The Standard Operaglass Part 41

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DELILA.

An Opera in three Acts by FERDINAND LEMAIRE.

With Music by CAMILLE SAINT-SAENS.

German translation by RICHARD POHL.

The first performance of this opera in Dresden on November 13th 1900 proved a great success.

This opera which was written almost thirty years ago did not meet with a favourable reception either in France or in any other country. In the year 1877 it was however given in Weimar through Liszt's influence, but fell flat.

At last it was performed in Rouen in 1890, and in November 1892 the Grand Opera in Paris followed suit. Since that time it has been one of the standard operas in Paris.

Its performance in Dresden has shown, that it well deserves its place.--

The vivid contrast between the simple yet stirring choruses of the Israelites and the pompous and warlike ones of the Philistines, the exquisite love-song of Samson and Delila, and last but not least the charming ballet-music, with its truly Eastern character ent.i.tle the opera to rank amongst the very best of the past century.--

The libretto is a biblical one; the scene is laid in Gaza, in Palestine, 1150 years before Christ.

In the first Act the Israelites, groaning under the yoke of the Philistines, pray to G.o.d for deliverance. They are derided and insulted by Abi {421} Melech, satrap of Gaza but Samson, unable longer to endure the blasphemy hurled by the Heathen against the G.o.d of Israel, rises up in mighty wrath, and so inspires his brethren that they suddenly take up arms, and precipitating themselves on their unsuspecting oppressors, first slay Abi Melech and then rout the whole army of the Philistines.

The high-priest of the heathen G.o.d Dagon finding his friend slain, vows to be avenged upon the Israelites, but he is deserted by all his companions who flee before Samson's wrath.

In the next scene the Israelites return victorious and are greeted with triumphant songs and offerings of flowers. Even the Philistine Delila, the rose of Sharon receives them with her maidens, and pays homage to the hero Samson.

Delila had enthralled him once before, and again her beauty causes him very nearly to forget his people and his duty; but an aged Israelite implores him not to listen any more to the arts and wiles of the enchantress.

In the second Act Delila has an interview with the high-priest, whom she promises to avenge her people by winning Samson's love once more.

She proudly refuses the reward which the high-priest offers her, for it is her bitter hatred against the hero, who once loved and then forsook her, which prompts her to ruin him and to force from him by every means in her power the secret of his strength.

When the high-priest has left her, Samson {422} comes down the steep mountain path, drawn to Delila's house against his will. She receives him with the greatest tenderness, and once more her beauty and her tears a.s.sert their power over him, so that he sinks at her feet and falters out his love for her. But in vain she tries to lure his secret from him. At last she leaves with words of contempt and scorn and enters the house. This proves his undoing. Goaded beyond earthly power he rushes after her and seals his fate. After a while the Philistines surround the house and Delila herself delivers her unfortunate lover, whom she has deprived of his strength by cutting off his locks, into the hands of his foes.--

In the third Act we find Samson in prison. Bereft of his eye-sight he has to turn the heavy mill. From the outside the wailings and reproaches of his Israelite brethren are heard, who have again been subjugated by their foes. Bitterly repentant Samson implores G.o.d to take his life as the price of his people's deliverance.

In the last scene he is led away to Dagon's temple there to be present at the festival of the Philistines, celebrated with great pomp in honour of their victory.

On the conclusion, after an exquisite ballet, Delila presents a golden cup to the blind hero, and insults and jeers at him for having been fool enough to believe in her love for him, the enemy of her country.

Samson maintains silence, but when they order him to sacrifice {423} at Dagon's shrine, he whispers to the child, who is guiding him, to lead him to the pillars of the temple.

This being done he loudly invokes the G.o.d of Israel, and seizing the pillars tears them down with mighty crash, burying the Philistines under the ruins of the temple.

NAUSIKAA.

Second Part of the Tetralogy: The Odyssey.

Musical Tragedy in three acts and a Prologue by AUGUST BUNGERT.

The first representation of Nausikaa took place in Dresden on March 20th 1901.--The reception was much warmer than that given to Kirke.

Naturally the charming episode of the Phaeakean Princess is far better adapted to the composer's lyric genuis.

Though the whole music is polyphoneous the easy flow of its melodies is hardly ever interrupted except in the highly dramatic moments.

There are real pearls of lyric melody in this tragedy, which, totally different from Kirke's selfish pa.s.sion glorifies Nausikaa's pure love for Odysseus, her death of sacrifice and the hero's resignation;--it might be called a hymn of renunciation.

The sirens' songs in the Prologue are most enticing, the choruses of Nausikaa's companions treading their dances are lovely; also Odysseus'

"home motive" which expresses his longing for {424} hearth and home, is very expressive, but Nausikaa's "love motives" surpa.s.s all the other parts in sweetness.

The contents of the libretto are as follows:

Prologue.

Across the calm blue sea in the distance a s.h.i.+p pa.s.ses. In it can be seen the figures of Odysseus and his companions. They can be heard lamenting their long absence from home and praying the G.o.ds to send them favourable winds and a speedy return to their native land.

In the foreground is the rocky coast of an island. Partly hidden by the high cliffs, sirens may presently be seen looking out for their prey. Brilliant, many coloured lights cast a lurid glare over their hideous den that is full of dead men's bones, out of which roses, poppies and other flowers have sprung into bloom. The sirens try to attract Odysseus and his companions by singing sweetly, and playing enticing music on weird instruments made out of the bones of their victims.

Odysseus, however, is on his guard. He causes his men to stop their ears with wax, and to bind him fast to the mast of his s.h.i.+p. The attempt to lure them is unsuccessful. Though Persephoneia herself rises from the depths to aid the sirens, Odysseus' s.h.i.+p sails safely past and the sirens and their rocks sink into the sea.

But the hostile G.o.d Poseidon pursues Odysseus in rage. Seated in his cart drawn by sea-horses {425} he strikes the s.h.i.+p with his trident, and it goes down in the now stormy sea.

Zeus and the friendly G.o.ds now interpose. Poseidon is forced to withdraw, and, though his companions perish and the s.h.i.+p is wrecked, the nymph Leukothea brings a magic veil which ensures the hero's safety and he swims to the sh.o.r.e.

Act I.

Odysseus has landed in the country of the Pheacians. In the first part of this act he is lying asleep hidden among the shrubs and trees in the background.

Nausikaa, the King's daughter has come at the bidding of Athene with her companions to wash the linen and garments of her family. While the clothes are drying in the sun the maidens dance and play at ball.

Their voices and laughter awake Odysseus who rises and shows himself through the foliage. Seeing a nearly naked man the girls run away screaming; only Nausikaa stands still and asks the stranger fearlessly who he is. Odysseus tells her his piteous story and his cruel fate.

Nausikaa calls to her maidens to bring raiment for the hero whose name however she has not yet heard. A sudden and tender love fills her heart for the outcast wanderer. Odysseus too feels drawn towards the n.o.ble maiden, for a moment he forgets his wife and child at home.

Nausikaa invites him to follow her to her father's court and promises him a kindly reception there.

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As the procession is starting, the sound of horns is heard and King Alkinous and his followers come up. Among them are his son Leodamus, and Prince Euryalos, a would-be suitor of Nausikaa. The King welcomes the stranger kindly and invites him to come and stay in his palace.

Euryalos, however, regards Odysseus with suspicion and hostility; he sees in him at once a favoured rival. With songs of welcome Odysseus is greeted by the men and maidens and by the King's side he moves towards the palace.

Act II.

This scene takes place in front of the palace of King Alkinous. The gardens and terraces extend downwards to the sh.o.r.e of the sea that forms the background. It is evening. Youths and maidens are busy decking pillars and statues with garlands of flowers and making wreaths to crown the victors in the next day's games.