The Standard Operaglass Part 22

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Neither music nor libretto are strikingly original; both remind vividly of Wagner.--Nevertheless the opera met with warm applause, the princ.i.p.al part being splendidly rendered by Teresa Malten, and the mise en scene justifying the highest expectations. The beauty of the music lies princ.i.p.ally in its coloring which is often very fine. Its best parts are the tender songs of the nymphs, those parts which lead into the realm of dream and of fairy-land.--Once only it soars to a higher dramatic style; it is in the second act (the one which has undergone an entire revision), when Bertram, the natural son, bewails his father.--

On the whole the weak libretto forbids every deeper impression. It is neither natural nor dramatic, and leaves our innermost feelings as cold as the watery element, from which it springs.

The scene is laid in a French Department on the Upper Rhine, where a Duchy of Lusignan can never have existed, about the time of the first Crusade.--The first act shows a forest, peopled by water-nymphs and fairies, who enjoy their dances in the light of the full-moon.--Melusine, their princess emerges from her grotto. While they sing and dance, a hunter's bugle is heard and Count Raymond of Lusignan appears with Bertram, his half-brother, seeking anxiously for their father.--Both search on opposite sides; Bertram disappears, while Raymond, hearing a loud outcry for help, rushes into the bushes whence it comes, not heeding Melusine's warning, who watches the {219} proceedings half hidden in her grotto. The nymphs, foreseeing what is going to happen, break out into lamentations, while Melusine sings an old tale of the b.l.o.o.d.y strife of two brothers. She is already in love with Raymond, whose misfortune she bewails. When he hurries back in wild despair at having slain his father, whose life he tried to save from the tusks of a wild boar,--his sword piercing the old man instead of the beast, (a deed decreed by fate,)--he finds the lovely nymph ready to console him. She presents him with a draught from the magic well, which instantly brings him forgetfulness of the past (compare Nibelung's-ring).--The Count drinks it, and immediately glowing with love for the beautiful maiden wooes her as his wife. Melusine consents to the union under the condition that he pledges himself by a solemn oath, never to blame her, nor to spy her out, should she leave him in the full-moon nights. Raymond promises, and the sun having risen, the hunters find him in his bride's company. He presents their future mistress to them, and all render homage; only Bertram, struck to the heart by Melusine's loveliness, which is not for him, stands scornfully aside.

The first scene of the second act represents the sepulchral crypt of the Lusignan family. The old Duke has been found dead in the forest, and a choir of monks sings the Requiem. Bertram's mournful song and the lament of the women are of surpa.s.sing beauty; also the contrasting sounds {220} from merry music of Raymond's wedding procession, now and then heard, cause an excellent musical effect. A hermit, Peter von Amiens, now entering comforts the widowed d.u.c.h.ess and warns them all of Melusine. He relates the legend of the water-fairy, who with sweet voice and mien entices and seduces human beings. The poor mother implores Heaven to save her son, while Bertram invokes h.e.l.l to avenge his father on the murderer.

The scene changes into the park belonging to Raymond's palace. Raymond and Melusine enjoy their nuptial bliss, until the rising of the full-moon awakes in Melusine the irresistible longing for her native element. Notwithstanding her husband's entreaties, she tears herself from him, and Raymond, mindful of his oath, retires. But Melusine's steps are interrupted by Bertram, who has tracked her and now declares his love. She scornfully rejects him, and he, enraged and jealous, threatens to betray Raymond, whose b.l.o.o.d.y sword he has found at the spot, where their father was murdered. But Melusine escapes to the gray temple in the garden and she prophesies, that Raymond will be happy as long as he keeps her faith, and then vanishes into the interior. Bertram remains motionless and stunned, until he hears Raymond's voice, who is waiting for his wife.--Spurred by every evil feeling of hate and envy he peremptorily asks Raymond to surrender all his possessions, his wife Melusine, even his life, deeming that his brother has forfeited every right through the murder.--But {221} Raymond oblivious of the deed through the effect of the magic draught, draws his sword, when his mother interferes. The d.u.c.h.ess repeats to her son the suspicion expressed by the hermit in regard to Melusine and Raymond anxiously calls for her to refuse the accusation.--But instead of his wife, sweet songs are heard from the temple, he forgets his oath, spies into its interior through a cleft and perceives the place of the nixies, with Melusine in their midst. Recognizing his fate, Raymond sinks back with a despairing cry.

In the third act the fishermen and women a.s.semble on the banks of the Rhine at day-break, preparing for their daily work. They also know the Count's wife to be a mer-maid, and they sing a ballad of the water-nymph. Suddenly Melusine appears and they take flight.

Melusine, finding the gates of her husband's castle closed, vainly calls for him.--His mother answers in his stead, charging her with witchcraft and refusing to admit her. Melusine, sure of Raymond's love undauntedly answers that only Raymond's want of faith could undo her.--In the meantime a herald announces the arrival of Crusaders with Peter von Amiens.--The latter exhorts Count Raymond to join the holy army in order to expiate his father's murder. Raymond is willing to go, when Melusine entreats him not to leave her. All present press around to insult her, only Bertram steps forth as her protector, once more showing Raymond's b.l.o.o.d.y sword, an act, which she alone understands. She kneels {222} to him, in order to save her husband, but Raymond, misunderstanding her movements, accuses her of secret intercourse with Bertram and in a fit of jealousy disowns her.

Scarcely have the luckless words escaped his lips, than a violent sound of thunder is heard. Melusine curses the palace, and throws her husband's ring at his feet. She disappears in the Rhine, Bertram leaping after her, the stream overflows its banks, and a flash of lightning destroys the castle. Gradually the scene changes to the one of sylvan solitude in the first act. Raymond appears in pilgrim's garb to seek for his lost love (see Tannhaeuser), Melusine once more emerges from her grotto to comfort him, but also to bring him death. Happy, he dies in her embrace, she buries him under water-lilies and returns to her watery domains.

MERLIN.

Opera in three acts by CHARLES GOLDMARK.

Text by SIEGFRIED LIPINER.

This latest creation of the talented composer at once proved itself a success, when produced for the first time in the Opera-House in Vienna.

Since then it has quickly pa.s.sed to all the larger stages.

Merlin surpa.s.ses the Queen of Sheba in dramatic value and is equal to it in glowing coloring and brilliant orchestration. Goldmark is quite the reverse of Wagner. Though equally master of modern instrumentation, he abounds in melodies. {223} Airs, duets and choruses meet us of surpa.s.sing beauty and sweetness. The text is highly fantastic, but interesting and poetical.

King Artus is attacked by the Saxons and almost succ.u.mbs.--In his need he sends Lancelot to Merlin, an enchanter and seer, but at the same time the King's best friend and a Knight of his table.

Merlin, offspring of the Prince of h.e.l.l and of a pure virgin, has power over the demons, whom however he only employs in the service of Heaven, his good mother's spirit protecting him. Merlin calls up a demon, whom he forces to blind the heathen Saxons, so that the Britons may be victorious. The demon obeys unwillingly and after Merlin's departure he calls up the fairy Morgana who knows all the secrets of the world.

Morgana tells the demon, that if Merlin loves an earthly woman, his power will be gone and the demon resolves to tempt Merlin with the most beautiful woman on earth. He vanishes and the Britons return victorious, Merlin with prophetic insight recognizing the knight, who had betrayed his people to the Saxons. While he sings a pa.s.sionate chant in honor of his King and his country, Vivien, a Duke's daughter, appears and they are at once attracted to each other. But Merlin vanquishes his love and refuses to accept the crown of oak-leaves, which his King offers him by the hand of Vivien. Then Artus takes his own crown and puts it on Merlin's curls.

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The second act begins with a conspiracy headed by Modred, Artus'

nephew, against his uncle. Lancelot openly accuses him of treason, and the King sends to Merlin, for judgment. But alas, Merlin's love has already blinded his understanding; he fails to detect the culpable Modred, and declares that he is not able to find fault in him. King Artus and his knights depart to seek new laurels, leaving the country in Modred's hands. Merlin stays in his sanctum, to where the demon now leads Vivien who has lost her way. The doors of the temple open by themselves at Vivien's request, and she finds a rosy, glittering veil, which, thrown into the air, causes various charming apparitions to present themselves.--When Merlin comes, the whole charm vanishes into air. Vivien tells him of her delightful adventure, but Merlin, frightened, informs her that who ever is touched by the veil, will be in the power of demons, chained to a rock for ever. Love conquers, and the short hour succeeding is for both filled with earth's greatest bliss. The news of Modred's treachery to King Artus awakes Merlin from his dream. He tears himself from his love, vowing to shun her for ever and to return to the well of grace. But Vivien, finding all her prayers vain, throws the fatal veil over him to hinder his flight. The dreadful effect becomes instantly apparent; the rose-garden disappears, mighty rocks enclose the vale on all sides, and Merlin is held down by burning chains.

While Vivien is consumed by self-reproach and {225} pain, the fairy Morgana appears, telling her that love, which is stronger than death, can bring Merlin eternal grace. Vivien is led away by her maid, and Lancelot enters with the knights to seek Merlin's help against the treacherous Modred.

Seeing Merlin in this pitiful state, he sadly turns from him, but Merlin in despair promises his soul to the demon, if he but a.s.sist to deliver his King and his country. The demon breaks the chains and Merlin rushes with the knights into battle. During his absence Vivien prepares herself to receive her hero, but though she sees him return victorious he is wounded to death. The demon comes up to claim his victim, but Vivien, remembering Morgana's words, sacrifices herself piercing her heart at Merlin's feet. The demon disappears cursing heaven and earth, while Artus and his knights, though they sadly mourn for their hero, yet praise the victory of true love.

THE MERRY WIVES OF WINDSOR.

Comic Opera in three acts by OTTO NICOLAI.

Text by MOSENTHAL.

This charming opera has achieved the fame of its composer, of whom very little is known, except that he is the author of this really admirable musical composition, which is valued not only in Germany but all over Europe. Its overture is played by almost every orchestra, and the choruses and songs are both delightful and original. As {226} may be gathered from the t.i.tle, the whole amusing story is taken from Shakespeare's comedy.

Falstaff has written love-letters to the wives of two citizens of Windsor, Mrs. Fluth and Mrs. Reich. They discover his duplicity and decide to punish the infatuated old fool.

Meanwhile Mr. Fenton, a nice but poor young man asks for the hand of Miss Anna Reich. But her father has already chosen a richer suitor for his daughter in the person of silly Mr. Spaerlich.

In the following scene Sir John Falstaff is amiably received by Mrs.

Fluth, when suddenly Mrs. Reich arrives, telling them that Mr. Fluth will be with them at once, having received notice of his wife's doings.

Falstaff is packed into a was.h.i.+ng-basket and carried away from under Mr. Fluth's nose by two men, who are bidden to put the contents in a ca.n.a.l near the Thames, and the jealous husband, finding n.o.body, receives sundry lectures from his offended wife.

In the second act Mr. Fluth, mistrusting his wife, makes Falstaff's acquaintance, under the a.s.sumed name of Bach, and is obliged to hear an account of the worthy Sire's gallant adventure with his wife and its disagreeable issue. Fluth persuades Falstaff to give him a rendezvous, swearing inwardly to punish the old c.o.xcomb for his impudence.

In the evening Miss Anna meets her lover Fenton in the garden, and ridiculing her two suitors, Spaerlich and Dr. Caius, a Frenchman, she {227} promises to remain faithful to her love. The two others, who are hidden behind some trees, must perforce listen to their own dispraise.

When the time has come for Falstaff's next visit to Mrs. Fluth, who of course knows of her husband's renewed suspicion, Mr. Fluth surprises his wife and reproaches her violently with her conduct. During this controversy Falstaff is disguised as an old woman and when the neighbors come to help the husband in his search, they find only an old deaf cousin of Mrs. Fluth's who has come from the country to visit her.

Nevertheless the hag gets a good thras.h.i.+ng from the duped and angry husband.

In the last act everybody is in the forest, preparing for the festival of Herne the hunter. All are masked, and Sir John Falstaff, being led on by the two merry wives is surprised by Herne (Fluth), who sends the whole chorus of wasps, flies and mosquitos on to his broad back. They torment and punish him, till he loudly cries for mercy. Fenton in the mask of Oberon has found his Anna in Queen t.i.tania, while Dr. Caius and Spaerlich, mistaking their masks for Anna's, sink into each other's arms, much to their mutual discomfiture.

Mr. Fluth and Mr. Reich, seeing that their wives are innocent and that they only made fun of Falstaff, are quite happy and the whole scene ends with a general pardon.

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MIGNON.

Opera in three acts by AMBROISE THOMAS

Text by MICHEL CARRE and JULES BARBIER.

This opera is full of French grace and vivacity, and has been favorably received in Germany. The authors have used for their libretto Goethe's celebrated novel "Wilhelm Meister", with its typical figure Mignon as heroine, though very much altered. The two first acts take place in Germany.

Lothario, a half demented old man, poorly clad as a wandering minstrel, seeks his lost daughter Sperata. Mignon comes with a band of gipsies, who abuse her because she refuses to dance. Lothario advances to protect her, but Jarno, the chief of the troop, only scorns him, until a student, Wilhelm Meister steps forth and rescues her, a young actress named Philine compensating the gipsy for his loss by giving him all her loose cash. Mignon, grateful for the rescue, falls in love with Wilhelm and wants to follow and serve him, but the young man, though delighted with her loveliness and humility is not aware of her love.

Nevertheless he takes her with him. He is of good family, but by a whim just now stays with a troop of comedians, to whom he takes his protegee. The coquette Philine loves Wilhelm and has completely enthralled him by her arts and graces. She awakes bitter jealousy in Mignon who tries to drown herself, but is hindered by the sweet strains of Lothario's harp which appeal to the n.o.bler feelings of her nature.

The latter always keeps near her, watching {229} over the lovely child.

He instinctively feels himself attracted towards her; she recalls his lost daughter to him and he sees her as abandoned and lonely as himself. Mignon, hearing how celebrated Philine is, wishes that the palace within which Philine plays, might be struck by lightning, and Lothario at once executes her wish by setting the house on fire.

While the guests rush into the garden, Philine orders Mignon to fetch her nosegay, the same flowers, which the thoughtless youth offered to his mistress Philine. Mignon, reproaching herself for her sinful wish, at once flies into the burning house, and only afterwards does her friend Laertes perceive that the theatre has caught fire too.

Everybody thinks Mignon lost, but Wilhelm, rus.h.i.+ng into the flames, is happy enough to rescue her.--

The third act carries us to Italy, where the sick Mignon has been brought. Wilhelm, having discovered her love, which she reveals in her delirium, vows to live only for her. Lothario, no longer a minstrel, receives them as the owner of the palace, from which he had been absent since the loss of his daughter. While he shows Mignon the relics of the past, a scarf and a bracelet of corals are suddenly recognized by her. She begins to remember her infantine prayers, she recognizes the hall with the marble statues and her mother's picture on the wall.--With rapture Lothario embraces his long-lost Sperata. But Mignon's jealous {230} love has found out that Philine followed her, and she knows no peace until Wilhelm has proved to her satisfaction, that he loves her best.