subject taken from the French drama, "Le Comte de Commingues," was
first produced at the Académie, Paris, Dec. 2, 1840, with Mme. Stolz
as Leonora, Duprez as Fernando, and Baroelhst as Balthasar. Its
success in England, where it was first produced Feb. 16, 1847, was
made by Grisi and Mario. The scene of the opera is laid in Spain, and
the first act opens in the convent of St. James, of Compostella, where
the young novice, Fernando, is about to take monastic vows. Before the
rites take place he is seized with a sudden passion for Leonora, a
beautiful maiden who has been worshipping in the cloisters. He
confesses his love to Balthasar, the superior, who orders him to leave
the convent and go out into the world. Leonora, meanwhile, is beloved
by Alphonso, king of Castile, who has provided her a secret retreat on
the island of St. Leon. Though threatened by the pontiff with
excommunication, he has resolved to repudiate his queen, in order that
he may carry out his intention of marrying the beautiful Leonora. To
her asylum a bevy of maidens conducts Fernando. He declares his
passion for her and finds it reciprocated. He urges her to fly with
him, but she declares it impossible, and giving him a commission in
the army signed by the King, urges him to go to the wars and win
honors for her sake.
In the second act Balthasar, in the name of the pontiff, visits their
retreat and pronounces the papal anathema upon the guilty pair. The
same curse is threatened to all the attendants unless Leonora is
driven from the King, and the act closes with their vengeful menaces.
In the third act Fernando returns victorious from the war with the
Moors. Already beginning to fear the result of the papal malediction,
and having learned of Leonora's passion for the victor, Alphonso heaps
rewards upon him, even to the extent of giving him Leonora's hand.
Fernando, who is ignorant of her past relations to the King, eagerly
accepts the proffer; but Leonora, in despair, sends her attendant,
Inez, to inform him of the real nature of the situation and implore
his forgiveness. The King intercepts her, and the marriage takes place
at once, Fernando not discovering Leonora's shame until it is revealed
by the courtiers, who avoid him. He flies from the world to the
convent once more for shelter and consolation, followed by Leonora,
who dies in his arms after she has obtained forgiveness.
The music of the work is very dramatic in its character, some of the
finales being the strongest Donizetti has written. In the first act
there is a beautifully melodious aria ("Una Vergine"), in which
Fernando describes to Balthasar the vision of Leonora which had
appeared to him at his orisons, and a very tender duet ("Deh, vanne!
deh, parti") between Fernando and Leonora, in which they sorrowfully
part from each other. In the second act the King has a very passionate
aria, where he curses his courtiers for leaguing against him at Rome,
followed by a very dramatic duet with Leonora ("Ah! l'alto ardor").
The third act contains the beautiful aria, "O mio Fernando!" which is
a favorite with all contraltos. It is remarkable for its warmth and
richness, as well as its dramatic spirit, and the act closes with a
concerted finale of splendid power, in which Fernando breaks his
sword, and once more Balthasar anathematizes the King. The fourth act
is the most beautiful of all in its music and the most powerful in
dramatic effect. The chorus of monks in the first scene ("Scaviam
l'asilo") is remarkable for its religious character and solemnity. In
the third scene occurs one of the tenderest and loveliest romanzas
ever written ("Spirto gentil"), which Donizetti transferred to this
work from his opera, "Le Duc d'Albe," which had not been performed,
and the libretto of which was originally written by Scribe for
Rossini. The closing duet between Fernando and Leonora is full of
pathos and beauty, and forms a fitting close to an act which, in one
sense at least, is an inspiration, as the whole act was composed in
four hours,--a proof of the marvellous ease and facility with which
Donizetti wrote.
DON PASQUALE.
"Don Pasquale," an opera buffa in three acts, was first produced at
the Théâtre des Italiens in Paris, Jan. 4, 1843, with the following
extraordinary cast:
NORINA Mme. GRISI.
ERNESTO Sig. MARIO.
DR. MALATESTA Sig. TAMBURINI.
DON PASQUALE Sig. LABLACHE.
The scene of this brilliant and gay little opera is laid in Rome. Don
Pasquale is in a rage with Ernesto, his nephew, because he will not
marry to suit him. Dr. Malatesta, his friend and physician, who is
also very much attached to the nephew, contrives a plot in the
latter's interest. He visits the Don, and urges him to marry a lady,
pretending that she is his sister, though in reality she is Norina,
with whom Ernesto is in love. He then calls upon Norina, and lets her
into the secret of the plot, and instructs her how to play her part.
She is to consent to the marriage contract, and then so harass the Don
that he will not only be glad to get rid of her, but will give his
consent to her marriage with Ernesto. The second act opens in Don
Pasquale's house, where Ernesto is bewailing his fate. The Don enters,
magnificently dressed, and ready for the marriage. Norina appears with
Malatesta, and feigns reluctance to enter into the contract; but when
the notary arrives she consents to sign. No sooner, however, has she
signed it than she drops her assumed modesty. Ernesto, who is present,
is bewildered at the condition of affairs, but is kept quiet by a sign
from the Doctor. Norina refuses all the Don's amatory demonstrations,
and declares Ernesto shall be her escort. She summons the servants,
and lays out a scheme of housekeeping so extravagant that the Don is
enraged, and declares he will not pay the bills. She insists he shall,
for she is now master of the house. In the third act we find Norina
entertaining milliners and modistes. Don Pasquale enters, and learning
that she is going to the theatre forbids it, which leads to a quarrel,
during which Norina boxes his ears. As she leaves the room she drops a
letter, the reading of which adds the pangs of jealousy to his other
troubles. The Doctor at this juncture happens in and condoles with
him. The Don insists that Norina shall quit his house at once. In the
next scene he taxes her with having a lover concealed in the house,
and orders her to leave. The Doctor counsels him to let his nephew
marry Norina; and in the course of explanations the Don discovers that
the Doctor's sister and Norina are one and the same person, and that
the marriage was a sham. He is only too glad of an escape to quarrel
with the Doctor for his plot, and the young couple are speedily
united, and have the old man's blessing.
The charm of the opera lies in its comic situations, and the gay,
bright music with which they are illustrated. It is replete with humor
and spirit, and flows along in such a bright stream that it is almost
impossible to cull out special numbers, though it contains two duets
and a quartet which are of more than ordinary beauty, and the
exquisite serenade in the last act, "Com'e gentil," which has been
heard on almost every concert-stage of the world, and still holds its
place in universal popular esteem. For brilliant gayety it stands in
the front rank of all comic operas, though Donizetti was but three
weeks in writing it. It is said that when it was in rehearsal its fate
was uncertain. The orchestra and singers received it very coldly; but
when the rehearsal was over, Donizetti merely shrugged his shoulders
and remarked to his friend, M. Dormoy, the publisher: "Let them alone;
they know nothing about it. I know what is the matter with 'Don
Pasquale.' Come with me." They went to the composer's house. Rummaging
among a pile of manuscripts, Donizetti pulled out a song. "This is
what 'Don Pasquale' wants," he said. "Take it to Mario and tell him to
learn it at once." Mario obeyed, and when the opera was performed sang
it to the accompaniment of a tambourine, which Lablache played behind
the scenes. The opera was a success at once, and no song has ever been
more popular.
In strange contrast with the gay humor of "Don Pasquale," it may be
stated that in the same year Donizetti wrote the mournful "Don
Sebastian," which has been described as "a funeral in five acts."
Crowest, in his "Anecdotes," declares that the serenade is suggestive
of Highland music, and that many of his other operas are Scottish in
color. He accounts for this upon the theory that the composer was of
Scotch descent, his grandfather having been a native of Perthshire, by
the name of Izett, and that his father, who married an Italian lady,
was Donald Izett. The change from Donald Izett to Donizetti was an
easy one. The story, however, is of doubtful authenticity.
LUCIA DI LAMMERMOOR.
"Lucia di Lammermoor," an opera in three acts, words by Cammarano, was
first produced at Naples in 1835, with Mme. Persiani and Sig. Duprez,
for whom the work was written, in the principal rôles of Lucia and
Edgardo. Its first presentation at Paris was Aug. 10, 1839; in London,
April 5, 1838; and in English, at the Princess Theatre, London, Jan.
19, 1843. The subject of the opera is taken from Sir Walter Scott's
novel, "The Bride of Lammermoor," and the scene is laid in Scotland,
time, about 1669.
Sir Henry Ashton, of Lammermoor, brother of Lucy, the heroine, has
arranged a marriage between her and Lord Arthur Bucklaw, in order to
recover the fortune which he has dissipated, and to save himself from
political peril he has incurred by his participation in movements
against the reigning dynasty. Sir Edgar Ravenswood, with whom he is at
enmity, is deeply attached to Lucy, who reciprocates his love, and on
the eve of his departure on an embassy to France pledges herself to
him. During his absence Edgar's letters are intercepted by her
brother, who hints to her of his infidelity, and finally shows her a
forged paper which she accepts as the proof that he is untrue.
Overcome with grief at her lover's supposed unfaithfulness, and
yielding to the pressure of her brother's necessities, she at last
consents to her union with Lord Arthur. The marriage contract is
signed with great ceremony, and just as she has placed her name to the
fatal paper, Edgar suddenly appears. Learning from Lucy what she has
done, he tramples the contract under foot, hurls an imprecation upon
the house of Lammermoor, and bursts out of the room in a terrible
rage. Sir Henry follows him, and a fierce quarrel ensues, which ends
in a challenge. Meanwhile, at night, after the newly wedded couple
have retired, a noise is heard in their apartment. The attendants rush
in and find Lord Arthur dying from wounds inflicted by Lucy, whose
grief has made her insane. When she returns to reason, the thought of
what she has done and the horror of her situation overcome her, and
shortly death puts an end to her wretchedness. Ignorant of her fate,
Edgar goes to the churchyard of Ravenswood, which has been selected as
the rendezvous for the duel with Sir Henry. While impatiently waiting
his appearance, the bell of the castle tolls, and some of the
attendants accosting him bring the news of her death. The despairing
lover kills himself among the graves of his ancestors, and the sombre
story ends.
The popular verdict has stamped "Lucia" as Donizetti's masterpiece,
and if the consensus of musicians could be obtained, it would
unquestionably confirm the verdict. It contains incomparably the
grandest of his arias for tenor, the Tomb song in the last act, and
one of the finest dramatic concerted numbers, the sextet in the second
act, that can be found in any Italian opera. Like the quartet in
"Rigoletto," it stands out in such bold relief, and is so thoroughly
original and spontaneous, that it may be classed as an inspiration.
The music throughout is of the most sombre character. It does not
contain a joyous phrase. And yet it can never be charged with
monotony. Every aria, though its tone is serious and more often
melancholy, has its own characteristics, and the climaxes are worked
up with great power. In the first act, for instance, the contrasts are
very marked between Henry's aria ("Cruda, funesta smania"), the chorus
of hunters ("Come vinti da stanchezza"), Henry's second aria ("La
pietade in suo favore"), in which he threatens vengeance upon Edgar,
the dramatic and beautifully written arias for Lucy, "Regnava nel
silenzio" and "Quando rapita in estasi," and the passionate farewell
duet between Lucy and Edgar, which is the very ecstasy of commingled
love and sorrow. The second act contains a powerful duet ("Le tradirmi
tu potrai") between Lucy and Henry; but the musical interest of the
act centres in the great sextet, "Chi mi frena," which ensues when
Edgar makes his unexpected appearance upon the scene of the marriage
contract. For beauty, power, richness of melody and dramatic
expression, few concerted numbers by any composer can rival it. The
last act also contains two numbers which are always the delight of
great artists,--the mad song of Lucy, "Oh, gioja che si senti," and
the magnificent tomb scena, "Tomba degl'avi miei," which affords even
the most accomplished tenor ample scope for his highest powers.
L'ELISIR D'AMORE.
"L'Elisir d'Amore," an opera buffa in two acts, words by Romani, was
first produced in Milan, in 1832, and in English, at Drury Lane, in
1839, as "The Love Spell." The heroine of this graceful little opera
is Adina, a capricious country girl, who is loved by Nemorino, a young
farmer, whose uncle lies at the point of death, and by Belcore, a
sergeant, whose troops are billeted upon the neighboring village.
While Adina keeps both these suitors in suspense, Dr. Dulcamara, a
travelling quack, arrives at the village in great state to vend his
nostrums. Nemorino applies to him for a bottle of the Elixir of
Love,--with the magical properties of which he has become acquainted
in a romance Adina has been reading that very morning. The mountebank,
of course, has no such liquid, but he passes off on the simple peasant
a bottle of wine, and assures him that if he drinks of it he can
command the love of any one on the morrow. To thoroughly test its
efficacy, Nemorino drinks the whole of it. When he encounters Adina he
is half tipsy, and accosts her in such disrespectful style that she
becomes enraged, and determines to give her hand to the sergeant, and
promises to marry him in a week. Meanwhile an order comes for the
departure of the sergeant's detachment, and he begs her to marry him
the same day. She gives her consent, and the second act opens with the
assembling of the villagers to witness the signing of the marriage
contract. While the sergeant, Adina, and the notary have retired to
sign and witness the contract, Nemorino enters in despair, and finding
Dulcamara enjoying a repast, he implores him to give him some charm
that will make Adina love him at once. Having no money, the quack
refuses to assist him, and Nemorino is again plunged into despair. At
this juncture the sergeant enters, not in the best of humor, for Adina
has declined to sign the contract until evening. Discovering that
Nemorino wants money, he urges him to enlist. The bonus of twenty
crowns is a temptation. Nemorino enlists, takes the money, hurries to
the quack, and obtains a second bottle of the elixir, which is much
more powerful than the first. In the next scene the girls of the
village have discovered that Nemorino's uncle has died and left him
all the property, though Nemorino himself has not heard of it. They
crowd about him, trying to attract his attention with their charms and
blandishments. He attributes his sudden popularity to the effects of
the elixir, and even the quack is somewhat bewildered at the
remarkable change. Nemorino now determines to pay Adina off in kind,
and at last rouses her jealousy. Meanwhile Dulcamara acquaints her
with the effects of the elixir and advises her to try some of it, and
during the interview inadvertently informs her of Nemorino's
attachment for her. Struck with his devotion, she repays the sergeant
herself, announces her change of mind, and bestows her hand upon the
faithful Nemorino. Like "Don Pasquale," the opera is exceedingly
graceful in its construction, and very bright and gay in its musical
effects, particularly in the duets, of which there are two,--one
between Dulcamara and Nemorino in the first act ("Obbligato, ah! si
obbligato"), and one between Dulcamara and Adina in the second act
("Quanto amore! ed io spietata"), which are charming in their spirit
and humor. There is also an admirable buffo song in the first act,
beginning with the recitative, "Udite, udite, o rustici," in which the
Doctor describes his wares to the rustics, and a beautiful romanza in
the second act for tenor ("Una furtiva lagrima"), which is of
world-wide popularity, and bears the same relation to the general
setting of the work that the Serenade does to "Don Pasquale."
LUCREZIA BORGIA.
"Lucrezia Borgia," an opera in three acts, words by Romani, was first
produced at La Scala, Milan, in 1834. The subject was taken from
Victor Hugo's tragedy of the same name, and its text was freely
adapted by Romani. When it was produced in Paris, in 1840, Victor Hugo
took steps to suppress any further representations. The libretto was
then rewritten, under the title of "La Rinegata," the Italian
characters were changed to Turks, and in this mutilated form the
performances were resumed. It was in this opera that Signor Mario made
his English début, in 1839, with great success. Its first presentation
in English was at London, Dec. 30, 1843.
The history of Lucrezia Borgia, daughter of Rodrigo Borgia, afterwards
Pope Alexander VI., and sister of Cæsar Borgia, is too well known to
need recapitulation. It is necessary to the comprehension of the story
of the opera, however, to state that she had an illegitimate son,
named Genarro, who was left when an infant with a fisherman, but who
subsequently entered the Venetian army and rose to an eminent rank.
The opera opens with a brilliant festival in the gardens of the
Barberigo Palace, which is attended by Genarro, Orsini, and others,
all of them cordial haters of the detestable Borgias. While they are
telling tales of Lucrezia's cruel deeds, Genarro lies down and goes to
sleep, and Orsini in a spirited aria ("Nelle fatal di Rimini") relates
to his companions the story of Genarro's gallantry at the battle of
Rimini. As they leave, Lucrezia approaches, masked, in a gondola, and
is received by Gubetta, with whom she has come to Venice on some
secret errand. She discovers Genarro asleep, and expresses her delight
at his beauty, and at the same time her maternal love, in a brilliant
aria ("Com'e bello"). As she kisses his hand he wakes, and in the duet
which follows tells her the story of his early life in an exquisite
romanza ("Di pescatore ignobile"), which is one of the most familiar
numbers in Italian opera. He begs her to reveal her name, but she
refuses. As he continues to implore her, his friends return and
denounce her to Genarro as the hated Borgia, in a concerted number
("Chi siam noi sol chiarirla") of great dramatic power, which closes
the first act.
The second act opens in the public square of Ferrara, with the palace
of the Borgias on the right. The Duke Alphonso, Lucrezia's husband,
who has been observant of Lucrezia's attachment to Genarro, vows
vengeance in a passionate aria ("Vieni la mia vendetta"). In the next
scene Genarro, who has been taunted by his friends with being a victim
of Lucrezia's fascinations, recklessly rushes up to the palace door
and strikes off the first letter of her name with his dagger. When
Lucrezia discovers the insult, she demands of the Duke that the guilty
person shall be arrested and condemned to death. The Duke has already
seized Genarro, and agrees to carry out his wife's demands. When the
prisoner is brought before them for judgment, she is horror-stricken
to find he is her son. She implores his life, but the infuriated Duke
retaliates upon her with the declaration that she is his paramour. The
duet between them ("O! a te bada"), in which Lucrezia passes from
humble entreaties to rage and menace, is a fine instance of
Donizetti's dramatic power. The Duke, however, is resolute in his
determination, and will only allow her to choose the mode of Genarro's
death. She selects the Borgia wine, which is poisoned. Genarro is
called in, and after a trio ("Le ti tradisce"), which is one of the
strongest numbers in the opera, he is given the fatal draught under
the pretence of a farewell greeting from the Duke, who then leaves
mother and son together. She gives him an antidote, and he is thus
saved from the fate which the Duke had intended for him.
The last act opens at a banquet in the palace of the Princess Negroni,
which is attended by Genarro and his friends, Lucrezia, meanwhile,
supposing that he has gone to Venice. During the repast she has
managed to poison their wine. In the midst of the gay revel Orsini
sings the popular drinking-song, "Il segreto per esser felici," which
is now familiar the world over. The festivities are interrupted,
however, by the appearance of Lucrezia, who reveals herself with the
taunting declaration: "Yes, I am Borgia. A mournful dance ye gave me
in Venice, and I return ye a supper in Ferrara." She then announces
that they are poisoned. The music is changed with great skill from the
wild revelry of drinking-songs to the sombre strains of approaching
death. Five coffins are shown them, when Genarro suddenly reveals
himself to Lucrezia and asks for the sixth. The horror-stricken woman
again perceives that her son has been poisoned by her own hand. As his
companions leave the apartment she implores Genarro to take the
antidote once more, and at last reveals herself as his mother. He
steadily refuses to save himself, however, since his companions have
to die, and expires in her arms just as the Duke and his followers
enter. She discloses Genarro's relationship, and then dies with the
despairing cry on her lips that Heaven has pronounced its final
judgment upon her. Among all of Donizetti's operas, not one, unless it
be "Lucia," is more popular than "Lucrezia Borgia," which may be
attributed to the fact that while the story itself is one of
fascinating dramatic interest, the musical numbers are simple,
beautiful, and effective.
FLOTOW.
Friedrich von Flotow was born April 27, 1812, in the duchy of
Mecklenberg-Schwerin, and in 1827 went to Paris, where he studied
music under Reicha. His first work was "Stradella," a mere sketch in
its original form, which was brought out at the Palais Royal in 1837;
but his first public success was made in 1839, with his opera, "Le
Naufrage de la Méduse," which had a run, and was afterwards produced
in Germany under the title of "Die Matrosen." "L'Esclave de Camoens"
appeared in Paris in 1843; "Stradella," rewritten as an opera, in
Hamburg (1844); "L'Âme en peine," in Paris (1846); "Martha," in Vienna
(1847). The works of his later period, which never equalled his
earlier ones in popularity, were "Die Grossfürstin" (1850); "Indra"
(1853); "Rubezahl" (1854); "Hilda" (1855); "Der Müller von Meran"
(1856); "La Veuve Grapin" (1859); "L'Ombre" (1869); "Naïda" (1873);
"Il Flor d'Harlem" (1876); and "Enchanteresse" (1878). Of these later
works, "L'Ombre" was the most successful, and was received with favor
in France, Italy, Spain, and England, in which latter country it was
performed under the title of "The Phantom." In 1856 he received the
appointment of Intendant of the theatre of the Grand Duke of
Mecklenberg, and he entered upon his duties with high hopes of making
the theatre exercise the same influence upon music in Germany as the
Weimar stage; but court intrigues and rivalries of artists so
disgusted him that he resigned in 1863 and went to Paris, and a few
years later to Vienna, where he took up his abode. Outside of a few of
his operas his works are little known, though he composed a
"Fackeltanz," some incidental music to the "Winter's Tale" of
Shakspeare, and several overtures, songs, and chamber-pieces. An
interesting episode in his career occurred in 1838, when he brought
out an opera in three acts, the "Duc de Guise," at the Théâtre de la
Renaissance, the libretto based upon Dumas's "Henri III." The
performance was organized by the Princess Czartoryska, for the benefit
of the Poles. Mme. de Lagrange made her début in a leading part, and
the parts of the choristers were filled by duchesses and princesses of
the Faubourg St. Germain, upon whose persons two million dollars worth
of diamonds were blazing,--sufficient evidence that the performance
was brilliant in at least one sense. He died at Wiesbaden, Jan. 24,
1883.