The Standard Operas (12th edition) by George P. Upton

G >> George P. Upton >> The Standard Operas (12th edition)

Pages:
1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 | 19 | 20

THE STANDARD OPERAS

Their Plots, Their Music, and Their Composers

A Handbook

by

GEORGE P. UPTON

Twelfth Edition

Chicago: A. C. McClurg and Company

1897

PREFACE.

The object of the compiler of this Handbook is to present to the
reader a brief but comprehensive sketch of each of the operas
contained in the modern repertory which are likely to be given during
regular seasons. To this end he has consulted the best authorities,
adding to the material thus collected his own observations, and in
each case presented a necessarily brief sketch of the composer, the
story of each opera, the general character of the music, its prominent
scenes and numbers,--the latter in the text most familiar to
opera-goers,--the date of first performances, with a statement of the
original cast wherever it has been possible to obtain it, and such
historical information concerning the opera and its composition as
will be of interest to the reader. The work has been prepared for the
general public rather than for musicians; and with this purpose in
view, technicalities have been avoided as far as possible, the aim
being to give musically uneducated lovers of opera a clear
understanding of the works they are likely to hear, and thus heighten
their enjoyment. In a word, the operas are described rather than
criticised, and the work is presented with as much thoroughness as
seemed possible considering the necessarily brief space allotted to
each. In the preparation of the Handbook, the compiler acknowledges
his indebtedness to Grove's excellent "Dictionary of Music" for dates
and other statistical information; and he has also made free use of
standard musical works in his library for historical events connected
with the performance and composition of the operas. It only remains to
submit this work to opera-goers with the hope that it may add to their
enjoyment and prove a valuable addition to their libraries.--G.P.U.

CHICAGO, August, 1885.

CONTENTS.

AUBER

FRA DIAVOLO

MASANIELLO

THE CROWN DIAMONDS

BALFE

THE BOHEMIAN GIRL

THE ROSE OF CASTILE

BEETHOVEN

FIDELIO

BELLINI

NORMA

LA SONNAMBULA

I PURITANI

BIZET

CARMEN

BOIELDIEU

LA DAME BLANCHE

BOITO

MEPHISTOPHELES

DELIBES

LAKME

DONIZETTI

THE DAUGHTER OF THE REGIMENT

LA FAVORITA

DON PASQUALE

LUCIA DI LAMMERMOOR

L'ELISIR D'AMORE

LUCREZIA BORGIA

FLOTOW

MARTHA

STRADELLA

GLUCK

ORPHEUS

GOETZ

THE TAMING OF THE SHREW

GOLDMARK

THE QUEEN OF SHEBA

MERLIN

GOUNOD

FAUST

ROMEO AND JULIET

MIREILLE

HALEVY

THE JEWESS

HUMPERDINCK

HANSEL AND GRETEL

LEONCAVALLO

I PAGLIACCI

MASCAGNI

CAVALLERIA RUSTICANA

MEYERBEER

THE HUGUENOTS

THE STAR OF THE NORTH

ROBERT THE DEVIL

DINORAH

THE PROPHET

THE AFRICAN

MOZART

THE MARRIAGE OF FIGARO

DON GIOVANNI

THE MAGIC FLUTE

ROSSINI

THE BARBER OF SEVILLE

SEMIRAMIDE

WILLIAM TELL

RUBINSTEIN

NERO

THOMAS

MIGNON

VERDI

ERNANI

RIGOLETTO

LA TRAVIATA

IL TROVATORE

THE MASKED BALL

AIDA

OTHELLO

FALSTAFF

WAGNER

RIENZI

THE FLYING DUTCHMAN

TANNHAEUSER

LOHENGRIN

TRISTAN UND ISOLDE

THE MASTERSINGERS

THE RING OF THE NIBELUNG

DAS RHEINGOLD

DIE WALKUERE

SIEGFRIED

DIE GOETTERDAEMMERUNG

PARSIFAL

WALLACE

MARITANA

WEBER

DER FREISCHUETZ

OBERON

EURYANTHE

APPENDIX

INDEX

AUBER.

Daniel Francois Esprit Auber, one of the most prominent
representatives of the opera comique, was born at Caen, in Normandy,
Jan. 29, 1784. He first attracted attention in the musical world by
his songs and ballads, written when a mere boy. Young as he was, they
were great favorites in French and English drawing-rooms, and their
success diverted him from his commercial intentions to that profession
in which he was destined to achieve such popularity. His debut was
made as an instrumental composer in his twentieth year, but before he
had reached his thirtieth he was engrossed with operatic composition.
His first two works were unsuccessful; but the third, "La Bergere
Chatelaine," proved the stepping-stone to a career of remarkable
popularity, during which he produced a large number of dramatic works,
which not only secured for him the enthusiastic admiration of the
Parisians, with whom he was always a favorite, but also carried his
name and fame throughout the world, and obtained for him marks of high
distinction from royalty, such as the office of Director of the
Conservatoire from Louis Philippe, and that of Imperial Maitre de
Chapelle from Louis Napoleon. He died May 13, 1871, amid the fearful
scenes of the Paris Commune. His best-known operas are: "Masaniello"
(1828); "Fra Diavolo" (1830); "The Bronze Horse" (1835); "The Black
Domino" (1837); "The Crown Diamonds" (1841); and "Zerline"
(1851),--the last-named written for the great contralto, Mme. Alboni.
Of these, "Fra Diavolo," "Masaniello," and "The Crown Diamonds" are as
fresh as ever in their French and Italian settings, though their
finest successes in this country have been made in their English
dress.

FRA DIAVOLO.

"Fra Diavolo," opera comique, in three acts, words by Scribe, was
first produced at the Opera Comique, Paris, Jan. 28, 1830; in English,
at Drury Lane, London, Nov. 3, 1831; in Italian, at the Lyceum,
London, July 9, 1857, for which occasion the spoken dialogue was
converted into accompanied recitative. The composer himself also, in
fitting it for the Italian stage, made some changes in the concerted
music and added several morceaux. The original Italian cast was as
follows:--

ZERLINA Mme. BOSIO.
LADY ALLCASH Mlle. MARAI.
FRA DIAVOLO Sig. GARDINI.
LORD ALLCASH Sig. RONCONI.
BEPPO Sig. TAGLIAFICO.
GIACOMO Sig. ZELGER.

The original of the story of Fra Diavolo is to be found in Lesueur's
opera, "La Caverne," afterwards arranged as a spectacular piece and
produced in Paris in 1808 by Cuvellier and Franconi, and again in
Vienna in 1822 as a spectacle-pantomime, under the title of "The
Robber of the Abruzzi." In Scribe's adaptation the bandit, Fra
Diavolo, encounters an English nobleman and his pretty and susceptible
wife, Lord and Lady Allcash, at the inn of Terracina, kept by Matteo,
whose daughter Zerlina is loved by Lorenzo, a young soldier, on the
eve of starting to capture Fra Diavolo when the action of the opera
begins. In the first scene the English couple enter in great alarm,
having narrowly escaped the robbery of all their valuables by Fra
Diavolo's band. The bandit himself, who has followed them on their
journey in the disguise of a marquis, and has been particularly
attentive to the lady, enters the inn just as Lord Allcash has been
reproving his wife for her familiarity with a stranger. A quarrel
ensues in a duet of a very humorous character ("I don't object"). Upon
the entrance of Fra Diavolo, a quintet ("Oh, Rapture unbounded!")
ensues, which is one of the most effective and admirably harmonized
ensembles Auber has ever written. Fra Diavolo learns the trick by
which they saved the most of their valuables, and, enraged at the
failure of his band, lays his own plan to secure them. In an interview
with Zerlina, she, mistaking him for the Marquis, tells him the story
of Fra Diavolo in a romanza ("On Yonder Rock reclining"), which is so
fresh, vigorous, and full of color, that it has become a favorite the
world over. To further his schemes, Fra Diavolo makes love to Lady
Allcash and sings an exquisitely graceful barcarole to her ("The
Gondolier, fond Passion's Slave"), accompanying himself on the
mandolin. Lord Allcash interrupts the song, and the trio, "Bravi,
Bravi," occurs, which leads up to the finale of the act. Fra Diavolo
eludes the carbineers, who have returned, and they resume their search
for him, leaving him unmolested to perfect his plans for the robbery.

The second act introduces Zerlina in her chamber about to retire. She
first lights Lord and Lady Allcash to their room, a running
conversation occurring between them in a trio ("Let us, I pray, good
Wife, to rest"), which by many good critics has been considered as the
best number in the work. Before Zerlina returns to her chamber, Fra
Diavolo and his companions, Beppo and Giacomo, conceal themselves in a
closet, and, somewhat in violation of dramatic consistency, Fra
Diavolo sings the beautiful serenade, "Young Agnes," which had been
agreed upon as a signal to his comrades that the coast was clear.
Zerlina enters, and after a pretty cavatina ("'Tis to-morrow") and a
prayer, charming for its simplicity ("Oh, Holy Virgin"), retires to
rest. The robbers in attempting to cross her room partially arouse
her. One of them rushes to the bed to stab her, but falls back
awe-stricken as she murmurs her prayer and sinks to rest again. The
trio which marks this scene, sung pianissimo, is quaint and simple and
yet very dramatic. The noise of the carbineers returning outside
interrupts the plan of the robbers. They conceal themselves in the
closet again. Zerlina rises and dresses herself. Lord and Lady Allcash
rush in _en deshabille_ to find out the cause of the uproar. Lorenzo
enters to greet Zerlina, when a sudden noise in the closet disturbs
the company. Fra Diavolo, knowing he will be detected, boldly steps
out into the room and declares that he is there to keep an appointment
with Zerlina. Lorenzo challenges him, and he promises to give him
satisfaction in the morning, and coolly effects his escape. One of his
comrades, however, is captured, and to secure his own liberty agrees
to betray his chief.

The third act introduces Fra Diavolo once more among his native
mountains, and there is the real breath and vigor of the mountain air
in his opening song ("Proudly and wide my Standard flies"), and
rollicking freedom in the rondeau which follows it ("Then since Life
glides so fast away"). He exults in his liberty, and gleefully looks
forward to a meeting with Lord and Lady Allcash, which he anticipates
will redound to his personal profit. His exultation is interrupted by
the entrance of the villagers arrayed in festival attire in honor of
the approaching wedding ceremonies, singing a bright pastoral chorus
("Oh, Holy Virgin! bright and fair"). The finale of the act is
occupied with the development of the scheme between Lorenzo, Beppo,
and Giacomo, to ensnare Fra Diavolo and compass his death; and with
the final tragedy, in which Fra Diavolo meets his doom at the hands of
the carbineers, but not before he has declared Zerlina's innocence.
This finale is strong and very dramatic, and yet at the same time
simple, natural, and unstudied. The opera itself is a universal
favorite, not alone for its naturalness and quiet grace, but for its
bright and even boisterous humor, which is sustained by the typical
English tourist, who was for the first time introduced in opera by
Scribe. The text is full of spirit and gayety, and these qualities are
admirably reflected in the sparkling music of Auber. Not one of the
books which the versatile Scribe has supplied for the opera is more
replete with incident or brighter in humor. How well it was adapted
for musical treatment is shown by the fact that "Fra Diavolo" made
Auber's reputation at the Opera Comique.

MASANIELLO.

"Masaniello," or "La Muette de Portici," a lyric opera in five acts,
words by Scribe and Delavigne, was first produced in Paris, Feb. 29,
1828; in English, at London, May 4, 1829; and in Italian, at London,
March 15, 1849. The original cast included Mme. Damoreau-Cinti as
Elvira, Mlle. Noblet as Fenella, and M. Massol as Pietro. In the
Italian version, Sig. Mario, Mme. Dorus-Gras, and Mlle. Leroux, a
famous mime and dancer, took the principal parts; while in its English
dress, Braham created one of the greatest successes on record, and
established it as the favorite opera of Auber among Englishmen.

The scene of the opera is laid near Naples. The first act opens upon
the festivities attending the nuptials of Alphonso, son of the Duke of
Arcos, and the Princess Elvira. After a chorus of rejoicing, the
latter enters and sings a brilliant cavatina ("O, bel Momento")
expressive of her happiness. In the fourth scene the festivities are
interrupted by the appearance of Fenella, the dumb girl, who implores
the princess to save her from Selva, one of the Duke's officers, who
is seeking to return her to prison, from which she has escaped, and
where she has been confined at the orders of some unknown cavalier who
has been persecuting her. The part of Fenella is of course expressed
by pantomime throughout. The remainder of the act is intensely
dramatic. Elvira promises to protect Fenella, and then, after some
spirited choruses by the soldiers, enters the chapel with Alphonso.
During the ceremony Fenella discovers that he is her betrayer. She
attempts to go in, but is prevented by the soldiers. On the return of
the newly wedded pair Fenella meets Elvira and denounces her husband,
and the scene ends with a genuine Italian finale of excitement.

The second act opens on the sea-shore, and shows the fishermen busy
with their nets and boats. Masaniello, brother of Fenella, enters,
brooding upon the wrongs of the people, and is implored by the
fishermen to cheer them with a song. He replies with the barcarole,
"Piu bello sorse il giorno,"--a lovely melody, which has been the
delight of all tenors. His friend Pietro enters and they join in a
duet ("Sara il morir") of a most vigorous and impassioned character,
expressive of Masaniello's grief for his sister and their mutual
resolution to strike a blow for freedom. At the conclusion of the duet
he beholds Fenella about to throw herself into the sea. He calls to
her and she rushes into his arms and describes to him the story of her
wrongs. He vows revenge, and in a magnificent, martial finale, which
must have been inspired by the revolutionary feeling with which the
whole atmosphere was charged at the time Auber wrote (1828), incites
the fishermen and people to rise in revolt against their tyrannical
oppressors.

In the third act, after a passionate aria ("Il pianto rasciuga") by
Elvira, we are introduced to the market-place, crowded with
market-girls and fishermen disposing of their fruits and fish. After a
lively chorus, a fascinating and genuine Neapolitan tarantelle is
danced. The merry scene speedily changes to one of turmoil and
distress. Selva attempts to arrest Fenella, but the fishermen rescue
her and Masaniello gives the signal for the general uprising. Before
the combat begins, all kneel and sing the celebrated prayer, "Nume del
ciel," taken from one of Auber's early masses, and one of his most
inspired efforts.

The fourth act opens in Masaniello's cottage. He deplores the coming
horrors of the day in a grand aria ("Dio! di me disponesti") which is
very dramatic in its quality. Fenella enters, and after describing the
tumult in the city sinks exhausted with fatigue. As she falls asleep
he sings a slumber song ("Scendi, o sonno dal ciel"), a most exquisite
melody, universally known as "L'Air du Sommeil." It is sung by the
best artists mezzo voce throughout, and when treated in this manner
never fails to impress the hearer with its tenderness and beauty. At
its close Pietro enters and once more rouses Masaniello to revenge by
informing him that Alphonso has escaped. After they leave the cottage,
the latter and Elvira enter and implore protection. Fenella is moved
to mercy, and a concerted number follows in which Masaniello promises
safety and is denounced by Pietro for his weakness. In the finale, the
magistrates and citizens enter, bearing the keys of the town and the
royal insignia, and declare Masaniello king in a chorus of a very
inspiriting and brilliant character.

The last act is very powerful, both dramatically and musically. It
opens in the grounds of the Viceroy's palace, and Vesuvius is seen in
the distance, its smoke portending an eruption. Pietro and companions
enter with wine-cups in their hands, as from a banquet, and the former
sings a barcarole ("Ve' come il vento irato"). At its close other
fishermen enter and excitedly announce that troops are moving against
the people, that Vesuvius is about to burst into flame, and that
Masaniello, their leader, has lost his reason. This is confirmed by
the appearance of the hero in disordered attire, singing music through
which are filtered fragments of the fishermen's songs as they rise in
his disturbed brain. This scene, the third in the act, is one not only
of great power but of exquisite grace and tenderness, and requires an
artist of the highest rank for its proper presentation. Fenella rouses
him from his dejection, and he once more turns and plunges into the
fight, only to be killed by his own comrades. On learning of her
brother's death she unites the hands of Alphonso and Elvira, and then
in despair throws herself into the burning lava of Vesuvius.

"Masaniello" made Auber's fame at the Grand Opera, as "Fra Diavolo"
made it at the Opera Comique. It has no points in common with that or
any other of his works. It is serious throughout, and full of power,
impetuosity, and broad dramatic treatment. Even Richard Wagner has
conceded its vigor, bold effects, and original harmonies. Its melodies
are spontaneous, its instrumentation full of color, and its stirring
incidents are always vigorously handled. In comparison with his other
works it seems like an inspiration. It is full of the revolutionary
spirit, and its performance in Brussels in 1830 was the cause of the
riots that drove the Dutch out of Belgium.

THE CROWN DIAMONDS.

"The Crown Diamonds" ("Les Diamans de la Couronne"), opera comique, in
three acts, words by Scribe and St. George, one of the most charming
of Auber's light operas, was first produced in Paris in 1841, but its
reputation has been made on the English stage. It was first performed
in London, at the Princess Theatre, May 2, 1844, with Mme. Anna
Thillon, a charming singer and most fascinating woman, as Catarina;
but its success was made at Drury Lane in 1854 by Louisa Pyne and
Harrison, who took the parts of Catarina and Don Henrique. The other
roles, Count de Campo Mayor, Don Sebastian, Rebolledo, and Diana, were
filled by Mr. Horncastle, Mr. Reeves, Mr. Borrani, and Miss Pyne,
sister of the preceding, and with this cast the opera ran a hundred
nights.

The story of the opera is laid in Portugal, time, 1777. The opening
scene discloses the ruins of a castle in the mountains, near the
monastery of St. Huberto, where Don Henrique, nephew of the Count de
Campo Mayor, Minister of Police at Coimbra, overtaken by a storm,
seeks shelter. At the time of his misfortune he is on his way to take
part in the approaching coronation, and also to sign a marriage
contract with his cousin Diana, daughter of the Minister of Police. He
solaces himself with a song ("Roll on, Roll on"), during which he
hears the blows of hammers in a distant cavern, and on looking round
discovers Rebolledo, the chief of the coiners, and two of his
comrades, with his trunk in their possession, the contents of which
they proceed to examine. Don Henrique conceals himself while Rebolledo
is singing a rollicking muleteer's song ("O'er Mountain steep, through
Valley roaming"). At its conclusion Rebolledo, about to summon the
other coiners to their secret work, discovers Don Henrique, and
thinking him a spy rushes upon him. He is saved by the sudden entrance
of Catarina, the leader of the gang, who tells the story of her life
in a concerted number that reminds one very strikingly of the bandit
song in "Fra Diavolo." After examining Don Henrique, and, to his
surprise, showing an intimate acquaintance with his projects, she
returns him his property, and allows him to depart on condition that
he shall not speak of what he has seen for a year. He consents; and
then follows another of the concerted numbers in which this opera
abounds, and in which occurs a charming rondo ("The Young Pedrillo"),
accompanied by a weird, clanging chorus. Before he can effect his
departure the gang find that they are surrounded by troops led by Don
Sebastian, a friend of Don Henrique. The coiners, in company with the
latter, however, make their escape in the disguise of monks on their
way to the neighboring monastery, singing a lugubrious chorus ("Unto
the Hermit of the Chapel"), while Catarina and Rebolledo elude the
soldiers by taking a subterranean passage, carrying with them a casket
containing some mysterious jewels.

The second act opens in the Chateau de Coimbra, and discovers the
Count, Don Henrique, Don Sebastian, and Diana. The first scene reveals
to us that Don Henrique is in love with the mysterious Catarina, and
that Diana is in love with Don Sebastian. In a sportive mood Diana
requests Don Henrique to sing with her, and chooses a nocturne called
"The Brigand," which closes in gay bolero time ("In the Deep Ravine of
the Forest"). As they are singing it, Don Sebastian announces that a
carriage has been overturned and its occupants desire shelter. As the
duet proceeds, Catarina and Rebolledo enter, and a very flurried
quintet ("Oh, Surprise unexpected!") occurs, leading up to an ensemble
full of humor, with a repetition of the brigand song, this time by
Catarina and Diana, and closing with a bravura aria sung by Catarina
("Love! at once I break thy Fetters"). Catarina and Rebolledo accept
the proffered hospitality, but the latter quietly makes his exit when
Diana begins to read an account of a robbery which contains a
description of himself and his companion. Catarina remains, however,
in spite of Don Henrique's warning that she is in the house of the
Minister of Police. In a moment of passion he declares his love for
her and begs her to fly with him. She declines his proffer, but gives
him a ring as a souvenir. A pretty little duet ("If I could but
Courage feel") ensues between Diana and Don Henrique, in which she
gently taunts him with his inattention to her and his sudden interest
in the handsome stranger. At this juncture the Count enters in wild
excitement over the announcement that the crown jewels have been
stolen. Don Henrique's ring is recognized as one of them, and in the
excitement which ensues, Catarina finds herself in danger of
discovery, from which she is rescued by Diana, who promises Don
Henrique she will send her away in the Count's carriage if he will
agree to refuse to sign the marriage contract. He consents, and she
departs upon her errand. At this point in the scene Don Henrique sings
the beautiful ballad, "Oh, whisper what thou feelest!" originally
written for Mr. Harrison. This song leads up to a stirring finale, in
which Don Henrique refuses to sign the contract and Catarina makes her
escape.

The last act opens in the anteroom of the royal palace at Lisbon,
where Diana is waiting for an audience with the Queen. She sings
another interpolated air, originally written for Louisa Pyne ("When
Doubt the tortured Frame is rending"), and at its close the Count, Don
Henrique, and Don Sebastian enter. While they are conversing,
Rebolledo appears, announced as the Count Fuentes, and a quintet
occurs, very slightly constructed, but full of humor. An usher
interrupts it by announcing the Queen will have a private audience
with the Count Fuentes. While awaiting her, the latter, in a
monologue, lets us into the secret that the real crown jewels have
been pledged for the national debt, and that he has been employed to
make duplicates of them to be worn on state occasions until the real
ones can be redeemed. The Queen enters, and expresses her satisfaction
with the work, and promotes him to the position of Minister of Secret
Police. On his departure she sings a charming cavatina ("Love, dwell
with me"), and at its close Count de Campo Mayor enters with the
decision of the Council that she shall wed the Prince of Spain. She
returns answer that she shall make her own choice. The Count seeks to
argue with her, when she threatens to confiscate his estate for
allowing the crown jewels to be stolen, and commands him to arrest his
daughter and nephew for harboring the thieves. Diana suddenly enters,
and an amusing trio ensues, the Queen standing with her back to Diana
lest she may be discovered. The latter fails to recognize her as
Catarina, and implores pardon for assisting in her escape. The
situation is still further complicated by the appearance of Don
Henrique, who has no difficulty in recognizing Catarina. Bewildered at
her presence in the Queen's apartments, he declares to Diana that he
will seize her and fly to some distant land. His rash resolution,
however, is thwarted by his arrest, on the authority of the Queen, for
treason. A martial finale introduces us to the Queen in state. Don
Henrique rushes forward to implore mercy for Catarina. The Queen
reveals herself at last, and announces to her people that she has
chosen Don Henrique, who has loved her for herself, for her husband
and their king. And thus closes one of the most sparkling, melodious,
and humorous of Auber's works. What the concerted numbers lack in
solidity of construction is compensated for by their grace and
sweetness.

Pages:
1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 | 19 | 20