Chapter III: Part 3

The last act opens upon a desolate sunburned plain. Mirella appears toiling across the hot sands to keep her appointment with her lover at the Chapel of the Virgin, accompanied by Andreluno, the shepherd boy, singing to the accompaniment of his pipe. Tavena meets them, and assures Mirella that Vincenzo will keep his appointment, and then returns to Arles to plead with the father in Mirella's behalf. The poor girl arrives at the chapel nearly prostrated with the burning heat. Vincenzo soon appears, and is shortly followed by Raimondo, who is so affected by the pitiable condition of his daughter, that he gives his consent to their union. A biographer of Gounod has condensed the story of the opera into these few words: "A rich young girl, a poor young man, an ill-fated love; and death of the young girl by sunstroke." In the revised version the dénouement is happy instead of tragic.

The first act opens with the pretty and graceful pastoral chorus of the maidens under the mulberry-trees, "Sing, Happy Maidens, as we gather." The second act also opens with an equally graceful chorus and farandole, "The Gay Farandole never fails to delight," followed by a beautiful Provençal folk song, "Evening is Sweet with Summer Flowers," which is full of local color. Tavena sings a quaint fortune-teller's roundelay, "'Tis the Season of the Year," and in the next scene Mirella has a number of rare beauty, "The Frowns of Fortune I fear no longer," in which she declares her unalterable love for Vincenzo. The finale of this act with its vigorous aria for Mirella, "At your Feet, behold, I remain," is the only really dramatic episode in the opera. The third act opens with the quaint little song of Andreluno with oboe accompaniment, "The Day awakes," and also contains a plaintive song for tenor, "Angels of Paradise." It closes with a waltz song, "Gentle Bird of the Morning," which is most lavishly embellished and ends the quiet, naïve, little pastoral opera with a brilliant vocal pyrotechnical display.

HUMPERDINCK, ENGELBERT.

Hansel and Gretel.

[Fairy opera, in three acts; text by Wette. First produced, in Germany
in 1894.]

PERSONAGES.

Peter, a broom-maker.
Gertrude, his wife.
Witch.
Hansel.
Gretel.
Sandman, the sleep fairy.
Dewman, the dawn fairy.

[Angels, witches, and fairies.]

The scene is laid in a German forest; time, the present.

The story of "Hansel and Gretel" is based upon one of Grimm's fairy tales. The first act opens at the house of Peter, the broom-maker, who with his wife is away seeking food. The children, Hansel and Gretel, have been left with injunctions to knit and make brooms. Instead of working they indulge in a childish romp, which is interrupted by the mother, who has returned. In her anger she upsets a pitcher of milk, which was the only hope of supper in the house. Thereupon she sends them into the forest, and bids them not to come home until they have filled their basket with strawberries. When Peter returns he brings provisions with him, but breaks out in a fit of rage when he is informed the children have been sent away, telling his wife of the witch who haunts the woods, entices children to her honey-cake house, bakes them into gingerbread, and devours them.

The second act opens with a characteristic instrumental number, "The Witches' Ride." The children are disclosed near the Ilsenstein, making garlands and mocking the cuckoos in a beautiful duet with echo accompaniment. At last they realize that they are lost, and their distress is heightened by strange sights and sounds. In the midst of their trouble the Sandman approaches, strews sand in their eyes, and sings them to sleep with a charming lullaby, after they have recited their prayer, "When at Night I go to sleep, Fourteen Angels Watch do keep." As they go to sleep, the fourteen angels come down and surround them, while other angels perform a stately dance.

The third act is called "The Witch's House." The angels have disappeared, and the Dawn Fairy wakens the children, singing a delightful song, "I'm up with Early Dawning." Gretel wakes first, and rouses Hansel by tickling him with a leaf, accompanying the act with a tickling song. When fairly aroused, they discover the witch's house, with an oven on one side and a cage on the other. The house is made of sweets and creams. Enticed by its sweetness, the hungry children break off fragments, and are surprised at their work by the old witch within. She comes out, and, after a series of invocations, accompanied with characteristic music, prepares to bake Gretel in the oven; but while she is looking into it the children push her into the fire. Then they dance a witch waltz, and meanwhile the oven falls into bits. Swarms of children rush round them, released from their gingerbread disguise, and sing a song of gratitude as two of the boys drag out the witch from the ruins in the form of a big cake. The father and mother at last find the children, and all join in the pious little hymn, "When past bearing is our Grief, God, the Lord, will send Relief." It is only a little child's tale, but it is accompanied by music of the highest order, and built up on the same plan of motives which Wagner has used in his imposing Nibelung Trilogy.

JAKOBOWSKI, EDWARD.

Erminie.

[Musical comedy, in two acts; text by Bellamy and Paulton. First
produced at the Comedy Theatre, London, November 9, 1885; in New York
at the Casino, March 10, 1886.]

PERSONAGES.

Marquis de Pontvert.
Eugene Marcel, the Marquis' secretary.
Vicomte de Brissac.
Delaunay, a young officer.
Dufois, landlord of the Golden Lion.
Chevalier de Brabazon, guest of the Marquis.
Ravannes, }
Cadeaux, } two thieves.
Cerise Marcel, Erminie's companion.
Javatte, Erminie's maid.
Princesse de Gramponeur.
Erminie de Pontvert.

[Soldiers, peasantry, guards, waiters, etc.]

The scene is laid in France; time, the last century.

The story of "Erminie" is based upon the old melodrama "Robert Macaire," the two vagabonds, Ravannes and Cadeaux, taking the places of the two murderers, Macaire and Jacques Strop. Few melodramas were more popular in their day than "Robert Macaire," in which Lemaitre, the great French actor, made one of his most conspicuous successes. It is also true that few musical comedies have been more successful than "Erminie." At the opening of the opera, a gallant on the way to his betrothal with a young lady whom he has never seen is attacked by two thieves, Ravannes and Cadeaux, who carry off his wardrobe and tie him to a tree. Later, Ravannes arrives in the midst of the betrothal festivities, and passes himself off as the expected guest. He introduces Cadeaux as a nobleman, and explains their lack of proper attire with the statement that they had been robbed while on the way there. Erminie has an affection for Eugene, her father's secretary, and none for the man who claims to be a suitor for her hand. Ernst, who was the real victim of the robbery, and who is in love with Cerise, escapes from the predicament in which the two thieves placed him, and arrives in time for the festivities, to find himself denounced by Ravannes as the highwayman who had attacked them earlier in the day. Ravannes, by assuming great magnanimity and a certain nobility of conduct, and by his proffers of help to Erminie in securing the man she loves in return for her assistance in his plans, of which she of course is ignorant, so ingratiates himself in her confidence that he nearly succeeds in robbing the house. In the end, however, the two vagabonds are unmasked. Eugene obtains the hand of Erminie, and Ernst and Cerise are equally fortunate.

The music of "Erminie" is light and graceful throughout. Its principal numbers are Erminie's song, "Ah! when Love is Young"; the duet for Eugene and Erminie, "Past and Future"; the Marquis' stirring martial song, "Dull is the Life of the Soldier in Peace"; the rollicking thieves' duet, "We're a Philanthropic Couple, be it known"; Erminie's pretty dream song, "At Midnight on my Pillow lying," and the lullaby "Dear Mother, in Dreams I see her," which is the gem of the opera; the song and whistling chorus, "What the Dicky Birds say"; the vocal gavotte, "Join in Pleasures, dance a Measure"; and the concerted piece, "Good-night," which leads up to the close of the last act.

LECOCQ, CHARLES.

Giroflé-Girofla.

[Opera bouffe, in three acts; text by Vanloo and Aterrier. First
produced at the Thèâtre des Fantasies Parisiennes, Brussels, March 21,
1874; in Paris, November 11, 1874; in New York at the Park Theatre,
1875.]

PERSONAGES.

Don Bolero d'Alcarazas, a Spanish grandee.
Marasquin, banker.
Mourzook, a Moorish chief.
Giroflé, }
Girofla, } Don Bolero's twin daughters.
Aurore, their mother.
Pedro, the page.
Paquita.
Pirate Chief.
Godfather.
Godmother.
Fernand.
Guzman.

[Cousins, bridesmaids, pages, pirates, Moors, etc.]

The scene is laid in Spain; time, the last century.

The opening scene of "Giroflé-Girofla" which, with "La Fille de Madame Angot," made the reputation of Lecocq as an opera-bouffe composer, introduces Don Bolero d'Alcarazas, a Spanish grandee, and Aurore, his wife, also their twin daughters, Giroflé and Girofla, who, being of marriageble age, have been hastily betrothed, Giroflé to Marasquin, a banker to whom Don Bolero is heavily indebted, and Girofla to Mourzook, a Moorish chief who has made regular demands upon Don Bolero for money on penalty of death. By the double marriage he expects to get rid of his obligations on the one hand and avoid the payment of the enforced tribute on the other. Giroflé is married as arranged, but Girofla, who was to have been married the same day, is abducted by pirates before the ceremony can be performed. When Mourzook arrives and finds he has no bride, he is in a terrible rage, but is quieted down when, after a little manoeuvring by Aurore, Giroflé is passed off on him as Girofla and is thus to be married a second time.

In the second act the wedding festivities are going on and both bridegrooms are clamoring for their brides. No word is heard from Admiral Matamoras, who has been sent to capture the pirates. Don Bolero and Aurore resort to all kinds of expedients to settle matters and pacify the irate banker and the furious Moor, and besides have much trouble in restraining Giroflé from flying to her Marasquin. At last she is locked up. She manages to get out, however, and goes off with some of her cousins for a revel. Her absence is explained by a report that the pirates have carried her off also, which adds to the parents' perplexity as well as to the fury of Marasquin and Mourzook. At last Giroflé appears in a tipsy condition and is claimed by both. The act closes with the report that Matamoras has been defeated, and that the pirates have carried Girofla to Constantinople.

The third act opens on the following morning. The two would-be husbands have been locked into their apartments. Marasquin has passed a quiet night, but Mourzook has smashed the furniture and escaped through the window from his chamber. The parents assure Marasquin that even if Mourzook returns he will have to leave that afternoon, and suggest that there can be no harm in letting him have Giroflé for his wife until that time. Marasquin reluctantly consents, and when Mourzook returns and Giroflé is presented to him as Girofla, a ridiculous love scene occurs, which Marasquin contrives to interrupt by various devices. Finally the return of Girofla is announced, and Matamoras with his sailors appears, leading her by the hand. Explanations are made all round, the parents are forgiven, and Mourzook is satisfied.

The music is lively throughout and oftentimes brilliant, and of a higher standard than usually characterizes opera bouffe. The most taking numbers are the ballad with pizzicato accompaniment, sung by Paquita, "Lorsque la journée est finis" ("When the Day is finished"); the concerted ensemble, "À la chapelle" ("To the Church"); the grotesque pirates' chorus, "Parmi les choses délicates" ("Among the Delicate Things to do"), and the sparkling duet for Giroflé and Marasquin, "C'est fini, le mariage" ("The Marriage has been solemnized"), in the first act: the bacchanalian chorus, "Écoutez cette musique" ("Listen to this Music"), leading up to a dance; a vivacious and well-written quintette, "Matamoras, grand capitaine" ("Matamoras, our Great Captain"); a fascinating drinking-song, "Le Punch scintille" ("This Flaming Bowl"), and the andante duet "O Giroflé, O Girofla," a smooth, tender melody, which is in striking contrast with the drinking-music preceding it and that which immediately follows the chorus of the half-tipsy wedding-guests, "C'ést le canon" ("It is the Cannon"): and the rondo, "Beau père une telle demand" ("Oh, my Father, now you ask"), sung by Marasquin, and the duet for Mourzook and Giroflé "Ma belle Giroflé" ("My Lovely Giroflé"), in the third act.

La Fille de Madame Angot.

[Opera bouffe, in three acts; text by Clairville, Sirandin, and Konig.
First produced at the Fantasies Parisiennes, Brussels, November, 1872;
in Paris at the Folies Dramatiques, February 23, 1873.]

PERSONAGES.

Clairette Angot, daughter of the market.
Mlle. Lange, comedienne.
Ange Pitou, street singer.
Pomponnet, hairdresser.
Larivaudière, }
Louchard, } police officials.
Javotte.
Amaranthe.
Cydalise.
Hersilie.
Babet.
Trenitz.

[Bourgeois, grenadiers, conspirators, hussars, servants, marketwomen,
etc.

The scene is laid in Paris; time, about the period of the French
Revolution.

The first act opens in a market square in Paris where the marketwomen and others in holiday costume are making ready to celebrate the wedding of Pomponnet, the hairdresser, and Clairette, the daughter of the late Madame Angot. During the festive preparations, for which Clairette has little desire, as her affections are fixed upon Ange Pitou, a street singer, who is continually in trouble by reason of his political songs, the latter makes his appearance. He is informed of the forthcoming wedding, which has been arranged by the market people, who have adopted Clairette as the child of the market. At the same time Larivaudière and Louchard, the police officials who caused his arrest because of his knowledge of the relations of Larivaudière and Mademoiselle Lange, the comedienne and favorite of Barras, are surprised to find him at large. To prevent him from reciting his knowledge in a song which he is sure has been written, Larivaudière buys him off. Pitou subsequently regrets his bargain. When the crowd clamors for a song, he says he has none. The people are furious with him, but Clairette comes to his rescue. She has found the song denouncing Larivaudière, sings it, and is arrested, notwithstanding Pitou's declaration that he is the author of it.

The second act opens in Mademoiselle Lange's salon. She has persuaded Barras to release Clairette and have her brought to her apartments, so that she may discover why she sings this song denouncing the government and insulting her also. In the mean time she has also sent for Pomponnet, her hairdresser, and informs him what his future wife has done. He replies that Pitou wrote the song, and that he (Pomponnet) has it. She orders him to fetch it to her. When Clairette arrives they recognize each other as old school friends. Mademoiselle Lange assures her she shall not go back to prison and that she need not marry Pomponnet. She retires to Mademoiselle Lange's boudoir, when a visitor is announced. It is Ange Pitou, and a love scene at once occurs. The jealous Larivaudière enters and accuses them of being lovers. To justify herself Mademoiselle Lange declares that Pitou and Clairette are lovers, and the latter confirms the statement. Pomponnet's voice is heard in the outer room. He is admitted, and promptly arrested for having the revolutionary song on his person. The act closes with a meeting of conspirators, and Mademoiselle Lange's clever oiling of the grenadiers who have come to arrest them by turning the whole affair into a grand ball, to which they are invited.

The last act is occupied with plots and counter-plots which at last succeed in disentangling all the complications. Mademoiselle Lange's perfidy, as well as Pitou's, is shown up, Larivaudière has his revenge, and Clairette and Pomponnet are made happy.

The music of the opera is so bright, gay, and characteristic that it made Lecocq a dangerous rival of Offenbach. The most conspicuous numbers are Clairette's pretty romance, "L'enfant de la Halle" ("The Child of the Market"); Amaranthe's jolly couplets, "Marchande de marée" ("A Beautiful Fishwoman"); Ange Pitou's rondo, "Certainement j'aimais Clairette" ("'Tis true I loved Clairette") and Clairette's spirited song, "Jadis les rois, race proscrite" ("Once Kings, a Race proscribed"), in the first act: another equally spirited song, "Comme un Coursier" ("Like a Courser"); Pomponnet's pretty air, "Elle est tellement innocente" ("She is so innocent"); a charming sentimental duet for Mademoiselle Lange and Clairette, "Jours fortunes de notre enfance" ("Happy Days of Childhood"); a striking ensemble in the form of a quintette, "Oui, je vous le dis, c'est pour elle" ("Yes, 'tis on her Account alone"); and the famous conspirators' chorus, "Quand on conspire" ("When one conspires"), in the second act: and Clairette's couplets with chorus, "Vous aviez fait de la dépense" ("You put yourselves to Great Expense"); the humorous duet, "Larivaudière and Pomponnet," and Clairette's song, "Ah! c'est donc toi" ("Ah! 'tis you, then"), in the last act.

LÖRTZING, ALBERT.

Czar and Carpenter.

[Opéra comique, in three acts; text and music by Lörtzing. First
produced in Berlin in 1854.]

PERSONAGES.

Peter I., Czar of Russia under the name of Peter Michaelhoff.
Peter Ivanoff, a young Russian shipwright.
Herr van Bett, burgomaster of Saardam.
Gen. Lefort, Russian ambassador.
Lord Syndham, British ambassador.
Marquis of Chateauneuf, French ambassador.
Marie, niece of the burgomaster.
Widow Brown, mistress of the shipyard.

[Shipwrights, workmen, sailors, villagers, etc.]

The scene is laid in Saardam; time, the year 1698.

The opening of the first act of the "Czar and Carpenter" discloses Peter the Great and Peter Ivanoff, a deserter from the Russian army, at work in the shipyard of Mrs. Brown in Saardam. The British and French ambassadors, having been notified that the Czar is there in disguise, are searching for him with the object of negotiating a treaty with him, or, failing that, to abduct him. The British ambassador employs the pompous burgomaster of Saardam to find him a Russian named Peter, without however disclosing his real character to him. The burgomaster happens upon Peter Ivanoff and brings him to the ambassador, who, supposing him to be the Czar, seeks to arrange a treaty with him, and finally gives him a passport so that he may visit England. Meanwhile the people of Saardam, being informed that the Czar is with them, prepare a reception for him.

The French ambassador, who has also been searching for the Czar, finds the real one by telling him the story of a Russian defeat which causes him to betray himself. The Czar, who is now anxious to go home and crush out the rebellion, seeks for some means to get away without the knowledge of the Dutch and the English. Finding out by chance that Ivanoff has an English passport, he secures it, and gives Ivanoff another paper which he is not to open until an hour has passed. During this time Ivanoff is enjoying the public reception, which suddenly is interrupted by cannon reports. The gateway of the port is opened, showing the Czar with the Russian and French ambassadors sailing away. Ivanoff opens his paper, and finds that his companion was the Czar, who has given him a good situation as well as his consent to his marriage with Marie, the burgomaster's niece.

The leading numbers of the first act are the carpenter's spirited song, "Grip your Axes"; Marie's jealousy song, "Ah! Jealousy is a Bad Companion"; the humorous aria of Van Bett, "Oh! sancta Justitia, I shall go raving"; the long duet for Van Bett and Ivanoff, "Shall I make a Full Confession?" and the effective quartettes in the finale. The second act contains the best music of the opera. It opens with a mixed chorus of a bacchanalian sort, "Long live Joy and Pleasure," which after a long dialogue is followed by the tenor romanza, "Fare thee well, my Flandrish Maiden," a quaint melody, running at the end of each stanza into a duet, closing with full chorus accompaniment. A sextette, "The Work that we're beginning," immediately follows, which, though brief, is the most effective number in the opera. The next number of any consequence in this act, is a rollicking bridal song, "Charming Maiden, why do Blushes," sung by Marie. The last act has a comic aria and chorus, "To greet our Hero with a Stately Reception," and an effective song for the Czar, "In Childhood, with Crown and with Sceptre I played."

LUDERS, GUSTAVE.

King Dodo.

[A musical comedy, in three acts; text by Pixley. First produced at the
Studebaker Theatre, Chicago, May 27, 1901.]

PERSONAGES.

King Dodo I.
Pedro, Court chamberlain.
Dr. Fizz, Court physician.
Mudge, Court historian.
Sancho, an innkeeper.
Bonilla, prime minister to Queen Lili.
Lo Baswood.
Lopez.
Diego.
José.
Unio.
Queen Lili.
Angela, the King's ward.
Piola, a soldier of fortune.
Annette.

[Courtiers, knights, ladies, etc.]

The scene is laid in Dodoland and the South Sea islands; time, the
present.

"King Dodo," though usually set down on the programmes as a comic opera, strictly speaking, is a musical comedy, or comedy opera. Its plot turns upon the efforts of King Dodo to find the elixir of youth. His adventures carry him from his own kingdom in the land of nowhere in particular to the South Sea islands and back, a few absurd love episodes adding to the humor of the situations in which he finds himself. The old King is enamoured of the Princess Angela, and to secure her he determines to find the fountain which will renew his youth. His Court physician has failed in the attempt; but Piola, "a soldier of fortune," claims to know where the fountain is, but demands that when he finds it he shall have the hand of Angela as his reward. The King reluctantly consents, and starts with his whole establishment to find it. The wonderful spring is discovered in the land of the Spoopjus, and there King Dodo also finds Queen Lili, who promptly falls in love with him, because her ideal for a husband is a man full of years and experience. The King, however, accidentally drinks from the fountain, and is transformed into a child, whereupon the Queen rejects him. As the waters fortunately work both ways, when Dodo is thrown into them by conspirators, he becomes himself again, and the Queen devotes herself to him anew with such assiduity that they are united. Pedro and Annette and Piola and Angela also improve the occasion to get married, and all return in great glee to Dodoland.

The musical numbers in "King Dodo," are all of a light, catchy kind, their success depending much upon the sprightliness of the performers. The most popular are the "Cats' Quartette"; "The Tale of the Bumble-bee"; Piola's song, "I'll do or die," which is accompanied by a stirring chorus; the melodious "Zamoña," sung by Angela and chorus; a drinking-song of a spirited sort by Annette and chorus; "The Eminent Dr. Fizz," sung by the doctor himself; and "The Jolly old Potentate" and the topical song, "They gave me a Medal for that," sung by King Dodo.

The Prince of Pilsen.

[A musical comedy, in two acts; text by Pixley. First produced in the
Tremont Theatre, Boston, May 21, 1902.]

PERSONAGES.

Carl Otto, the Prince.
Hans Wagner, an American citizen.
Tom Wagner, his son.
Arthur St. John Wilberforce.
François.
Mrs. Madison Crocker, an American widow.
Sidonie.
Edith.
Nellie.
Jimmy.

[Tourists, students, flower-girls, sailors, etc.

The scene is laid in Nice; time, the present.

"The Prince of Pilsen," the latest, and in many respects the best, of Mr. Luders' productions, like most musical comedies of the prevailing kind, has but a brief and somewhat incongruous story. The first act opens during the annual flower festival at Nice. The proprietor of the Hôtel Internationale learns that the Prince of Pilsen will reach there on the morrow incognito, and determines he shall be received with all the attentions due to his rank. He employs a band of musicians to escort him from the station to the hotel, and hires flower-girls to strew his way with roses. Hans Wagner, a German-American brewer from Cincinnati, and his daughter, who go to Nice to meet the brewer's son, an American naval officer, arrive on the same day. The brewer is mistaken for the Prince, and he and his party meet with a brilliant but somewhat surprising reception. He can account for it in no other way than that his greeting as the Prince of Pilsen is a tribute to the excellence of his Pilsener beer, and accepts it complaisantly. When the real prince arrives, however, with a company of Heidelberg students, he is ignored, and even has some difficulty in securing accommodations. The Prince, however, does not declare his identity at once, but waits for an opportunity to expose the impostor who is trading on his name. He accidentally meets the daughter, and after some conversation with her is sure that her father has not intended to deceive and is not responsible for the mistake. He decides therefore to continue the rôle of private citizen, and is the more confirmed in his decision when he finds himself falling in love with the brewer's daughter. This enrages the brother, who challenges the Prince, which leads to the arrest of both of them. In the second act all the complications get straightened out. The real Prince marries the brewer's daughter, and the brewer himself takes home the American widow, Mrs. Madison Crocker, as his wife.

On this somewhat slight thread of a plot the composer has strung numerous bits of lively, exhilarating music, some of it of a decidedly better kind than is usually found in these potpourris, but the most of it of the sort which is popular and easily caught up. The number of the lyrics as well as of the topical songs, choruses, and extravaganzas is so large, and they are of such uniformity in interest and tunefulness, that it is difficult to single out the most conspicuous. The numbers, however, which have made the greatest success are Wagner's topical song, "He didn't know exactly what to do"; a charming smoking-song, "Pictures in the Smoke"; the "Tale of the Sea-shell"; the unaccompanied male chorus, "Oh! Heidelberg, dear Heidelberg," which should be a favorite students' song; and the "Song of the Cities," in which the peculiarities of the girls of various American cities are imitated, the song ending with a droll cake walk. So far as numbers go, indeed, the opera presents a bewildering embarrassment of good things.

MASSÉ, VICTOR.

Paul and Virginia.

[Romantic opera, in three acts and seven tableaux; text by Carré and
Barbier. First produced at the Opéra National Lyrique, Paris, November
15, 1876; in London, June 1, 1878; in New York, March 28, 1883.]

PERSONAGES.

Paul.
St. Croix, slave-master.
Domingo, mulatto slave.
M. de la Bourdonnais, governor of the island.
Negro Slave.
Virginia.
Meala, mulatto slave.
MME. de la Tour, mother of Virginia.
Margaret, mother of Paul.
Overseer.
Old Lady, grand-aunt of Virginia.

[Inhabitants of the island, sailors, slaves, etc.]

The scene is laid upon an island on the African coast; time, the
eighteenth century.

The story of "Paul and Virginia," Massé's masterpiece, follows the lines of Bernardin St. Pierre's beautiful romance of the same name. The first act opens with the recital of the history of Madame de la Tour, mother of Virginia, and Margaret, the mother of Paul, and reveals the love of the two children for each other. While they are discussing the advisability of sending Paul to India for a time, against which his slave Domingo piteously protests, islanders come rushing towards the cabin announcing the arrival of a vessel from France. In hopes that she will have a letter announcing that she has been forgiven by the relatives who have renounced her, Madame de la Tour goes to the port. A love scene between the children follows, which is interrupted by the hurried entrance of the slave Meala, who is flying from punishment by her master, St. Croix. The two offer to go back with her and to intercede for her forgiveness, in which they are successful. St. Croix, who has designs upon Virginia, begs them to remain until night; but Meala warns them of their danger in a song, and they leave while St. Croix wreaks his revenge upon Meala.

The second act opens in the home of Madame de la Tour. She has had a letter from her aunt forgiving her, making Virginia her heiress if she will come to France, and sending money for the journey. After a long struggle between duty to her mother and love for Paul, she declines to go. Meala makes them another hurried call, again flying from St. Croix, who this time is pursuing her with a twofold purpose, first, of punishing Meala and, second, of carrying out his base designs against Virginia. He soon appears at the house and demands his slave, but Paul refuses to give her up. At last St. Croix offers to sell her to Paul, and Virginia furnishes the money. The faithful Meala that night informs them of St. Croix's plot to seize Virginia when she goes to the vessel; but he is foiled, as she does not leave. The act closes with a call from the governor of the island, who bears express orders from Virginia's relatives, signed by the King, that she must go to France.

The last act is brief, and relates the tragedy. It opens at a grotto on the seashore, where the melancholy Paul has waited and watched week by week for the vessel which will bring Virginia back to him. At last it is sighted, but a storm comes up and soon develops into a hurricane, and when it subsides the vessel is a wreck, and Virginia is found dead upon the beach.

The opera is replete with beautiful melodies. There are, in the first act, a characteristic minor song for Domingo, "Ah! do not send my Dear Young Master," which the composer evidently intended to be in the Ethiopian manner; a chanson of the genuine French style, "Ah! Hapless Black," though sung by a negro boy; a lonely and expressive melody sung by Virginia, as she pleads with St. Croix, "What I would say my Tongue forgetteth"; the weird Bamboula chorus, sung by the slaves; and a very dramatic aria for Meala, "'Neath the Vines Entwining," in which she warns the children of their danger. The principal numbers in the second act are Virginia's romance, "As Last Night thro' the Woods"; a beautiful chanson for Domingo, "The Bird flies yonder"; Paul's couplets, "Ah! crush not my Courage"; the passionate duet for Paul and Virginia, "Ah! since thou wilt go," closing in unison; and Virginia's florid aria, "Ah, what Entrancing Calm," the cadenza of which is exceedingly brilliant. The best numbers in the short last act are Meala's song, "In vain on this Distant Shore"; Paul's letter song, "Dearest Mother"; and the vision and storm music at the close.

Queen Topaze.

[Opéra comique, in three acts; text by Lockroy and Battu. First
produced at the Théâtre Lyrique, Paris, December 27, 1856.]

PERSONAGES.

La Reine Topaze.
Le Capitaine Rafael.
Annibal.
Francappa.
Fritellino.
Filomèle.

[Gypsies, soldiers, etc.]

The scene is laid in France; time, last century.

"Queen Topaze" ("La Reine Topaze") is one of the few of Massé's earlier works which have held the boards, mainly on account of its charming melodiousness. The rôle of the Queen was a great favorite with Miolan-Carvalho and Parepa-Rosa, as it offers opportunities for brilliant vocal execution. Its story is of the slightest kind. In her infancy Topaze is stolen by a band of gypsies and eventually becomes their queen. She falls in love with Rafael, a captain whom she wins from his affianced, a rich noblewoman. He does not marry her, however, until she discloses to him the secret of her birth. Some byplay among the gypsies supplies the humor of the situations. As to the text it is far from dramatic in character, and the dialogue is tedious and dragging.

The music, however, is excellent, and it was to this feature that Massé owed his election in the year of its production as Auber's successor in the French Academy. The gypsy music is particularly charming. There are also a clever sextette, "We are six noblemen"--indeed, there is an unusual amount of six and seven part writing in the opera; the "Song of the Bee," a delightful melody for Queen Topaze with a particularly characteristic accompaniment, likewise a brilliant bolero; a lovely romance in the last act for Rafael, and a somewhat dramatic narrative song for him in the first act; and a skilfully constructed trio for Annibal and the two gypsies. The remaining number of importance is an interpolated one,--"The Carnival of Venice," with the Paganini variations, which was first introduced by Miolan-Carvalho, the creator of the title rôle.

The Marriage of Jeannette.

[Opéra comique, in one act; text by Carré and Barbière. First produced
at the Opéra Comique, Paris, February 4, 1853; in New York, in 1861.]

PERSONAGES.

Jean.
Jeannette.
Thomas.
Petit Pierre.

[Chorus of peasants.]

The scene is laid in a French country village; time, the last century.

Nothing could be simpler than the story of Massé's little opera, "Les Noces de Jeannette" ("The Marriage of Jeannette"), which was first given in this country in 1861, with Clara Louise Kellogg and M. Dubreul in the two principal parts, and twenty-five years later was a favorite in the repertory of the American Opera Company, under the direction of Theodore Thomas, who produced it as an after piece to Delibes' two-act ballet, "Sylvia." The story concerns only two persons. Jean, a boorish rustic, falls in love with Jeannette and proposes marriage. On the wedding-day, however, he suddenly changes his mind, and just as the notary hands him the pen to sign the contract, takes to his heels and runs home. Jeannette follows him up to demand an explanation, and pretends that she will not force him to marry her. In lieu of that she asks him to sign another contract from which she will withhold her name just to show that he was willing to do so. She furthermore promises publicly to reject him. When he has signed the new contract, she suddenly changes her mind also, and declares they are man and wife. In his fury Jean breaks up nearly everything in the house before he goes to sleep. The next day in his absence Jeannette provides new furniture from her own store, places things to rights again, sets the dinner, and awaits Jean's return. When he comes back again, he is in more tractable mood, and seeing what Jeannette has done acknowledges her as his wife.

This simple story the composer has framed in a dainty musical setting, the principal numbers being the song "Others may hastily marry," sung by Jean after his escapade; Jeannette's pretty, simple melody, "From out a Throng of Lovers"; Jean's vigorous and defiant "Ah! little do you fancy"; the graceful song by Jeannette, "Fly now, my Needle, glancing brightly"; her brilliant and exultant song, "Voice that's sweetest"; and the spirited unison male chorus, "Ring out, Village Bells," that closes this refined and beautiful work.

MILLÖCKER, CARL.

The Beggar Student.

[Opéra comique, in three acts; first produced in Vienna, 1882.]

PERSONAGES.

Symon Symonovicz, the beggar student.
Janitsky, his friend.
Gen. Ollendorf, military governor of Krakow.
Enterich, }
Puffki, } jailers.
Major Holtzheim.
Sitzky, an innkeeper.
Countess Palmatica.
Laura, }
Bronislava, } her daughters.
Eva.
Ononphrie.
Lieut. Poppenburg.
Lieut. Schmeinitz.
Lieut. Wangerheim.
Burgomaster.
Bogumil.

[Prisoners, peasants, soldiers, musicians, courtiers, etc.]

The scene is laid in Krakow; time, the year 1704.

The first act of this tuneful opera opens in the city of Krakow. General Ollendorf, the military governor, is in a rage because he has been repulsed by Laura, daughter of the Countess Palmatica, to whom he has showed some unwelcome attentions. To avenge what he considers an insult, he conceives the idea of dressing some poor and low-born young fellow in the finery of a prince, and passing him off as such upon the Countess and her daughter, trusting that their poverty will induce them to accept the impostor. After such a marriage his revenge would be complete. He finds his accomplice in the military prison. Symon Symonovicz, a vagabond Polish student, is ready to play the gentleman, and only insists on taking along with him Janitsky, a fellow prisoner, to act as his secretary. The plot is successful. The Countess and her daughter, who have been living for a long time in genteel poverty, are dazzled by the finery and prospects of the suitor, and the act closes with the betrothal of Symon and Laura.

In the second act the two find that they are really in love with each other. As the money furnished by the General is all spent, Symon decides to tell Laura of the deception practised upon her, though it may cost him the marriage, which was to have taken place that day. Afraid to tell her in person, he writes the disclosure, and intrusts the letter to the Countess with the request to have it given to Laura before the ceremony. The General, however, thwarts this scheme, and the pair are married, whereupon he exposes Symon to the assembled guests as an impostor and has him driven from the palace.

At the opening of the third act Symon appears in melancholy plight and contemplating suicide. His friend Janitsky, who is in love with Laura's sister, Bronislava, comes to his rescue. He comes forward as a Polish officer engaged in a plot for the capture of the citadel and the reinstatement of King Stanislaus upon the throne of Poland. The plot with Symon's help succeeds, and in return Symon is not only ennobled, but the Countess and his wife forgive him, and the governor-general is foiled at every point.

The principal numbers are Ollendorf's entrance song in waltz time, "And they say that towards Ladies"; the characteristic duet by Symon and Janitsky on leaving jail, "Confounded Cell, at last I leave thee"; the charming entrance trio for Laura, Bronislava, and the Countess, "Some little Shopping really we ought to do"; and Laura's brilliant song, "But when the Song is sweetly sounding," in the finale of the first act; Laura's humorous song, "If Joy in Married Life you'd find"; the sentimental duet of Bronislava and Janitsky, "This Kiss, Sweet Love"; Ollendorf's grotesque songs, "One Day I was perambulating," and "There in the Chamber Polish," which is usually adapted as a topical song; and the long and cleverly concerted finale of the second act: and Bronislava's song, "Prince a Beggar's said to be," and Symon's couplet, "I'm penniless and outlawed too," in the third act.

The Black Hussar.

[Opéra comique, in three acts. First produced at Vienna, 1886.]

PERSONAGES.

Helbert, officer of the Black Hussars.
Waldermann, his companion.
Hackenback, magistrate of Trautenfeld.
Piffkow, his man of all work.
Thorillière, major in Napoleon's army.
Hetman, captain of the Cossacks.
Mifflin, an actor.
Minna, }
Rosetta, } Hackenback's daughters.
Barrara.
Ricci.
Goddess of Liberty.
Germania.

[Soldiers, peasants, villagers, conspirators, etc.]

The scene is laid in the German village of Trautenfeld; time, the years
1812-13.

The story of "The Black Hussar" is simple. Von Helbert, an officer of the Black Hussars, in the disguise of an army chaplain, is seeking to foment an insurrection in the town of Trautenfeld. Hackenback, the town magistrate, has carried himself so diplomatically, as between the Russians and French, and is so opposed to any rupture with either from fear of sudden visitation, that Von Helbert's efforts to induce his townsmen to rise against the Napoleonic régime are not altogether successful. The French in the mean time are hunting for him, but he cunningly succeeds in getting a description of the magistrate posted for that of himself. To be ready for any sudden emergency, Hackenback has a reversible panel on his house, one side having the portrait of the Czar and the other that of Napoleon. When he is suspected by the French, he calls their attention to it; but unfortunately for him the Russian side is exposed, and this with the description which Von Helbert had so kindly posted leads to his arrest. Finally the Black Hussar regiment arrives, and captures the French troops just as they have captured the Russian, which had previously been in occupation, so that there is no need for further disguises. The humorous situations in the opera grow out of the love-making between Von Helbert and his companion Waldermann and the magistrate's daughters Minna and Rosetta.

Although "The Black Hussar" is musically inferior to "The Beggar Student," yet it has many interesting numbers, among them the long descriptive song of Piffkow, the man of all work, "Piffkow, Piffkow, that's the cry," which reminds one in its general character of Figaro's famous song in "The Barber of Seville"; the magistrate's buffo song, "All Night long I've weighed and sifted"; Helbert's martial recitative, "I've traversed Lands that once were green"; the jolly gossipers' chorus, introducing the second act; Piffkow's bombastic song, "'Twas in the Adjacent Town Last Night"; Minna's quaint Russian song, "Ivan loved his Katza well"; the introduced song, "Ohe, mamma"; and the trio following it, "The Ways of Love are very strange," which closes the act.

NESSLER, VICTOR ERNST.

The Trumpeter of Säkkingen.

[Opera comique, in a prelude and three acts; text by Bunge. First
produced at the Stadt Theatre, Leipsic, May 4, 1884.]

PERSONAGES.

Baron of Schoenau.
Margaretha, his daughter.
Count of Wildenstein.
Countess Wildenstein, the Baron's cousin.
Damian, the Count's son by a second marriage.
Werner Kirchoff, the "trumpeter."
Conradin, a trooper.

[Heralds, youths, maidens, peasants, school children, students,
troopers, etc.]

The scene is laid in Säkkingen, on the Rhine; time, the year 1650, near
the close of the Thirty Years' War.

Few operas have had the advantage of such an excellent book as Nessler's "Trumpeter of Säkkingen," and few light operas have had their stories so legitimately and skilfully illustrated with music. The text is based upon the metrical romance of Victor von Scheffel's "Trumpeter Von Säkkingen," known and admired all over Germany, which tells the story of the young Werner and the fair Margaretha, their romantic wooing and final union. The time is near the close of the Thirty Years' War, and the hero is Werner Kirchoff, a handsome, dashing young student, who, with others of his comrades, is expelled from the University of Heidelberg because of their frequent carousals. They join a body of troopers, Werner in the capacity of a trumpeter, and go with them to Säkkingen. While there he has the good fortune to protect Margaretha, on a saint's fête day, from the rudeness of some Hauenstein peasants who are ready for a revolt against the Baron von Schoenau, her father. Margaretha, who is in company with the Countess Wildenstein, a cousin of the Baron, who has separated from her husband, gratefully gives Werner a forget-me-not. The Countess inquires his name of his trooper comrade, Conradin, and is struck with his resemblance to her son who had been carried off by gypsies in his childhood. In the next scene the Baron has received a letter from Count Wildenstein, in which he states that his second wife has died, that he wishes to settle the misunderstanding with his first wife, the Countess, and proposes Damian, his son by the second marriage, as a husband for Margaretha,--a proposal which the Baron promptly accepts. When Margaretha enters and tells of her adventures with Werner, the Baron regrets that his old trumpeter, Rassmann, is not alive to summon assistance from the city in case of attack by the peasants. Margaretha tells him of Werner, and notwithstanding the Countess' objections, he gives the position to him.

The second act opens with a love scene between Werner and Margaretha, which is discovered by the Countess, who at once informs the Baron. When Werner asks him for the hand of Margaretha, he not only refuses it, but orders him to leave the castle. Werner takes his farewell of Margaretha, and leaves for his old position with the troopers in the city. Meanwhile the Count of Wildenstein arrives with Damian, but he makes no impression upon Margaretha notwithstanding the Baron's favor.

In the last act the dénouement comes quickly. The peasants attack the castle, and the Baron calls upon Damian to head his retainers and go out to meet the mob. He proves himself, however, an arrant coward, and in the midst of his irresolution Werner rides up at the head of his troopers, performs prodigies of valor, and saves the inmates of the castle. A birthmark upon his arm reveals him as the long-lost son of the Countess, and nothing now stands in the way of Margaretha's and Werner's felicity.

In the prelude and first act the most noticeable numbers are the students' and troopers' choruses, written in the best German style--the prelude indeed is almost entirely choral; the peasants' choruses and lively dances on St. Fridolin's Day; the characteristic growl of the Baron over his gout and the unreasonable peasants; and the charming lyric sung by Margaretha, "How Proud and Grand his Bearing." The most conspicuous numbers in the second act are a lyric sung by Werner, "On Shore I played me a Merry Tune"; the love scene between Margaretha and Werner, "Sun, has thy Light not grown in Splendor?" the dramatic quintette, "Must so soon the Sunshine vanish?" and Werner's sentimental and beautiful farewell, "Oh, it is sad that in this Life below." The principal numbers of the third act are Margaretha's song, "My Love rode out to the Wide, Wide World"; the May song, "There comes a Youth of Sweet Renown"; the pantomime and dance composing a May idyll; the duet for Margaretha and Werner, "True Love, I give thee Greeting"; and the ringing mass chorus, "Faithful Love and Trumpet blowing," which closes the opera.

NICOLAI, OTTO.

The Merry Wives of Windsor.

[Opéra comique, in three acts; text by Mosenthal. First produced in
Vienna, April 1, 1847; in London, May 3, 1864; in New York, April 27,
1863.]

PERSONAGES.

Sir John Falstaff.
Mr. Ford, }
Mr. Page, } gentlemen dwelling at Windsor.
Fenton.
Slender.
Dr. Caius, the French physician.
Mistress Ford.
Mistress Page.
Anne Page, her daughter, in love with Fenton.
Host of the Garter Inn.

[Citizens, wives of Windsor, servants, fairies, elves, etc.]

The scene is laid at Windsor; time, the sixteenth century.

The story of the opera follows closely that of the Shakespearian comedy, though the action is principally concerned with Falstaff's adventures with the merry wives, with the attachment between Fenton and Anne furnishing the romantic incident. Though the work of a German, the music is largely in the Italian style, and the dramatic finish is French. It is unnecessary to indicate the plot in further detail than to say it includes the receipt of Sir John's amatory epistles by Mrs. Ford and Mrs. Page, his concealment among the foul linen in the hamper and subsequent sousing in the Thames, his sad experiences with Ford's cudgels, and his painful encounter with the mock fairies, elves, and other sprites in Windsor Park.

The leading numbers in the opera are a duet for the two merry wives, opening the opera, in which they read Falstaff's letters, "No, no, this really is too bad," closing with an exquisitely humorous phrase as they pronounce the name of the writer in unison; a beautiful little aria, "Joking and Laughter," in the Italian style, sung by Mrs. Ford; and the finale to the first act beginning with a mock serious aria in which Mrs. Ford bewails her husband's jealousy, followed by a sextette and chorus, and closing with a highly dramatic aria in which Mrs. Ford changes from grief to rage and violently denounces Ford.

The second act opens with a drinking-song for Falstaff, "Whilst yet a Child on my Mother's Breast," which is full of rollicking, bacchanalian humor, as well as are the accessories of the song. Falstaff sings one verse, and his followers drain their huge mugs to the bottom. One of them falls senselessly drunk, and is immediately borne out upon the shoulders of his comrades with funereal honors, led off by Falstaff, all chanting a sort of mock dirge. A descriptive and spirited buffo duet between Falstaff and Ford follows, in which the former relates his adventures in the hamper. The only remaining number of consequence in this act is the romanza, "Hark, the Lark in yonder Grove," sung by Fenton. The last act is very short, and made up of a beautiful trio for Mrs. Ford, Mrs. Page, and Falstaff, "The Bell has pealed the Midnight Chime"; the romantic ballad, "Of Herne, the Hunter, a Legend old," and the fairy dance and chorus, "About, about, ye Elves, about," which close the opera.

OFFENBACH, JACQUES.

The Grand Duchess of Gerolstein.

[Opera bouffe, in three acts; text by Meilhac and Halévy. First
produced at the Variétés, Paris, April 12, 1867.]

PERSONAGES.

Grand Duchess.
Wanda, a peasant girl.
Iza, maid of honor.
Olga, maid of honor.
Prince Paul, neglected suitor of the Duchess.
Gen. Boum, in command of the army.
Baron Puck, Court chamberlain.
Baron Grog, emissary.
Fritz, a recruit.
Nepomuc, aide de camp.

[Lords and court ladies, pages, soldiers, vivandières, country girls,
etc.]

The scene is laid in the imaginary Duchy of Gerolstein; time, the year
1720.

"The Grand Duchess of Gerolstein," though in some respects inferior musically to "Orpheus," by the same composer, is altogether the most perfect type of the opera bouffe. For the drollness of its story, the originality of its characters as well as of its music and obstreperous gayety, dash, and geniality mixed with occasional seriousness and grace, this work when it first appeared was unique, though Offenbach rose to his highest achievement when dealing with the gods and goddesses of Olympus in his "Orpheus," which revealed his powers of musical burlesque at their best.

The first act opens with a grand review of the army of the duchy, commanded by the pompous General Boum, at which the Duchess is present. In its ranks there is a recruit, known by the name of Fritz, who has already aroused the General's jealousy by his attentions to Wanda, a peasant girl. He continues still further to add to this jealousy when the Duchess, attracted by his good looks, singles him out for her regard and promotes him to the post of corporal. When she learns of his relations to Wanda, she raises him to the rank of lieutenant, evidently to separate him from Wanda by the new elevation. The review over, the Duchess studies the plan of a pending campaign against a neighboring enemy. She summons General Boum in the presence of Baron Puck, her court chamberlain, Prince Paul, a feeble and neglected suitor of the Duchess, and Lieutenant Fritz, who is now her special body-guard, and asks him for his plan of campaign, which he states, much to the disgust of Fritz, who declares it to be sheer nonsense. The Duchess then asks the latter for his plan, and is so much pleased with it that she appoints him general and raises him to the rank of baron, much to the discomfort and indignation of the others.

The second act opens with the return of Fritz. He has been victorious, and at the public reception given him he tells the story of his adventures. Subsequently at a tête-à-tête with the Duchess, she makes open love to him; but he is so occupied with thoughts of Wanda that he is insensible to all her advances, which puts her in a rage. Overhearing a conspiracy between Puck, Paul, and the deposed General Boum against his life, she joins with them, and the act closes with a wild, hilarious dance.

In the third act Baron Grog, emissary of Prince Paul's father, appears upon the scene to expedite the marriage of the Prince to the Duchess. He joins the conspiracy against Fritz, and so ingratiates himself with the Duchess that she finally consents to marry the Prince. In the mean time she countermands the order for Fritz's assassination, and gives him permission to marry Wanda. The conspirators, however, play a practical joke upon Fritz by a false message summoning him to the battle-field. He leaves at once on the wedding-night, but through the connivance of General Boum is waylaid and badly beaten. While the betrothal of the Duchess is being celebrated, Fritz returns in sad plight, with the sabre which the Duchess has given him in a battered condition. She adds to his misfortunes by depriving him of his command and bestowing it upon Baron Grog, but learning that he has a family, she reinstates General Boum. In the dénouement Fritz is restored to his Wanda and the Duchess marries Prince Paul.