Part 14

Charles Ambroise Thomas was born at Metz, Aug. 5, 1811, and entered the Paris Conservatory in 1828, where he carried off the Grand Prize in 1832, which entitled him to go to Italy. During his Italian residence he wrote a cantata, "Hermann und Ketty," and several instrumental works. His first work at the Opera Comique was the one-act opera, "La double echelle," produced in 1837 with success. He then brought out several ballets at the Académie, but returned to the Opera Comique again, where, between 1840 and 1866, he composed thirteen operas, the most successful of which were "Le Songe d'une nuit d'été" (1850), "Raymond" (1851), "Psyche" (1857), and "Mignon" (1866). During this period he also wrote a large number of cantatas, choruses, part-songs, and instrumental works. His next great work was "Hamlet," first produced March 9, 1868, the success of which gained him the position of Director of the Conservatory in 1871. Since that time he has written only the opera "Françoise de Rimini," performed April 14, 1882. In 1880 he was made a member of the Legion of Honor. In common with Gounod he now shares the honor of being one of the few French writers who hold a high rank among modern composers.

MIGNON

"Mignon," an opera comique in three acts, words by Barbier and Carré, the subject taken from Goethe's "Wilhelm Meister," was first produced at the Opera Comique, Paris, Nov. 17, 1866, with the following cast:--

MIGNON Mme. GALLI-MARIÉ. WILHELM MEISTER M. ACHARD. LAERTES M. CONDERS. LOTARIO M. BATAILLE. FILINA Mme. CABEL.

The scene of the first two acts is laid in Germany, and of the third in Italy. Mignon, the heroine, in her childhood was stolen by gypsies. She is of noble birth. The mother died shortly after her bereavement, and the father, disguised as the harper Lotario, has wandered for years in quest of his daughter. The opera opens in the yard of a German inn, where a troupe of actors, among them Filina and Laertes, are resting, on their way to the castle of a neighboring prince, where they are to give a performance.

A strolling gypsy band arrives about the same time, and stops to give an entertainment to the guests. Mignon, who is with the band, is ordered to perform the egg dance, but, worn out with fatigue and abusive treatment, refuses. Giarno, the leader, rushes at her, but the old harper interposes in her behalf. Giarno then turns upon Lotario, when the wandering student, Wilhelm Meister, suddenly appears and rescues both Mignon and the harper. To save her from any further persecution he engages her as his page, and follows on in the suite of Filina, for whom he conceives a violent and sudden passion. Touched by his kind attentions to her, Mignon falls in love with Wilhelm, who, ignorant of his page's affection, becomes more and more a prey to the fascinations of Filina. At last the troupe arrives at the castle, Wilhelm and Mignon with them. Wilhelm enters with the others, leaving Mignon to await him outside. Maddened with jealousy, she attempts to throw herself into a lake near by, but is restrained by the notes of Lotario's harp. She rushes to him for counsel and protection, and in her despair invokes vengeance upon all in the castle. As the entertainment closes, Filina and her troupe emerge, joyful over their great success. She sends Mignon back for some flowers she has left, when suddenly flames appear in the windows. Maddened by his own grief and Mignon's troubles Lotario has fired the castle. Wilhelm rushes into the burning building and brings out the unconscious Mignon in his arms.

The last act opens in Lotario's home in Italy, whither Mignon has been taken, followed by Wilhelm, who has discovered her devoted attachment to him, and has freed himself from the fascinations of Filina. Through the medium of a long-concealed casket containing a girdle which Mignon had worn in her childhood, also by a prayer which she repeats, and the picture of her mother, Lotario is at last convinced that she is his daughter, and gives his blessing to her union with Wilhelm.

The overture recites the leading motives of the work. The first act opens with a fresh and melodious chorus of the townspeople over their beer in the inn yard ("Su borghesi e magnati"). During their singing a characteristic march is heard, and the gypsy band enters. The scene is a charming one, the little ballet being made still more picturesque by the fresh chorus and a song of Filina's in waltz time. The scene of the encounter with Giarno and Mignon's rescue follows, and leads up to a very spirited quintet, which is followed by a graceful trio between Wilhelm, Filina, and Laertes, the actor. In the next scene Wilhelm questions Mignon as to her history, and at the end of their pathetic duet, when he says, "Were I to break thy chains and set thee free, to what beloved spot wouldst thou take thy way?" she replies in the beautiful romanza, "Non conosci il bel suol," more familiarly known in Goethe's own words, "Kennst du das Land,"--a song full of tender beauty and rare expression, and one of the most delightful inspirations of any composer. It is said that much of its charm comes from the composer's study of Ary Scheffer's picture of Mignon. Be this as it may, he has caught the inner sense of the poem, and expressed it in exquisite tones. It is followed almost immediately by a duet between Mignon and Lotario ("Leggiadre rondinelle") of almost equal beauty, known as the Swallow duet. After a somewhat uninteresting scene between Laertes, Filina, and Frederick, who is also in love with Filina, the finale begins with the departure of the actors to fulfil their engagement, in which Filina, in a graceful aria ("Grazie al gentil signor"), invites Wilhelm to be of the number.

The second act opens in Filina's boudoir, where she is at her toilet, arraying herself for her part as Titania in the forthcoming performance of the "Midsummer Night's Dream" at the castle. As Wilhelm and Mignon enter the apartment, a very dramatic conversation ensues between them in the form of a terzetto ("Ohimè quell' acre riso"). Mignon is in despair at the attention Wilhelm pays Filina, and the latter adds to her pangs by singing with him a gay coquettish aria ("Gai complimenti"). As they leave the room Mignon goes to the mirror and begins adorning herself as Filina had done, hoping thereby to attract Wilhelm, singing meanwhile a characteristic song ("Conosco un zingarello") with a peculiar refrain, which the composer himself calls the "Styrienne." It is one of the most popular numbers in the opera, and when first sung in Paris made a furor. At the end of the scene Mignon goes into a cabinet to procure one of Filina's dresses, and the lovelorn Frederick enters and sings his only number in the opera, a bewitching rondo gavotte ("Filina nelle sale"). Wilhelm enters, and a quarrel between the jealous pair is prevented by the sudden appearance of Mignon in Filina's finery. She rushes between them, Frederick makes his exit in a fume, and Wilhelm announces to Mignon his intention to leave her, in the aria, "Addio, Mignon, fa core," one of the most pathetic songs in the modern opera. In the next scene she tears off her finery and rushes out expressing her hatred of Filina. The scene now changes to the park surrounding the castle where the entertainment is going on. Mignon hears the laughter and clapping of hands, and overcome with despair attempts to throw herself into the lake, but is restrained by Lotario, and a beautiful duet ensues between them ("Sofferto hai tu?"). In the next scene Filina, the actors, and their train of followers emerge from the castle, and in the midst of their joy she sings the polacca, "Ah! per stassera," which is a perfect _feu de joie_ of sparkling music, closing with a brilliant cadenza. The finale, which is very dramatic, describes the burning of the castle and the rescue of Mignon.

The last act is more dramatic than musical, though it contains a few delightful numbers, among them the chorus barcarole in the first scene, "Orsu, sciogliam le vela," a song by Wilhelm ("Ah! non credea"), and the love duet, "Ah! son felice," between Wilhelm and Mignon, in which is heard again the cadenza of Filina's polacca. "Mignon" has always been a success, and will unquestionably always keep its place on the stage,--longer even than the composer's more ambitious works, "Hamlet" and "Françoise de Rimini," by virtue of its picturesqueness and poetic grace, as well as by the freshness, warmth, and richness of its melodies. In this country opera-goers will long remember "Mignon" by the great successes made by Miss Kellogg as Filina, and by Mme. Lucca and Mme. Nilsson in the title-rôle.

VERDI.

Giuseppi Verdi was born at Roncale, Italy, Oct. 9, 1813. He displayed his musical talent at a very early age; indeed, in his tenth year he was appointed organist in his native town. He then studied for a time at Busseto, and afterwards, by the help of a patron, M. Barezzi, went to Milan. Curiously enough he was refused a scholarship on the ground that he displayed no aptitude for music. Nothing daunted, he studied privately with the composer Lavigne, and five years afterwards commenced his career as an operatic writer. His first opera, "Oberto," was given at La Scala, Milan, with indifferent success. He was not fairly recognized until his opera "I Lombardi" was performed. In 1844 "Ernani" was received with great enthusiasm. "Attila" (1846) was his next great triumph; and then followed in rapid succession a large number of operas, among them: "I Masnadieri" (1847), written for the English stage, with Jenny Lind, Lablache, and Gardoni in the cast; "Luisa Miller" (1849); "Stifellio" (1851); "Rigoletto" (1851); "Il Trovatore," Rome (1853); "La Traviata," Venice (1853); "I Vespri Siciliani," Paris (1855); "Simon Boccanegra," Venice (1857); "Un Ballo in Maschera," Rome (1858); "La Forza del Destino," St. Petersburg (1862); "Don Carlos," Paris (1867), and "Aida," his last opera, Cairo (1871). Since that time Verdi has produced nothing but a Pater Noster and an Ave Maria (1880), and the "Requiem," composed in memory of the patriot Manzoni, and produced at Milan in 1874, on the occasion of the anniversary of his death. It has been reported that he is at work upon a new opera, "Othello," the words by Arrigo Boito, the composer of "Mephistopheles;" but nothing more than the report has been heard from it during the past three or four years. The great melodist now spends a very quiet life as a country gentleman upon his estates near Busseto.

ERNANI.

"Ernani," a tragic opera in four acts, words by F.M. Piave, the subject taken from Victor Hugo's tragedy of "Hernani," was first produced at Venice, March 9, 1844. The earlier performances of the opera gave the composer much trouble. Before the first production the police interfered, refusing to allow the representation of a conspiracy on the stage, so that many parts of the libretto, as well as much of the music, had to be changed. The blowing of Don Silva's horn in the last act was also objected to by one Count Mocenigo, upon the singular ground that it was disgraceful. The Count, however, was silenced more easily than the police. The chorus "Si ridesti il Leon di Castiglia" also aroused a political manifestation by the Venetians. The opera was given in Paris, Jan. 6, 1846, and there it encountered the hostility of Victor Hugo, who demanded that the libretto should be changed. To accommodate the irate poet, the words were altered, the characters were changed to Italians, and the new title of "II Proscritto" was given to the work.

The action of the opera takes place in Arragon, Spain, and the period is 1519. Elvira, a noble Spanish lady, betrothed to the grandee Don Gomez de Silva, is in love with the bandit Ernani, who forms a plan to carry her off. While receiving the congratulations of her friends upon her approaching marriage with Silva, Don Carlos, the King of Spain, enters her apartment, declares his passion for her, and tries to force her from the castle. She cries for help, and Ernani comes to her rescue and defies the king. The situation is still further complicated by the sudden arrival of Silva, who declares he will avenge the insult. Finding, however, that it is the King whom he has challenged, he sues for pardon. In the second act, as the nuptials are about to be solemnized, Ernani enters, disguised as a pilgrim, and believing Elvira false to him, throws off his disguise and demands to be given up to the King, which Silva refuses, as he cannot betray a guest. Discovering, however, that Elvira and Ernani are attached to each other, he determines on vengeance. The King eventually carries off Elvira as a hostage of the faith of Silva, whereupon the latter challenges Ernani. The bandit refuses to fight with him, informs him that the King is also his rival, and asks to share in his vengeance, promising in turn to give up his life when Silva calls for it, and presenting him with a horn which he is to sound whenever he wishes to have the promise kept. In the third act, the King, aware that the conspirators are to meet in the catacombs of Aquisgrana, conceals himself there, and when the assassins meet to decide who shall kill him, he suddenly appears among them and condemns the nobles to be sent to the block. Ernani, who is a duke, under the ban of the King of Castile, demands the right to join them, but the King magnanimously pardons the conspirators and consents to the union of Ernani and Elvira. Upon the very eve of their happiness, and in the midst of their festivities, the fatal horn is heard, and true to his promise Ernani parts from Elvira and kills himself.

The first act opens with a spirited chorus of banditti and mountaineers ("Allegri, beviami") as they are drinking and gambling in their mountain retreat. Ernani appears upon a neighboring height and announces himself in a despondent aria ("Come rugiada al cespite"). A brief snatch of chorus intervenes, when he breaks out in a second and more passionate strain ("Dell' esilio nel dolore"), in which he sings of his love for Elvira. The third scene opens in Elvira's apartments, and is introduced with one of the most beautiful of Verdi's arias, "Ernani, involami," with which all concert-goers have become acquainted by its frequent repetition. A graceful chorus of her ladies bearing gifts leads to a second and more florid number ("Tutto sprezzo che d' Ernani"). Don Carlos enters, and in the seventh scene has an aria ("Bella come un primo amore") in which he declares his passion for Elvira, leading up to a very dramatic duet between them ("Fiero sangue d' Aragona"). This is followed in turn by a trio between the two and Ernani. The finale commences with an impressive and sonorous bass solo ("Infelice! e tuo credevi") by Silva, and closes with a septet and chorus of great power.

The second act, like the first, opens with a chorus, this time, however, of mixed voices, the power of which is amplified by a military band on the stage. After three scenes of dramatic dialogue, an impassioned duet ("Ah! morir potessi adesso!") occurs between Ernani and Elvira, followed by a second, of great dramatic intensity, in the seventh scene ("La vendetta piu tremenda"). The finale begins with a spirited appeal by Silva and Ernani for vengeance against the King ("In arcione, cavalieri") which is met by a stirring response from their followers ("Pronti vedi li tuoi cavalieri"), sung by full male chorus and closing the act.

The third act is devoted to the conspiracy, and in the second scene Don Carlos has a very impressive and at times thrilling soliloquy ("Gran Dio! costo sui sepolcrali marmi"). The conspiracy then begins with very characteristic accompaniments, closing with the chorus in full harmony ("Si ridesti il Leon di Castiglia"), which at the performance of the work in Venice roused such a fury among the Venetians. The finale commences with the appearance of Don Carlos among the conspirators, and closes with the great sextet and chorus, "O Sommo Carlo." Opening with a barytone solo, it is gradually worked up in a crescendo of great power and thrilling effect. The number is very familiar from its English setting under the title, "Crowned with the Tempest."

The fourth act rapidly hurries to the tragic close, and is less interesting from a musical point of view, as the climax was reached in the finale of the third. The principal numbers are the chorus of masks in the first scene ("O come felici"), accompanied by military band, and the great duet between Elvira and Ernani ("Cessaro i suoni"), which passes from rapturous ecstasy to the despair of fate ("Per noi d' amore il talamo") as the horn of Silva is heard, reminding Ernani of his promise. Though one of the earliest of Verdi's works, "Ernani" is one of his strongest in dramatic intensity, in the brilliancy and power of its concerted finales, and in the beauty of its great chorus effects.

RIGOLETTO.

"Rigoletto," an opera in three acts, words by Piave, the subject taken from Victor Hugo's tragedy, "Le Roi s'amuse," was first produced at Venice, March 11, 1851. The part of Gilda has always been a favorite one with great artists, among whom Nantier-Didiée, Bosio, and Miolan-Carvalho played the rôle with extraordinary success. In the London season of 1860 Mario and Ronconi in the respective parts of the Duke and Rigoletto, it is said, gave dramatic portraitures which were among the most consummate achievements of the lyric stage. The records of its first production, like those of "Ernani," are of unusual interest. Verdi himself suggested Victor Hugo's tragedy to Piave for a libretto, and he soon prepared one, changing the original title, however, to "La Maledizione." Warned by the political events of 1848, the police flatly refused to allow the representation of a king on the stage in such situations as those given to Francis I. in the original tragedy. The composer and the manager of the theatre begged in vain that the libretto should be accepted, but the authorities were obstinate. At last a way was found out of the difficulty by the chief of police himself, who was a great lover of art. He suggested to the librettist that the King should be changed to a duke of Mantua, and the title of the work to "Rigoletto," the name of the buffoon who figures in the place of the original Triboulet. Verdi accepted the alterations, and had an opera ready in forty days which by nearly all critics is considered his musical masterpiece, notwithstanding the revolting character of the story.

The scene of the opera is laid in Mantua. Rigoletto, the privileged buffoon of the Duke, who also plays the part of pander in all his licentious schemes, among numerous other misdeeds has assisted his master in the seduction of the wife of Count Ceprano and the daughter of Count Monterone. The latter appears before the Duke and Rigoletto, and demands reparation for the dishonor put upon his house, only to find himself arrested by order of the Duke, and taunted in the most insolent manner by the buffoon, upon whom he invokes the vengeance of Heaven. Even the courtiers themselves are enraged at Rigoletto's taunts, and determine to assist in Monterone's revenge by stealing Gilda, the jester's daughter, whom they suppose to be his mistress. Closely as she had been concealed, she had not escaped the observation of the Duke, who in the guise of a poor student wins her affections and discovers her dwelling-place. Pretending that it is Count Ceprano's wife whom they are about to abduct, they even make Rigoletto assist in the plot and help convey his own daughter to the Duke's apartments. In his blind fury when he discovers the trick that has been played upon him, he hires Sparafucile, a professional assassin, to kill the Duke. The bravo allures the Duke to his house, intending to carry out his agreement; but his sister, Magdalena, is so fascinated with the handsome stranger, that she determines to save him. Sparafucile at first will not listen to her, but finally promises if any one else comes to the house before the time agreed upon for the murder he shall be the victim. Rigoletto meanwhile disguises his daughter in male attire in order that she may escape to Verona; but before she sets out he takes her to the vicinity of Sparafucile's house, that she may witness the perfidy of the Duke. While outside, she overhears the quarrel between Sparafucile and Magdalena, and learns his intention to murder the Duke, who is even then sleeping in the house. With a woman's devotion she springs forward to save the Duke's life, knocks at the door, and demands admittance. Sparafucile opens it, and as she enters stabs her. He then thrusts her body into a sack, and delivers it to her father as the body of the man whom he had agreed to slay. Rigoletto, gloating over his revenge, is about to throw the sack into the river near by, when he suddenly hears the voice of the Duke. He tears open the sack to see whose body it contains, and by the glare of the lightning is horrified to find that it is his own daughter, and realizes that the malediction of Monterone has been accomplished. She expires in his arms, blessing her lover and father, while he sinks to the ground overwhelmed with the fulfilment of the terrible curse.

The first act opens in the ball-room of the ducal palace. After a brief dialogue between the Duke and one of his courtiers, the former vaunts his own fickleness in one of the most graceful and charming arias in the whole opera ("Questa o quella"). Some spirited dramatic scenes follow, which introduce the malediction of Monterone and the compact between Rigoletto and Sparafucile, and lead up to a scena of great power ("Io la lingua, egli ha il pugnali"), in which the buffoon vents his furious rage against the courtiers. A tender duet between Rigoletto and Gilda follows, and a second duet in the next scene between Gilda and the Duke ("Addio, speranza ed anima"), which for natural grace, passionate intensity, and fervid expression is one of Verdi's finest numbers. As the Duke leaves, Gilda, following him with her eyes, breaks out in the passionate love-song, "Caro nome," which is not alone remarkable for its delicacy and richness of melody, but also for the brilliancy of its bravura, calling for rare range and flexibility of voice. The act closes with the abduction, and gives an opportunity for a delightful male chorus ("Zitti, zitti") sung pianissimo.