The Opera Part 4

The music of 'L'Elisir d'Amore' is not inferior to that of 'Don Pasquale' in sparkle and brilliancy, but the plot is tame and childish compared to the bustle and intrigue of the latter work. It turns upon a sham love potion sold by a travelling quack to Nemorino, a country lout who is in love with Adina, the local beauty. Adina is divided between the attractions of Nemorino and those of the Sergeant Belcore, who is quartered in the village. In order to get money to pay for the potion Nemorino joins the army, and this proof of his devotion has so convincing an effect upon the affections of Adina that she discards the soldier and bestows her hand upon Nemorino. To this silly plot is allied some of the most delightful music Donizetti ever wrote. Fresh, graceful, and occasionally tender, it forms the happiest contrast to the grandiose nonsense which the composer was in the habit of turning out to suit the vitiated taste of the day, and is a convincing proof that if he had been permitted to exercise his talent in a congenial sphere, Donizetti would be ent.i.tled to rank with the most successful followers of Cimarosa and Paisiello, instead of being degraded to the rank of a mere purveyor to the manufacturers of barrel-organs.

Different as was the talent of Bellini (1802-1835) from that of Donizetti, his fate has been the same. After holding the ear of Europe for many years, he has fallen at the present time completely into the background, and outside the frontiers of Italy his works are rarely heard. Bellini had no pretensions to dramatic power. His genius was purely elegiac in tone, and he relied entirely for the effect which he intended to produce upon the luscious beauty of his melodies, into which, it must be admitted, the great singers of his time contrived to infuse a surprising amount of dramatic force.

The story of 'La Sonnambula' is rather foolish, but it suited Bellini's idyllic style, and the work is perhaps the happiest example of his _naf_ charm. Amina, a rustic damsel, betrothed to Elvino, is a confirmed somnambulist, and her nocturnal peregrinations have given the village in which she dwells the reputation of being haunted by a spectre. One night, Amina, while walking in her sleep, enters the chamber in the inn where Rodolfo, the young lord of the village, happens to be located. There she is discovered by Lisa, the landlady, to the scandal of the neighbourhood and the shame of her lover Elvino, who casts her from him and at once makes over his affections to the landlady. Amina's sorrow and despair make her more restless than ever, and the following night she is seen walking out of a window of the mill in which she lives, and crossing the stream by a frail bridge which totters beneath her weight. Providence guards her steps, and she reaches solid earth in safety, where Elvino is waiting to receive her, fully convinced of her innocence. Bellini's music is quite the reverse of dramatic, but the melodies throughout 'La Sonnambula' are graceful and tender, and in the closing scene he rises to real pathos.

In 'Norma' Bellini had the advantage of treating a libretto of great power and beauty, the work of the poet Romani, a tragedy which, both in sentiment and diction, contrasts very strongly with the ungrammatical balderdash which composers are so often called upon to set to music.

Norma, the high priestess of the Druids, forgetting her faith and the traditions of her race, has secretly wedded Pollio, a Roman general, and borne him two children. In spite of the sacrifices which she has made for his sake, he proves faithless, and seduces Adalgisa, one of the virgins of the temple, who has consented to abandon her people and her country and to fly with him to Rome. Before leaving her home, Adalgisa, ignorant of the connection between Norma and Pollio, reveals her secret to the priestess, and begs for absolution from her vows. At the news of her husband's faithlessness Norma's fury breaks forth, and her indignation is equalled by that of Adalgisa, who is furious at finding herself the mere plaything of a profligate. Pollio, maddened by pa.s.sion, endeavours to tear Adalgisa from the altar of the temple, but is checked by Norma, who strikes the sacred s.h.i.+eld and calls the Druids to arms.

Pollio, now a prisoner, is brought before her for judgment, and she gives him a last choice, to renounce Adalgisa or to die. He refuses to give up his love, whereupon Norma, in a pa.s.sion of self-sacrifice, tears the sacred wreath from her own brow and declares herself the guilty one.

Pollio is touched by her magnanimity, and together they ascend the funeral pyre, in its flames to be cleansed from earthly sin.

It would be too much to a.s.sert that Bellini has risen to the level of this n.o.ble subject, but parts of his score have a fervour and a dignity which might scarcely have been expected from the composer of 'La Sonnambula.' We may smile now at the trio between Pollio and his two victims, in which the extremes of fury and indignation are expressed by a lilting tune in 9-8 time, but it is impossible to deny the truth and beauty of Norma's farewell to her children, and in several other scenes there are evidences of real dramatic feeling, if not of the power to express it. It is important to remember, in discussing the works of Bellini and the other composers of his school, that in their day the art of singing was cultivated to a far higher pitch of perfection than is now the case. Consequently the composer felt that he had done his duty if, even in situations of the most tragic import, he provided his executant with a broad, even melody. Into this the consummate art of the singer could infuse every gradation of feeling. The composer presented a blank canvas, upon which the artist painted the required picture.

Unlike that of 'Norma,' the libretto of 'I Puritani,' Bellini's last opera, is a dull and confused affair. The scene is laid in England, apparently at the time of the Civil War, but the history and chronology throughout are of the vaguest description. Queen Henrietta Maria is imprisoned in the fortress of Plymouth, under the guardians.h.i.+p of Lord Walton, the Parliamentary leader, whose daughter Elvira loves Lord Arthur Talbot, a young Cavalier, Elvira's tears and entreaties have so far softened her stern parent that Arthur is to be admitted into the castle in order that the nuptials may be celebrated. He takes advantage of the situation to effect the escape of the Queen, disguising her in Elvira's bridal veil. When his treachery is discovered Arthur is at once proscribed, and Elvira, believing him to be faithless, loses her reason.

Later in the opera Arthur contrives to meet Elvira and explains his conduct satisfactorily, but their interview is cut short by a party of Puritans, who arrest him. He is condemned to be shot on the spot, but, before the sentence can be carried out, a messenger arrives with the news of the king's defeat and the pardon of Arthur. Elvira, whose insanity has throughout been of an eminently harmless description, at once recovers her reason, and everything ends happily.

'I Puritani' is in some respects Bellini's best work. Foolish as the libretto is, the bitterest opponent of Italian _cantilena_ could scarcely refuse to acknowledge the pathetic beauty of many of the songs.

It is a matter for regret, as well as for some surprise, that Bellini's works should now be entirely banished from the Covent Garden repertory, while so many inferior operas are still retained. In an age of fustian and balderdash, Bellini stood apart, a tender and pathetic figure, with no pretensions to science, but gifted with a command of melody as copious, unaffected, and sincere as has ever fallen to the lot of a composer for the stage.

The other Italian writers of this period may be briefly dismissed, since they did little but reproduce the salient features of their more famous contemporaries in a diluted form. Mercadante (1797-1870) lived to an advanced age, and wrote many operas, comic and serious, of which the most successful was 'Il Giuramento,' a gloomy story of love and revenge, treated with a certain power of the conventional order, and a good deal of facile melody. Pacini (1796-1867) is princ.i.p.ally known by his 'Saffo,' an imitation of Rossini, which achieved a great success. Vaccai (1790-1848) also imitated Rossini, but his 'Giulietta e Romeo' has intrinsic merits, which are not to be despised.

After the days of Rossini, opera buffa fell upon evil days. Although the most famous musicians of the day did not disdain occasionally to follow in the footsteps of Cimarosa, for the most part the task of purveying light operas for the smaller theatres of Italy fell into the hands of second and third rate composers. Donizetti, as we have seen, enriched the repertory of opera buffa with several masterpieces of gay and brilliant vivacity, but few of the lighter works of his contemporaries deserve permanent record.

The brothers Ricci, Luigi (1805-1859) and Federico (1809-1877), wrote many operas, both singly and in collaboration, but 'Crispino e la Comare' is the only one of their works which won anything like a European reputation. The story is a happy combination of farce and _feerie_. Crispino, a half-starved cobbler, is about to throw himself into a well, when La Comare, a fairy, rises from it and bids him desist. She gives him a purse of gold, and orders him to set up as a doctor, telling him that when he goes to visit a patient he must look to see whether she is standing by the bedside. If she is not there, the sick man will recover. Crispino follows her directions, and speedily becomes famous, but success turns his head, and he is only brought back to his senses by a strange dream, in which the fairy takes him down to a subterranean cavern where the lamp of each man's life is burning and he sees his own on the point of expiring. After this uncomfortable vision he is thankful to find himself still in the bosom of his family, and the opera ends with his vows of amendment. The music is brilliant and sparkling, and altogether the little opera is one of the best specimens of opera buffa produced in Italy after the time of Rossini. The other men who devoted themselves to opera buffa during this period my be briefly dismissed. Carlo Pedrotti (1817-1893), whose comic opera 'Tutti in Maschera,' after a brilliant career in Italy, was successfully produced in Paris, and Antonio Cagnoni (1828-1896), were perhaps the best of them. A version of the latter's 'Papa Martin' was performed in London in 1875, under the name of 'The Porter of Havre.'

CHAPTER VIII

MEYERBEER AND FRENCH OPERA

HeROLD--MEYERBEER--BERLIOZ--HALeVY--AUBER

The romantic movement was essentially German in its origin, but its influence was not bounded by the Rhine. As early as 1824 Weber's 'Freischutz' was performed in Paris, followed a few years later by 'Oberon' and 'Euryanthe.' French musicians, always susceptible to external influences, could not but acknowledge the fascination of the romantic school, and the works of Herold (1791-1833) show how powerfully the new leaven had acted. But Weber was not the only foreigner at this time who helped to shape the destiny of French music. The spell of Rossini was too potent for the plastic Gauls to resist, and to his influence may be traced the most salient features of the school of opera comique which is best represented by Auber. Herold, though divided between the camps of Germany and Italy, had individuality enough to write music which was independent of either. Yet it is significant that his last two works--the only two, in fact, which have survived--represent with singular completeness the two influences which affected French music most potently during his day. 'Zampa' has been called a French 'Don Giovanni,' but the music owes far more to Weber than to Mozart, while the fantastic and absurd incidents of the plot have little of the supernatural terror of Mozart's opera. Zampa is a famous pirate, who, after having dissipated his fortune and made Italy, generally speaking, too hot to hold him, has taken to the high seas in self-defence. In his early days he had seduced a girl named Alice Manfredi, who after his desertion found a home in the house of a Sicilian merchant named Lugano. There she died, and there Lugano caused a statue to be set up in her honour. When the story of the opera begins, Lugano is a prisoner in the hands of the redoubtable Zampa. The pirate himself comes to Sicily to obtain his prisoner's ransom, bringing directions to Lugano's daughter Camilla to pay him whatever he may ask.

Zampa at once falls a victim to the _beaux yeux_ of Camilla, and demands her hand as the price of her father's safety. Camilla loves Alfonso, a Sicilian officer, but is prepared to sacrifice herself to save her father. At the marriage feast, Zampa, recognising the statue of the betrayed Alice, jokingly puts his ring upon her finger, which immediately closes upon it. The opera ends by the statue claiming Zampa as her own, s.n.a.t.c.hing him from the arms of Camilla, and descending with him into the abyss.

It would be in vain to look in Herold's score for an echo of the pa.s.sion and variety of Mozart, but much of the music of 'Zampa' is picturesque and effective. Herold's tunes sound very conventional after Weber, but there is a good deal of skill in the way they are presented. His orchestration is of course closely modelled on that of his German prototype, and if it is impossible to say much for his originality, we can at any rate admire his taste in choosing a model.

'Le Pre aux Clercs' is more popular at the present moment than 'Zampa,'

though it is far inferior in musical interest. If 'Zampa' showed the influence of Weber, 'Le Pre aux Clercs' is redolent of Rossini. The overture, with its hollow ring of gaiety, strikes the note of Italianism which echoes throughout the opera. The plot is full of intrigues and conspiracies, and is decidedly confusing. Mergy, a young Bernese gentleman, aspires to the hand of Isabelle, who is one of the Queen of Navarre's maids of honour. The Queen favours their love, but the King wishes Isabelle to marry Comminges, a favourite of his own. The young couple gain their point, and are married secretly in the chapel of the Pre aux Clercs, but only at the expense of as much plotting and as many disguises as would furnish the stock-in-trade of half-a-dozen detective romances.

French music, as has often been pointed out, owes much to foreign influence, but very few of the strangers to whom the doors of Parisian opera-houses were opened left a deeper impression upon the music of their adopted country than Meyerbeer (1791-1864). Giacomo Meyerbeer, to give him the name by which he is now best known, underwent the same influence as Herold. As a youth he was intimate with Weber, and his first visit to Italy introduced him to Rossini, whose brilliant style he imitated successfully in a series of Italian works which are now completely forgotten. From Italy Meyerbeer came to Paris, and there identified himself with the French school so fully that he is now regarded with complete propriety as a French composer pure and simple.

Meyerbeer's music is thoroughly eclectic in type. He was a careful student of contemporary music, and the various phases through which he pa.s.sed during the different stages of his career left their impress upon his style. It says much for the power of his individuality that he was able to weld such different elements into something approaching an harmonious whole. Had he done more than he did, he would have been a genius; as it is, he remains a man of exceptional talent, whose influence on the history of modern music is still important, though his own compositions are now slightly superannuated. 'Robert le Diable,' the first work of his third or French period, was produced in 1831. The libretto, which, like those of all the composer's French operas, was by Eugene Scribe, is a strange tissue of absurdities, though from the merely scenic point of view it may be thought fairly effective. Robert, Duke of Normandy, the son of the d.u.c.h.ess Bertha by a fiend who donned the shape of man to prosecute his amour, arrives in Sicily to compete for the hand of the Princess Isabella, which is to be awarded as the prize at a magnificent tournament. Robert's daredevil gallantry and extravagance soon earn him the sobriquet of 'Le Diable,' and he puts the coping-stone to his folly by gambling away all his possessions at a single sitting, even to his horse and the armour on his back. Robert has an _ame d.a.m.nee_ in the shape of a knight named Bertram, to whose malign influence most of his crimes and follies are due. Bertram is in reality his demon-father, whose every effort is directed to making a thorough-paced villain of his son, so that he may have the pleasure of enjoying his society for all eternity. In strong contrast to the fiendish malevolence of Bertram stands the gentle figure of Alice, Robert's foster-sister, who has followed him from Normandy with a message from his dead mother. Isabella supplies Robert with a fresh horse and arms; nevertheless he is beguiled away from Palermo by some trickery of Bertram's, and fails to put in an appearance at the tournament. The only means, therefore, left to him of obtaining the hand of Isabella is to visit the tomb of his mother, and there to pluck a magic branch of cypress, which will enable him to defeat his rivals. The cypress grows in a deserted convent haunted by the spectres of profligate nuns, and there, amidst infernal orgies, Robert plucks the branch of power. By its aid he sends the guards of the Princess into a deep sleep, and is only prevented by her pa.s.sionate entreaties from carrying her off by force. Yielding to her prayers, he breaks the branch, and his magic power at once deserts him. He seeks sanctuary from his enemies in the cathedral, and there the last and fiercest strife for the possession of his soul is waged between the powers of good and evil. On the one hand is Bertram, whose term of power on earth expires at midnight. He has now discovered himself as Robert's father, and produces an infernal compact of union which he entreats his son to sign.

On the other is Alice, pleading and affectionate, bearing the last words of Robert's dead mother, warning him against the fiend who had seduced her. While Robert is hesitating between the two, midnight strikes, and Bertram sinks with thunder into the pit. The scene changes, and a glimpse is given of the interior of the cathedral, where the marriage of Robert and Isabella is being celebrated.

'Robert le Diable' was an immense success when first produced. The glitter and tinsel of the story suited Meyerbeer's showy style, and besides, even when the merely trivial and conventional had been put aside, there remains a fair proportion of the score which has claims to dramatic power. The triumph of 'Robert' militated against the success of 'Les Huguenots' (1836), which was at first rather coldly received.

Before long, however, it rivalled the earlier work in popularity, and is now generally looked upon as Meyerbeer's masterpiece. The libretto certainly compares favourably with the fatuities of 'Robert le Diable.'

Marguerite de Valois, the beautiful Queen of Navarre, who is anxious to reconcile the bitterly hostile parties of Catholics and Huguenots, persuades the Comte de Saint Bris, a prominent Catholic, to allow his daughter Valentine to marry Raoul de Nangis, a young Huguenot n.o.ble.

Valentine is already betrothed to the gallant and amorous Comte de Nevers, but she pays him a nocturnal visit in his own palace, and induces him to release her from her engagement. During her interview with Nevers she is perceived by Raoul, and recognised as a lady whom he lately rescued from insult and has loved pa.s.sionately ever since. In his eyes there is only one possible construction to be put upon her presence in Nevers' palace, and he hastens to dismiss her from his mind.

Immediately upon his decision comes a message from the Queen bidding him hasten to her palace in Touraine upon important affairs of state. When he arrives she unfolds her plan, and he, knowing Valentine only by sight, not by name, gladly consents. When, in the presence of the a.s.sembled n.o.bles, he recognises in his destined bride the presumed mistress of Nevers, he casts her from him, and vows to prefer death to such intolerable disgrace.

The scene of the next act is in the Pre aux Clercs, in the outskirts of Paris. Valentine, who is to be married that night to Nevers, obtains leave to pa.s.s some hours in prayer in a chapel. While she is there she overhears the details of a plot devised by Saint Bris for the a.s.sa.s.sination of Raoul, in order to avenge the affront put upon himself and his daughter. Valentine contrives to warn Marcel, Raoul's old servant, of this, and he a.s.sembles his Huguenot comrades hard by, who rush in at the first clash of steel and join the combat. The fight is interrupted by the entrance of the Queen. When she finds out who are the princ.i.p.al combatants, she reproves them sharply and tells Raoul the real story of Valentine's visit to Nevers. The act ends with the marriage festivities, while Raoul is torn by an agony of love and remorse.

In the next act Raoul contrives to gain admittance to Nevers' house, and there has an interview with Valentine. They are interrupted by the entrance of Saint Bris and his followers, whereupon Valentine conceals Raoul behind the arras. From his place of concealment he hears Saint Bris unfold the plan of the ma.s.sacre of Saint Bartholomew, which is to be carried out that night. The conspirators swear a solemn oath to exterminate the Huguenots, and their daggers are consecrated by attendant priests. Nevers alone refuses to take part in the butchery.

When they all have left, Raoul comes out of his hiding-place, and in spite of the prayers and protestations of Valentine, leaps from the window at the sound of the fatal tocsin, and hastens to join his friends. In the last act, which is rarely performed in England, Raoul first warns Henry of Navarre and the Huguenot n.o.bles, a.s.sembled at the Hotel de Sens, of the ma.s.sacre, and then joins the _melee_ in the streets. Valentine has followed him, and after vainly endeavouring to make him don the white scarf which is worn that night by all Catholics, she throws in her lot with his, and dies in his arms, after they have been solemnly joined in wedlock by the wounded and dying Marcel.

'Les Huguenots' shows Meyerbeer at his best Even Wagner, his bitterest enemy, admitted the dramatic power of the great duet in the fourth act, and several other scenes are scarcely inferior to it in sustained inspiration. The opera is marred as a whole by Meyerbeer's invincible self-consciousness. He seldom had the courage to give his genius full play. He never lost sight of his audience, and wrote what he thought would be effective rather than what he knew was right. Thus his finest moments are marred by lapses from sincerity into the commonplace conventionality of the day. Yet the dignity and power of 'Les Huguenots'

are undeniable, and it is unfortunate that its excessive length should prevent it from ever being heard in its entirety.

In 'Le Prophete' Meyerbeer chose a subject which, if less rich in dramatic possibility than that of 'Les Huguenots,' has a far deeper psychological interest. Unfortunately, Scribe, with all his cleverness, was quite the worst man in the world to deal with the story of John of Leyden. In the libretto which he constructed for Meyerbeer's benefit the psychological interest is conspicuous only by its absence, and the character of the young leader of the Anabaptists is degraded to the level of the merest puppet. John, an innkeeper of Leyden, loves Bertha, a village maiden who dwells near Dordrecht. Unfortunately, her liege lord, the Count of Oberthal, has designs upon the girl himself, and refuses his consent to the marriage. Bertha escapes from his clutches and flies to the protection of her lover, but Oberthal secures the person of Fides, John's old mother, and by threats of putting her to death, compels him to give up Bertha. Wild with rage against the vice and lawlessness of the n.o.bles, John joins the ranks of the Anabaptists, a revolutionary sect pledged to the destruction of the powers that be.

Their leaders recognise him as a prophet promised by Heaven, and he is installed as their chief. The Anabaptists lay siege to Munster, which falls into their hands, and in the cathedral John is solemnly proclaimed the Son of G.o.d. During the ceremony he is recognised by Fides, who, believing him to have been slain by the false prophet, has followed the army to Munster in hopes of revenge. She rushes forward to claim her son, but John pretends not to know her. To admit an earthly relations.h.i.+p would be to prejudice his position with the populace, and he compels her to confess that she is mistaken. The coronation ends with John's triumph, while the hapless Fides is carried off to be immured in a dungeon. John visits her in her cell, and obtains her pardon by promising to renounce his deceitful splendour and to fly with her. Later he discovers that a plot against himself has been hatched by some of the Anabaptist leaders, and he destroys himself and them by blowing up the palace of Munster. Meyerbeer's music, fine as much of it is, suffers chiefly from the character of the libretto. The latter is merely a string of conventionally effective scenes, and the music could hardly fail to be disjointed and sc.r.a.ppy. Meyerbeer had little or no feeling for characterisation, so that the opportunities for really dramatic effect which lay in the character of John of Leyden have been almost entirely neglected. Once only, in the famous cantique 'Roi du Ciel,' did the composer catch an echo of the prophetic rapture which animated the youthful enthusiast. Meyerbeer's besetting sin, his constant search for the merely effective, is even more p.r.o.nounced in 'Le Prophete' than in 'Les Huguenots.' The coronation scene has nothing of the large simplicity necessary for the proper manipulation of a ma.s.s of sound. The canvas is crowded with insignificant and confusing detail, and the general effect is finicking and invertebrate rather than solid and dignified.

Meyerbeer was constantly at work upon his last opera, 'L'Africaine,'

from 1838 until 1864, and his death found him still engaged in retouching the score. It was produced in 1865. With a musician of Meyerbeer's known eclecticism, it might be supposed that a work of which the composition extended over so long a period would exhibit the strangest conglomeration of styles and influences. Curiously enough, 'L'Africaine' is the most consistent of Meyerbeer's works. This is probably due to the fact that in it the personal element is throughout outweighed by the picturesque, and the exotic fascination of the story goes far to cover its defects.

Vasco da Gama, the famous discoverer, is the betrothed lover of a maiden named Inez, the daughter of Don Diego, a Portuguese grandee. When the opera opens he is still at sea, and has not been heard of for years. Don Pedro, the President of the Council, takes advantage of his absence to press his own suit for the hand of Inez, and obtains the King's sanction to his marriage on the ground that Vasco must have been lost at sea. At this moment the long-lost hero returns, accompanied by two swarthy slaves, Selika and Nelusko, whom he has brought home from a distant isle in the Indian Ocean. He recounts the wonders of the place, and entreats the government to send out a pioneer expedition to win an empire across the sea. His suggestions are rejected, and he himself, through the machinations of Don Pedro, is cast into prison. There he is tended by Selika, who loves her gentle captor pa.s.sionately, and has need of all her regal authority--for in the distant island she was a queen--to prevent the jealous Nelusko from slaying him in his sleep. Inez now comes to the prison to announce to Vasco that she has purchased his liberty at the price of giving her hand to Don Pedro. In the next act, Don Pedro, who has stolen a march on Vasco, is on his way to the African island, taking with him Inez and Selika. The steering of the vessel is entrusted to Nelusko. Vasco da Gama, who has fitted out a vessel at his own expense, overtakes Don Pedro in mid-ocean, and generously warns his rival of the treachery of Nelusko, who is steering the vessel upon the rocks of his native sh.o.r.e. Don Pedro's only reply is to order Vasco to be tied to the mast and shot, but before the sentence can be carried out the vessel strikes upon the rocks, and the aborigines swarm over the sides. Selika, once more a queen, saves the lives of Vasco and Inez from the angry natives. In the next act the nuptials of Selika and Vasco are on the point of being celebrated with great pomp, when the hero, who has throughout the opera wavered between the two women who love him, finally makes up his mind in favour of Inez. Selika thereupon magnanimously despatches them home in Vasco's s.h.i.+p, and poisons herself with the fragrance of the deadly manchineel tree. The characters of 'L'Africaine,' with the possible exception of Selika and Nelusko, are the merest shadows, but the music, though less popular as a rule than that of 'Les Huguenots,' or even 'Le Prophete,' is undoubtedly Meyerbeer's finest effort. In his old age Meyerbeer seems to have looked back to the days of his Italian period, and thus, though occasionally conventional in form, the melodies of 'L'Africaine' have a dignity and serenity which are rarely present in the scores of his French period.

There is, too, a laudable absence of that ceaseless striving after effect which mars so much of Meyerbeer's best work.

Besides the great works already discussed, Meyerbeer wrote two works for the Opera Comique, 'L'etoile du Nord' and 'Le Pardon de Ploermel.'

Meyerbeer was far too clever a man to undertake anything he could not carry through successfully, and in these operas he caught the trick of French opera comique very happily.

'L'etoile du Nord' deals with the fortunes of Peter the Great, who, when the opera opens, is working as a s.h.i.+pwright at a dockyard in Finland. He wins the heart of Catherine, a Cossack maiden, who has taken up her quarters there as a kind of vivandiere. Catherine is a girl of remarkable spirit, and after repulsing an incursion of Calmuck Tartars single-handed, goes off to the wars in the disguise of a recruit, in order to enable her brother to stay at home and marry Prascovia, the daughter of the innkeeper. The next act takes place in the Russian camp.

Catherine, whose soldiering has turned out a great success, is told off to act as sentry outside the tent occupied by two distinguished officers who have just arrived. To her amazement she recognises them as Peter and his friend Danilowitz, a former pastry-cook, now raised by the Czar to the rank of General. Catherine's surprise and pleasure turn to indignation when she sees her lover consoling himself for her absence with the charms of a couple of pretty vivandieres, and when her senior officer reprimands her for eavesdropping, she bestows upon him a sound box on the ears. For this misdemeanour she is condemned to be shot, but she contrives to make her escape, first sending a letter to Peter blaming him for his inconstancy, and putting in his hand the details of a conspiracy against his person which she has been fortunate enough to discover. Peter's anguish at the loss of his loved one is accentuated by the n.o.bility of her conduct. At first it is supposed that Catherine is dead, but by the exertions of Danilowitz she is at length discovered, though in a lamentable plight, for her troubles have cost her her reason. She is restored to sanity by the simple method of reconstructing the scene of the Finnish dockyard in which she first made Peter's acquaintance, and peopling it with the familiar forms of the workmen.

Among the latter are Peter and Danilowitz, in their old dresses of labourer and pastry-cook, and, to crown all, two flutes are produced upon which Peter and her brother play a tune known to her from childhood. The last charm proves effectual, and all ends happily.

The lighter parts of 'L'etoile du Nord' are delightfully arch and vivacious, and much of the concerted music is gay and brilliant. The weak point of the opera is to be found in the tendency from which Meyerbeer was never safe, to drop into mere pretentiousness when he meant to be most impressive. In some of the choruses in the camp scene there is a great pretence at elaboration, with very scanty results, and the closing scena, which is foolish and wearisome, is an unfortunate concession to the vanity of the prima donna. But on the whole 'L'etoile du Nord' is one of Meyerbeer's most attractive works, besides being an extraordinary example of his inexhaustible versatility.

'Le Pardon de Ploermel,' known in Italy and England as 'Dinorah,' shows Meyerbeer in a pastoral and idyllic vein. The story is extremely silly in itself, and most of the incidents take place before the curtain rises. The overture is a long piece of programme music, which is supposed to depict the bridal procession of Hoel and Dinorah, two Breton peasants, to the church where they are to be married. Suddenly a thunderstorm breaks over their heads and disperses the procession, while a flash of lightning reduces Dinorah's homestead to ashes. Hoel, in despair at the ruin of his hopes, betakes himself to the village sorcerer, who promises to tell him the secret of the hidden treasure of the local gnomes or Korriganes if he will undergo a year of trial in a remote part of the country. On hearing that Hoel has abandoned her Dinorah becomes insane, and spends her time in roving through the woods with her pet goat in search of her lover. The overture is a picturesque piece of writing enough, though much of it would be entirely meaningless without its programme. When the opera opens, Hoel has returned from his probation in possession of the important secret. His first care is to find some one to do the dirty work of finding the treasure, for the oracle has declared that the first man who shall lay hands upon it will die. His choice falls upon Corentin, a country lout, whom he persuades to accompany him to the gorge where the treasure lies hidden. Corentin is not so stupid as he seems, and, suspecting something underhand, he persuades the mad Dinorah to go down into the ravine in his place.

Dinorah consents, but while she is crossing a rustic bridge, preparatory to the descent, it is struck by lightning, and she tumbles into the abyss. She is saved by Hoel in some inexplicable way, and, still more inexplicably, regains her reason. The music is bright and tuneful, and the reaper's and hunter's songs (which are introduced for no apparent reason) are delightful; but the libretto is so impossibly foolish that the opera has fallen into disrepute, although the brilliant music of the heroine should make it a favourite role with competent singers.

Meyerbeer was extravagantly praised during his lifetime; he is now as bitterly decried. The truth seems to lie, as usual, between the two extremes. He was an unusually clever man, with a strong instinct for the theatre. He took immense pains with his operas, often rewriting the entire score; but his efforts were directed less towards ideal perfection than to what would be most effective, so that there is a hollowness and a superficiality about his best work which we cannot ignore, even while we admit the ingenuity of the means employed. His influence upon modern opera has been extensive. He was the real founder of the school of melodramatic opera which is now so popular. Violent contrasts with him do duty for the subtle characterisation of the older masters. His heroes rant and storm, and his heroines shriek and rave, but of real feeling, and even of real expression, there is little in his scores.

The career of Hector Berlioz (1803-1869) was in striking contrast to that Meyerbeer. While Meyerbeer was earning the plaudits of crowded theatres throughout the length and breadth of Europe, Berlioz sat alone, brooding over the vast conceptions to which it taxed even his gigantic genius to give musical shape. Even now the balance has scarcely been restored. Though Meyerbeer's popularity is on the wane, the operas of Berlioz are still known for the most part only to students. Before the Berlioz cycle at Carlsruhe in 1893, 'La Prise de Troie' had never been performed on any stage, and though the French master's symphonic works now enjoy considerable popularity, his dramatic works are still looked at askance by managers. There is a reason for this other than the hardness of our hearts. Berlioz was essentially a symphonic writer. He had little patience with the conventions of the stage, and his attempts to blend the dramatic and symphonic elements, as in 'Les Troyens,' can scarcely be termed a success. Yet much may be pardoned for the sake of the n.o.ble music which lies enshrined in his works. 'Benvenuto Cellini'

and 'Beatrice et Benedict,' which were thought too advanced for the taste of their day, are now perhaps a trifle old-fas.h.i.+oned for our times. The first is a picturesque story of Rome in Carnival time. The interest centres in the casting of the sculptor's mighty Perseus, which wins him the hand of the fair Teresa. The Carnival scenes are gay and brilliant, but the form of the work belongs to a bygone age, and it is scarcely possible that a revival of it would meet with wide acceptance.

'Beatrice et Benedict' is a graceful setting of Shakespeare's 'Much Ado about Nothing.' It is a work of the utmost delicacy and refinement.

Though humour is not absent from the score, the prevailing impression is one of romantic charm, pa.s.sing even to melancholy. Very different is the double drama 'Les Troyens.' Here Berlioz drew his inspiration directly from Gluck, and the result is a work of large simplicity and austere grandeur, which it is not too much to hope will some day take its place in the world's repertory side by side with the masterpieces of Wagner.

The first part, 'La Prise de Troie,' describes the manner in which the city of Priam fell into the hands of the Greeks. The drama is dominated by the form of the sad virgin Ca.s.sandra. In vain she warns her people of their doom. They persist in dragging up the wooden horse from the sea-beach, where it was left by the Greeks. The climax of the last act is terrific. aeneas, warned by the ghost of Hector of the approaching doom of Troy, escapes; but the rest of the Trojans fall victims to the swords of the Greeks in a scene of indescribable carnage and terror.

Ca.s.sandra and the Trojan women, driven to take shelter in the temple of Cybele, slay themselves rather than fall into the hands of their captors. 'La Prise de Troie' is perhaps epic rather than dramatic, but as a whole it leaves an impression of severe and s.p.a.cious grandeur, which can only be paralleled in the finest inspirations of Gluck. In the second division of the work, 'Les Troyens a Carthage,' human interest is paramount. Berlioz was an enthusiastic student of Virgil, and he follows the tragic tale of the aeneid closely. The appearance of aeneas at Carthage, the love of Dido, the summons of Mercury, aeneas'

departure and the pa.s.sion and death of Dido, are depicted in a series of scenes of such picturesqueness and power, such languor and pathos, as surely cannot be matched outside the finest pages of Wagner. A time will certainly come when this great work, informed throughout with a pa.s.sionate yearning for the loftiest ideal of art, will receive the recognition which is its due. Of late indeed there have been signs of a revival of interest in Berlioz's mighty drama, and the recent performances of 'Les Troyens' in Paris and Brussels have opened the eyes of many musicians to its manifold beauties. Some years ago the experiment was made of adapting Berlioz's cantata, 'La d.a.m.nation de Faust,' for stage purposes. The work is of course hopelessly undramatic, but the beauty of the music and the opportunities that it affords for elaborate spectacular effects have combined to win the work a certain measure of success, especially in Italy where Gounod's 'Faust' has never won the popularity that it enjoys north of the Alps. 'La d.a.m.nation de Faust' is hardly more than a string of incidents, with only the most shadowy semblance of connection, but several of the scenes are effective enough on the stage, notably that in Faust's study with the march of Hungarian warriors in the distance, the exquisite dance of sylphs and the ride to the abyss. Nevertheless, when the success of curiosity is over, the work is hardly likely to retain its place in the repertory.

Unperformed as he was, Berlioz of course could not be expected to found a school; but Meyerbeer's success soon raised him up a host of imitators. Halevy (1799-1862) drew his inspiration in part from Herold and Weber; but 'La Juive,' the work by which he is best known, owes much to Meyerbeer, whose 'Robert le Diable' had taken the world of music in Paris by storm a few years before the production of Halevy's work. In turn Halevy reacted upon Meyerbeer. Many pa.s.sages in 'Les Huguenots'

reflect the sober dignity of 'La Juive'; indeed, it is too often forgotten that the production of Halevy's opera preceded its more famous contemporary by a full year.

The scene of 'La Juive' is laid in Constance, in the fifteenth century.

Leopold, a Prince of the Empire, in the disguise of a young Israelite, has won the heart of Rachel, the daughter of the rich Jew Eleazar. When the latter discovers the true nationality of his prospective son-in-law he forbids him his house, but Rachel consents, like another Jessica, to fly with her lover. Later she discovers that Leopold is a Prince, and betrothed to the Princess Eudoxia. Her jealousy breaks forth, and she accuses him of having seduced her--a crime which in those days was punishable by death. Rachel, Leopold, and Eleazar are all thrown into prison. There Rachel relents, and retracts her accusation. Leopold is accordingly released, but the Jew and his daughter are condemned to be immersed in a cauldron of boiling oil. There is a rather meaningless underplot which results in a confession made by Eleazar on the scaffold, that Rachel is not a Jewess at all, but the daughter of a Cardinal who has taken a friendly interest in her fortunes throughout the drama.