Part 8

In "La Belle Hélène" Offenbach goes back to the mythical period, and presents the heroes of the time of Helen and Paris in modern burlesque. The first act opens at the temple of Jupiter in Sparta, where, among others who have placed their offerings at his shrine, is Helen. When alone with Calchas, the augur, they discuss some means of avoiding the decree of the oracle which has declared she is to leave Menelaus, her husband, and fly with Paris, son of Priam, to Troy. Before a decision is reached, Paris, disguised as a shepherd, arrives, and soon he and Helen are lovers. They meet again in a grand tournament in which the two Ajaxes, Achilles, Agamemnon, and others announce themselves in the most comic fashion and guess at conundrums for a prize. Paris wins, and proclaims his name and lineage, to the delight of Helen, whose delight is still further enhanced when the oracle orders Menelaus to set off at once for Crete.

In the second act Helen struggles against the decrees of Venus. Paris has an interview with her, but she will not yield, and he retires. By the aid of Calchas he secures admission to the chamber of the slumbering Queen, when Menelaus suddenly returns and an altercation ensues, during which Paris defies all the Grecian heroes, and Helen philosophically informs Menelaus he should have announced his coming beforehand. Paris again retreats, and Helen is now in despair.

In the third act Helen and Menelaus have a family quarrel, and he charges her with being false. She denies it, and declares he has been dreaming. Calchas now appears, and announces that a new augur has been appointed and is on his way there. A golden galley is seen approaching, and the new augur is found to be Paris himself. He brings word that Venus is angry at what has been going on, but will relent if Helen will return with him to her shrine and sacrifice white heifers. She is reluctant to go, but finally decides to obey the voice of destiny, and sails away with him, leaving them all behind in grief and Menelaus in rage.

The dialogue of "La Belle Hélène" is very witty, though coarse at times, and many of the situations are full of a humorous incongruity and drollness growing out of the attempt to modernize these mythological heroes. The music admirably fits the text, and though not so gay as that of "The Grand Duchess," yet is fresh, original, and interesting throughout. The chief numbers of the work are Helen's passionate song of mourning for Adonis, "Divine Love" ("Amours divins"); Paris' fable, "On Mount Ida, three Goddesses" ("Au Mont Ida, trois déesses"), in which he tells the well-known apple story; the march and chorus, "Here are the Kings of Greece" ("Voici les rois de la Grèce"), in which, one after the other, they come forward and announce themselves in an irresistibly funny manner; Helen's mock sentimental song, "We all are born with Solicitude" ("Nous naissons toutes soucieuses"); the droll goose march of the Kings; a fascinating chorus, "Let us wreathe Crowns of Roses" ("En courronnes tressons roses"); Helen's song, "A Husband Wise" ("Un mari sage"), one of the most characteristic numbers in the opera; and in the last act Orestes' song, "In spite of this Ardent Flame" ("Malgré cette ardente flamme"); the spirited trio, "When Greece has become a Field of Carnage" ("Lorsque la Grèce est un camp de carnage"); and the final chorus, "Let now our Wrath" ("Que notre colère"), which preludes the Trojan war.

Orpheus.

[Opera bouffe, in three acts; text by Cremieux. First produced at the Bouffes Parisiens, Paris, October 21, 1858.]

PERSONAGES.

Pluto, disguised as Aristeus. Jupiter, King of the Gods. Orpheus, the lutist. John Styx, the ferryman. Mercury, the messenger. Bacchus, God of wine. Mars, God of war. Eurydice, spouse of Orpheus. Diana, Goddess of the hunt. Public Opinion. Juno, consort of Jupiter. Venus, Goddess of love. Cupid, her messenger. Minerva, Goddess of wisdom.

The scene is laid near Thebes; time, mythical.

The best musical work of Offenbach undoubtedly is to be found in his "Orpheus aux Enfers," and the text which his librettist furnished him is in keeping with the music. It was a bold as well as droll conception to invest the Olympian gods and goddesses with human attributes and make them symbols of worldly departments of action and official life, to parade them in processions like the ordinary street pageant, to present them in banquets, to dress them in the most fantastically individual manner, and to make nineteenth-century caricatures of the whole Olympian coterie.

The first scene of the opera discloses Eurydice in the Theban meadows plucking flowers with which to decorate the cabin of Aristeus, the shepherd, who is really Pluto in disguise. Suddenly Orpheus appears, not with his tortoise-shell lyre, but playing the violin and serenading, as he supposes, a shepherdess with whom he is in love. His mistake reveals the fact that each of them is false to the other, and a violent quarrel of the most ludicrous description ensues, ending in their separation. He goes to his shepherdess, she to her shepherd. Shortly afterwards, Aristeus meets Eurydice in the fields and reveals his real self. By supernatural power he turns day into night and brings on a tempest, in the midst of which he bears her away to the infernal regions, but not before she has written upon Orpheus' hut the fate that has overtaken her. When Orpheus returns he is overjoyed at his loss, but in the midst of his exultation, Public Opinion appears and commands him to go to Olympus and demand from Jupiter the restoration of his wife. Orpheus reluctantly obeys the order.

The second act opens in Olympus, where the gods and goddesses are enjoying a nap, from which they are awakened by the blasts of Diana's horn. Thereupon much slanderous gossip is circulated amongst them, the latest news discussed being Pluto's abduction of Eurydice. Pluto himself shortly comes in, and is at once taxed by Jupiter with his unseemly behavior, whereupon Pluto retaliates by reference to Jupiter's numerous amours with mortals. This arouses the jealousy of Juno. Venus, with Cupid's assistance, starts a veritable riot, which is suddenly interrupted by the arrival of Orpheus and his guide, Public Opinion. He demands that his wife shall be restored to him, and Jupiter not only consents, but agrees to attend to the matter personally.

The third act finds Eurydice in Hades, carefully guarded by John Styx. Jupiter is faithful to his promise, and soon arrives there, but not in his proper person. He appears in the disguise of a fly, and allows Eurydice to catch him, after which he reveals himself. When Pluto comes in, he finds her transformed into a bacchante of the most convivial sort. Other deities make their appearance, and finally Orpheus comes sailing up the Styx, playing his violin, and demanding of Jupiter the fulfilment of his contract. Jupiter consents, but makes the condition that he shall return to his boat, Eurydice following him, and that he must not look back. Orpheus sets out, but just before he reaches the boat, the cunning Jupiter launches a thunderbolt after him, which causes him to turn and lose Eurydice, much to the disgust of Public Opinion, but greatly to the edification of Orpheus, who is now at liberty to return to his shepherdess on the Theban plain.

The most striking numbers in this curious travesty are the opening aria of Eurydice, as she gathers the flowers, "Woman that dreams" ("La femme dont la coeur rêve"); the pastoral sung to her by Aristeus, "To see through the Vines" ("Voir voltiger sous les treilles"); the fascinating hunting-song of Diana, "When Diana comes down the Plain" ("Quand Diane descend dans la plaine"); the characteristic and taking song of John Styx, "When I was King of Boeotia" ("Quand j'étais roi de Beotie"), which in its way is as striking as the sabre song in "The Grand Duchess"; Eurydice's delicate fly-song, "Beautiful Insect, with Golden Wings" ("Bel insecte, à l'aile dorée"); the drinking-song in the infernal regions, "Hail to the Wine" ("Vive le vin"); and Eurydice's vivacious bacchanalian song which immediately follows it, "I have seen the God Bacchus" ("J'ai vu le dieu Bacchus").

PLANQUETTE, ROBERT.

The Chimes of Normandy.

[Opéra comique, in three acts; text by Clairville and Gabet. First produced at the Folies Dramatiques, Paris, April 19, 1877.]

PERSONAGES.

Serpolette, the good-for-nothing. Germaine, the lost Marchioness. Susanne. Jeanne. Henri, Marquis of Corneville. Jean Grenicheux, a fisherman. Gaspard, an old miser. Baillie, magistrate. Notary.

[Peasants, sailors, servants, waiting-maids, etc.]

The scene is laid in Normandy; time of Louis the Fifteenth.

The first act of this charming opera, one of the most popular of its class, opens in an old Norman village during the progress of a fair. Henri, the Marquis of Villeroi, who has been an exile since childhood, has just returned. The first scene discloses a number of village gossips who are retailing scandals about Serpolette, the good-for-nothing, who arrives in time to vindicate herself and retaliate upon the gossips. Gaspard, the miser, has arranged to give his niece Germaine in marriage to the sheriff, who is the chief dignitary in the village. Germaine, however, objects to the proposition, since if she marries at all she claims she must marry Jean Grenicheux, a young fisherman, in gratitude for saving her life. To escape the marriage she and Jean become the servants of the Marquis, and are joined by Serpolette, which is one of the privileges of fair-time.

The second act is occupied with the exposure of the ghosts in the castle of Villeroi. The Marquis is confident that there is nothing supernatural about the apparition which has been seen or the sounds which have been heard in the various apartments. He therefore introduces his servants into the castle, and after careful searching discovers that the ghost of Villeroi is old Gaspard, the miser, who, when he is found out, becomes crazy through fear of losing treasures which are concealed there.

In the last act the castle is restored to its old splendor, and the Marquis takes possession as master. He gives a fête and the villagers are invited, the crazy Gaspard being among them. Serpolette appears as a grand lady with Jean as her factotum, some papers found in the castle indicating she is the lost heiress. After a love scene between Henri and Germaine, however, Gaspard, who has recovered his reason, discloses that Germaine, and not Serpolette, is the rightful heiress and the true claimant to the title of marchioness. All the complications are now unravelled. Gaspard's treasure is restored to its rightful owner. Germaine comes to her rights, and Serpolette remains with her as her friend.

The music of the opera is delightful throughout, and has scarcely a dull moment. Its most conspicuous numbers are Serpolette's rondo, "In my Mysterious History"; a delightful little fantaisie, "Go, Little Sailor"; the legend of the chimes, "Alas! we have lost Excellent Masters"; Henri's grand aria, "I have thrice made the Tour of the World"; and his couplets, "Under the Armor from Top to Toe"; Serpolette's sprightly aria, "Viscountess and Marchioness"; the chorus with the chimes, a most graceful and interesting number closing the second act; and in the last act Gaspard's quaint old Norman song, "We were full Five Hundred Rogues"; Serpolette's rondo, "The Apple's a Fruit full of Vigor"; and Henri's romance, "A Servant, what Matter to me?"

RICCI, LUIGI.

Crispino.

[Opera buffa, in three acts; text by Piave. First produced in Venice, in 1850.]

PERSONAGES.

Annetta, the cobbler's wife. La Comare, the fairy. Crispino, the cobbler. Il Contino, the Count. Dr. Fabrizio. Dr. Mirobolante. Don Asdrubal. Lisetta.

[Clerks, waiters, servants, etc.]

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

The first act of this charming little fairy opera opens with a unison chorus of apothecary's apprentices, "Thump, thump" ("Batti, batti"). Crispino, a poor cobbler, over head and ears in debt, whose wife Annetta tries to help him out by ballad singing, is seated at his bench at work in front of his house. In the intervals of the chorus the Count, who figures in a side plot, sings a beautiful romanza, "Thou Beauteous as an Angel art" ("Bella siccome un angelo"). Then Crispino bewails his hard fortune in a quaint melody, "Once a Cobbler" ("Una volta un ciabattino"), after which Annetta introduces herself with a canzonetta, "My Pretty Tales and Songs" ("Istorie belle e leggere"), leading up to a minor duet between them. In the sixth scene a buffo aria, "I am a Bit of a Philosopher" ("Io sono un po' filosofo") is sung by Dr. Fabrizio. At last Crispino gets into such desperate straits that he resolves to make way with himself. He is about to jump into a well when a fairy appears and dissuades him, at the same time giving him a purse of gold and offering to set him up in business as a doctor, telling him he must look about him whenever he has a patient, and if she is not present he will be successful. The act closes with a duet for Crispino and Annetta, "Since you have found a Fairy" ("Troffo so, basta per ova").

The second act discloses Crispino in the midst of a nourishing business, and the delighted Annetta sings a joyous little melody, "I no longer am Annetta" ("Io non sono piu l'Annetta"). A workman who has met with an accident is brought to Crispino for treatment, and as the fairy is not present he is successful. The musical treatment of the healing scene is worked up with great skill. It begins with a baritone solo, leading up to a duet with soprano and chorus accompaniment. A sextette then takes up the theme, and in the close all on the stage give it with impressive effect. A broadly humorous but very melodious trio of the doctors follows, "Sirs, what means this Quarrel?" ("Ma Signori, perchè tantes questione?"). In the next scene Annetta sings the pretty Fritola song, "Pietro, Darling, this Cake so Tempting" ("Piero mio, go qua una fritola"), in which she boasts the merits of a cake she has made for the Carnival. Meanwhile Crispino grows so puffed up with his wealth that when Annetta invites some old friends to the house he drives them out, and is about to strike Annetta when the fairy suddenly appears.

In the last act the fairy has taken Crispino to a cavern, where she shows him crystal vases in which more or less brilliant lights are burning. She tells him that each represents a human life. The one burning so brightly is Annetta's, the one so dimly is his own. When he asks her to take some oil out of Annetta's lamp and put it into his, she upbraids him, reveals herself as death, and tells him to make his last request, for he is about to die. In a doleful ballad, "Little I ask, Dearest Fairy" ("Poco cerco, O mia Comare"), he asks for only a half-hour more, so that he may see Annetta and the children. A sudden change of scene shows him in his own house, awaking from sleep in his chair. As he realizes that it has been only a nightmare, occasioned by a sudden fit of illness, he expresses his delight and Annetta expresses her joy in a brilliant waltz movement, "There's no Joy that e'er hath given me" ("Non ha gioja in tal Momento"), which closes the opera.

ROSSINI, GIOACHINO ANTONIO.

The Barber of Seville.

[Opera buffa, in two acts; text by Sterbini. First produced at the Argentina Theatre, Rome, February 5, 1816.]

PERSONAGES.

Rosina, ward of Dr. Bartolo. Berta. Figaro, the barber. Count Almaviva, lover of Rosina. Dr. Bartolo. Basilio, a music-master.

[Officers, soldiers, etc.]

The scene is laid in Seville; time, the eighteenth century.

The story and the music of "The Barber of Seville" are as fresh and delightful as when the opera was first produced eighty-six years ago. Its story is almost as familiar as household words, and no music has been more popular on the operatic stage than its gay, brilliant arias. Count Almaviva loves Rosina, the ward of Dr. Bartolo, who wishes to marry her himself, but the Count is unable to get an interview with her until it is arranged for by Figaro, the factotum of the place. In spite of Bartolo's watchfulness, as well as that of Don Basilio, her music-teacher, who is only too willing to serve Bartolo, she succeeds in writing to the Count and telling him that his love is returned. With Figaro's help the Count gets into the house disguised as a drunken dragoon, but is promptly arrested. The next time he secures admission as a music-teacher upon the pretence that Don Basilio is sick, and has sent him to give Rosina her lesson. He further hoodwinks Bartolo by producing the letter Rosina had written to himself, and promises to persuade her that the letter has been given him by a mistress of the Count, which will break the connection between the two. He secures the coveted interview, and an elopement is planned. The unexpected appearance of Don Basilio, however, upsets the arrangements, and the disconcerted lover makes good his escape. In the mean time Bartolo, who has the letter, shows it to his ward and arouses her jealousy. She thereupon promises to marry her guardian. At the time set for the elopement, the Count and Figaro arrive. A reconciliation is speedily effected, and the Count and Rosina are married just as Bartolo makes his appearance with officers to arrest the Count. After mutual explanations, however, all ends happily.

The opera opens, after a short chorus, with the Count's serenade, "Lo, smiling in the Orient Sky" ("Ecco ridente in cielo"), one of the most beautiful numbers in the opera. In the second scene Figaro sings the lively and well-known buffo aria, "Make Room for the Factotum" ("Largo al factotum"). A light and lively duet between Figaro and the Count leads up to the chamber aria of Rosina, "The Voice I heard just now" ("Una voce poco fa"), which is not only very expressive but remarkably rich in ornamentation. In the next scene occurs the calumny aria, "Oh! Calumny is like the Sigh" ("La Calunnia è un venticello"). It is followed by a florid duet and a dialogue between Rosina and Bartolo, closing with the bass aria, "No longer conceal the Truth" ("Non piu tacete"). The finale is composed of three scenes full of glittering dialogue and melodious passages.

The second act opens with a soliloquy by Bartolo, interrupted by a duet with the Count. The music-lesson scene follows in which the artist personating Rosina is given an opportunity for interpolation. In the next scene occurs a dialogue quintette, which is followed by a long aria for Bertha, "There is always Noise" ("Sempre gridi"), which the Italians called the "aria de sorbetto," as they used to eat ices while it was sung. In the eighth scene, after a long recitative, an instrumental prelude occurs, representing a stormy night, followed by recitative in which the Count reveals himself, leading up to a florid trio, and this in turn to the elegant terzetto, "Softly, softly, no Delay" ("Zitti, zitti, piano, piano"). A bravura and finale of light, graceful melody close the opera.

SOLOMON, EDWARD.

Billee Taylor.

[Nautical comic opera, in two acts; text by Stephens. First produced in London in 1880]

PERSONAGES.

Felix Flapper, R. N., Captain of "H. M. S. Thunderbomb." Sir Mincing Lane, knight. Billee Taylor. Ben Barnacle. Christopher Crab, tutor. Phoebe Farleigh, a charity girl. Arabella Lane, heiress. Eliza Dabsey. Susan. Jane Scraggs.

[Villagers, peasants, sailors, press gang, etc.]

The scene is laid in Southampton, England; time, the year 1805.

The story of "Billee Taylor" is based upon an old English marine ballad of the same name. The first act opens at the inn of the Royal George in Southampton, where the villagers have gathered to celebrate the wedding of Billee Taylor and Phoebe Farleigh, a charity girl. The heiress, Arabella Lane, is also in love with Billee, and has offered him her hand, which he has rejected. Her father, Sir Mincing Lane, is going to give the villagers a feast upon the occasion of Billee's wedding, and invites his friend, Captain Flapper, to attend. The captain accepts, falls in love with Phoebe at sight, and vows Billee shall not marry her. Crab, the tutor, is also in love with Phoebe. In Captain Flapper's crew is Bill Barnacle, who went to sea "on account of Eliza," who had been unfaithful to him, and he is ordered by the press gang to carry Billee away, which he does during the wedding festivities.

The second act opens at Portsmouth, two years supposedly having elapsed. All the charity girls, among them Phoebe, disguised as sailors, followed Billee to sea, who in the mean time has risen to a lieutenancy. Arabella forces her attentions upon him and he is inclined to yield. At this juncture Phoebe, still seeking her lover, turns up as a common sailor answering to the name of Richard Carr. Captain Flapper in her presence mentions that he is in love with her, also that Billee is about to marry Arabella. Sir Mincing Lane, now a commander of volunteers, endeavors to persuade some of the sailors to join him, and Phoebe offers herself as a recruit, but is claimed as a messmate by Barnacle, which leads to a quarrel. Crab then incites Phoebe to revenge herself upon her recreant lover, and she fires at him, but the shot hits Crab. She is arrested and is about to be executed, but is released when she declares herself a woman. In the end Billee is disrated, but marries Arabella. Barnacle secures his Eliza. Phoebe marries the captain, and is made full lieutenant of the "Thunderbomb."

"Billee Taylor" is essentially a ballad opera. The best of the ballads are "The Virtuous Gardener," in which Billee describes the ethical pleasures of gardening; "The Two Rivers," sung by Phoebe, Susan, and chorus; "The Self-made Knight," by Sir Mincing Lane, which resembles Sir Joseph Porter's song in the first act of "Pinafore" ("When I was a Lad I served a Term"); Phoebe's sentimental song, "The Guileless Orphan"; Barnacle's well-known song, "All on account of Eliza"; Crab's humorous ditty, "The Poor Wicked Man"; Angelina's sentimental "Ballad of the Billow"; and Captain Flapper's disquisition on love in the interrogative song, "Do you know why the Rabbits are caught in the Snares?"

SOUSA, JOHN PHILIP.

El Capitan.

[Comic opera, in three acts; text by Klein. First produced at the Tremont Theatre, Boston, April 13, 1896.]

PERSONAGES.

Medigua, Viceroy of Peru. Cazarro, deposed viceroy. Pozzo, secretary of Medigua. Verrada, in love with Isabel. Scaramba, an insurgent. Estrelda, Cazarro's daughter. Marghanza, Medigua's wife. Isabel, her daughter.

[Troops, insurgents, peasants, etc.]

The scene is laid in Peru; time, the eighteenth century.