Act III. A study in _Reinhart's_ dwelling. For the disgrace he has

suffered he intends to kill _Amelia_. Upon her plea she is allowed to embrace her son once more. He reflects that, after all, _Richard_ is much the more guilty of the two. He refrains from killing her, but when he and the conspirators draw lots to determine who shall kill _Richard_, he calls her in, and, at his command, she draws a piece of paper from an urn. It bears her husband's name, drawn unwittingly by her to indicate the person who is to slay the man she loves. Partly to remove _Amelia's_ suspicions, _Reinhart_ accepts the invitation to the masked ball which _Oscar_ brings him, _Richard_, of course, knowing nothing of what has transpired.

In the brilliant crowd of maskers, the scene having changed to that of the masked ball, _Reinhart_ learns from _Oscar_ what disguise is worn by _Richard_. _Amelia_, who, with the eyes of apprehensive love, also has recognized _Richard_, implores him to flee the danger that threatens him. But _Richard_ knows no fear. In order that the honour of his friend shall remain secure, he has determined to send him as an envoy to England, accompanied by his wife. Her, he tells _Amelia_, he will never see again. "Once more I bid thee farewell, for the last time, farewell."

"And thus receive thou my farewell!" exclaims _Reinhart_, stabbing him in the side.

With his last words _Richard_ assures _Reinhart_ of the guiltlessness of _Amelia_, and admonishes all to seek to avenge his death on no one.

It is hardly necessary to point out how astonishing these proceedings are when supposed to take place in Colonial Boston. Even the one episode of _Richard, Earl of Warwick_, singing a barcarolle in the hut of a negress who tells fortunes is so impossible that it affects the whole story with incredibility. But Naples--well, anything will go there. In fact, as truth is stranger than fiction, we even can regard the events of "The Masked Ball" as occurring more naturally in an Italian city than in Stockholm, where the assassination of Gustavus III. at a masquerade actually occurred.

Although the opera is a subject of only occasional revival, it contains a considerable amount of good music and a quintet of exceptional quality.

Early in the first act comes _Richard's_ solo, "La rivedrà nell'estasi" (I shall again her face behold).

[Music: La rivedrà nell'estasi]

This is followed by the faithful _Reinhart's_ "Alla vita che t'arride" (To thy life with joy abounding), with horn solo.

Strikingly effective is _Oscar's_ song, in which the page vouches for the fortune-teller. "Volta la terrea fronte alle stelle" (Lift up thine earthly gaze to where the stars are shining).

[Music: Volta la terrea fronte alle stelle]

In the scene in the fortune-teller's hut are a trio for _Amelia_, _Ulrica_, and _Richard_, while the latter overhears _Amelia's_ welcome confession of love for himself, and _Richard's_ charming barcarolle addressed to the sorceress, a Neapolitan melody, "Di' tu se fedele il flutto m'aspetta" (Declare if the waves will faithfully bear me).

[Music: Di' tu se fedele il flutto m'aspetta,]

The quintet begins with _Richard's_ laughing disbelief in _Ulrica's_ prophecy regarding himself, "È scherzo od è follia" ('Tis an idle folly).

Concluding the scene is the chorus, in which, after the people have recognized _Richard_, they sing what has been called, "a kind of 'God Save the King' tribute to his worth"--"O figlio d'Inghilterra" (O son of mighty England).

The second act opens with a beautiful air for _Amelia_, "Ma dall'arido stelo divulsa" (From the stem, dry and withered, dissevered).

An impassioned duet occurs during the meeting at the place of the gibbet between _Richard_ and _Amelia_: "O qual soave brivido" (Oh, what delightful ecstasies).

The act ends with a quartet for _Amelia_, _Reinhart_, _Samuel_, and _Tom_.

In the last act is _Amelia's_ touching supplication to her husband, in which "The weeping of the violoncello and the veiled key of E-flat minor stretch to the last limits of grief this prayer of the wife and mother,"--"Morrò, ma prima in grazia" (I die, but first in mercy).

"O dolcezze perdute!" (O delights now lost for ever) sings her husband, in a musical inspiration prefaced by harp and flute.

During the masked ball there is a quintet for _Amelia_, _Oscar_, _Reinhart_, _Samuel_, and _Tom_, from which the sprightly butterfly allegro of _Oscar_, "Di che fulgor, che musiche" (What brilliant lights, what music gay) detaches itself, while later on the _Page_ has a buoyant "tra-la-la" solo, beginning, in reply to _Reinhart's_ question concerning _Richard's_ disguise, "Saper vorreste di che si veste" (You'd fain be hearing what mask he's wearing).

There is a colloquy between _Richard_ and _Amelia_. Then the catastrophe.

BEFORE AND AFTER "UN BALLO"

Prior to proceeding to a consideration of "Aïda," I will refer briefly to certain works by Verdi, which, although not requiring a complete account of story and music, should not be omitted from a book on opera.

At the Teatro San Carlo, Naples, December 8, 1849, Verdi brought out the three-act opera "Luisa Miller," based on a play by Schiller, "Kabale und Liebe" (Love and Intrigue). It appears to have been Verdi's first real success since "Ernani" and to have led up to that achieved by "Rigoletto" a year later, and to the successes of "Il Trovatore" and "La Traviata." "Luisa Miller" was given at the Academy of Music, New York, October 20, 1886, by Angelo's Italian Opera Company. Giulia Valda was _Luisa_ and Vicini _Rodolfo_.

The story is a gloomy one. The first act is entitled "Love," the second "Intrigue," the third "Poison."

CHARACTERS

COUNT WALTER _Bass_ RODOLFO, his son _Tenor_ MILLER, an old soldier _Bass_ LUISA, his daughter _Soprano_ FREDERICA, DUCHESS OF OSTHEIM, Walter's niece _Contralto_ LAURA, a peasant girl _Contralto_

Ladies attending the Duchess, pages, servants, archers, and villagers.

_Luisa_ is the daughter of _Miller_, an old soldier. There is ardent love between her and _Rodolfo_, the son of _Count Walter_, who has concealed his real name and rank from her and her father and is known to them as a peasant named Carlo. Old _Miller_, however, has a presentiment that evil will result from their attachment. This is confirmed on his being informed by _Wurm_ that Carlo is _Rodolfo_, his master's son. _Wurm_ is himself in love with _Luisa_.

The _Duchess Frederica_, _Count Walter's_ niece, arrives at the castle. She had been brought up there with _Rodolfo_, and has from childhood cherished a deep affection for him; but, compelled by her father to marry the Duke d'Ostheim, has not seen _Rodolfo_ for some years. The Duke, however, having died, she is now a widow, and, on the invitation of _Count Walter_, who has, unknown to _Rodolfo_, made proposals of marriage to her on his son's behalf, she arrives at the castle, expecting to marry at once the love of her childhood. The _Count_ having been informed by _Wurm_ of his son's love for _Luisa_, resolves to break off their intimacy. _Rodolfo_ reveals to the _Duchess_ that he loves another. He also discloses his real name and position to _Luisa_ and her father. The _Count_ interrupts this interview between the lovers. Enraged at his son's persistence in preferring a union with _Luisa_, he calls in the guard and is about to consign her and her father to prison, when he is, for the moment, deterred and appalled by _Rodolfo's_ threat to reveal that the _Count_, aided by _Wurm_, assassinated his predecessor, in order to obtain possession of the title and estates.

_Luisa's_ father has been seized and imprisoned by the _Count's_ order. She, to save his life, consents, at the instigation of _Wurm_, to write a letter in which she states that she had never really loved _Rodolfo_, but only encouraged him on account of his rank and fortune, of which she was always aware; and finally offering to fly with _Wurm._ This letter, as the _Count_ and his steward have arranged, falls into the hands of _Rodolfo_, who, enraged by the supposed treachery of the woman he loves, consents to marry the _Duchess_, but ultimately resolves to kill _Luisa_ and himself.

_Luisa_ also has determined to put an end to her existence. _Rodolfo_ enters her home in the absence of _Miller_, and, after extracting from _Luisa's_ own lips the avowal that she did write the letter, he pours poison into a cup. She unwittingly offers it to him to quench his thirst. Afterwards, at his request, she tastes it herself. She had sworn to _Wurm_ that she would never reveal the fact of the compulsion under which she had written the letter, but feeling herself released from her oath by fast approaching death, she confesses the truth to _Rodolfo_. The lovers die in the presence of their horror-stricken parents.

The principal musical numbers include _Luisa's_ graceful and brilliant solo in the first act--"Lo vidi, e'l primo palpito" (I saw him and my beating heart). Besides there is _Old Miller's_ air, "Sacra la scelta è d'un consorte" (Firm are the links that are forged at the altar), a broad and beautiful melody, which, were the opera better known, would be included in most of the operatic anthologies for bass.

There also should be mentioned _Luisa's_ air in the last act, "La tomba è un letto sparso di fiori" (The tomb a couch is, covered with roses).

* * * * *

"I Vespri Siciliani" (The Sicilian Vespers) had its first performance at the Grand Opéra, Paris, under the French title, "Les Vêpres Siciliennes," June 13, 1855. It was given at La Scala, Milan, 1856; London, Drury Lane, 1859; New York, Academy of Music, November 7, 1859; and revived there November, 1868. The work also has been presented under the title of "Giovanna di Guzman." The libretto is by Scribe and deals with the massacre of the French invaders of Sicily, at vespers, on Easter Monday, 1282. The principal characters are _Guy de Montford_, French Viceroy, _baritone_; _Arrigo_, a Sicilian officer, _tenor_; _Duchess Hélène_, a prisoner, _soprano_; _Giovanni di Procida_, a native conspirator, _bass_. _Arrigo_, who afterwards is discovered to be the brutal _Guy de Montford's_ son, is in love with _Hélène_. The plot turns upon his efforts to rescue her.

There is one famous number in the "The Sicilian Vespers." This is the "Bolero," sung by _Hélène_--"Mercé, dilette amiche" (My thanks, beloved companions).

* * * * *

At Petrograd, November 10, 1862, there was brought out Verdi's opera in four acts, "La Forza del Destino" (The Force of Destiny). London heard it in June, 1867; New York, February 2, 1865, and, with the last act revised by the composer, at the Academy of Music in 1880, with Annie Louise Cary, Campanini, Galassi, and Del Puente. The principal characters are _Marquis di Calatrava_, _bass_; _Donna Leonora_ and _Don Carlo_, his children, _soprano_ and _baritone_; _Don Alvaro_, _tenor_; _Abbot of the Franciscan Friars_, _bass_. There are muleteers, peasants, soldiers, friars, etc. The scenes are laid in Spain and Italy; the period is the middle of the eighteenth century. The libretto is based on the play, "Don Alvaro o La Fuerza de Sino" by the Duke of Rivas.

_Don Alvaro_ is about to elope with _Donna Leonora_, daughter of the _Marquis_, when the latter comes upon them and is accidentally killed by _Don Alvaro_. The _Marquis_ curses his daughter with his dying breath and invokes the vengeance of his son, _Don Carlo_, upon her and her lover. She escapes in male attire to a monastery, confesses to the _Abbot_, and is conducted by him to a cave, where he assures her of absolute safety.

_Don Alvaro_ and _Don Carlo_ meet before the cave. They fight a duel in which _Don Alvaro_ mortally wounds _Don Carlo_. _Donna Leonora_, coming out of the cave and finding her brother dying, goes to him. With a last effort he stabs her in the heart. _Don Alvaro_ throws himself over a nearby precipice.

"Madre, pietosa Vergine" (Oh, holy Virgin) is one of the principal numbers of the opera. It is sung by _Donna Leonora_, kneeling in the moonlight near the convent, while from within is heard the chant of the priests.

The "Madre pietosa" also is utilized as a theme in the overture.

* * * * *

"Don Carlos," produced at the Grand Opéra, Paris, March 11, 1867, during the Universal Exposition, was the last opera composed by Verdi before he took the musical world by storm with "Aïda." The work is in four acts, the libretto, by Méry and du Locle, having been reduced from Schiller's tragedy of the same title as the opera.

The characters are _Philip II._, of Spain, _bass_; _Don Carlos_, his son, _tenor_; _Rodrigo, Marquis de Posa_, _baritone_; _Grand Inquisitor_, _bass_; _Elizabeth de Valois_, Queen of _Philip II._, and stepmother of _Don Carlos_, _soprano_; _Princess Eboli_, _soprano_. In the original production the fine rôle of _Rodrigo_ was taken by Faure.

_Don Carlos_ and _Elizabeth de Valois_ have been in love with each other, but for reasons of state _Elizabeth_ has been obliged to marry _Philip II._, _Don Carlos's_ father. The son is counselled by _Rodrigo_ to absent himself from Spain by obtaining from his father a commission to go to the Netherlands, there to mitigate the cruelties practised by the Spaniards upon the Flemings. _Don Carlos_ seeks an audience with _Elizabeth_, in order to gain her intercession with _Philip_. The result, however, of the meeting, is that their passion for each other returns with even greater intensity than before. _Princess Eboli_, who is in love with _Don Carlos_, becomes cognizant of the _Queen's_ affection for her stepson, and informs the _King_. _Don Carlos_ is thrown into prison. _Rodrigo_, who visits him there, is shot by order of _Philip_, who suspects him of aiding Spain's enemies in the Low Countries. _Don Carlos_, having been freed, makes a tryst with the _Queen_. Discovered by the _King_, he is handed over by him to the Inquisition to be put to death.

* * * * *

"La Forza del Destino" and "Don Carlos" lie between Verdi's middle period, ranging from "Luisa Miller" to "Un Ballo in Maschera" and including "Rigoletto," "Il Trovatore," and "La Traviata," and his final period, which began with "Aïda." It can be said that in "La Forza" and "Don Carlos" Verdi had absorbed considerable of Meyerbeer and Gounod, while in "Aïda," in addition to these, he had assimilated as much of Wagner as is good for an Italian. The enrichment of the orchestration in the two immediate predecessors of "Aïda" is apparent, but not so much so as in that masterpiece of operatic composition. He produced in "Aïda" a far more finished score than in "La Forza" or "Don Carlos," sought and obtained many exquisite instrumental effects, but always remained true to the Italian principle of the supremacy of melody in the voice.

AÏDA

Grand opera in four acts by Giuseppe Verdi. Plot by Mariette Bey. Written in French prose by Camille du Locle. Translated into Italian verse by Antonio Ghislanzoni.

Produced in Cairo, Egypt, December 24, 1871; La Scala, Milan, under the composer's direction, February 8, 1872; Théâtre Italien, Paris, April 22, 1876; Covent Garden, London, June 22, 1876; Academy of Music, New York, November 26, 1873; Grand Opéra, Paris, March 22, 1880; Metropolitan Opera House, with Caruso, 1904.

CHARACTERS

AÏDA, an Ethiopian slave _Soprano_ AMNERIS, daughter of the King of Egypt _Contralto_ AMONASRO, King of Ethiopia, father of Aïda _Baritone_ RHADAMES, captain of the Guard _Tenor_ RAMPHIS, High Priest _Bass_ KING OF EGYPT _Bass_ MESSENGER _Tenor_

Priests, soldiers, Ethiopian slaves, prisoners, Egyptians, etc.

_Time_--Epoch of the Pharaohs.

_Place_--Memphis and Thebes.

"Aïda" was commissioned by Ismail Pacha, Khedive of Egypt, for the Italian Theatre in Cairo, which opened in November, 1869. The opera was produced there December 24, 1871; not at the opening of the house, as sometimes is erroneously stated. Its success was sensational.

Equally enthusiastic was its reception when brought out at La Scala, Milan, February 7, 1872, under the direction of Verdi himself, who was recalled thirty-two times and presented with an ivory baton and diamond star with the name of Aïda in rubies and his own in other precious stones.

It is an interesting fact that "Aïda" reached New York before it did any of the great European opera houses save La Scala. It was produced at the Academy of Music under the direction of Max Strakosch, November 26, 1873. I am glad to have heard that performance and several other performances of it that season. For the artists who appeared in it gave a representation that for brilliancy has not been surpassed if, indeed, it has been equalled. In support of this statement it is only necessary to say that Italo Campanini was _Rhadames_, Victor Maurel _Amonasro_, and Annie Louise Cary _Amneris_. No greater artists have appeared in these rôles in this country. Mlle. Torriani, the _Aïda_, while not so distinguished, was entirely adequate. Nannetti as _Ramphis_, the high priest, Scolara as the _King_, and Boy as the _Messenger_, completed the cast.

I recall some of the early comment on the opera. It was said to be Wagnerian. In point of fact "Aïda" is Wagnerian only as compared with Verdi's earlier operas. Compared with Wagner himself, it is Verdian--purely Italian. It was said that the fine melody for the trumpets on the stage in the pageant scene was plagiarized from a theme in the Coronation March of Meyerbeer's "Prophète." Slightly reminiscent the passage is, and, of course, stylistically the entire scene is on Meyerbeerian lines; but these resemblances no longer are of importance.

Paris failed to hear "Aïda" until April, 1876, and then at the Théâtre Italien, instead of at the Grand Opéra, where it was not heard until March, 1880, when Maurel was the _Amonasro_ and Édouard de Reszke, later a favourite basso at the Metropolitan Opera House, the _King_. In 1855 Verdi's opera, "Les Vêpres Siciliennes" (The Sicilian Vespers) had been produced at the Grand Opéra and occurrences at the rehearsals had greatly angered the composer. The orchestra clearly showed a disinclination to follow the composer's minute directions regarding the manner in which he wished his work interpreted. When, after a conversation with the chef d'orchestre, the only result was plainly an attempt to annoy him, he put on his hat, left the theatre, and did not return. In 1867 his "Don Carlos" met only with a _succès d'estime_ at the Opéra. He had not forgotten these circumstances, when the Opéra wanted to give "Aïda." He withheld permission until 1880. But when at last this was given, he assisted at the production, and the public authorities vied in atoning for the slights put upon him so many years before. The President of France gave a banquet in his honour and he was created a Grand Officer of the National Order of the Legion of Honour.

When the Khedive asked Verdi to compose a new opera especially for the new opera house at Cairo, and inquired what the composer's terms would be, Verdi demanded $20,000. This was agreed upon and he was then given the subject he was to treat, "Aïda," which had been suggested to the Khedive by Mariette Bey, the great French Egyptologist. The composer received the rough draft of the story. From this Camille du Locle, a former director of the Opéra Comique, who happened to be visiting Verdi at Busseto, wrote a libretto in French prose, "scene by scene, sentence by sentence," as he has said, adding that the composer showed the liveliest interest in the work and himself suggested the double scene in the finale of the opera. The French prose libretto was translated into Italian verse by Antonio Ghislanzoni, who wrote more than sixty opera librettos, "Aïda" being the most famous. Mariette Bey brought his archeological knowledge to bear upon the production. "He revived Egyptian life of the time of the Pharaohs; he rebuilt ancient Thebes, Memphis, the Temple of Phtah; he designed the costumes and arranged the scenery. And under these exceptional circumstances, Verdi's new opera was produced."

Verdi's score was ready a year before the work had its première. The production was delayed by force of circumstances. Scenery and costumes were made by French artists. Before these accessories could be shipped to Cairo, the Franco-Prussian war broke out. They could not be gotten out of Paris. Their delivery was delayed accordingly.

Does the score of "Aïda" owe any of its charm, passion, and dramatic stress to the opportunity thus afforded Verdi of going over it and carefully revising it, after he had considered it finished? Quite possibly. For we know that he made changes, eliminating, for instance, a chorus in the style of Palestrina, which he did not consider suitable to the priesthood of Isis. Even this one change resulted in condensation, a valuable quality, and in leaving the exotic music of the temple scene entirely free to exert to the full its fascination of local colour and atmosphere.

The story is unfolded in four acts and seven scenes.