The Standard Operaglass Part 35

She gives to Sieglinda the broken pieces of Siegmund's sword, telling her to keep them for her son, whom she is to call Siegfried and who will be the greatest hero in the world.

Wotan arrives in thunder and lightning. Great is his wrath, and in spite of the intercession of the other Walkyries, he deprives Bruennhilde of her immortality changing her into a common mortal. He dooms her to a long magic sleep, out of which any man, who happens to pa.s.s that way may awaken her and claim her as his property.

Bruennhilde's entreaties, her beauty and n.o.ble bearing at last prevail upon him, so that he encircles her with a fiery wall, through which none but a hero may penetrate.

After a touching farewell the G.o.d, leading her to a rocky bed, closes her eyes with a kiss, and covers her with shield, spear and helmet.

Then he calls up Loge, who at once surrounds the rock on which Bruennhilde sleeps, with glowing flames.

ZAMPA.

Opera in three acts by HEROLD.

Text by MELLESVILLE.

This opera has met with great success both in France and elsewhere; it is a favorite of the public, though not free from imitating other musicians, particularly Auber and Rossini. The style of the text is somewhat bombastic, and only calculated for effect. Notwithstanding these defects {349} the opera pleases; it has a brilliant introduction, as well as nice chorus-pieces and cavatinas.

In the first act Camilla, daughter of Count Lugano expects her bridegroom Alfonso di Monza, a Sicilian officer, for the wedding ceremony. Dandolo, her servant, who was to fetch the priest, comes back in a fright and with him the notorious Pirate-captain, Zampa, who has taken her father and her bridegroom captive. He tells Camilla who he is, and forces her to renounce Alfonso and consent to a marriage with himself, threatening to kill the prisoners, if she refuses compliance.--Then the pirates hold a drinking-bout in the Count's house, and Zampa goes so far in his insolence, as to put his bridal-ring on the finger of a marble statue, standing in the room. It represents Alice, formerly Zampa's bride; whose heart was broken by her lover's faithlessness; then the fingers of the statue close over the ring, while the left hand is upraised threateningly. Nevertheless Zampa is resolved to wed Camilla, though Alice appears once more, and even Alfonso, who interferes by revealing Zampa's real name and by imploring his bride to return to him, cannot change the brigand's plans. Zampa and his comrades have received the Viceroy's pardon, purposing to fight against the Turks, and so Camilla dares not provoke the pirate's wrath by retracting her promise. Vainly she implores Zampa to give her father his freedom and to let her enter a convent.

Zampa, hoping that she only fears the pirate in him tells her, that he is Count of Monza, {350} and Alfonso, who had already drawn his sword, throws it away, terrified to recognize in the dreaded pirate his own brother, who has by his extravagances once already impoverished him.

Zampa sends Alfonso to prison and orders the statue to be thrown into the sea. Camilla once more begs for mercy, but seeing that it is likely to avail her nothing, she flies to the Madonna's altar, charging him loudly with Alice's death. With scorn and laughter he seizes Camilla, to tear her from the altar, but instead of the living hand of Camilla, he feels the icy hand of Alice, who draws him with her into the waves.

Camilla is saved and united to Alfonso, while her delivered father arrives in a boat, and the statue rises again from the waves, to bless the union.

THE APOTHECARY.

(LO SPEZIALE.)

Comic Opera by JOSEF HAYDN (1768).

After a sleep of 125 years in the dust of Prince Esterhazy's archives at Eisenstadt, Dr. Hirschfeld received permission from Prince Paul Esterhazy of Galantha to copy the original ma.n.u.script.

It is Dr. Hirschfeld's merit to have revived and rearranged this charming specimen of the old master's genius. And again it was Ernst Schuch, the highly gifted director of the Dresden opera who had it represented on this stage in 1895, and st the same time introduced it to the Viennese {351} admirers of old Haydn, by some of the best members of his company.

The music is truly Haydn'ish, simple, naive, fresh and clear as crystal, and it forms an oasis of repose and pure enjoyment to modern ears, accustomed to and tired of the astonishing oddities of modern orchestration.

The plot is simple but amusing. A young man, Mengino, has entered the service of the apothecary Semp.r.o.nio, though he does not possess the slightest knowledge of chemistry. His love for Semp.r.o.nio's ward Grilletta has induced him to take this step and in the first scene we see him mixing drugs, and making melancholy reflections on his lot, which has led him to a master, who buries himself in his newspapers instead of attending to his business, and letting his apprentices go on as best they may.

Semp.r.o.nio entering relates that the plague is raging in Russia; and another piece of news, that an old cousin of his has married his young ward, is far more interesting to him than all his drugs and pills, as he intends to act likewise with Grilletta. This young lady has no fewer than three suitors, one of whom, a rich young c.o.xcomb enters to order a drug. His real intention is to see Grilletta. He is not slow to see, that Mengino loves her too, so he sends him into the drug kitchen, in order to have Grilletta all to himself. But the pert young beauty only mocks him, and at Mengino's return Volpino is obliged to retire.

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Alone with Mengino, Grilletta encourages her timid lover, whom she likes very much, but just when he is about to take her hand Semp.r.o.nio returns, furious to see them in such intimacy. He sends Mengino to his drugs and the young girl to her account books, while he buries himself once more in the study of his newspapers. Missing a map he is obliged to leave the room. The young people improve the occasion by making love, and when Semp.r.o.nio, having lost his spectacles, goes to fetch them, Mengino grows bolder and kisses Grilletta. Alas, the old man returns at the supreme moment, and full of rage, sends each to his room.

Mengino's effrontery ripens the resolution in the guardian's breast to marry Grilletta at once, he is however detained by Volpino, who comes to bribe him by an offer from the Sultan to go into Turkey as apothecary at court, war having broken out in that country. The wily young man insinuates, that Semp.r.o.nio will soon grow stone-rich, and offers to give him 10,000 ducats at once, if he will give him Grilletta for his wife. Semp.r.o.nio is quite willing to accept the Sultan's proposal, but not to cede Grilletta. So he sends Mengino away, to fetch a notary, who is to marry him to his ward without delay. The maiden is quite sad, and vainly tortures her brain, how to rouse her timid lover into action. Semp.r.o.nio, hearing her sing so sadly, suggests that she wants a husband and offers her his own worthy person.

Grilletta accepts him, hoping to awaken Mengino's jealousy and to rouse him to action. {353} The notary comes, in whom Grilletta at once recognizes Volpino in disguise. He has hardly sat down, when a second notary enters, saying that he has been sent by Mengino and claiming his due. The latter is Mengino himself, and Semp.r.o.nio, not recognizing the two, bids them sit down. He dictates the marriage contract, in which Grilletta is said to marry Semp.r.o.nio by her own free will besides making over her whole fortune to him. This scene, in which the two false notaries distort every word of old Semp.r.o.nio's, and put each his own name instead of the guardian's, is overwhelmingly comical. When the contract is written, Semp.r.o.nio takes one copy, Grilletta the other and the whole fraud is discovered.--Volpino vanishes, but Mengone promises Grilletta to do his best in order to win her.

In the last scene Semp.r.o.nio receives a letter from Volpino, telling him, that the Pasha is to come with a suite of Turks to buy all his medicines at a high price, and to appoint him solemnly as the Sultan's apothecary. Volpino indeed arrives, with his attendants, all disguised as Turks, but he is again recognized by Grilletta. He offers his gold, and seizes Grilletta's hand, to carry her off, but Semp.r.o.nio interferes. Then the Turks begin to destroy all the pots and gla.s.ses and costly medicines, and when Semp.r.o.nio resents this, the false Pasha draws his dagger, but Mengino interferes and at last induces the frightened old man, to promise Grilletta to him, if he succeeds in {354} saving him from the Turks. No sooner is the promise written and signed, than Grilletta tears off the Pasha's false beard and reveals Volpino, who retires baffled, while the false Turks drink the young couple's health at the cost of the two defeated suitors.

DJAMILEH.

A romantic Opera in one act by GEORGES BIZET.

Text by LOUIS GALLET.

German Translation by LUDWIG HARTMANN.

Djamileh was composed before Carmen, and was given in Paris in 1872.

But after the years of war and bloodshed, its sweetness was out of place, and so it was forgotten, until it was revived again in Germany.

Though the text is meagre, the opera had great success on the stages of Berlin, Leipsic, Vienna and Dresden, and so its Publisher, Paul Choudens in Paris was right, when he remarked years ago to a German critic: "l'Allemagne un jour comprendra les beautes de Djamileh."

There is no more exquisite music, than the romance of the boatsmen on the Nile, sung with closed lips at the opening of the first scene, and the ravishing dance of the Almee, an invention of Arabic origine is so original, so wild and melancholy and yet so sweet, that it enchants every musical ear. The plot is very simple and meagre.

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Harun, a rich young Turk has enjoyed life to its very dregs. He gives dinners, plays at dice, he keeps women, but his heart remains cold and empty, he disbelieves in love, and only cares for absolute freedom in all his actions, but withal his life seems shallow and devoid of interest. Every month he engages a new female slave, with whom he idles away his days, but at the end of this time she is discarded. His antipathy for love partly arises from the knowledge of his father's unhappy married life.

At the opening of the scene Harun lies on a couch smoking, too lazy to move a finger and lulled into dreams by the boatsmen's songs. At last he rouses himself from his lethargy, and tells his secretary and former tutor Splendiano of his visions. The latter is looking over his master's accounts, and now tells him dryly, that, if he continues his style of living, he will be ruined before the end of the year. This scarcely moves the young man, to whom a year seems a long way off; he also takes it cooly, when Splendiano remarks, that the latest favorite's month is up, and that Djamileh is to leave towards evening, to make room to another beauty. Harun carelessly charges his servant to look out for another slave. When Splendiano sees, that Djamileh's unusual beauty has failed to impress his master, he owns to a tender feeling for her himself, and asks for permission to win the girl.

Harun readily grants this request; but when he sees Djamileh enter with sad and dejected looks, he {356} tenderly inquires, what ails her. She sings him a strange and melancholy "Ghasel" about a girl's love for a hero, and he easily guesses her secret. In order to console her, he presents her with a beautiful necklace, and grants her her freedom, at which she brightens visibly, but refuses it. Harun however has no idea of losing either heart or liberty, and when some friends visit him, he turns from her, to join them in a game, leaving her unveiled, and exposed to their insolent stares and admiration. Djamileh, covered with confusion, begins to weep, at which Splendiano interposes, trying to console her by the offer of his hand. Scornfully repulsed by her, he reveals to her the cruel play of his master, and her approaching dismissal, and drives her almost to despair. But she resolves to show her love to her master before she leaves him, and for this purpose entreats Splendiano to let her disguise herself and personate the new slave; promising to be his, if her plans should fail, but vowing to herself, to choose death rather than leave her beloved master. The evening approaches, and with it the slave-dealer with a whole bevey of beautiful young girls. Harun turns from them indifferently, ordering Splendiano to choose for him, but the slave-dealer insists upon showing up the pearl of his flock, a young Almee, who dances the most weird and pa.s.sionate figures until she sinks back exhausted. She is selected, but Splendiano gives 200 zechines to the dealer, who consents to let her change clothes with Djamileh. When the latter {357} reenters Harun's room veiled, he is astonished to find her so shy and sad. In vain he tries to caress her, she escapes him, but suddenly unveiling herself, he recognizes her. With wild and pa.s.sionate entreaty she begs him to let her be a slave again, as she prefers his presence to freedom and fortune. At first he hesitates, but true love conquers, and he takes her in his arms. He has found his heart at last, and owns that love is stronger and better than any other charm.

DONNA DIANA.

Comic Opera in three acts by E. VON REZNICEK.

Text after a free translation of MORETO'S comedy of the same name.

Many are the authors, who have dramatized this old, but ever young and fresh comedy, but yet none have so nearly reached the ideal, as this young composer. His manner of interweaving Spanish national airs is particularly successful, because they tinge the piece with peculiar local colouring.

The Spanish melodies are chosen with exquisite elegance and skill.

Reznicek's manner of composing is thoroughly modern; he has learnt much from Wagner and Liszt and not least from Verdi's "Falstaff"; nevertheless he is always original, fresh and so {358} amusing, so sparkling with wit and genius, that I am tempted to call Donna Diana the modern comic opera par excellence. Sometimes the orchestra is almost too rich for Moreto's playful subject, but this is also quite modern, and besides it offers coloristic surprises very rare in comic operas.

In the first act the waltz is particularly charming; in the second the ballet music and Floretta's song (im Volkston) are so beautiful that once heard they can never be forgotten. The bolero-rythme and the 3/8 measure are typical of the Spanish style, which flows through almost all the songs and recitations giving sparkling piquancy to the opera.