Act II. The scene is in the dungeon where _Florestan_ is in heavy

chains. To one side is the old cistern covered with rubbish. Musically the act opens with _Florestan's_ recitative and air, a fit companion piece to _Leonore's_ "Komm Hoffnung" in Act I. The whispered duet between _Leonore_ and _Rocco_ as they dig the grave and the orchestral accompaniment impress one with the gruesome significance of the scene.

_Pizarro_ enters the vault, exultantly makes himself known to his enemy, and draws his dagger for the fatal thrust. _Leonore_ throws herself in his way. Pushed aside, she again interposes herself between the would-be murderer and his victim, and, pointing at him a loaded pistol, which she has had concealed about her person, cries out: "First slay his wife!"

At this moment, in itself so tense, a trumpet call rings out from the direction of the fortress wall. _Jacquino_ appears at the head of the stone stairway leading down into the dungeon. The _Minister of State_ is at hand. His vanguard is at the gate. _Florestan_ is saved. There is a rapturous duet, "O, namenlose Freude" (Joy inexpressible) for him and the devoted wife to whom he owes his life.

In _Florestan_ the _Minister of State_ recognizes his friend, whom he believed to have died, according to the reports set afloat by _Pizarro_, who himself is now apprehended. To _Leonore_ is assigned the joyful task of unlocking and loosening her husband's fetters and freeing him from his chains. A chorus of rejoicing: "Wer ein solches Weib errungen" (He, whom such a wife has cherished) brings the opera to a close.

It is well said in George P. Upton's book, _The Standard Operas_, that "as a drama and as an opera, 'Fidelio' stands almost alone in its perfect purity, in the moral grandeur of its subject, and in the resplendent ideality of its music." Even those who do not appreciate the beauty of such a work, and, unfortunately their number is considerable, cannot fail to agree with me that the trumpet call, which brings the prison scene to a climax, is one of the most dramatic moments in opera. I was a boy when, more than forty years ago, I first heard "Fidelio" in Wiesbaden. But I still remember the thrill, when that trumpet call split the air with the message that the _Minister of State_ was in sight and that _Leonore_ had saved her husband.

[Music]

When "Fidelio" had its first American performance (New York, Park Theatre, September 9, 1839) the opera did not fill the entire evening. The entertainment, as a whole, was a curiosity from present-day standards. First came Beethoven's opera, with Mrs. Martyn as _Leonore_. Then a _pas seul_ was danced by Mme. Araline; the whole concluding with "The Deep, Deep Sea," in which Mr. Placide appeared as _The Great American Sea Serpent_. This seems incredible. But I have searched for and found the advertisement in the New York _Evening Post_, and the facts are stated.

Under Dr. Leopold Damrosch, "Fidelio" was performed at the Metropolitan Opera House in the season of 1884-85; under Anton Seidl, during the season of 1886-87, with Brandt and Niemann as well as with Lehmann and Niemann as _Leonore_ and _Florestan_.

The 1886-87 representations of "Fidelio," by great artists under a great conductor, are among the most vivid memories of opera-goers so fortunate as to have heard them.

Weber and his Operas

Carl Maria von Weber, born at Eutin, Oldenberg, December 18, 1786, died in London, June 5, 1826, is the composer of "Der Freischütz;" "Euryanthe," and "Oberon."

"Der Freischütz" was first heard in Berlin, June 18, 1821. "Euryanthe" was produced in Vienna, October 25, 1823. "Oberon" had its first performance at Covent Garden, London, April 12, 1826. Eight weeks later Weber died. A sufferer from consumption, his malady was aggravated by over-exertion in finishing the score of "Oberon," rehearsing and conducting the opera, and attending the social functions arranged in his honour.

DER FREISCHÜTZ

The first American performance of this opera, which is in three acts, was in English. The event took place in the Park Theatre, New York, March 2, 1825. This was only four years later than the production in Berlin. It was not heard here in German until a performance at the old Broadway Theatre. This occurred in 1856 under the direction of Carl Bergmann. London heard it, in English, July 23, 1824; in German, at the King's Theatre, May 9, 1832; in Italian, as "Il Franco Arciero," at Covent Garden, March 16, 1825. For this performance Costa wrote recitatives to replace the dialogue. Berlioz did the same for the production at the Grand Opéra, Paris, as "Le Franc Archer," June 7, 1841. "Freischütz" means "free-shooter"--someone who shoots with magic bullets.

CHARACTERS

PRINCE OTTOKAR _Baritone_ CUNO, head ranger _Bass_ MAX, a forester _Tenor_ KASPAR, a forester _Bass_ KILIAN, a peasant _Tenor_ A HERMIT _Bass_ ZAMIEL, the wild huntsman _Speaking Part_ AGATHE, Cuno's daughter _Soprano_ AENNCHEN (ANNETTE), her cousin _Soprano_

_Time_--Middle of 18th Century.

_Place_--Bohemia.