This opera is full of French grace and vivacity, and has been favorably received in Germany. The authors have used for their libretto Goethe's celebrated novel "Wilhelm Meister", with its typical figure Mignon as heroine, though very much altered. The two first acts take place in Germany.
Lothario, a half demented old man, poorly clad as a wandering minstrel, seeks his lost daughter Sperata. Mignon comes with a band of gipsies, who abuse her because she refuses to dance. Lothario advances to protect her, but Jarno, the chief of the troop, only scorns him, until a student, Wilhelm Meister steps forth and rescues her, a young actress named Philine compensating the gipsy for his loss by giving him all her loose cash. Mignon, grateful for the rescue, falls in love with Wilhelm and wants to follow and serve him, but the young man, though delighted with her loveliness and humility is not aware of her love. Nevertheless he takes her with him. He is of good family, but by a whim just now stays with a troop of comedians, to whom he takes his protégée. The coquette Philine loves Wilhelm and has completely enthralled him by her arts and graces. She awakes bitter jealousy in Mignon who tries to drown herself, but is hindered by the sweet strains of Lothario's harp which appeal to the nobler feelings of her nature. The latter always keeps near her, watchingover the lovely child. He instinctively feels himself attracted towards her; she recalls his lost daughter to him and he sees her as abandoned and lonely as himself. Mignon, hearing how celebrated Philine is, wishes that the palace within which Philine plays, might be struck by lightning, and Lothario at once executes her wish by setting the house on fire.
While the guests rush into the garden, Philine orders Mignon to fetch her nosegay, the same flowers, which the thoughtless youth offered to his mistress Philine. Mignon, reproaching herself for her sinful wish, at once flies into the burning house, and only afterwards does her friend Laërtes perceive that the theatre has caught fire too. Everybody thinks Mignon lost, but Wilhelm, rushing into the flames, is happy enough to rescue her.—
The third act carries us to Italy, where the sick Mignon has been brought. Wilhelm, having discovered her love, which she reveals in her delirium, vows to live only for her. Lothario, no longer a minstrel, receives them as the owner of the palace, from which he had been absent since the loss of his daughter. While he shows Mignon the relics of the past, a scarf and a bracelet of corals are suddenly recognized by her. She begins to remember her infantine prayers, she recognizes the hall with the marble statues and her mother's picture on the wall.—With rapture Lothario embraces his long-lost Sperata. But Mignon's jealouslove has found out that Philine followed her, and she knows no peace until Wilhelm has proved to her satisfaction, that he loves her best.
At last Philine graciously renounces Wilhelm and turns to Friedrich, one of her many adorers, whom to his own great surprise she designates as her future husband. Mignon at last openly avows her passion for Wilhelm. The people, hearing of the arrival of their master, the Marquis of Cypriani, alias Lothario, come to greet him with loud acclamations of joy, which grow still louder, when he presents to them his daughter Sperata and Wilhelm, her chosen husband.
This opera was first put on the stage in the Grand Opera-House at Paris in the year 1828, and achieved for its author universal celebrity; not only, because in it Auber rises to heights, which he never reached either before or after, but because it is purely historical. The "Muette" is like a picture, which attracts by its vivid reproduction of nature. In the local tone, the southern temper, Auber has succeeded in masterly fashion, and the text forms an admirable background to the music. Its subject is the revolution of Naples in the year 1647 and the rise and fall of Masaniello, the fisherman-King.
In the first act we witness the wedding ofAlfonso, son of the Viceroy of Naples, with the Spanish Princess Elvira. Alfonso, who has seduced Fenella, the Neapolitan Masaniello's dumb sister and abandoned her, is tormented by doubts and remorse, fearing that she has committed suicide. During the festival Fenella rushes in to seek protection from the Viceroy, who has kept her a prisoner for the past month. She has escaped from her prison and narrates the story of her seduction by gestures, showing a scarf which her lover gave her. Elvira promises to protect her and proceeds to the altar, Fenella vainly trying to follow. In the chapel Fenella recognizes her seducer in the bridegroom of the Princess. When the newly married couple come out of the church, Elvira presents Fenella to her husband and discovers from the dumb girl's gestures, that he was her faithless lover. Fenella flies, leaving Alfonso and Elvira in sorrow and despair.
In the second act the fishermen, who have been brooding in silence over the tyranny of their foes, begin to assemble. Pietro, Masaniello's friend, has sought for Fenella in vain, but at length she appears of her own accord and confesses her wrongs. Masaniello is infuriated and swears to have revenge, but Fenella, who still loves Alfonso, does not mention his name. Then Masaniello calls the fishermen to arms and they swear perdition to the enemy of their country.
In the third act we find ourselves in the marketplace in Naples, where the people go to and fro, selling and buying, all the while concealing theirpurpose under a show of merriment and carelessness. Selva, the officer of the Viceroy's body-guard, from whom Fenella has escaped, discovers her and the attempt to rearrest her is the sign for a general revolt, in which the people are victorious.
In the fourth act Fenella comes to her brother's dwelling and describes the horrors, which are taking place in the town. The relation fills his noble soul with sorrow and disgust. When Fenella has retired to rest, Pietro enters with comrades and tries to excite Masaniello to further deeds, but he only wants liberty and shrinks from murder and cruelties.
They tell him that Alfonso has escaped and that they are resolved to overtake and kill him. Fenella, who hears all, decides to save her lover. At this moment Alfonso begs at her door for a hiding-place. He enters with Elvira, and Fenella, though at first disposed to avenge herself on her rival, pardons her for Alfonso's sake. Masaniello, reentering, assures the strangers of his protection and even when Pietro denounces Alfonso as the Viceroy's son, he holds his promise sacred. Pietro with his fellow-conspirators leaves him full of rage and hatred.
Meanwhile the magistrate of the city presents Masaniello with the Royal crown and he is proclaimed King of Naples.
In the fifth act we find Pietro with the other fishermen before the Viceroy's palace. He confides to Moreno, that he has administered poison toMasaniello, in order to punish him for his treason, and that the King of one day will soon die. While he speaks, Borella rushes in to tell of a fresh troop of soldiers, marching against the people with Alfonso at their head. Knowing that Masaniello alone can save them, the fishermen entreat him to take the command of them once more and Masaniello, though deadly ill and half bereft of his reason, complies with their request. The combat takes place, while an eruption of Vesuvius is going on. Masaniello falls in the act of saving Elvira's life. On hearing these terrible tidings Fanella rushes to the terrace, from which she leaps into the abyss beneath, while the fugitive noblemen take again possession of the city.
This little opera, which literally overflows with charming songs and true German melody, has never passed the bounds of the country which gave it birth, for notwithstanding, its beauties, which endear it to the German people, it lacks dramatic life and action. But in Germany its melodies have penetrated into the hearts of the people, and will never be taken thence.
The tale is very simple and treats of Spanish life in the middle of the 16th century.
The Crown-prince of Spain has strayed from his train, and, disguised as a simple hunter, has found some shepherds, who grant him a night's rest in an old castle. He excites their jealousy however by kissing the pretty shepherdess Gabriela, and they resolve to kill and rob him. Gabriela has two suitors, the kind shepherd Gomez, whom she loves, and Vasco, a wild youngster, who calls her his bride against her wish and will. In her distress she turns to the hunter, who promises to apply to the Crown-Prince on her and her lover's behalf.
Gabriela, hearing of the plot against the hunter, becomes his guardian-angel, for just as the Prince is about to succumb to the ruffians, she brings on his followers, who have been found out by her lover Gomez. The robbers are punished, and Gabriela, being allowed to ask for a boon, begs to be united to Gomez. The Crown-Prince himself joins their hands, granting them rich presents, and takes leave of the peasants amid loud acclamations and benedictions.
Few operas can boast of as good and effective a libretto as that, which Romani wrote for Bellini's Norma. He took his subject from a French tragedy and wrote it in beautiful Italian verse.
With this work Bellini won his fame andcrowned his successes. Again it is richness of melody in which Bellini excels; highly finished dramatic art and lofty style he does not possess, and it is this very richness of melody, which make him and specially his Norma such a favorite in all theatres. His music is also particularly well suited to the human voice, and Norma was always one of the most brilliant parts of our first dramatic singers.
The contents are as follows:
Norma, daughter of Orovist, chief of the Druids and High-priestess herself, has broken her vows and secretly married Pollio, the Roman Proconsul. They have two children. But Pollio's love has vanished. In the first act he confides to his companion Flavius, that he is enamoured of Adalgisa, a young priestess in the temple of Irminsul, the Druid's god.
Norma, whose secret nobody knows but her friend Clothilde, is worshipped by the people, being the only one able to interpret the oracles of their god. She prophesies Rome's fall, which she declares will be brought about, not by the prowess of Gallic warriors, but by its own weakness. She sends away the people to invoke alone the benediction of the god. When she also is gone, Adalgisa appears and is persuaded by Pollio to fly with him to Rome. But remorse and fear induce her to confess her sinful love to Norma, whom she like the others adores. Norma however, seeing the resemblance to her own fate, promises torelease her from her vows and give her back to the world and to happiness, but hearing from Adalgisa the name of her lover, who, as it happens, just then approaches, she of course reviles the traitor, telling the poor young maiden, that Pollio is her own spouse. The latter defies her, but she bids him leave. Though as he goes he begs Adalgisa to follow him, the young priestess turns from the faithless lover, and craves Norma's pardon for the offence she has unwittingly been guilty of.
In the second act Norma, full of despair at Pollio's treason, resolves to kill her sleeping boys. But they awake and the mother's heart shudders as she thinks of her purpose; then she calls for Clothilde, and bids her fetch Adalgisa.
When she appears, Norma entreats her to be a mother to her children, and to take them to their father Pollio, because she has determined to free herself from shame and sorrow by a voluntary death. But the noble-hearted Adalgisa will not hear of this sacrifice and promises to bring Pollio back to his first love. After a touching duet, in which they swear eternal friendship to each other, Norma takes courage again. Her hopes are vain however, for Clothilde enters to tell her that Adalgisa's prayers were of no avail.—Norma distrusting her rival, calls her people to arm against the Romans and gives orders to prepare the funeral pile for the sacrifice. The victim is to be Pollio, who was captured in the act of carrying Adalgisa off by force. Norma orders her father and the Gaulsaway, that she may speak alone with Pollio, to whom she promises safety, if he will renounce Adalgisa and return to her and to her children. But Pollio, whose only thought is of Adalgisa, pleads for her and for his own death. Norma, denying it to him, calls the priests of the temple, to denounce as victim a priestess, who, forgetting her sacred vows, has entertained a sinful passion in her bosom and betrayed the gods. Then she firmly tells them that she herself is this faithless creature, but to her father alone does she reveal the existence of her children.
Pollio, recognizing the greatness of her character, which impels her to sacrifice her own life in order to save him and her rival, feels his love for Norma revive and stepping forth from the crowd of spectators he takes his place beside her on the funeral pile. Both commend their children to Norma's father Orovist, who finally pardons the poor victims.
This opera may be said to be the continuation of Rossini's "Barbiere di Seviglia". The text too is taken from Beaumarchais' Figaroade, and the principal persons in it, we find to be old acquaintances. It is the same Count Almaviva, now married to Rosina; Figaro, the cunning barber, has entered the Count's service and is about to marry Rosina'smaid, Susanna. We meet among the others old Doctor Bartolo and Basilio. Even in the management of the subject, and in the music we find some resemblance. "Figaro's wedding" has the same character of gaiety; no storms, very few clouds; there prevails throughout an atmosphere of sunshine and brightness. After Don Juan, Figaro was Mozart's darling, and it shines radiantly in the crown of his fame. There is no triviality in it, as we find in most of the comic operas of Offenbach and others; it is always noble as well as characteristic in every part.
The text may be paraphrased thus:
Count Almaviva, though married to Rosina and loving her ardently, cannot bring himself to cease playing the role of a gallant cavalier; he likes pretty women wherever he finds them, and not withstanding his high moral principles, is carrying on a flirtation with Rosina's maid, the charming Susanna. This does not hinder him from being jealous of his wife, who is here represented as a character both sweet and passive. He suspects her of being overfond of her Page, Cherubino.—From the by-standers, Doctor Bartolo and Marcellina, we hear, that their old hearts have not yet ceased to glow at the touch of youth and love; Bartolo would fain give his affections to Susanna, while Marcellina pretends to have claims on Figaro.
These are the materials which are so dexterously woven into the complicated plot and which furnish to many funny qui-pro-quos.
In the second act we find Cherubino the Page in the rooms of the Countess, who, innocent and pure herself, sees in him only a child; but this youth has a passionate heart and he loves his mistress ardently. Mistress and maid have amused themselves with Cherubino, putting him into women's dresses. The Count, rendered suspicious by a letter, given to him by Basilio, bids his wife open her door. The women, afraid of his jealousy, detain him a while, and only open the door, when Cherubino has got safely through the window and away over the flower-beds. The Count, entering full of wrath, finds only Susanna with his wife. Ashamed of his suspicions, he asks her pardon and swears never to be jealous again. All blame in the matter of the letter is put on Figaro's shoulders, but this cunning fellow lies boldly, and the Count cannot get the clue to the mystery. Figaro and Susanna, profiting by the occasion, entreat the Count at last to consent to their wedding, which he has always put off. At this moment the gardener Antonio enters, complaining of the spoilt flower-beds. Figaro taking all upon himself, owns that he sprang out of the window, having had an interview with Susanna and fearing the Count's anger. All deem themselves saved, when Antonio presents a document, which the fugitive has lost. The Count, not quite convinced, asks Figaro to tell him the contents; but the latter, never at a loss and discovering that it is the Page's patent, says, that the document was given to him by the Page, the sealhaving been forgotten. The Count is about to let him off, when Bartolo appears with Marcellina, who claims a matrimonial engagement with Figaro. Her claim is favored by the Count, who wishes to see Susanna unmarried. Out of this strait however they are delivered by finding that Figaro is the son of the old couple, the child of their early love; and all again promises well. But the Countess and Susanna have prepared a little punishment for the jealous husband as well as for the flighty lover.
They have both written letters, in which they ask the men to an interview in the garden. Susanna's letter goes to the Count, Rosina's to Figaro. Under the wings of night the two women meet, each, her own lover, but Susanna wears the Countess' dress, while Rosina has arrayed herself in Susanna's clothes.—
The Countess, not usually given to such tricks, is very anxious. While she awaits her husband, Cherubino approaches, and taking her for Susanna, he, like a little Don Juan as he is, makes love to her. Hearing the Count's steps, he disappears. Almaviva caresses the seeming Susanna, telling her nice things and giving her a ring, which she accepts. They are observed by the other couple and the sly Figaro, who has recognized Susanna, notwithstanding her disguise, denounces the Count to her, vows eternal love and generally makes his bride burn with wrath. In her anger she boxes his ears, upon which he confesses to having knownher from the first, and at once restores her good humor.
Seeing the Count approach, they continue to play their former roles, and the false Countess makes love to Figaro, till the Count accosts her as "traitress". For a while she lets him suffer all the tortures of jealousy, then the lights appear and the Count stands ashamed before his lovely wife, recognizing his mistake. The gentle Countess forgives him, and the repenting husband swears eternal fidelity. He speedily unites the lovers Figaro and Susanna and forgives even the little Page Cherubino.
This Operette, though almost buried in oblivion, has been revived by merit of its true comic humor, which is so rare now-a-days. The music is very simple, but melodious and natural and in Bertha's part offers ample scope to a good songstress.
The scene takes place in a toy-shop at Nuremberg. Cornelius the owner, has an only son Benjamin, whom he dearly loves, notwithstanding his stupidity, while he is most unjust to his orphan nephew, Heinrich, whom he keeps like a servant, after having misappropriated the latter's inheritance.
The old miser wants to procure a wife for hisdarling, a wife endowed with beauty and every virtue, and as he is persuaded, that such a paragon does not exist in life, he has constructed a splendid doll, which he hopes to endow with life by help of doctor Faust's magic book.
He only awaits a stormy night for executing his design. Meanwhile he enjoys life and when presented to us is just going with Benjamin to a masked ball, after sending at the same time his nephew supperless to bed.—When they have left Heinrich reappears in the garb of Mephistopheles and clapping his hands, his fiancée Bertha, a poor seamstress soon enters.
Sadly she tells her lover, that she is unable to go to the ball, having given all her money, which she had meant to spend on a dress, to a poor starving beggar-woman in the street.
Heinrich touched by his love's tender heart, goodhumoredly determines to lay aside his mask, in order to stay at home with Bertha, when suddenly a bright idea strikes him. Remembering the doll, which his uncle hides so carefully in his closet, which has however long been spied out by Heinrich, he shows it to Bertha, who delightedly slips into the doll's beautiful clothes which fit her admirably.—
Unfortunately Cornelius and his son are heard returning, while Bertha is still absent dressing. The night has grown stormy, and the old man deems it favorable for his design; so he at once proceeds to open Faust's book and to begin the charm.
Heinrich, who has hardly had time to hide himself in the chimney, is driven out by his cousin's attempts to light a fire. He leaps down into the room and the terrified couple take him for no other than the Devil in person, Heinrich wearing his mask and being besides blackened by soot from the chimney. Perceiving his uncle's terror, he profits by it, and at once beginning a conjuration he summons the doll, that is to say Bertha in the doll's dress. Father and son are delighted by her performances, but when she opens her mouth and reveals a very wilful and wayward character, Cornelius is less charmed. The doll peremptorily asks for food, and Mephistopheles indicates, that it is to be found in the kitchen. While the worthy pair go to fetch it, Mephistopheles hastily exchanging words with his lady-love, vanishes into his sleeping room.
The doll now begins to lead a dance, which makes the toymaker's hair stand on end. She first throws the whole supper out of the window, following it with plate, crockery, toys etc. Then taking a drum, she begins to drill them, like a regular tambour-major, slapping their ears, mouths and cheeks as soon as they try to approach her.
At last, when they are quite worn out, she flies into the closet. But now the father's spirit is roused, he resolves to destroy his and the Devil's work; however he is hindered by Heinrich, who now makes his appearance, and seems greatly astonished at the uproar and disorder he finds inthe middle of the night. He only wants to gain time for Bertha to undress and then escape.—
Resolutely the old man walks into the closet to slay the doll. But he returns pale and trembling, having destroyed her while asleep, and believing to have seen her spirit escape through the window with fiendish laughter.—Yet awed by his deed, he sees Heinrich returning who confesses to his uncle, that he has found out his secret about the doll, and that, having accidently broken it, he has substituted a young girl. Cornelius, half dead with fright, sees himself already accused of murder; his only salvation seems to lie in his nephew's silence and instant flight. Heinrich is willing to leave the country, provided his uncle give him back his heritage, which consists of 10,000 Thalers. After some vain remonstrances, the old man gives him the gold. Heinrich having gained his ends, now introduces Bertha, and the wicked old fool and his son see too late, that they have been the dupes of the clever nephew.—
Oberon is Weber's last work. In the year 1824 he had the honor of being commissioned to compose this opera for the Covent-garden theatre. He began at once to study English, but, his health giving way, he progressed slowly. Notwithstanding his illness however, he worked on and finishedthe opera in the year 1826. He had the happiness of seeing it crowned with success, when he travelled to London in February of that year, but he could not witness its triumphs in Germany, for he died in the following July.
The text is most fantastic without any strict order of succession either in the matter of time or locality. It is taken from Wieland's fairy-tale of the same name.
In the first act we find Oberon, the Elfin-king in deep melancholy, which no gaiety of his subjects, however charming, avails to remove. He has quarrelled with his wife Titania, and both have vowed never to be reconciled, until they find a pair of lovers, faithful to each other in all kinds of adversity. Both long for the reunion, but the constant lovers are not to be found.
Oberon's most devoted servant is little Puck, who has vainly roved over the world to find what his master needs. He has however heard of a valiant knight in Burgundy, Hüon, who has killed Carloman, the son of Charlemagne in a duel, having been insulted by him. Charlemagne, not willing to take his life for a deed of defence, orders him to go to Bagdad, to slay the favorite, sitting to the left of the Calif, and to wed the Calif's daughter Rezia. Puck resolves to make this pair suit his ends. He tells Oberon the above-mentioned story, and by means of his lily-sceptre shows Hüon and Rezia to him. At the same-time these two behold each other in a vision, so that when they awake both are deeply in love.
Oberon wakes Hüon and his faithful shield-bearer Scherasmin, and promises his help in every time of need. He presents Hüon with a magic horn, which will summon him at any time; Scherasmin receives a cup, which fills with wine of itself. Then he immediately transports them to Bagdad.
There, we find Rezia with her Arabian maid Fatima. The Calif's daughter is to wed Babekan, a Persian Prince, but she has hated him ever since she saw Hüon in her vision. Fatima has discovered the arrival of Hüon. It is high time, for in the beginning of the second act we see the Calif with Babekan, who wants to celebrate the nuptials at once. Rezia enters, but at the same time Hüon advances, recognizing in Rezia the fair one of his dream. He fights, and stabs Babekan. The Turks attack him, but Scherasmin blows his magic horn and compels them to dance and laugh, until the fugitives have escaped.
In the forest they are overtaken, but Hüon and Scherasmin, who has come after his master with Fatima, put the pursuers to flight.
Oberon now appears to the lovers, and makes them promise upon oath that they will remain faithful to each other under every temptation. He immediately after transports them to the port of Ascalon, from which they are to sail homeward. Oberon now puts their constancy to the proof. Puck conjures up the nymphs and the spirits of the air, who raise an awful tempest. Hüon's ship sinks; the lovers are shipwrecked. While Hüon seeks forhelp, Rezia is captured by the pirates, and Hüon, returning to save her, is wounded and left senseless on the beach. Oberon now causes him to fall into a magic sleep, which is to last seven days.
In the third act we find Scherasmin and his bride, Fatima in Tunis dressed as poor gardeners.
A corsair has saved the shipwrecked and sold them as slaves to the Emir of Tunis. Though poor and in captivity they do not lose courage and are happy that they are permitted to bear their hard lot together.
Meanwhile the seven days of Hüon's sleep have passed. Awaking, he finds himself to his astonishment in Tunis, in the Emir's garden, with his servant beside him, who is not less astonished at finding his master.
Fatima, coming back, relates that she has discovered Rezia in the Emir's harem. Hüon, who finds a nosegay with a message, which bids him come to the myrtle-bower during the night, believes that it comes from Rezia and is full of joy at the idea of meeting his bride. Great is his terror, when the lady puts aside her veil, and he sees Roschana, the Emir's wife. She has fallen in love with the noble knight, whom she saw in the garden, but all her desires are in vain; he loathes her and is about to escape, when the Emir enters, captures and sentences him to be consumed by fire. Roschana is to be drowned. Rezia, hearing of her lover's fate, implores the Emir to pardon him. But she has already offended him by herunwillingness to listen to his protestations of love, and when he hears that Hüon is her husband, he condemns them to be burnt together. Their trials however are nearing their end. Scherasmin has regained his long-lost horn, by means of which he casts a spell on everybody, until, blowing it with all his might, he calls Oberon to their aid. The Elfin-King appears accompanied by Queen Titania, who is now happily reconciled to him and thanking the lovers for their constancy, he brings them safely back to Paris, where Charlemagne holds his court. The Emperor's wrath is now gone and he warmly welcomes Sir Hüon with his lovely bride, promising them honor and glory for their future days.
This opera is the oldest of all we possess in our repertoire. Gluck had already written more than forty operas, of which we do not even know the names now, when he composed his Orfeo, breaking with the old Italian traditions and showing a new and more natural taste. All the charm of Italian melody is still to be found in this composition, but it is blent with real feeling, united to great strength of expression and its value is enhanced by a total absence of all those superfluous warbles and artificial ornaments, which filled the Italian operas of that time. The libretto, taken from the old and beautiful Greek tragedy, is as effective as the music.
Orpheus, the celebrated Greek musician and singer has lost his wife Eurydice. His mournful songs fill the groves where he laments, and with them he touches the hearts not only of his friends but of the gods. On his wife's grave Amor appears to him, and bids him descend into Hades, where he is to move the Furies and the Elysian shadows with his sweet melodies, and win back from them his lost wife.
He is to recover her on a condition, which is, that he never casts a look on her on their return to earth, for if he fail in this, Eurydice will be for ever lost to him.
Taking his lyre and casque Orpheus promises obedience and with renewed hope sallies forth on his mission. The second act represents the gates of Erebus, from which flames arise. Orpheus is surrounded by furies and demons, who try to frighten him; but he, nothing daunted, mollifies them by his sweet strains, and they set free the passage to Elysium, where Orpheus has to win the happy shadows. He beholds Eurydice among them, veiled, the happy shadows readily surrender her to him, escorting the pair to the gates of their happy vale.
The third act beholds the spouses on their way back to earth. Orpheus holds Eurydice by the hand, drawing the reluctant wife on, but without raising his eyes to her face, on and on through the winding and obscure paths, which lead out of the infernal regions. Notwithstanding his protestationsof love and his urgent demands to her to follow him, Eurydice never ceases to implore him to cast a single look on her, threatening him with her death, should he not fulfil her wish. Orpheus, forbidden to tell her the reason of his strange behaviour, long remains deaf to her cruel complaints, but at last he yields, and looks back, only to see her expire under his gaze. Overwhelmed by grief and despair Orpheus draws his sword to destroy himself, when Amor appears, and stays the fatal stroke.
In pity for Orpheus' love and constancy he reanimates Eurydice (contrary however to the letter of the Greek tragedy) and the act closes with a beautiful chorus sung in Amor's praise.
In his seventy-third year the Maëstro has given to his time an opera, which surpasses his former compositions in many respects. It proves, that Verdi's genius has remained admirably fresh and that the new views and revelations, which Wagner opened to the musical world have been fully understood by the Italian. He has now broken with the unnatural traditions of the Italian opera, and has in Othello given us a work, which secures to him an honored place among the best dramatic composers.
It must not be omitted, that Verdi had a splendid second in the person of Boito, the high-minded and capable composer of "Mefistofele". He omits in his action all that is incidental, and as a consequence the force of thought and expression is the more powerful. It is written strictly after Shakespeare's original.
The opera was put on the stage in Munich in the summer of 1888 with great success.
The first scene represents the people, following excitedly the course of Othello's ship, which battles with the waves. After he has landed and informed the assembly of his victory over the Turks, shouts of joy and exultation rend the air.
Then follows a convivial chat between Cassio, Rodrigo and Jago, in the course of which the latter makes Cassio drunk. Jago's demoniacal nature is masterfully depicted here, where he soon succeeds in ruining Cassio, who loses his rank as captain.
In the third scene we see Desdemona with her husband, both rejoicing in the felicity of their mutual love.
In the second act Jago proceeds to carry out his evil intents, by sending Cassio to Desdemona, who is to intercede for him with Othello. Jago then calls Othello's attention to the retiring Cassio and by making vile insinuations inflames his deadly jealousy. Desdemona appears, surrounded by women and children, who offer her flowers and presents. She comes forward to plead for Cassio, and Othello suspiciously refuses.—She takes out herhandkerchief to cool her husband's aching forehead with it, but he throws it down and Emilia, Jago's wife, picks it up. Jago wrenches it from her and hides it.
In the next scene Jago's villainous insinuations work upon Othello, who becomes wildly suspicious. Jago relates a dream of Cassio's, in which he reveals his love for Desdemona, then he hints that he has seen Othello's first love-token, her lace-handkerchief in Cassio's hands, and both swear to avenge Desdemona's infidelity.
In the third act Othello pretending to have a head-ache, asks for Desdemona's lace-handkerchief. She has lost it, she tells him, but he is incredulous and charges her with infidelity. All her protests are useless, and at length he forces her to retire. Meanwhile Jago has brought Cassio and urges Othello to hide himself. Cassio has a lady-love named Bianca, and of her they speak, but Jago dexterously turns the dialogue so as to make Othello believe that they are speaking of his wife. His jealousy reaches its climax, when Cassio draws forth Desdemona's handkerchief which Jago has deposited in Cassio's house. All his doubts now seem to be confirmed. A cannon-shot announcing the arrival of a galley interrupts the conversation and Cassio quickly leaves.
In the following scene Jago advises Othello to strangle his wife. Othello consents and gives Jago a captaincy.
Lodovico, an Ambassador of Venice, arriveswith other nobles to greet their liberator Othello. Desdemona once more asks pardon for Cassio, but is roughly rebuked by her husband. The latter reads the order, which has been brought to him, and tells Cassio, that he is to be General in his stead by will of the Doge of Venice, but while Cassio is confounded by this sudden change of fortune, Jago secretly vows his death, instigating his rival Rodrigo to kill him. At last Othello faints, overcome by conflicting emotions.
In the fourth act Desdemona filled with sad forebodings takes a touching farewell of Emilia. When she has ended her fervent prayer (one of the most beautiful things in the opera), she falls into a peaceful slumber. Othello awakes her with a kiss, and tells her immediately thereafter that she must die. She protests her innocence, but in vain, for Othello telling her that Cassio can speak no more, smothers her. Hardly has he completed his ghastly work than Emilia comes up, announcing that Rodrigo has been killed by Cassio. Desdemona with her dying breath once more asserts her innocence, while Emilia loudly screams for help. When the others appear, Emilia discovers her husband's villany. Jago flies, and Othello stabs himself at the feet of his innocent spouse.
In the summer of the year 1892 a rumour was going through the musical world, that Mascagni had found his equal, nay his superior in the person of another young Italian composer. When the "Pagliacci" by Leoncavallo was executed in Italy, it excited a transport of enthusiasm almost surpassing that of "Cavalleria", so that Berlin and Leipsic brought the opera on the stage as quickly as possible, and Dresden followed their example on January 22nd 1893, with the same great success.
The opera is indeed eminently qualified to produce an impression. Though less condensed in its tragic depths than Cavalleria, the music is nobler without being less realistic. In Leoncavallo the feeling of artistic form is more developed. Though of southern temper he never lets passion get the better of the beautiful and true harmony, also he is Mascagni's senior by four years.
Leoncavallo's excellent musical education is as unmistakable as the influence of Wagner's music on his genius.—He, too, introduces the "Leading Motives", but he is far from imitating his great predecessor. Like Wagner he did his text himself, and it must be owned, that it is very good. The idea was suggested to him by an event, whichhe witnessed at Montalto in Calabria during the summer 1865, and which impressed him deeply.
In the Prologue, a wonderful piece of music, Tonio the Fool announces to the public the deep tragic sense which often is hidden behind a farce, and prepares them for the sad end of the lovers in this comedy.
The introduction with its wonderful Largo is like a mournful lamentation; then the curtain opens, showing the entry of a troop of wandering actors, so common in southern Italy. They are received with high glee by the peasants, and Canio, the owner of the troop, invites them all to the evening's play. Canio looks somewhat gloomy, and he very much resents the taunts of the peasants, who court his beautiful wife Nedda, and make remarks about the Fool's attentions to her. Nevertheless Canio gives way to his friends' invitation for a glass of Chianti wine, and he takes leave of his wife with a kiss, which however does not quite restore her peace of mind, Nedda's conscience being somewhat disturbed. But soon she casts aside all evil forebodings and vies with the birds in warbling pretty songs, which, though reminding the hearer of Wagner's Siegfried are of surpassing harmony and sweetness. Tonio the Fool, spying the moment to find Nedda alone, approaches her with a declaration of love, but she haughtily turns from him, and as he only grows more obtrusive and even tries to embrace her she seizes a whip and slaps him in the face. Provoked to fury he swears toavenge himself. Hardly has he turned away when the peasant Silvio appears on the wall. He is Nedda's lover, and having seen Canio sitting in the tavern, he entreats her to separate herself from the husband she never loved and take flight with him. Nedda hesitates between duty and passion, and at last the latter prevails, and she sinks into his arms. This love-duet is wonderful in style and harmony. Tonio unfortunately has spied out the lovers and returns with Canio. But on perceiving the latter's approach Silvio has leapt over the wall, his sweetheart's body covering his own person, so that Canio is unable to recognize his rival; he once more reminds Nedda to be ready that night and than takes flight. With an inarticulate cry Canio rushes after him and Nedda falls on her knees to pray for her lover's escape, while Tonio the Fool triumphs over her misery. The husband however returns defeated; panting he claims the lover's name, and Nedda's lips remaining sealed, he is about to stab his wife, when Beppo the Harlequin intervenes, and, wrenching the dagger from his unfortunate master's hands intimates, that it is time to prepare for the play. While Nedda retires, Canio breaks out into a bitter wail of his hard lot, which compels him to take part in the farce, which for him is bitter reality. With this air the tragic height of the opera is reached.
In the second act the spectators throng before the small stage, each of them eager to get the best seat. Nedda appears, dressed as Colombine,and while she is collecting the money, she finds time to warn Silvio of her husband's wrath. The curtain opens, and Nedda is seen alone on the stage, listening to the sentimental songs of Arlequin, her lover in the play. Before she has given him the sign to enter, Tonio, in the play called Taddeo the Fool enters, bringing the food which his mistress has ordered for herself and Arlequin. Just as it really happened in the morning, the poor Fool now makes love to her in play; but when scornfully repulsed he humbly retires, swearing to the goodness and pureness of his lady-love. Arlequin entering through the window, the two begin to dine merrily, but Taddeo reenters in mocking fright, to announce the arrival of the husband Bajazzo (Canio). The latter however is in terrible earnest, and when he hoarsely exacts the lover's name, the lookers-on, who hitherto have heartily applauded every scene, begin to feel the awful tragedy hidden behind the comedy. Nedda remains outwardly calm and mockingly she names innocent Arlequin as the one who had dined with her. Then Bajazzo begins by reminding her, how he found her in the street a poor waif and stray, whom he nursed, petted and loved, and Nedda remaining cold, his wrath rises to fury and he wildly curses her, shrieking "the name, I will know his name!" But Nedda, though false is no traitress. "Should it cost my life, I will never betray him" she cries, at the same time trying to save her life, by hurrying from the stage amongst the spectators. Too late alas; Canioalready has reached and stabbed her, and Silvio, who rushes forward, also receives his death-stroke from the hands of the deceived husband, who has heard his name slip from the dying lips of his wife. All around stand petrified, nobody dares to touch the avenger of his honor, who stands by his wife's corpse limp and brokenhearted: "Go", says he, "go, the farce is ended."