[Grand opera, in two acts; text by Romani. Produced for the first time in Milan, March 6, 1831; in London, at the King’s Theatre, July 28, 1831; in Paris, October 28, 1831; in New York, May 14, 1842.]PERSONAGES.Amina, ward of the miller’s wife.Elvino, a landholder.Rodolfo, lord of the village.Lisa, innkeeper.Alessio, a peasant, lover ofLisa.Teresa, mistress of the mill.The scene is laid in Switzerland; time, last century.
[Grand opera, in two acts; text by Romani. Produced for the first time in Milan, March 6, 1831; in London, at the King’s Theatre, July 28, 1831; in Paris, October 28, 1831; in New York, May 14, 1842.]
PERSONAGES.
The scene is laid in Switzerland; time, last century.
The first act of the opera opens with the preparations for the marriage of Amina and Elvino. Lisa, the mistress of the inn, is also in love with Elvino and jealous of Amina. On the day before the wedding, Rodolfo, the young lord of the village, arrives to look after his estates, and puts up at the inn, where he meets Amina. He pays her many pretty compliments, much to the dissatisfaction of Elvino, who is inclined to quarrel with him. After Rodolfo retires to his chamber, Amina, who is addicted to sleep-walking, enters the room and throws herself upon the bed as if itwere her own. She is seen not only by Rodolfo, but also by Lisa, who has been vainly seeking to captivate him. To escape the embarrassment of the situation, Rodolfo quietly goes out; but the malicious Lisa hastens to inform Elvino of what Amina has done, at the same time thoughtlessly leaving her handkerchief in Rodolfo’s room. Elvino rushes to the spot with other villagers, finds Amina as Lisa had described, denounces her, and offers himself to the latter.
In the last act Amina is seen stepping from the window of the mill in her sleep. She crosses a frail bridge above the mill wheel, descends in safety, and walks into Elvino’s arms amid the jubilant songs of the villagers. Elvino at last is convinced of her innocence, while the discovery of Lisa’s handkerchief in Rodolfo’s room proclaims her the faithless one.
The little pastoral story is of the simplest kind, but it is set to music as melodious as ever has come from an Italian composer, and the rôle of the heroine has engaged the services of nearly all the great artists of the nineteenth century from Malibran to Patti. Its most striking melodies are the aria “Sovra il sen” (“On my Heart your Hand do place”), in the third scene of the first act, where Amina declares her happiness; the aria for baritone in the sixth scene, “Vi ravviso” (“I recognize you, Pleasant Spot”), sung by Rodolfo; the playful duet, “Mai piu dubbi” (“Away with Doubts”), in which Amina chidesher lover for his jealousy; the humorous and characteristic chorus of the villagers in the tenth scene, “Osservate, l’uscio è aperto” (“Observe, the Door is open”), as they tiptoe into the chamber; the duet in the next scene, “O mio dolor” (“Oh, my Sorrow”), in which Amina asserts her innocence; the aria for tenor in the third scene of the second act, “Tutto e sciolto” (“Every Tie is broken”), in which Elvino bemoans his hard lot; and that joyous outburst of birdlike melody, “Ah! non giunge” (“Human Thought cannot conceive”), which closes the opera.
[Romantic opera, in three acts; text by Oxenford and Boucicault. First produced at Covent Garden Theatre, London, February 8, 1862.]PERSONAGES.Anne Chute, the heiress.Mrs. Cregan, of the hall at Tore Cregan.Father Tom, the priest.Eily O’Connor, the Colleen Bawn.Hardress Cregan, son ofMrs. Cregan.Sheelah.Danny Mann, the boatman.Myles na Coppaleen.Corrigan, “the middle-man.”The scene is laid at Killarney, Ireland; time, last century.
[Romantic opera, in three acts; text by Oxenford and Boucicault. First produced at Covent Garden Theatre, London, February 8, 1862.]
PERSONAGES.
The scene is laid at Killarney, Ireland; time, last century.
The opera “The Lily of Killarney” is the musical setting of the drama, “The Colleen Bawn.” The plot is essentially similar, and the characters are identical. The first act opens with the festivities of Hardress Cregan’s friends at the hall at Tore Cregan. During their temporary absence to witness a horse-race, Corrigan, “the middle-man,” calls upon Mrs. Cregan and suggests to her the marriage of her son to the heiress, Anne Chute, as the only chance of securing the payment of a mortgage he holds upon the place.Failing in this, he expresses his own willingness to accept Mrs. Cregan’s hand, but the hint meets with no favor. At this point Danny Mann, Hardress’ boatman, is heard singing, and Corrigan informs Mrs. Cregan he is about to take her son to see Eily, the Colleen Bawn, Anne Chute’s peasant rival. Danny and Hardress set off on their errand, leaving Mrs. Cregan disconsolate and Corrigan exultant. In the second scene Corrigan and Myles na Coppaleen, the peasant lover of the Colleen Bawn, have an interview in which Corrigan tells him she is the mistress of Hardress. The next scene introduces us to Eily’s cottage, where Father Tom is seeking to induce her to persuade Hardress to make public announcement of his marriage to her. When Hardress appears he asks her to give up the marriage certificate and conceal their union; but Myles prevents this, and Father Tom makes Eily promise she will never surrender it.
In the second act Hardress is paying court to Anne Chute, but is haunted by remorse over his desertion of Eily. Danny Mann suggests putting her on board a vessel and shipping her to America, but Hardress rejects the scheme. Danny then agrees that Eily shall disappear if he will send his glove, a token secretly understood between them. This also he rejects. Meanwhile Corrigan is pressing his alternative upon Mrs. Cregan, but is interrupted by Hardress, who threatens to kill him if he does not desist. Corrigan retires uttering threats of revenge. Danny Mann then intimates to Mrs.Cregan that if she will induce Hardress to send the glove, he can bring happiness to the family again. She secures the glove and gives it to Danny, who promptly takes it to Eily with the message that her husband has sent for her. Eily, in spite of Myles’ warnings, gets into Danny’s boat and trusts herself to him. Danny rows out to a water cave, and ordering her to step upon a rock demands the certificate. She refuses to give it up, and Danny pushes her into the water. Myles, who uses the cave for secret purposes, mistakes Danny for another and shoots him, and then, espying Eily, plunges in and saves her.
The dénouement of the story is quickly told in the last act. Hardress is arrested for murder, but Danny, who was fatally wounded, makes a dying confession of his scheme against the life of the Colleen Bawn. Corrigan brings soldiers to the house of Anne Chute at the moment of Hardress’ marriage with her, but is thwarted in his revenge when Myles produces Eily Cregan, Hardress’ lawful wife. Mrs. Cregan also confesses her part in the plot, and absolves her son from intentional guilt. Everything being cleared up, Eily rushes into Hardress’ arms, and the chorus declares
“A cloudless day at last will dawnUpon the hapless Colleen Bawn.”
“A cloudless day at last will dawn
Upon the hapless Colleen Bawn.”
The music is very elaborate for light-opera purposes, and is written broadly and effectively, especially for the orchestra. Many Irish melodiessprinkled through the work relieve its heaviness. The principal numbers are the serenade and duet, “The Moon has raised her Lamp above”; Myles’ song, “It is a Charming Girl I love”; Eily’s song, “In my Wild Mountain Valley he sought me,” and the well-known original Irish melody, “The Cruiskeen Lawn,” also sung by Eily; the “Tally-ho” chorus, introducing the second act; Danny Mann’s recitative and airs, “The Colleen Bawn” and “Duty? Yes, I’ll do my duty”; the dramatic finale to the second act; Myles’ serenade in the third act, “Your Slumbers, och! Soft as your Glance may be”; Hardress’ beautiful song, “Eily Mavourneen, I see thee before me”; and the fine concerted trio which closes the act.
[Opéra comique, in three acts; text by Scribe. First produced at the Opéra Comique, Paris, December 10, 1825; first time in English under the title of “The White Maid” at Covent Garden, London, January 2, 1827.]PERSONAGES.George Brown, orJuliusof Avenel.Gaveston, late steward of the Avenel estate.MacIrton, an auctioneer.Dikson, an honest farmer.Anna, adopted child of the Lady of Avenel.Jenny, wife of Dikson.Margaret, servant of the late Lady of Avenel.[Mountaineers, peasants, etc.]The scene is laid in Scotland; time of the Stuarts.
[Opéra comique, in three acts; text by Scribe. First produced at the Opéra Comique, Paris, December 10, 1825; first time in English under the title of “The White Maid” at Covent Garden, London, January 2, 1827.]
PERSONAGES.
[Mountaineers, peasants, etc.]
The scene is laid in Scotland; time of the Stuarts.
The story of this favorite opera, adapted from Walter Scott’s novels “The Monastery” and “Guy Mannering,” runs as follows. The Laird of Avenel, a Stuart partisan, upon the eve of going into exile after the battle of Culloden, entrusts his estate and a considerable treasure concealed in a statue, called “the White Lady,” to Gaveston, his steward. The traditions affirmed that the White Lady was the protectress of the Avenels, and the villagers declared they had seen her in the neighborhood. Gaveston, however, who puts no faithin the legend, announces the sale of the castle, hoping that the superstition may keep others from bidding and that he may get it for a low price. The steward decides to sell, because he has heard the Laird is dead and knows there is no heir.
Anna, an orphan, who had been befriended by the Laird, determines to frustrate the designs of Gaveston, and appears in the village disguised as the White Lady. She writes to Dikson, a farmer who is indebted to her, to meet her at midnight in the castle of Avenel. His superstitious fears lead him to decline the invitation, but George Brown, a young British soldier on furlough, who is sharing the farmer’s hospitality, volunteers in his stead. He encounters the White Lady at the castle, and is informed by her that he will speedily meet a young lady who has saved his life by her careful nursing, Anna recognizing him as her recent patient. When the day of sale comes, George and Anna are present, and the former buys the castle in obedience to Anna’s instructions, though he has not a shilling to his name. When the time for payment comes, Anna produces the treasure which had been concealed in the statue, and still in the disguise of the White Lady reveals to him the secret of his birth during the exile of his parents, and informs him he is Julius of Avenel. Gaveston approaches the spectre, and tears off her veil, revealing Anna. Moved by the zeal and fidelity of his father’s ward, George offers her his hand, which after some maidenly scruples she accepts.
In the first act the principal numbers are the opening song of George, “Ah! what Pleasure a Soldier to be”; the characteristic ballad of the White Lady with choral responses, “Where yon Trees your Eye discovers”; and the graceful trio in the finale, “Heavens! what do I hear.” The second act opens with a plaintive romanza, “Poor Margaret, spin away,” sung by Margaret, Anna’s old nurse, at her spinning-wheel, as she thinks of the absent Laird, followed in the fifth scene by a beautiful cavatina for tenor, “Come, O Gentle Lady.” In the seventh scene there is a charming duet, “From these Halls,” and the act closes with an ensemble for seven voices and chorus which is extremely effective. The third act opens with a sentimental air for Anna, “With what Delight I behold,” followed in the third scene by a stirring chorus of mountaineers, “Hail to our Gallant, our New-made Lord,” and leading up to “The Lay ever sung by the Clan of Avenel”—set to the familiar melody of “Robin Adair.” Though somewhat old-fashioned, the opera still retains its freshness, and its refined sentiment finds charming musical expression.
[Comic opera, in three acts; text by Stephenson. First produced at the Gaiety Theatre, London, September 25, 1886.]PERSONAGES.Dorothy Bantam, SquireBantam’sdaughter.Lydia Hawthorne, her cousin.Priscilla Privett, a widow.Phyllis,Tuppet’sdaughter.Geoffrey Wilder,Bantam’snephew.Harry Sherwood,Wilder’schum.Squire Bantam, of Chanticleer Hall.Lurcher, a sheriff’s officer.Tuppet, the village landlord.Tom Grass, in love withPhyllis.[Farm hands, hop-pickers, and ballet.]The scene is laid in Kent, England; time, a hundred years ago.
[Comic opera, in three acts; text by Stephenson. First produced at the Gaiety Theatre, London, September 25, 1886.]
PERSONAGES.
[Farm hands, hop-pickers, and ballet.]
The scene is laid in Kent, England; time, a hundred years ago.
The story of “Dorothy” is a simple one, but affords much scope for humor. The first act opens in a hop-field, introducing a chorus and dance of the hop-pickers. Afterward appears Dorothy, daughter of a wealthy squire, who is masquerading in a peasant’s dress, and while serving the landlord’s customers falls in love with a gentleman whose horse has lost a shoe. Her cousin, Lydia Hawthorne, who is with her in disguise, also falls in love with a customer. Each girl gives her lovera ring, and each lover vows he will never part with it; but that same evening at a ball the faithless swains give the rings to two fine ladies, who are none other than Dorothy and Lydia as their proper selves. After they have parted, the two lovers, Wilder and Sherwood, play the part of burglars and rob Squire Bantam. Dorothy, disguised in male attire, then challenges her lover, who, though he accepts, displays arrant cowardice, which leads up to the inevitable explanations. Incidentally there is much fun growing out of the efforts of Lurcher, the sheriff’s officer, who has followed Wilder and Sherwood down from London to collect a bill against the former. In the end Wilder and Sherwood are united to Dorothy and Lydia amid great rejoicing at Chanticleer Hall.
The principal numbers are the ballad, “With such a Dainty Dame”; the song of “The Sheriff’s Man” by Lurcher, Wilder, and Sherwood; the quartette “You swear to be Good,” and the jolly chorus “Under the Pump,” in the first act; the introduction and country dance, the bass song by Bantam, “Contentment I give you,” and the ballad, “I stand at your Threshold,” sung by Sherwood, in the second act; and the chorus of old women, “Dancing is not what it used to be,” Phyllis’ ballad, “The Time has come when I must yield” and the septette and chorus, “What Joy untold,” leading up to the elaborate finale of the last act.
[Comic opera, in three acts; text by Letterier and Vanloo.]PERSONAGES.Kolbach, military governor of Montgratz.Tancred, his nephew.Arthur, student, son of a rich Hungarian farmer.Lay Brother Pelican, doorkeeper of the convent.Konrad, captain of the governor’s pages.Tekeli, sergeant of the patrol.Boboky, gypsy scout.Boleslas, chief of the gypsies.The Seneschal,Kolbach’ssteward.Falka, niece ofKolbach, at the convent school.Edwige, sister ofBoleslas.Alexina de Kelkirsch, a young heiress.Minna, her maid.Janotha, landlady of the inn.[Military pages, soldiers of the watch, maids of honor, peasants, Bohemians, etc.]The scene is laid in Hungary; time, the middle of the eighteenth century.
[Comic opera, in three acts; text by Letterier and Vanloo.]
PERSONAGES.
[Military pages, soldiers of the watch, maids of honor, peasants, Bohemians, etc.]
The scene is laid in Hungary; time, the middle of the eighteenth century.
The first act of “Falka” opens with the announcement that Kolbach, the military governor of Hungary, has been promised a patent of nobility by the Emperor upon the condition that he can establish the succession with a male heir, eitherdirect or collateral. He is childless himself, but he has a niece, Falka, who is in a convent, and a nephew, Tancred, who is usher in a village school. The brother of Kolbach is dead. His hopes for the heir rest upon Tancred, whom he has never seen. He summons him to take a place in his house as the heir presumptive. On his way, Tancred is captured by a band of gypsies, led by Boleslas, but is released by Edwige, Boleslas’ sister, on condition that he marries her. All this has happened in the night, and Edwige has not even seen Tancred’s face. The latter, when he learns who Edwige is, flies, and is pursued to the city where Kolbach lives by Boleslas and Edwige. From a pocket-book he has dropped they discover he is the nephew of the governor, and plot to identify him at the meeting, but Tancred, overhearing them, decides to baffle them by not appearing, and writes to his uncle that he is detained by illness. In the mean time Falka, the niece, has eloped with a young man named Arthur. Closely pursued by Brother Pelican, the convent doorkeeper, the fugitives arrive at the inn where Kolbach and Tancred were to have met. To foil Brother Pelican, Falka arrays herself in a suit of Arthur’s, and then boldly decides to personate her brother. Kolbach is easily deceived, but new complications ensue. Brother Pelican, finding Falka’s convent dress, suspects she has disguised herself as a boy and arrests Arthur for her. Boleslas and Edwige, witnessing the meeting of Falka and Kolbach, are certain Falkais the missing Tancred. For Falka’s sake Arthur is silent, and the cortège sets out for the castle where the heir presumptive is to be engaged, by the Emperor’s order, to the rich young Alexina de Kelkirsch.
In the second act Brother Pelican takes Arthur to the convent in Falka’s dress, and Falka remains in a soldier’s uniform to win the consent of her uncle to their union. Her plans are now disturbed by the arrival of Tancred, disguised as a footman, to watch his own interests and thwart the schemes of the young soldier, who he little dreams is his own sister. He is afraid to reveal himself because he knows Boleslas is on his track. He contrives that Falka shall be accused of broken vows before Kolbach, and she is challenged by Boleslas, but escapes by revealing her sex to Edwige. Arthur, who has been brought back from the convent, confesses the interchange of dresses with Falka, whereupon Kolbach orders them both out of his presence. Tancred displays unusual satisfaction, and thus discloses his identity to Edwige. Thus the act closes with Kolbach’s discovery that Tancred is betrothed to a gypsy and that the pseudo Tancred is his niece Falka.
In the last act Kolbach reluctantly prepares for the marriage of Tancred to Alexina, as the Emperor desires. Falka is shut up in a tower, whence she is to be sent back to the convent. At this point Boleslas appears with Edwige. An interview between the two brides leads to the substitution ofEdwige for Alexina, and Tancred marries the gypsy. Falka escapes from the tower, but is caught and brought before her uncle, who at last pardons her various follies, all the more willingly because he has received a despatch from the Emperor that he may adopt her as his heiress, the succession having been settled in the female line.
The principal numbers in the first act are the stirring air and refrain, “I’m the Captain,” sung by Edwige, Tancred, and Boleslas, preluded by a short march movement; a taking little nocturne, “There was no Ray of Light,” sung by Edwige; a rondo duet, “For your Indulgence”; and the long and elaborate finale, which closes with an octette and full chorus.
The second act opens with a charming chorus, “Tap, tap,” sung by the maids of honor, followed by couplets, “Perhaps you will excuse.” Falka has a pretty air, “Yon Life it seems,” followed by the exit chorus, “Ah! is she not a Beauty?” This in turn is followed by a characteristic Bohemian chorus, “Tra-la-la,” with a gypsy air, “Cradled upon the Heather,” coming in as a kind of vocal intermezzo. After a long ensemble, “It was Tancred,” a trio, “Oh Joy! oh Rapture!” is sung, in the course of which there is an ingenious passage burlesquing Italian opera, followed by a quintette, “His Aspect’s not so overpowering,” and leading up to an elaborately concerted finale.
The last act, though short, contains many brilliant numbers; among them the bridal chorus,“Rampart and Bastian Gray,” followed by a lively Hungarian rondo and dance, “Catchee, catchee”; a romanza “At Eventide,” which literally passes “from grave to gay, from lively to severe,” as it begins with an andante agitato, changing to an andante religioso, and ending with a waltz tempo, and repeating with the same abrupt changes; a charming duo Berceuse, “Slumber, O Sentinel”; and the bell chorus, “There the Bells go,” preceding a short finale.
[Comic opera, in three acts; text by Harry B. Smith. First produced in Chicago, June 9, 1890.]PERSONAGES.Robertof Huntington, afterwardRobin Hood.Sheriffof Nottingham.Sir Guyof Gisborne, his ward.Little John,Will Scarlet,Friar Tuck,Allan a Dale,}outlaws.Lady Marian Fitzwalker, afterwardsMaid Marian.Dame Durden, a widow.Annabel, her daughter.[Villagers, milkmaids, outlaws, King’s foresters, archers, pedlers, etc.]The scene is laid in England; time of Richard the First.
[Comic opera, in three acts; text by Harry B. Smith. First produced in Chicago, June 9, 1890.]
PERSONAGES.
[Villagers, milkmaids, outlaws, King’s foresters, archers, pedlers, etc.]
The scene is laid in England; time of Richard the First.
The first act of “Robin Hood” opens in the market-place of Nottingham, where the villagers are holding a fair and at the same time celebrating May Day with a blithe chorus, for Robin Hood’s name is often associated with that day. The three outlaws Allan a Dale, Little John, and Will Scarlet, enter, and sing most lustily the praises of their free life in Sherwood Forest, the villagers joining in chorus. The tantara changes to a graceful and yet hilarious dance chorus, “AMorris Dance must you entrance,” sung fortissimo. The second number is a characteristic and lively song by Friar Tuck, in which he offers at auction venison, ale, and homespun, followed by No. 3, a humorous pastoral, the milkmaid’s song with chorus, “When Chanticleer crowing.” This leads up to the entrance of Robin Hood in a spirited chorus, “Come the Bowmen in Lincoln Green,” in which the free life of the forest is still further extolled. Another and still more spirited scene introduces Maid Marian, which is followed by an expressive and graceful duet for Maid Marian and Robin Hood, “Though it was within this Hour we met,” closing in waltz time. This is followed by the Sheriff’s buffo song with chorus, “I am the Merry Sheriff of Nottingham,” and this in turn by a trio introduced by the Sheriff, “When a Peer makes Love to a Damsel Fair,” which, after the entrance of Sir Guy and his luckless wooing, closes in a gay waltz movement, “Sweetheart, my own Sweetheart.” In the finale Robin Hood demands that the Sheriff shall proclaim him Earl. The Sheriff declares that by his father’s will he has been disinherited, and that he has the documents to show that before Robin Hood’s birth his father was secretly married to a young peasant girl, who died when the Earl’s first child was born. He further declares that he reared the child, and that he is Sir Guy, the rightful heir of Huntington. Maid Marian declares she will suppress the King’s command and not accept Sir Guy’s hand, and RobinHood vows justice shall be done when the King returns from the Crusades.
The second act opens with a brisk hunting-chorus, “Oh! cheerily soundeth the Hunter’s Horn,” sung by Allan a Dale, Little John, Scarlet, and the male chorus, in the course of which Scarlet tells the story of the tailor and the crow, set to a humming accompaniment. This is followed by Little John’s unctuous apostrophe to the nut-brown ale, “And it’s will ye quaff with me, my Lads.” The next number is a tinkers’ song, “’Tis Merry Journeymen we are,” with characteristic accompaniment, followed by an elaborate sextette, “Oh, see the Lambkins play.” Maid Marian sings a joyous forest song, “In Greenwood Fair,” followed by Robin Hood’s serenade, “A Troubadour sang to his Love,” and a quartette in which Maid Marian declares her love for Robin Hood and Allan a Dale vows revenge. In the finale, opening in waltz time, the Sheriff is placed in the stocks by the outlaws, who jeer at him while Dame Durden flouts him, but he is finally rescued by Sir Guy and his archers. The outlaws in turn find themselves in trouble, and Maid Marian and Robin Hood are in despair.
The last act opens with a vigorous armorers’ song, “Let Hammer on Anvil ring,” followed by a pretty romance, “The Legend of the Chimes,” with a ding-dong accompaniment. A graceful duet follows, “There will come a Time,” in which Robin Hood and Maid Marian plight their troth.In strong contrast with this, Annabel, Dame Durden, Sir Guy, the Sheriff, and Friar Tuck indulge in a vivacious quintette, “When Life seems made of Pains and Pangs, I sing my Too-ral-loo-ral-loo.” A jolly country dance and chorus, “Happy Day, Happy Day,” introduce the finale, in which Maid Marian is saved by the timely arrival of Robin Hood at the church door with the King’s pardon, leaving him free to marry.
[Comic opera, in three acts; text by Harry B. Smith. First produced at Chestnut Street Opera House, Philadelphia, Pa., November 4, 1901.]PERSONAGES.Sheriffof Nottingham.Little John.Robin Hood.Will Scarlet.Friar Tuck.Allan a Dale.Guyof Gisborne.Dame Durden.Giles,Geoffrey,}gamekeepers.Yussuf, a slave merchant.Sir H. Vere de Vere,Sir Hugh Montford,}Knights of St. George.Amina, a snake-charmer.Lady Vivian.Maid Marian.[Huntsmen, men at arms, Saracen warriors, mummers, Crusaders, etc.]The scene is laid in England and Palestine; time of Richard the First.
[Comic opera, in three acts; text by Harry B. Smith. First produced at Chestnut Street Opera House, Philadelphia, Pa., November 4, 1901.]
PERSONAGES.
[Huntsmen, men at arms, Saracen warriors, mummers, Crusaders, etc.]
The scene is laid in England and Palestine; time of Richard the First.
The story of “Maid Marian” introduces most of the familiar characters in “Robin Hood” and some new ones, and the scene alternates between Sherwood Forest and Palestine. It is intended as a sequel to the latter opera. The plot begins at the point where Maid Marian and Robin Hood were betrothed. Robin has joined the Crusaders and left Marian on the eve of the wedding. He also leaves a letter for Marian in Little John’s charge, directing her in case of trouble to apply to him for help. This letter is stolen by the Sheriff of Nottingham, who substitutes for it a forged missive calculated to make her believe that Robin is false. The first act closes with the arrival of Little John and the forest outlaws, who leave for the holy war. Marian joins them to seek for Robin.
The second act opens in the camp of the Crusaders, near the city of Acre. Maid Marian has been captured by the Saracens and sold into slavery, but is rescued by Robin Hood. Then the Sheriff of Nottingham and Guy of Gisborne, the latter still intent upon marrying Marian, appear in the disguise of merchants and betray the camp into the hands of the Saracens. Dame Durden’s encounter with the Sheriff and Friar Tuck’s antics as an odalisque add merriment to the story.
In the last act all the principals are back in England and the scene opens with a Christmas revel in Huntington Castle. Robin thwarts all the schemes of the Sheriff, comes into his rights, and is reunited to Maid Marian.
While the story lacks in interest as compared with that of “Robin Hood,” the music gains in dramatic power and seriousness of purpose, and at the same time is full of life and vivacity. The overture is notable for being in genuine concert form,—the first instance of the kind in comic opera for many years past,—and thus naturally sets the pace, as it were, for the opera, and gives the clew to its musical contents. The most noticeable numbers in the first act are the Cellarer’s Toast, “The Cellar is dark and the Cellar is deep,” a rollicking song for Scarlet, Friar Tuck, and chorus; the charmingly melodious “Song of the Falcon,” “Let one who will go hunt the Deer,” for Maid Marian; the Sheriff’s song, “I am the Sheriff Mild and Good,” which is always popular; and a delightful madrigal, the quintette “Love may come and Love may go.” The second act contains many pleasing and characteristic songs, among them “The Monk and the Magpie,” sung by Scarlet and chorus; the “Song of the Outlaw,” a spirited ballad by Robin Hood; the Sheriff’s serenade, a popular tune, “When a Man is in Love”; “The Snake Charmer’s Song,” by Maid Marian; and the vigorous “Song of the Crusader” by Robin; but the two most effective numbers are a graceful song, “Tell me again, Sweetheart,” sung by Allan a Dale, and the duet in waltz manner, “True Love is not for a Day,” by Robin and Marian. The third act is largely choral, the introductory Christmas carolling anddance rhythms being especially effective, but it contains one of the best solo numbers in the work, the dainty song with chorus, “Under the Mistletoe Bough.” The music throughout is dramatic, strong, and well written. While the opera has not been as popular as its predecessor, yet the music is of a higher order, and occasionally approaches grand opera in its breadth and earnestness.
[Romantic comic opera, in three acts; text by Harry B. Smith. First produced at the Herald Square Theatre, New York, October 29, 1894.]PERSONAGES.Rob Roy MacGregor, Highland chief.Janet, daughter of the Mayor.Prince Charles Edward Stuart, the young Pretender.Flora MacDonald, partisan of the Pretender.Dugald MacWheeble, Mayor of Perth.Lochiel, otherwiseDonald Cameron.Capt. Ralph Sheridan, of the Grenadiers.Sandy MacSherry, town-crier.Tammas MacSorlie, the Mayor’s henchman.Lieut. Cornwallis, of the Grenadiers.Lieut. Clinton.Angus MacAllister.Duncan Campbell.Stuart MacPherson.Donald MacAlpine.Nellie, barmaid of “The Crown and Thistle.”[Highlanders, Lowlanders, townsmen, watchmen, drummer-boys, English Grenadiers, etc.]The scene is laid in Scotland; time of George the Second.
[Romantic comic opera, in three acts; text by Harry B. Smith. First produced at the Herald Square Theatre, New York, October 29, 1894.]
PERSONAGES.
[Highlanders, Lowlanders, townsmen, watchmen, drummer-boys, English Grenadiers, etc.]
The scene is laid in Scotland; time of George the Second.
The first act of “Rob Roy” opens in Perth, where Lochiel and his Highlanders have stolen a considerable sum of money in the keeping of the Provost, with which they propose to aid Prince Charles Stuart in his designs upon the English throne. Flora MacDonald, a zealous partisan of the young Pretender, appears upon the scene, and induces the Provost to consent to a gathering of the clans in Perth. Hearing of a Scotch victory, he compels his daughter Janet to marry Sandy MacSherry, the town-crier, who claims relationship with the Stuarts. In the mean time English grenadiers enter Perth, and their captain, Ralph Sheridan, falls in love with Janet. The Provost, who is always on the side that is uppermost, forces his daughter to declare herself the Captain’s wife and then accuses Sandy of stealing the missing money. Janet obeys him, but immediately afterwards Rob Roy captures the town, and the Provost, to get rid of his new English son-in-law, causes his arrest. It now appears that the crafty Janet when she went through the Scotch form of marriage with Sandy and the Captain was already secretly married to Rob Roy. To escape her two nominal husbands she proposes to go with Rob Roy’s Highlanders as his orderly. The act closes with the gathering of the clans and the elevation of the standard.
The second act opens with the defeat of the Scotch at Culloden. A reward is offered for the Prince, who is in hiding among the MacGregors in their mountain stronghold. The Provost and hishenchmen appear as strolling balladmongers, still in Highland dress, and not having heard of the Scotch defeat. When Sandy MacSherry arrives with the news of the English victory, the Provost gets into English uniform at once, and determines to secure the reward offered for the Prince. At last the Prince is found by the English, but when they are about to take him away, Flora MacDonald appears in the Prince’s costume, declares him her servant, and is led away by the soldiers in spite of the efforts of Rob Roy and the Prince to rescue her.
The third act opens near Stirling Castle, where Flora is confined under sentence of death on the morrow. Lochiel aids her to escape, and she goes to the MacGregors’ cave, where the Prince is to join her. Meanwhile, her cell being empty, Lochiel, who has taken the turnkey’s place, puts Sandy in it. The Provost, who is now an English corporal, supposing that Flora is still in the castle, brings her a disguise costume in which Sandy manages to effect his escape. Flora is found in the cave and brought back to the camp, but is saved from being shot by the timely arrival of the Prince, who gives himself up. As he is about to be executed, the Lowlanders around him throw off their coats and stand revealed as armed Highlanders. They keep the English soldiers at bay while the Prince and Flora are seen sailing away for France.
In the first act, after a long choral scene andensemble, Flora makes her entrance with the spirited song, “Away in the Morning Early,” which is followed by a sentimental duet with the Prince, “Thou, Dear Heart.” The town-crier next has a characteristic song with a ding-dong accompaniment. After a grenadier song and chorus by Captain Sheridan and his soldiers, there is a vigorous Highland chorus and song by Rob Roy, “The White and the Red, huzzah.” The remaining prominent numbers in this act are a pretty duet for Rob Roy and Janet, “There he is and nae one wi’ him”; a charming Scotch ballad, “My Hame is where the Heather blooms,” and a humorous song by the Provost, “My Hairt is in the Highlands.”
The principal numbers in the second act are Janet’s joyous song, “There was a Merry Miller of the Lowland”; the spirited martial lay of the Cavalier, “With their trappings all a-jingle”; the jolly song of the balladmongers, “From Place to Place I fare, Lads”; Rob Roy’s song, “Come, Lairds of the Highlands”; and the effective romanza, “Dearest Heart of my Heart,” sung by Flora.
The third act opens with a vigorous rataplan chorus followed by a charming chansonette and duet, “Who can tell me where she dwells,” sung by the Prince and Flora. The remaining numbers are a short but exceedingly effective bass song, “In the Donjon Deep”; the Provost’s serenade, “The Land of Romances,” followed by a dance,and a pretty little rustic song, “There’s a Lass, some think her Bonny,” for Rob Roy, Janet, and chorus, leading up to a vigorous choral finale.
[Comic opera, in three acts; text by Harry B. Smith. First produced at the New York Casino, November 14, 1892.]PERSONAGES.Francesca,Torquato’sdaughter, brought up as a boy.Torquato, fencing-master of the Milanese court.Pasquino, private astrologer to the Duke.Galeazzo Visconti, Duke of Milan.Count Guido Malespine.Filippa, the Duke’s ward.Marchesa di Goldoni.Theresa, daughter of a Milanese money-lender.Pietro, an innkeeper.Michaele Steno, Doge of Venice.Rinaldo, Captain of the Doge’s Guards.Fortunio, rightful heir to the ducal throne.[Students in Torquato’s Academy.]The scene is laid in Milan and Venice; time, the first quarter of the fifteenth century.
[Comic opera, in three acts; text by Harry B. Smith. First produced at the New York Casino, November 14, 1892.]
PERSONAGES.
[Students in Torquato’s Academy.]
The scene is laid in Milan and Venice; time, the first quarter of the fifteenth century.
The heroine of this opera is Francesca, daughter of a fencing-master, who has brought her up as a boy and taught her fencing among other accomplishments. She is in love with Fortunio, rightful heir to the throne of Milan, who believes her to be a boy. Fortunio in turn is in love with the Countess Filippa, and the Marchesa di Goldoni, a young widow, is in love with Francesca. The bankrupt and usurping Duke of Milan and hisprivate astrologer, of whom he has purchased so many horoscopes as to deplete his exchequer, furnish the comedy element of the opera. The Duke has mortgaged one room after another in his palace to money-lenders, and has also employed a regularly organized stock company of Venetian bravos to remove Fortunio. The first act closes with the departure of Fortunio and Francesca to Venice on political business.
The second act opens in Venice. Filippa has been sent there to be married, but Fortunio plans an elopement with her and entrusts the secret to Francesca. The jealous Francesca betrays the plan to Guido, his rival, who abducts Filippa. When Fortunio discovers what Francesca has done, he challenges the supposed young man, whose identity is revealed after he has wounded her. Fortunio is arrested by the Duke and is about to be taken to prison, when Francesca declares herself as the real traitor and is imprisoned in his stead.
In the last act Francesca escapes through the connivance of the Marchesa, who still believes her to be a man. At a fête Filippa is expected to name her future husband. Fortunio has made an appointment with her, but meets Francesca disguised as the Countess, in a mask and domino like hers. She learns from Fortunio that he really loves her and not Filippa. The opera closes with the downfall of the usurping Duke and his astrologer and the restoration of Fortunio to his rights.
The music has the Italian color, the first act containing a graceful tarantella and chorus, “Under thy Window I wait”; a duet, gavotte, and chorus, “Oh, listen, and in Verse I will relate,” sung by Theresa and Pasquino; a lively song, “The Life of a Rover,” by Fortunio; a charming habanera and quintette, “True Love is a Gem so Fair and Rare”; and a waltz quintette, “Lady Fair, I must decline.” The second act opens with a barcarole, “Over the Moonlit Waves we glide,” and contains also a graceful maranesca, “Oh, come, my Love, the Stars are bright”; a humorous serenade for the Duke, “Singing a Serenade is no Light Task”; a sentimental romanza for Francesca, “The Nightingale and the Rose”; and a brilliant finale in which the music accompanies the historic ceremony of the marriage with the Adriatic. The principal numbers of the third act are a graceful carnival scene with chorus opening the act; the serenade for the Marchesa and cavaliers, “Wild Bird that singeth”; a will-o’-the-wisp song by Francesca, “Traveller wandering wearily”; and a melodious duet for Francesca and Fortunio, “Dwells an Image in my Heart,” leading up to a short finale.
[Romantic opera, in three acts; text by Goudinet and Gille. First produced at the Opéra Comique, Paris, April 14, 1883; in New York, March 1, 1886.]PERSONAGES.Lakmé, daughter ofNilakantha.Nilakantha, a Brahmin priest.Gerald, an English officer, lover ofLakmé.Frederick, an English officer.Mallika, slave ofLakmé.Hadji, slave of Lakmé.Ellen,Rose,}daughters of the Viceroy.Mrs. Benson, their governess.[Hindoos, Chinamen, fruit-venders, sailors, etc.]The scene is laid in India; time, last century.
[Romantic opera, in three acts; text by Goudinet and Gille. First produced at the Opéra Comique, Paris, April 14, 1883; in New York, March 1, 1886.]
PERSONAGES.
[Hindoos, Chinamen, fruit-venders, sailors, etc.]
The scene is laid in India; time, last century.
The opera of “Lakmé” opens in the sacred grounds of Nilakantha, a Brahmin priest who has an aversion to all foreigners, where Gerald and Frederick, two young English officers, with ladies are strolling about. They gradually retire with the exception of Gerald, who is curious to see the owner of some jewels left upon a shrine. Lakmé, the daughter of Nilakantha, returns for them, espies Gerald, and there is a case of love at first sight. The priest however interrupts their demonstrations,and Gerald escapes his vengeance in a convenient thunder-storm. In the second act Lakmé and Nilakantha appear in the market-place in the guise of penitents. He forces his daughter to sing, hoping that her voice will induce her lover to disclose himself. The scheme succeeds, and Nilakantha, stealing upon Gerald, stabs him in the back and makes good his escape. The third act opens in a jungle where Lakmé is nursing Gerald with the hope of retaining his love. She eventually saves his life, but while she is absent to obtain some water which, according to the Indian legend, will make love eternal, Frederick finds him and urges him to return to his regiment. Duty is more powerful than passion, and he consents. When Lakmé finds that he is going, she takes poison and dies in Gerald’s arms.
The first act opens with a chorus of Hindoos, oriental in its coloring, followed by a duet between Lakmé and her father, the scene closing with a sacred chant. A beautiful duet for Lakmé and her slave follows, “Neath yon Dome where Jasmines with the Roses are blooming.” As Lakmé appears at the shrine, she sings a restless love song, “Why love I thus to stray?” followed by Gerald’s ardent response, “The God of Truth so Glowing.”
The first number of importance in the second act is the pathetic aria of Nilakantha, addressed to his daughter, “Lakmé, thy Soft Looks are over-clouded.” Then follows Lakmé’s bell song,“Where strays the Hindoo Maiden,” a brilliant and gracefully embellished aria with tinkling accompaniment which will always be popular. The remaining principal numbers are an impassioned song by Gerald, “Ah! then ’tis Slumbering Love,” followed by the mysterious response from Lakmé, “In the Forest near at Hand.”
The music of the third act is tinged with sadness throughout, as the action hastens to the tragic dénouement. Its principal numbers are the low murmuring song by Lakmé, “’Neath the Dome of Moon and Star,” as she watches her sleeping lover; Gerald’s song, “Tho’ Speechless I, my Heart remembers,” followed by a pretty three-part chorus in the distance; and Lakmé’s last dying songs, “To me the Fairest Dream thou’st given,” and “Farewell, the Dream is over.”