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 thereader a brief but comprehensive sketch of each of the operascontained in the modern repertory which are likely to be given duringregular seasons. To this end he has consulted the best authorities, adding to the material thus collected his own observations, and ineach case presented a necessarily brief sketch of the composer, thestory of each opera, the general character of the music, its prominentscenes and numbers, --the latter in the text most familiar toopera-goers, --the date of first performances, with a statement of theoriginal cast wherever it has been possible to obtain it, and suchhistorical information concerning the opera and its composition aswill be of interest to the reader. The work has been prepared for thegeneral public rather than for musicians; and with this purpose inview, technicalities have been avoided as far as possible, the aimbeing to give musically uneducated lovers of opera a clearunderstanding of the works they are likely to hear, and thus heightentheir enjoyment. In a word, the operas are described rather thancriticised, and the work is presented with as much thoroughness asseemed possible considering the necessarily brief space allotted toeach. In the preparation of the Handbook, the compiler acknowledgeshis indebtedness to Grove's excellent "Dictionary of Music" for datesand other statistical information; and he has also made free use ofstandard musical works in his library for historical events connectedwith the performance and composition of the operas. It only remains tosubmit this work to opera-goers with the hope that it may add to theirenjoyment 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 prominentrepresentatives of the opera comique, was born at Caen, in Normandy, Jan. 29, 1784. He first attracted attention in the musical world byhis songs and ballads, written when a mere boy. Young as he was, theywere great favorites in French and English drawing-rooms, and theirsuccess diverted him from his commercial intentions to that professionin which he was destined to achieve such popularity. His début wasmade as an instrumental composer in his twentieth year, but before hehad reached his thirtieth he was engrossed with operatic composition. His first two works were unsuccessful; but the third, "La BergèreChâtelaine, " proved the stepping-stone to a career of remarkablepopularity, during which he produced a large number of dramatic works, which not only secured for him the enthusiastic admiration of theParisians, with whom he was always a favorite, but also carried hisname and fame throughout the world, and obtained for him marks of highdistinction from royalty, such as the office of Director of theConservatoire from Louis Philippe, and that of Imperial Maître deChapelle from Louis Napoleon. He died May 13, 1871, amid the fearfulscenes of the Paris Commune. His best-known operas are: "Masaniello"(1828); "Fra Diavolo" (1830); "The Bronze Horse" (1835); "The BlackDomino" (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 asfresh as ever in their French and Italian settings, though theirfinest successes in this country have been made in their Englishdress. FRA DIAVOLO. "Fra Diavolo, " opera comique, in three acts, words by Scribe, wasfirst 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 wasconverted into accompanied recitative. The composer himself also, infitting it for the Italian stage, made some changes in the concertedmusic and added several morceaux. The original Italian cast was asfollows:-- 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'sopera, "La Caverne, " afterwards arranged as a spectacular piece andproduced in Paris in 1808 by Cuvellier and Franconi, and again inVienna in 1822 as a spectacle-pantomime, under the title of "TheRobber of the Abruzzi. " In Scribe's adaptation the bandit, FraDiavolo, encounters an English nobleman and his pretty and susceptiblewife, Lord and Lady Allcash, at the inn of Terracina, kept by Matteo, whose daughter Zerlina is loved by Lorenzo, a young soldier, on theeve of starting to capture Fra Diavolo when the action of the operabegins. In the first scene the English couple enter in great alarm, having narrowly escaped the robbery of all their valuables by FraDiavolo's band. The bandit himself, who has followed them on theirjourney in the disguise of a marquis, and has been particularlyattentive to the lady, enters the inn just as Lord Allcash has beenreproving his wife for her familiarity with a stranger. A quarrelensues in a duet of a very humorous character ("I don't object"). Uponthe entrance of Fra Diavolo, a quintet ("Oh, Rapture unbounded!")ensues, which is one of the most effective and admirably harmonizedensembles Auber has ever written. Fra Diavolo learns the trick bywhich they saved the most of their valuables, and, enraged at thefailure of his band, lays his own plan to secure them. In an interviewwith Zerlina, she, mistaking him for the Marquis, tells him the storyof Fra Diavolo in a romanza ("On Yonder Rock reclining"), which is sofresh, vigorous, and full of color, that it has become a favorite theworld over. To further his schemes, Fra Diavolo makes love to LadyAllcash and sings an exquisitely graceful barcarole to her ("TheGondolier, fond Passion's Slave"), accompanying himself on themandolin. Lord Allcash interrupts the song, and the trio, "Bravi, Bravi, " occurs, which leads up to the finale of the act. Fra Diavoloeludes the carbineers, who have returned, and they resume their searchfor him, leaving him unmolested to perfect his plans for the robbery. The second act introduces Zerlina in her chamber about to retire. Shefirst lights Lord and Lady Allcash to their room, a runningconversation occurring between them in a trio ("Let us, I pray, goodWife, to rest"), which by many good critics has been considered as thebest number in the work. Before Zerlina returns to her chamber, FraDiavolo and his companions, Beppo and Giacomo, conceal themselves in acloset, and, somewhat in violation of dramatic consistency, FraDiavolo sings the beautiful serenade, "Young Agnes, " which had beenagreed upon as a signal to his comrades that the coast was clear. Zerlina enters, and after a pretty cavatina ("'Tis to-morrow") and aprayer, charming for its simplicity ("Oh, Holy Virgin"), retires torest. The robbers in attempting to cross her room partially arouseher. One of them rushes to the bed to stab her, but falls backawe-stricken as she murmurs her prayer and sinks to rest again. Thetrio which marks this scene, sung pianissimo, is quaint and simple andyet very dramatic. The noise of the carbineers returning outsideinterrupts the plan of the robbers. They conceal themselves in thecloset again. Zerlina rises and dresses herself. Lord and Lady Allcashrush in _en deshabille_ to find out the cause of the uproar. Lorenzoenters to greet Zerlina, when a sudden noise in the closet disturbsthe company. Fra Diavolo, knowing he will be detected, boldly stepsout into the room and declares that he is there to keep an appointmentwith Zerlina. Lorenzo challenges him, and he promises to give himsatisfaction in the morning, and coolly effects his escape. One of hiscomrades, however, is captured, and to secure his own liberty agreesto betray his chief. The third act introduces Fra Diavolo once more among his nativemountains, and there is the real breath and vigor of the mountain airin his opening song ("Proudly and wide my Standard flies"), androllicking freedom in the rondeau which follows it ("Then since Lifeglides so fast away"). He exults in his liberty, and gleefully looksforward to a meeting with Lord and Lady Allcash, which he anticipateswill redound to his personal profit. His exultation is interrupted bythe entrance of the villagers arrayed in festival attire in honor ofthe approaching wedding ceremonies, singing a bright pastoral chorus("Oh, Holy Virgin! bright and fair"). The finale of the act isoccupied with the development of the scheme between Lorenzo, Beppo, and Giacomo, to ensnare Fra Diavolo and compass his death; and withthe final tragedy, in which Fra Diavolo meets his doom at the hands ofthe carbineers, but not before he has declared Zerlina's innocence. This finale is strong and very dramatic, and yet at the same timesimple, natural, and unstudied. The opera itself is a universalfavorite, not alone for its naturalness and quiet grace, but for itsbright and even boisterous humor, which is sustained by the typicalEnglish tourist, who was for the first time introduced in opera byScribe. The text is full of spirit and gayety, and these qualities areadmirably reflected in the sparkling music of Auber. Not one of thebooks which the versatile Scribe has supplied for the opera is morereplete with incident or brighter in humor. How well it was adaptedfor musical treatment is shown by the fact that "Fra Diavolo" madeAuber'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 asElvira, Mlle. Noblet as Fenella, and M. Massol as Pietro. In theItalian version, Sig. Mario, Mme. Dorus-Gras, and Mlle. Leroux, afamous mime and dancer, took the principal parts; while in its Englishdress, Braham created one of the greatest successes on record, andestablished it as the favorite opera of Auber among Englishmen. The scene of the opera is laid near Naples. The first act opens uponthe festivities attending the nuptials of Alphonso, son of the Duke ofArcos, and the Princess Elvira. After a chorus of rejoicing, thelatter enters and sings a brilliant cavatina ("O, bel Momento")expressive of her happiness. In the fourth scene the festivities areinterrupted by the appearance of Fenella, the dumb girl, who imploresthe princess to save her from Selva, one of the Duke's officers, whois seeking to return her to prison, from which she has escaped, andwhere she has been confined at the orders of some unknown cavalier whohas been persecuting her. The part of Fenella is of course expressedby pantomime throughout. The remainder of the act is intenselydramatic. Elvira promises to protect Fenella, and then, after somespirited choruses by the soldiers, enters the chapel with Alphonso. During the ceremony Fenella discovers that he is her betrayer. Sheattempts to go in, but is prevented by the soldiers. On the return ofthe 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 busywith their nets and boats. Masaniello, brother of Fenella, enters, brooding upon the wrongs of the people, and is implored by thefishermen to cheer them with a song. He replies with the barcarole, "Piu bello sorse il giorno, "--a lovely melody, which has been thedelight of all tenors. His friend Pietro enters and they join in aduet ("Sara il morir") of a most vigorous and impassioned character, expressive of Masaniello's grief for his sister and their mutualresolution to strike a blow for freedom. At the conclusion of the duethe beholds Fenella about to throw herself into the sea. He calls toher and she rushes into his arms and describes to him the story of herwrongs. He vows revenge, and in a magnificent, martial finale, whichmust have been inspired by the revolutionary feeling with which thewhole atmosphere was charged at the time Auber wrote (1828), incitesthe fishermen and people to rise in revolt against their tyrannicaloppressors. In the third act, after a passionate aria ("Il pianto rasciuga") byElvira, we are introduced to the market-place, crowded withmarket-girls and fishermen disposing of their fruits and fish. After alively chorus, a fascinating and genuine Neapolitan tarantelle isdanced. The merry scene speedily changes to one of turmoil anddistress. Selva attempts to arrest Fenella, but the fishermen rescueher and Masaniello gives the signal for the general uprising. Beforethe combat begins, all kneel and sing the celebrated prayer, "Nume delciel, " taken from one of Auber's early masses, and one of his mostinspired efforts. The fourth act opens in Masaniello's cottage. He deplores the cominghorrors of the day in a grand aria ("Dio! di me disponesti") which isvery dramatic in its quality. Fenella enters, and after describing thetumult in the city sinks exhausted with fatigue. As she falls asleephe sings a slumber song ("Scendi, o sonno dal ciel"), a most exquisitemelody, universally known as "L'Air du Sommeil. " It is sung by thebest artists mezzo voce throughout, and when treated in this mannernever fails to impress the hearer with its tenderness and beauty. Atits close Pietro enters and once more rouses Masaniello to revenge byinforming him that Alphonso has escaped. After they leave the cottage, the latter and Elvira enter and implore protection. Fenella is movedto mercy, and a concerted number follows in which Masaniello promisessafety and is denounced by Pietro for his weakness. In the finale, themagistrates and citizens enter, bearing the keys of the town and theroyal insignia, and declare Masaniello king in a chorus of a veryinspiriting and brilliant character. The last act is very powerful, both dramatically and musically. Itopens in the grounds of the Viceroy's palace, and Vesuvius is seen inthe distance, its smoke portending an eruption. Pietro and companionsenter with wine-cups in their hands, as from a banquet, and the formersings a barcarole ("Ve' come il vento irato"). At its close otherfishermen enter and excitedly announce that troops are moving againstthe people, that Vesuvius is about to burst into flame, and thatMasaniello, their leader, has lost his reason. This is confirmed bythe appearance of the hero in disordered attire, singing music throughwhich are filtered fragments of the fishermen's songs as they rise inhis disturbed brain. This scene, the third in the act, is one not onlyof great power but of exquisite grace and tenderness, and requires anartist of the highest rank for its proper presentation. Fenella rouseshim from his dejection, and he once more turns and plunges into thefight, only to be killed by his own comrades. On learning of herbrother's death she unites the hands of Alphonso and Elvira, and thenin 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 orany other of his works. It is serious throughout, and full of power, impetuosity, and broad dramatic treatment. Even Richard Wagner hasconceded its vigor, bold effects, and original harmonies. Its melodiesare spontaneous, its instrumentation full of color, and its stirringincidents are always vigorously handled. In comparison with his otherworks it seems like an inspiration. It is full of the revolutionaryspirit, and its performance in Brussels in 1830 was the cause of theriots that drove the Dutch out of Belgium. THE CROWN DIAMONDS. "The Crown Diamonds" ("Les Diamans de la Couronne"), opera comique, inthree acts, words by Scribe and St. George, one of the most charmingof Auber's light operas, was first produced in Paris in 1841, but itsreputation has been made on the English stage. It was first performedin London, at the Princess Theatre, May 2, 1844, with Mme. AnnaThillon, a charming singer and most fascinating woman, as Catarina;but its success was made at Drury Lane in 1854 by Louisa Pyne andHarrison, who took the parts of Catarina and Don Henrique. The otherrôles, Count de Campo Mayor, Don Sebastian, Rebolledo, and Diana, werefilled by Mr. Horncastle, Mr. Reeves, Mr. Borrani, and Miss Pyne, sister of the preceding, and with this cast the opera ran a hundrednights. The story of the opera is laid in Portugal, time, 1777. The openingscene discloses the ruins of a castle in the mountains, near themonastery of St. Huberto, where Don Henrique, nephew of the Count deCampo Mayor, Minister of Police at Coimbra, overtaken by a storm, seeks shelter. At the time of his misfortune he is on his way to takepart in the approaching coronation, and also to sign a marriagecontract with his cousin Diana, daughter of the Minister of Police. Hesolaces himself with a song ("Roll on, Roll on"), during which hehears the blows of hammers in a distant cavern, and on looking rounddiscovers Rebolledo, the chief of the coiners, and two of hiscomrades, with his trunk in their possession, the contents of whichthey proceed to examine. Don Henrique conceals himself while Rebolledois singing a rollicking muleteer's song ("O'er Mountain steep, throughValley roaming"). At its conclusion Rebolledo, about to summon theother coiners to their secret work, discovers Don Henrique, andthinking him a spy rushes upon him. He is saved by the sudden entranceof Catarina, the leader of the gang, who tells the story of her lifein a concerted number that reminds one very strikingly of the banditsong in "Fra Diavolo. " After examining Don Henrique, and, to hissurprise, showing an intimate acquaintance with his projects, shereturns him his property, and allows him to depart on condition thathe shall not speak of what he has seen for a year. He consents; andthen follows another of the concerted numbers in which this operaabounds, and in which occurs a charming rondo ("The Young Pedrillo"), accompanied by a weird, clanging chorus. Before he can effect hisdeparture the gang find that they are surrounded by troops led by DonSebastian, a friend of Don Henrique. The coiners, in company with thelatter, however, make their escape in the disguise of monks on theirway to the neighboring monastery, singing a lugubrious chorus ("Untothe Hermit of the Chapel"), while Catarina and Rebolledo elude thesoldiers by taking a subterranean passage, carrying with them a casketcontaining some mysterious jewels. The second act opens in the Château de Coimbra, and discovers theCount, Don Henrique, Don Sebastian, and Diana. The first scene revealsto us that Don Henrique is in love with the mysterious Catarina, andthat Diana is in love with Don Sebastian. In a sportive mood Dianarequests Don Henrique to sing with her, and chooses a nocturne called"The Brigand, " which closes in gay bolero time ("In the Deep Ravine ofthe Forest"). As they are singing it, Don Sebastian announces that acarriage has been overturned and its occupants desire shelter. As theduet proceeds, Catarina and Rebolledo enter, and a very flurriedquintet ("Oh, Surprise unexpected!") occurs, leading up to an ensemblefull of humor, with a repetition of the brigand song, this time byCatarina and Diana, and closing with a bravura aria sung by Catarina("Love! at once I break thy Fetters"). Catarina and Rebolledo acceptthe proffered hospitality, but the latter quietly makes his exit whenDiana begins to read an account of a robbery which contains adescription of himself and his companion. Catarina remains, however, in spite of Don Henrique's warning that she is in the house of theMinister of Police. In a moment of passion he declares his love forher and begs her to fly with him. She declines his proffer, but giveshim a ring as a souvenir. A pretty little duet ("If I could butCourage feel") ensues between Diana and Don Henrique, in which shegently taunts him with his inattention to her and his sudden interestin the handsome stranger. At this juncture the Count enters in wildexcitement over the announcement that the crown jewels have beenstolen. Don Henrique's ring is recognized as one of them, and in theexcitement which ensues, Catarina finds herself in danger ofdiscovery, from which she is rescued by Diana, who promises DonHenrique she will send her away in the Count's carriage if he willagree to refuse to sign the marriage contract. He consents, and shedeparts upon her errand. At this point in the scene Don Henrique singsthe beautiful ballad, "Oh, whisper what thou feelest!" originallywritten for Mr. Harrison. This song leads up to a stirring finale, inwhich Don Henrique refuses to sign the contract and Catarina makes herescape. The last act opens in the anteroom of the royal palace at Lisbon, where Diana is waiting for an audience with the Queen. She singsanother interpolated air, originally written for Louisa Pyne ("WhenDoubt the tortured Frame is rending"), and at its close the Count, DonHenrique, and Don Sebastian enter. While they are conversing, Rebolledo appears, announced as the Count Fuentes, and a quintetoccurs, very slightly constructed, but full of humor. An usherinterrupts it by announcing the Queen will have a private audiencewith the Count Fuentes. While awaiting her, the latter, in amonologue, lets us into the secret that the real crown jewels havebeen pledged for the national debt, and that he has been employed tomake duplicates of them to be worn on state occasions until the realones can be redeemed. The Queen enters, and expresses her satisfactionwith the work, and promotes him to the position of Minister of SecretPolice. On his departure she sings a charming cavatina ("Love, dwellwith me"), and at its close Count de Campo Mayor enters with thedecision of the Council that she shall wed the Prince of Spain. Shereturns answer that she shall make her own choice. The Count seeks toargue with her, when she threatens to confiscate his estate forallowing the crown jewels to be stolen, and commands him to arrest hisdaughter and nephew for harboring the thieves. Diana suddenly enters, and an amusing trio ensues, the Queen standing with her back to Dianalest she may be discovered. The latter fails to recognize her asCatarina, and implores pardon for assisting in her escape. Thesituation is still further complicated by the appearance of DonHenrique, who has no difficulty in recognizing Catarina. Bewildered ather presence in the Queen's apartments, he declares to Diana that hewill seize her and fly to some distant land. His rash resolution, however, is thwarted by his arrest, on the authority of the Queen, fortreason. A martial finale introduces us to the Queen in state. DonHenrique rushes forward to implore mercy for Catarina. The Queenreveals herself at last, and announces to her people that she haschosen Don Henrique, who has loved her for herself, for her husbandand their king. And thus closes one of the most sparkling, melodious, and humorous of Auber's works. What the concerted numbers lack insolidity of construction is compensated for by their grace andsweetness. BALFE. Michael William Balfe was born at Dublin, Ireland, May 15, 1808. Ofall the English opera-composers, his career was the most versatile, ashis success, for a time at least, was the most remarkable. At sevenyears of age he scored a polacca of his own for a band. In his eighthyear he appeared as a violinist, and in his tenth was composingballads. At sixteen he was playing in the Drury Lane orchestra, andabout this time began taking lessons in composition. In 1825, aided bythe generosity of a patron, he went to Italy, where for three years hestudied singing and counterpoint. In his twentieth year he metRossini, who offered him an engagement as first barytone at theItalian Opera in Paris. He made his début with success in 1828, and atthe close of his engagement returned to Italy, where he appeared againon the stage. About this time (1829-1830) he began writing Italianoperas, and before he left Italy had produced three which met withconsiderable success. In 1835 he returned to England; and it was inthis year that his first English opera, the "Siege of Rochelle, " wasproduced. It was played continuously at Drury Lane for over threemonths. In 1836 appeared his "Maid of Artois;" in 1837, "CatharineGrey" and "Joan of Arc;" and in 1838, "Falstaff. " During these yearshe was still singing in concerts and opera, and in 1840 appeared asmanager of the Lyceum. His finest works were produced after thisdate, --"The Bohemian Girl" in 1843; "The Enchantress" in 1844; "TheRose of Castile, " "La Zingara, " and "Satanella" in 1858, and "ThePuritan's Daughter" in 1861. His last opera was "The Knight of theLeopard, " known in Italian as "Il Talismano, " which has also beenproduced in English as "The Talisman. " He married Mlle. Rosen, aGerman singer, whom he met in Italy in 1835; and his daughterVictoire, who subsequently married Sir John Crampton, and afterwardsthe Duc de Frias, also appeared as a singer in 1856. Balfe died Oct. 20, 1870, upon his own estate in Hertfordshire. The analysis of histhree operas which are best known--"The Bohemian Girl, " "Rose ofCastile, " and "Puritan's Daughter"--will contain sufficient referenceto his ability as a composer. THE BOHEMIAN GIRL. "The Bohemian Girl, " grand opera in three acts, words by Bunn, adaptedfrom St. George's ballet of "The Gypsy, " which appeared at the ParisGrand Opera in 1839, --itself taken from a romance by Cervantes, --wasfirst produced in London, Nov. 27, 1843, at Drury Lane, with thefollowing 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 wastranslated into various European languages, and was one of the fewEnglish operas which secured a favorable hearing even in criticalGermany. In its Italian form it was produced at Drury Lane as "LaZingara, " Feb. 6, 1858, with Mlle. Piccolomini as Arline; and also hadthe honor of being selected for the state performance connected withthe marriage of the Princess Royal. The French version, under the nameof "La Bohémienne, " for which Balfe added several numbers, besidesenlarging it to five acts, was produced at the Théâtre Lyrique, Paris, in December, 1869, and gained for him the Cross of the Legion ofHonor. The scene of the opera is laid in Austria, and the first actintroduces us to the château and grounds of Count Arnheim, Governor ofPresburg, whose retainers are preparing for the chase. After a shortchorus the Count enters with his little daughter Arline and his nephewFlorestein. The Count sings a short solo ("A Soldier's Life"), and asthe choral response by his retainers and hunters dies away and theyleave the scene, Thaddeus, a Polish exile and fugitive, rushes inexcitedly, seeking to escape the Austrian soldiers. His opening numberis a very pathetic song ("'Tis sad to leave your Fatherland"). At theend of the song a troop of gypsies enter, headed by Devilshoof, singing a blithe chorus ("In the Gypsy's Life you may read"). He hearsThaddeus's story and induces him to join them. Before the animatedstrains fairly cease, Florestein and some of the hunters dash acrossthe grounds in quest of Arline, who has been attacked by a stag. Thaddeus, seizing a rifle, joins them, and rescues the child bykilling the animal. The Count overwhelms him with gratitude, and urgeshim to join in the coming festivities. He consents, and at the banquetproduces 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 speedilyinterrupted again by the escape of Devilshoof, who takes Arline withhim. 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 thistime Count Arnheim has received no tidings of Arline, and has givenher up as lost forever. The act opens in the gypsy camp in the suburbsof Presburg. Arline is seen asleep in the tent of the Queen, withThaddeus watching her. After a quaint little chorus ("Silence, silence, the Lady Moon") sung by the gypsies, they depart in quest ofplunder, headed by Devilshoof, and soon find their victim in theperson of the foppish and half-drunken Florestein, who is returningfrom a revel. He is speedily relieved of his jewelry, among which is amedallion, which is carried off by Devilshoof. As the gypsiesdisappear, Arline wakes and relates her dream to Thaddeus in a joyoussong ("I dreamed I dwelt in Marble Halls"), which has become one ofthe world's favorites. At the close of the ballad Thaddeus tells herthe meaning of the scar upon her arm, and reveals himself as herrescuer, but does not disclose to her the mystery of her birth. Themusical dialogue, with its ensemble, "The Secret of her Birth, " willnever lose its charm. Thaddeus declares his love for her just as theQueen, who is also in love with Thaddeus, enters. Arline alsoconfesses her love for Thaddeus, and, according to the customs of thetribe, the Queen unites them, at the same time vowing vengeanceagainst the pair. The scene now changes to a street in the city. A great fair is inprogress, and the gypsies, as usual, resort to it. Arline enters attheir head, joyously singing, to the accompaniment of the rattlingcastanets, "Come with the Gypsy Bride;" her companions, blithelytripping along, responding with the chorus, "In the Gypsy's Life youmay read. " They disappear down the street and reappear in the publicplaza. Arline, the Queen, Devilshoof, and Thaddeus sing anunaccompanied quartet ("From the Valleys and Hills"), a number whichfor grace and flowing harmony deserves a place in any opera. As theymingle among the people an altercation occurs between Arline andFlorestein, who has attempted to insult her. The Queen recognizesFlorestein as the owner of the medallion, and for her courage inresenting the insult maliciously presents Arline with it. Shortlyafterwards he observes the medallion on Arline's neck, and has herarrested for theft. The next scene opens in the hall of justice. CountArnheim enters with a sad countenance, and as he observes Arline'sportrait, gives vent to his sorrow in that well-known melancholyreverie, "The Heart bowed down, " which has become famous the worldover. Arline is brought before him for trial. As it progresses heobserves the scar upon her arm and asks its cause. She tells the storywhich Thaddeus had told her, and this solves the mystery. The Countrecognizes 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 restoredto her old position, but her love for Thaddeus remains. He finds anopportunity to have a meeting with her, through the cunning ofDevilshoof, who accompanies him. He once more tells his love in thattender and impassioned song, "When other Lips and other Hearts, " andshe promises to be faithful to him. As the sound of approaching stepsis heard, Thaddeus and his companion conceal themselves. A largecompany enter, and Arline is presented to them. During the ceremony aclosely veiled woman appears, and when questioned discovers herself asthe Gypsy Queen. She reveals the hiding-place of her companions, andThaddeus is dragged forth and ordered to leave the house. Arlinedeclares her love for him, and her intention to go with him. Sheimplores her father to relent. Thaddeus avows his noble descent, andboasts his ancestry and deeds in battle in that stirring martial song, "When the Fair Land of Poland. " The Count finally yields and gives hisdaughter to Thaddeus. The Queen, filled with rage and despair, inducesone of the tribe to fire at him as he is embracing Arline; but by atimely movement of Devilshoof the bullet intended for Thaddeus piercesthe breast of the Queen. As the curtain falls, the old song of thegypsies is heard again as they disappear in the distance withDevilshoof at their head. Many of the operas of Balfe, like other ballad operas, have becomeunfashionable; but it is doubtful whether "The Bohemian Girl" willever lose its attraction for those who delight in song-melody, charming orchestration, and sparkling, animated choruses. It leapedinto popularity at a bound, and its pretty melodies are still as freshas when they were first sung. THE ROSE OF CASTILE. "The Rose of Castile, " comic opera in three acts, words by Harris andFalconer, adapted from Adolphe Adam's "Muletier de Tolède, " was firstproduced at the Lyceum Theatre, London, Oct. 29, 1857, with thefollowing 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 beendemanded by the King of Castile for his brother, Don Sebastian theInfant. Having learned that the latter is about to enter her dominionsdisguised as a muleteer, the better to satisfy his curiosity abouther, 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 thepeasants are dancing and singing a lively chorus ("List to the gayCastanet"). Elvira and Carmen, her attendant, enter upon the scene, and are asked to join in the dance, but instead, Elvira delights themwith a song, a vocal scherzo ("Yes, I'll obey you"). The innkeeper isrude to them, but they are protected from his coarseness by Manuel, the muleteer, who suddenly appears and sings a rollicking song ("I ama simple Muleteer") to the accompaniment of a tambourine and thesnappings of his whip. A dialogue duet follows, in which she acceptshis protection and escort. She has already recognized the Infant, andhe has fulfilled the motive of the story by falling in love with her. At this point the three conspirators, Don Pedro, Don Sallust, and DonFlorio, enter, the first of whom has designs on the throne. Theyindulge in a buffo trio, which develops into a spirited bacchanal("Wine, Wine, the Magician thou art!"). Observing Elvira's likeness tothe Queen, they persuade her to personate her Majesty. She consentswith feigned reluctance, and after accepting their escort in place ofManuel's, being sure that he will follow, she sings a quaint rondo("Oh, were I the Queen of Spain!"), and the act closes with aconcerted number accompanying their departure. The second act opens in the throne-room of the palace, and isintroduced by a very expressive conspirators' chorus ("The Queen inthe Palace"); after which Don Pedro enters and gives expression to theuncertainty of his schemes in a ballad ("Though Fortune darkly o'er mefrowns") which reminds one very forcibly of "The Heart bowed down, " in"The Bohemian Girl. " The Queen, who has eluded the surveillance of theconspirators, makes her appearance, surrounded by her attendants, andsings that exquisite ballad, "The Convent Cell" ("Of Girlhood's happyDays I dream"), one of the most beautiful songs ever written by anycomposer, and certainly Balfe's most popular inspiration. At the closeof the ballad Manuel appears, and is granted an audience, in which heinforms her of the meeting with the peasant girl and boy, and declareshis belief that they were the Queen and Carmen. She ridicules thestatement, 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 toassume the rôle of Queen for the day, and ride to the palace closelyveiled in the royal carriage. The plot succeeds, and the Duchess isseized and conveyed to a convent. In the next scene there is anotherspirited buffo number, in which Don Pedro and Don Florio are mourningover the loss of their peasant girl, when, greatly to their relief, she enters again, singing a very quaint and characteristic scena ("I'mbut a simple Peasant Maid"), which rouses the suspicions of theconspirators. They are all the more perplexed when the Queen announcesherself, and declares her intention of marrying the muleteer. The last act opens with a song by Carmen ("Though Love's the greatestPlague in Life"), which falls far below the excellence of the othersongs in the work. It is followed by a buffo duet between Carmen andFlorio, who agree to marry. The Queen and ladies enter, and the formersings a bravura air ("Oh, joyous, happy Day!"), which was intended bythe composer to show Miss Pyne's vocal ability. At this point amessage is brought her from Don Sebastian, announcing his marriage. Enraged at the discovery that the muleteer is not Don Sebastian, sheseverely upbraids him, and he replies in another exquisite ballad("'Twas Rank and Fame that tempted thee"). At its close she once moredeclares she will be true to the muleteer. Don Pedro is delighted atthe apparent success of his scheme, as he believes he can force her toabdicate if she marries a muleteer, and gives vent to his joy in amartial song ("Hark! hark! methinks I hear"). The last scene is in thethrone-room, where Manuel announces he is king of Castile, and mountsthe throne singing a stirring song closely resembling, in its style, the "Fair Land of Poland, " in "The Bohemian Girl. " Elvira expressesher delight in a bravura air ("Oh, no! by Fortune blessed"), and thecurtain falls. The story of the opera is very complicated, andsometimes tiresome; but the music is well sustained throughout, especially the buffo numbers, while some of the ballads are among thebest 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 chapelof the Elector of Cologne. He studied in Vienna with Haydn, with whomhe did not always agree, however, and afterwards with Albrechtsberger. His first symphony appeared in 1801, his earlier symphonies, in whatis called his first period, being written in the Mozart style. Hisonly opera, "Fidelio, " for which he wrote four overtures, was firstbrought out in Vienna in 1805; his oratorio, "Christ on the Mount ofOlives, " in 1812; and his colossal Ninth Symphony, with its choralsetting of Schiller's "Ode to Joy, " in 1824. In addition to hissymphonies, his opera, oratorios, and masses, and the immortal groupof sonatas for the piano, which were almost revelations in music, hedeveloped chamber music to an extent far beyond that reached by hispredecessors, Haydn and Mozart. His symphonies exhibit surprisingpower, and a marvellous comprehension of the deeper feelings in lifeand the influences of nature, both human and physical. He wrote withthe deepest earnestness, alike in the passion and the calm of hismusic, and he invested it also with a genial humor as well as with thehighest expression of pathos. His works are epic in character. He wasthe great tone-poet of music. His subjects were always lofty anddignified, and to their treatment he brought not only a profoundknowledge of musical technicality, but intense sympathy with theinnermost feelings of human nature, for he was a humanitarian in thebroadest sense. By the common consent of the musical world he standsat the head of all composers, and has always been their guide andinspiration. He died March 26, 1827, in the midst of a raging thunderstorm, one of his latest utterances being a recognition of the "divinespark" in Schubert's music. FIDELIO. "Fidelio, oder die eheliche Liebe" ("Fidelio, or Conjugal Love"), grand opera in two acts, words by Sonnleithner, translated freely fromBouilly's "Léonore, ou l'Amour Conjugal, " was first produced at theTheatre An der Wien, Vienna, Nov. 20, 1805, the work at that timebeing in three acts. A translation of the original programme of thatperformance, with the exception of the usual price of admissions, isappended:-- 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 fromSeville. The piece can be procured at the box-office for fifteenkreutzers. During this first season the opera was performed three times and thenwithdrawn. Breuning reduced it to two acts, and two or three of themusical numbers were sacrificed, and in this form it was played twiceat the Imperial Private Theatre and again withdrawn. On theseoccasions it had been given under Beethoven's favorite title, "Leonore. " In 1814 Treitschke revised it, and it was produced at theKärnthnerthor Theatre, Vienna, May 23, of that year, as "Fidelio, "which title it has ever since retained. Its first performance in Pariswas at the Théâtre Lyrique, May 5, 1860; in London, at the King'sTheatre, May 18, 1832; and in English at Covent Garden, June 12, 1835, with Malibran in the title-rôle. Beethoven wrote four overtures forthis 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 therehas always been a confusion in their numbering, and the error remainsto this day. What is called No. 1 is in reality No. 3, and wascomposed for a performance of the opera at Prague, the previousoverture having been too difficult for the strings. The splendid"Leonora, " No. 3, is in reality No. 2, and the No. 2 is No. 1. Thefourth, or the "Fidelio" overture, contains a new set of themes, butthe "Leonora" is the grandest of them all. The entire action of the opera transpires in a Spanish prison, ofwhich Don Pizarro is governor and Rocco the jailer. The porter of theprison is Jacquino, who is in love with Marcellina, daughter of Rocco, and she in turn is in love with Fidelio, Rocco's assistant, who hasassumed male disguise the better to assist her in her plans for therescue of her husband, Florestan, a Spanish nobleman. The latter, whois the victim of Don Pizarro's hatred because he had thwarted some ofhis evil designs, has been imprisoned by him unknown to the world, andis slowly starving to death. Leonora, his wife, who in some way hasdiscovered that her husband is in the prison, has obtained employmentof Rocco, disguised as the young man Fidelio. The opera opens with a charming, playful love-scene between Jacquinoand Marcellina, whom the former is teasing to marry him. She puts himoff, and as he sorrowfully departs, sings the Hope aria, "DieHoffnung, " a fresh, smoothly flowing melody, in which she pictures thedelight of a life with Fidelio. At its close Rocco enters with thedespondent Jacquino, shortly followed by Fidelio, who is very muchfatigued. The love-episode is brought out in the famous canon quartet, "Mir ist so wunderbar, " one of the most beautiful and restful numbersin the opera. Rocco promises Marcellina's hand to Fidelio as thereward of her fidelity, but in the characteristic and sonorous Goldsong, "Hat man nicht auch Geld daneben, " reminds them that money aswell as love is necessary to housekeeping. In the next scene, whileDon Pizarro is giving instructions to Rocco, a packet of letters isdelivered to him, one of which informs him that Don Fernando is comingthe next day to inspect the prison, as he has been informed that itcontains several victims of arbitrary power. He at once determinesthat Florestan shall die, and gives vent to his wrath in a furiousdramatic aria ("Ha! welch ein Augenblick!"). He attempts to bribeRocco to aid him. The jailer at first refuses, but subsequently, aftera stormy duet, consents to dig the grave. Fidelio has overheard thescheme, and, as they disappear, rushes forward and sings the greataria, "Abscheulicher!" one of the grandest and most impassionedillustrations of dramatic intensity in the whole realm of music. Therecitative expresses intense horror at the intended murder, thensubsides into piteous sorrow, and at last breaks out into the gloriousadagio, "Komm Hoffnung, " in which she sings of the immortal power oflove. The last scene of the act introduces the strong chorus of theprisoners as they come out in the yard for air and sunlight, afterwhich Rocco relates to Fidelio his interview with Don Pizarro. Thelatter orders the jailer to return the prisoners to their dungeons andgo on with the digging of the grave, and the act closes. The second act opens in Florestan's dungeon. The prisoner sings anintensely mournful aria ("In des Lebens Frühlingstagen"), which has arapturous finale ("Und spür' Ich nicht linde"), as he sees his wife ina vision. Rocco and Fidelio enter and begin digging the grave, to theaccompaniment of sepulchral music. She discovers that Florestan hassunk back exhausted, and as she restores him recognizes her husband. Don Pizarro enters, and after ordering Fidelio away, who meanwhileconceals herself, attempts to stab Florestan. Fidelio, who has beenclosely watching him, springs forward with a shriek, and interposesherself between him and her husband. He once more advances to carryout his purpose, when Fidelio draws a pistol and defies him. As shedoes so, the sound of a trumpet is heard outside announcing thearrival of Don Fernando. Don Pizarro rushes out in despair, andFlorestan and Leonora, no longer Fidelio, join in a duet ("O NamenloseFreude") which is the very ecstasy of happiness. In the last scene DonFernando sets the prisoners free in the name of the king, and amongthem Florestan. Pizarro is revealed in his true character, and is ledaway to punishment. The happy pair are reunited, and Marcellina, toJacquino's delight, consents to marry him. The act closes with ageneral song of jubilee. As a drama and as an opera "Fidelio" standsalmost alone in its perfect purity, in the moral grandeur of itssubject, and in the resplendent ideality of its music. BELLINI. Vincenzo Bellini was born Nov. 3, 1802, at Catania, Sicily, and cameof musical parentage. By the generosity of a patron he was sent toNaples, and studied at the Conservatory under Zingarelli. His firstopera was "Adelson e Salvino, " and its remarkable merit secured him acommission from the manager, Barbaja, for an opera for San Carlo. Theresult was his first important work, "Bianca e Fernando, " written in1826. Its success was moderate; but he was so encouraged that he atonce went to Milan and wrote "Il Pirata, " the tenor part for Rubini. Its success was extraordinary, and the managers of La Scalacommissioned him for another work. In 1828 "La Straniera" appeared, quickly followed by "Zaira" (1829), which failed at Parma, and "ICapuletti ed i Montecchi, " a version of "Romeo and Juliet, " which madea great success at Venice in 1830. A year later he composed "LaSonnambula, " unquestionably his best work, for La Scala, and itspeedily made the tour of Europe, and gained for him an extendedreputation. A year after its appearance he astonished the musicalworld with "Norma, " written, like "Sonnambula, " for Mme. Pasta. Theseare his greatest works. "Norma" was followed by "Beatrice di Tenda, "and this by "I Puritani, " his last opera, written in Paris for thefour great artists, Grisi, Rubini, Tamburini, and Lablache. Bellinidied Sept. 23, 1835, in the twenty-ninth year of his age, preservinghis musical enthusiasm to the very last. He was a close follower ofRossini, and studied his music diligently, and though without a veryprofound knowledge of harmony or orchestration, succeeded in producingat least three works, "Norma, " "Sonnambula, " and "I Puritani, " whichwere the delight of the opera-goers of his day, and still freshly holdthe stage. NORMA. "Norma, " a serious opera in two acts, words by Romani, was firstproduced during the season of Lent, 1832, at Milan, with the principalparts cast as follows:-- NORMA Mme. PASTA. ADALGISA Mme. GRISI. POLLIONE Sig. DONZELLI. It was first heard in London in 1833, and in Paris in 1855, andPlanché's English version of it was produced at Drury Lane in 1837. The scene of the opera is laid among the Druids, in Gaul, after itsoccupation by the Roman legions. In the first scene the Druids enterwith Oroveso, their priest, to the impressive strains of a religiousmarch which is almost as familiar as a household word. The priestannounces that Norma, the high priestess, will come and cut the sacredbranch and give the signal for the expulsion of the Romans. The nextscene introduces Pollione, the Roman proconsul, to whom Norma, indefiance of her faith and traditions, has bound herself in secretmarriage, and by whom she has had two children. In a charminglymelodious scena ("Meco all' altar di Venere") he reveals hisfaithlessness and guilty love for Adalgisa, a young virgin of thetemple, who has consented to abandon her religion and fly with him toRome. In the fourth scene Norma enters attended by her priestesses, and denounces the Druids for their warlike disposition, declaring thatthe time has not yet come for shaking off the yoke of Rome, and thatwhen it does she will give the signal from the altar of the Druids. After cutting the sacred mistletoe, she comes forward and invokespeace from the moon in that exquisite prayer, "Casta Diva, " whichelectrified the world with its beauty and tenderness, and still holdsits place in popular favor, not alone by the grace of itsembellishments, but by the pathos of its melody. It is followed byanother cavatina of almost equal beauty and tenderness ("Ah! bello ame ritorna"). In the next scene Adalgisa, retiring from the sacredrites, sings of her love for Pollione, and as she closes is met by theproconsul, who once more urges her to fly to Rome with him. The duetbetween them is one of great power and beauty, and contains astrikingly passionate number for the tenor ("Va, crudele"). Oppressedby her conscience, she reveals her fatal promise to Norma, andimplores absolution from her vows. Norma yields to her entreaties, butwhen she inquires the name and country of her lover, and Adalgisapoints to Pollione as he enters Norma's sanctuary, all the priestess'slove turns to wrath. In this scene the duet, "Perdoni e ti compiango, "is one of exceeding loveliness and peculiarly melodious tenderness. The act closes with a terzetto of great power ("O! di qual sei tu"), in which both the priestess and Adalgisa furiously denounce thefaithless Pollione. In the midst of their imprecations the sound ofthe sacred shield is heard calling Norma to the rites. The second act opens in Norma's dwelling, and discovers her childrenasleep on a couch. Norma enters with the purpose of killing them, butthe maternal instinct overcomes her vengeful thought that they arePollione's children. Adalgisa appears, and Norma announces herintention to place her children in the Virgin's hands, and send herand them to Pollione while she expiates her offence on the funeralpyre. Adalgisa pleads with her not to abandon Pollione, who willreturn to her repentant; and the most effective number in the operaensues, --the grand duet containing two of Bellini's most beautifulinspirations, the "Deh! con te li prendi, " and the familiar "Mira, ONorma, " whose strains have gone round the world and awakened universaldelight. Pollione, maddened by his passion for Adalgisa, impiouslyattempts to tear her from the altar in the temple of Irminsul, whereupon Norma enters the temple and strikes the sacred shield, summoning the Druids. They meet, and she declares the meaning of thesignal is war, slaughter, and destruction. She chants a magnificenthymn ("Guerra, guerra"), which is full of the very fury of battle. Pollione, who has been intercepted in the temple, is brought beforeher. Love is still stronger than resentment with her. In a verydramatic scena ("In mia mano alfin tu sei") she informs him he is inher power, but she will let him escape if he will renounce Adalgisaand leave the country. He declares death would be preferable;whereupon she threatens to denounce Adalgisa. Pity overcomes anger, however. She snatches the sacred wreath from her brow and declaresherself the guilty one. Too late Pollione discovers the worth of thewoman he has abandoned, and a beautiful duet ("Qual cor tradisti")forms the closing number. She ascends the funeral pyre with Pollione, and in its flames they are purged of earthly crime. It is a memorablefact in the history of this opera, that on its first performance itwas coldly received, and the Italian critics declared it had novitality; though no opera was ever written in which such intensedramatic effect has been produced with simple melodic force, and noItalian opera score to-day is more living or more likely to last thanthat of Norma. LA SONNAMBULA. "La Sonnambula, " an opera in two acts, words by Romani, was firstproduced in Milan, March 6, 1831, with the following cast:-- AMINA Mme. PASTA. ELVINO Sig. RUBINI. RODOLFO Sig. MARIANO. LISA Mme. TOCCANI. It was brought out in the same year in Paris and London, and two yearsafter in English, with Malibran as Amina. The subject of the story wastaken from a vaudeville and ballet by Scribe. The scene is laid inSwitzerland. Amina, an orphan, the ward of Teresa, the miller's wife, is about to marry Elvino, a well-to-do landholder of the village. Lisa, mistress of the inn, is also in love with Elvino, and jealous ofher rival. Alessio, a peasant lad, is also in love with the landlady. Such is the state of affairs on the day before the wedding. Rodolfo, the young lord of the village, next appears upon the scene. He hasarrived incognito for the purpose of looking up his estates, and stopsat Lisa's inn, where he meets Amina. He gives her many prettycompliments, much to the dissatisfaction of the half-jealous Elvino, who is inclined to quarrel with the disturber of his peace of mind. Amina, who is subject to fits of somnambulism, has been mistaken for aghost by the peasants, and they warn Rodolfo that the village ishaunted. The information, however, does not disturb him, and hequietly retires to his chamber. The officious Lisa also enters, and aplayful scene of flirtation ensues, during which Amina enters theroom, walking in her sleep. Lisa seeks shelter in a closet. Rodolfo, to escape from the embarrassment of the situation, leaves theapartment, and Amina reclines upon the bed as if it were her own. Themalicious Lisa hurries from the room to inform Elvino of what she hasseen, and thoughtlessly leaves her handkerchief. Elvino rushes to thespot with other villagers, and finding Amina, as Lisa had described, declares that she is guilty, and leaves her. Awakened by the noise, the unfortunate girl, realizing the situation, sorrowfully throwsherself into Teresa's arms. The villagers implore Rodolfo to acquitAmina of any blame, and he stoutly protests her innocence; but it isof no avail in satisfying Elvino, who straightway offers his hand toLisa. In the last act Amina is seen stepping from the window of themill in her sleep. She crosses a frail bridge which yields beneath herweight and threatens to precipitate her upon the wheel below; but shepasses it in safety, descends to the ground, and walks into herlover's arms amid the jubilant songs of the villagers. Elvino isconvinced of her innocence, and they are wedded at once, while thediscovery of Lisa's handkerchief in Rodolfo's room pronounces her thefaithless one. Such is the simple little pastoral story to which Bellini has set someof his most beautiful melodies, the most striking of which are thearia, "Sovra il sen, " in the third scene of the first act, where Aminadeclares her happiness to Teresa; the beautiful aria for barytone inthe sixth scene, "Vi ravviso, " descriptive of Rodolfo's delight inrevisiting the scenes of his youth; the playful duet between Amina andElvino, "Mai piu dubbi!" in which she rebukes him for his jealousy;the humorous and very characteristic chorus of the villagers in thetenth scene, "Osservate, l'uscio è aperto, " as they tiptoe intoRodolfo's apartment; the duet, "O mio dolor, " in the next scene, inwhich Amina asserts her innocence; the aria for tenor in the thirdscene of the second act, "Tutto e sciolto, " in which Elvino bemoanshis sad lot; and that joyous ecstatic outburst of birdlike melody, "Ah! non giunge, " which closes the opera. In fact, "Sonnambula" is soreplete with melodies of the purest and tenderest kind, that it isdifficult to specify particular ones. It is exquisitely idyllicthroughout, and the music is as quiet, peaceful, simple, and tender asthe charming pastoral scenes it illustrates. I PURITANI. "I Puritani di Scozia, " an opera in two acts, words by Count Pepoli, was first produced at the Théâtre Italien, Paris, Jan. 25, 1835, andin London in the following May, under the title of "I Puritani ed iCavalieri. " The original cast was as follows:-- ELVIRA Mme. GRISI. ARTURO Sig. RUBINI. RICARDO Sig. TAMBURINI. GIORGIO Sig. LABLACHE. This cast was one of unexampled strength, and was long known in Europeas the Puritani quartet. The story of the opera is laid in England, during the war between Charles II. And his Parliament, and the firstscene opens in Plymouth, then held by the parliamentary forces. Thefortress is commanded by Lord Walton, whose daughter, Elvira, is inlove with Lord Arthur Talbot, a young cavalier in the King's service. Her hand had previously been promised to Sir Richard Forth, of theparliamentary army; but to the great delight of the maiden, Sir GeorgeWalton, brother of the commander, brings her the news that her fatherhas relented, and that Arthur will be admitted into the fortress thatthe nuptials may be celebrated. Henrietta, widow of Charles I. , is atthis time a prisoner in the fortress, under sentence of death passedby Parliament. Arthur discovers her situation, and by concealing herin Elvira's bridal veil seeks to effect her escape. On their way outhe encounters his rival; but the latter, discovering that the veiledlady is not Elvira, allows them to pass. The escape is soondiscovered, and Elvira, thinking her lover has abandoned her, losesher reason. Arthur is proscribed by the Parliament and sentenced todeath; but Sir Richard, moved by the appeals of Sir George Walton, whohopes to restore his niece to reason, promises to use his influencewith Parliament to save Arthur's life should he be captured unarmed. Arthur meanwhile manages to have an interview with Elvira; and thelatter, though still suffering from her mental malady, listensjoyfully to his explanation of his sudden flight. Their interview isdisturbed by a party of Puritans who enter and arrest him. He iscondemned to die on the spot; but before the sentence can be carriedout, a messenger appears with news of the king's defeat and the pardonof Arthur. The joyful tidings restore Elvira to reason, and the loversare united. The libretto of "I Puritani" is one of the poorest ever furnished toBellini, but the music is some of his best. It is replete withmelodies, which are not only fascinating in their original setting, but have long been favorites on the concert-stage. The opera isusually performed in three acts, but was written in two. The prominentnumbers of the first act are the pathetic cavatina for Ricardo, "Ah!per sempre io ti perdei, " in which he mourns the loss of Elvira; alovely romanza for tenor ("A te o cara"); a brilliant polacca ("Sonvergin vezzosa") for Elvira, which is one of the delights of allartists; and a concerted finale, brimming over with melody and closingwith the stirring anathema chorus, "Non casa, non spiaggia. " The firstgrand number in the second act is Elvira's mad song, "Qui la voce, " inwhich are brought out not only that rare gift for expressing pathos inmelody for which Bellini is so famous, but the sweetest of themes andmost graceful of embellishments. The remaining numbers are Elvira'sappeal to her lover ("Vien, diletto"), the magnificent duet for basses("Suoni la tromba"), known as the "Liberty Duet, " which insonorousness, majesty, and dramatic intensity hardly has an equal inthe whole range of Italian opera; a tender and plaintive romanza fortenor ("A una fonte aflitto e solo"); a passionate duet for Arthur andElvira ("Star teco ognor"); and an adagio, sung by Arthur in thefinale ("Ella è tremante"). BIZET. Georges Bizet was born at Paris, Oct. 25, 1838, and in an artisticatmosphere, as his father, an excellent teacher, was married to asister of Mme. Delsarte, a talented pianist, and his uncle, amusician, was the founder of the famous Delsarte system. He studiedsuccessively with Marmontel and Benoist, and subsequently took lessonsin composition from Halevy, whose daughter he afterwards married. Hisfirst work was an operetta of not much consequence, "Docteur Miracle, "written in 1857, and in the same year he took the Grand Prix de Rome. On his return from Italy he composed "Vasco de Gama" and "Les Pecheursde Perles, " neither of which met with much success. In 1867 "La JolieFille de Perth" appeared, and in 1872, "Djamileh. " During theintervals of these larger works he wrote the Patrie overture and theinterludes to "L'Arlesienne, " a very poetical score which TheodoreThomas introduced to this country, and both works were received withenthusiasm. At last he was to appreciate and enjoy a real dramaticsuccess, though it was his last work. "Carmen" appeared in 1875, andachieved a magnificent success at the Opera Comique. It was broughtout in March, and in the following June he died of acuteheart-disease. He was a very promising composer, and speciallyexcelled in orchestration. During his last few years he was a closestudent of Wagner, whose influence is apparent in this last work ofhis life. CARMEN. "Carmen, " an opera in four acts, words by Meilhac and Halevy, adaptedfrom Prosper Merimée's romance of "Carmen, " was first produced at theOpera Comique, Paris, March 3, 1875, with Mme. Galli-Marie in thetitle-rôle and Mlle. Chapuy as Michaela. The scene is laid in Seville, time 1820. The first act opens in the public square, filled with atroop of soldiers under command of Don José, and loungers who arewaiting the approach of the pretty girls who work in the cigar-factorynear by, and prettiest and most heartless of them all, Carmen. Beforethey appear, Michaela, a village girl, enters the square, bearing amessage to Don José from his mother, but not finding him departs. Thecigar-girls at last pass by on their way to work, and with themCarmen, who observes Don José sitting in an indifferent manner andthrows him the rose she wears in her bosom. As they disappear, Michaela returns and delivers her message. The sight of the gentlegirl and the thought of home dispel Don José's sudden passion forCarmen. He is about to throw away her rose, when a sudden disturbanceis heard in the factory. It is found that Carmen has quarrelled withone of the girls and wounded her. She is arrested, and to preventfurther mischief her arms are pinioned. She so bewitches thelieutenant, however, that he connives at her escape and succeeds ineffecting it, while she is led away to prison by the soldiers. In thesecond act Carmen has returned to her wandering gypsy life, and wefind her with her companions in the cabaret of Lillas-Pastia, singingand dancing. Among the new arrivals is Escamillo, the victoriousbull-fighter of Grenada, with whom Carmen is at once fascinated. Whenthe inn is closed, Escamillo and the soldiers depart, but Carmen waitswith two of the gypsies, who are smugglers, for the arrival of DonJosé. They persuade her to induce him to join their band, and when thelieutenant, wild with passion for her, enters the apartment, sheprevails upon him to remain in spite of the trumpet-call which summonshim to duty. An officer appears and orders him out. He refuses to go, and when the officer attempts to use force Carmen summons the gypsies. He is soon overpowered, and Don José escapes to the mountains. Thethird act opens in the haunt of the smugglers, a wild, rocky, cavernous place. Don José and Carmen, who is growing very indifferentto him, are there. As the contrabandists finish their work andgradually leave the scene, Escamillo, who has been following Carmen, appears. His presence and his declarations as well arouse the jealousyof Don José. They rush at each other for mortal combat, but thesmugglers separate them. Escamillo bides his time, invites them to theapproaching bullfight at Seville, and departs. While Don José isupbraiding Carmen, the faithful Michaela, who has been guided to thespot, begs him to accompany her, as his mother is dying. Dutyprevails, and he follows her as Escamillo's taunting song is hearddying away in the distance. In the last act the drama hurries on tothe tragic dénouement. It is a gala-day in Seville, for Escamillo isto fight. Carmen is there in his company, though her gypsy friendshave warned her Don José is searching for her. Amid great pompEscamillo enters the arena, and Carmen is about to follow, when DonJosé appears and stops her. He appeals to her and tries to awaken theold love. She will not listen, and at last in a fit of wild rage hurlsthe ring he had given her at his feet. The shouts of the people in thearena announce another victory for Escamillo. She cries out with joy. Don José springs at her like a tiger, and stabs her just as Escamilloemerges from the contest. Carmen is the largest and best-considered of all Bizet's works, andone of the best in the modern French repertory. The overture is shortbut very brilliant. After some characteristic choruses by the streetlads, soldiers, and cigar-girls, Carmen sings the Havanaise ("Amor, misterioso angelo"), a quaint song in waltz time, the melody beingthat of an old Spanish song by Tradier, called "El Aveglito. " Aserious duet between Michaela and Don José ("Mia madre io la rivedo")follows, which is very tender in its character. The next strikingnumber is the dance tempo, "Presso il bastion de Seviglia, " aseguidilla sung by Carmen while bewitching Don José. In the finale, asshe escapes, the Havanaise, which is the Carmen motive, is heardagain. The second-act music is peculiarly Spanish in color, particularly thatfor the ballet. The opening song of the gypsies in the cabaret, to theaccompaniment of the castanets ("Vezzi e anella scintillar"), isbewitching in its rhythm, and is followed in the next scene by astirring and very picturesque aria ("Toreador attento"), in whichEscamillo describes the bull-fight. A beautifully written quintet("Abbiamo in vista"), and a strongly dramatic duet, beginning withanother fascinating dance tempo ("Voglio danzar pel tuo piacer"), andincluding a beautiful pathetic melody for Don José ("Il fior cheavevi"), closes the music of the act. The third act contains two very striking numbers, the terzetto of thecard-players in the smugglers' haunt ("Mischiam! alziam!"), andMichaela's aria ("Io dico no, non son paurosa"), the most effectiveand beautiful number in the whole work, and the one which shows mostclearly the effect of Wagner's influence upon the composer. In thefinale of the act the Toreador's song is again heard as he disappearsin the distance after the quarrel with Don José. The last act is a hurly-burly of the bull-fight, the Toreador's takingmarch, the stormy duet between Don José and Carmen, and the tragicdénouement in which the Carmen motive is repeated. The color of thewhole work is Spanish, and the dance tempo is freely used andbeautifully worked up with Bizet's ingenious and scholarlyinstrumentation. Except in the third act, however, the vocal parts areinferior 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 timewith Broche, the cathedral organist. His first opera, "La FilleCoupable, " appeared in 1793, and was performed at Rouen with somesuccess. In 1795 a second opera, "Rosalie et Myrza, " was performed inthe same city; after which he went to Paris, where he becameacquainted with many prominent musicians, among them Cherubini. Hisfirst Paris opera was the "Famille Suisse" (1797), which had asuccessful run. Several other operas followed, besides some excellentpieces of chamber music which secured him the professorship of thepiano in the Conservatory. He also took lessons at this time ofCherubini in counterpoint, and in 1803 brought out a very successfulwork, "Ma Tante Aurore. " We next hear of him in St. Petersburg, asconductor of the Imperial Opera, where he composed many operas andvaudevilles. He spent eight years in Russia, returning to Paris in1811. The next year one of his best operas, "Jean de Paris, " wasproduced with extraordinary success. Though he subsequently wrote manyoperas, fourteen years elapsed before his next great work, "La DameBlanche, " appeared. Its success was unprecedented. All Europe wasdelighted with it, and it is as fresh to-day as when it was firstproduced. The remainder of Boieldieu's life was sad, owing to operaticfailures, 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 "GuyMannering, " was first produced at the Opera Comique, Dec. 10, 1825, and was first performed in English under the title of "The WhiteMaid, " at Covent Garden, London, Jan. 2, 1827. The scene of the operais laid in Scotland. The Laird of Avenel, a zealous partisan of theStuarts, was proscribed after the battle of Culloden, and upon the eveof going into exile intrusts Gaveston, his steward, with the care ofthe castle, and of a considerable treasure which is concealed in astatue called the White Lady. The traditions affirmed that this ladywas the protectress of the Avenels. All the clan were believers in thestory, and the villagers declared they had often seen her in theneighborhood. Gaveston, however, does not share their superstition norbelieve in the legend, and some time after the departure of the Lairdhe announces the sale of the castle, hoping to obtain it at a low ratebecause the villagers will not dare to bid for it through fear of theWhite Lady. The steward is led to do this because he has heard theLaird is dead, and knows there is no heir to the property. Anna, anorphan girl, who had been befriended by the Laird, determines tofrustrate Gaveston's designs, and appears in the village disguised asthe White Lady. She also writes to Dickson, a farmer, who is indebtedto her, to meet her at midnight in the castle of Avenel. He is toosuperstitious to go, and George Brown, a young lieutenant who issharing his hospitality, volunteers in his stead. He encounters theWhite Lady, and learns from her he will shortly meet a young lady whohas saved his life by her careful nursing after a battle, --Annameanwhile recognizing George as the person she had saved. When the dayof sale comes, Dickson is empowered by the farmers to purchase thecastle, so that it may not fall into Gaveston's hands. George and Annaare there; and the former, though he has not a shilling, buys it underinstructions from Anna. When the time comes for payment, Anna producesthe treasure which had been concealed in the statue, and, still in thedisguise of the White Lady, discovers to him the secret of his birthduring the exile of his parents. Gaveston approaches the spectre andtears off her veil, revealing Anna, his ward. Moved by the zeal andfidelity 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 incharacter. In the first act the opening song of George ("Ah, whatPleasure a Soldier to be!") is very poetical in its sentiment. It alsocontains the characteristic ballad of the White Lady, with choralresponses ("Where yon Trees your Eye discovers"), and an exquisitelygraceful trio in the finale ("Heavens! what do I hear?"). The secondact opens with a very plaintive romanza ("Poor Margaret, spin away!"), sung by Margaret, Anna's old nurse, at her spinning-wheel, as shethinks of the absent Laird, followed in the fifth scene by a beautifulcavatina for tenor ("Come, O Gentle Lady"). In the seventh scene is acharming duet ("From these Halls"), and the act closes with anensemble for seven voices and chorus, which has hardly been excelledin ingenuity of treatment. The third act opens with a charminglysentimental aria for Anna ("With what delight I behold"), followed inthe 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 Frenchtreatment, but gains an added grace. It is stated on good authoritythat two of Boieldieu's pupils, Adolph Adam and Labarre, assisted himin the work, and that the lovely overture was written in oneevening, --Boieldieu taking the andante and the two others theremaining movements. Though a little old-fashioned in some of itsphrasing, the opera still retains its freshness and beautifulsentiment. 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 firstproduced. BOITO. Arrigo Boito was born in 1840, and received his musical education inthe Conservatory at Milan, where he studied for nine years. In 1866 hebecame a musical critic for several Italian papers, and about the sametime wrote several poems of more than ordinary merit. Both inliterature and music his taste was diversified; and he combined thetwo talents in a remarkable degree in his opera of "Mephistopheles, "the only work by which he is known to the musical world at large. Hestudied Goethe profoundly; and the notes which he has appended to thescore show a most intimate knowledge of the Faust legend. His text isin 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'smusic also very closely, and to such purpose that after the firstperformance of this opera at La Scala, in 1868, the critics called himthe Italian Wagner, and, in common with the public, condemned both himand his work. After Wagner's "Lohengrin" had been produced in Italyand met with success, Boito saw his opportunity to once more bring outhis work. It was performed at Bologna in 1875, and met with anenthusiastic success. Its introduction to this country is largely dueto Mme. Christine Nilsson, though Mme. Marie Roze was the first artistto 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, in1868. The "Prologue in the Heavens" contains five numbers, a prelude, and chorus of the mystic choir; instrumental scherzo, preluding theappearance of Mephistopheles; dramatic interlude, in which he engagesto entrap Faust; a vocal scherzo by the chorus of cherubim; and theFinal Psalmody by the penitents on earth and chorus of spirits. Theprologue corresponds to Goethe's prologue in the heavens, the heavenlychoirs being heard in the background of clouds, accompanied by weirdtrumpet-peals and flourishes in the orchestra, and closes with afinale of magnificent power. The first act opens in the city of Frankfort, amid the noise of thecrowd and the clanging of holiday bells. Groups of students, burghers, huntsmen, and peasants sing snatches of chorus. A cavalcade escortingthe Elector passes. Faust and Wagner enter, and retire as the peasantsbegin to sing and dance a merry waltz rhythm ("Juhé! Juhé!"). As itdies away they reappear, Faust being continually followed by a grayfriar, --Mephistopheles in disguise, --whose identity is disclosed by amotive from the prologue. Faust shudders at his presence, but Wagnerlaughs away his fears, and the scene then suddenly changes to Faust'slaboratory, whither he has been followed by the gray friar, whoconceals himself in an alcove. Faust sings a beautiful aria ("Daicampi, dai prati"), and then, placing the Bible on a lectern, beginsto read. The sight of the book brings Mephistopheles out with ashriek; and, questioned by Faust, he reveals his true self in amassive and sonorous aria ("Son lo spirito"). He throws off hisdisguise, and appears in the garb of a knight, offering to serve Fauston earth if he will serve the powers of darkness in hell. The compactis made, as in the first act of Gounod's "Faust;" and the curtainfalls as Faust is about to be whisked away in Mephistopheles's cloak. The second act opens in the garden, with Faust (under the name ofHenry), Marguerite, Mephistopheles, and Martha, Marguerite's mother, strolling in couples. The music, which is of a very sensuouscharacter, is descriptive of the love-making between Faust andMarguerite, and the sarcastic passion of Mephistopheles for Martha. Itis mostly in duet form, and closes with a quartet allegretto ("Addio, fuggo"), which is very characteristic. The scene then suddenly changesto the celebration of the Witches' Sabbath on the summits of theBrocken, where, amid wild witch choruses, mighty dissonances, andweird incantation music, Faust is shown a vision of the sorrow ofMarguerite. It would be impossible to select special numbers from thisclosely 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 thepenalty for murdering her babe. The action is very similar to that ofthe last act of Gounod's "Faust. " Her opening aria ("L' altra notte afondo al maro") is full of sad longings for the child and insanemoanings for mercy. Faust appeals to her to fly with him, and theyjoin in a duet of extraordinary sensuous beauty blended with pathos("lontano, lontano"). Mephistopheles urges Faust away as the daydawns, and pronounces her doom as she falls and dies, while theangelic chorus resounding in the orchestra announces her salvation. In the fourth act a most abrupt change is made, both in a dramatic andmusical sense. The scene changes to the "Night of the ClassicalSabbath" on the banks of the Peneus, amid temples, statues, flowers, and all the loveliness of nature in Greece. The music also changesinto the pure, sensuous Italian style. Faust, still withMephistopheles, pays court to Helen of Troy, who is accompanied byPantalis. The opening duet for the latter ("La luna immobile") is oneof exceeding grace and loveliness, and will always be the most popularnumber in the work. With the exception of a powerfully dramatic scena, in which Helen describes the horrors of the destruction of Troy, themusic is devoted to the love-making between Helen and Faust, and bearsno relation in form to the rest of the music of the work, beingessentially Italian in its smooth, flowing, melodious character. Atthe close of the classical Sabbath another abrupt change is made, tothe death-scene of Faust, contained in an epilogue. It opens in hislaboratory, where he is reflecting upon the events of hisunsatisfactory life, and contemplating a happier existence in heaven. Mephistopheles is still by his side as the tempter, offers him hiscloak, and urges him to fly again. The heavenly trumpets which rangthrough the prologue are again heard, and the celestial choirs aresinging. Enraged, Mephistopheles summons the sirens, who lure Faustwith all their charms. Faust seizes the Sacred Volume, and declaresthat he relies upon its word for salvation. He prays for help againstthe demon. His prayer is answered; and as he dies a shower of rosesfalls upon his body. The tempter disappears, and the finale of theprologue, repeated, announces Faust has died in salvation. The operaas a whole is episodical in its dramatic construction, and the musicis a mixture of two styles, --the Wagnerian and the conventionalItalian; but its orchestration is very bold and independent incharacter, and the voice-parts are very striking in their adaptationto the dramatic requirements. DELIBES. Leo Delibes, the French composer, was born at St. Germain du Val in1836, and was graduated at the Paris Conservatory, where he reachedhigh distinction. His first work, written in 1855, was an operettaentitled "Deux Sous de Carbon;" but he did not make his mark until his"Maitre Griffard" was produced at the Theatre Lyrique in 1857. In 1865he was appointed Chorus-master at the Opera, and there his real careerbegan. His first great triumph was in ballet-music, which has eversince been his specialty. His first ballet, "La Source, " was producedat the Opera, Nov. 12, 1865, and delighted all Paris. It was followedby a divertisement for the revival of Adam's "Corsaire" (1867), theballet "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 audiencesfamiliar. His opera "Lakme" was written in 1879. LAKME. The romantic opera, "Lakme, " written in 1879, was first performed inthis country by the American Opera Company in 1886, Mme. L'Allemandtaking the title-rôle. The principal characters are Lakme, daughter ofNilakantha, an Indian priest, Gerald and Frederick, officers of theBritish Army, Ellen and Rose, daughters of the Viceroy, and Mrs. Benson, governess. The scene is laid in India. Nilakantha cherishes afond hatred of all foreigners. The two English officers, Gerald andFrederick, accompanied by a bevy of ladies, intrude upon his sacredgrounds. They stroll about and gradually retire, but Gerald remains tosketch some jewels, which Lakme has left upon a shrine while she goesflower-gathering with her slave Mallika, evidently also to awaitdevelopments when she returns. Lakme soon comes sailing in on herboat, and there is a desperate case of love at first sight. Theirdemonstrations of affection are soon interrupted by the appearance ofthe priest, whose anger Gerald escapes by fleeing, under cover of aconvenient thunder-storm. In the next act Lakme and her father appearin the public market-place, disguised as penitents. He compels hisdaughter to sing, hoping that her face and voice will induce her loverto disclose himself. The ruse proves successful. Nilakantha waits hisopportunity, and stealing upon his enemy stabs him in the back andmakes good his escape. In the third act we find Gerald in a delightfuljungle, where Lakme has in some manner managed to conceal him, andwhere she is carefully nursing him with the hope of permanentlyretaining his love. She saves his life; but just at this juncture, andwhile she is absent to obtain a draught of the water which, accordingto the Indian legend, will make earthly love eternal, Gerald hears themusic of his regiment, and Frederick appears and urges him back toduty. His allegiance to his queen, and possibly the remembrance of hisengagement to a young English girl, prove stronger than his love forLakme. The latter returns, discovers his faithlessness, gathers somepoisonous flowers, whose juices she drinks, and dies in Gerald's armsjust as the furious father appears. As one victim is sufficient toappease the anger of Nilakantha's gods, Gerald is allowed to gounharmed. The first act opens with a chorus of Hindoos, oriental in itscharacter, followed by a duet between Lakme and her father; the sceneclosing with a sacred chant. The Hindoos gone, there is a charmingoriental duet ("'Neath yon Dome where Jasmines with the Roses areblooming") between Lakme and her slave, which is one of the gems ofthe opera. The English then appear and have a long, talky scene, relieved by a pretty song for Frederick ("I would not give a Judgmentso absurd"), and another for Gerald ("Cheating Fancy coming to misleadme"). As Lakme enters, Gerald conceals himself. She lays her flowersat the base of the shrine and sings a restless love-song ("Why love Ithus to stray?"). Gerald discovers himself, and after a colloquy singshis ardent love-song ("The God of Truth so glowing"), and the actcloses with Nilakantha's threats. The second act opens in the market square, lively with the choruses ofHindoos, Chinamen, fruit-venders, and sailors, and later on with theadventures of the English party in the crowd. Nilakantha appears andaddresses his daughter in a very pathetic aria ("Lakme, thy soft Looksare over-clouded"). Soon follows Lakme's bell-song ("Where strays theHindoo Maiden?"), a brilliant and highly embellished aria withtinkling accompaniment, which will always be a favorite. Therecognition follows; and the remaining numbers of importance are animpassioned song by Gerald ("Ah! then 't is slumbering Love"), with amysterious 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 openswith a beautiful crooning song by Lakme ("'Neath the Dome of Moon andStar") as she watches her sleeping lover. The remaining numbers ofinterest are Gerald's song ("Tho' speechless I, my Heart remembers"), followed by a pretty three-part chorus in the distance and Lakme'sdying measures, "To me the fairest Dream thou 'st given, " and"Farewell, the Dream is over. " Though the opera is monotonous fromsameness of color and lack of dramatic interest, there are manynumbers which leave a charming impression by their grace, refinement, and genuine poetical effect. DONIZETTI. Gaetano Donizetti was born at Bergamo, Italy, Sept. 25, 1798. Hestudied music both at Bologna and Naples, and then entered the armyrather than subject himself to the caprice of his father, who wasdetermined that he should devote himself to church music. While hisregiment was at Naples he wrote his first opera, "Enrico di Borgogna"(1818), which was soon followed by a second, "Il Falegname deLivonia. " The success of the latter was so great that it not onlyfreed him from military service but gained him the honor of beingcrowned. The first opera which spread his reputation through Europewas "Anna Bolena, " produced at Milan in 1830, and written for Pastaand Rubini. Two years afterwards, "L' Elisir d' Amore" appeared, whichhe is said to have written in fifteen days. He wrote with greatfacility. "Il Furioso, " "Parisina, " "Torquato Tasso, " "LucreziaBorgia, " and "Gemma di Vergi" rapidly followed one another. In 1835 hebrought out "Marino Faliero, " but its success was small. Amplecompensation was made, however, when in the same year "Lucia" appearedand was received with acclamations of delight. He was invited to Parisas the successor of Rossini, and wrote his "Marino Faliero" for theTheatre des Italiens. In 1840 he revisited Paris and produced "IlPoliuto, " "La Fille du Regiment, " and "La Favorita. " Leaving Paris hevisited Rome, Milan, and Vienna, bringing out "Linda di Chamouni" inthe latter city. Returning to Paris again, he produced "Don Pasquale"at the Théâtre des Italiens and "Don Sebastien" at the Académie, thelatter proving a failure. His last opera, "Catarina Comaro, " wasbrought out at Naples in 1844. This work also was a failure. It wasevident that his capacity for work was over. He grew sad andmelancholy, and during the last three years of his life was attackedby fits of abstraction which gradually intensified and ended ininsanity 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 comiquein two acts, words by Bayard and St. Georges, was first produced atthe Opera Comique, Paris, Feb. 11, 1840, with Mme. Anna Thillon in therôle of Marie. Its first performance in English was at the SurreyTheatre, London, Dec. 21, 1847, under the title of "The Daughter ofthe Regiment, " in which form it is best known in this country. In 1847it was performed as an Italian opera in London, with addedrecitatives, and with Jenny Lind in the leading part. The music of the opera is light and sparkling, the principal interestcentring in the charming nature of the story and its humoroussituations, which afford capital opportunities for comedy acting. Thescene is laid in the Tyrol during its occupation by the French. Marie, the heroine, and the vivandière of the Twenty-first regiment ofNapoleon's army, was adopted as the Daughter of the Regiment, becauseshe was found on the field, after a battle, by Sergeant Sulpice. Onher person was affixed a letter written by her father to theMarchioness of Berkenfeld, which has been carefully preserved by theSergeant. At the beginning of the opera the little waif has grown intoa sprightly young woman, full of mischief and spirit, as is shown byher opening song ("The Camp was my Birthplace"), in which she tellsthe story of her life, and by the duet with Sulpice, known the worldover as "The Rataplan, " which is of a very animated, stirring, andmartial character, to the accompaniment of rattling drums and sonorousbrasses. She is the special admiration of Tony, a Tyrolean peasant, who has saved her from falling over a precipice. The soldiers of theregiment are profuse in their gratitude to her deliverer, andcelebrate her rescue with ample potations, during which Marie singsthe Song of the Regiment ("All Men confess it"). Poor Tony, however, who was found strolling in the camp, is placed under arrest as a spy, though he succeeds in obtaining an interview with Marie and declareshis love for her. The declaration is followed by a charming duet ("Nolonger can I doubt it"). Tony manages to clear up his record, and thesoldiers decide that he may have Marie's hand if he will consent tojoin them. He blithely accepts the condition and dons the Frenchcockade. Everything seems auspicious, when suddenly the Marchioness ofBerkenfeld appears and dashes Tony's hopes to the ground. TheSergeant, as in honor bound, delivers the letter he has beenpreserving. After reading it she claims Marie as her niece, anddemands that the regiment shall give up its daughter, while Tony isincontinently dismissed as an unsuitable person to be connected in anycapacity with her noble family. Marie sings a touching adieu to hercomrades ("Farewell, a long Farewell"), and the act closes withsmothered imprecations on the Marchioness by the soldiers, andprotestations of undying love by Tony. The second act opens in the castle of Berkenfeld, where Marie is dulyinstalled, though she does not take very kindly to her change ofsurroundings. The old Sergeant is with her. Grand company is expected, and the Marchioness desires Marie to rehearse a romance ("The Light ofEarly Days was breaking"), which she is to sing to them. Before she finishes it she and the Sergeant break out into therollicking Rataplan and go through with the military evolutions, tothe horror of the Marchioness. While regret for the absent Tony keepsher in a sad mood, she is suddenly cheered up by the sound of drumsand fifes, announcing the approach of soldiers. They are the gallantTwenty-first, with Tony, now a colonel, at their head. He applies oncemore for Marie's hand. The soldiers also put in a spirited choralappeal ("We have come, our Child to free"). The Marchioness againrefuses. Tony proposes an elopement, to which Marie, in resentment ather aunt's cruelty, consents. To thwart their plans, the Marchionessreveals to Marie that early in life she had been secretly married toan officer of lower family position than her own, and that thisofficer was Marie's father. Unable to dispute the wishes of hermother, she renounces Tony in an agony of grief. At last Marie'ssorrow arouses old associations in the mind of the Marchioness, andshe consents to the union of Tony and Marie. While the music of the opera is light, it is none the less veryattractive, and the work is nearly always popular when performed bygood artists, owing to the comedy strength of the three leading parts, Marie, Tony, and the Sergeant. The rôle of the heroine, small as itis, has always been a favorite one with such great artists as JennyLind, Patti, Sontag, and Albani, while in this country Miss Kelloggand Mrs. Richings-Bernard made great successes in the part. The lattersinger, indeed, and her father, whose personation of the Sergeant wasvery remarkable, were among the first to perform the work in theUnited States. LA FAVORITA. "La Favorita, " an opera in four acts, words by Royer and Waëtz, thesubject taken from the French drama, "Le Comte de Commingues, " wasfirst produced at the Académie, Paris, Dec. 2, 1840, with Mme. Stolzas Leonora, Duprez as Fernando, and Baroelhst as Balthasar. Itssuccess in England, where it was first produced Feb. 16, 1847, wasmade by Grisi and Mario. The scene of the opera is laid in Spain, andthe first act opens in the convent of St. James, of Compostella, wherethe young novice, Fernando, is about to take monastic vows. Before therites take place he is seized with a sudden passion for Leonora, abeautiful maiden who has been worshipping in the cloisters. Heconfesses his love to Balthasar, the superior, who orders him to leavethe convent and go out into the world. Leonora, meanwhile, is belovedby Alphonso, king of Castile, who has provided her a secret retreat onthe island of St. Leon. Though threatened by the pontiff withexcommunication, he has resolved to repudiate his queen, in order thathe may carry out his intention of marrying the beautiful Leonora. Toher asylum a bevy of maidens conducts Fernando. He declares hispassion for her and finds it reciprocated. He urges her to fly withhim, but she declares it impossible, and giving him a commission inthe army signed by the King, urges him to go to the wars and winhonors for her sake. In the second act Balthasar, in the name of the pontiff, visits theirretreat and pronounces the papal anathema upon the guilty pair. Thesame curse is threatened to all the attendants unless Leonora isdriven from the King, and the act closes with their vengeful menaces. In the third act Fernando returns victorious from the war with theMoors. Already beginning to fear the result of the papal malediction, and having learned of Leonora's passion for the victor, Alphonso heapsrewards upon him, even to the extent of giving him Leonora's hand. Fernando, who is ignorant of her past relations to the King, eagerlyaccepts the proffer; but Leonora, in despair, sends her attendant, Inez, to inform him of the real nature of the situation and implorehis forgiveness. The King intercepts her, and the marriage takes placeat once, Fernando not discovering Leonora's shame until it is revealedby the courtiers, who avoid him. He flies from the world to theconvent once more for shelter and consolation, followed by Leonora, who dies in his arms after she has obtained forgiveness. The music of the work is very dramatic in its character, some of thefinales being the strongest Donizetti has written. In the first actthere is a beautifully melodious aria ("Una Vergine"), in whichFernando describes to Balthasar the vision of Leonora which hadappeared to him at his orisons, and a very tender duet ("Deh, vanne!deh, parti") between Fernando and Leonora, in which they sorrowfullypart from each other. In the second act the King has a very passionatearia, where he curses his courtiers for leaguing against him at Rome, followed by a very dramatic duet with Leonora ("Ah! l'alto ardor"). The third act contains the beautiful aria, "O mio Fernando!" which isa favorite with all contraltos. It is remarkable for its warmth andrichness, as well as its dramatic spirit, and the act closes with aconcerted finale of splendid power, in which Fernando breaks hissword, and once more Balthasar anathematizes the King. The fourth actis the most beautiful of all in its music and the most powerful indramatic effect. The chorus of monks in the first scene ("Scaviaml'asilo") is remarkable for its religious character and solemnity. Inthe third scene occurs one of the tenderest and loveliest romanzasever written ("Spirto gentil"), which Donizetti transferred to thiswork from his opera, "Le Duc d'Albe, " which had not been performed, and the libretto of which was originally written by Scribe forRossini. The closing duet between Fernando and Leonora is full ofpathos and beauty, and forms a fitting close to an act which, in onesense at least, is an inspiration, as the whole act was composed infour hours, --a proof of the marvellous ease and facility with whichDonizetti wrote. DON PASQUALE. "Don Pasquale, " an opera buffa in three acts, was first produced atthe Théâtre des Italiens in Paris, Jan. 4, 1843, with the followingextraordinary cast: NORINA Mme. GRISI. ERNESTO Sig. MARIO. DR. MALATESTA Sig. TAMBURINI. DON PASQUALE Sig. LABLACHE. The scene of this brilliant and gay little opera is laid in Rome. DonPasquale is in a rage with Ernesto, his nephew, because he will notmarry to suit him. Dr. Malatesta, his friend and physician, who isalso very much attached to the nephew, contrives a plot in thelatter's interest. He visits the Don, and urges him to marry a lady, pretending that she is his sister, though in reality she is Norina, with whom Ernesto is in love. He then calls upon Norina, and lets herinto the secret of the plot, and instructs her how to play her part. She is to consent to the marriage contract, and then so harass the Donthat he will not only be glad to get rid of her, but will give hisconsent to her marriage with Ernesto. The second act opens in DonPasquale's house, where Ernesto is bewailing his fate. The Don enters, magnificently dressed, and ready for the marriage. Norina appears withMalatesta, and feigns reluctance to enter into the contract; but whenthe notary arrives she consents to sign. No sooner, however, has shesigned it than she drops her assumed modesty. Ernesto, who is present, is bewildered at the condition of affairs, but is kept quiet by a signfrom the Doctor. Norina refuses all the Don's amatory demonstrations, and declares Ernesto shall be her escort. She summons the servants, and lays out a scheme of housekeeping so extravagant that the Don isenraged, and declares he will not pay the bills. She insists he shall, for she is now master of the house. In the third act we find Norinaentertaining milliners and modistes. Don Pasquale enters, and learningthat she is going to the theatre forbids it, which leads to a quarrel, during which Norina boxes his ears. As she leaves the room she drops aletter, the reading of which adds the pangs of jealousy to his othertroubles. The Doctor at this juncture happens in and condoles withhim. The Don insists that Norina shall quit his house at once. In thenext scene he taxes her with having a lover concealed in the house, and orders her to leave. The Doctor counsels him to let his nephewmarry Norina; and in the course of explanations the Don discovers thatthe Doctor's sister and Norina are one and the same person, and thatthe marriage was a sham. He is only too glad of an escape to quarrelwith the Doctor for his plot, and the young couple are speedilyunited, and have the old man's blessing. The charm of the opera lies in its comic situations, and the gay, bright music with which they are illustrated. It is replete with humorand spirit, and flows along in such a bright stream that it is almostimpossible to cull out special numbers, though it contains two duetsand a quartet which are of more than ordinary beauty, and theexquisite serenade in the last act, "Com'e gentil, " which has beenheard on almost every concert-stage of the world, and still holds itsplace in universal popular esteem. For brilliant gayety it stands inthe front rank of all comic operas, though Donizetti was but threeweeks in writing it. It is said that when it was in rehearsal its fatewas uncertain. The orchestra and singers received it very coldly; butwhen the rehearsal was over, Donizetti merely shrugged his shouldersand remarked to his friend, M. Dormoy, the publisher: "Let them alone;they know nothing about it. I know what is the matter with 'DonPasquale. ' Come with me. " They went to the composer's house. Rummagingamong a pile of manuscripts, Donizetti pulled out a song. "This iswhat 'Don Pasquale' wants, " he said. "Take it to Mario and tell him tolearn it at once. " Mario obeyed, and when the opera was performed sangit to the accompaniment of a tambourine, which Lablache played behindthe scenes. The opera was a success at once, and no song has ever beenmore popular. In strange contrast with the gay humor of "Don Pasquale, " it may bestated that in the same year Donizetti wrote the mournful "DonSebastian, " which has been described as "a funeral in five acts. "Crowest, in his "Anecdotes, " declares that the serenade is suggestiveof Highland music, and that many of his other operas are Scottish incolor. He accounts for this upon the theory that the composer was ofScotch descent, his grandfather having been a native of Perthshire, bythe name of Izett, and that his father, who married an Italian lady, was Donald Izett. The change from Donald Izett to Donizetti was aneasy one. The story, however, is of doubtful authenticity. LUCIA DI LAMMERMOOR. "Lucia di Lammermoor, " an opera in three acts, words by Cammarano, wasfirst produced at Naples in 1835, with Mme. Persiani and Sig. Duprez, for whom the work was written, in the principal rôles of Lucia andEdgardo. Its first presentation at Paris was Aug. 10, 1839; in London, April 5, 1838; and in English, at the Princess Theatre, London, Jan. 19, 1843. The subject of the opera is taken from Sir Walter Scott'snovel, "The Bride of Lammermoor, " and the scene is laid in Scotland, time, about 1669. Sir Henry Ashton, of Lammermoor, brother of Lucy, the heroine, hasarranged a marriage between her and Lord Arthur Bucklaw, in order torecover the fortune which he has dissipated, and to save himself frompolitical peril he has incurred by his participation in movementsagainst the reigning dynasty. Sir Edgar Ravenswood, with whom he is atenmity, is deeply attached to Lucy, who reciprocates his love, and onthe eve of his departure on an embassy to France pledges herself tohim. During his absence Edgar's letters are intercepted by herbrother, who hints to her of his infidelity, and finally shows her aforged paper which she accepts as the proof that he is untrue. Overcome with grief at her lover's supposed unfaithfulness, andyielding to the pressure of her brother's necessities, she at lastconsents to her union with Lord Arthur. The marriage contract issigned with great ceremony, and just as she has placed her name to thefatal paper, Edgar suddenly appears. Learning from Lucy what she hasdone, he tramples the contract under foot, hurls an imprecation uponthe house of Lammermoor, and bursts out of the room in a terriblerage. Sir Henry follows him, and a fierce quarrel ensues, which endsin a challenge. Meanwhile, at night, after the newly wedded couplehave retired, a noise is heard in their apartment. The attendants rushin and find Lord Arthur dying from wounds inflicted by Lucy, whosegrief has made her insane. When she returns to reason, the thought ofwhat she has done and the horror of her situation overcome her, andshortly death puts an end to her wretchedness. Ignorant of her fate, Edgar goes to the churchyard of Ravenswood, which has been selected asthe rendezvous for the duel with Sir Henry. While impatiently waitinghis appearance, the bell of the castle tolls, and some of theattendants accosting him bring the news of her death. The despairinglover kills himself among the graves of his ancestors, and the sombrestory ends. The popular verdict has stamped "Lucia" as Donizetti's masterpiece, and if the consensus of musicians could be obtained, it wouldunquestionably confirm the verdict. It contains incomparably thegrandest of his arias for tenor, the Tomb song in the last act, andone of the finest dramatic concerted numbers, the sextet in the secondact, that can be found in any Italian opera. Like the quartet in"Rigoletto, " it stands out in such bold relief, and is so thoroughlyoriginal and spontaneous, that it may be classed as an inspiration. The music throughout is of the most sombre character. It does notcontain a joyous phrase. And yet it can never be charged withmonotony. Every aria, though its tone is serious and more oftenmelancholy, has its own characteristics, and the climaxes are workedup with great power. In the first act, for instance, the contrasts arevery marked between Henry's aria ("Cruda, funesta smania"), the chorusof hunters ("Come vinti da stanchezza"), Henry's second aria ("Lapietade in suo favore"), in which he threatens vengeance upon Edgar, the dramatic and beautifully written arias for Lucy, "Regnava nelsilenzio" and "Quando rapita in estasi, " and the passionate farewellduet between Lucy and Edgar, which is the very ecstasy of commingledlove and sorrow. The second act contains a powerful duet ("Le tradirmitu potrai") between Lucy and Henry; but the musical interest of theact centres in the great sextet, "Chi mi frena, " which ensues whenEdgar makes his unexpected appearance upon the scene of the marriagecontract. For beauty, power, richness of melody and dramaticexpression, few concerted numbers by any composer can rival it. Thelast act also contains two numbers which are always the delight ofgreat artists, --the mad song of Lucy, "Oh, gioja che si senti, " andthe magnificent tomb scena, "Tomba degl'avi miei, " which affords eventhe most accomplished tenor ample scope for his highest powers. L'ELISIR D'AMORE. "L'Elisir d'Amore, " an opera buffa in two acts, words by Romani, wasfirst produced in Milan, in 1832, and in English, at Drury Lane, in1839, as "The Love Spell. " The heroine of this graceful little operais Adina, a capricious country girl, who is loved by Nemorino, a youngfarmer, whose uncle lies at the point of death, and by Belcore, asergeant, whose troops are billeted upon the neighboring village. While Adina keeps both these suitors in suspense, Dr. Dulcamara, atravelling quack, arrives at the village in great state to vend hisnostrums. Nemorino applies to him for a bottle of the Elixir ofLove, --with the magical properties of which he has become acquaintedin a romance Adina has been reading that very morning. The mountebank, of course, has no such liquid, but he passes off on the simple peasanta bottle of wine, and assures him that if he drinks of it he cancommand the love of any one on the morrow. To thoroughly test itsefficacy, Nemorino drinks the whole of it. When he encounters Adina heis half tipsy, and accosts her in such disrespectful style that shebecomes enraged, and determines to give her hand to the sergeant, andpromises to marry him in a week. Meanwhile an order comes for thedeparture of the sergeant's detachment, and he begs her to marry himthe same day. She gives her consent, and the second act opens with theassembling of the villagers to witness the signing of the marriagecontract. While the sergeant, Adina, and the notary have retired tosign and witness the contract, Nemorino enters in despair, and findingDulcamara enjoying a repast, he implores him to give him some charmthat will make Adina love him at once. Having no money, the quackrefuses to assist him, and Nemorino is again plunged into despair. Atthis juncture the sergeant enters, not in the best of humor, for Adinahas declined to sign the contract until evening. Discovering thatNemorino wants money, he urges him to enlist. The bonus of twentycrowns is a temptation. Nemorino enlists, takes the money, hurries tothe quack, and obtains a second bottle of the elixir, which is muchmore powerful than the first. In the next scene the girls of thevillage have discovered that Nemorino's uncle has died and left himall the property, though Nemorino himself has not heard of it. Theycrowd about him, trying to attract his attention with their charms andblandishments. He attributes his sudden popularity to the effects ofthe elixir, and even the quack is somewhat bewildered at theremarkable change. Nemorino now determines to pay Adina off in kind, and at last rouses her jealousy. Meanwhile Dulcamara acquaints herwith the effects of the elixir and advises her to try some of it, andduring the interview inadvertently informs her of Nemorino'sattachment for her. Struck with his devotion, she repays the sergeantherself, announces her change of mind, and bestows her hand upon thefaithful Nemorino. Like "Don Pasquale, " the opera is exceedinglygraceful in its construction, and very bright and gay in its musicaleffects, particularly in the duets, of which there are two, --onebetween Dulcamara and Nemorino in the first act ("Obbligato, ah! siobbligato"), and one between Dulcamara and Adina in the second act("Quanto amore! ed io spietata"), which are charming in their spiritand humor. There is also an admirable buffo song in the first act, beginning with the recitative, "Udite, udite, o rustici, " in which theDoctor describes his wares to the rustics, and a beautiful romanza inthe second act for tenor ("Una furtiva lagrima"), which is ofworld-wide popularity, and bears the same relation to the generalsetting of the work that the Serenade does to "Don Pasquale. " LUCREZIA BORGIA. "Lucrezia Borgia, " an opera in three acts, words by Romani, was firstproduced at La Scala, Milan, in 1834. The subject was taken fromVictor Hugo's tragedy of the same name, and its text was freelyadapted by Romani. When it was produced in Paris, in 1840, Victor Hugotook steps to suppress any further representations. The libretto wasthen rewritten, under the title of "La Rinegata, " the Italiancharacters were changed to Turks, and in this mutilated form theperformances were resumed. It was in this opera that Signor Mario madehis English début, in 1839, with great success. Its first presentationin English was at London, Dec. 30, 1843. The history of Lucrezia Borgia, daughter of Rodrigo Borgia, afterwardsPope Alexander VI. , and sister of Cæsar Borgia, is too well known toneed recapitulation. It is necessary to the comprehension of the storyof the opera, however, to state that she had an illegitimate son, named Genarro, who was left when an infant with a fisherman, but whosubsequently entered the Venetian army and rose to an eminent rank. The opera opens with a brilliant festival in the gardens of theBarberigo Palace, which is attended by Genarro, Orsini, and others, all of them cordial haters of the detestable Borgias. While they aretelling tales of Lucrezia's cruel deeds, Genarro lies down and goes tosleep, and Orsini in a spirited aria ("Nelle fatal di Rimini") relatesto his companions the story of Genarro's gallantry at the battle ofRimini. As they leave, Lucrezia approaches, masked, in a gondola, andis received by Gubetta, with whom she has come to Venice on somesecret errand. She discovers Genarro asleep, and expresses her delightat his beauty, and at the same time her maternal love, in a brilliantaria ("Com'e bello"). As she kisses his hand he wakes, and in the duetwhich follows tells her the story of his early life in an exquisiteromanza ("Di pescatore ignobile"), which is one of the most familiarnumbers in Italian opera. He begs her to reveal her name, but sherefuses. As he continues to implore her, his friends return anddenounce her to Genarro as the hated Borgia, in a concerted number("Chi siam noi sol chiarirla") of great dramatic power, which closesthe first act. The second act opens in the public square of Ferrara, with the palaceof the Borgias on the right. The Duke Alphonso, Lucrezia's husband, who has been observant of Lucrezia's attachment to Genarro, vowsvengeance in a passionate aria ("Vieni la mia vendetta"). In the nextscene Genarro, who has been taunted by his friends with being a victimof Lucrezia's fascinations, recklessly rushes up to the palace doorand strikes off the first letter of her name with his dagger. WhenLucrezia discovers the insult, she demands of the Duke that the guiltyperson shall be arrested and condemned to death. The Duke has alreadyseized Genarro, and agrees to carry out his wife's demands. When theprisoner is brought before them for judgment, she is horror-strickento find he is her son. She implores his life, but the infuriated Dukeretaliates upon her with the declaration that she is his paramour. Theduet between them ("O! a te bada"), in which Lucrezia passes fromhumble entreaties to rage and menace, is a fine instance ofDonizetti's dramatic power. The Duke, however, is resolute in hisdetermination, and will only allow her to choose the mode of Genarro'sdeath. She selects the Borgia wine, which is poisoned. Genarro iscalled in, and after a trio ("Le ti tradisce"), which is one of thestrongest numbers in the opera, he is given the fatal draught underthe pretence of a farewell greeting from the Duke, who then leavesmother and son together. She gives him an antidote, and he is thussaved from the fate which the Duke had intended for him. The last act opens at a banquet in the palace of the Princess Negroni, which is attended by Genarro and his friends, Lucrezia, meanwhile, supposing that he has gone to Venice. During the repast she hasmanaged to poison their wine. In the midst of the gay revel Orsinisings the popular drinking-song, "Il segreto per esser felici, " whichis now familiar the world over. The festivities are interrupted, however, by the appearance of Lucrezia, who reveals herself with thetaunting declaration: "Yes, I am Borgia. A mournful dance ye gave mein Venice, and I return ye a supper in Ferrara. " She then announcesthat they are poisoned. The music is changed with great skill from thewild revelry of drinking-songs to the sombre strains of approachingdeath. Five coffins are shown them, when Genarro suddenly revealshimself to Lucrezia and asks for the sixth. The horror-stricken womanagain perceives that her son has been poisoned by her own hand. As hiscompanions leave the apartment she implores Genarro to take theantidote once more, and at last reveals herself as his mother. Hesteadily refuses to save himself, however, since his companions haveto die, and expires in her arms just as the Duke and his followersenter. She discloses Genarro's relationship, and then dies with thedespairing cry on her lips that Heaven has pronounced its finaljudgment upon her. Among all of Donizetti's operas, not one, unless itbe "Lucia, " is more popular than "Lucrezia Borgia, " which may beattributed to the fact that while the story itself is one offascinating dramatic interest, the musical numbers are simple, beautiful, and effective. FLOTOW. Friedrich von Flotow was born April 27, 1812, in the duchy ofMecklenberg-Schwerin, and in 1827 went to Paris, where he studiedmusic under Reicha. His first work was "Stradella, " a mere sketch inits original form, which was brought out at the Palais Royal in 1837;but his first public success was made in 1839, with his opera, "LeNaufrage de la Méduse, " which had a run, and was afterwards producedin Germany under the title of "Die Matrosen. " "L'Esclave de Camoens"appeared in Paris in 1843; "Stradella, " rewritten as an opera, inHamburg (1844); "L'Âme en peine, " in Paris (1846); "Martha, " in Vienna(1847). The works of his later period, which never equalled hisearlier ones in popularity, were "Die Grossfürstin" (1850); "Indra"(1853); "Rubezahl" (1854); "Hilda" (1855); "Der Müller von Meran"(1856); "La Veuve Grapin" (1859); "L'Ombre" (1869); "Naïda" (1873);"Il Flor d'Harlem" (1876); and "Enchanteresse" (1878). Of these laterworks, "L'Ombre" was the most successful, and was received with favorin France, Italy, Spain, and England, in which latter country it wasperformed under the title of "The Phantom. " In 1856 he received theappointment of Intendant of the theatre of the Grand Duke ofMecklenberg, and he entered upon his duties with high hopes of makingthe theatre exercise the same influence upon music in Germany as theWeimar stage; but court intrigues and rivalries of artists sodisgusted him that he resigned in 1863 and went to Paris, and a fewyears later to Vienna, where he took up his abode. Outside of a few ofhis operas his works are little known, though he composed a"Fackeltanz, " some incidental music to the "Winter's Tale" ofShakspeare, and several overtures, songs, and chamber-pieces. Aninteresting episode in his career occurred in 1838, when he broughtout an opera in three acts, the "Duc de Guise, " at the Théâtre de laRenaissance, the libretto based upon Dumas's "Henri III. " Theperformance was organized by the Princess Czartoryska, for the benefitof the Poles. Mme. De Lagrange made her début in a leading part, andthe parts of the choristers were filled by duchesses and princesses ofthe Faubourg St. Germain, upon whose persons two million dollars worthof diamonds were blazing, --sufficient evidence that the performancewas brilliant in at least one sense. He died at Wiesbaden, Jan. 24, 1883. MARTHA. "Martha, " an opera in three acts, libretto by St. Georges, translatedinto German by Friedrich, was first produced at Vienna, Nov. 25, 1847, with Mlle. Anna Zerr in the title-rôle, Herr Ander as Lionel, and CarlFormes as Plunkett. It was first produced in English and Italian atLondon in 1858, and in French at Paris in 1865. The history of itsorigin is interesting. M. De St. Georges, at the request of themanager of the Paris Grand Opera, wrote in 1842 the libretto to aballet entitled "Lady Henrietta, or the Servant of Greenwich, " thesubject being suggested to him by the adventures of two ladies of hisacquaintance who had mingled with servants at a fair. The music wasconfided to three composers. The first act was given to Herr vonFlotow, the second to Herr Burgmuller, and the third to M. Deldeves. The ballet had such a remarkable success, and Flotow was so delightedwith the plot, that he entreated St. Georges to rewrite it for anopera. The latter consented, and the result of their collaboration wasthe appearance of one of the most popular operas which has ever beenplaced upon the stage. The scene of the opera is laid at Richmond, England, and the time isduring the reign of Queen Anne, though the Italian version places itin the fifteenth century, and the French in the nineteenth. LadyHenrietta, an attendant upon the Queen, tired of the amusements ofcourt life, contrives a plan to visit the servants' fair at Richmonddisguised as a servant-girl, and accompanied by Nancy, her maid, andSir Tristan, her somewhat aged cousin, who is also her devotedadmirer. In the first three scenes their plans are laid much to thedisgust of Sir Tristan, who is to pass as John, while his fair cousinmasquerades as Martha. The duet between the ladies ("Of the Knights sobrave and charming"), and the trio with Tristan, are in dance time, and full of animation. The fourth scene opens in the market-place atRichmond, where the people are gathering to the fair. Thither alsoresort Plunkett, a farmer, and Lionel, his brother by adoption, whoseparentage is unknown, and who has no souvenir of his father except aring which has been left for him, with instructions to present it tothe Queen if he ever finds himself in trouble. Lionel tells his storyin an aria ("Lost, proscribed, an humble Stranger") which isuniversally popular, and the melody of which has been set to variouswords. They have come to the fair to procure help for their farm. While the sheriff, according to law, is binding the girls for a year'sservice, Plunkett and Lionel meet Martha and Nancy, and are sodelighted with their appearance that they tender them the customarybonus, or "earnest-money, " which secures them. Too late for escape, they find that they are actually engaged, and they are obliged todrive away with the young farmers, leaving Sir Tristan in despair. The second act opens in the farm-house, where the four have arrived. The farmers inquire their names, and seek to find out what they cando, testing them first at the spinning-wheel. The spinning quartet("When the Foot the Wheel turns lightly") is very gay and full ofhumor, and is one of the most delightful concerted numbers in theopera. The brothers soon find that their new servants are useless, butthey are so pleased with them that they decide to keep them. At lastNancy, in a pet, kicks her wheel over and runs off, followed byPlunkett. Lionel, left alone with Martha, grows very tender to the newservant, and at last finds himself violently in love. He snatches arose from her bosom, and refuses to return it unless she will consentto sing. She replies with the familiar ballad, "'Tis the last Rose ofSummer, " which Flotow has interpolated in this scene, and in theperformance of which he makes a charming effect by introducing thetenor in the close. Her singing only makes him the more desperatelyenamoured, and he asks her to be his wife on the spot, only to findhimself the victim of Martha's sport, although his devotion andsincerity have made a deep impression upon her. Plunkett and Nancy atlast return, and another charming quartet follows ("Midnight sounds"), better known as the "Good Night Quartet. " The two brothers retire, butMartha and Nancy, aided by Tristan, who has followed them anddiscovered their whereabouts, make good their escape. The next sceneopens in the woods, where several farmers are drinking and carousing, among them Plunkett, who sings a rollicking drinking-song ("I want toask you"). Their sport is interrupted by a hunting-party, composed ofthe Queen and her court ladies. Plunkett and Lionel recognize theirfugitive servants among them, though the ladies disclaim all knowledgeof them. Plunkett attempts to seize Nancy, but the huntresses attackhim and chase him away, leaving Lionel and Lady Henrietta togetheragain. The scene contains two of the most beautiful numbers in theopera, --the tenor solo, "Like a Dream bright and fair" ("M' appari" inthe Italian version), and a romance for soprano ("Here in deepestforest Shadows"); and the act closes with a beautiful concertedfinale, quintet and chorus, which is worked up with great power. Inthis finale the despairing Lionel bethinks him of his ring. He givesit to Plunkett, desiring him to present it to the Queen. By means ofthe jewel it is discovered that he is the only son of the late Earl ofDerby, and she orders his estates, of which he has been unjustlydeprived, to be restored to him. The last act is not important in a musical sense, for the climax isattained in the previous finale. The dramatic dénouement is soonreached, and the Lady Henrietta, who has for some time been seriouslyin love with Lionel, is at last united to him; and it is almostneedless to add that the fortunes of Plunkett and Nancy are alsojoined. The charm of "Martha" is its liveliness in action andtunefulness in music. Though not a great opera from a musical point ofview, it is one of the most popular in the modern repertory, andthough few others have been performed so many times, it still retainsthat popularity. Its melodies, though sung in every country of thecivilized world by amateurs and professional artists, have not yetlost their charms. STRADELLA. "Stradella, " a romantic opera in three acts, was first written as alyric drama and produced at the Palais Royal Theatre, Paris, in 1837, and was subsequently rewritten in its present form under the title of"Alessandro Stradella" and produced at Hamburg, Dec. 30, 1844. TheEnglish version, which was somewhat altered by Bunn, was produced inLondon, June 6, 1846. The story follows the historic narrative ofStradella, the Italian musician, except in the dénouement. Stradellawoos and wins Leonora, the fair ward of Bassi, a rich Venetiannobleman, with whom the latter is himself in love. They fly to Romeand are married. Bassi hires two bravoes, Barbarino and Malvolio, tofollow them and kill Stradella. They track him to his house, and whilethe bridal party are absent enter and conceal themselves, Bassi beingwith them. Upon this occasion, however, they do not wait to accomplishtheir purpose. Subsequently they gain admission again in the guise ofpilgrims, and are hospitably received by Stradella. In the next sceneStradella, Leonora, and the two bravoes are together in the sameapartment, singing the praises of their native Italy. During theirlaudations the chorus of a band of pilgrims on their way to the shrineof the Virgin is heard, and Leonora and Stradella go out to greetthem. The bravoes have been so moved by Stradella's singing that theyhesitate in their purpose. Bassi enters and upbraids them, andfinally, by the proffer of a still larger sum, induces them to consentto carry out his design. They conceal themselves. Stradella returnsand rehearses a hymn to the Virgin which he is to sing at thefestivities on the morrow. Its exquisite beauty touches them so deeplythat they rush out of their hiding-place, and falling at his feetconfess the object of their visit and implore his forgiveness. Leonoraenters, and is astonished to find her guardian present. Explanationsfollow, a reconciliation is effected, and the lovers are happy. Thedénouement differs from the historical story, which, according toBonnet, Bourdelot, and others, ends with the death of the lovers atGenoa, at the hands of the hired assassins. The opera is one of the most charming of Flotow's works for its aptunion of very melodious music with dramatic interest. Its mostbeautiful numbers are Stradella's serenade ("Horch, Liebchen, horch!"), the following nocturne ("Durch die Thäler, über Hügel"), thebrilliant and animated carnival chorus ("Freudesausen, Jubelbrausen")of the masqueraders who assist in the elopement, in the first act; thearia of Leonora in her bridal chamber ("Seid meiner Wonne"), therollicking drinking-song of the two bravoes ("'Raus mit dem Nass ausdem Fass") and the bandit ballad ("Tief in den Abruzzen ") sung byStradella, in the second act; an exquisite terzetto ("Sag doch an, Freund Barbarino") sung by Bassi and the two bravoes when theyhesitate to perform their work, and Stradella's lovely hymn to theVirgin ("Jungfrau Maria! Himmlisch verklärte"), in the last act. GLUCK. Christoph Willibald Gluck, one of the most eminent of German operaticcomposers, was born at Weidenwang in the Upper Palatinate, July 2, 1714. He began his musical studies in a Bohemian Jesuits' School atthe age of twelve. In his eighteenth year he went to Prague, where hecontinued his education with Czernhorsky. Four years later he wasfortunate enough to secure Prince Melzi for a patron, who sent him toMilan, where he completed his studies with Sammartini. From 1741 to1745 he produced numerous operas, which were well received, and in thelatter year visited London, where he brought out several works, amongthem "La Caduta de' Giganti. " His English experience was far fromsatisfactory, and he soon returned to Germany, stopping at Paris onthe way, where Rameau's operas had a strong influence upon him. From1746 to 1762 he wrote a large number of operas, with varying successso far as performance was concerned, but with great and lastingbenefit to his style and fame, as was shown when his "Orpheus" wasfirst produced, Oct. 5, 1762. Its success determined him at once toacquaint the musical world with his purpose to reform the opera bymaking it dramatically musical instead of purely lyric, thus pavingthe way for the great innovator of Baireuth. "Alceste, " produced in1767, was the first embodiment of these ideas. Strong criticismgreeted it, to which he replied with "Iphigénie en Aulide, " written in1772, and performed for the first time in Paris two years later, underthe auspices of Marie Antoinette, who had once been his pupil. It wasfollowed by "Orpheus and Eurydice, " adapted from his earlier work ofthe same name, which met with brilliant success. In 1777 he broughtout "Armide. " It aroused an unprecedented excitement. Piccini was atthat time in Paris. He was the representative of the old Italianschool. His partisans gathered about him, and a furious war was wagedbetween the Gluckists and Piccinists for three or four years; thecombatants displaying a bitterness of criticism and invective evenworse than that which Wagner brought down upon his devoted head. WhenGluck brought out his great work, "Iphigénie en Tauride, " in 1779, however, the Piccinists quitted the field and acknowledged thereformer's superiority. "Echo et Narcisse" was written in the sameyear, but "Iphigénie en Tauride" was his last great work. He retiredshortly afterwards to Vienna, where he died Nov. 15, 1787. ORPHEUS. "Orpheus, " the libretto by the Italian poet Calzabigi, was firstproduced at Vienna, Oct. 5, 1762, and for the first time outlined thenew ideas which Gluck had advanced for the reform of the lyric stage. Twelve years later the composer revised the work. Several new numberswere added, its acts were extended to three, and the principal rôlewas rewritten for a high tenor in place of the alto, to whom it hadbeen originally assigned. In this form it was brought out at the ParisAcadémie, Aug. 2, 1774. In 1859 it was revived in Paris, for whichoccasion Berlioz restored the original alto part for Mme. Viardot-Garcia. With its performances in this country by the AmericanOpera Troupe during the season of 1885-86, under the direction of Mr. Theodore Thomas, our readers are already familiar. The three soloistsduring that season were Helene Hastreiter, Emma Juch, and MinnieDilthey. The story, except in its denouement, closely follows the antiquelegend. After performing the funeral rites of Eurydice, Orpheusresolves to seek for her in the world of Shades, having receivedpermission from Zeus upon condition that he will not look upon heruntil they have safely returned. Orpheus descends to Hades; and thoughhis way is barred by phantoms, his pleading appeals and the tendertones of his harp induce them to make way for him. He finds Eurydicein the Elysian fields, and taking her by the hand leads her on to theupper world. In a fatal moment he yields to her desire to see him, andshe sinks back lifeless. Love, however, comes to the rescue, and fullof compassion restores her. Thus the happy lovers are reunited; andthe opera closes without the tragic denouement of the old myth. In theAmerican performances the opera was divided into four acts, which isthe order we shall follow. The short overture is characterized by a grandeur and solemnity thatwell befit the pathetic story. The curtain rises upon a grottocontaining the tomb of Eurydice, against which Orpheus mournfullyleans, while upon its steps youths and maidens are strewing flowers asthey chant the sombre song, "Ah! in our still and mournful Meadow. "The sad wail of Orpheus upon the single word "Eurydice" is heardthrough its strains, which continually increase in solemnity. At last, as if too much to bear, Orpheus interrupts their threnody with thewords, "The Sounds of your Lament increase my bitter Anguish. " Thechorus in reply resumes its melancholy tribute to Eurydice and thenretires, leaving Orpheus alone, who in a monologue full of pathos andsorrow ("My Eurydice! my Eurydice! lost forever"), sings his grief andimplores the gods to restore his loved one. In answer to his prayer, Amor, god of love, appears and announces that the gods have been movedto compassion; and if his song and lyre can appease the phantoms, death shall give back Eurydice upon the conditions already named. Theact closes with the joyful song of Orpheus: "Will pitying Heaven withwondrous Favor restore mine own?" The second act opens in the abysses of the underworld. Flames shoot upamid great masses of rock and from yawning caverns, throwing theirlurid glare upon the phantoms, who writhing in furious indignationdemand in wild and threatening chorus, as the tones of Orpheus's lyreare heard, "Who through this awful Place, thinking alive to pass, rashly dares venture here?" Madly they call upon Cerberus "to kill thynew Prey here. " The barking of the triple-headed monster is heard inthe tones of the orchestra. They surround Orpheus as he approaches, and with renewed clamor continue this thrilling chorus. In the midstof its cruel intensity is heard the appealing voice of Orpheus ("InPity be moved by my Grief"). With overwhelming wrath comes thereiterated monosyllable, "No, " from the Furies, --one of the mostdaring and powerful effects ever made in dramatic music, --followed byanother appalling chorus, as they announce to him, "These are theDepths of Hell, where the Avengers dwell. " At last they are touched bythe charm of his music and the sorrow of his story; and as their furydies away, the song of Orpheus grows more exultant as he contemplatesthe reunion with Eurydice. The gates of the lower world are opened, and in the third act Orpheusenters Elysium. The scene begins with a tender, lovely song byEurydice and her companions ("In this tranquil and lovely Abode of theBlest"), the melody taken by the flute with string accompaniment. Allis bright and cheerful and in striking contrast with the gloom andterror of the Stygian scene we have just left. After a shortrecitative ("How mild a Day, without a Noon"), Orpheus seeks her. Sheis brought to him by a crowd of shadows; and breaking out in joyfulsong he takes her by the hand and turns his face to the upper world. The fourth act is almost entirely an impassioned duet between Orpheusand Eurydice. He releases her hand for fear that he may turn and lookupon her. Eurydice chides him ("Am I changed or grown old that thouwilt not behold me?"). In vain he urges her to follow him. Sheupbraids him for his coldness, and demands one glance as a test of hislove. He still refuses, and then she sorrowfully bids him farewell. Atlast, overcome with weariness and sorrow, he gazes upon her; and atthat instant she falls lifeless. Then Orpheus breaks out in thatimmortal song, the _Che faro senza Eurydice_ ("I have lost myEurydice"), the beauty and pathos of which neither time nor change ofmusical custom can ever mar. He is about to take his life with hissword; but Amor suddenly appears upon the scene, stays his hand, andtells him the gods are moved by his sufferings. He restores Eurydiceto life, and the opera closes with a beautiful terzetto in Love'stemple. The denouement is followed by ballet music. GOETZ. Hermann Goetz, to whose life attaches a mournful interest, was born atKoenigsberg, Dec. 17, 1840. He had no regular instruction in musicuntil his seventeenth year. At that period he began his studies withKöhler, and then passed successively under the tuition of Stern, Ulrich, and Von Bülow. At the age of twenty-three he obtained aposition as organist at Winterthur, and also taught at Zurich. It wasduring this time that he composed his opera, "The Taming of theShrew, " meanwhile supporting himself as he best could, sometimesstruggling with actual poverty. For years he attempted to secure ahearing for his opera; but it was not until 1874 that its great meritwas recognized, for in that year it was produced at Mannheim withinstant success. Its fame travelled all over Germany. It was performedin Vienna in 1875, and the same year in Leipsic and Berlin, andreached London in 1878. It was not heard in this country until theseason of 1885-86, when it was produced by the American Opera Company. The composer did not live long enough, however, to enjoy the fruits ofhis work, as he died in 1876. He also left behind him an unfinishedscore of a second opera, "Francesca di Rimini, " which was completed byhis friend Franke at his request, but proved a failure. His otherworks include a symphony in F, a suite for orchestra, and many chambercompositions. THE TAMING OF THE SHREW. "The Taming of the Shrew, " as related in the sketch of the composer'slife, was written about the year 1863, and first produced at Mannheimin 1872. Its first performance in this country was in January, 1886, when the cast was as follows:-- KATHARINE PAULINE L'ALLEMAND. BIANCA KATE BENSBERG. PETRUCHIO WILLIAM H. LEE. BAPTISTA W. H. HAMILTON. LUCENTIO W. H. FESSENDEN. HORTENSIO ALONZO STODDARD. A TAILOR JOHN HOWSON. The libretto is freely adapted from Shakspeare's comedy by JosephVictor Widmann. The plot is very simple. Baptista, a rich Paduangentleman, has two daughters, --Katharine, the shrew, and Bianca, ofsweet and lovable disposition. Both Hortensio and Lucentio are in lovewith Bianca; but the obdurate father will not listen to either untilKatharine shall have been married. In this apparently hopelesssituation a gleam of comfort appears, in the suit which the richgallant Petruchio, of Verona, pays to Katharine, in disgust with thesycophants who have been manifesting such deference to his wealth. Theremainder of the story is occupied with the details of the variousprocesses by which he breaks and tames the shrew, and the ingeniousruse by which Lucentio gains the hand of the lovely Bianca. The curtain rises upon a night scene in Padua, with Lucentio beforeBianca's house singing a melodious serenade. Its strains areinterrupted, however, by a hurly-burly in the house, caused by theshrew's demonstrations. The tumult is transferred to the street, andgives occasion for a very vigorous ensemble. When the crowd disperses, Lucentio resumes his serenade, Bianca appears upon the balcony, andthe two join in a very pleasing duet. This number is also interruptedby Hortensio, at the head of a band of street musicians, who has alsocome to serenade his mistress. The encounter of the two lovers bringson a quarrel, which is averted, however, by the interposition ofBaptista. A duet follows between them, at the close of which Lucentioretires. Petruchio now appears upon the scene, and learns fromHortensio of Katharine's vixenish disposition, which determines him towoo her. With a stirring song ("She is a Wife for such a Mancreated"), the act comes to an end. The second act opens in a chamber in Baptista's house, where Katharineis berating Bianca for accepting serenades from suitors, and abusesher even to blows. The scene closes with a vigorous song for Katharine("I'll give myself to no one"), which is greeted with cynical applauseby Petruchio, Baptista, Lucentio, and Hortensio, who enter, the lasttwo disguised as teachers. In the next scene, Petruchio and Katharinealone, we have the turbulent wooing, which is accompanied throughoutby characteristic music. As the others return Petruchio announces hissuccess in the song, "All is well, " the theme of which is taken by thequintet, closing the act. The third is the most interesting act of the three. It opens on theday selected for the wedding of Katharine and Petruchio, in Baptista'sgarden; the first number being a charming quintet for Katharine, Bianca, Lucentio, Hortensio, and Baptista. The guests are present, butPetruchio is not there. An explanation is made, followed by a chorusas the guests leave; and then Bianca is free to take her lessons, inone of which Lucentio makes his avowal of love to her. The arrangementof the two lessons is both unique and skilful. Lucentio turns thefamiliar opening lines of the Æneid, "Arma virumque cano, " etc. , intoa love-song by declarations interposed between them; while Hortensioexplains the mysteries of the scale to her, each line of his love-songbeginning with one of its letters. It is soon found, however, thatLucentio is the accepted lover. Baptista now enters and announcesPetruchio's return, which leads to a charming quartet. The finale ofthe opera, which is very spirited, includes the preparations for themarriage-feast, the wedding, and the scene in which Petruchio abruptlyforces his bride to leave with him for his country house. GOLDMARK. Karl Goldmark was born at Keszthely, Hungary, May 18, 1832. He firststudied with the violinist Jansa at Vienna, and in his fifteenth yearentered the Conservatory in that city. Little is known of the eventsof his early life. Indeed, his success in his profession is generallycredited more to his native ability and industry than to the influenceof teachers or schools. He began composition at an early period, andproduced his works in concerts with much success under theencouragement of Hellmesberger and others, who recognized his abilitybefore he had made any impression out of Vienna. Four of hiscompositions during the past fifteen years, the "Sakuntala" overture, the operas "The Queen of Sheba" and "Merlin, " and "Die IändlicheHochzeit" (The Country Wedding) symphony have made a permanentreputation for him. The overture and operas have been performedseveral times in this country. Besides these he has written severalpieces of chamber music. THE QUEEN OF SHEBA. "The Queen of Sheba" was first produced in Vienna, March 10, 1875, andwas first heard in this country at New York, Dec. 2, 1885, when thecast was as follows:-- KING SOLOMON Herr ROBINSON. HIGH-PRIEST Herr FISCHER. SULAMITH Fraülein LEHMANN. ASSAD Herr STRITT. BAAL HANAN Herr ALEXI. QUEEN OF SHEBA Frau KRAMER-WEIDL. ASTAROTH Fraülein BRANDT. The libretto by Mosenthal is one of rare excellence in its skilfultreatment of situations and arrangement of scenes with the view tospectacular and dramatic effect. The Biblical story has but little todo with the action of the opera beyond the mere fact of the famousvisit of the Queen of Sheba to Solomon. The stirring episodes duringthe journey and the visit spring from the librettist's imagination. The story in substance is as follows:-- King Solomon, learning of the Queen's intention to visit him, sendshis favorite courtier Assad to escort her. While she waits outside thegates of Jerusalem, Assad announces her arrival to the King andSulamith, the daughter of the high-priest, to whom the courtier isaffianced. Observing his disturbed looks, the King, after dismissinghis attendants, inquires the cause. Assad replies that on theirjourney through the forest he had encountered a nymph bathing whosebeauty had so impressed him as to banish even the thoughts of hisaffianced. The wise Solomon counsels him to marry Sulamith at once. Meanwhile the Queen comes into the King's presence, and as she liftsher veil reveals the unknown fair one. She affects ignorance ofAssad's passion; but when she learns that he is to wed Sulamith lovefor him springs up in her own breast. Upon the day of the weddingceremony Assad, carried away by his longing for the Queen, declaresher to be his divinity, and is condemned to death for profaning theTemple. Both the Queen and Sulamith appeal to the King for mercy. Heconsents at last to save his life, but banishes him to the desert. TheQueen seeks him there, and makes an avowal of her love; but Assadrepulses her. As Sulamith comes upon the scene a simoom sweeps acrossthe desert. They perish in each other's arms; while in a mirage theQueen and her attendants are seen journeying to their home. The first act opens in the great hall of Solomon's palace with abrilliant, joyous chorus ("Open the Halls, adorn the Portals") inpraise of the King's glory. After the entrance of the high-priest, Sulamith sings a fascinating bridal song ("My own Assad returns"), richly oriental both in music and sentiment, dreamy and luxurious inits tone, and yet full of joyous expectation, with characteristicchoral refrain and dainty accompaniment. The fourth and fifth scenesare full of agitation and unrest, and lead up to Assad's explanationof his perturbed condition ("At Lebanon's Foot I met Arabia's Queen"), a monologue aria of rich glowing color and reaching a fine dramaticclimax as it progresses from its sensuous opening to the passionateintensity of its finale. It is followed by the entrance of the Queen, accompanied by a brilliant march and a jubilant chorus ("To the Sun ofthe South our Welcome we bring") and a stirring concerted number, describing the recognition of the Queen by Assad; after which thechorus resumes its jubilant strain, bringing the act to a close. The second act opens in the gardens of the palace and discloses theQueen, who gives expression to her love for Assad and her hatred ofSulamith in an impassioned aria ("Let me from the festal Splendor"). In the second scene Astaroth, her slave, appears and lures Assad by aweird strain, which is one of the most effective passages in the opera("As the Heron calls in the Reeds"). After a short arioso by Assad("Magical Sounds, intoxicating Fragrance"), a passionate duet with theQueen follows, interrupted by the call of the Temple-guard to prayer. The scene changes to the interior of the sanctuary with its religiousservice; and with it the music changes also to solemn Hebrew melodieswith the accompaniment of the sacred instruments, leading up to thestirring finale in which Assad declares his passion for the Queen, amid choruses of execration by the people. The third act opens in the banquet-hall upon a scene of festivityintroduced by the graceful bee dance of the Almas. It is followed bythe powerful appeal of the Queen for Assad's life, rising to anintensely dramatic pitch as she warns the King of the revenge of herarmed hosts ("When Sheba's iron Lances splinter and Zion's Throne inRuins falls"). In sad contrast comes the mournful chant whichaccompanies Sulamith as she passes to the vestal's home ("The Hourthat robbed me of him"), and ends in her despairing cry rising abovethe chorus of attendants as Solomon also refuses her petition. The last act passes in the desert. Assad beneath a solitary palm-treelaments the destiny which pursues him ("Whither shall I wend my wearySteps?"). In the next scene the Queen appears, and an agitated duetfollows, ending with her repulse. Assad in despair calls upon death torelieve him. The sky darkens. Clouds of sand envelop the fugitive. Thepalm bends before the blast as the simoom sweeps by. The storm at lastsubsides. The sky grows brighter; and the Queen and her attendants, with their elephants and camels, appear in a mirage journeyingeastward as Sulamith and her lover expire in each other's arms. Astheir duet dies away, the chorus of maidens brings the act to a closewith a few strains from the love-song in the first act. MERLIN. The opera of "Merlin" was first performed at Vienna, Nov. 17, 1886, and was heard for the first time in this country at New York, Jan. 3, 1887, under the direction of Mr. Walter Damrosch, with the followingcast:-- KING ARTHUR Herr ROBINSON. MODRED Herr KEMLITZ. LANCELOT Herr BURSCH. GAWEIN Herr HEINRICH. GLENDOWER Herr VON MILDE. MERLIN Herr ALVARY. VIVIANE Fraülein LEHMANN. BEDWYR Herr SIEGLITZ. THE FAY MORGANA Fraülein BRANDT. THE DEMON Herr FISCHER. The libretto of the opera is by Siegfried Lipiner. The scene is laidin Wales, and the hero, Merlin, is familiar as one of the knights ofKing Arthur's round-table. The story is as follows:-- The Devil, ambitious to banish all good from the world, unites himselfto a virgin in order that he may beget a child who shall aid him inhis fell purpose. The child is Merlin, who partakes of the mother'sgoodness, and instead of aiding his father, seeks to thwart hisdesign. The Devil thereupon consults the Fay Morgana, who tells himthat Merlin will lose his power if he falls in love. In the openingscene King Arthur sends Lancelot to Merlin for aid, who promises himvictory and achieves it by the assistance of his familiar, a demon, who is in league with the Devil. Tired of his service to Merlin, thedemon contrives to have him meet the beautiful Viviane, with whom hefalls in love. The second act transpires in Merlin's enchanted garden, and reveals his growing passion, and at the same time his waning powerof magic; for when once more Arthur summons his aid he attempts totear himself away from her only to realize his weakness. She seeks todetain him by throwing a magic veil over him which has been given herby the demon; in an instant the scene changes, and Merlin appearsconfined to a rock by fiery chains, while the demon mocks him from aneighboring eminence, and Viviane gives way to anguish. In the lastact Viviane is told by the Fay Morgana that Merlin's release can onlybe secured by woman's self-sacrifice. Once more an appeal for helpcomes to him from Arthur, and he promises his soul to the demon inexchange for his freedom. His chains fall off. He rushes into thebattle and secures the victory, but is fatally wounded. The demonclaims him; but Viviane, remembering the words of the Fay Morgana, stabs herself and thus balks him of his expectant prey. Like Wagner's operas, "Merlin" has its motives, the principal onesbeing that of the demon, or the evil principle, and two love motives. In its general treatment it is also Wagnerish. The first scene openswith the spirited message of Lancelot to Glendower, beseechingMerlin's aid for the hard-pressed Arthur. It is followed by thestrains of Merlin's harp in the castle and his assurance of victory, and these in turn by very descriptive incantation music summoning thedemon and the supernatural agencies which will compass the defeat ofArthur's enemies. Then comes the interview between the demon and theFay Morgana, in which he learns the secret of Merlin's weakness. Inthe next scene Arthur returns from his victory over the Saxons to thetempo of a stirring march, and accompanied by the joyous choruses ofwomen. A vigorous episode, in which Bedwyr, one of Arthur's knights, is charged with treachery, is followed by Merlin's chant of victorywith chorus accompaniment. As its strains die away a distant hornannounces Viviane, who makes her appearance singing a breezy huntingsong with her maidens, leading up to a spirited septet. Then followsthe baffled attempt of Viviane to crown Merlin, the scene closing witha repetition of the chant of victory and the choruses of jubilation. The second act opens in the enchanted gardens of Merlin; and the firstscene reveals a conspiracy to seize the crown during Arthur's absenceand proclaim Modred king, and the farewell of Arthur and his suite toMerlin. The magic-veil scene follows with its fascinating dancetempos, and leads with its graceful measures up to the passionatelove-scene between Merlin and Viviane, which is harshly broken in uponby the clash of arms between Modred and his perfidious companions andthe faithful friends of Arthur. A dramatic scene of great energyfollows, in which Viviane at last throws the magic veil around Merlinwith the transforming results already told. The last act opens with Viviane's mournful lament for the wretchedfate which she has brought down upon her lover, and the announcementof the means by which he may be released made to her in slumber by theFay Morgana. Her maidens seek to rouse her with choral appeals, inwhich are heard phrases of her hunting song. Meanwhile mocking spiritsappear about Merlin and taunt him in characteristic music. Thenfollows the compact with the demon, which releases him. He rushes intothe battle accompanied by an exultant song from Viviane; but soon thefuneral march, as his followers bear him from the field, tells themournful story of his fate. A very dramatic ensemble contains the deedof self-sacrifice, by which Viviane ends her life to redeem Merlinfrom the demon, and with this powerful effect the opera closes. GOUNOD. Charles François Gounod was born, in Paris, June 17, 1818. He studiedmusic in the Conservatory, under the direction of Halevy, Lesueur, andPaer, and in 1839 obtained the first prize, and, under the usualregulations, went to Italy. While at Rome he devoted himself largelyto religious music. On his return to Paris he became organist of theMissions Étrangères, and for a time seriously thought of takingorders. In 1851, however, he brought out his first opera, "Sappho, "which met with success. At this point his active career began. In 1852he became conductor of the Orphéon, and wrote the choruses forPonsard's tragedy of "Ulysse. " The year 1854 brought a five-act opera, "La Nonne Sanglante, " founded on a legend in Lewis's "Monk. " In 1858he made his first essay in opera comique, and produced "Le Médecinmalgré lui, " which met with remarkable success. The next year "Faust"was performed, and placed him in the front rank of living composers. "Philémon et Baucis" appeared in 1860, and "La Reine de Saba, " whichwas afterwards performed in English as "Irene, " in 1862. In 1863 hebrought out the pretty pastoral opera "Mireille. " This was succeededin 1866 by "La Colombe, " known in English as "The Pet Dove, " and in1867 by "Roméo et Juliette. " In 1877 he produced "Cinq Mars, " and in1878 his last opera, "Polyeucte. " He has also written much churchmusic, the more important works being the "Messe Solenelle, " a "StabatMater, " the oratorio "Tobie, " a "De Profundis, " an "Ave Verum, " andmany single hymns and songs, among which "Nazareth" is universallypopular. His list of compositions for orchestra is also very large, and includes such popular pieces as the "Saltarello, " "Funeral Marchof a Marionette, " and the Meditation, based on Bach's First Prelude, which is accompanied by a soprano solo. He was elected a member of theInstitut de France in 1866. FAUST. "Faust, " a grand opera in five acts, words by Barbier and Carré, founded upon Goethe's tragedy, was first produced at the ThéâtreLyrique, Paris, March 19, 1859, with the following cast of theprincipal parts:-- MARGUERITE Mme. MIOLAN-CARVALHO. SIEBEL Mlle. FAIVRE. FAUST M. BARBOT. VALENTIN M. REGNAL. MEPHISTOPHELES M. BALANQUÉ. MARTHA Mme. DUCLOS. The opera was first produced in London as "Faust, " June 11, 1863; inEnglish, Jan. 23, 1864; and in Germany as "Margarethe. " The story of the opera follows Goethe's tragedy very closely, and isconfined to the first part. It may be briefly told. Faust, an agedGerman student, satiated with human knowledge and despairing of hisability to unravel the secrets of nature, summons the evil spiritMephistopheles to his assistance, and contracts to give him his soulin exchange for a restoration to youth. Mephistopheles effects thetransformation, and reveals to him the vision of Marguerite, abeautiful village maiden, with whom Faust at once falls in love. Theyset out upon their travels and encounter her at the Kermesse. She hasbeen left by her brother Valentin, a soldier, in care of Dame Martha, who proves herself a careless guardian. Their first meeting is acasual one; but subsequently he finds her in her garden, and with thehelp of the subtle Mephistopheles succeeds in engaging the younggirl's affection. Her simple lover, Siebel, is discarded, and hisnosegay is thrown away at sight of the jewels with which Faust temptsher. When Valentin returns from the wars he learns of her temptationand subsequent ruin. He challenges the seducer, and in the encounteris slain by the intervention of Mephistopheles. Overcome by the horrorof her situation, Marguerite becomes insane, and in her frenzy killsher child. She is thrown into prison, where Faust and Mephistophelesfind her. Faust urges her to fly with them, but she refuses, andplaces her reliance for salvation upon earnest prayer, and sorrow forthe wrong she has done. Pleading for forgiveness, she expires; and asMephistopheles exults at the catastrophe he has wrought, angels appearamid the music of the celestial choirs and bear the sufferer toheaven. The first act is in the nature of a prelude, and opens with a longsoliloquy ("Interrogo invano") by Faust, in which he laments theunsatisfactoriness of life. It is interwoven with delightful snatchesof chorus heard behind the scenes, a duet with Mephistopheles ("Ma ilciel"), and the delicate music accompanying the vision of Marguerite. The second act is contained in a single setting, the Kermesse, inwhich the chorus plays an important part. In the first scene thechoruses of students, soldiers, old men, girls, and matrons arequaintly contrasted, and are full of animation and characteristiccolor. In the second, Valentin sings a tender song ("O santamedaglia") to a medallion of his sister which he wears as a charm. Itis followed by a grim and weird drinking-song ("Dio dell' or"), sungby Mephistopheles. The latter then strikes fire from the fountain intohis cup, and proposes the health of Marguerite. Valentin springsforward to resent the insult, only to find his sword broken in hishands. The students and soldiers recognize the spirit of evil, andovercome him by presenting the hilts of their swords in the form of across, the scene being accompanied by one of the most effectivechoruses in the work ("Tu puvi la spada"). The tempter gone, the sceneresumes its gayety, and the act closes with one of the most animatedand delightful of waltz tempos ("Come la brezza"). The third act is the Garden scene, full of fascinating detail, andbreathes the very spirit of poetry and music combined in a picture oflove which has never been excelled in tenderness and beauty on theoperatic stage. Its principal numbers are a short and simple but verybeautiful ballad for Siebel ("La parlate d'amor"); a passionate ariafor tenor ("Salve dimora casta e pura"), in which Faust greetsMarguerite's dwelling; a double number, which is superb in itscontrasts, --the folk-song, "C'era un re di Thule, " a plaintive littleballad sung at the spinning-wheel by Marguerite, and the bravurajewel-song, "Ah! e' strano poter, " which is the very essence ofdelicacy and almost-childish glee; the quartet commencing, "V'appogiato al bracchio mio, " which is of striking interest by theindependent manner in which the two pairs of voices are treated andcombined in the close; and the closing duet ("Sempre amar") betweenFaust and Marguerite, which is replete with tenderness and passion, and closes in strains of almost ecstatic rapture, the fatal end ofwhich is foreshadowed by the mocking laugh of Mephistopheles breakingin upon its lingering cadences. The fourth act is known as the Cathedral act, and established Gounod'sreputation as a writer of serious music. It opens with a scena forMarguerite, who has been taunted by the girls at the fountain("Nascose eran là le crudeli "), in which she laments her sad fate. The scene abruptly changes to the square in front of the cathedral, where the soldiers, Valentin among them, are returning, to thejubilant though somewhat commonplace strains of the march, "Deponiamil branda. " As the soldiers retire and Valentin goes in quest ofMarguerite, Faust and Mephistopheles appear before the house, and thelatter sings a grotesque and literally infernal serenade ("Tu, che fail' addormentata"). Valentin appears and a quarrel ensues, leading upto a spirited trio. Valentin is slain, and with his dying breathpronounces a malediction ("Margherita! maledetta") upon his sister. The scene changes to the church, and in wonderful combination we hearthe appeals of Marguerite for mercy, the taunting voice of thetempter, and the monkish chanting of the "Dies Irae" mingled with thesolemn strains of the organ. The last act is usually presented in a single scene, the Prison, butit contains five changes. After a weird prelude, the Walpurgis revelbegins, in which short, strange phrases are heard from unseen singers. The night scene changes to a hall of pagan enchantment, and again tothe Brocken, where the apparition of Marguerite is seen. The orgy isresumed, when suddenly by another transformation we are taken to theprison where Marguerite is awaiting death. It is unnecessary to giveits details. The scene takes the form of a terzetto, which is workedup with constantly increasing power to a climax of passionate energy, and at last dies away as Marguerite expires. It stands almost aloneamong effects of this kind in opera. The curtain falls upon acelestial chorus of apotheosis, the vision of the angels, andMephistopheles cowering in terror before the heavenly messengers. ROMEO AND JULIET. "Roméo et Juliette, " a grand opera in five acts, words by Barbier andCarré, the subject taken from Shakspeare's tragedy of the same name, was first produced at the Théâtre Lyrique, Paris, April 27, 1867, withMme. Miolan-Carvalho in the rôle of Juliet. The story as told by theFrench dramatists in the main follows Shakspeare's tragedy veryclosely in its construction as well as in its dialogue. It is onlynecessary, therefore, to sketch its outlines. The first act opens withthe festival at the house of Capulet. Juliet and Romeo meet there andfall in love, notwithstanding her betrothal to Paris. The hot-bloodedTybalt seeks to provoke a quarrel with Romeo, but is restrained byCapulet himself, and the act comes to a close with a resumption of themerry festivities. In the second act we have the balcony scene, quiteliterally taken from Shakspeare, with an episode, however, in the formof a temporary interruption by Gregory and retainers, whose appearanceis rather absurd than otherwise. The third act is constructed in twoscenes. The first is in the friar's cell, where the secret marriage ofthe lovers takes place. In the second, we are introduced to a newcharacter, invented by the librettist, --Stephano, Romeo's page, whosepranks while in search of his master provoke a general quarrel, inwhich Mercutio is slain by Tybalt, who in turn is killed by Romeo. When Capulet arrives upon the scene he condemns Romeo to banishment, who vows, however, that he will see Juliet again at all hazards. Thefourth act is also made up of two scenes. The first is in Juliet'schamber, and is devoted to a duet between the two lovers. Romeo departsat dawn, and Capulet appears with Friar Laurence and announces hisdetermination that the marriage with Paris shall be celebrated at once. Juliet implores the Friar's help, and he gives her the potion. The nextscene is devoted to the wedding festivity, in the midst of which Julietfalls insensible from the effects of the sleeping-draught. The last acttranspires in the tomb of the Capulets, where Romeo arrives, andbelieving his mistress dead takes poison. Juliet, reviving from theeffects of the potion, and finding him dying, stabs herself with adagger, and expires in his arms. While many numbers are greatly admired, the opera as a whole has neverbeen successful. Had not "Faust, " which it often recalls, preceded it, its fate might have been different. Still, it contains many strongpassages and much beautiful writing. The favorite numbers are thewaltz arietta, very much in the manner of the well-known "Il Bacio, "at the Capulet festival, the Queen Mab song, by Mercutio ("Mab, reginadi menzogne"), and the duet between Romeo and Juliet ("Di grazia, t'arresta ancor!"), in the first act; the love music in the balconyscene of the second act, which inevitably recalls the garden music in"Faust;" an impressive solo for Friar Laurence ("Al vostro amorcocente"), followed by a vigorous trio and quartet, the music of whichis massive and ecclesiastical in character, and the page's song ("Ah!col nibbio micidale"), in the third act; the duet of parting betweenRomeo and Juliet, "Tu dei partir ohime!" the quartet, "Non temero mioben, " between Juliet, the nurse, Friar Laurence, and Capulet, and thedramatic solo for the Friar, "Bevi allor questo filtro, " as he givesthe potion to Juliet, in the fourth act; and the elaborate orchestralprelude to the tomb scene in the last act. MIREILLE. "Mireille, " a pastoral opera in three acts, words by M. Carré, thesubject taken from "Mireio, " a Provençal poem by Mistral, was firstproduced at the Théâtre Lyrique, Paris, March 19, 1864, with thefollowing cast:-- MIREILLE Mme. MIOLAN-CARVALHO TAVENA | Mme. FAURE-LEFEBVRE. ANDRELUNO | VINCENZINA Mlle. LEROUX. VINCENZO M. ISMIEL. URIAS M. PETIT. RAIMONDO M. MORINI. In December, 1864, the opera was reduced to three acts, in which formit is still given. In this abridged shape, and with the addition ofthe waltz now placed in the finale, it was brought out in London withTitiens, Giuglini, Santley, and Trebelli in the cast. In English it isalways given under the title of "Mirella. " The first scene opens in amulberry grove, where Mireille is rallied by the village girls uponher attachment to Vincenzo, the basket-maker, and is also warned byTavena, the fortune-teller, against yielding to her love, as sheforesees that her father, Raimondo, will never consent to the union. In the next scene she meets Vincenzo, and the warning of Tavena issoon forgotten. The lovers renew their pledges, and agree to meet atthe Chapel of the Virgin if their plans are thwarted. The second actintroduces us to a merrymaking at Arles, where Mireille is informed byTavena that Vincenzo has a rival in Urias, a wild herdsman, who hasopenly declared his love for her, and asked her hand of her father. Mireille repulses him when he brings the father's consent. Ambrogio, Vincenzo's father, accompanied by his daughter, Vincenzina, also waitsupon Raimondo and intercedes in his son's behalf, but is sternlyrefused. Mireille, who has overheard the interview, declares to herfather her irrevocable attachment for Vincenzo. Her declaration throwshim into such a rage that he is about to strike her, but she disarmshis anger by appealing to the memory of her mother. The last act opens on a barren, sunburnt plain. Andreluno appears, singing a pastoral song to the accompaniment of his bagpipe, followedby Mireille, who is toiling across the hot sands to meet her lover atthe Chapel of the Virgin. She is met by Tavena, who assures her thatVincenzo will keep his appointment, and then returns to Arles to pleadwith the father in Mireille's behalf. The poor girl toils on throughthe heat, and at last arrives nearly prostrated by sunstroke. Vincenzosoon appears, and is shortly followed by Raimondo, who, seeing the sadcondition of his daughter, is moved to pity and gives his consent tothe union of the lovers. The sudden joyful change of affairs restoresher wandering senses and the happy pair are united. The music is in no sense dramatic, but lyric and pastoral throughout, and is specially marked by the beautiful French chansons with which itabounds. The first act opens with a delightful pastoral chorus of themaidens under the mulberry-trees ("Facciam carole, o giovinette"), which is very fresh and graceful. The second begins with an equallydelightful chorus and farandole ("La Farandola tutti consola"), followed by the beautiful Provençal folk-song, "Dolce una brezza, intorno olezza, " which is full of local color. Tavena sings a quaintfortune-teller's roundelay ("La stagione arriva"), and in the nextscene Mireille has a number of rare beauty ("Ah! piu non temo fato "), in which she declares her unalterable attachment to Vincenzo. Thefinale of this act, with its strong aria ("Qui mi prostro innanziate"), is very spirited, and in fact may be considered the onlydramatic episode in the whole work. The third act opens with thequaint little song of Andreluno, the shepherd boy ("L'albatranquilla"), with oboe accompaniment. It also contains a plaintivesong for tenor ("Ah! se de preghi miei"), and closes with a waltz song("O d'amor messagera"), which is fairly gorgeous in bravura effects, and Hanslick says was a concession to Miolan-Carvalho, like the jewelsong in "Faust" and the waltz song in "Romeo and Juliet. " In theoriginal libretto the song had its place in the first act, and indeednumerous changes have been made in the libretto since the opera firstappeared; as in the original, Mireille dies in the arms of her lover, and Urias, Vincenzo's rival, is drowned in the Rhone. When it firstappeared, however, great objection was made to several of thesituations, and the libretto was declared fantastic and uninteresting;hence the changes. As a lyric drama, delightfully picturing thequaintness and simplicity of provincial life, not alone in thetunefulness of the music, but also in its pastoral naïveté and whatmay be termed its folk-characteristics, it will hold a high place uponthe stage as long as young and fresh voices can be found to sing it. HALEVY. Jacques François Fromenthal Elias Halevy was born at Paris, May 27, 1799, of Israelitish parents, whose name was originally Levy. Heentered the Conservatory in 1809, and in 1819 obtained the Grand Prizefor his cantata of "Hermione. " After his arrival in Italy he wroteseveral minor pieces, but his music did not attract public attentionuntil his return to Paris, when his three-act opera, "Clari, " broughtout Dec. 9, 1828, with Malibran in the principal rôle, made a success. "Le Dilettante d'Avignon" (a satire on Italian librettos), "ManonLescaut" (a ballet in three acts), "La Langue Musicàle, " "LaTentation, " and "Les Souvenirs" rapidly followed "Clari, " withalternating successes and failures. In 1835 his great work, "LaJuive, " appeared, and in the same year, "L'Éclair, " one of his mostcharming operas, written without chorus for two tenors and twosopranos. It was considered at the time a marvellous feat that heshould have produced two such opposite works in the same year, andgreat hopes were entertained that he would surpass them. These hopesfailed, however. He subsequently wrote over twenty operas, among them"Guido et Ginevra" (1838); "Charles VI. " (1842); "La Reine de Chypre"(1842); "Les Mousquetaires de la Reine" (1846); "Le Val d'Andorre"(1848); "La Tempête" (1853): "Le Juif Errant" (1855), and others; but"La Juive" and "L'Éclair" remained his masterpieces, and procured himadmission into the Institute. He was also a professor in theConservatory, and among his pupils were Gounod, Massé, Bazin, Duvernoy, Bizet, and others. He enjoyed many honors, and died March17, 1862. A De Profundis was sung on the occasion of his funeral, written by four of his pupils, MM. Gounod, Massé, Bazin, and Cohen. Asa composer he was influenced largely by Meyerbeer, and is remarkablerather for his large dramatic effects than for his melody. THE JEWESS "La Juive, " a grand opera in five acts, words by Scribe, originallywritten for Rossini and rejected in favor of "William Tell, " wasproduced for the first time at the Académie, Paris, Feb. 23, 1835, with the following cast of the principal parts:-- RACHEL Mlle. CORNELIA FALCON. EUDOXIA Mme. DORUS-GRAS. ELEAZAR M. NOURRIT. CARDINAL M. LEVASSEUR. It was first produced in England in French, July 29, 1846, and inItalian under the title of "La Ebrea, " July 25, 1850. In this countryit is most familiar in the German version. The scene of the opera islaid in Constance, time, 1414. Leopold, a prince of the empire, returning from the wars, is enamoured of Rachel, a beautiful Jewess, daughter of Eleazar the goldsmith. The better to carry out his plans, he calls himself Samuel, and pretends to be a Jewish painter. Circumstances, however, dispel the illusion, and Rachel learns that heis no other than Leopold, husband of the princess Eudoxia. Overcomewith indignation at the discovery of his perfidy, she publiclydenounces his crime, and the Cardinal excommunicates Leopold, andpronounces his malediction on Rachel and her father. Rachel, Eleazar, and Leopold are thrown into prison to await the execution of thesentence of death. During their imprisonment Eudoxia intercedes withRachel to save Leopold's life, and at last, moved by the grief of therightful wife, she publicly recants her statement. Leopold isbanished, but Rachel and her father are again condemned to death forconspiring against the life of a Christian. Eleazar determines to berevenged in the moment of death upon the Cardinal, who has sentencedthem, and who is at the head of a church which he hates; and justbefore they are thrown into a caldron of fire, reveals to thespectators that Rachel is not his own, but an adopted daughter, savedfrom the ruins of the Cardinal's burning palace, and that she is hischild. The opera of "The Jewess" is pre-eminently spectacular, and its musicis dramatic and declamatory rather than melodious. The prominentnumbers of the first act are the solemn declaration of the Cardinal("Wenn ew'ger Hass"), in which he replies to Eleazar's hatred of theChristian; the romance sung by Leopold ("Fern vom Liebchen weilen"), which is in the nature of a serenade to Rachel; the drinking-song ofthe people at the fountain, which is flowing wine ("Eilt herbei"); andthe splendid chorus and march ("Leht, es nahet sich der Zug") whichpreludes the imposing pageantry music of the Emperor's arrival, closing with the triumphant Te Deum to organ accompaniment and thegreeting to the Emperor, "Hosanna, unser Kaiser hoch. " The second act opens with the celebration of the Passover in Eleazar'shouse, and introduces a very solemn and impressive prayer("Allmächt'ger blicke gnädig"). In the next scene there is apassionate ensemble and duet for Eudoxia and Leopold ("Ich will ihnseh'n"), which is followed by a second spirited duet between Racheland Leopold ("Als mein Herz"); an intensely dramatic aria ("Ach!Vater! Halt ein!"), in which she claims her share of Leopold's guilt;and the final grand trio of anathema pronounced by Eleazar. The third act is principally devoted to the festivities of the royalpageants, and closes with the anathema of the Cardinal ("Ihr, die ihrGottes Zorn"), which is a concerted number of magnificent power andspirited dramatic effect. The fourth act contains a grand duet betweenEleazar and the Cardinal ("Hört ich recht?"), and closes with one ofthe most powerful scenas ever written for tenor ("Das Todesurtheilsprich"), in which Eleazar welcomes death and hurls defiance at theChristians. The last act is occupied with the tragic dénouement, whichaffords splendid opportunities for action, and is accompanied by verydramatic music to the close, often rising to real sublimity. In thepageantry of the stage, in the expression of high and passionatesentiment, in elaborateness of treatment, and in broad and powerfuldramatic effect, "The Jewess" is one of the strongest operas in themodern repertory. HUMPERDINCK. Engelbert Humperdinck, the latest star in the German musicalfirmament, was born, Sept. 1, 1854, at Siegburg on the Rhine, andreceived his earliest musical training at the Cologne Conservatory. Hemade such rapid progress in his studies, showing special proficiencyin composition, that he carried off in succession the three prizes ofthe Mozart, Mendelssohn, and Meyerbeer stipends. These enabled him tocontinue his lessons at Munich, and afterwards in Italy. While inNaples, in 1880, he attracted the attention of Richard Wagner as arising genius, and two years later had the honor of an invitation togo to Venice as his guest, upon the occasion of the performance ofWagner's only symphony. In 1885 he went to Barcelona, Spain, where hetaught composition, and was the director of a quartette at the RoyalConservatory for two years. In 1887 he returned to Cologne, and since1890 has been identified with a Conservatory at Frankfort-on-the-Main. In addition to the opera "Hansel and Gretel, " which has given him aworld-wide fame, he produced, a few years ago, a chorus ballad, "DasGlück von Edenhall, " and a cantata, "Die Wallfahrt nach Kevelaar, "based upon Heine's poem, and scored for soloists, chorus, andorchestra. He has also written several songs and piano pieces, and, itis now reported, is engaged upon a dramatic composition called "TheRoyal Children. " He is regarded in Germany as the one composer whogives promise of continuing and developing the scheme of themusic-drama as it was propounded by Wagner. HANSEL AND GRETEL. "Hansel and Gretel, " a fairy opera in three acts, words by AdelheidWette, was first produced in Germany in 1894. In January, 1895, it wasperformed in London by the Royal Carl Rosa Opera Company, renderedinto English by Constance Bache; and in the fall of the same year ithad its first representation in New York, at Daly's Theatre, with thefollowing cast:-- PETER, a broom-maker Mr. JACQUES BARS. GERTRUDE, his wife Miss ALICE GORDON. THE WITCH Miss LOUISE MEISSLINGER. HANSEL Miss MARIE ELBA. GRETEL Miss JEANNE DOUSTE. SANDMAN, the Sleep Fairy Miss CECILE BRANI. DEWMAN, the Dawn Fairy Miss EDITH JOHNSTON. The story is taken from one of Grimm's well-known fairy tales, and thetext was written by the composer's sister, Adelheid Wette. It was FrauWette's intention to arrange the story in dramatic form for theamusement of her children, her brother lending his co-operation bywriting a few little melodies, of a simple nature, to accompany theperformance. When he had read it, however, the story took his fancy, and its dramatic possibilities so appealed to him that he determinedto give it an operatic setting with full orchestral score, and thusplaced it in the higher sphere of world performance by an art whichnot alone reveals the highest type of genial German sentimentality, but, curiously enough, applied to this simple little story of angels, witches, and the two babes in the woods the same musical methods whichWagner has employed in telling the stories of gods and demigods. Perhaps its highest praise was sounded by Siegfried Wagner, son ofRichard Wagner, who declared that "Hansel and Gretel" was the mostimportant German opera since "Parsifal, " notwithstanding itschildishness and simplicity. After a beautifully instrumented prelude, which has already become afavorite concert piece, the curtain rises upon the home of Peter, thebroom-maker. The parents are away seeking for food, and Hansel andGretel have been left in the cottage with instructions to knit andmake brooms. There is a charming dialogue between the two children, beginning with a doleful lament over their poverty, and ending with anoutburst of childish hilarity in song and dancing, --a veritable rompin music, --which is suddenly interrupted by the return of Gertrude, the mother, empty-handed, who chides them for their behavior, and inher anger upsets a jug of milk which was the only hope of supper inthe house. With an energetic outburst of recitative she sends theminto the forest, telling them not to return until they have filledtheir basket with strawberries. After lamenting her loss, and mourningover her many troubles, she falls asleep, but is awakened by thereturn of Peter, who has been more fortunate, and has brought homesome provisions. A rollicking scene ensues, but suddenly he misses thechildren, and breaks out in a fit of rage when he is informed thatthey have gone into the forest. To the accompaniment of most gruesomeand characteristic music he tells his wife of the witch who haunts thewoods, and who, living in a honey-cake house, entices little childrento it, bakes them into gingerbread in her oven, and then devours them. The second act, "In the Forest, " is preluded by a characteristicinstrumental number, "The Witches' Ride. " The children are discoverednear the Ilsenstein, among the fir-trees, making garlands, listeningto the cuckoos, and mocking them in a beautiful duet with echoaccompaniment. At last, however, they realize that they are lost; andin the midst of their fear, which is intensified by strange sights andsounds, the Sandman, or sleep fairy, approaches them, strews sand intheir eyes, and sings them to sleep with a most delicious lullaby, after they have recited their prayer, "When at night I go to sleep, fourteen Angels watch do keep. " As they sleep the mist rolls away, theforest background disappears, and the fourteen angels come down a sortof Jacob's ladder and surround the children, while other angelsperform a stately dance, grouping themselves in picturesque tableau asthe curtain falls. The third act is entitled "The Witch's House. " The children are stillsleeping, but the angels have vanished. The Dawn-Fairy steps forwardand shakes dewdrops from a bluebell over them, accompanying the actionwith a delightful song, "I'm up with early Dawning. " Gretel is thefirst to wake, and rouses Hansel by tickling him with a leaf, at thesame time singing a veritable tickling melody, and then telling himwhat she has seen in her dream. In place of the fir-trees theydiscover the witch's house at the Ilsenstein, with an oven on one sideand on the other a cage, both joined to the house by a curious fenceof gingerbread figures. The house itself is constructed of sweets andcreams. Attracted by its delicious fragrance and toothsomeness, thehungry children break off a piece and are nibbling at it, when the oldwitch within surprises and captures them. After a series ofincantations, and much riding upon her broomstick, which are vividlyportrayed in the music, she prepares to cook Gretel in the oven; butwhile looking into it the children deftly tumble her into the fire. The witch waltz, danced by the children and full of joyous abandon, follows. To a most vivid accompaniment, Hansel rushes into the houseand throws fruit, nuts, and sweetmeats into Gretel's apron. Meanwhilethe oven falls into bits, and a crowd of children swarms around them, released from their gingerbread disguises, and sing a swelling chorusof gratitude as two of the boys drag the witch from the ruins of theoven in the form of a big gingerbread-cake. The father and motherappear. Their long quest is ended. The family join in singing a piouslittle hymn, "When past bearing is our grief, God the Lord will sendrelief;" and the children dance joyously around the reunited group. The story is only a little child's tale, but it is wedded to music ofthe highest order. The union has been made so deftly, the motives areso charming and take their places so skilfully, and the music is soscholarly and characteristic throughout, that no one has yetconsidered this union as incongruous. In this respect "Hansel andGretel" is a distinct creation in the operatic world. LEONCAVALLO. Ruggiero Leoncavallo, a promising representative of the young Italianschool, was born in Naples, March 8, 1858. He first studied with Siri, and afterwards learned harmony and the piano from Simonetti. While astudent at the Naples Conservatory he was advised by Rossi, one of histeachers, to devote himself to opera. In pursuance of this counsel, hewent to Bologna, and there wrote his first opera, "TommasoChatterton, " which still remains in manuscript and unperformed. Thenfollowed a series of "wander years, " during which he visited manyEuropean countries, giving lessons in singing and upon the piano, andmeeting with varying fortunes. In all these years, however, hecherished the plan of producing a trilogy in the Wagnerian manner witha groundwork from Florentine history. In a letter he says: "Isubdivided the historical periods in the following way: first part, 'IMedici, ' from the accession of Sextus IV. To the Pazzi conspiracy;second part, 'Savonorola, ' from the investiture of Fra Benedetto tothe death of Savonorola; third part, 'Cesare Borgia, ' from the deathof the Duke of Candia to that of Alexander VI. " The first part wascompleted and performed in Milan in November, 1893, and was a failure, notwithstanding its effective instrumentation. It was not so, however, with the little two-act opera "I Pagliacci, " which was produced May21, 1892, at Milan, and met with an instantaneous and enthusiasticsuccess. His next work was a chorus with orchestral accompaniment, thetext based upon Balzac's rhapsodical and highly wrought "Seraphita, "which was performed at Milan in 1894. It has been recently reportedthat the Emperor of Germany has given him a commission to produce anopera upon a national subject, "Roland of Berlin. " Of his works, "IPagliacci" is the only one known in the United States. It has met withgreat favor here, and has become standard in the Italian repertory. I PAGLIACCI. "I Pagliacci, " an Italian opera in two acts, words by the composer, Ruggiero Leoncavallo, was first performed at Milan, May 21, 1892, andwas introduced in this country in the spring of 1894, Mme. Arnoldson, Mme. Calvé, and Signors Ancona, Gromzeski, Guetary, and De Luciataking the principal parts. The scene is laid in Calabria during theFeast of the Assumption. The Pagliacci are a troupe of itinerantmountebanks, the characters being Nedda, the Columbine, who is wife ofCanio, or Punchinello, master of the troupe; Tonio, the Clown; Beppe, the Harlequin; and Silvio, a villager. The first act opens with the picturesque arrival of the troupe in thevillage, and the preparations for a performance in the rustic theatre, with which the peasants are overjoyed. The tragic element of thecomposition is apparent at once, and the action moves swiftly on tothe fearful dénouement. Tonio, the clown, is in love with Nedda, andbefore the performance makes advances to her, which she resents byslashing him across the face with Beppe's riding-whip. He rushes offvowing revenge, and upon his return overhears Nedda declaring herpassion for Silvio, a young peasant, and arranging to elope with him. Tonio thereupon seeks Canio, and tells him of his wife's infidelity. Canio hurries to the spot, encounters Nedda; but Silvio has fled, andshe refuses to give his name. He attempts to stab her, but isprevented by Beppe, and the act closes with the final preparation forthe show, the grief-stricken husband donning the motley in gloomy andforeboding silence. The second act opens with Tonio beating the big drum, and the peoplecrowding to the show, among them Silvio, who manages to make anappointment with Nedda while she is collecting the money. The curtainof the little theatre rises, disclosing a small room barely furnished. The play to be performed is almost an identical picture of the realsituation in the unfortunate little troupe. Columbine, who is topoison her husband, Punchinello, is entertaining her lover, Harlequin, while Taddeo, the clown, watches for Punchinello's return. When Caniofinally appears the mimic tragedy becomes one in reality. Inflamedwith passion, he rushes upon Nedda, and demands the name of her lover. She still refuses to tell. He draws his dagger. Nedda, conscious ofher danger, calls upon Silvio in the audience to save her; but it istoo late. Her husband kills her, and Silvio, who rushes upon thestage, is killed with the same dagger. With a wild cry full of hate, jealousy, and despair, the unfortunate Canio tells the audience "Lacommedia è finita" ("The comedy is finished"). The curtain falls uponthe tragedy, and the excited audience disperses. The story is peculiarly Italian in its motive, though the composer hasbeen charged with taking it from "La Femme de Tabarin, " by the Frenchnovelist, Catulle Mendès. Be this as it may, Leoncavallo's version hasthe merit of brevity, conciseness, ingenuity, and swift action, closing in a dénouement of great tragic power and capable, in thehands of a good actor, of being made very effective. The composer hasnot alone been charged with borrowing the story, but also withplagiarizing the music. So far as the accusation of plagiarism isconcerned, however, it hardly involves anything more serious thanthose curious resemblances which are so often found in musicalcompositions. As a whole, the opera is melodious, forceful, full ofsnap and go, and intensely dramatic, and is without a dull moment fromthe prologue ("Si può? Signore") sung before the curtain by Tonio tothat last despairing outcry of Canio ("La commedia è finita"), uponwhich the curtain falls. The prominent numbers are the prologuealready referred to; Nedda's beautiful cavatina in the second scene("O, che volo d'angello"); her duet with Silvio in the third scene ("Eallor perchè"); the passionate declamation of Canio at the close ofthe first act ("Recitur! mentre preso dal delirio"); the serenade ofBeppe in the second act ("O Colombino, il tenero"); and the gracefuldance-music which plays so singular a part in this fierce struggle ofthe passions, which forms the motive of the closing scenes. MASCAGNI. Pietro Mascagni, who leaped into fame at a single bound, was born atLeghorn, Dec. 7, 1863. His father was a baker, and had planned for hisson a career in the legal profession; but, as often happens, fateordered otherwise. His tastes were distinctly musical, and hisdetermination to study music was encouraged by Signor Bianchi, asinging teacher, who recognized his talent. For a time he tooklessons, unknown to his father, of Soffredini, but when it wasdiscovered he was ordered to abandon music and devote himself to thelaw. At this juncture his uncle Stefano came to his rescue, took himto his house, provided him with a piano, and also with the means topursue his studies. Recognizing the uselessness of further objections, the father at last withdrew them, and left his son free to follow hisown pleasure. He progressed so rapidly under Soffredini that he wassoon engaged in composition, his first works being a symphony in Cminor and a "Kyrie, " which were performed in 1879. In 1881 he composeda cantata, "In Filanda, " and a setting of Schiller's hymn, "An dieFreude, " both of which had successful public performances. The formerattracted the attention of a rich nobleman who furnished youngMascagni with the means to attend the Milan Conservatory. Afterstudying there a short time, he suddenly left Milan with an operatictroupe, and visited various Italian cities, a pilgrimage which was ofgreat value to him, as it made him acquainted with the resources of anorchestra and the details of conducting. The troupe, however, met withhard fortunes, and was soon disbanded, throwing Mascagni upon theworld. For a few years he made a precarious living in obscure towns, by teaching, and had at last reached desperate extremities when oneday he read in a newspaper that Sonzogno, the music publisher, hadoffered prizes for the three best one act operas, to be performed inRome. He at once entered into the competition, and produced"Cavalleria Rusticana. " It took the first prize. It did more than thisfor the impecunious composer. When performed, it made a success ofenthusiasm. He was called twenty times before the curtain. Honors anddecorations were showered upon him. He was everywhere greeted withserenades and ovations. Every opera-house in Europe clamored for thenew work. In a day he had risen from utter obscurity and becomeworld-famous. His sudden popularity, however, had a pernicious effect, as it induced him to rush out more operas without giving sufficienttime to their preparation. "L'Amico Fritz, " based upon the well-knownErckmann-Chatrian story, and "I Rantzau" quickly followed "CavalleriaRusticana, " but did not meet with its success. Last year however heproduced two operas at Milan, "Guglielmo Ratcliff" and "Silvano, "which proved successful. Whether "Cavalleria Rusticana" is to remainas his only hold upon popular favor, the future alone can tell; butthat he has talent of the highest order, and that he has produced anopera whose reception has been almost unparalleled in the world ofmusic cannot be questioned. CAVALLERIA RUSTICANA. "Cavalleria Rusticana, " an opera in one act, words by SignoriTargioni-Tozzetti and Menasci, music by Pietro Mascagni, was writtenin 1890, and was first performed at the Costanzi Theatre in Rome, May20, of that year, with Gemma Bellinconi and Roberto Stagno in the twoprincipal rôles. It had its first American production in Philadelphia, Sept. 9, 1891, with Mme. Kronold as _Santuzza_, Miss Campbell as_Lola_, Guille as _Turridu_, Del Puente as _Alfio_, and Jeannie Tealas _Lucia_. The story upon which the text of "Cavalleria Rusticana" is based istaken from a Sicilian tale by Giovanni Verga. It is peculiarly Italianin its motive, running a swift, sure gamut of love, flirtation, jealousy, and death, --a melodrama of a passionate and tragic sort, amid somewhat squalid environments, that particularly lends itself tomusic of Mascagni's forceful sort. The overture graphically presentsthe main themes of the opera, and these themes illustrate a verysimple but strong story. Turridu, a young Sicilian peasant, arrivedhome from army service, finds that his old love, Lola, during hisabsence has married Alfio, a carter. To console himself he makes loveto Santuzza, who returns his passion with ardor. The inconstantTurridu, however, soon tires of her and makes fresh advances to Lola, who, inspired by her jealousy of Santuzza, and her natural coquetry, smiles upon him again. The latter seeks to reclaim him, and, when sheis rudely repulsed, tells the story of Lola's perfidy to Alfio, whochallenges Turridu and kills him. During the overture Turridu sings a charming Siciliana ("O Lola c'haidi latti"), and the curtain rises, disclosing a Sicilian village witha church decorated for Easter service. As the sacristan opens itsdoors, the villagers appear and sing a hymn to the Madonna. A hurriedduet follows, in which Santuzza reveals to mother Lucia her grief atthe perfidy of Turridu. Her discourse is interrupted by the entranceof Alfio, singing a rollicking whip-song ("Il cavallo scalpita") withaccompaniment of male chorus. The scene then develops into a trio, closing with a hymn ("Inneggiamo, il Signor"), sung by the people inthe square, and led by Santuzza herself, and blending with the "ReginaCoeli, " performed by the choir inside the church with organaccompaniment, the number finally working up into a tremendous climaxin genuine Italian style. In the next scene Santuzza tells her sad story to Lucia, Turridu'smother, in a romanza of great power ("Voi lo sapete"), closing with anoutburst of the highest significance as she appeals to Lucia to prayfor her. In the next scene Turridu enters. Santuzza upbraids him, anda passionate duet follows in which Santuzza's suspicions are more thanconfirmed by his avowal of his passion for Lola. The duet isinterrupted by a song of the latter, heard in the distance with harpaccompaniment ("Fior di giaggiolo"). As she approaches the pair thesong grows livelier, and at its close she banters poor Santuzza withbiting sarcasms, and assails Turridu with all the arts of coquetry. She passes into the church, confident that the infatuated Turridu willfollow her. An impassioned duo of great power follows, in whichSantuzza pleads with him to love her, but all in vain. He rushes intothe church. She attempts to follow him, but falls upon the steps justas Alfio comes up. To him she relates the story of her troubles, andof Turridu's baseness. Alfio promises to revenge her, and anotherpowerful duet follows. As they leave the stage, there is a sudden and most unexpected changein the character of the music and the motive of the drama. In theplace of struggle, contesting passions, and manifestations of rage, hate, and jealousy ensues an intermezzo for orchestra, with anaccompaniment of harps and organ, of the utmost simplicity andsweetness, breathing something like a sacred calm, and turning thethoughts away from all this human turmoil into conditions of peace andrest. It has not only become one of the most favorite numbers in theconcert repertory, but is ground out from every barrel-organ the worldover, and yet it has retained its hold upon popular admiration. At its close the turmoil begins again and the action hastens to thetragic dénouement. The people come out of the church singing a gladchorus which is followed by a drinking song ("Viva il vino"), sung byTurridu, and joined in by Lola and chorus. In the midst of thehilarity Alfio appears. Turridu invites him to join them and drink;but he refuses, and the quarrel begins. Lola and the frightened womenwithdraw. Turridu bites Alfio's right ear, --a Sicilian form ofchallenge. The scene closes with the death of the former at Alfio'shands, and Santuzza is avenged; but the fickle Lola has gone her waybent upon other conquests. MEYERBEER. Giacomo Meyerbeer, the eldest son of Herz Beer, was born in Berlin, Sept. 5, 1794. He was named Jacob Meyer Beer, but afterwards calledhimself Giacomo Meyerbeer. His early studies were pursued with thepianist Lanska, and Bernard Anselm Weber, chief of the Berlinorchestra. At fifteen he became the pupil of Vogler in Darmstadt, withwhom he displayed such talent in composition that he was namedComposer to the Court by the Grand Duke. At eighteen his firstdramatic work, "The Daughter of Jephtha, " was performed at Munich. Hethen began the world for himself, and made his début in Vienna as apianist with great success. His first opera, "The Two Caliphs, " metwith complete failure, as it was not written in the Italian form. Heat once transformed his style and brought out "Romilda e Costanza, " aserio-comic opera, with great success, at Padua. In 1820, "Emma diResburgo" appeared at Venice, and from this period his star was in theascendant. "The Gate of Brandeburg, " "Margharita d' Anjou, " "Esule diGranata, " and "Almanzar" followed in quick succession, and were wellreceived, though with nothing like the furor which "Il Crociato inEgitto" created in Venice in 1824. His next great work, "Robert leDiable, " was produced in Paris, Nov. 21, 1831, the unparalleledsuccess of which carried its fame to every part of the civilizedworld. In 1836 "The Huguenots, " unquestionably his masterpiece, wasbrought out, and it still holds its place as one of the grandestdramatic works the world has ever seen. In 1838 Scribe furnished himthe libretto of "L'Africaine, " but before the music was finished hehad changed the text so much that Scribe withdrew it altogether. Hewas consoled, however, by Meyerbeer's taking from him the libretto of"Le Prophete, " this opera being finished in 1843. During the followingyear he wrote several miscellaneous pieces besides the three-actGerman opera, "Ein Feldlager in Schlesien, " in which Jenny Lind madeher Berlin début. In 1846 he composed the overture and incidentalmusic to his brother's drama of "Struensee, " and in 1847 he not onlyprepared the way for Wagner's "Flying Dutchman" in Paris, butpersonally produced "Rienzi, "--services which Wagner poorly requited. In 1849 "Le Prophete" was given in Paris; in 1854, "L'Etoile du Nord;"and in 1859, "Dinorah;" but none of them reached the fame of "TheHuguenots. " In 1860 he wrote two cantatas and commenced a musicaldrama called "Goethe's Jugendzeit, " which was never finished. In 1862and 1863 he worked upon "L'Africaine, " and at last brought it forwardas far as a rehearsal; but he died April 23, 1863, and it was notperformed until two years after his death. THE HUGUENOTS. "Les Huguenots, " a grand opera in five acts, words by Scribe andDeschamps, was first produced at the Académie, Paris, Feb. 29, 1836, with the following cast of the principal parts:-- VALENTIN Mlle. FALCON. MARGUERITE DE VALOIS Mme. DORUS-GRAS. URBAIN Mlle. FLECHEUX. COUNT DE ST. BRIS M. LERDA. COUNT DE NEVERS M. DERIVIS. RAOUL DE NANGIS M. NOURRIT. MARCEL M. LEVASSEUR. At its first production in London in Italian, as "Gli Ugonotti, " July20, 1848, the cast was even more remarkable than that above. Meyerbeerspecially adapted the opera for the performance, transposed the partof the page, which was written for a soprano, and expressly composed acavatina to be sung by Mme. Alboni, in the scene of the château andgardens of Chenonceaux, forming the second act of the original work, but now given as the second scene of the first act in the Italianversion. The cast was as follows:-- VALENTIN Mme. PAULINE VIARDOT. MARGUERITE DE VALOIS Mme. CASTELLAN. URBAIN Mlle. ALBONI. COUNT DE ST. BRIS Sig. TAMBURINI. COUNT DE NEVERS Sig. TAGLIAFICO. RAOUL DE NANGIS Sig. MARIO. MARCEL Sig. MARINI. The action of the opera passes in 1572, the first and second acts inTouraine, and the remainder in Paris. The first act opens on a sceneof revelry in the salon of Count de Nevers, where a number ofnoblemen, among them Raoul de Nangis, a Protestant, accompanied by hisfaithful old Huguenot servant, Marcel, are present, telling stories oftheir exploits in love. Marguerite de Valois, the betrothed of HenryIV. , for the sake of reconciling the dispute between the two religioussects, sends her page to De Nevers's salon and invites Raoul to herchâteau. When he arrives, Marguerite informs him of her purpose togive him in marriage to a Catholic lady, daughter of the Count de St. Bris. Raoul at first consents; but when Valentin is introduced to himand he discovers her to be a lady whom he had once rescued from insultand who had visited De Nevers in his salon, he rejects theproposition, believing that her affections have been bestowed uponanother, and that his enemies are seeking to entrap him. St. Brischallenges Raoul for the affront, but the Queen disarms the angrycombatants. Valentin is now urged to marry Count de Nevers, and begsthat she may pass the day in prayer in the chapel. Meanwhile Count deSt. Bris, who has been challenged by Raoul, forms a plot for hisassassination, which is overheard by Valentin from within the chapel. She communicates the plot to Marcel, who lies in wait with a party ofHuguenots in the vicinity of the duel, and comes to Raoul's rescuewhen danger threatens him. A general combat is about to ensue, but itis suppressed by Marguerite, who suddenly appears upon the scene. Raoul thus discovers that he owes his life to Valentin, and that hervisit to De Nevers was to induce him to sever the relations betweenthem, as she was in love with Raoul. The announcement comes too late, for the marriage festivities have already begun. Raoul visits her forthe last time. Their interview is disturbed by the approach of DeNevers, St. Bris, and other Catholic noblemen, who meet to arrange thedetails of the plot conceived by Catherine de Médicis for theslaughter of the Huguenots on St. Bartholomew's Eve. Valentinhurriedly conceals Raoul behind the tapestries, where he overhearstheir plans and witnesses the conjuration and the blessing of theswords, as well as the refusal of the chivalrous De Nevers to engagein murder. After the conspirators have departed, Raoul and Valentinhave a long and affecting interview, in which he hesitates betweenlove and honor, Valentin striving to detain him lest he may beincluded in the general massacre. Honor at last prevails, and he joinshis friends just before the work of slaughter begins. He rushes to thefestivities which are about to be given in honor of the marriage ofMarguerite with the King of Navarre, and warns the Huguenots of theirdanger. He then makes his way to a chapel where many of them aregathered for refuge. He finds Marcel, who has been wounded, and whobrings him the tidings of the death of De Nevers. The faithfulValentin joins them to share their fate. Amid the horrors of themassacre Marcel blesses and unites them. They enter the church and allperish together. The first act opens with the brilliant chorus of the revellers("Piacer della mensa"), which is full of courtly grace. Raoul tellsthe story of the unknown fair one he has encountered, in the romanza, "Piu bianca del velo. " When Marcel is called upon, he hurriedly chantsthe hymn, "O tu che ognor, " set to the Martin Luther air, "Ein festeBurg, " and heightened by a stirring accompaniment, and then bursts outinto a graphic song ("Finita è pe' frati"), emphasized with thepiff-paff of bullets and full of martial fervor. In delightfulcontrast with the fierce Huguenot song comes the lively and gracefulromanza of Urbain ("Nobil donna e tanto onesta"), followed by adelightful septet. The scene now changes, and with it the music. Weare in the Queen's gardens at Chenonceaux. Every number, the Queen'ssolo ("A questa voce sola"), the delicate "Bathers' Chorus, " as it iscalled ("Audiam, regina, in questo amene sponde"), the brilliant andgraceful allegretto sung by Urbain ("No, no, no, no"), the duetbetween the Queen and Raoul, based upon one of the most flowing ofmelodies, and the spirited and effective finale in which the noblestake the oath of allegiance ("Per la fè, per l'onore"), --each andevery one of these is colored with consummate skill, while all areinvested with chivalrous refinement and stately grace. The second act opens with a beautiful choral embroidery in whichdifferent choruses, most striking in contrast, are interwoven withmasterly skill. It is a picture, in music, of the old Paris. Thecitizens rejoice over their day's work done. The Huguenots shout theirlusty Rataplan, while the Papist maidens sing their solemn litany("Ave Maria") on their way to chapel; and as they disappear, thequaint tones of the curfew chant are heard, and night and rest settledown upon the city. It is a striking introduction to whatfollows, --the exquisite duet between Marcel and Valentin, the greatseptet of the duel scene, beginning, "De dritti miei ho l'almaaccesa, " with the tremendous double chorus which follows as the twobands rush upon the scene. As if for relief from the storm of thisscene, the act closes with brilliant pageant music as De Neversapproaches to escort Valentin to her bridal. The third act is the climax of the work, and stands almost unrivalledin the field of dramatic music, for the manner in which horror andpassion are illustrated. After a dark and despairing aria by Valentin("Eccomi sola ormai"), and a brief duet with Raoul, the conspiratorsenter. The great trio, closing with the conjuration, "Quel Dio, " theawful and stately chant of the monks in the blessing of the unsheatheddaggers ("Sia gloria eterna e onore"), and the thrilling unisons ofthe chorus ("D'un sacro zel l'ardore"), which fairly glow with energy, fierceness, and religious fury, --these numbers of themselves mighthave made an act; but Meyerbeer does not pause here. He closes with aduet between Raoul and Valentin which does not suffer in comparisonwith the tremendous combinations which have preceded it. It is filledwith the alternations of despair and love, of grief and ecstasy. Inits movement it is the very whirlwind of passion. Higher form dramaticmusic can hardly reach. In the Italian version the performance usuallycloses at this point; but there is still another striking and powerfulscene, that in which Raoul and Valentin are united by the dyingMarcel. Then the three join in a sublime trio, and for the last timechant together the old Lutheran psalm, and await their fate amid thetriumphant harpings that sound from the orchestra and the hosanna theysing to its accompaniment. THE STAR OF THE NORTH. "L'Étoile du Nord, " an opera in three acts, words by Scribe, was firstperformed at the Opera Comique, Paris, Feb. 16, 1854, and in Italianas "La Stella del Nord" at Covent Garden, London, July 19, 1855. InEnglish it has been produced under the title of "The Star of theNorth. " The opera contains several numbers from the composer's earlierwork, "Feldlager in Schlesien, " which was written for the opening ofthe Berlin opera-house, in memory of Frederick the Great, and wassubsequently (Feb. 17, 1847) performed with great success in Vienna, Jenny Lind taking the rôle of Vielka. The "Feldlager, " however, hasnever been given out of Germany. The action of the opera transpires in Wyborg, on the Gulf of Finland, in the first act, at a camp of the Russians in the second, and at thepalace of the Czar Peter in the third. In the first, Peter, who isworking at Wyborg, disguised as a carpenter, makes the acquaintance ofDanilowitz, a pastry-cook, and Catharine, a cantiniere, whose brotherGeorge is about to marry Prascovia. Catharine brings about thismarriage; and not only that, but saves the little village from aninvasion by a strolling horde of Tartars, upon whose superstition shepractises successfully, and so conducts herself in general that Peterfalls in love with her, and they are betrothed, though she is notaware of the real person who is her suitor. Meanwhile the conscriptiontakes place, and to save her newly wedded brother she volunteers forfifteen days in his place, disguising herself as a soldier. In thenext act we find Catharine going her rounds as a sentinel in theRussian camp on the Finnish frontier. Peter and Danilowitz are alsothere, and are having a roistering time in their tent, drinking andmaking love to a couple of girls. Hearing Peter's voice she recognizesit, and curiosity leads her to peep into the tent. She is shocked atwhat she beholds, neglects her duty, and is found by the corporal inthis insubordinate condition. He remonstrates with her, and sheanswers with a slap on his ears, for which she incurs the penalties ofdisobedience to orders as well as insulting behavior to her superiorofficer. Peter at last is roused from his drunkenness by the news ofan insurrection among his own soldiers and the approach of the enemy. He rushes out and promises to give Peter into their hands if they willobey and follow _him_. At last, struck with his bearing and authority, they demand to know who he is, whereupon he declares himself the Czar. The mutiny is at once quelled. They submit, and offer their lives aswarrant for their loyalty. The last act opens in the Czar's palace, where his old companion, Danilowitz, has been installed in high favor. Catharine, however, has disappeared. George and Prascovia arrive fromFinland, but they know nothing of her. The faithful Danilowitz findsher, but she has lost her reason. Her friends try to restore it bysurrounding her with recollections of home, and Peter at last succeedsby playing upon his flute the airs he used to play to her in Finland. Her senses come back, and thus all ends happily; for Catharine andPeter are at last united amid the acclamations of the people. In the first act the character of Peter is well expressed in thesurly, growling bass of his soliloquy ("Vedra, vedra"). It is followedby a characteristic drinking-chorus ("Alla Finlanda, beviam"), a wild, barbaric rhythm in the minor, which passes into a prayer as theyinvoke the protection of Heaven upon Charles XII. In the eighth sceneoccur the couplets of Gritzensko as he sings the wild song of theKalmucks. In charming contrast, in the next scene, Catharine sings thegypsy rondo, which Jenny Lind made so famous ("Wlastla la santa"), which is characterized by graceful coquetry; and this in turn isfollowed by a striking duet between Catharine and Peter, in which theindividual characteristics of the two are brought out in genuineWagnerian style. In the thirteenth scene occurs the bridal song ofPrascovia ("Al suono dell'ora"), with choral accompaniment, of adelicate and coquettish cast, leading up to the finale, beginning withthe soldiers' chorus ("Onor che a gloria"), with an accompaniment ofdrums and fifes, again passing to a pathetic prayer ("Veglia dal cielsu lor") sung by Catharine amid the ringing of bells as the bridalwreath is placed upon Prascovia's head, and closing with a floridbarcarole ("Vascel che lasci") as she sails away. The second act opens with ballet music, full of Eastern color, andthen ensues one of those choral combinations, like that in the secondact of "the Huguenots, " in which Meyerbeer so much delighted, --acavalry chorus ("Bel cavalier del cuor d'acciar"), followed by theGrenadier's song, accompanied by chorus ("Granadier di Russiaesperti"), the chorus taking up the "tr-r-r-um" refrain in imitationof the drum. In the eighth scene we have the orgy in the tent in theform of a very spirited dramatic trio, in which Peter sings a blithedrinking-song ("Vedi al par del rubino"); this in turn resolving intoa quintet ("Vezzose vivandiere"), and again into a sextet, asIsmailoff enters with a letter for the Czar. The finale is a superbmilitary picture, made up of the imposing oath of death to the tyrant, the stirring Dessauer march, the cavalry fanfare, and the Grenadiers'march, interwoven with the chorus of women as they cheer on themarching soldiers. The third act opens with a romanza ("Dal cor per iscacciare"), verytender and beautiful, in which the rugged Czar shows us thesentimental side of his character. In the third scene occurs a longbuffo trio between Peter, Gritzensko, and Danilowitz, which is full ofhumor. In the finale we have Catharine in the mad scene, singing thescena, "L'aurora alfin succede, " with bits of the old music runningthrough the accompaniment; and in the final scene, as her reasonreturns, breaking out in the florid bravura, "Non s'ode alcun, "accompanied by the first and second flutes, which is a triumph ofvirtuosity for the voice. This number was taken from "The Camp inSilesia, " and was given by Jenny Lind with immense success, not onlyin the latter work, but upon the concert stage. The opera as a wholeabounds in humor, its music is fresh and brilliant, and its militarycharacter makes it specially attractive. ROBERT THE DEVIL "Robert le Diable, " a grand opera in five acts, words by Scribe andDelavigne, was first produced at the Académie, Paris, Nov. 21, 1831, with the following cast:-- ALICE Mlle. DORUS. ISABELLE Mme. CINTI-DAMOREAU. THE ABBESS Sigr. TAGLIONI. ROBERT M. NOURRIT. BERTRAM M. LEVASSEUR. RAIMBAUT M. LAFONT. In the following year two versions in English, both of them imperfect, were brought out by the rival theatres, Covent Garden and Drury Lane. On the 20th of February it appeared at Drury Lane under the title of"The Demon; or, the Mystic Branch, " and at Covent Garden the nextevening as "The Fiend Father, or Robert Normandy. " Drury Lane hadtwenty-four hours the start of its rival, but in neither case were therepresentations anything but poor imitations of the original. On the11th of the following June the French version was produced at theKing's Theatre, London, with the same cast as in Paris, except thatthe part of Alice was taken by Mme. De Meric, and that of the Abbessby the danseuse Mlle. Heberlé. On the 4th of May, 1847, the firstItalian version was produced at Her Majesty's Theatre, with Jenny Lindand Staudigl in the cast. Gruneisen, the author of a brief memoir ofMeyerbeer, who was present, says: "The night was rendered memorable, not only by the massacre attending the general execution, but also bythe début of Mlle. Lind in this country, who appeared as Alice. Withthe exception of the débutante, such a disgraceful exhibition wasnever before witnessed on the operatic stage. Mendelssohn was sittingin the stalls, and at the end of the third act, unable to bear anylonger the executive infliction, he left the theatre. " The libretto of "Robert the Devil" is absurd in its conceptions andsensational in its treatment of the story, notwithstanding that itcame from such famous dramatists as Scribe and Delavigne; and it wouldhave been still worse had it not been for Meyerbeer. Scribe, it issaid, wished to introduce a bevy of sea-nymphs, carrying golden oars, as the tempters of Robert; but the composer would not have them, andinsisted upon the famous scene of the nuns, as it now stands, thoughthese were afterwards made the butt of almost endless ridicule. Mendelssohn himself, who was in Paris at this time, writes: "I cannotimagine how any music could be composed on such a cold, formalextravaganza as this. " The story runs as follows: The scene is laid inSicily, where Robert, Duke of Normandy, who by his daring andgallantries had earned the sobriquet of "the Devil, " banished by hisown subjects, has arrived to attend a tournament given by the Duke ofMessina. In the opening scene, while he is carousing with his knights, the minstrel Raimbaut sings a song descriptive of the misdeeds ofRobert. The latter is about to revenge himself on the minstrel, whenAlice, his foster-sister and the betrothed of Raimbaut, appears andpleads with him to give up his wicked courses, and resist the spiritof evil which is striving to get the mastery of him. Robert thenconfides to Alice his hopeless passion for Isabella, daughter of theDuke. While they are conversing, Bertram, "the unknown, " enters, andAlice shrinks back affrighted, fancying she sees in him the evilspirit who is luring Robert on to ruin. After she leaves, Bertramentices him to the gaming-table, from which he rises a beggar, --andworse than this, he still further prejudices his cause with Isabellaby failing to attend the tournament, thus forfeiting his knightlyhonor. The second act opens upon an orgy of the evil spirits in the cavern ofSt. Irene. Bertram is present, and makes a compact with them to looseRobert from his influence if he does not yield to his desires at once. Alice, who has an appointment with the minstrel in the cavern, overhears the compact, and determines to save him. Robert soonappears, mourning over his losses and dishonor; but Bertram promisesto restore everything if he will visit the ruined Abbey of St. Rosalie, and carry away a mystic branch which has the power ofconferring wealth, happiness, and immortality. He consents; and in thenext scene Bertram pronounces the incantation which calls up theburied nuns. Dazed with their ghostly fascinations, Robert seizes thebranch and flies. His first use of it is to enter the apartments ofIsabella, unseen by her or her attendants, all of whom becomeimmovable in the presence of the mystic talisman. He declares hisintention of carrying her away; but moved by her entreaties he breaksthe branch, which destroys the charm. In the last act Bertram is athis side again, trying to induce him to sign the fatal compact. Thestrains of sacred music which he hears, and the recollections of hismother, restrain him. In desperation Bertram announces himself as hisfiend-father. He is about to yield, when Alice appears and reads tohim his mother's warning against the fiend's temptation. As he stillhesitates, the clock strikes, and the spell is over. Bertramdisappears, and the scene changes to the cathedral, where Isabella inher wedding robes awaits the saved Robert. From the musical point of view "Robert le Diable" is interesting, asit marks the beginning of a new school of grand opera. With this work, Meyerbeer abandoned the school of Rossini and took an independentcourse. He cut loose from the conventional classic forms and gave theworld dramatic music, melodies of extraordinary dramatic force, brilliant orchestration, stately pageants, and theatrical effects. "Robert le Diable" was the first of the subsequent great works fromhis pen which still further emphasized his new and independentdeparture. It is only necessary to call attention to a few prominentnumbers, for this opera has not as many instances of thesecharacteristics as those which followed and which are elsewheredescribed. The first act contains the opening bacchanalian chorus("Versiamo a tazza plena"), which is very brilliant in character; theminstrel's song in the same scene ("Regnava un tempo in Normandia"), with choral accompaniment; and a very tender aria for Alice ("Vanne, disse, al figlio mio"), in which she delivers his mother's message toRobert. The second act opens with a spirited duet between Bertram andRaimbaut, leading up to a powerful and characteristic chorus of theevil spirits ("Demoni fatali"). An aria for Alice ("Nel lasciar inNormandia"), a duet between Bertram and Alice ("Trionfo bramato"), andan intensely dramatic trio between Bertram, Alice, and Robert ("Losguardo immobile"), prepare the way for the great scena of the nuns, known as "La Temptation, " in which Meyerbeer illustrates the fantasticand oftentimes ludicrous scene with music which is the very essence ofdiabolism, and in its way as unique as the incantation music in "DerFreischutz. " The third act contains two great arias. The first("Invano il fato"), sung at the opening of the act by Isabella, andthe second the world-famous aria "Roberto, o tu che adoro, " betterknown by the French words ("Robert! toi que j'aime"). The closing actis specially remarkable for the great terzetto in its finale, which isone of the most effective numbers Meyerbeer has written. The judgmentof Hanslick, the great Viennese critic, upon this work is interestingin this connection. He compares it with "William Tell" and"Masaniello, " and finds that in musical richness and blended effectsit is superior to either, but that a single act of either of the worksmentioned contains more artistic truth and ideal form than "Robert leDiable, "--a judgment which is largely based upon the libretto itself, which he condemns without stint. DINORAH "Dinorah, " an opera in three acts, founded upon a Breton idyl, wordsby Barbiere and Carré, was first produced at the Opera Comique, Paris, April 4, 1859, under the title of "Le Pardon de Ploermel. " It containsbut three principal characters, and these were cast as follows:Dinorah, Mme. Cabel; Corentin, M. Sainte-Foy; and Höel, M. Faure. Onthe 26th of July, 1859, Meyerbeer conducted the work himself at CoventGarden, London, with Mme. Miolan-Carvalho as Dinorah, and it was alsoproduced in the same year in English by the Pyne-Harrison troupe. Thefirst representative of Dinorah in this country was Mlle. Cordier. The scene of the opera is laid in Brittany, and when the first actopens, the following events are supposed to have transpired. On one ofthe days set apart by the villagers of Ploermel for a pilgrimage tothe shrine of the Virgin, Höel, the goatherd, and Dinorah, hisaffianced, set out to receive a nuptial benediction. The festivity isinterrupted by a thunder-storm, during which Les Herbiers, thedwelling-place of Dinorah, is destroyed by lightning. Dinorah is indespair. Höel determines to make good the loss, and upon the advice ofTonick, an old wizard, resolves to go in quest of a treasure which isunder the care of the Korigans, a supernatural folk belonging toBrittany. In order to wrest it from them, however, it is necessary forHöel to quit the country and spend a year in solitude in a desolateregion. He bravely starts off, and Dinorah, thinking he has abandonedher, loses her wits, and constantly wanders about the woods with hergoat, seeking him. Meanwhile the year expires and Höel returns, convinced that he has the secret for securing the treasure. The overture to the work is unique among operatic overtures, as it hasa chorus behind the curtain interwoven with it. It is a picture of theopera itself, and contains a will-o'-the-wisp passage, a rustic songwith accompaniment of goat-bells, a storm, and in the midst of thestorm a chant to the Virgin, sung by the unseen chorus, and then aPilgrimage march, the whole being in the nature of a retrospect. Thecurtain rises upon a rustic chorus, after which Dinorah appears, seeking her goat, and sings a slumber-song ("Si, carina, caprettina")which is very graceful, and concludes with phrases in imitation ofbirds. In the next scene, Corentin, the bagpiper, who has been awaythree months, and is nearly dead with terror of goblins and fairies, returns to his cottage, and to reassure himself sings a very quaintand original song ("Sto in casa alfine"), to the accompaniment of hispipe. Dinorah suddenly appears and enters the cottage, and much to hisalarm keeps him playing and singing, which leads to a very animatedvocal contest between her and the bagpiper. It is abruptly terminated, however, by the arrival of Höel. Dinorah makes her escape by a window, and Höel relates to Corentin the story of the Korigans' treasure. Asthe first person who touches it will die, he determines that Corentinshall be his messenger, and to rouse his courage sends for wine. WhileCorentin is absent, Höel sings an aria ("Se per prender") which hasalways been a favorite with barytones. After Corentin returns, thetinkling of the goat's bell is heard. Dinorah appears in the distance, and a charming trio closes the act, to the accompaniment of thewhistling wind and booming thunder on the contra basses and drums ofthe orchestra. The second act opens with a drinking-song by wood-cutters, and as theywithdraw, Dinorah enters, seeking Höel. She sings a tender lament, which, as the moonlight falls about her, develops into the famous"Shadow Song, " a polka mazurka, which she sings and dances to hershadow. The aria, "Ombra leggier, " is fairly lavish in its texture ofvocal embroidery, and has always been a favorite number on the concertstage. The next scene changes to the Val Maudit (the Cursed Vale), arocky, cavernous spot, through which rushes a raging torrent bridgedby a fallen tree. Höel and Corentin appear in quest of the treasure, and the latter gives expression to his terror in a very characteristicmanner, with the assistance of the orchestra. Dinorah is heard singingthe legend of the treasure ("Chi primo al tesor"), from which Corentinlearns that whoever touches it first will die. He refuses to go on, and a spirited duet ensues between them, which is interrupted by theentrance of Dinorah and her goat. Höel, fancying it is a spirit sentto keep him back, sings a very beautiful aria ("Le crede il padre"). The act closes with the fall of Dinorah, who attempts to cross thebridge, into the torrent, and her rescue by Höel, to the accompanimentof a storm set to music. The scene, though melodramatic, is verystrong in its musical effects. The last act opens with a scene in striking contrast, introduced witha quintet of horns, followed by a hunter's solo, a reaper's solo, aduet for shepherds; and a quartet in the finale. Höel arrives, bearingthe rescued Dinorah, and sings to her an exquisite romance ("Seivendicata assai"). The magic of his singing and her bath in thetorrent restore her wandering senses. Höel persuades her that allwhich has transpired has been a dream. The old song of the Pardon ofPloermel comes to her, and as she tries to recall it the chorus takesit up ("Santa Maria! nostra donna") as it was heard in the overture. Aprocession is seen in the distance, and amid some exquisite pageantmusic Höel and Dinorah wend their way to the chapel, where the nuptialrites are supposed to be performed. THE PROPHET. "Le Prophète, " an opera in five acts, words by Scribe, was firstproduced in Paris, April 16, 1849, with Mme. Viardot-Garcia as Fides, and M. Roger as John of Leyden. "The Prophet" was long and carefullyelaborated by its composer. Thirteen years intervened between it andits predecessor, "The Huguenots;" but in spite of its elaboration itcan only be said to excel the latter in pageantry and spectaculareffect, while its musical text is more declamatory than melodious, ascompared with "The Huguenots. " In this sense it was disappointing whenfirst produced. The period of the opera is 1534. The first act transpires in Dordrechtand Leyden, in Holland, and the other three in Munster, Germany. Thetext closely follows the historical narrative of the period whenMunster was occupied by John of Leyden and his fanatics, who, after hehad been crowned by them as Emperor of Germany, was driven out by thebishop of the diocese. The first act opens in the suburbs ofDordrecht, near the Meuse, with the château of Count Oberthal, lord ofthe domain, in the distance. After a very fresh and vigorous chorus ofpeasants, Bertha, a vassal of the Count, betrothed to John of Leyden, enters and sings a cavatina ("Il cor nel sento"), in which she givesexpression to emotions of delight at her approaching union. As shecannot go to Leyden, where the marriage is to take place, without theCount's consent, Fides, the mother of John, joins her to make therequest. In the mean time the three Anabaptists, Zacarie, Gione, andMathisen, leaders of the revolt in Westphalia, arrive on their missionof raising an insurrection in Holland, and in a sombre trio of areligious but stirring character ("O libertade") incite the peasantsto rise against their rulers. They make an assault upon the castle ofCount Oberthal, who speedily repels them, and turns the tide ofpopular feeling against the Anabaptists, by recognizing Gione as aformer servant who had been discharged from his service fordishonesty. Fides and Bertha then join in a romanza ("Della mora ungiorno"), imploring his permission for the marriage of Bertha andJohn. The Count, however, struck with her beauty, not only refuses, but claims her for himself, and seizes both her and Fides, and the actcloses with a repetition of the warning chant of the Anabaptists. The second act opens in the hostelry of John of Leyden, and isintroduced with a waltz and drinking-chorus, in the midst of which theAnabaptists arrive and are struck with his resemblance to a portraitof David in the Munster Cathedral. From a very descriptive and highlywrought scena ("Sotto le vasti arcati") sung by him they also learnthat he is given to visions and religious meditations. They assure himthat he shall be a ruler; but in a beautiful romanza ("Un impero piusoave") he replies that his love for Bertha is his only sovereignty. Just as they depart, Bertha, who has escaped, rushes in and claims hisprotection. He conceals her; but has hardly done so when the Countenters with his soldiers, bringing Fides as a prisoner, and threatensto kill her unless Bertha is given up. He hesitates; but at last, tosave his mother's life, delivers Bertha to her pursuers. Mother andson are left alone, and she seeks to console him. In this scene occursone of the most dramatic and intense of Meyerbeer's arias ("O figliomio, che diro"), known more popularly by its French words, beginning, "Ah! mon fils. " It has enjoyed a world-wide popularity, and stillholds its place in all its original freshness and vigor. Fides hardlydisappears before the ominous chant of the Anabaptists is heard again. He does not need much persuasion now. They make their compact in aquartet of magnificent power, which closes the act; and some of John'sgarments are left behind stained with blood, that his mother maybelieve 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 thedistance. In the second scene Zacarie sings a stirring pasan ofvictory ("In coppia son"), followed by the beautiful ballet music ofthe skaters as they come bringing provisions to the troops. CountOberthal meanwhile has been taken prisoner and brought into camp. Abuffo trio between himself and his captors follows, in which Gionepenetrates his disguise and recognizes him. They are about to fallupon him; but John, learning from him that Bertha is still alive andin Munster, saves his life. He immediately resolves to take the placeby assault, rouses his followers with religious chants of a martialcharacter, and the act concludes with the march on the city. The fourth act opens in the city itself after its capture. A mendicantappears in the public square begging for bread. It is Fides; and in aplaintively declamatory aria of striking power ("Pieta! pieta!") sheimplores alms. She meets with Bertha disguised as a pilgrim, and bentupon the destruction of the Prophet, who, she believes, has been thecause of John's death. The next scene opens in the cathedral, wherethe coronation of the Prophet is to take place; and among allMeyerbeer's pageants none are more imposing than this, with itsaccompaniment of pealing bells, religious chants, the strains of theorgan, and the stately rhythms of the great Coronation March. It is asplendid prelude to the dramatic scene which follows. In the midst ofthe gorgeous spectacle, the voice of Fides is heard claiming theProphet as her son. John boldly disavows her, and tells his followersto kill him if she does not confirm the disavowal. The feelings of themother predominate, and she declares that she is mistaken. Themultitude proclaim it a miracle, and Fides is removed as a prisoner. The dramatic situation in this finale is one of great strength, andits 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 savethemselves by betraying John. In the third scene Fides in prison, learning that John is coming to see her, invokes the punishment ofHeaven upon him in the passionate aria, "Spirto superno. " A duet ("Tuche del cielo") of great power follows, in which Fides convinces himof the errors of his course. As they are about to leave, Berthaenters, bent upon the destruction of the palace, and in the trio whichensues 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 abanqueting-hall of the palace, where John is revelling, with theAnabaptists around him. He sings a bacchanalian song of a wilddescription ("Beviam e intorno"), and, as it closes, the Bishop ofMunster, the Elector, Count Oberthal, and the three Anabaptists whohave betrayed him, enter the apartment. The revenge which John hasplanned is now consummated. An explosion is heard. Flames break out onall sides. Fides rushes in and forgives her son, and the Prophet, hismother, and his enemies perish together. Although "The Prophet" did not meet with the popularity of some of hisother operas, it contains some of the most vigorous and dramatic musicMeyerbeer has written, --notably the arias of Zacarie and Fides, theskating-ballet, the Coronation March, and the drinking-song. As apageant, "The Prophet" has never been surpassed. THE AFRICAN. "L'Africaine, " a grand opera in five acts, words by Scribe, was firstproduced at the Académie, Paris, April 28, 1865, with the followingcast:-- 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 in1838; but such were the alterations demanded by the composer, that atlast Scribe withdrew it altogether, although the music was alreadyset. In 1852 he furnished a revised libretto, and the music wasrevised to suit it. The work was not finished until 1860, and owing tothe difficulty of filling the cast satisfactorily, was not brought torehearsal until the fall of 1863. While still correcting and improvingit, Meyerbeer died, and it was not produced until two years later. Shortly after the Paris performance it was brought out in London, withMlle. Lucca in the part of Selika. Mme. Zucchi was one of the earliestrepresentatives of the slave in this country. The scene of the opera is laid in Portugal and Africa, and the firstact 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 DonPedro, the President of the Council, tries to persuade her that Vascohas perished by shipwreck; but the refutation of the story comes inthe sudden appearance of Vasco himself, who is summoned before theCouncil and narrates to them his discovery of a strange land, producing two of the natives, Selika and Nelusko, as confirmations ofhis announcement. Don Pedro incites the inquisitors to deny the truthof the story, at which Vasco breaks out in such a furious rage againstthem that he is arrested and thrown into a dungeon. The second actopens in the prison, where Selika is watching the slumbering Vasco. Ashe wakens she declares her love for him, and at the same time saveshim from the dagger of the jealous Nelusko. She also indicates to himthe course he should have taken to discover the island of which he isin quest. To save her lover, Inez consents to wed Don Pedro; and thelatter, to cheat Vasco of his fame, takes command of the expeditionunder the pilotage of Nelusko, and sets sail for the new land. TheIndian, thirsting for vengeance, directs the vessel out of her coursetowards a reef; but Vasco, who has followed in another vessel, arrivesin time to warn Don Pedro of his danger. He disregards the warning, distrusts his motives, and orders him to be shot; but before thesentence can be carried out, the vessel strikes and is boarded by thesavages, who slaughter the commander and most of his men. The fourthact opens on the island which Selika pointed out on the map, and ofwhich she is queen. To save him from her subjects, she declaresherself his spouse; but as the marriage rite is about to becelebrated, Vasco hears the voice of Inez in the distance, desertsSelika, and flies to her. In the last act, as the vessel sails awaybearing Vasco and Inez back to Portugal, Selika throws herself downunder the poisonous manchineel-tree and kills herself with its fatalflowers; 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 ofBeauty, fare thee well, " and is followed by a bold and flowingterzetto. The third scene opens with a noble and stately chorus ("Tuche la terra adora") sung by the basses in unison, opening the Councilbefore which Vasco appears; and the act closes with an anathema hurledat him ("Ribelle, insolente"), --a splendid ensemble, pronounced in itsrhythm 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 isbroken here and there by a barcarole which Vasco murmurs in his sleep. In striking contrast with its dreamy, quiet flow, it leads up to apassionate aria ("Tranquillo e già") based upon a strong and fierymotive. In the next scene follows an aria of equal vigor sung byNelusko ("Figlia dei Re"), in which his devotion to Selika changing tohis hatred of Vasco is characterized by a grand crescendo. The actcloses with a vigorous sextet, the motive of which is strangelysimilar to the old song, "The Minstrel Boy. " The third act contains a very impressive number, Nelusko's invocationof Adamastor ("Adamastor, re dell' onde profondo"), but is mainlydevoted to the ship scene, which, though grotesque from the dramaticpoint of view, is accompanied by music of a powerful and realisticdescription, written with all the vividness and force Meyerbeer alwaysdisplays in his melodramatic ensembles. The fourth act contains themost beautiful music of the opera, --Vasco's opening aria, "OParadiso, " an exquisite melody set to an equally exquisiteaccompaniment; the ensemble in the fourth scene, in which Selikaprotects Vasco and Nelusko swears vengeance ("Al mio penar de fine");the grand duet between Vasco and Selika ("Dove son"), which has oftenbeen compared to the duet in the fourth act of "The Huguenots, " thoughit has not the passionate intensity of the scene between Raoul andValentin; and the graceful choruses of the Indian maidens and Inez'sattendants 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. Thesecond, known as "La Scene du Mancenillier, " has a symphonic preludein the form of a funeral march, based upon a fascinating melody, whichis beyond question the finest of Meyerbeer's orchestral numbers in anyof his works. From this point the story hastens to its tragicdénouement; and nearly the entire scene is occupied with Selika'sdying song, which opens with a majestic apostrophe to the sea ("Da quiio vedo il mar"), then turns to sadness as she sings to the fatal tree("O tempio sontuoso"), and at the close develops into a passionateoutcry of joy ("O douce extase"). Though the plot of "L'Africaine" isoften absurd, many of its incidents preposterous, and some of itscharacters unattractive, the opera is full of effective situations, and repeatedly illustrates Meyerbeer's powers of realization and hisknowledge 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 hisfirst work, a minuet and trio for piano, was written in his fifthyear. He began to study with his father when but three years of age, and at once gave signs of extraordinary promise. His sister was alsovery talented; and in 1762 the father determined to travel with hisprodigies. They were absent a year, the most of that time being spentat Munich, Vienna, and Presburg, where they created a furor by theirperformances. A longer journey was then resolved upon. The principalGerman cities, Brussels, Paris, London, the Hague, Amsterdam, and thelarger towns of Switzerland were visited in succession, and everywherethe children were greeted with enthusiasm, particularly when theyplayed before the French and English courts. They returned to Salzburgin 1766, already famous all over Europe; and during the next two yearsMozart composed many minor works. In 1768 he was again in Vienna, where he produced his little operetta, "Bastien und Bastienne, " and inthe 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 hisopera, "Mitridate, Rè di Ponto, " at Milan, with great success. Thenext year he produced "Lucio Silla, " also in Milan, and during thenext four years composed a great number of symphonies and otherinstrumental works. The mass of music which he composed up to histwenty-first year is simply bewildering. In 1781 he brought out"Idomeneo" at Munich, which left no doubt as to his position as adramatic composer. In 1782 his "Entfuhrung aus dem Serail" wasproduced at Vienna by the Emperor's command. His next great opera was"Le Nozze di Figaro, " which was performed in 1786, and made all Viennago wild. "Don Giovanni" followed it the next year, and was receivedwith equal enthusiasm. In 1789 he composed the famous "Requiem;" andthe same year the "Zauberflöte, " his last great opera, appeared, andmade a success even greater than its two great predecessors. Two yearslater, Dec. 5, 1791, Mozart died in poverty, and amid the saddest ofsurroundings. One of the world's greatest geniuses was carried to hislast resting-place unaccompanied by friends, and was buried in thecommon pauper's grave. God endowed him with a wonderful genius, whichthe world of his time could not recognize. THE MARRIAGE OF FIGARO. "Le Nozze di Figaro, " in the German version, "Die Hochzeit desFigaro, " an opera buffa in four acts, the words by Lorenzo da Ponte, after Beaumarchais's comedy, "Le Mariage de Figaro, " was firstproduced at the National Theatre, Vienna, May 1, 1786, with thefollowing 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 spokendialogue, in five acts, as "Le Mariage de Figaro, " and in 1858 at theThéâtre Lyrique in the same city, in four acts, as "Les Noces deFigaro, " with text by Barbiere and Carré. The late Mme. Parepa-Rosaintroduced 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 hadattracted great attention. It had been prohibited in Paris, and hadcaused great commotion in Vienna. Mozart's notice was thus drawn toit, and he suggested it to Da Ponte for a libretto, and the EmperorJoseph subsequently commissioned the composer to set it to music, though he had already composed a portion of it. The entire opera waswritten during the month of April, and the wonderful finale to thesecond act occupied him for two nights and a day. When it came to aperformance, its success was remarkable. Kelly, who was present, says, in his Reminiscences: "Never was there a greater triumph than Mozartenjoyed with his 'Figaro. ' The house was crowded to overflowing, andalmost everything encored, so that the opera lasted nearly double theusual time; and yet at its close the public were unwearied in clappingtheir hands and shouting for Mozart. " Popular as it was, it was soonlaid aside in Vienna through the influence of the Italian factionheaded by Salieri, one of Mozart's rivals. The story of the opera is laid in Spain. Count Almaviva, who had wonhis beautiful Countess with the aid of Figaro, the barber of Seville, becomes enamoured of her maid Susanna, and at the same time, by thecollusion of the two, in order to punish him, is made jealous by theattentions paid to the Countess by Cherubino, the page. MeanwhileFigaro, to whom Susanna is betrothed, becomes jealous of the Count forhis gallantry to her. Out of these cross-relations arise severalhumorous surprises. Besides these characters there are two others whohave been disappointed in love, --Bartolo, who has been rejected bySusanna, and Marcellina, whose affection for Figaro has not beenrequited. The Count seeks to get rid of Cherubino by ordering him offto the wars, but he is saved by Susanna, who disguises him in femaleattire. The Countess, Susanna, Figaro, and Cherubino then conspire topunish the Count for his infidelity. The latter suddenly appears athis wife's door, and finding it locked demands an entrance. Cherubino, alarmed, hides himself in a closet and bars the door. The Count isadmitted, and finding the Countess in confusion insists upon searchingthe 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 jumpedfrom the window and broken his flower-pots. Figaro at once assertsthat he did it. A ludicrous side plot unfolds at this point. Marcellina appears with acontract of marriage signed by Figaro, bringing Bartolo as a witness. The Count decides that Figaro must fulfil his contract, but the latterescapes by showing that he is the son of Marcellina, and that Bartolois his father. Meanwhile the main plot is developed in anotherconspiracy to punish the Count. Susanna contrives a rendezvous withthe Count at night in the garden, having previously arranged with theCountess that she should disguise herself as the maid, the latter alsoassuming the part of the Countess, and arrive in time to surprise thetwo. The page also puts in an appearance, and gets his ears boxed forhis attentions to the disguised Countess. Figaro, who has beeninformed that Susanna and the Count are to meet in the garden, comeson the scene, and in revenge makes a passionate declaration of love tothe supposed Countess, upon which the Count, who is growing more andmore bewildered, orders lights and makes his supposed wife unveil. Thereal wife does the same. Covered with confusion, he implores pardon ofthe Countess, which is readily given. The two are reconciled, andFigaro and Susanna are united. The whole opera is such a combination of playfulness and grace that itis a somewhat ungracious task to refer to particular numbers. In theseregards it is the most Mozartean of all the composer's operas. Thefirst act opens with a sparkling duet between Figaro and Susanna, inwhich 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 theCount wishes to dance he will play for him in a style he littleexpects. In the second scene Bartolo enters, full of his plans forvengeance, which he narrates in a grim and grotesque song ("LaVendetta"). The fourth scene closes with an exquisite aria byCherubino ("Non so piu cosa son"). After an exceedingly humorous trio("Cosa sento? tosto andate") for the Count, Basilio and Susanna, and abright, gleeful chorus ("Giovanni lieti"), Figaro closes the act withthe celebrated aria, "Non piu andrai. " Of the singing of this greatsong at the first rehearsal of the opera Kelly says in hisReminiscences: "I remember Mozart well at the first general rehearsal, in a red furred coat and a gallooned hat, standing on the stage andgiving the tempi. Benucci sang Figaro's aria, 'Non piu andrai, ' withthe utmost vivacity and the full strength of his voice. I stood closebeside Mozart, who exclaimed, _sotto voce_, 'Brava! brava! Benucci!'and when that fine passage came, 'Cherubino, alla vittoria, allagloria militar, ' which Benucci gave in a stentorian voice, the effectwas quite electrical, both on the singers on the stage and themusicians in the orchestra. Quite transported with delight, they allcalled out, 'Brava! brava, Maestro! viva! viva! viva il grandeMozart!' In the orchestra the applause seemed to have no end, whilethe violin-players rapped their bows on their desks. The littleMaestro expressed his gratitude for the enthusiasm, testified in sounusual a manner, by repeatedly bowing. " The second act is the masterpiece of the opera, and contains in itselfmusic enough to have made any composer immortal. It opens with aserious aria by the Countess ("Porgi amor") followed by Cherubino'swell-known romanza ("Voi che sapete, ") one of the sweetest and mosteffective songs ever written for contralto, and this in turn bySusanna's coquettish song, "Venite, inginocchiatevi, " as she disguisesCherubino. A spirited trio and duet lead up to the great finale, begunby the Count, ("Esci omai, garzon mal nato"). Upon this finale Mozartseems to have lavished the riches of his musical genius with the mostelaborate detail and in bewildering profusion. It begins with a duetbetween the Count and Countess, then with the entrance of Susannachanges to a trio, and as Figaro and Antonio enter, develops into aquintet. In the close, an independent figure is added by the entranceof Marcellina, Barbarina, and Basilio, and as Antonio exits, this triois set against the quartet with independent themes and tempi. The third act opens with a duet ("Crudel, perche finora") for theCount and Countess, followed by a very dramatic scena for the Count, beginning with the recitative, "Hai già vinta la causa?" which in turnleads up to a lively and spirited sextet ("Riconosci in questoamplesso"). The two numbers which follow the sextet are recognizeduniversally as two of the sweetest and most melodious everwritten, --the exquisite aria, "Dove Sono, " for the Countess, and the"Zephyr Duet, " as it is popularly known ("Canzonetta su l'aria. Chesoave zeffiretto"), which stands unsurpassed for elegance, grace, andmelodious beauty. The remaining numbers of prominent interest are along and very versatile buffo aria for tenor ("In quegli anni"), sungby Basilio, Figaro's stirring march number ("Ecco la marcia"), and alovely song for Susanna ("Deh, vieni, non tardar"). The opera is fullof life and human interest. Its wonderful cheerfulness and vitalsympathy appeal to every listener, and its bright, free, joyous tonefrom beginning to end is no less fascinating than the exquisitemelodies with which Mozart has so richly adorned it. Like "DonGiovanni" and the "Magic Flute, " the best test of the work is, that itis rounding its first century as fresh and bright and popular as ever. DON GIOVANNI. "Don Giovanni, " an opera buffa in two acts, words by Da Ponte, wasfirst produced at Prague, Oct. 29, 1787. The full title of the work is"Il dissoluto punito, ossia il Don Giovanni, " and the subject wastaken from a Spanish tale by Tirso de Molina, called "El combidado depiedra. " The original cast of the opera was as follows:-- DONNA ANNA Signora TERESA SAPORITTI. DONNA ELVIRA Signora MICELLI. ZERLINA Signora BONDINI. DON OTTAVIO Signor BAGLIONI. DON GIOVANNI Signor LUIGI BASSI. LEPORELLO Signor FELICE PONZIANI. MASETTO and DON PEDRO Signor LOLLI. The success of the "Marriage of Figaro" prepared the way for "DonGiovanni. " Mozart wrote the opera in Prague, and completed it, exceptthe overture, Oct. 28, 1787, about six weeks after he arrived in thecity. The first performance took place the next evening. The overturewas written during the night, the copyist received the score at seveno'clock in the morning, and it was played at eight in the evening. Hehad only a week for stage rehearsals, and yet the opera created afuror. As an instance of his extraordinary memory, it is said that thedrum and trumpet parts to the finale of the second act were writtenwithout the score, from memory. When he brought the parts into theorchestra, he remarked, "Pray, gentlemen, be particularly attentive atthis place, " pointing to one, "as I believe that there are four barseither too few or too many. " His remark was proved true. It is alsosaid that in the original scores the brass instruments frequently haveno place, as he wrote the parts continually on separate bits of paper, trusting to his memory for the score. The next year (1788) the operawas brought out in Vienna, and for this production he wrote four newnumbers, --a recitative and aria for Donna Elvira ("In quali excessi, onumi"); an aria for Masetto ("Ho capito, Signor, si"); a short ariafor Don Ottavio ("Dalla sua pace"); and a duet for Zerlina andLeporello ("Per queste tue manine"). The scene of the opera is laid in Spain. Don Giovanni, a licentiousnobleman, becomes enamoured of Donna Anna, the daughter of theCommandant of Seville, who is betrothed to Don Ottavio. He gainsadmission to her apartments at night, and attempts to carry her away;but her cries bring her father to her rescue. He attacks Don Giovanni, and in the encounter is slain. The libertine, however, in company withhis rascally servant, Leporello, makes good his escape. While theprecious pair are consulting about some new amour, Donna Elvira, oneof his victims, appears and taxes him with his cruelty; but he fliesfrom her, leaving her with Leporello, who horrifies her with anappalling list of his master's conquests in various countries. DonGiovanni next attempts the ruin of Zerlina, a peasant girl, upon thevery eve of her marriage with her lover, Masetto. Donna Elvira, however, appears and thwarts his purposes, and also discovers him toDonna Anna as the murderer of her father, whereupon she binds herlover, Don Ottavio, to avenge his death. Don Giovanni does not abandonhis purpose, however. He gives a fête, and once more seeks toaccomplish Zerlina's ruin, but is again thwarted by her three friends. The second act opens in a public square of Seville at night. DonGiovanni and Leporello appear before the house of Donna Elvira, whereZerlina is concealed. Leporello, disguised in his master's cloak, andassuming his voice, lures Donna Elvira out, and feigning repentancefor his conduct induces her to leave with him. Don Giovanni thenproceeds to enter the house and seize Zerlina; but before he canaccomplish his purpose, Masetto and his friends appear, and supposingit is Leporello before them, demand to know where his master is, asthey are bent upon killing him. Don Giovanni easily disposes ofMasetto, and then rejoins his servant near the equestrian statue, which has been erected to the memory of the murdered Don Pedro. Totheir astonishment the statue speaks, and warns the libertine he willdie before the morrow. Don Giovanni laughs at the prophecy, andinvites the statue to a banquet to be given the next day at his house. While the guests are assembled at the feast, an ominous knock is heardat the door and the statue unceremoniously enters. All exceptLeporello and Don Giovanni fly from the room in terror. The doomed manorders an extra plate, but the statue extends its hand and invites himto sup with it. He takes the marble hand, and its cold fingers clutchhim in a firm grasp. Thrice the statue urges him to repent, and asmany times he refuses; whereupon, as it disappears, demons rise, seizeDon Giovanni, and carry him to the infernal regions. Musically considered, "Don Giovanni" is regarded as Mozart's greatestopera, though it lacks the bright joyousness of the "Marriage ofFigaro, " and its human interest. Its melodies are more pronounced, andhave entered more freely into general use, however, than those of theformer. Repulsive as the story is, some of the melodies whichillustrate it have been impressed into the service of the church. Thefirst act is introduced with a humorous aria by Leporello ("Notte egiorno faticar"), in which he complains of his treatment by hismaster. After the murder of Don Pedro, in the second scene, occurs atrio between Donna Elvira, Don Giovanni, and Leporello, the leadingmotive of which is a beautiful aria sung by Donna Elvira ("Ah! chi midici mai"). The scene closes with the great buffo aria of Leporello("Madamina il catalogo") popularly known as the "Catalogue Song, "which is full of broad humor, though its subject is far frompossessing that quality. In the third scene occur the lovely duet forDon Giovanni and Zerlina ("La ci darem, la mano"), two arias of greatdramatic intensity for Donna Elvira ("Mi tradi") and Donna Anna ("Orsai chi l'onore"), and Don Giovanni's dashing song, "Finchè dal vino, "the music of which is in admirable keeping with the reckless nature ofthe libertine himself. The last scene is a treasure-house of music, containing the exquisitely coquettish aria, "Batti, batti, " whichZerlina sings to the jealous Masetto, and the beautiful trio of DonnaAnna, Donna Elvira, and Don Ottavio, known as the Mask Trio, set offagainst the quaint minuet music of the fête and the hurly-burly whichaccompanies the discovery of Don Giovanni's black designs. The second act opens with a humorous duet between master and servant("Eh, via, buffone"), followed by the trio, "Ah! taci, inquisto care, "as Elvira appears at her window. After she leaves with Leporello, DonGiovanni sings a serenade ("Deh? vieni all finestra") to Zerlina, which is interrupted by the appearance of Masetto and his friends. Zerlina is summoned to the scene by the cries of Masetto after DonGiovanni has beaten him, and sings to him for his consolation thebeautiful aria, "Vedrai carino, " which has more than once been set tosacred words, and has become familiar as a church tune, notwithstanding the unsanctity of its original setting. The secondscene opens with a strong sextet ("Sola, sola, in bujo loco"), followed by the ludicrously solemn appeal of Leporello, "Ah! pieta, signori miei, " and that aria beloved of all tenors, "Il mio tesoro. "The finale is occupied with the scenes at the statue and at thebanquet, a short scene between Donna Anna and Don Ottavio intervening, in which she sings the aria, "Non mi dir. " The statue music throughoutis of a sepulchral character, gradually developing into strains almostas cold and ominous as the marble of the Commandant himself, and yetnot without an element of the grotesque as it portrays the terror ofLeporello. It is said that in revenge at his Italian rivals, Mozart introduced anaria from Martin's "Cosa Rara, " arranged for wind instruments, andalso a favorite aria of Sarti's, to be played at the banquet when thehungry Leporello beholds his master at the table and watches for someof the choice morsels, and parodied them in an amusing manner. Henever could retain an enmity very long, however, and so at the end ofthe banquet he parodied one of his own arias, the famous "Non piuandrai, " by giving it a comical turn to suit Leporello's situation. The criticism of one of the best biographers of Mozart upon this operais worth repeating in this connection: "Whether we regard the mixtureof passions in its concerted music, the profound expression ofmelancholy, the variety of its situations, the beauty of itsaccompaniment, or the grandeur of its heightening and protracted sceneof terror--the finale of the second act, --'Don Giovanni' stands alonein dramatic eminence. " THE MAGIC FLUTE. "Die Zauberflöte, " an opera in two acts, words by EmanuelSchickaneder, was first produced at Vienna, Sept. 30, 1791, with thefollowing cast: QUEEN OF NIGHT Mme. HOFER. PAMINA Mlle. GOTTLIEB. PAPAGENA Mme. GORL. TAMINO Herr SCHACK. MONOSTATOS Herr GORL. SARASTRO Herr SCHICKANEDER, Sr. PAPAGENO Herr SCHICKANEDER, Jr. The "Magic Flute" was the last great work of the composer, andfollowed the "Cosi fan tutte, " which was given in January, 1791. In1780 Mozart had made the acquaintance of Schickaneder at Salzburg. Hewas a reckless, dissipated theatre manager, and at the time of thecomposition of the "Magic Flute" was running a small theatre inVienna. The competition of the larger theatres had nearly beggaredhim, and in the midst of his perplexities he applied to Mozart towrite him an opera, and intimated that he had discovered an admirablesubject for a fairy composition. Mozart at first objected; butSchickaneder, like himself, was a Freemason; he had been his companionin dissipation, and exercised a great influence over him. Mozart atlast consented. A compact was made, and Schickaneder set to work onthe libretto. As he was a popular buffoon, he invented the part ofPapageno, the bird-catcher, for himself, and arranged that it shouldbe dressed in a costume of feathers. It is a trivial part, butSchickaneder intended to tickle the fancy of the public, andsucceeded. The first act was finished, when it was found that the samesubject had been chosen by a rival theatre, the Leopold Stadt, whichspeedily announced the opera of "Kaspar der Fagottist, oder dieZauber-Zither, " by a popular composer, Wenzel Müller. The piece had asuccessful run, and in order to prevent a duplication, Schickanederreversed the point of his story, and changed the evil magician, whostole the daughter of the Queen of Night, into a great philosopher andfriend of man. It is owing to this change that we have the magnificentcharacter of Sarastro, with its impressive music. The scene of the opera is laid in Egypt. Sarastro, the high-priest ofIsis, has induced Pamina to leave her mother, Astrifiamenti, the Queenof Night, who represents the spirit of evil, and come to his temple, where she may be trained in the ways of virtue and wisdom. At theopening of the opera the dark Queen is trying to discover some plan ofrecovering her daughter and punishing Sarastro. In the first actappears Tamino, an Egyptian prince, who has lost his way, and isattacked by a huge serpent, from which he is rescued by the threeattendants of the Queen. The latter accosts him, tells him herdaughter's story, and demands that, as the cost of his deliverance, heshall rescue her. He consents. She gives him a magic flute, and withhis companion Papageno, a rollicking bird-catcher, who is alsopresented with a magical chime of bells, they set out for Sarastro'stemple. Papageno arrives there first, and in time to rescue Paminafrom the persecutions of Monostatos, a slave, who flies when hebeholds Papageno in his feather costume, fancying him the Devil. Theyseek to make their escape, but are intercepted. Tamino also is caught, and all are brought before Sarastro. The prince consents to become anovitiate in the sacred rites, and to go through the various stages ofprobation and purification, and Pamina again returns to her duties. They remain faithful to their vows, and the last ordeal, that ofpassing through a burning lake up to the altar of the temple, istriumphantly accomplished. The Queen of Night, however, does notabandon her scheme of revenge. She appears to Pamina in her sleep, gives her a dagger, and swears that unless she murders Sarastro shewill cast her off forever. Pamina pays no heed to her oath, but goeson with her sacred duties, trusting to Sarastro's promise that if sheendures all the ordeals she will be forever happy. In the closingscene, Monostatos, who has been inflamed against Sarastro by theQueen, seeks to kill him, but is vanquished by the might of thepriest's presence alone. The night of the ordeals is over. At a signfrom Sarastro, the, full sunlight pours in upon them. The evil spiritsall vanish, and Tamino and Pamina are united amid the triumphantchoruses of the priests and attendants, as the reward of theirfidelity. In the opening scene, after the encounter of Tamino with the serpent, Papageno has a light and catching song ("Der Vogelfänger bin ich ja"), which, like all of Papageno's music, was specially written forSchickaneder, and has been classed under the head of the "Vienneseditties. " Melodious as Mozart always is, these songs must be regardedas concessions to the buffoon who sang them. Papageno's song isfollowed by another in a serious strain ("Dies Bildniss ist bezauberndschön") sung by Tamino. In the sixth scene occurs the first aria forthe Queen of Night ("O zittre nicht, mein lieber Sohn"), which, likeits companion to be mentioned later, is a remarkable exercise in vocalpower, range, and gymnastics, written for an exceptional voice. Thenext scene, known as the Padlock Quintet, is very simple and flowingin style, and will always be popular for its humorous and melodiouscharacter. In the eleventh scene occurs the familiar duet betweenPamina and Papageno, "Bei Männern, welche Liebe füllen, " which hasdone good service for the church, and will be recognized in theEnglish hymn version, "Serene I laid me down. " It leads up to thefinale, beginning, "Zum Ziehle führt dich diese Bahn, " and containinga graceful melody for Tamino ("O dass ich doch im Stande wäre"), andanother of the Viennese tunes, "Könnte jeder brave Mann, "--a duet forPapageno and Pamina, with chorus. The second act opens with a stately march and chorus by the priests, leading up to Sarastro's first great aria ("O Isis und Osiris"), asuperb invocation in broad, flowing harmony, and the scene closes witha strong duet by two priests ("Bewahret euch vor Weibertücken. ") Thethird scene is a quintet for Papageno, Tamino, and the Queen's threeattendants ("Wie ihr an diesem Shreckensort?"), and is followed by asentimental aria by Monostatos ("Alles fühlt der Liebe Freuden"). Inthe next scene occurs the second and greatest aria of the Queen ofNight ("Der Hölle Rache kocht"), which was specially written to showoff the bravura ability of the creator of the part, and has been thedespair of nearly all sopranos since her time. In striking contrastwith it comes the majestic aria for Sarastro in the next scene ("Indiesen heil'gen Hallen"), familiarly known on the concert-stage by itsEnglish title, "In these sacred Halls, " the successful performance ofwhich may well be the height of any basso's ambition. In the twelfthscene there is a terzetto by the three boys ("Seid uns zumzweitenmal"), and in the next scene a long and florid aria for Pamina("Ach! ich fühl's es ist verschwunden"), full of plaintive chords andvery sombre in color. The sixteenth scene contains another statelychorus of priests ("O Isis und Osiris"), based upon a broad andmassive harmony, which is followed by a terzetto between Sarastro, Pamina, and Tamino ("Soll ich dich, Theurer nicht mehr sehen?"). Oncemore a concession to the buffoon occurs in a melody "Ein Mädchen oderWeibchen, " which would be commonplace but for Mozart's treatment ofthe simple air. The finale begins with another terzetto for the threeboys ("Bald prangt, den Morgen zu verkünden"). It may be termed afinale of surprises, as it contains two numbers which are as far apartin character as the poles, --the first, an old choral melody ("Der, welcher wandelt diese Strasse"), the original being, "Christ, ourLord, to Jordan came, " set to an accompaniment, strengthened by thetrombones and other wind instruments; and the second, a nonsense duet("Pa-pa-Papageno") for Papageno and Papagena, which would close theopera in a burst of childish hilarity but for the solemn concludingchorus of the priests ("Heil sei euch Geweithen"). The great charm of the opera is its originality, and the wonderfulfreshness and fruitfulness of the composer in giving independent andcharacteristic melodies to every character, as well as the marvellouscombination of technicality with absolute melody. Beethoven said of itthat this was Mozart's one German opera in right of the style andsolidity of its music. Jahn, in his criticism, says: "'TheZauberflöte' has a special and most important position among Mozart'soperas. The whole musical conception is pure German, and here for thefirst time German opera makes free and skilful use of all the elementsof finished art. " ROSSINI. Gioachini Antonio Rossini was born at Pesaro, Italy, Feb. 29, 1792. His early lessons in music were taken with Tesei, and as a lad he alsoappeared upon the stage as a singer. In 1807 he was admitted to theclass of Padre Mattei at the Bologna Conservatory, where he took aprize for a cantata at the end of his first year. At the beginning ofhis career in Italy he was commissioned to write an opera for Venice. It was "La Cambiale di Matrimonio, " an opera buffa in one act, and wasproduced in 1810. During the next three years he wrote several worksfor Venice and Milan, which were successful, but none of them createdsuch a furor as "Tancredi. " This was followed by "L' Italiana inAlgeri, " "Aureliano in Palmira, " and "Il Turco in Italia. " In 1815appeared "The Barber of Seville. " Strange as it may seem, it was atfirst condemned, not on its merits, but because the composer hadtrenched, as it was supposed, upon the ground already occupied by thefavorite Paisiello, though he applied to the latter before writing it, and received his assurances that he had no objection to his use of thesame subject. "Otello" followed the "Barber" at Naples in 1816, and"Cenerentola" in 1817, and both were extraordinarily successful. The"Gazza Ladra" was produced at Milan in 1817, and was followed by"Armida" at Naples in the same year. His next great work was theoratorio, "Moses in Egypt, " which is also given as opera. The "Donnadel Lago, " based upon Walter Scott's "Lady of the Lake, " was producedat Naples in 1819. The same year he opened the Carnival in Milan with"Bianca e Faliero, " and before its close he produced "Maomettosecondo" at Naples. During the next two or three years his muse wasvery prolific, and in 1823 appeared another of his great works, "Semiramide, " which made a furor at Venice. That year he went toLondon and gave concerts, in which he sang, and thence to Paris, whichnow became his home. His greatest work for Paris was "William Tell, "which was produced in 1829, and it was also his last, though by anarrangement with the Government of Charles X. It was to be the firstof a series of five. The revolution of 1830 destroyed his plans. In1836 he heard Meyerbeer's "Huguenots, " and resolved to write no more. Four years before this he had written the "Stabat Mater, " but it wasnot produced complete until 1842. From this time on he lived at hisvilla at Passy the life of a voluptuary and died there Nov. 13, 1868. The catalogue of his works is immense, including fifty operas alone, of which in a necessarily brief sketch it has been possible to mentiononly those best known. THE BARBER OF SEVILLE. "Il Barbiere di Siviglia, " an opera buffa in two acts, words bySterbini, founded on Beaumarchais's comedy, was first produced at theArgentina Theatre, Rome, Feb. 5, 1816, with the following cast:-- ROSINA Mme. GIORGI RIGHETTI. BERTAO Mlle. ROSSI. FIGARO Sig. LUIGI ZAMBONI. COUNT ALMAVIVA Sig. GARCIA. BARTOLO Sig. BOTTICELLI. BASILIO Sig. VITTARELLI. The story of the writing of "The Barber of Seville" is of more thanordinary interest. Rossini had engaged to write two operas for theRoman Carnival of 1816. The first was brought out Dec. 26, 1815, andthe same day he bound himself to furnish the second by Jan. 20, 1816, with no knowledge of what the libretto would be. Sterbini furnishedhim with the story of the "Barber" by piecemeal, and as fast as theverses were given him he wrote the music. The whole work was finishedin less than three weeks. Its original title was "Almaviva, ossial'inutile precauzione, " to distinguish it from Paisiello's "Barber ofSeville. " The original overture was lost in some manner, and that of"Aureliano" substituted. In the scene beneath Rosina's balcony Garciaintroduced a Spanish air of his own; but it failed, and before thesecond performance Rossini wrote the beautiful cavatina, "Ecco ridenteil cielo" in its place, the melody borrowed from the opening chorus ofhis "Aureliano, " and that in turn from his "Ciro in Babilonia. " Thesubject of the effective trio, "Zitti, zitti, " was taken from Haydn's"Seasons, " and the aria sung by the duenna Berta ("Il vechiotto cercamoglie"), from a Russian melody he had heard a lady sing in Rome andintroduced for her sake. For the music-lesson scene Rossini wrote atrio which has been lost; and thus an opportunity has been givenRosinas to interpolate what they please. The scene of the opera is laid at Seville, Spain. Count Almaviva hasfallen in love with Rosina, the ward of Dr. Bartolo, with whom sheresides, and who wishes to marry her himself. After serenading hismistress, who knows him only by the name of Count Lindoro, he prevailsupon Figaro, the factotum of the place, to bring about an interviewwith her. In spite of her guardian's watchfulness, as well as that ofDon Basilio, her music-teacher, who is helping Bartolo in his schemes, she informs the Count by letter that she returns his passion. WithFigaro's help he succeeds in gaining admission to the house disguisedas a drunken dragoon, but this stratagem is foiled by the entrance ofthe guard, who arrest him. A second time he secures admission, disguised as a music-teacher, and pretending that he has been sent byDon Basilio, who is ill, to take his place. To get into Bartolo'sconfidence he produces Rosina's letter to himself, and promises topersuade her that the letter has been given him by a mistress of theCount, and thus break off the connection between the two. By thismeans he secures the desired interview, and an elopement and privatemarriage are planned. In the midst of the arrangements, however, DonBasilio puts in an appearance, and the disconcerted lover makes goodhis escape. Meanwhile Bartolo, who has Rosina's letter, succeeds inarousing the jealousy of his ward with it, who thereupon discloses theproposed elopement and promises to marry her guardian. At the time setfor the elopement the Count and Figaro appear. A reconciliation iseasily effected, a notary is at hand, and they are married just asBartolo makes his appearance with officers to arrest the Count. Mutualexplanations occur, however, and all ends happily. The first act opens after a short chorus, with the serenade, "Eccoridente in cielo, " the most beautiful song in the opera. It beginswith a sweet and expressive largo and concludes with a florid allegro, and is followed by a chorus in which the serenaders are dismissed. Inthe second scene Figaro enters, and after some brief recitatives singsthe celebrated buffo aria, "Largo al factotum, " in which he gives anaccount of his numerous avocations. The aria is full of life andgayety, and wonderfully adapted to the style of the mercurial Figaro. A light and lively duet between Figaro and the Count, closing with thesprightly melody, "Ah! che d'amore, " leads up to the chamber aria ofRosina, so well known on the concert-stage, "Una voce poco fa, " whichis not only very expressive and of great compass, but is remarkablyrich in ornamentation. A short dialogue in recitative then occursbetween Bartolo and Basilio, in which they plot to circumvent Rosinaby calumny, which gives occasion for the Calumny aria, as it isgenerally known ("La calunnia"), a very sonorous bass solo, sung byBasilio. Another dialogue follows between Figaro and Rosina, leadingto the florid duet, "E il maestro io faccio. " A third dialogue followsbetween Rosina and Bartolo, ending in a bass aria ("Non piu tacete"), very similar in its general style to the Calumny song, but usuallyomitted in performances. In the tenth scene the Count arrivesdisguised as the drunken soldier, and the finale begins. It iscomposed of three scenes very ingeniously arranged, and full ofglittering dialogue and very melodious passages. The second act opens with a soliloquy by Bartolo ("Ma redi il miodestino"), in which he gives vent to his suspicions. It is interruptedat last by a duet with the Count, in which the two characters arestrikingly set off by the music. The music-lesson scene follows, inwhich the artist personating Rosina is given an opportunity forinterpolation. In the next scene occurs a dialogue quintet, which isfollowed by a long aria ("Sempre gridi") by the duenna Bertha, calledby the Italians the "Aria de Sorbetto, " because the people used to eatices while it was sung; reminding one of the great aria from"Tancredi, " "Di tanti palpiti, " which they called the "aria deirizzi, " because Rossini composed it while cooking his rice. In theeighth scene, after a long recitative, an instrumental prelude occurs, representing a stormy night, followed by a recitative in which theCount reveals himself, leading up to a florid trio, and this in turnto the elegant terzetto, "Zitti, zitti. " A bravura and finale of lightand graceful melody close the opera. SEMIRAMIDE "Semiramide" a lyric tragedy in two acts, words by Gaetano Rossi, thesubject taken from Voltaire's "Semiramis, " was first produced at theFenice, Venice, Feb. 3, 1823, with the following cast:-- SEMIRAMIDE Mme. ROSSINI-COLBRAN. ARSACES Mme. MARIANI. IDRENO Mr. SINCLAIR. ASSUR Sig. GALLI. OROE Sig. MARIANI. On the 9th of July it was produced in French at the Académie, Paris, as "Semiramis, " with Carlotta Marchisio as Semiramide, Barbara, hersister, as Arsaces, and M. Obin as Assur. At Rossini's request M. Carafa arranged the recitatives and wrote the ballet music. "Semiramide" was the last opera Rossini wrote for Italy; and so fardid he depart from the conventional Italian style, that he was chargedwith imitating the German. It was probably for this reason that theopera when first performed did not meet with a kindly reception fromthe Venetians. Although he was occupied six months in negotiating forhis stipulated price (one thousand dollars), he wrote the opera inthree weeks. Of its first performance, a correspondent of the"Harmonicon, " who was present, writes: "The first act, which lastedtwo hours and fifteen minutes, was received very coldly, with theexception of one passage in the overture, which overture, however, wasunconscionably long. The second act, which lasted two hours and ahalf, began to please in an air of Mariani, but the applause wasrather directed to this favorite singer. After this a duet between herand Colbran, together with an air of Galli, and particularly aterzetto between him and the two ladies, were well received. Rossiniwas also called for at the end of the second act. It is all over withMadame, his own wife" (Mme. Colbran), who took the title-rôle. The scene of the opera is laid in Babylon, and the story briefly toldis as follows: Ninus, the King of Babylon, has been murdered by hisQueen, Semiramis, aided by Assur, a prince enamoured of her andaspiring to the throne. One of the Queen's warriors, Arsaces, supposedto be of Scythian origin, but in reality her own son, returns from aforeign expedition and is loaded with honors for the victory he haswon. Semiramis, ignorant of his parentage, has a secret passion forhim, he in the mean time being devoted to Azema, one of the princessesroyal. As all gather together in the temple to swear allegiance to theQueen, the gates of Ninus's tomb suddenly open, and his ghost appearsand announces that Arsaces will be the successor to the crown. Atmidnight Semiramis, Assur, and Arsaces meet at the tomb, and bymistake Assur stabs her instead of Arsaces, who in turn kills Assur, and, all obstacles being removed, is united to Azema and ascends thethrone. An introductory chorus of Babylonians and a terzetto by Idreno, Assur, and Oroe open the opera and lead up to the first appearance ofSemiramis, which is followed by a very dramatic quartet ("Di tantiregi"). In the fourth scene Arsaces has a very brilliant aria ("O!come da quel di"), which also did service in one or two of Rossini'sother operas, and is followed by a very animated duet ("Bella imagodegli dei") between himself and Assur. The eighth scene is introducedby a graceful female chorus which leads to Semiramis's brilliant andwell-known aria, "Bel raggio. " In the tenth scene occurs an elegantduet ("Serbami agnor si fido"), followed in the next scene by astately priests' march and chorus ("Ergi omai la fronte altera"), setto ecclesiastical harmony and accompanied by full military band aswell as orchestra, this being the first instance where a military bandwas used in Italian opera. It leads to the finale, where Semiramis onher throne announces to her people her choice for their future king. The oath of allegiance follows in an impressive quartet with chorus("Giuro al numi"), and a defiant aria by the Queen leads to the suddenappearance of the ghost of Ninus, accompanied by characteristic musicrepeated in quintet with chorus. As the ghost speaks, the statue scenein Don Giovanni is inevitably recalled, especially in some phraseswhich are literally copied. The second act opens with a vindictively passionate duet ("Assur, icenni mici") between Assur and Semiramis, closing with a fierceoutburst of hatred ("La forza primiera"). The scene is a very long andspirited one, and is followed by a second chorus of priests, leadingto a great aria with chorus ("Ah! tu gelar mi fai") for Arsaces. Inthe fifth scene occurs a long duet between Arsaces and Semiramis, thesecond part of which ("Giorno d'orrore") is the strongest number inthe opera. Though intensely passionate in its tone, the music issmooth and flowing and very florid for both voices. The seventh sceneis composed of a scena, aria and chorus, followed by still anotherchorus in the mausoleum. Semiramis sings a prayer of great pathos andbeauty ("Ah mio pregar"). A terzetto ("L'usato ardir"), which like themausoleum chorus is based upon an aria from Mozart's "Cosi fan tutti, "closes the opera. "The Harmonicon, " to which reference has alreadybeen made, in an analysis of the work, has the following aptcriticism: "It has been said, and truly, that 'Semiramide' is composedin the German style, but it is the German style exaggerated. Rossiniis become a convert to this school, and his conversion does hisjudgment credit, though like all proselytes he passes into extremes. Not satisfied with discarding the meagre accompaniments of the Italiancomposers, he even goes far beyond the tramontane masters in themultitude and use of instruments, and frequently smothers hisconcerted pieces and choruses by the overwhelming weight of hisorchestra. " But what would the "Harmonicon" have said, had it hadWagner's instrumentation before it? WILLIAM TELL "William Tell, " an opera in three acts, words by Étienne Jouy andHippolyte Bis, the subject taken from Schiller's drama of the samename, was first produced at the Académie, Paris, Aug. 3, 1829, withthe following cast:-- MATHILDE Mme. DAMOREAU-CINTI. JEMMY Mme. DABODIE. HEDWIG Mlle. MORI. ARNOLD M. NOURRIT. WALTER M. LEVASSEUR. TELL M. DABODIE. RUODI M. DUPONT. RODOLPHE M. MASSOL. GESSLER M. PRÉVOST. LEUTOLD M. PRÉVÔT. Rossini wrote for Paris only two new operas, "Le Comte Ory" and"William Tell, "--the latter his masterpiece in the serious style. Thelibretto was first prepared by M. Jouy, but it was so bad that M. Biswas called in, and to him is due the whole of the second act. Evenafter the two authors had changed and revised it, Rossini had to alterit in many places. When it was first performed the weakness of thedrama was at once recognized, though its music was warmly welcomed, especially by the critical. It was represented fifty-six times in itsoriginal form, and was then cut down to three acts, the original thirdact being omitted and the fourth and fifth condensed into one. Forthree years after this time the second act was alone performed inParis; but when M. Duprez made his début in the part of Arnold, afresh enthusiasm was aroused, and there was a genuine Tell revival. The scene of the opera is laid in Switzerland, period the thirteenthcentury, and the action closely follows the historical narrative. Thedisaffection which has arisen among the Swiss, owing to the tyranny ofGessler, suddenly comes to a climax when one of Gessler's followersattempts an outrage upon the only daughter of the herdsman Leutold, and meets his death at the hands of the indignant father. Leutoldseeks protection at the hands of Tell, who, in the face of theherdsman's pursuers, succeeds in placing him beyond the reach ofdanger, and this circumstance arouses the wrath of Gessler. Melchtal, the village patriarch, is accused by him of inciting the people toinsubordination, and is put to death. Meanwhile Arnold, his son, isenamoured of Mathilde, Gessler's daughter, and hesitates between loveand duty when he is called upon to avenge his father's death. At lastduty prevails, and he joins his comrades when the men of the threecantons, who are loyal to Tell, meet and swear death to the tyrant. Inthe last act occurs the famous archery scene. To discover the leadingoffenders Gessler erects a pole in the square of Altorf, upon which heplaces his hat and commands the people to do homage to it. Tellrefuses, and as a punishment is ordered to shoot an apple from hisson's head. He successfully accomplishes the feat, but as he is aboutto retire Gessler observes a second arrow concealed in his garments, and inquires the reason for it, when Tell boldly replies it wasintended for him in case the first had killed his son. Gessler throwshim into prison, whereupon Mathilde abandons her father and determinesto help in the rescue of Tell and his son. Her lover, Arnold, meanwhile, raises a band of brave followers and accomplishes therescue himself. After slaying the tyrant and freeing his country Tellreturns to his family, and Arnold and Mathilde are united. The overture to "William Tell, " with its Alpine repose, its greatstorm-picture, the stirring "Ranz des Vaches, " and the trumpet-call tofreedom, is one of the most perfect and beautiful ever written, and isso familiar that it does not need analysis. The first act opens with adelightfully fresh Alpine chorus ("E il ciel sereno"), which isfollowed by a pastoral quartet between a fisherman, Tell, Hedwig, andJemmy. Arnold enters, and a long duet, one of Rossini's finestinspirations, follows between Arnold and Tell. The duet is interruptedby the entrance of several of the peasants escorting two brides andbridegrooms, which is the signal for a most graceful chorus and dance("Cinto il crine"). Leutold then appears, seeking Tell's protection, and a very dramatic finale begins, closing with the arrest ofMelchtal, which leads to an ensemble of great power. The second act opens with a double chorus of huntsmen and shepherds("Qual silvestre metro intorne"), which is followed by a scenapreluding a charming romanza ("Selva opaco") sung by Mathilde. Itsmild, quiet beauty is in strange contrast with the remainder of thisgreat act. It is followed by a passionate duet with Arnold, a secondand still more passionate duet between Tell and Walter, which leads tothe magnificent trio of the oath ("La gloria inflammi"), and this inturn is followed by the splendid scene of the gathering of thecantons. For melodic and harmonic beauty combined, the spiritedtreatment of masses, and charm and variety of color, this great scenestands almost alone. The last act opens with a duet between Mathilde and Arnold, which isfollowed in the next scene by a march and chorus as the multitudegathers in the square of Altorf, closing with a lovely Tyrolean chorussung by the sopranos and accompanied with the dance. The dramaticscene of the archery follows, and then Arnold has a very passionatearia ("O muto asil"). Some very vivid storm-music preluding the lastscene, and the final hymn of freedom ("I boschi, i monti") close anopera which is unquestionably Rossini's masterpiece, and in which hismusical ability reached its highest expression. "Manly, earnest, andmighty, " Hanslick calls it; and the same authority claims that thefirst and second acts belong to the most beautiful achievements of themodern opera. RUBINSTEIN. Anton Gregor Rubinstein was born Nov. 30, 1829, at Weghwotynez inRussia. His mother gave him lessons at the age of four, with theresult that by the time he was six she was unable to teach himanything more. He then studied the piano with Alexander Villoing, apupil of John Field. In 1840 he entered the Paris Conservatory, wherehe attracted the attention of Liszt, Chopin, and Thalberg. He remainedin that city eighteen months, and then made some professional tours, in which he met with extraordinary success. In 1844 his parentsremoved to Berlin, and he was placed under Dehn, the famouscontrapuntist, to study composition. From 1846 to 1848 he taught musicin Pressburg and Vienna, and then went back to Russia. For eight yearshe studied and wrote in St. Petersburg, and at the end of that timehad accumulated a mass of manuscripts destined to make his name famousall over Europe, while his reputation as a skilful pianist was alreadyworld-wide. He visited England again in 1857, and the next yearreturned home and settled in St. Petersburg, about which time he wasmade Imperial Concert Director, with a life-pension. At this period inhis career he devoted himself to the cause of music in Russia. Hisfirst great work was the foundation of the Conservatory in the abovecity in 1862, of which he remained principal until 1867. He alsofounded the Russian Musical Society in 1861, and in 1869 was decoratedby the Czar. In 1870 he directed the Philharmonic and Choral Societiesof Vienna, and shortly afterwards made another tour, during which, in1872, he came to this country with the eminent violinist, Wieniawsky, as will be well remembered. His greatest works are the "OceanSymphony, " "Dramatic Symphony, " and a character sketch for grandorchestra called "Ivan the Terrible;" his operas, "Children of theHeath, " "Feramors, " "Nero, " "The Maccabees, " "Dimitri Donskoi, " andthe "Demon;" the oratorios "Paradise Lost, " and "Tower of Babel, " anda long and splendid catalogue of chamber, salon, and concert music, besides some beautiful songs, which are great favorites in theconcert-room. NERO. The opera of "Nero, " the libretto by Jules Barbier, was first producedin Hamburg in 1879, --though it was originally intended for the Frenchstage, --and in this country, March 14, 1887, at New York, by theAmerican Opera Company, under the direction of Mr. Theodore Thomas, with the following cast:-- NERO Mr. CANDIDUS. JULIUS VINDEX Mr. LUDWIG. TIGELLINUS Mr. STODDARD. BALBILLUS Mr. WHITNEY. SACCUS Mr. FESSENDEN. SEVIRUS Mr. HAMILTON. TERPANDER Mr. LEE. POPPOEA SABINA Miss BERTHA PIERSON. EPICHARIS Miss CORNELIA VAN ZANTEN. CHRYSA Miss EMMA JUCH. AGRIPPINA Miss AGNES STERLING. LUPUS Miss PAULINE L'ALLEMAND. The first act opens in the house of Epicharis, a courtesan, which is arendezvous for the dissolute Roman nobles. The guests assembled sing achorus in praise of the establishment, followed by a scene in whichVindex, the prince of Aquitania, Saccus the poet, Terpander thecitharist, and others conspire against Nero. Suddenly Chrysa, daughterof Epicharis, who is ignorant of her mother's real character anddwells apart from her, rushes in and implores the protection of Vindexfrom a crowd of revellers who have pursued her. A very spirited duetfollows in which the prince promises her his assistance. Upon hearingthe shouts of her pursuers he conceals her just in time to escape themasked band, headed by Nero himself, which bursts into the apartment. The tyrant demands the girl; and as he throws off his mask the guestsstand amazed. Saccus at last breaks the spell by the suggestion thatNero shall marry the girl. When she is led out, and Vindex discoversthat Epicharis is her mother, he no longer espouses her cause. Thenfollows the music of the mock marriage, interspersed with dancestrains and sardonic choruses by the courtesans and their associates, at last rising to a wild bacchanalian frenzy, in the midst of whichVindex breaks out in a spirited song, with harp accompaniment, andfinally hurls invectives at Nero, as Chrysa, who has drunk a narcoticat her mother's order, falls senseless. The latter declares she hasbeen poisoned, and the act closes with a scene of great power in whichVindex is hurried away as Nero's prisoner. The second act opens in the dwelling of Poppoea, Nero's mistress, whose attendants are trying to console her. She has heard of Nero'snew infatuation; but her apprehensions are relieved when Balbillus, the astrologer, enters and not only announces that Chrysa is dead, buttells the equally grateful news that Octavia, Nero's wife, has beencondemned to die. Nero himself now appears upon the scene, and a duetfollows in which Poppoea reproaches him for his fickleness and heseeks to console her with flattery. At its close the death of Octaviais announced, and Poppoea is appeased by the prospect of sharing thethrone. Meanwhile Chrysa has fallen into the custody of Agrippina, Nero's mother, who keeps close charge of her to further her ownambitions. During the interview between the tyrant and his mistress, Epicharis rushes in and implores Nero to give up Chrysa, which leadsto a powerful ensemble. Learning that Chrysa is still alive he leavesthe apartment to find her. The second scene is brilliantlyspectacular. Nero and his mother appear in front of the temple, followed by a long procession to the music of a brilliant march. Theyenter the temple. After a short episode, in which Poppoea informsEpicharis of the refuge Chrysa has found, the ballet is given in theopen square, with its fascinating dances of warriors, bacchantes, jugglers and buffoons, and their mimic combats, the music of which isvery familiar from its frequent performance in our concert-rooms. Nerothen appears and announces his divinity in a finale, which is richwith scenic, spectacular, and choral effects, accompanied by fullmilitary band and orchestra. The third act opens in Chrysa's new asylum of refuge. The persecutedgirl sings a beautiful prayer, at the close of which Vindex joins herin a love-duet, which will always remain as one of the most refinedand noble products of Rubinstein's skill in harmony. The next numberis one of almost equal beauty, --a duet for Chrysa and Epicharis, themotive of which is a cradle song. Its soothing tones are interruptedby the appearance of Nero, followed by Poppoea and Saccus, thelast-named announcing to the tyrant that Rome is in flames, whichleads up to a vigorous trio. The concluding scene is full ofcharacteristic music. It shows us Nero watching the fire from histower, while he sings a hymn ("O Ilion") to the accompaniment of hislyre; the death of Chrysa, who proclaims herself a Christian and iskilled by the infuriated populace; and the fate of Epicharis, who iscrushed beneath a falling house as she mourns for her daughter. The fourth act furnishes a dramatic denouement to the mournful story. The tyrant, wild with rage and frenzy, appears in the tomb ofAugustus, where the shades of his murdered victims terrify him. Saccusenters and tells him of the revolt of his army and the danger whichthreatens him. He rushes out again and kills himself on the highway ofthe Campagna, just as Vindex at the head of his legions comes up withhim. As he expires a cross appears in the sky and a chant is heard, herald of the coming Christianity. THOMAS. Charles Ambroise Thomas was born at Metz, Aug. 5, 1811, and enteredthe Paris Conservatory in 1828, where he carried off the Grand Prizein 1832, which entitled him to go to Italy. During his Italianresidence he wrote a cantata, "Hermann und Ketty, " and severalinstrumental works. His first work at the Opera Comique was theone-act opera, "La double echelle, " produced in 1837 with success. Hethen brought out several ballets at the Académie, but returned to theOpera Comique again, where, between 1840 and 1866, he composedthirteen operas, the most successful of which were "Le Songe d'unenuit 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 gainedhim the position of Director of the Conservatory in 1871. Since thattime he has written only the opera "Françoise de Rimini, " performedApril 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 fewFrench 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 producedat 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 thirdin 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 foryears in quest of his daughter. The opera opens in the yard of aGerman inn, where a troupe of actors, among them Filina and Laertes, are resting, on their way to the castle of a neighboring prince, wherethey are to give a performance. A strolling gypsy band arrives about the same time, and stops to givean entertainment to the guests. Mignon, who is with the band, isordered to perform the egg dance, but, worn out with fatigue andabusive treatment, refuses. Giarno, the leader, rushes at her, but theold harper interposes in her behalf. Giarno then turns upon Lotario, when the wandering student, Wilhelm Meister, suddenly appears andrescues both Mignon and the harper. To save her from any furtherpersecution he engages her as his page, and follows on in the suite ofFilina, for whom he conceives a violent and sudden passion. Touched byhis kind attentions to her, Mignon falls in love with Wilhelm, who, ignorant of his page's affection, becomes more and more a prey to thefascinations of Filina. At last the troupe arrives at the castle, Wilhelm and Mignon with them. Wilhelm enters with the others, leavingMignon to await him outside. Maddened with jealousy, she attempts tothrow herself into a lake near by, but is restrained by the notes ofLotario's harp. She rushes to him for counsel and protection, and inher despair invokes vengeance upon all in the castle. As theentertainment closes, Filina and her troupe emerge, joyful over theirgreat success. She sends Mignon back for some flowers she has left, when suddenly flames appear in the windows. Maddened by his own griefand Mignon's troubles Lotario has fired the castle. Wilhelm rushesinto the burning building and brings out the unconscious Mignon in hisarms. The last act opens in Lotario's home in Italy, whither Mignon has beentaken, followed by Wilhelm, who has discovered her devoted attachmentto him, and has freed himself from the fascinations of Filina. Throughthe medium of a long-concealed casket containing a girdle which Mignonhad worn in her childhood, also by a prayer which she repeats, and thepicture of her mother, Lotario is at last convinced that she is hisdaughter, and gives his blessing to her union with Wilhelm. The overture recites the leading motives of the work. The first actopens with a fresh and melodious chorus of the townspeople over theirbeer in the inn yard ("Su borghesi e magnati"). During their singing acharacteristic march is heard, and the gypsy band enters. The scene isa charming one, the little ballet being made still more picturesque bythe fresh chorus and a song of Filina's in waltz time. The scene ofthe encounter with Giarno and Mignon's rescue follows, and leads up toa very spirited quintet, which is followed by a graceful trio betweenWilhelm, Filina, and Laertes, the actor. In the next scene Wilhelmquestions Mignon as to her history, and at the end of their patheticduet, when he says, "Were I to break thy chains and set thee free, towhat beloved spot wouldst thou take thy way?" she replies in thebeautiful romanza, "Non conosci il bel suol, " more familiarly known inGoethe's own words, "Kennst du das Land, "--a song full of tenderbeauty and rare expression, and one of the most delightfulinspirations of any composer. It is said that much of its charm comesfrom the composer's study of Ary Scheffer's picture of Mignon. Be thisas it may, he has caught the inner sense of the poem, and expressed itin exquisite tones. It is followed almost immediately by a duetbetween Mignon and Lotario ("Leggiadre rondinelle") of almost equalbeauty, known as the Swallow duet. After a somewhat uninterestingscene between Laertes, Filina, and Frederick, who is also in love withFilina, the finale begins with the departure of the actors to fulfiltheir engagement, in which Filina, in a graceful aria ("Grazie algentil 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 forthcomingperformance of the "Midsummer Night's Dream" at the castle. As Wilhelmand Mignon enter the apartment, a very dramatic conversation ensuesbetween them in the form of a terzetto ("Ohimè quell' acre riso"). Mignon is in despair at the attention Wilhelm pays Filina, and thelatter adds to her pangs by singing with him a gay coquettish aria("Gai complimenti"). As they leave the room Mignon goes to the mirrorand begins adorning herself as Filina had done, hoping thereby toattract Wilhelm, singing meanwhile a characteristic song ("Conosco unzingarello") with a peculiar refrain, which the composer himself callsthe "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 sceneMignon goes into a cabinet to procure one of Filina's dresses, and thelovelorn Frederick enters and sings his only number in the opera, abewitching rondo gavotte ("Filina nelle sale"). Wilhelm enters, and aquarrel between the jealous pair is prevented by the sudden appearanceof Mignon in Filina's finery. She rushes between them, Frederick makeshis exit in a fume, and Wilhelm announces to Mignon his intention toleave her, in the aria, "Addio, Mignon, fa core, " one of the mostpathetic songs in the modern opera. In the next scene she tears offher finery and rushes out expressing her hatred of Filina. The scenenow changes to the park surrounding the castle where the entertainmentis going on. Mignon hears the laughter and clapping of hands, andovercome with despair attempts to throw herself into the lake, but isrestrained by Lotario, and a beautiful duet ensues between them("Sofferto hai tu?"). In the next scene Filina, the actors, and theirtrain of followers emerge from the castle, and in the midst of theirjoy she sings the polacca, "Ah! per stassera, " which is a perfect _feude joie_ of sparkling music, closing with a brilliant cadenza. Thefinale, which is very dramatic, describes the burning of the castleand the rescue of Mignon. The last act is more dramatic than musical, though it contains a fewdelightful numbers, among them the chorus barcarole in the firstscene, "Orsu, sciogliam le vela, " a song by Wilhelm ("Ah! noncredea"), and the love duet, "Ah! son felice, " between Wilhelm andMignon, in which is heard again the cadenza of Filina's polacca. "Mignon" has always been a success, and will unquestionably alwayskeep its place on the stage, --longer even than the composer's moreambitious works, "Hamlet" and "Françoise de Rimini, " by virtue of itspicturesqueness and poetic grace, as well as by the freshness, warmth, and richness of its melodies. In this country opera-goers will longremember "Mignon" by the great successes made by Miss Kellogg asFilina, and by Mme. Lucca and Mme. Nilsson in the title-rôle. VERDI. Giuseppi Verdi was born at Roncale, Italy, Oct. 9, 1813. He displayedhis musical talent at a very early age; indeed, in his tenth year hewas appointed organist in his native town. He then studied for a timeat Busseto, and afterwards, by the help of a patron, M. Barezzi, wentto Milan. Curiously enough he was refused a scholarship on the groundthat he displayed no aptitude for music. Nothing daunted, he studiedprivately with the composer Lavigne, and five years afterwardscommenced his career as an operatic writer. His first opera, "Oberto, "was given at La Scala, Milan, with indifferent success. He was notfairly recognized until his opera "I Lombardi" was performed. In 1844"Ernani" was received with great enthusiasm. "Attila" (1846) was hisnext great triumph; and then followed in rapid succession a largenumber of operas, among them: "I Masnadieri" (1847), written for theEnglish stage, with Jenny Lind, Lablache, and Gardoni in the cast;"Luisa Miller" (1849); "Stifellio" (1851); "Rigoletto" (1851); "IlTrovatore, " Rome (1853); "La Traviata, " Venice (1853); "I VespriSiciliani, " Paris (1855); "Simon Boccanegra, " Venice (1857); "Un Balloin 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 Nosterand an Ave Maria (1880), and the "Requiem, " composed in memory of thepatriot Manzoni, and produced at Milan in 1874, on the occasion of theanniversary of his death. It has been reported that he is at work upona new opera, "Othello, " the words by Arrigo Boito, the composer of"Mephistopheles;" but nothing more than the report has been heard fromit during the past three or four years. The great melodist now spendsa very quiet life as a country gentleman upon his estates nearBusseto. ERNANI. "Ernani, " a tragic opera in four acts, words by F. M. Piave, thesubject taken from Victor Hugo's tragedy of "Hernani, " was firstproduced at Venice, March 9, 1844. The earlier performances of theopera gave the composer much trouble. Before the first production thepolice interfered, refusing to allow the representation of aconspiracy on the stage, so that many parts of the libretto, as wellas much of the music, had to be changed. The blowing of Don Silva'shorn in the last act was also objected to by one Count Mocenigo, uponthe singular ground that it was disgraceful. The Count, however, wassilenced more easily than the police. The chorus "Si ridesti il Leondi Castiglia" also aroused a political manifestation by the Venetians. The opera was given in Paris, Jan. 6, 1846, and there it encounteredthe hostility of Victor Hugo, who demanded that the libretto should bechanged. To accommodate the irate poet, the words were altered, thecharacters were changed to Italians, and the new title of "IIProscritto" was given to the work. The action of the opera takes place in Arragon, Spain, and the periodis 1519. Elvira, a noble Spanish lady, betrothed to the grandee DonGomez de Silva, is in love with the bandit Ernani, who forms a plan tocarry her off. While receiving the congratulations of her friends uponher approaching marriage with Silva, Don Carlos, the King of Spain, enters her apartment, declares his passion for her, and tries to forceher from the castle. She cries for help, and Ernani comes to herrescue and defies the king. The situation is still further complicatedby the sudden arrival of Silva, who declares he will avenge theinsult. 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 besolemnized, Ernani enters, disguised as a pilgrim, and believingElvira false to him, throws off his disguise and demands to be givenup to the King, which Silva refuses, as he cannot betray a guest. Discovering, however, that Elvira and Ernani are attached to eachother, he determines on vengeance. The King eventually carries offElvira as a hostage of the faith of Silva, whereupon the latterchallenges Ernani. The bandit refuses to fight with him, informs himthat 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, andpresenting him with a horn which he is to sound whenever he wishes tohave the promise kept. In the third act, the King, aware that theconspirators are to meet in the catacombs of Aquisgrana, concealshimself there, and when the assassins meet to decide who shall killhim, he suddenly appears among them and condemns the nobles to be sentto the block. Ernani, who is a duke, under the ban of the King ofCastile, demands the right to join them, but the King magnanimouslypardons the conspirators and consents to the union of Ernani andElvira. Upon the very eve of their happiness, and in the midst oftheir festivities, the fatal horn is heard, and true to his promiseErnani parts from Elvira and kills himself. The first act opens with a spirited chorus of banditti andmountaineers ("Allegri, beviami") as they are drinking and gambling intheir mountain retreat. Ernani appears upon a neighboring height andannounces himself in a despondent aria ("Come rugiada al cespite"). Abrief snatch of chorus intervenes, when he breaks out in a second andmore passionate strain ("Dell' esilio nel dolore"), in which he singsof 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 becomeacquainted by its frequent repetition. A graceful chorus of her ladiesbearing gifts leads to a second and more florid number ("Tutto sprezzoche d' Ernani"). Don Carlos enters, and in the seventh scene has anaria ("Bella come un primo amore") in which he declares his passionfor Elvira, leading up to a very dramatic duet between them ("Fierosangue d' Aragona"). This is followed in turn by a trio between thetwo and Ernani. The finale commences with an impressive and sonorousbass solo ("Infelice! e tuo credevi") by Silva, and closes with aseptet 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 amilitary band on the stage. After three scenes of dramatic dialogue, an impassioned duet ("Ah! morir potessi adesso!") occurs betweenErnani and Elvira, followed by a second, of great dramatic intensity, in the seventh scene ("La vendetta piu tremenda"). The finale beginswith a spirited appeal by Silva and Ernani for vengeance against theKing ("In arcione, cavalieri") which is met by a stirring responsefrom their followers ("Pronti vedi li tuoi cavalieri"), sung by fullmale chorus and closing the act. The third act is devoted to the conspiracy, and in the second sceneDon Carlos has a very impressive and at times thrilling soliloquy("Gran Dio! costo sui sepolcrali marmi"). The conspiracy then beginswith very characteristic accompaniments, closing with the chorus infull harmony ("Si ridesti il Leon di Castiglia"), which at theperformance of the work in Venice roused such a fury among theVenetians. The finale commences with the appearance of Don Carlosamong the conspirators, and closes with the great sextet and chorus, "O Sommo Carlo. " Opening with a barytone solo, it is gradually workedup in a crescendo of great power and thrilling effect. The number isvery familiar from its English setting under the title, "Crowned withthe Tempest. " The fourth act rapidly hurries to the tragic close, and is lessinteresting from a musical point of view, as the climax was reached inthe finale of the third. The principal numbers are the chorus of masksin 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 noid' amore il talamo") as the horn of Silva is heard, reminding Ernaniof his promise. Though one of the earliest of Verdi's works, "Ernani"is one of his strongest in dramatic intensity, in the brilliancy andpower of its concerted finales, and in the beauty of its great choruseffects. RIGOLETTO. "Rigoletto, " an opera in three acts, words by Piave, the subject takenfrom Victor Hugo's tragedy, "Le Roi s'amuse, " was first produced atVenice, March 11, 1851. The part of Gilda has always been a favoriteone with great artists, among whom Nantier-Didiée, Bosio, andMiolan-Carvalho played the rôle with extraordinary success. In theLondon season of 1860 Mario and Ronconi in the respective parts of theDuke and Rigoletto, it is said, gave dramatic portraitures which wereamong the most consummate achievements of the lyric stage. The recordsof its first production, like those of "Ernani, " are of unusualinterest. Verdi himself suggested Victor Hugo's tragedy to Piave for alibretto, 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 thestage in such situations as those given to Francis I. In the originaltragedy. The composer and the manager of the theatre begged in vainthat the libretto should be accepted, but the authorities wereobstinate. At last a way was found out of the difficulty by the chiefof police himself, who was a great lover of art. He suggested to thelibrettist that the King should be changed to a duke of Mantua, andthe title of the work to "Rigoletto, " the name of the buffoon whofigures in the place of the original Triboulet. Verdi accepted thealterations, and had an opera ready in forty days which by nearly allcritics is considered his musical masterpiece, notwithstanding therevolting character of the story. The scene of the opera is laid in Mantua. Rigoletto, the privilegedbuffoon of the Duke, who also plays the part of pander in all hislicentious schemes, among numerous other misdeeds has assisted hismaster in the seduction of the wife of Count Ceprano and the daughterof Count Monterone. The latter appears before the Duke and Rigoletto, and demands reparation for the dishonor put upon his house, only tofind himself arrested by order of the Duke, and taunted in the mostinsolent manner by the buffoon, upon whom he invokes the vengeance ofHeaven. Even the courtiers themselves are enraged at Rigoletto'staunts, and determine to assist in Monterone's revenge by stealingGilda, the jester's daughter, whom they suppose to be his mistress. Closely as she had been concealed, she had not escaped the observationof the Duke, who in the guise of a poor student wins her affectionsand discovers her dwelling-place. Pretending that it is CountCeprano's wife whom they are about to abduct, they even make Rigolettoassist in the plot and help convey his own daughter to the Duke'sapartments. In his blind fury when he discovers the trick that hasbeen played upon him, he hires Sparafucile, a professional assassin, to kill the Duke. The bravo allures the Duke to his house, intendingto carry out his agreement; but his sister, Magdalena, is sofascinated with the handsome stranger, that she determines to savehim. Sparafucile at first will not listen to her, but finally promisesif any one else comes to the house before the time agreed upon for themurder he shall be the victim. Rigoletto meanwhile disguises hisdaughter in male attire in order that she may escape to Verona; butbefore she sets out he takes her to the vicinity of Sparafucile'shouse, that she may witness the perfidy of the Duke. While outside, she overhears the quarrel between Sparafucile and Magdalena, andlearns his intention to murder the Duke, who is even then sleeping inthe house. With a woman's devotion she springs forward to save theDuke's life, knocks at the door, and demands admittance. Sparafucileopens it, and as she enters stabs her. He then thrusts her body into asack, and delivers it to her father as the body of the man whom he hadagreed to slay. Rigoletto, gloating over his revenge, is about tothrow the sack into the river near by, when he suddenly hears thevoice of the Duke. He tears open the sack to see whose body itcontains, and by the glare of the lightning is horrified to find thatit is his own daughter, and realizes that the malediction of Monteronehas been accomplished. She expires in his arms, blessing her lover andfather, while he sinks to the ground overwhelmed with the fulfilmentof the terrible curse. The first act opens in the ball-room of the ducal palace. After abrief dialogue between the Duke and one of his courtiers, the formervaunts his own fickleness in one of the most graceful and charmingarias in the whole opera ("Questa o quella"). Some spirited dramaticscenes follow, which introduce the malediction of Monterone and thecompact between Rigoletto and Sparafucile, and lead up to a scena ofgreat power ("Io la lingua, egli ha il pugnali"), in which the buffoonvents his furious rage against the courtiers. A tender duet betweenRigoletto and Gilda follows, and a second duet in the next scenebetween Gilda and the Duke ("Addio, speranza ed anima"), which fornatural grace, passionate intensity, and fervid expression is one ofVerdi's finest numbers. As the Duke leaves, Gilda, following him withher eyes, breaks out in the passionate love-song, "Caro nome, " whichis not alone remarkable for its delicacy and richness of melody, butalso for the brilliancy of its bravura, calling for rare range andflexibility of voice. The act closes with the abduction, and gives anopportunity for a delightful male chorus ("Zitti, zitti") sungpianissimo. The second act also opens in the palace, with an aria by the Duke("Parmi veder le lagrime"), in which he laments the loss of Gilda. Another fine chorus ("Scorrendo uniti remota via") follows, from whichhe learns that Gilda is already in the palace. In the fourth sceneRigoletto has another grand scena ("Cortigiani vil razza dannata"), which is intensely dramatic, expressing in its musical alternationsthe whole gamut of emotions, from the fury of despair to the mostexquisite tenderness of appeal as he pleads with the courtiers to tellhim where his daughter is. In the next scene he discovers her, and theact closes with a duet between them ("Tutte le feste al tempio"), which, after a strain of most impassioned tenderness, is interruptedby the passage of the guards conveying Monterone to prison, and thencloses with a furious outburst of passion from Rigoletto. With theexception of two numbers, the last act depends for its effect upon thedramatic situations and the great power of the terrible denouement;but these two numbers are among the finest Verdi has ever given to theworld. The first is the tenor solo sung in Sparafucile's house in thesecond scene by the Duke, --"La donna e mobile, " an aria of extremeelegance and graceful abandon, which is heard again in the last scene, its lightly tripping measures contrasting strangely with the savageglee of Rigoletto, so soon to change to wails of despair as herealizes the full force of the malediction. The second is the greatquartet in the third scene between the Duke, Gilda, Magdalena, andRigoletto ("Bella figlia dell' amore"), which stands out as aninspiration in comparison with the rest of the opera, fine as itsmusic is. The story itself is almost too repulsive for stagerepresentation; but in beauty, freshness, originality, and dramaticexpression the music of "Rigoletto" is Verdi's best; and in all thismusic the quartet is the masterpiece. LA TRAVIATA. "La Traviata, " an opera in three acts, words by Piave, is founded uponDumas's "Dame aux Camelias, " familiar to the English stage as"Camille. " The original play is supposed to represent phases of modernFrench life; but the Italian libretto changes the period to the year1700, in the days of Louis XIV. ; and there are also some materialchanges of characters, --Marguerite Gauthier of the original appearingas Violetta Valery, and Olympia as Flora Belvoix, at whose house theball scene takes place. The opera was first produced at Venice, March6, 1853, with the following cast of the principal parts:-- VIOLETTA Mme. DONATELLI. ALFREDO M. GRAZIANI. GERMONT M. VARESI. The opera at its first production was a complete failure, though thiswas due more to the singers than to the music. It is said that whenthe doctor announced in the third act that Mme. Donatelli, whoimpersonated the consumptive heroine, and who was one of the stoutestladies ever seen on the stage, had but a few days to live, the wholeaudience broke out into roars of laughter. Time has brought itsconsolations to the composer, however, for "Traviata" is now one ofthe most popular operas in the modern repertory. When it was firstproduced in Paris, Oct. 27, 1864, Christine Nilsson made her début init. In London, the charming little singer Mme. Piccolomini made herdébut in the same opera, May 24, 1856. Adelina Patti, since that time, has not only made Violetta the strongest character in her repertory, but is without question the most finished representative of thefragile heroine the stage has seen. The story as told by the librettist simply resolves itself into threeprincipal scenes, --the supper at Violetta's house, where she makes theacquaintance of Alfred, and the rupture between them occasioned by thearrival of Alfred's father; the ball at the house of Flora; and thedeath scene and reconciliation, linked together by recitative, so thatthe dramatic unity of the original is lost to a certain extent. Thefirst act opens with a gay party in Violetta's house. Among the crowdabout her is Alfred Germont, a young man from Provence, who ispassionately in love with her. The sincerity of his passion finallyinfluences her to turn aside from her life of voluptuous pleasure andto cherish a similar sentiment for him. In the next act we find herliving in seclusion with her lover in a country-house in the environsof Paris, to support which she has sold her property in the city. WhenAlfred discovers this he refuses to be the recipient of her bounty, and sets out for Paris to recover the property. During his absence hisfather, who has discovered his retreat, visits Violetta, and pleadswith her to forsake Alfred, not only on his own account, but to savehis family from disgrace. Touched by the father's grief, she consents, and secretly returns to Paris, where she once more resumes her oldlife. At a ball given by Flora Belvoix, one of Violetta's associates, Alfred meets her again, overwhelms her with reproaches, and insultsher by flinging her miniature at her feet in presence of the wholecompany. Stung by her degradation, Violetta goes home to die, and toolate Alfred learns the real sacrifice she has made. He hastens tocomfort her, but she dies forgiving and blessing him. After a short prelude the first act opens with a vivacious chorus ofthe guests at Violetta's supper, leading to a drinking-song ("Libiamo, libiamo") in waltz time, sung first by Alfred and then by Violetta, the chorus echoing each couplet with very pretty effect. After a longdialogue between the two, closing with chorus, Violetta has a grandscena which is always a favorite show-piece with concert artists. Itbegins with an andante movement ("Ah! fors e lui"), expressive of thesuddenly awakened love which she feels for Alfred, with a refrain ofhalf a dozen measures in the finale which might be called the Violettamotive, and then suddenly develops into a brisk and sparkling allegro("Sempre libera") full of the most florid and brilliant ornamentation, in which she again resolves to shut out every feeling of love andplunge into the whirl of dissipation. This number, unlike most ofVerdi's finales which are concerted, closes the act. The second act opens in the country-house with an effective tenor aria("De' miei bollenti") sung by Alfred. In the next scene Germontenters, and after a brief dialogue with Violetta sings a shortcantabile ("Pura siccome un angelo"), leading to a duet ("Dite aliagiovine") with Violetta which is full of tenderness. In the interviewwhich immediately follows between Germont and Alfred, the fatherappeals to his son with memories of home in an andante ("Di Provenzail mar") which in form and simplicity and simple pathos of expressionmight almost be called a ballad. It is always a favorite, and isusually considered the best number in the opera, notwithstanding itssimple melody. The next scene changes to the ball-room of Flora, andis introduced with a peculiar chorus effect. A masked chorus ofgypsies, accompanying their measures with tambourines, is followed bya second chorus of matadors, also in mask, who accent the time withthe pikes they carry, the double number ending with a gay bolero. Theact closes with a long duet between Violetta and Alfred, developing inthe finale, by the entrance of Germont, to a very strong and dramatictrio. The third act opens in Violetta's chamber with a reminiscence of theintroduction. As she contemplates her changed appearance in themirror, she bids a sad farewell to her dreams of happiness in thearia, "Addio! del passato, " in harsh contrast with which is heard abacchanalian chorus behind the scenes ("Largo al quadrupede"). In thenext scene occurs the passionate duet with Alfred, "Parigi, o cara, "which is a close copy of the final duet in "Trovatore" between Manricoand Azucena. It is followed by the aria, "Ah! gran Dio, " for Violetta, which leads to the concluding quintet and death scene. IL TROVATORE. "II Trovatore, " an opera in four acts, words by Cammarano, was firstproduced in Rome, Jan. 19, 1853. In 1857 it was brought out in Parisas "Le Trouvere, " and in London, 1856, in English, as "The Gypsy'sVengeance. " It was produced in Rome in the same year with "LaTraviata, " but unlike the latter, it was greeted at once with anenthusiastic welcome; and it has held the stage ever since as one ofthe most popular operas in the modern repertory. In this regard, indeed, it shares with "Martha" and "Faust" the highest place inpopular admiration. The opera opens with a midnight scene at the palace of Aliaferia, where the old servitor, Ferrando, relates to his associates the storyof the fate of Garzia, brother of the Count di Luna, in whose servicethey are employed. While in their cradles, Garzia was bewitched by anold gypsy, and day by day pined away. The gypsy was burned at thestake for sorcery; and in revenge Azucena, her daughter, stole thesickly child. At the opening of the opera his fate has not beendiscovered. As the servitor closes his narrative and he and his companions depart, the Count di Luna enters and lingers by the apartment of the DuchessLeonora, with whom he is in love. Hearing his voice, Leonora comesinto the garden, supposing it is Manrico the troubadour, whom she hadcrowned victor at a recent tournament, and of whom she had becomeviolently enamoured. As she greets the Count, Manrico appears upon thescene and charges her with infidelity. Recognizing her error, sheflies to Manrico for protection. The Count challenges him to combat, and as they prepare to fight she falls to the ground insensible. In the second act we are introduced to a gypsy camp, where Azucenarelates to Manrico, who has been wounded in the duel with the Count, the same story which Ferrando had told his friends, with the additionthat when she saw her mother burning she caught up the Count's child, intending to throw it into the flames, but by a mistake sacrificed herown infant. As the story concludes, a messenger arrives, summoningManrico to the defence of the castle of Castellar, and at the sametime informing him that Leonora, supposing him dead, has gone to aconvent. He arrives at the convent in time to rescue her before shetakes her vows, and bears her to Castellar, which is at once besiegedby the Count's forces. The third act opens in the camp of the Count, where Azucena, arrestedas a spy, is dragged in. She calls upon Manrico for help. The mentionof his rival's name only adds fuel to the Count's wrath, and he ordersthe gypsy to be burned in sight of the castle. Ferrando has alreadyrecognized her as the supposed murderer of the Count's brother, andher filial call to Manrico also reveals to him that she is his mother. He makes a desperate effort to rescue her, but is defeated, takenprisoner, and thrown into a dungeon with Azucena. Leonora vainlyappeals to the Count to spare Manrico, and at last offers him her handif he will save his life. He consents, and Leonora hastens to theprison to convey the tidings, having previously taken poison, preferring to die rather than fulfil her hateful compact. Manricorefuses his liberty, and as Leonora falls in a dying condition theCount enters and orders Manrico to be put to death at once. He isdragged away to execution, but as the Count triumphantly forcesAzucena to a window and shows her the tragic scene, she reveals hersecret, and informing the horror-stricken Count that he has murderedhis own brother, falls lifeless to the ground. The first act opens with a ballad in mazurka time ("AbbiettaZingara"), in which Ferrando relates the story of the gypsy, leadingup to a scena for Leonora, which is treated in Verdi's favorite style. It begins with an andante ("Tacea la notte placida"), a brief dialoguewith her attendant Inez intervening, and then develops into an allegro("Di tale amor") which is a brilliant bit of bravura. A brief snatchof fascinating melody behind the scenes ("Deserto sulla terra")introduces Manrico, and the act closes with a trio ("Di geloso amorsprezzato"), which as an expression of combined grief, fear, and hate, is one of the most dramatic and intense of all Verdi's finales. The second act opens with the Anvil chorus in the camp of the gypsies("La Zingarella"), the measures accented with hammers upon the anvils. This number is so familiar that it does not need further reference. Asits strains die away in the distance, Azucena breaks out into an ariaof intense energy, with very expressive accompaniment ("Stride levampa"), in which she tells the fearful story of the burning of hermother. A very dramatic dialogue with Manrico ensues, closing with aspirited aria for tenor ("Mai reggendo") and duet ("Sino all' elsa"). The scene is interrupted by the notes of a horn announcing the arrivalof a messenger. The second scene is introduced by a flowing, broad, and beautifully sustained aria for the Count ("Il balen del suo"), and, like Leonora's numbers in the garden scene, again develops from aslow movement to a rapid and spirited march tempo ("Per me orafatale"), the act closing with a powerful concerted effect of quartetand chorus. The third act is introduced with a very free and animated soldiers'chorus. Azucena is dragged in and sings a plaintive lament for Manrico("Giorni poveri"). Two duets follow, between Azucena and the Count, and Manrico and Leonora, --the second worked up with beautiful effectby the blending of the organ in the convent chapel. The act closeswith the spirited aria, "Di quella pira, " for Manrico, --a number whichhas always been the delight of great dramatic tenors, not alone forits fine melody, but for its opportunity of showing the voice andusing the exceptional high C which is introduced in the finale of thearia. The last act is replete with beautiful melodies following each otherin quick succession. It opens with a very florid aria for Leonora ("D'amor sull' ali rosee"), leading to the exquisite scene of theMiserere, "Ah che la morte, "--a number which has never yet failed tocharm and arouse audiences with the beauty and richness of its musicaleffect. As the Count enters, Leonora has another powerful aria ("Miradi acerbe"), which in the next scene is followed by the familiar duetbetween Azucena and Manrico, "Si la stanchezza, " upon which Verdilavished his musical skill with charming effect. The last scene closeswith the tragedy. The whole opera is liberally enriched with melodies, and is dramatic throughout; but the last act is the crown of the work, and may successfully challenge comparison, for beauty, variety, anddramatic effect, with any other opera in the purely Italian school. IL BALLO IN MASCHERA. "Il Ballo in Maschera, " an opera in three acts, but usually performedin four, words by M. Somma, was first produced in Rome, Feb. 17, 1859. In preparing his work for the stage, Verdi encountered numerousobstacles. The librettist used the same subject which M. Scribe hadadopted for Auber's opera, "Gustavus III. , " and the opera was at firstcalled by the same name, --"Gustavo III. " It was intended forproduction at the San Carlo, Naples, during the Carnival of 1858; butwhile the rehearsals were proceeding, Orsini made his memorableattempt to kill Napoleon III. , and the authorities at once forbade aperformance of the work, as it contained a conspiracy scene. Thecomposer was ordered to set different words to his music, but heperemptorily refused; whereupon the manager brought suit against him, claiming forty thousand dollars damages. The disappointment nearlyincited a revolution in Naples. Crowds gathered in the streetsshouting, "Viva Verdi, " implying at the same time, by the use of theletters in Verdi's name, the sentiment, "Viva Vittorio Emmanuele Re DiItalia. " A way out of his difficulties, however, was finally suggestedby the impresario at Rome, who arranged with the censorship to havethe work brought out at the Teatro Apollo as "Un Ballo in Maschera. "The scene was changed to Boston, Massachusetts, and the time laid inthe colonial period, notwithstanding the anachronism that masked ballswere unknown at that time in New England history. The Swedish kingappeared as Ricardo, Count of Warwick and Governor of Boston, and hisattendants as Royalists and Puritans, among them two negroes, Sam andTom, who are very prominent among the conspirators. In this form, theRomans having no objection to the assassination of an Englishgovernor, the opera was produced with great success. The first act opens in the house of the Governor, where a large party, among them a group of conspirators, is assembled. During the meeting apetition is presented for the banishment of Ulrico, a negro sorcerer. Urged by curiosity, the Governor, disguised as a sailor andaccompanied by some of his friends, pays the old witch a visit. Meanwhile another visit has been planned. Amelia, the wife of theGovernor's secretary, meets the witch at night in quest of a remedyfor her passion for Richard, who of course has also been fascinated byher. They arrive about the same time, and he overhears the witchtelling her to go to a lonely spot, where she will find an herb potentenough to cure her of her evil desires. The Governor follows her, andduring their interview the Secretary hurriedly rushes upon the sceneto notify him that conspirators are on his track. He throws a veilover Amelia's face and orders Reinhart, the Secretary, to conduct herto a place of safety without seeking to know who she is. He consents, and the Governor conceals himself in the forest. The conspiratorsmeanwhile meet the pair, and in the confusion Amelia drops her veil, thus revealing herself to Reinhart. Furious at the Governor's perfidy, he joins the conspirators. In the denouement the Secretary stabs hismaster at a masquerade, and the latter while dying attests the purityof Amelia, and magnanimously gives his secretary a commissionappointing him to a high position in England. After a brief prelude, the first act opens with a double chorus, inwhich the attitude of the friends of the Governor and the conspiratorsagainst him is strongly contrasted. In the next scene Richard and hispage, Oscar, enter; and after a short dialogue Richard sings a verygraceful romanza ("La rivedra nell' estasi"), which in the next sceneis followed by a spirited aria for Reinhart ("Di speranze e gloriepiena"). In the fourth scene Oscar has a very pretty song ("Volta laterrea"), in which he defends Ulrica against the accusations of thejudge, leading up to a very effective quintet and chorus which has aflavor of the opera bouffe style. In grim contrast with it comes thewitch music in the next scene ("Re del abisso"), set to a weirdaccompaniment. As the various parties arrive, a somewhat talky trioensues between Amelia, Ulrica, and Richard, followed in the next sceneby a lovely barcarole ("Di' tu se fedele") sung by Richard, leading toa beautifully written concerted finale full of sharp dramaticcontrasts. The second act opens upon a moonlight scene on the spot wheremurderers are punished; and Amelia, searching for the magic herb, sings a long dramatic aria ("Ma dall arido") consisting of abrupt andbroken measures, the orchestra filling the gaps with characteristicaccompaniment. Richard appears upon the scene, and the passionatelove-duet follows, "M'ami, m'ami. " The interview is ended by thesudden appearance of Reinhart, who warns the Governor of his danger, the scene taking the form of a spirited trio ("Odi tu come"). A buffotrio closes the act, Sam and Tom supplying the humorous element withtheir laughing refrain. The last act opens in Reinhart's house with a passionate scene betweenthe Secretary and his wife, containing two strong numbers, a minorandante ("Morro, ma prima in grazia") for Amelia, and an aria forReinhart ("O dolcezzo perdute"), which for originality and trueartistic power is worthy of being classed as an inspiration. Theconspiracy music then begins, and leads to the ball scene, which ismost brilliantly worked up with orchestra, military band, and stringedquartet behind the scenes supplying the dance-music, and theaccompaniment to the tragical conspiracy, in the midst of which, likea bright sunbeam, comes the page's bewitching song, "Saper vorreste. "The opera closes with the death of Richard, set to a very dramaticaccompaniment. "The Masked Ball" was the last work Verdi wrote for theItalian stage, and though uneven in its general effect, it containssome of his most original and striking numbers, --particularly thoseallotted to the page and Reinhart. In the intensity of the music andthe strength of the situations it is superior even to "Trovatore, " asthe composer makes his effects more legitimately. AIDA. "Aida, " an opera in four acts, was first produced at Cairo, Egypt, Dec. 27, 1871, and was written upon a commission from the Khedive ofthat country. The subject of the opera was taken from a sketch, originally written in prose, by the director of the Museum at Boulak, which was afterwards rendered into French verse by M. Camille deLocle, and translated thence into Italian for Verdi by Sig. A. Ghizlandoni. It is the last opera Verdi has composed, and is notablefor his departure from the conventional Italian forms and the partialsurrender he has made to the constantly increasing influence of theso-called music of the future. The subject is entirely Egyptian, andthe music is full of Oriental color. The action of the opera passes in Memphis and Thebes, and the periodis in the time of the Pharaohs. Aida, the heroine, is a slave, daughter of Amonasro, the King of Ethiopia, and at the opening of theopera is in captivity among the Egyptians. A secret attachment existsbetween herself and Rhadames, a young Egyptian warrior, who is alsoloved by Amneris, daughter of the sovereign of Egypt. The lattersuspects that she has a rival, but does not discover her untilRhadames returns victorious from an expedition against the rebelliousAmonasro, who is brought back a prisoner. The second act opens with ascene between Amneris and Aida, in which the Princess wrests thesecret from the slave by pretending that Rhadames has been killed; andthe truth is still further revealed when Rhadames pleads with the Kingto spare the lives of the captives. The latter agrees to release allbut Aida and Amonasro, bestows the hand of Amneris upon the unwillingconqueror, and the act closes amid general jubilation. Acting uponAmonasro's admonitions, Aida influences Rhadames to fly from Egypt andespouse the cause of her father. The lovers are overheard by Amnerisand Ramfis, the high priest. The Princess, with all the fury of awoman scorned, denounces Rhadames as a traitor. He is tried fortreason and condemned to be buried alive in the vaults under thetemple of the god Phtah. Pardon is offered him if he will accept thehand of Amneris, but he refuses and descends to the tomb, where hefinds Aida awaiting him. The stones are sealed above them and thelovers are united in death, while Amneris, heart-broken over thetragedy her jealousy has caused, kneels in prayer before theirsepulchre. After a short prelude, consisting of a beautiful pianissimo movement, mainly for the violins, and very Wagnerish in its general style, thefirst act opens in a hall of the King's palace at Memphis. A shortdialogue between Rhadames and the priest Ramfis leads to a deliciousromanza ("Celeste Aida") which is entirely fresh and original, recalling nothing that appears in any of Verdi's previous works. It isfollowed by a strong declamatory duet between Rhadames and Amneris, which upon the appearance of Aida develops to a trio ("Vieni, odiletta"). In the next scene the King and his retinue of ministers, priests, and warriors enter, and a majestic ensemble occurs, beginningwith a martial chorus ("Su! del Nilo") in response to the appeal ofthe priests. As the war chorus dies away and the retinue disappears, Aida has a scena of great power. It begins with a lament for hercountry ("Ritorna vincitor"), in passionate declamatory phrases, clearly showing the influence of Wagner; but in its smooth, flowingcantabile in the finale, "Numi pieta, " Verdi returns to the Italianstyle again. The final scene is full of oriental color and barbaricrichness of display. The consecrated arms are delivered to Rhadames. The priestesses behind the scene to the accompaniment of harps, andthe priests in front with sonorous chant, invoke the aid of the godPhtah, while other priestesses execute the sacred dance. An impressiveduet between Ramfis and Rhadames closes the act. In this finale, Verdihas utilized two native Egyptian themes, --the melody sung by thepriestesses with the harps, and the dance-melody given out by theflutes. The second act opens with a female chorus by the slave girls, therhythm of which is in keeping with the oriental scene, followed by animpassioned duet between Amneris and Aida ("Alla pompa che siappresta"), through which are heard the martial strains of thereturning conqueror. The second scene opens the way for anotherensemble, which with its massive choruses, and its stirring march andballet, heralding the victory of Rhadames, is one of the mostpicturesque stage scenes the opera has ever furnished. A solemn, plaintive strain runs through the general jubilation in the appeal ofAmonasro ("Questo assisa ch' io vesto") to the King for mercy to thecaptives. The finale begins with the remonstrances of the priests andpeople against the appeals of Amonasro and Rhadames, and closes withan intensely dramatic concerted number, --a quintet set off against thesuccessive choruses of the priests, prisoners, and people ("Gloriaall' Egitto"). The third act, like the first, after a brief dialogue, opens with alovely romanza ("O cieli azzuri") sung by Aida, and the remainder ofthe act is devoted to two duets, --the first between Amonasro and Aida, and the second between Rhadames and Aida. Each is very dramatic instyle and passionate in declamation, while they are revelations in thedirection of combining the poetic and musical elements, when comparedwith any of the duets in Verdi's previous operas. In the last act thefirst scene contains another impressive duet between Rhadames andAmneris ("Chi ti salva, o sciagurato"), ending with the despairingsong of Amneris, "Ohime! morir mi sento. " In the last scene the stageis divided into two parts. The upper represents the temple of Vulcan, or Phtah, crowded with priests and priestesses, chanting as the stoneis closed over the subterranean entrance, while below, in the tomb, Aida and Rhadames sing their dying duet ("O terra, addio"), itsstrains blending with the jubilation of the priests and the measuresof the priestesses' sacred dance. "Aida" is the last andunquestionably the greatest, if not the most popular, of Verdi'sworks. It marks a long step from the style of his other operas towardsthe production of dramatic effect by legitimate musical means, andshows the strong influence Wagner has had upon him. Since this workwas produced, no other for the stage has come from his pen. Should hebreak his long silence, some new work may show that he has gone stillfarther in the new path. If the time for rest has come, however, tothe aged composer, "Aida" will remain his masterpiece among musiciansand connoisseurs, though "Trovatore" will be best loved by the people. OTHELLO. Othello has formed the subject of the following compositions:"Otello, " opera in 3 acts, text by Berio, music by Rossini (1816);"Othelleri, " parody by Müller, Vienna (1828); Othello, overture byKrug (1883); "Un Othello, " operetta, by Legoux, Paris (1863); and"Othello, " opera in 4 acts, text by Boito, music by Verdi (1886). "Othello, " the last of the long and brilliant series of Verdi'soperas, was completed in 1886, and first produced at the La ScalaTheatre, Milan, Feb. 5, 1887, with remarkable success, Signora Pantaleoni, Signors Maurel andTamagno taking the three leading rôles. The libretto was prepared bythe accomplished Italian scholar and musician, Arrigo Boito, andclosely follows the story of the Shakspearian tragedy. The curtain rises upon a scene in Cyprus. A storm is raging, and acrowd, among them Iago, Cassio, and Roderigo, watch the angry sea, speculating upon the fate of Othello's vessel, which finally arrivessafely in port amid much rejoicing. After returning the welcomes ofhis friends he enters the castle with Cassio and Montano. Theconspiracy at once begins by the disclosure of Iago to Roderigo of themeans by which Cassio's ruin may be compassed. Then follows thequarrel, which is interrupted by the appearance of Othello, whodeprives Cassio of his office. A love-scene ensues between Desdemonaand the Moor; but in the next act the malignity of Iago has alreadybegun to take effect, and the seeds of jealousy are sown in Othello'sbreast. His suspicions are freshly aroused when Desdemona intercedesin Cassio's behalf, and are changed to conviction by the handkerchiefepisode and Iago's artful insinuation that Cassio mutters the name ofDesdemona in his sleep; at which the enraged Moor clutches him by thethroat and hurls him to the ground. In the third act Iago continueshis diabolical purpose, at last so inflaming Othello's mind that hedenounces Desdemona for her perfidy. The act concludes with theaudience to the Venetian embassy, during which he becomes enraged, strikes Desdemona, and falls in convulsions. The last act transpiresin her chamber, and follows Shakspeare in all the details of thesmothering of Desdemona and the death of Othello. There is no overture proper to the opera. After a few vigorous bars ofprelude, the scene opens with a tempestuous and very strikingdescription of a sea-storm by the orchestra, with the choruses ofsailors and Cypriots rising above it and expressing alternate hope andterror. After a short recitative the storm dies away, and the choralphrases of rejoicing end in a pianissimo effect. A hurried recitativepassage between Iago and Roderigo introduces a drinking scene in whichIago sings a very original and expressive brindisi with rollickingresponses by the chorus. The quarrel follows with a vigorous andagitated accompaniment, and the act comes to a close with a beautifullove-duet between Othello and Desdemona. The second act opens with recitative which reveals all of Iago'smalignity, and is followed by his monologue, in which he sings a mockCredo which is Satanic in utterance. It is accompanied with tremendousoutbursts of trumpets, and leads up to a furious declamatory duet withOthello. The next number brings a grateful change. It is a gracefulmandolinata, sung by children's voices and accompanied by mandolinsand guitars, followed by a charming chorus of mariners, who bringshells and corals to Desdemona. The intercession episode ensues, leading to a grand dramatic quartet for Desdemona, Emilia, Iago, andOthello. The latter then sings a pathetic but stirring melody withtrumpet accompaniment, the farewell to war, and the act closes with atumultuous duet between himself and Iago. The third act opens with a very expressive duet for Othello andDesdemona, in which the growing wrath of the former and the sweet andtouching unconsciousness of the other are happily contrasted. A sadmonologue by Othello prepares the way for the coming outbreak. Thehandkerchief trio follows, in which the malignity of Iago, theindignation of Othello, and the inability of Cassio to understand thefell purpose of Iago are brought out with great force. At its close afanfare of trumpets announces the Venetian embassy, and the finalebegins with much brilliancy. Then follows the scene in which Othellosmites down Desdemona. She supplicates for mercy in an aria of tenderbeauty, which leads up to a strong sextet. All the guests depart butIago; and as Othello, overcome with his emotions, swoons away, thecurtain falls upon Iago's contemptuous utterance, "There lies the lionof Venice. " The fourth act is full of musical beauty. After an orchestralintroduction in which the horn has a very effective solo, the curtainrises and the action transpires in Desdemona's chamber. The sceneopens with a touching recitative between Desdemona and Emilia. Whilethe former prepares herself for slumber she sings the "Willow Song, "an unaffected melody as simple and characteristic as a folk-song. Emilia retires, and by a natural transition Desdemona sings an "AveMaria, " which is as simple and beautiful in its way as the "WillowSong. " She retires to her couch, and in the silence Othello steals in, dagger in hand, the contra-basses giving out a sombre and deep-tonedaccompaniment which is startling in its effect. He kisses her, themotive from the love-duet appearing in the orchestra; then, after ahurried dialogue, stifles her. He then kills himself, his last wordsbeing a repetition of those in the duet, while the strings tenderlygive out the melody again. FALSTAFF. "Falstaff, " an opera in three acts, words by Arrigo Boito, was firstperformed March 12, 1893, at the Teatro alla Scala, Milan, with thefollowing cast of characters:-- Mistress FORD Signora ZILLI NANNETTA Madame STEHLE FENTON M. GARBIN Dr. CAIUS Signor PAROLI PISTOLA Signor ARIMONDI Mistress PAGE Signora GUERRINI Mistress QUICKLY Signora PASQUA FORD Signor PINI-CORSI BARDOLFO Signor PELAGALLI-ROSSETTI FALSTAFF M. MAUREL The libretto, which is mainly based upon "The Merry Wives of Windsor, "also makes some contributions upon "Henry IV. , " particularly in theintroduction of the monologue upon honor, and illustrates Boito'sskill in adaptation as well as his remarkable powers in condensation. In the arrangement of the comedy the five acts are reduced to three. The characters Shallow, Slender, William, Page, Sir Hugh Evans, Simple, and Rugby are eliminated, leaving Falstaff, Fenton, Ford, Dr. Caius, Bardolph, Pistol, Mistress Ford, Mistress Page, Anne, DameQuickly and three minor characters as the _dramatis personæ_, thoughAnne appears as Nannetta and is the daughter of Ford instead of Page. The first act opens with a scene at the Garter Inn, disclosing aninterview between Falstaff and Dr. Caius, who is complaining of theill treatment he has received from the fat Knight and his followers, but without obtaining any satisfaction. After his departure, Falstaffseeks to induce Bardolph and Pistol to carry his love-letters toMistresses Ford and Page; but they refuse, upon the ground that theirhonor would be assailed, which gives occasion for the introduction ofthe monologue from "Henry IV. " The letters are finally intrusted to apage, and the remainder of the act is devoted to the plots of thewomen to circumvent him, with an incidental revelation of the loves ofFenton and Nannetta, or Anne Page. In the second act, we haveFalstaff's visit to Mistress Ford, as planned by the merry wives, thecomical episode of his concealment in the buck-basket, and his dumpinginto the Thames. In the last act, undaunted by his buck-basketexperiences, Falstaff accepts a fresh invitation to meet Mistress Fordin Windsor Park. In this episode occurs the fairy masquerade atHerne's Oak, in the midst of which he is set upon and beaten, endingin his complete discomfiture. Then all is explained to him; Nannettais betrothed to Fenton; and all ends merry as a marriage bell. There is no overture. After four bars of prelude the curtain rises, and the composer introduces Dr. Caius with the single exclamation, "Falstaff, " and the latter's reply, "Ho! there, " which are emblematicof the declamatory character of the whole opera; for although manydelightful bits of melody are scattered through it, theinstrumentation really tells the story, as in the Wagner music-drama, though in this latest work of the veteran composer there is less ofthe Wagnerian idea than in his "Aida. " The first scene is mainlyhumorous dialogue, but there are two notable exceptions, --the genuinelyrical music of Falstaff's song ("'Tis she with eyes like stars"), and the Honor monologue, a superb piece of recitative with acharacteristic accompaniment in which the clarinets and bassoonsfairly talk, as they give the negative to the Knight's sarcasticquestions. The most attractive numbers of the second scene areMistress Ford's reading of Falstaff's letter, which is exquisitelylyrical, a quartet, a capella, for the four women ("He'll surely comecourting"), followed by a contrasting male quartet ("He's a foul, aribald thief"), the act closing with the two quartets offsetting eachother, and enclosing an admirable solo for Fenton. The second act opens with the interview between Dame Quickly andFalstaff, in which the instrumentation runs the whole gamut ofironical humor. Then follows the scene between Ford and Falstaff, inwhich the very clink of the money, and Falstaff's huge chuckles, aredeliberately set forth in the orchestra with a realism which is thevery height of the ridiculous, the scene closing with an expressivedeclamation by Ford ("Do I dream? Or, is it reality?"). The secondscene of the act is mainly devoted to the ludicrous incident of thebuck-basket, which is accompanied by most remarkable instrumentation;but there are one or more captivating episodes; such as Dame Quickly'sdescription of her visit ("'Twas at the Garter Inn") and Falstaff'scharming song ("Once I was Page to the Duke of Norfolk"). The third act opens in the Inn of the Garter, and discloses Falstaffsoliloquizing upon his late disagreeable experiences:-- "Ho! landlord! Ungrateful world, wicked world, Guilty world! Landlord! a glass of hot sherry. Go, go thy way, John Falstaff, With thee will cease the type Of honesty, virtue, and might. " As the fat Knight soliloquizes and drinks his sack the orchestra takespart in a trill given out by piccolo, and gradually taken by oneinstrument after the other, until the whole orchestra is in a heartylaugh and shaking with string, brass, and wood wind glee. Then entersDame Quickly, mischief-maker, and sets the trap at Herne's Oak inWindsor Forest, into which Falstaff readily falls. The closing sceneis rich with humor. It opens with a delightful love-song by Fenton("From those sweet lips a song of love arises"). The conspiratorsenter one after the other, and at last Falstaff, disguised as thesable hunter. The elves are summoned, and glide about to the deliciousfairy music accompanying Nannetta's beautiful song ("While we dance inthe moonlight"). From this point the action hastens to the happydénouement, and the work concludes with a fugue which is imbued withthe very spirit of humor and yet is strictly constructed. While thevocal parts are extraordinary in their declamatory significance, thestrength of the opera lies in the instrumentation, and its charm inthe delicious fun and merriment which pervades it all and is aptlyexpressed in the closing lines:-- "All in this world is jesting. Man is born to be jolly, E'en from grief some happiness wresting Sure proof against melancholy. " WAGNER. Richard Wagner, who has been somewhat ironically called the musicianof the future, and whose music has been relegated to posterity by aconsiderable number of his contemporaries, was born at Leipsic, May22, 1813. After his preliminary studies in Dresden and Leipsic, hetook his first lessons in music from Cantor Weinlig. In 1836 he wasappointed musical director in the theatre at Magdeburg, and lateroccupied the same position at Königsberg. Thence he went to Riga, where he began his opera "Rienzi. " He then went to Paris by sea, wasnearly shipwrecked on his way thither, and landed without money orfriends. After two years of hard struggling he returned to Germany. His shipwreck and forlorn condition inspired the theme of "The FlyingDutchman, " and while on his way to Dresden he passed near the castleof Wartburg, in the valley of Thuringia, whose legends inspired hiswell-known opera of "Tannhäuser. " He next removed to Zurich, and aboutthis time appeared "Lohengrin, " one of his most favorite operas. "Tristan and Isolde" was produced in 1856, and his comic opera, "DieMeistersinger von Nürnberg, " three years later. In 1864 he receivedthe patronage of King Louis of Bavaria, which enabled him to completeand perform his great work, "Der Ring der Nibelungen. " He laid thefoundation of the new theatre at Baireuth in 1872, and in 1875 thework was produced, and created a profound sensation all over themusical world. "Parsifal, " his last opera, was first performed in1882. His works have aroused great opposition, especially amongconservative musicians, for the reason that he has set at defiance theconventional operatic forms, and in carrying out his theory of makingthe musical and dramatic elements of equal importance, and employingthe former as the language of the latter in natural ways, has mademusical declamation take the place of set melody, and swept away thecustomary arias, duets, quartets, and concerted numbers of the Italianschool, to suit the dramatic exigencies of the situations. Besides hismusical compositions, he enjoys almost equal fame as a litterateur, having written not only his own librettos, but four importantworks, --"Art and the Revolution, " "The Art Work of the Future, " "Operaand Drama, " and "Judaism in Music. " His music has made steady progressthrough the efforts of such advocates as Liszt, Von Bülow, and Richterin Germany, Pasdeloup in France, Hueffer in England, and TheodoreThomas in the United States. In 1870 he married Frau Cosima von Bülow, the daughter of Liszt, --an event which provoked almost as much commentin social circles as his operas have in musical. He died during avisit to Venice, Feb. 13, 1883. RIENZI. "Rienzi der letzte der Tribunen, " a tragic opera in five acts, wordsby the composer, the subject taken from Bulwer's novel, "The Last ofthe Tribunes, " was first produced at Dresden, Oct. 20, 1842, with HerrTichatscheck, Mme. Schröder-Devrient, and Mlle. Wiest in the principalrôles. It was designed and partly completed during Wagner's stay inRiga as orchestra leader. In his Autobiography the composer says thathe first read the story at Dresden in 1837, and was greatly impressedwith its adaptability for opera. He began it in the fall of the sameyear at Riga, and says: "I had composed two numbers of it, when Ifound, to my annoyance, that I was again fairly on the way to thecomposition of music à la Adam. I put the work aside in disgust. "Later he projected the scheme of a great tragic opera in five acts, and began upon it with fresh enthusiasm in the fall of 1838. By thespring of 1839 the first two acts were completed. At that time hisengagement at Riga terminated, and he set out for Paris. He soon foundthat it would be hopeless for him to bring out the opera in that city, notwithstanding Meyerbeer had promised to assist him. He offered it tothe Grand Opera and to the Renaissance, but neither would accept it. Nothing daunted, he resumed work upon it, intending it for Dresden. InOctober, 1842, it was at last produced in that city, and met with suchsuccess that it secured him the position of capellmeister at theDresden opera-house. The action of the opera passes at Rome, towards the middle of thefourteenth century. The first act opens at night, in a street near theChurch of St. John Lateran, and discovers Orsini, a Roman patrician, accompanied by a crowd of nobles, attempting to abduct Irene, thesister of Rienzi, a papal notary. The plot is interrupted by theentrance of Colonna, the patrician leader of another faction, whodemands the girl. A quarrel ensues. Adriano, the son of Colonna, whois in love with Irene, suddenly appears and rushes to her defence. Gradually other patricians and plebeians are attracted by the tumult, among the latter, Rienzi. When he becomes aware of the insult offeredhis sister, he takes counsel with the Cardinal Raimondo, and theyagree to rouse the people in resistance to the outrages of the nobles. Adriano is placed in an embarrassing position, --his relationship tothe Colonnas urging him to join the nobles, and his love for Ireneimpelling him with still stronger force to make common cause with thepeople. He finally decides to follow Rienzi, just as the trumpets areheard calling the people to arms and Rienzi clad in full armor makeshis appearance to lead them. The struggle is a short one. The nobles are overcome, and in thesecond act they appear at the Capitol to acknowledge their submissionto Rienzi: but Adriano, who has been among them, warns Rienzi thatthey have plotted to kill him. Festal dances, processions, andgladiatorial combats follow, in the midst of which Orsini rushes atRienzi and strikes at him with his dagger. Rienzi is saved by a steelbreastplate under his robes. The nobles are at once seized andcondemned to death. Adriano pleads with Rienzi to spare his father, and moved by his eloquence he renews the offer of pardon if they willswear submission. They take the oath only to violate it. The peoplerise and demand their extermination. Rienzi once more draws the sword, and Adriano in vain appeals to him to avert the slaughter. He is againsuccessful, and on his return announces to Adriano that the Colonnasand Orsinis are no more. The latter warns him of coming revenge, andthe act closes with the coronation of Rienzi. The fourth act opens at night near the church. The popular tide hasnow turned against Rienzi, upon the report that he is in league withthe German Emperor to restore the pontiff. A festive cortégeapproaches, escorting him to the church. The nobles bar his way, butdisperse at his command; whereupon Adriano rushes at him with drawndagger, but the blow is averted as he hears the chant of maledictionin the church, and sees its dignitaries placing the ban ofexcommunication against Rienzi upon its doors. He hurries to Irene, warns her that her brother's life is no longer safe, and urges her tofly with him. She repulses him, and seeks her brother, to share hisdangers or die with him. She finds him at prayer in the Capitol. Hecounsels her to accept the offer of Adriano and save herself, but sherepeats her determination to die with him. The sounds of theapproaching crowd are heard outside. Rienzi makes a last appeal tothem from the balcony, but the infuriated people will not listen. Theyset fire to the Capitol with their torches, and stone Rienzi and Irenethrough the windows. As the flames spread from room to room andAdriano beholds them enveloping the devoted pair, he throws away hissword, rushes into the burning building, and perishes with them. The overture of "Rienzi" is in the accepted form, for the opera waswritten before Wagner had made his new departure in music, and takesits principal themes, notably Rienzi's prayer for the people and thefinale to the first act, from the body of the work. The general styleof the whole work is vigorous and tumultuous. The first act opens witha hurly-burly of tumult between the contending factions and thepeople. The first scene contains a vigorous aria for the hero ("Wohlan so mög es sein"), which leads up to a fiery terzetto ("Adriano du?Wie ein Colonna!") between Rienzi, Irene, and Adriano, followed by anintensely passionate scene ("Er geht und lässt dich meinem Schutz")between the last two. The finale is a tumultuous mass of sound, through which are heard the tones of trumpets and cries of the people. It opens with a massive double chorus ("Gegrüsst, gegrüsst"), shoutedby the people on the one side and the monks in the Lateran on theother, accompanied by an andante movement on the organ. It isinterrupted for a brief space by the ringing appeal of Rienzi"Erstehe, hohe Roma, neu, " and then closes with an energetic andante, a quartet joining the choruses. This finale is clearly Italian inform, and much to Wagner's subsequent disgust was described byHanslick as a mixture of Donizetti and Meyerbeer, and a clear presageof the coming Verdi. The second act opens with a stately march, introducing the messengersof peace, who join in a chorus of greeting, followed by a secondchorus of senators and the tender of submission made by the nobles. Aterzetto between Adriano, Orsini, and Colonna, set off against achorus of the nobles, leads up to the finale. It opens with a joyfulchorus ("Erschallet feier Klänge"), followed by rapid dialogue betweenOrsini and Colonna on the one hand and Adriano and Rienzi on theother. A long and elaborate ballet intervenes, divided into severalnumbers, --an Introduction, Pyrrhic Dance, Combat of Roman Gladiatorsand Cavaliers, and the Dance of the Apotheosis, in which the Goddessof Peace is transformed to the Goddess, protector of Rome. The sceneabruptly changes, and the act closes with a great ensemble in whichthe defiance of the conspirators, the tolling of bells, the chants ofthe monks, and the ferocious outcries of the people shouting forrevenge are mingled in strong contrasts. The third act is full of tumult. After a brief prelude, amid theringing of bells and cries of alarm, the people gather and denouncethe treachery of the nobles, leading up to a spirited call to arms byRienzi ("Ihr Römer, auf"). The people respond in furious chorus, andas the sound of the bells and battle-cries dies away Adriano enters. His scene opens with a prayer ("Gerechter Gott") for the aversion ofcarnage, which changes to an agitated allegro ("Wo war ich?") as hehears the great bell of the Capitol tolling the signal for slaughter. The finale begins with a massive march, as the bells and sounds ofalarm are heard approaching again, and bands of citizens, priests andmonks, the high clergy, senators and nobles, pass and repass in quicksuccession, at last followed by Rienzi, which is the signal for thegreat battle-hymn, "Santo spirito cavaliere, " which is to be sung withgreat fire and energy, accompanied by great and small bells ringingbehind the scenes, the clash of swords upon shields, and full power ofchorus and orchestra. A dialogue follows between Adriano and Rienzi, and then the various bands disappear singing the ritornelle of thehymn. A great duet ("Lebwohl, Irene") ensues between Adriano andIrene, which in its general outlines reminds one of the duet betweenRaoul and Valentin in "The Huguenots. " At its conclusion, after aprayer by the chorus of women, the battle hymn is heard again in thedistance, gradually approaching, and the act closes with a jubileechorus ("Auf! im Triumpf zum Capitol"), welcoming the return of theconquerors. The fourth act is short, its principal numbers being the introduction, terzetto and chorus ("Wer war's der euch hierher beschied?"), and thefinale, beginning with a somewhat sombre march of the cortégeaccompanying Rienzi to the church, leading to the details of theconspiracy scene, and closing with the malediction of the monks, "Vae, vae tibi maledicto. " The last act opens with an impressive prayer byRienzi ("Allmacht'ger Vater"), which leads to a tender duet ("Verlässtdie Kirche mich") as Irene enters, closing with a passionate aria byRienzi ("Ich liebte glühend"). The duet is then resumed, and leads toa second and intensely passionate duet ("Du hier Irene!") betweenAdriano and Irene. The finale is brief, but full of energy, and isprincipally choral. The dénouement hurries, and the tragedy is reachedamid a tumultuous outburst of voices and instruments. Unlike Wagner'sother operas, in "Rienzi" set melody dominates, and the orchestra, asin the Italian school, furnishes the accompaniments. We have theregular overture, aria, duet, trio, and concerted finale; but after"Rienzi" we shall observe a change, at last becoming so radical thatthe composer himself threw aside his first opera as unworthy ofperformance. THE FLYING DUTCHMAN. "Der Fliegende Holländer, " a romantic opera in three acts, words bythe composer, the subject taken from Heinrich Heine's version of thelegend, was first produced at Dresden, Jan. 2, 1843, with Mme. Schröder-Devrient and Herr Wechter in the two principal rôles. It wasalso produced in London in 1870 at Drury Lane as "L'Ollandosedannato, " by Signor Arditi, with Mlle. Di Murska, Signors Foli, Perotti, and Rinaldini, and Mr. Santley in the leading parts; in 1876, by Carl Rosa as "The Flying Dutchman, " an English version; and againin 1877 as "Il Vascello fantasma. " In this country the opera wasintroduced in its English form by Miss Clara Louise Kellogg. Wagner conceived the idea of writing "The Flying Dutchman" during thestorm which overtook him on his voyage from Riga to Paris. He says inhis Autobiography: "'The Flying Dutchman, ' whose intimate acquaintanceI had made at sea, continually enchained my fancy. I had becomeacquainted, too, with Heinrich Heine's peculiar treatment of thelegend in one portion of his 'Salon. ' Especially the treatment of thedelivery of this Ahasuerus of the ocean (taken by Heine from a Dutchdrama of the same title) gave me everything ready to use the legend asthe libretto of an opera. I came to an understanding about it withHeine himself, drew up the scheme, and gave it to M. Léon Pillet[manager of the Grand Opera], with the proposition that he should havea French libretto made from it for me. " Subsequently M. Pilletpurchased the libretto direct from Wagner, who consented to thetransaction, as he saw no opportunity of producing the opera in Paris. It was then set by Dietsch as "Le Vaisseau fantôme, " and brought outin Paris in 1842. In the mean time, not discouraged by his badfortune, Wagner set to work, wrote the German verse, and completed theopera in seven weeks for Dresden, where it was finally performed, asalready stated. Unlike "Rienzi, " it met with failure both in Dresdenand Berlin; but its merits were recognized by Spohr, who encouragedhim to persevere in the course he had marked out. The plot of the opera is very simple. A Norwegian vessel, commanded byDaland, compelled by stress of weather, enters a port not far from herdestination. At the same time a mysterious vessel, with red sails andblack hull, commanded by the wandering Flying Dutchman, who isdestined to sail the seas without rest until he finds a maiden whowill be faithful until death, puts into the same port. The twocaptains meet, and Daland invites the stranger to his home. The two atlast progress so rapidly in mutual favor that a marriage is agreedupon between the stranger and Senta, Daland's daughter. The latter isa dreamy, imaginative girl, who, though she has an accepted lover, Eric, is so fascinated with the legend of the stranger that shebecomes convinced she is destined to save him from perdition. When hearrives with her father she recognizes him at once, and vows eternalconstancy to him. In the last act, however, Eric appears andreproaches Senta with her faithlessness. The stranger overhears them, and concludes that as she has been recreant to her former lover, sotoo she will be untrue to him. He decides to leave her; for if heshould remain, her penalty would be eternal death. As his mysteriousvessel sails away Senta rushes to a cliff, and crying out that herlife will be the price of his release, hurls herself into the sea, vowing to be constant to him even in death. The phantom vessel sinks, the sea grows calm, and in the distance the two figures are seenrising in the sunlight never to be parted. The overture characterizes the persons and situations of the drama, and introduces the motives which Wagner ever after used sofreely, --among them the curse resting upon the Dutchman, the restlessmotion of the sea, the message of the Angel of Mercy personified inSenta, the personification of the Dutchman, and the song of Daland'screw. The first act opens with an introduction representing a storm, and a characteristic sailors' chorus, followed by an exquisitelove-song for tenor ("Mit Gewitter und Sturm"), and a grand scena ofthe Dutchman ("Die Frist ist um"), which lead up to a melodious duetbetween the Dutchman and Daland. The act closes with the sailors'chorus as the two vessels sail away. After a brief instrumental prelude, the second act opens in Daland'shome, where the melancholy Senta sits surrounded by her companions, who are spinning. To the whirring accompaniment of the violins theysing a very realistic spinning song ("Summ' und brumm du gutesMädchen"), interrupted at intervals by the laughter of the girls asthey rally Senta upon her melancholy looks. Senta replies with a weirdand exquisitely melodious ballad ("Johohae! träfft ihr das Schiff imMeere an"), in which she tells the story of the Flying Dutchman, andanticipates her own destiny. The song is full of intense feelings andis characterized by a motive which frequently recurs in the opera, andis the key to the whole work. A duet follows between Eric and Senta, the melodious character of which shows that Wagner was not yetentirely freed from Italian influences. A short duet ensues betweenSenta and her father, and then the Dutchman appears. As they stand andgaze at each other for a long time, the orchestra meanwhile supplyingthe supposed emotions of each, we have a clew to the method Wagner wasafterwards to employ so successfully. A duet between Senta and theDutchman ("Wie aus der Ferne") and a terzetto with Daland close theact. The third act opens with another sailors' chorus ("Steuermann, lass'die Wacht"), and a brisk dialogue between them and the women who arebringing them provisions. The latter also hail the crew of theDutchman's vessel, but get no reply until the wind suddenly rises, when they man the vessel and sing the refrain with which the Dutchmanis continually identified. A double chorus of the two crews follows. Senta then appears accompanied by Eric, who seeks to restrain her fromfollowing the stranger in a very dramatic duet ("Was muss ichhören?"). The finale is made up of sailors' and female choruses, and atrio between Senta, Daland, and the Dutchman, which are woven togetherwith consummate skill, and make a very effective termination to theweird story. There are no points in common between "The FlyingDutchman" and "Rienzi, " except that in the former Wagner had not yetclearly freed himself from conventional melody. It is interesting asmarking his first step towards the music of the future in his use ofmotives, his wonderful treatment of the orchestra in enforcing theexpression of the text, and his combination of the voices andinstrumentation in what he so aptly calls "The Music-Drama. " TANNHÄUSER "Tannhäuser und der Singerkrieg auf Wartburg" ("Tannhäuser and thesingers' contest at the Wartburg"), a romantic opera in three acts, words by the composer, was first produced at the Royal Opera, Dresden, Oct. 20, 1845, with Mme. Schröder-Devrient and Herr Niemann asElizabeth and Tannhäuser. Its first performance in Paris was on March13, 1861; but it was a failure after three representations, and wasmade the butt of Parisian ridicule, even Berlioz joining in thetirade. In England it was brought out in Italian at Covent Garden, May6, 1876, though its overture was played by the London Philharmonicorchestra in 1855, Wagner himself leading. In the spring of 1842 Wagner returned from Paris to Germany, and onhis way to Dresden visited the castle of Wartburg, in the ThuringianValley, where he first conceived the idea of writing "Tannhäuser. " Theplot was taken from an old German tradition, which centres about thecastle where the landgraves of the thirteenth century institutedpeaceful contests between the Minnesingers and knightly poets. Nearthis castle towers the Venusberg, a dreary elevation, which, accordingto popular tradition, was inhabited by Holda, the goddess of Spring. Proscribed by Christianity, she took refuge in its caverns, where shewas afterwards confounded with the Grecian Venus. Her court was filledwith nymphs and sirens, who enticed those whose impure desires ledthem to its vicinity, and lured them into the caverns, from which theywere supposed never to return. The first act opens in this court, andreveals Tannhäuser, the knight and minstrel, under the sway of Venus. In spite of her fascinations he succeeds in tearing himself away, andwe next find him at the castle of Wartburg, the home of Hermann theLandgrave, whose daughter Elizabeth is in love with him. At theminstrel contest he enters into the lists with the other Minnesingers, and, impelled by a reckless audacity and the subtle influence ofVenus, sings of the attractions of sensual pleasures. Walter, of theVogelweide, replies with a song to virtue. Tannhäuser breaks out inrenewed sensual strains, and a quarrel ensues. The knights rush uponhim with their swords, but Elizabeth interposes and saves his life. Heexpresses his penitence, makes a pilgrimage to Rome and confesses tothe Pope, who replies that, having tasted the pleasures of hell, he isforever damned, and, raising his crosier, adds: "Even as this woodcannot blossom again, so there is no pardon for thee. " Elizabeth praysfor him in her solitude, but her prayers apparently are of no avail. At last he returns dejected and hopeless, and in his wanderings meetsWolfram, another minstrel, also in love with Elizabeth, to whom hetells the sad story of his pilgrimage. He determines to return to theVenusberg. He hears the voices of the sirens luring him back. Wolframseeks to detain him, but is powerless until he mentions the name ofElizabeth, when the sirens vanish and their spells lose theirattraction. A funeral procession approaches in the distance, and onthe bier is the form of the saintly Elizabeth. He sinks down upon thecoffin and dies. As his spirit passes away his pilgrim's staffmiraculously bursts out into leaf and blossom, showing that his sinshave been forgiven. The overture to the opera is well known by its frequent performancesas a concert number. It begins with the pilgrim's song, which, as itdies away, is succeeded by the seductive spells of the Venusberg andthe voices of the sirens calling to Tannhäuser. As the whirring soundsgrow fainter and fainter, the pilgrim's song is again heard graduallyapproaching, and at last closing the overture in a joyous burst ofharmony. The first act opens with the scene in the Venusberg, accompanied by the Bacchanale music, which was written in Paris byWagner after the opera was finished and had been performed. It is nowknown as "the Parisian Bacchanale. " It is followed by a voluptuousscene between Tannhäuser and Venus, a long dialogue, during which thehero, seizing his harp, trolls out a song ("Doch sterblich, ach!"), the theme of which has already been given out by the overture, expressing his weariness of her companionship. The second scenetransports us to a valley, above which towers the castle of Wartburg. A young shepherd, perched upon a rock, sings a pastoral invocation toHolda ("Frau Holda kam aus dem Berg hervor"), the strains of his pipe(an oboe obligato) weaving about the stately chorus of the elderpilgrims ("Zu dir wall' ich, mein Herr und Gott") as they come alongthe mountain paths from the castle. The scene, which is one of greatbeauty, closes with the lament of Tannhäuser ("Ach! schwer drückt michder Sünden Last"), intermingled with the receding song of thepilgrims, the ringing of church-bells in the distance, and the merrynotes of hunters' horns as the Landgrave and his followers approach. The meeting with Tannhäuser leads to an expressive septet, in whichWolfram has a very impressive solo ("Als du in kühnem Sange"). The second act opens in the singers' hall of the Wartburg. Elizabeth, entering joyfully, greets it in a recitation ("Froh grüss ich dich, geliebter Raum"), if we may so term it, which is characterized by ajoyous but dignified dramatic appeal, recalling the scenes of heryouth. The interview between Tannhäuser and Elizabeth, which follows, gives rise to a long dialogue, closing with a union of the two voicesin the charming duet, "Gepriesen sei die Macht. " Then follows thegrand march and chorus, "Freudig begrüssen wir die edle Halle, "announcing the beginning of the song contest. The stirring rhythm andbold, broad outlines of this march are so well known that it isneedless to dwell upon it. The scene of the contest is declamatorythroughout, and full of animation and spirit; its most salient pointsbeing the hymn of Wolfram ("O Himmel lasst dich jetzt erflehen") inhonor of ideal love, and Elizabeth's appeal to the knights to spareTannhäuser ("Zurück von ihm"), which leads up to a spirited septet andchoral ensemble closing the act. In the third act we are once more in the valley of the Wartburg. Aftera plaintive song by Wolfram ("Wohl wusst ich hier sie im Gebet zufinden"), the chorus of the returning pilgrims is heard in thedistance, working up to a magnificent crescendo as they approach andcross the stage. Elizabeth, who has been earnestly watching them tofind if Tannhäuser be of their number, disappointed, sinks upon herknees and sings the touching prayer, "Allmächt'ge Jungfrau, hör meinFlehen. " As she leaves the scene, Wolfram takes his harp and sings theenchanting fantasy to the evening star, "O, du mein holderAbendstern, "--a love-song to the saintly Elizabeth. Tannhäuser makeshis appearance. A long declamatory dialogue ensues between himself andWolfram, in which he recites the story of his pilgrimage. The scene isone of extraordinary power, and calls for the highest vocal anddramatic qualities in order to make it effective. From this point on, the tragedy hastens. There is the struggle once more with the sirens, and amid Wolfram's touching appeals and Tannhäuser's exclamations isheard the enticement of the Venus music. But at the name "Elizabeth"it dies away. The mists grow denser as the magic crew disappears, andthrough them is seen a light upon the Wartburg. The tolling of bellsand the songs of mourners are heard as the cortége approaches. AsTannhäuser dies, the pilgrims' chorus again rises in ecstasy, closingwith a mighty shout of "Hallelujah!" and the curtain falls. LOHENGRIN. "Lohengrin, " a romantic opera in three acts, words by the composer, was first produced at Weimar, Aug. 28, 1850, the anniversary ofGoethe's birthday, under the direction of Franz Liszt, and with thefollowing cast of the leading parts:-- LOHENGRIN Herr BECK. TELRAMUND Herr MILDE. KING Herr HOFER. ELSA Frau AGATHE. ORTRUD Fraülein FASTLINGER. "Lohengrin" was begun in Paris, and finished in Switzerland during theperiod in which Wagner was director of the musical society as well asof the orchestra at the city theatre of Zurich, whither he had fled toescape the penalties for taking part in the political agitations andsubsequent insurrection of 1849. Though it manifests a still furtheradvancement in the development of his system, it was far from beingcomposed according to the abstract rules he had laid down. He saysexplicitly on this point, in his "Music of the Future:" "The firstthree of these poems--'The Flying Dutchman, ' 'Tannhäuser, ' and'Lohengrin'--were written by me, their music composed, and all (withthe exception of 'Lohengrin') performed upon the stage, before thecomposition of my theoretical writings. " The story of Lohengrin, the son of Parsifal, upon which Wagner hasbased his drama, is taken from many sources, the old Celtic legend ofKing Arthur, his knights, and the Holy Grail being mixed with thedistinctively German legend of a knight who arrives in his boat drawnby a swan. The version used by Wagner is supposed to be told byWolfram von Eschenbach, the Minnesinger, at one of the Wartburgcontests, and is in substance as follows: Henry I. , King of Germany, known as "the Fowler, " arrives at Antwerp for the purpose of raising aforce to help him expel the Hungarians, who are threatening hisdominions. He finds Brabant in a condition of anarchy. Gottfried, theyoung son of the late Duke, has mysteriously disappeared, andTelramund, the husband of Ortrud, daughter of the Prince of Friesland, claims the dukedom. The claimant openly charges Elsa, sister ofGottfried, with having murdered him to obtain the sovereignty, and sheis summoned before the King to submit her cause to the ordeal ofbattle between Telramund and any knight whom she may name. Shedescribes a champion whom she has seen in a vision, and conjures himto appear in her behalf. After a triple summons by the heralds, he isseen approaching on the Scheldt, in a boat drawn by a swan. Before thecombat Lohengrin betroths himself to Elsa, naming only the conditionthat she shall never question him as to his name or race. She assents, and the combat results in Telramund's defeat and public disgrace. In the second act occur the bridal ceremonies, prior to which, movedby Ortrud's entreaties, Elsa promises to obtain a reprieve forTelramund from the sentence which has been pronounced against him. Atthe same time Ortrud takes advantage of her success to instil doubtsinto Elsa's mind as to her future happiness and the faithfulness ofLohengrin. In the next scene, as the bridal cortége is about to enter theminster, Ortrud claims the right of precedence by virtue of her rank, and Telramund publicly accuses Lohengrin of sorcery. The faith ofElsa, however, is not shaken. The two conspirators are ordered tostand aside, the train enters the church, and Elsa and Lohengrin areunited. The third act opens in the bridal chamber. The seeds of curiosity anddistrust which Ortrud has sown in Elsa's mind have ripened, and inspite of her conviction that it will end her happiness, she questionsLohengrin with increasing vehemence, at last openly demanding to knowhis secret. At this juncture Telramund breaks into the apartment withfour followers, intending to take the life of Lohengrin. A single blowof the knight's sword stretches him lifeless. He then places Elsa inthe charge of her ladies and orders them to take her to the presenceof the King, whither he also repairs. Compelled by his wife'sunfortunate rashness, he discloses himself as the son of Parsifal, Knight of the Holy Grail, and announces that he must now return to itsguardianship. His swan once more appears, and as he steps into theboat he bids Elsa an eternal farewell. Before he sails away, however, Ortrud declares to the wondering crowd that the swan is Elsa'sbrother, who has been bewitched by herself into this form, and wouldhave been released but for Elsa's curiosity. Lohengrin at oncedisenchants the swan, and Gottfried appears and rushes into hissister's arms. A white dove flies through the air and takes the placeof the swan, and Lohengrin sails away as Elsa dies in the embrace ofher newly found brother. The Vorspiel, or prelude, to the opera takes for its subject thedescent of the Holy Grail, the mysterious symbol of the Christianfaith, and the Grail motive is the key to the whole work. Thedelicious harmonies which accompany its descent increase in warmth andpower until the sacred mystery is revealed to human eyes, and then dieaway to a pianissimo, and gradually disappear as the angels bearingthe holy vessel return to their celestial abode. The curtain risesupon a meadow on the banks of the Scheldt, showing King Henrysurrounded by his vassals and retainers. After their choraldeclaration of allegiance, Telramund, in a long declamatory scena ofgreat power ("Zum Sterben kam der Herzog von Brabant"), tells thestory of the troubles in Brabant, and impeaches Elsa. At the King'scommand, Elsa appears, and in a melodious utterance of extremesimplicity and sweetness, which is called the dream motive ("Einsam intrüben Tagen"), relates the vision of the knight who is to come to herassistance. The summons of the heralds preludes the climax of the act. Amid natural outcries of popular wonderment Lohengrin appears, and, ashe leaves his boat, bids farewell to his swan in a strain of delicatebeauty ("Nun sei gedankt, mein lieber Schwan"). The preparations forthe combat are made, but before it begins, the motive of warning issounded by Lohengrin ("Nie sollst du mich befragen"). The finale ofthe act takes the form of a powerful ensemble, composed of sextet andchorus, and beginning with the prayer of the King, "Mein Herr undGott, nun ruf ich Dich. " The second act opens upon a night scene near the palace, which ismerry with the wedding festivities, while the discomfited Telramundand Ortrud are plotting their conspiracy without in a long duet("Erhebe dich, Genossin meiner Schmach"), which introduces new motivesof hatred and revenge, as opposed to the Grail motive. In the secondscene Elsa appears upon the balcony and sings a love-song ("EuchLüften, die mein Klagen"), whose tenderness and confidence are inmarked contrast with the doubts sown in her mind by Ortrud before thescene closes. The third scene is preluded with descriptive sunrisemusic by the orchestra, followed by the herald's proclamations, interspersed by choral responses, leading up to the bridal-processionmusic as the train moves on from the palace to the cathedral, accompanied by a stately march and choral strains, and all theartistic surroundings of a beautiful stage pageant. The progress istwice interrupted; first by Ortrud, who asserts her precedence, andsecond by Telramund, who, in the scena "Den dort im Glanz, " accusesLohengrin of sorcery. When Elsa still expresses her faith, the trainmoves on, and reaches its destination amid the acclamations of thechorus ("Heil, Elsa von Brabant!"). The third act opens in the bridal chamber with the graceful bridalsong by Elsa's ladies, "Treulich gefuhrt, ziehet dahin, " whosemelodious strains have accompanied many unions, the world over, besides those of Elsa and Lohengrin. The second scene is an exquisitepicture of the mutual outpouring of love, at first full of beauty andtenderness, but gradually darkening as Ortrud's insinuations producetheir effect in Elsa's mind. Tenderly Lohengrin appeals to her, but invain; and at last the motive of warning is heard. The fatal questionsare asked, the tragedy of Telramund follows, and all is over. The lastscene introduces us once more to the meadow on the Scheldt, whereLohengrin appears before the King and his vassals. In their presencehe reveals himself as the son of Parsifal, in a scena of consummatepower ("In fernem Land, unnahbar euren Schritten"), wherein the Grailmotive reaches its fullest development. It is followed by his touchingfarewell, "O Elsa! nur ein Jahr an deiner Seite, " the melody of whichcan hardly be surpassed in dignity and impressiveness. The dénouementnow hastens, and Lohengrin disappears, to the accompaniment of theGrail motive. TRISTAN UND ISOLDE. "Tristan und Isolde, " an opera in three acts, words by the composer, was first produced at Munich, June 10, 1865, under the direction ofHans von Bülow, with the following cast of characters:-- TRISTAN Herr LUDWIG SCHNORR VON CAROLSFELD. KURWENAL Herr MITTERWURZER. KING MARK Herr ZOTTMAYER. ISOLDE Mme. SCHNORR VON CAROLSFELD. BRANGOENA Mlle. DEINET. "Tristan and Isolde" was commenced in 1857 and finished in 1859, during the period in which Wagner was engaged upon his colossal work, "The Ring of the Nibelung. " As early as the middle of 1852 he hadfinished the four dramatic poems which comprise the cyclus of thelatter, and during the next three years he finished the music to "DasRheingold" and "Die Walküre. " In one of his letters he says: "In thesummer of 1857 I determined to interrupt the execution of my work onthe Nibelungen and begin something shorter, which should renew myconnection with the stage. " The legend of Tristan was selected. It isderived from the old Celtic story of "Tristram and Iseult, " theversion adopted by Wagner being that of Gottfried of Strasburg, a bardof the thirteenth century, though it must be said he uses it in hisown manner, and at times widely departs both from the original and themediæval poem. In "Tristan and Isolde" Wagner broke completely loose from all theconventional forms of opera. It has nothing in common with the oldstyle of lyric entertainment. As Hueffer says, in his recent Life ofWagner: "Here is heard for the first time the unimpaired language ofdramatic passion intensified by an uninterrupted flow of expressivemelody. Here also the orchestra obtains that wide range of emotionalexpression which enables it, like the chorus of the antique tragedy, to discharge the dialogue of an overplus of lyrical elements withoutweakening the intensity of the situation, which it accompanies like anunceasing passionate undercurrent. " In an opera like this, which isintended to commingle dramatic action, intensity of verse, and thepower and charm of the music in one homogeneous whole, the reader willat once observe the difficulty of doing much more than the telling ofits story, leaving the musical declamation and effects to be inferredfrom the text. Even Wagner himself in the original title is careful todesignate the work "Ein Handlung" (an action). The vorspiel to the drama is based upon a single motive, which isworked up with consummate skill into various melodic forms, andfrequently appears throughout the work. It might well be termed themotive of restless, irresistible passion. The drama opens on board aship in which the Cornish knight, Tristan, is bearing Isolde, theunwilling Irish bride, to King Mark of Cornwall. As the vessel isnearing the land, Isolde sends Brangoena to the Knight, who is also inlove with her, but holds himself aloof by reason of a blood-feud, andorders him to appear at her side. His refusal turns Isolde's affectionto bitterness, and she resolves that he shall die, and that she willshare death with him. She once more calls Tristan, and tells him thatthe time has come for him to make atonement for slaying her kinsman, Morold. She directs Brangoena to mix a death-potion and invites him to drinkwith her, but without her knowledge Brangoena has prepared alove-potion, which inflames their passions beyond power of restraint. Oblivious of the landing, the approach of the royal train, and allthat is going on about them, they remain folded in mutual embrace. The second act opens in Cornwall, in a garden which leads to Isolde'schamber, she being already wedded to King Mark. With Brangoena she iswaiting for Tristan. The King goes out upon a night hunt, and nosooner has he disappeared than Isolde gives the signal for hisapproach, while Brangoena goes to her station to watch. The secondscene is a most elaborate love-duet between the guilty pair, the twovoices at first joining ("Bist du mein? Hab'ich dich wieder?"). Apassionate dialogue ensues, and then the two voices join again ("Osink' hernieder, Nacht der Liebe"). After a brief dialogue Brangoena'swarning voice is heard. Absorbed in each other, they pay no heed, andonce more they join in the very ecstasy of passion, so far as it canbe given musical form, in the finale of the duet, "O süsse Nacht!Ew'ge Nacht! Hehr erhabne Liebes-Nacht. " The treachery of Sir Melot, Tristan's pretended friend, betrays the lovers to the King. Tristanoffers no explanations, but touched by the King's bitter reproachesprovokes Sir Melot to combat and allows himself to be mortallywounded. The third act opens in Brittany, whither Kurwenal, Tristan's faithfulhenchman, has taken him. A shepherd lad watches from a neighboringheight to announce the appearance of a vessel, for Kurwenal has sentfor Isolde to heal his master's wound. At last the stirring strains ofthe shepherd's pipe signal her coming. In his delirious joy Tristantears the bandages from his wounds, and has only strength enough leftto call Isolde by name and die in her arms. Now a second vessel isseen approaching, bearing King Mark and his men. Thinking that hisdesign is hostile, Kurwenal attempts to defend the castle, but is soonforced to yield, and dies at the feet of his master. The King exclaimsagainst his rashness, for since he had heard Brangoena's story of thelove-potion he had come to give his consent to the union of thelovers. Isolde, transfigured with grief, sings her last farewell toher lover ("Mild und leise wie er lächelt"), and expires on his body. The dying song is one of great beauty and pathos, and sadly recallsthe passion of the duet in the second act, as Isolde's mournfulstrains are accompanied in the orchestra by the sweetly melodiousmotives which had been heard in it, the interweaving of the two alsosuggesting that in death the lovers have been reunited. THE MASTERSINGERS. "Die Meistersinger von Nürnberg, " a comic opera in three acts, wordsby the composer, was first produced at Munich, June 21, 1868, underthe direction of Hans von Bülow, with the following cast: HANS SACHS Herr BETZ. WALTER Herr NACHBAUER. BECKMESSER Herr HÖLZEL. DAVID Herr SCHLOSSER. EVA Mlle. MALLINGER. MAGDALENA Mme. DIETZ. The plan of "The Mastersingers" was conceived about the same time asthat of "Lohengrin, " during the composer's stay at Marienbad, andoccupied his attention at intervals for twenty years, as it was notfinished until 1867. As is clearly apparent both from its music andtext, it was intended as a satire upon the composer's critics, who hadcharged that he was incapable of writing melody. It is easy to seethat these critics are symbolized by the old pedant Beckmesser, andthat in Walter we have Wagner himself. When he is first brought incontact with the Mastersingers, and one of their number, Kothner, askshim if he gained his knowledge in any school, he replies, "The woodbefore the Vogelweid', 'twas there I learnt my singing;" and again heanswers:-- "What winter night. What wood so bright, What book and nature brought me, What poet songs of magic might Mysteriously have taught me, On horses' tramp, On field and camp, On knights arrayed For war parade My mind its powers exerted. " The story is not only one of love as between Walter and Eva, but ofsatirical protest as between Walter and Beckmesser, and the twosubjects are illustrated not only with delicate fancy but with theliveliest of humor. The work is replete with melody. It has chorales, marches, folk-songs, duets, quintets, ensembles, and choruses, and yetthe composer does not lose sight of his theories; for here we observeas characteristic a use of motives and as skilful a combination ofthem as can be found in any of his works. To thoroughly comprehend thestory, it is necessary to understand the conditions one had to fulfilbefore he could be a mastersinger. First of all he must master the"Tabulatur, " which included the rules and prohibitions. Then he musthave the requisite acquaintance with the various methods of rhymingverse, and with the manner of fitting appropriate music to it. One whohad partially mastered the Tabulatur was termed a "scholar;" the onewho had thoroughly learned it, a "schoolman;" the one who couldimprovise verses, a "poet;" and the one who could set music to hisverses, a "mastersinger. " In the test there were thirty-three faultsto be guarded against; and whenever the marker had chalked up sevenagainst the candidate, he was declared to have oversung himself andlost the coveted honor. The vorspiel is a vivid delineation of mediæval German life, full offestive pomp, stirring action, glowing passion, and exuberant humor. The first act opens in the Church of St. Katherine, at Nuremberg, withthe singing of a chorale to organ accompaniment. During the choraleand its interludes a quiet love-scene is being enacted between Eva, daughter of the wealthy goldsmith Veit Pogner, and Walter vonStolzing, a noble young knight. The attraction is mutual. Eva is readyto become his bride, but it is necessary that her husband should be amastersinger. Rather than give up the hand of the fair Eva, Walter, short as the time is, determines to master the precepts and enter thelists. As Eva and her attendant, Magdalena, leave the church, theapprentices enter to arrange for the trial, among them David, thefriskiest of them all, who is in love with Magdalena. He volunteers togive Walter some instructions, but they do not avail him much in theend, for the lesson is sadly disturbed by the gibes of the boys, in ascene full of musical humor. At last Pogner and Beckmesser, themarker, who is also a competitor for Eva's hand, enter from thesacristy. After a long dialogue between them the other mastersassemble, Hans Sachs, the cobbler-bard, coming in last. After callingthe roll, the ceremonies open with a pompous address by Pogner ("Dasschöne Fest, Johannis-Tag"), in which he promises the hand of Eva, "with my gold and goods beside, " to the successful singer on themorrow, which is John the Baptist's Day. After a long parley among thegossiping masters, Pogner introduces Walter as a candidate forelection. He sings a charming song ("So rief der Lenz in den Wald"), and as he sings, the marker, concealed behind a screen, is heardscoring down the faults. When he displays the slate it is found to becovered with them. The masters declare him outsung and rejected, butHans Sachs befriends him, and demands he shall have a chance for theprize. The second act discloses Pogner's house and Sachs's shop. Theapprentices are busy putting up the shutters, and are singing as theywork. Walter meets Eva and plots an elopement with her, but Sachsprevents them from carrying out their rash plan. Meanwhile Beckmessermakes his appearance with his lute for the purpose of serenading Evaand rehearsing the song he is to sing for the prize on the morrow. Ashe is about to sing, Sachs breaks out into a rollicking folk-song("Jerum, jerum, halla, halla, he!"), in which he sings of Mother Eveand the troubles she had after she left Paradise, for want of shoes. At last he allows Beckmesser a hearing, provided he will permit him tomark the faults with his hammer upon the shoe he is making. The markerconsents, and sings his song, "Den Tag seh' ich erscheinen, "accompanied with excruciating roulades of the old-fashionedconventional sort; but Sachs knocks so often that his shoe is finishedlong before Beckmesser's song. This is his first humiliation. Beforethe act finishes he is plunged into still further trouble, for Davidsuspects him of designs upon Magdalena, and a general quarrel ensues. The third act opens upon a peaceful Sunday-morning scene in the sleepyold town, and shows us Sachs sitting in his arm-chair at the windowreading his Bible, and now and then expressing his hopes for Walter'ssuccess, as the great contest is soon to take place. At last he leansback, and after a brief meditation commences a characteristic song("Wahn! wahn! Ueberall wahn!"). A long dialogue ensues between him andWalter, and then as Eva, David, Magdalena, and Beckmesser successivelyenter, the scene develops into a magnificent quintet, which is one ofthe most charming numbers in the opera. The situation then suddenlychanges. The stage-setting represents an open meadow on the banks ofthe Pegnitz. The river is crowded with boats. The plain is coveredwith tents full of merrymakers. The different guilds are continuallyarriving. A livelier or more stirring scene can hardly be imaginedthan Wagner has here pictured, with its accompaniment of choruses bythe various handicraftsmen, their pompous marches, and the ruralstrains of town pipers. At last the contest begins. Beckmesserattempts to get through his song and dismally fails. Walter followshim with the beautiful prize-song, "Morgenlich leuchtend in rosigemSchein. " He wins the day and the hand of Eva. Exultant Sachs trollsout a lusty lay ("Verachtet mir der Meister nicht"), and the stirringscene ends with the acclamations of the people ("Heil Sachs! HansSachs! Heil Nürnberg's theurem Sachs!"). THE RING OF THE NIBELUNG. "Der Ring des Nibelungen, " a trilogy, the subject taken from theNibelungen Lied and adapted by the composer, was first conceived byWagner during the composition of "Lohengrin. " The four dramatic poemswhich constitute its cyclus were written as early as 1852, which willcorrect a very general impression that this colossal work wasprojected during the closing years of his life. On the contrary, itwas the product of his prime. Hueffer, in his biographical sketch ofWagner, says that he hesitated between the historical and mythicalprinciples as the subjects of his work, --Frederick the Firstrepresenting the former, and Siegfried, the hero of Teutonicmythology, the latter. Siegfried was finally selected. "Wagner beganat once sketching the subject, but gradually the immense breadth andgrandeur of the old types began to expand under his hands, and theresult was a trilogy, or rather tetralogy, of enormous dimensions, perhaps the most colossal attempt upon which the dramatic muse hasventured since the times of Æschylus. " The trilogy is really in fourparts, --"Das Rheingold" (the Rhinegold); "Die Walküre" (the Valkyrie);"Siegfried"; and "Die Götterdämmerung" (the Twilight of the Gods), "The Rhinegold" being in the nature of an introduction to the trilogyproper, though occupying an evening for its performance. Between theyears 1852 and 1856 the composer wrote the music of the "Rhinegold"and the whole of "The Valkyrie;" and then, as he says himself, wishingto keep up his active connection with the stage, he interrupted theprogress of the main scheme, and wrote "Tristan and Isolde, " whichoccupied him from 1856 to 1859. During its composition, however, hedid not entirely forsake the trilogy. In the autumn of 1856 he began"Siegfried, " the composition of which was not finished until 1869, owing to many other objects which engaged his attention during thisperiod, one of which was the composition of "The Mastersingers, " whichhe wrote at intervals between 1861 and 1867. From the latter yearuntil 1876, when the trilogy was produced at Baireuth, he gave himselfwholly to the work of completing it and preparing it for the stage. Prior to the production of the completed work, separate parts of itwere given, though Wagner strongly opposed it. "The Rhinegold, " orintroduction, came to a public dress-rehearsal at Munich Aug. 25, 1869, and "The Valkyrie" was performed in a similar manner in the samecity, June 24, 1870, with the following cast:-- WOTAN Herr KINDERMANN. SIEGMUND Herr VOGL. HUNDING Herr BAUSERWEIN. BRÜNNHILDE Frl. STEHLE. SIEGLINDE Frau VOGL. FRICKA Frl. KAUFFMANN. The "Siegfried" and "Götterdämmerung, " however, were not given untilthe entire work was performed in 1876. Upon the completion of hiscolossal task Wagner began to look about him for the locality, theatre, artists, and materials suitable for a successfulrepresentation. In the circular which he issued, narrating thecircumstances which led up to the building of the Baireuthopera-house, he says: "As early as the spring of 1871 I had, quietlyand unnoticed, had my eye upon Baireuth, the place I had chosen for mypurpose. The idea of using the Margravian Opera-House was abandoned sosoon as I saw its interior construction. But yet the peculiarcharacter of that kindly town and its site so answered myrequirements, that during the wintry latter part of the autumn of thesame year I repeated my visit, --this time, however, to treat with thecity authorities.... An unsurpassably beautiful and eligible plot ofground at no great distance from the town was given me on which toerect the proposed theatre. Having come to an understanding as to itserection with a man of approved inventive genius, and of rareexperience in the interior arrangement of theatres, we could thenintrust to an architect of equal acquaintance with theatrical buildingthe further planning and the erection of the provisional structure. And despite the great difficulties which attended the arrangements forputting under way so unusual an undertaking, we made such progressthat the laying of the corner-stone could be announced to our patronsand friends for May 22, 1872. " The ceremony took place as announced, and was made still further memorable by a magnificent performance ofBeethoven's Ninth or Choral Symphony, the chorus of which, set toSchiller's "Ode to Joy, " was sung by hundreds of lusty German throats. In addition to the other contents of the stone, Wagner deposited thefollowing mystic verse of his own: "I bury here a secret deep, For centuries long to lie concealed; Yet while this stone its trust shall keep, To all the secret stands revealed. " He also made an eloquent address, setting forth the details of theplans and the purposes of the new temple of art. The undertaking wasnow fairly inaugurated. The erratic King of Bavaria had from the firstbeen Wagner's steadfast friend and munificent patron; but not to himalone belongs the credit of the colossal project and its remarkablesuccess. When Wagner first made known his views, other friends, amongthem Tausig, the eminent pianist, at once devoted themselves to hiscause. In connection with a lady of high rank, Baroness vonSchleinitz, he proposed to raise the sum of three hundred thousandthalers by the sale of patronage shares at three hundred thalers each, and had already entered upon the work when his death for the timedashed Wagner's hopes. Other friends, however, now came forward. Anorganization for the promotion of the scheme, called the "RichardWagner Society, " was started at Mannheim. Notwithstanding the ridiculewhich it excited, another society was formed at Vienna. Like societiesbegan to appear in all the principal cities of Germany, and they foundimitators in Milan, Pesth, Brussels, London, and New York. Shares weretaken so rapidly that the success of the undertaking was no longerdoubtful. Meanwhile the theatre itself was under construction. Itcombined several peculiarities, one of the most novel of which was theconcealment of the orchestra by the sinking of the floor, so that theview of the audience could not be interrupted by the musicians andtheir movements. Private boxes were done away with, the arrangement ofthe seats being like that of an ancient amphitheatre, all of themfacing the stage. Two prosceniums were constructed which gave anindefinable sense of distance to the stage-picture. To relieve thebare side walls, a row of pillars was planned, gradually wideningoutward and forming the end of the rows of seats, thus having theeffect of a third proscenium. The stage portion of the theatre wastwice as high as the rest of the building, for all the scenery wasboth raised and lowered, the incongruity between the two parts beingconcealed by a façade in front. "Whoever has rightly understood me, "says Wagner, "will readily perceive that architecture itself had toacquire a new significance under the inspiration of the genius ofMusic, and thus that the myth of Amphion building the walls of Thebesby the notes of his lyre has yet a meaning. " The theatre was completed in 1876, and in the month of August (13-16)Wagner saw the dream of his life take the form of reality. He hadeverything at his command, --a theatre specially constructed for hispurpose; a stage which in size, scenery, mechanical arrangements, andgeneral equipment, has not its equal in the world; an array of artiststhe best that Europe could produce; an orchestra almost literallycomposed of virtuosi. The audience which gathered at theseperformances--composed of princes, illustrious men in every departmentof science and culture, and prominent musicians from all parts of theworld--was one of which any composer might have been proud, while therepresentation itself marked an epoch in musical history, andpromulgated a new system of laws destined to affect operaticcomposition ever after. The casts of the various portions of the trilogy upon this memorableoccasion were as follows: DAS RHEINGOLD. (PRELUDE. ) WOTAN | (Herr BETZ. DONNER | (Herr GURA. | Gods FROH | (Herr UNGER. LOGE | (Herr VOGL. FASOLT | (Herr EILERS. | Giants FAFNER | (Herr VON REICHENBERG. ALBERICH | (Herr HILL. | Nibelungs MIME | (Herr SCHLOSSER. FRICKA | (Frau VON GRÜN-SADLER. FREIA |Goddesses (Frl. HAUPT. ERDA | (Frau JÄIDA. Woglinde ) ( Frl. Lilly Lehmann. Wellgunde ) Rhine daughters ( Frl. Marie Lehmann. Flosshilde ) ( Frl. Lammert. DIE WALKÜRE. SIEGMUND Herr NIEMANN. HUNDING Herr NIERING. WOTAN Herr BETZ. SIEGLINDE Frl. SCHEFZKY. BRÜNNHILDE Frau FRIEDRICH-MATERNA. FRICKA Frau VON GRÜN-SADLER. SIEGFRIED. SIEGFRIED Herr UNGER. MIME Herr SCHLOSSER. DER WANDERER Herr BETZ. ALBERICH Herr HILL. FAFNER Herr VON REICHENBERG. ERDA Frau JÄIDA. BRÜNNHILDE Frau FRIEDRICH-MATERNA DER GÖTTERDÄMMERUNG. SIEGFRIED Herr UNGER. GUNTHER Herr GURA. HAGEN Herr VON REICHENBERG. ALBERICH Herr HILL. BRÜNNHILDE Frau FRIEDRICH-MATERNA. GUTRUNE Frl. WECKERLIN. WALTRAUTE Frau JÄIDA. The motive of the drama turns upon the possession of a ring of magicqualities, made of gold stolen from the Rhine daughters by Alberich, one of the Nibelungen, who dwelt in Nebelheim, the place of mists. This ring, the symbol of all earthly power, was at the same time tobring a curse upon all who possessed it. Wotan, of the race of thegods, covetous of power and heedless of the curse which follows it, obtained the ring from Alberich by force and cunning, and soon foundhimself involved in calamity from which there was no apparent escape. He himself could not expiate the wrong he had done, nor could he avertthe impending doom, the "twilight" of the gods, which was slowly andsurely approaching. Only a free will, independent of the gods, andable to take upon itself the fault, could make reparation for thedeed. At last he yields to despair. His will is broken, and instead offearing the inevitable doom he courts it. In this sore emergency thehero appears. He belongs to an heroic race of men, the Volsungs. Theunnatural union of the twins, Siegmund and Sieglinde, born of thisrace, produces the real hero, Siegfried. The parents pay the penaltyof incest with their lives; but Siegfried remains, and Wotan watcheshis growth and magnificent development with eager interest. Siegfriedrecovers the ring from the giants, to whom Wotan had given it, byslaying a dragon which guarded the fatal treasure. Brünnhilde, theValkyr, Wotan's daughter, contrary to his instructions, had protectedSiegmund in a quarrel which resulted in his death, and was condemnedby the irate god to fall into a deep sleep upon a rock surrounded byflames, where she was to remain until a hero should appear bold enoughto break through the wall of fire and awaken her. Siegfried rescuesher. She wakens into the full consciousness of passionate love, andyields herself to the hero, who presents her with the ring, but notbefore it has worked its curse upon him, so that he, faithless even inhis faithfulness, wounds her whom he deeply loves, and drives her fromhim. Meanwhile Gunther, Gutrune, and their half-brother Hagen conspireto obtain the ring from Brünnhilde and to kill Siegfried. Through theagency of a magic draught he is induced to desert her, after once moregetting the ring. He then marries Gutrune. The curse soon reaches itsconsummation. One day, while traversing his favorite forests on ahunting expedition, he is killed by Hagen, with Gunther's connivance. The two murderers then quarrel for the possession of the ring, andGunther is slain. Hagen attempts to wrest it from the dead hero'sfinger, but shrinks back terrified as the hand is raised in warning. Brünnhilde now appears, takes the ring, and proclaims herself his truewife. She mounts her steed, and dashes into the funeral pyre ofSiegfried after returning the ring to the Rhine-daughters. Thissupreme act of immolation breaks forever the power of the gods, as isshown by the blazing Walhalla in the sky; but at the same time justicehas been satisfied, reparation has been made for the original wrong, and the free will of man becomes established as a human principle. Such are the outlines of this great story, which will be told more indetail when we come to examine the component parts of the trilogy. Dr. Ludwig Nohl, in his admirable sketch of the Nibelungen poem, as Wagneradapted it, gives us a hint of some of its inner meanings in thefollowing extract: "Temporal power is not the highest destiny of acivilizing people. That our ancestors were conscious of this is shownin the fact that the treasure, or gold and its power, was transformedinto the Holy Grail. Worldly aims give place to spiritual desires. With this interpretation of the Nibelungen myth, Wagner acknowledgedthe grand and eternal truth that this life is tragic throughout, andthat the will which would mould a world to accord with one's desirescan finally lead to no greater satisfaction than to break itself in anoble death.... It is this conquering of the world through the victoryof self which Wagner conveys as the highest interpretation of ournational myths. As Brünnhilde approaches the funeral pyre to sacrificeher life, the only tie still uniting her with the earth, to Siegfried, the beloved dead, she says:-- "'To the world I will give now my holiest wisdom; Not goods, nor gold, nor godlike pomp, Not house, nor lands, nor lordly state, Not wicked plottings of crafty men, Not base deceits of cunning law, -- But, blest in joy and sorrow, let only love remain. '" We now proceed to the analysis of the four divisions of the work, inwhich task, for obvious reasons, it will be hardly possible to do morethan sketch the progress of the action, with allusions to its moststriking musical features. There are no set numbers, as in the Italianopera; and merely to designate the leading motives and trace theirrelation to each other, to the action of the _dramatis personæ_, andto the progress of the four movements, not alone towards their ownclimaxes but towards the ultimate dénouement, would necessitate farmore space than can be had in a work of this kind. DAS RHEINGOLD. The orchestral prelude to "The Rhinegold" is based upon a singlefigure, the Rhine motive, which in its changing developments picturesthe calm at the bottom of the Rhine and the undulating movement of thewater. The curtain rises and discloses the depths of the river, fromwhich rise rugged ridges of rock. Around one of these, upon the summitof which glistens the Rhinegold, Woglinde, a Rhine-daughter, isswimming. Two others, Wellgunde and Flosshilde, join her; and as theyplay about the gleaming gold, Alberich, a dwarf, suddenly appears froma dark recess and passionately watches them. As they are making sportof him, his eye falls upon the gold and he determines to possess it. They make light of his threat, informing him that whoever shall forgea ring of this gold will have secured universal power, but before hecan obtain that power he will have to renounce love. The disclosure ofthe secret follows a most exultant song of the Undines ("Rheingold!leuchtende Lust! wie lachst du so hell und hehr!"). In theannouncement made by them also occurs the motive of the ring. TheRhine-daughters, who have fancied that Alberich will never steal thegold because he is in love with them, are soon undeceived, for hecurses love, and snatches the gold and makes off with it, pursued bythe disconsolate maidens, whose song changes into a sad minor leadingup to the next scene. As they follow him into the dark depths thestream sinks with them and gives place to an open district with amountain in the background, upon which is the glistening Walhalla, which the giants have just built for the gods. Wotan and Fricka arediscovered awakening from sleep and joyfully contemplating it, thelatter, however, filled with apprehension lest the giants shall claimFreia, the goddess of love, whom Wotan has promised to them as thereward for their work. Loge, the god of fire, however, has agreed toobtain a ransom for her. He has searched the world over, but has beenunable to find anything that can excel in value or attraction thecharm of love. As the gods are contemplating their castle Logeappears, and in a scene of great power, accompanied by music whichvividly describes the element he dominates ("Immer ist Undank Loge'sLohn"), he narrates the tidings of his failure. The giants, however, have heard the story of the Rhinegold, and as they carry off theweeping Freia agree to release her whenever the gods will give to themthe precious and all-powerful metal. As love departs, the heavensbecome dark and sadness overcomes the gods. They grow suddenly old anddecrepit. Fricka totters and Wotan yields to despair. Darkness anddecay settle down upon them. The divine wills are broken, and they areabout to surrender to what seems approaching dissolution, when Wotansuddenly arouses himself and determines to go in quest of theall-powerful gold. Loge accompanies him, and the two enter the darkkingdom of the gnomes, who are constantly at work forging the metals. By virtue of his gold Alberich has already made himself master of allthe gnomes, but Wotan easily overpowers him and carries him off to themountain. The Nibelung, however, clings to his precious gold, and astruggle ensues for it. In spite of his strength and the power thering gives to him it is wrenched from him, and the victorious Wotanleaves him free to return to his gloomy kingdom. Infuriated withdisappointment over his loss and rage at his defeat, Alberich cursesthe ring and invokes misfortune upon him who possesses it. "May he whohas it not, covet it with rage, " cries the dwarf, "and may he who hasit, retain it with the anguish of fear;" and with curse upon curse hedisappears. Now that he has the ring, Wotan is unwilling to give itup. The other gods implore him to do so, and the giants demand theirransom. He remains inflexible; but at last Erda, the ancient divinity, to whom all things are known, past, present and future, appears toWotan and warns him to surrender the ring. She declares that all whichexists will have an end, and that a night of gloom will come upon thegods. So long as he retains the ring a curse will follow it. Hersinister foreboding so alarms him that at last he abandons the gold. Youth, pride, and strength once more return to the gods. The grand closing scene of the prelude now begins. Wotan attempts toenter Walhalla, but all is veiled in oppressive mist and heavy clouds. The mighty Donner, accompanied by Froh, climbs a high rock in thevalley's slope and brandishes his hammer, summoning the clouds abouthim. From out their darkness its blows are heard descending upon therock. Lightning leaps from them, and thunder-crashes follow each otherwith deafening sounds. The rain falls in heavy drops. Then the cloudspart, and reveal the two in the midst of their storm-spell. In thedistance appears Walhalla bathed in the glow of the setting sun. Fromtheir feet stretches a luminous rainbow across the valley to thecastle, while out from the disappearing storm comes the sweet rainbowmelody. Froh sings, "Though built lightly it looks, fast and fit isthe bridge. " The gods are filled with delight, but Wotan gloomilycontemplates the castle as the curse of the ring recurs to him. Atlast a new thought comes in his mind. The hero who will makereparation is to come from the new race of mortals of his ownbegetting. The thought appears in the sword motive, and as its statelymelody dies away, Wotan rouses from his contemplation and hailsWalhalla with joy as "a shelter from shame and harm. " He takes Frickaby the hand, and leading the way, followed by Froh, Freia, Donner, andLoge, the last somewhat reluctantly, the gods pass over the rainbowbridge and enter Walhalla bathed in the light of the setting sun andaccompanied by the strains of a majestic march. During their passagethe plaintive song of the Rhine-daughters mourning their gold comes upfrom the depths. Wotan pauses a moment and inquires the meaning of thesounds, and bids Loge send a message to them that the treasure shall"gleam no more for the maids. " Then they pass laughingly and mockinglyon through the splendor to Walhalla. The sad song still rises from thedepths of the Rhine, but it is overpowered by the strains of themarch, and pealing music from the castle. The curtain falls upon theirlaments, and the triumphant entrance of the gods into their new home. DIE WALKÜRE. In "The Valkyrie, " properly the first part of the cyclus, the humandrama begins. Strong races of men have come into existence, andWotan's Valkyres watch over them, leading those who fall in battle toWalhalla, where, in the gods' companionship, they are to pass aglorious life. According to the original legend, Wotan blessed anunfruitful marriage of this race by giving the pair an apple of Huldato eat, and the twins, Siegmund and Sieglinde, were the result of theunion. When the first act opens, Siegmund has already taken a wife andSieglinde has married the savage warrior Hunding, but neither marriagehas been fruitful. It is introduced with an orchestral preluderepresenting a storm. The pouring of the rain is audible among theviolins and the rumbling of the thunder in the deep basses. Thecurtain rises, disclosing the interior of a rude hut, its roofsupported by the branches of an ash-tree whose trunk rises through thecentre of the apartment. As the tempest rages without, Siegmund rushesin and falls exhausted by the fire. Attracted by the noise, Sieglindeappears, and observing the fallen stranger bends compassionately overhim and offers him a horn of mead. As their eyes meet they watch eachother with strange interest and growing emotion. While thus mutuallyfascinated, Hunding enters and turns an inquiring look upon Sieglinde. She explains that he is a guest worn out with fatigue and seekingshelter. Hunding orders a repast and Siegmund tells his story. Vanquished in combat by a neighboring tribe, some of whose adherentshe had slain, and stripped of his arms, he fled through the storm forrefuge. Hunding promises him hospitality, but challenges him to combaton the morrow, for the victims of Siegmund's wrath were Hunding'sfriends. As Sieglinde retires at Hunding's bidding, she casts adespairing, passionate look at Siegmund, and tries to direct hisattention to a sword sticking in the ash-tree, but in vain. Hundingwarns her away with a significant look, and then taking his weaponsfrom the tree leaves Siegmund alone. The latter, sitting by the fire, falls into dejection, but is soon roused by the thought that his sirehad promised he should find the sword Nothung in his time of direstneed. The dying fire shoots out a sudden flame, and his eye lightsupon its handle, illuminated by the blaze. The magnificentsword-melody is sounded, and in a scene of great power he hails it andsings his love for Sieglinde, whom now he can rescue. As the fire andthe song die away together, Sieglinde reappears. She has druggedHunding into a deep sleep, and in an exultant song tells Siegmund thestory of the sword. They can be saved if he is strong enough to wrenchit from the trunk of the ash. He recognizes his sister and folds herpassionately in his arms. The storm has passed, and as the moonlightfloods the room he breaks out in one of the loveliest melodies Wagnerhas ever written, the spring song ("Winterstürme wichen demWonnemond"), a song of love leading to the delights of spring; andSieglinde in passionate response declares, "Thou art the spring forwhich I longed in winter's frosty embrace. " The recognition is mutual, not alone of brother and sister but of lover and mistress, --the unionwhich is destined to beget Siegfried, the hero. Seizing her in hisarms, Siegmund disappears with her into the depths of the forest, andthe curtain falls. The second act opens in the mountains of the gods, and discloses Wotanwith spear in hand in earnest converse with Brünnhilde, his daughter, who is arrayed in the armor of a Valkyr. He tells her of theapproaching combat, and bids her award the victory to Siegmund theVolsung, beloved of the gods. As she disappears among the rocks, shouting the weird cry of the Valkyres, the jealous Fricka, protectorof marriage vows, comes upon the scene in a chariot drawn by rams. Astormy dialogue occurs between them, Fricka demanding the death ofSiegmund as compensation for the wrong done to Hunding. Wotan at lastis overcome, and consents that the Valkyres shall conduct him toWalhalla. As he yields, Brünnhilde's jubilant song is heard on theheights, and Wotan summons her and announces his changed decision. Siegmund must perish. As he stalks gloomily away among the rocks, Brünnhilde falls into deep dejection, and turns away moaning: "Alas!my Volsung! Has it come to this, --that faithless the faithful mustfail thee?" As she enters a cave for her horse, the fugitives Siegmundand Sieglinde hurriedly approach, pursued by the infuriated Hunding. They stop to rest, and Sieglinde falls exhausted in his arms. Thescene is marked by alternations of passionate love and fear, hope onthe one side, despair on the other, vividly portrayed in theinstrumentation. As the music dies away and Sieglinde rests insensiblein his arms, Brünnhilde, with deep melancholy in her visage, showsherself to Siegmund. In reply to his question, "Who art thou?" sheanswers, "He who beholds me, to death in the battle is doomed. I shalllead thee to Walhalla. " Eagerly he asks, "Shall I find in Walhalla myown father Wälse?" and she answers, "The Volsung shall find his fatherthere. " With passionate earnestness he asks, "Shall Siegmund thereembrace Sieglinde?" The Valkyre replies, "The air of earth she stillmust breathe. Sieglinde shall not see Siegmund there. " Then furiouslyanswers Siegmund, "Then farewell to Walhalla! Where Sieglinde lives, in bliss or blight, there Siegmund will also tarry, " and he raises hissword over his unconscious sister. Moved by his great love and sorrow, Brünnhilde for the first time is swayed by human emotions, andexultantly declares, "I will protect thee. " Hunding's horn sounds inthe distance, and soon is heard his defiant challenge to battle. Siegmund rushes to the top of one of the cloudy summits, and the clashof their arms resounds in the mists. A sudden gleam of light showsBrünnhilde hovering over Siegmund, and protecting him with her shield. As he prepares himself to deal a deadly thrust at Hunding, the angryWotan appears in a storm-cloud and interposes his spear. Siegmund'ssword is shivered to pieces. Hunding pierces his disarmed enemy, andhe falls mortally wounded. Brünnhilde lifts the insensible Sieglindeupon her steed and rides away with her. Wotan, leaning upon his spear, gazes sorrowfully at the dying Volsung, and then turning to Hunding, so overcomes him with his contemptuous glance that he falls dead athis feet. "But Brünnhilde, woe to the traitor. Punishment dire is dueto her treason. To horse, then. Let vengeance speed swiftly. " Andmounting his steed he disappears amid thunder and lightning. The last act opens in a rocky glen filled with the Valkyres calling toeach other from summit to summit with wild cries as they come ridingthrough the clouds after the combat, bearing the dead bodies of thewarriors on their saddles. The scene is preluded with an orchestralnumber, well known in the concert-room as the "Ride of the Valkyres, "which is based upon two motives, the Valkyre's call and the Valkyremelody. In picturesque description of the rush and dash of steeds, amid which are heard the wild cries of the sisters, "The Ride" is oneof the most powerful numbers ever written. Brünnhilde arrives amongthe exultant throng in tears, bearing Sieglinde with her. She givesher the fragments of Siegmund's sword, and appeals to the otherValkyres to save her. She bids Sieglinde live, for "thou art to givebirth to a Volsung, " and to keep the fragments of the sword. "He thatonce brandishes the sword, newly welded, let him be named Siegfried, the winner of victory. " Wotan's voice is now heard angrily shoutingthrough the storm-clouds, and calling upon Brünnhilde, who vainlyseeks to conceal herself among her sisters. He summons her forth fromthe group, and she comes forward meekly but firmly and awaits herpunishment. He taxes her with violating his commands; to which shereplies, "I obeyed not thy order, but thy secret wish. " The answerdoes not avail, and he condemns her to sleep by the wayside, thevictim of the first who passes. She passionately pleads for protectionagainst dishonor, and the god consents. Placing her upon a rocky couchand kissing her brow, he takes his farewell of her in a scene whichfor majestic pathos has never been excelled. One forgets Wotan and theValkyre. It is the last parting of an earthly father and daughter, illustrated with music which is the very apotheosis of grief. He thenconjures Loge, the god of fire; and as he strikes his spear upon therock, flames spring up all about her. Proudly he sings in the midst ofthe glare:-- "Who fears the spike Of my spear to face, He will not pierce the planted fire, "-- a melody which is to form the motive of the hero Siegfried in the nextdivision of the work--and the curtain falls upon a scene which forpower, beauty, and majesty has not its equal on the lyric stage. SIEGFRIED. The second division of the tragedy, "Siegfried, " might well be calledan idyl, of the forest. Its music is full of joyousness and delight. In place of the struggles of gods and combats of fierce warriors, thewild cries of Valkyres and the blendings of human passions with divineangers, we have the repose and serenity of nature, and in the midst ofit all appears the hero Siegfried, true child of the woods, and asfull of wild joyousness and exultant strength as one of their fauns orsatyrs. It is a wonderful picture of nature, closing with an ecstatic, vision of love. After the death of Siegmund, Sieglinde takes refuge in the depths ofthe forest, where she gives birth to Siegfried. In her dying momentsshe intrusts him to Mime, who forged the ring for Alberich when heobtained possession of the Rhinegold. The young hero has developedinto a handsome, manly stripling, who dominates the forests and holdsits wild animals subject to his will. He calls to the birds and theyanswer him. He chases the deer with leaps as swift as their own. Heseizes the bear and drags him into Mime's hut, much to the Nibelung'salarm. But while pursuing the wild, free life in the forest, he hasdreams of greater conquests than those over nature. Heroic deeds shapethemselves in his mind, and sometimes they are illuminated with dimand mysterious visions of a deeper passion. In his interviews withMime he questions him about the world outside of the forest, itspeople and their actions. He tires of the woods, and longs to get awayfrom them. Mime then shows him the fragments of his father's sword, which had been shattered upon Wotan's spear, the only legacy left herson by Sieglinde, and tells him that he who can weld them togetheragain will have power to conquer all before him. Mime had long triedto forge a sword for Siegfried, but they were all too brittle, nor hadhe the skill to weld together the fragments of Siegmund's sword, Nothung. The only one who can perform that task is the hero withoutfear. One day Siegfried returns from a hunting expedition andundertakes it himself. He files the fragments into dust and throws itinto the crucible, which he places on the fire of the forge. Thenwhile blowing the bellows he sings a triumphant song ("Nothung!Nothung! neidliches Schwert"), which anticipates the climax towardswhich all the previous scenes have led. As he sings at his work Mimecogitates how he shall thwart his plans and get possession of thesword. He plots to have him kill Fafner, the giant, who has changedhimself into a dragon, for the more effectual custody of theRhine-treasure and the ring. Then when Siegfried has captured thetreasure he will drug him with a poisoned broth, kill him with thesword, and seize the gold. Siegfried pours the melted steel into amould, thrusts it into the water to cool, and then bursts out into anew song, accompanied by anvil blows, as he forges and tempers it, themotive of which has already been heard in the "Rhinegold" prelude, when Alberich made his threat. While Mime quietly mixes his potion, Siegfried fastens the hilt to his blade and polishes the sword. Thenbreaking out in a new song, in which are heard the motives of thefire-god and the sword, he swings it through the air, and bringing itdown with force splits the anvil in twain. The music accompanying thisgreat scene, imitating the various sounds of the forge, the flutter ofthe fire, the hissing of the water, the filing of the sword, and theblows upon the anvil, is realism carried to the very extreme ofpossibilities. The great exploit has been successful, and Siegfried at last hasSiegmund's sword. Mime takes him to the cave where Fafner, thegiant-dragon, guards the gold. Siegfried slays the monster, and laughsover the ease of the task. His finger is heated with the dragon'sblood, and as he puts it to his lips to cool it he tastes the blood, and thus learns the language of the birds. He cares nought for thetreasure, and takes only the ring and a magic helmet, which enablesthe wearer to assume any form. After the contest he throws himself atthe foot of a tree in the forest and dreamily listens to the"Waldweben, " the rustle and mysterious stirrings of the woods. Amidall these subtle, soothing sounds, pierced now and then with the songsof the birds, and distant cries in far-away sylvan recesses, herealizes that he is alone, while his old companions of the woods aretogether. He thinks of the mother whom he has never known, and of thatmysterious being whom he has never seen, who should make thecompanionship he observes among the birds. The passion of love beginsto assert itself vaguely and strangely, but full soon it will glow outwith ardent flame. A bird flying over his head sings to him. He canunderstand its song and fancies it his mother's voice coming to him inthe bird-notes. It tells him now he has the treasure, he should savethe most beautiful of women and win her to himself. "She sleeps upon arock, encircled with flames; but shouldst thou dare to break throughthem, the warrior-virgin is thine. " The bird wings its flight throughthe forest, and Siegfried, joyously seizing his sword, follows it withswift foot, for he knows it is guiding him to Brünnhilde. The time forgreat deeds has come. The wild, free life of the forest is over. The third act once more shows us the god Wotan still plunged in gloom. Gazing into a deep abyss, he summons Erda, who knows the destiny ofall the world, to question her again as to the twilight of the gods. The mysterious figure appears at his bidding, but has nothing furtherto communicate. Their doom is certain. The fearless race of men isdestined to efface the gods, and Walhalla must disappear. The hero isat hand, and coming rapidly. The despairing Wotan, who appears in thisscene as "Der Wanderer" (the wanderer), cries out, "So be it. It is tothis end I aspire. " He turns gloomily away, and confronts Siegfriedbounding from rock to rock like a deer, still following his airyguide. The god angrily tries to bar his way, but in vain. His lance isshattered at a single blow of the sword Nothung, which he himself hadonce so easily shivered. It is the first catastrophe of the final fatewhich is approaching. The hero without fear has come, the free will ofman has begun to manifest itself. The power of the gods is breaking. Joyously Siegfried rushes on over the rocks. He is soon bathed in theglow of the fire, which casts weird shadows through the wild glen. Nowthe burning wall of red flames is before him. With a ringing cry ofexultation he dashes through them, and before him lies the sleepingmaiden in her glistening armor. Mad with her beauty and his ownoverpowering passion, he springs to her side and wakes her with akiss. The Volsung and the Valkyr gaze at each other a long time insilence. Brünnhilde strives to comprehend her situation, and to recallthe events that led up to her penalty, while love grows within her forthe hero who has rescued her, and Siegfried is transfixed by themajesty of the maiden. As she comes to herself and fully realizes whois the hero before her and foresees the approaching doom, sheearnestly appeals to him:-- "Leave, ah, leave, Leave me unlost, Force on me not Thy fiery nearness. Shiver me not With thy shattering will, And lay me not waste in thy love. " What is preordained cannot be changed. Siegfried replies with growingpassion, and Brünnhilde at last yields, and the two join in anoutburst of exultant song:-- "Away, Walhalla, In dust crumble Thy myriad towers. Farewell, greatness, And gift of the gods. You, Norns, unravel The rope of runes. Darken upwards, Dusk of the gods. Night of annulment, Draw near with thy cloud. I stand in sight Of Siegfried's star. For me he was, And for me he will ever be. " With this great duet, which is one of the most extraordinary numbersin the trilogy for dramatic power and musical expression of humanemotion, this division closes. DIE GÖTTERDÄMMERUNG. The last division of the tragedy opens under the shade of a hugeash-tree where the three Fates sit spinning and weaving out humandestinies. As they toss their thread from one to the other, --thethread they have been spinning since time began, --they foresee thegloom which is coming. Suddenly it snaps in their fingers, whereuponthe dark sisters crowding closely together descend to the depths ofthe earth to consult with the ancient Erda and seek shelter near her. Meanwhile as day breaks Siegfried and Brünnhilde emerge from the glenwhere they have been reposing in mutual happiness. Brünnhilde has toldher lover the story of the gods and the secrets of the mystic runes, but he is still unsatisfied. His mission is not yet fulfilled. He mustaway to perform new deeds. Before he leaves her he gives her the ringas his pledge of fidelity, and they part, after exchanging mutual vowsof love and constancy. In his search for further exploits, Siegfried arrives at the dwellingof Gunter, a powerful Rhenish chief, head of the Gibichungen, anotherrace of heroes, where also resides Gutrune, his fascinating sister, and the evil Hagen, begotten by Alberich of Crimhilda, Gunter'smother, who was the victim of his gold. Alberich's hatred of the godsand all connected with them is shared by his son, who has been chargedby the Nibelung to recover the gold. From this point the tragicdenouement rapidly progresses. Siegfried's horn is heard in thedistance, and he soon crosses Gunter's threshold, where his ruin isbeing plotted by the sinister Hagen. He is hospitably received, and atHagen's bidding Gutrune pours out and offers him a draught socunningly mixed that it will efface all past remembrances. He iscompletely infatuated with the girl's beauty, and as the potion takeseffect, the love for Brünnhilde disappears. He demands Gutrune inmarriage, and Hagen promises her upon condition that he will bringBrünnhilde as a bride for Gunter. Siegfried departs upon the fatalerrand, and after taking from her the ring drags her by force todeliver her to Gunter. The Valkyr rises to a sublime height of angerover her betrayal, and dooms Siegfried to death in the approachinghunt, for by death alone she knows that she can regain his love. The last act opens in a rocky glen on the banks of the Rhine, theripple of whose waters is repeated in the melody of "The Rhinegold. "Siegfried is separated from his companion, and while alone, the songof the Rhine-daughters is heard. They rise to the surface of thegleaming water and demand their gold, but Siegfried refuses to restoreit. They warn him again to fly from the curse, but he proudly exclaimsthat his sword is invincible and can crush the Norns. Sadly they floataway to the sound of harps shimmering over the water. Gunter's horn isheard among the hills, and Siegfried exultantly answers it. Thehuntsmen assemble and prepare for a feast. Siegfried relates hisadventure with the Rhine-daughters, and when Hagen asks him if it istrue that he can understand the language of the birds, he tells thewhole story of his life in the "Rheinfahrt, " a song built up of allthe motives which have been heard in the "Siegfried" division, --themelody of the sword, the stir of the woods, the song of the mysteriousbird, Mime's enticement, the love of Brünnhilde, and the flaming firefollowing each other in rapid and brilliant succession through themeasures of the picturesque description. As the song dies away, tworavens, messengers of ill-omen, fly across the stage. The curse motivesounds gloomily through the orchestra. Hagen springs to his feet andsuddenly and treacherously plunges his spear into Siegfried's back, then sullenly leaves and disappears among the rocks. The hero falls tothe earth and dies, breathing Brünnhilde's name, for in the lastsupreme moment the spell of Hagen's draught passes away. With his lastbreath he breaks out in a death-song of surpassing beauty and majesty, in which the motives are those of the Volsung and the Valkyr, as wellas of the destiny which is to reunite them in death. Once more hemurmurs the name of Brünnhilde, and then his companions tenderly placehim upon his shield, and lifting him upon their shoulders carry him tothe misty summits and disappear in the cloud, to the mighty andimpressive strains of a funeral march, built up on the motives ofSiegmund, the love-duet of Siegmund and Sieglinde, the sword andVolsung motives, and Siegfried's great theme. In the interweaving ofthese motives and their sombre coloring, in massive fortissimo andcrescendo effects, in expressive musical delineation, and in majesticsolemnity, the Siegfried funeral march must take precedence of allother dirges. In truth it is a colossal and heroic funeral poem fit tocelebrate the death of a demigod. In the last scene Siegfried's bodyis borne back to the hall of the Gibichungs amid loud lamenting. WhenGutrune learns what has occurred, she bitterly curses Hagen and throwsherself on Siegfried's corpse. Hagen and Gunter quarrel for thepossession of the ring, and Gunter is slain; but when Hagen tries totake the ring, the hand of the dead hero is raised in warning. ThenBrünnhilde solemnly and proudly advances in the light of the torchesand bids the empty clamor cease, for "this is no lamenting worthy of ahero. " She orders a funeral pyre to be built, and Siegfried is laidthereon. She contemplates the dead hero with passionate love andsadness, and then solemnly turning to those about her, exclaims:"Those who efface the fault of the gods are predestined to sufferingand death. Let one sacrifice end the curse. Let the Ring be purifiedby fire, the waters dissolve it forever. The end of the gods is athand. But though I leave the world masterless, I give it this precioustreasure. In joy or in suffering, happiness can alone come from love. "She seizes a burning brand, and invoking Loge, god of fire, flings itinto the pyre. Her horse is brought to her, and she proudly mountsit:-- "Grane, my horse, Hail to thee here! Knowest thou, friend, How far I shall need thee? Heiaho! Grane! Greeting to him. Siegfried! See, Brünnhilde Joyously hails thee, thy bride. " She swings herself upon her steed and dashes into the furious flames. At last they die away, and the Rhine rushes forward from its banks andcovers the pyre. The exultant Rhine-daughters are swimming in theflood, for Brünnhilde has thrown them the ring. Hagen makes a lastdesperate effort to clutch it, but Woglinde and Wellgunde wind theirarms about him, and as they drag him into the depths Flosshilde holdsthe ring above the waters, and the exultant song of theRhine-daughters is heard above the swelling tide, while far in thedistance a red flame spreads among the clouds. Walhalla is blazing inthe sky. The Dusk of the Gods has come. Reparation has been made. Thehero without fear is victorious. Free will, independent of the gods, will rule the world, and the gods themselves are lost in the humancreation. Love is given to men, and conquers death. PARSIFAL. "Parsifal, " a "Bühnenweihfestspiel" (festival acting-drama), words byWagner, was concluded in 1879, and first produced at Baireuth, July22, 1882, only about seven months before the distinguished composer'sdeath, with Mme. Friedrich-Materna as Kundry, Herr Winckelmann asParsifal, and Herr Scaria as Gurnemanz. The theme of the opera is taken from the cycle of Holy Grail myths towhich "Lohengrin" also belongs. The reader will remember thatLohengrin in his final address declares himself son of Parsifal, theKing of the Grail; and it is with this Parsifal that Wagner's lastwork is concerned. Parsifal, like Siegfried, represents free humannature in its spontaneous, impulsive action. He is styled in the text, "Der reine Thor" (the guileless fool), who, in consonance with the oldmythological idea, overcomes the evil principle and gains the crown bydint of pure natural impulse. The opera differs widely from "TheNibelung Ring. " The composer has used the free instead of thealliterative form of verse, which he then contended was best adaptedto musical setting. In "The Ring" the chorus is not introduced at alluntil the last division is reached, while in "Parsifal" it plays animportant part in every act, in the second scene of the first actthere being three choirs on the stage at a time. Still there is notrace of the aria, the duet, or the recitative, of the Italian style, though there is plenty of concerted music, which grows out of thedramatic necessities of the situations. When these necessities do noturge themselves, the music flows on in dialogue form, as in "TheRing. " The vorspiel is based upon three motives connected with the mystery ofthe Grail, which forms the key-note of the opera, though in adifferent aspect from that which the Grail assumes in "Lohengrin, "where it can only be visible to the eye of faith, while in "Parsifal"it distinctly performs its wonders. Let it be remembered that theGrail is the chalice from which Christ drank with his disciples at theLast Supper, and in which his blood was received at the cross. Thefirst of these motives is of the same general character as the Grailmotive in the "Lohengrin" vorspiel; the second is an impressive phrasefor trumpets and trombones, which will be heard again when the Knightsof the Grail are summoned to their duties; and the third is a broad, dignified melody in the chorale form. The action of the drama occurs in the north of Spain, and in thevicinity of Monsalvat, the Castle of the Holy Grail, where thischalice was brought by angels when Christianity was in danger. Thecurtain rises upon a lovely forest glade on the borders of a lake, atdaybreak, and discovers the Grail Knight, Gurnemanz, and two youngshield-bearers, guardians of the castle, sleeping at the foot of atree. Trumpet-calls, repeating the motive first heard in the prelude, arouse them from their sleep; and as they offer up their morningprayer the chorale is heard again. As they wend their way to thecastle, they meet two knights preceding the litter upon which thewounded Amfortas, King of the Grail, is carried. In the subsequentdialogue Gurnemanz tells the story of the King's mishap. He issuffering from a wound which refuses to close, and which has beeninflicted by the sacred spear, --the spear, according to the legend, with which our Saviour's side was pierced. Klingsor, a magician, hadaspired to become a knight of the Grail, but his application wasrefused; for only those of holy lives could watch the sacred vesseland perform its ministrations. In revenge, Klingsor studied the magicarts and created for himself a fairy palace, which he peopled withbeautiful women, whose sole duty it was to seduce the Knights of theGrail. One of these women, a mysterious creature of wonderfulfascinations, Kundry by name, had beguiled Amfortas, who thus fellinto the power of Klingsor. He lost his spear, and received from it awound which will never heal so long as it remains in the hands of themagician. In a vision he has been told to wait for the one who hasbeen appointed to cure him. A voice from the Grail tells him thefollowing mystery:-- "Durch Mitleid wissend, Der reine Thor, Harre sein' Den ich erkor. " ["Let a guileless fool only, knowing by compassion, await him whom I have chosen. "] Meanwhile, as the shield-bearers are carrying Amfortas towards thelake, the savage, mysterious Kundry is seen flying over the fields. She overtakes Gurnemanz and gives him a balm, saying that if it willnot help the King, nothing in Arabia can, and then, refusing to acceptthanks or reveal her identity, sinks to the ground in weariness. TheKing takes the drug with gratitude; but she scorns thanks, and sneersat those about her with savage irony. Gurnemanz's companions are aboutto seize her, but the old Knight warns them that she is livingincarnate to expiate the sins of a former life, and that in servingthe Order of the Grail she is purchasing back her own redemption. AsGurnemanz concludes, cries are heard in the wood, and two knights, approaching, announce that a swan, the bird sacred to the Grail, whichwas winging its way over the lake, and which the King had hailed as ahappy omen, has been shot. Parsifal, the murderer, is dragged in, andwhen questioned by Gurnemanz, is unaware that he has committed anyoffence. To every question he only answers he does not know. Whenasked who is his mother, Kundry answers for him: "His mother broughthim an orphan into the world, and kept him like a fool in the forest, a stranger to arms, so that he should escape a premature death; but hefled from her and followed the wild life of nature. Her grief is over, for she is dead. " Whereupon Parsifal flies at her and seizes her bythe throat; but Gurnemanz holds him back, and Kundry sinks downexhausted. Parsifal answers to the "Thor, " but it remains to be seenwhether he is the "reine Thor. " Gurnemanz conducts him to the templewhere the holy rites of the Grail are to be performed, hoping he isthe redeemer whom the Grail will disclose when the love-feast of theSaviour is celebrated. The scene changes to the great hall of the castle and the celebrationof the feast of the Grail. The scene is introduced with a solemn marchby full orchestra, including trombones on the stage, accompanied bythe clanging of bells as the knights enter in stately procession. Theysing a pious chant in unison, the march theme still sounding. As theyounger squires and pages enter, a new melody is taken in three-partharmony, and finally an unseen chorus of boys from the extreme heightof the dome sing the chorale from the introduction, withoutaccompaniment, in imitation of angel voices. The shield-bearers bringin Amfortas upon his litter, when suddenly from a vaulted niche isheard the voice of Titurel, Amfortas's aged father, and the founder ofMonsalvat, now too feeble to perform the holy offices, bidding theGrail to be uncovered. Amfortas, mourning that he, the unholiest ofthem, should be called, opens a golden shrine and takes out thecrystal vessel. Darkness falls upon the hall, but the Grail isilluminated with constantly increasing brilliancy, while from the domethe children's voices sing, "Take My blood in the name of our love, and take My body in remembrance of me. " Parsifal watches the scenewith bewildered eyes, but upon saying in reply that he does notunderstand the holy rite, he is contemptuously ejected from the place. The second act reveals Klingsor's enchanted palace. The magiciangazing into a mirror sees Parsifal approaching, and knows he is theredeemer who has been promised. He summons Kundry before him, andcommands her to tempt him with her spells. She struggles against thetask, for in her soul the powers of good and evil are alwayscontending for the mastery. She longs for eternal sleep, and rest fromher evil passions, but Klingsor holds her in his power. Parsifalenters, and the scene changes to a delightful garden filled with girlsof ravishing beauty in garments of flowers. They crowd about him, andby their fascinating blandishments seek to gain his love, but in vain. He is still the "guileless fool. " Then Kundry appears in all herloveliness, and calls him by name, the name he had heard his motherspeak. He sorrowfully sinks at Kundry's feet. The enchantress bendsover him, appeals to him through his longing for his mother, andkisses him. Instantly he comprehends all that he has seen, and hecries, "The wound burns in my heart, oh, torment of love!" Thenquickly rising he spurns her from him. He has gained theworld-knowledge. She flies to him again, and passionately exclaims, "The gift of my love would make thee divine. If this hour has madethee the redeemer, let me suffer forever, but give me thy love. " Hespurns her again, and cries, "To all eternity thou wouldst be damnedwith me, if for one hour I should forget my mission, " but says he willsave her too, and demands to know the way to Amfortas. In rage shedeclares he shall never find it, and summons the help of Klingsor, whohurls the sacred lance at Parsifal. The weapon remains suspended overhis head. He seizes it and makes the sign of the Cross. The gardensand castle disappear. Parsifal and Kundry are alone in a desert. Shesinks to the ground with a mournful cry, and turning from her, hislast words are, "Thou knowest where only thou canst see me again. " In the third act we are again in the land of the Grail. Parsifal haswandered for years trying to find Monsalvat, and at last encountersGurnemanz, now a very old man, living as a hermit near a forestspring, and the saddened Kundry is serving him. It is the Good Fridaymorning, and forests and fields are bright with flowers and theverdure of spring. Gurnemanz recognizes him, and in reply to hisquestion what makes the world so beautiful, the aged knight makesanswer:-- "The sad repentant tears of sinners Have here with holy rain Besprinkled field and plain, And made them glow with beauty. All earthly creatures in delight At the Redeemer's trace so bright, Uplift their prayers of duty. And now perceive each blade and meadow flower, That mortal foot to-day it need not dread. " Kundry washes "the dust of his long wanderings" from his feet, andlooks up at him with earnest and beseeching gaze. Gurnemanz recognizesthe sacred spear, hails him as the King of the Grail and offers toconduct him to the great hall where the holy rites are once more to beperformed. Before they leave, Parsifal's first act as the redeemer isto baptize Kundry with water from the spring. The sound of tollingbells in the distance announces the funeral of Titurel, and the scenechanges to the hall where the knights are carrying the litter uponwhich Amfortas lies, awaiting the funeral procession approaching tothe strains of a solemn march. The knights demand he shall againuncover the Grail, but he refuses, and calls upon them to destroy himand then the Grail will shine brightly for them again. Unobserved bythem, Parsifal steps forward, touches the king's wound with the spear, and it is immediately healed. Then he proclaims himself King of theGrail, and orders it to be uncovered. As Amfortas and Gurnemanz kneelto do him homage, Kundry dies at his feet in the joy of repentance. Titurel rises from his coffin and bestows a benediction. Parsifalascends to the altar and raises the Grail in all its resplendentbeauty. A white dove flies down from the dome of the hall and hoversover his head, while the knights chant their praise to God, re-echoedby the singers in the dome, whose strains sound like celestialvoices:-- "Miracle of supreme blessing, Redemption to the Redeemer. " WALLACE. William Vincent Wallace was born at Waterford, Ireland, in 1815. Hefirst studied music with his father, a bandleader, who afterwards senthim to Dublin, where he speedily became an excellent performer on theclarinet, violin, and piano. At the early age of fifteen he wasappointed organist at the Cathedral of Thurles, and soon afterwardswas engaged as a theatre director and concert conductor. At the age ofeighteen he had a fit of sickness, and upon his recovery went toAustralia for his health, and thence to Van Diemen's Land and NewZealand. He passed some time in the latter country, and then began along series of wanderings, in the course of which he visited the Eastand West Indies, Mexico, --where he conducted Italian opera, --and theUnited States. He remained in New York a considerable period, and gaveconcerts which were very remunerative. In 1846 he returned to Europe, and shortly afterwards his pretty little opera, "Maritana, " appeared, and made quite a sensation among the admirers of English opera. In1847 "Matilda of Hungary" was produced, and met with success. Thirteenyears of silence elapsed, and at last, in 1860, he produced hislegendary opera, "Lurline, " at Covent Garden. It gave greatsatisfaction at the time, but is now rarely performed. Besides hisoperas he also wrote many waltzes, nocturnes, studies, and other lightworks for the piano. After the production of "Lurline" he went toParis for the purpose of bringing out some of his operas, and while inthat city also composed the first act of an opera for London, but hishealth was too delicate to admit of its completion. He died at Châteaude Bayen, Oct. 12, 1865. MARITANA. "Maritana, " a romantic opera in three acts, words by Fitzball, foundedupon the well-known play of "Don Caesar de Bazan, " was first producedat Drury Lane, London, Nov. 15, 1845. The text closely follows that ofthe drama. The first act opens in a public square of Madrid, where aband of gypsies are singing to the populace, among them Maritana, ayoung girl of more than ordinary beauty and vocal accomplishments. Among the spectators is the young King Charles, who after listening toher is smitten with her charms. Don José, his minister, to carry outcertain ambitious plans of his own, resolves to encourage thefascinations which have so attracted the King. He extols her beautyand arouses hopes in her breast of future grandeur and prosperity. Atthis juncture Don Caesar de Bazan, a reckless, rollicking cavalier, comes reeling out of a tavern where he has just parted with the lastof his money to gamblers. In spite of his shabby costume anddissipated appearance he bears the marks of high breeding. In betterdays he had been a friend of Don José. While he is relating the storyof his downward career to the minister, Lazarillo, a forlorn young ladwho has just attempted to destroy himself, accosts Don Caesar, andtells him a piteous tale of his wrongs. Don Caesar befriends him, andin consequence becomes involved in a duel, which leads to his arrest;for it is Holy Week, and duelling during that time has been forbiddenon pain of death. While Don Caesar is on his way to prison, Don Josédelights Maritana by promising her wealth, a splendid marriage, and anintroduction to the court on the morrow. The second act opens in the prison, and discovers Don Caesar asleep, with his faithful little friend watching by him. It is five o'clockwhen he wakes, and at seven he must die. Only two hours of life remainfor him, but the prospect does not disturb him. On the other hand heis gayer than usual, and rallies Lazarillo with playful mirth. In themidst of his gayety the crafty Don José enters and professes strongfriendship for him. When Don Caesar declares that he has but one lastwish, and that is to die a soldier's death instead of beingignominiously hanged, Don José says it shall be gratified uponcondition that he will marry. The prisoner has but an hour and threequarters to live, but he consents. He is provided with weddingapparel, and a banquet is spread in honor of the occasion. During thefeast Lazarillo brings in a paper to Don José containing the King'spardon for Don Caesar, but the minister promptly conceals it. Maritana, her features disguised by a veil, is introduced, and as thenuptial rites are performed the soldiers prepare to execute thepenalty. At the expiration of the hour Don Caesar is led out to meethis fate, but Lazarillo has managed to abstract the balls from theguns. The soldiers perform their duty, and Don Caesar feigns death;but as soon as the opportunity occurs, he leaves the prison andhurries to a grand ball given by the Marquis and Marchioness deMontefiori at their palace, while the Marquis, who has had hisinstructions from Don José to recognize Maritana as his long-lostniece, is introducing her as such. Don Caesar enters and demands hisbride. The astonished Don José, perceiving that his scheme tointroduce Maritana at court is liable to be frustrated, offers theMarquis a rich appointment if he will induce his wife to play the parthe shall suggest. The scheme is soon arranged, and the Marchioness, closely veiled, is presented to Don Caesar as the Countess de Bazan. Disgusted at "the precious piece of antiquity, " as he terms her, andfancying that he has been duped, he is about to sign a paperrelinquishing his bride, when he suddenly hears Maritana's voice. Herecognizes it as the same he had heard during the marriage rites. Herushes forward to claim her, but she is quickly carried away, and heis prevented from following. The last act opens in a palace belonging to the King, where Maritanais surrounded with luxury, though she is as yet unaware that she is inthe royal apartments. Don José, fancying that Don Caesar will not dareto make his appearance, as he does not know of his pardon, carries outhis plot by introducing the King to her as her husband. She at firstrejects him, and as he presses his suit Don Caesar breaks into theapartment. The King in a rage demands to know his errand. He repliesthat he is in quest of the Countess de Bazan, and with equal rageinquires who he (the King) is. The King in confusion answers that heis Don Caesar, whereupon the latter promptly replies, "Then I am theKing of Spain. " Before further explanation can be made, a messengerarrives from the Queen with the announcement that she awaits the King. After his departure Don Caesar and Maritana mutually recognize eachother, and upon her advice he resolves to appeal to the Queen to saveher. He waits for her Majesty in the palace garden, and whileconcealed, overhears Don José informing her that the King will meethis mistress that night. He springs out, and denouncing him as atraitor to his King slays him, and then returning to Maritana'sapartment finds the King there again, and tells him what has occurred. He has saved the King's honor: will the King destroy his? The monarch, overcome with Don Caesar's gallantry and loyalty, consigns Maritana tohim and appoints him Governor of Granada. The appointment does notsuit Don Caesar, for Granada is too near his creditors. The King, laughing, changes it to Valencia, a hundred leagues away, and thitherDon Caesar conducts his happy bride. The drama is one which is well adapted to bright, cheerful, melodiousmusic, and the opportunity has been well improved, for "Maritana" isone of the sprightliest and brightest of all the English operas, andcontains several ballads which for beauty and expressiveness may wellchallenge any that Balfe has written. The principal numbers in thefirst act are Maritana's opening song in the public square ("It was aKnight of princely Mien"); the romanza which she subsequently singsfor Don José, "I hear it again, 'tis the Harp in the Air, " which isone of the sweetest and most delicate songs in any of the lighteroperas; the duet between Maritana and Don José, "Of fairy Wand had Ithe Power;" Don Caesar's rollicking drinking-song, "All the Worldover, to love, to drink, to fight, I delight;" and the trippingchorus, "Pretty Gitana, tell us what the Fates decree, " leading up tothe stirring ensemble in the finale, when Don Caesar is arrested. Thefirst scene of the second act is the richest in popular numbers, containing an aria for alto, Lazarillo's song ("Alas! those Chimes sosweetly pealing"); a charming trio for Don Caesar, Lazarillo, and DonJosé ("Turn on, old Time, thine Hourglass"); Don Caesar's stirringmartial song, "Yes, let me like a Soldier fall;" the serious ballad, "In happy Moments, Day by Day, " written by Alfred Bunn, who wrote somany of the Balfe ballads; and the quartet and chorus closing thescene, "Health to the Lady, the lovely Bride!" The second scene openswith a pretty chorus in waltz time ("Ah, what Pleasure! the softGuitar"), followed by an aria sung by the King ("The Mariner in hisBark"), and introduced by an attractive violin prelude. The finale isa very dramatic ensemble, quintet and chorus ("What Mystery must nowcontrol"). The last act falls off in musical interest, though it isvery strong dramatically. It contains a few numbers, however, whichare very popular; among them one of the most admired of all Englishsongs ("Scenes that are brightest"), which Maritana sings in theKing's apartments at the beginning of the act; the humorous duetbetween the King and Don Caesar when they meet; the love-duet betweenDon Caesar and Maritana ("This Heart with Bliss o'erflowing"); and DonCaesar's song, "There is a Flower that bloometh, " which is in thesentimental ballad style. The freshness, brightness, and gracefulnessof the music of this little opera, combined with the unusual interestand delicate humor of the story, have always commended it to popularadmiration. WEBER. Carl Maria von Weber was born Dec. 18, 1786, at Eutin, and may almostbe said to have been born on the stage, as his father was at the headof a theatrical company, and the young Carl was carried in the trainof the wandering troupe all over Germany. His first lessons were givento him by Henschkel, conductor of the orchestra of Duke Friedrich ofMeiningen. At the age of fourteen he wrote his first opera, "DasWaldmädchen, " which was performed several times during the year 1800. In 1801 appeared his two-act comic opera, "Peter Schmoll and hisNeighbors, " and during these two years he also frequently played inconcerts with great success. He then studied with the Abbé Vogler, andin his eighteenth year was engaged for the conductorship of theBreslau opera. About this time appeared his first important opera, "Rubezahl. " At the conclusion of his studies with Vogler he was madedirector of the Opera at Prague. In 1814 he wrote a cantata, "The Lyreand Sword, " for a festive occasion, and it was greeted with thewildest enthusiasm. In 1816 he went to Berlin, where he was receivedwith the highest marks of popular esteem, and thence to Dresden asHofcapellmeister. This was the most brilliant period in his career. Itwas during this time that he married Caroline Brandt, the actress andsinger, who had had a marked influence upon his musical progress, andto whom he dedicated his exquisite "Invitation to the Dance. " Thefirst great work of his life, "Der Freischütz, " was written at thisperiod. Three other important operas followed, --"Preciosa, ""Euryanthe, " the first performance of which took place in Vienna in1823, and "Oberon, " which he finished in London and brought out there. Weber's last days were spent in the latter city; and it was whilemaking preparations to return to Germany, which he longed to seeagain, that he was stricken down with his final illness. On the 4th ofJune, 1826, he was visited by Sir George Smart, Moscheles, and othermusicians who were eager to show him attention. He declined to haveany one watch by his bedside, thanked them for their kindness, badethem good-by, and then turned to his friend Fürstenau and said, "Nowlet me sleep. " These were his last words. The next morning he wasfound dead in his bed. He has left a rich legacy of works besides hisoperas, --a large collection of songs, many cantatas (of which "TheJubilee, " with its brilliant overture, is the finest), some masses, ofwhich that in E flat is the most beautiful, and several concertos, besides many brilliant rondos, polaccas, and marches for the piano. DER FREISCHÜTZ. "Der Freischütz, " a romantic opera in three acts, words by FriedrichKind, was first produced at Berlin, June 18, 1821. It is one of themost popular operas in the modern repertory. It was first performed inParis, Dec. 7, 1824, as "Robin des Bois, " with a new libretto byCastile Blaze and Sauvage, and many changes in the score, such asdivertissements made up of the dance-music in "Preciosa" and "Oberon, "and of "The Invitation to the Dance, " scored by Berlioz. In 1841 itwas again given in Paris, with an accurate translation of the text byPacini, and recitatives added by Berlioz, as "Le Franc Archer. " Itsfirst English performance in London was given July 22, 1824, as "DerFreischütz, or the Seventh Bullet, " with several ballads inserted; andits first Italian at Covent Garden, March 16, 1850, with recitativesby Costa, as "Il Franco Arciero. " So popular was it in England in 1824that no less than nine theatres were presenting various versions of itat the same time. The original cast was as follows:-- AGATHA Frau CAROLINE SEIDLER. ANNCHEN Frl. JOHANNA EUNIKE. MAX Herr CARL STÜMER. CASPAR Herr HEINRICH BLUME. OTTAKAR Herr RUBINSTEIN. KUNO Herr WANER. HERMIT Herr GERN. KILIAN Herr WIEDEMANN. The text of the opera is taken from a story in "Popular Tales of theNorthern Nations, " and is founded upon a traditionary belief that ademon of the forest furnishes a marksman with unerring bullets castunder magical influences. Kuno, the head ranger to the Prince ofBohemia, too old to longer continue in his position, recommends Max, askilful marksman, who is betrothed to his daughter Agatha, as hissuccessor. The Prince agrees to accept him if he proves himself victorat the forthcoming hunting-match. Caspar, the master-villain of theplay, who has sold himself to the demon Zamiel, and who also is inlove with Agatha, forms a plot to ruin Max and deliver him over toZamiel as a substitute for himself, for the limit of his contract withthe Evil One is close at hand. With Zamiel's aid he causes Max to missthe mark several times during the rehearsals for the match. The loveris thrown into deep dejection by his ill luck, and while in thismelancholy condition is cunningly approached by Caspar, who says tohim that if he will but repeat the formula, "In the name of Zamiel, "he will be successful. He does so, and brings down an eagle soaringhigh above him. Elated with his success, Caspar easily persuades him that he can winthe match if he will meet him at midnight in the Wolf's Glen, wherewith Zamiel's aid he can obtain plenty of magic bullets. The second act opens in Kuno's house, and shows us Agatha melancholywith forebodings of coming evil. A hermit whom she has met in thewoods has warned her of danger, and given her a wreath of magic rosesto ward it off. An ancestral portrait falling from the walls alsodisturbs her; and at last the appearance of the melancholy Maxconfirms her belief that trouble is in store for her. Max himself isno less concerned. All sorts of strange sounds have troubled him, andhis slumbers have been invaded with apparitions. Nevertheless, he goesto the Wolf's Glen; and though spectres, skeletons, and variousgrotesque animals terrify him, and his mother's spirit appears andwarns him away, he overcomes his fright and appears with Caspar at theplace of incantation. Zamiel is summoned, and seven bullets are cast, six of which are to be directed by Max himself in the forthcomingmatch, while the seventh will be at the disposal of the demon. Littledreaming the fate which hangs upon the seventh, Caspar offers noobjections. The third act opens, like the last, in Kuno's house, and discoversAgatha preparing for her nuptials, and telling Annchen a singulardream she has had. She had fancied herself a dove, and that Max firedat her. As the bird fell she came to herself and saw that the dove hadchanged to a fierce bird of ill omen which lay dying at her feet. Themelancholy produced by the dream is still further heightened when itis found that a funeral instead of a bridal wreath has been made forher; but her heart lightens up again as she remembers the magicrose-wreath which the hermit had enjoined her to wear on her weddingday. At last the eventful day of trial comes, and the Prince and allhis courtiers assemble to witness the match. Max makes six shots insuccession which go home to the mark. At the Prince's command he firesthe seventh, Zamiel's bullet, at a dove flying past. As he fires, Agatha appears to him as the dove, and he fancies he has slain her. The wreath protects her, however, and Zamiel directs the bullet toCaspar's heart. The demon claims his victim, and Max his bride, amidgeneral rejoicing. The overture, which is one of the most favorite numbers of its classin the concert-room as well as in the opera-house, is a masterpiece ofbrilliant and descriptive instrumentation, and furnishes us with a keyto the whole story in its announcement of the leading themes. It openswith an adagio horn passage of great beauty, giving us the groundworkof the entire action; and then follow motives from Max's grand scenain the first act, the Incantation music, Agatha's moonlight scene, andother episodes connected with the action of Max and Caspar. Indeed, the frequent and expressive use of the _Leit motif_ all through thework seem to entitle Weber to the credit of its invention. The first act opens with a spirited chorus of villagers, followed by alively march and a comic song by Kilian, in which he rallies Max uponhis bad luck. The next number is a trio and chorus, with solos for theprincipals, Max, Kuno, and Caspar ("O diese Sonne, furchtbar steigtsie mir empor"). Max laments his fate, but Kuno encourages him, whileCaspar insinuates his evil plot. The trio is of a sombre cast at thebeginning, but by a sudden change the horns and an expressivecombination of the chorus give it a cheerful character. It is oncemore disturbed, however, by Caspar's ominous phrases, but at last Kunoand his men cheer up the despondent lover with a brisk hunting-chorus, and the villagers dance off to a lively waltz tempo. Max is leftalone, and the next number is a grand tenor scene. It opens with agloomy recitative, which lights up as he thinks of Agatha, and thenpasses into one of the most tender and delicious of melodies ("Durchdie Wälder, durch die Auen"), set to a beautiful accompaniment. Suddenly the harmony is clouded by the apparition of Zamiel, but as hedisappears, Max begins another charming melody ("Jetzt ist wohl ihrFenster offen"), which is even more beautiful than the first. AsZamiel reappears the harmony is again darkened; but when despairingMax utters the cry, "Lives there no God!" the wood-demon disappears, and the great song comes to an end. In this mood Caspar meets him, andseeks to cheer him with an hilarious drinking-song ("Hier im ird'schenJammerthal"), furious in its energy, and intended to expressunhallowed mirth. The act closes with Caspar's bass aria of infernaltriumph ("Triumph! die Rache, die Rache gelingt"), accompanied bymusic which is wonderfully weird and shadowy in its suggestions. The second act opens with a duet ("Schelm! halt fest") in whichAgatha's fear and anxiety are charmingly contrasted with the lightsomeand cheery nature of Annchen, her attendant, and this in turn isfollowed by a naive and coquettish arietta ("Kommt ein schlankerBursch gegangen") sung by the latter. Annchen departs, and Agatha, opening her window and letting the moonlight flood the room, sings thefamous scena and prayer, "Leise, leise, fromme Weise, " beginning, after a few bars of recitative, with a melody full of prayer and hopeand tender longings, shaded with vague presentiment. It is an adagioof exquisite beauty, closing with an ecstatic outburst of rapture("Alle meine Pulse schlagen") as she beholds her lover coming. Themelody has already been heard in the overture, but its full joy andsplendid sweep are attained only in this scene. In the next scene wehave a trio ("Wie? was? Entsetzen?") between Max, Annchen, and Agatha, in which the musical discrimination of character is carried to a finepoint; and the act concludes with the incantation music in the Wolf'sGlen, which has never been surpassed in weirdness, mystery, anddiablerie, and at times in actual sublimity. Its real power lies inthe instrumentation; not alone in its vivid and picturesquepresentation of the melodramatic scene with its hideous surroundings, but in its expressiveness and appositeness to the action and sentimentby the skilful use of motives. The last act has an instrumental prelude foreshadowing the Hunters'Chorus. It opens with a graceful but somewhat melancholy aria of areligious character ("Und ob die Wolke sie verhülle"), sung by Agatha, in which she is still wavering between doubt and hope, and succeededby another of Annchen's arias, beginning with the gloomy romance, "Einst traumte meiner sel'gen Base, " and closing with a lively allegro("Trübe Augen, Liebchen"), which is intended to encourage her sadmistress. Then the bridesmaids sing their lively chorus, "Wir windendir den Jungfern-Kranz, " so well known by its English title, "A rosyCrown we twine for Thee. " The pretty little number is followed by theHunters' Chorus, "Was gleicht wohl auf Erden dem Jägervergnügen, "which is a universal favorite. It leads up to a strong dramaticfinale, crowded with striking musical ideas, and containing Agatha'sbeautiful melody in the closing chorus. Few operas have had such world-wide popularity as "Der Freischütz, "and yet it is an essentially German product. The composer's son hasaptly characterized it, in his Biography of his father: "Weber did notcompose 'Der Freischütz;' he allowed it to grow out of the rich soilof his brave German heart, and to expand leaf by leaf, blossom byblossom, fostered by the hand of his talent; and thus no German looksupon the opera as a work of art which appeals to him from without. Hefeels as if every line of the work came from his own heart, as if hehimself had dreamed it so, and it could no more sound otherwise thanthe rustling of an honest German beech-wood. " OBERON. "Oberon, or the Elf King's Oath, " a romantic and fairy opera in threeacts, words by J. R. Planché, was first produced at Covent Garden, London, April 12, 1826, in English. Its first Italian performance wasgiven in the same city, July 3, 1860, the recitatives being suppliedby Benedict, who also added several numbers from "Euryanthe. " Theoriginal cast was as follows:-- REIZA Miss PATON. FATIMA Mme. VESTRIS. PUCK Miss CAWSE. HUON Mr. BRAHAM. OBERON Mr. BLAND. SHERASMIN Mr. FAWCETT. MERMAID Miss GOWNELL. The librettist, Planché, in a tribute to Weber, gives the origin ofthe story of "Oberon. " It appeared originally in a famous collectionof French romances, "La Bibliothèque Bleue, " under the title of "Huonof Bordeaux. " The German poet Wieland adopted the principal incidentsof the story as the basis of his poem, "Oberon, " and Sotheby'stranslation of it was used in the preparation of the text. Theoriginal sketch of the action, as furnished by Planché, is asfollows:-- Oberon, the Elfin King, having quarrelled with his fairy partner, vowsnever to be reconciled to her till he shall find two lovers constantthrough peril and temptation. To seek such a pair his 'tricksyspirit, ' Puck, has ranged in vain through the world. Puck, however, hears the sentence passed on Sir Huon of Bordeaux, a young knight, who, having been insulted by the son of Charlemagne, kills him insingle combat, and is for this condemned by the monarch to travel toBagdad to slay him who sits on the Caliph's left hand, and to claimhis daughter as his bride. Oberon instantly resolves to make this pairthe instruments of his reunion with his queen, and for this purpose hebrings up Huon and Sherasmin asleep before him, enamours the knight byshowing him Reiza, daughter of the Caliph, in a vision, transports himat his waking to Bagdad, and having given him a magic horn, by theblasts of which he is always to summon the assistance of Oberon, and acup that fills at pleasure, disappears. Here Sir Huon rescues a manfrom a lion, who proves afterwards to be Prince Babekan, who isbetrothed to Reiza. One of the properties of the cup is to detectmisconduct. He offers it to Babekan. On raising it to his lips the wine turns to flame, and thus proves hima villain. He attempts to assassinate Huon, but is put to flight. Theknight then learns from an old woman that the princess is to bemarried next day, but that Reiza has been influenced, like her lover, by a vision, and is resolved to be his alone. She believes that fatewill protect her from her nuptials with Babekan, which are to besolemnized on the next day. Huon enters, fights with and vanquishesBabekan, and having spell-bound the rest by a blast of the magic horn, he and Sherasmin carry off Reiza and Fatima. They are soonshipwrecked. Reiza is captured by pirates on a desert island andbrought to Tunis, where she is sold to the Emir and exposed to everytemptation, but she remains constant. Sir Huon, by the order ofOberon, is also conveyed thither. He undergoes similar trials fromRoshana, the jealous wife of the Emir, but proving invulnerable sheaccuses him to her husband, and he is condemned to be burned on thesame pile with Reiza. They are rescued by Sherasmin, who has the magichorn. Oberon appears with his queen, whom he has regained by theirconstancy, and the opera concludes with Charlemagne's pardon of Huon. The overture, like that of "Der Freischütz, " reflects the story, andis universally popular. Its leading themes are the horn solo, whichforms the symphony of Sir Huon's vision, a short movement from thefairies' chorus, a martial strain from the last scene in the court ofCharlemagne, a passage from Reiza's scene in the second act, andPuck's invocation of the spirits. The first act opens in Oberon's bower with a melodious chorus offairies and genii ("Light as fairy Feet can fall"), followed by a solofor Oberon ("Fatal Oath"), portraying his melancholy mood, and "TheVision, " a quaint, simple melody by Reiza ("Oh! why art thousleeping?"), which leads up to a splendid ensemble ("Honor and Joy tothe True and the Brave"), containing a solo for Oberon, during whichthe scene suddenly changes from the fairy bower to the city of Bagdad. Huon has a grand scena ("Oh! 't is a Glorious Sight"), a compositionin several movements beginning with a dramatic bravura illustrative ofthe scenes of the battlefield, and closing with a joyous, briskallegretto ("Joy to the high-born Dames of France"). The finale beginswith an aria by Reiza ("Yes, my Lord"), in the Italian style, passinginto a duet for Reiza and Fatima, and closing with the chorus ("Nowthe Evening Watch is set. ") The second act opens with a characteristic chorus ("Glory to theCaliph"), the music of which has been claimed by some critics asgenuinely Moorish, though it is probable that Weber only imitated thatstyle in conformity to the demands of the situation. A little marchand three melodramatic passages lead up to an arietta for Fatima ("Alovely Arab Maid"), beginning with a very pleasing minor and closingin a lively major. This leads directly to the lovely quartet, "Overthe Dark Blue Waters, "--one of the most attractive numbers in theopera. It is a concerted piece for two sopranos, tenor, and bass, opening with two responsive solos in duet, first for the bass andtenor, and then for the two sopranos, the voices finally uniting in ajoyous and animated movement of great power. The music now passes tothe supernatural, and we have Puck's invocation to the spirits, whomhe summons to raise a storm and sink the vessel in which the lovershave embarked. Puck's recitative is very powerful, and the chorus ofthe spirits in response, a very rapid presto movement, is in its wayas effective as the incantation music in "Der Freischütz. " The stormrises, the orchestra being the medium of the description, which isvery graphic and effective. Huon has a short prayer ("Ruler of thisAwful Hour"), which is impressively solemn, and then follows Reiza'smagnificent apostrophe to the sea ("Ocean, thou mighty Monster thatliest curled like a green Serpent round about the World"). The sceneis heroic in its construction, and its effective performance calls forthe highest artistic power. It represents the gradual calm of theangry waters, the breaking of the sun through the gloom, and thearrival of a boat to the succor of the distressed Reiza. The immenseeffect of the scene is greatly enhanced by the descriptiveinstrumentation, especially in the allegro describing the rolling ofthe billows and the recitative and succeeding andante picturing theoutburst of the sun. The mermaid's song ("Oh! 't is pleasant"), withits wavy, flowing melody, forms a fitting pendant to this greatpicture of elementary strife; and a delicate and graceful choruscloses the act. The third act opens with a lovely song for Fatima ("Oh! Araby, dearAraby"), consisting of two movements, --an andante plaintivelyrecalling past memories, and an allegro of exquisite taste. The song, even detached from the opera, has always been greatly admired inconcert-rooms, and, it is said, was a special favorite also with thecomposer. It is followed by a duet for Sherasmin and Fatima ("On theBanks of sweet Garonne"), which is of a vivacious and comic nature inSherasmin's part, and then passes into a tender minor as Fatima sings. The next number is a trio for soprano, alto, and tenor ("And must Ithen dissemble?"), written very much in the style of the trio in "DerFreischütz, " and yet purely original in its effect. Reiza follows witha smooth, flowing, and pathetic cavatina ("Mourn thou, poor Heart"), which is succeeded in marked contrast by a joyous rondo ("I revel inHope") sung by Sir Huon. The next scene is that of Sir Huon'stemptation, a voluptuous passage for ballet and chorus, interrupted atintervals by the energetic exclamations of the paladin as hesuccessfully resists the sirens. The gay scene leads up to the finale. Sir Huon and Reiza are bound to the stake, surrounded by slavessinging a weird chorus. A blast from the magic horn sets them dancing, and a quartet for the four principal characters based upon the subjectof the slaves' Chorus ensues. Oberon appears and takes his leave aftertransporting the whole company to the royal halls of Charlemagne. Astirring march opens the scene, a beautiful aria by Huon follows("Yes! even Love to Fame must yield"), and a chorus by the whole courtcloses the opera. EURYANTHE. The opera of "Euryanthe" was written for the Kärnthnerthor Theatre, Vienna, where it was first produced Oct. 25, 1823, though not with thesuccess which afterwards greeted it in Berlin, owing to the Rossinicraze with which the Austrian capital was afflicted at that time. Thelibretto is by Helmine von Chezy, an eccentric old woman who proved asad torment to the composer. The plot, which is a curious mixture of"Cymbeline" and "Lohengrin, " was adapted from an old French romance, entitled "L'Histoire de Gerard de Nevers et de la belle et vertueuseEuryanthe, sa mie, " and is substantially as follows:-- In the palace of King Louis of France, where a brilliant assemblage isgathered, Count Adolar sings a tribute to the beauty and virtue ofEuryanthe, his betrothed. Count Lysiart replies with a sneer, andboasts that he can gain her favor; but Adolar challenges him to bringa proof. The scene then changes to the castle of Nevers, and disclosesEuryanthe longing for Adolar. Eglantine, who is also in love withAdolar, and who is conspiring against Euryanthe, soon joins her, andin their interview the latter rashly discloses the secret of aneighboring tomb known only to herself and Adolar. In this tomb reststhe body of Emma, Adolar's sister, who had killed herself, and whoseghost had appeared to Euryanthe and her lover with the declarationthat she can never be at peace until tears of innocence have been shedupon the ring which was the agency employed in her death. Lysiartarrives from court with a commission to take Euryanthe to the King, while Eglantine is left behind in possession of the secret. In the second act Lysiart deplores his failure to obtain the favor ofEuryanthe; but his hopes are renewed when he meets Eglantine emergingfrom the tomb with the ring, and learns from her that it can be madeto convict Euryanthe of indiscretion, or at least of breaking herpromise not to reveal the tomb secret. He obtains the ring, confrontsEuryanthe with it at the palace, and forces her to admit the brokenpromise. Adolar, believing that she is guilty, drags her away to awilderness where it is his intention to kill her; but on the way theyare attacked by a serpent. Adolar slays the monster, and then, seizedwith sudden pity, he abandons his intention of killing her, but leavesher to her fate. She is subsequently found by the King while on ahunting expedition, and to him she relates the story of Eglantine'streachery. The King takes her with him to the palace. Meanwhile Adolarhas begun to suspect that Euryanthe has been the victim of her basewiles, and on his way to Nevers to punish Lysiart he encounters thewedding-procession of the guilty pair, and challenges him. The Kingsuddenly arrives upon the scene and announces Euryanthe's death, whereupon Eglantine declares her love for Adolar. The furious Lysiartturns upon her and stabs her. Euryanthe is not dead. She has onlyfainted, and is soon restored to her lover, while Lysiart is led offto the scaffold. The overture, which is familiar in our concert-rooms, gives a sketchof the principal situations in the opera. The first act opens in thegreat banquet-hall of the King with a flowing and stately chorus ("DemFrieden Heil") alternating between female and male voices and finallytaken by the full chorus. Then follows Adolar's lovely and tenderromanza ("Unter blühenden Mandelbäumen"). The next number, a chorus("Heil! Euryanthe"), with recitatives for Adolar, Lysiart, and theKing leads up to a vigorous trio ("Wohlan! Du kennst"). Euryanthe'sidyllic and touching cavatina ("Glöcklein im Thale") is a match inbeauty and tenderness for Adolar's romanza. The recitative whichfollows introduces a sentimental aria for Eglantine ("O mein Leid istunermessen"), leading to a duet with Euryanthe ("Unter ist mein Sterngegangen"). A scena for Eglantine, characterized by all the hatred andfury of jealousy, introduces the finale, which consists of a vigorouschorus ("Jubeltöne") accompanying Euryanthe's solo ("FröhlicheKlänge"). The second act opens with a powerful recitative and aria for Lysiart("Wo berg ich mich"), which is full of passion. A duet of a menacingand sombre character between Lysiart and Eglantine ("Komm denn unserLeid zu rächen") stands out in gloomy contrast with Adolar's aria("Wehen mir Lüfte Ruh'") and the duet with Euryanthe ("Hin nimm dieSeele mein"), so full of grace and tenderness. They lead up to thefinale, a grand quartet ("Lass mich empor zum Lichte"), with powerfulchorus accompaniment. The last act opens with the serpent episode, with characteristicmusic, and a recitative scene between Euryanthe and Adolar leads up toa pathetic cavatina for Euryanthe ("Hier am Quell wo Weiden stehn"). The ringing notes of the horns behind the scenes announce the approachof the King's party, who sing a fresh and sonorous hunting chorus("Die Thale dampfen"). The remaining numbers are a duet for Euryantheand the King with chorus ("Lasst mich hier in Ruh' erblassen"), alovely and melodious aria with chorus for Euryanthe ("Zu ihm"), abright wedding-march and scene with chorus, and a duet for Adolar andLysiart with chorus, leading to the grand quintet and chorus whichbring the opera to a close. APPENDIX. A work of this kind, by whomsoever written, must be somewhat arbitraryin its selection of THE STANDARD OPERAS; and the writer has oftenfound it difficult to say where the line should be drawn, --whatexcluded and what admitted. In addition to the operas treated of, there are others, without a mention of which such a work as this wouldscarcely be considered complete; and a list of these is herewithsubmitted, together with the dates of their first performance. Many ofthese are familiar to the public by their past reputation, whileothers still hold the stage in Europe. Others have never been givenout of the native country of their composers; and still others, likethose of Mr. Sullivan, are in reality operettas, and cannot be classedas standard, although their popularity is extraordinary. ADAM - Le Postilion de Longjumeau (1835). AUBER - Le Cheval de Bronze (The Bronze Horse) (1835); L'Ambassadrice(1836); Le Domino Noir (The Black Domino) (1837); Zanetta (1840);Manon Lescaut (1856). BALFE - Enchantress (1845); Satanella (1858); Puritan's Daughter(1861); The Talisman (1863). BENEDICT - The Lily of Killarney (1862). CORDER - Nordisa (1887). DONIZETTI - Polinto (1840); Linda (1842); Maria di Rohan (1843); DonSebastian (1843); Gemma di Vergi (1845). FLOTOW - L'Ombre (1869). GOETZ - Francesca von Rimini (1874); The Taming of the Shrew (1874). GOLDMARK - The Queen of Sheba (1875); Merlin (1886); Cricket on theHearth (1896). GOMEZ - Il Guarany (1870). GOUNOD - Polyeucte (1878). HALEVY - L'Éclair (1835). HEROLD - Zampa(1831); Pré aux Clercs(1832). ISOUARD - Joconde (1814). KREUTZER - Das Nachtlager in Granada (1834). LEONCAVALLO - I Medici (1893). MARCHETTI - Ruy Blas (1870). MARSCHNER - Der Vampyr (1828); Hans Heiling (1833). MASCAGNI - L'Amico Fritz (1892); I Rantzau (1892); Silvano(1895);Guglielmo Ratcliff (1895). MASSË - La Reine Topaze (1856); Paul et Virginie (1876). MASSENET - Le Roi de Lahore (1877); Manon Lescaut (1884); Le Cid(1886); Esclarmonde (1889). NICOLAI - Merry Wives of Windsor (1849). PACINI - Saffo (1840). PLANQUETTE - The Bells of Corneville (1877). PONCHIELLI - La Gioconda (1876). RICCI - Crispino (1850). ROSSINI - La Gazza Ladra (1817); Moses in Egypt (1818). RUBINSTEIN - Dimitri Donskoi (1852); The Demon (1875); Feramors(1863). SAINT SAENS - Le Timbre d'Argent (1877); Étienne Marcel (1879); HenryVIII. (1883); Proserpine (1887). STRAUSS - Indigo (1871); Die Fledermaus (The Bat) (1872); Der LustigeKrieg (The Merry War) (1875). SULLIVAN - Trial by Jury (1875); The Sorcerer (1877); Pinafore (1878);Pirates of Penzance (1880); Patience (1881); Iolanthe (1882); ThePrincess (1883); The Mikado (1885); Ruddygore (1887); The Yeomen ofthe Guard (1888); King of Barataria (1889); Hesse Halbpfennig (1896). SUPPE - Fatinitza (1876); Boccaccio (1882). THOMAS - Hamlet (1868); Françoise de Rimini (1882). VERDI - The Sicilian Vespers (1855); La Forza del Destino (Force ofDestiny) (1862); Don Carlos (1867). WALLACE - Lurline (1860). WEBER - Abu Hassan (1811); Preciosa (1823). INDEX. Adam, 32, 63, 71, 277. African, The, 160, 161, 185. Aida, 239, 262, 272. Albani, 79. Alboni, 161, 162. Alceste, 106. Alvary, 121. Anna Bolena, 75. Appendix, 375. Arditi, 284. Armide, 106. Attila, 238. Auber, 9, 14, 16, 17, 18, 24. 258. Bach, 126. Balfe, 25, 26. Balzac, 149. Barber of Seville, 210, 212. Beaumarchais, 192. Beethoven, 36, 39, 209, 312. Bellini, 43. Benedict, 365. Berlioz, 289, 358. Bizet, 54, 57. 59, 138. Bohemian Girl, 26, 31. Boieldieu, 60. Boito, 65, 239, 266, 267, 270, 271. Bosio, 11, 244. Braham, 15, 365. Brandt, 117, 121. Bulwer, 277. Calvé, 149. Carmen, 55. Cavalleria Rusticana, 155. Cenerentola, 211. Cherubini, 60. Chopin, 225. Costa, 358. Damrosch, 121. Daughter of the Regiment, 76. Delibes, 71. Der Freischütz, 357, 358, 367. Die Götterdämmerung, 309, 311, 315, 335. Die Walküre, 309, 315, 323. Di Murska, 284. Dinorah, 160, 176. Don Carlos, 239. Don Giovanni, 191, 198, 219. Donizetti, 75, 88, 95. Don Pasquale, 76, 83, 91. Don Sebastian, 85. Dumas, 249. Duprez, 80, 86. Ernani, 238, 239. Euryanthe, 357, 365, 371. Falcon, Cornelia, 138, 161. Faure, 176, 185. Faust, 125, 132, 253. Favorita, 76, 80. Fidelio, 37. Flotow, 96. Flying Dutchman, 160, 275, 284, 294. Formes, 98. Fra Diavolo, 10. Francesca di Rimini, 112. Galli-Marie, 55, 232, Garcia, 212, 213. Gazza Ladra, 211. Gluck, 105. Goethe, 65, 127, 160, 232, 294. Goetz, 111. Goldmark, 116. Gounod, 125, 138. Grimm, 144. Grisi, 44, 51, 80, 83. Halevy, 137. Hansel and Gretel, 143. Harrison, 19, 27, 32, 176. Hastreiter, Helene, 107. Haydn, 36, 37. Heine, 143, 284. Hueffer, 276, 300, 309. Hugo, Victor, 92, 239, 240, 244. Huguenots, 160, 161, 180, 211. Humperdinck, 142. Idomeneo, 191. I Medici, 148. I Pagliacci, 149. Iphigénie en Aulide, 106. Iphigénie en Tauride, 106. Jahn, 209. Jewess, 138. Juch, Emma, 107, 227. Kellogg, Clara Louise, 79, 237, 284. Lablanche, 44, 51, 83, 85, 238. La Dame Blanche, 61. Lagrange, 97. Lakme, 72. L'Allemand, 72, 112, 227. L'Amico, Fritz, 155. Last Rose of Summer, 100. L'Éclair, 137, 138. Lehmann, 117, 121. L'Elisir d'Amore, 75, 89. Leoncavallo, 148. Lind, Jenny, 77, 79, 160, 167, 169, 170, 171, 238. Liszt, 225, 276, 277, 294. Lohengrin, 275, 294, 304, 309, 340, 371. Lombardi, 238. Lucca, 186, 237. Lucia, 76, 86, 95. Lucrezia Borgia, 75, 92. Lurline, 350. Luther, Martin, 164, 166. Magic Flute, 191, 204. Malibran, 38, 48. Manon Lescaut, 137. Mario, 15, 80, 83, 85, 92, 162, 244. Maritana, 349, 350. Marriage of Figaro, 191, 192, 198, 201. Martha, 98, 253. Masaniello, 14, 176. Mascagni, 153. Masked Ball, 239, 257. Massé, 138. Materna, 340. Maurel, 267. Meistersinger, 276, 303, 310. Mendelssohn, 142. Mendès, Catulle, 151. Mephistopheles, 66, 239. Mérimée, 55. Merlin, 116, 121. Meyerbeer, 138, 159, 161, 176, 185, 211, 277. Mignon, 231, 232. Miolan-Carvalho, 126, 131, 134, 176, 244. Mireille, 126. Mosenthal, 117. Moses in Egypt, 211. Mozart, 36, 37, 142, 190, 193, 204. Nero, 226. Niemann, 288. Nilsson, 66, 237, 250. Nohl, 318. Norma, 44. Nourrit, 138, 161, 171, 220. Oberon, 357, 358, 365. Orpheus, 106, 107. Otello (Rossini), 211. Othello (Verdi), 239, 266. Pacini, 358. Paisiello, 211. Pantaleoni, 267. Parepa-Rosa, 192. Parsifal, 276, 340. Pasdeloup, 276. Pasta, 44, 48, 75. Patti, 79, 250. Persiani, 86. Piccini, 106. Piccolomini, 27, 250. Preciosa, 357, 358. Prophet, The, 160, 180. Puritani, 44, 50. Pyne, 19, 32, 176. Queen of Sheba, 117. Rameau, 105. Reeves, 19. Rheingold, 309, 310, 314, 319. Richings, Caroline, 79. Richter, 276. Rienzi, 160, 275, 277, 285. Rigoletto, 88, 239, 244. Ring des Nibelungen, 276, 300, 309, 341. Robert the Devil, 160, 171. Robin Adair, 63. Romeo and Juliet, 131, 136. Ronconi, 11, 244. Rosa, Carl, 143, 284. Rose of Castile, 32. Rossini, 25, 44. 76, 82, 138, 174, 210, 266, 371. Roze, Marie, 66. Rubini, 44, 48, 51, 75. Rubinstein, 225. Salieri, 193. Sammartini, 105. Santley, 134, 284. Scaria, 340. Schickaneder, 204, 205. Schiller, 36, 220, 312. Schröder-Devrient, 277, 284, 288. Scribe, 10, 14, 19, 48, 61, 82, 138, 160, 161, 166, 171, 172, 180, 185, 258. Semiramide, 211, 216. Shakspeare, 97, 112, 131, 266. Sicilian Vespers, 239. Siegfried, 309, 310, 311, 315, 329, 337, 338, 340. Sonnambula, 43, 48. Sontag, 79. Spohr, 285. Star of the North, 160, 166. Staudigl, 171. Stradella, 102. Stritt, 117. Sullivan, 375. Taglioni, 171. Tamburini, 44, 51, 83, 162. Taming of the Shrew, 111, 112. Tancredi, 210, 216. Tannhäuser, 275, 288, 294. Tausig, 312. Thalberg, 225. Thillon, 19, 76. Thomas, Ambroise, 231. Thomas, Theodore, 54, 71, 107, 229, 276. Tichatscheck, 277. Titiens, 134. Traviata, 239, 249, 253. Trebelli, 134. Tristan and Isolde, 276, 299, 310. Trovatore, 239, 253, 262, 266. Ulrich, 111. Verdi, 238. Viardot-Garcia, 107, 162, 180. Vogler, 159, 356. Von Bülow, 111, 277, 299, 304. Wagner, 18, 58, 65, 70, 122, 142, 143, 144, 160, 220, 266, 272, 275, 288, 312. Wallace, 349. Weber, 356. Wette, Adelheid, 143. William Tell, 138, 176, 211, 220. Winckelmann, 340. Zingarelli, 43. Zucchi, 186.