The Complete Opera Book Part 58

LES HUGUENOTS

THE HUGUENOTS

Opera in five acts; music by Meyerbeer, words by Scribe and Deschamps. Produced, Grand Opera, Paris, February 29, 1836.

New York, Astor Place Opera House, June 24, 1850, with Salvi (_Raoul_), Coletti (_de Nevers_), Setti (_St. Bris_), Marini (_Marcel_), Signorina Bosio (_Marguerite_), Steffanone (_Valentine_), Vietti (Urbain); Academy of Music, March 8, 1858, with La Grange and Formes; April 30, 1872, Parepa-Rosa, Wachtel, and Santley (_St. Bris_): Academy of Music, 1873, with Nilsson, Cary, Del Puente, and Campanini; Metropolitan Opera House, beginning 1901, with Melba or Sembrich as _Marguerite de Valois_, Nordica (_Valentine_), Jean de Reszke (_Raoul_), edouard de Reszke (_Marcel_), Plancon (_St. Bris_), Maurel (_de Nevers_), and Mantelli (_Urbain_) (performances known as "the nights of the seven stars"); Metropolitan Opera House, 1914, with Caruso, Destinn, Hempel, Matzenauer, Braun, and Scotti. The first performance in America occurred April 29, 1839, in New Orleans.

CHARACTERS

VALENTINE, daughter of St. Bris _Soprano_ MARGUERITE DE VALOIS, betrothed to Henry IV., of Navarre _Soprano_ URBAIN, page to Marguerite _Mezzo-Soprano_ COUNT DE ST. BRIS } Catholic n.o.blemen { _Baritone_ COUNT DE NEVERS } { _Baritone_ COSSE _Tenor_ MeRU } { _Baritone_ Th.o.r.e } Catholic gentlemen { _Baritone_ TAVANNES } { _Tenor_ DE RETZ _Baritone_ RAOUL DE NANGIS, a Huguenot n.o.bleman _Tenor_ MARCEL, a Huguenot soldier, servant to Raoul _Ba.s.s_

Catholic and Huguenot ladies, and gentlemen of the court; soldiers, pages, citizens, and populace; night watch, monks, and students.

_Place_--Touraine and Paris.

_Time_--August, 1572.

It has been said that, because Meyerbeer was a Jew, he chose for two of his operas, "Les Huguenots" and "Le Prophete," subjects dealing with b.l.o.o.d.y uprisings due to religious differences among Christians.

"Les Huguenots" is written around the ma.s.sacre of the Huguenots by the Catholics, on the night of St. Bartholomew's, Paris, August 24, 1572; "Le Prophete" around the seizure and occupation of Munster, in 1555, by the Anabaptists, led by John of Leyden. Even the ballet of the spectral nuns, in "Robert le Diable," has been suggested as due to Meyerbeer's racial origin and a tendency covertly to attack the Christian religion. Far-fetched, I think. Most likely his famous librettist was chiefly responsible for choice of subjects and Meyerbeer accepted them because of the effective manner in which they were worked out. Even so, he was not wholly satisfied with Scribe's libretto of "Les Huguenots." He had the scene of the benediction of the swords enlarged, and it was upon his insistence that Deschamps wrote in the love duet in Act IV. As it stands, the story has been handled with keen appreciation of its dramatic possibilities.

Act I. Touraine. _Count de Nevers_, one of the leaders of the Catholic party, has invited friends to a banquet at his chateau. Among these is _Raoul de Nangis_, a Huguenot. He is accompanied by an old retainer, the Huguenot soldier, _Marcel_. In the course of the fete it is proposed that everyone shall toast his love in a song. _Raoul_ is the first to be called upon. The name of the beauty whom he pledges in his toast is unknown to him. He had come to her a.s.sistance while she was being molested by a party of students. She thanked him most graciously. He lives in the hope of meeting her again.

_Marcel_ is a fanatic Huguenot. Having followed his master to the banquet, he finds him surrounded by leaders of the party belonging to the opposite faith. He fears for the consequences. In strange contrast to the glamour and gaiety of the festive proceedings, he intones Luther's hymn, "A Stronghold Sure." The n.o.blemen of the Catholic party instead of becoming angry are amused. _Marcel_ repays their levity by singing a fierce Huguenot battle song. That also amuses them.

At this point the _Count de Nevers_ is informed that a lady is in the garden and wishes to speak with him. He leaves his guests who, through an open window, watch the meeting. _Raoul_, to his surprise and consternation, recognizes in the lady none other than the fair creature whom he saved from the molestations of the students and with whom he has fallen in love. Naturally, however, from the circ.u.mstances of her meeting with _de Nevers_ he cannot but conclude that a liaison exists between them.

_De Nevers_ returns, rejoins his guests. _Urbain_, the page of _Queen Marguerite de Valois_, enters. He is in search of _Raoul_, having come to conduct him to a meeting with a gracious and n.o.ble lady whose name, however, is not disclosed. _Raoul's_ eyes having been bandaged, he is conducted to a carriage and departs with _Urbain_, wondering what his next adventure will be.

Act II. In the Garden of Chenonceaux, _Queen Marguerite de Valois_ receives _Valentine_, daughter of the _Count de St. Bris_. The _Queen_ knows of her rescue from the students by _Raoul_. Desiring to put an end to the differences between Huguenots and Catholics, which have already led to bloodshed, she has conceived the idea of uniting _Valentine_, daughter of one of the great Catholic leaders, to _Raoul_. _Valentine_, however, was already pledged to _de Nevers_. It was at the _Queen's_ suggestion that she visited _de Nevers_ and had him summoned from the banquet in order to ask him to release her from her engagement to him--a request which, however reluctantly, he granted.

Here, in the Gardens of Chenonceaux, _Valentine_ and _Raoul_ are, according to the Queen's plan, to meet again, but she intends first to receive him alone. He is brought in, the bandage is removed from his eyes, he does homage to the _Queen_, and when, in the presence of the leaders of the Catholic party, _Marguerite de Valois_ explains her purpose and her plan through this union of two great houses to end the religious differences which have disturbed her reign, all consent.

_Valentine_ is led in. _Raoul_ at once recognizes her as the woman of his adventure but also, alas, as the woman whom _de Nevers_ met in the garden during the banquet. Believing her to be unchaste, he refuses her hand. General consternation. _St. Bris_, his followers, all draw their swords. _Raoul's_ flashes from its sheath. Only the _Queen's_ intervention prevents bloodshed.

Act III. The scene is an open place in Paris before a chapel, where _de Nevers_, who has renewed his engagement with _Valentine_, is to take her in marriage. The nuptial cortege enters the building. The populace is restless, excited. Religious differences still are the cause of enmity. The presence of Royalist and Huguenot soldiers adds to the restlessness of the people. _De Nevers_, _St. Bris_, and another Catholic n.o.bleman, _Maurevert_, come out from the chapel, where _Valentine_ has desired to linger in prayer. The men are still incensed over what appears to them the shameful conduct of _Raoul_ toward _Valentine_. _Marcel_ at that moment delivers to _St. Bris_ a challenge from _Raoul_ to fight a duel. When the old Huguenot soldier has retired, the n.o.blemen conspire together to lead _Raoul_ into an ambush. During the duel, followers of _St. Bris_, who have been placed in hiding, are suddenly to issue forth and murder the young Huguenot n.o.bleman.

From a position in the vestibule of the chapel, _Valentine_ has overheard the plot. She still loves _Raoul_ and him alone. How shall she warn him of the certain death in store for him? She sees _Marcel_ and counsels him that his master must not come here to fight the duel unless he is accompanied by a strong guard. As a result, when _Raoul_ and his antagonist meet, and _St. Bris's_ soldiers are about to attack the Huguenot, _Marcel_ summons the latter's followers from a nearby inn. A street fight between the two bodies of soldiers is imminent, when the _Queen_ and her suite enter. A gaily bedecked barge comes up the river and lays to at the bank. It bears _de Nevers_ and his friends. He has come to convey his bride from the chapel to his home.

And now _Raoul_ learns, from the Queen, and to his great grief, that he has refused the hand of the woman who loved him and who had gone to _de Nevers_ in order to ask him to release her from her engagement with him.

Act IV. _Raoul_ seeks _Valentine_, who has become the wife of _de Nevers_, in her home. He wishes to be a.s.sured of the truth of what he has heard from the _Queen_. During their meeting footsteps are heard approaching and _Valentine_ barely has time to hide _Raoul_ in an adjoining room when _de Nevers_, _St. Bris_, and other n.o.blemen of the Catholic party enter, and form a plan to be carried out that very night--the night of St. Bartholomew--to ma.s.sacre the Huguenots. Only _de Nevers_ refuses to take part in the conspiracy. Rather than do so, he yields his sword to _St. Bris_ and is led away a prisoner. The priests bless the swords, _St. Bris_ and his followers swear loyalty to the b.l.o.o.d.y cause in which they are enlisted, and depart to await the order to put it into effect, the tolling of the great bell from St. Germain.

_Raoul_ comes out from his place of concealment. His one thought is to hurry away and notify his brethren of their peril. _Valentine_ seeks to detain him, entreats him not to go, since it will be to certain death. As the greatest and final argument to him to remain, she proclaims that she loves him. But already the deep-voiced bell tolls the signal. Flames, blood-red, flare through the windows. Nothing can restrain _Raoul_ from doing his duty. _Valentine_ stands before the closed door to block his egress. Rus.h.i.+ng to a cas.e.m.e.nt, he throws back the window and leaps to the street.

Act V. Covered with blood, _Raoul_ rushes into the ballroom of the Hotel de Nesle, where the Huguenot leaders, ignorant of the ma.s.sacre that has begun, are a.s.sembled, and summons them to battle. Already Coligny, their great commander, has fallen. Their followers are being ma.s.sacred.

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

Plancon as Saint Bris in "The Huguenots"]

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

Jean de Reszke as Raoul in "The Huguenots"]

The scene changes to a Huguenot churchyard, where _Raoul_ and _Marcel_ have found temporary refuge. _Valentine_ hurries in. She wishes to save _Raoul_. She adjures him to adopt her faith. _De Nevers_ has met a n.o.ble death and she is free--free to marry _Raoul_. But he refuses to marry her at the sacrifice of his religion. Now she decides that she will die with him and that they will both die as Huguenots and united. _Marcel_ blesses them. The enemy has stormed the churchyard and begins the ma.s.sacre of those who have sought safety there and in the edifice itself. Again the scene changes, this time to a square in Paris. _Raoul_, who has been severely wounded, is supported by _Marcel_ and _Valentine_. _St. Bris_ and his followers approach. In answer to _St. Bris's_ summons, "Who goes there?"

_Raoul_, calling to his aid all the strength he has left, cries out, "Huguenots." There is a volley. _Raoul_, _Valentine_, _Marcel_ lie dead on the ground. Too late _St. Bris_ discovers that he has been the murderer of his own daughter.

Originally in five acts, the version of "Les Huguenots" usually performed contains but three. The first two acts are drawn into one by converting the second act into a scene and adding it to the first. The fifth act (or in the usual version the fourth) is nearly always omitted. This is due to the length of the opera. The audience takes it for granted that, when _Raoul_ leaves _Valentine_, he goes to his death. I have seen a performance of "Les Huguenots" with the last act.

So far as an understanding of the work is concerned, it is unnecessary. It also involves as much noise and smell of gunpowder as Ma.s.senet's opera, "La Navarraise"--and that is saying a good deal.

The performances of "Les Huguenots," during the most brilliant revivals of that work at the Metropolitan Opera House, New York, under Maurice Grau, were known as "les nuits de sept etoiles" (the nights of the seven stars). The cast to which the performances owed this designation is given in the summary above. A manager, in order to put "Les Huguenots" satisfactorily upon the stage, should be able to give it with seven first-rate princ.i.p.als, trained as nearly as possible in the same school of opera. The work should be sung preferably in French and by singers who know something of the traditions of the Grand Opera, Paris. Mixed casts of Latin and Teutonic singers mar a performance of this work. If "Les Huguenots" appears to have fallen off in popularity since "the nights of the seven stars," I am inclined to attribute this to inability or failure to give the opera with a cast either as fine or as h.o.m.ogeneous as that which flourished at the Metropolitan during the era of "les nuits de sept etoiles," when there not only were seven stars on the stage, but also seven dollars in the box office for every orchestra stall that was occupied--and they all were.

Auber's "Masaniello," Rossini's "William Tell," Halevy's "La Juive,"

and Meyerbeer's own "Robert le Diable" practically having dropped out of the repertoire in this country, "Les Huguenots," composed in 1836, is the earliest opera in the French grand manner that maintains itself on the lyric stage of America--the first example of a school of music which, through the "Faust" of Gounod, the "Carmen" of Bizet, and the works of Ma.s.senet, has continued to claim our attention.

After a brief overture, in which Luther's hymn is prominent, the first act opens with a sonorous chorus for the banqueters in the salon of _de Nevers's_ castle. _Raoul_, called upon to propose in song a toast to a lady, pledges the unknown beauty, whom he rescued from the insolence of a band of students. He does this in the romance, "Plus blanche que la plus blanche hermine" (Whiter than the whitest ermine).

The accompaniment to the melodious measures, with which the romance opens, is supplied by a viola solo, the effective employment of which in this pa.s.sage shows Meyerbeer's knowledge of the instrument and its possibilities. This romance is a perfect example of a certain phase of Meyerbeer's art--a suave and elegant melody for voice, accompanied in a highly original manner, part of the time, in this instance, by a single instrument in the orchestra, which, however, in spite of its effectiveness, leaves an impression of simplicity not wholly uncalculated.

_Raoul's_ romance is followed by the entrance of _Marcel_, and the scene for that bluff, st.u.r.dy old Huguenot campaigner and loyal servant of _Raoul_, a splendidly drawn character, dramatically and musically.

_Marcel_ tries to drown the festive sounds by intoning the stern phrases of Luther's hymn. This he follows with the Huguenot battle song, with its "Piff, piff, piff," which has been rendered famous by the great ba.s.sos who have sung it, including, in this country, Formes and edouard de Reszke.

_De Nevers_ then is called away to his interview with the lady, whom _Raoul_ recognizes as the unknown beauty rescued by him from the students, and whom, from the circ.u.mstances of her visit to _de Nevers_, he cannot but believe to be engaged in a liaison with the latter. Almost immediately upon _de Nevers's_ rejoining his guests there enters _Urbain_, the page of _Marguerite de Valois_. He greets the a.s.sembly with the brilliant recitative, "n.o.bles Seigneurs salut!"

This is followed by a charming cavatina, "Une dame n.o.ble et sage" (A wise and n.o.ble lady). Originally this was a soprano number, _Urbain_ having been composed as a soprano role, which it remained for twelve years. Then, in 1844, when "Les Huguenots" was produced in London, with Alboni as _Urbain_, Meyerbeer transposed it, and a contralto, or mezzo-soprano, part it has remained ever since, its interpreters in this country having included Annie Louise Cary, Trebelli, Scalchi, and Homer. The theme of "Une dame n.o.ble et sage" is as follows:

[Transcriber's Note: Music apparently missing from original.]

The letter brought by _Urbain_ is recognized by the Catholic n.o.blemen as being in the handwriting of _Marguerite de Valois_. As it is addressed to _Raoul_, they show by their obsequious demeanour toward him the importance they attach to the invitation. In accordance with its terms _Raoul_ allows himself to be blindfolded and led away by _Urbain_.

Following the original score and regarding what is now the second scene of Act I as the second act, this opens with _Marguerite de Valois's_ apostrophe to the fair land of Touraine (o beau pays de la Touraine), which, with the air immediately following, "a ce mot tout s'anime et renait la nature" (At this word everything revives and Nature renews itself),

[Music]

const.i.tutes an animated and brilliant scene for coloratura soprano.

There is a brief colloquy between _Marguerite_ and _Valentine_, then the graceful female chorus, sung on the bank of the Seine and known as the "bathers' chorus," this being followed by the entrance of _Urbain_ and his engaging song--the rondeau composed for Alboni--"Non!--non, non, non, non, non! Vous n'avez jamais, je gage" (No!--no, no, no, no, no! You have never heard, I wager).

_Raoul_ enters, the bandage is removed from his eyes, and there follows a duet, "Beaute divine, enchanteresse" (Beauty brightly divine, enchantress), between him and _Marguerite_, all graciousness on her side and courtly admiration on his. The n.o.bles and their followers come upon the scene. _Marguerite de Valois's_ plan to end the religious strife that has distracted the realm meets with their approbation. The finale of the act begins with the swelling chorus in which they take oath to abide by it. There is the brief episode in which _Valentine_ is led in by _St. Bris_, presented to _Raoul_, and indignantly spurned by him. The act closes with a turbulent ensemble.

Strife and bloodshed, then and there, are averted only by the interposition of _Marguerite_.

Act III opens with the famous chorus of the Huguenot soldiers in which, while they imitate with their hands the beating of drums, they sing their spirited "Rataplan." By contrast, the Catholic maidens, who accompany the bridal cortege of _Valentine_ and _de Nevers_ to the chapel, intone a litany, while Catholic citizens, students, and women protest against the song of the Huguenot soldiers. These several choral elements are skilfully worked out in the score. _Marcel_, coming upon the scene, manages to have _St. Bris_ summoned from the chapel, and presents _Raoul's_ challenge to a duel. The Catholics form their plot to a.s.sa.s.sinate _Raoul_, of which _Valentine_ finds opportunity to notify _Marcel_, in what is one of the striking scenes of the opera. The duel scene is preceded by a stirring septette, a really great pa.s.sage, "En mon bon droit j'ai confiance" (On my good cause relying). The music, when the ambuscade is uncovered and _Marcel_ summons the Huguenots to _Raoul's_ aid, and a street combat is threatened, reaches an effective climax in a double chorus. The excitement subsides with the arrival of _Marguerite de Valois_, and of the barge containing _de Nevers_ and his retinue. A brilliant chorus, supported by the orchestra and by a military band on the stage, with ballet to add to the spectacle forms the finale, as _de Nevers_ conducts _Valentine_ to the barge, and is followed on board by _St.

Bris_ and the nuptial cortege.

The fourth act, in the home of _de Nevers_, opens with a romance for _Valentine_, "Parmi les pleurs mon reve se ranime" (Amid my tears, by dreams once more o'ertaken), which is followed by a brief scene between her and _Raoul_, whom the approach of the conspirators quickly obliges her to hide in an adjoining apartment. The scene of the consecration of the swords is one of the greatest in opera; but that it shall have its full effect _St. Bris_ must be an artist like Plancon, who, besides being endowed with a powerful and beautifully managed voice, was superb in appearance and as _St. Bris_ had the bearing of the dignified, commanding yet fanatic n.o.bleman of old France. Musically and dramatically the scene rests on _St. Bris's_ shoulders, and broad they must be, since his is the most conspicuous part in song and action, from the intonation of his solo, "Pour cette cause sainte, obeisses sans crainte" (With sacred zeal and ardor let now your soul be burning),

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to the end of the savage _stretta_, when, the conspirators, having tiptoed almost to the door, in order to disperse for their mission, suddenly turn, once more uplift sword hilts, poignards, and crucifixes, and, after a frenzied adjuration of loyalty to a cause that demands the ma.s.sacre of an unsuspecting foe, steal forth into the shades of fateful night.

Powerful as this scene is, Meyerbeer has made the love duet which follows even more gripping. For now he interprets the conflicting emotions of love and loyalty in two hearts. It begins with _Raoul's_ exclamation, "Le danger presse et le temps vole, laisse-moi partir"