The Complete Opera Book Part 50

The characters are _Philip II._, of Spain, _ba.s.s_; _Don Carlos_, his son, _tenor_; _Rodrigo, Marquis de Posa_, _baritone_; _Grand Inquisitor_, _ba.s.s_; _Elizabeth de Valois_, Queen of _Philip II._, and stepmother of _Don Carlos_, _soprano_; _Princess Eboli_, _soprano_. In the original production the fine role of _Rodrigo_ was taken by Faure.

_Don Carlos_ and _Elizabeth de Valois_ have been in love with each other, but for reasons of state _Elizabeth_ has been obliged to marry _Philip II._, _Don Carlos's_ father. The son is counselled by _Rodrigo_ to absent himself from Spain by obtaining from his father a commission to go to the Netherlands, there to mitigate the cruelties practised by the Spaniards upon the Flemings. _Don Carlos_ seeks an audience with _Elizabeth_, in order to gain her intercession with _Philip_. The result, however, of the meeting, is that their pa.s.sion for each other returns with even greater intensity than before.

_Princess Eboli_, who is in love with _Don Carlos_, becomes cognizant of the _Queen's_ affection for her stepson, and informs the _King_.

_Don Carlos_ is thrown into prison. _Rodrigo_, who visits him there, is shot by order of _Philip_, who suspects him of aiding Spain's enemies in the Low Countries. _Don Carlos_, having been freed, makes a tryst with the _Queen_. Discovered by the _King_, he is handed over by him to the Inquisition to be put to death.

"La Forza del Destino" and "Don Carlos" lie between Verdi's middle period, ranging from "Luisa Miller" to "Un Ballo in Maschera" and including "Rigoletto," "Il Trovatore," and "La Traviata," and his final period, which began with "Ada." It can be said that in "La Forza" and "Don Carlos" Verdi had absorbed considerable of Meyerbeer and Gounod, while in "Ada," in addition to these, he had a.s.similated as much of Wagner as is good for an Italian. The enrichment of the orchestration in the two immediate predecessors of "Ada" is apparent, but not so much so as in that masterpiece of operatic composition. He produced in "Ada" a far more finished score than in "La Forza" or "Don Carlos," sought and obtained many exquisite instrumental effects, but always remained true to the Italian principle of the supremacy of melody in the voice.

ADA

Grand opera in four acts by Giuseppe Verdi. Plot by Mariette Bey. Written in French prose by Camille du Locle. Translated into Italian verse by Antonio Ghislanzoni.

Produced in Cairo, Egypt, December 24, 1871; La Scala, Milan, under the composer's direction, February 8, 1872; Theatre Italien, Paris, April 22, 1876; Covent Garden, London, June 22, 1876; Academy of Music, New York, November 26, 1873; Grand Opera, Paris, March 22, 1880; Metropolitan Opera House, with Caruso, 1904.

CHARACTERS

ADA, an Ethiopian slave _Soprano_ AMNERIS, daughter of the King of Egypt _Contralto_ AMONASRO, King of Ethiopia, father of Ada _Baritone_ RHADAMES, captain of the Guard _Tenor_ RAMPHIS, High Priest _Ba.s.s_ KING OF EGYPT _Ba.s.s_ MESSENGER _Tenor_

Priests, soldiers, Ethiopian slaves, prisoners, Egyptians, etc.

_Time_--Epoch of the Pharaohs.

_Place_--Memphis and Thebes.

"Ada" was commissioned by Ismail Pacha, Khedive of Egypt, for the Italian Theatre in Cairo, which opened in November, 1869. The opera was produced there December 24, 1871; not at the opening of the house, as sometimes is erroneously stated. Its success was sensational.

Equally enthusiastic was its reception when brought out at La Scala, Milan, February 7, 1872, under the direction of Verdi himself, who was recalled thirty-two times and presented with an ivory baton and diamond star with the name of Ada in rubies and his own in other precious stones.

It is an interesting fact that "Ada" reached New York before it did any of the great European opera houses save La Scala. It was produced at the Academy of Music under the direction of Max Strakosch, November 26, 1873. I am glad to have heard that performance and several other performances of it that season. For the artists who appeared in it gave a representation that for brilliancy has not been surpa.s.sed if, indeed, it has been equalled. In support of this statement it is only necessary to say that Italo Campanini was _Rhadames_, Victor Maurel _Amonasro_, and Annie Louise Cary _Amneris_. No greater artists have appeared in these roles in this country. Mlle. Torriani, the _Ada_, while not so distinguished, was entirely adequate. Nannetti as _Ramphis_, the high priest, Scolara as the _King_, and Boy as the _Messenger_, completed the cast.

I recall some of the early comment on the opera. It was said to be Wagnerian. In point of fact "Ada" is Wagnerian only as compared with Verdi's earlier operas. Compared with Wagner himself, it is Verdian--purely Italian. It was said that the fine melody for the trumpets on the stage in the pageant scene was plagiarized from a theme in the Coronation March of Meyerbeer's "Prophete." Slightly reminiscent the pa.s.sage is, and, of course, stylistically the entire scene is on Meyerbeerian lines; but these resemblances no longer are of importance.

Paris failed to hear "Ada" until April, 1876, and then at the Theatre Italien, instead of at the Grand Opera, where it was not heard until March, 1880, when Maurel was the _Amonasro_ and edouard de Reszke, later a favourite ba.s.so at the Metropolitan Opera House, the _King_.

In 1855 Verdi's opera, "Les Vepres Siciliennes" (The Sicilian Vespers) had been produced at the Grand Opera and occurrences at the rehearsals had greatly angered the composer. The orchestra clearly showed a disinclination to follow the composer's minute directions regarding the manner in which he wished his work interpreted. When, after a conversation with the chef d'orchestre, the only result was plainly an attempt to annoy him, he put on his hat, left the theatre, and did not return. In 1867 his "Don Carlos" met only with a _succes d'estime_ at the Opera. He had not forgotten these circ.u.mstances, when the Opera wanted to give "Ada." He withheld permission until 1880. But when at last this was given, he a.s.sisted at the production, and the public authorities vied in atoning for the slights put upon him so many years before. The President of France gave a banquet in his honour and he was created a Grand Officer of the National Order of the Legion of Honour.

When the Khedive asked Verdi to compose a new opera especially for the new opera house at Cairo, and inquired what the composer's terms would be, Verdi demanded $20,000. This was agreed upon and he was then given the subject he was to treat, "Ada," which had been suggested to the Khedive by Mariette Bey, the great French Egyptologist. The composer received the rough draft of the story. From this Camille du Locle, a former director of the Opera Comique, who happened to be visiting Verdi at Busseto, wrote a libretto in French prose, "scene by scene, sentence by sentence," as he has said, adding that the composer showed the liveliest interest in the work and himself suggested the double scene in the finale of the opera. The French prose libretto was translated into Italian verse by Antonio Ghislanzoni, who wrote more than sixty opera librettos, "Ada" being the most famous. Mariette Bey brought his archeological knowledge to bear upon the production. "He revived Egyptian life of the time of the Pharaohs; he rebuilt ancient Thebes, Memphis, the Temple of Phtah; he designed the costumes and arranged the scenery. And under these exceptional circ.u.mstances, Verdi's new opera was produced."

Verdi's score was ready a year before the work had its premiere. The production was delayed by force of circ.u.mstances. Scenery and costumes were made by French artists. Before these accessories could be s.h.i.+pped to Cairo, the Franco-Prussian war broke out. They could not be gotten out of Paris. Their delivery was delayed accordingly.

Does the score of "Ada" owe any of its charm, pa.s.sion, and dramatic stress to the opportunity thus afforded Verdi of going over it and carefully revising it, after he had considered it finished? Quite possibly. For we know that he made changes, eliminating, for instance, a chorus in the style of Palestrina, which he did not consider suitable to the priesthood of Isis. Even this one change resulted in condensation, a valuable quality, and in leaving the exotic music of the temple scene entirely free to exert to the full its fascination of local colour and atmosphere.

The story is unfolded in four acts and seven scenes.

Act I. Scene 1. After a very brief prelude, the curtain rises on a hall in the _King's_ palace in Memphis. Through a high gateway at the back are seen the temples and palaces of Memphis and the pyramids.

It had been supposed that, after the invasion of Ethiopia by the Egyptians, the Ethiopians would be a long time in recovering from their defeat. But _Amonasro_, their king, has swiftly rallied the remnants of his defeated army, gathered new levies to his standard, and crossed the frontier--all this with such extraordinary rapidity that the first news of it has reached the Egyptian court in Memphis through a messenger hot-foot from Thebes with the startling word that the sacred city itself is threatened.

[Ill.u.s.tration: Copyright photo by Dupont

Emma Eames as Ada]

[Ill.u.s.tration: Copyright photo by Dupont

Saleza as Rhadames in "Ada"]

While the priests are sacrificing to Isis in order to learn from the G.o.ddess whom she advises them to choose as leader of the Egyptian forces, _Rhadames_, a young warrior, indulges in the hope that he may be the choice. To this hope he joins the further one that, returning victorious, he may ask the hand in marriage of _Ada_, an Ethiopian slave of the Egyptian King's daughter, _Amneris_. To these aspirations he gives expression in the romance, "Celeste Ada"

(Radiant Ada).

[Music: Celeste Ada]

It ends effectively with the following phrase:

[Music: un trono vicino al sol, un trono vicino al sol]

He little knows that _Ada_ is of royal birth or that _Amneris_ herself, the Princess Royal, is in love with him and, having noted the glances he has cast upon _Ada_, is fiercely jealous of her--a jealousy that forms the mainspring of the story and leads to its tragic denouement.

A premonition of the emotional forces at work in the plot is given in the "Vieni, O diletta" (Come dearest friend), beginning as a duet between _Amneris_ and _Ada_ and later becoming a trio for them and _Rhadames_. In this the _Princess_ feigns friends.h.i.+p for _Ada_, but, in asides, discloses her jealous hatred of her.

Meanwhile the Egyptian hosts have gathered before the temple. There the _King_ announces that the priests of Isis have learned from the lips of that G.o.ddess the name of the warrior who is to lead the army--_Rhadames_! It is the _Princess_ herself who, at this great moment in his career, places the royal standard in his hands. But amid the acclaims that follow, as _Rhadames_, to the strains of march and chorus, is conducted by the priests to the temple of Phtah to be invested with the consecrated armour, _Amneris_ notes the fiery look he casts upon _Ada_. Is this the reason _Rhadames_, young, handsome, brave, has failed to respond to her own guarded advances? Is she, a princess, to find a successful rival in her own slave?

Meanwhile _Ada_ herself is torn by conflicting emotions. She loves _Rhadames_. When the mult.i.tude shouts "Return victorious!" she joins in the acclamation. Yet it is against her own people he is going to give battle, and the Ethiopians are led by their king, _Amonasro_, her father. For she, too, is a princess, as proud a princess in her own land as _Amneris_, and it is because she is a captive and a slave that her father has so swiftly rallied his army and invaded Egypt in a desperate effort to rescue her, facts which for obvious reasons she carefully has concealed from her captors.

It is easy to imagine _Ada's_ agonized feelings since _Rhadames_ has been chosen head of the Egyptian army. If she prays to her G.o.ds for the triumph of the Ethiopian arms, she is betraying her lover. If she asks the G.o.ds of victory to smile upon _Rhadames_, she is a traitress to her father, who has taken up arms to free her, and to her own people. Small wonder if she exclaims, as she contemplates her own wretched state:

"Never on earth was heart torn by more cruel agonies. The sacred names of father, lover, I can neither utter nor remember. For the one--for the other--I would weep, I would pray!"

This scene for _Ada_, beginning "Ritorna vincitor" (Return victorious), in which she echoes the acclamation of the martial chorus immediately preceding, is one of the very fine pa.s.sages of the score.

The lines to which it is set also have been highly praised. They furnished the composer with opportunity, of which he made full use, to express conflicting emotions in music of dramatic force and, in its concluding pa.s.sage, "Numi pieta" (Pity, kind heaven), of great beauty.

[Music:

Numi pieta Del mio soffrir!

Speme non v'ha pel mio dolor.]

Scene 2. _Ramphis_, the high priest, at the foot of the altar; priests and priestesses; and afterwards _Rhadames_ are shown in the Temple of Vulcan at Memphis. A mysterious light descends from above. A long row of columns, one behind the other, is lost in the darkness; statues of various deities are visible; in the middle of the scene, above a platform rises the altar, surmounted by sacred emblems. From golden tripods comes the smoke of incense.

A chant of the priestesses, accompanied by harps, is heard from the interior. _Rhadames_ enters unarmed. While he approaches the altar, the priestesses execute a sacred dance. On the head of _Rhadames_ is placed a silver veil. He is invested with consecrated armor, while the priests and priestesses resume the religious chant and dance.

The entire scene is saturated with local colour. Piquant, exotic, it is as Egyptian to the ear as to the eye. You see the temple, you hear the music of its devotees, and that music sounds as distinctively Egyptian as if Mariette Bey had unearthed two examples of ancient Egyptian temple music and placed them at the composer's disposal. It is more likely, however, that the themes are original with Verdi and that the Oriental tone colour, which makes the music of the scene so fascinating, is due to his employment of certain intervals peculiar to the music of Eastern people. The interval, which, falling upon Western ears, gives an Oriental clang to the scale, consists of three semi-tones. In the very Eastern sounding themes in the temple scenes in "Ada," these intervals are G to F-flat, and D to C-flat.

The sacred chant,

[Music]

twice employs the interval between D and C-flat, the first time descending, the second time ascending, in which latter it sounds more characteristic to us, because we regard the scale as having an upward tendency, whereas in Oriental systems the scale seems to have been regarded as tending downward.