The Complete Opera Book Part 97

THE BARTERED BRIDE

Opera in three acts; music by Friedrich Smetana, Czech, text by R. Sabina. Produced in Czech, May 30, 1866, at Prague; in German, April 2, 1893, in Vienna.

CHARACTERS

KRUSCHINA, a peasant _Baritone_ KATRINKA, his wife _Soprano_ MARIE, their daughter _Soprano_ MICHA, a landlord _Ba.s.s_ AGNES, his wife _Mezzo-Soprano_ WENZEL, their son _Tenor_ HANS, MICHA'S son by a first marriage _Tenor_ KEZAL, a marriage broker _Ba.s.s_ SPRINGER, manager of a troop of artists _Tenor_ ESMERALDA, a danseuse _Soprano_ m.u.f.f, a comedian _Tenor_

Act I. It is the anniversary of the consecration of the village church. _Marie_, daughter of the rich peasant _Kruschina_, is not happy for she must today accept a suitor picked out for her by her parents and she only loves _Hans_ although she does not know his antecedents. _Hans_ consoles her. He will always be true to her and he comes from a good family, only a wicked stepmother has robbed him of his father's love. So she must be of good cheer. Then _Marie's_ parents arrive with the marriage broker, _Kezal_. The latter wants to complete arrangements for the marriage of _Marie_ and _Wenzel_, the rich son of the peasant _Micha_. When _Marie's_ father has given his consent to this union, the go-between considers _Marie's_ opposition as a trifle which, he tells _Micha_ outside in the inn, can be easily remedied.

Act II. But with what eyes has _Kezal_ looked upon _Wenzel_ that he praises his excellences so loudly? At any rate not with those of a young woman. Can _Kruschina's Marie_ love this stutterer and c.o.xcomb?

Never! Fortunately for her, he does not know her; and so the clever girl is able to deceive him. She speaks disparagingly to him of _Kruschina's Marie_ who loves another and whom therefore he should not allow himself to marry. The puzzled _Wenzel_, enamoured, runs after the laughing girl. On this _Hans_ comes in with _Kezal_. The latter is telling his companion to give up his love affair. He offers him first a hundred and finally three hundred florins if he will do so. At last _Hans_ consents but only on condition that _Marie_ shall marry none other than the son of _Micha's_ wife. _Kezal_ is content with that as he understands it. He goes away to get witnesses and everybody is provoked at the light heart with which _Hans_ has sold his bride.

Act III. In the meantime, _Wenzel_ has fallen in love with _Esmeralda_ the danseuse in a troop of acrobats. In his infatuation he allows himself to be induced to act in place of a drunken comedian. His parents and _Kezal_ surprise him while practising his dance. They are very much astonished when he absolutely refuses to marry _Kruschina's Marie_. But the matter would have been entirely different had he recognized her to be the lovely maiden of earlier in the day. _Marie_ herself, out of revolt and grief at the fact that her lover has so lightly prized her heart, is ready for everything. Then _Hans_ rushes in, freely expressing his supercilious feelings. All stand astounded until _Micha_ recognizes in _Hans_ his own long missing son by his first marriage. That _Hans_ now signs the contract as the happy husband of _Marie_ is the joyful end of this merry opera.

Russian Opera

Too little is known of Russian opera in this country. It is true that Tschaikowsky's "Pique-Dame," Rubinstein's "Nero,"

Moussorgsky's "Boris G.o.dounoff," Borodin's "Prince Igor,"

Rimsky-Korsakoff's fascinating "Coq d'Or" have been performed here; while one act of Serge Rachmaninoff's "Miser Knight" was given by Henry Russell at the Boston Opera House with that excellent artist George Baklanoff in the t.i.tle role. But according to Mr. Rachmaninoff thirteen operas of Rimsky-Korsakoff still await an American production and this represents the work of only one composer. Who will undertake the further education of the American public in this respect?

RUSSLAN AND LUDMILLA

Michael Ivanovich Glinka's second opera is based upon one of Pushkin's earliest poems. The poet had hardly agreed to prepare a dramatic version of his fairy tale for the composer when he was killed in a duel incurred owing to the supposed infidelity of his wife. As a result of his untimely end, Glinka employed the services of no less than five different librettists. This, of course, weakened the story.

The opera opens with an entertainment held by the Grand Duke of Kieff in honour of his daughter _Ludmilla's_ suitors. Of the three, _Russlan_, a knight, _Ratmir_, an Oriental poet, and _Farlaf_, a bl.u.s.tering coward. _Russlan_ is the favoured one. A thunderclap followed by sudden darkness interrupts the festivities. When this is over, _Ludmilla_ has disappeared. Her father, _Svietosar_, promises her hand in marriage to anyone who will rescue her.

The second act takes place in the cave of _Finn_, the wizard, to whom _Russlan_ has come for advice. The knight hears that the abduction is the work of _Tchernomor_ the dwarf. _Finn_ warns him against the interference of _Naina_, a wicked fairy. He then starts out on his search. The next scene shows _Farlaf_ in consultation with _Naina_.

The fairy advises him to neglect _Ludmilla_ until she is found by _Russlan_, then to carry her off again. The next scene shows _Russlan_ on a battlefield. In spite of the mist he finds a lance and s.h.i.+eld.

When the atmosphere grows clearer he discovers a gigantic head, which by its terrific breathing creates a storm. _Russlan_ subdues the head with a stroke of his lance. Under it is the magic sword which will make him victorious over _Tchernomor_. The head then explains that its condition is due to its brother, the dwarf, and reveals to _Russlan_ the means to be made of the sword.

In the third act, at the enchanted palace of _Naina_, _Gorislava_, who loves _Ratmir_ appears. When the object of her pa.s.sion appears he slights her for a siren of _Naina's_ court. _Russlan_, too, is imperilled by the sirens, but he is saved from their fascination by _Finn_.

The fourth act takes place in the dwelling of _Tchernomor_.

_Ludmilla_, in despair, refuses to be consoled by any distraction. She finally falls asleep, only to be awakened by _Tchernomor_ and his train. The arrival of _Russlan_ interrupts the ensuing ballet. Forcing _Ludmilla_ into a trance, _Tchernomor_ meets _Russlan_ in single combat. The knight is victorious, but unable to awaken _Ludmilla_ from her sleep. He carries her off.

In the fifth act, _Russlan_ with a magic ring, the gift of _Finn_, breaks _Tchernomor's_ spell and restores _Ludmilla_ to consciousness.

PRINCE IGOR

Opera in four acts and a prologue by Borodin. Libretto suggested by Sta.s.soff, written by the composer.

The prologue takes place in the market-place of Poultivle where _Igor_, Prince of Seversk lives. Although implored to postpone his departure because of an eclipse of the sun, which his people regard as an evil omen, _Igor_ with his son _Vladimir Igoreivitch_ departs to pursue the Polovtsy, an Oriental tribe, driven to the plains of the Don by _Prince Sviatoslav_ of Kiev. _Prince Galitzky_, _Igor's_ brother, remains to govern Poultivle and watch over the _Princess Yaroslavna_. The first scene of the first act shows _Galitzky_ a traitor, endeavouring to win the populace to his side with the help of _Eroshka_ and _Skoula_, two deserters from _Igor's_ army. In the second scene of this act young girls complain to _Yaroslavna_ about the abduction of one of their companions. They ask her protection against _Galitzky_. _Yaroslavna_ has a scene with her brother and orders him from her presence. News is brought that _Igor's_ army has been defeated, that he and the young prince are prisoners, and that the enemy is marching upon Poultivle. The loyal Boyards swear to defend their princess.

The second and third acts take place in the camp of the Polovtsy.

Young _Vladimir_ has fallen in love with _Khan Konchak's_ beautiful daughter, _Konchakovna_. He serenades her in her tent. His father laments his captivity. _Ovlour_, a soldier of the enemy, offers to help him escape, but _Igor_ refuses to repay the _Khan's_ chivalrous conduct in that manner. In the second act the _Khan_ gives a banquet in honour of his captive. Oriental dances and choruses are introduced.

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

Scene from the Ballet in "Prince Igor" (with Rosina Galli)]

In the third act the victorious Polovstians return with prisoners from Poultivle. _Igor_ consents to escape. _Konchakovna_ learns of the secret preparations for flight which _Ovlour_ arranges by giving the army a liberal allowance of wine. After a wild orgy the soldiers fall asleep. When _Igor_ gives the signal for flight, _Konchakovna_ throws herself upon young _Vladimir_ and holds him until his father has disappeared. The soldiers rush to kill him as in revenge for _Igor's_ escape, but the _Khan_ is content to let him remain as his daughter's husband.

In the last act the lamenting _Yaroslavna_ is cheered by the return of her husband, and together they enter the Kremlin at Poultivle.

Borodin, who divided his life between science and music, wrote his opera piece by piece. Rimsky-Korsakoff wrote that he often found him working in his laboratory that communicated directly with his house.

"When he was seated before his retorts, which were filled with colourless gases of some kind, forcing them by means of tubes from one vessel to another, I used to tell him that he was spending his time in pouring water into a sieve. As soon as he was free he would take me to his living-rooms and there we occupied ourselves with music and conversation, in the midst of which Borodin would rush off to the laboratory to make sure that nothing was burning or boiling over, making the corridor ring as he went with some extraordinary pa.s.sage of ninths or seconds. Then back again for more music and talk."

Borodin, himself, wrote: "In winter I can only compose when I am too unwell to give my lectures. So my friends, reversing the usual custom, never say to me, 'I hope you are well' but 'I do hope you are ill.' At Christmas I had influenza, so I stayed at home and wrote the Thanksgiving Chorus in the last act of 'Igor.'"

He never finished his opera. It was completed by Rimsky-Korsakoff and his pupil Glazounoff, and three years after his death received its first performance. Borodin never wrote down the overture, but Glazounoff heard him play it so frequently that it was an easy matter for him to orchestrate it according to Borodin's wishes. The composer left this note about his opera: "It is curious to see how all the members of our set agree in praise of my work. While controversy rages amongst us on every other subject, all, so far, are pleased with 'Igor.' Moussorgsky, the ultra-realist, the innovating lyrico-dramatist, Cui, our master, Balakireff, so severe as regards form and tradition, Vladimir Sta.s.soff himself, our valiant champion of everything that bears the stamp of novelty or greatness."

BORIS G.o.dOUNOFF

Opera in four acts and eight scenes; libretto taken from the dramatic scenes of Pushkin which bear this t.i.tle; music by Moussorgsky; produced at the theatre Marie in Petrograd in 1874.

CHARACTERS

BORIS G.o.dOUNOFF _Baritone_ FEODOR _Mezzo-Soprano_ XENIA _Soprano_ THE OLD NURSE _Contralto_ PRINCE SHOUISKY _Tenor_ ANDREY STCHELAKOV, clerk of the Douma _Baritone_ PIMEN, monk and chronicler _Ba.s.s_ THE PRETENDER DIMITRI, called _Gregory_ _Tenor_ MARINA _Soprano_ RANGONI, a Jesuit in disguise _Ba.s.s_ VARLAAM _Ba.s.s_ MISSAIL _Tenor_ THE HOSTESS _Mezzo-Soprano_ NIKITIN (_Michael_), constable _Ba.s.s_

_Time_--1598-1605.

_Place_--Russia.

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

Anna Case as Feodor, Didur as Boris, and Sparkes as Xenia, in "Boris G.o.dounoff"]

The subject brings to the stage one of the most curious episodes of the history of Russia in the seventeenth century. A privy councillor of the _Czar Feodor_, son of Ivan, named _Boris G.o.dounoff_, has caused to be a.s.sa.s.sinated the young _Dimitri_, brother of the emperor and his only heir. On the death of _Feodor_, _Boris_, who has committed his crime with the sole object of seizing power, causes himself to be acclaimed by the people and ascends the throne. But about the same time, a young monk named Grischka escapes from his convent, discards his habit, and goes to Poland where he pa.s.ses as the dead czarevitch _Dimitri_. The Polish government receives him all the more cordially as it understands all the advantage such an event might afford it.

Soon the pretended _Dimitri_, who has married the daughter of one of the most powerful magnates, puts himself at the head of the Polish army and marches with it against Russia. Just at this moment they hear of the death of _Boris_, and the false _Dimitri_, taking advantage of the circ.u.mstances, in turn usurps power which he is destined not to keep very long.

Such is the poetical drama, the arrangement of which is a little inconsistent from the scenic point of view, and which a historian of Russian music, himself a musician, M. Cesar Cui, treats in these words: "There is no question here of a subject of which the different parts, combined in such a way as to present a necessary sequence of events, one flowing from the other, correspond in their totality to the ideas of a strict dramatic unity. Each scene in it is independent; the roles, for the greater part, are transitory. The episodes that we see follow each other necessarily have a certain connection; they all relate more or less to a general fact, to a common action; but the opera would not suffer from a rearrangement of the scenes nor even from a subst.i.tution of certain secondary episodes by others. This depends on the fact that 'Boris G.o.dounoff' properly speaking is neither a drama nor an opera, but rather a musical chronicle after the manner of the historical dramas of Shakespeare. Each of the acts, taken separately, awakens a real interest which, however, is not caused by what goes before and which stops brusquely without connection with the scene which is going to follow." Let us add that some of these scenes are written entirely in prose while others are in verse and we will have a general idea of the make-up of the libretto of "Boris G.o.dounoff," which moreover offered the composer a series of scenes very favourable to music.

The score of Moussorgsky is uneven, like his talents, but nevertheless remains very interesting and indicative of a distinct personality.

Although the composer was not much of a symphonist and rather indifferently understood how to manage the resources of the orchestra, although his harmony is sometimes strange and rude and his modulation incorrect and excessive, he had at least a lavishness of inspiration, the abundance and zest of which are calculated to cause astonishment.

He is a musician perhaps of more instinct than of knowledge, who goes straight ahead without bothering himself about obstacles and who sometimes trips while on his way but who nevertheless reaches his object, sometimes even going beyond it by his strength of audacity.

Not much of a symphonist, as I have said, Moussorgsky did not even take the trouble to write an overture and some entr'actes. But certain pages of his score are not the less remarkable for their accent, their colour, and their scenic effect, and especially for the national feeling which from a musical point of view flows from them. Under this head we would point out in the first act the great military scene, which is of superb brilliance, and the chorus of begging monks; in the second, the entire scene of the inn, in which the dramatic intensity does not lessen for a second and which presents an astonis.h.i.+ng variety of rhythm and colour; then, in the third, the chorus of female attendants, sung on a Cracovian woman's air, the song of _Marina_ in the style of a mazurka, and a great Polish dance full of go and warmth; finally the whole episode of the death of _Boris_, which has a really gripping effect. These are enough, in spite of the inequalities and defects of the work, to cause regret for the death of an artist endowed with a very individual style, whose instruction had been doubtless incomplete, but who nevertheless seemed called to have a brilliant future.

EUGEN ONEGIN