The Complete Opera Book Part 92

The scene of the story is a rocky coast in the Crimea. The time, the fourteenth century. The _Khan Asvezel Moslain_ informs his son _Tolak_, who has just returned from a successful campaign against the Russians, that great preparations have been made to celebrate his return. But the young man is sad and replies that he only seeks forgetfulness in death. He asks his father to grant him the dearest wish of his heart and confesses his love for the _Khan's_ favourite slave _Zina_. The old man consents to give her to his son, but when he orders the girl to follow _Tolak_ she refuses to do so. The _Khan_, wis.h.i.+ng to retain his son's love, throws the disobedient slave into the sea, but as this far from restores harmony between the generations the old man follows her to her watery grave.

Modern German and Bohemian Opera

Wagner's powerful influence upon German opera produced countless imitators. For some reason or other it appeared to be almost impossible for other German composers to a.s.similate his ideas and yet impart originality to their scores. Among those who took his works for a model were Peter Cornelius, Hermann Goetz, and Carl Goldmark.

Perhaps the most important contribution to German opera during the decade that followed Wagner's death was Humperdinck's "Hansel und Gretel." Then came Richard Strauss with his "Feuersnot," "Salome," "Elektra," and "Der Rosenkavalier."

The most famous representative of the Bohemian school of opera, which is closely allied to the German, is Smetana.

ST. ELIZABETH

Operatic version of Liszt's "Legend," made by Artur Bodanzky, from the book of the oratorio by Otto Roquette.

Sung in English at the Metropolitan Opera House, January 3, 1918, with the following cast:

CHARACTERS

ELIZABETH _Florence Easton_ LANDGRAVINE SOPHIE _Margarete Matzenauer_ LANDGRAVE LUDWIG _Clarence Whitehill_ LANDGRAVE HERMANN _Carl Schlegel_ A HUNGARIAN MAGNATE _Basil Ruysdael_ SENESCHAL _Robert Leonhardt_

Conductor, _Artur Bodanzky_

The dramatic version of Liszt's sacred work once had sixty performances at Prague.

Although the score of "Saint Elizabeth" is dedicated to Wagner's benefactor, Ludwig II. of Bavaria, the Grand Duke Alexander of Weimar was responsible for the fact that Liszt undertook a setting of a poem on this subject by Otto Roquette. This poem was inspired by a series of frescoes by Moritz Schwind at the Wartburg, which tells the story of _Elizabeth's_ sad life. The daughter of a Hungarian king of the thirteenth century, she was brought to the Wartburg at the age of four and betrothed to the boy, _Ludwig_, son of the Landgrave of Thuringia.

The children were reared as brother and sister, and at seventeen _Elizabeth_ was married to _Ludwig_ who succeeded to the throne.

A famine came upon the land. _Elizabeth_ impoverished herself by helping the poor, and incurred the displeasure of her mother-in-law.

Forbidden to give any further aid to the victims of the famine, she was one day found by her husband carrying a basket. She declared that it was filled with flowers. When he tore it from her hands a miracle had happened, and the bread and wine had changed into roses. Then she confessed her deception which was atoned for by the miracle. The two after offering a prayer of thanksgiving renew their vows.

Soon afterwards _Ludwig_ joins a pa.s.sing procession of crusaders. He is killed in battle with the Saracens and his wife becomes ruler of the Wartburg. _Sophie_, her mother-in-law, plots with the _Seneschal_ and drives _Elizabeth_ out with her children into a storm. She finds refuge in a hospital she once founded. The remainder of her life is devoted to a.s.sisting the helpless and the poor. The closing scene of the opera shows her apotheosis.

THE BARBER OF BAGDAD

Opera in two acts. Words and music by Peter Cornelius.

Produced: Weimar, December 15, 1858.

CHARACTERS

THE CALIPH _Baritone_ BABA MUSTAPHA, a cadi _Tenor_ MARGIANA, his daughter _Soprano_ BOSTANA, a relative of the cadi _Mezzo-Soprano_ NUREDDIN _Tenor_ THE BARBER _Ba.s.s_

Act I. _Nureddin_ is ill, very ill his servants say. They must know very little of such youthful illnesses. _Margiana_ calls the invalid in a dream. _Margiana_ is the medicine that can cure him, _Margiana_, the marvellously glorious daughter of the mighty cadi, _Baba Mustapha_. And see how health reanimates _Nureddin's_ limbs, when _Bostana_, a relative of the cadi, approaches and brings the sweet news that _Margiana_ will wait for her lover about noon when her father has gone to prayers in the mosque. But the latter, in order to appear properly, needs above everything else a barber. And _Bostana_ appoints--"O knowest thou, revered one, I find for you a learned one--the greatest of all barbers, _Abdul Ha.s.san Ali Ebn Bekar_. He is great as a barber, a giant as a talker, swift his razor, a thousand times quicker his tongue."

Act II. A magnificent room in the cadi's house. What a stirring, harmonious picture. _Margiana_, _Bostana_, and the cadi rejoice: "He comes! he comes! oh, delightful pleasure." Of course the covetous old cadi is not thinking of young _Nureddin_ but of the rich old _Selim_ who wants to have _Margiana_ for his wife. A mighty chest full of rich gifts, so he announces. But the cadi goes off full of dignity to prayers in the mosque. And now _Nureddin_ comes. How happy the couple are. But is not that the barber approaching with his love-song? "O Allah, save us from the flood of his talk"--no, rather save us from the cadi who suddenly comes back. The screams of a servant, whom he is punis.h.i.+ng with a bastonade by his own hand, announce his arrival.

There is only one escape. Quickly the chest is emptied and _Nureddin_ gets in. Then the barber with _Nureddin's_ servant. _Abdul Ha.s.san Ali Ebn Bekar_ leaves no customers in the lurch. He who screamed can only be _Nureddin_ whom the furious cadi has murdered. _Bostana_ advises him to drag forth the chest; the cadi opposes. The wild clamour brings, in crowds, the people of Bagdad who hear rumours of a murder.

Finally the caliph comes too. What is in the chest? _Nureddin's_ corpse, says the barber; _Margiana's_ dowry, answers the cadi. The chest is opened. The cadi is right, for _Nureddin_ is not a corpse but only in a swoon because he was nearly smothered, but he is without doubt _Margiana's_ dowry and he will become so publicly. A cadi cannot lightly oppose the wish of a caliph. The barber is seized but is ordered by the caliph to be taken to his palace to entertain him with stories.

THE TAMING OF THE SHREW

Opera in four acts; libretto adapted by Victor Widmann from Shakespeare's comedy. Music by Herman Goetz.

CHARACTERS

BAPTISTA _Otto Goritz_ KATHARINA _Margarete Ober_ BIANCA _Marie Rappold_ HORTENSIO _Robert Leonhardt_ LUCENTIO _Johannes Sembach_ PETRUCHIO _Clarence Whitehill_ GRUMIO _Basil Ruysdael_ A TAILOR _Albert Reiss_ MAJOR DOMO _Max Bloch_ HOUSEKEEPER _Marie Mattfeld_

This opera was produced at the Metropolitan Opera House in commemoration of Shakespeare in 1916. It was first sung in Mannheim in 1874, when it was known as "Die Widerspenstigen Zachmung." Mr.

Bodanzky came to conduct at the Metropolitan Opera House, from that city, and the New York performance was perhaps the result of a suggestion made by him. Widmann in his libretto brings into prominence the wooing of _Bianca_ by rival suitors. This is done to give relief to _Petruchio's_ bl.u.s.tering and to the exhibitions of temper by the _Shrew_. The librettist also provides his own introduction which includes the rival suitors, a chorus of angry servants, interested women on the balcony, and _Petruchio's_ entrance. The second act represents _Petruchio's_ tempestuous wooing. In the third _Bianca_ is courted by _Lucentio_ as a tutor and _Hortensio_ as a musician. The wedding party returns and _Petruchio_ makes his hasty exit bearing his sulky bride. Servants and wedding guests provide an opportunity for chorus music. The tailor is introduced and _Katharina_ is finally tamed.

THE QUEEN OF SHEBA

Opera in four acts: music by Karl Goldmark; text by G.H.

Mosenthal. Produced: Vienna, March 10, 1875.

CHARACTERS

KING SOLOMON _Baritone_ BAAL HANAU, the palace overseer _Baritone_ a.s.sAD _Tenor_ THE HIGH PRIEST _Ba.s.s_ SULAMITH, his daughter _Tenor_ THE QUEEN OF SHEBA _Mezzo-Soprano_ ASTAROTH, her slave _Soprano_

_Time_--Tenth Century B.C.

_Place_--Jerusalem.

Act I. In _Solomon's_ magnificent palace everybody is preparing for the reception of the _Queen of Sheba_. But n.o.body is more delighted than _Sulamith_, the daughter of the High Priest. _a.s.sad_, who had gone to meet the foreign queen, returns. Here he comes already into the hall. But _a.s.sad_, growing pale, draws back before his betrothed.

He confesses to _King Solomon_ that he has not yet seen the _Queen of Sheba_ but at a certain well a wonderful woman favoured him with her love and since then his mind has been confused. The King consoles the young man by telling him that G.o.d will permit him to find her again.

Now the queen's train approaches; she greets _Solomon_ and unveils herself. _a.s.sad_ rushes toward her. What does the young man want of her? She does not know him.

Act II. The queen did not want to recognize _a.s.sad_ but the woman in her is consumed with longing for him. He comes and happy love unites them. Then the scene changes and shows the interior of the Temple. The wedding of _a.s.sad_ and _Sulamith_ is about to be solemnized. Then, at a decisive moment the queen appears, and _a.s.sad_ throws the ring on the floor and hurries to the queen as if the deceit were making a fool of him. She has never seen him, she declares a second time. _a.s.sad_, however, who has offended the Almighty, has incurred the penalty of death. In the meantime _Solomon_, who is examining the affair, defers sentence.

Act III. _Solomon_ is alone with the queen. She has one request to make of him, that he shall release _a.s.sad_. Why? He is nothing to her but she wants to see whether the king has regard for his guest. And _Solomon_ refuses the request of the deceitful woman who, breathing vengeance, strides out of the palace. But when _Sulamith_ complains, _Solomon_ consoles her. _a.s.sad_ will shake off the unworthy chains.

Far away on the borders of the desert, she will find peace with _a.s.sad_.

Act IV. Again the scene changes. On the border of the desert stands the asylum of the young women consecrated to G.o.d in which _Sulamith_ has found rest from the deceitful world. _a.s.sad_ staggers. .h.i.ther; a weary, banished man. And again the _Queen of Sheba_ appears before him offering him her love. But he flees from the false woman for whom he had sacrificed _Sulamith_, the n.o.ble one. A desert storm arises, burying _a.s.sad_ in the sand. When the sky becomes clear again _Sulamith_, taking a walk with her maidens, finds her lover. She pardons the dying man and points out to him the eternal joys which they will taste together.

THE CRICKET ON THE HEARTH

Opera in three acts, by Carl Goldmark, text by M. Willner, after the story by Charles d.i.c.kens. Produced, Berlin, 1896; in this country, 1910.

CHARACTERS

JOHN _Baritone_ DOT, his wife _Soprano_ MAY _Soprano_ EDWARD PLUMMER _Tenor_ TACKLETON _Ba.s.so_ THE CRICKET _Soprano_

_Time_--Early Part of 19th Century.