Opera Books
The Opera Goer’s
COMPLETE GUIDE
LEO MELITZ
Copyright 1908, 1911, 1921
Opera in five acts by
Neszler. Text by Hofmann.
CAST: Gruwelholt, burgomaster—Basso. Tunneborne,
bailiff—Basso. Rhynperg, canon—Basso. Ethelerus, writer to the
council—Tenor. Heribert, son of the bailiff, architect—Tenor. Hunold
Singuf—Baritone. Wulf, the smith—Baritone. Regina, daughter of the
burgomaster—Soprano. Dorothea, her cousin—Alto. Gertrud, a fisher
girl—Soprano. Place, in or near Hamelin. Time, 1284. First production, Leipsic, 1879.
ACT I. The council chamber. There is a plague of rats
in the town, and Hunold Singuf undertakes to get rid of them. He does not disclose his
identity, and his proposition is accepted.
Change of scene: Garden of the burgomaster. Heribert has
returned from a journey and greets Regina as his bride.
ACT II. An inn. Hunold entertains the guests with
song. When the smith, Wulf, and his bride, Gertrud, enter, the latter gazes upon Hunold
with astonishment and rushes to his arms, for he is the embodiment of her dreams.
Change of scene: The river and fisherman’s hut. Wulf
tries to regain Gertrud’s love, but in vain.
ACT III. The cellar of the council chamber. Humorous
scene between Ethelerus, Rhynperg and Hunold. The latter is a favourite with the women,
and Rhynperg wagers that he cannot obtain a kiss from Gertrud.
Change of scene: A street on the banks of the Weser. Wulf is
furious over the loss of Gertrud. Hunold having caused the rats and mice to drown
themselves in the river, had then met Wulf and wounded him in a fight.
ACT IV. Chamber of the council. Hunold asks for his
100 marks, according to agreement, but is refused, for the reason that the
burgomaster’s house still holds the king of the .e rats. When he offers to relinquish
his claim for a kiss from Regina, he is indignantly ordered out.
Change of scene: The market place and statue of Roland.
Despite the warning voice of the statue, Hunold resolves to obtain the kiss by magic.
Change of scene: Festal chamber of the council. Hunold
enters as a singer and exercises his power upon Regina, who jumps from her chair and
kisses him. Hunold is arrested and imprisoned. His trial is to be held the following day.
ACT V. Bridge over the Weser. After a scene in which
Gertrud laments the lost love of Hunold, he is convicted of sorcery and ordered to be
burned at the stake. Gertrud saves him by choosing him for her husband. Hunold swears to
keep the peace and to live for Gertrud alone, but she refuses to believe him and throws
herself into the Weser. Hunold swears vengeance against the town, and while the Citizens
are at church, he lures all the children of the city with his fife and leads them into the
magic mountain, which closes after them.
Romantic opera in three
acts by Albert Lortzing. Text by Adolf L’Arronge.
CAST: Jobst Zadeck, steward—Basso. Regina, his
daughter—Soprano. Reinhard, bailiff—Tenor. Wolfram, forester—Baritone.
Steffen Balder—Tenor, Lise—Soprano, both in Zadeck’s service. Barbara,
Steffen’s mother-Mezzo-soprano. Ruprecht, a vagabond—Basso. Place, a valley in
Silesia. Time, end of August, 1813.
ACT I. Before the castle. The field hands, who have
not been paid for some time, refuse to work any longer; Steffen tries in vain to
pacify them. Reinhard, the bailiff, arrives and reminds them of the kindness of their
master. (Aria: “Think of your master.”) He succeeds in persuading them to return
to work. Regina, who has heard all, thanks him and complains that Wolfram, the forester,
pursues her with his love. Reinhard longs to protect her, but he is poor, and fears that
her parents will think him presumptuous in asking for her as his bride. He determines,
however, to try his fate, and if unsuccessful to go to the war. (Duet: “My loving
heart beats.”) Zadeck brings news of a victory of the Prussians; he is
satisfied with Reinhard’s ability and industry and blesses the lovers. (Quintet:
“O day of joy.”) Wolfram, overhearing this, complains that he who once saved
Zadeck’s life has received no reward. He swears he will be avenged and compel Regina
to be his. (Aria: “Brought up in poverty.”) The countrymen have received their
wages, and arrange a dance, when Steffen reports a number of suspicious characters in the
wood. The marauders appear and demand money. Wolfram exercises his authority over them,
and tells Zadeck he will again save him if he will bestow on him the hand of his daughter.
(Ensemble: “Despair and fright.”) When Zadeck refuses, the marauders set fire to
the castle. Reinhard is wounded, and Wolfram carries off Regina.
ACT II. A peasant’s hut, separated into two
parts by a wall. Barbara sings (“At early morn”); Wolfram enters and
orders Barbara to attend upon Regina. He refuses to listen to her prayers (Aria:
“Brought up by a loving mother”), and after threatening her with violence,
unless she will give up Reinhard, he departs. The marauders have now become intoxicated
and retire to the house. (Chorus: “The devil can endure this no longer.”)
Steffen fills their glasses anew (Song: “What is the best in this world”), and
when they have rushed out in search of new excitement leaves the house with the women.
ACT III. In the open country. A company of volunteers
approach. (Chorus: “Sound, songs of joy.”) Zadeck is seeking his daughter and
Reinhard asks the soldiers to assist him in punishing the robbers. Steffen rushes in and
reports that Regina has again been taken from him by Wolfram and carried to a lonely
castle. They follow him in haste.
Change of scene: The ruins of a castle. Wolfram curses the
marauders for allowing Steffen to escape. Ruprecht reports that Reinhard and a band of
armed men are approaching. Regina is joyful, but Wolfram informs her that he has placed
powder in the castle, which he would explode to prevent her from falling into the hands of
her friends. The fight draws near, Regina is alone. (Aria: “The deciding moment
approaches.”) Thinking the robbers have been victorious, she seizes a torch to set
fire to the powder, when she thinks she hears Reinhard’s voice. Wolfram returns
defeated, and hurries to the turret. Regina seizes his gun and shoots him, and hearing the
noise, soldiers come from all directions. They find in the turret the silver which had
been taken from the castle, and deliver it to Zadeck. The Silesian army passes returning
from war. (Closing chorus: “Hail to our chief!”)
Opera in five acts by
Wagner. Text from Bulwer’s novel by the composer.
CAST: Cola Rienzi, papal notary—Tenor. Irene, his
sister—Soprano. Steffano Colonna—Basso. Adriano, his son—Mezzo-soprano.
Paolo Orsini—Basso. Raimondo, papal legate—Basso. Baroncello—Tenor.
Cecco—Basso. A messenger—Soprano. Place, Rome. Time, the fourteenth century.
First production, Dresden, 1842.
ACT I. A street with house of Rienzi. Rienzi, a papal
notary, rescues his sister Irene from the Orsini, and confides her to the protection of
Adriano Colonna, who loves her. Rienzi resolves to give peace to Rome and refuses to
accept the crown, but is willing to lead the people in their revolt against the nobles.
ACT II. A chamber in the Capitol. Rienzi, who is now
in full power, proclaims peace, receives foreign ambassadors and entertains his guests
royally. The defeated nobles come to kneel in submission to him. Adriano succeeds in
circumventing a conspiracy of the nobles, but Rienzi is only saved from the dagger of
Orsini by a shirt of mail. Rienzi condemns his enemy to death, but later pardons
him at the request of Adriano and Irene on condition that the nobles will take an oath of
fealty.
ACT III. The nobles have fled to raise a new revolt against Rienzi, thus breaking their
oath, but he conquers them in a bloody battle, in which Colonna, Adriano’s father,
loses his life. This event estranges Adriano from Rienzi, and the former also accuses him
of having separated him from Irene.
ACT IV. A street. The pope and the emperor of Germany have
combined against Rienzi; Adriano incites the people against him to avenge his
father’s death. Once again Rienzi appears in all his power, but when about to proceed
to high mass at the Lateran Church is confronted by the legate with the ban of the church.
Adriano endeavours to gain the consent of Irene to fly with him, but she refuses.
ACT V. A hall in the Capitol. Adriano wishes to save Irene, but she refuses to follow him,
and determines to cast in her lot with her brother.
Change of scene: Before the capitol. Rienzi kneels in prayer. Against his will Irene
remains with him. The people rush forward with torches, bent on Rienzi’s destruction,
and when he appears on a balcony to speak to them they set tire to the Capitol. To
complete their work they hurl stones at Rienzi and Irene. Adriano bravely enters the
Capitol to save Irene from the flames, but the building collapses and all three perish in
the ruins.
Opera in four acts by Verdi. Text adapted from Victor Hugo’s
"Le roi s’amuse" by Piave.
CAST: The prince of Mantua—Tenor. Rigoletto, his court jester—Baritone. Gilda,
Rigoletto’s daughter—Soprano. Count of Monterone—Basso. Count of
Ceprano—Baritone. The countess, his wife—Soprano. Marullo,
cavalier—Baritone. Borsa, a courtier—Tenor. Sparafucile, a bravo—Basso.
Maddalena, his sister—Mezzo-soprano. Giovanna, Maddalena’s companion—Alto.
An officer—Basso. A page—Mezzo-soprano. Place, Mantua and vicinity. Time, the
sixteenth century. First production, Venice, 1851.
ACT I. A room in the palace. The king has seen an unknown
beauty in the church and desires to possess her. He also pays court to the Countess
Ceprano. (Ballad: "I love beauty.") Rigoletto, the humpbacked jester of the
prince, mocks the husbands of the ladies to whom the prince is paying attention, and
advises the prince to get rid of them by prison or death. The noblemen resolve to take
vengeance on Rigoletto, especially Count Monterone, whose daughter the prince had
dishonoured. Monterone curses the prince and Rigoletto.
ACT II. (Or, if the opera is produced in three acts, change
of scene of the first act.) A street; half of the stage, divided by a wall, is occupied by
the courtyard of Rigoletto’s house. Thinking of the curse, the jester approaches and
is accosted by the bandit Sparafucile, who offers his services. (Duet: "The old man
cursed me.") Rigoletto opens a door in the wall and visits his daughter Gilda, whom
he is concealing from the prince. (Scene: "We are alike." Duet: "My father!
when I see thee.") She does not know her father’s occupation, and as he has
forbidden her to appear in public, she has been nowhere except to church. When Rigoletto
has gone the prince enters, whom Gilda only knows as a student she had met at the church.
(Duet: "My heart calls, I love him.") He calls himself Gualtier Maldé. Later,
the hostile noblemen seeing her at the wall, believe her to be the mistress of the jester.
They abduct her, and when Rigoletto arrives they inform him they have abducted the
Countess Ceprano, and with this idea he assists them in their arrangements. Too late
Rigoletto realises that he has been duped, and shudderingly thinks of the curse.
ACT III (or ACT II). The prince hears that Gilda has been
abducted. (Aria: "I see her tears.") The noblemen inform him that they have
captured Rigoletto’s mistress, and by their description he recognises Gilda. She is
in the palace, and he hastens to see her. The noblemen now make sport of Ri goletto. He
tries to find Gilda by singing, and as he fears she may fall into the hands of the prince,
at last acknowledges that she is his daughter. (Rigoletto: "Yes, my daughter!")
Gilda begs her father to send the people away, and acknowledges to him her shame, of which
the prince was guilty. (Finale: "Speak, we are alone.") The act ends with
Rigoletto’s oath of vengeance against his master.
ACT IV. A street. The half of the stage shows the house of
Sparafucile, with two rooms, one above the other, open to the view of the audience.
Rigoletto enters with Gilda, who still loves the prince. Rigoletto shows her the prince in
the house of the bandit amusing himself with Sparafucile’s sister Maddalena.
(Cansone: "Oh, how deceitful are women’s hearts.") Rigoletto bargains with
the bandit, who is ready to murder his guest, whom he does not know, for money. (Quartet:
"As a dancer you appear.") Rigoletto orders his daughter to put on man’s
attire and go to Verona, whither he will follow later. Gilda goes, but fears an attack
upon the prince. Rigoletto offers the bandit 20 scudi for the death of the prince. As a
thunderstorm is approaching, the prince determines to re-main in the house, and
Sparafucile assigns to him the ground floor as sleeping quarters. Gilda returns disguised
as a man and hears the bandit promise Maddalena, who begs the life of the prince, that if
by midnight another can be found to take the prince’s place he will spare his life.
Gilda resolves to sacrifice herself for the prince and enters the house. When Rigoletto
arrives with the money he receives from the bandit a corpse wrapped in a bag and rejoices
in his triumph. He is about to cast the sack into the river, weighting it with stones,
when he hears the voice of the prince singing as he leaves the house. Bewildered, he opens
the wrappings, and to his despair discovers the corpse of his daughter, who for a moment
revives and declares she is glad to die for her beloved. As she breathes her last,
Rigoletto exclaims in horror, "The old man’s curse is fulfilled."
An operatic representation in three days and an introduction by Richard Wagner.
THE INTRODUCTION: THE RHEINGOLD
CAST: Wotan—Baritone.
Donner—Basso. Fröh—Tenor. Loge—Tenor. Alberich—Baritone.
Mime—Tenor. Fricka—Soprano. Woglinde—Soprano. Wellgunde—Soprano.
Flosshilde—Alto. First production, Munich, 1869.
The three Rhine daughters, Woglinde, Wellgunde and
Flosshilde, are engaged in play at the bottom of the Rhine. As they swim about, to them
comes the dwarf Alberich, a Nibelung (inhabitant of the under world, Nifiheim), who tries
to catch one of them, but is laughed at by the three maidens. The sun shines into the
water and illumines the Rheingold, guarded by the Rhine daughters, and, despite the
warning of their father, they relate to Alberich that "he who can fashion a ring from
the Rheingold and possess it will own the world and all its mighty power." As they do
not consider Alberich dangerous, they confess "that only he who cares nought for the
power of love can obtain the magic power to convert the gold into a ring." But the
daughters of the Rhine have underestimated Alberich’s cunning. Mightier than love,
which he now curses, is his desire for riches and power. He snatches the gold from the
Rhine daughters and, laughing derisively, disappears within the depths. In an open change
of scene 7(in fact, the entire representation should be in one scene), the stage shows a
broad country, with Walhalla, the home of the gods, built by the giants, in the
background. Wotan and Fricka are sleeping. Fricka awakes, sees the completed structure,
and arouses Wotan. The gods realise sorrowfully that the giants will receive as their
reward the goddess Freya, whose apples confer everlasting youth. When the giants Fafner
and Fasolt demand their pay, Donner and Fröh attempt to protect Freya. Loge appears and
tells of the ring which Alberich has fashioned from the Rheingold. Both Wotan and the
giants are seized with a desire to possess it. Fafner and Fasolt take Freya away by force,
but agree to release her if Wotan will produce the gold by nightfall. The departure of
Freya causes the gods to lose their youth, and Wotan determines to obtain the ring.
Alberich having subjugated in Nifiheim all the Nibelungs by the power of the ring, drives
them to slavish tasks in order to accumulate treasure. His brother, the smith Mime, has
fashioned for him a magic helmet, which has the power of making its bearer invisible and
to change him into any other form he desires. When Loge guides Wotan to the regions
beneath the earth, the gods obtain from Alberich the secret of the helmet, and Loge
outwits the suspicious Nibelung by expressing doubt of its power. Alberich changes himself
before the eyes of the gods first into a dragon, then into a toad, which Wotan quickly
crushes with his foot, while Loge grasps the helmet. Alberich is carried by the two gods
to the upper world, and they refuse to release him until he has delivered to the gods the
treasure of the Nibelungs as well as the helmet and ring. When Alberich sees that his ring
is stolen he becomes frantic and curses it and declares it will bring death to him who
wears it. When the giants return, the gold and helmet are piled up for them in a heap, but
Wotan refuses to give up the ring. Erda arises from the depths of the earth to warn Wotan
against the ring and predicts the destruction of the gods. Wotan, awakening from his
trance, throws the ring to the giants, and thereby Freya is released. The curse of
Alberich strikes the next wearer of the ring, the giant Fasolt, at once, for he is killed
in a quarrel with Fafner. Disturbed by the prophecy of Erda, Wotan resolves to descend to
the Wala, to conquer her by the magic of love, and obtain the secret of the
Götterdämmerung. Before doing so he leads the gods to Walhalla upon the rainbow, which
Donner has constructed as a bridge. During their journey the complaining song of the Rhine
maidens is heard from the depths of the river.
CAST: Siegmund—Tenor.
Hunding—Basso. Wotan—Baritone. Sieglinde—Soprano.
Brüinhilde—[Mezzo-S]oprano. Fricka—Mezzo-soprano. The Walleüre. First
production, Munich, 1870.
Wotan has ascertained from Erda that the gods will perish if
Alberich again obtains the ring. The Walküire are the offspring of the love of Wotan and
Erda. They are the shield maidens of the god, who lead the heroes to Walhalla to battle
for the future power of the world. Wotan, in order to secure the ring, which he cannot
take from the giants without breaking his word, descends to earth and founds the family of
Wälsungs, predestined to produce the hero who will accomplish his purpose.
ACT I. Hunding’s hut. In the centre is a mighty ash
tree, which has grown through the roof. A weaponless, exhausted man rushes into the hut
and sinks upon the hearth, which is an asylum even for an arch enemy. Sieglinde,
Hunding’s wife, tends the stranger while her husband is absent, and when he returns
prepares the evening meal. Hunding asks the stranger’s name, and he replies
"Wehwalt"; he is a Wälsung and is pursued because he has slain a man whose wife
he had protected. Hunding recognises him as his enemy, but allows him refuge for the
night. Sieglinde is much interested in the stranger, and when she has given her husband a
sleeping draught she returns to the hearth and shows Siegmund, whose origin she suspects,
a sword sticking in the mighty tree, which a one-eyed wanderer (Wotan) had thrust there at
her marriage feast. She tells him the sword will be the property of the man who succeeds
in withdrawing it from its place. The handle of the sword glows with magic light. The
stranger rushes forward and pulls it forth, and Sieglinde recognises in him the valiant
hero, who can be no other than her brother Siegmund. In suddenly awakened love they rush
into each other’s arms and fly into the forest.
ACT II. A wild forest. Wotan calls his favourite Walküre
Brünhilde and commands her to protect the Wälsung in the coming fight between Hunding
and Siegmund. In the meanwhile Fricka approaches her husband, and as protectress of
marriage, asks for Siegmund’s punishment for having joined in love with his sister
Sieglinde. Wotan’s words and warnings are in vain; he must do as Fricka bids. He
recalls Brünhilde and tells her to take the strength from Siegmund’s sword and give
the victory to Hunding. Brünhilde knows that her orders are against the real wishes of
Wotan and takes the part of Siegmund, but Wotan himself interferes, protecting Hunding,
and the sword is split in two parts, broken on the projecting spear of the god. Siegmund
is slain by Hunding, but Sieglinde, who has borne a son to her lover, is saved by
Brünhilde, and the latter is pursued by the wrath of Wotan after he has in turn killed
Hunding.
ACT III. The rock of the Walküre, Where they greet each
other tumultuously. Brünhilde brings Sieglinde and claims protection from the sisters.
But nothing can save her from the anger of Wotan. After she has predicted the birth of a
son to Sieglinde and sent her to the forest, where she will be secure from her
father’s wrath, she quietly awaits the god. He deprives her of her godhead and causes
her to fall into a magic sleep. It is decreed by Wotan that she shall belong to him who
shall awaken her with a kiss. Moved by the pleading of his favourite child, and
remembering that she had only fulfilled his secret wish, Wotan causes flames to surround
the peak of the mountain, so that only a fearless knight can penetrate them and awaken her
to life.
CAST: Siegfried—Tenor.
Mime—Tenor. The Wanderer—Baritone. Alberich—Baritone. Fafner—Basso.
Erda—Alto. Brünhilde—[Mezzo-S]oprano. The bird—Soprano.
Sieglinde had given birth to Siegfried in the wood where the
dragon Fafner lay concealed, and at her death had delivered her son and the broken pieces
of the sword to the smith Mime, who found her dying in the forest. Mime is a coward and is
terrified at the enormous strength of his foster son.
ACT I. Mime’s smithy, a cavern in the forest. Mime, who
is a clever smith, tries in vain to join the pieces of the sword, called Notung, for he
hopes Siegfried may slay with the weapon the fierce dragon Fafner, who is guarding the
treasure received from Wotan. Siegfried returns from the forest and frightens the cowardly
Nibelung with a captured bear, whom he allows to escape. The young hero easily breaks a
new sword that Mime has fashioned for him and begins to ask questions about his origin.
Mime refuses to answer, but when Siegfried grasps him angrily by the throat he tells him
of Siegmund and Sieglinde and shows him the broken sword of the Wälsung. Mime tries in
vain to mend it, when Wotan, in the garb of a wanderer, approaches and asks for shelter,
seating himself at the hearth. He wagers with Mime that he can answer three questions
satisfactorily, the stake to be Mime’s head, and then Wotan also requires an answer
to three questions or he himself must pay the forfeit. The smith answers two questions
correctly, but the third, "Who will be able to join the broken sword?" he cannot
solve. Wotan tells him that he who had never known fear would accomplish it and also
obtain the head of Mime. Siegfried returns, goes to work at the forge, joins the broken
parts and produces a magnificent sword. The timorous Mime now sets Siegfried upon Fafner
in order that he may learn fear and lose his power. He brews a sleeping potion to give to
Siegfried when he is exhausted from his combat with Fafner, and intends to slay him and
obtain the treasure.
ACT II. The cavern. Alberich is waiting outside the cavern
to slay the hero who shall overcome Fafner, for he longs to obtain possession of the ring.
Wotan announces to him the approach of Siegfried. Alberich demands the ring from Fafner in
exchange for his life, but is refused. Siegfried appears guarded by Mime and slays the
dragon with Notung. His finger is covered with the dragon’s blood, and when he
accidentally touches his lips with it he is able to understand the language of the birds,
and on the advice of one of them and to the despair of Alberich takes possession of the
magic helmet and the ring. By the magic power of the dragon’s blood Siegfried is
enabled to read the mind of Mime and slays him without compunction. He again hears the
voice of the bird, who sings of the beautiful maiden on the Valkyr’s rock, who can
only be awakened by a fearless hero. Led by the bird, Siegfried proceeds on his way to
Brünhilde.
ACT III. A wild, rocky scene. Wotan calls to Erda to arise
from the earth, and informs her that he does not fear the twilight of the gods, as he
himself wishes it to arrive. He declares he will leave to Siegfried the ring of Alberich,
and he and Brünhilde shall possess the earth. He confronts the approaching Siegfried, who
splinters the spear of Wotan with his sword Notung. The flames which surround Brünhilde
reach Siegfried, but he springs through them without fear.
Change of scene: The rock of Brünhilde. Siegfried awakes
Brünhilde with a kiss. With a magnificent love duet this part of the trilogy ends.
THIRD DAY: THE
TWILIGHT OF THE GODS
(GOTTERDAMMERUNG)
CAST: Siegfried—Tenor.
Gunther—Baritone. Hagen—Basso. Brunhilde—[Mezzo-S]oprano.
Gutrune—Soprano. Waltraute—Mezzo-soprano. Alberich—Baritone.
Woglinde—Soprano. Wellgunde—Soprano. Flosshilde—Alto. The Norns. Chorus of
men and women. First production, Bayreuth, 1876.
Introduction. The Norns seated under the world ash,
Ygdrasil, spinning the thread of fate, foresee the destruction of Valhalla and the
approaching sorrow of the gods. Suddenly the thread breaks, and the three sisters in fear
seek Erda for protection. Wotan has ordered that the world ash shall be felled to make him
a spear in place of that which Siegfried had destroyed. Loge is to set fire to Valhalla
when God and the world have been freed from the curse of the ring and the Rheingold is
again in possession of the Rhine daughters. Wotan is seated in Valhalla awaiting the end.
Siegfried comes from the forest with Brünhilde. She has instructed him in the wisdom of
the gods, but he longs to try his strength among men. He gives her the ring of the
Nibelungs as a love token and she presents him with her Valkyrie steed Grane, that he may
go forth into the earth and perform deeds of valour. Lovingly they bid each other
farewell, each promising fidelity.
ACT I. Hall of the Gibichungs on the Rhine. (With some
modifications, the action of the Nibelungen song follows to the death of Siegfried, while
the preceding action, taken from old northern legends, has been brought by Wagner into
co-relation. Gutrune is Kriemhild and Hagen is here the son of Alberich, who has conquered
Gunther’s mother by force, and in hate produced a son to be the avenger who shall
slay Siegfried and obtain from him the ring.) Hagen, endowed with secret knowledge, tells
Gunther of the beautiful Brünhilde and Gutrune of the youthful Siegfried. The young hero
arrives on the back of Grane in a boat, and having landed, is greeted by Hagen and
hospitably entertained. Hagen brews a potion to produce oblivion, which is given to
Siegfried by Gutrune. After drinking it he has no recollection of Brünhilde and woos
Gutrune. He drinks blood brotherhood with Gunther and joins him in the adventure to win
Brünhilde.
Change of scene: The rock of Brünhilde. Waltraute, a
Valkyrie, has come secretly to Brünhilde to tell her of the unexpressed wish of Wotan to
return the ring to the Rhine maidens, but Brünhilde retains it as Siegfried’s love
token. Siegfried now appears in the guise of Gunther, by the magic of the helmet. He takes
the ring from her hand and leads her away.
ACT II. On the banks of the Rhine before the hall of the
Gibichungs. Night. Alberich demands that Hagen keep the ring from the Rhine maidens. At
the approach of day Siegfried announces the arrival of Gunther and Brünhilde. Now for the
first time in the course of the action the chorus of men and women come upon the scene to
receive the bridal pair. When Brünhilde, in astonishment and grief, sees her beloved
Siegfried united to Gutrune, and the ring upon his finger, she accuses him of having
betrayed Gunther, who has been united to her. Filled with a frenzy of jealousy, she unites
with Hagen to murder Siegfried and also wins over to her side the hesitating Gunther.
ACT III. A forest and valley on the Rhine. Siegfried has
been hunting and arrives at the river, where he meets the complaining Rhine maidens. When
they vainly ask him for the ring, they predict his approaching death. Hagen, who arrives
with Gunther and his followers, at the banquet hands Siegfried a goblet of wine, and after
drinking it his memory returns. He now relates to his companions his deeds, how the voice
of the bird had brought him to Brünhilde and of their mutual love in the forest. When
Hagen calls to him scornfully, "Do you understand also the language of the
raven?" he turns to answer and is stabbed in the back by Hagen’s spear.
Siegfried dies, his last moments filled with thoughts of Brünhilde. His companions lay
him upon a shield and with solemn death music bring him to Gutrune.
Change of scene: Hall of the Gibichungs. Gutrune with cries
of anguish rushes to ‘the body of Siegfried and hears from Gunther that Hagen has
slain her husband and now demands the ring. Gunther refuses to deliver it to him, and when
Hagen attempts to take it by force, the hand of the corpse is raised threateningly.
Siegfried’s body is laid upon the funeral pyre, to which Brünhilde applies the
torch, after having taken the ring from Siegfried’s finger. When the flames arise,
she mounts her horse Grane and ascends the burning pyre. The Rhine rises above the flames,
the Rhine daughters grasp the ring, and when Hagen tries to obtain it, they drag the son
of Alberich down to the depths of the river. At this moment a great light appears in the
distance; it is the conflagration of Walhalla, and denotes the "twilight of the
gods" - the destruction of Walhalla.
Opera in five acts by Meyerbeer. Text by Scribe and Delavigne.
CAST: King of Sicily—Basso. Isabella, Princess of
Sicily—Soprano. Robert, banished Duke of Normandy—Tenor. Bertram, his
friend—Basso. Alberti, a knight—Baritone. Raimbaud, a peasant of
Normandy—Tenor. Alice, a peasant girl from Normandy—Soprano. An armourer, a
master of ceremonies, Hélène, abbess of the spirit nuns, a dancer. Place, Palermo. Time,
the thirteenth century. First production, Paris, 1881.
An offspring of Satan has formed a union with the Duchess of
Normandy, and Robert is their son. The evil traits inherited from his father have caused
his banishment. He wanders through the country and at the time of the action is in Sicily,
where he is wooing the Princess Isabella. He is ignorant of his parentage on his
father’s side, and under the guise of Bertram his diabolical father accompanies him
as a friend, in order to lead him into temptation and gain his soul for hell. Robert loses
his money at play, and Bertram persuades him to rob a church and to take a twig from the
grave of St. Rosalie, by its influence forcing Isabella to marry him. Her love and
prayers, however, prevail and he throws the twig away. He now falls into the hands of the
Sicilian knights, but Bertram frees him and acknowledges that he is his father. His love
for his mother and Isabella gains the victory over the wiles of Bertram, and the latter
returns alone to the infernal regions, while Robert is united to Isabella.
ACT I. Camp near Palermo. Robert, Bertram, Alberti and other
knights are holding a feast. Raimbaud comes from Normandy, disguised as a pilgrim
minstrel. (Ballad: "Once ruled in Normandy.") He narrates the story of the union
of the duchess with a demon. Robert has Raimbaud arrested, but frees him when he hears
that Alice, the Norman’s bride, has come to him with a message. Alice is brought in,
and Robert recognises in her his foster sister; she brings him the last will of his
mother. (Romance: "Go, she said, do not tarry.") Robert is not to read the will
until he has proved his worth. Alice offers to carry a message to Isabella, and prays that
she may be united to Raimbaud. Bertram arrives and induces Robert to gamble. (Sicilienne:
"Now, fortune, smile on me," with the refrain, "Gold is but a
chimera.") Robert loses all, even his weapons and horse.
ACT II. A chamber in the palace. Isabella (scene and
cavatina: "How hateful to me all this splendour"). Alice brings Robert’s
letter and Isabella sends him the money for new weapons and armour, that he may appear for
her in the lists and be victorious. Bertram foils this proceeding by luring Robert away.
ACT III. A wild, rocky scene. Raimbaud awaits Alice, but
meets Bertram, who dazzles him with gold. (Duet: "Oh, what generosity.") In
triumph Bertram descends to hell. Alice, seeking Raimbaud (Scene and romance: "Ere I
left Normandy"), hears the voices of the demons, who call loudly for Robert. She
gazes into the abyss with horror. Bertram arises from hell, and seeing Alice, threatens
her with his vengeance if she reveals what she has seen.. As Robert approaches (Terzett:
"Moments of dread") Alice hurries away in fright and Bertram induces Robert to
purloin a twig from the grave of St. Rosalie.
Change of scene: Convent and graveyard with tombstones of
nuns. Bertram commands the dead nuns to arise from their graves that they may induce
Robert to break off the twig. Robert approaches hesitatingly, the nuns throw off their
grave clothes and appear as beautiful maidens. They dance around him seductively and
persuade him to accomplish the deed.
ACT IV. A hall in the palace. Robert, with the aid of the
magic twig, compels the knights and ladies at the palace to fall asleep. (Cavatina:
"How beautiful:") He makes himself invisible, and entering Isabella’s room,
awakens her. She asks him for mercy. (Cavatina: "Robert, my beloved"; Aria of
mercy.) Touched by her pleading, he throws away the magic wand, and when he is attacked by
the knights, who have recovered from the spell, is saved by Bertram.
ACT V. Entrance to the cathedral of Palermo. It is a
consecrated spot, and for that reason Robert has come thither and has brought with him the
trembling Bertram, who shrinks from entering the place. Bertram endeavoura to gain
Robert’s soul for the underworld, but under the sway of the solemn music in the
cathedral, he abjures Bertram and denounces him as an enemy. Bertram immediately
acknowledges him to be Robert’s father. Robert, strongly affected, is about to follow
him once more when Alice informs him that Isabella is waiting in the cathedral to become
his bride. (Terzett: "What shall I do?") Robert finally agrees to sign the
contract by which he forfeits his soul when Alice hands him his mother’s will. Robert
is still hesitating when the hour of midnight strikes. The time granted to Bertram to win
his soul has expired. As he sinks into the earth the doors of the church open. Robert is
united in marriage to Isabella and Raimbaud to Alice.
Text (adapted from the work of Alexis) and music by Leoncavallo.
German by Droeseher.
CAST: Prince Friedrich—Basso. Burgomaster
Rathenow—Baritone. Elsbeth, his daughter—Soprano. Gertrud, his sister—Alto.
Henning Moller—Tenor. Councillors: Wintz—Baritone. Schum—Basso.
Ryke—Basso. Bergholz—Tenor. Eva, Melchior, Schum’s children—Soprano
and Tenor. Blankenfelde, Burgomaster of Cologne—Basso. Peddler
Makensprung—Basso. Baruch, a Jew—Tenor. Conrad von Knipprode—Baritone.
Barber Felbirt—Basso. The clown—Tenor. Servant of Rathenow. The town crier.
Cavaliers. Councillors. A captain. Citizens. Salome, a Jewish girl. The hangman. Servants.
Doorkeepers. Masqueraders. Soldiers. Place, Berlin, 1442. First production, Berlin, 1904.
ACT I. A square beside the long bridge. A beautiful day in
February. An animated scene in front of the state house, in the street, in the barber shop
of Felbirt and in the inn. The statue of Roland of Berlin stands near the church. The
citizens of Berlin are enraged with the councillors for their injustice. The peddler
Makensprung has been robbed and no effort is being made to discover the robber, and there
is no security in the city for life or limb. The people joyfully accept the offer of the
young weaver Henning, who has been standing near the church, to find and punish the
robbers. The prince, who resides at Spandau, is in the crowd in disguise and witnesses a
masquerade which lampoons the council. He also sees the honest Henning save the
burgomaster Rathenow from danger, although the council owes him 20,000 grosehen, which it
is unwilling to pay. Henning has been brought up with Rathenow’s daughter Elabeth and
loves her. The prince praises Henning and predicts that he will become a knight. Henning
recognises the prince and enables him to escape.
ACT II. A chamber in Rathenow’s house. The burgomaster
becomes bondsman to Henning for the return of the 20,000 groschen, and as the council will
not agree to pay it, offers the Jew Baruch his family j ewels to obtain the sum. Henning
overhears a conversation between Schum and Rathenow, in which they agree that Schum’s
son Melchior shall marry Elsbeth at a festival on the following day. In a pretty scene
Henning is assured by Elsbeth of her love and fidelity.
ACT III The principal hall of the council. Festival. Henning
appears as a wandering minstrel at the masquerade, but Elsbeth recognises him. A quarrel
ensues between the citizens of Cologne and Berlin at the feast. Elsbeth is robbed of the
family jewels. The drunken Schum insults Elsbeth by declaring her to be the mistress of
Henning, and Rathenow and his daughter leave the hail.
ACT IV. Same room as in Act II. Henning brings Elsbeth the
lost jewels and declares his love for her. Although she loves him in return, she does not
wish to marry him, as she is the daughter of a patrician and he is of humble birth. The
burgomaster declares to Henning, "Not until Roland steps from his pedestal shall my
daughter be yours." Henning rushes away in despair and meets the friendly prince, who
with his forces is marching against the city.
Change of scene: Street and square as in Act I. The prince
demands admittance to the city. When Rathenow hesitates, Henning grasps an axe and breaks
down the gates; the prince orders the statue of Roland to be thrown from its pedestal, and
confirms Rathenow as burgomaster. When he is about to reward the valiant Henning he is
brought in a corpse, having been slain in the tumult.
Opera in five acts by Gounod. Text by Barbier and Carré.
CAST: Prince of Verona—Basso. Count of Paris, his
relative—Baritone. Count Capulet—Basso. Juliet, his daughter—Soprano.
Gertrude, her nurse—Alto. Tybalt, Capulet’s nephew—Tenor. Romeo, a
Montague—Tenor. Mercutio—Baritone. Benvolio—Tenor. Stefano, Romeo’s
page—Soprano. Gregorio, Capulet’s servant—Baritone. Friar
Lawrence—Basso. Place, Verona. Time, the fourteenth century. First production, Paris,
1867. A musical prologue, which shows the cast in tableaux, opens the opera.
ACT I. Chamber at the Capulets’. A masquerade. Romeo
and his friends have appeared in the house of their enemy; he sees Juliet and they fall
madly in love without knowing each other’s identity. Tybalt recognises Romeo and the
Capulets attack him, but he is protected by his host.
ACT II. A pavilion in Capulet’s garden. Love scene
between Romeo and Juliet, interrupted by the servants, who are seeking Romeo’s page,
but resumed to the end of the act.
ACT III. Lorenzo’s cell. Secret marriage of the lovers
by Lorenzo, who believes their union will bring about peace between their houses.
Change of scene: A street with Capulet’s house.
Mercutio’s combat with Tybalt. Mercutio’s death. Romeo avenges his friend, kills
Tybalt and is banished by the prince.
ACT IV. Juliet’s chamber. Romeo has come to Juliet to
celebrate his bridal night. When he has gone, Capulet announces to his daughter that she
is to marry the Count of Paris. Juliet receives a potion from Lorenzo which is to give her
the semblance of death.
ACT V. The family vault of the Capulets. Romeo believes
Juliet dead and takes poison at her bier; Juliet awakens, and when he dies in her arms,
stabs herself to the heart.
THE ROSE FROM THE GARDEN OF LOVE
A lyric opera in two acts, a prologue and conclusion by Hans
Pfitzner. Text by James Bruno.
CAST: The star maiden with the child of the sun, gods and
goddesses from the garden of love. Siegnot. The master of arms. The master of song. The
keeper of the gates of winter. Minneleide. Schwarzhilde. Rotelse. The moorman. The
wanderer of the night. Noblemen, moormen, woodnymphs, giants, dwarfs. Place, in and near
the garden of love. First production, Elberfield, 1901.
The action begins with an allegory, the scene of which is
the garden of love. There children are decking themselves with flowers for a festival. The
master of arms and the master of Song arrive. They arrange a procession, in which the
keeper of the winter gate takes his place as leader. The procession advances to the temple
of the maidens of the stars, to whom the keeper delivers his sword. She presents it to the
nobleman Siegnot, who joyfully proceeds to the gates of spring. With the opening of the
gates bloom and growth appear; all nature awakens.
ACT I. Bearing the rose of the maiden of the star, Siegnot
keeps watch at the gate of the garden of love. Before him lies an ancient forest, within
whose depths live the clumsy moorman and the summer nymph Minneleide. The nymph’s
beauty enchants Siegnot. He desires to lead her to the garden of love and delivers to her
his sword and keeper’s crown. But as Minneleide does .not wish to surrender her power
for love, the garden is closed to them. The hateful night wanderer is in power and
captures Minneleide. His dwarfs sorely wound Siegnot, and only through the care of the
moormen is his life saved.
ACT II. With the crown given her by Siegnot, Minneleide has
also received the magic rose. She holds this as her talisman. The wounded Siegnot is
carried by the moor-men to the under world ‘to the cavern of the night wanderer. He
desires to free Minneleide. The prince of hate declares in scorn that when Minneleide of
her own will shall give up her power and forego the beauty of the woods, she and Siegnot
shall be free; otherwise, she shall be subject to the lust of the night wanderer and
Siegnot shall die. For a moment Minneleide hesitates, but Siegnot, in returning strength,
grasps the supporting columns of the cavern, throwing them to the ground and buries
himself and the people of the night in the ruins. Minneleide and her nymphs are saved by
the power of the wondrous rose.
Conclusion: Minneleide brings the corpse of Siegnot to the
gates of the garden of love, where the keeper of the winter gate is again on guard. The
woodnymph voluntarily resigns her power and suffers death. She can now be freed from the
powers of evil. The maiden of the stars approaches, carrying the sun child, and brings
Siegnot and Minneleide back to life and love.
RÜBEZAHL AND THE BAGPIPER OF NEISSE
Drama in four acts by Eberhard König. Music by Hans Sommer.
CAST: Rübezahl. Buko, bailiff of Neisse. Gertrud, his
foster child. Brigitte, maid. The servant of Buko. The guard. Wido, a young painter.
Bernhard Kraft. Kettner, coppersmith. Stäblein, clerk. The sexton. Citizens, people, etc.
Time, the early middle ages. Place, Neisse. First production, Brunswick, 1904.
ACT I. Wido’s studio. Buko, the bailiff, rules
tyrannically over Neisse. The painter Wido is the leader of the citizens who wish to free
the city. He loves Gertrud, the lovely daughter of the bailiff, so his heart and duty are
in conflict. In his distress he calls on the spirit of the mountains. Rubezahi approaches
in the garb of a piper, and after testing him, promises assistance, smilingly reminding
Vido that the affair may turn out differently from mortal expectations. Rübezahl will be
aided by his magic bagpipes, at whose tones men and women alike are compelled to dance.
"Only he who is pure and true can defy the power of the pipes."
ACT II. Square before the state house. The excited people
are joined by Wido and the sturdy mountaineers (Rübezahl’s creatures). The mountain
spirit sits contentedly among them smoking his pipe. He makes fun of Wido and advises him
to let things take their course. Wido attacks Buko’s house, but protects Gertrud. The
mob are beginning to turn against their leader, when Rübezahl plays on his bagpipes and
all dance and follow the piper. Only Gertrud and Wido are unaffected by the music, and
they realise the good intentions of the mountain spirit.
ACT III. At the council chamber Rübezahl cautions Buko to
be careful what he does. He declares Wido to be his son and asks for him the hand of
Gertrud in marriage. Buko is enraged and has Rübezahl put in irons. The spirit laughingly
allows the jailers to lead him away, and Gertrud, who comes to defend Wido, is thrust from
the house. Servants report that Rübezahl has been found dead in prison. Buko plans to
have Wido burnt as a magician.
ACT IV. Graveyard by moonlight. At the grave of the bagpiper
Buko meets Wido. The inconstant citizens have declared for the bailiff and Wido is to be
burnt at the stake. Gertrud pleads in vain for her lover, but Rübezahl once again
intervenes. The conscience-stricken Buko sinks to the ground in terror when Rübezahl
suddenly arises from the grave. The mountain spirit appoints a new bailiff for the town,
the lovers are united and the beneficent Rübezahl returns to his mountain home.
Musical fairy tale in two acts adapted from the tale of Hebbel by
Eugen d’Albert.
CAST: The caliph. The vizier. The cadi. Asaf, a youth.
Hakam, his comrade. Irad, an old man. Rustan, executioner. Soliman, a jeweller. Bedura.
Place, Bagdad. First production, Carlsrüle, 1893.
ACT I. A prominent street in Bagdad. The poor
fisherman’s son, Asaf, enters with his friend Hakam, whom he leaves when he finds him
to be a thief. Asaf has had a dream, in which honour and glory have been predicted for
him. The vizier. approaches and announces that the caliph had promised the crown to him
who will discover and bring back the Princess Bedüra, who has mysteriously disappeared.
When the people have gone, the jeweller Soliman shows young Asaf his treasures, and he,
charmed by a ruby, takes it, and refuses to give it up, even when the cadi and the
executioner have him arrested and order his execution. As he is about to be led away to
the scaffold an old man, Irad, suddenly appears, and taking Asaf by the hand, sinks with
him into the earth, to the astonishment of the people.
ACT II. A subterranean passage. Fantastic decorations. Irad
and Asaf are talking together. The old man informs the youth that the Princess Bedura will
appear to him if he kisses the ruby, which is still in his possession, three times. Irad
disappears, but Asaf does as he is bidden and beholds the Princess Bedura. She tells him
that a magician whose love she had repulsed imprisoned her within the ruby. She returns
the love which Asaf already feels for her and declares that he can save her, but that she
cannot reveal the way, which he must find for himself. Bedura is again imprisoned in the
stone, and Asaf with his ruby finds himself upon the earth near Bagdad. His former friend
Hakam sees him, but when he tries to grasp the ring Asaf violently resists. Their struggle
attracts the attention of the cadi and the executioner, who carry Asaf before the caliph,
who is holding a court of justice.
Change of scene: Garden of the caliph on the Tigris. Asaf is
sentenced to die, but is first ordered to deliver up the ring. He refuses and throws the
ruby into the river. Bedura appears, and embracing her happy father praises Asaf as her
preserver, for the throwing away of the ring had broken the spell. The caliph remembers
his promise, and as Bedura confesses her love for Asaf, he unites them, and the
fisherman’s son, conducted by the sage Irad, ascends the throne as the new caliph.
Drama in one act adapted from Oscar Wilde’s romance. Music
by Richard Strauss.
CAST: Herod—Tenor. Herodias—Mezzo—Soprano.
Salome—Soprano. Yochanaän—Baritone. Narraboth— Tenor. A page of
Herodias—Alto. Five Jews—four Tenors, one Basso. Two Nazarenes—Tenor and
Basso. Two soldiers—Bassi. A Cappadocian—Basso. A slave. Place, terrace of the
palace of Herod. Time, A.D. 30 First production, Dresden, 1905.
Salome lives at the sensual and cruel court of her
stepfather, Herod. She is still a maiden, but imbued with unholy passion, and she longs to
touch the ivory-tinted skin and the glorious hair, and to kiss the red lips of the Prophet
Yochanaän. Herod has thrown the latter into a cistern near the palace, and Salome orders
him to be brought before her. The young Syrian commander, Narraboth, is insanely in love
with Salome, and against the orders of the king, obeys her commands. When he finds she has
discarded him for the prophet, he slays himself before her eyes. Salome scarcely observes
his death, but revels in the thought of kissing the lips of the prophet. When Yoehanaän
repulses the sinful daughter of Babylon and returns to his prison, she becomes half insane
in her passion. She takes advantage of the desires of Herod, who wishes to see her dance,
to extort from him a promise of reward, which he gives without conditions. Scantily clad,
she dances alluringly before him, and then immediately demands the head of the prophet
Yochanaän, the Baptist. Herod fears to slay the prophet of God lest the people be incited
to revolt, and offers his treasures and half his kingdom if Salome will withdraw her
demand. She refuses, saying that she has his binding promise, and once more demands the
head of the Baptist. Herod angrily gives the order for his execution. The executioner
descends into the cistern, and throws out the bloody head. When Salome triumphantly grasps
it and kisses the pallid lips over and over again, Herod is filled with disgust and terror
and orders her to be slain. The infuriated soldiers crush her with their shields.
Opera in three acts by Camille St. Saëns. Text by Ferdinand
Lemaire. German by Richard Pohl.
CAST: Delilah—Mezzo—soprano. Samson—Tenor.
High priest of Dagon—Baritone. Abimelech, satrap of Gaza—Basso. An old
Hebrew—Basso. Messenger of the Philistines—Tenor. Place, Gaza in Palestine.
Time, 1150 B.C. First production, Weimar, 1877.
ACT I. The city of Gaza. The Israelites pray for relief from
the oppression of the Philistines. (Chorus: "God of Israel.") Samson tries to
comfort them by predicting an early victory over their enemies. Abimelech, satrap of Gaza,
mocks them and tells them their God is weak and cannot save them. Samson, filled with the
hope of victory, sings a song of triumph (Aria: "You know not the God of our
fathers"), which uplifts the Hebrews and causes Abimelech to cower in fear. The
satrap attempts to repress the revolt of the Israelites with violence, but is slain by
Samson) whom Abimelech’s attendants fear to arrest. Samson hastens away to complete
his victory, and a messenger reports to the high priest that the Israelites are everywhere
in full rebellion. (Aria of the high priest: "Curses on him.") The Philistines
fly, the victorious Israelites intone a hymn of praise. (Chorus of old men: "Praise
the Lord.") Delilah, the woman of Sorak, and her maids greet the victor (Chorus:
"In spring’s full bloom"), and Samson tries in vain to withstand her
charms. (Terzet: "Greetings to thee.") A dance of the women and Delilah’s
song, "The sun smiled," completes the downfall of the hero, who can resist no
longer.
ACT II. House of Delilah in the valley of Sorak. Delilah,
richly attired, awaits Samson. (Aria: "Samson! this night will bring him.") The
high priest commands her to deliver the hero to the Philistines; she herself has sworn to
be avenged upon him, as he had deserted her once be-fore, and her love is now only
hypocrisy. (Duet: "I will cool my hate.") Samson appears, his heart filled with
doubts and remorse, and even her bewitching song (Delilah: "See, my heart opens at
thy voice") cannot tear from him the secret of his strength. But he succumbs at last
to Delilah’s anger and scorn, and, telling her his strength is in his hair, follows
her to her chamber. Delilah, lulling him to sleep, cuts off his hair, which causes his
strength to depart. She calls in the Philistines, who are waiting without, and Samson is
overpowered and blinded.
ACT III. Prison in Gaza. The blind Samson is in prison, weak
and filled with remorse. ("Oh see my pain, Lord!") The reproaches of his
countrymen penetrate his cell and increase his agony. He is dragged out by the Philistines
to be shown as a captive in their triumphal procession.
Change of scene: The interior of the temple of Dagon.
(Chorus: "The sun arises"; ballet.) Samson, led in by a boy, is ordered by the
high priest to sing in praise of Delilah. He is filled with the memory of bygone days.
("I offer you my hand in greeting.") He prays to the Lord to give him his
strength and vision once more; the Philistines overwhelm him with malice and mockery. The
festival of victory begins (Duet and chorus: "Dagon, to thee, thanks!"); the
tumult increases and one libation after the other is poured in honour of the god. Samson
prays to the Lord once more, and, grasping with all his former strength the two marble
pillars of the temple, bends them, and with his enemies finds death in the ruins.
Opera in four acts by Weber. The original text, "The Wood
Maiden," by Hiemer, adapted by Pasqué, and music added by Langer.
CAST: The legend-Speaking part. The Count of the
Rhine-Baritone. Count Gerold, his son-Tenor. Silvana-Soprano. Ratto, the charcoal
burner-Basso. Dryada, wood nymph-Alto. Guntram, vassal of the count-Baritone. The abbot of
St. Goar. A turnkey. Place, the castles Sternberg and Liebenstein and vicinity. First
production of "The Wood Maidens," Frankfurt A.M. 1810; of "Silvana,"
Hamburg, 1885.
ACT I. On the banks of the Rhine. Legend tells the story.
The count of the Rhine has slain his brother through jealousy, and believes that his
nephew is also dead. The child is alive, however, and has been brought up by the charcoal
burner Ratto, under the protection of the nymph Dryada. The count regrets his act. His son
Gerold is roaming through the forest in which Silvana is living. Legend and his group of
listeners disappear and the action continues in the forest, where Gerold first beholds
Silvana. They love each other, and Gerold leads Silvana to the castle.
ACT II. At Sternberg. The old count is informed of the
approaching marriage of Gerold and Silvana. The latter discovers her protectress, the
nymph, who remains near her as a wandering minstrel.
Change of scene: In the village on the Rhine. Festival. The minstrel enrages the count by
a recital of his deeds, and is protected by Silvana. Gerold’s jealousy is aroused.
Ratto is recognised as Silvnna’s father, and the count orders father, daughter and
singer to be thrown into the dungeon of the castle.
ACT III. The turret. The count endeavours to compel Silvana
to release Gerold, but she refuses. She falls asleep, and the nymph changes the prison
into a fairy wood and shows to Silvana a happy future in her dreams.
ACT IV. A chamber at Sternberg. Gerold in vain defends
Silvana from his father’s wrath. She is about to be led away to death, when Dryada
appears, and reveals the maiden’s identity as the niece of the count. The count,
overcome with gratitude, embraces the lovers, and joyfully sanctions their union.
Musical drama in five acts by Heinrich Zoellner. Text by the
composer, founded upon the fairy drama of Gerhart Hauptmann.
CAST: Heinrich, a bell founder—Baritone. Magda, his
wife—Soprano. Their children—Mezzo-soprani. The parish priest—Tenor. The
schoolmaster—Basso. The barber—Basso-Baritone. Wittichen, an old
woman—Alto. Rautendelein—Soprano. The Nickelman—Basso.
Waldschratt—Tenor buffo. Place, the Hartz Mountains.
ACT I. A meadow in the hills. Rautendelein sits on the edge
of a well, from which the Nickelman emerges. Waldschratt appears and narrates that he has
thrown the bell, which should have been hung in the new chapel, into the abyss. Heinrich
arrives and falls in a faint from exhaustion. Old Wittichen finds him and summons
Rautendelein. Heinrich awakes and falls in love with her. When the priest, schoolmaster
and barber offer to assist the bell founder to find his way, she draws round him a magic
circle, and he is then carried to the valley. Dance of the elves. Rautendelein refuses the
offers of the Nickelman and flies to the homes of men.
ACT II. Old German interior; house of the bell founder. The
barber and schoolmaster carry him in on a litter. When he recovers consciousness he
expresses his discontent with his former life. Magda leaves in order to bring a
wonder-working woman. Rautendelein enters, and by her magic restores Heinrich to life and
hope. He falls in love with her.
ACT III. A deserted glass furnace in the mountains.
Nickelman laments that Rautendelein has bestowed her love upon a human being. The priest
endeavours to persuade Heinrich, who is living with Rautendelein in the mountains, to
return to his wife and children, but he refuses.
ACT IV. The same scene. Heinrich is working in his new
workshop with six dwarfs. He falls asleep, and is troubled by his conscience in his
dreams. Rautendelein consoles him. Chorus of elves. The inhabitants of Heinrich’s
village approach to stone the miscreant, but are put to flight. He thinks he sees his two
children, who are carrying in a pitcher, the tears shed by his dead wife. Overcome with
remorse Heinrich leaves Rautendelein and returns to the home of human beings.
ACT V. Same scene as Act I. Rautendelein has given herself
to the Nickelman. Heinrich, who sees his completed work go up in flames, tries to ascend
the mountain. He loses the way and sinks exhausted at the edge of the well. Once again he
holds Rautendelein in his arms, then dies.
Last updated December 01, 2006