The Standard Operaglass Part 3

All set to work at once; even Fieramosca at the Cardinal's request a.s.sists. More and more metal is demanded; Cellini sacrifices all his masterpieces in gold and silver. At last the casting is completed, Cellini breaks the mould and the statue {30} of Perseus s.h.i.+nes faultlessly forth, a wonder of art, a thing of glory bringing immortality to its maker. All present bend before the greatness of genius and Fieramosca, the rival in art and love is the first to kiss and embrace Cellini, who obtains full pardon and the hand of Teresa along with her father's blessing.

BY ORDER OF HIS HIGHNESS

(AUF HOHEN BEFEHL.)

Comic Opera in three acts by CARL REINECKE.

Text by the composer after RIEHL's novel: "Ovidius at Court."

Reinecke of Leipzig is known both as excellent pianist and composer of no ordinary talent. The Dresden theatre has been one of the first to put the new opera upon its boards and with regard to the music, the expectations entertained have been fully realised.

It is true music, melodious and beautiful. Reinecke's musical language free, untrammelled and suggestive, only a.s.sumes decided form in the character of a song, or when several voices are united. The instrumentation is very interesting and the popular melody remarkably well characterized.

So he introduces for instance the wellknown popular song: "Kein Feuer, keine Kohle" (no fire, no coal can burn) with the most exquisite variations.

The libretto is not as perfect as the music, being rather improbable.

A little German Residential Capital of the last century forms the background to the picture.

{31}

Franz, the son of the Organist Ignaz Laemml, introduces himself to Dal Segno, the celebrated Italian singing-master as the Bohemian singer Howora. He obtains lessons from the capricious old man, who however fails to recognize in him the long-absent son of his old enemy.

Cornelia, Dal Segno's daughter however is not so slow in recognizing the friend of her childhood, who loves her and has all her love, as we presently learn. Franz has only taken the name of Howora, in order to get into favor with the maiden's father, an endeavour in which he easily succeeds owing to his musical talents.

Meanwhile the Prince is determined to have an opera composed from Ovid's metamorphoses. He has chosen Pyramus and Thisbe, but as the Princess is of a very gay disposition, a request is made that the tragedy have a happy solution, a whim which puts old pedantic Laemml quite out of sorts.

In the second act Louis, one of the princely lackeys, brings a large cracknel and huge paper-cornet of sweets for Cornelia, whom he courts and whose favor he hopes in this way to win.

When he is gone, Dal Segno's sister Julia, lady's maid to the Princess, enters with birthday-presents for her niece Cornelia, and among the things which attract her attentions sees the cracknel, beside which she finds a note from her own faithless lover Louis. Filled with righteous indignation she takes it away.

Cornelia stepping out to admire her {32} birthday-presents, meets Franz, and after a tender scene, the young man tells his lady-love, that he has been fortunate enough to invent for his father a happy issue to the tragedy of Pyramus and Thisbe, and that they may now hope the best from the grateful old master.

Meanwhile good old Laemml himself appears to ask his old enemy Dal Segno to give singing-lessons to his dear son. The Italian teacher is very rude and ungracious, Laemml's blood rises also and a fierce quarrel ensues, which is interrupted by the arrival of the Prince.

Having heard their complaints, he decides that the quarrel is to be settled by a singing compet.i.tion in which Howora, Dal Segno's new and greatly praised pupil, and Franz, Laemml's son, are to contest for the laurels. Both masters are content and decide on a duet for tenor and soprano. This is a happy choice and Franz, who with Cornelia has heard everything, causes his lady-love to disguise herself, in order to play the part of Franz, while he decides to appear as Howora.

In the third act the Princess receives old Laemml, who comes to tell her, that he has complied with her wishes as to the happy issue of the tale and confides to her his son's secret, that Franz and Howora are one and the same person.--The gracious Princess promises her a.s.sistance, and Laemml leaves her very happy, dancing and merry-making with the Prince's fool.--

In the evening Louis finds Julia attired in {33} Cornelia's dress, and believing her to be her niece, he places a ring on her finger and once more pledges his faith to his old love.

The two singers perform their duet so perfectly, that Laemml, uncertain who will obtain the prize begs for a solo. Each-one then sings a popular song (Volkslied), and all agree that Howora has triumphed. The happy victor is crowned with the laurels. But the Princess, touched by the sweet voice of the other singer puts a rose-wreath on his brow.

When the cap is taken off, Dal Segno perceives that the pretended Franz has the curls of his own daughter.--Howora being presented to him as Laemml's son, he can do no other than yield. He embraces old Laemml and gives his benediction to the lovers.

CARLO BROSCHI

or

THE DEVIL'S PART.

Comic Opera in three acts by AUBER.

Text by SCRIBE.

This composition might rather be called a Vaudeville with musical accompaniment, than an opera. The music is not above mediocrity, though we find many pleasing and even exquisite melodies in it. That it has held its present place on the stage for the past forty years is due princ.i.p.ally to its excellent libretto, which is full of comical and ingenious situations. The princ.i.p.al role is given to Carlo Broschi.

He is no other than the famous {34} singer Farinelli, who as a matter of fact did heal a Spanish King from madness, though it was not Ferdinand IV, but his predecessor Philip V, the husband of Elizabeth of Ferrara. Notwithstanding these anachronisms the libretto ranks with the best.

Carlo Broschi has placed his only sister Casilda in a convent near Madrid, to save her from the persecutions of the clergy, who have been trying for reasons of their own to give the beautiful maiden to the King. Casilda confesses to her brother that she is in love with an unknown cavalier, who entertains a like pa.s.sion for her, but Carlo, a poor minstrel, considers that his sister, a milliner, does not stand high enough in the social scale to permit a lawful union with a n.o.bleman.

Carlo meets the King accidentally. He has fallen into deep melancholy, and Carlo succeeds in cheering him by singing an old romance, which he learnt from his mother. Both King and Queen are full of grat.i.tude, and Carlo soon finds himself at court and loaded with honors. In his new position he meets with Raphael d'Estuniga, Casilda's lover.

In despair at having lost his lady-love he is about to appeal to the Devil for help, when Carlo appears, presenting himself as Satan. He promises his help on condition that Raphael shall give him one half of all his winnings. This is a condition easily accepted, and Raphael is made a Court Official through Carlo's influence.

Meanwhile the clergy vainly try to ensnare the King again; Carlo is like his better self; he {35} disperses his Sire's melancholy by singing to him and rekindles his interest in government.

Raphael, feeling quite secure in his league with the Devil, begins to play; he is fortunate, but Carlo never fails to claim the share, which is willingly surrendered to him.

All at once Casilda appears on the scene to put herself under the protection of her brother, the priests having found out her refuge.

She recognizes the King, and tells her brother that it was he, to whom she was taken against her will. The King believes her to be a ghost and his reason threatens to give way, but Carlo a.s.sures him that the girl is living. The Queen, who knows nothing of her husband's secret, here interrupts the conversation and bids Carlo follow her.

Meanwhile Raphael and Casilda have an interview, but the King comes suddenly upon them and at once orders Raphael to be put to death, the latter having failed in the reverence due to his Sovereign. Raphael however trusting in the Devil's help does not let his spirits sink and Carlo actually saves him by telling the King, that Casilda is Raphael's wife.

But the Grand-Inquisitor succeeds in discovering this untruth, and in exciting the King's anger against his favorite. Carlo, much embarra.s.sed, obtains an interview with the King, and confessing the whole truth a.s.sures him, that the Queen knows as yet nothing and implores him to give his thoughts and his affections once more to her and to his country. {36} The King, touched to generosity, gives his benediction to the lovers, together with a new t.i.tle for Raphael, who is henceforth to be called Count of Puycerda. Now at last Raphael learns that the so-called Devil is his bride's brother, who tells him that this time his share lies in making two lovers happy, a share which gives him both pleasure and content.

CARMEN.

Opera in four acts by GEORGE BIZET.

This opera is essentially Spanish. The music throughout has a southern character and is pa.s.sionate and original to a high degree.

Carmen, the heroine is a Spanish gipsy, fickle and wayward, but endowed with all the wild graces of her nation. She is adored by her people, and so it is not to be wondered at, that she has many of the stronger s.e.x at her feet. She is betrothed to Don Jose, a brigadier of the Spanish army; of course he is one out of many; she soon grows tired of him, and awakens his jealousy by a thousand caprices and cruelties.

Don Jose has another bride, sweet and lovely, Micaela, waiting for him at home, but she is forgotten as soon as he sees the proud gipsy.

Micaela seeks him out, bringing to him the portrait and the benediction of his mother, ay, even her kiss, which she gives him with blushes.

His tenderness is gone, however, so far as Micaela is concerned, as soon as he casts one look into the {37} l.u.s.trous eyes of Carmen. This pa.s.sionate creature has involved herself in a quarrel and wounded one of her companions, a laborer in a cigarette manufactory. She is to be taken to prison, but Don Jose lets her off, promising to meet her in the evening at an inn kept by a man named Lillas Pastia, where they are to dance the Seguedilla.

In the second act we find them there together, with the whole band of gipsies. Don Jose, more and more infatuated by Carmen's charms, is willing to join the vagabonds, who are at the same time smugglers. He accompanies them in a dangerous enterprise of this kind, but no sooner has he submitted to sacrifice love and honor for the gipsy, than she begins to tire of his attentions. Jose has pangs of conscience, he belongs to another sphere of society and his feelings are of a softer kind than those of nature's unruly child. She transfers her affections to a bull-fighter named Escamillo, another of her suitors, who returns her love more pa.s.sionately. A quarrel ensues between the two rivals.