followed the "Cosi fan tutte," which was given in January, 1791. In
1780 Mozart had made the acquaintance of Schickaneder at Salzburg. He
was a reckless, dissipated theatre manager, and at the time of the
composition of the "Magic Flute" was running a small theatre in
Vienna. The competition of the larger theatres had nearly beggared
him, and in the midst of his perplexities he applied to Mozart to
write him an opera, and intimated that he had discovered an admirable
subject for a fairy composition. Mozart at first objected; but
Schickaneder, like himself, was a Freemason; he had been his companion
in dissipation, and exercised a great influence over him. Mozart at
last consented. A compact was made, and Schickaneder set to work on
the libretto. As he was a popular buffoon, he invented the part of
Papageno, the bird-catcher, for himself, and arranged that it should
be dressed in a costume of feathers. It is a trivial part, but
Schickaneder intended to tickle the fancy of the public, and
succeeded. The first act was finished, when it was found that the same
subject had been chosen by a rival theatre, the Leopold Stadt, which
speedily announced the opera of "Kaspar der Fagottist, oder die
Zauber-Zither," by a popular composer, Wenzel Müller. The piece had a
successful run, and in order to prevent a duplication, Schickaneder
reversed the point of his story, and changed the evil magician, who
stole the daughter of the Queen of Night, into a great philosopher and
friend of man. It is owing to this change that we have the magnificent
character of Sarastro, with its impressive music.
The scene of the opera is laid in Egypt. Sarastro, the high-priest of
Isis, has induced Pamina to leave her mother, Astrifiamenti, the Queen
of Night, who represents the spirit of evil, and come to his temple,
where she may be trained in the ways of virtue and wisdom. At the
opening of the opera the dark Queen is trying to discover some plan of
recovering her daughter and punishing Sarastro. In the first act
appears Tamino, an Egyptian prince, who has lost his way, and is
attacked by a huge serpent, from which he is rescued by the three
attendants of the Queen. The latter accosts him, tells him her
daughter's story, and demands that, as the cost of his deliverance, he
shall rescue her. He consents. She gives him a magic flute, and with
his companion Papageno, a rollicking bird-catcher, who is also
presented with a magical chime of bells, they set out for Sarastro's
temple. Papageno arrives there first, and in time to rescue Pamina
from the persecutions of Monostatos, a slave, who flies when he
beholds Papageno in his feather costume, fancying him the Devil. They
seek to make their escape, but are intercepted. Tamino also is caught,
and all are brought before Sarastro. The prince consents to become a
novitiate in the sacred rites, and to go through the various stages of
probation and purification, and Pamina again returns to her duties.
They remain faithful to their vows, and the last ordeal, that of
passing through a burning lake up to the altar of the temple, is
triumphantly accomplished. The Queen of Night, however, does not
abandon her scheme of revenge. She appears to Pamina in her sleep,
gives her a dagger, and swears that unless she murders Sarastro she
will cast her off forever. Pamina pays no heed to her oath, but goes
on with her sacred duties, trusting to Sarastro's promise that if she
endures all the ordeals she will be forever happy. In the closing
scene, Monostatos, who has been inflamed against Sarastro by the
Queen, seeks to kill him, but is vanquished by the might of the
priest's presence alone. The night of the ordeals is over. At a sign
from Sarastro, the, full sunlight pours in upon them. The evil spirits
all vanish, and Tamino and Pamina are united amid the triumphant
choruses of the priests and attendants, as the reward of their
fidelity.
In the opening scene, after the encounter of Tamino with the serpent,
Papageno has a light and catching song ("Der Vogelfänger bin ich ja"),
which, like all of Papageno's music, was specially written for
Schickaneder, and has been classed under the head of the "Viennese
ditties." Melodious as Mozart always is, these songs must be regarded
as concessions to the buffoon who sang them. Papageno's song is
followed by another in a serious strain ("Dies Bildniss ist bezaubernd
schön") sung by Tamino. In the sixth scene occurs the first aria for
the Queen of Night ("O zittre nicht, mein lieber Sohn"), which, like
its companion to be mentioned later, is a remarkable exercise in vocal
power, range, and gymnastics, written for an exceptional voice. The
next scene, known as the Padlock Quintet, is very simple and flowing
in style, and will always be popular for its humorous and melodious
character. In the eleventh scene occurs the familiar duet between
Pamina and Papageno, "Bei Männern, welche Liebe füllen," which has
done good service for the church, and will be recognized in the
English hymn version, "Serene I laid me down." It leads up to the
finale, beginning, "Zum Ziehle führt dich diese Bahn," and containing
a graceful melody for Tamino ("O dass ich doch im Stande wäre"), and
another of the Viennese tunes, "Könnte jeder brave Mann,"--a duet for
Papageno and Pamina, with chorus.
The second act opens with a stately march and chorus by the priests,
leading up to Sarastro's first great aria ("O Isis und Osiris"), a
superb invocation in broad, flowing harmony, and the scene closes with
a strong duet by two priests ("Bewahret euch vor Weibertücken.") The
third scene is a quintet for Papageno, Tamino, and the Queen's three
attendants ("Wie ihr an diesem Shreckensort?"), and is followed by a
sentimental aria by Monostatos ("Alles fühlt der Liebe Freuden"). In
the next scene occurs the second and greatest aria of the Queen of
Night ("Der Hölle Rache kocht"), which was specially written to show
off the bravura ability of the creator of the part, and has been the
despair of nearly all sopranos since her time. In striking contrast
with it comes the majestic aria for Sarastro in the next scene ("In
diesen heil'gen Hallen"), familiarly known on the concert-stage by its
English title, "In these sacred Halls," the successful performance of
which may well be the height of any basso's ambition. In the twelfth
scene there is a terzetto by the three boys ("Seid uns zum
zweitenmal"), and in the next scene a long and florid aria for Pamina
("Ach! ich fühl's es ist verschwunden"), full of plaintive chords and
very sombre in color. The sixteenth scene contains another stately
chorus of priests ("O Isis und Osiris"), based upon a broad and
massive harmony, which is followed by a terzetto between Sarastro,
Pamina, and Tamino ("Soll ich dich, Theurer nicht mehr sehen?"). Once
more a concession to the buffoon occurs in a melody "Ein Mädchen oder
Weibchen," which would be commonplace but for Mozart's treatment of
the simple air. The finale begins with another terzetto for the three
boys ("Bald prangt, den Morgen zu verkünden"). It may be termed a
finale of surprises, as it contains two numbers which are as far apart
in character as the poles,--the first, an old choral melody ("Der,
welcher wandelt diese Strasse"), the original being, "Christ, our
Lord, to Jordan came," set to an accompaniment, strengthened by the
trombones and other wind instruments; and the second, a nonsense duet
("Pa-pa-Papageno") for Papageno and Papagena, which would close the
opera in a burst of childish hilarity but for the solemn concluding
chorus of the priests ("Heil sei euch Geweithen").
The great charm of the opera is its originality, and the wonderful
freshness and fruitfulness of the composer in giving independent and
characteristic melodies to every character, as well as the marvellous
combination of technicality with absolute melody. Beethoven said of it
that this was Mozart's one German opera in right of the style and
solidity of its music. Jahn, in his criticism, says: "'The
Zauberflöte' has a special and most important position among Mozart's
operas. The whole musical conception is pure German, and here for the
first time German opera makes free and skilful use of all the elements
of finished art."
ROSSINI.
Gioachini Antonio Rossini was born at Pesaro, Italy, Feb. 29, 1792.
His early lessons in music were taken with Tesei, and as a lad he also
appeared upon the stage as a singer. In 1807 he was admitted to the
class of Padre Mattei at the Bologna Conservatory, where he took a
prize for a cantata at the end of his first year. At the beginning of
his career in Italy he was commissioned to write an opera for Venice.
It was "La Cambiale di Matrimonio," an opera buffa in one act, and was
produced in 1810. During the next three years he wrote several works
for Venice and Milan, which were successful, but none of them created
such a furor as "Tancredi." This was followed by "L' Italiana in
Algeri," "Aureliano in Palmira," and "Il Turco in Italia." In 1815
appeared "The Barber of Seville." Strange as it may seem, it was at
first condemned, not on its merits, but because the composer had
trenched, as it was supposed, upon the ground already occupied by the
favorite Paisiello, though he applied to the latter before writing it,
and received his assurances that he had no objection to his use of the
same subject. "Otello" followed the "Barber" at Naples in 1816, and
"Cenerentola" in 1817, and both were extraordinarily successful. The
"Gazza Ladra" was produced at Milan in 1817, and was followed by
"Armida" at Naples in the same year. His next great work was the
oratorio, "Moses in Egypt," which is also given as opera. The "Donna
del Lago," based upon Walter Scott's "Lady of the Lake," was produced
at Naples in 1819. The same year he opened the Carnival in Milan with
"Bianca e Faliero," and before its close he produced "Maometto
secondo" at Naples. During the next two or three years his muse was
very prolific, and in 1823 appeared another of his great works,
"Semiramide," which made a furor at Venice. That year he went to
London and gave concerts, in which he sang, and thence to Paris, which
now became his home. His greatest work for Paris was "William Tell,"
which was produced in 1829, and it was also his last, though by an
arrangement with the Government of Charles X. it was to be the first
of a series of five. The revolution of 1830 destroyed his plans. In
1836 he heard Meyerbeer's "Huguenots," and resolved to write no more.
Four years before this he had written the "Stabat Mater," but it was
not produced complete until 1842. From this time on he lived at his
villa at Passy the life of a voluptuary and died there Nov. 13, 1868.
The catalogue of his works is immense, including fifty operas alone,
of which in a necessarily brief sketch it has been possible to mention
only those best known.
THE BARBER OF SEVILLE.
"Il Barbiere di Siviglia," an opera buffa in two acts, words by
Sterbini, founded on Beaumarchais's comedy, was first produced at the
Argentina Theatre, Rome, Feb. 5, 1816, with the following cast:--
ROSINA Mme. GIORGI RIGHETTI.
BERTAO Mlle. ROSSI.
FIGARO Sig. LUIGI ZAMBONI.
COUNT ALMAVIVA Sig. GARCIA.
BARTOLO Sig. BOTTICELLI.
BASILIO Sig. VITTARELLI.
The story of the writing of "The Barber of Seville" is of more than
ordinary interest. Rossini had engaged to write two operas for the
Roman Carnival of 1816. The first was brought out Dec. 26, 1815, and
the same day he bound himself to furnish the second by Jan. 20, 1816,
with no knowledge of what the libretto would be. Sterbini furnished
him with the story of the "Barber" by piecemeal, and as fast as the
verses were given him he wrote the music. The whole work was finished
in less than three weeks. Its original title was "Almaviva, ossia
l'inutile precauzione," to distinguish it from Paisiello's "Barber of
Seville." The original overture was lost in some manner, and that of
"Aureliano" substituted. In the scene beneath Rosina's balcony Garcia
introduced a Spanish air of his own; but it failed, and before the
second performance Rossini wrote the beautiful cavatina, "Ecco ridente
il cielo" in its place, the melody borrowed from the opening chorus of
his "Aureliano," and that in turn from his "Ciro in Babilonia." The
subject of the effective trio, "Zitti, zitti," was taken from Haydn's
"Seasons," and the aria sung by the duenna Berta ("Il vechiotto cerca
moglie"), from a Russian melody he had heard a lady sing in Rome and
introduced for her sake. For the music-lesson scene Rossini wrote a
trio which has been lost; and thus an opportunity has been given
Rosinas to interpolate what they please.
The scene of the opera is laid at Seville, Spain. Count Almaviva has
fallen in love with Rosina, the ward of Dr. Bartolo, with whom she
resides, and who wishes to marry her himself. After serenading his
mistress, who knows him only by the name of Count Lindoro, he prevails
upon Figaro, the factotum of the place, to bring about an interview
with her. In spite of her guardian's watchfulness, as well as that of
Don Basilio, her music-teacher, who is helping Bartolo in his schemes,
she informs the Count by letter that she returns his passion. With
Figaro's help he succeeds in gaining admission to the house disguised
as a drunken dragoon, but this stratagem is foiled by the entrance of
the guard, who arrest him. A second time he secures admission,
disguised as a music-teacher, and pretending that he has been sent by
Don Basilio, who is ill, to take his place. To get into Bartolo's
confidence he produces Rosina's letter to himself, and promises to
persuade her that the letter has been given him by a mistress of the
Count, and thus break off the connection between the two. By this
means he secures the desired interview, and an elopement and private
marriage are planned. In the midst of the arrangements, however, Don
Basilio puts in an appearance, and the disconcerted lover makes good
his escape. Meanwhile Bartolo, who has Rosina's letter, succeeds in
arousing the jealousy of his ward with it, who thereupon discloses the
proposed elopement and promises to marry her guardian. At the time set
for the elopement the Count and Figaro appear. A reconciliation is
easily effected, a notary is at hand, and they are married just as
Bartolo makes his appearance with officers to arrest the Count. Mutual
explanations occur, however, and all ends happily.
The first act opens after a short chorus, with the serenade, "Ecco
ridente in cielo," the most beautiful song in the opera. It begins
with a sweet and expressive largo and concludes with a florid allegro,
and is followed by a chorus in which the serenaders are dismissed. In
the second scene Figaro enters, and after some brief recitatives sings
the celebrated buffo aria, "Largo al factotum," in which he gives an
account of his numerous avocations. The aria is full of life and
gayety, and wonderfully adapted to the style of the mercurial Figaro.
A light and lively duet between Figaro and the Count, closing with the
sprightly melody, "Ah! che d'amore," leads up to the chamber aria of
Rosina, so well known on the concert-stage, "Una voce poco fa," which
is not only very expressive and of great compass, but is remarkably
rich in ornamentation. A short dialogue in recitative then occurs
between Bartolo and Basilio, in which they plot to circumvent Rosina
by calumny, which gives occasion for the Calumny aria, as it is
generally known ("La calunnia"), a very sonorous bass solo, sung by
Basilio. Another dialogue follows between Figaro and Rosina, leading
to the florid duet, "E il maestro io faccio." A third dialogue follows
between Rosina and Bartolo, ending in a bass aria ("Non piu tacete"),
very similar in its general style to the Calumny song, but usually
omitted in performances. In the tenth scene the Count arrives
disguised as the drunken soldier, and the finale begins. It is
composed of three scenes very ingeniously arranged, and full of
glittering dialogue and very melodious passages.
The second act opens with a soliloquy by Bartolo ("Ma redi il mio
destino"), in which he gives vent to his suspicions. It is interrupted
at last by a duet with the Count, in which the two characters are
strikingly set off by the music. The music-lesson scene follows, in
which the artist personating Rosina is given an opportunity for
interpolation. In the next scene occurs a dialogue quintet, which is
followed by a long aria ("Sempre gridi") by the duenna Bertha, called
by the Italians the "Aria de Sorbetto," because the people used to eat
ices while it was sung; reminding one of the great aria from
"Tancredi," "Di tanti palpiti," which they called the "aria dei
rizzi," because Rossini composed it while cooking his rice. In the
eighth scene, after a long recitative, an instrumental prelude occurs,
representing a stormy night, followed by a recitative in which the
Count reveals himself, leading up to a florid trio, and this in turn
to the elegant terzetto, "Zitti, zitti." A bravura and finale of light
and graceful melody close the opera.
SEMIRAMIDE
"Semiramide" a lyric tragedy in two acts, words by Gaetano Rossi, the
subject taken from Voltaire's "Semiramis," was first produced at the
Fenice, Venice, Feb. 3, 1823, with the following cast:--
SEMIRAMIDE Mme. ROSSINI-COLBRAN.
ARSACES Mme. MARIANI.
IDRENO Mr. SINCLAIR.
ASSUR Sig. GALLI.
OROE Sig. MARIANI.
On the 9th of July it was produced in French at the Académie, Paris,
as "Semiramis," with Carlotta Marchisio as Semiramide, Barbara, her
sister, as Arsaces, and M. Obin as Assur. At Rossini's request M.
Carafa arranged the recitatives and wrote the ballet music.
"Semiramide" was the last opera Rossini wrote for Italy; and so far
did he depart from the conventional Italian style, that he was charged
with imitating the German. It was probably for this reason that the
opera when first performed did not meet with a kindly reception from
the Venetians. Although he was occupied six months in negotiating for
his stipulated price (one thousand dollars), he wrote the opera in
three weeks. Of its first performance, a correspondent of the
"Harmonicon," who was present, writes: "The first act, which lasted
two hours and fifteen minutes, was received very coldly, with the
exception of one passage in the overture, which overture, however, was
unconscionably long. The second act, which lasted two hours and a
half, began to please in an air of Mariani, but the applause was
rather directed to this favorite singer. After this a duet between her
and Colbran, together with an air of Galli, and particularly a
terzetto between him and the two ladies, were well received. Rossini
was also called for at the end of the second act. It is all over with
Madame, his own wife" (Mme. Colbran), who took the title-rôle.
The scene of the opera is laid in Babylon, and the story briefly told
is as follows: Ninus, the King of Babylon, has been murdered by his
Queen, Semiramis, aided by Assur, a prince enamoured of her and
aspiring to the throne. One of the Queen's warriors, Arsaces, supposed
to be of Scythian origin, but in reality her own son, returns from a
foreign expedition and is loaded with honors for the victory he has
won. Semiramis, ignorant of his parentage, has a secret passion for
him, he in the mean time being devoted to Azema, one of the princesses
royal. As all gather together in the temple to swear allegiance to the
Queen, the gates of Ninus's tomb suddenly open, and his ghost appears
and announces that Arsaces will be the successor to the crown. At
midnight Semiramis, Assur, and Arsaces meet at the tomb, and by
mistake Assur stabs her instead of Arsaces, who in turn kills Assur,
and, all obstacles being removed, is united to Azema and ascends the
throne.
An introductory chorus of Babylonians and a terzetto by Idreno, Assur,
and Oroe open the opera and lead up to the first appearance of
Semiramis, which is followed by a very dramatic quartet ("Di tanti
regi"). In the fourth scene Arsaces has a very brilliant aria ("O!
come da quel di"), which also did service in one or two of Rossini's
other operas, and is followed by a very animated duet ("Bella imago
degli dei") between himself and Assur. The eighth scene is introduced
by a graceful female chorus which leads to Semiramis's brilliant and
well-known aria, "Bel raggio." In the tenth scene occurs an elegant
duet ("Serbami agnor si fido"), followed in the next scene by a
stately priests' march and chorus ("Ergi omai la fronte altera"), set
to ecclesiastical harmony and accompanied by full military band as
well as orchestra, this being the first instance where a military band
was used in Italian opera. It leads to the finale, where Semiramis on
her throne announces to her people her choice for their future king.
The oath of allegiance follows in an impressive quartet with chorus
("Giuro al numi"), and a defiant aria by the Queen leads to the sudden
appearance of the ghost of Ninus, accompanied by characteristic music
repeated in quintet with chorus. As the ghost speaks, the statue scene
in Don Giovanni is inevitably recalled, especially in some phrases
which are literally copied.
The second act opens with a vindictively passionate duet ("Assur,
icenni mici") between Assur and Semiramis, closing with a fierce
outburst of hatred ("La forza primiera"). The scene is a very long and
spirited one, and is followed by a second chorus of priests, leading
to a great aria with chorus ("Ah! tu gelar mi fai") for Arsaces. In
the fifth scene occurs a long duet between Arsaces and Semiramis, the
second part of which ("Giorno d'orrore") is the strongest number in
the opera. Though intensely passionate in its tone, the music is
smooth and flowing and very florid for both voices. The seventh scene
is composed of a scena, aria and chorus, followed by still another
chorus in the mausoleum. Semiramis sings a prayer of great pathos and
beauty ("Ah mio pregar"). A terzetto ("L'usato ardir"), which like the
mausoleum chorus is based upon an aria from Mozart's "Cosi fan tutti,"
closes the opera. "The Harmonicon," to which reference has already
been made, in an analysis of the work, has the following apt
criticism: "It has been said, and truly, that 'Semiramide' is composed
in the German style, but it is the German style exaggerated. Rossini
is become a convert to this school, and his conversion does his
judgment credit, though like all proselytes he passes into extremes.
Not satisfied with discarding the meagre accompaniments of the Italian
composers, he even goes far beyond the tramontane masters in the
multitude and use of instruments, and frequently smothers his
concerted pieces and choruses by the overwhelming weight of his
orchestra." But what would the "Harmonicon" have said, had it had
Wagner's instrumentation before it?
WILLIAM TELL
"William Tell," an opera in three acts, words by Étienne Jouy and
Hippolyte Bis, the subject taken from Schiller's drama of the same
name, was first produced at the Académie, Paris, Aug. 3, 1829, with
the following cast:--
MATHILDE Mme. DAMOREAU-CINTI.
JEMMY Mme. DABODIE.
HEDWIG Mlle. MORI.
ARNOLD M. NOURRIT.
WALTER M. LEVASSEUR.
TELL M. DABODIE.
RUODI M. DUPONT.
RODOLPHE M. MASSOL.
GESSLER M. PRÉVOST.
LEUTOLD M. PRÉVÔT.
Rossini wrote for Paris only two new operas, "Le Comte Ory" and
"William Tell,"--the latter his masterpiece in the serious style. The
libretto was first prepared by M. Jouy, but it was so bad that M. Bis
was called in, and to him is due the whole of the second act. Even
after the two authors had changed and revised it, Rossini had to alter
it in many places. When it was first performed the weakness of the
drama was at once recognized, though its music was warmly welcomed,
especially by the critical. It was represented fifty-six times in its
original form, and was then cut down to three acts, the original third
act being omitted and the fourth and fifth condensed into one. For
three years after this time the second act was alone performed in
Paris; but when M. Duprez made his début in the part of Arnold, a
fresh enthusiasm was aroused, and there was a genuine Tell revival.