Part 10
In the next act Peter, a youth of marvellous stupidity and cousin of the bailiff, presents himself in a woful plight, to which he has been reduced by some soldiers at the same wedding festivities, and shortly after Gustav, the real son appears on the scene. He is a manly fellow, full of tender {113} thoughts for his home. Great is therefore his surprise at finding himself repulsed by his own father, who not recognizing him, believes him to be an impostor. All the young man's protestations are of no avail, for in his knapsack are found the papers of a certain Wilhelm Stark, for whom he is now mistaken.--When silly Peter perceives him, he believes him to be the Grenadier, who had so ill-treated him at the wedding, though in reality it was Schwarzbart. Gustav is shut up in a large garden-house of his father's; the small town lacking a prison.
In the third act the Magistrate has found out that Wilhelm's papers prove him to be the bailiff's son, being the offspring of his first love ----, who had been with a clergyman, and who, after the death of the bailiff's wife is vainly sought for by his father. Of course this changes everything for the prisoner, who is suddenly accosted graciously by his gruff guardian Barsch, and does not know what to make of his mysterious hints.
Meanwhile Caroline's heart has spoken for the stranger, who had addressed her so courteously and chivalrously; she feels that, far from being an impostor, he is a loyal and true-hearted young fellow and therefore decides to liberate him. At the same time enter Wilhelm with Schwarzbart, seeking Suschen; Peter slips in for the same reason, seeking her, for Suschen is to be his bride. Gustav, (the prisoner) hearing footsteps, blows out the candle, in order to save Caroline from being recognized {114} and so they all run about in the dark, playing hide and seek in an infinitely droll manner. At last the bailiff, having heard that his son has been found, comes up with the inn-keeper.--The whole mystery is cleared up, and both sons embrace their respective fathers and their brides.
HAMLET.
Grand Opera in five acts by AMBROISE THOMAS.
Text taken from SHAKESPEARE by MICHEL CARRÉ and JULES BARBIER.
Hamlet was first reproduced in Paris in 1868, a year after the representation of Mignon, but it never reached the latter's popularity. This is not due to the music, which is very fine, and even nobler than in Mignon, but to the horrid mutilation of Shakespeare's glorious tragedy, which almost turns into ridicule the most sublime thoughts.
The text is soon explained. We find the Shakespearean name with their thoughts and deeds turned into operatic jargon.
The first act shows Hamlet's disgust and pain at his mother's early wedding with Claudius, King of Denmark, only two months after her first husband's death. Ophelia vainly tries to divert his somber thoughts, he finds her love very sweet however, and when her brother Laertes, before starting on a long journey commends her to his friends' protection, Hamlet swears to be true to her unto death.
In the interview at midnight with his father's ghost, Hamlet experiences great revulsion of feeling, when he discovers that his mother's second {115} husband, is his father's murderer. The ghost urges Hamlet, to avenge his parent, which he swears to do.
In the second act we find Hamlet quite changed. He not only avoids his father and mother, but also shuns Ophelia, who vainly tries to understand his strange behaviour. Determined to find out the truth about Claudius' guilt, Hamlet has paid some actor, to play the old tragedy of Gonzaga's murder. When the actor pours the poison into the sleeping King's mouth Claudius sinks back half fainting, and Hamlet, keenly observant, loudly accuses him of his father's death. But he is unable to act and after the King's escape he seeks his mother's room to ponder on his wrongs. Hidden behind a pillar he overhears from Claudius' own lips that Ophelia's father, old Polonius is the King's accomplice. This destroys the last spark of his belief in humanity. Thrusting the weeping Ophelia from him, he advises her to shut herself into convent and to bid farewell to all earthly joys. Left alone with his mother he wildly reproaches her, and at last so far forgets himself, that he is about to kill her, had not his father's ghost appeared once more, exhorting him to take vengeance but to spare his mother.
This scene is very powerful, the music of strange and weird beauty.--
In the fourth act poor demented Ophelia takes part in the plays of the village-maidens. The Swedish song she sings to them is full of sweet pathos. When her playmates leave her, she hides {116} among the willows, enticed into the water by the "Neck" (Swedish for Sirens), whose own song she has sung. Slowly floating out on the waves her voice dies away softly. With her death the interest in the opera ends; however a fifth act takes us to her grave, where the whole funeral procession arrives. The ghost once more appeals to Hamlet for vengeance, until he rouses himself and runs his sword through Claudius, after which the ghost disappears, while Hamlet is elected King of Denmark on the spot.
The audience in German theatres is spared this last piece of absurdity and the play is brought to a more appropriate close by Hamlet's stabbing himself on his bride's bier.
HANSEL AND GRETEL.
A Fairytale in three pictures by ADELHEID WETTE.
Music by ENGELBERT HUMPERDINCK.
After a long period of "Sturm und Drang" we have an opera so fresh and simple, that any child will delight in it! It not only captivates children and people of simple tastes; but, the most blasés must acknowledge its charms. No thrilling drama, but a simple fairytale, known in every nursery has achieved this wonder. It is a revelation. True music finds its way to the hearts, and how wonderfully refreshing are these simple nursery songs, recalling days of sweet childhood, how droll and truly realistic are these children in {117} their natural and naïve sauciness! Here is no display of human passions; simply and clearly the old fairytale goes on, embellished by the masterly way in which the musician handles the modern orchestra.
The first act represents the miserable little hut of a broom-maker. Hansel is occupied in binding brooms, Gretel is knitting and singing old nursery-songs, such as "Susy, dear Susy, what rattles in the straw." Both children are very hungry, and wait impatiently for the arrival of their parents. Hansel is particularly bad-tempered, but the merry and practical Gretel finding some milk in a pot, soon soothes his ruffled feelings by the promise of a nice rice-pap in the evening. Forgetting work and hunger, they begin to dance and frolic, until they roll on the ground together. At this moment their mother enters, and seeing the children idle, her wrath is kindled, and she rushes at them with the intention of giving them a sound whipping. Alas instead of Hansel she strikes the pot and upsets the milk. The mother's vexation cools and only sorrow remains, but she quickly puts a little basket into Gretel's hands, and drives the children away, bidding them look for strawberries in the woods. Then sinking on a chair utterly exhausted, she falls asleep. She is awakened by her husband, who comes in singing and very gay. She sees that he has had a drop too much and is about to reproach him, but the words die on her lips, when she sees him unfold his treasures, consisting of eggs, bread, butter and coffee. He tells her that he has {118} been very fortunate at the church-ale (Kirmes), and bids her prepare supper at once. Alas, the pot is broken, and the mother relates, that finding the children idle, anger got the better of her, and the pot was smashed to pieces. He goodnaturedly laughs at her discomfiture, but his merriment is changed to grief, when he hears that their children are still in the forest, perhaps even near the Ilsenstein, where the wicked fairy lives, who entices children in order to bake and devour them. This thought so alarms the parents that they rush off, to seek the children in the forest.
The second act is laid near the ill-famed Ilsenstein. Hansel has filled his basket with strawberries, and Gretel is winding a garland of red hips, with which Hansel crowns her. He presents her also with a bunch of wild flowers and playfully does homage to this queen of the woods. Gretel enjoying the play, pops one berry after another into her brother's mouth; then they both eat, while listening to the cuckoo. Before they are aware of it, they have eaten the whole contents of the basket and observe with terror, that it has grown too dark, either to look for a fresh supply, or to find their way home. Gretel begins to weep and to call for her parents, but Hansel, rallying his courage, takes her in his arms and soothes her, until they both grow sleepy. The dustman comes, throwing his dust into their eyes, but before their lids close, they say their evening-prayer; then they fall asleep and the fourteen guardian-angels, whose {119} protection they invoked, are seen stepping down the heavenly ladder to guard their sleep.
In the third act the morning dawns. Crystal drops are showered on the children by the angel of the dew, Gretel opens her eyes first and wakes her brother with a song. They are still entranced by the beautiful angel-dream they have had, when suddenly their attention is aroused by the sight of a little house, made entirely of cake and sugar. Approaching it on tiptoe, they begin to break off little bits, but a voice within calls out "Tip tap, tip tap, who raps at my house?" "The wind, the wind, the heavenly child" they answer continuing to eat and to laugh nothing daunted. But the door opens softly and out glides the witch, who quickly throws a rope around Hansel's throat. Urging the children to enter her house, she tells her name, Rosina sweet-tooth. The frightened children try to escape, but the fairy raises her staff and by a magic charm keeps them spellbound. She imprisons Hansel in a small stable with a lattice-door, and gives him almonds and currants to eat, then turning to Gretel, who has stood rooted to the spot, she breaks the charm with a juniper bough, and compels her to enter the house and make herself useful.
Believing Hansel to be asleep, she turns to the oven, and kindles the fire, then breaking into wild glee she seizes a broom and rides on it round the house singing, Gretel all the while observing her keenly. Tired with her exertions the witch awakes {120} Hansel and bids him show his finger, at which command Hansel stretches out a small piece of wood. Seeing him so thin, the witch calls for more food and while she turns her back, Gretel quickly takes up the juniper bough, and speaking the formula, disenchants her brother. Meanwhile the witch turning to the oven, tells Gretel, to creep into it, in order to see, if the honey-cakes are ready, but the little girl, affecting stupidity begs her, to show, how she is to get in. The witch impatiently bends forward and at the same moment Gretel assisted by Hansel, who has escaped from his prison pushes her into the hot oven and slams the iron door.--The wicked witch burns to ashes, while the oven cracks and roars and finally falls to pieces. With astonishment the brother and sister see a long row of children, from whom the honey-crust has fallen off, standing stiff and stark. Gretel tenderly caresses one of them, who opens his eyes and smiles. She now touches them all, and Hansel, seizing the juniper bough works the charm and recalls them to new life. The cake-children thank them warmly, and they all proceed to inspect the treasures of the house, when Hansel hears their parents calling them. Great is the joy of father and mother at finding their beloved-ones safe and in the possession of a sweet little house. The old sorceress is drawn out of the ruins of the oven in form of an immense honey-cake, whereupon they all thank Heaven for having so visibly helped and protected them.
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HANS HEILING.
Romantic Opera in three acts with a prelude, by HEINRICH MARSCHNER.
Text by EDUARD DEVRIENT.
The text to this opera, which was written by the celebrated actor and sent to Marschner anonymously, so struck the composer by its beauty that he adapted music to it, music which ought to be heard much oftener on our stages, on account of its freshness and of its healthy dramatic
## action, which never flags, but continues to interest and move the
hearer with ever-increasing effect till the end is reached.
The contents are as follows:
Hans Heiling, King of the gnomes, has fallen in love with a daughter of the earth; the charming Anna. This maiden, a poor country-girl in the first freshness of youth, has been induced by her mother to consent to a betrothal with the rich stranger, whom she esteems, but nothing more, her heart not yet having been touched by love.
In the prelude we are introduced into the depths of earth, where the gnomes work and toil incessantly carrying glittering stones, gold and silver and accumulating all the treasures, on which men's hearts are set.
Their King announces to them, that he will no longer be one of theirs; he loves, and therefore he resigns his crown. All the passionate entreatings of his mother and of the gnomes are of no avail. {122} At the Queen's bidding he takes with him a magic book, without which he should lose his power over the gnomes, and after giving to her beloved son a set of luminous diamonds mother and son part, Heiling with joy in his heart, the mother in tears and sorrow.
In the first act Heiling arises from the earth, for ever closing the entrance to the gnomes.
Anna greets him joyously and Gertrud, her mother, heartily seconds the welcome. Heiling gives to his bride a golden chain, and Anna adorning herself, thinks with pleasure, how much she will be looked at and envied by her companions. She fain would show herself at once and begs Heiling to visit a public festival with her. But Heiling by nature serious and almost taciturn, refuses her request. Anna pouts, but she soon forgets her grief, when she sees the curious signs of erudition in her lover's room. Looking over the magic book, the leaves begin to turn by themselves, quicker and quicker, the strange signs seem to grow, to threaten her, until stricken with horrible fear Anna cries out, and Heiling, turning to her, sees too late what she has done. Angry at her curiosity, he pushes her away, but she clings to him with fervent entreaties to destroy the dreadful book. His love conquers his reason; and he throws the last link which connects him with his past into the fire. A deep thunder-peal is heard. Anna thanks him heartily, but from this hour the seed of fear and distrust grows in her heart.
{123}
Heiling, seeing her still uneasy, agrees to visit the festival with her upon condition that she refrains from dancing. She gladly promises, but as soon as they come to the festival, Anna is surrounded by the village-lads, who entreat her to dance. They dislike the stranger, who has won the fairest maiden of the village, and Conrad the hunter, who has long loved Anna, is particularly hard on his rival. He mocks him, feeling that Heiling is not what he seems, and tries to lure Anna away from his side. At last Heiling grows angry, forbidding Anna once more to dance. She is wounded by his words and telling him abruptly, that she is not married yet and that she never will be his slave, she leaves him.
In despair Heiling sees her go away with Conrad, dancing and frolicking.
In the second act we find Anna in the forest. She is in a deep reverie; her heart has spoken, but alas, not for her bridegroom, whom she now fears; it only beats for Conrad, who has owned his love to her. Darkness comes on and the gnomes appear with their Queen, who reveals to the frightened girl the origin of her bridegroom and entreats her to give back the son to his poor bereft mother. When the gnomes have disappeared, Conrad overtakes Anna, and she tells him all, asking his help against her mysterious bridegroom. Conrad, seeing that she returns his love, is happy. He has just obtained a good situation and will now be able to wed her.
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He accompanies her home, where Gertrud welcomes them joyously, having feared that Anna had met with an accident in the forest.
While the lovers are together, Heiling enters, bringing the bridal jewels. Mother Gertrud is dazzled, but Anna shrinks from her bridegroom. When he asks for an explanation, she tells him that she knows of his origin. Then all his hopes die within him, but determined that his rival shall not be happy at his cost, he hurls his dagger at Conrad and takes flight.
In the last act Heiling is alone in a ravine in the mountains. He has sacrificed everything and gained nothing. Sadly he decides to return to the gnomes. They appear at his bidding, but they make him feel that he no longer has any power over them, and by way of adding still further to his sorrows they tell him that his rival lives and is about to wed Anna. Then indeed all seems lost to the poor dethroned King. In despair and repentance he casts himself to the earth. But the gnomes, seeing that he really has abandoned all earthly hopes, swear fealty to him once more and return with him to their Queen, by whom he is received with open arms.
Meanwhile Conrad, who only received a slight wound from Heiling's dagger and has speedily recovered, has fixed his wedding-day and we see Anna, the happy bride in the midst of her companions, prepared to go to church with her lover. But when she looks about her, Heiling is at her {125} side, come to take revenge. Conrad would fain aid her, but his sword breaks before it touches Heiling, who invokes the help of his gnomes. They appear, but at the same moment the Queen is seen, exhorting her son to pardon and to forget. He willingly follows her away into his kingdom of night and darkness, never to see earth's surface again. The anxious peasants once more breathe freely and join in common thanks to God.
HENRY THE LION.
Opera in four acts by EDMUND KRETSCHMER.
This opera has not had the same success as "The Folkungs", which may be attributed in part to the subject, which is less attractive. Nevertheless it has great merit, and has found its way to the larger stages of Germany. The libretto is written by Kretschmer himself. The background is in this instance also historical.
The scene which takes us back to the middle of the 12th century is laid, in the first act, in Rome, in the second and fourth in Henry the Lion's castle and in the third act on the coast of Ancona.
In the first act Henry's praise is sung; he has gained the victory for his Emperor, Frederick Barbarossa, over the Italians. Frederick enters, thanking the Duke heartily for his fidelity and fortitude. A stranger, named Astoc, comes, prophesying an unhappy end to the Emperor, if he continues to seek his laurels in strange lands. To the anger {126} of everybody Henry seconds him, entreating his Master to return into his own country, where his presence is necessary. The Emperor rebukes him sternly, Henry grows hot, and is finally by order of Frederick fettered and led away.
The second act shows the park in Henry's castle. His lovely wife Clementina, whose veil he wears on his helmet as a talisman, receives the country-people, who come to congratulate her on the first anniversary of her wedding-day. Irmgard, sister-in-law of Duke Henry, sees with envy how much Clementina is loved by everyone; she had herself hoped to become Duchess of Saxony, and from the time when Henry brought home his lovely bride, Irmgard has hated her. Conrad von Wettin, Henry's friend, appears in pilgrim's garb, to announce to the lonely wife the sad news of her husband's captivity and she at once resolves to travel to Ancona in order to entreat the Emperor's pardon.
Irmgard, thinking she sees in the disguised pilgrim, whose gait she recognizes to be that of a knight, a lover of Clementina's, believes that already the day of revenge is dawning.
In the third act the Emperor mourns the loss of his bravest hero, who firmly refuses to retract his rash words. A German song is heard, and Conrad von Wettin presents a young minstrel to the homesick Prince. The former begs for the favor of celebrating the coming festival in a German song. This is permitted and the festival begins. {127} The Anconites, whom Frederick delivered from their captivity, appear, to thank him, then Henry the Lion is conducted to his presence and ordered to ask his forgiveness. But Henry repeats that he did nothing wrong in telling the truth. The Emperor decides to give him an hour for reflection, after which if Henry does not bend his will, he shall be banished.
When this hard sentence is heard, Clementina in minstrel's guise sings her song of the German's fidelity to his Prince and his country, and of his wife's faithfulness, and her highest glory.
The song so touches the Emperor, that he bids her ask a favor. She takes Henry the Lion's sword and buckler, which are lying near, and handing them to the captive, entreats the Emperor to give him his liberty and to pardon him. Her request is granted by Frederick; and Henry, shamed by his Prince's magnanimity, bends his knee, swearing eternal fidelity to him. From Henry the young minstrel only asks a piece of the veil fastened round his helmet, in memory of his deliverance.
The last act carries us back to Henry's castle, where the wife receives her husband full of joy. Clementina asks for the missing piece of veil, and Henry tells her how he gave it away. In the midst of this intercourse horns sound and the Emperor appears with his whole suite. He comes to recompense his hero, who has again won for him honor and glory, with the duchy of Bavaria. Henry presents his consort, as the best and most {128} faithful of wives, when Irmgard steps forth, accusing her sister-in law of faithlessness, and relating that she left the castle with a young knight in pilgrim's attire, and only returned when the news spread, that the Duke would come home victorious. Clementina is too proud, to defend herself and forbids even Conrad von Wettin to speak.
Everybody is convinced of her innocence, but her husband, always rash and violent, turns from her, when she refuses to say nay, and banishing her from his castle, casts his glove before Conrad von Wettin.
Clementina silently goes away, but soon reappears in her minstrel's garb; with the piece of veil in her hand she sings the song, which they heard in Ancona. Now she is at once recognized and the opera ends with a paean of praise to the faithfulness of German wives.
HERRAT.
Grand Opera in three acts by FELIX DRAESEKE.