The Standard Operaglass Part 10

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DER FREISCHUeTZ.

Romantic Opera in three acts by C. M. VON WEBER.

Text by FRIEDRICH KIND.

This charming opera done at Dresden 1820, is the most favored of Weber's compositions. It is truly German, being both fantastic and poetic. The libretto is an old German legend and runs thus:

A young huntsman, Max, is in love with Agathe,' daughter of Cuno, the chief-ranger of Prince Ottocar of Bohemia. Max woos her, but their union depends on a master-shot, which he is to deliver on the following morning.

During a village-festival he has all day been unlucky in shooting, and we see him full of anger and sorrow, being mocked at by peasants, more lucky than he.

His comrade, Caspar, one of the ranger's older huntsmen is his evil genius. He has sold himself to the devil, is a gloomy, mysterious fellow, and hopes to save his soul by delivering some other victim to the demon. He wants to tempt Max to try enchanted bullets, to be obtained at the cross-road during the midnight-hour, by drawing a magic circle with a b.l.o.o.d.y sword and invoking the name of the mysterious huntsman. Father Cuno, hearing him, drives him away, begging Max to think of his bride and to pray to G.o.d for success.

But Max cannot forget the railleries of the peasants; he broods over his misfortunes and when {99} he is well-nigh despairing, Caspar, who meanwhile calls Samiel (the devil in person) to help, encourages him to take refuge in stimulants. He tries to intoxicate the unhappy lover by pouring drops from a phial into his wine. When Max has grown more and more excited, Caspar begins to tell him of nature's secret powers, which might help him. Max first struggles against the evil influence, but when Caspar, handing him his gun, lets him shoot an eagle, soaring high in the air, his huntman's heart is elated and he wishes to become possessed of such bullet. Caspar tells him that they are enchanted and persuades him to a meeting in the Wolf's-glen at midnight, where the bullets may be moulded.

In the second act Agathe is with her cousin Aennchen. Agathe is the true German maiden, serious and thoughtful almost to melancholy. She presents a marked contrast to her gay and light-hearted cousin, who tries to brighten Agathe with fun and frolic. They adorn themselves with roses, which Agathe received from a holy hermit, who blessed her, but warned her of impending evil. So Agathe is full of dread forebodings, and after Aennchen's departure she fervently prays to Heaven for her beloved. When she sees him come to her through the forest with flowers on his hat, her fears vanish, and she greets him joyously. But Max only answers hurriedly, that having killed a stag in the Wolf's-glen, he is obliged to return there. Agathe, filled with terror at the mention {100} of this ill-famed name wants to keep him back, but ere she can detain him, he has fled. With hurried steps Max approaches the Wolf's-glen, where Caspar is already occupied in forming circles of black stones, in the midst of which he places a skull, an eagle's wing, a crucible and a bullet-mould. Caspar then calls on Samiel, invoking him to allow him a few more years on earth. To-morrow is the day appointed for Satan to take his soul, but Caspar promises to surrender Max in exchange. Samiel, who appears through the cleft of a rock, agrees to let him have six of the fatal b.a.l.l.s, reserving only the seventh for himself.

Caspar then proceeds to make the bullets, Max only looking on, stunned and remorseful at what he sees. His mother's spirit appears to him, but he is already under the influence of the charm, he cannot move.

The proceeding goes forward amid h.e.l.lish noise. A hurricane arises, flames and devilish forms flicker about, wild and horrible creatures rush by and others follow in hot pursuit. The noise grows worse, the earth seems to quake, until at length after Caspar's reiterated invocations Samiel shows himself at the word, "seven". Max and Caspar both make the sign of the cross, and fall on their knees more dead than alive.

In the third act we find Agathe, waiting for her bridesmaids. She is perturbed and sad, having had frightful dreams, and not knowing what has become of Max. Aennchen consoles her, diverting her with a merry song, until the bridesmaids {101} enter, bringing flowers and gifts.

They then prepare to crown her with the bridal wreath, when lo, instead of the myrtle, there lies in the box a wreath of white roses, the ornament of the dead.

Meanwhile everybody is a.s.sembled on the lawn near Prince Ottocar's tent, to be present at the firing of the master-shot. The Prince points out to Max a white dove as an object at which to aim. At this critical moment Agathe appears, crying out: "Don't shoot Max, I am the white dove!" But it is too late; Max has fired, and Agathe sinks down at the same time as Caspar, who has been waiting behind a tree and who now falls heavily to the ground, while the dove flies away unhurt, Everybody believes that Max has shot his bride, but she is only in a swoon; the bullet has really killed the villain Caspar. It was the seventh, the direction of which Samiel reserved for himself, and Satan having no power over the pious maiden, directed it on Caspar, already forfeited to him. Max confesses his sin with deep remorse. The Prince scornfully bids him leave his dominions for ever. But Agathe prays for him, and at last the Prince follows the hermit's advice, giving the unhappy youth a year of probation, during which to prove his repentance, and grow worthy of his virtuous bride.

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FRIEND FRITZ.

A lyric Comedy in three acts by PIETRO MASCAGNI

Text after ERCKMANN-CHATRIAN'S novel of the same name.

After the immense success of Cavalleria Rusticana, the first representation of Amico Fritz was awaited with feverish impatience by the whole musical world.

But the high-strung expectations were not fulfilled. Though many pretended that the music was n.o.bler and more artistic than that of the author's first work, the success was by no means as great as Mascagni's friends antic.i.p.ated. In Vienna and Berlin it was even received with partial coolness. But lo, the first representation in Dresden on June 2nd 1892 took place with a marked and decided success.

The artistically trained orchestra brought out to perfection all the finesses, all the delightful shades of the music, and since that day the opera has not failed to bring a full house.

The subject in itself is too simple for Mascagni's strong dramatic talent, hence the lack of interest, hence the disillusion of so many.

Granting this, we cannot but admire the genius, which can compose an opera so full of refined and n.o.ble sentiment, based on such a simple plot.

No music more charming than the march, taken as well as the Pastorale from a national Alsacian song, none more sweet and melodious, than the Intermezzo and the cherry-duet. The {103} finely depicted details in the orchestra are a delight for musical ears.

The simple text follows strictly the French original.

Fritz Kobus, a well to do landowner receives the felicitations of his friends on his fortieth birthday. At the same time his old friend Rabbi David, as consumate a match-maker, as Fritz is an inveterate bachelor receives from the latter a loan of 1200 francs which is to enable a poor girl to marry her lover. Fritz gives it very graciously, congratulating himself, that he is free from hymen's bonds.

He treats his friends to a hearty dinner, in which Susel, his tenant's daughter, who comes to present her landlord with a nosegay of violets, joins. Fritz makes her sit beside him, and for the first time remarks the growing loveliness of the young maiden. While they are feasting a gipsy, Seppel, plays a serenade in honor of the birthday, which makes a deep impression on fair Susel. When the latter has departed, the joviality of the company increases. Hanczo and Friedrich, two friends laughingly prophesy to the indignant Fritz, that he will soon be married, and David even makes a bet, which, should he prove right will make him owner of one of his friend's vineyards. At the end of the first act a procession of orphans hail the landlord as their benefactor.

In the second act we find our friend Fritz as guest in the house of his tenant. Susel is sedulously engaged in selecting flowers and cherries for her {104} landlord, who, coming down into the garden, is presented by her with flowers. Soon she mounts a ladder, and plucking cherries, throws them to Fritz, who is uncertain which are the sweeter, the maiden's red lips or the ripe cherries, which she offers him. In the midst of their enjoyment the sound of bells and cracking of whips is heard, Fritz's friends enter. He soon takes them off for a walk, only old David stays behind with Susel, pleading fatigue. Taking occasion of her presenting him with a drink of fresh water, he makes her tell him the old story of Isaac and Rebecca and is quite satisfied to guess at the state of her feelings by the manner in which she relates the simple story. On Fritz's return he archly communicates to him that he has found a suitable husband for Susel, and that he has her father's consent. The disgust and fright, which Fritz experiences at this news reveals to him something of his own feelings for the charming maiden.

He decides to return home at once, and does not even take farewell of Susel, who weeps in bitter disappointment.

In the third act Fritz, at home again, can find no peace anywhere.

When David tells him that Susel's marriage is a decided fact he breaks out, and in his pa.s.sion downright forbids the marriage. At this moment Susel appears, bringing her landlord a basket of fruit. She looks pale and sad, and when Fritz sarcastically asks her whether she comes to invite him to her wedding, she bursts into tears. Then the real state of her heart is {105} revealed to him, and with pa.s.sionate avowal of his own love, amico Fritz takes her to his heart. So David wins his wager, which however he settles on Susel as a dowry, promising at the same time to procure wives before long for the two friends standing by.--

GENOVEVA.

Opera in four acts by ROBERT SCHUMANN.

Text after HEBBEL and TIECK.

The music of this opera is surpa.s.singly delightful. Though Schumann's genius was not that of a dramatist of a very high order, this opera deserves to be known and esteemed universally. Nowhere can melodies be found finer or more poetical and touching than in this n.o.ble musical composition, the libretto of which may also be called interesting, though it is faulty in its want of action.

It is the old legend of Genoveva somewhat altered. Siegfried, Count of the Palatinate, is ordered by the Emperor Charles Martell to join him in the war with the infidels, who broke out of Spain under Abdurrhaman.

The n.o.ble Count recommends his wife Genoveva and all he possesses, to the protection of his friend Golo, who is however secretly in love with his master's wife. After Siegfried has said farewell she falls into a swoon, which Golo takes advantage of to kiss her, thereby still further exciting his flaming pa.s.sion. Genoveva finally awakes and goes away to mourn in silence for her husband.

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Golo being alone, an old hag Margaretha, whom he takes for his nurse, comes to console him.

She is in reality his mother and has great schemes for her son's future happiness. She insinuates to him that Genoveva, being alone, needs consolation and will easily be led on to accept more tender attentions, and she promises him her a.s.sistance. The second act show Genoveva's room. She longs sadly for her husband and sees with pain and disgust the insolent behavior of the servants, whose wild songs penetrate into her silent chamber.

Golo enters to bring her the news of a great victory over Abdurrhaman, news, which fill her heart with joy.

She bids Golo sing and sweetly accompanies his song, which so fires his pa.s.sion that he falls upon his knees and frightens her by glowing words. Vainly she bids him leave her; he only grows more excited, till she repulses him with the word "b.a.s.t.a.r.d". Now his love turns into hatred, and when Drago, the faithful steward comes to announce that the servants begin to be more and more insolent, daring even to insult the good name of the Countess, Golo a.s.serts that they speak the truth about her. He persuades the incredulous Drago to hide himself in Genoveva's room, the latter having retired for the night's rest.

Margaretha, listening at the door, hears everything. She tells Golo that Count Siegfried lies wounded at Stra.s.sbourg; she has intercepted his {107} letter to the Countess and prepares to leave for that town, in order to nurse the Count and kill him slowly by some deadly poison.

Then Golo calls quickly for the servants, who all a.s.semble to penetrate into their mistress' room. She repulses them full of wounded pride, but at last she yields, and herself taking the candle to light the room proceeds to search, when Drago is found behind the curtains and at once silenced by Golo, who runs his dagger through his heart. Genoveva is led into the prison of the castle.

The third act takes place at Stra.s.sbourg, where Siegfried is being nursed by Margaretha. His strength defies her perfidy, and he is full of impatience to return to his loving wife, when Golo enters bringing him the news of her faithlessness.

Siegfried in despair bids Golo kill her with his own sword. He decides to fly into the wilderness, but before fulfilling his design, he goes once more to Margaretha, who has promised to show him all that pa.s.sed at home during his absence. He sees Genoveva in a magic looking-gla.s.s, exchanging kindly words with Drago, but there is no appearance of guilt in their intercourse. The third image shows Genoveva sleeping on her couch, and Drago approaching her. With an imprecation Siegfried starts up, bidding Golo avenge him, but at the same instant the gla.s.s flies in pieces with a terrible crash, and Drago's ghost stands before Margaretha, commanding her to tell Siegfried the truth.