The Standard Operaglass Part 5

Text by SCRIBE.

Boieldieu is for the French almost what Mozart was for the German.

This opera especially may be called cla.s.sic, so deliberate and careful is its execution.

The "Lady in white" is the chef-d'oeuvre of all comic operas in French, as Mozart's Figaro is in German. The success of this opera, whose composer and whose poet were equally liked and esteemed in Paris was enormous, and since then it has never lost its attraction.

The scene is laid in Scotland, the subject being taken from Walter Scott's romance: "Guy Mannering".

George Brown, the hero of the opera, a young lieutenant in English service, visits Scotland. He is hospitably received by a tenant of the late Count Avenel, who has been dead for some years. When {47} he arrives, the baptism of the tenant's youngest child is just being celebrated, and seeing that they lack a G.o.dfather, he good-naturedly consents to take the vacant place.

Seeing the old castle of the Avenels, he asks for its history, and the young wife Jenny tells him that according to the traditions of the place it is haunted by a ghost, as is the case in almost every old castle. This apparition is called the "White Lady", but unlike other ghosts she is good, protecting her s.e.x against fickle men. All the people around believe firmly in her and pretend to have seen her themselves. In the castle there exists a statue which bears the name of this benevolent genius, and in it the old Lord has hidden treasures.

His steward Gaveston, a rogue, who has taken away the only son of the Count in the child's earliest days, brings the castle with all its acres to public sale, hoping to gain it for himself.

He has a charming ward, named Anna. It is she, who sometimes plays the part of the white Lady. She has summoned the young tenant d.i.c.kson, who is sincerely devoted to her, into the castle, and the young man though full of fear, yet dare not disobey the ghostly commands.

George Brown, thirsting for a good adventure, and disbelieving in the ghost-story, declares that he will go in d.i.c.kson's place.

In the second act George, who has found entrance into the castle, calls for the white Lady, who appears in the shape of Anna. She believes that {48} d.i.c.kson is before her and she reveals her secret to him, imploring his help against her false guardian Gaveston, who means to rob the true and only heir of his property. She knows that the missing son of the Avenels is living, and she has given a promise to the dying Countess, to defend his rights against the rapacious Gaveston. George gives his hand to the pretended ghost in token of fidelity, and the warm and soft hand which clasps his, awakes tender feelings in him. On the following morning d.i.c.kson and his wife Jenny are full of curiosity about George's visit, but he does not breathe a word of his secret.

The sale of the castle as previously announced is to begin, and d.i.c.kson has been empowered beforehand by all the neighboring farmers, to bid the highest price, in order not to let it fall into the hands of the hateful Gaveston. They bid higher and higher, but at length d.i.c.kson stops, unable to go farther. Gaveston feels a.s.sured of his triumph, when George Brown, recalling his vow to the white Lady, advances boldly, bidding one thousand pounds more. Anna is beside him, in the shape of the spectre, and George obediently bids on, till the castle is his for the price of three hundred thousand pounds. Gaveston in a perfect fury, swears avenge himself on the adventurer, who is to pay the sum in the afternoon. Should he prove unable to do so, he shall be put into prison. George, who firmly believes in the help of his genius, is quietly confident, and meanwhile makes an inspection of the castle. {49} Wandering through the vast rooms, dim recollections arise in him, and hearing the minstrel's song of the Avenels, he all at once remembers and finishes the romance, which he heard in his childhood.

The afternoon comes and with it Mac-Irton, the justice of peace. He wants the money, and George begs to await the white Lady, who promised her help. Anna appears, bringing the treasure of the Avenels hidden in the statue, and with them some doc.u.ments, which prove the just claims of Edwin Count Avenel. This long lost Count she recognizes in George Brown, whose ident.i.ty with the playmate of her youth she had found out the night before. Gaveston approaches full of wrath to tear aside the ghost's white veil, and sees his own ward, Anna.

The happy owner of castle and country holds firm to the promise which he gave the white Lady, and offers hand and heart to the faithful Anna, who has loved him from her childhood.

IL DEMONIO.

Fantastic Opera in three acts by ANTON RUBINSTEIN

Text after the Russian of ALFRED OFFERMANN.

This opera of the great Russian musician has an entirely national character. The great features of Rubinstein's work are most fertile imagination and an immense power of expression, which however sometimes almost pa.s.ses the permitted bounds, although the forms are perfectly mastered and the fanciful subject is well calculated to afford it room {50} for play. It is taken from the celebrated poem of Lermontoff, and it treats of the devices, by which Satan seeks to ensnare the immortal souls on earth.

The plot is laid in Grusia in the Caucasus.

The first scene represents a wild and lonely country, in the raging storm voices are heard of good and bad spirits alternately. The Arch-Fiend appears, weary of everything, even of his power. He curses the world; in vain he is warned by the Angel of Light to cease his strife against Heaven; the Demon's only satisfaction lies in opposition to and battle with all that is loving and good.

He sees Tamara, daughter of Prince Gudal, who expects her bridegroom, the Prince of Sinodal, and full of admiration for her loveliness he wooes her. Tamara, frightened calls her companions and they all return to the castle, but the words of the stranger, whom she has recognized by the halo of light surrounding him, as a being from a higher world, vibrate in her ears: "Queen of my love, thou shalt be the Empress of Worlds."

The following scene shows Prince Sinodal, encamping for the night with his suite; the roughness of the way has delayed his coming to Tamara.

Near the camp is a chapel, erected in memory of one of his ancestors, who was slain there by a ruffian and the Prince's old servant admonishes him to pray for his soul. To his destruction he postpones it till morning, for during his sleep the Demon brings up his enemies, the Tartars, and the Prince's caravan is robbed and he himself killed.

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In the second act Tamara stands ready to receive her bridegroom, whose coming has been announced to her by a messenger.

Tamara's thoughts are with the stranger, though against her will, when an escort brings the dead body of Sinodal. While the poor bride is giving vent to her sorrow and her father seeks to comfort her by offering religious consolation, she again hears the voice of the Demon, whispering soft seductions to her. At last she feels that her strength is failing before a supernatural power, and so she begs her father to let her enter a monastery. After offering many objections he finally consents, for in truth his thoughts are only of avenging his children.

In the third act the Demon, who really loves Tamara, and regrets his wickedness, seeks to see her. The Angel of Light denies him the entrance, which however he finally forces. Pa.s.sionately he invokes Tamara's pity and her love and she, rent by unutterable feelings implores Heaven's aid, but her strength gives way, and the Demon embraces and kisses her. At this moment the Angel of Light appears, and Tamara is about to hasten to him, when with a loud cry she sinks down lifeless. Satan has lost; despairing and cursing all, he vanishes and a thunder-bolt destroys the cloister, from amid the ruins of which the Angels bear the poor love-tortured Tamara to Heaven.

{52}

LE DOMINO NOIR.

Comic Opera in three acts by AUBER.

Text by SCRIBE.

This is one of the most charming comic operas, which were ever written by this master. Graceful archness and elegance of style are its characteristics, and these lose nothing from the presence of a gay and easy temper which makes itself felt throughout. The same may be said of the libretto.

The plot is well worked out and entertaining. The scene is laid in Madrid in our century.

The Queen of Spain gives a masqued ball, at which our heroine Angela is present, accompanied by her companion Brigitta. There she is seen by Horatio di Ma.s.sarena, a young n.o.bleman, who had met her a year before at one of these b.a.l.l.s and fell in love with, without knowing her.

This time he detains her, but is again unable to discover her real name, and confessing his love for her, he receives the answer, that she can be no more than a friend to him. Ma.s.sarena detains her so long that the clock strikes the midnight-hour as Angela prepares to seek her companion. Ma.s.sarena confesses to having removed Brigitta under some pretext, and Angela in despair cries out, that she is lost. She is in reality member of a convent, and destined to be Lady-Abbess, though she has not yet taken the vows. She is very highly connected, and has secretly helped Ma.s.sarena to advance in his career as a {53} diplomatist.--Great is her anxiety to return in her convent after midnight, but she declines all escort, and walking alone through the streets, she comes by chance into the house of Count Juliano, a gentleman of somewhat uncertain character, and Ma.s.sarena's friend.

Juliano is just giving a supper to his gay friends and Angela bribes his housekeeper Claudia, to keep her for the night. She appears before the guests disguised as an Arragonian waiting-maid, and charms them all, and particularly Ma.s.sarena with her grace and coquetry. But as the young gentlemen begin to be insolent, she disappears, feeling herself in danger of being recognized. Ma.s.sarena, discovering in her the charming black domino, is very unhappy to see her in such company.--Meanwhile Angela succeeds in getting the keys of the convent from Gil-Perez, the porter, who had also left his post, seduced by his love of gormandizing and had come to pay court to Claudia. Angela troubles his conscience and frightens him with her black mask, and flies. When she has gone, the house-keeper confesses that her pretended Arragonian was a stranger, by all appearance a n.o.ble lady, who sought refuge in Juliano's house.

In the third act Angela reaches the convent, but not without having had some more adventures. Through Brigitta's cleverness her absence has not been discovered. At length the day has come when she is to be made Lady-Abbess and she is arrayed in the attire suited to her future high office, when Ma.s.sarena is announced to her.--He comes to {54} ask to be relieved from a marriage with Ursula, Lord Elfort's daughter, who is destined for him, and who is also an inmate of the convent, but whom he cannot love. Notwithstanding her disguise he recognizes his beloved domino, who, happily for both is released by the Queen from her high mission and permitted to choose a husband.--Of course it is no other, than the happy Ma.s.sarena; while Ursula is consoled by being made Lady-Abbess, a position which well suits her ambitious temper.

DON CARLOS.

Opera in four acts by VERDI.

Text by MERY and CAMILLA DU LOCLE.

This opera is one of the first of Verdi's. It was half forgotten, when being suddenly recalled to the stage it met with considerable success.

The music is fine and highly dramatic in many parts.

The scene of action lies in Spain. Don Carlos, Crown-prince of Spain comes to the convent of St. Just, where his grand-father, the Emperor Charles the Fifth has just been buried. Carlos bewails his separation from his step-mother, Elizabeth of Valois, whom he loves with a sinful pa.s.sion. His friend, the Marquis Posa reminds him of his duty and induces him to leave Spain for Flanders, where an unhappy nation sighs under the cruel rule of King Philip's governors.--Carlos has an interview with the Queen, but beside himself with grief he again declares his love, though having resolved only to ask for her intervention with the King, on {55} behalf of his mission to Flanders.

Elizabeth asks him to think of duty and dismisses him. Just then her jealous husband enters, and finding her lady of honor, Countess Aremberg, absent, banishes the latter from Spain. King Philip favors Posa with his particular confidence, though the latter is secretly the friend of Carlos, who is ever at variance with his wicked father. Posa uses his influence with the King for the best of the people, and Philip, putting entire confidence in him, orders him to watch his wife.

The second act represents a fete in the royal gardens at Madrid, where Carlos mistakes the Princess Eboli for the Queen and betrays his unhappy love. The Princess, loving Carlos herself, and having nurtured hopes of her love being responded to, takes vengeance. She possesses herself of a casket in which the Queen keeps Carlos' portrait, a love-token from her maiden-years, and surrenders it to Philip. The King, though conscious of his wife's innocence, is more than ever jealous of his son, and seeks for an occasion to put him out of the way. It is soon found, when Carlos defies him at an autodafe of heretics. Posa himself is obliged to deprive Carlos of his sword, and the latter is imprisoned. The King has an interview with the Grand-Inquisitor, who demands the death of Don Carlos, a.s.serting him to be a traitor to his country. As Philip demurs, the priest asks Posa's life as the more dangerous of the two. The King, who never loved a human being except Posa, the {56} pure-hearted Knight, yields to the power of the church.

In the following scene Elizabeth, searching for her casket, is accused of infidelity by her husband. The Princess Eboli, seeing the trouble her mischievous jealousy has brought upon her innocent mistress, penitently confesses her fault and is banished from court. In the last scene of the third act Carlos is visited by Posa, who explains to him, that he has only imprisoned him in order to save him, and that he has announced to the King, that it was himself, Posa, who excited rebellion in Flanders. While they speak, Posa is shot by an arquebusier of the royal guard; Philip enters the cell to present his sword to Carlos, but the son turns from his father with loathing and explains his friend's pious fraud. While Philip bewails the loss of the best man in Spain, loud acclamations are heard from the people, who hearing that their prince is in danger desire to see him.

In the last act the Queen, who promised Posa to watch over Carlos, meets him once more in the convent of St. Just. They are surprised by the King, who approaches, accompanied by the Grand-Inquisitor, and into his hands the unhappy Carlos is at last delivered.