes,
gipsies— Soprano and Mezzo-soprano. Micaëla, a peasant girl—Soprano. Place,
Seville, Spain. Time, the beginning of the nineteenth century. First production, Paris,
1875. One of the most popular of the modern operas. The de-cease of the composer prevented
him from witnessing its success.
The Spanish gipsy Carmen lives only for sensuality. Love
drives her from passion to passion. After she has loved many, she is attracted by the
sergeant Don José, encompasses him with her wiles, and leads him to mutiny and desertion,
so that finally nothing remains for him but to join a band of smugglers of which Carmen is
a member. His fate is endurable as long as he retains the love of Carmen, but when she
turns from him he is sunk in the depths of despair. Called to the death-bed of his mother,
on returning he finds his still passionately loved Carmen before the arena in Seville with
the bull fighter Escamillo, to whom she has promised her love if he is the victor at the
fight. She is approached by José, who asks her to return to him, and when she coldly
repulses him and tries to escape to Escamillo he stabs her to the heart.
The sombre action of the opera is enlivened by strong
contrasts of light and shade. In the first act: street scene in Seville, march of the
watch, the commotion of the cigarette girls and street fight; in the second act: life
among the gipsies and dance; in the third act: the picturesque groups of the smugglers; in
the fourth act: the procession of bull fighters. The lyric element is represented by the
blonde and gentle Micaëla, a youthful companion of José and messenger from his mother.
The whole action is quiet, notwithstanding its charming effects and colouring, and is kept
together by the originality of the music, which is beautiful and characteristic of the
locality in which the scene is laid.
Act I. A square in Seville with bridge. To the left the
guard house, opposite a cigarette factory. Micaëla appears seeking José, but is accosted
by the impudent soldiers and retires. José approaches with the guard to relieve Morales.
The commanding officer is Lieutenant Zuniga. The workpeople emerge from the factory.
Carmen appears, wooed by all, with the exception of José, upon whom she has cast her
eyes. (Habanera: “Love is a bird.”) Micaëla, who loves José, brings him a
letter and greeting from his mother. (Don José: “Tell me what of my mother.”)
When she has gone, a tumult takes place in the factory and Zuniga arrests Carmen, who has
been threatening her companions with a knife. She is placed in charge of José, who is
beguiled by the coquette and he allows her to escape. (Seguidilla: “Near to the walls
of Seville.”)
Act II. Evening at a smuggler’s inn. Song and dance of
the gipsies. (Carmen, Frasquita, Mercedes: “The rattling, ringing tambourine.”)
The bull fighter Escamillo arrives and is boisterously greeted. They sing the Toreador
song (“To the. fight, torero”). Smuggler quintet of Dancairo, Remendado, Carmen,
Frasquita and Mercedes. Carmen refuses to accompany them, for she is waiting for her
adored José, who has been arrested on her account and whose imprisonment has expired.
José arrives and is prevented from rejoining his comrades. (Canzonetta: “Halt, who
goes there.”) Surprised by Zuniga, he draws his sword upon his superior officer; the
lieutenant is disarmed by the smugglers and José resolves to fly with Carmen. (Duet and
dance, Carmen, Don José: “I will dance in your honour.”)
Act III. A rocky gorge, José arrives with the smugglers
(Sextet and chorus: “Listen, comrades”), but Carmen loves him no longer. Her
inconstant heart now turns to Escamillo. (Trio, over the cards: “Shuffle, shuffle,
cut them, cut them.”) A fight between José and Escamillo is narrowly averted by the
smugglers. (Duet: “I am Escamillo.”) Micaëla arrives (Aria: “Here is the
smugglers’ stronghold”) and tells José that his mother is dying, and with
threats to Carmen he leaves the band.
Act IV. A square before the arena at Seville. Festal
procession of the bull fighters. Carmen promises herself to Escamillo if he returns
victorious. As she is about entering the arena she is confronted by the pale and
despairing José. (Duet, Carmen, Don José: “Is it thou; it is I.”) For the last
time he demands her love and fidelity. When she coldly refuses he stabs her to the heart
and she expires at the moment that the victorious Escamillo arrives upon the scene.
Grand opera in four acts by Franz
Lachner. Libretto by St. Georges and Buussel.
Cast: Jacob of Lusignan, King of Cyprus—Tenor. Andrea
Cornaro, Patrician—Baritone. Onofrio, Member of the Council of Ten—Basso.
Catarina Cornaro, niece of Andrea—Soprano. Marco Onnero, a young
patrician—Tenor. Spirido and Angelo, bandits—Bassi. Place, Venice and Cyprus.
Time, 1470. First production, Munich, 1841.
ACT I. Hall in the palace of Cornaro. Catarina is about to
be married to Marco Onnero, when Onofrio brings the order of the council that Andrea
Cornaro shall give his daughter to the King of Cyprus in marriage in order that Cyprus may
be joined to Venice. Amidst the tumult of the assembled guests the wedding festival is
postponed.
ACT II. Catarina’s room in Venice. The threats of
her father induce Catarina to refuse the offer of flight made by her bridegroom, and when
Marco is informed of her resolution, he believes her to be blinded by the glitter of the
crown and vows vengeance against the King of Cyprus.
ACT III. A hail in the palace of Cornaro. Marriage and
crowning of Catarina.
Change of scene: Square at San Marco. Marco tries to kill
the king on his way to the church. As he raises the dagger, he recognises in Lusignan his
rescuer from the hands of assassins some time before. He throws away the dagger, flees,
and in the general excitement Catarina falls senseless.
ACT IV. Palace at Cyprus. Two years have elapsed. The
Council of Ten seek the life of the king by poison, in order to take possession of Cyprus
through Catarina. Marco arrives as ambassador of the Republic, finds that Catarina still
loves him, and as he is aware of the designs of the Venetians, resolves to save the king.
The Venetian party imprison Catarina, but Marco frees the queen, and the dying king
declares him protector to the queen and her son before the assembled people. Catarina
remains ruler and Cyprus is lost to Venice.
Opera in one act by Pietro
Mascagni. Libretto adapted from the book of Vergas by Targioni-Torzetti and Menasci.
Cast: Santuzza, a young peasant—Soprano. Turiddu, a
young farmer—Tenor. Lucia, his mother—Alto. Alfio, a carter—Baritone. Lola,
his wife—Mezzo-soprano. Place, a Sicilian village. Time, the present. First
production, Costanzi Theatre, Rome, 1890.
While the curtain is down, Turiddu sings. (Siciliana:
“O Lola, lovely as the spring’s bright blooms.”) The action takes place
before the church. Devout pantomime by the church-goers; behind the scene, chorus of
peasants. (“Queen of Heaven.”) At last Santuzza and Lucia appear from opposite
sides of the stage. (Santuzza: “Tell me, mamma Lucia.”) Turiddu is the lover of
Santuzza and she believes he has discarded her for Lola; she has seen him entering the
young woman’s house. The carrier Alfio, the husband of Lola, appears with the chorus
and also says that he has seen Turiddu, but thinks nothing wrong of it. When Lucia, who
has sent her son to Frankofonte for wine, inquires further into the matter, she is asked
to be silent by Santuzza. (Romanza: “Well do you know, good mamma.”) After the
chorus with Alfio has departed, Santuzza recites her wrongs. Turiddu loved Lola, but after
his service in the army found her married to Alfio. He then entered into relations with
Santuzza, and is now turning back to his former love. The alarmed Lucia enters the
church with the peasants. Santuzza awaits Turiddu (Scene: “You,
Santuzza”), who, however, treats her coldly and drives her to despair by leaving
her and entering the church with Lola. (Duet: ,,Ah what folly”; Lola: “My king
of roses.”) “You shall suffer in blood for this,” Santuzza exclaims, and
discovers to the returning Alfio the unfaithfulness of Lola. (Duet: “God has sent
you, neighbour Alfio.”) Breathing vengeance, the carrier resolves to kill Turiddu and
departs with Santuzza. During the following orchestral music (Intermezzo) the stage
remains empty. Turiddu, Lola and the chorus emerge from the church; Turiddu sings a
drinking song (“Hail the red wine, richly flowing”) and is then challenged by
Alfio to a duel with knives after the manner of the Sicilians. Promising io follow Alfio
he takes a moving farewell of his mother, and asks her to care for the unhappy Santuzza,
whom he has so deeply wronged. After a short pause, Santuzza, followed by a crowd of
women, rushes upon the stage, and with the cry of ,,Turiddu is dead,” the opera ends.
Opera in four acts by Rubinstein.
Text adapted from Beck’s “Yanko” by Mosenthal.
CAST: Count Waldemar, officer—Tenor. Konrad, a Ger-man
innkeeper on the estate of the count—Baritone. Maria, his daughter—Soprano.
Wauja, an hostler— Tenor. Isbrana, a gipsy-- Mezzo-soprano. Grigori, Bog-dan and
Pawel, gipsies—Bassi. Lisa, gipsy—Mezzo-soprano. Place, the plains of the
Ukraine. Time, the present. First production, Vienna, 1861.
ACT I. The plains. Bogdan and Pawel plan the death of the
innkeeper Konrad and threaten to kill Isbrana, who has been listening, if she reveals
their plan. Nevertheless, Isbrana tells her lover, the hostler, Wauja, of the
gipsies’ designs.
Change of scene: Before the house of Konrad on the heath.
The gipsies attack the unguarded house, but when Wauj a’s horn calls the neighbours,
they fly, leaving the house in flames. Wauja saves Maria from death, and as a reward is
invited by Konrad to make his home with him.
ACT II. A chamber in Konrad’s house. Maria has a lover
in a distant country, but to please her father she consents to become the wife of Wauja.
Isbrana and the gipsies arrive to celebrate the wedding of Wauja. Count Waldemar, the
former lover of Maria, also appears. He distributes money to the people and promises Maria
to send her a message during the evening.
ACT III. The same scene. The sun rises. Grigori, a gipsy,
brings a letter from the count to Maria. Isbrana bribes him to let her read it. Out of
compassion for Wauja, who cannot read, she tells him only a portion of its contents in
which the count promises him a horse, but suppresses the part in which the count declares
he will visit Maria during Wauja’s absence. The meeting takes place, and Maria is
about to elope with the count when Wauja returns and discovers all. He rushes at Waldemar
and slays him. The neighbours arrive and are about to capture Wauja, when Isbrana and the
gipsies appear and rescue him.
Act IV. Camp of the gipsies. Wauja joins the robber band of
the gipsies, but repulses Isbrana, as he still loves Maria. The latter and her father are
captured; the hostler plans their escape, but is circumvented. Soldiers arrive and the
gipsies fly. Wauja and Isbrana remain. She endeavours to persuade him to escape, but he
refuses. As the soldiers surround them, she snatches a dagger from Wauja, stabs herself,
and is carried away a prisoner.
Musical tragedy in three acts with
the prologue “Polyphemos” by August Bungert. Text by the composer.
Cast: Gäa, a giant represented by a chorus of bass voices.
Eros—Tenor. Zeus—Basso. Hermes—Tenor. Athene— Contralto.
Polyphemos—Basso. Odysseus—Baritone. Periander—Baritone.
Zurylochos—Baritone. Perimides—Baritone. Circe—Soprano. The four
wells—Soprano and Alto soli. Helios—Tenor. Teiresias—Basso. Here—Alto.
Poseidon—Basso. The three Fates—Alto soil. Place, on the island of Äa. Time, in
ancient days. First production, Dresden, 1898.
PROLOGUE. Scene: A mountain chain, surrounded by the sea and
almost hidden by heavy mists. The figure of Gäa appears in giant form. Eros riding upon a
lion awakens the earth. The clouds descend showing Olympus, whose gods implore Zeus to
save Odysseus. The mists disappear and reveal the cavern of the cyclops Polyphemos at the
foot of Mount AEtna. Drunken with wine he snores loudly, but is awakened by Odysseus, who
puts out his single eye. (Morning chorus of the Oceanides: “Do you wake, sister
?“) Polyphemos, now entirely blind, vainly pursues his unknown enemies Odysseus and
his companions, who have concealed themselves in the midst of a flock of sheep and easily
escape his groping fingers. Only after they have returned to their vessel does Odysseus
tell him who they are. Polyphemos curses them and prays to his father Poseidon for
vengeance. The Oceanides crying, “Hail, Odysseus !“ surround the ship. (Music
during change of scene. Periander’s song: “Far across the sea.”)
Act I. Coast of the island of Äa. Circe, daughter of
Helios, surrounded by her maids, laments her lonely life. Odysseus, led by Hermes, draws
near. He receives a potion from the god to render innocuous the magic of Circe, who has
changed his companions into swine. Odysseus and Circe fall violently in love with each
other. When she finds her magic of no effect upon Odysseus she surrenders herself to him
entirely and disenchants his companions. Periander warns Odysseus, but the latter rewards
him by wounding him with his lance. Odysseus and Circe celebrate an orgy of love. Gäa
appears once more and with their song the act ends.
Act II. The coast of Äa. The companions of Odysseus, ill of
the plague, curse him angrily. The dying Periander sadly recalls his wife to him.
Odysseus, stricken with remorse, desires to fly from Circe and helps his companions to
build a vessel for that purpose. Helios, the father of Circe, arrives to kill Odysseus,
but Circe begs for mercy for her lover. The arrows of the sun god have confused the brain
of Odysseus and he can only find relief in the realm of shadows. Circe lulls him to sleep
and makes his dreams a reality. Musical interlude.
Change of scene: In Hades, where the Styx flows under
grottos. Odysseus sacrifices and calls upon the shade of Teiresias, who foretells his
future and that of the Antikleia. He also summons before him Agamemnon, Ajax, and
Achilles. The last two appear bearing Periander and pointing to his wounds. Overpowered by
the thronging shades Odysseus falls to the ground.
Act III. Olympus. Helios and Poseidon accuse Odysseus to
Zeus, but he refuses to listen, for it has long been determined that Odysseus shall subdue
himself. Change of scene: Palace of Circe. She holds in her arms the slumbering Odysseus,
who whispers the name of his wife, Penelope. Awakening, he demands his freedom of the
enchantress. Circe shows him the lovely sunlit country that surrounds them, but without
avail. She sings and dances for him (“Dost thou love my songs”); she tells him
she is soon to be a mother. Her arts proving useless, she changes the beautiful landscape
into a place of horrors. Odysseus fights his way out of it and is enthusiastically
received by his friends. Heios once more endeavours to kill him, but Hermes speedily
appears bearing the order of Zeus that he shall be set free. Odysseus departs, and Circe,
receiving the blessing of Helios, muses upon the future and falls quietly asleep. The
three Fates spin their web. The song of Gäa ends the drama.
Opera in three acts, with a
prologue by August Enna. Libretto adapted from Rider Haggard by Einar Christiansen,
German, by Emma Klingenfeld.
CAST: Cleopatra, Queen of Egypt—Soprano. Harmaki, the
last of the Pharaohs—Tenor. Sepa, high priest—. Baritone. Charmion, his
daughter, in the service of Cleopatra—Soprano. Schafra, Egyptian prince—Basso.
Iras, slave of Cleopatra—Soprano. Place, Alexandria.
PROLOGUE. Subterranean chamber. The high priest Sepa
welcomes Harmaki as the only legitimate King of Egypt, saying that Cleopatra is only a
wild shoot from the stem and neglects the native customs in favour of the Greek. Harmaki,
he prophesies, shall free the country from her dominion and again make it happy; the
latter declares himself ready. At the command of Sepa, a curtain in the rear of the
chamber is swept aside, and a throne room becomes visible. (Chorus of Egyptians:
“Hathor, holy Hathor.”) Sepa reveals his plan to the people; all rejoice and do
homage to Harmaki as king, upon which crown, sceptre and scourge are delivered to him as
tokens of sovereignty.
ACT I. Garden before the palace of Cleopatra, looking out
upon the sea. Charmion, the high priest’s daughter, who is one of the conspirators,
dreams of her future king. (Aria: “They foam, the holy waves.”) Sepa, who enters
with Harmaki, approves of her words. (Terzett: “Give strength to us.”) When Sepa
departs Charmion and Harmaki, who are attracted to each other, form a union against the
queen. As the sun goes down (Chorus: “Golden are its rays”), Cleopatra and her
attendants appear. Charmion introduces Harmaki as “a soothsayer, star gazer and
interpreter of dreams.” The queen s.peaks of a strange dream, which Harmaki
interprets by endeavouring to arouse her patriotism. She uses her arts of fascination, and
Charmion notes with dismay that Harmaki is unable to withstand her charms. (Ensemble:
“Come then, O priest.”)
ACT II. The star tower of Harmaki. Harmaki is in love with
the queen and prays to Isis to give him strength to resist her. Charmion brings him a list
of those condemned to death by the conspirators. When he finds Cleopatra’s name he
trembles, and refuses to stain his hands in her blood, but Charmion persuades him that it
is his duty to stab the queen the next night, when she is to visit him alone under cover
of the festival. When Cleopatra comes to him late at night Charmion hides behind a curtain
and realises bitterly that Cleopatra’s fascination for Harmaki is as strong as ever.
The queen bids him come the following night to foretell her future from the stars. When
Cleopatra has departed, Charmion chides him severely and he confesses that he loves her.
Charmion departs in despair.
Act III. A hail in the palace of Cleopatra. A ballet ends
the festival, and Cleopatra calls upon Harmaki to explain the chart of the stars. He
stands behind her, dagger in hand, but his courage fails him, and he cannot kill her. His
strange behaviour arouses the attention of Cleopatra; she sings to him. (Song: “I
sing for you.”) She caresses him, and at last he succumbs to her arts and sinks into
her arms. She suddenly snatches from him the concealed dagger and tauntingly casts him
from her. As he attempts to kill her Sepa and the other conspirators are brought in
manacled and bitterly reproach Harmaki for betraying them and his country. Cleopatra
contemptuously throws the dagger at his feet and orders the prisoners removed. Charmion
courageously delivers herself as a prisoner, declaring herself to be guilty of treason
to the queen. Harmaki, in despair, drives the dagger through his heart, and Charmion,
horror stricken, fails dead at his side.
Opera in three acts, by Smareglia.