The Complete Opera Book Part 99

SHANEWIS, OR THE ROBIN WOMAN

An American opera in two parts; book by Nelle Richmond Eberhardt; music by Charles Wakefield Cadman. Produced at the Metropolitan Opera House, March 23, 1918, with the following cast:

SHANEWIS _Sophie Braslau_ MRS. EVERTON _Kathleen Howard_ AMY EVERTON _Marie Sundelius_ LIONEL _Paul Althouse_ PHILIP _Thomas Chalmers_

An Indian girl, whose voice has been elaborately cultivated, falls in love with the son of her benefactress. The young man is already betrothed to _Mrs. Everton's_ daughter. An Indian suitor offers _Shanewis_ a bow and poisoned arrow which she rejects. When he discovers that his rival has left _Shanewis_ in ignorance of his previous betrothal he shoots the gay deceiver, and finishes both the youth and the opera.

THE TEMPLE DANCER

Opera in one act in English by John Adam Hugo. Libretto by Jutta Bell-Ranske. Performed for the first time on any stage at the Metropolitan Opera House, March 12, 1919, with Florence Easton, Morgan Kingston, and Carl Schlegel.

CHARACTERS

TEMPLE DANCER _Soprano_ GUARD _Tenor_ YOGA _Ba.s.s_

The leading dancer of the Temple of Mahadeo has fallen in love with a youth who is not of her faith. Through her lover's suffering she realizes the unjust and immoral demands made upon the temple dancers whose beauty is sold to pa.s.sers-by in order that jewels may be bought for Mahadeo. The opera opens with a ceremony in the temple. The great Mahadeo sits blazing in jewels. _The Dancer_ enters. She has decided to take the jewels for her lover, who is in want. She considers that the jewels bought with the price of her beauty are hers, by right. She pleads for a sign from the G.o.d, but as her prayer remains unanswered she threatens the temple. The returning temple guard, hearing her imprecations, threatens her with death. To protect herself, she takes the snake from Mahadeo and winds it around her. She begs to be permitted to pray before being slain, and in a seductive dance, that interprets her prayer, fascinates the guard. He promises her his protection and she pretends to return his pa.s.sion. In a love scene he loosens the bands of her outer robe, which falls off. A letter to her lover tells of her plan to meet him with the stolen jewels. The guard, enraged, prepares to torture her. But she dances again, and as a last prayer begs for a drop of water. When the guard brings her the water she poisons it and persuades him to drink to her courage in facing death. He drinks and dies cursing her, her laughter, and her mocking dance. As he dies the dancer calls down curses upon the temple. A thunderstorm is the answer. Lightning shatters the walls and as the dancer puts out her hand to take the jewels of the G.o.d it strikes her and she falls dead beside the guard. The priests, returning, see the bodies of guard and dancer and call upon the G.o.ds for protection. The opera closes with the singing of the hymn of redemption, which implores forgiveness for the erring spirits of the dead.

THE LEGEND

A lyric tragedy in one act in English by Joseph Breil, with a libretto by Jacques Byrne. Produced for the first time on any stage at the Metropolitan Opera House, March 12, 1919, with Rosa Ponselle, Kathleen Howard, Paul Althouse, and Louis d'Angelo.

_Count Stackareff_, an impoverished n.o.bleman, lives with his daughter, _Carmelita_, at his hunting lodge in Muscovadia, a mythical country in the Balkans. In order to make his living, he leads a double life. By day he is a courtly n.o.bleman, and by night a bloodthirsty bandit, _Black Lorenzo_. No one but his daughter knows his secret, and she is in constant fear of his discovery for there is a price upon his head.

The story opens on a stormy night. _Stackareff_ tells his daughter that he has captured a wealthy merchant, and is holding him for a large ransom. He expects the ransom to arrive by messenger at any moment. If it does not come _Stackareff_ intends to kill the prisoner.

_Carmelita_ not only fears for the safety of her father, but that her lover _Stephen Pauloff_, whom she met in Vienna, will find out that she is the daughter of such a rogue, and cast her off. She prays before the statue of the Virgin that the young man will not discover her father's double life. _Marta_, an old servant, enters and tells _Carmelita_ that she has seen _Stephen_ in the woods. He has told her that he will soon come to see his sweetheart. _Carmelita_ rejoices but _Marta_ warns her of the legend that on this night the Evil One walks abroad and knocks at doors. He who opens the door dies within a year.

_Carmelita_ scoffs and asks _Marta_ to tell her fortune with the cards. The ace of spades, the death card, presents itself at every cutting. _Marta_ refuses to explain its significance and leaves her young mistress bewildered. The storm increases. There are two knocks.

Thinking it is _Stephen_, _Carmelita_ opens the door. No one is there.

She is terrified. Later _Stephen_ arrives. In his arms she for the moment forgets her fears, but they are soon renewed when her lover tells her that he has been sent to take the murderous bandit, _Black Lorenzo_, dead or alive. _Carmelita_ makes the young man swear before the Virgin that he will never desert her. Then she prepares to elope with him.

_Stackareff_ enters, expecting to find the messenger. He is apprehensive when he sees a soldier at his fireside. _Carmelita's_ a.s.surance that _Stephen_ is her lover calms his fear. But _Stephen_ in answer to _Stackareff's_ questions tells him that he is after _Black Lorenzo_. Again the knocks are heard. _Stackareff_, after shouting at _Stephen_ that he is his man, escapes through the door. When the young soldier resists her prayers to desist from pursuing the murderer _Carmelita_ stabs him. Two soldiers bring in the mortally wounded body of her father. Realizing that _Carmelita_ has killed their captain they fire upon her. Their shot rings out through the music of the finale.

NATOMAH

Opera in three acts by Victor Herbert. First performance on any stage at the Metropolitan Opera House, Philadelphia, February 23, 1911, with Miss Mary Garden, Miss Lillian Grenville, Mr. Huberdeau, Mr. Dufranne, Mr. Sammarco, Mr.

Preisch, Mr. Crabbe, Mr. Nicolay, Mr. McCormack.

CHARACTERS

DON FRANCISCO DE LA GUERRA, a n.o.ble Spaniard of the old regime _Ba.s.s_ FATHER PERALTA, Padre of the Mission Church _Ba.s.s_ JUAN BAPTISTA ALVARADO, a young Spaniard _Baritone_ JOSe CASTRO, a half-breed _Baritone_ PICO } bravos, comrades of Castro _Tenor_ KAGAMA } _Ba.s.s_ PAUL MERRILL, Lieut. on the U.S.

Brig _Liberty_ _Tenor_ BARBARA DE LA GUERRA, daughter of Don Francisco _Soprano_ NATOMAH, an Indian girl _Soprano_

The time is 1820, under the Spanish regime. The scene of Act I is laid on the Island of Santa Cruz, two hours' sail from the mainland. Act II takes place in the plaza of the town of Santa Barbara on the mainland, in front of the Mission Church. Act III represents the interior of the Mission Church.

At the beginning of the opera _Don Francisco_ is awaiting the return from a convent of his only child, _Barbara_. His reverie is interrupted by the arrival of _Alvarado_ and his comrades _Castro_, _Pico_, and _Kagama_. _Alvarado_ wishes to marry his cousin _Barbara_ in order to gain possession of the estates left to her by her mother.

_Castro_ is a half-breed. _Pico_ and _Kagama_ are vaqueros and hunters. All three have come to the island ostensibly for a wild-boar hunt, but _Alvarado_ has timed his arrival with the return of his cousin.

_Lieutenant Paul Merrill_, an American naval officer, and _Natomah_, a pure-blooded Indian girl, appear together at the back of the stage.

His ship has dropped anchor in the Bay of Santa Barbara. _Natomah_ has never seen an American before and she is fascinated by him. She tells him of a legend of her people. She is the last of her race. During their childhood she was _Barbara's_ playmate. She tells him of the young girl's beauty, and imagining that when he sees _Barbara_ he will fall in love, the Indian girl begs him to permit her to be at least his slave. _Barbara_ and _Father Peralta_ enter. With the young girl and _Paul_ it is a case of love at first sight. When all but _Castro_ and _Natomah_ have gone into the hacienda, the half-breed urges _Natomah_ to cease spending her time with white people and to follow him, the leader of her race. _Natomah_ turns from him in disgust. When they separate, _Alvarado_ serenades _Barbara_ who appears on the porch. He has heard that she has eyes only for the American. Fearing to lose time he declares his love. But he does not advance his suit by taunting her with her infatuation for the American officer. When she leaves him he swears to have _Paul's_ life. _Castro_ suggests that it would be better to carry _Barbara_ off. _Natomah_, hidden in an arbour, overhears them discussing their plans. The next day a fiesta will be held in honour of _Barbara's_ return. When the festivity is at its height fast horses will be ready to bear the young girl away to the mountains where pursuit would be difficult.

When all the guests have departed, _Barbara_ speaks aloud in the moonlight of her love for _Paul_. He suddenly appears and they exchange vows.

The next act shows the fiesta. _Alvarado_ dances the Habanera with the dancing-girl _Chiquita_. There is formal ceremony in which the _Alcalde_ and the leading dignitaries of the town pay tribute to the young girl on her coming of age. _Alvarado_ begs the honour of dancing with his cousin. The American ship salutes and _Paul_ arrives with an escort to pay tribute to the G.o.ddess of the Land, _Barbara_.

_Alvarado_ demands that his cousin continue the dance. A number of couples join them and the dance changes into the Panuelo or handkerchief dance of declaration. Each man places his hat upon the head of his partner. Each girl retains the hat but _Barbara_ who tosses _Alvarado's_ disdainfully aside. During this time _Natomah_ has sat motionless upon the steps of the grand-stand. When _Castro_ approaches in an ugly mood, rails at the modern dances and challenges someone to dance the dagger dance with him, she draws her dagger and hurls it into the ground beside the half-breed's. The crowd is fascinated by the wild dance. Just as _Alvarado_ is about to smother _Barbara_ in the folds of his serape, _Natomah_, purposely pa.s.sing him, plunges her dagger into the would-be abductor. The dance comes to a sudden stop. _Alvarado_ falls dead. _Paul_ and his escort hold the crowd at bay. _Natomah_ seeks protection in the Mission Church at the feet of _Father Peralta_.

At the opening of the third act _Natomah_ is crooning an Indian lullaby to herself in the church. She wishes to join her people, but instead _Father Peralta_ persuades her to enter the convent.

MONA

Opera in three acts. Poem by Brian Hooker. Music by Horatio Parker.

The action takes place during the days of the Roman rule in Britain.

First performance at the Metropolitan, March 4, 1912.

_Quintus_, son of the Roman _Governor_, by a British captive, has grown up as one of his mother's people. Known to them as _Gwynn_, he has won power and position among them as a bard. He is about to marry _Mona_, foster-child of _Enya_ and _Arth_, and last of the blood of Boadicea. But a great rebellion is stirred up in Britain by _Caradoc_, the chief bard, and _Gloom_, the Druid, foster-brother of _Mona_. By birthright and by old signs and prophecies she is proclaimed leader.

The girl has been taught to hate Rome and to dream of great deeds.

_Gwynn_, fearing to lose _Mona_ and his power, swears fellowship in the conspiracy. But in spite of this, for urging peace, he is cast off by _Mona_ and her followers.

The faithful lover follows her about on her mission to arouse revolt, prevents the Roman garrisons from seizing her, and secretly saves her life many times. The _Governor_, his father, blames him for this, but he replies that through _Mona_ he will yet keep the tribes from war.

The _Governor_ lays all the responsibility upon his shoulders. He promises to spare the Britons if they remain pa.s.sive, but swears to crush them without mercy if they attack. _Gwynn_ meets _Mona_ just before the battle and so moves her love for him that she becomes his creature from that moment. Triumphantly he begins to tell her of his plans for peace. Suddenly she seems to realize that he is a Roman, and calls the Britons to her aid. Still, she lies to save his life. The youth is made prisoner and led by _Mona_ and the bards against the Roman town.

The rebellion is crushed. _Arth_ and _Gloom_ are slain. _Gwynn_, coming upon them and _Mona_, tells her of his parentage and pleads for a.s.sistance. But having believed him a traitor, she now thinks him a liar and slays him. The _Governor_ and his soldiers take her captive.

From them she learns that _Gwynn_ had spoken the truth.

CYRANO

Opera in four acts by Walter Damrosch. Book by William J.

Henderson after the drama by Edmond Rostand. First performance on any stage at the Metropolitan Opera House, February 27, 1913, with Pasquale Amato as _Cyrano_, Frances Alda as _Roxane_, and Riccardo Martin as _Christian_.

CHARACTERS

CYRANO DE BERGERAC _Baritone_ ROXANE _Soprano_ DUENNA _Alto_ LISE _Soprano_ A FLOWER GIRL _Soprano_ RAGUENEAU _Tenor_ CHRISTIAN _Ba.s.s_ DE GUICHE _Ba.s.s_ LE BRET _Ba.s.s_ A TALL MUSKETEER _Tenor_ MONTFLEURY _Ba.s.s_ FIRST CAVALIER _Ba.s.s_ SECOND CAVALIER _Tenor_ THIRD CAVALIER _Ba.s.s_ A CADET _Tenor_

Act I. Interior of the Hotel de Bourgogne. Act II. "The Poet's Eating House," _Ragueneau's_ cook and pastry shop. Act III. A small square in the Old Marais. Act IV, Scene 1. Entrenchment at the siege of Arras.

Scene 2. A convent garden near the field of battle.

Rostand's play was first produced, October, 1898, by Richard Mansfield, and repeated in subsequent seasons. In 1900 it was given in French by Bernhardt and Coquelin. The libretto of the opera follows the play closely. Mr. Henderson retained and successfully remodelled the main incidents of the drama. The operatic version begins at the Hotel de Bourgogne where "La Clorise" is to be played. _Cyrano_ orders the leading actor off the stage because he has dared to cast insolent glances at his cousin _Roxane_, whom _Cyrano_ loves but dares not woo because of the deformity of his hideous nose. _Roxane_, from a box, sees in the audience the man with whom she has fallen in love, although she has never met him. _Cyrano_ fights a duel with _De Guiche_, a married suitor of _Roxane_, and p.r.i.c.ks him in the arm.

Elated at the prospect of a meeting with his cousin arranged through her duenna, _Cyrano_ rushes off to disperse one hundred men who are waiting to kill one of his friends.

In Act II, _Cyrano_ is at _Ragueneau's_ shop waiting for his cousin.

He writes an ardent love letter, intending to give it to her. His hopes are high, but they are dashed to the ground when _Roxane_ tells him of her love for _Christian_, who is to join her cousin's regiment that day. _Cyrano_ promises to watch over _Christian_. He bears his insults and agrees to woo _Roxane_ for _Christian_ by his wit and verse. He even sacrifices his own love letter.

In Act III, _Christian_ rebels at the second-hand love-making. But when _Roxane_ is disgusted with his commonplaces he is glad to turn again to _Cyrano_. Under cover of night, _Cyrano_ courts _Roxane_ beneath her balcony. She is delighted and rewards her lover with a kiss. _De Guiche_ sends a priest with a letter in which he attempts to gain an interview with her. _Roxane_ tells the priest that the letter contains an order for him to perform the marriage ceremony. While _Cyrano_ keeps _De Guiche_ outside the lovers are married. In revenge, _De Guiche_ orders the Gascon regiment of which _Cyrano_ and _Christian_ are both members to the war.

In the last act, _Roxane_ visits the entrenchment at the siege of Arras. Her carriage is driven by the faithful _Ragueneau_. _Cyrano's_ love letters, ostensibly from _Christian_, have prompted her coming.

Her husband realizes that the man she really loves is _Cyrano_, although she believes it to be _Christian_. He leaves the cousins alone, urging _Cyrano_ to tell the truth. He is soon brought back, mortally wounded. _Cyrano_ a.s.sures him that he has told _Roxane_ of the deception and that _Christian_ is the man she loves.