7
Iv"
fV?USC LI
THE STANDARD LIGHT OPERAS
By GEORGE P. UPTON
MUSICAL HANDBOOKS
THE STANDARD OPERAS
THE STANDARD ORATORIOS
THE STANDARD CANTATAS
THE STANDARD SYMPHONIES
THE STANDARD LIGHT OPERAS
xamo. Yellow edges. Per volume, $1.50
WOMAN IN MUSIC
i6mo. $1.00
MUSICAL PASTELS: A Series of
Essays on Quaint and Curious Musical
Subjects.
Large 8vo. 'With ten full-page illustrations from
rare wood engravings.
A. C. McCLURG & COMPANY CHICAGO
THE
STANDARD LIGHT OPERAS
THEIR PLOTS AND THEIR MUSIC
BY GEORGE P. UPTON
AUTHOR OF "THE STANDARD OPERAS," ETC.
\V
CHICAGO
A. C. McCLURG & CO.
1902
COPYRIGHT
A. C. MCCLURG & Co.
1902
Published September 13, 190*
TO MY FRIEND
CHARLES C. CURTISS
PREFACE.
THE present volume, "The Standard Light
Operas," has been prepared not only with the
hope that it may supply a popular want in these
days when the light opera is so much in vogue,
but also with the purpose of completing the series
which the author has already compiled, including
the opera, oratorio, cantata, and symphony. It has
been somewhat difficult to select from the " em-
barrassment of riches " in the material offered by
the profusion of operettas, musical comedies, and
legitimate light operas which have been produced
during the last few years, and which are still turned
out with almost bewildering rapidity. Still more
difficult is it to determine accurately those among
them which are standard. A few of the lighter
works which are contained in the original edition of
the " Standard Operas " have been recast, as they
properly belong in a work of this kind, and as they
may answer the needs of those who have not the
former volume. The opera comique and the opera
bouffe are also represented by the best of their
class, those whose text is clearly objectionable being
viii PREFACE.
omitted. The entire list of the characteristic and de-
lightful operettas by the late Sir Alexander Sullivan
is included, and some of the musical comedies
which have a strong hold upon popular admiration.
The operas have not been analyzed with that close-
ness of detail which characterizes the " Standard
Operas," as they do not call for treatment of that
kind, and in many cases the leading numbers are
only suggested. They are described rather than
criticised, and as they have been compiled solely for
the use of the general public they have been pre-
sented as untechnically as possible. They are in-
tended to heighten popular enjoyment rather than
to supply information for musicians, and as a vade
mecum for the opera-goer rather than a reference
for the musical student.
G. P. U.
CHICAGO, August, 1902.
CONTENTS
PAGE
ADAM
|/ THE POSTILION OF LONJUMEAU 15
AUBER
FRA DIAVOLO 19
THE CROWN DIAMONDS 22
AUDRAN
OLIVETTE 26
THE MASCOT 29
BALFE
THE BOHEMIAN GIRL 33
THE ROSE OF CASTILE 36
BELLINI
LA SONNAMBULA 40
BENEDICT
THE LILY OF KILLARNEY 43
BOIELDIEU
LA DAME BLANCHE 47
CELLIER
DOROTHY 50
CHASSAIQUE
FALKA 52
x CONTENTS.
PAGE
DF.KOVEN
ROBIN HOOD 57
MAID MARIAN 60
ROB ROY 63
THE FENCING-MASTER 67
DELIBES
LAKME 70
DONIZETTI
THE DAUGHTER OF THE REGIMENT .... 73
DON PASQUALE 76
LINDA 78
THE ELIXIR OF LOVE 81
EICHBERG
THE DOCTOR OF ALCANTARA 84
FLOTOW
MARTHA 87
STRADELLA 90
GENfiE
NANON 93
GOUNOD
MlRELLA 97
HUMPERDINCK
HANSEL AND GRETEL 100
JAKOBOWSKI
ERMINIE 103
LECOCQ
GlROFLE-GlROFLA IO6
I/'LA FILLE DE MADAME ANGOT 109
LORTZING
CZAR AND CARPENTER 113
CONTENTS. xi
PAGE
LUDERS
KING DODO 116
THE PRINCE OF PILSEN 118
MASS
PAUL AND VIRGINIA 121
QUEEN TOPAZE 124
THE MARRIAGE OF JEANNETTE 126
MILLOCKER
/^THE BEGGAR STUDENT 128
f'' THE BLACK HUSSAR 131
NESSLER
THE TRUMPETER OF SAKKINGEN 134
NICOLAI
THE MERRY WIVES OF WINDSOR 138
OFFENBACH
THE GRAND DUCHESS OF GEROLSTEIN ... 141
LA BELLE HELENE 145
ORPHEUS 148
PLANQUETTE
THE CHIMES OF NORMANDY 152
RICC I
CRISPING 155
ROSSINI
THE BARBER OF SEVILLE 158
SOLOMON
BILLEE TAYLOR 161
SOUSA
EL CAPITAN 164
x ii CONTENTS.
STRAUSS
(/ THE MERRY WAR 167
THE QUEEN'S LACE HANDKERCHIEF .... 169
QUEEN INDIGO 171
i/ DIE FLEDERMAUS (THE BAT) 174
STUART
FLORODORA 177
SULLIVAN
Cox AND Box 180
TRIAL BY JURY 182
THE SORCERER 185
H. M. S. PINAFORE 188
THE PIRATES OF PENZANCE 193
PATIENCE 196
lOLANTHE 200
PRINCESS IDA 203
THE MIKADO 206
RUDDYGORE 209
THE YEOMEN OF THE GUARD 213
THE GONDOLIERS 216
SUPPE
FATINITZA 220
&' BOCCACCIO 224
THE BEAUTIFUL GALATEA 227
THOMAS
MlGNON . 230
WALLACE
MARITANA 233
LURLINE 236
THE STANDARD LIGHT OPERAS
THE
STANDARD LIGHT OPERAS.
ADAM, ADOLPHE CHARLES.
QTlje Postilion of lonjumeau.
[Op6ra comique, in three acts ; text by De Leuven and Bruns-
wick. First produced at the Op6ra Comique, Paris, October
13, 1836.]
PERSONAGES.
CHAPELOU, postilion.
MADELEINE, mistress of the inn.
MARQUIS DE COURCY, opera manager.
Bijou, village blacksmith.
BOUDON, chorus leader.
[Villagers, chorus singers, etc.]
The scene of the opera is laid in Lonjumeau, a French village,
and Paris ; time of Louis the Fifteenth.
THE sprightly opera " The Postilion of Lon-
jumeau " is characterized by grace and
elegance of treatment, fascinating rhythm, and odd
contrasts in effects. Its plot is very dramatic,
and affords ample scope for humorous action. The
opening scene of the first act introduces us to the
wedding of Chapelou, the postilion, and Made-
leine, mistress of the inn. During the merriment
which follows, the Marquis de Courcy, Superinten-
dent of the Paris Grand Opera, whose carriage
1 6 THE STANDARD LIGHT OPERAS.
has broken down, makes his appearance, seeking
the aid of a wheelwright. He hears Chapelou
singing, and is so pleased with his voice that he
offers him a position in the opera. Chapelou after
some persuasion accepts, entreats Bijou, the village
blacksmith, to look after Madeleine, and goes off
with the Marquis in quest of artistic glory. Bijou
informs Madeleine of Chapelou's baseness, and the
act closes with her denunciations of him, in which
she is enthusiastically assisted by the female mem-
bers of the wedding- party.
The second act opens in Paris. Madeleine has
inherited a fortune from an aunt, and makes her
appearance in the gay city as a rich and noble
lady, under the assumed name of Madame de la
Tour. The Marquis de Courcy, who is in love
with her, at her request brings Chapelou, who is
now a famous tenor known as St. Phar, Bijou, the
Lonjumeau blacksmith, who is primo basso under
the name of Alcindor, and the operatic chorus to
her chateau for a rehearsal. St. Phar, not wishing
to sing, pleads a cold, but when he learns that he
is in the apartments of Madame de la Tour he
consents, and the rehearsal goes off finely. Left
alone with his hostess, he proposes to her and is
accepted, but as he is already married he arranges
that Boudon, the chorus leader, shall play the part
of priest. The Marquis, who overhears the con-
spiracy, informs Madame de la Tour, who sends
for a real priest and accompanies St. Phar to the
altar, where they are married for the second time.
THE POSTILION OF LONJUMEAU. 17
In the third act St. Phar, who fears that he will
be hanged for committing bigamy, finds a happy
escape from his troubles. The Marquis, furious
because he has been rejected by Madame de la
Tour in favor of an opera singer, seeks revenge,
but his plans are thwarted. A humorous scene
ensues, in which St. Phar is tormented by Alcindor
and the wedding-party, as well as by the Marquis,
who is now reconciled. Finally, upon being left
alone in a darkened room with Madame de la
Tour, she also aggravates him by personating two
characters, singing from different sides of the
apartment in the voice of the Madame and that
of Madeleine. The denouement ensues when she
appears to him as the veritable Madeleine of
Lonjumeau, whither the joyous pair return and
are happy ever after.
The principal music of the first act is a romanza
for soprano, "Husband ever Dear," leading into a
dance chorus; the famous Postilion's Song with
whip-snapping accompaniment; and a balcony
serenade by Madeleine. The second act opens
with a long and well-written aria for soprano,
which is followed by the rehearsal scene, a
clever bit of humorous musical writing. In the
course of this scene the tenor has a characteristic
aria, preceded by a clarinet obligate, and the basso
also has one running down to G, in which he
describes with much gusto the immunities of a
basso with a " double G." A duet follows for
soprano and tenor with a cadenza of extraordinary
l8 THE STANDARD LIGHT OPERAS.
length, the act closing with a finale in the conven-
tional Italian style.
The third act opens with a long clarinet solo,
the refrain of which is heard in the close of the
act. This is followed by a " Good Night" chorus
in mazurka time. The tenor then has an aria
followed by a comic trio, which in reality is a
duet, as the soprano is personating two singers
with different voices. A duet and finale close
the opera, the music of which is of just the class
to be popular, while the action is so sustained in
its humor as to make the bright little opera a
favorite wherever heard.
AUBER, DANIEL FRANQOIS ESPRIT.
jFra SDiatooIo.
[Op6ra comique, in three acts ; text by Scribe. First produced
at the Ope"ra Comique, Paris, January 28, 1830; in English, at
Drury Lane Theatre, London, November 3, 1831 ; in Italian, at
the Lyceum, London, July 9, 1857.]
PERSONAGES.
FRA DIAVOLO, leader of the brigands.
LORD ALLCASH, English nobleman.
LADY ALLCASH, his wife.
MATTEO, innkeeper.
ZERLINA, MATTEO'S daughter.
LORENZO, ZERLINA'S lover.
BEPPO, ) , .
GIACOMO, ! br 'S ands '
The scene is laid at the village of Terracina, Italy ; time, last
century.
THE first act of this universally favorite opera
opens with the hurried arrival of Lord
Allcash, a typical English tourist, and his wife,
at the inn of Terracina, kept by Matteo, whose
daughter, Zerlina, is loved by Lorenzo, a young
soldier. The latter is about to start for the capture
of Fra Diavolo, the leader of the bandits, when the
action of the opera begins. The English tourists
have been robbed on their journey by the band of
this same Fra Diavolo, who has followed them in
20 THE STANDARD LIGHT OPERAS.
the disguise of a marquis and has been very atten-
tive to the susceptible Lady Allcash. Lord All-
cash has a quarrel with his wife on this account in
a humorous duet, " I don't object." Fra Diavolo
learns that the travellers have saved the most of
their valuables, and lays his own plans to secure
them. In an interview with Zerlina, she, mistak-
ing him for the Marquis, sings him the story of Fra
Diavolo in a romanza, " On Yonder Rock Reclin-
ing," which has become a favorite the world over.
To further his schemes he makes love to Lady
Allcash in a graceful barcarole, "The Gondolier,
Fond Passion's Slave." In the finale of the act
Lorenzo and his carbineers return, and not finding
Fra Diavolo at the inn, where they had hoped to
surprise him, resume their search, leaving him to
perfect his plans for the robbery.
In the opening scene of the second act Zerlina
is in her chamber, preparing to retire. Before
doing so, she lights Lord and Lady Allcash to their
room. During her absence Fra Diavolo and his
companions, Beppo and Giacomo, conceal them-
selves in her closet, Fra Diavolo having previously
given them the signal that the coast was clear by
singing a serenade, " Young Agnes," in violation of
every rule of dramatic consistency. Zerlina re-
turns, and after singing a simple but charming
prayer, " Oh ! Holy Virgin," retires to rest. In
attempting to cross the room they partially awake
her. One of the bandits rushes to the bed to stab
her, but desists from his purpose as he hears her
FRA DIAVOLO. 21
murmuring her prayer. Then follows a trio by the
robbers, sung pianissimo, which is very dramatic
in its effect. At this point the carbineers return
again, and the house at once is in an uproar. Lord
and Lady Allcash rush in to find out the cause,
followed by Lorenzo, who came to greet Zerlina.
A sudden noise in the closet disturbs them. Fra
Diavolo, knowing that he will be discovered, steps
out into the room, and declares he is there to keep
an appointment with Zerlina, whereupon Lorenzo
challenges him. He accepts the challenge and
coolly walks out of the room. One of his com-
rades is captured, but to secure his liberty agrees
to betray his chief.
The opening of the third act finds Fra Diavolo
once more among his native mountains. He gives
expression to his exultation in a dashing, vigorous
song, " Proudly and wide my Standard flies," fol-
lowed by the pretty rondo, " Then since Life
glides so fast away." As he joyously contemplates
a speedy meeting with Lord and Lady Allcash and
the securing of their valuables, villagers arrayed in
festival attire in honor of the approaching nuptials
of Lorenzo and Zerlina enter, singing a bright pas-
toral chorus, " Oh, Holy Virgin, bright and fair."
The finale of the act is occupied with the develop-
ment of the scheme between Lorenzo, Beppo,
and Giacomo to ensnare Fra Diavolo, and the final
tragedy in which he meets his death at the hands
of the carbineers, but not before he has declared
Zerlina's innocence. The text of the opera is full
22 THE STANDARD LIGHT OPERAS.
of vivacity and humor, and the music so bright and
melodious and yet artistically scored that it made
Auber's reputation at the Ope"ra Comique.
Croton SDtamonte.
[Ope'ra comique, in three acts ; text by Scribe and St. George.
First produced in Paris in 1841 ; in English, at the Princess
Theatre, London, May 2, 1844.]
PERSONAGES.
COUNT DE CAMPO MAYOR, Minister of Police.
DON HENRIQUE, nephew of the Count.
DON SEBASTIAN, friend of DON HENRIQUE.
REBELLEDO, chief coiner.
CATARINA, leader of the coiners.
DIANA, cousin of DON HENRIQUE.
The scene is laid in Portugal; time, 1777.
THE story of " The Crown Diamonds," one of the
most melodious of Auber's works, is as follows :
Don Henrique, nephew of the Count de Campo
Mayor, Minister of Police at Coimbra, on his
way to participate in the coronation ceremonies
and at the same time to sign a marriage contract
with his cousin Diana, daughter of the Minister of
Police, is overtaken by a storm in the moun-
tains and seeks shelter in a ruined castle near the
monastery of St. Huberto. While there he espies
Rebelledo, the chief coiner, and two of his com-
rades examining the contents of his trunk. The
latter, discovering him in turn and thinking him a
THE CROWN DIAMONDS. 23
spy, rush upon him, but he is saved by Catarina, the
leader of the gang, who returns him his trunk and
allows him to depart upon condition that he shall
not mention what he has seen for a year. He con-
sents, but before he leaves, the gang is surrounded
by soldiers led by Don Sebastian, a friend of Don
Henrique. They make their escape, however, dis-
guised as monks, while Rebelledo and Catarina
disappear through an underground passage, carry-
ing with them a mysterious casket of jewels.
The second act opens in the Chateau de
Coimbra, and discloses Don Henrique in love
with the mysterious Catarina and Diana with Don
Sebastian. As Diana and Don Henrique are sing-
ing together, Don Sebastian announces that an
accident has happened to a carriage and that its
occupants desire shelter. Catarina and Rebelledo
enter and accept the proffered hospitality. When
Diana begins to read the account of a robbery
containing a description of Rebelledo and his
companions, that worthy vanishes, but Catarina
remains in spite of Don Henrique's warning that
she is in the house of the Minister of Police. He
declares his love for her, and begs her to fly with
him ; she refuses, but gives him a ring as a souvenir.
At this point the Count enters, and announces that
the crown jewels have been stolen and Don
Henrique's ring is recognized as one of them.
Catarina is saved by Diana, who promises Don
Henrique she will send her away in the Count's
carriage if he will refuse to sign the marriage
24 THE STANDARD LIGHT OPERAS.
contract. He consents, and Catarina makes her
escape.
The last act opens in the anteroom of the royal
palace at Lisbon, where the Count, Don Henrique,
and Don Sebastian are present, and Diana awaits
an audience with the Queen. While they converse,
Rebelledo enters, announced as the Count Fuentes,
and an usher brings him word that the Queen will
have private audience with him. While awaiting
her, Rebelledo in a monologue explains that the
real crown jewels have been pledged for the
national debt, and that he has been employed to
make duplicates of them to be worn on state occa-
sions until the genuine ones can be redeemed.
The Queen enters, declares she is satisfied with
the work, and makes Rebelledo Minister of Secret
Police. Count de Campo Mayor then announces
to her the decision of the Council that she shall
marry the Prince of Spain. She declares she will
make her own choice, and when the Count remon-
strates she threatens to confiscate .his property for
allowing the crown jewels to be stolen, and orders
him to arrest his daughter and nephew for giving
shelter to the thieves. Diana, suddenly entering,
fails to recognize her as Catarina, and implores
pardon for her connivance in the escape. Then
Don Henrique still further complicates the situa-
tion. He recognizes Catarina, and declares to
Diana he will seize her and fly to some distant
land. His purpose is thwarted by his arrest for
treason upon the Queen's order. He rushes for-
THE CROWN DIAMONDS. 25
ward to implore mercy for Catarina, when the
Queen reveals herself and announces that she has
chosen Don Henrique for her husband and their
King.
The principal musical numbers of the opera
are Rebelledo's rollicking muleteer's song, " O'er
Mountain steep, through Valley roaming," the
rondo, " The Young Pedrillo," with chorus accom-
paniment, and the lugubrious chorus of the pseudo
monks, " Unto the Hermit of the Chapel," in the
first act ; the nocturne, " The Brigand," closing in
gay bolero time, " In the Deep Ravine of the
Forest," Catarina's bravura aria, " Love ! at once
I break thy Fetters," the duet, "If I could but
Courage feel," and the beautiful ballade, " Oh !
whisper what thou feelest," in the second act ; the
usually interpolated air, "When Doubt the Tortured
Frame is rending," originally written for Louisa
Pyne, who really made the first success for the
opera, and the charming cavatina, " Love, dwell
with me," sung by the Queen in the last act.
AUDRAN, EDMUND.
itoette.
[Comic opera, in three acts; text by Chi vat and Duru. First
produced at the Bouffes Parisiens, Paris, November 13, 1879;
first American production, New York, January 7, 1881.]
PERSONAGES.
CAPTAIN DE MERIMAC, of the Man of War " Cormorant."
VALENTINE, his nephew, officer of the Rousillon Guards.
Due DES IPS, cousin of the Countess.
COQUELICOT, his foster brother.
MARVEJOL, Seneschal to the Countess.
OLIVETTE, daughter of the Seneschal.
BATHILDE, Countess of Rousillon.
VELOUTINE, the Seneschal's housekeeper.
MOUSTIQUE, Captain's boy on board the " Cormorant."
[Nobles of the Court of Rousillon, the watch of Perpig-
nan, citizens, gossips, wedding-guests, sailors, etc.]
The scene is laid at Perpignan on the Mediterranean Sea ; time
of Louis the Fourteenth.
FOLLOWING the English version of the opera,
at the opening of the first act the villagers
of Perpignan are greatly excited over the approach-
ing marriage of Olivette, the Seneschal's daughter,
and De Me"rimac, an old sea-captain. Olivette,
however, just out of a convent, is in love with Val-
entine, a young officer and the Captain's nephew.
OLIVETTE, 27
In the mean time the Countess of Rousillon is also
in love with Valentine and has come to Perpignan
to see him. She is at the house of the Seneschal,
and is surprised there by Valentine, who has
climbed her balcony expecting to find Olivette.
The old Captain, who is making slow progress with
his suit, writes to the Countess demanding Olivette's
hand. Valentine seizes his opportunity, passes
himself off as the Captain, and marries Olivette at
the request of the Countess herself.
The second act opens with a ball which the
Countess gives in honor of the wedding, at which
Valentine is forced to personate both himself and
the Captain. The latter appears upon the scene,
and is heartily congratulated as the bridegroom.
When Valentine also appears as the old man, De
Me"rimac resolves he will have the bride whom
Valentine has secured by the use of his name.
By a little craft Olivette rids herself of her elderly
suitor only to encounter fresh trouble, for the
Countess declares she will marry the soldier. A
plot is formed, the result of which is an order
sending the Countess out of the kingdom.
The opening of the last act shows that the plot
is partially successful. The Countess is a prisoner
on board De Me"rimac's vessel, and Olivette and
Valentine, who are disguised as sailors, seek a
vessel to take them away ; but Valentine is recog-
nized and seized, Olivette contrives to free the
Countess, and passes herself off for her, Olivette's
maid, Veloutine, pretending to be her mistress.
28 THE STANDARD LIGHT OPERAS.
This introduces a new complication, for the near-
sighted Duke des Ifs courts the maid, supposing
her to be Olivette, and boasts of it to Valentine in
the hearing of De Me"rimac. Both uncle and
nephew then renounce Olivette until the Countess
returns and an explanation is made. In the
denouement Valentine is united to Olivette and
the Countess to the Duke, while the old Captain
is advised to follow the example of the Venetian
Doges and " marry the sea," which he promptly
hastens to do, and follows his bride ever after.
The music of " Olivette " is light and sprightly
throughout, the most taking numbers being the
marine madrigal, a song with chorus, " The Yacht
and the Brig"; the pretty waltz song, "O Heart,
wherefore so light," sung by the Countess;
Olivette's tyrolienne song, " The Convent slept " ;
Valentine's serenade, " In Quaint and in Mystic
Word," and Olivette's characteristic sob song,
" Oh ! my Father," in the first act : Olivette's
serio-comic song, " The Matron of an Hour " ; the
Countess' song, " When Lovers around Woman
throng " ; another humorous song for Olivette,
" I do think Fate, upon my Life " ; a charming duet
for Olivette and the Countess, " Like Carrier Dove,
I '11 swift be flying," with the refrain, " I love my
Love so well," and the jolly farandole, " The Vin-
tage over, then Maid and Lover," sung and
danced by Olivette, Countess, and chorus, in the
second act : the romanza " Nearest and dearest,"
an effective number for the Countess, and three
THE MASCOT. 29
delicious bits of nonsense, " Give Milk to Babes,
to Peasants Beer," styled in the score a Grog-orian
chant, the ridiculous legend " The Torpedo and
the Whale," and the dashing bolero, " Where
Balmy Garlic scents the Air," in the last act.
[Comic opera, in three acts ; text by Chivat and Duru. First
produced at the Bouffes Parisiens, Paris, December 29, 1880; first
American production, Gaiety Theatre, Boston, April 12, 1881.]
PERSONAGES.
BETTINA, the Mascot.
FIAMETTA, daughter of Prince LORENZO.
PIPPO, a shepherd.
LORENZO, prince of Piombino.
Rocco, a farmer.
FREDERIC, prince of Pisa.
PARAFANTE, sergeant.
MATHEO, innkeeper.
[Peasants, lords and ladies of court, soldiers, etc.]
The scene is laid in Piombino, Italy ; time, the fifteenth
century.
THE story of "The Mascot " is charmingly ro-
mantic, and much more consistent and coherent
than the usual plots of the comic operas. The
first act opens with a vintage festival. The peas-
ants are all rejoicing except Rocco, the farmer,
who has had bad luck. Pippo, his shepherd,
whom he had sent to his brother for help, returns
with a basket of eggs and a letter in which he
30 THE STANDARD LIGHT OPERAS.
informs Rocco that he has also sent him Bettina,
his turkey-keeper, who will bring him prosperity,
as she is a mascot. Pippo, who is in love with
Bettina, waxes eloquent over her charms, but when
she comes she is coldly received by Rocco and
ordered to go back. As she is preparing to leave,
Prince Lorenzo, his daughter Fiametta, Prince
Frederic, and others of a hunting-party arrive and
stop for refreshment. Prince Lorenzo, who is one
of the unlucky kind, learns by chance of Bettina's
gift, and determines to take her to his court ; but
Rocco objects. The Prince, however, gains his
consent by promising to make him Lord Chamber-
lain. The party sets off homeward with Rocco in
good spirits and Bettina sad, while poor Pippo is
left behind disconsolate.
The second act opens in the palace at Piombino,
where a festival is to be given in honor of the
marriage of Fiametta to Prince Frederic of Pisa.
Among the attractions of the fete is an entertain-
ment by a troupe of actors and dancers, the most
prominent of whom is Saltarello, in reality Pippo
in disguise. The lovers discover each other
and plan an escape ; but Rocco, who has rec-
ognized Pippo, frustrates their scheme by disclos-
ing his identity to the Prince, who orders his arrest.
The situation is still further complicated by the
fickle Fiametta, who has fallen in love with Pippo
and tells him that Bettina is false and is about to
marry Prince Lorenzo. At last Pippo and Bet-
tina have a chance to meet, and they make their
THE MASCOT.
escape by leaping through a window into the
river.
The last act opens in the hall of an inn in Pisa.
There has been a war between the two princes,
and Frederic has defeated Lorenzo. Pippo has
been a captain in the Pisan army, and Bettina,
disguised as a trooper, has fought by his side.
They reveal their real names to Frederic, and
declare their intention of marriage. During prep-
arations for the wedding Prince Lorenzo, Fiametta,
and Rocco, who are travelling about the country as
minstrels to make their living, owing to the mis-
fortunes of war, meet the bridal party at the inn.
After mutual explanations Fiametta returns to her
old lover Frederic, and Pippo and Bettina are
married. The Mascot brings good luck to them
all at last.
The most interesting numbers in the opera are
the drinking-song, "All morose Thoughts now
are flying " ; the legend of the Mascots, " One
Day the Arch Fiend drunk with Pride," sung
by Pippo and chorus ; Bettina's song, " Don't
come too near, I tell you " ; the quaint duet for
Bettina and Pippo, " When I behold your Manly
Form " ; the charming coaching-chorus, " Come,
let us now be off as quick as a Bird," sung by
Bettina and chorus in the first act ; the chorus and
air of Saltarello, " Hail, Princesses and Lords " ;
the pretty duet, " Know'st thou those Robes," for
Bettina and Pippo, and the concerted finale of the
second act ; the stirring rataplan, " Marking Time
32 THE STANDARD LIGHT OPERAS.
with Cadence so Steady," the entrance of the
refugees preluding the grotesque " Orang-Outang
Song," sung by Fiametta and chorus, and the
graceful arietta following the entrance of the wed-
ding-party in the last act.
BALFE, MICHAEL WILLIAM.
[Grand opera, in three acts ; text by Bunn. First produced at
Drury Lane Theatre, London, November 27, 1843.]
PERSONAGES.
ARLINE, daughter of Count ARNHEIM.
THADDEUS, a Polish exile.
GYPSY QUEEN.
DEVILSHOOF, Gypsy leader.
COUNT ARNHEIM, Governor of Presburg.
FLORESTEIN, nephew of the Count.
[Retainers, hunters, soldiers, gypsies, etc.]
The scene is laid at Presburg, Hungary ; time, last century.
THE Bohemian Girl," usually designated as
grand opera, strictly speaking, is a ballad
opera, and is one of the few English works of its
class which has made a success upon the Conti-
nent and in the United States. The first act opens
with the rescue of Arline, daughter of Count Arn-
heim, from the attack of a stag by Thaddeus, a
Polish fugitive, who has joined a gypsy band to save
himself from arrest. In return for his timely aid,
the Count invites him to a banquet, where he gets
into trouble by refusing to drink the health of the
Emperor. Devilshoof, the leader of the band,
saves him from the angry soldiers, but in turn is
3
34 THE STANDARD LIGHT OPERAS.
himself seized. The Count allows Thaddeus to go,
and Devilshoof subsequently escapes, carrying Arline
with him.
Twelve years elapse between the first and second
acts. The Count has received no tidings from
Arline and has given her up as lost. The second
act opens in the gypsy camp in the suburbs of
Presburg, and discloses Arline asleep with Thad-
deus watching over her. The gypsies themselves
depart in quest of plunder, headed by Devilshoof,
and happen upon Florestein, the Count's nephew,
returning in a drunken condition from a revel.
They speedily relieve him of his valuables. After
their departure Arline awakes, and Thaddeus tells
her how she received the scar upon her arm and
of her rescue from the stag, at the same time de-
claring his love for her. Arline confesses her love
for him, and the two are united according to the
laws of the tribe by the Gypsy Queen, who is also
in love with Thaddeus, and vows vengeance upon
the pair. The scene now changes to a street in
the city. A fair is in progress, and the gypsies
resort to it with Arline at their head. As they
mingle among the people, Florestein attempts to
insult Arline, and an altercation ensues between
them, ending in his repulse. He seeks revenge
by having her arrested for stealing a medallion
which belonged to him and which the Gypsy
Queen, knowing it to be his, had maliciously given
to her. Arline is brought before the Count for trial,
during which he asks her about the scar on her
THE BOHEMIAN GIRL. 35
arm. She replies by relating the story Thaddeus
had told her, and this leads to his discovery of his
daughter.
The last act finds Arline restored to her old
position but still retaining her love for Thaddeus.
With Devilshoof s help he secures a meeting with
her. The Gypsy Queen gives information to the
Count, and Thaddeus is ordered to leave. Arline
implores her father to relent, and threatens to go
with her lover. The situation happily resolves it-
self when Thaddeus proves that he is of noble de-
scent. The Count thereupon yields and gives his
daughter to him. The baffled and furious Gypsy
Queen induces one of the tribe to fire at Thaddeus,
but by a timely movement of Devilshoof the bullet
pierces the heart of the Queen.
The principal musical numbers of the first act
are the Count's solo, "A Soldier's Life"; the
pathetic song, " 'T is sad to leave your Father-
land " ; the gypsy chorus, " In the Gypsy's Life
you may read," and the prayer in the finale,
"Thou who in Might supreme." The second act
contains some of the most melodious and effec-
tive numbers in the work, including the quaint
little chorus, "Silence, Silence, the Lady Moon" ;
the joyous song, " I dreamed I dwelt in Marble
Halls," which is a universal favorite ; the musical
dialogue and ensemble, " The Secret of her Birth " ;
the gypsy's song, " Come with the Gypsy Bride " ;
the beautiful unaccompanied quartette, " From the
Valleys and Hills," and the impressive reverie by
36 THE STANDARD LIGHT OPERAS.
the Count, " The Heart bowed down." The last
act has two delightful numbers, the tender and
impassioned song, "When other Lips and other
Hearts," and the stirring martial song, " When the
Fair Land of Poland," in which Thaddeus avows
his noble descent and boasts the deeds of his
ancestry in battle.
Eoae of Castile*
[Comic opera, in three acts; text by Harris and Falconer.
First produced at the Lyceum Theatre, London, October 29, 1857.]
PERSONAGES.
ELVIRA, Queen of Leon and "Rose of Castile."
MANUEL, DON SEBASTIAN, the Infant, in disguise of
muleteer.
CARMEN, attendant of the Queen.
DON PEDRO, I
DON SALLUST, \ conspirators.
DON FLORIO, /
The scene is laid in Spain ; time, last century.
AT the opening of the opera, Elvira, Queen of
Leon, has just ascended the throne, and her hand
has been demanded by the King of Castile for his
brother, Don Sebastian, the Infant. The latter,
with the design of satisfying his curiosity about her,
is on the eve of entering Castile disguised as a
muleteer. Elvira hears of this, and adopts the
same expedient, by starting with Carmen, one of
her attendants, disguised as peasants to intercept
him. In the opening of the first act the two ap-
THE ROSE OF CASTILE. 37
pear at an inn where the peasants are dancing.
The innkeeper is rude to them, but Don Sebastian,
disguised as Manuel the muleteer, protects them,
and offers his services as escort, which the Queen
willingly accepts, for she has recognized him and
he has fulfilled the motive of the story by falling in
love with her. At this point Don Pedro, who
has designs upon the throne, with his fellow-con-
spirators Don Sallust and Don Florio, enter.
Observing Elvira's likeness to the Queen, they
persuade her to personate Her Majesty, which,
after feigned reluctance, she consents to do. She
also accepts their services as escorts, and all the
more unhesitatingly because she knows Manuel
will follow her.
The second act opens in the throne-room of the
palace. Don Pedro enters, somewhat dejected by
the uncertainty of his schemes. The Queen, who
has -eluded the surveillance of the conspirators,
also appears and grants an audience to Manuel, in
which he informs her of the meeting with the
peasant girl and boy and declares his belief they
were the Queen and Carmen. He also informs
her of the conspirators' plot to imprison her, which
she thwarts by inducing a silly old Duchess to
personate the Queen for one day and, closely
veiled, ride to the palace in the royal carriage.
Her scheme succeeds admirably. The Duchess
is seized and conveyed to a convent. In the next
scene Don Pedro and Don Florio are mourning
over the loss of their peasant girl, when she appears.
38 THE STANDARD LIGHT OPERAS.
Their mourning turns to desperate perplexity when
the Queen reveals herself and announces her
intention of marrying the muleteer.
In the last act Carmen and Don Florio agree to
marry. Then the Queen and her ladies enter, and
a message is delivered her from Don Sebastian an-
nouncing his marriage. Enraged at the discovery
that the muleteer is not Don Sebastian, the Queen
upbraids him and yet declares she will be true to
him. This pleases Don Pedro, as he believes he
can force her to abdicate if she marries a muleteer ;
but in the last scene Manuel mounts the throne,
and announces he is King of Castile, Elvira ex-
presses her delight, and all ends happily.
The story of the opera is exceedingly involved,
but the music is well sustained and ranks with the
best that Balfe has written. The principal num-
bers of the first act are the lively chorus, " List
to the Gay Castanet " ; the vocal scherzo by Elvira,
" Yes, I '11 obey you " ; Manuel's rollicking song,
" I am a Simple Muleteer " ; the buffo trio, which
ends in a spirited bacchanal, " Wine, Wine, the
Magician thou art " ; and Elvira's pleasing rondo,
" Oh ! were I the Queen of Spain." The second
act contains the expressive conspirators' chorus,
" The Queen in the Palace " ; the beautiful ballad,
" Though Fortune darkly o'er me frowns," sung
by Don Pedro ; the ballad, " The Convent Cell,"
sung by Elvira, which is one of Balfe's happiest in-
spirations ; the buffo trio, " I *m not the Queen,
ha, ha " ; and Elvira's characteristic scena, " I 'm
THE ROSE OF CASTILE. 39
but a Simple Peasant Maid." The leading numbers
of the last act are the bravura air, " Oh ! Joyous,
Happy Day," which was intended by the com-
poser to show the vocal ability of Eliza Pyne, who
first appeared in the role of Elvira; Manuel's fine
ballad, " 'T was Rank and Fame that tempted
thee"; Don Pedro's martial song, "Hark, hark,
methinks I hear " ; the stirring song by Manuel,
when he mounts the throne, which recalls " The
Fair Land of Poland " in " The Bohemian Girl " ;
and Elvira's second bravura air, " Oh ! no, by
Fortune blessed."
BELLINI, VINCENZO.
la >onnamimla.
[Grand opera, in two acts; text by Romani. Produced for the
first time in Milan, March 6, 1831 ; in London, at the King's
Theatre, July 28, 1831 ; in Paris, October 28, 1831 ; in New
York, May 14, 1842.]
PERSONAGES.
AMINA, ward of the miller's wife.
ELVINO, a landholder.
RODOLFO, lord of the village.
LISA, innkeeper.
ALESSIO, a peasant, lover of LISA.
TERESA, mistress of the mill.
The scene is laid in Switzerland ; time, last century.
THE first act of the opera opens with the prep-
arations for the marriage of Amina and
Elvino. Lisa, the mistress of the inn, is also in
love with Elvino and jealous of Amina. On the
day before the wedding, Rodolfo, the young lord of
the village, arrives to look after his estates, and
puts up at the inn, where he meets Amina. He
pays her many pretty compliments, much to the
dissatisfaction of Elvino, who is inclined to quarrel
with him. After Rodolfo retires to his chamber,
Amina, who is addicted to sleep-walking, enters
the room and throws herself upon the bed as if it
LA SONNAMBULA. 41
were her own. She is seen not only by Rodolfo,
but also by Lisa, who has been vainly seeking to
captivate him. To escape the embarrassment of
the situation, Rodolfo quietly goes out ; but the
malicious Lisa hastens to inform Elvino of what
Amina has done, at the same time thoughtlessly
leaving her handkerchief in Rodolfo's room.
Elvino rushes to the spot with other villagers, finds
Amina as Lisa had described, denounces her, and
offers himself to the latter.
In the last act Amina is seen stepping from the
window of the mill in her sleep. She crosses a
frail bridge above the mill wheel, descends in
safety, and walks into Elvino's arms amid the jubi-
lant songs of the villagers. Elvino at last is con-
vinced of her innocence, while the discovery of
Lisa's handkerchief in Rodolfo's room proclaims
her the faithless one.
The little pastoral story is of the simplest kind,
but it is set to music as melodious as ever has
come from an Italian composer, and the role of
the heroine has engaged the services of nearly all
the great artists of the nineteenth century from
Malibran to Patti. Its most striking melodies are
the aria " Sovra il sen " ("On my Heart your
Hand do place"), in the third scene of the first
act, where Amina declares her happiness; the
aria for baritone in the sixth scene, " Vi ravviso "
("I recognize you, Pleasant Spot"), sung by
Rodolfo ; the playful duet, " Mai piu dubbi "
("Away with Doubts"), in which Amina chides
42 THE STANDARD LIGHT OPERAS.
her lover for his jealousy; the humorous and
characteristic chorus of the villagers in the tenth
scene, "Osservate, 1'uscio e aperto" ("Observe,
the Door is open"), as they tiptoe into the
chamber; the duet in the next scene, "O mio
dolor" (" Oh, my Sorrow "), in which Amina as-
serts her innocence; the aria for tenor in the
third scene of the second act, " Tutto e sciolto "
("Every Tie is broken"), in which El vino be-
moans his hard lot ; and that joyous outburst of
birdlike melody, " Ah ! non giunge " (" Human
Thought cannot conceive"), which closes the
opera.
BENEDICT, SIR JULIUS.
C|)e itlp of ftUllamep.
[Romantic opera, in three acts ; text by Oxenford and Bouci-
cault. First produced at Covent Garden Theatre, London,
February 8, 1862.]
PERSONAGES.
ANNE CHUTE, the heiress.
MRS. CREGAN, of the hall at Tore Cregan.
FATHER TOM, the priest.
EILY O'CONNOR, the Colleen Bawn.
HARDRESS CREGAN, son of Mrs. CREGAN.
SHEELAH.
DANNY MANN, the boatman.
MYLES NA COPPALEEN.
CORRIGAN, " the middle-man."
The scene is laid at Killarney, Ireland ; time, last century.
THE opera " The Lily of Killarney " is the
musical setting of the drama, " The Colleen
Bawn." The plot is essentially similar, and the
characters are identical. The first act opens with
the festivities of Hardress Cregan's friends at the
hall at Tore Cregan. During their temporary ab-
sence to witness a horse-race, Corrigan, " the
middle-man," calls upon Mrs. Cregan and suggests
to her the marriage of her son to the heiress,
Anne Chute, as the only chance of securing the
payment of a mortgage he holds upon the place.
44 THE STANDARD LIGHT OPERAS.
Failing in this, he expresses his own willingness to
accept Mrs. Cregan's hand, but the hint meets
with no favor. At this point Danny Mann, Har-
dress' boatman, is heard singing, and Corrigan in-
forms Mrs. Cregan he is about to take her son to
see Eily, the Colleen Bawn, Anne Chute's peasant
rival. Danny and Hardress set off on their errand,
leaving Mrs. Cregan disconsolate and Corrigan
exultant. In the second scene Corrigan and Myles
na Coppaleen, the peasant lover of the Colleen
Bawn, have an interview in which Corrigan tells
him she is the mistress of Hardress. The next
scene introduces us to Eily's cottage, where Father
Tom is seeking to induce her to persuade Hardress
to make public announcement of his marriage to
her. When Hardress appears he asks her to give
up the marriage certificate and conceal their union ;
but Myles prevents this, and Father Tom makes
Eily promise she will never surrender it.
In the second act Hardress is paying court to
Anne Chute, but is haunted by remorse over his
desertion of Eily. Danny Mann suggests putting
her on board a vessel and shipping her to America,
but Hardress rejects the scheme. Danny then
agrees that Eily shall disappear if he will send his
glove, a token secretly understood between them.
This also he rejects. Meanwhile Corrigan is press-
ing his alternative upon Mrs. Cregan, but is inter-
rupted by Hardress, who threatens to kill him if he
does not desist. Corrigan retires uttering threats
of revenge. Danny Mann then intimates to Mrs.
THE LILY OF KILLARNEY. 45
Cregan that if she will induce Hardress to send
the glove, he can bring happiness to the family
again. She secures the glove and gives it to
Danny, who promptly takes it to Eily with the
message that her husband has sent for her. Eily,
in spite of Myles' warnings, gets into Danny's
boat and trusts herself to him. Danny rows out
to a water cave, and ordering her to step upon a
rock demands the certificate. She refuses to give
it up, and Danny pushes her into the water. Myles,
who uses the cave for secret purposes, mistakes
Danny for another and shoots him, and then,
espying Eily, plunges in and saves her.
The denouement of the story is quickly told in
the last act. Hardress is arrested for murder, but
Danny, who was fatally wounded, makes a dying
confession of his scheme against the life of the
Colleen Bavvn. Corrigan brings soldiers to the
house of Anne Chute at the moment of Hardress'
marriage with her, but is thwarted in his revenge
when Myles produces Eily Cregan, Hardress' law-
ful wife. Mrs. Cregan also confesses her part in
the plot, and absolves her son from intentional
guilt. Everything being cleared up, Eily rushes
into Hardress' arms, and the chorus declares
" A cloudless day at last will dawn
Upon the hapless Colleen Bawn."
The music is very elaborate for light-opera pur-
poses, and is written broadly and effectively, es-
pecially for the orchestra. Many Irish melodies
46 THE STANDARD LIGHT OPERAS.
sprinkled through the work relieve its heaviness.
The principal numbers are the serenade and duet,
" The Moon has raised her Lamp above " ; Myles'
song, " It is a Charming Girl I love " ; Eily's
song, "In my Wild Mountain Valley he sought
me," and the well-known original Irish melody,
"The Cruiskeen Lawn," also sung by Eily; the
" Tally-ho " chorus, introducing the second act ;
Danny Mann's recitative and airs, "The Colleen
Bawn " and " Duty? Yes, I '11 do my duty" ; the
dramatic finale to the second act ; Myles' serenade
in the third act, "Your Slumbers, och ! Soft as
your Glance may be " ; Hardress 1 beautiful song,
" Eily Mavourneen, I see thee -before me " ; and
the fine concerted trio which closes the act.
BOIELDIEU, FRANCOIS ADRIEN.
La
[Ope>a comique, in three acts ; text by Scribe. First produced
at the Opera Comique, Paris, December 10, 1825 ; first time in
English under the title of " The White Maid" at Covent Garden,
London, January 2, 1827.]
PERSONAGES.
GEORGE BROWN, or JULIUS of Avenel.
GAVESTON, late steward of the Avenel estate.
MAC!RTON, an auctioneer.
DIKSON, an honest farmer.
ANNA, adopted child of the Lady of Avenel.
JENNY, wife of DIKSON.
MARGARET, servant of the late Lady of Avenel.
[Mountaineers, peasants, etc.]
The scene is laid in Scotland ; time of the Stuarts.
THE story of this favorite opera, adapted from
Walter Scott's novels "The Monastery"
and " Guy Mannering," runs as follows. The Laird
of Avenel, a Stuart partisan, upon the eve of going
into exile after the battle of Culloden, entrusts his
estate and a considerable treasure concealed in a
statue, called " the White Lady," to Gaveston, his
steward. The traditions affirmed that the White
Lady was the protectress of the Avenels, and the
villagers declared they had seen her in the neigh-
borhood. Gaveston, however, who puts no faith
48 THE STANDARD LIGHT OPERAS.
in the legend, announces the sale of the castle,
hoping that the superstition may keep others from
bidding and that he may get it for a low price.
The steward decides to sell, because he has heard
the Laird is dead and knows there is no heir.
Anna, an orphan, who had been befriended by
the Laird, determines to frustrate the designs of
Gaveston, and appears in the village disguised as
the White Lady. She writes to Dikson, a farmer
who is indebted to her, to meet her at midnight in
the castle of Avenel. His superstitious fears lead
him to decline the invitation, but George Brown, a
young British soldier on furlough, who is sharing
the farmer's hospitality, volunteers in his stead.
He encounters the White Lady at the castle, and is
informed by her that he will speedily meet a young
lady who has saved his life by her careful nursing,
Anna recognizing him as her recent patient.
When the day of sale comes, George and Anna
are present, and the former buys the castle in
obedience to Anna's instructions, though he has
not a shilling to his name. When the time for
payment comes, Anna produces the treasure which
had been concealed in the statue, and still in the
disguise of the White Lady reveals to him the
secret of his birth during the exile of his parents,
and informs him he is Julius of Avenel. Gaveston
approaches the spectre, and tears off her veil, re-
vealing Anna. Moved by the zeal and fidelity of
his father's ward, George offers her his hand, which
after some maidenly scruples she accepts.
LA DAME BLANCHE. 49
In the first act the principal numbers are the
opening song of George, " Ah ! what Pleasure a
Soldier to be " ; the characteristic ballad of the
White Lady with choral responses, " Where yon
Trees your Eye discovers " ; and the graceful trio
in the finale, " Heavens ! what do I hear." The
second act opens with a plaintive romanza, " Poor
Margaret, spin away," sung by Margaret, Anna's
old nurse, at her spinning-wheel, as she thinks of
the absent Laird, followed in the fifth scene by a
beautiful cavatina for tenor, "Come, O Gentle
Lady." In the seventh scene there is a charming
duet, " From these Halls," and the act closes with
an ensemble for seven voices and chorus which is
extremely effective. The third act opens with a
sentimental air for Anna, "With what Delight I
behold," followed in the third scene by a stirring
chorus of mountaineers, " Hail to our Gallant, our
New-made Lord," and leading up to "The Lay ever
sung by the Clan of Avenel " set to the familiar
melody of " Robin Adair." Though somewhat
old-fashioned, the opera still retains its freshness,
and its refined sentiment finds charming musical
expression.
CELLIER, ALFRED.
[Comic opera, in three acts ; text by Stephenson. First pro-
duced at the Gaiety Theatre, London, September 25, 1886.]
PERSONAGES.
DOROTHY BANTAM, Squire BANTAM'S daughter.
LYDIA HAWTHORNE, her cousin.
PRISCILLA PRIVETT, a widow.
PHYLLIS, TUPPET'S daughter.
GEOFFREY WILDER, BANTAM'S nephew.
HARRY SHERWOOD, WILDER'S chum.
SQUIRE BANTAM, of Chanticleer Hall.
LURCHER, a sheriff's officer.
TUPPET, the village landlord.
TOM GRASS, in love with PHYLLIS.
[Farm hands, hop-pickers, and ballet.]
The scene is laid in Kent, England ; time, a hundred years
ago.
THE story of " Dorothy " is a simple one, but
affords much scope for humor. The first act
opens in a hop-field, introducing a chorus and dance
of the hop-pickers. Afterward appears Dorothy,
daughter of a wealthy squire, who is masquerading
in a peasant's dress, and while serving the land-
lord's customers falls in love with a gentleman
whose horse has lost a shoe. Her cousin, Lydia
Hawthorne, who is with her in disguise, also falls
in love with a customer. Each girl gives her lover
DOROTHY. 51
a ring, and each lover vows he will never part with
it ; but that same evening at a ball the faithless
swains give the rings to two fine ladies, who are
none other than Dorothy and Lydia as their proper
selves. After they have parted, the two lovers,
Wilder and Sherwood, play the part of burglars
and rob Squire Bantam. Dorothy, disguised in
male attire, then challenges her lover, who, though
he accepts, displays arrant cowardice, which leads
up to the inevitable explanations. Incidentally
there is much fun growing out of the efforts of
Lurcher, the sheriff's officer, who has followed
Wilder and Sherwood down from London to collect
a bill against the former. In the end Wilder and
Sherwood are united to Dorothy and Lydia amid
great rejoicing at Chanticleer Hall.
The principal numbers are the ballad, "With
such a Dainty Dame " ; the song of " The Sheriff's
Man " by Lurcher, Wilder, and Sherwood ; the
quartette " You swear to be Good," and the jolly
chorus " Under the Pump," in the first act ; the
introduction and country dance, the bass song by
Bantam, " Contentment I give you," and the
ballad, "I stand at your Threshold," sung by
Sherwood, in the second act ; and the chorus of
old women, " Dancing is not what it used to be,"
Phyllis' ballad, " The Time has come when I must
yield " and the septette and chorus, " What Joy
untold," leading up to the elaborate finale of the
last act.
CHASSAIQUE, F.
JFalfca.
[Comic opera, in three acts ; text by Letterier and Vanloo.]
PERSONAGES.
KOLBACH, military governor of Montgratz.
TANCRED, his nephew.
ARTHUR, student, son of a rich Hungarian farmer.
LAY BROTHER PELICAN, doorkeeper of the convent.
KONRAD, captain of the governor's pages.
TEKELT, sergeant of the patrol.
BOBOKY, gypsy scout.
BOLESLAS, chief of the gypsies.
THE SENESCHAL, KOLBACH'S steward.
FALKA, niece of KOLBACH, at the convent school.
EDWIGE, sister of BOLESLAS.
ALEXINA DE KELKIRSCH, a young heiress.
MINNA, her maid.
JANOTHA, landlady of the inn.
[Military pages, soldiers of the watch, maids of honor,
peasants, Bohemians, etc.]
The scene is laid in Hungary; time, the middle of the
eighteenth century.
THE first act of "Falka" opens with the an-
nouncement that Kolbach, the military gov-
ernor of Hungary, has been promised a patent of
nobility by the Emperor upon the condition that he
can establish the succession with a male heir, either
FALKA. 53
direct or collateral. He is childless himself, but
he has a niece, Falka, who is in a convent, and a
nephew, Tancred, who is usher in a village school.
The brother of Kolbach is dead. His hopes for
the heir rest upon Tancred, whom he has never
seen. He summons him to take a place in his house
as the heir presumptive. On his way, Tancred is
captured by a band of gypsies, led by Boleslas, but
is released by Edwige, Boleslas' sister, on condi-
tion that he marries her. All this has happened in
the night, and Edwige has not even seen Tancred's
face. The latter, when he learns who Edwige is,
flies, and is pursued to the city where Kolbach lives
by Boleslas and Edwige. From a pocket-book he
has dropped they discover he is the nephew of the
governor, and plot to identify him at the meeting,
but Tancred, overhearing them, decides to baffle
them by not appearing, and writes to his uncle
that he is detained by illness. In the mean time
Falka, the niece, has eloped with a young man
named Arthur. Closely pursued by Brother
Pelican, the convent doorkeeper, the fugitives
arrive at the inn where Kolbach and Tancred were
to have met. To foil Brother Pelican, Falka ar-
rays herself in a suit of Arthur's, and then boldly
decides to personate her brother. Kolbach is easily
deceived, but new complications ensue. Brother
Pelican, finding Falka's convent dress, suspects she
has disguised herself as a boy and arrests Arthur
for her. Boleslas and Edwige, witnessing the
meeting of Falka and Kolbach, are certain Falka
54 THE STANDARD LIGHT OPERAS.
is the missing Tancred. For Falka's sake Arthur
is silent, and the cortege sets out for the castle
where the heir presumptive is to be engaged, by
the Emperor's order, to the rich young Alexina de
Kelkirsch.
In the second act Brother Pelican takes Arthur
to the convent in Falka's dress, and Falka remains
in a soldier's uniform to win the consent of her
uncle to their union. Her plans are now dis-
turbed by the arrival of Tancred, disguised as a
footman, to watch his own interests and thwart the
schemes of the young soldier, who he little dreams
is his own sister. He is afraid to reveal himself
because he knows Boleslas is on his track. He con-
trives that Falka shall be accused of broken vows
before Kolbach, and she is challenged by Boleslas,
but escapes by revealing her sex to Edwige.
Arthur, who has been brought back from the con-
vent, confesses the interchange of dresses with
Falka, whereupon Kolbach orders them both out of
his presence. Tancred displays unusual satisfac-
tion, and thus discloses his identity to Edwige.
Thus the act closes with Kolbach's discovery that
Tancred is betrothed to a gypsy and that the
pseudo Tancred is his niece Falka.
In the last act Kolbach reluctantly prepares for
the marriage of Tancred to Alexina, as the Em-
peror desires. Falka is shut up in a tower, whence
she is to be sent back to the convent. At this
point Boleslas appears with Edwige. An interview
between the two brides leads to the substitution of
FALKA. 55
Edwige for Alexina, and Tancred marries the
gypsy. Falka escapes from the tower, but is
caught and brought before her uncle, who at last
pardons her various follies, all the more willingly
because he has received a despatch from the Em-
peror that he may adopt her as his heiress, the
succession having been settled in the female line.
The principal numbers in the first act are the
stirring air and refrain, " I 'm the Captain," sung by
Edwige, Tancred, and Boleslas, preluded by a
short march movement; a taking little nocturne,
"There was no Ray of Light," sung by Edwige;
a rondo duet, " For your Indulgence " ; and the
long and elaborate finale, which closes with an
octette and full chorus.
The second act opens with a charming chorus,
"Tap, tap," sung by the maids of honor, followed
by couplets, " Perhaps you will excuse." Falka has
a pretty air, " Yon Life it seems," followed by the
exit chorus, " Ah ! is she not a Beauty?" This in
turn is followed by a characteristic Bohemian
chorus, " Tra -la-la," with a gypsy air, " Cradled
upon the Heather," coming in as a kind of vocal
intermezzo. After a long ensemble, " It was Tan-
cred," a trio, " Oh Joy ! oh Rapture ! " is sung, in
the course of which there is an ingenious passage
burlesquing Italian opera, followed by a quintette,
" His Aspect 's not so overpowering," and leading
up to an elaborately concerted finale.
The last act, though shotf, contains many bril-
liant numbers; among them the bridal chorus,
$6 THE STANDARD LIGHT OPERAS.
" Rampart and Bastian Gray," followed by a lively
Hungarian rondo and dance, " Catchee, catchee " ;
a romanza " At Eventide," which literally passes
" from grave to gay, from lively to severe," as it
begins with an andante agitato, changing to an an-
dante religiose, and ending with a waltz tempo,
and repeating with the same abrupt changes ; a
charming duo Berceuse, "Slumber, O Sentinel";
and the bell chorus, " There the Bells go," pre-
ceding a short finale.
DEKOVEN, REGINALD.
Robin Doott.
[Comic opera, in three acts ; text by Harry B. Smith. First
produced in Chicago, June 9, 1890.]
PERSONAGES.
ROBERT of Huntington, afterward ROBIN HOOD.
SHERIFF of Nottingham.
SIR GUY of Gisborne, his ward.
LITTLE JOHN, \
WILL SCARLET, /
FRIAR TUCK, \ outlaws '
ALLAN A DALE, )
LADY MARIAN FITZWALKER, afterwards MAID MARIAN.
DAME DURDEN, a widow.
ANNABEL, her daughter.
[Villagers, milkmaids, outlaws, King's foresters, archers,
pedlers, etc.]
The scene is laid in England ; time of Richard the First.
THE first act of "Robin Hood" opens in
the market-place of Nottingham, where
the villagers are holding a fair and at the same
time celebrating May Day with a blithe chorus,
for Robin Hood's name is often associated with
that day. The three outlaws Allan a Dale, Little
John, and Will Scarlet, enter, and sing most lustily
the praises of their free life in Sherwood Forest,
the villagers joining in chorus. The tantara changes
to a graceful and yet hilarious dance chorus, "A
58 THE STANDARD LIGHT OPERAS.
Morris Dance must you entrance," sung fortissimo.
The second number is a characteristic and lively
song by Friar Tuck, in which he offers at auction
venison, ale, and homespun, followed by No. 3, a
humorous pastoral, the milkmaid's song with
chorus, " When Chanticleer crowing." This leads
up to the entrance of Robin Hood in a spirited
chorus, "Come the Bowmen in Lincoln Green,"
in which the free life of the forest is still further
extolled. Another and still more spirited scene
introduces Maid Marian, which is followed by an
expressive and graceful duet for Maid Marian and
Robin Hood, " Though it was within this Hour we
met," closing in waltz time. This is followed by
the Sheriffs buffo song with chorus, " I am the
Merry Sheriff of Nottingham," and this in turn
by a trio introduced by the Sheriff, " When a Peer
makes Love to a Damsel Fair," which, after the
entrance of Sir Guy and his luckless wooing, closes
in a gay waltz movement, " Sweetheart, my own
Sweetheart." In the finale Robin Hood demands
that the Sheriff shall proclaim him Earl. The
Sheriff declares that by his father's will he has been
disinherited, and that he has the documents to show
that before Robin Hood's birth his father was
secretly married to a young peasant girl, who died
when the Earl's first child was born. He further
declares that he reared the child, and that he is
Sir Guy, the rightful heir of Huntington. Maid
Marian declares she will suppress the King's com-
mand ancj. not accept Sir Guy's hand, and Robin
ROBIN HOOD. 59
Hood vows justice shall be done when the King
returns from the Crusades.
The second act opens with a brisk hunting-
chorus, " Oh ! cheerily soundeth the Hunter's
Horn," sung by Allan a Dale, Little John, Scarlet,
and the male chorus, in the course of which Scarlet
tells the story of the tailor and the crow, set to
a humming accompaniment. This is followed by
Little John's unctuous apostrophe to the nut-brown
ale, " And it 's will ye quaff with me, my Lads."
The next number is a tinkers' song, " 'T is Merry
Journeymen we are," with characteristic accom-
paniment, followed by an elaborate sextette, " Oh,
see the Lambkins play." Maid Marian sings a
joyous forest song, " In Greenwood Fair," followed
by Robin Hood's serenade, " A Troubadour sang
to his Love," and a quartette in which Maid Marian
declares her love for Robin Hood and Allan a
Dale vows revenge. In the finale, opening in
waltz time, the Sheriff is placed in the stocks by
the outlaws, who jeer at him while Dame Durden
flouts him, but he is finally rescued by Sir Guy and
his archers. The outlaws in turn find themselves
in trouble, and Maid Marian and Robin Hood are
in despair.
The last act opens with a vigorous armorers'
song, " Let Hammer on Anvil ring," followed by a
pretty romance, "The Legend of the Chimes,"
with a ding-dong accompaniment. A graceful
duet follows, " There will come a Time," in which
Robin Hood and Maid Marian plight their troth.
60 THE STANDARD LIGHT OPERAS.
In strong contrast with this, Annabel, Dame Dur-
den, Sir Guy, the Sheriff, and Friar Tuck indulge
in a vivacious quintette, " When Life seems made
of Pains and Pangs, I sing my Too-ral-loo-ral-loo."
A jolly country dance and chorus, " Happy Day,
Happy Day," introduce the finale, in which Maid
Marian is saved by the timely arrival of Robin
Hood at the church door with the King's pardon,
leaving him free to marry.
JHaitr JHarian.
[Comic opera, in three acts ; text by Harry B. Smith. First
produced at Chestnut Street Opera House, Philadelphia, Pa.,
November 4, 1901.]
PERSONAGES.
SHERIFF of Nottingham.
LITTLE JOHN.
ROBIN HOOD.
WILL SCARLET.
FRIAR TUCK.
ALLAN A DALE.
GUY of Gisborne.
DAME DURDEN.
GILES, )
GEOFFREY, [ Sleeper..
YUSSUF, a slave merchant.
SIR H. VERE DE VERE, I Knights of St George>
SIR HUGH MONTFORD, )
AMINA, a snake-charmer.
LADY VIVIAN.
MAID MARIAN.
[Huntsmen, men at arms, Saracen warriors, mummers,
Crusaders, etc.]
The scene is laid in England and Palestine; time of Richard
the First.
MAID MARIAN. 6 1
THE story of " Maid Marian " introduces most
of the familiar characters in " Robin Hood " and
some new ones, and the scene alternates between
Sherwood Forest and Palestine. It is intended as
a sequel to the latter opera. The plot begins at
the point where Maid Marian and Robin Hood
were betrothed. Robin has joined the Crusaders
and left Marian on the eve of the wedding. He
also leaves a letter for Marian in Little John's
charge, directing her in case of trouble to apply
to him for help. This letter is stolen by the
Sheriff of Nottingham, who substitutes for it a forged
missive calculated to make her believe that Robin
is false. The first act closes with the arrival of
Little John and the forest outlaws, who leave for
the holy war. Marian joins them to seek for Robin.
The second act opens in the camp of the Cru-
saders, near the city of Acre. Maid Marian has
been captured by the Saracens and sold into slavery,
but is rescued by Robin Hood. Then the Sheriff
of Nottingham and Guy of Gisborne, the latter still
intent upon marrying Marian, appear in the dis-
guise of merchants and betray the camp into the
hands of the Saracens. Dame Burden's encounter
with the Sheriff and Friar Tuck's antics as an
odalisque add merriment to the story.
In the last act all the principals are back in
England and the scene opens with a Christmas
revel in Huntington Castle. Robin thwarts all the
schemes of the Sheriff, comes into his rights, and is
reunited to Maid Marian.
62 THE STANDARD LIGHT OPERAS.
While the story lacks in interest as compared
with that of " Robin Hood," the music gains in
dramatic power and seriousness of purpose, and
at the same time is full of life and vivacity. The
overture is notable for being in genuine concert
form, the first instance of the kind in comic
opera for many years past, and thus naturally
sets the pace, as it were, for the opera, and gives
the clew to its musical contents. The most
noticeable numbers in the first act are the Cel-
larer's Toast, " The Cellar is dark and the Cellar is
deep," a rollicking song for Scarlet, Friar Tuck,
and chorus ; the charmingly melodious " Song of
the Falcon," " Let one who will go hunt the
Deer," for Maid Marian ; the Sheriffs song, " I
am the Sheriff Mild and Good," which is always
popular; and a delightful madrigal, the quintette
"Love may come and Love may go." The
second act contains many pleasing and character-
istic songs, among them " The Monk and the
Magpie," sung by Scarlet and chorus ; the " Song
of the Outlaw," a spirited ballad by Robin Hood ;
the Sheriff's serenade, a popular tune, " When a
Man is in Love"; "The Snake Charmer's Song,"
by Maid Marian ; and the vigorous " Song of the
Crusader " by Robin ; but the two most effective
numbers are a graceful song, " Tell me again,
Sweetheart," sung by Allan a Dale, and the duet
in waltz manner, " True Love is not for a Day," by
Robin and Marian. The third act is largely
choral, the introductory Christmas carolling and
MAID MARIAN. 63
dance rhythms being especially effective, but it
contains one of the best solo numbers in the
work, the dainty song with chorus, " Under the
Mistletoe Bough." The music throughout is dra-
matic, strong, and well written. While the opera
has not been as popular as its predecessor, yet the
music is of a higher order, and occasionally
approaches grand opera in its breadth and
earnestness.
Uob HOP.
[Romantic comic opera, in three acts ; text by Harry B. Smith.
First produced at the Herald Square Theatre, New York, October
29, 1894.]
PERSONAGES.
ROB ROY MACGREGOR, Highland chief.
JANET, daughter of the Mayor.
PRINCE CHARLES EDWARD STUART, the young Pre-
tender.
FLORA MACDONALD, partisan of the Pretender.
DUGALD MACWHEEBLE, Mayor of Perth.
LOCHIEL, otherwise DONALD CAMERON.
CAPT. RALPH SHERIDAN, of the Grenadiers.
SANDY MACSHERRY, town-crier.
TAMMAS MACSORLIE, the Mayor's henchman.
LIEUT. CORNWALLIS, of the Grenadiers.
LIEUT. CLINTON.
ANGUS MACALLISTER.
DUNCAN CAMPBELL.
STUART MACPHERSON.
DONALD MACALPINE.
NELLIE, barmaid of " The Crown and Thistle."
[[Highlanders, Lowlanders, townsmen, watchmen,
drummer-boys, English Grenadiers, etc.]
The scene is laid in Scotland ; time of George the Second.
64 THE STANDARD LIGHT OPERAS.
THE first act of " Rob Roy " opens in Perth,
where Lochiel and his Highlanders have stolen a
considerable sum of money in the keeping of the
Provost, with which they propose to aid Prince
Charles Stuart in his designs upon the English
throne. Flora Mac Donald, a zealous partisan of
the young Pretender, appears upon the scene, and
induces the Provost to consent to a gathering of
the clans in Perth. Hearing of a Scotch victory,
he compels his daughter Janet to marry Sandy
MacSherry, the town-crier, who claims relation-
ship with the Stuarts. In the mean time English
grenadiers enter Perth, and their captain, Ralph
Sheridan, falls in love with Janet. The Provost, who
is always on the side that is uppermost, forces his
daughter to declare herself the Captain's wife and
then accuses Sandy of stealing the missing money.
Janet obeys him, but immediately afterwards Rob
Roy captures the town, and the Provost, to get rid
of his new English son-in-law, causes his arrest. It
now appears that the crafty Janet when she went
through the Scotch form of marriage with Sandy
and the Captain was already secretly married to
Rob Roy. To escape her two nominal husbands
she proposes to go with Rob Roy's Highlanders
as his orderly. The act closes with the gathering
of the clans and the elevation of the standard.
The second act opens with the defeat of the
Scotch at Culloden. A reward is offered for the
Prince, who is in hiding among the MacGregors in
their mountain stronghold. The Provost and his
ROB ROY. 65
henchmen appear as strolling ballad mongers,
still in Highland dress, and not having heard of
the Scotch defeat. When Sandy MacSherry
arrives with the news of the English victory, the
Provost gets into English uniform at once, and
determines to secure the reward offered for the
Prince. At last the Prince is found by the English,
but when they are about to take him away, Flora
MacDonald appears in the Prince's costume,
declares him her servant, and is led away by the
soldiers in spite of the efforts of Rob Roy and the
Prince to rescue her.
The third act opens near Stirling Castle, where
Flora is confined under sentence of death on the
morrow. Lochiel aids her to escape, and she goes
to the MacGregors' cave, where the Prince is to
join her. Meanwhile, her cell being empty,
Lochiel, who has taken the turnkey's place, puts
Sandy in it. The Provost, who is now an English
corporal, supposing that Flora is still in the castle,
brings her a disguise costume in which Sandy
manages to effect his escape. Flora is found in
the cave and brought back to the camp, but is
saved from being shot by the timely arrival of the
Prince, who gives himself up. As he is about to be
executed, the Lowlanders around him throw off
their coats and stand revealed as armed High-
landers. They keep the English soldiers at bay
while the Prince and Flora are seen sailing away
for France.
In the first act, after a long choral scene and
5
66 THE STANDARD LIGHT OPERAS.
ensemble, Flora makes her entrance with the
spirited song, " Away in the Morning Early,"
which is followed by a sentimental duet with the
Prince, "Thou, Dear Heart." The town-crier
next has a characteristic song with a ding-dong
accompaniment. After a grenadier song and
chorus by Captain Sheridan and his soldiers, there
is a vigorous Highland chorus and song by Rob
Roy, "The White and the Red, huzzah." The
remaining prominent numbers in this act are a
pretty duet for Rob Roy and Janet, " There he is
and nae one wi' him " ; a charming Scotch ballad,
" My Hame is where the Heather blooms," and a
humorous song by the Provost, " My Hairt is in
the Highlands."
The principal numbers in the second act are
Janet's joyous song, " Thare was a Merry Miller of
the Lowland " ; the spirited martial lay of the
Cavalier, " With their trappings all a-jingle " ; the
jolly song of the balladmongers, " From Place to
Place I fare, Lads " ; Rob Roy's song, " Come,
Lairds of the Highlands " ; and the effective ro-
manza, " Dearest Heart of my Heart," sung by
Flora.
The third act opens with a vigorous rataplan
chorus followed by a charming chansonette and
duet, " Who can tell me where she dwells," sung
by the Prince and Flora. The remaining numbers
are a short but exceedingly effective bass song,
" In the Donjon Deep " ; the Provost's serenade,
"The Land of Romances," followed by a dance,
THE FENCING-MASTER. 67
and a pretty little rustic song, " There 's a Lass,
some think her Bonny," for Rob Roy, Janet, and
chorus, leading up to a vigorous choral finale.
fencing;-
[Comic opera, in three acts ; text by Harry B. Smith. First
produced at the New York Casino, November 14, 1892.]
PERSONAGES.
FRANCESCA, TORQUATO'S daughter, brought up as a boy.
TORQUATO, fencing-master of the Milanese court.
PASQUINO, private astrologer to the Duke.
GALEAZZO VISCONTI, Duke of Milan.
COUNT GUIDO MALESPINE.
FILIPPA, the Duke's ward.
MARCHESA DI GOLDONI.
THERESA, daughter of a Milanese money-lender.
PIETRO, an innkeeper.
MICHAELE STENO, Doge of Venice.
RINALDO, Captain of the Doge's Guards.
FORTUNIO, rightful heir to the ducal throne.
[Students in Torquato's Academy.]
The scene is laid in Milan and Venice ; time, the first quarter
of the fifteenth century.
THE heroine of this opera is Francesca, daughter
of a fencing- master, who has brought her up as a
boy and taught her fencing among other accom-
plishments. She is in love with Fortunio, rightful
heir to the throne of Milan, who believes her to
be a boy. Fortunio in turn is in love with the
Countess Filippa, and the Marchesa di Goldoni, a
young widow, is in love with Francesca. The
bankrupt and usurping Duke of Milan and his
68 THE STANDARD LIGHT OPERAS.
private astrologer, of whom he has purchased so
many horoscopes as to deplete his exchequer,
furnish the comedy element of the opera. The
Duke has mortgaged one room after another in
his palace to money-lenders, and has also employed
a regularly organized stock company of Venetian
bravos to remove Fortunio. The first act closes
with the departure of Fortunio and Francesca to
Venice on political business.
The second act opens in Venice. Filippa has
been sent there to be married, but Fortunio plans
an elopement with her and entrusts the secret to
Francesca. The jealous Francesca betrays the
plan to Guido, his rival, who abducts Filippa.
When Fortunio discovers what Francesca has
done, he challenges the supposed young man,
whose identity is revealed after he has wounded
her. Fortunio is arrested by the Duke and is
about to be taken to prison, when Francesca de-
clares herself as the real traitor and is imprisoned
in his stead.
In the last act Francesca escapes through the
connivance of the Marchesa, who still believes her
to be a man. At a fete Filippa is expected to
name her future husband. Fortunio has made an
appointment with her, but meets Francesca dis-
guised as the Countess, in a mask and domino
litfe hers. She learns from Fortunio that he really
loves her and not Filippa. The opera closes with
the downfall of the usurping Duke and his astrolo-
ger and the restoration of Fortunio to his rights.
THE FENCING-MASTER. 69
The music has the Italian color, the first act
containing a graceful tarantella and chorus, "Under
thy Window I wait " ; a duet, gavotte, and chorus,
" Oh, listen, and in Verse I will relate," sung by
Theresa and Pasquino ; a lively song, " The Life
of a Rover," by Fortunio ; a charming habanera
and quintette, " True Love is a Gem so Fair and
Rare " ; and a waltz quintette, " Lady Fair, I must
decline." The second act opens with a barcarole,
" Over the Moonlit Waves we glide," and contains
also a graceful maranesca, " Oh, come, my Love,
the Stars are bright " ; a humorous serenade for
the Duke, " Singing a Serenade is no Light Task " ;
a sentimental romanza for Francesca, " The Night-
ingale and the Rose " ; and a brilliant finale in
which the music accompanies the historic cere-
mony of the marriage with the Adriatic. The
principal numbers of the third act are a graceful
carnival scene with chorus opening the act; the
serenade for the Marchesa and cavaliers, "Wild
Bird that singeth " ; a will-o'-the-wisp song by
Francesca, "Traveller wandering wearily" ; and a
melodious duet for Francesca and Fortunio, "Dwells
an Image in my Heart," leading up to a short
finale.
DELIBES, LEO.
tafcm*.
[Romantic opera, im three acts ; text by Goudinet ;.nd Gille. First
produced at the Ope"ra Comique, Paris, April 14, 1883; in New
York, March i, 1886.]
PERSONAGES.
LAKME, daughter of NILAKANTHA.
NILAKANTHA, a Brahmin priest.
GERALD, an English officer, lover of LAKME.
FREDERICK, an English officer.
MALLIKA, slave of LAKME.
HADJI, slave of Lakme.
ELLEN, > , , t
' > daughters of the Viceroy.
MRS. BENSON, their governess.
[Hindoos, Chinamen, fruit-venders, sailors, etc.]
The scene is laid in India; time, last century.
THE opera of " Lakme " opens in the sacred
grounds of Nilakantha, a Brahmin priest who
has an aversion to all foreigners, where Gerald and
Frederick, two young English officers, with ladies
are strolling about. They gradually retire with the
exception of Gerald, who is curious to see the
owner of some jewels left upon a shrine. Lakme",
the daughter of Nilakantha, returns for them, espies
Gerald, and there is a case of love at first sight.
The priest however interrupts their demonstra-
LAJfCM. 71
tions, and Gerald escapes his vengeance in a con-
venient thunder-storm. In the second act Lakme"
and Nilakantha appear in the market-place in the
guise of penitents. He forces his daughter to
sing, hoping that her voice will induce her lover
to disclose himself. The scheme succeeds, and
Nilakantha, stealing upon Gerald, stabs him in the
back and makes good his escape. The third act
opens in a jungle where Lakme" is nursing Gerald
with the hope of retaining his love. She eventually
saves his life, but while she is absent to obtain
some water which, according to the Indian legend,
will make love eternal, Frederick finds him and
urges him to return to his regiment. Duty is more
powerful than passion, and he consents. When
Lakme' finds that he is going, she takes poison
and dies in Gerald's arms.
The first act opens with a chorus of Hindoos,
oriental in its coloring, followed by a duet be-
tween Lakme and her father, the scene closing
with a sacred chant. A beautiful duet for Lakme"
and her slave follows, " Neath yon Dome where
Jasmines with the Roses are blooming." As
Lakme" appears at the shrine, she sings a restless
love song, "Why love I thus to stray?" followed
by Gerald's ardent response, " The God of Truth
so Glowing."
The first number of importance in the second
act is the pathetic aria of Nilakantha, addressed
to his daughter, " Lakme', thy Soft Looks are over-
clouded." Then follows Lakme"'s bell song,
72 THE STANDARD LIGHT OPERAS.
" Where strays the Hindoo Maiden," a brilliant
and gracefully embellished aria with tinkling ac-
companiment which will always be popular. The
remaining principal numbers are an impassioned
song by Gerald, " Ah ! then 'tis Slumbering Love,"
followed by the mysterious response from Lakme",
" In the Forest near at Hand."
The music of the third act is tinged with sadness
throughout, as the action hastens to the tragic d-
nouement. Its principal numbers are the low mur-
muring song by Lakme, " 'Neath the Dome of
Moon and Star," as she watches her sleeping
lover ; Gerald's song, " Tho' Speechless I, my
Heart remembers," followed by a pretty three-part
chorus in the distance ; and Lakme's last dying
songs, " To me the Fairest Dream thou 'st given,"
and " Farewell, the Dream is over."
DONIZETTI, GAETANO.
<Oe )attffl)ter of t&e Beffiment.
[Op6ra comique, in two acts ; text by Bayard and St. Georges.
First produced at the Ope"ra Comique, Paris, February u, 1840.]
PERSONAGES.
SULPICE, an old sergeant.
TONY, a Tyrolean peasant in love with MARIE.
HORTENSIUS, secretary of the Marchioness.
MARIE, the adopted Daughter of the Regiment.
MARCHIONESS DE BERKENFELD.
DUCHESSE DE CRACKENTHORPE.
[Villagers, soldiers, gentlemen, guests.]
The scene is laid in the Tyrol ; time, about twelve years after
the Battle of Marengo.
A^ the opening of the opera Marie, the heroine,
and vivandiere in Napoleon's Twenty-first
Regiment, has been saved from falling over a
precipice by Tony, a Tyrolean peasant, and is
ever after the object of his special admiration
and, shortly, of his love. She tells the story of
her life, from which it appears that she was adopted
as the Daughter of the Regiment because she was
picked up on the field of battle by Sergeant Sul-
pice, who found upon her person a letter written
by her father to the Marchioness de Berkenfeld.
Tony's reward for his rescue of Marie is his arrest
74 THE STANDARD LIGHT OPERAS.
as a spy, but not before he has declared his love
for her. He easily clears up his record, and the
soldiers decide he may have Marie's hand if he
will join them. He gives joyous assent to this
proposition, but his hopes are suddenly dashed to
the ground when the Marchioness de Berkenfeld
appears. Sergeant Sulpice delivers the letter to
her, after reading which she claims Marie as her
niece, and carries her off amidst smothered impre-
cations by the soldiers and especially by Tony upon
the Marchioness.
In the second act Marie is found in her new
home at the castle of Berkenfeld, and the old ser-
geant is with her, while she is rehearsing a ro-
mance which she is to sing to a grand company.
She and Sulpice suddenly break out into a rollick-
ing rataplan, and go through military evolutions to
the horror of the Marchioness. While the latter is
expostulating with them, martial music announces
the approach of the gallant Twenty-first, with Tony
at their head, for he is now a colonel. He makes
another appeal for Marie's hand, and the appeal is
seconded by the soldiers, but the Marchioness re-
fuses the favor. Tony then proposes an elopement,
to which Marie consents. To thwart this scheme,
the Marchioness announces that early in life she
had been secretly married to an army officer of
low rank and that he was Marie's father. Unable
to disobey her mother's wishes, Marie gives up
Tony and falls into a melancholy mood. Her sad
plight rouses old associations in the mind of the
THE DAUGHTER OF THE REGIMENT. 75
Marchioness, and she at last gives her consent to
the union.
The music of the first act is very brilliant, and
includes among its best numbers Marie's opening
song, " The Camp was my Birthplace " ; the duet
with Sulpice, known the world over as " The Rata-
plan," stirring and martial in its character and
accompanied by the rattling of drums and the
sonorous strains of the brasses ; the spirited " Salute
to France " ; Marie's song of the regiment, " All
Men confess it " ; her pretty duet with Tony,
" No longer can I doubt it " ; and her touching
adieu to the regiment, "Farewell, a Long Farewell."
In the second act the principal numbers are the
" Rataplan " (repeated) ; Mane's aria, " By the
Glitter of Greatness and Riches " ; the soldiers'
spirited choral appeal, " We have come our Child
to free " ; Tony's romance, " That I might live in
her Dear Sight " ; and the effective trio, " Once
again, what Delight," leading to the exultant finale.
The music of the opera is light, but exceedingly
brilliant, and the leading roles have always been
esteemed by great artists. That of Marie was a
favorite one with Jenny Lind, Patti, Sontag, and
Albani.
76 THE STANDARD LIGHT OPERAS.
Don
[Opera buffa, in three acts ; text and music by Donizetti. First
produced at the Theatre des Italiens, Paris, January 4, 1843.]
PERSONAGES.
DON PASQUALE, an obstinate but kind-hearted bachelor.
DR. MALATESTA, his friend and physician.
ERNESTO, DON PASQUALE'S nephew.
NORINA, a young widow.
NOTARY.
[Valets, chambermaids, majordomo, dressmaker, etc.]
The scene is laid in Rome ; time, last century.
THE opening of the first act of " Don Pasquale "
discloses the Don enraged with Ernesto, his
nephew, because he will not marry to suit him.
Dr. Malatesta, a mutual friend, comes to the
help of Ernesto, to whom he is greatly attached,
and contrives a scheme to further his interests.
He urges the Don to marry a lady, pretending she
is his (the doctor's) sister, in reality Norina, with
whom Ernesto is in love. Norina is let into the
secret, her part being to consent to the marriage
contract and then so torment Don Pasquale that
he will be glad to get rid of her and even consent
to her marriage with Ernesto.
In the second act Ernesto is found bewailing
his fate. The Don . .enters, showily arrayed for
his wedding. Norina appears with the doctor,
and shyly and reluctantly signs the wedding-con-
DON PASQUALE. ?/
tract. As soon as she has signed it, however, she
drops all modesty. The bewildered Ernesto is
kept quiet by signs from the doctor. Norina first
refuses all the Don's demonstrations, and then
declares Ernesto shall be her escort. She sum-
mons the servants, and lays out a scheme of house-
keeping upon such an extravagant scale that Don
Pasquale declares he will not pay the bills. She
says he shall, as she is now master of the house.
In the third act Norina continues her annoying
antics. She employs the most expensive milliners
and modistes. At length, when he finds that she is
going to the theatre, he forbids it. A quarrel
follows. She boxes his ears, and as she flounces
out of the room she purposely drops a letter, the
contents of which add jealousy to his other troubles.
At this juncture Dr. Malatesta comes in and
condoles with him. Nothing will satisfy Don Pas-
quale, however, except her leaving the house, and
finally he orders her to go, at the same time taxing
her with having a lover concealed on the premises.
The doctor pleads with him to let his nephew
marry Norina. When he finds she is really the
doctor's sister, he is only too glad to get out of his
troubles by consenting to the marriage of the
young couple and blessing them.
The principal numbers in the first act are the
duet for Ernesto and Don Pasquale ; the scena for
Norina, " And in that Look she gave " ; and the
charming duet for Norina and the doctor, " What
Sport we '11 have," closing the act. The second
7 8 THE STANDARD LIGHT OPERAS.
act opens with the lugubrious aria, " Oh ! how at
one Fell Blow," in which Ernesto bewails his sad
condition, and also contains a charming quartette.
The gem of the opera is the serenade in the last
act, "How Soft the Air in April Night so Fair,"
better known perhaps by its Italian title, " Com 'e
gentil," which was inserted by Donizetti after the
first performance to strengthen the work and make
it more popular. The serenade has been heard the
world over and is a favorite concert number still.
The charm of " Don Pasquale " lies in its humor-
ous situations and the bright, melodious music
which illustrates them. For brilliant gayety it
stands in the front rank of comic operas.
Lintta,
[Grand opera, in three acts ; text by Rossi. First produced at
the Karnthnerthor Theatre, Vienna, May 19, 1842.]
PERSONAGES.
LINDA, daughter of ANTONIO.
PIEROTTO, a villager.
ANTONIO, a farmer.
MADALINA, his wife.
MARQUIS OF BOISFLEURY.
CARLO, the Marquis' son.
PREFECT.
[Villagers, Savoyards, etc.]
The scene is laid in Switzerland ; time, last century.
THE first act of " Linda de Chamouni " opens in
the valley of that name, and discloses the home of
LINDA. 79
Antonio Lonstolat, a farmer, and his old wife,
Madalina, whose only daughter, Linda, is in love
with Carlo, a young painter who has recently come
into the valley. Misfortunes have overtaken the
old couple, and they are in danger of losing their
farm, which is owned by the Marchioness de
Sirval. Their anxiety is temporarily relieved when
the Marquis of Boisfleury visits them and assures
them he will save the farm, his real purpose being
to effect the ruin of Linda by ingratiating himself
with her parents. The Prefect of the village, how-
ever, is aware of his designs, and induces them to
let Linda accompany a party of villagers to Paris,
promising at- the same time to place her with his
brother, who is supposed to be living in that city.
She soon leaves under the protection of Pierotto,
the Savoyard.
The second act discloses them on the way to
Paris, but Linda unfortunately loses her companion.
Upon reaching Paris she finds that the Prefect's
brother is dead. Meanwhile Carlo, who has
followed her, arrives, and reveals to her that he is
the Viscount Sirval, son of the Marchioness, and
nephew of the Marquis. He renews his offer of
marriage, and places her in a handsome apartment.
In these questionable surroundings Pierotto dis-
covers her. Her father, who has had to give up
the farm, also finds her, and, distrusting her inno-
cence amid such luxury, curses her. The Mar-
chioness meanwhile, who has learned of her son's
attachment, threatens to imprison Linda if he does
8o THE STANDARD LIGHT OPERAS.
not marry the lady she has selected for him. He
gives his feigned consent, and Linda, thinking he
has deserted her, goes insane.
In the last act Pierotto takes her back to her
native village. Carlo arrives there in search of
her, and finding her with Pierotto sings to her,
hoping she will recognize his voice and that her
reason may return. The song has the desired
effect. Subsequently the Marchioness relents, gives
her consent to their union, and all ends happily.
The music of " Linda " is of that serious and
dignified kind which justifies its inclusion in the
list of grand operas. In the first act the opening
aria of Antonio, "We were both in this Valley
nurtured," is a touching expression of the sorrow
of the aged couple. Linda's farewell, " Oh, Stars
that guide my Fervent Love," familiar on the con-
cert stage by its Italian title, " O, luce di quest'
anima," is an aria of strong dramatic power, and
has always been a popular favorite. In this act
also are Pierotto's pathetic ballad, " Once a Better
Fortune seeking," and the passionate duet for
Linda and Carlo, " Oh that the Blessed Day
were come." The principal numbers in the second
act are the brilliant duet for Linda and Pierotto,
" Oh, Linda, at thy Happy Fate," which is highly
embellished, and the aria for Linda, " Ah ! go, my
Love." The last act contains a mournful aria by
Carlo, "If from Heaven the Bolts should reach
me " ; his charming song in which he appeals to
Linda, " Hear the voice that, softly singing " ; and
THE ELIXIR OF LOVE, 81
the rapturous duet for Linda and Carlo, " Ah !
the Vision of thy Sorrow fades," which closes the
opera.
CI;e (Elip'tr of lobe.
[Opera buffa, in two acts; text by Romani. First produced in
Milan in 1832; in English at Drury Lane Theatre, London, in
18390
PERSONAGES.
NEMORINO, a young husbandman.
SERGEANT BELCORE.
DR. DULCAMARA, a travelling quack.
LANDLORD.
NOTARY.
PIETRO, peasant.
ADINA, a country girl.
Gi AN ETTA,
[Farmers, peasants, soldiers, villagers, etc.]
The scene is laid in an Italian village ; time, last century.
FEW more graceful little operas have been
written than " The Elixir of Love." Its heroine,
Adina, a capricious country girl, is loved by Nemo-
rino, a farmer, whose uncle lies at the point of
death, also by Belcore, a sergeant, whose troops
are billeted upon the neighboring village. Adina
has both her lovers in suspense when Dr. Dul-
camara, a quack, arrives in the village to sell his
nostrums. Nemorino applies to him for a bottle
of the Elixir of Love, and receives from him a
bottle of ordinary wine with the assurance that if
he drinks of it he can command the love of any
6
82 THE STANDARD LIGHT OPERAS.
one on the morrow. To make sure of its agree-
able properties, he drinks the whole of it with the
result that he accosts Adina in a half-tipsy con-
dition, and so disgusts her that she promises to
marry the sergeant in a week. In the mean time
an order comes for the departure of the troops, and
the sergeant presses her to marry him that day.
Adina gives her consent, and the second act
opens with the assembling of the villagers to wit-
ness the signing of the marriage contract. While
the principals and notary retire for the signing,
Nemorino enters, and finding Dr. Dulcamara begs
of him some charm that will make Adina love
him ; but as he has no money the quack refuses to
assist him. Nemorino is in despair, but at this
juncture the sergeant enters out of humor, as the
capricious Adina has refused to sign until evening.
Finding that Nemorino needs money, he urges him
to enlist, and for the sake of the bonus of twenty
crowns he consents. Nemorino hastens with the
money to the quack, and obtains a second bottle
of elixir which is much more powerful than the
first. The girls of the village somehow have dis-
covered that Nemorino's uncle has died and left
him a handsome property, of which good fortune,
however, Nemorino is ignorant. They use all
their charms to attract his favor. Nemorino at-
tributes his sudden popularity to the elixir, and
even the quack himself is surprised at the remark-
able change in his customer. Nemorino now pays
Adina off in kind by making her jealous. Dr.
THE ELIXIR OF LOVE. 83
Dulcamara comes to her assistance, seeing an
opportunity for the sale of more elixir. He ex-
plains its properties to her, tells her of Nemorino's
attachment, and advises her to try some of it.
Struck with his devotion, she announces another
change of mind to the sergeant, and bestows her
hand upon the faithful Nemorino.
The opera abounds with bright and gay musical
numbers, the most attractive of which are the long
and characteristic buffo song, " Give Ear now, ye
Rustic Ones," in which Dr. Dulcamara describes
his various nostrums to the villagers ; the charm-
ingly humorous duet, " Much obliged," for Nemo-
rino and Dr. Dulcamara; and the ensemble,
" The Wine-cup full teeming," in which the half-
tipsy Nemorino appears in the finale of the first
act. The prominent numbers of the second act
are the beautiful duet, " What Affection and oh,
how cruel," for Adina and Dr. Dulcamara; the
beautiful romanza for Nemorino, " In her Dark Eye
embathed there stood" ("Una furtiva lacrima"),
which is of 'world-wide popularity; and Adina's
gracefully melodious aria, " So much Joy is more
than my Heart can contain."
EICHBERG, JULIUS.
SDoctor of Alcantara.
[Comic operetta, in two acts ; text by Wolfe. First produced at
the Museum, Boston, Mass., April 7, 1862.]
PERSONAGES.
DR. PARACELSUS.
SENOR BALTHAZAR.
CARLOS, his son.
? EREZ ' I porters.
SANCHO, )
DON POMPOSO, alguazil.
DONNA LUCREZIA, wife of DR. PARACELSUS.
ISABELLA, her daughter.
INEZ, her maid.
[Serenaders, citizens, etc.]
The scene is laid in Alcantara, Spain ; time, last century.
THE first act of this operetta opens with a
dainty serenade by Carlos, son of Senor
Balthazar, to Senorita Isabella, daughter of Dr.
Paracelsus, with whom he is in love. Isabella,
who is intended for another by her mother,
Donna Lucrezia, prefers this unknown serenader.
As the song closes, Isabella, Lucrezia, and even the
maid Inez claim it as a compliment, and quarrel
over it in an effective buffo trio, " You Saucy Jade."
Three songs follow this number, " Beneath the
THE DOCTOR OF ALCANTARA. 85
Gloomy Convent Wall," " When a Lover is Poor,"
and " There was a Knight, as I 've been told," in
which the three women recite their unfortunate love
affairs. As their songs close, the doctor enters
with the announcement that a basket has arrived,
ostensibly for Inez. The curious Lucrezia looks
into it, and finds Carlos, who immediately jumps
out and sings a passionate love- song, " I love, I
love," which the infatuated Lucrezia takes to her-
self. The love scene is interrupted by a sudden
noise, and in alarm she hurries Carlos, back into
the basket and flies. Carlos in the mean time gets
out again and fills it with books. The doctor and
Inez enter, and to conceal the receipt of the basket
from Lucrezia, as she might be angry with the
maid, they remove it to a balcony, whence by
accident it tumbles into the river. Their terror
when they learn that a man was concealed in it
makes an amusing scene, and this is heightened by
the entrance of the Alguazil, who announces him-
self in a pompous bass song, " I 'm Don Hypolito
Lopez Pomposo," and inquires into the supposed
murder.
In the second act the situation becomes still
further complicated when the doctor and Inez
find Carlos in the house. Convinced that he is a
detective, they seek to conciliate him by offering
him wine, but by mistake give him a narcotic
draught which the doctor had mixed for one of
his patients. Carlos falls insensible, and thinking
him dead, they hide him under a sofa. Mean-
86 THE STANDARD LIGHT OPERAS.
while Senor Balthazar, the father of the youth
whom Isabella supposes she is to be forced to
marry, and who turns out to be Carlos, arrives to
pass the night. As they have no bed for him, he
sleeps upon the sofa over the supposed corpse of
his own son. A quartette, " Good-night, Senor
Balthazar," follows, which is full of humor, mingled
with ghostly terror, and grotesque in its effect,
especially in the accompaniment. Daylight, how-
ever, dispels the illusion, and a happy denouement
is reached^ in the finale, "Hope, ever Smiling,"
which is quite brilliant in character. The operetta
is very amusing in its situations, the songs are
pretty and tuneful, and the concerted music is
particularly effective.
FLOTOW, FRIEDRICH VON.
[Opera comique, in three acts ; text by St. Georges. First
produced in Vienna, November 25, 1847.]
PERSONAGES.
PLUNKETT, a wealthy young farmer.
LIONEL, his adopted brother, afterwards Earl of Derby.
LORD TRISTAN MICKLEFORD, LADY HENRIETTA'S cousin.
SHERIFF of Richmond, footman to LADY HENRIETTA.
LADY HENRIETTA, Maid of Honor to the Queen.
NANCY, her waiting-maid.
MOLLY PITT, ^
POLLY SMITH } ( servants.
BETSY WITT, ' )
[Farmers, farmers' wives, servants, ladies, hunters, hun-
tresses, and footmen.]
The scene is laid in Richmond, England ; time of Queen
Anne.
THE first act of "Martha," unquestionably
the most popular of all light operas, opens
during the progress of the servants' fair at Rich-
mond, whither Lady Henrietta, maid of honor to
the Queen, accompanied by Nancy, her maid, and
Sir Tristan, her aged cousin and admirer, tired of
court life, have resorted in the disguise of servants.
In the first three scenes they arrange their mas-
88 THE STANDARD LIGHT OPERAS.
querade. Sir Tristan, much to his disgust, is to be
known as John, and Lady Henrietta as Martha.
The first number is a duet for the two ladies, " Of
the Knights so Brave and Charming," followed by
an animated trio with Sir Tristan, in dance time.
The fourth scene is laid in the market-place, in
which appear Plunkett, a wealthy farmer, and
Lionel, his adopted brother. The parentage of
the latter is unknown, but he has a souvenir
from his father in the form of a ring which he
is to present to the Queen whenever he shall
find himself in trouble. Lionel tells his story in
a tenor aria, " Lost, proscribed, a Humble Stran-
ger," which has been a favorite song the world
over for years. The two have come to the fair
to engage servants for the year, who are bound
over by the sheriff. Plunkett and Lionel meet
Martha and Nancy, and are so delighted with
their looks that they tender the customary bonus
which secures them. They accept it as a joke, but
find that it is a serious matter when the young
farmers drive off with them, leaving Sir Tristan in
despair.
The second act opens in Plunkett's farmhouse.
After having learned their names, Plunkett at-
tempts to find out what they can do, and tests
them first at the spinning-wheel, which leads up to
the delightful spinning quartette, " When the Foot
the Wheel turns lightly." It does not take the
brothers long to find out that they have engaged
servants who are more ornamental than useful,
MARTHA. 89
but they decide to keep them. Nancy in a pet
kicks her wheel over and runs off, followed by
Plunkett, leaving Lionel alone with Martha. He at
once falls in love with her, snatches a rose from her
bosom, and refuses to return it unless she will sing.
She replies with the familiar song, " The Last Rose
of Summer," interpolated by Flotow, and made
still more effective by introducing the tenor in the
refrain. He asks for her hand, but she makes sport
of him. In the mean time Plunkett and Nancy re-
turn, and a beautiful Good-night quartette follows,
" Midnight Sounds." The brothers then retire, and
Martha and Nancy, aided by Sir Tristan, make
their escape. The next scene opens in the woods
where farmers are carousing ; among them Plunkett,
who sings a rollicking drinking-song, " I want to
ask you." The revel is interrupted by a hunting-
party of court ladies, headed by the Queen.
Martha and Nancy are among them, and are rec-
ognized by Plunkett and Lionel, but they are not
recognized in turn. Plunkett attempts to seize
Nancy, but the huntresses drive him off, leaving
Lionel and Lady Henrietta alone. The scene is
one of the most effective in the opera, and contains
a beautiful tenor solo, " Like a Dream Bright and
Fair" better known perhaps by its Italian
title, " M' appari," and a romance for soprano,
"Here in Deepest Forest Shadows," the act closing
with a finely concerted quintette and chorus. The
despairing Lionel bethinks him of his ring, gives it
to Plunkett, and asks him to show it to the Queen.
90 THE STANDARD LIGHT OPERAS.
It proves that he is the only son of the late Earl
of Derby, and his estate, of which he has been un-
justly deprived, is restored to him.
The opera reaches its musical climax in the
second act. The third is mainly devoted to the
denouement. The Lady Henrietta, who has really
been seriously in love with Lionel, is united to
him, and it hardly needs to be added that Nancy
and Plunkett go and do likewise.
[Romantic opera, in three acts; text by Deschampsand Pacini.
First produced as a lyric drama at the Palais Royal Theatre,
Paris, in 1837 ; rewritten and produced in its present form, at
Hamburg, December 30, 1844.]
PERSONAGES.
ALESSANDRO STRADELLA, a famous singer.
BASSI, a rich Venetian.
LEONORA, his ward.
BARBARINO, 1 band . ts
MALVOLIO, )
[Pupils of Stradella, masqueraders, guards, and people
of the Romagna.]
The scene is laid in Venice and Rome; time, the year 1769.
THE story of the opera follows in the main the
familiar historical, and probably apochryphal, nar-
rative of the experiences of the Italian musician,
Alessandro Stradella, varying from it only in the de"-
nouement. Stradella wins the hand of Leonora, the
fair ward of the wealthy Venetian merchant, Bassi,
who is also in love with her. They fly to Rome
STRADELLA. 91
and are married, but in the mean time are pursued
by two bravos, Barbarino and Malvolio, who have
been employed by Bassi to make way with Stra-
della. They track him to his house, and while the
bridal party are absent, they enter in company
with Bassi and conceal themselves. Not being
able to accomplish their purpose on this occasion,
they secure admission a second time, disguised as
pilgrims, and are kindly received by Stradella. In
the next scene, while Stradella, Leonora, and the two
bravos are singing the praises of their native Italy,
pilgrims on their way to the shrine of the Virgin
are heard singing outside, and Leonora and Stra-
della go out to greet them. The bravos are so
touched by Stradella's singing that they hesitate in
their purpose. Bassi upbraids them, and finally,
upon receiving an additional sum of money, they
agree to execute his designs, and conceal them-
selves. When Stradella returns and rehearses a
hymn to the Virgin which he is to sing on the
morrow, they are so affected that they emerge from
their hiding-place, confess the object of their visit,
and implore his forgiveness. Explanations follow,
a reconciliation is effected, and the lovers are made
happy. This denouement differs from that of the
historical version, in which both lovers are killed.
The principal numbers are Stradella's serenade,
" Hark ! Dearest, hark " ; the following nocturne,
"Through the Valleys"; the brilliant carnival
chorus, " Joyous ringing, Pleasure singing," in the
first act : the aria of Leonora in her chamber, " Be
92 THE STANDARD LIGHT OPERAS.
Witness to my Fond Heart's Dreaming," the rol-
licking drinking-song of the two bravos, " Quick, let
us drink," and the bandit ballad, " Within Lofty
Mountains," sung by Stradella, in the second act ;
and an exquisite terzetto, " Tell me, then, Friend
Barbarino," sung by Bassi and the two bravos
when they hesitate to perform their work ; and
Stradella's lovely hymn to the Virgin, " Virgin
Maria, humbly adoring," in the third act.
GENEE, RICHARD.
Jftanon*
[Op6ra comique, in three acts; text by Zell. First produced in
Vienna in 1877.]
PERSONAGES.
MARQUIS DE MARSILLAC.
HECTOR, his nephew.
MARQUIS D' AUBIGNE, King's chamberlain.
BOMBARDINE, his henchman.
Louis XIV.
MONS. L' ABBE.
NANON, mistress of the Golden Lamb.
NINON DE L'ENCLOS, a famous beauty.
MME. DE FRONTENAC, ) _.
COUNTESS HOULIERS. f NlNON s frlends '
G ASTON.
MME. DE MAINTENON, King's mistress.
[Country relatives, peasants, soldiers, courtiers, ladies,
etc.]
The scene is laid in Paris ; time of Louis the Fourteenth.
r I ^HE first act opens at the inn of the Golden
1. Lamb, near the gates of Paris, kept by
Nanon, who has become so famous for her wit
and beauty that the Marquis de Marsillac, direc-
tor of the Royal Theatre, takes his nephew Hec-
tor there to see her. Thither also goes Ninon
94 THE STANDARD LIGHT OPERAS.
de 1'Enclos, the famous beauty, to get a sight
of Nanon, who, she suspects, has attracted
the attentions of her own lover, the Marquis
d'Aubigne". She is told that Nanon is to be
married to Grignan, the drummer, and returns to
the city with her suspicions allayed. Grignan,
however, is in reality the Marquis, who, in the dis-
guise of a drummer, intends to abduct Nanon.
After a serenade to her she surprises him with a
proposal of marriage ; but when everything is
ready for the ceremony, the Marquis secures his
own arrest by his Colonel on account of a duel.
While grieving over the arrest, Nanon receives a
ring and some friendly assurances from Gaston,
the page of Ninon de PEnclos, and thereupon
turns to her for help in rescuing the supposed
Grignan from death, which is the penalty for
duelling.
The second act opens in Ninon's salon. Mar-
sillac, his nephew, and an Abbe, who is one of
Ninon's lovers and confessor of Mme. de Main-
tenon, are present at a ball, likewise D'Aubigne,
who is reproached by Ninon for having remained
away so long and forgotten her birthday. To
escape embarrassment he sings to her the same
serenade he had sung to Nanon. Shortly after-
wards Nanon arrives to seek Ninon's aid in saving
Grignan. In the mean time D'Aubigne, jealous
of Hector, because he pays court both to Nanon
and Ninon, challenges him, and they hiiFry into
the latter's garden and settle their quarrel with the
NANON. 95
sword. During their absence Marsillac, who has
noted Grignan's serenade, also sings it, accompanied
by the musicians of the court chapel, but is only
laughed at for his trouble. When D'Aubigne"
returns from the duel, he is asked to clear up the
mystery of this song ; but before he can do so the
guard, who has seen the duel, enters and arrests
Hector, who has been wounded and refuses to give
the name of his opponent.
The third act opens in the private chapel of
Mme. de Maintenon, where the Abbe" sings to her
the same serenade in the form of a hymn. Mar-
sillac appears to ask for Hector's pardon, and
receives it when it appears that D'Aubigne" was
the challenging party. D'Aubigne thereupon con-
gratulates her upon her birthday with the serenade,
and Marsillac repeats it. Ninon and Nanon next
appear to intercede for their lovers, D'Aubigne*
and Grignan. The King presents Nanon with the
life of Grignan, and she in turn, recognizing Gri-
gnan, presents the pardon to Ninon. Touched by
her generosity, Grignan offers Nanon his hand, and
Mme. de Maintenon, who is somewhat uneasy at
the King's evident admiration for Nanon, gives
her consent and she is made Marquise d'Aubigne".
The music of " Nanon " is gay and brilliant
throughout. The principal numbers are the sere-
nade, a minstrel's song, as it is usually designated,
" Ah ! what a Joyful Day is this ; I am so Full of
Glee," which is heard in various forms in all three
acts; the opening drinking-choruses j Nanon's
g6 THE STANDARD LIGHT OPERAS.
ballad, " Once before this Tavern straying " ; the
jolly chorus of the country relatives, " Here we
come in Troops of Dozens, Uncles, Nephews, Aunts,
and Cousins " j Gaston's ballad, " All that French-
men now will heed " ; Hector's song, " Young
appearing," in the second act ; and the lively
concerted finale of the last act.
GOUNOD, CHARLES.
[Pastoral opera, in three acts ; text by Carre". First produced
at the Theatre Lyrique, Paris, March 19, 1864.]
PERSONAGES.
MIRELLA, daughter of Raimondo.
TAVENA, a fortune-teller.
ANDRELUNO, a shepherd boy.
VINCENZINA, sister of VINCENZO.
CLEMENZA, a peasant girl.
VINCENZO, lover of MIRELLA.
URIAS, his rival.
RAIMONDO, a wealthy farmer.
AMBROGIO, father of VINCENZO.
[Villagers, citizens, etc.]
The scene is laid in Provence ; time, the last century.
THE opera of " Mirella," in France known as
"Mireille," is founded upon the " Mireio "
of Mistral, the Provencal poet, and was originally
written in five acts. Subsequently it was reduced
to three acts and a waltz was added to the finale.
Though one of the lighter of Gounod's operas,
and not very strong dramatically, it has great
lyric beauty. The first scene opens in a mul-
berry grove. Mirella is rallied by the girls upon
her love for Vincenzo, the basket- maker, and is
7
98 THE STANDARD LIGHT OPERAS.
also warned by Tavena, the fortune-teller, against
yielding to her attachment, as she foresees that
Raimondo, Mirella's father, will never consent to
the union. When she meets her lover, however,
they renew their pledges and arrange, if their
plans are thwarted, to meet at the Chapel of
the Virgin.
The second act opens with a merry-making at
Aries. Tavena informs Mirella that Vincenzo has
a rival in Urias, a wild herdsman, who has asked
her hand of her father. Mirella however repulses
him when he brings the father's consent. Am-
brogio, Vincenzo's father, and his daughter, Vin-
cenzina, intercede with Raimondo in Vincenzo's
behalf, but in vain. Mirella, who has overheard
them, declares to her father her irrevocable
attachment for Vincenzo, which throws him into
such a rage that he is about to strike her. She is
saved from the blow by appealing to the memory
of her mother.
The last act opens upon a desolate sunburned
plain. Mirella appears toiling across the hot sands
to keep her appointment with her lover at the
Chapel of the Virgin, accompanied by Andreluno,
the shepherd boy, singing to the accompaniment
of his pipe. Tavena meets them, and assures
Mirella that Vincenzo will keep his appointment,
and then returns to Aries to plead with the father
in Mirella's behalf. The poor girl arrives at the
chapel nearly prostrated with the burning heat.
Vincenzo soon appears, and is shortly followed by
MIRELLA. 99
Raimondo, who is so affected by the pitiable con-
dition of his daughter, that he gives his consent to
their union. A biographer of Gounod has con-
densed the story of the opera into these few words :
" A rich young girl, a poor young man, an ill-fated
love ; and death of the young girl by sunstroke."
In the revised version the denouement is happy
instead of tragic.
The first act opens with the pretty and graceful
pastoral chorus of the maidens under the mulberry-
trees, " Sing, Happy Maidens, as we gather." The
second act also opens with an equally graceful chorus
and farandole, "The Gay Farandole never fails
to delight," followed by a beautiful Provencal folk
song, " Evening is Sweet with Summer Flowers,"
which is full of local color. Tavena sings a quaint
fortune-teller's roundelay, " 'T is the Season of the
Year," and in the next scene Mirella has a number
of rare beauty, "The Frowns of Fortune I fear
no longer," in which she declares her unalterable
love for Vincenzo. The finale of this act with its
vigorous aria for Mirella, " At your Feet, behold, I
remain," is the only really dramatic episode in the
opera. The third act opens with the quaint little
song of Andreluno with oboe accompaniment,
" The Day awakes," and also contains a plaintive
song for tenor, " Angels of Paradise." It closes
with a waltz song, " Gentle Bird of the Morning,"
which is most lavishly embellished and ends the
quiet, naive, little pastoral opera with a brilliant
vocal pyrotechnical display.
HUMPERDINCK, ENGELBERT,
anU (Gretel.
[Fairy opera, in three acts ; text by Wette. First produced,in
Germany in 1894.]
PERSONAGES.
PETER, a broom-maker.
GERTRUDE, his wife.
WITCH.
HANSEL.
GRETEL.
SANDMAN, the sleep fairy.
DEWMAN, the dawn fairy.
[Angels, witches, and fairies.]
The scene is laid in a German forest ; time, the present.
THE story of " Hansel and Gretel " is based
upon one of Grimm's fairy tales. The first
act opens at the house of Peter, the broom-maker,
who with his wife is away seeking food. The
children, Hansel and Gretel, have been left with
injunctions to knit and make brooms. Instead of
working they indulge in a childish romp, which is
interrupted by the mother, who has returned. In
her anger she upsets a pitcher of milk, which was
the only hope of supper in the house. Thereupon
she sends them into the forest, and bids them not
to come home until they have filled their basket
HANSEL AND GRETEL. 101
with strawberries. When Peter returns he brings
provisions with him, but breaks out in a fit of rage
when he is informed the children have been sent
away, telling his wife of the witch who haunts the
woods, entices children to her honey-cake house,
bakes them into gingerbread, and devours them.
The second act opens with a characteristic in-
strumental number, "The Witches' Ride." The
children are disclosed near the Ilsenstein, making
garlands and mocking the cuckoos in a beautiful
duet with echo accompaniment. At last they
realize that they are lost, and their distress is
heightened by strange sights and sounds. In the
midst of their trouble the Sandman approaches,
strews sand in their eyes, and sings them to sleep
with a charming lullaby, after they have recited
their prayer, " When at Night I go to sleep, Four-
teen Angels Watch do keep." As they go to sleep,
the fourteen angels come down and surround
them, while other angels perform a stately dance.
The third act is called "The Witch's House."
The angels have disappeared, and the Dawn Fairy
wakens the children, singing a delightful song,
" I 'm up with Early Dawning." Gretel wakes first,
and rouses Hansel by tickling him with a leaf,
accompanying the act with a tickling song. When
fairly aroused, they discover the witch's house,
with an oven on one side and a cage on the other.
The house is made of sweets and creams. En-
ticed by its sweetness, the hungry children break
off fragments, and are surprised at their work by
102 THE STANDARD LIGHT OPERAS.
the old witch within. She comes out, and, after a
series of invocations, accompanied with character-
istic music, prepares to bake Gretel in the oven ;
but while she is looking into it the children push
her into the fire. Then they dance a witch waltz,
and meanwhile the oven falls into bits. Swarms
of children rush round them, released from their
gingerbread disguise, and sing a song of gratitude
as two of the boys drag out the witch from the
ruins in the form of a big cake. The father and
mother at last find the children, and all join in
the pious little hymn, " When past bearing is our
Grief, God, the Lord, will send Relief." It is only
a little child's tale, but it is accompanied by music
of the highest order, and built up on the same plan
of motives which Wagner has used in his imposing
Nibelung Trilogy.
JAKOBOWSKI, EDWARD.
(Ermtntc.
[Musical comedy, in two acts; text by Bellamy and Paulton.
First produced at the Comedy Theatre, London, November 9,
1885 ; in New York at the Casino, March 10, 1886.]
PERSONAGES.
MARQUIS DE PONTVERT.
EUGENE MARCEL, the Marquis' secretary.
VICOMTE DE BRISSAC.
DELAUNAY, a young officer.
D UFO is, landlord of the Golden Lion.
CHEVALIER DE BRABAZON, guest of the Marquis.
RAVANNES, ) 4
CADEAUX, '} two thieves.
CERISE MARCEL, ERMINIE'S companion.
JAVATTE, ERMINIE'S maid.
PRINCESSE DE GRAMPONEUR.
ERMINIE DE PONTVERT.
[Soldiers, peasantry, guards, waiters, etc.]
The scene is laid in France ; time, the last century.
THE story of " Erminie " is based upon the
old melodrama " Robert Macaire," the two
vagabonds, Ravannes and Cadeaux, taking the
places of the two murderers, Macaire and Jacques
Strop. Few melodramas were more popular in
their day than "Robert Macaire," in which
Lemaitre, the great French actor, made one of
104 THE STANDARD LIGHT OPERAS.
his most conspicuous successes. It is also true
that few musical comedies have been more suc-
cessful than " Erminie." At the opening of the
opera, a gallant on the way to his betrothal with
a young lady -whom he has never seen is at-
tacked by two thieves, Ravannes and Cadeaux,
who carry off his wardrobe and tie him to a
tree. Later, Ravannes arrives in the midst of
the betrothal festivities, and passes himself off as
the expected guest. He introduces Cadeaux as a
nobleman, and explains their lack of proper attire
with the statement that they had been robbed
while on the way there. Erminie has an affection
for Eugene, her father's secretary, and none for the
man who claims to be a suitor for her hand.
Ernst, who was the real victim of the robbery,
and who is in love with Cerise, escapes from the
predicament in which the two thieves placed him,
and arrives in time for the festivities, to find him-
self denounced by Ravannes as the highwayman
who had attacked them earlier in the day. Ra-
vannes, by assuming great magnanimity and a
certain nobility of conduct, and by his proffers of
help to Erminie in securing the man she loves in
return for her assistance in his plans, of which she
of course is ignorant, so ingratiates himself in her
confidence that he nearly succeeds in robbing
the house. In the end, however, the two vaga-
bonds are unmasked. Eugene obtains the hand
of Erminie, and Ernst and Cerise are equally
fortunate.
ERMIN1E. 105
The music of " Erminie " is light and graceful
throughout. Its principal numbers are Erminie's
song, " Ah ! when Love is Young " ; the duet for
Eugene and Erminie, " Past and Future " ; the
Marquis' stirring martial song, "Dull is the Life
of the Soldier in Peace " ; the rollicking thieves'
duet, " We 're a Philanthropic Couple, be it
known " ; Erminie's pretty dream song, " At
Midnight on my Pillow lying," and the lullaby
" Dear Mother, in Dreams I see her," which is
the gem of the opera; the song and whistling
chorus, "What the Dicky Birds say"; the vocal
gavotte, " Join in Pleasures, dance a Measure " ;
and the concerted piece, " Good-night," which
leads up to the close of the last act.
LECOCQ, CHARLES.
[Opera bouffe, in three acts ; text by Vanloo and Aterrier. First
produced at the Theatre des Fantasies Parisiennes, Brussels,
March 21, 1874; in Paris, November u, 1874; in New York at
the Park Theatre, 1875.]
PERSONAGES.
DON BOLERO D'ALCARAZAS, a PEDRO, the page.
Spanish grandee. PAQUITA.
MARASQTJIN, banker. PIRATE CHIEF.
MOURZOOK, a Moorish chief. GODFATHER.
GIROFLE, j DON BOLERO'S twin GODMOTHER.
GIROFLA, ) daughters. FERNAND.
AURORE, their mother. GUZMAN.
[Cousins, bridesmaids, pages, pirates, Moors, etc.]
The scene is laid in Spain ; time, the last century.
THE opening scene of " Girofle-Girofla "
which, with " La Fille de Madame Angot,"
made the reputation of Lecocq as an opera-
bouffe composer, introduces Don Bolero d'Alca-
razas, a Spanish grandee, and Aurore, his wife,
also their twin daughters, Girofle and Girofla,
who, being of marriageble age, have been hastily
betrothed, Girofle to Marasquin, a banker to whom
Don Bolero is heavily indebted, and Girofla to
Mourzook, a Moorish chief who has made reg-
ular demands upon Don Bolero for money on
GIROFLE-GIROFLA. 107
penalty of death. By the double marriage he
expects to get rid of his obligations on the one
hand and avoid the payment of the enforced
tribute on the other. Girofle is married as arranged,
but Girofla, who was to have been married the
same day, is abducted by pirates before the cere-
mony can be performed. When Mourzook arrives
and finds he has no bride, he is in a terrible rage,
but is quieted down when, after a little manoeuvring
by Aurore, Girofle is passed off on him as Girofla
and is thus to be married a second time.
In the second act the wedding festivities are
going on and both bridegrooms are clamoring for
their brides. No word is heard from Admiral
Matamoras, who has been sent to capture the
pirates. Don Bolero and Aurore resort to all kinds
of expedients to settle matters and pacify the irate
banker and the furious Moor, and besides have
much trouble in restraining Girofle from flying to
her Marasquin. At last she is locked up. She
manages to get out, however, and goes off with
some of her cousins for a revel. Her absence is
explained by a report that the pirates have carried
her off also, which adds to the parents' perplexity
as well as to the fury of Marasquin and Mourzook.
At last Girofle appears in a tipsy condition and is
claimed by both. The act closes with the report
that Matamoras has been defeated, and that the
pirates have carried Girofla to Constantinople.
The third act opens on the following morning.
The two would-be husbands have been locked into
io8 THE STANDARD LIGHT OPERAS.
their apartments. Marasquin has passed a quiet
night, but Mourzook has smashed the furniture and
escaped through the window from his chamber.
The parents assure Marasquin that even if Mourzook
returns he will have to leave that afternoon, and sug-
gest that there can be no harm in letting him have
Girofle for his wife until that time. Marasquin re-
luctantly consents, and when Mourzook returns
and Girofle is presented to him as Girofla, a
ridiculous love scene occurs, which Marasquin
contrives to interrupt by various devices. Finally
the return of Girofla is announced, and Matamoras
with his sailors appears, leading her by the hand.
Explanations are made all round, the parents are
forgiven, and Mourzook is satisfied.
The music is lively throughout and oftentimes
brilliant, and of a higher standard than usually
characterizes opera boufle. The most taking
numbers are the ballad with pizzicato accompani-
ment, sung by Paquita, " Lorsque la journee est
finis" ("When the Day is finished"); the con-
certed ensemble, "A la chapelle " ("To the
Church ") ; the grotesque pirates' chorus, " Parmi
les choses dedicates " ("Among the Delicate
Things to do"), and the sparkling duet for Girofle
and Marasquin, " C'est fini, le manage" ("The
Marriage has been solemnized"), in the first act :
the bacchanalian chorus, " Ecoutez cette musique "
(" Listen to this Music "), leading up to a dance ;
a vivacious and well-written quintette, " Matamoras,
grand capitaine " ("Matamoras, our Great Cap-
LA FILLS DE MADAME ANGOT. 109
tain"); a fascinating drinking-song, " Le Punch
scintilla" ("This Flaming Bowl"), and the an-
dante duet " O Girofle', O Girofla," a smooth, ten-
der melody, which is in striking contrast with the
drinking-music preceding it and, that which imme-
diately follows the chorus of the half- tipsy wedding-
guests, " C'e"st le canon" ("It is the Cannon") :
and the rondo, " Beau pere une telle demand "
("Oh, my Father, now you ask"), sung by Ma-
rasquin, and the duet for Mourzook and Girofle,
"Ma belle Girofld " ("My Lovely Girofle'"), in
the third act.
La Jille fce jHatame 8ncr.ct.
[Opera bouffe, in three acts ; text by Clairville, Sirandin, and
Konig. First produced at the Fantasies Parisiennes, Brussels,
November, 1872; in Paris at the Folies Dramatiques, February
23, I873-]
PERSONAGES.
CLAIRETTE ANGOT, daughter of the JAVOTTE.
market. AMARANTHE.
MLLE. LANGE, comedienne. CYDALISE.
ANGE PITOU, street singer. HERSILIE.
POMPONNET, hairdresser. BABET.
LARIVAUDIERE, U olice officials. TRENITZ.
LOUCHARD,
[Bourgeois, grenadiers, conspirators, hussars, servants,
marketwomen, etc.]
The scene is laid in Paris ; time, about the period of the
French Revolution.
THE first act opens in a market square in Paris
where the marketwomen and others in holiday
HO THE STANDARD LIGHT OPERAS.
costume are making ready to celebrate the wed-
ding of Pomponnet, the hairdresser, and Clairette,
the daughter of the late Madame Angot. During
the festive preparations, for which Clairette has
little desire, as her affections are fixed upon Ange
Pitou, a street singer, who is continually in trouble
by reason of his political songs, the latter makes
his appearance. He is informed of the forth-
coming wedding, which has been arranged by the
market people, who have adopted Clairette as
the child of the market. At the same time Larivau-
diere and Louchard, the police officials who caused
his arrest because of his knowledge of the relations
of Larivaudiere and Mademoiselle Lange, the co-
medienne and favorite of Barras, are surprised to
find him at large. To prevent him from reciting
his knowledge in a song which he is sure has been
written, Larivaudiere buys him off. Pitou subse-
quently regrets his bargain. When the crowd
clamors for a song, he says he has none. The
people are furious with him, but Clairette comes
to his rescue. She has found the song denouncing
Larivaudiere, sings it, and is arrested, notwithstand-
ing Pitou's declaration that he is the author of it.
The second act opens in Mademoiselle Lange's
salon. She has persuaded Barras to release Clai-
rette and have her brought to her apartments, so
that she may discover why she sings this song
denouncing the government and insulting her also.
In the mean time she has also sent for Pompon-
net, her hairdresser, and informs him what his
LA FILLS DE MADAME ANGOT. HI
future wife has done. He replies that Pitou wrote
the song, and that he (Pomponnet) has it. She
orders him to fetch it to her. When Clairette
arrives they recognize each other as old school
friends. Mademoiselle Lange assures her she shall
not go back to prison and that she need not marry
Pomponnet. She retires to Mademoiselle Lange's
boudoir, when a visitor is announced. It is Ange
Pitou, and a love scene at once occurs. The
jealous Larivaudiere enters and accuses them of
being lovers. To justify herself Mademoiselle
Lange declares that Pitou and Clairette are lovers,
and the latter confirms the statement. Pompon-
net's voice is heard in the outer room. He is
admitted, and promptly arrested for having the
revolutionary song on his person. The act closes
with a meeting of conspirators, and Mademoiselle
Lange's clever oiling of the grenadiers who have
come to arrest them by turning the whole affair into
a grand ball, to which they are invited.
The last act is occupied with plots and counter-
plots which at last succeed in disentangling all the
complications. Mademoiselle Lange's perfidy, as
well as Pitou's, is shown up, Larivaudiere has his
revenge, and Clairette and Pomponnet are made
happy.
The music of the opera is so bright, gay, and
characteristic that it made Lecocq a dangerous
rival of Offenbach. The most conspicuous num-
bers are Clairette's pretty romance, " L'enfant de
la Halle " ("The Child of the Market") ; Ama-
112 THE STANDARD LIGHT OPERAS.
ranthe's jolly couplets, " Marchande de mare"e "
(" A Beautiful Fishwoman ") ; Ange Pitou's rondo,
" Certainement j'aimais Clairette " (" 'T is true I
loved Clairette ") and Clairette's spirited song,
" Jadis les rois, race proscrite " (" Once Kings, a
Race proscribed ") , in the first act : another equally
spirited song, " Comme un Coursier " (" Like a
Courser ") ; Pomponnet's pretty air, " Elle est
tellement innocente " (" She is so innocent ") ; a
charming sentimental duet for Mademoiselle Lange
and Clairette, " Jours fortunes de notre enfance "
(" Happy Days of Childhood ") ; a striking en-
semble in the form of a quintette, " Oui, je vous le
dis, c'est pour elle " ("Yes, 'tis on her Account
alone ") ; and the famous conspirators' chorus,
"Quand on conspire " (" When one conspires "),
in the second act : and Clairette's couplets with
chorus, " Vous aviez fait de la depense " (" You
put yourselves to Great Expense ") ; the humorous
duet, " Larivaudiere and Pomponnet," and Clai-
rette's song, "Ah! c'est done toi " ("Ah! 'tis
you, then"), in the last act.
LORTZING, ALBERT.
(D^ar atrtr Carpenter.
[Ope"ra comique, in three acts; text and music by Lortzing.
First produced in Berlin in 1854.]
PERSONAGES.
PETER I., Czar of Russia under the name of PETER
MlCHAELHOFF.
PETER IVANOFF, a young Russian shipwright.
HERR VAN BETT, burgomaster of Saardam.
GEN. LEFORT, Russian ambassador.
LORD SYNDHAM, British ambassador.
MARQUIS OF CHATEAUNEUF, French ambassador.
MARIE, niece of the burgomaster.
WIDOW BROWN, mistress of the shipyard.
[Shipwrights, workmen, sailors, villagers, etc.]
The scene is laid in Saardara ; time, the year 1698.
THE opening of the first act of the " Czar
and Carpenter " discloses Peter the Great
and Peter Ivanoff, a deserter from the Russian
army, at work in the shipyard of Mrs. Brown in
Saardam. The British and French ambassadors,
having been notified that the Czar is there in dis-
guise, are searching for him with the object of
negotiating a treaty with him, or, failing that, to
abduct him. The British ambassador employs
the pompous burgomaster of Saardam to find
8
114 THE STANDARD LIGHT OPERAS.
him a Russian named Peter, without however dis-
closing his real character to him. The burgo-
master happens upon Peter Ivanoff and brings
him to the ambassador, who, supposing him to
be the Czar, seeks to arrange a treaty with him,
and finally gives him a passport so that he may
visit England. Meanwhile the people of Saardam,
being informed that the Czar is with them, prepare
a reception for him.
The French ambassador, who has also been
searching for the Czar, finds the real one by tell-
ing him the story of a Russian defeat which causes
him to betray himself. The Czar, who is now
anxious to go home and crush out the rebellion,
seeks for some means to get away without the
knowledge of the Dutch and the English. Find-
ing out by chance that Ivanoff has an English
passport, he secures it, and gives Ivanoff another
paper which he is not to open until an hour has
passed. During this time Ivanoff is enjoying the
public reception, which suddenly is interrupted by
cannon reports. The gateway of the port is
opened, showing the Czar with the Russian and
French ambassadors sailing away. Ivanoff opens
his paper, and finds that his companion was the
Czar, who has given him a good situation as well as
his consent to his marriage with Marie, the burgo-
master's niece.
The leading numbers of the first act are the
carpenter's spirited song, " Grip your Axes " ;
Marie's jealousy song, " Ah ! Jealousy is a Bad
CZAR AND CARPENTER. 115
Companion " ; the humorous aria of Van Bett,
" Oh ! sancta Justitia, I shall go raving " ; the
long duet for Van Bett and Ivanoff, " Shall I make
a Full Confession?" and the effective quartettes
in the finale. The second act contains the best
music of the opera. It opens with a mixed chorus
of a bacchanalian sort, " Long live Joy and Pleas-
ure," which after a long dialogue is followed by
the tenor romanza, " Fare thee well, my Flandrish
Maiden," a quaint melody, running at the end of
each stanza into a duet, closing with full chorus
accompaniment. A sextette, "The Work that
we 're beginning," immediately follows, which,
though brief, is the most effective number in
the opera. The next number of any conse-
quence in this act, is a rollicking bridal song,
" Charming Maiden, why do Blushes," sung by
Marie. The last act has a comic aria and chorus,
"To greet our Hero with a Stately Reception,"
and an effective song for the Czar, "In Child-
hood, with Crown and with Sceptre I played."
LUDERS, GUSTAVE.
Etna:
[A musical comedy, in three acts ; text by Pixley. First pro-
duced at the Studebaker Theatre, Chicago, May 27, 1901.]
PERSONAGES.
KING DODO I.
PEDRO, Court chamberlain.
DR. Fizz, Court physician.
MUDGE, Court historian.
SANCHO, an innkeeper.
BONILLA, prime minister to QUEEN LILI.
Lo BASWOOD.
LOPEZ.
DIEGO.
JOSE.
UNIO.
QUEEN LILI.
ANGELA, the King's ward.
PIOLA, a soldier of fortune.
ANNETTE.
[Courtiers, knights, ladies, etc.]
The scene is laid in Dodoland and the South Sea islands ;
time, the present.
KING DODO," though usually set down on
the programmes as a comic opera, strictly
speaking, is a musical comedy, or comedy opera.
Its plot turns upon the efforts of King Dodo to
KING DODO. 117
find the elixir of youth. His adventures carry
him from his own kingdom in the land of no-
where in particular to the South Sea islands and
back, a few absurd love episodes adding to the
humor of the situations in which he finds himself.
The old King is enamoured of the Princess Angela,
and to secure her he determines to find the
fountain which will renew his youth. His Court
physician has failed in the attempt ; but Piola, " a
soldier of fortune," claims to know where the
fountain is, but demands that when he finds it he
shall have the hand of Angela as his reward. The
King reluctantly consents, and starts with his whole
establishment to find it. The wonderful spring is
discovered in the land of the Spoopjus, and there
King Dodo also finds Queen Lili, who promptly
falls in love with him, because her ideal for a
husband is a man full of years and experience.
The King, however, accidentally drinks from the
fountain, and is transformed into a child, whereupon
the Queen rejects him. As the waters fortunately
work both ways, when Dodo is thrown into them
by conspirators, he becomes himself again, and the
Queen devotes herself to him anew with such
assiduity that they are united. Pedro and
Annette and Piola and Angela also improve the
occasion to get married, and all return in great
glee to Dodoland.
The musical numbers in " King Dodo," are all
of a light, catchy kind, their success depending
much upon the sprightliness of the performers.
Il8 THE STANDARD LIGHT OPERAS.
The most popular are the " Cats' Quartette " ;
"The Tale of the Bumble-bee"; Piola's song,
" I '11 do or die," which is accompanied by a
stirring chorus; the melodious "Zamona," sung
by Angela and chorus ; a drinking-song of a
spirited sort by Annette and chorus ; " The
Eminent Dr. Fizz," sung by the doctor himself;
and "The Jolly old Potentate" and the topical
song, " They gave me a Medal for that," sung by
King Dodo.
CI;e Prince of pteen.
[A musical comedy, in two acts ; text by Pixley. First produced
in the Tremont Theatre, Boston, May 21, 1902.]
PERSONAGES.
CARL OTTO, the Prince.
HANS WAGNER, an American citizen.
TOM WAGNER, his son.
ARTHUR ST. JOHN WILBERFORCE.
FRANCOIS.
MRS. MADISON CROCKER, an American widow.
SIDONIE.
EDITH.
NELLIE.
JIMMY.
[Tourists, students, flower-girls, sailors, etc.]
The scene is laid in Nice ; time, the present.
"THE Prince of Pilsen," the latest, and in many
respects the best, of Mr. Luders' productions, like
most musical comedies of the prevailing kind, has
but a brief and somewhat incongruous story. The
THE PRINCE OF PILSEN. 119
first act opens during the annual flower festival at
Nice. The proprietor of the Hotel Internationale
learns that the Prince of Pilsen will reach there on
the morrow incognito, and determines he shall be
received with all the attentions due to his rank.
He employs a band of musicians to escort him
from the station to the hotel, and hires flower-girls
to strew his way with roses. Hans Wagner, a
German-American brewer from Cincinnati, and
his daughter, who go to Nice to meet the brewer's
son, an American naval officer, arrive on the same
day. The brewer is mistaken for the Prince, and
he and his party meet with a brilliant but some-
what surprising reception. He can account for it
in no other way than that his greeting as the Prince
of Pilsen is a tribute to the excellence of his Pilsener
beer, and accepts it complaisantly. When the real
prince arrives, however, with a company of Heidel-
berg students, he is ignored, and even has some dif- u
ficulty in securing accommodations. The Prince,
however, does not declare his identity at once,
but waits for an opportunity to expose the impostor
who is trading on his name. He accidentally meets
the daughter, and after some conversation with her
is sure that her father has not intended to deceive
and is not responsible for the mistake. He de-
cides therefore to continue the role of private
citizen, and is the more confirmed in his decision
when he finds himself falling in love with the
brewer's daughter. This enrages the brother, who
challenges the Prince, which leads to the arrest of
120 THE STANDARD LIGHT OPERAS.
both of them. In the second act all the com-
plications get straightened out. The real Prince
marries the brewer's daughter, and the brewer him-
self takes home the American widow, Mrs. Madison
Crocker, as his wife.
On this somewhat slight thread of a plot the
composer has strung numerous bits of lively, ex-
hilarating music, some of it of a decidedly better
kind than is usually found in these potpourris,
but the most of it of the sort which is popular
and easily caught up. The number of the lyrics
as well as of the topical songs, choruses, and ex-
travaganzas is so large, and they are of such
uniformity in interest and tunefulness, that it is
difficult to single out the most conspicuous. The
numbers, however, which have made the greatest
success are Wagner's topical song, " He did n't
know exactly what to do " ; a charming smoking-
song, " Pictures in the Smoke " ; the " Tale of the
Sea-shell " ; the unaccompanied male chorus,
"Oh! Heidelberg, dear Heidelberg," which
should be a favorite students' song ; and the " Song
of the Cities," in which the peculiarities of the
girls of various American cities are imitated, the
song ending with a droll cake walk. So far as
numbers go, indeed, the opera presents a bewilder-
ing embarrassment of good things.
MASSE, VICTOR.
$attl an*
[Romantic opera, in three acts and seven tableaux ; text by
Carre 1 and Barbier. First produced at the OpeYa National Ly-
rique, Paris, November 15, 1876 ; in London, June i, 1878 j in
New York, March 28, 1883.]
PERSONAGES.
PAUL.
ST. CROIX, slave-master.
DOMINGO, mulatto slave.
M. DE LA BOURDONNAIS, governor of the island.
NEGRO SLAVE.
VIRGINIA.
MEALA, mulatto slave.
MME. DE LA TOUR, mother of VIRGINIA.
MARGARET, mother of PAUL.
OVERSEER.
OLD LADY, grand-aunt of VIRGINIA.
[Inhabitants of the island, sailors, slaves, etc.]
The scene is laid upon an island on the African coast ; time,
the eighteenth century.
THE story of " Paul and Virginia," Masse's
masterpiece, follows the lines of Bernar-
din St. Pierre's beautiful romance of the same
name. The first act opens with the recital of
the history of Madame de la Tour, mother of
Virginia, and Margaret, the mother of Paul, and
122 THE STANDARD LIGHT OPERAS.
reveals the love of the two children for each
other. While they are discussing the advis-
ability of sending Paul to India for a time,
against which his slave Domingo piteously pro-
tests, islanders come rushing towards the cabin
announcing the arrival of a vessel from France,
In hopes that she will have a letter announcing
that she has been forgiven by the relatives who
have renounced her, Madame de la Tour goes
to the port. A love scene between the children
follows, which is interrupted by the hurried en-
trance of the slave Meala, who is flying from
punishment by her master, St. Croix. The two
offer to go back with her and to intercede for
her forgiveness, in which they are successful. St.
Croix, who has designs upon Virginia, begs them
to remain until night ; but Meala warns them of
their danger in a song, and they leave while St.
Croix wreaks his revenge upon Meala.
The second act opens in the home of Madame
de la Tour. She has had a letter from her aunt
forgiving her, making Virginia her heiress if she
will come to France, and sending money for the
journey. After a long struggle between duty to
her mother and love for Paul, she declines to go.
Meala makes them another hurried call, again
flying from St. Croix, who this time is pursuing
her with a twofold purpose, first, of punishing
Meala and, second, of carrying out his base designs
against Virginia. He soon appears at the house
and demands his slave, but Paul refuses to give
PAUL AND VIRGINIA. 123
her up. At last St. Croix offers to sell her to Paul,
and Virginia furnishes the money. The faith-
ful Meala that night informs them of St. Croix's
plot to seize Virginia when she goes to the vessel ;
but he is foiled, as she does not leave. The act
closes with a call from the governor of the island,
who bears express orders from Virginia's relatives,
signed by the King, that she must go to France.
The last act is brief, and relates the tragedy. It
opens at a grotto on the seashore, where the
melancholy Paul has waited and watched week by
week for the vessel which will bring Virginia back
to him. At last it is sighted, but a storm comes
up and soon develops into a hurricane, and when
it subsides the vessel is a wreck, and Virginia is
found dead upon the beach.
The opera is replete with beautiful melodies.
There are, in the first act, a characteristic minor
song for Domingo, "Ah! do not send my Dear
Young Master," which the composer evidently in-
tended to be in the Ethiopian manner ; a chanson
of the genuine French style, "Ah ! Hapless Black,"
though sung by a negro boy ; a lonely and ex-
pressive melody sung by Virginia, as she pleads
with St. Croix, " What I would say my Tongue
forgetteth " ; the weird Bamboula chorus, sung
by the slaves ; and a very dramatic aria for Meala,
" 'Neath the Vines Entwining," in which she
warns the children of their danger. The princi-
pal numbers in the second act are Virginia's ro-
mance, "As Last Night thro' the Woods"; a
124 THE STANDARD LIGHT OPERAS.
beautiful chanson for Domingo, " The Bird flies
yonder"; Paul's couplets, "Ah! crush not my
Courage " ; the passionate duet for Paul and Vir-
ginia, " Ah ! since thou wilt go," closing in unison ;
and Virginia's florid aria, "Ah, what Entrancing
Calm," the cadenza of which is exceedingly
brilliant. The best numbers in the short last
act are Meala's song, " In vain on this Dis-
tant Shore " ; Paul's letter song, "Dearest Mother " ;
and the vision and storm music at the close.
<tteen
[Op6ra comique, in three acts; text by Lockroy and Battu.
First produced at the Theatre Lyrique, Paris, December 27,
1856.]
PERSONAGES.
LA REINE TOPAZE.
LE CAPITAINE RAFAEL.
ANNIBAL.
FRANCAPPA.
FRITELLINO.
FILOMELE.
[Gypsies, soldiers, etc.]
The scene is laid in France ; time, last century.
" QUEEN TOPAZE " (" La Reine Topaze ") is one
of the few of Masse" 's earlier works which have
held the boards, mainly on account of its charm-
ing melodiousness. The role of the Queen was a
great favorite with Miolan-Carvalho and Parepa-
Rosa, as it offers opportunities for brilliant vocal
QUEEN TOPAZE. 125
execution. Its story is of the slightest kind. In
her infancy Topaze is stolen by a band of gypsies
and eventually becomes their queen. She falls in
love with Rafael, a captain whom she wins from
his affianced, a rich noblewoman. He does not
marry her, however, until she discloses to him the
secret of her birth. Some byplay among the
gypsies supplies the humor of the situations. As
to the text it is far from dramatic in character, and
the dialogue is tedious and dragging.
The music, however, is excellent, and it was to
this feature that Masse" owed his election in the
year of its production as Auber's successor in the
French Academy. The gypsy music is particu-
larly charming. There are also a clever sextette,
" We are six noblemen " indeed, there is an un-
usual amount of six and seven part writing in the
opera ; the "Song of the Bee," a delightful melody
for Queen Topaze with a particularly characteristic
accompaniment, likewise a brilliant bolero ; a
lovely romance in the last act for Rafael, and a
somewhat dramatic narrative song for him in the
first act ; and a skilfully constructed trio for Anni-
bal and the two gypsies. The remaining number
of importance is an interpolated one, " The
Carnival of Venice," with the Paganini variations,
which was first introduced by Miolan-Carvalho,
the creator of the title role.
126 THE STANDARD LIGHT OPERAS.
;parrue of Jcannette.
[Opera comique, in one act ; text by Carre" and Barbiere. First
produced at the Opera Comique, Paris, February 4, 1853 ; in New
York, in 1861.]
PERSONAGES.
JEAN.
JEANNETTE.
THOMAS.
PETIT PIERRE.
[Chorus of peasants.]
The scene is laid in a French country village; time, the last
century.
NOTHING could be simpler than the story of
Masse's little opera, " Les Noces de Jeannette "
("The Marriage of Jeannette"), which was first
given in this country in 1861, with Clara Louise
Kellogg and M. Dubreul in the two principal parts,
and twenty-five years later was a favorite in the
repertory of the American Opera Company, under
the direction of Theodore Thomas, who produced
it as an after piece to Delibes' two-act ballet,
"Sylvia." The story concerns only two persons.
Jean, a boorish rustic, falls in love with Jeannette
and proposes marriage. On the wedding-day,
however, he suddenly changes his mind, and just
as the notary hands him the pen to sign the con-
tract, takes to his heels and runs home. Jeannette
follows him up to demand an explanation, and pre-
tends that she will not force him to marry her. In
THE MARRIAGE OF JEANNETTE. 127
lieu of that she asks him to sign another contract
from which she will withhold her name just to
show that he was willing to do so. She further-
more promises publicly to reject him. When he
has signed the new contract, she suddenly changes
her mind also, and declares they are man and wife.
In his fury Jean breaks up nearly everything in the
house before he goes to sleep. The next day in
his absence Jeannette provides new furniture from
her own store, places things to rights again, sets
the dinner, and awaits Jean's return. When he
comes back again, he is in more tractable mood,
and seeing what Jeannette has done acknowledges
her as his wife.
This simple story the composer has framed in a
dainty musical setting, the principal numbers being
the song " Others may hastily marry/' sung by
Jean after his escapade ; Jeannette's pretty, simple
melody, " From out a Throng of Lovers " ; Jean's
vigorous and defiant " Ah ! little do you fancy " ;
the graceful song by Jeannette, " Fly now, my
Needle, glancing brightly " ; her brilliant and ex-
ultant song, " Voice that 's sweetest " ; and the
spirited unison male chorus, " Ring out, Village
Bells," that closes this refined and beautiful work.
MILLOCKER, CARL.
([Hie
[Op6ra comique, in three acts ; fir^t produced in Vienna, 1882.]
PERSONAGES.
SYMON SYMONOVICZ, the beggar student.
JANITSKY, his friend.
GEN. OLLENDORF, military governor of Krakow.
ENTERICH,
PUFFKI,
MAJOR HOLTZHEIM.
SITZKY, an innkeeper.
COUNTESS PALMATICA.
LAURA, ) , , , ^
-r, > her daughters.
BRONISLAVA, )
EVA.
ONONPHRIE.
LIEUT. POPPENBURG.
LIEUT. SCHMEINITZ.
LIEUT. WANGERHEIM.
BURGOMASTER.
BOGUMIL.
[Prisoners, peasants, soldiers, musicians, courtiers, etc.]
The scene is laid in Krakow ; time, the year 1704.
THE first act of this tuneful opera opens in
the city of Krakow. General Ollendorf,
the military governor, is in a rage because he
has been repulsed by Laura, daughter of the
THE BEGGAR STUDENT. 129
Countess Palmatica, to whom he has showed
some unwelcome attentions. To avenge what
he considers an insult, he conceives the idea
of dressing some poor and low-born young
fellow in the finery of a prince, and passing him
off as such upon the Countess and her daughter,
trusting that their poverty will induce them to
accept the impostor. After such a marriage his
revenge would be complete. He finds his accom-
plice in the military prison. Symon Symonovicz, a
vagabond Polish student, is ready to play the
gentleman, and only insists on taking along with
him Janitsky, a fellow prisoner, to act as his
secretary. The plot is successful. The Countess
and her daughter, who have been living for a long
time in genteel poverty, are dazzled by the finery
and prospects of the suitor, and the act closes with
the betrothal of Symon and Laura.
In the second act the two find that they are
really in love with each other. As the money
furnished by the General is all spent, Symon de-
cides to tell Laura of the deception practised upon
her, though it may cost him the marriage, which
was to have taken place that day. Afraid to tell
her in person, he writes the disclosure, and intrusts
the letter to the Countess with the request to have
it given to Laura before the ceremony. The
General, however, thwarts this scheme, and the
pair are married, whereupon he exposes Symon
to the assembled guests as an impostor and has
him driven from the palace.
9
130 THE STANDARD LIGHT OPERAS.
At the opening of the third act Symon appears
in melancholy plight and contemplating suicide.
His friend Janitsky, who is in love with Laura's
sister, Bronislava, comes to his rescue. He comes
forward as a Polish officer engaged in a plot for
the capture of the citadel and the reinstatement
of King Stanislaus upon the throne of Poland.
The plot with Symon's help succeeds, and in re-
turn Symon is not only ennobled, but the Countess
and his wife forgive him, and the governor- general
is foiled at every point.
The principal numbers are Ollendorfs entrance
song in waltz time, " And they say that towards
Ladies " ; the characteristic duet by Symon and
Janitsky ^n leaving jail, " Confounded Cell, at last
I leave thee " ; the charming entrance trio for Laura,
Bronislava, and the Countess, " Some little Shopping
really we ought to do " ; and Laura's brilliant song,
"But when the Song is sweetly sounding," in the
finale of the first act : Laura's humorous song, " If
Joy in Married Life you 'd find " ; the sentimental
duet of Bronislava and Janitsky, " This Kiss, Sweet
Love " ; Ollendorfs grotesque songs, " One Day I
was perambulating," and " There in the Chamber
Polish," which is usually adapted as a topical song;
and the long and cleverly concerted finale of the
second act : and Bronislava's song, " Prince a
Beggar 's said to be/' and Symon's couplet, " I 'm
penniless and outlawed too," in the third act.
THE BLACK HUSSAR. 131
Jmaaar.
[Ope"ra comique, in three acts. First produced at Vienna, 1886.]
PERSONAGES.
HELBERT, officer of the Black Hussars.
WALDERMANN, his companion.
HACKENBACK, magistrate of Trautenfeld.
PIFFKOW, his man of all work.
THORILLIERE, major in Napoleon's army.
HETMAN, captain of the Cossacks.
MIFFLIN, an actor.
BARBARA.
Riccr.
GODDESS OF LIBERTY.
GERMANIA.
[Soldiers, peasants, villagers, conspirators, etc.]
The scene is laid in the German village of Trautenfeld ; time,
the years 1812-13.
THE story of " The Black Hussar " is simple.
Von Helbert, an officer of the Black Hussars, in the
disguise of an army chaplain, is seeking to foment
an insurrection in the town of Trautenfeld. Hack-
enback, the town magistrate, has carried himself
so diplomatically, as between the Russians and
French, and is so opposed to any rupture with
either from fear of sudden visitation, that Von
Helbert's efforts to induce his townsmen to rise
against the Napoleonic regime are not altogether
132 THE STANDARD LIGHT OPERAS.
successful. The French in the mean time are hunt-
ing for him, but he cunningly succeeds in getting a
description of the magistrate posted for that of
himself. To be ready for any sudden emergency,
Hackenback has a reversible panel on his house,
one side having the portrait of the Czar and the
other that of Napoleon. When he is suspected by
the French, he calls their attention to it ; but unfor-
tunately for him the Russian side is exposed, and
this with the description which Von Helbert had
so kindly posted leads to his arrest. Finally the
Black Hussar regiment arrives, and captures the
French troops just as they have captured the Rus-
sian, which had previously been in occupation, so
that there is no need for further disguises. The
humorous situations in the opera grow out of the
love-making between Von Helbert and his com-
panion Waldermann and the magistrate's daughters
Minna and Rosetta.
Although " The Black Hussar " is musically in-
ferior to " The Beggar Student," yet it has many
interesting numbers, among them the long descrip-
tive song of Piffkow, the man of all work, " Piffkow,
Piffkow, that 's the cry," which reminds one in its
general character of Figaro's famous song in " The
Barber of Seville " ; the magistrate's buffo song,
" All Night long I Ve weighed and sifted " ; Hel-
bert's martial recitative, " I Ve traversed Lands
that once were green " ; the jolly gossipers*
chorus, introducing the second act; Piffkow's
bombastic song, "'Twas in the Adjacent Town
THE BLACK HUSSAR. 133
Last Night " ; Minna's quaint Russian song,
" Ivan loved his Katza well " ; the introduced
song, " Ohe, mamma " ; and the trio following it,
" The Ways of Love are very strange," which closes
the act.
NESSLER, VICTOR ERNST.
(Etttmpeter of
[Op6ra comique, in a prelude and three acts ; text by Bunge.
First produced at the Stadt Theatre, Leipsic, May 4, 1884.]
PERSONAGES.
BARON OF SCHOENAU.
MARGARETHA, his daughter.
COUNT OF WlLDENSTEIN.
COUNTESS WILDENSTEIN, the Baron's cousin.
DAMIAN, the Count's son by a second marriage.
WERNER KIRCHOFF, the " trumpeter."
CONRADIN, a trooper.
[Heralds, youths, maidens, peasants, school children,
students, troopers, etc.]
The scene is laid in Sakkingen, on the Rhine ; time, the year
1650, near the close of the Thirty Years' War.
FEW operas have had the advantage of such
an excellent book as Nessler's "Trumpeter
of Sakkingen," and few light operas have had
their stories so legitimately and skilfully illus-
trated with music. The text is based upon the
metrical romance of Victor von ScheffeFs " Trum-
peter Von Sakkingen," known and admired all
over Germany, which tells the story of the
young Werner and the fair Margaretha, their
romantic wooing and final union. The time is
THE TRUMPETER OF SAKKINGEN. 135
near the close of the Thirty Years' War, and the
hero is Werner Kirchoff, a handsome, dashing
young student, who, with others of his comrades,
is expelled from the University of Heidelberg be-
cause of their frequent carousals. They join a
body of troopers, Werner in the capacity of a
trumpeter, and go with them to Sakkingen. While
there he has the good fortune to protect Marga-
retha, on a saint's fete day, from the rudeness of
some Hauenstein peasants who are ready for a
revolt against the Baron von Schoenau, her father.
Margaretha, who is in company with the Countess
Wildenstein, a cousin of the Baron, who has sepa-
rated from her husband, gratefully gives Werner a
forget-me-not. The Countess inquires his name of
his trooper comrade, Conradin, and is struck with
his resemblance to her son who had been carried
off by gypsies in his childhood. In the next scene
the Baron has received a letter from Count Wilden-
stein, in which he states that his second wife has
died, that he wishes to settle the misunderstanding
with his first wife, the Countess, and proposes
Damian, his son by the second marriage, as a
husband for Margaretha, a proposal which the
Baron promptly accepts. When Margaretha enters
and tells of her adventures with Werner, the Baron
regrets that his old trumpeter, Rassmann, is not
alive to summon assistance from the city in case
of attack by the peasants. Margaretha tells him
of Werner, and notwithstanding the Countess' ob-
jections, he gives the position to him.
136 THE STANDARD LIGHT OPERAS.
The second act opens with a love scene between
Werner and Margaretha, which is discovered by
the Countess, who at once informs the Baron.
When Werner asks him for the hand of Marga-
retha, he not only refuses it, but orders him to leave
the castle. Werner takes his farewell of Marga-
retha, and leaves for his old position with the
troopers in the city. Meanwhile the Count of
Wildenstein arrives with Damian, but he makes no
impression upon Margaretha notwithstanding the
Baron's favor.
In the last act the denouement comes quickly.
The peasants attack the castle, and the Baron calls
upon Damian to head his retainers and go out to
meet the mob. He proves himself, however, an
arrant coward, and in the midst of his irresolution
Werner rides up at the head of his troopers, per-
forms prodigies of valor, and saves the inmates of
the castle. A birthmark upon his arm reveals him
as the long-lost son of the Countess, and nothing
now stands in the way of Margaretha's and Wer-
ner's felicity.
In the prelude and first act the most noticeable
numbers are the students' and troopers' choruses,
written in the best German style the prelude in-
deed is almost entirely choral ; the peasants' cho-
ruses and lively dances on St. Fridolin's Day ; the
characteristic growl of the Baron over his gout
and the unreasonable peasants ; and the charming
lyric sung by Margaretha, " How Proud and Grand
his Bearing." The most conspicuous numbers in
THE TRUMPETER OF SAKKINGEN. 137
the second act are a lyric sung by Werner, " On
Shore I played me a Merry Tune " j the love scene
between Margaretha and Werner, "Sun, has thy
Light not grown in Splendor? " the dramatic quin-
tette, "Must so soon the Sunshine vanish?" and
Werner's sentimental and beautiful farewell, " Oh, it
is sad that in this Life below." The principal
numbers of the third act are Margaretha's song,
" My Love rode out to the Wide, Wide World " ;
the May song, "There comes a Youth of Sweet
Renown " ; the pantomime and dance composing
a May idyll ; the duet for Margaretha and Wer-
ner, "True Love, I give thee Greeting" ; and the
ringing mass chorus, " Faithful Love and Trumpet
blowing," which closes the opera.
NICOLA I, OTTO.
OTtoea of
[Ope"ra comique, in three acts ; text by Mosenthal. First pro-
duced in Vienna, April i, 1847 ; in London, May 3, 1864; in New
York, April 27, 1863.]
PERSONAGES.
SIR JOHN FALSTAFF.
MR PAGE' 1 S entlemen dwelling at Windsor.
FENTON.
SLENDER.
DR. CAIUS, the French physician.
MISTRESS FORD.
MISTRESS PAGE.
ANNE PAGE, her daughter, in love with FENTON.
HOST of the Garter Inn.
[Citizens, wives of Windsor, servants, fairies, elves, etc.]
The scene is laid at Windsor; time, the sixteenth century.
THE story of the opera follows closely that
of the Shakespearian comedy, though the
action is principally concerned with Falstaffs
adventures with the merry wives, with the at-
tachment between Fenton and Anne furnishing
the romantic incident. Though the work of a
German, the music is largely in the Italian style,
and the dramatic finish is French. It is unneces-
THE MERRY WIVES OF WINDSOR. 139
sary to indicate the plot in further detail than to
say it includes the receipt of Sir John's amatory
epistles by Mrs. Ford and Mrs. Page, his conceal-
ment among the foul linen in the hamper and sub-
sequent sousing in the Thames, his sad experiences
with Ford's cudgels, and his painful encounter
with the mock fairies, elves, and other sprites in
Windsor Park.
The leading numbers in the opera are a duet for
the two merry wives, opening the opera, in which
they read FalstafFs letters, " No, no, this really is
too bad," closing with an exquisitely humorous
phrase as they pronounce the name of the writer
in unison; a beautiful little aria, "Joking and
Laughter," in the Italian style, sung by Mrs. Ford ;
and the finale to the first act beginning with a
mock serious aria in which Mrs. Ford bewails her
husband's jealousy, followed by a sextette and
chorus, and closing with a highly dramatic aria in
which Mrs. Ford changes from grief to rage and
violently denounces Ford.
The second act opens with a drinking-song for
Falstaff, "Whilst yet a Child on my Mother's
Breast," which is full of rollicking, bacchanalian
humor, as well as are the accessories of the song.
Falstaff sings one verse, and his followers drain
their huge mugs to the bottom. One of them falls
senselessly drunk, and is immediately borne out
upon the shoulders of his comrades with funereal
honors, led off by Falstaff, all chanting a sort of
mock dirge. A descriptive and spirited buffo
140 THE STANDARD LIGHT OPERAS.
duet between Falstaff and Ford follows, in which
the former relates his adventures in the hamper.
The only remaining number of consequence in this
act is the romanza, " Hark, the Lark in yonder
Grove," sung by Fen ton. The last act is very
short, and made up of a beautiful trio for Mrs.
Ford, Mrs. Page, and Falstaff, "The Bell has
pealed the Midnight Chime " ; the romantic ballad,
" Of Herne, the Hunter, a Legend old," and the
fairy dance and chorus, " About, about, ye Elves,
about," which close the opera.
OFFENBACH, JACQUES.
of
[Opera bouffe, in three acts; text by Meilhac and Hal6vy.
First produced at the Variet6s, Paris, April 12, 1867.]
PERSONAGES.
GRAND DUCHESS.
WANDA, a peasant girl.
IZA, maid of honor.
OLGA, maid of honor.
PRINCE PAUL, neglected suitor of the Duchess.
GEN. BOUM, in command of the army.
BARON PUCK, Court chamberlain.
BARON GROG, emissary.
FRITZ, a recruit.
NEPOMUC, aide de camp.
[Lords and court ladies, pages, soldiers, vivandieres,
country girls, etc.]
The scene is laid in the imaginary Duchy of Gerolstein ; time,
the year 1720.
THE Grand Duchess of Gerolstein," though
in some respects inferior musically to "Or-
pheus," by the same composer, is altogether the
most perfect type of the opera bouffe. For the
drollness of its story, the originality of its char-
acters as well as of its music and obstreperous
gayety, dash, and geniality mixed with occasional
seriousness and grace, this work when it first
142 THE STANDARD LIGHT OPERAS.
appeared was unique, though Offenbach rose to
his highest achievement when dealing with the
gods and goddesses of Olympus in his " Orpheus,"
which revealed his powers of musical burlesque at
their best.
The first act opens with a grand review of the
army of the duchy, commanded by the pompous
General Bourn, at which the Duchess is present.
In its ranks there is a recruit, known by the name
of Fritz, who has already aroused the General's
jealousy by his attentions to Wanda, a peasant
girl. He continues still further to add to this
jealousy when the Duchess, attracted by his good
looks, singles him out for her regard and promotes
him to the post of corporal. When she learns of
his relations to Wanda, she raises him to the rank
of lieutenant, evidently to separate him from
Wanda by the new elevation. The review over,
the Duchess studies the plan of a pending cam-
paign against a neighboring enemy. She summons
General Bourn in the presence of Baron Puck, her
court chamberlain, Prince Paul, a feeble and ne-
glected suitor of the Duchess, and Lieutenant
Fritz, who is now her special body-guard, and asks
him for his plan of campaign, which he states, much
to the disgust of Fritz, who declares it to be sheer
nonsense. The Duchess then asks the latter for
his plan, and is so much pleased with it that she
appoints him general and raises him to the rank
of baron, much to the discomfort and indignation
of the others.
GRAND DUCHESS OF GEROLSTEIN. 143
The second act opens with the return of Fritz.
He has been victorious, and at the public reception
given him he tells the story of his adventures.
Subsequently at a tete-a-tete with the Duchess,
she makes open love to him ; but he is so occupied
with thoughts of Wanda that he is insensible to all
her advances, which puts her in a rage. Overhearing
a conspiracy between Puck, Paul, and the deposed
General Bourn against his life, she joins with them,
and the act closes with a wild, hilarious dance.
In the third act Baron Grog, emissary of Prince
Paul's father, appears upon the scene to expedite
the marriage of the Prince to the Duchess. He
joins the conspiracy against Fritz, and so ingratiates
himself with the Duchess that she finally consents
to marry the Prince. In the mean time she coun-
termands the order for Fritz's assassination, and
gives him permission to marry Wanda. The con-
spirators, however, play a practical joke upon Fritz
by a false message summoning him to the battle-
field. He leaves at once on the wedding-night, but
through the connivance of General Bourn is way-
laid and badly beaten. While the betrothal of the
Duchess is being celebrated, Fritz returns in sad
plight, with the sabre which the Duchess has
given him in a battered condition. She adds to
his misfortunes by depriving him of his command
and bestowing it upon Baron Grog, but learning
that he has a family, she reinstates General Bourn.
In the denouement Fritz is restored to his Wanda
and the Duchess marries Prince Paul.
144 THE STANDARD LIGHT OPERAS.
The music is in keeping with the drollery of
the situations, and abounds in vivacity and odd
descriptiveness, defying all accepted laws and
adapting itself to the grotesquerie and extrava-
gance of the action. The principal numbers in
the first act are the pompous " Pif, paf, pouf " song
of General Bourn ; the Grand Duchess' air, " Ah !
I love the Military " (" Ah ! que j'aime les mili-
taires ") ; the regiment song for her and Fritz,
" Oh ! what a Famous Regiment " (" Ah ! c'est un
fameux regiment ") ; the couplets of Prince Paul,
"To marry a Princess" ("Pour epouser une
Princesse ") ; and the famous sabre song, " Lo,
here the Sabre of my Sire " (" Voici, le sabre
de mon pere"). The best numbers of the
second act are Fritz's spirited rondo, "All in
Good Order, Colors flying " (" En tres bon ordre
nous partimes "), in which he tells the story of his
victory ; the romanza " Say to him " (" Dites
lui"), a delightful little song, and so refined that
it hardly seems to belong to the opera ; and the
conspirators' trio, " Max was a Soldier of Fortune "
(" Max e"tait soldat de fortune"), which is irre-
sistible in its broad humor and queer rhythms.
The musical interest really reaches its climax in
the second act. Outside of the chorus work in
the third act, there is little of interest except the
Duchess' ballad, " There lived in Times now long
gone by " (" II e"tait un de mes aieux "), and Fritz'
song to the Duchess, " Behold here, your High-
ness " (" Eh bien, Altesse, me voila ! ").
LA BELLE HELENE. 145
la iSelle {>Henc*
[Opera bouffe, in three acts ; text by De Meilhac and Hal6vy.
First produced at the Theatre des Varietes, Paris, December 17,
1864.]
PERSONAGES.
HELEN, Queen of Sparta.
PARIS, son of PRIAM.
MENELAUS, King of Sparta.
AGAMEMNON, King of the Kings.
CALCHAS, augur.
ACHILLES, King of Phthiotis.
AJAX I., King of Salamis.
AJAX II., King of the Locrians.
ORESTES, son of AGAMEMNON.
BACCHIS, attendant of HELEN.
PARTHCENIS.
LCENA.
PHILOCOMES, servant of CALCHAS.
EUTHYCLES, a blacksmith.
[Princes, princesses, courtiers, HELEN'S attendants,
slaves, etc.]
The scene is laid in Sparta ; time mythical.
IN La Belle Helene " Offenbach goes back to
the mythical period, and presents the heroes of the
time of Helen and Paris in modern burlesque.
The first act opens at the temple of Jupiter in
Sparta, where, among others who have placed their
offerings at his shrine, is Helen. When alone
with Calchas, the augur, they discuss some means
of avoiding the decree of the oracle which has
declared she is to leave Menelaus, her husband,
10
146 THE STANDARD LIGHT OPERAS.
and fly with Paris, son of Priam, to Troy. Before
a decision is reached, Paris, disguised as a shep-
herd, arrives, and soon he and Helen are lovers.
They meet again in a grand tournament in which
the two Ajaxes, Achilles, Agamemnon, and others
announce themselves in the most comic fashion
and guess at conundrums for a prize. Paris wins,
and proclaims his name and lineage, to the delight
of Helen, whose delight is still further enhanced
when the oracle orders Menelaus to set off at once
for Crete.
In the second act Helen struggles against the
decrees of Venus. Paris has an interview with her,
but she will not yield, and he retires. By the aid
of Calchas he secures admission to the chamber
of the slumbering Queen, when Menelaus suddenly
returns and an altercation ensues, during which
Paris defies all the Grecian heroes, and Helen
philosophically informs Menelaus he should have
announced his coming beforehand. Paris again
retreats, and Helen is now in despair.
In the third act Helen and Menelaus have a
family quarrel, and he charges her with being
false. She denies it, and declares he has been
dreaming. Calchas now appears, and announces
that a new augur has been appointed and is on his
way there. A golden galley is seen approaching,
and the new augur is found to be Paris himself.
He brings word that Venus is angry at what has
been going on, but will relent if Helen will return
with him to her shrine and sacrifice white heifers.
LA BELLE HELEN E. 147
She is reluctant to go, but finally decides to obey
the voice of destiny, and sails away with him,
leaving them all behind in grief and Menelaus in
rage.
The dialogue of " La Belle Helene " is very
witty, though coarse at times, and many of the
situations are full of a humorous incongruity and
drollness growing out of the attempt to modernize
these mythological heroes. The music admirably
fits the text, and though not so gay as that of " The
Grand Duchess," yet is fresh, original, and in-
teresting throughout. The chief numbers of the
work are Helen's passionate song of mourning for
Adonis, "Divine Love" ("Amours divins");
Paris' fable, " On Mount Ida, three Goddesses "
("Au Mont Ida, trois deesses"), in which he
tells the well-known apple story ; the march and
chorus, " Here are the Kings of Greece " (" Voici
les rois de la Grece"), in which, one after the
other, they come forward and announce them-
selves in an irresistibly funny manner; Helen's
mock sentimental song, "We all are born with
Solicitude " (" Nous naissons toutes soucieuses ") ;
the droll goose march of the Kings ; a fascinating
chorus, "Let us wreathe Crowns of Roses"
(" En courronnes tressons roses ") ; Helen's song,
" A Husband Wise " (" Un mari sage "), one of
the most characteristic numbers in the opera;
and in the last act Orestes' song, " In spite of this
Ardent Flame " ("Malgre" cette ardente flamme ") ;
the spirited trio, " When Greece has become
148 THE STANDARD LIGHT OPERAS.
a Field of Carnage" ("Lorsque la Grece est un
camp de carnage"); and the final chorus,
"Let now our Wrath" (" Que notre colere"),
which preludes the Trojan war.
rpbcufi.
[Opera bouffe, in three acts ; text by Cremieux. First produced
at the Bouffes Parisiens, Paris, October 21, 1858.]
PERSONAGES.
PLUTO, disguised as ARISTEUS.
JUPITER, King of the Gods.
ORPHEUS, the lutist.
JOHN STYX, the ferryman.
MERCURY, the messenger.
BACCHUS, God of wine.
MARS, God of war.
EURYDICE, spouse of ORPHEUS.
DIANA, Goddess of the hunt.
PUBLIC OPINION.
JUNO, consort of JUPITER.
VENUS, Goddess of love.
CUPID, her messenger.
MINERVA, Goddess of wisdom.
The scene is laid near Thebes ; time, mythical.
THE best musical work of Offenbach undoubtedly
is to be found in his " Orpheus aux Enfers," and
the text which his librettist furnished him is in
keeping with the music. It was a bold as well as
droll conception to invest the Olympian gods and
goddesses with human attributes and make them
symbols of worldly departments of action and
ORPHEUS. 149
official life, to parade them in processions like the
ordinary street pageant, to present them in ban-
quets, to dress them in the most fantastically
individual manner, and to make nineteenth-cen-
tury caricatures of the whole Olympian coterie.
The first scene of the opera discloses Eurydice
in the Theban meadows plucking flowers with
which to decorate the cabin of Aristeus, the
shepherd, who is really Pluto in disguise. Sud-
denly Orpheus appears, not with his tortoise-shell
lyre, but playing the violin and serenading, as he
supposes, a shepherdess with whom he is in love.
His mistake reveals the fact that each of them is
false to the other, and a violent quarrel of the
most ludicrous description ensues, ending in their
separation. He goes to his shepherdess, she to
her shepherd. Shortly afterwards, Aristeus meets
Eurydice in the fields and reveals his real self.
By supernatural power he turns day into night and
brings on a tempest, in the midst of which he bears
her away to the infernal regions, but not before
she has written upon Orpheus' hut the fate that
has overtaken her. When Orpheus returns he is
overjoyed at his loss, but in the midst of his exul-
tation, Public Opinion appears and commands
him to go to Olympus and demand from Jupiter
the restoration of his wife. Orpheus reluctantly
obeys the order.
The second act opens in Olympus, where the
gods and goddesses are enjoying a nap, from which
they are awakened by the blasts of Diana's horn.
150 THE STANDARD LIGHT OPERAS.
Thereupon much slanderous gossip is circulated
amongst them, the latest news discussed being
Pluto's abduction of Eurydice. Pluto himself
shortly comes in, and is at once taxed by Jupiter
with his unseemly behavior, whereupon Pluto re-
taliates by reference to Jupiter's numerous amours
with mortals. This arouses the jealousy of Juno.
Venus, with Cupid's assistance, starts a veritable
riot, which is suddenly interrupted by the arrival
of Orpheus and his guide, Public Opinion. He
demands that his wife shall be restored to him,
and Jupiter not only consents, but agrees to attend
to the matter personally.
The third act finds Eurydice in Hades, carefully
guarded by John Styx. Jupiter is faithful to his
promise, and soon arrives there, but not in his
proper person. He appears in the disguise of a
fly, and allows Eurydice to catch him, after which
he reveals himself. When Pluto comes in, he finds
her transformed into a bacchante of the most
convivial sort. Other deities make their appear-
ance, and finally Orpheus comes sailing up the
Styx, playing his violin, and demanding of Jupiter
the fulfilment of his contract. Jupiter consents,
but makes the condition that he shall return to his
boat, Eurydice following him, and that he must
not look back. Orpheus sets out, but just before
he reaches the boat, the cunning Jupiter launches
a thunderbolt after him, which causes him to turn
and lose Eurydice, much to the disgust of Public
Opinion, but greatly to the edification of Orpheus,
ORPHEUS. 151
who is now at liberty to return to his shepherdess
on the Theban plain.
The most striking numbers in this curious
travesty are the opening aria of Eurydice, as she
gathers the flowers, "Woman that dreams " ("La
femme dont la cceur reve ") ; the pastoral sung
to her by Aristeus, " To see through the Vines "
("Voir vohiger sous les treilles ") ; the fascinat-
ing hunting-song of Diana, " When Diana comes
down the Plain " (" Quand Diane descend dans
la plaine ") ; the characteristic and taking song
of John Styx, "When I was King of Bceotia "
("Quand j'e'tais roi de Beotie "), which in its way
is as striking as the sabre song in "The Grand
Duchess " ; Eurydice's delicate fly-song, " Beauti-
ful Insect, with Golden Wings " ("Bel insecte, a
1'aile doree ") ; the drinking-song in the infernal
regions, " Hail to the Wine " (" Vive le vin ") ;
and Eurydice's vivacious bacchanalian song which
immediately follows it, "I have seen the God
Bacchus " (" J'ai vu le dieu Bacchus ").
PLANQUETTE, ROBERT.
C&e Crimes 0f
[OpeYa comique, in three acts ; text by Clairville and Gabet.
First produced at the Folies Dramatiques, Paris, April 19, 1877.]
PERSONAGES.
SERPOLETTE, the good-for-nothing.
GERMAINE, the lost Marchioness.
SUSANNE.
JEANNE.
HENRI, Marquis of Corneville.
JEAN GRENICHEUX, a fisherman.
GASPARD, an old miser.
BAILLIE, magistrate.
NOTARY.
[Peasants, sailors, servants, waiting-maids, etc.]
The scene is laid in Normandy; time of Louis the Fifteenth.
THE first act of this charming opera, one of
the most popular of its class, opens in an
old Norman village during the progress of a fair.
Henri, the Marquis of Villeroi, who has been an
exile since childhood, has just returned. The
first scene discloses a number of village gossips
who are retailing scandals about Serpolette, the
good-for-nothing, who arrives in time to vindi-
cate herself and retaliate upon the gossips. Gas-
THE CHIMES OF NORMANDY. 153
pard, the miser, lias arranged to give his niece
Germaine in marriage to the sheriff, who is the
chief dignitary in the village. Germaine, however,
objects to the proposition, since if she marries at all
she claims she must marry Jean Grenicheux, a
young fisherman, in gratitude for saving her life.
To escape the marriage she and Jean become the
servants of the Marquis, and are joined by Serpo-
lette, which is one of the privileges of fair-time.
The second act is occupied with the exposure
of the ghosts in the castle of Villeroi. The Mar-
quis is confident that there is nothing supernatural
about the apparition which has been seen or the
sounds which have been heard in the various apart-
ments. He therefore introduces his servants into the
castle, and after careful searching discovers that the
ghost of Villeroi is old Gaspard, the miser, who,
when he is found out, becomes crazy through fear
of losing treasures which are concealed there.
In the last act the castle is restored to its old
splendor, and the Marquis takes possession as mas-
ter. He gives a fete and the villagers are invited,
the crazy Gaspard being among them. Serpolette
appears as a grand lady with Jean as her factotum,
some papers found in the castle indicating she is
the lost heiress. After a love scene between Henri
and Germaine, however, Gaspard, who has recov-
ered his reason, discloses that Germaine, and not
Serpolette, is the rightful heiress and the true claim-
ant to the title of marchioness. All the compli-
cations are now unravelled. Gaspard's treasure is
154 THE STANDARD LIGHT OPERAS,
restored to its rightful owner. Germaine comes
to her rights, and Serpolette remains with her as her
friend.
The music of the opera is delightful throughout,
and has scarcely a dull moment. Its most con-
spicuous numbers are Serpolette's rondo, " In my
Mysterious History " ; a delightful little fantaisie,
"Go, Little Sailor"; the legend of the chimes,
" Alas ! we have lost Excellent Masters " ; Henri's
grand aria, " I have thrice made the Tour of the
World " ; and his couplets, " Under the Armor from
Top to Toe " ; Serpolette's sprightly aria, " Viscoun-
tess and Marchioness " ; the chorus with the chimes,
a most graceful and interesting number closing the
second act ; and in the last act Gaspard's quaint
old Norman song, " We were full Five Hundred
Rogues " ; Serpolette's rondo, " The Apple 's a
Fruit full of Vigor " ; and Henri's romance, " A
Servant, what Matter to me? "
RICCI, LUIGI.
Crtepino.
[Opera buffa, in three acts ; text by Piave. First produced in
Venice, in 1850.]
PERSONAGES.
ANNETTA, the cobbler's wife.
LA COMARE, the fairy.
CRISPING, the cobbler.
IL CONTINO, the Count.
DR. FABRIZIO.
DR. MlROBOLANTE.
DON ASDBUBAL.
LlSETTA.
[Clerks, waiters, servants, etc.]
The scene is laid in Venice ; time, the last century.
THE first act of this charming little fairy
opera opens with a unison chorus of apothe-
cary's apprentices, "Thump, thump" (" Batti,
batti "). Crispino, a poor cobbler, over head
and ears in debt, whose wife Annetta tries to
help him out by ballad singing, is seated at his
bench at work in front of his house. In the
intervals of the chorus the Count, who figures
in a side plot, sings a beautiful romanza, " Thou
Beauteous as an Angel art " (" Bella siccome un
angelo"). Then Crispino bewails his hard fortune
in a quaint melody, " Once a Cobbler" (" Una volta
156 THE STANDARD LIGHT OPERAS.
un ciabattino "), after which Annetta introduces
herself with a canzonetta, " My Pretty Tales and
Songs " (" Istorie belle e leggere "), leading up to
a minor duet between them. In the sixth scene a
buffo aria, "I am a Bit of a Philosopher " (" lo
sono un po' filosofo ") is sung by Dr. Fabrizio.
At last Crispino gets into such desperate straits
that he resolves to make way with himself. He is
about to jump into a well when a fairy appears
and dissuades him, at the same time giving him a
purse of gold and offering to set him up in business
as a doctor, telling him he must look about him
whenever he has a patient, and if she is not present
he will be successful. The act closes with a duet
for Crispino and Annetta, " Since you have found
a Fairy" ("Troffo so, basta per ova").
The second act discloses Crispino in the midst
of a flourishing business, and the delighted Annetta
sings a joyous little melody, " I no longer am
Annetta " (" lo non sono piu 1' Annetta ") . A work-
man who has met with an accident is brought to
Crispino for treatment, and as the fairy is not
present he is successful. The musical treatment
of the healing scene is worked up with great skill.
It begins with a baritone solo, leading up to a
duet with soprano and chorus accompaniment. A
sextette then takes up the theme, and in the close
all on the stage give it with impressive effect. A
broadly humorous but very melodious trio of the
doctors follows, " Sirs, what means this Quarrel ? "
("Ma Signori, perche tantes questione?"). In
CRISPING. 157
the next scene Annetta sings the pretty Fritola
song, "Pietro, Darling, this Cake so Tempting"
(" Piero mio, go qua una fritola "), in which she
boasts the merits of a cake she has made for the
Carnival. Meanwhile Crispino grows so puffed up
with his wealth that when Annetta invites some
old friends to the house he drives them out, and is
about to strike Annetta when the fairy suddenly
appears.
In the last act the fairy has taken Crispino to
a cavern, where she shows him crystal vases in
which more or less brilliant lights are burning.
She tells him that each represents a human life.
The one burning so brightly is Annetta's, the one
so dimly is his own. When he asks her to take
some oil out of Annetta's lamp and put it into
his, she upbraids him, reveals herself as death, and
tells him to make his last request, for he is about
to die. In a doleful ballad, " Little I ask, Dearest
Fairy" ("Poco cerco, O mia Comare"), he asks
for only a half-hour more, so that he may see
Annetta and the children. A sudden change of
scene shows him in his own house, awaking from
sleep in his chair. As he realizes that it has been
only a nightmare, occasioned by a sudden fit of
illness, he expresses his delight and Annetta ex-
presses her joy in a brilliant waltz movement,
" There's no Joy that e'er hath given me " (" Non
ha gioja in tal Momento "), which closes the
opera.
ROSSINI, GIOACHINO ANTONIO.
barber of
[Opera buffa, in two acts ; text by Sterbini. First produced at
the Argentina Theatre, Rome, February 5, 1816.]
PERSONAGES.
ROSINA, ward of DR. BARTOLO.
BERTA.
FIGARO, the barber.
COUNT ALMAVIVA, lover of ROSINA.
DR. BARTOLO.
BASILIO, a music-master.
[Officers, soldiers, etc.]
The scene is laid in Seville ; time, the eighteenth century.
THE story and the music of "The Barber
of Seville " are as fresh and delightful as
when the opera was first produced eighty-six
years ago. Its story is almost as familiar as house-
hold words, and no music has been more popu-
lar on the operatic stage than its gay, brilliant
arias. Count Almaviva loves Rosina, the ward
of Dr. Bartolo, who wishes to marry her him-
self, but the Count is unable to get an inter-
view with her until it is arranged for by Figaro,
the factotum of the place. In spite of Bartolo's
watchfulness, as well as that of Don Basilio,
THE BARBER OF SEVILLE. 159
her music-teacher, who is only too willing to
serve Bartolo, she succeeds in writing to the
Count and telling him that his love is returned.
With Figaro's help the Count gets into the house
disguised as a drunken dragoon, but is promptly
arrested. The next time he secures admission as
a music-teacher upon the pretence that Don
Basilio is sick, and has sent him to give Rosina her
lesson. He further hoodwinks Bartolo by produc-
ing the letter Rosina had written to himself, and
promises to persuade her that the letter has been
given him by a mistress of the Count, which will
break the connection between the two. He
secures the coveted interview, and an elopement
is planned. The unexpected appearance of Don
Basilio, however, upsets the arrangements, and the
disconcerted lover makes good his escape. In the
mean time Bartolo, who has the letter, shows it to
his ward and arouses her jealousy. She thereupon
promises to marry her guardian. At the time set
for the elopement, the Count and Figaro arrive.
A reconciliation is speedily effected, and the Count
and Rosina are married just as Bartolo makes his
appearance with officers to arrest the Count.
After mutual explanations, however, all ends
happily.
The opera opens, after a short chorus, with the
Count's serenade, " Lo, smiling in the Orient Sky "
(" Ecco ridente in cielo"), one of the most beauti-
ful numbers in the opera. In the second scene
Figaro sings the lively and well-known buffo aria,
160 THE STANDARD LIGHT OPERAS.
" Make Room for the Factotum " (" Largo al fac-
totum "). A light and lively duet between Figaro
and the Count leads up to the chamber aria of
Rosina, " The Voice I heard just now " (" Una
voce poco fa"), which is not only very expressive
but remarkably rich in ornamentation. In the next
scene occurs the calumny aria, " Oh ! Calumny is
like the Sigh" (" La Calunnia e un venticello ").
It is followed by a florid duet and a dialogue be-
tween Rosina and Bartolo, closing with the bass
aria, "No longer conceal the Truth" ("Non piu
tacete "). The finale is composed of three scenes
full of glittering dialogue and melodious passages.
The second act opens with a soliloquy by Bar-
tolo, interrupted by a duet with the Count. The
music-lesson scene follows in which the artist
personating Rosina is given an opportunity for
interpolation. In the next scene occurs a dialogue
quintette, which is followed by a long aria for Ber-
tha, " There is always Noise " (" Sempre gridi "),
which the Italians called the " aria de sorbetto," as
they used to eat ices while it was sung. In the
eighth scene, after a long recitative, an instrumen-
tal prelude occurs, representing a stormy night,
followed by recitative in which the Count reveals
himself, leading up to a florid trio, and this in
turn to the elegant terzetto, " Softly, softly, no
Delay" ("Zitti, zitti, piano, piano"). A bravura
and finale of light, graceful melody close the opera.
SOLOMON, EDWARD.
33tUee Captor.
[Nautical comic opera, in two acts; text by Stephens. First
produced in London in 1880.]
PERSONAGES.
FELIX FLAPPER, R. N., Captain of " H. M. S. Thunder-
bomb."
SIR MINCING LANE, knight.
BILLEE TAYLOR.
BEN BARNACLE.
CHRISTOPHER CRAB, tutor.
PHCEBE FARLEIGH, a charity girl.
ARABELLA LANE, heiress.
ELIZA DABSEY.
SUSAN.
JANE SCRAGGS.
[Villagers, peasants, sailors, press gang, etc.]
The scene is laid in Southampton, England; time, the year 1805.
story of " Billee Taylor " is based upon
A an old English marine ballad of the same
name. The first act opens at the inn of the
Royal George in Southampton, where the villagers
have gathered to celebrate the wedding of Billee
Taylor and Phoebe Farleigh, a charity girl. The
heiress, Arabella Lane, is also in love with Billee,
and has offered him her hand, which he has
l'62 THE STANDARD LIGHT OPERAS.
rejected. Her father, Sir Mincing Lane, is going
to give the villagers a feast upon the occasion of
Billee's wedding, and invites his friend, Captain
Flapper, to attend. The captain accepts, falls in
love with Phoebe at sight, and vows Billee shall
not marry her. Crab, the tutor, is also in love
with Phoebe. In Captain Flapper's crew is Bill
Barnacle, who went to sea " on account of Eliza,"
who had been unfaithful to him, and he is ordered
by the press gang to carry Billee away, which he
does during the wedding festivities.
The second act opens at Portsmouth, two years
supposedly having elapsed. All the charity girls,
among them Phoebe, disguised as sailors, followed
Billee to sea, who in the mean time has risen to a
lieutenancy. Arabella forces her attentions upon
him and he is inclined to yield. At this juncture
Phoebe, still seeking her lover, turns up as a com-
mon sailor answering to the name of Richard Carr.
Captain Flapper in her presence mentions that he
is in love with her, also that Billee is about to
marry Arabella. Sir Mincing Lane, now a com-
mander of volunteers, endeavors to persuade some
of the sailors to join him, and Phoebe offers her-
self as a recruit, but is claimed as a messmate by
Barnacle, which leads to a quarrel. Crab then
incites Phoebe to revenge herself upon her recreant
lover, and she fires at him, but the shot hits Crab.
She is arrested and is about to be executed, but is
released when she declares herself a woman. In
the end Billee is disrated, but marries Arabella.
BILLEE TAYLOR. 163
Barnacle secures his Eliza. Phoebe marries the
captain, and is made full lieutenant of the
"Thunderbomb."
" Billee Taylor " is essentially a ballad opera.
The best of the ballads are "The Virtuous
Gardener," in which Billee describes the ethical
pleasures of gardening; "The Two Rivers," sung
by Phoebe, Susan, and chorus; "The Self-made
Knight," by Sir Mincing Lane, which resembles
Sir Joseph Porter's song in the first act of
" Pinafore " (" When I was a Lad I served a
Term") ; Phoebe's sentimental song, "The Guile-
less Orphan " ; Barnacle's well-known song, " All
on account of Eliza " ; Crab's humorous ditty,
"The Poor Wicked Man"; Angelina's sentimental
" Ballad of the Billow " ; and Captain Flapper's
disquisition on love in the interrogative song, " Do
you know why the Rabbits are caught in the
Snares?"
^
SOUSA, JOHN PHILIP.
1 Capttan.
[Comic opera, in three acts ; text by Klein. First produced at
the Tremont Theatre, Boston, April 13, 1896.]
PERSONAGES.
MEDIGUA, Viceroy of Peru.
CAZARRO, deposed viceroy.
Pozzo, secretary of MEDIGUA.
VERRADA, in love with ISABEL.
SCARAMBA, an insurgent.
ESTRELDA, CAZARRO'S daughter.
MARGHANZA, MEDIGUA'S wife.
ISABEL, her daughter.
[Troops, insurgents, peasants, etc.]
The scene is laid in Peru ; time, the eighteenth century.
AT the opening of the story Cazarro, viceroy
of Peru, has been deposed by the King
of Spain, and Medigua has been appointed in
his stead. Cazarro incites a revolution, and sends
to Spain for El Capitan, a noted soldier, to come
to his help. He sails on the same ship with
Medigua, in the disguise of a seaman, but is
killed in a quarrel on board. Medigua finds
out who he was, and when he lands, discovering
that his faction is in a hopeless minority, he pro-
EL CAPITA N. 165
claims himself El Capitan and joins the rebels.
To further his scheme he induces his secretary,
Pozzo, to represent the Viceroy. Among the
other characters are Scaramba, a revolutionist in
love with Estrelda, daughter of Cazarro ; the Prin-
cess Marghanza, wife of Medigua; her daughter
Isabel ; and Count Verrada, who is in love
with her. Estrelda falls in love with the pseudo
El Capitan, which arouses Scaramba's jealousy.
Pozzo is thrust into prison, much to the grief
of the Princess and of Isabel, who believe him
to be Medigua. After the arrival of the Spanish
troops, however, Medigua declares himself. The
rebellion is squelched, all are pardoned, and every-
thing ends happily.
The principal numbers of the first act are a
pretty drinking-song for the chorus; a solo for
Medigua, " If you examine Human Kind," followed
by a dialogue and leading up to an aria for
Estrelda, "When we hear the Call for Battle,"
with chorus in march time ; a second march, " In
me you see El Capitan," which heralds Medigua's
entrance ; the chorus, " Lo, the Awful Man ap-
proaches " ; and the solo and chorus, " Bah, bah,"
closing the act. The second act opens with a
march song, " Ditty of the Drill," which is shortly
followed by an effective scene in which a mournful
accompaniment representing the grief of Mar-
ghanza and Isabel, and a festive accompaniment
setting forth the exultation of Estrelda and her
companions as they bind El Capitan with garlands
1 66 THE STANDARD LIGHT OPERAS.
of roses, are interwoven. As the Princess dis-
covers Medigua in El Capitan, a quarrel duet fol-
lows between her and Estrelda, leading up to a
pompous military finale, as the Spanish troops
appear. The leading numbers of the third act
are a serenade and duet for Verrada and Isabel ;
a song by the tipsy Medigua, " The Typical Tune
of Zanzibar," which is the most popular number in
the opera ; and a final march with chorus.
STRAUSS, JOHANN.
Jfterr?
[ Ope"ra comique, in three acts ; text by Zell and Gene"e. First
produced in Vienna, November 25, iSSi.]
PERSONAGES.
COUNTESS VIOLETTA. ELSE, wife of GROATS.
COL. UMBERTO. SPIUZZI.
DUKE DE LIMBURG. FRANCHETTI.
BALTHASAR GROATS, dealer in BIFFI.
tulip bulbs.
[Soldiers, citizens, etc.]
The scene is laid in Genoa ; time, the eighteenth century.
THE " merry war " is not a very serious one,
as may be inferred from its title. It is a
quarrel between two petty states, Genoa and Massa
Carrara, growing out of the fact that a popular
dancer has made simultaneous engagements at
the theatres of each. Both claim her, and the
question at issue is at which theatre the dancer
shall appear. One harmless hand grenade is
thrown from either side with monotonous regu-
larity each day, and the " merry war " is without
interesting incident until the pretty Countess Vio-
letta appears in one of the camps. She is seeking
to make her way in disguise into the city of the
other camp, to take command of the citadel.
1 68 THE STANDARD LIGHT OPERAS,
Umberto, the colonel commanding, is deceived
by her, and allows her to pass through the lines.
When informed of the deception he determines to
take his revenge by marrying her. Understanding
that she is to marry the Duke de Limburg by
proxy, he impersonates the Duke and is married
to Violetta without arousing her suspicions. He
is assisted in his scheme by Balthasar Groats, a
Dutch speculator in tulip bulbs, whom the soldiers
have arrested, thinking him a spy, and who is
naturally willing to do anything for the Colonel
to get him out of his predicament. Complications
arise, however, when Groats' wife appears and
becomes jealous, also because of Violetta's an-
tipathy towards her supposed husband and her
affection for Umberto. All these matters are
arranged satisfactorily, however, when there is an
opportunity for explanation, and a treaty of peace
is signed between the two states, when it is found
that the cause of the " merry war " will not keep
her engagement with either theatre.
The music of " The Merry War " is light and
gay throughout. Like all the rest of the Strauss
operas, it might be said that it is a collection of
marches and waltzes, and a repetition of dance
music which has done good service in ballrooms,
strung upon the slight thread of a story. Its most
taking numbers are Umberto's couplets, " Till now
no Drop of Blood " ; Balthasar's comical song,
" General, ho ! " and his tulip song, " From Hol-
land to Florence in Peace we were .going " ; Vio-
THE QUEEN'S LACE HANDKERCHIEF. 169
letta's arietta, "In vain I cannot fly" ; the dainty
duet for Violetta and Umberto, "Please do";
Else's romantic song, " I wandered on " ; the en-
semble and Dutch song by Artemisia, " The much
Admired One " ; Umberto's love song, " The Night
begins to creep " ; Violetta's song, " I am yet
Commander for To-day," leading to a terzetto and
spirited final chorus, " Of their Warlike Renown."
tteen'a lace |)anUfcerci)tef.
[Op6ra comique, in three acts; text by Gen6e and Bohrmann-
Riegen. First produced at Vienna, October 2, 1880.]
PERSONAGES.
THE KING.
THE QUEEN.
DONNA IRENE, the Queen's confidante.
MARQUIS OF VILLAREAL.
CERVANTES, poet.
COUNT VILLABOISY RODERIGUEZ, Prime Minister.
DON SANCHO DE AVELLANEDA, tutor to the King.
MARQUIS DE LA MANCHA VILLAREAL, Minister of War.
DUKE OF FERIA, Minister of Finance.
COUNT SAN GREGORIO, Minister of the Interior.
COUNT ERMOS, Minister of the Navy.
DON DIEGO DE BARADOS, Minister of Police.
DANCING-MASTER.
MASTER OF CEREMONIES.
ANTONIO, innkeeper.
[Students, doctors, ladies and gentlemen of the court,
toreadors, brigands, etc.]
The scene is laid in Portugal ; time, the year 1570.
THE romance of the story of " The Queen's Lace
Handkerchief" has helped to make this opera one
170 THE STANDARD LIGHT OPERAS.
of the most popular of Strauss' works. The action
begins at a time when Portugal is ruled by a minis-
try whose premier is in league with Philip II. of
Spain, and who, to keep possession of power, has
fomented trouble between the young Queen and
King, and encouraged the latter in all kinds of dis-
sipations. At this time Cervantes, the poet, who
has been banished from Spain, is a captain in the
Royal Guards, and in love with Irene, a lady in
waiting. These two are good friends of both the
King and Queen, and are eager to depose the minis-
try. Cervantes is reader to the Queen, and the
latter, having a sentimental attachment for him,
writes upon her handkerchief, "A queen doth
love thee, yet art thou no king," and placing it
in a volume of " Don Quixote," hands it to him.
The book is seized, and as " Don Quixote " is
Minister of War and "Sancho Panza" Minister of
Instruction, Cervantes is arrested for libel and trea-
son. Irene and the King, however, save him by
proving him insane, and the King and Queen ascend
the throne. In desperation the premier hands the
King the handkerchief with the inscription on it,
which leads to the re-arrest of Cervantes and the
banishment of the Queen to a convent. Cervantes
escapes, however, and joins some brigands. They
capture the Queen on her way to the convent, and
in the disguise of the host and waiting-maid of an
inn, they serve the King, who happens there on a
hunting-trip. Everything is satisfactorily accounted
for, and the inscription on the handkerchief is ex-
QUEEN' INDIGO. 171
plained as a message which the Queen sent to the
King by Cervantes.
The music is light and brilliant. Much of it is
in the waltz movement, and the choral work is a
strong feature. Its best numbers are the Queen's
humorous romanza, " It was a wondrous Fair and
Starry Night"; another humorous number, the
King's truffle song, " Such Dish by Man not oft is
seen" ; the epicurean duet for the King and premier,
" These Oysters are great " ; Cervantes' recitative,
"Once sat a Youth," in the finale of the first
act : a dainty little romanza for Cervantes, " Where
the Wild Rose sweetly doth blow " ; the trio and
chorus, "Great Professors, Learned Doctors " ; the
fine duet for the King and Cervantes, "Brighter
Glance on him shall repose " ; Sancho's vivacious
couplet, " In the Night his Zither holding " ; the
Queen's showy song, " Seventeen Years had just
passed o'er me " ; and the two closing choruses,
" Now the King all hail," in march time, and the
Bull-fight, which is full of dash and spirit.
[Op6ra comique, in three acts ; text by Jaime and Wilder. First
produced in Vienna, February 10, 1871.]
PERSONAGES.
MONTADADA I., widow of King INDIGO.
FANTASCA, the late King's favorite.
JAN 10, the late King's jester.
ROMADOUR, chief of the eunuchs.
172 THE STANDARD LIGHT OPERAS.
BABAZOUCK, fruit and vegetable vender.
MYSOUF, general-in-chief.
[Inmates of the harem, eunuchs, cooks, courtiers, sol-
diers, sailors, etc.]
The scene is laid in Asiatic Turkey ; time, the last century.
AT the opening of the opera King Indigo has
just died, and his widow, Montadada I., decides
to sell the harem. Fantasca, a beautiful slave,
who was the favorite of the King, is included
among those to be sold, and Romadour, chief of
the eunuchs, resolves to secure her. Fantasca is
in love with Janio, the King's jester, of her own
country. Queen Montadada is also in love with
him, and has chosen him for her second husband,
but he prefers Fantasca. The two contrive a
cunning plot for the escape of the entire harem.
Janio informs the Queen that one of her tribes
has revolted, and as her troops are all sick he pro-
poses that the women be armed and that he be
placed in command. She accepts the proposal,
and promises that the victor " shall choose the
woman he loves, did she even wear a crown,"
not doubting Janio will select her, but, much
to her chagrin, he announces Fantasca as his
choice.
The second act discloses the Amazon army
with Janio and Fantasca at its head. The Queen
also accompanies them, still bent upon securing
Janio's love. At the first alarm the troops fly in
all directions, and the Queen, suspicious that some-
thing is wrong, scours the woods for Janio, who
Q UEEN INDIGO. 1 73
makes his escape by changing clothes with Baba-
zouck, a fruitTvender. The Queen meanwhile
arrays herself in male attire, so that she may com-
pete in physical attractions with Fantasca. She
furthermore gets into a semi-drunken condition,
but recognizes the cheat when Babazouck is
brought before her. Immediately thereafter she
falls into a drunken stupor. Romadour also
comes in intoxicated, and mistaking her for Fan-
tasca, sings to her, " O, my Queen, I love you,"
in a deep bass voice. The act closes with the
two sleeping side by side, and the women of the
harem carrying off the royal treasures.
In the last act Janio, Fantasca, and the other
slaves are preparing for flight, when the Queen
and Romadour enter. The former announces she
no longer loves Janio, but the man who had de-
clared, " Oh, my Queen, I love you." At her
request Romadour repeats the remark, but this
time in a high falsetto voice which she does not
recognize. Subsequently he changes his mind,
after hearing of Fantasca's prowess in battle, and
exclaims, " O, my Queen, I love you," in the bass
voice. The Queen promptly claims him for her
husband and he acquiesces. She then orders
Janio and Fantasca to be sold, but Romadour
intercedes in their behalf, and she banishes
them.
Like all the Strauss operas, "Queen Indigo" is
full of charming waltz music, comprising, in addi-
tion to many novelties, several of his old-time
174 THE STANDARD LIGHT OPERAS.
favorites. The most effective vocal numbers are
the trio, "What Dark Forebodings" (" Quel
sombre et noir presage"); Fantasca's couplets,
" A Model Soldier " (" Cavalier modele "), and her
song, "Woman is a Cunning Bird " ("La femme est
un oiseau subtil") ; the waltz song, "Oh ! Mad-
dening Flame " (" O flamme cuivrante ") ; the
characteristic Tyrolienne, " Youpla ! why, Fond
Lover" ("Youpla, pourquoi, bel amoureux") ;
and the " Blue Danube " chorus of the sailors, in
the last act.
(Die Fkdermaus.)
[Ope"ra comique, in three acts; text by Haffner and Gene'e.
First produced in Vienna, July, 1874.]
PERSONAGES.
EISENSTEIN. A LI BEY, an PZgyptian.
ALFRED, singing-master. MURRAY, an American.
FROSCH, court usher. CANCORNEY, a Marquis.
FRANK, prison director. ROSALIND, wife of EISENSTEIN.
DR. BLIND, attorney. PRINCE ORLOFSKY.
DR. FALKE, notary. ADELE, ROSALIND'S maid.
IVAN, Prince Chamberlain. LORD MIDDLETON.
[Dancers, masqueraders, etc.]
The scene is laid in Germany ; time, the last century.
STRAUSS' "Die Fledermaus," or "The Bat," is
founded upon Meilhac and Hale"vy's " Le Re-
villon." In music it is Viennese ; in dramatic
effect, it is French. The scene opens with Adele,
THE BAT. 175
maid of the Baroness Rosalind, seeking permis-
sion to visit her sister Ida, a ballet-dancer, who
is to be at a masked ball given by Prince Orlof-
sky, a Russian millionaire. She receives permis-
sion, and after she has gone, Dr. Falke, a notary,
who has arranged the ball, calls at the house of
the Baron Eisenstein, and induces him to go to
it before going to jail, to which he has been sen-
tenced for contempt of court. The purpose of
the doctor is to seek revenge for his shabby treat-
ment by the Baron some time before at a mas-
querade which they had attended, Eisenstein
dressed as a butterfly, and Falke as a bat. The
doctor then notifies the Baroness that her husband
will be at the ball. She thereupon decides that
she will also be present. An amusing scene
occurs when the Baron seeks to pass himself off
as a French marquis, and pays his devotions to the
ladies, but is quite astonished to find his wife there,
flirting with an old lover. There are further com-
plications caused by Falke, who manages to have
Alfred, the singing-master, in the Baroness' apart-
ments when the sheriff comes to arrest the Baron,
and arrests Alfred, supposing him to be Eisen-
stein. In the last act, however, all the compli-
cations are disentangled, and everything ends
happily.
It would be impossible to name the conspicuous
numbers in this animated and sprightly work with-
out making a catalogue of them all. The opera
is a grand potpourri of waltz and polka motives
176 THE STANDARD LIGHT OPERAS.
and fresh, bright melodies. The composer does
not linger long with the dialogue, but goes from
one waltz melody to another in a most bewildering
manner, interspersing them with romanzas, drink-
ing-songs, czardas, an almost endless variety of
dance rhythms and choruses of a brilliant sort. It
is a charming mixture of Viennese gayety and
French drollery, and, like his " Roman Carnival "
and " Queen Indigo," is the very essence of the
dance.
STUART, LESLIE.
jFIorotrora*
[Musical comedy, in two acts ; text by Hall. First produced
in London, November n, 1899.]
PERSONAGES.
CYRUS W. GILFATN, proprietor of the island of Florodora.
CAPT. ARTHUR DONEGAL, Lady HOLYROOD'S brother.
FRANK ABERCOED, manager for Mr. GILFAIN.
LEANDRO, overseer.
ANTHONY TWEEDLEPUNCH, phrenologist.
DOLORES.
VALLEDA, maid to Lady HOLYROOD.
ESTELLE LAMONT, stenographer.
ANGELA GILFAIN.
LADY HOLYROOD.
[Florodorean farmers, flower-girls, peasants, etc.]
The scene is laid in the island of Florodora and Wales ; time,
the present.
FLORODORA," the title of a musical comedy
which has had extraordinary success both in
England and the United States, is the name of an
island and a perfume. The island has been stolen
by Cyrus Gilfain, the manufacturer of the perfume,
from its rightful owner, whose daughter Dolores
works in his factory. He is anxious to marry the
girl, so that he may retain possession of the island,
1 78 THE STANDARD LIGHT OPERAS.
but she is in love with Abercoed, the chief clerk,
who in reality is Lord Abercoed. The conspicu-
ous comedy element of the work is supplied by
Tweedlepunch, a detective, who arrives at the
island in Gilfain's absence, disguised as a phre-
nologist and palmist, in search of the real owner's
daughter. When Gilfain returns he is accompa-
nied by Lady Holyrood, a London society woman,
who is scheming to marry him. Lady Holyrood's
brother, meanwhile, is in love with Angela, Gilfain's
daughter. Gilfain, rinding that Tweedlepunch is
a phrenologist, bribes him to decide, after exam-
ination, that he and Dolores must wed, and that
Abercoed, whom he has learned is a peer, must
marry his daughter Angela. The scheme does
not satisfy any one but Gilfain, and, least of all,
Lady Holyrood, who bribes Tweedlepunch again
to decide that she and Gilfain must marry. Aber-
coed refuses to marry Angela, is discharged by
Gilfain, and goes back to England with the inten-
tion of returning later for Dolores.
The second act opens in the grounds of Aber-
coed Castle in Wales, which has been bought by
Gilfain, who refuses to admit his former clerk.
He manages to get in, however, in company with
Tweedlepunch and Dolores, and Tweedlepunch,
by a story of the ghost of an ancient Abercoed
which has threatened dreadful things will happen
to Gilfain, so terrifies him that he confesses his
villainy, and all ends happily. Gilfain finally mar-
ries Lady Holyrood, Donegal and Angela and
FLORODORA. 179
Abercoed and Dolores are also married, and the
castle is restored to the rightful owner.
The music of " Florodora " is light and catchy,
but though original of its kind, the work would
hardly have achieved its remarkable vogue had it
not been for its brilliant stage setting, dances, and
the extravagant comedy role of Tweedlepunch.
The best numbers in the first act are the sextette,
" The Credit due to me," by the clerks and
chorus; the song, " When I leave Town," by Lady
Holyrood ; and Abercoed's sentimental song, " In
the Shade of the Sheltering Palm," the only
serious and musicianly number in the work. The
principal numbers of the second act are Lady
Holyrood's topical song "Tact," and "I've an
Inkling" ; Angela's clever song, "The Fellow
who might " ; Donegal's song, " I want to be a
Military Man" ; the grotesque song and dance by
Leandro and Valleda, " We get up at 8 A. M. " ;
and the double sextette, " Tell me, Pretty Maiden,"
which is cleverly constructed and has a fascinating
rhythm.
SULLIVAN, ARTHUR.
Cop anfc
[Comic operetta, in one act and seven tableaux ; text by Bur-
nand. First produced at the Adelphi Theatre, London, 1867.]
PERSONAGES.
JAMES JOHN Cox, a journeyman hatter.
JOHN JAMES Box, a journeyman printer.
SERGT. BOUNCER, late of the Hampshire Yeomanry.
The scene is laid in London ; time, the present.
COX and Box "is of interest because it is the
germ from which sprang the long list of
Sullivan's charming comic operas. Burnand, the
author of the libretto, has told the story of how
they came to write this little operetta. They had
been to a private performance of Offenbach's
" Les deux Aveugles," and, Burnand wishing to
present something of the same kind to a party
of his own friends, the notion suddenly occurred
to him of turning Morton's well-known farce
of " Box and Cox " into an opera. Sullivan
took to the plan enthusiastically. Burnand re-
versed the title to " Cox and Box," and turned
Mrs. Bouncer into Sergeant Bouncer, so as to
admit of a martial air. They had but three weeks
before them, but at the end of that time the work
COX AND BOX. 181
was finished, Sullivan setting the music with almost
incredible rapidity. It made such a great hit
that it was decided to give it publicly, and at
the last moment the composer wrote an overture
for it.
The story is the familiar old one which as
" Box and Cox " was for so many years and
still is such a favorite on the stage. It turns upon
the funny experiences of Cox, the hatter, and
Box, the printer, who are occupying the same
room, the one by night and the other by day,
unbeknown to each other, and for which Sergeant
Bouncer gets double rent. At last they meet in
the room which each one claims as his own.
After a ludicrous dispute they gradually become
reconciled to each other, but another dispute
ensues when Cox finds that the widow Penelope
Ann, whom he is about to marry, has been deserted
by Box, the latter pretending to have committed
suicide to get rid of her. Cox insists upon restor-
ing Box to the arms of his intended, but Box
declines his generous offer. Then they agree to
decide by lot which shall have her, but each
tries to cheat the other. The situation resolves
itself satisfactorily when a letter comes to Cox from
Penelope Ann, announcing that she has decided
to marry Knox. They give three cheers for
Knox, and Bouncer closes the scene with a joyous
rataplan in which all three join.
The situations are extremely humorous through-
out, and the action moves briskly. Though Sulli-
1 82 THE STANDARD LIGHT OPERAS.
van wrote the music in great haste, it is in penect
keeping with the fun of the farce and keeps up
its interest to the end. The principal numbers
are Bouncer's rataplan song, " Yes, in those Merry
Days," and his duet with Cox, " Stay, Bouncer,
stay " ; Cox's joyous song, " My Master is punc-
tual always in Business," with its dance at the end
of each stanza ; the characteristic serenade, " The
Buttercup dwells in the Lowly Mead " (Cox) and
" The Floweret shines on the Minaret Fair "
(Box) ; Box's solemn description of his pretended
suicide, " Listen ! I solemnly walked to the Cliff " ;
and the finale by the jolly triumvirate with the
" rataplan."
Crtal fcp Jttrp*
[Operetta, in one act ; text by Gilbert. First produced at the
Royalty Theatre, London, March 25, 1875.]
PERSONAGES.
LEARNED JUDGE.
PLAINTIFF.
DEFENDANT.
COUNSEL FOR THE PLAINTIFF.
USHER.
FOREMAN OF THE JURY.
ASSOCIATE.
FIRST BRIDESMAID.
[Barristers, attorneys, journeymen, and bridesmaids.]
The scene is laid in a London Court of Justice; time, the
nineteenth century.
THE little operetta, "Trial by Jury," was the
first result of the successful collaboration of
TRIAL BY JURY. 183
Gilbert and Sullivan, though it gave little hint
of the extraordinary excellence as well as popu-
larity of the long list which followed it. " The
words and music were written and all the rehear-
sals completed within three weeks, and all London
went to see it," says Sullivan's biographer. It
was produced March 25, 1875, and had quite
a run, Frederick Sullivan, Sir Arthur's brother,
appearing in the role of the judge and contrib-
uting much to its success.
The story is a satire upon the English courts,
the incident being a breach of promise case.
Edwin is sued by Angelina. The usher impresses
upon the jury its duty to divest itself of prejudice
in one breath, and in the next seeks to prejudice it
against the defendant by most violent denuncia-
tions of him. When Edwin enters he is at once
requested by the jury to "dread our damages."
He tells them how he became " the lovesick boy "
first of one and then of another. The jurymen in
chorus, while admitting that they were fickle when
young, declare that they are now respectable and
have no sympathy with him. The judge enters,
and after informing the audience how he came
to the bench, announces he is ready to try the
breach of promise case. The jury is sworn. Ange-
lina enters, accompanied by her bridesmaids. The
judge takes a great fancy to the first bridesmaid,
and sends her a note, which she kisses rapturously
and places in her bosom. Immediately there-
after the judge transfers his admiration to the
184 THE STANDARD LIGHT OPERAS.
plaintiff, and directs the usher to take the note
from the bridesmaid and give it to Angelina,
which he does, while the jurymen taunt the judge
with being a sly dog, and then express their love
for her also. The plaintiff's counsel makes the
opening speech, and Angelina takes the witness-
stand, but, feeling faint, falls sobbing on the fore-
man's breast, who kisses her as a father. She
revives, and then falls sobbing upon the judge's
breast, while the jurymen shake their fists at the
defendant, who comes forward and offers to marry
Angelina " to-day and marry the other to-morrow."
The judge thinks it a reasonable proposition, but
the plaintiffs counsel submits that " to marry two
at once is Burglaree." In this dilemma Angelina
embraces Edwin rapturously, but he repels her
furiously and throws her into the arms of her
counsel. The jury thereupon becomes distracted,
and asks for guidance, whereupon the judge de-
cides he will marry Angelina himself, to which she
gives enthusiastic consent.
The best numbers in the operetta are the de-
fendant's song, " When first my Old, Old Love I
knew " ; the juryman's song, " Oh ! I was like
that when I was a Lad " ; the judge's song,
" When I, Good Friends, was called to the Bar " ;
the pretty chorus of the bridesmaids, " Cover
the Broken Flower " ; the plaintiffs song, " O'er
the Season Vernal " ; and the defendant's song,
" Oh ! Gentlemen, listen, I pray." The London
"Times," after the first performance, said:
THE SORCERER. 185
" There is a genuine humor in the music, as for
instance in the unison chorus of the jurymen, and
the clever parody on one of the most renowned
finales of modern Italian opera ; and there is also
melody, both catching and fluent, here and there,
moreover, set off by little touches in the orches-
tral accompaniments which reveal the experienced
hand."
5Tfje Sorcerer.
[Comic opera, in two acts ; text by Gilbert. First produced at
the Op6ra Comique, London, November 18, 1877.]
PERSONAGES.
SIR MARMADUKE POINTDEXTRE, an elderly baronet.
ALEXIS, his son, of the Grenadier Guards.
DR. DALY, vicar of Ploverleigh.
NOTARY.
JOHN WELLINGTON WELLS, of Wells & Co., family sor-
cerers.
LADY SANGAZURE, a lady of ancient lineage.
ALINE, her daughter, betrothed to ALEXIS.
MRS. PARTLET, a pew-opener.
CONSTANCE, her daughter.
[Chorus of peasantry.}
The scene is laid upon an English estate; time, the present.
THE success of the two operettas, "Cox and
Box " and " Trial by Jury," led to the organ-
ization of a company under the management of
Mr. D'Oyly Carte for the production of the Sulli-
van-Gilbert collaborations, and the first of its
performances was "The Sorcerer." Incidentally
1 86 THE STANDARD LIGHT OPERAS.
it may be stated that this opera introduced Mr.
George Grossmith to the stage, and its success led
to a proposition from " Lewis Carroll " to Sullivan
to set his " Alice in Wonderland " as an opera,
though the scheme was never realized. The li-
bretto is replete with humor, and the music is
original and characteristic, and particularly notice-
able for its admirable parodies of the Italian
operas, and yet it is always scholarly.
The first act opens upon the grounds of Sir
Marmaduke Pointdextre's estate, where the vil-
lagers are gathered to celebrate the betrothal of
his son Alexis, and Aline, daughter of Lady
S-ingazure, with whom, fifty years before, Sir
Marmaduke had been in Jove. Mrs. Partlet, the
pew-opener, enters with her daughter Constance,
who is hopelessly in love with Dr. Daly, the
vicar, for he cannot be made to understand, either
by her demonstrations or by the mother's hints,
that he is the object of her devotion. Alexis and
Aline are congratulated by all, and sign the mar-
riage contract. When alone together, Alexis dis-
courses upon his favorite theory that all artificial
barriers should be broken down and that marriage
should be contracted without regard to rank. To
put his theory into practice he procures from the
firm of J. W. Wells & Co., the old established
family sorcerers of the place, a large quantity of
their love potion, which has no effect upon mar-
ried persons but will cause unmarried ones to
couple without regard to rank or condition, mixes
THE SORCERER. 187
it with the tea and serves it out to all who are in
attendance at the betrothal banquet. Gradually
all fall insensible, and the act closes.
The second act opens upon Sir Marmaduke's
grounds at midnight. The guests, one after the
other, are waking. Alexis tells Aline she must
take some of the potion so that he may be sure of
her love, which she does after much protesting.
As they regain their senses, each guest makes offer
of marriage to the first one seen. Constance de-
clares her love for the old notary. Sir Marmaduke
enters with Mrs. Partlet, the venerable pew-opener,
on his arm and announces his intention of mar-
rying her. Wells appears on the grounds in a
remorseful condition as he beholds the mischief
he has caused, and Lady Sangazure proposes to
him, and leaves in great anguish when he declares
he is already engaged to "a maiden fair on a
South Pacific Isle." Aline beholds Dr. Daly and
begins to fall violently in love with him and he
with her. Alexis, in alarm at the trouble he is
making, seeks out Wells and demands that he
shall remove the spell. Wells explains that in
order to do this, one or the other of them must
offer his life to Ahrimanes. Alexis is not willing
to give up Aline, and Wells is averse to losing his
profitable business. They agree to leave the de-
cision to the guests, and the latter agree that
Wells shall make the sacrifice. He consents, and
all go back to their old lovers as he sinks through
a trap amid red fire.
1 88 THE STANDARD LIGHT OPERAS.
The most conspicuous numbers in the first act
are Dr. Daly's ballad, "Time was when Love
and I were well acquainted " ; the duet between
Sir Marmaduke and Lady Sangazure, " Welcome
Joy, adieu to Sadness " ; Alexis' ballad, " Love
feeds on many Kinds of Food I know " ; Wells'
long and rollicking song, " Oh ! my Name is
John Wellington Wells " ; and the incantation
music, " Sprites of Earth and Air." The second
act opens with a charming little country dance.
The principal numbers which follow it are Con-
stance's aria, " Dear Friends, take Pity on my
Lot " ; the ensemble for Aline, Alexis, Constance,
and the Notary, " O, Joy ! O, Joy ! " ; Alexis'
ballad, " Thou hast the Power thy Vaunted Love " ;
the quintette, " I rejoice that it's decided " ; Dr.
Daly's humorous song, " Oh ! my Voice is sad
and low"; and the final ensemble, "Now to the
Banquet we press."
pinafore; or, fje 3Lass tfjat
a .Sailor.
[Comic opera, in two acts ; text by Gilbert. First produced at
the Opera Comique, London, May 28, 1878.]
PERSONAGES.
THE RT. HON. SIR JOSEPH PORTER, K.C.B., First Lord
of the Admiralty.
CAPT. CORCORAN, commanding " H. M. S. Pinafore."
RALPH RACKSTRAW, able seaman.
DICK DEADEYE, able seaman.
H. M. S. PINAFORE. 189
BILL BOBSTAY, boatswain's mate.
BOB BECKET, carpenter's man.
TOM TUCKER, midshipmite.
SERGEANT OF MARINES.
JOSEPHINE, the Captain's daughter.
HEBE, Sir JOSEPH'S first cousin.
LITTLE BUTTERCUP, a bumboat woman.
[First Lord's sisters, his cousins, his aunts, sailors, ma-
rines, etc.]
The scene is laid on the quarterdeck of " H. M. S. Pinafore " ;
time, the present.
ALTHOUGH " Pinafore," when it was first pro-
duced in London, was received so coolly that it
was decided to take it off the boards, yet eventu-
ally, with the exception of " The Beggar's Opera,"
it proved to be the most popular opera ever pro-
duced in England ; while in the United States it
was for years the rage, and is still a prime favorite.
The first scene introduces the leading characters
on the deck of " H. M. S. Pinafore " in the har-
bor of Portsmouth. Little Buttercup, a bumboat
woman, " the rosiest, the roundest, and the reddest
beauty in all Spithead," comes on board and has
an interview with Dick Deadeye, the villain of the
story, and Ralph Rackstraw, " the smartest lad in all
the fleet," who is in love with Josephine, Captain
Corcoran's daughter. The Captain comes on
deck in a melancholy mood because Josephine has
shown herself indifferent to Sir Joseph Porter,
K.C.B., who is to ask for her hand that after-
noon. She confesses to her father that she loves
a common sailor, but will carry her love to the
1QO THE STANDARD LIGHT OPERAS.
grave without letting him know of it. Sir Joseph
comes on board with a long retinue of sisters,
cousins, and aunts, who chant his praises. After
attending to some minor details, he has a fruitless
interview with the Captain and Josephine. She
declares she cannot love him. Shortly afterwards
she meets Ralph, who declares his love for her,
but she haughtily rejects him. When he draws
his pistol and declares he will shoot himself,
she acknowledges her love, and they plan to steal
ashore at night and be married. Dick Deadeye
overhears the plot and threatens to thwart it.
The second act opens at night. Captain Cor-
coran is discovered sadly complaining to the moon,
and wondering why everything is at " sixes and
sevens." Little Buttercup sympathizes with him,
and is about to become affectionate, when he
informs her he can only be her friend. She
grows enraged, and warns him there is a change in
store for him. Sir Joseph enters, and informs the
Captain he is much disappointed at the way
Josephine has acted. The Captain replies that
she is probably dazzled by his rank, and that if he
will reason with her and convince her that " love
levels all ranks," everything will be right. Sir
Joseph does so, but only pleads his rival's cause.
She tells him she has hesitated, but now she hesi-
tates no longer. Sir Joseph and the Captain are
rejoicing over her apparent change of heart, when
Dick Deadeye reveals the plot to elope that night.
The Captain confronts them as they are stealthily
H. M. S. PINAFORE. 191
leaving the vessel, and insists upon knowing what
Josephine is about to do. Ralph steps forward
and declares his love, whereupon the Captain grows
furious and lets slip an oath. He is overheard by
Sir Joseph, who orders him to his cabin " with
celerity." He then inquires of Ralph what he has
done to make the Captain profane. He replies it
was his acknowledgment of love for Josephine,
whereupon, in a towering rage, Sir Joseph orders
his imprisonment in the ship's dungeon. He then
remonstrates with Josephine, whereupon Little
Buttercup reveals her secret. Years before, when
she was practising baby-farming, she nursed two
babies, one of " low condition," the other " a
regular patrician," and she " mixed those children
up and not a creature knew it." " The well-born
babe was Ralph, your Captain was the other."
Sir Joseph orders the two before him, gives Ralph
the command of " H. M. S. Pinafore," and Cor-
coran Ralph's place. As his marriage with Jo-
sephine is now impossible, he gives her to Ralph,
and Captain Corcoran, now a common seaman,
unites his fortunes with those of Little Buttercup.
It is one of the principal charms of this delight-
ful work that it is entirely free from coarseness and
vulgarity. The wit is always delicate, though the
satire is keen. Words and music rarely go so well
together as in this opera. As a prominent English
critic said of " Trial by Jury," " it seems, as in the
great Wagnerian operas, as though poem and
music had proceeded simultaneously from one
192 THE STANDARD LIGHT OPERAS.
and the same brain." The chorus plays a very
important part in it, and in the most solemnly
ludicrous manner repeats the assertions of the
principals in the third person. All its numbers
might be styled the leading ones, but those which
have become most popular are the song, "I'm
called Little Buttercup " ; Josephine's sentimental
song, " Sorry her Lot who loves too well," one of
the few serious numbers in the opera ; Sir Joseph
Porter's song, " I am the Monarch of the Sea,"
with its irresistible choral refrain, " And so are his
Sisters and his Cousins and his Aunts, his Sisters
and his Cousins, whom he reckons by the Dozens,"
leading up to the satirical song, " When I was a Lad,
I served a Term " ; the stirring trio, " A British
Tar is a Soaring Soul " ; Captain Corcoran's senti-
mental ditty, " Fair Moon, to thee I sing " ;
Josephine's scena, " The Hours creep on apace,"
with its mock heroic recitative; Dick Deadeye's
delightful song, "The Merry Maiden and the
Tar " ; the pretty octette and chorus, " Farewell,
my own " ; Little Buttercup's legend, " A many
Years ago, when I was young and charming " ; and
the choral finale, " Then give three Cheers and
one Cheer more."
THE PIRATES OF PENZANCE. 193
of ^en^ance; or, &f)e g>iabc of )tttp.
[Comic opera, in two acts; text by Gilbert. First produced in
England at the Opera Comique, April 3, 1880.]
PERSONAGES.
MAJ.-GEN. STANLEY.
PIRATE KING.
SAMUEL, his lieutenant.
FREDERIC, the pirate apprentice.
SERGEANT OF POLICE.
MABEL,
EDITH, Qen STANLEY S daughters.
KATE,
ISABEL,
RUTH, a pirate maid of all work.
[Pirates, police, etc.]
The scene is laid on the coast of Cornwall ; time, the present.
" THE Pirates of Penzance " has a local interest
from the fact that it was first produced in New
York on New Year's Eve, December 31, 1879,
under the immediate supervision of both Mr. Sulli-
van and Mr. Gilbert. When the composer left Eng-
land he had only finished the second act, and that
was without orchestration. After his arrival here
he wrote the first act and scored the entire opera.
By this performance the profits of the representa-
tions in this country were secured. The work was
not published until after their return to England.
At the opening of the opera it is disclosed that
Frederic, when a boy, in pursuance of his father's
13
194 THE STANDARD LIGHT OPERAS.
orders, was to have been apprenticed to a pilot
until his twenty-first year, but by the mistake of
his nurse-maid, Ruth, he was bound out to one of
the pirates of Penzance, who were celebrated for
their gentleness and never molested orphans be-
cause they were orphans themselves. In the first
scene the pirates are making merry, as Frederic
has reached his majority and is about to leave
them and seek some other occupation. Upon the
eve of departure Ruth requests him to marry her,
and he consents, as he has never seen any other
woman, but shortly afterwards he encounters the
daughters of General Stanley, falls in love with
Mabel, the youngest, and denounces Ruth as a
deceiver. The pirates encounter the girls about
the same time, and propose to marry them, but
when the General arrives and announces that he
is an orphan, they relent and allow the girls to
go-
The second act opens in the General's ancient
baronial hall, and reveals him surrounded by his
daughters, lamenting that he has deceived the
pirates by calling himself an orphan. Frederic
appears, and bids Mabel farewell, as he is about to
lead an expedition for the extermination of the
pirates. While he is alone, the Pirate King and
Ruth visit him and show him the papers which
bound him to them. It is stated in them that he
is bound "until his twenty-first birthday," but as
his birthday is the 29th of February, he has had
but five. Led by his strong sense of duty, he
THE PIRATES OF PENZANCE. 195
decides that he will go back to his old associates.
Then he tells them of the General's orphan story,
which so enrages them that they swear vengeance.
They come by night to carry off the General, but
are overpowered by the police and sent to prison,
where they confess they are English noblemen.
Upon promising to give up their piratical career,
they are pardoned, and this releases Frederic.
The principal numbers in the first act are Ruth's
song, " When Frederic was a Little Lad " ; the
Pirate King's song, " Oh ! better far to live
and die " ; Frederic's sentimental song, " Oh ! is
there not one Maiden Breast " ; Mabel's reply,
" Poor Wandering One " ; and the descriptive
song of the General, " I am the very Pattern of a
Modern Major-General," which reminds one of
Sir Joseph's song, " When I was a Lad I served a
Term," in " Pinafore," and Wells' song, " Oh ! my
Name is John Wellington Wells," in "The Sor-
cerer." The second act opens with a chorus of
the daughters and solo by Mabel, " Dear Father,
why leave your Bed." The remaining most pop-
ular numbers are the Tarantara of the Sergeant ;
the Pirate King's humorous chant, "For some
Ridiculous Reason"; Mabel's ballad, "Oh, leave
me not to pine," and the Sergeant's irresistible song,
"When a Fellow's not engaged in his Employ-
ment," which has become familiar as a household
word by frequent quotation.
196 THE STANDARD LIGHT OPERAS.
Patience ; or, ^Sttnt&orne's
[Comic opera, in two acts ; text by Gilbert. First produced at
the Opera Comique, London, April 23, 1881.]
PERSONAGES.
COL. CALVERLEY, \ officers
MAJOR MURGATROYD, ( of Dragoon
LIEUTENANT THE DUKE OF DUNSTABLE, ) Guards.
REGINALD BUNTHORNE, a fleshly poet.
ARCHIBALD GROSVENOR, an idyllic poet.
MR. BUNTHORNE'S SOLICITOR.
LADY ANGELA, ^
LADY SAPHIR, f
LADY ELLA, f rapturous ma,dens.
LADY JANE, )
PATIENCE, a dairy-maid.
[Guards, aesthetic maidens.]
The scene is laid at Castle Bunthorne ; time, the last century.
THE opera of " Patience " is a pungent satire
upon the fleshly school of poetry as represented by
Oscar Wilde and his imitators, as well as upon
the fad for aesthetic culture which raged so vio-
lently a quarter of a century ago. Bunthorne, in
one of his soliloquies, aptly expresses the hollow-
ness of the sham,
" I am not fond of uttering platitudes
In stained-glass attitudes ;
In short, my medievalism's affectation
Born of a morbid love of admiration."
In these four lines Gilbert pricked the aesthetic
bubble, and nothing did so much to end the fad of
PATIENCE. 197
lank, languorous maidens, and long- haired, sun-
flowered male aesthetes, as Gilbert's well-directed
shafts of ridicule in this opera.
The story of the opera tells of the struggle for
supremacy over female hearts between an aesthetic
(Bunthorne) and an idyllic poet (Grosvenor). In
the opening scene lovesick maidens in clinging
gowns, playing mandolins, sing plaintively of their
love for Bunthorne. Patience, a healthy milkmaid,
comes upon the scene, and makes fun of them,
and asks them why they sit and sob and sigh. She
announces to them that the Dragoon Guards will
soon arrive, but although they doted upon Dra-
goons .the year before they spurn them now and go
to the door of Bunthorne to carol to him. The
Guards duly arrive, and are hardly settled down
when Bunthorne passes by in the act of composing
a poem, followed by the twenty lovesick maidens.
After finishing his poem he reads it to them, and
they go off together, without paying any attention
to the Dragoons, who declare they have been in-
sulted and leave in a rage. Bunthorne, when
alone, confesses to himself he is a sham, and at
the close of his confession Patience comes in.
He at once makes love to her, but only frightens
her. She then confers with Lady Angela, who
explains love to her, and tells her it is her duty to
love some one. Patience declares she will not go
to bed until she has fallen in love with some one,
when Grosvenor, the idyllic poet and " apostle of
simplicity," enters. He and Patience had been
198 THE STANDARD LIGHT OPERAS.
playmates in early childhood, and she promptly
falls in love with him, though he is indifferent. In
the closing scene Bunthorne, twined with garlands,
is led in by the maidens, and puts himself up as a
prize in a lottery ; but the drawing is interrupted
by Patience, who snatches away the papers and
offers herself as a bride to Bunthorne, who promptly
accepts her. The maidens then make advances
to the Dragoons, but when Grosvenor appears they
all declare their love for him. Bunthorne rec-
ognizes him as a dangerous rival, and threatens
" he shall meet a hideous doom."
The opening of the second act reveals Jane, an
antique charmer, sitting by a sheet of water
mourning because the fickle maidens have deserted
Bunthorne, and because he has taken up with " a
puling milkmaid," while she alone is faithful to
him. In the next scene Grosvenor enters with
the maidens, of whom he is tired. They soon
leave him in low spirits, when Patience appears
and tells him she loves him, but can never be his,
for it is her duty to love Bunthorne. The latter
next appears, followed by the antique Jane, who
clings to him in spite of his efforts to get rid of
her. He accuses Patience of loving Grosvenor,
and goes off with Jane in a wildly jealous mood.
In the next scene the Dragoons, to win favor with
the maidens, transform themselves into a group of
aesthetes. Bunthorne and Grosvenor finally meet,
and Buuthorne taxes his rival with monopolizing
the attentions of the young ladies. Grosvenor
PATIENCE. 199
replies that he cannot help it, but would be glad
of any suggestion that would lead to his being less
attractive. Bunthorne tells him he must change
his conversation, cut his hair, and have a back
parting, and wear a commonplace costume. Gros-
venor at first protests, but yields when threatened
with Bunthorne's curse. In the finale, when it is
discovered that Grosvenor has become a common-
place young man, the maidens decide that if
" Archibald the All-Right " has discarded sesthet-
icism, it is right for them to do so. Patience takes
the same view of the case, and leaves Bunthorne
for Grosvenor. The maidens find suitors among
the Dragoons, and even the antique Jane takes up
with the Duke, and Bunthorne is left alone with his
lily, nobody's bride.
The most popular musical numbers in the opera
are the Colonel's song, " If you want a Receipt
for that Popular Mystery " ; Bunthorne's " wild,
weird, fleshly " song, " What Time the Poet hath
hymned," also his song, " If you 're anxious for to
shine " ; the romantic duet of Patience and Gros-
venor, " Prithee, Pretty Maiden " ; the sextette,
I hear the Soft Note of the Echoing Voice " ;
Jane's song, " Silvered is the Raven Hair " ; Pa-
tience's ballad, " Love is a Plaintive Song " ; Gros-
venor's fable of the magnet and the churn;
the rollicking duet of Bunthorne and Grosvenor,
" When I go out of Door," and the " prettily pat-
tering, cheerily chattering " chorus in the finale of
the last act.
200 THE STANDARD LIGHT OPERAS.
lolantfje; ar, Cfje $m antj tfje Peru
[Comic opera, in two acts ; text by Gilbert. First produced at
the Savoy Theatre, London, November 25, 1882.]
PERSONAGES.
LORD CHANCELLOR.
EARL OF MOUNTARARAT.
EARL TOLLALLER.
PRIVATE WILLIS, of the Grenadier Guards.
STREPHON, an Arcadian shepherd.
IOLANTHE, a fairy, STREPHON 's mother.
QUEEN OF THE FAIRIES.
CELIA, \
LEILA, > fairies.
FLETA, )
PHYLLIS, an Arcadian shepherdess and ward in Chancery.
[Dukes, marquises, earls, viscounts, barons, and fairies.]
The scene is laid in Arcady and at Westminster ; time, between
1700 and 1882.
THE first act of " lolanthe " opens in Arcady.
lolanthe, a fairy, having offended her Queen by
marrying a mortal, has been banished for life ; but
in the opening scene, after twenty years of exile,
she is pardoned. She tells the Queen of her mar-
riage, and her son Strephon, half a fairy and half
a shepherd, who is engaged to Phyllis, a shep-
herdess, and ward in Chancery. At this point
Strephon enters, and informs his mother that the
Lord Chancellor will not permit him to marry
Phyllis, but he will do so in spite of him. He
curses his fairyhood, but the Queen says she has
IOLANTHE. 201
a borough at her disposal, and will return him to
Parliament as a Liberal-Conservative. In the next
scene Strephon meets Phyllis and pleads against
delay in marriage, since the Lord Chancellor him-
self may marry her, and many of the lords are
attentive to her. Meanwhile the lords meet to
decide which one of them shall have Phyllis, the
Lord Chancellor waiving his claim, as it might lay
his decision open to misconstruction. Phyllis is
summoned before them, but is deaf to all en-
treaties, and declares she is in love with Strephon,
who has just entered. The peers march out in a
dignified manner, while the Lord Chancellor sepa-
rates Phyllis and Strephon and orders her away.
He then refuses Strephon his suit, whereupon the
latter invokes the aid of his fairy mother, who
promises to lay the case before her Queen. In
the finale the peers are seen leading Phyllis, who
overhears something said by Strephon and lolan-
the which induces her to believe he is faithless,
and she denounces him. He replies that lolanthe
is his mother, but cannot convince her. She
charges him with deceit, and offers her hand to
any one of the peers. He then appeals to the
Queen, who threatens vengeance upon the peers and
declares that Strephon shall go into Parliament.
The peers beg her for mercy, and Phyllis implores
Strephon to relent, but he casts her from him.
The second act opens at Westminster. Strephon
is in Parliament and carrying things with a high
hand. Phyllis is engaged to two of the lords
202 THE STANDARD LIGHT OPERAS.
and cannot decide between them, nor can they
settle the matter satisfactorily. Whereupon the
Lord Chancellor decides to press his own suit
for her hand. Strephon finally proves his birth
to Phyllis and explains away all her fears. lolan-
the then acknowledges that the Lord Chancellor
is her husband and pleads with him in Strephon's
behalf. When she makes this confession, she is
condemned to death for breaking her fairy vow.
Thereupon all the fairies confess that they have
married peers. As it is impracticable to kill them
all, the Queen hunts up a husband, and finds one
in Private Willis, the sentry in the palace yard.
All the husbands join the fairies, and thus matters
are straightened out.
The music of " lolanthe " is peculiarly refined
and fanciful, and abounds in taking numbers. The
best of these are Strephon's song, "Good Mor-
row " ; the delightful duet between Strephon and
Phyllis, " None shall part us from each other,"
one of the most felicitous of the composer's
lighter compositions ; the Lord Chancellor's song,
" When I went to the Bar " ; Strephon's charming
ballad, " In Babyhood upon her Lap I lay " ;
Private Willis's song, " When all Night long a
Chap remains " ; the patter song of the Lord
Chancellor, "When you're lying awake with a
Dismal Headache " ; the duet of Strephon and
Phyllis, " If we 're weak enough to tarry " ; and
lolanthe's pretty ballad, " He loves ! if in the By-
gone Years."
PRINCESS IDA. 203
Princess Ba; or, Otastle
[Comic opera, in three acts ; text by Gilbert. First produced
at the Savoy Theatre, London, January 5, 1884.]
PERSONAGES.
KING HlLDEBRAND.
HILARION, his son.
FLORIN j H,L ARION 's friends.
KING GAMA.
AVAC, \
GURON, ( GAMA'S sons.
SCYNTHIUS, )
PRINCESS IDA, GAMA'S daughter.
LADY BLANCHE, Professor of Abstract Science.
LADY PSYCHE, Professor of Humanities.
MELISSA, LADY BLANCHE'S daughter.
SACHARISSA, }
CHLOE, / girl graduates.
ADA,
[Soldiers, courtiers, girl graduates, "daughters of the
plough," etc.]
The scene is laid at King Hildebrand's palace and Castle Ada-
mant ; time, the present.
"PRINCESS IDA" is the least effective of the Sul-
livan operas. Its libretto is also the least effective
of the Gilbert stories set to the former's music.
At the time it was written the composer was de-
pressed by a severe family affliction, and at the
same time had met the misfortune of losing all his
savings through the failure of those to whom he
had intrusted them. It may have been also that
204 THE STANDARD LIGHT OPERAS.
the labored and heavy style of the story had some-
thing to do with the dry and somewhat forced
style of the music, as well as its lack of the bright-
ness and fancy which are so apparent in " Pina-
fore " and " Patience."
The first act opens at King Hildebrand's palace,
where the courtiers are watching for the arrival of
King Gama and his daughter, the Princess Ida,
who has been promised in marriage to Hilarion,
Hildebrand's son. When Gama finally comes, Ida
is not with him, and he explains to the enraged
Hildebrand that she is at Castle Adamant, one of
his country houses, where she is president of a
woman's university. Gama and his three sons,
Avac, Guron, and Scynthius, are seized and held as
hostages for her appearance, and in the mean time
Hilarion, and his two friends, Cyril and Florian,
determine to go to Castle Adamant and see if they
cannot make some impression upon the Princess.
The second act opens at Castle Adamant, and
discloses the pupils of the university in discourse
with Lady Psyche, the Professor of Humanities,
and Lady Blanche, Professor of Abstract Science,
who is ambitious to get control of the institution.
Hilarion and his two friends scale the wall and
get into the grounds, and finding some academic
robes they disguise themselves as girls. They
first meet the Princess and explain to her that
they wish to enter the university, to which she
gives her consent upon their subscription to the
rules. They sign with enthusiasm, especially
PRINCESS IDA. 205
when they discover that there is one which re-
quires them to give the fulness of their love to
the hundred maidens of the university. Shortly
afterwards they encounter Lady Psyche, who
recognizes Florian as her brother. They tell
their secret to her. Melissa, the daughter of Lady
Blanche, overhears them, and is in raptures at her
first sight of men. She discloses to her mother
what she has discovered, but urges her not to
speak of it, for if Hilarion is successful in his suit
she (the Lady Blanche) may succeed to the presi-
dency. At the luncheon, however, the Princess
discovers she is entertaining three men and flees
from the spot. In crossing a bridge she falls
into the river, but is rescued by Hilarion. Her
anger is not appeased by his gallantry, and she
orders the arrest of the three. As they are
marched off, there is a tumult outside. Hil-
debrand, with an armed force and with his four
hostages, has arrived, and gives the Princess until
the morrow afternoon to release Hilarion and
become his bride.
The last act opens with the preparations of the
Princess and her pupils to defend themselves, but
one after the other their courage deserts them.
Gama proposes that his three sons shall be pitted
against Hilarion and his two friends, and if the
latter are defeated the Princess shall be free. In
the contest Gama's sons are defeated, whereupon
the Princess at once resigns and accepts Hilarion.
The Lady Psyche falls to Cyril, and the delighted
206 THE STANDARD LIGHT OPERAS.
Melissa to Florian, and it is to be presumed the
presidency of the Woman's College falls to Lady
Blanche.
As has already been intimated, the music as a
whole is labored, but there are some numbers
that are fully up to the Sullivan standard ; among
them Hilarion's ballad, "Ida was a twelvemonth
old " ; Gama's characteristic song, " If you give
me your Attention," and the trio of Gama's
sons, " For a Month to dwell," in the first act :
the Princess's long aria, " At this my Call " ; Lady
Blanche's song, " Come, Mighty Must " ; Lady
Psyche's sarcastic evolution song, "A Lady Fair
of Lineage High " ; Cyril's song, " Would you
know the Kind of Maid " ; and Hilarion's song,
" Whom thou hast chained must wear his Chain,"
in the second act : and the Princess's song, " I
built upon a Rock " ; Gama's song, ' Whene'er
I spoke Sarcastic Joke " ; the soldiers' chorus,
" When Anger spreads his Wing " ; and the finale,
" With Joy abiding," in the third act.
;pltfca&0 ; or, We Coton of QTittptt,
[Comic opera, in two acts ; text by Gilbert. First produced at
the Savoy Theatre, London, March 14, 1885.]
PERSONAGES.
MIKADO of Japan.
NANKI-POO, his son, disguised as a minstrel, in love with
YUM-YUM.
Ko-Ko, Lord High Executioner of Titipu.
THE MIKADO. 207
POOH-BAH, Lord High Everything Else.
PiSH-TusH, a noble lord.
YUM-YUM, )
PiTTi-SiNG, \ three sisters, wards of Ko-Ko.
PEEP-BO, )
KATISHA, an elderly lady, in love with NANKI-POO.
[School girls, nobles, guards, and coolies.]
The scene is laid in Japan ; time, the present.
THAT the " Princess Ida," ineffective as it is in
some respects, did not indicate that the resources
of Gilbert and Sullivan were exhausted, is shown
by the great success of both in " The Mikado,"
which immediately followed it. This charming
travesty of Japan, with the exception perhaps of
" Pinafore," has proved to be the most popular of
the Sullivan operas, and has even made an impres-
sion in Germany. It has been an equal success
for both the musician and the librettist, and still
retains its freshness and vivacity after seventeen
years of performance.
The story of "The Mikado" is so well known
that it need not be given with much fulness of
detail. Nanki-Poo, the Mikado's son, is in love
with Yum-Yum, the ward of the tailor Ko-Ko,
who is also Lord High Executioner, and to whom
she is betrothed, as Nanki-Poo is informed by
Pooh-Bah, when he comes to Titipu in quest of
her. Pooh-Bah, who accepted all the offices of
the Ministers of State after their resignations when
Ko-Ko was made Lord High Executioner, is also
"the retailer of state secrets at a low figure," and
208 THE STANDARD LIGHT OPERAS.
furnishes ranch of the delightful comedy of the
opera. Nanki-Poo nevertheless manages to secure
an interview with Yum- Yum, confesses to her he
is the Mikado's son, and that he is in disguise to
escape punishment for not marrying the elderly
Katisha. Ko-Ko's matrimonial arrangements are
interfered with by a message from the Mikado,
that unless some one is beheaded in Titipu within
a month he will be degraded. Nanki-Poo con-
sents to be beheaded if he is allowed to marry
Yum-Yum and live with her for the month.
This being satisfactory, the arrangements for the
nuptials are made.
The second act opens with Yum-Yum's prepara-
tions for her marriage. A tete-a-tete with Nanki-
Poo is interrupted by Ko-Ko, who announces that
by the law when a married man is beheaded his
wife must be burned alive. This cools Yum-Yum's
passion, and to save her Nanki-Poo threatens to
perform the Happy Despatch that day. As this
would endanger Ko-Ko, he arranges to swear to a
false statement of Nanki-Poo's execution. Sud-
denly the Mikado arrives. Ko-Ko gives him the
statement, but a great danger is imminent when
the Mikado informs him he has killed the heir
apparent and must suffer some horrible pun-
ishment. In the denouement Nanki-Poo reap-
pears, and Ko-Ko gets out of trouble by marrying
the ancient Katisha, leaving Yum-Yum to Nanki-
Poo.
The opera abounds in charming lyrics, though
RUDDYGORE. 209
with a single exception, a march chorus in the
second act, " Miya sama, miya sama," there is no
local color to the music, as might have been ex-
pected in an opera entirely Japanese in its subject
and dramatic treatment. Its lyrics are none the
less delightful on that account. The most popular
numbers in the first act are Ko-Ko's song, with
its choral response, "You may put 'em on the
List and they never will be missed " ; the fascinat-
ing trio for Yum- Yum, Peep-Bo, and Pitti-Sing,
" Three Little Maids from School are we " ; Nanki-
Poo's song, " A Wandering Minstrel " ; and the trio
for Ko-Ko, Pooh-Bah, and Pish-Tush, " My Brain,
it teems." The leading numbers of the second
act are Yum-Yum's song, " The Sun, whose Rays" ;
the quartette, " Brightly dawns our Wedding-Day " ;
the Mikado's song, " A more Humane Mikado
never " ; Ko-Ko's romantic ballad, " On a Tree
by a River a little Tomtit," which is in the
genuine old English manner, and the well-known
duet for Nanki-Poo and Ko-Ko, "The Flowers
that bloom in the Spring, tra la."
; or, (&e SMitc&'e
[Comic opera, in two acts ; text by Gilbert. First produced at
the Savoy Theatre, London, January 22, 1887.]
PERSONAGES.
ROBIN OAKAPPLE, a young farmer.
RICHARD DAUNTLESS, his foster brother and man-o'-war's
man.
14
2 TO THE STANDARD LIGHT OPERAS.
SIR DESPARD MURGATROYD, the wicked Baronet.
OLD ADAM GOODHEART, ROBIN'S faithful servant.
ROSE MAYBUD, a village maiden.
MAD MARGARET.
DAME HANNAH, ROSE'S aunt.
ZORAH, )
RUTH ( professional bridesmaids.
Six MURGATROYD GHOSTS.
SIR RODERIC MURGATROYD, twenty-first Baronet.
[Officers, ancestors, and professional bridesmaids.]
The scene is laid in Cornwall ; time, early in the last century.
ALTHOUGH " Ruddygore," a satire upon the old
English melodramas, has not been as successful as
some of the other Sullivan operas, it is as enter-
taining as any in the series, while the story, with
its grotesque dramatic features, is peculiarly Gil-
bertian in its humor. The first act opens in
Cornwall. Sir Rupert Murgatroyd, the first of the
baronets, employed his leisure in persecuting
witches and committing other crimes. The chorus
of " the legend," sung by Hannah, an old spin-
ster, prophesies that each Murgatroyd will die
" with sinning cloyed." To avoid this fate, the
last inheritor of the title, Sir Ruthven, secludes
himself under the name of Robin Oakapple, in
the Cornish village of Rederring, and his younger
brother, Desparrl, believing him to be dead, suc-
ceeds to the title. Robin, who is shy and modest,
is in love with Rose, a foundling, who is very dis-
creet. The love-making lags, and meanwhile
Richard, his foster brother, a man-o'-war's man,
returns from sea, and so commiserates Robin that
RUDDYGORE. 21 1
he offers to plead his case with Rose. Instead of
that he pleads his own case, and is accepted by
her, much to the disappointment of Robin, who
supports Richard's claim, however. Robin's
younger brother, Sir Despard, next appears, and
hears from Richard of the existence of the brother
whom he had thought dead. He thereupon claims
Robin as his elder brother, and Rose shows her
preference for Sir Despard, who is also claimed by
Mad Margaret, a village maiden, whom he had
mistreated when he was under the influence of the
Murgatroyd curse.
The second act opens in the picture gallery of
Ruddygore Castle. Robin and Adam, his faithful
servant, are in the gallery, the former as Sir Ruth-
ven, and Adam as Gideon Crawle, a new name he
has taken. The new Sir Ruthven is under the
curse, and asks his servant to suggest some daily
crime for him to commit. The strong scene of
the act is the coming to life of the various baro-
nets whose portraits hang upon the walls, and
their announcement that Robin will die in fearful
agony unless he abducts some lady, it matters not
whom. In the denouement it is revealed that a
Ruddygore baron can only die through refusing to
commit the daily crime, but that such a refusal is
tantamount to suicide. Hence none of the ances-
tors ought to have died at all, and they come back
to life greatly to the delight of the professional
bridesmaids, and Rose and Robin are at last
united.
212 THE STANDARD LIGHT OPERAS.
The principal numbers in the first act are the
weird legend, "Sir Rupert Murgatroyd, his Leis-
ure and his Riches," sung by Hannah ; Richard's
breezy sea song, " I shipped, d' ye see, in a
Revenue Sloop " ; the very tuneful chorus of
the bridesmaids, " Hail the Bridegroom, hail
the Bride " ; Mad Margaret's whimsical song,
" Cheerily carols the Lark " ; the melodious
chorus of the bucks and blades, " When thor-
oughly tired of being admired " ; Sir Despard's
song, with its alternating choral refrains, " Oh,
why am I moody and sad " ; the madrigal,
" Where the Buds are blossoming," written in
the early English style, and supported by the
chorus ; and the charming gavotte leading to
the finale, which contains some admirable duet
and trio numbers. The leading numbers of the
second act are the opening duet for Robin
and Adam, " I once was as meek as a New-born
Lamb," with a most melodramatic " Ha ha,"
followed by another charming duet for Richard
and Rose, with choral refrain, " Happily coupled
are we " ; the weird song of Sir Roderic, " When
the Night Wind howls in the Chimney Cowls,"
which is finely artistic in construction ; the patter
trio for Robin, Despard, and Margaret, " My Eyes
are fully open to my Awful Situation " ; Hannah's
pretty ballad, " There grew a Little Flower " ; and
the brilliant finale, beginning with Robin's num-
ber, " Having been a Wicked Baronet a Week."
THE YEOMEN OF THE GUARD. 213
gcomcn of t&e ^uartj; or, (E&e
an* M
[Comic opera, in two acts ; text by Gilbert. First produced
at the Savoy Theatre, October 3, 1888.]
PERSONAGES.
SIR RICHARD CHOLMONDELEY, lieutenant of the Tower.
COL. FAIRFAX, under sentence of death.
SERGT. MERYLL, of the Yeomen of the Guard.
LEONARD MERYLL, his son.
JACK POINT, a strolling jester.
WILFRED SHADBOLT, head jailer of the Tower.
HEADSMAN.
ELSIE MAYNARD, a strolling singer.
PHCEBE MERYLL, Sergt. MERYLL'S daughter.
DAME CARRUTHERS, housekeeper to the Tower.
KATE, her niece.
[Yeomen of the guard, gentlemen, citizens, etc.]
The scene is laid at Tower Green, London ; time, the sixteenth
century.
ALTHOUGH " The Yeomen of the Guard " has not
enjoyed the popularity of some others of Sullivan's
works, the composer himself believed it to be
the best of his operas. The music is in some
numbers a parody of the old English ; the story
is melodramatic. Colonel Fairfax has been sen-
tenced to death for sorcery. As he has twice
saved the life of Sergeant Meryll in battle,
the latter and his daughter, Phoebe, are anxious
to save him also. The chance comes when the
brother of Phoebe, who has been appointed a
214 THE STANDARD LIGHT OPEKAS.
yeoman of the Guard, is induced to let Fairfax
take his place in the ranks. The latter is brought
in to the lieutenant of the Tower and declares his
readiness to die, but asks, as he has been con-
demned for sorcery through the machinations
of one of his kinsmen who will succeed to the
estate in case he dies unmarried, that he will find
him some one whom he can marry at once. Elsie
Maynard, a strolling singer, happens along with
Jack Point, a jester, and she agrees for a money
consideration to be married blindfolded to Fair-
fax, provided she can leave immediately after
the ceremony. She marries him, and then the
question arises how to get the yeoman suit to
Fairfax in his cell and let him escape, as the
keys are in the possession of Wilfred, the head
jailer, who is in love with Phoebe. The problem
is solved by Phoebe, who steals the keys, releases
Fairfax, and returns them before Wilfred dis-
covers their absence. The executioner comes
forward, and the first act closes as he is wait-
ing for his victim.
The second act discloses the civilians and
Dame Carruthers denouncing the warders for per-
mitting their prisoner to escape. Point arranges
with Wilfred that if he will discharge his arquebus
and state that he has killed Fairfax he shall
be a jester. When the shot is heard, Wilfred
and Point notify the governor that Fairfax is
dead. Dame Carruthers enters and informs
Meryll that from what she has heard Elsie mut-
THE YEOMEN OF THE GUARD. 215
ter in her sleep she is sure Fairfax is the man
she married. Fairfax, in order to test her,
makes love to Elsie in Point's interests, but ends
by falling in love with her himself. In the de"-
nouement, Leonard, son of Sergeant Meryll, ar-
rives with a pardon which had been kept back
by Fairfax's kinsmen. Now that -he is free,
Fairfax claims Elsie, Phoebe consents to marry
Wilfred, and the sergeant surrenders to Dame
Carruthers.
The music is in humorous imitation of the
antique, in which kind of work Sullivan is always
happy. The choruses are interesting, especially
the opening double one, "Tower Warders under
Orders," which is swinging and tuneful. The
principal numbers in the first act are Dame
Carruthers' song with chorus, " When our Gallant
Norman Foes " ; Fairfax's sentimental song, " Is
Life a Boon " ; the irresistibly funny chorus, both
in music and words, " Here 's a Man of Jollity, jibe,
joke, jollify ; give us of your Quality, come, Fool,
follify " ; the extremely melodramatic duet for
Elsie and Point, " I have a Song to sing " ; Point's
recitative and song, " I Ve Jest and Joke " ;
Elsie's pretty ballad, " T is done ! I am a Bride " ;
Phoebe's graceful song, "Were I thy Bride" ; and
the trio in the finale, "To thy Fraternal Care."
The leading numbers of the second act are Point's
rollicking song, " Oh ! a Private Buffoon is a Light-
hearted Loon" ; Fairfax's ballad, "Free from his
Fetters Grim " ; the quartette, " Strange Adven-
2i6 THE STANDARD LIGHT OPERAS.
ture ! Maiden wedded " ; the trio, " If he 's made
the Best Use of his Time," and the quartette,
" When a Wooer goes a-wooing," which leads
through a melodramatic ensemble to the finale,
" Heighdy I heighdy !
Misery me, lackadaydee !
He sipped no sup and he craved no crumb,
As he sighed for the love of a ladyee."
Clje <ontioiictt5 ; or, C&e Ivtntr of Batatarta,
[Comic opera, in two acts ; text by Gilbert. First produced at
the Savoy Theatre, London, December 7, 1889.]
PERSONAGES.
DUKE OF PLAZA-TORO, a grandee of Spain.
Luiz, his attendant.
DON ALHAMBRA DEL BOLERO, the Grand Inquisitor.
DUCHESS OF PLAZA-TORO.
CASILDA, her daughter.
[Gondoliers, contadine, men-at-arms, heralds, and pages.]
The scene is laid in Venice ; time, the year 1750.
"THE Gondoliers" will always bring a feeling
of regret to the admirers of the Gilbert and Sul-
livan operas, as it was their last joint production.
It was during its run at the London theatre that
their partnership was dissolved after the extraor-
dinary collaboration of twenty- three years. Both
were at their best in their Swan Song. " The Gon-
doliers " is not so much melodrama or pleasant
satire as it is genuine comedy. Among all the
THE GONDOLIERS. 217
Gilbert books which he furnished the composer,
none is more delightful or more full of his rollick-
ing humor than this. The story opens in Venice.
The contadine are weaving garlands for the two
favorite gondoliers, Marco and Giuseppe, who, as
they have no preference, make their choice blind-
folded, and secure Tessa and Gianetta for their
brides. As all gayly dance off, a gondola arrives
with the Spanish Duke of Plaza-Toro, the Duchess,
their daughter Casilda, and Luiz, their attendant.
While waiting for an audience with the Grand In-
quisitor, the Duke tells Casilda the object of their
visit. When she was an infant she was married by
proxy to the infant son of the King of Barataria.
When the latter abandoned the creed of his fathers
and became a Methodist, the Inquisitor had the
young husband stolen and taken to Venice. Now
that the King is dead, they have come to find the
husband, and proclaim Casilda queen. During the
audience the Inquisitor announces that the hus-
band is a gondolier, and that the person who brought
him up had " such a terrible taste for tippling "
that he was never certain which child had been
intrusted to him, his own or the other. The nurse,
however, who is Luiz's mother, would know, and
he would induce her to tell in the torture cham-
ber. Shortly afterwards the Inquisitor meets the
newly wedded gondoliers, Marco and Giuseppe,
and decides that one or the other of them is the
new King, but as he cannot tell which, he arranges
that both of them shall rule until the nurse can be
2l8 THE STANDARD LIGHT OPERAS.
found and made to settle the matter. Thereupon
they bid their wives good-by, and sail away for
Barataria.
The second act discloses the two Kings upon
the thrones. While they are cleaning the crown
and sceptre, and their friends, the gondoliers, are
playing cards, contadine arrive with Tessa and
Gianetta. The delighted Kings give them a grand
banquet and ball, but the dance is interrupted by
the Inquisitor, who informs them that the ducal
party will shortly arrive, and that Casilda will
claim one of them for her husband. When Tessa
and Gianetta realize that neither of them can be
Queen, they begin to weep, but are somewhat com-
forted when the Inquisitor assures them they will
not be kept long in suspense as the foster-mother
is in the torture chamber. In the denouement
she confesses that the late King intrusted the
Prince to her, and when traitors came to steal
him she substituted her own son and kept the
Prince in hiding, and that Luiz is the real Prince.
Thereupon Luiz ascends the throne with Casilda
as his queen, and Marco and Guiseppe sail joy-
fully back to Venice with Tessa and Gianetta.
The music is of Sullivan's best. He has repro-
duced in the score the old Italian forms, employs
the legitimate modern ballad and song styles,
and introduces also the " patter " songs and the
" chant " songs which are so common in his other
operas. Besides this, he has given strong local
color with fandangoes, boleros, cachucas, and
THE GONDOLIERS. 219
other dance rhythms. The best numbers are
the ensemble for Marco and Giuseppe, "We're
called Gondolier! " ; the pompous song of the
Duke, "In Enterprise of Martial Kind"; the
serious duet for Casilda and Luiz, "There was
a Time"; the Inquisitor's song, "I stab the
Prince"; Tessa's beautiful song, "When a Merry
Maiden marries " ; the frolicsome quartette, " Then
one of us will be a Queen " ; the song of Marco with
chorus, " For every one who feels inclined " ; the
characteristic song of Giuseppe, " Rising early in
the Morning " ; the gay and fascinating ensemble,
" We will dance a Cachuca," with the brilliant
dance music that follows it ; the song of the In-
quisitor, " There lived a King " ; the ensemble,
" In a Contemplative Fashion," a quiet movement
with alternating comments by chorus, reaching a
crescendo and then returning to the original
movement, one of the most effective numbers in
the opera ; the Duchess' song, " On the Day when
I was Wedded " ; and the quintette in the finale,
" I am a Courtier Grave and Serious."
SUPPE, FRANZ VON.
[OpeVa comique, in three acts ; text by Zell and Genee. First
produced in Vienna, January 5, 1876.]
PERSONAGES.
COUNT TIMOFEY GAVRILOVICH KANTSCHAKOFF, Russian
General.
PRINCESS LYDIA IMANOVNA, his niece.
IZZET PASHA, governor of Rustchuk fortress.
CAPT. VASIL STARAVIEFF.
LIEUT. OSSIPP SAFONOFF.
STEIPANN, a sergeant.
VLADIMIR SAMOILOFF, lieutenant of cavalry.
JULIAN, special war correspondent.
HASSAN BEY, leader of Bashi-Bazouks.
MUSTAPHA, guardian of the harem.
VuiKA, a Bulgarian.
HANNA, his wife.
[Soldiers, Bashi-Bazouks, Cossacks, slaves, moujiks,
etc.]
The scene is laid at Rustchuk and near Odessa ; time, the last
century.
FRANZ VON SUPPfi has been styled the
German Offenbach, though the styles of
the two composers differ widely. His operas are
more purely comic operas, or operettas, than
burlesques. He made his first success with an
operetta, " Das Madchen vom Lande " (" The
FA7VNITZA. 22 r
Country Girl"), produced in Vienna in 1847,
and his next work, a musical comedy called
" Paragraph 3," made him known all over Ger-
many. His entire list of light operas, musical
farces, and vaudevilles includes over one hundred
and sixty titles, but of these only two or three are
well known in this country. " Fatinitza " is the
best known, and is universally popular.
The story is an interesting one. Vladimir
Samoiloff, a young lieutenant in the Russian army,
while masquerading in girl's costume under the
name of Fatinitza, encounters a Russian general,
Count Timofey Kantschakoff, who falls desperately
in love with him. He manages to escape from
him, and subsequently meets the General's niece,
the Princess Lydia, whom he knows only as Lydia,
and the two fall in love. Hearing of the attach-
ment, the General transfers the young officer to
the Russian outposts. The first act opens in
camp at Rustchuk. Julian, a war correspondent,
has just been brought in as a spy, but is recognized
by Vladimir as an old friend. They plan private
theatricals, in which Vladimir takes a female part.
The General unexpectedly appears at the play, and
recognizes Vladimir as his Fatinitza. When the
opportunity presents itself, he resumes his love-
making, but it is interrupted by the arrival of
Lydia, whose noble rank Vladimir learns for the
first time. Any danger of recognition, however,
is averted by the correspondent, who tells Lydia
that Fatinitza is Vladimir's sister. The doting old
222 THE STANDARD LIGHT OPERAS.
General commends Fatinitza to the Princess, and
goes off to inspect his troops. In his absence
some Bashi-Bazouks surprise the camp and capture
Lydia, Vladimir, and Julian, leaving the latter be-
hind to arrange a ransom.
The second act opens in the harem of Izzet
Pasha, governor of the Turkish fortress. Vladimir,
in his female attire, and Lydia are brought in as
captives, and the Pasha announces to his four
wives that Lydia will be the fifth.- Julian then
arrives with the Russian sergeant, Steipann, to
arrange for the release of his friends. The Pasha
offers to give up Fatinitza, but declares he will re-
tain Lydia. Steipann returns to the General with
the Pasha's terms, carrying also a secret message
from Julian, who has discovered how the Russians
may capture the Turks. Julian remains with the
Pasha, who gives him many entertainments, among
them a shadow pantomime, during which the Gen-
eral and his soldiers rush in and rescue their
friends.
The third act opens in the General's summer
palace at Odessa. He has promised his niece to
an old and crippled friend of his, but Julian once
more straightens out matters by convincing the
General that the real Fatinitza has died of grief
because she was separated from him. Thereupon
he consents to his niece's union with Fatinitza's
brother, Vladimir.
The principal numbers of the first act are
Vladimir's romance, in the sentimental vein, " Lost
FATINITZA. 223
is the Dream that bound me " ; the reporter's
(Julian) jolly descriptive song, " With my Note-
book in my Hand " ; the pompously martial en-
trance song of General Kantschakoff, " Thunder !
Lightning! who goes there?" which forcibly re-
calls General Bourn's " Pif, paf, pouf" song in
Offenbach's " Grand Duchess " ; Lydia's sleighing-
song, " When the Snow a Veil is flinging " ; and
the quartette in the next scene, " Not a Look shall
tell," in the mock Italian style. The second act
opens with the characteristic toilet chorus in the
harem, " Washing, dressing, brushing, combing."
The remaining most striking numbers are Izzet's
song and dance, " I pine but for Progress " ; the
pretty duet for Vladimir and Lydia, " New Doubts,
New Fears " ; the effective sextette, " 'Tis well;
then learn that this young Russian" ; the brilliant
kismet duet for Izzet and Julian, "We are sim-
ply what Fortune pleases " ; the sextette in the
finale, " Silver Tinklings, ringing brightly," known
as the Bell Sextette ; and the characteristic music
to the Karagois, or Turkish shadow pantomime,
which forms a second finale. The leading num-
bers of the last act are Lydia's bell song, " Chime,
ye Bells," accompanied by the ringing of bells on
the stage, and distant shots; the trio for Lydia,
Vladimir, and Julian, "Again, Love, we meet,"
which is one of the most effective bits in the
opera ; and the brilliant closing chorus, " Joy,
Joy, Joy, to the Bride."
224 THE STANDARD LIGHT OPERAS.
Boccaccio.
[ Opera comique, in three acts ; text by Zell and Gene's. First
produced at the Carl Theatre, Vienna, February i, 1879.]
PERSONAGES.
BOCCACCIO, novelist and poet.
LEONETTO, his friend and student.
PIETRO, Prince of Palermo.
LUTTERINGHT, a cooper.
LAMBERTUCCIO, a grocer.
SCALZA, a barber.
FRATELLI, a bookseller.
CHECCO, a beggar.
FRESCO, the cooper's apprentice.
FIAMETTA, LAMBERTUCCIO'S adopted daughter.
BEATRICE, SCALZA'S daughter.
ISABELLA, LUTTERINGHI'S wife.
PERONELLA, LAMBERTUCCIO'S sister.
FILIPPA.
OR ETTA.
[Beggars, students, citizens, coopers, courtiers, etc.]
The scene is laid in Florence ; time, near the close of the four-
teenth century.
SUPP& is fond of introducing real characters
among the personages of his operas, and in this one,
which has become such a favorite, sharing equally
in popularity with " Fatinitza," we find Boccaccio
of the " Decameron," and the Fiametta whom he
has immortalized in it (the Princess Maria of
Naples, with whom he fell violently in love) mas-
querading as the adopted daughter of Lamber-
tuccio, the grocer. In the opera he is rewarded
BOCCACCIO. 225
with her hand in the finale. In reality, Maria, the
Fiametta of the " Decameron," was already the
wife of another when Boccaccio was enamoured of
her. She died long before her lover, but her
memory was cherished by him, as in the case of
Beatrice and Dante, and to her we owe undoubt-
edly the collection of tales in the " Decameron "
which furnished such abundant material to subse-
quent poets, story-tellers, and dramatists.
The story of the opera is a simple one. Pietro,
the Prince of Palermo, is to be married to
Fiametta in accordance with the wishes of his
father, and goes to Florence for that purpose.
The Duke, her father, for reasons of his own, has
had her reared as the adopted daughter of Lam-
bertuccio, a grocer, who was not aware of her
royal birth and intends that she shall marry Pietro,
to whom she was betrothed in infancy. On his
way to Florence Pietro falls in with a madcap
lot of students, whose leader is Boccaccio, and he
joins them in many of their pranks. Boccaccio
himself has incurred the anger of the Florentine
men for having ridiculed them in his stories, and
he too is in love with Fiametta. Pietro among
his other adventures has made love to a married
woman whom the students induced him to believe
was the niece instead of the wife of Lutteringhi,
the cooper. He has the misfortune before pre-
senting himself to the Duke and Fiametta to be
mistaken for Boccaccio and to receive a sound
beating. In the denouement, when he is about
15
226 THE STANDARD LIGHT OPERAS.
to be united to Fiametta for reasons of state,
Boccaccio, knowing that he is loved by her, ar-
ranges a play in which the misdeeds of Pietro are
set forth in such strong light that she refuses the
latter and gives her hand to the poet.
The most popular numbers in the opera are the
serenade to Beatrice, " Lovely Charmer, hear these
Sounds " ; Boccaccio's song with chorus, " I see a
Gay Young Fellow standing nigh " ; the charming
duet for Fiametta and Peronetta, " Listen to the
Bells' Sweet Chime " ; Fiametta's romanza, " If I
have but Affection " ; the duet for Boccaccio and
Fiametta, " A Poor Blind Man implores your Aid " ;
Leonetto's song, opening the second act, "The
Girl of my Heart 's a Treasure " ; the cooper's rol-
licking song, " My Wife has a Scolding Tongue " ;
the coquette song by Isabella, " Young Maidens
must beware " \ the " cretin " song by Boccaccio,
" When they ask me for the News " ; the graceful
waltz song by Fiametta, " Blissful Tidings, reas-
suring"; the rollicking drinking-song of Pietro,
" See the Goblet flash and sparkle " ; the duet for
Boccaccio and Fiametta, " Mia bella fiorentina,"
in the Italian style ; and the sextette, " Ye Fool-
ish Men," which leads up to the finale of the last
act.
THE BEAUTIFUL GALATEA. 227
&fje Beautiful alatea.
[Ope*ra comique, in two acts ; text by Zell and Gene"e. First pro-
duced in Vienna, 1865.]
PERSONAGES.
GALATEA, the statue.
GANYMEDE, Greek boy.
PYGMALION, sculptor.
MIDAS, art patron.
[Chorus of Grecians.]
The scene is laid in Greece ; time, mythological.
THE opera of "Die Schone Galatea" ("The
Beautiful Galatea "), though of slight construction,
is one of Suppe's most melodious works, while the
story is a clever setting of the familiar mythological
romance in a somewhat modern frame, in which re-
spect it resembles the stories of Helen of Troy and
Orpheus and Eurydice, which Offenbach so cleverly
travestied. The first act opens with a graceful cho-
rus of Grecians on their way to worship at the temple
of Venus, at dawn (" Aurora is awaking in Heaven
above "). Ganymede, Pygmalion's servant, de-
clines to go with them, preferring to sleep, and
bids them good-by with a lullaby (" With Violets,
with Roses, let the Temple be decked"). His
master, Pygmalion, who has finished a statue of
Galatea, his ideal, also goes to the temple, and
Ganymede decides to take a nap. His slumbers
are interrupted, however, by Midas, a professional
228 THE STANDARD LIGHT OPERAS.
art patron, who has heard of the statue and informs
Ganymede that he is ready to buy it, but first
wishes to see it. The servant declares it is im-
possible, as his master is in love with it. Midas
makes a further appeal to him in a long descriptive
arietta ("My Dear Father Gordias") in which he
boasts of his abilities, his patronage, and his con-
quests. He finally bribes Ganymede to show it to
him, and as he stands gazing at it and praising its
loveliness, Pygmalion, who has suddenly returned,
enters and upbraids them. After a spirited trio,
" Boiling Rage I feel within me," Ganymede takes
to his heels and Midas is driven out. When
Pygmalion is alone with the statue, a sudden im-
pulse moves him to destroy it because it has been
polluted by Midas's glances, but his hand is stayed
as he hears the chorus of the returning worship-
pers, and he makes an impassioned appeal to
Venus (" Venus, oh, see, I fly to thee ") to give
life to the marble. Venus answers his prayer.
The statue comes to life, and Galatea falls in love
with Pygmalion, the first man she has seen, which
gives an opportunity for a charming number, the
Awakening Duet (" I feel so warm, so sweet"),
and for a solo closing the act (" Lightly sways and
gently sweeps").
The second act opens with the couplets of
Ganymede ("We Grecians"), at the close of
which he espies Galatea gathering flowers. As
soon as the fickle Galatea sees Ganymede, she falls
in love with him because he is younger and hand-
THE BEAUTIFUL GALATEA. 229
somer than Pygmalion. As they are discoursing
admiringly, Midas appears and recognizes Galatea,
and proceeds to woo her with offers of jewels. A
pretty trio follows, " See the Trinkets I have
brought you." She accepts his trinkets and his
money, but declines to accept him. As they are
negotiating, Pygmalion returns. Ganymede once
more takes to his heels, and Galatea conceals
Midas by putting him on the pedestal behind the
screen where she had stood. She then hides her
jewels, and tells Pygmalion she is hungry. Gany-
mede is summoned and arranges the table, and
they sit down, the servant with them at Galatea's re-
quest. She sings a brilliant drinking-song (" Bright
in Glass the Foaming Fluid pass "), in which Pyg-
malion and Ganymede join. During the banquet
Midas is discovered behind the screen, and Pyg-
malion also learns of Galatea's fickle conduct
later, when he surprises her and Ganymede in a
pretty love scene ("Ah, I 'm drawn to Thee ").
By this time Pygmalion is so enraged that he prays
Venus to let her become a statue again. The
goddess graciously consents, and the sculptor
promptly gets rid of Galatea by selling her to
Midas.
THOMAS, CHARLES AMBROISE.
[Ope*ra comique, in three acts ; text by Barbier and Carr6. First
produced at the Ope"ra Comique, Paris, November 17, 1866.]
PERSONAGES.
MIGNON.
WILHELM MEISTER, a student.
LAERTES, an actor.
FREDERIC, an admirer of FILINA.
LOTARIO, MIGNON'S father in disguise of a harper.
FILINA, an actress.
[Actors, gypsies, etc.]
The scene is laid in Germany and Italy ; time, the last century.
THE story of " Mignon," Thomas's universally
popular opera, is based upon Goethe's " Wil-
helm Meister." Mignon, the heroine, who is of
noble birth, was stolen in her childhood by gyp-
sies. Her mother died shortly afterwards, and her
father, disguised as Lotario, the harper, has long
and vainly sought for her. At the opening of the
opera, a strolling band of actors, among them
Filina and Laertes, arrive at a German inn on
their way to the castle of a neighboring prince,
where they are to perform. At the same time a
gypsy band appears and arranges to give the
guests an entertainment. Mignon, who is with
the band, is ordered to dance, but being tired, she
MIGNON. 231
refuses. The leader of the band rushes at her,
but Lotario, the old harper, intercedes in her be-
half, whereupon he is singled out for assault, but is
saved by the wandering student, Wilhelm Meister.
To spare her any further persecution, he engages
her as his page, and they follow on in the suite of
Filina, to whom he is devoted. Touched by his
kindness to her, Mignon falls in love with him ;
but he, ignorant of her passion, becomes more
and more a victim to the actress's fascinations.
When they arrive at the castle, all enter except
Mignon, who is left outside. Maddened by jeal-
ousy, she is about to drown herself, but is restrained
by the notes of Lotario's harp. She rushes to
him for counsel, and invokes vengeance upon all in
the castle. After the entertainment the guests
come out, and Filina sends Mignon in for some
flowers she has left. Suddenly flames appear in
the window. Lotario has fired the castle. Wil-
helm rushes in and brings out the insensible
Mignon in his arms. In the denouement Wilhelm
discovers her attachment to him, and frees himself
from Filina's fascinations. A casket containing a
girdle Mignon had worn in childhood, a prayer
which she repeats, and the picture of her mother
convince Lotario that she is his daughter, and
Wilhelm and Mignon are united.
The leading numbers of the first act are the
quintette immediately following the rescue of
Mignon by Wilhelm ; the romanza, " Non conosci
il bel suol " (" Know'st thou the Land "), a song
232 THE STANDARD LIGHT OPERAS.
full of tender beauty and rare expression; the
duet which immediately follows it, " Leggiadre
rondinelli" ("Oh, Swallows Blithe"), known as
the Swallow Duet, and of almost equal beauty with
the romanza : and the graceful aria, " Grazia al
gentil signore" ("You'll come with us"), in
which Filina invites Wilhelm to join them. The
best numbers in the second act are the trio,
" Ohime quell' acre riso " ("Alas! her Bitter
Laugh ") ; Filina's gay, coquettish aria, " Gai
compliment!" ("Brilliant Compliments") ; Mig-
non's exquisite and characteristic song, " Conosco
un zingarello " (" A Gypsy Lad I well do
know "), which the composer himself calls the
" Styrienne " ; a bewitching rondo-gavotte, " Ci
sono " (" I 'm here at last "), sung by the love-lorn
Frederic ; Wilhelm's pathetic farewell to Mignon,
" Addio, Mignon ! fa core " (" Farewell, Mignon,
take Heart ") ; the beautiful duet for Mignon and
Lotario, " Sofferto hai tu " (" Hast thou e'er suf-
fered ") ; and the polacca in the fourth scene,
which is a perfect feu de joie of sparkling music,
closing with an extremely brilliant cadenza. The
last act is more dramatic than musical, though it
contains a few delightful numbers. Among them
are the chorus barcarole in the first scene, " Orsu,
scioglian le vele " (" Quick, the Sails unfurl ") ; a
son by Wilhelm, " Ah, non credea " (" Ah, little
Thought" ), and the love duet, "Ah, son felice "
(" Ah, I am happy "), in which is heard again
the cadenza of Filina's polacca.
WALLACE, WILLIAM VINCENT.
J&rtanuu
[Romantic opera, in three acts ; text by Fitzball. First pro-
duced at Drury Lane Theatre, London, November 15,1845.]
PERSONAGES.
CHARLES THE SECOND, King of Spain.
DON JOSE DE SANTAREM, his minister.
DON CAESAR DE BAZAN.
MARQUIS DE MONTEFIORI.
LAZARILLO.
MARITANA, a gitana.
MARCHIONESS DE MONTEFIORI.
[Nobles, alquazils, soldiers, gypsies, populace, etc.]
The scene is laid in Madrid ; time of Charles the Second.
THE story of " Maritana " is founded upon the
well-known play of " Don Caesar de Bazan."
At the opening of the first act a band of gypsies,
Maritana among them, are singing to the people.
The young King Charles listening to her is fas-
cinated by her beauty. Don Jose", for reasons of
his own, extols her charms and arouses her hopes
for a brilliant future. At this point Don Caesar
de Bazan, a reckless, rollicking cavalier, once a
friend of Don Jose", makes his appearance. He
has parted with the last of his money to gamblers,
and while he is relating his misfortunes to Don
234 THE STANDARD LIGHT OPERAS.
Jose", Lazarillo, a forlorn lad who has just tried to
make away with himself, accosts Don Caesar and
tells him a piteous tale. The Don befriends, and
thereby becomes involved in a duel. This leads
to his arrest for duelling in Holy Week, which is
forbidden on pain of death. While Don Caesar
sets off for the prison, Don Jose" promises Mari-
tana speedy marriage and presentation at court.
The second act opens in the prison. Don Jose"
enters, and professes great sympathy for Don
Caesar. When asked if he has any last request,
he begs to die like a soldier. Don Jose* agrees
that he shall not die an ignominious death if he
will marry. He consents, and is also treated to
a banquet, during which Lazarillo delivers a paper
to Don Jose containing the royal pardon of Don
Csesar, but Don Jose" conceals it. Maritana, her
features disguised by a veil, is married to the Don,
but at the expiration of an hour he is led out to
meet his fate. The soldiers fire at him, but he
escapes, as Lazarillo has managed to abstract the
bullets from their guns. He feigns death, and
when the opportunity presents itself hurries to a
ball at the Montefiori palace, and arrives just as
the Marquis, who has had his instructions from Don
Jose*, is introducing Maritana as his niece. Don
Csesar demands his bride, but Don Jose" arranges
with the Marquis to present him with the Mar-
chioness closely veiled. The scheme does not
work, as Don Csesar hears Maritana's voice and
claims her, but she is quickly spirited away.
MA RITA NA. 235
The last act finds Maritana in a royal apart-
ment. Don Jose" carries out his plot by intro-
ducing the King to her as her husband. At this
juncture Don Caesar rushes in. The King in a
rage demands to know his errand. He replies
that he is seeking the Countess de Bazan, and
with equal rage demands to know who he (the
King) is. When the King in confusion answers
that he is Don Caesar, the latter promptly replies,
"Then I am the King of Spain." Before further
explanations can be made, the King is summoned
by the Queen. Don Caesar and Maritana consult
together, and he decides to appeal to the Queen.
While waiting for her in the palace garden, he
overhears Don Jose" telling her that the King is
to meet his mistress that night. Don Caesar de-
nounces him as a traitor, and slays him. The
King, when he hears of Don Caesar's loyalty, con-
signs Maritana to him, and appoints him Governor
of Valencia.
The opera is full of bright, melodious music.
The principal numbers in the first act are Mari-
tana's song, " It was a Knight of Princely Mien " ;
the romanza which she sings for Don Jose", " T is
the Harp in the Air " ; the duet between Don
Jose" and Maritana, "Of Fairy Wand had I the
Power " ; Don Caesar's rollicking drinking-song,
" All the World over " ; and the delightful chorus,
" Pretty Gitana, tell us what the Fates decree."
The first scene of the second act is a mine of
charming songs, including Lazarillo's, " Alas ! those
236 THE STANDARD LIGHT OPERAS.
Chimes " ; the trio, " Turn on, Old Time, thine
Hourglass " ; Don Caesar's stirring martial air,
"Yes, let me like a Soldier fall"; the senti-
mental ballad, " In Happy Moments, Day by
Day " ; and the quartette and chorus closing the
scene, "Health to the Lady, the Lovely Bride."
The next scene contains a pretty chorus in waltz
time, " Ah ! what Pleasure," followed by an aria
sung by the King, "The Mariner in his Bark,"
and the act closes with a very dramatic ensemble,
" What Mystery must now control." The lead-
ing numbers of the last act are Maritana's song,
" Scenes that are Brightest," one of the most ad-
mired of all English songs ; the love duet between
Don Csesar and Maritana, " This Heart with Bliss
O'erflowing " ; and Don Caesar's song, " There is
a Flower that bloorneth," which is in the senti-
mental ballad style.
Ittrline.
[Romantic opera, in three acts ; text by Fitzball. First pro-
duced at Covent Garden Theatre, London, February 23, 1860.]
PERSONAGES.
COUNT RUDOLPH, a young nobleman.
WILHELM, his friend.
RHINEBERG, the river King.
BARON TRUENFELS.
ZELLECK, a gnome.
CONRAD.
ADOLPH.
LURLINE, nymph of the Lurlei-Berg.
LURLINE. 237
GHIVA, the Baron's daughter.
LIBA, a spirit of the Rhine.
[Vassals, conspirators, pages, water spirits.]
The scene is laid on the banks and in the waters of the Rhine ;
time, the present.
THE story of " Lurline " closely follows the old
legend of the " Lorelei." Count Rudolph, having
dissipated his fortune, proposes marriage with
Ghiva, daughter of a neighboring baron, to recoup
himself. The Baron, however, turns out to be as
poor as the Count, and nothing comes of the propo-
sition. Meanwhile Lurline, the Rhine nymph,
has seen the Count sailing on the river and fallen
in love with him. At the last banquet he and
his companions give in the old castle, she appears,
weaves spells about him, places a magic ring on
his finger, and then disappears. When he comes
to his reason, he finds himself enamoured of her,
follows the notes of her harp on the Rhine, and
is engulfed in the whirlpool to which Lurline
allures her victims.
The second act opens in Lurline's cavern under
the Rhine, and Rudolph is there by virtue of
his magic ring. He hears his friends singing
and mourning his loss as they sail on the river,
and is so touched by it that he implores per-
mission to return to them for a short time.
Lurline consents to his absence for three days,
and agrees to wait for him on the summit of
the Lurlei-Berg at moonrise on the third evening.
She also prevails upon her father, the Rhine
238 THE STANDARD LIGHT OPERAS.
King, to give him treasures, with which he embarks
in a fairy skiff, leaving Lurline dejected.
In the last act Rudolph discloses to the Baron
and his daughter, as well as to his companions,
the secret of his wealth. The Baron once more
encourages his suit, and the crafty Ghiva steals
the magic ring and throws it into the Rhine.
In the mean time Lurline waits nightly on the
Lurlei-Berg for the return of her lover, and there
a gnome brings to her the ring, token of his
infidelity. Distracted between grief and anger,
she determines to reproach him with his perfidy
at a banquet in the castle ; she suddenly appears,
and demands her ring from him. A scene of
bitter reproaches ensues, ending with her de-
nunciation of his companions' treachery. Grow-
ing envious of the Count's wealth, they had
conspired to destroy him and then plunder the
castle. Ghiva and her father, overhearing the
plot, reveal it to the Count and urge him to
escape by flight. Rudolph, however, preferring
death near Lurline, confronts the assassins. Love
returns to Lurline once more. She strikes her
harp and invokes the Rhine, which rises and
engulfs the conspirators. When the waves sub-
side, the Rhine King appears and gives the hand
of his daughter to the Count.
The principal numbers of the first act are
Rhineberg's invocation aria, "Idle Spirit, wildly
dreaming " ; Lurline's beautiful romanzas with
harp accompaniment, " Flow oh, flow on, O Silver
LURLINE. 239
Rhine," and " When the Night Winds sweep the
Wave " ; the melodious chorus, " Sail, sail, sail on
the Midnight Gale " ; the drinking-song, " Drain
the Cup of Pleasure " ; the quaint tenor song,
" Our Bark in Moonlight beaming " ; and the
vigorous chorus of the gnomes in the finale, " Ven-
geance, Vengeance." The second act opens with
the gnomes' song, "Behold Wedges of Gold."
The remaining conspicuous numbers are the
Count's song, " Sweet Form that on my Dreamy
Gaze " ; Lurline's brilliant drinking-song with
chorus, " Take this Cup of Sparkling Wine " ;
Ghiva's ballad, for contralto, " Troubadour En-
chanting " ; the breezy hunting-chorus, " Away
to the Chase, come away " ; Rhineberg's senti-
mental song, "The Nectar Cup may yield De-
light " ; and the ensemble in the finale, which
is in the genuine Italian style. The third act
is specially noticeable for the ballad sung by
Rudolph, " My Home, my Heart's first Home " ;
Lurline's song on the Lurlei-Berg, " Sweet Spirit,
hear my Prayer," which has been a great favorite
on the concert stage ; the unaccompanied quartette,
"Though the World with Transport bless me";
the grand duet, "Lurline, my Naiad Queen,"
and the incantation music and closing chorus,
" Flow on, thou Lovely Rhine."
BRENTANO'S
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