Part 2

The last act opens in the anteroom of the royal palace at Lisbon, where Diana is waiting for an audience with the Queen. She sings another interpolated air, originally written for Louisa Pyne ("When Doubt the tortured Frame is rending"), and at its close the Count, Don Henrique, and Don Sebastian enter. While they are conversing, Rebolledo appears, announced as the Count Fuentes, and a quintet occurs, very slightly constructed, but full of humor. An usher interrupts it by announcing the Queen will have a private audience with the Count Fuentes. While awaiting her, the latter, in a monologue, lets us into the secret that the real crown jewels have been pledged for the national debt, and that he has been employed to make duplicates of them to be worn on state occasions until the real ones can be redeemed. The Queen enters, and expresses her satisfaction with the work, and promotes him to the position of Minister of Secret Police. On his departure she sings a charming cavatina ("Love, dwell with me"), and at its close Count de Campo Mayor enters with the decision of the Council that she shall wed the Prince of Spain. She returns answer that she shall make her own choice. The Count seeks to argue with her, when she threatens to confiscate his estate for allowing the crown jewels to be stolen, and commands him to arrest his daughter and nephew for harboring the thieves. Diana suddenly enters, and an amusing trio ensues, the Queen standing with her back to Diana lest she may be discovered. The latter fails to recognize her as Catarina, and implores pardon for assisting in her escape. The situation is still further complicated by the appearance of Don Henrique, who has no difficulty in recognizing Catarina. Bewildered at her presence in the Queen's apartments, he declares to Diana that he will seize her and fly to some distant land. His rash resolution, however, is thwarted by his arrest, on the authority of the Queen, for treason. A martial finale introduces us to the Queen in state. Don Henrique rushes forward to implore mercy for Catarina. The Queen reveals herself at last, and announces to her people that she has chosen Don Henrique, who has loved her for herself, for her husband and their king. And thus closes one of the most sparkling, melodious, and humorous of Auber's works. What the concerted numbers lack in solidity of construction is compensated for by their grace and sweetness.

BALFE.

Michael William Balfe was born at Dublin, Ireland, May 15, 1808. Of all the English opera-composers, his career was the most versatile, as his success, for a time at least, was the most remarkable. At seven years of age he scored a polacca of his own for a band. In his eighth year he appeared as a violinist, and in his tenth was composing ballads. At sixteen he was playing in the Drury Lane orchestra, and about this time began taking lessons in composition. In 1825, aided by the generosity of a patron, he went to Italy, where for three years he studied singing and counterpoint. In his twentieth year he met Rossini, who offered him an engagement as first barytone at the Italian Opera in Paris. He made his début with success in 1828, and at the close of his engagement returned to Italy, where he appeared again on the stage. About this time (1829-1830) he began writing Italian operas, and before he left Italy had produced three which met with considerable success. In 1835 he returned to England; and it was in this year that his first English opera, the "Siege of Rochelle," was produced. It was played continuously at Drury Lane for over three months. In 1836 appeared his "Maid of Artois;" in 1837, "Catharine Grey" and "Joan of Arc;" and in 1838, "Falstaff." During these years he was still singing in concerts and opera, and in 1840 appeared as manager of the Lyceum. His finest works were produced after this date,--"The Bohemian Girl" in 1843; "The Enchantress" in 1844; "The Rose of Castile," "La Zingara," and "Satanella" in 1858, and "The Puritan's Daughter" in 1861. His last opera was "The Knight of the Leopard," known in Italian as "Il Talismano," which has also been produced in English as "The Talisman." He married Mlle. Rosen, a German singer, whom he met in Italy in 1835; and his daughter Victoire, who subsequently married Sir John Crampton, and afterwards the Duc de Frias, also appeared as a singer in 1856. Balfe died Oct. 20, 1870, upon his own estate in Hertfordshire. The analysis of his three operas which are best known--"The Bohemian Girl," "Rose of Castile," and "Puritan's Daughter"--will contain sufficient reference to his ability as a composer.

THE BOHEMIAN GIRL.

"The Bohemian Girl," grand opera in three acts, words by Bunn, adapted from St. George's ballet of "The Gypsy," which appeared at the Paris Grand Opera in 1839,--itself taken from a romance by Cervantes,--was first produced in London, Nov. 27, 1843, at Drury Lane, with the following cast:--

ARLINE Miss ROMER. THADDEUS Mr. HARRISON. GYPSY QUEEN Miss BETTS. DEVILSHOOF Mr. STRETTON. COUNT ARNHEIM Mr. BORRANI. FLORESTEIN Mr. DURNSET.

The fame of "The Bohemian Girl" was not confined to England. It was translated into various European languages, and was one of the few English operas which secured a favorable hearing even in critical Germany. In its Italian form it was produced at Drury Lane as "La Zingara," Feb. 6, 1858, with Mlle. Piccolomini as Arline; and also had the honor of being selected for the state performance connected with the marriage of the Princess Royal. The French version, under the name of "La Bohémienne," for which Balfe added several numbers, besides enlarging it to five acts, was produced at the Théâtre Lyrique, Paris, in December, 1869, and gained for him the Cross of the Legion of Honor.

The scene of the opera is laid in Austria, and the first act introduces us to the château and grounds of Count Arnheim, Governor of Presburg, whose retainers are preparing for the chase. After a short chorus the Count enters with his little daughter Arline and his nephew Florestein. The Count sings a short solo ("A Soldier's Life"), and as the choral response by his retainers and hunters dies away and they leave the scene, Thaddeus, a Polish exile and fugitive, rushes in excitedly, seeking to escape the Austrian soldiers. His opening number is a very pathetic song ("'Tis sad to leave your Fatherland"). At the end of the song a troop of gypsies enter, headed by Devilshoof, singing a blithe chorus ("In the Gypsy's Life you may read"). He hears Thaddeus's story and induces him to join them. Before the animated strains fairly cease, Florestein and some of the hunters dash across the grounds in quest of Arline, who has been attacked by a stag. Thaddeus, seizing a rifle, joins them, and rescues the child by killing the animal. The Count overwhelms him with gratitude, and urges him to join in the coming festivities. He consents, and at the banquet produces a commotion by refusing to drink the health of the Emperor. The soldiers are about to rush upon him, when Devilshoof interferes. The gypsy is arrested for his temerity, and taken into the castle. Thaddeus departs and the festivities are resumed, but are speedily interrupted again by the escape of Devilshoof, who takes Arline with him. The finale of the act is very stirring, and contains one number, a prayer ("Thou who in Might supreme"), which is extremely effective.

Twelve years elapse between the first and second acts, and during this time Count Arnheim has received no tidings of Arline, and has given her up as lost forever. The act opens in the gypsy camp in the suburbs of Presburg. Arline is seen asleep in the tent of the Queen, with Thaddeus watching her. After a quaint little chorus ("Silence, silence, the Lady Moon") sung by the gypsies, they depart in quest of plunder, headed by Devilshoof, and soon find their victim in the person of the foppish and half-drunken Florestein, who is returning from a revel. He is speedily relieved of his jewelry, among which is a medallion, which is carried off by Devilshoof. As the gypsies disappear, Arline wakes and relates her dream to Thaddeus in a joyous song ("I dreamed I dwelt in Marble Halls"), which has become one of the world's favorites. At the close of the ballad Thaddeus tells her the meaning of the scar upon her arm, and reveals himself as her rescuer, but does not disclose to her the mystery of her birth. The musical dialogue, with its ensemble, "The Secret of her Birth," will never lose its charm. Thaddeus declares his love for her just as the Queen, who is also in love with Thaddeus, enters. Arline also confesses her love for Thaddeus, and, according to the customs of the tribe, the Queen unites them, at the same time vowing vengeance against the pair.

The scene now changes to a street in the city. A great fair is in progress, and the gypsies, as usual, resort to it. Arline enters at their head, joyously singing, to the accompaniment of the rattling castanets, "Come with the Gypsy Bride;" her companions, blithely tripping along, responding with the chorus, "In the Gypsy's Life you may read." They disappear down the street and reappear in the public plaza. Arline, the Queen, Devilshoof, and Thaddeus sing an unaccompanied quartet ("From the Valleys and Hills"), a number which for grace and flowing harmony deserves a place in any opera. As they mingle among the people an altercation occurs between Arline and Florestein, who has attempted to insult her. The Queen recognizes Florestein as the owner of the medallion, and for her courage in resenting the insult maliciously presents Arline with it. Shortly afterwards he observes the medallion on Arline's neck, and has her arrested for theft. The next scene opens in the hall of justice. Count Arnheim enters with a sad countenance, and as he observes Arline's portrait, gives vent to his sorrow in that well-known melancholy reverie, "The Heart bowed down," which has become famous the world over. Arline is brought before him for trial. As it progresses he observes the scar upon her arm and asks its cause. She tells the story which Thaddeus had told her, and this solves the mystery. The Count recognizes his daughter, and the act closes with a beautiful ensemble ("Praised be the Will of Heaven").

The last act opens in the salon of Count Arnheim. Arline is restored to her old position, but her love for Thaddeus remains. He finds an opportunity to have a meeting with her, through the cunning of Devilshoof, who accompanies him. He once more tells his love in that tender and impassioned song, "When other Lips and other Hearts," and she promises to be faithful to him. As the sound of approaching steps is heard, Thaddeus and his companion conceal themselves. A large company enter, and Arline is presented to them. During the ceremony a closely veiled woman appears, and when questioned discovers herself as the Gypsy Queen. She reveals the hiding-place of her companions, and Thaddeus is dragged forth and ordered to leave the house. Arline declares her love for him, and her intention to go with him. She implores her father to relent. Thaddeus avows his noble descent, and boasts his ancestry and deeds in battle in that stirring martial song, "When the Fair Land of Poland." The Count finally yields and gives his daughter to Thaddeus. The Queen, filled with rage and despair, induces one of the tribe to fire at him as he is embracing Arline; but by a timely movement of Devilshoof the bullet intended for Thaddeus pierces the breast of the Queen. As the curtain falls, the old song of the gypsies is heard again as they disappear in the distance with Devilshoof at their head.

Many of the operas of Balfe, like other ballad operas, have become unfashionable; but it is doubtful whether "The Bohemian Girl" will ever lose its attraction for those who delight in song-melody, charming orchestration, and sparkling, animated choruses. It leaped into popularity at a bound, and its pretty melodies are still as fresh as when they were first sung.

THE ROSE OF CASTILE.

"The Rose of Castile," comic opera in three acts, words by Harris and Falconer, adapted from Adolphe Adam's "Muletier de Tolède," was first produced at the Lyceum Theatre, London, Oct. 29, 1857, with the following cast:--

ELVIRA Miss LOUISA PYNE. MANUEL W.H. HARRISON. CARMEN Miss SUSAN PYNE. DON PEDRO Mr. WEISS. DON SALLUST Mr. ST. ALBYN. DON FLORIO Mr. HONEY.

The scene of the opera is laid in Spain. Elvira, the Rose of Castile, Queen of Leon, has just ascended the throne, and her hand has been demanded by the King of Castile for his brother, Don Sebastian the Infant. Having learned that the latter is about to enter her dominions disguised as a muleteer, the better to satisfy his curiosity about her, she adopts the same expedient, and sets out to intercept him, disguised as a peasant girl, taking with her one of her attendants.

The first act opens upon a rural scene in front of a posada, where the peasants are dancing and singing a lively chorus ("List to the gay Castanet"). Elvira and Carmen, her attendant, enter upon the scene, and are asked to join in the dance, but instead, Elvira delights them with a song, a vocal scherzo ("Yes, I'll obey you"). The innkeeper is rude to them, but they are protected from his coarseness by Manuel, the muleteer, who suddenly appears and sings a rollicking song ("I am a simple Muleteer") to the accompaniment of a tambourine and the snappings of his whip. A dialogue duet follows, in which she accepts his protection and escort. She has already recognized the Infant, and he has fulfilled the motive of the story by falling in love with her. At this point the three conspirators, Don Pedro, Don Sallust, and Don Florio, enter, the first of whom has designs on the throne. They indulge in a buffo trio, which develops into a spirited bacchanal ("Wine, Wine, the Magician thou art!"). Observing Elvira's likeness to the Queen, they persuade her to personate her Majesty. She consents with feigned reluctance, and after accepting their escort in place of Manuel's, being sure that he will follow, she sings a quaint rondo ("Oh, were I the Queen of Spain!"), and the act closes with a concerted number accompanying their departure.

The second act opens in the throne-room of the palace, and is introduced by a very expressive conspirators' chorus ("The Queen in the Palace"); after which Don Pedro enters and gives expression to the uncertainty of his schemes in a ballad ("Though Fortune darkly o'er me frowns") which reminds one very forcibly of "The Heart bowed down," in "The Bohemian Girl." The Queen, who has eluded the surveillance of the conspirators, makes her appearance, surrounded by her attendants, and sings that exquisite ballad, "The Convent Cell" ("Of Girlhood's happy Days I dream"), one of the most beautiful songs ever written by any composer, and certainly Balfe's most popular inspiration. At the close of the ballad Manuel appears, and is granted an audience, in which he informs her of the meeting with the peasant girl and boy, and declares his belief that they were the Queen and Carmen. She ridicules the statement, and a very funny trio buffo ensues ("I'm not the Queen, ha, ha!"). He then informs her of the conspirators' plot to imprison her, but she thwarts it by inducing a silly and pompous old Duchess to assume the rôle of Queen for the day, and ride to the palace closely veiled in the royal carriage. The plot succeeds, and the Duchess is seized and conveyed to a convent. In the next scene there is another spirited buffo number, in which Don Pedro and Don Florio are mourning over the loss of their peasant girl, when, greatly to their relief, she enters again, singing a very quaint and characteristic scena ("I'm but a simple Peasant Maid"), which rouses the suspicions of the conspirators. They are all the more perplexed when the Queen announces herself, and declares her intention of marrying the muleteer.

The last act opens with a song by Carmen ("Though Love's the greatest Plague in Life"), which falls far below the excellence of the other songs in the work. It is followed by a buffo duet between Carmen and Florio, who agree to marry. The Queen and ladies enter, and the former sings a bravura air ("Oh, joyous, happy Day!"), which was intended by the composer to show Miss Pyne's vocal ability. At this point a message is brought her from Don Sebastian, announcing his marriage. Enraged at the discovery that the muleteer is not Don Sebastian, she severely upbraids him, and he replies in another exquisite ballad ("'Twas Rank and Fame that tempted thee"). At its close she once more declares she will be true to the muleteer. Don Pedro is delighted at the apparent success of his scheme, as he believes he can force her to abdicate if she marries a muleteer, and gives vent to his joy in a martial song ("Hark! hark! methinks I hear"). The last scene is in the throne-room, where Manuel announces he is king of Castile, and mounts the throne singing a stirring song closely resembling, in its style, the "Fair Land of Poland," in "The Bohemian Girl." Elvira expresses her delight in a bravura air ("Oh, no! by Fortune blessed"), and the curtain falls. The story of the opera is very complicated, and sometimes tiresome; but the music is well sustained throughout, especially the buffo numbers, while some of the ballads are among the best ever written by an English composer.

BEETHOVEN.

Ludwig Von Beethoven, the greatest of composers, was born Dec. 17, 1770, at Bonn, Germany, his father being a court singer in the chapel of the Elector of Cologne. He studied in Vienna with Haydn, with whom he did not always agree, however, and afterwards with Albrechtsberger. His first symphony appeared in 1801, his earlier symphonies, in what is called his first period, being written in the Mozart style. His only opera, "Fidelio," for which he wrote four overtures, was first brought out in Vienna in 1805; his oratorio, "Christ on the Mount of Olives," in 1812; and his colossal Ninth Symphony, with its choral setting of Schiller's "Ode to Joy," in 1824. In addition to his symphonies, his opera, oratorios, and masses, and the immortal group of sonatas for the piano, which were almost revelations in music, he developed chamber music to an extent far beyond that reached by his predecessors, Haydn and Mozart. His symphonies exhibit surprising power, and a marvellous comprehension of the deeper feelings in life and the influences of nature, both human and physical. He wrote with the deepest earnestness, alike in the passion and the calm of his music, and he invested it also with a genial humor as well as with the highest expression of pathos. His works are epic in character. He was the great tone-poet of music. His subjects were always lofty and dignified, and to their treatment he brought not only a profound knowledge of musical technicality, but intense sympathy with the innermost feelings of human nature, for he was a humanitarian in the broadest sense. By the common consent of the musical world he stands at the head of all composers, and has always been their guide and inspiration. He died March 26, 1827, in the midst of a raging thunder storm, one of his latest utterances being a recognition of the "divine spark" in Schubert's music.

FIDELIO.

"Fidelio, oder die eheliche Liebe" ("Fidelio, or Conjugal Love"), grand opera in two acts, words by Sonnleithner, translated freely from Bouilly's "Léonore, ou l'Amour Conjugal," was first produced at the Theatre An der Wien, Vienna, Nov. 20, 1805, the work at that time being in three acts. A translation of the original programme of that performance, with the exception of the usual price of admissions, is appended:--

Imperial and Royal Theatre An der Wien. New Opera. To-day, Wednesday, 20 November, 1805, at the Imperial and Royal Theatre An der Wien, will be given for the first time. FIDELIO; Or, Conjugal Love. Opera in three acts, translated freely from the French text by JOSEPH SONNLEITHNER. The music is by LUDWIG VON BEETHOVEN.

_Dramatis Personae_.

_Don Fernando_, Minister Herr Weinkoff. _Don Pizarro_, Governor of a State Prison Herr Meier. _Florestan_, prisoner Herr Demmer. _Leonora_, his wife, under the name of _Fidelio_ Fräulein Milder. _Rocco_, chief jailer Herr Rothe. _Marcellina_, his daughter Fräulein Müller. _Jaquino_, turnkey Herr Cache. _Captain of the Guard_ Herr Meister. _Prisoners, Guards, People_.

The action passes in a State prison in Spain, a few leagues from Seville. The piece can be procured at the box-office for fifteen kreutzers.

During this first season the opera was performed three times and then withdrawn. Breuning reduced it to two acts, and two or three of the musical numbers were sacrificed, and in this form it was played twice at the Imperial Private Theatre and again withdrawn. On these occasions it had been given under Beethoven's favorite title, "Leonore." In 1814 Treitschke revised it, and it was produced at the Kärnthnerthor Theatre, Vienna, May 23, of that year, as "Fidelio," which title it has ever since retained. Its first performance in Paris was at the Théâtre Lyrique, May 5, 1860; in London, at the King's Theatre, May 18, 1832; and in English at Covent Garden, June 12, 1835, with Malibran in the title-rôle. Beethoven wrote four overtures for this great work. The first was composed in 1805, the second in 1806, the third in 1807, and the fourth in 1814. It is curious that there has always been a confusion in their numbering, and the error remains to this day. What is called No. 1 is in reality No. 3, and was composed for a performance of the opera at Prague, the previous overture having been too difficult for the strings. The splendid "Leonora," No. 3, is in reality No. 2, and the No. 2 is No. 1. The fourth, or the "Fidelio" overture, contains a new set of themes, but the "Leonora" is the grandest of them all.

The entire action of the opera transpires in a Spanish prison, of which Don Pizarro is governor and Rocco the jailer. The porter of the prison is Jacquino, who is in love with Marcellina, daughter of Rocco, and she in turn is in love with Fidelio, Rocco's assistant, who has assumed male disguise the better to assist her in her plans for the rescue of her husband, Florestan, a Spanish nobleman. The latter, who is the victim of Don Pizarro's hatred because he had thwarted some of his evil designs, has been imprisoned by him unknown to the world, and is slowly starving to death. Leonora, his wife, who in some way has discovered that her husband is in the prison, has obtained employment of Rocco, disguised as the young man Fidelio.