The Standard Operas Part 6

MIREILLE.

"Mireille," a pastoral opera in three acts, words by M. Carre, the subject taken from "Mireio," a Provencal poem by Mistral, was first produced at the Theatre Lyrique, Paris, March 19, 1864, with the following cast:--

MIREILLE Mme. MIOLAN-CARVALHO TAVENA | Mme. FAURE-LEFEBVRE.

ANDRELUNO | VINCENZINA Mlle. LEROUX.

VINCENZO M. ISMIEL.

URIAS M. PEt.i.t.

RAIMONDO M. MORINI.

In December, 1864, the opera was reduced to three acts, in which form it is still given. In this abridged shape, and with the addition of the waltz now placed in the finale, it was brought out in London with t.i.tiens, Giuglini, Santley, and Trebelli in the cast. In English it is always given under the t.i.tle of "Mirella." The first scene opens in a mulberry grove, where Mireille is rallied by the village girls upon her attachment to Vincenzo, the basket-maker, and is also warned by Tavena, the fortune-teller, against yielding to her love, as she foresees that her father, Raimondo, will never consent to the union.

In the next scene she meets Vincenzo, and the warning of Tavena is soon forgotten. The lovers renew their pledges, and agree to meet at the Chapel of the Virgin if their plans are thwarted. The second act introduces us to a merrymaking at Arles, where Mireille is informed by Tavena that Vincenzo has a rival in Urias, a wild herdsman, who has openly declared his love for her, and asked her hand of her father.

Mireille repulses him when he brings the father's consent. Ambrogio, Vincenzo's father, accompanied by his daughter, Vincenzina, also waits upon Raimondo and intercedes in his son's behalf, but is sternly refused. Mireille, who has overheard the interview, declares to her father her irrevocable attachment for Vincenzo. Her declaration throws him into such a rage that he is about to strike her, but she disarms his anger by appealing to the memory of her mother.

The last act opens on a barren, sunburnt plain. Andreluno appears, singing a pastoral song to the accompaniment of his bagpipe, followed by Mireille, who is toiling across the hot sands to meet her lover at the Chapel of the Virgin. She is met by Tavena, who a.s.sures her that Vincenzo will keep his appointment, and then returns to Arles to plead with the father in Mireille's behalf. The poor girl toils on through the heat, and at last arrives nearly prostrated by sunstroke. Vincenzo soon appears, and is shortly followed by Raimondo, who, seeing the sad condition of his daughter, is moved to pity and gives his consent to the union of the lovers. The sudden joyful change of affairs restores her wandering senses and the happy pair are united.

The music is in no sense dramatic, but lyric and pastoral throughout, and is specially marked by the beautiful French chansons with which it abounds. The first act opens with a delightful pastoral chorus of the maidens under the mulberry-trees ("Facciam carole, o giovinette"), which is very fresh and graceful. The second begins with an equally delightful chorus and farandole ("La Farandola tutti consola"), followed by the beautiful Provencal folk-song, "Dolce una brezza, intorno olezza," which is full of local color. Tavena sings a quaint fortune-teller's roundelay ("La stagione arriva"), and in the next scene Mireille has a number of rare beauty ("Ah! piu non temo fato "), in which she declares her unalterable attachment to Vincenzo. The finale of this act, with its strong aria ("Qui mi prostro innanzi ate"), is very spirited, and in fact may be considered the only dramatic episode in the whole work. The third act opens with the quaint little song of Andreluno, the shepherd boy ("L'alba tranquilla"), with oboe accompaniment. It also contains a plaintive song for tenor ("Ah! se de preghi miei"), and closes with a waltz song ("O d'amor messagera"), which is fairly gorgeous in bravura effects, and Hanslick says was a concession to Miolan-Carvalho, like the jewel song in "Faust" and the waltz song in "Romeo and Juliet." In the original libretto the song had its place in the first act, and indeed numerous changes have been made in the libretto since the opera first appeared; as in the original, Mireille dies in the arms of her lover, and Urias, Vincenzo's rival, is drowned in the Rhone. When it first appeared, however, great objection was made to several of the situations, and the libretto was declared fantastic and uninteresting; hence the changes. As a lyric drama, delightfully picturing the quaintness and simplicity of provincial life, not alone in the tunefulness of the music, but also in its pastoral navete and what may be termed its folk-characteristics, it will hold a high place upon the stage as long as young and fresh voices can be found to sing it.

HALEVY.

Jacques Francois Fromenthal Elias Halevy was born at Paris, May 27, 1799, of Israelitish parents, whose name was originally Levy. He entered the Conservatory in 1809, and in 1819 obtained the Grand Prize for his cantata of "Hermione." After his arrival in Italy he wrote several minor pieces, but his music did not attract public attention until his return to Paris, when his three-act opera, "Clari," brought out Dec. 9, 1828, with Malibran in the princ.i.p.al role, made a success.

"Le Dilettante d'Avignon" (a satire on Italian librettos), "Manon Lescaut" (a ballet in three acts), "La Langue Musicale," "La Tentation," and "Les Souvenirs" rapidly followed "Clari," with alternating successes and failures. In 1835 his great work, "La Juive," appeared, and in the same year, "L'eclair," one of his most charming operas, written without chorus for two tenors and two sopranos. It was considered at the time a marvellous feat that he should have produced two such opposite works in the same year, and great hopes were entertained that he would surpa.s.s them. These hopes failed, however. He subsequently wrote over twenty operas, among them "Guido et Ginevra" (1838); "Charles VI." (1842); "La Reine de Chypre"

(1842); "Les Mousquetaires de la Reine" (1846); "Le Val d'Andorre"

(1848); "La Tempete" (1853): "Le Juif Errant" (1855), and others; but "La Juive" and "L'eclair" remained his masterpieces, and procured him admission into the Inst.i.tute. He was also a professor in the Conservatory, and among his pupils were Gounod, Ma.s.se, Bazin, Duvernoy, Bizet, and others. He enjoyed many honors, and died March 17, 1862. A De Profundis was sung on the occasion of his funeral, written by four of his pupils, MM. Gounod, Ma.s.se, Bazin, and Cohen. As a composer he was influenced largely by Meyerbeer, and is remarkable rather for his large dramatic effects than for his melody.

THE JEWESS

"La Juive," a grand opera in five acts, words by Scribe, originally written for Rossini and rejected in favor of "William Tell," was produced for the first time at the Academie, Paris, Feb. 23, 1835, with the following cast of the princ.i.p.al parts:--

RACHEL Mlle. CORNELIA FALCON.

EUDOXIA Mme. DORUS-GRAS.

ELEAZAR M. NOURRIT.

CARDINAL M. LEVa.s.sEUR.

It was first produced in England in French, July 29, 1846, and in Italian under the t.i.tle of "La Ebrea," July 25, 1850. In this country it is most familiar in the German version. The scene of the opera is laid in Constance, time, 1414. Leopold, a prince of the empire, returning from the wars, is enamoured of Rachel, a beautiful Jewess, daughter of Eleazar the goldsmith. The better to carry out his plans, he calls himself Samuel, and pretends to be a Jewish painter.

Circ.u.mstances, however, dispel the illusion, and Rachel learns that he is no other than Leopold, husband of the princess Eudoxia. Overcome with indignation at the discovery of his perfidy, she publicly denounces his crime, and the Cardinal excommunicates Leopold, and p.r.o.nounces his malediction on Rachel and her father. Rachel, Eleazar, and Leopold are thrown into prison to await the execution of the sentence of death. During their imprisonment Eudoxia intercedes with Rachel to save Leopold's life, and at last, moved by the grief of the rightful wife, she publicly recants her statement. Leopold is banished, but Rachel and her father are again condemned to death for conspiring against the life of a Christian. Eleazar determines to be revenged in the moment of death upon the Cardinal, who has sentenced them, and who is at the head of a church which he hates; and just before they are thrown into a caldron of fire, reveals to the spectators that Rachel is not his own, but an adopted daughter, saved from the ruins of the Cardinal's burning palace, and that she is his child.

The opera of "The Jewess" is pre-eminently spectacular, and its music is dramatic and declamatory rather than melodious. The prominent numbers of the first act are the solemn declaration of the Cardinal ("Wenn ew'ger Ha.s.s"), in which he replies to Eleazar's hatred of the Christian; the romance sung by Leopold ("Fern vom Liebchen weilen"), which is in the nature of a serenade to Rachel; the drinking-song of the people at the fountain, which is flowing wine ("Eilt herbei"); and the splendid chorus and march ("Leht, es nahet sich der Zug") which preludes the imposing pageantry music of the Emperor's arrival, closing with the triumphant Te Deum to organ accompaniment and the greeting to the Emperor, "Hosanna, unser Kaiser hoch."

The second act opens with the celebration of the Pa.s.sover in Eleazar's house, and introduces a very solemn and impressive prayer ("Allmacht'ger blicke gnadig"). In the next scene there is a pa.s.sionate ensemble and duet for Eudoxia and Leopold ("Ich will ihn seh'n"), which is followed by a second spirited duet between Rachel and Leopold ("Als mein Herz"); an intensely dramatic aria ("Ach!

Vater! Halt ein!"), in which she claims her share of Leopold's guilt; and the final grand trio of anathema p.r.o.nounced by Eleazar.

The third act is princ.i.p.ally devoted to the festivities of the royal pageants, and closes with the anathema of the Cardinal ("Ihr, die ihr Gottes Zorn"), which is a concerted number of magnificent power and spirited dramatic effect. The fourth act contains a grand duet between Eleazar and the Cardinal ("Hort ich recht?"), and closes with one of the most powerful scenas ever written for tenor ("Das Todesurtheil sprich"), in which Eleazar welcomes death and hurls defiance at the Christians. The last act is occupied with the tragic denouement, which affords splendid opportunities for action, and is accompanied by very dramatic music to the close, often rising to real sublimity. In the pageantry of the stage, in the expression of high and pa.s.sionate sentiment, in elaborateness of treatment, and in broad and powerful dramatic effect, "The Jewess" is one of the strongest operas in the modern repertory.

HUMPERDINCK.

Engelbert Humperdinck, the latest star in the German musical firmament, was born, Sept. 1, 1854, at Siegburg on the Rhine, and received his earliest musical training at the Cologne Conservatory. He made such rapid progress in his studies, showing special proficiency in composition, that he carried off in succession the three prizes of the Mozart, Mendelssohn, and Meyerbeer stipends. These enabled him to continue his lessons at Munich, and afterwards in Italy. While in Naples, in 1880, he attracted the attention of Richard Wagner as a rising genius, and two years later had the honor of an invitation to go to Venice as his guest, upon the occasion of the performance of Wagner's only symphony. In 1885 he went to Barcelona, Spain, where he taught composition, and was the director of a quartette at the Royal Conservatory for two years. In 1887 he returned to Cologne, and since 1890 has been identified with a Conservatory at Frankfort-on-the-Main.

In addition to the opera "Hansel and Gretel," which has given him a world-wide fame, he produced, a few years ago, a chorus ballad, "Das Gluck von Edenhall," and a cantata, "Die Wallfahrt nach Kevelaar,"

based upon Heine's poem, and scored for soloists, chorus, and orchestra. He has also written several songs and piano pieces, and, it is now reported, is engaged upon a dramatic composition called "The Royal Children." He is regarded in Germany as the one composer who gives promise of continuing and developing the scheme of the music-drama as it was propounded by Wagner.

HANSEL AND GRETEL.

"Hansel and Gretel," a fairy opera in three acts, words by Adelheid Wette, was first produced in Germany in 1894. In January, 1895, it was performed in London by the Royal Carl Rosa Opera Company, rendered into English by Constance Bache; and in the fall of the same year it had its first representation in New York, at Daly's Theatre, with the following cast:--

PETER, a broom-maker Mr. JACQUES BARS.

GERTRUDE, his wife Miss ALICE GORDON.

THE WITCH Miss LOUISE MEISSLINGER.

HANSEL Miss MARIE ELBA.

GRETEL Miss JEANNE DOUSTE.

SANDMAN, the Sleep Fairy Miss CECILE BRANI.

DEWMAN, the Dawn Fairy Miss EDITH JOHNSTON.

The story is taken from one of Grimm's well-known fairy tales, and the text was written by the composer's sister, Adelheid Wette. It was Frau Wette's intention to arrange the story in dramatic form for the amus.e.m.e.nt of her children, her brother lending his co-operation by writing a few little melodies, of a simple nature, to accompany the performance. When he had read it, however, the story took his fancy, and its dramatic possibilities so appealed to him that he determined to give it an operatic setting with full orchestral score, and thus placed it in the higher sphere of world performance by an art which not alone reveals the highest type of genial German sentimentality, but, curiously enough, applied to this simple little story of angels, witches, and the two babes in the woods the same musical methods which Wagner has employed in telling the stories of G.o.ds and demiG.o.ds.

Perhaps its highest praise was sounded by Siegfried Wagner, son of Richard Wagner, who declared that "Hansel and Gretel" was the most important German opera since "Parsifal," notwithstanding its childishness and simplicity.

After a beautifully instrumented prelude, which has already become a favorite concert piece, the curtain rises upon the home of Peter, the broom-maker. The parents are away seeking for food, and Hansel and Gretel have been left in the cottage with instructions to knit and make brooms. There is a charming dialogue between the two children, beginning with a doleful lament over their poverty, and ending with an outburst of childish hilarity in song and dancing,--a veritable romp in music,--which is suddenly interrupted by the return of Gertrude, the mother, empty-handed, who chides them for their behavior, and in her anger upsets a jug of milk which was the only hope of supper in the house. With an energetic outburst of recitative she sends them into the forest, telling them not to return until they have filled their basket with strawberries. After lamenting her loss, and mourning over her many troubles, she falls asleep, but is awakened by the return of Peter, who has been more fortunate, and has brought home some provisions. A rollicking scene ensues, but suddenly he misses the children, and breaks out in a fit of rage when he is informed that they have gone into the forest. To the accompaniment of most gruesome and characteristic music he tells his wife of the witch who haunts the woods, and who, living in a honey-cake house, entices little children to it, bakes them into gingerbread in her oven, and then devours them.

The second act, "In the Forest," is preluded by a characteristic instrumental number, "The Witches' Ride." The children are discovered near the Ilsenstein, among the fir-trees, making garlands, listening to the cuckoos, and mocking them in a beautiful duet with echo accompaniment. At last, however, they realize that they are lost; and in the midst of their fear, which is intensified by strange sights and sounds, the Sandman, or sleep fairy, approaches them, strews sand in their eyes, and sings them to sleep with a most delicious lullaby, after they have recited their prayer, "When at night I go to sleep, fourteen Angels watch do keep." As they sleep the mist rolls away, the forest background disappears, and the fourteen angels come down a sort of Jacob's ladder and surround the children, while other angels perform a stately dance, grouping themselves in picturesque tableau as the curtain falls.

The third act is ent.i.tled "The Witch's House." The children are still sleeping, but the angels have vanished. The Dawn-Fairy steps forward and shakes dewdrops from a bluebell over them, accompanying the action with a delightful song, "I'm up with early Dawning." Gretel is the first to wake, and rouses Hansel by tickling him with a leaf, at the same time singing a veritable tickling melody, and then telling him what she has seen in her dream. In place of the fir-trees they discover the witch's house at the Ilsenstein, with an oven on one side and on the other a cage, both joined to the house by a curious fence of gingerbread figures. The house itself is constructed of sweets and creams. Attracted by its delicious fragrance and toothsomeness, the hungry children break off a piece and are nibbling at it, when the old witch within surprises and captures them. After a series of incantations, and much riding upon her broomstick, which are vividly portrayed in the music, she prepares to cook Gretel in the oven; but while looking into it the children deftly tumble her into the fire.

The witch waltz, danced by the children and full of joyous abandon, follows. To a most vivid accompaniment, Hansel rushes into the house and throws fruit, nuts, and sweetmeats into Gretel's ap.r.o.n. Meanwhile the oven falls into bits, and a crowd of children swarms around them, released from their gingerbread disguises, and sing a swelling chorus of grat.i.tude as two of the boys drag the witch from the ruins of the oven in the form of a big gingerbread-cake. The father and mother appear. Their long quest is ended. The family join in singing a pious little hymn, "When past bearing is our grief, G.o.d the Lord will send relief;" and the children dance joyously around the reunited group.

The story is only a little child's tale, but it is wedded to music of the highest order. The union has been made so deftly, the motives are so charming and take their places so skilfully, and the music is so scholarly and characteristic throughout, that no one has yet considered this union as incongruous. In this respect "Hansel and Gretel" is a distinct creation in the operatic world.

LEONCAVALLO.

Ruggiero Leoncavallo, a promising representative of the young Italian school, was born in Naples, March 8, 1858. He first studied with Siri, and afterwards learned harmony and the piano from Simonetti. While a student at the Naples Conservatory he was advised by Rossi, one of his teachers, to devote himself to opera. In pursuance of this counsel, he went to Bologna, and there wrote his first opera, "Tommaso Chatterton," which still remains in ma.n.u.script and unperformed. Then followed a series of "wander years," during which he visited many European countries, giving lessons in singing and upon the piano, and meeting with varying fortunes. In all these years, however, he cherished the plan of producing a trilogy in the Wagnerian manner with a groundwork from Florentine history. In a letter he says: "I subdivided the historical periods in the following way: first part, 'I Medici,' from the accession of s.e.xtus IV. to the Pazzi conspiracy; second part, 'Savonorola,' from the invest.i.ture of Fra Benedetto to the death of Savonorola; third part, 'Cesare Borgia,' from the death of the Duke of Candia to that of Alexander VI." The first part was completed and performed in Milan in November, 1893, and was a failure, notwithstanding its effective instrumentation. It was not so, however, with the little two-act opera "I Pagliacci," which was produced May 21, 1892, at Milan, and met with an instantaneous and enthusiastic success. His next work was a chorus with orchestral accompaniment, the text based upon Balzac's rhapsodical and highly wrought "Seraphita,"

which was performed at Milan in 1894. It has been recently reported that the Emperor of Germany has given him a commission to produce an opera upon a national subject, "Roland of Berlin." Of his works, "I Pagliacci" is the only one known in the United States. It has met with great favor here, and has become standard in the Italian repertory.

I PAGLIACCI.

"I Pagliacci," an Italian opera in two acts, words by the composer, Ruggiero Leoncavallo, was first performed at Milan, May 21, 1892, and was introduced in this country in the spring of 1894, Mme. Arnoldson, Mme. Calve, and Signors Ancona, Gromzeski, Guetary, and De Lucia taking the princ.i.p.al parts. The scene is laid in Calabria during the Feast of the a.s.sumption. The Pagliacci are a troupe of itinerant mountebanks, the characters being Nedda, the Columbine, who is wife of Canio, or Punchinello, master of the troupe; Tonio, the Clown; Beppe, the Harlequin; and Silvio, a villager.

The first act opens with the picturesque arrival of the troupe in the village, and the preparations for a performance in the rustic theatre, with which the peasants are overjoyed. The tragic element of the composition is apparent at once, and the action moves swiftly on to the fearful denouement. Tonio, the clown, is in love with Nedda, and before the performance makes advances to her, which she resents by slashing him across the face with Beppe's riding-whip. He rushes off vowing revenge, and upon his return overhears Nedda declaring her pa.s.sion for Silvio, a young peasant, and arranging to elope with him.

Tonio thereupon seeks Canio, and tells him of his wife's infidelity.

Canio hurries to the spot, encounters Nedda; but Silvio has fled, and she refuses to give his name. He attempts to stab her, but is prevented by Beppe, and the act closes with the final preparation for the show, the grief-stricken husband donning the motley in gloomy and foreboding silence.

The second act opens with Tonio beating the big drum, and the people crowding to the show, among them Silvio, who manages to make an appointment with Nedda while she is collecting the money. The curtain of the little theatre rises, disclosing a small room barely furnished.