The Standard Operaglass Part 17

In the second act we see Agnes, the Emperor's daughter, working and singing with her damsels. She is well guarded by old Hiltrudis, but the worthy lady is obliged to leave for some days and departs with many exhortations. Hardly has she gone, than all the working-material disappears, and the maidens begin to sing and frolic. The appearance of Junker Heinz frightens them away. Heinz, who has ridden long, thinks to take a little rest, now that he sees the towers of Speier before {167} him. He stretches himself on a mossy bank and is soon asleep.--Shortly afterwards the Princess Agnes peeps about with her companion Bertha. She is highly pleased with the appearance of the strange hunter, and seeing him asleep, she gazes at him, until she insensibly falls in love with him. Observing the doc.u.ment which the stranger has in his keeping, she takes and reads it, and disgusted with its contents throws it into the fountain, quickly fetching another parchment which was once given to her by her father, and which contains both permission to wish for something and her father's promise to grant her wish.

When Heinz awakes, and finds the loveliest of the maidens beside him, he falls as deeply in love as the young lady, but their tender interview is soon interrupted by the blowing of hunter's horns.

In the third act Count Gerold, who has come with a suite, to accompany the Princess on a hunt, is presented with the Emperor's doc.u.ment by Heinz, who cannot read and who is wholly ignorant of the change which Agnes has made. Though greatly astonished at the Emperor's command to wed Agnes to the bringer of his letter, Count Gerold is accustomed to obey, and Heinz, who first refuses compliance with the strange command, at once acquiesces, when he sees that his lady-love and the Princess are one and the same person. About to go to church, they are detained by the Emperor, who scornfully charges Heinz with fraud.

But when Count Gerold presents the doc.u.ment, {168} his scorn turns on Agnes and he orders her to a convent. Heinz fervently entreats the Emperor to pardon Agnes, and takes a tender farewell of her. On the point of departing for ever, he sees the three amba.s.sadors, whom he recognizes and loudly denounces as robbers and swindlers. Boccanera is obliged to own that his wound came from Junker Heinz, who caught him stealing sheep. They are led to prison, while the Emperor, grateful to Heinz for his daughter's delivery from robbers, gives her to him and makes Heinz Duke of Suabia, persuaded that it is useless to fight against that which the stars have prophesied.

A KING AGAINST HIS WILL.

(DER KONIG WIDER WILLEN.)

Comic Opera in three acts by EMANUEL CHABRIER.

Text after a comedy written by ANCELOT, from EMILE DE NAJAC and PAUL BURANI.

The composer has recently become known in Germany by his opera Gwendoline, performed at Leipsic a short time ago. His latest opera, "A King against his will", was represented on the Royal Opera in Dresden, April 26th 1890, and through its wit, grace and originality won great applause.--Indeed, though not quite free from "raffinement", its melodies are exquisitely interesting and lovely. Minka's Bohemian song, her duet with De Nangis, her lover, as well as the duet between the King and Alexina are master-pieces, and the {169} national coloring in the song of the Polish bodyguard is characteristic enough.

The libretto is most amusing, though the plot is complicated. The scene is laid at Cracow in the year 1574.--Its subject is derived from a historical fact. Henry de Valois has been elected King of Poland, through the machinations of his ambitious mother, Catarina di Medici, to whom it has been prophesied, that all her sons should be crowned.

The gay Frenchman most reluctantly accepts the honor, but the delight of his new Polish subjects at having him, is not greater than his own enchantment with his new Kingdom.

The first act shows the new King surrounded by French n.o.blemen, gay and thoughtless like himself; but watching all his movements by orders of his mother, who fears his escape. By chance the King hears from a young bondwoman Minka, who loves De Nangis, his friend, and wishes to save him a price, that a plot had been formed by the Polish n.o.blemen, who do not yet know him personally, and he at once decides to join the conspiracy against his own person.--Knowing his secretary, Fritelli to be one of the conspirators, he declares that he is acquainted with their proceedings and threatens him with death, should he not silently submit to all his orders.--The frightened Italian promises to lead him into the house of Lasky, the princ.i.p.al conspirator, where he intends to appear as De Nangis. But before this, in order to prevent discovery he {170} a.s.sembles his guard and suite, and in their presence accuses his favorite De Nangis with treachery, and has him safely locked up in apparent deep disgrace.

The second act opens with a festival at Lasky's, under cover of which the King is to be arrested and sent over the frontier. Now the King, being a total stranger to the whole a.s.sembly, excepting Fritelli, presents himself as De Nangis and swears to dethrone his fickle friend, the King, this very night. But meanwhile De Nangis, who, warned by Minka's song, has escaped from his confinement through the window, comes up, and is at once presented by the pretended De Nangis as King Henry. The true De Nangis complying with the jest, at once issues his Kingly orders, threatening to punish his antagonists and proclaiming his intention to make the frightened Minka his Queen. He is again confined by the conspirators, who, finding him so dangerous, resolve to kill him. This is entirely against King Henry's will, and he at once revokes his oath, proclaiming himself to be the true King and offering himself, if need shall be as their victim. But he is not believed; the only person, who knows him, Fritelli, disowns him, and Alexina, the secretary's wife, a former sweetheart of the King in Venice, to whom he has just made love again under his a.s.sumed name, declares, that he is De Nangis.--Henry is even appointed by lot to inflict the death-stroke on the unfortunate King. Determined to destroy himself rather than let his friend suffer, he opens the door to De Nangis' {171} prison, but the bird has again flown. Minka, though despairing of ever belonging to one so highborn has found means to liberate him, and is now ready to suffer for her interference. She is however protected by Henry, who once more swears to force the King from the country.

The third act takes place in the environs of Crakow, where preparations are made for the King's entry. No one knows who is to be crowned, Henry de Valois or the Arch-Duke of Austria, the pretender supported by the Polish n.o.bles, but Fritelli coming up a.s.sures the innkeeper, that it is to be the Arch-Duke. Meanwhile the King enters in hot haste asking for horses, in order to take himself away as quickly as possible. Unfortunately there is only one horse left and no driver, but the King orders this to be got ready, and declares that he will drive himself. During his absence Alexina and Minka, who have proceeded to the spot, are full of pity for the unfortunate King, as well as for his friend De Nangis. Alexina resolves to put on servant's clothes, in order to save the fugitive, and to drive herself. Of course Henry is enchanted when recognizing his fair driver and both set about to depart.

Minka, left alone, bewails her fate and wants to stab herself, whereupon De Nangis suddenly appears in search for the King. At the sight of him, Minka quickly dries her tears, being a.s.sured that her lover is true to her. Fritelli however, who at first had rejoiced to see his wife's admirer depart, {172} is greatly dismayed at hearing that his fair wife was the servant-driver. He madly rushes after them, to arrest the fugitives. But the faithful guard is already on the King's track, and together with his Cavaliers, brings them back in triumph.

Finding that, whether her will or no, he must abide by his lot, and hearing further, that the Arch-Duke has renounced his pretentions to the crown of Poland, the King at last submits. He unites the faithful lovers, De Nangis and Minka, sends Fritelli as Amba.s.sador to Venice accompanied by his wife Alexina, and all hail Henry de Valois as King of Poland.

LOHENGRIN.

Romantic Opera in three acts by RICHARD WAGNER.

This is the most popular of all Wagner's operas. No need to say more about its music, which is so generally known and admired, that every child in Germany knows the graceful aria, where Lohengrin dismisses the swan, the superb bridal chorus etc.

Wagner again took his material from the old legend, which tells us of the mystical knight Lohengrin, (Veron of Percifal), Keeper of the "Holy Grail".

The scene is laid near Antwerp, where "Heinrich der Vogler," King of Germany, is just levying troops amongst his va.s.sals of Brabant, to repulse the Hungarian invaders. The King finds the people {173} in a state of great commotion, for Count Frederick Telramund accuses Elsa of Brabant, of having killed her young brother G.o.dfrey, heir to the Duke of Brabant, who died a short time ago, leaving his children to the care of Telramund. Elsa was to be Telramund's wife, but he wedded Ortrud of Friesland and now claims the deserted Duchy of Brabant.

As Elsa declares her innocence, not knowing what has become of her brother, who was taken from her during her sleep, the King resolves to decide by a tourney in which the whole matter shall be left to the judgment of G.o.d. Telramund, sure of his rights, is willing to fight with any champion, who may defend Elsa. All the n.o.blemen of Brabant refuse to do so, and even the King, though struck by Elsa's innocent appearance, does not want to oppose his valiant and trustworthy warrior.

Elsa alone is calm, she trusts in the help of the heavenly knight, who has appeared to her in a dream, and publicly declares her intention of offering to her defender the crown and her hand. While she prays, there arrives a knight in silver armor; a swan draws his boat. He lands, Elsa recognizes the knight of her dream and he at once offers to fight for the accused maiden on two conditions, first that she shall become his wife, and second, that she never will ask for his name and his descent.

Elsa solemnly promises and the combat {174} begins. The strange knight is victorious, and Telramund, whose life the stranger spares is with his wife Ortrud outlawed.

The latter is a sorceress; she has deceived her husband, who really believes in the murder of G.o.dfrey, while as a matter of fact she has abducted the child. In the second act we see her at the door of the Ducal palace, where preparations for the wedding are already being made. She plans vengeance. Her husband, full of remorse and feeling that his wife has led him on to a shameful deed, curses her as the cause of his dishonor. She derides him and rouses his pride by calling him a coward. Then she pacifies him with the a.s.surance, that she will induce Elsa to break her promise and ask for the name of her husband, being sure, that then all the power of this mysterious champion will vanish.

When Elsa steps on the balcony to confide her happiness to the stars, she hears her name spoken in accents so sad, that her tender heart is moved. Ortrud bewails her lot, invoking Elsa's pity. The Princess opens her door, urging the false woman to share her palace and her fortune. Ortrud at once tries to sow distrust in Elsa's innocent heart.

As the morning dawns, a rich procession of men and women throng to the Muenster, where Elsa is to be united to her protector. Telramund tries vainly to accuse the stranger; he is pushed back and silenced. As Elsa is about to enter the church, Ortrud steps forward, claiming the right of {175} precedence. Elsa, frightened, repents too late having protected her. Ortrud upbraids her with not even having asked her husband's name and descent. All are taken aback, but Elsa defends her husband, winning everybody by her quiet dignity.

She turns to Lohengrin for protection, but, alas, the venom rankles in her heart.

When they are all returning from church, Telramund once more steps forth, accusing Lohengrin and demanding from the King to know the stranger's name. Lohengrin declares that his name may not be told, excepting his wife asks. Elsa is in great trouble, but once more her love conquers, and she does not put the fatal question.

But in the third act, when the two lovers are alone she knows no rest.

Although her husband asks her to trust him, she fears that he may once leave her as mysteriously, as he came, and at last she cannot refrain from asking the luckless question. From this moment all happiness is lost to her. Telramund enters to slay his enemy, but Lohengrin, taking his sword, kills him with one stroke. Then he leads Elsa before the King and loudly announces his secret. He tells the astounded hearers, that he is the Keeper of the Holy-Grail. Sacred and invulnerable to the villain, a defender of right and virtue, he may stay with mankind as long as his name is unknown. But now he is obliged to reveal it.

He is Lohengrin, son of Percival, King of the Grail, and is now compelled to leave his wife and return to his home. The swan appears, from whose neck {176} Lohengrin takes a golden ring, giving it to Elsa together with his sword and golden horn.

Just as Lohengrin is about to depart Ortrud appears, triumphantly declaring, that it was she, who changed young G.o.dfrey into a swan, and that Lohengrin would have freed him too, had Elsa not mistrusted her husband.--Lohengrin, hearing this, sends a fervent prayer to Heaven and loosening the swan's golden chain, the animal dips under water and in his stead rises G.o.dfrey, the lawful heir of Brabant. A white dove descends to draw the boat in which Lohengrin glides away and Elsa falls senseless in her brother's arm.

LORLE.

Opera in three acts by ALBAN FOERSTER.

Text by HANS HEINRICH SCHEFSKY.

With this opera its composer has made a lucky hit; it stands far higher than the "Maidens of Schilda", by dint of the charming subject, founded on Auerbach's wonderful village-story: Die Frau Professorin. This romance is so universally known and admired all over Germany, that it ensures the success of the opera. The music is exceedingly well adapted to the subject; its best parts are the "Lieder" (songs) which are often exquisitely sweet, harmonious and refined. They realize Foerster's prominent strength, and nowhere could they be better placed than in this sweet and touching story.

Though the libretto is not very carefully written, it is better than the average performances of this {177} kind, and with poetical intuition Schefsky has refrained from the temptation, to make it turn out well, as Charlotte Birch-Pfeiffer has done in her play of L'orle, which is a weak counterpart of Auerbach's village-tragedy.

The first representation of the opera took place in Dresden on June 18th of 1891; it won the success it truly deserves.

The first act which is laid in a village of the Black Forest, represents the square before the house of the wealthy Lindenhost. He wishes his only daughter Lorle to marry a well to do young peasant, named Balder, who loved her from her childhood. But Lorle rejects him, having lost her heart to a painter, who had stayed in her father's house, and who had taken her as a model for a picture of the Madonna, which adorns the altar of the village church. Lorle's friend Baerbele guesses her secret, and advises her to consult fate, by wreathing secretly a garland of blue-bells and reed gra.s.s. This wreath she is to throw into the branches of an oak calling aloud the name of her lover.

If the garland is stopped by the boughs, her wishes are fulfilled, if it falls back into the girl's hands, she must give up hope for the year.

Both maidens resolve to try their fate on the very same night, which happens to be St. John's (midsummer-night) the true night for the working of the charm.

Meanwhile the Hussars arrive, to carry away the newly enlisted peasants. The sergeant willingly {178} permits a last dance, and all join in it heartily, but when the hour of parting comes the frightened Balder hides in an empty barrel. Unfortunately his officer happens to choose this one barrel for himself, deeming it filled with wine. When it is laid on the car, the missing recruit is promptly apprehended.

The scene changes now to one of sylvan solitude, through which two wanderers are sauntering. They are artists, and one of them, Reinhardt, is attracted to the spot by his longing for the sweet village-flower, whom he has not forgotten in the whirl of the great world. Already he sees the windows of his sweet-heart glimmer through the trees, when suddenly light footsteps cause the friends to hide behind a large oak-tree. The two maidens who appear are Lorle and Baerbele. The former prays fervently, then throwing her garland she shyly calls her lover's name Reinhardt. The latter stepping from behind the tree skillfully catches the wreath--and the maiden. This moment decides upon their fates; Reinhardt pa.s.sionately declares his love, while Walter amuses himself with pretty Baerbele, whose naive coquetry pleases him mightily.

The following act introduces us to Reinhardt's studio in a German residence. A year has gone by since he wooed and won his bride; alas, he is already tired of her. The siren Maria countess of Matran, with whom he was enamoured years ago and whose portrait he has just finished, has again completely bewitched him.

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