Chapter 1

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THE STANDARD OPERAS

Their Plots, Their Music, and Their Composers

A Handbook

by

GEORGE P. UPTON

Twelfth Edition

Chicago: A. C. McClurg and Company

1897

PREFACE.

The object of the compiler of this Handbook is to present to the reader a brief but comprehensive sketch of each of the operas contained in the modern repertory which are likely to be given during regular seasons. To this end he has consulted the best authorities, adding to the material thus collected his own observations, and in each case presented a necessarily brief sketch of the composer, the story of each opera, the general character of the music, its prominent scenes and numbers,--the latter in the text most familiar to opera-goers,--the date of first performances, with a statement of the original cast wherever it has been possible to obtain it, and such historical information concerning the opera and its composition as will be of interest to the reader. The work has been prepared for the general public rather than for musicians; and with this purpose in view, technicalities have been avoided as far as possible, the aim being to give musically uneducated lovers of opera a clear understanding of the works they are likely to hear, and thus heighten their enjoyment. In a word, the operas are described rather than criticised, and the work is presented with as much thoroughness as seemed possible considering the necessarily brief space allotted to each. In the preparation of the Handbook, the compiler acknowledges his indebtedness to Grove's excellent "Dictionary of Music" for dates and other statistical information; and he has also made free use of standard musical works in his library for historical events connected with the performance and composition of the operas. It only remains to submit this work to opera-goers with the hope that it may add to their enjoyment and prove a valuable addition to their libraries.--G.P.U.

CHICAGO, August, 1885.

CONTENTS.

AUBER

FRA DIAVOLO

MASANIELLO

THE CROWN DIAMONDS

BALFE

THE BOHEMIAN GIRL

THE ROSE OF CASTILE

BEETHOVEN

FIDELIO

BELLINI

NORMA

LA SONNAMBULA

I PURITANI

BIZET

CARMEN

BOIELDIEU

LA DAME BLANCHE

BOITO

MEPHISTOPHELES

DELIBES

LAKME

DONIZETTI

THE DAUGHTER OF THE REGIMENT

LA FAVORITA

DON PASQUALE

LUCIA DI LAMMERMOOR

L'ELISIR D'AMORE

LUCREZIA BORGIA

FLOTOW

MARTHA

STRADELLA

GLUCK

ORPHEUS

GOETZ

THE TAMING OF THE SHREW

GOLDMARK

THE QUEEN OF SHEBA

MERLIN

GOUNOD

FAUST

ROMEO AND JULIET

MIREILLE

HALEVY

THE JEWESS

HUMPERDINCK

HANSEL AND GRETEL

LEONCAVALLO

I PAGLIACCI

MASCAGNI

CAVALLERIA RUSTICANA

MEYERBEER

THE HUGUENOTS

THE STAR OF THE NORTH

ROBERT THE DEVIL

DINORAH

THE PROPHET

THE AFRICAN

MOZART

THE MARRIAGE OF FIGARO

DON GIOVANNI

THE MAGIC FLUTE

ROSSINI

THE BARBER OF SEVILLE

SEMIRAMIDE

WILLIAM TELL

RUBINSTEIN

NERO

THOMAS

MIGNON

VERDI

ERNANI

RIGOLETTO

LA TRAVIATA

IL TROVATORE

THE MASKED BALL

AIDA

OTHELLO

FALSTAFF

WAGNER

RIENZI

THE FLYING DUTCHMAN

TANNHÄUSER

LOHENGRIN

TRISTAN UND ISOLDE

THE MASTERSINGERS

THE RING OF THE NIBELUNG

DAS RHEINGOLD

DIE WALKÜRE

SIEGFRIED

DIE GÖTTERDÄMMERUNG

PARSIFAL

WALLACE

MARITANA

WEBER

DER FREISCHÜTZ

OBERON

EURYANTHE

APPENDIX

INDEX

AUBER.

Daniel François Esprit Auber, one of the most prominent representatives of the opera comique, was born at Caen, in Normandy, Jan. 29, 1784. He first attracted attention in the musical world by his songs and ballads, written when a mere boy. Young as he was, they were great favorites in French and English drawing-rooms, and their success diverted him from his commercial intentions to that profession in which he was destined to achieve such popularity. His début was made as an instrumental composer in his twentieth year, but before he had reached his thirtieth he was engrossed with operatic composition. His first two works were unsuccessful; but the third, "La Bergère Châtelaine," proved the stepping-stone to a career of remarkable popularity, during which he produced a large number of dramatic works, which not only secured for him the enthusiastic admiration of the Parisians, with whom he was always a favorite, but also carried his name and fame throughout the world, and obtained for him marks of high distinction from royalty, such as the office of Director of the Conservatoire from Louis Philippe, and that of Imperial Maître de Chapelle from Louis Napoleon. He died May 13, 1871, amid the fearful scenes of the Paris Commune. His best-known operas are: "Masaniello" (1828); "Fra Diavolo" (1830); "The Bronze Horse" (1835); "The Black Domino" (1837); "The Crown Diamonds" (1841); and "Zerline" (1851),--the last-named written for the great contralto, Mme. Alboni. Of these, "Fra Diavolo," "Masaniello," and "The Crown Diamonds" are as fresh as ever in their French and Italian settings, though their finest successes in this country have been made in their English dress.

FRA DIAVOLO.

"Fra Diavolo," opera comique, in three acts, words by Scribe, was first produced at the Opera Comique, Paris, Jan. 28, 1830; in English, at Drury Lane, London, Nov. 3, 1831; in Italian, at the Lyceum, London, July 9, 1857, for which occasion the spoken dialogue was converted into accompanied recitative. The composer himself also, in fitting it for the Italian stage, made some changes in the concerted music and added several morceaux. The original Italian cast was as follows:--

ZERLINA Mme. BOSIO. LADY ALLCASH Mlle. MARAI. FRA DIAVOLO Sig. GARDINI. LORD ALLCASH Sig. RONCONI. BEPPO Sig. TAGLIAFICO. GIACOMO Sig. ZELGER.

The original of the story of Fra Diavolo is to be found in Lesueur's opera, "La Caverne," afterwards arranged as a spectacular piece and produced in Paris in 1808 by Cuvellier and Franconi, and again in Vienna in 1822 as a spectacle-pantomime, under the title of "The Robber of the Abruzzi." In Scribe's adaptation the bandit, Fra Diavolo, encounters an English nobleman and his pretty and susceptible wife, Lord and Lady Allcash, at the inn of Terracina, kept by Matteo, whose daughter Zerlina is loved by Lorenzo, a young soldier, on the eve of starting to capture Fra Diavolo when the action of the opera begins. In the first scene the English couple enter in great alarm, having narrowly escaped the robbery of all their valuables by Fra Diavolo's band. The bandit himself, who has followed them on their journey in the disguise of a marquis, and has been particularly attentive to the lady, enters the inn just as Lord Allcash has been reproving his wife for her familiarity with a stranger. A quarrel ensues in a duet of a very humorous character ("I don't object"). Upon the entrance of Fra Diavolo, a quintet ("Oh, Rapture unbounded!") ensues, which is one of the most effective and admirably harmonized ensembles Auber has ever written. Fra Diavolo learns the trick by which they saved the most of their valuables, and, enraged at the failure of his band, lays his own plan to secure them. In an interview with Zerlina, she, mistaking him for the Marquis, tells him the story of Fra Diavolo in a romanza ("On Yonder Rock reclining"), which is so fresh, vigorous, and full of color, that it has become a favorite the world over. To further his schemes, Fra Diavolo makes love to Lady Allcash and sings an exquisitely graceful barcarole to her ("The Gondolier, fond Passion's Slave"), accompanying himself on the mandolin. Lord Allcash interrupts the song, and the trio, "Bravi, Bravi," occurs, which leads up to the finale of the act. Fra Diavolo eludes the carbineers, who have returned, and they resume their search for him, leaving him unmolested to perfect his plans for the robbery.

The second act introduces Zerlina in her chamber about to retire. She first lights Lord and Lady Allcash to their room, a running conversation occurring between them in a trio ("Let us, I pray, good Wife, to rest"), which by many good critics has been considered as the best number in the work. Before Zerlina returns to her chamber, Fra Diavolo and his companions, Beppo and Giacomo, conceal themselves in a closet, and, somewhat in violation of dramatic consistency, Fra Diavolo sings the beautiful serenade, "Young Agnes," which had been agreed upon as a signal to his comrades that the coast was clear. Zerlina enters, and after a pretty cavatina ("'Tis to-morrow") and a prayer, charming for its simplicity ("Oh, Holy Virgin"), retires to rest. The robbers in attempting to cross her room partially arouse her. One of them rushes to the bed to stab her, but falls back awe-stricken as she murmurs her prayer and sinks to rest again. The trio which marks this scene, sung pianissimo, is quaint and simple and yet very dramatic. The noise of the carbineers returning outside interrupts the plan of the robbers. They conceal themselves in the closet again. Zerlina rises and dresses herself. Lord and Lady Allcash rush in _en deshabille_ to find out the cause of the uproar. Lorenzo enters to greet Zerlina, when a sudden noise in the closet disturbs the company. Fra Diavolo, knowing he will be detected, boldly steps out into the room and declares that he is there to keep an appointment with Zerlina. Lorenzo challenges him, and he promises to give him satisfaction in the morning, and coolly effects his escape. One of his comrades, however, is captured, and to secure his own liberty agrees to betray his chief.

The third act introduces Fra Diavolo once more among his native mountains, and there is the real breath and vigor of the mountain air in his opening song ("Proudly and wide my Standard flies"), and rollicking freedom in the rondeau which follows it ("Then since Life glides so fast away"). He exults in his liberty, and gleefully looks forward to a meeting with Lord and Lady Allcash, which he anticipates will redound to his personal profit. His exultation is interrupted by the entrance of the villagers arrayed in festival attire in honor of the approaching wedding ceremonies, singing a bright pastoral chorus ("Oh, Holy Virgin! bright and fair"). The finale of the act is occupied with the development of the scheme between Lorenzo, Beppo, and Giacomo, to ensnare Fra Diavolo and compass his death; and with the final tragedy, in which Fra Diavolo meets his doom at the hands of the carbineers, but not before he has declared Zerlina's innocence. This finale is strong and very dramatic, and yet at the same time simple, natural, and unstudied. The opera itself is a universal favorite, not alone for its naturalness and quiet grace, but for its bright and even boisterous humor, which is sustained by the typical English tourist, who was for the first time introduced in opera by Scribe. The text is full of spirit and gayety, and these qualities are admirably reflected in the sparkling music of Auber. Not one of the books which the versatile Scribe has supplied for the opera is more replete with incident or brighter in humor. How well it was adapted for musical treatment is shown by the fact that "Fra Diavolo" made Auber's reputation at the Opera Comique.

MASANIELLO.

"Masaniello," or "La Muette de Portici," a lyric opera in five acts, words by Scribe and Delavigne, was first produced in Paris, Feb. 29, 1828; in English, at London, May 4, 1829; and in Italian, at London, March 15, 1849. The original cast included Mme. Damoreau-Cinti as Elvira, Mlle. Noblet as Fenella, and M. Massol as Pietro. In the Italian version, Sig. Mario, Mme. Dorus-Gras, and Mlle. Leroux, a famous mime and dancer, took the principal parts; while in its English dress, Braham created one of the greatest successes on record, and established it as the favorite opera of Auber among Englishmen.

The scene of the opera is laid near Naples. The first act opens upon the festivities attending the nuptials of Alphonso, son of the Duke of Arcos, and the Princess Elvira. After a chorus of rejoicing, the latter enters and sings a brilliant cavatina ("O, bel Momento") expressive of her happiness. In the fourth scene the festivities are interrupted by the appearance of Fenella, the dumb girl, who implores the princess to save her from Selva, one of the Duke's officers, who is seeking to return her to prison, from which she has escaped, and where she has been confined at the orders of some unknown cavalier who has been persecuting her. The part of Fenella is of course expressed by pantomime throughout. The remainder of the act is intensely dramatic. Elvira promises to protect Fenella, and then, after some spirited choruses by the soldiers, enters the chapel with Alphonso. During the ceremony Fenella discovers that he is her betrayer. She attempts to go in, but is prevented by the soldiers. On the return of the newly wedded pair Fenella meets Elvira and denounces her husband, and the scene ends with a genuine Italian finale of excitement.

The second act opens on the sea-shore, and shows the fishermen busy with their nets and boats. Masaniello, brother of Fenella, enters, brooding upon the wrongs of the people, and is implored by the fishermen to cheer them with a song. He replies with the barcarole, "Piu bello sorse il giorno,"--a lovely melody, which has been the delight of all tenors. His friend Pietro enters and they join in a duet ("Sara il morir") of a most vigorous and impassioned character, expressive of Masaniello's grief for his sister and their mutual resolution to strike a blow for freedom. At the conclusion of the duet he beholds Fenella about to throw herself into the sea. He calls to her and she rushes into his arms and describes to him the story of her wrongs. He vows revenge, and in a magnificent, martial finale, which must have been inspired by the revolutionary feeling with which the whole atmosphere was charged at the time Auber wrote (1828), incites the fishermen and people to rise in revolt against their tyrannical oppressors.

In the third act, after a passionate aria ("Il pianto rasciuga") by Elvira, we are introduced to the market-place, crowded with market-girls and fishermen disposing of their fruits and fish. After a lively chorus, a fascinating and genuine Neapolitan tarantelle is danced. The merry scene speedily changes to one of turmoil and distress. Selva attempts to arrest Fenella, but the fishermen rescue her and Masaniello gives the signal for the general uprising. Before the combat begins, all kneel and sing the celebrated prayer, "Nume del ciel," taken from one of Auber's early masses, and one of his most inspired efforts.

The fourth act opens in Masaniello's cottage. He deplores the coming horrors of the day in a grand aria ("Dio! di me disponesti") which is very dramatic in its quality. Fenella enters, and after describing the tumult in the city sinks exhausted with fatigue. As she falls asleep he sings a slumber song ("Scendi, o sonno dal ciel"), a most exquisite melody, universally known as "L'Air du Sommeil." It is sung by the best artists mezzo voce throughout, and when treated in this manner never fails to impress the hearer with its tenderness and beauty. At its close Pietro enters and once more rouses Masaniello to revenge by informing him that Alphonso has escaped. After they leave the cottage, the latter and Elvira enter and implore protection. Fenella is moved to mercy, and a concerted number follows in which Masaniello promises safety and is denounced by Pietro for his weakness. In the finale, the magistrates and citizens enter, bearing the keys of the town and the royal insignia, and declare Masaniello king in a chorus of a very inspiriting and brilliant character.

The last act is very powerful, both dramatically and musically. It opens in the grounds of the Viceroy's palace, and Vesuvius is seen in the distance, its smoke portending an eruption. Pietro and companions enter with wine-cups in their hands, as from a banquet, and the former sings a barcarole ("Ve' come il vento irato"). At its close other fishermen enter and excitedly announce that troops are moving against the people, that Vesuvius is about to burst into flame, and that Masaniello, their leader, has lost his reason. This is confirmed by the appearance of the hero in disordered attire, singing music through which are filtered fragments of the fishermen's songs as they rise in his disturbed brain. This scene, the third in the act, is one not only of great power but of exquisite grace and tenderness, and requires an artist of the highest rank for its proper presentation. Fenella rouses him from his dejection, and he once more turns and plunges into the fight, only to be killed by his own comrades. On learning of her brother's death she unites the hands of Alphonso and Elvira, and then in despair throws herself into the burning lava of Vesuvius.

"Masaniello" made Auber's fame at the Grand Opera, as "Fra Diavolo" made it at the Opera Comique. It has no points in common with that or any other of his works. It is serious throughout, and full of power, impetuosity, and broad dramatic treatment. Even Richard Wagner has conceded its vigor, bold effects, and original harmonies. Its melodies are spontaneous, its instrumentation full of color, and its stirring incidents are always vigorously handled. In comparison with his other works it seems like an inspiration. It is full of the revolutionary spirit, and its performance in Brussels in 1830 was the cause of the riots that drove the Dutch out of Belgium.

THE CROWN DIAMONDS.

"The Crown Diamonds" ("Les Diamans de la Couronne"), opera comique, in three acts, words by Scribe and St. George, one of the most charming of Auber's light operas, was first produced in Paris in 1841, but its reputation has been made on the English stage. It was first performed in London, at the Princess Theatre, May 2, 1844, with Mme. Anna Thillon, a charming singer and most fascinating woman, as Catarina; but its success was made at Drury Lane in 1854 by Louisa Pyne and Harrison, who took the parts of Catarina and Don Henrique. The other rôles, Count de Campo Mayor, Don Sebastian, Rebolledo, and Diana, were filled by Mr. Horncastle, Mr. Reeves, Mr. Borrani, and Miss Pyne, sister of the preceding, and with this cast the opera ran a hundred nights.

The story of the opera is laid in Portugal, time, 1777. The opening scene discloses the ruins of a castle in the mountains, near the monastery of St. Huberto, where Don Henrique, nephew of the Count de Campo Mayor, Minister of Police at Coimbra, overtaken by a storm, seeks shelter. At the time of his misfortune he is on his way to take part in the approaching coronation, and also to sign a marriage contract with his cousin Diana, daughter of the Minister of Police. He solaces himself with a song ("Roll on, Roll on"), during which he hears the blows of hammers in a distant cavern, and on looking round discovers Rebolledo, the chief of the coiners, and two of his comrades, with his trunk in their possession, the contents of which they proceed to examine. Don Henrique conceals himself while Rebolledo is singing a rollicking muleteer's song ("O'er Mountain steep, through Valley roaming"). At its conclusion Rebolledo, about to summon the other coiners to their secret work, discovers Don Henrique, and thinking him a spy rushes upon him. He is saved by the sudden entrance of Catarina, the leader of the gang, who tells the story of her life in a concerted number that reminds one very strikingly of the bandit song in "Fra Diavolo." After examining Don Henrique, and, to his surprise, showing an intimate acquaintance with his projects, she returns him his property, and allows him to depart on condition that he shall not speak of what he has seen for a year. He consents; and then follows another of the concerted numbers in which this opera abounds, and in which occurs a charming rondo ("The Young Pedrillo"), accompanied by a weird, clanging chorus. Before he can effect his departure the gang find that they are surrounded by troops led by Don Sebastian, a friend of Don Henrique. The coiners, in company with the latter, however, make their escape in the disguise of monks on their way to the neighboring monastery, singing a lugubrious chorus ("Unto the Hermit of the Chapel"), while Catarina and Rebolledo elude the soldiers by taking a subterranean passage, carrying with them a casket containing some mysterious jewels.

The second act opens in the Château de Coimbra, and discovers the Count, Don Henrique, Don Sebastian, and Diana. The first scene reveals to us that Don Henrique is in love with the mysterious Catarina, and that Diana is in love with Don Sebastian. In a sportive mood Diana requests Don Henrique to sing with her, and chooses a nocturne called "The Brigand," which closes in gay bolero time ("In the Deep Ravine of the Forest"). As they are singing it, Don Sebastian announces that a carriage has been overturned and its occupants desire shelter. As the duet proceeds, Catarina and Rebolledo enter, and a very flurried quintet ("Oh, Surprise unexpected!") occurs, leading up to an ensemble full of humor, with a repetition of the brigand song, this time by Catarina and Diana, and closing with a bravura aria sung by Catarina ("Love! at once I break thy Fetters"). Catarina and Rebolledo accept the proffered hospitality, but the latter quietly makes his exit when Diana begins to read an account of a robbery which contains a description of himself and his companion. Catarina remains, however, in spite of Don Henrique's warning that she is in the house of the Minister of Police. In a moment of passion he declares his love for her and begs her to fly with him. She declines his proffer, but gives him a ring as a souvenir. A pretty little duet ("If I could but Courage feel") ensues between Diana and Don Henrique, in which she gently taunts him with his inattention to her and his sudden interest in the handsome stranger. At this juncture the Count enters in wild excitement over the announcement that the crown jewels have been stolen. Don Henrique's ring is recognized as one of them, and in the excitement which ensues, Catarina finds herself in danger of discovery, from which she is rescued by Diana, who promises Don Henrique she will send her away in the Count's carriage if he will agree to refuse to sign the marriage contract. He consents, and she departs upon her errand. At this point in the scene Don Henrique sings the beautiful ballad, "Oh, whisper what thou feelest!" originally written for Mr. Harrison. This song leads up to a stirring finale, in which Don Henrique refuses to sign the contract and Catarina makes her escape.