The Standard Operaglass Part 36

In the last act, where love conquers intrigue and gaiety the music reaches its culminating point.

The scene is laid in Don Diego's palace at Barcelona at the time of Catalonia's independence, Don Cesar, Prince of Urgel is resting in Diego's Hall after having won the first prize in a tournament. He muses sadly on Donna Diana's coldness, which all his victories fail to overcome. Perrin the clown takes pity on him, and after having won his confidence, gives him the advice to return coldness for coldness. Don Cesar promises to try this cure, though it seems hard to hide his deep love.--Floretta, Donna Diana's foster-sister enters to announce the issue of the tournament. She fain would flirt with Perrin to whom she is sincerely attached, but he turns a cold shoulder to her and lets her depart in a rage, though he is over head and ears in love with the pretty damsel.--The next scene {359} opens on a brilliant crowd, all welcoming Count Sovereign of Barcelona and his daughter Donna Diana.

The Count accosts them graciously, and making sign to the three gallant Princes, Don Cesar of Urgel, Don Louis of Bearne and Gaston Count de Foie, they advance to receive their laurels on bended knee from the fair hands of the Princess, who crowns Cesar with a golden wreath, while the two other princes each win a silver price.--When the ceremony is ended, Don Diego turns to his daughter, beseeching her to give an heir to the country by selecting a husband, but Diana declares, that though she is willing to bend to her father's will, love seems poison to her, and marriage death. Gaston and Louis, nothing daunted, determine to try their luck even against the fair lady's will, and while the father prays to G.o.d, to soften his daughter's heart, Cesar's courage sinks ever lower, though Perrin encourages him to begin the farce at once. Donna Diana alone is cool and calm, inwardly resolved to keep her hand and heart free, she is deeply envied by her two cousins Fenisa and Laura, who would gladly choose one of the gallant warriors.--Perrin now advises the Princes to try their wit and gallantry on the Princess, and Don Diego, consenting to his daughter's wish, that she need only suffer their courts.h.i.+p for a short time, she cooly accepts this proposal. Gaston begins to plead his cause, declaring, that he will not leave Barcelona without a bride and Louis follows his example; both are greatly admired and applauded by the {360} a.s.sistants, only Diana finds their compliments ridiculous and their wit shallow. Cesar without a word retires to the background, and when asked by the Princess, why he does not compete with his rivals, answers "Because I will not love, nor ever wish to be loved; I only woo you, to show you my regard." Greatly mortified Diana resolves to punish such pride, by subjugating him to her charms.

In the second act a fancy ball is going on in the Prince's gardens.

Each of the ladies has a bunch of different coloured ribbons, and decides to get the man she loves for her own. Diana now explains, that each knight is to choose a colour, which ent.i.tles him to own the lady who wears the same colours as long as the masquerade lasts. Don Louis choosing green gets Donna Laura, Don Gaston wearing red is chosen by Fenisa; Perrin loudly a.s.serting that, abhorring love he chooses the obscure colour black, wins Floretta, and Don Cesar choosing white, finds himself Donna Diana's champion. She takes his arm, and soon her beauty so inflames him, that forgetting good advice and prudence he thrown himself at her feet, confessing his love. Triumphant, but mockingly she turns from him, and thereby suddenly recalls his pride.

In a bantering tone he asks her, if she really believed, that his love making, to which duty compelled him for the evening, was true? Hot with wrath and shame at being so easily duped she bids him leave her, and when alone resolves to have her revenge. She calls Perrin {361} to fetch her cousins, and charges him to let Cesar know, that he can hear her sing in the gardens. Then she is adorned with the most bewitching garments and surrounded by her attendants begins to play and sing most sweetly as soon as she hears Don Cesar's steps.--The latter would have succ.u.mbed to the temptation, if he had not been warned by Perrin, not to listen to the siren. So they philander in the grounds, admiring the plants, and to all appearance deaf to beauty and song. Impatiently Diana signs Floretta, to let Cesar know, that he is in the presence of his Princess, at which our hero like one awaking from a dream turns, and bowing to the Princess and excusing himself gravely, disappears, leaving Diana almost despairing.

In the third act Perrin gives vent to his happy feelings about his love for Floretta, and about the Princess, whose state of mind he guesses.

He is delighted to see his scheme successful, and sings a merry air, which is heard by Diana. Behind the scene Don Louis is heard, bringing a serenade to Donna Laura, with whom he has fallen in love, and on the other side Don Gaston sings Fenisa's praise, so that poor Diana sinking back on a sopha is all at once surrounded by loving couples, who shamelessly carry on their courting before her very eyes, and then retire casting mischievous glances at their disgusted mistress. Diana who sees Cesar approaching, determines to try a last expedient, in order to humble his pride. Cooly she explains to him, that she has resolved to yield to her father's {362} wish, and to bestow her hand on Prince Louis. For a moment Cesar stands petrified, but his guardian angel in the guise of Perrin whispers from behind the screen, to hold out, and not to believe in women's wiles. So he controls himself once more, and congratulates her, wis.h.i.+ng the same courtesy from the Princess, because, as he calmly adds, he has got betrothed to Donna Laura.

That is the last stroke for Diana, her pride is humbled to the dust.

All her reserve vanishes, when her secret love for the hero, which she has not even owned to herself, is in danger. She altogether breaks down, and so she is found by her father, who enters, loudly acknowledging Don Louis as his son-in-law, and sanctioning Don Cesar's choice of Donna Laura. But Cesar begs to receive his bride from Diana's own hands, at which the latter rising slowly, asks her father, if he is still willing to leave to her alone the selection of a husband. Don Diego granting this, she answers: "Then I choose him who conquered pride through pride." "And who may this happy mortal be?"

says Cesar. "You ask? It's you my tyrant," she replies, and with these words sinks into her lover's open arms.

{363}

THE SOLD BRIDE.

Comic Opera in three acts by FR. SMETANA.

Libretto by K. SABINA.

German text by MAX KALBECK.

Poor Smetana! Nature had put on his brow the stamp of genius, but he never lived to see his glory. After grief and sorrow and direst need he died in a madhouse, and now posterity heaps laurels on his grave.

The Sold Bride has been represented in Prague over 300 times, and it begins to take possession of every noted stage in Europe.

The subject forms a simple village-idyll, without any strong contrasts, its ethical motive lies in its representation of quaint old customs and in the deep-rooted patriotic love; but the whole opera is literally steeped in euphony.

The overture has its equal only in Figaro, and a perfect stream of national airs flows through the whole.

The first chorus "See the buds open on the bush" is most original, the national dance in the second act is full of fire and the rope dancers'

march is truly Slavonic in its quaintness.

The scene is laid in a village in Bohemia. It is Spring-Kirmess, and everybody is gay. Only Mary, the daughter of the rich peasant Kruschina carries a heavy heart within her, for the day has come, on which the unknown bridegroom, chosen by her parents will claim her hand. She loves Hans, known to her as a poor servant, who has come to her village lately, and who is in reality her bridegroom's {364} half brother. He consoles her, beseeching her to cheer up and be faithful to him, and then tells her, that he comes of wealthy people. Having lost his mother early, his father wedded a second wife, who estranged his heart from the poor boy so, that he had to gain his daily bread abroad. She deeply sympathizes with him, without guessing his real name.

Meanwhile Mary's parents approach with the matchmaker Kezul, a personage common in Bohemia, who has already won Kruschina's consent to his daughter's marriage with Wenzel, son of the rich farmer Micha by a second marriage. Mary's mother insisting that her child's will is to be consulted before all, the father consents to let her see the bridegroom, before she decides. Kezul, though angry at this unlooked for obstacle, excuses the bridegroom's absence volubly, and sings his praise loudly, at the same time touching upon the elder son's absence, and hinting, that he may probably be dead. When Mary steps in, Kezul wooes her in due form, but is at once repulsed by her. The young girl owns to having given her heart to the humble servant Hans, in whom n.o.body has yet recognized Micha's son. Father Kruschina angrily a.s.serts his promise to Kezul, cursing Wenzel's timidity, which hindered him, from making his proposal in person. Kezul however resolves to talk Hans over to reason.

We find him in the second act, singing and highly praising the G.o.d of love. Afterwards the {364} would-be bridegroom Wenzel finds himself face to face with Mary, whom he does not know. When he tells her of his purpose, timidly and stammeringly, she asks him, if he is not ashamed to woo a girl, who loves another man, and who does not love him in the least. She at last so frightens the lad, that he promises to look out for another bride, if his mother permits it. Mary flirts with him, until he swears never to claim Kruschina's daughter.--Meanwhile Kezul does his best to convert Hans. He promises to provide for him another bride, much richer than Mary, but Hans refuses. He offers him money, first one, than two, than three hundred florins. Hans looking incredulous, asks "For whom are you wooing my bride?" "For Micha's son," the matchmaker replies. "Well," says Hans, "if you promise me, that Micha's son shall have her and no other, I will sign the contract, and I further stipulate, that Micha's father shall have no right to reclaim the money later; he is the one to bear the whole costs of the bargain." Kezul gladly consents and departs to fetch the witnesses, before whom Hans once more renounces his bride in favour of Micha's son. He cooly takes the money, at which they turn from him in disgust, and signs his name Hans Ehrentraut at the foot of the doc.u.ment.

The third act opens with a performance by tight-rope dancers. Wenzel, who has been quite despondent about his promised bride, is enraptured by their skill. He especially admires the Spanish {366} dancer Esmeralda, who bewitches him so entirely, that he wooes her. The director of the band being in want of a dancing-bear, is not loth to take advantage of the lad's foolishness. He engages him as a dancer, and easily overcomes Wenzel's scruples by promising him Esmeralda's hand. Just when they are putting him in bear's skin his parents appear on the scene with the marriage contract. To their great dismay he refuses to sign it and when pressed, runs away.--Meanwhile Mary has heard of her lover's fickleness, which she would fain disbelieve, but alas Kezul shows her the doc.u.ment by which Hans renounces her.

Nevertheless she refuses to wed any other man than the one her heart has chosen. Wenzel approaching again and recognizing in Mary the bride he had renounced, is now quite sorry to give her up, and very willing to take her if she will only yield. Mary, praying to be left alone for a little while, abandons herself to her grief and is thus found by Hans, whom she bitterly reproaches for his faithlessness. But he only smiles, and recalls the whole chorus, cooly saying that it is his wish that Mary should wed Micha's son. That is too much for poor Mary's feelings. She declares that she is ready to do as they wish, but before she signs the contract, Hans steps forth in full view of his parents, who at last recognize in him their long lost eldest son.

Though his stepmother Agnes is in a rage about his trick, he claims his rights as son and heir, and the bride of course is not loth to choose {367} between the two brothers. Kezul the matchmaker retires shamefaced, and when Wenzel shows himself in the last scene as a dancing-bear, and stammeringly a.s.sures the laughing public, that they need not be afraid of him, as he is "not a bear but only Wenzel", the final blow is dealt whereby he loses all favour in the eyes of Kruschina, who is now quite reconciled to give his daughter to Micha's elder son.

{368}

BALLO IN MASCHERA.

A Lyric Drama in five acts by VERDI.

Text by F. M. PIAVE.

Auber's success with the opera of the same name inspired Verdi to try his hand at it too. He ordered his friend Piave to write the libretto for him and in 1854 the opera was handed to the San Carlo theatre in Naples, but was refused on the ground, that the murder of a king must not be represented on the stage. Then Verdi laid the scene in Boston, and in this shape the opera was performed in Rome on Feb. 17th, 1859 and met with great success.

From this time it conquered the stages of Europe, all but one, Auber's widow having stipulated that no opera rival to that of her husband's was to be given in Paris. The Ballo in Maschera has been revived in Dresden in October 1897, after having lain buried for over 15 years; its success showed, that it is still full of vitality. The music is exceedingly fresh and characteristic; indeed it surpa.s.ses both Trovatore and Rigoletto in beauty and originality. Verdi has scarcely ever written anything finer than the Ensemble at the end of the second act, and the delightful quartette "Is it a jest or madness, that comes now from her lips."

The libretto may be explained shortly, as it is almost identical with Auber's "Masked Ball".

Count Richard, governor of Boston is adored by the people but hated by the n.o.blemen, who resolve upon his death. He loves Amelia, the {369} wife of his secretary and best friend Rene, who in vain tries to warn him of the plots of his enemies, but who faithfully watches over his safety.

An old sorceress of negro blood Ulrica, is to be banished by the decree of the high Judge, but Richard's page Oscar speaks in her favour, and the count decides to see her himself and test her tricks. He invites his lords to accompany him to the sybil's dwelling, and orders Oscar to bring him a fisherman's disguise. His enemies Samuel and Tom follow him.

The second act shows Ulrica in her cottage seated at a table conjuring Satan. A crowd of people are around her, amongst them Richard in disguise. A sailor Sylvan advances first to hear his fate, and while Ulrica is prophesying that better days await him, Richard slips a roll of gold with a scroll into Sylvan's pocket and so makes the witch's words true. Sylvan searching in his pockets finds the gold and reads the inscription on the scroll: "Richard to his dear officer Sylvan", and all break out into loud praises of the clever sybil.

A short while after a servant announces Amelia, and the sorceress driving the crowd away ushers her in, while Richard conceals himself.

He listens with delight to the confession of her sinful love to himself, against which she asks for a draught, which might enable her to banish it from her heart. Ulrica advises her to pluck a magic herb at midnight, which grows in the field where the criminals are executed.

Amelia shudders but promises to do as she is bidden, while Richard secretly vows to {370} follow and protect her. Amelia departs and the people flock in again. Richard is the first to ask what is his fate.

The sybil reluctantly tells him that his life is to be destroyed by the first person who shall touch his hand on this very day. Richard vainly offers his hand to the bystanders, they all recoil from him, when suddenly his friend Rene comes in, and heartily shakes Richard's outstretched hand. This seems to break the spell, for everybody knows Rene to be the count's dearest friend, and now believes the oracle to be false. Nevertheless Ulrica, who only now recognizes the count, warns him once more against his enemies, but he laughs at her, and shows the sorceress the verdict of her banishment, which however he has cancelled. Full of grat.i.tude Ulrica joins in the universal song of praise, sung by the people to their faithful leader.

The third act opens on the ghostly field where Amelia is to look for the magic herb. She is frozen with horror believing that she sees a ghost rise before her; Richard now turns up, and breaks out into pa.s.sionate words, entreating her to acknowledge her love for him. She does so, but implores him at the same time, not to approach her, and to remain true to his friend. While they speak Rene surprises them. He has followed Richard to save him from his enemies, who are waiting to kill him. Richard wraps himself in his friend's cloak, after having taken Rene's promise to lead the veiled lady to the gates of the town, without trying to look at her. Rene swears, but fate wills it otherwise, for {371} hardly has Richard departed, when the conspirators throng in, and enraged at finding only the friend, try to tear the veil off the lady's face. Rene guards her with his sword, but Amelia springing between the a.s.sailers lets fall her veil, and reveals her face to her husband and to the astonished men, thereby bringing shame and bitter mockery on them both. Rene, believing himself betrayed by wife and friend, asks the conspirators to meet him in his own house on the following morning, and swears to avenge the supposed treachery.

In the fourth act in his own house Rene bids his wife prepare herself for death. He disbelieves in her protest of innocence, but at last, touched by her misery he allows her to take a last farewell of her son.

When she is gone, he resolves rather to kill the seducer than his poor weak wife. When the conspirators enter he astonishes them by his knowledge of their dark designs, but they wonder still more, when he offers to join them in their evil purpose. As they do not agree, who it shall be that is to kill Richard, Rene makes his wife draw the lot from a vase on the table. The chosen one is her own husband.--At this moment Oscar enters with an invitation to a masked ball from the court.

Rene accepts, and the conspirators decide to seize the opportunity, to put their foe to death. They are to wear blue dominos with red ribbons; their pa.s.s word is "death."

The next scene shows a richly decorated ballroom. Rene vainly tries to find out the count's {372} disguise, until it is betrayed to him by the page who believes that Rene wants to have some fun with his master.

Amelia waylaying Richard implores him, to fly, and when he disbelieves her warnings, shows him her face. When he recognizes her, he tenderly takes her hand, and tells her that he too has resolved to conquer his pa.s.sion, and that he is sending her away to England with her husband.

They are taking a last farewell, but alas, fate overtakes Richard in the shape of Rene, who runs his dagger through him. The crowd tries to arrest the murderer, but the dying count waves them back and with his last breath tells his unhappy friend, that his wife is innocent.

Drawing forth a doc.u.ment and handing it to Rene the unfortunate man reads the count's order to send them to their native country. Richard pardons his misguided friend and dies with a blessing on his beloved country.

THE CRICKET ON THE HEARTH.

Opera in three acts by CARL GOLDMARK.

Text after d.i.c.kens' tale by M. WILLNER.