The Standard Operaglass Part 19

THE MACCABEES.

Opera in three acts by ANTON RUBINSTEIN.

Text by MOSENTHAL, taken from Otto Ludwig's drama of the same name.

This opera when it appeared, created a great sensation in the musical world. In it the eminent pianist and composer has achieved a splendid success. The music belongs to the n.o.blest and best and is in most masterly fas.h.i.+on adapted to the Jewish character. Ludwig and Mosenthal, both names of renown in Germany, have given a libretto worthy of the music.

The hero is the famous warrior of the Old Testament. The scene takes place 160 years before Christ, partly at Modin, a city in the mountains of Judah and partly in Jerusalem and its environs.

The first act shows Leah with three of her sons, Eleazar, Joarim and Benjamin. Eleazar is envious of Judah, the eldest son, whose courage and strength are on everybody's lips, but his mother consoles him by a prophesy, that Eleazar shall one day be High-priest and King of the Jews.

The fete of the sheep-shearing is being celebrated, and Noemi, Judah's wife, approaches Leah with garlands of flowers, asking for her benediction. But she is repulsed by her mother-in-law, who is too proud to recognize the low-born maid as her equal, and slights her son Judah for his love. She tries to incite him into rebellion against the Syrians, when Jojakim, a priest appears. He {189} announces the death of Osias, High-priest of Zion and calls one of Leah's sons to the important office.--As Judah feels no vocation for such a burden, Eleazar, his mother's favorite is chosen, and so Leah sees her dream already fulfilled. They are about to depart, when the approaching army of the Syrians is announced. Terror seizes the people, as Gorgias, the leader of the enemy marches up with his soldiers and loudly proclaims, that the Jews are to erect an altar to Pallas Athene, to whom they must pray henceforth. Leah seeks to inflame Eleazar's spirit, but his courage fails him. The altar is soon erected, and as Gorgias sternly orders that sacrifices are to be offered to the G.o.ddess, Boas, Noemi's father is found willing to bow to the enemy's commands. But the measure is full, Judah steps forth and striking Boas, the traitor to their faith, dead, loudly praises Jehova. He calls his people to arms, and repulses the Syrians and Leah, recognizing her son's greatness, gives him her benediction.

The second act represents a deep ravine near Emaus; the enemy is beaten and Judah is resolved to drive him from Zion's walls, but Jojakim warns him not to profane the coming Sabbath.

Judah tries to overrule the priests and to excite the people, but he is not heard, and the enemy is able to kill the psalm-singing soldiers like lambs.

The next scene shows us Eleazar with Cleopatra, daughter of King Antiochus of Syria.

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They love each other, and Eleazar consents to forsake his religion for her, while she promises to make him King of Jerusalem.

In the next scene Leah in the city of Modin is greeted with acclamations of joy, when Simei, a relative of the slain Boas appears to bewail Judah's defeat: Other fugitives coming up, confirm his narrative of the ma.s.sacre.--Leah hears that Judah fled and that Antiochus approaches conducted by her own son Eleazar. She curses the apostate.--She has still two younger sons, but the Israelites take them from her to give as hostages to the King Antiochus. Leah is bound to a cypress-tree by her own people, who attribute their misfortunes to her and to her sons. Only Noemi, the despised daughter-in-law remains to liberate the miserable mother, and together they resolve to ask the tyrant's pardon for the sons.

In the third act we find Judah, alone and unrecognized in the deserted streets of Jerusalem. Hearing the prayers of the people that Judah may be sent to them, he steps forth and tells them who he is, and all sink at his feet, swearing to fight with him to the death. While Judah prays to G.o.d for a sign of grace, Noemi comes with the dreadful news of the events at Modin, which still further rouses the anger and courage of the Israelites. Meanwhile Leah has succeeded in penetrating into Antiochus' presence to beg the lives of her children from him.

Eleazar, Gorgias and Cleopatra join their prayers to those of the poor mother, and at last {191} Antiochus consents, and the two boys are led into the room.

But the King only grants their liberty on condition that they renounce their faith. They are to be burnt alive, should they abide by their heresy. The mother's heart is full of agony, but the children's n.o.ble courage prevails. They are prepared to die for their G.o.d, but the unhappy mother is not even allowed to share their death. When Eleazar sees his brother's firmness, his conscience awakens, and notwithstanding Cleopatra's entreaties he joins them on their way to death. The hymns of the youthful martyrs are heard, but with the sound of their voices there suddenly mingles that of a growing tumult.

Antiochus falls, shot through the heart, and the Israelites rush in, headed by Judah, putting the Syrians to flight. Leah sees her people's victory, but the trial has been too great, she sinks back lifeless.

Judah is proclaimed King of Zion, but he humbly bends his head, giving all glory to the Almighty G.o.d.

THE MAGIC FLUTE.

(DIE ZAUBERFLOeTE.)

Opera in two acts by MOZART.

Text by SCHIKANEDER.

This last opera of Mozart's, written only a few months before his death, approaches so near to perfection, that one almost feels in it the motion of the spirit-wings which were so soon alas! to bear {192} away Mozart's genius from earth, too early by far, for he died at the age of 35, having accomplished in this short s.p.a.ce of time more than other great composers in a long life.

The Magic Flute is one of the most remarkable operas known on the stage. It is half fict.i.tious, half allegorical.--The text, done by the old stage-director Schikaneder was long mistaken for a fiction without any common sense, but Mozart saw deeper, else he would not have adapted his wonderful music to it.--It is true that the tales of old Egypt are mixed up in a curious manner with modern freemasonry, but n.o.body, except a superficial observer, could fail to catch a deep moral sense in the naive rhymes.

The contents of the opera are the following: Prince Tamino, a youth as valiant as he is n.o.ble and virtuous, is implored by the Queen of Night, to save her daughter, whom the old and sage High-priest Sarastro has taken from her by force. The bereaved mother pours forth her woe in heart-melting sounds and promises everything to the rescuer of her child. Tamino is filled with ardent desire to serve her.--On his way he meets the gay Papageno, who at once agrees to share the Prince's adventures. Papageno is the gay element in the opera; always cheerful and in high spirits, his ever-ready tongue plays him many a funny trick. So we see him once with a lock on his mouth by way of punishment for his idle prating. As he promises never to tell a lie any more, the lock is taken {193} away by the three Ladies of the Queen of Night. Those Ladies present Tamino with a golden flute, giving at the same time an instrument made with little silver bells to Papageno, both of which are to help them in times of danger. The Queen of Night even sends with them three boy-angels. These are to point out to them the ways and means by which they may attain their purpose.

Now the young and beautiful Princess Pamina is pursued by declarations of love from a negro-servant of Sarastro. Papageno comes to her rescue, frightening the negro Monostatos with his feathery dress.

Papageno, on the other hand fears the negro on account of his blackness, believing him to be the devil in person. Papageno escapes with Pamina, but the negro overtakes him with his servants. Then Papageno shakes his bells, and lo, all forgetting their wrath forthwith begin to dance.

Meanwhile Tamino reaches 'Sarastro's castle, and at once asks for the High-priest, poor Pamina's bitter enemy. The Under-priests do not allow him to enter, but explain that their Master Sarastro is as good as he is sage, and that he always acts for the best. They a.s.sure Tamino, that the Princess lives and is in no danger. Full of thanks, the Prince begins to play on his flute; and just then he hears Papageno's bells. At this juncture Sarastro appears, the wise Master, before whom they al bow. He punishes the wicked negro; but Tamino and his Pamina are not to be united without first having given ample proof of their love and constancy. {194} Tamino determines to undergo whatever trials may await him, but the Queen of Night, knowing all, sends her three Ladies, to deter Tamino and his comrade from their purpose. But all temptation is gallantly set aside; they have given a promise to Sarastro which they will keep.

Even the Queen of Night herself is unable to weaken their strength of purpose; temptations of every kind overtake them, but Tamino remains firm. He is finally initiated into the mysteries of the G.o.ddess Isis.

In the interval Pamina deems Tamino faithless. She would fain die, but the three celestial youths console her, by a.s.suring her that Tamino's love is true, and that he pa.s.ses through the most severe trials solely on her behalf.

On hearing this Pamina at once asks to share in the trials, and so they walk together through fire and water, protected by the golden flute, as well as by their courage and constancy. They come out purified and happy.

Papageno, having lost his companion, has grown quite melancholy and longs for the little wife, that was promised to him and shown to him only for a few moments. He resolves at last to end his life by hanging himself, when the celestial youths appear, reminding him of his bells.

He begins to shake them, and Papagena appears in feathery dress, the very counter-part of himself. All might now be well, were it not that the Queen of Night, a somewhat unreasonable lady, broods vengeance.

{195} She accepts the negro Monostatos as her avenger, and promises to give him her daughter. But already Sarastro has done his work; Tamino is united to his Pamina, and before the sunny light of truth everything else vanishes and sinks back into night.

THE MAIDENS OF SCHILDA.

Comic Opera in three acts by ALBAN FORSTER.

Text by RUDOLF BUNGE.

The first work of this composer was produced on the stage of the Royal Dresden theatre on the twelfth of October 1889 and was received with great applause. This surprising success is due firstly to the great popularity, which Forster enjoyed as former Director of the renowned "Liedertafel" (Society for vocal music) and as teacher, and then to the numerous pretty melodies intermixed with national airs, in which particularly the old "Dessauer march" is skilfully interwoven, then the wellknown student air "Was kommt dort von der Hoeh'", which of course gladdens the heart of every student old or young.

Nevertheless it might be called an Operette rather than an Opera. The text at least does not range any higher, it is often almost silly, the rhymes bad and unequal.

Nevertheless those who like to be amused by a light and agreeable flow of music may pa.s.s a merry evening, listening to the droll exploits of the two Schilda maidens.--Schilda and {196} Schildburghers are in Germany synonymous with narrow mindedness, which is indeed strongly marked in the inhabitants of this out-of-the way town.

The scene is laid in the last century.

In the first act an order of the Prince of Dessau calls all the youngsters of Schilda to arms.--The chief magistrate with the characteristic name of Ruepelmei (Ruepel=Clown), who has already given to the town so many wise laws, as for instance the one, which decrees that the Schilda maidens under thirty are not allowed to marry--now demonstrates to his two nieces, Lenchen and Hedwig, the benefit of his legislation, in as much as they might otherwise be obliged to take leave of their husbands. He wants to marry one of them himself, but they have already given their hearts to two students and only laugh at their vain uncle. This tyrant now orders all the maidens to be locked up in a place of safety every evening, in order to guard them from outsiders; further the worthy Schildaers resolve to build a wall, which is to shut them out from the depraved world.

While Ruepelmei is still reflecting upon these ingenious ideas, a French Courier, the Marquis de Maltracy enters, imploring the Burgomaster to hide him from the Prussian pursuers, who are on his track. He promises a cross of honor to the ambitious Ruepelmei, who at once hides him in the Town-hall.--Meanwhile a chorus of students approaches, who have left Halle to avoid being enlisted in the army. Lenchen and Hedchen, recognizing {197} their sweet-hearts among them, greet them joyfully, and when Ruepelmei appears, they propitiate him by flattery.

A lively scene of student-life ensues, in which the maidens join, after their old night-guardian Schlump has been intoxicated.

Ruepelmei returning and seeing this spectacle, orders the police to seize the students, but instead of doing so, they thrust him into the very same barrel, which he has invented for the punishment of male citizens, and so he is obliged to be as impotent spectator of their merry-making.

In the second act he has been liberated by his faithful citizens; the students have escaped and the maidens are waiting to be locked up in their place of refuge.--But in the shades of evening the two students, Berndt and Walter return and are hidden by their sweet-hearts, Lenchen and Hedchen among the other maidens, after having put on female garments.--They all have hardly disappeared in the Town-hall, when the Prince of Dessau arrives with his Grenadiers to seize the students, of whose flight to Schilda he has been informed.--Ruepelmei tells him, that he has captured and killed many of them, but the Prince, disbelieving him, orders his soldiers to search the houses beginning with the Town-hall. Ruepelmei, remembering the Marquis, implores him to desist from his resolution, the Town-hall being the nightly asylum for Schilda's daughters, but in vain. Schlump, the snoring guardian is awakened and ordered to open {198} the door to the room, where the maidens are singing and frolicking with their guests.--The Marquis de Maltracy has also introduced himself, but perceiving that he is a spy, they all turn from him in disdain; when the Prussian Grenadiers are heard, they quickly hide him in a large trunk.

The Prince, finding all those pretty girls, is quite affable, and a general dancing and merry-making ensues, during which the students vainly try to escape, when suddenly two of the Grenadiers perceive that their respective beauties have beards.--The students are discovered and at once ordered to be put into the uniform, while Ruepelmei is arrested and handcuffed notwithstanding his protestations.

When the third act opens, drilling is going on in the town, and Walter and Berndt are among the recruits.

Lenchen and Hedwig arrive with the other girls to free the students.--They flatter the drill-sergeant, and soon the drilling is forgotten--and they are dancing merrily, when the Prince of Dessau arrives in the midst of the fun and threatens to have the officer shot for neglect of duty and the students as deserters. While the maidens are entreating him to be merciful, Berndt suddenly remembers the French Courier. He quickly relates to the Prince, that they have captured a French Marquis, who has a most important doc.u.ment in his possession, the plan of war. The Prince promising to let them free, if that proves to be true, the Marquis is conducted before the {199} Prince, and the latter discovers that he is a messenger to the King of France, and that his letter is to show how the French army might attack the Prussians unawares. By this discovery the Germans are saved, for Dessau has time to send an officer to Saxony with orders to occupy Dresden before the arrival of the enemy.