The Standard Operas Part 7

The play to be performed is almost an identical picture of the real situation in the unfortunate little troupe. Columbine, who is to poison her husband, Punchinello, is entertaining her lover, Harlequin, while Taddeo, the clown, watches for Punchinello's return. When Canio finally appears the mimic tragedy becomes one in reality. Inflamed with pa.s.sion, he rushes upon Nedda, and demands the name of her lover.

She still refuses to tell. He draws his dagger. Nedda, conscious of her danger, calls upon Silvio in the audience to save her; but it is too late. Her husband kills her, and Silvio, who rushes upon the stage, is killed with the same dagger. With a wild cry full of hate, jealousy, and despair, the unfortunate Canio tells the audience "La commedia e finita" ("The comedy is finished"). The curtain falls upon the tragedy, and the excited audience disperses.

The story is peculiarly Italian in its motive, though the composer has been charged with taking it from "La Femme de Tabarin," by the French novelist, Catulle Mendes. Be this as it may, Leoncavallo's version has the merit of brevity, conciseness, ingenuity, and swift action, closing in a denouement of great tragic power and capable, in the hands of a good actor, of being made very effective. The composer has not alone been charged with borrowing the story, but also with plagiarizing the music. So far as the accusation of plagiarism is concerned, however, it hardly involves anything more serious than those curious resemblances which are so often found in musical compositions. As a whole, the opera is melodious, forceful, full of snap and go, and intensely dramatic, and is without a dull moment from the prologue ("Si pu? Signore") sung before the curtain by Tonio to that last despairing outcry of Canio ("La commedia e finita"), upon which the curtain falls. The prominent numbers are the prologue already referred to; Nedda's beautiful cavatina in the second scene ("O, che volo d'angello"); her duet with Silvio in the third scene ("E allor perche"); the pa.s.sionate declamation of Canio at the close of the first act ("Recitur! mentre preso dal delirio"); the serenade of Beppe in the second act ("O Colombino, il tenero"); and the graceful dance-music which plays so singular a part in this fierce struggle of the pa.s.sions, which forms the motive of the closing scenes.

MASCAGNI.

Pietro Mascagni, who leaped into fame at a single bound, was born at Leghorn, Dec. 7, 1863. His father was a baker, and had planned for his son a career in the legal profession; but, as often happens, fate ordered otherwise. His tastes were distinctly musical, and his determination to study music was encouraged by Signor Bianchi, a singing teacher, who recognized his talent. For a time he took lessons, unknown to his father, of Soffredini, but when it was discovered he was ordered to abandon music and devote himself to the law. At this juncture his uncle Stefano came to his rescue, took him to his house, provided him with a piano, and also with the means to pursue his studies. Recognizing the uselessness of further objections, the father at last withdrew them, and left his son free to follow his own pleasure. He progressed so rapidly under Soffredini that he was soon engaged in composition, his first works being a symphony in C minor and a "Kyrie," which were performed in 1879. In 1881 he composed a cantata, "In Filanda," and a setting of Schiller's hymn, "An die Freude," both of which had successful public performances. The former attracted the attention of a rich n.o.bleman who furnished young Mascagni with the means to attend the Milan Conservatory. After studying there a short time, he suddenly left Milan with an operatic troupe, and visited various Italian cities, a pilgrimage which was of great value to him, as it made him acquainted with the resources of an orchestra and the details of conducting. The troupe, however, met with hard fortunes, and was soon disbanded, throwing Mascagni upon the world. For a few years he made a precarious living in obscure towns, by teaching, and had at last reached desperate extremities when one day he read in a newspaper that Sonzogno, the music publisher, had offered prizes for the three best one act operas, to be performed in Rome. He at once entered into the compet.i.tion, and produced "Cavalleria Rusticana." It took the first prize. It did more than this for the impecunious composer. When performed, it made a success of enthusiasm. He was called twenty times before the curtain. Honors and decorations were showered upon him. He was everywhere greeted with serenades and ovations. Every opera-house in Europe clamored for the new work. In a day he had risen from utter obscurity and become world-famous. His sudden popularity, however, had a pernicious effect, as it induced him to rush out more operas without giving sufficient time to their preparation. "L'Amico Fritz," based upon the well-known Erckmann-Chatrian story, and "I Rantzau" quickly followed "Cavalleria Rusticana," but did not meet with its success. Last year however he produced two operas at Milan, "Guglielmo Ratcliff" and "Silvano,"

which proved successful. Whether "Cavalleria Rusticana" is to remain as his only hold upon popular favor, the future alone can tell; but that he has talent of the highest order, and that he has produced an opera whose reception has been almost unparalleled in the world of music cannot be questioned.

CAVALLERIA RUSTICANA.

"Cavalleria Rusticana," an opera in one act, words by Signori Targioni-Tozzetti and Menasci, music by Pietro Mascagni, was written in 1890, and was first performed at the Costanzi Theatre in Rome, May 20, of that year, with Gemma Bellinconi and Roberto Stagno in the two princ.i.p.al roles. It had its first American production in Philadelphia, Sept. 9, 1891, with Mme. Kronold as _Santuzza_, Miss Campbell as _Lola_, Guille as _Turridu_, Del Puente as _Alfio_, and Jeannie Teal as _Lucia_.

The story upon which the text of "Cavalleria Rusticana" is based is taken from a Sicilian tale by Giovanni Verga. It is peculiarly Italian in its motive, running a swift, sure gamut of love, flirtation, jealousy, and death,--a melodrama of a pa.s.sionate and tragic sort, amid somewhat squalid environments, that particularly lends itself to music of Mascagni's forceful sort. The overture graphically presents the main themes of the opera, and these themes ill.u.s.trate a very simple but strong story. Turridu, a young Sicilian peasant, arrived home from army service, finds that his old love, Lola, during his absence has married Alfio, a carter. To console himself he makes love to Santuzza, who returns his pa.s.sion with ardor. The inconstant Turridu, however, soon tires of her and makes fresh advances to Lola, who, inspired by her jealousy of Santuzza, and her natural coquetry, smiles upon him again. The latter seeks to reclaim him, and, when she is rudely repulsed, tells the story of Lola's perfidy to Alfio, who challenges Turridu and kills him.

During the overture Turridu sings a charming Siciliana ("O Lola c'hai di latti"), and the curtain rises, disclosing a Sicilian village with a church decorated for Easter service. As the sacristan opens its doors, the villagers appear and sing a hymn to the Madonna. A hurried duet follows, in which Santuzza reveals to mother Lucia her grief at the perfidy of Turridu. Her discourse is interrupted by the entrance of Alfio, singing a rollicking whip-song ("Il cavallo scalpita") with accompaniment of male chorus. The scene then develops into a trio, closing with a hymn ("Inneggiamo, il Signor"), sung by the people in the square, and led by Santuzza herself, and blending with the "Regina Coeli," performed by the choir inside the church with organ accompaniment, the number finally working up into a tremendous climax in genuine Italian style.

In the next scene Santuzza tells her sad story to Lucia, Turridu's mother, in a romanza of great power ("Voi lo sapete"), closing with an outburst of the highest significance as she appeals to Lucia to pray for her. In the next scene Turridu enters. Santuzza upbraids him, and a pa.s.sionate duet follows in which Santuzza's suspicions are more than confirmed by his avowal of his pa.s.sion for Lola. The duet is interrupted by a song of the latter, heard in the distance with harp accompaniment ("Fior di giaggiolo"). As she approaches the pair the song grows livelier, and at its close she banters poor Santuzza with biting sarcasms, and a.s.sails Turridu with all the arts of coquetry.

She pa.s.ses into the church, confident that the infatuated Turridu will follow her. An impa.s.sioned duo of great power follows, in which Santuzza pleads with him to love her, but all in vain. He rushes into the church. She attempts to follow him, but falls upon the steps just as Alfio comes up. To him she relates the story of her troubles, and of Turridu's baseness. Alfio promises to revenge her, and another powerful duet follows.

As they leave the stage, there is a sudden and most unexpected change in the character of the music and the motive of the drama. In the place of struggle, contesting pa.s.sions, and manifestations of rage, hate, and jealousy ensues an intermezzo for orchestra, with an accompaniment of harps and organ, of the utmost simplicity and sweetness, breathing something like a sacred calm, and turning the thoughts away from all this human turmoil into conditions of peace and rest. It has not only become one of the most favorite numbers in the concert repertory, but is ground out from every barrel-organ the world over, and yet it has retained its hold upon popular admiration.

At its close the turmoil begins again and the action hastens to the tragic denouement. The people come out of the church singing a glad chorus which is followed by a drinking song ("Viva il vino"), sung by Turridu, and joined in by Lola and chorus. In the midst of the hilarity Alfio appears. Turridu invites him to join them and drink; but he refuses, and the quarrel begins. Lola and the frightened women withdraw. Turridu bites Alfio's right ear,--a Sicilian form of challenge. The scene closes with the death of the former at Alfio's hands, and Santuzza is avenged; but the fickle Lola has gone her way bent upon other conquests.

MEYERBEER.

Giacomo Meyerbeer, the eldest son of Herz Beer, was born in Berlin, Sept. 5, 1794. He was named Jacob Meyer Beer, but afterwards called himself Giacomo Meyerbeer. His early studies were pursued with the pianist Lanska, and Bernard Anselm Weber, chief of the Berlin orchestra. At fifteen he became the pupil of Vogler in Darmstadt, with whom he displayed such talent in composition that he was named Composer to the Court by the Grand Duke. At eighteen his first dramatic work, "The Daughter of Jephtha," was performed at Munich. He then began the world for himself, and made his debut in Vienna as a pianist with great success. His first opera, "The Two Caliphs," met with complete failure, as it was not written in the Italian form. He at once transformed his style and brought out "Romilda e Costanza," a serio-comic opera, with great success, at Padua. In 1820, "Emma di Resburgo" appeared at Venice, and from this period his star was in the ascendant. "The Gate of Brandeburg," "Margharita d' Anjou," "Esule di Granata," and "Almanzar" followed in quick succession, and were well received, though with nothing like the furor which "Il Crociato in Egitto" created in Venice in 1824. His next great work, "Robert le Diable," was produced in Paris, Nov. 21, 1831, the unparalleled success of which carried its fame to every part of the civilized world. In 1836 "The Huguenots," unquestionably his masterpiece, was brought out, and it still holds its place as one of the grandest dramatic works the world has ever seen. In 1838 Scribe furnished him the libretto of "L'Africaine," but before the music was finished he had changed the text so much that Scribe withdrew it altogether. He was consoled, however, by Meyerbeer's taking from him the libretto of "Le Prophete," this opera being finished in 1843. During the following year he wrote several miscellaneous pieces besides the three-act German opera, "Ein Feldlager in Schlesien," in which Jenny Lind made her Berlin debut. In 1846 he composed the overture and incidental music to his brother's drama of "Struensee," and in 1847 he not only prepared the way for Wagner's "Flying Dutchman" in Paris, but personally produced "Rienzi,"--services which Wagner poorly requited.

In 1849 "Le Prophete" was given in Paris; in 1854, "L'Etoile du Nord;"

and in 1859, "Dinorah;" but none of them reached the fame of "The Huguenots." In 1860 he wrote two cantatas and commenced a musical drama called "Goethe's Jugendzeit," which was never finished. In 1862 and 1863 he worked upon "L'Africaine," and at last brought it forward as far as a rehearsal; but he died April 23, 1863, and it was not performed until two years after his death.

THE HUGUENOTS.

"Les Huguenots," a grand opera in five acts, words by Scribe and Deschamps, was first produced at the Academie, Paris, Feb. 29, 1836, with the following cast of the princ.i.p.al parts:--

VALENTIN Mlle. FALCON.

MARGUERITE DE VALOIS Mme. DORUS-GRAS.

URBAIN Mlle. FLECHEUX.

COUNT DE ST. BRIS M. LERDA.

COUNT DE NEVERS M. DERIVIS.

RAOUL DE NANGIS M. NOURRIT.

MARCEL M. LEVa.s.sEUR.

At its first production in London in Italian, as "Gli Ugonotti," July 20, 1848, the cast was even more remarkable than that above. Meyerbeer specially adapted the opera for the performance, transposed the part of the page, which was written for a soprano, and expressly composed a cavatina to be sung by Mme. Alboni, in the scene of the chateau and gardens of Chenonceaux, forming the second act of the original work, but now given as the second scene of the first act in the Italian version. The cast was as follows:--

VALENTIN Mme. PAULINE VIARDOT.

MARGUERITE DE VALOIS Mme. CASTELLAN.

URBAIN Mlle. ALBONI.

COUNT DE ST. BRIS Sig. TAMBURINI.

COUNT DE NEVERS Sig. TAGLIAFICO.

RAOUL DE NANGIS Sig. MARIO.

MARCEL Sig. MARINI.

The action of the opera pa.s.ses in 1572, the first and second acts in Touraine, and the remainder in Paris. The first act opens on a scene of revelry in the salon of Count de Nevers, where a number of n.o.blemen, among them Raoul de Nangis, a Protestant, accompanied by his faithful old Huguenot servant, Marcel, are present, telling stories of their exploits in love. Marguerite de Valois, the betrothed of Henry IV., for the sake of reconciling the dispute between the two religious sects, sends her page to De Nevers's salon and invites Raoul to her chateau. When he arrives, Marguerite informs him of her purpose to give him in marriage to a Catholic lady, daughter of the Count de St.

Bris. Raoul at first consents; but when Valentin is introduced to him and he discovers her to be a lady whom he had once rescued from insult and who had visited De Nevers in his salon, he rejects the proposition, believing that her affections have been bestowed upon another, and that his enemies are seeking to entrap him. St. Bris challenges Raoul for the affront, but the Queen disarms the angry combatants. Valentin is now urged to marry Count de Nevers, and begs that she may pa.s.s the day in prayer in the chapel. Meanwhile Count de St. Bris, who has been challenged by Raoul, forms a plot for his a.s.sa.s.sination, which is overheard by Valentin from within the chapel.

She communicates the plot to Marcel, who lies in wait with a party of Huguenots in the vicinity of the duel, and comes to Raoul's rescue when danger threatens him. A general combat is about to ensue, but it is suppressed by Marguerite, who suddenly appears upon the scene.

Raoul thus discovers that he owes his life to Valentin, and that her visit to De Nevers was to induce him to sever the relations between them, as she was in love with Raoul. The announcement comes too late, for the marriage festivities have already begun. Raoul visits her for the last time. Their interview is disturbed by the approach of De Nevers, St. Bris, and other Catholic n.o.blemen, who meet to arrange the details of the plot conceived by Catherine de Medicis for the slaughter of the Huguenots on St. Bartholomew's Eve. Valentin hurriedly conceals Raoul behind the tapestries, where he overhears their plans and witnesses the conjuration and the blessing of the swords, as well as the refusal of the chivalrous De Nevers to engage in murder. After the conspirators have departed, Raoul and Valentin have a long and affecting interview, in which he hesitates between love and honor, Valentin striving to detain him lest he may be included in the general ma.s.sacre. Honor at last prevails, and he joins his friends just before the work of slaughter begins. He rushes to the festivities which are about to be given in honor of the marriage of Marguerite with the King of Navarre, and warns the Huguenots of their danger. He then makes his way to a chapel where many of them are gathered for refuge. He finds Marcel, who has been wounded, and who brings him the tidings of the death of De Nevers. The faithful Valentin joins them to share their fate. Amid the horrors of the ma.s.sacre Marcel blesses and unites them. They enter the church and all perish together.

The first act opens with the brilliant chorus of the revellers ("Piacer della mensa"), which is full of courtly grace. Raoul tells the story of the unknown fair one he has encountered, in the romanza, "Piu bianca del velo." When Marcel is called upon, he hurriedly chants the hymn, "O tu che ognor," set to the Martin Luther air, "Ein feste Burg," and heightened by a stirring accompaniment, and then bursts out into a graphic song ("Finita e pe' frati"), emphasized with the piff-paff of bullets and full of martial fervor. In delightful contrast with the fierce Huguenot song comes the lively and graceful romanza of Urbain ("n.o.bil donna e tanto onesta"), followed by a delightful septet. The scene now changes, and with it the music. We are in the Queen's gardens at Chenonceaux. Every number, the Queen's solo ("A questa voce sola"), the delicate "Bathers' Chorus," as it is called ("Audiam, regina, in questo amene sponde"), the brilliant and graceful allegretto sung by Urbain ("No, no, no, no"), the duet between the Queen and Raoul, based upon one of the most flowing of melodies, and the spirited and effective finale in which the n.o.bles take the oath of allegiance ("Per la fe, per l'onore"),--each and every one of these is colored with consummate skill, while all are invested with chivalrous refinement and stately grace.

The second act opens with a beautiful choral embroidery in which different choruses, most striking in contrast, are interwoven with masterly skill. It is a picture, in music, of the old Paris. The citizens rejoice over their day's work done. The Huguenots shout their l.u.s.ty Rataplan, while the Papist maidens sing their solemn litany ("Ave Maria") on their way to chapel; and as they disappear, the quaint tones of the curfew chant are heard, and night and rest settle down upon the city. It is a striking introduction to what follows,--the exquisite duet between Marcel and Valentin, the great septet of the duel scene, beginning, "De dritti miei ho l'alma accesa," with the tremendous double chorus which follows as the two bands rush upon the scene. As if for relief from the storm of this scene, the act closes with brilliant pageant music as De Nevers approaches to escort Valentin to her bridal.

The third act is the climax of the work, and stands almost unrivalled in the field of dramatic music, for the manner in which horror and pa.s.sion are ill.u.s.trated. After a dark and despairing aria by Valentin ("Eccomi sola ormai"), and a brief duet with Raoul, the conspirators enter. The great trio, closing with the conjuration, "Quel Dio," the awful and stately chant of the monks in the blessing of the unsheathed daggers ("Sia gloria eterna e onore"), and the thrilling unisons of the chorus ("D'un sacro zel l'ardore"), which fairly glow with energy, fierceness, and religious fury,--these numbers of themselves might have made an act; but Meyerbeer does not pause here. He closes with a duet between Raoul and Valentin which does not suffer in comparison with the tremendous combinations which have preceded it. It is filled with the alternations of despair and love, of grief and ecstasy. In its movement it is the very whirlwind of pa.s.sion. Higher form dramatic music can hardly reach. In the Italian version the performance usually closes at this point; but there is still another striking and powerful scene, that in which Raoul and Valentin are united by the dying Marcel. Then the three join in a sublime trio, and for the last time chant together the old Lutheran psalm, and await their fate amid the triumphant harpings that sound from the orchestra and the hosanna they sing to its accompaniment.

THE STAR OF THE NORTH.

"L'etoile du Nord," an opera in three acts, words by Scribe, was first performed at the Opera Comique, Paris, Feb. 16, 1854, and in Italian as "La Stella del Nord" at Covent Garden, London, July 19, 1855. In English it has been produced under the t.i.tle of "The Star of the North." The opera contains several numbers from the composer's earlier work, "Feldlager in Schlesien," which was written for the opening of the Berlin opera-house, in memory of Frederick the Great, and was subsequently (Feb. 17, 1847) performed with great success in Vienna, Jenny Lind taking the role of Vielka. The "Feldlager," however, has never been given out of Germany.

The action of the opera transpires in Wyborg, on the Gulf of Finland, in the first act, at a camp of the Russians in the second, and at the palace of the Czar Peter in the third. In the first, Peter, who is working at Wyborg, disguised as a carpenter, makes the acquaintance of Danilowitz, a pastry-cook, and Catharine, a cantiniere, whose brother George is about to marry Prascovia. Catharine brings about this marriage; and not only that, but saves the little village from an invasion by a strolling horde of Tartars, upon whose superst.i.tion she practises successfully, and so conducts herself in general that Peter falls in love with her, and they are betrothed, though she is not aware of the real person who is her suitor. Meanwhile the conscription takes place, and to save her newly wedded brother she volunteers for fifteen days in his place, disguising herself as a soldier. In the next act we find Catharine going her rounds as a sentinel in the Russian camp on the Finnish frontier. Peter and Danilowitz are also there, and are having a roistering time in their tent, drinking and making love to a couple of girls. Hearing Peter's voice she recognizes it, and curiosity leads her to peep into the tent. She is shocked at what she beholds, neglects her duty, and is found by the corporal in this insubordinate condition. He remonstrates with her, and she answers with a slap on his ears, for which she incurs the penalties of disobedience to orders as well as insulting behavior to her superior officer. Peter at last is roused from his drunkenness by the news of an insurrection among his own soldiers and the approach of the enemy.

He rushes out and promises to give Peter into their hands if they will obey and follow _him_. At last, struck with his bearing and authority, they demand to know who he is, whereupon he declares himself the Czar.

The mutiny is at once quelled. They submit, and offer their lives as warrant for their loyalty. The last act opens in the Czar's palace, where his old companion, Danilowitz, has been installed in high favor.

Catharine, however, has disappeared. George and Prascovia arrive from Finland, but they know nothing of her. The faithful Danilowitz finds her, but she has lost her reason. Her friends try to restore it by surrounding her with recollections of home, and Peter at last succeeds by playing upon his flute the airs he used to play to her in Finland.

Her senses come back, and thus all ends happily; for Catharine and Peter are at last united amid the acclamations of the people.

In the first act the character of Peter is well expressed in the surly, growling ba.s.s of his soliloquy ("Vedra, vedra"). It is followed by a characteristic drinking-chorus ("Alla Finlanda, beviam"), a wild, barbaric rhythm in the minor, which pa.s.ses into a prayer as they invoke the protection of Heaven upon Charles XII. In the eighth scene occur the couplets of Gritzensko as he sings the wild song of the Kalmucks. In charming contrast, in the next scene, Catharine sings the gypsy rondo, which Jenny Lind made so famous ("Wlastla la santa"), which is characterized by graceful coquetry; and this in turn is followed by a striking duet between Catharine and Peter, in which the individual characteristics of the two are brought out in genuine Wagnerian style. In the thirteenth scene occurs the bridal song of Prascovia ("Al suono dell'ora"), with choral accompaniment, of a delicate and coquettish cast, leading up to the finale, beginning with the soldiers' chorus ("Onor che a gloria"), with an accompaniment of drums and fifes, again pa.s.sing to a pathetic prayer ("Veglia dal ciel su lor") sung by Catharine amid the ringing of bells as the bridal wreath is placed upon Prascovia's head, and closing with a florid barcarole ("Vascel che lasci") as she sails away.

The second act opens with ballet music, full of Eastern color, and then ensues one of those choral combinations, like that in the second act of "the Huguenots," in which Meyerbeer so much delighted,--a cavalry chorus ("Bel cavalier del cuor d'acciar"), followed by the Grenadier's song, accompanied by chorus ("Granadier di Russia esperti"), the chorus taking up the "tr-r-r-um" refrain in imitation of the drum. In the eighth scene we have the orgy in the tent in the form of a very spirited dramatic trio, in which Peter sings a blithe drinking-song ("Vedi al par del rubino"); this in turn resolving into a quintet ("Vezzose vivandiere"), and again into a s.e.xtet, as Ismailoff enters with a letter for the Czar. The finale is a superb military picture, made up of the imposing oath of death to the tyrant, the stirring Dessauer march, the cavalry fanfare, and the Grenadiers'

march, interwoven with the chorus of women as they cheer on the marching soldiers.

The third act opens with a romanza ("Dal cor per iscacciare"), very tender and beautiful, in which the rugged Czar shows us the sentimental side of his character. In the third scene occurs a long buffo trio between Peter, Gritzensko, and Danilowitz, which is full of humor. In the finale we have Catharine in the mad scene, singing the scena, "L'aurora alfin succede," with bits of the old music running through the accompaniment; and in the final scene, as her reason returns, breaking out in the florid bravura, "Non s'ode alcun,"

accompanied by the first and second flutes, which is a triumph of virtuosity for the voice. This number was taken from "The Camp in Silesia," and was given by Jenny Lind with immense success, not only in the latter work, but upon the concert stage. The opera as a whole abounds in humor, its music is fresh and brilliant, and its military character makes it specially attractive.

ROBERT THE DEVIL

"Robert le Diable," a grand opera in five acts, words by Scribe and Delavigne, was first produced at the Academie, Paris, Nov. 21, 1831, with the following cast:--

ALICE Mlle. DORUS.

ISABELLE Mme. CINTI-DAMOREAU.

THE ABBESS Sigr. TAGLIONI.

ROBERT M. NOURRIT.