("Del Tago sponde addio"), which recalls the English song, "Isle of
Beauty, fare thee well," and is followed by a bold and flowing
terzetto. The third scene opens with a noble and stately chorus ("Tu
che la terra adora") sung by the basses in unison, opening the Council
before which Vasco appears; and the act closes with an anathema hurled
at him ("Ribelle, insolente"),--a splendid ensemble, pronounced in its
rhythm and majestic in the sweep of its passionate music.
The second act opens with the quaint slumber-song ("In grembo a me")
which Selika sings to Vasco in prison. It is oriental in color, and is
broken here and there by a barcarole which Vasco murmurs in his sleep.
In striking contrast with its dreamy, quiet flow, it leads up to a
passionate aria ("Tranquillo e già") based upon a strong and fiery
motive. In the next scene follows an aria of equal vigor sung by
Nelusko ("Figlia dei Re"), in which his devotion to Selika changing to
his hatred of Vasco is characterized by a grand crescendo. The act
closes with a vigorous sextet, the motive of which is strangely
similar to the old song, "The Minstrel Boy."
The third act contains a very impressive number, Nelusko's invocation
of Adamastor ("Adamastor, re dell' onde profondo"), but is mainly
devoted to the ship scene, which, though grotesque from the dramatic
point of view, is accompanied by music of a powerful and realistic
description, written with all the vividness and force Meyerbeer always
displays in his melodramatic ensembles. The fourth act contains the
most beautiful music of the opera,--Vasco's opening aria, "O
Paradiso," an exquisite melody set to an equally exquisite
accompaniment; the ensemble in the fourth scene, in which Selika
protects Vasco and Nelusko swears vengeance ("Al mio penar de fine");
the grand duet between Vasco and Selika ("Dove son"), which has often
been compared to the duet in the fourth act of "The Huguenots," though
it has not the passionate intensity of the scene between Raoul and
Valentin; and the graceful choruses of the Indian maidens and Inez's
attendants which close the act.
The last act contains two scenes,--the first in Selika's gardens,
where there is a long and spirited duet between Inez and Selika. The
second, known as "La Scene du Mancenillier," has a symphonic prelude
in the form of a funeral march, based upon a fascinating melody, which
is beyond question the finest of Meyerbeer's orchestral numbers in any
of his works. From this point the story hastens to its tragic
dénouement; and nearly the entire scene is occupied with Selika's
dying song, which opens with a majestic apostrophe to the sea ("Da qui
io vedo il mar"), then turns to sadness as she sings to the fatal tree
("O tempio sontuoso"), and at the close develops into a passionate
outcry of joy ("O douce extase"). Though the plot of "L'Africaine" is
often absurd, many of its incidents preposterous, and some of its
characters unattractive, the opera is full of effective situations,
and repeatedly illustrates Meyerbeer's powers of realization and his
knowledge of effects.
MOZART.
Johann Chrysostomus Wolfgang Amadeus Mozart was born at Salzburg, Jan.
27, 1756. With this wonderful child music was a divine gift, for his
first work, a minuet and trio for piano, was written in his fifth
year. He began to study with his father when but three years of age,
and at once gave signs of extraordinary promise. His sister was also
very talented; and in 1762 the father determined to travel with his
prodigies. They were absent a year, the most of that time being spent
at Munich, Vienna, and Presburg, where they created a furor by their
performances. A longer journey was then resolved upon. The principal
German cities, Brussels, Paris, London, the Hague, Amsterdam, and the
larger towns of Switzerland were visited in succession, and everywhere
the children were greeted with enthusiasm, particularly when they
played before the French and English courts. They returned to Salzburg
in 1766, already famous all over Europe; and during the next two years
Mozart composed many minor works. In 1768 he was again in Vienna,
where he produced his little operetta, "Bastien und Bastienne," and in
the same year the Archbishop of Salzburg made him his concertmeister.
The next year he went to Italy, where he both studied and composed,
and was received with extraordinary honors. In 1771 he brought out his
opera, "Mitridate, Rè di Ponto," at Milan, with great success. The
next year he produced "Lucio Silla," also in Milan, and during the
next four years composed a great number of symphonies and other
instrumental works. The mass of music which he composed up to his
twenty-first year is simply bewildering. In 1781 he brought out
"Idomeneo" at Munich, which left no doubt as to his position as a
dramatic composer. In 1782 his "Entfuhrung aus dem Serail" was
produced at Vienna by the Emperor's command. His next great opera was
"Le Nozze di Figaro," which was performed in 1786, and made all Vienna
go wild. "Don Giovanni" followed it the next year, and was received
with equal enthusiasm. In 1789 he composed the famous "Requiem;" and
the same year the "Zauberflöte," his last great opera, appeared, and
made a success even greater than its two great predecessors. Two years
later, Dec. 5, 1791, Mozart died in poverty, and amid the saddest of
surroundings. One of the world's greatest geniuses was carried to his
last resting-place unaccompanied by friends, and was buried in the
common pauper's grave. God endowed him with a wonderful genius, which
the world of his time could not recognize.
THE MARRIAGE OF FIGARO.
"Le Nozze di Figaro," in the German version, "Die Hochzeit des
Figaro," an opera buffa in four acts, the words by Lorenzo da Ponte,
after Beaumarchais's comedy, "Le Mariage de Figaro," was first
produced at the National Theatre, Vienna, May 1, 1786, with the
following cast:--
COUNTESS ALMAVIVA Signora STORACE.
SUSANNA Signora LASCHI.
CHERUBINO Signora MANDINI.
MARCELLINA Signora BUSSANI.
BARBARINA Signora GOTTLIEB.
COUNT ALMAVIVA Signor MANDINI.
FIGARO Signor BENUCCI.
BARTOLO Signor OCCHELEY.
BASILIO Signor BUSSANI.
It was first brought out in Paris in 1793, with Beaumarchais's spoken
dialogue, in five acts, as "Le Mariage de Figaro," and in 1858 at the
Théâtre Lyrique in the same city, in four acts, as "Les Noces de
Figaro," with text by Barbiere and Carré. The late Mme. Parepa-Rosa
introduced it in this country in its English form with great success.
At the time the libretto was written, Beaumarchais's satirical comedy,
"Le Mariage de Figaro," had been performed all over Europe, and had
attracted great attention. It had been prohibited in Paris, and had
caused great commotion in Vienna. Mozart's notice was thus drawn to
it, and he suggested it to Da Ponte for a libretto, and the Emperor
Joseph subsequently commissioned the composer to set it to music,
though he had already composed a portion of it. The entire opera was
written during the month of April, and the wonderful finale to the
second act occupied him for two nights and a day. When it came to a
performance, its success was remarkable. Kelly, who was present, says,
in his Reminiscences: "Never was there a greater triumph than Mozart
enjoyed with his 'Figaro.' The house was crowded to overflowing, and
almost everything encored, so that the opera lasted nearly double the
usual time; and yet at its close the public were unwearied in clapping
their hands and shouting for Mozart." Popular as it was, it was soon
laid aside in Vienna through the influence of the Italian faction
headed by Salieri, one of Mozart's rivals.
The story of the opera is laid in Spain. Count Almaviva, who had won
his beautiful Countess with the aid of Figaro, the barber of Seville,
becomes enamoured of her maid Susanna, and at the same time, by the
collusion of the two, in order to punish him, is made jealous by the
attentions paid to the Countess by Cherubino, the page. Meanwhile
Figaro, to whom Susanna is betrothed, becomes jealous of the Count for
his gallantry to her. Out of these cross-relations arise several
humorous surprises. Besides these characters there are two others who
have been disappointed in love,--Bartolo, who has been rejected by
Susanna, and Marcellina, whose affection for Figaro has not been
requited. The Count seeks to get rid of Cherubino by ordering him off
to the wars, but he is saved by Susanna, who disguises him in female
attire. The Countess, Susanna, Figaro, and Cherubino then conspire to
punish the Count for his infidelity. The latter suddenly appears at
his wife's door, and finding it locked demands an entrance. Cherubino,
alarmed, hides himself in a closet and bars the door. The Count is
admitted, and finding the Countess in confusion insists upon searching
the closet. He goes out to find some means of breaking in the door,
and Cherubino improves the opportunity to jump out of the window,
while Susanna takes his place and confronts the puzzled Count.
Antonio, the gardener, comes in and complains that some one has jumped
from the window and broken his flower-pots. Figaro at once asserts
that he did it.
A ludicrous side plot unfolds at this point. Marcellina appears with a
contract of marriage signed by Figaro, bringing Bartolo as a witness.
The Count decides that Figaro must fulfil his contract, but the latter
escapes by showing that he is the son of Marcellina, and that Bartolo
is his father. Meanwhile the main plot is developed in another
conspiracy to punish the Count. Susanna contrives a rendezvous with
the Count at night in the garden, having previously arranged with the
Countess that she should disguise herself as the maid, the latter also
assuming the part of the Countess, and arrive in time to surprise the
two. The page also puts in an appearance, and gets his ears boxed for
his attentions to the disguised Countess. Figaro, who has been
informed that Susanna and the Count are to meet in the garden, comes
on the scene, and in revenge makes a passionate declaration of love to
the supposed Countess, upon which the Count, who is growing more and
more bewildered, orders lights and makes his supposed wife unveil. The
real wife does the same. Covered with confusion, he implores pardon of
the Countess, which is readily given. The two are reconciled, and
Figaro and Susanna are united.
The whole opera is such a combination of playfulness and grace that it
is a somewhat ungracious task to refer to particular numbers. In these
regards it is the most Mozartean of all the composer's operas. The
first act opens with a sparkling duet between Figaro and Susanna, in
which she informs him of the Count's gallantries. As she leaves,
Figaro, to the accompaniment of his guitar, sings a rollicking song
("Se vuol ballare, Signor Contino"), in which he intimates that if the
Count wishes to dance he will play for him in a style he little
expects. In the second scene Bartolo enters, full of his plans for
vengeance, which he narrates in a grim and grotesque song ("La
Vendetta"). The fourth scene closes with an exquisite aria by
Cherubino ("Non so piu cosa son"). After an exceedingly humorous trio
("Cosa sento? tosto andate") for the Count, Basilio and Susanna, and a
bright, gleeful chorus ("Giovanni lieti"), Figaro closes the act with
the celebrated aria, "Non piu andrai." Of the singing of this great
song at the first rehearsal of the opera Kelly says in his
Reminiscences: "I remember Mozart well at the first general rehearsal,
in a red furred coat and a gallooned hat, standing on the stage and
giving the tempi. Benucci sang Figaro's aria, 'Non piu andrai,' with
the utmost vivacity and the full strength of his voice. I stood close
beside Mozart, who exclaimed, _sotto voce_, 'Brava! brava! Benucci!'
and when that fine passage came, 'Cherubino, alla vittoria, alla
gloria militar,' which Benucci gave in a stentorian voice, the effect
was quite electrical, both on the singers on the stage and the
musicians in the orchestra. Quite transported with delight, they all
called out, 'Brava! brava, Maestro! viva! viva! viva il grande
Mozart!' In the orchestra the applause seemed to have no end, while
the violin-players rapped their bows on their desks. The little
Maestro expressed his gratitude for the enthusiasm, testified in so
unusual a manner, by repeatedly bowing."
The second act is the masterpiece of the opera, and contains in itself
music enough to have made any composer immortal. It opens with a
serious aria by the Countess ("Porgi amor") followed by Cherubino's
well-known romanza ("Voi che sapete,") one of the sweetest and most
effective songs ever written for contralto, and this in turn by
Susanna's coquettish song, "Venite, inginocchiatevi," as she disguises
Cherubino. A spirited trio and duet lead up to the great finale, begun
by the Count, ("Esci omai, garzon mal nato"). Upon this finale Mozart
seems to have lavished the riches of his musical genius with the most
elaborate detail and in bewildering profusion. It begins with a duet
between the Count and Countess, then with the entrance of Susanna
changes to a trio, and as Figaro and Antonio enter, develops into a
quintet. In the close, an independent figure is added by the entrance
of Marcellina, Barbarina, and Basilio, and as Antonio exits, this trio
is set against the quartet with independent themes and tempi.
The third act opens with a duet ("Crudel, perche finora") for the
Count and Countess, followed by a very dramatic scena for the Count,
beginning with the recitative, "Hai già vinta la causa?" which in turn
leads up to a lively and spirited sextet ("Riconosci in questo
amplesso"). The two numbers which follow the sextet are recognized
universally as two of the sweetest and most melodious ever
written,--the exquisite aria, "Dove Sono," for the Countess, and the
"Zephyr Duet," as it is popularly known ("Canzonetta su l'aria. Che
soave zeffiretto"), which stands unsurpassed for elegance, grace, and
melodious beauty. The remaining numbers of prominent interest are a
long and very versatile buffo aria for tenor ("In quegli anni"), sung
by Basilio, Figaro's stirring march number ("Ecco la marcia"), and a
lovely song for Susanna ("Deh, vieni, non tardar"). The opera is full
of life and human interest. Its wonderful cheerfulness and vital
sympathy appeal to every listener, and its bright, free, joyous tone
from beginning to end is no less fascinating than the exquisite
melodies with which Mozart has so richly adorned it. Like "Don
Giovanni" and the "Magic Flute," the best test of the work is, that it
is rounding its first century as fresh and bright and popular as ever.
DON GIOVANNI.
"Don Giovanni," an opera buffa in two acts, words by Da Ponte, was
first produced at Prague, Oct. 29, 1787. The full title of the work is
"Il dissoluto punito, ossia il Don Giovanni," and the subject was
taken from a Spanish tale by Tirso de Molina, called "El combidado de
piedra." The original cast of the opera was as follows:--
DONNA ANNA Signora TERESA SAPORITTI.
DONNA ELVIRA Signora MICELLI.
ZERLINA Signora BONDINI.
DON OTTAVIO Signor BAGLIONI.
DON GIOVANNI Signor LUIGI BASSI.
LEPORELLO Signor FELICE PONZIANI.
MASETTO and DON PEDRO Signor LOLLI.
The success of the "Marriage of Figaro" prepared the way for "Don
Giovanni." Mozart wrote the opera in Prague, and completed it, except
the overture, Oct. 28, 1787, about six weeks after he arrived in the
city. The first performance took place the next evening. The overture
was written during the night, the copyist received the score at seven
o'clock in the morning, and it was played at eight in the evening. He
had only a week for stage rehearsals, and yet the opera created a
furor. As an instance of his extraordinary memory, it is said that the
drum and trumpet parts to the finale of the second act were written
without the score, from memory. When he brought the parts into the
orchestra, he remarked, "Pray, gentlemen, be particularly attentive at
this place," pointing to one, "as I believe that there are four bars
either too few or too many." His remark was proved true. It is also
said that in the original scores the brass instruments frequently have
no place, as he wrote the parts continually on separate bits of paper,
trusting to his memory for the score. The next year (1788) the opera
was brought out in Vienna, and for this production he wrote four new
numbers,--a recitative and aria for Donna Elvira ("In quali excessi, o
numi"); an aria for Masetto ("Ho capito, Signor, si"); a short aria
for Don Ottavio ("Dalla sua pace"); and a duet for Zerlina and
Leporello ("Per queste tue manine").
The scene of the opera is laid in Spain. Don Giovanni, a licentious
nobleman, becomes enamoured of Donna Anna, the daughter of the
Commandant of Seville, who is betrothed to Don Ottavio. He gains
admission to her apartments at night, and attempts to carry her away;
but her cries bring her father to her rescue. He attacks Don Giovanni,
and in the encounter is slain. The libertine, however, in company with
his rascally servant, Leporello, makes good his escape. While the
precious pair are consulting about some new amour, Donna Elvira, one
of his victims, appears and taxes him with his cruelty; but he flies
from her, leaving her with Leporello, who horrifies her with an
appalling list of his master's conquests in various countries. Don
Giovanni next attempts the ruin of Zerlina, a peasant girl, upon the
very eve of her marriage with her lover, Masetto. Donna Elvira,
however, appears and thwarts his purposes, and also discovers him to
Donna Anna as the murderer of her father, whereupon she binds her
lover, Don Ottavio, to avenge his death. Don Giovanni does not abandon
his purpose, however. He gives a fête, and once more seeks to
accomplish Zerlina's ruin, but is again thwarted by her three friends.
The second act opens in a public square of Seville at night. Don
Giovanni and Leporello appear before the house of Donna Elvira, where
Zerlina is concealed. Leporello, disguised in his master's cloak, and
assuming his voice, lures Donna Elvira out, and feigning repentance
for his conduct induces her to leave with him. Don Giovanni then
proceeds to enter the house and seize Zerlina; but before he can
accomplish his purpose, Masetto and his friends appear, and supposing
it is Leporello before them, demand to know where his master is, as
they are bent upon killing him. Don Giovanni easily disposes of
Masetto, and then rejoins his servant near the equestrian statue,
which has been erected to the memory of the murdered Don Pedro. To
their astonishment the statue speaks, and warns the libertine he will
die before the morrow. Don Giovanni laughs at the prophecy, and
invites the statue to a banquet to be given the next day at his house.
While the guests are assembled at the feast, an ominous knock is heard
at the door and the statue unceremoniously enters. All except
Leporello and Don Giovanni fly from the room in terror. The doomed man
orders an extra plate, but the statue extends its hand and invites him
to sup with it. He takes the marble hand, and its cold fingers clutch
him in a firm grasp. Thrice the statue urges him to repent, and as
many times he refuses; whereupon, as it disappears, demons rise, seize
Don Giovanni, and carry him to the infernal regions.
Musically considered, "Don Giovanni" is regarded as Mozart's greatest
opera, though it lacks the bright joyousness of the "Marriage of
Figaro," and its human interest. Its melodies are more pronounced, and
have entered more freely into general use, however, than those of the
former. Repulsive as the story is, some of the melodies which
illustrate it have been impressed into the service of the church. The
first act is introduced with a humorous aria by Leporello ("Notte e
giorno faticar"), in which he complains of his treatment by his
master. After the murder of Don Pedro, in the second scene, occurs a
trio between Donna Elvira, Don Giovanni, and Leporello, the leading
motive of which is a beautiful aria sung by Donna Elvira ("Ah! chi mi
dici mai"). The scene closes with the great buffo aria of Leporello
("Madamina il catalogo") popularly known as the "Catalogue Song,"
which is full of broad humor, though its subject is far from
possessing that quality. In the third scene occur the lovely duet for
Don Giovanni and Zerlina ("La ci darem, la mano"), two arias of great
dramatic intensity for Donna Elvira ("Mi tradi") and Donna Anna ("Or
sai chi l'onore"), and Don Giovanni's dashing song, "Finchè dal vino,"
the music of which is in admirable keeping with the reckless nature of
the libertine himself. The last scene is a treasure-house of music,
containing the exquisitely coquettish aria, "Batti, batti," which
Zerlina sings to the jealous Masetto, and the beautiful trio of Donna
Anna, Donna Elvira, and Don Ottavio, known as the Mask Trio, set off
against the quaint minuet music of the fête and the hurly-burly which
accompanies the discovery of Don Giovanni's black designs.
The second act opens with a humorous duet between master and servant
("Eh, via, buffone"), followed by the trio, "Ah! taci, inquisto care,"
as Elvira appears at her window. After she leaves with Leporello, Don
Giovanni sings a serenade ("Deh? vieni all finestra") to Zerlina,
which is interrupted by the appearance of Masetto and his friends.
Zerlina is summoned to the scene by the cries of Masetto after Don
Giovanni has beaten him, and sings to him for his consolation the
beautiful aria, "Vedrai carino," which has more than once been set to
sacred words, and has become familiar as a church tune,
notwithstanding the unsanctity of its original setting. The second
scene opens with a strong sextet ("Sola, sola, in bujo loco"),
followed by the ludicrously solemn appeal of Leporello, "Ah! pieta,
signori miei," and that aria beloved of all tenors, "Il mio tesoro."
The finale is occupied with the scenes at the statue and at the
banquet, a short scene between Donna Anna and Don Ottavio intervening,
in which she sings the aria, "Non mi dir." The statue music throughout
is of a sepulchral character, gradually developing into strains almost
as cold and ominous as the marble of the Commandant himself, and yet
not without an element of the grotesque as it portrays the terror of
Leporello.
It is said that in revenge at his Italian rivals, Mozart introduced an
aria from Martin's "Cosa Rara," arranged for wind instruments, and
also a favorite aria of Sarti's, to be played at the banquet when the
hungry Leporello beholds his master at the table and watches for some
of the choice morsels, and parodied them in an amusing manner. He
never could retain an enmity very long, however, and so at the end of
the banquet he parodied one of his own arias, the famous "Non piu
andrai," by giving it a comical turn to suit Leporello's situation.
The criticism of one of the best biographers of Mozart upon this opera
is worth repeating in this connection: "Whether we regard the mixture
of passions in its concerted music, the profound expression of
melancholy, the variety of its situations, the beauty of its
accompaniment, or the grandeur of its heightening and protracted scene
of terror--the finale of the second act,--'Don Giovanni' stands alone
in dramatic eminence."
THE MAGIC FLUTE.
"Die Zauberflöte," an opera in two acts, words by Emanuel
Schickaneder, was first produced at Vienna, Sept. 30, 1791, with the
following cast:
QUEEN OF NIGHT Mme. HOFER.
PAMINA Mlle. GOTTLIEB.
PAPAGENA Mme. GORL.
TAMINO Herr SCHACK.
MONOSTATOS Herr GORL.
SARASTRO Herr SCHICKANEDER, Sr.
PAPAGENO Herr SCHICKANEDER, Jr.