Opera Books
The Opera Goer’s
COMPLETE GUIDE
LEO MELITZ
Copyright 1908, 1911, 1921
Comic opera in four acts by Goetz. Adapted from Shakespeare by
Widmann.
CAST: Baptista, a rich nobleman of Padua—Basso.
Catharine and Bianca, his daughters—Soprani. Hortensio and Lucentio, Bianca’s
suitors—Baritone and Tenor. Petruchio, a nobleman of Verona—Baritone. Place,
Padua and Verona. First production, Mannheim, 1874.
ACT I. Street in Padua and house of Baptista. Catharine, the
daughter of the nobleman Baptista, is known to be of an obstinate, quarrelsome
disposition. She is just giving an evidence of it by driving her servants from the house,
and they take refuge in the street, where they interrupt the serenade ("Sound, sweet
tones") with which Lucentio is saluting his beloved Bianca. After Baptista has calmed
the tumult, Lucentio continues his song and the old popinjay Hortensio also arrives to
serenade Bianca. The two admirers quarrel until they are separated by Baptista, who
declares that the marriage of Bianca will be impossible until Catharine is first wedded.
Notwithstanding, the rivals determine to enter the house in disguise m order to gain
Bianca’s love. They depart to make preparations and meet Petruchio, who arrives from
Verona. They relate to him the facts about Catharine and her temper, which interest him
strongly, and he resolves to make her his wife, saying that she is created for him. (Song:
"She is a wife for such a man.")
ACT II. A room in the house of Baptista. Petruchio is
introduced by Baptista, and is a witness to Catharine’s strife and violence as she
scolds the servants and makes game of her sister and of old Hortensio, who wishes to give
her a music lesson, and whose lute she breaks upon his head. (Catharine: "I’ll
give myself to nobody.") In vain Petruchio’s father warns him, but he persists
in his determination to marry Catharine. He is received by her with mockery and scorn, but
as he remains calm and accepts all her objections as if she agreed with him, and takes her
bitterness as amiability, she is driven to distraction, but feels that he is her master.
Although she refuses her consent, Petruchio informs his father and Hortensio and Lucentio
that Catharine is fully in accord with him, and that the marriage will be celebrated
without delay. (Petruchio: "All is well.")
ACT III. A chamber in Baptista’s house. The
preparations for the marriage feast are discontinued, as the bridegroom does not appear.
Lucentio and Hortensio take advantage of this interlude to woo Bianca. The old man is
obliged to give way, for Bianca surrenders to Lucentio, who has quoted a portion of Virgil
to make a declaration of love. Petruchio appears. He is dressed in ordinary clothes, but
insists that the ceremonies proceed forthwith. He orders preparations for their departure
to be made immediately after the marriage and remains firm, though Catharine first begs
and then commands him to desist from his folly. As she refuses to follow him willingly, he
uses compulsion.
ACT IV. Petruchio’s room. Petruchio arrives with the
half-famished Catharine, has a sumptuous meal set before her, but immediately throws it
out of the window, declaring it not fit to eat. A change in Catharine’s character now
takes place, obstinacy turns to humility, contradiction to love. After a by-play with the
dressmaker, in which Catharine admires her costume, upon which the woman is thrown out of
doors by Petruchio, she declares herself submissive to his will and acknowledges her love.
Petruchio joyfully receives his guests, and to the astonishment of Baptista, Hortensio and
the united Lucentio and Bianca, they find Catharine a most modest and beautiful wife, who
even admonishes her sister to duty and obedience.
TANNHAUSER AND
THE SINGERS’ CONTEST
AT THE WARTBURG
Opera in three acts by Wagner. Text by the composer.
CAST: Herrmann, landgrave of Thuningia—Basso.
Tannhäuser—Tenor. Wolfram von Eschenbach—Baritone. Walter von den
Vogelweide—Tenor. Biterolf—Basso. Heinrich the writer—Tenor. Reimar von
Zweter—Basso. Elizabeth, niece of the landgrave—Sopnano. Venus—Soprano. A
young shepherd—Soprano. Place, Thuringia and the Wartburg. Time, the thirteenth
century.
The poet composer characterises this work not as an opera,
but as "action." First production, Dresden, 1845.
ACT I. The Venusberg (the Hörselberg of "Frau
Holda" in Thüringia, in the vicinity of Eisenach.) Tannhäusen is held there a
willing captive through his love for Venus. The goddess has won the dreaming Tannhäuser
by hen fascinations. His head is pillowed in her lap. (Ballet scene; bacchanalian music.)
Tannhäusen’s desires are satiated, and he longs for freedom, spring and the sound of
church bells. Once again he grasps his harp and pays homage to the goddess in a passionate
song of love, which he ends with an earnest plea to be allowed to depart. When Venus again
tries to charm him he declares: "My salvation rests in Many, the mother of God."
These words break the unholy spell. Venus and hen attendants disappear, and he suddenly
finds himself just below the Wartburg. It is springtime; a young shepherd sits upon a rock
and pipes an ode to spring; pilgrims in procession pass Tannhäuser as he stands
motionless, and stricken with remorse he sobbingly sinks to his knees. Thus he is found by
the landgrave and his companions in the chase, Wolfram, Walter, Biterolf, Reimar and
Heinrich. They joyfully welcome the sorely missed singer, who has fled from them because
he was unsuccessful in the prize singing. He refuses to join them, but when Wolfram
informs him that his song had gained for him the heart of Elizabeth, he follows the
landgrave and the singers to the Wartburg.
ACT II. Hall of the Wartburg. Elizabeth has been living
retired from the world since Tannhäuser’s disappearance. When she hears of his
return she joyfully agrees to be present at a prize contest of song, and enters the hail.
Wolfram leads Tannhäuser to her; he loves her, but dares not tell hen the evil he has
done. The landgrave and Elizabeth receive the guests who assemble for the contest, the
noblemen of the neighbourhood, who appear in rich attire. (March and chorus.) The
landgrave announces the subject of the day to be "Love’s Awakening."
Elizabeth is to grant a wish to the victor whatever it may be. Wolfram begins; he declares
that love is like a pure stream, which should never be troubled. Tannhäuser replies hotly
that he finds the highest love only in the pleasure of the senses. ‘I’he other
singer upholds Wolfram. Tannhäuser replies to each separately, and at last in growing
excitement he answers Wolfram with a love song to Venus, and declares that if the knights
wish to know love as it is they should repair to the Venusbeng. The women, with the
exception of Elizabeth, leave the hail in horror, and the knights draw swords upon
Tannhäuser. Elizabeth protects him, and since he expresses his penitence, the landgrave
allows him to join a band of pilgrims bound for Rome, where he may perhaps obtain
forgiveness from the pope.
ACT III. The valley of the Wartburg. An autumn scene.
Orchestral music describes the pilgrimage of Tannhäuser. Elizabeth, accompanied by
Wolfram, falls on her knees in prayer. She asks the returning pilgrims for news of
Tannhäuser, but in vain. Once again she prays earnestly and returns broken-hearted to the
Wartburg. Wolfram, who loves her with faithful devotion, has a presentiment of her death.
(Wolfram: "Song to the evening star.") He sees before him a tottering pilgrim in
torn garments. It is Tannhäuser, who in despair is seeking the path to the Venusberg. The
pope has not forgiven him, but has cursed him irrevocably; he, therefore, calls for Venus,
who appears and bids him welcome to her cavern. Wolfram points upward to a funeral
procession, which now slowly descends the hill, carrying on a bier the corpse of
Elizabeth. Tannhäuser throws himself upon the body, and dies with the words, "Holy
Elizabeth, pray for me" upon his lips. The younger pilgrims enter and announce that
the staff of Tannhäuser, which the pope had ordered to be erected as a token of his
damnation, had sprouted with young leaves in sign of the forgiveness of God. (In 1875
Wagner made some changes in this opera, and in this form it was first produced at Vienna
in November, 1875.)
Opera in three acts by Marschner. Text founded on Walter
Scott’s romance "Ivanhoe," by Wohlbrück.
CAST: Cedric, a Saxon knight—Basso. Wilfrid of Ivanhoe,
his son—Tenor. Rowena, his ward—Soprano. Beaumanoir, grand master of the
Templars—Basso. Brian de Bois Guilbert, templar—Banitone. Maurice de
Bracy—Tenor. Albert Malvoisin—Baritone. The black knight—Basso. Locksley,
chief of the outlaws—Tenor. Wamba, Cedric’s servant—Tenor. Oswald,
Cedric’s steward. Robert, shield bearer of Bois Guilbert. Elgitha, Rowena’s
maid. Friar Tuck, hermit—Basso. Isaac of York, a Jew. Rebecca, his
daughter—Soprano. Place, county of York in England. Time, 1194. First production,
Leipsic, 1829.
ACT I. A wild country. De Bracy and his companions are
encamped, awaiting the passing of Rowena and her train, upon which they plan an attack.
They fall in with De Bois Guilbert, who desires to obtain possession of the person of-
Rebecca, daughter of Isaac of York. The two bands of conspirators unite. Cedric, the
Saxon, returns from the lists, where Wilfrid, his banished son, has carried off the prize.
Cedric is an adherent of Lord Athelstane, to whom, in his opinion, the crown belongs in
the absence of Richard at the crusades, and intends that Rowena, who is of the blood of
the old Saxon kings, shall be his wife. Wilfrid loves Rowena, and has been banished in
consequence, although she returns his love and hates Athelstane. Cedric is attended by
Wamba, a jester. (Wamba’s aria: "The world is round.") The Jew Isaac and
his daughter Rebecca, bringing with them Wilfrid, who has been wounded in the lists and is
unconscious, join the following of Cedric, after Rebecca has disclosed to Rowena the name
of the wounded man.
Change of scene: The hermits’ hut of- Friar Tuck. An
unknown knight asks for shelter, and is furnished with wine and food. (Tuck’s song:
"The barefoot monk his cell doth leave, ora pro nobis.") Locksley reports that a
band of robbers have carried off Cedric, Athelstane and Rowena to the castle of De Bracy.
Tuck and the knight accompany Locksley to free them.
Change of scene: A chamber in De Bracy’s castle.
Rebecca is in the power of De Bois Guilbert, who avows his love, but is repulsed. The war
cry of the Saxons is heard and De Bois Guilbert rushes out to meet them in battle. Ivanhoe
arises from his couch, but is restrained by Rebecca. (Duet: "Dear maiden.")
Ivanhoe discovers that she is a Jewess, but vows eternal gratitude.
Change of scene: Courtyard of the burning castle. The Saxons
have conquered. Ivanhoe has escaped, but Rebecca is still in the burning building. Brian
de Bois Guilbert carries her out by force.
ACT II. A wood. Cedric returns home. Rebecca’s father
enters with Friar Tuck. The unknown knight sends the Jew to the castle of the Templars to
find his daughter. After a song and chorus, Ivanhoe appears, and greeting the unknown
knight as Richard the Lionhearted, reports the approach of his army. Locksley and the
other outlaws do homage to the king, who pardons them. (Aria of Ivanhoe: "To the king
power and glory.")
Change of scene: Chamber in praeceptorium of the Templars.
Isaac has petitioned the grand master for Rebecca’s release, but she is accused of
being a witch and is condemned by the order. Guilbert’s love for Rebecca has turned
to wild passion. (Scene: "Do you refuse me?" Recitative and aria.)
Change of scene: -The lists of the Templars. De Bois
Guilbert is chosen champion for the Templars and Rebecca is given till the following day
to procure a defender.
ACT III. In Cedric’s castle. King Richard reconciles
Cedric and his son and unites Ivanhoe to Rowena. (Chorus: "Let merry dances";
Ivanhoe’s song: "Who is the knight so highly honoured!" Rowena: "The
fatherland, severed by bate.") Isaac reports the action of the Templars and the young
knight departs to save his benefactress. (Wamba’s song: "How fine to be a
king!")
Change of scene: Rebecca’s prison cell. (Prayer,
Rebecca: "Lord, from deep distress!") De Bois Guilbert wishes to save her, but
she refuses. (Duet: "Woe is me! ‘tis you.")
Change of scene: The lists. Ivanhoe arrives at the last
moment and conquers De Bois Guilbert. The king enters and frees Rebecca. He punishes the
Templars, declaring that he alone is king and that he is and has ever been an enemy of
injustice. (Closing chorus: "Let all rejoice.")
A lyric opera in three acts by Massenet. Text by Gallet.
CAST: Athanaël, a monk of the Cenobite Order—Baritone.
Nicias, a young Sybarite—Tenor. Palemon, an old monk—Basso. Thaïs, a
courtesan—Soprano. Albine, an abbess—Mezzo-soprano. Crobyle and Myrtale,
slaves—Soprani. La Charmeuse, a dancer. Monks, philosophers, nuns, populace. Scene,
Thebes and the Theban desert, Egypt. Period, Greek occupation. First production, Paris,
1894.
ACT I. Cenobite dwellings beside the Nile, at even. The
monks partake of a rude meal under the direction of Palemon. Athanaël, an eloquent young
monk, has gone to Alexandria to denounce the luxury and license of the Greeks. As they
speak of his mission he returns, weary and discouraged, having found Alexandria under the
rule of Thaïs, a beautiful courtesan, over whom every one in the city has gone mad. The
monks separate, each making his own prayer. Athanaël commends his soul to God and falls
asleep. In a dream he sees Thaïs, half clad, posing before the people as Aphrodite. The
crowd applaud, acclaiming her. Athanaël awakens. (Athanaël: "Oh, shame! Oh,
madness! Oh, eternal gloom!") Palemon rebukes him, and he departs once more on his
mission.
Change of scene: Alexandria. House of Nicias. Athanaël
enters, asking to see Nicias. At first refused, he assumes a commanding posture.
(Athanaël, alone: "O dreadful city of doom.") Nicias appears, supported by
women slaves. He hastens to greet Athanaël, who questions him about Thaïs. Somewhat
ruefully the youth declares that her extravagance has ruined him, but for the moment he
possesses her. Athanaël very seriously announces his intention of reclaiming her. Nicias
laughs inordinately at this, but invites Athanaël to a supper at which she will be
present. The slaves array the monk in gorgeous apparel, admiring his fine eyes and
athletic figure. They hide his ragged robes under a magnificent embroidered garment, while
Nicias looks on, smiling. Shouts and cheering are heard in the distance, and Thaïs
enters, surrounded by an adoring crowd. Athanaël stands a little apart, and his unusual
appearance draws the attention of the courtesan. She asks his name and his business.
Nicias j estingly tells her that he has come for her. "Bringing love?" she
demands, mockingly. Athanaël comes forward to cxplain his mission, but she will not
listen. She tries to allure him with her charms. (Thaïs: "Why art thou so hard, so
unyielding?") Athanaël denounces her, and is silenced by the crowd. But when Thaïs
prepares to pose as in his dream, he flees, horror-stricken.
ACT II. In the house of Thaïs. Accompanied by her friends,
she enters, listless, dispirited and fatigued, and retires to her apartment to array
herself anew. (Thaïs: "Alone at last.") She apostrophises her own beauty,
gazing into a mirror with delight. Athanaël stands at the door, regarding her. He prays
silently for hen (Athanaël: "Thaïs, I love thee"), and tells her he loves her
with the love of the spirit. She listens idly, then pours into an incense burner some
grains of incense. Athanaël is troubled, but prays that he may withstand her. She murmurs
a soft incantation to Venus. (Thaïs: "Venus, enchantress, queen.") Athanaël
commands her to rise and follow him. The voice of Nicias is heard far off calling her.
Thaïs makes a gesture of disgust. Athanaël goes out, saying he will wait for her until
day. Thaïs, alone, falls into a reverie.
Change of scene: Before the house of Thaïs. It is still
night, and moonlight floods the square. Athanaël lies asleep on the stone pavement.
Nicias and his friends are feasting. Thaïs slowly appears, bearing a lamp. She tells the
monk she has chosen his way, and will go whither he leads her. He tells her she must leave
all behind, and she asks if she may take the image of Eros, which stands before her door
(Thaïs: "This little ivory image"), given to her by Nicias. Athanaël throws
the image on the pavement, where it falls in fragments. Thaïs enters the house with him.
Nicias and his friends appear, flushed with wine, and call for dances to amuse them. La
Charmeuse appears, and Crobyle and Myrtale sing to the accompaniment of zithers. (Duet:
"She whose light steps turn hither.") Athanaël is seen on the threshold of the
house of Thaïs bearing a smoking torch. The revellers are amazed. Thaïs follows him,
clad in a simple robe of wool. Flames burst from the house behind her. Her slaves follow
her wistfully. Nicias tries to detain her, but she follows Athanaël, amid the execrations
of the crowd, whom Nicias appeases by throwing gold among them.
ACT III. An oasis in the desert. Thaïs and Athanaël
appear, the former overcome with fatigue. Athanaël harshly urges her onward, but seeing
her prostration, relents and, kneeling, kisses her feet, with tears. He points to the
convent, then goes to the well for water. (Thais, alone: "O holy messenger.")
The voices of the nuns are heard. (Chorus: "Pater noster, qui es in coerlis.")
Athanaël confides Thaïs to the care of the holy abbess. She bids him farewell forever,
and he stands silent, watching her out of sight.
Change of scene: The Cenobite dwellings. A storm is coming
up. The sky is black and threatening. Athanaël appears among the monks with sunken eyes
and pale aspect. They greet him with veneration. He confesses to Palemon that since he
reclaimed Thaïs he has been haunted by impure visions of beautiful women. (Athanaël:
"Stay by my side.") Palemon talks with him gently, admonishing him to beware of
the world and its people, then, departing, leaves him to his prayers. A vision of Thaïs,
seductively beautiful, comes before the unhappy monk. She smiles alluringly. Athanaël
calls her name in an agony of passion. The vision disappears, and he beholds the
monastery. Voices chant the passing of Thaïs. This vision also leaves him, and overcome,
he rushes into the desert, where a storm is fiercely raging. (Athanaël: "Thaïs must
die.")
ACT IV. The garden of the monastery. Thaïs lies dying under
a fig tree while the white nuns kneel around her. Albine is looking at her with pity.
(Albine: "God calls her, and a shroud will veil her soon.") The nuns pray
fervently. Athanaël enters the garden, asking for Thaïs. The nuns separate and he
beholds her. He kneels by her side. She opens her eyes, recognising him. She is an
ecstasy, reminding him of her conversion. Athanaël’s thoughts, however, are centred
on earthly passion. Thaïs, rising to her feet, points to the sky, where she sees angels
approaching to carry her away. (Thaïs: "Heaven opens its gates. Angelic forms I
see.") Athanaël, torn with passion, tries to divert her thoughts to human emotions.
(Athanaël: "Come! Mine art thou!") But with eyes uplifted, she calls on God,
and falls dead at his feet. Athanaël, with a loud and bitter cry of anguish, sinks to the
ground beside her.
Village idyll in one act by Batka. Music by Leo Blech.
CAST: Farmer Paul. Martha. Laborer. Peter. Cousin Röschen.
The neighbour. Place, a German village, about 1830. First production, Dresden, 1902.
Röschen loves Peter, whose father, Farmer Paul, withholds
his consent. He himself flirts with the pretty girl, helps her to water the flowers,
snatches a kiss, places a bouquet at her bosom, and rides her in a wheelbarrow. His female
neighbour is gazing on the scene with interest, and because she is envious, having herself
an eye on the farmer, she circulates the news. Paul and Röschen, how-ever, have noticed
her, and plan to anticipate her malice. Paul introduces his wife and Röschen her Peter
into the situation. Paul kisses his wife and Peter kisses Röschen. Paul waters the
flowers with Martha; Röschen does the same with Peter, and the pinning on of the bouquets
and the wheelbarrow-riding go merrily forward. When the neighbour attempts to calumniate
Röschen, the farmer’s wife replies, "That was I," and when the farmer is
accused, Peter says, "That was I." The loud protestations of the woman are of no
avail; every one laughs at her, and the farmer, in high good humour, unites Peter and
Röschen.
Comic opera in three acts, unfinished, by Carl Maria von Weber,
libretto by Hell. New adaptation of the text by Karl von Weber, with addition of the
missing music from motives of C. M. von Weber by Gustav Mahler.
CAST: Don Pantaleone and Don Gomez, noblemen of
Madrid—Baritone. Clarissa, daughter of Pantaleone— Soprano. Laura, her
maid—Mezzo-soprano. Don Gaston Viratos, student—Tenor. Ambrosio,
servant—Baritone. Don Pinto, a country gentleman—Basso. The village
innkeeper—Basso. Inez, his daughter—Soprano. Place, a village inn between Madrid
and Salamanca.
ACT I. The veranda of the village inn. The somewhat uncouth
country gentleman, Pinto de Fonsera, is on the way to Don Pantaleone at Madrid with a
letter of recommendation, through which he expects to take home Clarissa as his bride. On
the journey he meets the student, Gaston Viratos, who, aided by his servant, Ambrosio,
gives him directions as to his behavior. The young student finally resolves to go to
Madrid himself in place of Pinto, and taking from him while asleep the letter of
recommendation, proceeds on his journey.
ACT II. Apartment of Pantaleone. Clarissa loves Don Gomez,
and is therefore distressed when her father an-nounces that she is to marry Pinto, whose
arrival is ex-pected at any moment. Gomez, Clarissa and Laura, the sly maid, conspire to
defeat this plan, but are driven away by Pantaleone.
ACT III. Another room in the house of Pantaleone. Gaston,
with his servant, Ambrosio, arrives and introduces himself as the expected Pinto. Informed
of the situation, he gives the letter to Gomez, who now also appears as Pinto. While his
arrival is being celebrated, the real Pinto appears, causing much merriment by his
clumsiness, but proving to be a coward when attacked by Gaston. Pantaleone is informed of
the true state of affairs, pardons the lovers and gives his consent to their marriage.
Music drama, in three acts and a prologue, adapted from the work
of Guimera by Lothar. Music by Eugen d’Albert.
CAST: Sebastiano, a rich landowner. Tommaso, an old man.
Moruccio, Martha, Pepa, Antonia, Rosalie, Nuri, Pedro, Nando, all in the service of
Sebastiano. A priest. Place, the Pyrenees and the valley of Catalonia. First production,
Prague, 1903.
PROLOGUE: A rocky fastness in the Pyrenees. The shepherd
Pedro, as long as he can remember, has lived among the hills, which be loves. (Pedro:
"Wonderful ‘tis to me.") He seldom sees any one except his fellow-shepherd,
Nando, and women almost not at all, but he dreams that the Mother of God will some day
send him a wife. (Pedro: "Nay, de not laugh, I mean it.") He is satisfied with
his free life (Pedro: "Glorious ‘tis to me") and thankfully repeats the
Paternoster. His employer, the rich Sebastiano, has forced the beautiful Martha to accede
to his desires, installing her as manager of the mill. He now wishes her to marry
(Sebastiano: "Have no fear") and to take Pedro for her husband. He has brought
her to the hills with this end in view, trusting to Pedro’s ignorant simplicity and
obedience for the rest. Pedro, of course, thinks the long-wished-for wife has been sent to
him, and willingly consents to go to the Lowlands and live with Martha in the mill. Martha
is less willing and will not look at Pedro. She departs with Sebastiano, and Pedro tells
Nando of his good fortune. (Pedro: "Joy comes to me!")
ACT I. The interior of the mill. Sebastiano’s servants
know that he is Martha’s lover, but that their master must make a rich marriage to
maintain his position. They discuss the matter, and little Nuri innocently tells them of a
conversation she has overheard between Sebastiano and Martha. (Nuri: "If I walk, and
walk, and walk"; " ‘Twas eventide.") The maidservants scorn Pedro,
who, unaware of the situation, is betrothed to Martha ("This great fool knows less
than nothing"), and joke broadly with Martha over her coming nuptials. She drives
them away, bitterly complaining of her loneliness. (Martha: "No one have I to help me
in my need.") Nuri tries to make her smile, but her innocent questions only hurt, and
Martha sends her away. (Martha: "His, body and soul.") Moruccio tells old
Tommaso the real state of affairs, and they quarrel. The villagers are hilarious over the
deception of Pedro. (Pedro; "I thank you all.") The marriage takes place, and it
is Sebastiano’s intention to return at night and visit Martha as usual. (Sebastiano:
"Martha, you know.") She, wishing to avoid him, does not enter her chamber, nor
does she ac-company Pedro, although she is now convinced that the simple shepherd has
acted in good faith and knows nothing of her relations with Sebastiano. (Pedro: "You
mean that I have earned this without working.") Poor Pedro is puzzled by her strange
conduct and tears, and knows not what to do. (Pedro: "Now what to do I scarcely
know.") A light appears suddenly in Martha’s room - Sebastiano’s signal -
which adds to the mystery.
ACT II. Same scene, at dawn. Nuri is heard singing outside.
(Nuri: "The stars are going to sleep.") She enters, knitting industriously, and
tells Pedro she is making him a fine new jersey. He replies that he is going away. (Pedro:
"Yes, far away from Martha.") Martha’s love is turning toward her husband,
and she becomes jealous of Nuri, driving her from the house. Pedro goes with her, and
Martha, running after them, half distraught, meets old Tommaso. She confides in him,
explaining that her old rascal of a stepfather had sold her to Sebastiano. Tommaso advises
her to tell Pedro all. (Tommaso: "Every one laughs, and Pedro knows not why";
Martha: "Think of your own dear daughter.") She feels that Pedro really loves
her. (Martha: "Let him despise me, then! He loves me.") The old man leaves her
with his blessing. (Tommaso: "In God’s strong arms I leave you.") The
chattering women drive Pedro to return. He shakes one of them in exasperation, then
entering the house, tells Martha he must go back to his solitude in the hills. She asks
him to take her with him, and he answers her with bitterness. (Martha: "Ah! thou art
right. With my beloved.") She laughs hysterically, and Pedro advances with a knife to
kill her. (Martha: "Only a weariness is life to me!" Pedro: "I sought to
kill the woman whom I love!") He suffers remorse, and they determine to fly together.
(Duet: "There shall we go, high up in the hills!") They are intercepted by the
villagers, who enter with Sebastiano to congratulate them. Sebastiano, with effrontery,
thrums on a guitar for Martha to dance as of old. (Sebastiano: "Wind round your form
the seductive mantilla.") He strikes Pedro, who rushes at him furiously, but is
overpowered by the villagers and dragged away.
ACT III. The same scene. The news of Sebastiano’s
conduct has caused the rich heiress to reject him. With increasing passion he desires
Martha, but she loves Pedro. (Sebastiano: "Little sweetheart, you are mad.") He
defies God. ("Heaven has no ears for you.") Martha scornfully refuses to listen
to him. ("No longer am I weak and helpless.") She calls to Pedro. He has escaped
and bounds into the room like some savage animal, drawing a knife. ("Sneak away,
wouldst thou, coward dog!") Seeing Sebastiano is unarmed, he throws down his weapon
and they fight with their bare hands. Sebastiano tries to pick up the knife. Pedro
puts his foot on it, and flies at his enemy’s throat. Silently they wrestle, until
Pedro throws Sebastiano aside as if he were a rat and calls the people in to witness his
work. Scornfully he asks them, as they stand dumb with amazement, why they do not laugh
now. (Pedro: "Well, good friends, why don’t you laugh?") Then, bearing
Martha in his strong young arms, he escapes with her to freedom among the mountains.
(Pedro: "Far up, far up in the mountains! To sunshine and freedom and light.")
Opera in three acts by Lortzing (first produced under the title
"The Two Knapsacks"). Libretto by the composer, from the French vaudeville
"Les deux grenadiers."
CAST: Wall, bailiff—Basso. Caroline, his
daughter—Soprano. William, his son, soldier in the First Battalion of the Guards,
under the name of Wilhelm Stark—Baritone. Peter, his cousin—Tenor Buffo. Busch,
innkeeper—Basso. Süschen, his daughter—Soprano. Gustav, his son, soldier in the
Third Battalion of the Guards—Tenor. Dame Lieblich, housekeeper—Mezzo-soprano.
Schwarzbart, dragoon—Basso Buffo. Barseh, corporal—Baritone. Place, a small
town.
ACT I. Busch, the innkeeper, after a long time of waiting,
expects the arrival of his son from the army. The peasants join in his joy. He invites the
bailiff to be his guest through Dame Lieblich. Wilhelm, the long-forgotten son of Wall,
the bailiff, appears in soldier’s dress and frightens Caroline and Süsehen. As he
opens his knapsack in order to take out a lottery ticket which has won the capital prize
he and his friend Schwarzbart discover that the knapsack and a pocketbook therein are not
his own, but have been changed by mistake. From this the comic action of the opera
develops, as the pocketbook contains the papers of Gustav, the son of Busch. Wilhelm
resolves to take his name and station.
ACT II. Wilhelm has fallen in love with Süschen, who is
supposed to be his sister, and has beaten his cousin Peter for his stupidity when the real
Gustav appears. -The latter attempts to greet his own father and is believed by all to be
insane, especially as by the papers in his knapsack it appears his name is Wilhelm Stark.
As the prison is not serviceable, Gustav is confined in the arbour outside the inn.
ACT III. Bailiff Wall, having read the documents in the
knapsack, now believes that Gustav is his son Wilhelm. Schwarzbart and Wilhelm quickly
take action in the affair, and, aided by Caroline, who loves Gustav, they try to force the
stupid Peter to free the prisoner.
Change of scene: A room in the summer-house. Gustav is alone
in the dark when Caroline comes to assist in his deliverance. She conceals herself on the
arrival of Wilhelm, who has arranged a meeting in the arbour with Süsehen. She is late,
and the two men, being found together, are separated by the invalid corporal Barseh, who
fears a conspiracy for Gustav’s release. In the darkness Barsch takes off Gustav by
mistake, so that Wilhelm remains. Wilhelm strikes a light and in his turn finds Caroline
in the arbour. As Süschen comes near, Caroline blows out the light at the sound of her
footsteps. They are all groping about when Peter, Dame Lieblich, Schwarzbart and Gustav
arrive on the scene, and a merry play begins in the darkness. All are at cross-purposes,
but at last, as the other personages of the drama come upon the scene, lights are brought
in and the whole mystery is made plain to the general satisfaction of all.
Musical drama in three acts by Wagner.
CAST: King Mark—Basso. Isolde—Soprano.
Tristan.— Tenor. Kurwenal—Baritone. Melot—Baritone.
Brangäne—Mezzo-soprano. A steersman—Tenor. A shepherd—Tenor. Place, Act
I., on board a ship. Act II in Cornwall, at the castles of King Mark. Act III., in
Brittany, at Tristan’s castle. First production, Munich, 1865. In the principal parts
of this opera Wagner has followed the romance of Gottfried of Strasbung and in the musical
portion has perhaps reached the highest summits of his art.
ACT I. A vessel. Tristan has been sent to bring Isolde, the
intended bride of King Mark, from Ireland to Cornwall. Isolde and her companion,
Brangäne, are seated amidships of the vessel, which is divided by a curtain for privacy.
The princess has recognised in Tristan a wounded knight whom she has nursed when wounded,
but who has slain her betrothed Marold in combat. She wavers between love and hate, but
finally resolves to kill Tristan, and commands Brangäne to prepare a poisoned potion.
Isolde’s mother, who was versed in sorcery, has given Brangäne several magic drugs,
and by mistake Tristan and Isolde both drink a love potion. They gaze upon each other in
wonder, and under the influence of the draught they finally sink into each other’s
arms in an ecstasy of love.
ACT II. King Mark’s castle. The king is hunting, and
Tristan and Isolde plan to meet in secret. Brangäne warns Isolde against the traitorous
and jealous Melot, but Isolde gives the signal to Tristan to draw nigh. A beautiful love
duet follows, probably the longest ever written for any opera. The faithful Kurwenal comes
to warn Tristan, but it is too late, for he is closely followed by Melot, bringing King
Mark and his attendants. The chivalrous Mark, however, despises Melot for his treachery.
Tristan draws his sword upon the traitor, but is defeated in the combat and sorely
wounded.
ACT III. Tristan’s castle in Brittany. Kurwenal has
brought the wounded Tristan to the castle. He grows rapidly worse and Kurwenal sends for
Isolde to heal him. A shepherd stands on the ramparts to watch for her ship, the coming of
which he announces by a strain on his pipe. When she approaches, Tristan tears the
bandages from his wounds in an effort to go to her, and after recognising her by name,
dies in her arms. Mark has followed Isolde to unite her to Tristan. Kurwenal, who thinks
he has come with evil intent, slays the false Melot and is himself slain. Isolde dies of
grief by the side of Tristan, and in sorrow Mark remains in prayer beside the dead.
Opera in three acts by E. Kaiser. Text founded upon the work of
Scheffel.
CAST: The baron—Basso. Margarete, his
daughter—Soprano. The bailiff of Säckingen—Basso. Gentrud, his
housekeeper—Alto. Junker von Wildenstein—Tenor. Werner Kirchhof—Baritone.
Carlo, an Italian boy—Soprano. Place, Säckingen and Rome. Time, after the Thirty
Years’ War. First production, Olmütz, 1882.
ACT I. Market-place in Säckingen. Festival and appearance
of Werner as the trumpeter. He tells the bailiff that he has been compelled to fly from
Heidelberg, where he was a student, on account of his love for the Countess of the Pfulz,
and had become trumpeter of the regiment. The baron joins in the festivities, is pleased
with Werner and invites him to be his guest.
ACT II. Courtyard of the castle of the baron. Margarete has
been selected by the baron to become the wife of Junker Kuno von Wildenstein, who has
defended the castle against the rebelling citizens and peasants. But Margarete loves
Werner and they are discovered by the baron during a love scene. Werner is ordered to
depart, and when from the distance his trumpet is heard in the song of farewell ("God
guard thee, love, it was too fair a dream") Margarete sinks to the ground in a swoon.
ACT III. A square in Rome. The baron, with Margarete and his
housekeeper, Gentrud, is residing at Rome. Margarete meets Weruer, who is now a celebrated
papal Capellmeister, and both renew their vows of eterual love. Werner resigns his
position, and the Pope, for services rendered, confers on him the title of Marquis of
Composanto, and the baron consents to the union, not, as he says, because Werner has
become a nobleman, but because he has elevated German music and art.
Opera in three acts and a prologue by Neszler. Text founded upon
the work of Scheffel by R. Bunge.
CAST OF THE PROLOGUE: Werner Kirchhofer—Baritone.
Konradin, foot soldier—Basso. Majordomo—Baritone. The rector—Basso. Place,
the courtyard at Heidelberg.
CAST OF THE OPERA: Baron von Schönau—Basso. Maria, his
daughter—Soprano. Count von Wildenstein—Basso. The countess, his divorced wife
and sister-in-law of the baron—Alto. Damian, son of the count by his second
wife—Tenor. Werner—Baritone. Konradin—Basso. Place, in and near Säckingen.
Time, after the Thirty Years’ War. First production, Leipsic, 1884.
PROLOGUE: Courtyard of the castle at Heidelberg. At one side
students, at the other foot soldiers, drinking and singing. When the majordomo of the
princess demands quiet, the tumult increases. Werner climbs upon a table and plays a love
song upon the trumpet of the rider Konradin. The rector of the university chides the
students, whereupon Werner and his comrades join the soldiers. Singing a merry song, they
march away.
ACT I. Square before the Fridolin church at Säckingen.
Konradin has entered the service of the city, and the citizens are engaged in festivities.
Werner, arriving on horseback as a trumpeter, is warmly welcomed by Konradin, and protects
Countess von Wildenstein and her niece from the rebellious peasants.
Change of scene: A room in the castle of the baron. He is
drinking wine and cursing the gout with which he is afflicted. He is informed that he is
about to receive a visit from his brother-in-law, the Count von Wildenstein, and is
delighted with the proposal to marry Maria to his son Damian. Maria and the countess
return, and the baron is enraged at the news of the attack of the peasants. A trumpet is
heard before the castle and Werner is admitted, and to the joy of Maria is appointed
trumpeter.
ACT II. The garden of the castle and terrace. Konradin
visits Werner and is informed by him of his love for Maria. The countess surprises Werner
and Maria making love to each other, and the baron angrily orders her to marry Damian.
Count von Wildenstein arrives with his son and a festival is held in their honour.
(Intermezzo, the grand ballet of the May festival.) Werner is ordered to leave.
(Werner’s song with the refrain: "God guard thee, love, it was too fair a
dream.") Werner departs and once more sends forth his farewell song. Maria, in tears,
sinks to the ground.
ACT III. The courtyard of the castle, its walls protected by
cannon. The peasants beleaguer the castle. Damian proves himself a coward when the
peasants storm the walls, but the courageous Werner places himself at the head of the
besieged and drives the assailants off. He is wounded, and in binding up his wounds they
discover a mark by which he is recognised as the son of the Count and Countess von
Wildenstein, who as a child had been stolen by gipsies. The baron is reconciled with his
divorced wife and Werner receives Maria as his betrothed.
Opera in four acts by Verdi. Text by Cammerano.
CAST: Count di Luna—Baritone. Countess
Leonora—Soprano. Azucena, a gipsy—Alto. Manrico—Tenor. Ferrando,
Luna’s vassal—Basso. Inez, Leonora’s confldante—Soprano. Ruiz, friend
of Manrico—Tenor. An old gipsy—Basso. A messenger—Tenor. Place, Biscay and
Aragon. Time, the fifteenth century. First production, Rome, 1858.
ACT I. The guard room in the castle of Luna. Ferrando, an
old and trusted vassal of the count, orders the guards to keep watch while Di Luna wanders
restlessly beneath the windows of Leonora, whom he loves. Luna’s heart is torn with
jealousy against his fortunate rival, the troubadour Manrico. In order to keep awake,
Ferrando narrates the history of the count to the guard. (Fernando: "Once upon a time
a father of two sons lived happily.") It appears that a gipsy of dreadful aspect had
once exercised her magic arts upon the little brother of the count, making the child weak
and ill, and for this had been burnt alive as a witch. Dying, she had commanded her
daughter Azucena to avenge her, which vengeance had been partially accomplished by the
carrying off of the child. Although no news had been heard of him, the father refused to
believe in his son’s death, and dying, commanded his son, Count di Luna, to seek for
the gipsy.
Change of scene: Garden in the palace of the princess.
Leonora confesses her love for Mannico to her confidante, Inez. ("The stars
shone.") When they have gone, Count Luna hears the voice of his rival. (Manrico,
behind the scenes: "Alone and forsaken am I.") Leonora in the darkness mistakes
the count for her lover, when Manrico himself enters the garden, and she rushes to his
arms. The count recognises Manrico as his enemy, who has been condemned to death, and
endeavours to compel him to fight. When they cross swords Leonora intervenes.
ACT II. Camp of the gipsies. Manrico at the bedside of his
mother, Azucena. (Chorus: "See the clouds in heaven’s vault.") Azucena is
the daughter of the gipsy burnt by the count. She is old, but still nurses her vengeance.
(Aria: "Flames rise to heaven.") The gipsies break up camp while Azucena
confesses to Manrico that after stealing him she had intended to burn the count’s
little son, but had thrown her own child into the flames instead. Manrico realises that he
is not the son of Azucena, but loves her as if she were indeed his mother, as she has
always been faithful and loving to him. A messenger arrives and reports that Leonora, who
believes Manrico dead, is about to take the veil. Manrico rushes away to prevent her from
following out this purpose.
Change of scene: Before the convent. Luna and his attendants
intend to abduct Leonora. (Aria: "Her eyes’ heavenly light.") Leonora and
the nuns appear in pro-cession, but Manrico prevents Luna from carrying out his plans.
ACT III. Luna’s camp. (Chorus: "In the midst of
conflict.") Ferrando brings in the captured Azucena. She is recognised by Luna and
sentenced to be burnt.
Change of scene: Chamber in the castle, which is besieged by
Manrico. Leonora and Manrico live only for each other. (Aria, Manrico: "For you, my
dear one, would I willingly die.") Ruiz, Manrico’s comrade, reports that Azucena
is to be executed. Manrico flies to her aid. (Stretta: "I see the flames to heaven
reach.")
ACT IV. Before the dungeon keep. Leonora attempts to free
Manrico, who has been captured by Luna. (Miserere of the prisoners and aria of Manrico in
the turret: "The death hour is near.") Leonora begs Luna for mercy and offers
herself in place of her lover. She promises to give herself to the count, but intends to
take poison before the marriage.
Change of scene: Manrico and Azucena. Manrico attempts to
soothe Azucena, whose mind wanders. (Duet: "Home to our mountains.") At last the
gipsy slumbers. Leonora comes to Manrico and tells him that he is saved. When he discovers
she cannot accompany him, he refuses to leave his prison. He believes Leonora to be a
traitress until he hears that she has taken poison to remain true to him. As she dies in
agony the count enters and orders Manrico to be led to execution. Azucena arises from her
couch and when Luna, dragging her to a window, shows her the dying Manrico, she cries in
triumph: "He was your brother. Now are you avenged, mother!" and falls dead at
his feet.
Fairy opera in four acts by Lortzing. Text founded on
Fouqué’s tale by the composer.
CAST: Bertalda, daughter of Duke Heinnich—Soprano. Hugo
of Ringstetten—Tenor. Kühleborn, a mighty water spirit—Baritone. Tobias, an old
fisherman—Basso. Martha, his wife—Alto. Undine, her foster
daughter—Soprano. Father Heilman—Basso. Veit, Hugo’s
shield-bearer—Tenor. Hans, cellarer—Basso. Place, Act I., a fishing village; Act
II., Reichstadt; Act III., castle of Ringstetten. First production, Hamburg, 1845.
ACT I. A fisherman’s hut. Bertalda is the supposed
daughter of Duke Heinrich and has sent the Knight Hugo of Ringstetten, one of her suitors,
into the magic wood to seek adventure. Hugo forms the acquaintance of Undine in a fishing
village. She is the reputed daughter of the fisherman Tobias, and Hugo marries her.
(Chorus and quintet, Undine, Tobias, Father Heilman, Hugo and Martha: "What joy, what
rapture." Romance of Hugo: "I rode to the lists." Chorus and duet,
Kühleborn, Veit" "The capital is well known to us." Scene, chorus and song
of Veit: "Many handsome gifts," with refrain: "What may that be? — It
is wine !" Finale.) Kühleborn now appears as Father Heilmann, but is repulsed by
Undine, who recognises him. (Undine is a child of the sea and a daughter of Kühleborn, a
mighty water spirit. He brought Undine, who is soulless, as are all water sprites, to
Tobias and Martha in her childhood, and allowed the fishermaiden Bertalda to be found by
the duke, who brought her up as his own daughter. Kühleborn played this trick in order to
ascertain in what degree men with souls are superior to the soulless water sprites.)
ACT II. Hall in garden with vases of flowers. Hugo and
Undine repair to the court of the duke, and the jealous Bertalda now wishes to become the
wife of the King of Naples. But when they open the casket which was found with her it is
discovered that she is but a foundling. Kühleborn, who is at court in the guise of
ambassador from Naples, introduces the fisherman and his wife as the parents of Bertalda.
Bertalda repudiates them and they attack Kühleborn, who acknowledges that he is the
mighty water spirit. (Duet, Hans and Veit: "What do I see, are you here again ?"
Recitative and aria of Undine: "Know there are beings like you in all elements."
Kühleborn’s aria corn-posed by Gumbert: "Naples’ ambassador approaches the
city." Recitative and quartet, Hugo, Undine, Bertalda, Kühleborn: "Attacked
with fright." Ballet. Scene and romance of Kühleborn: "There lives on the shore
of the sea." Finale: "Miscreant, how dare you.")
ACT III. The sea and castle of Ringstetten. Bertalda has
been compelled to leave the court, but is received by Undine and gains Hugo’s love.
Having ascertained the origin of Undine, he thrusts her from him and celebrates his
marriage with Bertalda. Undine in distress returns to the water spirits. (Chorus:
"Up, drink merrily." Song of Veit: "Father, mother, sisters, brothers have
I none." Finale, Hugo and Bertalda: "I will not leave thee." Then Undine:
"What do I see?") When Undine is alone, the water spirits arise from the sea and
Kühleborn approaches. (Kühleborn: "It is performed, return to your home.")
Undine sinks beneath the sea.
ACT IV. Court of the castle. Veit and Hans lift the stone
that covers the well. Hugo has placed it there to prevent the reappearance of Undine.
Undine appears. (Love duet between Hans and Veit: "In my young days," with the
refrain: "Only in wine is truth.")
Change of scene: Festal chamber in the castle. Marriage
feast of Hugo and Bertalda. When Undine appears, Hugo’s love is rekindled and he
falls at her feet. A flood of water rushes into the castle and the palace of the prince of
the sea arises from the waves. Kühleborn is appeased and greets Hugo, who is to remain
united with Undine. (Finale, Hugo, Bertalda and chorus: "Fill the beakers.") The
clock strikes twelve, the lights go out, and in a blue mist Undine stands before Hugo. He
rushes to her arms to die, the waves of the sea enter, the people flee. Kühleborn
appears. "You have sinned against her pure heart," he declares "Hear, ye
soulless ones, who scorn us, this is the vengeance of the soulless."
Last updated October 30, 2006