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THE STANDARD OPERAS
Their Plots, Their Music, and Their Composers
A Handbook
by
GEORGE P. UPTON
Twelfth Edition
Chicago: A. C. McClurg and Company
1897
PREFACE.
The object of the compiler of this Handbook is to present to the
reader a brief but comprehensive sketch of each of the operas
contained in the modern repertory which are likely to be given during
regular seasons. To this end he has consulted the best authorities,
adding to the material thus collected his own observations, and in
each case presented a necessarily brief sketch of the composer, the
story of each opera, the general character of the music, its prominent
scenes and numbers,--the latter in the text most familiar to
opera-goers,--the date of first performances, with a statement of the
original cast wherever it has been possible to obtain it, and such
historical information concerning the opera and its composition as
will be of interest to the reader. The work has been prepared for the
general public rather than for musicians; and with this purpose in
view, technicalities have been avoided as far as possible, the aim
being to give musically uneducated lovers of opera a clear
understanding of the works they are likely to hear, and thus heighten
their enjoyment. In a word, the operas are described rather than
criticised, and the work is presented with as much thoroughness as
seemed possible considering the necessarily brief space allotted to
each. In the preparation of the Handbook, the compiler acknowledges
his indebtedness to Grove's excellent "Dictionary of Music" for dates
and other statistical information; and he has also made free use of
standard musical works in his library for historical events connected
with the performance and composition of the operas. It only remains to
submit this work to opera-goers with the hope that it may add to their
enjoyment and prove a valuable addition to their libraries.--G.P.U.
CHICAGO, August, 1885.
CONTENTS.
AUBER
FRA DIAVOLO
MASANIELLO
THE CROWN DIAMONDS
BALFE
THE BOHEMIAN GIRL
THE ROSE OF CASTILE
BEETHOVEN
FIDELIO
BELLINI
NORMA
LA SONNAMBULA
I PURITANI
BIZET
CARMEN
BOIELDIEU
LA DAME BLANCHE
BOITO
MEPHISTOPHELES
DELIBES
LAKME
DONIZETTI
THE DAUGHTER OF THE REGIMENT
LA FAVORITA
DON PASQUALE
LUCIA DI LAMMERMOOR
L'ELISIR D'AMORE
LUCREZIA BORGIA
FLOTOW
MARTHA
STRADELLA
GLUCK
ORPHEUS
GOETZ
THE TAMING OF THE SHREW
GOLDMARK
THE QUEEN OF SHEBA
MERLIN
GOUNOD
FAUST
ROMEO AND JULIET
MIREILLE
HALEVY
THE JEWESS
HUMPERDINCK
HANSEL AND GRETEL
LEONCAVALLO
I PAGLIACCI
MASCAGNI
CAVALLERIA RUSTICANA
MEYERBEER
THE HUGUENOTS
THE STAR OF THE NORTH
ROBERT THE DEVIL
DINORAH
THE PROPHET
THE AFRICAN
MOZART
THE MARRIAGE OF FIGARO
DON GIOVANNI
THE MAGIC FLUTE
ROSSINI
THE BARBER OF SEVILLE
SEMIRAMIDE
WILLIAM TELL
RUBINSTEIN
NERO
THOMAS
MIGNON
VERDI
ERNANI
RIGOLETTO
LA TRAVIATA
IL TROVATORE
THE MASKED BALL
AIDA
OTHELLO
FALSTAFF
WAGNER
RIENZI
THE FLYING DUTCHMAN
TANNHÄUSER
LOHENGRIN
TRISTAN UND ISOLDE
THE MASTERSINGERS
THE RING OF THE NIBELUNG
DAS RHEINGOLD
DIE WALKÜRE
SIEGFRIED
DIE GÖTTERDÄMMERUNG
PARSIFAL
WALLACE
MARITANA
WEBER
DER FREISCHÜTZ
OBERON
EURYANTHE
APPENDIX
INDEX
AUBER.
Daniel François Esprit Auber, one of the most prominent
representatives of the opera comique, was born at Caen, in Normandy,
Jan. 29, 1784. He first attracted attention in the musical world by
his songs and ballads, written when a mere boy. Young as he was, they
were great favorites in French and English drawing-rooms, and their
success diverted him from his commercial intentions to that profession
in which he was destined to achieve such popularity. His début was
made as an instrumental composer in his twentieth year, but before he
had reached his thirtieth he was engrossed with operatic composition.
His first two works were unsuccessful; but the third, "La Bergère
Châtelaine," proved the stepping-stone to a career of remarkable
popularity, during which he produced a large number of dramatic works,
which not only secured for him the enthusiastic admiration of the
Parisians, with whom he was always a favorite, but also carried his
name and fame throughout the world, and obtained for him marks of high
distinction from royalty, such as the office of Director of the
Conservatoire from Louis Philippe, and that of Imperial Maître de
Chapelle from Louis Napoleon. He died May 13, 1871, amid the fearful
scenes of the Paris Commune. His best-known operas are: "Masaniello"
(1828); "Fra Diavolo" (1830); "The Bronze Horse" (1835); "The Black
Domino" (1837); "The Crown Diamonds" (1841); and "Zerline"
(1851),--the last-named written for the great contralto, Mme. Alboni.
Of these, "Fra Diavolo," "Masaniello," and "The Crown Diamonds" are as
fresh as ever in their French and Italian settings, though their
finest successes in this country have been made in their English
dress.
FRA DIAVOLO.
"Fra Diavolo," opera comique, in three acts, words by Scribe, was
first produced at the Opera Comique, Paris, Jan. 28, 1830; in English,
at Drury Lane, London, Nov. 3, 1831; in Italian, at the Lyceum,
London, July 9, 1857, for which occasion the spoken dialogue was
converted into accompanied recitative. The composer himself also, in
fitting it for the Italian stage, made some changes in the concerted
music and added several morceaux. The original Italian cast was as
follows:--
ZERLINA Mme. BOSIO.
LADY ALLCASH Mlle. MARAI.
FRA DIAVOLO Sig. GARDINI.
LORD ALLCASH Sig. RONCONI.
BEPPO Sig. TAGLIAFICO.
GIACOMO Sig. ZELGER.
The original of the story of Fra Diavolo is to be found in Lesueur's
opera, "La Caverne," afterwards arranged as a spectacular piece and
produced in Paris in 1808 by Cuvellier and Franconi, and again in
Vienna in 1822 as a spectacle-pantomime, under the title of "The
Robber of the Abruzzi." In Scribe's adaptation the bandit, Fra
Diavolo, encounters an English nobleman and his pretty and susceptible
wife, Lord and Lady Allcash, at the inn of Terracina, kept by Matteo,
whose daughter Zerlina is loved by Lorenzo, a young soldier, on the
eve of starting to capture Fra Diavolo when the action of the opera
begins. In the first scene the English couple enter in great alarm,
having narrowly escaped the robbery of all their valuables by Fra
Diavolo's band. The bandit himself, who has followed them on their
journey in the disguise of a marquis, and has been particularly
attentive to the lady, enters the inn just as Lord Allcash has been
reproving his wife for her familiarity with a stranger. A quarrel
ensues in a duet of a very humorous character ("I don't object"). Upon
the entrance of Fra Diavolo, a quintet ("Oh, Rapture unbounded!")
ensues, which is one of the most effective and admirably harmonized
ensembles Auber has ever written. Fra Diavolo learns the trick by
which they saved the most of their valuables, and, enraged at the
failure of his band, lays his own plan to secure them. In an interview
with Zerlina, she, mistaking him for the Marquis, tells him the story
of Fra Diavolo in a romanza ("On Yonder Rock reclining"), which is so
fresh, vigorous, and full of color, that it has become a favorite the
world over. To further his schemes, Fra Diavolo makes love to Lady
Allcash and sings an exquisitely graceful barcarole to her ("The
Gondolier, fond Passion's Slave"), accompanying himself on the
mandolin. Lord Allcash interrupts the song, and the trio, "Bravi,
Bravi," occurs, which leads up to the finale of the act. Fra Diavolo
eludes the carbineers, who have returned, and they resume their search
for him, leaving him unmolested to perfect his plans for the robbery.
The second act introduces Zerlina in her chamber about to retire. She
first lights Lord and Lady Allcash to their room, a running
conversation occurring between them in a trio ("Let us, I pray, good
Wife, to rest"), which by many good critics has been considered as the
best number in the work. Before Zerlina returns to her chamber, Fra
Diavolo and his companions, Beppo and Giacomo, conceal themselves in a
closet, and, somewhat in violation of dramatic consistency, Fra
Diavolo sings the beautiful serenade, "Young Agnes," which had been
agreed upon as a signal to his comrades that the coast was clear.
Zerlina enters, and after a pretty cavatina ("'Tis to-morrow") and a
prayer, charming for its simplicity ("Oh, Holy Virgin"), retires to
rest. The robbers in attempting to cross her room partially arouse
her. One of them rushes to the bed to stab her, but falls back
awe-stricken as she murmurs her prayer and sinks to rest again. The
trio which marks this scene, sung pianissimo, is quaint and simple and
yet very dramatic. The noise of the carbineers returning outside
interrupts the plan of the robbers. They conceal themselves in the
closet again. Zerlina rises and dresses herself. Lord and Lady Allcash
rush in _en deshabille_ to find out the cause of the uproar. Lorenzo
enters to greet Zerlina, when a sudden noise in the closet disturbs
the company. Fra Diavolo, knowing he will be detected, boldly steps
out into the room and declares that he is there to keep an appointment
with Zerlina. Lorenzo challenges him, and he promises to give him
satisfaction in the morning, and coolly effects his escape. One of his
comrades, however, is captured, and to secure his own liberty agrees
to betray his chief.
The third act introduces Fra Diavolo once more among his native
mountains, and there is the real breath and vigor of the mountain air
in his opening song ("Proudly and wide my Standard flies"), and
rollicking freedom in the rondeau which follows it ("Then since Life
glides so fast away"). He exults in his liberty, and gleefully looks
forward to a meeting with Lord and Lady Allcash, which he anticipates
will redound to his personal profit. His exultation is interrupted by
the entrance of the villagers arrayed in festival attire in honor of
the approaching wedding ceremonies, singing a bright pastoral chorus
("Oh, Holy Virgin! bright and fair"). The finale of the act is
occupied with the development of the scheme between Lorenzo, Beppo,
and Giacomo, to ensnare Fra Diavolo and compass his death; and with
the final tragedy, in which Fra Diavolo meets his doom at the hands of
the carbineers, but not before he has declared Zerlina's innocence.
This finale is strong and very dramatic, and yet at the same time
simple, natural, and unstudied. The opera itself is a universal
favorite, not alone for its naturalness and quiet grace, but for its
bright and even boisterous humor, which is sustained by the typical
English tourist, who was for the first time introduced in opera by
Scribe. The text is full of spirit and gayety, and these qualities are
admirably reflected in the sparkling music of Auber. Not one of the
books which the versatile Scribe has supplied for the opera is more
replete with incident or brighter in humor. How well it was adapted
for musical treatment is shown by the fact that "Fra Diavolo" made
Auber's reputation at the Opera Comique.
MASANIELLO.
"Masaniello," or "La Muette de Portici," a lyric opera in five acts,
words by Scribe and Delavigne, was first produced in Paris, Feb. 29,
1828; in English, at London, May 4, 1829; and in Italian, at London,
March 15, 1849. The original cast included Mme. Damoreau-Cinti as
Elvira, Mlle. Noblet as Fenella, and M. Massol as Pietro. In the
Italian version, Sig. Mario, Mme. Dorus-Gras, and Mlle. Leroux, a
famous mime and dancer, took the principal parts; while in its English
dress, Braham created one of the greatest successes on record, and
established it as the favorite opera of Auber among Englishmen.
The scene of the opera is laid near Naples. The first act opens upon
the festivities attending the nuptials of Alphonso, son of the Duke of
Arcos, and the Princess Elvira. After a chorus of rejoicing, the
latter enters and sings a brilliant cavatina ("O, bel Momento")
expressive of her happiness. In the fourth scene the festivities are
interrupted by the appearance of Fenella, the dumb girl, who implores
the princess to save her from Selva, one of the Duke's officers, who
is seeking to return her to prison, from which she has escaped, and
where she has been confined at the orders of some unknown cavalier who
has been persecuting her. The part of Fenella is of course expressed
by pantomime throughout. The remainder of the act is intensely
dramatic. Elvira promises to protect Fenella, and then, after some
spirited choruses by the soldiers, enters the chapel with Alphonso.
During the ceremony Fenella discovers that he is her betrayer. She
attempts to go in, but is prevented by the soldiers. On the return of
the newly wedded pair Fenella meets Elvira and denounces her husband,
and the scene ends with a genuine Italian finale of excitement.
The second act opens on the sea-shore, and shows the fishermen busy
with their nets and boats. Masaniello, brother of Fenella, enters,
brooding upon the wrongs of the people, and is implored by the
fishermen to cheer them with a song. He replies with the barcarole,
"Piu bello sorse il giorno,"--a lovely melody, which has been the
delight of all tenors. His friend Pietro enters and they join in a
duet ("Sara il morir") of a most vigorous and impassioned character,
expressive of Masaniello's grief for his sister and their mutual
resolution to strike a blow for freedom. At the conclusion of the duet
he beholds Fenella about to throw herself into the sea. He calls to
her and she rushes into his arms and describes to him the story of her
wrongs. He vows revenge, and in a magnificent, martial finale, which
must have been inspired by the revolutionary feeling with which the
whole atmosphere was charged at the time Auber wrote (1828), incites
the fishermen and people to rise in revolt against their tyrannical
oppressors.
In the third act, after a passionate aria ("Il pianto rasciuga") by
Elvira, we are introduced to the market-place, crowded with
market-girls and fishermen disposing of their fruits and fish. After a
lively chorus, a fascinating and genuine Neapolitan tarantelle is
danced. The merry scene speedily changes to one of turmoil and
distress. Selva attempts to arrest Fenella, but the fishermen rescue
her and Masaniello gives the signal for the general uprising. Before
the combat begins, all kneel and sing the celebrated prayer, "Nume del
ciel," taken from one of Auber's early masses, and one of his most
inspired efforts.
The fourth act opens in Masaniello's cottage. He deplores the coming
horrors of the day in a grand aria ("Dio! di me disponesti") which is
very dramatic in its quality. Fenella enters, and after describing the
tumult in the city sinks exhausted with fatigue. As she falls asleep
he sings a slumber song ("Scendi, o sonno dal ciel"), a most exquisite
melody, universally known as "L'Air du Sommeil." It is sung by the
best artists mezzo voce throughout, and when treated in this manner
never fails to impress the hearer with its tenderness and beauty. At
its close Pietro enters and once more rouses Masaniello to revenge by
informing him that Alphonso has escaped. After they leave the cottage,
the latter and Elvira enter and implore protection. Fenella is moved
to mercy, and a concerted number follows in which Masaniello promises
safety and is denounced by Pietro for his weakness. In the finale, the
magistrates and citizens enter, bearing the keys of the town and the
royal insignia, and declare Masaniello king in a chorus of a very
inspiriting and brilliant character.
The last act is very powerful, both dramatically and musically. It
opens in the grounds of the Viceroy's palace, and Vesuvius is seen in
the distance, its smoke portending an eruption. Pietro and companions
enter with wine-cups in their hands, as from a banquet, and the former
sings a barcarole ("Ve' come il vento irato"). At its close other
fishermen enter and excitedly announce that troops are moving against
the people, that Vesuvius is about to burst into flame, and that
Masaniello, their leader, has lost his reason. This is confirmed by
the appearance of the hero in disordered attire, singing music through
which are filtered fragments of the fishermen's songs as they rise in
his disturbed brain. This scene, the third in the act, is one not only
of great power but of exquisite grace and tenderness, and requires an
artist of the highest rank for its proper presentation. Fenella rouses
him from his dejection, and he once more turns and plunges into the
fight, only to be killed by his own comrades. On learning of her
brother's death she unites the hands of Alphonso and Elvira, and then
in despair throws herself into the burning lava of Vesuvius.
"Masaniello" made Auber's fame at the Grand Opera, as "Fra Diavolo"
made it at the Opera Comique. It has no points in common with that or
any other of his works. It is serious throughout, and full of power,
impetuosity, and broad dramatic treatment. Even Richard Wagner has
conceded its vigor, bold effects, and original harmonies. Its melodies
are spontaneous, its instrumentation full of color, and its stirring
incidents are always vigorously handled. In comparison with his other
works it seems like an inspiration. It is full of the revolutionary
spirit, and its performance in Brussels in 1830 was the cause of the
riots that drove the Dutch out of Belgium.
THE CROWN DIAMONDS.
"The Crown Diamonds" ("Les Diamans de la Couronne"), opera comique, in
three acts, words by Scribe and St. George, one of the most charming
of Auber's light operas, was first produced in Paris in 1841, but its
reputation has been made on the English stage. It was first performed
in London, at the Princess Theatre, May 2, 1844, with Mme. Anna
Thillon, a charming singer and most fascinating woman, as Catarina;
but its success was made at Drury Lane in 1854 by Louisa Pyne and
Harrison, who took the parts of Catarina and Don Henrique. The other
rôles, Count de Campo Mayor, Don Sebastian, Rebolledo, and Diana, were
filled by Mr. Horncastle, Mr. Reeves, Mr. Borrani, and Miss Pyne,
sister of the preceding, and with this cast the opera ran a hundred
nights.
The story of the opera is laid in Portugal, time, 1777. The opening
scene discloses the ruins of a castle in the mountains, near the
monastery of St. Huberto, where Don Henrique, nephew of the Count de
Campo Mayor, Minister of Police at Coimbra, overtaken by a storm,
seeks shelter. At the time of his misfortune he is on his way to take
part in the approaching coronation, and also to sign a marriage
contract with his cousin Diana, daughter of the Minister of Police. He
solaces himself with a song ("Roll on, Roll on"), during which he
hears the blows of hammers in a distant cavern, and on looking round
discovers Rebolledo, the chief of the coiners, and two of his
comrades, with his trunk in their possession, the contents of which
they proceed to examine. Don Henrique conceals himself while Rebolledo
is singing a rollicking muleteer's song ("O'er Mountain steep, through
Valley roaming"). At its conclusion Rebolledo, about to summon the
other coiners to their secret work, discovers Don Henrique, and
thinking him a spy rushes upon him. He is saved by the sudden entrance
of Catarina, the leader of the gang, who tells the story of her life
in a concerted number that reminds one very strikingly of the bandit
song in "Fra Diavolo." After examining Don Henrique, and, to his
surprise, showing an intimate acquaintance with his projects, she
returns him his property, and allows him to depart on condition that
he shall not speak of what he has seen for a year. He consents; and
then follows another of the concerted numbers in which this opera
abounds, and in which occurs a charming rondo ("The Young Pedrillo"),
accompanied by a weird, clanging chorus. Before he can effect his
departure the gang find that they are surrounded by troops led by Don
Sebastian, a friend of Don Henrique. The coiners, in company with the
latter, however, make their escape in the disguise of monks on their
way to the neighboring monastery, singing a lugubrious chorus ("Unto
the Hermit of the Chapel"), while Catarina and Rebolledo elude the
soldiers by taking a subterranean passage, carrying with them a casket
containing some mysterious jewels.
The second act opens in the Château de Coimbra, and discovers the
Count, Don Henrique, Don Sebastian, and Diana. The first scene reveals
to us that Don Henrique is in love with the mysterious Catarina, and
that Diana is in love with Don Sebastian. In a sportive mood Diana
requests Don Henrique to sing with her, and chooses a nocturne called
"The Brigand," which closes in gay bolero time ("In the Deep Ravine of
the Forest"). As they are singing it, Don Sebastian announces that a
carriage has been overturned and its occupants desire shelter. As the
duet proceeds, Catarina and Rebolledo enter, and a very flurried
quintet ("Oh, Surprise unexpected!") occurs, leading up to an ensemble
full of humor, with a repetition of the brigand song, this time by
Catarina and Diana, and closing with a bravura aria sung by Catarina
("Love! at once I break thy Fetters"). Catarina and Rebolledo accept
the proffered hospitality, but the latter quietly makes his exit when
Diana begins to read an account of a robbery which contains a
description of himself and his companion. Catarina remains, however,
in spite of Don Henrique's warning that she is in the house of the
Minister of Police. In a moment of passion he declares his love for
her and begs her to fly with him. She declines his proffer, but gives
him a ring as a souvenir. A pretty little duet ("If I could but
Courage feel") ensues between Diana and Don Henrique, in which she
gently taunts him with his inattention to her and his sudden interest
in the handsome stranger. At this juncture the Count enters in wild
excitement over the announcement that the crown jewels have been
stolen. Don Henrique's ring is recognized as one of them, and in the
excitement which ensues, Catarina finds herself in danger of
discovery, from which she is rescued by Diana, who promises Don
Henrique she will send her away in the Count's carriage if he will
agree to refuse to sign the marriage contract. He consents, and she
departs upon her errand. At this point in the scene Don Henrique sings
the beautiful ballad, "Oh, whisper what thou feelest!" originally
written for Mr. Harrison. This song leads up to a stirring finale, in
which Don Henrique refuses to sign the contract and Catarina makes her
escape.
The last act opens in the anteroom of the royal palace at Lisbon,
where Diana is waiting for an audience with the Queen. She sings
another interpolated air, originally written for Louisa Pyne ("When
Doubt the tortured Frame is rending"), and at its close the Count, Don
Henrique, and Don Sebastian enter. While they are conversing,
Rebolledo appears, announced as the Count Fuentes, and a quintet
occurs, very slightly constructed, but full of humor. An usher
interrupts it by announcing the Queen will have a private audience
with the Count Fuentes. While awaiting her, the latter, in a
monologue, lets us into the secret that the real crown jewels have
been pledged for the national debt, and that he has been employed to
make duplicates of them to be worn on state occasions until the real
ones can be redeemed. The Queen enters, and expresses her satisfaction
with the work, and promotes him to the position of Minister of Secret
Police. On his departure she sings a charming cavatina ("Love, dwell
with me"), and at its close Count de Campo Mayor enters with the
decision of the Council that she shall wed the Prince of Spain. She
returns answer that she shall make her own choice. The Count seeks to
argue with her, when she threatens to confiscate his estate for
allowing the crown jewels to be stolen, and commands him to arrest his
daughter and nephew for harboring the thieves. Diana suddenly enters,
and an amusing trio ensues, the Queen standing with her back to Diana
lest she may be discovered. The latter fails to recognize her as
Catarina, and implores pardon for assisting in her escape. The
situation is still further complicated by the appearance of Don
Henrique, who has no difficulty in recognizing Catarina. Bewildered at
her presence in the Queen's apartments, he declares to Diana that he
will seize her and fly to some distant land. His rash resolution,
however, is thwarted by his arrest, on the authority of the Queen, for
treason. A martial finale introduces us to the Queen in state. Don
Henrique rushes forward to implore mercy for Catarina. The Queen
reveals herself at last, and announces to her people that she has
chosen Don Henrique, who has loved her for herself, for her husband
and their king. And thus closes one of the most sparkling, melodious,
and humorous of Auber's works. What the concerted numbers lack in
solidity of construction is compensated for by their grace and
sweetness.
BALFE.
Michael William Balfe was born at Dublin, Ireland, May 15, 1808. Of
all the English opera-composers, his career was the most versatile, as
his success, for a time at least, was the most remarkable. At seven
years of age he scored a polacca of his own for a band. In his eighth
year he appeared as a violinist, and in his tenth was composing
ballads. At sixteen he was playing in the Drury Lane orchestra, and
about this time began taking lessons in composition. In 1825, aided by
the generosity of a patron, he went to Italy, where for three years he
studied singing and counterpoint. In his twentieth year he met
Rossini, who offered him an engagement as first barytone at the
Italian Opera in Paris. He made his début with success in 1828, and at
the close of his engagement returned to Italy, where he appeared again
on the stage. About this time (1829-1830) he began writing Italian
operas, and before he left Italy had produced three which met with
considerable success. In 1835 he returned to England; and it was in
this year that his first English opera, the "Siege of Rochelle," was
produced. It was played continuously at Drury Lane for over three
months. In 1836 appeared his "Maid of Artois;" in 1837, "Catharine
Grey" and "Joan of Arc;" and in 1838, "Falstaff." During these years
he was still singing in concerts and opera, and in 1840 appeared as
manager of the Lyceum. His finest works were produced after this
date,--"The Bohemian Girl" in 1843; "The Enchantress" in 1844; "The
Rose of Castile," "La Zingara," and "Satanella" in 1858, and "The
Puritan's Daughter" in 1861. His last opera was "The Knight of the
Leopard," known in Italian as "Il Talismano," which has also been
produced in English as "The Talisman." He married Mlle. Rosen, a
German singer, whom he met in Italy in 1835; and his daughter
Victoire, who subsequently married Sir John Crampton, and afterwards
the Duc de Frias, also appeared as a singer in 1856. Balfe died Oct.
20, 1870, upon his own estate in Hertfordshire. The analysis of his
three operas which are best known--"The Bohemian Girl," "Rose of
Castile," and "Puritan's Daughter"--will contain sufficient reference
to his ability as a composer.
THE BOHEMIAN GIRL.
"The Bohemian Girl," grand opera in three acts, words by Bunn, adapted
from St. George's ballet of "The Gypsy," which appeared at the Paris
Grand Opera in 1839,--itself taken from a romance by Cervantes,--was
first produced in London, Nov. 27, 1843, at Drury Lane, with the
following cast:--
ARLINE Miss ROMER.
THADDEUS Mr. HARRISON.
GYPSY QUEEN Miss BETTS.
DEVILSHOOF Mr. STRETTON.
COUNT ARNHEIM Mr. BORRANI.
FLORESTEIN Mr. DURNSET.
The fame of "The Bohemian Girl" was not confined to England. It was
translated into various European languages, and was one of the few
English operas which secured a favorable hearing even in critical
Germany. In its Italian form it was produced at Drury Lane as "La
Zingara," Feb. 6, 1858, with Mlle. Piccolomini as Arline; and also had
the honor of being selected for the state performance connected with
the marriage of the Princess Royal. The French version, under the name
of "La Bohémienne," for which Balfe added several numbers, besides
enlarging it to five acts, was produced at the Théâtre Lyrique, Paris,
in December, 1869, and gained for him the Cross of the Legion of
Honor.
The scene of the opera is laid in Austria, and the first act
introduces us to the château and grounds of Count Arnheim, Governor of
Presburg, whose retainers are preparing for the chase. After a short
chorus the Count enters with his little daughter Arline and his nephew
Florestein. The Count sings a short solo ("A Soldier's Life"), and as
the choral response by his retainers and hunters dies away and they
leave the scene, Thaddeus, a Polish exile and fugitive, rushes in
excitedly, seeking to escape the Austrian soldiers. His opening number
is a very pathetic song ("'Tis sad to leave your Fatherland"). At the
end of the song a troop of gypsies enter, headed by Devilshoof,
singing a blithe chorus ("In the Gypsy's Life you may read"). He hears
Thaddeus's story and induces him to join them. Before the animated
strains fairly cease, Florestein and some of the hunters dash across
the grounds in quest of Arline, who has been attacked by a stag.
Thaddeus, seizing a rifle, joins them, and rescues the child by
killing the animal. The Count overwhelms him with gratitude, and urges
him to join in the coming festivities. He consents, and at the banquet
produces a commotion by refusing to drink the health of the Emperor.
The soldiers are about to rush upon him, when Devilshoof interferes.
The gypsy is arrested for his temerity, and taken into the castle.
Thaddeus departs and the festivities are resumed, but are speedily
interrupted again by the escape of Devilshoof, who takes Arline with
him. The finale of the act is very stirring, and contains one number,
a prayer ("Thou who in Might supreme"), which is extremely effective.
Twelve years elapse between the first and second acts, and during this
time Count Arnheim has received no tidings of Arline, and has given
her up as lost forever. The act opens in the gypsy camp in the suburbs
of Presburg. Arline is seen asleep in the tent of the Queen, with
Thaddeus watching her. After a quaint little chorus ("Silence,
silence, the Lady Moon") sung by the gypsies, they depart in quest of
plunder, headed by Devilshoof, and soon find their victim in the
person of the foppish and half-drunken Florestein, who is returning
from a revel. He is speedily relieved of his jewelry, among which is a
medallion, which is carried off by Devilshoof. As the gypsies
disappear, Arline wakes and relates her dream to Thaddeus in a joyous
song ("I dreamed I dwelt in Marble Halls"), which has become one of
the world's favorites. At the close of the ballad Thaddeus tells her
the meaning of the scar upon her arm, and reveals himself as her
rescuer, but does not disclose to her the mystery of her birth. The
musical dialogue, with its ensemble, "The Secret of her Birth," will
never lose its charm. Thaddeus declares his love for her just as the
Queen, who is also in love with Thaddeus, enters. Arline also
confesses her love for Thaddeus, and, according to the customs of the
tribe, the Queen unites them, at the same time vowing vengeance
against the pair.
The scene now changes to a street in the city. A great fair is in
progress, and the gypsies, as usual, resort to it. Arline enters at
their head, joyously singing, to the accompaniment of the rattling
castanets, "Come with the Gypsy Bride;" her companions, blithely
tripping along, responding with the chorus, "In the Gypsy's Life you
may read." They disappear down the street and reappear in the public
plaza. Arline, the Queen, Devilshoof, and Thaddeus sing an
unaccompanied quartet ("From the Valleys and Hills"), a number which
for grace and flowing harmony deserves a place in any opera. As they
mingle among the people an altercation occurs between Arline and
Florestein, who has attempted to insult her. The Queen recognizes
Florestein as the owner of the medallion, and for her courage in
resenting the insult maliciously presents Arline with it. Shortly
afterwards he observes the medallion on Arline's neck, and has her
arrested for theft. The next scene opens in the hall of justice. Count
Arnheim enters with a sad countenance, and as he observes Arline's
portrait, gives vent to his sorrow in that well-known melancholy
reverie, "The Heart bowed down," which has become famous the world
over. Arline is brought before him for trial. As it progresses he
observes the scar upon her arm and asks its cause. She tells the story
which Thaddeus had told her, and this solves the mystery. The Count
recognizes his daughter, and the act closes with a beautiful ensemble
("Praised be the Will of Heaven").
The last act opens in the salon of Count Arnheim. Arline is restored
to her old position, but her love for Thaddeus remains. He finds an
opportunity to have a meeting with her, through the cunning of
Devilshoof, who accompanies him. He once more tells his love in that
tender and impassioned song, "When other Lips and other Hearts," and
she promises to be faithful to him. As the sound of approaching steps
is heard, Thaddeus and his companion conceal themselves. A large
company enter, and Arline is presented to them. During the ceremony a
closely veiled woman appears, and when questioned discovers herself as
the Gypsy Queen. She reveals the hiding-place of her companions, and
Thaddeus is dragged forth and ordered to leave the house. Arline
declares her love for him, and her intention to go with him. She
implores her father to relent. Thaddeus avows his noble descent, and
boasts his ancestry and deeds in battle in that stirring martial song,
"When the Fair Land of Poland." The Count finally yields and gives his
daughter to Thaddeus. The Queen, filled with rage and despair, induces
one of the tribe to fire at him as he is embracing Arline; but by a
timely movement of Devilshoof the bullet intended for Thaddeus pierces
the breast of the Queen. As the curtain falls, the old song of the
gypsies is heard again as they disappear in the distance with
Devilshoof at their head.
Many of the operas of Balfe, like other ballad operas, have become
unfashionable; but it is doubtful whether "The Bohemian Girl" will
ever lose its attraction for those who delight in song-melody,
charming orchestration, and sparkling, animated choruses. It leaped
into popularity at a bound, and its pretty melodies are still as fresh
as when they were first sung.
THE ROSE OF CASTILE.
"The Rose of Castile," comic opera in three acts, words by Harris and
Falconer, adapted from Adolphe Adam's "Muletier de Tolède," was first
produced at the Lyceum Theatre, London, Oct. 29, 1857, with the
following cast:--
ELVIRA Miss LOUISA PYNE.
MANUEL W.H. HARRISON.
CARMEN Miss SUSAN PYNE.
DON PEDRO Mr. WEISS.
DON SALLUST Mr. ST. ALBYN.
DON FLORIO Mr. HONEY.
The scene of the opera is laid in Spain. Elvira, the Rose of Castile,
Queen of Leon, has just ascended the throne, and her hand has been
demanded by the King of Castile for his brother, Don Sebastian the
Infant. Having learned that the latter is about to enter her dominions
disguised as a muleteer, the better to satisfy his curiosity about
her, she adopts the same expedient, and sets out to intercept him,
disguised as a peasant girl, taking with her one of her attendants.
The first act opens upon a rural scene in front of a posada, where the
peasants are dancing and singing a lively chorus ("List to the gay
Castanet"). Elvira and Carmen, her attendant, enter upon the scene,
and are asked to join in the dance, but instead, Elvira delights them
with a song, a vocal scherzo ("Yes, I'll obey you"). The innkeeper is
rude to them, but they are protected from his coarseness by Manuel,
the muleteer, who suddenly appears and sings a rollicking song ("I am
a simple Muleteer") to the accompaniment of a tambourine and the
snappings of his whip. A dialogue duet follows, in which she accepts
his protection and escort. She has already recognized the Infant, and
he has fulfilled the motive of the story by falling in love with her.
At this point the three conspirators, Don Pedro, Don Sallust, and Don
Florio, enter, the first of whom has designs on the throne. They
indulge in a buffo trio, which develops into a spirited bacchanal
("Wine, Wine, the Magician thou art!"). Observing Elvira's likeness to
the Queen, they persuade her to personate her Majesty. She consents
with feigned reluctance, and after accepting their escort in place of
Manuel's, being sure that he will follow, she sings a quaint rondo
("Oh, were I the Queen of Spain!"), and the act closes with a
concerted number accompanying their departure.
The second act opens in the throne-room of the palace, and is
introduced by a very expressive conspirators' chorus ("The Queen in
the Palace"); after which Don Pedro enters and gives expression to the
uncertainty of his schemes in a ballad ("Though Fortune darkly o'er me
frowns") which reminds one very forcibly of "The Heart bowed down," in
"The Bohemian Girl." The Queen, who has eluded the surveillance of the
conspirators, makes her appearance, surrounded by her attendants, and
sings that exquisite ballad, "The Convent Cell" ("Of Girlhood's happy
Days I dream"), one of the most beautiful songs ever written by any
composer, and certainly Balfe's most popular inspiration. At the close
of the ballad Manuel appears, and is granted an audience, in which he
informs her of the meeting with the peasant girl and boy, and declares
his belief that they were the Queen and Carmen. She ridicules the
statement, and a very funny trio buffo ensues ("I'm not the Queen, ha,
ha!"). He then informs her of the conspirators' plot to imprison her,
but she thwarts it by inducing a silly and pompous old Duchess to
assume the rôle of Queen for the day, and ride to the palace closely
veiled in the royal carriage. The plot succeeds, and the Duchess is
seized and conveyed to a convent. In the next scene there is another
spirited buffo number, in which Don Pedro and Don Florio are mourning
over the loss of their peasant girl, when, greatly to their relief,
she enters again, singing a very quaint and characteristic scena ("I'm
but a simple Peasant Maid"), which rouses the suspicions of the
conspirators. They are all the more perplexed when the Queen announces
herself, and declares her intention of marrying the muleteer.
The last act opens with a song by Carmen ("Though Love's the greatest
Plague in Life"), which falls far below the excellence of the other
songs in the work. It is followed by a buffo duet between Carmen and
Florio, who agree to marry. The Queen and ladies enter, and the former
sings a bravura air ("Oh, joyous, happy Day!"), which was intended by
the composer to show Miss Pyne's vocal ability. At this point a
message is brought her from Don Sebastian, announcing his marriage.
Enraged at the discovery that the muleteer is not Don Sebastian, she
severely upbraids him, and he replies in another exquisite ballad
("'Twas Rank and Fame that tempted thee"). At its close she once more
declares she will be true to the muleteer. Don Pedro is delighted at
the apparent success of his scheme, as he believes he can force her to
abdicate if she marries a muleteer, and gives vent to his joy in a
martial song ("Hark! hark! methinks I hear"). The last scene is in the
throne-room, where Manuel announces he is king of Castile, and mounts
the throne singing a stirring song closely resembling, in its style,
the "Fair Land of Poland," in "The Bohemian Girl." Elvira expresses
her delight in a bravura air ("Oh, no! by Fortune blessed"), and the
curtain falls. The story of the opera is very complicated, and
sometimes tiresome; but the music is well sustained throughout,
especially the buffo numbers, while some of the ballads are among the
best ever written by an English composer.
BEETHOVEN.
Ludwig Von Beethoven, the greatest of composers, was born Dec. 17,
1770, at Bonn, Germany, his father being a court singer in the chapel
of the Elector of Cologne. He studied in Vienna with Haydn, with whom
he did not always agree, however, and afterwards with Albrechtsberger.
His first symphony appeared in 1801, his earlier symphonies, in what
is called his first period, being written in the Mozart style. His
only opera, "Fidelio," for which he wrote four overtures, was first
brought out in Vienna in 1805; his oratorio, "Christ on the Mount of
Olives," in 1812; and his colossal Ninth Symphony, with its choral
setting of Schiller's "Ode to Joy," in 1824. In addition to his
symphonies, his opera, oratorios, and masses, and the immortal group
of sonatas for the piano, which were almost revelations in music, he
developed chamber music to an extent far beyond that reached by his
predecessors, Haydn and Mozart. His symphonies exhibit surprising
power, and a marvellous comprehension of the deeper feelings in life
and the influences of nature, both human and physical. He wrote with
the deepest earnestness, alike in the passion and the calm of his
music, and he invested it also with a genial humor as well as with the
highest expression of pathos. His works are epic in character. He was
the great tone-poet of music. His subjects were always lofty and
dignified, and to their treatment he brought not only a profound
knowledge of musical technicality, but intense sympathy with the
innermost feelings of human nature, for he was a humanitarian in the
broadest sense. By the common consent of the musical world he stands
at the head of all composers, and has always been their guide and
inspiration. He died March 26, 1827, in the midst of a raging thunder
storm, one of his latest utterances being a recognition of the "divine
spark" in Schubert's music.
FIDELIO.
"Fidelio, oder die eheliche Liebe" ("Fidelio, or Conjugal Love"),
grand opera in two acts, words by Sonnleithner, translated freely from
Bouilly's "Léonore, ou l'Amour Conjugal," was first produced at the
Theatre An der Wien, Vienna, Nov. 20, 1805, the work at that time
being in three acts. A translation of the original programme of that
performance, with the exception of the usual price of admissions, is
appended:--
Imperial and Royal Theatre An der Wien.
New Opera.
To-day, Wednesday, 20 November, 1805, at the Imperial and Royal
Theatre An der Wien, will be given for the first time.
FIDELIO;
Or, Conjugal Love.
Opera in three acts, translated freely from the French text by
JOSEPH SONNLEITHNER.
The music is by LUDWIG VON BEETHOVEN.
_Dramatis Personae_.
_Don Fernando_, Minister Herr Weinkoff.
_Don Pizarro_, Governor of a State Prison Herr Meier.
_Florestan_, prisoner Herr Demmer.
_Leonora_, his wife, under the name of _Fidelio_ Fräulein Milder.
_Rocco_, chief jailer Herr Rothe.
_Marcellina_, his daughter Fräulein Müller.
_Jaquino_, turnkey Herr Cache.
_Captain of the Guard_ Herr Meister.
_Prisoners, Guards, People_.
The action passes in a State prison in Spain, a few leagues from
Seville. The piece can be procured at the box-office for fifteen
kreutzers.
During this first season the opera was performed three times and then
withdrawn. Breuning reduced it to two acts, and two or three of the
musical numbers were sacrificed, and in this form it was played twice
at the Imperial Private Theatre and again withdrawn. On these
occasions it had been given under Beethoven's favorite title,
"Leonore." In 1814 Treitschke revised it, and it was produced at the
Kärnthnerthor Theatre, Vienna, May 23, of that year, as "Fidelio,"
which title it has ever since retained. Its first performance in Paris
was at the Théâtre Lyrique, May 5, 1860; in London, at the King's
Theatre, May 18, 1832; and in English at Covent Garden, June 12, 1835,
with Malibran in the title-rôle. Beethoven wrote four overtures for
this great work. The first was composed in 1805, the second in 1806,
the third in 1807, and the fourth in 1814. It is curious that there
has always been a confusion in their numbering, and the error remains
to this day. What is called No. 1 is in reality No. 3, and was
composed for a performance of the opera at Prague, the previous
overture having been too difficult for the strings. The splendid
"Leonora," No. 3, is in reality No. 2, and the No. 2 is No. 1. The
fourth, or the "Fidelio" overture, contains a new set of themes, but
the "Leonora" is the grandest of them all.
The entire action of the opera transpires in a Spanish prison, of
which Don Pizarro is governor and Rocco the jailer. The porter of the
prison is Jacquino, who is in love with Marcellina, daughter of Rocco,
and she in turn is in love with Fidelio, Rocco's assistant, who has
assumed male disguise the better to assist her in her plans for the
rescue of her husband, Florestan, a Spanish nobleman. The latter, who
is the victim of Don Pizarro's hatred because he had thwarted some of
his evil designs, has been imprisoned by him unknown to the world, and
is slowly starving to death. Leonora, his wife, who in some way has
discovered that her husband is in the prison, has obtained employment
of Rocco, disguised as the young man Fidelio.
The opera opens with a charming, playful love-scene between Jacquino
and Marcellina, whom the former is teasing to marry him. She puts him
off, and as he sorrowfully departs, sings the Hope aria, "Die
Hoffnung," a fresh, smoothly flowing melody, in which she pictures the
delight of a life with Fidelio. At its close Rocco enters with the
despondent Jacquino, shortly followed by Fidelio, who is very much
fatigued. The love-episode is brought out in the famous canon quartet,
"Mir ist so wunderbar," one of the most beautiful and restful numbers
in the opera. Rocco promises Marcellina's hand to Fidelio as the
reward of her fidelity, but in the characteristic and sonorous Gold
song, "Hat man nicht auch Geld daneben," reminds them that money as
well as love is necessary to housekeeping. In the next scene, while
Don Pizarro is giving instructions to Rocco, a packet of letters is
delivered to him, one of which informs him that Don Fernando is coming
the next day to inspect the prison, as he has been informed that it
contains several victims of arbitrary power. He at once determines
that Florestan shall die, and gives vent to his wrath in a furious
dramatic aria ("Ha! welch ein Augenblick!"). He attempts to bribe
Rocco to aid him. The jailer at first refuses, but subsequently, after
a stormy duet, consents to dig the grave. Fidelio has overheard the
scheme, and, as they disappear, rushes forward and sings the great
aria, "Abscheulicher!" one of the grandest and most impassioned
illustrations of dramatic intensity in the whole realm of music. The
recitative expresses intense horror at the intended murder, then
subsides into piteous sorrow, and at last breaks out into the glorious
adagio, "Komm Hoffnung," in which she sings of the immortal power of
love. The last scene of the act introduces the strong chorus of the
prisoners as they come out in the yard for air and sunlight, after
which Rocco relates to Fidelio his interview with Don Pizarro. The
latter orders the jailer to return the prisoners to their dungeons and
go on with the digging of the grave, and the act closes.