Part 12

The second act discloses the two Kings upon the thrones. While they are cleaning the crown and sceptre, and their friends, the gondoliers, are playing cards, contadine arrive with Tessa and Gianetta. The delighted Kings give them a grand banquet and ball, but the dance is interrupted by the Inquisitor, who informs them that the ducal party will shortly arrive, and that Casilda will claim one of them for her husband. When Tessa and Gianetta realize that neither of them can be Queen, they begin to weep, but are somewhat comforted when the Inquisitor assures them they will not be kept long in suspense as the foster-mother is in the torture chamber. In the dénouement she confesses that the late King intrusted the Prince to her, and when traitors came to steal him she substituted her own son and kept the Prince in hiding, and that Luiz is the real Prince. Thereupon Luiz ascends the throne with Casilda as his queen, and Marco and Guiseppe sail joyfully back to Venice with Tessa and Gianetta.

The music is of Sullivan's best. He has reproduced in the score the old Italian forms, employs the legitimate modern ballad and song styles, and introduces also the "patter" songs and the "chant" songs which are so common in his other operas. Besides this, he has given strong local color with fandangoes, boleros, cachucas, and other dance rhythms. The best numbers are the ensemble for Marco and Giuseppe, "We're called Gondolieri"; the pompous song of the Duke, "In Enterprise of Martial Kind"; the serious duet for Casilda and Luiz, "There was a Time"; the Inquisitor's song, "I stab the Prince"; Tessa's beautiful song, "When a Merry Maiden marries"; the frolicsome quartette, "Then one of us will be a Queen"; the song of Marco with chorus, "For every one who feels inclined"; the characteristic song of Giuseppe, "Rising early in the Morning"; the gay and fascinating ensemble, "We will dance a Cachuca," with the brilliant dance music that follows it; the song of the Inquisitor, "There lived a King"; the ensemble, "In a Contemplative Fashion," a quiet movement with alternating comments by chorus, reaching a crescendo and then returning to the original movement, one of the most effective numbers in the opera; the Duchess' song, "On the Day when I was Wedded"; and the quintette in the finale, "I am a Courtier Grave and Serious."

SUPPÉ, FRANZ VON.

Fatinitza.

[Opéra comique, in three acts; text by Zell and Genée. First produced in Vienna, January 5, 1876.]

PERSONAGES.

Count Timofey Gavrilovich Kantschakoff, Russian General. Princess Lydia Imanovna, his niece. Izzet Pasha, governor of Rustchuk fortress. Capt. Vasil Staravieff. Lieut. Ossipp Safonoff. Steipann, a sergeant. Vladimir Samoiloff, lieutenant of cavalry. Julian, special war correspondent. Hassan Bey, leader of Bashi-Bazouks. Mustapha, guardian of the harem. Vuika, a Bulgarian. Hanna, his wife.

[Soldiers, Bashi-Bazouks, Cossacks, slaves, moujiks, etc.]

The scene is laid at Rustchuk and near Odessa; time, the last century.

Franz Von Suppé has been styled the German Offenbach, though the styles of the two composers differ widely. His operas are more purely comic operas, or operettas, than burlesques. He made his first success with an operetta, "Das Mädchen vom Lande" ("The Country Girl"), produced in Vienna in 1847, and his next work, a musical comedy called "Paragraph 3," made him known all over Germany. His entire list of light operas, musical farces, and vaudevilles includes over one hundred and sixty titles, but of these only two or three are well known in this country. "Fatinitza" is the best known, and is universally popular.

The story is an interesting one. Vladimir Samoiloff, a young lieutenant in the Russian army, while masquerading in girl's costume under the name of Fatinitza, encounters a Russian general, Count Timofey Kantschakoff, who falls desperately in love with him. He manages to escape from him, and subsequently meets the General's niece, the Princess Lydia, whom he knows only as Lydia, and the two fall in love. Hearing of the attachment, the General transfers the young officer to the Russian outposts. The first act opens in camp at Rustchuk. Julian, a war correspondent, has just been brought in as a spy, but is recognized by Vladimir as an old friend. They plan private theatricals, in which Vladimir takes a female part. The General unexpectedly appears at the play, and recognizes Vladimir as his Fatinitza. When the opportunity presents itself, he resumes his love-making, but it is interrupted by the arrival of Lydia, whose noble rank Vladimir learns for the first time. Any danger of recognition, however, is averted by the correspondent, who tells Lydia that Fatinitza is Vladimir's sister. The doting old General commends Fatinitza to the Princess, and goes off to inspect his troops. In his absence some Bashi-Bazouks surprise the camp and capture Lydia, Vladimir, and Julian, leaving the latter behind to arrange a ransom.

The second act opens in the harem of Izzet Pasha, governor of the Turkish fortress. Vladimir, in his female attire, and Lydia are brought in as captives, and the Pasha announces to his four wives that Lydia will be the fifth. Julian then arrives with the Russian sergeant, Steipann, to arrange for the release of his friends. The Pasha offers to give up Fatinitza, but declares he will retain Lydia. Steipann returns to the General with the Pasha's terms, carrying also a secret message from Julian, who has discovered how the Russians may capture the Turks. Julian remains with the Pasha, who gives him many entertainments, among them a shadow pantomime, during which the General and his soldiers rush in and rescue their friends.

The third act opens in the General's summer palace at Odessa. He has promised his niece to an old and crippled friend of his, but Julian once more straightens out matters by convincing the General that the real Fatinitza has died of grief because she was separated from him. Thereupon he consents to his niece's union with Fatinitza's brother, Vladimir.

The principal numbers of the first act are Vladimir's romance, in the sentimental vein, "Lost is the Dream that bound me"; the reporter's (Julian) jolly descriptive song, "With my Notebook in my Hand"; the pompously martial entrance song of General Kantschakoff, "Thunder! Lightning! who goes there?" which forcibly recalls General Boum's "Pif, paf, pouf" song in Offenbach's "Grand Duchess"; Lydia's sleighing-song, "When the Snow a Veil is flinging"; and the quartette in the next scene, "Not a Look shall tell," in the mock Italian style. The second act opens with the characteristic toilet chorus in the harem, "Washing, dressing, brushing, combing." The remaining most striking numbers are Izzet's song and dance, "I pine but for Progress"; the pretty duet for Vladimir and Lydia, "New Doubts, New Fears"; the effective sextette, "'Tis well; then learn that this young Russian"; the brilliant kismet duet for Izzet and Julian, "We are simply what Fortune pleases"; the sextette in the finale, "Silver Tinklings, ringing brightly," known as the Bell Sextette; and the characteristic music to the Karagois, or Turkish shadow pantomime, which forms a second finale. The leading numbers of the last act are Lydia's bell song, "Chime, ye Bells," accompanied by the ringing of bells on the stage, and distant shots; the trio for Lydia, Vladimir, and Julian, "Again, Love, we meet," which is one of the most effective bits in the opera; and the brilliant closing chorus, "Joy, Joy, Joy, to the Bride."

Boccaccio.

[Opéra comique, in three acts; text by Zell and Genée. First produced at the Carl Theatre, Vienna, February 1, 1879.]

PERSONAGES.

Boccaccio, novelist and poet. Leonetto, his friend and student. Pietro, Prince of Palermo. Lutteringhi, a cooper. Lambertuccio, a grocer. Scalza, a barber. Fratelli, a bookseller. Checco, a beggar. Fresco, the cooper's apprentice. Fiametta, Lambertuccio's adopted daughter. Beatrice, Scalza's daughter. Isabella, Lutteringhi's wife. Peronella, Lambertuccio's sister. Filippa. Oretta.

[Beggars, students, citizens, coopers, courtiers, etc.]

The scene is laid in Florence; time, near the close of the fourteenth century.

Suppé is fond of introducing real characters among the personages of his operas, and in this one, which has become such a favorite, sharing equally in popularity with "Fatinitza," we find Boccaccio of the "Decameron," and the Fiametta whom he has immortalized in it (the Princess Maria of Naples, with whom he fell violently in love) masquerading as the adopted daughter of Lambertuccio, the grocer. In the opera he is rewarded with her hand in the finale. In reality, Maria, the Fiametta of the "Decameron," was already the wife of another when Boccaccio was enamoured of her. She died long before her lover, but her memory was cherished by him, as in the case of Beatrice and Dante, and to her we owe undoubtedly the collection of tales in the "Decameron" which furnished such abundant material to subsequent poets, story-tellers, and dramatists.

The story of the opera is a simple one. Pietro, the Prince of Palermo, is to be married to Fiametta in accordance with the wishes of his father, and goes to Florence for that purpose. The Duke, her father, for reasons of his own, has had her reared as the adopted daughter of Lambertuccio, a grocer, who was not aware of her royal birth and intends that she shall marry Pietro, to whom she was betrothed in infancy. On his way to Florence Pietro falls in with a madcap lot of students, whose leader is Boccaccio, and he joins them in many of their pranks. Boccaccio himself has incurred the anger of the Florentine men for having ridiculed them in his stories, and he too is in love with Fiametta. Pietro among his other adventures has made love to a married woman whom the students induced him to believe was the niece instead of the wife of Lutteringhi, the cooper. He has the misfortune before presenting himself to the Duke and Fiametta to be mistaken for Boccaccio and to receive a sound beating. In the dénouement, when he is about to be united to Fiametta for reasons of state, Boccaccio, knowing that he is loved by her, arranges a play in which the misdeeds of Pietro are set forth in such strong light that she refuses the latter and gives her hand to the poet.

The most popular numbers in the opera are the serenade to Beatrice, "Lovely Charmer, hear these Sounds"; Boccaccio's song with chorus, "I see a Gay Young Fellow standing nigh"; the charming duet for Fiametta and Peronetta, "Listen to the Bells' Sweet Chime"; Fiametta's romanza, "If I have but Affection"; the duet for Boccaccio and Fiametta, "A Poor Blind Man implores your Aid"; Leonetto's song, opening the second act, "The Girl of my Heart's a Treasure"; the cooper's rollicking song, "My Wife has a Scolding Tongue"; the coquette song by Isabella, "Young Maidens must beware"; the "cretin" song by Boccaccio, "When they ask me for the News"; the graceful waltz song by Fiametta, "Blissful Tidings, reassuring"; the rollicking drinking-song of Pietro, "See the Goblet flash and sparkle"; the duet for Boccaccio and Fiametta, "Mia bella fiorentina," in the Italian style; and the sextette, "Ye Foolish Men," which leads up to the finale of the last act.

The Beautiful Galatea.

[Opéra comique, in two acts; text by Zell and Genée. First produced in Vienna, 1865.]

PERSONAGES.

Galatea, the statue. Ganymede, Greek boy. Pygmalion, sculptor. Midas, art patron.

[Chorus of Grecians.]

The scene is laid in Greece; time, mythological.

The opera of "Die Schöne Galatea" ("The Beautiful Galatea"), though of slight construction, is one of Suppé's most melodious works, while the story is a clever setting of the familiar mythological romance in a somewhat modern frame, in which respect it resembles the stories of Helen of Troy and Orpheus and Eurydice, which Offenbach so cleverly travestied. The first act opens with a graceful chorus of Grecians on their way to worship at the temple of Venus, at dawn ("Aurora is awaking in Heaven above"). Ganymede, Pygmalion's servant, declines to go with them, preferring to sleep, and bids them good-by with a lullaby ("With Violets, with Roses, let the Temple be decked"). His master, Pygmalion, who has finished a statue of Galatea, his ideal, also goes to the temple, and Ganymede decides to take a nap. His slumbers are interrupted, however, by Midas, a professional art patron, who has heard of the statue and informs Ganymede that he is ready to buy it, but first wishes to see it. The servant declares it is impossible, as his master is in love with it. Midas makes a further appeal to him in a long descriptive arietta ("My Dear Father Gordias") in which he boasts of his abilities, his patronage, and his conquests. He finally bribes Ganymede to show it to him, and as he stands gazing at it and praising its loveliness, Pygmalion, who has suddenly returned, enters and upbraids them. After a spirited trio, "Boiling Rage I feel within me," Ganymede takes to his heels and Midas is driven out. When Pygmalion is alone with the statue, a sudden impulse moves him to destroy it because it has been polluted by Midas's glances, but his hand is stayed as he hears the chorus of the returning worshippers, and he makes an impassioned appeal to Venus ("Venus, oh, see, I fly to thee") to give life to the marble. Venus answers his prayer. The statue comes to life, and Galatea falls in love with Pygmalion, the first man she has seen, which gives an opportunity for a charming number, the Awakening Duet ("I feel so warm, so sweet"), and for a solo closing the act ("Lightly sways and gently sweeps").

The second act opens with the couplets of Ganymede ("We Grecians"), at the close of which he espies Galatea gathering flowers. As soon as the fickle Galatea sees Ganymede, she falls in love with him because he is younger and handsomer than Pygmalion. As they are discoursing admiringly, Midas appears and recognizes Galatea, and proceeds to woo her with offers of jewels. A pretty trio follows, "See the Trinkets I have brought you." She accepts his trinkets and his money, but declines to accept him. As they are negotiating, Pygmalion returns. Ganymede once more takes to his heels, and Galatea conceals Midas by putting him on the pedestal behind the screen where she had stood. She then hides her jewels, and tells Pygmalion she is hungry. Ganymede is summoned and arranges the table, and they sit down, the servant with them at Galatea's request. She sings a brilliant drinking-song ("Bright in Glass the Foaming Fluid pass"), in which Pygmalion and Ganymede join. During the banquet Midas is discovered behind the screen, and Pygmalion also learns of Galatea's fickle conduct later, when he surprises her and Ganymede in a pretty love scene ("Ah, I'm drawn to Thee"). By this time Pygmalion is so enraged that he prays Venus to let her become a statue again. The goddess graciously consents, and the sculptor promptly gets rid of Galatea by selling her to Midas.

THOMAS, CHARLES AMBROISE.

Mignon.

[Opéra comique, in three acts; text by Barbier and Carré. First produced at the Opéra Comique, Paris, November 17, 1866.]

PERSONAGES.

Mignon. Wilhelm Meister, a student. Laertes, an actor. Frederic, an admirer of Filina. Lotario, Mignon's father in disguise of a harper. Filina, an actress.

[Actors, gypsies, etc.]

The scene is laid in Germany and Italy; time, the last century.

The story of "Mignon," Thomas's universally popular opera, is based upon Goethe's "Wilhelm Meister." Mignon, the heroine, who is of noble birth, was stolen in her childhood by gypsies. Her mother died shortly afterwards, and her father, disguised as Lotario, the harper, has long and vainly sought for her. At the opening of the opera, a strolling band of actors, among them Filina and Laertes, arrive at a German inn on their way to the castle of a neighboring prince, where they are to perform. At the same time a gypsy band appears and arranges to give the guests an entertainment. Mignon, who is with the band, is ordered to dance, but being tired, she refuses. The leader of the band rushes at her, but Lotario, the old harper, intercedes in her behalf, whereupon he is singled out for assault, but is saved by the wandering student, Wilhelm Meister. To spare her any further persecution, he engages her as his page, and they follow on in the suite of Filina, to whom he is devoted. Touched by his kindness to her, Mignon falls in love with him; but he, ignorant of her passion, becomes more and more a victim to the actress's fascinations. When they arrive at the castle, all enter except Mignon, who is left outside. Maddened by jealousy, she is about to drown herself, but is restrained by the notes of Lotario's harp. She rushes to him for counsel, and invokes vengeance upon all in the castle. After the entertainment the guests come out, and Filina sends Mignon in for some flowers she has left. Suddenly flames appear in the window. Lotario has fired the castle. Wilhelm rushes in and brings out the insensible Mignon in his arms. In the dénouement Wilhelm discovers her attachment to him, and frees himself from Filina's fascinations. A casket containing a girdle Mignon had worn in childhood, a prayer which she repeats, and the picture of her mother convince Lotario that she is his daughter, and Wilhelm and Mignon are united.

The leading numbers of the first act are the quintette immediately following the rescue of Mignon by Wilhelm; the romanza, "Non conosci il bel suol" ("Know'st thou the Land"), a song full of tender beauty and rare expression; the duet which immediately follows it, "Leggiadre rondinelli" ("Oh, Swallows Blithe"), known as the Swallow Duet, and of almost equal beauty with the romanza: and the graceful aria, "Grazia al gentil signore" ("You'll come with us"), in which Filina invites Wilhelm to join them. The best numbers in the second act are the trio, "Ohimè quell' acre riso" ("Alas! her Bitter Laugh"); Filina's gay, coquettish aria, "Gai complimenti" ("Brilliant Compliments"); Mignon's exquisite and characteristic song, "Conosco un zingarello" ("A Gypsy Lad I well do know"), which the composer himself calls the "Styrienne"; a bewitching rondo-gavotte, "Ci sono" ("I'm here at last"), sung by the love-lorn Frederic; Wilhelm's pathetic farewell to Mignon, "Addio, Mignon! fa core" ("Farewell, Mignon, take Heart"); the beautiful duet for Mignon and Lotario, "Sofferto hai tu" ("Hast thou e'er suffered"); and the polacca in the fourth scene, which is a perfect _feu de joie_ of sparkling music, closing with an extremely brilliant cadenza. The last act is more dramatic than musical, though it contains a few delightful numbers. Among them are the chorus barcarole in the first scene, "Orsù, scioglian le vele" ("Quick, the Sails unfurl"); a song by Wilhelm, "Ah, non credea" ("Ah, little Thought"), and the love duet, "Ah, son felice" ("Ah, I am happy"), in which is heard again the cadenza of Filina's polacca.

WALLACE, WILLIAM VINCENT.

Maritana.

[Romantic opera, in three acts; text by Fitzball. First produced at Drury Lane Theatre, London, November 15, 1845.]

PERSONAGES.

Charles the Second, King of Spain. Don Jose de Santarem, his minister. Don Cæsar de Bazan. Marquis de Montefiori. Lazarillo. Maritana, a gitana. Marchioness de Montefiori.

[Nobles, alquazils, soldiers, gypsies, populace, etc.]

The scene is laid in Madrid; time of Charles the Second.

The story of "Maritana" is founded upon the well-known play of "Don Cæsar de Bazan." At the opening of the first act a band of gypsies, Maritana among them, are singing to the people. The young King Charles listening to her is fascinated by her beauty. Don José, for reasons of his own, extols her charms and arouses her hopes for a brilliant future. At this point Don Cæsar de Bazan, a reckless, rollicking cavalier, once a friend of Don José, makes his appearance. He has parted with the last of his money to gamblers, and while he is relating his misfortunes to Don José, Lazarillo, a forlorn lad who has just tried to make away with himself, accosts Don Cæsar and tells him a piteous tale. The Don befriends, and thereby becomes involved in a duel. This leads to his arrest for duelling in Holy Week, which is forbidden on pain of death. While Don Cæsar sets off for the prison, Don José promises Maritana speedy marriage and presentation at court.

The second act opens in the prison. Don José enters, and professes great sympathy for Don Cæsar. When asked if he has any last request, he begs to die like a soldier. Don José agrees that he shall not die an ignominious death if he will marry. He consents, and is also treated to a banquet, during which Lazarillo delivers a paper to Don José containing the royal pardon of Don Cæsar, but Don José conceals it. Maritana, her features disguised by a veil, is married to the Don, but at the expiration of an hour he is led out to meet his fate. The soldiers fire at him, but he escapes, as Lazarillo has managed to abstract the bullets from their guns. He feigns death, and when the opportunity presents itself hurries to a ball at the Montefiori palace, and arrives just as the Marquis, who has had his instructions from Don José, is introducing Maritana as his niece. Don Cæsar demands his bride, but Don José arranges with the Marquis to present him with the Marchioness closely veiled. The scheme does not work, as Don Cæsar hears Maritana's voice and claims her, but she is quickly spirited away.

The last act finds Maritana in a royal apartment. Don José carries out his plot by introducing the King to her as her husband. At this juncture Don Cæsar rushes in. The King in a rage demands to know his errand. He replies that he is seeking the Countess de Bazan, and with equal rage demands to know who he (the King) is. When the King in confusion answers that he is Don Cæsar, the latter promptly replies, "Then I am the King of Spain." Before further explanations can be made, the King is summoned by the Queen. Don Cæsar and Maritana consult together, and he decides to appeal to the Queen. While waiting for her in the palace garden, he overhears Don José telling her that the King is to meet his mistress that night. Don Cæsar denounces him as a traitor, and slays him. The King, when he hears of Don Cæsar's loyalty, consigns Maritana to him, and appoints him Governor of Valencia.

The opera is full of bright, melodious music. The principal numbers in the first act are Maritana's song, "It was a Knight of Princely Mien"; the romanza which she sings for Don José, "'Tis the Harp in the Air"; the duet between Don José and Maritana, "Of Fairy Wand had I the Power"; Don Cæsar's rollicking drinking-song, "All the World over"; and the delightful chorus, "Pretty Gitana, tell us what the Fates decree." The first scene of the second act is a mine of charming songs, including Lazarillo's, "Alas! those Chimes"; the trio, "Turn on, Old Time, thine Hourglass"; Don Cæsar's stirring martial air, "Yes, let me like a Soldier fall"; the sentimental ballad, "In Happy Moments, Day by Day"; and the quartette and chorus closing the scene, "Health to the Lady, the Lovely Bride." The next scene contains a pretty chorus in waltz time, "Ah! what Pleasure," followed by an aria sung by the King, "The Mariner in his Bark," and the act closes with a very dramatic ensemble, "What Mystery must now control." The leading numbers of the last act are Maritana's song, "Scenes that are Brightest," one of the most admired of all English songs; the love duet between Don Cæsar and Maritana, "This Heart with Bliss O'erflowing"; and Don Cæsar's song, "There is a Flower that bloometh," which is in the sentimental ballad style.

Lurline.