One of the greatest enjoyments of the court of Saxony during the reign
of both Augustus's was the opera, one of the best of those times in
Europe and in some respect perhaps even superior to the most famous
theatres and orchestras.
Excellent as was the selection of singers in Augustus the Strong's
times, the opera was in no way inferior during the reign of his son,
who was also fond of music. While listening to the music he was exempt
from talking, which he disliked, and permitted to plunge into reverie,
in which he spent almost his whole life.
The French singers of the King, at the head of whom was Louis Andre,
numbered about twenty and with them from time to time sang Germans,
such as the tenor Gotzel, and Italians such as Annibal.
The court orchestra under the famous Hasse, Faustina's husband in name,
was composed of fifty members; besides this there was also a Polish
orchestra for chamber music, conducted by Schltze, which consisted of
seventeen members. The King would take it to Warsaw when staying there
a long time.
Operas and French comedies were performed by turns, for which purpose
there were eleven actors and sixteen actresses, and in order to vary
the performance there was a French ballet composed of sixty people
under the direction of M. Faxier.
Enormous sums of money were spent to maintain so large a company. When
they were going to give Hasse's opera 'Egio,' for which Metastasio
wrote the libretto on the triumph of Caesar, conqueror of barbarism,
there were on the stage a hundred horses, the whole Roman senate,
knights, lictors, pretorian guards, heavy and light cavalry, infantry;
and the booty was represented by gold and silver lent from the king's
treasury for use on the stage. The spectators were amazed, the members
of the orchestra were stupefied, and it is a fact that the drummer made
a hole in the drum from sheer astonishment. There were two hundred and
fifty people on the stage; the opera house was lighted with eight
thousand wax candles and the manager was brought specially from Paris;
his name was Servadoni. Some of the performances cost as much as
100,000 thalers.
Faustina Bordoni, still beautiful in figure and fascinating in voice,
made a great impression on Augustus III. The same opera would be
repeated again and again for months and the enthusiastic and dreamy
king never tired of the same songs, which would lull him charmingly in
the land of dreams.
About that time, besides Faustina, who ruled absolutely behind the
stage, appeared the so-called Faustina the second, Teresa Abbuzzi
Todeschi, not younger, but perhaps more beautiful, and equally daring.
It was said that Bruehl was her patron.
That day, after being performed many times, 'Cleophile' was again to be
repeated. The King was already in his box, the theatre was full, the
hour arrived--but the curtain did not rise.
This was most unusual. But la diva Faustina was a privileged person;
they waited patiently.
In the mean while a storm was raging behind the stage. Faustina would
not sing with Teresa--Teresa swore that she would not appear on the
stage with Faustina.
Nobody knew why they were so angry. They both quarrelled madly, but
though their tongues were let loose, they did not reveal the cause of
their wrath.
A third singer, called Piloja, stood aside, listening to the stream of
coarse street language, and smiled as though the spectator of a comedy.
The voices from behind the stage reached the hall, and Sulkowski sent a
page to learn what the trouble was. The page returned, having learned
no more than that it would require Neptune with a three-pronged fork to
pacify the excited waves. Sulkowski whispered to the King and a page
was despatched for Father Guarini who alone could unravel the mystery.
In the meanwhile Faustina and Teresa stood opposite to each other as
though ready for a fight, both were ready dressed for the stage and
neither paid any attention to the fact that their anger ruined the
colours with which their faces were painted.
The duel might have been fought, had not Father Guarini rushed in like
_Deus ex machina_. Seeing him both women became silent. The Padre
looked at them, then took Faustina aside. He seemed to be scolding her
tenderly.
A wave of expectation followed the dispute. The orchestra began to tune
their instruments. Faustina went immediately to the mirror, which was a
good sign, and Guarini began to talk to Teresa, threatening her with a
finger laid on his big nose. Teresa was nearly crying. They whispered
for a while, then the Padre cried:
'_Pace!_ If you are stubborn, _mia cara_, you might _cader dalla
papella nelle brage_. Hasten. The overture should commence. The King is
waiting.'
At that moment Bruehl came behind the stage; he looked at Faustina,
nodded to her, then at Teresa, to whom he made some sign, and while the
orchestra was playing, all took their places.
Father Guarini nodded to Bruehl, and they both went through narrow
passages in which the managers were omnipotent, making storms,
thunderbolts, ruling over heavens and gods, into a small room behind
the stage, in which a dressing table and women's clothing indicated
that it was the dressing room of one of these ladies, who not long ago
quarrelled so passionately, and who were now singing a most harmonious
duet.
Guarini and Bruehl were both tired and silent, they sat beside each
other, looking into each other's faces; the Jesuit began to smile.
'Here,' he said, 'nobody can see or hear us, it is the hiding place of
that viper Teresa, here we are safe. Let us talk.'
He clasped Bruehl's knee.
Bruehl bent to the Jesuit's ear.
'Lichtenstein has the plan; go with him to Vienna.'
'_Va bene_,' said Guarini. 'I prepared the Queen. I am certain that
Sulkowski threatens that he will drive us from the court, that he will
separate the King from the Queen, and that he will give him somebody
else.'
The Jesuit laughed and shrugged his shoulders.
'He thought of it a little too late!'
Bruehl's face became gloomy.
'One must know how to act with the King,' said Guarini. 'It is not his
fault that he inherited his father's passions and that he must fight
against them. The Bible calls it visiting the sins of the fathers upon
the children. The Great Augustus in giving him life gave him also a
passionate disposition. He will not be able to control it, therefore we
must at least guard it from scandal, shield his sins and make them
secret, and not allow them to be suspected. If we required from him
absolute purity of life, there would be outbursts of this passion.
_Cosa fatta capo ha_. What is done is well done. Sulkowski calculated
badly, poor thing; the place is taken, the transaction is closed and
although the King loves him he will not betray his secret to him. We
are the masters of the situation; and I rejoice, for I know that I save
a soul--the sin I take on myself.'
They began to whisper.
'Sulkowski,' said Bruehl, 'is wearied; the King made him a general, and
he cannot become famous by knightly deeds during the peace. He
mentioned that he would like to make a military excursion on the Rhine
or into Hungary. Did the King himself suggest that idea to him? During
that time--'
Guarini muttered that he understood and approved the idea.
'I will tell the King that Sulkowski needs rest, and everything shall
be done.'
The Italian made some quick gestures like a magician's pass before
Bruehl's eyes, rose and continued:
'Go to the King, applaud Faustina in order to please him; do not
prevent Sulkowski from being near the King. I have good reason to
believe that he is going to criticise the singer; the King will be
annoyed, and it will be useful.'
He laughed, made a movement with his head, opened the door, and having
stepped out into the dark labyrinth of passages behind the stage,
disappeared.
Bruehl presently appeared in the King's box.
The opera house was profusely illuminated. The court, as splendid as in
Augustus II's time, was gathered there. The Polish nobles, clad in
their rich national costumes, shining with precious stones, occupied
the first places. The King looked towards them with a friendly smile.
Among the ladies one could see the most brilliant stars of the court;
the richly dressed Countess Moszynski, proud Frau Bruehl, quiet Countess
Sulkowski, the wives of the envoys, the Queen's ladies-in-waiting,
everybody who had access to the court.
The King turned towards the stage every time the beautiful Faustina
came upon it, and listening to her voice, closed his eyes as if he
dreamed of angels. Sometimes he would applaud _la diva_, and then
everybody clapped their hands.
The King very seldom looked towards the beautiful ladies and when he
did glance their way, his eyes immediately returned to Faustina.
His admiration for her was justified by her voice.
Frau Bruehl, luxuriously dressed, was sitting opposite the King, looking
thoughtful. Her great challenging beauty attracted everyone's
attention; the King alone remained unconscious of it, or did not wish
to see her, and had not Augustus III been a simple-minded man, one
might have suspected that he wished to hide something.
Beside Frau Bruehl, sat, modestly dressed, the Countess Sulkowski,
formerly the Queen's lady-in-waiting, nee von Stein Jettigen. Her
beautiful face had not the irresistible charm so attractive in Frau
Bruehl. With the Countess Sulkowski was a young girl. Nobody knew her.
But being with the Countess as well as by her face and dress, one could
guess that she belonged to a distinguished family.
The beautiful women of those times, more than any other, were
remarkable for their ample, round figures. Small and frail girls found
no admirers. Those famous favourites of Augustus II's were almost all
bold riders, fond of hunting, of rifles and horses, looking like silvan
goddesses, not frightened to meet a wild beast.
The unknown young girl, sitting with the Countess Sulkowski, was one of
those beauties and looked like a flower blossoming on a strong stem.
Pink and white, built like Diana, black-eyed and black-haired, she
looked about her boldly and proudly. But in that daring manner there
was yet a childlike innocence of any experience of the world. Her eyes
looked at everything with childlike enthusiasm and boldness.
A black dress with some scarlet ribbons and a few jewels enhanced her
wonderful beauty; all eyes were turned inquisitively towards her, and
their owners asked feverishly:
'Who is she?'
Frau Bruehl also looked at her neighbour.
The Countess Moszynski did not take her eyes off her, and the young men
went in search of the Countess Sulkowski's servants in order to learn
something from them; but they learned nothing more than that the young
lady was the Countess' relation, and that she came from Vienna.
In the meanwhile Sulkowski, having noticed that Bruehl went to his wife,
bent to the King's ear and whispered:
'Your Majesty, works of art are worthy of admiration, but the work of
the Creator also deserves attention. Although the Countess Stein is my
wife's relation, I venture to draw your Majesty's attention to her
extraordinary beauty. Neither Titian nor Paul Veronese ever created
anything like her.'
On hearing this, the King turned, as though frightened, to his
minister, looked at him reproachfully and in surprise, and plunged into
further admiration of Faustina's voice and charms. Sulkowski withdrew.
He knew the King so well that he was certain that, struggle with
himself as he might, he would play the same comedy as he did with
Titian's Venus. He was right in his supposition. The King with great
caution, pretending that he looked elsewhere, directed his eyes to the
beautiful Countess Stein. Then as though alarmed by her loveliness, he
turned his eyes back to the stage. Some time elapsed and the King
looked again at her. Augustus III's head still turned towards the
stage, but his half-closed eyes gazed on that shining star.
As he looked round the King's eyes met Frau Bruehl's, whose white finger
lay against her little nose as if she were threatening him.
At that moment the King began to clap his Hands applauding the singer,
and everybody followed his example. A keen observer would have seen how
Faustina frowned at the King; how Frau Bruehl looked at him impatiently,
how Moszynski eyed her husband, and how Bruehl smiled maliciously.
At last the grand _finale_ resounded with the power of all the voices;
the opera was ended. The ladies rose and with them the beautiful
Countess Stein, the star of that evening; her graceful figure appeared
then in all its splendour. The King dared not look again in her
direction.
The court, after supper, retired before midnight. Bruehl having received
the King's orders went home; Sulkowski remained. Frosch and Horch slept
in the corners. Augustus III donned _a robe de chambre_ and smoked a
pipe in his own apartment, for the smell of tobacco was forbidden in
the rooms which he shared in common with the Queen. All those who
smoked had separate rooms for the purpose; the ladies, feeling an
aversion to the fumes, would not suffer smoking in theirs.
'I don't know' Sulkowski said, 'whether your Majesty deigned to look at
Adelaida Stein, but I venture to insist that she is unusually
beautiful. If our lord the King, Augustus the Strong, of blessed
memory, were alive, I am sure he would admire her extremely.'
The King turned, looked at Sulkowski, but said not a word. Sulkowski
laughed, took the King's hand and kissed it.
'I am your Majesty's old servant,' continued he, 'and I admire my
lord's virtue. Your Majesty lives like a model nobleman, although kings
have some privileges. During the performance to-day I noticed with what
admiration the women looked towards your Majesty. Adelaida Stein told
my wife that she never saw a better-looking man than your Majesty.'
He became silent. The King played with his china pipe and did not look
at him, pretending that he heard not the tempter.
'Faustina sang like a nightingale,' said the King, changing the drift
of the conversation.
'But Faustina looks well only on the stage. If I am not mistaken she is
nearly forty and Italian women grow old quickly; Adelaida Stein is
lovely.'
Augustus III, instead of answering, shrugged his shoulders.
'May it be permitted me to express my admiration? Your Majesty might be
a saint, and yet not a happy man. The court is not a monastery.'
Augustus III listened, looking at the ceiling.
'Would your Majesty permit my wife to present her relation at court?'
asked Sulkowski not abashed at the King's silence.
'Ask the Queen,' impatiently said the King.
'Adelaida Stein is an orphan: her only relation is my wife. We should
like to do something for her future. If she were to win your Majesty's
favour, here in the court, she might find a husband, and I know that
she would like to stay here.'
Again he was silent, waiting for a word in reply. The King's reticence
led him into an error: he thought he must be more explicit. Therefore
he continued:
'If your Majesty should care for Adelaida Stein, nobody would guess
your fancy.'
He looked at the King, whose face grew pale, his hands trembled and his
eyes fell. Sulkowski became frightened and ceased speaking. Augustus
III rose.
'Sulkowski,' he said in a suppressed voice. 'I do not wish to be angry
with you--but you forget yourself.'
He paced up and down, his face flushed; evidently he was struggling
with himself, trying to prevent his anger from bursting forth.
Never had his favourite seen him so angry with him. He was alarmed and
kneeling on one knee put out his hand for the King's hand. Augustus III
hesitated, but at length he gave it to him.
'Not a word more; everything is forgotten. Stein must leave Dresden at
once.'
Thus saying, he turned away.
'To-morrow,' the King said after a moment of silence, 'send hounds and
huntsmen to Hubertsburg. I have not hunted for a long time. Bruehl and
you shall come with me--the Queen also. I wish to hunt for three days.
First day reindeer, the second _par force_, the third woodcock.'
Sulkowski bowed.
'I shall give orders at once.'
'Yes, have everything ready--we start in the morning.'
And having dismissed Sulkowski with a nod of his head, Augustus
directed his steps towards the Queen's apartment. The minister followed
him, and silently asked for the King's hand. Augustus III seemed to
have already forgotten all that had happened, gave it willingly, and
smiled as carelessly and cordially as usual.
The next and the following days they hunted in Hubertsburg and the
forests by which it was surrounded. The King was in a good humour,
which was the case every time the hunt was successful. Bruehl and
Sulkowski accompanied him. The first day the Queen mentioned that she
had heard from Padre Guarini, who loved Sulkowski, that the Count would
like to make a military excursion on the Rhine and into Hungary. It was
attributed to his desire to get military experience in order to be
better able to serve Saxony. The King listened to his consort and shook
his head.
'He is already a good general,' he said, 'I cannot get along without
him.'
The Queen did not insist. The third day they returned to Dresden and
the same day the King ordered arrangements to be made for target
practice in the courtyard of the castle. His usual companions tried
their skill against his, but Bruehl, although he shot well, took great
care not to shoot better than the King.
Having rested for one day, the King went to hunt in Klappendorf. The
following day he hunted reindeer in Grossenhayn, then in Stanchitz, and
passed the night in Moritzburg.
Then he returned to Dresden, for Faustina was going to sing. The ladies
occupied the same places; Augustus III looked at Faustina alone. Only
when he perceived General Bandissin turning towards him, did he look
round.
Countess Sulkowski occupied her box by herself. The King breathed more
freely. He made some remark to the General and when the singing began,
turning his eyes towards the stage, he glanced at Frau Bruehl, who, sad
and thoughtful and more beautiful than ever, was looking with contempt
as if the whole world was a matter of indifference to her.