HIGH-PRIEST Herr FISCHER.
SULAMITH Fraülein LEHMANN.
ASSAD Herr STRITT.
BAAL HANAN Herr ALEXI.
QUEEN OF SHEBA Frau KRAMER-WEIDL.
ASTAROTH Fraülein BRANDT.
The libretto by Mosenthal is one of rare excellence in its skilful
treatment of situations and arrangement of scenes with the view to
spectacular and dramatic effect. The Biblical story has but little to
do with the action of the opera beyond the mere fact of the famous
visit of the Queen of Sheba to Solomon. The stirring episodes during
the journey and the visit spring from the librettist's imagination.
The story in substance is as follows:--
King Solomon, learning of the Queen's intention to visit him, sends
his favorite courtier Assad to escort her. While she waits outside the
gates of Jerusalem, Assad announces her arrival to the King and
Sulamith, the daughter of the high-priest, to whom the courtier is
affianced. Observing his disturbed looks, the King, after dismissing
his attendants, inquires the cause. Assad replies that on their
journey through the forest he had encountered a nymph bathing whose
beauty had so impressed him as to banish even the thoughts of his
affianced. The wise Solomon counsels him to marry Sulamith at once.
Meanwhile the Queen comes into the King's presence, and as she lifts
her veil reveals the unknown fair one. She affects ignorance of
Assad's passion; but when she learns that he is to wed Sulamith love
for him springs up in her own breast. Upon the day of the wedding
ceremony Assad, carried away by his longing for the Queen, declares
her to be his divinity, and is condemned to death for profaning the
Temple. Both the Queen and Sulamith appeal to the King for mercy. He
consents at last to save his life, but banishes him to the desert. The
Queen seeks him there, and makes an avowal of her love; but Assad
repulses her. As Sulamith comes upon the scene a simoom sweeps across
the desert. They perish in each other's arms; while in a mirage the
Queen and her attendants are seen journeying to their home.
The first act opens in the great hall of Solomon's palace with a
brilliant, joyous chorus ("Open the Halls, adorn the Portals") in
praise of the King's glory. After the entrance of the high-priest,
Sulamith sings a fascinating bridal song ("My own Assad returns"),
richly oriental both in music and sentiment, dreamy and luxurious in
its tone, and yet full of joyous expectation, with characteristic
choral refrain and dainty accompaniment. The fourth and fifth scenes
are full of agitation and unrest, and lead up to Assad's explanation
of his perturbed condition ("At Lebanon's Foot I met Arabia's Queen"),
a monologue aria of rich glowing color and reaching a fine dramatic
climax as it progresses from its sensuous opening to the passionate
intensity of its finale. It is followed by the entrance of the Queen,
accompanied by a brilliant march and a jubilant chorus ("To the Sun of
the South our Welcome we bring") and a stirring concerted number,
describing the recognition of the Queen by Assad; after which the
chorus resumes its jubilant strain, bringing the act to a close.
The second act opens in the gardens of the palace and discloses the
Queen, who gives expression to her love for Assad and her hatred of
Sulamith in an impassioned aria ("Let me from the festal Splendor").
In the second scene Astaroth, her slave, appears and lures Assad by a
weird strain, which is one of the most effective passages in the opera
("As the Heron calls in the Reeds"). After a short arioso by Assad
("Magical Sounds, intoxicating Fragrance"), a passionate duet with the
Queen follows, interrupted by the call of the Temple-guard to prayer.
The scene changes to the interior of the sanctuary with its religious
service; and with it the music changes also to solemn Hebrew melodies
with the accompaniment of the sacred instruments, leading up to the
stirring finale in which Assad declares his passion for the Queen,
amid choruses of execration by the people.
The third act opens in the banquet-hall upon a scene of festivity
introduced by the graceful bee dance of the Almas. It is followed by
the powerful appeal of the Queen for Assad's life, rising to an
intensely dramatic pitch as she warns the King of the revenge of her
armed hosts ("When Sheba's iron Lances splinter and Zion's Throne in
Ruins falls"). In sad contrast comes the mournful chant which
accompanies Sulamith as she passes to the vestal's home ("The Hour
that robbed me of him"), and ends in her despairing cry rising above
the chorus of attendants as Solomon also refuses her petition.
The last act passes in the desert. Assad beneath a solitary palm-tree
laments the destiny which pursues him ("Whither shall I wend my weary
Steps?"). In the next scene the Queen appears, and an agitated duet
follows, ending with her repulse. Assad in despair calls upon death to
relieve him. The sky darkens. Clouds of sand envelop the fugitive. The
palm bends before the blast as the simoom sweeps by. The storm at last
subsides. The sky grows brighter; and the Queen and her attendants,
with their elephants and camels, appear in a mirage journeying
eastward as Sulamith and her lover expire in each other's arms. As
their duet dies away, the chorus of maidens brings the act to a close
with a few strains from the love-song in the first act.
MERLIN.
The opera of "Merlin" was first performed at Vienna, Nov. 17, 1886,
and was heard for the first time in this country at New York, Jan. 3,
1887, under the direction of Mr. Walter Damrosch, with the following
cast:--
KING ARTHUR Herr ROBINSON.
MODRED Herr KEMLITZ.
LANCELOT Herr BURSCH.
GAWEIN Herr HEINRICH.
GLENDOWER Herr VON MILDE.
MERLIN Herr ALVARY.
VIVIANE Fraülein LEHMANN.
BEDWYR Herr SIEGLITZ.
THE FAY MORGANA Fraülein BRANDT.
THE DEMON Herr FISCHER.
The libretto of the opera is by Siegfried Lipiner. The scene is laid
in Wales, and the hero, Merlin, is familiar as one of the knights of
King Arthur's round-table. The story is as follows:--
The Devil, ambitious to banish all good from the world, unites himself
to a virgin in order that he may beget a child who shall aid him in
his fell purpose. The child is Merlin, who partakes of the mother's
goodness, and instead of aiding his father, seeks to thwart his
design. The Devil thereupon consults the Fay Morgana, who tells him
that Merlin will lose his power if he falls in love. In the opening
scene King Arthur sends Lancelot to Merlin for aid, who promises him
victory and achieves it by the assistance of his familiar, a demon,
who is in league with the Devil. Tired of his service to Merlin, the
demon contrives to have him meet the beautiful Viviane, with whom he
falls in love. The second act transpires in Merlin's enchanted garden,
and reveals his growing passion, and at the same time his waning power
of magic; for when once more Arthur summons his aid he attempts to
tear himself away from her only to realize his weakness. She seeks to
detain him by throwing a magic veil over him which has been given her
by the demon; in an instant the scene changes, and Merlin appears
confined to a rock by fiery chains, while the demon mocks him from a
neighboring eminence, and Viviane gives way to anguish. In the last
act Viviane is told by the Fay Morgana that Merlin's release can only
be secured by woman's self-sacrifice. Once more an appeal for help
comes to him from Arthur, and he promises his soul to the demon in
exchange for his freedom. His chains fall off. He rushes into the
battle and secures the victory, but is fatally wounded. The demon
claims him; but Viviane, remembering the words of the Fay Morgana,
stabs herself and thus balks him of his expectant prey.
Like Wagner's operas, "Merlin" has its motives, the principal ones
being that of the demon, or the evil principle, and two love motives.
In its general treatment it is also Wagnerish. The first scene opens
with the spirited message of Lancelot to Glendower, beseeching
Merlin's aid for the hard-pressed Arthur. It is followed by the
strains of Merlin's harp in the castle and his assurance of victory,
and these in turn by very descriptive incantation music summoning the
demon and the supernatural agencies which will compass the defeat of
Arthur's enemies. Then comes the interview between the demon and the
Fay Morgana, in which he learns the secret of Merlin's weakness. In
the next scene Arthur returns from his victory over the Saxons to the
tempo of a stirring march, and accompanied by the joyous choruses of
women. A vigorous episode, in which Bedwyr, one of Arthur's knights,
is charged with treachery, is followed by Merlin's chant of victory
with chorus accompaniment. As its strains die away a distant horn
announces Viviane, who makes her appearance singing a breezy hunting
song with her maidens, leading up to a spirited septet. Then follows
the baffled attempt of Viviane to crown Merlin, the scene closing with
a repetition of the chant of victory and the choruses of jubilation.
The second act opens in the enchanted gardens of Merlin; and the first
scene reveals a conspiracy to seize the crown during Arthur's absence
and proclaim Modred king, and the farewell of Arthur and his suite to
Merlin. The magic-veil scene follows with its fascinating dance
tempos, and leads with its graceful measures up to the passionate
love-scene between Merlin and Viviane, which is harshly broken in upon
by the clash of arms between Modred and his perfidious companions and
the faithful friends of Arthur. A dramatic scene of great energy
follows, in which Viviane at last throws the magic veil around Merlin
with the transforming results already told.
The last act opens with Viviane's mournful lament for the wretched
fate which she has brought down upon her lover, and the announcement
of the means by which he may be released made to her in slumber by the
Fay Morgana. Her maidens seek to rouse her with choral appeals, in
which are heard phrases of her hunting song. Meanwhile mocking spirits
appear about Merlin and taunt him in characteristic music. Then
follows the compact with the demon, which releases him. He rushes into
the battle accompanied by an exultant song from Viviane; but soon the
funeral march, as his followers bear him from the field, tells the
mournful story of his fate. A very dramatic ensemble contains the deed
of self-sacrifice, by which Viviane ends her life to redeem Merlin
from the demon, and with this powerful effect the opera closes.
GOUNOD.
Charles François Gounod was born, in Paris, June 17, 1818. He studied
music in the Conservatory, under the direction of Halevy, Lesueur, and
Paer, and in 1839 obtained the first prize, and, under the usual
regulations, went to Italy. While at Rome he devoted himself largely
to religious music. On his return to Paris he became organist of the
Missions Étrangères, and for a time seriously thought of taking
orders. In 1851, however, he brought out his first opera, "Sappho,"
which met with success. At this point his active career began. In 1852
he became conductor of the Orphéon, and wrote the choruses for
Ponsard's tragedy of "Ulysse." The year 1854 brought a five-act opera,
"La Nonne Sanglante," founded on a legend in Lewis's "Monk." In 1858
he made his first essay in opera comique, and produced "Le Médecin
malgré lui," which met with remarkable success. The next year "Faust"
was performed, and placed him in the front rank of living composers.
"Philémon et Baucis" appeared in 1860, and "La Reine de Saba," which
was afterwards performed in English as "Irene," in 1862. In 1863 he
brought out the pretty pastoral opera "Mireille." This was succeeded
in 1866 by "La Colombe," known in English as "The Pet Dove," and in
1867 by "Roméo et Juliette." In 1877 he produced "Cinq Mars," and in
1878 his last opera, "Polyeucte." He has also written much church
music, the more important works being the "Messe Solenelle," a "Stabat
Mater," the oratorio "Tobie," a "De Profundis," an "Ave Verum," and
many single hymns and songs, among which "Nazareth" is universally
popular. His list of compositions for orchestra is also very large,
and includes such popular pieces as the "Saltarello," "Funeral March
of a Marionette," and the Meditation, based on Bach's First Prelude,
which is accompanied by a soprano solo. He was elected a member of the
Institut de France in 1866.
FAUST.
"Faust," a grand opera in five acts, words by Barbier and Carré,
founded upon Goethe's tragedy, was first produced at the Théâtre
Lyrique, Paris, March 19, 1859, with the following cast of the
principal parts:--
MARGUERITE Mme. MIOLAN-CARVALHO.
SIEBEL Mlle. FAIVRE.
FAUST M. BARBOT.
VALENTIN M. REGNAL.
MEPHISTOPHELES M. BALANQUÉ.
MARTHA Mme. DUCLOS.
The opera was first produced in London as "Faust," June 11, 1863; in
English, Jan. 23, 1864; and in Germany as "Margarethe."
The story of the opera follows Goethe's tragedy very closely, and is
confined to the first part. It may be briefly told. Faust, an aged
German student, satiated with human knowledge and despairing of his
ability to unravel the secrets of nature, summons the evil spirit
Mephistopheles to his assistance, and contracts to give him his soul
in exchange for a restoration to youth. Mephistopheles effects the
transformation, and reveals to him the vision of Marguerite, a
beautiful village maiden, with whom Faust at once falls in love. They
set out upon their travels and encounter her at the Kermesse. She has
been left by her brother Valentin, a soldier, in care of Dame Martha,
who proves herself a careless guardian. Their first meeting is a
casual one; but subsequently he finds her in her garden, and with the
help of the subtle Mephistopheles succeeds in engaging the young
girl's affection. Her simple lover, Siebel, is discarded, and his
nosegay is thrown away at sight of the jewels with which Faust tempts
her. When Valentin returns from the wars he learns of her temptation
and subsequent ruin. He challenges the seducer, and in the encounter
is slain by the intervention of Mephistopheles. Overcome by the horror
of her situation, Marguerite becomes insane, and in her frenzy kills
her child. She is thrown into prison, where Faust and Mephistopheles
find her. Faust urges her to fly with them, but she refuses, and
places her reliance for salvation upon earnest prayer, and sorrow for
the wrong she has done. Pleading for forgiveness, she expires; and as
Mephistopheles exults at the catastrophe he has wrought, angels appear
amid the music of the celestial choirs and bear the sufferer to
heaven.
The first act is in the nature of a prelude, and opens with a long
soliloquy ("Interrogo invano") by Faust, in which he laments the
unsatisfactoriness of life. It is interwoven with delightful snatches
of chorus heard behind the scenes, a duet with Mephistopheles ("Ma il
ciel"), and the delicate music accompanying the vision of Marguerite.
The second act is contained in a single setting, the Kermesse, in
which the chorus plays an important part. In the first scene the
choruses of students, soldiers, old men, girls, and matrons are
quaintly contrasted, and are full of animation and characteristic
color. In the second, Valentin sings a tender song ("O santa
medaglia") to a medallion of his sister which he wears as a charm. It
is followed by a grim and weird drinking-song ("Dio dell' or"), sung
by Mephistopheles. The latter then strikes fire from the fountain into
his cup, and proposes the health of Marguerite. Valentin springs
forward to resent the insult, only to find his sword broken in his
hands. The students and soldiers recognize the spirit of evil, and
overcome him by presenting the hilts of their swords in the form of a
cross, the scene being accompanied by one of the most effective
choruses in the work ("Tu puvi la spada"). The tempter gone, the scene
resumes its gayety, and the act closes with one of the most animated
and delightful of waltz tempos ("Come la brezza").
The third act is the Garden scene, full of fascinating detail, and
breathes the very spirit of poetry and music combined in a picture of
love which has never been excelled in tenderness and beauty on the
operatic stage. Its principal numbers are a short and simple but very
beautiful ballad for Siebel ("La parlate d'amor"); a passionate aria
for tenor ("Salve dimora casta e pura"), in which Faust greets
Marguerite's dwelling; a double number, which is superb in its
contrasts,--the folk-song, "C'era un re di Thule," a plaintive little
ballad sung at the spinning-wheel by Marguerite, and the bravura
jewel-song, "Ah! e' strano poter," which is the very essence of
delicacy and almost-childish glee; the quartet commencing,
"V'appogiato al bracchio mio," which is of striking interest by the
independent manner in which the two pairs of voices are treated and
combined in the close; and the closing duet ("Sempre amar") between
Faust and Marguerite, which is replete with tenderness and passion,
and closes in strains of almost ecstatic rapture, the fatal end of
which is foreshadowed by the mocking laugh of Mephistopheles breaking
in upon its lingering cadences.
The fourth act is known as the Cathedral act, and established Gounod's
reputation as a writer of serious music. It opens with a scena for
Marguerite, who has been taunted by the girls at the fountain
("Nascose eran là le crudeli "), in which she laments her sad fate.
The scene abruptly changes to the square in front of the cathedral,
where the soldiers, Valentin among them, are returning, to the
jubilant though somewhat commonplace strains of the march, "Deponiam
il branda." As the soldiers retire and Valentin goes in quest of
Marguerite, Faust and Mephistopheles appear before the house, and the
latter sings a grotesque and literally infernal serenade ("Tu, che fai
l' addormentata"). Valentin appears and a quarrel ensues, leading up
to a spirited trio. Valentin is slain, and with his dying breath
pronounces a malediction ("Margherita! maledetta") upon his sister.
The scene changes to the church, and in wonderful combination we hear
the appeals of Marguerite for mercy, the taunting voice of the
tempter, and the monkish chanting of the "Dies Irae" mingled with the
solemn strains of the organ.
The last act is usually presented in a single scene, the Prison, but
it contains five changes. After a weird prelude, the Walpurgis revel
begins, in which short, strange phrases are heard from unseen singers.
The night scene changes to a hall of pagan enchantment, and again to
the Brocken, where the apparition of Marguerite is seen. The orgy is
resumed, when suddenly by another transformation we are taken to the
prison where Marguerite is awaiting death. It is unnecessary to give
its details. The scene takes the form of a terzetto, which is worked
up with constantly increasing power to a climax of passionate energy,
and at last dies away as Marguerite expires. It stands almost alone
among effects of this kind in opera. The curtain falls upon a
celestial chorus of apotheosis, the vision of the angels, and
Mephistopheles cowering in terror before the heavenly messengers.
ROMEO AND JULIET.
"Roméo et Juliette," a grand opera in five acts, words by Barbier and
Carré, the subject taken from Shakspeare's tragedy of the same name,
was first produced at the Théâtre Lyrique, Paris, April 27, 1867, with
Mme. Miolan-Carvalho in the rôle of Juliet. The story as told by the
French dramatists in the main follows Shakspeare's tragedy very
closely in its construction as well as in its dialogue. It is only
necessary, therefore, to sketch its outlines. The first act opens with
the festival at the house of Capulet. Juliet and Romeo meet there and
fall in love, notwithstanding her betrothal to Paris. The hot-blooded
Tybalt seeks to provoke a quarrel with Romeo, but is restrained by
Capulet himself, and the act comes to a close with a resumption of the
merry festivities. In the second act we have the balcony scene, quite
literally taken from Shakspeare, with an episode, however, in the form
of a temporary interruption by Gregory and retainers, whose appearance
is rather absurd than otherwise. The third act is constructed in two
scenes. The first is in the friar's cell, where the secret marriage of
the lovers takes place. In the second, we are introduced to a new
character, invented by the librettist,--Stephano, Romeo's page, whose
pranks while in search of his master provoke a general quarrel, in
which Mercutio is slain by Tybalt, who in turn is killed by Romeo.
When Capulet arrives upon the scene he condemns Romeo to banishment,
who vows, however, that he will see Juliet again at all hazards. The
fourth act is also made up of two scenes. The first is in Juliet's
chamber, and is devoted to a duet between the two lovers. Romeo departs
at dawn, and Capulet appears with Friar Laurence and announces his
determination that the marriage with Paris shall be celebrated at once.
Juliet implores the Friar's help, and he gives her the potion. The next
scene is devoted to the wedding festivity, in the midst of which Juliet
falls insensible from the effects of the sleeping-draught. The last act
transpires in the tomb of the Capulets, where Romeo arrives, and
believing his mistress dead takes poison. Juliet, reviving from the
effects of the potion, and finding him dying, stabs herself with a
dagger, and expires in his arms.
While many numbers are greatly admired, the opera as a whole has never
been successful. Had not "Faust," which it often recalls, preceded it,
its fate might have been different. Still, it contains many strong
passages and much beautiful writing. The favorite numbers are the
waltz arietta, very much in the manner of the well-known "Il Bacio,"
at the Capulet festival, the Queen Mab song, by Mercutio ("Mab, regina
di menzogne"), and the duet between Romeo and Juliet ("Di grazia, t'
arresta ancor!"), in the first act; the love music in the balcony
scene of the second act, which inevitably recalls the garden music in
"Faust;" an impressive solo for Friar Laurence ("Al vostro amor
cocente"), followed by a vigorous trio and quartet, the music of which
is massive and ecclesiastical in character, and the page's song ("Ah!
col nibbio micidale"), in the third act; the duet of parting between
Romeo and Juliet, "Tu dei partir ohime!" the quartet, "Non temero mio
ben," between Juliet, the nurse, Friar Laurence, and Capulet, and the
dramatic solo for the Friar, "Bevi allor questo filtro," as he gives
the potion to Juliet, in the fourth act; and the elaborate orchestral
prelude to the tomb scene in the last act.
MIREILLE.
"Mireille," a pastoral opera in three acts, words by M. Carré, the
subject taken from "Mireio," a Provençal poem by Mistral, was first
produced at the Théâtre Lyrique, Paris, March 19, 1864, with the
following cast:--
MIREILLE Mme. MIOLAN-CARVALHO
TAVENA | Mme. FAURE-LEFEBVRE.
ANDRELUNO |
VINCENZINA Mlle. LEROUX.
VINCENZO M. ISMIEL.
URIAS M. PETIT.
RAIMONDO M. MORINI.