The Complete Opera Book Part 42

Believing a rumour that _Ernani_ has been run down and killed by the _King's_ soldiers, _Elvira_ at last consents to give her hand in marriage to _Silva_. On the eve of the wedding, however, _Ernani_, pursued by the _King_ with a detachment of troops, seeks refuge in _Silva's_ castle, in the disguise of a pilgrim. Although not known to _Silva_, he is, under Spanish tradition, his guest, and from that moment ent.i.tled to his protection.

_Elvira_ enters in her bridal attire. _Ernani_ is thus made aware that her nuptials with _Don Silva_ are to be celebrated on the morrow.

Tearing off his disguise, he reveals himself to _Silva_, and demands to be delivered up to the _King_, preferring death to life without _Elvira_. But true to his honour as a Spanish host, _Silva_ refuses.

Even his enemy, _Ernani_, is safe in his castle. Indeed he goes so far as to order his guards to man the towers and prepare to defend the castle, should the _King_ seek forcible entry. He leaves the apartment to make sure his orders are being carried out. The lovers find themselves alone. When _Silva_ returns they are in each other's arms.

But as the _King_ is at the castle gates, he has no time to give vent to his wrath. He gives orders to admit the _King_ and his men, bids _Elvira_ retire, and hides _Ernani_ in a secret cabinet. The _King_ demands that _Silva_ give up the bandit. The grandee proudly refuses.

_Ernani_ is his guest. The _King's_ wrath then turns against _Silva_.

He demands the surrender of his sword and threatens him with death, when _Elvira_ interposes. The _King_ pardons _Silva_, but bears away _Elvira_ as hostage for the loyalty of her kinsman.

The _King_ has gone. From the wall _Silva_ takes down two swords, releases his guest from his hiding place, and bids him cross swords with him to the death. _Ernani_ refuses. His host has just protected his life at the danger of his own. But, if _Silva_ insists upon vengeance, let grandee and bandit first unite against the _King_, with whom the honour of _Elvira_ is unsafe. _Elvira_ rescued, _Ernani_ will give himself up to _Silva_, to whom, handing him his hunting horn, he avows himself ready to die, whenever a blast upon it shall be sounded from the lip of the implacable grandee. _Silva_, who has been in entire ignorance of the _King's_ pa.s.sion for _Elvira_, grants the reprieve, and summons his men to horse.

He sets on foot a conspiracy against the _King_. A meeting of the conspirators is held in the Cathedral of Aix-la-Chapelle, in the vault, within which stands the tomb of Charlemagne. Here it is resolved to murder the _King_. A ballot decides who shall do the deed.

_Ernani's_ name is drawn.

The _King_, however, has received information of the time and place of this meeting. From the tomb he has been an un.o.bserved witness of the meeting and purpose of the conspirators. Booming of cannon outside tells him of his choice as head of the Holy Roman Empire. Emerging from the tomb, he shows himself to the awed conspirators, who imagine they see Charlemagne issuing forth to combat them. At the same moment the doors open. The electors of the Empire enter to pay homage to Charles V.

"The herd to the dungeon, the n.o.bles to the headsman," he commands.

_Ernani_ advances, discovers himself as John of Aragon, and claims the right to die with the n.o.bles--"to fall, covered, before the _King_."

But upon _Elvira's_ fervent plea, the _King_, now also Emperor, commences his reign with an act of grace. He pardons the conspirators, restores to _Ernani_ his t.i.tles and estates, and unites him with _Elvira_.

_Silva_, thwarted in his desire to marry _Elvira_, waits until _Ernani_ and _Elvira_, after their nuptials, are upon the terrace of _Ernani's_ castle in Aragon. At their most blissful moment he sounds the fatal horn. _Ernani_, too chivalrous to evade his promise, stabs himself in the presence of the grim avenger and of _Elvira_ who falls prostrate upon his lifeless body.

In the opera, this plot develops as follows: Act I opens in the camp of the bandits in the mountains of Aragon. In the distance is seen the Moorish castle of _Silva_. The time is near sunset. Of _Ernani's_ followers, some are eating and drinking, or are at play, while others are arranging their weapons. They sing, "Allegri, beviamo" (Haste!

Clink we our gla.s.ses).

_Ernani_ sings _Elvira's_ praise in the air, "Come rugiada al cespite"

(Balmier than dew to drooping bud).

[Music: Come rugiada al cespite]

This expressive number is followed by one in faster time, "O tu, che l'alma adora" (O thou toward whom, adoring soul).

[Music:

O tu, che l'alma adora, Vien, vien, la mia vita infiora,]

Enthusiastically volunteering to share any danger _Ernani_ may incur in seeking to carry off _Elvira_, the bandits, with their chief at their head, go off in the direction of _Silva's_ castle.

The scene changes to _Elvira's_ apartment in the castle. It is night.

She is meditating upon _Ernani_. When she thinks of _Silva_, "the frozen, withered spectre," and contrasts with him _Ernani_, who "in her heart ever reigneth," she voices her thoughts in that famous air for sopranos, one of Verdi's loveliest inspirations, "Ernani!

involami" (Ernani! fly with me).

[Music:

Ernani! Ernani! involami All'abborrito amplesso.]

It ends with a brilliant cadenza, "Un Eden quegli antri a me" (An Eden that opens to me).

[Music: un Eden quegli antri a me.]

Young maidens bearing wedding gifts enter. They sing a chorus of congratulation. To this _Elvira_ responds with a graceful air, the sentiment of which, however, is expressed as an aside, since it refers to her longing for her young, handsome and chivalrous lover. "Tutto sprezzo che d'Ernani" (Words that breathe thy name Ernani).

[Music: Tutto sprezzo che d'Ernani]

The young women go. Enter _Don Carlos_, the _King_. There is a colloquy, in which _Elvira_ protests against his presence; and then a duet, which the _King_ begins, "Da quel d che t'ho veduta" (From the day, when first thy beauty).

A secret panel opens. The _King_ is confronted by _Ernani_, and by _Elvira_, who has s.n.a.t.c.hed a dagger from his belt. She interposes between the two men. _Silva_ enters. What he beholds draws from him the melancholy reflections--"Infelice! e tu credevi" (Unhappy me! and I believed thee),

[Music: Infelice! e tu credevi]

an exceptionally fine ba.s.s solo. He follows it with the vindictive "Infin, che un brando vindice" (In fine a swift, unerring blade).

Men and women of the castle and the _King's_ suite have come on. The monarch is recognized by _Silva_, who does him obeisance, and, at the _King's_ command, is obliged to let _Ernani_ depart. An ensemble brings the act to a close.

Act II. Grand hall in _Silva's_ castle. Doors lead to various apartments. Portraits of the Silva family, surmounted by ducal coronets and coats-of-arms, are hung on the walls. Near each portrait is a complete suit of equestrian armour, corresponding in period to that in which lived the ancestor represented in the portrait. A large table and a ducal chair of carved oak.

The persistent chorus of ladies, though doubtless aware that _Elvira_ is not thrilled at the prospect of marriage with her "frosty" kinsman, and has consented to marry him only because she believes _Ernani_ dead, enters and sings "Esultiamo!" (Exultation!), then pays tribute to the many virtues and graces of the bride.

To _Silva_, in the full costume of a Grandee of Spain, and seated in the ducal chair, is brought in _Ernani_, disguised as a monk. He is welcomed as a guest; but, upon the appearance of _Elvira_ in bridal array, throws off his disguise and offers his life, a sacrifice to _Silva's_ vengeance, as the first gift for the wedding. _Silva_, however, learning that he is pursued by the _King_, offers him the protection due a guest under the roof of a Spaniard.

"Ah, morir potessi adesso" (Ah, to die would be a blessing) is the impa.s.sioned duet sung by _Elvira_ and _Ernani_, when _Silva_ leaves them together.

[Music:

Ah, morir potessi adesso O mio Ernani sul tuo petto]

_Silva_, even when he returns and discovers _Elvira_ in _Ernani's_ arms, will not break the law of Spanish hospitality, preferring to wreak vengeance in his own way. He therefore hides _Ernani_ so securely that the _King's_ followers, after searching the castle, are obliged to report their complete failure to discover a trace of him.

Chorus: "Fu esplorato del castello" (We have now explored the castle).

Then come the important episodes described--the _King's_ demand for the surrender of _Silva's_ sword and threat to execute him; _Elvira's_ interposition; and the _King's_ sinister action in carrying her off as a hostage, after he has sung the significant air, "Vieni meco, sol di rose" (Come with me, a brighter dawning waits for thee).

[Music: Vieni meco, sol di rose]

_Ernani's_ handing of his hunting horn to _Silva_, and his arousal of the grandee to an understanding of the danger that threatens _Elvira_ from the _King_, is followed by the finale, a spirited call to arms by _Silva_, _Ernani_, and chorus, "In arcione, in arcione, cavalieri!"

(To horse, to horse, cavaliers!).

_Silva_ and _Ernani_ distribute weapons among the men, which they brandish as they rush from the hall.

Act III. The scene is a sepulchral vault, enclosing the tomb of Charlemagne in the Cathedral of Aix-la-Chapelle. The tomb is entered by a heavy door of bronze, upon which is carved in large characters the word "Charlemagne." Steps lead to the great door of the vault.

Other and smaller tombs are seen and other doors that give on other pa.s.sageways. Two lamps, suspended from the roof, shed a faint light.

It is into this sombre but grandiose place the _King_ has come in order to overhear, from within the tomb of his greatest ancestor, the plotting of the conspirators. His soliloquy, "Oh, de' verd'anni miei"

(Oh, for my youthful years once more), derives impressiveness both from the solemnity of the situation and the music's flowing measure.

[Music: Oh de' verd'anni miei]

The princ.i.p.al detail in the meeting of the conspirators is their chorus, "Si ridesti il Leon di Castiglia" (Let the lion awake in Castilia). Dramatically effective, too, in the midst of the plotting, is the sudden booming of distant cannon. It startles the conspirators.

Cannon boom again. The bronze door of the tomb swings open.