Chapter IV: Part 4

The music is in keeping with the drollery of the situations, and abounds in vivacity and odd descriptiveness, defying all accepted laws and adapting itself to the grotesquerie and extravagance of the action. The principal numbers in the first act are the pompous "Pif, paf, pouf" song of General Boum; the Grand Duchess' air, "Ah! I love the Military" ("Ah! que j'aime les militaires"); the regiment song for her and Fritz, "Oh! what a Famous Regiment" ("Ah! c'est un fameux régiment"); the couplets of Prince Paul, "To marry a Princess" ("Pour épouser une Princesse"); and the famous sabre song, "Lo, here the Sabre of my Sire" ("Voici, le sabre de mon père"). The best numbers of the second act are Fritz's spirited rondo, "All in Good Order, Colors flying" ("En très bon ordre nous partîmes"), in which he tells the story of his victory; the romanza "Say to him" ("Dites lui"), a delightful little song, and so refined that it hardly seems to belong to the opera; and the conspirators' trio, "Max was a Soldier of Fortune" ("Max était soldat de fortune"), which is irresistible in its broad humor and queer rhythms. The musical interest really reaches its climax in the second act. Outside of the chorus work in the third act, there is little of interest except the Duchess' ballad, "There lived in Times now long gone by" ("Il était un de mes aieux"), and Fritz' song to the Duchess, "Behold here, your Highness" ("Eh bien, Altesse, me voilà!").

La Belle Hélène.

[Opera bouffe, in three acts; text by De Meilhac and Halévy. First
produced at the Théâtre des Variétés, Paris, December 17, 1864.]

PERSONAGES.

Helen, Queen of Sparta.
Paris, son of Priam.
Menelaus, King of Sparta.
Agamemnon, King of the Kings.
Calchas, augur.
Achilles, King of Phthiotis.
Ajax I., King of Salamis.
Ajax II., King of the Locrians.
Orestes, son of Agamemnon.
Bacchis, attendant of Helen.
Parthoenis.
Loena.
Philocomes, servant of Calchas.
Euthycles, a blacksmith.

[Princes, princesses, courtiers, Helen's attendants, slaves, etc.]

The scene is laid in Sparta; time mythical.

In "La Belle Hélène" Offenbach goes back to the mythical period, and presents the heroes of the time of Helen and Paris in modern burlesque. The first act opens at the temple of Jupiter in Sparta, where, among others who have placed their offerings at his shrine, is Helen. When alone with Calchas, the augur, they discuss some means of avoiding the decree of the oracle which has declared she is to leave Menelaus, her husband, and fly with Paris, son of Priam, to Troy. Before a decision is reached, Paris, disguised as a shepherd, arrives, and soon he and Helen are lovers. They meet again in a grand tournament in which the two Ajaxes, Achilles, Agamemnon, and others announce themselves in the most comic fashion and guess at conundrums for a prize. Paris wins, and proclaims his name and lineage, to the delight of Helen, whose delight is still further enhanced when the oracle orders Menelaus to set off at once for Crete.

In the second act Helen struggles against the decrees of Venus. Paris has an interview with her, but she will not yield, and he retires. By the aid of Calchas he secures admission to the chamber of the slumbering Queen, when Menelaus suddenly returns and an altercation ensues, during which Paris defies all the Grecian heroes, and Helen philosophically informs Menelaus he should have announced his coming beforehand. Paris again retreats, and Helen is now in despair.

In the third act Helen and Menelaus have a family quarrel, and he charges her with being false. She denies it, and declares he has been dreaming. Calchas now appears, and announces that a new augur has been appointed and is on his way there. A golden galley is seen approaching, and the new augur is found to be Paris himself. He brings word that Venus is angry at what has been going on, but will relent if Helen will return with him to her shrine and sacrifice white heifers. She is reluctant to go, but finally decides to obey the voice of destiny, and sails away with him, leaving them all behind in grief and Menelaus in rage.

The dialogue of "La Belle Hélène" is very witty, though coarse at times, and many of the situations are full of a humorous incongruity and drollness growing out of the attempt to modernize these mythological heroes. The music admirably fits the text, and though not so gay as that of "The Grand Duchess," yet is fresh, original, and interesting throughout. The chief numbers of the work are Helen's passionate song of mourning for Adonis, "Divine Love" ("Amours divins"); Paris' fable, "On Mount Ida, three Goddesses" ("Au Mont Ida, trois déesses"), in which he tells the well-known apple story; the march and chorus, "Here are the Kings of Greece" ("Voici les rois de la Grèce"), in which, one after the other, they come forward and announce themselves in an irresistibly funny manner; Helen's mock sentimental song, "We all are born with Solicitude" ("Nous naissons toutes soucieuses"); the droll goose march of the Kings; a fascinating chorus, "Let us wreathe Crowns of Roses" ("En courronnes tressons roses"); Helen's song, "A Husband Wise" ("Un mari sage"), one of the most characteristic numbers in the opera; and in the last act Orestes' song, "In spite of this Ardent Flame" ("Malgré cette ardente flamme"); the spirited trio, "When Greece has become a Field of Carnage" ("Lorsque la Grèce est un camp de carnage"); and the final chorus, "Let now our Wrath" ("Que notre colère"), which preludes the Trojan war.

Orpheus.

[Opera bouffe, in three acts; text by Cremieux. First produced at the
Bouffes Parisiens, Paris, October 21, 1858.]

PERSONAGES.

Pluto, disguised as Aristeus.
Jupiter, King of the Gods.
Orpheus, the lutist.
John Styx, the ferryman.
Mercury, the messenger.
Bacchus, God of wine.
Mars, God of war.
Eurydice, spouse of Orpheus.
Diana, Goddess of the hunt.
Public Opinion.
Juno, consort of Jupiter.
Venus, Goddess of love.
Cupid, her messenger.
Minerva, Goddess of wisdom.

The scene is laid near Thebes; time, mythical.

The best musical work of Offenbach undoubtedly is to be found in his "Orpheus aux Enfers," and the text which his librettist furnished him is in keeping with the music. It was a bold as well as droll conception to invest the Olympian gods and goddesses with human attributes and make them symbols of worldly departments of action and official life, to parade them in processions like the ordinary street pageant, to present them in banquets, to dress them in the most fantastically individual manner, and to make nineteenth-century caricatures of the whole Olympian coterie.

The first scene of the opera discloses Eurydice in the Theban meadows plucking flowers with which to decorate the cabin of Aristeus, the shepherd, who is really Pluto in disguise. Suddenly Orpheus appears, not with his tortoise-shell lyre, but playing the violin and serenading, as he supposes, a shepherdess with whom he is in love. His mistake reveals the fact that each of them is false to the other, and a violent quarrel of the most ludicrous description ensues, ending in their separation. He goes to his shepherdess, she to her shepherd. Shortly afterwards, Aristeus meets Eurydice in the fields and reveals his real self. By supernatural power he turns day into night and brings on a tempest, in the midst of which he bears her away to the infernal regions, but not before she has written upon Orpheus' hut the fate that has overtaken her. When Orpheus returns he is overjoyed at his loss, but in the midst of his exultation, Public Opinion appears and commands him to go to Olympus and demand from Jupiter the restoration of his wife. Orpheus reluctantly obeys the order.

The second act opens in Olympus, where the gods and goddesses are enjoying a nap, from which they are awakened by the blasts of Diana's horn. Thereupon much slanderous gossip is circulated amongst them, the latest news discussed being Pluto's abduction of Eurydice. Pluto himself shortly comes in, and is at once taxed by Jupiter with his unseemly behavior, whereupon Pluto retaliates by reference to Jupiter's numerous amours with mortals. This arouses the jealousy of Juno. Venus, with Cupid's assistance, starts a veritable riot, which is suddenly interrupted by the arrival of Orpheus and his guide, Public Opinion. He demands that his wife shall be restored to him, and Jupiter not only consents, but agrees to attend to the matter personally.

The third act finds Eurydice in Hades, carefully guarded by John Styx. Jupiter is faithful to his promise, and soon arrives there, but not in his proper person. He appears in the disguise of a fly, and allows Eurydice to catch him, after which he reveals himself. When Pluto comes in, he finds her transformed into a bacchante of the most convivial sort. Other deities make their appearance, and finally Orpheus comes sailing up the Styx, playing his violin, and demanding of Jupiter the fulfilment of his contract. Jupiter consents, but makes the condition that he shall return to his boat, Eurydice following him, and that he must not look back. Orpheus sets out, but just before he reaches the boat, the cunning Jupiter launches a thunderbolt after him, which causes him to turn and lose Eurydice, much to the disgust of Public Opinion, but greatly to the edification of Orpheus, who is now at liberty to return to his shepherdess on the Theban plain.

The most striking numbers in this curious travesty are the opening aria of Eurydice, as she gathers the flowers, "Woman that dreams" ("La femme dont la coeur rêve"); the pastoral sung to her by Aristeus, "To see through the Vines" ("Voir voltiger sous les treilles"); the fascinating hunting-song of Diana, "When Diana comes down the Plain" ("Quand Diane descend dans la plaine"); the characteristic and taking song of John Styx, "When I was King of Boeotia" ("Quand j'étais roi de Beotie"), which in its way is as striking as the sabre song in "The Grand Duchess"; Eurydice's delicate fly-song, "Beautiful Insect, with Golden Wings" ("Bel insecte, à l'aile dorée"); the drinking-song in the infernal regions, "Hail to the Wine" ("Vive le vin"); and Eurydice's vivacious bacchanalian song which immediately follows it, "I have seen the God Bacchus" ("J'ai vu le dieu Bacchus").

PLANQUETTE, ROBERT.

The Chimes of Normandy.

[Opéra comique, in three acts; text by Clairville and Gabet. First
produced at the Folies Dramatiques, Paris, April 19, 1877.]

PERSONAGES.

Serpolette, the good-for-nothing.
Germaine, the lost Marchioness.
Susanne.
Jeanne.
Henri, Marquis of Corneville.
Jean Grenicheux, a fisherman.
Gaspard, an old miser.
Baillie, magistrate.
Notary.

[Peasants, sailors, servants, waiting-maids, etc.]

The scene is laid in Normandy; time of Louis the Fifteenth.

The first act of this charming opera, one of the most popular of its class, opens in an old Norman village during the progress of a fair. Henri, the Marquis of Villeroi, who has been an exile since childhood, has just returned. The first scene discloses a number of village gossips who are retailing scandals about Serpolette, the good-for-nothing, who arrives in time to vindicate herself and retaliate upon the gossips. Gaspard, the miser, has arranged to give his niece Germaine in marriage to the sheriff, who is the chief dignitary in the village. Germaine, however, objects to the proposition, since if she marries at all she claims she must marry Jean Grenicheux, a young fisherman, in gratitude for saving her life. To escape the marriage she and Jean become the servants of the Marquis, and are joined by Serpolette, which is one of the privileges of fair-time.

The second act is occupied with the exposure of the ghosts in the castle of Villeroi. The Marquis is confident that there is nothing supernatural about the apparition which has been seen or the sounds which have been heard in the various apartments. He therefore introduces his servants into the castle, and after careful searching discovers that the ghost of Villeroi is old Gaspard, the miser, who, when he is found out, becomes crazy through fear of losing treasures which are concealed there.

In the last act the castle is restored to its old splendor, and the Marquis takes possession as master. He gives a fête and the villagers are invited, the crazy Gaspard being among them. Serpolette appears as a grand lady with Jean as her factotum, some papers found in the castle indicating she is the lost heiress. After a love scene between Henri and Germaine, however, Gaspard, who has recovered his reason, discloses that Germaine, and not Serpolette, is the rightful heiress and the true claimant to the title of marchioness. All the complications are now unravelled. Gaspard's treasure is restored to its rightful owner. Germaine comes to her rights, and Serpolette remains with her as her friend.

The music of the opera is delightful throughout, and has scarcely a dull moment. Its most conspicuous numbers are Serpolette's rondo, "In my Mysterious History"; a delightful little fantaisie, "Go, Little Sailor"; the legend of the chimes, "Alas! we have lost Excellent Masters"; Henri's grand aria, "I have thrice made the Tour of the World"; and his couplets, "Under the Armor from Top to Toe"; Serpolette's sprightly aria, "Viscountess and Marchioness"; the chorus with the chimes, a most graceful and interesting number closing the second act; and in the last act Gaspard's quaint old Norman song, "We were full Five Hundred Rogues"; Serpolette's rondo, "The Apple's a Fruit full of Vigor"; and Henri's romance, "A Servant, what Matter to me?"

RICCI, LUIGI.

Crispino.

[Opera buffa, in three acts; text by Piave. First produced in Venice,
in 1850.]

PERSONAGES.

Annetta, the cobbler's wife.
La Comare, the fairy.
Crispino, the cobbler.
Il Contino, the Count.
Dr. Fabrizio.
Dr. Mirobolante.
Don Asdrubal.
Lisetta.

[Clerks, waiters, servants, etc.]

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

The first act of this charming little fairy opera opens with a unison chorus of apothecary's apprentices, "Thump, thump" ("Batti, batti"). Crispino, a poor cobbler, over head and ears in debt, whose wife Annetta tries to help him out by ballad singing, is seated at his bench at work in front of his house. In the intervals of the chorus the Count, who figures in a side plot, sings a beautiful romanza, "Thou Beauteous as an Angel art" ("Bella siccome un angelo"). Then Crispino bewails his hard fortune in a quaint melody, "Once a Cobbler" ("Una volta un ciabattino"), after which Annetta introduces herself with a canzonetta, "My Pretty Tales and Songs" ("Istorie belle e leggere"), leading up to a minor duet between them. In the sixth scene a buffo aria, "I am a Bit of a Philosopher" ("Io sono un po' filosofo") is sung by Dr. Fabrizio. At last Crispino gets into such desperate straits that he resolves to make way with himself. He is about to jump into a well when a fairy appears and dissuades him, at the same time giving him a purse of gold and offering to set him up in business as a doctor, telling him he must look about him whenever he has a patient, and if she is not present he will be successful. The act closes with a duet for Crispino and Annetta, "Since you have found a Fairy" ("Troffo so, basta per ova").

The second act discloses Crispino in the midst of a nourishing business, and the delighted Annetta sings a joyous little melody, "I no longer am Annetta" ("Io non sono piu l'Annetta"). A workman who has met with an accident is brought to Crispino for treatment, and as the fairy is not present he is successful. The musical treatment of the healing scene is worked up with great skill. It begins with a baritone solo, leading up to a duet with soprano and chorus accompaniment. A sextette then takes up the theme, and in the close all on the stage give it with impressive effect. A broadly humorous but very melodious trio of the doctors follows, "Sirs, what means this Quarrel?" ("Ma Signori, perchè tantes questione?"). In the next scene Annetta sings the pretty Fritola song, "Pietro, Darling, this Cake so Tempting" ("Piero mio, go qua una fritola"), in which she boasts the merits of a cake she has made for the Carnival. Meanwhile Crispino grows so puffed up with his wealth that when Annetta invites some old friends to the house he drives them out, and is about to strike Annetta when the fairy suddenly appears.

In the last act the fairy has taken Crispino to a cavern, where she shows him crystal vases in which more or less brilliant lights are burning. She tells him that each represents a human life. The one burning so brightly is Annetta's, the one so dimly is his own. When he asks her to take some oil out of Annetta's lamp and put it into his, she upbraids him, reveals herself as death, and tells him to make his last request, for he is about to die. In a doleful ballad, "Little I ask, Dearest Fairy" ("Poco cerco, O mia Comare"), he asks for only a half-hour more, so that he may see Annetta and the children. A sudden change of scene shows him in his own house, awaking from sleep in his chair. As he realizes that it has been only a nightmare, occasioned by a sudden fit of illness, he expresses his delight and Annetta expresses her joy in a brilliant waltz movement, "There's no Joy that e'er hath given me" ("Non ha gioja in tal Momento"), which closes the opera.

ROSSINI, GIOACHINO ANTONIO.

The Barber of Seville.

[Opera buffa, in two acts; text by Sterbini. First produced at the
Argentina Theatre, Rome, February 5, 1816.]

PERSONAGES.

Rosina, ward of Dr. Bartolo.
Berta.
Figaro, the barber.
Count Almaviva, lover of Rosina.
Dr. Bartolo.
Basilio, a music-master.

[Officers, soldiers, etc.]

The scene is laid in Seville; time, the eighteenth century.

The story and the music of "The Barber of Seville" are as fresh and delightful as when the opera was first produced eighty-six years ago. Its story is almost as familiar as household words, and no music has been more popular on the operatic stage than its gay, brilliant arias. Count Almaviva loves Rosina, the ward of Dr. Bartolo, who wishes to marry her himself, but the Count is unable to get an interview with her until it is arranged for by Figaro, the factotum of the place. In spite of Bartolo's watchfulness, as well as that of Don Basilio, her music-teacher, who is only too willing to serve Bartolo, she succeeds in writing to the Count and telling him that his love is returned. With Figaro's help the Count gets into the house disguised as a drunken dragoon, but is promptly arrested. The next time he secures admission as a music-teacher upon the pretence that Don Basilio is sick, and has sent him to give Rosina her lesson. He further hoodwinks Bartolo by producing the letter Rosina had written to himself, and promises to persuade her that the letter has been given him by a mistress of the Count, which will break the connection between the two. He secures the coveted interview, and an elopement is planned. The unexpected appearance of Don Basilio, however, upsets the arrangements, and the disconcerted lover makes good his escape. In the mean time Bartolo, who has the letter, shows it to his ward and arouses her jealousy. She thereupon promises to marry her guardian. At the time set for the elopement, the Count and Figaro arrive. A reconciliation is speedily effected, and the Count and Rosina are married just as Bartolo makes his appearance with officers to arrest the Count. After mutual explanations, however, all ends happily.

The opera opens, after a short chorus, with the Count's serenade, "Lo, smiling in the Orient Sky" ("Ecco ridente in cielo"), one of the most beautiful numbers in the opera. In the second scene Figaro sings the lively and well-known buffo aria, "Make Room for the Factotum" ("Largo al factotum"). A light and lively duet between Figaro and the Count leads up to the chamber aria of Rosina, "The Voice I heard just now" ("Una voce poco fa"), which is not only very expressive but remarkably rich in ornamentation. In the next scene occurs the calumny aria, "Oh! Calumny is like the Sigh" ("La Calunnia è un venticello"). It is followed by a florid duet and a dialogue between Rosina and Bartolo, closing with the bass aria, "No longer conceal the Truth" ("Non piu tacete"). The finale is composed of three scenes full of glittering dialogue and melodious passages.

The second act opens with a soliloquy by Bartolo, interrupted by a duet with the Count. The music-lesson scene follows in which the artist personating Rosina is given an opportunity for interpolation. In the next scene occurs a dialogue quintette, which is followed by a long aria for Bertha, "There is always Noise" ("Sempre gridi"), which the Italians called the "aria de sorbetto," as they used to eat ices while it was sung. In the eighth scene, after a long recitative, an instrumental prelude occurs, representing a stormy night, followed by recitative in which the Count reveals himself, leading up to a florid trio, and this in turn to the elegant terzetto, "Softly, softly, no Delay" ("Zitti, zitti, piano, piano"). A bravura and finale of light, graceful melody close the opera.

SOLOMON, EDWARD.

Billee Taylor.

[Nautical comic opera, in two acts; text by Stephens. First produced in
London in 1880]

PERSONAGES.

Felix Flapper, R. N., Captain of "H. M. S. Thunderbomb."
Sir Mincing Lane, knight.
Billee Taylor.
Ben Barnacle.
Christopher Crab, tutor.
Phoebe Farleigh, a charity girl.
Arabella Lane, heiress.
Eliza Dabsey.
Susan.
Jane Scraggs.

[Villagers, peasants, sailors, press gang, etc.]

The scene is laid in Southampton, England; time, the year 1805.

The story of "Billee Taylor" is based upon an old English marine ballad of the same name. The first act opens at the inn of the Royal George in Southampton, where the villagers have gathered to celebrate the wedding of Billee Taylor and Phoebe Farleigh, a charity girl. The heiress, Arabella Lane, is also in love with Billee, and has offered him her hand, which he has rejected. Her father, Sir Mincing Lane, is going to give the villagers a feast upon the occasion of Billee's wedding, and invites his friend, Captain Flapper, to attend. The captain accepts, falls in love with Phoebe at sight, and vows Billee shall not marry her. Crab, the tutor, is also in love with Phoebe. In Captain Flapper's crew is Bill Barnacle, who went to sea "on account of Eliza," who had been unfaithful to him, and he is ordered by the press gang to carry Billee away, which he does during the wedding festivities.

The second act opens at Portsmouth, two years supposedly having elapsed. All the charity girls, among them Phoebe, disguised as sailors, followed Billee to sea, who in the mean time has risen to a lieutenancy. Arabella forces her attentions upon him and he is inclined to yield. At this juncture Phoebe, still seeking her lover, turns up as a common sailor answering to the name of Richard Carr. Captain Flapper in her presence mentions that he is in love with her, also that Billee is about to marry Arabella. Sir Mincing Lane, now a commander of volunteers, endeavors to persuade some of the sailors to join him, and Phoebe offers herself as a recruit, but is claimed as a messmate by Barnacle, which leads to a quarrel. Crab then incites Phoebe to revenge herself upon her recreant lover, and she fires at him, but the shot hits Crab. She is arrested and is about to be executed, but is released when she declares herself a woman. In the end Billee is disrated, but marries Arabella. Barnacle secures his Eliza. Phoebe marries the captain, and is made full lieutenant of the "Thunderbomb."

"Billee Taylor" is essentially a ballad opera. The best of the ballads are "The Virtuous Gardener," in which Billee describes the ethical pleasures of gardening; "The Two Rivers," sung by Phoebe, Susan, and chorus; "The Self-made Knight," by Sir Mincing Lane, which resembles Sir Joseph Porter's song in the first act of "Pinafore" ("When I was a Lad I served a Term"); Phoebe's sentimental song, "The Guileless Orphan"; Barnacle's well-known song, "All on account of Eliza"; Crab's humorous ditty, "The Poor Wicked Man"; Angelina's sentimental "Ballad of the Billow"; and Captain Flapper's disquisition on love in the interrogative song, "Do you know why the Rabbits are caught in the Snares?"

SOUSA, JOHN PHILIP.

El Capitan.

[Comic opera, in three acts; text by Klein. First produced at the
Tremont Theatre, Boston, April 13, 1896.]

PERSONAGES.

Medigua, Viceroy of Peru.
Cazarro, deposed viceroy.
Pozzo, secretary of Medigua.
Verrada, in love with Isabel.
Scaramba, an insurgent.
Estrelda, Cazarro's daughter.
Marghanza, Medigua's wife.
Isabel, her daughter.

[Troops, insurgents, peasants, etc.]

The scene is laid in Peru; time, the eighteenth century.

At the opening of the story Cazarro, viceroy of Peru, has been deposed by the King of Spain, and Medigua has been appointed in his stead. Cazarro incites a revolution, and sends to Spain for El Capitan, a noted soldier, to come to his help. He sails on the same ship with Medigua, in the disguise of a seaman, but is killed in a quarrel on board. Medigua finds out who he was, and when he lands, discovering that his faction is in a hopeless minority, he proclaims himself El Capitan and joins the rebels. To further his scheme he induces his secretary, Pozzo, to represent the Viceroy. Among the other characters are Scaramba, a revolutionist in love with Estrelda, daughter of Cazarro; the Princess Marghanza, wife of Medigua; her daughter Isabel; and Count Verrada, who is in love with her. Estrelda falls in love with the pseudo El Capitan, which arouses Scaramba's jealousy. Pozzo is thrust into prison, much to the grief of the Princess and of Isabel, who believe him to be Medigua. After the arrival of the Spanish troops, however, Medigua declares himself. The rebellion is squelched, all are pardoned, and everything ends happily.

The principal numbers of the first act are a pretty drinking-song for the chorus; a solo for Medigua, "If you examine Human Kind," followed by a dialogue and leading up to an aria for Estrelda, "When we hear the Call for Battle," with chorus in march time; a second march, "In me you see El Capitan," which heralds Medigua's entrance; the chorus, "Lo, the Awful Man approaches"; and the solo and chorus, "Bah, bah," closing the act. The second act opens with a march song, "Ditty of the Drill," which is shortly followed by an effective scene in which a mournful accompaniment representing the grief of Marghanza and Isabel, and a festive accompaniment setting forth the exultation of Estrelda and her companions as they bind El Capitan with garlands of roses, are interwoven. As the Princess discovers Medigua in El Capitan, a quarrel duet follows between her and Estrelda, leading up to a pompous military finale, as the Spanish troops appear. The leading numbers of the third act are a serenade and duet for Verrada and Isabel; a song by the tipsy Medigua, "The Typical Tune of Zanzibar," which is the most popular number in the opera; and a final march with chorus.

STRAUSS, JOHANN.

The Merry War.

[Opéra comique, in three acts; text by Zell and Genée. First produced
in Vienna, November 25, 1881.]

PERSONAGES.

Countess Violetta.
Col. Umberto.
Duke de Limburg.
Balthasar Groats, dealer in tulip bulbs.
Else, wife of Groats.
Spiuzzi.
Franchetti.
Biffi.

[Soldiers, citizens, etc.]

The scene is laid in Genoa; time, the eighteenth century.

The "merry war" is not a very serious one, as may be inferred from its title. It is a quarrel between two petty states, Genoa and Massa Carrara, growing out of the fact that a popular dancer has made simultaneous engagements at the theatres of each. Both claim her, and the question at issue is at which theatre the dancer shall appear. One harmless hand grenade is thrown from either side with monotonous regularity each day, and the "merry war" is without interesting incident until the pretty Countess Violetta appears in one of the camps. She is seeking to make her way in disguise into the city of the other camp, to take command of the citadel. Umberto, the colonel commanding, is deceived by her, and allows her to pass through the lines. When informed of the deception he determines to take his revenge by marrying her. Understanding that she is to marry the Duke de Limburg by proxy, he impersonates the Duke and is married to Violetta without arousing her suspicions. He is assisted in his scheme by Balthasar Groats, a Dutch speculator in tulip bulbs, whom the soldiers have arrested, thinking him a spy, and who is naturally willing to do anything for the Colonel to get him out of his predicament. Complications arise, however, when Groats' wife appears and becomes jealous, also because of Violetta's antipathy towards her supposed husband and her affection for Umberto. All these matters are arranged satisfactorily, however, when there is an opportunity for explanation, and a treaty of peace is signed between the two states, when it is found that the cause of the "merry war" will not keep her engagement with either theatre.

The music of "The Merry War" is light and gay throughout. Like all the rest of the Strauss operas, it might be said that it is a collection of marches and waltzes, and a repetition of dance music which has done good service in ballrooms, strung upon the slight thread of a story. Its most taking numbers are Umberto's couplets, "Till now no Drop of Blood"; Balthasar's comical song, "General, ho!" and his tulip song, "From Holland to Florence in Peace we were going"; Violetta's arietta, "In vain I cannot fly"; the dainty duet for Violetta and Umberto, "Please do"; Else's romantic song, "I wandered on"; the ensemble and Dutch song by Artemisia, "The much Admired One"; Umberto's love song, "The Night begins to creep"; Violetta's song, "I am yet Commander for To-day," leading to a terzetto and spirited final chorus, "Of their Warlike Renown."

The Queen's Lace Handkerchief.

[Opéra comique, in three acts; text by Genée and Bohrmann-Riegen. First
produced at Vienna, October 2, 1880.]

PERSONAGES.

The King.
The Queen.
Donna Irene, the Queen's confidante.
Marquis of Villareal.
Cervantes, poet.
Count Villaboisy Roderiguez, Prime Minister.
Don Sancho de Avellaneda, tutor to the King.
Marquis de la Mancha Villareal, Minister of War.
Duke of Feria, Minister of Finance.
Count San Gregorio, Minister of the Interior.
Count Ermos, Minister of the Navy.
Don Diego de Barados, Minister of Police.
Dancing-Master.
Master of Ceremonies.
Antonio, innkeeper.

[Students, doctors, ladies and gentlemen of the court, toreadors,
brigands, etc.]

The scene is laid in Portugal; time, the year 1570.

The romance of the story of "The Queen's Lace Handkerchief" has helped to make this opera one of the most popular of Strauss' works. The action begins at a time when Portugal is ruled by a ministry whose premier is in league with Philip II. of Spain, and who, to keep possession of power, has fomented trouble between the young Queen and King, and encouraged the latter in all kinds of dissipations. At this time Cervantes, the poet, who has been banished from Spain, is a captain in the Royal Guards, and in love with Irene, a lady in waiting. These two are good friends of both the King and Queen, and are eager to depose the ministry. Cervantes is reader to the Queen, and the latter, having a sentimental attachment for him, writes upon her handkerchief, "A queen doth love thee, yet art thou no king," and placing it in a volume of "Don Quixote," hands it to him. The book is seized, and as "Don Quixote" is Minister of War and "Sancho Panza" Minister of Instruction, Cervantes is arrested for libel and treason. Irene and the King, however, save him by proving him insane, and the King and Queen ascend the throne. In desperation the premier hands the King the handkerchief with the inscription on it, which leads to the re-arrest of Cervantes and the banishment of the Queen to a convent. Cervantes escapes, however, and joins some brigands. They capture the Queen on her way to the convent, and in the disguise of the host and waiting-maid of an inn, they serve the King, who happens there on a hunting-trip. Everything is satisfactorily accounted for, and the inscription on the handkerchief is explained as a message which the Queen sent to the King by Cervantes.

The music is light and brilliant. Much of it is in the waltz movement, and the choral work is a strong feature. Its best numbers are the Queen's humorous romanza, "It was a wondrous Fair and Starry Night"; another humorous number, the King's truffle song, "Such Dish by Man not oft is seen"; the epicurean duet for the King and premier, "These Oysters are great"; Cervantes' recitative, "Once sat a Youth," in the finale of the first act: a dainty little romanza for Cervantes, "Where the Wild Rose sweetly doth blow"; the trio and chorus, "Great Professors, Learned Doctors"; the fine duet for the King and Cervantes, "Brighter Glance on him shall repose"; Sancho's vivacious couplet, "In the Night his Zither holding"; the Queen's showy song, "Seventeen Years had just passed o'er me"; and the two closing choruses, "Now the King all hail," in march time, and the Bull-fight, which is full of dash and spirit.

Queen Indigo.

[Opera comique, in three acts; text by Jaime and Wilder. First produced
in Vienna, February 10, 1871.]

PERSONAGES.

Montadada I., widow of King Indigo.
Fantasca, the late King's favorite.
Janio, the late King's jester.
Romadour, chief of the eunuchs.
Babazouck, fruit and vegetable vender.
Mysouf, general-in-chief.

[Inmates of the harem, eunuchs, cooks, courtiers, soldiers, sailors,
etc.]

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

At the opening of the opera King Indigo has just died, and his widow, Montadada I., decides to sell the harem. Fantasca, a beautiful slave, who was the favorite of the King, is included among those to be sold, and Romadour, chief of the eunuchs, resolves to secure her. Fantasca is in love with Janio, the King's jester, of her own country. Queen Montadada is also in love with him and has chosen him for her second husband, but he prefers Fantasca. The two contrive a cunning plot for the escape of the entire harem. Janio informs the Queen that one of her tribes has revolted, and as her troops are all sick he proposes that the women be armed and that he be placed in command. She accepts the proposal, and promises that the victor "shall choose the woman he loves, did she even wear a crown," not doubting Janio will select her, but, much to her chagrin, he announces Fantasca as his choice.

The second act discloses the Amazon army with Janio and Fantasca at its head. The Queen also accompanies them, still bent upon securing Janio's love. At the first alarm the troops fly in all directions, and the Queen, suspicious that something is wrong, scours the woods for Janio, who makes his escape by changing clothes with Babazouck, a fruit-vender. The Queen meanwhile arrays herself in male attire, so that she may compete in physical attractions with Fantasca. She furthermore gets into a semi-drunken condition, but recognizes the cheat when Babazouck is brought before her. Immediately thereafter she falls into a drunken stupor. Romadour also comes in intoxicated, and mistaking her for Fantasca, sings to her, "O, my Queen, I love you," in a deep bass voice. The act closes with the two sleeping side by side, and the women of the harem carrying off the royal treasures.

In the last act Janio, Fantasca, and the other slaves are preparing for flight, when the Queen and Romadour enter. The former announces she no longer loves Janio, but the man who had declared, "Oh, my Queen, I love you." At her request Romadour repeats the remark, but this time in a high falsetto voice which she does not recognize. Subsequently he changes his mind, after hearing of Fantasca's prowess in battle, and exclaims, "O, my Queen, I love you," in the bass voice. The Queen promptly claims him for her husband and he acquiesces. She then orders Janio and Fantasca to be sold, but Romadour intercedes in their behalf, and she banishes them.

Like all the Strauss operas, "Queen Indigo" is full of charming waltz music, comprising, in addition to many novelties, several of his old-time favorites. The most effective vocal numbers are the trio, "What Dark Forebodings" ("Quel sombre et noir présage"); Fantasca's couplets, "A Model Soldier" ("Cavalier modèle"), and her song, "Woman is a Cunning Bird" ("La femme est un oiseau subtil"); the waltz song, "Oh! Maddening Flame" ("O flamme cuivrante"); the characteristic Tyrolienne, "Youpla! why, Fond Lover" ("Youplà, pourquoi, bel amoureux"); and the "Blue Danube" chorus of the sailors, in the last act.

The Bat.

(_Die Fledermaus._)

[Opéra comique, in three acts; text by Haffner and Genée. First
produced in Vienna, July, 1874.]

PERSONAGES.

Eisenstein.
Alfred, singing-master.
Frosch, court usher.
Frank, prison director.
Dr. Blind, attorney.
Dr. Falke, notary.
Ivan, Prince Chamberlain.
Ali Bey, an Egyptian.
Murray, an American.
Cancorney, a Marquis.
Rosalind, wife of Eisenstein.
Prince Orlofsky.
Adele, Rosalind's maid.
Lord Middleton.

[Dancers, masqueraders, etc.]

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

Strauss' "Die Fledermaus," or "The Bat," is founded upon Meilhac and Halévy's "Le Revillon." In music it is Viennese; in dramatic effect, it is French. The scene opens with Adele, maid of the Baroness Rosalind, seeking permission to visit her sister Ida, a ballet-dancer, who is to be at a masked ball given by Prince Orlofsky, a Russian millionaire. She receives permission, and after she has gone, Dr. Falke, a notary, who has arranged the ball, calls at the house of the Baron Eisenstein, and induces him to go to it before going to jail, to which he has been sentenced for contempt of court. The purpose of the doctor is to seek revenge for his shabby treatment by the Baron some time before at a masquerade which they had attended,--Eisenstein dressed as a butterfly, and Falke as a bat. The doctor then notifies the Baroness that her husband will be at the ball. She thereupon decides that she will also be present. An amusing scene occurs when the Baron seeks to pass himself off as a French marquis, and pays his devotions to the ladies, but is quite astonished to find his wife there, flirting with an old lover. There are further complications caused by Falke, who manages to have Alfred, the singing-master, in the Baroness' apartments when the sheriff comes to arrest the Baron, and arrests Alfred, supposing him to be Eisenstein. In the last act, however, all the complications are disentangled, and everything ends happily.

It would be impossible to name the conspicuous numbers in this animated and sprightly work without making a catalogue of them all. The opera is a grand potpourri of waltz and polka motives and fresh, bright melodies. The composer does not linger long with the dialogue, but goes from one waltz melody to another in a most bewildering manner, interspersing them with romanzas, drinking-songs, czardas, an almost endless variety of dance rhythms and choruses of a brilliant sort. It is a charming mixture of Viennese gayety and French drollery, and, like his "Roman Carnival" and "Queen Indigo," is the very essence of the dance.

STUART, LESLIE.

Florodora.

[Musical comedy, in two acts; text by Hall. First produced in London,
November 11, 1899.]

PERSONAGES.

Cyrus W. Gilfain, proprietor of the island of Florodora.
Capt. Arthur Donegal, Lady Holyrood's brother.
Frank Abercoed, manager for Mr. Gilfain.
Leandro, overseer.
Anthony Tweedlepunch, phrenologist.
Dolores.
Valleda, maid to Lady Holyrood.
Estelle Lamont, stenographer.
Angela Gilfain.
Lady Holyrood.

[Florodorean farmers, flower-girls, peasants, etc.]

The scene is laid in the island of Florodora and Wales; time, the
present.

"Florodora," the title of a musical comedy which has had extraordinary success both in England and the United States, is the name of an island and a perfume. The island has been stolen by Cyrus Gilfain, the manufacturer of the perfume, from its rightful owner, whose daughter Dolores works in his factory. He is anxious to marry the girl, so that he may retain possession of the island, but she is in love with Abercoed, the chief clerk, who in reality is Lord Abercoed. The conspicuous comedy element of the work is supplied by Tweedlepunch, a detective, who arrives at the island in Gilfain's absence, disguised as a phrenologist and palmist, in search of the real owner's daughter. When Gilfain returns he is accompanied by Lady Holyrood, a London society woman, who is scheming to marry him. Lady Holyrood's brother, meanwhile, is in love with Angela, Gilfain's daughter. Gilfain, finding that Tweedlepunch is a phrenologist, bribes him to decide, after examination, that he and Dolores must wed, and that Abercoed, whom he has learned is a peer, must marry his daughter Angela. The scheme does not satisfy any one but Gilfain, and, least of all, Lady Holyrood, who bribes Tweedlepunch again to decide that she and Gilfain must marry. Abercoed refuses to marry Angela, is discharged by Gilfain, and goes back to England with the intention of returning later for Dolores.

The second act opens in the grounds of Abercoed Castle in Wales, which has been bought by Gilfain, who refuses to admit his former clerk. He manages to get in, however, in company with Tweedlepunch and Dolores, and Tweedlepunch, by a story of the ghost of an ancient Abercoed which has threatened dreadful things will happen to Gilfain, so terrifies him that he confesses his villainy, and all ends happily. Gilfain finally marries Lady Holyrood, Donegal and Angela and Abercoed and Dolores are also married, and the castle is restored to the rightful owner.

The music of "Florodora" is light and catchy, but though original of its kind, the work would hardly have achieved its remarkable vogue had it not been for its brilliant stage setting, dances, and the extravagant comedy rôle of Tweedlepunch. The best numbers in the first act are the sextette, "The Credit due to me," by the clerks and chorus; the song, "When I leave Town," by Lady Holyrood; and Abercoed's sentimental song, "In the Shade of the Sheltering Palm," the only serious and musicianly number in the work. The principal numbers of the second act are Lady Holyrood's topical song "Tact," and "I've an Inkling"; Angela's clever song, "The Fellow who might"; Donegal's song, "I want to be a Military Man"; the grotesque song and dance by Leandro and Valleda, "We get up at 8 A. M."; and the double sextette, "Tell me, Pretty Maiden," which is cleverly constructed and has a fascinating rhythm.

SULLIVAN, ARTHUR.

Cox and Box.

[Comic operetta, in one act and seven tableaux; text by Burnand. First
produced at the Adelphi Theatre, London, 1867.]

PERSONAGES.

James John Cox, a journeyman hatter.
John James Box, a journeyman printer.
Sergt. Bouncer, late of the Hampshire Yeomanry.

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

"Cox and Box" is of interest because it is the germ from which sprang the long list of Sullivan's charming comic operas. Burnand, the author of the libretto, has told the story of how they came to write this little operetta. They had been to a private performance of Offenbach's "Les deux Aveugles," and, Burnand wishing to present something of the same kind to a party of his own friends, the notion suddenly occurred to him of turning Morton's well-known farce of "Box and Cox" into an opera. Sullivan took to the plan enthusiastically. Burnand reversed the title to "Cox and Box," and turned Mrs. Bouncer into Sergeant Bouncer, so as to admit of a martial air. They had but three weeks before them, but at the end of that time the work was finished, Sullivan setting the music with almost incredible rapidity. It made such a great hit that it was decided to give it publicly, and at the last moment the composer wrote an overture for it.

The story is the familiar old one which as "Box and Cox" was for so many years and still is such a favorite on the stage. It turns upon the funny experiences of Cox, the hatter, and Box, the printer, who are occupying the same room, the one by night and the other by day, unbeknown to each other, and for which Sergeant Bouncer gets double rent. At last they meet in the room which each one claims as his own. After a ludicrous dispute they gradually become reconciled to each other, but another dispute ensues when Cox finds that the widow Penelope Ann, whom he is about to marry, has been deserted by Box, the latter pretending to have committed suicide to get rid of her. Cox insists upon restoring Box to the arms of his intended, but Box declines his generous offer. Then they agree to decide by lot which shall have her, but each tries to cheat the other. The situation resolves itself satisfactorily when a letter comes to Cox from Penelope Ann, announcing that she has decided to marry Knox. They give three cheers for Knox, and Bouncer closes the scene with a joyous rataplan in which all three join.

The situations are extremely humorous throughout, and the action moves briskly. Though Sullivan wrote the music in great haste, it is in perfect keeping with the fun of the farce and keeps up its interest to the end. The principal numbers are Bouncer's rataplan song, "Yes, in those Merry Days," and his duet with Cox, "Stay, Bouncer, stay"; Cox's joyous song, "My Master is punctual always in Business," with its dance at the end of each stanza; the characteristic serenade, "The Buttercup dwells in the Lowly Mead" (Cox) and "The Floweret shines on the Minaret Fair" (Box); Box's solemn description of his pretended suicide, "Listen! I solemnly walked to the Cliff"; and the finale by the jolly triumvirate with the "rataplan."

Trial by Jury.

[Operetta, in one act; text by Gilbert. First produced at the Royalty
Theatre, London, March 25, 1875.]

PERSONAGES.

Learned Judge.
Plaintiff.
Defendant.
Counsel for the Plaintiff.
Usher.
Foreman of the Jury.
Associate.
First Bridesmaid.

[Barristers, attorneys, journeymen, and bridesmaids.]

The scene is laid in a London Court of Justice; time, the nineteenth
century.

The little operetta, "Trial by Jury," was the first result of the successful collaboration of Gilbert and Sullivan, though it gave little hint of the extraordinary excellence as well as popularity of the long list which followed it. "The words and music were written and all the rehearsals completed within three weeks, and all London went to see it," says Sullivan's biographer. It was produced March 25, 1875, and had quite a run, Frederick Sullivan, Sir Arthur's brother, appearing in the rôle of the judge and contributing much to its success.

The story is a satire upon the English courts, the incident being a breach of promise case. Edwin is sued by Angelina. The usher impresses upon the jury its duty to divest itself of prejudice in one breath, and in the next seeks to prejudice it against the defendant by most violent denunciations of him. When Edwin enters he is at once requested by the jury to "dread our damages." He tells them how he became "the lovesick boy" first of one and then of another. The jurymen in chorus, while admitting that they were fickle when young, declare that they are now respectable and have no sympathy with him. The judge enters, and after informing the audience how he came to the bench, announces he is ready to try the breach of promise case. The jury is sworn. Angelina enters, accompanied by her bridesmaids. The judge takes a great fancy to the first bridesmaid, and sends her a note, which she kisses rapturously and places in her bosom. Immediately thereafter the judge transfers his admiration to the plaintiff, and directs the usher to take the note from the bridesmaid and give it to Angelina, which he does, while the jurymen taunt the judge with being a sly dog, and then express their love for her also. The plaintiff's counsel makes the opening speech, and Angelina takes the witness-stand, but, feeling faint, falls sobbing on the foreman's breast, who kisses her as a father. She revives, and then falls sobbing upon the judge's breast, while the jurymen shake their fists at the defendant, who comes forward and offers to marry Angelina "to-day and marry the other to-morrow." The judge thinks it a reasonable proposition, but the plaintiff's counsel submits that "to marry two at once is Burglaree." In this dilemma Angelina embraces Edwin rapturously, but he repels her furiously and throws her into the arms of her counsel. The jury thereupon becomes distracted, and asks for guidance, whereupon the judge decides he will marry Angelina himself, to which she gives enthusiastic consent.

The best numbers in the operetta are the defendant's song, "When first my Old, Old Love I knew"; the juryman's song, "Oh! I was like that when I was a Lad"; the judge's song, "When I, Good Friends, was called to the Bar"; the pretty chorus of the bridesmaids, "Cover the Broken Flower"; the plaintiff's song, "O'er the Season Vernal"; and the defendant's song, "Oh! Gentlemen, listen, I pray." The London "Times," after the first performance, said: "There is a genuine humor in the music, as for instance in the unison chorus of the jurymen, and the clever parody on one of the most renowned finales of modern Italian opera; and there is also melody, both catching and fluent, here and there, moreover, set off by little touches in the orchestral accompaniments which reveal the experienced hand."

The Sorcerer.

[Comic opera, in two acts; text by Gilbert. First produced at the Opéra
Comique, London, November 18, 1877.]

PERSONAGES.

Sir Marmaduke Pointdextre, an elderly baronet.
Alexis, his son, of the Grenadier Guards.
Dr. Daly, vicar of Ploverleigh.
Notary.
John Wellington Wells, of Wells & Co., family sorcerers.
Lady Sangazure, a lady of ancient lineage.
Aline, her daughter, betrothed to Alexis.
Mrs. Partlet, a pew-opener.
Constance, her daughter.

[Chorus of peasantry.]

The scene is laid upon an English estate; time, the present.

The success of the two operettas, "Cox and Box" and "Trial by Jury," led to the organization of a company under the management of Mr. D'Oyly Carte for the production of the Sullivan-Gilbert collaborations, and the first of its performances was "The Sorcerer." Incidentally it may be stated that this opera introduced Mr. George Grossmith to the stage, and its success led to a proposition from "Lewis Carroll" to Sullivan to set his "Alice in Wonderland" as an opera, though the scheme was never realized. The libretto is replete with humor, and the music is original and characteristic, and particularly noticeable for its admirable parodies of the Italian operas, and yet it is always scholarly.

The first act opens upon the grounds of Sir Marmaduke Pointdextre's estate, where the villagers are gathered to celebrate the betrothal of his son Alexis, and Aline, daughter of Lady Sangazure, with whom, fifty years before, Sir Marmaduke had been in love. Mrs. Partlet, the pew-opener, enters with her daughter Constance, who is hopelessly in love with Dr. Daly, the vicar, for he cannot be made to understand, either by her demonstrations or by the mother's hints, that he is the object of her devotion. Alexis and Aline are congratulated by all, and sign the marriage contract. When alone together, Alexis discourses upon his favorite theory that all artificial barriers should be broken down and that marriage should be contracted without regard to rank. To put his theory into practice he procures from the firm of J. W. Wells & Co., the old established family sorcerers of the place, a large quantity of their love potion, which has no effect upon married persons but will cause unmarried ones to couple without regard to rank or condition, mixes it with the tea and serves it out to all who are in attendance at the betrothal banquet. Gradually all fall insensible, and the act closes.