Part 4

The third act opens with a vigorous rataplan chorus followed by a charming chansonette and duet, "Who can tell me where she dwells," sung by the Prince and Flora. The remaining numbers are a short but exceedingly effective bass song, "In the Donjon Deep"; the Provost's serenade, "The Land of Romances," followed by a dance, and a pretty little rustic song, "There's a Lass, some think her Bonny," for Rob Roy, Janet, and chorus, leading up to a vigorous choral finale.

The Fencing-Master.

[Comic opera, in three acts; text by Harry B. Smith. First produced at the New York Casino, November 14, 1892.]

PERSONAGES.

Francesca, Torquato's daughter, brought up as a boy. Torquato, fencing-master of the Milanese court. Pasquino, private astrologer to the Duke. Galeazzo Visconti, Duke of Milan. Count Guido Malespine. Filippa, the Duke's ward. Marchesa di Goldoni. Theresa, daughter of a Milanese money-lender. Pietro, an innkeeper. Michaele Steno, Doge of Venice. Rinaldo, Captain of the Doge's Guards. Fortunio, rightful heir to the ducal throne.

[Students in Torquato's Academy.]

The scene is laid in Milan and Venice; time, the first quarter of the fifteenth century.

The heroine of this opera is Francesca, daughter of a fencing-master, who has brought her up as a boy and taught her fencing among other accomplishments. She is in love with Fortunio, rightful heir to the throne of Milan, who believes her to be a boy. Fortunio in turn is in love with the Countess Filippa, and the Marchesa di Goldoni, a young widow, is in love with Francesca. The bankrupt and usurping Duke of Milan and his private astrologer, of whom he has purchased so many horoscopes as to deplete his exchequer, furnish the comedy element of the opera. The Duke has mortgaged one room after another in his palace to money-lenders, and has also employed a regularly organized stock company of Venetian bravos to remove Fortunio. The first act closes with the departure of Fortunio and Francesca to Venice on political business.

The second act opens in Venice. Filippa has been sent there to be married, but Fortunio plans an elopement with her and entrusts the secret to Francesca. The jealous Francesca betrays the plan to Guido, his rival, who abducts Filippa. When Fortunio discovers what Francesca has done, he challenges the supposed young man, whose identity is revealed after he has wounded her. Fortunio is arrested by the Duke and is about to be taken to prison, when Francesca declares herself as the real traitor and is imprisoned in his stead.

In the last act Francesca escapes through the connivance of the Marchesa, who still believes her to be a man. At a fête Filippa is expected to name her future husband. Fortunio has made an appointment with her, but meets Francesca disguised as the Countess, in a mask and domino like hers. She learns from Fortunio that he really loves her and not Filippa. The opera closes with the downfall of the usurping Duke and his astrologer and the restoration of Fortunio to his rights.

The music has the Italian color, the first act containing a graceful tarantella and chorus, "Under thy Window I wait"; a duet, gavotte, and chorus, "Oh, listen, and in Verse I will relate," sung by Theresa and Pasquino; a lively song, "The Life of a Rover," by Fortunio; a charming habanera and quintette, "True Love is a Gem so Fair and Rare"; and a waltz quintette, "Lady Fair, I must decline." The second act opens with a barcarole, "Over the Moonlit Waves we glide," and contains also a graceful maranesca, "Oh, come, my Love, the Stars are bright"; a humorous serenade for the Duke, "Singing a Serenade is no Light Task"; a sentimental romanza for Francesca, "The Nightingale and the Rose"; and a brilliant finale in which the music accompanies the historic ceremony of the marriage with the Adriatic. The principal numbers of the third act are a graceful carnival scene with chorus opening the act; the serenade for the Marchesa and cavaliers, "Wild Bird that singeth"; a will-o'-the-wisp song by Francesca, "Traveller wandering wearily"; and a melodious duet for Francesca and Fortunio, "Dwells an Image in my Heart," leading up to a short finale.

DELIBES, LEO.

Lakmé.

[Romantic opera, in three acts; text by Goudinet and Gille. First produced at the Opéra Comique, Paris, April 14, 1883; in New York, March 1, 1886.]

PERSONAGES.

Lakmé, daughter of Nilakantha. Nilakantha, a Brahmin priest. Gerald, an English officer, lover of Lakmé. Frederick, an English officer. Mallika, slave of Lakmé. Hadji, slave of Lakmé. Ellen, } Rose, } daughters of the Viceroy. Mrs. Benson, their governess.

[Hindoos, Chinamen, fruit-venders, sailors, etc.]

The scene is laid in India; time, last century.

The opera of "Lakmé" opens in the sacred grounds of Nilakantha, a Brahmin priest who has an aversion to all foreigners, where Gerald and Frederick, two young English officers, with ladies are strolling about. They gradually retire with the exception of Gerald, who is curious to see the owner of some jewels left upon a shrine. Lakmé, the daughter of Nilakantha, returns for them, espies Gerald, and there is a case of love at first sight. The priest however interrupts their demonstrations, and Gerald escapes his vengeance in a convenient thunder-storm. In the second act Lakmé and Nilakantha appear in the market-place in the guise of penitents. He forces his daughter to sing, hoping that her voice will induce her lover to disclose himself. The scheme succeeds, and Nilakantha, stealing upon Gerald, stabs him in the back and makes good his escape. The third act opens in a jungle where Lakmé is nursing Gerald with the hope of retaining his love. She eventually saves his life, but while she is absent to obtain some water which, according to the Indian legend, will make love eternal, Frederick finds him and urges him to return to his regiment. Duty is more powerful than passion, and he consents. When Lakmé finds that he is going, she takes poison and dies in Gerald's arms.

The first act opens with a chorus of Hindoos, oriental in its coloring, followed by a duet between Lakmé and her father, the scene closing with a sacred chant. A beautiful duet for Lakmé and her slave follows, "Neath yon Dome where Jasmines with the Roses are blooming." As Lakmé appears at the shrine, she sings a restless love song, "Why love I thus to stray?" followed by Gerald's ardent response, "The God of Truth so Glowing."

The first number of importance in the second act is the pathetic aria of Nilakantha, addressed to his daughter, "Lakmé, thy Soft Looks are over-clouded." Then follows Lakmé's bell song, "Where strays the Hindoo Maiden," a brilliant and gracefully embellished aria with tinkling accompaniment which will always be popular. The remaining principal numbers are an impassioned song by Gerald, "Ah! then 'tis Slumbering Love," followed by the mysterious response from Lakmé, "In the Forest near at Hand."

The music of the third act is tinged with sadness throughout, as the action hastens to the tragic dénouement. Its principal numbers are the low murmuring song by Lakmé, "'Neath the Dome of Moon and Star," as she watches her sleeping lover; Gerald's song, "Tho' Speechless I, my Heart remembers," followed by a pretty three-part chorus in the distance; and Lakmé's last dying songs, "To me the Fairest Dream thou'st given," and "Farewell, the Dream is over."

DONIZETTI, GAETANO.

The Daughter of the Regiment.

[Opéra comique, in two acts; text by Bayard and St. Georges. First produced at the Opéra Comique, Paris, February 11, 1840.]

PERSONAGES.

Sulpice, an old sergeant. Tony, a Tyrolean peasant in love with Marie. Hortensius, secretary of the Marchioness. Marie, the adopted Daughter of the Regiment. Marchioness de Berkenfeld. Duchesse de Crackenthorpe.

[Villagers, soldiers, gentlemen, guests.]

The scene is laid in the Tyrol; time, about twelve years after the Battle of Marengo.

At the opening of the opera Marie, the heroine, and vivandière in Napoleon's Twenty-first Regiment, has been saved from falling over a precipice by Tony, a Tyrolean peasant, and is ever after the object of his special admiration and, shortly, of his love. She tells the story of her life, from which it appears that she was adopted as the Daughter of the Regiment because she was picked up on the field of battle by Sergeant Sulpice, who found upon her person a letter written by her father to the Marchioness de Berkenfeld. Tony's reward for his rescue of Marie is his arrest as a spy, but not before he has declared his love for her. He easily clears up his record, and the soldiers decide he may have Marie's hand if he will join them. He gives joyous assent to this proposition, but his hopes are suddenly dashed to the ground when the Marchioness de Berkenfeld appears. Sergeant Sulpice delivers the letter to her, after reading which she claims Marie as her niece, and carries her off amidst smothered imprecations by the soldiers and especially by Tony upon the Marchioness.

In the second act Marie is found in her new home at the castle of Berkenfeld, and the old sergeant is with her, while she is rehearsing a romance which she is to sing to a grand company. She and Sulpice suddenly break out into a rollicking rataplan, and go through military evolutions to the horror of the Marchioness. While the latter is expostulating with them, martial music announces the approach of the gallant Twenty-first, with Tony at their head, for he is now a colonel. He makes another appeal for Marie's hand, and the appeal is seconded by the soldiers, but the Marchioness refuses the favor. Tony then proposes an elopement, to which Marie consents. To thwart this scheme, the Marchioness announces that early in life she had been secretly married to an army officer of low rank and that he was Marie's father. Unable to disobey her mother's wishes, Marie gives up Tony and falls into a melancholy mood. Her sad plight rouses old associations in the mind of the Marchioness, and she at last gives her consent to the union.

The music of the first act is very brilliant, and includes among its best numbers Marie's opening song, "The Camp was my Birthplace"; the duet with Sulpice, known the world over as "The Rataplan," stirring and martial in its character and accompanied by the rattling of drums and the sonorous strains of the brasses; the spirited "Salute to France"; Marie's song of the regiment, "All Men confess it"; her pretty duet with Tony, "No longer can I doubt it"; and her touching adieu to the regiment, "Farewell, a Long Farewell."

In the second act the principal numbers are the "Rataplan" (repeated); Marie's aria, "By the Glitter of Greatness and Riches"; the soldiers' spirited choral appeal, "We have come our Child to free"; Tony's romance, "That I might live in her Dear Sight"; and the effective trio, "Once again, what Delight," leading to the exultant finale. The music of the opera is light, but exceedingly brilliant, and the leading rôles have always been esteemed by great artists. That of Marie was a favorite one with Jenny Lind, Patti, Sontag, and Albani.

Don Pasquale.

[Opera buffa, in three acts; text and music by Donizetti. First produced at the Theatre des Italiens, Paris, January 4, 1843.]

PERSONAGES.

Don Pasquale, an obstinate but kind-hearted bachelor. Dr. Malatesta, his friend and physician. Ernesto, Don Pasquale's nephew. Norina, a young widow. Notary.

[Valets, chambermaids, majordomo, dressmaker, etc.]

The scene is laid in Rome; time, last century.

The opening of the first act of "Don Pasquale" discloses the Don enraged with Ernesto, his nephew, because he will not marry to suit him. Dr. Malatesta, a mutual friend, comes to the help of Ernesto, to whom he is greatly attached, and contrives a scheme to further his interests. He urges the Don to marry a lady, pretending she is his (the doctor's) sister, in reality Norina, with whom Ernesto is in love. Norina is let into the secret, her part being to consent to the marriage contract and then so torment Don Pasquale that he will be glad to get rid of her and even consent to her marriage with Ernesto.

In the second act Ernesto is found bewailing his fate. The Don enters, showily arrayed for his wedding. Norina appears with the doctor, and shyly and reluctantly signs the wedding-contract. As soon as she has signed it, however, she drops all modesty. The bewildered Ernesto is kept quiet by signs from the doctor. Norina first refuses all the Don's demonstrations, and then declares Ernesto shall be her escort. She summons the servants, and lays out a scheme of housekeeping upon such an extravagant scale that Don Pasquale declares he will not pay the bills. She says he shall, as she is now master of the house.

In the third act Norina continues her annoying antics. She employs the most expensive milliners and modistes. At length, when he finds that she is going to the theatre, he forbids it. A quarrel follows. She boxes his ears, and as she flounces out of the room she purposely drops a letter, the contents of which add jealousy to his other troubles. At this juncture Dr. Malatesta comes in and condoles with him. Nothing will satisfy Don Pasquale, however, except her leaving the house, and finally he orders her to go, at the same time taxing her with having a lover concealed on the premises. The doctor pleads with him to let his nephew marry Norina. When he finds she is really the doctor's sister, he is only too glad to get out of his troubles by consenting to the marriage of the young couple and blessing them.

The principal numbers in the first act are the duet for Ernesto and Don Pasquale; the scena for Norina, "And in that Look she gave"; and the charming duet for Norina and the doctor, "What Sport we'll have," closing the act. The second act opens with the lugubrious aria, "Oh! how at one Fell Blow," in which Ernesto bewails his sad condition, and also contains a charming quartette. The gem of the opera is the serenade in the last act, "How Soft the Air -- in April Night so Fair," better known perhaps by its Italian title, "Com 'e gentil," which was inserted by Donizetti after the first performance to strengthen the work and make it more popular. The serenade has been heard the world over and is a favorite concert number still. The charm of "Don Pasquale" lies in its humorous situations and the bright, melodious music which illustrates them. For brilliant gayety it stands in the front rank of comic operas.

Linda.

[Grand opera, in three acts; text by Rossi. First produced at the Kärnthnerthor Theatre, Vienna, May 19, 1842.]

PERSONAGES.

Linda, daughter of Antonio. Pierotto, a villager. Antonio, a farmer. Madalina, his wife. Marquis of Boisfleury. Carlo, the Marquis' son. Prefect.

[Villagers, Savoyards, etc.]

The scene is laid in Switzerland; time, last century.

The first act of "Linda de Chamouni" opens in the valley of that name, and discloses the home of Antonio Lonstolat, a farmer, and his old wife, Madalina, whose only daughter, Linda, is in love with Carlo, a young painter who has recently come into the valley. Misfortunes have overtaken the old couple, and they are in danger of losing their farm, which is owned by the Marchioness de Sirval. Their anxiety is temporarily relieved when the Marquis of Boisfleury visits them and assures them he will save the farm, his real purpose being to effect the ruin of Linda by ingratiating himself with her parents. The Prefect of the village, however, is aware of his designs, and induces them to let Linda accompany a party of villagers to Paris, promising at the same time to place her with his brother, who is supposed to be living in that city. She soon leaves under the protection of Pierotto, the Savoyard.

The second act discloses them on the way to Paris, but Linda unfortunately loses her companion. Upon reaching Paris she finds that the Prefect's brother is dead. Meanwhile Carlo, who has followed her, arrives, and reveals to her that he is the Viscount Sirval, son of the Marchioness, and nephew of the Marquis. He renews his offer of marriage, and places her in a handsome apartment. In these questionable surroundings Pierotto discovers her. Her father, who has had to give up the farm, also finds her, and, distrusting her innocence amid such luxury, curses her. The Marchioness meanwhile, who has learned of her son's attachment, threatens to imprison Linda if he does not marry the lady she has selected for him. He gives his feigned consent, and Linda, thinking he has deserted her, goes insane.

In the last act Pierotto takes her back to her native village. Carlo arrives there in search of her, and finding her with Pierotto sings to her, hoping she will recognize his voice and that her reason may return. The song has the desired effect. Subsequently the Marchioness relents, gives her consent to their union, and all ends happily.

The music of "Linda" is of that serious and dignified kind which justifies its inclusion in the list of grand operas. In the first act the opening aria of Antonio, "We were both in this Valley nurtured," is a touching expression of the sorrow of the aged couple. Linda's farewell, "Oh, Stars that guide my Fervent Love," familiar on the concert stage by its Italian title, "O, luce di quest' anima," is an aria of strong dramatic power, and has always been a popular favorite. In this act also are Pierotto's pathetic ballad, "Once a Better Fortune seeking," and the passionate duet for Linda and Carlo, "Oh that the Blessed Day were come." The principal numbers in the second act are the brilliant duet for Linda and Pierotto, "Oh, Linda, at thy Happy Fate," which is highly embellished, and the aria for Linda, "Ah! go, my Love." The last act contains a mournful aria by Carlo, "If from Heaven the Bolts should reach me"; his charming song in which he appeals to Linda, "Hear the voice that, softly singing"; and the rapturous duet for Linda and Carlo, "Ah! the Vision of thy Sorrow fades," which closes the opera.

The Elixir of Love.

[Opera buffa, in two acts; text by Romani. First produced in Milan in 1832; in English at Drury Lane Theatre, London, in 1839.]

PERSONAGES.

Nemorino, a young husbandman. Sergeant Belcore. Dr. Dulcamara, a travelling quack. Landlord. Notary. Pietro, peasant. Adina, a country girl. Gianetta, } Floretta, } her companions.

[Farmers, peasants, soldiers, villagers, etc.]

The scene is laid in an Italian village; time, last century.

Few more graceful little operas have been written than "The Elixir of Love." Its heroine, Adina, a capricious country girl, is loved by Nemorino, a farmer, whose uncle lies at the point of death, also by Belcore, a sergeant, whose troops are billeted upon the neighboring village. Adina has both her lovers in suspense when Dr. Dulcamara, a quack, arrives in the village to sell his nostrums. Nemorino applies to him for a bottle of the Elixir of Love, and receives from him a bottle of ordinary wine with the assurance that if he drinks of it he can command the love of any one on the morrow. To make sure of its agreeable properties, he drinks the whole of it with the result that he accosts Adina in a half-tipsy condition, and so disgusts her that she promises to marry the sergeant in a week. In the mean time an order comes for the departure of the troops, and the sergeant presses her to marry him that day.

Adina gives her consent, and the second act opens with the assembling of the villagers to witness the signing of the marriage contract. While the principals and notary retire for the signing, Nemorino enters, and finding Dr. Dulcamara begs of him some charm that will make Adina love him; but as he has no money the quack refuses to assist him. Nemorino is in despair, but at this juncture the sergeant enters out of humor, as the capricious Adina has refused to sign until evening. Finding that Nemorino needs money, he urges him to enlist, and for the sake of the bonus of twenty crowns he consents. Nemorino hastens with the money to the quack, and obtains a second bottle of elixir which is much more powerful than the first. The girls of the village somehow have discovered that Nemorino's uncle has died and left him a handsome property, of which good fortune, however, Nemorino is ignorant. They use all their charms to attract his favor. Nemorino attributes his sudden popularity to the elixir, and even the quack himself is surprised at the remarkable change in his customer. Nemorino now pays Adina off in kind by making her jealous. Dr. Dulcamara comes to her assistance, seeing an opportunity for the sale of more elixir. He explains its properties to her, tells her of Nemorino's attachment, and advises her to try some of it. Struck with his devotion, she announces another change of mind to the sergeant, and bestows her hand upon the faithful Nemorino.

The opera abounds with bright and gay musical numbers, the most attractive of which are the long and characteristic buffo song, "Give Ear now, ye Rustic Ones," in which Dr. Dulcamara describes his various nostrums to the villagers; the charmingly humorous duet, "Much obliged," for Nemorino and Dr. Dulcamara; and the ensemble, "The Wine-cup full teeming," in which the half-tipsy Nemorino appears in the finale of the first act. The prominent numbers of the second act are the beautiful duet, "What Affection and oh, how cruel," for Adina and Dr. Dulcamara; the beautiful romanza for Nemorino, "In her Dark Eye embathed there stood" ("Una furtiva lacrima"), which is of world-wide popularity; and Adina's gracefully melodious aria, "So much Joy is more than my Heart can contain."

EICHBERG, JULIUS.

The Doctor of Alcantara.

[Comic operetta, in two acts; text by Wolfe. First produced at the Museum, Boston, Mass., April 7, 1862.]

PERSONAGES.

Dr. Paracelsus. Señor Balthazar. Carlos, his son. Perez, } Sancho, } porters. Don Pomposo, alguazil. Donna Lucrezia, wife of Dr. Paracelsus. Isabella, her daughter. Inez, her maid.

[Serenaders, citizens, etc.]

The scene is laid in Alcantara, Spain; time, last century.

The first act of this operetta opens with a dainty serenade by Carlos, son of Señor Balthazar, to Señorita Isabella, daughter of Dr. Paracelsus, with whom he is in love. Isabella, who is intended for another by her mother, Donna Lucrezia, prefers this unknown serenader. As the song closes, Isabella, Lucrezia, and even the maid Inez claim it as a compliment, and quarrel over it in an effective buffo trio, "You Saucy Jade." Three songs follow this number,--"Beneath the Gloomy Convent Wall," "When a Lover is Poor," and "There was a Knight, as I've been told," in which the three women recite their unfortunate love affairs. As their songs close, the doctor enters with the announcement that a basket has arrived, ostensibly for Inez. The curious Lucrezia looks into it, and finds Carlos, who immediately jumps out and sings a passionate love-song, "I love, I love," which the infatuated Lucrezia takes to herself. The love scene is interrupted by a sudden noise, and in alarm she hurries Carlos back into the basket and flies. Carlos in the mean time gets out again and fills it with books. The doctor and Inez enter, and to conceal the receipt of the basket from Lucrezia, as she might be angry with the maid, they remove it to a balcony, whence by accident it tumbles into the river. Their terror when they learn that a man was concealed in it makes an amusing scene, and this is heightened by the entrance of the Alguazil, who announces himself in a pompous bass song, "I'm Don Hypolito Lopez Pomposo," and inquires into the supposed murder.