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OPERA SYNOPSEs
A GUIDE TO THE PLOTS AND CHARAC-
TERS OF THE STANDARD OPERAS
i
º
;
i
$4
*
i
RY
J. WALKER. McSPADDEN
AUTHOR OF “SHAKESPERIAN SYNoFSEs,” ATC.
REVISED AND ENLARGED
sº
NEW YORK
THOMAS Y. CROWELL COMPANY
PUBLISHERS
Music
:
;
*
CopyRIGHT, 1911,
BY THOMAS Y. CROWELL COMPANY.
COPYRIGHT, 1915,
BY THOMAS Y. CROWELL COMPANY.
PR.EFACE
THE fourth volume of the present series
of “Synopses” is devoted, as its title indi-
cates, to standard operas. The preceding
three, dealing respectively with Shake-
speare, Dickens, and Scott, have appar-
ently met a popular need, and readers have
asked from time to time for a similar work
presenting the casts and plots of the best-
known operas. This volume is an answer
to their request, and is issued with the aim
of making it as serviceable as possible both
to opera-goers and to that still larger class
outside the great cities, who wish to be
readily conversant with all such works.
Indeed, a knowledge of the standard
operas is as essential nowadays as a knowl-
edge of the classics of literature. Each
sheds its influence upon the other, and the
line is continually being crossed between
the adjacent fields. Plays of Shakespeare,
like “Othello” and “Merry Wives”; novels
like Scott’s “Bride of Lammermoor”; and
the latest Broadway success, all reappear
in musical setting. The general reader,
23334}.7
III
iV PREFACE
therefore, whether he frequents the opera,
or not, cannot overlook this phase of
artistic expression.
“Opera Synopses” will be found to in-
clude a careful selection of the “grand,”
“romantic,” and “light" operas. It is not
all-inclusive, as a list anywhere near com-
plete would require a book four or five
times the present dimensions. But it does
endeavor to include all the operas actively
in the repertoire of the producing managers
within the last few years, and those which
are most frequently cited and consulted.
For ease of reference, titles are given in
alphabetical order, rather than by authors.
For the same reason, preference has been
given to the English title, except in such
instances (for example, “Il Trovatore”)
where the opera is best known under its
foreign title.
J. W. M.
MonTCLAIR, N. J.
June 1, 1911.
PREFACE TO THE SECOND
EDITION
SINCE the first edition of “Opera
Synopses’’ was printed, a considerable
number of new operas and revivals of old
ones have been presented, especially in
America. This has been due not only to
the progressive policy of the Metropolitan
Opera Company, in New York, but also to
the presence of two other companies in that
city, for a time. The Manhattan Opera
Company gave a decided impetus to mod-
ern French opera; while the Century
Opera Company offered a representative
list of operas in English, and did much
to stimulate native composition. In other
cities also, notably Boston, Philadelphia,
and Chicago, this fresh musical spirit has
been felt, with the result that American
opera-goers have broadened their knowl-
edge of musical works more during the
past four years than in any decade pre-
ceding.
The present revision of this book has
taken note of the various additions to the
active repertory, and includes twenty-four
operas not found in the first edition, as
V
vi PREFACE TO SECOND EDITION
well as all the former material. An effort
has been made to include only those which
have been added permanently, as evi-
denced by the record of past seasons. Nov-
elties, however, for the season of 1915-1916,
such as ‘‘The Pearl Fishers’’ and “The
Evangelist,’’ are also included. A new
index of composers will be found at the
back.
The author wishes to take this opportu-
nity to thank the friends of the earlier
work, and to hope that the new printing
may be of the larger service for which it
is intended.
J. W. M.
June 1, 1915.
"Aida . . . . . . .
CONTENTS
* * * * * * * * * * * * * * * * * * * * * * a s a e s a e
L'Amore Medico . . . . . . . . . . . . . . . . . . . . . . . . . .
Ariane et Barbe Bleue . . . . . . . . . . . . . . . . . . . .
Armide . . . . .
* * * * * * * * * * * * * * * * * * * * * * g e a e e º e &
The Barber of Seville . . . . . . . . . . . . . . . . . . . .
The Bartered
La Bohème .
Bride . . . . . . . . . . . . . . . . . . . . . . .
* * * * * * * * * * * * * * * * * * * * e º e a e e s ∈ a
The Bohemian Girl . . . . . . . . . . . . . . . . . . . . . . .
Boris Godounow . . . . . . . . . . . . . . . . . . . . . . . . .
Carmen . . . . .
* * * * * * * * * * * * * * * * * * * e s s a e º s s e e
Cavalleria Rusticana. . . . . . . . . . . . . . . . . . . . . .
The Chimes of Normandy . . . . . . . . . . . . . . . .
The Cricket o
n the Hearth . . . . . . . . • - - - - - - -
The Damnation of Faust . . . . . . . . . . . . . . . . . .
T}on Giovanni
Don Pasquale
© º º º & © & © tº tº e º 'º e º 'º ſº tº e º 'º º s tº & 8 & 9
Le Donne Curiose . . . . . . . . . . . . . . . . . . . . . . . .
Elektra . . . . .
L’Elisir D’Amore . . . . . . . . . . . . . . . . . . . . . . . .
Ernani . . . . .
Euryanthe . .
* * * * * * * * * * * g º e º t e º is e is e º is e e º e &
& © tº $ $ tº s e º e & © tº e tº $ & # 8 º' tº e e s & º º º º
The Evangelist . . . . . . . . . . . . . . . . . . . . . . . . . . .
Falstaff . . . .
Faust . . . . . .
La Favorita,
Fidelio . . . . .
• * * * * * * * e g º e º 'º e º a tº t t e º e º ſº it e º a
* @ e º 'º & e º e º tº e s e º e º ºs e e s tº a tº e º e s a
C & © e º e º ſº º tº tº e º & ſº e is ſº e º ſº e º sº º tº e º is tº
§ tº e º 'º & g º 0 & 0 & © & © tº $ ſº tº * * * * * * * * *
La Fille de Madame Angot . . . . . . . . . . . . . .
The Flying Dutchman . . . . . . . . . . . . . . . . . . . .
Fra, Diavolo .
Der Freischüt
Germania. . . .
La Gioconda
& s e e º e º ºs s s e e º e s tº e º 4 s e º sº e º 'º & s is
2 . . . . . . . . . . . . . . . . . . . . . . . . . . .
tº º º e º ºs e e e s e a s e e º e º $ tº e s is e s e º 'º &
e e º e º e º e º e º º e º e º e º e º e º sº º e & e s ºf
viii CONTENTS
PAGE
The Girl of the Golden West . . . . . . . . . . . . . . I59
Hansel and Gretel . . . . . . . . . . . . . . . . . . . . . . . . 165
Herodias . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169
The Huguenots . . . . . . . . . . . . . . . . . . . . . . . . . . 175
Iris . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181
The Jewels of the Madonna. . . . . . . . . . . . . . . . 185
The Juggler of Notre Dame . . . . . . . . . . . . . . . 191 ,
Koenigskinder . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195
Lobetanz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201
Lohengrin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207
Louise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213
The Love of the Three Kings . . . . . . . . . . . . 219
Lucia di Lammermoor . . . . . . . . . . . . . . . . . . . . 225. . . .
Madam Butterfly . . . . . . . . . . . . . . . . . . . . . . . . . 229
Madame Sans Gene . . . . . . . . . . . . . . . . . . . . . . 235
Madeleine . . . . . . . . . . . . . . - - - - - - - - - - - - - - - - - - 24l
';. The Magic Flute . . . . . . . . . . . . . . . . . . . . . . . . . 245
Manon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251
*The Marriage of Figaro . . . . . . . . . . . . . . . . . . 255
Martha . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261
--Mefistofele . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267
^ Die Meistersinger . . . . . . . . . . . . . . . . . . . . . . . . . 273
Mignon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279
The Mikado . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283
Mona . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287
Natoma. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291
The Nibelungen Ring:
Das Rheingold . . . . . . . . . . . . . . . . . . . . . . . 297
Die Walküre . . . . . . . . . . . . . . . . . . . . . . . . . 303
Siegfried . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309
Götterdämmerung . . . . . . . . . . . . . . . . . . . . 313.
Norma . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319
L'Oracolo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323
Orpheus and Eurydice . . . . . . . . . . . . . . . . . . . 327
Othello . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331
I Pagliacci . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 337
Parsifal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341
CONTENTS ix
PAGE
The Pearl Fishers . . . . . . . . . . . . . . . . . . . . . . . . 347
Pelléas and Melisande . . . . . . . . . . . . . . . . . . . . 353
Prince Igor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 359
Rigoletto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365
Romeo and Juliet . . . . . . . . . . . . . . . . . . . . . . . 37 l
Der Rosenkavalier . . . . . . . . . . . . . . . . . . . . . . . . 377.
The Sacrifice . . . . . . . . . . . . . . . . . . . . . . . . . . . . 381
Salome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 385
Samson and Delilah . . . . . . . . . . . . . . . . . . . . . . 389
The Secret of Susanne . . . . . . . . . . . . . . . . . . . . 395
The Tales of Hoffmann . . . . . . . . . . . . . . . . . . . . 399
Tannhäuser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 405
Thais . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 I
Tiefland . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 419
La Tosca. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 425
La Traviata . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Zł31
Tristan and Isolde . . . . . . . . . . . . . . . . . . . . . . . 437
II Trovatore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 443
Versiegelt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 449
William Tell . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 453
Indea of Composers . . . . . . . . . . . . . . . . . . . . . . 457
AIDA
Romantic Opera in Four Acts. Music by Giuseppe
Verdi. Book by Antonio Ghislanzoni. Written
for the Khedive of Egypt, and first produced at
Cairo, December 24, 1871.
ScFNE: Memphis and Thebes.
TIME: Rule of the Pharaohs.
CAST
THE KING OF EGYPT (Basso).
AMNERIs, his daughter (Contralto).
RHADAMES, a General (Tenor).
RAMFIs, the High Priest (Basso).
AMONASRO, the King of Ethiopia (Baritone).
AIDA, his Daughter, a Slave (Soprano).
Soldiers, Courtiers, Citizens, Tire-women,
Dancers, etc.
A R G U M ENT
Aida (pronounced “Ah-ee-dah”) is one of
Verdi’s most brilliant operas, and has re-
mained continuously in favor with the pub-
lic. . The story, which is full of color, has an
ancient Egyptian setting, being a romance
woven around a beautiful slave girl, who
later proves to be the daughter of a rival
king.
ACT I
Scene 1. Interior of the Egyptian King's
Palace, at Memphis. The High Priest,
Ramfis, delights the warrior Rhadames, by
informing him that Isis, the goddess, has
decreed that he shall lead the army against
the warring Ethiopians. Rhadames is
madly in love with Aida, the slave, and
sees in this prospective victory an oppor-
tunity to obtain her from the King as his
bride. But Amneris, the King's daughter,
who now enters, has long loved the young
soldier. As he is cold to her, she begins
to suspect the truth, and she jealously
watches Rhadames and Aida, when the
2
A IDA 3
slave appears. The King and his court
enter, and Rhadames is formally invested
with the command against the Ethiopians,
who have advanced upon Thebes. All
rejoice except Aida, who knows secretly
that her lover is to meet her father, the
rival king, in battle.
Scene 2. The Temple of Ptah. Ptah is
the War-god of Egypt, and this short scene
is occupied with the consecration of the
arms of Rhadames.
ACT II
Scene 1. The Apartments of Amneris.
The princess has heard that Rhadames
is returning victorious from war, and,
desirous of winning him by her charms, she
orders her women to deck her in her finest.
Aida enters, and Amneris tricks her into
revealing her love for the General by falsely
announcing that he has fallen in battle.
When Aida's grief betrays her secret, Am-
neris scorns her.
Scene 2. The Entrance to Thebes. Pha-
raoh summons his whole glittering court to
do honor to his conquering General. The
troops enter in formal review, and Rha-
4 OPERA. SYNOPSES
dames is borne in, in triumph, on the shoul-
ders of slaves. The princess crowns him,
and the King asks him to name his own
reward. The captives of war are brought
forward, and the populace demand that
they be put to death. Aida recognizes the
conquered King as her father, but he con-
ceals his true rank. Rhadames now asks as
his boon, that the lives of the captives may
be spared. The King grants his request,
and in addition bestows his daughter's hand
upon him and proclaims him heir to the
throne. -
ACT III
A Night Scene on the Nile. Amneris,
accompanied by the High Priest, goes to
pay her vows to Isis, on the evening before
her marriage. Aida follows secretly, to
meet Rhadames for the last time. Her
father finds her there and urges her to be-
tray to him the movement of the Egyptian
army, but she will not do so. Amonasro
hides, on the approach of Rhadames, and
from the latter's conversation with Aida
learns that which he wishes to know. The
captive King now plays a bold stroke by
presenting himself to Rhadames in his true
AIDA 5
rank, and urging him to take sides with
Ethiopia. Aida's hand is pledged by way
of reward. Rhadames will not yield to the
temptation, and while they parley Amneris
comes from the Temple to denounce them.
Rhadames urges the father and daughter
to flee, but himself remains to submit to the
guards of Ramfis.
ACT TV
Scene 1. Corridor in the Palace. Am-
neris has repented her action against Rha-
dames, and now seeks to save him. She
tells him that Aida's father was killed in
the flight, but that Aida herself still lives.
If Rhadames will renounce her, Amneris
says that she will obtain the pardon of
Pharaoh. Rhadames refuses, and the en-
raged princess tells him to go to his doom.
But when the tribunal of priests decree that
the soldier shall be entombed alive, as the
penalty for his supposed treason, Amneris
turns upon them in redoubled fury.
Scene 2. Interior of the Temple, show-
ing the crypt below. While the priests and
priestesses perform the ceremonial temple
service above, Rhadames is seen in the
6 OPERA. SYNOPSES
*º-ºr
shadowy vault, resigning himself to death.
Aida now steals to his side. She has come
to die with him. They sing together a last
farewell to life and love, and perish in each
other's arms; while above them the peni-
tent princess kneels in prayer.
I,’ AMORE MEDICO
(Dr. Cupid.) Opera Buffa in Two Acts. Music by
Ermanno Wolf-Ferrari. Book by Enrico Golis-
ciani. After the Comedy by Molière, “L’Amour
Medecin.” First produced at the Royal Opera
House, Dresden, December 4, 1913.
SCENE: France.
TIME: Seventeenth Century.
C AST
ABNOLFO, a wealthy landowner (Basso).
LUCINDA, his daughter (Soprano).
CLITANDRO, her admirer (Tenor).
TISETTA, her maid (Contralto).
TOMEs, a physician (Basso).
DESFONANDRES, a physician (Basso).
MACROTon, a physician (Baritone).
BAHIS, a physician (Tenor).
A NOTARY (Basso).
Friends, Servants, etc.
A.R.G.U MENT
An amusing play of manners, based upon
Molière’s famous comedy in which a self-
ish father who tries to keep his daughter
from marrying is outwitted by Dr. Cupid.
Incidentally, the author satirizes the medi-
cal profession of his day.
ACT I
Villa of a Wealthy Landowner. Arnolfo,
a self-centered old fellow, is much con-
cerned over his daughter's indisposition.
He cannot find what is wrong with her,
but she seems to be languishing away. He
still treats her like a child, although she
is a young woman, as he does not want her
to grow up and leave him. When she en-
ters, garbed childishly, he presents her
with dolls and toys, and even sings a lul-
laby to her. She remains indifferent, and
in an unguarded moment he asks if some
young coxcomb has gained her affections.
“Yes, papal” she answers at once. The
8
L’AMORE MEDICO 9
old man is vexed and is not improved in
humor when Lisetta, the pert maid, inter-
poses, saying boldly that what Lucinda
needs is a husband. Away he goes in a
rage. Presently a serenade is heard. It
is the voice of Clitandro, a young gallant,
who throws a rose through the window.
Lucinda is so perturbed that she cannot
answer him. Arnolfo returns and solilo-
Quizes about the time when his daughter
will be too old to marry and so will take
care of him, as all daughters should. While
thus musing he falls asleep, and is only
awakened by Lisetta’s outcries. Her mis-
tress is very ill. “A doctor a doctor,
quick!” There is general confusion, and
the act ends with the entrance of four doc-
tors, while Lisetta departs slyly to fetch a
fifth of her own choosing.
ACT II
Salon in Arnolfo’s Home. The four doc-
tors are discovered in learned and solemn
consultation. At first each listens to the
others with deference, but as they fail to
agree the argument becomes heated and
blows are imminent. When Arnolfo enters
10 OPERA SYN OPSES
to learn their verdict they confuse him
with high-sounding Latin words, and end
by demanding big fees—which he pays be-
fore he realizes that they haven’t told him
what to do for his daughter. Lisetta now
ushers in Clitandro, dressed as a physician.
He says that he is a doctor of sick hearts.
Arnolfo retires to an anteroom and watches
uneasily while the new doctor holds the
fair patient’s hand unnecessarily long.
Clitandro finally states that Lucinda’s
malady is mental. She only imagines that
she wants a husband—so the best way to
cure her is to pretend to give her one. He
himself will be the victim, if she will ask
for his hand. This the patient agrees to
do, and Arnolfo, entering into the spirit of
the joke, agrees to bestow half of his prop-
erty on the couple. A notary is called in
to draw up the various contracts, all of
which are supposed by the father to be
bogus. A ceremony is performed, and then
Lisetta ushers in a group of merrymakers
who are in the plot, and who tell the as-
tounded father that the marriage is gen-
uine. He tries to pursue the couple, but
is hemmed in on all sides; while Lisetta
gives him. One of his dolls to console him.
ARIANE ET BARBE BLEUE
(Ariane and Bluebeard.) Dramatic Opera in
Three Acts. Music by Paul Dukas. Book by
Maurice Maeterlinck. After the fairy tale of
Blue Beard. First produced at the Opera
Comique, Paris, May 10, 1907.
SCENE: A Medieval Castle.
TIME: Middle Ages.
C AST
BLUE BEARD (Basso).
ARIANE, his siath wife (Mezzo-Soprano).
NURSE (Contralto).
Blue Beard’s five earlier wives:
SELYSETTE (Mezzo-Soprano).
YGRAINE (Soprano).
MELISANDE (Soprano).
BELLANGERE (Soprano).
ALLADINE (Silent).
Three Peasants, Crowd of Rustics, etc.
11
A R G UMIFNT
The old story of Blue Beard and his
wives has been embellished by Maeterlinck
with touches of mysticism, which are re-
flected in the music of the opera. Ariane,
the determined wife, may be called a fore-
type of the New Woman.
ACT I
Great Hall in Blue Beard’s Castle. De-
spite the ugly reputation of Blue Beard,
he has found a new wife in Ariane. She
has heard that he has done away with five
wives, but cannot believe that he has mur-
dered them; it is her mission to discover
his secret. As the curtain rises, the angry
roar of the crowd outside is heard. They
do not want the Ogre to have another vic-
tim. Unmoved by all this clamor, Ariane
enters with her nurse. She has been en-
trusted with seven keys. Six are of sil-
ver, and the last is of gold. It unlocks the
one forbidden door. The nurse opens one
12
ARIAN E ET BARBE BLEUE 13
after another the six silver locks, and in
each room finds a delightful surprise—
jewels of rare beauty gush out in streams.
But Ariane is not satisfied. Her mission
is to find what is behind the forbidden
door. The nurse begs her to desist, but
she turns the golden lock. The door opens
and they hear the distant groans of wom-
en. Before they can close it, Blue Beard
enters, saying coolly, “You, too !” He
tells her he will yet forgive her if she will
desist, but she defies him. Enraged, he
bids her follow him, but the nurse, hear-
ing the renewed tumult of the crowd out-
side, rushes to the door and admits them.
Blue Beard draws his sword and prepares
to defend himself from their attack, when
Ariane interposes, telling the rioters to
disperse, her husband is doing her no harm.
They fall back before her and she closes
and fastens the door.
ACT II
An Underground Chamber. Still brav-
ing Blue Beard’s anger, Ariane and the
nurse have been left in the vault leading
from the seventh door, but Ariane is un-
14 OPERA SYNOPSES
dismayed; she is determined to rescue her
husband's victims. By the light of the
flickering lamp, carried by the nurse, she
discovers the forms of women lying huddled
upon the floor. They prove to be the five
missing wives, who are still alive, but lead-
ing a wretched existence. Ariane encour-
ages them, and looks about for some avenue
of escape. The lamp goes out, but they see
a faint glow at one end of the chamber.
It proves to be a door leading to the outer
world, which they break through, and the
whole party pass out to liberty.
ACT III
Great Hall in the Castle. The castle and
the grounds are enchanted, so the wives
cannot escape. They wander back into
the great hall and amuse themselves by
dressing up in the finery which they find
lying about in profusion. Ariane is show-
ing them how to regain their lost beauty.
Presently the nurse enters in terror to say
that Blue Beard, who has been absent, is
on his way back to the castle, and that the
villagers are lying in wait for him. It is
as she fears, and although he has a body-
ARIAN E ET BARBE BLEUE 15
guard, they are overcome in the mêlée, and
Blue Beard is wounded. The crowd seize
him, bind him hand and foot, and are about
to throw him into the moat when Ariane
and the other women interpose. She per-
Suades the villagers to bring him into the
hall, stating that she is the one most con.
Cerned and should have the decision as to
his fate. In the end they leave him and
withdraw. Ariane stoops and cuts his
bonds, although the others are fearful.
Then she dresses Blue Beard’s wounds,
which prove slight. He rises and looks
slowly from one to another of the group,
but makes no effort to molest them. Ari-
ane approaches and bids him farewell; her
mission is ended and she is going away.
He tries to detain her, pleading his love,
but she persists in going. The other women
are given an opportunity to accompany her,
but decide to remain with Blue Beard.
A R M ID E
Romantic Opera in Five Acts. Music by Christo-
pher W. Gluck. Book by Quinault, founded
upon Tasso's “Jerusalem Delivered” First pro-
duced at the Académie Royale de Musique, Paris,
September 23, 1777.
ScFNE: Damascus and Environs.
TIME: The First Crusade, 1098 A. D.
C. A. ST
ARMIDE, a sorceress (Soprano).
PHENICE, her friend (Soprano).
SIDONIE, her friend (Soprano).
HIDROAT, King of Damascus (Baritone).
ARONT, his chief of staff (Basso).
RINALDO, Commander of Crusaders (Tenor)
ARTEMIDoR, a Crusader (Tenor).
|UBALDo, a Knight (Baritone).
A DANISH RNIGHT (Tenor).
Demons, Naiads, Knights, Courtiers,
Servants, etc.
17
A R G U M E N T
“Armide" is a legendary episode con-
nected with the Crusade under Godfrey of
Bouillon. His chief officer falls under the
power of a beautiful sorceress. The opera,
recently revived, is one of the oldest now
in repertoire and is considered to be
Glück's masterpiece.
ACT I
The Palace of Armide. The Princess
Armide is famed both for her beauty and
her powers of magic. She has remained
unwed although Hidroat, the King, is
desirous for her to choose a husband. But
she cannot free her mind from the thought
of Rinaldo, the victorious Crusader. At
every new word of his conquests her heart.
is torn by hatred of him as an enemy of
her country, and love of him as a hero.
Tidings are received that the Saracen host
is at last victor in a battle, but this is dis-
proved by a later messenger and the ar-
rival of Aront's army which has again
18
ARMIDE 19
ess---
suffered defeat. All swear vengeance
against the Christian army.
ACT II
An Enchanted Garden. Rinaldo, the
Crusader, while wandering in the desert,
suddenly finds himself in an enchanted
garden, conjured up by the wiles of
Armide. Naiads rise up before him and
sing him to sleep. While reclining under
a bower of roses, insensible, the sorceress
advances toward him with drawn dagger,
At last she has her country’s enemy
within her power. But the sight of the
man of her dreams once more kindles love
in her heart; the sorceress is lost in the
woman, and she clasps him in her arms.
ACT III
The Palace of Armide. Again in her
palace, Armide is torn among the mingled
feelings of love, hate, pride, and remorse.
Instead of striking her enemy she has
yielded to him. She summons before her
the Demon of Hate, who warns her that
for this indecision Rinaldo will yet escape
20 . OPERA SYNOPSES
her. Instead of nerving her fury, this only
redoubles her love, and the Demon in
anger disappears.
ACT IV
The Enchanted Garden. Rinaldo has
continued under the power of the sorceress.
The Crusaders, alarmed by his absence,
send Ubaldo and a Danish knight in
search of him. At their approach Armide
bars their path, but is compelled to fall
back powerless before a consecrated sceptre
borne by Ubaldo. Other visions appear
at Armide's command but are dissipated
by the sceptre. -
ACT V
The Palace (sometimes combined with
the Garden scene). Armide conveys her
lover to the palace and seeks to entertain
him by ballets and tableaux. He forgets
his past life while subject to her wiles.
She leaves the room for an interval, and
Ubaldo and the Danish knight enter,
carrying the sceptre and a highly-polished
shield which when held up before Rinaldo
ARMIDE 21
reveals to him the warrior he formerly was.
Roused to action by this vision, he grasps
his sword just as Armide returns. She
implores him to remain with her. When
he refuses and departs with the Crusaders
she sets fire to her palace and perishes in
the flames.
THE BARBER OF SEVILLE
(Il Barbiere di Siviglia). Comic Opera in Two
Acts. Music by Gioacchini A. Rossini. Book by
Sterbini, founded on a comedy by Beaumarchais.
First produced at the Argentina. Theatre, Rome,
February 5, 1816.
ScENE: Seville.
TIME: The 17th Century.
C. A ST
Count ALMAviv.A (Tenor).
FIGARO, the barber of Seville (Baritone).
DocTOR BARTOLO, a physician (Basso).
BASILIo, a music teacher (Basso).
Rosin A, a ward of Bartolo (Soprano).
BERTHA, a duenna (Contralto).
FiorELLO, the Count's servant (Baritone).
AMBRosio, the doctor's servant.
Musicians, Citizens, Guards, etc.
23
A. R. G. U M E N T
“The Barber of Seville” is a light opera
of more than usual interest. It was written
by Rossini at top speed in less than three
weeks, but is the only one of his works
which has persisted continuously in reper-
tory. While it has not the grandeur of his
“William Tell” it is a little masterpiece of
its kind. -
ACT I
Scene 1. A street in Seville. Count
Almaviva, who has fallen in love with
Rosina, the ward of Dr. Bartolo, goes to
sing a serenade beneath her balcony. While
there Figaro the town barber, a droll self-
important fellow, comes along and the
Count prevails upon him to aid in this ad-
venture. At this moment Rosina emerges
upon the balcony and gives the Count to
understand that his attentions are wel-
come, but that her guardian is a jealous
tyrant who is trying to seize her property.
When she disappears the barber suggests
that the Count disguise himself as a
24
THE BARBER OF SEVILLE 25
drunken Soldier and thus gain entrance
into the house.
Scene 2. A Room in Bartolo's House.
While Rosina is grumbling at her imprison-
ment and promising herself to lead her
guardian a merry dance, Bartolo enters.
He himself wishes to marry his ward, and
invokes the aid of Basilio, the music-
teacher. While the two men go to draw up
a contract, Figaro enters and Rosina entrusts
him with a letter to Lindoro (which she
supposes to be the Count’s name). The
doctor returns and accuses her of writing
letters. At this point the Count staggers
in disguised as a drunken soldier. An
amusing series of incidents follow among
all the principals including the wily barber.
An officer enters and arrests the Count for
disorderly conduct but on privately learn-
ing his true rank releases him and arrests
the doctor instead.
ACT II
Music Room in Bartolo's House. Count
Almaviva returns to the doctor's home, this
time disguised as a music-master, sent in
place of Basilio who is supposed to be sick.
26 OPERA. SYNOPSES
Bartolo views him with suspicion and, to
prevent his being alone with Rosina, orders
Figaro to shave him (Bartolo) in the same
room. Rosina enters and the strange com-
bination proceeds amusingly. At this
juncture Basilio appears but is bribed to
pretend that he is really ill. During the
music lesson the two lovers arrange to elope
at midnight, being aided by the tricks of
the barber. But Bartolo finally suspects
a plot and rushes out to complete the mar-
riage contract in favor of himself. The
others also hasten away, and a violent
thunderstorm breaks. At its conclusion
Basilio brings the notary with the marriage
contract, but the Count and Figaro inter-
cept them and have the document changed
in the Count’s favor. The two lovers are
united and the wrath of Bartolo is appeased
by a present of Rosina's coveted property.
T H E B A R T E R E D B R ID E
(Die Verkaufte Braut). A Light Opera in Three
Acts. Music by Friedrich Smetana. Book by
FC. Sabina. First produced at Prague, in 1866.
ScFNE: A Bohemian Town.
TIME: The Present.
C AST
RRUSCHINA, a peasant (Baritone).
KATINKA, his wife (Soprano).
MARIA, their daughter (Soprano).
MICHA, a landowner (Basso).
AGNES, his wife (Contralto).
WENZEL, their son (Tenor).
HANs, son of Micha by a former marriage
(Tenor).
EEzul, a marriage broker (Basso).
SPRINGER, a theatrical manager (Tenor).
ESMERALDA, a dancer.
MUFF, a comedian.
Villagers, Players.
27
A R G U M E N T
“The Bartered Bride” is a village idyll
which depicts Bohemian customs and life
with simplicity yet with dramatic force.
ACT I
Village square and Inn. A spring festival
is being celebrated and all is joyous. Every
heart is merry save only that of Maria, the
daughter of Kruschina, a well-to-do peas-
ant, for on this day a suitor chosen by her
parents and unknown to her is to claim her
hand. She loves Hans, who is poor and
unknown. Her parents now enter with
Kezul, the village marriage-broker, who has
arranged the match with Wenzel, son of the
rich farmer Micha. When they tell Maria
of the match she objects, and Kezul learns
that it is on account of Hans.
ACT II
A Room at the Inn. To further the
marriage, Wenzel, the awkward stammer-
ing bride-groom-to-be is brought face to
28
THE BARTERED BRIDE 29
sºm-ºsmºsºme
face with Maria but does not know who she
is. She worms his secret from him and per-
suades him to look elsewhere for a sweet-
heart. Meanwhile Kezul has been working
upon Hans and finally prevails upon him to
forego all claim upon Maria, “in favor of
Micha's son,” by bribing him with three
hundred guilders. All present turn from
him in disgust as he coolly signs away his
prospective bride and pockets the money.
ACT III
The Village Square. A traveling show-
man's troupe is performing. Wenzel
especially is delighted with the perform-
ance, on account of a Spanish dancer,
Esmeralda. The manager engages the lad
to take the part of a dancing bear, and
promises him the hand of Esmeralda. At
this moment his parents approach with the
marriage papers but he refuses to sign them
and runs away. Meanwhile Maria is in
tears over the action of her lover, Hans, but
will not make another choice. Hans now
reappears upon the scene, still without
showing any remorse. He repeats that she
shall wed with “Micha’s son,” as the docu-
30 OPERA. SYNOPSES
ment reads, and finally discloses himself as
the long-lost son of Micha by a former
marriage. His stepmother is angry over
the trick but is later appeased; the bride
is reconciled to her “sale,” and only Kezul
retires crestfallen.
LA B O Hi, ME
(The Bohemians). Romantic Opera in Four Acts.
Music by Giacomo Puccini. Book by Giacosa
and Illica, after Henry Murger’s “Vie de Bo-
hème.” First produced at the Teatro Regio,
Turin, February 1, 1896.
ScFNE: Paris.
TIME: 1830.
C AST
RUDOLPH, a poet (Tenor).
SchAUNARD, a musician (Baritone).
MARCEL, a painter (Baritone).
CoLLINE, a philosopher (Basso).
BENOIT, a landlord (Basso).
MIMI, a flower girl (Soprano).
MUSETTA, a grisette (Soprano).
PARPIGNOL, a toy vender (Tenor).
ALCINDORO, a wealthy Parisian (Basso).
Sergeant, Guards, Grisettes, Students,
Children, Waiters, Citizens.
31
A R G U M E N T
“La Bohème" is a picture of happy-go-
lucky artist life in the Latin Quarter of
Paris, with its lights and shadows, comedies
and tragedies.
ACT I
A Garret occupied by Four Bohemians.
Rudolph, a poet, Schaunard, a musician,
Marcel, a painter, and Colline, a dreamer,
live together in a Parisian attic in a state of
chronic poverty, yet in perfect harmony
and good fellowship. The poet and the
painter are discovered, when the curtain
rises, sitting in the bare and comfortless
room both cold and hungry. They feed one
of Rudolph's manuscripts to the stove in
the effort to extract a little warmth. Enter
Colline also to warm up, and he is followed
by a boy bringing in fuel and materials for
a feast. While they are overjoyed at this
windfall, Schaunard arrives with a wonder-
ful tale of how he has lined his pockets and
thus can afford to give the spread. All fall
32
LA BOHEME 33
to with gusto, but at this moment Benoit
the landlord arrives seeking to collect his
long-overdue rent. They ply him with
wine until he begins to tell libertine stories
when they pretend to be greatly shocked
and thrust him out of the door. The rent
money is divided for a further carouse in
the Latin Quarter. Rudolph alone remains
under a plea that he wants to finish some
writing. Presently a knock is heard. It is
Mimi, a pretty neighbor of theirs, who
comes to ask for a light for her candle. She
departs but soon returns saying that she
has dropped her key. Rudolph aids her to
look for it and both candles are extin-
guished. The poet finds and pockets the
key. They relate to each other their varied
experiences, and decide to cast their lots
together. They depart to join the other
Bohemians, singing “Love Alone.”
ACT II
A Public Square in the Latin Quarter.
The four friends are spending Schaunard's
money right and left. Rudolph buys Mimi
a hat, and all seat themselves at a café
table and order lavishly. While they are
34 OPERA SYNOPSES
dining, Musetta, an old flame of Marcel’s,
enters with a wealthy admirer, Alcindoro.
Musetta no sooner sees Marcel than she
tries in every way to attract his attention,
and also to get rid of her aged suitor. She
finally sends the latter out to buy her a new
pair of shoes, under a pretext that her old
ones hurt her feet, and then rushes over and
embraces Marcel. The Bohemians find
that they have spent all their money and
cannot pay the dinner bill, but Musetta
tells them not to worry, that she will add it
to her own and leave it for Alcindoro to pay.
All disperse as a party of guards comes by,
and Alcindoro upon returning finds a bill
of such huge proportions that he falls in a
heap on his chair,
ACT III
At a Gate of Customs. It is still winter,
and the custom’s officers examine the pass-
ports of all who enter the city. Mimi who
is suffering from consumption comes to
the gate to ask for Marcel who is doing
some work hard by. When he appears she
tells him that she is miserable as she cannot
live with Rudolph and also cannot live
LA BOHE ME 35
without him. They have quarreled. Mar-
cel goes to summon Rudolph, and Mimi
hides behind a tree. The poet tells his
friend why he has left Mimi. She coughs
and reveals her presence, and he takes the
sick girl in his arms. Meanwhile Marcel
becomes jealous of Musetta, whom he
accuses of flirting in the inn.
ACT IV
The Garret as in First Act. Marcel and
Rudolph are at work when the other two
Bohemians arrive with materials for a
scanty dinner. They make merry, how-
ever, over the repast, pretending that it is
a banquet. Musetta comes in, saying that
Mimi is extremely ill. All bustle to help
the invalid. They place her upon a cot
and hasten out to pawn their clothing if
necessary to buy her food and medicines.
Rudolph alone remains and the two
lovers are again reconciled and resolve
never to part thereafter. The others
return bringing various things, but Mimi
is beyond aid. She expires while Rudolph
kneels weeping by her bed.
T H E B O H E M I A N G IF. L.
Romantic Opera in Three Acts. Music by Michael
William Balfe. Book by Alfred Bunn. First
produced at the Drury Lane Theatre, London,
November 27, 1843.
ScENE: Presburg and Vicinity.
TIME: 18th Century.
C A ST
Count ARNHEIM, Governor of Presburg
(Baritone).
THADDEUs, a Polish eacile (Tenor).
FLORESTEIN, the Count's nephew (Tenor).
DEVILSHOOF, chief of the gipsies (Basso).
CAPTAIN OF THE GUARD (Basso).
ARLINE, the Count's daughter (Soprano).
BUDA, her nurse (Soprano).
THE GIPsy QUEEN (Soprano).
Gipsies, Huntsmen, Officers, Guests.
37
A R G U M E N Tº
“The Bohemian Girl” is the romantic
story of a high-born child kidnapped by
the gipsies, whose after life is an inter-
mingling of court and rustic environment.
It has remained one of the most popular
of the lighter operas.
ACT I
Count Arnheim’s Estate. A group of
huntsmen await the coming of their
master the Count, who is going upon a
chase. He appears leading by the hand
his little daughter, Arline, to whom he
bids farewell, as the hunters set forth.
After they have gone and Arline's nurse
has taken her away, Thaddeus, a Polish
fugitive, rushes in seeking to escape the
Austrian soldiers. A gipsy band next
comes upon the scene, headed by Devils-
hoof, who induces the exile to join them.
His belongings are taken away from him
and he is given a ragged gipsy dress which,
however, serves him as a disguise. Flor-
2S
THE BOHEMIAN GIRL 39
estein, the Count's nephew, now rushes in,
greatly excited, saying that Arline has
been attacked by a vicious stag. Thaddeus
seizes a rifle, hastens after the hunters,
and kills the animal. In gratitude, the
Count asks him to dine with the huntsmen,
but at the banquet Thaddeus refuses to
drink a toast to the emperor. The soldiers
are ready to lay violent hands upon him,
when Devilshoof interferes in his behalf.
The latter is imprisoned for his temerity
but soon escapes and is seen carrying off
Arline, across a gorge in the mountains.
ACT II
Scene 1. A Gipsy Camp in Presburg.
Twelve years have elapsed since the kid-
napping of the Count's daughter. The
child has grown up into a beautiful young
woman, and her devoted guard is Thad-
deus. The gipsies have reared the girl as
one of their band. While Arline is sleeping
Florestein, who comes drunken upon the
scene, is robbed of a medallion. Arline
now awakens and tells Thaddeus of her
dream “of marble halls” of her childhood.
The two declare their mutual love, and
40 OPERA. SYNOPSES
their hands are joined in the gipsy rite of
betrothal by the Queen, who, however, is
jealous and vows vengeance.
Scene 2. Another Street. The gipsies
led by Arline go singing down the street on
the way to a great fair.
Scene 3. The Fair. A crowd of sight-
seers and amusement-seekers is present.
Florestein and the Count appear, and the
former attempts some familiarities with
Arline who resents them. The gipsy Queen
then slips the stolen medallion into the
girl’s possession so that she may be accused
of robbing him. The plan succeeds and
Arline is arrested.
Scene 4. Count Arnheim’s Apartments.
While the Count is gazing at the portrait
of his long-lost daughter, the supposed
gipsy girl is brought before him charged
with the theft of the medallion. She pleads
her innocence, and her story and a scar
upon her arm enable the Count to recognize
her as his daughter, and he receives her
with open arms.
ACT III
Hall in the Count's Castle. Arline is
seen surrounded by every luxury, but her
THE BOHEMIAN GIRL 41
heart is sad. She remembers the old free
life and her love for Thaddeus. He also
is longing for her, and through the boldness
of Devilshoof comes to visit her, but before
the two men can retreat, guests appear and
they are forced to hide themselves. When
the hall is filled with guests, the gipsy
Queen appears and endeavors to throw
shame upon Arline by announcing that
she has concealed Thaddeus. The latter
comes forward to defend the girl's name,
and discloses his own identity as a Polish
noble. The Count finally relents and
agrees to his suit for Arline's hand. The
gipsy Queen in a rage attempts to shoot
Thaddeus, but as Devilshoof tries to wrest
the rifle from her hands, kills herself
instead.
BORIS GODOUNOW
A Russian National Musical Drama, in a Pro-
logue and Four Acts. Book and Music by
Modeste Moussorgsky. After the historical
drama by Pushkin. First produced in St. Pe-
tersburg (Petrograd), January 24, 1874.
SCENE: Russia.
TIME: 1598-1605.
CAST
BoRIs GoDounow, the Czar (Baritone).
FEoDoR, his son (Mezzo-Soprano).
XENIA, his daughter (Soprano).
NURSE (Contralto).
MARINA, a courtesan (Mezzo-Soprano).
PRINCE SCHOUISKY (Tenor). .
ToHELKALOFF, Secretary of the Duma (Baritone).
PIMEN, a monk (Basso).
GREGORY, the pretended Dimitri (Tenor).
WARLAAM, a vagabond (Basso).
MISSAIL, a vagabond (Tenor).
A SIMPLETON (Tenor).
PolicE OFFICER (Basso).
CourT OFFICER (Tenor).
INNKEEPER (Tenor).
LoviTZRY, a Jesuit (Basso).
To HERNISKowSKY, a Jesuit (Basso).
Citizens, Courtiers, Officers, Monks, etc.
43
A R G UMENT
The theme of this opera is based upon an
historical episode, and may be regarded as
an epic of Russian life. It involves char-
acters from the highest to the lowest, and
the chief figure, the unhappy Czar, is in a
sense a lay figure around whom the action
revolves.
PROLOGUE
Scene 1. Courtyard of a Monastery. A
mob of people gather about a monastery,
in which Boris Godounow has taken refuge,
and clamor for him to become their Czar.
Their clamor, however, is instigated by
police officers, as it is felt that Boris is a
usurper who has been guilty of the murder
of Dimitri, the Czarevitch.
Scene 2. Square in front of the Krem-
lin. Boris has yielded to the carefully
staged demand on the part of the people,
and is publicly crowned amid gorgeous
ceremonies. )
44
|BORIS GOD OUNOW 45
ACT I
Scene 1. Interior of a Monastery. The
aged monk, Pimen, is engaged in writing
the history of the time. He has come to
the part dealing with the death of Dimitri
and the accession of Boris, when Gregory,
a novice, awakens from a sleep, in the cor-
ner of the cell, and learns this tragic story.
As there seems to be doubt that the prince
was actually slain, Gregory inwardly re-
solves to proclaim himself the lost heir to
the throne.
Scene 2. An Inn on the Russian Border.
While the hostess of an inn goes singing
about her work, a fugitive arrives in haste
and demands shelter. It is Gregory, who
has escaped from the monastery, and is
trying to get over the border, in order to
further his plot against the throne. While
two monks who have accompanied him are
drinking, the police arrive in search of the
pretender. They hand a paper to Gregory
and ask him to read it for them. He be-
gins it and finds that it is a description of
himself, so in the reading he changes it to
describe one of the other monks. The lat-
ter is seized by the officers, but gets pos-
46 OPERA. SYN OPSES
session of the paper and finds that it ap-
plies to Gregory. He, however, jumps
through the window and escapes.
ACT II "
The Czar's Palace. Xenia, the daughter
of Boris, sorrows for the death of her lover,
Dimitri. Her nurse sings a song to com-
fort her, and her little brother, Feodor, also
sings a folk song. Boris enters and greets
his children. A messenger announces the
arrival of Prince Schouisky, who is reported
to be in league with the Czar's enemies.
When the Prince enters, Boris upbraids
him for his duplicity, but the Prince pro-
tests that he is loyal. He has seen the
pretended Dimitri, in order to learn what
manner of man he is. At the mention of
Dimitri’s name, Boris changes color, and
begins to ply him with questions. Finally
he dismisses him in order to hide his own
terror-stricken condition.
ACT III
Marina's Apartments. Marina, an ad-
venturess in the employ of the Jesuits,
BORIS GO DOUNOW 47
seeks to entangle Gregory in her net. She
knows his true story, but is willing to aid
in his plot provided he will grant her party
certain rights. Gregory meets her in her
garden, and the two exchange vows of love.
ACT IV
Scene 1. A Street. A crowd rushes
through the streets, clamoring as loudly for
the supposed Dimitri as they had previ-
ously shouted for Boris. Gregory arrives
and is greeted as the true Czar, and the
mob rushes to storm the palace.
Scene 2. Hall of the Duma. While the
Duma is in session, Prince Schouisky ar-
rives and states that he believes Czar Boris
to be demented. He is interrupted by the
entrance of Boris, who violently denounces
his enemies and asserts his own innocence.
The Prince tries to calm him, by asserting
that the monk Pimen is at hand, with a
written record of the events leading up to
his accession. Pimen enters and tells of a
supposed miracle which took place at the
grave of Dimitri. The latter is undoubtedly
dead and has become a saint. Boris again
grows violent, giving evidence of insanity.
48 OPERA. SYNOPSES
He restrains himself with an effort, and
summons his son Feodor, whom he pro-
claims his heir. The pretender, however,
has already been crowned by the multitude,
and the sounds of rejoicing are heard with-
out. Boris, in a fit of terror and remorse,
falls dead.
CARM EN
Romantic Opera in Four Acts. Music by Georges
Bizet. Book by Meilhac and Halévy, after the
novel by Prosper Merimée. First produced at
the Opera Comique, Paris, March 3, 1875.
SCENE: Seville.
TIME: Early part of 19th Century.
C AST
ZUNIGA, a lieutenant (Basso).
Josí, a sergeant (Tenor).
MoRALEs, a sergeant (Basso).
EscAMILLO, a bull-fighter (Basso).
DANCAIRO, a smuggler (Tenor).
REMENDADO, a Smuggler (Baritone).
CARMEN, a gipsy girl (Soprano).
FRASQUITA, a gipsy (Soprano).
MERCEDES, a gipsy (Contralto).
MICHAELA, a peasant girl (Soprano).
Gipsies, Peasants, Citizens, Cigarette
Girls, Soldiers.
49
A R G U M E N T
“Carmen’’ is a colorful opera, founded
upon Merimée's brilliant romance depict-
ing Spanish gipsy and peasant life. The
central figure is a heartless coquette who
lives only for the passion of the passing
moment.
ACT I
A City Square. A troop of soldiers under
the command of Don José, together with
town idlers throng the open square during
the noon hour. Especially are they inter-
ested in the pretty girls who work in a
neighboring cigarette factory. Only the
officer, Don José, is indifferent to these
coquettes as they jest with the men.
Seeing his indifference, Carmen, the gipsy
girl and the greatest flirt of them all,
practices her wiles upon him and flings
him a red rose. Don José's blood is finally
fired, but the girls return to their work, and
Michaela, a gentle peasant girl from his
home village, arrives with a message for
him. The officer is about to throw the
50
CARMEN 51
gipsy's rose away when a commotion is
heard within the factory and the girls rush
out. Carmen has quarreled with another
girl and stabbed her. The assailant is
brought forward and pinioned to prevent
further mischief, but she so bewitches the
young officer that he connives at her
escape.
ACT II
A Tavern Room. Carmen has returned
to her nomadic life and we find her with
her companions singing and carousing in a
road house. The famous bull-fighter,
Escamillo, enters, and Carmen is greatly
fascinated by him and also makes him
aware of her charms. The inn is closed
for the evening, but Carmen and two of
the gipsy men who are smugglers await the
arrival of José. The latter is deeply in the
girl's toils, and when he appears she urges
him to desert the army and join the gipsy
band. At first he refuses, but when a
superior officer appears and orders him
Out, swords are drawn. Carmen summons
the gipsies, who overpower the officer, and
all including José escape to the mountains.
52 OPERA SYNOPSES
ACT III
Mountain Retreat of the Smugglers.
The smugglers have been busy and suc-
cessful, aided by José who is still wildly in
love with Carmen. She, however, is grow-
ing cold to him. He sees this and is deeply
dejected by it and at the thought of his
perfidy. Carmen's latest conquest, Esca-
millo, now appears seeking her, and José
wildly jealous would spring at his throat
but for the intervention of the gipsies.
The faithful Michaela again finds José
and beseeches him to hasten with her to
the bedside of his dying mother. After a
struggle between duty and desire, duty
prevails and he departs with her.
ACT IV
Exterior of the Bull-Fighting Arena. All
Seville is hastening to one of the great
fights of the season, where their favorite
toreador, Escamillo, is to appear. Carmen
has accompanied him, despite the warn-
ings of her friends that the furious José is
seeking her. Amid great pomp Escamillo
enters the arena, but before she can follow
CARMEN 53
him, her discarded lover appears. At first
he pleads with her to return to him. She
refuses, and the enraged José stabs her to
the heart just as the victorious fighter
returns from the arena.
CAVALILE RIA RUSTIC A.N.A
(Rustic Chivalry). Dramatic Opera in One Act.
Music by Pietro Mascagni. Book by Targioni-
Tozzetti and Menasci, after the story by Gio-
vanni Verga. First produced at the Costanzi
Theatre, Rome, May 20, 1890.
ScENE: A village of Sicily.
TIME: The Present.
C. A. ST
TURIDDU, a farmer (Tenor).
LUCIA, his mother (Contralto).
ALFIo, a carter (Baritone).
LOLA, his wife (Contralto).
SANTUZZA, a peasant girl (Soprano).
Peasant Neighbors and Villagers.
55
A R G U M E N T
The theme of “Rustic Chivalry’ is well
described by its title and still better by the
impassioned music which follows closely
the simple story to its tragic close.
The scene is an open village square, at
one side of which is a church. Before the
curtain rises, Turiddu, the young farmer,
sings of his old love, Lola, “lovely as the
spring's bright blooms.” Turiddu has
been in love with Lola, but while he was
absent in army service, she marries Alfio,
a carter. Turiddu turns for consolation to
Santuzza, a peasant girl who loves him not
wisely but too well. Becoming tired of
this easy conquest, he turns again to Lola
despite the fact that she is wedded. This
is the state of affairs as the curtain rises on
a peaceful village scene. It is Easter, and
the devout peasants are going to church.
Santuzza meets Lucia, her lover's mother,
outside the church and gives her some
inkling of the state of affairs. Next the
faithless Turiddu appears with Lola, and
spurns the weeping Santuzza. Driven to
56
CA VALLERIA RUSTICANA 57
—e
despair she talls Alfio of his wife's con-
duct. The carter departs threatening ven-
geance. During the interval while the
worshippers are in the church (Intermezzo)
the stage remains empty, but the curtain
does not fall.
Church services over, the merry vil-
lagers throng the square, meeting and
greeting. Cups are passed and Turiddu
sings a rollicking drinking song. Alfio re-
turns at this moment and is invited to
drink. Instead he refuses and challenges
Turiddu to fight, giving this challenge in
the Sicilian form of biting his enemy’s ear.
The two retire, after Turiddu has bidden
his mother farewell and asked her to care
for the wronged Santuzza, and fight their
duel behind the scenes. A short, terrible
pause ensues, followed by running mes-
sengers, and a cry from the women, “Tu-
riddu has been slain l’’
THE CHIMES OF NORMANDY
(Les Cloches de Corneville). Light Opera in Three
Acts. Music by Robert Jean Planquette. Book
by Clairville and Gabet. First produced at the
Folies Dramatiques, Paris, April 19, 1877.
SCENE: Normandy
TIME: Reign of Louis XV.
C. A ST
HENRI, Marquis of Villeroi (Baritone).
GASPARD, a miser (Basso).
GERMAINE, his niece (Soprano).
SERPOLETTE, a village-girl (Contralto).
JEAN GRENICHEUx, a fisherman (Tenor).
THE SHERIFF (Basso).
Villagers, Fishers, Servants, etc.
59
A R G U M E N T
“The Chimes of Normandy” is a tune-
ful light opera dealing with peasant and
fisher life in an old village of Normandy.
Act I
Fair Day in Corneville. Henri, the old
Marquis of Villeroi, who has long been
absent from his home, is returning, and the
villagers are celebrating the event. It is
fdir day and the village gossips are busy
with their tales. They are especially
severe with Serpolette, the village madcap,
who proves, however, that she is abun-
dantly able to take care of herself with her
sharp tongue. Another personage who
comes in for a full share of criticism, is the
old miser Gaspard, reputed to be very rich,
but living a pinched life and dealing
harshly with his ward, Germaine. He is
determined that she shall marry the
Sheriff, while she says that if she weds at
all, it should be with Jean Grenicheux,
a young fisherman, in gratitude for having
saved her life. To escape the miser's plans
60
THE CHIMES OF NORMANDY 61
both she and Jean, together with Serpo-
lette, decide to enter the service of the
marquis.
ACT II
The Castle of Villeroi. For many years,
ever since the Marquis first went away, the
old castle has been supposedly haunted.
It is now an object of Superstitious dread
to the villagers. But the Marquis resolves
to restore it to its former beauty, and
orders his servants to search it thoroughly.
They discover the miser Gaspard, who has
employed this means of concealing his
gold and preventing others from intruding
while gloating over his treasures. When he
is brought to light, the shame of the dis-
covery and fear of losing his wealth drive
him raving mad. *
ACT III
Banquet Hall of the Castle. The castle
has been entirely restored and the Marquis
gives a great entertainment to all the vil-
lagers. The reigning belle of the occasion is
Serpolette, some papers having been found
which indicate that she is the missing
62 OPERA. SYNOPSES
heiress to the miser's gold. Jean is now
her faithful satellite, while the Marquis
and Germaine feel strongly drawn to each
other, although Germaine tries to repulse
him on the ground that she is now only a
servant. The Marquis pays no heed to .
this, however, and Gaspard, who has been
wandering around in a demented state,
finally recovers his reason and proves that
Germaine is the rightful heiress after all.
No bar now remains to the happiness of
the lovers and Serpolette's pranks are for-
given.
THE CRICKET ON THE
HEARTH
(Das Heimchen am Herd.) Light Opera in Three
Acts. Music by Karl Goldmark. Book by A. M.
Willner. After the story by Charles Dickens.
First produced at Berlin, June 27, 1896.
SCENE: . England.
TIME: Early part of Nineteenth Century.
CAST
JoBN, a mail-carrier (Baritone).
DOT, his wife (Soprano).
TACKLETON, a manufacturer of dolls (Basso).
MAY, a girl in his employ (Mezzo-Soprano).
Edward PLUMMER, her suitor (Tenor).
THE CRICKET, a guardian spirit (Soprano).
Chorus of Cricket Elves, Villagers, etc.
63
A R GUIMENT
The well-known story by Dickens has
been followed in this opera.
ACT I
Room in John’s House. John, the mail-
carrier, and his wife Dot, live modestly but
contentedly. Only one thing is lacking to
make their home complete, and that is the
advent of a child. A chorus of friendly
crickets is heard, followed by a song from
their especial guardian of the house. To
this sweet singer Dot confides her secret
of the looked-for child. Dot’s friend, May,
enters, bemoaning her fate that she is com-
pelled to marry her rich old employer,
Tackleton, who runs a doll factory. May
has waited in vain for seven years for the
return of her lover, Edward Plummer, and
now feels that she must marry Tackleton
to please her foster father. Not long after
she departs, the horn of the postman is
heard, and John enters, accompanied by a
sailor. None recognizes in this bearded
stranger the long-lost Edward.
64
THE CRICKET ON THE HEARTH 65
ACT II
A Garden. The time is approaching for
the wedding of May and Tackleton. They
take supper with John and Dot, the mys-
terious stranger making a fifth. The
sailor, however, is a disturbing element.
He does not seem to like the attentions of
Tackleton toward May, and endeavors to
awaken her interest—with considerable suc-
cess—by showing her a case of jewels he
has brought from foreign shores. He wants
her to accept some of them, but Tackleton
will not agree. Thereupon, the stranger
bestows them upon Dot, who accepts them
with much roguish glee. Her own husband
becomes jealous, especially when Dot per-
sists in teasing him. The Cricket on the
Hearth soothes him. He falls asleep and
dreams that the baby boy he has longed
for is a reality, and that the child is already
driving the postman’s cart.
ACT III
Room in John’s House. It is the day of
May's wedding to Tackleton. She is more
66 OPERA SYNOPSES
than ever depressed. She continually
thinks of her absent lover, and the arrival
of this sailor has emphasized her longings.
Just at this moment she hears him singing
outside her cottage window an old song
that Edward used to sing. Musing aloud,
she says that she will refuse Tackleton, and
remain true to her old love. Overhearing
this, Edward rushes into the room and re-
veals his identity. They are reunited. A
few moments later Tackleton drives up in
his carriage, to take May to the church,
and is in a great rage when he learns who
the stranger is. His anger is redoubled as
Edward calmly appropriates both his
bride and his carriage, while the villagers
crowd around and prevent his following.
May and Edward are married, and the
concluding tableau reveals four happy
people, for John has long since learned
why his faithful Dot favored the stranger,
and also that his own hopes for a little
newcomer in his home will soon be real-
ized.
THE DAMNATION OF FAUST
Dramatic Opera in Four Acts. Music by Hector
Berlioz. Book by Berlioz, Gerard and Gandon-
niere. First produced in Paris, without costumes,
in 1846.
SCENE: A German Village.
TIME: The 18th Century.
C A ST
FAUST, a philosopher (Tenor).
MEPHISTOPHELES, the tempter (Basso).
BRANDER, a convivial friend (Basso).
MARGUERITE, a peasant girl (Soprano).
Peasants, Troopers, Roysterers, Students,
Sylphs, Fiends, Angels.
A R G U M E N T
This version of the Faust legend is re-
markable on its own account, both for its
dramatic intensity and the passion of its
music.
ACT I
The Open Fields. Faust, a learned phil-
Osopher, wanders out into the sunrise, tired
of books for the nonce and pondering the
mysteries of Nature. He observes a group
of peasants who take great delight in a
parade of marching soldiers, but he only
wonders at their enthusiasm.
ACT II
Faust’s Study. The philosopher returns
to his books more than ever weary of them
and of all the world. Somehow with all
his learning his heart is empty and un-
satisfied. He resolves to end it all with a
dose of poison, but the sound of Easter
music stays his hand. Now comes the
fiend, Mephistopheles, to tempt him with
the pleasures of the world, and Faust
68
THE DAMNATION OF FAUST 69
yields and goes with him to a tavern. The
coarse songs and jests of the roysterers
soon disgust him, however, and Mephis-
topheles takes him to a beautiful garden
where he is lulled to sleep by soft music
and dreams of a charming peasant girl,
Marguerite. Sylphs dance about him as
he awakes, filled with desire to find the
girl of his dreams. Soldiers and students
pass by singing their rollicking songs, and
Faust feels the love of the world once more
surging through his veins.
ACT III
Marguerite's Chamber. The fiend con-
ducts Faust to the home of his unknown
sweetheart, and Faust conceals himself in
her room. Marguerite also has dreamed of
Faust and enters the room musing upon
her vision while she braids her hair. Mean-
while, Mephistopheles sings a mocking
Song without. Faust reveals himself to
the startled girl and pleads his suit So
ardently that she is finally persuaded to
give herself to him. Their love scene is
interrupted by the fiend who comes to
warn them that Marguerite's mother and
70 OPERA. SYNOPSES
friends are near at hand. Faust is dragged
away unseen by the exultant demon, while
the villagers threaten the defenceless girl.
ACT IV
Scene 1. Marguerite's Chamber. Mar-
guerite sits alone and grief-stricken, sor-
rowing for her own sin, for her mother's
death, and for the absent Faust. Soldiers
march past singing.
Scene 2. Faust’s Study. Faust also is
yearning for Marguerite, and when the
fiend appears and tells him he can save the
girl only by signing a paper, Faust con-
sents. Marguerite is in prison condemned
to death for the murder of her mother, to
whom Mephistopheles had given too
heavy a sleeping potion. Tho paper, how-
ever, does not free Marguerite but instead
consigns Faust’s soul to perdition. He
goes with the fiend upon a wild night ride
on two black chargers which at last convoy
them to Holl, where a group of demons
exult over his downfall.
Epilogue. The Prison Cell. The un-
happy and penitent Marguerite is saved
and ascends with angels to Heaven.
D O N G I O W A N N I
(Or, The Marble Guest). Opera Bouffe in Two
Acts. Music by Johann Wolfgang A. Mozart.
Book by Da Ponte, after a Spanish tale by Tirso
de Molina. First produced at Prague, October
29, 1787.
SCENE: Seville.
TIME: The 17th Century.
C A S T
DON GIov ANNI (JUAN), a Castilian dandy
(Baritone). 3.
DoN PEDRO, the Commandant (Bai ‘itone).
ANNA, his daughter (Soprano). {
ELVIRA, a former Sweetheart of J wan
(Soprano).
DON OCTAvio, the fiancé of Anna (Tenor, ).
LEPORELLO, servant of Juan (Basso)
MASETTO, a peasant (Basso).
ZERLINA, his betrothed (Soprano).
Spanish Nobles, Ladies, Guests, Guards,
Servants.
A R G U M E N T
Among the many operas on the subject
of Don Juan and his amours, none has the
merit or the continuing popularity of this
of Mozart.
ACT I
Scene 1. The Garden of the Com-
mandant's Palace. Don Juan, a notorious
libertine of Seville, goes by night to enter
the apartments of Don Pedro's daughter,
Anna, who is betrothed to Octavio. As
Soon as she discovers the intruder's pres–
ence she cries for help, and her father
hastens to her aid. He is mortally wounded
by Don 'Juan, who escapes in the darkness
Withouf being recognized.
Scenue 2. Public Square in Front of
Don Juan's Palace. Returning from this
blº body adventure, Don Juan and his ser-
V ant Leporello calmly discuss new con-
quests. While they consult, a former
discarded sweetheart, Elvira, appears and
upbraids Don Juan for his cruelty. He
retreats, leaving the girl with his servant,
72
DON GIO WANNI
7
3
who reveals to her the amazing list of his
master's villainies. +
Don Juan's next piece of rascality is an
attempt to seduce Zerlina, a peasant girl,
on the very eve of her wedding with
Masetto, a villager. He is foiled, however,
by the entrance of Elvira, who shows the
girl her danger. Meanwhile, Octavio and
Anna have been searching for the murderer
of Arna's father, and come to ask Don
Juan to aid them in their search, but they
Soon begin to suspect the libertine of the
deed. Preparations proceed for the peasant
wedding, and Don Juan's servant aids
him to hoodwink Masetto and Zerlina.
The jealous bridegroom is pacified by his
bride, while the libertine conducts both
to a gaily decorated apartment prepared
for them. Masked guests arrive.
Scene 3. The Ball Room. While all
the guests engage in a dance, Leporello
devotes himself to Masetto, and Don Juan
conducts Zerlina to a private room. She
resists his advances and her cries attract
the masked guests who prove to be Anna,
Elvira, and Octavio. Don Juan draws his
Sword, fights his way through the crowd
and escapes.
74. OPERA. SYNOPSES
ACT II
Scene 1. Before Elvira's House. Don
Juan still pursues Zerlina, who is in the
service of Elvira. He exchanges cloaks
with his servant, who goes to call upon the
mistress while the master devotes himself
to the maid. Masetto comes upon the
latter, in the midst of a serenade, but is
beaten by Don Juan, who again gets away.
Scene 2. Elvira's Apartments. The
pretended Don Juan is unmasked by
Elvira, Anna and Octavio, ard found to be
Leporello. Their suspicions are further
confirmed as to Don Juan's guilt.
Scene 3. A Graveyard, in which stands
a statue of the slain Don Pedro. Leporello,
who has escaped, comes to tell his master of
what has occurred, but the latter's spirits
are still gay and he plans further deeds of
violence. At this juncture a hollow voice
warns him to repent ere it is to late. It is
the statue of the murdered nobleman speak-
ing to him. The libertine, unabashed,
jeers even at this and invites the statue to
attend a banquet which he is to give.
Scene 4. The Apartments of Donna
Anna. Love scene between Anna and
Octavio (sometimes omitted).
DON GIO WANNI 75
Scene 5. Don Juan's Dining Hall. True
to his word Don Juan has spread a sump-
tuous repast, and in the midst of it a
heavy tread is heard. The marble statue
of the Commandant enters and bids the
libertine accompany him. The floor opens
and both descend into the infernal regions.
D ON PAS QUAL E
Opera Bouffe in Three Acts. Music by Gaetano
Donizetti. Book by Camerano, after “Ser Marc'
Antonio.” First produced at the Théatre des
Italiens, Paris, January 4, 1843.
SCENE: Rome.
TIME: The Present.
C AST
DoN PASQUALE, an old bachelor (Basso).
DR. MALATESTA, a physician (Baritone).
ERNESTO, nephew of Pasquale (Tenor).
NoFINA, a young widow (Soprano).
A NoTARY (Basso).
Citizens, Tradespeople, Servants.
77
A R G U M E N T
“Don Pasquale’ is a gay little farce of
manners which has been given a charac-
teristic and worthy musical setting.
ACT I
Don Pasquale's Apartments. The fin-
icky old bachelor, Don Pasquale, has
worked himself up into a fine rage because
his nephew, Ernesto, is not marrying to suit
him. Ernesto wishes to wed Norina, a
bewitching young widow. Dr. Malatesta
a family friend of all parties contrives a
plot in the young man’s behalf. The
physician urges the Don himself to marry
a lady of his choosing, a supposed sister of
Malatesta's. This pseudo-sister and bride
is none other than Norina, who is instructed
to make life a burden for the old gentleman.
ACT II
Don Pasquale's Apartments. True to
her role, Norina begins to carry things
with a high hand. She refuses to accept
78
DON PASQUALE 79
any of the Don's affectionate advances,
and behaves like a shrew. Ernesto, who is
a bewildered onlooker, is invited by her to
be her escort on a shopping expedition.
Meanwhile she lays out such an extravagant
Scheme for keeping house that the Don
flies into a passion, declaring that she will
bankrupt him.
ACT III
Scene 1. Don Pasquale's Apartments.
Norina is found surrounded by trades-
people to whom she has given large orders.
The Don enters and during a quarrel she
boxes his ears, and leaves him disconsolate.
The doctor enters and tries to pacify him,
but the Don insists that Norina shall quit
his house.
Scene 2. A Balcony. While Ernesto is
Serenading Norina, the Don taxes her with
being faithless; but in the course of explan-
ations, he discovers that his marriage con-
tract has been only a sham, and he is only
too glad to get out of the bargain and unite
the two lovers with his blessing.
LE DONNE CURIOSE
(The Inquisitive Women.) Comic Opera in Three
Acts. Music by Ermanno Wolf-Ferrari. Book
by Luigi Sugana. After the story by Carlo
Goldoni. First produced at Munich, 1903.
SCENE: Venice.
TIME: Eighteenth Century.
C AST
Wenetians and members of an eacclusive club:
OTTAVIO (Basso).
FLORINDO (Tenor).
PANTALONE (Baritone).
LELIO (Baritone).
LEANDRO (Tenor).
Sia; other members.
BEATRICE, wife of Ottavio (Mezzo-Soprano).
ROSAURA, her daughter (Soprano).
ELEONORA, wife of Lelio (Soprano).
CoLUMBINA, a maid (Soprano).
ARLECCHINO, a man-servant (Basso).
Servants, Gondoliers, townspeople, etc.
81
A R GUIMIENT
A rollicking farce comedy, which depicts
the overweening curiosity of a group of
women concerning a club to which their
husbands belong, and the means they em-
ploy to satisfy their curiosity.
ACT I
Scene 1. Room in a Club House. A
group of Venetian gentlemen make merry
in a quiet way at a club, from which their
wives are excluded. Posted over the door
is the sign, “No women admitted,’’ yet
their wives are by no means satisfied.
They must know more about the mysteri-
ous club’s proceedings. The men do noth-
ing more reprehensible than play chess and
give dinners, but they believe this is one
way they can assert their independence.
Pantalone invites the others to a dinner,
and orders his servant to make preparations
for it.
Scene 2. Room in Ottavio's House. Ot-
tavio's wife Beatrice, her daughter Rosaura,
82
LE DONNE CURIOSE 83
and Eleonora, Lelio’s wife, are deep in the
discussion of this dreadful club. Colum-
bina, the maid, is fully persuaded that the
men are on the hunt for buried treasure.
They cross-examine Arlecchino—who is
Columbina’s suitor—with little success.
Ottavio, the next to enter, also undergoes
examination. Finally, Florindo, a young
gallant, who is in love with Rosaura, calls,
and between mistress and maid they pump
out of him that the password of the club is,
“Here’s to friendship !”
ACT II
Scene 1. A Room in Lelio’s House.
Eleonora searches her husband’s pockets
for the keys to the clubhouse. Lelio inter-
rupts this wifely privilege, and there is a
spirited scene, after which the testy gentle-
man departs.
Scene 2. A Room in Ottavio's House.
Rosaura and Columbina tell Beatrice that
they have learned the password. Their next
task is to get the keys. This Columbina
accomplishes by changing the keys in her
master’s coat for others. She then plans
to don male attire and go to the club.
84 OPERA. SYN OPSES
The other women also set forth, with the
exception of Rosaura, whom they deem too
young; but she prevails upon Florindo to
lend her his keys.
ACT III
Scene 1. Street Outside of the Club-
house. This scene is a confusion of miss-
ing keys and passwords. First, Eleonora
appears, but drops the keys she has stolen
from her husband. Next enter Columbina,
disguised as a man, only to be discovered
by Pantalona and forced to deliver her
keys. One alter another of the members
now arrives, only to discover that his keys
are missing. Pantalone has his suspicions
of them all, but lets them in. Then en-
ters Rosaura, masked. Florindo pounces
upon her and seizes her keys, only to find
that it is his sweetheart. Nevertheless, he
chides her for her duplicity. After the
men have all gone within, the women come
again upon the scene, and by threatening
and bribing Arlecchino by turns, they in-
duce him to let them into the clubhouse.
Scene 2. Dining Hall of the Club. At
the back is an opaque glass door, and be-
LE DONNE CURIOSE 85
hind it the inquisitive women take turns
at peeping into the sacred precincts. They
find nothing more sensational than the din-
ner in progress, given by Pantalone t ) his
friends. In their eagerness to see better,
the women tumble through the door. The
startled diners term it a veritable ‘‘shower
of women.” Howbeit, they forgive them,
and the women themselves are delighted to
find that their fears were unfounded. All
join in a dance. Arlecchino obtains the
hand of Columbina, and Florindo that of
Rosaura. The party closes with the toast,
“Here’s to friendship !”
E L E KT R. A.
Dramatic Opera in One Act. Music by Richard
Strauss. Book by Hugo Von Hofmannsthal.
First produced in Dresden, January 25, 1909.
SCENE: Greece.
TIME: Antiquity.
C. A. ST
QUEEN KLYTEMNESTRA, widow of Agamemnon
(Mezzo-Soprano).
AEGISTHUs, her paramour (Basso).
ORESTEs, the Queen's son (Tenor).
ELEKTRA, the Queen's daughter (Soprano).
CHRYSOTHEMIS, the Queen's daughter
(Soprano).
Messenger, Waiting Women, Soldiers,
Courtiers.
87
A R G U M E N T
In “Elektra,” a modern continuation of
an ancient Greek story, the death of King
Agamemnon at the hands of the Queen
and her paramour is avenged by the
crazed daughter. The story is unpleasant
but powerful and lends itself to the uncon-
ventional musical treatment given by the
composer. The action is confined to a
single act which takes place in an inner
court of the royal palace at Mycene.
As servants tell of the strange behavior of
the grief-crazed, revenge-driven Elektra,
daughter of the murdered Agamemnon,
she appears and tells of her plans of ven-
geance in which she shall be aided by
Orestes, her brother. Chrysothermis, her
sister, who is actuated by softer, more
womanly feelings, now enters and urges
Elektra to abate her hatred lost harm come
to them all, and warns her especially
against their mother. The Queen appears
at a lighted window, and as she and her
wild daughter rail at each other, news is
brought that Orestes is dead. Elektra,
88
ELEKTRA S9
however, states that she alone will slay
“the woman and her husband.”
But the report as to Orestes proves
false, as he presently returns to the court
in disguise. At first Elektra does not
know him, but when she recognizes him
her joy is almost savage. The tragedy
from this point rapidly reaches its con-
summation. Urged on by the implacable
sister, Orestes enters the palace and slays
both his mother and Aegisthus, while
Elektra waits outside in a perfect frenzy of
impatience. When she is assured that the
bloody revenge is accomplished, she dances
madly until she falls prone upon the
ground. Chrysothemis runs to her only to
find her dead.
L’ELISIR. D’AMORE
(The Love Potion.) An Opera, Buffa in Two Acts.
Music by Gaetano Donizetti. Book by Romani.
First produced at Milan, 1832.
SCENE: A Village in Italy.
TIME: Early part of Nineteenth Century.
CAST
ADINA, an heiress (Soprano).
NEMORINo, a peasant (Tenor).
BELCORE, a sergeant (Baritone).
DULCAMARA, a traveling doctor (Basso).
GIANETTINA, a peasant girl (Soprano).
A NoTABY (Baritone). .
A Moor, Villagers, etc.
91
A R G UMIF, NT
The theme of this graceful little opera is
the old one that true love never did run
smooth. It is pleasing in its situations and
bright in its musical effects.
ACT I
A Village Street. Adina, a country
heiress, is beloved by Nemorino, a young
peasant, but as he has no money, his suit
does not prosper. She thinks that he wants
only her property and does not truly love
her. At this juncture, Sergeant Belcore
arrives, having quartered his troops in the
vicinity. He also lays siege to Adina’s
hand, and makes rapid progress. In de-
spair, Nemorino applies to a wandering
quack doctor for a bottle of Elixir of
Love. The best the quack can do is to
give him a bottle of wine, which so stimu-
lates the peasant that he treats Adina very
cavalierly the next time they meet. In a
huff she accepts the Sergeant, who pre-
92
L’ELISIR D’AMORE 93
vails upon her to set the wedding-day at
once, as he must depart with his troops.
ACT II
Scene 1. Interior of Adina's Home.
The wedding guests are assembling, and
the feast is spread. While the bride and
groom-to-be, and the notary retire to sign
the contract, Nemorino enters in despair.
He finds the quack doctor calmly enjoying
the viands, and beseeches him to give him
another bottle of the Elixir, still more
powerful. He has no more money, and
the doctor refuses. In order to obtain the
money, Nemorino enlists in Belcore’s com-
pany. He then rushes after the quack to
obtain the potion.
Scene 2. A Village Street. The girls of
the village learn that an uncle of Nemo-
rino’s has just died, leaving him a consid-
erable fortune. He himself has not learned
it, being under the influence of that power-
ful second bottle. As he comes up the
street they crowd around him with many
attentions. He attributes his sudden ae-
cess of popularity to the Elixir, and even
the doctor thinks there is some virtue in
94. OPERA SIP WOPSES
it. He tells Adina of the young man’s
devotion and offers her some of the Elixir,
but she refuses, as she thinks that she has
lost him forever. However, the lovers
come to an understanding, and Adina re-
pays the sergeant the advance made for
Nemorino’s enlistment. The sergeant is
forced to step aside, and the entire village
attributes the happy result to the marvel-
ous Elixir of Love. Thereupon the doctor
does a land-office business. &
E R N A N I
Dramatic Opera in Four Acts. Music by Giuseppe
Verdi. Book by F. M. Piavé, after Hugo's
“Hernani.” First produced at the Teatro
Fenice, Venice, March 9, 1844.
SCENE: Aragon, Aix-la-Chapelle, and Sara-
gaSS8.
TIME: 1519.
C. A. ST
DoN CARLos, King of Spain (Baritone).
DoN RUY GOMEz DE SILVA, a Spanish grandee
(Basso).
DONNA ELVIRA, his niece (Soprano).
JoHANNA, her nurse (Contralto).
ERNANI, an outlaw (Tenor).
DoN RICCARDo, royal armor-bearer (Tenor).
IAGO, armor-bearer to Gomez (Basso).
Lords, Ladies, Soldiers, Outlaws, Servants.
95
A R G U M E N T
The story of “Ernani.” originally fol-
lowed Hugo’s tragedy, “Hernani,” So
closely that the poet accused the composer
of literary piracy and demanded that the
libretto be changed. The title of “Il
Proscritto” was therefore given the opera
for a time.
ACT I
Scene 1. A Mountain Retreat. Ernani,
the son of a Spanish duke, has been out-
lawed by the King and becomes chief of a
robber band. He has fallen deeply in love
with Donna Elvira, a noble lady, and hear-
ing that she is betrothed to Don Gomez de
Silva, a wealthy grandee, he plans to
abduct her.
Scene 2. Donna Elvira's Apartments.
During the preparations for Elvira's mar-
riage, a cavalier enters her apartments and
tries to persuade her to fly with him. Her
cries for assistance bring Ernani upon the
scene, who recognizes the King in her
assailant. Carlos, on his part, recognizes
96
ERNANI 97
the outlaw whom he has formerly de-
frauded of his lands and titles, and a
heated dispute arises in which Ernani
hurls defiance at the monarch. Silva now
interposes and the enraged outlaw offers
to fight them both, but is restrained.
ACT II
Hall of Silva's Mansion. Ernani returns
to the grandee's home, disguised as a
pilgrim, in order to frustrate the wedding
plans of Silva with his niece. He pretends
that he is in danger and Silva, not discov-
ering his identity, grants him safe harbor
so long as he is under his roof. Later,
Silva surprises him in an interview with
Elvira and recognizes him, but the gran-
dee's pledge of safety holds good and he
postpones his personal vengeance till a
later time. Silva will not even yield up
the bandit to the King, who now appears
before the castle walls. The monarch is
only appeased by the surrender of Elvira
as a hostage. When the royal troops are
withdrawn, Silva releases Ernani and
immediately challenges him to a duel.
Both agree, however, to postpone their
98 OPERA. SYNOPSES
~--sº
personal differences until they have rescued
Elvira. The outlaw, on his part, pledges
himself to appear at any time that Silva
shall sound his hunting horn.
ACT III
Charlemagne's Tomb, at Aix-la-Cha-
pelle. While Carlos is visiting the tomb of
the great emperor, he chances to overhear
a conspiracy against him. Among the con-
spirators are Silva and Ernani. The royal
guard appears and the King steps forth
and orders the arrest and execution of all
present. Ernani then declares that he is
Don Juan of Aragon, a proscribed noble-
man, who has been urged on to this course
by his wrongs. The King's magnanimity is
touched, and yielding to Elvira's supplica-
tions, he forgives the conspirators and also
bestows the lady's hand upon Ernani.
ACT IV
Don Juan’s Castle. Ernani has been
restored to his rank and ancestral estates.
His cup of bliss is filled by his marriage to
Elvira. The ceremony has just been com-
FENANI 99
—e
pleted, when the Ominous sound of a bugle
is heard. It is Silva come to exact his
pledge. The stern old grandee silently
enters and hands a dagger to Ernani, who
takes it without protest and stabs himself
to the heart.
:
*
:
;
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:
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EURY ANTEHE
Romantic Opera in Three Acts. Music by Carl
Maria von Weber. Book by Helmine von Chezy.
First produced at Vienna, October 25, 1823.
SCENE: Castle Premery and Burg of
Nevers, France.
TIME: 1110 A.D.
CAST
Louis VI, King of France (Basso).
ADOLAR, Count of Nevers (Tenor).
EURYANTHE OF SAvoy, his betrothed
(Soprano).
LYSIART, Count of Forest (Baritone).
EGLANTINE voN PUISET, the captive daughter
of a mutineer (Mezzo-Soprano).
101
AR, G UMIFNT
The story of Euryanthe is adapted from
an old French romance, entitled “The
Story of Gerard of Nevers and the beauti-
ful and virtuous Euryanthe.” It is remi-
miscent of Shakespeare’s “Cymbeline,”
having the similar theme of virtue assailed
and maligned, but triumphant over evil.
ACT I
Scene 1. A Hall in the King’s Palace.
In the court of King Louis of France,
Count Adolar pays a glowing tribute to
the beauty and virtue of Euryanthe, his
betrothed. All present applaud except
Count Lysiart, who sneers at the chastity
of women, and boasts that he could win
Euryanthe. Adolar dares him to make the
test, staking his fortune on the outcome.
The King attempts to dissuade him from
the foolish wager, but in vain.
Scene 2. The Palace Garden of Nevers.
Euryanthe is discovered alone, but is soon
102
EURYANTHE 103
joined by Eglantine, a captive maiden who
is secretly in love with Adolar. In a mo-
ment of confidence, Euryanthe tells her
th secret of a neighboring tomb, in which
rests the body of Emma, her sister, who
had poisoned herself, and whose ghost can
find no peace until tears of innocent dis-
tress have been shed upon her ring. Eg-
lantine decides forthwith to make use of
this secret against Euryanthe, and takes
Lysiart into her confidence when he pres-
ently arrives.
ACT II -
Scene 1. The Same Garden. Lysiart
has tried vainly to win the favor of Eury-
anthe, and now deplores his failure. When
hope of winning his evil wager seems lost,
Eglantine brings him Emma’s ring from
the tomb, so that he may use it as evidence
of Euryanthe's infidelity.
Scene 2. The King’s Palace. Euryan-
the and Adolar appear at court. They are
confronted by Lysiart, who claims to be
the victor. He displays Emma’s ring, and
Euryanthe is visibly confused at this evi-
dence that she could not keep the secret
104 OPERA. SYNOPSES
of her sister’s death. Her confusion is
taken by Adolar to be evidence of her guilt
with Lysiart. He forfeits his lands and
leaves the court in humiliation, taking Eu-
ryanthe with him.
ACT III
Scene 1. A Forest. Adolar has taken
Euryanthe to the wilderness to slay her,
but on the way is attacked by a huge ser-
pent. The maiden tries to shield him with
her own body. He kills the snake, and re-
nounces his intention of harming her.
However, he deserts her in the forest. The
Ring and a band of hunters arrive and res-
cue her. To him she tells the whole story
of Eglantine’s treachery. The King takes
her back to the palace.
Scene 2. Garden of the Castle of New-
ers. Adolar repents his hasty belief in the
guilt of Euryanthe, and returns to Nevers
to challenge Lysiart. He meets the wed-
ding procession of Eglantine and Lysiart,
and in the encounter Eglantine confesses
her duplicity and passion for Adolar. In
a rage, Lysiart turns and stabs her. The
King appears upon the scene, vindicates
EURYANTHE 105
Euryanthe, orders Lysiart to the scaffold,
and restores Adolar to his possessions.
The two lovers are reunited, and the soul
of Emma is at peace, as tears of innocent
distress have been shed upon her ring.
THE EVANGELIST
(Der Evangelimann.) Musical Drama in Two
Acts. Book and Music by Wilhelm Kienzl.
After the work by Meiszner. First produced at
Berlin, 1895.
SCENE: Benedictine Convent, Vienna.
TIME: Latter part of Nineteenth Century.
C AST
FRIEDRICH ENGEL, superior of the convent
(Basso).
MARTHA, his niece (Soprano).
MAGDALENA, her friend (Contralto).
Yohann ES FREUDHOFER, teacher at St. Othmar
(Baritone).
MATTHIAS FREUDHoFER, his brother, clerk at
the convent (Tenor).
ZITTERBART, a citizen (Tenor Buffo).
SCHNAPPAUF, a citizen (Basso Buffo).
AIBLER, a citizen (Basso).
FRAU AIBLER, his wife (Mezzo-Soprano).
ERAU HUBER (Soprano).
HANS (Tenor).
Monks, Citizens, etc.
107
A R GUIMENT
The story of this drama of village and
convent life in Austria is that of a hidden
crime and its expiation.
ACT I
Courtyard of the Convent of St. Oth-
mar. Martha, the pretty niece of Engel,
head of the Benedictine brotherhood, is be-
loved by Matthias, the clerk of the con-
vent. Engel is informed of this fact by
Yohannes, who is also in love with the
maiden, and takes this method of getting
Matthias out of the way. Engel bids
Matthias leave the convent at once. Before
departing, he obtains through Magdalena
a last interview with Martha. Yohannes
watches the lovers, who are planning to
elope, and sets in action a plot for their
ruin. A fire breaks out in the convent
buildings. Matthias is accused of having
set them on fire, and is arrested and sen-
tenced to a long prison term.
108
THE E VANGELIST 109
ACT II
Scene 1. A Courtyard in Vienna. Thirty
years pass by. Matthias having served his
prison term, turns evangelist, and goes up
and down the country on preaching mis-
sions. He chances to meet Magdalena, and
tells her that, on his exit from prison, he
learned that Martha had drowned herself.
For this reason, and because he could not
prove his own innocence of the crime for
which he had spent twenty years in prison,
he has turned evangelist. Magdalena, on
her part, tells him that she is taking care
of Yohannes, on his death-bed, who desires
to see a minister before he dies.
Scene 2. Yohannes’ Bedroom. Mat-
thias goes unrecognized to his brother’s
bedside. Yohannes, not knowing to whom
he is confessing, makes a last statement in
which he acknowledges that he is the real
incendiary. Matthias pardons his brother,
who breathes his last.
FALSTAFF
Comic Opera in Three Acts. Music by Giuseppe
Verdi. Book by Arrigo Boito, after “The Merry
Wives of Windsor,” by Shakespeare. First pro-
duced at the Teatro Alla Scala, Milan, March
12, 1893.
SCENE: Windsor.
TIME: The 15th Century.
C. A ST
SIR JoBN FALSTAFF, a soldier of fortune
(Baritone).
Ford, a citizen of Windsor (Baritone).
MISTRESS ALICE FoRD, his wife (Soprano).
ANNE FoRD, their daughter (Soprano).
MISTRESS PAGE (Soprano).
MISTRESS QUICKLY (Contralto).
FENTON, suitor of Anne (Tenor).
DR. CAIUs, a citizen (Tenor).
BARDOLPH, a follower of Falstaff (Tenor).
PISTOL, a follower of Falstaff (Basso.)
ROBIN, a Page.
Innkeeper, Townspeople, Servants, etc.
111
A R G U M E N T
Shakespeare's comedy has been closely
followed for the plot of “Falstaff’’ which
deals with the misadventures in love of this
fat knight.
ACT I
Scene 1. A Room at the Garter Inn.
Falstaff, the doughty knight whose prowess
has been tested on the battle-field (if his
own word is to be believed) decides to try
his skill in the lists of love. He therefore
prepares two billets-doux for estimable
wives of Windsor, and since his followers,
Bardolph and Pistol, balk at taking them,
he sends them by a page. He also quarrels
with Dr. Caius, who complains of being
robbed by Bardolph and Pistol.
Scene 2. Ford's Garden. Mistress Ford
and Mistress Page, the ladies who have
received the epistles, meet and compare
them, and with Mistress Quickly plan to
revenge themselves upon the sender. Bar-
dolph and Pistol confuse their plans by in-
forming Ford of the affair. The latter is to
112
FALSTAFF 113
meet Falstaff in disguise. Meanwhile, a
plot of a different sort is afoot. Ford has
planned to have his daughter Anne marry
Caius, but she is in love with Fenton, who
meets her clandestinely.
ACT II
Scene 1. The Garter Inn. Dame Quick-
ly comes to the inn to give Falstaff a note
from Mistress Ford, apparently yielding
to his wishes and making an appointment
for that afternoon. After she departs,
Ford is introduced under the name of
Fountain, who pretends that he is a
stranger seeking the love of Mistress Ford.
Falstaff readily agrees to help him and
States complacently that he has an engage-
ment with that lady for this very day.
Ford has heard nothing of the women’s
plot and is both astounded and jealous,
but dissembles his feelings.
Scene 2. Room in Ford’s House. Fal-
staff arrives at Mistress Ford’s and at once
begins to make ardent protestations of
love. At this moment, Dame Quickly
bustles in to say that Ford and his friends
are at hand. The fat knight is hastily
114 OPERA SYNOPSES
thrust behind a screen, and a little later
when the search begins in earnest, he is
persuaded to hide in a basket of soiled
linen. Meanwhile Fenton and Anne take
refuge behind the screen for a little love-
making on their own account. Ford
returns and thinks he has discovered the
villain behind the screen, and is greatly
disgusted when the young lovers come to
view. While the search proceeds, Falstaff
is nearly suffocated in the basket. The
women, ostensibly to rescue him, have the
basket conveyed to the river brink and its
entire contents dumped into the water.
ACT III
Scene 1. The Garter Inn. Dame Quick-
ly again visits the crestfallen knight to
express her sorrow and to make a new
appointment. The knight again falls into
the trap. Mistress Ford explains the whole
hoax to her husband, and he promises to
aid them this time. Dr. Caius is again
promised Anne's hand, and Dame Quickly,
who learns of it runs to warn the lovers.
Scene 2. Windsor Park. Fenton is
aided by the women, who disguise him as a
FALSTAFF 115
wº-
monk. Falstaff again meets Mistress Ford,
but is interrupted by a crowd disguised as
witches, elves, and fairies, who belabor
the knight soundly. He begs for mercy
and at his promise of good behavior, Ford
pardons him. Meanwhile, Dr. Caius finds
that he has captured the wrong person,
and Anne, for whom he has sought, enters
with Fenton. Ford is persuaded to relent
and unite the two lovers.
FA U S T
Tragic Opera in Five Acts. Music by Charles
Gounod. Book by Barbier and Carré, after
Goethe's drama. First produced at the Lyric
Theatre, Paris, March 19, 1859.
SCENE: A German Village.
TIME: The 18th Century.
C. A. ST
FAUST, a philosopher (Tenor).
MEPHISTOPHELEs, the evil one (Basso).
VALENTIN, brother of Marguerile (Baritone).
BRANDER, a student (Baritone).
SIEBEL, a student (Soprano). -
MARGUERITE, a village girl (Soprano).
MARTHA, her servant (Contralto).
Students, Soldiers, Citizens, Servants,
Fiends, Angels. -
117
A R G U M E N T
This version of the Faust legend has re-
mained the most steadily popular of all.
It follows the first book of the Goethe
tragedy faithfully and the music, although
by a French composer, is closely in har-
mony with its spirit.
ACT I
Faust’s Study. The philosopher Faust
has spent his lifetime in study, and now
feels that he is growing old and that there
is nothing else to live for. He resolves to
end it all with a dose of poison, but his
hand is stayed by the sound of Easter
carols. Mephistopheles enters and prom-
ises him a new lease of life and many joys
which he has missed if he will sell his soul.
The fiend then shows him a vision of Mar-
guerite. Faust consents to the compact
and is transformed into a handsome youth.
ACT II
An Open Square. A festival is in
progress, and students, soldiers and citizens
118
FAUST 119
wander about singing and making merry.
Valentin has enlisted as a soldier but dis-
likes to go away leaving his sister, Mar-
guerite, unprotected. Siebel, a boy, prom-
ises to be her champion. Mephistopheles
now joins the throng of merry-makers and
arouses popular interest by telling fortunes.
He jests with Siebel on the subject of Mar-
guerite, and Valentin overhears and
resents his slurring remark. They draw
their swords, but the fiend traces a circle
of fire around himself. Valentin and his
friends hold up their swords like crosses
and the evil one slinks away. The dance
continues, and Faust enters and offers his
arm to Marguerite, but she repulses him.
ACT III
Marguerite's Garden. Siebel brings a
bouquet to Marguerite, but the flowers fade
until he dips them in holy water. He then
leaves them on the doorstep and departs.
Faust and Mephistopheles now enter, the
fiend urging Faust to press his suit. Seeing
the flowers, Mephistopheles departs to
purchase a finer present. He soon returns
with a casket of jewels which he places
120 OPERA. SYNOPSES
beside the flowers and both retire. Mar-
guerite enters pondering over the handsome
young gallant she saw in the market-place.
She finds the casket and is delighted with
the glittering gems, but does not wish to
º keep them. Martha, her companion, sees
them and tells her she would be foolish to
reject them. The fiend and Faust return,
and the former beguiles Martha into a
retired corner of the garden, leaving the
coast clear for Faust, who wooes Mar-
guerite so ardently and persistently that
the girl yields to his desires.
ACT IV
Scene 1. A City Street. The soldiers
return victorious from war, among them
Valentin. But his joy at seeing his sister
again gives way to fury when he learns
, that she has been betrayed. At dusk,
Mephistopheles and Faust approach Mar-
guerite's home and the fiend sings a mock-
ing serenade. Valentin rushes out to
avenge his sister's wrongs and crosses
swords with Faust, but the latter, aided by
the evil one, gives Valentin his death blow.
People rush in, and Marguerite bends over
FAUST 121
her dying brother, only to hear him curse
her with his last breath.
Scene 2. Interior of the Church. Mar-
guerite goes to the church and endeavors
to pray, but the mocking fiend intrudes
even here and tells her she is damned for-
ever. She falls overcome upon the floor.
ACT W
Scene 1. Walpurgis Revel. Mephisto
conducts Faust to the witch revels of Wal-
purgis night, but Faust orders him to go to
the succor of Marguerite. (Scene often
omitted).
Scene 2. The Prison Cell. Marguerite /
is ill and half-mad, awaiting judgment for
her misdeeds. Faust appears to her and
urges her to cast in her lot with him and
flee. She refuses to go and says that she
will submit to the will of Heaven. Faust
and the fiend both urge haste, but Mar-
guerite kneels in prayer. The prison walls
open and angels rescue her and carry her
upward, while the fiend claims Faust as
his own.
LA FA V O R. I.T A.
(The King's Favorite). Romantic Opera in Five
Acts. Music by Gaetano Donizetti, Book by
Royer and Waëtz, after the drama, “Le Comte
de Commingues.” First produced at the Acadé-
mie Royale de Musique, Paris, December 2, 1840.
SCENE: Castile.
TIME: 1340.
C. A. ST
ALFONso XI, King of Castile (Baritone).
FERNANDO, an officer of the guard (Tenor)
BALTHASAR, Prior of the Monastery of St.
Jacob (Basso).
GASPARO, an officer (Tenor).
LEONoFE DE GUZMAN, the King's favorite
(Mezzo-Soprano).
INEZ, her companion (Soprano).
Officers, Soldiers, Courtiers, Ladies,
Servants, Monks.
123
A R G U M E N T
The theme of “La Favorita” is simple
but dramatic, treating of lost illusions and
blighted hopes. A young anchorite for-
sakes his vows for the sake of a pretty face,
only to find that the promised happiness is
a mirage.
ACT I
Hall of a Monastery. Fernando, a
novice in orders, of the Monastery of St.
Jacob, has shown such earnestness and
insight that he is spoken of as the next
prior. But between him and his vows
comes the vision of a beautiful woman, an
unknown whom he loves and who, he finds,
loves him in return. He confesses his
attachment to his best friend, Balthasar,
the present prior, who endeavors to warn
him against the snares and pitfalls of the
world. But finding that the young man is
determined, he releases him from the mon-
astic orders and bids him go in peace.
124
LA FA VORITA 125
ACT II
A Palace Garden. Ferdinand decides to
seek Service in the royal army. He comes
blindfolded into the palace garden, where
ladies of the court who have heard his
story, entertain him graciously. Among
them, he finds his unknown love, Leonore;
but while she reciprocates his affection, she
begs him to go away and forget her. She
will not even tell him her name and station.
This mystery only adds fuel to the flame.
While she tries to dismiss him, Inez, her
friend, comes to announce a visit from the
King. This still further mystifies the
young man, unused to court ways. Leon-
ore leaves him, after presenting him with a
document which proves to be a royal com-
mission as officer in the King's army.
Ferdinand resolves to win the King's
favor and the lady's hand in the wars.
ACT III
The King's Court. King Alfonso is de-
lighted with news of his army's victories
over the Moors, and with the brilliant con-
duct of his young officer, Ferdinand. The
latter dreams of happiness at last with
126 OPERA SYNOPSES
Leonore, but he is still ignorant of the fact
that she is the King's favorite and Alfonso
does not intend to give her up. A spirited
scene ensues between monarch and mistress
in which the former reiterates his devotion
and the latter reproaches him for putting
happiness out of her reach. Before the
court she finally hurls defiance at him,
being aided by Balthasar, who comes with
a message from the Pope threatening the
Ring with excommunication unless he
relinquishes Leonore in favor of Ferdinand.
He is given one day in which to decide.
Ferdinand hears nothing of this, but
Leonore is cast into the depths of sorrow at
the prospect of deceiving her lover.
ACT IV
Apartment in the Palace. The King
yields to papal pressure and to Ferdinand's
merit, and resolves to bestow upon him the
hand of his favorite. He delivers his mes-
sage to Ferdinand in person, who is over-
joyed. Meanwhile, Leonore has entrusted
to Inez a letter telling Ferdinand all, but
Inez is prevented from delivering it. The
King ennobles Ferdinand and orders an
LA FA VORITA 127
immediate marriage, which ceremony is
performed. But during the festivities the
bridegroom overhears slurring remarks
from the courtiers, and returns to the King
demanding an explanation. When he
learns the truth, he renounces his bride and
honors, breaks his sword, and casts its
fragments at the feet of the King.
ACT V
The Monastery Hall. Ferdinand returns
to the monastery and resumes his study
for the priesthood. On the day when he is
to receive holy orders, Leonore comes to
beg his forgiveness. She tells him of the
undelivered letter in which she had con-
fessed the truth and which she thought he
had received. He forgives her and says
that he loves her still, but now the Church
calls him. He leaves her swooning and
joins the procession of monks.
FID E L IO
Dramatic Opera in Two Acts. Music by Ludwig
Van Beethoven. Book by Joseph Sonnleittiner,
after Bouilly’s “Leonore.” First produced at
the Theatre An Der Wien, Vienna, November
20, 1805.
SCENE: A Prison near Seville.
TIME: The 18th Century.
C. A. ST
DoN FERNANDo, minister of state (Baritone).
Don PIZARRo, governor of prison (Baritone).
DON FLORESTAN, a noble prisoner (Tenor).
LEoNoRA, his wife, known as “Fidelio”
(Soprano).
Rocco, jailer (Basso).
MARCELLINA, his daughter (Soprano).
JACQUINo, turnkey (Tenor).
CAPTAIN OF THE GUARD (Basso).
Prisoners, Guards, Citizens, etc.
129
A R G U M E N T
“Fidelio,” the only opera written by
Beethoven, has been subjected to several
changes. It was originally in three acts,
and the composer wrote four different
overtures for it. The book is a simple
story of conjugal love and fidelity.
ACT I
Courtyard of the Prison. Don Florestan,
a Spanish nobleman, incurs the hatred of
Don Pizarro, governor of the prison, and
soon disappears from the world. Flores-
tan’s wife, Leonora, suspects that his
enemy has hidden him away in one of the
prison dungeons, and disguises herself as a
young man known as “Fidelio,” in order
to rescue him. She enters service with
Rocco, the jailer, and soon finds her hus-
band, as she had feared. Meanwhile, she
is in danger of discovery, as she wins the
approval of the jailer and his daughter,
Marcellina, and the latter falls in love with
the handsome “young man,” much to the
130
FIDELIO 131
—w
sorrow of the turnkey Jacquino, who
loves Marcellina. Fidelio cannot refuse
the proffered match as she desires to keep
on good terms with the jailer. Word is re-
ceived that the minister, Don Fernando,
is coming to inspect the prison. This fills
Pizarro with alarm and he resolves to put
Florestan out of the way before that time.
Rocco refuses to kill the prisoner, but
finally consents to dig the grave. Fidelio
overhears the plans and is in despair. She
obtains the jailer's permission for the pris–
oners to file out into the courtyard to get
the fresh air. She hopes thus to get some
message to her husband, but he does not
appear with the rest, so she accompanies
Rocco to dig the grave.
ACT II
Scene 1. Florestan's Dungeon. In one
of the lowest cells of the prison, Fidelio
finds her husband weak from exhaustion.
He does not recognize her. She gives him
food and drink, and with simulated cheer-
fulness helps to dig the grave. Before the
task is ended, Pizarro comes down eager
to get his dangerous prisoner out of sight.
132 OPERA. SYNOPSES
The minister is coming. Pizarro is about
to stab the prisoner, when Fidelio, or
Leonora, throws herself in front of him
crying: “First slay his wife!” She
menaces him with a pistol and the cowardly
governor flees. Trumpets from without
announce the arrival of Don Fernando,
while Florestan clasps his wife in his arms
and Rocco scratches his head in bewilder-
ment.
Scene 2. The Courtyard. Fernando
quickly frees Florestan, and the chains are
ordered upon Pizarro instead. The min-
ister felicitates with the rescued man in
having a “Fidelio’’ for his wife. Marcel-
lina decides that Jacquino will make her a
better husband, after all, greatly to the
turnkey's delight.
LA FILLE DE MADAME
ANGOT
(The Daughter of Madame Angot.) Comic Opera
in Three Acts. Music by Charles Lecocq: Book
by Sirarandin, Clairville, and Konig. First
produced at Brussels, November, 1872.
SCENE: Paris.
TIME: 1797.
C AST
CLAIRETTE ANGOT, betrothed to Pomponnet
(Soprano).
ANGE PITOU, a poet (Tenor).
MLLE. LANGE, actress and a favorite of Paris
(Mezzo-Soprano).
PoMPONNET, a hairdresser (Tenor).
LARIVAUDIERE, a citizen (Baritone).
LOUCHARD, police officer (Basso).
BIERSILIE, servant to Mlle. Lange (Soprano).
BABET, servant to Clairette (Soprano).
TRENITz, officer of the Hussars (Tenor).
Market Men and Women, People,
Citizens, etc. *
133
A R G UMENT
‘‘La Fille de Madame Angot’’ is a
typical French opera bouffe. The scenes
are laid in Paris at the time of the Direc-
tory, which was established after the Revo-
lution, when Barras was at the head of the
Government.
ACT I
A Corner of the Market Square. Clai-
rette, daughter of the late Madame Angot,
a market woman, is about to be married
to Pomponnet, whom she does not love, all
her affection being given to Ange Pitou, a
ballad-monger. The poet has written a
song directed against the reigning favorite
of Barras, Mlle. Lange, an actress, and her
flirtations with Larivaudiere. To avoid her
marriage with Pomponnet, Clairette sings
this song in the public street, knowing that
it will cause her to be arrested.
ACT II
Drawing-room of Mlle. Lange. Mlle.
Lange, interested in the story of the attack
134
LA FILLE DE MADAME AN GOT 135
on her, desires the prisoner to be brought
before her. Meanwhile Pomponnet assures
her that Clairette is innocent and the au-
thor of the song alone guilty. When Clai-
rette is brought before her, Mlle. Dange
recognizes in her an old school-fellow and
friend, and promises her her liberty and
the husband of her choice, not knowing that
this will be Ange Pitou, in whom she her-
self feels an interest. The poet has been
invited to her house, and arrives during
the interview with Clairette. Larivaudiere
arrives suddenly, and Mlle. Tange, to quiet
his jealousy, persuades him that Ange
Pitou has come to see Clairette and join
in the meeting of conspirators to be held
in her house at midnight. The innocent
Pomponnet is arrested for having the song
in his hand. The conspirators arrive at the
time appointed, and it is found that the
house is surrounded by Hussars, who have
received private information of the meet-
ing. At a signal the conspirators hide their
badges of recognition, and Mlle. Lange
succeeds in making the soldiers believe that
she is holding a wedding ball for Ange
Pitou and Clairette. During the dance
Clairette and the actress discover that they
are both attached to the poet.
136 OPERA SYNOPSES
ACT III
Garden at Belleville, illuminated for a
ball. Clairette, released from prison, seeks
to know whether Ange Pitou and Mlle.
Lange are indeed lovers. To this end she
writes three letters, one from the actress to
Ange Pitou, another from Ange Pitou to
the actress, appointing a rendezvous at the
ball at Belleville, and a third to Larivau-
diere. The poet and Mlle. Lange meet and
are surprised by Clairette before Larivau-
diere and all the market people. A dis-
pute arises, which terminates in the recon-
ciliation of Clairette and Mlle. Lange, while
Clairette decides to give up the fickle poet
in favor of the faithful Pomponnet.
THE FLYING DUTCHMAN
(Der Fliegende Hollander). Romantic Opera in
Three Acts. Music by Richard Wagner. Book
by the Composer, after Heine's Version of the
Legend. First produced at Dresden, January
2, 1843.
SCENE: A Norwegian Fishing Village.
TIME: The 18th Century.
C. A ST
A DUTCH SEA CAPTAIN (Baritone).
DALAND, a Norse Sea Captain (Basso).
SENTA, his daughter (Soprano).
MARY, her servant (Contralto).
ERIC, a huntsman (Tenor).
DALAND’s STEERSMAN (Tenor).
Chorus of Maidens, Seamen, Villagers, etc.
137
A R G U M E N T
The legend of “The Flying Dutchman,”
condemned to sail the high seas for many
centuries, finds a worthy musical and dra-
matic setting in this work of Wagner. Ac-
cording to this legend, a Dutch captain
foiled by contrary winds when rounding
the Cape of Good Hope, takes a sacreligious
oath that he will succeed if he has to take
eternity for it. Thereafter, for long cen-
turies his ship is in charge of demons, who
make it the sport of wind and wave. The
opera deals with the lifting of the curse.
ACT I
A Bay in Norway. Daland, a Norwegian
sea captain, is driven by a violent storm to
the shelter of a port. During the storm a
strange-looking vessel also arrives, riding
high upon the waves, and casts anchor
alongside. The captain, a man of wild
aspect dressed in black, steps ashore. He
is the famous Flying Dutchman, whom all
mariners fear and dread. By the terms of
138
THE FLYING DUTCH MAN 139
his oath, he is allowed to go ashore once in
seven years, and if perchance he find a wife
who will leave all for love of him, the spell
will be released. He speaks with Daland
and finding that the latter has a daughter,
asks permission to sue for her hand, at the
same time offering Daland gold. The
father's cupidity overcomes his scruples
and, the storm having abated, the two
vessels set sail in company.
ACT II
Interior of Daland’s Home. Senta and
her girl friends are seated at their spinning
wheels, singing. Senta is a dreamy, ro-
mantic girl, who is already familiar with
the strange story of the Flying Dutchman,
and feels in her heart that she, at any rate,
would be willing to give up all to save him.
She tells the others of her mood, and Eric
the huntsman, who loves her, enters at
this moment and warns her against her
dangerous whim. He also tells her that a
mysterious stranger is approaching with
her father, but Senta is delighted and Eric
leaves in dejection. Daland enters with
the Dutchman, who gazes fixedly at the
1 40 OPERA. SYNOPSES
maiden and she at him. She readily
accepts her father's plan for an early mar-
miage, as she believes herself to be divinely
appointed the savior of this sea rover.
The two exchange vows of eternal fidelity,
and the Dutchman believes his hour of
liberation is at hand.
ACT III
The Harbor. The sailors on board
Daland's ship give themselves over to
merry-making. Girls bring them hampers
of refreshments. The Dutchman's ship
lies hard by, dark and silent, although his
crew has been invited to share in the fes-
tivities. Finally they sing a mocking song
of their captain's adventures, while the
others listen in superstitious fear. Senta
comes down to the shore followed by Eric,
who makes one last plea for her to relin-
quish her folly and love him as she had
formerly done. The stranger overhears
this and believing himself betrayed, bids
her farewell and hastens on board his ship,
ordering the anchor raised and all sails set.
He admits publicly that he is the Flying
Dutchman, upon whom a curse rests, and
THE FLYING DUTCH MAN 141
wºm--
while Daland and the rest shrink back in
horror the ship heads toward the open sea.
But Senta tears herself away from Eric
and her father, who would restrain her, and
rushing to a cliff under which the vessel is
passing, casts herself into the sea, faithful
unto death as she has promised. Instantly
the curse is lifted, the phantom ship sinks,
and the Dutchman and his bride are seen
ascending upward.
F. R A DIA V O L O
(Or, The Inn of Terracina.) Light Opera in Three
Acts. Music by Daniel François E. Auber.
Book by Eugene Scribe. First produced at the
Opera Comique, Paris, January 28, 1830.
SCENE: A Terracine Village.
TIME: The 19th Century.
C AST
FRA DIAvolo, a bandit chief (Tenor).
LoRD CockBURN, an English tourist (Basso).
LADY PAMELA CocKBURN, his wife (Mezzo-
Soprano).
LoRENzo, an officer of the guard (Tenor).
MATTEO, a tavern-keeper (Basso).
ZERLINE, his daughter (Soprano).
FRANCEsco, a miller (Baritone).
GIACOMO, a bandit (Basso).
BEPPo, a bandit (Tenor).
Bandits, Villagers, Servants, etc.
143
A R G U M E N T
“Fra Diavolo,” one of the most tuneful
of the light operas, is written around the
adventures of a famous Italian bandit, the
terror of the countryside. Despite the
heavy reward offered for his capture, he
remains at liberty by adopting numerous
disguises. In the present adventure he
travels under the name of the Marquis of
San Marco.
ACT I
Matteo's Tavern. The Roman author-
ities have offered a reward of ten thousand
piastres for the capture of Fra Diavolo,
the robber. Lorenzo, an officer, is sent with
a company of guards and hopes to win this
reward, and also the hand of Zerline, the
pretty daughter of the innkeeper. Lorenzo
proclaims the reward at the inn. Soon
after, Lord and Lady Cockburn, English
travellers, enter, saying that they have
been robbed. Lord Cockburn has another
grievance in the over-zealous attentions of
a travelling companion, the Marquis of
San Marco, to his wife. The Marquis
144
FRA DIA VOLO 145
arrives, not at all disturbed by the con-
tretemps, and orders a hearty dinner, while
hearing Zerline relate stories of the cele-
brated bandit chief. He again devotes his
attention to Lady Pamela, and purloins
from her a valuable locket. Lorenzo and
his guards now return with news that the
robber band has been dispersed.
ACT II
Zerline's Bedroom. The English travel-
lers are shown to their apartments, which
adjoin the bed-chamber of Zerline. The
girl, as she makes their rooms ready, is in
high spirits over the success of her lover,
Lorenzo. Meanwhile, Fra Diavolo and
two of his gang hide themselves in Zerline's
room. She returns and prepares for bed
oblivious of their presence. After she has
fallen asleep, the trio proceed to finish the
job of robbing the English couple. They
are detected and an alarm follows. Lor-
enzo and his guards appear, but Fra
Diavolo, as the Marquis, covers the retreat
of his two men. But the jealousy of both
the nobleman and the soldier is aroused
by the presence of the supposed Marquis
in the sleeping apartments. To cover his
146 OPERA SYNOPSES
***
designs, the latter declares that he had an
appointment with Zerline. Lorenzo chal-
lenges him to fight a duel, and the bandit
agrees to give him satisfaction on the fol-
lowing day.
ACT III
In the Forest. Fra Diavolo has resumed
his own name and dress and exults in the
fact that he is his own master once more.
While awaiting the English travellers or
whoever else may cross his path, a wedding
procession approaches. Zerline is to be
married against her will to Francisco, a
well-to-do peasant. In the procession are
the two escaped bandits, who are recog-
nized by Lorenzo and used by him to lure
Fra Diavolo into an ambush. The strat-
agem is successful and the chief is slain,
but at the last he is generous enough to
declare Zerline's innocence. The English
couple are amazed to find that he is one
and the same with their acquaintance the
Marquis. Especially is Lady Pamela
chagrined over her folly. The successful
Lorenzo claims and receives both rewards
for which he has striven, to his own joy
and that of Zerline.
D E R F RE IS C H U T Z
Romantic Opera in Three Acts. Music by Carl
Maria Von Weber. Book by Friedrich Kind,
after an old legend in “Popular Tales of the
“Northern Nations.’ ” First produced at Berlin,
June 18, 1821.
SCENE: Bohemia.
TIME: The Middle Ages.
C AST
OTTAKAR, Duke of Bohemia (Baritone).
KUNO, his head game-keeper (Basso).
AGNES, his daughter (Soprano).
ANNA, her friend (Mezzo-Soprano).
MAx, a ranger (Tenor).
CASPAR, a ranger (Basso).
KILIAN, a wealthy peasant (Tenor).
A HERMIT (Basso).
ZAMIEL, the evil one (Speaking part).
Foresters, Villagers, Followers of the Duke
Servants.
147
A R G U M E N T
The story of “Der Freischütz,” or “The
Sharpshooter,” is based upon a Teutonic
legend that magical bullets may be cast
which never miss their mark.
ACT I
Estates of the Prince of Bohemia. The
advancing years of Kuno, head ranger of
the Duke of Bohemia, make the choice of a
new head ranger necessary. Max, who is
in love with Agnes, Kuno's daughter, is a
candidate for the place, but in order to
obtain it he must win in a sharp-shooting
contest. At a preliminary trial, Max is
unsuccessful, the peasant, Kilian, being
the better marksman. Max is much cast
down and therefore disposed to listen to
the evil counsels of Caspar, who has already
sold himself to the devil and who hopes to
obtain respite by furnishing this new
victim. Max is invited to try Caspar's
gun, and is astonished to find that he can
bring down an eagle from a great height.
Caspar then tells him that he can obtain
148
DER FREISCHüTZ 149
-ms
seven magical bullets which will hit any
mark, but he must sell his soul for them.
Max, undaunted, agrees to meet him at the
Wolf's Glen at midnight.
ACT II
Scene 1. Agnes' Room. Agnes is filled
with forebodings over the coming contest.
She has met a hermit in the forest, who
has warned her of impending danger.
Then while she and Anna are in her room,
at the very moment when Max tries the
magic bullet, an ancestral portrait falls
to the floor. Anna tries to calm her fears.
She is not reassured when Max arrives and
tells her he must hurry away to an appoint-
ment at the Wolf's Glen. -
Scene 2. The Wolf's Glen. Caspar
awaits the arrival of his victim and mean-
while tells Zamiel, the evil one, of his
success. When Max arrives the incanta-
tions are under way, and amid scenes of
terror the magical bullets are cast.
ACT III
yº $, g
Scene 1. Gº's Room. Agatha is
being prepared for her wedding with Max.
150 OPERA SYNOPSES
She is still filled with foreboding, which is
not lessened by finding that a box of flowers
contains a funeral wreath. She is com-
forted, however, by a bridal wreath which
the holy hermit has blessed.
Scene 2. Duke Ottakar's Camp. The
marksman’s tourney is in progress, and
Max astonishes all the spectators by his
skill. Only one remains of his store of
magical bullets, and this one the fiend
has in personal charge. The Duke orders
Max to shoot at a dove flying through the
forest. He obeys and a woman’s shriek is
heard. Agnes in her wedding finery has
been struck; but she revives and it is
found that the wreath blessed by the
hermit has turned the bullet aside. The
fiend cheated of his prey seizes upon the
cursing Caspar whose day of grace has ex-
pired. The horrified Max tells the story of
the bullets and confesses his fault, where-
upon the Duke imposes a year of penance
before he can receive the post of head
ranger or the hand of his bride.
G E R M A N IA
Dramatic Opera in Four Acts. Music by Alberto
Franchetti. Book by Luigi Illica. First pro-
duced at Milan, 1902.
SCENE: Warious parts of Germany.
TIME: 1806.
C. A. ST
FREDERICK LOEWE, member of the Brotherhood
(Tenor).
CARL Worms, member of the Brotherhood
(Baritone).
GIov ANNI PALM, member of the Brotherhood
(Basso).
CRISOGONo, member of the Brotherhood
(Baritone).
STAPPs, a Protestant priest (Basso).
RICKE, a Nuremberg maiden (Soprano).
JANE, her sister (Mezzo-Soprano).
LENA ARMUTH, a peasant woman (Mezzo-
Soprano).
JEBBEL, her nephew (Soprano).
LUIGI LUTzow, an officer (Basso).
CARLO RoRNER, an officer (Tenor).
PETERs, a herdsman (Basso).
SIGNORA HEDVIGE, (Mezzo-Soprano).
CHIEF OF POLICE, (Basso).
Police, Students, Soldiers, Peasants, Histor-
ical Personages.
151
A R G U M E N T
“Germania” is a picture of the upheaval
in Germany caused by the Napoleonic
Wa,TS.
ACT I
An Old Mill at Nuremberg. The revolu-
tionists have converted an old mill at
Nuremberg into a printing shop for their
literature. Palm, the author of some of
this, is sought by the police, but unsuccess-
fully. Meanwhile, books and pamphlets
are sent out as bags of flour. Worms, who
is in charge of the press, is visited by Ricke,
who accuses him of betraying her. She
is especially downcast as a letter just re-
ceived announces the early return of
Loewe, her lover. Worms threatens his
vengeance if she tells Loewe of their rela-
tions.
ACT II
The Black Forest. Loewe, Ricke and
others seek refuge in a hut, Loewe having
been among those proscribed by the vic-
152
GERMANIA 153
torious Napoleon. Ricke has consented to
marry Loewe, not daring to tell him of
Worms. Immediately after the simple
ceremony uniting them, Worms appears
find summons Loewe to attend a meeting of
the secret brotherhood. Worms will not
tarry, and Ricke, in terror of consequences,
flees away, leaving a note for the bride-
groom telling him-not to follow her. The
bewildered Loewe is finally apprised of the
true state of affairs by Ricke's little sister
Jane.
ACT III
A Secret Hall at Koenigsberg. The
patriots meet with the utmost secrecy and
lay plans to defeat the invader of their
country. Only one standing apart, masked,
jeers at their motives. He proves to be
Loewe, who now challenges Worms to
fight. The latter, however, refuses to
defend himself, and others interpose to
stop the quarrel.
ACT TV
The Battlefield of Leipzig. The plain is
covered with prostrate forms after the
154 OPERA. SYNOPSES
great battle has been fought. Ricke seeks
among them for the husband she has
deserted, and finally finds him not far away
from the corpse of Worms. Loewe is
barely alive, and soon expires in Ricke's
arms, but she makes no outcry as she lies
down beside him. In life all things con-
spired to keep them apart; but in death
they can be united.
LA GI O C O N D A
Dramatic Opera in Four Acts. Music by Amilcare
Ponchielli. Book by Tobia Garrio, after Hugo's
Tragedy, “Angelo, the Tyrant of Padua.” First
produced at the La Scala Opera House, Milan,
April 8, 1876.
SCENE: Venice.
TIME: The 17th Century.
C. A ST
LA Giocond A, a street singer (Soprano).
LA CIECA, her blind mother (Contralto).
ALVISE BADOERO, an inquisitor (Basso).
LAURA, his wife (Mezzo-Soprano).
ENZO GRIMALDo, a Genoese noble (Tenor).
BARNABA, a spy (Baritone).
ZUANE, a boatman (Basso).
ISEPO, a scribe (Tenor).
A PILOT (Basso).
Ladies, Senators, Masqueraders, Sailors,
Monks, Citizens, Servants,
A R G U M E N T
“La Gioconda” is a swiftly-moving
Venetian tale of love, intrigue, jealousy,
and crime.
ACT I
Court of the Ducal Palace. Called “The
Lion's Mouth,” because of a receptacle into
which letters intended for the Inquisition
are dropped. Leading her blind mother,
the beautiful La Gioconda, a street singer,
enters the ducal square just as a chorus of
merrymakers have deserted it. She is in
search of Enzo a nobleman with whom she
is in love. But the spy Barnaba bars her
way, and when she repulses his advances he
takes revenge by stirring up the populace
against her mother, La Cieca, charging her
with being a sorceress. The latter is
rescued by Laura, the Inquisitor's wife,
once the sweetheart of Enzo. The latter
who has come upon the scene also recog-
nizes Laura, and the spy, noting their ex-
change of glances, plots a new piece of
villainy. He arranges a meeting between
them on board Enzo's ship, and at the same
156
LA GIOCONDA 157
-º-º-º-º-
time sends word to Laura's husband of the
adventure. La Gioconda also learns of the
meeting.
ACT II
On Board Enzo's Ship. This act is called
“The Rosary’ from the fact that La Cieca
has given Laura a rosary in token of grati-
tude and it plays a further part in the
action. While Barnaba gloats over the
success of his scheme Enzo comes on deck
and greets Laura who arrives in a boat.
The two renew their pledges of love. Gio-
conda who has hidden on board now comes
forward with a dagger resolved to stab her
rival, but Laura holds up the rosary given
by Gioconda’s mother, and the street sing-
er, recognizing it, resolves to save rather
than slay her. Gioconda advises her that,
Alvise, the outraged husband, is near at
hand and aids her to escape in her (Gio-
conda's) boat. Seeing his ship surrounded,
Enzo sets fire to it.
ACT III
The House of Gold. Alvise is deter-
mined to avenge himself upon his unfaith-
ful wife and tells her she must die by poison.
Deaf to her entreaties he hands her a vial
158 OPERA SYNOPSES
—º
and bids her drain it before his return.
Gioconda enters and substitutes a sleeping
potion, and Laura is soon stretched upon
the death couch pale and apparently life-
less. The grand ball which Alvise has been
giving now continues with furious gayety,
and at the last he draws apart the curtains
concealing the death couch and reveals the
form of Laura. Enzo rushes forward to
attack Alvise but is disarmed. Barnaba
is placed over him as a guard, and Gioconda
now tells the spy that if he will release him,
she will agree to his desires. Barnaba does
SO.
ACT IV
A Ruined Palace. While Gioconda sits
alone and dejected, the unconscious form of
Laura is borne in. Gioconda fights an in-
ward battle as to whether she shall kill or
resuscitate her helpless rival. She finally
resolves to kill herself. Enzo comes in and
she tells him that Laura has been saved.
Overjoyed he hastens to the couch, hear-
ing the voice of Laura. Barnaba enters to
claim Gioconda as she has promised, and in
reply she stabs herself, falling lifeless at his
feet.
T H E G IF L OF THE
G O L D E N W E S T
(La Fanciulla del West). Romantic Opera in
Three Acts. Music by Giacomo Puccini. Book
by David Belasco. First produced at the Metro-
politan Opera House, New York, December 10
1910.
SCENE: A California Mining-camp.
TIME: 1848.
C AST
MINNIE, a Western girl (Soprano).
JACK RANCE, the sheriff, a gambler (Baritone).
JOHNSON, alias Ramarrez, an outlaw (Tenor).
DICK, a servant (Tenor).
LARKINs (Baritone).
HARRY (Baritone).
Miners, Bandits, Servants, Indians, etc.
159
A R G U M E N T
“The Girl of the Golden West '' is a
romantic and colorful picture of Western
pioneer life, which was successful as a
drama, before being given a musical setting.
The days of the gold fever on the Pacific
slope and of the rough and ready justice
there accorded are here illustrated.
ACT I
The Polka Bar. Minnie, a resourceful
“girl of the Golden West,” left an orphan,
continues to run her father's bar-room for
the benefit of the miners who flock to the
newly-discovered gold-diggings of Cali-
fornia. Minnie herself can gamble and
shoot with the best of them if necessary,
but she is treated as a sort of ward by the
camp whom it would be sudden death to
insult. While her friends the miners are
congregated at her bar a wandering min-
strel halts outside and sings of the “Old
Folks at Home,” moving some of them to
tears. Then Minnie sings a love song which
also arouses the sentiment of her hearers.
ióG
THE GIRL OF THE GOLDEN WEST 161
During the singing, Jack Rance, the sheriff,
who is also a gambler and who has long
loved Minnie, enters. He pleads his love,
but she will not listen to him.
The mountains back of the camp have
been overrun for some time by a band of
outlaws under the leadership of Ramarrez.
The miners have offered large rewards for
their extermination, but the outlaws are so
bold and careless that they plan a robbery
in the camp. Their leader comes, under
the name of Johnson, to the Polka bar in
order to look over the ground and, in the
evening, give the signal to his men. But
becoming fascinated by the girl, he lingers
to make love to her and offers to escort her
to her home. She is also interested in him
and accepts his attentions.
ACT II
Interior of Minnie's Cabin. The two
Indian servants of Minnie crouch in one
corner, while she listens pleased to John-
son’s declarations of love. A noise is heard
outside the door and Minnie discovers
Rance at the head of a posse. Not caring
to have them find a man at her home she
162 OPERA. SYNOPSES
conceals Johnson, who is only too willing to
go into hiding; then she opens the door.
Rance tells her that they are searching for
a notorious bandit who, they have reason
to believe, is concealed on the premises.
Minnie indignantly disclaims knowledge of
any such person, but after the posse has
gone away she turns upon Johnson and up-
braids him for deceiving her. The outlaw
tells her that he has been reared to this life,
but after seeing her he is ready to reform.
She will not listen to him, however, and he
leaves the cabin. A few paces from the
door a shot is heard. Rance has remained
in hiding and now seriously wounds him.
Johnson drags himself back to the cabin
and Minnie, touched by his plight, conceals
him in the loft. Rance returns and de-
mands the fugitive. Minnie again denies
knowledge of his whereabouts, but a few
drops of blood trickling down from above
betray him. In desperation Minnie offers
to play a game of poker, the stakes to be
the outlaw against her love. The gambling
spirit of Rance is aroused and they play.
Minnie cheats with the cards and wins.
Rance respects his agreement and departs.
THE GIRL OF THE GOLDEN WEST 163
ACT III
In the Redwood Forest. Minnie nurses
Johnson back to health and he promises to
disperse his gang and go to another State,
there to live an honest life. Rance, hearing
that he has recovered from his wound and
is now on his way to join the outlaws,
summons his posse and captures him. The
miners promise him short shrift at the end
of a rope, and are preparing to lynch him
from the first convenient tree, when Minnie
rushes forward. She pleads with the
miners, telling them of Johnson's refor-
mation, and by her influence persuades
them to spare his life. Later Rance aids
her to effect his escape and she departs
with Johnson for an Eastern State where
they are to be married and begin life anew.
HAN SEL AND GRETEL
Fairy Opera in Three Acts. Music by Engelbert
Humperdinck. Book by Adelheid Wette. First
produced at Weimar, December 23, and at
Munich, December 30, 1893.
SCENE: A German Forest.
TIME: The 17th Century.
C A ST
PETER, a broom-maker (Baritone).
GERTRUDE, his wife (Contralto).
HANSEL, their son (Mezzo-Soprano).
GRETEL, their daughter (Soprano).
THE CRUNCH WITCH (Mezzo-Soprano).
THE SAND MAN (Soprano).
THE DEw MAN (Soprano).
Fourteen Angels, Children, Elves, etc.
165
A R G U M E N T
“Hansel and Gretel,” adapted from a
fairy tale by the brothers Grimm, loses
nothing of its charm and freshness in this
delightful musical setting.
ACT I
The Broom-Maker's Cottage. The two
children of Peter, the broom-maker, are
trying to finish their stint of work while
awaiting the return of their parents with
Supper. But they finally grow so hungry
that they lay aside their tasks and dance
about to forget their appetites. Their
mother, a hasty-tempered woman, finds
them thus wasting time and by way of pun-
ishment packs them off into the woods of
Ilsenstein, to pick berries for supper. After
they have run away in terror, Peter comes
in greatly pleased over having sold all his
brooms. He brings food in plenty. But
when he learns that the children have gone
to Ilsenstein, where the bad Crunch Witch
dwells, he is greatly alarmed and both he
and Gertrude post in search of them.
166
HANSEL AND GRETEL 167
ACT II
In the Forest. The children wander
about picking berries, but are so hungry
that they eat them as fast as picked. They
are therefore afraid to return home, and
besides it is growing dark. They sink down
weary beneath a large tree and the Sand
Man comes and sprinkles his sand of
slumber in their eyes. Then in accordance
with their childish prayer, fourteen angels
descend a staircase from Heaven and
assume guard about them.
ACT III
The Witch's Gingerbread Hut. The
next morning the Dew Man arouses the
children and they are surprised to find
themselves in front of the Gingerbread
Hut of the Crunch Witch. This is her
trap to lure children whom she wishes to
devour, but Hansel and Gretel do not
know it. They are hungry and break off
bits of the delicious house to nibble. Out
comes the witch and lays hold upon them.
Hansel she locks up in a cage to fatten, but
Gretel, who is plump enough, is made to
16S OPERA. SYNOPSES
bring water and fuel to help the witch
prepare her feast. The witch is impatient
for Hansel to fatten and meanwhile stirs
up her oven fire. As she looks in at the
oven door, Hansel escapes from the cage,
and he and Gretel give the witch a sudden
push, sending her headlong inside the oven.
The children dance about with glee, eating
their fill of sweetmeats. The oven cracks
open, and at the same time a row of ginger-
bread children who stood along the façade
of the hut turn into real live children, who
thank their deliverers for their escape from
the witch's spell. The witch herself is
burned to a crisp. Peter and Gertrude
now enter, overjoyed to find their children
alive, and the opera en 's in a general
dance and merry-making.
H E R O DIAS
(Herodiade). Dramatic Opera in Four Acts. Music
by Jules Massenet. Book by Paul Milliet and
Henri Gremont. First produced at the Théatre
de la Monnaie, Brussels, December 19, 1881.
SCENE: Palestine.
TIME: 30 A. D.
C AST
HEROD, the tetrarch (Basso).
HERODIAs, his wife (Mezzo-Soprano).
SALOME, her daughter (Soprano).
PHANUEL, a Chaldean (Tenor).
John THE BAPTIST, a Prophet (Tenor).
VITELLIUS, a Roman consul (Baritone).
HIGH PRIEST (Baritone).
Jews, Romans, Soldiers, Priests, Dancers,
Servants, etc.
169
A R GUMENT
“Herodias” presents another version of
the character of Salome from that given in
the Strauss opera, based upon the Wilde
play. Both, of course, go back to the
Biblical account for their slender historical
setting.
ACT I
Courtyard of Herod's Palace. While
servants labor under the direction of
Phanuel the Chaldean, Salome enters
seeking her mother, whose identity she
does not know. Phanuel promises to aid
her but warns her against the intrigues of
the palace. They depart. Herod now
enters seeking this maiden whose dancing
has already enslaved him. Herodias meets
him and complains of a rough-looking
prophet who has bitterly denounced her in
public. She wishes to be revenged, but
Herod counsels caution. John, the prophet,
enters at this moment repeating his denun-
ciations. Both Herod and Herodias leave
hastily. Salome runs to greet him, her
170
HERODIAS 171
heart won by his former kindnesses; but he
refuses her proffered love.
ACT II
Scene 1. Herod's Chamber. The tet-
rarch reclines at ease watching his dancers;
but Salome is not among them and he is
unhappy. Phanuel enters to warn him
against this life of luxury.
Scene 2. A Public Square. Urged on
by Phanuel, Herod appears before the
people haranguing them to throw off the
Roman yoke. But they are interrupted
by the sound of trumpets announcing the
arrival of the Roman consul, Vitellius.
The suspicions of the consul are lulled by
Herod, who says that the priests desire
that their Temple be restored to them.
Vitellius says it shall be done. John
appears, followed by Salome and others,
and the consul is told by Herodias that the
prophet is a disturber anxious for power.
John retorts that all power is from God.
ACT III
Scene 1. An Inner Room. While Phan-
uel, the Chaldean, is consulting the stars,
172 OPERA SYNOPSES
Herodias seeks him to know about the
future. She is especially desirous to know
how to win back Herod's love, and also as
to the whereabouts of her lost daughter.
IFor reply, Phanuel shows her Salome who
is crossing the court with the dancers.
“That my daughter?” exclaims Herodias.
“No, my rival!”
Scene 2. The Temple. Salome is in the
depths of despair because John has been
cast into prison. Herod meets her and
offers her his love, but she repulses him.
Vitellius enters proclaiming the power of
Rome. The priests appear before him
urging the condemnation of John. He
refers them to Herod. John is brought
forward and questioned. Salome throws
herself before him begging Herod to pardon
him; but this only infuriates Herod, who
sentences him to death.
ACT IV
Scene 1. A Dungeon. While John
awaits his sentence, Salome enters. Her
fortitude and devotion touch him and
something like human love enters his
heart. But he bids her flee and save her-
HERODIAS 173
self. The High Priest secretly offers John
a pardon if he will use his influence for
Herod against Rome, but John refuses.
Scene 2. Audience Hall in the Palace.
While Herod, Herodias, and Vitellius hold
an audience and are entertained by dancers
Salome appears at the special command of
Herod. He turns a deaf ear, however, to
her requests for John's pardon, and the
executioner presently appears with a
bloody sword, as a sign that the prophet is
dead. Salome turns in fury upon Herodias,
saying “This is your deed!” and is about
to stab her. Herodias in fear cries out:
“I am your mother!” “Then take back
the life you gave me!” replies Salome, and
stabs herself to the heart.
T H E H U G U E N OTS
Dramatic Opera in Five Acts. Music by Jacob
Meyerbeer. Book by Eugene Scribe. First pro-
duced at the Académie, Paris, February 29, 1836.
SCENE: Paris and Touraine.
TIME: 1572.
C AST
MARGUERITE DE WALOIs, the Princess
(Soprano).
CoMTE DE ST. BRIs, a Catholic nobleman
(Basso).
VALENTINE, his daughter (Soprano).
RAOUL DE NANGIS, a Huguenot nobleman
(Tenor).
MARCEL, his servant (Basso).
DUC DE NEVERs, a Catholic nobleman
(Baritone).
URBAIN, a page (Mezzo-Soprano).
BoIs Rosá, a Huguenot soldier (Tenor).
Catholic and Protestant Noblemen and Sol-
diers, Courtiers, Attendants, Citizens.
175
A R G U M E N T
The Massacre of St. Bartholomew’s Eve
forms the historic groundwork of “The
Huguenots.” The stormy love-affair of
two young persons belonging to the warring
factions is its theme.
ACT I
Dining Hall in De Nevers’ Chateau. In
the interests of peace between the warring
Catholic and Protestant parties of France,
the Duc de Nevers entertains Raoul de
Nangis at a banquet of Catholic noblemen.
While at table, the diners are asked to
toast their ladies, and Raoul tells of a fair
unknown, whom he had once rescued
from a band of roystering students, and
whom he has since searched for in vain.
Raoul's servant Marcel, now enters and
warns him of impending danger. Mean-
while, De Nevers has been called from the
room, and Raoul, looking out of the win-
dow, perceives him in conversation with
the very lady whom he has been toasting.
He now thinks that he has discovered a
176
THE HUGUENOTS 177
liaison between the lady (Valentine) and
the noble, when in reality she has come only
to ask her release from a promise of mar-
riage. A servant presently arrives bearing
a message to Raoul from Marguerite de
Valois, asking him to come secretly to
court,
ACT II
Garden of Marguerite de Valois. Mar-
guerite, like De Nevers, is working for
peace, and to this end has invited Raoul to
her presence. She is willing to arrange a
match between him and Valentine de St.
Bris, thus uniting two warring houses.
To this end, Valentine has broken her be-
trothal with De Nevers, but is doubtful as
to her father's consent. The princess
promises to arrange matters with St. Bris.
Raoul is received at court blindfolded, and
when unblinded is delighted with his cor-
dial reception. Catholic and Protestant
nobles pledge amity, and Valentine's hand
is promised to Raoul. But when he dis-
covers in her the same lady that he saw in
De Nevers' garden, he thinks that the
duke's discarded mistress is being bestowed
upon him, and refuses the alliance. St.
178 OPERA SYNOPSES
Bris and De Nevers both wish to averige
this insult, and immediate bloodshed is
only averted by the presence of the prin-
CeSS. \
ACT III |
Banks of the Seine near Paris. Valentine
has again accepted the faithful De Nevers
and preparations are forward for their
wedding. Raoul has sent a challenge to
St. Bris, and the latter's friends urge him
to involve all the Protestants in the
quarrel. Raoul is warned of treachery
through Marcel and Valentine, but keeps
his appointment with St. Bris. Marcel
thereupon calls upon all the Huguenots in
a neighboring inn, while St. Bris summons
all the Catholics. A general fight is averted
only by Marguerite, and as she is in doubt
as to whom to believe, Valentine tells her
the whole story. Raoul now learns for
the first time of his unjust suspicions, but
his knowledge comes too late as De Nevers
appears in a boat to conduct his bride away.
ACT IV
Room in De Nevers' Mansion. It is the
Eve of St. Bartholomew's. Raoul comes to
take a last farewell of his lady love, but she
THE HUGUENOTS 179
bids him fly from imminent peril. A party
of Catholic noblemen now enter and he is
forced to take refuge behind a screen.
There he overhears the whole conspiracy
against his party. St. Bris gives commands
and marshals his forces. As soon as they
have set forth on their bloody quest, Raoul
declares that he will go out and share the
fate of his friends. Valentine clings to him
and begs him not to go. From without is
heard a fusillade of shots and other sounds
of a terrible massacre. Within is love. But
he does not hesitate. Finding that she has
locked the door, he leaps from the balcony
to his fate.
ACT V (Usually Omitted)
Marguerite's Audience Hall. Raoul
escapes, wounded, to Marguerite's court
and begs her protection for the Huguenots.
It is too late, however. Murder is afoot
and will not cease till the whole party has
perished. Valentine now rushes in and
begs him to abjure his faith and thus save
himself; but Marcel tells him to remember
his oath. The two Huguenots go out to
meet their enemies, and Valentine declares
she will turn Protestant and die with them.
IRIS
Tragic Opera in Three Acts. Music by Pietro
Mascagni. Book by Luigi Illica. First pro-
duced at the Theatre Costanzi, Rome, in No-
vember, 1898, and in revised form the next year,
in Milan.
SCENE: Japan.
TIME: Recent.
CAST
CIECO, a blind man (Basso).
IRIS, his daughter (Soprano).
OSAKA, a wealthy libertime (Tenor).
IGYOTo, keeper of a dive (Baritone).
A GEISHA (Soprano).
A PEDDLER (Tenor).
A RAG-PICKER (Tenor).
Girls, Villagers, Rag-Pickers, etc.
181
A R G UMIFNT
‘‘Iris” is an Oriental opera, telling the
tragedy of a lost soul—a Japanese girl
who fell into evil ways through no fault of
her own, and who passes through the utter-
most depths to the light of a happier world
beyond.
ACT I
A Japanese Garden. The scene opens
with a colorful hymn to the Sun as the
Lord of Life. Iris, as an innocent child, is
playing with her doll, and her blind father
hears her chatter with much contentment.
This idyllic scene is disturbed by the en-
trance of Osaka, an unprincipled man of
the town, who has seen the beauty of the
young girl and desires her. He arranges
with Kyoto, a procurer for an evil resort,
to abduct her. The girl goes with other
maidens to do their washing at the river
brink, and is attracted by a puppet show
devised by the crafty Kyoto. She is seized
by the men, who leave a purse of gold to
182
IRIS 183
make their transaction legal. Geishas
dance around her to prevent a rescue, and
her father is told that she went willingly.
He curses her and their shattered home.
ACT II
A Room in the Yoshiwara, or Home of
the Geishas. Iris lies asleep while other
girls hum a soft melody. Osaka enters,
asking for her, but is informed by Kyoto
that her price is high. The libertine
agrees, for, as he says, she is a “creature
with a soul.” When Iris awakens she be-
lieves herself in Paradise, her surround-
ings and gifts are so lovely, and when
Osaka approaches she greets him as a “Son
of Light.” He answers cynically, and at
last, wearied by her innocence, he bids
Ryoto take her away. The keeper orders
the geishas to robe her in transparent gar-
ments and expose her to the gaze of the
street crowd. Osaka relents and tells
Kyoto he shall have his own price for her.
During this brutal haggling over the igno-
rant girl, who still does not know her
whereabouts, her father appears in the
crowd below and calls to her. She answers
184 OPERA. SYN OPSES
joyfully, but he hurls mud upon her and
greets her with contempt and curses.
Crazed, the girl casts herself into a deep
vault, and is given over for dead.
ACT III
A Dump Heap on the Outskirts of the
City. Rag-pickers are searching over the
refuse of the city, in the hope of finding
articles of value. They discover the body
of Iris, still clothed in its finery. In try-
ing to secure the dress, the body seems to
revive. This scatters the rag-pickers, who
run away in a panic. In a state of semi-
consciousness Iris again hears the voices
of the world—Osaka telling her that she
has perished as a flower that sheds its
fragrance in death—her father justifying
his brutal act. Still Iris does not under-
stand it all, and murmurs “Why? why?”
Why should her simple life at the cottage
be destroyed? As if in answer, the sun
bursts forth, and she is reminded of her
earlier hymn to “My Lord, the Sun!”
Flowers spring up around her, enfold her
in their expanding petals, and lift her
body heavenward.
THE JEWELS OF THE
MADONNA
(I Giojelli Della Madonna.) Dramatic Opera in
Three Acts. Music by Ermanno Wolf-Ferrari.
Book by C. Zangarini and E. Golisciani. First
produced at Berlin, December, 1911.
SCENE: Naples. 3.
TIME: The Present.
C AST
MÁLIELLA, adopted daughter of Carmela
(Soprano).
CARMELA, Gennaro's mother (Mezzo-Soprano).
GENNARO, a blacksmith (Tenor).
RAFAELE, chief of the Camorrists (Baritone).
Camorrists, Street-sellers, Townsfolk, etc.
185
AR GTUMENT
The scene of action is modern Naples.
The plot hinges on the rivalry of Gennaro,
a blacksmith, and Rafaele, a Camorrist
leader, for the love of Maliella.
ACT I
A Small Open Square by the Sea.
Afternoon. A merry crowd in a small
public square awaits the festival procession
in honor of the Holy Virgin. Maliella es-
capes from her house with disheveled hair
and disordered dress, protesting against
the restraint of her foster-mother. After
some banter with Gennaro she sings a chal-
lenging song, inviting the assembled crowd
of youths to kiss her. An impromptu dance
ensues, she is whirled in and disappears,
but soon returns followed by Rafaele. She
repels him, and when he seizes her to kiss
her, stabs him in the hand with a pin drawn
from her hair. He hesitates, then kisses
186
THE JEWELS OF THE MADONNA 187
the wound, swearing she shall be his, and,
as she replaces the pin in her hair, thrusts
a flower in her bosom, which she snatches
forth and flings to the ground. The pro-
cession comes in sight, and he stays by her,
pleading. As the Madonna passes, he of.
fers to risk his soul for her, by placing the
jewels of the Madonna round her neck.
Terrified at the thought, she shrieks, while
Rafaele and his fellow-Camorrists laugh.
As she is about to enter her home again,
Rafaele throws her the flower she has re-
jected, and this time Maliella places it be-
tween her lips and goes within.
ACT II
Garden of Carmela's House. Evening
of the same day. Maliella is with Carmela
and Gennaro; the festival is not yet over.
Carmela leaves them, and Gennaro begins
to plead with Maliella, but she complains
of the monotony of her life and threatens
to leave her home. Gennaro begs for a
farewell kiss, and losing control, clasps her
in his arms and pours out his passion for
her. Maliella escapes from him and pro-
claims her love for Rafaele, tauntingly re-
188 OPERA. S. YNOPSES
peating the Camorrist’s offer to risk his
soul for her by robbing the Madonna of
her jewels. She returns to the house and
Gennaro breaks down. The thought of
Rafaele’s boast possesses his mind, and his
distraught fancy leads him to imagine that
only by himself obtaining these jewels can
he hope to win Maliella’s love. He takes
keys and tools with him and locks the gar-
den door after him. Rafaele comes with
his fellow-Camorrists to serenade Maliella.
She enters the garden and he embraces her
through the bars till warned away by the
approach of Gennaro, who enters looking
Iike a ghost. In answer to her cry he re-
sponds “For you!” and discloses the
stolen jewels of the Madonna. She screams,
but Gennaro assures her that the Virgin
has already forgiven his crime. Fasci-
nated by the jewels glittering in the moon-
light, she moves slowly toward them and
clasps them about her head, neck and
wrists. The sight of the gems calls up the
vision of Rafaele to her mind and pos-
sesses her utterly; all thought of Gennaro
fades and, as if in a trance, she yields her-
self to him.
THE JEWELS OF THE MADO.NNA 189
ACT III
Meeting-place of the Camorrists. It is
the night of the festival. Some of the
Camorrists lie about sleeping, others come
in from various expeditions. Rafaele en-
ters and is boisterously greeted. After he
has eaten he sings of the charms of Ma-
|iella, which piques the Camorrist women,
and they begin a wild, bacchic dance,
that by degrees degenerates into an orgy.
Suddenly there is a loud knocking, and Ma-
liella bursts in, disheveled, pallid and
bareheaded. Rafaele forces her terrible se-
cret from her, and at the first mention of
Gennaro's name commands his comrades
to bring him his rival, alive or dead. Fu-
rious at the derision of his fellows follow-
ing Maliella’s confession, Rafaele spurns
her brutally, and she falls to the ground,
disclosing the jewels. Gennaro rushes in,
pursued by the Camorrists, and seeing Ma-
liella cries her name. Filled with consum-
ing hatred, she shrieks that he is accursed,
tells how he robbed the Madonna, and,
flinging the jewels at his feet, rushes out,
crying despairingly, “To the sea!” The
190 OPERA SIXNOPSIWS
wind, whistling through the den, blows out
the candles one by one. The company flees,
filled with superstitious terror, and Gen-
naro is left alone. He, not having obtained
death from the hands of the Camorrists,
crawls to a rude altar beneath a fresco of
the Virgin and, craving pardon for his
sacrilege, stabs himself. A crowd, armed
with various weapons, bursts into the den,
seeking vengeance on the sacrilegist. At
the sight of Gennaro dead before the
Virgin they halt, awe-stricken, on the
threshold.
T H E J U G G L E R O F
N O T R E D A M E
(Le Jongleur de Notre Dame). Miracle Play in
Three Acts. Music by Jules Massenet. Book
by Maurice Lena. First produced at Paris, in
1903.
SCENE: Cluny near Paris.
TIME: The 14th Century.
C. A ST
JEAN, a juggler (Tenor).
BONIFACE, a cook (Baritone).
PRIOR OF THE MONASTERY (Basso).
PoET, a monk (Tenor).
PAINTER, a monk (Baritone).
MUSICIAN, a monk (Baritone).
SCULPTOR, a monk (Basso).
Two Angels, apparition of the Virgin,
Monks, Cavaliers, Citizens.
191
A R G U M E N T
“The Juggler of Notre Dame" is styled
by its librettist a “Miracle” play, but is
only such in the sense that it requires a
miracle to give value to its denouement.
Its theme is medieval and monastic, ignor-
ing love or other affairs of the gentler sex.
ACT I
The Cluny Market-Place. During a
market day in which all the villagers gather
to barter and make merry, Jean the juggler
wanders about forlorn and hungry. His
tricks are time-worn, his songs weak, and
when he presently tries to perform for the
crowd, they only jeer at him. Finally, to
arouse them he sings a sacrilegious song,
“Alleluia to Wine,” in which they roar out
a chorus. The Prior of a neighboring mon-
astery is shocked and comes out to anathe-
matize the crowd. All scatter, leaving
Jean, who is really a good-hearted fellow,
to bear the blame of the church. The Prior
is finally touched by his penitence, and par-
192
THE JUGGLER OF NOTRE DAME 193
*—
dons him, but urges him to join the band of
monks. Jean does not wish to relinquish
his liberty, but the sight of the Cook’s
donkey going by with panniers laden with
food is too much for his hungry stomach
and he consents.
ACT II
The Monastery Study. The busy monks
each labor at their chosen vocation, poets,
musicians, painters, scribes, sculptors, and
what not, but Jean feels himself out of it.
He cannot even pray to the Virgin because
he knows no Latin, and he fears that she
will not listen to any other tongue. Mean-
while, the other monks have been quarrel-
ing as to which of their vocations has the
most merit. The Cook alone consoles Jean
by relating to him the legend of the humble
sage plant, useful in cooking, and Jean
resolves to serve the Church in his own
humble way.
ACT III
The Chapel. Jean lays aside his mon-
astic dress and puts on his juggler's apparel.
194. OPERA SYNOPSES
He goes before the life-size figure of the
Virgin, in the Chapel, and since he does
not know anything else, he prepares to offer
to her his little stock in trade—a juggling
performance! Spreading out his shabby
outfit, he performs his tricks and sings his
songs, first begging pardon if they do not
suit her. In the midst of his performance,
the monks enter to celebrate high mass.
They recoil in horror at this sacrilege and
are ready to lay violent hands upon the
poor juggler, when suddenly a miracle
happens. The image of the Virgin be-
comes animated, the face Smiles, and the
arms stretch out in protection and bene-
diction. The monks draw back in awe,
and Jean radiant exclaims, “Now at last I
shall know Latin,” and breathes his last.
Angels appear and the Prior crossing him-
self says: “We have had a saint among
us!”
E O E NIG S KIND E R.
(The King's Children). Fairy Opera in Three
Acts. Music by Engelbert Humperdinck. Book
by Ernst Hosmer, after the fairy tale by Elsa
Bernstein. First produced at the Metropolitan
Opera House, New York, December 28, 1910.
SCENE: Hellabrun, in the Mountains of
Germany.
TIME: The Middle Ages.
C. A. ST
THE KING's SON (Tenor).
THE GOOSE GIRL, also of royal descent
(Soprano).
THE WITCH (Contralto).
THE FIDDLER, (Baritone).
THE WOODCUTTER (Basso).
THE BROOM-MAKER (Basso).
THE INN-KEEPER (Baritone).
THE INN-KEEPER’s DAUGHTER (Soprano).
THE COUNCICLOR (Basso).
A LITTLE CHILD (Soprano).
Villagers and Country People.
A R G U M E N T
“Roenigskinder’ is something more
than a fairy opera; it is an allegory upon
love which unlocks the eyes of those who
have it in their hearts, causing them to see
what is denied to ordinary mortals.
ACT I
The Witch’s Hut and Garden. In a
secluded valley a witch has kept a young
girl prisoner. She has grown up in ignor-
ance of her parents, and the witch has cast
a spell upon the forest round about so that
she may not escape. The girl tends her
geese and dreams of the sunny world with-
out; but the witch chides her for idling,
telling her that there is more evil in the
world than good, and bidding her come in
and knead the magic bread which is never
to grow stale but will some day carry death
to the eater. The girl obeys against her will
while the witch departs. When the girl
returns to the sunshine she is amazed to see
a man—the first who has penetrated the
196
KOENIGSKINDER 197
forest. It is the King's son who is now in
exile. Both having hearts of love they
recognize each other as “King's Children.”
He tells her to come with him into the
world, and she would willingly go but can-
not for the witch's spell. He does not
understand and departs in anger. Mean-
while the King has died and the citizens of
Hellabrun send a delegation—the fiddler,
the woodcutter, and the broom-maker,H
to the witch to ask her who shall be the
next ruler. She replies that it will be the
one who shall come to the city gates the
next day at the stroke of noon. The fiddler
alone understands her and lingers behind
to talk to the goosegirl in whom he also
recognizes one of kingly descent. She
departs with him despite the witch's curse.
ACT II
Gates of the Town of Hellabrun. The
town councillors decide to put the witch's
prophecy literally to the test, and all the
people gather near the city gates to await
the coming of their new ruler. Among the
throng is the King's son, clothed in rags
and unnoticed. He has been working in
198 OPERA SYNOPSES
—w
menial tasks no one recognizing his rank.
The innkeeper's daughter loves him selfish-
ly but he disdains her. Then a little child
with open heart sees him as he is and
becomes his friend. The bell strikes the
hour of noon and all await feverishly for
the gates to open. As they do so, behold!
only the goosegirl surrounded by her geese
and followed by the faithful fiddler. With
a cry the King's son springs forward.
“My queen!” he cries. But the others
laugh them both to scorn and drive them
from the city. They cannot accept rulers
who come in rags and tatters. Only the
little child sobs in grief and tells the chief
councillor that they have turned away
their King and Queen.
ACT III
The Witch’s Hut, in Winter. The witch
has been burned by the people in their rage,
and now all is cold and desolate around the
hut. The fiddler, old and lame, has taken
up his refuge there. To him comes the
little child who had known the Prince, with
her playmates, and asks him to go with
them to find the ISing's children again. He
ROENIGSKINDER I99
hobbles out to join them. After they are
gone, the two lost ones appear wearied and
faint with hunger. The Prince goes to the
hut for shelter but finds the woodcutter
there who denies them admittance. Finally
he sells the Prince a loaf of bread for his
crown. It is the poisoned bread which has
remained always fresh. They eat and are
overcome with stupor, falling in the snow.
The fiddler and the children presently re-
turn from their search and find them cold
in death. Heartbroken the fiddler bids
the children make a grave for the pair upon
the summit of the mountain. There they
can lie and dream of the many other
children of the king who go through the
world unrecognized save by those whose
hearts are touched with love.
LO BET ANZ
Fairy Opera in Three Acts. Music by Ludwig
Thuille. Book by Otto Julius Bierbaum. First
produced at Mannheim, Germany, February 6,
1898.
SCENE: Germany.
TIME: The Middle Ages.
CAST
LOBETANZ, a wandering minstrel (Tenor).
THE KING (Baritone).
THE PRINCEss (Soprano).
FIRST DARK GIRL (Soprano).
FIRST FAIR GIRL (Soprano).
FORESTER (Basso).
HEADSMAN (Baritone).
JUDGE (Basso).
Prisoners, a Youth, Maidens, Minstrels, Poets,
Courtiers, Huntsmen, Peasants.
201
AR GTU MENT
A pleasant, old-fashioned fairy-tale,
dealing with a princess sick unto death,
who can only be healed by the strains of
a wandering minstrel's song, is the theme
of this melodic opera.
ACT I
Garden adjoining a Palace. It is Spring-
time. Maidens dance, sing and strew
roses, as the day is the festival of song.
Attracted by their revelry, Lobetanz, a
poor strolling minstrel, enters the garden,
his violin slung across his shoulders, but
the man himself in tatters. The maidens,
however, welcome him for his music, and
tell him that this has been set aside as the
day of singing, by the King, in the hope
that thus a cure can be found for the
princess, who is seized with some unknown
malady. The doctors cannot cure her, and
it has been foretold that only a song can
make her well again. All the poets and
musicians of the realm are to compete, and
202
LO BETANZ 203
the maidens urge Lobetanz to try. But he
points to his ragged clothes, and wishes to
hide, when they hear the royal party ap-
proaching. The maidens, however, cover
his rags with roses. The King and the
Princess enter, accompanied by courtiers
and minstrels. The listless Princess bids
the songs begin, and various poets try their
skill. Then they quarrel among themselves
for the precedence, when, of a sudden, the
strains of a violin are heard from a neigh-
boring arbor. For the first time the
Princess betrays interest. She asks that
the musician be summoned. Lobetanz then
sings, and his music causes her to swoon.
A general tumult ensues. Lobetanz is ac-
cused of magic, but makes his escape.
ACT II
The Forest. Lobetanz seeks refuge with
the royal forester, whose goodwill he gains
by his music. He falls asleep under a lin-
den tree, and a raven seizes his cap, flying
off with it in the direction of hangman’s
hill. The forester shakes his head at this
Omen, but Lobetanz only laughs when told
about it. The Princess approaches and is
204 OPERA SYNOPSES
delighted to find again the minstrel who
has possessed her thoughts ever since the
festival of song. They confess their mu-
tual attachment, but their love-making is
interrupted by the entrance of the King
with his huntsmen. Lobetanz is arrested
and sentenced to death. The Princess
again languishes.
ACT III
Scene 1. A Dungeon. Lobetanz, se-
curely chained, is awaiting the day of his
execution. Other prisoners make game of
him for presuming to lift his eyes to the
Princess. He plays an invocation to Death,
and all join in a gruesome pantomime, de-
picting the execution, one prisoner imper-
sonating “Friend Death.” The hangman
enters for Lobetanz.
Scene 2. Hangman’s Hill. The crowd
assembles for the execution. The hangman
tells why Lobetanz is sentenced to death,
and says that only his blood can restore
the Princess from the magic spell cast upon
her. The Princess is borne in, almost life-
less, and Lobetanz craves permission to
play his violin for a last time. The request
LO BETANZ 205
is granted, though with much apprehen-
sion. The sweet strains begin, and at their
first echo the Princess begins to recover.
When they have ended, she is sitting up-
right, stretching out her arms to the min-
strel. The King pardons him and accepts
him as a son. The lovers join hands and
lead the dance, in which all join merrily—
even the King and the hangman. At this
moment the raven that has stolen Lobe-
tanz's cap drops it from the top of the gal-
lows. It is no longer an ill omen, but a
sign for fortunate marriage.
[.. O H E N G R IN
Romantic Opera in Three Acts. Music by Richard
Wagner. Book by the Composer. First pro-
duced at Weimar, August 28, 1850.
ScFNE: The Scheld, Flanders.
TIME: The 10th Century.
C. A. ST
HENRY I, King of Germany (Basso).
FREDERICK OF TELRAMUND, a nobleman
(Baritone).
ORTRUD, his wife (Contralto).
ELSA OF BRABANT (Soprano).
LOHENGRIN, the Knight of the Swan (Tenor).
HERALD (Baritone).
Courtiers, Soldiers, Citizens, Servants.
207
A R G U M E N T
The basis of “Lohengrin.” is a legend
connected with one of the Knights of the
Holy Grail. These knights are pledged to
succor the oppressed at any time, and it is
in an adventure of this sort that the Knight
of the Swan appears.
ACT I
The Banks of the Scheld. According to
ancient custom, the King of Germany holds
a public outdoor court in which he hears
complaints and tries all cases which may be
brought before him. Frederick of Telra-
mund, an unscupulous nobleman, appears
before this court and claims the Duchy of
Brabant. He has been acting as regent
during the minority of Godfrey and his
sister Elsa, and now claims that the maiden
has made away with her brother in order to
seize the dukedom. Elsa is summoned to
defend herself and declares her innocence.
She is willing to leave the merits of her
cause to a trial by combat, stating that she
208
LOHENGRIN 209
-º-º:
has seen in her dreams a resplendent knight
who promised to come to her assistance.
Frederick agrees to meet any champion she
may secure, and while the Herald issues the
summons Elsa sinks on her knees in prayer.
At first no answer is received, but on the
bugle again sounding a magic boat drawn
by a swan is seen far up the river. It draws
to the shore and a knight clad in glittering
armor steps forth and announces himself
as Elsa's champion. He speedily over-
comes Frederick, but grants him his life,
and asks Elsa's hand in marriage. Only one
condition is interposed. She is not to ask
the knight's name and whence he came.
She consents and all rejoice at the happy
Outcome of events.
ACT II
The Courtyard and Cathedral. On the
night before the wedding of Elsa and her
champion, Frederick and Ortrud, his wife,
wander into the deserted courtyard. They
have been banished from the country, but
Ortrud revives her husband's drooping
spirits by her plans to deceive Elsa, whom
she is to persuade to ask the forbidden
210 OPERA SYNOPSES te
questions. Elsa receives Ortrud out of pity
and grants her shelter.
Morning dawns and the people assemble.
When all is ready for the ceremony and
Elsa and her attendants are about to enter
the church, Ortrud steps forward and
accuses the knight of being a magician.
Frederick also mounts the church steps and
proclaims his wrongs. But the knight is
undaunted, and, Elsa once more declaring
her confidence in him, the procession con-
tinues.
ACT III
Scene 1. The Bridal Chamber. Maidens
precede the bridal couple singing the praises
of the bride. Elsa and the knight enter and
as they sit by the open window renewing
their love vows, Elsa, who has not been able
to get Ortrud’s scoffing words out of her
head, begins to chide her husband for con-
cealing his identity from her. He tries to
prevent her from asking the fatal questions
but she persists. At this moment a band
of conspirators headed by Telramund rush
into the room, but the knight easily defeats
them all and strikes Telramund lifeless.
He then bids the attendants bear the body
LOHENGRIN 211
before the king and promises to follow
and tell all.
Scene 2. The Banks of the Scheld. The
court of the king is again assembled as the
monarch prepares to set forth for war. The
body of Frederick is borne in, and the
knight follows it. He defends his act and
then publicly reveals his identity. He is
Lohengrin, a Knight of the Holy Grail and
the son of Parsifal. Now he must return to
the brotherhood, despite the tears of the
penitent Elsa. The swan boat reappears,
and as the knight kneels in prayer the Swan
disappears in the stream and in its place
steps forth Godfrey, Elsa's lost brother.
Ortrud confesses that it was her magical
arts which caused him to assume this shape.
A fluttering dove takes the place of the
Swan and conveys the boat and Lohengrin
on their return journey, while Elsa clasps
her brother in her arms but weeps for the
loss of her husband,
I, O U IS E
Dramatic Opera in Four Acts. Music by Gustave
Charpentier. Book by the Composer. First
produced at Paris, in 1900.
SCENE: Paris.
TIME: The Present.
C AST
LOUISE, a sewing girl (Soprano).
"HER FATHER (Baritone).
HER MOTHER (Contralto).
JULIEN, an artist (Tenor).
IRMA, a sewing girl (Contralto).
THE KING OF Fools, a Bohemian (Baritone).
ERRAND GIRL (Mezzo-Soprano).
FOREwoMAN (Contralto).
Sewing Girls, Bohemians, Peddlers, Rag-
pickers, Grisettes, Gamins, etc.
213
A R G U M E N T
“Louise” may be regarded as a bit of
canvas belonging to the varied panorama
of Paris. It depicts home life among the
lower working classes as they come in daily
contact with the underworld of the great
city. Louise herself personifies the struggle
between love and duty; between the in-
stincts of virtue and the desire to be free.
ACT I
Garret of a Paris Tenement. Louise, a
sewing girl, has fallen in love with Julien, a
young artist whose studio balcony adjoins
her window. Julien sings charming sere-
nades but is an improvident bohemian like
the rest of his class. He nevertheless
wishes to marry Louise and has written to
her father asking for her hand, but her
mother, a hard-working, practical woman
is violently opposed to the match. She
overhears the lovers making plans from
their adjacent windows and parts them
without ceremony. Louise's father returns
214
LOUISE 215
home wearied from his day’s work, but
after supper and a pipe he feels in good
humor with the world. He reads Julien's
letter and the girl pleads her lover's cause,
while her mother as strongly berates it.
They quarrel, but the father endeavors to
act as peace-maker, although he points out
to his daughter the improvidence of Julien.
Louise is downcast but promises to try to
forget him.
ACT Il
Scene 1. The Road to Montmartre. It
is early morning and Paris is waking up.
The last of the prowlers—beggars, thieves,
bohemians and street-walkers—are still to
be seen. Rag-pickers and newsboys are
busy. Servants open windows and shake
rugs. Presently Julien and some of his
bohemian friends appear. He is planning
to elope with Louise, since he cannot obtain
her father’s consent. Meanwhile she comes
by on her way to the shop, escorted by her
mother. Julien conceals himself until the
latter has gone away, then endeavors to
persuade the girl to come with him. She
refuses and continues on her way to work.
Scene 2. A Dressmaker's Work-Shop.
216 OPERA. SYNOPSES
Louise and many of her companions are
seen busily at work sewing and fitting gar-
ments over lay figures. They ply their
needles and machines and sing carelessly.
One or two tell Louise that she does not
look well. Presently a serenader’s voice is
heard; it is Julien, who will not go away.
At first the girls applaud, and then his con-
tinued singing grows monotonous. Finally
Louise complains of being ill and leaves the
room, but the others laugh maliciously as
they notice that she is going up the street
with Julien.
ACT III
A Cottage on the Montmartre. Julien
and Louise have set up an establishment
for themselves without consent of either
parents or the church. But they justify
their conduct on the score of love. They
are children of the great city and have a
right to be free. After they have retired
within the cottage a group of laughing
bohemians pause before the cottage. One
of them hangs lanterns from its door and
windows. The crowd gathers and the
lovers are summoned forth. Then the
Ring of Fools makes an address and crowns
Louise as the Muse of Montmartre. In the
LOUISE 217
midst of this revelry a woman pushes her
way through the throng, which scatters to
right and left. It is Louise's mother come
to plead with her daughter. She no longer
Quarrels, but she says that the father is ill
and only Louise's presence can help him.
Afterwards she will be allowed to return to
Julien. The lovers separate upon these
terms, and the girl goes with her mother.
ACT IV
The Garret Room. Louise finds, after
she returns home, that she is being held a
prisoner. She must sew at home. Her
father still treats her affectionately, but
insists upon her remaining with them. She
Says she is a grown woman and has the
right to be free. He points out that the
freedom she claims is the first step to ruin.
She is at first sullen, then defiant to both
father and mother, and finally seizes her
shawl and bursts past them to the door.
Her mother rushes to the window to call
her, while her father pursues her as far as
the staircase. But she is gone out of their
lives. The old workman shakes his fist at
the city which has claimed another victim.
“Oh, Paris!” he cries out, heart-broken.
THE LOVE OF THE
THREE KINGS
(L'Amore Dei Tre Re.) Tragic Poem in Three
Acts. Music by Italo Montmezzi. Book by
Sem. Benelli. First produced at La Scala,
Milan, April 11, 1913.
SCENE: A remote castle of Italy.
TIME: The Middle Ages.
C AST
ARCHIBALDO, an aged king (Basso).
MANFREDO, his son (Baritone).
AVITo, Prince of Altura (Tenor).
FLAMINIO, an attendant (Tenor).
FIORA, wife of Manfredo (Soprano).
SERVANT GIRL (Soprano).
YouNg GIRL (Soprano).
OLD Wom AN (Contralto).
Court Attendants, Mourners, Villagers of
Altura.
219
A R GUIMIENT
Fiora, formerly loved by Avito, Prince
of Altura, has been given as the price of
peace to the conqueror of that country.
The story is the struggle of this princess
between her old love and her loyalty to her
new lord—the tragedy of jealousy and
broken faith.
ACT I
Spacious Hall in the Castle. Archibaldo,
the aged King of an Italian country, has
conquered, in earlier years, the neighbor-
ing state of Altura. As the price of peace
he receives the maiden, Fiora, whom he be-
stows upon his son, Manfredo, for wife.
Manfredo tenderly loves his young wife,
but is often away at the wars. His father
is suspicious as to her conduct, and having
become blind is all the more distrustful.
In the opening scene, he enters with Fla-
minio, and questions him as to her where-
abouts. He then retires, after having had
a signal lantern extinguished. Fiora en-
ters from her apartment and is met by
220
THE LOVE OF THE THIREE KINGS 221
Avito, her former lover in Altura. He re-
news his love-making, but is warned of dan-
ger by the fact that the lantern is extin-
guished, and turns to flee as the blind
Archibaldo returns. The latter questions
Fiora sharply as to whom she has been with,
and her trembling replies convince him
that she is untrue to his son. He sends her
to her room, as the sound of trumpets an-
nounce the return of Manfredo. The lat-
te: is not informed of his father’s fears,
the latter murmuring, “O Lord God, let
me not see—let me be blind—be blind!”
ACT II
A Circular Terrace on the Castle Walls.
Manfredo, recalled to his troops, bids his
wife a kind and affectionate farewell. He
does not demand anything of her—only
that she will cheer him and his troops, as
they ride away down the valley, by waving
a scarf. Touched by his unselfish devotion
she promises, and is minded thereafter to
be a faithful wife to him. But alas for
her good resolutions!—the first person she
encounters upon the castle walls is Avito,
disguised as a guard. She bids him go,
222 OPERA. SYNOPSES
saying that she is “conquered by kind-
ness.’’ He refuses, and makes such ardent
love that she is once more overcome and
yields to him. When the servant brings a
casket containing Manfredo's scarf, she
will not let her lover touch it, but waves it
wearily to the distant horsemen. Archi-
baldo again surprises the lovers. Avito is
ready to stab him with his dagger, but is
prevented by Flaminio in a silent gesture.
The King demands to know who is there.
Flaminio shields the prince, and is dis-
missed by Archibaldo, who rages at his own
helplessness. In a fit of frenzy he throt-
tles Fiora, because she withholds the name
of her lover, while confessing her guilt.
Manfredo returns, alarmed at the cessation
of his signal, the waving scarf, and finds
the old King crouching beside the dead
body of Fiora. Archibaldo tells why he
committed the deed, and Manfredo retires,
overcome with grief. He is followed by the
blind King, carrying the body.
ACT III
Crypt in the Castle Chapel. In the cen-
ter lies the body of Fiora, clad in white,
THE LOVE OF THE THREE KINGS 223
on a bed of flowers. A choir and various
single voices sing lamentations. They dis-
perse upon the entrance of Avito, who
bows and shields his face as before a
shrine. He bemoans his loss and in fare-
well kisses her upon the lips. A violent
pain seizes him and he arises tottering.
Manfredo approaches in the shadow. He
recognizes the Alturian, and tells him that
the girl’s lips were poisoned as a trap to
catch him, and his moments are numbered.
More in sorrow than in anger Manfredo
asks: ‘‘Did she love thee?’’ ‘‘More than
the life they took from her l’’ replies
Avito, and falls dying. Manfredo Sup-
ports him, crying, “Why cannot I hate l’’
Overcome with remorse he casts himself
upon the bier and in turn presses the poi-
soned lips of his dead wife. Archibaldo
gropes his way in, to find his son breathing
his last. He has joined him “in the
shadows.”
LUCIA DI LAMMERMOOR
Tragic Opera in Three Acts. Music by Gaetang
Donizetti. Book by Cammerano, after Scott's
“Bride of Lammermoor.” First produced at
Naples in 1835, and at London, April 5, 1838.
SCENE: Scotland.
TIME: 1700.
C AST
HENRY ASHTON, of Lammermoor (Basso).
LUCY ASHTON, his sister (Soprano).
EDGAR, of Ravenswood (Tenor).
LoRD ARTHUR BUCKLAw, friend of Ashton
(Tenor).
NoFMAN, a follower of Ashton (Tenor).
RAYMOND, chaplain to Ashton (Basso).
ALICE, attendant to Lucy (Soprano).
Friends and retainers of the Ashtons,
Villagers, etc.
225
A R G U M ENT
The story of “Lucia di Lammermoor.”
follows closely the well-known novel of
Scott dealing with the tragic fate of two
lovers separated by family strife.
ACT I
Scene 1. Ashton's Castle of Lammer-
moor. Lucy Ashton is being urged by her
brother to accept Bucklaw, who will restore
their family fortunes, but she persists in
refusing him. Ashton learns that she is in
love with Edgar of Ravenswood, his worst
enemy, and in a rage sends his men to
capture this presumptuous claimant of her
hand.
Scene 2. Grove near the Castle. Edgar
and Lucy meet in secret for a farewell inter-
view. He is sailing for France, and she
promises eternal fidelity to him. They
exchange tokens and part.
ACT II
Scene 1. Lucy’s Apartments. Ashton
makes preparations for the marriage of his
226
LUCIA DI LAMMERMOOR 227
sister with Bucklaw, never doubting that
he will obtain her consent at the final
moment. The girl is in deep, dejection.
Letters between her and Edgar have been
intercepted and she is told that he is faith-
less. A forged letter from Edgar is shown
in proof of this. Finally she yields to her
brother's entreaties and the arguments of
Raymond her spiritual adviser, and agrees
to sign the wedding contract.
Scene 2. Hall of the Castle. The guests
have assembled for the wedding ceremony.
Bucklaw is being congratulated by his
friends, and Lucy enters as a passive figure
in the scene. At this moment Edgar rushes
wildly into the hall and demands that the
ceremony cease. Ashton triumphantly
shows him the contract signed by his sister.
Edgar loads her with reproaches and leaves
the room before Ashton’s retainers can
interpose.
ACT III
Scene 1. Hall of the Castle. The wed-
ding has been celebrated despite Edgar's
interposition, and he has made an appoint-
ment to fight a duel with Ashton. The
bride and groom have been shown their
228 OPERA. SYNOPSES
apartments, and while the guests still make
merry the news is circulated that Lucy has
gone mad and stabbed Bucklaw. She ap-
pears among the horrified guests raving
insane.
Scene 2. (Sometimes omitted.) A
Churchyard. Edgar awaits his enemy and
dreams of his lost love. A bell tolls and he
hears that Lucy is dead, and to the last was
faithful as she had promised. Edgar stabs
himself.
M A D A M B U TT E R F I, Y
Dramatic Opera in Two Acts. Music by Giacomo
Puccini. Italian text by Illica and Giacosa, after
the American drama by David Belasco and John
Luther Long. First produced at Milan, in 1904.
SCENE: Nagasaki, Japan.
TIME: The Present.
C AST
MADAM BUTTERFLY (Cho-Cho-San) a
Japanese woman (Soprano).
SUZUKI, her servant (Mezzo-Soprano).
PINKERTON, a lieutenant, U. S. Navy (Tenor).
RATE PINKERTON, his wife (Mezzo-Soprano).
SHARPLEss, U. S. Consul (Tenor).
GoRo, a Japanese marriage broker (Tenor)
YAMADoRI, a Japanese nobleman (Baritone).
THE BONZE, uncle to Cho-Cho-San (Basso).
Relatives of Cho-Cho-San, Villagers, etc.
229
A R G U M E N T
“Madam Butterfly” is a tragedy of
broken faith. The scene is laid in Japan,
but the characters and flavor of the work
are both Japanese and American.
ACT I
A Japanese Villa. Lieutenant Pinkerton
U. S. N., finding that he will be stationed
in Nagasaki for some months, desires to
contract a Japanese marriage. He is
assured by the marriage-broker who trans-
acts the business for him that this marriage
will only be binding so long as he consents
to live with his wife, and that afterwards
she can marry again. But Cho-Cho-San,
the girl who agrees to marry the lieutenant,
has fallen deeply in love with him and be-
lieves she is entering into a life contract.
She goes so far as to renounce her religion,
thus severing all connection with her own
people. Sharpless, the American consul,
tries to prevent the match by telling his
friend Pinkerton how seriously the girl
230

MADAM BUTTERFLY 231
f
considers it. The lieutenant has further
proof of this when a fanatical bonze, or
priest, an uncle of hers, appears, as the
wedding-party is seated at the feast, and
heaps curses upon her head for renouncing
her faith. All her relatives thereupon de-
Sert her, but Cho-Cho-San, though sorrow-
ful, clings to her husband and he soon
calms her fears. The scene closes in mutual
protestations of love.
ACT II
Scene 1. The Villa. Three years later.
After a short but blissful wedded life, Lieu-
tenant Pinkerton has been recalled to
America. He leaves Cho-Cho-San (who is
now called “Madam Butterfly”) in Japan,
promising to return “when the robins nest
again.” She trusts him implicitly but her
maid, Suzuki, is far from having the same
confidence. After some months of silence,
the battleship on which Pinkerton serves is
again ordered to Japan, and the officer writes
Sharpless a letter saying that he will return
with an American wife and asking the con-
sul to break this news to Madam Butterfly.
The consul brings her the letter, but she is
232 OPERA SYNOPSES
so overjoyed at seeing a missive from him
that she pays no heed to its message and
the consul has not the heart to disturb her
faith. She also turns a deaf ear to Goro,
the marriage-broker, who comes to arrange
a match between her and a Japanese noble-
man. When he says that Pinkerton’s
desertion is equivalent to a divorce she
answers proudly: “That may be so in
Japan, but I am an American l’” When the
consul tries again to convince her of the
truth, she produces a fair-haired child and
says: “My lieutenant cannot forget this.”
The consul departs shaking his head, just
as the sound of cannon announces the war-
ship's arrival. In a fever of excitement
Butterfly and her maid decorate the house
with flowers to honor the expected arrival
of its lord. The evening drags by and the
maid and child fall asleep, but the house-
wife waits and watches without closing her
eyes.
Scene 2. The Same. The Next Day.
Madam Butterfly has watched and listened
all night long, and now morning has arrived
without bringing her husband. Suzuki
awakes and persuades her wearied mistress
to lie down and rest. She does so, in order
MADAM BUTTERFLY 233
that she may look well when “he comes.”
After she has retired the consul arrives with
Pinkerton and his American wife. When
Pinkerton hears from Suzuki of Butterfly's
devotion and trust he is overcome with
remorse and cannot remain to face the
deserted bride. Suzuki is commissioned to
tell her that Mrs. Pinkerton will care for
the child, but Butterfly entering at this
moment hears it from the American lady's
own lips. She retains her composure by a
great effort, congratulates Mrs. Pinkerton
politely, and says that if they will return
in half an hour they may have the child.
When the Americans return at the specified
time they find that Madam Butterfly has
slain herself with her father's sword, on
which is inscribed: “Die with honor, when
you can no longer live with honor,”
MADAME SANS GENE
Historic Opera in Four Acts. Music by Umberto
Giordano. Book by Renato Simoni. After the
Comedy by Victorien Sardou and E. Moreau.
First produced at the Metropolitan Opera House,
New York, January 25, 1915.
SCENE: France.
TIME: Days of Napoleon.
C AST
CATERINA HUBSCHER (“MADAME SANs
GENE”), a laundress (Soprano).
ToNIOTTA, a laundress (Soprano).
GIULIA, a laundress (Soprano).
LA Ross A, a laundress (Soprano).
LEFEBVRE, sergeant, then marshal (Tenor).
Fouché, patriot, then minister of police
(Baritone).
Count of NEIPPERG, an Austrian (Tenor).
VINAIGRE, a drummer (Tenor).
QUEEN CAROLINE (Soprano).
PRINCEss ELISA (Soprano).
GELSOMINo, valet (Baritone).
LEROY, tailor (Baritone).
DE BRIGODE, court chamberlain (Baritone).
NAPOLEON (Baritone).
MADAME DE BOULow (Soprano).
RousTAN, head of the Mamelukes (Baritone).
Citizens Soldiers, Huntsmen, Ladies of the
Court, etc.
235
A R G UMENT
This colorful opera is unique in its at-
tempt to make Napoleon the central fig-
ure of a romantic drama—giving him as
well as his attendants a singing part. It is
full of figures and action, and crosses a
considerable period of time.
ACT I
Caterina's Laundry, Paris, August 10,
1792. Caterina Hubscher, a pretty Alsa-
tian, has earned by her saucy manner the
popular nickname of “Mistress Don’t
Care.” Her laundry is, on this historic
morning, a storm center, as the mob is at-
tacking the Tuileries—this is one of the
red-letter days of the French Revolution.
Fouché, a patriot, enters in great trepida-
tion at the doings of the crowd. He is
followed by Caterina, who rallies him for
his lack of courage. She herself has great
tales to tell of what she has witnessed in
the street. Fouché says that it is his am-
bition to become minister of police, Ca-
terina replies tauntingly that he has about
236
MADAME SANS GENE 237
as much chance to become that as she has
to become a duchess. A great uproar pro-
claims that the palace has been taken. So
riotous is the street that Caterina pru-
dently barricades her shop. Presently she
sees a wounded man, and admits him. It
is the Count of Neipperg, an Austrian,
who has come to grief in trying to rescue
the Queen. Caterina hides him in her
room. Her lover, Lefebvre, a police ser-
geant, enters. He discovers the concealed
man and at first is jealous; then believes
Caterina and aids her to effect the Count’s
eScape.
ACT II
Château of Compeigne. Nineteen years
have passed by. The obscure Napoleon has
become a world conqueror, and many of
his followers have been ennobled. Lefeb-
vre has been made the Duke of Dantzig,
and Caterina, his wife, is really a Duchess.
But she is still sharp of tongue and bour-
geois of action, so much so that the Em-
peror counsels Lefebvre to divorce her.
This the latter laughingly repeats to his
wife, and says he doesn’t intend to do any-
238 OPERA. SYNOPSES
thing of the sort. Their old acquaintance,
Count Neipperg, now enters. He has been
dismissed from Court for his too open ad-
miration of the Empress. He is in de-
spair and asks his friends to procure for
him a last interview with her. Fouché,
now minister of police, enters to announce
the royal ladies, for whom the Duke and
Duchess are to give a reception. The
flunkeys try to tell Madame Sans Gene
how she is to deport herself, but give it
up in despair. The reception which fol-
lows is conducted without decorum. The
hostess flouts her guests to their faces,
and it is with open joy they hear that she
is summoned to appear before Napoleon,
to answer for her conduct.
ACT III
The Emperor’s Cabinet. Napoleon re-
ceives Madame Sans Gene, and reproaches
her for failing to shed luster on his
Court. She should grant her husband a
divorce and retire to private life. She re-
torts that her husband would not exchange
her for the proudest princess. Then wax-
ing eloquent she recites the glories of the
MADAME SANS GENE 239
army life, which she herself has followed.
She calls to mind their early days of
struggle, and even shows Napoleon his own
unpaid laundry bill of nineteen years
before. Touched by her naïveté, the Em-
peror forgives her and stoops to kiss the
scar on her arm, received in battle. As
she is about to retire, Neipperg enters on
his way to the Empress’s apartment.
There is a sharp encounter between him
and the Emperor. Caterina tries to in-
tervene, but vainly.
ACT IV
The Same. Lefebvre tells his wife that
Neipperg is sentenced to be shot. Napoleon
re-enters in much agitation. Caterina
pleads with him to spare the Count, but
Napoleon sternly orders her, as a test, to
knock at the Empress's door and announce
Neipperg’s presence. She does so trem-
blingly. The door opens slightly and a
note is handed out. It dismisses the Count
and completely vindicates the Empress.
The Count’s life is spared, and the scene
ends amid general felicitations from the
whole Court.
MADELE IN E
Lyric Opera in One Act. Music by Victor Her-
bert. Book by Grant Stewart, after the play
by A. Decourcelles and L. Thiboust. First pro-
duced at the Metropolitan Opera House, New
York, January 24, 1914.
SCENE: Paris.
TIME: New Year's Day, circa 1760.
CAST
MADELEINE FLEURY, a prima donna (Soprano).
NICHETTE, her maid (Contralto).
CHEVALIER DE MAUPRAT, an admirer (Tenor).
DUC D’EstERRE, an admirer (Basso).
DIDIER, a painter (Basso).
241
A R GUIMIENT
This little lyric piece depicts one day’s
experience in a public singer’s life, and
shows that the applause of thousands does
not compensate for the loss of a single
friend.
Salon of an Opera Singer. It is New
Year’s Day, and Madeleine Fleury, a fa-
vorite diva of the hour, has received many
costly presents. Nevertheless she finds
difficulty in finding a friend to dine with
her. She asks her admirer, the Chevalier
de Mauprat, who declines because he has
promised to dine at home with his mother.
Next she asks the Duc d’Esterre, who
makes the same excuse. She cajoles, pleads
and even threatens to ask his rival Fon-
tanges, but without avail. She does, in fact,
write to Fontanges, but he pleads the same
engagement. In desperation, she asks her
maid, Nichette, and the latter says the same
thing, that she had previously promised to
dine at home with her mother that day.
242
MA DELEINE 243
Madeleine throws herself upon the sofa in
a burst of tears, and is found disconsolate
by the poverty-stricken painter, Didier,
who has known her since childhood. He
states that he also is to dine with his
mother, but asks her if she will not join
them. Touched, she declines, but he has
given her an idea. Nichette presently re-
turns to say that her mother has given her
permission to dine with her mistress, but
Madeleine excuses her. The singer takes
down her own mother’s portrait from the
wall, and places it on the table opposite
her plate. She, too, will have her mother's
company, and she will not be alone.
T H E M A G I C F L U T. E.
(Il Flauto Magico. Die Zauberflöte). Fantastic
Opera in Two, or Four Acts. Music by Johann
Wolfgang A. Mozart. Book by Schickaneder.
First produced at Vienna, in 1791.
ScFNE: Egypt.
TIME: Antiquity.
C A ST
SARASTRO, Priest of Isis (Basso).
THE QUEEN OF NIGHT, a sorceress (Soprano)
PAMINA, her daughter (Soprano).
TAMINO, a Prince (Tenor).
PAPAGENO, his attendant (Basso).
PAPAGENA, the latter's sweetheart (Soprano).
MonASTATOs, a Moor (Tenor).
Priests, Ladies, Pages, Fairies,
and Wild Creatures.
245
A R G UM E N T
“The Magic Flute” is an allegorical fan-
tasy showing the reward of constancy. It
relates the adventures of a Prince and an
imprisoned maiden. The bewildering array
of scenes is wedded to sensuous music and
the effect of the whole is heightened by
strange scenic effects. The two acts into
which the opera was originally divided have
become three or four acts in modern presen-
tations.
ACT I
A Forest. Prince Tamino has lost his
way in a dense forest and is moreover pur-
sued by a gigantic serpent. His outcries
bring three fairies to his aid, who slay the
serpent with their spears. Tamino now
sees a strange being who walks like a man
but is clad in birds’ feathers. It is the fan-
tastic Papageno, who claims that this is the
proper way to catch birds. Papageno is a
great braggart and at once claims the honor
for having slain the serpent. The fairies
fasten a padlock on his lips in punishment
246
THE MAGIC FLUTE 247
foſt the lie. They show the Prince the por-
trait of a lovely maiden, Pamina, who is in
the power of Sarastro, at the Temple of Isis.
Her mother, the Queen of the Night, now
appears and invokes his aid to rescue the
maiden. The Prince gladly consents to
enter upon the adventure, and is given a
magic flute which will ward off danger.
Papageno is to accompany him; the padlock
is removed and he is given a chime of bells.
ACT II
Scene 1. The Palace of Sarastro. The
Moor Monastatos has persecuted Pamina
with his attentions. Angered by her dis-
dain he drags her into an apartment, but is
frightened away by Papageno, who has
been transported thither by her mother
to announce the coming of the Prince.
Pamina plans to flee with them.
Scene 2. Entrance to the Temple. Tam-
ino approaches the Temple of Isis con-
ducted by three pages. At two of its doors
he is denied admittance, but at the third a
priest appears and tells him he is mistaken
in his opinion of Sarastro. The maiden is
really being protected in the Temple to
248 OPERA. SYNOPSES
*
r—-
keep her out of the power of her mother's
sorceries. Pamina and Papageno now ap-
pear, but the Moor prevents their escape.
Sarastro enters and having heard all the
story orders that the Moor be punished.
The two lover he greets kindly telling the
Prince he must show himself worthy by
passing through an ordeal of the Temple.
ACT III
Scene 1. A Palm Grove. The priests
meet to consider the case of the two lovers
and agree that they shall be united if the
Prince can successfully undergo the ordeals.
This will also prevent Pamina from falling
under the evil influence of her mother.
Scene 2. A Courtyard. The first ordeal
is that of silence. Tamino and Papageno
must not utter a word. The three attend-
ants of the Queen of the Night now appear
and tempt them, but they remain firm,
though at great cost to Papageno.
Scene 3. A Garden. While Pamina is
asleep the Moor approaches her, then con-
ceals himself when her mother appears
with a dagger which the girl is commanded
to employ against Sarastro. When the
THE MAGIC FLUTE 249
*—
Queen is gone the Moor returns and
threatens Pamina, but is again foiled by
Sarastro.
Scene 4. A Corridor in the Temple.
Papageno and his master still continue
under the ordeal of silence, which finally
becomes too great a strain for the former.
The Prince remains silent even when Pam-
ina meets him and addresses endearing re-
marks. She is deeply wounded that he does
not reply.
ACT IV
Scene 1. The Pyramids. The Prince is
commanded to wander out into the desert.
He parts sadly from Pamina. Seeing the
delights as well as the sorrows of love Papa-
geno wishes for a “little wife” of his own.
An old hag appears before him. As he is
about to run away she changes into the
young and pretty Papagena. But he, too,
must first prove his worth.
Scene 2. The Desert. Pamina believes
the Prince to be faithless and is about to
kill herself with the dagger, when she is pre-
vented by the three pages. Papageno like-
wise is in the depths of despair over the loss
250 OPERA SYNOPSES
of Papagena, but when he finds he can
summon her by ringing his chime of bells
his sorrow is turned into joy.
Scene 3. A Fiery Cavern. Tamino is
seen undergoing the last of his ordeals.
He is menaced by great waterfalls and
tongues of flame. Beyond these he beholds
Pamina and calls to her, his lips now being
unsealed. The lovers are reunited and a
few strains from the magic flute cause the
remaining dangers to vanish.
Scene 4. The Temple of Isis. Sarastro
welcomes the Prince and the maiden and
joins their hands. Papageno and his Papa-
gena are likewise made happy. The Queen
and her agent the Moor are vanquished.
M A N ON
Dramatic Opera in Five Acts. Music by Jules
Massenet. Book by H. Meilhac and P. Gille,
after Marcel Prévost’s “Manon Lescaut.” First
produced at the Opera Comique, Paris, Janu-
ary, 1884.
ScFNE: Amiens, Paris, Havre.
TIME: 1721.
C AST
COMTE DES GRIEUx, a French nobleman
(Basso).
CHEVALIER DES GRIEUX, his son (Tenor).
LESCAUT, a guardsman (Baritone).
MANON LESCAUT, his cousin (Soprano).
GUILLOT MORFONTAIN, a minister of finance
(Basso).
DE BRETIGNY, a nobleman (Baritone).
PoussBTTE, an actress (Soprano).
RosFTTE, an actress (Soprano).
JAvoTTE, an actress (Contralto).
Innkeeper, Citizens, Actresses, Soldiers,
Servants, etc.
251
A R G U M E N T
“Manon” is a picture of French life
among the gay set, drawn from Prévost’s
well-known story “ Manon Lescaut,” which
is the same source made use of, some years
later, by Puccini in his opera of that name.
ACT I
A Tavern at Amiens. Manon Lescaut is
a gay and volatile French woman whose
spirits her parents very wisely seek to curb
by placing her in a convent. On the way
thither, escorted by her cousin, she stops
at an inn where Morfontain is entertaining
some friends. The old roué immediately
begins to make advances to her but is re-
pulsed. Not so young Des Grieux, who
has been destined for the priesthood. He
finds Manon so attractive, and she him,
that they both forsake their prospective
vows and run away to Paris.
ACT II
Des Grieux’s Apartments in Paris. Ma-
non and the chevalier live quietly in Paris
252
MANON -- 253
and he writes to his father the Count,
asking permission to marry her. Her
cousin, Lescaut, arrives to demand that he
treat her honorably, but with Lescaut
comes De Brétigny a wealthy Parisian, who
makes advances to her while her lover is
away. He tells her he will lavish his riches
upon her, and that Des Grieux will be
seized for debt that night. Manon yields
to the temptation and does not warn her
lover, who is arrested. She goes with De
Brétigny.
ACT III
Scene 1. A Parisian Boulevard. Ma-
non is the center of a laughing crowd of
actresses and boulevardiers. True to his
word, De Brétigny maintains her in lux-
ury. But she overhears the Count des
Grieux telling a friend that the chevalier,
disgusted with Manon's conduct, was
about to become a monk. She seeks further
information, but the Count, guessing her
identity, will not say more. She resolves
to seek her former lover.
Scene 2. The seminary of St. Sulpice.
The Count is unwilling for his son to enter
the priesthood and endeavors to dissuade
254 OPERA SYNOPSES
him. Afterwards, Manon enters, but the
chevalier only reproaches her with her
faithlessness. She says that she still loves
him, and after much argument persuades
him to come back to the world with her.
Act IV
A Gambling House in Paris. In order
to maintain Manon in the style to which
she is accustomed, the chevalier frequents
the gambling houses. He wins large sums,
especially from Morfontain. The latter
accuses him of cheating and, by way of
revenge upon Manon, who jilted him, has
both Des Grieux and Manon arrested.
The Count also joins forces against her and
plots to have her deported where she can
do no further mischief.
ACT V
The Open Road near Havre. Manon is
being escorted out of the country by a
guard of soldiers. The chevalier asks
Lescaut, her cousin, to aid him in rescuing
her. They try bribery. She has a short
interview with Des Grieux, begging his
pardon for wrecking his life; then perishes
from excitement and over-fatigue.
THE MARRIAGE OF FIGARO
(Le Nozze di Figaro). Comic Opera in Four
Acts. Music by Johann Wolfgang A. Mozart.
Book by Lorenzo Da Ponte, founded upon the
comedy of Beaumarchais. First produced at the
National Theatre, Vienna, May 1, 1786.
SCENE: Seville.
TIME: The 17th Century.
C A ST
Count ALMAVIVA, a nobleman of Seville
(Baritone).
CountEss RosſNA, his wife (Soprano).
FIGARO, valet to the Count (Basso).
SUsANNA, his betrothed (Soprano).
DocTOR BARTOLO, a physician (Basso).
BASILIO, a music-master (Tenor).
CHERUBINO a page (Soprano).
MARCELLINA, the housekeeper (Contralto).
ANTONIO, a gardener (Basso).
BARBARINA, his daughter (Soprano).
DON GUZMAN, a judge (Tenor).
Members of the Count's household,
Friends, Citizens, etc.
255
A R G U M E N T
“The Marriage of Figaro” is a direct
continuation of “The Barber of Seville,”
both being founded upon the uproarious
comedy by Beaumarchais.
In the present opera, Count Almaviva
is wedded to Rosina, whom he courted
under such difficulties with the aid of the
“Barber.” But having obtained the lady
he proves fickle and susceptible to other
beauties who may chance to come his way.
His latest flame is Barbarina, the pretty
daughter of his gardener, but he has a
rival in the persistent page, Cherubino,
whom he seeks to get rid of by placing him
in the army. Figaro, the barber, has
entered the Count's service and is looking
forward to marriage with Susanna, a ward
of the Countess. Susanna also has been
pursued by the Count, unsuccessfully.
ACT I
A Room in the Count's Castle. Prepar-
ations are forward for the marriage of
256
THE MARRIAGE OF FIGARO 257
*—- —s
Figaro and Susanna. He is discovered
busily arranging the furniture, while she is
ſtrying on a bridal wreath before the mirror.
They plan for the future and she says she
will be glad thus to escape the Count’s
attentions. Dr. Bartolo, the physician,
arrives and is told by Marcellina, the old
housekeeper, that Figaro was formerly
engaged to marry her. The doctor agrees
to help her win justice, and is glad to have
this chance to even scores. (See “Bar-
ber.”) Marcellina and Susanna engage in
a war of words over the bridegroom. The
page, Cherubino, now arrives with his
troubles; he is to be sent away immediately
because he loves Barbarina. His recital
of woe is interrupted by the entrance of
the Count himself. The page jumps be-
hind a chair. Susanna seats herself before
him. The Count makes advances, but is
disturbed by the entrance of Basilio, and
in turn goes behind the chair. The page
slips like an eel into the chair and is
covered by a dress which Susanna throws
over it. After some further confusion, both
the Count and Cherubino are discovered
and the page is ordered to depart forthwith.
258 OPERA SYNOPSES
ACT II
Apartments of the Countess. Cherubino
still lingers around the premises, and the
Countess decides to use him as a tool to
unmask her husband’s perfidy. She and
Susanna plan to dress him in woman’s
attire, and he is nothing loath as this will
enable him to remain for the wedding and
be near Barbarina. While they are thus
busied the Count comes to the door and
demands admittance. Cherubino jumps
out of the window and the Count is baffled.
But when the gardener comes in to com-
plain that his flower-pots beneath the
window are broken, the Count's suspicions
are again aroused. The gardener also pro-
duces Cherubino's commission in the army,
which has been dropped in the leap.
But Figaro, who has entered meanwhile,
shoulders all the blame saying that he had
come to see Susanna and also had the
letter. Marcellina, the housekeeper, now
appears to enforce her claim against
Figaro, and the Count, glad of the excuse,
postpones the marriage until this claim
can be investigated.
THE MARRIAGE OF FIGARO 259
ACT III
Apartment in the Castle. Susanna is
persuaded to meet the Count, by the
Countess, in the hope of untangling the
marital difficulty. The Count is obdurate,
until it is found that Figaro is actually the
son of Marcellina and so could not possibly
marry her. This apparently removes the
last obstacle to his happiness. But the
Countess and Susanna had agreed to
change clothes for the evening in order to
confuse the Count still further. The ruse
is so successful that Figaro also is fooled
and becomes furiously jealous.
ACT IV
The Garden. The last act becomes a
farce of confused identities. The Countess
and her maid have changed clothes, fooling
both the Count and his servant. Bar-
barino is also in the general mix-up, but
it is Figaro who comes in for cuffing when-
ever he or his master makes a mistake—
which is frequent. Finally lights are
brought on, the Count realizes that he has
been well punished, all are forgiven and the
marriage of Figaro is approved.
M A R T H A
Romantic Opera in Five Acts. Music by Friedrich
von Flotow. Book by St. Georges and Friedrich.
First produced at Vienna, November 25, 1847.
SCENE: Richmond, England.
TIME: Reign of Queen Anne.
C. A ST
LIONEL, a farmer (Tenor).
PLUNKETT, his foster brother (Basso).
LoRD TRISTAN, a courtier (Baritone).
LADY HENRIETTA DURHAM, a maid-of-honor
(Soprano).
NANCY, her attendant (Contralto).
SHERIFF OF RICHMOND (Baritone).
Lords, Ladies, Farmers, Servants,
Citizens.
261
A R G UMENT
One of the most graceful of the light
Operas is “Martha,” an old favorite deal-
ing with love as opposed to pride.
ACT I
The Queen's Court at Hampton. Lady
Henrietta, a maid-of-honor to Queen Anne,
has become weary of humdrum court life
and seeks a new diversion. She talks it
over with her sprightly maid, Nancy, but
does not fall in with any of the latter's
fancies. Lord Tristan, an old admirer,
meets with as little success when he pro-
poses entertainments for the day. At this
moment a group of villagers and servants
pass singing gaily on their way to a county
fair. Their careless happiness appeals to
Henrietta. She and Nancy shall go to the
fair also, dressed as servants, so that they
can mingle freely with the crowd. It will
be a lark. No sooner said than done.
Lord Tristan, shocked, tries to restrain
them, but instead is pressed into service
as their escort.
262
MARTHA 263
*, CT II
The Market at Richmond. Lionel and
Plunkett, two well-to-do farmers drive to
the fair in search of household servants.
The sheriff arrives and proclaims that all
contracts of this nature shall be binding
upon both parties for a full year, if money
is advanced. Just after this announce-
ment is made, Tristan arrives with the
two girls dressed as servants, who im-
mediately capture the fancy of the two
farmers. In spite of Tristan’s efforts to
draw them away, they allow the farmers
to haggle with them over terms and finally
accept an advance payment for salaries.
Without knowing it, they have bound
themselves to service for a year. When the
farmers now insist upon an immediate de-
parture, objections are raised by the other
three. But the crowd prevents Tristan
from rescuing the girls, and the sheriff de-
clares that they must go with their new
masters.
ACT III
The Farm House. Henrietta has taken
the name of Martha, and Nancy that of
264 OPERA SYNOPSES
Julia. Lionel and Plunkett try to intro-
duce them to their duties and are amazed
at their ignorance over the most ordinary
things, such as spinning. Plunkett tries
to make boisterous love to “Julia’” but
finds her sharp tongue more than a match
for him. Lionel is more courteous to
“Martha’’ and e ds by falling deeply in
love with her, but she only laughs at him.
However, she relents so far as to sing for
him a tender little ballad, “’Tis the Last
Rose of Summer,” hoping to touch his
heart so that he will release her from that
dreadful contract. After the two men
have retired, the girls make their escape
through a window, with the assistance of
Tristan.
Aºt IV
A Country Tabern. While Plunkett is
drinking with some of his friends, a party
of hunters from the court enter, and me
recognizes among them his lost servant
girl, “Julia.’ He demands that she go
home with him and complete her contract,
but her calls for help bring her friends
about her and they chase Plunkett Out
into the forest. Next Lionel enters,
MARTHA 265
greatly dejected over his loss of “Martha,”
when whom should he see among the hunters
but the girl herself as a court lady. He
Iays claim to her and she reproaches him
for being an impertinent bumpkin. The
others think him a madman, and she is
glad to have this construction put upon
the episode. Plunkett comes to his friend's
assistance and leads him away thoroughly
overcome with despair. Henrietta's heart
is touched when she realizes the sincerity
and depth of his passion.
ACT V
Scene 1. The Farm House. Lionel’s
long-standing claim to the earldom of Derby
is decided in his favor, but he takes no
interest in the matter. He is almost insane
from grief. Henrietta is persuaded to
visit him, but he does not recognize the
“Martha’’ of his dreams. Nancy and Plun-
kett come to an understanding and arrange
a little scene to restore Lionel’s reason.
Scene 2. The Fair at Richmond. An-
other fair is being held, and Plunkett
brings his friend to the square where they
had first met the girls. Lo! there they are
266 OPERA. SYNOPSES
again, dressed in their servant's attire.
Memory and reason return to Lionel, and
when “Martha’’ sings again to him the
ballad of the rose his cup of happiness is
full. She is willing to become his wife.
ME FIST OFFLE
(Mephistopheles.) Dramatic Opera in Prologue,
Four Acts, and Epilogue. Music by Arrigo
Boito. Book by Composer. After Goethe’s
“Faust.” First produced at La Scala, Milan,
I868.
SCENE: Germany and Greece.
TIME: Middle Ages.
C AST
MEPHISTOPHELEs, the Evil One (Baritone).
FAUST, a student (Tenor).
WAGNER, a student (Basso).
NEREUS (Baritone).
PANTALIS (Tenor).
MARGUERITE, a German girl (Soprano).
MARTHA, her mother (Contralto).
HELEN OF TRoy (Soprano).
Students, Townspeople, Spirits, Witches,
Bacchanal Women, Greeks, etc.
i
i
;
*
;
267
ARGUMENT
The plot of this opera is not unlike that
of Gounod’s “Faust,’’ except that it delves
more deeply into Goethe’s theme, and shows
the final redemption of Faust.
PROLOGUE
The Court of Heaven. As the angels
prostrate themselves before the throne of
the Most High, Mephistopheles appears and
wagers that he can seduce the philosopher,
Faust. He is bidden to try.
ACT I
Frankfort. It is Easter Sunday. Amid
the merry throng of the streets, Faust and
Wagner wander, 'observing the crowd, but
holding themselves aloof from it. Their
attention is finally attracted by a gray
Friar, whom every one seems instinctively
to shun. He follows Faust so persistently,
268
:
{}
i
:
MEFISTOFELE 269
that the latter enters his house to avoid
him. However, the Friar also slips in, and
presently reveals himself to Faust as the
Evil One. He says that he will open to
Faust the riches and happiness of the
world, if Faust will serve him in the next
world. Faust accepts the proposition, and
Mephistopheles carries him away on his
cloak.
ACT II
Scene 1. A Garden. Mephistopheles
first offers Faust love, and introduces him
to Marguerite, the village girl. The two
walk arm in arm in a garden, while Meph-
istopheles keeps the coast clear by mak-
ing love to Martha, her mother. Faust
hands the girl a phial containing a pow-
erful sleeping potion, which she is to give
her mother.
Scene 2. The Brocken. The witches’
saturnalia is in full progress. Mephistoph-
eles shows Faust their wild revels. Dur-
ing one incantation, they summon before
his eyes the picture of Marguerite, suffer-
ing imprisonment because of crimes insti-
gated by him.
270 OPERA. SYNOPSES
ACT III
Interior of a Prison Cell. Marguerite is
shown alone in a cell, crazed by grief and
remorse. She has been condemned to death
for poisoning her mother and killing her
child. She can look only to Heaven for
pardon. Through the power of Mephistoph-
eles, Faust enters the prison and bids her
escape with him, but she will not do so
while he is associated with the Evil One.
They urge her to go until day dawns, and
they are forced to leave without her. She
falls back lifeless, while an angelic choir
chants that she is saved.
ACT IV
A Scene in Ancient Greece. In order
further to show his power, Mephistopheles
transports Faust to ancient Greece, and be-
stows upon him the hand of the most beau-
tiful of women, Helen of Troy. She tells
Faust her story and the events leading to
the fall of Troy. Faust makes ardent love
to her, and she accepts him.
MEFISTOFELE 271
EPILOGUE
Faust’s Study. Faust as an old man is
seen reviewing his past life, which he re-
grets bitterly. He has not found happiness
in the gratification of the senses. Mephis-
topheles appears, but finds that he has lost
his power to tempt him. Sirens surround
Faust and call to him seductively. He
turns away and opens his Bible, reading
therein that the vilest of sinners can re-
pent and be saved. He prays for forgive-
ness, and Mephistopheles sinks into the
earth, vanquished. Faust dies, and a
shower of roses falls upon his body from
above, in token that Heaven has accepted
his soul.
D IE ME IS T E R S IN G. E. R.
The Master-Singers). Comic Opera in Three
Acts. Music by Richard Wagner. Book by the
Composer. First produced at Munich, June 21,
1868.
ScENE: Nuremberg.
TIME: The 16th Century.
C AST
HANs SACHs, a cobbler (Baritone).
VEIT PogNER, a goldsmith (Basso).
EvA, his daughter (Soprano).
BECKMESSER, the town clerk (Baritone).
KOTHNER, a baker (Basso).
WALTER voN STCLZING, a Knight (Tenor).
DAVID, apprentice to Sachs (Tenor).
MAGDALENA, maid to Eva (Contralto).
WATCHMAN (Baritone).
Master-singers, Villagers, Servants, etc.
273
A R G U M E N T
“Die Meistersinger” is the only comic
opera that Wagner wrote. It deals with
a historic time in Nuremberg when all the
tradespeople wrote verses and indulged in
singing contests, and may be regarded as
Wagner's protest against artificiality.
ACT I
Interior of St. Catherine's Church. The
whole town of Nuremberg is music-mad.
The master-singers, or head men in this
noble profession, hold public contests
governed by rigid rules, and the victors are
richly rewarded. Veit Pogner, the gold-
Smith, finally announces that at the next
contest he will bestow his daughter's hand
upon the successful man. Beckmesser, the
town clerk, is overjoyed at this, as he has
long paid court to the fair Eva, and thinks
he can easily win the contest. But Eva has
had no eyes for the clerk. She has noted
the respectful attention of a young noble-
man, Walter von Stolzing, who has met
274
DIE MEISTERSINGER 275
her at the Church and elsewhere. Hearing
of the contest, Walter resolves to enter it,
and is instructed in the rules by David, the
apprentice of Hans Sachs. But when
Walter first appears before the master-
singers, Beckmesser keeps the score and
marks down so many mistakes that the
young man is ruled out. Hans Sachs, the
cobbler, is the only one who speaks in his
favor.
ACT II
A Street in Nuremberg. On one side is
Sachs' cobbler shop, on the other, Pogner’s
house. Eva finds an opportunity to meet
Walter and console him for his lack of
success. She says that she will not abide
by her father's wishes, if some one else
wins, but will elope with him. They
hasten to conceal themselves as Beck-
messer comes out to sing a serenade under
Eva's window. But the serenader is inter-
rupted by the hammering and singing of
Sachs in his shop. Then David appears
and mistaking the attentions of Beck-
messer as being directed to his own lady-
love, he pounds the clerk over the head.
Their cries draw the whole village upon the
276 OPERA. SYNOPSES
scene and a small-sized riot is in progress,
which ends as suddenly as it began, when
the watchman’s voice is heard down the
Street.
ACT III
Scene 1. The Cobbler's Shop. While
Sachs and his apprentice are at work,
Walter comes in greatly elated. He says
that he has dreamed a song so beautiful
that, if he can set it down, it will win the
prize. Sachs encourages him and they
finally commit it to a manuscript. Beck-
messer learns of this famous song and
steals the manuscript, planning to sing it
as his own. Eva comes in to try on some
new shoes, and all plan for the coming con-
test.
Scene 2. An Open Field. The morning
of the song-fest has arrived and the dif-
ferent trade-guilds bring forward their
noted singers. Sachs alone champions
Walter, who is not concerned over the loss
of his manuscript. His song is superior to
the master-singers' rules anyway. Beck-
messer tries to sing the stolen song, but
his memory proves treacherous and he
DIE, MEISTERSINGER 277
makes a laughable jumble of it. Walter is
grudgingly allowed to follow and speedily
wins all his hearers by his song. He is
accorded the prize, and Pogner bestows
upon him the hand of the happy Eva.
MIGNON
Romantic Opera in Three Acts. Music by Charles
Ambroise Thomas. Book by Barbier and Carre,
after Goethe’s “Wilhelm Meister.” First pro-
duced at the Opera Comique, Paris, November
17, 1866.
SCENE: Germany and Italy.
TIME: Eighteenth Century.
C AST
WILHELM MEISTER, a German student
(Tenor).
BARon FRIEDRICH (Tenor).
LAERTES, a strolling actor (Baritone).
PHILINA, an actress (Soprano).
LOTHARIO, an aged minstrel (Basso).
GIARNO, leader of the gypsies (Basso).
MIGNON, a girl of the gypsies (Mezzo-
Soprano).
Gypsies, Peasants, Servants, etc.
279
A R GUIMIENT
The story of a girl captured by the gyp-
sies and found to be the long-lost daughter
of a nobleman is not new to opera, but the
present story, based upon Goethe’s “Wil-
helm Meister,’’ is one of the most pleasing.
ACT I
Courtyard of an Inn, Germany. While
the strolling actors, Laertes and Philina
are resting in the courtyard of a wayside
tavern, a band of gypsies also stop there.
They are footsore and weary from a long
journey, but despite this fact the leader,
Giarno, orders Mignon, a young girl, to
dance for the amusement of other tavern
guests. She refuses from weariness and
ill-treatment, and Giarno rushes forward to
beat her. An old harper tries to protect
her, and would himself have been beaten,
but is shielded by a young German student,
Wilhelm Meister. Mignon is dressed as a
boy, and Wilhelm, ignorant of her identity,
280
MIGNON 281
takes her with him as a page. Meanwhile,
Wilhelm has become infatuated with
Philina, although Laertes warns him that
she is fickle. His rival is the Baron Fried-
rich, whose uncle has invited the players to
visit his castle; and much against the
Baron’s will, his rival and Mignon go with
them.
ACT II
An Apartment in Friedrich’s Castle.
Mignon falls in love with Wilhelm, but he
is ignorant of this affection on the part of
his ‘‘page,’’ although the sly Philina twits
him with it. Mignon is so distressed over
her false situation that she is on the point
of throwing herself into a lake, when the
notes of Lothario’s harp soothe her. She
goes to the old minstrel for counsel, and in
her agitation calls down vengeance upon
the castle and its occupants. In the mean-
time the players have given a successful
performance and emerge upon the terrace.
A festival is given upon the lawn. Philina
misses the flowers which have been bestowed
upon her at the play, and sends Mignon
within to fetch them. Before the girl can
282 OPERA. SYNOPSES
return, flames burst from the windows.
The aged Lothario has interpreted Mi-
gnon’s curse too literally and set fire to the
castle. Wilhelm rushes into the building
and at great peril rescues Mignon, whom
he carries forth unconscious in his arms.
ACT III
A Castle in Italy. Lothario takes Mi-
gnon, who seems ill in body and mind, to
Italy. They are followed by Wilhelm,
who has discovered her love for him and
reciprocates it, after casting off his passion
for the fickle Philina. In Italy the mys-
tery of Mignon’s birth is cleared. She is
the daughter of Lothario, whose real title
is the Marquis of Cipriani. Ever since his
daughter had been stolen by the gypsies he
has wandered in search of her, and now
proves her identity. He bestows her hand
with his blessing upon Wilhelm.
T H E M I K.A. D. O
Comic Opera in Two Acts. Music by Arthur S.
Sullivan. Book by William S. Gilbert. First
produced at the Savoy Theatre, London, March
14, 1885.
SCENE: “Titipu,” Japan.
TIME: Middle Ages.
C. A. ST
THE MIKADO OF JAPAN (Basso).
NANKI-Poo, his son, “a wandering minstrel”
(Tenor).
Ko-Ko, the Lord High Eaſecutioner (Baritone).
PooH-BAH, Lord High everything else
(Baritone).
YUM YUM, Ko-Ko's ward, “from school”
(Soprano).
PEEP-BO } her friends the other
PITTI-SING ſ “little maids from school”
Soprano.
Mezzo-Soprano).
RATISHA, a lady at court (Contralto).
PISH-TUSH, a courtier (Basso).
Courtiers, Citizens, Servants.
283
A R G U M E N T
“The Mikado” may be called a spright-
ly travesty upon Japan, which yet con-
tains little beyond its costuming to identify
it with that country. The music does not
pretend to be Oriental, but is pleasingly
English. This has remained the most
popular of the Gilbert and Sullivan operas.
ACT I
A Street in Titipu. Nanki-Poo, the son
of the Mikado, runs away from the court
rather than marry Katisha, an elderly
lady. As a travelling minstrel, he goes
from town to town, none knowing his true
rank. In Titipu he sees and falls in love
with Yum-Yum, the ward of Ko-Ko, who
with her two young friends, is just home
from school. Yum-Yum reciprocates the
passion, to the disgust of Ko-Ko, who has
planned to marry his ward himself, and
thus secure her property. At this juncture,
Pooh-Bah arrives. He is the purveyor of
state secrets and holds every office except
284.
THE MIKADO 285
that of Lord High Executioner, the office
of Ko-Ko. The latter is by trade a tailor
and is naturally a craven-hearted fellow,
who dislikes to shed blood. Hence there
hasn’t been an execution since he has been
in office—a displeasing state of affairs to
the Mikado, who sends word that unless
Somebody is beheaded within the next
month, Ko-Ko will be deposed. In this
dilemma Nanki-Poo comes forward and
says that if he is allowed to marry Yum-
Yum and live with her a month, they may
execute him. This plan is agreed upon.
ACT II
Home of Yum-Yum. Preparations are
actively forward for the wedding of Yum-
Yum and Nanki-Poo, but the ardor of the
lovers is cooled by Ko-Ko, who announces
that he has discovered an old law saying
that when a married man is beheaded his
wife must be buried alive. In order to
save his bride, Nanki-Poo magnanimously
offers to stab himself neatly and with des–
patch. But this will not serve Ko-Ko's
purpose, so in his dilemma, he makes up a
false statement as to the execution. At
286 OPERA. SYNOPSES
this juncture the Mikado arrives and
listens with gusto to a full account of the
victim's last agonies until he discovers that
it is his own son they are talking about.
Then he decrees that the Lord High Execu-
tioner shall be put into boiling oil, or suffer
some other lingering death, for his blunder.
Nanki-Poo is therefore brought to life to
save all concerned, and Ko-Ko’s worst
punishment is to be compelled to marry
Ratisha.
M ON A.
Dramatic Opera in Three Acts. Music by Horatio
Parker. Book by Brian Hooker. The “Ten
Thousand Dollar Prize Opera” of the Metro-
politan Opera House, New York. First produced
there during the season of 1911–12.
SCENE: Southwestern Britain.
TIME: Circa 100 A. D.
C AST
ROMAN Gover NoF (Baritone).
QUINTUs, his son, known to the Britons as
Gwynn (Tenor).
ARTH, a British Tribesman (Basso).
ENYA, his wife (Soprano).
GLOOM, their son, a Druid (Baritone).
CARADoc, chief bard of Britain (Baritone).
NIAL, a changeling (Tenor).
MoMA, Princess of Britain (Mezzo-Soprano)
Soldiers, Druids, Bards, Britons.
287
A R G U M E N T
“Mona’’ tells the dramatic story of an
early princess of Britain, who endeavors
to win by war the freedom of her people,
and who finds too late that the gentler arts
of love which she forswore would have won
the prize she sought.
ACT I
Interior of Arth’s Forest Hut. While the
fiery Britons chafe under the military sway
of Rome, the Druids seek a chieftain who
shall again lead them against the invaders.
They find one in Mona, last of the line of
the warlike Boadicea, who has been reared
as the foster child of Arth and Enya.
Mona is beloved by Gwynn, a man of peace
who endeavors to reconcile the Romans
and the Britons. Unknown to her he is
the Son of the Roman Governor by a cap-
tive British woman and has more than once
stood between the warring factions. He
endeavors to persuade Mona to forsake her
warlike traits and wed with him, but she
feels that her destiny is linked with her
country, even as was that of Boadicea.
288
MONA 289
ACT II
A Druidic Temple in the Forest. The
Roman Governor finds that the Druids are
again holding their ancient rites, a sign
that an uprising is planned. But Gwynn,
his son (known to the Romans as Bren-
nius) believes that he can obtain peace for
the country by winning the heroic Mona as
his wife. The Governor cynical lets him
try the plan. Mona is found by Gwynn
after one of the Druidic conclaves and is
compelled to confess her love, after a
stormy scene of wooing. But she instantly
repents her womanly weakness when
Gwynn tells her he is Roman born. She
summons her people who take Gwynn
prisoner.
ACT III
The Forest before a Roman Town. Nial,
the half-witted changeling, and Enya,
watch the battle with the Romans at the
walls of the town. The Romans have been
warned and drive the Britons back. Mona
is carried in by the retreating forces but is
unwounded. To her aid comes Gwynn,
who has been released in the melee, and
290 OPERA SYNOPSES
once again offers her his love and protec-
tion. He confesses his identity to her but
she will not believe. She thinks he has
been a spy, and in an excess of mistaken
devotion to her country she slays him un-
resistingly. The Romans pursue the enemy
and Mona is brought face to face with the
Governor and learns the truth—that
Gywnn was the best friend of Britain and
with him perished the hope of peace. Mona
realizes that by denying her womanhood
she has missed happiness for herself and the
true welfare of her country.
N A T O M A
Romantic Opera in Three Acts. Music by Victor
Herbert. Book by Joseph D. Redding. First
produced at the Philadelphia Opera House, Feb-
ruary 25, 1911, and at the Metropolitan Opera
House, New York, February 28, 1911.
SCENE: Southern California.
TIME: 1820, during Spanish Occupation.
C AST
NATOMA, an Indian maiden (Soprano).
BARBARA, her mistress (Soprano).
PAUL MERRILL, lieutenant U. S. N. (Tenor).
DON FRANCISCO, Barbara's father (Basso).
FATHER PERALTA, a Monk (Baritone).
JUAN BAUTISTA ALVARADo, a Spaniard
(Tenor).
Josſ CASTRO, his companion, a half-breed
(Baritone).
PICO, a Spaniard (Baritone).
KAGAMA, a Spaniard (Baritone).
Spanish Citizens, Indians, American Soldiers,
Nuns, Servants, etc.
291
A R G U M E N T
“Natoma” is so entitled from the chief
character, an Indian maiden who typifies
the higher and poetic side of her people.
The opera's plot represents a fusing of
three diverse strains, the Indian, Spanish,
and American (English), and is also inter-
esting as having an English libretto.
ACT I
The Island of Santa Cruz. Don Fran-
cisco, a wealthy Spaniard, has sent his
daughter off to a convent on the mainland
to perfect her education. She is now ex-
pected back and all are eagerly anticipating
her arrival: her father who has sadly
missed her; Alvarado, a young Spaniard
who has long paid her court, but in vain;
and Natoma her Indian maid and com-
panion who worships her devotedly. There
is still another who awaits Barbara's
arrival with some interest—Lieutenant
Merrill, of the United States Navy, whose
duties bring him to these still-Spanish
shores. Natoma has lost her heart to the
292
NATOMA 293
officer, but he treats her as a mere child of
the forest. She launches into a glowing
description, of her mistress's charms, until
she suddenly realizes that this handsome
young American will fall a victim to them
and forget her, Natoma. Thenceforth,
her heart is torn between two emotions,
love and loyalty.
Barbara arrives amid great acclamation.
She and the lieutenant speedily become
interested in each other, just as Natoma
had feared. In the evening a dance is
given, and Alvarado realizes that he has a
formidable rival. He is repulsed by Bar-
bara and plots with Castro, his half-breed
servant, to abduct her. Natoma overhears
the plot and plans to frustrate it.
ACT II
Public Square in Santa Barbara. It is
Fair day at the old Spanish town of Santa
Barbara, and interest in the occasion is
heightened by a visit from the American
marines. A dance is held in the open
square, each young Spaniard inviting his
lass to join him in the whirling figures.
Alvarado attempts to show in public that
294 OPERA. SYNOPSES
he has a claim upon Barbara by inviting
her somewhat peremptorily to dance. She
hesitates, but when her father consents,
she reluctantly becomes his partner. His
manner angers her and she breaks away
from him. He tries to compel her, and
when she refuses, watches her like a hawk
to seize and carry her away. Castro
and several of his accomplices are at hand.
To divert the general attention, Castro
now challenges any one to join him in the
dangerous dagger dance. A circle is
formed and he thrusts his dagger in the
ground defiantly. After a pause, Natoma
rushes forward and thrusts her own
weapon by its side. Then they dance
warily around, each seeking to become
possessed of the other's weapon. Finally,
Natoma springs forward like a cat, knocks
the half-breed's weapon aside, and dashing
across to Alvarado, who is about to seize
Barbara, stabs him to the heart. The vil-
lagers crowd forward to seize her, but
Merrill and his marines protect her from
violence. The priest appears at the church
door saying: “Wengeance is mine, I will
repay, saith the Lord,” and Natoma seeks
sanctuary within the walls of the Church.
NATOMA
4-
29
5
ACT III
Interior of the Church. Natoma crouch-
es alone in the Church still torn by an inner
conflict. The fierce blood of her ancestors
yet courses through her veins and she
dreams again of the old life of the forest.
She has no remorse for her bloody deed,
but she does not wish to give up the lieu-
tenant, even to her beloved mistress. The
priest enters and she rails at him, but his
stern words of admonition finally reach her
heart and she decides to renounce all and
enter the Church. The worshippers arrive,
among them Barbara and Merrill, but the
Indian girl gives them no heed. Mass is
celebrated and the sisterhood is seen pro-
ceeding through their sunlit garden. Then
Natoma bids her mistress farewell and
goes through the open doors to take the
veil.
THE NIBELUN GEN RING
I. DAS RHE IN GOLD
(The Rhine-Gold). A Music-Drama in Four Acts.
Music by Richard Wagner. Book by the Com-
poser. First produced at Munich, August 25,
1869, and authoritatively at Baireuth, August
3, 1876.
SCENE: Germany and the Upper and
Nether worlds.
TIME: Antiquity.
C. A ST
WoTAN, the mighty (Basso).
FRICKA, his spouse (Mezzo-Soprano).
DoNNER, god of thunder (Basso).
FRöH, god of rain (Baritone).
LOKI, god of fire (Tenor).
FREYA, goddess of love (Soprano).
ALBERICH, a dwarf (Baritone).
MIME, a dwarf (Tenor).
WogIINDE, Rhine-maiden (Soprano).
WELLGUNDE, Rhine-maiden (Soprano).
FLOSSHILDE, Rhine-maiden (Contralto).
FAFNER, a giant (Basso).
FASOLT, a giant (Basso).
ERDA, spirit of the Earth (Contralto).
Gods and Goddesses, Dwarfs, and Spirits.
297
A R G UMENT
“Rheingold,” the first of the four operas
forming the “Ring” series, tells the story
of how the magic ring came to be made, and
how its curse rested upon all who came in
contact with it, whether gods or men.
ACT I
The Bottom of the River Rhine. Down
in the bed of the River Rhine a mass of pure
gold has been hidden. It is magic treasure
conferring upon its owner boundless power,
but whoever possesses it must forswear
love. The three Rhine-maidens have been
entrusted with the duty of guarding the
gold, and they turn the task into a sport,
singing and dancing among the grottoes
beneath the water, but never venturing far
from their charge. Alberich the dwarf,
greedy for gold, surprises them one morning
in their games. They coquet with him and
lead him on, finally letting him know the
secret of the gold. He pretends to be
interested in them and indifferent to the
298
DAS RHEINGOLD 299
treasure, but when their carelessness gives
him an opportunity he seizes upon the
glittering mass and makes off with it, de-
claring that he will forswear love forever
in order to be master of the world.
ACT II
The Gardens of Walhalla, Abode of the
Gods. The giants Fasolt and Fafner have
built the beautiful castle Walhalla for the
abode of the gods. Loki, the god of fire,
who is the embodiment of deceit, has per-
suaded Wotan the mighty to accept the
giants’ terms for their labor, and when they
have completed the stupendous task they
demand Freya, goddess of love, as their
reward and carry her off despite the en-
treaties of all the other immortals. With-
out the presence of Freya the flowers wither
and die, the trees refuse to bear fruit, and
the gods begin to grow old. The only way
in which the giants can be induced to re-
store the goddess is by a bribe of the magic
gold. Wotan and Loki go in search of this
treasure which is now jealously guarded by
the dwarfs in the earth-caverns.
300 OPERA SYNOPSES
ACT III
The Dwarfs' Caverns. Alberich gloats
over his treasure, and to watch over it
more carefully he has commanded Mime
the smith to fashion for him a tarnhelm or
invisible cap which enables him to assume
any shape he pleases. He has also fash-
ioned from the gold a ring which confers
upon its wearer power over gods and men.
Wotan and Loki enter to confer with Al-
berich and he boastingly displays his
powers by changing himself first into a
dragon and then into a toad—the last
at a sly suggestion from Loki. Wotan then
Quickly places his foot upon the toad, and
will not release his squirming victim until
he has given up all his treasures including
the cap and the ring. Alberich, however,
puts a curse upon all who shall hereafter
wear the ring.
ACT IV
The Gardens of Walhalla. The gods
carry the gold in triumph to Walhalla, and
the giants are summoned to the parley.
They return with Freya and the treasure
is heaped before her to excite their cupidity.
DAS RHEINGOLD 301
Wotan secretly hopes to retain the cap and
the ring, but they insist upon these also and
threaten otherwise to carry off the goddess
again. Wotan is compelled to yield al-
though he foresees in the terms the ultimate
destruction of the gods. The curse of the
ring is shown in an immediate quarrel be-
tween the giants, in which Fafner kills
Fasolt. While the gods pass over a rainbow
bridge to their new mansion of Walhalla,
the voices of the Rhine-maidens are heard
below lamenting their loss.
THE NIBELUNGEN RING
II. DIE WALK Ú RE
(The Valkyrie). Music-Drama in Three Acts.
Music by Richard Wagner. Book by the Com-
poser. First produced at Munich, June 24, 1870,
and authoritatively at Baireuth, August 14, 1876.
SCENE: The Forests of Germany.
TIME: Antiquity.
C AST
WoTAN, the mighty (Basso).
FRICKA, his spouse (Mezzo-Soprano).
HUNDING, a warrior (Basso).
SIEGLINDE, his wife (Soprano).
SIEGMUND, her brother (Tenor).
BRUNHILDE, a Valkyr (Soprano).
OTHER VALKYRIE (Sopranos).
303
A R G U M E N T
In order to understand the purport of
“Die Walküre' as related to the “Ring” a
certain amount of narrative is necessary
which is not represented upon the stage.
Wotan, foreseeing the doom of the gods
because they are pledged to respect the
power of the magic ring, endeavors to pro-
tect Walhalla by creating a band of Wal-
kyrie or warrior-maidens whose duty it is
to convey on their winged steeds the bodies
of the noblest warriors, slain upon the field
of battle, to the abode of the gods, where
these warriors will live again a mighty race
to defend Walhalla. Upon the earth, also,
Wotan has begotten two children of his
own, Siegmund and Sieglinde, who grow up
in ignorance of each other. *
ACT I
The Forest Hut of Hunding. The hut
of the warrior Hunding is built around the
great trunk of an ash tree, which pierces
304
DIE WALKÚRE 305
the center of the roof. Here Hunding
dwells with his wife, Sieglinde, whom
he carried away from her home in child-
hood, against her will. She has been
promised a protector, however, by a
mysterious stranger who drives his sword
up to the hilt in the ash; and the protector
will be known by his ability to withdraw
the weapon.
On the night when the scene opens
Hunding is away and Sieglinde opens the
door to an exhausted stranger who begs
food and drink. It is Siegmund, a mortal
enemy of Hunding, who has taken refuge
here against his foes. Hunding returning
finds him here and grants him hospitality
for the night, but challenges him to combat
the next morning. Meanwhile Siegmund
and Sieglinde feel irresistibly drawn to each
other. When Hunding retires the woman
prepares a sleeping potion which holds him
in a stupor. She tells her story to Sieg-
mund and they discover their near relation-
ship. He finds that he can easily draw the
sword from the oak (it was Wotan who
placed it there), and the two flee forth into
the forest.
306 OPERA SYNOPSES
ACT II
A Mountain Pass. It has been the will
of Wotan that his two earth children shall
meet and mate, but he finds unexpected
opposition to his plan from Fricka his
spouse. She is scandalized by this in-
fraction of marital laws, and demands that
he punish the guilty pair. He is finally pre-
vailed upon to summon Brunhilde, his.
favorite among the Valkyr maidens, and he
charges her to deliver over Siegmund to his
enemy. Brunhilde pleads for the warrior
but in vain; she must on no account dis-
obey this mandate even though she knows
it is against the wishes of Wotan himself.
She encounters the lovers in a mountain
pass, whither they are being pursued by
Hunding, and warns Siegmund of his fate;
then won over by his pleas she resolves to
shield him at any cost. Hunding arrives
and engages him in battle. The Valkyr
protects Siegmund. Amid thunder and
lightning Wotan appears and shivers Sieg-
mund's sword, and the latter is slain by
Hunding, who falls, in turn, by a stroke
from Wotan’s spear. Brunhilde flees from
the wrath of Wotan carrying with her Sieg-
linde whom she conceals.
DIE WALKüRE 307
ACT III
Haunt of the Valkyrie. Wotan goes
forth to seek and punish his disobedient
Valkyr. Brunhilde implores her sisters to
succor her, but they are fearful of Wotan’s
anger. They promise, however, to watch
over Sieglinde. The latter is comforted by
Brunhilde and told that she shall have a
son who will prove the greatest of heroes;
meanwhile she is to hide from gods and
men and preserve the broken bits of the
sword of Siegmund. Wotan approaches
and orders Brunhilde to stand before him.
A stormy and pathetic scene ensues in
which he at first consigns her harshly to a
fate worse than death. She is banished
from Walhalla and is to fall asleep, to be
claimed upon waking by the first passer-by.
Her entreaties finally mitigate this sen-
tence, and Wotan places her upon an almost
inaccessible mountain peak hedged round
about by magic flames. Only a hero would
pierce this circle of flames, and such a hero
shall claim Brunhilde as his wife.
THE NIBELUN GEN RING
III. SIE G FRIED
Music-Drama in Three Acts. Music by Richard
Wagner. Book by the Composer. First pro-
duced at Baireuth, August 15, 1876.
SCENE: The German Forests.
TIME: Antiquity.
C. A. ST
WOTAN, the mighty (Basso).
SIEGFRIED, the hero (Tenor).
MIME, the Smith (Tenor).
ALBERICH, the dwarf (Baritone).
FAFNER, the dragon (Basso).
BRUNHILDE, a Valkyr (Soprano).
THE WooD BIRD (Soprano).
309
A R G U M E N T
“Siegfried" continues the story of the
Ring at a period some twenty years later
than the events of “Die Walkure.”
As Brunhilde has foretold, Sieglinde
bears a son to the slain Siegmund, and she
also dies at the child's birth. He is shel–
tered by Mime the dwarf who teaches him
the Smith's trade. But Siegfried, as he
is called, has the blood of warriors and
hunters in his veins and soon domineers
Over the craven fellow.
ACT I
The Forest Forge of Mime. When Sieg-
fried has arrived at young manhood he
Orders Mime to forge for him a sword; but
none which is made suits him; he speedily
breaks them all. The fragments of Sieg-
mund's sword have been preserved, and one
day in the young man's absence Wotan
enters the smithy and tells Mime that
Siegfried is destined to forge from these
fragments an invincible weapon. This
makes Mime more frightened than ever,
310
SIEGFRIED 3.11
but he cannot stay the hand of fate. The
young hunter returning is disgusted with
Mime's work and seizing the pieces of the
old sword forges his own weapon. When it
is cooled and tempered he tests it by split-
ting the anvil in two from top to bottom.
He calls the weapon “Helpneed.”
ACT II
The Forest before the Dragon's Cave.
For all these years Fafner has guarded the
magic gold jealously. The better to do so
he has assumed the form of a dragon, who
dwells within a cavern in the depths of the
forest. On the outside loiters Alberich, the
greedy dwarf, still trying to regain the
treasure. Wotan finds him here and warns
him that a hero is coming who is stronger
than them all. Meanwhile Siegfried has
been told of the dragon by Mime, who
endeavors thus to frighten him, but the
news only fires the young man's spirit and
he resolves to christen the new sword in a
combat with Fafner. On his way thither
the Wood Bird sings to him warningly but
Siegfried does not understand and goes on
his way. He summons Fafner from his lair
312 OPERA SYNOPSES
and in the fight slays him. A drop of the
dragon's blood touches his tongue and in-
stantly he understands the wood voices.
The Bird has told him that Mime is trying
to poison him. He is also told of the magi-
cal properties of the ring, which he puts on.
He kills Mime, and follows the Bird who
tells of other adventures in store. The
sleeping Brunhilde on the mountain-top,
surrounded by fire, awaits a hero to awaken
her. The Bird shows him the path up the
mountain.
ACT III
A Mountain Pass. Erda, the earth-
spirit, has warned Wotan of the impending
doom of the gods. He therefore resolves to
stop Siegfried in his journey up the moun-
tain. But the latter undaunted shivers the
great Wotan’s spear with his sword, Help-
need, and Wotan stands aside knowing that
the progress of events cannot be stayed.
Neither is Siegfried deterred by the wall of
flame which encircles the peak. He pushes
through it and it dies away leaving him
unscathed. He finds Brunhilde in her war-
rior's garb and awakens her. She discovers
his identity and willingly foregoes her im-
mortal qualities for the sake of his love.
THE NIBE LUN GEN RING
IV. GöTTERDAMMERUNG
(The Dusk of the Gods.) Music-Drama in a Pre-
lude and Three Acts. Music by Richard Wag-
ner. Book by the Composer. First produced at
Baireuth, August 16, 1876.
SCENE: The German Forests.
TIME: Antiquity.
C. A ST
SIEGFRIED, the hero (Tenor).
BRUNHILDE, the Valkyr (Soprano).
GUNTHER, a king (Baritone).
GUTRUNE, his sister (Soprano).
ALBERICH, the dwarf (Baritone).
HAGEN, his son (Basso).
VALTRAUTE, a Valkyr (Mezzo-Soprano).
THE NORNs, spinners of fate (Mezzo-
Sopranos).
THE RHINE-MAIDENs (Sopranos).
313
A R G U M E N T
The last of the Ring, “Götterdäm-
merung,” brings to a close the adventures
and fates of the chief characters. The
downfall of the gods is at hand, and the
ring of the curse completes its fatal mission.
PRE LU D E
The Norns who control the fates of both
men and gods weave their thread of life and
it breaks. They know by this token that
the destruction of all things is at hand.
Siegfried parts from Brunhilde in order to
go upon new adventures, but meanwhile
gives her the ring to wear while he is gone.
He takes with him the Tarnhelm, or invis-
ible cap, and Helpneed, the sword, and
Brunhilde lends him her steed to ride.
ACT I
Scene 1. Gunther's Court. Siegfried
proceeds to the court of Gunther, a power-
ful king, who welcomes him cordially.
Hagen the cunning son of Alberich is one of
314
GöTTERDAMMERUNG 315
the court, and knowing of Siegfried's deeds
he brews the hero a drink which causes him
to forget all his past. The memory of
Brunhilde fades away, and he asks of Gun-
ther the hand of his fair sister Gutrune in
marriage. The King consents on condition
that Brunhilde is secured for himself, and
the forgetful Siegfried agrees to go with
Gunther and compel her to yield.
Scene 2. A Mountain Pass. While Brun-
hilde awaits the return of her warrior, Walt-
raute, another Valkyr maiden, comes to
plead with her to restore the ring to the
Rhine-maidens. Thus only can the gods be
spared from destruction. But Brunhilde
answers scornfully that the gods have not
been kind to her, and besides the ring is not
her own. By means of the Tarnhelm, Sieg-
fried assumes the shape of Gunther and
comes to claim Brunhilde as his wife. She
struggles against him but is overpowered,
and he wrests the ring from her finger. She
is compelled to follow him back to Gun-
ther’s court.
ACT II
Gunther's Court. The King publicly
proclaims Brunhilde as his Queen, and
316 OPERA. SYNOPSES
gives Siegfried the hand of Gutrune. Brun-
hilde cannot understand this arrangement
and suspects treachery when she sees the
ring on Siegfried's hand. She upbraids him
for fickleness and falseness, but he is still
under the influence of the drug and pays
little heed to her. Her former love turns to
rage and she listens willingly to Hagen’s
plots to slay Siegfried. Hagen believes
that he can thus secure the ring for himself.
They falsely tell Gunther that Siegfried
has been unfaithful with respect to Brun-
hilde; and the King finally agrees to his
destruction.
ACT III
Banks of the River Rhine. While Sieg-
fried is out upon a hunting expedition, the
Rhine-maidens beseech him to restore the
ring to them, telling him that thus only can
he escape death. But Siegfried is fearless
and will not yield it up under a threat.
Gunther, Hagen, and other hunters join
him, and while they rest they ask Siegfried
to relate his adventures. The drug has
begun to wear off and Siegfried tells of his
past. When he comes to the meeting with
GöTTERDAMMERUNG 317
Brunhilde, he stops puzzled to watch the
flight of some ravens. At this moment
Hagen drives his spear in between Sieg-
fried's shoulders, and the latter falls dying.
But his memory is clear and he calls for
Brunhilde. Both Hagen and Gunther try
to seize the ring, and in the struggle the
Ring is killed. The retainers are in an up-
roar. Gutrune bewails the loss of her hus-
band and her brother. But Brunhilde, who
has learned the truth, comes in and bids the
tumult cease. She orders a funeral pyre to
be built, and the body of Siegfried to be
placed thereon. Mounting it she also is
consumed. The waters of the Rhine rise
and engulf all, including Hagen who has
tried to seize the ring, and the cursed em-
blem is at last restored to its rightful owners.
In the sky a great blaze is seen. It is the
destruction of Walhalla with all the gods.
N O R. M. A
Dramatic Opera in Two Acts. Music by Vincenzo
Bellini. Book by Romani. First produced at
Milan, in 1832. {
ScENE: Gaul.
TIME: Circa 30 B. C.
C. A. ST
OROvIST, chief of the Druids (Basso).
NORMA, his daughter, the High Priestess
(Soprano).
ADALGISA, a priestess (Contralto).
POLLIONE, Roman proconsul (Tenor).
FLAVIUS, his friend (Tenor).
CLOTILDA, friend of Norma (Soprano).
Two Children, Priests, Soldiers, Druids.
319
A R G U M E N T
“Norma” is an opera of tragic intensity
written around the theme of a woman’s
scorn. A Druidic priestess, forsaken by
her Roman lover, brings down vengeance
upon his head, but is yet willing to share
his fate.
ACT I
Grove of the Druids. Norma, the High
Priestess of the Druids, is charged with
the duties of the Temple, and she alone can
declare war or peace. By cutting the
sacred mistletoe she can give the signal for
war, and this she is urged to do in order
that the Roman invaders may be expelled;
but she stays her hand. Despite her vows
to the Temple, she has secretly wedded
Pollione, the Roman proconsul, and has had
two children by him. But the Roman is
faithless and is even now planning to
abduct Adalgisa, another virgin of the
Temple. The latter, however, resists his
pleas and finally confesses her temptation
to the priestess. Norma is disposed to
320
NORMA 321
pardon her, remembering her own weak-
ness, until she learns that the proconsul is
the man involved; then she turns upon
Pollione, who enters, and loads him with re-
proaches.
ACT II
Scene 1. Norma's Apartments. While
the two children of Norma's secret union
with the Roman lie asleep upon a couch, the
Priestess enters resolved to kill them. But
maternal love proves stronger than anger,
and she asks Adalgisa, who now enters, to
take charge of the children and conduct
them to the proconsul. They may thus
escape to Rome while she herself remains
to expiate her sin upon the funeral pyre.
Scene 2. The Temple Interior. While
Adalgisa is ministering at the altar, the
Roman impiously attempts to seize her by
force. Norma enters and strikes upon the
sacred shield, summoning all her warriors.
She declares that the time has come to
make war and drive out the invaders.
They seize the proconsul and bring him
before her for judgment. Norma con-
demns him and then tears off the wreath
from her brow, saying that she also has
322 OPERA. SYNOPSES
been guilty. The proconsul recognizes too
late the worth of the woman he has
scorned. The Druids make ready the
funeral pyre and Norma ascends it with
her lover, both perishing in the flames.
L’ORA COLO
(The Oracle.) Tragic Opera in One Act. Music
by Franco Leoni. Book by Camillo Zanoni,
after the play, “The Cat and the Cherub,” by
Chester B. Fernald. First produced at the
Metropolitan Opera House, New York, Febru-
ary 4, 1915.
SCENE: Chinatown, San Francisco.
TIME: The Present.
C AST
WIN-SHEE, a learned doctor (Baritone).
CHIM-FEN, keeper of an opium joint
(Baritone).
Hoo-TSIN, a wealthy merchant (Basso).
WIN-SAN-LUY, son of Win-Shee (Tenor).
AH-YoF, daughter of Hoo-Tsin (Soprano).
HUA-QUEE, a nurse (Contralto).
Chinese Men, Women and Children, Opium
Smokers, Policemen, etc.
323
A R GUIMENT
An attempt is made in this tragic piece
to depict certain phases of Chinese charac-
ter—the episodical bits in daily life hid-
den beneath the surface from the passer-by,
which, however, are of the most vital im-
portance to the Chinaman himself.
Scene, Hatchet Row, in the Chinese
Quarter. It is early dawn on the Chinese
New Year. Lights gleam from the opium
den of Chim-Fen, and the sound of revelry
is heard. The keeper ejects one of the
most unruly inmates and pauses on his way
back to shake his fist at the lighted win-
dow of his wealthy neighbor, Hoo-Tsin,
the merchant. Why should he work so
hard when his neighbor rolls in wealth?
The nurse employed in Hoo-Tsin’s house
approaches, and he demands of her that
she obtain a fan given by San-Luy to the
merchant’s beautiful daughter, Ah-Yoe.
Frightened by his threats, she promises.
Presently the learned Win-Shee passes.
324.
L’ORA COLO 325
Chim-Fen exchanges New Year's greetings
with him, and the Doctor takes opportu-
nity to reprove him for the sort of busi-
ness he conducts. A policeman passes by,
and Win-Shee cautions the other not to no-
tice the “American dog” by word or sign
but to pretend to be in earnest conversa-
tion. After they have parted company,
the Doctor’s son, San-Luy, appears beneath
the window of Ah-Yoe, where he sings a
serenade. The lovers exchange greetings.
Now it is broad day and Chinese hail their
neighbors everywhere in greeting. Chim-
Fen takes this opportunity of general fra-
ternizing to ask of Hoo-Tsin the hand of
Ah-Yoe in marriage. The only answer he
receives is the ironical wish, from Hoo-
Tsin: ‘‘May all the opium in Chinatown
pass through your hands!” At this second
rebuff that day Chim-Fen is in a rage,
which is heightened when the crowd reviles
him.
As part of the New Year's ceremony, the
infant son of Hoo-Tsin is brought in by
the nurse, and the oracle is consulted. Part
of it is favorable, part unfavorable. Be-
fore the child can be taken home, it is
kidnapped by Chim-Fen and hidden in a
326 OPERA SYNOPSES
cellar. He then tells the distracted father
that he will try to find the child, and
makes a bargain with him that it shall be
at the price of Ah-Yoe’s hand. San-Luy
also makes the same bargain. He traces
the child to the cellar, but when he at-
tempts to enter he comes to blows with
Chim-Fen, and the two fall struggling
down the cellar steps. In the outcome San-
Luy is killed. When news of the murder
is spread abroad there is a great confusion,
and the heartbroken Ah-Yoe mourns for
her sweetheart. His father, Win-Shee,
likewise is disconsolate, but determines to
avenge the bloody deed. At nightfall, in
his wanderings, he discovers and rescues
the child; then encounters Chim-Fen,
whom he reproaches and finally slays. A
policeman approaches. Quickly adopting
his own advice of the morning, Win-Shee
props up the dead body and seems to be in
animated conversation with it until the
officer has gone by. Justice has been done
according to the Chinese code, so why
should the foreign dogs interfere?
ORPHEUS AND EURYDICE
(Orfeo). Legendary Opera in Four Acts. Music
by Christopher Glück. Book by Raniero di
Calzabigi. First produced at Vienna, October
5, 1762.
SCENE: Greece and the Lower World.
TIME: Antiquity.
C. A. ST
ORPHEUS, a sweet singer (Contralto).
EURYDICE, his bride (Soprano).
AMOR, god of love (Soprano).
Furies, Shades, Friends of Orpheus, etc.
327
A R G U M E N T
“Orpheus and Eurydice” is based upon
the ancient Greek legend of the musician
who went into the depths of Hades to
rescue his dead wife.
ACT I
The Tomb of Eurydice. Eurydice, the
bride of Orpheus, who charms all things
by his music, has perished from the bite of
a serpent. Orpheus and his friends gather
around her tomb to lament her loss, and he
prays to the gods to restore her to him. He
is ready to make any sacrifice, even descend
into Hades itself in order to rescue her.
Touched by his grief, the god Amor is sent
to tell him he may make the journey,
trusting only to his powers of song; but
that he must on no account turn to look
upon the face of his wife, else Death will
again seize upon her.
ACT II
Hades, the Abode of the Departed. The
shades and furies swarm around the en-
328
ORPHEUS AND EURY DICE 329
trance to Hades reviling Orpheus for having
attempted to enter; but he sings so sweetly
of his grief and present quest that they
stand aside and allow him to enter.
ACT III
Valley of the Blest. In the midst of
Hades is the Valley of the Blest, where
dwell the pure in heart. Here Orpheus on
his journey finally finds his wife. The
others cannot understand why she wishes
to return, but touched by his song lead
her to him. He does not turn to look at
her, but with averted face takes her hand
and leads her from the valley.
ACT IV
A Forest before a Cave. After a long
upward journey, Orpheus leads his wife
through a cave, finally emerging into a
dense forest. Still he does not look at her,
but calling back urges that she follow him
quickly. She complains that he is indif-
ferent to her; that he has not given her so
much as a single glance. Without his love
she would prefer death. She continues this
plaint until he can resist no longer and
330 OPERA. SYNOPSES
turns to reassure her. Immediately she
sinks to the ground lifeless. Orpheus bit-
terly reproaches himself, and while lament-
ing the god Amor again appears to him
and says that since he has suffered and
toiled greatly he will be forgiven. With a
touch he restores Eurydice to life and to
her husband's arms.
OTHELLO
Tragic Opera in Four Acts. Music by Giuseppe
Verdi. Book by Arrigo Boito, after the play by
Shakespeare. First produced at La Scala. Theatre,
Milan, February 5, 1887.
SCENE: Cyprus.
TIME: The 15th Century.
C. A ST
OTHELLO, a Moorish general in the service of
Venice (Tenor).
DESDEMONA, his wife (Soprano).
IAGo, lieutenant to Othello (Baritone).
EMILIA, his wife (Contralto).
CASSIUs, lieutenant to Othello (Tenor).
RoDERIGo, a Venetian gentleman (Tenor).
Lodovico, a Venetian gentleman (Basso).
MonTANo, former governor of Cyprus (Basso).
Soldiers, Sailors, Citizens, Servants.
331
A R G U M E N T
The story of “Othello” closely follows
Shakespeare's play of the same name,
except that it omits the first act of the play
dealing with Desdemona's courtship and
marriage.
ACT I
Open Square at Cyprus. Othello, a
noble Moor in the service of the Venetian
state, has won the heart of Desdemona, a
high-born Venetian lady, and has brought
her with him on his expedition to Cyprus.
The people welcome their arrival. Othello
appoints Cassius as his first lieutenant in
command, which act enrages Iago against
them both. Iago is the servant and con-
fidant of the general and had hoped to
win this place for himself. His scheming
mind now sets on foot far-reaching plans
of revenge. He succeeds in his first purpose
of getting Cassius drunk and embroiled in
a quarrel with Montano, the retiring
governor. Othello enters at this moment—
as Iago hoped he would—and punishes
Cassius by depriving him of the command.
332
OTHELLO 333
ACT II
A Room in the Palace. Iago next en-
deavors to poison the mind of Othello
against his lovely and virtuous wife. At
first Iago carefully drops hints and innuen-
does, some of which, however, stick. He
now makes use of Cassius as a pawn in this
game, pretending friendship for him, and
urging him to ask Desdemona to sue for
his pardon and reinstatement. Cassius
does so, and Iago makes capital of this
with the Moor. Othello finally becomes so
suspicious that when his wife comes to sue
for the lieutenant, he can see in this only
evidences of her guilt. He rebuffs her
angrily. Her handkerchief has fallen, and
Emilia, Iago's wife, picks it up; but Iago
Snatches it from her and keeps it to bolster
up his flimsy chain of evidence. When
alone with the Moor, he boldly charges
Cassius with having had improper rela-,
tions with Desdemona, and states that she
has given her lover a handkerchief which
will be found on his person. Othello vows
Vengeance against the pair.
3
3.
4
OPERA. SYNOPSES
ACT III
A Room in the Palace. Desdemona
again intercedes for Cassius, but her very
innocence leads to her undoing. Othello
sees in it only further confirmation of his
suspicions. Cassius is now led in by Iago.
Othello conceals himself, and Iago gives
the harmless conversation such a turn as to
make it appear in line with his accusations.
The handkerchief is, of course, found as
Iago predicted, and arranged. Othello
bursts into a torrent of rage, after Cassius
leaves, and is only prevented from harming
his wife by the arrival of an embassy from
Venice. It brings the news that he is de-
posed as governor, and Cassius has been
appointed in his place. When they depart,
Othello commands Iago to slay Cassius,
and is himself wrought up to such a fury
that he falls upon the floor. Iago regards
him with a sneer.
ACT IV
Desdemona’s Bedchamber. Desdemona
sits weeping with Emilia. All her actions
have been misjudged and she is in terror of
her life. She dismisses her maid, prays,
OTHELLO
3
3
5
and retires. Othello enters and roughly
bids her prepare to die. She pleads but he
is obdurate. He suffocates her. Emilia
rushes in, but too late to save her mistress’s
life. She alarms the palace and then
reveals to Othello the whole extent of
Iago's infamy, stating that he had ob-
tained the handkerchief from her. Othello,
too late, sees the truth, and overcome with
remorse stabs himself, falling by the bed
of the slain Desdemona.
I PAGLIAC CI
(The Players). Dramatic Opera in Two Acts.
Music by Ruggiero Leoncavallo. Book by the
Composer. First produced at Milan, May 21,
1892.
SCENE: Near Montalto, in Calabria.
TIME: August 15, 1865.
C. A ST
CANIo (Clown), chief of a troupe of strolling
players (Tenor).
NEDDA (Columbine), his wife (Soprano).
ToNIo (Taddeo), a player (Baritone).
BEPPo (Harlequin), a player (Tenor).
SILVIo, a peasant (Tenor).
Willagers.
337
A R G U M E N T
The theme of “I Pagliacci” is simple,
but strongly developed. From the words
of the prologue, “We are all players,” the
keynote is taken. It is but another version
of the Shakesperian proverb, “All the
world’s a stage.”
Before the curtain rises on the first act
Tonio, in his player's garb, appears before
the footlights and sings the prologue show-
ing that actors have hearts with the rest of
mankind and are subject to the same joys
and Sorrows.
ACT I
A Village in Calabria. The villagers con-
gregate about the cart of a travelling show-
man which has just arrived drawn by a
donkey. Canio, the showman, and Nedda,
his wife, get out and tell the crowd to be
sure to come to the evening performance
as they will see an exciting play. Canio
then goes down the street and the villagers
go to noonday worship leaving Nedda
alone. Tonio, another member of the
338
I PAGLIACCI 339
troupe, seizes this opportunity to try to
make love to her, and for reward gets a cut
from her whip across his face. He retires
vowing vengeance. Silvio, a villager, be-
tween whom and herself a secret love
exists, now enters and pleads with her to
flee with him. She at first refuses but
finally consents to see him that night.
Tonio has overheard, and steals away to
summon Canio. The latter returns and
surprises the lovers, but does not succeed
in catching Silvio. He then returns and is
about to lay his hands upon his wife, when
the other members of the company inter-
pose and a semblance of peace is patched
up. But Canio's heart is filled with rage.
ACT II
The Open Square, with the Showman's
Stage at One Side. The show is about to
begin and Tonio beats on the drum. The
people bustle in filling the seats which have
been provided in the square. As Nedda
collects the tickets, Silvio reminds her of
her promise, but she cautions him to be
silent. The play begins and deals with a
jealous husband who returns to find that
340 OPERA. SYNOPSES
his wife has been entertaining another man
at supper. The guest jumps out of the
window, but the injured husband (played
by Canio) loads his wife (Nedda) with re-
proaches. In his fury Canio forgets his
lines and his abuse becomes real and
violent. The audience is wrought up to a
fever pitch and when he seizes a knife
from the table and actually stabs her, all is
in an uproar. Silvio, alarmed, springs
forward to her aid, and Canio, recognizing
him, drives the knife into his breast also.
The villagers seize him and he stands
quietly gazing at his two expiring victims,
saying: “The play is over!”
P A R S I F A L
Music-Drama in Three Acts. Music by Richard
Wagner. Book by the Composer after the epic
by Wolfram von Eschenbach. First produced
at Baireuth, July 22, 1882.
SCENE: Montsalvat, in the Mountains of
Spain.
TIME: The Middle Ages.
C AST
AMFORTAs, Keeper of the Grail (Baritone).
TITUREL, his father (Basso).
GURNEMANZ, Keeper of the gate (Basso).
PARSIFAL, the guileless one (Tenor).
RLINGSOR, a magician (Baritone).
RUNDRY, his accomplice (Mezzo-Soprano).
Rnights of the Grail, Flower Maidens,
Servants, Villagers.
341
ARGUMENT
“Parsifal” deals with the legend of the
Holy Grail, the cup which Christ blessed
and which caught the blood from his
wounded side. Both the cup and the spear
which wounded him were found by Titurel
and his Knights of the Grail, who founded a
temple for their service at Montsalvat, in
the mountains of Spain.
In his old age, Titurel appointed his son,
Amfortas, as Keeper of the Grail. Kling-
Sor, a magician, angered at not being
elected a Knight, created an enchanted
castle and garden nearby. He compelled
Rundry, a woman who had laughed at
Christ and was condemned to wander until
her sin was expiated, to aid him. Kundry
tempted Amfortas, who turned aside and
was wounded by Klingsor with the sacred
Spear.
ACT I
The Forest of Montsalvat. Gurnemanz,
the keeper of the gate tells of the grievous
condition of Amfortas. The wound made
34.9
PARSIFAL 343
by Klingsor refuses to heal and is doubly
painful when Amfortas tries to celebrate
holy communion. For this reason the
Temple service is being neglected. Am-
fortas is borne in on a litter in search of
healing springs, and Kundry, who has re-
pented her share in his woe, comes in bear-
ing a balsam which she has procured with
great difficulty. But it is written that he
can only find relief from the touch of the
sacred spear in the hands of the Guileless
One, and him they await.
After Amfortas is gone, a wounded swan
falls to the ground, and while the keepers
are angry over this desecration of their
sacred grounds, a lad comes in trium-
phantly to claim his quarry. But when he
is told that he is no better than a murderer,
he grows penitent of his deed. Gurnemanz
relents and takes him to a service in the
Temple, but the utter ignorance of the lad
(whose name is Parsifal) so annoys Gurne-
manz that he bids the boy begone.
ACT II
The Castle and Gardens of ſlingsor.
Several years pass by. The magician is
344 OPERA SYNOPSES
greatly alarmed over tidings that a fearless
young knight is coming who has put his
enemies to flight on every side. It is Par-
sifal grown to manhood. Klingsor sum-
mons Kundry to his aid, who obeys him
most unwillingly. The castle sinks from
view and in place of it are seen enchanting
gardens in which the Flower Maidens
dwell. As Parsifal comes by the garden,
they sing to him seductively; but he turns
a deaf ear to them. Then Kundry appears,
a dazzling vision of loveliness, and bids
him stay until she tells him of his parents,
whom he does not remember. He tarries.
and she relates that he is the son of King
Gamuret, slain in battle, and that his
mother brought him up as an ignorant
peasant in order to keep him from becom-
ing a warrior. His mother—says Kundry
—entrusted her with a last message and
kiss. With this the enchantress leans over
and presses a burning kiss on the young
knight’s lips; it was in this way that she
had formerly betrayed Amfortas. Realiz-
ing his danger, Parsifal springs to his feet.
Kundry summons the magician to her aid.
Klingsor hurls the sacred spear at the
knight, but he seizes it in mid-air and
PARSIFAL 345
strikes Klingsor dead. The gardens vanish
and only Kundry is left, an old woman,
crouching upon the ground in terror.
ACT III
Scene 1. Montsalvat. Gu r n e m a n z
though grown old is still the keeper of the
gate, and Amfortas is still a sufferer from
his grievous malady which will not heal nor
let him die. The penitent Kundry lingers
about the Temple as a hewer of wood and
drawer of water. A strange knight appears
faint and weary from his journeys. It is
Parsifal who has completed his self-imposed
mission. He kneels in prayer, the sacred
spear thrust before him in the soil. Gur-
nemanz recognizes in him the Guileless One
whom he thrust rudely out of doors as a
boy, and now ministers to him; while
Kundry kneels and washes his feet. He
baptizes her. The Temple bells sound for
the noon-day service, and they array
Parsifal in the white robes of a Knight of
the Grail.
Scene 2. The Temple Interior. The
aged Titurel, father of Amfortas, wishes to
see the Holy Grail unveiled once more
346 OPERA SYNOPSES :
before he dies, but the pain-racked King
shrinks from the task. He begs his knights
to slay him and thus remove the curse. At
this moment Parsifal enters bearing the
spear. He touches the wound of Amfortas
and it heals immediately. Parsifal then
announces that he has been sent to take
charge of the Grail and he proceeds with
the services. As the Grail is uncovered
and held aloft, the aged Titurel expires with
a smile upon his lips. The Temple is
flooded with light and a dove descends and
alights upon Parsifal. Kundry who has
crept in unnoticed falls at his feet and
breathes her last—redeemed.
THE PEARL FISHERS
(Les Pecheurs des Perles.) Romantic Opera in
Three Acts. Music by Georges Bizet. Book by
E. Cormon and M. Carre. First produced at
Paris, 1863.
SCENE: The Isle of Ceylon.
TIME: Barbaric Period.
C AST
LEILA, a priestess (Soprano).
NADIR, a pearl fisher (Tenor).
ZURGA, a chief (Baritone).
NURABAD, the high priest (Basso).
Fishermen, Fakirs, Priests and Priestesses,
Islanders.
347
A R GUIMIENT
“The Pearl Fishers” is a rapidly mov-
ing opera, woven around a simple theme
and involving only four leading characters.
ACT I
On the Seashore. A semi-barbaric tribe
meet to elect a chief and to hold an annual
festival and vigil to frighten away the evil
spirits. They choose Zurga as their chief.
While the festival is in progress, Zurga's
former friend, Nadir, appears from the
forest. The two had become estranged on
account of their rivalry for the hand of a
beautiful woman who had mysteriously ap-
peared on their shores a year before. Each
year she comes to pray for the tribe, and
none dares molest her or look upon her
face. While the two reunited friends con-
verse, a boat draws near and the fair
stranger is again announced, accompanied
by Nurabad, the high priest. The people
draw near her in awe, asking her to inter-
348
THE PEARL FISHERS 349
cede for them. She promises to keep lonely
vigil for them, and Zurga promises in his
turn that, if she is true to her trust, he
will bestow upon her a pearl of great
price, but that if she is untrue, death shall
be her portion. Nadir is a deeply inter-
ested spectator, as he recognizes the voice
of the woman he so passionately loved a
year before. After all the rest have de-
parted he lingers below the rocks where
she is holding her vigil.
ACT II
Ruins of a Temple. Nurabad, the high
priest, installs Leila in her position as
priestess of the tribe. He tells her that
she must remain in silent watch and prayer
throughout the night. She is fearful of
the forest sounds, but promises. Nurabad
departs. As Leila trembles at the roar of
wild beasts, she is suddenly reassured by
the sound of a human voice. It is Nadir
singing to her in the distance. She an-
swers, and Nadir, overjoyed, tells her of his
love. They embrace, but are surprised by
the high priest, who has been in hiding.
He calls the people together, telling them
350 OPERA SVNOPSES
that their priestess has been false to her
vows. The tribesmen are ready to slay
her, but Nadir shields her with his body.
Zurga, in order to protect his friend, com-
mands the pearl fishers to disperse. Nura-
bad tears away Leila's veil, and Zurga
then recognizes her as the same woman over
whom he and Nadir had formerly quar-
reled. A storm arises, and the people pray
to the gods while the priests lead Leila
away. Nadir is sentenced to death.
ACT III
A Tent by the Sea. Zurga is torn be-
tween conflicting emotions of his love for
Leila and his friendship for Nadir. In the
midst of his inner struggle, Leila comes,
guarded by two pearl fishers, to intercede
for her lover. Zurga declares his own love
for her, but she disdains him. She is ready
to die if Nadir dies. She gives him a chain
which she had formerly received as a guer-
don. Zurga, much moved, departs, and the
tribesmen cluster around their prospective
victims, Leila and Nadir, and begin their
tribal dance. As they are at last on the
point of stabbing the victims with their
THE PEARI, FISHERS 351
knives, Zurga re-enters, telling them that
their camp is in flames. They hasten away,
while Zurga boasts that he is the incendiary
and has chosen this method of saving the
captives. He strikes off their shackles,
while Nurabad, who has overheard, hastens
away to the people, to obtain aid in pre-
‘venting the escape. Nadir and Leila, how-
ever, have time to make their way to the
cliffs and safety. Zurga remains behind to
shield their flight, and is slain by the
knives of his followers.
PELLEAS AND MELISANDE
Lyric Drama in Five Acts. Music by Claude De
Bussy. Book by Maurice Maeterlinck. First pro-
duced at the Opera Comique, Paris, April 30,
1902.
SCENE: Allemande.
TimE: Antiquity.
C. A ST
ARKEL, King of Allemonde (Basso).
GENEVIEVE, his daughter-in-law (Soprano).
GoLAUD, her elder son (Baritone).
PELLEAs, her younger son (Tenor).
MELISANDE, wife of Golaud (Soprano).
YNIOLD, son of Golaud (Soprano).
A PHYSICIAN (Baritone).
Servants, Blind Beggars, etc.
353
A R G U M E N T
“Pelleas and Melisande” is a mystic
drama of passion and fate, both text and
music being freighted with inner meaning.
ACT I
Scene 1. A Fountain in the Forest.
Golaud, a grandson of aged King Arkel,
while out hunting discovers a maiden wan-
dering lost and weeping in the forest. She
will not tell anything about herself or
whence she came, but Golaud, whose wife
is dead, persuades her to go with him to the
Ring's court. -
Scene 2. Genevieve, daughter of King
Arkel, informs him that her son Golaud
has taken the strange maiden to wife. He
has written his brother, Pelleas, to this effect
and asks permission to bring her to court.
If it pleases the King a light is to be shown
from the tower window; otherwise he will
go away. Pelleas is ordered to display the
light.
354
PELLEAS AND MELISANDE 355
Scene 3. The Castle Gardens. Gen-
evieve shows Melisande (for that is the
name given by the strange maiden) the
gardens of the castle, but the girl merely
shudders and says that it is all old and
dark. To divert her mind, Pelleas points
out the beacon lights along the shore. She
sees a ship sailing away and exclaims that
it is her ship. Pelleas depressed says that
he also is going away.
ACT II
Scene 1. A Pool in the Park. Pelleas
cannot tear himself away from this strange
girl. He walks with her one day in the
park and she seats herself by the edge of a
deep pool. She takes off her wedding ring
which she plays with carelessly. It falls
into the depths of the water, and Pelleas
says that it cannot be recovered. The
clock sounds the hour of twelve.
Scene 2. Goland's Chamber. By a
curious coincidence, Golaud has met with
an accident at the precise moment when
the wedding ring fell into the pool. His
horse stumbled and fell upon him. Meli-
Sande nurses him back to health. He
356 OPERA. SYNOPSES
notices that the ring is missing from her
finger, and asks her where it is. She
answers that she lost it in a cavern by the
sea while gathering shells for little Yniold
(his son). He commands her to go at Once,
even though it is nightfall, and search for
it. Pelleas can go with her.
Scene 3. The Cavern. Pelleas and
Melisande visit the cavern so that the girl
will be able to describe it to Golaud. They
meet three blind men wandering there, and
Melisande is frightened. It portends ill
fortune.
ACT III
Scene 1. Outside of Melisande's Bal-
cony. Melisande combs her long tresses
while leaning out of the window and the
hair falls in a shimmering mass nearly to
the ground. Pelleas stands without and
fondles it, saying that it is the most beau-
tiful hair in the world. He again says that
he must go away. Golaud enters her
room and finds the two in conversation.
He goes to the window and tells them that
they are a pair of children.
Scene 2. The Castle Vaults. By way of
covert warning, Golaud takes his brother
PELLEAS AND MELISANDE 357
Pelleas to the vaults of the castle, showing
him the deep silent pits from which no
victim could escape.
Scene 3. The Gardens. They return
to the gardens and Golaud bluntly cautions
Pelleas to be less attentive to Melisande.
Scene 4. Outside the Window of Melis-
ande's Chamber. It is evening, and the
still watchful Golaud questions his little
son, Yniold, as to the relations of Pelleas
and Melisande. The child replies that they
are often together, though they have
kissed only once. Golaud lifts the boy up
on his shoulders so that he can peer in at
the lighted window. Yniold says that
Pelleas is there but is not near Melisande.
They only look at each other with tears in
their eyes. Golaud grasps his son so tensely
that the child exclaims in pain.
ACT IV
Scene 1. A Corridor. Melisande agrees
to meet Pelleas for a farewell interview by
the fountain. She is encountered by the
aged King, who speaks kindly to her. But
after he is gone, her husband enters,
greeting her rudely and violently.
358 OPERA SYNOPSES
Scene 2. The Fountain. Pelleas and
Melisande meet by the fountain and Pelleas
pours forth a torrent of love. Melisande
listens half hysterical. Something moves
in the shadows behind them. She is sure
that it is her husband, but she clings to her
lover in despair. Golaud rushes forward
and transfixes Pelleas with his sword, and
then turns to pursue the fleeing Melisande.
ACT XV
Melisande's Bedchamber. Melisande
has given birth to a child, but her life
hangs upon a thread. Golaud attends upon
her, remorseful for what he has done. She
does not seem to remember. He questions
her about Pelleas, but she returns evasive
replies. She has loved him, but she is
innocent of wrong-doing. Arkel and the
physician bid him cease troubling her.
She is shown her child, but is too weak to
hold it. The servants enter silently.
Golaud bids them begone, but they only
fall upon their knees in prayer. The
physician looks at his patient and says
that they are right. Melisande is dead.
PRINCE IGOR
A Russian Dramatic Opera in Prologue and Four
Acts. Book and Music by Alexandre Borodine.
First produced at St. Petersburg (Petrograd),
in 1890.
SCENE: Russia, and Siberia.
TIME: 1185.
C AST
PRINCE IGOR SVIATOSLAVITCH (Baritone).
YAROSLAVNA, his second wife (Soprano).
VLADIMIR, his son by his first wife (Tenor)
PRINCE GALITSEY, brother of Yaroslavna
(Basso).
RONTCHAK, a Khan of Tartar (Basso).
KoMTCHAKovn A, his daughter (Contralto).
OvIlour, a Tartar soldier (Tenor).
SCOULA, a minstrel (Basso).
EROCHKA, a minstrel (Tenor).
NURSE (Soprano).
You Ng TARTAR GIRL (Soprano).
Russians, Tartars, Soldiers, Courtiers, etc.
359
A R G UMENT
A tale of early Russian history, which is
more concerned with manners and customs
than with historic incident. The opera is
full of color and sentiment.
PROLOGUE
Market Place of Poultvle, the seat of
Prince Igor. Just as Prince Igor of Se-
versk is starting out at the head of his
army to crush the Tartars, an eclipse of
the sun occurs. This is regarded as a bad
Omen, and the people urge him to postpone
his expedition, but he is determined to pro-
ceed. He takes with him his son, Vladi-
mir, and commends his wife to the care
of her brother, Prince Galitsky, who is also
left at the head of the government.
ACT I
Sceme 1. Street in Poultvle. No sooner
is Prince Igor gone, than the regent, Prince
360
PRINCE IGOR 361
Galitsky, tries to wreck his throne. He
curries favor with the people by allowing
them the utmost license. He is assisted by
two scoundrelly minstrels, Scoula and Ero-
chka, who have deserted from the army.
Scene 2. Room in the Palace. Princess
Yaroslavna sorrows over the absence of her
lord, and deplores the dissoluteness of the
court. Some young girls enter and com-
plain to her of the ill-treatment accorded
one of them at the hands of Galitsky, and
implore protection. Yaroslavna upbraids
her brother with his perfidy, and in a
stormy scene orders him from her presence.
At this moment a messenger enters with
the news that Igor’s army has been de-
feated, he and his son are prisoners, and
the Tartars are marching against Poultvle.
The news of this disaster causes the people
to renew their loyalty, and rally to the de-
fence of Yaroslavna.
ACT II
Camp of the Tartars. The beautiful
daughter of Kontchak, the Tartar prince,
has enslaved the prisoner of war, Vladimir,
much more completely than his soldiers
362 OPERA. SYNOPSES
could have done. Vladimir, indeed, is be-
coming reconciled to his captivity, since it
brings him near to her. He lingers before
her tent, singing a serenade. Igor, how-
ever, is anything but pleased with his fate,
although his captor has treated him with
every consideration. He is offered a means
of escape by Ovlour, a Christian soldier,
but declines to take advantage of the
Khan's chivalry. The act ends with an
elaborate banquet given by the Tartar
prince in honor of his royal captive.
ACT III
Same as Act II. Victorious soldiers re-
turn to camp, bringing trophies from the
conquest of Poultvle. At the tidings of the
overthrow of his capital, Igor can no longer
refuse to escape. While the soldiers are
dividing the booty, Ovlour plies them with
drink, and in the resulting orgy he and
Igor prepare to flee. The Khan’s daughter
discovers their plans and entreats Vladi-
mir to stay. He hesitates, and is repri-
manded by his father. However, as the
party sets forth, she clings to the young
prince and holds him back. Igor and Ov-
PRINCE IGOR 363
lour depart without him. When the escape
is discovered, the soldiers are ready to kill
Vladimir, but the Khan accepts the situa-
tion philosophically. “Since the old fal-
con has taken flight, we must chain the
young falcon by giving him a mate,” he
says, and bestows upon him the hand of
his daughter.
ACT IV
Scene 1. Yaroslavna's Palace. Yaro-
slavna sings a touching lament for her lost
husband and despoiled country. But as
she gazes out over the ravaged fields, two
horsemen are seen approaching. They are
Igor and his faithful attendant, Ovlour.
Husband and wife are reunited, and in the
joy of home-coming much of the interven-
ing sorrow is forgotten. Igor plans to re-
habilitate his country.
Scene 2. The Kremlin. As Igor and
Yaroslavna enter the Kremlin to give pub-
lic thanks, they encounter the two rogues,
Scoula and Erochka, who have been prime
movers in the regent’s misgovernment.
They know that they will suffer if caught,
so forestall discovery by ringing the bells
364 OPERA. SYNOPSES
to announce publicly the restoration of
Prince Igor. Their audacity prevents their
punishment, and the opera ends pleasantly,
amid popular rejoicing.
R. I G O L E T TO
Tragic Opera in Four Acts. Music by Giuseppe
Verdi. Book by Piave, after Hugo’s “Le Roi
S’amuse.” First produced at the Fenice Theatre,
Venice, March 11, 1851.
SCENE: Mantua.
TIME: The 16th Century.
C. A ST
THE DUKE OF MANTUA (Tenor).
RIGOLETTO, his jester and attendant (Baritone)
GILDA, daughter of Rigoletlo (Soprano).
COUNT MONTERONE (Basso).
COUNT CEPRANO (Baritone).
COUNTESs CEPRANO (Soprano).
SPARAFUCILE, an assassin (Basso).
MADDALENA, his sister (Mezzo-Soprano).
Grov ANNA, friend of Maddalena (Contralto).
BoFSA, a Courtier (Tenor).
Officers, Courtiers, Ladies, Attendants.
Servants.
5
6
5
A R G U M E N T
“Rigoletto” is an intense tragedy of un-
bridled desires and retributive vengeance.
Based upon Hugo's powerful drama of
medieval court life, “The King Amuses
Himself,” it is unrelieved by pleasant
themes, but has been lastingly successful
because of the closely knit plot and the
brilliant music with which Verdi has in-
vested it.
ACT I
An Open Court in the Duke's Palace.
The Duke of Mantua, one of the most pro-
fligate of rulers, devotes his leisure moments
to the pursuit of ladies, and no house high
or low is safe from his attentions. The
courtiers are embittered, and especially so
against Rigoletto, his jester and familiar,
who aids him in these adventures. Rigo-
letto, though deformed, has a keen mind.
His own daughter, a beautiful young girl,
has been kept carefully hidden away (so he
thinks). He can therefore laugh loudly
with the Duke when the latter tells of
366
RIGOLETTO 367
having fallen in love with a fair face he has
seen at church, and promises his master
another rare adventure. At the same time
the Duke is planning an intrigue with the
Countess Ceprano, which causes the Count
to form a cabal against Rigoletto. The
Count Monterone also swears vengeance
against both Duke and jester because of
the wronging of his daughter. When he
comes with his complaint the jester makes
merry. Monterone enraged turns and
hurls a father's curse against both. The
Duke treats the matter lightly, but the
jester cannot get the curse out of his mind.
ACT II
A Secluded Street in Front of Rigoletto's
House. Still thinking of the curse, the
jester has an interview with Sparafucile, a
hired assassin, who promises to aid him
whenever necessary. Rigoletto then enters
his garden by a side gate and is met by
Gilda, his daughter, whom he loves and
guards jealously. She answers his ques-
tions as to her coming and going, but con-
ceals from him the fact that she has seen a
young man at church who has shown her
368 OPERA. SYNOPSES
marked attention. It was the Duke, posing
as a student. He has found out where she
lives, and his men are planning to abduct
her this very night. They believe her to be
Rigoletto's mistress, and encountering him
in the street plan a trick at his expense. He
is informed that they are after the Countess
Ceprano and he is to accompany them
blindfolded. He agrees and while blinded
they place a scaling-ladder against his own
house and carry off Gilda. He discovers
the ruse too late to rescue her, and again
remembers the curse.
ACT III
Apartment in the Palace. Rigoletto
follows his daughter to the palace but when
arrived there he finds that she is with the
Duke. In an agony of apprehension he
sings and jests and meanwhile tries to find
Some way of reaching them. But the
courtiers, believing Gilda to have been only
his mistress and glad of this chance to
avenge themselves upon him, prevent him
from leaving the room. Finally in an agony
he confesses that she is his daughter, and
begs to be allowed to seek her, but all to no
RIGOLETTO 369
avail. At the height of their merriment
and his despair, Gilda rushes in. The
others retire leaving father and daughter
alone. His worst fears have been realized.
She has been dishonored. Monterone
passes by, and Rigoletto tells him his curse
has been effective. “Not so,” says Mont-
erone: “the Duke is still happy!” “I
join you in vengeance against him!” ex-
claims Rigoletto.
ACT IV
A Retired Street. Rigoletto shudders to
learn that Gilda still loves the Duke and
would shield him from vengeance. He
therefore hastens to the home of the mur-
derer, Sparafucile, and bargains with him
that he shall slay the first person who
enters the house, regardless of who it may
be. The bandit agrees. The jester then
lures the Duke to the house by means of the
bandit's sister, Maddalena. Even when
Gilda overhears and sees this new proof of
the Duke's perfidy she cannot steel her
heart against him, but resolves instead to
sacrifice herself to save him. A thunder-
storm prevents the Duke from leaving the
house at once, and Maddalena pleads with
370 OPERA. SYNOPSES
her brother to spare their guest, who has
retired to an upper chamber. The assassin
is unwilling; a bargain is a bargain. At
last he agrees to spare him provided
another victim is found by midnight.
Gilda, on the outside, overhears and pre-
sents herself in boy’s clothes. True to his
word, Sparafucile stabs her. Rigoletto
comes to claim the body which has been
placed in a sack. While gloating over his
vengeance he hears the voice of the Duke
singing. Astounded he tears open the sack
and finds the body of his daughter.
R O M E O A N D J U L I E T
Tragic Opera in Five Acts. Music by Charles
François Gounod. Book by Barbier and Carré,
after the play by Shakespeare. First produced
at the Théatre Lyrique, Paris, April 27, 1867.
SCENE: Werona.
TIME: The 14th Century.
C. A. ST
THE PRINCE OF VERONA (Basso).
Count of PARIs, his kinsman (Baritone).
CAPULET, a nobleman (Basso).
JULIET, his daughter (Soprano).
GERTRUDE, her nurse (Contralto).
TYBALT, nephew to Capulet (Tenor).
RoMEO, a Montague (Tenor).
MERCUTIo, his friend (Baritone).
STEFANo, page to Romeo (Soprano).
BENvolio, friend of Romeo (Tenor).
GREGoRio, servant to Capulet (Baritone).
FRIAR LAURENCE (Basso).
Friends of Capulet and Montague, Retainers
of the Prince, etc.
A R G U M E N T
Gounod's opera follows closely the
accepted version of the story of “Romeo
and Juliet,” following the plot, by acts, of
Shakespeare's drama. Still earlier versions
were the French tale of Boisteau and the
Italian novel of Bandelio.
Between the Veronese houses of Capulet
and Montague exists a bitter enmity.
Open warfare between the factions has
proceeded until the Prince threatens the
banishment of the next person to engage in
the quarrel
ACT I
Reception Hall in the Mansion of Capu-
let. The head of the house of Capulet gives
a fete in honor of his daughter, Juliet.
Romeo, a Montague, comes unbidden to
the house and immediately falls desperately
in love with the fair young heiress. She
likewise has eyes for none but him. Ty-
balt, a kinsman of Capulet, discovers the
intruder's identity and wishes to draw upon
372
ROMEO AND JULIET 373
him, but is prevented by the host who will
not override the laws of hospitality.
ACT II
Capulet's Garden. Romeo lingers be-
neath the balcony of Juliet and is overjoyed
to hear her come forth and confess her love
for the young stranger, to the moon and
stars. He makes his presence known and
the two plight their troth. Servants of
Capulet interrupt them, but only tem-
porarily. They plan a speedy marriage.
ACT III
Scene 1. Friar Laurence’s Cell. The two
lovers meet as per agreement at the cell of
Friar Laurence and he consents to unite
them, thinking that this will bring about
peace between the warring families.
Scene 2. A City Street. While walking
abroad with his friends, Romeo is accosted
by Tybalt who rails at him for having gone
to the Capulet home. Romeo is doubly
anxious to keep the peace at this time and
answers him softly. But soft words will
not satisfy either party. Mercutio, a
374 OPERA SYNOPSES
Montague, draws upon Tybalt and is slain
by the latter. Romeo, in just vengeance,
then crosses swords and slays Tybalt. The
Prince orders his immediate banishment
from the city.
ACT IV
Juliet's Bedchamber. Romeo comes to
bid his bride farewell; he cannot tarry on
pain of death. When he is gone Capulet
comes to inform his daughter that a wed-
ding has been arranged between her and
the Count of Paris. She pleads for delay
but unavailingly, and she dares not tell her
father of her existing marriage. In despair
she consults the friar, who gives her a sleep-
ing potion which causes the semblance of
death. She is to be entombed, and Romeo
is to be informed of the plan and rescue her.
ACT V
The Tomb of the Capulets. Before
Romeo can receive word from the friar as
to Juliet's feigned death, he hears that she
is really no more. He hastens back to
Verona and the tomb where she lies. At
the gate he encounters Paris and strikes
ROMEO AND JULIET 375
him to the ground. Within he finds his
bride apparently lifeless. He drinks a vial
of poison and casts himself upon her bier.
At this moment she awakens from her
trance and learns what he has done. He
perishes in her arms, and she seizes his
dagger and stabs herself.
DER ROSEN FOAVALIER,
(The Rose-Bearer.) Comic Opera in Three Acts.
Music by Richard Strauss. Book by Hugo von
Hofmannthal. First produced at Dresden, Janu-
ary 26, 1911.
SCENE: Vienna.
TIME: The early years of the reign of
Maria. Theresa.
C AST
PRINCESS voN WERDENBERG (Soprano).
BARON OCHS OF LERCHENAU (Basso).
OCTAVIAN, a young gentleman of noble family
(Mezzo-Soprano).
HERR von FANINAL, a rich merchant, newly
ennobled (High Baritone).
SoPHIA, his daughter (High Soprano).
Attendants, Servants, Orphans of Noble Family,
Couriers, Musicians, Watchmen, Children, Vari-
ous Personages of suspicious appearance.
377
A R GUIMIENT
‘‘Der Rosenkavalier” has been described
as ‘‘the greatest comic opera since “Fi-
garo.’” Though slight, the plot is amus-
ing, if somewhat fantastic, and is strongly
imbued throughout with wit.
ACT I
Boudoir of the Princess. During her
husband’s absence the Princess von Wer-
denberg amuses herself by encouraging the
devotion of Octavian, a young cavalier,
seventeen years of age. An ardent love
scene is interrupted by the entrance of the
impecunious and disreputable old Baron
Ochs. Octavian, having no time to escape,
and thinking it to be the Princess’s hus-
band, hurriedly dons the clothes of her
maid. The Baron is anxious to consult the
Princess in regard to a proposed match
with Sophia, the daughter of a recently en-
nobled merchant, but his story is much in-
378
DER ROSENKA VALIER 379
terrupted by his amorous attentions to the
Supposed maid, “Mariandel,” whom he
Ogles violently. The Princess is urged to
Suggest a suitable messenger to bear to
Sophia the Baron’s gage d’amour, a silver
rose. She names Octavian,
ACT II
A Room in the House of Faninal. Fani-
nal takes leave of Sophia and departs,
promising to return with her noble bride-
groom. Meanwhile Octavian enters with
the silver rose. The inevitable happens—
Octavian and Sophia fall madly in love
with one another, and the beauty and ele-
gance of the young cavalier only make
Sophia, the more disgusted with the dis-
reputable old Baron, who is ceremoniously
presented to her by her father. His coarse
manners and attempted familiarities offend
Sophia and enrage Octavian, who chal-
lenges the Baron to a duel and succeeds in
wounding him slightly. A tremendous
hubbub ensues. The Baron thinks himself
in a dying condition, various people rush to
minister to him, Sophia declares that noth-
ing will induce her to marry the Baron,
380 OPERA. SYN OPSES
while Faminal insists that she shall do so.
Sophia and Octavian concoct a plot, the
object of which is to place Ochs under
compromising circumstances. A letter is
delivered to him purporting to come from
“Mariandel,” who has attracted him. An
assignation is made.
ACT III
A Private Room at an Inn. Octavian
appears, dressed as “Mariandel,” the
maid. Various suspicious-looking persons
are disposed about the room in hiding-
places. Finally Baron Ochs appears to keep
his appointment. His enjoyment, however,
is marred, first by the resemblance of
“Mariandel” to Octavian, the young cav-
alier who wounded him, then by the ap-
pearance of the various spies, of the land-
lord and waiters, of a woman who claims
him as her husband, and four little chil-
dren who hail him shrilly as “papa,” of
the Commissary of Police, of the enraged
Faminal, and finally of the Princess. The
Baron at last departs in the midst of a
clamorous host presenting bills. The
Princess gracefully gives Octavian his free-
dom and the young lovers are made happy.
THE SACRIFICE
Dramatic Opera in Three Acts. Music by Frederic
S. Converse. Book by the Composer. First
produced at the Boston Opera House, March 3,
1911.
ScLNE: Southern California.
TIME: 1846.
C AST
CHONITA, a Mexican senorita (Soprano).
SENORA ANAYA, her aunt (Mezzo-Soprano).
CAPTAIN BURTON, an American officer
(Baritone).
BERNAL, a Mearican officer (Tenor).
ToMASA, servant to Chonita (Contralto).
PABLo, her son (Baritone).
PADRE GABRIEL, a priest (Basso).
ToM FLYNN, an American corporal (Basso)
LITTLE JACK, a soldier (Baritone).
MARIANNA, an Indian girl (Soprano).
MAGDALENA, an Indian girl (Soprano).
American and Mexican soldiers, and
Spanish, Indians, and Gypsies.
381
A R G U M E N T
“The Sacrifice” is a colorful opera deal-
ing with the transitional period in Southern
California when the old Spanish civiliza-
tion, fostered by the Mexicans, gave way
before the aggressive American arms.
ACT I
Garden of Senora Anaya's house. Chon-
ita, a beautiful Mexican senorita, has left
her own home to visit her aunt in Southern
California—chiefly in order to be near her
lover, Bernal, a Mexican officer. Mean-
while the old order of things is passing in
this section and American soldiers are in
control. Bernal is forced to visit his sweet-
heart clandestinely. Chonita is also be-
loved by Captain Burton, an American
officer, who calls upon her and urges his
suit, while the Mexican hides in a grove
nearby. Chonita dallies with him in order
to be assured of his protection during the
troublous times; but this explanation
made later to Bernal only renders him
the more jealous and furious.
382
THE SACRIFICE 383
ACT II
Interior of a Church. The American
soldiers have converted a Mission church
into a barracks, demolishing shrines and
altars. The curtain rises upon a typical
camping scene in which the soldiers tell of
their last fight. Dancing and singing girls
enter and the soldiers follow them to the
garden. Chonita and her servant Tomasa
now enter to learn particulars of the recent
fight. Burton tells Chonita that Bernal
has been killed, and learns that the Mex-
ican was her lover. But Bernal was only
wounded and presently creeps into the
church. Chonita hides him in a confes-
sional. The soldiers suspect the presence
of a spy, but Bernal betrays himself by
springing upon the Captain when the
latter returns to renew his court with
Chonita. The girl interposes between the
rivals and is accidentally wounded by
Burton. The Mexican is captured by the
soldiers.
ACT III
The Bedchamber of Chonita. The Mex-
ican girl is conveyed to her room where she
lies in a delirious condition. She believes
384 OPERA. SYNOPSES
that Bernal is being shot as a spy. A priest
has been sent for and presently appears,
followed secretly by a band of Mexicans.
The priest sends a request to the American
officer to allow Bernal to visit the sick girl.
Burton brings the prisoner in person, and
the two Mexican lovers forget all the
others in their joy of meeting again.
Burton realizes that he stands between the
two and happiness, and is unselfish enough
to wish for the girl's welfare at any cost.
The way is suddenly cleared when the band
of Mexicans hidden without charge upon
the house. Burton makes no resistance
but offers himself to the nearest Mexican
weapon and is slain. Chonita understands
the greatness of the sacrifice and, supported
by her lover, totters over to kneel beside
the body and offer a prayer for the noble
American’s soul.
S.A. L. O. M. E.
Tragic Opera in One Act. Music by Richard
Strauss. Book adapted from the romance by
Oscar Wilde. First produced at Dresden, De-
cember 9, 1905.
SCENE: Tiberias, the Capital of Herod, in
Galilee.
TIME: 30 A. D.
C AST
HEROD, Tetrarch of Galilee (Tenor).
HERODIAs, his wife (Mezzo-Soprano).
SALOME, her daughter, and the King's step-
daughter (Soprano).
JoBN THE BAPTIST, a prophet (Baritone).
NARRABOTH, a Syrian captain (Tenor).
A PAGE (Contralto).
Jews, Courtiers, Soldiers, Priests, Servants
385
A R G U M E N T
“Salome” is a story of frank sensuality
based upon Wilde's romance, itself a var-
iant of the scriptural account of the death
of John the Baptist.
The Palace of Herod. Salome, the beau-
tiful but unprincipled step-daughter of
King Herod, falls passionately in love with
John the Baptist, the prophet of the wilder-
ness. Because of his bold speech against
Herod and Herodias-John has been cast
into a deep dungeon. ‘There the King holds
him, not caring to take further action for
fear of displeasing the Jews. Salome is
filled with an unholy desire to kiss the
prophet's lips and fondle his long uncut
tresses. She persuades Narraboth, a cap-
tain who is in love with her, to bring the
prisoner before her. When the captain
finds that she loves only John, he kills him-
Self; but Salome gives little heed to this
in the joy of having the prophet in her
clutches. John, however, rejects all her
advances, bidding her repent. Filled with
rage she has him cast again into the dun-
geon and bides her time.
386
SALOME 387
The opportunity is soon offered when
Herod holds a feast, at which Salome ap-
pears scantily clad and dances before the
guests. The King is so pleased that he bids
her name her own reward. She replies that
she desires only the head of John the Bap-
tist. The King objects; he is fearful of an
uprising; he offers her instead his treasures
or half his kingdom; but she is obdurate.
In desperation the King gives the fatal
signal. A dull blow is heard and a moment
later the executioner appears with the gory
head. Salome is wild with delight. She
fondles the trophy as though it were alive,
kissing the lips. In disgust and horror the
Ring orders her to be put to death, and the
soldiers crush her beneath their shields.
SA MS ON AND DE LILAH
Dramatic Opera in Three Acts. Music by Camille
Saint-Saens. Book by Ferdinand Lemaire. First
produced at Weimar, December 2, 1877.
SCENE: Gaza and Vicinity, in Palestine.
TIME: 1150 B. C.
C. A. ST
SAMson, a prophet of Israel (Tenor).
DELILAH, a Philistine woman (Mezzo-
Soprano).
ARIMELECH, a Philistine officer (Basso).
HIGH PRIEST OF DAGON (Baritone).
A PHILISTINE MESSENGER (Tenor).
Hebrews, Philistines, Priests, Maidens, etc.
389
A R G U M E N T
The Biblical story of Samson and
Delilah is faithfully reproduced in this
Opera, which depicts in both text and music
the dramatic scenes in the life of Israel’s
warrior-prophet whose power was wrested
from him by a woman.
ACT I
An Open Square in Gaza. The people of
Israel have been overcome by their enemies
the Philistines, and now pray for deliver-
ance. Samson, their leader and a man of
mighty deeds, advises them to be patient.
During their devotions Abimelech, the
Satrap of Gaza, comes out of the temple and
ridicules them and their God. Samson
turns upon him, wrests the sword from his
hand, and kills him with one blow. Other
Philistine soldiers rush to their leader's aid,
but Samson easily withstands them all.
The High Priest urges them forward, but
they answer that they cannot overcome
Samson; he is invincible. Samson bids his
people arm and avenge themselves. They
390
SAMSON AND DELILAH 391
sally forth and a messenger reports that
they are everywhere victorious. As the
strong man returns, maidens come forth
from the temple, led by Delilah, a Philistine
woman. She praises Samson and says that
she can resist him no longer. They dance
about him, and his eyes follow every motion
of the seductive Delilah.
ACT II
House of Delilah in the Valley of Sorak.
Delilah, gorgeously attired, awaits the
coming of Samson. He is tardy and she
•rows impatient. It was not thus when he
was first in her power, but now he is seeking
to break the shackles of love. While she
waits, the High Priest enters. She must aid
them to lay hold upon the warrior, he says;
and he offers her wealth if she will deliver
him into their hands. Delilah refuses the
gold, replying that her hatred is enough.
The High Priest departs and sets a secret
guard about the house. After a time Sam-
son appears but with reluctance and shame.
His God commands him to break off this
unholy alliance and lead Israel out of bond-
age. Delilah makes use of all her wiles to
392 OPERA. SYNOPSES
bring him again under her power, singing
the bewitching song, “My heart ope’s to
thy voice.” He again capitulates and she
pleads with him to tell her the secret of his
strength. He refuses. She leaves him and
enters the house. He hesitates and then
follows her. The soldiers advance upon the
house. She opens the window and calls to
them triumphantly, while Samson is heard
in a terrible cry, “Betrayed!”
ACT III
Scene 1. The Prison of Gaza. Samson
has been shorn of his long hair, the secret
of his strength, his eyes have been put out,
and he is here seen grinding away at a mill
wheel. His captors mock at him while from
without come the voices of his countrymen
filled with reproach. Presently he is seized
and dragged forth to grace a triumphal
procession.
Scene 2. Interior of the Temple of
Dagon. Before an amphitheatre thronged
with Philistines, the High Priest worships
before their god, Dagon. Delilah assists
him. Samson is sent for, to make sport
for the people, and soon appears led by a
SAMSON AND DELILAH 393
child. A great shout arises at sight of the
helpless man, and Delilah taunts him with
his past weaknesses. The High Priest
pours a libation to Dagon as being far
mightier than the vaunted God of the
Hebrews. Samson prays his God for for-
giveness and asks that his strength may be
given back, only for a moment, in order
that he may serve Israel. Then grasping
the two marble pillars, between which he
stands, he bends forward with all his might.
The pillars crash down and with them the
temple roof, burying all beneath them.
THE SECRET OF SUSANNE
(Il Segreto di Susanna.) Interlude in One Act.
Music by Ermanno Wolf-Ferrari. Book by En-
rico Golisciani. First produced at Berlin, 1910.
SCENE: Piedmont.
TIME: The Present.
CAST
Count GIL, a Piedmontese (Baritone).
SUSANNE, his bride (Soprano).
. SANTE, butler (Silent).
395
A R G UMIF, NT
The secret of Susanne, though quite lit-
tle, makes a cloud large enough to threaten
the serenity of the honeymoon, owing to an
otherwise rational man’s detestation of
smoking. w
Scene, Drawing-Room in the Count’s
Château. Count Gil and his bride Susanne
are spending their honeymoon at the
Count’s château in Piedmont. With the
connivance of Sante, the butler, Susanne
secretly indulges in her passion for smok-
ing, but Gil detects the smell and questions
Sante, who gives him to understand that no
one in the house is responsible. The Count
at once concludes that the culprit must be
a visitor—a rival—and when on embracing
Susanne he detects the odor in her hair, he
finds his suspicions confirmed. Susanne,
thinking her husband’s accusations refer
to her little weakness, makes light of the
affair, but Gil, with the graver matter in
mind, is amazed at her levity, and a stormy
396
THE SECRET OF SUSANNE 397
se-
scene ensues, culminating in the overturn-
ing of flowers, furniture, and bric-a-brac.
When the air is comparatively clear again,
Susanne once more arouses her husband’s
suspicion by reminding him of an engage-
ment with friends. He leaves her, however,
and goes out. Susanne is now free to light
and enjoy a cigarette. Suddenly Gil re-
turns and pounces upon her, seizing her
roughly by the hand and burning himself
with the cigarette. Straightway he real-
izes the absurdity of his suspicions, and in
penitence even goes so far as to offer to ac-
quire the obnoxious habit himself. They
light cigarettes together, and the serenity
of the honeymoon is undisturbed by any
outer cloud.
THE TALES OF HOFFMANN
(Les Contes d'Hoffmann). Fantastic Opera in a
Prologue, Three Acts and an Epilogue. Music
by Jacques Offenbach. Book by Jules Barbier,
after three tales by E. T. A. Hoffmann. First
produced at the Opera Comique, Paris, Febru-
ary, 1881.
SCENE: Various parts of Europe.
TIME: The 19th Century.
C AST
HoFFMANN, a poet (Tenor).
OLYMPIA
GIULIETTA his sweethearts.
ANTONIA || Four successive parts usually
STELLA ) taken by one person (Soprano).
LINDORF
CoPPELIUS his evil genius.
DAPERTUTTO | Part taken by one person
DR. MIRAKEL) (Baritone).
NICKLAUSSE, friend of Hoffmann (Tenor).
SPALANZANI, an Italian savant (Basso).
RRESPEL, father of Antonia (Basso).
SCHLEMII, admirer of Giulietta (Baritone).
ANDREAs, servant of Stella (Tenor).
LUTHER, an Inn-keeper (Baritone).
Several small singing parts, such as Students,
Servants, Messengers, Friends, etc.
399
A R G U M E N T
“The Tales of Hoffmann,” were derived
from the fantastic and mystical tales
written by the German author E. T. A.
Hoffmann, which attained a wide popu-
larity in France. The opera is really a
musical medley uniting several different
episodes.
PROLOGUE
Luther's Wine Tavern at Nuremburg.
The poet Hoffmann, who has travelled
widely and had many adventures, is now
seeking his latest flame, Stella, who is sing-
ing in a theatre near by. His rival, Lindorf
(who is really the evil genius of the poet)
plans to get Hoffmann tipsy and unpre-
sentable and then bring Stella on the scene.
With Hoffmann are a group of his student
friends who ask him to relate his adven-
tures. He at first refuses but as he begins
to drink, his memory is unlocked and he
tells the stories of three love affairs. The
three succeeding acts each reveal one of
these tales.
400
TALES OF HOFFMANN 401
ACT I
The Home of Spalanzani. An Italian
savant, Spalanzani, is reputed to have a
remarkable daughter, Olympia, who dances
and sings divinely. Hoffmann and his
friend, Nicklausse, attend the large coming-
out party. Coppelius, a trickster (the evil
genius who thwarts the poet in each adven-
ture) sells Hoffmann a pair of eyeglasses for
the occasion, and through these the young
poet sees a vision of surpassing beauty.
Olympia sings to the delighted throng, and
among others straight to Hoffmann’s heart.
He declares his passion to her at the first
opportunity and she responds although in
monosyllables. She dances, however, bet-
ter than she talks, and accepts Hoffmann
as a partner. They dance faster and faster
until he can no longer keep up with her
flying feet and falls exhausted. She flits
from the room and a crashing noise is heard.
Coppelius returns with a wrecked female
figure; it is Olympia, who was only an
automaton! The figure had been con-
structed by the savant, aided by Coppelius,
who now claims that Spalanzani deceived
him as to payment. They quarrel while
Hoffmann mourns for his lost love.
402 OPERA SYNOPSES
ACT II
Giulietta's House in Venice. Hoffmann’s
next passion is for a beautiful Venetian
woman, and he goes to pay her court al-
though his friend tries to dissuade him,
hinting that she is not all she ought to be.
But Hoffmann's love blinds him to any
defects in her morals. He finds her sur-
rounded by a gay set, her favored admirer
being Schlemil, who treats Hoffmnan dis-
dainfully. Now both Schlemil and the
woman are in the power of Dapertutto (the
evil genius under another name). Through
Giulietta the evil one has become possessed
of Schlemil’s shadow (in other words, his
soul) and he plans to obtain Hoffmann's in
the same manner. The poet falls a victim
to her wiles and is promised the key to her
room if he will challenge Schlemil who now
possesses it. He meets Schlemil and they
fight. The latter falls, but when Hoffmann
hastens to her balcony he sees her gondola
gliding away and the coquette laughing in
the embraces of another man.
ACT III
The Home of Krespel. The next love of
Hoffmann's is a pure one, its object being
TALES OF HOFF'MANN 403
the lovely but delicate daughter of Krespel.
Her mother, who has been a famous
singer, has died prematurely from con-
sumption, and the young girl inherits both
the talent and the physical weakness. For
this reason her father does not wish her to
sing; but Dr. Mirakel (again the evil
genius) who has treated her mother, Se-
cretly plans to hasten the daughter's de-
mise. Hoffmann knows nothing of her dis-
ability and urges her to sing. She refuses.
Then Dr. Mirakel conjures up a vision of
her dead mother, who also seems to join
in the request. Antonia yields and sings
divincly, but the effort has been too great
and she falls from weakness into her
lover's arms, where she expires.
EPILOGUE
The Tavern, as in Prologue. The tales
are ended and Hoffmann's friends have de-
parted one by one leaving him alone with
his bottle. His head sinks forward upon
his arms as he falls asleep. In his dreams
the Muse of Poesy appears saying, “All
your earthly loves have forsaken you;
404 OPERA. SYNOPSES
henceforth follow me.” As he sleeps, the
door softly opens and Stella, his last flame,
enters upon the arm of Lindorf. The
latter, the triumphant evil genius, points to
the poet scornfully and leads Stella away.
T ANN HAUSER
Dramatic Opera in Three Acts. Music by Richard
Wagner. Book by the Composer. First pro-
duced at the Royal Opera, Dresden, October
20, 1845.
SCENE: Thuringia and the Wartburg.
TIME: The 13th Century.
C AST
HERRMANN, Landgrave of Thuringia (Basso).
TANNHAUSER, a knight (Tenor).
WolfRAM voN EscHENBACH, his friend
(Baritone).
WALTER voN DER WogFLWEIDE, a knight
(Tenor).
BITEROLF, a knight (Basso).
REIMAR voN Zw ETER, a knight (Basso).
HEINRICH, a scribe (Tenor).
ELIZABETH, niece of the Landgrave (Soprano)
VENUS, goddess of love (Soprano).
Retainers, Lords, Ladies, Bacchantes,
Shepherd, etc.
405
A R G U M E N T
“Tannhäuser” deals with a legend of the
Venusberg, a magic grotto in the moun-
tains of Germany. Here the beautiful
goddess of love holds court and beguiles
any mortals who come her way. Tann-
häuser, a Knight of Song, has fallen under
her evil spell and dwelt several months with
her in luxury and dissipation. But the
remembrance of his former high station
and the ties of earth still hold him, and
when the scene opens he desires to return
to the light of day.
ACT I
Scene 1. The Grotto of Venus. Tann-
häuser is growing weary of the blandish-
ments of Venus and of the elaborate
pageants which she prepares to entertain
him. He pleads with her to allow him to
return to the world of men and women, but
his request only makes her the more
jealous of her waning power. She shows
him new spectacles of beauty and luxury,
but he only insists the more. Seeing that
406
TANNHAUSER 407
she cannot hold him an unwilling prisoner,
she exacts from him a promise that he will
sing her praises only, as against the merits
of any earthly love. He gives this pledge
as a means of escape, and the grotto and
its occupants vanish from sight.
Scene 2. The Valley of Wartburg.
Tannhäuser finds himself alone in the
mountains of the Wartburg. In the dis-
tance a shepherd lad plays upon his pipe.
By a mountain path stands a rude wayside
cross, and presently a throng of pilgrims is
heard singing as they go on their mission.
After they have passed by, the Landgrave
of the country and some of his nobles,
among them Tannhäuser's loyal friend,
Wolfram von Eschenbach, enter upon a
hunting expedition. They recognize Tann-
häuser and ply him with questions regard-
ing his long disappearance. He evades
their questions. Wolfram urges him to
return to court, saying that Elizabeth, the
Landgrave's niece, has long held his
memory dear. The erring knight is filled
with shame at the thought of this pure love
which he has cast aside, and promises to
return with his friends.
408 OPERA. SYNOPSES
ACT II
Hall of Wartburg Castle. All is in prep-
aration for another great tourney of song,
in which the best singers of the realm are to
contest. The art of Tannhäuser is well
known and it is believed that he will be an
easy victor. Before the assembling of the
guests, Elizabeth enters to see that all is in
readiness, and here Tannhäuser finds her
and learns that she has continued to love
him faithfully. He obtains her forgiveness
and retires to don his minstrel robes. The
ladies and lords assemble, being greeted in
stately fashion by the Landgrave and his
niece. Last of all enter the minstrel
knights. Wolfram sings of a love ennobling
and spiritual as the highest type of bliss.
Tannhäuser remembers his unlucky prom-
ise to Venus and answers him in scorn Say-
ing that such love is paltry compared with
other delights which he might perchance
reveal. Being pressed for an explanation
by other angered knights, he launches into
a wild song in praise of Venus. The court
is horrified. The ladies leave in haste and
the knights press around the daring min-
strel with drawn swords ready to slay him.'
TANNHAUSER 4.09
Elizabeth throws herself before him and
pleads for the unhappy man’s life. They
finally allow him to go unscathed on con-
dition that he join the pilgrims, who now
pass by on their journey to Rome, and
there obtain the forgiveness of the Pope.
The repentant Tannhäuser sets forth.
ACT III
The Valley of Wartburg. Several
months have passed by without news of
Tannhäuser. Both Elizabeth and Wol-
fram await him. Wolfram’s friendship is
unselfish as he himself has long loved the
maiden who pines over the wanderer's de-
parture. The pilgrims return from Rome,
and she comes to the wayside cross to look
for him among them. But he does not
appear, and broken-hearted she returns to
the castle and soon breathes her last.
Wolfram enters, comparing her pure bright
spirit to the evening star which shines upon
him. A haggard stranger now appears, who
proves to be Tannhäuser returning with-
out the Pope's forgiveness. The latter
refuses to pardon him until his pilgrim’s
staff blossoms with leaves. Tannhäuser is
410 OPERA. SYNOPSES
ready to return to the haunts of Venus, and
she now appears and beckons him. But
Wolfram pleads with him and prevails upon
him to deny her. He does so, and the vision
vanishes. Mourners bring forward the
bier upon which rests the body of the
maiden, and while Tannhäuser kneels
beside it, his troubled spirit is also re-
leased. At this moment, messengers come
from the Pope, bearing the pilgrim’s staff.
A miracle has happened. The staff has
put forth green leaves.
TH AIS
Romantic Opera in Three Acts. Music by Jules
Massenet. Book by Louis Gallet, after the
romance by Anatole France. First produced at
the Grand Opera, Paris, 1894.
SCENE: Upper Egypt.
TIME: Early Christian era.
C. A. ST
ATHANAEL, a monk (Baritone).
THAIS, a courtesan (Soprano).
NICIAs, a wealthy Alexandrian (Tenor).
PALEMON, the head monk (Basso).
ALBINE, an abbess (Mezzo-Soprano).
LA CHARMEUSE, a dancer.
CROBYLE, a slave (Soprano).
MYRTALE, a slave (Soprano).
Monks, Nuns, Citizens, Servants,
Dancers, etc.
411
A R G UM E N T
The theme of “Thais” is the struggle
between the lower nature and the higher;
it personifies the eternal conflict between
the beast and the angel, in the human race.
ACT I
Scene 1. The Theban Desert. Sur-
rounded by luxury and sin, a small band of
Cenobite monks dwell in the desert near
Thebes. Athanael, a young enthusiast of
the order has just returned from a mission
to Alexandria, and he gives a gloomy
account of the vice rampant in that city.
It is under the control of a beautiful cour-
tesan named Thais, who rules by the power
of her charms. Athanael cannot get the
vision of her loveliness out of his head and
he thinks it would be a great victory for
the church if he could convert her. Pale-
mon, the head of the order, rebukes the
idea as foolish, but in his dreams, Athanael
witnesses again the lovely woman posing
before the populace as Aphrodite, and being
ſ 412
THAIS 413
acclaimed as a goddess. He awakes say-
ing that he must return on this mission,
although Palemon and the other monks
endeavor to dissuade him.
Scene 2. The House of Nicias, at Alex-
andria. Nicias, a wealthy leader of fashion,
is just now the favored admirer of Thais,
although he ruefully admits he is paying
extravagantly for the distinction. To his
house, Athanael directs his steps, and
finally gains admittance there. When he
unfolds his plan to Nicias, the latter laughs
at it, but good-naturedly promises to aid
him. Thais is to be present at supper that
very evening and the young monk must
make a good appearance. The leader of
fashion looks approvingly at Athanael’s
fine head and athletic figure, and bids his
slave array the guest in rich attire. A
great acclamation is heard and Thais enters
amid a throng of her adorers. The young
monk alone stands aloof and she notices
his attitude. “Who is he?” she asks.
“One who has come for you,” Nicias re-
plies jestingly. “Bringing love?” she asks
simply; for to her love is all in all. “Yes,
love that you know not of,” answers
Athanael sternly, coming forward; and he
t
*
414 OPERA. SYNOPSES
tries to tell her of the higher life. She can-
not understand him. He reproaches her
and the company interfere. Then Thais,
piqued, tries to subdue him by her charms.
He retreats, but promises to come to her
apartments and talk further. It is her
challenge which he accepts, confident of
his own integrity.
ACT II
Scene 1. Interior of the Palace of
Thais. In a luxuriously appointed room
Thais awaits the coming of one whom she
thinks will be her next victim. Meanwhile,
she prays to Aphrodite for a continuance of
youth and beauty, her only weapons.
Athanael pauses at the door, at first spell-
bound by the vision of loveliness; then ad-
vancing, he tells her that the love which he
offers is from God and is for her salvation.
They argue, she trying upon him all her
coquetry, but he is able to resist tempta-
tion. This new type of man impresses her
even more than his message. The voice of
Nicias is heard calling her, and Athanael
departs, saying he will wait for her outside
THAIS 415
the palace. She must follow him if she
would find the new and higher love.
Scene 2. Outside the Palace. Moon-
light floods the Open court, while through
the lighted windows come the sounds of
revelry and feasting. Athanael lies upon
the stone step. Presently the door opens
and Thais emerges bearing a lighted lamp.
She tells him she has decided to leave all
and follow him. “Then break your image
and set fire to your belongings,” he replies,
“for you cannot take any of these things
with you.” She returns within and obeys
him, reappearing in a simple garb, bearing
a torch. Meanwhile, Nicias and his
friends come forth and order dancers to
entertain them. In the midst of the revelry
Thais appears, but they recognize her
despite her rough dress, and try to detain
her. Nicias diverts the crowd's attention
by scattering handfuls of gold, and the two
pilgrims depart while the palace burns.
ACT III
Scene 1. An Oasis in the Desert. Thais
is half-dead from the fatigue of this unac-
customed journey, but presses on without
416 OPERA SYNOPSES
*f{---A5 tº:
murmuring. She wishes to find the higher
love. Athanael’s heart is stirred by her
sufferings and fortitude. He bids her rest
beneath the shade of a clump of palms and
brings water to bathe her feet, kissing
them. His destination is a convent in the
desert, now near at hand. The abbess and
her nuns are heard singing as they ap-
proach. Athanael commends the new con-
vert into their keeping and stands silent
until they have gone. Then he utters a
cry of anguish. He has conquered, but
now he is alone.
Scene 2. The Cenobite Monastery.
Athanael returns to the monastery, where
the monks congratulate him upon his
success. But he is indifferent to their
praise. The vision of Thais still haunts his
dreams and he finds that he is miserable
since she has gone out of his life.
Scene 3. The Garden of the Convent.
Thais is dying, and has sent for Athanael.
He comes and the abbess leads him to her
cot in the open court. The sisters extol
her saintly life, but the monk does not heed.
He kneels by her side and begs her to come
back to him. It is not the heavenly love
which fills his heart, now, but the earthly.
THAIS 417
She opens her eyes but does not understand
him; for visions of heavenly bliss already
possess her. Deaf to his entreaties, she
calls upon the name of God and breathes
her last, while he grovels upon the ground
in despair.
TIE FIL AND
(Martha of the Lowlands.) Dramatic Opera in
Prologue and Three Acts. Music by Eugene
d’Albert. Book by Rudolph Lothar, after the
story by A. Guimera. First produced at
Prague, 1903.
SCENE: The Pyrenees and Valley of
Catalonia.
TIME: The Present.
CAST
SEBASTIANo, a wealthy landowner (Baritone).
ToMMASO, a village patriarch (Basso).
Others below are servants of Sebastiano:
MARTHA, a village girl (Mezzo-Soprano).
PEPA, a village girl (Soprano).
ANTONIA, a village girl (Soprano).
ROSALIA, a village girl (Contralto).
NURI, a village girl (Soprano).
MORUCCIo, a miller (Baritone).
PEDRO, a shepherd (Tenor).
NANDO, a shepherd (Tenor).
Priest, Villagers, etc.
419
A R G UMENT
The simple but strong story of the dis-
placing of dishonest love and deception by
honesty is here woven into a musical theme
of vigor and beauty.
PROLOGUE
A Rocky Fastness in the Pyrenees. All
his life long Pedro the shepherd has lived
among the heights of the Pyrenees. He
sees few faces except that of his fellow-
shepherd, Nando, and women almost not
at all; but he dreams of the day when the
Blessed Virgin will send him a wife. Be-
yond this dream he lives care-free among
his beloved hills. As if in answer to his
prayer, his wealthy employer one day
brings to him a beautiful Lowlands girl,
Martha, and tells him that she shall be his
wife if he will go to the Lowlands and
live with her at the mill. Unknown to
Pedro, Martha has been the mistress of
Sebastiano, who is taking this means to
keep her in respectable society.
420
TIEFLAND 421
ACT I
Interior of the Mill. All of Sebastiano’s
servants except Pedro know of Martha’s
relations with their employer, and have
much sly fun at the simple shepherd’s ex-
pense. Sebastiano himself is about to con-
tract marriage with an heiress. Martha
views her own approaching marriage bit-
terly. She is at heart an honest girl, who
has been forced into her present position,
and she dislikes to delude Pedro, whom she
has come to admire. But she is powerless
to hinder the course of events, and the mar-
riage takes place, while Pedro accepts at
full value the boisterous congratulations of
the villagers. It is Sebastiano’s intentions
to continue his relations with Martha, but
she avoids him by not going to her room.
She also avoids Pedro, who is becoming
puzzled by the turn of events.
ACT II
Same Scene. Early Morning. Nuri, a
peasant girl, who has taken quite a fancy
422 OPERA SYNOPSES
to Pedro, enters singing and knitting. She
finds him alone and disconsolate. He tells
her that he is going away. Martha comes
from her room and finding them talking,
becomes suddenly jealous for her husband’s
regard and orders Nuri out of the house.
Pedro goes with her, and Martha not know-
ing what course to pursue, confides in old
Tommaso, who advises her to tell Pedro
the truth. This she does not want to do;
she feels that Pedro really loves her, and
her own regard is awakening. Pedro re-
turns and tells her that he does not belong
in the Lowlands; his place is away from
men, among the Hills. “Ah, take me with
you, then l’’ she pleads, but he in a rage
advances with a knife to kill her. Love and
remorse prevent the deed, and the two are
reconciled and determine to fly together.
They are prevented by the entrance of Se-
bastiano and the villagers who wish to
make merry over the wedding. Sebastiano
mockingly thrums on a guitar and bids
Martha dance for them. Pedro springs at
him, and the villagers interpose to prevent
a fight between the two men.
TIEF LAND 423
ACT III
Same Scene. Sebastiano’s conduct has
reached the ears of his fiancee, and she re-
jects him. He returns to Martha for con-
solation, and is amazed when she also turns
from him. In scorn he seeks to force his
attentions upon her, when she calls aloud
for Pedro. He has escaped from the vil-
lagers and now bounds into the room wild
with just anger. At first he draws a knife,
but seeing that Sebastiano is unarmed he
throws it away and meets him on equal
terms. After a furious struggle, Pedro
shakes and throws his rival aside, helpless.
The crowd gathers, and Pedro defies one
and all. “Why don’t you laugh now?”
he demands. Then picking up Martha in
his strong young arms he escapes with her
to freedom among the Hills.
LA TO S C A
Tragic Opera in Three Acts. Music by Giacomo
Puccini. Book by Illica and Giacosa, after the
drama by Sardou. First produced at the Costanzi
Theatre, Rome, January, 1900; at London the
same year; and at New York, February 4, 1901.
SCENE: Rome.
TIME: Circa 1800.
C. A. ST
MARIO CAvARADossi, a painter (Tenor).
BARON SCARPIA, Chief of Police (Baritone).
CESARE ANGELOTTI, an escaped prisoner
(Basso).
FLORIA ToscA, a singer (Soprano).
SPOLETTA, a police officer (Tenor).
Churchmen, Police, Jailer, Shepherd Boy,
Servants. -
425
- A R G U M E N T
*
“La Tosca,” founded upon Sardou's
tragedy, is an intense plot of passion and
revenge, unrelieved by any lighter themes.
Its music, brilliant and sombre, closely fits
the text.
ACT I
Interior of the Church of Sant’Andrea,
Rome. The painter, Mario Cavaradossi,
is busily engaged upon mural decorations
within a church when he is appealed to for
aid by Cesare Angelotti, an escaped polit-
ical prisoner. The painter promises to
assist him to escape and meanwhile hides
him in the church. Tosca, a singer, and
the painter's sweetheart, comes in at this
moment and believes that she has dis-
covered evidences of the painter's fickle-
ness, especially since he has been using
another woman as the model for his “ Mag-
dalen.” He reassures her. The sacristan
and choir-boys enter, and, later, Scarpia,
the Chief of Police, in search of the fugitive.
He finds a fan dropped by the model and
426
LA TOSCA 427
—º
shows it to Tosca in order to excite her
jealousy. He wishes her to betray her
lover, and he is also in love with her on his
own account.
ACT II
Scarpia’s Offices in the Farnese Palace.
Scarpia's men have not been able to catch
Angelotti, but still suspecting Cavaradossi
they bring him before their chief. Scarpia
questions him sharply without being able
to obtain any information and then re-
mands him to the torture-chamber. He
has sent for Tosca, who now appears. At
first she is silent to all his questions, but
when he tells her that her lover is being
tortured, and proves this by opening the
door to the inquisition chamber, she cannot
withstand the strain and reveals Angelotti's
hiding-place. The painter reproaches her
for the betrayal as he is taken away to
prison. Searpia now tells her that her lover
will be condemned to death unless she is
willing to make a sacrifice to save him—the
sacrifice of her honor. He, Scarpia, loves
her and under no other condition can the
painter be saved. Tosca recoils from this
proposition, but when word is brought that
428 OPERA SYNOPSES
Angelotti has poisoned himself to avoid
recapture she fears Cavaradossi will do like-
wise and says she will consent. The police
officer draws up a passport for the prisoner
and at the same time gives orders for his
execution by a volley of musketry. He
carefully explains that it will be a mock-
execution, only blank cartridges being used,
for the sake of appearances. He advances
to Tosca with the passport and endeavors
to embrace her. She seizes it and quickly
stabs him to the heart. Then piously com-
posing the body, with lights at the head and
feet and a crucifix on its breast, she hastens
away to the prison.
ACT III
Battlements of the Prison. The squad
of soldiers prepare to obey the order which
they have just received for the execution
of Cavaradossi. He is led out to an open
court overlooking the battlements, and is
there overjoyed to find Tosca, who tells
him of the passport which she carries. The
execution will only be pretended, she tells
him, but he must fall as though slain. The
file of soldiers now take their position and
LA TOSOA 429
**
fire their volley. The prisoner sinks in a
crumpled heap, but when Tosca rushes to
his side she finds that he is really dead—
pierced by actual bullets. Tosca cannot at
first realize the horrible truth, then gives
way to despair. The guards now rush in
to seize her for the murder of Scarpia.
She evades them, springs to the battle-
ments, and throws herself headlong down
to her death.
I, A T R A V IATA
(The Castaway). Lyric Opera in Four Acts.
Music by Giuseppe Verdi. Book based upon
“La Dame Aux Camellias” (Camille) by Alexan-
dre Dumas, the younger. First produced at
Venice, March 6, 1853.
SCENE: Paris.
TIME: 1700.
C. A. ST
VIoIETTA VALERY, a frivolous woman
(Soprano).
FLORA BELOIx, of her set (Soprano).
ANNINA, a servant (Contralto.)
ALFRED GERMONT, a young Parisian (Tenor).
GERMONT SENIOR, his father (Baritone).
GASTON DE LETORIEREs, a Parisian (Tenor).
BARON Dou PHAL, a Parisian (Baritone).
MARQUIs D'ORBIGNY, a Parisian (Baritone).
DR. GRENVIL, a physician (Basso).
Jose,PH, a servant (Baritone).
Members of the gay set, Servants, etc.
431
A R G U M E N T
“La Traviata.” follows closely the story
of “Camille’” (“La Dame aux Camellias”)
which tells of the awakening of a pure love
in an abandoned woman’s heart. Dumas's
story is a picture of modern Parisian life;
but the Italian libretto harks back to the
days of Louis XIV.
ACT I
Banquet Room in Violetta’s Paris Man-
sion. Violetta Valery, one of the most
beautiful and noted of the Parisian demi-
monde, gives a supper party to some of
her set. Her latest conquest, Alfred Ger-
mont, is present, and finds himself taking
a strange interest in this talented but dis-
solute woman. He questions her about her
past life, while the guests make merry revel
in this and an adjoining ball-room. The
woman who has dallied with love all her
life finds her better nature awakened by
his interest and sympathy, and agrees to
leave her folly and devote herself to him
alone.
4.32
LA TRAVIATA 433
ACT II
A Villa near Paris. True to her word,
Violetta retires from Paris and lives quietly
but happily with Alfred in a little country
place. Their money is spent freely and
carelessly, and from time to time Annita,
Violetta's maid, goes to Paris, whence she
returns with fresh funds. Alfred finally
learns from the girl that she has been dis-
posing of all her mistress's property piece-
meal in order to run this establishment.
IFor the first time Alfred realizes his true
position and rushes off to the city to raise
funds by his own efforts. While he is gone
his father, who has just discovered this
retreat, arrives to upbraid Violetta for lead-
ing on his son in a spendthrift and dissolute
life. She smiles scornfully at this charge;
but when Germont goes on to say that it is
wrecking the young man’s chances and also
preventing the marriage of his sister, she
begins to realize that perhaps she is stand-
ing in his way. She finds that the noblest
love is unselfish and self-sacrificing, and she
proves that this is the quality of her love
for Alfred by promising to give him up.
Penning a hasty note of farewell she returns
434 OPERA SYNOPSEs
to her old life in the city. When Alfred re-
turns he pays Inc heed to the note or to his
father's explanations, but hastens back to
the city with rage and grief in his heart.
ACT III
Flora's Apartments. Another scene of
revelry is at its height in the mansion of one
of Violetta's friends, and Violetta herself
enters upon the arm of Baron Douphal.
Here Alfred finds her. He begins gambling
recklessly and soon wins heavy stakes from
the Baron. Alfred then upbraids Violetta
for leaving him and implores her to return.
She refuses, though giving no explanation
of her apparent faithlessness, and Alfred in
anger hurls his winnings at her feet calling
them all to witness that he has paid her in
full. The Baron interposes and the two
quarrel and challenge each other. Alfred's
father now arrives and chiding his son for
his conduct leads him away.
ACT IV
Violetta’s Bedchamber. Violetta has
long suffered from throat trouble and now
sinks rapidly. She pines for Alfred but will
LA TRAVIATA 435
not send for him. She learns through a
letter from his father that Alfred and the
Baron have fought a duel and the latter is
wounded. Presently Annita brings the joy-
ful tidings that Alfred is coming to visit her.
He has learned of her sacrifice. The two
meet and are reconciled, promising never
to part again. But death has already laid
hold of the girl. She grows weaker. The
doctor returns with Germont the elder, who
also realizes her true spirit. The little
group stand sorrowfully by her bedside as
she breathes her last. * *
R IS TA N A N D IS O L D E
Tragic Opera in Three Acts. Music by Richard
Wagner. Book by the Composer. First pro-
duced at Munich, June 10, 1865.
§
ScFNE: Cornwall, Brittany, and the Sea.
TIME: Antiquity.
C A ST
MARK, King of Cornwall (Basso).
ISOLDE, his Queen (Soprano).
TRISTAN, a knight (Tenor).
KURVENAL, his servant (Baritone).
MELOT, a knight (Baritone). * ,
BRANGEANE, Isolde's servant (Cont alto).
STEERSMAN (Tenor).
SHEPHERD (Tenor).
Courtiers, Knights, Servants.
A R. G. U M E N T
The story of “Tristan and Isolde” 1s
adapted from a romance by Gottfried of
Strasburg, telling of the conflict between
love and duty in the hearts of two lovers of
medieval day t
ACT I
On Shijboard. Tristan, a valiant
knight, has been involved in many adven-
tures. In Ireland he has met the beautiful
Princess Isolde, and incurred her enmity by
killing Morold, an unworthy knight, who
was her betrothed. Tristan also was
wounded, and the maiden's heart softened
tov dºm as she nursed him back to life.
Heafterwards gives so glowing an account
of her charms, that his royal master, King
Mark of Cornwall, desires her for his wife;
and tº Istan is sent to conduct her to Corn-
J.il. The Princess comes most unwillingly
as she secretly prefers Tristan, but his
lips are sealed on account of his mission.
On shipboard he treats her with the most
scrupulous courtesy, but will not allow
4.38
TRISTAN AND ISOLDE 439
himself to come under her influence. She
sends her attendant, Brangaene, to sum-
mon him, but he makes excuses. Angered,
Isolde orders Brangaene to brew a deadly
poison for Tristan, and when he finally
appears in answer to her repeated requests,
she asks him to drink a toast. Tristan
neither knows nor cares as to the nature of
the drink, but takes it without protest.
She purposes to drink also and thus perish
with him. But Brangaene has brewed a
\ove potion instead, and the two after
drinking, look into each other's eyes with
their mutual passions increased tenfold.
ACT II
The Castle of King Mark. Tristan des-
pairingly completes his mission and con-
ducts Isolde to the King. But the two
lovers plan a last meeting, and Melot, who
has pretended to be Tristan's friend,
arranges a hunting expedition, in order to
draw the King and his retainers from the
castle. It is night, and Tristan is sum-
moned by a torch in Isolde’s window.
Brangaene keeps watch from the tower.
In the midst of their bliss, the lovers are
'440 OPERA SYNOPSES
-ºr
warned by her that the King is returning;
and Kurvenal, Tristan’s servant, also
rushes in bidding him flee. But it is too
late. Melot has betrayed his friend, and
King Mark confronts the guilty pair in
dignified surprise. Tristan is overwhelmed
with shame, but when Melot makes a
sneering remark, he draws his sword. The
two fight and Tristan falls wounded.
ACT III
Scene 1. A Castle Ruin in Brittany.
The wounded knight is suffered to depart
by the generous King, and is conveyed by
Kurvenal to a deserted castle on the coast
of Brittany. But his anguish of soul and
desire for Isolde prevent his wound from
healing. In despair, Kurvenal sends to
Isolde, who is also skilled in drugs. She
answers that she will come in person, and
the sick man is buoyed up by this hope. At
last her ship is sighted—it nears the shore—
and she lands. With a final effort Tristan
rises to meet her, only to sink down ex-
hausted and die in her arms.
Scene 2. The Same (usually omitted).
King Mark and Melot follow Isolde. Kur-
TRISTAN AND ISOLDE 441
venal opposes their entrance and kills
Melot, himself receiving a death-wound.
The King learns from Brangaene of the
love potion and hopeless passion of the two
lovers whom he has separated, and feels
only remorse ior their fate.
II, T R O VAT O R. E.
(The Troubadour.) Romantic Opera in Four Acts.
Music by Giuseppe Verdi. Book by Cammerano.
First produced at Rome, January 19, 1853.
ScENE: Biscay and Aragon.
TIME: The 15th Century.
C AST
Count Dr LUNA (Baritone).
CountESS LEoNoRA (Soprano).
AZUCENA, a gipsy (Contralto).
MANRico, the Count's brother, a wandering
troubadour (Tenor).
FERRANDo, servant of the Count (Basso).
INEz, friend of Leonora (Soprano).
RUIZ, a gipsy (Tenor).
Gipsies, Gentlemen, Ladies, Servants.
443
A R G U M E N T
“Il Trovatore” is the romantic tragedy
of a high-born child kidnapped by gipsies
—to this extent a parallel with “The Bo-
hemian Girl.” Its tragic denouement,
which seems forced, does not detract from
the brilliant color of its scenes or the pleas-
ing quality of its music.
ACT I
Scene 1. The Count’s Castle. Count
di Luna, a powerful nobleman, has lost a
younger brother at the hands of a gipsy
band and has heard nothing concerning
him for several years since that event. His
retainers are told the story by Ferrando,
who adds that the woman who stole the
child was burned at the stake, but that her
daughter is still alive. *
Scene 2. Balcony of the Castle. Leon-
ora, an heiress, has fallen in love with
Manrico, a handsome troubadour, who
appears nightly under her window sing-
ing serenades. While awaiting his appear-
444
IL TROVATORE 445.
ance one evening, Count di Luna, also a
suitor, arrives and she mistakes him for
the minstrel. The surprise is general a
few moments later when Manrico appears.
The two men quarrel and cross swords.
Manrico is wounded, but escapes before the
Count can summon his attendants.
ACT II
Scene 1. A Gipsy Camp. Manrico is
being nursed back to health by Azucena,
his supposed mother. She confesses to
him that she is not his real mother, but
refuses to tell anything more. Ruiz,
Manrico’s follower, brings word that Leon-
ora, believing him dead, is about to take
the veil in order to escape from the Count,
and that the latter is pursuing her with his
Soldiers. Manrico dons his armor and
despite his weakened condition hurries to
the rescue.
Scene 2. A Convent. It is the day
when Leonora is to take the veil. Di Luna
is encamped without to prevent her from
doing so. The nuns march slowly by sing-
ing, with Leonora among them. Di Luna
attempts to abduct her, but is in turn
446 OPERA SYNOPSES
surprised by Manrico and his band, who
now rush in. The Count's forces are out-
numbered and he is compelled to withdraw.
Leonora is overjoyed to find her lover alive
and renounces the veil in his favor.
ACT III
Scene 1. The Camp of Di Luna. The
Count has captured the gipsy, Azucena,
and is overjoyed to learn that she is his
rival’s reputed mother. Ferrando charges
her with having murdered the Count’s
brother. She denies it stoutly, but will say
nothing more, and the Count orders her to
the torture-chamber.
Scene 2. The Convent. Preparations are
forward for the marriage of Leonora and
Manrico, but before the ceremony occurs
Ruiz enters with the tidings that Azucena
is in the Count's power and about to be
tortured. Manrico is loyal to his foster
mother and at once sets forth to rescue her,
bidding his tearful bride-to-be a hasty fare-
well. -
ACT IV
Scene 1. Outside the Prison Tower.
This time the Count’s men are too strong
II, TROVATORE 447
y
for Manrico and he is overpowered and
made prisoner. The Count condemns him
to death as an outlaw and he is shut within
the fatal tower. Leonora, on the outside,
hears the mournful strains of the Miserere,
or death-chant. She pleads with the Count,
who now enters, to spare the life of her
lover, and finally in desperation offers her-
self to him for this boon. The Count
agrees to sign a reprieve on these terms,
and Leonora furtively drinks poison to
avoid becoming his victim.
Scene 2. Within the Prison. Azucena
worn and exhausted lies upon a pallet in
troubled sleep. Manrico watches over her,
awaiting his own summons to the block.
The door opens and Leonora, wild-eyed and
panting, rushes in to bid him save himself.
He at once suspects the truth, that she has
sold herself for him, but sees the whole of
her sacrifice as she falls dying from the
effects of the poison. The Count arrives
to find his triumph short-lived, and in a
rage orders Manrico at once to execution.
He is led without and just as the fatal blow
is heard, the dying Azucena rises on One
elbow to curse Di Luna and tell him he has
slain his own brother.
VIER, SIP, GIELT
(Under Seal.) Comic Opera in One Act. Music
by Leo Blech. Book by Richard Batka and
Pordes-Milo, after the story by Rauppach. First
produced at Hamburg, 1908.
ScENE: A German village.
TIME: 1830. º:
CAST
BRAUN, the Burgomaster (Baritone).
ELSE, his daughter (Soprano).
FRÄU GERTRUD SCHRAMM, a young widow
(Mezzo-Soprano).
FRAU WILLMER, a neighbor (Contralto).
BERTEL, her son, the town clerk (Tenor).
LAMPE, a bailiff (Basso).
KNOTE, a villager (Basso).
Watchmen, Officials, Villagers.
449
AIR GTJ M.ENT
A little village comedy of customs and
manners is here given an appropriate
musical setting.
Scene, Sitting-room in Frau Schramm’s
House. An attractive young widow, Frau
Schramm, is the object of the attentions of
Herr Braun, the Burgomaster of the town.
While flattered, she has thus far refused
him a definite answer. Meanwhile, his
daughter, Else, is loved by Bertel, the town
clerk, but this match does not please the
exalted mayor. He visits his wrath upon
the head of Bertel’s mother, Frau Willmer,
who comes to tell her troubles to Frau
Schramm. The Burgomaster is about to
seize Frau Willmer’s belongings for un-
paid taxes, and she begs her neighbor to
conceal a huge wooden wardrobe, her most
cherished possession. Frau Schramm con-
sents, and the bulky piece of furniture is
dragged in. But Lampe, the bailiff, dis-
covers its whereabouts, and posts off to re-
450
TVERSIEGELT 451
port to the mayor. When Braun calls, he
is not nearly so much concerned with the
wardrobe as with the pretty widow. She
takes the opportunity to plead the cause of
Bertel and Else, but he is obdurate. The
widow finally lets him embrace her, when a
knock is heard. The mayor does not want
to be discovered, so hides in the wardrobe.
Lampe enters and places an official seal
upon its doors. He hears a suspicious
noise within, and departs to summon help.
Meantime Else and Bertel arrive, and the
widow prompts them to play the part of
dutiful children for the imprisoned man’s
benefit. They would not think of eloping
without his consent, O no l—but they will
not release him until he grants this con-
sent and settles a dowry upon his daugh-
ter. He makes the best of a bad bargain,
and when Lampe and the neighbors enter,
Bertel pretends that it was he who was in
the wardrobe. All is explained amid gen-
eral rejoicing. The Burgomaster kisses the
blushing widow, and catching the younger
pair in the same act, he exclaims, “So you
are under seal, too, eh?” as the curtain
falls. -
W II, L I A M T E L T,
Romantic Opera in Three Acts. Music by Gioac-
chini A. Rossini. Book by Hippolyte Bis and
Etienne Jouy, after the drama by Schiller. First
produced at the Académie, Paris, August 3, 1829.
ScENE: Switzerland.
TIME: The 13th Century.
C AST
GESSLER, a tyrant (Basso).
RUDOLF DE HARRAs, his lieutenant (Tenor).
WILLIAM TELL, a patriot (Baritone).
WALTER FüRST, a patriot (Baritone).
MELCHTHAL, a patriot (Basso).
ARNOLD, his son (Tenor).
LEUTHOLD, a patriot (Tenor).
MATHILDE, daughter of Gessler (Soprano).
HEDwig, wife of Tell (Mezzo-Soprano).
JEMMY, son of Tell (Soprano).
RUODI, a fisherman (Tenor).
Peasants, Huntsmen, Soldiers.
453
A R G U M E N T
The opera of “William Tell” is written
around the historical, or legendary, story
of the Swiss patriot who successfully stirred
up his countrymen in the cause of freedom.
The musical setting, especially the over.
ture, is markedly brilliant.
ACT I
The Shores of Lake Lucerne, in front of
Tell's House. William Tell, his wife, and
little son are making merry by the shores
of Lucerne when their aged countryman,
Melchthal, and his son, Arnold, come to
greet them. Arnold is torn between two
desires: He wishes to aid Tell and the
patriots against the tyrant Gessler, but he
is also in love with the latter's daughter,
Mathilde, whose life he has saved. Tell
pleads with him to put his country first.
Presently Leuthold, a villager, rushes in
imploring assistance. He has killed a
Soldier who tried to abduct his daughter,
and he must flee across the lake to escape
his enemies. The fisherman, Ruodi, does
not dare venture in the face of an approach-
454
WILLIAM TELL 45.5
ing storm, but Tell leaps into the boat with
Leuthold and rows him across. The soldiers
appear led by Rudolf and, in revenge, set
fire to Tell’s and other cottages and seize
Melchthal as a hostage.
ACT II
Scene 1. A Forest. The horns of a
party of hunstmen sound through the
wood, and are answered by a chorus of
shepherds. Arnold meets Mathilde and
declares his passion for her and learns that
she also loves him. But Tell and Fürst
enter at this moment to inform Arnold that
the soldiers have slain his father. The
young man bids his sweetheart a sorrowful
farewell and casts in his lot with his
country. -
Scene 2. The Open Country. Following
the call of Tell, Fürst, Arnold, and other
patriots, the villagers and shepherds assem-
ble from the various cantons. All take the .
oath of allegiance to Switzerland and pre-
pare to battle against the tyrant's forces.
ACT III
The Open Square at Altdorf. Gessler
has erected a pole in the market-place at
456 OPERA SYNOPSES
Altdorf and commanded that all shall bow
before the cap, placed thereon, as a recog-
nition of his authority. Tell refuses to do
so and is seized by Rudolf. The tyrant has
heard of Tell’s skill with the cross-bow and
will release him only on condition that he
give an exhibition of this skill by shooting
an apple off of his son’s head. Tell does so
but when questioned as to a second arrow
which is in his possession he states that it
was intended for Gessler's heart had the
first arrow harmed the lad. For this bold
speech Tell is still held prisoner, although
Mathilde intercedes for him.
Scene 2. The Shore of Lake Lucerne.
Hedwig, Tell's wife, grieves for her husband
and child who are both in the hands of the
soldiers. Mathilde enters bringing the boy,
whom she has aided to escape. The father
also soon appears, having made good his
own escape. He lies in wait for Gessler and
kills him with an arrow from his bow. The
patriot army is victorious over the enemy,
and Arnold enters at the head of the joyous
patriots. All unite in thanksgiving and a
prayer that Switzerland may continue to
be free.
INDEX OF COMPOSERS
PAGE
ALBERT, EUGENE D’
Tiefland . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 419
AUBER, DANIEL FRANCOIS E.
Fra Diavolo . . . . . . . . . . . . . . . . . . . . . . . . . 143
BALFE, MICHAEL WILLIAM
The Bohemian Girl . . . . . . . . . . . . . . . . . . . 37
BEETHOVEN, LUDWIG VAN
Fidelio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
BELLINI, VINCENZO
Norma. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319
BERLIOZ, HECTOR
The Damnation of Faust . . . . . . . . . . . . . 67
BIZET, GEORGES
Carmen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
The Pearl Fishers . . . . . . . . . . . . . . . . . . . 347
BLECH, LEO
Versiegelt . . . . . . . . . . . . . . . . . . . . . . . . . . . . 449
BOITO, ARRIGO
Mefistofele . . . . . . . . . . . . . . . . . . . . . . . . . . . 267
BORODINE, ALEXANDRE
Prince Igor . . . . . . . . . . . . . . . . . . . . . . . . . . 359
458 INDEX
- PAGE
BUSSY, CLAUDE DE
Pelléas and Melisande . . . . . . . . . . . . . . . . 353
CHARPENTIER, GUSTAVE
Louise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213
CONVERSE, FREDERIC S.
The Sacrifice . . . . . . . . . . . . . . . . . . . . . . . . 381
DONIZETTI, GAETANO
Don Pasquale . . . . . . . . . . . . . . . . . . . . . . . 77
L’Elisir d’Amore . . . . . . . . . . . . . . . . . . . . . 91
La Favorita . . . . . . . . . . . . . . . . . . . . . . . . . 123
Lucia di Lammermoor . . . . . . . . . . . . . . . . 225
DUKAS, PAUL
Ariane et Barbe Bleue . . . . . . . . . . . . . . . 11
FLOTOW, FRIEDRICH VON
Martha . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261
FRANCHETTI, ALBERTO
Germania. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
GIORDANO, UMBERTO
Madame Sans Gene . . . . . . . . . . . . . . . . . . 235
GLUCK, CHRISTOPHER W.
Armide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Orpheus and Eurydice . . . . . . . . . . . . . . . . 327
GOLDMARK, KARL
The Cricket on the Hearth . . . . . . . . . . . . 63
GOUNOD, CHARLES FRANCOIS
Faust . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
Romeo and Juliet . . . . . . . . . . . . . . . . . . . . . 371
INDEX 459
PAGE
HERBERT, VICTOR -
Madeleine . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241
Natoma. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291
HUMPERDINCK, ENGELBERT
Hansel and Gretel . . . . . . . . . . . . . . . . . . . 165
Koenigskinder . . . . . . . . . . . . . . . . . . . . . . . . I95
RIENZL, WILHELM
The Evangelist . . . . . . . . . . . . . . . . . . . . . . . 107
LECOCQ, CHARLES
La Fille de Madame Angot. . . . . . . . . . . . . 133
LEONCAVALLO, RUGGIERO
I Pagliacci . . . . . . . . . . . . . . . . . . . . . . . . . . 337
LEONI, FRANCO
L'Oracolo . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323
MASCAGNI, PIETRO
Cavalleria Rusticana. . . . . . . . . . . . . . . . . . 55
Iris . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181
MASSENET, JULES
Herodias . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169
The Juggler of Notre Dame . . . . . . . . . . . 191
Manon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251
Thais . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 411
MEYERBEER, JACOB
The Huguenots . . . . . . . . . . . . . . . . . . . . . . . 175
MONTMEZZI, ITALO w
The Love of the Three Kings. . . . . . . . . . . 219
MOUSSORGSKY, MODESTE t
Boris Godounow . . . . . . . . . . . . . . . . . . . . . . 43
460 INDEX
PAGE
MOZART, JOHANN WOLFGANG. A.
Don Giovanni . . . . . . . . . . . . . . . . . . . . . . . . 71
The Magic Flute . . . . . . . . . . . . . . . . . . . . . 245
The Marriage of Figaro . . . . . . . . . . . . . . 255
OFFENBACH, JACQUES
The Tales of Hoffmann . . . . . . . . . . . . . . . 399
PARKER, HORATIO
Mona. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287
PLANQUETTE, ROBERT JEAN
The Chimes of Normandy . . . . . . . . . . . . . 59
PONCHIELLI, AMILCARE
La Gioconda . . . . . . . . . . . . . . . . . . . . . . . . 155
PUCCINI, GIACOMO
La Bohème . . . . . . . . . . . . . . . . . . . . . . . . . . 31
The Girl of the Golden West . . . . . . . . . . I59
Madam Butterfly . . . . . . . . . . . . . . . . . . . . . 229
La Tosca. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 425
ROSSINI, GIOACCHINI A.
The Barber of Seville . . . . . . . . . . . . . . . . 23
William Tell . . . . . . . . . . . . . . . . . . . . . . . . . 453
SAINT-SAENS, CAMILLE
Samson and Delilah . . . . . . . . . . . . . . . . . . 389
SMETANA, FRIEDRICH
The Bartered Bride . . . . . . . . . . . . . . . . . . . 27
STRAUSS, RICHARD
Elektra . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Der Rosenkavalier . . . . . . . . . . . . . . . . . . . . 377
Salome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 385
INDEX
461
SULLIVAN, ARTHUR S.
The Mikado . . . . . . . . . . . . . . . . . . . . . .
THOMAS, CHARLES AMBROISE
Mignon . . . . . . . . . . . . . . . . . . . . . . . . .
THUILLE, LUDWIG
Lobetanz . . . . . . . . . . . . . . . . . . . . . . . .
VERDI, GIUSEPPE
Aida . . . . . . . . . . . . . . . . . . . . . . . . . . .
Ernani . . . . . . . . . . . . . . . . . . . . . . . . .
Falstaff . . . . . . . . . . . . . . . . . . . . . . . . .
Othello . . . . . . . . . . . . . . . . . . . . . ". . . .
Rigoletto . . . . . . . . . . . . . . . . . . . . . . .
La Traviata . . . . . . . . . . . . . . . . . . . . .
Il Trovatore . . . . . . . . . . . . . . . . . . . . .
WAGNER, RICHARD
The Flying Dutchman . . . . . . . . . . .
Götterdämmerung . . . . . . . . . . . . . . .
Lohengrin . . . . . . . . . . . . . . . . . . . . . . .
Die Meistersinger . . . . . . . . . . . . . . .
Parsifal . . . . . . . . . . . . . . . . . . . . . . . .
Das Rheingold . . . . . . . . . . . . . . . . . . .
Siegfried . . . . . . . . . . . . . . . . . . . . . . . .
Tannhäuser . . . . . . . . . . . . . . . . . . . . . .
Tristan and Isolde . . . . . . . . . . . . . .
Die Walküre . . . . . . . . . . . . . . . . . . . .
WEBER, CARL MARIA WON
Euryanthe . . . . . . . . . . . . . . . . . . . . . . .
Der Freischütz . . . . . . . . . . . . . . . . . .
WOLF-FERRARI, ERMANNO
L’Amore Medico . . . . . . . . . . . . . . . . .
Le Donne Curiose . . . . . . . . . . . . . . .
The Jewels of the Madonna . . . . . .
The Secret of Susanne . . . . . . . . . . .
MAR 2 1914,
PAGE
283
279
201
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