Act III is in two scenes, the first in _Don Pasquale's_ house, where

everything is in confusion; the second in his garden, where _Ernesto_ sings to _Norina_ the beautiful serenade, "Com'è gentil" (Soft beams the light).

[Music: Com'è gentil, la notte a mezzo April,]

_Don Pasquale_, who has suspected _Norina_ of having a rendezvous in the garden, rushes out of concealment with _Malatesta_. But _Ernesto_ is quick to hide, and _Norina_ pretends no one has been with her. This is too much for _Don Pasquale_, and _Malatesta_ now makes it the occasion for bringing about the dénouement, and secures the old man's most willing consent to the marriage between _Ernesto_ and _Norina_.

When the opera had its original production in Paris, Lablache was _Don Pasquale_, Mario _Ernesto_, Tamburini _Malatesta_, and Grisi _Norina_. Notwithstanding this brilliant cast, the work did not seem to be going well at the rehearsals. After one of these, Donizetti asked the music publisher, Dormoy, to go with him to his lodgings. There he rummaged among a lot of manuscripts until, finding what he was looking for, he handed it to Dormoy.

"There," he said, "give this to Mario and tell him to sing it in the last scene in the garden as a serenade to _Norina_."

When the opera was performed Mario sang it, while Lablache, behind the scenes, played an accompaniment on the lute. It was the serenade. Thus was there introduced into the opera that air to which, more than any other feature of the work, it owes its occasional resuscitation.

A one-act comedy opera by Donizetti, "Il Campanello di Notte" (The Night Bell) was produced in Naples in 1836. It would hardly be worth referring to but for the fact that it is in the repertoire of the Society of American Singers, who gave it, in an English version by Sydney Rosenfeld, at the Lyceum Theatre, New York, May 7, 1917. This little work turns on the attempts of a lover, who has been thrown over, to prevent his successful rival, an apothecary, from going to bed on the night of his marriage. He succeeds by adopting various disguises, ringing the night bell, and asking for medicine. In the American first performance David Bispham was the apothecary, called in the adaptation, _Don Hannibal Pistacchio_. Miss Gates, the _Serafina_, interpolated "O luce di quest'anima," from "Linda di Chamounix." Mr. Reiss was _Enrico_, the lover.

Giuseppe Verdi

(1813-1901)

Verdi ranks as the greatest Italian composer of opera. There is a marked distinction between his career and those of Bellini and Donizetti. The two earlier composers, after reaching a certain point of development, failed to advance. No later opera by Bellini equals "La Sonnambula"; none other by Donizetti ranks with "Lucia di Lammermoor."

But Verdi, despite the great success of "Ernani," showed seven years later, with "Rigoletto," an amazing progress in dramatic expression and skill in ensemble work. "Il Trovatore" and "La Traviata" were other works of the period ushered in by "Rigoletto." Eighteen years later the composer, then fifty-eight years old, gave evidence of another and even more notable advance by producing "Aïda," a work which marks the beginning of a new period in Italian opera. Still not satisfied, Verdi brought forward "Otello" (1887) and "Falstaff" (1893), scores which more nearly resemble music-drama than opera.

Thus the steady forging ahead of Verdi, the unhalting development of his genius, is the really great feature of his career. In fact no Italian composer since Verdi has caught up with "Falstaff," which may be as profitably studied as "Le Nozze di Figaro," "Il Barbiere di Siviglia," "Die Meistersinger," and "Der Rosenkavalier." Insert "Falstaff" in this list, in its proper place between "Meistersinger" and "Rosenkavalier," and you have the succession of great operas conceived in the divine spirit of comedy, from 1786 to 1911.

In the article on "Un Ballo in Maschera," the political use made of the letters of Verdi's name is pointed out. See p. 428.

Verdi was born at Roncole, near Busseto, October 9, 1813. He died at Rome, January 27, 1901. There remains to be said that, at eighteen, he was refused admission to the Milan Conservatory "on the score of lack of musical talent."

What fools these mortals be!

ERNANI

Opera, in four acts, by Verdi; words by Francesco Maria Piave, after Victor Hugo's drama, "Hernani." Produced, Fenice Theatre, Venice, March 9, 1844; London, Her Majesty's Theatre, March 8, 1845; New York, 1846, at the Astor Place Theatre. Patti, at the Academy of Music, Sembrich at the Metropolitan Opera House, have been notable interpreters of the rôle of _Elvira_.

CHARACTERS

DON CARLOS, King of Castile _Baritone_ DON RUY GOMEZ DI SILVA, Grandee of Spain _Bass_ ERNANI, or JOHN OF ARAGON, a bandit chief _Tenor_ DON RICCARDO, esquire to the King _Tenor_ JAGO, esquire to SILVA _Bass_ ELVIRA, kinswoman to SILVA _Soprano_ GIOVANNA, in ELVIRA'S service _Soprano_

Mountaineers and bandits, followers of _Silva_, ladies of _Elvira_, followers of _Don Carlos_, electors and pages.

_Time_--Early sixteenth century.

_Place_--Spain.

_John of Aragon_ has become a bandit. His father, the Duke of Segovia, had been slain by order of _Don Carlos's_ father. _John_, proscribed and pursued by the emissaries of the King, has taken refuge in the fastnesses of the mountains of Aragon, where, under the name of _Ernani_, he has become leader of a large band of rebel mountaineers. _Ernani_ is in love with _Donna Elvira_, who, although she is about to be united to her relative, the aged _Ruy Gomez di Silva_, a grandee of Spain, is deeply enamoured of the handsome, chivalrous bandit chief.

_Don Carlos_, afterwards Emperor Charles V., also has fallen violently in love with _Elvira_. By watching her windows he has discovered that at dead of night a young cavalier (_Ernani_) gains admission to her apartments. He imitates her lover's signal, gains admission to her chamber, and declares his passion. Being repulsed, he is about to drag her off by force, when a secret panel opens, and he finds himself confronted by _Ernani_. In the midst of a violent scene _Silva_ enters. To allay his jealousy and anger, naturally aroused by finding two men, apparently rival suitors, in the apartment of his affianced, the _King_, whom _Silva_ has not recognized, reveals himself, and pretends to have come in disguise to consult him about his approaching election to the empire, and a conspiracy that is on foot against his life. Then the _King_, pointing to _Ernani_, says to _Silva_, "It doth please us that this, our follower, depart," thus insuring _Ernani's_ temporary safety--for a Spaniard does not hand an enemy over to the vengeance of another.

Believing a rumour that _Ernani_ has been run down and killed by the _King's_ soldiers, _Elvira_ at last consents to give her hand in marriage to _Silva_. On the eve of the wedding, however, _Ernani_, pursued by the _King_ with a detachment of troops, seeks refuge in _Silva's_ castle, in the disguise of a pilgrim. Although not known to _Silva_, he is, under Spanish tradition, his guest, and from that moment entitled to his protection.

_Elvira_ enters in her bridal attire. _Ernani_ is thus made aware that her nuptials with _Don Silva_ are to be celebrated on the morrow. Tearing off his disguise, he reveals himself to _Silva_, and demands to be delivered up to the _King_, preferring death to life without _Elvira_. But true to his honour as a Spanish host, _Silva_ refuses. Even his enemy, _Ernani_, is safe in his castle. Indeed he goes so far as to order his guards to man the towers and prepare to defend the castle, should the _King_ seek forcible entry. He leaves the apartment to make sure his orders are being carried out. The lovers find themselves alone. When _Silva_ returns they are in each other's arms. But as the _King_ is at the castle gates, he has no time to give vent to his wrath. He gives orders to admit the _King_ and his men, bids _Elvira_ retire, and hides _Ernani_ in a secret cabinet. The _King_ demands that _Silva_ give up the bandit. The grandee proudly refuses. _Ernani_ is his guest. The _King's_ wrath then turns against _Silva_. He demands the surrender of his sword and threatens him with death, when _Elvira_ interposes. The _King_ pardons _Silva_, but bears away _Elvira_ as hostage for the loyalty of her kinsman.

The _King_ has gone. From the wall _Silva_ takes down two swords, releases his guest from his hiding place, and bids him cross swords with him to the death. _Ernani_ refuses. His host has just protected his life at the danger of his own. But, if _Silva_ insists upon vengeance, let grandee and bandit first unite against the _King_, with whom the honour of _Elvira_ is unsafe. _Elvira_ rescued, _Ernani_ will give himself up to _Silva_, to whom, handing him his hunting horn, he avows himself ready to die, whenever a blast upon it shall be sounded from the lip of the implacable grandee. _Silva_, who has been in entire ignorance of the _King's_ passion for _Elvira_, grants the reprieve, and summons his men to horse.

He sets on foot a conspiracy against the _King_. A meeting of the conspirators is held in the Cathedral of Aix-la-Chapelle, in the vault, within which stands the tomb of Charlemagne. Here it is resolved to murder the _King_. A ballot decides who shall do the deed. _Ernani's_ name is drawn.

The _King_, however, has received information of the time and place of this meeting. From the tomb he has been an unobserved witness of the meeting and purpose of the conspirators. Booming of cannon outside tells him of his choice as head of the Holy Roman Empire. Emerging from the tomb, he shows himself to the awed conspirators, who imagine they see Charlemagne issuing forth to combat them. At the same moment the doors open. The electors of the Empire enter to pay homage to Charles V.

"The herd to the dungeon, the nobles to the headsman," he commands.

_Ernani_ advances, discovers himself as John of Aragon, and claims the right to die with the nobles--"to fall, covered, before the _King_." But upon _Elvira's_ fervent plea, the _King_, now also Emperor, commences his reign with an act of grace. He pardons the conspirators, restores to _Ernani_ his titles and estates, and unites him with _Elvira_.

_Silva_, thwarted in his desire to marry _Elvira_, waits until _Ernani_ and _Elvira_, after their nuptials, are upon the terrace of _Ernani's_ castle in Aragon. At their most blissful moment he sounds the fatal horn. _Ernani_, too chivalrous to evade his promise, stabs himself in the presence of the grim avenger and of _Elvira_ who falls prostrate upon his lifeless body.

In the opera, this plot develops as follows: Act I opens in the camp of the bandits in the mountains of Aragon. In the distance is seen the Moorish castle of _Silva_. The time is near sunset. Of _Ernani's_ followers, some are eating and drinking, or are at play, while others are arranging their weapons. They sing, "Allegri, beviamo" (Haste! Clink we our glasses).

_Ernani_ sings _Elvira's_ praise in the air, "Come rugiada al cespite" (Balmier than dew to drooping bud).

[Music: Come rugiada al cespite]

This expressive number is followed by one in faster time, "O tu, che l'alma adora" (O thou toward whom, adoring soul).

[Music:

O tu, che l'alma adora, Vien, vien, la mia vita infiora,]

Enthusiastically volunteering to share any danger _Ernani_ may incur in seeking to carry off _Elvira_, the bandits, with their chief at their head, go off in the direction of _Silva's_ castle.

The scene changes to _Elvira's_ apartment in the castle. It is night. She is meditating upon _Ernani_. When she thinks of _Silva_, "the frozen, withered spectre," and contrasts with him _Ernani_, who "in her heart ever reigneth," she voices her thoughts in that famous air for sopranos, one of Verdi's loveliest inspirations, "Ernani! involami" (Ernani! fly with me).

[Music:

Ernani! Ernani! involami All'abborrito amplesso.]

It ends with a brilliant cadenza, "Un Eden quegli antri a me" (An Eden that opens to me).

[Music: un Eden quegli antri a me.]

Young maidens bearing wedding gifts enter. They sing a chorus of congratulation. To this _Elvira_ responds with a graceful air, the sentiment of which, however, is expressed as an aside, since it refers to her longing for her young, handsome and chivalrous lover. "Tutto sprezzo che d'Ernani" (Words that breathe thy name Ernani).

[Music: Tutto sprezzo che d'Ernani]

The young women go. Enter _Don Carlos_, the _King_. There is a colloquy, in which _Elvira_ protests against his presence; and then a duet, which the _King_ begins, "Da quel dì che t'ho veduta" (From the day, when first thy beauty).

A secret panel opens. The _King_ is confronted by _Ernani_, and by _Elvira_, who has snatched a dagger from his belt. She interposes between the two men. _Silva_ enters. What he beholds draws from him the melancholy reflections--"Infelice! e tu credevi" (Unhappy me! and I believed thee),

[Music: Infelice! e tu credevi]

an exceptionally fine bass solo. He follows it with the vindictive "Infin, che un brando vindice" (In fine a swift, unerring blade).

Men and women of the castle and the _King's_ suite have come on. The monarch is recognized by _Silva_, who does him obeisance, and, at the _King's_ command, is obliged to let _Ernani_ depart. An ensemble brings the act to a close.