Chapter CCV: Act III: A room in an inn near Vienna. With the help of Valzacchi

and _Annina_, who are now in the service both of the _Baron_ and of _Octavian_, but are more prone to further the latter's plans because he pays them better, _Octavian_ has hired a room in an inn. This room is fitted up with trapdoors, blind windows and the like. Here, at the suggestion of the intriguers, who have the run of the place and know to what uses the trick room can be put, _Lerchenan_ has made his rendezvous for the evening with the pretty chambermaid. _Octavian_, in his girl's clothes, is early at the place.

Between the _Baron_ and the disguised _Octavian_, as soon as they are alone, a rude scene of courtship develops. _Octavian_ is able to hold him off skilfully, and gradually there is unfolded the mad web of intrigue in which the _Baron_ is caught. Strange figures appear at the windows. _Lerchenan_, ignorant, superstitious, thinks he sees ghosts. Suddenly what was supposed to be a blind window, bursts open, and a woman dressed in mourning rushes in. It is the disguised intriguante, _Annina_, who claims to be the deserted wife of _Lerchenan_. Innkeeper and servants hurry in. The clamour and confusion become more and more frantic. Finally the _Baron_ himself calls for the police, without thinking what a "give away" it may be for himself. When the Commissary of Police arrives, to save his face, he gives out that his companion, the supposed chambermaid, is his affianced, _Sophie von Faninal_. That, however, only adds to the confusion, for _Octavian's_ accomplices have sought out _Faninal_ and invited him on behalf of the _Baron_ to come to the inn. In his amazement the _Baron_ knows of no other way out of the dilemma save to act as if he did not know _Faninal_ at all, whereupon the latter, naturally, is greatly angered. When the confusion is at its height the _Princess_ suddenly appears. A lackey of the _Baron_, seeing his master in such difficulties, has run to her to ask for her powerful protection. She quickly takes in the whole situation; and however bitterly _Octavian's_ disaffection grieves her, she is a clever enough woman of the world to recognize that the time for her to give him up has come. The threads now quickly disentangle themselves. The _Baron_ leaves, _Octavian_ and _Sophie_ are forgiven, and _Herr von Faninal_ feels himself fully compensated for all he has been through, because he is to be driven home beside the _Princess_ in her carriage.

ARIADNE AUF NAXOS

ARIADNE ON NAXOS

Opera in one act; by Richard Strauss; words by Hugo von
Hofmannsthal. To follow Molière's Comedy, "Le Bourgeois
Gentilhomme."

CHARACTERS

ARIADNE _Soprano_
BACCHUS _Tenor_
NAIAD _Soprano_
DRYAD _Alto_
ECHO _Soprano_
ZERBINETTA _Soprano_
ARLECCHINO } Characters in _Baritone_
SCARAMUCCIO } old Italian _Tenor_
TRUFFALDIN } comedy _Bass_
BRIGHELLA _Tenor_

_Time_--Antiquity.

_Place_--The Island of Naxos.

NOTE: On the stage there are present, as spectators of the
opera, _Jourdain_, _Marquise Dorimène_ and _Count Dorantes_,
characters from "Le Bourgeois Gentilhomme."

The peculiar relationship of this opera to Molière's comedy is easily explained, although the scheme is a curious one. In "Le Bourgeois Gentilhomme," Molière has _Jourdain_, the commoner, who in his folly strives to imitate the nobility, engage an entire ballet troupe for a private performance at his house. The opera, "Ariadne auf Naxos," is supposed to take the place of this ballet. Besides the opera, Richard Strauss has composed eleven incidental musical members for the two acts of the comedy, to which the opera is added as an independent third act.

Into the representation there enters another factor, which is liable to cause confusion, unless it is understood by the spectator. Besides the opera, _Jourdain_ has engaged a troupe of buffoons to give a performance of the old Italian Harlequin (Arlecchino) comedy. Having paid for both, he insists that both shall take place, with the result that, while the opera is in progress, the comedians dash on the stage, go through their act, and dash off again.

The adapter of Molière's work to Strauss's purpose has omitted the entire passage of the love scene between _Cléonte_ and _Lucille_, _Jourdain's_ daughter, so that the two acts of the comedy concern themselves mainly with _Jourdain's_ folly--his scenes with the music teacher, the dancing master, the fencing master, the philosopher, and the tailor. They also show how the intriguing _Count Dorantes_ makes use of _Jourdain's_ stupidity, borrowing a large sum of money from him, and persuading him that he can win the favour of the _Marquise_ with costly presents and by arranging in her honour the fête at which the opera is given. At the same time the sly _Dorantes_ represents everything to the _Marquise_ as if he himself had contrived and paid for the gifts and the fête in her honour. The _Marquise_ goes to _Jourdain's_ house to the banquet and celebration, as a climax to which the opera "Ariadne auf Naxos" is presented. The opera therefore follows the adaptation of "Le Bourgeois Gentilhomme."

On a desert island lies _Ariadne_ asleep before a cave. _Naiad_, _Echo_ and _Dryad_ are singing. _Ariadne_, on awaking, bewails the lot of the forsaken one. In her grief she feels herself near death. Then the old comedy figures come whirling in. In her desire for death _Ariadne_ does not notice them. _Zerbinetta_ sings and dances with her four _Harlequins_. This is their idea of life--to enjoy things lightly. When they have disappeared, _Naiad_, _Dryad_, and _Echo_ come back and announce the arrival of a youthful god. _Bacchus_ approaches the island. From afar he sings. _Ariadne_ hopes it is Death coming to release her. She longs for him, sinks into his arms. They are the arms of love.

DIE VERKAUFTE BRAUT

THE BARTERED BRIDE

Opera in three acts; music by Friedrich Smetana, Czech, text
by R. Sabina. Produced in Czech, May 30, 1866, at Prague; in
German, April 2, 1893, in Vienna.

CHARACTERS

KRUSCHINA, a peasant _Baritone_
KATRINKA, his wife _Soprano_
MARIE, their daughter _Soprano_
MICHA, a landlord _Bass_
AGNES, his wife _Mezzo-Soprano_
WENZEL, their son _Tenor_
HANS, MICHA'S son by a first marriage _Tenor_
KEZAL, a marriage broker _Bass_
SPRINGER, manager of a troop of artists _Tenor_
ESMERALDA, a danseuse _Soprano_
MUFF, a comedian _Tenor_

Act I. It is the anniversary of the consecration of the village church. _Marie_, daughter of the rich peasant _Kruschina_, is not happy for she must today accept a suitor picked out for her by her parents and she only loves _Hans_ although she does not know his antecedents. _Hans_ consoles her. He will always be true to her and he comes from a good family, only a wicked stepmother has robbed him of his father's love. So she must be of good cheer. Then _Marie's_ parents arrive with the marriage broker, _Kezal_. The latter wants to complete arrangements for the marriage of _Marie_ and _Wenzel_, the rich son of the peasant _Micha_. When _Marie's_ father has given his consent to this union, the go-between considers _Marie's_ opposition as a trifle which, he tells _Micha_ outside in the inn, can be easily remedied.

Act II. But with what eyes has _Kezal_ looked upon _Wenzel_ that he praises his excellences so loudly? At any rate not with those of a young woman. Can _Kruschina's Marie_ love this stutterer and coxcomb? Never! Fortunately for her, he does not know her; and so the clever girl is able to deceive him. She speaks disparagingly to him of _Kruschina's Marie_ who loves another and whom therefore he should not allow himself to marry. The puzzled _Wenzel_, enamoured, runs after the laughing girl. On this _Hans_ comes in with _Kezal_. The latter is telling his companion to give up his love affair. He offers him first a hundred and finally three hundred florins if he will do so. At last _Hans_ consents but only on condition that _Marie_ shall marry none other than the son of _Micha's_ wife. _Kezal_ is content with that as he understands it. He goes away to get witnesses and everybody is provoked at the light heart with which _Hans_ has sold his bride.