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

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BALFE.

Michael William Balfe was born at Dublin, Ireland, May 15, 1808. Of
all the English opera-composers, his career was the most versatile, as
his success, for a time at least, was the most remarkable. At seven
years of age he scored a polacca of his own for a band. In his eighth
year he appeared as a violinist, and in his tenth was composing
ballads. At sixteen he was playing in the Drury Lane orchestra, and
about this time began taking lessons in composition. In 1825, aided by
the generosity of a patron, he went to Italy, where for three years he
studied singing and counterpoint. In his twentieth year he met
Rossini, who offered him an engagement as first barytone at the
Italian Opera in Paris. He made his debut with success in 1828, and at
the close of his engagement returned to Italy, where he appeared again
on the stage. About this time (1829-1830) he began writing Italian
operas, and before he left Italy had produced three which met with
considerable success. In 1835 he returned to England; and it was in
this year that his first English opera, the "Siege of Rochelle," was
produced. It was played continuously at Drury Lane for over three
months. In 1836 appeared his "Maid of Artois;" in 1837, "Catharine
Grey" and "Joan of Arc;" and in 1838, "Falstaff." During these years
he was still singing in concerts and opera, and in 1840 appeared as
manager of the Lyceum. His finest works were produced after this
date,--"The Bohemian Girl" in 1843; "The Enchantress" in 1844; "The
Rose of Castile," "La Zingara," and "Satanella" in 1858, and "The
Puritan's Daughter" in 1861. His last opera was "The Knight of the
Leopard," known in Italian as "Il Talismano," which has also been
produced in English as "The Talisman." He married Mlle. Rosen, a
German singer, whom he met in Italy in 1835; and his daughter
Victoire, who subsequently married Sir John Crampton, and afterwards
the Duc de Frias, also appeared as a singer in 1856. Balfe died Oct.
20, 1870, upon his own estate in Hertfordshire. The analysis of his
three operas which are best known--"The Bohemian Girl," "Rose of
Castile," and "Puritan's Daughter"--will contain sufficient reference
to his ability as a composer.


THE BOHEMIAN GIRL.

"The Bohemian Girl," grand opera in three acts, words by Bunn, adapted
from St. George's ballet of "The Gypsy," which appeared at the Paris
Grand Opera in 1839,--itself taken from a romance by Cervantes,--was
first produced in London, Nov. 27, 1843, at Drury Lane, with the
following cast:--

ARLINE Miss ROMER.
THADDEUS Mr. HARRISON.
GYPSY QUEEN Miss BETTS.
DEVILSHOOF Mr. STRETTON.
COUNT ARNHEIM Mr. BORRANI.
FLORESTEIN Mr. DURNSET.

The fame of "The Bohemian Girl" was not confined to England. It was
translated into various European languages, and was one of the few
English operas which secured a favorable hearing even in critical
Germany. In its Italian form it was produced at Drury Lane as "La
Zingara," Feb. 6, 1858, with Mlle. Piccolomini as Arline; and also had
the honor of being selected for the state performance connected with
the marriage of the Princess Royal. The French version, under the name
of "La Bohemienne," for which Balfe added several numbers, besides
enlarging it to five acts, was produced at the Theatre Lyrique, Paris,
in December, 1869, and gained for him the Cross of the Legion of
Honor.

The scene of the opera is laid in Austria, and the first act
introduces us to the chateau and grounds of Count Arnheim, Governor of
Presburg, whose retainers are preparing for the chase. After a short
chorus the Count enters with his little daughter Arline and his nephew
Florestein. The Count sings a short solo ("A Soldier's Life"), and as
the choral response by his retainers and hunters dies away and they
leave the scene, Thaddeus, a Polish exile and fugitive, rushes in
excitedly, seeking to escape the Austrian soldiers. His opening number
is a very pathetic song ("'Tis sad to leave your Fatherland"). At the
end of the song a troop of gypsies enter, headed by Devilshoof,
singing a blithe chorus ("In the Gypsy's Life you may read"). He hears
Thaddeus's story and induces him to join them. Before the animated
strains fairly cease, Florestein and some of the hunters dash across
the grounds in quest of Arline, who has been attacked by a stag.
Thaddeus, seizing a rifle, joins them, and rescues the child by
killing the animal. The Count overwhelms him with gratitude, and urges
him to join in the coming festivities. He consents, and at the banquet
produces a commotion by refusing to drink the health of the Emperor.
The soldiers are about to rush upon him, when Devilshoof interferes.
The gypsy is arrested for his temerity, and taken into the castle.
Thaddeus departs and the festivities are resumed, but are speedily
interrupted again by the escape of Devilshoof, who takes Arline with
him. The finale of the act is very stirring, and contains one number,
a prayer ("Thou who in Might supreme"), which is extremely effective.

Twelve years elapse between the first and second acts, and during this
time Count Arnheim has received no tidings of Arline, and has given
her up as lost forever. The act opens in the gypsy camp in the suburbs
of Presburg. Arline is seen asleep in the tent of the Queen, with
Thaddeus watching her. After a quaint little chorus ("Silence,
silence, the Lady Moon") sung by the gypsies, they depart in quest of
plunder, headed by Devilshoof, and soon find their victim in the
person of the foppish and half-drunken Florestein, who is returning
from a revel. He is speedily relieved of his jewelry, among which is a
medallion, which is carried off by Devilshoof. As the gypsies
disappear, Arline wakes and relates her dream to Thaddeus in a joyous
song ("I dreamed I dwelt in Marble Halls"), which has become one of
the world's favorites. At the close of the ballad Thaddeus tells her
the meaning of the scar upon her arm, and reveals himself as her
rescuer, but does not disclose to her the mystery of her birth. The
musical dialogue, with its ensemble, "The Secret of her Birth," will
never lose its charm. Thaddeus declares his love for her just as the
Queen, who is also in love with Thaddeus, enters. Arline also
confesses her love for Thaddeus, and, according to the customs of the
tribe, the Queen unites them, at the same time vowing vengeance
against the pair.

The scene now changes to a street in the city. A great fair is in
progress, and the gypsies, as usual, resort to it. Arline enters at
their head, joyously singing, to the accompaniment of the rattling
castanets, "Come with the Gypsy Bride;" her companions, blithely
tripping along, responding with the chorus, "In the Gypsy's Life you
may read." They disappear down the street and reappear in the public
plaza. Arline, the Queen, Devilshoof, and Thaddeus sing an
unaccompanied quartet ("From the Valleys and Hills"), a number which
for grace and flowing harmony deserves a place in any opera. As they
mingle among the people an altercation occurs between Arline and
Florestein, who has attempted to insult her. The Queen recognizes
Florestein as the owner of the medallion, and for her courage in
resenting the insult maliciously presents Arline with it. Shortly
afterwards he observes the medallion on Arline's neck, and has her
arrested for theft. The next scene opens in the hall of justice. Count
Arnheim enters with a sad countenance, and as he observes Arline's
portrait, gives vent to his sorrow in that well-known melancholy
reverie, "The Heart bowed down," which has become famous the world
over. Arline is brought before him for trial. As it progresses he
observes the scar upon her arm and asks its cause. She tells the story
which Thaddeus had told her, and this solves the mystery. The Count
recognizes his daughter, and the act closes with a beautiful ensemble
("Praised be the Will of Heaven").

The last act opens in the salon of Count Arnheim. Arline is restored
to her old position, but her love for Thaddeus remains. He finds an
opportunity to have a meeting with her, through the cunning of
Devilshoof, who accompanies him. He once more tells his love in that
tender and impassioned song, "When other Lips and other Hearts," and
she promises to be faithful to him. As the sound of approaching steps
is heard, Thaddeus and his companion conceal themselves. A large
company enter, and Arline is presented to them. During the ceremony a
closely veiled woman appears, and when questioned discovers herself as
the Gypsy Queen. She reveals the hiding-place of her companions, and
Thaddeus is dragged forth and ordered to leave the house. Arline
declares her love for him, and her intention to go with him. She
implores her father to relent. Thaddeus avows his noble descent, and
boasts his ancestry and deeds in battle in that stirring martial song,
"When the Fair Land of Poland." The Count finally yields and gives his
daughter to Thaddeus. The Queen, filled with rage and despair, induces
one of the tribe to fire at him as he is embracing Arline; but by a
timely movement of Devilshoof the bullet intended for Thaddeus pierces
the breast of the Queen. As the curtain falls, the old song of the
gypsies is heard again as they disappear in the distance with
Devilshoof at their head.

Many of the operas of Balfe, like other ballad operas, have become
unfashionable; but it is doubtful whether "The Bohemian Girl" will
ever lose its attraction for those who delight in song-melody,
charming orchestration, and sparkling, animated choruses. It leaped
into popularity at a bound, and its pretty melodies are still as fresh
as when they were first sung.


THE ROSE OF CASTILE.

"The Rose of Castile," comic opera in three acts, words by Harris and
Falconer, adapted from Adolphe Adam's "Muletier de Tolede," was first
produced at the Lyceum Theatre, London, Oct. 29, 1857, with the
following cast:--

ELVIRA Miss LOUISA PYNE.
MANUEL W.H. HARRISON.
CARMEN Miss SUSAN PYNE.
DON PEDRO Mr. WEISS.
DON SALLUST Mr. ST. ALBYN.
DON FLORIO Mr. HONEY.

The scene of the opera is laid in Spain. Elvira, the Rose of Castile,
Queen of Leon, has just ascended the throne, and her hand has been
demanded by the King of Castile for his brother, Don Sebastian the
Infant. Having learned that the latter is about to enter her dominions
disguised as a muleteer, the better to satisfy his curiosity about
her, she adopts the same expedient, and sets out to intercept him,
disguised as a peasant girl, taking with her one of her attendants.

The first act opens upon a rural scene in front of a posada, where the
peasants are dancing and singing a lively chorus ("List to the gay
Castanet"). Elvira and Carmen, her attendant, enter upon the scene,
and are asked to join in the dance, but instead, Elvira delights them
with a song, a vocal scherzo ("Yes, I'll obey you"). The innkeeper is
rude to them, but they are protected from his coarseness by Manuel,
the muleteer, who suddenly appears and sings a rollicking song ("I am
a simple Muleteer") to the accompaniment of a tambourine and the
snappings of his whip. A dialogue duet follows, in which she accepts
his protection and escort. She has already recognized the Infant, and
he has fulfilled the motive of the story by falling in love with her.
At this point the three conspirators, Don Pedro, Don Sallust, and Don
Florio, enter, the first of whom has designs on the throne. They
indulge in a buffo trio, which develops into a spirited bacchanal
("Wine, Wine, the Magician thou art!"). Observing Elvira's likeness to
the Queen, they persuade her to personate her Majesty. She consents
with feigned reluctance, and after accepting their escort in place of
Manuel's, being sure that he will follow, she sings a quaint rondo
("Oh, were I the Queen of Spain!"), and the act closes with a
concerted number accompanying their departure.

The second act opens in the throne-room of the palace, and is
introduced by a very expressive conspirators' chorus ("The Queen in
the Palace"); after which Don Pedro enters and gives expression to the
uncertainty of his schemes in a ballad ("Though Fortune darkly o'er me
frowns") which reminds one very forcibly of "The Heart bowed down," in
"The Bohemian Girl." The Queen, who has eluded the surveillance of the
conspirators, makes her appearance, surrounded by her attendants, and
sings that exquisite ballad, "The Convent Cell" ("Of Girlhood's happy
Days I dream"), one of the most beautiful songs ever written by any
composer, and certainly Balfe's most popular inspiration. At the close
of the ballad Manuel appears, and is granted an audience, in which he
informs her of the meeting with the peasant girl and boy, and declares
his belief that they were the Queen and Carmen. She ridicules the
statement, and a very funny trio buffo ensues ("I'm not the Queen, ha,
ha!"). He then informs her of the conspirators' plot to imprison her,
but she thwarts it by inducing a silly and pompous old Duchess to
assume the role of Queen for the day, and ride to the palace closely
veiled in the royal carriage. The plot succeeds, and the Duchess is
seized and conveyed to a convent. In the next scene there is another
spirited buffo number, in which Don Pedro and Don Florio are mourning
over the loss of their peasant girl, when, greatly to their relief,
she enters again, singing a very quaint and characteristic scena ("I'm
but a simple Peasant Maid"), which rouses the suspicions of the
conspirators. They are all the more perplexed when the Queen announces
herself, and declares her intention of marrying the muleteer.

The last act opens with a song by Carmen ("Though Love's the greatest
Plague in Life"), which falls far below the excellence of the other
songs in the work. It is followed by a buffo duet between Carmen and
Florio, who agree to marry. The Queen and ladies enter, and the former
sings a bravura air ("Oh, joyous, happy Day!"), which was intended by
the composer to show Miss Pyne's vocal ability. At this point a
message is brought her from Don Sebastian, announcing his marriage.
Enraged at the discovery that the muleteer is not Don Sebastian, she
severely upbraids him, and he replies in another exquisite ballad
("'Twas Rank and Fame that tempted thee"). At its close she once more
declares she will be true to the muleteer. Don Pedro is delighted at
the apparent success of his scheme, as he believes he can force her to
abdicate if she marries a muleteer, and gives vent to his joy in a
martial song ("Hark! hark! methinks I hear"). The last scene is in the
throne-room, where Manuel announces he is king of Castile, and mounts
the throne singing a stirring song closely resembling, in its style,
the "Fair Land of Poland," in "The Bohemian Girl." Elvira expresses
her delight in a bravura air ("Oh, no! by Fortune blessed"), and the
curtain falls. The story of the opera is very complicated, and
sometimes tiresome; but the music is well sustained throughout,
especially the buffo numbers, while some of the ballads are among the
best ever written by an English composer.




BEETHOVEN.

Ludwig Von Beethoven, the greatest of composers, was born Dec. 17,
1770, at Bonn, Germany, his father being a court singer in the chapel
of the Elector of Cologne. He studied in Vienna with Haydn, with whom
he did not always agree, however, and afterwards with Albrechtsberger.
His first symphony appeared in 1801, his earlier symphonies, in what
is called his first period, being written in the Mozart style. His
only opera, "Fidelio," for which he wrote four overtures, was first
brought out in Vienna in 1805; his oratorio, "Christ on the Mount of
Olives," in 1812; and his colossal Ninth Symphony, with its choral
setting of Schiller's "Ode to Joy," in 1824. In addition to his
symphonies, his opera, oratorios, and masses, and the immortal group
of sonatas for the piano, which were almost revelations in music, he
developed chamber music to an extent far beyond that reached by his
predecessors, Haydn and Mozart. His symphonies exhibit surprising
power, and a marvellous comprehension of the deeper feelings in life
and the influences of nature, both human and physical. He wrote with
the deepest earnestness, alike in the passion and the calm of his
music, and he invested it also with a genial humor as well as with the
highest expression of pathos. His works are epic in character. He was
the great tone-poet of music. His subjects were always lofty and
dignified, and to their treatment he brought not only a profound
knowledge of musical technicality, but intense sympathy with the
innermost feelings of human nature, for he was a humanitarian in the
broadest sense. By the common consent of the musical world he stands
at the head of all composers, and has always been their guide and
inspiration. He died March 26, 1827, in the midst of a raging thunder
storm, one of his latest utterances being a recognition of the "divine
spark" in Schubert's music.


FIDELIO.

"Fidelio, oder die eheliche Liebe" ("Fidelio, or Conjugal Love"),
grand opera in two acts, words by Sonnleithner, translated freely from
Bouilly's "Leonore, ou l'Amour Conjugal," was first produced at the
Theatre An der Wien, Vienna, Nov. 20, 1805, the work at that time
being in three acts. A translation of the original programme of that
performance, with the exception of the usual price of admissions, is
appended:--

Imperial and Royal Theatre An der Wien.
New Opera.
To-day, Wednesday, 20 November, 1805, at the Imperial and Royal
Theatre An der Wien, will be given for the first time.
FIDELIO;
Or, Conjugal Love.
Opera in three acts, translated freely from the French text by
JOSEPH SONNLEITHNER.
The music is by LUDWIG VON BEETHOVEN.

_Dramatis Personae_.

_Don Fernando_, Minister Herr Weinkoff.
_Don Pizarro_, Governor of a State Prison Herr Meier.
_Florestan_, prisoner Herr Demmer.
_Leonora_, his wife, under the name of _Fidelio_ Fraeulein Milder.
_Rocco_, chief jailer Herr Rothe.
_Marcellina_, his daughter Fraeulein Mueller.
_Jaquino_, turnkey Herr Cache.
_Captain of the Guard_ Herr Meister.
_Prisoners, Guards, People_.

The action passes in a State prison in Spain, a few leagues from
Seville. The piece can be procured at the box-office for fifteen
kreutzers.

During this first season the opera was performed three times and then
withdrawn. Breuning reduced it to two acts, and two or three of the
musical numbers were sacrificed, and in this form it was played twice
at the Imperial Private Theatre and again withdrawn. On these
occasions it had been given under Beethoven's favorite title,
"Leonore." In 1814 Treitschke revised it, and it was produced at the
Kaernthnerthor Theatre, Vienna, May 23, of that year, as "Fidelio,"
which title it has ever since retained. Its first performance in Paris
was at the Theatre Lyrique, May 5, 1860; in London, at the King's
Theatre, May 18, 1832; and in English at Covent Garden, June 12, 1835,
with Malibran in the title-role. Beethoven wrote four overtures for
this great work. The first was composed in 1805, the second in 1806,
the third in 1807, and the fourth in 1814. It is curious that there
has always been a confusion in their numbering, and the error remains
to this day. What is called No. 1 is in reality No. 3, and was
composed for a performance of the opera at Prague, the previous
overture having been too difficult for the strings. The splendid
"Leonora," No. 3, is in reality No. 2, and the No. 2 is No. 1. The
fourth, or the "Fidelio" overture, contains a new set of themes, but
the "Leonora" is the grandest of them all.

The entire action of the opera transpires in a Spanish prison, of
which Don Pizarro is governor and Rocco the jailer. The porter of the
prison is Jacquino, who is in love with Marcellina, daughter of Rocco,
and she in turn is in love with Fidelio, Rocco's assistant, who has
assumed male disguise the better to assist her in her plans for the
rescue of her husband, Florestan, a Spanish nobleman. The latter, who
is the victim of Don Pizarro's hatred because he had thwarted some of
his evil designs, has been imprisoned by him unknown to the world, and
is slowly starving to death. Leonora, his wife, who in some way has
discovered that her husband is in the prison, has obtained employment
of Rocco, disguised as the young man Fidelio.

The opera opens with a charming, playful love-scene between Jacquino
and Marcellina, whom the former is teasing to marry him. She puts him
off, and as he sorrowfully departs, sings the Hope aria, "Die
Hoffnung," a fresh, smoothly flowing melody, in which she pictures the
delight of a life with Fidelio. At its close Rocco enters with the
despondent Jacquino, shortly followed by Fidelio, who is very much
fatigued. The love-episode is brought out in the famous canon quartet,
"Mir ist so wunderbar," one of the most beautiful and restful numbers
in the opera. Rocco promises Marcellina's hand to Fidelio as the
reward of her fidelity, but in the characteristic and sonorous Gold
song, "Hat man nicht auch Geld daneben," reminds them that money as
well as love is necessary to housekeeping. In the next scene, while
Don Pizarro is giving instructions to Rocco, a packet of letters is
delivered to him, one of which informs him that Don Fernando is coming
the next day to inspect the prison, as he has been informed that it
contains several victims of arbitrary power. He at once determines
that Florestan shall die, and gives vent to his wrath in a furious
dramatic aria ("Ha! welch ein Augenblick!"). He attempts to bribe
Rocco to aid him. The jailer at first refuses, but subsequently, after
a stormy duet, consents to dig the grave. Fidelio has overheard the
scheme, and, as they disappear, rushes forward and sings the great
aria, "Abscheulicher!" one of the grandest and most impassioned
illustrations of dramatic intensity in the whole realm of music. The
recitative expresses intense horror at the intended murder, then
subsides into piteous sorrow, and at last breaks out into the glorious
adagio, "Komm Hoffnung," in which she sings of the immortal power of
love. The last scene of the act introduces the strong chorus of the
prisoners as they come out in the yard for air and sunlight, after
which Rocco relates to Fidelio his interview with Don Pizarro. The
latter orders the jailer to return the prisoners to their dungeons and
go on with the digging of the grave, and the act closes.

The second act opens in Florestan's dungeon. The prisoner sings an
intensely mournful aria ("In des Lebens Fruehlingstagen"), which has a
rapturous finale ("Und spuer' Ich nicht linde"), as he sees his wife in
a vision. Rocco and Fidelio enter and begin digging the grave, to the
accompaniment of sepulchral music. She discovers that Florestan has
sunk back exhausted, and as she restores him recognizes her husband.
Don Pizarro enters, and after ordering Fidelio away, who meanwhile
conceals herself, attempts to stab Florestan. Fidelio, who has been
closely watching him, springs forward with a shriek, and interposes
herself between him and her husband. He once more advances to carry
out his purpose, when Fidelio draws a pistol and defies him. As she
does so, the sound of a trumpet is heard outside announcing the
arrival of Don Fernando. Don Pizarro rushes out in despair, and
Florestan and Leonora, no longer Fidelio, join in a duet ("O Namenlose
Freude") which is the very ecstasy of happiness. In the last scene Don
Fernando sets the prisoners free in the name of the king, and among
them Florestan. Pizarro is revealed in his true character, and is led
away to punishment. The happy pair are reunited, and Marcellina, to
Jacquino's delight, consents to marry him. The act closes with a
general song of jubilee. As a drama and as an opera "Fidelio" stands
almost alone in its perfect purity, in the moral grandeur of its
subject, and in the resplendent ideality of its music.




BELLINI.

Vincenzo Bellini was born Nov. 3, 1802, at Catania, Sicily, and came
of musical parentage. By the generosity of a patron he was sent to
Naples, and studied at the Conservatory under Zingarelli. His first
opera was "Adelson e Salvino," and its remarkable merit secured him a
commission from the manager, Barbaja, for an opera for San Carlo. The
result was his first important work, "Bianca e Fernando," written in
1826. Its success was moderate; but he was so encouraged that he at
once went to Milan and wrote "Il Pirata," the tenor part for Rubini.
Its success was extraordinary, and the managers of La Scala
commissioned him for another work. In 1828 "La Straniera" appeared,
quickly followed by "Zaira" (1829), which failed at Parma, and "I
Capuletti ed i Montecchi," a version of "Romeo and Juliet," which made
a great success at Venice in 1830. A year later he composed "La
Sonnambula," unquestionably his best work, for La Scala, and it
speedily made the tour of Europe, and gained for him an extended
reputation. A year after its appearance he astonished the musical
world with "Norma," written, like "Sonnambula," for Mme. Pasta. These
are his greatest works. "Norma" was followed by "Beatrice di Tenda,"
and this by "I Puritani," his last opera, written in Paris for the
four great artists, Grisi, Rubini, Tamburini, and Lablache. Bellini
died Sept. 23, 1835, in the twenty-ninth year of his age, preserving
his musical enthusiasm to the very last. He was a close follower of
Rossini, and studied his music diligently, and though without a very
profound knowledge of harmony or orchestration, succeeded in producing
at least three works, "Norma," "Sonnambula," and "I Puritani," which
were the delight of the opera-goers of his day, and still freshly hold
the stage.

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