Part 29
Nevertheless the second Act shows Elvira on the eve of her wedding with her uncle de Silva.
Ernani, once more proclaimed an outlaw seeks {412} refuge in de Silva's castle, again disguised as a pilgrim. But when Ernani hears of Donna Elvira's approaching marriage with de Silva, he reveals his identity and offers his head to the old man, telling him that his life is forfeited and that a reward is offered for his capture. De Silva is too generous to betray his rival; he orders the gates of the castle to be barred at once.--While this is being done, Ernani violently reproaches Elvira for having played him false. She answers, that she has been led to believe him dead, and dissolved in tears they embrace tenderly. Thus they are surprised by de Silva who, though for the time being bound by the laws of hospitality swears to destroy Ernani, wherever he may find him.
For the moment however he conceals his foe so well, that Don Carlos' followers cannot find him. Though the King threatens to take the old man's life, the nobleman remains true to his word and even makes the greatest sacrifice by delivering Elvira as a hostage into the King's hands.
Left alone he opens Ernani's hiding-place and challenges him to fight, but when the latter proves to him, that Don Carlos is his rival and wants to seduce Elvira, de Silva's wrath turns against the King.
He accepts Ernani's offer to help him in frustrating the King's designs, but at the same time he reminds him that his life is forfeited.--Ernani declares himself satisfied and gives de Silva a bugle, the sound of which is to proclaim, that the hour of reckoning between the two foes has come.
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The third Act takes place at Aix-la-Chapelle.
The King has heard of the conspiracy against his life. While the conspirators assemble in the imperial vaults, he is concealed behind the monument of Charlemagne and frustrates their designs by advancing from his hiding-place and proclaiming himself Emperor.--
At the same moment the people rush in and do homage to Charles the Fifth.--Ernani surrenders to his foes, but Elvira implores the Emperor's pardon, which is granted, and Charles crowns his gracious act by uniting the lovers and creating Ernani Duke of Segorbia.
Both Elvira and Ernani go to Seville to celebrate their nuptials. But in the midst of their bliss Ernani hears the sound of his bugle and de Silva appears and claims his rival's life. In vain the lovers implore his mercy, de Silva is inexorable and relentlessly gives Ernani the choice between a poisoned draught and a dagger. Seizing the latter Ernani stabs himself, while Donna Elvira sinks senseless beside his corpse, leaving the aged de Silva to enjoy his revenge alone.
WERTHER.
A Lyric Drama lu three Acts by J. MASSENET.
Text from GOETHE by BLAU, MILLIET and HARTMANN.
German Translation by MAX KALBECK.
The subject of this opera is Goethe's famous novel of the same name.
Though the text is not to be compared with {414} that of the novel, the music to which Massenet has set it is so marvellously adapted to its lyric and idyllic qualities, that one is inclined to forget its deficiencies while listening to the melodious strains.
The scene is laid in Wetzlar in the year 1772.
The first Act takes place in the house of Lotte's father, who is a bailiff in his native city. He has assembled his younger children to teach them a new Christmas song. While they are practising two friends of the bailiff enter and invite him to take supper with them at the neighbouring inn, he declines however and sits down in his arm chair, while the smaller children climbing on to his knees begin their interrupted song once more. During this pretty scene Werther approaches. He sees Lotte coming out of the house, becomingly attired for a country-ball. She is duly admired by her father and the children. Then she acquits herself most charmingly of her household duties by distributing bread to the children. Werther meanwhile is cordially welcomed by her father.--Other visitors come in and Lotte goes to attend the ball, escorted by Werther.
Sophia the second daughter persuades her father to join his friends at the inn and promises to look after the children.--
He is hardly gone, when Albert, Lotte's affianced husband, who has been on a journey returns.
On hearing that Lotte is not at home, he leaves the house again.--When night comes on {415} Lotte returns with Werther. The latter is deeply in love with her, and she listens to his sweet words like one in a dream, but when her father informs her that Albert has returned she comes to her senses. In answer to Werther's questions she tells him, that she promised her dying mother to wed Albert, which confession leaves Werther a prey to gloom and despair.
The second Act takes place in the autumn of the same year. Lotte is married to Albert. She has conquered her sentimental fancy for Werther and is sitting quietly with her husband, enjoying a peaceful Sabbath day, and the celebration of the village clergyman's golden wedding. Werther is a jealous witness of her happiness; but when Albert welcomes him as a friend, he cannot but accept his overtures.--
Sophia enters with a large bouquet for the clergyman, she is in love with Werther, but the unhappy young man has eyes for her sister only, who receives him coldly and bids him leave the village.
On seeing Werther so cast-down, Lotte repents of her harshness and invites him to celebrate Christmas with her and her husband. But Werther refuses to be consoled and hurries away notwithstanding Sophia's entreaties, vowing never to return.
The third Act takes place in Lotte's drawing-room. She is sitting alone in deep thought. Werther's frequent and passionnate letters have {416} reawakened her dormant love for him and her sister, coming in laden with Christmas parcels, finds her in tears. Unable to console Lotte, Sophia takes her leave after inviting her to spend Christmas Eve at her old home.--
Hardly has she gone when Werther appears. Unable to keep away from Lotte any longer he reminds her of her invitation for Christmas, and seeing his letters spread out on the table he guesses that Lotte returns his love.--An impassioned love-scene follows.--Half unconscious Lotte sinks into his arms, but the first kiss of her lover brings her to herself. Tearing herself from his embrace she flees into her room and bolts the door. After vain remonstrations Werther rushes out half-crazed.
Albert returning home finds no one in and calls Lotte. She appears pale and distressed, and her husband perceives that something is wrong. Before she can reply to his questions a servant brings in a note from Werther, asking Albert for his pistol. The husband forces his unhappy wife to hand the weapon to the servant herself. As soon as Albert has gone Lotte seizes her hat and cloak and hastens out to prevent the impending calamity. Alas! she comes too late.--The last scene shows Werther's room, which is dimly lighted by the moon. The Christmas-bells are tolling when Lotte enters, calling her lover by name.--She discovers him lying on the floor mortally wounded.--Now that he is lost to her for ever she pours out all her love and for a brief space calls him back {417} to life and sweetens his last moments by a first kiss. He expires in her arms while from the opposite house the children's voices are heard singing their Christmas song.
THE DEPARTURE.
Comic Opera in one Act.
Libretto by A. VON STEIGENTESCH (end of 18th century).
Arranged by FERDINAND COUNT SPORCK.
With Music by EUGÈNE D'ALBERT.
By this opera the young composer, whose previous dramatic efforts were to a certain extent unsuccessful, has proved that his forte lies in comic opera.
The Departure was given in Dresden in October 1900, and was a complete success.
The whole opera teems with bright and merry melodies, wrought-in with consumate art, and the text, though somewhat frivolous is artistically adapted to the music.
The principal motive is the love-motive, its strains which run through the whole opera are not only charming but original. The orchestration is in the style at present in vogue, which subordinates the voices more or less to the music.
The following is a short synopsis of the libretto.
The husband Gilfen rather neglects his pretty wife Louise, while his friend Trott pays court to her.
In the first scene we find Gilfen undecided, whether to set out on a journey, or not.
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Trott desiring his absence offers to do everything in his power to hasten his friend's departure, of course all for friendship's sake. Gilfen puts him to the test by pretending to need all sorts of things. He begs Trott to fetch a parcel lying at the custom-house, and weighing forty pounds; a letter from the post-office, a rose-tree for Louise, and a travelling-map, which was only to be had at a stationer's shop at a considerable distance.
Before leaving the house Trott finds an opportunity to tell Louise that he does all this for her sake only. Gilfen, finding him with his wife, sends him on his errands and then leaves Louise to herself. She is filled with sadness by her husband's indifference and sings a pretty song about a youth, who makes love to a maiden, and a man, who neglects his wife. Gilfen returns, attracted by the song, and guessing that his wife still loves him as before he decides to stay at home.
Louise leaves him and Trott returns out of breath and laden with parcels. The husband thanks him, but explains that there is still a letter to be written, for which an important document is needed, and is to be found in a chest on the next floor. Trott is hastening away, when Gilfen implies, that he must have the chest itself. Seeing the carriage, waiting outside Trott rushes away, determined to do his utmost for friendship's sake. Then Gilfen appears before his wife in travelling costume.--In the interview, which ensues, Louise shows him clearly, that her heart is still his, but that she longs {419} for more tenderness and love. They are interrupted by Trott's entrance, dragging in the heavy chest. Gilfen declares that he has now everything he wants, and takes an affectionate farewell of his wife and his friend.
Left alone, the latter loses no time in making love to Louise, but all he gains is a friendly handshake. Mistaking her coolness for timidity, he becomes bolder. At this moment Gilfen re-enters, telling them, that his carriage has broken down. Trott hastens out, to see to its repair and leaves husband and wife alone.
Now Gilfen owns that the carriage is intact and that he only come back, because he felt, that he had left the best thing behind him. "What is it, that would keep you at home?" asks Louise. "A wife, who would plead with a smile: do not go," he answers.--
A pretty duet follows, in which they indulge in sweet reminiscences of the past, and at last discover, that they still love each other as fondly as ever. Embracing her husband Louise whispers smilingly: "Do not go!"
When Trott returns Gilfen astonishes him by telling him that he has decided to stay at home. Trott perceives at last that it is his turn to go. While he still lingers, he receives a note from Louise, showing him unmistakeably, that he is not wanted in their house. He retires crestfallen, while Louise and Gilfen gaily wave their hands to the departing friend.
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DELILA.
An Opera in three Acts by FERDINAND LEMAIRE.
With Music by CAMILLE SAINT-SAËNS.
German translation by RICHARD POHL.
The first performance of this opera in Dresden on November 13th 1900 proved a great success.
This opera which was written almost thirty years ago did not meet with a favourable reception either in France or in any other country. In the year 1877 it was however given in Weimar through Liszt's influence, but fell flat.
At last it was performed in Rouen in 1890, and in November 1892 the Grand Opera in Paris followed suit. Since that time it has been one of the standard operas in Paris.
Its performance in Dresden has shown, that it well deserves its place.--
The vivid contrast between the simple yet stirring choruses of the Israelites and the pompous and warlike ones of the Philistines, the exquisite love-song of Samson and Delila, and last but not least the charming ballet-music, with its truly Eastern character entitle the opera to rank amongst the very best of the past century.--
The libretto is a biblical one; the scene is laid in Gaza, in Palestine, 1150 years before Christ.
In the first Act the Israelites, groaning under the yoke of the Philistines, pray to God for deliverance. They are derided and insulted by Abi {421} Melech, satrap of Gaza but Samson, unable longer to endure the blasphemy hurled by the Heathen against the God of Israel, rises up in mighty wrath, and so inspires his brethren that they suddenly take up arms, and precipitating themselves on their unsuspecting oppressors, first slay Abi Melech and then rout the whole army of the Philistines.
The high-priest of the heathen god Dagon finding his friend slain, vows to be avenged upon the Israelites, but he is deserted by all his companions who flee before Samson's wrath.
In the next scene the Israelites return victorious and are greeted with triumphant songs and offerings of flowers. Even the Philistine Delila, the rose of Sharon receives them with her maidens, and pays homage to the hero Samson.
Delila had enthralled him once before, and again her beauty causes him very nearly to forget his people and his duty; but an aged Israelite implores him not to listen any more to the arts and wiles of the enchantress.
In the second Act Delila has an interview with the high-priest, whom she promises to avenge her people by winning Samson's love once more.
She proudly refuses the reward which the high-priest offers her, for it is her bitter hatred against the hero, who once loved and then forsook her, which prompts her to ruin him and to force from him by every means in her power the secret of his strength.
When the high-priest has left her, Samson {422} comes down the steep mountain path, drawn to Delila's house against his will. She receives him with the greatest tenderness, and once more her beauty and her tears assert their power over him, so that he sinks at her feet and falters out his love for her. But in vain she tries to lure his secret from him. At last she leaves with words of contempt and scorn and enters the house. This proves his undoing. Goaded beyond earthly power he rushes after her and seals his fate. After a while the Philistines surround the house and Delila herself delivers her unfortunate lover, whom she has deprived of his strength by cutting off his locks, into the hands of his foes.--
In the third Act we find Samson in prison. Bereft of his eye-sight he has to turn the heavy mill. From the outside the wailings and reproaches of his Israelite brethren are heard, who have again been subjugated by their foes. Bitterly repentant Samson implores God to take his life as the price of his people's deliverance.
In the last scene he is led away to Dagon's temple there to be present at the festival of the Philistines, celebrated with great pomp in honour of their victory.
On the conclusion, after an exquisite ballet, Delila presents a golden cup to the blind hero, and insults and jeers at him for having been fool enough to believe in her love for him, the enemy of her country. Samson maintains silence, but when they order him to sacrifice {423} at Dagon's shrine, he whispers to the child, who is guiding him, to lead him to the pillars of the temple.
This being done he loudly invokes the God of Israel, and seizing the pillars tears them down with mighty crash, burying the Philistines under the ruins of the temple.
NAUSIKAA.
Second Part of the Tetralogy: The Odyssey.
Musical Tragedy in three acts and a Prologue by AUGUST BUNGERT.
The first representation of Nausikaa took place in Dresden on March 20th 1901.--The reception was much warmer than that given to Kirke. Naturally the charming episode of the Phaeakean Princess is far better adapted to the composer's lyric genuis.
Though the whole music is polyphoneous the easy flow of its melodies is hardly ever interrupted except in the highly dramatic moments.
There are real pearls of lyric melody in this tragedy, which, totally different from Kirke's selfish passion glorifies Nausikaa's pure love for Odysseus, her death of sacrifice and the hero's resignation;--it might be called a hymn of renunciation.
The sirens' songs in the Prologue are most enticing, the choruses of Nausikaa's companions treading their dances are lovely; also Odysseus' "home motive" which expresses his longing for {424} hearth and home, is very expressive, but Nausikaa's "love motives" surpass all the other parts in sweetness.
The contents of the libretto are as follows:
Prologue.
Across the calm blue sea in the distance a ship passes. In it can be seen the figures of Odysseus and his companions. They can be heard lamenting their long absence from home and praying the gods to send them favourable winds and a speedy return to their native land.
In the foreground is the rocky coast of an island. Partly hidden by the high cliffs, sirens may presently be seen looking out for their prey. Brilliant, many coloured lights cast a lurid glare over their hideous den that is full of dead men's bones, out of which roses, poppies and other flowers have sprung into bloom. The sirens try to attract Odysseus and his companions by singing sweetly, and playing enticing music on weird instruments made out of the bones of their victims.
Odysseus, however, is on his guard. He causes his men to stop their ears with wax, and to bind him fast to the mast of his ship. The attempt to lure them is unsuccessful. Though Persephoneia herself rises from the depths to aid the sirens, Odysseus' ship sails safely past and the sirens and their rocks sink into the sea.
But the hostile god Poseidon pursues Odysseus in rage. Seated in his cart drawn by sea-horses {425} he strikes the ship with his trident, and it goes down in the now stormy sea.
Zeus and the friendly gods now interpose. Poseidon is forced to withdraw, and, though his companions perish and the ship is wrecked, the nymph Leukothea brings a magic veil which ensures the hero's safety and he swims to the shore.
## Act I.
Odysseus has landed in the country of the Pheacians. In the first part of this act he is lying asleep hidden among the shrubs and trees in the background.
Nausikaa, the King's daughter has come at the bidding of Athene with her companions to wash the linen and garments of her family. While the clothes are drying in the sun the maidens dance and play at ball. Their voices and laughter awake Odysseus who rises and shows himself through the foliage. Seeing a nearly naked man the girls run away screaming; only Nausikaa stands still and asks the stranger fearlessly who he is. Odysseus tells her his piteous story and his cruel fate. Nausikaa calls to her maidens to bring raiment for the hero whose name however she has not yet heard. A sudden and tender love fills her heart for the outcast wanderer. Odysseus too feels drawn towards the noble maiden, for a moment he forgets his wife and child at home. Nausikaa invites him to follow her to her father's court and promises him a kindly reception there.
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As the procession is starting, the sound of horns is heard and King Alkinous and his followers come up. Among them are his son Leodamus, and Prince Euryalos, a would-be suitor of Nausikaa. The King welcomes the stranger kindly and invites him to come and stay in his palace. Euryalos, however, regards Odysseus with suspicion and hostility; he sees in him at once a favoured rival. With songs of welcome Odysseus is greeted by the men and maidens and by the King's side he moves towards the palace.
## Act II.
This scene takes place in front of the palace of King Alkinous. The gardens and terraces extend downwards to the shore of the sea that forms the background. It is evening. Youths and maidens are busy decking pillars and statues with garlands of flowers and making wreaths to crown the victors in the next day's games.
Odysseus comes out of the palace; he cannot sleep; he thinks of his home, his father, his wife and child. He sees a temple to Athene on the right and resolves to spend the night there praying to the gods to restore him to his home. He passes across the stage and goes into the temple.
Nausikaa now comes out of the palace with some of her companions. She presently dismisses them and remains alone in the moonlight. She prays to Aphrodite to deliver her from the {427} importunate wooing of Euryalos and to grant her the love of the stranger.
The vision of Aphrodite appears; with a threatening gesture she seems to refuse Nausikaa's request. While Nausikaa sinks fainting on the steps of the terrace the voice of Euryalos is heard in the background singing a love song, and soon after he comes forward and stormily declares his love to Nausikaa who rushes away from him with a cry into the temple of Athene. As the bold youth is about to follow Odysseus appears at the door of the temple and forces Euryalos to retire. The baffled suitor rushes upon Odysseus with his drawn sword in blind rage; but Odysseus instantly disarms him, breaks the sword, and Euryalos vowing vengeance goes into the palace.
Though deeply moved by Nausikaa's passionate gratitude and affection for her protector, Odysseus remains faithful to the memory of his wife and child and prays the gods to help him to be strong.
## Act III.
In a great court in front of the gymnasium where games and wrestling matches are going on a procession of priests and young boys enter singing; they offer prayers and burn incense before the altars of the gods, particularly before that of Poseidon the special patron of the Phaeakens. Girls and matrons follow in a like procession and deck the statue and altar of Athene with flowers. The shouts of the people in the gymnasium greeting the victors in the games are heard at intervals.
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Among the maidens is Nausikaa. Her brother Leodamus enters soon afterwards in great excitement and begs his sister to come and witness the feats of Euryalos who is victor in all the games. But she coldly asks if the stranger has entered into competition with him, and hearing he has not done so she refuses to go into the gymnasium.
Queen Arete enters and Nausikaa throws herself into her mother's arms. Arete guesses the truth that her daughter loves the stranger; she tenderly warns Nausikaa that life is full of disappointments--of sacrifices.