Opera Books
The Opera Goer’s
COMPLETE GUIDE
LEO MELITZ
Copyright 1908, 1911, 1921
Opera in three acts by Flotow.
Text by Putlitz.
CAST: Don Sebastian, King of Portugal—Tenor. Don Luiz
Camoëns—Baritone. Pedro, officer—Tenor. The king’s confessor—Basso.
Fernand, companion to the king—Basso. José innkeeper—Tenor. Zigaretta, his wife— Soprano. Kudru, East
Indian juggler—-Mezzo-soprano. Indra, her slave—Soprano. Place, Lisbon and
Lofala in East Africa. Time, 1751. First production, Vienna, 1852.
ACT I. Harbour of Lofala. Indra, with a band of jugglers,
is performing. She sings a composition by Camoëns, who is present as a soldier, and who
falls in love with her. Pedro, the officer, is jealous, and sends the soldier Camoëns
away. His comrades collect money that he may purChase his freedom from the service, but
Camoens uses the money to free Indra from her mistress, Kudru, and flies with her,
accompanied by the gay José who has deserted his wife Zigaretta at Lisbon.
ACT II. The harbour at Lisbon. King Sebastian, being wounded
in battle, is brought to Camoëns and healed by Indra. When Pedro sees Indra once more, he
endeavours to take from her Camoëns’s poem, “The Lusiade,” but the king
interferes and saves his preserver.
ACT III. José’s room. He does not escape his fate, as
Zigaretta has followed him disguised as a sailor. The king meets Indra, from whom he has
received the poem, and asks the name of the author. Indra refuses to tell him, but when
Camoëns is brought in by Pedro as a deserter, she divulges his name. The king releases
Camoëns and places the faithful Indra, whose love he himself had tried to gain, in the
arms of her lover.
Opera in three acts by Max
Schillings. Text by Ferdinand Count Sporek.
CAST: The Thorstein sons: Klaufë—Baritone. Bran—
Tenor. Siwart—Tenor. Gorm—Basso. Ortolf—Baritone. Ganduif—Basso.
Ingwilde, his daughter—Soprano. Gest, his foster-son—Tenor. Place, Norway. Time,
the days of the Vikings. First production, Karlsruuhe, 1894.
ACT I. An apartment in the castle of Gladgard. Gandulf and
Ingwilde see in a dream the battle of vengeance with the Thorstein sons. Gest explains the
dream. Gandulf laments the death of his four sons, and Gest swears fidelity to him in
their place. Ortolf, the herald of the Thorstein sons, arrives, mockingly attired in the
dress of a clown, to announce hostilities. A short love scene follows between Gest and
Ingwilde.
Change of scene: The open meadow. The battle begins and
gradually nears the wood. Ingwilde gazes from the windows of the castle. Unseen by the
combatants, Klaufe crosses the water to abduct Ingwilde. She sees him coming and sets fire
to the castle. Klaufe enters the burning castle and captures the maiden. The battle
approaches nearer, Gest frees Ingwilde, and strikes Klaufe to the earth. Siwart demands
Ingwilde as his by blood right. Chance is to decide to which brother she belongs. To save
herself, she takes a dreadful oath that she will belong only to the dead. Klaufe revives,
having only been stunned, and bound by her oath, Ingwilde must follow him. Both sides
swear vengeance till death.
ACT II. Chamber in the castle of the Thorstein sons. The
Skald Bran has sung the praises of Ingwilde at the marriage feast. She replies that she
will obey the custom, but will not consummate the union. The men go hunting. When alone
with Klaufe, Ingwilde persuades him to go with her to Gandulf to make peace, afterward she
will give him her love. The torch of Bran shall show the way. Bran, remaining alone,
dreamily sings (“A star arose”) ; but soon he becomes suspicious of
Ingwilde’s mildness. The torch is extinguished. Klaufe’s ghost returning
announces his death and stirs Bran to vengeance. The mild youth becomes a warrior, and
whets his axe with wild song. (“So, so, inanimate stone.”) The brothers enter,
bringing Klaufe’s corpse, but consider his death atoned for by the death of Gandulf.
Bran divides Klaufe’s treasure, making no claim for himself, but swears vengeance.
ACT III. On the shore near Castle Gladgard. Ingwilde,
tortured by remorse for her treachery, is engaged in loving converse with Gest. She
continually sees Klaufe’s spirit, and begs Gest to take her to distant lands. He
promises, when Bran arrives to take vengeance upon Gest. He kills Gest, who tries to
protect Ingwilde. Bran, confused by the sight of Ingwilde, falters in his design to kill
her. Klaufe’s spirit speaks to him in vain. Ingwilde endeavours to kill Bran, but
cannot force herself to the deed. Only when the burning death boat of Klaufe appears on
the waves do they realise their coming fate. They both seek death in the sea. The
terrified warriors see a boat gliding toward the vessel of the dead. It contains Ingwilde
and Bran, who go on board of the spirit ship of Klaufe, which sinks into the waves. A song
is heard from the deep. (“You daring heroes.”) The warriors on the shore fall on
their knees in prayer.
Musical comedy in three acts after
Goldoni by Sugana. Music by Wolf-Ferrari.
CAST: Ottavio, a rich Venetian citizen. Beatrice, his wife.
Rosaura, his daughter. Florindo. Pantalove. Lello. Leandro. Colombina, maid. Eleonora,
wife of Lelio. Arlechino, servant. Several friends of Pantalove’s. Servants.
Populace, etc. Place, Venice in the middle of the eighteenth century. First production,
Munich, 1903.
ACT I. A room in the club house, over whose door is written:
“Women are excluded.” A number of married men are making merry at a feast, well
knowing that their wives and daughters are curious to discover what takes place within the
walls of the club. To-day Pantalove is the host, and he orders his rogue of a servant,
Arlechino — who poses as a woman hater—although he loves Colombina, to prepare
the feast.
Change of scene: A chamber in the house of Ottavio.
Beatrice, Rosaura and Eleonora believe that dreadful orgies are carried on at the club,
and are strengthened in their belief by the tales of Colombina. They endeavour to extract
information from Arlechino and Ottavio, but in vain. Rosaura tries to gain her ends with
her lover Florindo by swooning and jealousy, and at last Colombina, by a stratagem,
obtains the password, “Amicizia,” from Florindo.
ACT II. A room in the house of Lelio. Eleonora dis-covers
from a letter in her husband’s pocket that new keys have been made for the club. When
Ottavio and his family arrive on a visit all the women endeavour to obtain the keys from
the men. Again Colombina’s cunning triumphs, and she secures the keys. The women now
resolve to gain entrance to the club; only Rosaura, as a young girl, is left at home, but
she appeals to Florindo, who, being lovesick, is persuaded to deliver his key to her.
ACT III. A street near the club house. The women arrive
singly, but manage so clumsily that they cannot enter the club. They capture Arlechino,
and take his key by force.
Change of scene: Festival hall in the club, separated from
the anteroom by a door of thick glass. The women assure themselves that the men are
enjoying themselves harmlessly at the meal, and when they are discovered, they are
forgiven, and all join in a merry dance.
Lyric tragedy in three acts by
Gluck. Text by Du Rollet.
CAST: Agamemnon—Baritone. Clytemnestra, his
wife—Mezzo-soprano. Iphigenia, their daughter—Soprano. Achilles—Tenor.
Patroclos—Basso. Calehas, high priest—Basso. Arkas, captain of the guard of
Agamemnon—Tenor. Artemis (Diana)—Soprano. Place, Aulis. First production, Paris,
1774.
ACT I. Camp of the Greeks. (Aria of Agamemnon: “O
Artemis, angry one! in vain this dreadful sacrifice.”) The king has angered the
goddess, and she revenges herself by preventing the departure of the Greek fleet for Troy
by contrary winds. In order to appease her wrath, Agamemnon offers his daughter
Iphigenia in sacrifice. Calehas tells the Greeks of the demands of the goddess. (“The
goddess wills that I enlighten you.”) He insists that Agamemnon shall comply. (Duet:
“You see how the army is disturbed.”) Clytemnestra and Iphigenia arrive at the
camp unexpectedly, and Calchas declares this to be a sign from the goddess. The arrival of
the women is celebrated with dances and music. Clytemnestra relates that Achilles, the
bridegroom-to-be of Iphigenia, has become unfaithful. (Duet: “Achilles, by you be
hated”; Aria of Clytemnestra: “Arm yourself with angry courage.”) Iphigenia
cannot believe it. (Aria: “My heart is inexperienced.”) Achilles, ignorant of
all, joins her; when she accuses him of infidelity, he denies it and reaffirms his love.
(Duet: “Is it a dream which deludes me?”)
ACT II. Palace of Agamemnon. Iphigenia is again in doubt as
to her father’s intention, but Clytemnestra brings joyful news. (Duet: “Soon,
daughter, Hymen will make thee happy.”) Achilles Celebrates his love for Iphigenia
with song and dances. He is about to lead her to the altar, when Arkas proclaims that
Agamemnon is waiting to sacrifice her. Clytemnestra asks Achilles to save the maiden.
(Aria: “Condemned to death by her cruel father”; Terzett: Achilles, Clytemnestra
and Iphigenia: “Princess, be comforted.”) Achilles threatens Agamemnon. (Duet:
“He comes! Gods, assuage the anger of my heart.”) Angered, the king commands the
sacrifice to proceed. (Recitative: “My command obey”; Aria: “Dear to thy
father’s heart.”)
ACT III. A tent. Arkas guards Iphigenia, and the Greeks
clamour for the sacrifice. Achilles arrives to attempt the escape of Iphigenia. (Duet:
“Loved one, follow me!”) The daughter of Agamemnon, however, wishes to save
Achilles from disgrace, and resolves to die. (Aria of Achilles: “Well then! go and
obey, cruel one!”) The Greeks arrive to take away Iphigenia. (Aria of Clytemnestra:
“Cast, Zeus, thy bolts.”)
Change of scene: Altar of Artemis on the shore of the sea.
As Achilles is about to save Iphigenia by force of arms the goddess appears, declares
herself appeased, and Achilles clasps his bride in his arms before his departure for Troy.
(This ending does not agree with the myth. According to it Iphigenia is saved by Artemis
[Diana], but, unknown to the Greeks, is brought to Tauris, where she is installed as
priestess of the temple.)
Opera in four acts by Gluck. Text
from the French of Guichard by Sander.
CAST: Iphigenia, high priestess of Diana—Soprano.
Orestes—-Baritone. Pylades—Tenor. Thoas, King of Scythia—Basso.
Diana—Soprano. First and second priestess. A Scythian. A servant of the temple.
Place, Tauris. First production, Paris, 1779.
Through the curious ending of “Iphigenia in Aulis”
(which see above) this opera is not produced as a continuation of the other, which it is
in action. Clytemnestra has slain Agamemnon after his return from Troy, and is murdered
by her son Orestes in consequence. Pursued by the Eumenides, the matricide consults the
oracle of Apollo, and is promised safety if he delivers his sister out of Tauris. As he
knows nothing of the deliverance of Iphigenia by Diana (Artemis), he thinks he is
commanded to carry off the statue of Diana (Apollo’s sister). He hurries with his
friend Pylades to Tauris, but finds and recognises his own sister Iphigenia, and returns
with her to Greece, relieved from the vengeance of the Eumenides.
ACT I. Temple of Diana. Iphigenia attempts to change the
customs of the temple of the goddess, by which hereto-fore all strangers have been offered
in sacrifice. She has dreamed of Orestes, and longs for her brother; her present situation
is hateful to her, and she prays to Diana for relief. (Aria: “Oh, thou, who once did
save me.”) Thoas, king of Scythia, frightened by dreams, brings new sacrifices to
Diana. (Aria: “Grave fears.”) The Scythians conduct to the temple Orestes and
Pylades, whom they have taken prisoners, and Thoas orders their death.
ACT II. The interior of the temple. (Aria of Orestes:
“You, who persecute me”; Aria of Pylades: “Only one wish.”) Pylades is
taken away, but Orestes remains; the Eumenides appear at the entrance and torture him.
When Iphigenia arrives, and ascertains his name and the dreadful events that have taken
place in her father’s house, she is utterly cast down. (Aria: “0 let me
weep.”)
ACT III. Chamber of Iphigenia. (Aria: “Ever will I
remember him.”) When Orestes and Pylades are brought in, Iphigenia declares that she
will save one of them, and chooses Orestes. When she has gone Pylades expresses his joy at
his friends’ deliverance, but Orestes refuses the sacrifice. (Duet: “And you
tell me that you love me.”) When Iphigenia returns Orestes declares that she must
save Pylades or he will kill himself. Thus forced, the priestess yields and sends a letter
by Pylades to her sister, Electra. Pylades resolves in his turn to save Orestes.
ACT IV. The hall of sacrifice. Iphigenia, shuddering at the
coming sacrifice, announces to Orestes that she is his sister, but Thoas, when informed of
Pylades’s escape, angrily demands Orestes’s death. Pylades arrives with an armed
band, and a conflict ensues. During the fray Diana appears, and drives off the Scythians,
whose worship she refuses. Driven by gentle winds, Iphigenia, the Greeks and the
priestesses leave the inhospitable shores of Tauris.
Opera in three acts by Pietro
Mascagni. Text by Luigi Illica.
CAST: Cieco, a blind man—Basso. Iris, his
daughter— Soprano. Osaka, a rich youth—Tenor. Kyoto, keeper of the
Yoshiwara—Baritone. A geisha—Soprano. A peddler—Tenor. A
rag-picker—Tenor. The action takes place in Japan. The opera was first produced at
the Teatro Costanzi, Rome, in 1898.
ACT I. In the dawn, the Voice of the Sun is heard
proclaiming himself God. (Chorus: “I am I! I am Life!”) Iris, the fair
daughter of Cieco, a blind man, is in her garden, playing with her doll. (Iris:
“Silence, 0 flowers, my little doll is sick.”) Reverently she salutes the Rising
Sun. Cieco calls from within. (Duet, Cieco, Iris: “Pure and sweet, gay and bright,
life goes on.”) Osaka, a rich young libertine, won by the maiden’s beauty,
conspires with Kyoto, a procurer, to secure her for himself. Seeing her guileless-ness,
the two men arrange a puppet show to gain her attention. (Cieco: “That play is all a
lie!”) Iris runs out of the garden to look at it, and while intent upon the dancing
of the geishas, is surrounded and carried off. Her father calls her repeatedly until the
neighbours tell him she has gone to the Yoshiwara, a place of evil resort. Believing that
she went willingly, Cieco breaks into tears and curses. (Cieco: “Oh, beloved
home.”)
ACT II. Iris lies asleep on a bed in the Yoshiwara,
surrounded by geishas playing and singing softly. Osaka enters, asking for Iris. Kyoto
cunningly inflames the youth’s desire for her by praise of her beauty. He demands
rich gifts of Osaka, and the two men retire to complete their bargain. Iris awakens.
Wondering at her rich surroundings, she imagines herself in Paradise. (Iris: “Always
visions! visions and visions!”) She examines her apparel, and everything in the
room, then to amuse herself takes a brush and idly paints a flower, which turns into a
snake. Osaka enters with magnificent gifts. He makes ardent love to Iris, who is alarmed
and resists him. (Osaka: “Ah! your hair so long and thick.”) To divert him she
speaks of her home and her garden. (Iris: “Once, when I was little.”) He answers
cynically, and, at last wearied by her innocence, calls Kyoto to take her away. (Iris:
“I want my garden.”) Kyoto orders the geisha women to robe her in transparent
garments, and displays her beauty upon the gallery of the house to a gaping crowd below.
(Chorus: “0 wonder of wonders.”) Osaka enters again, offering to buy Iris from
Kyoto at his own price. (Osaka: “Iris! ‘Tis I !“) Cieco appears in the
crowd, calling Iris, who answers him. The people, now threatening, lead Cieco to the
window, while Kyoto proclaims loudly that the girl is his through purchase from her
father. Cieco draws near, and with bitter curses throws mud upon Iris in token of
contempt. Maddened, the girl hurls herself from the window into the mouth of a sewer
below, and perishes.
ACT III. Rag-pickers, exploring the sewer with long hooks in
hope of gain, find little of value until they secure the body of Iris. They quarrel over
her rich dress and tear it off. The body seems to move, and they run away in terror. Iris,
almost motionless, is half-way between life and death. In this strange state she sees
before her the egos of Osaka, Kyoto and Cieco,
plaintively justifying their existence. Iris bemoans her own sad destiny, asking
why—why ? (Iris: “The little world of my cottage, why destroy?”) The Rising
Sun caresses her with his rays. She salutes her one helper, the God of Day. The flowers
opening in the warm sunlight surround the body of Iris, uplifting it toward the sun. She
becomes one with the flowers, and as the scene ends the Voice of the Sun is raised in
exultation. (Chorus:’ “I am I! I am Life.”)
Romantic opera in four acts by
Arthur Sullivan. Text from Scott’s novel by Julian Sturgis. German by Wittman.
CAST: Richard Lion Heart, King of England. Prince John, his
brother. Cedric, a noble Saxon. Wilfred of Ivanhoe, his son. Lady Rowena, his ward. De
Beaumanoir, grand master. De Bois Gilbert, commander of the Knights Templars. De Bracy,
Norman knight. Brother Tuck, a hermit. Locksley, leader of the outlaws. Isaac of York, a
Jew. Rebecca, his daughter. Ulrica. Wamba, a fool. Oswald, chamberlain of Cedric. Place,
England. Time, end of the twelfth century. First production, London, 1891.
ACT I. A chamber in the castle of Cedric. Cedric, a
Saxon prince, laments the fate of England under the rule of the Normans. He has quarrelled
with his son, Ivanhoe, for daring to raise his eyes to Lady Rowena, who is of kingly Saxon
blood. With the cry of “All hail,” he and his retainers sit down to a feast.
Isaac of York, a Jew, asks for refuge for the night, also Bois Gilbert and De Bracy, who
as Normans are but coldly received by the Saxons. The Templar praises Rowena’s beauty
and regrets that she is not present. She appears covered with a veil. The knights tell of
the Crusades, and Cedric is pleased to hear that the Saxon knights have behaved with
valour. A pilgrim, who has also claimed hospitality, and who is none other than Ivanhoe,
also relates his adventures, but does not mention the name of the victorious knight in the
lists who had overthrown Bois Gilbert. But the latter mentions the name himself, Wilfred
of Ivanhoe, and is sorry that he cannot obtain satisfaction. The pilgrim assures him that
Ivanhoe would willingly meet him, which the knight doubts. Rowena takes the part of the
absent one; Cedric ends the feast and all go to rest. De Bracy asks the help of the
Templar to abduct Rowena.
Change of scene: Rowena’s apartment. Rowena is alone.
(Song: “O moon, thy light like silver.”) Her women lead the pilgrim to her, for
she wishes to receive news of Ivanhoe; she plainly shows that she loves him, and Ivanhoe
leaves her with renewed hope. He warns Isaac of the plot of the Templars to capture him
for ransom and promises protection to the Jew if he will procure him arms and armour for
the tourney.
Change of scene: Before the lists in Ashby. The people
acclaim the “black knight,” who is King Richard, and has been the victor on the
preceding day. The hermit Tuck teases him with rough play, and the king threatens to visit
and chastise him in his cell. Tuck laughs at him. To insult the Saxons, Prince John
attempts to seat the Jew Isaac among them, but Rebecca asks him to desist. A messenger
brings a letter with the news that Richard is free and in England; John is troubled and
suspicious that his brother may be the black knight. In the meantime Bois Gilbert has been
overcome by Ivanhoe, and the latter doffs his helmet to receive the reward from Rowena.
Amid general rejoicing he is recognised, but Cedric turns from him in anger.
ACT II. The hermitage in the wood. King Richard has
sought the coarse but honest Tuck, who feigns to live only on bread and water, but finally
produces delicacies and wine. They eat and drink and resolve to fight it out an-other
time. The king sings for his host (“What care I for glory and gold”), and Tuck
likewise trolls a merry lay. (“The wind blows cold upon the sea.”) Locksley and
other outlaws appear and ask aid for Cedric and Rowena, who have been captured and taken
to Castle Torquilstone, the home of the Templar. Ivanhoe lies wounded in the same castle,
and is nursed by Isaac and Rebecca. With the outlaws King Richard departs from the wood.
Change of scene: Before the castle. Cedric accuses De Bracy
of having taken part in the assault upon the castle. He denies the charge and warns Cedric
that the mention of Ivanhoe’s name as that of the wounded man would cause his death.
If Rebecca will become the Templar’s bride, he will spare the wounded knight.
Rebecca, to save Ivanhoe, is willing; but Cedric refuses to allow this, saying that his
son is dead to him. The Templar leaves the castle; he loves the beautiful Rebecca, and
desires to possess her. (Song: “I was the cold one.”)
A room in the turret of the castle. The insane Ulrica sings
a wild song. (“Grind the axes.”) She warns the despairing Rebecca of her coming
fate. Ulrica’s father was slain in the same chamber, and she herself has been the
victim of the Templar’s lust. Rebecca begs her to save her, but she repulses the
Jewess. (Rebecca’s prayer: “God of Israel, come.”) She offers her jewels to
the Templar for her freedom; he refuses and exults in his power. In her despair, she
attempts to leap from the window, when a trumpet blast announces the approach of
enemies, and the Templar departs.
ACT III. A chamber at Torquilstone. Ivanhoe lies on a
bed of sickness. (Song: “Softly, with winged feet.”) Rebecca and Ulrica enter;
Ivanhoe is asleep. Ulrca, who knows Rebecca loves the knight, tells her to nurse him, and
she will light her marriage torch. Rebecca, alone with the sleeping Ivanhoe, realises that
she loves him. (“Yes, she spoke truth.”) The sounds of combat awaken Ivanhoe.
Rebecca, looking from the window, reports its progress. The outlaws, the black knight at
the head, are storming the outer court when flames appear; Ulrica has set fire to the
castle. The Templar rushes in, bearing Rebecca away, and Ivanhoe is saved by the king from
the burning building. Ulrica finds death in the flames.
ACT IV. The saved assemble in the wood of
Torquilstone. The black knight, now known as the king, induces Cedric to forgive his son
and to allow him to marry Rowena. Isaac comes forward and asks ‘aid for Rebecca, who
has been dragged to the house of the order of Templars and accused of witchcraft by the
Templar. Ivanhoe, although not fully recovered, accompanies Isaac to rescue her.
Change of scene: In the tower of the Texnplars. (Chorus of
Templars: “Fremuere, principes.”) The grand master announces that the convicted
Jewess has demanded a champion. As no one appears she is about to be taken to the stake,
notwithstanding the protest of the Templar, who desires to save her for himself. At the
last moment Ivanhoe appears as Rebecca’s champion and slays Bois Gilbert in combat.
The king abolishes the order of the Templars, and orders the flag of England to be
displayed on the ramparts. (Closing chorus: “O love, which rules us all.”)
Opera in three acts by Spohr. Text
by Gehe.
CAST: Jessonda, widow of the Rajah—Soprano. Amazili,
her sister—Soprano. Dandau, high priest of Brahma— Basso. Nadori,
Brahmin—Tenor. Tristan d’Acunha, Portuguese general—Basso. An East Indian
officer—Baritone. Place, Goa. Time, the sixteenth century. First production, Cassel,
1823.
The Portuguese officer, Tristan d’Acunha, many years
ago had loved Jessonda, but she was compelled to marry a rajah.
ACT 1. Interior of a pagoda. The old rajah is dead, and
Dandau, the high priest, orders Nadori to inform Jessonda that she must ascend the funeral
pyre with the corpse. (Chorus: “Cold and stark, but majestic”; Recitative:
“Nadori! You have failed”; Duet: “From the holy walls of this
temple.”) An officer comes to announce that a celebrated general has taken command of
the Portuguese, and that the city is to be stormed. Dandau replies that he relies upon
Brahma for protection. (Aria and chorus: “The glow of morning and night.”)
Change of scene: Apartment of Jessonda. She knows she must
die, and her sister Amazili speaks to her of her former lover. She laments that she has
not again seen him. (Aria: “Know’st thou silent anguish?”) Nadori arrives
to carry out the orders of Dandau; when he sees Amazili, he is enraptured by her beauty,
having never before seen a woman. (“Yes, that—that is woman’s
beauty.”)
ACT II. The Portuguese camp. (Chorus: “No music on this
earth.”) Festivities in honour of Tristan. He remembers his love. (Aria:
“Conquered by war-like dreams.”) Tristan has allowed the Brahmin women to use
the holy well, near the camp for bathing. The Portuguese leave the camp. Jessonda arrives
with Amazili. (Duet: “For him whom I loved.”) Nadori has followed them; through
love for the sister he resolves to save Jessonda. (Aria: “Let roses crown my
happiness.”) He confesses his love to Amazili, and she acknowledges that she returns
it. (Duet: “Thou lovely girl, wilt thou hate me”; Aria: “O strange
emotions, which glow in me.”) When Jessonda returns from the bath she beholds
Tristan, and gladly rejoins her lover. Dandau arrives, to whom Tristan has pledged his
word, and with bleeding heart he sees Jessonda led away to her death.
ACT III. A truce has been declared, and Tristan is helpless,
when Lopez reports that Dandau has broken his peace compact. Tristan, supported by Nadori,
rushes to arms. (Terzett: “Up! let the flag wave.”)
Change of scene: In Goa. A tempest. Jessonda appears dressed
for the sacrifice, and implores protection at the statue of Brahma. (Aria: “Ye Gods,
gaze upon me.”) Amazili approaches and reports Tristan near. Dandau, to prevent his
victim from falling into the hands of the Portuguese, attempts to murder Jessonda, but
Tristan arrives in time to fold his love to his heart, while Amazili flies to Nadori.
Tristan then returns with Jessonda, Nadori and Amazili to his home. (“Come to my
fatherland.”
Opera in five acts by Halévy.
Text by Scribe.,
CAST: Sigismund, King of Germany—Silent. Brogny,
President of the council of Constanz—-Basso. Leopold, Prince of the realm—Tenor.
Eudoxia, his betrothed, niece of king—Soprano. Eleazar, a Jewish
goldsmith—Tenor. Recha, his daughter—Soprano. Rugierro, chief bailiff of
Constanz—Baritone. Albert, officer of bowmen. Place, Constanz. Time, 1414. First
production, Paris, 1835.
ACT I. Before the cathedral of Constanz; the emperor orders
a festival in honour of the victory of his son Leopold. Rugierro arrests the Jew
Eleazar, because he is at work on the Sabbath day. Cardinal Brogny emerges from the
cathedral and recognises Eleazar, whom he had known in Rome before he had taken holy
orders, and was still a husband and father. His family is now dead. Eleazar curses the
cardinal, for it was by his orders that his sons had been burned at the stake. The
cardinal answers mildly and frees him. (Cavatina and chorus: “When hate and vengeance
forever.”) Eleazar still thinks only of revenge. When the street is empty of people,
Prince Leopold appears dressed in plain attire. He loves Eleazar’s daughter Recha,
and has entered her house as a coreligionist. (Aria: “Far from thee, loved
one.”) Recha approaches Samuel (his assumed name), believing he has returned from a
journey; she expects him at her father’s house in the evening. The festival begins.
Ballet. Eleazar and Recha mix with the crowd, and ascend the steps of the church for a
better view. The incensed people are about to throw them into the sea, but they are
rescued by Leopold. The scene closes with the march of the imperial procession.
ACT II. A room in Eleazar’s house. Eleazar, Recha,
Leopold and the Jewish servants are at table. (Prayer: “Visit us, O God of our
fathers.”) A knock at the door interrupts the meal. Everything is put out of sight,
and Eleazar admits the princess Eudoxia. Leopold tries to conceal himself from his
affianced bride, who has come to order gems from the Jew. (Terzett: “They say you
possess jewels.”) Eleazar escorts her to’ the door, and Recha demands an
explanation from Leopold. He promises to return in the night and tell all. (Recha,
Romance: “How my heart beats.”) When the father has retired, Leopold returns.
(Duet: “When my heart I gave to thee.”) He tells her he is a Christian, but she
is ready to fly with him, when they are discovered by Eleazar. (Terzett: “Where do
you go?”) When he hears that Leopold is not a Jew he attempts to kill him, but is
prevented by Recha. Eleazar relents, and is willing that his daughter should marry
Leopold, but the prince is in fear of his father. He departs, Eleazar curses him, and
Recha falls unconscious.
ACT III. Feast in the hall. The emperor and his guests at
the table. Song and ballet. The foreground is occupied by the people, among them Eleazar
and Recha. Eudoxia declares her willingness to marry Leopold, when Recha steps forward and
accuses the prince of treachery and of being in love with a Jewess. When the excitement
has subsided, Eleazar asks the nobles to sentence Leopold. The cardinal curses the Jews,
excommunicates the prince, and he, Eleazar and Recha are cast into prison.
ACT IV. A chamber in the Court of Justice. Eudoxia has Recha
brought before her, and pleads with her to save Leopold’s life by declaring him
innocent. (Duet: “You alone can save him.”) Recha, who still loves Leopold,
consents. The gentle cardinal tries to save Eleazar, by asking him to become a Christian,
but he is determined to die a devout Jew, and threatens before his death to take
vengeance. He reminds the cardinal of the day when he had lost his wife and children by
fire; tells him he had Raved his daughter, who is still alive, but refuses to state her
dwelling-place. The cardinal departs in despair. Eleazar alone; he loves Recha as his own
child, but she is the daughter of the cardinal. He asks Heaven for aid, and deliberates
whether he shall sacrifice her. (Aria: “God direct my acts.”)
ACT V. Street in Constanz. Recha is to be thrown into a boiling cauldron, which is exhibited on the
stage. The people are assembled. March and procession of the cardinal and his suite with
Eleazar and Recha. The death warrant is read. The two Jews must die, but Leopold’s
sentence has been changed to banishment by Recha’s statement of his innocence.
Eleazar hesitates and again asks Recha whether she is willing to live as a Christian, but
she wishes to die with him as a Jewess. They are led to their death, and as Recha is
thrown into the cauldron, Eleazar calls aloud to the cardinal, “Behold your
child.”
Comic opera in two acts by
Boieldieu. Text by St. Just.
CAST: The Princess of Navarre—Soprano. The chief
senesehal of the princess—Baritone. John of Paris— Tenor. Olivier—Soprano.
Pedrigo, innkeeper—Basso. Lorezza, his daughter—Mezzo-soprano. Place, an inn in
the Pyrenees. Time, the seventeenth century. First production, Paris, 1812.
The dauphin, as John of Paris, is on a journey to meet his
bride, the princess of Navarre, whom he finds at an inn in the Pyrenees. His unceremonious
invitation to the princess to sup with him arouses the horror of the senesehal, but she
enters into the fun, which ends, however, in her falling in love with him.
ACT I. Before the inn. Everything is in readiness to receive
the princess. (Chorus and scene: “Do not delay, do your duty.”) Olivier arrives
and demands a room for John. (Terzett: ,,Welcome, host”; Aria of Olivier: “When
my master travels.”) John appears. (Aria and chorus: “Friends, make yourself at
home”; Duet between John and Olivier: “To love honour above everything.”)
The seneschal of the princess in great dignity orders a meal. (Aria: “All must obey
me.”) John declares he is master of the house. (Quartet: “John, Senesehal,
Pedrigo and Lorezza: “How dare you.”) The princess arrives and immediately
awakens John’s admiration. (Aria of the princess: “What pleasure to
travel.”) She recognizes John as the prince, resolves to circumvent him, and accepts
his invitation to dinner.
ACT II. The same scene. (John’s aria: “The pride
of knighthood.”) Olivier sings a romance, and John and the princess the concluding
stanzas. (“The troubador, proud of love’s bands,” with the refrain of the
chorus: ,,When castanets clash.”) The prince reveals his name and station (Duet:
“The husband of my choice”), and he and the princess confess their love for each
other. (Closing chorus: “To beauty, honour and glory.”)
Miracle play in three acts. Text
by Léna. Music by Massenet.
CAST: Jean, a juggler—Tenor. Boniface, the
cook-—Baritone. The Prior—Basso. The Poet, a monk—Tenor. The Painter, a
monk—Baritone. The Musician, a monk— Baritone. The Sculptor, a monk—Basso.
Two angels—Soprano and Mezzo-soprano. Apparition of the Virgin. Monks, cavaliers,
townspeople, angel voices. Place, Cluny. Time, the fourteenth century. First production,
Paris, 1903.
ACT I. Marketplace in Cluny. A market day on the
first of May. (Chorus: “Let us dance.”) The juggler Jean wanders hungry and
miserable through the countryside, hut rejoices in his freedom. It does not satisfy his
wants, however, and he is unsuccessful in gaining the attention of the people, who deride
his performance. (Jean: “Give place to the king of jugglers”; Chorus:
“Gentle king, choose thy queen.”) They care nothing for his globes, his hoops,
his old songs and dances. They do applaud a ribald song (Jean: “Alleluia to
wine”), and although in his heart Jean is a good Christian, his stomach remains
egotistical, and he sings a parody on the Mass. The prior appears (Prior: “Hence,
infamous band”), the crowd disperses, leaving Jean to his fate. The juggler is about
to be ex-communicated for his blasphemy, when he confesses his guilt, and is received
among the monks. (Prior: “He weeps! he shall be pardoned.”) Hunger overcomes
him, and he relinquishes his freedom, sorely tempted by the rich food of the abbey.
(Jean: “0 Liberty, it is thou !“ Boniface: “For the Blessed Virgin.”)
ACT II. Study at the abbey. Musicians, poets,
painters and sculptors labour for the feast of the Holy Mother (Chorus: “Ave rosa,
speciosa”), but Jean takes no part. (Jean: “Each one in this holy house.”)
Alas! he knows no Latin. Brother Boniface, the cook, consoles him (Boniface: “Ah,
envy them not”; “The Virgin with the Infant Jesus”), and Jean resolves to
serve the Holy Mother in his own way. (Jean: “Oh, Virgin, Mother of Love.”)
ACT III. Chapel of the abbey, in which stands the
image of the Blessed Virgin. Jean slowly approaches. He puts off his monastic garb, and
appears in his juggler’s dress. He offers to Mary the only gift he possesses, his
songs and dances. In his ecstasy, he does not notice the entrance of the monks (Chorus of
monks: “Ave coeleste Lilium”), and dances on unheeding. (Jean: “Adorable
mother of Jesus.”) The prior in horror is about to throw himself upon Jean, when the
Holy Mother interferes; a miracle takes place, for the image raises its hands, and places
them in benediction upon the head of the juggler. (Angel chorus: “Hosanna!”)
The monks now acclaim him a saint, and as they sing, led by Boniface, “Sancta Maria,
ora pro nobis,” Jean declares in softly childish tones, “Oh, dear, I understand
Latin now !“ Overcome with joy, at the favour of the Holy Mother, the juggler sinks
to the ground, and dies. (Jean: “Radiant vision.”)
Opera in two acts by Friedrich
Smetana. Text by Krasnohorska. German by Ludwig Hartmann.
CAST: Fedor Zarkow, a countryman. Marinka, his
daughter. Hanno, a young widower. Janusch, his brother-in-law. Brigitta, an old relative
of Marinka. Clara, servant with Zarkow. Steffan, leader of the smugglers. A frontier
guard. Place, the Bohemia mountains near the frontier. Time, the present. First
production, Prague, 1876.
ACT I. A peasant’s room in Zarkow’s house.
Brigitta hastily calls Marinka to enter as Hanno has appeared as a suitor for her hand. He
had formerly rejected her for a richer girl, but being now a widower wishes to right the
wrong. Marinka is delighted, and does not heed the warnings of her father. They all busy
themselves in dressing suitably for Hanno’s reception, and, according to custom,
Marinka leaves the room. Janusch does the wooing for his timorous friend Hanno (Aria:
“Hanno approaches as a suitor”), and as the father is willing, if Marinka does
not refuse, the compact is made. (Aria, Hanno: “Father, I thank thee.”) The
father thinks the couple are ill-mated, as they arc both obstinate. (Aria: “Hard is
thy head.”) Hanno promises never to quarrel with his wife, and Marinka is brought in.
(Duet: “Joined forever.”) But when Hanno tries to kiss her, she thrusts him
violently away, and thus proves her father’s prediction true. Hanno is overwhelmed
with advice as to the means of overcoming her obstinacy. (Ensemble: ,,I see into her
heart.”) Hanno and Marinka are now left alone and are as loving as if nothing had
occurred. She strews sand around the cradle of his child, brought in by Brigitta and
Clara, that the footsteps of its dead mother may be seen when she visits it (Aria:
“The sun sank”) and promises to be a good mother to the little one; only Hanno
must not kiss her; she thinks the deceased wife would not approve of it until after the
ceremony. Hanno is angry (Aria: “I will not wait”), and tries to force her, but
does not succeed. (Duet: “Then go.”) He threatens to seek another. The father
scolds them both roundly (Aria: “It has come, as I said”); Hanno angrily leaves
the house. Marinka is sunk in thought (“Where does he go?”), but remains
obdurate when Brigitta criticises her conduct. Brigitta advises her to leave the house and
join the smugglers (Aria: “Then listen to good advice”); Marinka refuses, and
sings a lullaby to the child. (“Sleep, my child.”) She falls asleep herself;
Clara enters frightened, for Hanno is approaching with girls and musicians to make sport
of Marinka. (Song: “Play for the dance.”) Marinka awakens, and conscious of the
disgrace, and seeing Hanno kissing another girl (Song: “Pretty girls are
everywhere”), she packs up her clothes and joins the smugglers. (Ensemble:
“Shame on you.”)
ACT II. A dense wood. Steff an, rifle in hand, is on
guard (“Be careful and watchful”), and issues his orders to the smugglers.
(Chorus: “Free is our way.”) Hanno, who feels he has done wrong, arrives and
seeks Marinka. (Aria: “The stars would I ask.”) Janusch consoles him. Hanno is
willing to acknowledge his wrong before the whole village if Marinka will return. The
smugglers have overheard -the conversation, but do not interfere. They are waiting for
Brigitta, who appears with Marinka. The latter is excited and frightened. (Aria: “Oh,
hear the groans.”) They are pleasantly greeted by the smugglers, and Steffan, who
ascertains that Marinka still loves Hanno, resolves to smooth matters. (Terzett:
“Scold my follies.”) Marinka still refuses to kiss Hanno. The women who have
been left alone are to remove a basket of fruit, at whose bottom is smuggled goods. They
are surprised by one of the frontier guards, and Brigitta’s presence of mind alone
saves the inexperienced and trembling Marinka from arrest. Brigitta again endeavours to
persuade Marinka to give way. (Duet: “Roses and thorns are always together.”)
Marinka hesitates.
Change of scene: At the edge of the woods near
Brigitta’s hut. Clara reports that Steffan’s intercession has been successful
with Hanno. (Song: “Let thy song be heard!”) Brigitta is not at home. The
repentant Hanno arrives with father Steffan and Janusch to ask Marinka’s
forgiveness. (Song: “Well then, but a sermon.”) At last she comes with
Brigitta, rushes into Hanno’s arms and wants to kiss him, but now he refuses.
(Ensemble: “What? again you will.”) But he is not in earnest; and Marinka kisses
him heartily. (Closing chorus: “Now follows the union.”)
Last updated October 30, 2006