This little opera, composed by Weber in his early youth and first represented at Dresden under the composer's own direction, for a time fell into utter oblivion, but has lately been reproduced.
Though short and unpretending it really deserves to be heard, the music is so full of sweetness, so fresh and pretty.
The text is taken from a tale of the Arabian Thousand and One Nights, and though full of nonsense, it amuses by its lightheartedness and gaiety of spirit.
Abu Hassan, favorite of the Calif of Bagdad, has lived above his means, and is now regaled with bread and water by his wife Fatima, whose only fault is, that she sings better than she cooks. In order to better his fortunes Abu Hassan hits upon a strange plan. He sends his wife to the Calif's wife, Zobeïde, to announce his (Hassan's) death, for which she will obtain 50 gold pieces and a piece of brocade. Fatima departs and in the meantime enter Abu Hassan's creditors with the appeal for money. Unable to satisfy them the debtorapproaches the eldest and richest among them, and so pacifies him with sweet words which he is given to understand Fatima has sent him, that old Omar consents to pay all the creditors.
When they are gone, Fatima returns with Zobeïde's presents, and Abu Hassan prepares to go in his turn to the Calif, in order to repeat a similar death-story about his wife and get a like sum. While he is away Omar reappears. He has bought all Hassan's accounts from his numerous creditors and offers them to Fatima for a kiss. At this moment the husband returns. Omar is shut into the adjoining cabinet, and the wife secretly points out the caged bird to her spouse who begins to storm at finding the door of the next room closed, greatly to the anguish of the old sinner Omar,—anguish, which is enjoyed by his tormentors to the full. In the midst of this scene Mesrur, messenger of the Calif, appears, to find out whether Fatima is really dead. The Calif and his wife having each received news of the death of the other's favorite, want to know, who it was, that died, and—if both are dead—who died first. The Calif affirms, that it is Fatima—his wife, that it is Abu Hassan. They have made a bet, and Mesrur, seeing Fatima lying motionless on the divan, covered with the brocade, and her husband in evident distress beside her, runs away to convey the tidings to the Calif. He is hardly gone, when Zobeïde's nurse, Zemrud comes on a similar errand from her mistress. Fatima, who has just covered her husband withthe brocade, receives her with tears and laments, and the nurse departs triumphantly.
Hassan presently comes to life again but he and Fatima are not long permitted to congratulate one another on the success of their scheme, for the arrival of the Calif with his wife is pompously announced. Both throw themselves on the divans, covering themselves, and so the august couple finds them dead. The Calif, much afflicted by the sight, offers 1000 gold pieces to anyone, who can tell him, which of the two died first. No sooner does Hassan hear this than tearing aside his cover, he throws himself at the Calif's feet, crying out: "It was I, who died first!" at the same time craving the Calif's pardon together with the gold pieces. Fatima is also speedily resuscitated and the Calif pardons his favorites, Hassan meanwhile asserting, that he only died badly, in order to live better. Omar, who has paid their bills in the hope of winning Fatima's love, is driven away in disgrace.
L'Africaine, one of the Maëstro's last operas (1865), unites in itself all the strength and at the same time all the weakness of Meyerbeer's composition.
The music is easy flowing and enthralls us with its delicious melodies; but it only appeals to our senses, and nobler thoughts are altogetherwanting. Nevertheless the opera finds favor by reason of these advantages, which are supplemented by an interesting, though rather improbable libretto.
The famous Portuguese navigator Vasco de Gama (born in 1469) is the hero, though he does not appear in the best possible light, and is by no means strictly historical.
The first scene is laid in Lisbon. Donna Ines, Admiral Diego's daughter is to give her hand to Don Pedro, a counsellor of King Emmanuel of Portugal. But she has pledged her faith to Vasco de Gama, who has been sent with Diaz, the navigator, to double the Cape, in order to seek for a new land, containing treasures, similar to those discovered by Columbus. Reports have reached Lisbon, that the whole fleet has been destroyed, when suddenly Vasco de Gama appears before the assembled council of state.
He eloquently describes the dangers of the unknown seas near the Cape and gives an account of the shipwreck, from which he alone has escaped. He then places his maps before the council, endeavouring to prove, that beyond Africa there is another country, yet to be explored and conquered.
Vasco has on his way home picked up a man and a woman of an unknown race. Those slaves however stubbornly refuse to betray the name of their country, and a lively debate ensues between the Grand Inquisitor and the younger more enlightened members of the council, as to the course, which should be adopted with Vasco. At last, owing tothe irritation caused by his violent reproaches, fanaticism is victorious, and instead of being furnished with a ship to explore those unknown lands, he is thrown into prison, on the plea of his being a heretic, for having maintained the existence of countries which were not mentioned in the Holy Scriptures.
The second act takes place in a cell of the Inquisition, in which Vasco has been languishing for a month past, in the company of the strange slaves Nelusco and Selica. The latter has lost her heart to the proud Portuguese, who saved her and her companion from a slave-ship. But Vasco is only thinking of Ines, and Nelusco, who honors in Selica not only his Queen, but the woman of his love, tries to stab Vasco—the Christian, whom he hates with a deadly hatred. Selica hinders him and rouses the sleeping Vasco, who has been dreaming of and planning his voyage to the unknown country.
Selica now shows him on the map the way to her native isle, and he vows her eternal gratitude. His liberty is indeed near at hand, for hardly has he given his vow, than Ines steps in to announce that Vasco is free. She has paid dearly for her lover's deliverance however, for she has given her hand to Vasco's rival Don Pedro, who, having got all Vasco's plans and maps, is commissioned by government, to set out on the voyage of discovery.
Ines has been told, that Vasco has forgotten her for Selica the slave. In order to prove his fidelity, our ungrateful hero immediately presentsher with the two slaves, and Don Pedro resolves to make use of them for his exploration.
In the third act we are on board of Don Pedro's ship in the Indian seas. Donna Ines is with her husband and Nelusco has been appointed pilot. Don Alvar, a member of the council and Don Pedro's friend, warns the latter, that Nelusco is meditating treason, for they have already lost two ships; but Pedro disregards the warning. A typhoon arises, and Nelusco turns the ship again northward. But Vasco has found means to follow them on a small sailing vessel; he overtakes them and knowing the spot well where Diaz was shipwrecked, he entreats them to change their course, his only thought being Donna Ines' safety. But Pedro, delighted to have his rival in his power, orders him to be bound and shot. Ines hearing his voice, invokes her husband's mercy. Just then the tempest breaks out, the vessel strikes upon a rock and the cannibals inhabiting the neighboring country leap on board to liberate their Queen Selica and to massacre the whole crew, in the fulfilment of which intention they are however arrested by Selica.
In the following acts Selica resides as Queen on the Isle of Madagascar. The people render her homage, but her priests demand the strangers' lives as a sacrifice to their gods, while the women are condemned to inhale the poisoned perfume of the Manzanillo-tree.—In order to save Vasco Selica proclaims him her husband and takes Neluscoas witness, swearing to him that if Vasco is sacrificed she will die with him. Nelusco, whose love for his Queen is greater even than his hatred for Vasco, vouches for their being man and wife, and the people now proceed to celebrate the solemn rites of marriage.
Vasco, at last recognizing Selica's great love, and believing Ines dead, once more vows eternal fidelity to her, but alas, hearing the voice of Ines, who is about to be led to death, he turns pale and Selica but too truly divines the reason.
In the fifth act Selica is resolved to put her rival to death. She sends for her, but perceiving Ines' love, her wrath vanishes, her magnanimity soars above her hatred of the Christians, and she orders Nelusco to bring Ines and Vasco on board of a ship about to sail for Portugal.
Selica herself, unable to endure life without her beloved-one, proceeds to the Cape, where the Manzanillo-tree spreads his poisonous shade.—Her eyes fastened on the vast ocean and on the white sail of the retiring vessel, she inhales the sweet but deadly perfume of the blossoms and the returning Nelusco finds her dying, while an unseen chorus consoles her with the thought that in Love's eternal domain all are equal.
This opera owes its great popularity not only to its brilliant music and skilful instrumentation, but also to its really magnificent outfit and decorations. Aïda ranks among the best operas of Verdi. The plot is taken from old Egypt; and the music, with its eastern and somewhat sensuous coloring is exquisitely adapted to the scenery.
The scene of action is alternately Memphis and Thebes and the story belongs to the period when the Pharaohs sat on the throne.
In the first act we see the King's palace at Memphis. Ramphis, the Highpriest of Pharaoh announces to the Egyptian General Radames, that the Ethiopians are in revolt and that the goddess Isis has decided who shall be leader of the army sent out against them. Radames secretly hopes to be the elected, in order to win the Ethiopian slave Aïda, whom he loves, not knowing that she is a King's daughter.
Enter Amneris, daughter of Pharaoh. She loves Radames without his knowledge and so does Aïda. Amneris, suspecting this, swears to avenge herself, should her suspicion prove correct.
The King's messenger announces, that Amonasro, the Ethiopian King (Aïda's father), is marching to the capital, and that Radames is chosen to conquer the foe. Radames goes to the templeto invoke the benediction of the goddess and to receive the sacred arms.
In the second act Amneris, in order to test Aïda's feelings, tells her, that Radames fell in battle, and finds her doubts confirmed by Aïda's terror. Amneris openly threatens her rival, and both hasten to receive the soldiers, who return victorious. In Radames' suite walks King Amonasro, who has been taken prisoner, disguised as a simple officer. Aïda recognizes her father, and Amonasro telling his conqueror, that the Ethiopian King has fallen, implores his clemency. Radames, seeing Aïda in tears, adds his entreaties to those of the Ethiopian; and Pharaoh decides to set the prisoners free, with the exception of Aïda's father, who is to stay with his daughter. Pharaoh then gives Amneris to Radames as a recompense for his services.
In the third act Amonasro has discovered the mutual love of his daughter and Radames and resolves to make use of it. While Amneris prays in the temple that her bridegroom may give his whole heart to her, Amonasro bids his daughter discover the secret of the Egyptian warplans from her lover. Amonasro hides himself, and Aïda has an interview with Radames, in which he reveals all to her. She persuades him to fly with her, when Amonasro shows himself, telling him that he has heard all and confessing that he is the Ethiopian King. While they are speaking, Amneris overtakes and denounces them. Amonasroescapes with his daughter, Radames remains in the hand of Ramphis, the Highpriest.
In the fourth act Radames is visited in his cell by Amneris, who promises to save him from the awful death of being buried alive, if he renounces Aïda. But Radames refuses, though she tells him, that Aïda has fled into her country, her father being slain on their flight.
Amneris at length regrets her jealousy and repents, but too late! Nothing can save Radames, and she is obliged to see him led into his living tomb. Amneris curses the priests, who close the subterranean vaults with a rock. Radames, preparing himself for death, discovers Aïda by his side. She has found means to penetrate into his tomb, resolved to die with her lover.
While she sinks into his arms, Amneris prays outside for Radames' peace and eternal happiness.
Flotow, who composed this little opera when at Paris in the year 1844, that is long before his Martha, had the satisfaction of scoring a great success on the evening of its first representation in Hamburg. The pleasant impression then made by its agreeable and lovely melodies has not faded the less that, after hearing many of our stormy and exciting modern operas, one often and ardentlylongs for the restful charm and guileless pleasure of a piece like this.
The libretto is interesting and touching, without being over-sensational.
Stradella, the celebrated Venetian singer has fallen in love with Leonore, ward of a rich Venetian citizen named Bassi. She returns his love, but is strictly guarded by her uncle, who wants to marry her himself. Stradella succeeds in deceiving Bassi and aided by his friend carries her off during the Carnival. In the second act we find the lovers in a little village near Rome, where a priest unites them for ever and gives them his benediction.
But Malvolio, a bandit, has sought them by Bassi's orders, and discovers their refuge. Entering the villa, where he finds open doors but no people, he meets with another bandit, in whom he recognizes his friend Barbarino, also sent as it turns out on the same errand.
They decide to do the business together, that is to say: to kill Stradella, and to carry his wife back to her guardian. Under the mask of pilgrims going to a sacred festival, they find a kindly shelter in Stradella's house and are won by the latter's fine voice, as well as by the charm of his noble behaviour, so that they wholly abandon their evil purpose.
But in the third act Bassi appears, and not finding his order executed, offers such a large sum of gold to the banditti, that they at length promise to stab Stradella during his next singing performance. While they lie-in-wait for him, Stradella sings thehymn of the Holy Virgin's clemency towards sinners so touchingly, that his pursuers cast their swords away and sink on their knees, joining in the refrain. Full of astonishment Stradella learns of the danger in which he had been, but in the end he willingly pardons not only the banditti but also his wife's uncle, who, won over like the ruffians by the power of Stradella's song, humbly asks for the Singer's friendship, which is granted to him.
The people lead their favorite in triumph to the festival, which he helps to glorify with his wondrous voice.
The poet Quinault wrote the libretto of this opera for another composer, Lully, but almost one hundred years later, Gluck, recognizing the genuine richness of this French production, availed himself of it for an opera, the music of which is so sublime, that it will for ever be considered classic.
The libretto is founded on an episode of Tasso's "Gerusalemme liberata".
The scene is laid in Damascus, where during the Crusade of the year 1099, the Crusaders have arrived at the place and gardens of Armida, the Queen and enchantress. Rinaldo, the greatest hero in Godfrey of Bouillon's army, is the only one, who not only does not stoop [Transcriber's note: stop?] to adore the beautiful Armida, but on the contrary pursues and hates her.He has been banished from Bouillon's presence charged with the rash deed of another knight, who has not dared to confess his guilt and he now wanders lonely in the forest.
Warned by a fellow-warrior, Artemidor, to avoid Armida's enchanting presence he scorns the warning, saying that love for a woman is to him a thing unknown. In reality however Armida is already ensnaring him with her sorcery, he presently hears exquisitely sweet and dreamy melodies and finding himself in a soft, green valley, he lies down and falls asleep.
Armida's opportunity has come and she means to stab him, but love conquers hatred and the dagger sinks from her hand. She vainly invokes the furies of hate; none can change her passion for the hero and at last, ceasing to strive against her tender feelings, she surrenders herself entirely to him and even succeeds by her charms and her devotion in enthralling him. Meanwhile Bouillon has sent two of his knights, Ubalt and a Danish warrior, to recall Rinaldo to his duty. They are detained by Armida's witchery; the Danish knight meets a demon, who has taken his bride's face and tenderly calls him to her, but Ubalt destroys the charm and both succeed in approaching Rinaldo, who, his love-dream dissipated by the call of honor, resolves to return to the army with his companions. In vain Armida tries to change his resolution. In despair she curses him and her love, but being unable to kill the man she loves, she suffers him to go away and turns her beautiful place and gardens into a desert.
Though this opera does not equal in value Lortzing's "Czar and Zimmermann", it has nevertheless proved an admirable addition to the operatic repertory. It is attractive both on account of the freshness of its melodies and the popular character of its music and text.
The scene is located in Worms, in the 16th century. The Count of Liebenau has fallen in love with Mary, the daughter of a celebrated armorer, named Stadinger, and in order to win her, he woos her at first in his own rank as Count, then in the guise of a smith-journeyman, named Conrad. Mary, who cannot permit herself to think of love in connection with a person of such a position as a Count, nevertheless pities him and at last confesses blushing, that she loves the poor smith Conrad. Inwardly triumphant, the Count pretends to be jealous. But father Stadinger, who more than once showed the door to the Count, will not accept either of the suitors, the Count standing too high above him, and his journeyman, Conrad, being too bad a laborer, though he has once saved Mary's life.
In order to withdraw her from the reach of her lovers, the armorer resolves to wed his daughter to his second journeyman George, who is no other than the Count's valet. Stadinger is determined topresent him as Mary's bridegroom on the occasion of a festival, which is to take place in the course of the afternoon, and on which Stadinger's jubilee as master of armorers is to be celebrated. In vain George refuses his consent to this proposal. He is at length obliged to inform the Count and the latter feigns to assault Stadinger's house. But it is of no avail; the old citizen, more firm than ever, denies him his child again, and as George decidedly refuses to marry his daughter, he gives her at last to Conrad. Great is Mary's surprise and her father's wrath, when they discover that the Count and simple Conrad are one and the same person, but at last the old father yields, and the lovers receive his benediction.
This opera has had a curious fate, its historical background having excited resistance and given rise to scruples. The murder of a king was not thought a fit subject for an opera, and so the libretto was altered and spoilt.
The Italians simply changed the names and the scene of action; Verdi composed a new opera from the same matter and succeeded admirably; nevertheless Auber's composition is preferred in Germany, Scribe's libretto being by far the better,while the music is original and vivacious as well as full of pleasant harmony and fine instrumentation.
The scene is laid in Stockholm in the year 1792. Gustavus the Third, King of Sweden, loves the wife of his friend and counsellor Ankarström, and is loved in return, both struggling vainly against this sinful passion. Ankarström has detected a plot against the King's life, and warning him, asks that the traitor be punished, but Gustavus refuses to listen, trusting in his people and in his friend's fidelity. His minister Kaulbart desires him to condemn a sorceress named Arvedson, who is said to be able at will by means of certain herbs and potions to cause persons to love or hate each other. The king refuses to banish the woman unheard and decides to visit her. Ankarström tries to dissuade, but the King insists, and accordingly goes to Arvedson in disguise. During the witch's conjuration Malwina, his lady-love appears, who seeks help from the sorceress against her forbidden passion. The concealed King hears Arvedson tell her to go at midnight and gather a herb, which grows on the graves of criminals, and triumphant in his knowledge of Malwina's confessed love, Gustavus decides to follow her there.
When she has gone, he mockingly orders the witch to tell him his fortune, and hears from her that he shall be killed by the man, who first tenders him his hand. Just then Ankarström who comes to protect the King against his enemy, enters and they shake hands.
In the third act Malwina meets the King on the dismal spot, to which she had been directed, but Ankarström, whose watchful fidelity never suffers him to be far from the King, and who is utterly ignorant of the deception being practised upon him, saves the lovers from further guilt. After a severe conflict with himself, Gustavus consents to fly in his friend's cloak, Ankarström having pledged his honor not to ask the veiled lady's secret, and to conduct her safely back to the city. This plan is frustrated by the conspirators, who rush in and are about to attack the Count. Malwina throws herself between him and the combatants, and the husband then recognizes in the King's companion his own wife. Full of indignation he turns from her and joins the conspirators, promising to be one of them.
He swears to kill his unhappy wife, but not until another has first fallen.
In the fourth act the conspirators have a meeting in Ankarström's house, where they decide to murder the King. The lots being cast, the duty to strike the death-blow falls on Ankarström, and Malwina herself draws the fatal paper. At this moment an invitation to a masked ball is brought by the King's page Oscar, and the conspirators resolve to take advantage of this opportunity for the execution of their design.
In the last act the King, happy to know Malwina safe from discovery, resolves to sacrifice his love to honor and friendship. He is about to give Ankarström the proof of his friendship, by naminghim governor of Finland, and the minister is to depart with his wife on the morning after the ball. Meanwhile the King is warned by a missive from an unknown hand, not to appear at the ball, but he disregards it. He meets Malwina at the ball. His page, thinking to do the King a service, has betrayed his mask to Ankarström. Malwina warns the prince, but in vain, for while he presents her with the paper, which is to send her and her husband to their own beloved country, Ankarström shoots him through the heart. Gustavus dies, pardoning his murderer.
It took a long time, before this charming little Opera took its place amongst so many fellow operas much less entitled to notice. The composer had died 15 years previously, without having gained the success he so fully deserved, as poet as well as composer.
Liszt, the great redeemer of many a tried genius brought the opera upon the stage on the 15th of December 1858 in Weimar.
But the Intendant Dingelstedt was against him, the opera proved an entire failure, though it was meant more as demonstration against Liszt than against the opera. Liszt, tired of these disgraceful intrigues, quitted Weimar, only to return there from time to time in private. With his abdicationWeimar's glorious time was passed. In 1889 at last the Barber of Bagdad took its rightful place after many years of oblivion.
Munich, Mannheim and Vienna came first and the music having been enthusiastically applauded, Dresden followed the good example in October 1890. The music is full of sweet melody, the composition masterfully set. Its comic parts are not quite natural, but the lyric is almost classical and the text, written by the composer himself, though lacking in action, shows, that Cornelius was a true poet as well as a true musician.
The scene takes place in Bagdad, in the house of a wealthy young Mussulman, called Nurredin. He is lying on a couch, surrounded by his servants, who think him dying. But it is only the flame of love which devours his strength and deprives him of all energy.—As soon as Bostana, an old relative and companion of his ladylove, appears, in order to tell him that Margiana, his adored, is willing to receive him, Nurredin forgets his illness and only longs for the promised interview. The ensuing duet between him and Bostana, wherein she gives instruction about time and hour of the rendez-vous, is delightfully fresh and piquant.
As Nurredin has neglected his personal appearance during his malady, his first wish is for a barber, who is speedily sent to him by Bostana.—This old worthy Abul Hassan Ali Ebe Bekar the barber makes him desperate by his vain prattle. Having solemnly saluted to Nurredin, he warns him not toleave the house to-day, as his horoscope tells him that his life is in danger. The young man not heeding him, Abul Hassan begins to enumerate all his talents as astrologer, philologer, philosopher, &c., in short he is everything and knows everything. When Nurredin orders him to begin his shaving he relates the fate of his six brothers, who all died before him and always of love. At last Nurredin's patience giving way, he calls his servants in to throw the old dotard out of doors. But Abul drives them all back and Nurredin tries to pacify him with flattery and finally succeeds.
Now Abul is curious as all barbers are, and having heard Nurredin's sighs, he determines to find out all about the young man's love. This scene is most ludicrous, when Abul sings his air "Margiana", which name he has heard from Nurredin's lips, and the latter is in despair at being left with only one side of his head shaved. This great work done at last, Abul wants to accompany the young lover to the house of the Cadi Baba Mustapha, Margiana's father. Nurredin again summons his servants, who begin to surround Abul, pretending to doctor him. Nurredin escapes, but Abul after having shaken off the servants, runs after him.
The second act takes place in the Cadi's house.
Margiana is full of sweet anticipation, while her father, who has already chosen a husband for his daughter in the person of an old friend of his youth, shows her a large trunk full of gifts from the old bridegroom. Margiana admires themobediently. A musical scene of surpassing beauty follows, where we hear the call of the Muezzin summoning the faithful to prayer. It is also the sign for Nurredin to appear. The Cadi hurries to the Mosque and Bostana introduces the lover. Here ensues a charming love-duet, accompanied, originally enough, by a song from the old barber, who watches before the house. Suddenly they are interrupted by cries of alarm, and with dismay they learn from Bostana, that the Cadi has returned to punish a slave, who has broken a precious vase.
Nurredin, unable to escape unobserved, is hidden in the big trunk. Meanwhile Abul, having heard the slave's cries and mistaking them for Nurredin's, summons the latter's servants and breaks into the Cadi's house to avenge his young friend, whom he believes to be murdered. Bostana angrily bids him carry away the trunk signifying to him whom she has hidden in it, but the Cadi intervenes, believing the servants to be thieves who want to rob his daughter's treasure. The rumor of the murder gradually penetrates the whole town; its inhabitants gather before the house, and the appointed wailing-women mingle their doleful lamentations with the general uproar. At last the Calif himself appears in order to settle the quarrel.
The Cadi accuses the barber of theft, while Abul calls the Cadi a murderer.—To throw light upon the matter, the Calif orders the trunk to be opened, which is done with great hesitation byMargiana. When the lid gives way Nurredin is lying in it in a deep swoon. All are terrified believing him to be murdered, but Abul, caressing him, declares that his heart still throbs. The Calif bids the barber show his art, and Abul wakens Nurredin by the love-song to Margiana. The young man revives and the truth dawns upon the deceived father's mind. The Calif, a very humane and clement prince, feels great sympathy with the beautiful young couple, and advises the Cadi to let his daughter have her treasure, because he had told them himself, that it was Margiana's treasure, kept hidden in the trunk.
The Cadi consents, while the Calif bids the funny barber come to his palace to entertain him with his stories, and invites all present to the wedding of the betrothed pair, to the great satisfaction of the people, who sing their Salam Aleikum in praise of their Prince,—a brilliant finale, full of energy and melody.—
This opera may be called a miracle of Rossini's creation, as it not only is his best work, but was written by him in a fortnight, a performance nearly incredible, for the music is so finely worked out, and so elegant, that the opera has grown to be a favorite with all nations.
The subject, taken from Beaumarchais' witty trilogy of "Figaros" had ere this lent inspirationto more than one composer; Mozart's "Figaro", though done before the "Barbiere" is in a certain sense the continuation of Rossini's opera.
The Barbiere had the peculiar misfortune, to experience an utter reverse on the occasion of its first representation. It was composed for the Duke Cesarini, proprietor of the Argentina theatre in Rome, and the cabals and intrigues of Paësiello's partisans (who had composed the same subject) turned the balance in Rossini's disfavor. But on the second evening good taste prevailed, and since then the opera has been a universal favorite.
Beaumarchais' tale was worked out anew by the Roman poet, Sterbini; in our opera it runs as follows:
Count Almaviva is enamoured of Rosina, the ward of Doctor Bartolo. She is most jealously guarded by the old man, who wishes to make her his own wife. In vain the Count serenades her; she does not appear, and he must needs invent some other means of obtaining his object. Making the acquaintance of the lighthearted and cunning barber Figaro, the latter advises him to get entrance into Bartolo's house in the guise of a soldier possessing a billet of quartering for his lodgings. Rosina herself has not failed to hear the sweet love-songs of the Count, known to her only under the simple name of Lindoro; and with southern passion, and the lightheartedness, which characterizes all the persons who figure in this opera, but which is not to be mistaken for frivolity, Rosina loves her nice loverand is willing to be his own. Figaro has told her of Almaviva's love, and in return she gives him a note, which she has written in secret. But the old Doctor is a sly fox, he has seen the inky little finger, and determines to keep his eyes open.
When the Count appears in the guise of a half-drunken dragoon, the Doctor sends Rosina away, and tries to put the soldier out of the house, pretending to have a license against all billets. The Count resists, and while Bartolo seeks for his license, makes love to Rosina, but after the Doctor's return there arises such an uproar, that all the neighbors and finally the guards appear, who counsel the Count to retire for once.
In the second act the Count gains entrance to Bartolo's house as a singing-master who is deputed to give a lesson instead of the feverstricken Basilio. Of course the music-lesson is turned into a love-lesson.
When all seems to be going well, the real Maëstro, Basilio, enters and all but frustrates their plans. With gold and promises Figaro bribes him to retreat, and the lovers agree to flee on the coming night.
Almost at the last moment the cunning of Bartolo hinders the projected elopement, he shows a letter, which Rosina has written, and makes Rosina believe that her lover, whom she only knows as Lindoro, in concert with Figaro is betraying her to the Count. Great is her joy, when she detects, that Lindoro and Count Almaviva are one and thesame person, and that he loves her as truly as ever.—They bribe the old notary, who has been sent for by Bartolo to arrange his own (Bartolo's) wedding with Rosina. Bartolo signs the contract of marriage, with Figaro as witness, and detects too late that he has been duped, and that he has himself united the lovers. At last he submits with pretty good grace to the inevitable, and contents himself with Rosina's dowry, which the Count generously transfers to him.
This opera by the spirited French musician has had a singular fate. Composed more than forty years ago it never had the success it merited in France; a "succès d'estime" was the only result. Liszt, who was the saviour of many a talented struggler was the first to recognize the genius of the French composer. He brought the opera out upon the stage at Weimar, but without much success. Berlioz was not understood by the public. Devrient in Carlsruhe tried a similar experiment and failed, and so the opera was almost forgotten, until Germany, remembering the duty owed to genius of whatever nationality it may be, placed it upon the stage in Dresden, on the 4th of Nov. 1888 under the leadership of one of the ablest of modern interpreters of music, Director Schuch.—Its representation wasa triumph. Though Berlioz can in nowise be compared with Wagner, whose music is much more realistic and sensuous Wagner may nevertheless be said to have opened a path for Berlioz' style, which, though melodious differs widely from that of the easy flowing Italian school, being more serious as well as more difficult for the musical novice to understand. This explains, why Berlioz' compatriots esteemed, but never liked him; he was too scientific. To-day our ears and understanding are better prepared for striking intervals and complicated orchestration, which latter is the most brilliant feature in the opera.
Indeed the instrumentation is simply perfect, the choruses are master-pieces of originality, life and melody, and the rythm with its syncopes, is so remarkable, that one is more than justified in calling the style unique; it is Berlioz and no other.
The text is far less good than the music, though the hero, whose life Goethe found worthy of description in the 24th and 25th volume of his works, might well interest.—The libretto is by no means strictly historical, and suffers from improbabilities, which can only be excused in an opera.
The tale is laid in Rome in the year 1532 under Pope Clement VII, and comprises the events of three days, Monday before Shrove-tide, Shrove-Tuesday and Ash-Wednesday.—Benvenuto Cellini, the Tuscan goldsmith has been called to Rome by the Pope, in order to embellish the city with hismasterpieces. He loves Teresa, the daughter of the old papal treasurer Balducci, and the love is mutual.—At the same time another suitor, Fieramosca, the Pope's sculptor, is favored by her father. Old Balducci grumbles in the first scene at the Pope's predilection for Cellini, declaring that such an excellent sculptor as Fieramosca ought to suffice. He goes for a walk and Cellini finds Teresa alone. To save her from Fieramosca he plans an elopement, selecting the close of the Carnival as the time best suited for carrying out their design. The rendez-vous is to be the Piazza di Colonna, where he will wait for her, disguised as a monk in white, accompanied by a Capuchin, his pupil Ascanio.—Unhappily the rival Fieramosca has entered unseen, and overheard all. The ensuing terzetto is a masterpiece. While the lovers are bidding each-other farewell Balducci returns; and Cellini has scarcely time to hide behind the window-curtain before he enters. The father is surprised to find his daughter still up and Teresa, seeking for an excuse to send him away, feigns to be frightened by a thief in her chamber. There Balducci finds the hapless Fieramosca hidden and Cellini meanwhile escapes. Balducci and his daughter calling for help, all the female servants and women of the neighborhood appear armed with brooms and wooden spoons. They fall upon the hapless lover and finally force him to escape through the window.
In the second act we find Cellini in a tavern with his pupils and friends. They have no moneyleft to pay for their wine, when Ascanio brings gold from the Pope, which however he only delivers after Cellini has given a solemn promise to finish at once the statue of Perseus he is engaged upon. Great is the general wrath, when they find the money consist of but a paltry sum, and they resolve to avenge themselves on the avaricious treasurer Balducci, by personating him in the theatre. Fieramosca, who has again been eaves-dropping turns for help to his friend Pompeo, a bravo.—And they decide to outwit Cellini, by adopting the same costumes as he and his pupil.
The scene changes; we see the Piazza di Colonna and the theatre, in which the pantomime of King Midas is acted. Balducci who is there with his daughter among the spectators recognizes in the snoring King a portrait of himself and furiously advances to grapple with him. Cellini profits by the ensuing tumult to approach Teresa, but at the same time Fieramosca comes up with Pompeo, and Teresa cannot discern which is the true lover, owing to the masks.—A fight ensues, in which Cellini stabs Pompeo. He is arrested and Teresa flies with the Capuchin Ascanio to Cellini's atelier. The enraged people are about to lynch the murderer, when three cannon shots are fired announcing that it is Ash-Wednesday; the lights are extinguished and Cellini escapes in the darkness.
The third act represents Cellini's atelier with the workmen in it. Teresa, not finding her lover is in great distress. Ascanio consoles her, andwhen the Miserere of the Penitents is heard, both join in the prayer to the Holy Virgin.
Suddenly Cellini rushes in, and embracing Teresa, relates that he fled the night before into a house. A procession of penitent monks passing by in the morning, he joined them, as their white cowls were similar to his own disguise. He decides to escape at once to Florence with Teresa, but is already pursued by Balducci, who appears with Fieramosca and insists on his daughter's returning and marrying the latter. At this moment the Cardinal Salviati steps in to look for the statue. He is highly indignant, that Cellini, thoughtless like all artists, has not kept his promise. Hearing him moreover accused by Balducci, he threatens severe punishment and finally declares that Perseus shall be cast by another.—Cellini in the pride of genius and full of rage seizes a hammer, and, surrounded by his workmen declares, that he will rather destroy his work than see it finished by another.
The Cardinal, overcome by fear of the loss, changes his tactics, and in compliance with Cellini's request promises him full pardon and Teresa's hand, if he finishes Perseus in an hour's time, as Cellini offers to do.—Should he fail in his gigantic task, his life will be forfeit.
All set to work at once; even Fieramosca at the Cardinal's request assists. More and more metal is demanded; Cellini sacrifices all his masterpieces in gold and silver. At last the casting is completed, Cellini breaks the mould and the statueof Perseus shines faultlessly forth, a wonder of art, a thing of glory bringing immortality to its maker. All present bend before the greatness of genius and Fieramosca, the rival in art and love is the first to kiss and embrace Cellini, who obtains full pardon and the hand of Teresa along with her father's blessing.