Opera Books
The Opera Goer’s
COMPLETE GUIDE
LEO MELITZ
Copyright 1908, 1911, 1921
Opera in three acts by
Carl Maria von Weber. Text from Wieland’s poems by Planché. German by Hell.
CAST:
Oberon—Tenor. Titania—silent. Puck—Alto. Droll—Speaking part. Huon of
Bordeaux—Tenor. Scherasmin, his shield bearer—Baritone. Harun al
Raschid—Speaking part. Rezia, his daughter—Soprano. Fatima, her
slave—Soprano. Namuna, Prince Babekan; Emir Almansor, Rosehana, his wife; Nadine,
their slave, and Abdallah, a pirate—Speaking parts. Mermaids—Soprani. First
production, London, 1826.
This opera originally contained an unusual number of
speaking parts, which caused Franz Wülliner to change the entire dialogue into
recitative; from which the following new singing parts originated: Harun al
Raschid—Baritone. Droll—Alto. Babekan—Tenor. Almansor—Baritone.
Roschana—Alto. Abdallah—Basso. The Emperor Charles—Basso.
ACT I. Oberon’s palace. (Chorus of elves:
“Light as fairy feet.”) Puck tells of a quarrel between Oberon and Titania and
the oath of the king of the elves, only to be reconciled when they should find a loving
couple, whose fidelity would withstand calamity and death. Oberon soon laments his oath
and gives aid to the knight Huon of Bordeaux, who has slain a relative of the Emperor
Charles in self-defence, and is to be pardoned upon condition that he repair to Bagdad,
slay the man sitting at the left of the caliph and kiss the Princess Rezia as his bride.
Oberon shows Rezia to Huon in a vision, she also sees him in a dream, and Oberon enkindles
love in their hearts. He gives Huon a magic horn, whose subdued tones protect him from
danger, while, if loudly blown, the sound brings the king of the elves himself to his
assistance. Oberon also gives Huon’s shield bearer an empty goblet, which has the
quality of being refilled when touched by the lips. He then transports Huon and Scherasmin
to Bagdad with his magic wand. (Aria, Huon: “Bred to the camp from early
youth.”)
Change of scene: In the harem at Bagdad. Rezia is to marry
Prince Babekan. (Aria: “Yes, O lord! my life, my salvation.”) Fatima, her slave,
reports Huon’s arrival at Bagdad.
ACT II. Hall in the palace of the caliph. Chorus and
recitative. Huon forces his way into the hall, slaps Prince Bahekan, who is sitting at the
left hand of the caliph, and kisses Rezia as his bride. The magic power of the horn
enables him to escape.
Change of scene: Garden of the palace. Scherasmin finds
Fatima and woos her. (Aria, Fatima: “Arabia’s desolate child.”) Huon
arrives with Rezia and Oberon. The latter, after warning them all against unfaithfulness,
brings them back safely to the harbour of Askalon. (Quartet: “On the blue sea.”)
Change of scene: A rocky cavern on a desolate island. To
test their fidelity Puck orders the spirits (Puck: “Spirite of the air, the earth and
sea”) to wreck the vessel of Huon and Rezia. Huon carries Rezia ashore and goes to
seek assistance. Left alone Rezia sees a vessel and signals to it. (Aria: “Ocean,
thou mighty monster.”) The vessel is manned by pirates, who carry her away. The
spirits convey Huon to Tunis, the home of the robbers. Change of scene and song of the
mermaids. (“How delightful the waves.”) Oberon and Puck assemble the spirits for
a dance by moonlight.
ACT III. Garden of the Emir at Tunis. Fatima is here
as a slave. (Aria: “Arabia, my country.”) Scherasmin, who has also been rescued
from the water, joins her. (Duet: “On the banks of the Garonne.”) They meet
Huon, and telling him that Rezia is a slave, advise him to rescue her in the guise of a
gardener. (Terzett: “I must myself disguise.”)
Change of scene: Hall in the palace of the Emir. (Cavatina,
Rezia: “Grieve, my heart.”) Almansor pleads for her love, but is repulsed. He
treats Roschana, a former favourite, with coldness, and she swears vengeance. She orders
Huon to appear before her. He believes that he is to meet Rezia. (“I rejoice in new
hopes.”) When he sees that it is Roschana who wishes to ascend the throne with him if
he will slay Almansor, he recoils in dismay, and, being surprised by the Emir, is led away
to death.
Change of scene: Before the palace. Rezia and Huon are to be
burned alive, when Scherasmin finds the lost horn, and, blowing a loud blast on it,
summons Oberon. As the lovers have released him from his oath by their fidelity, and he
has become reconciled to Titania, Huon, Resin, Scherasmin and Fatima are carried to Aix la
Chapelle, where they are received and honoured by the Emperor Charles.
Musical tragedy in a
prologue and three acts by August Bungert. Text by the composer.
CAST:
Odysseus—Baritone. Penelope, his wife—Alto. Telemachus, her son—Tenor.
Laertes, father of Odysseus—Basso. Hyperion—Tenor. Antinous—Tenor.
Eurilochos—Baritone. Mentor—Basso. Eumaos—Basso. Theoklymenos—Basso.
Phemios—High baritone. Medon—Baritone. Leiodes—Baritone. Athene—Alto.
Eurykleia—Mezzo-soprano. Despoina—Mezzo-soprano. Melantho—Mezzo-soprano.
Place, palace of Odysseus. Time, ten years after the end of the Trojan War. First
production, Dresden, 1896.
Prologue. The shore of Ithaca. Athene passes, singing. The
wooers of Penelope conspire against the life of Telemachus, and are joined by Hyperion.
Telemachus boards a vessel to seek his father Odysseus.
ACT I. A grotto. Odysseus awakens, but does not
recognise his fatherland. Athene comes to his aid by dissolving the mist, and he joyfully
greets his home. He recognises old Eumaos and clothes himself in the dress of a beggar,
which Athene has left for him. He sees with despair the changes that have taken place
during his ab-sence. He pretends to be a messenger from Odysseus, and Eumaos promises to
lead him to Penelope. The ships of Telemachus and those of the wooers of Penelope
approach, and Odysseus hastens to the assistance of Telemachus, who is hard pressed by his
enemies. Laertes foretells the return of his son.
ACT II. A garden near the sea. Chorns of maidens and
wooers. Change of scene: A chamber in Odysseus’s palace. Penelope is weaving her web.
She grieves over her sad fate and prays for the return of her husband. She greets Hyperion
as the friend of her son, but to her dismay discovers that he also loves her. The
impatient wooers now insist upon an answer, and Penelope promises to arrange a contest and
give her hand to the victor.
ACT III. The courtyard of Odysseus’s palace.
Penelope appears at the combat and brings with her the bow of Odysseus. Telemachus tries
to bend it in vain; none of the wooers succeed in the attempt. Odysseus, who has revealed
his identity to his son, asks for the bow and bends it with ease. A combat between
Odysseus and the wooers ensues, in which Odysseus obtains the victory. The rejoicing
Penelope rushes to his arms.
A trilogy adapted from the “Oresteia” of Æschylus by Felix Weingartner.
CAST:
Agamemnon, king of Argos. Clytemnestra, his wife. Ægisthos, cousin of Agamemnon.
Cassandra, daughter of Priam, king of Troy. A watehman. A messenger. Chorus of sages.
People, etc. Place, the royal castle of Argos.
Fire signals on the hills announce the fall of Troy.
Agamemnon returns victorious after a ten years’ absence and brings a prize in the
person of Cassandra, daughter of the king of Troy. His wife, Clytemnestra, receives him
with hypocritical rejoicing, though she bears him unchanging hate for the sacrifice of
her daughter, Iphigenia. She leads the king to the bath; Cassandra is to follow them into
the castle, but the seeress shudderingly recoils from its gates. She announces to the
sages that Clytemnestra is about to slay Agamemnon, afterward turning upon her. Her
hearers do not believe this prophecy, but hardly has she entered the castle when the
king’s death cry is heard. Clytemnestra returns, proclaiming that she has slain her
husband and Cassandra, his mistress. Ægisthos protects the queen from the fury of the
people, and together they ascend the throne.
CAST:
Clytemnestra. Ægisthos. Orestes, son of Agamemnon and Clytemnestra. Electra, his sister.
Kilissa, the old nurse of Orestes, housekeeper. Pylades, son of Strophios, king of Phocis,
silent. Chorus of maidens.
Orestes, having been brought up far from home, at Phocis, by
Strophios, king of Phocis, has grown to manhood and visits his friend Pylades at Argos.
Clytemnestra has brought up her daughter, Electra, as a servant. The first scene shows the
grave of Agamemnon, which Electra has been sent to visit by the queen. Orestes meets her
there and swears vengeance for his father’s murder. The scene changes to the
king’s castle, where Clytemnestra has been disturbed by a dreadful dream. Orestes,
appearing as a stranger, first meets
AEgisthos, whom he slays. He then discloses his identity to his mother, draws his sword
and drives her into the palace, where he kills her also, notwithstanding her prayers. The
goddesses of vengeance appear, under whose sway the matricide now falls. Upon the advice
of the servants Orestes flies to Delphi, to receive the oracular sentence of Apollo.
CAST: The Goddess Athene. Orestes. The venerable seeress of
Apollo. The spirits of Agamemnon and Clytemnestra. The spirit of Cassandra. Chorus of the
Erinnyes. People. Place, the oracle of Delphi. Hades. The vicinity of Athens.
Pursued by the furies, Orestes flies for aid to the temple
of Apollo at Delphi. Upon the advice of the prophetess he descends to Hades, but the
vengeful spirit of Clytemnestra leads the Erinnyes to him. He seeks aid from the shade of
Agamemnon, and the spirit of Cassandra brings him a holy olive branch and leads him to
Athens to secure protection from the goddess of the city. Notwithstanding the vengeful
opposition of the Furies, the cause of Orestes is brought before the highest authority of
the country, the counsel of the Areopagus, and by the aid of the goddess he is declared
innocent of the death of his mother, but is commanded to free his sister, Iphigenia, who
resides at Tauris. The Erinnycs, now the Eumenides, accept this decree, and thus ends the
long list of crimes of the house of Tantalus, the ancestors of the family of Orestes. It
is prophesied that the laurels of victory will never crown his brow, but he will rule over
his people to a good old age, beloved and respected.
Opera in four acts by
Glück. Text by Calzabigi. German by Sander.
CAST:
Orpheus—Alto. Eurydice—Soprano. Amor— Soprano. First production, Vienna,
1762.
ACT I. At
the tomb of Eurydice. Orpheus and his friends in grief mourn for her. (Chorus, scene and
aria: “Thou, whom I passionately loved”; Scene: “Eurydice, dear
shade”; Aria: “Bereft of all joy”; Recitative: “Eurydice,
where’er I roam”; Aria: “Lost to me forever.”) Orpheus prays the gods
to restore his wife and is ready to descend to Acheron’s shores to regain her.
(Recitative: “Gods! cruel gods, gods of death!”) Amor appears. (Recitative:
“Confide in Amor.”) He tells Orpheus that Zeus has taken pity on him and that he
may descend to Hades, to touch the heart of Pluto and of Minos by his song. But he must
not turn his head to look at Eurydice until he has left the shores of the Styx. If he
does, Death will hold her forever. (Amor’s aria: “Fulfil with joy the will of
the gods.”) Orpheus implores the aid of the gods. (“What did he say, heard I
aright?”)
ACT II. Tartarus. Scene and chorus of the Furies.
Ballet of Furies. Orpheus appears at the entrance of Hades (Chorus: “Who is the
mortal!”) and is accosted by the Furies
and the shades of the departed. Orpheus asks for mercy. (“Oh, take pity.”) The
chorus replies: “Sacrilegious mortal, what brought you here?” and Orpheus gives vent to his grief. (Aria:
“A thousand griefs, threatening shades.”) The shades are mollified by his sweet
singing. (Chorus: “By what magic?”) Orpheus sings again (Aria: “Gods of
death, have pity”), and they allow him to enter Hades.
ACT III. The happy valley. Dance. Orpheus arrives.
(Recitative: “What pure light.”) He inquires for Eurydice. The chorus of happy
ones console him. (“Sweet singer, you are welcome.”) They bring his wife
(Chorus: “Who would not remain”), and, averting his head, he takes Eurydice by
the hand, and leaves the happy valley.
ACT IV. A wood. Orpheus leads Eurydice from a cave.
(Orpheus: “Hurry, follow my footsteps.”) He has relinquished her hand and begs
her to follow swiftly. She implores him for one look of love, and when he refuses, in
despair wishes for death (Duet: “Come, oh come! with thy shades”), believing
that Orpheus no longer loves her. (Aria: “What dreadful anguish.”) He can resist
no longer, and, forgetting Amor’s warning, turns to gaze upon her. Eurydice dies once
more. Orpheus is in despair. (“Woe is me, it is done”; Aria: “I have lost
her.”) Not for the second time he declares shall she pursue her sad path alone, he
will die with her. Amor approaches. (Amor: “Stop, what will you?”) Believing
that Orpheus has suffered enough, the god of love again restores Eurydice to life and
leads her back to earth.
Change of scene: Before Amor’s temple. (Finale,
Terzett, Orpheus, Eurydice, Amor and chorus: “Triumph is thine, Amor.”)
ORPHEUS IN HADES
(Orphée aux Enfers)
Burlesque opera in two
acts by Jacques Offenbach. Text by Meilhac and Halévy.
CAST:
Jupiter, Juno, Diana, Venus, Cupid, Mars, Mercury, Pluto and other gods. Orpheus, teacher
of music at the conservatory of Thebes. Eurydice, his wife. Popular Opinion. John Styx
(the shade of the Prince of Arcady in Hades). Chorus of gods and goddesses of Olympus and
of Hades. Bacchantes. Place, Act I, near Thebes and Olympus. Act II, chamber of Pluto and
festal hall in Hades. First production, Paris, 1858.
Orpheus lives unhappily with Eurydice. While he pursues the
beautiful shepherdess, Chloe, his wife loves the shepherd, Aristeus, who is really Pluto.
While she is gathering flowers in the meadows (Aria, Eurydice: “She whose heart
dreams”) Orpheus appears, takes her for Chloe, and each discovers the falsity of the
other. Eurydice flies with Aristeus, and Orpheus, overjoyed, dances and sings with
pleasure at getting rid of her. But, alas! Popular Opinion, to whom he is subject as a
teacher of music and professor at the conservatory of Thebes, forces him to proceed to
Olympus and implore Jupiter to restore his wife. After an interval of idyllic peace,
broken by the sound of Diana’s horn (Diana: “When Dian comes into the
plain”), there has been a revolt in Olympus. The gods re-fuse to receive Nectar and
Ambrosia any longer, and demand more substantial fare. Together they grumble and gossip
like mortals. Venus, aided by Cupid, makes mischief as usual. Jupiter quarrels with Pluto,
and the latter takes advantage of the opportunity to inaugurate a rebel-. lion. Orpheus
and Popular Opinion are announced at this moment. Orpheus accuses Pluto before Jupiter of
having abducted Eurydice, which he denies, and Jupiter and all the gods of Olympus
determine to accompany Orpheus and Public Opinion in their investigation of the charge.
Pluto, in the meantime, has concealed Eurydice in Hades in a secret chamber with only one
attendant, the idiotic John Styx (Styx: “When I was king”), once prince of
Arcady, who has been instructed to guard her carefully. Jupiter craftily enters the
chamber in the guise of a fly, and Eurydice, hoping to get away, promises him her love and
is transformed into a Bacchante. (Song, Eurydice: “Pretty fly, with gilded
wing.”) Pluto is compelled to return Eurydice to her husband, while Jupiter plans to
retain her. Orpheus is only to receive her, if, on the way from Hades to the upper world,
he can reach the Styx without turning his head to look at his wife. He is about to
succeed, when Jupiter causes the lightning to flash before him, and the terrified Orpheus
looks back. Jupiter triumphs, for he has won Eurydice. (Chorus: “Long live
wine!”) In the future she will belong neither to her husband nor to Pluto, but as a
Bacchante will be subject only to him. (Eurydice: “Bacchus has appeared to me.”)
Pluto is angry, Popular Opinion is sad, but Orpheus returns to his home in delight.
Opera in three acts by
Rossini. Text from the Italian by Grünbaum.
CAST: The
Doge of Venice—Basso. Roderigo, his son—Tenor. Othello—Tenor.
Brabantio—Basso. Desdemona, his daughter—Soprano. Iago and Lucio, Othello’s
friends—Baritone and Tenor. Emilia, confidante of Desdemona—Alto. Place, Venice.
Time, the fifteenth century. First production, Naples, 1816.
ACT I. The market place at Venice. The senate and
people of Rome greet the victorious Othello, returned from Cyprus, and his prayer to be
received as a son of the Republic is granted by the Doge. Roderigo knows that Othello
loves Desdemona and fears to lose her, as she has been promised him by her father,
Brabantio; but Iago, Othello’s false friend, informs him that he knows of a way to
estrange Desdemona from Othello. (Chorus of the people: “Hail, Othello! hail to the
conqueror”; Recitative and aria, Othello: “Thanks and sweet love”;
Recitative and duet between Iago and Roderigo: “Up! take courage!”)
Change of scene: Chamber of Brabantio. Desdemona is secretly
married to Othello; a letter written by her has been found by Brabantio, who thinks it
addressed to Roderigo. This letter is in the possession of Iago, and he proposes to use it
as a weapon against the lovers. Brabantio and his guests are about to celebrate the
marriage of Desdemona and Roderigo, when Othello interrupts the ceremony by declaring that
he himself possesses the heart of the bride. (Recitative and duet, Desdemona and Emilia:
“Oh let me see clearly”; Scene with Iago, Roderigo, Brabantio and Desdemona,
Finale: “Sweet love, come.”)
ACT II. Chamber of Desdemona. Scene between Desdemona
and Roderigo, in which she confesses that Othello is her husband. (Aria, Roderigo:
“Love’s despair.”) Des-demona resolves to go to Othello.
Change of scene: Othello’s garden. Iago arouses the
jealousy of the Moor by giving him the letter, and he challenges Roderigo, repulsing his
wife, who has hastened to meet him (Scene and duet between Othello and Iago: “My
shame must I behold”; the same, with Roderigo, Terzett: “Come, follow me! you
shall pay for this disgrace with your life”; Finale, Desdemona, Brabantio, and mixed
chorus: “What news do you bring?”)
ACT III. Desdemona’s chamber. Oppressed by
gloomy thoughts, she allows her friend Emilia to depart, and retires; Othello entering
awakens her, and murders her in the fury of his passion of jealousy. The news is brought
that Roderigo, whom he believes he has slain, still lives, but that Iago is dead, and
confessed his treachery on his death-bed. When Brabantio arrives to make peace, Othello
shows him his murdered daughter and stabs himself to the heart. (Scene between Desdemona
and Emilia and aria: “In the shade of the willow”; Recitative, Othello: “It
is finished”; Scene and duet, Othello and Desdemona: “No threats will move
me”; Finale: “Roderigo is saved.”)
Opera in four acts by
Verdi. Text from Shakespeare by Boito.
Othello—Tenor. Iago—Baritone. Cassius— Tenor.
Roderigo, a noble Venetian—Tenor. Lodovico— Basso. Montano—Basso.
Desdemona—Soprano. Emilia, Iago’s wife—Mezzo-soprano. Place, Cyprus. Time,
the fifteenth century. First production, Milan, 1887.
ACT I. Before the palace. Othello, joyfully acclaimed
by the people, lands in Cyprus. Iago, who hates Cassius, Othello’s lieutenant,
because he has been preferred by Othello, and also dislikes the Moor, at first incites
Roderigo to gain Desdemona’s love, then induces Cassius to drink heavily. The latter,
excited by wine, draws his sword against Montano, and is punished by being banished by
Othello. Othello takes his wife Desdemona to the palace.
ACT II. A room in the palace. The scene closely
follows Shakespeare. Iago first advises Cassius to ask Des-demona to intercede for him,
thus bringing about his reinstatement; then he arouses the jealousy of the Moor against
his lieutenant. Iago takes from his wife Emilia a handkerchief, which Desdemona has lost,
to use as an evidence of her infidelity. Othello and he together swear to be revenged upon
Cassius.
ACT III. A room in the palace. Iago brings Cassius to
the palace, while Desdemona is interceding for him with Othello. Iago leads in Cassius,
after Othello has left the apartment, and arranges the conversation in such a way that the
listening Othello becomes furiously jealous. He manages to slip Desdemona’s
handkerchief into Cassius’s hands, then he takes it from him before the eyes of
Othello, and gives it to the Moor after Cassius’s departure. Othello is now convinced
of Desdemona’s guilt. When a Venetian delegation announces his degradation from
office he beats Desdemona and faints from anger, which arouses the malicious laughter of
Iago.
ACT IV. The bedchamber of Desdemona. Awaiting death,
Desdemona bids Emilia leave her, and retires. Othello steps to her bedside, awakens her,
again becomes furious, and kills her, not with poison, as the villain Iago has counselled,
but by throttling her with his own hands. Emilia rushes in, witnesses the dreadful deed,
and reveals Iago’s treachery, explaining that he has received the handkerchief from
her. When the noblemen, aroused by the tumult, enter the chamber, Othello slays himself
beside the corpse of Desdemona.
Known also under the name
of “The Clown” (Bajazzi). Opera in two acts and a prologue by Leoncavallo. The
libretto, by the composer, is founded upon an actual occurrence.
CAST: Canio,
chief of a village comedy troupe (Clown)—Tenor. Nedda, his wife
(Columbine)—Soprano. Tonio (Taddeo )—Baritone. Beppo (Harlequin )—Tenor.
(The alternate names are those of the cast in the second act of the representation.)
Silvio, a young peasant—Tenor. Place, near Montalto, in Calabria, August 15, 1865.
First production, Milan, 1892.
ACT I. Near the village. The curtain ascends during the
overture, and from behind a second curtain Tonio appears as Prologue. (Tonio: “A word
allow me!”) He explains the character of the performance in a serious manner as an
actual occurrence, and the performance begins. The primitive theatre of the village
comedians is erected and the actors parade in fantastic costumes to the great delight of
the villagers. (Chorus: “This way they come, with fife and drum.”) Tonio, who
resides in the village, offers his hand to assist Nedda in alighting, but is assaulted by
Canio, who boxes his ears, swearing vengeance. The peasants ask the actors to drink with
them. Canio and Beppo accept, while Tonio remains with Nedda. Amid the good-natured
raillery of the villagers Canio declares solemnly that as clown he will take part in any
joke, but will resent any insult to his honour as a husband. The angelus is heard.
(Chorus: “Ding-dong! The shadows fall!”) He plainly evinces his fiery
temperament. (Canio: “Such a game is hardly worth the playing.”) Nedda, who is
untrue to her husband, trembles at the words of Canio (Nedda: “How fierce he
looked”), and, to conceal her fears, sings. (Nedda: “As the songbirds
soar.”) The ugly Tonio remains and becomes offensive in his attentions to Nedda,
whereupon she strikes him with a whip, which drives him to frenzy. (Tonio: “I know
you hate me.”) He departs, swearing revenge. Silvio approaches Nedda; they love each
other (Silvio: “Why hast thou taught me?”), and Silvio wins Nedda through the
ardour of his love and induces her to fly with him at night. Tonio, who has been listening
to their oonversation, calls Canio and Beppo, and with great difficulty, Silvio escapes,
unrecognised by the pursuing clown. Returning, Canio, dagger in hand, demands from Nedda
the name of her lover. Tonio whispers that the lover will surely attend the performance
and will then be detected. Canio in despair prepares for the performance. (Canio: “To
jest with my heart maddened with sorrow.”)
ACT II. The comedy begins before the assembled crowd.
Columbine, represented by Nedda, collects the money, and warns Silvio, who is present. The
play begins. (Harlequin: “O Columbine.”) Canio stumbles confusedly through his
part, and again demands from Nedda the name of her seducer. When she replies lightly,
hoping to disarm him (Nedda: “I never knew you were so witty”), he seizes a
knife from the table, and stabs Nedda, who tries to escape in the crowd. As Silvio comes
to her aid, Canio recognises him, and plunges the knife in his heart. (Canio: “No
Punchinello am I — but a man!”) All are filled with horror and dismay, and stand
irresolute, not knowing what to do. Tonio, coming forward, gravely dismisses the audience,
saying with grim cynicism, “The comedy is played.”
By Richard Wagner.
CAST:
Amfortas—Baritone. Titurel—Basso. Gurnemanz—Basso. Parsifal—Tenor.
Klingsor—Baritone. Kundry—Mezzo-soprano. Place, country and castle of Montsalvat
and Klingsor’s magic palace. First production, Bayreuth, 1882.
This opera is founded on Wolfram von Eschenbach’s Epos
“Parsifal” (1204). Herzeleide, of the royal house of the guardians of the Holy
Grail, has brought up her son Parsifal in a lonely forest, to prevent him from following
in the footsteps of his father, Gamuret, who had departed in quest of heroic adventure and
died an early death. Ignorant of the world Parsifal grows up a “guileless fool.”
One day he sees by accident a company of knights, his love of adventure is roused, and he
begs his mother to allow him to depart.
ACT I. An opening in the forest near Montsalvat, the
castle of the Grail, which is situated upon an inaccessible mountain. Amfortas has been
appointed by his venerable father, Titurel, keeper of the Grail. Contrary to his solemn
obligation to refrain from the love of woman, Amfortas has succumbed to the seductive arts
of Kundry, and has been wounded by the enchanter Klingsor with his own lance, which fell
from his hand and was grasped by Klingsor. The lance of Amfortas is the one with which
Longinus pierced the side of Christ on the cross, and which was saved by Joseph, together
with the Grail — the vessel which caught the blood of the Redeemer. Amfortas,
mortally wounded, suffers agony, but cannot die nor be healed until a “guileless
fool, by compassion wise,’ brings back the lance and touches with it the wound.
Kundry is in the power of the enchanter Klingsor, but is also the messenger of the Grail.
She is the woman who scorned Christ on the cross, and now, longing for release, and
alternating between good and evil, is condemned to wander the earth forever. She brings
Gurnemanz a healing potion, as Amfortas is being carried to be bathed in the sea.
Gurnemanz in a long recitative relates how Klingsor, refused by Titurel as one of the
knights of the Holy Grail, had created a magic garden, and peopled it with beautiful
maidens, destined to seduce the knights of the Grail. Parsifal enters the precincts of the
castle of the Grail, wounds a swan with his arrow and is brought before Gurnemanz. He
excuses his fault as one of ignorance, and Gurnemanz recognises in him the “guileless
fool” who alone can heal Amfortas. Kundry informs him of Parsifal’s descent, and
when the wounded king returns to the castle, the youth is brought before him. While he and
Parsifal ascend the heights to the castle, the scene gradually changes, so that they
always remain visible until the castle appears. At the end of their wandering the scene
changes to a hail within the castle. The knights of the Grail enter, the wounded Amfortas
is carried in, and is compelled, against his will, to display the miracle of the Grail,
the sight of which will keep him alive against his will. Parsifal is astounded at the
miracle, but forgets to utter the question which would release Amfortas, and when he
confesses to Gurnemanz that he comprehends nothing of what he has seen, he is roughly
ejected from the castle.
ACT II. The dungeon beneath an open turret, in which
are displayed Klingsor’s implements of magic. ‘When Parsifal approaches
Klingsor, who recognises his danger, he compels Kundry to attempt to seduce him. The
magician has aroused Parsifal’s fighting spirit by sending against him knights, whom
he conquers, and he now enters the magic turret. Klingsor and the turret suddenly vanish,
and in their place appears a wonderful garden peopled with fairy flower girls. They
surround Parsifal, who resists them, but is almost vanquished by the beautiful Kundry, who
touches his heart by announcing to him the death of his beloved mother. When he kisses
Kundry the “guileless fool” is awakened, and he now understands why Amfortas
suffers and how he can be relieved. When Kundry tells him of her sin against the Lord he
turns away from her in horror. In vain Klingsor comes to the rescue, for when he throws
the holy lance, taken from Amfortas, at Parsifal, it remains suspended above his head.
Parsifal seizes the lance, making the sign of the cross, and Klingsor and his magic forces
disappear. Kundry bitterly curses Parsifal, predicting that he will seek the Grail in
vain, hut Parsifal replies that she now knows where to seek him and that she will soon be
released.
ACT III. A wood in the glory of spring, flowers, a
well and the hut of a hermit. Parsifal, after wandering for years, has learned wisdom, and
journeys once more toward the castle of the Grail. Gurnemanz lives in the wood, below the
castle, and having found Kundry, just awakened from a long magic sleep, takes her as his
servant. Gurnemanz, like the other knights, has grown old, for Amfortas has not exhibited
the youth-giving Grail since Parsifal’s departure. When he sees the holy lance in
Parsifal’s hand, he recognises with enthusiasm the “guileless fool.” It is Good Friday; Kundry, who only
utters the word “serve,” washes Parsifal’s feet, that he may enter the
castle clean and pure, while Gurnemanz annoints his hair. (“Good Friday spell.”)
Parsifal releases Kundry by baptising her as a Christian. All three proceed to the castle
in the same manner as in Act I. (Change of landscape.) The knights of the Holy Grail have
assembled to bury the aged Titurel, and Amfortas, himself about to die once again,
prepares to exhibit the Grail. Remembering that this act will again prolong his sorrowful
life, he shows his wounds to the knights and implores them to slay him. But Parsifal,
entering, seizes the holy lance and heals the king’s wound by touching it with the
point. He proclaims himself the king of the Grail, which he reverently holds aloft. The
repentant Kundry, dying, falls to the ground, and for one moment Titurel comes to life. As
Parsifal raises his hands in benediction, Amfortas, Gurnemanz and the other knights
acclaim him as the new king of the Grail.
A romantic opera in three
acts by Massé. Text by Barbier and Carré.
CAST:
Paul—Tenor. St. Croix, a planter—Baritone. Domingues, a slave—Baritone. M.
de la Bourdonnais, governor—Basso. Virginia—Soprano. Meala, a
slave—Contralto. Mme. de la Tour, Virginia’s mother—Mezzo-soprano.
Marguerite, Paul’s mother—Mezzo-soprano. Zambra, a negro—Mezzo-soprano.
Scene, the Isle of France. Time, the eighteenth century. First production, Paris, 1876.
ACT I. Marguerite’s cottage. She and Mine. de la Tour
are discussing their children, Paul and Virginia, who have always been like brother and
sister (Duet: “Thus, their day of childish friendship”), but are now
unconsciously drifting into a deeper feeling. Marguerite talks of sending Paul to India
for a time. Domingues, a trusted slave, starts up, protesting. (Domingues: “Let him
not go, my dear young master.”) Laughter and shouts are heard when a ship from France
is sighted; Mme. de la Tour hurries off, thinking it may bear news of the forgiveness of a
wealthy aunt. (Chorus: “A ship! a ship!”) Domingues talks of Paul and
Virginia, wondering what changes the money will cause, and, as a storm arises, goes to
seek the young people, who presently enter, laughing, shielded from the storm by a great
banana leaf, held above their heads. (Duet: “O joy! O delight!”) Virginia seats
herself; Paul throws himself on a rug at her feet. (Paul: “What is the spell”;
Virginia, “Asketh thou why?”) As they innocently sing of their love and innocent
pleasures, Meala enters, footsore and weary. She is wounded by the lash of a whip.
Virginia gives her food (Terzett: “God himself has led you to our dwelling”);
they cannot keep an escaped slave, so Virginia offers to intercede for her with the
planter. (Trio: “If God grants an inspiration.”) Change of scene: Plantation of
St. Croix. (Chorus of slaves: “The air vibrates like flame”; Zambra:
“O thou poor slave, thy sorrows none can heal.”) St. Croix appears, followed by
two huge negroes with whips. He kicks and cuffs the slaves, and orders bloodhounds set on
Meala’s track. She enters with Paul and Virginia. Virginia sweetly asks his
forgiveness for the slave (“Oh grant this boon”), kneeling at his feet. (Chorus:
“How sweet her voice”; Trio: “When through heaven’s will.”) St.
Croix, moved by her girlish beauty, grants what she asks, with a mental reservation. They
turn to depart. St. Croix asks them to stay and rest after their long walk. The negroes
sing, dance and play for their amusement. (Chorus:” ‘Tis our master’s
pleasure,” with a weird refrain, “Bamboula! Bamboula,” during which the
singers strike cocoanuts together with a startling effect.) Meala now sings alone, and in
her song warns Paul that Virginia will be in danger if she stays (Meala with chorus:
“Through the deep lush grasses !“), as St. Croix is drinking heavily. They hurry
away. St. Croix in a rage turns on Meala and orders her to be lashed while she can stand.
He drinks himself into a stupor. (Chorus of slaves: “Heaven grant us freedom.”)
Meala screams wildly, and St. Croix, rousing himself, orders the slaves to sing louder to
drown her voice. Entr’acte. In the forest.
ACT II. House of Mme. de la Tour. Virginia is arrayed
in festival attire and decked with jewels. Domingues sits on the floor, weaving a mat.
Virginia’s mother hands her a mirror. Domingues, shaking his head, declares that the
gold will bring sorrow. Virginia is to go to France, and she is overcome with grief
(Romance: “Through the forest at night”), because she now realises her love for
Paul. Domingues advises her in a song not to go. (Domingues: “Through the clear air,
the bird doth fly.”) Paul is at the door. He enters, but does not recognise the grand
young lady before him as Virginia. She remains silent as he reproaches her, then hurries
away. Marguerite, calling Paul, tells him that there is a stain upon his birth. (Paul:
“Can I forgive?”) They decide to depart forever. Meala warns them of the coming
of St. Croix, who now appears. (Duet: “At his sneering disdain.”) Virginia,
entering, buys Meala from him with some of the gold. (Duet, Paul, Virginia: “Since
from us thou wilt fly.”) Meala warns Paul to keep watch, or St. Croix will carry
Virginia off. Change of scene: A fountain beneath the trees ; sea in the distance.
(Chorus: “Hoy-o! Hoy-o!”) Virginia enters, singing a joyous song (Virginia:
“Ye far off winds that murmur low”), then falls asleep, while Meala hums a
lullaby. (“Softly sleep.”) She sees in a vision the planter’s house in
flames. The governor brings an order from the king for .Virginia’s deportation. They
waken her, and she is swiftly carried to the ship.
ACT III. The seashore. Paul, now melancholy, stands
looking out to sea. (Recitative: “Wearily time with sighs beguiling”; Song:
“In vain on this shore.”) He is half-crazed by grief. His mother is in despair.
Paul receives a letter, in which Virginia tells of her loneliness and love for him. (Paul
“O my beloved, even now I hear.”) He sees in a vision a ballroom, with Virginia
dancing a minuet, amid splendid surroundings. Her harp is brought in; she sings and
her voice is wafted to her lover, (Virginia: “On spirit wings.”) He sings in
unison with her, begging her to sing once more. Their voices seem to mingle regardless of
intervening space. St. Croix appears in the room beside her; she repulses him, and
refuses his hand. Paul is entranced, and tells Domingues what he has seen. A ship is seen
on the horizon approaching the island. A storm arises, causing it to be wrecked. Paul
hears Virginia calling him, and at last her body is washed up upon the shore at his feet.
(Chorus: “0 hapless fate!”)
A
lyric drama in five acts by Maurice Maeterlinck. Music by Claude Debussy.
CAST: Arkël, the aged king of Allemonde—Basso.
Genevieve, the wife of his son—Soprano. Golaud, her eldest son—Baritone.
Pelléas, the younger son—Tenor. Mélisande, a mysterious visitant, wife of
Golaud—Soprano. Yniold, son of Golaud through a former marriage—Soprano. A
physician. Servants, blind beggars, etc.
ACT I. A forest. Mélisande, a pale, mysterious
creature with long golden hair, sits pensively by a well. Golaud, who is a mighty hunter,
is lost in the forest. He hears the sound of crying and approaches curiously, asking
Mélisande why she weeps. She runs away terrified, begging him not to touch her. He gently
questions her, talking as if to a child, but she can only give him vague replies. She has
been wronged she says, but will not tell by whom, and has worn a crown, which is now at
the bottom of the well. She will throw herself after it, if he tries to recover it. Asking
his name, she tells him she is sure he must be quite old for his hair and beard are
beginning to turn gray. Observing her wide open eyes, he inquires how old she is. She does
not reply and he suggests that she allow him to take her to some shelter, which she is
persuaded to do. They wander off through the forest, scarcely knowing whither to turn
their steps.
ACT II. A ball in the castle. Genevieve is reading to
the blind old king a letter from Golaud, which he has written to his brother Pelléas. It
tells of his marriage to a maiden he found wandering in the forest. He asks Pelléas to
intercede for him with his mother and Arkël, since they had wished him to marry instead
the Princess Ursula. A light in the tower is to be the signal of forgiveness. Arkël
quietly accepts the situation, with the philosophy of age, for, as Genevieve says, Golaud
has always been thoughtful and prudent, and devoted to his little son. Pelléas enters, a
youth of passionate, emotional nature, just now in deep grief over the approaching death
of his friend, Marcellus. Arkël reminds him that his own father is at the point of death
upstairs, and he must remain at the castle. Genevieve tells him to hang the light out for
Golaud. Change of scene: A terrace in front of the castle. Genevieve and Mélisande walk
together. The young bride is impressed by the gloom of the castle, and the great trees
surrounding it. Pelléas enters, they talk together of ships and the sea. Mélisande is
sorry when he speaks of departing the next day.
ACT II. A fountain in the grounds. Pelléas and
Mélisande are seated on its rim, idly talking. It is a sultry day. She looks into the
fountain’s clear depths, then tries to dip her hands into it. As she reaches down her
hair falls about her like a cloud. Pelléas questions her about her meeting with Golaud.
She takes off her marriage ring and tosses it in the air, catching it in her hand. At last
she throws it too high, and it splashes into the water. She is disturbed and asks Pelléas
what she shall say to Golaud. He replies, “The truth, the truth.” Change of
scene: A bedroom in the castle. Golaud has been thrown from his horse and hurt. Mélisande
anxiously ministers to him. Tears come into her eyes, and to his questions she replies
that she is unhappy. “Is it Pelléas ?“ he asks. “No, no,” she says,
“but I feel that I am going to die. Golaud attributes her fears to the gloom of the
castle, and tells her that she need not mind Pelléas, who has always been different from
others. Taking her hands in his, he misses the ring, and Mélisande, with the instinct to
avoid the truth that characterises timorous, sensitive natures, says she dropped it in a
cave by the sea while trying to escape from the tide. Golaud tells her she will have to go
there at once to find it, and to take Pelléas with her, since it is dark. Change of
scene. A grotto. Pelléas enters with Mélisande, talking very rapidly to cloak his
emotion. Mélisande only answers in monosyllables. The sound of the waves is heard, and a
moonbeam penetrating the dark cavern falls upon three old blind beggars, who have taken
refuge there. Mélisande screams with fright, and Pelléas leads her out of the cavern.
ACT III. A turret in the castle, surrounded by a
well-worn path. It is night. Mélisande is combing her long hair at the window, crooning a
strange song. . (Mélisande: “To the foot of the tower my tresses flow down.”)
Pelléas hails her gaily, saying that he thought her hair was a great light. She leans out
to speak to him and her hair brushes against his cheek. He tells her he is to depart the
next day, and asks if he may kiss her hand. As she reaches far out, her masses of hair
stream down suddenly, covering Pelléas like a mantle. (Pelléas: “Oh! Oh, your hair,
your beautiful hair!”) Deep emotion seizes him, and he caresses her beautiful
tresses, holding them in his hands and kissing them passionately, declaring the while that
she is now his prisoner and his kisses are going to her along her hair. They are
frightened by a sudden flight of doves around the tower. Mélisande is troubled, and begs
Pelléas to let her go, or the doves will never return. Golaud enters, suspicious,
upbraiding them for their folly. “You are such babes,” he cries, and departs
with his brother. Change of scene: Vaults under the castle. Golaud and Pelléas explore
them. Golaud asks if his brother has been there before. He leads him to a chasm in the
cold dank vault, and stands behind him sorely tempted to push him in. Pelléas gives a
hoarse cry and shakes off his grasp. They depart without saying a word.
Change of scene: A terrace. The brothers emerge from the
vault ; Pelléas greatly overcome, and glad to be in the light and air again.
Golaud warns him about Mélisande, who, he says, is about to become a mother. Change of
scene: Before the castle. Golaud questions little Yniold about Pelléas and Mélisande,
and the child’s artless answers only inflame his jealousy. Yniold cries out that his
father is hurting him, and is promised a bow and arrow as a peace offering. Golaud still
continues his jealous queries: “Does Pelléas kiss your little mother?” he asks,
arid when answered in the affirmative, he is filled with rage and despair. At last he
holds Yniold up to the window to spy upon them, but they are sitting quietly looking at
each other. The child is frightened.
ACT III. A room in the castle. Pelléas and
Mélisande enter from different doors. Pelléas tells of his father, who is better, but
has counselled him to go away. With the prescience of those who are near death he has seen
that his son is not going to live much longer. Pelléas and Mélisande arrange to meet for
a last farewell. They go out. Arkël returns with Mélisande. He, too, has a premonition
of doom, and tells the girl that being so young she should have joy instead of grief, and
that she must awaken joy in the hearts of others. He kisses her tenderly as Golaud enters.
There is blood on his forehead from the branches in the garden. Mélisande advances to
wipe it off, but he turns on her savagely. He asks abruptly for his sword, and asks
Mélisande why she trembles so. Taking her roughly by the arm, he demands of Arkël what
he sees in her eyes? The old man replies slowly: “A great innocence only.”
Golaud bursts into a torrent of words. (Golaud: “Innocence? More than that.”) He
seizes Mélisande in frantic excitement, wildly talking to her of mysterious doubts,
forcing her to her knees, and dragging her about by her long hair, with which he makes
motions as if about to strangle her. Arkël, at first strangely passive, interferes.
Golaud calms himself, speaking in a choked voice. (Golaud: “Do as you wish!”) He
flings open the door and departs. Change of scene: A terrace in twilight. Yniold
struggling to lift a great stone. Sheep heard bleating in the dusk. Change of scene: A
fountain. Pelléas enters, musing sadly about Mélisande, who appears presently, very
quiet and gentle. She is breathless from her encounter with Golaud, but is no longer
timorous and fearful. Pelléas suddenly kisses her and they pour out their love without
reserve. (Pelléas: “Your voice sounds like the sea in springtime.”) Mélisande
says very simply that she has no other thought but Pelléas. Visions pass before her, and
a grating sound is heard as the castle gates are barred by the castellan. Pelléas
embraces her with suppressed passion, and they talk happily until Mélisande sees that
Golaud is watching. Pelléas tells her to go, but it is too late. They bid each other a
desperate farewell, knowing that their doom is at hand. Golaud, raining blows upon
Pelléas with his sword, kills him. Mélisande, her tremors returning, flies, pursued by
Golaud.
ACT V. A bedroom in the castle. Mélisande lies in
bed pale and wan. Arkël sits quietly beside her. The physician attends her. Golaud is
suffering horribly, believing that he is the cause of her illness. Mélisande awakens,
asking to have the window opened — the one looking upon the sea. She speaks as if
with the voice of a spirit. Golaud is brought to the bedside, and they are left alone. He
asks her forgiveness, and she grants it listlessly as if she were troubled by so many
words. Even then he cannot resist asking her if she loved Pelléas. “Yes,” she
says simply. “Is he here?” Golaud presses the question, and she is manifestly
disturbed like a child that wishes to go to sleep, and is asked if it has been good that
day. Arkël and the doctor enter and she turns with relief to the old man, who understands
her so well. He shows her her child and Mélisande feebly says: “I am so sorry for
her.” The serving women enter, feeling that her death is at hand. Mélisande weeps.
Golaud speaks to her, but Arkël hushes him, since a soul is about to depart. The serving
women kneel in prayer. Mélisande’s spirit has fled, and the old king, with a
sacrificial gesture, raises the child from the cradle and leaves the room, followed
silently by Golaud and the physician. “A life is ended, a life begins,” he says
solemnly.
Opera
in two acts by Gounod. Text by Barbier and Carré.
CAST: Philémon, an old peasant—Tenor. Baucis, his
wife—Soprano. Jupiter—Baritone. Vulcan—Basso. Time, mythical period. Place,
Phrygia. First production, Paris, 1860.
ACT I. Philémon and Baucis, two old peasants, are
seated before their cottage at eventide. (Duet: “It is the hour of rest.”) They
are happy and contented with their lot and with each other. There is a strange stirring in
the air, as if something unusual were about to happen. Bacchanalian chorus:
“Daughters of Athor, mad bacchantes.”) A storm arises, and amid thunder and
lightning Jupiter and Vulcan visit the earth to punish the impious Phrygians for
sacrilege. They arrive soaked with rain at the cottage and ask shelter for the night.
(Jupiter: “Strangers are we in this country.”) Philémon receives them
hospitably, lighting a fire to dry their wet garments. (Philémon: “Look! the flame
has caught ; the wood is smoking.”) Jupiter, in lightsome mood, jests with the
morose Vulcan, whose grievance is the indiscretion of Venus. (Duet: “‘Mid the
crashing sounds of hammers; Jupiter: “Eh? What? Because Mercury fell in love?”)
Baucis, left alone, meditates on her life with Philémon, and their happiness in spite of
trials, but, womanlike, deplores her vanished youth and beauty; (Baucis: “Ah, were I
beautiful once more!”) The two gods take their places at the table. (Quartet:
“Be seated at the table. Accept our humble cheer.”) Jupiter continues to jest
with Vulcan, and finding no water in the pitcher, commands Baucis nevertheless to keep on
pouring, and to her wonder, wine flows from the spout. The gods warn the couple of
coming trouble in Phrygia, promising immunity to them. They may sleep in peace and will
be protected. (Quartet: “A sombre veil extends its shade;”) Philémon and
Baucis, quietly reclining, lose consciousness of their surroundings in slumber.
Act II. Intermezzo. Bunting call far off: “E-vo-hé!
E-vo-hé!”) Baucis awakens with thoughts of vanished youth in her heart.
(Baucis: “Philémon would love me ever.”) To her surprise she sees beside her a
handsome youth, who still sleeps. (Baucis: “Memories steal o’er me.”) She
recognises that it is Philémon, as he used to be, and finds that she, too, is young and
fair, for their guests have given them back their youth. She awakens Philémon. He is
confused and does not know her. (Baucis: “Unrateful one, my heart all filled with
love;”) Jupiter is delighted with his work, and, ever susceptible, woos Baucis
himself. (Jupiter: “Venus herself is not more fair.”) His advances are so
pronounced that Baucis flees from him in terror, hiding in the woods; (Baucis: “O
laughing Nature! O fragrant gardens.”) When Jupiter pursues her, she kneels before
him in supplication. (Jupiter: “Do not kneel, fair mortal.”) He asks for her
love, and offers her riches and dazzling honours. (Duet: “O Philémon ! Think not
that I forget.”) Though greatly flattered, she reminds him that he is transgressing
the laws of hospitality, but they finally compromise upon a kiss. Philémon, finding out
what is going on, becomes jealous, quarrelling with his once adored wife. Vulcan now takes
a hand in the matter, and adjures them to live in peace; at their age they should
be ashamed to quarrel so fiercely. Philémon is greatly upset, but Baucis, still elated by
Jupiter’s preference, replies that there is surely no harm in being attractive.
Vulcan cynically declares that all women are false — Venus certainly is. Philémon
sharply responds that he has no desire to copy the morals of the gods in Olympus. Vulcan
becomes decidedly unpopular, and a lively discussion ensues. (Terzett: “Live the gods
like us, or no.”) Baucis at last decides that though her grey hairs and wrinkles were
hateful, she would gladly have them back again, for peace sake. (Baucis: “Neath the
weight of age our loving hearts.”) Jupiter is too gallant to make her old again, but
promises to leave her alone in future. The opera ends with a joyous quartet. (Quartet:
“O happiness enchanting.”)
An
opera by Frederick S. Converse. Text by George Edward Barton.
CAST: Iolan, a peasant—Tenor. Naoia—Soprano. The
Old One—Basso. Chorus of elves.
The opera opens with the song of the elves at their work in
the forest, by command of the Old One, their king. The peasant Iolan, who formerly lived
in the valley, but left it for a wider field, returns in high feather at his success,
singing joyously as he anticipates the realisation of all his hopes. He is about to claim
Naoin, to whom he is hetrothed, as his bride. The elves stop their work to salute him, and
when reproached by the Old One, claim a holiday in honour of spring’s first day.
Iolan, mounting the rocks, asks them all to the wedding feast, and they accept. The Old
One, however, sits silent and grim, and when Iolan hears that be is their king, he mocks
at him, saying, “What, that old fellow?” The elves hasten to inform him that the
Old One possesses the wonderful Pipe of Desire, through which he can rule the world if he
so desires. Iolan is incredulous at first, and the elves coax their king to play upon the
pipe for him, which he does against his will, as its strains bring only sorrow to any
mortal who listens to them. (Dance of Spring. ) The dance is a marvellous one, but does
not impress the self-confident peasant, who declares that the elves were not obliged to
dance, but desired to do so, to avoid honest toil. The elves, now angry, demand that the
pipe shall be played for Iolan alone. As they have said, he finds himself compelled to
dance willy nilly. Furious with rage, he takes hold of the pipe, and swears that he will
make the Old One cut capers now at will. The most horrible discords come from the pipe
until he plays a love tune and calls Naoia to come to him. He sees before him a vision of
domestic contentment, after the struggle he has had to win his way. The pipe gives forth
no sound, and the Old One tells him it is because he has made a selfish use of it. He
himself takes the pipe, and as he plays on it strange things happen. Iolan beholds before
him the cottage of his betrothed, who lies dangerously ill. She has heard his call, and in
her delirium rises from her bed, and goes barefoot into the forest. She raves as she sees
him, but knows that it is he, and speaks of their marriage as if it had already occurred.
At last, overcome by excitement and fever, she falls dead at his feet. Iolan is
distraught. lie flings his money into the bushes, curses the cruel God, who has thus
wronged him, and behaves like a madman, until the Old One brings him to himself by
reminding him that his own folly, not God’s decree, had brought these things about.
Iolan now begins to feel sorry, and the elves, who are more sympathetic than these wood
creatures usually are, ask the Old One to play upon the pipe again. Softly he begins the
song of autumn, following it by the song of winter. Iolan loses his self-confidence and
youthful vigour, and feels himself attacked by the chill of age and approaching death.
“Not my will, but God’s,” he reflects, for he has learned his lesson.
Looking upward to the heavens he sees Naoia on the rocks above him, stretching out her
arms in greeting. With a joyous shout, he bounds up the path to meet her, and hand in hand
they begin their life together.
PIQUE-DAME
(The Queen of Spades)
Opera
in three acts by Peter Tschaikowsky. Text from Pushkin’s novel by Tschaikowsky.
German by Bernhard.
CAST: Hermanin—Tenor. Count Tomsky—Baritone.
Prince Jeletsky—Baritone. Czekalinsky—Tenor. Ssurin—Basso.
Tschaplitzky—Tenor. Narumoff—Basso. Master of ceremonies—Tenor.
Countess—Mezzo-soprano. Lisa, her granddaughter—Soprano. Pauline, her
friend—Alto. Governess—Mezzo-soprano. Mascha, servant—Soprano. Place, St.
Petersburg. Time, end of the eighteenth century. First production, St. Petersburg, 1890.
ACT I. A large summer garden. A number of men, women
and children are walking about singing and laughing. Several officers, among them
Czekalinsky, SsurinTomsky and Hermanin, are talking of the previous night passed in
gambling and of Hermann, who was conspicuous at the table by his pale face and gloomy
manner. Hermann confesses to his friend Tomsky that he is in love, but is too poor to
marry the noble lady of his choice, whom indeed he hardly knows, though he fears he will
die if he cannot win her. The two friends meet Prince Jeletsky, and congratulate him on
his betrothal to Lisa, and Hermann discovers to his distress that she is the lady whom he
adores. (Quintet: “I am in despair.” ) He has attracted the attention of the old
countess and her grandchild, however, by his pale and gloomy countenance, and the fair
Lisa has become deeply interested in him. Tomsky relates the history of the countess. When
a young girl she was a desperate gambler and had lost all her money in Paris. A certain
count, whose advances she had formerly repulsed, promised, for an interview, to name the
three winning cards; after long wavering she sold herself to him and accumulated
a fortune. She had revealed the names of the cards to two persons, her future husband and
a lover, but a spirit appeared to her and announced that she would die if another lover
should appear, and should force her to reveal the secret. Since that time she had been
universally known as Pique-Dame (the queen of spades). The listeners agree that the old
mummy of a countess is undoubtedly safe from any new love affair, and laughingly invite
Hermann to secure a knowledge of the winning cards.
Change of scene: Lisa’s room. The young girl and
Pauline and her friends amuse themselves with songs and dane-ing. (Duet: “Already
night.”) Lisa sings a sad song (“Yet untouched by grief”), but the other
maidens merrily answer with a popular Russian melody. (“Now, little Marianne.”)
The governess sends them all home. Lisa, having retired to rest, cannot sleep; she
thinks she loves her intended husband, yet she cannot forget the face of Hermann. (Aria:
“The flood of tears.”) Hermann appears upon the balcony; and Lisa flees
in alarm, for he threatens to shoot himself. She returns, and, weeping, listens to his
protestations of love. Hearing voices, the countess appears and Hermann conceals himself;
she is angry that Lisa is still awake and orders her to retire. Hermann is thinking of the
three cards, and when the old woman has gone renews his wooing and Lisa yields.
ACT II. Masked ball at a stately mansion. (Chorus of
guests: “Laughing and toying.”) The young officers are astonished at
Hermann’s altered demeanour. The prince is annoyed by Lisa’s coldness and swears
that he loves her. (Aria: “I love you.” ) Hermann has received a note, saying
that Lisa must see him at once. (Interlude: “The sincere shepherdess.” Chloe
refuses the rich Plutos and accepts the poor but loved Daphnis. ) Hermann cannot rid
himself of the thought of the three cards. He meets Lisa; she gives him the key of
the garden, and directs him to pass through the chamber of her grandmother, who is absent.
Change of scene: Bedroom of the countess. Hermann enters
through a secret door and gazes upon the picture of the countess, whose fate is bound up
in his own. He hears footsteps and conceals himself behind a curtain; the countess
and several servants approach ; she enters the adjoining room and returns in her night
dress. She seats herself in an armchair and muses upon the past. (Song: “Je crains de
lui parler le nuit,” from Grétry’s opera, “Richard the Lion Heart.”)
As she is about to fall asleep Hermann stands before her and pleads with her to tell him
the secret of the three winning cards. She refuses and he threatens her with a pistol. She
dies of fright, but the secret is buried with her. Lisa rushes in, and when in his
confusion Hermann tells her of the cards, she is incensed that he has deceived her, and
orders him off as a murderer.
ACT III. Hermann’s room in the barracks. Lisa
has relented and asked him to meet her at the quay at midnight. A funeral procession
passes, the old countess is carried to her grave. Her spirit appears to Hermann and
commands him to marry Lisa and to place his money upon the cards: “three, seven and
ace.” Half insane, he repeats their names.
Change of scene: At night on the canal. Lisa awaits Hermann.
(Aria: “I will succumb to grief.”) The clocks strike the midnight hour and he
rushes to her arms. (Duet: “Now we are united forever.”) They determine to fly,
but first Lisa follows her lover to the gambling rooms, where he hopes to win the gold.
Frightened, she listens to his insane ramblings ; he laughs, throws her from him
and rushes away. In despair she throws herself into the water. Change of scene: The
gambling house. (Chorus: “Let us enjoy life.”) The prince is here for the first
time ; he says he has been unlucky in love and hopes to win. Tomsky sings a merry
song (“If girls had wings”), then follows a gambling melody in chorus.
(“Whether it snows or rains.”) Hermann enters; the prince asks Tomsky to
he his second. All are astonished at his appearance, but he declares that he will play. He
places 80,000 rubles on the tray and wins; his comrades expect a misfortune. He
again wins on the seven; he endeavours to dispel the ominous silence by a song.
(“Life is like gambling.”) No one will play with him any longer, only the prince
expresses his willingness; Hermann is uneasy. When he uncovers the ace, the spirit
of the countess appears; now totally insane he draws his dagger and stabs himself
to the heart; dying he asks the forgiveness of the prince.
Opera in two acts by Karl
Weis. Text from Erckmann-Chatrian by Victor Léon and Richard Batka.
Cast of the action: Hans Mathis, burgomaster and
innkeeper—Baritone. Katharina, his wife—Mezzo-soprano. Annette, their
daughter—Soprano. Christian Brehm, officer of gendarmes—Tenor. Dr. Frank,
notary. Schmitt, forester. A Polish Jew. Niklas, servant. Night watchman, peasants,
musicians, etc.
Cast of the dream: The presiding judge (Forester Schmitt).
The actuary (Notary Frank). An associate (night watchman). An apparition. Niklas. Mathis.
Katharina. Annette. Brehm. A hangman and assistants. Gendarmes, etc. Place, an Alsatian
village in the winter of 1833. First production, Prague, 1901.
The rich burgomaster Mathis is about to marry his beloved
daughter Annette to an officer of gendarmes, Christian Brehm. Forester Schmitt relates a
tale to the bridal couple, of a severe winter, the winter of the Pole. The name originated
in the following manner: Some fifteen years ago the inn was filled with guests, while a
storm howled without. Suddenly the bells of a sleigh were heard and a Polish Jew entered,
asking for shelter, which was granted. The next day the stranger proceeded on his journey.
Soon afterward his horse was found running loose, and on the road was a blood-stained cap;
the Pole had undoubtedly been murdered, but notwithstanding all efforts, neither his
body nor any trace of the murderer was ever discovered. The unknown murderer is Mathis,
who was at that time in need of money, and founded his riches upon the gold thus obtained.
No one suspects him, as he is universally loved and respected for his charity and cheerful
demeanour. But his conscience troubles him, and this evening, at the betrothal of his
daughter, with the circumstances precisely the same, a snow storm and the sound of bells
and the entrance of a Polish Jew into the inn, he falls unconscious to the ground. He is
put to bed and has a strange dream, which is represented on the stage. He imagines that he
stands before the judge, and at first denies his crime, but subsequently confesses and is
condemned to death. When he is grasped by the headsman, he cries out in despair and
awakens. He is found dead in his bed in the morning.
Comic opera in three acts
by Adolphe Adam. Text by De Leuven and Brunswick.
Cast of the first act: Chapelou, postilion—Tenor. Bij
ou, wheelwright—Basso. Marquis de Corcy—Basso. Madelaine, hostess—Soprano.
Place. the village of Longjumeau. Time, 1756. Cast of the second and third acts: Saint
Phar (Chapelou)—Tenor. Alcindor (Bijou)— Basso. De Corcy—Basso.
Bourdon—Basso. Madame de Latour (Madelaine)—Soprano. Rosa, her maid. Place,
country house of Madame de Latour, near Fontainebleau. Time, 1766. First production,
Paris, 1886.
ACT I. In the village of Longjumeau. The postilion
Chapclou, who possesses a fine voice, is celebrating his marriage with Madelaine, when
the Marquis de Corcy appears. A wheel of his carriage is broken, and the smith, Bijou, who
is envious of Chapelou, hastens to repair it, in order to disturb the feast, since
Chapelou, as postilion, is compelled to drive. De Corey, the manager of the royal
amusements, who is on a voyage of discovery for a new tenor, hears Chapelou sing, and
makes him such a brilliant offer, that he leaves Madelaine and accompanies the marquis.
(Scene, chorus, Chapelou, Madelaine: “Prosperous and happy be this hour”; Madelaine’s
song: “Dear husband, believe me”; Duet: “That is wonderful” ;
Ensemble: “A happy pair” ; Rondo of Chapelou — song of the
postilion: “Friends, hear the story”; Terzett and finale, marquis,
Chapelou, Bijou: “Do not turn away your luck”; Madelaine, Bijou and
chorus: “Come, sweetheart.”)
ACT II. A chamber in the garden. Chapelou has
become a great singer under the name of St. Phar. Bijou has also followed him, but remains
a member of the chorus. Madelaine, who has been living with her aunt, returns as a rich
heiress and wins St. Phar’s love as Madame de Latour. He has become a great admirer
of the fair sex and promises her marriage, but as he cannot keep his word, on account of
his previous marriage with Madelaine, he induces the opera singer Bourdon to array himself
in the garb of a priest, in order in this way to enjoy the love of Madame de Latour. The
Marquis de Corcy, who has suffered severely from the caprice of St. Phar, also woos
Madelaine. She has become aware of the trick and engages a real priest (Aria of Madelaine:
“I will see him again”; Chorus and ensemble of the royal singers:
“Oh, what misery”; Romance of St. Phar: “From early dawn”; Aria
of Alcindor (Bijou): “By the chorus of our stage”; Duet, St. Phar and
Madame de Latour: “Oh most beautiful of women” ; Chorus and finale: “My
wishes are fulfilled.”)
ACT III. An apartment in the country house. The
marquis discloses the cheat of St. Phar, and when he and his associates have been duly
frightened, Madelaine reveals her identity to the happy Chapelou. (Chorus and scene:
“O what joy” ; Aria of St. Phar: “I am now one of the
aristocracy”; Terzett, St. Phar, Alcindor, Bourdon: “Hanged!
hanged!” Duet, Madame de Latour and St. Phar: “You see me in anguish”;
Finale: “Quick, in the name of the king.”)
Opera in two acts by Karl
Goldmark. Text by Emil Schlicht.
CAST: Achilles—Baritone. Agamemnon—Basso.
Priam— Basso. Automedon—Tenor. Idaeus—Tenor. Thetis—. Mezzo-soprano.
Briseis—Soprano. Place, the Greek camp before Troy. Time, toward the end of the
Trojan war. First production, Vienna, 1899.
ACT I. In the tent of Achilles. The Greek hero
grieves deeply over the death of Patroclus, whose funeral urn he has just buried. He
swears vengeance against his enemies, and encourages his men to victory. Left alone he
again laments his loss. (“Gone from my sight.”) Thetis, his mother, and the
Nereids approach on the sea and endeavour to appease his wrath. Briseis, sent by Agamemnon
to Achilles, covers Hector’s dishonoured corpse with earth. Asked by Achilles the
reason for this action, she answers that she has been requested to do so by the spirit of
Patroclus. Dismissed by Achilles, she departs and prays to Aphrodite that she may win the
heart of Achilles, whom she secretly loves.
ACT II The same scene. Achilles, disturbed by
visions, receives a soothing drink from Briseis. He asks for music, and she sings of his
own life, devoid of love. (Briseis: “In the roaring forest.”) Priam and Idaeus
appear, led by Hermes. Priam exercises all his powers of persuasion to move the heart of
Achilles, in order to obtain from him the body of Hector. Only when Briseis calls to
Achilles, “Take from Patroclus the other burden,” does he relent. Priam thanks
Briseis, and a truce of twelve days is granted by Achilles for the funeral ceremonies.
Briseis, set at liberty by Achilles, comes to bid him farewell before going on board of
the king’s ship. Achilles realises that he loves her. After a grand duet between them
the slaves open the doors of the tent and the waiting warriors cry: “To the battle!
to victory!”
Opera in five acts by
Meyerbeer. Text by Scribe.
CAST: John of Leyden—Tenor. Fides, his
mother—Alto. Bersa, his bride—Soprano. Jonas, Matthiesen and Zacharias,
Anabaptists—Tenor and Basso. Count Oberthal—Baritone. Place, Holland, in and
near Munster. Time. 1536. First production, Paris, 1849.
ACT I. A scene in Dordrecht, Holland. Berta wishes to
be married to John, but they require first the consent of Count Oberthal, her liege lord.
The Anabaptists, led by Jonas, Matthiesen and Zacharias, are inciting the people to
revolt, and the count has repulsed their attack on his castle. He listens to the petition
of Berta and Fides, but refuses to grant it. Berta’s beauty finds favour with him,
and he drags the two women by force to his castle. The Anabaptists return and continue to
incite the people to rebellion.
ACT II. Inn of John of Leyden. The Anabaptists, who come to
the inn, attempt to induce John to accompany them to Munster. They have discovered in him
a striking resemblance to the picture of King David in Munster, and desire to make use of
it for their purposes. John is a visionary, well suited for a religious leader. He has a
dream, which the three men interpret according to their own interests, but his love for
Berta keeps him at home. But now Berta suddenly returns, having escaped from the castle.
Oberthal follows her with an armed force and gives John the choice of surrendering Berta,
or having his mother put to death. John, in despair, gives up Berta and receives the
blessing of his mother. The Anabaptists promise him revenge, and he accompanies them.
ACT III. Camp of the Anabaptists before Munster.
Ballet and ice carnival.
Change of scene: A tent. Oberthal has been taken prisoner
and the Anabaptists decree his death. John has resolved to leave the Anabaptists, whose
cruelties he abhors, and being told by Oberthal that Berta has escaped and is living in
Munster, he is about to set the count free, when he receives intelligence of a revolt of
his men.
Change of scene: The camp. John quells the revolt and
compels the obedience of his followers.
ACT IV. Square of the City Hall at Munster. John has
now conquered Munster and governs it as prophet, feared and cursed by the people. Fides
has become a beggar in the city, where Berta, clad as a pilgrim, finds her, and being
convinced that the prophet has slain John she determines to avenge him.
Change of scene: Before the cathedral. In solemn
procession John and his followers enter the church, and the prophet is crowned with
great pomp. When his coronation is proclaimed Fides recognises her son and makes her way
to his side. He longs to press her to his heart, but is compelled by his position to
disown her. When the people are about to slay him if she persists in her statement, she
declares that she is mistaken and is led away in chains.
ACT V. A chamber in the palace of John at Munster.
The three Anabaptists, Jonas, Matthiesen and Zacharias, are willing to betray John to gain
the pardon of the emperor. He visits Fides in the dungeon and beseeches her forgiveness.
Berta, bent on revenge, appears at the palace. She now learns that John is the hated
prophet; in vain he asks her pardon. She stabs herself in his presence, cursing him
with her last breath. John discovers the treachery of the Anabaptist. leaders and resolves
to punish them.
Change of scene: A banqueting hall in the palace.
Bacchanalian scene and ballet. The Anabaptists surround Johann, who is singing a drinking
song, when Oberthal appears with the imperial troops to arrest him. The prophet is
prepared, however. Unobserved, he signals—and smoke pours into the hall. Loud
explosions follow, and the hail is soon in flames. John, who has filled the palace with
powder, sets fire to it and with a dreadful crash the walls fall upon the crowd. The
prophet dies with Fides, who has joined him, and in their dying hour gives him her
forgiveness.
Opera in four acts by
Karl von Goldmark. Text by Mosenthal.
CAST: King Solomon—Baritone. Baal Hanan, overseer of
the palace—Baritone. Assad—Tenor. High priest— Basso. Sulamith, his
daughter—Soprano. The queen of Sheba—Mezzo-soprano. Astaroth, her
slave—Soprano. Place, Jerusalem and the desert. First production, Vienna, 1875.
ACT I. Palace of Solomon. Sulamith, daughter of the
high priest, is to be married to Assad, a young Courtier, who has been sent to receive the
queen of Sheba, the guest of King Solomon. Assad repulses his bride, and the king demands
the reason. The youth has not seen the face of the queen, for she will unveil only when
she comes before King Solomon, but, as he believes, he has surprised one of her companions
while bathing in a stream, has fallen in love with her and his love is returned. The queen
of Sheba enters and is magnificently entertained. When Assad sees her face he falls to the
earth, for she is the lady of the bath. He approaches the queen, but she draws away from
him and declares that she does not know him. Assad loses his senses.
ACT II. The garden. Moonlight. The queen loves Assad
and seeks him secretly, assures him of her love, and departs. As the guards appear they
find Assad drunken with love and take him for a madman. Change of scene: The temple.
During the solemn ceremonies Sulamith, according to custom, sacrifices doves;she is to be
married to Assad that day. When Assad, led by Solomon, enters the temple he rushes toward
the queen, but is again repudiated by her. Driven to madness the youth curses God, and is
handed over to justice. When the queen intervenes in hi. favour, Solomon begins to
understand the situation and orders Assad to be led away.
ACT III. The festival chamber. Ballet. The queen
demands Assad from the king, and when he refuses, she departs, uttering threats. Solomon
soothes the grief of Sulamith and prophesies peace and happiness.
ACT IV. The desert. Assad, wandering in the desert,
is found by the returning queen. She again attempts to be-guile him, but he curses her and
she departs in anger. A storm rages in the desert, during which Sulamith appears to the
despairing Assad ; she forgives him and he dies in her arms.
Last updated October 30, 2006