Part 11

The period of the opera is 1534. The first act transpires in Dordrecht and Leyden, in Holland, and the other three in Munster, Germany. The text closely follows the historical narrative of the period when Munster was occupied by John of Leyden and his fanatics, who, after he had been crowned by them as Emperor of Germany, was driven out by the bishop of the diocese. The first act opens in the suburbs of Dordrecht, near the Meuse, with the château of Count Oberthal, lord of the domain, in the distance. After a very fresh and vigorous chorus of peasants, Bertha, a vassal of the Count, betrothed to John of Leyden, enters and sings a cavatina ("Il cor nel sento"), in which she gives expression to emotions of delight at her approaching union. As she cannot go to Leyden, where the marriage is to take place, without the Count's consent, Fides, the mother of John, joins her to make the request. In the mean time the three Anabaptists, Zacarie, Gione, and Mathisen, leaders of the revolt in Westphalia, arrive on their mission of raising an insurrection in Holland, and in a sombre trio of a religious but stirring character ("O libertade") incite the peasants to rise against their rulers. They make an assault upon the castle of Count Oberthal, who speedily repels them, and turns the tide of popular feeling against the Anabaptists, by recognizing Gione as a former servant who had been discharged from his service for dishonesty. Fides and Bertha then join in a romanza ("Della mora un giorno"), imploring his permission for the marriage of Bertha and John. The Count, however, struck with her beauty, not only refuses, but claims her for himself, and seizes both her and Fides, and the act closes with a repetition of the warning chant of the Anabaptists.

The second act opens in the hostelry of John of Leyden, and is introduced with a waltz and drinking-chorus, in the midst of which the Anabaptists arrive and are struck with his resemblance to a portrait of David in the Munster Cathedral. From a very descriptive and highly wrought scena ("Sotto le vasti arcati") sung by him they also learn that he is given to visions and religious meditations. They assure him that he shall be a ruler; but in a beautiful romanza ("Un impero piu soave") he replies that his love for Bertha is his only sovereignty. Just as they depart, Bertha, who has escaped, rushes in and claims his protection. He conceals her; but has hardly done so when the Count enters with his soldiers, bringing Fides as a prisoner, and threatens to kill her unless Bertha is given up. He hesitates; but at last, to save his mother's life, delivers Bertha to her pursuers. Mother and son are left alone, and she seeks to console him. In this scene occurs one of the most dramatic and intense of Meyerbeer's arias ("O figlio mio, che diro"), known more popularly by its French words, beginning, "Ah! mon fils." It has enjoyed a world-wide popularity, and still holds its place in all its original freshness and vigor. Fides hardly disappears before the ominous chant of the Anabaptists is heard again. He does not need much persuasion now. They make their compact in a quartet of magnificent power, which closes the act; and some of John's garments are left behind stained with blood, that his mother may believe he has been killed.

The third act opens in the Anabaptists' camp in a Westphalian forest, a frozen lake near them, and Munster, which they are besieging, in the distance. In the second scene Zacarie sings a stirring pasan of victory ("In coppia son"), followed by the beautiful ballet music of the skaters as they come bringing provisions to the troops. Count Oberthal meanwhile has been taken prisoner and brought into camp. A buffo trio between himself and his captors follows, in which Gione penetrates his disguise and recognizes him. They are about to fall upon him; but John, learning from him that Bertha is still alive and in Munster, saves his life. He immediately resolves to take the place by assault, rouses his followers with religious chants of a martial character, and the act concludes with the march on the city.

The fourth act opens in the city itself after its capture. A mendicant appears in the public square begging for bread. It is Fides; and in a plaintively declamatory aria of striking power ("Pieta! pieta!") she implores alms. She meets with Bertha disguised as a pilgrim, and bent upon the destruction of the Prophet, who, she believes, has been the cause of John's death. The next scene opens in the cathedral, where the coronation of the Prophet is to take place; and among all Meyerbeer's pageants none are more imposing than this, with its accompaniment of pealing bells, religious chants, the strains of the organ, and the stately rhythms of the great Coronation March. It is a splendid prelude to the dramatic scene which follows. In the midst of the gorgeous spectacle, the voice of Fides is heard claiming the Prophet as her son. John boldly disavows her, and tells his followers to kill him if she does not confirm the disavowal. The feelings of the mother predominate, and she declares that she is mistaken. The multitude proclaim it a miracle, and Fides is removed as a prisoner. The dramatic situation in this finale is one of great strength, and its musical treatment has hardly been excelled.

The last act opens with a trio by the Anabaptist leaders, who, learning that the enemy is approaching in force, determine to save themselves by betraying John. In the third scene Fides in prison, learning that John is coming to see her, invokes the punishment of Heaven upon him in the passionate aria, "Spirto superno." A duet ("Tu che del cielo") of great power follows, in which Fides convinces him of the errors of his course. As they are about to leave, Bertha enters, bent upon the destruction of the palace, and in the trio which ensues learns that John and the Prophet are one. She stabs herself, and dying in the arms of Fides curses him. The last scene opens in a banqueting-hall of the palace, where John is revelling, with the Anabaptists around him. He sings a bacchanalian song of a wild description ("Beviam e intorno"), and, as it closes, the Bishop of Munster, the Elector, Count Oberthal, and the three Anabaptists who have betrayed him, enter the apartment. The revenge which John has planned is now consummated. An explosion is heard. Flames break out on all sides. Fides rushes in and forgives her son, and the Prophet, his mother, and his enemies perish together.

Although "The Prophet" did not meet with the popularity of some of his other operas, it contains some of the most vigorous and dramatic music Meyerbeer has written,--notably the arias of Zacarie and Fides, the skating-ballet, the Coronation March, and the drinking-song. As a pageant, "The Prophet" has never been surpassed.

THE AFRICAN.

"L'Africaine," a grand opera in five acts, words by Scribe, was first produced at the Académie, Paris, April 28, 1865, with the following cast:--

SELIKA Mme. MARIE SAXE. INEZ Mlle. MARIE BATTEO. VASCO DI GAMA M. NAUDIN. NELUSKO M. FAURE. DON PEDRO M. BELVAL. HIGH PRIEST M. OBIN.

The libretto of the opera was first given to Meyerbeer by Scribe in 1838; but such were the alterations demanded by the composer, that at last Scribe withdrew it altogether, although the music was already set. In 1852 he furnished a revised libretto, and the music was revised to suit it. The work was not finished until 1860, and owing to the difficulty of filling the cast satisfactorily, was not brought to rehearsal until the fall of 1863. While still correcting and improving it, Meyerbeer died, and it was not produced until two years later. Shortly after the Paris performance it was brought out in London, with Mlle. Lucca in the part of Selika. Mme. Zucchi was one of the earliest representatives of the slave in this country.

The scene of the opera is laid in Portugal and Africa, and the first act opens in the council chamber of the king of the former country. Inez, his daughter, is mourning the long absence of her betrothed, Vasco di Gama the explorer. Her father, wishing to marry her to Don Pedro, the President of the Council, tries to persuade her that Vasco has perished by shipwreck; but the refutation of the story comes in the sudden appearance of Vasco himself, who is summoned before the Council and narrates to them his discovery of a strange land, producing two of the natives, Selika and Nelusko, as confirmations of his announcement. Don Pedro incites the inquisitors to deny the truth of the story, at which Vasco breaks out in such a furious rage against them that he is arrested and thrown into a dungeon. The second act opens in the prison, where Selika is watching the slumbering Vasco. As he wakens she declares her love for him, and at the same time saves him from the dagger of the jealous Nelusko. She also indicates to him the course he should have taken to discover the island of which he is in quest. To save her lover, Inez consents to wed Don Pedro; and the latter, to cheat Vasco of his fame, takes command of the expedition under the pilotage of Nelusko, and sets sail for the new land. The Indian, thirsting for vengeance, directs the vessel out of her course towards a reef; but Vasco, who has followed in another vessel, arrives in time to warn Don Pedro of his danger. He disregards the warning, distrusts his motives, and orders him to be shot; but before the sentence can be carried out, the vessel strikes and is boarded by the savages, who slaughter the commander and most of his men. The fourth act opens on the island which Selika pointed out on the map, and of which she is queen. To save him from her subjects, she declares herself his spouse; but as the marriage rite is about to be celebrated, Vasco hears the voice of Inez in the distance, deserts Selika, and flies to her. In the last act, as the vessel sails away bearing Vasco and Inez back to Portugal, Selika throws herself down under the poisonous manchineel-tree and kills herself with its fatal flowers; expiring in the arms of Nelusko, who shares the same fate.

The first act opens with a very sweet but sombre ballad sung by Inez ("Del Tago sponde addio"), which recalls the English song, "Isle of Beauty, fare thee well," and is followed by a bold and flowing terzetto. The third scene opens with a noble and stately chorus ("Tu che la terra adora") sung by the basses in unison, opening the Council before which Vasco appears; and the act closes with an anathema hurled at him ("Ribelle, insolente"),--a splendid ensemble, pronounced in its rhythm and majestic in the sweep of its passionate music.

The second act opens with the quaint slumber-song ("In grembo a me") which Selika sings to Vasco in prison. It is oriental in color, and is broken here and there by a barcarole which Vasco murmurs in his sleep. In striking contrast with its dreamy, quiet flow, it leads up to a passionate aria ("Tranquillo e già") based upon a strong and fiery motive. In the next scene follows an aria of equal vigor sung by Nelusko ("Figlia dei Re"), in which his devotion to Selika changing to his hatred of Vasco is characterized by a grand crescendo. The act closes with a vigorous sextet, the motive of which is strangely similar to the old song, "The Minstrel Boy."

The third act contains a very impressive number, Nelusko's invocation of Adamastor ("Adamastor, re dell' onde profondo"), but is mainly devoted to the ship scene, which, though grotesque from the dramatic point of view, is accompanied by music of a powerful and realistic description, written with all the vividness and force Meyerbeer always displays in his melodramatic ensembles. The fourth act contains the most beautiful music of the opera,--Vasco's opening aria, "O Paradiso," an exquisite melody set to an equally exquisite accompaniment; the ensemble in the fourth scene, in which Selika protects Vasco and Nelusko swears vengeance ("Al mio penar de fine"); the grand duet between Vasco and Selika ("Dove son"), which has often been compared to the duet in the fourth act of "The Huguenots," though it has not the passionate intensity of the scene between Raoul and Valentin; and the graceful choruses of the Indian maidens and Inez's attendants which close the act.

The last act contains two scenes,--the first in Selika's gardens, where there is a long and spirited duet between Inez and Selika. The second, known as "La Scene du Mancenillier," has a symphonic prelude in the form of a funeral march, based upon a fascinating melody, which is beyond question the finest of Meyerbeer's orchestral numbers in any of his works. From this point the story hastens to its tragic dénouement; and nearly the entire scene is occupied with Selika's dying song, which opens with a majestic apostrophe to the sea ("Da qui io vedo il mar"), then turns to sadness as she sings to the fatal tree ("O tempio sontuoso"), and at the close develops into a passionate outcry of joy ("O douce extase"). Though the plot of "L'Africaine" is often absurd, many of its incidents preposterous, and some of its characters unattractive, the opera is full of effective situations, and repeatedly illustrates Meyerbeer's powers of realization and his knowledge of effects.

MOZART.

Johann Chrysostomus Wolfgang Amadeus Mozart was born at Salzburg, Jan. 27, 1756. With this wonderful child music was a divine gift, for his first work, a minuet and trio for piano, was written in his fifth year. He began to study with his father when but three years of age, and at once gave signs of extraordinary promise. His sister was also very talented; and in 1762 the father determined to travel with his prodigies. They were absent a year, the most of that time being spent at Munich, Vienna, and Presburg, where they created a furor by their performances. A longer journey was then resolved upon. The principal German cities, Brussels, Paris, London, the Hague, Amsterdam, and the larger towns of Switzerland were visited in succession, and everywhere the children were greeted with enthusiasm, particularly when they played before the French and English courts. They returned to Salzburg in 1766, already famous all over Europe; and during the next two years Mozart composed many minor works. In 1768 he was again in Vienna, where he produced his little operetta, "Bastien und Bastienne," and in the same year the Archbishop of Salzburg made him his concertmeister. The next year he went to Italy, where he both studied and composed, and was received with extraordinary honors. In 1771 he brought out his opera, "Mitridate, Rè di Ponto," at Milan, with great success. The next year he produced "Lucio Silla," also in Milan, and during the next four years composed a great number of symphonies and other instrumental works. The mass of music which he composed up to his twenty-first year is simply bewildering. In 1781 he brought out "Idomeneo" at Munich, which left no doubt as to his position as a dramatic composer. In 1782 his "Entfuhrung aus dem Serail" was produced at Vienna by the Emperor's command. His next great opera was "Le Nozze di Figaro," which was performed in 1786, and made all Vienna go wild. "Don Giovanni" followed it the next year, and was received with equal enthusiasm. In 1789 he composed the famous "Requiem;" and the same year the "Zauberflöte," his last great opera, appeared, and made a success even greater than its two great predecessors. Two years later, Dec. 5, 1791, Mozart died in poverty, and amid the saddest of surroundings. One of the world's greatest geniuses was carried to his last resting-place unaccompanied by friends, and was buried in the common pauper's grave. God endowed him with a wonderful genius, which the world of his time could not recognize.

THE MARRIAGE OF FIGARO.

"Le Nozze di Figaro," in the German version, "Die Hochzeit des Figaro," an opera buffa in four acts, the words by Lorenzo da Ponte, after Beaumarchais's comedy, "Le Mariage de Figaro," was first produced at the National Theatre, Vienna, May 1, 1786, with the following cast:--

COUNTESS ALMAVIVA Signora STORACE. SUSANNA Signora LASCHI. CHERUBINO Signora MANDINI. MARCELLINA Signora BUSSANI. BARBARINA Signora GOTTLIEB. COUNT ALMAVIVA Signor MANDINI. FIGARO Signor BENUCCI. BARTOLO Signor OCCHELEY. BASILIO Signor BUSSANI.

It was first brought out in Paris in 1793, with Beaumarchais's spoken dialogue, in five acts, as "Le Mariage de Figaro," and in 1858 at the Théâtre Lyrique in the same city, in four acts, as "Les Noces de Figaro," with text by Barbiere and Carré. The late Mme. Parepa-Rosa introduced it in this country in its English form with great success.

At the time the libretto was written, Beaumarchais's satirical comedy, "Le Mariage de Figaro," had been performed all over Europe, and had attracted great attention. It had been prohibited in Paris, and had caused great commotion in Vienna. Mozart's notice was thus drawn to it, and he suggested it to Da Ponte for a libretto, and the Emperor Joseph subsequently commissioned the composer to set it to music, though he had already composed a portion of it. The entire opera was written during the month of April, and the wonderful finale to the second act occupied him for two nights and a day. When it came to a performance, its success was remarkable. Kelly, who was present, says, in his Reminiscences: "Never was there a greater triumph than Mozart enjoyed with his 'Figaro.' The house was crowded to overflowing, and almost everything encored, so that the opera lasted nearly double the usual time; and yet at its close the public were unwearied in clapping their hands and shouting for Mozart." Popular as it was, it was soon laid aside in Vienna through the influence of the Italian faction headed by Salieri, one of Mozart's rivals.

The story of the opera is laid in Spain. Count Almaviva, who had won his beautiful Countess with the aid of Figaro, the barber of Seville, becomes enamoured of her maid Susanna, and at the same time, by the collusion of the two, in order to punish him, is made jealous by the attentions paid to the Countess by Cherubino, the page. Meanwhile Figaro, to whom Susanna is betrothed, becomes jealous of the Count for his gallantry to her. Out of these cross-relations arise several humorous surprises. Besides these characters there are two others who have been disappointed in love,--Bartolo, who has been rejected by Susanna, and Marcellina, whose affection for Figaro has not been requited. The Count seeks to get rid of Cherubino by ordering him off to the wars, but he is saved by Susanna, who disguises him in female attire. The Countess, Susanna, Figaro, and Cherubino then conspire to punish the Count for his infidelity. The latter suddenly appears at his wife's door, and finding it locked demands an entrance. Cherubino, alarmed, hides himself in a closet and bars the door. The Count is admitted, and finding the Countess in confusion insists upon searching the closet. He goes out to find some means of breaking in the door, and Cherubino improves the opportunity to jump out of the window, while Susanna takes his place and confronts the puzzled Count. Antonio, the gardener, comes in and complains that some one has jumped from the window and broken his flower-pots. Figaro at once asserts that he did it.

A ludicrous side plot unfolds at this point. Marcellina appears with a contract of marriage signed by Figaro, bringing Bartolo as a witness. The Count decides that Figaro must fulfil his contract, but the latter escapes by showing that he is the son of Marcellina, and that Bartolo is his father. Meanwhile the main plot is developed in another conspiracy to punish the Count. Susanna contrives a rendezvous with the Count at night in the garden, having previously arranged with the Countess that she should disguise herself as the maid, the latter also assuming the part of the Countess, and arrive in time to surprise the two. The page also puts in an appearance, and gets his ears boxed for his attentions to the disguised Countess. Figaro, who has been informed that Susanna and the Count are to meet in the garden, comes on the scene, and in revenge makes a passionate declaration of love to the supposed Countess, upon which the Count, who is growing more and more bewildered, orders lights and makes his supposed wife unveil. The real wife does the same. Covered with confusion, he implores pardon of the Countess, which is readily given. The two are reconciled, and Figaro and Susanna are united.

The whole opera is such a combination of playfulness and grace that it is a somewhat ungracious task to refer to particular numbers. In these regards it is the most Mozartean of all the composer's operas. The first act opens with a sparkling duet between Figaro and Susanna, in which she informs him of the Count's gallantries. As she leaves, Figaro, to the accompaniment of his guitar, sings a rollicking song ("Se vuol ballare, Signor Contino"), in which he intimates that if the Count wishes to dance he will play for him in a style he little expects. In the second scene Bartolo enters, full of his plans for vengeance, which he narrates in a grim and grotesque song ("La Vendetta"). The fourth scene closes with an exquisite aria by Cherubino ("Non so piu cosa son"). After an exceedingly humorous trio ("Cosa sento? tosto andate") for the Count, Basilio and Susanna, and a bright, gleeful chorus ("Giovanni lieti"), Figaro closes the act with the celebrated aria, "Non piu andrai." Of the singing of this great song at the first rehearsal of the opera Kelly says in his Reminiscences: "I remember Mozart well at the first general rehearsal, in a red furred coat and a gallooned hat, standing on the stage and giving the tempi. Benucci sang Figaro's aria, 'Non piu andrai,' with the utmost vivacity and the full strength of his voice. I stood close beside Mozart, who exclaimed, _sotto voce_, 'Brava! brava! Benucci!' and when that fine passage came, 'Cherubino, alla vittoria, alla gloria militar,' which Benucci gave in a stentorian voice, the effect was quite electrical, both on the singers on the stage and the musicians in the orchestra. Quite transported with delight, they all called out, 'Brava! brava, Maestro! viva! viva! viva il grande Mozart!' In the orchestra the applause seemed to have no end, while the violin-players rapped their bows on their desks. The little Maestro expressed his gratitude for the enthusiasm, testified in so unusual a manner, by repeatedly bowing."

The second act is the masterpiece of the opera, and contains in itself music enough to have made any composer immortal. It opens with a serious aria by the Countess ("Porgi amor") followed by Cherubino's well-known romanza ("Voi che sapete,") one of the sweetest and most effective songs ever written for contralto, and this in turn by Susanna's coquettish song, "Venite, inginocchiatevi," as she disguises Cherubino. A spirited trio and duet lead up to the great finale, begun by the Count, ("Esci omai, garzon mal nato"). Upon this finale Mozart seems to have lavished the riches of his musical genius with the most elaborate detail and in bewildering profusion. It begins with a duet between the Count and Countess, then with the entrance of Susanna changes to a trio, and as Figaro and Antonio enter, develops into a quintet. In the close, an independent figure is added by the entrance of Marcellina, Barbarina, and Basilio, and as Antonio exits, this trio is set against the quartet with independent themes and tempi.