The Standard Operaglass Part 30

The libretto though on the whole somewhat insipid, is flavored with naive and goodnatured coquetry, which lends a certain charm to it.

The Marquis de Moncontour has long wished to be presented to the King Louis XIV., and as he has been fortunate enough to catch the escaped paroquet of Mme. de Maintenon, he is at last to have his wish accomplished. By way of preparation for his audience he tries to learn the latest mode of bowing, his own being somewhat antiquated and the Marquise and her four lovely daughters and even Javotte, the nice little ladies'-maid, a.s.sist him. After many failures the old gentleman succeeds in making his bow to his own satisfaction, and he is put into a litter, and born off, followed by his people's benedictions. When they are gone, Benoit, a young peasant comes to see Javotte, who is his sweetheart. He wishes to enter the Marquis' {300} service. Javotte thinks him too awkward, but she promises to intercede in his favor with Miton, a dancing-master, who enters just as Benoit disappears. He has instructed the graceful Javotte in all the arts and graces of the n.o.ble world, and when he rehea.r.s.es the steps and all the nice little tricks of his art with her, he is so delighted with his pupil, that he p.r.o.nounces her manners worthy of a Princess; but when Javotte tells him that she loves a peasant, he is filled with disgust and orders her away. His real pupils, the four lovely daughters of the Marquis now enter and while the lesson goes on, Miton hands a billet-doux from some lover to each of them. The two elder, Agatha and Chimene, are just in the act of reading theirs, when they hear a serenade outside, and shortly afterwards the two lovers are standing in the room, having taken their way through the window. The Marquis Flarembel and his friend, the Marquis de la Bluette are just making a most ardent declaration of love, when Mme. la Marquise enters to present to her elder daughters the two bridegrooms she has chosen for them. The young men hide behind the ample dresses of the young ladies, and all begin to sing with great zeal, Miton beating the measure, so that some time elapses, before the Marquise is able to state her errand. Of course her words excite great terror, the girls flying to the other side of the room with their lovers and receiving the two elderly suitors, Baron de Merlussac and Gautru, a rich old financier, with great coolness and a refusal of their {301} costly gifts. When the suitors are gone, the two young strangers are detected and the angry mother decides at once to send her daughters to a convent, from which they shall only issue on their wedding-day.

When they have departed in a most crest-fallen condition, the old Marquis returns from his audience with the King and relates its astounding results. His Majesty had been so peremptory in his questioning about the Marquis' son and heir, that the Marquis, losing his presence of mind, promised to present his son at Court on the King's demand. The only question now is where to find a son to adopt, as the Marquis has only four daughters. Miton, the ever-useful, at once presents Benoit to the parents, engaging himself to drill the peasant into a nice cavalier in ten lessons. Benoit takes readily to his new position; he is fitted out at once and when the merchants come, offering their best in cloth and finery, he treats them with an insolence, worthy of the proudest Seigneur. He even turns from his sweet-heart Javotte.

In the second act Benoit, dressed like the finest cavalier, gives a masked ball in his father's gardens. Half Versailles is invited, but having taken the Court Almanac to his aid, he has made the mistake of inviting many people who have long been dead. Those who do appear, seem to him to be very insipid, and wanting some friends with whom he can enjoy himself, the useful Miton presents the Marquis de la Bluette and de Flarembel, who are {302} delighted to make the acquaintance of their sweethearts' brother.

Benoit hears from them, that he has four charming sisters, who have been sent to a convent and he at once promises to a.s.sist his new friends. Meanwhile Javotte appears in the mask of an oriental Queen and Benoit makes love to her, but he is very much stupified when she takes off her mask, and he recognizes Javotte. She laughingly turns away from him, when the good-for-nothing youth's new parents appear, to reproach him with his levity. But Benoit, nothing daunted rushes away, telling the Marquis that he intends to visit his sisters in the convent. Miton tries in vain to recall him. Then the two old suitors of Agathe and Chimene appear, to complain that their deceased wife and grand-mother were invited, and while the Marquis explains his son's mistake, the four daughters rush in, having been liberated by their lovers and their unknown brother, whom they greet with a fondness very shocking to the old Marchioness. The elderly suitors withdraw, swearing to take vengeance on the inopportune brother.

In the last act Benoit appears in his father's house in a somewhat dilapidated state. He has spent the night amongst gay companions and met Gautru and de Merlussac successively, who have both fought him and believe they have killed him, Benoit having feigned to be dead on the spot.

When the old Marquis enters, he is very much astonished at receiving two letters of condolence {303} from his daughter's suitors. Miton appears in mourning, explaining that Mme. de Maintenon's visit being expected, they must all wear dark colors as she prefers these.

Meanwhile Benoit has had an interview with Javotte, in which he declares his love to be undiminished, and he at once asks his father to give him Javotte as his wife, threatening to reveal the Marquis' deceit to the King, if his request is not granted. In this dilemma help comes in the persons of the two young Marquises, who present their King's condolences to old Moncontour. This gentleman hears to his great relief, that his son is supposed to have fallen in a duel, and so he is disposed of. n.o.body is happier than Javotte, who now claims Benoit for her own, while the Marquis, who receives a Duke's t.i.tle from the King in compensation for his loss, gladly gives his two elder daughters to their young and n.o.ble lovers.

The girls, well aware, that they owe their happiness to their adopted brother, are glad to provide him with ample means for his marriage with Javotte, and the affair ends to everybody's satisfaction.

ROMEO E GIULIETTA.

Grand Opera in five acts by CH. GOUNOD.

Text by BARBIER and CARRE.

This highly favored opera by Gounod presents much that is worthy of admiration, though it does not rise to the high level of his Marguerite (Faust). {304 The libretto follows Shakespeare's version pretty accurately.

The first act opens with the masked ball in Capuletti's palace, where the first meeting between the lovers takes place, Romeo being disguised as a pilgrim. They fall in love with each other, and Tybalt, Capulet's nephew, recognizing Romeo, reveals, but too late, their true names and swears to take revenge on his foe, who has thus entered the Capulet's house uninvited.

The second act represents the famous scene on the balcony between Juliet and her lover.

In the third act Romeo visits Friar Lorenzo's cell, to get advice from him. There he meets Juliet. Lorenzo unites the lovers, hoping hereby to reconciliate the hostile houses of the Montagus and the Capulets.

The following scene represents the street before Capulet's palace, where the rivals meet; there ensues the double duel, first between Tybalt and Romeo's friend Mercutio, who falls and then between Romeo, who burns to avenge his comrade, and Tybalt. Tybalt is killed and Romeo is obliged to fly, all the Capulets being after him.

In the fourth act Romeo sees Juliet in her room, but when the morning dawns he is obliged to leave, while Juliet's father comes to remind her of his last promise to the dying Tybalt, which was to marry Juliet to Count Paris.--

Juliet in great perplexity turns to Friar Lorenzo for help.--He gives her a draught {305} which will cause her to fall into a deep swoon, and after being laid in her ancestor's tomb, she is to be awakened by Romeo and carried away into security.

In the fifth act Romeo, after having taken poison enters the tomb to bid farewell to Juliet, whom he by a fatal misunderstanding believes to be dead.--She awakes, and seeing her bridegroom die before her eyes, she stabs herself, to be united with her lover in death, if not in life.

IL SERAGLIO.

Opera in three acts by MOZART.

Text after BRETZNER by G. STEPHANIE.

Mozart modestly called this opera a Vaudeville (in German: Singspiel).

They were the fas.h.i.+on towards the end of the last century, but "Il Seraglio" ranks much higher, and may be justly called a comic opera of the most pleasing kind. The music is really charming, both fresh and original.

The libretto is equally happy. It particularly inspired Mozart because given him by the Emperor Joseph II at a time, when he (Mozart), a happy bridegroom, was about to conduct into his home his beloved Constanze.

The contents are as follows:

Constanza, the betrothed bride of Belmonte is with her maid Bionda (Blondchen) and Pedrillo, Belmonte's servant, captured by pirates. All three are sold as slaves to Selim Pasha, who keeps the ladies in his harem, taking Constanza for himself {306} and giving Bionda to his overseer Osmin. Pedrillo has found means to inform his master of their misfortune, and Belmonte comes seeking entrance to the Pasha's villa in the guise of an artist. Osmin, who is much in love with Bionda, though she treats him haughtily, distrusts the artist and tries to interfere.

But Pedrillo, who is gardener in the Pasha's service, frustrates Osmin's purpose and Belmonte is engaged. The worthy Pasha is quite infatuated with Constanza and tries hard to gain her affections. But Constanza has sworn to be faithful till death to Belmonte and great is her rapture, when Bionda brings the news that her lover is near.

With the help of Pedrillo, who manages to intoxicate Osmin, they try to escape, but Osmin overtakes them and brings them back to the Pasha, who at once orders that they be brought before him.--Constanza, advancing with n.o.ble courage, explains that the pretended artist is her lover, and that she will rather die with him than leave him. Selim Pasha, overwhelmed by this discovery, retires to think about what he shall do and his prisoners prepare for death, Belmonte and Constanza with renewed tender protestations of love, Pedrillo and Bionda without either fear or trembling.

Great is their happiness and Osmin's wrath, when the n.o.ble Pasha, touched by their constancy, sets them free, and asks for their friends.h.i.+p, bidding them remember him kindly after their return into their own country.

{307}

SIEGFRIED.

Second day of the Nibelungen Ring by WAGNER.

Musical Drama in three acts.

The first act represents a part of the forest, where Fafner guards the Rhinegold and where Sieglinda has found refuge. We find her son Siegfried,--to whom when she was dying, she gave birth--in the rocky cave of Mime the Nibelung, (brother of Alberich), who has brought up the child as his own, knowing that he is destined to slay Fafner and to gain the ring, which he covets for himself. Siegfried, the brave and innocent boy, instinctively shrinks from this father, who is so ugly, so mean and vulgar, while he has a deep longing for his dead mother, whom he never knew. He gives vent to these feelings in impatient questions about her. The dwarf answers unwillingly and gives him the broken pieces of the old sword Nothung (needful), which his mother left as the only precious remembrance of Siegfried's father.

Siegfried asks Mime to forge the fragments afresh, while he rushes away into the woods.

During his absence Wotan comes to Mime in the guise of a wanderer.

Mime, though he knows him not, fears him and would fain drive him away.

Finally he puts three questions to his guest. The first is the name of the race, which lives in earth's deepest depths, the second the name of those, who live on earth's back and the third, that of those, who live above the clouds. Of course Wotan answers them all, {308} redeeming his head and shelter thereby; but now it is his turn to put three questions. He first asks what race it is, that Wotan loves most, though he dealt hardly with them, and Mime answers rightly, that they are the Waelsungs, whose son Siegfried is; then Wotan asks after the sword, which is to make Siegfried victorious. Mime joyously names "Nothung", but when Wotan asks him, who is to unite the pieces, he is in great embarra.s.sment, for he remembers his task and perceives too late, what question he ought to have asked. Wotan leaves him, telling him that only that man can forge it, who never knew fear. Siegfried, finding the sword still in fragments when he returns, melts these in fire, and easily forges them together, to Mime's great awe, for he sees now that this boy is the one, whom the stranger has meant.

In the second scene we see the opening of Fafner's cavern, where Alberich keeps watch for the dragon's slayer, so long predicted.

Wotan approaching, warns him that Alberich's brother Mime has brought up the boy, who is to slay Fafner, in the hope of gaining Alberich's ring, the wondrous qualities of which are unknown to Siegfried.

Wotan awakes Fafner, the dragon, telling him that his slayer is coming.

Mime, who has led Siegfried to this part of the forest under the pretext of teaching him fear, approaches now, and Siegfried, eager for combat, kills the dreadful worm. Accidentally tasting the {309} blood, he all at once understands the language of the birds. They tell him to seek for the Tarnhelm and for the ring, which he finds in the cavern.

Meanwhile the brothers, Alberich and Mime, quarrel over the treasure, which they hope to gain. When Siegfried returns with ring and helmet, he is again warned by the voice of a wood-bird, not to trust in Mime.

Having tasted the dragon's blood, Siegfried is enabled to probe Mime's innermost thoughts, and so he learns that Mime means to poison him, in order to obtain the treasure. He then kills the traitor with a single stroke.--Stretching himself under the linden-tree to repose after that day's hard work, he again hears the voice of the wood-bird, which tells him of a glorious bride, sleeping on a rock surrounded by fire; and flying before him, the bird shows Siegfried the way to the spot.

In the third scene we find Wotan once more awakening Erda, to seek her counsel as to how best to avert the doom, which he sees coming, but she is less wise than he and so he decides to let fate have its course.

When he sees Siegfried coming, he for the last time tries to oppose him by barring the way to Bruennhilde, but the sword Nothung splits the G.o.d's spear. Seeing that his power avails him nothing he retires to Walhalla, there to await the "Dusk of the G.o.ds".

Siegfried plunges through the fire, awakes the Walkyrie and after a long resistance, wins the proud virgin.