The Standard Operaglass Part 13

HERRAT.

Grand Opera in three acts by FELIX DRAESEKE.

The first representation of Herrat took place in Dresden on the 10th of March 1892. Its author is long known as one of the first living composers, but his music is so serious, so extremely difficult in its execution, that this is probably the cause, why his operas have been almost unknown hitherto. Like Wagner he did the libretto himself, like him he chose his subject from the old "Heldensaga", but here all likeness ends; there is no relation {129} between Draeseke and Wagner; each goes his own way, each is an original genius.

The Amelungenlied a translation of which has appeared from Simrock, bears great likeness to the Nibelungen; we even find in part the same persons. The subject is a b.l.o.o.d.y-one; love and heroism are the poles which move it. The music is grand, stern, sometimes sublime, but we look vainly for grace and sweetness. The libretto is rather poor, the rhymes unmelodious and uneven; nevertheless the musical effect is deep and lasting; the breath of a master-genius has brought it to life.

The first scene is laid in Etzel's (Attila's) castle Gran. The King of the Hun's best va.s.sal, Dietrich of Bern has been severely wounded, and sent by his Sire to Gran, that he might be tended by Queen Heike, Etzel's wife. Instead of taking care of the hero, she leaves him to her maid Herlinde, who has nought but water at her disposition, while the Queen nurses her kinsman Dietrich der Reusse, a prisoner of war.

The consequence of this is, that Etzel coming home finds his friend sicker than before, while his enemy is well and strong. Full of wrath he orders the Queen to keep Dietrich den Reussen prisoner, without leaving her any guards; should he escape, she is to be beheaded.

After Etzel's departure to the army Dietrich der Reusse escapes notwithstanding the Queen's entreaties.--In her distress Heike turns to the sore wounded Dietrich von Bern, who, though {130} bitterly cursing her ingrat.i.tude rises from his sick-bed in order to pursue the fugitive.

In the second act Dietrich of Reuss arrives on foot at Saben's castle in Esthonia. (Saben is a usurper, who has dispossessed King Nentwin and taken possession of his castle and his daughter Herrat.) Dietrich's steed is dead, but hearing his pursuer close upon his heels he takes refuge in an adjacent wood. Herrat standing on a balcony, has recognized him. She sees him vanish with regret, because a prediction told her, that a Dietrich would be her deliverer, but when another hero comes up, she directs him to the wood, to which Dietrich has flown.

She hears the combat going on between the two, and soon the pursuer comes back, telling her that his enemy is dead and begging for rest and shelter. When he tells her his name, she starts back, well knowing that Saben, who has slain Dietrich's relatives, will not receive him graciously. She however accompanies him to a room, and determined to protect him against Saben's wiles, she binds up his wounds and nurses him tenderly. Saben entering recognizes the Berner by his celebrated helmet; he leaves the room telling Herrat to look well after such a famous guest. But Herrat's mind misgives her, she tries to rouse the hero, who has sunk into the sleep of exhaustion, and not succeeding, places his arms well within his reach. When she is about to withdraw, she sees Saben return with a band of a.s.sa.s.sins. Their murmurs rouse Dietrich, who defends himself bravely, {131} slaying one after another.

But his strength is failing, when suddenly a disguised youth rushes to his a.s.sistance with eight well-armed companions. Saben's men are slain, Saben himself falls a victim to Dietrich's sword. When the youth unmasks Dietrich recognizes in his deliverer Herrat his sweet nurse, whose likeness to his own dead wife Gotlinde has moved him from the first. She offers him her father's kingdom, which he though full of love and grat.i.tude, is loth to accept, as he only claims her heart and hand. But ambition urges him to accept her offer, and so he not only obtains her hand but is proclaimed King of Esthonia.

The third act presents the camp of the Huns, pitched southwards of Gran near the Danube. Etzel has already twice granted respite to the Queen, but as there is no trace of the two Dietrichs, Heike is now to be executed. Old Hildebrand, one of the Berner's followers is particularly inimical to her, because he believes her to be the cause of his beloved master's death.

Suddenly everybody's attention is attracted to a s.h.i.+p approaching the camp. Hildebrand, perceiving on it a hero in disguise, wearing Dietrich's helmet, with Waldemar and Ilias, Etzel's enemies on his side, calls the people to arms. But when the foreign knight disembarks and unmasking shows the face of Dietrich von Bern, everybody is full of joy. He brings the two hostile Kings as prisoners to Etzel and lays the two crowns of Esthonia and of the Wiking country at his feet.

{132} Etzel's brow however remains somber; he sternly asks after Dietrich von Reuss. The Berner unwilling to sing his own praise, is silent, when his wife Herrat steps forth, relating how her hero killed his antagonist in Saben's woods. Now at last Etzel relents; he draws his wife to his breast in forgiveness, and all sing hail to Etzel and Dietrich and to their Queens.

HOCHZEITSMORGEN.

(WEDDING'S MORNING.)

Opera in one act by KARL VON KASKEL.

Text by FRANZ KOPPEL-ELLFELD.

This opera, which was represented for the first time at the Royal Opera in Dresden on April 29th, 1893, is the first attempt of its young composer, and as such shows considerable talent, even genius.

Indeed it sins rather in too much than in too little invention; it would seem that Kaskel's brain, overflowing with musical ideas, wanted to put them all into this one first child of his muse. This promises well for the future, but it explains, why it lacks the great attraction of Cavalleria with which it has some relation, without imitating it in the least. The hearer's attention is tired by too much and divided by lack of unity. Nevertheless the composer has understood how to make the most of a somewhat weak libretto, and the manner in which the musical interest increases from scene to scene is admirable in a beginner.

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The scene is laid in an Italian Frontier Fortress near Mentone at the foot of Col di Tenda. It may be added here, that the national colouring is particularly well hit.

Giovanna, the daughter of Regina Negri an inn-keeper is betrothed to Pietro Montalto, Captain of the Bersaglieri; and the wedding is fixed for the following morning. Before her betrothal Giovanna has carried on a flirtation with Paolo Tosta, a wild fellow, who unfortunately took the girl's play seriously, and seeing the friend of his childhood estranged from him, has turned smuggler and head of a band of Anarchists. Giovanna is afraid of him, and trembles for her bridegroom, whom she loves truly.

However, when she sees Paolo taken captive and sentenced to death by her own lover, she implores the latter to deal mercifully with the miscreant. She has neglected to tell him of her early friends.h.i.+p for the captive, and so Pietro, who does not understand her softness for the ruffian refuses, his soldierly honour being at stake. But at last love conquers and Giovanna extracts a promise from him, to let the prisoner escape during the night.

Left alone, Pietro's keen sense of duty reawakes and he leaves the place without freeing the captive.

However Toto, a dealer in tobacco, Paolo's friend and helpmate in smuggling arrives and releases him. Instead of escaping Paolo seeks Giovanna, and when she turns from him with loathing, he swears, either to possess her, or to destroy her bridegroom.

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On the following morning Pietro hears from Bastiano, the Bersaglieri Sergeant, that the keys of the prison have been stolen, and the prisoner has escaped. Pietro rejoices, that this happened without his own intervention and turns full of happiness to his bride, who stands ready for the wedding. The wedding-procession is slowly moving towards church, when it is suddenly arrested by Paolo, who throws himself between the lovers. "Mine she was, before she knew you," he cries out, "to me she swore eternal faith, which she has now falsely broken."

Giovanna, struck dumb by terror, is unable to defend herself.--Pietro orders his men to recapture the ruffian, but quick as thought Paolo has deprived the soldier nearest to him of his sabre and with the words "Thou shalt die first," has thrust it towards Pietro. Alas, it is Giovanna's breast, he pierces; she has s.h.i.+elded her lover with her own body.--With a sweet smile she turns to Pietro, who implores her to speak. "Pardon me," she sighs faintly, "he was long a stranger to my heart; thee alone I loved, to thee I was faithful unto death." With those loving words she sinks back expiring.

LES HUGUENOTS.

Grand Opera in five acts by GIACOMO MEYERBEER.

Text by SCRIBE.

This is the best opera of this fertile composer, and one with which only his "Robert le diable" can compare. The music is not only interesting, but highly {135} dramatic; the "mise en scene", the brilliant orchestration, the ballet, everything is combined to fascinate the hearer. We find such an abundance of musical ideas, that we feel Berlioz but spoke the truth, when he said that it would do for twenty others of its kind.

The scene is laid in France, at the time of the b.l.o.o.d.y persecutions of the Protestants or Huguenots by the Catholics. The Duke of Medicis has apparently made peace with Admiral Coligny, the greatest and most famous of the Huguenots, and we are introduced into the castle of Count Nevers, where the catholic n.o.blemen receive Raoul de Nangis, a protestant, who has lately been promoted to the rank of captain.

During their meal they speak of love and its pleasures, and everybody is called on to give the name of his sweetheart. Raoul begins, by telling them, that once when taking a walk, he surprised a band of students, molesting a lady in a litter. He rescued her and as she graciously thanked him for his gallant service, he thought her more beautiful than any maiden he had ever before seen. His heart burnt with love for her, though he did not know her name. While Raoul drinks with the n.o.blemen, Marcel, his old servant warns him of the danger of doing so.

Marcel is a strict old protestant and sings a ballad of the Huguenots to the young people, a song wild and fanatic. They laugh at his impotent wrath, when a lady is announced to Count Nevers, in whom Raoul recognizes the lady of his dreams.

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Of course he believes her false and bad, while as a matter of fact she only comes to beseech Nevers, her destined bridegroom, to set her free.

Nevers does so, though not without pain. When he returns to his companions, he conceals the result of the interview, and presently Urbain, a page, enters with a little note for Raoul de Nangis, in which he is ordered to attend a lady, unknown to him. The others recognize the seal of Queen Margarita of Valois, and finding him so worthy, at once seek to gain his friends.h.i.+p.

In the second act we find Raoul with the beautiful Queen, who is trying to reconcile the Catholics with the Protestants. To this end the Queen has resolved to unite Raoul with Valentine, her lady of honor, and daughter of the Count of St. Bris, a staunch catholic. Valentine tells her heart's secret to her mistress, for to her it was that Raoul brought a.s.sistance, and she loves him. The n.o.ble Raoul, seeing Margarita's beauty and kindness, vows himself her knight, when suddenly the whole court enters to render her homage. Recognizing her at last to be the Queen, Raoul is all the more willing to fulfil her wishes and offers his hand in reconciliation to the proud St. Bris, promising to wed his daughter. But when he perceives in her the unknown lady, whom he believes to be so unworthy, he takes back his word. All are surprised, and the offended father vows b.l.o.o.d.y vengeance.

In the third act Marcel brings a challenge to {137} St. Bris, which the latter accepts, but Maurevert, a fanatical catholic n.o.bleman, tells him of other ways in which to annihilate his foe. Valentine though deadly offended with her lover, resolves to save him. Seeing Marcel, she bids him tell his master not to meet his enemy alone. Meanwhile Raoul is already on the spot, and so is St. Bris with four witnesses. While they fight, a quarrel arises between the catholic and the protestant citizens, which is stopped by Queen Margarita. The enemies accuse each other, and when the Queen is in doubt as to whom she shall believe, Valentine appears to bear witness. Then Raoul hears that her interview with Nevers had been but a farewell, sought for but to loosen forever the ties which her father had formed for her against her will; but the knowledge of his error comes too late, for St. Bris has once more promised his daughter to Nevers, who at this moment arrives with many guests, invited for the wedding. The presence of the Queen preserves peace between the different parties, but Raoul leaves the spot with death in his heart.

In the fourth act the dreadful night of St. Bartholomew is already beginning.

We find Valentine in her room despairing. Raoul comes to take a last farewell, but almost immediately St. Bris enters with a party of Catholics and Raoul is obliged to hide in the adjoining room. There he hears the whole conspiracy for the destruction of the Protestants, beginning with their leader, Admiral Coligny. The Catholics all a.s.sent {138} to this diabolical plot; Nevers alone refuses to soil his honor, and swears only to fight in open battle. The others, fearing treason, decide to bind and keep him prisoner until the next morning. Raoul prepares to save his brethren or die with them. Vain are Valentine's entreaties; though she confesses to her love for him, he yet leaves her, though with a great effort, to follow the path of duty.

In the last act Raoul rushes pale and b.l.o.o.d.y into the hall, where Queen Margarita sits with her husband, Henry of Navarre, surrounded by the court; He tells them of the terrific events, which are going on outside, and beseeches their help. It is too late however, Coligny has already fallen, and with him most of the Huguenots.

Raoul meets Valentine once more; she promises to save him, if he will go over to her faith. But Marcel reminds him of his oath, and Valentine, seeing that nothing can move her lover's fort.i.tude and firmness, decides to remain with him. She accepts his creed and so they meet death together, Valentine falling by the side of her deadly wounded lover, both praising G.o.d with their last breath.

IDLE HANS.

(DER FAULE HANS.)