Act IV, on the terrace of _Ernani's_ castle, is brief, and there is

nothing to add to what has been said of its action. _Ernani_ asks _Silva_ to spare him till his lips have tasted the chalice filled by love. He recounts his sad life: "Solingo, errante, misero" (To linger in exiled misery).

_Silva's_ grim reply is to offer him his choice between a cup of poison and a dagger. He takes the latter. "Ferma, crudele, estinguere" (Stay thee, my lord, for me at least) cries _Elvira_, wishing to share his fate. In the end there is left only the implacable avenger, to gloat over _Ernani_, dead, and _Elvira_ prostrate upon his form.

* * * * *

"Ernani," brought out in 1844, is the earliest work by Verdi that maintains a foothold in the modern repertoire, though by no means a very firm one. And yet "Ernani" is in many respects a fine opera. One wonders why it has not lasted better. Hanslick, the Viennese critic, made a discriminating criticism upon it. He pointed out that whereas in Victor Hugo's drama the mournful blast upon the hunting horn, when heard in the last act, thrills the listener with tragic forebodings, in the opera, after listening to solos, choruses, and a full orchestra all the evening, the audience is but little impressed by the sounding of a note upon a single instrument. That comment, however, presupposes considerable subtlety, so far undiscovered, on the part of operatic audiences.

The fact is, that since 1844 the whirligig of time has made one--two--three--perhaps even four revolutions, and with each revolution the public taste that prevailed, when the first audience that heard the work in the Teatro Fenice, went wild over "Ernani Involami" and "Sommo Carlo," has become more remote and undergone more and more changes. To turn back operatic time in its flight requires in the case of "Ernani," a soprano of unusual voice and personality for _Elvira_, a tenor of the same qualities for the picturesque rôle of _Ernani_, a fine baritone for _Don Carlos_, and a sonorous basso, who doesn't look too much like a meal bag, for _Don Ruy Gomez di Silva_, Grandee of Spain.

Early in its career the opera experienced various vicissitudes. The conspiracy scene had to be toned down for political reasons before the production of the work was permitted. Even then the chorus, "Let the lion awake in Castilia," caused a political demonstration. In Paris, Victor Hugo, as author of the drama on which the libretto is based, raised objections to its representation, and it was produced in the French capital as "Il Proscritto" (The Proscribed) with the characters changed to Italians. Victor Hugo's "Hernani" was a famous play in Sarah Bernhardt's repertoire during her early engagements in this country. Her _Doña Sol_ (_Elvira_ in the opera) was one of her finest achievements. On seeing the play, with her in it, I put to test Hanslick's theory. The horn was thrilling in the play. It certainly is less so in the opera.

RIGOLETTO

Opera in three acts, by Verdi; words by Francesco Maria Piave, founded on Victor Hugo's play, "Le Roi s'Amuse." Produced, Fenice Theatre, Venice, March 11, 1851; London, Covent Garden, May 14, 1853; Paris, Théâtre des Italiens, January 19, 1857; New York, Academy of Music, November 4, 1857, with Bignardi and Frezzolini. Caruso made his début in America at the Metropolitan Opera House, New York, as the _Duke_ in "Rigoletto," November 23, 1903; Galli-Curci hers, as _Gilda_, Chicago, November 18, 1916.

CHARACTERS

THE DUKE OF MANTUA _Tenor_ RIGOLETTO, his jester, a hunchback _Baritone_ COUNT CEPRANO } { _Bass_ COUNT MONTERONE } Nobles { _Baritone_ SPARAFUCILE, a bravo _Bass_ BORSA, in the Duke's service _Tenor_ MARULLO _Bass_ COUNTESS CEPRANO _Soprano_ GILDA, daughter of Rigoletto _Soprano_ GIOVANNI, her duenna _Soprano_ MADDALENA, sister to Sparafucile _Contralto_

Courtiers, nobles, pages, servants.

_Time_--Sixteenth century.

_Place_--Mantua.

"Rigoletto" is a distinguished opera. Composed in forty days in 1851, nearing three-quarters of a century of life before the footlights, it still retains its vitality. Twenty years, with all they imply in experience and artistic growth, lie between "Rigoletto" and "Aïda." Yet the earlier opera, composed so rapidly as to constitute a _tour de force_ of musical creation, seems destined to remain a close second in popularity to the more mature work of its great composer.

There are several reasons for the public's abiding interest in "Rigoletto." It is based upon a most effective play by Victor Hugo, "Le Roi s'Amuse," known to English playgoers in Tom Taylor's adaptation as "The Fool's Revenge." The jester was one of Edwin Booth's great rôles. This rôle of the deformed court jester, _Rigoletto_, the hunchback, not only figures in the opera, but has been vividly characterized by Verdi in his music. It is a vital, centralizing force in the opera, concentrating and holding attention, a character creation that appeals strongly both to the singer who enacts it and to the audience who sees and hears it. The rôle has appealed to famous artists. Ronconi (who taught singing in New York for a few years, beginning in 1867) was a notable _Rigoletto_; so was Galassi, whose intensely dramatic performance still is vividly recalled by the older opera-goers; Renaud at the Manhattan Opera House, Titta Ruffo at the Metropolitan Opera House, Philadelphia, both made their American débuts as _Rigoletto_.

But the opera offers other rôles of distinction. Mario was a famous _Duke_ in other days. Caruso made his sensational début at the Metropolitan in the character of the volatile _Duca di Mantua_, November 23, 1903. We have had as _Gilda_ Adelina Patti, Melba, and Tetrazzini, to mention but a few; and the heroine of the opera is one of the rôles of Galli-Curci, who appeared in it in Chicago, November 18, 1916. No coloratura soprano can, so to speak, afford to be without it.

Thus the opera has plot, a central character of vital dramatic importance, and at least two other characters of strong interest. But there is even more to be said in its behalf. For, next to the sextet in "Lucia," the quartet in the last act of "Rigoletto" is the finest piece of concerted music in Italian opera--and many people will object to my placing it only "next" to that other famous ensemble, instead of on complete equality with, or even ahead of it.

The "argument" of "Rigoletto" deals with the amatory escapades of the _Duke of Mantua_. In these he is aided by _Rigoletto_, his jester, a hunchback. _Rigoletto_, both by his caustic wit and unscrupulous conduct, has made many enemies at court. _Count Monterone_, who comes to the court to demand the restoration of his daughter, who has been dishonoured by the _Duke_, is met by the jester with laughter and derision. The _Count_ curses _Rigoletto_, who is stricken with superstitious terror.

For _Rigoletto_ has a daughter, _Gilda_, whom he keeps in strict seclusion. But the _Duke_, without being aware who she is, has seen her, unknown to her father, and fallen in love with her. _Count Ceprano_, who many times has suffered under _Rigoletto's_ biting tongue, knowing that she is in some way connected with the jester, in fact believing her to be his mistress, and glad of any opportunity of doing him an injury, forms a plan to carry off the young girl, and so arranges it that _Rigoletto_ unwittingly assists in her abduction. When he finds that it is his own daughter whom he has aided to place in the power of the _Duke_, he determines to murder his master, and engages _Sparafucile_, a bravo, to do so. This man has a sister, _Maddalena_, who entices the _Duke_ to a lonely inn. She becomes fascinated with him, however, and begs her brother to spare his life. This he consents to do if before midnight any one shall arrive at the inn whom he can kill and pass off as the murdered _Duke_. _Rigoletto_, who has recovered his daughter, brings her to the inn so that, by being a witness of the _Duke's_ inconstancy, she may be cured of her unhappy love. She overhears the plot to murder her lover, and _Sparafucile's_ promise to his sister. Determined to save the _Duke_, she knocks for admittance, and is stabbed on entering. _Rigoletto_ comes at the appointed time for the body. _Sparafucile_ brings it out in a sack. The jester is about to throw it into the water, sack and all, when he hears the _Duke_ singing. He tears open the sack, only to find his own daughter, at the point of death.