The Standard Operaglass Part 43

The text is very witty and very clever, and quite worthy of the music.

The story is taken from an old Dutch legend of rather free conception.

The scene is laid in Munich; it takes place at the summer solstice in the far away middle-ages, or, as the author calls it "fabulous no-time."

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The t.i.tle has a double meaning as the explanation of the plot will show.

A band of merry children wanders from house to house, singing and demanding wood for the bonfires of the summer solstice. After having got a plentiful supply at the burgomaster's house, they cross over to the opposite house, an old decayed building, called the Wizard's house.

Its inmate at first takes no notice of the children's noisy summons; at last he appears at the door.

He, Kunrad, is a young dreamer, who has forgotten the outside world over his books and studies. But the merry songs wake him suddenly to life and suns.h.i.+ne. He gives up his whole house to the uproarious band, beginning himself to tear down the battered shutters. The children set to work to carry off every piece of wood, that is not too firmly riveted, and Kunrad helps them full of glee.

Suddenly he perceives, Diemuth, the burgomaster's lovely daughter. His. .h.i.therto perfectly untouched heart catches fire, and all at once he steps up to her, presses her to his heart and kissing her he pa.s.sionately explains: "I will leap through the fire; wilt thou leap after me?!"

Diemuth, who has all the time been gazing at the stranger like one in a trance wakes up and turns from him with a cry of shame and indignation.

Kunrad is now attacked on all sides for his impertinence and Diemuth, turning to her maiden friends, who secretly envy her for the adoration, {435} the n.o.ble stranger has shown her, whispers into their ears, that she will revenge herself for the disgrace he has brought upon her.

While the evening is setting in the citizens begin to wander out of town to see the bonfires.

The burgomaster is obliged to walk away alone, after having vainly tried to persuade his daughter to accompany him.

Diemuth steps into the house, and soon appears on the balcony, combing her heir. Kunrad standing at his battered house-door renews his protestations of love and begs her in pa.s.sionate terms to let him in.

At first she refuses tartly but by and by she seems to relent, and pointing to the large basket in which the wood had been let down to the children she invites him to get into it and says that she will draw him up.--Kunrad complies with her wish.

While she slowly winds the basket up her three companions peep round the corner and perceive with delight, that Diemuth's trick is successful, and that the bird is caught. The tercet of the maidens is one of the loveliest pieces of music ever written.

Before the basket reaches the balcony, Diemuth pretends that her strength is failing. At his entreaties she loosens and lets down her long hair, but when he tries to grasp it she jerks it back with a cry of pain and rates him harshly.--At last he perceives, that she has been fooling him all the time. He is helplessly caught in the trap and the returning citizens seeing him hanging between {436} heaven and earth deride him, congratulating Diemuth on having caught such a fine bird.

Then Kunrad rises in a towering rage. Loudly invoking the help of his friend and master, the mighty sorcerer, he suddenly plunges the whole town into utter darkness. When the good citizens of Munich find themselves deprived of fire and light, they break out into loud lamentation; the frightened children wail and the head officials of the town vow to hang Kunrad for his insolence and his witchcraft.

At this moment the moon s.h.i.+ning through the clouds throws her light upon Kunrad, who has swung himself on to the balcony, and smiling down upon the people he p.r.o.nounces a powerful oration upon their narrowmindedness.

He reminds them, that the owner of his house, whom they drove out of the town, Richard Wagner was one of the greatest masters the world had ever seen and who would have brought them fame and greatness, if they had not rejected him. He, Kunrad (Richard Strauss) claims to be his successor, who is to carry on the great work nothing daunted, and in spite of all the small minds of the world.

For his helpmate he has chosen Diemuth, but she too has failed to understand, that love is higher than even virtue and morality, and for this reason he has extinguished their lights and fire, to show them, that all light comes, from love, and that without love the world is dark and cold.

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As soon as he has ended, Diemuth softly opens her door and draws Kunrad in. The citizens, convinced by his burning words begin to praise him and acknowledge his high courage and good words. Meanwhile the windows of Diemuth's chamber begin to gleam faintly; Diemuth and Kunrad have fulfilled the law of love and all at once, the flames of the bonfires leap up and the windows and streets are again aglow with the light, that is given back to the city.

HOFFMANN'S TALES.

A phantastic Opera in three acts by JULES BARBIER.

Music by JACQUES OFFENBACH.

In this opera the composer far surpa.s.ses all his other compositions.

It is his swan's song, for he composed it in the summer of 1880 and he died in October of the same year after having given his best to the world, a true work of genius, so full of grace, of delicate feeling and of phantastic loveliness, that n.o.body can hear it without being captivated by its sweetness.

The libretto is taken from three different tales of E. Th. A. Hoffmann, who was not only an author and a poet, but a musician and composer worthy of note.

His weird tales were much read in the beginning of the last century.

The first scene, a prologue, is laid in Luther's famous wine-cellar in Nuremberg.

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The hero of the opera, Hoffmann himself is there, drinking with a number of gay young students, his friends. He is in a despondent mood and when urged by his companions to tell them the reason of his depression, he declares himself ready to relate the story of his three love adventures, while his friends sit round a bowl of flaming strong punch.

Now the scene changes and the curtain rises on the first act. We find Hoffmann in Spalanzani's house. This man is a famous physiologist, and Hoffmann has entered his house as his pupil in order to make the acquaintance of the professor's beautiful daughter Olympia, whom he has seen at a distance.

This daughter is nothing more than an automaton, that has been manufactured by Spalanzani and his friend, the wizard Coppelius. This doll can sing, dance and speak like a human being. Spalanzani hopes to become rich by means of this clever work of art. As half of Olympia (this is the doll's name), belongs to Coppelius, Spalanzani buys her from him, paying him by a draft on the Jew Elias, though he knows him to be bankrupt.--Hoffmann has been persuaded by Coppelius to purchase a pair of spectacles, through which he looks at Olympia, and taking her for a lovely living maiden falls violently in love with her.

Spalanzani now gives a grand entertainment, at which he presents his daughter Olympia, (the Automaton), who surprises everybody by her {439} loveliness and her fine singing.--Hoffmann is completely bewitched and as soon as he finds himself alone with her, he makes her an ardent declaration of love and is not at all discouraged by her sitting stock still and only answering from time to time a dry little "ja, ja". At last he tries to embrace her, but as soon as he touches her she rises and trips away.

Hoffmann's friend Niklas finds him in the seventh heaven of rapture and vainly endeavours to enlighten him as to the reason of the beauty's stiffness and heartlessness.

When the dancing begins Hoffmann engages Olympia, and they dance on, always faster and faster, until Hoffmann sinks down in a swoon, his spectacles being broken by the fall. Olympia spins on alone as fast as ever and presently dances out of the room, Cochenille vainly trying to stop her. Coppelius now enters in a fury having found out that Spalanzani's draft on Elias is worthless. He rushes to the room, into which Olympia has vanished and when Hoffmann revives he hears a frightful sound of breaking and smas.h.i.+ng, and Spalanzani bursts in with the news that Coppelius has broken his valuable automaton. Thus Hoffmann learns that he has been in love with a senseless doll. The guests, who now enter shout with laughter at his confusion, while Spalanzani and Coppelius load each other with abuse.

The second act takes place in Giulietta's palace in Venice. Everything breathes joy and love.--Both Niklas and Hoffmann are courting the beautiful lady. {440} Niklas warns his friend against her, but Hoffmann only laughs at the idea that he is likely to love a courtezan.

The latter is entirely in the hand of the wizard Dapertutto, who acts towards Hoffmann as an evil spirit under three different names in each of his three love affairs. Giulietta has already stolen for him the shadow of her former lover Schlemihl; now Dapertutto wounds her vanity, by telling her, that Hoffmann has spoken disdainfully of her, and makes her promise to win the young man's love and by that means to make him give her his reflection from a looking-gla.s.s.

She succeeds easily, and there ensues a charming love-duet, during which they are surprised by the jealous Schlemihl. Giulietta tells Hoffmann, that her former lover has the key of her apartments in his pocket, she then departs leaving the two lovers and Dapertutto alone.

When Hoffmann peremptorily demands the key from Schlemihl the latter refuses to give it up. The result is a duel, for which Dapertutto offers Hoffmann his sword.--

After a few pa.s.ses Schlemihl is killed and Dapertutto disappears. A few moments afterwards Giulietta's gondola pa.s.ses before the balcony and Hoffmann sees her leaning on Dapertutto's arm, singing a mocking farewell to the poor deserted lover.

The third act takes place in Rath Krespel's house. His daughter Antonia has inherited her mother's gift of a beautiful voice, but alas, also her tendency to consumption. The greatest joy of her {441} life is singing, which however her father has forbidden, knowing this exertion to be fatal to his darling.

She is engaged to be married to Hoffmann, but Krespel is averse to the marriage, seeing in it another danger for his daughter's health, as Hoffmann is musical and encourages Antonia to sing. Krespel has forbidden his servant Franz to let anybody see Antonia, while he goes out of the house, but Franz, who is very deaf, misunderstands his master's orders and joyously welcomes his mistress's suitor. A delicate love-scene follows, during which Antonia shows her lover, that her voice is as fine as ever. When they hear Krespel returning Antonia retires to her own room, but Hoffmann hides himself in an alcove, determined to learn why Antonia is so closely hidden from the world.

Immediately after the father's return Doctor Mirakel enters; Krespel is mortally afraid of this mysterious man, as he believes him to have killed his wife by his drugs and that now he aims at his daughter's life.

This Mirakel is a demon, who acts as in the two former instances as Hoffmann's evil genius.--From the conversation of the two men Hoffmann learns the secret of his bride's dangerous inheritance, and when Mirakel has at last been driven out of the room, and Krespel has left it too; the lovers both come back again. Hoffmann by earnest entreaty succeeds in gaining Antonia's promise never to sing any more. But when he has left Mirakel {442} returns and by invoking the spirit of her mother he goads her on to break her promise. She begins to sing and he urges her on, until she sinks back exhausted. It is thus that her father and her lover find her, and after a few sweet words of farewell she dies in their arms.

The Epilogue takes us back to Luther's cellar, where Hoffmann's companions are still sitting over their punch, the steam of which forms clouds over their heads, while they thank their poor, heart-broken friend for his three stories with ringing cheers.

THE ALPINE KING AND THE MISANTHROPE.

Opera in three acts by LEO BLECH.