Part 3
Abu Hassan, favorite of the Calif of Bagdad, has lived above his means, and is now regaled with bread and water by his wife Fatima, whose only fault is, that she sings better than she cooks. In order to better his fortunes Abu Hassan hits upon a strange plan. He sends his wife to the Calif's wife, Zobeïde, to announce his (Hassan's) death, for which she will obtain 50 gold pieces and a piece of brocade. Fatima departs and in the meantime enter Abu Hassan's creditors with the appeal for money. Unable to satisfy them the debtor {2} approaches the eldest and richest among them, and so pacifies him with sweet words which he is given to understand Fatima has sent him, that old Omar consents to pay all the creditors.
When they are gone, Fatima returns with Zobeïde's presents, and Abu Hassan prepares to go in his turn to the Calif, in order to repeat a similar death-story about his wife and get a like sum. While he is away Omar reappears. He has bought all Hassan's accounts from his numerous creditors and offers them to Fatima for a kiss. At this moment the husband returns. Omar is shut into the adjoining cabinet, and the wife secretly points out the caged bird to her spouse who begins to storm at finding the door of the next room closed, greatly to the anguish of the old sinner Omar,--anguish, which is enjoyed by his tormentors to the full. In the midst of this scene Mesrur, messenger of the Calif, appears, to find out whether Fatima is really dead. The Calif and his wife having each received news of the death of the other's favorite, want to know, who it was, that died, and--if both are dead--who died first. The Calif affirms, that it is Fatima--his wife, that it is Abu Hassan. They have made a bet, and Mesrur, seeing Fatima lying motionless on the divan, covered with the brocade, and her husband in evident distress beside her, runs away to convey the tidings to the Calif. He is hardly gone, when Zobeïde's nurse, Zemrud comes on a similar errand from her mistress. Fatima, who has just covered her husband with {3} the brocade, receives her with tears and laments, and the nurse departs triumphantly.
Hassan presently comes to life again but he and Fatima are not long permitted to congratulate one another on the success of their scheme, for the arrival of the Calif with his wife is pompously announced. Both throw themselves on the divans, covering themselves, and so the august couple finds them dead. The Calif, much afflicted by the sight, offers 1000 gold pieces to anyone, who can tell him, which of the two died first. No sooner does Hassan hear this than tearing aside his cover, he throws himself at the Calif's feet, crying out: "It was I, who died first!" at the same time craving the Calif's pardon together with the gold pieces. Fatima is also speedily resuscitated and the Calif pardons his favorites, Hassan meanwhile asserting, that he only died badly, in order to live better. Omar, who has paid their bills in the hope of winning Fatima's love, is driven away in disgrace.
L'AFRICAINE.
Opera in five acts by MEYERBEER.
Text by E. SCRIBE, translated by GUMPERT.
L'Africaine, one of the Maëstro's last operas (1865), unites in itself all the strength and at the same time all the weakness of Meyerbeer's composition.
The music is easy flowing and enthralls us with its delicious melodies; but it only appeals to our senses, and nobler thoughts are altogether {4} wanting. Nevertheless the opera finds favor by reason of these advantages, which are supplemented by an interesting, though rather improbable libretto.
The famous Portuguese navigator Vasco de Gama (born in 1469) is the hero, though he does not appear in the best possible light, and is by no means strictly historical.
The first scene is laid in Lisbon. Donna Ines, Admiral Diego's daughter is to give her hand to Don Pedro, a counsellor of King Emmanuel of Portugal. But she has pledged her faith to Vasco de Gama, who has been sent with Diaz, the navigator, to double the Cape, in order to seek for a new land, containing treasures, similar to those discovered by Columbus. Reports have reached Lisbon, that the whole fleet has been destroyed, when suddenly Vasco de Gama appears before the assembled council of state.
He eloquently describes the dangers of the unknown seas near the Cape and gives an account of the shipwreck, from which he alone has escaped. He then places his maps before the council, endeavouring to prove, that beyond Africa there is another country, yet to be explored and conquered.
Vasco has on his way home picked up a man and a woman of an unknown race. Those slaves however stubbornly refuse to betray the name of their country, and a lively debate ensues between the Grand Inquisitor and the younger more enlightened members of the council, as to the course, which should be adopted with Vasco. At last, owing to {5} the irritation caused by his violent reproaches, fanaticism is victorious, and instead of being furnished with a ship to explore those unknown lands, he is thrown into prison, on the plea of his being a heretic, for having maintained the existence of countries which were not mentioned in the Holy Scriptures.
The second act takes place in a cell of the Inquisition, in which Vasco has been languishing for a month past, in the company of the strange slaves Nelusco and Selica. The latter has lost her heart to the proud Portuguese, who saved her and her companion from a slave-ship. But Vasco is only thinking of Ines, and Nelusco, who honors in Selica not only his Queen, but the woman of his love, tries to stab Vasco--the Christian, whom he hates with a deadly hatred. Selica hinders him and rouses the sleeping Vasco, who has been dreaming of and planning his voyage to the unknown country.
Selica now shows him on the map the way to her native isle, and he vows her eternal gratitude. His liberty is indeed near at hand, for hardly has he given his vow, than Ines steps in to announce that Vasco is free. She has paid dearly for her lover's deliverance however, for she has given her hand to Vasco's rival Don Pedro, who, having got all Vasco's plans and maps, is commissioned by government, to set out on the voyage of discovery.
Ines has been told, that Vasco has forgotten her for Selica the slave. In order to prove his fidelity, our ungrateful hero immediately presents {6} her with the two slaves, and Don Pedro resolves to make use of them for his exploration.
In the third act we are on board of Don Pedro's ship in the Indian seas. Donna Ines is with her husband and Nelusco has been appointed pilot. Don Alvar, a member of the council and Don Pedro's friend, warns the latter, that Nelusco is meditating treason, for they have already lost two ships; but Pedro disregards the warning. A typhoon arises, and Nelusco turns the ship again northward. But Vasco has found means to follow them on a small sailing vessel; he overtakes them and knowing the spot well where Diaz was shipwrecked, he entreats them to change their course, his only thought being Donna Ines' safety. But Pedro, delighted to have his rival in his power, orders him to be bound and shot. Ines hearing his voice, invokes her husband's mercy. Just then the tempest breaks out, the vessel strikes upon a rock and the cannibals inhabiting the neighboring country leap on board to liberate their Queen Selica and to massacre the whole crew, in the fulfilment of which intention they are however arrested by Selica.
In the following acts Selica resides as Queen on the Isle of Madagascar. The people render her homage, but her priests demand the strangers' lives as a sacrifice to their gods, while the women are condemned to inhale the poisoned perfume of the Manzanillo-tree.--In order to save Vasco Selica proclaims him her husband and takes Nelusco {7} as witness, swearing to him that if Vasco is sacrificed she will die with him. Nelusco, whose love for his Queen is greater even than his hatred for Vasco, vouches for their being man and wife, and the people now proceed to celebrate the solemn rites of marriage.
Vasco, at last recognizing Selica's great love, and believing Ines dead, once more vows eternal fidelity to her, but alas, hearing the voice of Ines, who is about to be led to death, he turns pale and Selica but too truly divines the reason.
In the fifth act Selica is resolved to put her rival to death. She sends for her, but perceiving Ines' love, her wrath vanishes, her magnanimity soars above her hatred of the Christians, and she orders Nelusco to bring Ines and Vasco on board of a ship about to sail for Portugal.
Selica herself, unable to endure life without her beloved-one, proceeds to the Cape, where the Manzanillo-tree spreads his poisonous shade.--Her eyes fastened on the vast ocean and on the white sail of the retiring vessel, she inhales the sweet but deadly perfume of the blossoms and the returning Nelusco finds her dying, while an unseen chorus consoles her with the thought that in Love's eternal domain all are equal.
{8}
AÏDA.
Grand romantic Opera in four acts by GIUSEPPE VERDI.
Text by ANTONIO GHISLANZONI. Translated into German by S. SCHANZ. English version by KENNEY.
This opera owes its great popularity not only to its brilliant music and skilful instrumentation, but also to its really magnificent outfit and decorations. Aïda ranks among the best operas of Verdi. The plot is taken from old Egypt; and the music, with its eastern and somewhat sensuous coloring is exquisitely adapted to the scenery.
The scene of action is alternately Memphis and Thebes and the story belongs to the period when the Pharaohs sat on the throne.
In the first act we see the King's palace at Memphis. Ramphis, the Highpriest of Pharaoh announces to the Egyptian General Radames, that the Ethiopians are in revolt and that the goddess Isis has decided who shall be leader of the army sent out against them. Radames secretly hopes to be the elected, in order to win the Ethiopian slave Aïda, whom he loves, not knowing that she is a King's daughter.
Enter Amneris, daughter of Pharaoh. She loves Radames without his knowledge and so does Aïda. Amneris, suspecting this, swears to avenge herself, should her suspicion prove correct.
The King's messenger announces, that Amonasro, the Ethiopian King (Aïda's father), is marching to the capital, and that Radames is chosen to conquer the foe. Radames goes to the temple {9} to invoke the benediction of the goddess and to receive the sacred arms.
In the second act Amneris, in order to test Aïda's feelings, tells her, that Radames fell in battle, and finds her doubts confirmed by Aïda's terror. Amneris openly threatens her rival, and both hasten to receive the soldiers, who return victorious. In Radames' suite walks King Amonasro, who has been taken prisoner, disguised as a simple officer. Aïda recognizes her father, and Amonasro telling his conqueror, that the Ethiopian King has fallen, implores his clemency. Radames, seeing Aïda in tears, adds his entreaties to those of the Ethiopian; and Pharaoh decides to set the prisoners free, with the exception of Aïda's father, who is to stay with his daughter. Pharaoh then gives Amneris to Radames as a recompense for his services.
In the third act Amonasro has discovered the mutual love of his daughter and Radames and resolves to make use of it. While Amneris prays in the temple that her bridegroom may give his whole heart to her, Amonasro bids his daughter discover the secret of the Egyptian warplans from her lover. Amonasro hides himself, and Aïda has an interview with Radames, in which he reveals all to her. She persuades him to fly with her, when Amonasro shows himself, telling him that he has heard all and confessing that he is the Ethiopian King. While they are speaking, Amneris overtakes and denounces them. Amonasro {10} escapes with his daughter, Radames remains in the hand of Ramphis, the Highpriest.
In the fourth act Radames is visited in his cell by Amneris, who promises to save him from the awful death of being buried alive, if he renounces Aïda. But Radames refuses, though she tells him, that Aïda has fled into her country, her father being slain on their flight.
Amneris at length regrets her jealousy and repents, but too late! Nothing can save Radames, and she is obliged to see him led into his living tomb. Amneris curses the priests, who close the subterranean vaults with a rock. Radames, preparing himself for death, discovers Aïda by his side. She has found means to penetrate into his tomb, resolved to die with her lover.
While she sinks into his arms, Amneris prays outside for Radames' peace and eternal happiness.
ALESSANDRO STRADELLA.
Romantic Opera in three acts by FLOTOW.
Text after the French by W. FRIEDRICH.
Flotow, who composed this little opera when at Paris in the year 1844, that is long before his Martha, had the satisfaction of scoring a great success on the evening of its first representation in Hamburg. The pleasant impression then made by its agreeable and lovely melodies has not faded the less that, after hearing many of our stormy and exciting modern operas, one often and ardently {11} longs for the restful charm and guileless pleasure of a piece like this.
The libretto is interesting and touching, without being over-sensational.
Stradella, the celebrated Venetian singer has fallen in love with Leonore, ward of a rich Venetian citizen named Bassi. She returns his love, but is strictly guarded by her uncle, who wants to marry her himself. Stradella succeeds in deceiving Bassi and aided by his friend carries her off during the Carnival. In the second act we find the lovers in a little village near Rome, where a priest unites them for ever and gives them his benediction.
But Malvolio, a bandit, has sought them by Bassi's orders, and discovers their refuge. Entering the villa, where he finds open doors but no people, he meets with another bandit, in whom he recognizes his friend Barbarino, also sent as it turns out on the same errand.
They decide to do the business together, that is to say: to kill Stradella, and to carry his wife back to her guardian. Under the mask of pilgrims going to a sacred festival, they find a kindly shelter in Stradella's house and are won by the latter's fine voice, as well as by the charm of his noble behaviour, so that they wholly abandon their evil purpose.
But in the third act Bassi appears, and not finding his order executed, offers such a large sum of gold to the banditti, that they at length promise to stab Stradella during his next singing performance. While they lie-in-wait for him, Stradella sings the {12} hymn of the Holy Virgin's clemency towards sinners so touchingly, that his pursuers cast their swords away and sink on their knees, joining in the refrain. Full of astonishment Stradella learns of the danger in which he had been, but in the end he willingly pardons not only the banditti but also his wife's uncle, who, won over like the ruffians by the power of Stradella's song, humbly asks for the Singer's friendship, which is granted to him.
The people lead their favorite in triumph to the festival, which he helps to glorify with his wondrous voice.
ARMIDA.
Grand heroic Opera in five acts by GLUCK.
Text by PHIL. QUINAULT.
The poet Quinault wrote the libretto of this opera for another composer, Lully, but almost one hundred years later, Gluck, recognizing the genuine richness of this French production, availed himself of it for an opera, the music of which is so sublime, that it will for ever be considered classic.
The libretto is founded on an episode of Tasso's "Gerusalemme liberata".
The scene is laid in Damascus, where during the Crusade of the year 1099, the Crusaders have arrived at the place and gardens of Armida, the Queen and enchantress. Rinaldo, the greatest hero in Godfrey of Bouillon's army, is the only one, who not only does not stoop [Transcriber's note: stop?] to adore the beautiful Armida, but on the contrary pursues and hates her. {13} He has been banished from Bouillon's presence charged with the rash deed of another knight, who has not dared to confess his guilt and he now wanders lonely in the forest.
Warned by a fellow-warrior, Artemidor, to avoid Armida's enchanting presence he scorns the warning, saying that love for a woman is to him a thing unknown. In reality however Armida is already ensnaring him with her sorcery, he presently hears exquisitely sweet and dreamy melodies and finding himself in a soft, green valley, he lies down and falls asleep.
Armida's opportunity has come and she means to stab him, but love conquers hatred and the dagger sinks from her hand. She vainly invokes the furies of hate; none can change her passion for the hero and at last, ceasing to strive against her tender feelings, she surrenders herself entirely to him and even succeeds by her charms and her devotion in enthralling him. Meanwhile Bouillon has sent two of his knights, Ubalt and a Danish warrior, to recall Rinaldo to his duty. They are detained by Armida's witchery; the Danish knight meets a demon, who has taken his bride's face and tenderly calls him to her, but Ubalt destroys the charm and both succeed in approaching Rinaldo, who, his love-dream dissipated by the call of honor, resolves to return to the army with his companions. In vain Armida tries to change his resolution. In despair she curses him and her love, but being unable to kill the man she loves, she suffers him to go away and turns her beautiful place and gardens into a desert.
{14}
DER WAFFENSCHMIED.
(THE ARMORER.)
Comic Opera in three acts by ALBERT LORTZING.
Text by himself.
Though this opera does not equal in value Lortzing's "Czar and Zimmermann", it has nevertheless proved an admirable addition to the operatic repertory. It is attractive both on account of the freshness of its melodies and the popular character of its music and text.
The scene is located in Worms, in the 16th century. The Count of Liebenau has fallen in love with Mary, the daughter of a celebrated armorer, named Stadinger, and in order to win her, he woos her at first in his own rank as Count, then in the guise of a smith-journeyman, named Conrad. Mary, who cannot permit herself to think of love in connection with a person of such a position as a Count, nevertheless pities him and at last confesses blushing, that she loves the poor smith Conrad. Inwardly triumphant, the Count pretends to be jealous. But father Stadinger, who more than once showed the door to the Count, will not accept either of the suitors, the Count standing too high above him, and his journeyman, Conrad, being too bad a laborer, though he has once saved Mary's life.
In order to withdraw her from the reach of her lovers, the armorer resolves to wed his daughter to his second journeyman George, who is no other than the Count's valet. Stadinger is determined to {15} present him as Mary's bridegroom on the occasion of a festival, which is to take place in the course of the afternoon, and on which Stadinger's jubilee as master of armorers is to be celebrated. In vain George refuses his consent to this proposal. He is at length obliged to inform the Count and the latter feigns to assault Stadinger's house. But it is of no avail; the old citizen, more firm than ever, denies him his child again, and as George decidedly refuses to marry his daughter, he gives her at last to Conrad. Great is Mary's surprise and her father's wrath, when they discover that the Count and simple Conrad are one and the same person, but at last the old father yields, and the lovers receive his benediction.
BALLO IN MASCHERA
or
GUSTAVUS THE THIRD.
Grand historic Opera in five acts by AUBER.
Text by SCRIBE.
This opera has had a curious fate, its historical background having excited resistance and given rise to scruples. The murder of a king was not thought a fit subject for an opera, and so the libretto was altered and spoilt.
The Italians simply changed the names and the scene of action; Verdi composed a new opera from the same matter and succeeded admirably; nevertheless Auber's composition is preferred in Germany, Scribe's libretto being by far the better, {16} while the music is original and vivacious as well as full of pleasant harmony and fine instrumentation.
The scene is laid in Stockholm in the year 1792. Gustavus the Third, King of Sweden, loves the wife of his friend and counsellor Ankarström, and is loved in return, both struggling vainly against this sinful passion. Ankarström has detected a plot against the King's life, and warning him, asks that the traitor be punished, but Gustavus refuses to listen, trusting in his people and in his friend's fidelity. His minister Kaulbart desires him to condemn a sorceress named Arvedson, who is said to be able at will by means of certain herbs and potions to cause persons to love or hate each other. The king refuses to banish the woman unheard and decides to visit her. Ankarström tries to dissuade, but the King insists, and accordingly goes to Arvedson in disguise. During the witch's conjuration Malwina, his lady-love appears, who seeks help from the sorceress against her forbidden passion. The concealed King hears Arvedson tell her to go at midnight and gather a herb, which grows on the graves of criminals, and triumphant in his knowledge of Malwina's confessed love, Gustavus decides to follow her there.
When she has gone, he mockingly orders the witch to tell him his fortune, and hears from her that he shall be killed by the man, who first tenders him his hand. Just then Ankarström who comes to protect the King against his enemy, enters and they shake hands.
{17}
In the third act Malwina meets the King on the dismal spot, to which she had been directed, but Ankarström, whose watchful fidelity never suffers him to be far from the King, and who is utterly ignorant of the deception being practised upon him, saves the lovers from further guilt. After a severe conflict with himself, Gustavus consents to fly in his friend's cloak, Ankarström having pledged his honor not to ask the veiled lady's secret, and to conduct her safely back to the city. This plan is frustrated by the conspirators, who rush in and are about to attack the Count. Malwina throws herself between him and the combatants, and the husband then recognizes in the King's companion his own wife. Full of indignation he turns from her and joins the conspirators, promising to be one of them.
He swears to kill his unhappy wife, but not until another has first fallen.
In the fourth act the conspirators have a meeting in Ankarström's house, where they decide to murder the King. The lots being cast, the duty to strike the death-blow falls on Ankarström, and Malwina herself draws the fatal paper. At this moment an invitation to a masked ball is brought by the King's page Oscar, and the conspirators resolve to take advantage of this opportunity for the execution of their design.