The Complete Opera Book Part 94

Prologue. In the Heidelberg palace courtyard there is a merry company of students and peasants gathered in a drinking bout. The enthusiasm for "Old Heidelberg the fine" and for the gay life of a cavalier takes on such a noisy expression that the steward of the _Rector's_ wife orders them to be quiet. _Werner Kirchhofer_, a law student, leaps on a table, the peasant _Konradin_ lends him his trumpet and now there echoes forth the sweet song "which once the Palsgrave Friedrich sang"

in honour of the "Palsgravin, the most beautiful of women." But the _Rector_ and the Senate entertain other views of the nightly noise of trumpets and the entire body of students is expelled. So they all seek to become cavaliers.

Act I. In Sakkingen a great festival is being held, Fridolin's day.

Peasants from the suburbs have come to town for it. There is a suspicious agitation among them. _Konradin_ who is now in the service of the state has his hands full keeping order. What happiness when he sees his old comrade _Werner_. But now as _Maria_, daughter of the _Baron von Schonau_; together with her haughty aunt, the divorced wife of _Count von Wildenstein_, arrive at the church, insurrection breaks out. Who knows what the peasants would not have done to the ladies had not _Werner_ as knightly protector sprung between them. Love at first sight seized the two young people. (Change of scene.) Above in Schonau castle the old baron is again tormented by chills. Serving as a means of lessening his pain comes a letter from his brother-in-law, _Count von Wildenstein_, who announces that he is coming to visit him. He has a son, _Damian_, who would be just the right husband for _Schonau's_ daughter _Maria_. Moreover that would be an opportunity to bring about a reconciliation between the count and his divorced wife, none other than _Maria's_ aunt. The marriage was dissolved and their son was once stolen by gypsies. _Damian_ is a son of the second wife of _Count von Wildenstein_, who is dead. Out of his pleasant thoughts about his future son-in-law and protector of the castle in these evil days the _Baron_ is frightened by the reports of his women about the uprising of the peasants. In the praise that _Maria_ gives to the brave trumpeter is echoed his playing from the Rhine to here. That stirs the old baron like an elixir of youth in his bones. The trumpeter is summoned and a look in _Maria's_ love-warmed eyes is enough for him to accept the Baron's offer to become trumpeter of the castle. Of course the proximity of the young people will not please the aunt.

Act II. That they love each other both already long know but the acknowledgment nevertheless would be very beautiful. But the old aunt is always at hand especially at the music lessons which _Werner_ gives to the young woman. A real piece of luck that _Konradin_ is coming today to the castle to bring wine for the May festival. He knows how to arrange it so that the old woman must go to the wine cellar. Now it is all over with pride. _Maria_ lies in the arms of the humble trumpeter. Unfortunately, the old aunt comes back. She is not moved by their prayers, but tells all about it to the excited Baron. Nothing helps, the trumpeter must leave the house. _Maria's_ bridegroom is already chosen. At today's May festival he will take part. _Damian_ is certainly stupid enough but that does not help the lovers. "Would to G.o.d that it had not been so beautiful, would to G.o.d it had not been!"

Act III. But _Damian_ is not only stupid, he is also a miserable coward. That is shown as it now behooves him to defend _Baron von Schonau's_ castle against the revolted peasants. The knights there would have been lost had not relief suddenly come. It is _Werner_ who arrives with a troop of country people. _Maria_ flees to her lover's arms. But alas, he is wounded in the arm. And what is that? That mole?

The old _Countess Wildenstein_ recognizes in the trumpeter her son, whom the gypsies once stole. Now naturally there is nothing in the way of the union. Now "young _Werner_ is the happiest man" and who can deny that "Love and trumpet sounds are very useful, good things."

DER EVANGELIMANN

THE EVANGELIST

Music-drama in two acts by Wilhelm Kienzl; text by the composer after a tale by L.F. Meissner. Produced: Berlin, May 4, 1895.

CHARACTERS

FRIEDRICH ENGEL _Ba.s.s_ MARTHA, his niece _Soprano_ MAGDALENA, her friend _Alto_ JOHANNES FREUDHOFER, teacher at St. Othmar's _Baritone_ MATTHIAS FREUDHOFER, his brother, actuary in a monastery _Tenor_ ZITTERBART, a tailor and other artisans _Tenor_

Act I. The feelings in the breast of _Johannes Freudhofer_, the teacher, do not correspond to the peaceful spectacle of the monastery of the Benedictine Abbey of St. Othmar. He is filled with a savage jealousy of his own brother, _Matthias_, who is actuary in the monastery, because he sees that the affections of _Martha_, the beautiful niece of _Engel_, the steward of the monastery, are denied him. He thinks to injure his brother when he betrays the latter's love to the haughty steward. And the latter actually dismisses _Matthias_ from his office. But with this _Johannes_ has not attained his object.

For he himself can spy on them and see the two plighting eternal faithfulness on his secret departure. So the treacherous man resolved upon the complete ruin of the lovers. He sets fire to the monastery.

_Matthias_, who is tarrying in the arbour beside his sweetheart hurries out to get help, but is seized by the other as the incendiary out of revenge.

Act II. Thirty years have elapsed. In the courtyard of a house in Vienna, _Magdalena_ meets an evangelist in whom she recognizes _Matthias_, the friend of her youth. She herself is here caring for _Johannes_ who is ill. How has _Matthias_ become an evangelist? He tells her his sad history. He had been sentenced to prison for twenty years. When he had finished his punishment he learned that his sweetheart _Martha_ out of grief had sought death in the water. Then he had become a wandering, singing preacher.

Second Part. In the sitting-room, _Johannes_ lies ill. But more than pain disturbs his mind. Then he hears outside the voice of the evangelist. _Magdalena_ must call him in. Without recognizing him _Johannes_ tells his brother of the infamous action through which he had ruined the other's life. And _Matthias_ not only preaches love but practices it too. He forgives his brother who now can die in peace.

DER KUHREIGEN

RANZ DES VACHES

Music-drama in three acts; music by Wilhelm Kienzl; poem by Richard Batka.

CHARACTERS

THE KING _Ba.s.s_ MARQUIS Ma.s.sIMELLE, commandant _Ba.s.s_ BLANCHEFLEUR, his wife _Soprano_ CLEO, their lady at court _Mezzo-Soprano_ CAPTAIN BRAYOLE _Tenor_ PRIMUS THALLUS _Tenor_ DURSEL (_Ba.s.s_) and under officers in a Swiss regiment FAVART, under-officer of Cha.s.seurs _Baritone_ DORIS, daughter of the keeper of a canteen in the St. Honore barracks _Soprano_

_Time_--1792-3.

_Place_--Paris and Versailles.

Act I. Barracks of St. Honore. Under penalty of death the Swiss soldiers have been forbidden to sing their native songs especially the Kuhreigen or "Ranz des Vaches," because songs of their native land always awakened homesickness and had led to desertions. But a quarrel between _Primus Thallus_, of the Swiss, and _Favart_, of the Cha.s.seurs, excites the Swiss and they sing "In the fort at Stra.s.sburg"

(Zu Stra.s.sburg auf der Schanz) the song of the Swiss who became a deserter through homesickness, the song which was forbidden by such a severe decree, especially because it introduced the Kuhreigen or "Ranz des Vaches." Then _Favart_ believed the moment had come to be able to avenge himself. He quickly called an officer to hear the forbidden song. The officer first wants to arrest all the Swiss, but _Primus Thallus_ takes all the blame on himself; he is glad to prevent the others being imprisoned.

Act II. In the King's bedroom at Versailles the ceremony of the royal levee is taking place. This medley of laughable ceremonial and the practice of the highest refinement makes a sharp contrast with the wild ferment and discontent among the people, of which, however, no one hears anything in these rooms and will know nothing. So the commandant _Ma.s.simelle_ is among those waiting because he has to lay before the _King_ the death sentence on the unsubdued Swiss. Naturally the _King_ thinks nothing about bringing an obsolete law into force again, and leaves the decision to _Ma.s.simelle's_ wife, _Blanchefleur_.

She begs _Thallus's_ life for herself and wants to learn the fellow manners in her service. Silly as are the thoughts of this whole company, so also are those of _Blanchefleur_. Through a whim she has obtained the release of the young Swiss, now she wants as a reward to have diversion with him. The high authorities already are glad to play shepherds and shepherdesses; what would happen if they could have a real Swiss as a shepherd! _Cleo_, the court lady, is perfectly delighted with the idea and awaits with enjoyment the play in which _Primus Thallus_ shall appear with _Blanchefleur_. But the play takes a serious turn, _Primus Thallus_ sees no joke in the thing. To him, _Blanchefleur_ appears as the image of his dreams, and yet he knows that this dream never can be a reality, at least not for a man to whom, as to this Swiss, love is not merely a form of amus.e.m.e.nt in life. So _Blanchefleur_ has to give up her shepherd's dream and let _Primus Thallus_ withdraw.

Act III. The earnest man is very quickly drawn in. In the ruined dining-hall of the palace of _Ma.s.simelle_, the sans-culottes are lodged. _Favart_, under whose direction the castle has been stormed, is vexed at his report for which _Doris_, his sweetheart, and the others with their wild drinking and quarrelling scarcely leave him the possibility. By chance the half-drunken men discover a secret door.

They go down into the pa.s.sage and drag out _Blanchefleur_ who had concealed herself there. _Favart_ wants her to play for the men, but he cannot prevail upon her to do it. With her graceful, distinguished air she refuses to have anything to do with the dirty, uncivilized men and smilingly allows herself to be condemned to death and led away to the frightful prison of the Temple. Hardly has she gone than _Primus Thallus_ enters. He has been promoted by the Directory to be a captain as a reward because he has often been threatened with death by the royalists. His great courage certainly makes an impression on these savage troops, but as _Ma.s.simelle_ outside is being led to the scaffold and he learns of the arrest of _Blanchefleur_ only one thought rules him--to save the beautiful woman.

The scene changes to the underground prison of the Temple. One can hardly recognize the figure of _Primus Thallus_ who presents himself here, but one must admit of these aristocrats that while they know how to live laughingly they also know how to die with a smile. While without the guillotine is fulfilling its awful task uninterruptedly, they are dancing and playing here underneath as though these were still the gayest days of the _King's_ delights at Versailles. In vain _Primus Thallus_ uses all his eloquence to persuade _Blanchefleur_ to flee or to give him her hand because then he could obtain a pardon.

She has only one reward for his faithfulness: a dance. Then when her name is called she dances with a light minuet step to the scaffold.

LOBETANZ

Opera in three acts; music by Ludwig Thuille; text by Otto Julius Bierbaum. Produced: Carlsruhe, February 6, 1898.

CHARACTERS

LOBETANZ _Tenor_ THE PRINCESS _Mezzo-Soprano_ THE KING _Ba.s.s_ THE FORESTER, the executioner, the judge _Speaking parts_ A TRAVELLING STUDENT _Tenor_

Act I. This play takes place somewhere and somewhen but begins in a blooming garden in spring. And the most fragrant flowers in the garden are the lovely girls that play in it. Take care, _Lobetanz_; take care! Now that you have leaped over the wall into the garden, still take care! You are a travelling singer, your clothes are tattered; but you are a magnificent fellow and sing as only a bird can sing or a fellow who knows nothing about the illness of the _Princess_. What is the matter with her then? She no longer laughs as she once did, her cheeks are pale, she no longer sings but sighs. "Alas!" Oh, the maidens know what is the matter with her but no one asks the maidens.

The poet-laureate today at the festival of the Early Rose Day will announce what is the matter with the child of the _King_. And the _King_ is coming, the _Princess_ and the people. And the poets proudly strut in and make known their wisdom. But that does not help. Now the sound of a violin is heard. How the _Princess_ listens and now the player comes before her and fiddles and sings and the maid revives.

Roses bloom on her cheeks; her eyes shine in looking at the violinist who is singing of the morning in May when they kissed each other, innocently dear, and played "bridegroom and bride." You must flee, _Lobetanz_, flee; that is magic with which you are subduing the child of the _King_.

Act II. Spring has awakened your heart, you happy singer, and has brought to life what was asleep deep within you. Now you may dream of what will be. And see, she comes to you, the sick _Princess_, to be restored to health by you. And she sits there by you in the branch of a linden tree. But alas, alas! The _King_ and his hunting train are suddenly there and all things have an end.

Act III. In a dungeon sits the bird once so gay. For "dead, dead, dead must he be and so slip with hurrahs into the infernal abode." And they lead you to the gallows and tell you your sentence. And the _King_ and the people, the envious singers and the _Princess_ sick unto death on her bier are all there. Now choose your last present, you poor gallows bird. So let me once more sing. And, "see, Oh see, how the delicate face is covered with a rosy glow." He is singing her back to life, the lovely _Princess_, until finally she flees to his arms: "Thou art mine!" Now leave the gallows, there is a wedding today. "A great magician is _Lobetanz_, let the couple only look, the gallows shine with luck and l.u.s.tre; spring has done wonders."

DER CORREGIDOR

THE MAGISTRATE

Opera in four acts; music by Hugo Wolf; text by Rosa Mayreder-Obermayer. Produced: Mannheim, June 7, 1896.

CHARACTERS

THE CORREGIDOR (magistrate) _Tenor_ DOnA MERCEDES, his wife _Soprano_ REPELA, his valet _Ba.s.s_ TIO LUCAS, a miller _Baritone_ FRASQUITA, his wife _Mezzo-Soprano_ JUAN LOPEZ, the alcalde _Ba.s.s_ PEDRO, his secretary _Tenor_ MANUELA, a maid _Mezzo-Soprano_ TONUELO, a court messenger _Ba.s.s_

Act I. The miller, _Tio Lucas_, is living a happy life with his beautiful wife, _Frasquita_. Her love is so true that jealousy, to which he is inclined, cannot thrive. Jealous? Yes, he has a b.u.mp of jealousy. True, the _Corregidor_, who eagerly concerns him about the miller's pretty wife, has one too. But no matter, he is a high, very influential functionary. Meanwhile _Frasquita_ loves her _Tio Lucas_ so truly that she can even allow herself a dance with the _Corregidor_. Perhaps she will cure him so, perhaps she will obtain in addition the wished-for official place for her nephew. The _Corregidor_ too does not keep her waiting long and _Frasquita_ makes him so much in love with her that he becomes very impetuous. Thereupon he loses his balance and the worthy official falls in the dust, out of which the miller, without suspecting anything, raises him up. But the _Corregidor_ swears revenge.

Act II. The opportunity for this comes very quickly. As the miller one evening is sitting with his wife in their cozy room, there comes a knock at the door. It is the drunken court messenger, _Tonuelo_, who produces a warrant of arrest. _Tio Lucas_ must follow him without delay to the alcalde who has lent himself as a willing instrument to the _Corregidor_. _Frasquita_ is trying to calm her anxiety with a song when outside there is a cry for help. She opens the door and before it stands the _Corregidor_ dripping with water. He had fallen in the brook. Now he begs admission from _Frasquita_ who is raging with anger. He has also brought with him the appointment of the nephew. But the angry woman will pay no attention and sends the _Corregidor_ away from her threshold. Then he falls in a swoon. His own servant now comes along. _Frasquita_ admits both of them to the house and herself goes into town to look for her _Tio Lucas_. When the _Corregidor_, awakened out of his swoon, hears this, full of anxiety, he sends his valet after her; he himself, however, hangs his wet clothes before the fire and goes to bed in the miller's bedroom.

(Change of scene.) In the meantime _Tio Lucas_ has drunk under the table the alcalde and his fine comrades and seizes the occasion to flee.

Act III. In the darkness of the night, _Tio Lucas_ and _Frasquita_ pa.s.s by without seeing each other. The miller comes to his mill.

(Change of scene.) Everything is open. In the dust lies the appointment of the nephew; before the fire hang the _Corregidor's_ clothes. A frightful suspicion arises in _Tio Lucas's_ mind which becomes certainty when through the keyhole he sees the _Corregidor_ in his own bed. He is already groping for his rifle to shoot the seducer and the faithless woman when another thought strikes him. The _Corregidor_ also has a wife, a beautiful wife. Here the _Corregidor's_ clothes are hanging. He quickly slips into them and goes back to town. In the meantime the _Corregidor_ has awakened. He wants to go back home now. But he does not find his clothes and so he crawls into those of the miller. Thus he is almost arrested by the alcalde who now enters with his companions and _Frasquita_. When the misunderstanding is cleared up, they all go with different feelings into the town after the miller.

Act IV. Now comes the explanation and the punishment of the _Corregidor_, at least in so far as he receives a sound thrashing and becomes really humbled. In reality the miller also has not yet had his "revenge," but he is recognized and likewise is beaten blue. That he must suffer in reparation for his doubt of the faithful _Frasquita_, and he hears it willingly for they have now come to a good understanding about everything.