The Standard Operaglass Part 16

JOSEPH IN EGYPT.

Opera in three acts by ETIENNE HENRY MEHUL.

Text after ALEXANDER DUVAL.

This opera, which has almost disappeared from the French stage, is still esteemed in Germany and always will be so, because, though clad in the simplest garb, and almost without any external outfit, its music is grand, n.o.ble and cla.s.sic; it equals the operas of Gluck, whose influence may be traced, but it is free from all imitation. Here we have true music, and the deep strain of patriarchal piety so touching in the Biblical recital finds grand expression.

Joseph, the son of Jacob, who was sold by his brothers, has by his wisdom saved Egypt from threatening famine; he resides as governor in Memphis under the name of Cleophas. But though much honored by the King and all the people, he never ceases to long for his old father, whose favorite child he was.

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Driven from Palestine by this same famine, Jacob's sons are sent to Egypt to ask for food and hospitality. They are tormented by pangs of conscience, which Simeon is hardly able to conceal, when they are received by the governor, who at once recognized them. Seeing their sorrow and repentance, he pities them, and promises to receive them all hospitably. He does not reveal himself but goes to meet his youngest brother Benjamin and his blind father, whose mourning for his lost son has not been diminished by the long years. Joseph induces his father and brother to partake in the honors, which the people render to him.

The whole family is received in the governor's palace, where Simeon consumed by grief and conscience-stricken at last confesses to his father the selling of Joseph. Full of horror Jacob curses and disowns his ten sons. But Joseph intervenes. Making himself known, he grants full pardon and entreats his father to do the same.

The old man yields, and together they praise G.o.d's providence and omnipotence.

IRRLICHT.

(WILL-O'-THE WISP.)

Opera in one act by KARL GRAMANN.

Text by KURT GEUCKE.

With "Irrlicht" the composer takes a step towards verisme; both, subject and music are terribly realistic, though without the last shade of triviality. The music is often of brilliant dramatic effect, {159} and the fantastic text, well matching the music, is as rich in thrilling facts as any modern Italian opera. Indeed this seems to be by far the best opera, which the highly gifted composer has written.

The scene is laid on a pilot's station on the coast of Normandy. A pilot-boat has been built and is to be baptized with the usual ceremonies. Tournaud, an old s.h.i.+p-captain expects his daughter Gervaise back from a stay in Paris. He wors.h.i.+ps her, and when she arrives, he is almost beside himself with joy and pride. But Gervaise is pale and sad, and hardly listens to gay Marion, who tells her of the coming festival.--Meanwhile all the fisher-people from far and near a.s.semble to partic.i.p.ate in the baptism, and Andre, who is to be captain of the boat, is about to choose a G.o.d-mother amongst the fair maidens around, when he sees Gervaise coming out of the house, where she has exchanged her travelling garb for a national-dress. Forgotten are all the village-la.s.ses, and Andre chooses Gervaise, who reluctantly consents to baptize the boat, and is consequently received very ungraciously by the maidens and their elders. She blesses the boat which sails off among the cheers of the crowd with the simple words: "G.o.d bless thee". Andre, who loves Gervaise with strong and everlasting affection turns to her full of hope. He is gently but firmly rebuked, and sadly leaves her, while Gervaise is left to her own sad memories, which carry her back to the short happy time, when she was loved and won and alas {160} forsaken by a stranger of high position. Marion, who loves Andre hopelessly, vainly tries to brighten up her companion. They are all frightened by the news of a s.h.i.+p being in danger at sea. A violent storm has arisen, and when Maire Grisard, the builder of the yacht p.r.o.nounces her name "Irrlicht," Gervaise starts with a wild cry. The s.h.i.+p is seen battling with the waves, while Andre rushes in to bring Gervaise a telegraphic dispatch from Paris. It tells her, that her child is at death's door. Tournaud, catching the paper, in a moment guesses the whole tragedy of his daughter's life. In his shame and wrath he curses her, but all her thoughts are centered on the s.h.i.+p, on which the count, her child's father is struggling against death. She implores Andre to save him, but he is deaf to her entreaties. Then she rushes off to ring the alarm-bell, but n.o.body dares to risk his life in the storm. At last, seeing all her efforts vain, she looses a boat, and drives out alone into night and perdition. As soon as Andre perceives her danger, he follows her. At this moment a flash of lightning which is followed by a deafening crash shows the Yacht rising out of the waves for the last time, and then plunging down into a watery grave forever.--The whole a.s.sembly sink on their knees in fervent prayer, which is so far granted, that Andre brings back Gervaise unhurt. She is but in a deep swoon, and her father, deeply touched, pardons her. When she opens her eyes, and shudderingly understands that her sacrifice was fruitless, she takes a little {161} flask of poison from her bosom and slowly empties it. Then, taking a last farewell of the home of her childhood and of her early love, she recommends Marion to Andre's care. By this time the poison has begun to take effect and the poor girl, thinking that in the waving willow branches she sees the form of her lover, beckoning to her, sighs "I come beloved" and sinks back dead.

LA JUIVE (THE JEWESS).

Grand Opera in five acts by HALEVY.

Text by EUGENE SCRIBE.

This opera created a great sensation when it first appeared on the stage of the Grand Opera at Paris in the year 1835, and it has never lost its attraction. It was one of the first grand operas to which brilliant mise en scene, gorgeous decorations etc., added success.

Halevy's great talent lies in orchestration, which is here rich and effective; his style, half French, half Italian, is full of beautiful effects of a high order.

The libretto is one of the best which was ever written by the dexterous and fertile Scribe.

The scene of action is laid in Constance, in the year 1414 during the Council.

In the first act the opening of the Council is celebrated with great pomp.

The Catholics, having gained a victory over the Hussites, Huss is to be burnt, and the Jews, equally disliked, are oppressed and put down still {162} more than before. All the shops are closed, only Eleazar, a rich Jewish jeweller has kept his open, and is therefore about to be imprisoned and put to death, when Cardinal de Brogni intervenes, and saves the Jew and his daughter Recha from the people's fury. The Cardinal has a secret liking for Eleazar, though he once banished him from Rome. He hopes to gain news from him of his daughter, who was lost in early childhood. But Eleazar hates the Cardinal bitterly.

When the mob is dispersed, Prince Leopold, the Imperial Commander-in-Chief, approaches Recha. Under the a.s.sumed name of Samuel he has gained her affections, and she begs him to be present at a religious feast, which is to take place that evening at her father's house. The act closes with a splendid procession of the Emperor and all his dignitaries. Ruggiero, the chief judge in Constance seeing the hated Jew and his daughter amongst the spectators, is about to seize them once more, when Prince Leopold steps between and delivers them, to Recha's great astonishment.

In the second act we are introduced to a great a.s.sembly of Jews, men and women, a.s.sisting at a religious ceremony. Samuel is there with them. The holy act is however interrupted by the Emperor's niece, Princess Eudora, who comes to purchase a golden chain, which once belonged to the Emperor Constantin, and which she destines for her bride-groom, Prince Leopold. Eleazar is to bring it himself on the following day. Samuel overhearing {163} this is full of trouble. When the a.s.sembly is broken up and all have gone, he returns once more to Recha, and finding her alone, confesses that he is a Christian. Love prevails over Recha's filial devotion, and she consents to fly with her lover, but they are surprised by Eleazar. Hearing of Samuel's falseness, he first swears vengeance, but, mollified by his daughter's entreaties, he only bids him marry Recha. Samuel refuses and has to leave, the father cursing him, Recha bewailing her lover's falseness.

In the third act we a.s.sist at the Imperial banquet. Eleazar brings the chain, and is accompanied by Recha, who at once recognizes in Eudora's bridegroom, her lover, Samuel. She denounces the traitor, accusing him of living in unlawful wedlock with a Jewess, a crime, which is punishable by death.

Leopold (alias Samuel) is outlawed, the Cardinal Brogni p.r.o.nounces the anathema upon all three, and they are put into prison.

In the fourth act Eudora visits Recha in prison, and by her prayers not only overcomes Recha's hate, but persuades her to save Leopold by declaring him innocent. Recha, in her n.o.blemindedness, pardons Leopold and Eudora, and resolves to die, alone.

Meanwhile the Cardinal has an interview with Eleazar, who tells him that he knows the Jew, who once saved the Cardinal's little daughter from the flames. Brogni vainly entreats him to reveal {164} the name.

He promises to save Recha, should Eleazar be willing to abjure his faith, but the latter remains firm, fully prepared to die.

In the fifth act we hear the clamors of the people who furiously demand the Jew's death.

Ruggiero announces to father and daughter the verdict of death by fire.

Leopold is set free through Recha's testimony. When in view of the funeral pile, Eleazar asks Recha, if she would prefer to live in joy and splendor and to accept the Christian faith, but she firmly answers in the negative. Then she is led on to death, and she is just plunged into the glowing furnace, when Eleazar, pointing to her, informs the Cardinal, that the poor victim is his long-lost daughter; then Eleazar follows Recha into the flames, while Brogni falls back senseless.

JUNKER HEINZ (SIR HARRY).

Opera in three acts by KARL VON PERFALL.

Text after Hertz's poem: Henri of Suabia by FRANZ GRANDOUR.

This opera composed recently by the Superintendent of the Royal Opera in Munich, has made its way to the most renowned stages in Germany, which proves that the composition is not a common one.

Indeed, though it is not composed in the large style to which we are now accustomed from hearing so much of Wagner, the music is interesting, particularly so, because it is entirely original and free from reminiscenses.--There are some little {165} masterpieces in it, which deserve to become popular on account of their freshness; wit and humor however are not the composer's "forte" and so the first act, in which the vagabonds present themselves, is by far the least interesting.

The libretto is very well done; it has made free use of Hertz's pretty poem.

The scene is laid in the beginning of the 11th century. The first act lands us near Esslingen in Suabia, the two following near Speier.

Three swindlers concoct a plot to acquire wealth by robbing the Emperor's daughter. To this end, one of them, Marudas, a former clerk, has forged a doc.u.ment, in which the Emperor of Byzantium asks for the hand of Agnes, daughter of Conrad, Emperor of Germany, who just approaching with his wife Gisela, is received with acclamation by the citizens of Esslingen. Soon after, the three vagabonds appear in decent clothes, crying for help; they pretend to have been attacked and robbed by brigands. Boccanera, the most insolent of them wears a b.l.o.o.d.y bandage round his head. The doc.u.ment is presented to the Emperor, who turns gladly to his wife and tells her of the flattering offer of the Greek Prince. After he has ordered that the amba.s.sador be taken good care of, the Emperor is left alone with his wife. She tenderly asks him why he always seems so sorrowful and gloomy, and after a first evasive answer, he confides to his faithful wife what oppresses him.

Twenty years ago he gave orders to kill a {166} little infant, the son of his deadliest enemy, Count of Calw, his astronomer Crusius having prophesied, that this child would wed the Emperor's daughter and reign after him. The remembrance of this cruelty now torments him, but Gisela consoles her husband, hoping and praying that G.o.d will pardon the repentant sinner. During this intercourse, a young man comes up, entreating the Emperor to read a doc.u.ment, which was given to the youth by his dying uncle and destined for the Emperor. As Conrad reads it, he learns that this youth is the child, he would have had killed years ago and who was carried to the forester-house and brought up there.

The Emperor and his wife thank Heaven that they have been spared so dreadful a sin, but Conrad, afraid of the prophesy, determines to send the young man, who is called Junker Heinz, away. He gives him a doc.u.ment, in which he orders Count Gerold, governor of Speier, to give his daughter to the three amba.s.sadors of the Emperor of Byzantium.