Chapter 4

Carmen is the largest and best-considered of all Bizet's works, and one of the best in the modern French repertory. The overture is short but very brilliant. After some characteristic choruses by the street lads, soldiers, and cigar-girls, Carmen sings the Havanaise ("Amor, misterioso angelo"), a quaint song in waltz time, the melody being that of an old Spanish song by Tradier, called "El Aveglito." A serious duet between Michaela and Don José ("Mia madre io la rivedo") follows, which is very tender in its character. The next striking number is the dance tempo, "Presso il bastion de Seviglia," a seguidilla sung by Carmen while bewitching Don José. In the finale, as she escapes, the Havanaise, which is the Carmen motive, is heard again.

The second-act music is peculiarly Spanish in color, particularly that for the ballet. The opening song of the gypsies in the cabaret, to the accompaniment of the castanets ("Vezzi e anella scintillar"), is bewitching in its rhythm, and is followed in the next scene by a stirring and very picturesque aria ("Toreador attento"), in which Escamillo describes the bull-fight. A beautifully written quintet ("Abbiamo in vista"), and a strongly dramatic duet, beginning with another fascinating dance tempo ("Voglio danzar pel tuo piacer"), and including a beautiful pathetic melody for Don José ("Il fior che avevi"), closes the music of the act.

The third act contains two very striking numbers, the terzetto of the card-players in the smugglers' haunt ("Mischiam! alziam!"), and Michaela's aria ("Io dico no, non son paurosa"), the most effective and beautiful number in the whole work, and the one which shows most clearly the effect of Wagner's influence upon the composer. In the finale of the act the Toreador's song is again heard as he disappears in the distance after the quarrel with Don José.

The last act is a hurly-burly of the bull-fight, the Toreador's taking march, the stormy duet between Don José and Carmen, and the tragic dénouement in which the Carmen motive is repeated. The color of the whole work is Spanish, and the dance tempo is freely used and beautifully worked up with Bizet's ingenious and scholarly instrumentation. Except in the third act, however, the vocal parts are inferior to the orchestral treatment.

BOIELDIEU.

François Adrien Boieldieu was born Dec. 16, 1775, at Rouen, France. Little is known of his earlier life, except that he studied for a time with Broche, the cathedral organist. His first opera, "La Fille Coupable," appeared in 1793, and was performed at Rouen with some success. In 1795 a second opera, "Rosalie et Myrza," was performed in the same city; after which he went to Paris, where he became acquainted with many prominent musicians, among them Cherubini. His first Paris opera was the "Famille Suisse" (1797), which had a successful run. Several other operas followed, besides some excellent pieces of chamber music which secured him the professorship of the piano in the Conservatory. He also took lessons at this time of Cherubini in counterpoint, and in 1803 brought out a very successful work, "Ma Tante Aurore." We next hear of him in St. Petersburg, as conductor of the Imperial Opera, where he composed many operas and vaudevilles. He spent eight years in Russia, returning to Paris in 1811. The next year one of his best operas, "Jean de Paris," was produced with extraordinary success. Though he subsequently wrote many operas, fourteen years elapsed before his next great work, "La Dame Blanche," appeared. Its success was unprecedented. All Europe was delighted with it, and it is as fresh to-day as when it was first produced. The remainder of Boieldieu's life was sad, owing to operatic failures, pecuniary troubles, and declining health. He died at Jarcy, near Paris, Oct. 8, 1834.

LA DAME BLANCE.

"La Dame Blanche," opera comique in three acts, words by Scribe, adapted from Walter Scott's novels, "The Monastery" and "Guy Mannering," was first produced at the Opera Comique, Dec. 10, 1825, and was first performed in English under the title of "The White Maid," at Covent Garden, London, Jan. 2, 1827. The scene of the opera is laid in Scotland. The Laird of Avenel, a zealous partisan of the Stuarts, was proscribed after the battle of Culloden, and upon the eve of going into exile intrusts Gaveston, his steward, with the care of the castle, and of a considerable treasure which is concealed in a statue called the White Lady. The traditions affirmed that this lady was the protectress of the Avenels. All the clan were believers in the story, and the villagers declared they had often seen her in the neighborhood. Gaveston, however, does not share their superstition nor believe in the legend, and some time after the departure of the Laird he announces the sale of the castle, hoping to obtain it at a low rate because the villagers will not dare to bid for it through fear of the White Lady. The steward is led to do this because he has heard the Laird is dead, and knows there is no heir to the property. Anna, an orphan girl, who had been befriended by the Laird, determines to frustrate Gaveston's designs, and appears in the village disguised as the White Lady. She also writes to Dickson, a farmer, who is indebted to her, to meet her at midnight in the castle of Avenel. He is too superstitious to go, and George Brown, a young lieutenant who is sharing his hospitality, volunteers in his stead. He encounters the White Lady, and learns from her he will shortly meet a young lady who has saved his life by her careful nursing after a battle,--Anna meanwhile recognizing George as the person she had saved. When the day of sale comes, Dickson is empowered by the farmers to purchase the castle, so that it may not fall into Gaveston's hands. George and Anna are there; and the former, though he has not a shilling, buys it under instructions from Anna. When the time comes for payment, Anna produces the treasure which had been concealed in the statue, and, still in the disguise of the White Lady, discovers to him the secret of his birth during the exile of his parents. Gaveston approaches the spectre and tears off her veil, revealing Anna, his ward. Moved by the zeal and fidelity of his father's protégée, George offers her his hand, which, after some maidenly scruples, she accepts.

The opera is full of beautiful songs, many of them Scotch in character. In the first act the opening song of George ("Ah, what Pleasure a Soldier to be!") is very poetical in its sentiment. It also contains the characteristic ballad of the White Lady, with choral responses ("Where yon Trees your Eye discovers"), and an exquisitely graceful trio in the finale ("Heavens! what do I hear?"). The second act opens with a very plaintive romanza ("Poor Margaret, spin away!"), sung by Margaret, Anna's old nurse, at her spinning-wheel, as she thinks of the absent Laird, followed in the fifth scene by a beautiful cavatina for tenor ("Come, O Gentle Lady"). In the seventh scene is a charming duet ("From these Halls"), and the act closes with an ensemble for seven voices and chorus, which has hardly been excelled in ingenuity of treatment. The third act opens with a charmingly sentimental aria for Anna ("With what delight I behold"), followed in the third scene by a stirring chorus of mountaineers, leading up to "the lay ever sung by the Clan of Avenel,"--the familiar old ballad, "Robin Adair," which loses a little of its local color under French treatment, but gains an added grace. It is stated on good authority that two of Boieldieu's pupils, Adolph Adam and Labarre, assisted him in the work, and that the lovely overture was written in one evening,--Boieldieu taking the andante and the two others the remaining movements. Though a little old-fashioned in some of its phrasing, the opera still retains its freshness and beautiful sentiment. Its popularity is best evinced by the fact that up to June, 1875, it had been given 1340 times at the theatre where it was first produced.

BOITO.

Arrigo Boito was born in 1840, and received his musical education in the Conservatory at Milan, where he studied for nine years. In 1866 he became a musical critic for several Italian papers, and about the same time wrote several poems of more than ordinary merit. Both in literature and music his taste was diversified; and he combined the two talents in a remarkable degree in his opera of "Mephistopheles," the only work by which he is known to the musical world at large. He studied Goethe profoundly; and the notes which he has appended to the score show a most intimate knowledge of the Faust legend. His text is in one sense polyglot, as he has made use of portions of Marlowe's "Doctor Faustus," as well as excerpts from Blaze de Bury, Lenau, Widmann, and others who have treated the legend. He studied Wagner's music also very closely, and to such purpose that after the first performance of this opera at La Scala, in 1868, the critics called him the Italian Wagner, and, in common with the public, condemned both him and his work. After Wagner's "Lohengrin" had been produced in Italy and met with success, Boito saw his opportunity to once more bring out his work. It was performed at Bologna in 1875, and met with an enthusiastic success. Its introduction to this country is largely due to Mme. Christine Nilsson, though Mme. Marie Roze was the first artist to appear in it here.

MEPHISTOPHELES.

"Mephistopheles," grand opera in a prologue, four acts, and epilogue, words by the composer, was first performed at La Scala, Milan, in 1868. The "Prologue in the Heavens" contains five numbers, a prelude, and chorus of the mystic choir; instrumental scherzo, preluding the appearance of Mephistopheles; dramatic interlude, in which he engages to entrap Faust; a vocal scherzo by the chorus of cherubim; and the Final Psalmody by the penitents on earth and chorus of spirits. The prologue corresponds to Goethe's prologue in the heavens, the heavenly choirs being heard in the background of clouds, accompanied by weird trumpet-peals and flourishes in the orchestra, and closes with a finale of magnificent power.

The first act opens in the city of Frankfort, amid the noise of the crowd and the clanging of holiday bells. Groups of students, burghers, huntsmen, and peasants sing snatches of chorus. A cavalcade escorting the Elector passes. Faust and Wagner enter, and retire as the peasants begin to sing and dance a merry waltz rhythm ("Juhé! Juhé!"). As it dies away they reappear, Faust being continually followed by a gray friar,--Mephistopheles in disguise,--whose identity is disclosed by a motive from the prologue. Faust shudders at his presence, but Wagner laughs away his fears, and the scene then suddenly changes to Faust's laboratory, whither he has been followed by the gray friar, who conceals himself in an alcove. Faust sings a beautiful aria ("Dai campi, dai prati"), and then, placing the Bible on a lectern, begins to read. The sight of the book brings Mephistopheles out with a shriek; and, questioned by Faust, he reveals his true self in a massive and sonorous aria ("Son lo spirito"). He throws off his disguise, and appears in the garb of a knight, offering to serve Faust on earth if he will serve the powers of darkness in hell. The compact is made, as in the first act of Gounod's "Faust;" and the curtain falls as Faust is about to be whisked away in Mephistopheles's cloak.

The second act opens in the garden, with Faust (under the name of Henry), Marguerite, Mephistopheles, and Martha, Marguerite's mother, strolling in couples. The music, which is of a very sensuous character, is descriptive of the love-making between Faust and Marguerite, and the sarcastic passion of Mephistopheles for Martha. It is mostly in duet form, and closes with a quartet allegretto ("Addio, fuggo"), which is very characteristic. The scene then suddenly changes to the celebration of the Witches' Sabbath on the summits of the Brocken, where, amid wild witch choruses, mighty dissonances, and weird incantation music, Faust is shown a vision of the sorrow of Marguerite. It would be impossible to select special numbers from this closely interwoven music, excepting perhaps the song ("Ecco il mondo") which Mephistopheles sings when the witches, after their incantation, present him with a globe of glass which he likens to the earth.

The third act opens in a prison, where Marguerite is awaiting the penalty for murdering her babe. The action is very similar to that of the last act of Gounod's "Faust." Her opening aria ("L' altra notte a fondo al maro") is full of sad longings for the child and insane moanings for mercy. Faust appeals to her to fly with him, and they join in a duet of extraordinary sensuous beauty blended with pathos ("lontano, lontano"). Mephistopheles urges Faust away as the day dawns, and pronounces her doom as she falls and dies, while the angelic chorus resounding in the orchestra announces her salvation.

In the fourth act a most abrupt change is made, both in a dramatic and musical sense. The scene changes to the "Night of the Classical Sabbath" on the banks of the Peneus, amid temples, statues, flowers, and all the loveliness of nature in Greece. The music also changes into the pure, sensuous Italian style. Faust, still with Mephistopheles, pays court to Helen of Troy, who is accompanied by Pantalis. The opening duet for the latter ("La luna immobile") is one of exceeding grace and loveliness, and will always be the most popular number in the work. With the exception of a powerfully dramatic scena, in which Helen describes the horrors of the destruction of Troy, the music is devoted to the love-making between Helen and Faust, and bears no relation in form to the rest of the music of the work, being essentially Italian in its smooth, flowing, melodious character. At the close of the classical Sabbath another abrupt change is made, to the death-scene of Faust, contained in an epilogue. It opens in his laboratory, where he is reflecting upon the events of his unsatisfactory life, and contemplating a happier existence in heaven. Mephistopheles is still by his side as the tempter, offers him his cloak, and urges him to fly again. The heavenly trumpets which rang through the prologue are again heard, and the celestial choirs are singing. Enraged, Mephistopheles summons the sirens, who lure Faust with all their charms. Faust seizes the Sacred Volume, and declares that he relies upon its word for salvation. He prays for help against the demon. His prayer is answered; and as he dies a shower of roses falls upon his body. The tempter disappears, and the finale of the prologue, repeated, announces Faust has died in salvation. The opera as a whole is episodical in its dramatic construction, and the music is a mixture of two styles,--the Wagnerian and the conventional Italian; but its orchestration is very bold and independent in character, and the voice-parts are very striking in their adaptation to the dramatic requirements.

DELIBES.

Leo Delibes, the French composer, was born at St. Germain du Val in 1836, and was graduated at the Paris Conservatory, where he reached high distinction. His first work, written in 1855, was an operetta entitled "Deux Sous de Carbon;" but he did not make his mark until his "Maitre Griffard" was produced at the Theatre Lyrique in 1857. In 1865 he was appointed Chorus-master at the Opera, and there his real career began. His first great triumph was in ballet-music, which has ever since been his specialty. His first ballet, "La Source," was produced at the Opera, Nov. 12, 1865, and delighted all Paris. It was followed by a divertisement for the revival of Adam's "Corsaire" (1867), the ballet "Coppelia" (1870), a three-act opera "Le Roi l'a dit" (1873), and the exquisite ballet in three acts and five tableaux, "Sylvia" (1876), with which Theodore Thomas has made American audiences familiar. His opera "Lakme" was written in 1879.

LAKME.

The romantic opera, "Lakme," written in 1879, was first performed in this country by the American Opera Company in 1886, Mme. L'Allemand taking the title-rôle. The principal characters are Lakme, daughter of Nilakantha, an Indian priest, Gerald and Frederick, officers of the British Army, Ellen and Rose, daughters of the Viceroy, and Mrs. Benson, governess. The scene is laid in India. Nilakantha cherishes a fond hatred of all foreigners. The two English officers, Gerald and Frederick, accompanied by a bevy of ladies, intrude upon his sacred grounds. They stroll about and gradually retire, but Gerald remains to sketch some jewels, which Lakme has left upon a shrine while she goes flower-gathering with her slave Mallika, evidently also to await developments when she returns. Lakme soon comes sailing in on her boat, and there is a desperate case of love at first sight. Their demonstrations of affection are soon interrupted by the appearance of the priest, whose anger Gerald escapes by fleeing, under cover of a convenient thunder-storm. In the next act Lakme and her father appear in the public market-place, disguised as penitents. He compels his daughter to sing, hoping that her face and voice will induce her lover to disclose himself. The ruse proves successful. Nilakantha waits his opportunity, and stealing upon his enemy stabs him in the back and makes good his escape. In the third act we find Gerald in a delightful jungle, where Lakme has in some manner managed to conceal him, and where she is carefully nursing him with the hope of permanently retaining his love. She saves his life; but just at this juncture, and while she is absent to obtain a draught of the water which, according to the Indian legend, will make earthly love eternal, Gerald hears the music of his regiment, and Frederick appears and urges him back to duty. His allegiance to his queen, and possibly the remembrance of his engagement to a young English girl, prove stronger than his love for Lakme. The latter returns, discovers his faithlessness, gathers some poisonous flowers, whose juices she drinks, and dies in Gerald's arms just as the furious father appears. As one victim is sufficient to appease the anger of Nilakantha's gods, Gerald is allowed to go unharmed.

The first act opens with a chorus of Hindoos, oriental in its character, followed by a duet between Lakme and her father; the scene closing with a sacred chant. The Hindoos gone, there is a charming oriental duet ("'Neath yon Dome where Jasmines with the Roses are blooming") between Lakme and her slave, which is one of the gems of the opera. The English then appear and have a long, talky scene, relieved by a pretty song for Frederick ("I would not give a Judgment so absurd"), and another for Gerald ("Cheating Fancy coming to mislead me"). As Lakme enters, Gerald conceals himself. She lays her flowers at the base of the shrine and sings a restless love-song ("Why love I thus to stray?"). Gerald discovers himself, and after a colloquy sings his ardent love-song ("The God of Truth so glowing"), and the act closes with Nilakantha's threats.

The second act opens in the market square, lively with the choruses of Hindoos, Chinamen, fruit-venders, and sailors, and later on with the adventures of the English party in the crowd. Nilakantha appears and addresses his daughter in a very pathetic aria ("Lakme, thy soft Looks are over-clouded"). Soon follows Lakme's bell-song ("Where strays the Hindoo Maiden?"), a brilliant and highly embellished aria with tinkling accompaniment, which will always be a favorite. The recognition follows; and the remaining numbers of importance are an impassioned song by Gerald ("Ah! then 't is slumbering Love"), with a mysterious response by Lakme ("In the Forest near at Hand"). A ballet, followed by the stabbing of Gerald, closes the act.

In the third act the action hastens to the tragic denouement. It opens with a beautiful crooning song by Lakme ("'Neath the Dome of Moon and Star") as she watches her sleeping lover. The remaining numbers of interest are Gerald's song ("Tho' speechless I, my Heart remembers"), followed by a pretty three-part chorus in the distance and Lakme's dying measures, "To me the fairest Dream thou 'st given," and "Farewell, the Dream is over." Though the opera is monotonous from sameness of color and lack of dramatic interest, there are many numbers which leave a charming impression by their grace, refinement, and genuine poetical effect.

DONIZETTI.

Gaetano Donizetti was born at Bergamo, Italy, Sept. 25, 1798. He studied music both at Bologna and Naples, and then entered the army rather than subject himself to the caprice of his father, who was determined that he should devote himself to church music. While his regiment was at Naples he wrote his first opera, "Enrico di Borgogna" (1818), which was soon followed by a second, "Il Falegname de Livonia." The success of the latter was so great that it not only freed him from military service but gained him the honor of being crowned. The first opera which spread his reputation through Europe was "Anna Bolena," produced at Milan in 1830, and written for Pasta and Rubini. Two years afterwards, "L' Elisir d' Amore" appeared, which he is said to have written in fifteen days. He wrote with great facility. "Il Furioso," "Parisina," "Torquato Tasso," "Lucrezia Borgia," and "Gemma di Vergi" rapidly followed one another. In 1835 he brought out "Marino Faliero," but its success was small. Ample compensation was made, however, when in the same year "Lucia" appeared and was received with acclamations of delight. He was invited to Paris as the successor of Rossini, and wrote his "Marino Faliero" for the Theatre des Italiens. In 1840 he revisited Paris and produced "Il Poliuto," "La Fille du Regiment," and "La Favorita." Leaving Paris he visited Rome, Milan, and Vienna, bringing out "Linda di Chamouni" in the latter city. Returning to Paris again, he produced "Don Pasquale" at the Théâtre des Italiens and "Don Sebastien" at the Académie, the latter proving a failure. His last opera, "Catarina Comaro," was brought out at Naples in 1844. This work also was a failure. It was evident that his capacity for work was over. He grew sad and melancholy, and during the last three years of his life was attacked by fits of abstraction which gradually intensified and ended in insanity and physical paralysis. He died at Bergamo, April 8, 1848.

THE DAUGHTER OF THE REGIMENT.

"The Daughter of the Regiment" ("La Fille du Regiment") opera comique in two acts, words by Bayard and St. Georges, was first produced at the Opera Comique, Paris, Feb. 11, 1840, with Mme. Anna Thillon in the rôle of Marie. Its first performance in English was at the Surrey Theatre, London, Dec. 21, 1847, under the title of "The Daughter of the Regiment," in which form it is best known in this country. In 1847 it was performed as an Italian opera in London, with added recitatives, and with Jenny Lind in the leading part.