Charles the Second, King of Spain.
Don Jose de Santarem, his minister.
Don Cæsar de Bazan.
Marquis de Montefiori.
Lazarillo.
Maritana, a gitana.
Marchioness de Montefiori.
[Nobles, alquazils, soldiers, gypsies, populace, etc.]
The scene is laid in Madrid; time of Charles the Second.
The story of "Maritana" is founded upon the well-known play of "Don Cæsar
de Bazan." At the opening of the first act a band of gypsies, Maritana
among them, are singing to the people. The young King Charles listening
to her is fascinated by her beauty. Don José, for reasons of his own,
extols her charms and arouses her hopes for a brilliant future. At this
point Don Cæsar de Bazan, a reckless, rollicking cavalier, once a friend
of Don José, makes his appearance. He has parted with the last of his
money to gamblers, and while he is relating his misfortunes to Don José,
Lazarillo, a forlorn lad who has just tried to make away with himself,
accosts Don Cæsar and tells him a piteous tale. The Don befriends, and
thereby becomes involved in a duel. This leads to his arrest for duelling
in Holy Week, which is forbidden on pain of death. While Don Cæsar sets
off for the prison, Don José promises Maritana speedy marriage and
presentation at court.
The second act opens in the prison. Don José enters, and professes great
sympathy for Don Cæsar. When asked if he has any last request, he begs to
die like a soldier. Don José agrees that he shall not die an ignominious
death if he will marry. He consents, and is also treated to a banquet,
during which Lazarillo delivers a paper to Don José containing the royal
pardon of Don Cæsar, but Don José conceals it. Maritana, her features
disguised by a veil, is married to the Don, but at the expiration of an
hour he is led out to meet his fate. The soldiers fire at him, but he
escapes, as Lazarillo has managed to abstract the bullets from their
guns. He feigns death, and when the opportunity presents itself hurries
to a ball at the Montefiori palace, and arrives just as the Marquis, who
has had his instructions from Don José, is introducing Maritana as his
niece. Don Cæsar demands his bride, but Don José arranges with the
Marquis to present him with the Marchioness closely veiled. The scheme
does not work, as Don Cæsar hears Maritana's voice and claims her, but
she is quickly spirited away.
The last act finds Maritana in a royal apartment. Don José carries out
his plot by introducing the King to her as her husband. At this juncture
Don Cæsar rushes in. The King in a rage demands to know his errand. He
replies that he is seeking the Countess de Bazan, and with equal rage
demands to know who he (the King) is. When the King in confusion answers
that he is Don Cæsar, the latter promptly replies, "Then I am the King of
Spain." Before further explanations can be made, the King is summoned by
the Queen. Don Cæsar and Maritana consult together, and he decides to
appeal to the Queen. While waiting for her in the palace garden, he
overhears Don José telling her that the King is to meet his mistress that
night. Don Cæsar denounces him as a traitor, and slays him. The King,
when he hears of Don Cæsar's loyalty, consigns Maritana to him, and
appoints him Governor of Valencia.
The opera is full of bright, melodious music. The principal numbers in
the first act are Maritana's song, "It was a Knight of Princely Mien";
the romanza which she sings for Don José, "'Tis the Harp in the Air"; the
duet between Don José and Maritana, "Of Fairy Wand had I the Power"; Don
Cæsar's rollicking drinking-song, "All the World over"; and the
delightful chorus, "Pretty Gitana, tell us what the Fates decree." The
first scene of the second act is a mine of charming songs, including
Lazarillo's, "Alas! those Chimes"; the trio, "Turn on, Old Time, thine
Hourglass"; Don Cæsar's stirring martial air, "Yes, let me like a Soldier
fall"; the sentimental ballad, "In Happy Moments, Day by Day"; and the
quartette and chorus closing the scene, "Health to the Lady, the Lovely
Bride." The next scene contains a pretty chorus in waltz time, "Ah! what
Pleasure," followed by an aria sung by the King, "The Mariner in his
Bark," and the act closes with a very dramatic ensemble, "What Mystery
must now control." The leading numbers of the last act are Maritana's
song, "Scenes that are Brightest," one of the most admired of all English
songs; the love duet between Don Cæsar and Maritana, "This Heart with
Bliss O'erflowing"; and Don Cæsar's song, "There is a Flower that
bloometh," which is in the sentimental ballad style.
Lurline.
[Romantic opera, in three acts; text by Fitzball. First produced at
Covent Garden Theatre, London, February 23, 1860.]