The Standard Operaglass Part 6

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DON JUAN.

Opera in two acts by MOZART.

Text by DA PONTE.

Don Juan is Mozart's most beautiful opera; we may even say, that it is the greatest work of this kind, which was ever written by a German musician. The text too, written by Mozart's friend, is far above the level of ordinary opera-texts.

The hero, spoilt by fortune and blase, is ever growing more reckless.

He even dares to attack the virtue of Donna Anna, one of the first ladies of a city in Spain, of which her father, an old Spanish Grandee, as n.o.ble and as strict in virtue as Don Juan is oversatiated and frivolous, is governor. The old father coming forward to help his beloved daughter, with drawn dagger attacks Don Juan, who compelled to defend himself, has the misfortune to stab his a.s.sailant.

Donna Anna, a lady not only n.o.ble and virtuous, but proud and high-spirited, vows to avenge her father's death. Though betrothed to a n.o.bleman, named Octavio, she will never know any peace until her father, of whose death she feels herself the innocent cause, is avenged. Her only hope is death, and in that she offers the liveliest contrast to her betrothed, who shows himself a gentleman of good temper and qualities, but of a mind too weak for his lady's high-flown courage and truly tragic character. Though Octavio wants to avenge Donna Anna's father, he would do it only to please {58} her. His one aim is marriage with her. Her pa.s.sionate feelings he does not understand.

Don Juan, pursued not only by Donna Anna, but also by his own neglected bride, Donna Elvira, tries to forget himself in debauches and extravagances. His servant Leporello, in every manner the real counterpart of his master, is his aider and abettor. A more witty, a more amusing figure does not exist. His fine sarcasm brings Don Juan's character into bold relief; they complement and explain each-other.

But Don Juan, pa.s.sing from one extravagance to another, sinks deeper; everything he tries begins to fail him, and his doom approaches.--He begins to amuse himself with Zerlina, the young bride of a peasant, named Masetto, but each time, when he seems all but successful in his aim of seducing the little coquette, his enemies, who have united themselves against him, interfere and present a new foe in the person of the bridegroom, the plump and rustic Masetto. At last Don Juan is obliged to take refuge from the hatred of his pursuers. His flight brings him to the grave of the dead governor, in whose memory a life-size statue has been erected in his own park. Excited to the highest pitch and almost beside himself, Don Juan even mocks the dead; he invites him to a supper. The statue moves its head in acceptance of the dreadful invitation of the murderer.

Towards evening Donna Elvira comes to see him, willing to pardon everything, if only her lover {59} will repent. She fears for him and for his fate, she does not ask for his love, but only for the repentance of his follies, but all is in vain. The half-drunken Don Juan laughs at her, and so she leaves him alone. Then the ghostly guest, the statue of the governor enters. He too tries to move his host's conscience; he fain would save him in the last hour. Don Juan remains deaf to those warnings of a better self, and so he incurs his doom. The statue vanishes, the earth opens and the demons of h.e.l.l devour Don Juan and his splendid palace.

DON PASQUALE.

Comic Opera in three acts by DONIZETTI.

Text done after SER MARCANTONIO by SALVATORE GAMMERANO.

This opera, one of Donizetti's last compositions is a little jewel of the modern Italian kinds. Its music is sparkling with wit and grace and may rank among the best comic operas, of which we have not too many. The reason, why it does not occupy the place on the German stage, which is due to its undoubted merit, is the somewhat deficient German translation of the textbook, and the very small frame, in which it plays, without any of the dramatic pomp and decoration the people are wont to see in our times, and finally it does not occupy a whole evening and must needs have a ballet to fill it up. The four persons acting in the play, have excellent parts for good singers, as Donizetti thoroughly knew how to treat the human voice.

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The wealthy old bachelor Don Pasquale, desires to marry his only nephew to a rich and n.o.ble lady, but, finding a hindrance in Ernesto's love for another, decides to punish his headstrong nephew by entering himself into marriage and thus disinheriting Ernesto.

His physician Malatesta, Ernesto's friend, pretends to have discovered a suitable partner for him in the person of his (Malatesta's) sister, an "Ingenue", educated in a convent and utterly ignorant of the ways of the world.

Don Pasquale maliciously communicates his intentions to the young widow Norina telling her to distrust Malatesta. The latter however has been beforehand with him, and easily persuades Norina to play the part of his (Malatesta's) sister, and to endeavour, by the beauty of her person and the modesty of her demeanour, to gain the old man's affections.

Should she succeed in doing so, Don Pasquale and Norina are to go through a mock form of marriage,--a notary, in the person of a cousin named Carlo has already been gained for the purpose,--after which Norina, by her obstinacy, extravagance, capriciousness and coquetry is to make the old man repent of his infatuation and ready to comply with their wishes.

Urged on by her love for Ernesto, Norina consents to play the part a.s.signed to her and the charming simplicity of her manners, her modesty and loveliness so captivate the old man, that he falls into the trap and makes her an offer of his {61} hand. The marriage takes place, and one witness failing to appear, Ernesto, who happens to be near, and who is aware of the plot, is requested to take his place.--Besides appointing Norina heiress of half his wealth, Don Pasquale at once makes her absolute mistress of his fortune. Having succeeded in attaining her aim, Norina throws aside her mask, and by her self-willedness, prodigality and waywardness drives her would-be husband to despair. She squanders his money, visits the theatre on the very day of their marriage ignoring the presence of her husband in such a manner, that he wishes himself in his grave, or rid of the termagant, who has destroyed the peace of his life.--The climax is reached on his discovery among the accounts, all giving proof of his wife's reckless extravagance, a billet-doux, pleading for a clandestine meeting in his own garden. Malatesta is summoned and cannot help feeling remorse on beholding the wan and haggard appearance of his friend. He recommends prudence, advises Don Pasquale to a.s.sist, himself unseen, at the proposed interview, and then to drive the guilty wife from the house.

The jealous husband, though frankly confessing the folly he had committed in taking so young a wife, at first refuses to listen to Malatesta's counsel, and determines to surprise the lovers and have them brought before the judge. Finally however he suffers himself to be dissuaded and leaves the matter in Malatesta's hands.--

In the last scene the lovers meet, but Ernesto escapes on his uncle's approach, who is sorely {62} disappointed at having to listen to the bitter reproaches of his supposed wife, instead of being able to turn her out of doors.--

Meanwhile Malatesta arrives, summons Ernesto and in his uncle's name gives his (Don Pasquale's) consent to Ernesto's marriage with Norina, promising her a splendid dowry.

Don Pasquale's wife, true to the part she has undertaken to play, of course opposes this arrangement, and Don Pasquale, too happy to be able to thwart his wife, hastens to give his consent, telling Ernesto to fetch his bride. His dismay on discovering that his own wife, whom he has only known under the name of Sophronia and his nephew's bride are one and the same person may be easily imagined.--His rage and disappointment are however somewhat diminished by the reflection, that he will no longer have to suffer from the whims of the young wife, who had inveigled him into the ill-a.s.sorted marriage, and he at length consents, giving the happy couple his blessing.--

LES DRAGONS DE VILLARS.

(THE BELL OF THE HERMIT.)

Comic Opera in three acts by LOUIS AIME MAILLART.

Text after the French by G. ERNST.

Maillart, who studied under Halevy in Paris and received the Roman prize (prix de Rome) in the year 1841, composed six operas, all of which are now almost forgotten with the single exception {63} of "Les Dragons de Villars" (in 1856), which found favor in Germany by virtue of its wit and grace.

The music sparkles with French charm and gaiety of the most exquisite kind and these are the merits by which this unpretentious opera has kept its place by the side of its grander and more pompous sisters.

The tale is clever and amusing.

The scene is laid in a French mountain-village near the frontier of Savoy towards the close of the war in the Cevennes in 1704.

In the first act peasant women in the service of Thibaut, a rich country Squire, are collecting fruit. Georgette, Thibaut's young wife, controls their work. In compliance with a general request she treats them to a favorite provencal song, in which a young girl, forgetting her first vows made to a young soldier, gives her hand to another suitor. She is interrupted by the sound of trumpets. Thibaut hurrying up in great distress asks the women to hide themselves at once, because soldiers are marching into the village. He conceals his own wife in the pigeon-house. A detachment of dragoons arrive, and Belamy, their corporal, asks for food and wine at Thibaut's house. He learns, that there is nothing to be had and in particular, that all the women have fled, fearing the unprincipled soldiers of King Louis XIV., sent to persecute the poor Huguenots or Camisards, who are hiding in the mountains,--further that the "Dragons de {64} Villars" are said to be an especially wild and dissolute set.

Belamy is greatly disgusted and after having had his dinner and a sleep in Thibaut's own bed, decides to march on. The Squire gladly offers to accompany the soldiers to St. Gratien's grotto near the hermitage, where they have orders to search for the Huguenot refugees.

While Belamy is sleeping, Thibaut calls his servant Silvain and scolds him because, though his best servant, he has now repeatedly been absent over-long on his errands; finally orders him to saddle the mules.

Stammering Silvain owns, that they have gone astray in the mountains, but that he is sure of their being found in due time. While Thibaut expresses his fear that they may be stolen by the fugitives, Rose Friquet, an orphan-girl, brings the mules, riding on the back of one of them. Thibaut loads her with reproaches, but Silvain thanks her warmly, and though she mockingly repudiates his thanks, he discovers that she has taken the mules in order not to let the provost into Silvain's secret. The fact is that Silvain carries food every day to the refugees, and Rose Friquet, the poor goat-keeper, who is despised and supposed to be wicked and malicious, protects him in her poor way, because he once intercepted a stone, which was meant for her head.

While the soldiers are dining, Belamy, who has found Georgette's bonnet, demands an explanation. {65} Thibaut, confused, finds a pretext for going out, but Rose betrays to Belamy first the wine-cellar and then Georgette's hiding-place. The young wife cries for help and Rose runs in to fetch Thibaut. Belamy is delighted with the pretty Georgette, but she tells him rather anxiously, that all the wives of the village must needs remain entirely true to their husbands, for the hermit of St. Gratien, though dead for two hundred years, is keeping rigid watch, and betrays every case of infidelity by ringing a little bell, which is heard far and wide.

Belamy is somewhat desirous to try the experiment with Georgette and asks her to accompany him to the hermitage instead of her husband.

After having found the other women in the village, the soldiers, to Thibaut's great vexation, decide to stay and amuse themselves. Silvain rejoices and after a secret sign from Rose resolves to warn the refugees in the evening.

In the second act Rose and Silvain meet near St. Gratien. Rose, after telling him that all the paths are occupied by sentries, promises to show him a way for the refugees, which she and her goat alone know.

Silvain, thanking her warmly, endeavours to induce her to care more for her outward appearance, praising her pretty features. Rose is delighted to hear for the first time that she is pretty, and the duet ensuing is one of the most charming things in the opera. Silvain promises to be her friend henceforth and then leaves, in order to seek the Camisards. After this Thibaut {66} appears, seeking his wife, whom he has seen going away with Belamy. Finding Rose he imagines he has mistaken her for his wife, but she laughingly corrects him and he proceeds to search for Georgette. Belamy now comes and courts Thibaut's wife. But Rose, seeing them, resolves to free the path for the others.--No sooner has Belamy tried to s.n.a.t.c.h a kiss from his companion, than Rose draws the rope of the hermit's bell, and she repeats the proceeding, until Georgette takes flight, while Thibaut rushes up at the sound of the bell. Belamy rea.s.sures him, intimating that the bell may have rung for Rose (though it never rings for girls) and accompanies him to the village. But he soon returns to look for the supposed hermit, who has played him this trick and finds Rose instead, who does not perceive him.--To his great surprise Silvain comes up with the whole troop of refugees, leading the aged clergyman, who had been a father to him in his childhood. Silvain presents Rose to them as their deliverer and vows to make her his wife.--Rose leads them to the secret path, while Silvain returns to the village, leaving Belamy triumphant at his discovery.

In the third act we find the people on the following morning speaking of nothing but Silvain's wedding with Rose and of the hermit's bell.

n.o.body knows who has been the culprit, but Thibaut slily calculates that the hermit has rung before-hand, when Rose the bride kissed the dragoon. Having learned that the soldiers had been commanded to {67} saddle their horses in the midst of the dancing the night before, and that Belamy, sure of his prey, has come back, he believes that Rose has betrayed the poor Camisards in order to win the price set on their heads and this opinion he now communicates to Silvain.

To keep Belamy away from Georgette, the sly Squire has conducted him to the wine-cellar, and the officier [Transcriber's note: officer?], now half-drunk admits having had a rendez-vous with Rose.--When Thibaut has retired, Belamy again kisses Georgette, and lo, the bell does not ring this time!

Meanwhile Rose comes down the hill, neatly clad and glowing with joy and pride and Georgette disregarding Thibaut's reproofs offers her the wedding-garland. The whole village is a.s.sembled to see the wedding, but Silvain appears with dark brow and when Rose radiantly greets him, he pushes her back fiercely, believing that she betrayed the refugees, who are, as he has heard, caught. Rose is too proud to defend herself, but when Georgette tries to console her, she silently draws from her bosom a paper, containing the information that the refugees have safely crossed the frontier.--Great is Silvain's shame and heartfelt his repentance.--Suddenly Belamy enters, beside himself with rage, for his prey has escaped and he has lost his patent as lieutenant together with the remuneration of 200 pistoles, and he at once orders Silvain to be shot. But Rose bravely defends her lover, threatening to reveal the dragoon's neglect of duty. {68} When therefore Belamy's superior appears to hear the important news of which the messenger told him, his corporal is only able to stammer out that nothing in particular has happened, and so after all, Georgette is saved from discovery and Rose becomes Silvain's happy bride.