Part 25
The music is truly Haydn'ish, simple, naïve, fresh and clear as crystal, and it forms an oasis of repose and pure enjoyment to modern ears, accustomed to and tired of the astonishing oddities of modern orchestration.
The plot is simple but amusing. A young man, Mengino, has entered the service of the apothecary Sempronio, though he does not possess the slightest knowledge of chemistry. His love for Sempronio's ward Grilletta has induced him to take this step and in the first scene we see him mixing drugs, and making melancholy reflections on his lot, which has led him to a master, who buries himself in his newspapers instead of attending to his business, and letting his apprentices go on as best they may.
Sempronio entering relates that the plague is raging in Russia; and another piece of news, that an old cousin of his has married his young ward, is far more interesting to him than all his drugs and pills, as he intends to act likewise with Grilletta. This young lady has no fewer than three suitors, one of whom, a rich young coxcomb enters to order a drug. His real intention is to see Grilletta. He is not slow to see, that Mengino loves her too, so he sends him into the drug kitchen, in order to have Grilletta all to himself. But the pert young beauty only mocks him, and at Mengino's return Volpino is obliged to retire.
{352}
Alone with Mengino, Grilletta encourages her timid lover, whom she likes very much, but just when he is about to take her hand Sempronio returns, furious to see them in such intimacy. He sends Mengino to his drugs and the young girl to her account books, while he buries himself once more in the study of his newspapers. Missing a map he is obliged to leave the room. The young people improve the occasion by making love, and when Sempronio, having lost his spectacles, goes to fetch them, Mengino grows bolder and kisses Grilletta. Alas, the old man returns at the supreme moment, and full of rage, sends each to his room.
Mengino's effrontery ripens the resolution in the guardian's breast to marry Grilletta at once, he is however detained by Volpino, who comes to bribe him by an offer from the Sultan to go into Turkey as apothecary at court, war having broken out in that country. The wily young man insinuates, that Sempronio will soon grow stone-rich, and offers to give him 10,000 ducats at once, if he will give him Grilletta for his wife. Sempronio is quite willing to accept the Sultan's proposal, but not to cede Grilletta. So he sends Mengino away, to fetch a notary, who is to marry him to his ward without delay. The maiden is quite sad, and vainly tortures her brain, how to rouse her timid lover into action. Sempronio, hearing her sing so sadly, suggests that she wants a husband and offers her his own worthy person. Grilletta accepts him, hoping to awaken Mengino's jealousy and to rouse him to action. {353} The notary comes, in whom Grilletta at once recognizes Volpino in disguise. He has hardly sat down, when a second notary enters, saying that he has been sent by Mengino and claiming his due. The latter is Mengino himself, and Sempronio, not recognizing the two, bids them sit down. He dictates the marriage contract, in which Grilletta is said to marry Sempronio by her own free will besides making over her whole fortune to him. This scene, in which the two false notaries distort every word of old Sempronio's, and put each his own name instead of the guardian's, is overwhelmingly comical. When the contract is written, Sempronio takes one copy, Grilletta the other and the whole fraud is discovered.--Volpino vanishes, but Mengone promises Grilletta to do his best in order to win her.
In the last scene Sempronio receives a letter from Volpino, telling him, that the Pasha is to come with a suite of Turks to buy all his medicines at a high price, and to appoint him solemnly as the Sultan's apothecary. Volpino indeed arrives, with his attendants, all disguised as Turks, but he is again recognized by Grilletta. He offers his gold, and seizes Grilletta's hand, to carry her off, but Sempronio interferes. Then the Turks begin to destroy all the pots and glasses and costly medicines, and when Sempronio resents this, the false Pasha draws his dagger, but Mengino interferes and at last induces the frightened old man, to promise Grilletta to him, if he succeeds in {354} saving him from the Turks. No sooner is the promise written and signed, than Grilletta tears off the Pasha's false beard and reveals Volpino, who retires baffled, while the false Turks drink the young couple's health at the cost of the two defeated suitors.
DJAMILEH.
A romantic Opera in one act by GEORGES BIZET.
Text by LOUIS GALLET.
German Translation by LUDWIG HARTMANN.
Djamileh was composed before Carmen, and was given in Paris in 1872. But after the years of war and bloodshed, its sweetness was out of place, and so it was forgotten, until it was revived again in Germany. Though the text is meagre, the opera had great success on the stages of Berlin, Leipsic, Vienna and Dresden, and so its Publisher, Paul Choudens in Paris was right, when he remarked years ago to a German critic: "l'Allemagne un jour comprendra les beautés de Djamileh."
There is no more exquisite music, than the romance of the boatsmen on the Nile, sung with closed lips at the opening of the first scene, and the ravishing dance of the Almée, an invention of Arabic origine is so original, so wild and melancholy and yet so sweet, that it enchants every musical ear. The plot is very simple and meagre.
{355}
Harun, a rich young Turk has enjoyed life to its very dregs. He gives dinners, plays at dice, he keeps women, but his heart remains cold and empty, he disbelieves in love, and only cares for absolute freedom in all his actions, but withal his life seems shallow and devoid of interest. Every month he engages a new female slave, with whom he idles away his days, but at the end of this time she is discarded. His antipathy for love partly arises from the knowledge of his father's unhappy married life.
At the opening of the scene Harun lies on a couch smoking, too lazy to move a finger and lulled into dreams by the boatsmen's songs. At last he rouses himself from his lethargy, and tells his secretary and former tutor Splendiano of his visions. The latter is looking over his master's accounts, and now tells him dryly, that, if he continues his style of living, he will be ruined before the end of the year. This scarcely moves the young man, to whom a year seems a long way off; he also takes it cooly, when Splendiano remarks, that the latest favorite's month is up, and that Djamileh is to leave towards evening, to make room to another beauty. Harun carelessly charges his servant to look out for another slave. When Splendiano sees, that Djamileh's unusual beauty has failed to impress his master, he owns to a tender feeling for her himself, and asks for permission to win the girl. Harun readily grants this request; but when he sees Djamileh enter with sad and dejected looks, he {356} tenderly inquires, what ails her. She sings him a strange and melancholy "Ghasel" about a girl's love for a hero, and he easily guesses her secret. In order to console her, he presents her with a beautiful necklace, and grants her her freedom, at which she brightens visibly, but refuses it. Harun however has no idea of losing either heart or liberty, and when some friends visit him, he turns from her, to join them in a game, leaving her unveiled, and exposed to their insolent stares and admiration. Djamileh, covered with confusion, begins to weep, at which Splendiano interposes, trying to console her by the offer of his hand. Scornfully repulsed by her, he reveals to her the cruel play of his master, and her approaching dismissal, and drives her almost to despair. But she resolves to show her love to her master before she leaves him, and for this purpose entreats Splendiano to let her disguise herself and personate the new slave; promising to be his, if her plans should fail, but vowing to herself, to choose death rather than leave her beloved master. The evening approaches, and with it the slave-dealer with a whole bevey of beautiful young girls. Harun turns from them indifferently, ordering Splendiano to choose for him, but the slave-dealer insists upon showing up the pearl of his flock, a young Almée, who dances the most weird and passionate figures until she sinks back exhausted. She is selected, but Splendiano gives 200 zechines to the dealer, who consents to let her change clothes with Djamileh. When the latter {357} reenters Harun's room veiled, he is astonished to find her so shy and sad. In vain he tries to caress her, she escapes him, but suddenly unveiling herself, he recognizes her. With wild and passionate entreaty she begs him to let her be a slave again, as she prefers his presence to freedom and fortune. At first he hesitates, but true love conquers, and he takes her in his arms. He has found his heart at last, and owns that love is stronger and better than any other charm.
DONNA DIANA.
Comic Opera in three acts by E. VON REZNICEK.
Text after a free translation of MORETO'S comedy of the same name.
Many are the authors, who have dramatized this old, but ever young and fresh comedy, but yet none have so nearly reached the ideal, as this young composer. His manner of interweaving Spanish national airs is
## particularly successful, because they tinge the piece with peculiar
local colouring.
The Spanish melodies are chosen with exquisite elegance and skill.
Reznicek's manner of composing is thoroughly modern; he has learnt much from Wagner and Liszt and not least from Verdi's "Falstaff"; nevertheless he is always original, fresh and so {358} amusing, so sparkling with wit and genius, that I am tempted to call Donna Diana the modern comic opera par excellence. Sometimes the orchestra is almost too rich for Moreto's playful subject, but this is also quite modern, and besides it offers coloristic surprises very rare in comic operas.
In the first act the waltz is particularly charming; in the second the ballet music and Floretta's song (im Volkston) are so beautiful that once heard they can never be forgotten. The bolero-rythme and the 3/8 measure are typical of the Spanish style, which flows through almost all the songs and recitations giving sparkling piquancy to the opera. In the last act, where love conquers intrigue and gaiety the music reaches its culminating point.
The scene is laid in Don Diego's palace at Barcelona at the time of Catalonia's independence, Don Cesar, Prince of Urgel is resting in Diego's Hall after having won the first prize in a tournament. He muses sadly on Donna Diana's coldness, which all his victories fail to overcome. Perrin the clown takes pity on him, and after having won his confidence, gives him the advice to return coldness for coldness. Don Cesar promises to try this cure, though it seems hard to hide his deep love.--Floretta, Donna Diana's foster-sister enters to announce the issue of the tournament. She fain would flirt with Perrin to whom she is sincerely attached, but he turns a cold shoulder to her and lets her depart in a rage, though he is over head and ears in love with the pretty damsel.--The next scene {359} opens on a brilliant crowd, all welcoming Count Sovereign of Barcelona and his daughter Donna Diana. The Count accosts them graciously, and making sign to the three gallant Princes, Don Cesar of Urgel, Don Louis of Bearne and Gaston Count de Foie, they advance to receive their laurels on bended knee from the fair hands of the Princess, who crowns Cesar with a golden wreath, while the two other princes each win a silver price.--When the ceremony is ended, Don Diego turns to his daughter, beseeching her to give an heir to the country by selecting a husband, but Diana declares, that though she is willing to bend to her father's will, love seems poison to her, and marriage death. Gaston and Louis, nothing daunted, determine to try their luck even against the fair lady's will, and while the father prays to God, to soften his daughter's heart, Cesar's courage sinks ever lower, though Perrin encourages him to begin the farce at once. Donna Diana alone is cool and calm, inwardly resolved to keep her hand and heart free, she is deeply envied by her two cousins Fenisa and Laura, who would gladly choose one of the gallant warriors.--Perrin now advises the Princes to try their wit and gallantry on the Princess, and Don Diego, consenting to his daughter's wish, that she need only suffer their courtship for a short time, she cooly accepts this proposal. Gaston begins to plead his cause, declaring, that he will not leave Barcelona without a bride and Louis follows his example; both are greatly admired and applauded by the {360} assistants, only Diana finds their compliments ridiculous and their wit shallow. Cesar without a word retires to the background, and when asked by the Princess, why he does not compete with his rivals, answers "Because I will not love, nor ever wish to be loved; I only woo you, to show you my regard." Greatly mortified Diana resolves to punish such pride, by subjugating him to her charms.
In the second act a fancy ball is going on in the Prince's gardens. Each of the ladies has a bunch of different coloured ribbons, and decides to get the man she loves for her own. Diana now explains, that each knight is to choose a colour, which entitles him to own the lady who wears the same colours as long as the masquerade lasts. Don Louis choosing green gets Donna Laura, Don Gaston wearing red is chosen by Fenisa; Perrin loudly asserting that, abhorring love he chooses the obscure colour black, wins Floretta, and Don Cesar choosing white, finds himself Donna Diana's champion. She takes his arm, and soon her beauty so inflames him, that forgetting good advice and prudence he thrown himself at her feet, confessing his love. Triumphant, but mockingly she turns from him, and thereby suddenly recalls his pride. In a bantering tone he asks her, if she really believed, that his love making, to which duty compelled him for the evening, was true? Hot with wrath and shame at being so easily duped she bids him leave her, and when alone resolves to have her revenge. She calls Perrin {361} to fetch her cousins, and charges him to let Cesar know, that he can hear her sing in the gardens. Then she is adorned with the most bewitching garments and surrounded by her attendants begins to play and sing most sweetly as soon as she hears Don Cesar's steps.--The latter would have succumbed to the temptation, if he had not been warned by Perrin, not to listen to the siren. So they philander in the grounds, admiring the plants, and to all appearance deaf to beauty and song. Impatiently Diana signs Floretta, to let Cesar know, that he is in the presence of his Princess, at which our hero like one awaking from a dream turns, and bowing to the Princess and excusing himself gravely, disappears, leaving Diana almost despairing.
In the third act Perrin gives vent to his happy feelings about his love for Floretta, and about the Princess, whose state of mind he guesses. He is delighted to see his scheme successful, and sings a merry air, which is heard by Diana. Behind the scene Don Louis is heard, bringing a serenade to Donna Laura, with whom he has fallen in love, and on the other side Don Gaston sings Fenisa's praise, so that poor Diana sinking back on a sopha is all at once surrounded by loving couples, who shamelessly carry on their courting before her very eyes, and then retire casting mischievous glances at their disgusted mistress. Diana who sees Cesar approaching, determines to try a last expedient, in order to humble his pride. Cooly she explains to him, that she has resolved to yield to her father's {362} wish, and to bestow her hand on Prince Louis. For a moment Cesar stands petrified, but his guardian angel in the guise of Perrin whispers from behind the screen, to hold out, and not to believe in women's wiles. So he controls himself once more, and congratulates her, wishing the same courtesy from the Princess, because, as he calmly adds, he has got betrothed to Donna Laura.
That is the last stroke for Diana, her pride is humbled to the dust. All her reserve vanishes, when her secret love for the hero, which she has not even owned to herself, is in danger. She altogether breaks down, and so she is found by her father, who enters, loudly acknowledging Don Louis as his son-in-law, and sanctioning Don Cesar's choice of Donna Laura. But Cesar begs to receive his bride from Diana's own hands, at which the latter rising slowly, asks her father, if he is still willing to leave to her alone the selection of a husband. Don Diego granting this, she answers: "Then I choose him who conquered pride through pride." "And who may this happy mortal be?" says Cesar. "You ask? It's you my tyrant," she replies, and with these words sinks into her lover's open arms.
{363}
THE SOLD BRIDE.
Comic Opera in three acts by FR. SMETANA.
Libretto by K. SABINA.
German text by MAX KALBECK.
Poor Smetana! Nature had put on his brow the stamp of genius, but he never lived to see his glory. After grief and sorrow and direst need he died in a madhouse, and now posterity heaps laurels on his grave. The Sold Bride has been represented in Prague over 300 times, and it begins to take possession of every noted stage in Europe.
The subject forms a simple village-idyll, without any strong contrasts, its ethical motive lies in its representation of quaint old customs and in the deep-rooted patriotic love; but the whole opera is literally steeped in euphony.
The overture has its equal only in Figaro, and a perfect stream of national airs flows through the whole.
The first chorus "See the buds open on the bush" is most original, the national dance in the second act is full of fire and the rope dancers' march is truly Slavonic in its quaintness.
The scene is laid in a village in Bohemia. It is Spring-Kirmess, and everybody is gay. Only Mary, the daughter of the rich peasant Kruschina carries a heavy heart within her, for the day has come, on which the unknown bridegroom, chosen by her parents will claim her hand. She loves Hans, known to her as a poor servant, who has come to her village lately, and who is in reality her bridegroom's {364} half brother. He consoles her, beseeching her to cheer up and be faithful to him, and then tells her, that he comes of wealthy people. Having lost his mother early, his father wedded a second wife, who estranged his heart from the poor boy so, that he had to gain his daily bread abroad. She deeply sympathizes with him, without guessing his real name.
Meanwhile Mary's parents approach with the matchmaker Kezul, a personage common in Bohemia, who has already won Kruschina's consent to his daughter's marriage with Wenzel, son of the rich farmer Micha by a second marriage. Mary's mother insisting that her child's will is to be consulted before all, the father consents to let her see the bridegroom, before she decides. Kezul, though angry at this unlooked for obstacle, excuses the bridegroom's absence volubly, and sings his praise loudly, at the same time touching upon the elder son's absence, and hinting, that he may probably be dead. When Mary steps in, Kezul wooes her in due form, but is at once repulsed by her. The young girl owns to having given her heart to the humble servant Hans, in whom nobody has yet recognized Micha's son. Father Kruschina angrily asserts his promise to Kezul, cursing Wenzel's timidity, which hindered him, from making his proposal in person. Kezul however resolves to talk Hans over to reason.
We find him in the second act, singing and highly praising the god of love. Afterwards the {364} would-be bridegroom Wenzel finds himself face to face with Mary, whom he does not know. When he tells her of his purpose, timidly and stammeringly, she asks him, if he is not ashamed to woo a girl, who loves another man, and who does not love him in the least. She at last so frightens the lad, that he promises to look out for another bride, if his mother permits it. Mary flirts with him, until he swears never to claim Kruschina's daughter.--Meanwhile Kezul does his best to convert Hans. He promises to provide for him another bride, much richer than Mary, but Hans refuses. He offers him money, first one, than two, than three hundred florins. Hans looking incredulous, asks "For whom are you wooing my bride?" "For Micha's son," the matchmaker replies. "Well," says Hans, "if you promise me, that Micha's son shall have her and no other, I will sign the contract, and I further stipulate, that Micha's father shall have no right to reclaim the money later; he is the one to bear the whole costs of the bargain." Kezul gladly consents and departs to fetch the witnesses, before whom Hans once more renounces his bride in favour of Micha's son. He cooly takes the money, at which they turn from him in disgust, and signs his name Hans Ehrentraut at the foot of the document.