Chapter II: Part 2

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 Tancred," 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 short, contains many brilliant numbers; among them the bridal chorus, "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 andante religioso, 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," preceding a short finale.

DEKOVEN, REGINALD.

Robin Hood.

[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, }
Allan a Dale, } outlaws.
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 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 Sheriff's 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 command and not accept Sir Guy's hand, and Robin 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, "'Tis Merry Journeymen we are," with characteristic accompaniment, 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. In strong contrast with this, Annabel, Dame Durden, 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.

Maid Marian.

[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, } gamekeepers.
Yussuf, a slave merchant.
Sir H. Vere de Vere, }
Sir Hugh Montford, } Knights of St. George.
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.

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 Crusaders, 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 disguise of merchants and betray the camp into the hands of the Saracens. Dame Durden'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.

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 Cellarer'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 Sheriff's 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 characteristic 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 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 dramatic, 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.

Rob Roy.

[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 Pretender.
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.

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 MacDonald, 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 relationship 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 henchmen appear as strolling balladmongers, 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 Highlanders. 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 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, "There 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 romanza, "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, 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.

The Fencing-Master.

[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 accomplishments. 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 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 declares 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 fête Filippa is expected to name her future husband. Fortunio has made an appointment with her, but meets Francesca disguised as the Countess, in a mask and domino like 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 astrologer and the restoration of Fortunio to his rights.

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 Nightingale and the Rose"; and a brilliant finale in which the music accompanies the historic ceremony 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.

Lakmé.

[Romantic opera, in three acts; text by Goudinet and Gille. First
produced at the Opéra Comique, Paris, April 14, 1883; in New York,
March 1, 1886.]

PERSONAGES.

Lakmé, daughter of Nilakantha.
Nilakantha, a Brahmin priest.
Gerald, an English officer, lover of Lakmé.
Frederick, an English officer.
Mallika, slave of Lakmé.
Hadji, slave of Lakmé.
Ellen, }
Rose, } 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 "Lakmé" 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. Lakmé, the daughter of Nilakantha, returns for them, espies Gerald, and there is a case of love at first sight. The priest however interrupts their demonstrations, and Gerald escapes his vengeance in a convenient thunder-storm. In the second act Lakmé 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 Lakmé 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 Lakmé 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 between Lakmé and her father, the scene closing with a sacred chant. A beautiful duet for Lakmé and her slave follows, "Neath yon Dome where Jasmines with the Roses are blooming." As Lakmé 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, "Lakmé, thy Soft Looks are over-clouded." Then follows Lakmé's bell song, "Where strays the Hindoo Maiden," a brilliant and gracefully embellished aria with tinkling accompaniment 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 Lakmé, "In the Forest near at Hand."

The music of the third act is tinged with sadness throughout, as the action hastens to the tragic dénouement. Its principal numbers are the low murmuring song by Lakmé, "'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 Lakmé's last dying songs, "To me the Fairest Dream thou'st given," and "Farewell, the Dream is over."

DONIZETTI, GAETANO.

The Daughter of the Regiment.

[Opéra comique, in two acts; text by Bayard and St. Georges. First
produced at the Opéra Comique, Paris, February 11, 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.

At the opening of the opera Marie, the heroine, and vivandière 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 Sulpice, 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 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 imprecations 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 sergeant is with her, while she is rehearsing a romance which she is to sing to a grand company. She and Sulpice suddenly break out into a rollicking 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 refuses 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 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 Rataplan," 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); Marie'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 rôles have always been esteemed by great artists. That of Marie was a favorite one with Jenny Lind, Patti, Sontag, and Albani.

Don Pasquale.

[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-contract. 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 summons the servants, and lays out a scheme of housekeeping 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 Pasquale, 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'll have," closing the act. The second 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 humorous situations and the bright, melodious music which illustrates them. For brilliant gayety it stands in the front rank of comic operas.

Linda.

[Grand opera, in three acts; text by Rossi. First produced at the
Kärnthnerthor 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 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, however, 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 discovers her. Her father, who has had to give up the farm, also finds her, and, distrusting her innocence amid such luxury, curses her. The Marchioness meanwhile, who has learned of her son's attachment, threatens to imprison Linda if he does 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 concert 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 rapturous duet for Linda and Carlo, "Ah! the Vision of thy Sorrow fades," which closes the opera.

The Elixir of Love.

[Opera buffa, in two acts; text by Romani. First produced in Milan in
1832; in English at Drury Lane Theatre, London, in 1839.]

PERSONAGES.

Nemorino, a young husbandman.
Sergeant Belcore.
Dr. Dulcamara, a travelling quack.
Landlord.
Notary.
Pietro, peasant.
Adina, a country girl.
Gianetta, }
Floretta, } her companions.

[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 Nemorino, 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. Dulcamara, 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 one on the morrow. To make sure of its agreeable properties, he drinks the whole of it with the result that he accosts Adina in a half-tipsy condition, 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 witness 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 discovered 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 attributes his sudden popularity to the elixir, and even the quack himself is surprised at the remarkable change in his customer. Nemorino now pays Adina off in kind by making her jealous. Dr. Dulcamara comes to her assistance, seeing an opportunity for the sale of more elixir. He explains 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 charmingly humorous duet, "Much obliged," for Nemorino 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.

The Doctor of Alcantara.

[Comic operetta, in two acts; text by Wolfe. First produced at the
Museum, Boston, Mass., April 7, 1862.]

PERSONAGES.

Dr. Paracelsus.
Señor Balthazar.
Carlos, his son.
Perez, }
Sancho, } porters.
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 Señor Balthazar, to Señorita 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 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 herself. 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 himself 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. Meanwhile Señor 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, Señor Balthazar," follows, which is full of humor, mingled with ghostly terror, and grotesque in its effect, especially in the accompaniment. Daylight, however, dispels the illusion, and a happy dénouement 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.

Martha.

[Opéra 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, }
Betsy Witt, } servants.

[Farmers, farmers' wives, servants, ladies, hunters, huntresses, 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 Richmond, 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 masquerade. 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 Stranger," 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 attempts 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, 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 return, 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 recognized 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. It proves that he is the only son of the late Earl of Derby, and his estate, of which he has been unjustly deprived, is restored to him.

The opera reaches its musical climax in the second act. The third is mainly devoted to the dénouement. 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.

Stradella.

[Romantic opera, in three acts; text by Deschamps and 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, }
Malvolio, } bandits.

[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, narrative of the experiences of the Italian musician, Alessandro Stradella, varying from it only in the dénouement. 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 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 Stradella. 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 Stradella 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 themselves. 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 dénouement 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 Witness to my Fond Heart's Dreaming," the rollicking 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.

GENÉE, RICHARD.

Nanon.

[Opéra comique, in three acts; text by Zell. First produced in Vienna
in 1877.]

PERSONAGES.

Marquis de Marsillac.
Hector, his nephew.
Marquis d' Aubigné, King's chamberlain.
Bombardine, his henchman.
Louis XIV.
Mons. l'Abbé.
Nanon, mistress of the Golden Lamb.
Ninon de l'Enclos, a famous beauty.
Mme. de Frontenac, }
Countess Houliers, } Ninon's friends.
Gaston.
Mme. de Maintenon, King's mistress.

[Country relatives, peasants, soldiers, courtiers, ladies, etc.]

The scene is laid in Paris; time of Louis the Fourteenth.

The first act opens at the inn of the Golden Lamb, near the gates of Paris, kept by Nanon, who has become so famous for her wit and beauty that the Marquis de Marsillac, director of the Royal Theatre, takes his nephew Hector there to see her. Thither also goes Ninon de l'Enclos, the famous beauty, to get a sight of Nanon, who, she suspects, has attracted the attentions of her own lover, the Marquis d'Aubigné. 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 disguise 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 l'Enclos, 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. Marsillac, his nephew, and an Abbé, who is one of Ninon's lovers and confessor of Mme. de Maintenon, are present at a ball, likewise D'Aubigné, 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 afterwards Nanon arrives to seek Ninon's aid in saving Grignan. In the mean time D'Aubigné, jealous of Hector, because he pays court both to Nanon and Ninon, challenges him, and they hurry into the latter's garden and settle their quarrel with the 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'Aubigné 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 Abbé sings to her the same serenade in the form of a hymn. Marsillac appears to ask for Hector's pardon, and receives it when it appears that D'Aubigné was the challenging party. D'Aubigné thereupon congratulates her upon her birthday with the serenade, and Marsillac repeats it. Ninon and Nanon next appear to intercede for their lovers, D'Aubigné and Grignan. The King presents Nanon with the life of Grignan, and she in turn, recognizing Grignan, 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'Aubigné.

The music of "Nanon" is gay and brilliant throughout. The principal numbers are the serenade, 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; Nanon's 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"; Gaston's ballad, "All that Frenchmen now will heed"; Hector's song, "Young appearing," in the second act; and the lively concerted finale of the last act.

GOUNOD, CHARLES.

Mirella.

[Pastoral opera, in three acts; text by Carré. First produced at the
Théâtre 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 Provençal 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 mulberry grove. Mirella is rallied by the girls upon her love for Vincenzo, the basket-maker, and is 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 Arles. 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. Ambrogio, Vincenzo's father, and his daughter, Vincenzina, 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.