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

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




The first act opens with the brilliant chorus of the revellers
("Piacer della mensa"), which is full of courtly grace. Raoul tells
the story of the unknown fair one he has encountered, in the romanza,
"Piu bianca del velo." When Marcel is called upon, he hurriedly chants
the hymn, "O tu che ognor," set to the Martin Luther air, "Ein feste
Burg," and heightened by a stirring accompaniment, and then bursts out
into a graphic song ("Finita e pe' frati"), emphasized with the
piff-paff of bullets and full of martial fervor. In delightful
contrast with the fierce Huguenot song comes the lively and graceful
romanza of Urbain ("Nobil donna e tanto onesta"), followed by a
delightful septet. The scene now changes, and with it the music. We
are in the Queen's gardens at Chenonceaux. Every number, the Queen's
solo ("A questa voce sola"), the delicate "Bathers' Chorus," as it is
called ("Audiam, regina, in questo amene sponde"), the brilliant and
graceful allegretto sung by Urbain ("No, no, no, no"), the duet
between the Queen and Raoul, based upon one of the most flowing of
melodies, and the spirited and effective finale in which the nobles
take the oath of allegiance ("Per la fe, per l'onore"),--each and
every one of these is colored with consummate skill, while all are
invested with chivalrous refinement and stately grace.

The second act opens with a beautiful choral embroidery in which
different choruses, most striking in contrast, are interwoven with
masterly skill. It is a picture, in music, of the old Paris. The
citizens rejoice over their day's work done. The Huguenots shout their
lusty Rataplan, while the Papist maidens sing their solemn litany
("Ave Maria") on their way to chapel; and as they disappear, the
quaint tones of the curfew chant are heard, and night and rest settle
down upon the city. It is a striking introduction to what
follows,--the exquisite duet between Marcel and Valentin, the great
septet of the duel scene, beginning, "De dritti miei ho l'alma
accesa," with the tremendous double chorus which follows as the two
bands rush upon the scene. As if for relief from the storm of this
scene, the act closes with brilliant pageant music as De Nevers
approaches to escort Valentin to her bridal.

The third act is the climax of the work, and stands almost unrivalled
in the field of dramatic music, for the manner in which horror and
passion are illustrated. After a dark and despairing aria by Valentin
("Eccomi sola ormai"), and a brief duet with Raoul, the conspirators
enter. The great trio, closing with the conjuration, "Quel Dio," the
awful and stately chant of the monks in the blessing of the unsheathed
daggers ("Sia gloria eterna e onore"), and the thrilling unisons of
the chorus ("D'un sacro zel l'ardore"), which fairly glow with energy,
fierceness, and religious fury,--these numbers of themselves might
have made an act; but Meyerbeer does not pause here. He closes with a
duet between Raoul and Valentin which does not suffer in comparison
with the tremendous combinations which have preceded it. It is filled
with the alternations of despair and love, of grief and ecstasy. In
its movement it is the very whirlwind of passion. Higher form dramatic
music can hardly reach. In the Italian version the performance usually
closes at this point; but there is still another striking and powerful
scene, that in which Raoul and Valentin are united by the dying
Marcel. Then the three join in a sublime trio, and for the last time
chant together the old Lutheran psalm, and await their fate amid the
triumphant harpings that sound from the orchestra and the hosanna they
sing to its accompaniment.


THE STAR OF THE NORTH.

"L'Etoile du Nord," an opera in three acts, words by Scribe, was first
performed at the Opera Comique, Paris, Feb. 16, 1854, and in Italian
as "La Stella del Nord" at Covent Garden, London, July 19, 1855. In
English it has been produced under the title of "The Star of the
North." The opera contains several numbers from the composer's earlier
work, "Feldlager in Schlesien," which was written for the opening of
the Berlin opera-house, in memory of Frederick the Great, and was
subsequently (Feb. 17, 1847) performed with great success in Vienna,
Jenny Lind taking the role of Vielka. The "Feldlager," however, has
never been given out of Germany.

The action of the opera transpires in Wyborg, on the Gulf of Finland,
in the first act, at a camp of the Russians in the second, and at the
palace of the Czar Peter in the third. In the first, Peter, who is
working at Wyborg, disguised as a carpenter, makes the acquaintance of
Danilowitz, a pastry-cook, and Catharine, a cantiniere, whose brother
George is about to marry Prascovia. Catharine brings about this
marriage; and not only that, but saves the little village from an
invasion by a strolling horde of Tartars, upon whose superstition she
practises successfully, and so conducts herself in general that Peter
falls in love with her, and they are betrothed, though she is not
aware of the real person who is her suitor. Meanwhile the conscription
takes place, and to save her newly wedded brother she volunteers for
fifteen days in his place, disguising herself as a soldier. In the
next act we find Catharine going her rounds as a sentinel in the
Russian camp on the Finnish frontier. Peter and Danilowitz are also
there, and are having a roistering time in their tent, drinking and
making love to a couple of girls. Hearing Peter's voice she recognizes
it, and curiosity leads her to peep into the tent. She is shocked at
what she beholds, neglects her duty, and is found by the corporal in
this insubordinate condition. He remonstrates with her, and she
answers with a slap on his ears, for which she incurs the penalties of
disobedience to orders as well as insulting behavior to her superior
officer. Peter at last is roused from his drunkenness by the news of
an insurrection among his own soldiers and the approach of the enemy.
He rushes out and promises to give Peter into their hands if they will
obey and follow _him_. At last, struck with his bearing and authority,
they demand to know who he is, whereupon he declares himself the Czar.
The mutiny is at once quelled. They submit, and offer their lives as
warrant for their loyalty. The last act opens in the Czar's palace,
where his old companion, Danilowitz, has been installed in high favor.
Catharine, however, has disappeared. George and Prascovia arrive from
Finland, but they know nothing of her. The faithful Danilowitz finds
her, but she has lost her reason. Her friends try to restore it by
surrounding her with recollections of home, and Peter at last succeeds
by playing upon his flute the airs he used to play to her in Finland.
Her senses come back, and thus all ends happily; for Catharine and
Peter are at last united amid the acclamations of the people.

In the first act the character of Peter is well expressed in the
surly, growling bass of his soliloquy ("Vedra, vedra"). It is followed
by a characteristic drinking-chorus ("Alla Finlanda, beviam"), a wild,
barbaric rhythm in the minor, which passes into a prayer as they
invoke the protection of Heaven upon Charles XII. In the eighth scene
occur the couplets of Gritzensko as he sings the wild song of the
Kalmucks. In charming contrast, in the next scene, Catharine sings the
gypsy rondo, which Jenny Lind made so famous ("Wlastla la santa"),
which is characterized by graceful coquetry; and this in turn is
followed by a striking duet between Catharine and Peter, in which the
individual characteristics of the two are brought out in genuine
Wagnerian style. In the thirteenth scene occurs the bridal song of
Prascovia ("Al suono dell'ora"), with choral accompaniment, of a
delicate and coquettish cast, leading up to the finale, beginning with
the soldiers' chorus ("Onor che a gloria"), with an accompaniment of
drums and fifes, again passing to a pathetic prayer ("Veglia dal ciel
su lor") sung by Catharine amid the ringing of bells as the bridal
wreath is placed upon Prascovia's head, and closing with a florid
barcarole ("Vascel che lasci") as she sails away.

The second act opens with ballet music, full of Eastern color, and
then ensues one of those choral combinations, like that in the second
act of "the Huguenots," in which Meyerbeer so much delighted,--a
cavalry chorus ("Bel cavalier del cuor d'acciar"), followed by the
Grenadier's song, accompanied by chorus ("Granadier di Russia
esperti"), the chorus taking up the "tr-r-r-um" refrain in imitation
of the drum. In the eighth scene we have the orgy in the tent in the
form of a very spirited dramatic trio, in which Peter sings a blithe
drinking-song ("Vedi al par del rubino"); this in turn resolving into
a quintet ("Vezzose vivandiere"), and again into a sextet, as
Ismailoff enters with a letter for the Czar. The finale is a superb
military picture, made up of the imposing oath of death to the tyrant,
the stirring Dessauer march, the cavalry fanfare, and the Grenadiers'
march, interwoven with the chorus of women as they cheer on the
marching soldiers.

The third act opens with a romanza ("Dal cor per iscacciare"), very
tender and beautiful, in which the rugged Czar shows us the
sentimental side of his character. In the third scene occurs a long
buffo trio between Peter, Gritzensko, and Danilowitz, which is full of
humor. In the finale we have Catharine in the mad scene, singing the
scena, "L'aurora alfin succede," with bits of the old music running
through the accompaniment; and in the final scene, as her reason
returns, breaking out in the florid bravura, "Non s'ode alcun,"
accompanied by the first and second flutes, which is a triumph of
virtuosity for the voice. This number was taken from "The Camp in
Silesia," and was given by Jenny Lind with immense success, not only
in the latter work, but upon the concert stage. The opera as a whole
abounds in humor, its music is fresh and brilliant, and its military
character makes it specially attractive.


ROBERT THE DEVIL

"Robert le Diable," a grand opera in five acts, words by Scribe and
Delavigne, was first produced at the Academie, Paris, Nov. 21, 1831,
with the following cast:--

ALICE Mlle. DORUS.
ISABELLE Mme. CINTI-DAMOREAU.
THE ABBESS Sigr. TAGLIONI.
ROBERT M. NOURRIT.
BERTRAM M. LEVASSEUR.
RAIMBAUT M. LAFONT.

In the following year two versions in English, both of them imperfect,
were brought out by the rival theatres, Covent Garden and Drury Lane.
On the 20th of February it appeared at Drury Lane under the title of
"The Demon; or, the Mystic Branch," and at Covent Garden the next
evening as "The Fiend Father, or Robert Normandy." Drury Lane had
twenty-four hours the start of its rival, but in neither case were the
representations anything but poor imitations of the original. On the
11th of the following June the French version was produced at the
King's Theatre, London, with the same cast as in Paris, except that
the part of Alice was taken by Mme. De Meric, and that of the Abbess
by the danseuse Mlle. Heberle. On the 4th of May, 1847, the first
Italian version was produced at Her Majesty's Theatre, with Jenny Lind
and Staudigl in the cast. Gruneisen, the author of a brief memoir of
Meyerbeer, who was present, says: "The night was rendered memorable,
not only by the massacre attending the general execution, but also by
the debut of Mlle. Lind in this country, who appeared as Alice. With
the exception of the debutante, such a disgraceful exhibition was
never before witnessed on the operatic stage. Mendelssohn was sitting
in the stalls, and at the end of the third act, unable to bear any
longer the executive infliction, he left the theatre."

The libretto of "Robert the Devil" is absurd in its conceptions and
sensational in its treatment of the story, notwithstanding that it
came from such famous dramatists as Scribe and Delavigne; and it would
have been still worse had it not been for Meyerbeer. Scribe, it is
said, wished to introduce a bevy of sea-nymphs, carrying golden oars,
as the tempters of Robert; but the composer would not have them, and
insisted upon the famous scene of the nuns, as it now stands, though
these were afterwards made the butt of almost endless ridicule.
Mendelssohn himself, who was in Paris at this time, writes: "I cannot
imagine how any music could be composed on such a cold, formal
extravaganza as this." The story runs as follows: The scene is laid in
Sicily, where Robert, Duke of Normandy, who by his daring and
gallantries had earned the sobriquet of "the Devil," banished by his
own subjects, has arrived to attend a tournament given by the Duke of
Messina. In the opening scene, while he is carousing with his knights,
the minstrel Raimbaut sings a song descriptive of the misdeeds of
Robert. The latter is about to revenge himself on the minstrel, when
Alice, his foster-sister and the betrothed of Raimbaut, appears and
pleads with him to give up his wicked courses, and resist the spirit
of evil which is striving to get the mastery of him. Robert then
confides to Alice his hopeless passion for Isabella, daughter of the
Duke. While they are conversing, Bertram, "the unknown," enters, and
Alice shrinks back affrighted, fancying she sees in him the evil
spirit who is luring Robert on to ruin. After she leaves, Bertram
entices him to the gaming-table, from which he rises a beggar,--and
worse than this, he still further prejudices his cause with Isabella
by failing to attend the tournament, thus forfeiting his knightly
honor.

The second act opens upon an orgy of the evil spirits in the cavern of
St. Irene. Bertram is present, and makes a compact with them to loose
Robert from his influence if he does not yield to his desires at once.
Alice, who has an appointment with the minstrel in the cavern,
overhears the compact, and determines to save him. Robert soon
appears, mourning over his losses and dishonor; but Bertram promises
to restore everything if he will visit the ruined Abbey of St.
Rosalie, and carry away a mystic branch which has the power of
conferring wealth, happiness, and immortality. He consents; and in the
next scene Bertram pronounces the incantation which calls up the
buried nuns. Dazed with their ghostly fascinations, Robert seizes the
branch and flies. His first use of it is to enter the apartments of
Isabella, unseen by her or her attendants, all of whom become
immovable in the presence of the mystic talisman. He declares his
intention of carrying her away; but moved by her entreaties he breaks
the branch, which destroys the charm. In the last act Bertram is at
his side again, trying to induce him to sign the fatal compact. The
strains of sacred music which he hears, and the recollections of his
mother, restrain him. In desperation Bertram announces himself as his
fiend-father. He is about to yield, when Alice appears and reads to
him his mother's warning against the fiend's temptation. As he still
hesitates, the clock strikes, and the spell is over. Bertram
disappears, and the scene changes to the cathedral, where Isabella in
her wedding robes awaits the saved Robert.

From the musical point of view "Robert le Diable" is interesting, as
it marks the beginning of a new school of grand opera. With this work,
Meyerbeer abandoned the school of Rossini and took an independent
course. He cut loose from the conventional classic forms and gave the
world dramatic music, melodies of extraordinary dramatic force,
brilliant orchestration, stately pageants, and theatrical effects.
"Robert le Diable" was the first of the subsequent great works from
his pen which still further emphasized his new and independent
departure. It is only necessary to call attention to a few prominent
numbers, for this opera has not as many instances of these
characteristics as those which followed and which are elsewhere
described. The first act contains the opening bacchanalian chorus
("Versiamo a tazza plena"), which is very brilliant in character; the
minstrel's song in the same scene ("Regnava un tempo in Normandia"),
with choral accompaniment; and a very tender aria for Alice ("Vanne,
disse, al figlio mio"), in which she delivers his mother's message to
Robert. The second act opens with a spirited duet between Bertram and
Raimbaut, leading up to a powerful and characteristic chorus of the
evil spirits ("Demoni fatali"). An aria for Alice ("Nel lasciar in
Normandia"), a duet between Bertram and Alice ("Trionfo bramato"), and
an intensely dramatic trio between Bertram, Alice, and Robert ("Lo
sguardo immobile"), prepare the way for the great scena of the nuns,
known as "La Temptation," in which Meyerbeer illustrates the fantastic
and oftentimes ludicrous scene with music which is the very essence of
diabolism, and in its way as unique as the incantation music in "Der
Freischutz." The third act contains two great arias. The first
("Invano il fato"), sung at the opening of the act by Isabella, and
the second the world-famous aria "Roberto, o tu che adoro," better
known by the French words ("Robert! toi que j'aime"). The closing act
is specially remarkable for the great terzetto in its finale, which is
one of the most effective numbers Meyerbeer has written. The judgment
of Hanslick, the great Viennese critic, upon this work is interesting
in this connection. He compares it with "William Tell" and
"Masaniello," and finds that in musical richness and blended effects
it is superior to either, but that a single act of either of the works
mentioned contains more artistic truth and ideal form than "Robert le
Diable,"--a judgment which is largely based upon the libretto itself,
which he condemns without stint.


DINORAH

"Dinorah," an opera in three acts, founded upon a Breton idyl, words
by Barbiere and Carre, was first produced at the Opera Comique, Paris,
April 4, 1859, under the title of "Le Pardon de Ploermel." It contains
but three principal characters, and these were cast as follows:
Dinorah, Mme. Cabel; Corentin, M. Sainte-Foy; and Hoeel, M. Faure. On
the 26th of July, 1859, Meyerbeer conducted the work himself at Covent
Garden, London, with Mme. Miolan-Carvalho as Dinorah, and it was also
produced in the same year in English by the Pyne-Harrison troupe. The
first representative of Dinorah in this country was Mlle. Cordier.

The scene of the opera is laid in Brittany, and when the first act
opens, the following events are supposed to have transpired. On one of
the days set apart by the villagers of Ploermel for a pilgrimage to
the shrine of the Virgin, Hoeel, the goatherd, and Dinorah, his
affianced, set out to receive a nuptial benediction. The festivity is
interrupted by a thunder-storm, during which Les Herbiers, the
dwelling-place of Dinorah, is destroyed by lightning. Dinorah is in
despair. Hoeel determines to make good the loss, and upon the advice of
Tonick, an old wizard, resolves to go in quest of a treasure which is
under the care of the Korigans, a supernatural folk belonging to
Brittany. In order to wrest it from them, however, it is necessary for
Hoeel to quit the country and spend a year in solitude in a desolate
region. He bravely starts off, and Dinorah, thinking he has abandoned
her, loses her wits, and constantly wanders about the woods with her
goat, seeking him. Meanwhile the year expires and Hoeel returns,
convinced that he has the secret for securing the treasure.

The overture to the work is unique among operatic overtures, as it has
a chorus behind the curtain interwoven with it. It is a picture of the
opera itself, and contains a will-o'-the-wisp passage, a rustic song
with accompaniment of goat-bells, a storm, and in the midst of the
storm a chant to the Virgin, sung by the unseen chorus, and then a
Pilgrimage march, the whole being in the nature of a retrospect. The
curtain rises upon a rustic chorus, after which Dinorah appears,
seeking her goat, and sings a slumber-song ("Si, carina, caprettina")
which is very graceful, and concludes with phrases in imitation of
birds. In the next scene, Corentin, the bagpiper, who has been away
three months, and is nearly dead with terror of goblins and fairies,
returns to his cottage, and to reassure himself sings a very quaint
and original song ("Sto in casa alfine"), to the accompaniment of his
pipe. Dinorah suddenly appears and enters the cottage, and much to his
alarm keeps him playing and singing, which leads to a very animated
vocal contest between her and the bagpiper. It is abruptly terminated,
however, by the arrival of Hoeel. Dinorah makes her escape by a window,
and Hoeel relates to Corentin the story of the Korigans' treasure. As
the first person who touches it will die, he determines that Corentin
shall be his messenger, and to rouse his courage sends for wine. While
Corentin is absent, Hoeel sings an aria ("Se per prender") which has
always been a favorite with barytones. After Corentin returns, the
tinkling of the goat's bell is heard. Dinorah appears in the distance,
and a charming trio closes the act, to the accompaniment of the
whistling wind and booming thunder on the contra basses and drums of
the orchestra.

The second act opens with a drinking-song by wood-cutters, and as they
withdraw, Dinorah enters, seeking Hoeel. She sings a tender lament,
which, as the moonlight falls about her, develops into the famous
"Shadow Song," a polka mazurka, which she sings and dances to her
shadow. The aria, "Ombra leggier," is fairly lavish in its texture of
vocal embroidery, and has always been a favorite number on the concert
stage. The next scene changes to the Val Maudit (the Cursed Vale), a
rocky, cavernous spot, through which rushes a raging torrent bridged
by a fallen tree. Hoeel and Corentin appear in quest of the treasure,
and the latter gives expression to his terror in a very characteristic
manner, with the assistance of the orchestra. Dinorah is heard singing
the legend of the treasure ("Chi primo al tesor"), from which Corentin
learns that whoever touches it first will die. He refuses to go on,
and a spirited duet ensues between them, which is interrupted by the
entrance of Dinorah and her goat. Hoeel, fancying it is a spirit sent
to keep him back, sings a very beautiful aria ("Le crede il padre").
The act closes with the fall of Dinorah, who attempts to cross the
bridge, into the torrent, and her rescue by Hoeel, to the accompaniment
of a storm set to music. The scene, though melodramatic, is very
strong in its musical effects.

The last act opens with a scene in striking contrast, introduced with
a quintet of horns, followed by a hunter's solo, a reaper's solo, a
duet for shepherds; and a quartet in the finale. Hoeel arrives, bearing
the rescued Dinorah, and sings to her an exquisite romance ("Sei
vendicata assai"). The magic of his singing and her bath in the
torrent restore her wandering senses. Hoeel persuades her that all
which has transpired has been a dream. The old song of the Pardon of
Ploermel comes to her, and as she tries to recall it the chorus takes
it up ("Santa Maria! nostra donna") as it was heard in the overture. A
procession is seen in the distance, and amid some exquisite pageant
music Hoeel and Dinorah wend their way to the chapel, where the nuptial
rites are supposed to be performed.


THE PROPHET.

"Le Prophete," an opera in five acts, words by Scribe, was first
produced in Paris, April 16, 1849, with Mme. Viardot-Garcia as Fides,
and M. Roger as John of Leyden. "The Prophet" was long and carefully
elaborated by its composer. Thirteen years intervened between it and
its predecessor, "The Huguenots;" but in spite of its elaboration it
can only be said to excel the latter in pageantry and spectacular
effect, while its musical text is more declamatory than melodious, as
compared with "The Huguenots." In this sense it was disappointing when
first produced.

The period of the opera is 1534. The first act transpires in Dordrecht
and Leyden, in Holland, and the other three in Munster, Germany. The
text closely follows the historical narrative of the period when
Munster was occupied by John of Leyden and his fanatics, who, after he
had been crowned by them as Emperor of Germany, was driven out by the
bishop of the diocese. The first act opens in the suburbs of
Dordrecht, near the Meuse, with the chateau of Count Oberthal, lord of
the domain, in the distance. After a very fresh and vigorous chorus of
peasants, Bertha, a vassal of the Count, betrothed to John of Leyden,
enters and sings a cavatina ("Il cor nel sento"), in which she gives
expression to emotions of delight at her approaching union. As she
cannot go to Leyden, where the marriage is to take place, without the
Count's consent, Fides, the mother of John, joins her to make the
request. In the mean time the three Anabaptists, Zacarie, Gione, and
Mathisen, leaders of the revolt in Westphalia, arrive on their mission
of raising an insurrection in Holland, and in a sombre trio of a
religious but stirring character ("O libertade") incite the peasants
to rise against their rulers. They make an assault upon the castle of
Count Oberthal, who speedily repels them, and turns the tide of
popular feeling against the Anabaptists, by recognizing Gione as a
former servant who had been discharged from his service for
dishonesty. Fides and Bertha then join in a romanza ("Della mora un
giorno"), imploring his permission for the marriage of Bertha and
John. The Count, however, struck with her beauty, not only refuses,
but claims her for himself, and seizes both her and Fides, and the act
closes with a repetition of the warning chant of the Anabaptists.

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