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Standard Light Operas Their Plots and Their Music Q Anhhuuk

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Standard Light Operas Their Plots and Their Music Q Anhhuuk STANDARD LIGHT OPERAS T H EIR P LO T S AND T H E I R MU SI C Qfl fianhhuuk BY GE O RG E P . U PTO N “ ” A H TH E S A A P AS ETC. UT OR OF T ND RD O ER , C H I C AG O A . C . MC CLU RG CO . 1 902 COPYRI GHT A C M C L . C URG 8: Co . 1 90 2 Publish ed Sept ember TO MY FRIEND CHARLE S C . C U RT I SS P FAC R E E . “ HE present volume , The Standard Light ” h as Operas , been prepared not only with the hope that it may supply a popular want in these days when the light opera is so much in vogue, but also with the purpose of completing the series which the author has already compiled , including and the opera, oratorio , cantata, symphony . It has been somewhat difficult to select from the “ em ” barrassment of riches in the material offered by the profusion of operettas, musical comedies , and legitimate light operas which have been produced s h during the la t few years, and w ich are still turned a out with lmost bewildering rapidity . Still more difficult is it to determine accurately those among them which are standard . A few of the lighter works which are contained in the original edition of “ ” a a h as the St nd rd Operas ave been rec t , as they properly belong in a work of this kind , and as they may answer the needs of those who have not the former volume . The opera comique and the opera bouffe are also represented by the best of their l a c ass, those whose text is clearly objection ble being PREFA CE . l a omitted . The entire ist of the ch racteristic and de lightful Operettas by the late Sir Alexander Sullivan is and s e included, some of the mu ical comedi s a a a which h ve strong hold upon popul r admiration . The operas have not been analyzed with that close ness of d etail which characterizes the Standard e as as do n Of a Op r , they not call for treatme t th t a a s ea n e kind , and in m ny c se the l ding umb rs are e only suggested . They are describ d rather than and as e for criticised , they have been compiled sol ly the use of the general public they have been pre sented as untechnicall y as possible . They are in tended to h eighten popular enjoyment rather than o a s a s and wade to supply inf rm tion for mu ici n , as a mecum for the op era- goer rather than a reference for the musical student . G . P . U. CH CAG A us 1 02. I O, ug t, 9 CONTENTS PAGE ADAM VTHE PO STILION OF LO NJUMEAU AUBER FRA D IAVOLO TH E CROWN DIAMOND S AUDRAN OLIVETTE THE MASCOT BALFE TH E BO HEMIAN GIRL THE ROSE OF CASTILE BELLI NI LA SONN AMBULA BENEDI CT THE LILY OF KILLARNEY BO I ELDI EU LA DAME BLAN CHE CELLI ER DOROTHY C HASSAI Q UE FALKA x CON TEN TS . PAGE DEKOVEN ROBIN HOOD MAID MARIAN ROB R OY TH E FEN CING- MASTER D ONIZETTI THE D AUGHTER OF THE REGIMENT D ON PASQUALE LINDA THE ELIXIR OF LOVE EI CHBERG TH E DOCTOR OF ALCANTARA FLOTOW MARTHA STRADELLA GENEE NANON GOUNOD MIRELLA H UMPERDINCK HAN SEL AND GRETEL JAKOBOWSKI ERMINIE LECOCQ GIROFLE-GIROFLA VLA FILLE DE MADAME ANGOT LORTZI NG CZAR AND CA RPENTER CON TEN TS . xi PAGE LUDERS KING DODO TH E PRIN CE OF PILSEN MASSE PA UL AND VIRGINIA Q UEEN TOPAZE THE MARRIAGE OF JEANNETT E MILLOCKER TH E BEGGAR STUDENT ' THE BLACK HU SSA R NESSLER V TH E TRUM PETER OF SA KKINGEN NI COLAI THE MERRY WIVE S OF WIND SOR OFFENBACH I/ THE GRAND DUCHESS OF GEROLSTEIN " If LA BELLE HELENE ORPH EU S PLANQ UETTE THE CHIME S OF NORMANDY RICCI CRI SPINO ROSSI NI THE BARBER OF SEVILLE SOLOMON BILLEE TAYLOR SOUSA EL CAPITAN N T xii CO EN TS . m “ STRAUSS THE MERRY WAR ’ THE Q UEEN S LACE HANDKERCHIEF Q UEEN I NDIGO u D I E FLEDERMAU S ( TH E BAT) STUART FLORODORA SULLIVAN Cox AND Box TRIAL BY JURY THE SORCERER . S. P A H M. IN FORE THE PIRATE S OF PENZAN CE PATIEN CE IOLANTHE PRIN CESS I DA THE MIKADO RU DDYGORE THE YEOMEN OF THE GUARD THE GONDOLIERS SUPPE FATINITZA BOCC ACC IO THE BEAUTIFUL GALATEA THOMAS MIGNON WALLACE MARITANA LURLINE THE RA STANDARD LIGHT OPE S . A D A M , A D O LP H E C H A R LE S. ' QDbe iBustiIiun of ll ummmau. O éra o e in ree a s e De Le en and B r n [ p c miqu , th ct ; t xt by uv u s wi ck . rs ro e at th e O ra Co e Par s O o er Fi t p duc d pé miqu , i , ct b 1 3: PERSONAGES. CHAPELOU os on. , p tili M A s ess of th e inn. DELEINE , mi tr MA S C C o e a ana e . RQUI DE OUR Y, p r m g r B a e a s IJOU , vill g bl ck mith . B or s ea e . OUDON , ch u l d r ill a ers c o s s n e s etc. W g , h ru i g r , ] Th e s ene of th e o era is a in Lon umeau a ren a e c p l id j , F ch vill g , n f th e f een a d Pari s ; time o Loui s Fi t th . HE sprightly opera The Postilion of Lon jumeau is characterized by grace and a a elegance of treatment, f scin ting rhythm , and odd ff contrasts in e ects . Its plot is very dramatic, and affords ample scope for humorous action . The opening scene of the first act introduces us to the e n and ad wedding of Chap lo , the postilion , M e s . leine, mi tress of the inn During the merriment w a de Su erinten hich follows , the M rquis Courcy , p dent of the Paris Grand Opera, whose carriage 6 1 THE S TAND ARD LI GH T OPE RAS . h as a a broken down , m kes his appear nce , seeking the aid of a wheelwright . He hears Chapelon and a singing, is so ple sed with his voice that he a o ffers him a position in the opera . Ch pel ouafter s m s a a o e per uasion accepts, entre ts Bijou , the vill ge a an off bl cksmith, to look after Madeleine , d goes a i with the Marquis in quest of rtistic glory . B j ou ’ Ch a elous and informs Madeleine of p baseness, the ac t h h closes with her denunciations of him , in w ic she is enthusiastically assisted by the female mem s - ber of the wedding party . The second act opens in Paris . Madeleine has t inheri ed a fortune from an aunt, and makes her appearance in the gay city as a rich and noble a l dy, under the assumed name of Madame de la Tour. The Marquis de Courcy, who is in love n with her, at her request brings Chapelo , who is i now a famous tenor known as St . Phar, B j ou, the Lon umeau j blacksmith , who is primo basso under A the name of lcindor, and the operatic chorus to a a ch te u . her for a rehearsal St . Phar, not wishing to sing, pleads a cold , but when he learns that he is in the apartments of Madame de la Tour he a Off consents, and the rehears l goes finely . Left alone with his hostess, he proposes to her and is accepted, but as he is already married he arranges that Boudon , the chorus leader, shall play the part e a of priest . The Marquis, who ov rhe rs the con s irac a p y, informs M dame de la Tour, who sends for a real priest and accompanies St . Phar to the altar, where they are married for the second time . THE P OS TI LI ON OF LON/UMEAU 1 7 In the third act St . Phar, who fears that he will a e a be h ng d for committing big my, finds a happy a escape from his troubles . The M rquis, furious because he h as been rejected by M adame de la Of e Tour in favor an opera singer, seeks reveng , A but his plans are thwarted . humorous scene e a A ensu s, in which St . Ph r is tormented by lcindor and - a l a the wedding p rty, as wel as by the M rquis, now . a who is reconciled Fin lly, upon being left alone in a d arkened roo m with M adame de la a Tour, she also aggr vates him by personating two difierent characters, singing from sides of the apartment in the voice of th e Madame and that e of Madel ine . The dénouement ensues when she appe ars to him as the veritable Madeleine of Lon umeau j , whither the joyous pair return and are happy ever after .
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