The libretto of this opera is adapted from Sardou's tragedy of the same name; it possesses all the exquisite stage effects of which this writer is capable. It is based on fact; these most tragic events having actually taken place in Rome in 1800 at the time of the battle of Marengo.
The music far surpasses the libretto, althoughthe latter handles the dreadful facts with as much delicacy as possible.
Puccini may fairly be called the most gifted among Italian composers. In Tosca especially he has shown the ennobling influence of music over an otherwise repulsive theme. The lovely melodies inspire us with a warm interest in all the persons of the play, with the exception of Scarpia, that living incarnation of evil and corruption. The leading melodies that introduce Scarpia are almost brutal in their tone; the three intervals of B flat, A flat and E which accompany Scarpia from the beginning through the whole drama sound hard and inexorable like fate, and form a striking contrast to the songs of the two lovers, whose duet in the third act is one of the sweetest things ever written.
The scene is laid in Rome. The first act takes place in the church of Sant' Andrea della Valle. Cesare Angelotti a state-prisoner has escaped from gaol and is hiding in a private chapel of which his sister, the Lady Attavanti, has secretly sent him the key.
When he has disappeared from view the painter Cavaradossi enters the church. He is engaged in painting a picture to represent Mary Magdalen; the canvass stands on a high easel and the sacristan, who is prowling about, recognizes with scandalized amazement and indignation that the sacred picture resembles a beautiful lady, who comes to pray daily in the church. The old man, after havingleft a basket with food for the painter, retires grumbling at this sacrilege.
When he is gone Angelotti comes forward, and the painter recognizing in the prisoner the Consul of the late Roman Republic who is at the same time an intimate friend of his own, puts himself at his disposal, but hearing the voice of his fiancée Tosca, who demands entrance he begs the prisoner, a victim of the vile Scarpia, to retire into the chapel, giving him the refreshments, which the sacristan has left.
At last he opens the church-door, and Tosca, a famous singer enters looking suspiciously around her, for she is of a jealous disposition. She begs her lover to wait for her at the stage door in the evening. He assents and tries to get rid of her, when her suspicions are reawakened by the sight of the picture, which she sees is a portrait of the Lady Attavanti. With difficulty he succeeds in persuading her of his undying love and at last induces her to depart; he then enters the chapel, and urges Angelotti to fly, while the way is clear. The chapel opens into a deserted garden from whence a foot-path leads to the painter's villa, in which there is a well now nearly dry. Into this well the painter advises Angelotti to descend if there is any danger of pursuit, as half way down there is an opening leading to a secret cave where his friend will be in perfect safety.
The Lady Attavanti had left a woman's clothes for her brother, to wear as a disguise. He takesthem up and turns to go, when the report of a cannon tells him that his flight from the fortress is discovered. With sudden resolution Cavaradossi decides to accompany the fugitive, to help him to escape from his terrible enemy.
In the next scene acolytes, scholars and singers enter the church tumultuously. They have heard that Napoleon has been defeated and all are shouting and laughing, when Scarpia, the chief of the Police enters in search of the fugitive. Turning to the sacristan he demands to be shown the chapel of the Attavanti, which to the amazement of the sacristan is found open. It is empty, but Scarpia finds a fan, on which he perceives the arms of the Attavanti, then he sees the picture and hears that Tosca's lover, Cavaradossi has painted it. The basket with food is also found, empty. During the discussion that ensues, Tosca enters, much astonished to find Scarpia here instead of her lover. The chief of the police awakens her jealousy by showing her the fan, which he pretends to have found on the scaffolding. Tosca, recognizing the arms of the Attavanti is goaded almost to madness by the wily Scarpia. When she departs three spies are ordered to follow her.
The second act takes place in Scarpia's luxurious apartments in an upper story of the Farnese palace.
Scarpia is expecting Tosca, who is to sing this evening at the Queen's festival. He has decided to take her for his Mistress, and to put her loverto death as well as Angelotti, as soon as he has got hold of both. Spoletta, a police-agent informs his chief, that he followed Tosca to a solitary villa which she left again, alone, very soon after she had entered it.
Forcing his way into the villa he had only found the painter Cavaradossi whom he had at once arrested and brought to the palace.
Cavaradossi who is now brought in, denies resolutely any knowledge of the escaped prisoner. When Tosca enters he embraces her, whispering into her ear not to betray anything she had witnessed in his villa.
Meanwhile Scarpia has called for Roberts, the executioner, and Mario is led into the torture chamber that adjoins Scarpia's apartment. Scarpia vainly questions Tosca about her visit to the villa; she assures him, that she found her lover alone. Then she hears her lover's groans, which are growing more fearful, the torture under Scarpia's directions being applied with more and more violence. In the intervals Mario however entreats Tosca to be silent, but at last she can bear no more, and gasps "In the well, in the garden." Scarpia at once gives a signal to stop the torture and Mario is carried in fainting and covered with blood. When he comes to himself he hears Scarpia say to Spoletta "In the well, in the garden," and thereby finds out that Tosca has betrayed the unfortunate prisoner. While he turns from her in bitter grief and indignation, Sciarrone enters and announces inthe greatest consternation, that the news of victory have proved false, Napoleon having beaten the Italian army at Marengo. Mario exults in the defeat of his enemy, but the latter turns to him with an evil smile and orders the gendarmes to take him away to his death. Tosca tries to follow him, but Scarpia detains her. Remaining alone with him, she offers him all her treasures and at last kneels to him imploring him to save her lover. But the villain only shows her the scaffold which is being erected on the square below, swearing that he will only save her lover if she will be his. Tosca turns shuddering from him. Spoletta now enters to announce that Angelotti being found and taken has killed himself; and that Mario is ready for death.
Now at last Tosca yields, Scarpia promising to liberate her lover at the price of her honour. He suggests however that Mario must be supposed dead, and that a farce must be acted, in which the prisoner is to pretend to fall dead while only blank cartridges will be used for firing. Tosca begs to be allowed to warn him herself and Scarpia consents and orders Spoletta to accompany her to the prison at 4 o'clock in the morning, after having given the spy private instructions to have Mario really shot after all. Spoletta retires and Scarpia approaches Tosca to claim his reward. But she stops him, asking for a safe conduct for herself and her lover. While Scarpia is writing it Tosca seizes a knife from the table while leaning against it and hides the weapon behind her back. Scarpiaseals the passport, then opening his arms he says: "Now Tosca, mine at last." But he staggers back with an awful scream; Tosca has suddenly plunged the knife deep into his breast. Before he can call for help, death overtakes him, and Tosca after having taken the passport from the clenched fist of the dead man turns to fly.
The third act takes place on the platform of the castle Sant' Angelo.
The gaoler informs Mario Cavaradossi that he may ask for a last favour having only one hour to live and the captive begs to be allowed to send a last letter of farewell to his fiancée. The gaoler assents, and Mario sits down to write, but soon the sweet recollections of the past overcome him. Tosca finds him in bitter tears, which soon give way to joy, when she shows him her passport, granting a free pass to Tosca and to the Chevalier who will accompany her.
When she tells him of the deadly deed she has done to procure it, he kisses the hands that were stained with blood for his sake. Then she informs him of the farce, which is to be acted, and begs him to fall quite naturally after the first shot, and to remain motionless until she shall call him. After a while the gaoler reminds them that the hour is over. The soldiers march up and Tosca places herself to the left of the guard's room, in order to face her lover. The latter refuses to have his eyes bandaged, and bravely stands erect before the soldiers. The officer lowers his sword, a reportfollows and Tosca seeing her lover fall sends him a kiss. When one of the sergeants is about to give the "coup de grace" to the fallen man Spoletta prevents him, and covers Mario with a cloak. Tosca remains quiet until the last soldier has descended the steps of the staircase, then she runs to her lover, calling to him, to rise. As he does not move, she bends down to him and tears the cloak off, but with a terrible cry she staggers back. Her lover is dead! She bewails him in the wildest grief, when suddenly she hears the voice of Sciarrone, and knows that Scarpia's murder has been discovered. A crowd rushes up the stairs with Spoletta at their head; the latter is about to precipitate himself upon Tosca, but she runs to the parapet and throws herself into space, with the cry: "Scarpia, may God judge between us!"
The young composer's opera is a musical village-story, simple and well adapted to the pretty subject.
Heuberger's talent is of the graceful style; he is not very original but his waltzes and "Ländlers" have the true Viennese ring, and the kirmess in the first act is very characteristic; it is melodious andfull of healthy humour. The airs often recall popular songs.
The story is simple. Its scene is laid in Haldenbrunn, a village in the Black Forest.
Amrei and Dami, sister and brother, coming home from their distant school find the door of their father's cottage locked. Accustomed to the frequent absence of their parents they sit down under the mountain-ash to wait for their return. A crowd of school-children following them provoke Amrei by calling her "Barfüssele", because she never wears shoes; her little brother tries to defend his sister, but in vain. At last the "Landfriedbäurin", a rich farmer's wife comes to his help and drives the tormenting brats away.
She has come to attend the funeral of the two children's parents, who both died on the same day, and seeing that the orphans do not yet know of their bereavement she is at a loss, how to make them understand.—At last she takes off her garnet-necklace, and hangs it round Amrei's neck, promising Dami a pair of good leather breeches.
When she sees Marann and Mr. Krappenzacher approaching, she upbraids them for having left the poor children in ignorance of their sad loss, on which old Marann, taking the orphans in her arms, explains to them, that they will never see their parents again on earth. The poor children cry bitterly and bid a heartrending farewell to their little home. Thus ends the Prelude.
The first act takes place twelve years later.
Amrei has entered the service of the rich Rodelbauer. She still goes bare-footed, but she is the life of the inn, and everybody requires her services.—It is St. Paul's day and the farmer's wife promises Amrei that she may join in the dancing like the other girls. While Amrei goes into the house to adorn herself for the festival, Dami comes to take leave of his sister. Dami is in love with the Rodelbauer's handsome sister Rosel, and having no hopes of winning her, he is about to enter the military service.—Amrei, who has returned, is much grieved at his resolution and leaves him to fetch his bundle of clothes.—Rosel now enters in her best attire. She loves Dami, and though she never means to marry the poor servant lad, she allows him to kiss and embrace her. Amrei coming back and seeing this is very much shocked and now urges him herself to leave the village at once.
In the next scene the Landfriedbäurin arrives from the Allgäu with her son Johannes.—Amrei recognizes the good woman who gave her the garnet-necklace twelve years ago and both are very much pleased to see each other again. The rich peasant has come to consult Krappenzacher, known as the best matchmaker in the country, and she promises him a large fee, if he succeeds in finding a suitable bride for Johannes. The latter is quite willing to marry, provided he finds a girl that pleases him and his mother gives him sound advice about the qualities that should be found in a good wife.First she must never cut a knot but untie it, she must be content to take the second part in a duet and so on.
In the next scene the Rodelbäurin and Rosel come out ready for church. Amrei has to keep house, but she is perfectly happy in the prospect of a dance.
Meanwhile Krappenzacher tells the Rodelbauer that he has found a splendid suitor for his sister Rosel, and the rich peasant promises him a hundred crowns, if the match comes off.—They then stroll towards the church and Amrei appears in her national Sunday costume and with new shoes. She sits down on the bench, meditating sadly about the poor chance she will have of a partner and hardly noticing Johannes who rides by and accosts her.
A few minutes later the villagers come in a procession from church headed by the band and the dancing begins.
Amrei sits alone neglected; nobody comes to dance with her; the peasants threw all their wraps, kerchiefs etc. to the poor girl, who soon looks like a clothes-stand.
Suddenly Johannes comes up. Perceiving the lonely maiden, he carries her off to dance with him.
When the village bells ring for Vespers the dancing stops, and Johannes, sitting down at a table treats his partner to a glass of wine. He is greatly pleased with her, but when she tells him, that she is only a servant he becomes thoughtful.At last he bids her farewell with a kiss and departs without having looked at any of the other girls.
The second act takes place a year later. The scene is laid in the Rodelbauer's court-yard. Johannes has come once more to the village with his parents, who press him to make up his mind and to choose a wife at last. Krappenzacher, in whose house they live promises to let him see the right bride, and goes to prepare Rosel for the coming of the rich suitor. He advises her to take off her finery and to appear as a practical and capable peasant girl, and Rosel promises to comply with his wishes.
A little later Amrei arrives with her brother Dami. He is decorated with the iron cross, but he wears his arm in a sling. His sister has brought him home from the battle field in order to nurse him; she has caught cold herself, so that her whole face is bound up in a woolen shawl. Rosel, reappearing in a simple working-dress greets her old lover, but Dami speaks very bitterly, when he hears that she is to marry a rich peasant, and he leaves her in scorn and wrath, while Rosel goes to the stable to milk the cows.
Johannes, coming into the court-yard finds only Amrei, who is sweetly singing the second part to Rosel's song, heard from the stable. Amrei recognizes him at once, but he does not recognize his fair partner in the simple servant, whose face is disfigured by the bandage. Desirous to know something about the girl he is to wed, he asksAmrei, if she leads a hard life in the house and if Rosel is good to her. She answers in the affirmative, and so he lets himself be led to the stable by the old Rodelbauer under the pretext of inspecting a white horse, but in reality to look at the girl. Meanwhile Rosel comes out tired of her unaccustomed work.
She wavers between her desire to get a rich husband and her love for Dami. The appearance of Amrei, who comes out of the house in her Sunday dress excites her wrath. Notwithstanding Amrei's resistance she wrenches the garnet-necklace from her throat and beats her. The girl's screams bring out all the neighbours including Johannes, who, pulling Rosel back from the weeping girl, recognizes his partner of the year before.
Forgetting everything but his love, which has only grown deeper in the interval, he strains her to his heart.
The Rodelbauer turning to his sister is about to beat her, but Dami intervenes and Rosel, quite ashamed of herself turns to her true lover and begs his pardon.
Johannes leads his sweet-heart into the adjoining garden, where they wait for the arrival of the parents.
Amrei has a difficult task in winning Johannes' father, whose pride will not permit him to welcome a daughter in law without a dower, but the mother, who was always fond of the daughter of her old friend, secretly offers her a sum of money she has saved for herself; Johannes does the same. At last her perfect goodness and sweetness soften the old peasant's heart and all ends in peace and happiness.
This opera was composed in 1896, and the music is of a far higher order than that of "La Tosca", particularly the love scenes.—
La Bohème grows on one more and more, the oftener one hears it; but such bits as Musette's waltz, the quartet and the love duet in the last act cannot fail to appeal to everybody. The composer has given a most realistic subject a highly poetic setting.
The first act opens in a garret in Paris, in about 1830, and shows us Rudolph the painter and Marcel the poet, from whose Bohemian mode of life the opera derives its name, at work. Alas, there is no fire in the grate and the cold is so intense, that Marcel is about to break up a chair for firewood.—
Rudolph prevents him and kindles a fire with his manuscript instead, crying: "My drama shall warm us". The second act of the manuscript follows the first one, by the blaze of which the artists joyfully warm their half frozen hands. The paper is quickly burnt to ashes, but before theyhave time to lament this fact the door is opened by two boys bringing food, fuel, wine and even money. Schaunard, a musician brings up the rear to whom neither Marcel nor Rudolph pay the least attention.
It seems, that an Englishman engaged Schaunard to sing to his parrot till it dies, but after three days Schaunard becomes so heartily sick of his task, that he poisons the bird and runs away.
He suggests that they all go out for supper it being Christmas Eve. They decide to drink some of the wine first, but they are interrupted by the landlord, who demands his quarter's rent. He soon imbibes so much of the wine, that he becomes intoxicated and correspondingly jovial.—After joking him about his love adventures he finds himself standing outside the door in pitch darkness. The others meanwhile prepare to go out to supper, with the exception of Rudolph who remains behind to finish a manuscript article.
A pretty young girl soon knocks, carrying a candle and a key. He begs her to come in and be seated and she swoons while refusing. He revives her with some wine, and she goes off with her relighted candlestick, but forgets her key, which she has dropped in her swoon, and for which she at once comes back. A draught blows out the candle and Rudolph keeps the key, while pretending to look for it.—Suddenly he clasps the girl's hand and he and she exchange confidences, while confessing their love for each other.
When Rudolph's friends call him he invites Mimi, who is a flower girl, to accompany him.
The second act takes place before the well known Café Momus in the Quartier Latin, where Rudolph and Mimi join Schaunard and Marcel.
Rudolph has bought her a pink bonnet and introduces her to his friends, the fourth of whom is Colline the Philosopher.
The party eat and drink amid the noise and bustle of the fair, when Marcel suddenly sees his old love Musette, gorgeously arrayed and leaning upon the arm of an old man. Marcel turns pale, while his friends make fun of the fantastic couple, much to Musette's anger. She at once begins to make overtures to Marcel, who feigns utter indifference.—Musette's old admirer orders supper, in the hope of pacifying her, while she addresses Marcel in fond whispers. The others watch the scene with amusement, but Rudolph devotes all his attentions to Mimi. Musette suddenly complains, that her shoes hurt her and sends her aged lover off for another pair. Then she proceeds to make friends with Marcel. When the waiter brings the bill, Musette tells him, that the old gentleman will settle for everything after his return.
The party profits by the approach of the patrol, who causes a turmoil, in the midst of which they all escape. Alcindor the old admirer finds only two bills awaiting him, when he returns with the new shoes. Musette has been carried away shoeless by her old friend.
The third scene takes place on the outskirts of Paris called "Barrière de l'Enfer", (The Toll Gate of Hell). To the left there is a tavern, over which hangs Marcel's picture "The Crossing of the Red Sea", as a sign board. The day is breaking, the customhouse officials are still sleeping around the fire, but the scavengers coming from Chantilly soon awake them.
The gate is opened to admit milk-women, carters, peasants with baskets and finally Mimi.
She looks wretched and is at once seized with a terrible fit of coughing. As soon as she can speak, she asks the name of the tavern, where she knows Marcel is working. When he emerges from the inn she implores his help, saying Rudolph is killing her by his insane jealousy. Marcel promises to intervene, and when Rudolph comes out of the tavern Mimi hides behind the trees.
She hears Rudolph say, she is doomed to die, and coughs and sobs so violently, that her presence is revealed.
Rudolph remorsefully takes the poor weak creature in his arms, and they decide to make it up.
Their reconciliation is interrupted by Marcel, who is upbraiding Musette. This flighty damsel has one lover after another, although she really loves Marcel alone.
The fourth and last scene takes us back to the garret, where Marcel and Rudolph are alone, Musette and Mimi having left them. They each kiss mementos of their lady-loves when Schaunard appears withbread and herring. Gayety is soon restored and a regular frolic takes place. Musette enters in a state of great agitation, to say, that Mimi, who is in the last stage of consumption is there and wants to see Rudolph once more. The latter carries her on the little bed. As there is nothing in the house, with which to revive her, Musette decides to sell her earrings in order to procure medicines, a doctor and and a muff, for which Mimi longs.
Schaunard also goes out, so that the lovers are left alone.—A touching scene follows, when Rudolph shows Mimi the pink bonnet he has cherished all the time. Musette and Marcel soon return with medicines and a muff, upon which Mimi sinks into the sleep from which there is no awakening with a sweet smile of satisfaction.
The Fledermaus is the famous Viennese Waltz King's best operetta. The charming music is so well known, that only the libretto needs to be explained, because of its rather complicated plot.
A serenade which is listened to by Adele Rosalind Eisenstein's maid, but is intended for her mistress, begins the first act. Adele has just received an invitation from her sister Ida to a grand entertainment to be given by a Russian prince,Orlofsky by name. She is longing to accept it, and attempts to get leave of absence for the evening from her mistress, when the latter enters, by telling her that an aunt if hers is ill, and wishes to see her. Rosalind, however, refuses to let Adele go out, and the maid disappears pouting. While Rosalind is alone, her former singing master and admirer Alfred, suddenly turns up. He it was who had been serenading her, and Rosalind, succumbing to her old weakness for tenors, promises to let Alfred return later, when her husband is not at home. Herr Eisenstein, a banker, has just been sentenced to five days' imprisonment, a misfortune which his hot temper has brought upon him. The sentence has been prolonged to eight days through the stupidity of his lawyer, Dr. Blind, who follows Eisenstein on to the stage. The banker finally turns Dr. Blind out of the house, after upbraiding him violently.—Rosalind tries to console Eisenstein, and finally decides to see what a good supper will do towards soothing his ruffled spirits. While she is thus occupied Eisenstein's friend Dr. Falck appears, bringing his unlucky friend an invitation to an elegant soirée which Prince Orlofsky is about to give.—Eisenstein is quite ready to enjoy himself before going to prison, and when Rosalind reenters, she finds her husband in excellent spirits. He does not, however partake of the delicious supper she sets before him, with any great zest. But he takes a tender, although almost joyful leave of his wife, after donning his best dress suit. Rosalind thengives Adele leave to go out, much to the maid's surprise. After Adele has gone, Alfred again puts in an appearance. Rosalind only wishes to hear him sing again, and is both shocked and frightened, when Alfred goes into Herr Eisenstein's dressing room, and, returns clad in the banker's dressing gown and cap. The tenor then proceeds to partake of what is left of the supper, and makes himself altogether at home. But a sudden ring at the door announces the arrival of Franck, the governor of the prison, who has come with a cab to fetch Eisenstein. Rosalind is so terrified at being found tête à tête with Alfred, that she introduces him as her husband. After a tender farewell, Alfred good-naturedly follows the governor to prison.
The second act opens in the garden of a cafe, where the guests of Prince Orlofsky are assembled. Adele enters, dressed in her mistress's best gown, and looking very smart. Eisenstein, who is also present, at once recognizes her, as well as his wife's finery. But Adele and the whole party pretend to be very indignant at his mistaking a fine lady for a maid. Prince Orlofsky proceeds to make Eisenstein most uncomfortable, by telling him that Dr. Falck has promised to afford him great amusement, by playing some practical joke at Eisenstein's expense. The last guest who enters is Rosalind, whom nobody recognizes, because she is masked. Dr. Falck introduces her as a Hungarian countess who has consented to be present at the soirée only on condition that her incognito be respected.She catches just a glimpse of Eisenstein, who is flirting violently with Adele instead of being in prison, and determines to punish him. Noticing the magnificent attire and fine form of the supposed countess, Eisenstein at once devotes himself to the new comer. He even counts her heart beats with the aid of a watch which he keeps for that purpose, without, however, giving it away as he always promises to do. But Rosalind suddenly takes possession of the watch, and slips away with it.—The whole party finally assembles at supper, where Eisenstein becomes very jovial, and tells how he once attended a masquerade ball with his friend Falck, who was disguised as a bat. Eisenstein, it appears, induced his friend to drink so heavily, that he fell asleep in the street, where Eisenstein left him. Falck did not wake up till morning, when he had to go home amid the jeers of a street crowd, by whom he was nicknamed "Dr. Fledermaus".—Eisenstein's story creates much amusement, but Dr. Falck only smiles, saying, he who laughs last, laughs best.
After a champagne supper and some dancing, Eisenstein remembers, when the clock strikes six, that he ought to be in prison. Both he and Dr. Franck take a merry leave of the boisterous party.
The third act begins with Franck's return to his own room, where he is received by the jailer.—Frosch has taken advantage of his master's absence to get drunk, while Franck himself has likewisebecome somewhat intoxicated. He grows drowsy while recalling the incidents of Prince Orlofsky's fête, and finally falls fast asleep.—
Adele and her sister Ida interrupt his slumbers, in order to ask the supposed marquis to use his influence in the former's behalf. Adele confesses that she is in reality a lady's maid, but tries to convince Franck, the supposed marquis, and her sister (who is a ballet dancer), of her talents by showing them what she can do in that line.—A loud ring soon puts an end to the performance While the jailer conducts Adele and Ida to No. 13, Eisenstein arrives and gives himself up. Franck and he are much surprised to find themselves face to face with each other in prison, after each had been led to suppose the other a marquis, at the fête. They are naturally much amused to learn each other's identity. Meanwhile Dr. Blind enters, to undertake the defense of the impostor Eisenstein. He turns out to be the genuine Eisenstein, who again turns Blind out of door, and possesses himself of his cap and gown and of his spectacles, in which he interviews his double.—Alfred has been brought in from his cell, when Rosalind also enters, carrying her husband's watch, and prepared for revenge. Both Alfred and she alternately state their grievances to the supposed lawyer, who quite loses his temper, when he learns of Alfred's tête à tête with his wife, and how completely she has fooled him. Throwing off his disguise, he reveals his identity, only to be reviled by his wifefor his treachery. He in turn vows to revenge himself on Rosalind and on her admirer, but the entrance of Dr. Falck, followed by all the guests who were at Prince Orlofsky's fête, clears up matters for all concerned. While making fun of the discomfited Eisenstein, he explains that the whole thing is a huge practical joke of his invention which he has played on Eisenstein in return for the trick Eisenstein played on him years ago, which he related at the fête. All the guests had been bidden to the fête by Dr. Falck with the consent of the prince in order to deceive Eisenstein. The latter, when convinced of his wife's innocence, embraces her. All toast one another in champagne, which they declare to be the King of Wines.
D'Albert's new attempt at an opera secured an even greater success than his "Departure", which is still constantly given at the Dresden Opera.
"Flauto Solo" had a brilliant first night performance in Dresden in August 1906, both because of the unusually charming music, which is a masterly imitation of the compositions in vogue during the Roccocco period, and also for its remarkably clever libretto. The latter required no little ingenuity, since it is a medley of no less than three languages.
The fact, that Flauto Solo contains a plot, which is founded on history, renders it doubly attractive. Anyone acquainted with German history at the time of Frederic the Great will not fail to recognize him and his testy father under the assumed names of the young prince and the reigning head of the house.
The opera is at the same time an amusing parody of the two great schools of music of the age, that is, of German and Italian musical art.
Füst Eberhard, the reigning prince and his son, Prince Ferdinand are perpetually disagreeing, not only because of their radically opposite dispositions, but because the parent is a champion of German music, while his son is absolutely devoted to everything Italian.
The two prime favourites at court are two musicians, a German named Pepusch, and an Italian, Maëstro Emanuele, who take turns at conducting the court orchestra. Naturally there is constant rivalry between these two, particularly since Pepusch composed the so-called "Schweine Canon" (hog-canon), for the gratification of Prince Eberhard. Taken literally this song of the Hogs is a quartette, which skilfully reproduces the various forms of grunting characteristic of these animals. To reward Pepusch for his composition, Eberhard wishes him to become his wayward son's tutor instead of Maëstro Emanuele. The latter encourages the young prince in his fondness for all things foreign and his violent dislike of everything German.
At the beginning of the opera, Prince Eberhard laments over his son's fondness for the flute to Pepusch, till an orderly abruptly summons him to take command of the troops.—
Before going he shouts to Pepusch, that if Prince Ferdinand fails to appreciate the "hog-canon", he had at least better make the "cannon" his instrument instead of the flute.
Left to himself Pepusch goes into the concert pavilion, and picks up his music.—Peppina, a famous primadonna, makes her appearance without perceiving the German conductor. Soon she begins to sing and is quite terrified, when Pepusch joins in. A lengthy conversation ensues and Peppina is not long in expressing her contempt for the song of the hogs.—When Pepusch confesses himself to be the composer thereof, she lapses into the Tyrolese dialect of her childhood. Both she and Pepusch declare their allegiance to the German and Italian schools of music, but nevertheless they are highly pleased with each other.
Suddenly the sounds of a flute are heard, which cause Pepusch to run away and Maëstro Emanuele to run forward, warning Peppina, that the young Prince is close at hand. The Italian is filled with jealousy, when he hears of the primadonna's meeting with Pepusch and begins to make violent love to her.—
She makes fun of him and finally Prince Ferdinand puts an end to the scene. He plays several quick runs on his flute, and addresses himself chieflyin the French tongue, for which he has a weakness, to his favourite Emanuele.
Peppina has concealed herself behind some trees. Prince Ferdinand relates how he has received orders from his father to inspect the regiment, but that he made Pepusch take his place. A few minutes later Pepusch turns up and admits, that he has not carried out Prince Ferdinand's command.
The young Prince then confides to Pepusch, that he has made arrangements for a grand fête which is to take place that same evening, to which he has invited a large and select company. All this Pepusch knows already from Peppina. But when the Prince invites him to take part with a performance of his "hog-canon", he is beside himself, knowing well that Emanuele insinuated this idea to the Prince, simply to expose him to ridicule. The Prince however insists, and when he goes away, Peppina comes out of her hiding place and shares Pepusch's despair.
Vainly Pepusch tries to find some new musical motive, to enhance his quartette's effect, when suddenly Peppina begins to sing. Involuntarily he grunts an accompaniment. All at once he starts and exclaims "Ah, now I have it". After embracing Peppina he hurries away. The primadonna gets up too, but runs right into old Prince Eberhard, who calls out "What! A woman in my royal domains! Who is it?!" Peppina, unintimidated replies: "I am a Tyrolese singer and who are you?" When the prince tells her who he is she retorts: "Nonsense,Prince Eberhard is away at the manoeuvres." When she has charmed the old prince sufficiently by her marvellous trills and scales she tells him, that although she has all Italy and France at her feet she cares most of all for the good opinion of Prince Ferdinand, young though he is.
Prince Eberhard is half pleased, half angry, and complains, that there is never praise for any one save his son. Drawing forth a note, he shows her, that he is informed of the evening festival, which is to take place in his absence. Hearing this, Peppina informs him of the plot, which has been meditated against poor Pepusch, and intimates, that the whole thing is owned to the false Italian Maëstro, who wants to make the German composer a laughing stock for the foreign guests, who are expected not only to hear the famous flute playing of Prince Ferdinand, but especially herself, the famous Primadonna. She is to be engaged for the Vienna opera by a Viennese count, coming expressly on her account. Hearing all this, Prince Eberhard first flies into a passion, but soon he calms himself and tells Peppina to be without fear for Pepusch's future, as he, Eberhard, will not fail to be present at the soirée.
When Pepusch appears, he finds the two executing a droll dance together. Peppina seizes the prince's hand and tells him that she and Pepusch are in love with one another. All three vow, that they will give the audience a surprise at the fête, Pepusch saying his will be the "Flauto Solo".
Preparations for the festival are carried on with the aid of all kinds of decorations during which Pepusch is busily employed finishing his new composition.—Prince Ferdinand arrives followed by his suite, receiving his guests gracefully. After having presented Pepusch he commands him to conduct his chef d'oeuvre. Pepusch, taking out a score of music, announces, that a young pig was born during the night, necessitating a Solo flute. He hands the Prince the melody, intimating that the great Maëstro Emanuele should play it. Much to Emanuele's disgust, Prince Ferdinand takes Pepusch's part in the quarrel, which the Italian attempts to bring about.
Suddenly the old Prince arrives and orders his son to perform Pepusch's new melody on the flute. Prince Ferdinand unwillingly obeys, and plays the solo part so splendidly, that the audience breaks out into endless applause.
Prince Ferdinand cordially begs Pepusch's pardon for his injustice and calls his new composition a real master piece. Pepusch is however honest enough to admit, that the melody, which he first heard Peppina sing, was originally Emanuele's idea, upon which the guests cheer both conductors.
Prince Eberhard, on the other hand, praises his son's skill on the flute most highly and admits, that Prince Ferdinand will as a ruler in all probability become as great a virtuoso, as he has proved himself a great artist.—
Pepusch and Emanuele call for Peppina, the great Italian primadonna.—She appears on the stepswrapped in a long cloak, but when she throws it off, she shows herself in her native Tyrolese costume; she sings in dialect, and goes through all her charming native songs and "Jodls", to the delight of all her hearers. Prince Eberhard promises to grant any wish of Peppina's, while Prince Ferdinand does the same with Pepusch.—
Finally Prince Ferdinand joins Peppina's and Pepusch's hands, while the old Prince announces that the two shall henceforth play "Flauti due" by being married, and appointed musicians of his court for the rest of their lives.—
The first representation of this opera took place on December 8th 1906 in the Dresden Royal Opera.
It is the production of a highly esteemed German composer, who, though independant in his musical invention follows in Wagner's steps.
Two operas "Ingwelde" and the "Pfeiffertag" have already made him a name amongst modern composers; his last, "Moloch" is however the best in orchestration and invention.
The Moloch music, if somewhat heavy and loud, is altogether noble and interesting. The first Act is steeped in gloom, the second is morefascinating and especially the choral accompaniment to the quartette is as striking as it is beautiful.
But the culminating point is reached in the last Act, where we find passages of extreme beauty.
The scene is laid on the island of Thule (otherwise Germany, perhaps Ruegen), at the time after the destruction of Carthage.
In the first Act Hiram, a Carthaginian priest emerges from a cave, where he has found a refuge. He has brought Carthage's famous idol Moloch to Thule, with the intention of subjecting the inhabitants to its power, in which he himself no more believes since the downfall of his native city.
The inhabitants of Thule do not as yet worship any particular god, and Hiram hopes to gain enough ascendancy over them, to use them as a means of revenge against Carthage's great enemy Rome.
When the people of Thule catch sight of the fearful idol, they are frightened, and Hiram intensifies their terror by taking advantage of natural causes. A terrific thunderstorm comes on and the lightning striking the hollow brass figure, sets light to the wood inside and makes the figure become red hot.
The King's son Teut is one of Hiram's first converts. Moloch, he says, has appeared to him in his dreams, and in spite of the remonstrances of Wolf, his father's friend, in spite of Theoda's and his mother's tears, he worships at Moloch's feet together with the majority of his followers.
Velleda, his mother, a somewhat mystic personage, who foresees every misfortune,prophetically sees her son in the fearful monster's jaws; she veils herself shuddering and withdraws into the woods.
Theoda, who loves Teut hopelessly tries all her simple wiles and allurements on him in vain. When Hiram sacrifices a pair of doves and a ram to the idol, the people all join in his exulting cry of "Moloch is King, he is Lord over all", with which grand and impressive chorus the first Act closes.
The second Act takes place near the sacred yew of the Thuleans. Wolf meets Theoda, and tells her, that Teut is alienating the people with the new religion, and that he must be slain. Theoda opposes him, but he turns from her, and goes to summon the old King to pronounce judgment.
Meanwhile Hiram approaches the yew, accompanied by the labourers, who are returning from their work. He has taught them to plough the ground, to sow, to till the soil, and now he deems it time to fell the old tree, which they have hitherto held sacred, and under the branches of which the King is wont to pronounce judgment.
Hiram is about to lay the axe to its roots, when the King appears. Seeing his son bearing a foreign sword, he bids him lay it down at his feet. But Teut declares, that he has received the sword for the protection of Moloch, and audaciously summons his father to dedicate his own ancestral weapon to the new god.