Opera Books
The Opera Goer’s
COMPLETE GUIDE
LEO MELITZ
Copyright 1908, 1911, 1921
Opera in three acts by Friedrich
Smetana. Libretto by Joseph Wenzig. German by Max Kalbeck.
CAST: Wladislaw, King of Bohemia. Dalibor, Captain of the
guard. Budiwoj, a judge. Benesch, jailer. Veit, Dalibor’s esquire. Milada, sister of
the Burgrave, who has been killed by Dalibor. Yutta, an orphan. Place, Prague. Time, the
fifteenth century. First production, Prague, 1868.
ACT I. Court of the castle at Prague. Yutta and chorus of
the populace ‘praise the valour of Dalibor, although he is that day to be judged by
the king as an insurgent. (Aria: “He feels compassion.”) The girl hopes to save
him. The king and his followers approach, he takes the judicial seat, and commands Milada
to narrate how Dalibor had at night suddenly attacked her brother’s castle and slain
him. (Aria: “It was late.”) Dalibor is brought in. Milada is astonished at his
manly beauty. He defends his course sturdily (Aria: “Nothing will I deny”),
saying that the burgrave had captured his best friend Zdenko, who was a singer and a hero,
and cruelly murdered him. In answer to an offer of ransom, the burgrave had sent
Zdenko’s head to Dalibor in derision. For this Dalibor had sworn vengeance and had
kept his oath. Milada is filled with compassion and admires Dalibor’s bravery in
answering the king so fearlessly. He does not fear death, but is condemned by the judges
to imprisonment for life and is led away by the guard. Milada asks for his pardon in vain,
and Yutta, who soon observes that she loves Dalibor, unites with her to effect his
release.
ACT II. Street in Prague. The song of the esquires in the
inn is heard. (,,A real soldier.”) Yutta awaits her lover Veit, Dalibor’s
esquire (Duet: “Oh so long it is”), and talks over her plans with him. Milada
has already ap-peared in male costume at the castle and fooled Benesch the jailer, so that
she has been engaged as his helper. Veit communicates with the faithful esquires, and they
hope to succeed in effecting Dalibor’s release.
Change of scene. An open hall at the castle. Budiwoj fears
an attempt of Dalibor’s friends to free him and cautions Benesch to be doubly
watchful. (Aria of Benesch: “Between these dark walls.”) Milada (in male
costume) has prepared a goodly meal for the jailer, but the compassionate old man desires
to take a violin to Dalibor, who has asked for one. He allows Milada to take it. (Aria of
Milada: “Then it is true.”)
Change of scene. The dark dungeon. Dalibor sees in his
dreams his friend Zdenko, who is playing on the violin. (Aria: “Vanished art
thou.”) Milada brings the violin, discloses her identity (Aria: “Moved by
compassion”), and tells him of her plans for his escape. (Love duet: “My lovely
dream.”)
ACT III. Hall in the palace of the king. Budiwoj reports
that the people are restless and that strange soldiers have come to free Dalibor. The
jailer Benesch is compelled to tell of Milada’s unsuccessful attempt to release him:
she had suddenly disappeared after opening the doors of the prison, but fortunately he had
been in time to frustrate her design. (Aria: “You see, my lord.”) The king
directs that Dalibor shall die that very day (Aria: “Yes, the snake of revolt”);
he orders him to be brought in chains before him and announces his resolution. Dalibor
remains calm (Aria: “Why do I tarry?”) and is taken back to prison.
Change of scene: Square before the castle. It is night.
Milada in the garb of a soldier approaches with friends of Dalibor, and listens for the
tones of his violin, believing him to be free. As she hears nothing, she becomes alarmed,
and when the bell for the condemned is heard, understands the reason. She demands of her
followers to free Dalibor by force. (“Then take to arms.”) They advance to the
charge, and after terrific fighting, return with Dalibor., who is carrying the mortally
wounded Milada. With the song, “Where am I,” and a last loving
“Dalibor”! she dies in his arms. (Final chorus: “From earth’s
depth.”)
Legend in four parts by Hector
Berlioz.
CAST: Margaret—Soprano. Faust—-Tenor.
Mephistopheles—Baritone or Basso. Brander—Basso. Place, a German village. First
production, Paris, 1846, in concert form; complete, Manchester, 1880.
PART I. Faust, a learned philosopher, wanders in the fields
at sunrise meditating upon Nature. (Faust: “Now ancient winter hath made place for
spring.”) He observes a crowd of peasants who dance and sing, jesting rudely. The
Hungarian troops approach to martial music. Great excitement prevails among the peasants.
Faust alone remains cold and unmoved. (Chorus: “The shepherd early dons his
best”; Hungarian March.)
PART II. Faust in his study deplores his unhappy lot.
Neither in nature, nor in hooks, nor in old memories has lie found solace. He decides to
take poison, but as he raises the cup to drink the strains of an Easter hymn turn his
thoughts toward good. (Chorus: “Christ is risen!”) Even then the fiend
Mephistopheles is at his el-. bow, tempting him with promises of earthly joys. He succumbs
and goes forth with the fiend in search of pleasure. They enter a wine cellar in which a
number of boon companions are carousing. (Chorus: “Fill up again with good red
wine”; Brander: “Master Rat lived in the cellar.”) Mephistopheles joins
them, but Faust is disgusted by their uproarious ribaldry. (Mephistopheles: “Once a
king be it noted.”) Led by Mephistopheles to a garden on the banks of the Elbe, he
falls asleep amid the music of a chorus of sylphs (Chorus: “Dream, Dream”), and
dreams of Margaret, a fair unknown peasant girl. As the sylphs dance about him (Ballet of
sylphs), he awakens, still thinking of Margaret and desiring to find her. A troop of
soldiers march by, returning from war and eager for pleasure (Chorus: “Towns with
their battlements.”) They are joined by a band of students, who proclaim in song the
joys of wine and love. (Chorus: ,,Gaudeamus igitur.”)
PART III. Distant drums and trumpets sound the
retreat. Faust impatiently awaits Margaret in her dwelling. Mephistopheles warns him of
her coming, and he conceals himself in her room. (Faust: “O welcome, gentle
twilight.”) Margaret enters musing upon a strange dream of an unknown lover. She
braids her hair, singing dreamily of the faithful King of Thule. (Ballad, Margaret:
“There dwelt a king in Thule.”) Mephistopheles invokes the powers of evil and
begins a mocking serenade (Mephistopheles: “Dear Katherine, why, to the door of thy
lover”), while in the garden without the will-o’-the-wisps dance. Faust appears
before Margaret, who is startled, but in an ardent love scene they declare their mutual
passion, and Margaret at last is persuaded to give herself to her lover. The entrance of
Mephistopheles, to tell them that the villagers are coming to warn Margaret’s mother
of her danger, terrifies the bewildered girl. She and Faust part reluctantly, while
Mephistopheles exults over the enslavement of his victim. The villagers approach muttering
threats, as Mephistopheles forces Faust to depart. (Trio and chorus: “Angel of
light.”)
PART IV. Margaret, heavy-hearted, sits alone, thinking
of her lover who comes not. Soldiers march by singing of the glories of war.
Faust alone in his study has found solace in Nature (Faust:
“Majestic spirit, calm and resistless”), but Mephistopheles disturbs him with
the news that Margaret is in prison, condemned to death for the murder of her mother,
Martha, to whom the fiend had given too powerful a sleeping potion. Faust signs a paper
which he believes will free Margaret, but which really gives over his own soul to
perdition. Faust and the fiend then set forth on a wild ride through the darkness. As they
gallop along they hear women and children praying. Strange shapes close around them
presaging death. The horses tremble and snort with fear. Faust imagines that it rains
blood. Everywhere he sees horrible visions, and at last he is hurled into the abyss to
which the fiend has craftily led him and is forever lost. The Prince of Darkness appears
attended by infernal spirits, who exult over his downfall. (Chorus of Infernal Spirits.)
With a change of scene a celestial chorus is heard and the
spirit of Margaret saved by faith and repentance is received into heaven. With her
apotheosis the drama ends.
DAS NACHTLAGER VON GRANADA
(The night camp at Granada)
Romantic opera in two acts by
Konradin Kreutzer. Text by Karl von Braun.
CAST:
Gabriele—Soprano. Gomez, a young shepherd— Tenor. A huntsman—Baritone.
Ambrosio, an old shepherd, uncle of Gabriele—Basso. Vasco and Pedro,
shepherds—Tenor and Basso. Count Otto, a German knight—Baritone. Place, Spain.
Time, the sixteenth century. First production, Vienna, 1834.
ACT I. A shepherd’s village in the mountains.
Gabriele laments that her dove has been seized by an eagle. (“All has been taken from
me.”) Gomez loves her but cannot marry her, as her uncle Ambrosio intends to marry
her to Vasco. Gomez determines to ask the aid of the Prince Regent, who is hunting near.
(Duet: “Sorrowing I tend my sheep.”) He hurries away, and a huntsman brings
Gabriele’s dove, which he has taken from the eagle. She asks him who he may be.
(Romance of the huntsman: “I am a huntsman in the service of the regent.”) She
tells him of Gomez and he promises to assist her. As he is kissing her to seal his
promise, the shepherds Ambrosio, Vasco and Pedro enter. (Quintet: “Away! how dare
you.”) The huntsman asks for shelter and offers to pay so lavishly that the cupidity
of the shepherds is aroused, and urged on by Vasco’s jealousy, they resolve to murder
the stranger in the night. The other shepherds descend into the valley and greet him, and
for his entertainment Gabriele sings the romance of the Moorish castle. (“Who stands
despairing at the window bars.”) Gabriele becomes suspicious of the three shepherds
as they lead the huntsman to his quarters. (Chorus and ensemble: “The chimes of night
are heard.”)
ACT II. A mountainous, rocky country. (Recitative and
aria, Gomez: “To whom may this steed belong?”) A company of huntsmen inquire for
the stranger and Gomez directs them to the Moorish castle. (The beginning of the second
act is generally omitted.)
Change of scene: A Moorish castle in ruins. The huntsman is
ushered into a room by the shepherds. (Scene: “The night is fine”; and aria:
“Surely this is an adventure.”) They leave him, and he falls asleep, but
Gabriele comes to awaken him (Romance: “The mist surrounds us”), and warn him
against the shepherds. Finding that his gun has been rendered useless, to defend himself
he grasps his sword as Pedro, Vasco and Ambrosio creep forward in the darkness. (Quartet:
“Now, out with the sword.”) He cries out to the villains that he is the Prince
Regent, and Ambrosio, fearing punishment, attacks him, but is wounded. Gabriele comes to
his assistance, but the huntsman winds his horn and his companions hasten to his aid.
Gabriele is now informed that the stranger is the Prince Regent, and he rewards her
fidelity by uniting her to Gomez.
Comic opera in two acts by
Donizetti. Text from the French of St. Georges and Bayard by Gollmick. First production,
Paris, 1840.
CAST: The Marchioness of Maggiorivoglio—Soprano.
Sulpice, sergeant—Basso. Tonio, a young Swiss—Tenor. Marie, a
vivandière—Soprano. The Duchess of Craquitorpi—Soprano. Hortensio, master of
ceremonies-Basso. A corporal—Basso. A notary—Speaking part. A
servant—Speaking part. Place, near Bologna and at the castle of the marchioness. (In
the original the soldiers are Austrians, but on the stage are Frenchmen.)
Marie, having been found on the battlefield as a baby by the
soldiers of the second regiment, is adopted by them and follows her “fathers” as
vivandière. Her life is saved by the young Swiss Tonio. She loves him, and as she has
sworn only to belong to a member of the regiment, he enlists. She is separated from her
lover, however, as she is recognised as her niece by the marchioness from letters which
the honest sergeant Sulpice has saved. Marie bids farewell to her beloved regiment and to
her lover and follows her relative. The second act takes place at the castle of the
marchioness. Marie’s only pleasure, notwithstanding her riches, is conversing with
old Sulpice, who has become an invalid and is living at the castle. She is to marry the
son of the duchess of Craquitorpi and is almost reconciled to her fate when she hears
martial music. Her old regiment arrives and with it Tonio as an officer. She throws all
her finery into a heap, joyfully hails the troops and rushes into Tonio’s arms. The
duchess indignantly retires, and when the marchioness, who loves Marie as a daughter,
gives her consent, amid universal rejoicing she is married to Tonio.
ACT I. Chorus and ensemble. (Duet between Sulpice and
Marie: “Ha, it is she, the thunder, the joy”; Marie’s song: “On the
field of honour.” Ensemble.) Tonio is to be shot as a spy, hut is rescued by Marie,
who declares that he has saved her life. (Marie’s song of the regiment: “Does
the world not know, does the world not say”; Love duet: “You love me”;
Finale, chorus of soldiers; Tonio’s song of the recruit: “I join your
flag”; Marie’s farewell: “Fare-well, dear brothers.”)
ACT II. (Scene: “The young day arises”;
Marie’s aria of joy at the appearance of her old regiment: “Hail to thee, my
country”; Terzett between her, Sulpice and Tonio: “At last we are united.”)
Finale: Marie tells the story of her life, the marchioness gives her consent and unites
her with Tonio. (Final chorus: “Hail to thee, O my country.”)
Fantastic opera in three acts by
Anton Rubinstein. Libretto adapted from the poem of Lermontoff by Wiskowatoff.
CAST: Prince Gudal—Basso. Tamara, his
daughter— Soprano. Prince of Sinodal, her betrothed—Tenor. Tamara’s
nurse-—Alto. An old servant of the Prince of Sinodal. The Demon—Basso. An
Angel—Soprano. Place, in the Caucasus. Produced in Russian at St. Petersburg in 1875;
in German at Hamburg, 1880.
ACT I. Storm in a wild country. The angel tells the
demon that he may gain heaven through love, but is answered with derision. The
supernatural powers disappear and the storm ends. Tamara appears with her maidens; to her
alone is the demon visible, who plants restless thoughts in her brain.
Change of scene: Mountains. The Prince of Sinodal is on the
way to his bride Tamara. As he sleeps, Tartars persuaded by the demon fall upon and kill
the prince.
ACT II. Hall of the palace of Gudal. The marriage
feast is prepared, when the sad news of the death of the prince is brought. The demon
again tries to ensnare Tamara, but she demands to be allowed to enter a convent. The old
Prince Gudal resolves to take vengeance for the murder of the prince.
ACT III. The convent. Again the demon approaches his
victim, but is driven away by the angel.
Change of scene: The convent cell of Tamara. The demon again
appears, asking for her love, and Tamara can no longer withstand him. As she receives his
kiss, she sinks dying to the ground. The demon believes he has triumphed, but is driven to
flight by the angels, who carry Tamara to heaven.
Opera in three acts by Arnold
Mendelssohn. Libretto by Herman Wette.
CAST: Ruppert, a rustic—Tenor. Frieder, innkeeper
and village magistrate-—Basso. Anna, his daughter—Soprano. Yunker Kunz von
Knaufen—Baritone. Satan— Basso. Fran Hellya, his grandmother—Contralto.
Place, a village in lower Germany; hell. Time, the Middle Ages.
ACT I. Ruppert woos Anna. (Duet: “Hardly has the
cock crowed.”) The girl refuses mockingly. He fears that her father will sell her to
Kunz von Knaufen, and both make merry over the old and vain Yunker. Believing that Anna
loves him, Ruppert breaks out in the ecstatic song (“Hurrah, she loves me”), but
is roughly treated by the Yunker and the guests accompanying him, and by Anna’s
father, who resents being addressed as father-in-law. As Anna refuses to take his side,
Ruppert flies in such a rage that Frieder, with curses, drives him from the house. While
still angry he meets Satan and agrees to his proposal to serve one year in hell, after
which Satan will help him to vengeance. He must likewise swear never to wash, to let his
hair, beard and nails grow, and not to change his clothes. Only the kiss of a pure maiden
can free him from his compact with Satan. Despite the warnings of the good spirits he
consents, after Satan has shown him the image of Anna in the arms of the Yunker. The imps
wrap him in the skin of a bear and lay his clothes at the side of the brook so that Anna
will think he has drowned himself. Amid thunder and lightning he and Satan descend into
hell.
ACT II. Hell’s kitchen with large kettles under
which fire is lighted. Ruppert, now a dirty frowsy bear, places wood under the fire and
performs other menial tasks (Song: “In his workshop”), the hell maidens warn him
against Frau Hellya, and she forbids him to sing. He is tired of his life in hell and
wishes to return to earth; she laughs at him: he is unaware of his uncouth appearance and
Frau Hellya informs him that Anna would flee at his approach. Finally she shows him
Anna’s picture, which only strengthens his resolve to return. (Infernal ballet with
chorus.) Ruppert declares to Satan that the compact is fulfilled and asks for his reward:
the promised power to obtain vengeance against his enemies. Satan laughs at him and tells
him that to achieve this he must himself become a devil; but shows him Frieder and the
Yunker, who have since died and are forgotten, in the torments of hell. Deeply agitated,
he regrets having turned from God and asks for mercy; he desires to do penance for his
sins, refuses all further reward and resolves to obtain a kiss of a pure maiden and secure
his release. At last Satan shows him his image in the mirror and he sinks horror-stricken
to the ground.
ACT III. At
the brookside. The people of the village celebrate the harvest festival. (Chorus:
“The seeds, they fall.”) Ruppert, followed by Satan, joins them; all flee in
terror. Satan, believing that no maiden can be found to free Ruppert, derides him, and
expresses a parting hope soon to see him back in hell. Left alone, Ruppert in despair
throws himself to the ground, when the song of the good spirits is again heard (,,Do not
fly to distant lands”), and he folds his hands in prayer. As Anna approaches, pale
and distressed, Ruppert hides in the reeds. She is seeking death and is singing a farewell
song (“Summer has passed”), when she hears her name called. She recognises
Ruppert’s voice and confesses that she has never forgotten him—but thinks she
only hears his spirit voice. Ruppert tells her how lie has suffered, and in despair she
determines to plunge into the water. He confronts her joyfully, and she is about to throw
herself into his arms when Satan throws the full light of the moon upon him. As she
falls senseless, Satan carries him back to hell.
Change of scene: In hell. Ruppert asleep, watched by evil
spirits, who deride his plight, while the good spirits from the height endeavour to
console him with cheering words. The voice of Anna is heard without, praying to God that
Ruppert may emerge victorious from the conflict. Hellya, in the guise of a demon woman,
tries to drive her away; at her behest the demons disappear, the clock strikes twelve,
darkness sets in. Hellya calls upon Satan and is changed to a magnificently beautiful
woman, so that Ruppert awaking is dazzled by her splendour. She tries with every art to
entwine him in her net and with Satan’s aid win him to hell for all time.
(“Come, dearest, come.”) Ruppert almost yields. Strengthened by the songs of the
good spirits he resists. (“My soul rests in God.”) The portals of hell open and
in beauteous splendour Anna appears. She approaches him rapidly, kisses him with closed
eyes on the mouth, whereupon the ugly husk falls from him and she leads him forth through
the ranks of the staring demons, while hell sinks from beneath their feet. At the village
brook the lovers are once more united, and to the chime of bells and the song of the good
spirits they proceed to the church.
Opera in three acts by Siegfried
Wagner. Libretto by the composer.
CAST: Hans Kraft—Tenor. Meichior
Frölilich—Basso. His daughters, Lena—Soprano; Gunda—Soprano,
Luisel—Soprano. Pastor Wippenbeck—Baritone. Nikolaus Spitz—Tenor.
Anna—Mezzo-soprano. Colonel Muff el— Basso. Kaspar Wild—Basso. The
Stranger—Baritone. The Devil—Basso buffo. Place, in Bayreuth. Time, the Thirty
Years’ War. First produced at Munich, 1899.
ACT I. Hans Kraft, returned from the war, finds his mother
dead, and is refused shelter by the peasants. He attempts to enforce his demands, but the
devil, who has been listening, laughs at him and offers him the position of stoker in
hell. He is to serve for one year and receive all the gold he wishes, but should a soul
escape he must suffer the penalty imposed by Satan. After a short interval for reflection
he takes the oath and they descend to hell. The devil points out the field of his labours
and leaves him. As Hans stirs the fire a “stranger” appears and induces him to
cast dice. They dice for souls and Hans loses them all. Before departing the stranger
promises to assist Hans with word and deed when his punishment has ended. Amid terrific
thunder the devil appears to find all the souls gone. Hans is punished severely by being
changed to a blackamoor and compelled to wander the earth in that shape. He can only be
released when he finds a maiden who will love him and remain true to him for three years.
At the devil’s command a number of demons disfigure Hans.
ACT II. Hans, by reason of his appearance, is taken
for the devil by the peasants until they see that he has no cloven foot. The devil has
given him a bag from which flows untold gold. He is very liberal with his money, and pays
the tavern score of the burgomaster, who in return promises him the hand of his daughter.
During the night the innkeeper attempts to steal the money bag, but a number of demons
emerge from it, and he flees shrieking. Hans laughingly comes to his assistance. The next
morning the burgomaster arrives with his daughters, but the two oldest make game of Hans
and deride him with mocking song. Luisel, the youngest, notices the tears in his eyes and
takes pity upon him. She divides his ring into two pieces and ties one piece around her
neck, giving Hans the other. If she wears it three years and it is still bright Hans will
be released. Hans again warns her, but she remains firm. The innkeeper has summoned
assistance and the peasants advance threateningly toward Hans. Moved by the prayers of
Luisel they allow him to depart.
ACT III. Scene 1. Three years have elapsed. The imps
endeavour to change Hans back to his former shape. He awakens to find the glittering ring
in his hands. Since he has been saved, the devil must grant him three wishes, but lie is
moderate in his demands.
Scene 2: At the rising of the curtain Hans and the stranger
are seen walking together. Following the advice of the stranger Hans becomes the saviour
of Plassenberg by delivering it from the power of Wallenstein. As he approaches a.
victorious triumphal motif announces his coming. He finds Luisel faithful and waiting for
him. Unrecognised he approaches her; when she learns of his identity she falls joyfully
into his arms and they are betrothed. The peasants recognise him with joy, and a merry
chorus ends the scene.
DER EVANGELIMANN
(The Evangelist)
Musical drama in two acts by
Wilhelm Kienzl. Libretto by the composer, adapted from the work of Dr. Meiszner.
CAST: Friedrich Engel—Basso. Martha, his
niece— Soprano. Magdalena, her friend—Alto. Yahannes Freudhofer, teacher at St.
Othmar—Baritone. Matthias Freudhofer, his brother, clerk at the convent—Tenor.
Zitter-bart—Tenor buffo. Scbnappauf—Basso buffo. Aibler— Basso. His
wife-Mezzo-soprano. Frau Huber—Soprano. Hans—Tenor. Time, in the nineteenth
Century. Place, convent of the Benedictines at St. Othmar, Vienna. First production,
Berlin, 1895.
ACT I. Courtyard of the convent at St. Othmar.
Yohannes informs Engel that Martha loves Matthias, the clerk of the convent. Engel orders
him to leave the convent at once. The citizens amuse themselves playing ten pins. Matthias
asks Magdalena to procure him an interview with Martha, to bid her a last farewell.
Yohannes, who is also in love with Martha, overhears the conversation and plots the ruin
of the lovers. Fire breaks out while they are taking leave of each other in the arbour at
night. Matthias, who helps to fight the flames, is arrested as the incendiary.
ACT II. Vienna, thirty years later. Part I. A
courtyard. Matthias arrives as Evangelimann and meets Magdalena, who is nursing Yohannes,
who is seriously ill. They recognise each other, and he tells her that he has served a
twenty-year sentence for incendiarism, and when released heard that Martha had drowned
herself. He had turned Evangelimann for that reason, and owing to the fact that he had not
been proved:nnocent of the crime.
PART II. A day later; living-room of Yohannes. Hearing
the voice of Matthias, he asks that he be brought to his bedside. He does not recognise
him, and in his dying confession acknowledges that he was the real incendiary. Matthias
recognises Yohannes as his brother and pardons him. Yohannes dies.
Opera in three acts by Carl Maria
von Weber. Libretto by Friedrich Kind.
CAST: Ottokar, Duke of Bohemia—Baritone. Kuno,
head ranger—Basso. Agatha, a young relative—Soprano. Caspar and Max,
rangers—Basso and Tenor. Samiel, the black ranger—Speaking part. A
hermit—Basso. Kilian, a rich peasant—Tenor. A bridesmaid—Soprano. Time,
immediately following the Thirty Years’ War. First performance, Berlin, 1821.
The young ranger Max loves Agatha and is to become the
successor to Kuno, the head ranger. A test of skill in marksmanship is requisite, the
trial to be held the following day. A preliminary scene, not usually represented on the
boards, of the consecration of the bridal wreath consists of a dialogue between Agatha and
the hermit.
ACT I. The target shooting. Max has failed in the
test, and the young peasant Kilian is proclaimed “King of marksmen.” (Chorus:
“Victory, long live the master”; and the good-naturedly mocking song of Kilian:
“Let him gaze on me as king.”) As Max has had ill-luck for several days he
easily falls under the influence of Caspar, who also loves Agatha, and persuades Max to
cast some magic bullets to be used in the contest. Caspar, whose soul on the morrow is to
be forfeited to the devil, by the sacrifice of Max, hopes to obtain three more years of
grace. (Trio, Kuno, Caspar, Max and chorus: “O the sun, fearsomely it rises.”)
Left alone, Max, at the thought of losing Agatha through failure at the shooting contest,
sinks into deep melancholy. (Aria: “Through woods and fields.”) Caspar with weird incantations tries to imbue him
with courage. (Song: “Here in this vale of tears.”) He hands him his gun loaded
with one of the magic bullets, and to his own astonishment Max kills an eagle soaring at a
great height. He resolves to go with Caspar at midnight to the terrible wolf’s gorge
to cast the magic bullets in order to win the prize. Caspar, left alone, triumphs. (Aria:
“Silence, let no one him warn.”)
ACT II. Agatha’s chamber. Agatha is filled with
sad forebodings. She sings of her meeting with a hermit in the forest, who told her that
in some danger which menaced her, she would be protected by her bridal wreath. At the
moment when Max shoots the magic bullet, the picture of Agatha’s ancestor hanging
against the wall falls to the floor, slightly wounding her. The lively AAnnchen replaces
it. (Duet “Rogue, hold fast, I will teach you.”) Agatha is still more disturbed,
but Ännchen endeavours to cheer her with jests. (Arietta: “Comes a pretty boy this
path.”) Agatha left alone awaits Max with the news of his success, which she
decides to interpret as a favourable omen. (Recitative: “My eyelids droop in
slumber”; Prayer: “Low, low, sacred words”; Scene: “All have long
since gone to rest”; and Aria: “All my pulses beat.”) Max arrives; he
acknowledges that he has not been the victor, but explains that he has killed a deer,
which he will bring this evening from the wolf’s gorge. Notwithstanding the prayers
of Agatha and Ännchen, Max departs. (Trio: “What, oh horror! there in the
wolf’s gorge?”)
Change of scene: The wolf’s gorge at night. Caspar
calls upon the black ranger for assistance, and prepares the casting of the magic bullets.
Max arrives and is warned by the spirit of his mother to abandon the project. Samiel
conjures up the shape of Agatha, representing her as drowning herself in despair at
Max’s ill success, whereupon he plunges into the gorge and with demoniacal noise the
casting of the bullets is begun.
ACT III. Agatha’s chamber. Agatha in prayer.
(Aria: “Through clouds obscure still shines the sun in radiant sky.”) Her doubts
have returned, owing to a dream of ill omen, but Ännchen again cheers her with laughter
and song. (Romance and aria, subsequently added by Weber: “My deceased cousin had a
dream.”) The bridesmaids arrive with the bridal wreath. (Song: “We wind round
thee the bridal wreath.”) When Ännchen opens the box, however, she finds within a
funeral wreath, which still further increases Agatha’s misgivings. She is somewhat
comforted by the memory of the hermit’s promise that she shall be protected by her
bridal wreath.
Change of scene: Meeting of the marksmen.
Max has discharged six of his bullets successfully and
Caspar is triumphant, knowing that the course of the seventh will be guided by the Evil
One.
Change of scene: The prize shooting.
Duke Ottokar awaits Max at his tent. (Chorus of foresters:
“What excels the pleasures of the chase.”) Max is now to shoot a dove. As he
takes aim, Samiel, the black huntsman, appears to guide the bullet, and causes Max to fire
at Agatha, who is apparently wounded. (Finale: “See, oh see,
he shoots his bride.”) Her bridal wreath turns the bullet aside and she revives.
Caspar, seeing a holy hermit by her side, realises that he has failed. Samiel grasps him
instead of Max, whereupon Caspar expires with a curse upon his lips. Duke Ottokar orders
the corpse to be thrown into the wolf’s gorge, receives the explanation of Max, and
touched by his repentance and the prayers of the hermit (“Who puts on him this
dreadful ban”), inflicts upon him but a slight penalty. A year of trial is imposed,
the prize shooting abolished and a promise given that at the expiration of the time of
probation the duke himself will place the hand of Agatha in that of Max.
In three acts by Siegfried Wagner.
CAST: Gertrud, innkeeper in the village. Verena, her
daughter. Old Eckhart. Trutz, Fink, Kuummel, Friedrich, strolling singers and actors. The
count. The countess. Jeannette, maid. Jean, Knorz, servants. Käte, wife of Trutz.
Seelchen, a hobgoblin. Hobgoblins, people, guests. Time, beginning of the nineteenth
century. First production, Hamburg, 1904.
ACT I. Scene concealed by fog. Verena asleep at a
table in the open. The hobgoblin Seelehen whispers into her ear that she must set him at
liberty. He lays upon the table a magic stone. Verena finds the talisman and attaches it
to a chain which she has received from her lover, the actor Friedrich. She exhibits it in
her delight, and the love-lorn countess desires to possess it. When Verena refuses to give
it up, it is taken from her by her mother, who gives it to the countess and is lavishly
rewarded. The countess, who is in love with Friedrich, a strolling singer, is happy in his
society, as her husband has invited him to a festival at the castle. Verena is not
invited, and is consoled for the neglect by her father’s friend old Eekhart.
ACT II. Park of the castle. Verena, who follows
Friedrich, meets him at the festival, but is coldly received and neglected by him. When
the lascivious count annoys her with his attentions she stabs him with a dagger and is
brought by honest Trutz to old Eckhart for protection. In the meantime the countess
attempts to captivate Friedrich; as he is trying to restrain the coquettish dame he breaks
Verena’s chain, to which the countess has attached the magic stone, and takes
possession of it. The countess cries for help and accuses Friedrich of theft. The count,
seriously wounded, is brought in, and to shield himself accuses Trutz of the attempted
murder. Trutz and Fried-rich escape, the stone is thrown into the sea and the hobgoblin
again recovers his property.
ACT III. A wood in sunlight. Eckhart accompanies the
exhausted Verena. The servants who are looking for Trutz and Friedrich are persuaded to
take the wrong path, and Verena resolves to release the hobgoblin by the sacrifice of her
own life. Eckhart explains to her that the hobgoblins are the souls of unborn children.
Change of scene: A moonlight night. The interior of a barn,
in which the strolling players have found refuge. When Trutz and Friedrich quarrel over
Verena they are attacked by the servants of the count. Verena receives the dagger intended
for Friedrich, dies and by her death the hobgoblin Seelehen i free.
Comic opera in three acts by
Lortzing. Libretto adapted from Kotzebue’s comedy, “The Roebuck,” by the
composer.
CAST: Count of Eberbach—Baritone. The Countess,
his wife-—Soprano. Baron Kronthal, her brother—Tenor. Baroness Freimann, a young
widow, sister of the count— Soprano. Nanette, her maid—Mezzo-soprano. Baculus,
schoolmaster—Basso. Gretchen, his bride—Soprano. Pankratius,
steward—Baritone. Place, the castle and adjoining village. Time, 1808. First
production, Leipsic, 1842.
In order to comprehend the action it is necessary to know
that the Baroness Freimann does not recognise her brother, the Count Eberbach, and
likewise Baron Kronthal is not acquainted with his sister, the countess, as they have been
separated for a considerable time.
ACT I. The village green, schoolhouse and the house
of Gretchen. (Chorus: “As merry and lively as to-day.”) Baculus is about to
celebrate his marriage with Gretchen. (Song: “A B C D bachelorhood is painful.”)
A letter from the count arrives dismissing the school-teacher. He had shot a deer for
consumption at the feast, had killed it in the dark, and the news coming to the ears of
the count caused his dismissal. Baculus would like to send Gretchen to the castle to
obtain the count’s forgiveness; but as the count’s amatory nature is known he
cannot make up his mind to do so. (Duet: “In this desperate case nothing will do but
to ask.”) But help is near. The somewhat emancipated Baroness Freimann appears in the
dress of a student accompanied by her maid, Nanette, as her servant. (Aria of the
baroness: “Upon life’s billows.”) When she hears the cause of the trouble
she offers to go with Baculus to the castle in the dress of Gretchen. (Quartet: “What
think you, dear friend ?“) The baroness departs to assume her disguise, and the
count, who has been hunting, arrives in the village accompanied by his brother-in-law,
Baron Kronthal, who is playing the rôle of Master of Horse unknown to his sister.
(Hunting song: “See the merry huntsmen.”) When the baroness steps foward dressed
in the costume of a handsome peasant girl she immediately attracts the attention of the
gentlemen. (Finale: “Let us go home,” with the song of the baroness: “I am
a simple child from the country.”) The count invites her and the rest of the company
to a feast at the castle on the morrow.
ACT II. A haIl of the castle with a billiard table.
The countess is in the adjoining room and is reading aloud a tragedy of Sophocles, and the
servants are seated on the stage listening. (Chorus: “Do not talk! Pay
attention!”) When Pankratius dismisses the people Baculus enters. The steward gives
him a book of Sophocles, and with its assistance he hopes to win over the countess. She
arrives with the baron, and has not yet recognised him as her brother. He jestingly
declares his love. (Duet: “I will remain and see you always.”) Baculus arrives
to plead with the countess, but is ordered out by the count, when the baroness, dressed as
Gretchen, arrives and informs him that she is the bride of the schoolmaster. (“What
do I see, out of my sight.”) Both the count and the baron now attempt to remain alone
with the supposed peasant girl, and the baron is successful, as Baculus falls asleep. He
asks her to leave the schoolmaster for him. (Duet: “Your wife? My dear wife.”)
The count now also approaches with plans of conquest, and in order to engage the baron
plays a game of billiards with him. Baculus awakes and sings a melody from the song book
in his pocket. The count, while playing, puts out the Lights; when both gentlemen try to
grasp the girl, the countess, attracted by the noise, enters. She takes the peasant girl
to her room, to the alarm of the schoolmaster, who thinks the baroness is a student.
(Quintet: “I have number one.”) The baron, however, is seriously in love and
offers the schoolmaster five thousand dollars to cede his rights, to which he agrees.
(Aria of Baculus: “Five thousand dollars ! Am I awake or asleep?”)
ACT III. The castle park. The count appears. (“How
sweetly shines the sun of May”; Aria: “Gaiety and joy.”) The young peasant
girls congratulate the count on the festival. He thanks them by dancing with them, but
they are driven to flight by the arrival of the countess. Baculus arrives and brings the
baron his purchased bride; but as it is the real Gretchen, the baron demands the other
one, whom, however, the schoolmaster thinks is a man. (Terzett: “Now, dear Gretchen,
confess freely and without shame.”) When the baron hears the truth he chides the
baroness, who discloses herself. She is interrupted by the countess, who leads Gretchen
away, of which the count takes advantage to kiss the baroness, which she allows him to do,
as he is her brother. She then discloses her identity, whereupon the count and the
countess, who also ascertains that the supposed master of horse is her brother, designate
her affection as the “Voice of Nature.” At the close Baculus and all the school
children appear and sing in praise of the count. As it is ascertained that the supposed
Roebuck was a donkey belonging to the schoolmaster, which had strayed in the dark, Baculus
is reinstated and is now enabled to marry his Gretchen, and the baron weds the baroness.
THE DEVIL’S PORTION
(Carlo Broschi)
Comic opera in three acts by
Auber. Text by Scribe.
CAST: Ferdinand VI of Spain—Baritone. Maria
Theresia, his wife-—Soprano. Rafael d’Estuniga—Tenor. Gil Vargas, his
steward—Basso. Carlo Brosehi—Soprano. Casilda, his sister—Soprano. Grand
Inquisitor—Basso. Place, near Madrid and Aranjuez. Time, 1765. First production,
Paris, 1845.
The king is melancholy and is kept in this state of mind by
the Grand Inquisitor, who desires to separate him from his wife, who is of more liberal
opinions. Ferdinand is willing, as he loves Casilda, but she escapes him and he believes
her dead. The queen receives unexpected assistance in her efforts to amuse the king
through Casilda’s brother, the singer Carlo Broschi, who enlivens the king’s
mood by his songs, and who succeeds in thwarting the plans of the Grand Inquisitor. He
also ascertains that young Rafael loves his sister Casilda, and that it is his intention
to form a compact with the devil in order to attain a position at court. Carlo introduces
himself to Rafael as the devil, agrees to share with him and procures for him the position
of colonel. The king attaches Rafael to his person, believing him to be the husband of
Casilda, whom Ferdinand had supposed to be dead. The timorous Rafael reveals the entire
plot to the king, and the Grand Inquisitor seems about to gain the victory, when Carlo
explains that he has only acted in this manner to disclose the wiles of the king’s
enemies. Ferdinand gives him credence and Rafael, who in the meantime has inherited a
large fortune, is now united by the king to Casilda.
ACT I. A wood with convent and inn. (Aria of Rafael:
“I see her before me”; Recitative and aria of Carlo: “Without a friend on
this wide earth”; Romance of Casilda: “Mute and mild”; Duet, Casilda,
Carlo: “Oh, my friend, my only support !“ Carlo’s romance: “Close
thine eyes, my lovely child,” and scene between the king, queen and Carlo;
Hunter’s chorus: “The pleasure of the chase”; Recitative and incantation
aria of Rafael: “Asmodeus, spirit of the deep, appear.” Scene between Carlo and
Rafael.)
ACT II. Chamber in the palace in Madrid. (Chorus,
scene and song of Carlo: “Signora amalata, me voilà, I am here”; Scene, chorus
and song of Rafael: “What is the use of wisdom and genius”; Quartet, Casilda,
king, queen and Carlo: “Pale fear makes me tremble”; Duet, Casilda, Rafael:
“What will he say to me”; Finale, ensemble: “Almighty love, protect
me.”)
ACT III. A chamber in the garden. (Carlo’s aria:
“My true messenger”; “Oh let me not be afraid”; Duet, Casilda, Rafael:
“As if the devil were near”; Finale, ensemble: “It is too rash”;
Closing chorus: “Sweet fortune, descend on us.”)
Comic opera in three ads by Johann
Strauss. Text by Haffner (from the French; but the action in general preceding the second
act is the same as the comedy of Benedix, “The Prison”).
CAST: Rosalinde—Soprano.
Adèle—Mezzo-soprano. Eisenstein—Tenor. Alfred—Tenor. Dr. Blind—Tenor.
Falke—Baritone. Frank—Basso. First production, Vienna, 1874.
The Baron von Eisenstein has been committed to prison for
eight days for insulting an official, partly through the inefficiency of his attorney, the
stuttering Dr. Blind, and is to begin his imprisonment this day. His friend, Notary Falke,
however, persuades him to postpone it until the morrow and to accompany him to a ball at
the residence of Prince Orlofsky, where he will meet the handsome ladies of the opera
ballet. Falke had been at a masked ball the previous winter, costumed as a bat, and had
been compelled by Eisenstein to walk to his home in broad daylight to the joy and
amusement of the populace. He hopes to find an opportunity for vengeance at the coming
ball. Eisenstein accepts the invitation, and telling his wife he is going to prison, and
taking a mournful farewell of her and the maid Adèle, hastens with Falke to the ball.
After his departure Rosalinde, his wife, is visited by a former admirer, the singing
teacher, Alfred, whose behaviour is rather free. The night has set in and Frank, the
governor of the prison, has come to take Eisenstein to jail. He finds Alfred taking his
ease attired in a smoking jacket, and he, in order not to compromise Rosalinde, moved by
her prayers, is induced to represent himself as Eisenstein and to accompany Frank. Falke,
who has received plein pouvoir from Prince
Orlofsky, has also invited the governor of the prison, Frank, the maid Adèle, and to
complete the joke, Rosalinde, to be his guests at the ball. The latter, in order to
observe her husband, appears masked. She is introduced by Falke as an Hungarian countess,
and succeeds during an amorous tête-à-tête in abstracting from the pockets of her
husband his valuable watch, to use in the future as a corpus delicti. Frank has paid court to Adèle, and
the next morning they all find themselves in prison, when the confusion increases, for
Falke has introduced Eisenstein as Marquis Renard, Frank as Chevalier Chagrin and Adèle
as an actress. It is still further increased by the jailer, Frosch, who has profited by
the absence of the prison director to become gloriously drunk. Adèle arrives to obtain
the assistance of the Chevalier Chagrin, Eisenstein to begin his prison term, Alfred wants
to get out of jail, Rosalinde to commence action for divorce, and Frank is still
intoxicated. Frosch locks up Adèle and her companion, and the height of the tumult has
been reached when Falke arrives with all the guests of the ball and declares the whole as
an act of vengeance for the “Fledermaus.” Everything is amicably arranged, but
Eisenstein is compelled to serve his full term in jail.
ACT I. Apartments of Eisenstein. Alfred serenades his former
sweetheart. (“Dove, that has escaped.”) Adèle has received the invitation to
the ball (“My sister Ida writes to me”), and asks for leave of absence.
Eisenstein comes to Rosalinde in altercation with his attorney. (Terzett: “Well, with
such an attorney.”) Falke brings the invitation to the ball. (Duet: “Come with
me to the souper.”) Eisenstein’s
farewell to Rosalinde and Adèle. (Terzett with the refrain: “Oh dear, oh dear, how
sorry I am.”) Alfred arrives. (Finale, drinking song: “Happy is he who
forgets”; Rosalinde’s defence when Frank arrives: “In tête-à-tête with
me so late,” and Frank’s invitation: “My beautiful, large
bird-cage.”)
ACT II. Summer house in the villa Orlofsky. (Chorus: “A
souper is before us.”) Departure of the
chorus, introduction of Eisenstein and song of the prince. (“I love to invite my
friends.”) Eisenstein meets Adèle. (Ensemble and song of Adèle: “My dear
marquis.”) Falke leaves Rosalinde to Eisenstein. (Watch duet: “My eyes will soon
be dim.”) The company approaches, Rosalinde is introduced as an Hungarian.
(Czardas: “Sounds from home” and finale. Drinking song: “In the fire stream
of the grape”; canon: “Brothers, brothers and sisters”; Ballet; waltz
finale, “Ha, what joy, what a night of delight.”)
ACT III. Office of the governor at the prison. Appearance of
Frank. (Melodrama; Couplet of Adèle: ,,I am an innocent from the country”; Terzett
between Rosalinde, Eisenstein, Alfred: “A strange adventure”; and finale,
“Oh bat, oh bat, at last let thy victim escape.”)
Opera in three acts by Wagner.
Text by the composer. CAST: Hans Sachs, cobbler—Baritone. Walther von Stolzing, a
young knight—Tenor. Veit Pogner, goldsmith—Basso. Eva, his
daughter—Soprano. Magdalena, her nurse—Alto. Beckmesser—Basso buffo.
Kothner, baker—Basso. David, apprentice of Sachs—-Tenor. A night
watchman—-Baritone. Eight other master singers— Tenori and Bassi. Place,
Nuremberg. -Time, the sixteenth century. First performance, Munich, 1868.
ACT I. The interior of St. Catharine’s Church. Walther
von Stolzing, a young knight, sees Eva in the church and asks her whether she is already a
bride. Eva takes a fancy to the knight, and her nurse, Magdalena, explains that Eva’s
father, the goldsmith and master singer Veit Pogner, will give her hand in marriage to the
victor at the prize singing on St. John’s day. Magdalena induces her lover, the
apprentice David, to instruct the knight what steps he must take in order to participate
in the singing. David, who has come to that part of the church with the other apprentices
to take part in the free singing (Freeing), in
his inexperience gives the knight some very curious and conflicting advice. But love
triumphs, and notwithstanding these strange instructions Walther makes application to
the assembled mastersingers to take part in the competition. Pogner announces his
intention as to Eva to the assembled singers. He pays no heed to the advice of Sachs to
give the people a voice in the matter, but leaves the decisions to the guild. Pogner
designates Waither von Stolzing as one of the wooers of Eva, which displeases IBeckmesser,
the “writer,” and Wächter, the “marker,” who are rivals for her hand.
Upon being questioned as to his teachers, the knight mentions the Minnesinger, Walther von
der Vogelweide as his instructor in poetry and the birds of the woods as his teachers in
singing. As the masters agree to admit Waither, Pogner takes his station behind a curtain,
and Walther begins his song. Beckmesser maliciously notes one error after another, so that
the decision of the guild is: “Badly sung and spoken.”
ACT II. Street between Pogner’s house and the corner
house, in which Hans Sachs has his workshop. Magdalena is informed by David of
Walther’s failure, and in her disappointment forgets her usual custom of sharing the
contents of her basket with David, which arouses the derision of the apprentices. Pogner
arrives with Eva, but the latter is afraid to inquire for Walther. Hans Sachs, upon whom
Walther’s song has made a deep impression, takes a seat with his tools before the
door of his house to work in the pleasant evening upon a pair of shoes for Beckmesser.
Eva, who has always been his pet, questions him, and he adroitly ascertains that she loves
the knight. When Walther appears she impulsively rushes toward him, and after some talk
promises to fly with him immediately. As they are about to leave, Hans Sachs, apparently
without design, illumines the street with his lantern and defeats their purpose. The
loving couple retreat to the shadow of Pogner’s house just as Beckmesser appears with
a lute to serenade Eva. Sachs interrupts Beckmesser by his loud hammering and finally
agrees to allow the writer to sing, while he himself marks each error by a thump upon the
shoe. Beckmesser begins, but makes so many errors that from the repeated knocks Sachs
finishes the shoe. The neighbours are attracted by the noise; David appears with a stick
and belabours Beckmesser, whom he takes for a rival for the favour of Magdalena. The other
apprentices take advantage of the opportunity to inaugurate a general scrimmage. In the
confusion Walther endeavours to escape with Eva, but Sachs, discovering them, drags
Walther into his workshop, while Eva runs to her home. Quiet is restored, the street is
empty, the moon rises, and the night watchman, who is supposed to keep order, but who has
been sound asleep during the disturbance, calls out the hour in a droning voice.
ACT III. A room in the house of Sachs. -The master sits
studying in his arm-chair. He is in good humor and forgives the repentant David for having
started the disturbance on the street. David congratulates the master upon his
saint’s day (Johannes). Walther, who has spent the night with Sachs, relates an
agreeable dream, and upon Sachs’s suggestion frames it in verse, in order to produce
a new prize song. Walther sings two bars of his song, and Sachs, satisfied, writes them
down. The knight departs to compose another bar and to dress for the festival. Beckmesser,
thoroughly beaten, finds the two verses in the hand-writing of Sachs and places them in
his pocket. He shows them to the master as an evidence of his pretensions to the hand of
Eva, and Sachs allows him to carry off the incomplete song. Eva arrives with the excuse of
an order for a pair of shoes, and when Walther, finely attired, sees her, he improvises
the third verse of his song. The enchanted Sachs calls Magdalena and David, boxes the
apprentice’s ears in his joy, thereby advancing him to journeyman and names the prize
song “-The lay of morning’s dream.”
Change of scene: -The feast of St. John in the meadow near
Pegnitz. Procession of the guilds, young girls from Fuurth and entrance of the
mastersingers. Hans Sachs is applauded by the people, who love him; he thanks them, and
the singing begins. The apprentices improvise a stage of sod for the singers and
Beckmesser begins by singing the two verses of Walther’s song, but so clumsily that
he is well laughed at. When he angrily points out Hans Sachs as the author of the
composition the latter denies it and asks Walther to sing. Walther ascends the sod
platform and sings the prize song amid general enthusiasm. -The mastersingers wish to
make him a member of their guild on the spot, but he courteously declines the honour,
saying that he is entirely satisfied with the hand of Eva. Sachs closes the contest by
praising German poetry and song. “Do not despise the masters,” he wisely
advises, to which the people give ready assent.
Comic opera in three acts by
Meyerbeer. Libretto by Barbier and Carré.
CAST: Hoël, a goatherd—Basso. Corentin,
bagpiper—Tenor. Dinorah—Soprano. Huntsman—Basso. A harvester—Tenor.
First shepherd boy—Soprano. Second shepherd boy—Mezzo-soprano. Place, Bretagne.
First production, Paris, 1859.
The farm of Dinorah’s father has been totally destroyed
by a thunderstorm on the day she was to be married to the goatherd, Hoël. The village
magician, Tonik, tells the shepherd of a lost treasure which can be recovered on condition
of living one year in a lonesome glen. He, however, who first touches the treasure must
die. Hoël disappears for a year, taking with him the coward Corentin, whom he hopes to
persuade to touch the treasure first. Hoël encounters Dinorah, who, believing herself
discarded by him, has become insane and now roams with her goats upon the mountains.
During a storm the dam bursts, and the girl having been swept away by the flood, on being
saved recovers her sanity. Hoël relinquishes his search for the treasure and remains with
Dinorah. -The story is preceded by an introduction, which forms the groundwork of the
libretto.
ACT I. Chorus during the overture. Near the hut of Corentin.
Dinorah with her goat crosses the stage. (Duet with Corentin: “Blow, blow
lively.”) Hoël seeks out Corentin and resolves to make use of him to secure the
treasure. (Aria: “Mighty abyss of magic.”) Corentin departs with Hoël.
ACT II. A wood by moonlight. Dinorah’s shadow dance.
Change of scene: A rocky gorge with a dam. -Thunder. The dam
breaks, causing a flood. Hoël is making his way to the glen with Corentin, who, hearing
from Dinorah that he who first touches the treasure must die, refuses to follow the
shepherd. Corentin proposes that the insane Dinorah, whom Hoël does not recognise as his
bride, shall be sent to touch the treasure. When Dinorah, pursuing her goat, falls into
the flood, she is recognised by Hod, and he hastens to the rescue.
ACT III. The country. Idyllic scene of herdsmen, mowers and
huntsmen. Hod brings Dinorah (Romance: “You are avenged by my. remorse.”) As the girl
awakens she recovers her reason. The chanting of the pilgrims is heard. Hoël determines
to cease hunting for the treasure, and proceeds with Dinorah to the altar to be married.
Comic opera in one act by Bizet.
Libretto by Gallet.
CAST: Harun, a rich young Turk—Tenor. Splendiano, his
tutor—Basso. Djamileh, his slave—Mezzo-soprano. A dancer. A slave dealer. Place,
the palace of Harun in Cairo. First production, Paris, 1872.
Djamileh is the slave of Harun, a young and rich but blasé
Turk, who is insensible to the charms of woman. (Aria: “To name you the wife who
fascinates me.”) Although Splendiano himself loves Dj amileh, he has a suspicion
that the slave is friendly to her master; and it is true that she is violently in love
with Harun. Nevertheless, the tutor concocts a plan to gain possession of Dj amileh. Harun
only retains his slaves for a short while, when he showers presents upon them, sends them
away and purchases others. A slave dealer appears, and Djamileh prays that as she is free
he sell her again to Harun. Splendiano, in order not to lose Djamileh, prevails upon the
slave dealer to agree to this. The love-breathing dance of an Almée excites Harun and his
friends, who have spent the evening in feasting and dicing. Harun sends Splendiano away to
join the gamblers. Alone at night he receives the new slave, who approaches veiled. As she
attracts him strongly he uncovers her face, and is so enraptured that his love is again
enkindled, and he draws her to his heart.
Opera in two acts by Dittersdorf.
Libretto by Stephanie.
CAST: Dr. Krautmann—Basso. Gotthold, his son—
Tenor. Stöszel, apothecary—Basso. Claudia, his wife— Soprano. Leonore, her
daughter—Soprano. Rosalie, Stöszel’s niece—Soprano. Sichel,
surgeon—Tenor. Sturmwald, retired captain—Tenor. Gallus, servant—Tenor.
Place, a small town. Time, the eighteenth century.
This light opera and farce (“The Village Barber”)
is occasionally produced at the present time on the German stage. “Doctor and
Apothecary” was first produced at Vienna in 1786.
Apothecary Stöszel and Dr. Krautmann are deadly foes, but
their children are in love with each other. Leonore is destined to marry the retired
Captain Sturmwald, but refuses to leave Gotthold, whose elopement with her has been
frustrated. Gotthold plays all sorts of tricks on the captain, but wins Leonore’s
mother to his cause. She pacifies the apothecary Stöszel, and through the efforts of the
lovers the friendship of the older men is renewed. Another pair of lovers in the opera are
the surgeon Sichel and Rosalie, the niece of Stöszel, who also attain their wishes.
ACT I. Quintet, Stöszel, Claudia, Sturmwald, Leonore,
Rosalie: “Oh, how wonderful, how refreshing”; Aria of Leonore: “How can joy
yet remain in my heart ?“ Sextet, Claudia, Stöszel, Sturmwald: “First we must
know,” in which Claudia makes extravagant demands on the captain for her dowry;
Gotthold’s aria: “When do you cease, beloved pain ?“ Duet: Sichel and
Gotthold seek to remove Stöszel from the house in order to elope with the girls.
Stöszel’s aria: ,,Galenus and Hippocrates”; Sturmwald’s aria: “Wine
is a specificum.”
Change of scene: A room in Stöszel’s house.
(Romance by Rosalie and Leonore: “Two maidens sat many a night”; Finale:
“Who takes time to think when wrecked.”) -The two young lovers come to carry off
the girls but are driven away by Claudia. When Stöszel corners them in their
hiding-place in the laboratory, they take advantage .of his slumber to take off his
wooden leg, remove his weapons and escape.
ACT II. A street. (Dr. Krautmann’s aria: “A doctor
is, upon my honour”; Duet, Gallus and Krautmann: “Damned be the method.”)
Change of scene: A room in Stöszel’s house. (Aria by
Stöszel: “Sooner shall she not be wedded”; Gotthold’s aria: “True
love will hope”; Sextet: “What conduct is that ?“) Sichel and Gotthold come
disguised as the captain and the notary to obtain the signatures to the marriage
contracts, but when Stöszel finds the real captain in the laboratory, the young people
run away, but have succeeded in gaining Claudia as a friend. (Leonore’s aria:
“Contentment is more than a crown”; Sturmwald’s aria: “-Thus we treat
the soldiers.”)
Change of scene: A street. (Strife duet between doctor and
apothecary: “You are a charlatan.”)
Change of scene: -The garden. (Rosalie’s aria:
“-To each one fortune is due”; Duet, Gotthold and Leonore: “Never will I so
far forget myself”; Finale: “Ha, powder and cannon.”) -The two couples want
to escape; Stöszel demands the arrest of the young people, but as Claudia takes their
part and Krautmann is inclined for peace, Stöszel finally gives his consent to both
marriages, and is reconciled with his old friend.
DON
GIOVANNI
(Or “The Marble Guest”)
Opera in two acts by Mozart.
Libretto by Da Ponte.
CAST: Don Giovanni—Baritone. -The Comthur. Donna Anna,
his daughter—Soprano. Don Octavio, her betrothed—Tenor. Donna
Elvira—Soprano. Leporello, servant to Don Juan—Basso. Masetto, a
peasant—Basso. Zerline, his betrothed—Soprano. Place, Seville. Time, the
seventeenth century.
There are a great many operas upon the subject of Don Juan
and his amours, but Mozart’s master work is unapproachable. It was first produced at
Prague in 1787. Originally music and dialogue were heard alternately, but at present the
secco-recitatives composed by Mozart are mostly in use.
ACT I. The garden of the Comthur. Leporello is keeping
watch before the house into which Don Giovanni has crept in order to seduce Donna Anna,
the betrothed of Octavio. (Aria: “No rest night or day.”) Donna Anna appears
with Don Giovanni, she wishes to know who he is and cries for help; but when the governor
appears, he is stabbed by Don Giovanni, who escapes unrecognised. (“Yes, I endangered
my life.”) Anna stands aghast and Octavio swears vengeance. (Recitative: “What
terrible sight before mine eyes”; Duet: “Away, away from my sight.”)
Change of scene: A public square before the palace of Don
Giovanni. Giovanni and Leporello arrive. (Recitative: “Now then, declare
yourself.”) Elvira, whom he has seduced, appears. Don Giovanni does not recognise her
and tries to make her acquaintance. (Sextet: “Where will I discover him?”
Recitative: “What now? Heavens, what do I see?”) As Don Giovanni realises who is
before him, he shoves Leporello to the front and hurries away. Leporello endeavours to
console Elvira by unrolling a list of Don Giovanni’s amours. (Aria: “Dearest
Donna, this little register.”) Elvira vows vengeance. (Recitative: “In what
darkness of sorrow,” and Aria: “-The ungrateful one leaves me.”) “When
she has departed, a marriage procession with Masetto and Zerline comes upon the scene.
(Duet and chorus: “Dear sisters, horn to love.”) Don Giovanni sees Zerline, who
pleases him, and he attempts to remove the jealous Masetto. (Recitative: “Oh, see,
Leporello, the pretty young people”; Aria of Masetto: “Have I comprehended? Yes,
dear sir.”) Don Giovanni and Zerline are soon alone; he immediately begins his
seductive arts. (Recitative: “At last we are released,” and Duet: “Give me
your hand, my life.”) Elvira joins them, but Don Giovanni answers her reproaches by
declaring to Octavio and Anna that both Zerline and Elvira are insane. (Recitative:
“Away from her, seducer”; Aria of Elvira: “Lost one, hear him not”;
Recitative, Octavio and Anna: “Oh, Don Giovanni”; Quartet, Elvira, Octavio,
Anna, Don Giovanni: “Flee the hypocrite’s smooth tongue.”) Anna believes
she has recognised in Don Giovanni the murderer of her father, and Octavio determines to
observe his friend. (Recitative: “What a misfortune, horrible”; Aria: “You
know the traitor, he threatened me with disgrace.”) Leporello informs Don Giovanni
that all the guests of the peasant wedding are in the house, that he had found occupation
for Masetto, but that the return of Zerline has spoiled all. Elvira he had locked in an
empty room. -The careless Don Giovanni is extremely gay. (Champagne aria: “When the
champagne drives the blood coursing.”) He hurries to the palace. Zerline follows the
jealous Masetto and tries to pacify him. (Recitative and aria: “Be not angry, dear
boy.”) Don Giovanni leads both to the bridal chamber, which has been gaily decorated,
and Leporello also invites three maskers, Elvira, Octavio and Anna. (Sextet: “Here
clasp we our hands in covenant.”)
Change of scene: Ball room, quadrille, waltz, minuet.
(“Come ye maidens to pleasure born.”) Don Giovanni leads Zerline away, while
Leporello engages Masetto’s attention. When Zerline’s cry for help is heard, Don
Giovanni plays a comedy by rushing upon Leporello with drawn sword and accusing him of the
seduction of Zerline. When he is not believed, and they attack him, he fights his way
through the crowd.
ACT II. Before Elvira’s house. Don Giovanni pacifies
Leporello and exchanges cloak and hat with him. (Duet: “Be content, be true to
me.”) Leporello is compelled to deliver a message to Elvira. (Terzett, Elvira,
Leporello, Don Giovanni: “Oh hearts, cease to beat.”) In the meanwhile, Don
Giovanni serenades the maid. (“Hear the music of the zither.”) Surprised by
Masetto and his friends, the false Leporello escapes and thrashes Zerline’s
bridegroom. (Recitative and aria: “You go in that direction.”) Zerline arrives
and cheers Masetto. (Aria: “If you are good, if you are you.”)
Change of scene: Elvira’s room. It is dark. -To Elvira
come Octavio, Anna, Masetto and Zerline, who unmask the pseudo-Don Giovanni. Their
suspicion is strengthened more and more that the real Don Giovanni is the murderer of the
governor. (Sextet: “In the evening’s quiet shadow.”) Octavio alone. (Aria:
“Tears dried by friendship.”)
Change of scene: A graveyard with the statue of the
governor. Leporello tells Don Giovanni what has occurred. ‘The voice of the statue
commands the libertine to be silent; upon the command of Don Giovanni, Leporello reads the
inscription upon the statue’s base: “Vengeance here awaits my murderer.”
-The servant trembles, but the unabashed Don Giovanni mockingly invites the statue to dine
with him at the evening meal. (Duet: “The governor on horseback.”) The statue
nods its head and answers, “Yes.”
Change of scene: -The room of Donna Anna. Octavio taxes her
with cruelty for postponing the wedding. (Recitative: “I cruel! Oh, my love”;
Aria: “You are dear to me beyond all.”)
Change of scene: Room of Don Giovanni. (Finale “Merry
be my evening meal.”) Elvira appears, hoping to move Don Giovanni to repentance.
(“The might of love has led me to you.”) As Elvira departs in despair, the
statue of the Comthur approaches with heavy tread; it also exhorts - the careless villain
without avail and then sinks into the ground. Hell fire surrounds Don Giovanni and he is
carried below. A concluding chorus of the entire east of the opera is generally omitted.
Opera in three acts by Hofmann.
Libretto by Wittkowsky.
CAST: Don Diego, reigning Count of
Barcelona—Basso. Donna Diana, his daughter—Soprano. Donna Fenisa, his
niece—Mezzo-soprano. Floretta, Diana’s youthful companion—Soprano. Don
Cæsar, prince of Urgel—Tenor. Don Gaston, count of Foir—Baritone. Perin,
secretary— Basso. Place, Barcelona. First production, Berlin, 1886. The libretto is
adapted from the comedy of Moreto “El desden con el desden.”
ACT I. A hall in the palace. Cæsar has been
victorious in the lists, but is unhappy, as he hopelessly loves the fair Diana. Perin
counsels him to conquer the proud fair one with pride. Diego, Diana’s father, arrives
with Gaston and expresses his regret that no one can gain the love of his daughter.
Change of scene: Diana’s room. Forced by Don Diego,
Diana is compelled to receive Gaston and Cæsar as guests. She invites the knights to the
coming festivities, and is astonished at Cæsar’s seeming coldness.
ACT II. A garden. Masked ball. The guests pair off by
choosing colours. Fenisa wins Gaston and Diana accompanies Cæsar; She desires to have him
present at the feast in order to have an opportunity of refusing him, but advised by
Perin, he is on his guard. She endeavours to gain his love and exercises all her arts of
fascination, but proving unsuccessful, becomes angry and plans revenge. Perin expresses
his joy.
ACT III. Gaston serenades Fenisa, with whom he has fallen in
love, but Cæsar remains silent. Diana endeavours to bring him to terms, and informs him
that she loves Gaston. Cæsar, however, is forewarned by Perin, who is the confidante of
Diana, and he defeats her plan by declaring that he loves Fenisa. In the meanwhile, the
hearts of Fenisa and Gaston and of Perin and Floretta have become united. Diana in tears,
confides to Fenisa that she loves Caesar. Fenisa beckons to him to approach and the
conquered Diana falls into his arms.
Comic opera in three acts by
Donizetti. Libretto adapted from the older Italian opera, “Ser Marc’
Antonio,” by Camerano.
CAST: Don Pasquale, an old bachelor—Basso. Dr.
Malatesta, physician—Baritone. Ernesto, nephew of Don Pasquale—Tenor. Norina, a
young widow—Soprano. A notary—Basso. Place, Rome. First production, Paris, 1843.
Don Pasquale refuses his sanction to the marriage of his
nephew Ernesto with Norina, a lovely widow. The old man himself desires to wed, and his
physician, Dr. Malatesta, proposes his sister, Sofronia, as the bride. -The Don accepts,
and Norina disguises herself as the doctor’s sister, and the marriage contract is
signed before a supposed notary. Norina now behaves like one possessed of the devil, and
makes life so miserable for the old man that be is delighted when he discovers that he has
been duped. He relinquishes his desire for marriage and consents to the union of his
nephew with Norma.
ACT I. Introduction between Don Pasquale and the
doctor. (Romance of Malatesta: “Oh, like an angel of beauty”; Cavatina,
Pasquale: “Oh, how I feel the glow of fire in my heart”; Duet between Ernesto
and Pasquale: “How? You will? Marry me.”)
Change of scene: Norina’s cavatina: ,,Ah, beneath al
eyes”; Duet between Norina and the doctor: “See, I am ready with love to
surround him.”
ACT II. Ernesto alone; then Pasquale, Norina, doctor.
(Terzett: “Take courage”; Finale: “On one side,” etc.)
ACT III. Chorus: “Bring the jewels at
once”; Duet between Pasquale and Norina: “Dear wife, may I ask”; Duet
between Pasquale and the doctor: “Softly in the dark.”
Change of scene: Ernesto’s serenade: “As Luna
laughs in the fragrant night”; Duct between Ernesto and Norina “Do I read in
your looks ?“ Finale: “Heaven, what do you say? This is Norina.”
Musical tragi-comedy in three acts
by Wilhelm Kienzl. Libretto by the composer.
CAST: -The Duke—Tenor. The Duchess—Soprano. Don
Clavijo—Basso. Alonzo Quixano (called Don Quixote de Ia Mancha)—Baritone.
Mercedes, his niece—Mezzo-soprano. Sancho Panza—Tenor buffo.
Carrasco—Baritone. Tirante—Basso buffo. Maritones, his daughter— Soprano. Aldonza—Alto. A messenger—Basso. Scullery boy—Soprano. A girl in the
service of the duchess, Frasquita—Soprano. Rosita—Soprano. Marieta—Alto.
Juanita—Alto. Place, La Mancha, Spain. ‘Time, the sixteenth century. First
production, Berlin, 1898.
ACT I. Apartment of Don Quixote. He is seated sleeping in an
arm-chair. In the background appear in striking tableaux the personages of his dreams.
First: “Don Quixote in combat with a knight”;
second, “The twelve champions at the round table of King Arthur”; third,
“Dulcinea of Tobosa placing the laurel wreath on the brow of the kneeling Don
Quixote.” Mercedes, who awakens her uncle, Don Quixote, notices from his confused
talk that he has lost his senses, and in this state he imagines that as a roaming knight
he must go forth to seek adventures.
Change of scene: An open inn. Don Quixote believes the inn
to be a castle and desires to have knighthood conferred upon him by the owner. Carrasco,
the innkeeper, knows him and narrates to the others the story of his madness, and they
enter into the joke. Carrasco tells of the giant Mambrin, who has wronged the Princess
Micomicona, and asks Don Quixote to deliver her. With many fantastic ceremonies Don
Quixote is knighted by Tirante. A love adventure with Maritones, whom he imagines to be a
princess, has a sorry ending. He takes .the peasant Sancho Panza as his esquire.
The duke and his court come to the inn and apparently listen
with great interest to the adventures of Don Quixote. When he is asked to pay the score,
he takes to flight, and Sancho Panza is soundly thrashed by the innkeeper in consequence.
ACT II. Before the duke’s palace. -The duke has
invited Don Quixote to the court and all prepare to be amused by his imaginary adventures.
After the feasting, Don Clavij o, attired as a woman, throws himself at Don Quixote’s
feet and prays him to conquer the giant Malambruno, who has transformed him and many
others by his magic arts. To reach the giant, they compel Don Quixote and Sancho Panza to
bestride a wooden horse. After teasing them in many ways, fireworks are exploded at the
back of the horse, which tears it to pieces and throws both riders to the ground. In the
meanwhile, Don Clavij o has arranged a masquerade, and Don Quixote rides contentedly away
assured that another magician has already conquered the giant.
ACT III. A road in a romantic country. Mercedes has
disguised herself as Dulcinea and Carrasco is attired as “the Knight of the White
Moon.” Mercedes has promised Carrasco to listen to his suit if he is successful in
inducing Don Quixote to return home. Sancho Panza arrives first., pursued by an armed mob.
Dreadfully beaten, he sinks to the ground. Don Quixote finds him in this condition, and
now fights with the “Knight of the White Moon,” who is the victor and compels
him to accompany him, as a condition of submission.
Change of scene: Don Quixote’s room. Don Quixote makes
his will and throws the tales of chivalry which have led to his delusions into the fire.
He suddenly falls to the ground and expires. Mercedes, Carrasco and Sancho Panza stand
around him weeping.
Opera in three acts by Franz
Glaeser. Libretto by Von Holtei.
CAST: Father Renner, innkeeper—Basso. Veronica,
his wife—Mezzo-soprano. Anton, their son—Tenor. Marie, their foster
daughter—Soprano. Rose—Soprano. Richard, forester—Baritone. Cassian and
Lazarus, smugglers—Tenor and Basso. Place, in the Silesian mountains. ‘Time,
1830. First production at Berlin in 1833 at the old Koenigstadt Theatre.
ACT I. Scene in the Silesian mountains. Rose is on the
stage; Renner, Veronica, Marie and Anton approach, and after a prayer of thanksgiving
depart, leaving Rose alone. (Aria: “Though the heart is desolate.”) Cassian
appears. (Song: “Life shall be crowned with boughs of spring.”) He attacks Rose,
and Anton, hearing her screams, returns to protect her, though opposed by his mother, who
separates them. She has heard that her husband has also befriended the girl, and that he
is not averse to her marriage with Anton. Veronica desires that her foster daughter Marie
and the forester Richard shall become man and wife. Richard appears.’ (Aria:
“Oh, that the rocks in deep abyss.”) The following scene discloses that Richard
and Rose are in intimate relationship. Peasants arrive for a feast. (Chorus: “We
greet again this day.”) While the crowd is merry Rose is recognised as a girl who
some time before had fled from home disgraced.
ACT II. Rose confesses to the good-hearted Renner that
she is the wife of Richard and has concealed her child in the forest. She gives expression
to her grief. (Aria: “Where the meadows’ green bands twixt clefts do lie.”)
Renner promises protection, and in the scene which follows Rose refuses Anton’s love
and sends him to Marie, who loves him. This pleases Renner, as he is unwilling that
Veronica’s desire to betroth Marie to the forester shall be gratified. Renner and
the smugglers carouse. (Trio: “The bottle at hand, now choose with sense.”).
Veronica approaches and Renner persuades her to adopt his plans. The stage is deserted. An
eagle rises into the air, a child in its talons. All rush out in consternation. (Chorus:
“The eagle, he is carrying off a child”; Rose: “God in Heaven, ‘tis my
child.”) After a short pause all hasten to the rescue.
ACT III. The pinnacle of the rocks with eagle’s eyry.
Richard appears. (Aria: “And darker yet the clouds do gather.”) Rose is seen
near at hand, and tells Richard what has occurred. He tries to shoot the eagle, rescue the
child and thus obtain Rose’s forgiveness; but his hand trembles, his eyes waver, he
cannot aim. The thunder rolls and the lightning strikes a tree, which falls and forms a
bridge to the eagle’s nest. Rose crosses it despite the threatening bird, which is
shot by Richard. “Victory,” cries Rose, “my child is saved.” Amid the
joyful shouts of the crowd, who have climbed the rocks to meet them, Rose and Richard are
reconciled.
ERNANI
(First produced under the title “Il Proscritto.”)
Opera in four acts by Verdi.
Libretto adapted from Victor Hugo’s drama by Piave.
CAST: Don Carlos, King of Spain—Baritone. Don Ruy
Gomez, grandee of Spain—Basso. Elvira, his niece and affianced—Soprano. Johanna,
her nurse—Mezzo-soprano. Emani, a bandit—Tenor. Don Riccardo, armour bearer to
the king—Tenor. Iago, armour bearer to Don Ruy Gomez—Basso. Place, in Aragon,
Aix Ia Chapelle and Saragassa. Time, 1519. First production, Venice, 1844.
ACT I. Mountains of Aragon. The bandits demand the
reason for Ernani’s gloom. (Chorus of bandits: “To you we drink”; and
“Ernani, so gloomy? Why, oh strong one, does care sit on your brow ?“) Ernani
replies (Recitative: “Thanks, dear friends”; Cavatina: “As the flower turns
to the sun”) that he loves Elvira, who is to be led unwillingly to the altar by old
Gomez de Silva. He asks the bandits to abduct her.
Change of scene: Elvira’s apartment. (Scene: “Now
sinks the sun and Silva does not return”; Cavatina: “Ernani, Ernani, save
me.”) Silva’s wedding presents are brought in, for which Elvira makes
acknowledgment. King Carlos, poorly attired, enters, but is recognised by Elvira and his
love repulsed. As he attempts to use force, she grasps a dagger, but Ernani suddenly
arriving, interferes. (Terzett: “A friend comes quickly to your aid.”) Carlos
recognises in Ernani the leader of the bandits, and he in turn expresses his hate for the
king, who has robbed him of his lands. As he invites the king to fight, Silva appears.
(Finale: “Dreadful sight”; Cavatina of Silva: “Unfortunate one, could you
deem—!”) Ernani offers to fight them both when Riccardo approaches and
recog-nises the king. Ernani whispers to Elvira to prepare for flight.
ACT II A hail in Silva’s palace. Ernani comes thither
disguised as a pilgrim. (Terzett, Silva, Ernani, Elvira: “The pilgrim may
appear.”) He alleges that he is pursued and is seeking safety, which is granted him
by Silva. A scene between Ernani and Elvira follows. -The latter believes Ernani dead and
intends to kill herself at the altar. (Duet: “Ha, false one, you hypocrite.”)
Ernani reveals his identity; Silva surprises them. (Terzett: “Shameless ones, ye
shall rue it.”) He keeps his word to Ernani and saves him from the king, but only
postpones his personal vengeance. Carlos arrives and wishes to know why the castle is
barred. Silva refuses to surrender Ernani. (Carlos’s aria: “Let us see, thou
prater of virtue.”) Don Carlos’s men do not find the hiding-place of the bandit;
Silva keeps his word, even when the king secures Elvira as a hostage. He releases Ernani,
and then challenges him to a duel. Ernani refuses to fight with his saviour, but unites
with Silva in his plans to free Elvira from the king. Ernani swears to appear at the
summons of Silva, wherever he may be at that time.
ACT III. In the burial vault of Charles the Great at Aix la
Chapelle. Carlos visits the grave of the emperor. (Cavatina: “Ye golden dreams of
youth.”) Standing behind the vault, he overhears the conversation of the
conspirators; Silva and Ernani are among them, and the latter resolves to murder Carlos.
The conspiracy is foiled by the appearance of Carlos’s attendants upon the scene. The
king commands that all the noblemen be executed. Ernani then steps forward, declaring that
he also must die. He announces himself as Don Juan of Aragon, who has been proscribed.
Elvira begs mercy for her lover, and Carlos, whose mood has changed, forgives them both
and places Elvira’s hand in that of Ernani.
ACT IV. Castle of Ernani. Elvira and Ernani have just
been married, when, in consternation, Ernani hears a bugle call. Silva arrives and
silently hands Ernani a dagger. Ernani keeps his oath and stabs himself to the heart.
(Terzett: “Cease, oh music, put out the lights.”)
Lyric opera in three acts by Peter
Tschaikowsky. Libretto adapted from Puschkin’s tale. German by Bernhard.
CAST: Larina, a landowner—Mezzo-soprano.
Tatjana--Soprano, and Olga, her daughter—Alto. Filipjewna, nurse—Mezzo-soprano.
Eugen Onegin—-Baritone. Lenski—Tenor. Prince Gremin—-Baritone. A
captain—Basso. Saretzki—Basso. Triquet, a Frenchman—Tenor. Place, Russia.
Time, about 1815. First production, St. Petersburg, 1877.
ACT I. A garden. Frau Larina is preserving fruit and
listens to the song of her daughters. (Duet: “Have you been It has been familiar to
her since youth, when she loved a careless officer, but was compelled to marry an unloved
husband. She has gradually accustomed herself to her fate, however, and has found
happiness in the love of a good man. The peasants bring in the harvest wreath. (Chorus:
“My feet find nothing more,” and “Through the fields runs a brook.”)
Tatjana grows pensive with the music, while the lively Olga prefers to dance. (Aria:
“With silent melancholy.”) All are astonished at the pallor of Tatj ana, and
believe she is affected by the contents of a book she is reading. Lenski arrives in a
wagon accompanied by his neighbour Onegin. It soon appears that Tatj ana loves Onegin
(Quartet: “What I hoped for has come”), while Lenski is attracted to Olga. The
latter soon comes to an agreement, while Onegin remains stiffly polite to Tatj asia.
Change of scene: Tatjania’s room. She is about to
retire and begs the nurse Filipjewna to tell her stories. While listening she tries to
conceal her emotion. At last she confesses to the old nurse that she is in love, and sends
her away. Instead of sleeping, she writes letters, but tears them up when written. At last
she finishes one and seals it. She remains at the window the rest of the night, and
whenFilipjewna arrives in the morning, she sends the letter secretly to Onegin.
Change of scene: The garden. A number of maids gather
berries and sing. (“Come, girls, all in a heap.”) Tatjana arrives running in
excitement and throws herself on the award followed by Onegin, who has received her
letter. He explains to her coldly that he honours the candour of her confession, but
cannot fulfil her hopes, as he is a profligate and not suited to the marriage state. A
maiden’s love is only phantasy, and she must overcome it. Deeply hurt, Tatjana
departs.
ACT II. A room in Larina’s house, filled with a
merry crowd. Lenski dances with Olga, Osiegin with Tatj asia. They are compelled to endure
the tattling of the older dames. Notwithstanding the protest of Lenski, Osiegin asks Olga
to dance. (Chorus: “Here’s to joy.”) Lenski is angry with Olga, because she
is flirting with Onegin, and becomes so jealous that the girl, to punish him, says that
she will dance the quadrille with Onegin. Before it begins the Frenchman Triquet sings a
song of doubtful character to the praise of Tatj ana, which is received with applause.
(“A cette fête conviés.”) Onegin dances with Olga, the captain with Tatjana,
and Lenski stands moodily apart. When Onegin asks him what is wrong, he answers angrily; a
quarrel ensues, and the dance is interrupted. Amid general consternation Lenski asks his
friend to fight a duel. (Finale: “Here in this house the hours have flown.”)
Change of scene: A mill. It is early in the morning. Lenski
and his second, Saretzki, are impatiently awaiting their opponents. (Lesiski’s aria:
“Where have you disappeared.”) At last Onegin arrives, accompanied only by his
servant, who is to act as second. While he arranges with Saretski, the erstwhile friends
regret (“My enemy”) that they are now enemies. Lenski falls dead, struck by the
bullet of Onegin, and overwhelmed with grief, Onegin falls upon the body of his friend.
ACT III. Six years later. Hall in the palace of Princess
Gremina (Tatjana). Onegin is among her guests. He has found no peace, and is constantly
troubled with pangs of conscience. (Aria: “Alas, no oblivion.”) He learns that
the princess is Tatjana, and she is profoundly agitated when she meets him. The prince
tells Onegin that he loves his wife passionately (Aria: “Every one knows love on
earth”) and introduces him to her. She addresses a few indifferent words to him, and
is led away by her husband. Onegin gazes after her. (Aria: “Is this then really
Tatjana?”) He feels that he loves her, laments his former conduct and resolves to
gain her affection.
Change of scene: Reception room in the palace of the prince.
Tatjana has received a message from Onegin that he will visit her. She still loves him,
but she wishes to retain her peace of mind, and when he appears she reminds him with deep
emotion of the conversation in the garden. She has pardoned him and acknowledges that he
had acted rightly, but declares it to be his duty to leave and never return.
Notwithstanding his outbreak of passion, she remains firm and leaves him. Completely cast
down, he stands silent, and then rushes away in despair.
Romantic opera in three acts by
Carl Maria von Weber. Libretto founded on an old French tradition by Helmine von Chézy.
CAST: Louis
VI-—Basso. Adolar, Count of Nevers— Tenor. Euryanthe of Savoy, his
bride-Soprano. Lysiart, Count of Forest—-Baritone. Eglantine von Puiset, the captive
daughter of a mutineer—Mezzo-soprano. Place, Castle Preméry and -Burg of Nevers.
Time, 1110. First production, Vienna, 1821.
Adolar von Nevers is affianced to Euryanthe of Savoy. His
betrothed resides at Castle Nevers, where Eglantine, the daughter of a mutineer, has also
found refuge. Eglantine loves Adolar, who repulses her, and Lysiart loves Euryanthe
without avail.
ACT I. A hall in the king’s palace. (Chorus:
“Hail to peace—hail to women.”) The king informs Adolar that he wishes
Euryanthe to appear at court, and demands a song in her praise. (Adolar’s cavatina:
“Under blooming almond trees.”) All sing in praise of Euryanthe except Lysiart;
he questions the fidelity of women, and professes to be able to win the love of Euryanthe
with ease. Adular stakes his life and all he possesses upon the fidelity of Euryanthe.
Lysiart accepts the challenge and the stakes. The king attempts to dissuade them from
their foolish wager, but in vain.
Change of scene: The palace garden of Nevers. Euryanthe
alone. (Aria: “-Bells in the dale.”) Eglantine joins her. (Cavatina: “Oh my
sorrow is unmeasured.”) Euryanthe confides in Eglantine and tells her Adolar’s
secret. Emma, his sister, had lost her affianced in battle, and in despair had drunk
poison from a ring. Her spirit could find no rest in the grave until the tears of an
innocent in deep distress had been shed upon the ring which caused her death. Euryanthe
regrets having broken her oath of silence, but Eglantine first soothes her and then
triumphs over her. (Recitative and aria: “Deluded one, who believes in my love,”
“He could for her me despise.”) She enters into a compact with the approaching
Lysiart.
ACT II. The same garden. Lysiart despairs of winning
the love of Euryanthe. (Recitative: “Where can I- hide? Where find peace”; Aria:
“I- vow myself to powers of vengeance, they lead me to dark deeds.”) Eglantine
has stolen Emma’s ring from the vault, and Lysiart takes it to show as an evidence of
Euryanthe’s unfaithfulness. (Duet: “Come then to avenge.”)
Change of scene: Same Scene as Act I. Adolar enters.
(Cavatina of Adolar: “Zephyrs wave me peace.”) Euryanthe joins him. (Duet:
“Take my soul.”) Lysiart now appears, declares himself victor in the wager
before the assembled court and presents the ring. Adolar loses his lands and determines to
travel to a distant country where he is not known. Euryanthe accompanies him as his wife.
ACT III. A wood. Adolar and Euryanthe. (Recitative:
“Here do you dwell”; Duet: “How I- love you! You were my richest
prize.”) Adolar is about to kill Euryanthe, when a large snake menaces his life.
Euryanthe tries to save Adolar by throwing herself in its path. (Aria: “Protecting
angel’s choir.”) A.fter Adolar has killed the snake, he repents of his desire to
kill Euryanthe, but leaves her. (Cavatina of Euryanthe: “Now am I forlorn.”) The
king arrives with hunters. (Chorus: “The vales are in mist, the heights glow.”)
He finds Euryanthe in the forest. (Duet: “Leave me here in peace.”) She
narrates to the king the treachery of Eglantine, and proclaims her own innocence. The king
takes her with him. (Aria and chorus: “To him, to him, oh tarry not.”)
Change of scene: Garden of the castle of Nevers.
(Adolar’s cavatina: “Truth no longer on earth prevails.”) Eglantine appears
with Lysiart in bridal procession, but becomes insane, and in the act of revealing
everything is slain by Lysiart. Adolar is about to be manacled, but is released by the
king, who orders the execution of Lysiart, and reestablishes Adolar in his possessions.
Euryanthe and her lover are wedded and the soul of the unhappy Emma is now at rest, for
the tears of an innocent have bedewed the ring that caused her death. (All cry: “Hail
to Adolar, hail Euryanthe.”)
Last updated October 30, 2006