The Standard Operaglass Part 47

Music by JOHANN STRAUSS.

The Fledermaus is the famous Viennese Waltz King's best operetta. The charming music is so well known, that only the libretto needs to be explained, because of its rather complicated plot.

A serenade which is listened to by Adele Rosalind Eisenstein's maid, but is intended for her mistress, begins the first act. Adele has just received an invitation from her sister Ida to a grand entertainment to be given by a Russian prince, {480} Orlofsky by name. She is longing to accept it, and attempts to get leave of absence for the evening from her mistress, when the latter enters, by telling her that an aunt if hers is ill, and wishes to see her. Rosalind, however, refuses to let Adele go out, and the maid disappears pouting. While Rosalind is alone, her former singing master and admirer Alfred, suddenly turns up.

He it was who had been serenading her, and Rosalind, succ.u.mbing to her old weakness for tenors, promises to let Alfred return later, when her husband is not at home. Herr Eisenstein, a banker, has just been sentenced to five days' imprisonment, a misfortune which his hot temper has brought upon him. The sentence has been prolonged to eight days through the stupidity of his lawyer, Dr. Blind, who follows Eisenstein on to the stage. The banker finally turns Dr. Blind out of the house, after upbraiding him violently.--Rosalind tries to console Eisenstein, and finally decides to see what a good supper will do towards soothing his ruffled spirits. While she is thus occupied Eisenstein's friend Dr. Falck appears, bringing his unlucky friend an invitation to an elegant soiree which Prince Orlofsky is about to give.--Eisenstein is quite ready to enjoy himself before going to prison, and when Rosalind reenters, she finds her husband in excellent spirits. He does not, however partake of the delicious supper she sets before him, with any great zest. But he takes a tender, although almost joyful leave of his wife, after donning his best dress suit. Rosalind then {481} gives Adele leave to go out, much to the maid's surprise. After Adele has gone, Alfred again puts in an appearance. Rosalind only wishes to hear him sing again, and is both shocked and frightened, when Alfred goes into Herr Eisenstein's dressing room, and, returns clad in the banker's dressing gown and cap. The tenor then proceeds to partake of what is left of the supper, and makes himself altogether at home. But a sudden ring at the door announces the arrival of Franck, the governor of the prison, who has come with a cab to fetch Eisenstein. Rosalind is so terrified at being found tete a tete with Alfred, that she introduces him as her husband. After a tender farewell, Alfred good-naturedly follows the governor to prison.

The second act opens in the garden of a cafe, where the guests of Prince Orlofsky are a.s.sembled. Adele enters, dressed in her mistress's best gown, and looking very smart. Eisenstein, who is also present, at once recognizes her, as well as his wife's finery. But Adele and the whole party pretend to be very indignant at his mistaking a fine lady for a maid. Prince Orlofsky proceeds to make Eisenstein most uncomfortable, by telling him that Dr. Falck has promised to afford him great amus.e.m.e.nt, by playing some practical joke at Eisenstein's expense. The last guest who enters is Rosalind, whom n.o.body recognizes, because she is masked. Dr. Falck introduces her as a Hungarian countess who has consented to be present at the soiree only on condition that her incognito be respected. {482} She catches just a glimpse of Eisenstein, who is flirting violently with Adele instead of being in prison, and determines to punish him. Noticing the magnificent attire and fine form of the supposed countess, Eisenstein at once devotes himself to the new comer. He even counts her heart beats with the aid of a watch which he keeps for that purpose, without, however, giving it away as he always promises to do. But Rosalind suddenly takes possession of the watch, and slips away with it.--The whole party finally a.s.sembles at supper, where Eisenstein becomes very jovial, and tells how he once attended a masquerade ball with his friend Falck, who was disguised as a bat. Eisenstein, it appears, induced his friend to drink so heavily, that he fell asleep in the street, where Eisenstein left him. Falck did not wake up till morning, when he had to go home amid the jeers of a street crowd, by whom he was nicknamed "Dr. Fledermaus".--Eisenstein's story creates much amus.e.m.e.nt, but Dr. Falck only smiles, saying, he who laughs last, laughs best.

After a champagne supper and some dancing, Eisenstein remembers, when the clock strikes six, that he ought to be in prison. Both he and Dr.

Franck take a merry leave of the boisterous party.

The third act begins with Franck's return to his own room, where he is received by the jailer.--Frosch has taken advantage of his master's absence to get drunk, while Franck himself has likewise {483} become somewhat intoxicated. He grows drowsy while recalling the incidents of Prince Orlofsky's fete, and finally falls fast asleep.--

Adele and her sister Ida interrupt his slumbers, in order to ask the supposed marquis to use his influence in the former's behalf. Adele confesses that she is in reality a lady's maid, but tries to convince Franck, the supposed marquis, and her sister (who is a ballet dancer), of her talents by showing them what she can do in that line.--A loud ring soon puts an end to the performance While the jailer conducts Adele and Ida to No. 13, Eisenstein arrives and gives himself up.

Franck and he are much surprised to find themselves face to face with each other in prison, after each had been led to suppose the other a marquis, at the fete. They are naturally much amused to learn each other's ident.i.ty. Meanwhile Dr. Blind enters, to undertake the defense of the impostor Eisenstein. He turns out to be the genuine Eisenstein, who again turns Blind out of door, and possesses himself of his cap and gown and of his spectacles, in which he interviews his double.--Alfred has been brought in from his cell, when Rosalind also enters, carrying her husband's watch, and prepared for revenge. Both Alfred and she alternately state their grievances to the supposed lawyer, who quite loses his temper, when he learns of Alfred's tete a tete with his wife, and how completely she has fooled him. Throwing off his disguise, he reveals his ident.i.ty, only to be reviled by his wife {484} for his treachery. He in turn vows to revenge himself on Rosalind and on her admirer, but the entrance of Dr. Falck, followed by all the guests who were at Prince Orlofsky's fete, clears up matters for all concerned.

While making fun of the discomfited Eisenstein, he explains that the whole thing is a huge practical joke of his invention which he has played on Eisenstein in return for the trick Eisenstein played on him years ago, which he related at the fete. All the guests had been bidden to the fete by Dr. Falck with the consent of the prince in order to deceive Eisenstein. The latter, when convinced of his wife's innocence, embraces her. All toast one another in champagne, which they declare to be the King of Wines.

FLAUTO SOLO.

An Opera in one Act by EUGENE D'ALBERT. Libretto by HANS VON WOLZOGEN.

D'Albert's new attempt at an opera secured an even greater success than his "Departure", which is still constantly given at the Dresden Opera.

"Flauto Solo" had a brilliant first night performance in Dresden in August 1906, both because of the unusually charming music, which is a masterly imitation of the compositions in vogue during the Roccocco period, and also for its remarkably clever libretto. The latter required no little ingenuity, since it is a medley of no less than three languages.

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The fact, that Flauto Solo contains a plot, which is founded on history, renders it doubly attractive. Anyone acquainted with German history at the time of Frederic the Great will not fail to recognize him and his testy father under the a.s.sumed names of the young prince and the reigning head of the house.

The opera is at the same time an amusing parody of the two great schools of music of the age, that is, of German and Italian musical art.

Fuest Eberhard, the reigning prince and his son, Prince Ferdinand are perpetually disagreeing, not only because of their radically opposite dispositions, but because the parent is a champion of German music, while his son is absolutely devoted to everything Italian.

The two prime favourites at court are two musicians, a German named Pepusch, and an Italian, Maestro Emanuele, who take turns at conducting the court orchestra. Naturally there is constant rivalry between these two, particularly since Pepusch composed the so-called "Schweine Canon"

(hog-canon), for the gratification of Prince Eberhard. Taken literally this song of the Hogs is a quartette, which skilfully reproduces the various forms of grunting characteristic of these animals. To reward Pepusch for his composition, Eberhard wishes him to become his wayward son's tutor instead of Maestro Emanuele. The latter encourages the young prince in his fondness for all things foreign and his violent dislike of everything German.

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At the beginning of the opera, Prince Eberhard laments over his son's fondness for the flute to Pepusch, till an orderly abruptly summons him to take command of the troops.--

Before going he shouts to Pepusch, that if Prince Ferdinand fails to appreciate the "hog-canon", he had at least better make the "cannon"

his instrument instead of the flute.

Left to himself Pepusch goes into the concert pavilion, and picks up his music.--Peppina, a famous primadonna, makes her appearance without perceiving the German conductor. Soon she begins to sing and is quite terrified, when Pepusch joins in. A lengthy conversation ensues and Peppina is not long in expressing her contempt for the song of the hogs.--When Pepusch confesses himself to be the composer thereof, she lapses into the Tyrolese dialect of her childhood. Both she and Pepusch declare their allegiance to the German and Italian schools of music, but nevertheless they are highly pleased with each other.

Suddenly the sounds of a flute are heard, which cause Pepusch to run away and Maestro Emanuele to run forward, warning Peppina, that the young Prince is close at hand. The Italian is filled with jealousy, when he hears of the primadonna's meeting with Pepusch and begins to make violent love to her.--

She makes fun of him and finally Prince Ferdinand puts an end to the scene. He plays several quick runs on his flute, and addresses himself chiefly {487} in the French tongue, for which he has a weakness, to his favourite Emanuele.

Peppina has concealed herself behind some trees. Prince Ferdinand relates how he has received orders from his father to inspect the regiment, but that he made Pepusch take his place. A few minutes later Pepusch turns up and admits, that he has not carried out Prince Ferdinand's command.

The young Prince then confides to Pepusch, that he has made arrangements for a grand fete which is to take place that same evening, to which he has invited a large and select company. All this Pepusch knows already from Peppina. But when the Prince invites him to take part with a performance of his "hog-canon", he is beside himself, knowing well that Emanuele insinuated this idea to the Prince, simply to expose him to ridicule. The Prince however insists, and when he goes away, Peppina comes out of her hiding place and shares Pepusch's despair.

Vainly Pepusch tries to find some new musical motive, to enhance his quartette's effect, when suddenly Peppina begins to sing.

Involuntarily he grunts an accompaniment. All at once he starts and exclaims "Ah, now I have it". After embracing Peppina he hurries away.

The primadonna gets up too, but runs right into old Prince Eberhard, who calls out "What! A woman in my royal domains! Who is it?!"

Peppina, unintimidated replies: "I am a Tyrolese singer and who are you?" When the prince tells her who he is she retorts: "Nonsense, {488} Prince Eberhard is away at the manoeuvres." When she has charmed the old prince sufficiently by her marvellous trills and scales she tells him, that although she has all Italy and France at her feet she cares most of all for the good opinion of Prince Ferdinand, young though he is.

Prince Eberhard is half pleased, half angry, and complains, that there is never praise for any one save his son. Drawing forth a note, he shows her, that he is informed of the evening festival, which is to take place in his absence. Hearing this, Peppina informs him of the plot, which has been meditated against poor Pepusch, and intimates, that the whole thing is owned to the false Italian Maestro, who wants to make the German composer a laughing stock for the foreign guests, who are expected not only to hear the famous flute playing of Prince Ferdinand, but especially herself, the famous Primadonna. She is to be engaged for the Vienna opera by a Viennese count, coming expressly on her account. Hearing all this, Prince Eberhard first flies into a pa.s.sion, but soon he calms himself and tells Peppina to be without fear for Pepusch's future, as he, Eberhard, will not fail to be present at the soiree.

When Pepusch appears, he finds the two executing a droll dance together. Peppina seizes the prince's hand and tells him that she and Pepusch are in love with one another. All three vow, that they will give the audience a surprise at the fete, Pepusch saying his will be the "Flauto Solo".

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Preparations for the festival are carried on with the aid of all kinds of decorations during which Pepusch is busily employed finis.h.i.+ng his new composition.--Prince Ferdinand arrives followed by his suite, receiving his guests gracefully. After having presented Pepusch he commands him to conduct his chef d'oeuvre. Pepusch, taking out a score of music, announces, that a young pig was born during the night, necessitating a Solo flute. He hands the Prince the melody, intimating that the great Maestro Emanuele should play it. Much to Emanuele's disgust, Prince Ferdinand takes Pepusch's part in the quarrel, which the Italian attempts to bring about.

Suddenly the old Prince arrives and orders his son to perform Pepusch's new melody on the flute. Prince Ferdinand unwillingly obeys, and plays the solo part so splendidly, that the audience breaks out into endless applause.

Prince Ferdinand cordially begs Pepusch's pardon for his injustice and calls his new composition a real master piece. Pepusch is however honest enough to admit, that the melody, which he first heard Peppina sing, was originally Emanuele's idea, upon which the guests cheer both conductors.

Prince Eberhard, on the other hand, praises his son's skill on the flute most highly and admits, that Prince Ferdinand will as a ruler in all probability become as great a virtuoso, as he has proved himself a great artist.--

Pepusch and Emanuele call for Peppina, the great Italian primadonna.--She appears on the steps {490} wrapped in a long cloak, but when she throws it off, she shows herself in her native Tyrolese costume; she sings in dialect, and goes through all her charming native songs and "Jodls", to the delight of all her hearers. Prince Eberhard promises to grant any wish of Peppina's, while Prince Ferdinand does the same with Pepusch.--

Finally Prince Ferdinand joins Peppina's and Pepusch's hands, while the old Prince announces that the two shall henceforth play "Flauti due" by being married, and appointed musicians of his court for the rest of their lives.--

MOLOCH.

A musical tragedy in three Acts. Music by MAX SCHILLINGS.

Libretto by EMIL GERHAEUSER, founded on HEBBEL'S fragment "MOLOCH".

The first representation of this opera took place on December 8th 1906 in the Dresden Royal Opera.

It is the production of a highly esteemed German composer, who, though independant in his musical invention follows in Wagner's steps.

Two operas "Ingwelde" and the "Pfeiffertag" have already made him a name amongst modern composers; his last, "Moloch" is however the best in orchestration and invention.

The Moloch music, if somewhat heavy and loud, is altogether n.o.ble and interesting. The first Act is steeped in gloom, the second is more {491} fascinating and especially the choral accompaniment to the quartette is as striking as it is beautiful.