Chapter CXI: Part I: "la Prise De Troie"

THE CAPTURE OF TROY

Opera in three acts, by Berlioz. Words by the composer,
based upon a scenario furnished by Liszt's friend, the
Princess Caroline Sayn-Wittgenstein. Produced, November 6,
1890, in Karlsruhe, under the direction of Felix Mottl.

CHARACTERS

PRIAM _Bass_
HECUBA _Contralto_
CASSANDRA _Mezzo-Soprano_
POLYXENA _Soprano_
HECTOR'S ghost _Bass_
ANDROMACHE } _Mutes_
ASTYONAX }
ÆNEAS _Tenor_
ASCANIUS _Soprano_
PANTHEUS _Bass_
CHOROEBUS _Baritone_

_Time_--1183 B.C.

_Place_--The Trojan Plain.

Act I. The Greek camp before Troy. It has been deserted by the Greeks. The people of Troy, rejoicing at what they believe to be the raising of the siege, are bustling about the camp. Many of them, however, are standing amazed about a gigantic wooden horse. There is only one person who does not rejoice, _Cassandra_, _Priam's_ daughter, whose clairvoyant spirit foresees misfortune. But no one believes her dire prophecies, not even her betrothed, _Choroebus_, whom she implores in vain to flee.

Act II. In a grove near the walls of the city the Trojan people, with their princes at their head, are celebrating the return of peace. _Andromache_, however, sees no happiness for herself, since _Hector_ has fallen. Suddenly _Æneas_ hurries in with the news that the priest _Laocoon_, who had persisted in seeing in the wooden horse only a stratagem of the Greeks, has been strangled by a serpent. Athena must be propitiated; the horse must be taken into the city, to the sacred Palladium, and there set up for veneration. Of no avail is _Cassandra's_ wailing, when the goddess has so plainly indicated her displeasure.

Act III. _Æneas_ is sleeping in his tent. A distant sound of strife awakens him. _Hector's Ghost_ appears to him. Troy is lost; far away, to Italy, must _Æneas_ go, there to found a new kingdom. The _Ghost_ disappears. The priest, _Pantheus_, rushes in, bleeding from wounds. He announces that Greeks have come out of the belly of the horse and have opened the gates of the city to the Greek army. Troy is in flames. _Æneas_ goes forth to place himself at the head of his men.

The scene changes to the vestal sanctuary in _Priam's_ palace. To the women gathered in prayer _Cassandra_ announces that _Æneas_ has succeeded in saving the treasure and covering a retreat to Mount Ida. But her _Choroebus_ has fallen and she desires to live no longer. Shall she become the slave of a Greek? She paints the fate of the captive woman in such lurid colours that they decide to go to death with her. Just as the Greeks rush in, the women stab themselves, and grief overcomes even the hardened warriors.

PART II. "LES TROYENS À CARTHAGE"

THE TROJANS IN CARTHAGE

Opera in five acts. Music by Berlioz. Words by the composer.
Produced, Paris, November 4, 1863, when it failed
completely. Revived, 1890, in Karlsruhe, under the direction
of Felix Mottl. Mottl's performances in Karlsruhe, in 1890,
of "La Prise de Troie" and "Les Troyens à Carthage"
constituted the first complete production of "Les Troyens."

CHARACTERS

DIDO _Soprano_
ANNA _Contralto_
ÆNEAS _Tenor_
ASCANIUS _Soprano_
PANTHEUS _Bass_
NARBAL _Bass_
JOPAS _Tenor_
HYLAS _Tenor_

_Time_--1183 B.C.

_Place_--Carthage.

Act I. In the summer-house of her palace _Dido_ tells her retainers that the savage Numidian King, Jarbas, has asked for her hand, but she has decided to live only for the memory of her dead husband. Today, however, shall be devoted to festive games. The lyric poet _Jopas_ enters and announces the approach of strangers, who have escaped from the dangers of the sea. They arrive and _Ascanius_, son of _Æneas_, begs entertainment for a few days for himself and his companions. This _Dido_ gladly grants them. Her Minister, _Narbal_, rushes in. The Numidian king has invaded the country. Who will march against him? _Æneas_, who had concealed himself in disguise among his sailors, steps forth and offers to defend the country against the enemy.

Act II. A splendid festival is in progress in Dido's garden in honour of the victor, _Æneas_. _Dido_ loves _Æneas_, who tells her of Andromache, and how, in spite of her grief over _Hector_, she has laid aside her mourning and given her hand to another. Why should _Dido_ not do likewise? Night closes in, and under its cover both pledge their love and faith.

Has _Æneas_ forgotten his task? To remind him, Mercury appears and strikes resoundingly on the weapons that have been laid aside, while invisible voices call out to _Æneas_: "Italie!"

Act III. Public festivities follow the betrothal of _Dido_ and _Æneas_. But _Dido's_ faithful Minister knows that, although _Æneas_ is a kingly lover, it is the will of the gods that the Trojan proceed to Italy; and that to defy the gods is fatal.

Meanwhile the destiny of the lovers is fulfilled. During a hunt they seek shelter from a thunderstorm in a cave. There they seal their love compact. (This scene is in pantomime.)

Act IV. The Trojans are incensed that _Æneas_ places love ahead of duty. They have determined to seek the land of their destiny without him. Finally _Æneas_ awakes from his infatuation and, when the voices of his illustrious dead remind him of his duty, he resolves, in spite of _Dido's_ supplications, to depart at once.