Part 5

In the second act the situation becomes still further complicated when the doctor and Inez find Carlos in the house. Convinced that he is a detective, they seek to conciliate him by offering him wine, but by mistake give him a narcotic draught which the doctor had mixed for one of his patients. Carlos falls insensible, and thinking him dead, they hide him under a sofa. Meanwhile Señor Balthazar, the father of the youth whom Isabella supposes she is to be forced to marry, and who turns out to be Carlos, arrives to pass the night. As they have no bed for him, he sleeps upon the sofa over the supposed corpse of his own son. A quartette, "Good-night, Señor Balthazar," follows, which is full of humor, mingled with ghostly terror, and grotesque in its effect, especially in the accompaniment. Daylight, however, dispels the illusion, and a happy dénouement is reached in the finale, "Hope, ever Smiling," which is quite brilliant in character. The operetta is very amusing in its situations, the songs are pretty and tuneful, and the concerted music is particularly effective.

FLOTOW, FRIEDRICH VON.

Martha.

[Opéra comique, in three acts; text by St. Georges. First produced in Vienna, November 25, 1847.]

PERSONAGES.

Plunkett, a wealthy young farmer. Lionel, his adopted brother, afterwards Earl of Derby. Lord Tristan Mickleford, Lady Henrietta's cousin. Sheriff of Richmond, footman to Lady Henrietta. Lady Henrietta, Maid of Honor to the Queen. Nancy, her waiting-maid. Molly Pitt, } Polly Smith, } Betsy Witt, } servants.

[Farmers, farmers' wives, servants, ladies, hunters, huntresses, and footmen.]

The scene is laid in Richmond, England; time of Queen Anne.

The first act of "Martha," unquestionably the most popular of all light operas, opens during the progress of the servants' fair at Richmond, whither Lady Henrietta, maid of honor to the Queen, accompanied by Nancy, her maid, and Sir Tristan, her aged cousin and admirer, tired of court life, have resorted in the disguise of servants. In the first three scenes they arrange their masquerade. Sir Tristan, much to his disgust, is to be known as John, and Lady Henrietta as Martha. The first number is a duet for the two ladies, "Of the Knights so Brave and Charming," followed by an animated trio with Sir Tristan, in dance time. The fourth scene is laid in the market-place, in which appear Plunkett, a wealthy farmer, and Lionel, his adopted brother. The parentage of the latter is unknown, but he has a souvenir from his father in the form of a ring which he is to present to the Queen whenever he shall find himself in trouble. Lionel tells his story in a tenor aria, "Lost, proscribed, a Humble Stranger," which has been a favorite song the world over for years. The two have come to the fair to engage servants for the year, who are bound over by the sheriff. Plunkett and Lionel meet Martha and Nancy, and are so delighted with their looks that they tender the customary bonus which secures them. They accept it as a joke, but find that it is a serious matter when the young farmers drive off with them, leaving Sir Tristan in despair.

The second act opens in Plunkett's farmhouse. After having learned their names, Plunkett attempts to find out what they can do, and tests them first at the spinning-wheel, which leads up to the delightful spinning quartette, "When the Foot the Wheel turns lightly." It does not take the brothers long to find out that they have engaged servants who are more ornamental than useful, but they decide to keep them. Nancy in a pet kicks her wheel over and runs off, followed by Plunkett, leaving Lionel alone with Martha. He at once falls in love with her, snatches a rose from her bosom, and refuses to return it unless she will sing. She replies with the familiar song, "The Last Rose of Summer," interpolated by Flotow, and made still more effective by introducing the tenor in the refrain. He asks for her hand, but she makes sport of him. In the mean time Plunkett and Nancy return, and a beautiful Good-night quartette follows, "Midnight Sounds." The brothers then retire, and Martha and Nancy, aided by Sir Tristan, make their escape. The next scene opens in the woods where farmers are carousing; among them Plunkett, who sings a rollicking drinking-song, "I want to ask you." The revel is interrupted by a hunting-party of court ladies, headed by the Queen. Martha and Nancy are among them, and are recognized by Plunkett and Lionel, but they are not recognized in turn. Plunkett attempts to seize Nancy, but the huntresses drive him off, leaving Lionel and Lady Henrietta alone. The scene is one of the most effective in the opera, and contains a beautiful tenor solo, "Like a Dream Bright and Fair"--better known perhaps by its Italian title, "M'appari," and a romance for soprano, "Here in Deepest Forest Shadows," the act closing with a finely concerted quintette and chorus. The despairing Lionel bethinks him of his ring, gives it to Plunkett, and asks him to show it to the Queen. It proves that he is the only son of the late Earl of Derby, and his estate, of which he has been unjustly deprived, is restored to him.

The opera reaches its musical climax in the second act. The third is mainly devoted to the dénouement. The Lady Henrietta, who has really been seriously in love with Lionel, is united to him, and it hardly needs to be added that Nancy and Plunkett go and do likewise.

Stradella.

[Romantic opera, in three acts; text by Deschamps and Pacini. First produced as a lyric drama at the Palais Royal Theatre, Paris, in 1837; rewritten and produced in its present form, at Hamburg, December 30, 1844.]

PERSONAGES.

Alessandro Stradella, a famous singer. Bassi, a rich Venetian. Leonora, his ward. Barbarino, } Malvolio, } bandits.

[Pupils of Stradella, masqueraders, guards, and people of the Romagna.]

The scene is laid in Venice and Rome; time, the year 1769.

The story of the opera follows in the main the familiar historical, and probably apochryphal, narrative of the experiences of the Italian musician, Alessandro Stradella, varying from it only in the dénouement. Stradella wins the hand of Leonora, the fair ward of the wealthy Venetian merchant, Bassi, who is also in love with her. They fly to Rome and are married, but in the mean time are pursued by two bravos, Barbarino and Malvolio, who have been employed by Bassi to make way with Stradella. They track him to his house, and while the bridal party are absent, they enter in company with Bassi and conceal themselves. Not being able to accomplish their purpose on this occasion, they secure admission a second time, disguised as pilgrims, and are kindly received by Stradella. In the next scene, while Stradella, Leonora, and the two bravos are singing the praises of their native Italy, pilgrims on their way to the shrine of the Virgin are heard singing outside, and Leonora and Stradella go out to greet them. The bravos are so touched by Stradella's singing that they hesitate in their purpose. Bassi upbraids them, and finally, upon receiving an additional sum of money, they agree to execute his designs, and conceal themselves. When Stradella returns and rehearses a hymn to the Virgin which he is to sing on the morrow, they are so affected that they emerge from their hiding-place, confess the object of their visit, and implore his forgiveness. Explanations follow, a reconciliation is effected, and the lovers are made happy. This dénouement differs from that of the historical version, in which both lovers are killed.

The principal numbers are Stradella's serenade, "Hark! Dearest, hark"; the following nocturne, "Through the Valleys"; the brilliant carnival chorus, "Joyous ringing, Pleasure singing," in the first act: the aria of Leonora in her chamber, "Be Witness to my Fond Heart's Dreaming," the rollicking drinking-song of the two bravos, "Quick, let us drink," and the bandit ballad, "Within Lofty Mountains," sung by Stradella, in the second act; and an exquisite terzetto, "Tell me, then, Friend Barbarino," sung by Bassi and the two bravos when they hesitate to perform their work; and Stradella's lovely hymn to the Virgin, "Virgin Maria, humbly adoring," in the third act.

GENÉE, RICHARD.

Nanon.

[Opéra comique, in three acts; text by Zell. First produced in Vienna in 1877.]

PERSONAGES.

Marquis de Marsillac. Hector, his nephew. Marquis d' Aubigné, King's chamberlain. Bombardine, his henchman. Louis XIV. Mons. l'Abbé. Nanon, mistress of the Golden Lamb. Ninon de l'Enclos, a famous beauty. Mme. de Frontenac, } Countess Houliers, } Ninon's friends. Gaston. Mme. de Maintenon, King's mistress.

[Country relatives, peasants, soldiers, courtiers, ladies, etc.]

The scene is laid in Paris; time of Louis the Fourteenth.

The first act opens at the inn of the Golden Lamb, near the gates of Paris, kept by Nanon, who has become so famous for her wit and beauty that the Marquis de Marsillac, director of the Royal Theatre, takes his nephew Hector there to see her. Thither also goes Ninon de l'Enclos, the famous beauty, to get a sight of Nanon, who, she suspects, has attracted the attentions of her own lover, the Marquis d'Aubigné. She is told that Nanon is to be married to Grignan, the drummer, and returns to the city with her suspicions allayed. Grignan, however, is in reality the Marquis, who, in the disguise of a drummer, intends to abduct Nanon. After a serenade to her she surprises him with a proposal of marriage; but when everything is ready for the ceremony, the Marquis secures his own arrest by his Colonel on account of a duel. While grieving over the arrest, Nanon receives a ring and some friendly assurances from Gaston, the page of Ninon de l'Enclos, and thereupon turns to her for help in rescuing the supposed Grignan from death, which is the penalty for duelling.

The second act opens in Ninon's salon. Marsillac, his nephew, and an Abbé, who is one of Ninon's lovers and confessor of Mme. de Maintenon, are present at a ball, likewise D'Aubigné, who is reproached by Ninon for having remained away so long and forgotten her birthday. To escape embarrassment he sings to her the same serenade he had sung to Nanon. Shortly afterwards Nanon arrives to seek Ninon's aid in saving Grignan. In the mean time D'Aubigné, jealous of Hector, because he pays court both to Nanon and Ninon, challenges him, and they hurry into the latter's garden and settle their quarrel with the sword. During their absence Marsillac, who has noted Grignan's serenade, also sings it, accompanied by the musicians of the court chapel, but is only laughed at for his trouble. When D'Aubigné returns from the duel, he is asked to clear up the mystery of this song; but before he can do so the guard, who has seen the duel, enters and arrests Hector, who has been wounded and refuses to give the name of his opponent.

The third act opens in the private chapel of Mme. de Maintenon, where the Abbé sings to her the same serenade in the form of a hymn. Marsillac appears to ask for Hector's pardon, and receives it when it appears that D'Aubigné was the challenging party. D'Aubigné thereupon congratulates her upon her birthday with the serenade, and Marsillac repeats it. Ninon and Nanon next appear to intercede for their lovers, D'Aubigné and Grignan. The King presents Nanon with the life of Grignan, and she in turn, recognizing Grignan, presents the pardon to Ninon. Touched by her generosity, Grignan offers Nanon his hand, and Mme. de Maintenon, who is somewhat uneasy at the King's evident admiration for Nanon, gives her consent and she is made Marquise d'Aubigné.

The music of "Nanon" is gay and brilliant throughout. The principal numbers are the serenade, a minstrel's song, as it is usually designated, "Ah! what a Joyful Day is this; I am so Full of Glee," which is heard in various forms in all three acts; the opening drinking-choruses; Nanon's ballad, "Once before this Tavern straying"; the jolly chorus of the country relatives, "Here we come in Troops of Dozens, Uncles, Nephews, Aunts, and Cousins"; Gaston's ballad, "All that Frenchmen now will heed"; Hector's song, "Young appearing," in the second act; and the lively concerted finale of the last act.

GOUNOD, CHARLES.

Mirella.

[Pastoral opera, in three acts; text by Carré. First produced at the Théâtre Lyrique, Paris, March 19, 1864.]

PERSONAGES.

Mirella, daughter of Raimondo. Tavena, a fortune-teller. Andreluno, a shepherd boy. Vincenzina, sister of Vincenzo. Clemenza, a peasant girl. Vincenzo, lover of Mirella. Urias, his rival. Raimondo, a wealthy farmer. Ambrogio, father of Vincenzo.

[Villagers, citizens, etc.]

The scene is laid in Provence; time, the last century.

The opera of "Mirella," in France known as "Mireille," is founded upon the "Mireio" of Mistral, the Provençal poet, and was originally written in five acts. Subsequently it was reduced to three acts and a waltz was added to the finale. Though one of the lighter of Gounod's operas, and not very strong dramatically, it has great lyric beauty. The first scene opens in a mulberry grove. Mirella is rallied by the girls upon her love for Vincenzo, the basket-maker, and is also warned by Tavena, the fortune-teller, against yielding to her attachment, as she foresees that Raimondo, Mirella's father, will never consent to the union. When she meets her lover, however, they renew their pledges and arrange, if their plans are thwarted, to meet at the Chapel of the Virgin.

The second act opens with a merry-making at Arles. Tavena informs Mirella that Vincenzo has a rival in Urias, a wild herdsman, who has asked her hand of her father. Mirella however repulses him when he brings the father's consent. Ambrogio, Vincenzo's father, and his daughter, Vincenzina, intercede with Raimondo in Vincenzo's behalf, but in vain. Mirella, who has overheard them, declares to her father her irrevocable attachment for Vincenzo, which throws him into such a rage that he is about to strike her. She is saved from the blow by appealing to the memory of her mother.

The last act opens upon a desolate sunburned plain. Mirella appears toiling across the hot sands to keep her appointment with her lover at the Chapel of the Virgin, accompanied by Andreluno, the shepherd boy, singing to the accompaniment of his pipe. Tavena meets them, and assures Mirella that Vincenzo will keep his appointment, and then returns to Arles to plead with the father in Mirella's behalf. The poor girl arrives at the chapel nearly prostrated with the burning heat. Vincenzo soon appears, and is shortly followed by Raimondo, who is so affected by the pitiable condition of his daughter, that he gives his consent to their union. A biographer of Gounod has condensed the story of the opera into these few words: "A rich young girl, a poor young man, an ill-fated love; and death of the young girl by sunstroke." In the revised version the dénouement is happy instead of tragic.

The first act opens with the pretty and graceful pastoral chorus of the maidens under the mulberry-trees, "Sing, Happy Maidens, as we gather." The second act also opens with an equally graceful chorus and farandole, "The Gay Farandole never fails to delight," followed by a beautiful Provençal folk song, "Evening is Sweet with Summer Flowers," which is full of local color. Tavena sings a quaint fortune-teller's roundelay, "'Tis the Season of the Year," and in the next scene Mirella has a number of rare beauty, "The Frowns of Fortune I fear no longer," in which she declares her unalterable love for Vincenzo. The finale of this act with its vigorous aria for Mirella, "At your Feet, behold, I remain," is the only really dramatic episode in the opera. The third act opens with the quaint little song of Andreluno with oboe accompaniment, "The Day awakes," and also contains a plaintive song for tenor, "Angels of Paradise." It closes with a waltz song, "Gentle Bird of the Morning," which is most lavishly embellished and ends the quiet, naïve, little pastoral opera with a brilliant vocal pyrotechnical display.

HUMPERDINCK, ENGELBERT.

Hansel and Gretel.

[Fairy opera, in three acts; text by Wette. First produced, in Germany in 1894.]

PERSONAGES.

Peter, a broom-maker. Gertrude, his wife. Witch. Hansel. Gretel. Sandman, the sleep fairy. Dewman, the dawn fairy.

[Angels, witches, and fairies.]

The scene is laid in a German forest; time, the present.

The story of "Hansel and Gretel" is based upon one of Grimm's fairy tales. The first act opens at the house of Peter, the broom-maker, who with his wife is away seeking food. The children, Hansel and Gretel, have been left with injunctions to knit and make brooms. Instead of working they indulge in a childish romp, which is interrupted by the mother, who has returned. In her anger she upsets a pitcher of milk, which was the only hope of supper in the house. Thereupon she sends them into the forest, and bids them not to come home until they have filled their basket with strawberries. When Peter returns he brings provisions with him, but breaks out in a fit of rage when he is informed the children have been sent away, telling his wife of the witch who haunts the woods, entices children to her honey-cake house, bakes them into gingerbread, and devours them.

The second act opens with a characteristic instrumental number, "The Witches' Ride." The children are disclosed near the Ilsenstein, making garlands and mocking the cuckoos in a beautiful duet with echo accompaniment. At last they realize that they are lost, and their distress is heightened by strange sights and sounds. In the midst of their trouble the Sandman approaches, strews sand in their eyes, and sings them to sleep with a charming lullaby, after they have recited their prayer, "When at Night I go to sleep, Fourteen Angels Watch do keep." As they go to sleep, the fourteen angels come down and surround them, while other angels perform a stately dance.

The third act is called "The Witch's House." The angels have disappeared, and the Dawn Fairy wakens the children, singing a delightful song, "I'm up with Early Dawning." Gretel wakes first, and rouses Hansel by tickling him with a leaf, accompanying the act with a tickling song. When fairly aroused, they discover the witch's house, with an oven on one side and a cage on the other. The house is made of sweets and creams. Enticed by its sweetness, the hungry children break off fragments, and are surprised at their work by the old witch within. She comes out, and, after a series of invocations, accompanied with characteristic music, prepares to bake Gretel in the oven; but while she is looking into it the children push her into the fire. Then they dance a witch waltz, and meanwhile the oven falls into bits. Swarms of children rush round them, released from their gingerbread disguise, and sing a song of gratitude as two of the boys drag out the witch from the ruins in the form of a big cake. The father and mother at last find the children, and all join in the pious little hymn, "When past bearing is our Grief, God, the Lord, will send Relief." It is only a little child's tale, but it is accompanied by music of the highest order, and built up on the same plan of motives which Wagner has used in his imposing Nibelung Trilogy.

JAKOBOWSKI, EDWARD.

Erminie.

[Musical comedy, in two acts; text by Bellamy and Paulton. First produced at the Comedy Theatre, London, November 9, 1885; in New York at the Casino, March 10, 1886.]

PERSONAGES.

Marquis de Pontvert. Eugene Marcel, the Marquis' secretary. Vicomte de Brissac. Delaunay, a young officer. Dufois, landlord of the Golden Lion. Chevalier de Brabazon, guest of the Marquis. Ravannes, } Cadeaux, } two thieves. Cerise Marcel, Erminie's companion. Javatte, Erminie's maid. Princesse de Gramponeur. Erminie de Pontvert.

[Soldiers, peasantry, guards, waiters, etc.]

The scene is laid in France; time, the last century.

The story of "Erminie" is based upon the old melodrama "Robert Macaire," the two vagabonds, Ravannes and Cadeaux, taking the places of the two murderers, Macaire and Jacques Strop. Few melodramas were more popular in their day than "Robert Macaire," in which Lemaitre, the great French actor, made one of his most conspicuous successes. It is also true that few musical comedies have been more successful than "Erminie." At the opening of the opera, a gallant on the way to his betrothal with a young lady whom he has never seen is attacked by two thieves, Ravannes and Cadeaux, who carry off his wardrobe and tie him to a tree. Later, Ravannes arrives in the midst of the betrothal festivities, and passes himself off as the expected guest. He introduces Cadeaux as a nobleman, and explains their lack of proper attire with the statement that they had been robbed while on the way there. Erminie has an affection for Eugene, her father's secretary, and none for the man who claims to be a suitor for her hand. Ernst, who was the real victim of the robbery, and who is in love with Cerise, escapes from the predicament in which the two thieves placed him, and arrives in time for the festivities, to find himself denounced by Ravannes as the highwayman who had attacked them earlier in the day. Ravannes, by assuming great magnanimity and a certain nobility of conduct, and by his proffers of help to Erminie in securing the man she loves in return for her assistance in his plans, of which she of course is ignorant, so ingratiates himself in her confidence that he nearly succeeds in robbing the house. In the end, however, the two vagabonds are unmasked. Eugene obtains the hand of Erminie, and Ernst and Cerise are equally fortunate.

The music of "Erminie" is light and graceful throughout. Its principal numbers are Erminie's song, "Ah! when Love is Young"; the duet for Eugene and Erminie, "Past and Future"; the Marquis' stirring martial song, "Dull is the Life of the Soldier in Peace"; the rollicking thieves' duet, "We're a Philanthropic Couple, be it known"; Erminie's pretty dream song, "At Midnight on my Pillow lying," and the lullaby "Dear Mother, in Dreams I see her," which is the gem of the opera; the song and whistling chorus, "What the Dicky Birds say"; the vocal gavotte, "Join in Pleasures, dance a Measure"; and the concerted piece, "Good-night," which leads up to the close of the last act.

LECOCQ, CHARLES.

Giroflé-Girofla.

[Opera bouffe, in three acts; text by Vanloo and Aterrier. First produced at the Thèâtre des Fantasies Parisiennes, Brussels, March 21, 1874; in Paris, November 11, 1874; in New York at the Park Theatre, 1875.]

PERSONAGES.

Don Bolero d'Alcarazas, a Spanish grandee. Marasquin, banker. Mourzook, a Moorish chief. Giroflé, } Girofla, } Don Bolero's twin daughters. Aurore, their mother. Pedro, the page. Paquita. Pirate Chief. Godfather. Godmother. Fernand. Guzman.

[Cousins, bridesmaids, pages, pirates, Moors, etc.]

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