The Standard Operas Part 11

(1866). During this period he also wrote a large number of cantatas, choruses, part-songs, and instrumental works. His next great work was "Hamlet," first produced March 9, 1868, the success of which gained him the position of Director of the Conservatory in 1871. Since that time he has written only the opera "Francoise de Rimini," performed April 14, 1882. In 1880 he was made a member of the Legion of Honor.

In common with Gounod he now shares the honor of being one of the few French writers who hold a high rank among modern composers.

MIGNON

"Mignon," an opera comique in three acts, words by Barbier and Carre, the subject taken from Goethe's "Wilhelm Meister," was first produced at the Opera Comique, Paris, Nov. 17, 1866, with the following cast:--

MIGNON Mme. GALLI-MARIe.

WILHELM MEISTER M. ACHARD.

LAERTES M. CONDERS.

LOTARIO M. BATAILLE.

FILINA Mme. CABEL.

The scene of the first two acts is laid in Germany, and of the third in Italy. Mignon, the heroine, in her childhood was stolen by gypsies.

She is of n.o.ble birth. The mother died shortly after her bereavement, and the father, disguised as the harper Lotario, has wandered for years in quest of his daughter. The opera opens in the yard of a German inn, where a troupe of actors, among them Filina and Laertes, are resting, on their way to the castle of a neighboring prince, where they are to give a performance.

A strolling gypsy band arrives about the same time, and stops to give an entertainment to the guests. Mignon, who is with the band, is ordered to perform the egg dance, but, worn out with fatigue and abusive treatment, refuses. Giarno, the leader, rushes at her, but the old harper interposes in her behalf. Giarno then turns upon Lotario, when the wandering student, Wilhelm Meister, suddenly appears and rescues both Mignon and the harper. To save her from any further persecution he engages her as his page, and follows on in the suite of Filina, for whom he conceives a violent and sudden pa.s.sion. Touched by his kind attentions to her, Mignon falls in love with Wilhelm, who, ignorant of his page's affection, becomes more and more a prey to the fascinations of Filina. At last the troupe arrives at the castle, Wilhelm and Mignon with them. Wilhelm enters with the others, leaving Mignon to await him outside. Maddened with jealousy, she attempts to throw herself into a lake near by, but is restrained by the notes of Lotario's harp. She rushes to him for counsel and protection, and in her despair invokes vengeance upon all in the castle. As the entertainment closes, Filina and her troupe emerge, joyful over their great success. She sends Mignon back for some flowers she has left, when suddenly flames appear in the windows. Maddened by his own grief and Mignon's troubles Lotario has fired the castle. Wilhelm rushes into the burning building and brings out the unconscious Mignon in his arms.

The last act opens in Lotario's home in Italy, whither Mignon has been taken, followed by Wilhelm, who has discovered her devoted attachment to him, and has freed himself from the fascinations of Filina. Through the medium of a long-concealed casket containing a girdle which Mignon had worn in her childhood, also by a prayer which she repeats, and the picture of her mother, Lotario is at last convinced that she is his daughter, and gives his blessing to her union with Wilhelm.

The overture recites the leading motives of the work. The first act opens with a fresh and melodious chorus of the townspeople over their beer in the inn yard ("Su borghesi e magnati"). During their singing a characteristic march is heard, and the gypsy band enters. The scene is a charming one, the little ballet being made still more picturesque by the fresh chorus and a song of Filina's in waltz time. The scene of the encounter with Giarno and Mignon's rescue follows, and leads up to a very spirited quintet, which is followed by a graceful trio between Wilhelm, Filina, and Laertes, the actor. In the next scene Wilhelm questions Mignon as to her history, and at the end of their pathetic duet, when he says, "Were I to break thy chains and set thee free, to what beloved spot wouldst thou take thy way?" she replies in the beautiful romanza, "Non conosci il bel suol," more familiarly known in Goethe's own words, "Kennst du das Land,"--a song full of tender beauty and rare expression, and one of the most delightful inspirations of any composer. It is said that much of its charm comes from the composer's study of Ary Scheffer's picture of Mignon. Be this as it may, he has caught the inner sense of the poem, and expressed it in exquisite tones. It is followed almost immediately by a duet between Mignon and Lotario ("Leggiadre rondinelle") of almost equal beauty, known as the Swallow duet. After a somewhat uninteresting scene between Laertes, Filina, and Frederick, who is also in love with Filina, the finale begins with the departure of the actors to fulfil their engagement, in which Filina, in a graceful aria ("Grazie al gentil signor"), invites Wilhelm to be of the number.

The second act opens in Filina's boudoir, where she is at her toilet, arraying herself for her part as t.i.tania in the forthcoming performance of the "Midsummer Night's Dream" at the castle. As Wilhelm and Mignon enter the apartment, a very dramatic conversation ensues between them in the form of a terzetto ("Ohime quell' acre riso").

Mignon is in despair at the attention Wilhelm pays Filina, and the latter adds to her pangs by singing with him a gay coquettish aria ("Gai complimenti"). As they leave the room Mignon goes to the mirror and begins adorning herself as Filina had done, hoping thereby to attract Wilhelm, singing meanwhile a characteristic song ("Conosco un zingarello") with a peculiar refrain, which the composer himself calls the "Styrienne." It is one of the most popular numbers in the opera, and when first sung in Paris made a furor. At the end of the scene Mignon goes into a cabinet to procure one of Filina's dresses, and the lovelorn Frederick enters and sings his only number in the opera, a bewitching rondo gavotte ("Filina nelle sale"). Wilhelm enters, and a quarrel between the jealous pair is prevented by the sudden appearance of Mignon in Filina's finery. She rushes between them, Frederick makes his exit in a fume, and Wilhelm announces to Mignon his intention to leave her, in the aria, "Addio, Mignon, fa core," one of the most pathetic songs in the modern opera. In the next scene she tears off her finery and rushes out expressing her hatred of Filina. The scene now changes to the park surrounding the castle where the entertainment is going on. Mignon hears the laughter and clapping of hands, and overcome with despair attempts to throw herself into the lake, but is restrained by Lotario, and a beautiful duet ensues between them ("Sofferto hai tu?"). In the next scene Filina, the actors, and their train of followers emerge from the castle, and in the midst of their joy she sings the polacca, "Ah! per sta.s.sera," which is a perfect _feu de joie_ of sparkling music, closing with a brilliant cadenza. The finale, which is very dramatic, describes the burning of the castle and the rescue of Mignon.

The last act is more dramatic than musical, though it contains a few delightful numbers, among them the chorus barcarole in the first scene, "Orsu, sciogliam le vela," a song by Wilhelm ("Ah! non credea"), and the love duet, "Ah! son felice," between Wilhelm and Mignon, in which is heard again the cadenza of Filina's polacca.

"Mignon" has always been a success, and will unquestionably always keep its place on the stage,--longer even than the composer's more ambitious works, "Hamlet" and "Francoise de Rimini," by virtue of its picturesqueness and poetic grace, as well as by the freshness, warmth, and richness of its melodies. In this country opera-goers will long remember "Mignon" by the great successes made by Miss Kellogg as Filina, and by Mme. Lucca and Mme. Nilsson in the t.i.tle-role.

VERDI.

Giuseppi Verdi was born at Roncale, Italy, Oct. 9, 1813. He displayed his musical talent at a very early age; indeed, in his tenth year he was appointed organist in his native town. He then studied for a time at Busseto, and afterwards, by the help of a patron, M. Barezzi, went to Milan. Curiously enough he was refused a scholarship on the ground that he displayed no apt.i.tude for music. Nothing daunted, he studied privately with the composer Lavigne, and five years afterwards commenced his career as an operatic writer. His first opera, "Oberto,"

was given at La Scala, Milan, with indifferent success. He was not fairly recognized until his opera "I Lombardi" was performed. In 1844 "Ernani" was received with great enthusiasm. "Attila" (1846) was his next great triumph; and then followed in rapid succession a large number of operas, among them: "I Masnadieri" (1847), written for the English stage, with Jenny Lind, Lablache, and Gardoni in the cast; "Luisa Miller" (1849); "Stifellio" (1851); "Rigoletto" (1851); "Il Trovatore," Rome (1853); "La Traviata," Venice (1853); "I Vespri Siciliani," Paris (1855); "Simon Boccanegra," Venice (1857); "Un Ballo in Maschera," Rome (1858); "La Forza del Destino," St. Petersburg (1862); "Don Carlos," Paris (1867), and "Aida," his last opera, Cairo (1871). Since that time Verdi has produced nothing but a Pater Noster and an Ave Maria (1880), and the "Requiem," composed in memory of the patriot Manzoni, and produced at Milan in 1874, on the occasion of the anniversary of his death. It has been reported that he is at work upon a new opera, "Oth.e.l.lo," the words by Arrigo Boito, the composer of "Mephistopheles;" but nothing more than the report has been heard from it during the past three or four years. The great melodist now spends a very quiet life as a country gentleman upon his estates near Busseto.

ERNANI.

"Ernani," a tragic opera in four acts, words by F.M. Piave, the subject taken from Victor Hugo's tragedy of "Hernani," was first produced at Venice, March 9, 1844. The earlier performances of the opera gave the composer much trouble. Before the first production the police interfered, refusing to allow the representation of a conspiracy on the stage, so that many parts of the libretto, as well as much of the music, had to be changed. The blowing of Don Silva's horn in the last act was also objected to by one Count Mocenigo, upon the singular ground that it was disgraceful. The Count, however, was silenced more easily than the police. The chorus "Si ridesti il Leon di Castiglia" also aroused a political manifestation by the Venetians.

The opera was given in Paris, Jan. 6, 1846, and there it encountered the hostility of Victor Hugo, who demanded that the libretto should be changed. To accommodate the irate poet, the words were altered, the characters were changed to Italians, and the new t.i.tle of "II Proscritto" was given to the work.

The action of the opera takes place in Arragon, Spain, and the period is 1519. Elvira, a n.o.ble Spanish lady, betrothed to the grandee Don Gomez de Silva, is in love with the bandit Ernani, who forms a plan to carry her off. While receiving the congratulations of her friends upon her approaching marriage with Silva, Don Carlos, the King of Spain, enters her apartment, declares his pa.s.sion for her, and tries to force her from the castle. She cries for help, and Ernani comes to her rescue and defies the king. The situation is still further complicated by the sudden arrival of Silva, who declares he will avenge the insult. Finding, however, that it is the King whom he has challenged, he sues for pardon. In the second act, as the nuptials are about to be solemnized, Ernani enters, disguised as a pilgrim, and believing Elvira false to him, throws off his disguise and demands to be given up to the King, which Silva refuses, as he cannot betray a guest.

Discovering, however, that Elvira and Ernani are attached to each other, he determines on vengeance. The King eventually carries off Elvira as a hostage of the faith of Silva, whereupon the latter challenges Ernani. The bandit refuses to fight with him, informs him that the King is also his rival, and asks to share in his vengeance, promising in turn to give up his life when Silva calls for it, and presenting him with a horn which he is to sound whenever he wishes to have the promise kept. In the third act, the King, aware that the conspirators are to meet in the catacombs of Aquisgrana, conceals himself there, and when the a.s.sa.s.sins meet to decide who shall kill him, he suddenly appears among them and condemns the n.o.bles to be sent to the block. Ernani, who is a duke, under the ban of the King of Castile, demands the right to join them, but the King magnanimously pardons the conspirators and consents to the union of Ernani and Elvira. Upon the very eve of their happiness, and in the midst of their festivities, the fatal horn is heard, and true to his promise Ernani parts from Elvira and kills himself.

The first act opens with a spirited chorus of banditti and mountaineers ("Allegri, beviami") as they are drinking and gambling in their mountain retreat. Ernani appears upon a neighboring height and announces himself in a despondent aria ("Come rugiada al cespite"). A brief s.n.a.t.c.h of chorus intervenes, when he breaks out in a second and more pa.s.sionate strain ("Dell' esilio nel dolore"), in which he sings of his love for Elvira. The third scene opens in Elvira's apartments, and is introduced with one of the most beautiful of Verdi's arias, "Ernani, involami," with which all concert-goers have become acquainted by its frequent repet.i.tion. A graceful chorus of her ladies bearing gifts leads to a second and more florid number ("Tutto sprezzo che d' Ernani"). Don Carlos enters, and in the seventh scene has an aria ("Bella come un primo amore") in which he declares his pa.s.sion for Elvira, leading up to a very dramatic duet between them ("Fiero sangue d' Aragona"). This is followed in turn by a trio between the two and Ernani. The finale commences with an impressive and sonorous ba.s.s solo ("Infelice! e tuo credevi") by Silva, and closes with a septet and chorus of great power.

The second act, like the first, opens with a chorus, this time, however, of mixed voices, the power of which is amplified by a military band on the stage. After three scenes of dramatic dialogue, an impa.s.sioned duet ("Ah! morir potessi adesso!") occurs between Ernani and Elvira, followed by a second, of great dramatic intensity, in the seventh scene ("La vendetta piu tremenda"). The finale begins with a spirited appeal by Silva and Ernani for vengeance against the King ("In arcione, cavalieri") which is met by a stirring response from their followers ("p.r.o.nti vedi li tuoi cavalieri"), sung by full male chorus and closing the act.

The third act is devoted to the conspiracy, and in the second scene Don Carlos has a very impressive and at times thrilling soliloquy ("Gran Dio! costo sui sepolcrali marmi"). The conspiracy then begins with very characteristic accompaniments, closing with the chorus in full harmony ("Si ridesti il Leon di Castiglia"), which at the performance of the work in Venice roused such a fury among the Venetians. The finale commences with the appearance of Don Carlos among the conspirators, and closes with the great s.e.xtet and chorus, "O Sommo Carlo." Opening with a barytone solo, it is gradually worked up in a crescendo of great power and thrilling effect. The number is very familiar from its English setting under the t.i.tle, "Crowned with the Tempest."

The fourth act rapidly hurries to the tragic close, and is less interesting from a musical point of view, as the climax was reached in the finale of the third. The princ.i.p.al numbers are the chorus of masks in the first scene ("O come felici"), accompanied by military band, and the great duet between Elvira and Ernani ("Cessaro i suoni"), which pa.s.ses from rapturous ecstasy to the despair of fate ("Per noi d' amore il talamo") as the horn of Silva is heard, reminding Ernani of his promise. Though one of the earliest of Verdi's works, "Ernani"

is one of his strongest in dramatic intensity, in the brilliancy and power of its concerted finales, and in the beauty of its great chorus effects.

RIGOLETTO.

"Rigoletto," an opera in three acts, words by Piave, the subject taken from Victor Hugo's tragedy, "Le Roi s'amuse," was first produced at Venice, March 11, 1851. The part of Gilda has always been a favorite one with great artists, among whom Nantier-Didiee, Bosio, and Miolan-Carvalho played the role with extraordinary success. In the London season of 1860 Mario and Ronconi in the respective parts of the Duke and Rigoletto, it is said, gave dramatic portraitures which were among the most consummate achievements of the lyric stage. The records of its first production, like those of "Ernani," are of unusual interest. Verdi himself suggested Victor Hugo's tragedy to Piave for a libretto, and he soon prepared one, changing the original t.i.tle, however, to "La Maledizione." Warned by the political events of 1848, the police flatly refused to allow the representation of a king on the stage in such situations as those given to Francis I. in the original tragedy. The composer and the manager of the theatre begged in vain that the libretto should be accepted, but the authorities were obstinate. At last a way was found out of the difficulty by the chief of police himself, who was a great lover of art. He suggested to the librettist that the King should be changed to a duke of Mantua, and the t.i.tle of the work to "Rigoletto," the name of the buffoon who figures in the place of the original Triboulet. Verdi accepted the alterations, and had an opera ready in forty days which by nearly all critics is considered his musical masterpiece, notwithstanding the revolting character of the story.

The scene of the opera is laid in Mantua. Rigoletto, the privileged buffoon of the Duke, who also plays the part of pander in all his licentious schemes, among numerous other misdeeds has a.s.sisted his master in the seduction of the wife of Count Ceprano and the daughter of Count Monterone. The latter appears before the Duke and Rigoletto, and demands reparation for the dishonor put upon his house, only to find himself arrested by order of the Duke, and taunted in the most insolent manner by the buffoon, upon whom he invokes the vengeance of Heaven. Even the courtiers themselves are enraged at Rigoletto's taunts, and determine to a.s.sist in Monterone's revenge by stealing Gilda, the jester's daughter, whom they suppose to be his mistress.

Closely as she had been concealed, she had not escaped the observation of the Duke, who in the guise of a poor student wins her affections and discovers her dwelling-place. Pretending that it is Count Ceprano's wife whom they are about to abduct, they even make Rigoletto a.s.sist in the plot and help convey his own daughter to the Duke's apartments. In his blind fury when he discovers the trick that has been played upon him, he hires Sparafucile, a professional a.s.sa.s.sin, to kill the Duke. The bravo allures the Duke to his house, intending to carry out his agreement; but his sister, Magdalena, is so fascinated with the handsome stranger, that she determines to save him. Sparafucile at first will not listen to her, but finally promises if any one else comes to the house before the time agreed upon for the murder he shall be the victim. Rigoletto meanwhile disguises his daughter in male attire in order that she may escape to Verona; but before she sets out he takes her to the vicinity of Sparafucile's house, that she may witness the perfidy of the Duke. While outside, she overhears the quarrel between Sparafucile and Magdalena, and learns his intention to murder the Duke, who is even then sleeping in the house. With a woman's devotion she springs forward to save the Duke's life, knocks at the door, and demands admittance. Sparafucile opens it, and as she enters stabs her. He then thrusts her body into a sack, and delivers it to her father as the body of the man whom he had agreed to slay. Rigoletto, gloating over his revenge, is about to throw the sack into the river near by, when he suddenly hears the voice of the Duke. He tears open the sack to see whose body it contains, and by the glare of the lightning is horrified to find that it is his own daughter, and realizes that the malediction of Monterone has been accomplished. She expires in his arms, blessing her lover and father, while he sinks to the ground overwhelmed with the fulfilment of the terrible curse.

The first act opens in the ball-room of the ducal palace. After a brief dialogue between the Duke and one of his courtiers, the former vaunts his own fickleness in one of the most graceful and charming arias in the whole opera ("Questa o quella"). Some spirited dramatic scenes follow, which introduce the malediction of Monterone and the compact between Rigoletto and Sparafucile, and lead up to a scena of great power ("Io la lingua, egli ha il pugnali"), in which the buffoon vents his furious rage against the courtiers. A tender duet between Rigoletto and Gilda follows, and a second duet in the next scene between Gilda and the Duke ("Addio, speranza ed anima"), which for natural grace, pa.s.sionate intensity, and fervid expression is one of Verdi's finest numbers. As the Duke leaves, Gilda, following him with her eyes, breaks out in the pa.s.sionate love-song, "Caro nome," which is not alone remarkable for its delicacy and richness of melody, but also for the brilliancy of its bravura, calling for rare range and flexibility of voice. The act closes with the abduction, and gives an opportunity for a delightful male chorus ("Zitti, zitti") sung pianissimo.

The second act also opens in the palace, with an aria by the Duke ("Parmi veder le lagrime"), in which he laments the loss of Gilda.

Another fine chorus ("Scorrendo uniti remota via") follows, from which he learns that Gilda is already in the palace. In the fourth scene Rigoletto has another grand scena ("Cortigiani vil razza dannata"), which is intensely dramatic, expressing in its musical alternations the whole gamut of emotions, from the fury of despair to the most exquisite tenderness of appeal as he pleads with the courtiers to tell him where his daughter is. In the next scene he discovers her, and the act closes with a duet between them ("Tutte le feste al tempio"), which, after a strain of most impa.s.sioned tenderness, is interrupted by the pa.s.sage of the guards conveying Monterone to prison, and then closes with a furious outburst of pa.s.sion from Rigoletto. With the exception of two numbers, the last act depends for its effect upon the dramatic situations and the great power of the terrible denouement; but these two numbers are among the finest Verdi has ever given to the world. The first is the tenor solo sung in Sparafucile's house in the second scene by the Duke,--"La donna e mobile," an aria of extreme elegance and graceful abandon, which is heard again in the last scene, its lightly tripping measures contrasting strangely with the savage glee of Rigoletto, so soon to change to wails of despair as he realizes the full force of the malediction. The second is the great quartet in the third scene between the Duke, Gilda, Magdalena, and Rigoletto ("Bella figlia dell' amore"), which stands out as an inspiration in comparison with the rest of the opera, fine as its music is. The story itself is almost too repulsive for stage representation; but in beauty, freshness, originality, and dramatic expression the music of "Rigoletto" is Verdi's best; and in all this music the quartet is the masterpiece.

LA TRAVIATA.

"La Traviata," an opera in three acts, words by Piave, is founded upon Dumas's "Dame aux Camelias," familiar to the English stage as "Camille." The original play is supposed to represent phases of modern French life; but the Italian libretto changes the period to the year 1700, in the days of Louis XIV.; and there are also some material changes of characters,--Marguerite Gauthier of the original appearing as Violetta Valery, and Olympia as Flora Belvoix, at whose house the ball scene takes place. The opera was first produced at Venice, March 6, 1853, with the following cast of the princ.i.p.al parts:--

VIOLETTA Mme. DONATELLI.

ALFREDO M. GRAZIANI.

GERMONT M. VARESI.

The opera at its first production was a complete failure, though this was due more to the singers than to the music. It is said that when the doctor announced in the third act that Mme. Donatelli, who impersonated the consumptive heroine, and who was one of the stoutest ladies ever seen on the stage, had but a few days to live, the whole audience broke out into roars of laughter. Time has brought its consolations to the composer, however, for "Traviata" is now one of the most popular operas in the modern repertory. When it was first produced in Paris, Oct. 27, 1864, Christine Nilsson made her debut in it. In London, the charming little singer Mme. Piccolomini made her debut in the same opera, May 24, 1856. Adelina Patti, since that time, has not only made Violetta the strongest character in her repertory, but is without question the most finished representative of the fragile heroine the stage has seen.

The story as told by the librettist simply resolves itself into three princ.i.p.al scenes,--the supper at Violetta's house, where she makes the acquaintance of Alfred, and the rupture between them occasioned by the arrival of Alfred's father; the ball at the house of Flora; and the death scene and reconciliation, linked together by recitative, so that the dramatic unity of the original is lost to a certain extent. The first act opens with a gay party in Violetta's house. Among the crowd about her is Alfred Germont, a young man from Provence, who is pa.s.sionately in love with her. The sincerity of his pa.s.sion finally influences her to turn aside from her life of voluptuous pleasure and to cherish a similar sentiment for him. In the next act we find her living in seclusion with her lover in a country-house in the environs of Paris, to support which she has sold her property in the city. When Alfred discovers this he refuses to be the recipient of her bounty, and sets out for Paris to recover the property. During his absence his father, who has discovered his retreat, visits Violetta, and pleads with her to forsake Alfred, not only on his own account, but to save his family from disgrace. Touched by the father's grief, she consents, and secretly returns to Paris, where she once more resumes her old life. At a ball given by Flora Belvoix, one of Violetta's a.s.sociates, Alfred meets her again, overwhelms her with reproaches, and insults her by flinging her miniature at her feet in presence of the whole company. Stung by her degradation, Violetta goes home to die, and too late Alfred learns the real sacrifice she has made. He hastens to comfort her, but she dies forgiving and blessing him.

After a short prelude the first act opens with a vivacious chorus of the guests at Violetta's supper, leading to a drinking-song ("Libiamo, libiamo") in waltz time, sung first by Alfred and then by Violetta, the chorus echoing each couplet with very pretty effect. After a long dialogue between the two, closing with chorus, Violetta has a grand scena which is always a favorite show-piece with concert artists. It begins with an andante movement ("Ah! fors e lui"), expressive of the suddenly awakened love which she feels for Alfred, with a refrain of half a dozen measures in the finale which might be called the Violetta motive, and then suddenly develops into a brisk and sparkling allegro ("Sempre libera") full of the most florid and brilliant ornamentation, in which she again resolves to shut out every feeling of love and plunge into the whirl of dissipation. This number, unlike most of Verdi's finales which are concerted, closes the act.

The second act opens in the country-house with an effective tenor aria ("De' miei bollenti") sung by Alfred. In the next scene Germont enters, and after a brief dialogue with Violetta sings a short cantabile ("Pura siccome un angelo"), leading to a duet ("Dite alia giovine") with Violetta which is full of tenderness. In the interview which immediately follows between Germont and Alfred, the father appeals to his son with memories of home in an andante ("Di Provenza il mar") which in form and simplicity and simple pathos of expression might almost be called a ballad. It is always a favorite, and is usually considered the best number in the opera, notwithstanding its simple melody. The next scene changes to the ball-room of Flora, and is introduced with a peculiar chorus effect. A masked chorus of gypsies, accompanying their measures with tambourines, is followed by a second chorus of matadors, also in mask, who accent the time with the pikes they carry, the double number ending with a gay bolero. The act closes with a long duet between Violetta and Alfred, developing in the finale, by the entrance of Germont, to a very strong and dramatic trio.

The third act opens in Violetta's chamber with a reminiscence of the introduction. As she contemplates her changed appearance in the mirror, she bids a sad farewell to her dreams of happiness in the aria, "Addio! del pa.s.sato," in harsh contrast with which is heard a baccha.n.a.lian chorus behind the scenes ("Largo al quadrupede"). In the next scene occurs the pa.s.sionate duet with Alfred, "Parigi, o cara,"

which is a close copy of the final duet in "Trovatore" between Manrico and Azucena. It is followed by the aria, "Ah! gran Dio," for Violetta, which leads to the concluding quintet and death scene.

IL TROVATORE.

"II Trovatore," an opera in four acts, words by Cammarano, was first produced in Rome, Jan. 19, 1853. In 1857 it was brought out in Paris as "Le Trouvere," and in London, 1856, in English, as "The Gypsy's Vengeance." It was produced in Rome in the same year with "La Traviata," but unlike the latter, it was greeted at once with an enthusiastic welcome; and it has held the stage ever since as one of the most popular operas in the modern repertory. In this regard, indeed, it shares with "Martha" and "Faust" the highest place in popular admiration.

The opera opens with a midnight scene at the palace of Aliaferia, where the old servitor, Ferrando, relates to his a.s.sociates the story of the fate of Garzia, brother of the Count di Luna, in whose service they are employed. While in their cradles, Garzia was bewitched by an old gypsy, and day by day pined away. The gypsy was burned at the stake for sorcery; and in revenge Azucena, her daughter, stole the sickly child. At the opening of the opera his fate has not been discovered.

As the servitor closes his narrative and he and his companions depart, the Count di Luna enters and lingers by the apartment of the d.u.c.h.ess Leonora, with whom he is in love. Hearing his voice, Leonora comes into the garden, supposing it is Manrico the troubadour, whom she had crowned victor at a recent tournament, and of whom she had become violently enamoured. As she greets the Count, Manrico appears upon the scene and charges her with infidelity. Recognizing her error, she flies to Manrico for protection. The Count challenges him to combat, and as they prepare to fight she falls to the ground insensible.

In the second act we are introduced to a gypsy camp, where Azucena relates to Manrico, who has been wounded in the duel with the Count, the same story which Ferrando had told his friends, with the addition that when she saw her mother burning she caught up the Count's child, intending to throw it into the flames, but by a mistake sacrificed her own infant. As the story concludes, a messenger arrives, summoning Manrico to the defence of the castle of Castellar, and at the same time informing him that Leonora, supposing him dead, has gone to a convent. He arrives at the convent in time to rescue her before she takes her vows, and bears her to Castellar, which is at once besieged by the Count's forces.

The third act opens in the camp of the Count, where Azucena, arrested as a spy, is dragged in. She calls upon Manrico for help. The mention of his rival's name only adds fuel to the Count's wrath, and he orders the gypsy to be burned in sight of the castle. Ferrando has already recognized her as the supposed murderer of the Count's brother, and her filial call to Manrico also reveals to him that she is his mother.