Act II. A magnificent room in the cadi's house. What a stirring,
harmonious picture. _Margiana_, _Bostana_, and the cadi rejoice: "He comes! he comes! oh, delightful pleasure." Of course the covetous old cadi is not thinking of young _Nureddin_ but of the rich old _Selim_ who wants to have _Margiana_ for his wife. A mighty chest full of rich gifts, so he announces. But the cadi goes off full of dignity to prayers in the mosque. And now _Nureddin_ comes. How happy the couple are. But is not that the barber approaching with his love-song? "O Allah, save us from the flood of his talk"--no, rather save us from the cadi who suddenly comes back. The screams of a servant, whom he is punishing with a bastonade by his own hand, announce his arrival. There is only one escape. Quickly the chest is emptied and _Nureddin_ gets in. Then the barber with _Nureddin's_ servant. _Abdul Hassan Ali Ebn Bekar_ leaves no customers in the lurch. He who screamed can only be _Nureddin_ whom the furious cadi has murdered. _Bostana_ advises him to drag forth the chest; the cadi opposes. The wild clamour brings, in crowds, the people of Bagdad who hear rumours of a murder. Finally the caliph comes too. What is in the chest? _Nureddin's_ corpse, says the barber; _Margiana's_ dowry, answers the cadi. The chest is opened. The cadi is right, for _Nureddin_ is not a corpse but only in a swoon because he was nearly smothered, but he is without doubt _Margiana's_ dowry and he will become so publicly. A cadi cannot lightly oppose the wish of a caliph. The barber is seized but is ordered by the caliph to be taken to his palace to entertain him with stories.
THE TAMING OF THE SHREW
Opera in four acts; libretto adapted by Victor Widmann from Shakespeare's comedy. Music by Herman Goetz.
CHARACTERS
BAPTISTA _Otto Goritz_ KATHARINA _Margarete Ober_ BIANCA _Marie Rappold_ HORTENSIO _Robert Leonhardt_ LUCENTIO _Johannes Sembach_ PETRUCHIO _Clarence Whitehill_ GRUMIO _Basil Ruysdael_ A TAILOR _Albert Reiss_ MAJOR DOMO _Max Bloch_ HOUSEKEEPER _Marie Mattfeld_
This opera was produced at the Metropolitan Opera House in commemoration of Shakespeare in 1916. It was first sung in Mannheim in 1874, when it was known as "Die Widerspenstigen Zachmung." Mr. Bodanzky came to conduct at the Metropolitan Opera House, from that city, and the New York performance was perhaps the result of a suggestion made by him. Widmann in his libretto brings into prominence the wooing of _Bianca_ by rival suitors. This is done to give relief to _Petruchio's_ blustering and to the exhibitions of temper by the _Shrew_. The librettist also provides his own introduction which includes the rival suitors, a chorus of angry servants, interested women on the balcony, and _Petruchio's_ entrance. The second act represents _Petruchio's_ tempestuous wooing. In the third _Bianca_ is courted by _Lucentio_ as a tutor and _Hortensio_ as a musician. The wedding party returns and _Petruchio_ makes his hasty exit bearing his sulky bride. Servants and wedding guests provide an opportunity for chorus music. The tailor is introduced and _Katharina_ is finally tamed.
THE QUEEN OF SHEBA
Opera in four acts: music by Karl Goldmark; text by G.H. Mosenthal. Produced: Vienna, March 10, 1875.
CHARACTERS
KING SOLOMON _Baritone_ BAAL HANAU, the palace overseer _Baritone_ ASSAD _Tenor_ THE HIGH PRIEST _Bass_ SULAMITH, his daughter _Tenor_ THE QUEEN OF SHEBA _Mezzo-Soprano_ ASTAROTH, her slave _Soprano_
_Time_--Tenth Century B.C.
_Place_--Jerusalem.