Part 32

Odysseus vows that he will drive the enemy off. He turns lovingly to his faithful Queen and assures her that he will now lay down the sword for the spade and will labour to insure peace and happiness to all those countries that are now his own. He {460} is however not without forebodings of evil remembering the prophesy: "When once thou exchangest the sword for the spade, then will the close of thy day be near."

Despoina's entrance interrupts this happy meeting. The she-devil dares to attack even Penelope's virtue, she goads Odysseus to fury, so that he is about to stab her. But when she tears open her dress, mockingly presenting her bosom to his sword, he turns from her ordering the guards to take her away and to put her to death on the following morning.

The next scene again shows Telegonos sleeping. Despoina awakes him. She has escaped from prison and, disguised as a young warrior has hastened hither to warn Telegonos. He receives her warnings with laughter for fear is unknown to him. When he calls his lions she faints with fright. Trying to revive her he opens her coat of mail and takes off her helmet and thus perceives that she is a woman. At this discovery his heart is suddenly inflamed with love for Despoina who is also madly in love with Telegonos. A passionnate love scene follows, ending by Telegonos telling her, that he is searching for his father Odysseus. She offers to show him the way, and armed with a sword she places herself with Telegonos at the head of his soldiers.--

In the third act Odysseus appears alone, stunned and terrified by his enemy's striking resemblance to Kirke. Wearied to death he lies down {461} on a mossy bank and falls asleep. In his dream the three Fates appear before him; they have woven the web of his life which is approaching its end; Klotho lowers the distaff, Lachesis breaks the thread and the balance in Atropos' hand sinks. Odysseus awakening finds himself face to face with Telemachos, who once more throws himself in his father's arms, having thrown down his sword, and proving his love and faith in every way. Odysseus, at last persuaded of his affection returns his embrace. Hearing that Despoina is leading the enemy to battle he bids Telemachos to take her captive alive or dead, on which the son hastens away at once. Odysseus about to join his warriors is hindered by Telegonos, who attacks him. The unhappy father only defends himself feebly, quite unable to slay the radiant young hero. Suddenly the news reaches him, that the enemy headed by Despoina is gaining ground. Telegonos hearing her shouts is about to join her when Odysseus bars his way with those words: "Dos't know with whom thou fightest? I am Odysseus."--Alas, Telegonos cannot believe that this old and evidently decrepit man should be the famous hero; he reviles him, pressing him hard. When his companions' shouts of victory reach his ears he throws down his lance, and attacks Odysseus with his sword.--This is observed by Despoina, who has come up unobserved and picking up Telegonos' lance she with it stabs Odysseus in the back.

The hero falls, and Telegonos full of joy is about to embrace Despoina, when she pushes him {462} back and pointing to the dying man says: "There lies thy father! Odysseus behold thy son!" Telegonos staggers back but as he is forced to recognize the awful truth he rushes upon the murderess with his drawn sword. Despoina however is too quick for him and stabs herself with her own dagger.--

In deep sorrow Telegonos kneels beside his father who embraces him tenderly. Thus they are found by Penelope and Telemachos. Only now does Odysseus confess the truth about his love for Kirke to his faithful wife, whom he had wanted to save from pain by withholding the knowledge of his infidelity. After a touching farewell Odysseus joins the hands of the two brothers and blessing his family and his people he dies erect, like the hero he has always been.

TOSCA.

Musical Drama in three acts by V. SARDOU, L. ILLICA and G. GIACOSA.

Music by GIACOMO PUCCINI.

The libretto of this opera is adapted from Sardou's tragedy of the same name; it possesses all the exquisite stage effects of which this writer is capable. It is based on fact; these most tragic events having actually taken place in Rome in 1800 at the time of the battle of Marengo.

The music far surpasses the libretto, although {463} the latter handles the dreadful facts with as much delicacy as possible.

Puccini may fairly be called the most gifted among Italian composers. In Tosca especially he has shown the ennobling influence of music over an otherwise repulsive theme. The lovely melodies inspire us with a warm interest in all the persons of the play, with the exception of Scarpia, that living incarnation of evil and corruption. The leading melodies that introduce Scarpia are almost brutal in their tone; the three intervals of B flat, A flat and E which accompany Scarpia from the beginning through the whole drama sound hard and inexorable like fate, and form a striking contrast to the songs of the two lovers, whose duet in the third act is one of the sweetest things ever written.

The scene is laid in Rome. The first act takes place in the church of Sant' Andrea della Valle. Cesare Angelotti a state-prisoner has escaped from gaol and is hiding in a private chapel of which his sister, the Lady Attavanti, has secretly sent him the key.

When he has disappeared from view the painter Cavaradossi enters the church. He is engaged in painting a picture to represent Mary Magdalen; the canvass stands on a high easel and the sacristan, who is prowling about, recognizes with scandalized amazement and indignation that the sacred picture resembles a beautiful lady, who comes to pray daily in the church. The old man, after having {464} left a basket with food for the painter, retires grumbling at this sacrilege.

When he is gone Angelotti comes forward, and the painter recognizing in the prisoner the Consul of the late Roman Republic who is at the same time an intimate friend of his own, puts himself at his disposal, but hearing the voice of his fiancée Tosca, who demands entrance he begs the prisoner, a victim of the vile Scarpia, to retire into the chapel, giving him the refreshments, which the sacristan has left.

At last he opens the church-door, and Tosca, a famous singer enters looking suspiciously around her, for she is of a jealous disposition. She begs her lover to wait for her at the stage door in the evening. He assents and tries to get rid of her, when her suspicions are reawakened by the sight of the picture, which she sees is a portrait of the Lady Attavanti. With difficulty he succeeds in persuading her of his undying love and at last induces her to depart; he then enters the chapel, and urges Angelotti to fly, while the way is clear. The chapel opens into a deserted garden from whence a foot-path leads to the painter's villa, in which there is a well now nearly dry. Into this well the painter advises Angelotti to descend if there is any danger of pursuit, as half way down there is an opening leading to a secret cave where his friend will be in perfect safety.

The Lady Attavanti had left a woman's clothes for her brother, to wear as a disguise. He takes {465} them up and turns to go, when the report of a cannon tells him that his flight from the fortress is discovered. With sudden resolution Cavaradossi decides to accompany the fugitive, to help him to escape from his terrible enemy.

In the next scene acolytes, scholars and singers enter the church tumultuously. They have heard that Napoleon has been defeated and all are shouting and laughing, when Scarpia, the chief of the Police enters in search of the fugitive. Turning to the sacristan he demands to be shown the chapel of the Attavanti, which to the amazement of the sacristan is found open. It is empty, but Scarpia finds a fan, on which he perceives the arms of the Attavanti, then he sees the picture and hears that Tosca's lover, Cavaradossi has painted it. The basket with food is also found, empty. During the discussion that ensues, Tosca enters, much astonished to find Scarpia here instead of her lover. The chief of the police awakens her jealousy by showing her the fan, which he pretends to have found on the scaffolding. Tosca, recognizing the arms of the Attavanti is goaded almost to madness by the wily Scarpia. When she departs three spies are ordered to follow her.

The second act takes place in Scarpia's luxurious apartments in an upper story of the Farnese palace.

Scarpia is expecting Tosca, who is to sing this evening at the Queen's festival. He has decided to take her for his Mistress, and to put her lover {466} to death as well as Angelotti, as soon as he has got hold of both. Spoletta, a police-agent informs his chief, that he followed Tosca to a solitary villa which she left again, alone, very soon after she had entered it.

Forcing his way into the villa he had only found the painter Cavaradossi whom he had at once arrested and brought to the palace.

Cavaradossi who is now brought in, denies resolutely any knowledge of the escaped prisoner. When Tosca enters he embraces her, whispering into her ear not to betray anything she had witnessed in his villa.

Meanwhile Scarpia has called for Roberts, the executioner, and Mario is led into the torture chamber that adjoins Scarpia's apartment. Scarpia vainly questions Tosca about her visit to the villa; she assures him, that she found her lover alone. Then she hears her lover's groans, which are growing more fearful, the torture under Scarpia's directions being applied with more and more violence. In the intervals Mario however entreats Tosca to be silent, but at last she can bear no more, and gasps "In the well, in the garden." Scarpia at once gives a signal to stop the torture and Mario is carried in fainting and covered with blood. When he comes to himself he hears Scarpia say to Spoletta "In the well, in the garden," and thereby finds out that Tosca has betrayed the unfortunate prisoner. While he turns from her in bitter grief and indignation, Sciarrone enters and announces in {467} the greatest consternation, that the news of victory have proved false, Napoleon having beaten the Italian army at Marengo. Mario exults in the defeat of his enemy, but the latter turns to him with an evil smile and orders the gendarmes to take him away to his death. Tosca tries to follow him, but Scarpia detains her. Remaining alone with him, she offers him all her treasures and at last kneels to him imploring him to save her lover. But the villain only shows her the scaffold which is being erected on the square below, swearing that he will only save her lover if she will be his. Tosca turns shuddering from him. Spoletta now enters to announce that Angelotti being found and taken has killed himself; and that Mario is ready for death.

Now at last Tosca yields, Scarpia promising to liberate her lover at the price of her honour. He suggests however that Mario must be supposed dead, and that a farce must be acted, in which the prisoner is to pretend to fall dead while only blank cartridges will be used for firing. Tosca begs to be allowed to warn him herself and Scarpia consents and orders Spoletta to accompany her to the prison at 4 o'clock in the morning, after having given the spy private instructions to have Mario really shot after all. Spoletta retires and Scarpia approaches Tosca to claim his reward. But she stops him, asking for a safe conduct for herself and her lover. While Scarpia is writing it Tosca seizes a knife from the table while leaning against it and hides the weapon behind her back. Scarpia {468} seals the passport, then opening his arms he says: "Now Tosca, mine at last." But he staggers back with an awful scream; Tosca has suddenly plunged the knife deep into his breast. Before he can call for help, death overtakes him, and Tosca after having taken the passport from the clenched fist of the dead man turns to fly.

The third act takes place on the platform of the castle Sant' Angelo.

The gaoler informs Mario Cavaradossi that he may ask for a last favour having only one hour to live and the captive begs to be allowed to send a last letter of farewell to his fiancée. The gaoler assents, and Mario sits down to write, but soon the sweet recollections of the past overcome him. Tosca finds him in bitter tears, which soon give way to joy, when she shows him her passport, granting a free pass to Tosca and to the Chevalier who will accompany her.

When she tells him of the deadly deed she has done to procure it, he kisses the hands that were stained with blood for his sake. Then she informs him of the farce, which is to be acted, and begs him to fall quite naturally after the first shot, and to remain motionless until she shall call him. After a while the gaoler reminds them that the hour is over. The soldiers march up and Tosca places herself to the left of the guard's room, in order to face her lover. The latter refuses to have his eyes bandaged, and bravely stands erect before the soldiers. The officer lowers his sword, a report {469} follows and Tosca seeing her lover fall sends him a kiss. When one of the sergeants is about to give the "coup de grace" to the fallen man Spoletta prevents him, and covers Mario with a cloak. Tosca remains quiet until the last soldier has descended the steps of the staircase, then she runs to her lover, calling to him, to rise. As he does not move, she bends down to him and tears the cloak off, but with a terrible cry she staggers back. Her lover is dead! She bewails him in the wildest grief, when suddenly she hears the voice of Sciarrone, and knows that Scarpia's murder has been discovered. A crowd rushes up the stairs with Spoletta at their head; the latter is about to precipitate himself upon Tosca, but she runs to the parapet and throws herself into space, with the cry: "Scarpia, may God judge between us!"

BARFUSSELE (LITTLE BARE FOOT).

Opera in two Pictures with a Prelude by RICHARD HEUBERGER.

Words by VICTOR LÉON from AUERBACH'S Story.

The young composer's opera is a musical village-story, simple and well adapted to the pretty subject.

Heuberger's talent is of the graceful style; he is not very original but his waltzes and "Ländlers" have the true Viennese ring, and the kirmess in the first act is very characteristic; it is melodious and {470} full of healthy humour. The airs often recall popular songs.

The story is simple. Its scene is laid in Haldenbrunn, a village in the Black Forest.

Amrei and Dami, sister and brother, coming home from their distant school find the door of their father's cottage locked. Accustomed to the frequent absence of their parents they sit down under the mountain-ash to wait for their return. A crowd of school-children following them provoke Amrei by calling her "Barfüssele", because she never wears shoes; her little brother tries to defend his sister, but in vain. At last the "Landfriedbäurin", a rich farmer's wife comes to his help and drives the tormenting brats away.

She has come to attend the funeral of the two children's parents, who both died on the same day, and seeing that the orphans do not yet know of their bereavement she is at a loss, how to make them understand.--At last she takes off her garnet-necklace, and hangs it round Amrei's neck, promising Dami a pair of good leather breeches.

When she sees Marann and Mr. Krappenzacher approaching, she upbraids them for having left the poor children in ignorance of their sad loss, on which old Marann, taking the orphans in her arms, explains to them, that they will never see their parents again on earth. The poor children cry bitterly and bid a heartrending farewell to their little home. Thus ends the Prelude.

{471}

The first act takes place twelve years later.

Amrei has entered the service of the rich Rodelbauer. She still goes bare-footed, but she is the life of the inn, and everybody requires her services.--It is St. Paul's day and the farmer's wife promises Amrei that she may join in the dancing like the other girls. While Amrei goes into the house to adorn herself for the festival, Dami comes to take leave of his sister. Dami is in love with the Rodelbauer's handsome sister Rosel, and having no hopes of winning her, he is about to enter the military service.--Amrei, who has returned, is much grieved at his resolution and leaves him to fetch his bundle of clothes.--Rosel now enters in her best attire. She loves Dami, and though she never means to marry the poor servant lad, she allows him to kiss and embrace her. Amrei coming back and seeing this is very much shocked and now urges him herself to leave the village at once.

In the next scene the Landfriedbäurin arrives from the Allgäu with her son Johannes.--Amrei recognizes the good woman who gave her the garnet-necklace twelve years ago and both are very much pleased to see each other again. The rich peasant has come to consult Krappenzacher, known as the best matchmaker in the country, and she promises him a large fee, if he succeeds in finding a suitable bride for Johannes. The latter is quite willing to marry, provided he finds a girl that pleases him and his mother gives him sound advice about the qualities that should be found in a good wife. {472} First she must never cut a knot but untie it, she must be content to take the second part in a duet and so on.

In the next scene the Rodelbäurin and Rosel come out ready for church. Amrei has to keep house, but she is perfectly happy in the prospect of a dance.

Meanwhile Krappenzacher tells the Rodelbauer that he has found a splendid suitor for his sister Rosel, and the rich peasant promises him a hundred crowns, if the match comes off.--They then stroll towards the church and Amrei appears in her national Sunday costume and with new shoes. She sits down on the bench, meditating sadly about the poor chance she will have of a partner and hardly noticing Johannes who rides by and accosts her.

A few minutes later the villagers come in a procession from church headed by the band and the dancing begins.

Amrei sits alone neglected; nobody comes to dance with her; the peasants threw all their wraps, kerchiefs etc. to the poor girl, who soon looks like a clothes-stand.

Suddenly Johannes comes up. Perceiving the lonely maiden, he carries her off to dance with him.

When the village bells ring for Vespers the dancing stops, and Johannes, sitting down at a table treats his partner to a glass of wine. He is greatly pleased with her, but when she tells him, that she is only a servant he becomes thoughtful. {473} At last he bids her farewell with a kiss and departs without having looked at any of the other girls.

The second act takes place a year later. The scene is laid in the Rodelbauer's court-yard. Johannes has come once more to the village with his parents, who press him to make up his mind and to choose a wife at last. Krappenzacher, in whose house they live promises to let him see the right bride, and goes to prepare Rosel for the coming of the rich suitor. He advises her to take off her finery and to appear as a practical and capable peasant girl, and Rosel promises to comply with his wishes.

A little later Amrei arrives with her brother Dami. He is decorated with the iron cross, but he wears his arm in a sling. His sister has brought him home from the battle field in order to nurse him; she has caught cold herself, so that her whole face is bound up in a woolen shawl. Rosel, reappearing in a simple working-dress greets her old lover, but Dami speaks very bitterly, when he hears that she is to marry a rich peasant, and he leaves her in scorn and wrath, while Rosel goes to the stable to milk the cows.

Johannes, coming into the court-yard finds only Amrei, who is sweetly singing the second part to Rosel's song, heard from the stable. Amrei recognizes him at once, but he does not recognize his fair partner in the simple servant, whose face is disfigured by the bandage. Desirous to know something about the girl he is to wed, he asks {474} Amrei, if she leads a hard life in the house and if Rosel is good to her. She answers in the affirmative, and so he lets himself be led to the stable by the old Rodelbauer under the pretext of inspecting a white horse, but in reality to look at the girl. Meanwhile Rosel comes out tired of her unaccustomed work.

She wavers between her desire to get a rich husband and her love for Dami. The appearance of Amrei, who comes out of the house in her Sunday dress excites her wrath. Notwithstanding Amrei's resistance she wrenches the garnet-necklace from her throat and beats her. The girl's screams bring out all the neighbours including Johannes, who, pulling Rosel back from the weeping girl, recognizes his partner of the year before.

Forgetting everything but his love, which has only grown deeper in the interval, he strains her to his heart.

The Rodelbauer turning to his sister is about to beat her, but Dami intervenes and Rosel, quite ashamed of herself turns to her true lover and begs his pardon.

Johannes leads his sweet-heart into the adjoining garden, where they wait for the arrival of the parents.

Amrei has a difficult task in winning Johannes' father, whose pride will not permit him to welcome a daughter in law without a dower, but the mother, who was always fond of the daughter of her old friend, secretly offers her a sum of money she has saved for herself; Johannes does the same. At last her perfect goodness and sweetness soften the old peasant's heart and all ends in peace and happiness.

{475}

LA BOHÈME.

Adapted from HENRY MURGER'S VIE DE BOHÈME.

Music by GIACOMO PUCCINI.

This opera was composed in 1896, and the music is of a far higher order than that of "La Tosca", particularly the love scenes.--

La Bohème grows on one more and more, the oftener one hears it; but such bits as Musette's waltz, the quartet and the love duet in the last

## act cannot fail to appeal to everybody. The composer has given a most

realistic subject a highly poetic setting.

The first act opens in a garret in Paris, in about 1830, and shows us Rudolph the painter and Marcel the poet, from whose Bohemian mode of life the opera derives its name, at work. Alas, there is no fire in the grate and the cold is so intense, that Marcel is about to break up a chair for firewood.--