Part 18
In the second act we find Cherubino the Page in the rooms of the Countess, who, innocent and pure herself, sees in him only a child; but this youth has a passionate heart and he loves his mistress ardently. Mistress and maid have amused themselves with Cherubino, putting him into women's dresses. The Count, rendered suspicious by a letter, given to him by Basilio, bids his wife open her door. The women, afraid of his jealousy, detain him a while, and only open the door, when Cherubino has got safely through the window and away over the flower-beds. The Count, entering full of wrath, finds only Susanna with his wife. Ashamed of his suspicions, he asks her pardon and swears never to be jealous again. All blame in the matter of the letter is put on Figaro's shoulders, but this cunning fellow lies boldly, and the Count cannot get the clue to the mystery. Figaro and Susanna, profiting by the occasion, entreat the Count at last to consent to their wedding, which he has always put off. At this moment the gardener Antonio enters, complaining of the spoilt flower-beds. Figaro taking all upon himself, owns that he sprang out of the window, having had an interview with Susanna and fearing the Count's anger. All deem themselves saved, when Antonio presents a document, which the fugitive has lost. The Count, not quite convinced, asks Figaro to tell him the contents; but the latter, never at a loss and discovering that it is the Page's patent, says, that the document was given to him by the Page, the seal {240} having been forgotten. The Count is about to let him off, when Bartolo appears with Marcellina, who claims a matrimonial engagement with Figaro. Her claim is favored by the Count, who wishes to see Susanna unmarried. Out of this strait however they are delivered by finding that Figaro is the son of the old couple, the child of their early love; and all again promises well. But the Countess and Susanna have prepared a little punishment for the jealous husband as well as for the flighty lover.
They have both written letters, in which they ask the men to an interview in the garden. Susanna's letter goes to the Count, Rosina's to Figaro. Under the wings of night the two women meet, each, her own lover, but Susanna wears the Countess' dress, while Rosina has arrayed herself in Susanna's clothes.--
The Countess, not usually given to such tricks, is very anxious. While she awaits her husband, Cherubino approaches, and taking her for Susanna, he, like a little Don Juan as he is, makes love to her. Hearing the Count's steps, he disappears. Almaviva caresses the seeming Susanna, telling her nice things and giving her a ring, which she accepts. They are observed by the other couple and the sly Figaro, who has recognized Susanna, notwithstanding her disguise, denounces the Count to her, vows eternal love and generally makes his bride burn with wrath. In her anger she boxes his ears, upon which he confesses to having known {241} her from the first, and at once restores her good humor.
Seeing the Count approach, they continue to play their former roles, and the false Countess makes love to Figaro, till the Count accosts her as "traitress". For a while she lets him suffer all the tortures of jealousy, then the lights appear and the Count stands ashamed before his lovely wife, recognizing his mistake. The gentle Countess forgives him, and the repenting husband swears eternal fidelity. He speedily unites the lovers Figaro and Susanna and forgives even the little Page Cherubino.
THE NUREMBERG DOLL.
(DIE NÜRNBERGER PUPPE.)
Comic Opera in one act by A. ADAM.
Text by LEUVEN and BEAUPLAN, translated into German by ERNST PASQUÉ.
This Operette, though almost buried in oblivion, has been revived by merit of its true comic humor, which is so rare now-a-days. The music is very simple, but melodious and natural and in Bertha's part offers ample scope to a good songstress.
The scene takes place in a toy-shop at Nuremberg. Cornelius the owner, has an only son Benjamin, whom he dearly loves, notwithstanding his stupidity, while he is most unjust to his orphan nephew, Heinrich, whom he keeps like a servant, after having misappropriated the latter's inheritance.
The old miser wants to procure a wife for his {242} darling, a wife endowed with beauty and every virtue, and as he is persuaded, that such a paragon does not exist in life, he has constructed a splendid doll, which he hopes to endow with life by help of doctor Faust's magic book.
He only awaits a stormy night for executing his design. Meanwhile he enjoys life and when presented to us is just going with Benjamin to a masked ball, after sending at the same time his nephew supperless to bed.--When they have left Heinrich reappears in the garb of Mephistopheles and clapping his hands, his fiancée Bertha, a poor seamstress soon enters.
Sadly she tells her lover, that she is unable to go to the ball, having given all her money, which she had meant to spend on a dress, to a poor starving beggar-woman in the street.
Heinrich touched by his love's tender heart, goodhumoredly determines to lay aside his mask, in order to stay at home with Bertha, when suddenly a bright idea strikes him. Remembering the doll, which his uncle hides so carefully in his closet, which has however long been spied out by Heinrich, he shows it to Bertha, who delightedly slips into the doll's beautiful clothes which fit her admirably.--
Unfortunately Cornelius and his son are heard returning, while Bertha is still absent dressing. The night has grown stormy, and the old man deems it favorable for his design; so he at once proceeds to open Faust's book and to begin the charm.
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Heinrich, who has hardly had time to hide himself in the chimney, is driven out by his cousin's attempts to light a fire. He leaps down into the room and the terrified couple take him for no other than the Devil in person, Heinrich wearing his mask and being besides blackened by soot from the chimney. Perceiving his uncle's terror, he profits by it, and at once beginning a conjuration he summons the doll, that is to say Bertha in the doll's dress. Father and son are delighted by her performances, but when she opens her mouth and reveals a very wilful and wayward character, Cornelius is less charmed. The doll peremptorily asks for food, and Mephistopheles indicates, that it is to be found in the kitchen. While the worthy pair go to fetch it, Mephistopheles hastily exchanging words with his lady-love, vanishes into his sleeping room.
The doll now begins to lead a dance, which makes the toymaker's hair stand on end. She first throws the whole supper out of the window, following it with plate, crockery, toys etc. Then taking a drum, she begins to drill them, like a regular tambour-major, slapping their ears, mouths and cheeks as soon as they try to approach her.
At last, when they are quite worn out, she flies into the closet. But now the father's spirit is roused, he resolves to destroy his and the Devil's work; however he is hindered by Heinrich, who now makes his appearance, and seems greatly astonished at the uproar and disorder he finds in {244} the middle of the night. He only wants to gain time for Bertha to undress and then escape.--
Resolutely the old man walks into the closet to slay the doll. But he returns pale and trembling, having destroyed her while asleep, and believing to have seen her spirit escape through the window with fiendish laughter.--Yet awed by his deed, he sees Heinrich returning who confesses to his uncle, that he has found out his secret about the doll, and that, having accidently broken it, he has substituted a young girl. Cornelius, half dead with fright, sees himself already accused of murder; his only salvation seems to lie in his nephew's silence and instant flight. Heinrich is willing to leave the country, provided his uncle give him back his heritage, which consists of 10,000 Thalers. After some vain remonstrances, the old man gives him the gold. Heinrich having gained his ends, now introduces Bertha, and the wicked old fool and his son see too late, that they have been the dupes of the clever nephew.--
OBERON.
Romantic Opera in three acts by WEBER.
English text by PLANCHE translated by TH. HELL.
Oberon is Weber's last work. In the year 1824 he had the honor of being commissioned to compose this opera for the Covent-garden theatre. He began at once to study English, but, his health giving way, he progressed slowly. Notwithstanding his illness however, he worked on and finished {245} the opera in the year 1826. He had the happiness of seeing it crowned with success, when he travelled to London in February of that year, but he could not witness its triumphs in Germany, for he died in the following July.
The text is most fantastic without any strict order of succession either in the matter of time or locality. It is taken from Wieland's fairy-tale of the same name.
In the first act we find Oberon, the Elfin-king in deep melancholy, which no gaiety of his subjects, however charming, avails to remove. He has quarrelled with his wife Titania, and both have vowed never to be reconciled, until they find a pair of lovers, faithful to each other in all kinds of adversity. Both long for the reunion, but the constant lovers are not to be found.
Oberon's most devoted servant is little Puck, who has vainly roved over the world to find what his master needs. He has however heard of a valiant knight in Burgundy, Hüon, who has killed Carloman, the son of Charlemagne in a duel, having been insulted by him. Charlemagne, not willing to take his life for a deed of defence, orders him to go to Bagdad, to slay the favorite, sitting to the left of the Calif, and to wed the Calif's daughter Rezia. Puck resolves to make this pair suit his ends. He tells Oberon the above-mentioned story, and by means of his lily-sceptre shows Hüon and Rezia to him. At the same-time these two behold each other in a vision, so that when they awake both are deeply in love.
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Oberon wakes Hüon and his faithful shield-bearer Scherasmin, and promises his help in every time of need. He presents Hüon with a magic horn, which will summon him at any time; Scherasmin receives a cup, which fills with wine of itself. Then he immediately transports them to Bagdad.
There, we find Rezia with her Arabian maid Fatima. The Calif's daughter is to wed Babekan, a Persian Prince, but she has hated him ever since she saw Hüon in her vision. Fatima has discovered the arrival of Hüon. It is high time, for in the beginning of the second act we see the Calif with Babekan, who wants to celebrate the nuptials at once. Rezia enters, but at the same time Hüon advances, recognizing in Rezia the fair one of his dream. He fights, and stabs Babekan. The Turks attack him, but Scherasmin blows his magic horn and compels them to dance and laugh, until the fugitives have escaped.
In the forest they are overtaken, but Hüon and Scherasmin, who has come after his master with Fatima, put the pursuers to flight.
Oberon now appears to the lovers, and makes them promise upon oath that they will remain faithful to each other under every temptation. He immediately after transports them to the port of Ascalon, from which they are to sail homeward. Oberon now puts their constancy to the proof. Puck conjures up the nymphs and the spirits of the air, who raise an awful tempest. Hüon's ship sinks; the lovers are shipwrecked. While Hüon seeks for {247} help, Rezia is captured by the pirates, and Hüon, returning to save her, is wounded and left senseless on the beach. Oberon now causes him to fall into a magic sleep, which is to last seven days.
In the third act we find Scherasmin and his bride, Fatima in Tunis dressed as poor gardeners.
A corsair has saved the shipwrecked and sold them as slaves to the Emir of Tunis. Though poor and in captivity they do not lose courage and are happy that they are permitted to bear their hard lot together.
Meanwhile the seven days of Hüon's sleep have passed. Awaking, he finds himself to his astonishment in Tunis, in the Emir's garden, with his servant beside him, who is not less astonished at finding his master.
Fatima, coming back, relates that she has discovered Rezia in the Emir's harem. Hüon, who finds a nosegay with a message, which bids him come to the myrtle-bower during the night, believes that it comes from Rezia and is full of joy at the idea of meeting his bride. Great is his terror, when the lady puts aside her veil, and he sees Roschana, the Emir's wife. She has fallen in love with the noble knight, whom she saw in the garden, but all her desires are in vain; he loathes her and is about to escape, when the Emir enters, captures and sentences him to be consumed by fire. Roschana is to be drowned. Rezia, hearing of her lover's fate, implores the Emir to pardon him. But she has already offended him by her {248} unwillingness to listen to his protestations of love, and when he hears that Hüon is her husband, he condemns them to be burnt together. Their trials however are nearing their end. Scherasmin has regained his long-lost horn, by means of which he casts a spell on everybody, until, blowing it with all his might, he calls Oberon to their aid. The Elfin-King appears accompanied by Queen Titania, who is now happily reconciled to him and thanking the lovers for their constancy, he brings them safely back to Paris, where Charlemagne holds his court. The Emperor's wrath is now gone and he warmly welcomes Sir Hüon with his lovely bride, promising them honor and glory for their future days.
ORFEO E EURYDICE.
Opera in three acts by GLUCK.
Text by RANIERO DI CALZABIGI.
This opera is the oldest of all we possess in our repertoire. Gluck had already written more than forty operas, of which we do not even know the names now, when he composed his Orfeo, breaking with the old Italian traditions and showing a new and more natural taste. All the charm of Italian melody is still to be found in this composition, but it is blent with real feeling, united to great strength of expression and its value is enhanced by a total absence of all those superfluous warbles and artificial ornaments, which filled the Italian operas of that time. The libretto, taken from the old and beautiful Greek tragedy, is as effective as the music.
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Orpheus, the celebrated Greek musician and singer has lost his wife Eurydice. His mournful songs fill the groves where he laments, and with them he touches the hearts not only of his friends but of the gods. On his wife's grave Amor appears to him, and bids him descend into Hades, where he is to move the Furies and the Elysian shadows with his sweet melodies, and win back from them his lost wife.
He is to recover her on a condition, which is, that he never casts a look on her on their return to earth, for if he fail in this, Eurydice will be for ever lost to him.
Taking his lyre and casque Orpheus promises obedience and with renewed hope sallies forth on his mission. The second act represents the gates of Erebus, from which flames arise. Orpheus is surrounded by furies and demons, who try to frighten him; but he, nothing daunted, mollifies them by his sweet strains, and they set free the passage to Elysium, where Orpheus has to win the happy shadows. He beholds Eurydice among them, veiled, the happy shadows readily surrender her to him, escorting the pair to the gates of their happy vale.
The third act beholds the spouses on their way back to earth. Orpheus holds Eurydice by the hand, drawing the reluctant wife on, but without raising his eyes to her face, on and on through the winding and obscure paths, which lead out of the infernal regions. Notwithstanding his protestations {250} of love and his urgent demands to her to follow him, Eurydice never ceases to implore him to cast a single look on her, threatening him with her death, should he not fulfil her wish. Orpheus, forbidden to tell her the reason of his strange behaviour, long remains deaf to her cruel complaints, but at last he yields, and looks back, only to see her expire under his gaze. Overwhelmed by grief and despair Orpheus draws his sword to destroy himself, when Amor appears, and stays the fatal stroke.
In pity for Orpheus' love and constancy he reanimates Eurydice (contrary however to the letter of the Greek tragedy) and the act closes with a beautiful chorus sung in Amor's praise.
OTHELLO.
Opera in four acts by GIUSEPPE VERDI.
Text by ARRIGO BOITO, translated into the German by MAX KALBECK.
In his seventy-third year the Maëstro has given to his time an opera, which surpasses his former compositions in many respects. It proves, that Verdi's genius has remained admirably fresh and that the new views and revelations, which Wagner opened to the musical world have been fully understood by the Italian. He has now broken with the unnatural traditions of the Italian opera, and has in Othello given us a work, which secures to him an honored place among the best dramatic composers.
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It must not be omitted, that Verdi had a splendid second in the person of Boito, the high-minded and capable composer of "Mefistofele". He omits in his action all that is incidental, and as a consequence the force of thought and expression is the more powerful. It is written strictly after Shakespeare's original.
The opera was put on the stage in Munich in the summer of 1888 with great success.
The first scene represents the people, following excitedly the course of Othello's ship, which battles with the waves. After he has landed and informed the assembly of his victory over the Turks, shouts of joy and exultation rend the air.
Then follows a convivial chat between Cassio, Rodrigo and Jago, in the course of which the latter makes Cassio drunk. Jago's demoniacal nature is masterfully depicted here, where he soon succeeds in ruining Cassio, who loses his rank as captain.
In the third scene we see Desdemona with her husband, both rejoicing in the felicity of their mutual love.
In the second act Jago proceeds to carry out his evil intents, by sending Cassio to Desdemona, who is to intercede for him with Othello. Jago then calls Othello's attention to the retiring Cassio and by making vile insinuations inflames his deadly jealousy. Desdemona appears, surrounded by women and children, who offer her flowers and presents. She comes forward to plead for Cassio, and Othello suspiciously refuses.--She takes out her {252} handkerchief to cool her husband's aching forehead with it, but he throws it down and Emilia, Jago's wife, picks it up. Jago wrenches it from her and hides it.
In the next scene Jago's villainous insinuations work upon Othello, who becomes wildly suspicious. Jago relates a dream of Cassio's, in which he reveals his love for Desdemona, then he hints that he has seen Othello's first love-token, her lace-handkerchief in Cassio's hands, and both swear to avenge Desdemona's infidelity.
In the third act Othello pretending to have a head-ache, asks for Desdemona's lace-handkerchief. She has lost it, she tells him, but he is incredulous and charges her with infidelity. All her protests are useless, and at length he forces her to retire. Meanwhile Jago has brought Cassio and urges Othello to hide himself. Cassio has a lady-love named Bianca, and of her they speak, but Jago dexterously turns the dialogue so as to make Othello believe that they are speaking of his wife. His jealousy reaches its climax, when Cassio draws forth Desdemona's handkerchief which Jago has deposited in Cassio's house. All his doubts now seem to be confirmed. A cannon-shot announcing the arrival of a galley interrupts the conversation and Cassio quickly leaves.
In the following scene Jago advises Othello to strangle his wife. Othello consents and gives Jago a captaincy.
Lodovico, an Ambassador of Venice, arrives {253} with other nobles to greet their liberator Othello. Desdemona once more asks pardon for Cassio, but is roughly rebuked by her husband. The latter reads the order, which has been brought to him, and tells Cassio, that he is to be General in his stead by will of the Doge of Venice, but while Cassio is confounded by this sudden change of fortune, Jago secretly vows his death, instigating his rival Rodrigo to kill him. At last Othello faints, overcome by conflicting emotions.
In the fourth act Desdemona filled with sad forebodings takes a touching farewell of Emilia. When she has ended her fervent prayer (one of the most beautiful things in the opera), she falls into a peaceful slumber. Othello awakes her with a kiss, and tells her immediately thereafter that she must die. She protests her innocence, but in vain, for Othello telling her that Cassio can speak no more, smothers her. Hardly has he completed his ghastly work than Emilia comes up, announcing that Rodrigo has been killed by Cassio. Desdemona with her dying breath once more asserts her innocence, while Emilia loudly screams for help. When the others appear, Emilia discovers her husband's villany. Jago flies, and Othello stabs himself at the feet of his innocent spouse.
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PAGLIACCI.
(MERRY ANDREW.)
Musical Drama in two acts and a Prologue.
Music and Text by R. LEONCAVALLO.
Translated into the German by LUDWIG HARTMANN.
In the summer of the year 1892 a rumour was going through the musical world, that Mascagni had found his equal, nay his superior in the person of another young Italian composer. When the "Pagliacci" by Leoncavallo was executed in Italy, it excited a transport of enthusiasm almost surpassing that of "Cavalleria", so that Berlin and Leipsic brought the opera on the stage as quickly as possible, and Dresden followed their example on January 22nd 1893, with the same great success.
The opera is indeed eminently qualified to produce an impression. Though less condensed in its tragic depths than Cavalleria, the music is nobler without being less realistic. In Leoncavallo the feeling of artistic form is more developed. Though of southern temper he never lets passion get the better of the beautiful and true harmony, also he is Mascagni's senior by four years.
Leoncavallo's excellent musical education is as unmistakable as the influence of Wagner's music on his genius.--He, too, introduces the "Leading Motives", but he is far from imitating his great predecessor. Like Wagner he did his text himself, and it must be owned, that it is very good. The idea was suggested to him by an event, which {255} he witnessed at Montalto in Calabria during the summer 1865, and which impressed him deeply.
In the Prologue, a wonderful piece of music, Tonio the Fool announces to the public the deep tragic sense which often is hidden behind a farce, and prepares them for the sad end of the lovers in this comedy.