Opera Books
The Opera Goer’s
COMPLETE GUIDE
LEO MELITZ
Copyright 1908, 1911, 1921
Opera in three acts by Rubinstein.
Text adapted from the drama of Otto Ludwig by Mosenthal.
CAST: Antiochus, King of Syria—Basso. Cleopatra, his
daughter—Soprano. Georgias, leader of the army— Baritone. Leah—Alto.
Judah—Baritone. Eleazar— Tenor. Naomi, Judah’s wife—Soprano.
Joarim—Mezzo-soprano. Benjamin, her son—Soprano. Boas, father of
Naomi—-Basso. Yoyakim, a priest—Basso. Simei— Baritone. Amri—Tenor.
Place, the mountainous city of Modim, in and near Jerusalem. Time, 160 A.D. First
production, -Berlin, 1875.
ACT I. In Modim, before the house of Leah. Eleazar, son of
Leah, is in ill-humor, being jealous of his brother Judah, the lion-hearted hero. Leah-
loves Eleazar better than any of her sons, and consoles him with the prospect of attaining
the office of high priest, and perhaps the crown. Judah is estranged from his mother, for
he has taken to wife Naomi, who is a member of a hated tribe. Nevertheless, when Judah
presents Naomi to Leah, she gives them her blessing. Upon the death- of the high priest,
Eleazar takes his place, and as he is about to go to Jerusalem news is brought of the
approach- of the Syrians. They arrive under the leadership of Georgias, erect a statue of
Pallas and compel the Jews to do homage to it. Judah slays Boas, the father of his wife,
for complying with this order, and throws down the image of Pallas. Encouraged by his
valour the Jews put the Syrians to fligh.
ACT II. The valley of Emmaus. In the midst of the conflict,
Judah is compelled to cease fighting, as the priest, Yoyakim, commands the army to
celebrate the Sabbath. Judah protests in vain. The Jews obey the priest, are attacked by
the Syrians and slain. Judah escapes with difficulty.
Change of scene: Chamber of Cleopatra. The cowardly Eleazar,
who has taken the Greek name of Phaon, is passionately in love with Cleopatra and prays to
the heathen gods. Change of scene: In Modim. Leah’s adherents have been victorious,
but are cast down by the news of the defeat of Judah. The victors approach, their leader
is Phaon, the son of Leah. The people, inccnsed against Leah, fasten her to a tree, and
her younger sons, Joarim and -Benjamin, are sent to the enemy as hostages. Naomi rescues
Leah, and they go to seek her sons.
ACT III. Judah rouses the people in Jerusalem, and, informed
by Naomi of what has taken place, advances with a new army against the Syrians.
Change of scene: Tent of the King Antiochus. Dreams and
ill-news trouble the heart of the king. When Leah arrives to ask pardon for her sons, he
commands her to pray to the gods or suffer death- by fire. Eleazar joins his brothers, who
will not deny Jehovah, and all three die the death- of martyrs before the eyes of their
mother. Antiochus becomes insane and Leah dies of grief just as the victorious Judah
enters the camp and is proclaimed by the people King of Israel.
A Japanese tragedy in two acts by
Puccini. Founded on the book by John Luther Long and the drama by David Belasco. Text by
Illica and Giacosa.
CAST: Madam Butterfly (Cho-Cho-San)—Soprano.
Suzuki, a servant—Mezzo-soprano. Kate Pinkerton-Mezzo-soprano. Lieutenant
Pinkerton, U. S. N.—Tenor. Sharpless, U. S. Consul—Tenor. Goro, a marriage
broker—Tenor. Prince Yamadori—Baritone. The Bonze— Basso. Scene, Nagasaki,
Japan. Time, the present. First production, Milan, 1904.
ACT I. Lieutenant Pinkerton, U. S. N., and
Cho-Cho-San, or Madam Butterfly, a Japanese girl, are about to enter into a Japanese
marriage. Goro, a marriage broker, has arranged the match, and has rented a little house
on the hillside for them to live in. The American consul, Sharpless, a kind-hearted man,
begs Pinkerton to forego this plan, because the girl believes the marriage to be binding.
The lieutenant laughs at him, and the bride appears with- her friends, joyous and smiling.
Sharpless finds that to show her trust in Pinkerton she has renounced the faith of her
ancestors so that she can never return to her own people. (Butterfly: “Hear what I
would tell you.”) The marriage contract is signed and the guests are drinking a toast
to the young couple, when the bonze, a religious fanatic, uncle of Cho-Cho-San, enters,
uttering imprecations against her for renouncing her faith, and induces her relatives to
abandon her. Pinkerton, annoyed, hurries the guests off, and they depart in anger. With
loving words he consoles the weeping bride, and the two begin their new life happily.
(Duet, Pinkerton, Butterfly: “Just like a little squirrel”; Butterfly: “But
now, beloved, you are the world”; “Ah! night of rapture.”)
ACT II. Part I: Three years later. Pinkerton is
absent in America, having promised to returu “When the robins nest again.”
Suzuki, Madam [Butterfly’s faithful servant, rightly suspects that this means never,
but is upbraided for want of faith by her trusting mistress. (Butterfly: “Weeping ?
and why?”) Sharpless has been deputed by Pinkerton in a letter to tell -Butterfly
that the lieutenant has married an American wife. Seeing her wonderful faith, the consul
cannot bear to destroy it. Butterfly is so wild with delight at the sight of her
lover’s letter that she is unable to comprehend its contents. She believes Pinkerton
is coming back, and in her joy refuses to listen to Yamadori, a rich suitor brought by
Goro, saying that she is already a wife. Goro tries to explain, but she declares proudly,
“That may be Japanese custom, but I am an
American.” Sharpless cannot move her, and at last, as if to settle all doubt, she
proudly shows him her fair-haired child, saying, “Can my husband forget this ?“
The consul departs sadly, just as the guns salute the newly arrived man-of-war, the Abraham. Lincoln, Pinkerton’s ship. [Butterfly
and Suzuki, in wild excitement, deck the house with flowers, and array themselves and the
child in gala dress. All three peer through the shoji
to watch for Pinkerton’s coming. As the night passes, Suzuki and the child fall
asleep, but Butterfly, alert and sleepless, never stirs.
Part II. At dawn poor little Butterfly is still watching.
Suzuki awakens and brings the baby to her. (Butterfly: “Sweet, thou art
sleeping.”) She persuades Butterfly to rest. Pinkerton and Sharpless arrive and tell
Suzuki the sad truth, but the lieutenant is deeply moved (Pinkerton: “Oh, the bitter
fragrance of these flowers!”), and cannot remain. Suzuki, at first violently angry,
is finally persuaded to listen as Sharpless tells her that Mrs. Pinkerton will care for
the child if Butterfly will give him up. Butterfly appears, radiant, expecting to see
Pinkerton, but is confronted instead by his wife. She receives the truth with pathetic
calmness, politely congratulates the new wife, and asks her to tell her husband that in
half an hour he may have the child, and that she herself will “find peace.” Then
having bowed her visitors out, she is left alone to face her sorrowful fate. At the
appointed time Pinkerton and Sharpless return to find Madam Butterfly dead by her own hand
(Finale, Butterfly: “You, O beloved idol!”) after having bidden farewell to her
little child. She had used as a weapon her father’s sword, with the inscription:
“To die with honour, when one can no longer live with honour.”
Opera in two acts by Mozart.
Libretto by Schickaneder.
CAST: Sarastro—Basso. Tamino—Tenor.
Speaker— Basso. Two priests—Bassi. The Queen of the Night— Soprano. Pamina,
her daughter—Soprano. Three ladies—Soprani and Alto. Three boys—Soprani and
Alto. Papageno—Basso. Papagena—Soprano. Monostatos, a Moor—Tenor. First
production, Vienna, 1791.
Sarastro, the wise priest of Isis, has taken Pamina to the
temple for the humane purpose of releasing her from the influence of her mother, the Queen
of the Night. The queen induces the young Prince Tamino to go in search of her daughter
and free her from the power of Sarastro; Tamino accomplishes his end, but becomes the
friend of Sarastro, whose mildness and wisdom he has learned to admire. The prince and
Pamina are united.
ACT I. A wood. Tamino, who is lost in the forest, is
pursued by a serpent. (“Help! Help! or I am lost.”) He faints from fatigue and
three attendants of the queen, in black robes, appear and kill the serpent with their
lances. (“Die, monster, through our might.”) They all fall in love with the
prince and each plans to possess him. Tamino recovers, and sees before him Papageno,
arrayed entirely in the plumage of birds. (Humorous aria, Papageno: “I am the bird
catcher.”) This strange being explains to Tamino that the Queen of the Night is near
and boasts that he himself has killed the serpent, but the three attendants punish his lie
by placing a padlock over his mouth. They show to the prince a miniature of a young
maiden, upon which he gazes in ecstasy. (Aria: “This picture is wondrously
beautiful.”) The Queen of the Night now appears, demanding that Tamino shall free her
daughter, the original of the picture, from the hands of Sarastro. (Recitative and aria:
“To misfortune am I born.”) The attendants give Tamino a magic flute, remove the
padlock from Papageno and present him with a chime of bells. Papageno accompanies Tamino,
and they set forth, guided by three boys. They escape all danger by the use of the magic
instruments. (Quintet.)
Change of scene (this scene forms Act Il when the opera is
divided into three acts): A room in Sarastro’s palace. Pamina is dragged in by the
Moor Monostatos, who is persecuting her. Papageno arrives and announces to her that her
mother has sent Tamino to her aid. Monostatos is terrified by Papageno’s strange
appearance and takes to flight. (Duet, Monostatos, Pamina: “Dear dove, enter”;
Appearance of Papageno and duet with Pamina: “Men who love feel.”)
Change of scene: Grove and entrance to the temples. The
three boys lead in the prince. (“This road leads to your destination.”) As
Tamino reaches the temple he is denied entrance at two of the doors, but at the third a
priest appears, who reveals to him the noble character of Sarastro. (“Where will you
go, rash stranger?”) When Papageno appears with Pamina all three are about to escape,
but are prevented by Monostatos. (“Ha, I have caught you.”) Sarastro enters.
(Chorus: “Long live Sarastro.”) Pamina falls at his feet and confesses that she
was trying to escape because the Moor had demanded her love. Sarastro receives her kindly
and tells her that he will not force her inclinations, but cannot give her freedom. He
punishes the Moor for his insolence and leads Tamino and Papageno into the temple of
Ordeal.
ACT II. Grove of palms. The council of priests determine
that Tamino shall possess Pamina if he succeeds in passing through the ordeal, as they do
not wish to return her to her mother, who has already infected the people with
superstition. (Aria and chorus: “O Isis and Osiris.”) Change of scene: The
courtyard of the temple of Ordeal. The first test is that Tamino and Papageno shall remain
silent under temptation. (Duet, Speaker and Priest: “Be-ware of the wiles of
women.”) The three ladies appear, and tempt them to speak. (Quintet: “How? You
at this place of terror?”) Tamino and Papageno remain firm.
Change of scene: A garden. Pamina asleep. Monostatos
approaches and gazes upon her with rapture. (Aria: “All feel the joys of love.”)
When the Queen of the Night appears and gives Pamina a dagger with which to kill Sarastro
(Aria: “The vengeance of Hell is in my heart”), Monostatos retires and listens.
He tries to force Pamina’s love by using the secret, but is prevented by Sarastro,
who allays Pamina’s alarm. (Aria: “In these holy halls.”)
Change of scene: A ball in the temple of Ordeal. Tamino and
Papageno must again suffer the test of silence. Papageno can no longer hold his tongue,
but Tamino remains firm, even when Pamina speaks to him, and as he refuses to answer
believes he loves her no longer. (Aria, Pamina: “Ah, all is lost.”)
Change of scene (sometimes used as Act III): The pyramids.
(Chorus: “O Isis and Osiris, what joy.”) Sarastro parts Pamina and Tamino.
(Terzett: “Shall I, dearest, see thee no more?”) Papageno also desires to have a
little wife. (Aria: “A little wife does Papageno wish.”) At the first ordeal, an
old woman had appeared to him and declared herself his bride. She now again appears and
changes herself into the young and pretty Papagena.
Change of scene: An open country. The three boys prevent
Pamina from committing suicide because she believes Tamino to be faithless. (“Soon
the morning sun am pears.”) Papageno also
wishes to take his life, but dances merrily when the boys advise him to use his magic
bells to summon the image of Papagena. (Duet: “Pa-pa-geno! Pa-pa-pagena!”)
Change of scene: Rocks with water and a cavern of fire. Men
in armor lead in Tamino. (“He who wanders this road of difficulty.”) Pamina
arrives and is overcome with joy to find Tamino, who is now allowed to speak to her. Both
pass unscathed through the final ordeal of fire and water with the help of the magic
flute. The scene now changes to the entrance of the chief temple, where Sarastro bids the
young lovers welcome and unites them. (A scene in which the traitorous Monostatos appears
with the Queen of the Night and her ladies to destroy the temple is frequently omitted.)
Opera in five acts by Massenet.
Text by Meilhac and Gille.
CAST: Chevalier des Grieux—Tenor. Count des Grieux, his
father—Basso. Lescaut, Manon’s cousin, one of the Royal Guard—Baritone.
Guillot Morfontain, a roué— Basso. De Brétigny, a nobleman—Baritone.
Manon— Soprano. Poussette, Rosette and Javotte, actresses—Soprani and Contralto.
Place, Amiens, Paris, Havre. Time, 1721. First production, Paris, 1884.
ACT I. An inn at Amiens. (Chorus: “The clock now
strikes the hour.”) Guillot Morfontain, minister of finance, is entertaining a lively
party of friends, when Manon Lescaut steps from the coach. She is young, gay and fond of
pleasure, so much so that her parents have destined her for a convent. (Manon: “My
brain is in a whirl.”) Her cousin Lescaut, who is escorting her, leaves her for an
hour at the card-table. (Leseaut: “Now look me straight in the eyes.”)
Morfontain, observing her charming youthfulness, plans to abduct her, and offers her a
seat in his carriage. The Chevalier des Grieux is also attracted, although he is about to
take holy orders. (Des Grieux: “What is your name, I wonder?”) He makes such
excellent use of his time that when Morfontain’s carriage arrives the adventurous
Manon suggests that they go away in it. The postilion whips up his horses, and they are
off to Paris to the dismay of Morfontain and Lescaut.
ACT II. Manon lives quietly at the house of Des Grieux, who
loves her devotedly, and is vainly trying to make his father consent to a marriage. Manon,
gay and inconsequent, flirts with everybody, and when Lescaut arrives with De Brétigny, a
rich nobleman, she wins the latter’s heart. (Quartet, Manon, Lescaut, De Brétigny,
Des Grieux: “Dear chevalier, they frighten me.”) He warns her that Des
Grieux’s father intends to take him away that night. Manon is appalled, realising her
own weakness in resisting temptation. When Des Grieux goes to post his letter, she decides
that she will give him up. (Manon: “What voice is this that seems to call me
hence.”) He returns, and they sit down to their evening meal. (Des Grieux: “As
in a dream I see.”) A knock is heard. Des Grieux goes out and is forcibly carried
away in a coach.
ACT III. A promenade in Paris. It is a fête day. A group of
actresses surround Lescaut (Poussette, Javotte: “What a delightful walk”), who
jests with them. (Lescaut: “O Rosalind.”) De Brétigny and Guillot are talking
of Manon, who presently appears gaily singing. (Manon: “With me all roads lead to a
throne.”) She extols youth and love. (Manon: “Shall we not follow young love
where he leads us.”) The Count des Grieux enters and tells De Brétigny his son has
entered a monastery to prepare for the priesthood, owing to Manon’s faithlessness.
Manon approaches, sending De Brétigny in search of a bracelet. She inquires for her
former lover, asking plaintively whether she is forgotten. The count answers with gentle
raillery (The count: “This then is all you would know?”), telling her laughingly
that the wise forget when remembrance hurts. Change of scene: The seminary at St. Sulpice.
Manon visits Des Grieux there, and hears him praised by a number of noble visitors.
(Chorus of women: “How eloquent he is!”) The count enters with his son (The
count: “Why not marry some fair young girl?”), suggesting a suitable marriage
rather than the priesthood. He departs, and Des Grieux thinks sadly of Manon (Des Grieux:
“Leave me, fair vision”), who appears before him. (Duet: “Wicked and cruel
was I.”) He reproaches her, saying his love for her is dead. Manon is incredulous.
(Manon: “Can we not bring it to life?”) She refuses to leave him, and at last,
won by her pleading, he departs with her.
ACT IV. A gambling house in Paris. Des Grieux, in order to
satisfy Manon’s demands for money, has become a gambler. (Chorus of gamblers:
“Some imprudent players trust too much to luck.”) Entering into a game, he wins
large sums. (Des Grieux: “Manon! mysterious siren.”) Manon is delighted. (Manon:
“The chink of gold, soft laughter, these I love.”) The stakes are raised higher
and higher, and at last Guillot accuses Des Grieux of cheating. The police appear and he
and Manon are arrested. This is Guillot’s revenge. (Duet, Manon, Des Grieux: “O
sorrow! no more thou’lt be near me.”)
ACT V. (Usually played as second scene of Act IV.) A road
near Havre. Manon is to be deported. Lescaut and Des Grieux determine to rescue her.
Soldiers’ voices are heard far off. (Soldiers: “Tell us, captain gay.”)
They come into view escorting a group of unfortunate women; among whom is Manon, worn out
with grief and fatigue. She joyfully salutes Des Grieux (Manon: “Dear love of
mine”), and asks pardon for her wickedness, speaking of the past with tears. At last,
overcome with sudden weakness, she falls into Des Grieux’s arms, and dies. (Manon:
“Ah! I shall ne’er forget those days of joy.”)
Lyric drama in four acts by
Puccini. Text founded on Prévost’s “Manon Lescaut.”
CAST: Manon Lescaut—Soprano. Lescaut, her brother,
sergeant in the king’s guard—Baritone. Chevalier des Grieux—Tenor. Geronte
de Ravoir, treasurer general— Basso. Edmund, a student—Tenor. An innkeeper—
Basso. A singer—Mezzo-soprano. A dancing master— Tenor. A sergeant of
archers—Basso. A sea-captain— Basso. Time, the eighteenth century. Place,
Amiens, Paris, Havre, New Orleans. First production, Milan, 1893.
ACT I. Before an inn. Crowd strolling about; men drinking
and gaming. Students waiting for the girls to come from work. (Madrigal, Edmund:
“Hail! lovely night,” with mocking chorus: “Ha! ha! ha!”) Edmund sings
of youthful pleasure. (“Youth is ours.”) The girls appear. Des Grieux enters,
but is melancholy and does not join the other students. (Des Grieux: “No, away, you
tempting fair ones!”) They joke with him. (Chorus: “Dance, revel’s wild
enjoyment.”) Manon and Lescaut descend from the coach. Des Grieux is enchanted with
Manon. (“Never did I behold so fair a maiden.”) He approaches her when Lescaut
enters the inn, and she promises to meet him later. The students laugh, pointing at them
merrily. Lescaut returns with Geronte, who also is captivated by Manon, saying she will
only be wasted upon a convent. He plans to carry her off, while Lescaut is engaged at
cards, but Edmund, overhearing, suggests to Des Grieux to go off with Manon himself in the
old roué’s post-chaise. Manon appears (Manon: “Behold me!”), coquets with
Des Grieux, and they fly together. Geronte and Lescaut arrive on the scene as they
disappear, and Lescaut proposes that they follow post haste to Paris. (Chorus:
“Fragrant breezes lightly wafting.”)
ACT II. Paris; room in Geronte’s house, where Manon is
installed as his mistress, having left Des Grieux when his money gave out. The hairdresser
has come, and while he is arranging her hair she talks with Leseaut, who congratulates
her. (Lescaut: “A modest little cottage.”) Manon is sad and her thoughts turn to
Des Grieux. Geronte is too old and wicked, he bores her. Singers enter to amuse her.
(Madrigal: “Speed we o’er the mountain’s fastness.”) Geronte brings a
dancing master; he and his friends kiss Manon’s hand. All dance a minuet, (Manon,
Geronte and chorus: “All the golden praise you murmur.”); when the men go to
stroll along the boulevards, Des Grieux suddenly appears. (Manon: “You love me then no more ?“ Duet:
“ ‘Tis love’s own magic spell.”) As they renew their vows,
Geronte returns unexpectedly. He salutes them ironically, reminding Manon of his many
favours to her. She replies that by looking in his mirror he will see that she cannot love
him. Bowing low he leaves them. The lovers rejoice in their freedom, but Manon half
regrets her j ewels and pretty frocks. (Des Grieux: “Ah, Manon, you betray me!”)
Lescaut enters in breathless haste, making signs that they must depart immediately. Manon
snatches up her jewels, and they go to the door. It is locked by Geronte’s order. A
squad of soldiers appear, to arrest Manon, who, in trying to escape, drops the jewels at
Geronte’s feet. She is dragged off, and Des Grieux is not permitted to follow her.
Intermezzo.
ACT III. Havre. A square near the harbour. Manon is in
prison. Lescaut and Des Grieux linger near, By talking to her through the bars, they learn
that she is to be deported to America. (Des Grieux: “ ‘Tis dawn!”).
Vainly they attempt a rescue. The guard appears, escorting a group of women, who are going
on the same ship as Manon. She walks among them, pale and sad. (Chorus: “Indeed she
is lovely.”) The crowd make brutal comments. Des Grieux, going to Manon’s side,
is roughly pushed away by the sergeant, but the captain of the ship, seeing his intense
grief, allows him to board the ship. (Des Grieux: “Madness seizes me.”)
ACT IV. A plain near New Orleans. Manon and Des Grieux
appear, half-dead with fatigue. (Des Grieux: “Fear not to lean on me.”) They do
not know where to go for shelter. (Duet: “Most cruel fate.”) Des Grieux is
alarmed by Manon’s appearance and goes to look for water for her. Manon thinks he has
left her forever. (Manon: “Alone, forsaken.”) He returns, frantically calling
her, but she is beyond human aid and dies in his arms.
Opera in three acts by Paderewski.
Text by Nossig.
CAST: Manru, a gipsy—Tenor. Ulana, a maiden of
Galicia—Soprano. Hedwig, her mother—Mezzo-soprano. Asa, a gipsy
girl—Soprano. Urok, a dwarf—Baritone. Oros, a gipsy chief—Basso. Jagu, a
gipsy fiddler— Basso. Scene, among the Tatra Mountains, Hungary. Time, the early
nineteenth century. First production, Dresden, 1901.
ACT I. Village in the Tatra Mountains. Hedwig and the
village maidens are gathered together. (Hedwig and chorus: “From on high darts a
hawk.”) They sing of the pleasures of the dance, and Hedwig tells them that her
daughter Ulana has married the gipsy Manru against her parents’ will. Urok, the
dwarf, entering, pleads for Ulana, whom he loves. The maidens make sport of him, dancing
around him gaily. Ulana appears. She is sad, believing her husband no longer loves her.
(Duet, Ulana, Urok: “Alas! alas! what suffering dire.”) She knocks at her
mother’s door, and is driven away. Hedwig soon relents. (Ulana: “Lonely and
sad.”) Urok informs them that it is said that gipsies become inconstant under the
full moon. Hedwig again drives her daughter away, since she refuses to leave Manru.
(Ulana: “He alone is my delight.”) Ulana asks Urok, who is believed to be a
sorcerer, for a love potion to give to her husband. Manru returns calling for Ulana, and
carries her off, followed by Hedwig’s imprecations.
ACT II. Manru’s hut. He is restless and uneasy. (Manru:
“She sits within.”) Almost beside himself, he sings wildly of freedom. Ulana,
who has borne him a child, is singing it to sleep. (Lullaby, Ulana: “Sleep, precious
one.”) Manru cannot bear to hear her. (Manru: “Who can feel joy in such a
life?”) Urok appears, greeting them; jokingly he informs Manru that a rope will do
for him. Gipsy music is heard in the distance. Manru disappears in the forest, returning
with old Jagu, the fiddler, who tells him that now is his chance to become chief of the
tribe, since Asa, its queen, loves him and awaits him with longing. Jagu departs without
Manru and Ulana’s well-meant efforts to soothe her husband only irritate him. (Manru:
“I ramble not, I’m drawn afield.”) Urok cunningly increases his
restlessness by picturing gipsy scenes. Ulana gives Manru the love potion.. (Manru, Ulana:
“A torrent through my veins is coursing.”) He becomes quieter, and his love for
his wife is renewed as of old. (Duet: “As the balmy breezes.”)
ACT III. A lake. (Manru: “Air! Air! I stifle.”)
Manru again hungers for the forest, and at last worn out by his struggles to resist its
call falls asleep. (Gipsy chorus: “Like the restless billows curling.”) The
gipsy band come to the spot where he lies and recognise him. Asa wishes to carry him off
with them, but Oros, the chief, is unwilling. (Oros and chorus: “No! he is a traitor
to his tribe.”) The gipsies curse him, but Asa takes him in her arms and tries to
lure him back to his old life. (Duet: “No! No! my wound you ne’er can
heal.”) She dances a wild gipsy dance, and he succumbs. Oros, in anger, throws down
his staff of office and departs. (Asa and chorus: “Now all is done!”) Urok,
arriving opportunely, reminds Manru of his home. (Manru: “My wife, my son.”) He
stands irresolute. Ulana is heard calling, but Manru does not heed her, and turns again to
Asa. In despair, Ulana throws herself into the lake. (Ulana: “O God, forgive
him!”) Oros, returning, hurls Manru after her, and the voice of Urok the dwarf echoes
among the mountains as he gloats over Manru’s death.
Opera in one act by Ferdinand
Hummel. Text by Delmar.
CAST: Eddin, a Circassian—Tenor. Mara, his wife—
Soprano. Dmitri, their child—Soprano. Djul, Mara’s brother—Baritone. Place,
the Caucasus, plateau of the Elbrus. Time, the present. First production, Berlin, 1893.
During the overture the Sound of a shot is heard. Upon the
rise of the curtain a valley is seen; in the rear rocks and a gorge, in the foreground
Eddin’s hut, opposite a hollow tree, whose opening is covered with ivy. Mara awaits
Eddin, whom she has married against the will of her tribe, who are his enemies. She has
heard the shot, and is frightened. Dmitri, her son, runs in, and much relieved, she plays
“cuckoo” with him, and, singing him to sleep (“Slowly, slowly bends the
rose”), carries him into the hut. Eddin appears, greatly excited, with his gun
discharged and still smoking. When he loads it again, Mara knows that it was his shot
which frightened her. He tells her he has killed a pursuer. The avengers are near, and he
hastily conceals himself in the hollow tree to escape them. Mara’s brother arrives
with a band of Circassians to avenge the death of her father, who came to collect tribute,
and whom Eddin has shot. Mara refuses to surrender Eddin, and Djul threatens to kill her
child. When the Circassians are about to seize the child Eddin comes forth from the tree
and surrenders. (“No one shall enter the holy ground.”) He bids his wife a sad
farewell, and asks to be shot. “No !“ exclaims Dj ul; “from the rock upon
which he shot my father shall he be hurled to the valley.” Eddin pleads, “Not
living, never living,” but he is led away while Mara kneels in prayer and makes a
resolve that he shall find death from her own hand. Eddin is now seen upon the rock. As he
bids her farewell, Mara grasps the gun, and crying, “The Holy Mary bless you !“
shoots him through the heart. She sinks to the ground in an agony of grief, and buries her
face in her hands. The little Dmitri comes from the hut, takes her hands from her face
and cries innocently, “Cuckoo !“ As he dries her eyes with his skirt the curtain
descends.
Comic opera in four acts by
Mozart. Words by Da Ponte, founded upon Beaumarchais’s comedy.
CAST: Count Almaviva—Baritone. The countess, his
wife—Soprano. Figaro, valet to the count—Basso. Susanna, his bride—Soprano.
Cheruhino, page to the count—Soprano. Marzelline, housekeeper—Alto. Bartholo,
physician—Basso. Basilio, music master—Tenor. Don Guzman, judge—Tenor.
Antonio, Susan’s uncle, gardener—Basso. Barbarina, his daughter—Soprano.
First production, Vienna, 1786.
The action in this opera is
the direct continuation of the “Barber of Seville.” Rosina is now the Countess
Almaviva; her husband, however, is not a pattern of virtue, but is seeking the love of
Antonio’s daughter, Barbarina. When he detects the rivalry of the forward page,
Cherubino, he tries to get rid of him by procuring for him an officer’s commission.
Figaro has entered the service of the count and is making preparations for his nuptials
with Rosina’s ward, Susanna.
ACT I. A room in the palace. Figaro is measuring the space
for the placing of the furniture. Susanna is trying on a hat before the mirror. [At the
present day, following the French original more closely, the bridal wreath is substituted
for the hat.] (Duet: “Five, ten, twenty, thirty.”) They talk of the future.
(Duet: “Should the countess ring for you at night.”) Susanna is annoyed by the
gallantry of Almaviva, but is reassured by Figaro. (Aria: “Should the little count
dare to dance.”) Dr. Bartholo arrives, and is engaged by Marzelline, the housekeeper,
as counsel, for she intends to bring suit against Figaro, who had previously promised her
marriage to cancel a debt. (Bartholo’s aria: “Sweet revenge, you give great
joy”; Duet between Marzelline and Susanna: “Forward, I pray, thou model of
beauty.”) Cherubino arrives and asks Susanna’s aid with the count, as he does
not wish to go away. (Aria: “New joys, new pains.”) When the count and Basilio
appear, he hides himself, and Susanna feigns a swoon; in the confusion, Cherubino jumps
upon a chair and covers himself with a woman’s dress. (Terzett: “What do I hear?
Go at once and drive the imp away.”) The count discovers him, and he is only saved
from punishment by the entrance of the peasants. (Chorus.) Cherubino is compelled to
depart, and Figaro gives him good advice. (Aria: “There forget low-voiced prayers,
sweet alarms.”)
ACT II. Room of the couutess. The countess laments her
husband’s infidelity. (Aria: “Holy source of my desires.”) Susanna admits
Cherubino, and they proceed to attire him in women’s clothes in order that he may
attend the wedding. (Aria of Cherubino: “Ye, who know the desires of my heart.”)
They dress his hair. (Susanna’s aria: “Come nearer, kneel before me.”) The
count arriving, Cherubino flies into the next room, into which the count wishes to enter,
having heard some one moving about. The countess pretends it is only Susanna, and the
count, locking all the doors, leaves with the countess to find some way of getting into
the room. (Terzett: “Now, then, will it soon be done?” Duet: “Dear
countess, may I ask.”) Susanna frees Cherubino, who jumps from the window, and she
enters the room from which he has escaped. The count and countess return. He thinks
Cherubino has hidden himself, but finds to his astonishment only Susanna. (Finale:
“Come out, young miscreant.”) In the meantime, Figaro, who fears the gallantries
of the count, attempts to prevent him from appearing at his wedding by an anonymous
letter, but interrogated by the countess confesses that he has written it. When Antonio,
the gardener, brings in a letter, which he says has been dropped by a man who escaped
through the window, Figaro pretends that he has been with Susanna. The document, however,
proves to be Cherubino’s appointment as an officer, and Figaro gets out of this
scrape also by presenting it to the count for the purpose of affixing his seal, which was
missing. Marzelline, Bartholo and Basilio now appear, and the former brings her charge
against Figaro. The wedding is postponed in order that the count may investigate.
ACT III. The festal chamber. The count is confused by the
preceding occurrences, and at the request of the countess, Susanna agrees to meet him in
the garden. She first changes clothes with the countess. (Duet: “Long have I
languished.”) Susanna whispers to Figaro that success is now certain and his suit is
won. The count is angry. (Aria: “Shall I have my happiness?”) The court scene
follows (Sextet, Almaviva, Figaro, Don Guzman, Bartholo, the countess and Susanna:
“Behold your father”), in which it appears that Figaro is the natural son of
Marzelline and Bartholo, so he cannot possibly marry the housekeeper. The countess is left
alone (Recitative and aria: “And Susanna comes not”), when the maid arrives and
reports everything favourable. The countess dictates a love letter for Susanna to send.
(Duet: “Now shall I?”) The count is to return the pin which fastens the letter,
in token that he has received it. A chorus of young peasants, among them Cherubino,
serenades the countess. (“Countess, the roses.”) The count arrives with Antonio,
and, discovering the page, is enraged, but is appeased by Susanna’s letter. He tears
his finger with the pin, which annoys him once more. (March and finale: “Let us march
in order.”) The act closes with an invitation to the evening’s feast. (Chorus:
“Faithful lovers with wreaths bedecked.”)
ACT IV. In the garden (sometimes preceded by a scene in the
corridor). Following the directions in the letter, the count has sent Barbarina with the
pin, but she has lost it. (Aria: “Unfortunate little pin.”) Figaro learns its
significance from Barbarina. (Recitative and aria: “All is well, the hour is
near.”) Actuated by jealousy, he induces Bartholo and Marzelline to come to the
garden also and be present at the interview between the count and Susanna. Marzelline
informs Susanna of this plan. (Aria: “The hour approaches” and “Tarry not,
dear love.”) The countess arrives in Susanna’s dress; Cherubino seeks to kiss
the supposed Susanna, but is prevented by the interference of the count, who aims a blow
at Cherubino, which is received, however, by the ever-present Figaro. The count is
pursuing the supposed Susanna, who eludes him, when the real Susanna arrives in the
countess’ clothes. Figaro tells her of the count’s intentions, but recognises
his bride. He enters into the comedy by paying deference to her as the countess, and again
has his ears soundly boxed. They make peace, however, and he continues to play his rôle.
As the count appears, he declares his love and sinks on his knees at her feet. The count
calls for his people and for arms. Lights appear and universal recognition takes place to
the confusion of the count, who has no excuses to make. (Finale: “Still, be still, I
will approach.”)
Opera in four acts by Von Flotow.
Text from the French by Friedrich.
CAST: Lady Harriet Durham, maid of honour to the
queen—Soprano. Nancy, her confidante—Mezzo-soprano. Lord Tristan, her
cousin—Basso. Lionel—Tenor. Plumkett, a rich country gentleman—Basso. The
judge of Richmond—Basso. Three maids and three servants of the lady—small vocal
parts. Place, the castle of Lady Harriet, near Richmond. Time, in the reign of Queen Anne.
First production, Vienna, 1847.
For a diversion, Lady Harriet forces her stiff English
cousin Tristan to accompany her and her maid Nancy to the market of maids in Richmond, and
they disguise themselves as servants. Here they meet the rich farmer Plunkett and his
foster-brother Lionel, whose birth is unknown, but who possesses a ring by which he
hopes to be recognised. Harriet and Nancy take service under the names of Martha and
Julia, but as they accept money on account of their wages the fun changes to earnest and
the judges force them to follow the farmers. An amusing scene takes place in the second
act, when Martha and Julia try in vain to spin, and are instructed by the men. The
susceptible Lionel falls deeply in love with Martha, and when at his request she sings for
him he declares his love. Although Martha also admires Lionel, she does not intend to
carry the joke to this extent, and admonished by Tristan, she and Julia escape during the
night. Plunkett discovers Julia in the guise of a huntress, but is driven away by her and
her companions. Lionel preserves a rose which he has received from Martha, but when he
sees her as a lady of the court and she disowns him and declares him to be insane, he
tries to tear his love from his heart. He is recognised by the ring on his finger as the
son of a man of high position and is reinstated in his possessions. Harriet is overjoyed,
for she loves him, and is now willing to marry him. But Lionel in his turn repulses her
for having played with him so cruelly. After Plunkett and Nancy have come to an agreement,
they desire to assist their friends also to obtain happiness. Harriet and Nancy again
attire themselves as servants, seek Lionel at the market of Richmond, where they had first
seen him, and Lionel, touched by the submission of Harriet, discovers that she loves him
truly and they are united.
ACT I. Chamber of Lady Harriet. Chorus and scene. (Duet,
Nancy and Harriet: “From the noble cavaliers”; Scene and terzett, Nancy,
Harriet, Tristan: “Dear lady and cousin,” with the chorus of maids behind the
scene: “Well then, young blood, over sticks and stones.”)
Change of scene: The market of maids at Richmond. Chorus and
march of the maids. (Scene and duet between Lionel and Plunkett: “Yes, since early
childhood”; Finale “The market begins, the bell rings.”)
ACT II. A room at Plunkett’s farm. (Scene, Lionel,
Plunkett, Harriet, Nancy: “Come nearer, bashful maidens,” and spinning quartet:
“Merrily turn the wheel”; Scene, Lionel with Harriet and popular song: “The
last rose of summer”; Finale: “Only wait, for that you shall suffer”; with
a terzett, Tristan, Harriet, Nancy: “Let us fly from here.”) (This generally
concludes the second act, although in the original the scene in which Plunkett and Lionel
prepare to follow the maids is added.)
ACT III. The wood and inn. (Plunkett’s song and chorus:
“Let me ask you, can you tell me”; Chorus of huntresses and song of Nancy:
“Huntress, thou sly one,” with the accompanying ensemble: “Lightning, the
wild hunt”; Scene and aria of Lionel: “0 so gentle, O so faithful”; Finale:
“The mistress takes her rest,” with the grand ensemble: “May heaven forgive
you.”)
ACT IV. The chamber at the farm as before. (Aria of Harriet:
“To reconcile the dear one”; Duet between Harriet and Lionel: “Spring has
come, the roses bloom.”)
Change of scene: The market of maids at Richmond. (Finale:
“Here the booths, there the inn,” with the closing song: “Spring is
here.”)
Comic opera in three acts by
Auber. Text by Scribe and Delavigne.
CAST: Colonel Leon of Merinville—Tenor. Emma, a
Greek—Soprano. Roger, a mason—Tenor. Baptiste, a locksmith—Basso.
Henriette, his sister—Soprano. Zobeide, Irma’s playmate—Soprano. Madame
Bertrand— Mezzo-soprano. Usbeck and Ricca, Turkish slaves in the following of the
ambassador—Basso and Tenor. Place, the suburbs of St. Antoine at Paris. Time, 1788.
First production, Paris, 1825.
ACT I. Before an inn. Roger and Henriette are celebrating
their marriage. (Song, Roger: “Up, mechanics, today is Sunday,” with the
refrain: “Now courage, do not despair.”) The envious Madame Bertrand cannot
understand where Roger has obtained the money for the marriage. (“He went forth from
my house much poorer than a church mouse.”) Roger has received the money from the
young officer Leon, whose life he has saved. Leon arrives and is received by Roger with
joy. (Quartet, Leon, Roger, Baptiste, Bertrand: “Do I see aright, noble sir”;
Love duet between Roger and Henriette: “I must go, for I am expected.”) Two
unknown men appear and are looking for a mason (Finale: “Be silent, some one is
coming”) and ask Roger to go with them. Roger refuses (“No, today I cannot
accompany you”), but they force him to follow. (“O God, I cannot resist.”)
ACT II. Chamber of the Turkish ambassador. (Chorus with Irma
and Zobeide; Song of Irma: “Before beautiful Zelmire.”) Left alone Irma
expresses her longing for her beloved Leon. (Aria: “Everywhere upon my way.”)
The unknown men of the first act, Usbeck and Ricca, lead in Roger and Baptiste, both of
whom have been forced to accompany them, and they put them to work. Roger is forced to
prepare the stone and wall up a door, and Baptiste to forge chains. (Duet: “No
rest.”) They are then led away by slaves. Leon arrives to elope with Irma. (Aria:
“Soon I will see her”; Duet with Irma: “Come let us hasten away.”)
They are discovered by Ricca and Usbeck, who put them in chains and compel Roger to
imprison them. The mason recognises his benefactor Leon, and plans to save him, and
singing while he works: “Have courage, do not despair,” he tries to cheer his
friend.
ACT III. Same scene as Act I. Henriette is anxious
about Roger. (Aria: “I think of my marriage only with despair.”) She gets into a
quarrel with Madame Bertrand. (Quarrel duet with chorus: “Is it permitted, young
woman, to ask.”) Roger, led by slaves, returus and plans the deliverance of Leon
and Irma. (Aria: “God,’ what is to be done?”) As his eyes have been bound
he does not know the house in which he has been confined, but when Madame Bertrand accuses
him of having entered the house of the Turkish ambassador, he sees light, rushes away and
has the prisoners released by the authorities. His friends come to thank him, and all is
made clear. (Finale: “Noise and bustle in the quarter”; closing chorus:
“Now courage, never despair.”)
Opera in four acts by Leoncavallo.
Text by the composer.
CAST: Lorenzo de
Medici—Baritone. Giuliano de Medici—Tenor. Gimbattista da Montesecco, papal
captain— Basso. Francesco Pazzi—Basso. Bernardo Bandini— Tenor. Archbishop
Salviati—Basso. Poliziano—Baritone. Simonetta Catanei—Soprano. Fioretta de
Gori— Soprano. The mother of Simonetta—Alto. Place, Florence. Time, period
between 1471 and 1478.
“The Medici” is the first part of the epic poem in
the form of an historic trilogy, “Crepusculum,” of which the other parts,
“Girolamo Savonarola” and “Cesare Borgia” are to follow.
ACT I. The first act foms the idyllic portion of the
opera and recites the first meeting of Giuliano and Simonetta. Lorenzo and his guests,
among whom are Poliziano and Montesecco, are resting from the hunt. Lorenzo speaks of
poetry and love, and is pleased with the praise accorded him by the celebrated poet
Pohiziano. Simonetta appears with her friend Fioretta. While the latter is gazing at the
hunt she remains behind. Simonetta is ill, death is near, but she yearns for life and
enjoyment. Montesecco discovers her and tries to snatch a kiss, but is prevented by the
approach of Giuliano. They love each other and arrange a meeting for the next day.
Fioretta, returning, is suspicious of what has taken place, for she herself loves
Giuliano. Montesecco has been listening and believes Giuliano to be the lover of
Simonetta.
ACT II. Santa Trinita in Florence. Night. Francesco
Pazzi, Archbishop Salviati, Bandini and Montesecco conspire against the life of the Medici
with the connivance of the pope. Both brothers are to be murdered at a feast, as the pope
fears the growing power of the family who are about to ascend the throne of Florence. For
the present Lorenzo poses as a poet and singer. Simonetta is in the crowd, which applauds
his efforts; she is asked to sing. She consents, becomes more and more excited, and falls
to the ground with a hemorrhage. She is taken away, the crowd departs, and no one remains
but Giuliano and Fioretta. He asks her to bring him news of Simonetta, and ascertains that
she also loves him.
ACT III. The Pontevecchio, with the houses of
Simonetta, Montesecco and Fioretta. The latter is open to the public and Fioretta’s
room is visible. She returns from the bedside of Simonetta, and accuses herself of having
deceived her friend. The conspirators appear in the dark street. Their plan has
miscarried, as only Lorenzo appeared at the banquet. Now both are to be slain in the
church. Simonetta overhears the conversation. At the same time Giuliano has entered
Fioretta’s house observed by Montesecco; he asks after Simonetta, but when Fioretta
tells him that he is the father of her child he is touched with remorse. Simonetta admits
to Montesecco that she intends to thwart the murder of the Medici. He hopes to induce her
to change her mind through jealousy, and leads her to the door of Fioretta, where she sees
her beloved in the arms of her friend.. She rushes in and Montesecco, with drawn dagger,
lingers at the door ready to murder Giuliano, should she reveal the plot. The dying
Simonetta can just whisper: “The Medici—murder—to-morrow—I—”
when she expires.
ACT IV. The interior of the church of Santa Regarata.
During the Credo the conspirators assemble and
incite the people to rebellion. When the Saiwtus begins
Francesco Pazzi stabs Giuliano, who falls at the feet of Fioretta. Lorenzo is saved by
Poliziano in the sacristy, but rushes out and wins back the people by reminding them of
the deeds of his ancestors. The people angrily rush after the escaping murderers. Giuliano
dies, declaring Fioretta to be his bride, and commends her to the care of his brother.
Lorenzo takes Fioretta to his heart as a sister, and, rising to his full height, he
exclaims to the receding crowd: “They smooth my path to the throne. Be ye my
avengers, 0 people! I still rule!”
Opera of four acts, a prologue and
an epilogue by Boïto.. Text by the composer.
CAST: Faust—Tenor. Mefistofele—Baritone. Wagner, a
student—Basso. Pantalis—Tenor. Helen of Troy—Soprano.
Marguerite—Soprano. Martha—Contralto. Scene, Acts I, II, HI, Frankfort, Act IV,
Greece. First production, Milan, 1868.
The prologue is not unlike that of Gounod’s
“Faust.” After a chorus of the heavenly hosts, Mefistofele appears, and is
commanded to go upon earth to tempt the philosopher Faust, who is too confident of his own
wisdom. The cherubim prostrate themselves before the Most High, and the voices of
repentant sinners are heard in prayer. Angelic voices swell the chorus, which is
‘full of beauty and strength.
ACT I. Frankfort. A day of festivity. Bells are
ringing in merry chorus. Soldiers, students and peasants mingle in the crowd, cheering as
the elector appears. The peasants take partners for the dance (Chorus, waltz: “Ohé !
Ohé!”) and Faust enters with Wagner, a student.. They observe in the crowd a friar,
clad in a grey robe, and strangely sinister in appearance. Wherever they go they find him
at Faust’s elbow, and the latter finally declares that it must be the devil. To
escape the man, Faust returus to his study, but Mefistofele, for the friar is none other,
stands in a dark corner awaiting him. Faust apostrophises Nature (Faust: “Fields and
meadows”), and soothed by pastoral musings, opens his Bible. The fiend, with a loud
scream, shows himself, but recovering, answers Faust’s questions as to his identity
and his business there, by proclaiming himself as the Evil One. (Mefistofele: “I am
the spirit of evil.”) His grey robe falls from him, and he appears richly dressed,
and ready to do Faust’s bidding, in exchange for his soul. He carries the philosopher
away on his cloak.
ACT II. A garden. Faust and Marguerite walk arm in
arm, while Mefistofele makes violent love to Martha, Marguerite’s mother, who is
greatly flattered. The lovers wander off under the trees, and forget time and space, until
Mefistofele reminds Faust that they must leave. (Quartet: “Farewell, I must
depart.”) Change of scene: The Brocken; witches’ Sabbatth. The witches dance and
sing in weird revelry; they make incantations, bringing before Faust a realistic picture
of Marguerite’s sorrowful fate. Mefistofele receives from them a crystal ball, which
he balances on his hand, saying: “Behold the earth.” The witches disappear amid
diabolic music.
ACT III. A prison. Marguerite has been convicted of
killing her child, and is about to be executed. She becomes insane, calling upon God for
pardon. Faust appears to take her away, but she scarcely understands his words. (Duet,
Faust, Marguerite: “Far, far away.”) The day breaks, and Mefistofele summons
Faust to depart, just as Marguerite falls back dead. Angelic voices chant of pardon and
peace.
ACT IV. The banks of a river in Greece. Here Faust
and Mefistofele meet Pantalis and Helen of Troy, to whom Faust makes ardent love. (Duet:
“The changing moon.”) Helen dramatically describes the fall of Troy, and the
tragic events to which it gave rise. Change of scene:
Epilogue. Faust is in his study considering his past life,
which he regrets bitterly. Mefistofele, appearing once more, offers to transport him in
his cloak anywhere he desires to go. Faust refuses to accompany him, and angel voices are
heard as in the prologue and Act III. Baffled, the fiend surrounds Faust with voluptuous
women, who tempt him with every art in their power. Once more the philosopher opens his
Bible, and therein reads that the vilest sinner if repentant can be saved. He prays
fervently for protection from evil, and dies. Roses cover his body in token of the
forgiveness of heaven. Mefistofele vanishes, utterly discomfited, and in a magnificent
finale angelic voices proclaim that the powers of evil are vanquished and Faust is
pardoned.
Opera in three acts by Karl
Goldmark. Text by Lipiner.
CAST: Artus, king of
Britain—Baritone. Ginevra, his wife—silent. Modred, his nephew—Tenor.
Gawem—Baritone. Launcelot—Baritone. Merlin—Tenor. Ledwyr—Baritone.
Knights of the Round Table. Viviane— Soprano. The fairy Morgana—Alto. The
demon— Basso. Place, Wales. Time, the sixth century. First production, Vienna, 1886.
ACT I. Before the castle
of Arthur, near the city of Caerleon. Merlin is the offspring of the prince of darkness
and a pure maiden. He is a wizard of power as long as he withstands the love of woman.
When Merlin forces the demon to assist the Christian Arthur against the heathen Saxons, he
obeys with reluctance, and informed by the fairy Morgana of the limitations of
Merlin’s power, he determines to create a beautiful woman to enthrall the senses of
the wizard. Her name is Viviane, and when Merlin falls in love with her the magic harp is
silent.
ACT II. Merlin’s magic garden. King Arthur, who has
come to advise with the wizard, bids him farewell. When Launcelot, the nephew of the king,
accuses Modred of being a traitor, Merlin, who through his magic arts has always been
enabled to recognise the truth of all things, can see no fault in him, and Arthur
continues his journey. The demon now brings Viviane to the garden. She tempts Merlin, and
at last grasps his veil and throws it into the air, which causes lovely spirits to appear
for play. Merlin avows his love for Viviane, and warns her not to touch the veil, for had
she wound it around his head, the garden would have been turned into a desert. Merlin
hears of the treachery of Modred, who has proclaimed himself king. Modred a traitor? Then
Merlin’s magic must have departed, since it has played him false. Knowing that his
love for Viviane has caused his loss, he thrusts her away. In anger she throws the veil
around his head, and the garden changes to a rocky waste, wherein Merlin finds himself
bound in fiery chains.
ACT III. Same scene at end of Act II. The fairy
Morgana appears to the repentant Viviane and announces that only a love stronger than
death can release Merlin. The chained magician sees the battle between Arthur’s
forces and the Saxons under Modred going against the king. In vain he tries to burst his
bonds, and finally in despair promises the demon his soul, and is released.
Change of scene: The restored magic garden of Merlin. Merlin
gains the victory for Arthur, but is brought in dying. When the demon comes to receive his
soul, Viviane, out of love for Merlin, dies with him, and, according to the prediction of
the fairy, his soul is saved.
Opera in three acts by Rüfer.
Text by Hoffmann.
CAST: Merlin—Tenor. The devil—Basso. Viviane—Soprano.
King Arthur—Baritone. Ginevra, his wife— Mezzo-soprano. Gawein—Basso.
Aleard—Tenor. Place, the land of phantasy and Arthur’s court. Time, the sixth
century. First production, Berlin, 1887.
ACT I. A wood. The devil
endows his son Merlin with magic power and sends him to King Arthur.
Change of scene: A mythical valley. Here Merlin discovers
Viviane and gains her love. Departing, he promises to reappear in three days.
ACT II. The court of Arthur. Merlin arrives at the
court and helps Arthur to reach the Holy Grail by lending him his magic steed, which he
asserts will bring him to the desired goal. Merlin himself hurries back to Viviane.
Change of scene: A fantastic landscape. Merlin, by his
magic, surrounds Viviane with splendour. He points out to her a spring, which by ceasing
to flow would signify his death. He also tells her that by wishing she can summon the
storm wind to carry her to him wherever he happens to be.
ACT III. The desert. Merlin meets Arthur, who has
been carried thither by the magic steed. When the tired king falls asleep the devil shows
his son the Holy Grail, and demands that he desecrate the sacred blood. Restrained by a
choir of angels Merlin hesitates. Viviane, meanwhile, having seen the waters of the well
disappear, has been brought to the desert by the storm wind. Happy in her love Merlin
refuses to perform the sacrilegious act, and be and Viviane are slain by the fiend.
Comic opera in three acts by Otto
Nicolai. Text from Shakespeare’s comedy by Mosenthal.
CAST: Sir John Falstaff—Basso. Fluth—Baritone. His
wife—Soprano. Rich—Baritone. His wife—Mezzo-soprano. Anna, their
daughter—Soprano. Fenton— Tenor. Younker Sparlich—Tenor. Dr.
Caius—Basso. Place, Windsor. Time, the seventeenth century. First production, Berlin,
1849.
ACT I. A courtyard with
the houses of Fluth and Rich. Both Mrs. Fluth and Mrs. Rich have received love letters
from Falstaff, which they exchange, and find the contents identical. (Duet: “This is
really too bad.”) They resolve to be avenged. Fluth and Rich arrive with Dr. Caius
and Spärlich. The latter is rich, but foolish, and is to become the husband of Anna. Dr:
Caius is also a wooer. Anna’s favourite, however, is young Fenton, who has been
rejected by her father. (Duet: “If your soul has even felt.”)
Change of scene: A room at Fluth’s house. Mrs. Fluth
prepares to receive Falstaff, and rehearses a scene in which a large armchair represents
the fat knight. (Aria: “Mirth and jollity are the spice of life.”) Mrs. Rich
appears and hides, while Mrs. Fluth receives Falstaff. The ladies have agreed that the
interview is to be interrupted by Mrs. Rich, who announces Mr. Fluth and his friends.
Falstaff runs behind the screen, is put into a wash basket by the women, covered with old clothes, and thus escapes the raging
husband.
ACT II. At the inn of the Garter. Falstaff receives a
note to meet Mrs. Fluth. He carouses with his friends, receives a visit from Fluth, who
introduces himself under the name of Bach, and asks Falstaff to woo Mrs. Fluth for him. He
gives the knight money, and Falstaff consents, telling Fluth he had already received an
invitation to an interview. (Duet: “What joy.”)
Change of scene: Rich’s garden. Fenton drives away Dr.
Caius and Spärlich and meets Anna, who acknowledges her love.
Change of scene: Fluth’s room as before. Falstaff is
again discovered by Fluth, and escapes to an adjoining room, where Mrs. Rich dresses him
in women’s clothes. Fluth reproaches his wife for unfaithfulness. Falstaff escapes,
happy but badly beaten, as they take him for an old and hated fortune teller.
Change of scene: Herne’s oak in the woods. Falstaff as
Herne, the huntsman, is teased and pommelled by elves and spirits, after which they
disclose to him how he has been fooled by all. Fenton and Anna take advantage of this
opportunity to be secretly married, and Dr. Caius and Younker Spärlich are left out in
the cold.
ACT III. Rich’s room. The women have told their
husbands of their pranks, and the four combine to have additional sport with Falstaff.
Upon this occasion Rich desires to complete the union of Anna with Spärlich. Mrs. Rich
intends her for Dr. Caius, while Anna herself plans to obtain her beloved Fenton. (Aria:
“I will come to thee, my loved one.”)
Opera in three acts by
Thomas. Text from Goëthe’s “Wilhelm Meister,” by Barbier and Carré.
CAST: Wilhelm
Meister—Tenor. Friedrich—Tenor. Philine—Soprano. Laërtes—Baritone.
Lothario—Basso. Mignon—Mezzo-soprano. Jarno—Basso. Place, a small city; a
castle in Italy. Time, the eighteenth century. First production, Paris, 1866.
ACT I. The courtyard of an inn. Wilhelm Meister
appears just as the gipsy Jarno is about to force Mignon to dance by means of a whip.
Wilhelm protects the girl, and after he has purchased her from the gipsies, she
accompanies him in the dress of a boy. In the meantime Meister meets the actor Laërtes,
in whose company is the coquettish Philine. Laërtes warns Wilhelm of her inconstancy. The
young -Baron Friedrich is foolishly enamoured of Philine, but cannot prevent Meister from
following her when the company receives an invitation from his uncle.
ACT II. An apartment in the castle of
Friedrich’s uncle. Accompanied by Mignon, Wilhelm visits Philine, and is compelled to
bear her ridicule on account of the “boy.” When Mignon is alone, she dons
Philine’s clothes, to be once more attired as a girl, but is discovered by Wilhelm,
who leaves her in distress.
Change of scene: The castle park. Mignon meets the insane
old singer Lothario, and, impelled by jealousy, calls down the wrath of heaven upon the
house. During a garden festival in honour of Philine, Lothario sets fire to the castle,
and Mignon is with difficulty saved by Wilhelm.
ACT III. A chamber in the Italian castle of Cipriani.
Wilhelm and Lothario have brought the ailing Mignon thither, for Wilhelm, having perceived
her love, his own is awakened. The insane Lothario is found to be the marquis of Cipriani,
who, as a strolling singer, has been seeking his daughter Sperata, long ago stolen by
gipsies, and now discovers her in Mignon. The poor girl finds love and happiness in the
arms of her father and Wilhelm.
MONTECCHI
E CAPULETTI
(Romeo and Juliet)
Opera in four acts by
Bellini. Text by Romani.
CAST:
Capellio, head of the Capuletti—Basso. Giulletta, his daughter—Soprano. Romeo,
head of the Montecchi—Alto. Tebaldo—Tenor. Lorenzo, physician—Baritone.
Place, Verona. Time, the thirteenth century. First production, Venice, 1830.
ACT I. Courtyard in the house of Capellio. Romeo
desires to end the strife between the houses of Capuletti and Montecchi, and sends a
propitiatory message to Capellio. But as Romeo has slain his son, Capellio refuses to
consider it until he has avenged his death. Tebaldo, the betrothed of his daughter
Giulietta, is selected as the instrument of vengeance.
Change of scene: Giulietta’s room. Romeo, who has been
his own messenger to Capellio, visits Giulietta, for secret. love has united them.
ACT II. A hall at Capellio’s house. Romeo
arrives with his adherents to prevent the marriage of Giulietta and Tebaldo, and fly with
his beloved. It is reported that Romeo has been killed in the fray which ensues.
ACT III. A room at Capellio’s house. Giulietta
is informed by Lorenzo that Romeo and his followers have not been slain, but that he has
been defeated and has fled. In order to escape the marriage with Tebaldo, she obtains a
sleeping potion from a friendly physician and is supposedly dead. Even Romeo, who has
secretly entered the house, believes the sorrowful news.
ACT IV. The cemetery vault. Romeo takes poison at the
bier of Giulietta and dies in the arms of the awakened girl, who immediately stabs herself
to the heart. The contending parties rush into the vault and stand aghast at the mournful
spectacle.
MOZART
AND SCHICKANEDER
(The Theatrical Manager)
Vocal comedy in one act
with music by Mozart.
CAST:
Schickaneder (Frank)—Basso. Philip—Speaking part. Mozart (Vogelsang)—Tenor.
Lange (Herz)— Soprano. Uhlich (Silberklang)—Soprano. A messenger. First
production, Schönbrunn, 1786.
This work is a Pasticcio (Pasty), i. e., an opera, the music
of which has been collated from older operas. The names in the original are not the same
and Mozart wrote only one overture and one terzett for it. In the adaptation by Louis
Schneider and W. Taubert (1861)-, which is now in common use, all the songs are by Mozart.
In the original (“The Theatrical Manager”)-, which was written at the request of
the Emperor Joseph II, the manager, Frank, is seeking members for his company and tries
their voices. The action introduces Schickaneder and Mozart, while the latter is composing
“The Magic Flute.”
Songs: Song of Schickaneder: “If the verses only sound
well,” with the refrain, “The world must be deceived, therefore it is
deceived”; Aria of Uhlich: “Dearest youth, with delight I accept your
love”; Mozart’s song: “When my image from your blue eyes doth look”;
Song of Uhlich: “Men seek to taste”; Terzett, Lange, Mozart, Schickaneder:
“Dear Mandel, where is your band?” Aria of Lange: “Soon comes the hour of
parting”; Terzett, Uhlich, Lange, Mozart: “I am the primo singer”; closing
song: “Artists must always strive.”
Opera in four acts by
Rubinstein. Text from the French by Barbier.
CAST: Nero
Claudius, emperor—Tenor. Julius Vindex, prince of Aquitania—Baritone.
Tigellinus, prefect of the Pretorians—Baritone. Balbillus, astrologer—Basso.
Saccus, poet—Tenor. Severus, high priest—Basso. Terpanter and Kitharist, freed
men of Agrippina—Tenori. Poppaea Sabina—Soprano. Epicharis, a freed
woman—Alto. Chrysa, her daughter—Soprano. Agrippina, Nero’s
mother—Alto. Lupus, a boy—Soprano. Piso Rubus, Sporus and Messala,
conspirators—small vocal parts. Place, Rome. Time, 59-68 A. D. First
production, Hamburg, 1879.
ACT I. Atrium, near Epicharis. The Gallic Prince
Vindex tries to protect Chrysa, who is pursued by Nero. As the emperor persists in his
pursuit of her, her mother, Epicharis, gives her a potion which apparently kills her, and
Vindex is arrested.
ACT II. At the request of Poppaea, his mistress, the
emperor slays his wife Octavia. Agrippina, the emperor’s mother, sends Poppaea jewels
to win her favour, among them a bracelet containing Chrysa’s picture, which Poppaea
wears. When Nero learns that Chrysa is not dead, but has been spirited away, he orders the
execution of Epicharis and Vindex. Poppaea pleads for mercy, and, observing on her arm the
bracelet containing Chrysa’s picture, the emperor’s rage abates and he grants
her request.
ACT III. Apartment of Epicharis. Nero’s mother,
Agrippina, had taken Chrysa away, but Vindex has freed her. He and the maiden confess
their mutual love, and Chrysa tells Vindex that she is a Christian. When Nero arrives
Poppaea protects Chrysa. Suddenly the cry is heard, “Rome is burning !“ Nero receives this news with a scornful
laugh, for he himself is the instigator of the fire and intends to accuse the Christians
of the crime.
Change of scene: In Rome. The people become incensed against
the Christians and slay Chrysa.
ACT IV. A street in Rome. Conspiracy of Tigellinus
and Balbillus against Nero. The people learn that Nero has fled, and cry for vengeance.
Change of scene: Mausoleum of Augustus. Nero appears, driven
insane by his excesses and haunted by his numerous victims. Restored to reason by Saccus,
he flees.
Change of scene: The Campagna. Vindex and his army approach
Rome. Discovered by his enemies, Nero, who is too cowardly to commit suicide, is stabbed
to death by Saccus.
Opera in two acts by
Bellini. Text by Romani.
CAST: Sever,
Roman proconsul in Gaul—Tenor. Orovist, chief of the Druids—Basso. Norma, his
daughter, an astrologer—Soprano. Adalgisa, priestess in the grove of the Irmin
statue—Alto. Klotilda, Norma’s friend—Soprano. Flavius, Sever’s
companion—Tenor. Children of Norma and Sever. Place, Gaul, the holy grove and
Irmin’s temple. First production, Milan, 1832.
ACT I. The grove. A secret love unites the seeress
Norma with Sever, the Roman proconsul, by whom she has borne two children. Sever had loved
the priestess Adalgisa before he knew Norma, but has not seen her for some time. When he
finds her in the temple of Irmin his love for her returns, and they resolve to fly
together. Adalgisa innocently tells Norma of her love, and the seeress curses Sever for
his treachery.
ACT II. Norma’s apartment. She is about to kill
her children, but through maternal pity finally confides them to the care of Adalgisa.
When Sever comes to take Adalgisa from the temple, Norma denounces him and he is seized by
the Druids, after having refused to give up Adalgisa. Norma proclaims herself equally
guilty with him. The funeral pyre is lighted, and ascending it, Norma dies with her lover.
Songs, Act I. Orovist and chorus: “Ascend the hill,
Druids”; Scene and cavatina, Sever: “With Adalgisa stood I at Rome’s
altar”; Chorus: “Norma appears”; Scene and cavatina of Norma: “Chaste
goddess, in the silver light”; Scene and duet, Sever and Adalgisa: “Go and
sacrifice to false gods”; Recitative, duet and terzett, Norma, Adalgisa, Klotilda,
and Sever: “Go and conceal them both,” “Here he robbed me of peace,”
“Norma, not in this hour.”
Act II. Scene of Norma: “Both asleep, they see not the
steel that pierces them”; Recitative and duet between Norma and Adalgisa: “O
Adalgisa, hear my prayers,” “See, oh Norma, O have pity.”
Change of scene: The temple. Norma, Klotilda, chorus:
“He returns!” Battle song of the Gauls: “Fight! fight!” Recitative and duet between Sever and Norma:
“Now are you in my hands”; Finale: “A new sacrifice I offer to your
rage.”
Comic opera in one act by
Adam. Text by De Leuven and Beauglan.
CAST:
Cornelius, dealer in toys—Basso. Benjamin, his son—Tenor. Heinrich, his
nephew—Baritone. Berta—Soprano. Place, the toyshop of Cornelius. Time, the
nineteenth century. First production, Paris, 1852.
Cornelius has fashioned a life-size doll and exists in the
illusion that it will become alive and be the bride of his son. While he is absent at a
festival with Benjamin, Heinrich has a rendezvous with his beloved -Berta. They are
surprised by the returning couple; Berta hastily conceals herself in the doll’s
cabinet and puts on its clothes. She is dragged forth by Cornelius, who is convinced that
the period for the coming to life of the figure has arrived. To his joy the doll seems to
be alive, but Berta, as the doll, behaves so wildly that Cornelius is glad when it again
becomes apparently lifeless. The crafty Heinrich advises him to have nothing more to do
with it. Berta quickly places the doll back in position, and it is destroyed by Cornelius,
who now believes it to be a work of the devil. Heinrich is rewarded for his warning advice
to Cornelius with the hand of Berta.
Last updated October 30, 2006