Opera Books
The Opera Goer’s
COMPLETE GUIDE
LEO MELITZ
Copyright 1908, 1911, 1921
Opera in three acts by Verdi.
Adapted from Shakespeare’s play by -Boito.
CAST: Sir John Falstaff—Baritone.
Ford—Baritone. Alice, his wife—Soprano. Nanette, her daughter—Soprano.
Fenton—Tenor. Dr. Caius—Tenor. Bardolph and Pistol, servants of
Falstaff—Tenor and Basso. Mistress Quickly—Alto. Mistress Page-Soprano. Place,
Windsor. Time, the fifteenth century. First production, Milan, 1893.
ACT
I-. A room at the Garter Inn. Falstaff is
surounded by his friends Bardolph, Pistol and the innkeeper, when Dr. Caius arrives and
insults him, but the excited doctor is soon ejected. Falstaff hands a letter to his serva
nts and another to the page, for delivery to Mistress Ford and to Mistress Page, and then angrily
dismisses them.
Change of scene: Ford’s garden. Alice and Meg have
received the letters of Falstaff, both of like contents. They exchange them, and in
conjunction with Mistress Quickly resolve to punish the knight. Not only the women, but
the men, Ford, Fenton, Dr. Caius, and Bardolph and Pistol, who have been maltreated by
their master, are athirst for vengeance. A love duet between Fenton and Nanette follows;
the women return home and through Mistress Quickly invite Falstaff to an interview. The
men also arrive upon the scene, and Bardolph and Pistol are persuaded to introduce Ford to
Falstaff under an assumed name.
ACT II. Same room as in Act I. Bardolph and Pistol
announce to their master the arrival of Dame Quickly, who delivers the invitation. Ford is
now introduced as Signor Fortuna, who offers money to the fat knight to intercede for him
with Mistress Ford. Falstaff agrees with pleasure, and while he is absent, attiring
himself in splendid array, Ford is consumed with jealousy.
Change of scene: A room in Ford’s house. Mistress
Quickly announces the coming of Falstaff and Mistress Ford has a large wash basket placed
in readiness. When Falstaff arrives, Mistress Quickly reports the arrival of Mistress
Page, and the knight is compelled to conceal himself behind a screen. When the angry Ford
with his friends appear to capture Falstaff, the latter hides in the clothes basket. In
the meanwhile, a love scene between Fenton and Nanette takes place behind the screen, and
the men returning, hear the sound of a kiss; they think to entrap Falstaff, but find
Fenton, who is ordered to leave the room by Ford. When the men again proceed with the
search, the women order the wash basket to be thrown into the ditch, where Falstaff is
compelled to endure the jeers of the crowd.
ACT III. Before the inn. Falstaff again receives an
invitation through Dame Quickly, which is overheard by the men. After Falstaff has
promised to go to Herne’s Oak, the place of meeting, he enters the house with Dame
Quickly, and the men concoct a plan for his punishment. Dr. Caius is promised the hand of
Nanette, and is also to appear disguised as Nanette at the appointed place. The plot is
overheard by Dame Quickly.
Change of scene: At Herne’s Oak in Windsor Park. A
moonlight night. The women disguise Fenton as a monk, and arrange that he shall spoil the
plans of Dr. Caius. Falstaff’s love scene with Mistress Ford is interrupted by the
announcement that the Wild Huntsman is approaching, and the men disguised as elves and
fairies thrash Falstaff soundly. When their vengeance is satisfied, Dr. Caius finds that
he has captured Bardolph instead of Nanette in the garb of a fairy queen, but Fenton and
Nanette, with the consent of Ford, are joined in wedlock.
Opera in five acts by Charles
Gounod. Words by Barbier and Carré, founded upon Goethe’s tragedy.
CAST: Faust—Tenor. Mephistopheles—Basso.
Valentin—-Baritone. Brander—Baritone. Siebel—Soprano. Maguerite-Soprano.
Martha—Alto. Of the many Faust operas, the one composed by Spohr was formerly
frequently produced, but has disappeared from the stage since the advent of Gounod’s
composition. First production, Paris, 1853.
ACT I. Faust’s study. He is about to take
poison, as he despairs of completely solving the secrets of science. Hearing the Easter
carols, he resolves to continue living, but calls on Satan, who shows him a vision of
Marguerite, whereupon Faust sells Satan his soul, and is transformed into a handsome
youth.
ACT II. Before the city gate. Festival of the citizens.
Students sing. Valentin arrives and gazes upon his sister’s picture. (Aria: “Oh,
holy emblem.”) Siebel promises to protect Valentin’s sister while the soldier is
in the field. Mephistopheles mingles with the crowd of students and sings (“Yes, gold
rules the world”) ; he then tells
fortunes, predicts -Brander’s early death, and prophecies to Siebel that never again
will he carry a bouquet to Marguerite, as all the flowers he touches will fade. Hearing
the name of his sister, Valentin approaches, and with his friends rushes upon the jeering
Mephistopheles. The fiend draws a magic circle around him, which protects him from their
weapons; but when the retreating men thrust their crossed sword hilts in his face, he
cowers in fear. The people return and dance. Faust offers his arm as escort to the
blushing Marguerite, but is refused. The dance Continues.
ACT III. Marguerite’s garden. Siebel binds a
bouquet for Marguerite, but the flowers fade. (Ariette: “Flowers, dear, speak for
me.”) He dips his hands in holy water, and through this expedient now successfully
fulfils his task, laying his offering at Marguerite’s door. During this scene, Faust
and Mephistopheles appear, and Satan departs to select a more valuable gift for Marguerite
than a bouquet. Faust alone. (Cavatina: ,,Greeting, oh holy spot.”) Mephisto brings a
casket of jewels, places it at the door and departs with Faust. Marguerite sits pensively
at the spinning wheel. (Ballad: “There was a king in Thule.”) Discovering the
casket she is blinded by its contents, and in delight adorns herself with the jewels.
(Aria: “Oh, what joy, to see myself so prettily adorned.”) Martha appears, then
Faust with Mephisto. Satan leads Martha away. Faust declares his love to Marguerite.
(Quartet: “Let me, I adjure you.”) Marguerite loses her heart to her persistent
lover, and uight having set in, recalls Faust, who is about to depart.
ACT IV. A street. The soldiers return from the war.
Valentin is welcomed by Siebel and enters his house. The soldiers accompanied by the
people seek their quarters. Mephisto arrives with Faust at dusk, and scoffingly serenades
Marguerite. Valentin rushes out of the house and is stabbed by Faust in the duel which
ensues. The people assemble in excitement. Marguerite sorrowfully bends over the dying
Valentin, who curses her as a wanton.
Change of scene: The church. Satan punishes the guilty
Marguerite by awakening her Conscience, and avoided by the citizens, she falls in a swoon.
ACT V. The Walpurgis revel. Mephisto transports Faust
from the dreary scene to the bacchanal revels of the Walpurgis night, but when
Marguerite’s image appears, Faust orders Satan to convey him to his beloved.
Change of scene: Marguerite in prison. She has become
insane, but recognises Faust, who, desiring to save her, once again recalls the scenes of
their love and joy. She finally repulses him and submits to the judgment of God. Faust
flees with Satan, Marguerite dies, and the angels bear her to heaven.
A lyric drama in three acts by
Umberto Giordano and Victorien Sardou.
CAST: Princess Fedora Romazov—-Soprano. Countess
Olga Sukarev—-Soprano. Count Loris Ispanov-—Tenor. De Siriex,
diplomat—-Baritone. Dmitri, a groom—Contralto. A Savoyard-—Contralto.
Desiré, a maid—Soprano. Cyril, a coachman—-Baritone. Borov, a
doctor—Baritone. Grech, a police officer—-Basso. -Baron Rouvel—Baritone.
Place, St. Petersburg and- Paris. Time, the present. First production, Milan, 1898.
ACT I. St. Petersburg, at the house of Count Vladimir
Andrej evich. His servants are playing dominoes and- discussing the approaching marriage
of their master, a handsome, dissolute nobleman. Fedora Romazov, his betrothed, arrives
unexpectedly in evening dress. She is ushered into a sitting room to await the
count’s return. Seeing his photograph, she kisses it rapturously (Fedora: “O
eyes, Clear with truth”), unaware that he is deceiving her. The sound of sleigh-bells
is heard- without and the count is brought in mortally wounded. Doctors and- a priest are
quickly summoned. The servants are questioned- and it develops that a certain Count
I-spanov- was probably the assassin. De Siriex, a diplomat, and Grech, a police officer,
plan an investigation. Fedora is agonised (Fedora: “Speak, courage, speak”), and
determines to devote her life to vengeance. The crime is believed- to have been inspired
by the Nihilists.
ACT II. Paris. A reception at Fedora’s house.
Countess Olga Sukarev, an accomplished coquette, is entertaining a crowd of distinguished
men. Fedora enters with Ispanov, whom she is purposely fascinating, in order to gain her
revenge. De Siriex, joining them, is introduced to Ispanov. Dr. Borov warns the latter
against Fedora. Olga is flirting with -Baron Rouvel. (Olga: “I’m a caprice swift
and light.”) Fedora explains to De Siriex her plan concerning Ispanov, whom, however,
she cannot force herself to hate. De Siriex, between amusement and disgust at Olga’s
coquetries, wittily describes the typical Russian woman. (De Siriex: “The Russian
woman is a woman twice over.”) She retorts with a description of the typical boudevardier. (Olga: “Like bubbling wine is
your true Parisian.”) All applaud, laughing. Fedora continues to fascinate Loris
I-spanov. (Loris: “My love must make you love me.”) She tells him she is no
longer an exile and is about to return to Russia. He declares that having committed a
crime, he cannot follow. She draws from him subtly the confession that he is the murderer
of Vladimir. De Siriex brings news of a Nihilist plot against the czar, which breaks up
the reception. Loris promises to return to Fedora later. She betrays him to Grech, and it
is arranged that he shall be arrested- before he leaves the house. Fedora learns from
Loris that he killed Vladimir for seducing his wife. He shows her letters which prove his
story. She realises she loves him (Loris: “-Behold! I weep, but not for mine own
grief”) and that he will lose his life through her if he leaves the house. She
therefore detains him there.
ACT III. Fedora’s villa in Oberland. She and
Loris are as happy in their love as two children. Fedora sits in a swing; Loris swings
her. A mountain lad is heard singing. (“Spring is come, the birds are
trilling.”) Olga joins them in a pensive mood, weary of rural life. (Olga:
“Still the same old- green, still the same old blue!”) Seeing their joyousness
she changes her tune. (Olga: “While love allures, while passion guides.”) Loris
goes off to post some letters. De Siriex appears in bicycling dress, and challanges Olga
to a ride. He tells her teasingly that her latest admirer was a detective. She pretends to
faint (De Siriex: “Never mind, fair lady”), but, quickly recovering, runs off to
dress, pouting prettily. De Siriex, growing serious, tells Fedora that Ispanov’s
brother has been killed(De Siriex: “The grim old tiger, having lost his cub”)
for complicity in a Nihilist plot, and- that the shock caused the death of their aged
mother. Fedora is overwhelmed, crying out: “Twas all my fault !“ Olga returns, departing with De Siriex.
Fedora faces her problem alone, listening dully to the Angelus, and the song of the little
boy. (Fedora: “O God of justice.”) Loris enters, with dispatches containing the
news. (Loris: “O my dear mother.”) He observes Fedora’s changed demeanour,
and anxiously questions her. She tries to keep him from opening the letter from -Borov,
which tells him that a woman spy caused- the death of his brother. Loris breaks down and
sobs. Fedora is almost mad-. She makes excuses for the spy, imploring pardon for her.
Borov arrives in a carriage. Fedora detains Loris, but finding it useless, pours some
poison contained in a cross she wears into a cup of tea, which she drinks. Borov entering
tries to save her. Olga and De Siriex appear laughing, but are quickly silenced, for
Fedora is dying. (Fedora: “Darkness is falling, life is far away.”) Loris, in
anguish, forgives hers, and- embracing him, she falls lifeless, while far away echoes the
voice of the little lad: “My mountain maid- comes never-more!”
Opera in three acts by Anton
Rubinstein. Text adapted from Thomas Moores’s “Lalla Rookh” by Rodenberg.
CAST: Lalla Rookh, princess of Hindostan—Soprano.
Hafisa, her friend—Alto. Feramors, a singer—Tenor. Fad-lad-in, grand- vizier of
Hindostan—Basso. Chosru, ambassador of the King of Bokhara—Baritone. Place,
valley of Cashmere. First performance, Dresden, 1863.
ACT I. The King of Bokhara is the intended husband of
Lalla Rookh. The arrangements for the wedding feast have been made by the grand- vizier.
The princess arrives with her friend Hafisa to greet Chosru, the ambassad-or of the king,
but she is sad-, as she loves Feramors, the singer. Solemn reception. (-Ballet:
“Dance of lights of the brides of Cashmere.”) Grand final scene in which Chosru
and Hafisa find- they love each other. The call to prayer is heard from the minaret, and-
Feramors’ ballad (“The moonlight dreams on Persia’s sea”) causes Lalla
Rookh to avow her love for him.
ACT II. Fad-lad-in woos Hafisa in vain. She leads the
old man aside to give Feramors and- Lalla Rookh an opportunity to declare their love. The
grand- vizier, returning and discovering Feramors, treats him as an intruder, and-his life
is in danger from the assembled crowd. Chosru’s interference saves Feramors from
death, but does not prevent his imprisonment.
ACT III. Feramors escapes and Lalla Rookh is
compelled to adorn herself for her marriage with the king. When he appears, to the
surprise and- joy of Lalla Rookh, she beholds the singer Feramors, who has taken this
method to test the heart of his bride.
A song poem by Von Wolzogen. Music
by Richard Strauss.
CAST: Gundelfingen, the castellan. Sentlinger, the
burgomaster. Diemut, his daughter. Three playmates. Kunrad, the leveller. Yörg Pöischel,
Hamerlein, Kasel, Gilgenstock, Tulbeck, Aspack, citizens. Ursula, Walpurg, wives, etc., of
citizens. Children, servants. The action takes place in Munich on Sonnenwend-tag (the day
of the turning of the sun) in remote times. First production, Weimar, 1902.
On the occasion of the holiday (Sonnenwend-tag) a number
of children are engaged in collecting chips for the Sonnenwend fire. (Chorus: “Give
us some wood.”) They obtain from the burgomaster a basket filled- with wood for the
purpose, and- his daughter Diemut distributes candy among them. (Diemut: “There are
some sweetmeats.”) The children then knock at the door of the little house opposite,
out of which steps the mysterious Kunrad. (Chorus of children: “I-n Munich stands a
new built house.”) In honour of the occasion, he allows the children to use all the
wood of the house. Kunrad and Diemut stand- opposite each other in the crowd- and they
fall in love. Kunrad takes the liberty of kissing the damsel, whereupon she is ashamed and
angry, and enters the house. (Kunrad: “Sonnenwend, Sonnenwend, rings in my
ears!”) At night, when the candles are lighted-, and the Sonnenwend fire is blazing
at the gates (Chorus: “Hurrah! the pretty fire!”), Kunrad stands under the
balcony of Diemut and asks to be admitted-. Diemut allows him to step into the basket,
pulls him up half way, and leaves him dangling as punishment for his impertinence.
(Burgomaster: “Meow! Meow! What’s afoot ?“) When Kunrad understand-s her
object, he becomes enraged- and curses the city and the citizens who have assembled to
deride him. He calls in the aid of magic. (Kunrad: “Help, O master.”) Feuersnoth
takes place, that is, all the light in the city is extinguished- and- darkness and- cold
is its fate in the future. “Icy cold surround you in endless night, because you the
power of song have derided,” sings Kunrad, and ,,All warmth comes from woman, all
light comes from love — from the body of a maiden alone can you again receive your
warmth.” He swings himself to the windowsill. Diemut, whose love has conquered her
pride, is at the window, and- she draws Kunrad- into her chamber. When, after a short time
all fires are again lighted, the citizens know that the maiden body of Diemut has
conquered the magic. In his scene in the basket, Kunrad sings of Reichart the Wagner
(Richard Wagner), who has been driven from the city by contemptible tricks. This gives the
opera a strongly satirical favour, which is emphasised by the use of themes from “The
Flying Dutch-man” and- from Strauss’s own opera, “Guntram.”
Opera in two acts by -Beethoven.
Text from the French of Bouilly by Sonnleithner.
CAST: Don Fernando, minister—Baritone. Don
Pizarro, governor of the States prison—Baritone. Florestan, a prisoner—Tenor.
Léonore, his wife, under the name of Fidelio—Soprano. Rocko, keeper—-Basso.
Marzelline, his daughter—Soprano. Jaquino, gatekeeper—Tenor. A captain. Place, a
Spanish States prison in the vicinity of Seville. First production, Vienna, 1805. The
opera at first contained three acts, afterwvard condensed to two by Breuning, at which
time Beethoven wrote a new overture (Léonore III). In this form the opera was produced in
1806 under the title “Léonore,” but was again revised- by Treitschke in 1814.
This representation, under the original title “Fidelio,” was preceded by the
well-known Fidelio overture, the fourth written by the composer for the opera.
Don Florestan, a courtier of noble character and a favourite
of the king, determines to thwart the traitorous designs of Don Pizarro, who thereby
becomes his bitter enemy. Florestan mysteriously disappears, and- all search is fruitless.
Léonore, his faithful wife, suspects that Pizarro has captured him, and, disguised- as a
youth under the name of Fideio, she enters the service of Rocko, the jailor of the States
prison, of which Pizarro is the gov-ernor. To her horror she finds that she is not
mistaken. She runs great risk of discovery, as the daughter of Rocko falls in love with
the supposed youth, and Rocko, with whom she has also found- favour, desires to unite
them. Léonore is enabled to visit the underground- dungeons and finds her husband. The
cruel Pizarro has condemned him to death by famine, but determines to hasten his end, as
the powerful minister, Don Fernando, a friend- of Florestan, is coming to inspect the
prison. Rocko and Fidelio are compelled to dig a grave, as Pizarro intend-s to murder
Flores-tan before the minister arrives. Léonore succeed-s in saving her husband with the
aid of Don Fernando, who arrives opportunely. The villain Pizarro receives his
well-deserved punishment.
ACT I. Courtyard of the prison. (Duet between Jaquino
and Marseline: “Now, darling, we are alone.”) Jaquino is ready to marry
Marzelline, but she loves the new assistant, Fidelio. Fidelio is in reality Léonore
disguised as a youth. Her husband, Florestan, has disappeared. She suspects Pizarro and
believes that Florestan is in the prison. Having gained the confidence of Rocko, she hopes
to find- her husband. Marzelline desires to win Fidelio’s love. (Aria: “Would I
were wed- to thee.”) Rocko is willing (Quartet, Marzelline, Léonore, Rocko, Jaquino:
“I feel so strange”; Rocko’s aria counselling thrift: “Has one not
also gold- besides”). Léonore agrees to everything in order to be allowed- to visit
the prison, which, however, requires the consent of the governor. (Terzett: “Good,
son, good, always have courage.”) Pizarro appears, filled with anxiety, as he has
imprisoned Florestan from motives of personal vengeance; and to prevent discovery of
this he determines that Florestan must die before the minister’s inspection. As Rocko
refuses to murder the dying man, he is ordered to uncover an old well in which the
prisoner is to be buried-. Pizarro himself resolves to do the deed. (Aria of Pizarro:
“Ha, what a moment! My vengeance will I cool”; Duet: “Now old- man, be
quick.”) Léonore has been listening and is in despair. (Aria: “Wicked one,
whither do you go?”) Rocko allows the prisoners to breathe the air at the request of
Léonore, who wishes to see her husband. (Finale, chorus of prisoners: “Oh, what
joy, in heaven’s fresh air.”) She cannot find- Florestan, but accompanies Rocko
to the underground-cells, and helps him dig the grave. Pizarro returns and orders the
prisoners back to their cells. (Second chorus of prisoners: “Farewell, warm
sunlight.”)
ACT II. The dark dungeon of Florestan. (Aria: “God,
how dark, this dreadful quiet.”) He sinks to the ground from weakness, when Rocko
and- Léonore arrive. (Melodrama: “How cold in this dark dungeon.”) Léonore
recognises him, but dares not speak and helps to dig the grave. (Duet: “Be brisk and
dig cheerily.”) Florestan revives and- Léonore gives him bread-. (Terzett: “May
a better world reward you.”) Pizarro descends to the dungeon, and is about to stab
Florestan, when Léonore throws herself before her husband, and crying, “First kill
his wife,” points a pistol at Pizarro. This saves her husband, for trumpet calls,
heralding the appearance of the minister, are heard, and Pizarro hurries away. (Quartet:
“He shall die, but first know who crushes his false heart.”) In the following
duet (“Oh! endless joy”), Florestan and- Léonore express their happiness.
Change of scene: Courtyard of the castle. Fernando announces
the king’s pardon. (Chorus: “Hail to the day, hail to the hour.”) Léonore
takes the chains from her husband, he is free, and Pizarro is arrested. (Fernando:
“You freed him from the grave,” and closing chorus: “He who a lovely wife
has won.”)
Comic opera in three acts by Max
Schillings. Text by Ferdinand Count Sporck.
CAST:
Schmasmann of Rapoltstein, king of the fifers of Alsace--Basso. Herzland, his
daughter—Soprano. Ruhmland, his son—Baritone. Velten Stacter, a
fifer—Tenor, Alheit, his sister—Soprano. Jockel—Tenor.
Weihdampf—Tenor. Surgand—Baritone. Henselin—Basso. Fifers. Jost and Jorg,
fifer apprentices—Soprano and Alto, Loder, innkeeper—Basso. Place,
Rapportsweiler in Alsace. Time, end of the fifth century.
ACT I. Garden before the city gates. Jost and- Jorg march
around the town playing upon the fife, and drumming to invite all to Fifers’ day.
Jockel and three other fifers, who compose the fifer council, appear, and, with the usual
ceremonies, Surgand relates the legend of Herr Egenalf of Rapoltstein, to whom is due the
elevation of the fifers’ guild to its high estate. The crafty council is concerned
for its re-election. Old Jockel is sure of victory, but the others fear that Velten
Stacter and his friend Rasbert (which name Ruhmland, who has fallen out with his father,
has adopted) may be elected, as they are in high favour. Weihdampf has told the knight
that Velten is secretly in love with Herzland, and that he had to leave Rapoltstein’s
house in. order to obtain information of the coming judgment. The procession of fifers
approaches (Chorus: “Hail a thousand times”) and is received by Rapoltstein and
his daughter. Herzland seeks to take advantage of the good humour of her father by
pleading for his discarded son and her lover Velten, but is rudely repulsed. Alheit tells
Herz-land that Velten and Ruhmland, of whom the sister has but a dim recollection, are to
arrive that day, and- confesses that she loves Ruhmland-. When she has thus prepared
Herzland she calls the young men, who have been hiding in the neighbourhood. (Quartet:
“It must be she!”) They seek some plan of softening the anger of their father,
and Velten, who is convinced that one is only appreciated after death, resolves to spread
the news of his death. Rapoltstein approaches and greets Velten coldly; he does not
recognise his son. He has been told that old Jockel is a villain and ought no longer
remain sub-king of the fifers. The procession approaches and- greets Rapoltstein, sings of
his ancestors, but arouses the anger of the knight by compimentary allusions to his son.
When Velten in his song (“When from Adam’s young lips”) clearly intimates
his love for Herzland, he refuses the two friends the customary drink of honour and
angrily departs. (Ensemble: “The crafty beaver.”)
ACT II. Inn of the fifers. Girls are decorating the inn
for Fifers’ day. (Chorus: “In the fall on ladies’ day.”) Velten
appears. (“The crazy lot of a fifer.”) A thunder storm. The lovers resolve to
take advantage of it to serve their purpose. The knight remains stubborn; the merry Albeit
persuades him to the curious project of marrying his daughter to Velten on his death-bed.
The Fifers’ day begins, and Jockel describes the condition of the guild- under his
administration in the rosiest colours, but Ruhmland and Velten contradict him, and
Jockel’s accounts are found in bad shape. A general tumult ensues; the innkeeper
rushes in and reports that the creek has overflowed its banks, has carried away the
bridge, and that the house is in danger. There is no outlet; Velten steps through the
window, and Ruhmland cries out that his friend has been struck by lightning. Masses of
water rush in and all is in confusion.
ACT III. Courtyard of the castle. Velten lies
“dead” on a bier, the conspirators laugh. drink and make merry; Rapoltstein, who
has always liked the merry Velten, is in deep distress. Herzland, in bridal dress, comes
with her friend-s and demands that her father keep his word and- marry her to Velten. This
is done, and when Velten is asked to say yes, he jumps joyfully from the bier and rushes
into Herz-land’s arms. Rapoltstein submits to the inevitable, forgives his son and
unites him with Alheit. The council of fifers is deposed and Velten is elected king.
Musical comedy in one act by Eugen
d’Albert. Text by Hans von Wolzogen.
CAST: Prince Eberhard. Prince Ferdinand-, his son. Maestro
Emanuele, conductor of orchestra. Musjö Pepusch, German conductor of orchestra. Signora
Peppina, a singer. Guests of the prince, musicians, servants, an aide-de-camp. Place, a
German principality. Time, eighteenth century. First production, Prague, 1905.
The German capellmeister Pepusch has written the celebrated
swine canon for six Bassoons at the request of the stout soldier, Prince Eberhard. Prince
Ferdinand, his son, who is enthusiastically devoted to Italian music and- art, and- his
teacher on the flute, the intriguing Italian Emanuele make sport of the German music.
Eberhard goes on a journey, and Ferdinand takes advantage of this to inaugurate a night
festival. He has invited a critic from Vienna, and the singer Peppina, who is to sing a
new aria of Emanuele. Emanuele has slandered Pepusch to the prince, and Ferdinand compels
the German master to be present at the festival and to produce the swine canon with his
bassoons in order that he may be derided- by the guests, who are accustomed only to hear
elegant Italian music. The singer Peppina, however, has learned to love the honest Pepusch
as a man, and respect him as an artist, and desires to save him from annoyance. He,
however, a thorough master of his art, confound-s his enemies by arranging the aria of
Emanuele, which Peppina sang for him for the flute and includes it in the canon.
Eberhard-, who has unexpectedly returned-, having been informed by Peppina of what has
taken place, appears at the festival, and at his command- Ferdinand is compelled to play
the Flauto Solo part in the canon himself. In doing so Ferdinand learns to respect the
artistic ability of the German master, who has heretofore been set aside. The prince is
also pleased- by the musical ability of his son and- reaches the conclusion that “A
boy who can manage his instrument so well will also succeed- in learning the art of
playing upon the princely flute and managing his subjects.” The affair, therefore, is
pleasantly concluded. As a reward Pepusch is given the hand of Peppina, and the lovely
singer, who declares herself a countrywoman of the prince, concludes with the words:
“Germany, Tyrol, each has its art, long live music, which has united us all.”
Dramatic opera in three acts by
Richard Wagner. Text by the composer.
CAST: Daland, a Norwegian sea-captain—Basso.
Senta, his daughter—Soprano. Erik, a huntsman—Tenor. Mary, Senta’s
nurse—Alto. Daland’s steersman—Tenor. The Flying Dutchman—Baritone.
Place, on the coast of Norway. First production, Dresden, 1848. In this opera Wagner, for
the first time, departed from the usual opera form of arias, duets, etc., and created the
uninterrupted melody and the Leitmotif, which here appears in the first bars of
Senta’s ballad in the second act.
ACT I. On his homeward journey, the sea-captain
Daland is compelled by stormy weather to seek a port of refuge. He leaves the helmsman on
watch and he and the sailors retire. (Song of the helmsman: “With tempest and storm
on distant seas.”) The helmsman falls asleep. A ghostly vessel appearing astern is
dashed against Daland’s vessel by the sea and the grappling irons hold the two ships
together. Invisible hands furl the sails. A man of pale aspect, dressed in black, his face
framed by a thick black beard, steps ashore. He laments his fate. (Aria: “The time
has come and seven years have again elapsed.”) Having broken his troth, he is
compelled to roam the sea without rest. At the end of every seven years the angry waves
cast him upon the shore; if he can find a wife who will be true to him forever he will be
released. Daland meets him. He offers him treasure, and when he hears that Daland has an
unmarried daughter, he asks for her as his wife. Tempted by gold Daland consents, and
favoured by the south wind joyfully acclaimed by Daland’s men (repetition of the song
of the helmsman and chorus), both vessels set sail.
ACT II. Girls are singing and spinning in
Daland’s house. (Spinning chorus: “Spin, spin, fair maiden.”) Senta
dreamily gazes upon the picture of the Flying Dutchman, whom she desires to save. Against
the will of her nurse she sings the story of the Dutchman (Ballad with the Leitmotiv), and
declares she will save him by her fidelity. Erik arrives and hears her; the girls depart,
and the huntsman, who loves the maiden, warns her, telling her of his dream, in which
Daland returned with a mysterious stranger, who carried her off to sea. She listens with
delight, and Erik leaves her in despair. Daland arrives with the stranger; he and Senta
stand gazing at each other in silence. Daland is scarcely noticed by his daughter, even
when he presents his guest as her betrothed. In the following duet, which closes the act,
Senta swears to be true till death.
ACT III. Later in
the evening the crew of Daland invite the men on the strange vessel to join in the
festivities, but in vain. The girls retire in wonder; ghostly forms appear at work upon
the vessel of the Flying Dutchman, and Daland’s men retreat in fear. Senta arrives,
followed by Erik, who reproves her for her desertion, as she had formerly loved him and
vowed constancy. When the stranger, who has been listening, hears these words, he is
overwhelmed with despair, as now he is forever lost. He sumnmnons his men, tells Senta of
the curse, and to the consternation of Daland and his crew declares that he is the
“Flying Dutchman.” Hardly has he left the shore when Senta plunges into the sea,
faithful unto death. This is his salvation. The spectral ship disappears, and Senta and
the Dutchman are seen ascending to heaven.
Comic opera in three acts by
Humperdinck. Text freely adapted from a comedy by Dumas.
CAST: King Philip V—Baritone. Robert of
Montfort—Tenor. Emil Duval—Baritone. Hedwig of Merian—Soprano. Louise
Mauclair—Soprano. Loscouse, governor of the Bastille—Basso. Marquis
d’Estrée—Speaking part. Abbess—Mezzo-soprano. Chamberlain—Tenor.
Housekeeper—Mezzo-soprano. Two maids—Sopranos. Ladies, pupils, officers, the
guard, servants, guests, etc. Place, Paris and Madrid at the beginning of the eighteenth
century. First production, Berlin, 1905.
ACT I. Park of St. Cyr with nunnery. Count Mont-fort,
the friend of the future King of Spain, the Duke of Anjou, enters the park to meet Hedwig
of Merian. He induces his friend Duval, who is about to marry an un-loved but noble dame,
to occupy the attention of Hedwig’s friend, Louise, so that he cad remain
undisturbed. All four are captured by the watch and taken to the Bastille.
ACT II. Prison cell of the Bastille. Madame de
Main-tenon has induced the - king to issue an order, confining Montfort and Duval on bread
and water until they have reestablished the honour of the ladies by marrying them. Thus
forced, they consent.
Change of scene: An elegant chamber in the palace of the
count. Montfort and Duval believe that the ladies have conceived between themselves the
plan for the marriage, and in order to escape the raillery of their friends, they desert
their wives and depart for Spain, where Mont-fort’s friend, the Duke of Anjou, has in
the meanwhile ascended the throne as Philip V. Hedwig, who dearly loves Montfort, is in
deep distress. The merry Louise, however, bids them a cheery farewell.
ACT III. Ball-room in the king’s palace at
Madrid. Duval fears the anger of his father, and Montfort’s property has been
confiscated. Madrid proving tedious, the two men long for home, Paris and their wives.
Hedwig and Louise have followed their husbands, and Montfort is informed by Louise that
Hedwig is innocent of the supposed deception, because she herself told Madame de
Main-tenon about the adventure in the park. As Montfort really loves his wife, he is
content and resolves to save Hedwig from the advances of the king, who has fallen in love
with her. Philip forgives his friend, and when Duval is informed that he has been
created a baron through the influence of Louise, he is also satisfied, and the reunited
couples return to France in perfect happiness.
Musical fairy tale in one act by
Rudolph Baron Prochazka. Text by Dr. Theodor Kirchner.
CAST: Winfried. Hermit. Knight. Merchant. Soldier. Poet.
Fortune. A hermit’s cell in a lonely forest.
Winfried is saying his morning prayers (“The quiet wood
awakes”), when Fortune approaches and asks for shelter. Imagining he is encompassed
by the devil’s wiles he refuses; she discloses her identity and declares that she is
the most unhappy being on earth, since all pursue her in wild chase and rob her of peace.
Her pursuers appear, and Winfried sends her to his cell advising her to don a monk’s
attire for concealment. The crowd approaches, and each tells Winfried what he demands of
Fortune. When the Poet declares that Fortune means renunciation, the hermit directs him to
her cell, saying he will find it there. All enter, but are disappointed to see only a monk
and threaten Winfried. He apologises and declares he is mistaken; that Fortune, as they
describe her, has passed that way and entered the forest. They all hurry away. (Chorus:
“Let us leave all.”) When they have gone Fortune shyly appears, thanks him for
his aid, and asks to remain with him, as the world will only misuse her. He consents and
she causes flowers to appear, the birds begin to sing. (Duet: “Youth comes
again.”) For the first time Fortune is happy in not being compelled to confer
happiness. Winfried is astounded at her joy, and she inquires what his desires are. He
tells her he wants nothing, and rejects her proposals to make him young and wise. When he
finally wishes to be free of all the ills of life, Fortune is terrified, but desires to
grant his request. She informs him that in order that she may do so he must first kiss
her. He fears that she wishes to stir him to sinful pleasure; praying for strength to
resist (Duet: “I fly to thee”), he prepares to escape to the silent forest,
where he can find peace once more. Fortune complains that she cannot benefit man either as
pursuer or pursued. The brook, the wind and other voices of the forest console her with
low melodies and she falls asleep. For the first time she is happy. (Chorus: “Now let
us be silent.”) The hermit, deep in thought, returns; he has not found the sought-f
or peace. He is tempted to kiss the sleeping Fortune — it is no sin to be happy.
(Song: “The forest around us.”) The thorns try to prevent him,
but he tears himself away and kisses her—and at that moment he falls to earth dead,
freed of all earthly ills. Fortune awakes and gazes upon him, but he has found happiness,
and Fortune must again endure the pursuit of mankind. She slowly vanishes; roses fall on
Winfried’s body. (Closing chorus of spirits of the air: “Freed, freed of
life’s ills.”)
FRA DIAVOLO
(Or The Inn of Terracina)
Comic opera in three acts by
Auber. Text by Scribe.
CAST: Fra Diavolo, under the name of the Marquis of
San Marco—Tenor. Lord Cockburn, a travelling Englishman—Basso. Pamela, his
wife—Mezzo-soprano. Lorenzo, Roman officer of dragoons—Tenor. Matteo,
innkeeper—Basso. Zerline, his daughter—Soprano. Giacomo and Beppo,
bandits—Basso and Tenor. Francesco. A miller. Place, a village near Terracina. First
production, Paris, 1830.
Fra Diavolo is a celebrated bandit chief, who carries on his
operations in numerous disguises. The Roman government has sent dragoons to capture him
and offered a reward of 10,000 piastres. The officer in command, Lorenzo, loves Zerline,
who is to be married to a rich peasant.
ACT I. Matteo’s inn. Chorus of Roman dragoons
and scene, in which Lorenzo proclaims the reward for the capture of the brigand. Lord
Cockburn and his wife Pamela rush in and declare they have been robbed. Lorenzo and his
soldiers depart to capture the robbers. Lord Cockburn is jealous of his wife and accuses
her of receiving the attentions of their travelling companion, the Marquis of San Marco.
(Duet: “I should like to see you admired, my lady.”) The marquis, who is no
other than Fra Diavolo, arrives and is welcomed by Matteo and Zerline. (Quintet:
“See, a carriage has come.”) He dines at his ease at the inn and allows Zerline
to relate the exploits of the celebrated brigand. (Romance: “On yonder rock
reclining.”) He impudently again pays court to Pamela and abstracts from her a
medallion surrounded by jewels. Lorenzo now returns; he has killed most of the band and
recovered the Englishman’s property, and has received the reward of 10,000 piastres.
He now hopes to win Zerline. (Finale: “Here, I hear the marchers coming.”)
ACT II. Zerline’s sleeping chamber, adjoining
that of the English couple. Zerline conducts Lord and Lady Cockburn to their apartments
and expresses her joy at her coming union with Lorenzo. (Aria: “What luck, I breathe
again”; Terzett: “Dear wife, let us go to rest.”) Diavolo’s
companions, Giacomo and Beppo, have arrived in the meantime, and by singing an air known
to them he gives them the signal and they enter the window. (Barcarole: “The little
one.”) All three conceal themselves in a niche and observe Zerline preparing for bed.
(Cavatina: “Yes, tomorrow, to-morrow, what joy”; Quartet scene: “What a
pretty child”; Zerline’s aria: “For such a country maid.”) When
Zerline has fallen asleep, the bandits again proceed to rob Lord and Lady Cockburn. A
noise is heard, Lorenzo arrives with the dragoons, the awakened couple and Zerline appear,
and Diavolo as the marquis covers the retreat of the two bandits. The presence of the
marquis awakens the jealousy of Lord Cockburn and Lorenzo. The latter challenges him to a
duel at the Black Rock, in which Diavolo hopes to be the victor. (Finale: “Would it
not be well to see whence comes this alarm.”)
ACT III. In the forest. Diavolo arrives in bandit
dress and awaits Lorenzo. (Aria: “My friend I hear.”) The marriage procession of
Zerline and the peasant Francisco approaches. Giacomo and Beppo, who are with the crowd,
are recognised and arrested by Lorenzo. The young captain hopes to catch the chief of the
brigands, but laments the loss of Zerline. (Aria: “Forever will I think of
thee.”) The well-guarded brigands, Giacomo and Beppo, are compelled to lure Diavolo
into a trap and he is shot. (Finale: “Away, away, to new strife.”) Lady Cockburn
recognises with dismay in the brigand her former admirer, and the happy Lorenzo wins his
Zerline.
(Also known under the name of
“The Gardener from Love”)
Opera in three acts by Mozart. Text by Calzabigi, adapted by Coltellini.
CAST: Don Anchises, podesta—Tenor. Arminda, his
niece—Soprano. Count Belfiore-—Tenor. Marchesa Violante—Soprano. Roberto,
her servant—Basso. Ramiro, Arminda’s former lover—Soprano. Sergetta,
Arminda’s maid—Soprano. First production, Munich, 1775.
The jealous Count Belfiore has wounded his affianced, the
Marchese Violante, and, thinking he has killed her, flees. After a time he is betrothed to
Arminda, the niece of the podesta of Lagonero. Violante and her servant Roberto enter the
service of the podesta, both as gardeners, under the names respectively of Sandrina and
Nardo. The podesta falls in love with Sandrina, Arminda with Nardo, Roberto with Sergetta.
Belfiore recognises Violante, but she denies her identity. The podesta receives a letter
naming Belfiore as the murderer of Violante, and she gives her proper name, but tells
Belfiore that she had used her resemblance to the deceased to save him. In the end she
forgives her lover, and thus frees Arminda, who marries Don Ramiro. Roberto and Sergetta
are also wedded; only the podesta is left to his own devices.
THE GOLDEN CROSS
(Das goldene kreuz)
Opera in two acts by Ignaz Bruull.
Text by Mosenthal.
CAST: Gontran de l’Ancre, a young
nobleman—Tenor. Colas, innkeeper—Baritone. Christina, his sister—Soprano.
Therèse, his bride—Soprano. Bombardon, sergeant—Basso. Place, a village near
Melun. Time, 1812 and 1815. First production, Berlin, 1875.
ACT I. Before the inn of Colas. Therèse is to be
married to Colas, and the young girls bring her rosemary bouquets adorned with ribbons.
Their joy is interrupted, however, as Colas has been conscripted for the army. Christine,
Colas’s sister, in vain offers her golden cross, and promises to marry the man who
will take the place of her brother and bring the cross back to her. A young nobleman,
Gontran de l’Ancre, has seen Christine and fallen in love with her. He is alone in
the world, having no kindred, so he takes the golden cross and departs with Sergeant
Bombardon and the recruits. Gontran bids farewell to Christine, who feels her heart
stirred with emotion.
ACT II. The same scene. Colas has taken up arms when
the enemy invaded the country and returns wounded. Another wounded man is in the house,
who is loved and tended by Christine. It is the unknown Gontran, who, however, has lost
the token for whose return Christine is waiting. Bombardon returns an invalid from Russia.
He has found the cross, and although Christine is distressed, she resolves to keep her
word. Bombardon recognises Gontran, whom he has believed to be dead, gives him the cross,
and he and Christine find happiness.
(SCENES FROM)
GOTZ VON BERLICHINGEN
Opera in five acts (nine scenes)
by Karl Goldmark. Text freely adapted from Goethe by Willner.
CAST: Gotz. Elizabeth. Maria. Karl. George. Bishop.
Weislingen. Franz. Adelheid. A maid. Selbitz. Lerse. Sikkingen. Metzler. Sievers. Members
of council. Judges of the Fehme. Pages. Courtiers. Servants. Attendants. Working men.
Merchants. Peasants. The people. First production, Pesth, 1902.
ACT I. A hall in Götz’s house. Several scenes
are here combined: Weislingen’s betrothal with Maria, George’s song of the child
who caught a bird, Selbitz’s appearance without his shirt after the dicing, the feast
of Gotz with his friends, the invitation to Hellbronn, and the announcement of Franz of
the presence of the beautiful Adelheid at the court of the Bishop of Bamberg.
ACT II. Scene
1: The council chamber of Heilbronn The councillors of Heilbronn attempt to force Götz to
swear eternal peace. He refuses, and the citizens try to take him prisoner, but he is
rescued in the nick of time by the Knight Sikkingen.
Scene 2: At the court of the Bishop of Bamberg. Weislingen
is enmeshed in the net of Adelheid, who desires to use him to her profit. She has also
captivated the young fiery Franz. George, who has been sent by Götz as a messenger, is
derided by the pages of the bishop, is disowned by Weislingen, and the bishop, who is an
enemy of Götz, performs the marriage ceremony between Weislingen and Adelheid.
ACT III. Scene 1: An opening in the wood. Götz sets
upon some Heilbronn merchants and hears of Weislingen’s desertion and the breaking of
his oath.
Scene 2: Imperial Court at Augsburg. Weislingen’s heart
is filled with re-morse at his treachery, particularly as Adelheid is unfaithful to him,
not alone with Franz, but also with the son of the emperor, Karl. When he attempts to
force her to leave the court and follow him to his castle, she induces Franz to poison
him.
ACT IV. The country and revolt of the peasants. Götz
is forced to assume the leadership.
ACT V. Scene 1: Park of the castle of Weislingen. The
judges of the Febme assemble and condemn Adelheid to death.
Scene 2: Sleeping apartment in the castle of Adelheid.
Adelheid has this whole scene alone. She is disturbed by Weislingen’s death; she
yearns for the absent Franz, and as she gazes from the window perceives the judges of the
Fehme approaching, and knows that her end is at hand.
Scene 3: Götz in prison. Elizabeth and Lerse stand at his
side and he dies in their arms.
Opera in one act by Ignaz Brüll.
Text adapted from the play of Banville by Victor Leon.
CAST: Louis
XI—Baritone. Olivier, his barber—Tenor. Simon Fourniez, merchant—Basso.
Loyse, his daughter—Soprano. Nicole, his sister—Alto. Pierre Gringoire, a street
singer—Baritone. Place, the house of Fourniez in Tours. Time, 1496. First production,
Munich, 1892.
Olivier reports to Fouurniez that the king, who is hunting
in the neighbourhood, is coming to his house as a guest. Fourniez is overjoyed at this
distinction, particularly as the favourite Olivier desires to marry his daughter Loyse.
Loyse, however, will have nothing to do with him. When the king arrives Fourniez seeks his
good offices in behalf of Loyse. The street singer Gringoire, who is hated by Olivier for
having ridiculed him in his poems, is before the door, and the king bids him enter. Louis,
prejudiced against the singer by his favourite, demands that Gringoire, who is
half-starved and does not know the king, shall earn his meal by a song. He sings a song of
derision against the king, and then ascertains before whom he stands. He gives himself up
for lost. But things do not turn out as the cunning Olivier intends, for Louis recognises
the genius of Gringoire, and when he discovers the mutual love of Loyse and the singer he
unites them in marriage.
Opera in three acts by Richard
Strauss. Text by the composer.
CAST: The old duke—Basso. Freihild, his
daughter— Soprano. Duke Robert, her husband—Baritone. Guntram and Friedhold,
minstrels—Tenor and Basso. Jester to the duke—Tenor. An old woman—Alto. An
old man—Tenor. Two young men—Bassi. Three subjects— Bassi. rlace, a German
duchy. Time, thirteenth century. First production, Weimar, 1894.
Guntram and Friedhold are members of the Holy Society of
Peace, to which they have vowed fidelity and obedience. The old duke has delivered his
daughter and relinquished his lands to the Duke Robert, who oppresses the people to such
an extent that they are compelled to revolt. They are defeated by Robert, and their lot is
only made the harder. Many of the serfs and poor people take to flight. Freihild, the
daughter of the old duke, has been heretofore their good angel, but even she has been so
maltreated by the cruel husband whom she was forced to marry that- she voluntarily seeks
death in the sea. Freihild leads thither young Guntram to begin his work of peace. Guntram
feeds and comforts the poor fugitives, prevents Freihild from seeking death, attempts to
soften the heart of the old duke by his song and to awaken the conscience of Robert. His
love for Freihild awakens. When Robert rushes upon him with his sword he kills the duke in
self-defence. He is thrown into prison by order of the old duke, and is to be executed
with tortures; but before meeting his end he desires to pacify the people, who have again
revolted. Freihild induces the faithful jester to aid her in freeing Guntram. She opens
the prison cell, avows her passionate love for Guntram, and wishes to fly with him.
Friedhold approaches and demands that Guntram stand trial before the Holy Tribunal for his
bloody deed. Guntram refuses to marry Freihild. She thinks she has won him, but when the
news of the death of the old duke and his defeat in battle arrives and the people
proclaim their beloved Freihild as ruler, Guntram recognises her exalted mission as leader
of her people and nobly relinquishes his love. He departs.
ACT I. Forest and sea. Appearance of Guntram,
Friedhold and people. (Guntram: “Here, good people, take your ease.”) They tell
their sad story. (“Bitter poverty, hunger —desolation.”) Friedhold tells
him his goal is near and departs. Guntram remains behind and seeks excuses for his action.
(“Never prayed for—secretly longed for.”) The great scene with Freihild
follows, in which he saves her from death and obtains mercy from the duke for the
imprisoned fugitives. He accompanies the duke to the palace.
ACT II. Festival at the court of the duke. The jester
is charitable to the poor and awakens the anger of Robert. Song of the minstrels.
(“Hail to the ruler”), turned into ridicule by the jester. Secret revolt of the
vassals of Robert. Guntram’s great song of peace. (“I see peace.”) Robert
rushes upon Guntram, the serfs protect him, and a messenger brings news of a new revolt.
(Ensemble: “War, war, oh duke.”) Guntram advises peace and when Robert is about
to kill him as a traitor, he stabs his assailant. The old duke wins over the vassals, has
Guntram thrown into prison and rushes to the combat. Freihild loves Guntram, and resolves
to save him and fly with him.
ACT III. Prison in the burg. Song of the monks.
(“Et lux perpetua luceat ei.”) Guntram now regrets his deed. He does not conceal
from himself that his guilt has been influenced by his love of Freihild. He renounces his
love and departs.
Opera in five acts by Auber. Text
by Scribe.
CAST: Gustav III, King of Sweden—Tenor.
Ankarström, his confidant—Baritone. Amalie, wife of Ankarström—Soprano. Count
Horn and Count Ribbing, conspirators—Tenor and Basso. The minister of war—
Basso. The minister of justice—Basso. A chamberlain. Oskar, page to the
king—Soprano. Arverson, a fortune teller—Mezzo-soprano. Christian, an old
sailor—Tenor. Roslin, a sculptor. Sergell, a painter. Place, Stockholm. Time, 1792.
First production, Paris, 1833.
The action is exactly the same as in Amelia, or the Masked
Ball by Verdi (see that opera), with the difference that the librettist has changed the
historical text to a popular one. Gustav loves the wife of Ankarström, and thereby makes
him his enemy. He joins the conspirators and kills the king at a masked ball. (In 1861 at
Paris the text of this opera underwent a further change. The scene was transferred to
Naples, Gustav was appointed Duke of Olivarez, in deference to the singer Mario, whose
audience evinced hostility to the Swedish text.)
Opera in two acts by Chabrier.
Text by Catulle Mendès.
CAST: Gwendoline. Harald. Armel. Aella. Erik. Place,
the hills on the coast of Great Britain. Time, the eighth century. First production,
Paris, 1893.
ACT I. A valley near the sea coast. Harald, a Danish
sea king, lands and besieges the venerable Saxon Armel and his people. Armel is to be
executed for defiantly refusing to give up his treasure. Harald, who has never seen a
woman before, sees the beautiful blonde Gwendoline, daughter of Armel. His heart awakens,
his wildness vanishes, and notwithstanding the warning of the Danes he succumbs to the
power of love and asks her to be his wife. Armel gives his consent, and tells the Saxons
that he will murder the weaponless Danes at the marriage feast.
ACT II. Bridal chamber. Armel gives his daughter a
dagger and whispers to her to kill Harald in the night. But Gwendoline loves Harald and
wishes to save him. When the cry for help of the defenceless Danes is heard she gives her
lover the dagger and follows him. Change of scene: The sea. The Saxons slay the Danes, and
when Harald appears he is killed by Armel. Gwendoline seizes the dagger, and, stabbing
herself to the heart, dies with her lover. Armel is overwhelmed with despair. The
burning vessels of the Danes add horror to the scene. Songs. Act I: Chorus and scene
between Armel and Gwendoline; Chorus and legend of Gwendoline: “They are cruel,
strong, like raging beasts”; Appearance of the Danes and sword song of Harald:
“Our good sword strikes like the lightning’s bolt”; Harald and Gwendoline (a),
scene: “Come here !“ (b) Gwendoline’s
song: “Tell, dear maid, what do you here?” (c)
Duet: “Spin, spin, blonde maiden”; Ensemble, Harald, Gwendoline, Armel,
chorus of Saxons and Danes: “Harald, be warned.”
Act II. Scene and chorus: “Oh see the bride in marriage
dress”; Duet, Harald, Gwendoline: “Gwendoline, oh Gwendoline.” The cry for
help of the Danes is heard during the love duet.
Change of scene: Chorus: “Saxons, arise! punish the
robbers”; Duet, Harald, Gwendoline: “United in death, as in life”; Finale:
“Wotan opens for you his halls.”
Opera in five acts by Ambroise
Thomas. Text adapted from Shakespeare by Barbier and Carré.
CAST: Hamlet—Baritone. The ghost of
Hamlet’s father—Basso. Claudius, King of Denmark—Baritone. Polonius,
chancellor—Baritone. Läertes, his son—Tenor. Marcellus and Horatio, officers
and friends of Hamlet. Gertrud, Hamlet’s mother, Queen of .Denmark—Soprano.
Ophelia, daughter of Polonius—Soprano. Place, Helsingfors. First production, Paris,
1868.
ACT I. Hall in the palace. The king and Gertrud
celebrate their marriage. Love scene between Ophelia and Hamlet, who desires to leave
the country, as he is overwhelmed with grief at the conduct of his mother, who, only two
months after the death of his father, had married again. Laërtes, who is going to foreign
parts, confides Ophelia to Hamlet. Horatio relates the appearance of the ghost of the
deceased king.
Change of scene: Rampart of the castle. Night. Hamlet and
his friends await the ghost. He appears and tells Hamlet of his murder by Claudius and
Gertrud, and demands vengeance.
ACT II. The garden. Hamlet, in despair at the
distress of Ophelia, feigns melancholy, and asks that a play be produced by a strolling
company.
Change of scene: The festal chamber. Hamlet has arranged a
play in which the action reproduces the murder of his father, and feigning madness accuses
the king of the deed.
ACT III. Chamber of the queen. Hamlet overhears a
conversation between the king and Polonius, in which he discovers that Polonius, the
father of Ophelia, is also guilty. The queen offers him Ophelia as a bride, but he
repulses her, and discloses his knowledge of his father’s murder to his mother.
ACT IV.
Ophelia’s death by drowning. She has gone mad through despair.
ACT V. The
church yard. Hamlet, pursued by the vengeance of the king, meets Laërtes, who calls him
to account for his breach of faith to his sister. The approaching funeral procession
of Ophelia prevents a quarrel, and Hamlet resolves to commit suicide at the bier of
Ophelia. When the ghost again appears he arises and stabs the king. The people elevate
Hamlet to the throne.
Fairy opera in three acts by
Engelbert Humperdinck. Text by Adelheid Wette.
CAST: Peter, broom-maker—Baritone. Gertrud, his
wife—Mezzo-soprano. Hänsel and Gretel, their children—Mezzo-soprano and
Soprano. The Crunch Witch— Mezzo-seprano. The Sand Man—Soprano. Dew
mannikins—Sopranos. The fourteen angels. Children. First production, Munich, 1893.
ACT I. At home. A
poverty-stricken room in which the children Hänsel and Gretel are working. Hänsel is
making brooms and Gretel knitting stockings. They try to forget their hunger in song.
(Gretel: “Suse, dear Suse, what rattles in the straw”; Hänsel: “Eia,
popeia, what poverty.”) They wish their mother were at home, for they are very
hungry. For weeks they have had nothing but dry crusts. But when Gretel tells Hänsel that
the neighbour’s wife had presented their mother with a vessel of milk to make rice
pudding, he jumps for joy, drops his work and dances around with Gretel, who is more than
willing. (“Little brother, come dance with me.”) They tease and play, when the
mother suddenly enters. She is very angry that the work has not been completed. (“Do
you call that work? to yell and sing.”) In looking for the stick to chastise the
children, she upsets the pot of milk, and cries at the loss of her supper. Angrily she
sends the children into the woods to pick strawberries and threatens: “If you bring
not the basket back to the full, I will whip you and your hair pull.” The children
creep fearfully from the house, and she sinks upon the chair exhausted; the father
arrives in good spirits. He has been drinking, having sold all his brooms at a good price,
and brings a basket full of food. (Song: “Oh, we poor, poor people.”) He asks
after the children, and she tells him of the broken pot and of sending them to Ilsenstein
in the woods to pick strawberries. When the father hears this he is in despair, for at
Ilsenstein lives the bad crunch witch, who lures the children with her magic cakes, then
puts them into the oven, where they are baked ‘into Lebkuchen (a favourite German
cake), which she then devours. (“A witch of hoary age roams in the forest.”) The parents quickly leave the house to seek the
children.
ACT II. In the wood. In the background the Ilsenstein
thickly surrounded by pines. While Hansel is seeking for strawberries Gretel binds a
wreath. (“A little man is in the wood.”) Hänsel merrily arrives with the filled
basket, but when the cuckoo calls, they play cuckoo with the berries, and as he continues
to call they devour the whole of them. Now they are afraid, and as it is getting dark,
Hansel cannot find the way. They see all kinds of spectres, are scared at the echo of
their own voices, and draw close together when the mist rises. In vain do they call for
their parents. Out of the mist appears a little grey man, the sandman (“Little
sandman and I-st!”), who throws sand in their eyes, whereupon they fall asleep under
a pine tree after praying. (“When at night I go to sleep, fourteen angels watch do
keep.”) From the mist a shining ladder is seen, with angels ascending to heaven, and
surrounding the children in accordance with their prayer.
ACT III. The crunch witch’s hut. The same scene, but
the angels have disappeared and the mist conceals the background. The dream man comes and
awakens the children. They tell each other of the angels they have seen in their dreams.
As they turn around, the mist has vanished and they see the little crunch witch’s hut
on the Ilsenstein. On the left is a bake oven, on the right a cage, connected with the
house by a hedge of gingerbread men. Attracted by the smell they begin to nibble at the
hut. A voice is heard: “Nibble, nibble, who nibbles at my hut ?“ But they are not disturbed and answer:
“The wind, the wind, that heavenly child.” Unperceived, the witch approaches,
captures Hänsel, locks him into the cage and sends Gretel into the house to fetch almonds
and raisins with which to fatten Hänsel. In glee the witch looks into her oven, snatches
her witch broom, and with the prospect of a good meal in sight dances around. (“Hurr,
hopp, hopp, hopp, gallop, gallop.”) Hansel, who feigns to be asleep, watches her and
warns the returning Gretel. (“Sister dear, be careful.”) When the witch asks
Gretel to look into the oven she acts clumsily and asks the witch to show her how it is
done; when the witch bends over to peer into the oven, Hänsel rushes out of the cage, he
and Gretel shove the witch in, and she is consumed. All the children who have been turned
into ginger-bread figures are released. (Chorus of gingerbread children: “Thanks,
thanks, forever and ever.”) The parents arrive, and the witch is taken out from the
ruins of the oven in the shape of a large piece of gingerbread. (“Father, children,
look at the miracle”; Final Chorus: “When misery is at its lowest ebb, God, the
Lord, stretches forth His hand.”) The opera closes with the merry dances of the
children.
Romantic opera in three acts and
an introduction by Heinrich Marschner. Text by Eduard Devrient.
Cast of the introduction: The queen of the spirits of the
earth—Soprano. Her son—Baritone.
Cast of the opera: The queen of the spirits of the
earth—Soprano. Hans Heiling—Baritone. Anna, his bride—Soprano. Gertrud, her
mother—Alto. Konrad, huntsman to the burgrave—Tenor. Stephan and Nikolaus,
peasants—Basso and Tenor. Place, the Hartz Mountains. Time, the sixteenth century.
First production, Hanover, 1833.
Introduction. The subterranean abode of the spirits of the
earth. (Chorus: “Labour without rest.”) The queen’s son, by his love for a
daughter of earth, is driven to its surface, having rejected all warnings and prayers.
(Duet: “Enough: end your unceasing labours.”) The queen resolves to use her
power to win him back.
ACT I. After the overture (which follows the
introduction), Hans Heiling (the son of the spirit queen) is seen to emerge from a
subterranean passage. He is now a human being, living in a human habitation, and hails
with delight his beloved Anna, who comes to him with her mother Gertrud. (“Welcome to
this spot.”) Anna finds a book of magic, which Hans brought with him, and at her
request he throws it into the fire. (Terzett: “Ha, what signs! so sparkling and
beautiful.”) He has now sacrificed for Anna all that once gave him power as a spirit;
his happiness rests now only in her love. (Aria: “The day when you pledged your faith
to me.”) To please Anna he agrees to accompany her to a country festival. (Terzett:
“Very well! Let us go.”)
Change of scene: Festival of peasants. (Chorus:
“Jucheisa! to-day spare not the gold”; Song of Konrad: “A lovely coy
maiden.”) As Anna and Konrad hurry to the dance (Finale: “How my heart jumps for
joy”) Heiling is troubled and fears to lose her love.
ACT II. The wood. Anna loves Konrad. (Recitative: “Woe
is me, to what have I come”; Aria: “Once my heart was at peace.”) The queen
of the spirits of the earth appears with her following, and terrifies Anna by telling her
who Heiling really is. (Ensemble: “From the abyss, from the depths of the
earth.”) Konrad finds Anna unconscious from fright, and when she recovers they
confess their love. (Recitative: “Through the green wood”; Duet: “Ha, these
words renew my life.”)
Change of scene: Gertrud in her room. (Song: “The night
upon the heath.”) Konrad comes with Anna and asks her mother for her hand, as she
looks with abhorrence on her former bridegroom, whom she now knows to be a spirit of the
earth. (Finale: “You hear it, his name alone is terrible to her.”) When Heiling
arrives with the bridal jewels and Anna repulses him, declaring her knowledge of his
origin, Heiling stabs his rival Konrad to the heart, and flees.
ACT III. A rocky gorge. Heiling calls upon the spirits of
the earth, and they inform him that Konrad is not dead. When he attempts to force the
spirits to obey him they remind him that he has voluntarily surrendered his power over
them. In despair he realises that both his happiness on earth and his power as a spirit
have departed, but the spirits promise him vengeance if he will return to them and
renounce Anna forever.
Change of scene: Konrad is about to celebrate his marriage,
and the peasants join in the festival (Stephan’s song: “A huntsman would
marry”; Duet between Konrad and Anna: “Now you are mine.”) As is the custom
the peasants play blindman’s-buff, and during the game Anna, blindfolded, catches
Heiling, who has mysteriously appeared. When he is about to avenge himself, Konrad and the
peasants come to her rescue. Heiling calls on the spirits, but, besought by his mother, he
gives up his vengeance, and resolving that no mortal eye shall again be-hold him, he sinks
beneath the earth.
THE HERMIT’S BELL
(Les Dragons de Villars)
Opera in three acts by Maillart.
Text by Common and Lockroy.
CAST: Thibaut, a rich farmer.--Tenor. Georgette, his
wife—Soprano. Bélamy, officer of dragoons—Baritone. Sylvain, Thibaut’s
servant—Tenor. Rose Friquet, a poor peasant girl—Soprano. A fugitive—Basso.
Place, a French village in the mountains. Time, 1704. First production, Paris, 1856.
ACT I. Thibaut’s farm. He announces the approach of a
regiment of dragoons: the women conceal themselves, and his wife hides herself in the
stable. When the dragoons under the command of Bélamy arrive, Thibaut assures him that
all the women have fled. Rose Friquet approaches with mules, which the farmhand Sylvain
had lost in the forest. She knows that Sylvain has befriended the fugitives, persecuted
for the sake of religion, whom the soldiers pursue. Rose confronts Bélamy and reveals the
hiding-place of the women. Bélamy has been told of a wondrous bell in the chapel of the
hermit, which is rung whenever a woman becomes unfaithful, and he induces Georgette to
lead him thither; Rose overhears this and informs Sylvain that his departure is a
favourable opportunity for the rescue of his friends.
ACT II. The hermit’s chapel in the forest. Rose shows
Sylvain the only unguarded path, and his heart begins to turn to the girl, who heretofore
has been universally despised. Thibaut suspects Bélamy and his wife, but Rose manages to
get rid of him, and concealing herself in the chapel, twice rings the bell when the
dragoon attempts to kiss Georgette. The superstitious farmer’s wife runs away, and
Bélamy allays the distrust of Thibaut. The tired Rose falls asleep, Bélamy returns to
investigate, and is a secret witness to the escape of the fugitives.
ACT III. Before the house of Thibaut. Sylvain is about to
marry Rose, when Thibaut accuses her of treachery. Sylvain believes him and is in
despair. Rose, unconscious of the accusation, arrives to be married, but is treated with
scorn by Sylvain. He attempts to strike her, when she produces proof of the safety of the
fugitives. Bélamy is about to order the execution of Sylvain, when Rose threatens to
accuse him to the authorities for allowing the fugitives to escape during his interview
with Georgette. Bélamy quickly releases Sylvain and he marries Rose.
Opera in five acts by Meyerbeer.
Text by Scribe and Desehamps.
CAST: Marguerite de Valois—-Soprano. St. Bris, Catholic
nobleman—Basso. Valentine, his daughter—Soprano. Raoul de Nangis, Protestant
nobleman—Tenor. Marcel, his servant—Basso. Urbain, page—Soprano. Count de
Nevers—Baritone. Bois Rosé, Protestant soldier—Tenor. Cossé, Tananneo and
Thoret, Catholic noblemen. Petz, Méru and Maurevert—Small parts. A night watchman.
Place, in Paris and Touraine. Time, 1572. First pro-duction, Paris, 1836.
The night of St. Bartholomew is the subject of this opera.
Peace ostensibly exists between the Catholics and Huguenots, but the Catholic party, with
St. Bris at its head, is determined to destroy the Huguenots, while Marguerite and the
noble De Nevers are for permanent amity.
ACT I. De Nevers’s chamber. The assembled Catholic
noblemen entertain the Protestant Raoul at a banquet. (Raoul’s aria: “To find
myself at such a place.”) When in the course of the carouse each guest is asked to
name his adored one, and Raoul is requested to he the first, he declares that he loves an
unknown, whom he had once freed from molestation. (Romance: “Her cheeks.”) When
his servant, Marcel, a rough but honest soldier, appears, the latter warns him of danger,
by singing Luther’s hymn: “The Lord is our refuge.” Marcel refuses to
drink, but sings by request and in scorn: “The convents are burning.” De Nevers,
the host, leaves the room to receive a lady, whom his friends believe to be his mistress;
Raoul, gazing through the window, recognises his unknown, and from this moment thinks of
her only with contempt. But it is Valentine, who sincerely loves Raoul and who came to De
Nevers to ask that he release her from her promise to marry him, to which he sorrowfully
agrees. A page, Urbain, brings Raoul an anonymous note, and requests him to follow with
his eyes bandaged, to meet a lady. (Urbain: “A lovely, noble lady.”)
ACT II. Garden of Queen Marguerite, -wherein she is walking
with her ladies. (Aria: “A happy country.”) She and her followers are
enthusiastic for peace (Terzett of ladies: “Dissension depart”), and she
receives Valentine, for whom she has selected another nobleman to be her husband. It is
Raoul to whom Marguerite now speaks. (Duet: “Who are you?”) When the ladies and
gentlemen return, he recognises the queen, to whom he pays homage. She announces that she
will unite Raoul with Valentine as a sign of peace, and demands that they bury all
animosity. (Ensemble: “Sweet amity, protect us.”) When St. Bris introduces his
daughter Valentine, who Raoul considers to be the mistress of Count de Nevers, the young
Protestant nobleman refuses the alliance with scorn, and only the command of the queen
prevents the shedding of blood.
ACT III. Catholics and Protestants are drinking before an
inn at Paris. (Song of the Huguenots, Bois Rosé and his comrades: “He took the sword
in his right hand.”) A band of gipsies prevents a fight and they dance. Valentine,
commanded by St. Bris, is betrothed to De Nevers, and he is plotting vengeance against
Raoul, when he receives a challenge from Raoul, ‘through Marcel, which is accepted by
the nobleman Maurevert in his stead. Valentine has overheard the conversation in a nearby
chapel and wishes to save Raoul from certain death. In the following magnificent duet she
induces Marcel to see that Raoul does not come unattended to the duel. A septet of men
precedes the affair. The clash of swords attracts the adherents of both parties;
Marguerite, who is passing, compels the combatants to cease. Valentine confirms
Marcel’s statement that Raoul’s life is in danger, and he realises that he has
falsely accused her.
ACT IV. Chamber of De Nevers. Valentine has become the wife
of De Nevers, but loves only Raoul. (Romance: “He alone fills my heart.”) When
Raoul appears to bid her farewell she conceals him behind a curtain from the assembling
Catholics, and he overhears that all the Huguenots are to be murdered that night. The
noble De Nevers, who refuses to take part in the plot, is removed by St. Bris. The celebrated blessing of
the swords follows: (“Holy be our vengeance.”) When the Catholics have left the
room Raoul seeks to escape in order to warn his brethren, but is restrained by Valentine.
(Duet: “To save all am I chosen.”) For a while he is detained by his love, but
when he hears the signal for the attack upon the Huguenots, he leaps through the window,
leaving Valentine in a swoon.
ACT V. (In many theatres only the last scene of this act is
presented, as the opera is very long. The original text has three scenes.)
Chamber in the Hotel de Nesle. The leaders of the Huguenots
are assembled. Raoul enters and relates the terrors of St. Bartholomew’s night. He
reports the death of the Huguenot leader, Admiral Coligny, as its first victim. All arm
themselves.
Change of scene: The churchyard. Valentine finds Raoul with
Marcel. De Nevers, who has escaped, is dead; she accepts Raoul’s faith, and Marcel
unites them in marriage and blesses them. The Huguenot women are concealed in a
neighbouring church: the Catholics enter, and a terrible scene of carnage ensues. Raoul is
separated from Valentine in the combat.
Change of scene: Quay of Paris. Raoul arrives mortally
wounded: Valentine and Marcel support him. St. Bris enters, the soldiers fire a volley,
and Raoul and Valentine are united in death.
Last updated October 30, 2006