Delavigne, was first produced at the Académie, Paris, Nov. 21, 1831,
with the following cast:--
ALICE Mlle. DORUS.
ISABELLE Mme. CINTI-DAMOREAU.
THE ABBESS Sigr. TAGLIONI.
ROBERT M. NOURRIT.
BERTRAM M. LEVASSEUR.
RAIMBAUT M. LAFONT.
In the following year two versions in English, both of them imperfect,
were brought out by the rival theatres, Covent Garden and Drury Lane.
On the 20th of February it appeared at Drury Lane under the title of
"The Demon; or, the Mystic Branch," and at Covent Garden the next
evening as "The Fiend Father, or Robert Normandy." Drury Lane had
twenty-four hours the start of its rival, but in neither case were the
representations anything but poor imitations of the original. On the
11th of the following June the French version was produced at the
King's Theatre, London, with the same cast as in Paris, except that
the part of Alice was taken by Mme. De Meric, and that of the Abbess
by the danseuse Mlle. Heberlé. On the 4th of May, 1847, the first
Italian version was produced at Her Majesty's Theatre, with Jenny Lind
and Staudigl in the cast. Gruneisen, the author of a brief memoir of
Meyerbeer, who was present, says: "The night was rendered memorable,
not only by the massacre attending the general execution, but also by
the début of Mlle. Lind in this country, who appeared as Alice. With
the exception of the débutante, such a disgraceful exhibition was
never before witnessed on the operatic stage. Mendelssohn was sitting
in the stalls, and at the end of the third act, unable to bear any
longer the executive infliction, he left the theatre."
The libretto of "Robert the Devil" is absurd in its conceptions and
sensational in its treatment of the story, notwithstanding that it
came from such famous dramatists as Scribe and Delavigne; and it would
have been still worse had it not been for Meyerbeer. Scribe, it is
said, wished to introduce a bevy of sea-nymphs, carrying golden oars,
as the tempters of Robert; but the composer would not have them, and
insisted upon the famous scene of the nuns, as it now stands, though
these were afterwards made the butt of almost endless ridicule.
Mendelssohn himself, who was in Paris at this time, writes: "I cannot
imagine how any music could be composed on such a cold, formal
extravaganza as this." The story runs as follows: The scene is laid in
Sicily, where Robert, Duke of Normandy, who by his daring and
gallantries had earned the sobriquet of "the Devil," banished by his
own subjects, has arrived to attend a tournament given by the Duke of
Messina. In the opening scene, while he is carousing with his knights,
the minstrel Raimbaut sings a song descriptive of the misdeeds of
Robert. The latter is about to revenge himself on the minstrel, when
Alice, his foster-sister and the betrothed of Raimbaut, appears and
pleads with him to give up his wicked courses, and resist the spirit
of evil which is striving to get the mastery of him. Robert then
confides to Alice his hopeless passion for Isabella, daughter of the
Duke. While they are conversing, Bertram, "the unknown," enters, and
Alice shrinks back affrighted, fancying she sees in him the evil
spirit who is luring Robert on to ruin. After she leaves, Bertram
entices him to the gaming-table, from which he rises a beggar,--and
worse than this, he still further prejudices his cause with Isabella
by failing to attend the tournament, thus forfeiting his knightly
honor.
The second act opens upon an orgy of the evil spirits in the cavern of
St. Irene. Bertram is present, and makes a compact with them to loose
Robert from his influence if he does not yield to his desires at once.
Alice, who has an appointment with the minstrel in the cavern,
overhears the compact, and determines to save him. Robert soon
appears, mourning over his losses and dishonor; but Bertram promises
to restore everything if he will visit the ruined Abbey of St.
Rosalie, and carry away a mystic branch which has the power of
conferring wealth, happiness, and immortality. He consents; and in the
next scene Bertram pronounces the incantation which calls up the
buried nuns. Dazed with their ghostly fascinations, Robert seizes the
branch and flies. His first use of it is to enter the apartments of
Isabella, unseen by her or her attendants, all of whom become
immovable in the presence of the mystic talisman. He declares his
intention of carrying her away; but moved by her entreaties he breaks
the branch, which destroys the charm. In the last act Bertram is at
his side again, trying to induce him to sign the fatal compact. The
strains of sacred music which he hears, and the recollections of his
mother, restrain him. In desperation Bertram announces himself as his
fiend-father. He is about to yield, when Alice appears and reads to
him his mother's warning against the fiend's temptation. As he still
hesitates, the clock strikes, and the spell is over. Bertram
disappears, and the scene changes to the cathedral, where Isabella in
her wedding robes awaits the saved Robert.
From the musical point of view "Robert le Diable" is interesting, as
it marks the beginning of a new school of grand opera. With this work,
Meyerbeer abandoned the school of Rossini and took an independent
course. He cut loose from the conventional classic forms and gave the
world dramatic music, melodies of extraordinary dramatic force,
brilliant orchestration, stately pageants, and theatrical effects.
"Robert le Diable" was the first of the subsequent great works from
his pen which still further emphasized his new and independent
departure. It is only necessary to call attention to a few prominent
numbers, for this opera has not as many instances of these
characteristics as those which followed and which are elsewhere
described. The first act contains the opening bacchanalian chorus
("Versiamo a tazza plena"), which is very brilliant in character; the
minstrel's song in the same scene ("Regnava un tempo in Normandia"),
with choral accompaniment; and a very tender aria for Alice ("Vanne,
disse, al figlio mio"), in which she delivers his mother's message to
Robert. The second act opens with a spirited duet between Bertram and
Raimbaut, leading up to a powerful and characteristic chorus of the
evil spirits ("Demoni fatali"). An aria for Alice ("Nel lasciar in
Normandia"), a duet between Bertram and Alice ("Trionfo bramato"), and
an intensely dramatic trio between Bertram, Alice, and Robert ("Lo
sguardo immobile"), prepare the way for the great scena of the nuns,
known as "La Temptation," in which Meyerbeer illustrates the fantastic
and oftentimes ludicrous scene with music which is the very essence of
diabolism, and in its way as unique as the incantation music in "Der
Freischutz." The third act contains two great arias. The first
("Invano il fato"), sung at the opening of the act by Isabella, and
the second the world-famous aria "Roberto, o tu che adoro," better
known by the French words ("Robert! toi que j'aime"). The closing act
is specially remarkable for the great terzetto in its finale, which is
one of the most effective numbers Meyerbeer has written. The judgment
of Hanslick, the great Viennese critic, upon this work is interesting
in this connection. He compares it with "William Tell" and
"Masaniello," and finds that in musical richness and blended effects
it is superior to either, but that a single act of either of the works
mentioned contains more artistic truth and ideal form than "Robert le
Diable,"--a judgment which is largely based upon the libretto itself,
which he condemns without stint.
DINORAH
"Dinorah," an opera in three acts, founded upon a Breton idyl, words
by Barbiere and Carré, was first produced at the Opera Comique, Paris,
April 4, 1859, under the title of "Le Pardon de Ploermel." It contains
but three principal characters, and these were cast as follows:
Dinorah, Mme. Cabel; Corentin, M. Sainte-Foy; and Höel, M. Faure. On
the 26th of July, 1859, Meyerbeer conducted the work himself at Covent
Garden, London, with Mme. Miolan-Carvalho as Dinorah, and it was also
produced in the same year in English by the Pyne-Harrison troupe. The
first representative of Dinorah in this country was Mlle. Cordier.
The scene of the opera is laid in Brittany, and when the first act
opens, the following events are supposed to have transpired. On one of
the days set apart by the villagers of Ploermel for a pilgrimage to
the shrine of the Virgin, Höel, the goatherd, and Dinorah, his
affianced, set out to receive a nuptial benediction. The festivity is
interrupted by a thunder-storm, during which Les Herbiers, the
dwelling-place of Dinorah, is destroyed by lightning. Dinorah is in
despair. Höel determines to make good the loss, and upon the advice of
Tonick, an old wizard, resolves to go in quest of a treasure which is
under the care of the Korigans, a supernatural folk belonging to
Brittany. In order to wrest it from them, however, it is necessary for
Höel to quit the country and spend a year in solitude in a desolate
region. He bravely starts off, and Dinorah, thinking he has abandoned
her, loses her wits, and constantly wanders about the woods with her
goat, seeking him. Meanwhile the year expires and Höel returns,
convinced that he has the secret for securing the treasure.
The overture to the work is unique among operatic overtures, as it has
a chorus behind the curtain interwoven with it. It is a picture of the
opera itself, and contains a will-o'-the-wisp passage, a rustic song
with accompaniment of goat-bells, a storm, and in the midst of the
storm a chant to the Virgin, sung by the unseen chorus, and then a
Pilgrimage march, the whole being in the nature of a retrospect. The
curtain rises upon a rustic chorus, after which Dinorah appears,
seeking her goat, and sings a slumber-song ("Si, carina, caprettina")
which is very graceful, and concludes with phrases in imitation of
birds. In the next scene, Corentin, the bagpiper, who has been away
three months, and is nearly dead with terror of goblins and fairies,
returns to his cottage, and to reassure himself sings a very quaint
and original song ("Sto in casa alfine"), to the accompaniment of his
pipe. Dinorah suddenly appears and enters the cottage, and much to his
alarm keeps him playing and singing, which leads to a very animated
vocal contest between her and the bagpiper. It is abruptly terminated,
however, by the arrival of Höel. Dinorah makes her escape by a window,
and Höel relates to Corentin the story of the Korigans' treasure. As
the first person who touches it will die, he determines that Corentin
shall be his messenger, and to rouse his courage sends for wine. While
Corentin is absent, Höel sings an aria ("Se per prender") which has
always been a favorite with barytones. After Corentin returns, the
tinkling of the goat's bell is heard. Dinorah appears in the distance,
and a charming trio closes the act, to the accompaniment of the
whistling wind and booming thunder on the contra basses and drums of
the orchestra.
The second act opens with a drinking-song by wood-cutters, and as they
withdraw, Dinorah enters, seeking Höel. She sings a tender lament,
which, as the moonlight falls about her, develops into the famous
"Shadow Song," a polka mazurka, which she sings and dances to her
shadow. The aria, "Ombra leggier," is fairly lavish in its texture of
vocal embroidery, and has always been a favorite number on the concert
stage. The next scene changes to the Val Maudit (the Cursed Vale), a
rocky, cavernous spot, through which rushes a raging torrent bridged
by a fallen tree. Höel and Corentin appear in quest of the treasure,
and the latter gives expression to his terror in a very characteristic
manner, with the assistance of the orchestra. Dinorah is heard singing
the legend of the treasure ("Chi primo al tesor"), from which Corentin
learns that whoever touches it first will die. He refuses to go on,
and a spirited duet ensues between them, which is interrupted by the
entrance of Dinorah and her goat. Höel, fancying it is a spirit sent
to keep him back, sings a very beautiful aria ("Le crede il padre").
The act closes with the fall of Dinorah, who attempts to cross the
bridge, into the torrent, and her rescue by Höel, to the accompaniment
of a storm set to music. The scene, though melodramatic, is very
strong in its musical effects.
The last act opens with a scene in striking contrast, introduced with
a quintet of horns, followed by a hunter's solo, a reaper's solo, a
duet for shepherds; and a quartet in the finale. Höel arrives, bearing
the rescued Dinorah, and sings to her an exquisite romance ("Sei
vendicata assai"). The magic of his singing and her bath in the
torrent restore her wandering senses. Höel persuades her that all
which has transpired has been a dream. The old song of the Pardon of
Ploermel comes to her, and as she tries to recall it the chorus takes
it up ("Santa Maria! nostra donna") as it was heard in the overture. A
procession is seen in the distance, and amid some exquisite pageant
music Höel and Dinorah wend their way to the chapel, where the nuptial
rites are supposed to be performed.
THE PROPHET.
"Le Prophète," an opera in five acts, words by Scribe, was first
produced in Paris, April 16, 1849, with Mme. Viardot-Garcia as Fides,
and M. Roger as John of Leyden. "The Prophet" was long and carefully
elaborated by its composer. Thirteen years intervened between it and
its predecessor, "The Huguenots;" but in spite of its elaboration it
can only be said to excel the latter in pageantry and spectacular
effect, while its musical text is more declamatory than melodious, as
compared with "The Huguenots." In this sense it was disappointing when
first produced.
The period of the opera is 1534. The first act transpires in Dordrecht
and Leyden, in Holland, and the other three in Munster, Germany. The
text closely follows the historical narrative of the period when
Munster was occupied by John of Leyden and his fanatics, who, after he
had been crowned by them as Emperor of Germany, was driven out by the
bishop of the diocese. The first act opens in the suburbs of
Dordrecht, near the Meuse, with the château of Count Oberthal, lord of
the domain, in the distance. After a very fresh and vigorous chorus of
peasants, Bertha, a vassal of the Count, betrothed to John of Leyden,
enters and sings a cavatina ("Il cor nel sento"), in which she gives
expression to emotions of delight at her approaching union. As she
cannot go to Leyden, where the marriage is to take place, without the
Count's consent, Fides, the mother of John, joins her to make the
request. In the mean time the three Anabaptists, Zacarie, Gione, and
Mathisen, leaders of the revolt in Westphalia, arrive on their mission
of raising an insurrection in Holland, and in a sombre trio of a
religious but stirring character ("O libertade") incite the peasants
to rise against their rulers. They make an assault upon the castle of
Count Oberthal, who speedily repels them, and turns the tide of
popular feeling against the Anabaptists, by recognizing Gione as a
former servant who had been discharged from his service for
dishonesty. Fides and Bertha then join in a romanza ("Della mora un
giorno"), imploring his permission for the marriage of Bertha and
John. The Count, however, struck with her beauty, not only refuses,
but claims her for himself, and seizes both her and Fides, and the act
closes with a repetition of the warning chant of the Anabaptists.
The second act opens in the hostelry of John of Leyden, and is
introduced with a waltz and drinking-chorus, in the midst of which the
Anabaptists arrive and are struck with his resemblance to a portrait
of David in the Munster Cathedral. From a very descriptive and highly
wrought scena ("Sotto le vasti arcati") sung by him they also learn
that he is given to visions and religious meditations. They assure him
that he shall be a ruler; but in a beautiful romanza ("Un impero piu
soave") he replies that his love for Bertha is his only sovereignty.
Just as they depart, Bertha, who has escaped, rushes in and claims his
protection. He conceals her; but has hardly done so when the Count
enters with his soldiers, bringing Fides as a prisoner, and threatens
to kill her unless Bertha is given up. He hesitates; but at last, to
save his mother's life, delivers Bertha to her pursuers. Mother and
son are left alone, and she seeks to console him. In this scene occurs
one of the most dramatic and intense of Meyerbeer's arias ("O figlio
mio, che diro"), known more popularly by its French words, beginning,
"Ah! mon fils." It has enjoyed a world-wide popularity, and still
holds its place in all its original freshness and vigor. Fides hardly
disappears before the ominous chant of the Anabaptists is heard again.
He does not need much persuasion now. They make their compact in a
quartet of magnificent power, which closes the act; and some of John's
garments are left behind stained with blood, that his mother may
believe he has been killed.
The third act opens in the Anabaptists' camp in a Westphalian forest,
a frozen lake near them, and Munster, which they are besieging, in the
distance. In the second scene Zacarie sings a stirring pasan of
victory ("In coppia son"), followed by the beautiful ballet music of
the skaters as they come bringing provisions to the troops. Count
Oberthal meanwhile has been taken prisoner and brought into camp. A
buffo trio between himself and his captors follows, in which Gione
penetrates his disguise and recognizes him. They are about to fall
upon him; but John, learning from him that Bertha is still alive and
in Munster, saves his life. He immediately resolves to take the place
by assault, rouses his followers with religious chants of a martial
character, and the act concludes with the march on the city.
The fourth act opens in the city itself after its capture. A mendicant
appears in the public square begging for bread. It is Fides; and in a
plaintively declamatory aria of striking power ("Pieta! pieta!") she
implores alms. She meets with Bertha disguised as a pilgrim, and bent
upon the destruction of the Prophet, who, she believes, has been the
cause of John's death. The next scene opens in the cathedral, where
the coronation of the Prophet is to take place; and among all
Meyerbeer's pageants none are more imposing than this, with its
accompaniment of pealing bells, religious chants, the strains of the
organ, and the stately rhythms of the great Coronation March. It is a
splendid prelude to the dramatic scene which follows. In the midst of
the gorgeous spectacle, the voice of Fides is heard claiming the
Prophet as her son. John boldly disavows her, and tells his followers
to kill him if she does not confirm the disavowal. The feelings of the
mother predominate, and she declares that she is mistaken. The
multitude proclaim it a miracle, and Fides is removed as a prisoner.
The dramatic situation in this finale is one of great strength, and
its musical treatment has hardly been excelled.
The last act opens with a trio by the Anabaptist leaders, who,
learning that the enemy is approaching in force, determine to save
themselves by betraying John. In the third scene Fides in prison,
learning that John is coming to see her, invokes the punishment of
Heaven upon him in the passionate aria, "Spirto superno." A duet ("Tu
che del cielo") of great power follows, in which Fides convinces him
of the errors of his course. As they are about to leave, Bertha
enters, bent upon the destruction of the palace, and in the trio which
ensues learns that John and the Prophet are one. She stabs herself,
and dying in the arms of Fides curses him. The last scene opens in a
banqueting-hall of the palace, where John is revelling, with the
Anabaptists around him. He sings a bacchanalian song of a wild
description ("Beviam e intorno"), and, as it closes, the Bishop of
Munster, the Elector, Count Oberthal, and the three Anabaptists who
have betrayed him, enter the apartment. The revenge which John has
planned is now consummated. An explosion is heard. Flames break out on
all sides. Fides rushes in and forgives her son, and the Prophet, his
mother, and his enemies perish together.
Although "The Prophet" did not meet with the popularity of some of his
other operas, it contains some of the most vigorous and dramatic music
Meyerbeer has written,--notably the arias of Zacarie and Fides, the
skating-ballet, the Coronation March, and the drinking-song. As a
pageant, "The Prophet" has never been surpassed.
THE AFRICAN.
"L'Africaine," a grand opera in five acts, words by Scribe, was first
produced at the Académie, Paris, April 28, 1865, with the following
cast:--
SELIKA Mme. MARIE SAXE.
INEZ Mlle. MARIE BATTEO.
VASCO DI GAMA M. NAUDIN.
NELUSKO M. FAURE.
DON PEDRO M. BELVAL.
HIGH PRIEST M. OBIN.
The libretto of the opera was first given to Meyerbeer by Scribe in
1838; but such were the alterations demanded by the composer, that at
last Scribe withdrew it altogether, although the music was already
set. In 1852 he furnished a revised libretto, and the music was
revised to suit it. The work was not finished until 1860, and owing to
the difficulty of filling the cast satisfactorily, was not brought to
rehearsal until the fall of 1863. While still correcting and improving
it, Meyerbeer died, and it was not produced until two years later.
Shortly after the Paris performance it was brought out in London, with
Mlle. Lucca in the part of Selika. Mme. Zucchi was one of the earliest
representatives of the slave in this country.
The scene of the opera is laid in Portugal and Africa, and the first
act opens in the council chamber of the king of the former country.
Inez, his daughter, is mourning the long absence of her betrothed,
Vasco di Gama the explorer. Her father, wishing to marry her to Don
Pedro, the President of the Council, tries to persuade her that Vasco
has perished by shipwreck; but the refutation of the story comes in
the sudden appearance of Vasco himself, who is summoned before the
Council and narrates to them his discovery of a strange land,
producing two of the natives, Selika and Nelusko, as confirmations of
his announcement. Don Pedro incites the inquisitors to deny the truth
of the story, at which Vasco breaks out in such a furious rage against
them that he is arrested and thrown into a dungeon. The second act
opens in the prison, where Selika is watching the slumbering Vasco. As
he wakens she declares her love for him, and at the same time saves
him from the dagger of the jealous Nelusko. She also indicates to him
the course he should have taken to discover the island of which he is
in quest. To save her lover, Inez consents to wed Don Pedro; and the
latter, to cheat Vasco of his fame, takes command of the expedition
under the pilotage of Nelusko, and sets sail for the new land. The
Indian, thirsting for vengeance, directs the vessel out of her course
towards a reef; but Vasco, who has followed in another vessel, arrives
in time to warn Don Pedro of his danger. He disregards the warning,
distrusts his motives, and orders him to be shot; but before the
sentence can be carried out, the vessel strikes and is boarded by the
savages, who slaughter the commander and most of his men. The fourth
act opens on the island which Selika pointed out on the map, and of
which she is queen. To save him from her subjects, she declares
herself his spouse; but as the marriage rite is about to be
celebrated, Vasco hears the voice of Inez in the distance, deserts
Selika, and flies to her. In the last act, as the vessel sails away
bearing Vasco and Inez back to Portugal, Selika throws herself down
under the poisonous manchineel-tree and kills herself with its fatal
flowers; expiring in the arms of Nelusko, who shares the same fate.