century, and the action closely follows the historical narrative. The
disaffection which has arisen among the Swiss, owing to the tyranny of
Gessler, suddenly comes to a climax when one of Gessler's followers
attempts an outrage upon the only daughter of the herdsman Leutold,
and meets his death at the hands of the indignant father. Leutold
seeks protection at the hands of Tell, who, in the face of the
herdsman's pursuers, succeeds in placing him beyond the reach of
danger, and this circumstance arouses the wrath of Gessler. Melchtal,
the village patriarch, is accused by him of inciting the people to
insubordination, and is put to death. Meanwhile Arnold, his son, is
enamoured of Mathilde, Gessler's daughter, and hesitates between love
and duty when he is called upon to avenge his father's death. At last
duty prevails, and he joins his comrades when the men of the three
cantons, who are loyal to Tell, meet and swear death to the tyrant. In
the last act occurs the famous archery scene. To discover the leading
offenders Gessler erects a pole in the square of Altorf, upon which he
places his hat and commands the people to do homage to it. Tell
refuses, and as a punishment is ordered to shoot an apple from his
son's head. He successfully accomplishes the feat, but as he is about
to retire Gessler observes a second arrow concealed in his garments,
and inquires the reason for it, when Tell boldly replies it was
intended for him in case the first had killed his son. Gessler throws
him into prison, whereupon Mathilde abandons her father and determines
to help in the rescue of Tell and his son. Her lover, Arnold,
meanwhile, raises a band of brave followers and accomplishes the
rescue himself. After slaying the tyrant and freeing his country Tell
returns to his family, and Arnold and Mathilde are united.
The overture to "William Tell," with its Alpine repose, its great
storm-picture, the stirring "Ranz des Vaches," and the trumpet-call to
freedom, is one of the most perfect and beautiful ever written, and is
so familiar that it does not need analysis. The first act opens with a
delightfully fresh Alpine chorus ("E il ciel sereno"), which is
followed by a pastoral quartet between a fisherman, Tell, Hedwig, and
Jemmy. Arnold enters, and a long duet, one of Rossini's finest
inspirations, follows between Arnold and Tell. The duet is interrupted
by the entrance of several of the peasants escorting two brides and
bridegrooms, which is the signal for a most graceful chorus and dance
("Cinto il crine"). Leutold then appears, seeking Tell's protection,
and a very dramatic finale begins, closing with the arrest of
Melchtal, which leads to an ensemble of great power.
The second act opens with a double chorus of huntsmen and shepherds
("Qual silvestre metro intorne"), which is followed by a scena
preluding a charming romanza ("Selva opaco") sung by Mathilde. Its
mild, quiet beauty is in strange contrast with the remainder of this
great act. It is followed by a passionate duet with Arnold, a second
and still more passionate duet between Tell and Walter, which leads to
the magnificent trio of the oath ("La gloria inflammi"), and this in
turn is followed by the splendid scene of the gathering of the
cantons. For melodic and harmonic beauty combined, the spirited
treatment of masses, and charm and variety of color, this great scene
stands almost alone.
The last act opens with a duet between Mathilde and Arnold, which is
followed in the next scene by a march and chorus as the multitude
gathers in the square of Altorf, closing with a lovely Tyrolean chorus
sung by the sopranos and accompanied with the dance. The dramatic
scene of the archery follows, and then Arnold has a very passionate
aria ("O muto asil"). Some very vivid storm-music preluding the last
scene, and the final hymn of freedom ("I boschi, i monti") close an
opera which is unquestionably Rossini's masterpiece, and in which his
musical ability reached its highest expression. "Manly, earnest, and
mighty," Hanslick calls it; and the same authority claims that the
first and second acts belong to the most beautiful achievements of the
modern opera.
RUBINSTEIN.
Anton Gregor Rubinstein was born Nov. 30, 1829, at Weghwotynez in
Russia. His mother gave him lessons at the age of four, with the
result that by the time he was six she was unable to teach him
anything more. He then studied the piano with Alexander Villoing, a
pupil of John Field. In 1840 he entered the Paris Conservatory, where
he attracted the attention of Liszt, Chopin, and Thalberg. He remained
in that city eighteen months, and then made some professional tours,
in which he met with extraordinary success. In 1844 his parents
removed to Berlin, and he was placed under Dehn, the famous
contrapuntist, to study composition. From 1846 to 1848 he taught music
in Pressburg and Vienna, and then went back to Russia. For eight years
he studied and wrote in St. Petersburg, and at the end of that time
had accumulated a mass of manuscripts destined to make his name famous
all over Europe, while his reputation as a skilful pianist was already
world-wide. He visited England again in 1857, and the next year
returned home and settled in St. Petersburg, about which time he was
made Imperial Concert Director, with a life-pension. At this period in
his career he devoted himself to the cause of music in Russia. His
first great work was the foundation of the Conservatory in the above
city in 1862, of which he remained principal until 1867. He also
founded the Russian Musical Society in 1861, and in 1869 was decorated
by the Czar. In 1870 he directed the Philharmonic and Choral Societies
of Vienna, and shortly afterwards made another tour, during which, in
1872, he came to this country with the eminent violinist, Wieniawsky,
as will be well remembered. His greatest works are the "Ocean
Symphony," "Dramatic Symphony," and a character sketch for grand
orchestra called "Ivan the Terrible;" his operas, "Children of the
Heath," "Feramors," "Nero," "The Maccabees," "Dimitri Donskoi," and
the "Demon;" the oratorios "Paradise Lost," and "Tower of Babel," and
a long and splendid catalogue of chamber, salon, and concert music,
besides some beautiful songs, which are great favorites in the
concert-room.
NERO.
The opera of "Nero," the libretto by Jules Barbier, was first produced
in Hamburg in 1879,--though it was originally intended for the French
stage,--and in this country, March 14, 1887, at New York, by the
American Opera Company, under the direction of Mr. Theodore Thomas,
with the following cast:--
NERO Mr. CANDIDUS.
JULIUS VINDEX Mr. LUDWIG.
TIGELLINUS Mr. STODDARD.
BALBILLUS Mr. WHITNEY.
SACCUS Mr. FESSENDEN.
SEVIRUS Mr. HAMILTON.
TERPANDER Mr. LEE.
POPPOEA SABINA Miss BERTHA PIERSON.
EPICHARIS Miss CORNELIA VAN ZANTEN.
CHRYSA Miss EMMA JUCH.
AGRIPPINA Miss AGNES STERLING.
LUPUS Miss PAULINE L'ALLEMAND.
The first act opens in the house of Epicharis, a courtesan, which is a
rendezvous for the dissolute Roman nobles. The guests assembled sing a
chorus in praise of the establishment, followed by a scene in which
Vindex, the prince of Aquitania, Saccus the poet, Terpander the
citharist, and others conspire against Nero. Suddenly Chrysa, daughter
of Epicharis, who is ignorant of her mother's real character and
dwells apart from her, rushes in and implores the protection of Vindex
from a crowd of revellers who have pursued her. A very spirited duet
follows in which the prince promises her his assistance. Upon hearing
the shouts of her pursuers he conceals her just in time to escape the
masked band, headed by Nero himself, which bursts into the apartment.
The tyrant demands the girl; and as he throws off his mask the guests
stand amazed. Saccus at last breaks the spell by the suggestion that
Nero shall marry the girl. When she is led out, and Vindex discovers
that Epicharis is her mother, he no longer espouses her cause. Then
follows the music of the mock marriage, interspersed with dance
strains and sardonic choruses by the courtesans and their associates,
at last rising to a wild bacchanalian frenzy, in the midst of which
Vindex breaks out in a spirited song, with harp accompaniment, and
finally hurls invectives at Nero, as Chrysa, who has drunk a narcotic
at her mother's order, falls senseless. The latter declares she has
been poisoned, and the act closes with a scene of great power in which
Vindex is hurried away as Nero's prisoner.
The second act opens in the dwelling of Poppoea, Nero's mistress,
whose attendants are trying to console her. She has heard of Nero's
new infatuation; but her apprehensions are relieved when Balbillus,
the astrologer, enters and not only announces that Chrysa is dead, but
tells the equally grateful news that Octavia, Nero's wife, has been
condemned to die. Nero himself now appears upon the scene, and a duet
follows in which Poppoea reproaches him for his fickleness and he
seeks to console her with flattery. At its close the death of Octavia
is announced, and Poppoea is appeased by the prospect of sharing the
throne. Meanwhile Chrysa has fallen into the custody of Agrippina,
Nero's mother, who keeps close charge of her to further her own
ambitions. During the interview between the tyrant and his mistress,
Epicharis rushes in and implores Nero to give up Chrysa, which leads
to a powerful ensemble. Learning that Chrysa is still alive he leaves
the apartment to find her. The second scene is brilliantly
spectacular. Nero and his mother appear in front of the temple,
followed by a long procession to the music of a brilliant march. They
enter the temple. After a short episode, in which Poppoea informs
Epicharis of the refuge Chrysa has found, the ballet is given in the
open square, with its fascinating dances of warriors, bacchantes,
jugglers and buffoons, and their mimic combats, the music of which is
very familiar from its frequent performance in our concert-rooms. Nero
then appears and announces his divinity in a finale, which is rich
with scenic, spectacular, and choral effects, accompanied by full
military band and orchestra.
The third act opens in Chrysa's new asylum of refuge. The persecuted
girl sings a beautiful prayer, at the close of which Vindex joins her
in a love-duet, which will always remain as one of the most refined
and noble products of Rubinstein's skill in harmony. The next number
is one of almost equal beauty,--a duet for Chrysa and Epicharis, the
motive of which is a cradle song. Its soothing tones are interrupted
by the appearance of Nero, followed by Poppoea and Saccus, the
last-named announcing to the tyrant that Rome is in flames, which
leads up to a vigorous trio. The concluding scene is full of
characteristic music. It shows us Nero watching the fire from his
tower, while he sings a hymn ("O Ilion") to the accompaniment of his
lyre; the death of Chrysa, who proclaims herself a Christian and is
killed by the infuriated populace; and the fate of Epicharis, who is
crushed beneath a falling house as she mourns for her daughter.
The fourth act furnishes a dramatic denouement to the mournful story.
The tyrant, wild with rage and frenzy, appears in the tomb of
Augustus, where the shades of his murdered victims terrify him. Saccus
enters and tells him of the revolt of his army and the danger which
threatens him. He rushes out again and kills himself on the highway of
the Campagna, just as Vindex at the head of his legions comes up with
him. As he expires a cross appears in the sky and a chant is heard,
herald of the coming Christianity.
THOMAS.
Charles Ambroise Thomas was born at Metz, Aug. 5, 1811, and entered
the Paris Conservatory in 1828, where he carried off the Grand Prize
in 1832, which entitled him to go to Italy. During his Italian
residence he wrote a cantata, "Hermann und Ketty," and several
instrumental works. His first work at the Opera Comique was the
one-act opera, "La double echelle," produced in 1837 with success. He
then brought out several ballets at the Académie, but returned to the
Opera Comique again, where, between 1840 and 1866, he composed
thirteen operas, the most successful of which were "Le Songe d'une
nuit d'été" (1850), "Raymond" (1851), "Psyche" (1857), and "Mignon"
(1866). During this period he also wrote a large number of cantatas,
choruses, part-songs, and instrumental works. His next great work was
"Hamlet," first produced March 9, 1868, the success of which gained
him the position of Director of the Conservatory in 1871. Since that
time he has written only the opera "Françoise de Rimini," performed
April 14, 1882. In 1880 he was made a member of the Legion of Honor.
In common with Gounod he now shares the honor of being one of the few
French writers who hold a high rank among modern composers.
MIGNON
"Mignon," an opera comique in three acts, words by Barbier and Carré,
the subject taken from Goethe's "Wilhelm Meister," was first produced
at the Opera Comique, Paris, Nov. 17, 1866, with the following cast:--
MIGNON Mme. GALLI-MARIÉ.
WILHELM MEISTER M. ACHARD.
LAERTES M. CONDERS.
LOTARIO M. BATAILLE.
FILINA Mme. CABEL.
The scene of the first two acts is laid in Germany, and of the third
in Italy. Mignon, the heroine, in her childhood was stolen by gypsies.
She is of noble birth. The mother died shortly after her bereavement,
and the father, disguised as the harper Lotario, has wandered for
years in quest of his daughter. The opera opens in the yard of a
German inn, where a troupe of actors, among them Filina and Laertes,
are resting, on their way to the castle of a neighboring prince, where
they are to give a performance.
A strolling gypsy band arrives about the same time, and stops to give
an entertainment to the guests. Mignon, who is with the band, is
ordered to perform the egg dance, but, worn out with fatigue and
abusive treatment, refuses. Giarno, the leader, rushes at her, but the
old harper interposes in her behalf. Giarno then turns upon Lotario,
when the wandering student, Wilhelm Meister, suddenly appears and
rescues both Mignon and the harper. To save her from any further
persecution he engages her as his page, and follows on in the suite of
Filina, for whom he conceives a violent and sudden passion. Touched by
his kind attentions to her, Mignon falls in love with Wilhelm, who,
ignorant of his page's affection, becomes more and more a prey to the
fascinations of Filina. At last the troupe arrives at the castle,
Wilhelm and Mignon with them. Wilhelm enters with the others, leaving
Mignon to await him outside. Maddened with jealousy, she attempts to
throw herself into a lake near by, but is restrained by the notes of
Lotario's harp. She rushes to him for counsel and protection, and in
her despair invokes vengeance upon all in the castle. As the
entertainment closes, Filina and her troupe emerge, joyful over their
great success. She sends Mignon back for some flowers she has left,
when suddenly flames appear in the windows. Maddened by his own grief
and Mignon's troubles Lotario has fired the castle. Wilhelm rushes
into the burning building and brings out the unconscious Mignon in his
arms.
The last act opens in Lotario's home in Italy, whither Mignon has been
taken, followed by Wilhelm, who has discovered her devoted attachment
to him, and has freed himself from the fascinations of Filina. Through
the medium of a long-concealed casket containing a girdle which Mignon
had worn in her childhood, also by a prayer which she repeats, and the
picture of her mother, Lotario is at last convinced that she is his
daughter, and gives his blessing to her union with Wilhelm.
The overture recites the leading motives of the work. The first act
opens with a fresh and melodious chorus of the townspeople over their
beer in the inn yard ("Su borghesi e magnati"). During their singing a
characteristic march is heard, and the gypsy band enters. The scene is
a charming one, the little ballet being made still more picturesque by
the fresh chorus and a song of Filina's in waltz time. The scene of
the encounter with Giarno and Mignon's rescue follows, and leads up to
a very spirited quintet, which is followed by a graceful trio between
Wilhelm, Filina, and Laertes, the actor. In the next scene Wilhelm
questions Mignon as to her history, and at the end of their pathetic
duet, when he says, "Were I to break thy chains and set thee free, to
what beloved spot wouldst thou take thy way?" she replies in the
beautiful romanza, "Non conosci il bel suol," more familiarly known in
Goethe's own words, "Kennst du das Land,"--a song full of tender
beauty and rare expression, and one of the most delightful
inspirations of any composer. It is said that much of its charm comes
from the composer's study of Ary Scheffer's picture of Mignon. Be this
as it may, he has caught the inner sense of the poem, and expressed it
in exquisite tones. It is followed almost immediately by a duet
between Mignon and Lotario ("Leggiadre rondinelle") of almost equal
beauty, known as the Swallow duet. After a somewhat uninteresting
scene between Laertes, Filina, and Frederick, who is also in love with
Filina, the finale begins with the departure of the actors to fulfil
their engagement, in which Filina, in a graceful aria ("Grazie al
gentil signor"), invites Wilhelm to be of the number.
The second act opens in Filina's boudoir, where she is at her toilet,
arraying herself for her part as Titania in the forthcoming
performance of the "Midsummer Night's Dream" at the castle. As Wilhelm
and Mignon enter the apartment, a very dramatic conversation ensues
between them in the form of a terzetto ("Ohimè quell' acre riso").
Mignon is in despair at the attention Wilhelm pays Filina, and the
latter adds to her pangs by singing with him a gay coquettish aria
("Gai complimenti"). As they leave the room Mignon goes to the mirror
and begins adorning herself as Filina had done, hoping thereby to
attract Wilhelm, singing meanwhile a characteristic song ("Conosco un
zingarello") with a peculiar refrain, which the composer himself calls
the "Styrienne." It is one of the most popular numbers in the opera,
and when first sung in Paris made a furor. At the end of the scene
Mignon goes into a cabinet to procure one of Filina's dresses, and the
lovelorn Frederick enters and sings his only number in the opera, a
bewitching rondo gavotte ("Filina nelle sale"). Wilhelm enters, and a
quarrel between the jealous pair is prevented by the sudden appearance
of Mignon in Filina's finery. She rushes between them, Frederick makes
his exit in a fume, and Wilhelm announces to Mignon his intention to
leave her, in the aria, "Addio, Mignon, fa core," one of the most
pathetic songs in the modern opera. In the next scene she tears off
her finery and rushes out expressing her hatred of Filina. The scene
now changes to the park surrounding the castle where the entertainment
is going on. Mignon hears the laughter and clapping of hands, and
overcome with despair attempts to throw herself into the lake, but is
restrained by Lotario, and a beautiful duet ensues between them
("Sofferto hai tu?"). In the next scene Filina, the actors, and their
train of followers emerge from the castle, and in the midst of their
joy she sings the polacca, "Ah! per stassera," which is a perfect _feu
de joie_ of sparkling music, closing with a brilliant cadenza. The
finale, which is very dramatic, describes the burning of the castle
and the rescue of Mignon.
The last act is more dramatic than musical, though it contains a few
delightful numbers, among them the chorus barcarole in the first
scene, "Orsu, sciogliam le vela," a song by Wilhelm ("Ah! non
credea"), and the love duet, "Ah! son felice," between Wilhelm and
Mignon, in which is heard again the cadenza of Filina's polacca.
"Mignon" has always been a success, and will unquestionably always
keep its place on the stage,--longer even than the composer's more
ambitious works, "Hamlet" and "Françoise de Rimini," by virtue of its
picturesqueness and poetic grace, as well as by the freshness, warmth,
and richness of its melodies. In this country opera-goers will long
remember "Mignon" by the great successes made by Miss Kellogg as
Filina, and by Mme. Lucca and Mme. Nilsson in the title-rôle.
VERDI.
Giuseppi Verdi was born at Roncale, Italy, Oct. 9, 1813. He displayed
his musical talent at a very early age; indeed, in his tenth year he
was appointed organist in his native town. He then studied for a time
at Busseto, and afterwards, by the help of a patron, M. Barezzi, went
to Milan. Curiously enough he was refused a scholarship on the ground
that he displayed no aptitude for music. Nothing daunted, he studied
privately with the composer Lavigne, and five years afterwards
commenced his career as an operatic writer. His first opera, "Oberto,"
was given at La Scala, Milan, with indifferent success. He was not
fairly recognized until his opera "I Lombardi" was performed. In 1844
"Ernani" was received with great enthusiasm. "Attila" (1846) was his
next great triumph; and then followed in rapid succession a large
number of operas, among them: "I Masnadieri" (1847), written for the
English stage, with Jenny Lind, Lablache, and Gardoni in the cast;
"Luisa Miller" (1849); "Stifellio" (1851); "Rigoletto" (1851); "Il
Trovatore," Rome (1853); "La Traviata," Venice (1853); "I Vespri
Siciliani," Paris (1855); "Simon Boccanegra," Venice (1857); "Un Ballo
in Maschera," Rome (1858); "La Forza del Destino," St. Petersburg
(1862); "Don Carlos," Paris (1867), and "Aida," his last opera, Cairo
(1871). Since that time Verdi has produced nothing but a Pater Noster
and an Ave Maria (1880), and the "Requiem," composed in memory of the
patriot Manzoni, and produced at Milan in 1874, on the occasion of the
anniversary of his death. It has been reported that he is at work upon
a new opera, "Othello," the words by Arrigo Boito, the composer of
"Mephistopheles;" but nothing more than the report has been heard from
it during the past three or four years. The great melodist now spends
a very quiet life as a country gentleman upon his estates near
Busseto.
ERNANI.
"Ernani," a tragic opera in four acts, words by F.M. Piave, the
subject taken from Victor Hugo's tragedy of "Hernani," was first
produced at Venice, March 9, 1844. The earlier performances of the
opera gave the composer much trouble. Before the first production the
police interfered, refusing to allow the representation of a
conspiracy on the stage, so that many parts of the libretto, as well
as much of the music, had to be changed. The blowing of Don Silva's
horn in the last act was also objected to by one Count Mocenigo, upon
the singular ground that it was disgraceful. The Count, however, was
silenced more easily than the police. The chorus "Si ridesti il Leon
di Castiglia" also aroused a political manifestation by the Venetians.
The opera was given in Paris, Jan. 6, 1846, and there it encountered
the hostility of Victor Hugo, who demanded that the libretto should be
changed. To accommodate the irate poet, the words were altered, the
characters were changed to Italians, and the new title of "II
Proscritto" was given to the work.