The Complete Opera Book Part 93

_Place_--An English Village.

Act I. Room in _John's_ house. Invisible chorus of elves. To the _Cricket_, the guiding spirit of the house, _Dot_ confides her secret.

She hopes soon to have a child. _May_, a pretty young girl, a toymaker, is to be married the next day to _Tackleton_, her employer.

She bemoans her fate. She still loves _Edward Plummer_, who disappeared several years before. After _May's_ departure _John_ appears with _Edward_, disguised as a sailor, and is not recognized either by _John_ or the villagers.

Act II. A garden. _May_ and _Tackleton_ are supping together. _John_ makes _Tackleton_ jealous of the stranger, _Edward_, who, seeing that _May_ is only marrying _Tackleton_ because his wealth will save her old foster-father from want, reveals his ident.i.ty to _Dot_.

_Tackleton_ now makes _John_ jealous of _Edward_, but _John_ is lulled to sleep by the _Cricket_, and dreams of himself as a happy father.

Act III. _May_ resolves to be true to _Edward_. Recognizing him (after his song, "Hulla, list to the Seas"), they drive off in _Tackleton's_ carriage. _John_ is told of _Dot's_ secret. Reconciliation, with the _Cricket_ chirping merrily. There is much pretty music (for instance, the quintet on the hearth in the second act, and _Edward's_ song), which, however, has not sufficed to keep the piece in the repertoire in this country.

KoNIGSKINDER

KING'S CHILDREN

Opera by Engelbert Humperdinck with a libretto by Ernst Rosmer. The first performance on any stage was at the Metropolitan Opera House, December 28, 1910, with the following cast:

DER KoNIGSSOHN _Herman Jadlowker_ DIE GANSEMAGD _Geraldine Farrar_ DER SPIELMANN _Otto Goritz_ DIE HEXE _Louise Homer_ DER HOLZHACKER _Adamo Didur_ DER BESENBINDER _Albert Reiss_ ZWEI KINDER _Edna Walter and Lotta Engel_ DER RATSALTESTE _Marcel Reiner_ DER WIRT _Antonio Pini-Corsi_ DIE WIRTSTOCHTER _Florence Wickham_ DER SCHNEIDER _Julius Bayer_ DIE STALLMAGD _Marie Mattfeld_ ZWEI TORWACHTER _Ernst Maran and William Hinshaw_

[Ill.u.s.tration: Photo by White

Farrar as the Goose Girl in "Konigskinder"]

A king's daughter forced to act as a goose-girl in a forest, by an old witch who has cast a spell upon her, is discovered and loved by a king's son. Though she returned his love and would gladly go with him she finds that she cannot break the spell which holds her a prisoner in the forest. Leaving the crown at her feet the prince continues his wanderings. No sooner has he gone than a broom-maker and a wood-chopper guided by a wandering minstrel come to the witch's hut.

They are amba.s.sadors from the city of h.e.l.labrunn which has been so long without a sovereign that the people themselves feel sadly in need of a government. The amba.s.sadors ask the witch who this ruler shall be and by what signs the people may recognize him. The witch answers that their ruler will be the first person who enters the gates of the city after the bells have rung the hour of noon on the following day, which is the day of the festival of h.e.l.la. The minstrel notices the beautiful goose-girl and recognizes her to be of royal birth. He breaks the spell of the witch and forces her to give the lovely maiden into his keeping. He persuades her to break the enchantment and defy the evil powers by which she has been bound.

The prince, meanwhile, is at h.e.l.labrunn, acting as a swineherd. The innkeeper's daughter loves the handsome young man but he proudly repulses her advances. He dreams of the goose-girl. The innkeeper's daughter revenges herself by proclaiming him a thief. As he is about to be led away to prison the bells announce the hour of the festival, and the gates are thrown open in expectation of the new ruler. Through the gates comes the goose-girl, wearing her wreath of flowers and followed by her geese and the minstrel. The lovers embrace. But only the minstrel and a little child recognize their royal rank. The townspeople, thinking that their sovereign would appear in royal regalia, drive the kings' children from the city, burn the witch, and break the minstrel's leg on a wheel.

The two lovers lose their way in a forest as the snow falls. They both die of a poisoned loaf made by the witch. The children of h.e.l.labrunn, guided by a bird, find them buried under the same tree under which they had first met.

HaNSEL UND GRETEL

A fairy opera in three acts. Music by Engelbert Humperdinck.

Book by Adelheid Wette.

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

Van Dyck and Mattfeld as Hansel and Gretel]

The first act represents the hut of a broom-maker. _Hansel_ is binding brooms and _Gretel_ is knitting. The children romp, quarrel, and make up. When their mother, _Gertrude_, enters she is angry to see them idle, but wis.h.i.+ng to strike them, she upsets a pitcher of milk instead. With all hope of supper banished she sends the children out into the woods with little baskets to look for strawberries, while she herself, bemoaning their poverty, sinks exhausted upon a chair and falls asleep. A riotous song announces the approach of her husband, drunk as usual. She is about to utter reproaches when she notices that he has brought sausages, bread and b.u.t.ter, coffee--enough for a feast.

He tells her that he has had good luck at the Kirmes and bids her prepare supper. When he asks for the children he is horrified to hear that they have been sent into the woods, for a wicked fairy lives near the Ilsenstein who entices children to bake them in her oven and devour them. Both parents rush off in search of _Hansel_ and _Gretel_.

The second act takes place near the Ilsenstein. _Hansel_ has filled his basket with berries and _Gretel_ has made a wreath with which her brother crowns her. Before they realise what they are doing the children eat all the berries. Then they see that it is both too dark to look for any more or to find their way home. _Gretel_ weeps with fear. _Hansel_ comforts her. They grow sleepy. The sandman sprinkles sand into their eyes, but before going to sleep the children are careful not to forget their evening prayer. Fourteen guardian angels are seen descending the heavenly ladder to protect them.

Morning comes with the third act. The dew fairy sprinkles dew on the children. Suddenly they notice a little house made of cake and sugar.

They start to break off little bits when a voice cries out from within and the witch opens the door. She throws a rope around _Hansel's_ throat, urging them both to enter. Frightened, they try to escape, but after binding them with a magic spell she imprisons _Hansel_ in a kennel, [Transcriber's Note: missing 'and'] she forces _Gretel_ to go into the house.

When she believes _Hansel_ to be asleep she turns her attention to the oven, then rides around the house on her broom-stick. When she alights she orders _Hansel_ to show her his finger. But it is still thin and the witch orders more food for him. While she turns her back, _Gretel_, seizing the juniper bough, speaks the magic words and breaks her brother's enchantment. Then the witch tells _Gretel_ to get into the oven and see if the honey cakes are done. But _Gretel_ pretends to be stupid and asks her to show her how to get in. Together the children push the old witch into the oven and slam the door. The oven soon falls to pieces. The children then see a row of boys and girls standing stiffly against the house. _Gretel_ breaks the spell for them as she had done for _Hansel_. There is general rejoicing. _Gertrude_ and _Peter_ now appear, the old witch is pulled out of the ruined oven as gigantic honey cake and everyone on the stage joins in a hymn of thanksgiving.

THE GOLDEN CROSS

Opera in two acts. Music by Brull; text by H. Mosenthal, after the French. Produced: Berlin, December 22, 1875.

CHARACTERS

GONTRAN DE L'ANERY, a young n.o.bleman _Tenor_ COLAS, an innkeeper _Baritone_ CHRISTINE, his sister _Soprano_ THeReSE, his bride _Soprano_ BOMBARDON, a sergeant _Ba.s.s_

_Time_--1812.

_Place_--Melun, near Paris.

Act I. The town of Melun is suffering heavily from the great campaign which Napoleon is undertaking against Russia in 1812, so many of the young men must take the field. Among the hardest hit are _Therese_ and _Christine_, the first a bride, the other a beloved sister. Their _Colas_ has been taken away; if he can find no subst.i.tute he must go to the war. _Sergeant Bombardon_, who is to take away the drafted men, is already in town with his soldiers. At the same time as the sergeant, a young n.o.bleman, _Gontran de l'Anery_, arrives. He hears that _Christine_ has promised her hand to the man who goes to war in place of her brother. She will give him a golden cross and when he brings it back will be his bride. But no one has the desire to expose himself to the hazards of war. Then _Gontran_, seized by a violent love, decides to take _Colas'_ place. Through the sergeant he sends for the cross. _Christine_ does not know who has offered himself for her brother.

Act II. Three years have pa.s.sed. In the house of the innkeeper _Colas_, now as brave as before, having been wounded in battle with the invading enemy, _Captain Gontran_ finds himself received as a severely wounded person. He loves his nurse _Christine_ with all his heart and she also is attached to him. He even has a claim upon her as having been once a subst.i.tute for her brother, but he will not force her affections, and besides, he no longer has "the golden cross."

_Christine_ too dares not follow her inclinations for, as _Gontran_ tells her that it was he who went to the war, she would offend him very much if she, true to her oath, should ask for the cross. This also reappears. A cripple, in whom one would scarcely recognize the former stalwart _Sergeant Bombardon_, is the bearer. _Christine's_ heart nearly breaks, but she does not hesitate to keep her word. But no! _Bombardon_ is not an impostor. He got the cross from a dying man.

Yet, who is this? Dare he trust his eyes? The man whom he believed dead comes out of the house. It is _Gontran_. What happiness for the two lovers!

VERSIEGELT

SEALED IN

Opera in one act after Raupach. Music by Blech. Words by Richard Batka and Pordes-Milo. Produced: Hamburg, November 4, 1908.

CHARACTERS

BRAUN, a burgomaster _Baritone_ ELSE, his daughter _Soprano_ FRAU GERTRUD, a young widow _Mezzo-Soprano_ FRAU WILLMERS _Alto_ BERTEL, her son, a court clerk _Tenor_ LAMPE, a bailiff _Ba.s.s_

_Time_--1830.

_Place_--A small German town.

In the centre of the whole scene stands a sideboard. This same sideboard belongs to _Frau Willmers_ who now comes running to the apartment of the pretty young widow, _Gertrud_, with every sign of agitation, to tell her that the bailiff, _Lampe_, intends to seize her sideboard, an old and valuable heirloom. The burgomaster bears her ill will because her son _Bertel_ has been casting eyes at his daughter _Else_, and now takes occasion to inflict on her this disgrace. To escape this she begs her lodger the favour of taking in the sideboard for her. _Frau Gertrud_ is very willing. She has a grudge against the burgomaster. He used to call on her almost every day, and _Frau Gertrud_ allowed herself to hope that sometime she would become the _Frau_ burgomistress. Nevertheless, she would very willingly accelerate his decision. Scarcely is the sideboard, with the help of a neighbour, happily installed at _Frau Gertrud's_ than _Bertel_, _Frau Willmers'_ son and the burgomaster's daughter _Else_ enter. They have made every effort to make the burgomaster kindly disposed but it was in vain. But as the couple have decided not to give up each other, they have come to _Frau Gertrud_ to beg her influence with the burgomaster. When she thus receives confirmation of her suspicion of the burgomaster's liking for her, she naturally is not averse to the role of matchmaker. Out of her beautiful dreams of the future the young woman, left alone by her neighbours, is aroused by a knock. But it is not the burgomaster, whom she secretly expected, but the bailiff, _Lampe_. Loquacious, conceited, and intrusive, he begins by telling her all his merits and his skill, brings greetings to the widow, as the burgomaster has commissioned him. The sideboard seems to him very suspicious. So now he will go only to _Frau Willmers'_ to convince himself whether his suspicion is well founded. As soon as he has gone the burgomaster comes. He also makes use of evasions and then confides to his gentle friend the anxieties of a father. It grieves him very much that his _Else_ loves this _Bertel_, son of his bitterest enemy, who is now dead. _Frau Gertrud_, however, interests her self bravely in favour of her proteges. Her remark that the burgomaster surely has not a heart of stone, brings him nearer to realizing his own condition. Instead of the children he now talks of himself. First he is seeking for a sign that she means well by him with her advice. Soon she has led him so far that he confesses his love for her and begs a kiss. The twilight that has begun favours the idyll. Then again comes the trouble-maker _Lampe_. Nothing worse can happen to the couple than to be discovered by this gossiper. So the burgomaster must hide in order to save his own and _Frau Gertrud's_ reputation. But where? There is nothing better than the empty sideboard. Scarcely has the somewhat corpulent burgomaster fortunately concealed himself in it than _Lampe_ enters the apartment and, "In the name of the authorities" seals up the sideboard. Unfortunately the burgomaster in his hiding place finds himself not so quiet as caution demanded. The sound does not escape _Lampe_ and his evil thoughts scent here something very improper. Surely there is a lover concealed in the sideboard, and he goes away with the malicious idea of finding the burgomaster to tell him that _Frau Gertrud_ is not the right sort of woman for him. But _Frau Gertrud_ is sure of her point and, as _Bertel_ and _Else_ also come in with _Frau Willmers_, a plot is soon concocted by the four so that the happiness of everybody will result from this favourable accident. The two women leave the young couple alone so that through a put-up game on the father everything will be obtained. _Else_ plays the lovesick girl, _Bertel_ on the other hand the virtuous one whose respect for the burgomaster knows no bounds. So he refuses to accept _Else's_ love against the will of her father and she, desperate, wants to run away when a voice proceeds from the sideboard. Now the father and burgomaster must humbly beg of his clerk that he take upon himself the offence of breaking the seal and letting him out of the sideboard. Naturally, the first takes place after _Else_ has dictated the marriage contract. The burgomaster, who at all hazards must get out before _Lampe_ comes back, consents to everything. _Bertel_ employs his profession in writing out the whole contract and through a peephole in the sideboard the burgomaster has to sign it before the door is finally opened to him. But he makes his terms. In place of himself, _Bertel_ and _Else_ must enter the sideboard. Naturally they do not hesitate long and they are for the first time together undisturbed within it. The burgomaster has concealed himself in the next room when the two women come back with a gay company. (The following very indelicate pa.s.sage, which endangers all the sympathy of the audience for _Frau Gertrud_, might easily be cut out.) _Frau Gertrud_ has brought people from a nearby shooters'

festival to show them the trapped burgomaster, evidently because she believes her scheme more a.s.sured thus. All the greater is the astonishment when the young couple step out of the opened sideboard.

But the burgomaster all of a sudden appears in the background. Then _Frau Gertrud_ cleverly takes everything on herself. She had shut up the young couple in it and had spread the report that the burgomaster was concealed in it in order that he might be affected by it and could no longer oppose the union of the two young people. Surely everything is solved satisfactorily when _Lampe_ arrives with every sign of agitation. He has not found the burgomaster, and _Else_ and the clerk of the court have disappeared. The burgomaster must certainly have been murdered by the clerk. _Lampe_ rages so long in the excessive indignation of his official power that he himself is shut up in the sideboard and the others, now undisturbed, seal their compact and reseal it.

DER TROMPETER VON SaKKINGEN

THE TRUMPETER OF SaKKINGEN

Opera in three acts and a Prologue; music by Viktor E.

Nessler; text by Rudolf Bunge after Viktor von Scheffel's poem with the same t.i.tle. Produced: Leipzig, May 4, 1884.

CHARACTERS

WERNER KIRCHHOFER _Baritone_ KONRADIN, a peasant _Ba.s.s_ THE STEWART _Tenor_ THE RECTOR _Ba.s.s_ BARON VON SCHoNAU _Ba.s.s_ MARIA, his daughter _Soprano_ COUNT VON WILDENSTEIN _Ba.s.s_ HIS DIVORCED WIFE _Alto_ DAMIAN, Count von Wildenstein's son _Tenor_