The Standard Operas Part 10

The scene of the opera is laid at Seville, Spain. Count Almaviva has fallen in love with Rosina, the ward of Dr. Bartolo, with whom she resides, and who wishes to marry her himself. After serenading his mistress, who knows him only by the name of Count Lindoro, he prevails upon Figaro, the factotum of the place, to bring about an interview with her. In spite of her guardian's watchfulness, as well as that of Don Basilio, her music-teacher, who is helping Bartolo in his schemes, she informs the Count by letter that she returns his pa.s.sion. With Figaro's help he succeeds in gaining admission to the house disguised as a drunken dragoon, but this stratagem is foiled by the entrance of the guard, who arrest him. A second time he secures admission, disguised as a music-teacher, and pretending that he has been sent by Don Basilio, who is ill, to take his place. To get into Bartolo's confidence he produces Rosina's letter to himself, and promises to persuade her that the letter has been given him by a mistress of the Count, and thus break off the connection between the two. By this means he secures the desired interview, and an elopement and private marriage are planned. In the midst of the arrangements, however, Don Basilio puts in an appearance, and the disconcerted lover makes good his escape. Meanwhile Bartolo, who has Rosina's letter, succeeds in arousing the jealousy of his ward with it, who thereupon discloses the proposed elopement and promises to marry her guardian. At the time set for the elopement the Count and Figaro appear. A reconciliation is easily effected, a notary is at hand, and they are married just as Bartolo makes his appearance with officers to arrest the Count. Mutual explanations occur, however, and all ends happily.

The first act opens after a short chorus, with the serenade, "Ecco ridente in cielo," the most beautiful song in the opera. It begins with a sweet and expressive largo and concludes with a florid allegro, and is followed by a chorus in which the serenaders are dismissed. In the second scene Figaro enters, and after some brief recitatives sings the celebrated buffo aria, "Largo al factotum," in which he gives an account of his numerous avocations. The aria is full of life and gayety, and wonderfully adapted to the style of the mercurial Figaro.

A light and lively duet between Figaro and the Count, closing with the sprightly melody, "Ah! che d'amore," leads up to the chamber aria of Rosina, so well known on the concert-stage, "Una voce poco fa," which is not only very expressive and of great compa.s.s, but is remarkably rich in ornamentation. A short dialogue in recitative then occurs between Bartolo and Basilio, in which they plot to circ.u.mvent Rosina by calumny, which gives occasion for the Calumny aria, as it is generally known ("La calunnia"), a very sonorous ba.s.s solo, sung by Basilio. Another dialogue follows between Figaro and Rosina, leading to the florid duet, "E il maestro io faccio." A third dialogue follows between Rosina and Bartolo, ending in a ba.s.s aria ("Non piu tacete"), very similar in its general style to the Calumny song, but usually omitted in performances. In the tenth scene the Count arrives disguised as the drunken soldier, and the finale begins. It is composed of three scenes very ingeniously arranged, and full of glittering dialogue and very melodious pa.s.sages.

The second act opens with a soliloquy by Bartolo ("Ma redi il mio destino"), in which he gives vent to his suspicions. It is interrupted at last by a duet with the Count, in which the two characters are strikingly set off by the music. The music-lesson scene follows, in which the artist personating Rosina is given an opportunity for interpolation. In the next scene occurs a dialogue quintet, which is followed by a long aria ("Sempre gridi") by the duenna Bertha, called by the Italians the "Aria de Sorbetto," because the people used to eat ices while it was sung; reminding one of the great aria from "Tancredi," "Di tanti palpiti," which they called the "aria dei rizzi," because Rossini composed it while cooking his rice. In the eighth scene, after a long recitative, an instrumental prelude occurs, representing a stormy night, followed by a recitative in which the Count reveals himself, leading up to a florid trio, and this in turn to the elegant terzetto, "Zitti, zitti." A bravura and finale of light and graceful melody close the opera.

SEMIRAMIDE

"Semiramide" a lyric tragedy in two acts, words by Gaetano Rossi, the subject taken from Voltaire's "Semiramis," was first produced at the Fenice, Venice, Feb. 3, 1823, with the following cast:--

SEMIRAMIDE Mme. ROSSINI-COLBRAN.

ARSACES Mme. MARIANI.

IDRENO Mr. SINCLAIR.

a.s.sUR Sig. GALLI.

OROE Sig. MARIANI.

On the 9th of July it was produced in French at the Academie, Paris, as "Semiramis," with Carlotta Marchisio as Semiramide, Barbara, her sister, as Arsaces, and M. Obin as a.s.sur. At Rossini's request M.

Carafa arranged the recitatives and wrote the ballet music.

"Semiramide" was the last opera Rossini wrote for Italy; and so far did he depart from the conventional Italian style, that he was charged with imitating the German. It was probably for this reason that the opera when first performed did not meet with a kindly reception from the Venetians. Although he was occupied six months in negotiating for his stipulated price (one thousand dollars), he wrote the opera in three weeks. Of its first performance, a correspondent of the "Harmonicon," who was present, writes: "The first act, which lasted two hours and fifteen minutes, was received very coldly, with the exception of one pa.s.sage in the overture, which overture, however, was unconscionably long. The second act, which lasted two hours and a half, began to please in an air of Mariani, but the applause was rather directed to this favorite singer. After this a duet between her and Colbran, together with an air of Galli, and particularly a terzetto between him and the two ladies, were well received. Rossini was also called for at the end of the second act. It is all over with Madame, his own wife" (Mme. Colbran), who took the t.i.tle-role.

The scene of the opera is laid in Babylon, and the story briefly told is as follows: Ninus, the King of Babylon, has been murdered by his Queen, Semiramis, aided by a.s.sur, a prince enamoured of her and aspiring to the throne. One of the Queen's warriors, Arsaces, supposed to be of Scythian origin, but in reality her own son, returns from a foreign expedition and is loaded with honors for the victory he has won. Semiramis, ignorant of his parentage, has a secret pa.s.sion for him, he in the mean time being devoted to Azema, one of the princesses royal. As all gather together in the temple to swear allegiance to the Queen, the gates of Ninus's tomb suddenly open, and his ghost appears and announces that Arsaces will be the successor to the crown. At midnight Semiramis, a.s.sur, and Arsaces meet at the tomb, and by mistake a.s.sur stabs her instead of Arsaces, who in turn kills a.s.sur, and, all obstacles being removed, is united to Azema and ascends the throne.

An introductory chorus of Babylonians and a terzetto by Idreno, a.s.sur, and Oroe open the opera and lead up to the first appearance of Semiramis, which is followed by a very dramatic quartet ("Di tanti regi"). In the fourth scene Arsaces has a very brilliant aria ("O!

come da quel di"), which also did service in one or two of Rossini's other operas, and is followed by a very animated duet ("Bella imago degli dei") between himself and a.s.sur. The eighth scene is introduced by a graceful female chorus which leads to Semiramis's brilliant and well-known aria, "Bel raggio." In the tenth scene occurs an elegant duet ("Serbami agnor si fido"), followed in the next scene by a stately priests' march and chorus ("Ergi omai la fronte altera"), set to ecclesiastical harmony and accompanied by full military band as well as orchestra, this being the first instance where a military band was used in Italian opera. It leads to the finale, where Semiramis on her throne announces to her people her choice for their future king.

The oath of allegiance follows in an impressive quartet with chorus ("Giuro al numi"), and a defiant aria by the Queen leads to the sudden appearance of the ghost of Ninus, accompanied by characteristic music repeated in quintet with chorus. As the ghost speaks, the statue scene in Don Giovanni is inevitably recalled, especially in some phrases which are literally copied.

The second act opens with a vindictively pa.s.sionate duet ("a.s.sur, icenni mici") between a.s.sur and Semiramis, closing with a fierce outburst of hatred ("La forza primiera"). The scene is a very long and spirited one, and is followed by a second chorus of priests, leading to a great aria with chorus ("Ah! tu gelar mi fai") for Arsaces. In the fifth scene occurs a long duet between Arsaces and Semiramis, the second part of which ("Giorno d'orrore") is the strongest number in the opera. Though intensely pa.s.sionate in its tone, the music is smooth and flowing and very florid for both voices. The seventh scene is composed of a scena, aria and chorus, followed by still another chorus in the mausoleum. Semiramis sings a prayer of great pathos and beauty ("Ah mio pregar"). A terzetto ("L'usato ardir"), which like the mausoleum chorus is based upon an aria from Mozart's "Cosi fan tutti,"

closes the opera. "The Harmonicon," to which reference has already been made, in an a.n.a.lysis of the work, has the following apt criticism: "It has been said, and truly, that 'Semiramide' is composed in the German style, but it is the German style exaggerated. Rossini is become a convert to this school, and his conversion does his judgment credit, though like all proselytes he pa.s.ses into extremes.

Not satisfied with discarding the meagre accompaniments of the Italian composers, he even goes far beyond the tramontane masters in the mult.i.tude and use of instruments, and frequently smothers his concerted pieces and choruses by the overwhelming weight of his orchestra." But what would the "Harmonicon" have said, had it had Wagner's instrumentation before it?

WILLIAM TELL

"William Tell," an opera in three acts, words by etienne Jouy and Hippolyte Bis, the subject taken from Schiller's drama of the same name, was first produced at the Academie, Paris, Aug. 3, 1829, with the following cast:--

MATHILDE Mme. DAMOREAU-CINTI.

JEMMY Mme. DABODIE.

HEDWIG Mlle. MORI.

ARNOLD M. NOURRIT.

WALTER M. LEVa.s.sEUR.

TELL M. DABODIE.

RUODI M. DUPONT.

RODOLPHE M. Ma.s.sOL.

GESSLER M. PReVOST.

LEUTOLD M. PReVoT.

Rossini wrote for Paris only two new operas, "Le Comte Ory" and "William Tell,"--the latter his masterpiece in the serious style. The libretto was first prepared by M. Jouy, but it was so bad that M. Bis was called in, and to him is due the whole of the second act. Even after the two authors had changed and revised it, Rossini had to alter it in many places. When it was first performed the weakness of the drama was at once recognized, though its music was warmly welcomed, especially by the critical. It was represented fifty-six times in its original form, and was then cut down to three acts, the original third act being omitted and the fourth and fifth condensed into one. For three years after this time the second act was alone performed in Paris; but when M. Duprez made his debut in the part of Arnold, a fresh enthusiasm was aroused, and there was a genuine Tell revival.

The scene of the opera is laid in Switzerland, period the thirteenth century, and the action closely follows the historical narrative. The disaffection which has arisen among the Swiss, owing to the tyranny of Gessler, suddenly comes to a climax when one of Gessler's followers attempts an outrage upon the only daughter of the herdsman Leutold, and meets his death at the hands of the indignant father. Leutold seeks protection at the hands of Tell, who, in the face of the herdsman's pursuers, succeeds in placing him beyond the reach of danger, and this circ.u.mstance arouses the wrath of Gessler. Melchtal, the village patriarch, is accused by him of inciting the people to insubordination, and is put to death. Meanwhile Arnold, his son, is enamoured of Mathilde, Gessler's daughter, and hesitates between love and duty when he is called upon to avenge his father's death. At last duty prevails, and he joins his comrades when the men of the three cantons, who are loyal to Tell, meet and swear death to the tyrant. In the last act occurs the famous archery scene. To discover the leading offenders Gessler erects a pole in the square of Altorf, upon which he places his hat and commands the people to do homage to it. Tell refuses, and as a punishment is ordered to shoot an apple from his son's head. He successfully accomplishes the feat, but as he is about to retire Gessler observes a second arrow concealed in his garments, and inquires the reason for it, when Tell boldly replies it was intended for him in case the first had killed his son. Gessler throws him into prison, whereupon Mathilde abandons her father and determines to help in the rescue of Tell and his son. Her lover, Arnold, meanwhile, raises a band of brave followers and accomplishes the rescue himself. After slaying the tyrant and freeing his country Tell returns to his family, and Arnold and Mathilde are united.

The overture to "William Tell," with its Alpine repose, its great storm-picture, the stirring "Ranz des Vaches," and the trumpet-call to freedom, is one of the most perfect and beautiful ever written, and is so familiar that it does not need a.n.a.lysis. The first act opens with a delightfully fresh Alpine chorus ("E il ciel sereno"), which is followed by a pastoral quartet between a fisherman, Tell, Hedwig, and Jemmy. Arnold enters, and a long duet, one of Rossini's finest inspirations, follows between Arnold and Tell. The duet is interrupted by the entrance of several of the peasants escorting two brides and bridegrooms, which is the signal for a most graceful chorus and dance ("Cinto il crine"). Leutold then appears, seeking Tell's protection, and a very dramatic finale begins, closing with the arrest of Melchtal, which leads to an ensemble of great power.

The second act opens with a double chorus of huntsmen and shepherds ("Qual silvestre metro intorne"), which is followed by a scena preluding a charming romanza ("Selva opaco") sung by Mathilde. Its mild, quiet beauty is in strange contrast with the remainder of this great act. It is followed by a pa.s.sionate duet with Arnold, a second and still more pa.s.sionate duet between Tell and Walter, which leads to the magnificent trio of the oath ("La gloria inflammi"), and this in turn is followed by the splendid scene of the gathering of the cantons. For melodic and harmonic beauty combined, the spirited treatment of ma.s.ses, and charm and variety of color, this great scene stands almost alone.

The last act opens with a duet between Mathilde and Arnold, which is followed in the next scene by a march and chorus as the mult.i.tude gathers in the square of Altorf, closing with a lovely Tyrolean chorus sung by the sopranos and accompanied with the dance. The dramatic scene of the archery follows, and then Arnold has a very pa.s.sionate aria ("O muto asil"). Some very vivid storm-music preluding the last scene, and the final hymn of freedom ("I boschi, i monti") close an opera which is unquestionably Rossini's masterpiece, and in which his musical ability reached its highest expression. "Manly, earnest, and mighty," Hanslick calls it; and the same authority claims that the first and second acts belong to the most beautiful achievements of the modern opera.

RUBINSTEIN.

Anton Gregor Rubinstein was born Nov. 30, 1829, at Weghwotynez in Russia. His mother gave him lessons at the age of four, with the result that by the time he was six she was unable to teach him anything more. He then studied the piano with Alexander Villoing, a pupil of John Field. In 1840 he entered the Paris Conservatory, where he attracted the attention of Liszt, Chopin, and Thalberg. He remained in that city eighteen months, and then made some professional tours, in which he met with extraordinary success. In 1844 his parents removed to Berlin, and he was placed under Dehn, the famous contrapuntist, to study composition. From 1846 to 1848 he taught music in Pressburg and Vienna, and then went back to Russia. For eight years he studied and wrote in St. Petersburg, and at the end of that time had acc.u.mulated a ma.s.s of ma.n.u.scripts destined to make his name famous all over Europe, while his reputation as a skilful pianist was already world-wide. He visited England again in 1857, and the next year returned home and settled in St. Petersburg, about which time he was made Imperial Concert Director, with a life-pension. At this period in his career he devoted himself to the cause of music in Russia. His first great work was the foundation of the Conservatory in the above city in 1862, of which he remained princ.i.p.al until 1867. He also founded the Russian Musical Society in 1861, and in 1869 was decorated by the Czar. In 1870 he directed the Philharmonic and Choral Societies of Vienna, and shortly afterwards made another tour, during which, in 1872, he came to this country with the eminent violinist, Wieniawsky, as will be well remembered. His greatest works are the "Ocean Symphony," "Dramatic Symphony," and a character sketch for grand orchestra called "Ivan the Terrible;" his operas, "Children of the Heath," "Feramors," "Nero," "The Maccabees," "Dimitri Donskoi," and the "Demon;" the oratorios "Paradise Lost," and "Tower of Babel," and a long and splendid catalogue of chamber, salon, and concert music, besides some beautiful songs, which are great favorites in the concert-room.

NERO.

The opera of "Nero," the libretto by Jules Barbier, was first produced in Hamburg in 1879,--though it was originally intended for the French stage,--and in this country, March 14, 1887, at New York, by the American Opera Company, under the direction of Mr. Theodore Thomas, with the following cast:--

NERO Mr. CANDIDUS.

JULIUS VINDEX Mr. LUDWIG.

TIGELLINUS Mr. STODDARD.

BALBILLUS Mr. WHITNEY.

SACCUS Mr. FESSENDEN.

SEVIRUS Mr. HAMILTON.

TERPANDER Mr. LEE.

POPPOEA SABINA Miss BERTHA PIERSON.

EPICHARIS Miss CORNELIA VAN ZANTEN.

CHRYSA Miss EMMA JUCH.

AGRIPPINA Miss AGNES STERLING.

LUPUS Miss PAULINE L'ALLEMAND.

The first act opens in the house of Epicharis, a courtesan, which is a rendezvous for the dissolute Roman n.o.bles. The guests a.s.sembled sing a chorus in praise of the establishment, followed by a scene in which Vindex, the prince of Aquitania, Saccus the poet, Terpander the citharist, and others conspire against Nero. Suddenly Chrysa, daughter of Epicharis, who is ignorant of her mother's real character and dwells apart from her, rushes in and implores the protection of Vindex from a crowd of revellers who have pursued her. A very spirited duet follows in which the prince promises her his a.s.sistance. Upon hearing the shouts of her pursuers he conceals her just in time to escape the masked band, headed by Nero himself, which bursts into the apartment.

The tyrant demands the girl; and as he throws off his mask the guests stand amazed. Saccus at last breaks the spell by the suggestion that Nero shall marry the girl. When she is led out, and Vindex discovers that Epicharis is her mother, he no longer espouses her cause. Then follows the music of the mock marriage, interspersed with dance strains and sardonic choruses by the courtesans and their a.s.sociates, at last rising to a wild baccha.n.a.lian frenzy, in the midst of which Vindex breaks out in a spirited song, with harp accompaniment, and finally hurls invectives at Nero, as Chrysa, who has drunk a narcotic at her mother's order, falls senseless. The latter declares she has been poisoned, and the act closes with a scene of great power in which Vindex is hurried away as Nero's prisoner.

The second act opens in the dwelling of Poppoea, Nero's mistress, whose attendants are trying to console her. She has heard of Nero's new infatuation; but her apprehensions are relieved when Balbillus, the astrologer, enters and not only announces that Chrysa is dead, but tells the equally grateful news that Octavia, Nero's wife, has been condemned to die. Nero himself now appears upon the scene, and a duet follows in which Poppoea reproaches him for his fickleness and he seeks to console her with flattery. At its close the death of Octavia is announced, and Poppoea is appeased by the prospect of sharing the throne. Meanwhile Chrysa has fallen into the custody of Agrippina, Nero's mother, who keeps close charge of her to further her own ambitions. During the interview between the tyrant and his mistress, Epicharis rushes in and implores Nero to give up Chrysa, which leads to a powerful ensemble. Learning that Chrysa is still alive he leaves the apartment to find her. The second scene is brilliantly spectacular. Nero and his mother appear in front of the temple, followed by a long procession to the music of a brilliant march. They enter the temple. After a short episode, in which Poppoea informs Epicharis of the refuge Chrysa has found, the ballet is given in the open square, with its fascinating dances of warriors, bacchantes, jugglers and buffoons, and their mimic combats, the music of which is very familiar from its frequent performance in our concert-rooms. Nero then appears and announces his divinity in a finale, which is rich with scenic, spectacular, and choral effects, accompanied by full military band and orchestra.

The third act opens in Chrysa's new asylum of refuge. The persecuted girl sings a beautiful prayer, at the close of which Vindex joins her in a love-duet, which will always remain as one of the most refined and n.o.ble products of Rubinstein's skill in harmony. The next number is one of almost equal beauty,--a duet for Chrysa and Epicharis, the motive of which is a cradle song. Its soothing tones are interrupted by the appearance of Nero, followed by Poppoea and Saccus, the last-named announcing to the tyrant that Rome is in flames, which leads up to a vigorous trio. The concluding scene is full of characteristic music. It shows us Nero watching the fire from his tower, while he sings a hymn ("O Ilion") to the accompaniment of his lyre; the death of Chrysa, who proclaims herself a Christian and is killed by the infuriated populace; and the fate of Epicharis, who is crushed beneath a falling house as she mourns for her daughter.

The fourth act furnishes a dramatic denouement to the mournful story.

The tyrant, wild with rage and frenzy, appears in the tomb of Augustus, where the shades of his murdered victims terrify him. Saccus enters and tells him of the revolt of his army and the danger which threatens him. He rushes out again and kills himself on the highway of the Campagna, just as Vindex at the head of his legions comes up with him. As he expires a cross appears in the sky and a chant is heard, herald of the coming Christianity.

THOMAS.

Charles Ambroise Thomas was born at Metz, Aug. 5, 1811, and entered the Paris Conservatory in 1828, where he carried off the Grand Prize in 1832, which ent.i.tled him to go to Italy. During his Italian residence he wrote a cantata, "Hermann und Ketty," and several instrumental works. His first work at the Opera Comique was the one-act opera, "La double ech.e.l.le," produced in 1837 with success. He then brought out several ballets at the Academie, but returned to the Opera Comique again, where, between 1840 and 1866, he composed thirteen operas, the most successful of which were "Le Songe d'une nuit d'ete" (1850), "Raymond" (1851), "Psyche" (1857), and "Mignon"