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 . The principal music of the first act is a romanza “ ” a for soprano , Husband ever Dear, le ding into a ’ dance chorus ; the famous Postilion s Song with whip - snapping accompaniment ; and a balcony serenade by Madeleine . The second act opens

- with a long and well written aria for soprano, a s — a which is followed by the rehe rsal cene , clever bit of humorous musical writing . In the course of this scene th e tenor has a characteristic

e and aria, prec ded by a clarinet obligato , the basso

one also has running down to G, in which he describes with much gusto the immuniti es of a “ A l w basso with a double G . duet fo lo s for soprano and tenor with a cadenza of extraordinary z 8 I THE S TANDARD LI GH T OPE RAS .

act fi a c onven length , the closing with a n le in the

e tional Italian s tyl . act The third opens with a long clarinet solo, the refrain of which is heard in the close of the ” o u act . This is f llowed by a Good Night chor s in m azurka time . The tenor then has an aria

e a follow d by a comic trio, which in re lity is a two duet , as the soprano is personating singers A a with different voices . duet and fin le close

as the opera, the music of which is of just the cl s to be popular, while the action is so sustained in its humor as to make the bright little opera a favorite wherever heard .

2 0 H AND ARD LI GH T PE S T E S T O RA . the disguise of a m arquis and h as been very atten All a h tive to the su sceptible Lady c s . Lord All cash has a qu arrel with his wife on this account in ’ ” a O . Fra humorous duet, I don t bject Diavolo l earns that the travellers have saved the most of

e a a a s th ir v lu bles , and lays his own pl ns to ecure

e w a sh e mistak th m . In an intervie with Zerlin , ,

s s s him ing him for the Marqui , ing the story of Fra

a a o Re lin Di volo in a rom nza, On Y nder Rock c ” in h as e g, which becom a favorite the world over . To further his schemes he makes love to Lady “ Allcash a Th e in a graceful b rcarole , Gondolier, ’ a a a e Of Fond P ssion s Sl ve . In the fin l the act

e Lorenzo and his carbineers r turn , and not finding

F e ra Diavolo at the inn , where they had hop d to

e s a surprise him , resume th ir e rch , leaving him to l an perfect his p s for the robbery . In the opening scene of the second act Zerlina is in her chamber, preparing to retire . Before

Lo and Allcash doing so , she lights rd Lady to their

n s Fra a room . Duri g her ab ence Di volo and his

a a comp nions, Beppo and Gi como , conceal them

h er s Fra o selves in clo et, Diavol having previously given them th e signal that the coast was cl ear by ” a e o A a o f singing a seren d , Y ung gnes , in viol tion e e a s e a I e v ry rule of dram tic con istency . Z rlin

and a e n a n turns, ft r singi g a simple but ch rmi g “ a ! n e . I n pr yer, Oh Holy Virgi , r tires to rest attempting to cross the ro o m they partially awake bed a her . One of the bandits ru sh es to the to st b her, but desists from his purpose as he hears her FRA D ! A VOL0. 2 I m urmuring her prayer . Then follows a trio by the

a a robbers, sung pianissimo, which is very dr m tic

ff At a e n in its e ect . this point the c rbine rs retur a at a ag in, and the house once is in an upro r . Lord

Allcash a and Lady rush in to find out the c use,

e a follow d by Lorenzo, who c me to greet Zerlina . A e F sudden noise in the clos t disturbs them . ra

w s Diavolo, kno ing that he will be di covered , steps

o and a out into the r om , decl res he is there to keep an appointment with Zerlina, whereupon Lorenzo

e e a an challeng s him . He acc pts the ch llenge d

a c o m coolly w lks out of the room . One of his

a e rades is c ptur d , but to secure his liberty agrees to betray his chief. The opening of the third act finds Fra Diavolo n a a o ce more among his n tive mount ins . He gives a in expression to his exult tion a dashing, vigorous ” and a es song, Proudly wide my Stand rd fli , fol

e lowed by the pretty rondo, Th n since Life ” a AS h e s a glides so fast aw y . joyou ly contempl tes a speedy me eting with Lord and Lady All cash and

a a s a the securing of their v lu ble , vill gers arrayed in festival attire in honor Of the approaching nuptials

O f as Lorenzo and Zerlina enter, singing a bright p “ ” a i tor l chorus, Oh, Holy Virg n , bright and fair . The finale of the ac t is occupied with the develop ment of the scheme between Lorenzo, Beppo, an Fra a d Giacomo to ensnare Diavolo , and the fin l tragedy in which he meets his death at the hands of the carbineers, but not before he has declared ’ e Zerlina s innocence . The text of the op ra is full 2 2 THE S TAND ARD LI GH T OPE RAS .

Of a and s viv city and humor, the mu ic so bright and melodio u s and yet artistically scored that it m ade A ’ uber s reputation at the Opéra Comique .

C he Qlirutmt Dim mi ng.

O ra o e in ree a s e S r e and St eor e [ pé c miqu , th ct ; t xt by c ib . G g . rs ro e in Par s in 1 8 1 in En s at th e Pr n ss Fi t p duc d i 4 ; gli h , i c e re Lon on Ma 2 Theat , d , y ,

PERSONA ES G .

C P M M n s e o f Po C A A e. OUNT DE M O YOR, i i t r lic H n w o f th e C o n D ON e e . ENRIQUE, ph u t D ON S AS A f en of D ON H EB TI N , ri d ENRIQUE .

REBELLEDO ef o ner. , chi c i f h o rs CA A A ea er o t e ne . T RIN , l d c i N D O H D A A o s n of N . I , c u i ENRIQUE

Th e s ene is a in Por a e 1 . c l id tug l ; tim , 777

” THE s Of w tory The Cro n Diamonds , one of the ’ e A most m lodious of uber s works, is as follows

Don Henrique , nephew of the Count de Campo a M yor, Minister of Police at Coimbra, on his way to participate in the coronation cerem onie s and at the same time to sign a marriage contract

s n Of with his cou i Diana, daughter the Minister of

ol a m P ice , is overt ken by a storm in the oun tains and seeks shelter in a ruined castle near the a mon stery of St . Huberto . While there he espies

Reb el ledo th e , chief coiner, and two of his com a r d es examining the contents of his trunk . The a i a l tter, discover ng him in turn and thinking him TH I 2 E CROWN D AMOND S . 3

spy, rush upon him , but he is saved by Catarina, the a n h im le der of the ga g, who returns his trunk and allows him to depart upon condition that he shall

a h as not mention wh t he seen for a year . He con

s h e n sent , but before leaves , the gang is surrou ded

s by oldiers led by Don Sebastian , a friend of Don

a e Henrique . They make their esc p , however, dis

Rebell edo guised as monks , while and Catarina

a disappear through an underground pass ge, carry ing with them a mysterious casket of jewels . The second act opens in the Chfiteau de

Coimbra, and discloses Don Henrique in love with the mysterious Catarina and Diana with Don As Sebastian . Diana and Don Henrique are sing in g together, Don Sebastian announces that an accident has happened to a carriage and that its Rebell edo occupants desire shelter . Catarina and ff enter and accept the pro ered hospitality . When Diana begins to read the account of a robbery containing a description Of Rebell edo and his

s companions , that worthy vani hes but Catarina rem ains in spite of Don Henrique s warning that she is in the house of the Minister of Police . He declares his love for her, and begs her to fly with him she refuses, but gives him a ring as a souvenir . At this point the Count enters , and announces that the crown j ewels have been stolen and Don ’ Henrique s ring is recognized as one of them . a a a C t rina is saved by Di na, who promises Don ’ Henrique she will send her away in the Count s carriage if he will refuse to Sign the marriage 2 ARD LI 4 THE S TAND GH T OPERAS .

a and contr ct . He consents, Catarina makes her

a esc pe . The last act Opens in the anteroom of th e royal ' al a at s n Don Henri ue p ce Li bon, where the Cou t, q ,

‘ a a and Don Sebastian are present, and Di na aw its

a . an udience with the Queen While they converse ,

Rebelledo e enters , announc d as the Count Fuentes, and an usher brings him word that the Queen will have private audience with him . While awaiting

Reb ell edo a th e her, in a monologue explains th t real crown jewels h ave been pledged for the

h as national debt, and that he been employed to make duplicates Of them to be worn on state occa sions until the genuine ones can be redeemed .

The Queen enters , declares she is satisfied with

Rebell edo the work , and makes Minister of Secret

e Police . Count de Campo Mayor then announc s to her the decision of the Council that Sh e shall a a marry the Prince of Sp in . She decl res she will m e own ak her choice , and when the Count remon strates she threatens to confiscate . his property for a llowing the crown jewels to be stolen , and orders him to arrest his daughter and nephew for giving a shelter to the thieves . Dian , suddenly entering, a a a a and f ils to recognize her as C t rin , implores

a pardon for her connivance in the esc pe . Then Don Henrique still further complicates the situa

o a tion . He rec gnizes C tarina, and declares to Diana he will seize her and fly to some distant a l nd . His purpose is thwarted by his arrest for ’ a o tre s n upon the Queen s order . He rushes for T M N 2 HE CRO WN D I A O D S . 5

ward to implore mercy for Catarina, when the Queen reve als herself and announces that Sh e has chosen Don Henrique for her husband and their

King . The principal musical numbers of the opera ’ ’ “ ’ Rebell edo s n are rollicking muleteer s so g , O er a Mount in steep , through Valley roaming, the ” s acco m rondo, The Young Pedrillo , with choru animent p , and the lugubrious chorus of the pseudo t ” monks , Unto the Hermi of the Chapel , in the

first act ; the nocturne , The Brigand , closing in “ th e gay bolero time , In Deep Ravine of the " ’ o a a a ! at o F rest, Cat rina s bravur ari , Love nce ” “ I break thy Fetters , the duet, If I could but " “ a l ! Cour ge fee , and the beautiful ballade , Oh

a feel est whisper wh t thou , in the second act the “ u a air e su lly interpolated , Wh n Doubt the Tortured ” Frame is rending, originally written for Louisa

th e Pyne , who really made the first success for “ and o opera, the charming cavatina, L ve, dwell ” with me , sung by the Queen in the last act . D . A U D R A N , E M U N D

QBIihette.

Co o era in ree a s e Ch ivat and D r . rs [ mic p , th ct ; t xt by u u Fi t ro e at th e B o ffes Par s ens Par s No e er 1 1 8 p duc d u i i , i , v mb 3 , 79 ; firs A er an ro on NewYor an ar t m ic p ducti , k , J u y 7 ,

PERSONAGES .

E I MAC of h e Man o f War o o C AP A M R t C an . T IN DE , rm r t

A h is ne ew o ffi e of th e Rousill on G a s. V LENTINE , ph , c r u rd

D UC DES I FS o s n of th e C o n ess . , c u i u t

C C h is fos e o e . OQUELI OT, t r br th r

MARVE OL Senes a to th e C o n ess. J , ch l u t O V a e of th e ene S s a . LI ETTE, d ught r ch l f R i o BA H Co n ess o o us l l n. T ILDE , u t ’

th e Senes a s o s e ee e . VELOUTINE, ch l h u k p r ’

M S Ca a n s b o o n o a th e Co o an . OU TIQUE, pt i y b rd rm r t No es of th e C o r of Rousil l on th e wa of Per i [ bl u t , tch p g

- nan z ens oss s we n es s sa o s etc . , citi , g ip , ddi g gu t , il r , ]

Th e scene is laid at Perpignan on th e Mediterranean Sea time f h o Loui s t e Fourteenth. W OLLO ING the English version of the opera , at the opening of the first act the villagers of Perpignan are greatly excited over the approach ’ a a a ing m rri ge of Olivette , the Seneschal s d ughter,

- e a a . and De Merima , an old sea c pt in Olivette ,

s a o Val however, ju t out of convent, is in l ve with ’ cu f a . tine, a young o ficer and the Capt in s nephew

8 2 THE S TAND ARD LI GH T OPERAS .

This introduces a new complication, for the near sighted Duke des Ifs courts the maid , supposing h er to be e a Oliv tte , and bo sts of it to Valentine in

Mé rima the hearing of De c . Both uncle and nephew then renounce Olivette until the Countess an returns and explanation is made . In the dénouement Valentine is united to Olivette and

th e o ld a the Countess to the Duke , while Capt in is advised to follow the example of the Venetian “ ” a Doges and m rry the sea , which he promptly

a h stens to do, and follows his bride ever after . The music of “ Olivette ” is light and sprightly throughout , the most taking numbers being the “ a a a m rine m drigal , a song with chorus, The Y cht ” “ and 0 a the Brig ; the pretty waltz song, He rt,

e wherefore so light, sung by the Count ss ; ’ Olivette s tyrolienne song, The Convent slept ’ a V lentine s serenade , In Quaint and in Mystic ” ’ and a Word , Olivette s ch racteristic sob song, “ ” ’ a : e Oh ! my F ther, in the first act Olivett s

- o serio comic song, The Matr n of an Hour the ’ “ Countess song, When Lovers around Woman ” throng ; another humorous song for Olivette , a c h armin I do think Fate , upon my Life g duet for Olivette and the Countess, Like Carrier Dove , ’ t fl ” I ll swif be ying, with the refrain, I love my “ o L ve so well, and the jolly farandole, The Vin ” a a e t ge over, then M id and Lov r, sung and

s o s danced by Olivette, Counte s, and ch ru , in the ” n “ seco d act : the romanza Nearest and dearest, e an effective numb er for the Countess , and thre 2 THE MAS COT. 9

e s a e delicious bits of nons n e , Give Milk to B b s , ” a s o - a to Peas nts Beer, styled in the c re a Grog ori n “ a e e o ch nt, the ridiculous leg nd The Torp d and ” th e a e Wh l , and the dashing bolero , Where ” a Air a . B lmy Garlic scents the , in the l st act

GEbe Murat.

Co O era in ree a s e Ch ivat and D r . rs [ mic p , th ct ; t xt by u u Fi t ro e at th e Bo ffes Par s ens Par s D e e er 2 1 880 firs p duc d u i i , i , c mb 9, ; t A er an r on a e ea re Bos on A r 1 2 m ic p oducti , G i ty Th t , t , p il ,

PE RSONAGES.

Mas o B A th e . ETTIN , c t

’ ‘ FIAMET I A a e o f P n e L . , d ught r ri c ORENZO

P PP a s e e . I O , h ph rd

L n e of P o no . ORENZO , pri c i mbi

Ro c co fa e . , a rm r

F C n e of P sa. REDERI , pri c i

PARA A se ean . F NTE , rg t

MA H nn ee e . T EO , i k p r d a of ou o ie Peasan s o s an es s s etc . ( t , l rd l di c rt, ld r , ]

Th s ene is a in P o no I a e th fif n e c l id i mbi , t ly ; tim , e tee th n r ce tu y .

“ THE story of The Mascot is charmingly ro and mantic , much more consistent and coherent

a a o th e th n the usu l pl ts of comic operas . The

s O V a fir t act pens with a int ge festival . The peas

are all a ants rejoicing except Rocco , the f rmer,

h ad . h is who has bad luck Pippo , shepherd , m who he had sent to his brother for help, returns with a basket of eggs and a letter in which he 0 TAND ARD LI GH T OPE RAS 3 THE S .

a informs Rocco th t he has also sent him Bettina,

- s his turkey keeper, who will bring him pro perity, as she is a mascot . Pippo, who is in love with

Bettina, waxes eloquent over her charms, but when

‘ she c o mes she is coldly received by Rocco and As e . e ord red to go back she is preparing to leav , e his a iametta Prince Lor nzo, d ughter F , Prince

- Frederic, and others of a hunting party arrive and

. is stop for refreshment Prince Lorenzo , who one ’ a of the unlucky kind , learns by ch nce of Bettina s t a gif , and determines to t ke her to his court ; but

Rocco objects . The Prince , however, gains his consent by promising to m ake him Lord Chamber off lain . The party sets homeward with Rocco in good spirits and Bettina sad , while poor Pippo is

s left behind discon olate .

The second act opens in the palace at Piombino , where a festival is to be given in honor of the

a a a m rriage of Fi metta to Prince Frederic of Pis . Among the attractions of the féte is an entertain me nt by a troupe of actors and dancers, the most a prominent of whom is S ltarello, in reality Pippo

s in disguise . The lovers di cover each other a and plan an esc pe ; but Rocco, who has rec o nized i clo g Pippo, frustrates their scheme by d s s ing his identity to the Prince, who orders his arrest . The Situ ation is still further complicated by the

iametta h as a fickle F , who f llen in love with Pippo and tells him that Bettina is false and is about to At marry Prince Lorenzo . last Pippo and Bet tina have a chance to meet, and they make their THE MAS COTZ ( 3 1 escape by leaping through a window into th e river . in The last act opens in the hall of an inn Pisa .

s There has been a war between the two prince ,

e h as and Frederic has d feated Lorenzo . Pippo m been a captain in the Pisan ar y, and Bettina ,

h as . disguised as a trooper, fought by his side

ea e They reveal their r l names to Fred ric, and

a a i a n e decl re their intention of m rr ge . Duri g pr p arations e a for the wedding Prince Lor nzo, Fi metta , n as and Rocco, who are travelli g about the country minstrels to make their living, owing to the mis fortunes of war, meet the bridal party at the inn . After mutu al explanations Fiametta returns to her

e old lover Fred ric, and Pippo and Bettina are married . The Mascot brings good luck to them all at last . The most interesting numbers in the opera are “ th e - n All drinking so g, morose Thoughts now ” “ s are flying ; the legend of the Mascot , One A Day the rch Fiend drunk with Pride , sung ’ “ ’ u e a by Pippo and chor s ; B ttin s song, Don t ” come too near, I tell you ; the quaint duet for “ an Bettina and Pippo, When I behold your M ly ” F a - u orm ; the ch rming coaching chor s , Come , ” off let us now be as quick as a Bird , sung by Bettina and chorus in the first ac t the chorus and “ ” a a e a se s air of S lt r llo, H il, Princes s and Lord ; ’ ” Knowst fo r the pretty duet, thou those Robes,

Bettina and Pippo , and the concerted finale of the second act the stirring rataplan , Marking Time 2 DARD LI G 3 THE S TAN H T OPERAS .

a with Cadence so Ste dy, the entrance of the refugees preluding th e grotesque Orang- Outang ” a s and Song, sung by Fi metta and choru , the grac eful arietta following the entrance Of the wed

- ding party in the last act . LFE C L W LL . B A , M I H A E I I A M

GEbe ifiubcmian Gfiirl .

ran o era in ree a s e B nn . rs ro e at [G d p , th ct ; t xt by u Fi t p duc d D r r Lane ea re Lon on No e er 2 u y Th t , d , v mb 7 ,

ERSONA ES P G .

A au e o f C o n A H . RLINE , d ght r u t RN EIM

THA S a Po s e e. DDEU , li h xil

GYPSY Q UEEN . D EVI LSHOOF s a G e e . , yp y l d r C A H Go e no o f P es r OUNT RN EI M, v r r r bu g . FLO RESTEI N ne ew of th n e Co . , ph u t

Re a ners n e s so e s s es etc . [ t i , hu t r , ldi r , gyp i , ]

Th e s ene is a at Pres r H n ar e as en r c l id bu g, u g y tim , l t c tu y .

e a us es na e HE Boh mi n Girl, ually d ig t d as

a o a s c s ea is a a gr nd per , tri tly p king, a b ll d

e few s o o f op ra, and is one of the Engli h w rks its c lass which h as m ade a succ ess upo n the Conti

n e Th e s ac e nent a d in the Unit d States . fir t t op ns

s A e Arn with the re cue of rlin , daughter of Count h a a a s eim , from the att ck of a st g by Th ddeu , a

e s an a Polish fugitive , who has join d a gyp y b d to s ve

a . e aid himself from rrest In r turn for his timely ,

es a e e the Count invit him to a b nquet, wh re he g ts into trouble by refusing to drink the he alth of the

Devil sh oof a a Emperor . , the le der of the b nd ,

a e s ves him from the angry soldi rs, but in turn is 34 THE S TAND ARD LI GH T OPERAS .

z a himself sei ed . The Count allows Th ddeus to go,

Devil sh of A and o subsequently escapes, carrying rline with him . Twelve ye ars elapse between the first and second acts . The Count has received no tidings from

Arline and has given her up as lost . The second act opens in the gypsy camp in the suburbs of A Presburg, and discloses rline asleep with Thad deus watching over her. The gypsies themselves Devil sh oof depart in quest of plunder, headed by , ’ lorestein and happen upon F , the Count s nephew, returning in a drunken condition from a revel .

e a A They spe dily relieve him of his valu bles . fter A their departure rline awakes, and Thaddeus tells her how she received the scar upon her arm and of her rescue from the stag, at the same time de larin A c g his love for her . rline confesses her love a for him, and the two are united ccording to the a laws of the tribe by the Gypsy Queen , who is lso a in love with Thaddeus, and vows venge nce upon a s the p ir . The cene now changes to a street in

. A a and the city f ir is in progress, the gypsies

r A As reso t to it with rline at their head . they a Florestein mingle mong the people , attempts to A an insult rline , d an altercation ensues between them, ending in his repulse . He seeks revenge by having her arrested for ste aling a medallion which belonged to him and which the Gypsy

w h ad a Queen, kno ing it to be his, m liciously given A . a to her rline is brought before the Count for tri l, during which he asks her about the scar on her

36 THE S TAND ARD LI GH T OPERAS.

the Count, The Heart bowed down . The last

s act has two delightful number , the tender and “ a and e imp ssioned song, When other Lips oth r ” ea m a H rts, and the stirring arti l song, When the l ” Fair Land of Po and, in which Thaddeus avows his noble descent and boasts the deeds of his ancestry in battle .

(El) : Buzz of Qll astil r.

Co o era in ree a s e Harr s and a oner. [ mic p , th ct ; t xt by i F lc rs ro e at th e L e ea re Lon on O o er 2 1 8 Fi t p duc d yc um Th t , d , ct b 9,

PERSONA ES G .

E V I A een of Leon and Ro se o f Cas i e . L R , Q u t l MA DON S AS A th e I nfan in s use NUEL , EB TI N , t , di g i e mul t eer.

CA a en an of th e een. RMEN, tt d t Q u DO N P EDRO,

ons a o s . D O N SALLUST, c pir t r D ON F LORIO,

Th e s ene is a in S ain e as en r c l id p tim , l t c tu y .

AT the opening of the opera, Elvira , Queen of

Leon, has just ascended the throne , and her hand h as been demanded by the King of Castile for his a brother, Don Sebastian , the Infant . The l tter,

sf a h er with the design of sati ying his curiosity bout , is on th e eve of entering C astile disguise d as a m e and ul teer . Elvira hears of this, adopts the sa e e a m xpedient, by st rting with Carmen, one of

a s as e her attend nts, disgui ed peasants to int rcept act a him . In the opening of the first the two p TH OS OF AS TI LE E R E C . 3 7

ea e p r at an inn wh re the peasants are dancing .

e e e but a a The innk eper is rud to th m , Don Seb sti n,

se as a e disgui d M nuel the muleteer, prot cts them ,

ffe h is e as s and O rs s rvices e cort, which the Queen a willingly ccepts , for she has recognized him and he has fulfilled the motive of the story by falling in At t love with her . his point Don Pedro, who

- has designs upon the throne , with his fellow con s irators a p Don S llust and Don Florio, enter . ’ e s Observing Elvira s lik ne s to the Queen , they

a a persu de her to person te Her Maj esty, which , h t e a s e . af er f igned reluct nce , consents to do She

e as s also accepts th ir services escort , and all the more unhesitatingly because she knows Manuel will follow her. The second act opens in the throne - room of the a palace . Don Pedro enters, somewh t dejected by

s e the uncertainty of his chemes . The Qu en , who h as e luded the surveillance of the conspirators,

a an e in also appe rs and grants audience to Manu l, which he informs her of the meeting with the peasant girl and boy and declares his belief they

a e a were the Queen and C rm n . He lso informs ’ s a s h er her of the con pir tors plot to impri on , which Sh e thwarts by inducing a silly old Duchess to

s da o per onate the Queen for one y and, cl sely

e a a a a v iled, ride to the p l ce in the roy l carri ge .

e s Her scheme succeeds admirably . The Duch s

e o is seized and convey d to a c nvent . In the next scene Don Pedro and Don Florio are mourning o over the loss f their peasant girl, when she appears . 8 A D RD LI 3 THE S T N A GH T OPE RAS .

Their mourning turns to de sperate perplexity when th e Queen reve als herself and announces her n a intentio of m rrying the muleteer. In the last act Carmen and Don Florio agree to ma a n rry . Then the Queen and her l dies e ter, and a message is delivered her from Don Sebastian an i a a nounc ng his m rri ge . Enraged at the discovery that the muleteer is not Don Sebastian , the Queen upbraids him and yet declares she will be true to a him . This ple ses Don Pedro, as he believes he can force her to abdicate if she marries a muleteer in as a but the l t scene M nuel mounts the throne , a a and nnounces he is King of C stile , Elvira ex presses her delight, and all ends happily .

The story of the opera is exceedingly involved , but the music is well sustained and ranks with the h a best that Balfe s written . The principal num “ bers of the first act are the lively chorus, List Ga to the y Castanet the vocal scherzo by Elvira, “ ’ ’ Yes, I ll obey you Manuel s rollicking song,

e ff w I am a Simple Mulet er the bu o trio , hich a ends in a spirited b cchanal , Wine , Wine , the ” ’ a a M gician thou art ; and Elvir s pleasing rondo,

Oh ! were I the Queen of Spain . The second ’ a s h s act cont ins the expres ive conspirators c oru , a ad The Queen in the Palace the be utiful ball , ’ n Though Fortune darkly o er me frowns, su g

e a a by Don P dro ; the b ll d , The Convent Cell , ’ a in sung by Elvira, which is one of Balfe s h ppiest ’ a ff “ spir tions ; the bu o trio, I m not the Queen , ’ ’ m ha, ha and Elvira s characteristic scena, I THE ROSE OF CAS TILE . 3 9

but a Simple Peasant Maid . ”The leading numbers a of the l st act are the bravura air, Oh Joyous, ” e Happy Day, which was intend d by the com

S poser to how the vocal ability of Eliza Pyne, who ’ first appeared in the rOl e of Elvira ; Manuel s fine “ ’ a a a b ll d , T was Rank and Fame th t tempted ” ’ “ thee ; Don Pedro s martial song, Hark, hark ” methinks I hear the stirring song by Manuel, “ when he mounts the throne, which recalls The Fair Land of Poland in The Bohemian Girl ’ “ Oh ! and Elvira s second bravura air, no, by ” Fortune blessed . LL C Z B E I N I , V I N E N O .

La S unnambnl a.

ran o era in two a s e Ro an . Pro e for th e [G d p , ct ; t xt by m i duc d ’ firs e in M an Mar 6 1 8 1 in Lon on at th e n s t tim il , ch , 3 d , Ki g ea re 2 8 1 8 1 in Par s O o er 28 1 8 1 in New Th t , j uly , 3 ; i , ct b , 3 ; Yor Ma 1 k, y 4 ,

A PERSON GES . A w ’ A a of th e e s wfe . MIN , rd mill r i E V a Ian o e L INO , dh ld r.

R o of th e a e. ODOLFO , l rd vill g L SA nn e e . I , i k ep r A SS a easan o e of L SA. LE IO, p t , l v r I T SA s ess of th e . ERE , mi tr mill

s ene is a in Sw z er an e as en r c l id it l d tim , l t c tu y .

HE first act of the Opera opens with the prep arations for the m arriage of Amina and a Elvino . Lis , the mistress of the inn, is also in and A a love with Elvino jealous of min . On the

th e o o f day before the wedding, Rodolfo, young l rd th e es a t s and village , arriv to look f er his estate ,

at A . puts up the inn , where he meets mina He

a a e p ys her m ny pr tty compliments, much to the

ssa s a o f o e di ti f ction Elvin , who is inclined to quarr l

A his with him . fter Rodolfo retires to chamber,

A a wh o - min , is addicted to sleep walking, enters the room and throws herself upon the bed as if it 1 LA S ONNAMB ULA. 4

were her own . She is seen not only by Rodolfo,

h as but also by Lisa, who been vainly seeking to a a c p tivate him . To escape the emb rrassment of the situation , Rodolfo quietly goes out ; but the m alicious Lisa h astens to inform Elvino of wh at A n h as a mi a done , at the s me time thoughtlessly ’ a a le ving her h ndkerchief in Rodolfo s room . a Elvino rushes to the spot with other vill gers, finds

A a s mina as Lis had de cribed, denounces her, and ff a o ers himself to the l tter . In the last act Amina is seen stepping from the window of the mill in her sleep . She crosses a a a d fr il bridge bove the mill wheel , descen s in ’ a a Elvino s a s fety, and w lks into rms amid the jubi a a as l nt songs of the villagers . Elvino t l t is con vinc ed o f her innocence , while the discovery of

’ ’ Lisa s handkerchief in Rodolfo s room proclaims

a es one her the f ithl s .

a a s S The little p stor l tory is of the implest kind , but it is set to music as melodious as ever h as

a a and rOl e come from an It li n composer, the of the heroine h as engaged the services Of ne arly all the gre at arti sts of the nin eteenth century from

a a a s e s are M libr n to P tti . Its mo t striking m lodie ” th e aria Sovra il sen On my Heart your Hand do in the third scen e o f the first act A e a e s th e , where mina d cl r s her happines ; a a a s ria for b ritone in the sixth scene, Vi r vvi o “ a a ( I recognize you , Ple s nt Spot sung by “ ” a Rodolfo ; the pl yful duet, Mai piu dubbi ( “ Away with Doubts in which Amina chides 2 DARD LI 4 THE S TAN GH T OPERAS . her lover for his jealousy ; the humorous and characteristic chorus of the villagers in the tenth ’ ” s l uscio scene , O servate , e aperto Observe , the Door is open as th ey tiptoe into the n “ chamber ; the duet in the ext scene, O mio ” o A d lor Oh , my Sorrow in which mina as serts her innocence ; the aria for tenor in th e ” third scene of the second act, Tutto e sciolto “ ( Every Tie is broken in which Elvino be moans his hard lot ; and that joyous outburst of “ “ o Ah ! birdlike mel dy, non giunge ( Human Thought cannot which closes the opera .

A D 4 4 THE S TAND R LI GH T OPERAS .

s e s Failing in thi , he expr sse his own willingness to ’ Cre an s a s accept Mrs . g h nd , but the hint meet

a . At a a Har with no f vor this point D nny M nn, ’ a a n dress bo tm n , is heard singing, and Corrigan i

a a a fo rm s Mrs . Creg n he is bout to t ke her son to

’ see a A a a t Eily, the Colleen B wn, nne Chute s pe s n

Hardress off rival . Danny and set on their errand ,

a s a r l e ving Mrs . Cregan di consol te and Cor igan

a s s e a e exult nt . In the econd c ne Corrig n and Myl s

Co al een easa na pp , the p nt lover of the Colleen

a n a e an v a s B w , h v inter iew in which Corrig n tell

is s s Hardr n him she the mi tre s of ess. The ext ’ s c Eil s a cene introdu es us to y cott ge , where Father Tom is seeking to induce her to p ersuade Hardress to make public announcement of his marriage to

Hardress a a a her . When ppe rs he sks her to give up the marriage certificate and conceal th eir union but Myles prevents this , and Father Tom makes

s Eily promi e she will never surrender it . In the second act H ardress is paying court to

A a e s e nne Chute , but is h unt d by remor e ov r his

e a a s d sertion of Eily . D nny M nn suggest putting

a s e A a her on bo rd a ve s l and shipping her to meric ,

Hardress a e but rejects the scheme . D nny th n agrees that Eily shall disappe ar if he will send his

o s . gl ve , a token secretly under tood between them a a s This lso he rejects . Meanwhile Corrig n is pre s in h is e a e a is e g alt rn tive upon Mrs . Cr g n, but int r ru ted Hardress a p by , who thre tens to kill him if he

o s no t s a d e desi t . Corrigan retires uttering thre ts

e of reveng . Danny Mann then intimates to Mrs . THE LI L Y OF KI LLARNE Y. 4 5

Cregan th at if she will induce Hardress to send can the glove , he bring happiness to the family

a e ag in . She secures the glove and giv s it to a Danny, who promptly t kes it to Eily with the

sa a . mes ge th t her husband has sent for her Eily, ’ n ’ in spite of Myles warnings , gets into Da ny s a boat and trusts herself to him . D nny rows out

a to a water c ve , and ordering her to step upon a

a s fi rock dem nd the certi cate . She refuses to give

a it up, and D nny pushes her into the water . Myles,

a o a who uses the c ve for secret purp ses, mist kes

a for o and D nny an ther and shoots him , then ,

h er espying Eily, plunges in and saves . The dénouement of the story is quickly told in

a act. Hardress the l st is arrested for murder, but

a o a Danny, who was fat lly w unded , m kes a dying confession o f his scheme against the life of the

a Colleen Bawn . Corrig n brings soldiers to the ’ h o use of Anne Chut e at the mom ent of Hardress

a m rriage with her, but is thwarted in his revenge ’ a Hardress l aw when Myles produces Eily Creg n ,

a ful wife . Mrs . Creg n also confesses her part in

a the plot, and absolves her son from intention l

e s guilt . Everything being clear d up , Eily ru hes ’ Hardress a into arms, and the chorus decl res

A clo udl ess day at l ast will d awn

Up on th e h apl ess Coll een Bawn .

The mu sic is very elaborate for ligh t - opera pur

o a ffe e es p ses , and is written bro dly and e ctiv ly,

ec iall a a s p y for the orchestr . M ny Iri h melodies 6 A D I 4 THE S T ND AR L GH T OPERAS .

ea sprinkled through the work relieve its h viness . The principal numbers are the serenade and duet The Moon h as raised her Lamp above Myles “ Eil ’ song, It is a Charming Girl I love y s “ a a e song, In my Wild Mount in V ll y he sought ” and - a s me , the well known origin l Iri h melody, “ ” h e The Cruiskeen Lawn , also sung by Eily ; t “ - h o u Tally chor s, introducing the second act ; ’ “ a D nny Mann s recitative and airs, The Colleen ! ’ 11 ” Bawn and Duty Yes , I do my duty the ’ dram atic finale to the second act Myles serenade “ ! in the third act, Your Slumbers , och Soft as ” ’ a ma Hardress your Gl nce y be ; beautiful song, b Eily Mavourneen, I see thee efore me and the fine concerted trio which closes the act . LD F S D . B O I E I E U , R A N CO I A R I E N

La D ame ifil ambe.

O ra o e in ree a s e S r e. rs ro e [ pé c miqu , th ct t xt by c ib Fi t p duc d at th e O ra Co e Par s D e e er 1 0 1 82 firs e in pé miqu , i , c mb , 5 t tim ” En s n er th e e of Th e e Ma at Co en ar en gli h u d titl Whit id v t G d , Lon on an ar 2 d , J u y ,

PER A SON GES .

G G B or S of A ene . EOR E ROWN , JULIU v l

GAVESTON a e s ewa of th e A enel es a e. , l t t rd v t t

MACI RTON an a onee . , ucti r

D KS an ones fa e . I ON, h t rm r

A A a o e of th e Lad of A ene . NN , d pt d child y v l wife of D S JENNY, IK ON . MA A se an o f th e a e La of A ene . RG RET, rv t l t dy v l

Mo n a nee s easan s etc . [ u t i r , p t , ]

ne i in S n e of th e S r s Th e sce s laid cotla d ; tim tua t .

a m HE story of this favorite opera, ad pted fro Walter Scott ’ s novels “ The Monastery ” and Guy Mannering, runs as follows . The Laird A of venel, a Stuart partisan , upon the eve of going hi into exile after the battle of Culloden , entrusts s estate and a considerable treasure concealed in a “ ” Gaveston statue , called the White Lady, to , his f a steward . The traditions a firmed th t the White

o r A Lady was the pr tect ess of the venels, and the villagers declared they had seen her in the neigh

rh a eston bo ood. G v , however, who puts no faith 8 HE S TAND ARD LI 4 T GH T OPERAS .

a in the legend, announces the s le of the castle , hoping that the superstition may keep others fro m

a ma et fo r bidding and th t he y g it a low price .

a d e to a h as The stew rd ecid s sell , bec use he heard th e a a n L ird is de d and k ows there is no heir . A an a h ad nna, orph n , who been befriended by

a e s the L ird, det rmines to fru trate the designs of

Gaveston s , and appears in the village di guised as

th e . a White Lady She writes to Dikson , a f rmer who is indebted to her, to meet her at midnight in Of A t the castle venel . His supersti ious fears lead him to decline the invitation , but George Brown , a young British soldier on furlough, who is sharing ’ the farmer s hospitality, volunteers in his stead .

He encounters the White Lady at the castle, and is informed by her that he will speedily meet a young a h as a l dy who saved his life by her c reful nursing,

An h im as e a n na recognizing her r cent p tie t.

da A When the y of sale comes, George and nna are s pre ent, and the former buys the castle in ’ o e A u h a b dience to nna s instructions, tho gh he s

a for not a shilling to his n me . When the time a A d p yment comes , nna pro uces the treasure which h ad a been concealed in the st tue, and still in the disguise of the White Lady reveals to him the t s secret of his bir h during the exile of his parent ,

o A e Gaveston and inf rms him he is Julius of v nel .

s and a off approaches the pectre , te rs her veil, re

a z a and ve ling Anna . Moved by the e l fidelity of ’ a o Off h er a his f ther s ward , Ge rge ers his h nd, which

e after some m aidenly scruples she acc pts . LA D AME BLAN CHE . 4 9 In the first act the principal numbers are the “ e Ah ! a op ning song of George , wh t Pleasure a ” Soldier to be ; the characteristic ballad of the “ a a ou White L dy with chor l responses, Where y Trees your Eye discovers and the graceful trio “ ” a a ! a in the fin le , He vens what do I he r . The a second act opens with a pl intive romanza, Poor ’ a a a A a s M rg ret, spin away, sung by Marg ret, nn

- Sh e s old nurse , at her spinning wheel , as think of

s a the ab ent L ird , followed in the fifth scene by a “ a a o be utiful cav tina for ten r, Come , O Gentle ” s Lady . In the seventh cene there is a charming ” e m s h du t, Fro these Hall , and the act closes wit an ens emble for seven voices and chorus which is

e ff extrem ly e ective . The third act opens with a “ a air A a a sentiment l for nn , With wh t Delight I ” behold , followed in the third scene by a stirring

e a chorus of mountaine rs , Hail to our Gall nt, our ” “ New- made Lord , and leading up to The Lay ever sung by the Clan of Avenel set to the familiar “ A melody of Robin dair . Though somewhat

Old- a f shioned , the opera still retains its freshness, and its refined sentiment finds charming musical

s expre sion . E LL LF D. C E I R , A R E

Dorothy.

o era in ree a s e S e enson. rs ro [Comic p , th ct t xt by t ph Fi t p th e a e ea re London Se te er 2 duced at G i ty Th t , , p mb 5,

ERS NA ES P O G .

’ D HY BA A S e BA A S a h e . OROT NT M , quir NT M d ug t r

L A HA H h er o s n. YDI WT ORNE, c u i

S A P V a w ow. PRI CILL RI ETT, id ’ PH S TUPPET S a e . YLLI , d ught r ’ G W BA A S ne ew. EOFFREY ILDER, NT M ph ’

HA SH W S . RRY ERWOOD , ILDER chum A a H S BA of C n ee a . QUIRE NT M , h ticl r ll ’ L CH a s e iff s off e . UR ER , h r ic r

T FF th e V a e an o . U ET, ill g l dl rd

TOM G A SS in o e w PH S. R , l v ith YLLI

h o - e s and a e Fa an s . [ rm h d , p pick r , b ll t ]

Th e s ene is la in en En an e a n re ears c id K t, gl d ; tim , hu d d y ago .

” HE story of Dorothy is a simple one , but f a fords much scope for humor . The first act

-field d opens in a hop , intro ucing a chorus and dance

- A e of the hop pickers . ft rward appears Dorothy, daughter of a wealthy squire , who is masquerading ’ in n and a peasa t s dress, while serving the land ’ lord s customers falls in love with a gentlem an whose horse has lost a shoe . Her cousin, Lydia

Hawthorne , who is with her in disguise , also falls in love with a customer . Each girl gives her lover

I E CHASSA Q U , F

Sali m.

Co o era in ree a s e Letterier and an oo . [ mic p , th ct t xt by V l ]

PERSONAGES.

ACH a o e no of Mont ratz . KOLB , milit ry g v r r g

TA C h is ne ew. N RED, ph

A H s en son of a H n a an fa e . RT UR, tud t , rich u g ri rm r

LAY B H P CA o o ee er o f th e o n en . ROT ER ELI N , d rk p c v t ’ A a a n of th e o e no s a es. KONR D , c pt i g v r r p g

se ean o f th e a o . TEKELI , rg t p tr l

B s s o . OBOKY, gyp y c u t

BOLESLAS ef of th e s es. , chi gyp i ’ TH E S SCHA KO LBAC H S s ewa . ENE L , t rd

PA A n e e of ACH at th e on en s oo . LK , i c KOLB , c v t ch l

E s s e of BO LESLAS. DWIGE, i t r

A KELKI RSCH a o n e ess. ALEXIN DE , y u g h ir

M A h er a . INN , m id

ANOTHA an a of th e inn. J , l dl dy M a a es so e s o f th e wa a s of ono [ ilit ry p g , ldi r tch , m id h r,

asan s Bo e ans etc . p e t , h mi , ]

h e s n is a in H n ar e th e e of th e T ce e l id u g y ; tim , middl n en r eightee th c tu y .

“ HE first act of Palka opens with the an

nouncement that Kolbach , the military gov c a a ruor of Hung ry, has been promised a p tent of nobility by the Empero r upon the condition that he can establish the succession with a male heir, either EALHA . 53

a l direct or coll teral . He is chi dless himself, but he has a niece , Falka, who is in a convent, and a

ne w . phe , Tancred , who is usher in a village school r a The b other of Kolbach is de d . His hopes for

' e wh om h e the heir r st upon Tancred , has never a seen . He summons him to t ke a place in his house

wa as the heir presumptive . On his y, Tancred is Boleslas but captured by a band of gypsies , led by , ’ a Bol eslas is rele sed by Edwige , sister, on condi a All a tion that he m rries her . this has h ppened in ’ Tancred s the night, and Edwige has not even seen

e n face . The latt r, whe he learns who Edwige is,

flies, and is pursued to the city where Kolbach lives

lesla w - o by Bo s and Ed ige . From a pocket bo k he h as dropped they discover he is the nephew of the and d h im go vernor, plot to i entify at the meeting, af but Tancred , overhearing them , decides to b fle

e them by not appearing, and writes to his uncl ta that he is de ined by illness . In the mean time Falka e h as , the ni ce, eloped with a young man named Arthur. Closely pursued by Brother n Pelica , the convent doorkeeper, the fugitives arrive at the inn where Kolbach and Tancred were

. Falka to have met To foil Brother Pelican , ar in A ’ rays herself a suit of rthur s, and then boldly decides to personate her brother. Kolbach is easily a deceived, but new complic tions ensue . Brother

’ s sh e Pelican, finding Falka s convent dres , suspects has disguised herself as a boy and arrests Arthur Bol eslas for her . and Edwige , witnessing the

are a meeting of Falka and Kolbach, certain Falk E S TAND ARD LI GH 54 TH T OPE RAS .

’ is the missing Tancred . For Falka s sake Arthur e is silent, and the cort ge sets out for the castle

s where the heir pre umptive is to be engaged, by ’ the Emperor s order, to the rich young Alexina de

Kelkirsch . In the second act Brother Pelican takes Arthur ’ to the convent in Falka s dress, and Falka remains ’ in a soldier s uniform to win the consent of her uncle to their union . Her plans are now dis turbed by the arrival of Tancred, disguised as a m foot an, to watch his own interests and thwart the schemes of the young soldier, who he little dreams

e is his own Sister . He is afraid to reveal hims lf Bol eslas because he knows is on his track . He con trives that Falka shall be accused of broken vows

sh e a Bol eslas before Kolbach , and is ch llenged by , w but escapes by revealing her sex to Ed ige . A rthur, who has been brought back from the con vent, confesses the interchange of dresses with a m Falka, whereupon Kolb ch orders the both out of satisfac his presence . Tancred displays unusual tion, and thus discloses his identity to Edwige . ’ Thus the act closes with Kolbach s discovery that Tancred l s betrothed to a gypsy and that the p seudo Tancred is his niece Falka . In the last act Kolbach reluctantly prepares for A the marriage of Tancred to lexina, as the Em

eror in w p desires . Falka is shut up a to er, whence sh e At is to be sent back to the convent . this An w point Bol eslas appears with Edwige . intervie between the two brides leads to the substitution of FALKA . 55

a and Edwige for Alexin , Tancred marries the m gypsy. Falka escapes fro the tower, but is caught and brought before her uncle , who at last

s pardons her variou follies, all the more willingly because he has received a despatch from the Em

eror p that he may adopt her as his heiress, the succession having been settled in the female line . The principal numbers in the first act are the ’ ” e m a stirring air and r frain, I the Capt in , sung by

a Bol eslas Edwige , T ncred , and , preluded by a

S hort march movement ; a taking little nocturne, “ ” There was no Ray of Light, sung by Edwige ; Fo r a rondo duet, your Indulgence and the o and a l ng el borate finale , which closes with an

t e e an s oc tt d full choru .

act u The second opens with a charming chor s , “ ” Ta ta a p, p, sung by the m ids of honor, followed ” a s . Falka by couplets, Perh p you will excuse has ” a t pre ty air, Yon Life it seems , followed by the ” Ah a ! exit chorus, is she not a Be uty This in turn is followed by a characteristic Bohemian ” “ - - “ chorus , Tra la la, with a gypsy air, Cradled u ” i pon the Heather, coming in as a k nd of vocal A intermezzo . fter a long ensemble , It was Tan ” a cred , trio, Oh Joy oh Rapture is sung, in th e course of which there is an ingenious passage a a burlesquing It lian oper , followed by a quintette , ’ ” A s l n His spect not so overpowering , and eadi g a up to an el borately concerted finale .

Th e last act, though short, contains many bril l a t s i n numbers ; among them the bridal choru , 6 D LI H T OP 5 THE S TAND AR G E RAS .

Rampart and Bastian Gray, followed by a lively

and a Catch ee catch ee Hungarian rondo d nce , , “ ” a a a romanza At Eventide, which liter lly p sses “ from grave to gay, from lively to severe , as it a a begins with an andante gitato, changing to an n dante religioso, and ending with a waltz tempo , and repeating with the same abrupt changes ; a “ n charming duo Berceuse , Slumber, O Senti el “ ” and the bell chorus, There the Bells go, pre a ceding Short finale . D E K V O E N , R E G I N A LD.

Rubin Dunn.

Co O era in ree a s e Harr B S rs [ mic p , th ct ; t xt by y . mith . Fi t ro e in C a o ne p duc d hic g , Ju 9,

PERSONA ES G .

R o f H n n on af e wa R I H OBERT u ti gt , t r rd OB N OOD . o S HERIFF of N ttingham . SI R GUY of G s o ne h is war i b r , d. L H ITTLE JO N ,

WILL SCARLET, aws o utl . F A Tc RI R , A A A DA LL N LE, MA A FITZWALKER af e w M LA a s A MA A . DY RI N , t r rd ID RI N

DA D a w o w. ME URDEN , id

A A h er a e . NN BEL , d ught r ’ a e s a s o aws n s fo es e s a e s [Vill g r , milkm id , utl , Ki g r t r , rch r ,

e e s etc . p dl r , ]

Th e s ene is a in En an e of R ar th e rs c l id gl d ; tim ich d Fi t . HE first act of “ Robin Hood ” opens in

- the market place of Nottingham , where the villagers are holding a fair and at the same

e time cel brating May Day with a blithe chorus, ’ for Robin Hood s name is often associated with A that day . The three outlaws llan a Dale , Little

John , and Will Scarlet, enter, and sing most lustily the praises of their free life in Sherwood Forest, a the villagers joining in chorus . The t ntara changes s “ A to a graceful and yet hilariou dance chorus, 8 D ARD LI GH T P A ’ 5 THE S TAN O ER S .

s Morris Dance must you entrance , sung fortis imo . The second number is a characteristic and lively ff song by Friar Tuck , in which he o ers at auction n venison, ale , and homespu , followed by No . 3 , a m m ’ hu orous pastoral, the ilkmaid s song with ” chorus, When Chanticleer crowing . This leads up to the entrance of Robin Hood in a spirited “ chorus, Come the Bowmen in Lincoln Green , in which the free life of the forest is still further A extolled . nother and still more spirited scene a introduces Maid Mari n , which is followed by an expressive and graceful duet for Maid Marian and

Robin Hood, Though it was within this Hour we ” met, closing in waltz time . This is followed by ff ’ f “ the Sheri s buf o song with chorus, I am the ” f and n Merry Sheri f of Nottingham, this in tur f by a trio introduced by the Sheri f, When a Peer ” m a akes Love to a D msel Fair, which, after the entrance of Sir Guy and his luckless wooing, closes “ a w m in a g y waltz movement, S eetheart, y own ” Sweetheart . In the finale Robin Hood demands that the Sheriff shall proclaim him Earl . The ’ Sheriff declare s that by his father s will he has been S w disinherited, and that he has the documents to ho that before Robin Hood ’ s birth his father was a secretly married to a young peas nt girl, who died ’ ’ when the Earl s first child was born . He further

a h e declares that he re red the child , and that is

. a Sir Guy, the rightful heir of Huntington M id ’ m Marian declares sh e will suppress the King s c o ’ mandand not accept Sir Guy s hand, and Robin

6 0 TH A DARD LI GH T PE A E S T N O R S .

o n as w s A a a In str ng co tr t ith thi , nn bel , D me Dur

th e e ff and a l den, Sir Guy, Sh ri , Fri r Tuck indu ge

a e s a in a viv cious quint tte , When Life seem m de ” a - - - - of P ins and Pangs, I sing my Too ral loo ral loo . A a a Da jolly country d nce and chorus, H ppy y, ” a Da a H ppy y, introduce the finale , in which M id M ari an is saved by the timely arrival of Robin ’ at Hood the church door with the King s pardon, leaving him free to marry .

man fil arian.

H rr n ree s e a B S . rs Co o era i a . [ mic p , th ct ; t xt by y mith Fi t H t C es n Stree O era o se P a e a Pa . p roduced a h t ut t p u , hil d lphi , , N er ovemb 4 ,

PERSONAGES .

SH ERIFF o f No ttingh am .

LITTLE JO HN . H ROBIN OOD . A WILL SC RLET.

FRIA R TUCK . D ALLAN A ALE . n GUY of Gisbo r e.

DAME DURDEN . G S ILE , a e ee e s. G g m k p r EOFFREY,

Y SS a s a e e an . U UF , l v m rch t S I R H D E o VERE VERE ! n f G o e. K ights o St. e rg S I R H H M i UG ONTFORD ,

- A A a sna e a e . MIN , k ch rm r

LADY VIVIAN .

MAID MARIAN . H n s en men at a s Sa a en wa ors ers [ u t m , rm , r c rri , mu mm ,

C r sa e s etc . u d r , ] Th e scene is laid in England and Pal estine ; time of Ri chard h e r t Fi st . MAI D MARI AN: 6 1

“ THE story of Maid Mari an introduces most ” of the familiar characters in Robin Hood and

e s and a som new one , the scene altern tes between

s a Sherwood Fore t and P lestine . It is intended as

a e at a sequel to the l tt r opera . The plot begins the point where M aid M arian and Robin Hood

e wer betrothed . Robin has joined the Crusaders an a e n d left M rian on the eve of the w ddi g . He ’ also leaves a letter for Marian in Little John s

a e charge , directing her in c s of trouble to apply l to him for he p . This letter is stolen by the ff t Sheri of Nottingham , who substi utes for it a forged missive calculated to make her believe that Robin a is false . The first act closes with the arriv l of l Litt e John and the forest outlaws , who leave for wa a a r . the holy . M ri n joins them to seek for Robin The second act opens in the camp of the Cru a a A a a s ders o f . , ne r the city cre M id Mari n has

a S a been c ptured by the Saracens and sold into l very,

e Sh erifF but is rescued by Robin Hood . Th n the

a of Nottingh m and Guy of Gisborne , the latter still a a a a in intent upon m rrying Mari n , ppe r the dis guise Of merch ants and b etray the camp into the ’ a o f a a a Durden s h nds the S r cens . D me encounter ’ wi th the Sheriff and Friar Tuck s antic s as an m odalisque add merri ent to the story . In the last ac t all the principals are back in England and the scene opens with a Christm as t t all revel in Huntington Castle . Robin hwar s the

r f m schemes of the She i f, co es into his rights, and is a reunited to Maid M rian . 6 2 HE S TANDARD LI GH T OPERA T S .

While the story lacks in interest as compared “ ” n a with that of Robi Hood , the music g ins in

a w and s dram tic po er seriousne s of purpose, and at the same time is full of life and vivacity . The overture is notable for being in genuine concert the form , first instance of the kind in comic — a opera for many years past, and thus natur lly sets the pace, as it were , for the opera, and gives w the cle to its musical contents . The most notice able numbers in the first act are the Cel ’ l arer s a Toast, The Cellar is d rk and the Cellar is ” deep , a rollicking song for Scarlet, Friar Tuck , and chorus ; the charmingly melodious Song of ” “ the Falcon , Let one who will go hunt the ” ’ a f Deer, for M id Marian ; the Sherif s song, I f ” am the Sheri f Mild and Good , which is always and a e popular ; a delightful madrig l , the quintett “ ” ma and ma Love y come Love y go . The second act contains many pleasing and character “ istic m songs, among the The Monk and the ” “ e Magpi , sung by Scarlet and chorus ; the Song ” r a a of the Outlaw, a spi ited b ll d by Robin Hood ’ f a the Sheri f s serenade , a popul r tune, When a ” “ ’ ” Man a a is in Love ; The Sn ke Ch rmer s Song, “ by Maid Marian ; and the vigorous Song of the ” Crusader by Robin ; but th e two most effective “ are a a numbers a gr ceful song, Tell me gain , ” w a A and S eethe rt, sung by llan a Dale , the duet a in w ltz manner, True Love is not for a Day, by

n a a Robi and M ri n . The third act is largely

s choral, the introductory Chri tmas carolling and IMADD .MARTANI 6 3

ff dance rhythms being especially e ective , but it contains one of the best solo numbers in the “ work, the dainty song with chorus, Under the ” Mistletoe Bough . The music throughout is dra

matic, strong, and well written . While the opera

has not been as popular as its predecessor, yet the

music is of a higher order, and occasionally approaches grand opera in its breadth and

earnestness .

Bmt ny .

Ro an o O era in ree a s e Harr B S [ m tic c mic p , th ct t xt by y . mith . rs ro e at th e Hera S are ea re New Yor O o er Fi t p duc d ld qu Th t , k , ct b 2 I 8 91 94 . ] PERSONA ES G .

ROB ROY MACG H an ef. REGOR, ighl d chi

A a e of th e Ma o . J NET, d ught r y r P C CHA S E A S A th e oun Pre RIN E RLE DW RD TU RT, y g r tend e . F A MACD A a san of th e P e en e LOR ON LD , p rti r t d r.

D A MAC WHEEBLE Ma o o f Pe . UG LD , y r rth D A A L CH o e w se C . O IEL, th r i ON LD MERON P RA PH SH A o f th e n CA . G e a e s . T L ERID N , r di r MACS E Y - SA H RR o wn e . NDY , t cri r ’ Ma o s n TA AS MAC SORLI E th e e man. MM , y r h ch

L . C A S of th e G ena e s IEUT ORNW LLI , r di r .

C . LIEUT . LINTON A S ANGU S M CALLI TER . P D UNCAN CAM BELL .

STUART MACPHER SON .

DONALD MAC ALPINE . “ ” f Th e n N a a o C ow and T s e . ELLIE , b rm id r hi tl H an e s Lo wan e s owns en wa en [ ighl d r , l d r , t m , tchm ,

- e o s En s G ena e s etc . drumm r b y , gli h r di r , ]

Th e s ene is a in S o an e of eor e th e Se on c l id c tl d ; tim G g c d . 6 4 THE S TANDARD LI GH T OPE RAS .

THE first act of Rob Roy opens in Perth , wh ere Lochi el and h is Highlanders have stolen a considerable sum Of mon ey in the k eeping of the

s Provo t , with which they propose to aid Prince Charles Stuart in his designs upon the English

Mac Donald a throne . Flora , a ze lous partisan of e a a the young Pr tender, ppe rs upon the scene , and induce s the Provost to con sent to a gathering of

a s the cl n in Perth . Hearing of a Scotch victory, he compels his daughter J anet to m arry Sandy

MacSh err - a a y, the town crier, who cl ims rel tion a ship with the Stu rts . In the mean time English a a grenadiers enter Perth , and their c ptain , R lph a a Sheridan , f lls in love with J net . The Provost, who

a st is lways on the side that is uppermo , forces his ’ daughter to declare herself the Captain s wife and

a a s e then accuses S ndy of ste ling the mis ing mon y .

a a e J net obeys him , but immediately ft rwards Rob

th e Roy captures the town , and Provost , to get rid

- in-l aw a a of his new English son , c uses his rrest . It now appears that the crafty Jane t when she went through the Scotch form of marriage with Sandy and the Captain was already secretly married to

s two a s Rob Roy . To e cape her nominal husb nd ’ she proposes to go with Rob Ro y s Highlanders

h th e a e as his orderly . The act closes wit g th ring a a of the clans and the elevation of the st nd rd . The second act opens with the defe at of the at A a ffe for Scotch Culloden . rew rd is o red the Mac Gre ors Prince , who is in hiding among the g in their mountain stronghold . The Provost and his 6 R OB R O Y. 5

a a as n a a henchmen ppe r strolli g b ll dmongers , s n a of till in Highla d dress , and not h ving heard h e e ea a a h t Scotch d f t . When S ndy M cS erry a s th e s o f n rrive with new the E glish victory , the

o st e s o n o at Pr vo g t int E glish unif rm once , and de t ermin es to secur e the reward offered for the

At as th e f e . s Princ l t Prince is ound by the Engli h , but e are a e a o wh n they bout to tak him aw y, Fl ra

’ Mac Donal d a a e s st ppe rs in the Princ co ume ,

a him and a decl res her servant , is led aw y by the soldi ers in spit e of the efforts Of Rob Roy and the h Prince to rescue er.

Th e act o e n a t e third p ns e r S irling Castl , where Flo ra is co nfined und er sent enc e o f d eath on the

w e es a and Sh e es morro . Lochi l aids her to c pe , go ’ Mac Gre ors a to to the g c ve , where the Prince is

e e join her. Meanwhile , her cell b ing mpty,

’ h as a e a e Lochiel , who t k n the turnkey s pl c , puts

a s is an s S ndy in it . The Provo t , who now Engli h

o a s a a a e c rpor l , suppo ing th t Flor is still in the c stl , brings h er a disguise costume in which Sandy

a a to effe a m n ges ct his e sc p e . Flora is found in

and a th e a is the cave brought b ck to c mp , but saved from being shot by th e timely arrival Of th e

e As is b e Prince , who gives hims lf up . he about to

e s a o ow off ex cuted , the Lowlander r und him thr their coats and stand reve al ed as armed High a s e th e s s s at ba l nder . They ke p Engli h oldier y while the Prince and Flora are seen sailing away for a Fr nce .

s a te a a In the fir t act, f r long chor l scene and 66 D THE S TAND AR LI GH T OPERAS .

e an ensembl , Flora makes her entr ce with the “ ” A a o n n spirited song, w y in the M r i g Early, which is followed by a sentimental duet with the “ ” - Prince , Thou , Dear Heart . The town crier next has a characteristic song with a ding - dong

a A a s accomp niment . fter a gren dier ong and

a and s e chorus by C ptain Sheridan his oldiers, th re is a vigorous Highland chorus and song by Rob “ and a Th e Roy, The White the Red , huzz h rem aining prominent numb ers in this act are a

a pretty duet for Rob Roy and J net , There he is ’ wi a a a a and nae one him ch rming Scotch b ll d , ” a a and My H me is where the He ther blooms , a “ s H airt humorous ong by the Provost, My is in ” a s the Highl nd . The principal numb ers in the second act are ’ a s e was e J net joyous song, Th re a Merry Mill r of ” the Lowland ; the spirited martial l ay O f the

a a s all a- n e th e C v lier, With their trapping ji gl

o a a a j lly song of the b ll dmongers, From Pl ce to ” ’ “ a a Rob o so Pl ce I f re , Lads ; R y s ng, Come , ” Lairds of the Highlands ; and th e effective ro “ ” manza, Dearest Heart of my Heart, sung by

Flora . The third act opens with a vigorous rataplan chorus followed by a charming chansonette and ” s s duet, Who can tell me where she dwell , ung a by the Prince and Flor . The remaining numbers are a S ff as so hort but exceedingly e ective b s ng, ’ a In the Donjon Deep the Provost s seren de , ” a s e e The L nd of Romance , follow d by a danc ,

68 H THE S TAND ARD LI G T OPE RAS .

o o Of h as a e private astr l ger, whom he purch s d so

a os o es as e m ny hor c p to deplete his exchequ r,

s o me e e th e Th e furni h the c dy l ment of opera . Duke h as mortgaged o ne ro om after ano th er in his a a e - e and h a p l ce to mon y lend rs, s also employe d a regularly organiz ed stock company of Venetian

a e t ses br vos to remov Fortunio . The firs act clo with the departure of Fortunio and Francesca to

o a s s Venice on p litic l bu ine s .

se act en e The cond op s in V nice . Filippa has

e sen a ortunio a s be n t there to be m rried , but F pl n an elop em ent with her and entrusts the secret to

a s a e s a a s Fr nce c . The j alou Fr ncesc betray the

a o his a a a. pl n to Guid , riv l , who bducts Filipp When Fo rtunio di sc overs what France sca h as

a en o man done, he ch ll ges the supposed y ung , whose identity is reve al ed after he h as wounded

a and h er. Fortunio is rrested by the Duke is a o be a e n a es b ut to t k n to priso , when Fr nc ca de clares h erself as the re al traitor and is imprisoned

e in his st ad . In the last act Francesca escapes through the

a e connivance of the M rch sa, who still believes her to At a féte a c be a man . Filipp is expe ted to

a ortunio h as a an n me her future husb and . F m de a t a a dis ppointment wi h her, but meets Fr ncesc

s th e s a and o gui ed as Counte s, in a m sk domin

i s e o a h e a lil e her . She l arns fr m Fortunio th t re lly

o es h er and a e a l o ses l v not Filipp . The op r c with th e downfall Of the u surping Duk e and his astrol o

er g and the restoration of Fortunio to his rights . I - A 6 THE FEN C ZVG M S TE R . 9

s h as a act The mu ic the It lian color, the first

o a a a e a a e a and s c nt ining gr c ful t r nt ll choru , Under ” a a s thy Window I w it a duet , g votte , and choru , ” s and a Oh, li ten, in Verse I will rel te , sung by “ e esa and as e Th r P quino a lively song, The Lif ” O f a o e ortunio a a n a R v r, by F ch rmi g h banera

e o e is em so and quintette , Tru L v a G Fair and ” “ a e and a wa t e te a a s R r l z quint t , L dy F ir, I mu t

se n ac t o s w a a a decline The co d pen ith b rc role , ” n a e and n Over the Moo lit W ves we glid , co tains a so a a maranesca e l gr ceful , Oh , come , my Lov , ” the Stars are bright ; a humo rous serenade for

e i n a e a the Duk , S ngi g a Seren d is no Light T sk a s e a a s a entim nt l rom nza for France c , The Night ” ingale and the Rose ; and a brilliant finale in which the mu sic accomp ani es the historic c ere

a a A a mony of the m rri ge with the dri tic . The princip al numbers of the third ac t are a graceful carnival scene with chorus opening the act ; the “ e e a a a a s s r n de for the Marches and c v lier , Wild ” ’ Bird th at singeth a will - o o the -wisp song by “ a a e e a e a Fr ncesca, Tr v ll r w nd ring we rily and a “ me o for a es a ortunio e l dious duet Fr nc c and F , Dw lls ” an u Image in my Heart, leading p to a short

a fin le . D E L ES LEO . I B ,

’ i akmr.

Ro an o era in h ree a s e Goudinet and e rs [ m tic p , t ct ; t xt by Gill . Fi t ro e at th e O ra Co e Par s A r 1 1 88 in New p duc d pé miqu , i , p il 4 , 3 ; Yor Mar I k, ch ,

PE RSONAGES.

LA E a f N ILAK NT e o A HA. KM , d ught r N I LAKANTHA a Bra n r es , hmi p i t . G A an En s o ffi er o o f LA e E. ER LD, gli h c , l v r KM F C an En s offi e . REDERI K, gli h c r MA A s a e o f LA E LLIK , l v KM . HA s a e o DJ I , l v f Lakme. E LLEN , ! a e s of h d ught r t e Vic eroy . R S O E , I

MRS. B S e r o e n s e s . EN ON , th i g v r H n o o s C na en f u - ende s sa o s etc. [ i d , hi m , r it v r , il r , ]

Th e s ene is a in In a e as en ur c l id di ; tim , l t c t y .

“ HE o pera Of Lakme opens in the sacred

Nilakanth a a a wh o grounds of , Br hmin priest

an all e e a and has aversion to for igners, where G r ld

two e s e Frederick , young English offic r , with ladi s are a a e t strolling bout . They gr dually retir wi h the

wh o is th e exception of Gerald , curious to see

w t e e . o n r of some jewels lef upon a shrin Lakme ,

a ilakanth a for s the d ughter of N , returns them , espie

e a and e e at s G r ld , th r is a case of love fir t sight . The pri est however interrupts their demonstra 1 LAKIlIE. 7

tions, and Gerald escapes his vengeance in a con

ni n - s ve e t thunder storm . In the econd act Lakme and Nilakanth a appear In the m arket - place in the

en e e guise of p it nts . He forc s his daughter to a sing, hoping th t her voice will induce her lover

to . disclose himself The scheme succeeds, and Nilakanth a him , stealing upon Gerald, stabs in the an a s a back d m kes good his e c pe . The third act opens in a jungle where Lakme is nursing Gerald with the hope of retaining his love . She eventually

a h is t s ves life , but while she is absen to Obtain

e a som w ter which , according to the Indian legend,

a s will m ke love eternal , Frederick find him and urges him to return to his regiment . Duty is more a a powerful th n p ssion, and he consents . When

a s L kme find that he is going, she takes poison ’ and dies in Gerald s arms .

The first act opens with a chorus of Hindoos, be oriental in its coloring, followed by a duet a tween Lakme and her f ther, the scene closing A with a sacred chant . beautiful duet for Lakme “ a and her slave follows , Ne th yon Dome where ” a are As J smines with the Roses blooming .

a a ea s s Sh e s L kme pp r at the hrine , ings a restless ” e o ! lov s ng , Why love I thus to stray followed ’ “ s by Gerald ardent response, The God of Truth ” so Glowing . The first number of importance in the second Nilakanth a act is the pathetic aria of , addressed a to his d ughter, Lakme, thy Soft Looks are over ” ’

. s clouded Then follows Lakme s bell ong, 7 2 THE S TAND ARD LI GH T OPERAS .

o a e a a Where strays the Hindo M id n , brilli nt and gracefully embellish ed aria with tinkling ac

a o a Th e co mpaniment which will alw ys be p pul r . rem aining prin c ipal numb ers are an imp assion ed ’ e a Ah t is e song by G r ld , then Slumbering Lov , l w b s a fol o ed y the my terious response from L kme, ” ea a a In the Forest n r t H nd . Th e mu sic of the third act is tinged with sadness

u as th e a o s thro ghout, cti n ha tens to the tragic dé

n al e s are l o w nouement. Its pri cip numb r the mur “ ’ a e a th e e muring song by L km , Ne th Dom of

and a as a es ee n Moon St r, she w tch her sl pi g ’ “ ’ e a e c e lover ; G r ld s song , Tho Sp e hl ss I , my ” a b a e e- a He rt remem ers , followed by pr tty thre p rt ’ chorus in the di stance ; and Lakme s last dying ’ s s ea st song , To me the Faire t Dr m thou given, ” a e and F rewell, the Dream is ov r . D Z . O N I E T T I , G A E T A N O

‘ are Daughter ut the Regiment.

O ra o e in two a s e B a ar and St eor es [ pé c miqu , ct ; t xt by y d . G g . rs ro e at th e O ra Co e Par s e r ar 1 1 Fi t p duc d pé miqu , i , F b u y ,

PERSONA ES G .

S P C an o l d se ean . UL I E, rg t T a T o ean easan i n o w MA . ONY, yr l p t l ve ith RIE

H S S se e a of th e Mar o ness . ORTEN I U , cr t ry chi MA th e a o e D a e of th e Re imentu RIE , d pt d ught r g S BER E D MARCHIONES DE K N FEL . H D UCHESSE DE CRAC KENT ORPE . a e s so e s en e en es s [Vill g r , ldi r , g tl m , gu t ]

Th e s ene is a in th e ro e a o we e ears f er c l id Ty l ; tim , b ut t lv y a t B e of Maren o th e attl g .

O n the peni g of the opera Marie , the heroine,

’ and Vivandiére in Napoleon s Twenty- first

h as a a Regiment , been saved from f lling over

i a precip ce by Tony, a Tyrole n peasant, and is ever after the object of his sp ecial admiration

e t o f and , shortly, of his love . She t lls the s ory

a ea a was her life, from which it pp rs th t she adopted as the Daughter of the Regiment because she was picked up on the field of battle by Sergeant Sul pice , who found upon her person a letter written

a a s de Berk n l by her f ther to the M rchiones e fe d. Tony ’ s reward for his rescue of Marie is his arrest TII E S TANDARD LI GII T OP A 74 ER S .

o as a spy, but not before he has declared his l ve for as ea s and her . He e ily cl r up his record , the ’ soldiers decide h e may have M arie s h and if he

e s a se will join th m . He gives joyou s nt to this t proposi ion , but his hopes are suddenly dashed to the ground when the Marchio ne ss de Berkenfeld a appears . Serge nt Sulpice delivers the letter to h er a t a a a , f er re ding which she cl ims M rie as her

a o ff a im re niece , and c rries her midst smothered p c ations by the soldiers and especially by Tony upon

o ess th e M archi n . In the sec o nd act Mari e is found in her new

th e as Berkenfel d and home at c tle of , the old ser

e n Sh e a ro g a t is with her, while is rehearsing

a h is m nce whic she to sing to a grand company . She and Sulpice suddenly break out into a rollick a a and a ing r t plan, go through milit ry evolutions to

th e a e the horror of M rchion ss . While the latter is

a a a o expostul ting with them , m rti l music ann unces th e a a a - first appro ch of the g ll nt Twenty , with Tony

fo is at r . their head , he now a colonel He makes ’ a a a e s a and a nother appe l for M ri h nd , the appe l is se s e s a conded by the oldi r , but the M rchioness re

s a . o an fuse the f vor Tony then prop ses elopement,

a se s a to which M rie con nt . To thw rt this scheme , the M archioness announces that e arly in life she h ad been secretly married to an army officer of

’ a and h e was a a low r nk that Marie s f ther . Un ble ’ to o o a dis bey her m ther s wishes , M rie gives up

o a s a sad T ny and f ll into a mel ncholy mood . Her pligh t rouses old associations in the mind of the

6 7 THE S TAND ARD LI GH T OPE RAS .

Dun iBaequale.

O era ffa in ree a s e and s Don z e . rs [ p bu , th ct t xt mu ic by i tti Fi t t th e ea re des I a ens Par s an ar produced a Th t t li , i , J u y 4 ,

PERSONAGES .

- D ON PAS A an o s na e n ea e a e o . QU LE , b ti t but ki d h rt d b ch l r

' ‘ MALAI ESTA h is fr en and s an. D R. , i d phy ici ’ E S D O N PAS A S ne ew. RNE TO, QU LE ph w N A a o n w o . ORIN , y u g id

NOTARY .

a e s a er a s a or o o ess a e etc. [V l t , ch mb m id , m j d m , dr m k r, ]

h e s ene is a in Ro e e as ent r . T c l id m tim , l t c u y

THE o pening of the first act of Don Pasquale

s ose s h is di cl s the Don enraged with Erne to,

e w a not a t n phe , bec use he will m rry to sui him .

a es Dr . M lat ta, a mutual friend , comes to the

e o f s m e a a e h lp Erne to , to who he is gr atly tt ch d , and to his s s contrives a scheme further intere t .

s a He urge the Don to marry a l dy, pretending she ’ is s a a his ( the doctor s) si ter, in re lity Norin , with l e whom Ernesto is in love . Norina is t into the

h er e o se secret, part b ing to c n nt to the m arriage c ontract and th en so t o rm ent Don Pasquale that he will be glad to get rid of h er and even consent

a a e es to her m rri g with Ern to . I n the second ac t Ern esto is found bewailing

a w a e . Don enters s his f te The . , ho ily arr y d for h is e n a a s th e w ddi g . Norina ppe r with doctor, and shyly and reluctantly sig ns the wedding - con D ON PAS Q UALE . 7 7

a As h as tr ct . soon as she signed it, however, she

o all s e dr ps mode ty. The b wildered Erne sto is

e s s kept qui t by ign from the doctor . Norina first ’ ses all o s e a s refu the D n d monstr tion , and then

e a e o a be h er o d cl res Ern st sh ll esc rt . She sum

o s a a s o m n the serv nts , and l ys out a cheme f house k e eping upon such an extravagant s c ale th at Don

as a a nOt a th e P qu le decl res he will p y bills . She

a s a new s th e o s y he sh ll, as she is ma ter of h use . In the third act Norina continu es h er anno ying

a s o s e s ntic . She empl ys the mo t exp n ive milliners

At e and . modistes l ngth , when he finds that she is

o a . g ing to the the tre , he forbids it A quarrel

s a and as fl un follow . She boxes his e rs , she o c es

sh e e out of the room purpos ly drops a letter , the

e s add ea s to h is s cont nt of which j lou y other trouble .

a a s At this juncture Dr . M l te ta comes in and

s condoles with him . Nothing will sati fy Don Pas

a e an qu le , however, except her l aving the house , d

a e h er at a a fin lly he ord rs to go, the s me time t xing

h a a a e e her with ving lover conce l d on the premis s. The doctor ple ad s with him to l et h is n ephew

a ea m arry Norm . When he finds she is r lly the ’ o t s e n h is d c or s si t r, he is o ly too glad to get out of troubles by consenting to th e m arriage of the young couple and blessing them . The princip al numbers in the first act are the du et for Erne sto and Don Pasquale the scena fo r “ a And sh e a e and th e Norin , in that Look g v “ a and th e o a ch arming duet for Norin doct r, Wh t

’ ” 11 th e act. d Sport we have , closing The secon 8 THE S TAND ARD LI GH T P 7 O E RAS .

o a a h o act pens with the lugubrious ri , Oh w at

a s h is one Fell Blow, in which Ernesto bew il sad

a a a e condition, and also cont ins a ch rming qu rtett . The gem o f the opera is the seren ade in the l ast ” ac t How t Air —in A t so a , Sof the pril Nigh F ir “ e e w e a its ta a b tt r kno n p rh ps by I li n title , Com e ” en was s t a t g til, which in er ed by Donizetti f er the first p erformance to strengthen the wo rk and m ake

e s e a e h as e a th e it mor popular . The er n d b en he rd

o a e s w rld over and is a f vorite conc rt number till . The charm of Don Pasquale lies in its humor

a e s ous situ tions and the bright , m lodious mu ic

a a a which illustr tes th em . For brilli nt g yety it

a o s stands in the front r nk of c mic opera .

Liana.

ran o era in ree ac s e Ross rs ro e at [G d p , th t ; t xt by i . Fi t p duc d th e Kéirnth nerth or ea re enna Ma 1 Th t , Vi , y 9,

E N E P RSO AG S.

L A a e o f A IND , d ught r NTONIO .

PI EROTTO a a e . , vill g r

A a fa er. NTONIO, rm hi f MADALINA s w e . , i MA S BOI SFLE RQUI OF URY. ’

CA th e Ma s son. RLO , rqui

PREFECT .

a e s Sa o a s etc . [Vill g r , v y rd , ]

i a in Sw z er an e as en ur . Th e scene s l id it l d ; tim , l t c t y

THE first act of Linda de Ch amouni Opens in

a o f and the v lley that name , discloses the home of LI ND A. 7 9

A Lonstol at a ntonio , a f rmer, and his old wife ,

Madalina a e , whose only d ughter, Linda, is in lov a a with C rlo, a young p inter who has recently come

a s s a a th e into the v lley . Mi fortune h ve overt ken

and are a osi e old couple , they in d nger of l ng th ir a f rm , which is owned by the Marchioness de

irval t a S . Their anxie y is tempor rily relieved when the Marquis of Boisfl eury visits them and assures

s a n them he will ave the f rm , his real purpose bei g to effect the ruin of Linda by ingratiating him self

h h er a e s a wit p r nt . The Prefect of the vill ge , how

h is ever, is aware of designs , and induces them to

a a a of a s a let Linda accomp ny p rty vill ger to P ris, promising at . th e same time to place h er with his

e a t broth r, who is supposed to be living in th t ci y. e Pierotto She soon l aves under the protection of ,

a the S voyard . The second act disclo ses them on the way to

a a e o a on P ris , but Linda unfortun t ly loses her c mp ni . ’ Upo n reaching Paris sh e finds that the Prefect s

is a a wh o h as brother de d . Meanwhile C rlo,

o h er s a a is foll wed , arrive , and reve ls to her th t he

Sirval a the Viscount , son of the M rchioness , and

s f Of nephew of the Marqui . He renews his o fer

a a a s a . m rri ge , and pl ces her in a hand ome partment In these questio nable surroundings Pierotto dis

a h ad u . h s covers her Her father, who to give p

a and the f rm , also finds her, , distrusting her inno

a se . Mar cence mid such luxury, cur s her The ’ hi ness ea wh o h as ea e o f c o m nwhile , l rn d her son s

a ea att chment, thr tens to imprison Linda if he does 8 0 HE TAND ARD LI GH T OPE RAS T S .

not a h as e fo r m rry the lady she select d him . He

es h is e sen and a n giv f igned con t , Lind , thinki g he

h a e e h er es a . s des rt d , go ins ne In th e last act Piero tto takes her back to her

a e a e e a n ative vill g . C rlo arrives th r in se rch of h er and t Piero tto S s h er , finding her wi h ing to , h opi ng sh e will rec o gnize his vo ice and th at h er

a o ma h a r e s n y return . The song s the desired

effe . ent th e a e e ct Subsequ ly M rchioness rel nts, giv s

o se to n o and s a her c n nt their u i n, all end h ppily . “ ” Th e mu sic of Lind a is o f th at s eriou s and dignified kind which j ustifi es its i nclu sion in the

I th e s ac list Of grand o p eras. n fir t t the opening “ a a A on We e a ri of nt io, w re both in this V lley ” e e sio w nurtur d , is a touching xpres n of the sorro ’ h e a e a s a w t . a s of ged coupl Lind f re ell , Oh , St r ” a v o a a th t guide my Fer ent L ve , f mili r on the con ’ a a a cert st ge by its It li n title , O , luce di quest ” a an s a a and anim , is aria of trong dr m tic power, h as always be en a popular favorite In this act ’ a s are Pierotto s a e a a n e a e l o p th tic b ll d , O c Bett r ” t e e and th e ass ate For un s eking, p ion duet for “ a and a a th e es Da Lind C rlo, Oh th t Bl sed y

e e a s o wer com . The princip l numbers in the ec nd

a e n a and Pierotto act are the brilli nt du t for Li d , ” n a at a a Oh , Li d , thy H ppy F te , which is highly

s e and a a for a Ah embelli h d , the ri Lind , go, my ” Th e as act a a o a a Love . l t cont ins m urnful ri by “ a ea e th e s o a C rlo, If from H v n Bolts h uld re ch ” me ; his c h arming s ong in whic h he appeals to ” a o e t Lind , Hear the v ic that, sof ly singing and 8 1 THE E LI XI R OF LO VE .

“ th e a s e for and a Ah ! r pturou du t Linda C rlo , ” th e s o w a es se Vi ion of thy S rro f d , which clo s the o pera .

i

” C he Qfil irir nt iLuhe.

O era ffa in two a s e Ro an . rs ro e in [ p bu , ct ; t xt by m i Fi t p duc d M an in 1 8 2 in En s at D r r Lane ea re Lon on in il 3 ; gli h u y Th t , d ,

PERSONA ES G .

NEMORI NO a o n s an an. , y u g hu b dm BELCO RE SERGE ANT . D CA A A a a n D R. e a . UL M R , tr v lli g qu ck A L NDLORD . A NOT RY.

P easan . IETRO , p t

A A a o n r . DIN , c u t y girl

GIANETTA , h r o e an o ns. ' ‘ c mp i F O RE I TA L ,

Fa ers easan s s o e s a e s etc. [ rm , p t , ldi r , vill g r , ]

Th e s ene is a in an I a an a e e as en r c l id t li vill g ; tim , l t c tu y.

FEW more graceful little operas have been “ ” a o . written th n The Elixir of L ve Its heroine,

A a a e din , a c pricious country girl, is loved by N mo

a e e rino, a f rm r, whose uncle li s at the point of

ea a s Bel core a a d th , l o by , serge nt, whose troops are e o o n a e A billet d up n the neighb ri g vill g . dina h as h er s e e both lovers in su pens wh n Dr . Dul

a a a a a a e a se h is c m r , qu ck , rriv s in the vill ge to ll

a o r a no strums . Nemorino pplies t him fo bottle

o and e of the Elixir of L ve , r ceives from him a bottle of ordin ary wine with the assurance that if he drinks of it he can c o mmand the love of any 6 8 2 AND ARD LI GH T OPE THE S T RAS .

a one on the morrow . To m ke sure of its agree

e of able properti s , he drinks the whole it with the result that he acco sts Adi na in a half- tip sy c on

n and s s sh e ditio , so di gu ts her that promises to

s a a e m arry the erge nt in w ek . In the mean time an s for a t e th e o s and order come the dep r ur of tro p , th e se ea sses h er a h im a da rg nt pre to m rry th t y .

A a se and a din gives her con nt, the second ct opens with the assembling of the villagers to wit ne th e s o f a a e o a ss igning the m rri g c ntr ct . While

a and no a et for th e the princip ls t ry r ire signing,

o e s and n n . a a e Nem rino nter , fi di g Dr Dulc m ra b gs Of him some charm th at will m ak e Adina l ove him ; but as he h as no m o n ey th e qu ack refuses to

. is a at s assist him Nemorino in desp ir, but thi

a s as th e juncture the serge nt enter out of humor,

s A a h as e u t e capriciou din r f sed to sign un il vening .

a emorino ee h e es Finding th t N n ds money, urg him

s and a e o f n s w nt to enli t, for the s k the bo u of t e y

s e o as ens cro wns he consent . N m rino h t with the

o e a and a n a m n y to the qu ck , obt i s second bottle of elix ir which is much more powerful than the

t th e a w is firs . The girls of vill ge someho have d ’ c overed that Nemorino s uncle h as died and l eft

a e n him a h ndsome prop rty, of which good fortu e ,

n i us owe . e e h ver, Nemori o is gnorant Th y all

e s to a a a Ne at th ir charm ttr ct his f vor . morino

e o a th e e and tributes his sudd n p pul rity to lixir, even the quack hims elf is surpris ed at the rem ark a e an in h is s e no a bl ch ge cu tomer . N mori now p ys

ff n a A o . dina in ki d by m king her jealous Dr .

C J L S E I H B E R G, U I U .

' GLhe Doctor of Sl tantara.

Co O ere a in two a s e o fe rs r t [ mic p tt . ct t xt by W l . Fi t p oduced a th e M se B os on Mass A r u um , t , . , p il 7 ,

PERSONA ES G .

D R. PA A S R CELSU . S N BA HA E OR LT ZAR. CA S hi s son. RLO , P EREZ, o p rt ers . SA CH N O, D l ON P P S a az . OM O O , gu il

D A L C A w fe of DR. PA AC S S ONN U REZI , i R EL U .

I SA A h er a e . BELL , d ught r

I h er a . NEZ, m id

Se ena e s iz ens etc . [ r d r , cit , ]

Th e s ene is a in A an ara S a n e as n r c l id lc t , p i tim , l t ce tu y .

HE first act of th is operetta opens with a

a so n efio d inty serenade by Carlos , of S r

a a a e sa a B lth z r, to S norita I bella, d ughter of Dr .

a o sa e a P racelsus , with whom he is in l ve . I b ll ,

e for who is int nded another by her mother,

e a e s a Donna Lucr zi , pref rs this unknown eren der.

As h e ses sa e a a and e t song clo , I b ll , Lucrezi , ev n the

a e and a maid Inez cl im it as a complim nt, qu rrel ” o an effe ff o You a a ver it in ctive bu o tri , S ucy J de .

Three songs follow this number, Beneath the 8 THE D OC TOR OF ALCAN TARA . 5

” o o Gloomy Convent Wall, When a Lover is P r , ’ ” was ve and There a Knight, as I been told , in which the three women recite their unfo rtunate love

ff As th e a airs . their songs close , doctor enters a wi th the announcement th t a basket has arrived , ostensibly for Inez . The curious Lucrezia looks

a e into it, and finds Carlos , who immedi t ly jumps

a a a - so out and sings p ssion te love ng, I love , I ” a a e a a love , which the inf tu ted Lucr zi t kes to her e t self. The love scen is interrup ed by a sudden noise , and in alarm she hurries Carlos. back into a the basket and flies . C rlos in the mean time gets out again and fills it with books . The doctor and

Inez enter, and to conceal the receipt of the basket

m a as fro Lucrezi , she might be angry with the m aid , they remove it to a balcony, whence by

e accident it tumbles into the river . Their t rror when they learn that a man was concealed in it makes an amusing scene , and this is heightened by A a the entrance of the lgu zil, who announces him ’ m H ol ito self in a pompous bass song , I Don yp ” s i Lopez Pomposo , and inquire nto the supposed murder . In the second act the situation becomes still further complicated when the doctor and Inez

a find Carlos in the house . Convinced th t he is a ff detective , they seek to conciliate him by o ering h im na him wine , but by mistake give a rcotic draught which the doctor had mixed for one of his e pati nts . Carlos falls insensible, and thinking

a e him him de d , they hid under a sofa . Mean 8 6 THE S TAND ARD LI GII T OPERAS .

a a a a o f o while Sefior B lth z r, the f ther the y uth whom I sab ella supp o ses sh e is to be fo rced to

a wh o a m rry, and turns out to be Carlos, rrives to As a p ass the night . they h ve no bed for him, he sleeps upon the sofa over the supposed corpse of “ A e o - ch o his own son . quartett , G od night, S r ” a s is n Balth zar, follow , which full of humor, mi gled

s f with gho tly terror, and grotesque in its ef ect,

s e a a a . a e p ci lly in the ccomp niment D ylight, how

s s a a ever, di pels the illu ion , and h ppy dénouement “ ” a a is re ched, in the fin le , Hope, ever Smiling, a a a which is quite brilli nt in ch r cter . The operetta

a s n a is very mu i g in its situ tions , the songs are and e and concerted is pretty tun ful, the music a ff particul rly e ective . FL T W F D IC V . O O , RIE R H O N

fi artha.

ra o e in ree a s e St. eor es . rs [Opé c miqu , th ct ; t xt by G g Fi t n enna No e er 2 produced i Vi , v mb 5,

PERSONAGES.

PLUN a wea o n far e . KETT, lthy y u g m r f e wa s Ea of D e L h is a o e o e a . IONEL , d pt d br th r, t r rd rl rby ’ L T S A MI CKLEFO RD LA H A S o s n. ORD RI T N , DY ENRIETT c u i

SH of R on fo o an to LA H A. ERIFF ichm d , tm DY ENRIETT

LA HE A Ma of H ono to th e een. DY NRIETT , id r Q u

- NA C h er wa n a . N Y , iti g m id M P OLLY ITT,

POLLY SMITH serv ants. , B S W ET Y ITT, ’ Fa e s fa ers wi es se an s ad es n e s h un [ rm r , rm v , rv t , l i , hu t r ,

esses and foo en. tr , tm ]

Th e s ene is a in R on En an e of een c l id ichm d, gl d ; tim Q u

Anne.

” HE first act of Martha, unquestionably all the most popular of light operas, Opens ’ during the progress of the servants fair at Rich

t d a o mond , whi her La y Henrietta, m id of hon r to

h er a the Queen , accompanied by Nancy, m id, and

a e and a Sir Trist n , her ag d cousin dmirer, tired of

l e s a t court ife , have r sorted in the disgui e of serv n s . In the first three scenes they arrange their mas 88 HE S TAND ARD LI GH T PE A T O R S .

uerade . s an s s is q Sir Tri t , much to his di gu t, to be as o and en e a as a a known J hn, Lady H ri tt M rth .

s e is two a e The fir t numb r a duet for the l di s, Of ” and o o the Knights so Brave Charming, f ll wed by a a ta a an nim ted trio with Sir Tris n , in d nce time .

Th e a - a fourth scene is laid in the m rket pl ce , in

h a a n e a a a e and whic ppe r Plu k tt, we lthy f rm r,

a e a a Lionel, his dopt d brother . The p rent ge of is but the latter unknown , he has a souvenir from his father in th e fo rm Of a ring which he is to present to the Qu een whenever he shall

in s find himself trouble . Lionel tells his tory in o a a tenor aria, L st, proscribed , a Humble Str n ” a ger, which has been a f vorite song the world

for a s a over ye r . The two have come to the f ir

e a are n to ng ge servants for the year, who bou d

e over by the sheriff . Plunkett and Lionel me t

Martha and Nancy, and are so delighted with their looks that they tender the customary bonus ' as ok e but which secures them . They accept it a j , find that it is a serious m atter whe n the young a off t i Sir s a f rmers drive with hem, leav ng Tri t n in despair .

’ ac f e The second t opens in Plunkett s armhous .

A a a n e t at fter h ving le rned their am s , Plunket

a c an do and es s tempts to find out wh t they , t t

s at s n - ee a them fir t the pinni g wh l, which le ds up to

e s n a e o the d lightful pinni g qu rt tte , When the F ot ” o no t a the Wheel turns lightly . It d es t ke the brothers l ong to find out that they h ave engaged

a e a a s servants who are more orn m nt l th n u eful, A A 8 M R TH . 9

et but they decide to keep them . Nancy in a p

s he r Off fo o w kick wheel over and runs , ll ed by

a n a a. Plunkett , leaving Lionel lo e with M rth He at

o h s r m once falls in l ve wit her, snatches a ro e f o her

o it sh e . b som , and refuses to return unless will sing

Sh e a a as replies with the f mili r song, The L t Rose ” n o a o o w a of Summer, i terp l ted by Fl t , and m de still more effective by introducing the t enor in the

h er a but sh e o refrain . He asks for h nd , makes sp rt

th e a re of him . In mean time Plunkett and N ncy

a ea t u o - ar e e o ows turn, and b u if l Go d night qu t tt f ll , ”

n o n s. et e and Mid ight S u d The brothers then r ir , Marth a a c a and N n y, ided by Sir Tristan, make

e e s their escap . The n xt cene opens in the woods

o where farmers are car using among them Plunkett, “ - o who sings a rollicking drinking s ng, I want to ” Th e ask you . revel is interrupted by a hunting a party of court l dies, headed by the Queen .

and a a Martha N ncy are mong them , and are rec o nized and g by Plunkett Lionel, but they are not recognized in turn . Plunkett attempts to seize him off Nancy, but the huntresses drive , leaving

Lionel and Lady Henrietta alone . The scene is

ffe th e a one of the most e ctive in oper , and contains a u beautif l tenor solo, Like a Dream Bright and ” Fair better known perhaps by its Italian ’ ” t a a e for a ti le , M pp ri , and a romanc sopr no , ” e e o es a Here in D ep st F r t Sh dows , the act closing c e e with a finely con ert d quintett and chorus . The

es e his d pairing Lionel b thinks him of ring, gives it him S w to Plunkett, and asks to ho it to the Queen . 0 H D A D LI 9 T E S TAN R GH T OPE RAS .

It proves th at he is the only son of th e l ate E arl

Of and es a h e h as e nu Derby , his t te , of which be n is t e e . jus ly d priv d , restored to him Th e opera reaches its musical clim ax in the

ac a second t. The third is m inly devoted to the

a h as a dénou ement . The Lady Henriett , who re lly

e e s o e is be n s riou ly in love with Li n l , united to a him , and it hardly needs to be added that N ncy and Plunkett go and do likewise .

S trahella.

Ro an o era in ree a s e Des a s and Pa n [ m tic p , th ct ; t xt by ch mp ci i . rs ro e as a r ra a at th e Pa a s Ro a ea re Fi t p duc d ly ic d m l i y l Th t , Par s in 1 8 rewr en nd ro e in its resen for at i , 3 7 itt a p duc d p t m , Ham r D e e er 0 bu g, c mb 3 ,

PERSONAGES .

A SSA S A A a fa o s s n e . LE NDRO TR DELL , m u i g r BASS a i an I , r ch Veneti . L A h is wa d EONO R , r . BA A B I , l R R NO an b dits. MA V L OLIO, P s o f S ra e a as e a e s a s a d [ upil t d ll , m qu r d r , gu rd , n p eo pl e o f th e Ro a n m g a. ]

Th e s ene is a in en e and Ro e e th e r c l id V ic m ; tim , yea 1 769.

THE story o f the Opera follows in the m ain th e

a a al and a a och r h al nar f mili r historic , prob bly p yp , rative a a a of the experiences of the It li n musici n ,

A e s a va l s andro Stradell , rying from it only in the dé nouemen th e eo n a t. Stradella wins hand of L or , the

a a o f ea e a a s f ir w rd the w lthy Ven tian merch nt, B s i,

a who is lso in love with her . They fly to Rome

2 A D LI GH T P 9 THE S TAND R O ERAS .

’ ea a Witness to my Fond H rt s Dre ming, the rol

- a s licking drinking song of the two br vo , Quick, let ” “ th e a a a W us drink, and b ndit b ll d , ithin Lofty ” a s s a e a Mount in , ung by Str d ll , in the second act ; an t i d and exquisi e terzetto , Tell me , then , Fr en ” a a a s B rb rino, sung by B s i and the two bravos wh en they hesitate to perform their work ; and ’ “ a e Str della s lov ly hymn to the Virgin, Virgin ” a M ria, humbly adoring, in the third act . G E N EE, R I C H A R D.

Manon.

O ra o e in ree a s e Ze . rs ro e in [ pé c miqu , th ct ; t xt by ll Fi t p duc d Vienna in

PERSONA ES G .

MARQUI S DE MARSILLAC.

H C h is ne ew. E TOR, ph ' ’ MA S D A E n s C am e n. RQUI UBIGN , Ki g h b rlai

BOMBARDI NE h is en an. , h chm S LOUI XIV. ’ MoNs A E. . L BB

NA s ess of th e Go en La . NON , mi tr ld mb ’ N IN ON L ENCLo s a fa o s ea . DE , m u b uty

MME . F AC DE RONTEN , ’ N S f n INON ri e ds. C SS B S OUNTE OULIER ,

GASTON . M ’ MME. A n s s ess. DE INTENON , Ki g mi tr Co n r e a i es easan s so e s o e s a es [ u t y r l t v , p t , ldi r , c urti r , l di , etc. ]

Th e scene is laid in Paris ; time of Louis th e Fourteenth .

HE first act opens at the inn of the Golden

a a a e L mb , near the g tes of P ris, k pt by

h as Nanon , who become so famous for her wit

s a direc and beauty that the Marquis de Mar ill c,

of a tor the Royal Theatre , t kes his nephew Hec

‘ tor there to see her. Thither also goes Ninon THE S TAND ARD LI GH T OPE RA 94 S .

’ l Encl os a to de , the f mous beauty, get a sight

Of a n sh e s s s h as a a N no , who, u pect , ttr cted

a n o h er th e a the tte ti ns of own lover, M rquis ’ i n a d Aub g é . She is told that N non is to be

a a and s m rried to Grign n , the drummer, return to

h e a a th e r . a city with suspicions ll yed Grign n ,

we a a s wh o ~ ho ver, is in re lity the M rqui , , in the dis

se a a gui of a drummer, intends to bduct N non . After a serenade to her she surprise s him with a pro posal of m arriage ; but when everything is

a a s re dy for the ceremony, the M rquis secure his

a o ac o a own rrest by his C lonel on c unt of duel .

th e a a o e While grieving over rrest, N n n r ceives a

en as a es a ring and some fri dly sur nc from G ston , ’ th e a Of l Encl os and p ge Ninon de , thereupon turn s to her for help in rescuing the supposed a Grign n from death , which is the penalty for

e du lling . ’ a The second act opens in Ninon s s lon . Mar sill ac e and Abbe , his neph w, an , who is one of ’ s e s an o Nin on lov r d c nfessor of Mme . de Main

’ o are ese at a a D Aubi né ten n , pr nt b ll, likewise g , who is r epro ached by Ninon for having rem ained a a so on h er t w y l g and forgotten bir hday . To escape embarrassment he Sings to her the same

h e h a n a n o a seren ade d su g to N no . Sh rtly fter ’ ward s N anon arrives to se ek Nin on s aid in saving

’ a a D Aubi né a o Grign n . In the me n time g , je l us

ec e a se h e a t a of H tor, b c u p ys cour both to N non and on a e and e rr o Nin , ch ll nges him , th y hu y int

’ the latter s garden and settle their quarrel with the A N N ON . 95

a h as sword . During their bsence Marsillac, who

’ ri nan s s a a S a noted G g eren de , lso ings it, accomp nied

s a o f a by the mu ici ns the court ch pel , but is only ’ e D u i né l aughed at for his trouble . Wh n A b g

h e as a th e returns from the duel , is ked to cle r up myst ery of this song ; but b efore h e c an do so th e

a wh o h as s e th e e and s s gu rd , e n duel , nters arre t

o h as o n e and e Hect r, who been w u d d refuses to giv a h the n me of is opponent . The third act open s in the private chapel of

’ a e e A n Mme . de M int non, wher the bbe si gs to her

sa e na o f a h Mar the me s re de in the f rm o ymn . ’ sillae app ears to ask for H ector s p ardon and ’ receives it wh en it app ears th at D Aubigne was n ’ Au i n the challe ging p arty . D b g é thereupon con

a h er a e e a e gr tulates upon her birthd y with the s r n d ,

a a e ea a o ne and M rsill c r p ts it . Ninon and N n n xt ’ a s D Aubi né appe r to intercede for their lover , g

a n esen s an w t and Grign n . The Ki g pr t N on i h the

e n and sh e in e n n lif of Grigna , turn , r cog izi g Gri

an se th e a n o gn , pre nts p rdon to Nino . T uched by h er e f e s a h is a and g nerosity, Grignan o f r N non h nd ,

. a e is e h a e at Mme de M int non , who som w t un asy ’ n a a the King s evide t admir tion for N non , gives

’ a bi né her consent and she is m d e M arquise d Au g . The music of N anon is gay and brilliant

a n s are th e e e throughout . The princip l umber s r ’ e n as is s a es a nade , a minstr l s so g, it u u lly d ign ted , Ah wh at a Joyful Day is this ; I am so Full o f ” is ea s all e Glee , which h rd in variou forms in thr e

’ acts ; the Opening drinking - choruses N anon s 6 TAND ARD LI GH T OPE AS 9 THE S R .

“ a a o s a e b ll d , Once bef re thi T v rn straying the

o s O f e a s H ere jolly ch ru the country r l tive , we

o A come in Tr ops of Dozens , Uncles , Nephews, unts, ” ’ s s a a All and Cou ins Ga ton s b ll d , that French ” ’ “ men e o now will he d ; Hector s song, Y ung ” a a n th e ppe ri g, in second act ; and the lively a concerted finale of the l st act . O D C L S. G O U N , H A R E

fil irel l a.

Pas ora o era in ree a s e Carr . rs ro e [ t l p , th ct ; t xt by é Fi t p duc d at th e Th éfitre L e Par s Mar 1 yriqu , i , ch 9,

PERSONA ES G .

M A a e of Ra o n o . IRELL , d ught r im d - TAVENA a fo r ne e er. , tu t ll

ANDRELUNO a s e e bo . , h ph rd y

C A s s e o f C . VIN ENZIN , i t r VIN ENZO A a i C a e san . LEMENZ , p t g rl

C Z o e of M A. VIN EN O , l v r IRELL

AS h is a . URI , riv l

RA a wea far e . IMONDO , lthy m r

A fa e o f C . MBROGIO, th r VIN ENZO

a ers z ens etc. [Vill g , citi , ]

Th e s ene is a in Pro en e e th e as en r c l id v c tim , l t c tu y .

“ e a HE op ra of Mirell , in France known as “ ” e e is Mireio Mir ill , founded upon the a was a of Mistral, the Provenc l poet, and origin lly

a was e e written in five cts . Subsequently it r duc d

e ts and a to thr e ac a waltz was added to the fin le .

’ o o o e a Th ugh one of the lighter of G un d s op r s,

a a a a and not very strong dr m tic lly, it has gre t

c s e lyri beauty . The fir t scene op ns in a mul

e e a e b rry grove . Mir lla is r lli d by the girls upon

e for o a - a her lov Vincenz , the b sket m ker, and is 8 DA D LI 9 THE S TAN R GH T OPE RAS . a Tavena - a lso warned by , the fortune teller, ag inst

h er a as sh e ese yi elding to att chment, for es th at ’ a on a a R im do, Mirell s f ther, will never consent to

e the union . When she me ts her lover, however, and a an they renew their pledges rr ge, if their a pl ans are thw rted, to meet at the Chapel of the Virgin . The second act opens with a merIy - m aking at

e Tavena c h as Arl s . informs Mirella that Vin enzo

a a a s e a riv l in Uri s , wild herd man , who has ask d

a e w s her h nd of her father. Mir lla ho ever repul es ’ a Am him when he brings the f ther s consent . ’ a brogio, Vincenzo s father, and his d ughter, Vin ’ a a n z s cenzin , intercede with R imondo in Vi cen o

a a ea behalf, but in v in . Mirell , who has overh rd

a a a them, decl res to her f ther her irrevoc ble

a fo r n att chment Vincenzo , which throws him i to

a a e h e such a r ge that he is bout to strik her . S is s aved from the blow by appealing to the mem o ry of her mother . The last ac t opens upon a d esolat e sunburned

a n a ss a pl i . Mirella appears toiling cro the hot s nds to keep her appointment with her lover at the

a e Andreluno Ch p l of the Virgin , accompanied by ,

m a e the shepherd boy, singing to the acco p nim nt

Tavena and of his pipe . meets them , assures

a a e Mirell th t Vincenzo will keep his appointm nt, and then return s to Arles to plead with the father ’ a a a in Mirell s beh lf. The poor girl rrives at the

a e a ch p l nearly pro strated with the burning he t .

n e Vince zo soon appears, and is shortly follow d by

E D C K L T. H U M P R IN , E N GE B E R

Danae! ant! Gretel .

v a r o era in ree a s e Y e e rs roduced in [F i y p , th ct t xt by tt . Fi t p , G ermany in

PERS N E O AG S.

- P a o o a e . ETER, br m m k r

G h is w fe. ERTRUDE, i W CH IT .

HAN SEL .

GRETEL . SA A th e s ee fa r NDM N , l p i y . D EW A th awn a r M N e f . , d i y

An e s wi h es and fa es [ g l , tc . iri ]

Th e s ene is a in a er an fores e th e resen . c l id G m t tim , p t

“ ” HE sto ry of Hansel and Gretel is based ’ a a s upon one of Grimm s f iry t les . The fir t

- a e act opens at the house of Peter, the broom m k r, who with his wife is away seeking food . The a e e e children , H nsel and Gr t l, have b en left with and a a injunction s to knit m ke brooms . Inste d of

e s working they indulg in a childi h romp , which is

e h as e . interrupted by the moth r, who return d In

s was her anger she up ets a pitcher of milk, which e th e only hope of supper in the house . Th reupon h she sends them into the forest, and bids t em not to come home until they h ave filled their basket HANSEL AND GRE TEL. 1 0 !

with strawberries . When Peter returns he brings a provisions with him , but breaks out in a fit of r ge when he is informed the children have been sent a Of aw y, telling his wife the witch who haunts the

- se woods, entices children to her honey cake hou ,

a e . b kes them into gingerbr ad , and devours them Th e second act opens with a ch aracteristic in “ ’ ” m ntal stru e . number, The Witches Ride The

a Il senstein children are disclosed ne r the , making garlands and mocking the cuckoos in a beautiful duet with echo accompaniment . At last they

a are ost and s re lize that they l , their di tress is

n s heightened by stra ge sight and sounds . In the

o f a a a midst their trouble the Sandm n ppro ches,

w a S stre s s nd in their eyes , and sings them to leep n with a charmi g lullaby, after they have recited their prayer, When at Night I go to sleep , Four ” a As An . teen gels W tch do keep they go to sleep , the fourteen angels come down and surround a a them , while other angels perform st tely dance . ’ The third act is called The Witch s House .

an a a The gels have disappe red , and the Dawn F iry wakens the children , singing a delightful song, ’

m a . s I up with E rly Dawning Gretel wakes fir t, and s a h rou es H nsel by tickling him wit a leaf, accompanying the act with a tickling song . Wh en ’ a a e f irly roused , th y discover the witch s house ,

an S and a e with oven on one ide a c ge on the oth r . a ee and a E The h ouse is m de of sw ts cre ms . n

s th e a ticed by its sweetnes , hungry children bre k off a fr gments, and are surprised at their work by 1 0 2 I H T THE S TANDARD L G OPERAS .

s the old witch within . She come out, and , after a a a series of invoc tions, accomp nied with character

s a i tic music, prepares to b ke Gretel in the oven ; but while she is looking into it the children push

. a a her into the fire Then they d nce a witch w ltz ,

a a s and me nwhile the oven f ll into bits . Swarms a of children rush round them , rele sed from their

e ging rbread disguise, and sing a song of gratitude as two of the boys drag out the witch from the m a ruins in the for of a big cake . The f ther and mother at last find the children, and all join in “ the pious little hymn, When past bearing is our ” e Gri f, God , the Lord , will send Relief. It is only ’ a e is a little child s t l , but it accompanied by music of the highest order, and built up on the same plan of motives which Wagner has used in his imposing i elun i N b g Tr logy.

1 0 THE S TAND ARD LI GH T OPERA 4 S .

s his most conspicuous succe ses . It is also true that few mu sical comedies h ave been more suc “ n c essful than Ermi ie . At the opening of the o a a a a e a per , g ll nt on the way to his b troth l with a young lady -wh o m he h as n ever seen is at

a Ravannes a a t cked by two thieves, and C de ux, who c arry off his wardrobe and tie him to a

e a Ravannes tr e . L ter, arrives in the midst of

a and a se off the betroth l festivities , p s s himself as

e s n a the exp ect d gue t . He i troduce s C ade aux as

a and a s a a noblem n , expl in their l ck of proper ttire with the statement that they h ad been robbed th e wa e h as a while on y th re . Erminie an ffection ’ a e a and e for Eugene , her f th r s secret ry, non for the man a s n who cl im to be a suitor for her ha d .

n was e o f Er st , who the r al victim the robbery, and a s who is in love with Cerise , esc pe from the

a w th e a predic ment in hich two thieves pl ced him ,

a for and rrives in time the festivities, to find him s elf den ounced by Ravannes as the highwaym an a a Ra who had tt cked them earlier in the day .

a es s e a v nn , by as uming gr at m gnanimity and a

ta no ff cer in bility of conduct, and by his pro ers of h elp to Erminie in securing the man she loves in

e h er ss s a r turn for a i t nce in his plans, of which she

o e a a e se of c urs is ignor nt , so ingrati t s him lf in her confid ence that he ne arly succeeds in robbing

s th e two a a the hou e . In end , however, the v g

o a e s a b nds are unm sked . Eug ne Obtain the h nd of Erminie, and Ernst and Cerise are equally

o a f rtun te . 1 0 ERMI NI E . 5

The music of “ Ermi nie is light and graceful

’ a throughout . Its princip l numbers are Erminie s “ ” Ah ! o n song, when Love is Y u g ; the duet for “ a and Eugene and Erminie , P st Future the ’ “ a s a a M rquis tirring m rti l song, Dull is the Life ” ’ of the Soldier in Peace ; the rollicking thieves “ ’ re a duet, We a Phil nthropic Couple, be it ’ “ At known Erminie s pretty dream song, ” and Midnight on my Pillow lying, the lullaby “ ” Dear Mother, in Dreams I see her, which is the gem of the opera ; the song and whistling “ ” s a sa a choru , Wh t the Dicky Birds y the voc l “ ” s s a as gavotte, Join in Plea ure , d nce a Me ure ; “ ” and - the concerted piece , Good night, which leads up to the close of the last act . L C C . E O Q , C H A R LE S

- QBiruflé Qfiirufl a.

O era o ffe in ree a s e an oo andAterrier rs [ p b u , th ct t xt by V l . Fi t ro e at th e Théfitre des an as es Par s ennes B r sse s p duc d F t i i i , u l , Mar 2 1 1 8 in Par s No e er 1 1 1 8 in New ch , 74 ; i , v mb , 74 ; York at th e Par ea re k Th t ,

PERSONA ES G .

’ D ON B D ALCARAZAS P a th e a e. OLERO , EDRO , p g

S an s an ee . P p i h gr d AQUITA .

MA AS an e . P A C H R QUIN , b k r IR TE IEF . O Mo r MOURZ OK a o s ef. G A H , i h chi ODF T ER . ’ G E D ON Bo LERo s w n G H IROFL , 1 t i ODMOT ER . GI RO FLA a e s FERNA , I d ught r . ND .

A e r o e . G A URORE , th i m th r UZM N . Co s ns es a s a Mo o es ra es s etc. [ u i , brid m id , p g , pi t , r , ]

Th e s ene is a in S a n i e th e as en r c l id p i ; t m , l t c tu y .

“ HE opening scene of Girofl é- Girofl a “ La a A which , with Fille de Mad me ngot, m ade the reputation of Lecocq as an opera ’ o ff s d Al ca b u e compo er, introduces Don Bolero

a a a s A o r z s, a Sp ni h grandee , and ur re, his wife ,

a Giro fl é an d Girofl a also their twin d ughters , , wh o marria ebl e a a , being of g age , h ve been h stily

Girofl é a a a e betrothed , to M r squin, a b nk r to whom

on Girofl a D Bolero is heavily indebted , and to

Mourz ook h as a , a Moorish chief who m de reg ular demands upon Don Bolero for money on

1 8 0 THE S TAND ARD LI GH T OPERAS .

e their apartm nts . Marasquin has passed a quiet

Mourzo ok a n night, but has sm shed the fur iture and f his a escaped thro ugh the window rom ch mber . The parents assure Marasquin that even if Mourz ook

a a a o and returns he will h ve to le ve th t afterno n , sug gest that there can be no h arm in letting him have a a s re Girofl é for his wife until th t time . M ra quin luctantl s s and Mourzook y con ent , when returns and Girofl é e Giro fl a is pres nted to him as , a a ridiculous love scene occurs , which Mar squin

n a o contrives to i terrupt by v ri us devices . Finally

o f Girofl a a a a the return is nnounced, and M t moras

sa a ea s ea n h er a . with his ilors pp r , l di g by the h nd a a a all Expl n tions are m de round , the parents are

e and Mo urzook is a s e forgiv n , s ti fi d . The music is lively throughout and oftentimes

a and a a s a brilli nt, of a higher st ndard th n u u lly characterizes opera bouffe The most taking numbers are the ballad with pizzicato accompani “ a s est ment, sung by Paquit , Lor que la journée ” “ finis ( When the Day is the con “ c erted n A a e semble , la ch pelle ( To the ’ o es es a Church the gr t que pirat chorus, P rmi ” “ les ch oses délicates ( Among the D elicate Things to and the sparkling duet for Girofl e “ ’ ” “ as n e fini l e a a and Mar qui , C st , m ri ge ( The Marri age h as been in the first act

a a a s Ecoutez s the bacch n li n choru , cette mu ique Listen to this leading up to a dance ; a a - e a a o as viv cious and well written quint tte , M t m r , ” a “ grand c pitaine ( Matamoras, our Great Cap LA FI LLE D E MAD AME AN GO T 1 0 9

“ n a a - tai a f scin ting drinking song , Le Punch “ scintille ( This Flaming and the an ’ Girofl e Girofl a s o dante duet O , O , a m oth , ten

w is der melody, hich in striking contrast with the

- it and a drinking music preceding , th t which imme diately follows the cho ru s of the h alf- tipsy wedding ’ ” ” es s l e a is gu t , C est c non It the Cannon ) “ and a the rondo , Be u pere une telle demand t Oh , my Fa her, now you sung by Ma ras uin Mourzook Girofl e q , and the duet for and , “ ” “ Ma belle Girofl é ( My Lovely in the third act .

lLa f ine he fil ahm e fi agot.

O era o ffe in ree a s e C a r e Sirandin and [ p b u , th ct ; t xt by l i vill , , on rs ro ed at th e an as es Par s ennes B r sse s K ig . Fi t p duc F t i i i , u l , No e er 1 8 2 in Par s at th e oli es D ra a es e r ar v mb , 7 ; i F m tiqu , F b u y 2 3 ,

E A E P RSON G S .

a e of th VOTTE C A A e A . L IRETTE NGOT, d ught r J

AMARANTH E. m arket .

M . LA o e enne . CYDALI SE. LLE NGE , c m di H ERS I A P s ee s n er. IL E. NGE ITOU , tr t i g BA BET O MPO NNET a r resse . . P , h i d r E E R A D I R T ENITZ . LARIV U , p olic e o ffici als . LOUCHA RD ! ,

Bo eo s ena e s o ns a o rs ssa s se an s [ urg i , gr di r , c pir t , hu r , rv t , men t rk two e c . ma e , ]

Th e s ene is a in Par s e a o th e er o of th e c l id i ; tim , b ut p i d n Re o on F re ch v luti .

THE first act opens in a market square in Paris where th e marketwomen and oth ers in ho liday 1 1 0 THE S TAND ARD LI GH T OPE RAS. co stume are m aking ready to c elebrate the wed

o f Po m o nnet a and a e ding p , the h irdresser, Cl ir tte ,

a th e a a a A n the d ughter of l te M d me ngot . Duri g

a a h a the festive prep rations, for which Cl irette s

‘ ff are A little desire , as her a ections fixed upon nge a t a Pitou, stree singer, who is continu lly in trouble

s a a by rea on of his political songs , the l tter m kes a his appear nce . He is informed of the forth n a n coming weddi g, which has been rra ged by the a m rket people, who have adopted Clairette as

At a Lari au the child of the market . the s me time v and n a f a diere Lo ch rd , the police O ficials who c used his arrest because of his knowledge of the relations

Larivaudiere o se c o of and Madem i lle Lange, the

a a a s medienne and f vorite of B rr s , are surpri ed to a find him at l rge . To prevent him from reciting his knowledge in a song which he is sure h as been Larivaudiére off subse written , buys him . Pitou

e a o qu ntly regrets his barg in . When the cr wd

a s cl mor for a song, he says he has none . The

a e people are furious with him , but Cl ir tte comes

h as n to his rescue . She found the song denounci g

Larivaudiére a notwith stand , sings it, and is rrested , ’ Pitous a ing declaration th t he is the author of it . ’ The second ac t Opens in Mademoiselle Lange s

a o h as a a a e a e lai s l n . She persu ded B rr s to r le s C

e and a h er a a e s so r tte h ve her brought to p rtm nt , th at she may discover why sh e sings this song

n h er a denouncing the government and insulti g lso . In the mean tim e she h as al so sent for Pompon

h er a a his net , h irdresser, and informs him wh t

1 1 2 ARD LI H T P THE S TAND G O E RAS .

’ “ ranthe s jolly couplets, Marchande de marée ’ A ea ish woman A e Pitous o B utiful F ng rond , ’ ’ C ertainement j aimais Clairette T is true I ’ e a e e and a lov d Cl ir tt Cl irette s spirited song, “ a s o s a J di les r i , r ce proscrite Once Kings, a Rac e in the first act another equally “ ” “ e um spirit d song , Comme Coursier ( Like a ’ “ Po m onnet s p pretty air, Elle est “ ” tellement innocent e ( She is so innocent ) a charming sentimental duet for Mademoiselle Lange “ o t and Clairette , Jours f r unes de notre enfance “ ( Happy Days of a striking eu e a e l e s mble in the form of quintette , Oui, j vous ’ ’ t A dis, c est pour elle Yes, is on her ccount ’ a a alone and the f mous conspir tors chorus, Quand on conspire When o ne conspires ’ in the second act : and Clairette s couplets with “ “ o a l a ch rus , Vous aviez f it de dépense ( You ” put yourselves to Great Expense ) the humoro us “ ” Larivaudiere and Po m onnet Cl ai duet, p , and ’ “ ’ ’ rette s so Ah ! c es o Ah ! t is ng, t d nc toi a you, in the l st act . LO TZ I L T G . R N , A B E R

6 3st aah Earpenter.

O ra o e in ree a s e and s Liirtzin . [ pé c miqu , th ct ; t xt mu ic by g First produced in B erlin in 1 8

ERS NA ES P O G .

f R ss a n e th e na e of PE P I . Cz a o ETER , r u i u d r m TER

MICHAELHOFF. w i P I VA a o n R ss an s . ETER NOFF, y u g u i hip r ght

H VAN B o as e o f Saardam. ERR ETT , burg m t r

E L R ss an a assa o . G N . EFORT, u i mb d r

L SYND HAM B s a assado . ORD , riti h mb r

MA S C HA A F en a assa o . RQUI OF TE UNEUF, r ch mb d r

MA n e e of th e o as e . RIE , i c burg m t r

NVIDOW B s ess of th e s ar . ROWN , mi tr hipy d

S wr ts wo en sa o s a e s etc. [ hip igh , rkm , il r , vill g r , ]

Th e s ene is a in Saardam e th e ear 1 6 8 . c l id ; tim , y 9

“ HE opening of the first act of the Czar and C arpenter discloses Peter the Gre at

f a es o s a and Peter Ivano f, d erter fr m the Rus i n a rmy, at work in the shipyard of Mrs . Brown in aa m a S rda . an a a s The British d French mb s dors, having been n o tified that the Czar is there in dis a guise , are se rching for him with the object of

a a a negotiating tre ty with him , or, f iling that, to abduct him The British ambassador employs the pompous burgomaster of Saardam to find 8 1 1 HE S TAND ARD LI GH T OPERA 4 T S .

him a Russian named Peter, without however dis a closing his real ch racter to him . The burgo m aster h app ens upon Peter Ivanoff and brings a a hi m to the amb ss dor, who, supposing him to ! th e s e a t be Czar, e ks to arrange a tre ty wi h him , and finally gives him a p assport so that he may a ea e l o f aa m s . S rda vi it Engl nd M nwhil the peop e ,

d a e being informe th t the Czar is with th m , prepare

e a r ception for him .

h as The French ambassador, who also been

e n a s a s archi g for the Cz r, find the re l one by tell ing h im th e sto ry o f a Russian defeat which causes

him e . no w to b tray himself The Czar, who is anxious to go home and crush out the rebellion , seeks for some means to get away without the n knowledge of the Dutch and the E glish . Find ing out by chance th at Ivan off h as an English

as s n f p sport, he secures it, and give Iva o f another paper which he is not to open until an hour h as

as a f is e th e p sed . During this time Iv no f njoying

o e public recepti n, which suddenly is int rrupted by

s wa th e cannon report . The gate y of port is

e s n a ss a and op ned , howi g the Cz r with the Ru i n

a a s a a a ff ns French amb ss dor s iling way . Iv no ope

and a a o was th e his paper, finds th t his comp ni n

a h as a as e as Cz r, who given him a good situ tion w ll

a a e his consent to his marri ge with M ri , the burgo ’ a e m ster s ni ce . The leading numbers of the first act are the ’ “ a e s s A c rp nter spirited ong, Grip your xes ’ “ a Ah ! a M rie s jealousy song, Je lousy is a Bad

L D E . U R S, G U S T A V E

Bing Dunn.

A s a o e in ree a s e P rs e . ro [ mu ic l c m dy , th ct ; t xt by ixl y Fi t p duced at th e S e a er ea re C a o Ma 2 tud b k Th t , hic g , y 7 ,

PERSONA ES G .

D I KI NG ODO .

P Co C a e a n. EDRO , urt h mb rl i

D R F Co r s an. . IZZ , u t phy ici

M C o s o an. UDGE, urt hi t ri

SA CH an nn ee e . N O , i k p r

B A e n s e to L . ONILL , prim mi i t r Q UEEN ILI W LO BAS OOD .

LO PEZ .

D IEGO .

JO SE.

UN I O .

Q UEEN LILI . ’ A A th e n s wa . NGEL , Ki g rd

P A a s o er of fo ne. IOL , ldi rtu

ANNETTE .

Co r ers n s ad es etc . [ u ti , k ight , l i , ]

Th e scene is l aid in Dodol and and th e South Sea islands ; e th e resen tim , p t .

” ING DODO, though usually set down on

o a as e a the pr gr mmes a comic op r , strictly

ea e a sp king , is a musical comedy, or com dy oper . I ts plot turns upon the efforts of King Dodo to 1 1 R I N G D OD O. 7

o a find the elixir of y uth . His adventures c rry h im from his own kingdom In the land o f no where in particul ar to the South Sea i slands and

a few s o e s back, ab urd l ve pi odes adding to the

S at o s humor of the itu i ns in which he find himself.

Old is a A e a The King en moured of the Princess ng l , and to s ecure her he determin es to find the

a w o fount in which will rene his y uth . His Court

s a h as a t phy ici n f iled in the attemp but Piola, a ” e a w soldier of fortun , cl ims to kno where the

a e a s a n n fount in is, but d m nd th t whe he fi ds it he a A a sh ll have the hand of ngela as his rew rd . The

s and a King reluctantly con ents, st rts with his whole

establishment to find it . The wonderful spring is

a S oo us and discovered in the l nd of the p pj , there n Ki g Dodo also finds Queen Lili , who promptly i a falls in love w th him , because her ide l for a

a husband is a man full Of ye rs and experience .

we m The King, ho ver, accidentally drinks fro the

o a s e o f unt in, and is tran formed into a child, wher up n

u As a s a the Q een rejects him . the w ter fortun tely m work both ways, when Dodo is thrown into the and by conspirators, he becomes himself again, the Que en devotes herself to him anew with such as d siduity that they are united . Pe ro and Annette and Piola and Angela al so improve the

a et a and all e occ sion to g m rried , r turn in great

Dodol and glee to . ” a all The music l numbers in King Dodo , are

h e of a light, catc y kind , their succ ss depending

o much up n the sprightliness of the performers . 1 1 8 HE S TAND AR D LI GH T OP T E RAS .

’ The most popular are th e Cats Quartette ” ’ a e th e e- s The T l of Bumbl bee ; Piola song, “ ’ ” a e I ll do or die , which is accomp ni d by a “ ” o Zamona stirring ch rus ; the melodious , sung by Angela and choru s ; a drinking - song of a “ spirited sort by Ann ette and chorus ; The ”

e . n Emin nt Dr Fizz, su g by the doctor himself ; “ ” and The J olly old Po tent ate and the topical ” s ong, They gave me a Medal for that, sung by

King Dodo .

GIhe p rince of Eileen.

A s a o e in two a s e P e rs ro e [ mu ic l c m dy, ct t xt by ixl y . Fi t p duc d in th e re on eatre B os on Ma 2 1 T m t Th , t , y ,

PERSONA ES G .

CA O th e Pr n e . RL TTO , i c A an z n H A S WA an e e . N GNER , m ric citi

TOM WA h is so n. GNER ,

T H W C . ARTH UR S . JO N ILBERFOR E

FR ANCOI S. A MRS MA S C C an e an w o w. . DI ON RO KER, m ric id

S IDONIE . H EDIT .

NELLIE .

JIMMY .

- To s s s den s fl ower s Sa o s etc. [ uri t , tu t , girl , il r , ]

Th e s ene is la in N e e th e resen . c id ic tim , p t

“ THE o f sen a and ma Prince Pil , the l test, in ny ’

es ec s th e es . t o e r p t b t, of Mr Luders produc i ns , lik

o s s a e a h as m t mu ic l com dies of the prev iling kind , but a brief and somewhat incongruous story . The

1 2 0 THE S TAND ARD LI GH T OPERAS .

e both of th m . In the second act all the com a n a plications get str ighte ed out . The re l Prince ’ a e m rrie s the brew r s daughter, and the brewer him

a A self t kes home the merican widow, Mrs . Madison

Crocker, as his wife . On this somewhat slight thread of a plot the

h as s composer strung numerou bits of lively, ex h il aratin g music , some of it of a decidedly better

a s a kind th n is u u lly found in these potpourris, but the most of it of the sort which is popular a a a nd e sily c ught up . The number of the lyrics

o a and as well as of the t pic l songs , choruses, ex trava anz as a g is so l rge, and they are of such r uniformity in inte est and tunefulness, that it is f di ficult to single out the most conspicuous . The

a numbers, however, which have made the gre test ’ “ ’ s a a succe s are W gner s topic l song, He did n t know exactly what to do a charming smoking “ a Of song, Pictures in the Smoke the T le the ” - s Sea shell ; the unaccompanied male choru , ” ! e h Oh Heidelberg, dear Heidelb rg, whic ’ should be a favorite students song and the Song ” a of the Cities, in which the peculi rities of the a A girls of v rious merican cities are imitated, the

far as song ending with a droll cake walk . So

e s numbers go, ind ed , the opera present a bewilder ing embarrassment of good things . E SS V CT . M A , I OR

1911111 ant! Birginia.

R an o era in ree a s and se en a ea e [ om tic p , th ct v t bl ux ; t xt by B r rs ro e at th e O ra Na ona L Carré and arbie . Fi t p duc d pé ti l y r e Par s No e er 1 1 8 6 in Lon on ne I 1 8 8 in iqu , i , v mb 5, 7 ; d , Ju , 7 NewYor Mar 2 8 k, ch ,

PERSONAGES .

PAUL .

- ROIx s a e as e . ST. C , l v m t r

a o s a e . DOMINGO , m ul tt l v

B A S o e no of th e is an . M. LA DE OURDONN I , g v r r l d

NEGRO SLAVE . A VIRGINI .

M A A a o s a e. E L , mul tt l v m A MME. LA T o e of . DE OUR, th r VIRGINI MA A o e of PA RG RET, m th r UL .

OVERSEER . LA an -a n o f O LD A. DY, gr d u t VIRGINI f h e s n sa o s a e In a an s o t a s s etc. [ h bit t i l d, il r , l v , ]

Th e scene is laid upon an i sland on th e African coast ; een en r th e eight th c tu y .

“ HE story of Paul and Virginia, Masse s

a Bernar m sterpiece, follows the lines of ’ a a din St. Pierre s be utiful romance of the s me name . The first act opens with the recital of a the history of M dame de la Tour, mother of

Virginia, and Margaret, the mother of Paul, and 1 2 2 ’ A D LI GH P THE S TAI VD R T O E RAS . r eveals the love o f the two children for e ach o e are s s n advi ther . Whil they di cus i g the s a of n a bility sendi g Paul to Indi for a time, against which his slave Domingo pite ously pro

es s s a e o wa s a t t , i l nd rs come rushing t rd the c bin

a a a s announcing the rriv l of ve sel from France . I n h op es that sh e will have a letter announcing that she h as b een forgiven by the relative s who

a e e a a l a h v r nounced her, M d me de Tour goes to o A w e the p rt . love scene bet e n the children

o w th e en f llo s, which is interrupted by hurried

a Of a e m tr nce the sl ve M ala, who is flying fro

n s e a w h er St . t o pu i hm nt by m ster, . Croix The offer to go back with her and to intercede for

s s u her forgivenes , in which they are uccessf l . St . h as a Croix, who designs upon Virgini , begs them to rem ain until night ; but M eal a warns th em of

an e in a s e ea their d g r ong, and th y l ve while St .

a e o a Croix wre ks his rev nge up n Me la . The s ec ond ac t open s in the home of Madame de l a h as h ad a To ur . She letter from her aunt

o n h er a f rgivi g , making Virgini her heiress if she

to a and e will come Fr nce, s nding money for the

A e s e we journey . ft r a long truggl bet en duty to

and o for a sh e o . her mother l ve P ul , declines to g

ea a a e a e a a M l m kes th m nother hurri d call , g in

St. flying from Croix, who this time is pursuing h er t o s n wi h a two f ld purpose , first, of puni hi g

ea a and e a a s s M l , s cond , of c rrying out his b se de ign a a s ea at s g in t Virginia . He soon app rs the hou e and demands his slave , but Paul refuses to give

1 2 S TAND ARD LI GH T OP 4 THE E RAS .

“ a for beautiful ch nson Domingo, The Bird flies ’ “ ’ “ a Ah ! yo nd er P ul s couplets, crush not my Courag e the p assionate du et for Paul and Vir ” i a Ah s o s n s g ni , ince thou wilt g , clo i g in uni on ’ “ a a Ah and Virgini s florid ari , , what Entrancing ” a e Calm , the c denza of which is exc edingly brilliant . The best numbers in the short last ’ “ are Meal a s a act song, In v in on this Dis ’ “ a s e s t nt Shore Paul letter song, D are t Mother

v s s and the i ion and torm music at the close .

Onera Engage.

O ra o e in ree a s e Lockro and Ba [ pé c miqu , th ct ; t xt by y ttu . rs ro e at th e eare L r e Par s De e er 2 Fi t p duc d Th t y iqu , i , c mb 7 ,

PERSONA ES G .

T LA REINE OPAZE . LE CA P A RA A IT INE F EL. A ANNIB L . FRANCAPPA .

FRITELLI NO .

FI LOMELE.

G s es so d e s etc . [ yp i , l i r , ]

Th e s ene is a in ran e e as en r c l id F c ; tim , l t c tu y .

QUEEN TOPAZE La Reine Topaze is one ' of the few of Massé s e arlier works which h ave

a a its held the bo rds, mainly on ccount of charm

r l e ee was ing melodiousness . The O of the Qu n a gr eat favorite with Miol an- Carvalho and Parepa ff Rosa, as it o ers opportunities for brilliant vocal ’ E 1 2 Q UE N TOPAZE . 5

execution . Its story is of the slightest kind . In h er infancy Top aze is stolen by a band of gypsies

e a and ev ntually becomes their queen . She f lls in o a a a l ve with R f el , a c ptain whom she wins from

affianced . his , a rich noblewoman He does not

a e e s m rry her, how v r, until she di closes to him the

e a secr t of her birth . Some bypl y among the

s a o As gypsie supplies the humor of the situ ti ns .

far a i In a a to the text it is from dram t c ch r cter, and a a a the di logue is tedious nd dr gging .

e The music , however, is exc llent, and it was to this feature that Mas se owed his election in the ’ year of its production as Auber s succe ssor in the

a e articu French Ac d my . The gypsy music is p

l arl a . a y ch rming There are lso a clever sextette , un We are six noblemen indeed , there is an usual amount o f six and seven part writing in the “ ” l opera ; the Song of the Bee, a delightfu melody for Queen Topaze with a particularly characteristic a accomp niment, likewise a brilliant bolero ; a

act for fa lovely romance in the last Ra el, and a somewhat dramatic narrative song for him in the first act ; and a skilfully constructed trio for Anni

al and a b the two gypsies . The rem ining number

a l a e o ne of import nce is an interpo t d , The ” a a a a o ns C rniv l of Venice , with the Pag nini v riati ,

was s e Miol an- which fir t introduc d by Carvalho,

r l the creator of the title Oe. 1 2 6 TAND ARD LI GH T THE S OPERAS .

e a s Ch fil rri ge of fl eannette.

era o e in one act e Carr and B ar er r [i c miqu , t xt by é bi e. Fi st ro e at th e O ra Co i e Pari s e r ar 1 p duc d pé m qu , , F b u y 4 , 853 ; in New Y r in o k,

PERSONA ES G .

A JE N . A JE NNETTE . TH S OMA . P P ETIT IERRE . [Ch oru s of p easant s ]

Th e s ene is a in a ren o n r a e e c l id F ch c u t y vill g ; tim , n r ce tu y .

N OTHING could be simpler than the story of ’ “ ” a s M ssé s little Opera, Les Noce de Jeannette “ ( Th e M arriage of which was first s 1 8 6 1 a given in thi country in , with Cl ra Louise

Dubreul a Kellogg and M . in the two princip l parts, and twenty - five years later was a favorite in the

o A a a repert ry of the meric n Oper Company, under

e o f a the dir ction Theodore Thom s , who produced ’ an a e - ac t a it as ft r piece to Delibes two b llet, ” “ s Sylvia The story concerns only two person .

a a s s a n t Je n , boori h ru tic, f lls in love with Jea ne te

a a On e - da and proposes m rri ge . the w dding y,

e a s however, he sudd nly ch nges his mind , and ju t as the notary hand s him the pen to Sign the c on

a e h is e s and s . a ne tract , t k s to h el run home Je n tte

s a an a a and follow him up to dem nd expl n tion, pre tends that Sh e will not forc e him to marry her . In

MI LLO KE L. C R, C A R

i Gl li e Beggar S tnhent.

O ra o e in ree a s firs ro e in enna [ pé c miqu , th ct ; t p duc d Vi ,

PERSONA ES G .

Y VI CZ h S S MONO t e e a s en . YMON , b gg r tud t

ANITSKY h is fr en . J , i d

GEN . O a n f a w r o e o o o . LLENDORF, milit y g v r r Kr k E C H NTERI , s j ailer . PUFFKL

MAJOR HOLTZHEIM .

SITZKY an nn ee e . , i k p r

COUNTESS PALMATI CA .

I 'AU RA ’ h er daughters. IBRO NI SLAVA,

EVA .

ONONPH RI E.

L PO PPENBURG. IEUT .

H EI ITZ . LIEUT . SC M N

L WANGERH EI M. IEUT. B URGOM ASTER . B OGUMIL .

Pr so ne s eas an s so e s s ans o e s etc. [ i r , p t , ldi r , mu ici , c urti r , ]

Th e s ene is a in ra ow e th e ear 1 c l id K k tim , y 704 .

HE first act of this tuneful opera Opens in a e a en o the city of Kr kow . G ner l Oll d rf,

a e a a s the milit ry gov rnor, is in a r ge bec u e he

e a has b en repulsed by Laura, d ughter of the 1 2 THE BE GGAR S TUD EN T. 9

Pal matica h as e Countess , to whom he show d a some unwelcom e attentions . To venge what h e s an s con iders in ult, he conceives the idea of dressing some poo r and low - born young

w n e and a s fello in the fi ery of a princ , p s ing him off as o ess and a such up n the Count her d ughter, trusting that their pov erty will induc e th em to

s A te s a a accept the impo tor . f r uch a m rri ge h is h i r evenge would be complete . He finds s ac c om

lice . S monovic z a p in the military prison Symon y ,

a a o s a a h e v g b nd Poli h student, is re dy to pl y t

en e a and n a o g tl m n, only insists on taki g l ng with

anitsk e s e act as h is him J y, a f llow pri on r, to

a s secret ry . The plot is succes ful . The Countess and a a e ee n fo r a n her d ughter, who h v b n livi g lo g

e e a th e time in g nteel pov rty, are d zzled by finery and o s e s th e and s s pr p ct of suitor, the act clo e with an a the betrothal of Symon d L ura. In the second act the two find that th ey are

ea t a As r lly in love wi h e ch other . the money

s a all o furni hed by the Gener l is spent, Sym n de cides to tell Laura Of the deception practised upon h er it ma a a , though y cost him the m rri ge, which

a e a a da A a was to have t k n pl ce th t y. fr id to tell

e so o e and her in p r n , he writes the discl sur , intrusts the letter to th e Counte ss with the r equ est to have it to a a o e th e e given L ur bef r cer mony . The

e a owe wa s and G ner l, h ver, th rts thi scheme, the a a ed p ir are m rri , whereupon he exposes Symon to the assembled gue sts as an impostor and has

- him driven from the palace . 1 0 ARD LI GH P 3 THE S TAND T O ERAS .

At the opening of the third act Symon appears in melancholy plight and contemplating suicide .

’ anitsk His friend J y, who is in love with Laura s

Bronisl ava . sister, , comes to his rescue He comes forward as a Polish officer engaged in a plot for the capture of th e cit adel and the reinstatement

n a a n a of Ki g St nisl us upon the thro e of Pol nd . ’ e s and re The plot with Symon s h lp succeed , in

e e turn Symon is not only nnobled , but the Count ss

his and a and wife forgive him , the governor gener l is foiled at every point . ’ The principal numbers are Oll endorf s entrance “ And a song in waltz time , they say th t towards ” Ladies ; the characteristic duet by Symon and

anitsk c n a s J y leaving j il, Confounded Cell, at la t a a o a I le ve thee the charming entr nce tri for Laur ,

Bronislava n , and the Countess, Some little Shoppi g ” ’ a and s n re lly we ought to do Laura s brilliant o g, ” “ n But when the Song is sweetly soundi g , in the ’ a s : a fin le of the fir t act L ura s humorous song, If ’ ” Joy in Married Life you d find th e sentimental Bronisl ava anitsk s e duet of and J y, Thi Kiss, Swe t ” ’ Oll endorf s Love grotesque songs , One Day I ” was a and a perambul ting, There in the Ch mber ” a a a a n Polish , which is usu lly d pted as a topic l so g ; and the long and cleverly concerted finale of th e ’ : Bronislava s a second act and song, Prince ’ ” ’ ’ a a and u m Begg r s s id to be, Symon s co plet , I

ac t. penniless and outlawed too, in the third

1 3 2 THE S TAND ARD LI GH T OPERAS .

in successful . The French the mean time are hunt ing for him , but he cunningly succeeds in getting a description of the magistrate posted for that of n hims elf. To be ready for any sudden emerge cy,

enback h as a s a Hack rever ible p nel on his house , one side having the p o rtrait Of the Czar and th e a other that of N poleon . When he is suspected by th e unfor French, he calls their attention to it but tunatel s a and y for him the Rus i n side is exposed , this with the description which Von Helbert h ad

a s a a so kindly posted le d to his rrest . Fin lly the

a a and a e Black Huss r regiment rrives, c ptur s the French troops just as th ey have captured the Rus

a s n si n , which had previou ly been in occupatio , so that there is no need for further disguises . The humorous situations in the opera grow out of the love - m aking between Von Helbert and his com ’ panion Waldermann and the magistrate s daughters

Minna and Rosetta . Although “ The Black Hussar is musically in “ ” feri r a h as a o to The Begg r Student, yet it m ny

desc ri interesting numbers, among them the long p Piffkow man Piffkow tive song of , the of all work, , ’ ” Piffkow a , th t s the cry, which reminds one in its ’ general character of Figaro s famous song in The ” ’ ' a e a a bufl o B rber of S ville the m gistr te s song, ” All Night long I ve weighed and sifted ; Hel

’ ’ bert s martial recitative I ve traversed Lands ’ that once were green the jolly go ssipers ’ o u Piffkows ch r s , introducing the second act ; “ ’ T A bombastic song, was in the djacent Town LA R I THE E C H USSAR . 3 3

’ Minna s Last Night quaint Russian song, ” Ivan loved his Katza w ell the introduc ed a a and song , Ohe , m mm the trio following it , f ” The Ways O Love are very strange, which closes

act the . N ESSLE R, V I CT O R E RN ST .

' i i f i kh QLhe ll rutnpeter o S ingen.

r n ree s B n O ra o e in a e e a d a e e. [ pé c miqu , p lud th ct t xt by u g rs ro e at th e S a ea re Le s Ma Fi t p duc d t dt Th t , ip ic, y 4 ,

PERSONA ES G .

H A BARON OF SC OEN U .

MA A HA h is a e . RG RET , d ught r

COUNT OF WILDEN STEIN . ’ C SS W S th e Ba o n s o s n. OUNTE ILDEN TEIN , r c u i ’ DA A th e Co n s so n a se on a a e. MI N , u t by c d m rri g ” W CH th e e e . ERNER KIR OFF, trump t r CONRADI N a oo e , tr p r . He a s o s a ens easan s s oo i en [ r ld , y uth , m id , p t , ch l ch ldr ,

s en s oo e s etc . tud t , tr p r , ]

' Th e s ene is a in Sakkin en on th e R ne e th c l id g , hi ; tim , e year 1 6 0 near th e ose of th e r Years' War 5 , cl Thi ty .

EW operas have had the advantage of such ’ “ an excellent book as N essl er s Trumpeter ” Sakkin en h ad of g , and few light operas have their stories so legitimately and skilfully illus trate a d with music . The text is b sed upon the metrical romance of Victor von Scheffel ’ s Trum ” Séikkin en all peter Von g , known and admired a over Germ ny, which tells the story of the a young Werner and the f ir Margaretha, their romantic wooing and final union . The time is x 3 6 THE S TAN D ARD LI GH T OPE RAS .

The second act opens with a love scene between

a a Wern er and M rgareth , which is discovered by

ss wh o at n a . the C ounte , o ce informs the B ron When Werner asks him for the hand of M arga

a not o e reth , he nly refuses it , but ord rs him to leave

W a s th e castle . erner t ke his farewell of Marga

a and a reth , le ves for his old position with the

e s a tro op r in the city . Me nwhile the Count of

s n a a a es Wilden tei arrives with D mi n, but he m k no impression upon Margaretha notwithstanding the ’ a Baron s f vo r . a In the l st act the dénouement comes quickly .

a a a a e and a a Th e pe s nts tt ck the castl , the B ron c lls upon D amian to he ad his retainers and go out to

H e t th e . an mee mob proves himself, however,

a wa e arr nt co rd , and in the midst of his irr solution

e u his Wern r rides p at the head of troopers, per

o f a a forms prodigies v lor, and saves the inm tes of

s A a arm him the ca tle . birthm rk upon his reveals

n - th e s and as the lo g lost son of Counte s, nothing ’ now stands in the way of Margaretha s and Wer ’ ner s felicity . In the prelude and first act the most notice able ’ ’ e are st e es numb rs the ud nts and troopers chorus , written in the b est Germ an style the prelude in ’ deed is almost entirely choral the peasants cho ’ an e a e o s Da ruses d liv ly d nc s on St . Frid lin y the characteristic growl of the Baron over his gout and the unreasonable pe asants and th e ch arming

s a a and a lyric ung by M rg retha, How Proud Gr nd ” his Bearing . The most conspicuous numbers in THE TR UMRE TER OF I 3 7

“ a are a s e the second ct lyric ung by Wern r, On Shore I played me a Merry Tune the love sc ene “ a a t a and h as between M rg re h Werner, Sun , thy ” Light not grown in Splendor ! the dramatic quin ” e so n a ! tett , Must soon the Sunshi e v nish and ’ e e s s a a t f a it W rn r entiment l and be u i ul f rewell, Oh , ” ad a a is s th t in this Life below . The princip l ’ a a s s numbers of the third act are M rg retha ong, “ ” 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 Wer ” e and ner, True Love , I give thee Gre ting the

s a and e ringing mass choru , F ithful Love Trump t ” blowing, which closes the opera . C L I T T N I O A , O O .

C e err M ines of h m y CC inhaur.

O ra o e in ree a s e Mosen a rs [ pé c miqu , th ct ; t xt by th l . Fi t pro duced in enna A r 1 1 8 in Lon on Ma Vi , p il , 4 7 ; d , y 3 , 1 864 ; in New Yor A r 2 k, p il 7 ,

PERSONA ES G .

SI R H FA S A JO N L T FF.

MR . F ORD , en e en we n at W n g tl m d lli g i dsor. MR . PA j GE, F ENTON . S LENDER .

D R . CA S th e F IU , rench physici an . M S SS F I TRE ORD . M S SS PA I TRE GE. A PA h er a e in o e w F NNE GE, d ught r, l v ith ENTON . H S o f th e Ga e I nn O T rt r .

C z ens w es o f W n so se an s fa es e es etc [ iti , iv i d r, rv t , iri , lv , ]

Th e s ene is a at n sor me th e s een c l id Wi d ; ti , ixt th century .

HE story of the opera follows closely that

a of the Sh kespearian comedy, though the ' action is principally concerned with Falstaff s a e w at dv ntures ith the merry wives , with the tach ment between Fenton and Anne furnishing

a the rom ntic incident . Though the work of a

German , the music is largely in the Italian style, unneces and the dramatic finish is French . It is

1 0 A D I H T O 4 THE S TAND R L G PE RAS .

a aff duet between F lst and Ford follows, in which

e a es h is a u e a e the former r l t dvent r s in the h mp r . The o nly remaining number Of consequence in this a o a a a ct is the r m nz , H rk, the Lark in yonder

e s a is Grov , ung by Fenton . The l st act very s a a hort, and m de up of a be utiful trio for Mrs . “ a ff h as Ford , Mrs . P ge , and Falsta , The Bell

a a a pe led the Midnight Chime the romantic b ll d , ” Of Herne, the Hunter, a Legend old , and the “ a a A f iry d nce and chorus, bout, about, ye Elves, ” about, which close the opera . FF C J C S O E N B A H , A Q U E

Che Grant! E nrhees of Gerolstein.

O era o ffe in ree a s e Me a and Ha e . [ p b u , th ct ; t xt by ilh c l vy rs ro e at th e ar s Par s A r 1 2 Fi t p duc d V iété , i , p il ,

E E P RSONAG S .

H GRAND D U C ESS.

WA A a easan . ND , p t girl

I ZA a o f ono . , m id h r

O A a o f ono . LG , m id h r

P C PA ne e e s o of th e D ess. RIN E UL , gl ct d uit r uch

GEN . B in o an of th e a . OUM , c mm d rmy BA Co r C a er a n P C . RON U K , u t h mb l i

BA G e ssa . RON ROG , mi ry

F a e . RITZ , r cruit d EPO MUC a de e a . N , i c mp Lo s and o a es a es so e s an i e es [ rd c urt l di , p g , ldi r , viv d r ,

o n r i s etc. c u t y g rl , ]

Th e s ene is a in th e a nar D of ero s e n e c l id im gi y uchy G l t i ; tim , h e e r 1 2 t y a 7 0 .

” s HE Grand Duchess of Gerol tein , though “ in some respects inferior musically to Or ” h eus a o p , by the same composer, is lt gether the

ost e e a o ff m perf ct type of the op r b u e . For the

o s s na o f a dr llnes of its tory, the origi lity its ch r acters as well as o f its mu sic and Obstreperous a a gayety, d sh, and geniality mixed with occ sional seriousness and grace, this work when it first 1 2 4 THE S TAND ARD LI GH T OPERAS .

ff appeared was unique, though O enbach rose to his highe st achi evement when dealing with the ” and o es s gods g dd se 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 a rmy of the duchy, commanded by the pompous a Gener l Boum , at which the Duchess is present .

In its ranks there is a recruit, known by the name

’ a of Fritz, who has already aroused the Gener l s

a a je lousy by his attentions to Wanda, a peas nt girl . He continues still further to add to this jealousy when the Duchess, attracted by his good and looks, singles him out for her regard promotes him to the post of corporal . When she learns of a n a a his rel tio s to Wand , she raises him to the r nk a a of lieuten nt, evidently to separ te him from

e Wanda by the new elevation . The r view over, the Duchess studies the plan of a pending cam

i a a s s pa gn g in t a neighboring enemy . She summon a m a Gener l Bou in the presence of B ron Puck, her C a a ne court h mberl in, Prince Paul, a feeble and

e a gle ted suitor of the Duchess , and Lieuten nt

now - a and s Fritz, who is her special body gu rd , a ks him e for his plan of campaign, which he stat s, much

a s to the disgust of Fritz, who decl res it to be heer

s s a nonsen e . The Duchess then a ks the l tter for

s a sh e his plan , and is so much plea ed with it th t appoints him general and rais es him to the rank a of b ron , much to the discomfort and indignation

e of the oth rs .

1 D LI H T P 4 4 THE S TAN DAR G O ERAS .

The music is in keeping with the drollery of

a n and a the situ tio s, bounds in vivacity and odd

e all a and d escriptiv ness , defying accepted l ws adapting itself to the grotesqu erie and ex trava

Th e a gance of the action . princip l numbers in ” th e are s af first act the pompou Pif, p , pouf song ’ e Ah of G neral Boum the Grand Duchess air, ” ’ I love the Military Ah ! que j aime les mili taires the regiment song for her and Fritz, ” ’ Oh what a Fam ous Regiment Ah c est un a re iment e o f f meux g the coupl ts Prince Paul, “ ” “ To marry a Princess ( Pour épou ser une “ a s n and the f mous sabre o g, Lo, ” “ a l e here the S bre of my Sire ( Voici, sabre de mon pere The best numbers of the ’ are All second act Fritz s spirited rondo, in ” Good Order, Colors flying En tres bon ordre nous partimes in which he t ells the story of his “ ” “ victory ; the romanza Say to him ( Dites son and a lui a delightful little g, so refined th t it hardly seems to belong to th e opera ; and the ’ ” Max was conspirators trio , a Soldier of Fortune Max était soldat de which is irre

a o an sistibl e in its bro d hum r d queer rhythms . The musical interest really reaches its climax in the second act . Outside of the chorus work in

e e n e e the third act, th r is little of i t r st except the ’ a e es Duchess ball d , Ther lived in Tim now long ” ’ gone by Il était nu de mes aieux and Fritz “ o ss e s ng to the Duche , Behold h re , your High

e A s me a! n ss Eh bien , lte se , voil LA BELLE HELENE . 4 5

’ < La lBell e ihel ene.

era boufie in ree a s e D e Me a and Ha e . [Op , th ct ; t xt by ilh c l vy ’ e at th e Th éatre des Variétes Par s De e er 1 First p roduc d , i , c mb 7,

E PERSONAG S .

H een of S a a. ELEN , Q u p rt

PA S so n o f P A . RI , RI M

M A S n of S a a. ENEL U , Ki g p rt

A n of th e n s. AG MEMNON , Ki g Ki g

CA CHAS a r . L , ugu

ACH S n of Ph th io tis . ILLE , Ki g f A A L n o S a a s . J X , Ki g l mi

AJAX I I King of th e Lo cri ans .

O S S son o f A A . RE TE , G MEMNON

BACCHIS a en an of H . , tt d t ELEN

PARTH cENI s.

LCENA.

PHI LOCOMES se an of CA CHAS. , rv t L

EUTHYCLES a a s . , bl ck mith ’ n esses o e s H S a en an s pri c , c urti r , ELEN tt d t ,

Th e s ene is a in S ar a e c l id p t ; tim mythical .

IN La Belle Helene Offenbach goes back to

th e the mythical period , and presents heroes of the

e a s time of Hel n and P ris in modern burle que . The first act opens at th e templ e of Jupiter in

a a e a Sp rt , wher , among others who h ve placed their

ff e o erings at his shrine , is Helen . Wh n alone a a with Calch s, the ugur , they discuss some means of avoiding the decre e of the oracle wh ich has declared she is to leave Menelaus, her husband, I O 1 6 DARD LI 4 THE S TAN GH T OPE RAS .

and fly with Paris, son of Priam , to Troy . Before

as s a decision is reached , Paris, disguised a hep

e e herd , arrives, and soon he and Hel n are lov rs . They meet again in a grand tournament in which

‘ two A ax es A A the j , chilles, gamemnon, and others announce themselves in the most comic fashion

n ru a a and guess at co und ms for prize . P ris wins ,

and and proclaims his name lineage , to the delight of Helen, whose delight is still further enhanced when the oracle orders Menelaus to set off at once

e for Cr te . In the second act Helen struggles against the an decrees of Venus . Paris has interview with her,

e but she will not yield, and he retir s . By the aid of C alchas he secures admission to the chamber S a of the lumbering Queen , when Menel us suddenly

and an a a e returns lterc tion nsues, during which

a P ris defies all the Grecian heroes, and Helen philosophically informs Menelaus he should have

n a a announced his comi g beforeh nd . Paris ag in

a and es . retre ts , Helen is now in d pair In the third act H elen and Menelaus have a a a f mily qu rrel , and he charges her with being

a and f lse . She denies it, declares he has been a dreaming . Calchas now appears , and nnounces that a new augur has been appointed and is on his

wa . A a y there golden galley is seen appro ching, and the new augur is found to be Paris himself. He brings word that Venus is angry at what has

e n b en goi g on, but will relent if Helen will return with him to her shrine and sacrifice white heifers .

1 4 8 THE S TAND ARD LI GH T OPE RAS .

“ a Field of Carn age ( Lorsque la Grece est nu a u camp de c rnage and the final chor s, ” “ “ Let now our Wrath ( Que notre which preludes the Trojan war .

QBrpbeus.

O era o ffe in ree a s e Cre e . rs ro e [ p b u , th ct ; t xt by mi ux Fi t p duc d ufl s Par s ens Par s O o er 2 1 at th e Bo e i i , i , ct b ,

E PERSONAG S .

P s se as ARI STEUS. LUTO , di gui d

P n of th e Go s. JU ITER, Ki g d

O PH S th e s . R EU , luti t

H STYx th e fe an. JO N , rrym

M C th e essen e . ER URY, m g r

BACC H S Go d of w ne. U , i MA S o d of G war. R ,

E C s o se of O PH S . URYDI E , p u R EU

D A A Go ess of th e n . I N , dd hu t P PUBLIC O INION .

conso o f P . JUNO, rt JU ITER

S Go ess of o e . VENU , dd l v C P h er essen e . U ID , m g r i o M VA Go ess o f w s m. INER , dd d

s ne is a near e es e a . ce l id Th b ; tim , mythic l

THE best musical work of Offenbach undoubtedly “ and is to be found in his Orpheus aux Enfers, the text which his librettist furnished him is in

e t was l ke ping wi h the music . It a bo d 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 I ORPHE US . 4 9

f o ficial life, to parade them in processions like the ordinary street pageant, to present them in ban

uets q , to dress them in the most fantastically

a - individu l manner, and to make nineteenth cen a tury caricatures of the whole Olympi n coterie . The first scene of the opera discloses Eurydice in the Theban meadows plucking flowers with

a Aristeus which to decorate the c bin of , the shepherd , who is really Pluto in disguise . Sud denl - y Orpheus appears, not with his tortoise shell n lyre , but playing the violin and sere ading, as he in supposes , a shepherdess with whom he is 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

. Aristeus her shepherd Shortly afterwards, meets

Eurydice in the fields and reveals his real self. By supernatural power he turns day into night and

s a brings on a tempe t, in the midst of which he be rs her away to the infernal regions, but not before ’ she has written upon Orpheus but the fate that has overtaken her. Wh en Orpheus returns he is

his overjoyed at his loss , but in the midst of exul tation a , Public Opinion appears and comm nds him to go to Olympus and demand from Jupiter a the restor tion of his wife . Orpheus reluctantly obeys the order.

The second act opens in Olympus, where the n na gods and goddesses are enjoyi g a p, from which ’ they are awakened by the blasts of Diana s horn . 1 0 AND ARD LI GH T P 5 THE S T O E RAS . Thereupon much slanderous gossip is circulated

a es amongst them , the l t t news discussed being ’ Pluto s abduction of Eurydice . Pluto himself shortly comes in, and is at once taxed by Jupiter

re with his unseemly behavior, whereupon Pluto ’ taliates by reference to Jupiter s numerous amours

a s a a with mort l . This rouses the je lousy of Juno . ’ a Venus, with Cupid s ssistance, starts a veritable riot, which is suddenly interrupted by the arrival and of Orpheus his guide, Public Opinion . He demands that his wife shall be restored to him , and Jupiter not only consents, but agrees to attend a to the matter person lly .

The third act finds Eurydice in Hades, carefully

o a guarded by J hn Styx . Jupiter is f ithful to his

o a pr mise , and soon rrives there, but not in his a proper person . He ppears in the disguise of a

fly, and allows Eurydice to catch him , after which a he reve ls himself. When Pluto comes in, he finds her transformed into a bacchante of the most

a convivial sort . Other deities make their appe r a s nce, and finally Orpheu comes sailing up the

a Styx, pl ying his violin, and demanding of Jupiter the fulfilment of his contract . Jupiter consents, but m akes the condition that he sh all return to his

a o bo t, Eurydice foll wing him , and that he must

a s not look b ck . Orpheu sets out, but just before

a he reaches the bo t, the cunning Jupiter launches a a a him thunderbolt fter him , which c uses to turn and lose Eurydice , much to the disgust of Public edification Opinion, but greatly to the of Orpheus,

P LA N Q U E T T E R O B E R T

Glibe Qli bimes of JDarmauhy .

O ra o e in ree a s e C a r e and a e . [ pé c miqu , th ct ; t xt by l i vill G b t rs ro e at th e olies Dra a es Par s A r 1 Fi t p duc d F m tiqu , i , p il 9,

PERSONA ES G .

- - SERPOLETTE th o o or no . , e g d f thing

G A th e o s Ma o ness . ERM INE , l t rchi

SU SANNE . A JE NNE . H Ma s Of Co ne i ENRI , rqui r v ll e.

A GRENI CHEUx a fis e an. JE N , h rm

GASPA an ol d se . RD, mi r BA a s a e ILLIE , m gi tr t . N A OT RY . Pea an s sa ors se an s wa n - s s a etc. [ t , il , rv t , iti g m id , ]

Th s ene is a in Nor an e of Lo h e c l id m dy ; tim uis t e Fifteenth .

ac t HE first of this charming opera, one of

th e as o most popular of its cl s , pens in an

a old Norm an village during the progress of a f ir .

en th e a s Vill ero i h as ee an H ri , M rqui of , who b n

e c e c o h as e . xile sin hildho d , just r turned The first scene disclo s es a numb er O f village go ssips

are a s a a s a Ser ol ette who ret iling c nd l bout p , the

- - a good for nothing, who rrives in time to vindi cate herself and retaliate upon the gossips . Gas 1 THE CHI MES OF N ORM/IND Y. 53

e pard , the miser, has arranged to give his ni ce

e a a ff G rm ine in marri ge to the sheri , who is the a a chief dignitary in the vill ge . Germ ine , however, O i a bjects to the proposit on, since if she m rries at all

a Grenich eux she cl ims she must marry Jean , a

s a e young fi herman , in gr titude for saving her lif . To escape the m arriage she and Je an become the a servants of the M rquis, and are joined by Serpo

- m lette , which is one of the privileges of fair ti e . The second act is occupied with the exposure

Vill r Ma of the ghosts in the castle of e oi. The r quis is confident that there is nothing supernatural about the apparition which has been seen or the sounds which have been heard in the various apart

ments . He therefore introduces his servants into the

a s e castle, and after careful se rching di cov rs that the

Vill eroi Old ghost of is Gaspard , the miser, who ,

when he is found out, becomes crazy through fear

s of lo ing treasures which are concealed there . In the last act the castle is restored to its old

mas splendor, and the Marquis takes possession as

e a ter . He gives a f te and the vill gers are invited ,

a Ser ol ette the crazy Gaspard being mong them . p

a a a as a ppe rs as a gr nd lady with Jean her f ctotum , so me papers found in the castle indicating sh e is

e Af er e the lost heir ss . t a love scene between H nri

a n as h as rec ov and Germ i e, however, G pard , who

s s s at e and not ered his rea on , di close th Germain ,

Ser ol ette and e p , is the rightful heiress the tru claim Of All ant to the title marchioness . the compli ’ cations are now unravelled . Gaspard s treasure is 1 DARD LI GH T OP 54 THE S TAN ERAS .

restored to its rightful owner . Germaine c o mes

Ser ol ette as to her rights, and p remains with her her friend .

The music of the opera is delightful throughout,

a a and h s sc rcely a dull moment . Its most con ’ “ s icuous Ser ol ette s p numbers are p rondo , In my ” s o a a My teri us History ; a delightful little f nt isie , “ ” Go, Little Sailor ; the legend of the chimes , ’ Alas we have lost Excellent Masters Henri s “ a gr nd aria, I have thrice made the Tour of the ” A m World and his couplets , Under the rmor fro ’ Ser ol ette s Viscoun Top to Toe p sprightly aria, a tess and M rchioness the chorus with the chimes, a most graceful and interesting number closing the ’ second act ; and in the l ast act Gaspard s quaint “ Ol d Norman song, We were full Five Hundred ” ’ “ ’ s Ser ol ette s A Rogue p rondo, The pple s a ’ “ A Fruit full of Vigor and Henri s romance, ! Servant, what Matter to me r 6 A D ARD LI GH T O A 5 THE S T N PER S . un ciabattino after which Annetta introduces a a herself with a c nzonetta, My Pretty T les and Songs I storie belle e leggere leading up to

e a minor duet betwe n them . In the sixth scene a

‘ ” ff a I O bu o aria, I am Bit of a Philosopher ’ fil sofo un o o . sono p 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 a m and dissu des him , at the same ti e giving him a purse of gold and offering to set him up in business

a o as a doctor, telling him he must look b ut him

no t e whenever he has a patient, and if she is pres nt he will be successful . The act closes with a due t fo r A Crispino and nnetta, Since you have found ” “ ' a Trofl o a F iry ( so , basta per The second act discloses Crispino in the midst

s A of a flouri hing business, and the delighted nnetta “ no am sings a joyous little melody, I longer ’ Annetta Io non sono piu l Annetta A work man who has met with an accident is brought to

Crispino for treatment, and as the fairy is not m present he is successful . The usical treatment of the healing scene is worked up with great skill . u It begins with a baritone solo, leading p to a

e A duet with soprano and chorus accompanim nt .

e sextette th n takes up the theme, and in the close all ff A on the stage give it with impressive e ect . broadly humorous but very melodious trio Of the

o s a ! doctors f llows, Sirs, what means thi Qu rrel “ Ma t In ( Signori, perche antes 1 CRJ SPJ NO. 57 the next scene Annetta sings the pretty Fritol a “ ” song, Pietro, Darling, this Cake so Tempting

Piero mio , go qua una in which she boasts the merits of a cake she has made for the

r ff Ca nival . Meanwhile Crispino grows so pu ed up with his we alth 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 him a cavern, where she shows crystal vases in which more or less brilliant lights are burning . l a She tel s him th t each represents a human life . ’ A a The one burning so brightly is nnett s, the one h so dimly is his own . W en he asks her to take ’ some O il out of Annetta s l amp and put it into

Sh e e a his, upbraids him , reveals hers lf as de th, and a tells him to m ke his last request, for he is about u to die . In a dolef l ballad , Little I ask, Dearest " Fairy Poco cerco, O mia he asks

- for only a half hour more , so that he may see A Annetta and the children . sudden change of

h im own scene shows in his house , awaking from

a As a a h as Sleep in his ch ir . he re lizes th t it been fit only a nightmare, occasioned by a sudden of A illness , he expresses his delight and nnetta ex

s a e pre ses her joy in a brilliant w ltz movem nt , ’ ’ There s no Joy th at e er h ath given me Non ha gioja in tal Momento which closes the e Op ra. O O O S G T . R S I N I , I O A C H I N A N N I O

Glibz Barber of é enille.

r bufia in two a s t rbini ir ro e at O e a e S e . s [ p , ct t xt by F t p duc d th e Ar en na ea re Ro e e r ar g ti Th t , m , F b u y 5,

PERSONAGES.

R S A wa of D R . BA . O IN , rd RTOLO

BERTA . F A th a e e . IG RO , b rb r

C A AV VA o e of R S A . OUNT LM I , l v r O IN D R BA . RTOLO .

BAS a - s as e . ILIO , mu ic m t r

Officers so e s etc. [ , ldi r , ]

Th e s ene is a in Se e i e th e e een en ur c l id vill t m , ight th c t y .

“ HE story and the music of The Barber of Seville ” are as fresh and delightful as when the opera was first produced eighty- six

a a s as a as ye rs ago . Its story is lmo t f miliar house

o h as o u h ld words, and no music been more p p l ar a a a its a a on the oper tic st ge th n g y, brilli nt a A a a ari s . Count lm viva loves Rosina, the w rd a ma of Dr . B rtolo , who wishes to rry her him self, but the Count is unable to get an inter e i u it a vi w w th her ntil is arr nged for by Figaro , ’ a Bartol o s the f ctotum of the place . In spite of watchfulness, as well as that of Don Basilio,

1 6 0 ND ARD LI GH T OP THE S TA E RAS .

Make Room for the Factotum Largo al fac totum A light and lively duet between Figaro and the Count leads up to the chamber aria of ” “ a now Rosin , The Voice I heard just ( Una voce poco fa which is not only very expressive

a a but remark bly rich in orn mentation . In the next s e a a a ! a c ne occurs the c lumny ri , Oh C lumny is ” like the Sigh La C alunnia e un venticello It is followed by a florid duet and a di alogue be

a t a tween Rosina and B r olo, closing with the b ss “ a a 0 ri , N longer conceal the Truth ( Non piu tacet e The finale is composed of three scenes a a full of glittering dialogue and melodious p ss ges . The sec o nd act opens with a s olilo quy by Bar tolo, interrupted by a duet with the Count . The music - lesson scene follows in which the artist personating Rosina is given an opportunity for

e t int rpolation . In the nex scene occurs a dialogue

e quintette , which is follow d by a long aria for Ber th a is . There always Noise Sempre gridi ” a a which the It li ns called the aria de sorbetto, as

a was they used to e t ices while it sung . In the

an instrumen eighth scene , after a long recitative , tal e e pr lude occurs, repres nting a stormy night, followed by recitative in which the Count reveals

m ea and s hi self, l ding up to a florid trio, thi in “ a o t t no turn to the eleg nt terzetto, S f ly, sof ly, ” “ ” a A u Delay ( Zitti , zitti, piano, pi no brav ra and finale of light, graceful melody close the opera . L . S O O M O N , E D WA R D

iBiIIee aliaylur.

Na i w a o o era n t o a s e S e ens . rs [ utic l c mic p , ct ; t xt by t ph Fi t produced in London in

PERSONA ES G .

N n . . Ix H . M T n FEL F APP R . Ca a of S e L ER, . , pt i hu d r ” bo mb . M SI R C G LA n . IN IN NE , k ight B ILLEE TAYLOR . BE N BARNACLE . CH S PH C A o RI TO ER R B , tut r. PHCEBE FA H a a RLEIG , ch rity girl .

A A A LA e ess . R BELL NE , h ir

ELIZA DABSEY.

SU SAN .

JANE SCRAGGS.

a e s easan s sa o s ress an etc. [Vill g r , p t , il r , p g g, ]

Th e s ene is a in So a on En an e th e ear 1 0 c l id uth mpt , gl d ; tim , y 8 5.

HE story of Billee Taylor is based upon an old English marine ballad of the same f name . The first act opens at the inn O the a a Roy l George in Southampton, where the vill gers have gath ered to celebrate the wedding of Billee

a oe . T ylor and Ph be Farleigh, a charity girl The A a heiress, r bella Lane, is also in love with Billee , ff h im and has o ered her hand, which he has 1 1 1 6 2 TH S TAND ARD LI GH T O E PE RAS .

e a is r jected . Her f ther, Sir Mincing Lane , going to give the villagers a feast upon the occasion o f ’ Bill ee s and es a a wedding, invit his friend , C pt in

. s a Flapper, to attend The captain accept , f lls in

e at and s a love with Pho be sight, vows Billee h ll

not a . a a s m rry her Cr b , the tutor, is l o in love

’ a a a e ew with Phoebe . In C pt in Fl pp r s cr is Bill

a na wh o sea a a B r cle , went to on ccount of Eliz ,

h ad e who be n unfaithful to him , and he is ordered a a a a by the press g ng to c rry Billee w y, which he does during the wedding festivities . at The second act opens Portsmouth , two years All supposedly having elapsed . the charity girls , o among them Ph ebe , disguised as sailors, followed

Billee to sea, who in the mean time has risen to a a A a u lieuten ncy . rabella forces her ttentions pon At him and he is inclined to yield . this juncture

o as a Ph ebe , still seeking her lover, turns up com

a a a mon s ilor answering to the n me of Richard C rr . C aptain Flapper in her pres ence mentions that h e is a in love with her, also th t Billee is about to

a A a a m rry r bell . Sir Mincing Lane , now a com

a a to s a m nder of volunteers , ende vors per u de some and o e ff of the sailors to join him , Ph eb o ers her

as a a self recruit, but is claimed as a messm te by

s a a . e Barnacle , which lead to qu rrel Crab th n incites Ph oebe to revenge herself upon her r ecre ant

and sh e at s a . lover, fires him , but the hot hits Cr b

Sh e a a is rrested and is bout to be executed , but is In releas ed wh en sh e declares herself a woman .

e a A a . the end Bill e is disrated, but m rries r bella

S O U S A , J O H N P H I LI P

QBI Eapitau.

Co o era in ree a s e e n rs ro e at [ mic p , th ct ; t xt by Kl i . Fi t p duc d th e re on ea re B os on A r I T m t Th t , t , p il 3,

PER A E SON G S .

MEDIG A U e o of Pe . , Vic r y ru

CAZARRO e ose e o . , d p d vic r y

Po o S e e a of MEDI GUA. zz , cr t ry

VERRADA in o e w I SA . , l v ith BEL

SCARAMBA an ns en . , i urg t ’ ESTRELDA CAZARRO S a e . , d ught r ’ MARGHANZA MEDI GUA S w fe. , i I A h S er a e . BEL, d ught r T o s n n o s en s easa s etc. [ r p , i urg t , p t , ]

Th e s ene is a in Peru e th e e een en r c l id ; tim , ight th c tu y .

Cazarro T the opening of the story , viceroy n f Peru , has been deposed by the Ki g

Medi ua a of Spain , and g has been ppointed in his a Cazarro n and ste d . incites a revolutio , sends a a a to Sp in for El C pit n, a noted soldier, to come

a a s to his help . He s ils on the s me hip with Medi ua a g , in the disguise of a seam n, but is e a a Medi ua kill d in qu rrel o n board . g finds out who he was , and when he lands, discovering h that his faction is in a opeless minority, he pro 1 6 EL CAP/TAN . 5

a e claims himself El C pitan and joins the reb ls . a To further his scheme he induces his secret ry, A Pozzo , to represent the Viceroy . mong the

e e are Sc aramba a o in oth r charact rs , revoluti nist

Estrelda e Cazarro love with , daught r of the Prin

Mar hanza Medi ua cess g , wife of g ; her daughter

a e and Verrada Is b l ; Count , who is in love

Estrel da a with her . f lls in love with the pseudo ’ Sc aram a s b . El Capitan, which arouses jealousy

is Pozzo thrust into prison , much to the grief

s a e him of the Princes and of Is bel , who beli ve i A to be Med gua. fter the arrival of the Spanish

Medi ua a troops, however, g decl res himself. The rebellion is squelched , all are pardoned , and every a thing ends h ppily . The principal numbers of the first act are a pretty drinking - song for the chorus ; a solo for ” Medi ua e a e g , If you xamine Hum n Kind , follow d by a dialogue and le ading up to an aria for “ ” Estrelda a , When we hear the C ll for Battle , with chorus in march time a second march , In ” ’ Medi ua s me you see El Capitan , which heralds g A a entrance the chorus, Lo, the wful Man p ” roach es Bah p and the solo and chorus , , bah , e ac closing the act . The s cond t opens with a ” ma w is rch song, Ditty of the Drill, hich shortly followed by an effective scene in which a mournful accompaniment representing the grief of Mar

h anza a e a g and Is bel, and a festiv ccompaniment s etting forth th e exultatio n of Estrelda and h er companions as they bind El Capitan with garlands 1 66 LI GH T OP A THE S TANDARD ER S .

Of are r . As e roses, inte woven the Princ ss dis

e i ua a a covers M d g in El C pit n, a quarrel duet fol

s Estrelda low between her and , leading up to a a a pompous m ilit ry fin le , as the Spanish troops b appear . The leading num ers of the third act are a serenade and duet for Verrada and I sabel ; a Medi ua song by the tipsy g , The Typical Tune ” a of Z nzibar, which is the most popular number in the opera ; and a final march with chorus .

1 68 A D LI GH T ERA THE S TAND R OP S .

e e e e Umberto, the colon l commanding, is d c iv d

w to a th e h er and a e . by , llo s her p ss through lin s When inform ed of the deception he determines to

n h er a take h is reve ge by m arrying . Underst nding

‘ th at sh e is to m arry the Duke de Limburg by

a e a proxy, he imperson t s the Duke and is m rried

o a to Vi lett with out arou sing h er suspicions . He is as i n a asa sisted his scheme by B lth r Groats , a

e a s Dutch sp cul tor in tulip bulbs , whom the oldiers a d h ve arreste , thinking him a spy, and who is naturally willing to do anything for the Colonel

h is a a to get him out of predic ment . Complic tions ’ e a arise, how ver, when Gro ts wife appears and ’ s a e a an become jealous, lso because of Viol tt s tipathy towards her supposed husband and her aff o All se ma are ecti n for Umberto . the tters

n a a w an arra ged s tisf ctorily , however, hen there is

e a a and a a opportunity for xpl n tion , a tre ty of pe ce s e t is igned b tween the two s ates , when it is found “ ” that the cause of the merry war will not keep a her eng gement with either theatre . The music of “ The Merry War is light and a a g y throughout . Like all the rest of the Str uss

a a o f oper s, it might be s id that it is a collection and a and an marches w ltzes, a repetition of d ce

h a o e a s music which s d ne good servic in b llroom ,

o Its o s strung up n the slight thread of a story . m t ’ a s e o s now t king number are Umb rto s c uplet , Till ’ no a son Drop of Blood Balthasar s comic l g,

e a h o and G ner l , his tulip song, From Hol land to Florence in Peace we were going Vio ’ 1 6 THE Q UEE N S LACE HANDKERCIII E F. 9

’ ” a a a fl a letta s ariett , In v in I c nnot y the d inty

e du t for Violetta and Umberto, Please do ’ s a a e en El e s rom ntic song, I w nd red on the “ s A e s semble and Dutch ong by rt mi ia, The much ” ’ e o o i Admired One Umb rt s l ve song, The N ght ’ e to e a am et b gins creep Viol tt s song, I y ” d fo r - and Comman er To day, leading to a terzetto ” spirited final chorus , Of their Warlike Renown .

’ i 0132 Q ueens Late ipanhitertbiet.

O ra o e in ree a s e enee and Bo rm nn [ pé c miqu , th ct ; t xt by G h a

R e en. rs ro e at enna O o er 2 i g Fi t p duc d Vi , ct b ,

E N ES P RSO AG .

THE KING .

THE Q UEEN . ’ h n s o nfi D A I t e ee an e. ONN RENE , Q u c d t

MARQUI S OF VILLAREAL . C VA S oe ER NTE , p t . C VI LLABOI SY RODERI GUEz P M n e s e . OUNT , rim i i t r

D ON SA CH AV A A o to th e n . N O DE ELL NED , tut r Ki g MA CHA A A M n s of MA S LA e War. RQUI DE N VI LL RE L , i i t r

D F A M n s e o f F nan e . UKE OF ERI , i i t r i c SAN G M n s e of th I o C e n e . OUNT REGORIO , i i t r t ri r M h C E S n s e of t e Na . OUNT RMO , i i t r vy

D ON D BARADOS M n s e of Po e. IEGO DE , i i t r lic A - D N CING MASTER . MAS C S TER OF EREMONIE .

A nn ee e . NTONIO, i k p r S en s o o s a es and en e en of th e co [ tud t , d ct r , l di g tl m urt ,

o ea o s an s etc . t r d r , brig d , ]

Th e s ene is a in Por a e th e ear I 0. c l id tug l ; tim , y 57

’ THE romance of the story of The Queen s Lace Handkerchief ” has h elped to make this opera one 1 0 A D A D LI 7 THE S T N R GH T OPE RAS .

’ o a Of the m st popular of Str uss works . The action b egins at a time wh en Portugal is rul ed by a minis

s in e try who e premier is leagu with Philip II . of

a and ss s h as Sp in , who , to keep po e sion of power, fomented trouble betwe en the young Queen and

n and a e th e a all Ki g, encour g d l tter in kinds of dis si ations At a p . this time Cerv ntes, the poet, who h as a is a a a th e been banished from Sp in , c pt in in

a e a in Roy l Guards, and in love with Iren , a l dy a w iting . These two are good friends of both the

and are ea King and Queen, ger to depose the minis

a is try . Cerv ntes reader to the Queen , and the

a latter, having a sentiment l attachment for him , A writes upon her handkerchief, queen doth

no and love thee , yet art thou king, placing it ” in e a s . a volume of Don Quixot , h nd it to him ” The book is seized , and as Don Quixote is “ Minister of War and Sancho Panza Minister of

a s for e Instruction, Cerv nte is arrested lib l and trea

son. en and o Ir e the King, h wever, save him by

o and a pr ving him insane , and the King Queen scend the throne . In desperation the premier hands the

King the handkerchief with the inscription on it, which lead s to the re- arrest of Cervantes and the a b anishment o f the Que en to a convent . Cerv ntes

a s o . esc pe , however, and joins s me brigands They

a e th e o n wa c ptur Queen her y to the convent, and in the di sguise of th e host and waiting - m aid of an inn e s a e , th y erve the King, who h ppens th re on a

- n is sa a o a e hunting trip . Everythi g tisf ct rily ccount d for and , the inscription on the handkerchief is ex

1 2 ND ARD LI GH T P 7 TII E S TA O ERAS .

f and e e a CK e en . BABAZOU , ruit v g t bl v der

- - Y UF ene ra in ef . M SO , g l chi

a es of th e a e e n s oo s o i e s sol [I nm t h r m , u uch , c k , c urt r ,

r sa ors etc. dic s, il , ]

n is a in As a r e e th e as en r . Th e sce e l id i tic Tu k y ; tim , l t c tu y

AT the opening of the Opera Ki ng Indigo has w d and Montadada I . just died , his wido , , ecides a Fantasca a to sell the h rem . , a beautiful sl ve ,

was a who the f vorite of the King, is included

s s and Romadour among tho e to be old , , chief of

Fantasca the eunuchs , resolves to secure her. is ’ a h er in love with J nio, the King s jester, of own Montadada a country . Queen is lso in love with

h as h im fo r a him , and chosen her second husb nd ,

n c a two but he prefers Fa tas . The contrive a

s a cunning plot for the e c pe of the entire harem . Janio informs the Queen that one of her tribes h as S ro revolted , and as her troops are all ick he p poses that the women be armed and that he be

a a . a pl ced in comm nd She accepts the propos l , “ and pro mises that the victor shall choose the ” a es a wom n he lov , did she even we r a crown, a not doubting J nio will select her, but, much

Fantasca to her chagrin, he announces as his choice . Th e s econd act discloses the Am azon army

t a and Fantasc a ee wi h J nio at its head . The Qu n a s o es e s l o acc mpani th m , still bent upon ecuring ’ anio At th e s J s love . fir t alarm the troops fly in all th e ee o a directions, and Qu n, suspici us th t some thing is wrong, scours the woods for Janio, who r Q UEEN I NDI GO. 73 makes his escape by changing clothes with Baba

- z ouck . , a fruit vender The Queen meanwhile ma arrays herself in male attire , so that she y com

Fan asca pete in physical attractions with t . She

o - d furthermore gets int a semi drunken con ition , but recognizes the cheat when Babazouck is a a brought before her . Immedi tely there fter Sh e

Ro ma falls into a drunken stupor . dour also

and an comes in intoxicated , mistaking her for F ” a tasc , sings to her, O , my Queen , I love you ,

s in a deep ba s voice . The act closes with the two sleeping side by side , and the women of the

off harem carrying the royal treasures .

a antasca In the last act J nio, F , and the other

ee slaves are preparing for flight, when the Qu n

a e and Ro madour enter . The former nnounc s she man no longer loves Janio, but the who had de “ ” clared . At , Oh, my Queen , I love you her Romadour e request r peats the remark , but this time in a high falsetto voice which she does not be d recognize . Subsequently changes his min , ’ a antasca s a and after he ring of F prowess in b ttle, ” s exclaim , O , my Queen , I love you, in the bass

n h er voice . The Quee promptly claims him for

a e husb nd and he acquiesces . She th n orders

a Fantasc a Romadour J nio and to be sold , but a intercedes in their beh lf, and she banishes them . “ all Like the Strauss operas, Queen Indigo is a a full of ch rming w ltz music, comprising, in addi

Old- tion to many novelties, several of his time 1 D ARD LI GH T OPE 74 THE S TAN RAS . f ff avorites . The most e ective vocal numbers are the trio, What Dark Forebodings Quel ’ et n Fantasca s e sombre oir présage coupl ts , ” A Model Soldier Cavalier modele and h er “ “ e est song, Woman is a Cunning Bird ( La f mme ” n n ! Mad u oiseau subtil ) the waltz so g, Oh “ dening Flame ( O flamme cuivrante the “ You l a ! characteristic Tyrolienne , p why, Fond ” “ You la Lover ( p , pourquoi , bel in and the Blue Danube chorus of the sailors, the last act .

GIbc ifiat.

i l de aus (D e F e r m . )

O ra o e in ree a s e Haffner Genée [ pé c miqu , th ct ; t xt by . rs ro e in enna Fi t p duc d Vi , July ,

ER A P SON GES .

E S S . A LI B EY an E an. I EN TEIN , gypti n - M A s n e . A a A as n e an. LFRED , i gi g m t r URR Y, m ric

F SCH o s e . CANCOR Y a NE Ma s. RO , c urt u h r , rqui

FRA so n e o . R SA w fe of E S S NK, pri dir ct r O LIND , i I EN TEIN . D R B P . a o ne . C ORLOFSKY. LIND , tt r y RIN E FA ’ D R no . A . R S a A S a . LKE, t ry DELE , O LIND m id

IVA P n am a n. L M e C e . N , ri c h b rl i ORD IDDLETON Dan e s as e a e s etc . ( c r , m qu r d r , ]

Th e s ene is a in er an e th e as n r c l id G m y tim , l t ce tu y .

’ “ “ RAUSS is ST Die Fledermaus , or The Bat, ’ “ founded upon Meilhac and Halevy s Le Re ” villon . In music it is Viennese ; in dramatic ff A e ect, it is French . The scene opens with dele ,

1 6 AND ARD LI GH T P 7 THE S T O E RAS.

and fresh , bright melodies . The composer does not linger long with the dialogue , but goes from o ne waltz melody to another in a most bewildering an a m ner, interspersing them with rom nzas, drink

- a e ing songs , czardas, an almost endless v ri ty of a d nce rhythms and choruses of a brilliant sort . It is a charming mixture of Viennese gayety and

and a a a French drollery, , like his Rom n C rniv l “ and Queen Indigo, is the very essence of the dance . T T LES L . S U A R , I E

j iluruhut a.

M e n wo a s e Ha rs ro e s a o i t . [ u ic l c m dy, ct ; t xt by ll Fi t p duc d in Lon on No em er I I d , v b ,

NA ES PERSO G .

r o f th e s an of Fl o rodora. C S W. GILFAI N o e o YRU , pr pri t i l d ’ D A La H S o e . CAP . A H T RT U R ONEG L, dy OLYROOD br th r

F A ABERCOED ana e for Mr. GI LFAIN . R NK , m g r

L A o ersee . E NDRO , v r

A H TWEED LEPUNCH eno o s . NT ONY , phr l gi t

D OLORES.

VALLEDA ai to La H . , m d dy OLYROOD

ES T LA s eno a e . ELLE MONT , t gr ph r

ANGELA GI LFAI N . A H L DY OLYROOD .

- Fl oro dorean fa e s fl ower s easan s etc. [ rm r , girl , p t , ]

Th e s ene is a in th e s an of Fl orodora and a es c l id i l d W l ; time, r n th e p ese t .

LORODORA a a o , the title of music l c medy which h as h ad extraordin ary succ ess bo th in

a and t a es is th e a an Engl nd the Uni ed St t , n me of a i sl and and perfume . Th e i sl and has been stolen

Gilfain a a by Cyrus , the m nuf cturer of the perfume ,

o its u a e fr m rightf l owner, whose d ughter Dolor s

a a a wo rks in his f ctory . He is nxious to m rry the

a s s girl , so th t he may retain pos e sion of the island ,

1 2 1 8 D ARD LI GH T PE RAS 7 THE S TAN O .

Aberc oed but she is in love with , the chief clerk,

a A erc oed cons icu who in re lity is Lord b . The p ous c omedy element of the work is supplied by

w dl e unch e e i T ee p , a d t ctive , who arr ves at the ’ a Gilfain s s h re i sl nd in absence , disgui ed as a p ’ l o ist in of no g and palmist, search the real owner s

Gilfain accom a d aughter . When returns he is p

e a ni d by Lady Holyrood , a London society wom n, ’ is a who scheming to marry him . L dy Holyrood s ’ e n An Gilfain s broth r, mea while, is in love with gela,

a Gilfain Twee l e unch . d d ughter , finding that p is

e him a phr nologist, bribes to decide , after exam ination and , that he Dolores must wed , and that

Aberc oed h as a is , whom he le rned a peer, must a a A m rry his d ughter ngela . The scheme does

s an Gil fain not atisfy y one but , and , least of all ,

Tweedl e unch a a Lady Holyrood , who bribes p g in ilfain A to decide that she and G must marry . ber

An a a coed refuses to marry gel , is disch rged by Gilfain s a inten , and goe back to Engl nd with the

a s tion of returning l ter for Dolore . Th e second act op ens in the grounds of Aber

e a a co d C stle in W les, which has been bought by

Gilfain . , who refuses to admit his former clerk

H e ana h a m ges to get in, owever, in comp ny with

Tweedl e unch and s Tweedl e unch p Dolore , and p , by a story o f th e ghost of an ancient Abercoed which h as thre aten ed dreadful things will happ en

Gilfain so terrifies e to , him that he conf sses his mar all a . Gilfain a villainy, and ends h ppily fin lly

es oo a and An ri Lady Holyr d , Doneg l gela and

S LLI . U V A N , A R T H U R

QEur anti ifiur.

Co o ere a in one act and se en a a e Bur [ mic p tt , v t ble ux t xt by nan rs ro u e at th e A e ea re Lon on d . Fi t p d c d d lphi Th t , d ,

PERSONA ES G .

A S H COX a o ne an a e . J ME JO N , j ur ym h tt r B H A S OX a o ne an n e . JO N J ME , j ur ym pri t r

. B C a e f h H S o t e a s re Yeo an . ERGT OUN ER, l t m p hi m ry

Th e s ene is a in Lon on e th e res n c l id d tim , p e t .

OX and Box is of interest because it is the germ from which sprang the long list of ’ a s a n o e a Sulliv n ch rmi g c mic op ras . Burn nd , the a o h as o h ow uthor of the librett , t ld the story of

s e e had they came to write thi little op retta . Th y ’ be en to a private performance of Offenbach s ” A e s a Les deux v ugle , and , Burn nd wishing to present so mething of the sam e kind to a p arty o f o wn e s his fri nds, the notion uddenly occurred ’ to him of turning Morton s well - known farce “ and an o a an of Box Cox into per . Sulliv

a a a u a re t ook to the pl n enthusi stic lly . B rn nd “ e s Cox and and v r ed the title to Box , turned

Mrs. e ea Bounc r into Serg nt Bouncer, so as to a t a a a air e h ad but dmi of m rti l . Th y three weeks

e o b f re them , but at the end of that time the work 1 8 COX AND B OX . 1

i a s a s was finished , Sull v n setting the mu ic with lmo t

a a incredible rapidity . It m de such a gre t hit

as to e it th at it w decided giv publicly, and at the last moment the composer wrote an overture for it . The story is the familiar old one which as “ Bo x and Cox was for so many years and a a s till issuch a f vorite on the st ge . It turns upon

s a and the funny experience of Cox, the h tter,

n e wh o a Box, the pri t r, are occupying the s me

o o ne da ro m , the by night and the other by y,

a e unbeknown to e ch other, and for which Serg ant

At a Bouncer gets double rent . l st they meet in

one a as the room which each cl ims his own . After a ludicrous dispute they gradually become

c d a a s e re oncile to e ch other, but nother di put ensues wh en Cox finds that the widow Penelope Ann a o a t , whom he is b ut to m rry, has been deser ed

n a by Box , the latter pretendi g to h ve committed suicid e to get rid of her . Cox insists upon re sto r ing Box to the arms of his intended , but Box decline s h is generous offer . Then they agree to

a a e decide by lot which sh ll h ve her, but ach tries to cheat the other . The situation resolves itself sati sfactorily when a letter comes to Cox from

Ann n h as c e Penelope , a nouncing that she de id d

a c e to m rry Knox . They give three he rs for a Knox, and Bouncer closes the scene with joyous

a a all rat pl n in which three join . The situ ations are extremely humoro us through

“ out . , and the action moves briskly Though Sulli 1 8 H 2 THE S TAND ARD LI G T OPE RAS .

a e a v n wrot the music in gre t haste , it is in per. ect keeping with the fun Of the farce and keeps up a its interest to the end . The princip l numbers ’ are o B uncer s rataplan song, Yes , in those Merry ” “ a and his a D ys, duet with Cox, St y, Bouncer , ” ’ a as unc st y ; Cox s joyous song, My M ter is p ” a wa s a tu l al ys in Bu iness , with its d nce at the end

s a a of each tanz ; the char cteristic serenade, The Buttercup dwells in the Lowly Mead ” ( Cox) and The Floweret shines on the Minaret Fair ’ ( Box ) Box s solemn d escription of his pretended f ” suicide, Listen I solemnly walked to the Cli f and the finale by the jolly triumvirate with the ” rataplan .

GIrial by Earp.

O ere ta in one act e er . rs ro e at th e [ p t , ; t xt by Gilb t Fi t p duc d Ro al ea re Lo n on Mar 2 y ty Th t , d , ch 5,

PERSONA ES G .

LE ARNED JUDGE .

PLAINTIFF.

DEFEND ANT . C S THE P A OUN EL FOR L INTIFF . SH U ER .

FOREM AN OF THE J URY .

ASSO CIATE .

FIRST BRIDESMAID . Ba ris e s a o ne s o ne en and es a s [ r t r , tt r y , j ur ym , brid m id ]

Th e s ene is a in a Lon on Co r of s i e e th e c l id d u t Ju t c ; tim , n ne en n r i te th c e tu y .

THE “ little operetta, Trial by Jury, was the first result of the succe ssful collabo ration of

1 8 D 4 THE S TAND AR LI GH T OPE RAS .

a f and e s h a pl inti f, dir ct the us er to t ke the note

es a and A e a from the brid m id give it to ng lin ,

h e o s which d e , while the jurymen taunt the judge

a and with being sly dog, then express their love ’ a a f s for her lso . The pl inti f counsel m akes the

n s and A a a ope ing peech , ngelin t kes the witness

a ee a t a e st nd , but, f ling f in , f lls sobbing on the for

’ a wh o e as a a m n s breast, kiss s her f ther . She

’ e e and e a s n r viv s, th n f lls obbing upo the judge s

e s a br a t, while the jurymen sh ke their fists at the

a and f a defendant, who comes forw rd o fers to m rry

A - and a e - ngelina to day m rry the oth r to morrow . a The judge thinks it a re sonable proposition , but ’ the plaintiff s counsel submits that to m arry two

l r e a at once is Burg a e . In this dilemm Angelina

a a sl s embr ces Edwin r pturou y, but he repel her furiously and throws her into the arms of her

o a counsel . The jury thereupon bec mes distr cted , a e and asks for guid nce , wh reupon the judge de A e cides he will marry ng lina himself, to which she gives enthusiastic consent . The best numbers in the operetta are the de ’ “ fendant s song, When first my Old, Old Love I ” ’ “ a ! knew ; the jurym n s song, Oh I was like ” ’ was that when I a Lad ; the judge s song, ” e s When I , Good Fri nd , was called to the Bar “ u e the pretty chor s of the bridesmaids, Cov r ” ’ ’ ff er the Broken Flower ; the plainti s song , O ’ th e a a n Se son Vern l and the defendant s so g, ”

! . Oh Gentlemen , listen , I pray The London “ ” Times, after the first performance, said 1 8 THE S OR CERE R . 5

There is a genuine humor in the music, as for

a an inst nce in the unison chorus of the jurymen, d the clever parody on one of the most renowned final es of modern Italian opera and there is also a and melody, both c tching fluent, here and there, off moreover, set by little touches in the orches tral accompaniments which reveal the experienced ’ h andf

2 1s 9 0mm .

Co O era in two a s e er . rs ro e at [ mic p , ct ; t xt by Gilb t Fi t p duc d th e O ra Co e Lon on No e er 1 8 pé miqu , d , v mb ,

E RSONA ES P G .

S IR MA A K POI NTDEXTRE an e e a one . RM DU E , ld rly b r t

A S h is so n o f th e G ena e G a s . LEXI , , r di r u rd i h D D A a of Pl o verl e . R . LY , vic r g

NOTARY .

H W W S of We s C o . fa sor JO N ELLINGTON ELL , ll , mily

cerers .

LA SANGAZURE a a o f an en nea e . DY , l dy ci t li g

A h er da e e o e to A S. LINE , ught r, b tr th d LEXI

- w o ene . MRS. PA a e RTLET , p p r

C S A C h er da e . ON T N E , ught r [Ch oru s o f p easantry ]

Th e s ene is a on an En s es a e e th e resen . c l id up gli h t t ; tim , p t

THE “ and success of the two operettas , Cox ” “ ” Box and a Tri l by Jury, led to the organ ization of a company under the management of ’ D l e Mr. Oy y Cart for the production of the Sulli van- e a Gilb rt coll borations , and the first of its “ ” t performances was The Sorcerer . Inciden ally 1 8 6 S TAND ARD LI GH T OPE A THE R S . it may be stated that this opera introduced Mr.

oss a and G eorge Gr mith to the st ge , its success led ” to a proposition from Lewis Carroll to Sullivan “ ” A a an to set his lice in Wonderl nd as opera, was a though the scheme never re lized . The li

e to is e e th e s br t r pl te with humor, and mu ic is a a a and a origin l and ch r cteristic , p rticularly notice able for its admirable parodies of the Italian and it wa sc a operas, yet is al ys hol rly . The first act opens upon the gro unds o f Sir ’ a Pointdex tre s M rmaduke estate , where the vil l agers are gathered to celebrate the betrothal of A A a his son lexis, and line , d ughter of Lady

Si n azure a g , with whom , fifty ye rs before , Sir

a u l . a M rmad ke had been in ove Mrs . P rtlet , the

- e a e pew op ner, enters with her d ught r Constance ,

o t . a who is h pelessly in love wi h Dr D ly, the v a a a ic r, for he c nnot be m de to understand , either ’ s a by her demon tr tions or by the mother s hints ,

h e e A that he is the obj ect of r d votion . lexis and

A a a e n mar line are congr tul t d by all, and sig the

ia A r e . g contract When alone together, lexis dis courses upon his favorite theory that all artificial barriers should be broken down and that marriage

a a 0 sh ould be c o ntracted without reg rd to r nk . T put his the o ry into practice he procures from th e

e s e firm of J . W . W lls Co the old establi h d a a e a t f mily sorcerers of the pl ce, a larg qu nti y of

e e t h as f e mar th ir lov po ion, which no e f ct upon ried persons but will cause unm arried on es to couple without regard to rank or condition, mixes

1 88 H T P THE S TAND ARD LI G O E RAS .

The m o st conspicuous numb ers in th e first act ’ “ are a a a was e Dr . D ly s b ll d , Time wh n Love ” and I were well ac qu aint ed ; th e duet b etween

a u e and a San azure Sir M rmad k L dy g , Welcome ” ’ “ a a n s A e a a Joy, dieu to S d e s ; l xis b ll d , Love ” ’ feeds on m any Kind s o f Food I know ; Well s “ and s ! a long rollicking ong, Oh my N me is ” J ohn Welling ton W ells ; and the incant ation “ s e a and Air sec mu ic , Sprit s of E rth . The ond ac t a o a opens with a ch rming little c untry d nce . The principal numbers which fo llow it are Con ’ “ ta e a a e s a on s nc s ri , Dear Fri nd , t ke Pity my

Lo t th e n A e A s s a e e semble for lin , lexi , Con t nc , “ ” ’ and a o ! o l A e the Not ry, O , J y O , J y ; l xis

a as o a e b llad , Thou h t the P wer thy V unt d Love ’ e e a e . the quint tt , I rejoice th t it s decid d Dr ’ “ a o o s o ! c sad D ly s hum r u s ng, Oh my Voi e is ” l o w and a Now and ; the fin l ensemble, to the ” s Banqu et we pre s.

. ill 56. iuafarz at 61 2 as t a 323 f . lB ; 5 L s h t 1&0w

a S adat .

w Co O era in t o a s e er . rs ro e at [ mic p , ct t xt by Gilb t Fi t p duc d th e O ra Co e Lon on Ma 2 8 pé miqu , d , y ,

PERSONA ES G .

TH H ON I R S PH P F rs Lo E RT . . S JO E ORTER, i t rd

of th e Admiralty . CAP n o e H M. . P af . C C A o and n . S T. OR OR N , c mm i g i r RA PH W n RACKSTRA a e s ea a . L , bl m

D C D A a e sea an . I K E DEYE, bl m 8 A . 1 . PI N F RE H. M . S O 9

’ B B S A oa swa n s a e ILL OB T Y, b t i m t . ' BO B B a s man C en e . E KET, c rp t r T M T UC s O e. KER, mid hip mit S A MA S ERGE NT OF RINE . ’ S H h e a a n P t C s a e . JO E INE , pt i d ught r ’ H Sir S PH S firs o n s . EBE, JO E t c u i L B C P a o a wo n. ITTLE UTTER U , bumb t m a ’ F s Lo s s s ers h is o s ns h is a n s sa o s m [ ir t rd i t , c u i , u t , il r , a

r nes tc . i , e ]

Th e s ene is a on th e ar er e of H M S P nafore c l id qu t d ck . . . i

e th e resen . tim , p t

“ AL HOUGH T Pinafore , when it was first pro ’ duc ed v o a in London , was recei ed so co lly th t it " was a ofi th e a s et eventu decided to t ke it bo rd , y ’ ” a e Of e e a lly, with the exc ption The B ggar s Op r , it proved to be the most p opular op era ever pro duc ed in England ; while in the United States it was for a s a e still a o ye r the r g , and is a prime f v rite . The first sc ene introduces the l eading characters

o h ar on the deck of H . M . S . Pinaf re in the

bor . e of Portsmouth Little Butt rcup , a bumboat “ a es est and wom n, the rosi t, the round , the reddest ” a all ea e oa be uty in Spith d , com s on b rd and has

e th e an interview with Dick Deadey , villain of the

and a Rac kstraw a story, R lph , the sm rtest lad in all

se a a the fleet , who is in love with Jo phine , C pt in ’ a a Th e a a s Corcor n s d ughter . C pt in come on d eck in a melancholy m o od because Josephine has

n f e e to s t show herself indi f r nt Sir Jo eph Por er, who is to ask for h er hand that after

o s h er a a sh e s no n . She confesse to f ther th t love a a common sailor, but will c rry her love to the 1 0 THE S TAND ARD LI GH T OPE RA 9 S .

grave without letting him know of it . Sir Joseph

a e comes on board with long r tinue of sisters, s and a s a a A t cousin , unt , who ch nt his pr ises . f er atte e a s h as t es nding to som minor det il , he a frui l s

n e ew a and i t rvi with the C ptain Josephine . She

a Sh e decl res cannot love him . Shortly afterwards sh e e s a who a for m et R lph , decl res his love her, e but she haughtily r jects him . When he draws

s a e e his pi tol and decl r s he will shoot hims lf, she s ea acknowledges her love, and they plan to t l as at a hore night and be married . Dick De deye

a and a overhe rs the plot threatens to thw rt it .

s act n a a The econd opens at ight . C pt in Cor a coran is discovered sadly compl ining to the moon , “ and wondering why everything is at sixe s and ” s . s e evens Little Buttercup ympathiz s with him , and to e aff is about b come ectionate , when he

h er can informs he only be her friend . She

w a d wa s n gro s enr ge , and rn him there is a cha ge in

e ose stor for him . Sir J ph enters , and informs the C aptain he is much disappointed at the way

a Th e a e a Josephine has cted . Capt in r plies th t sh e a a a is probably d zzled by his r nk , and th t if he will re ason with her and convince her that love

e all a s . l vels r nk , everything will be right Sir ’

os so a s a se. J eph does , but only ple d his rival s c u

e h a s She t lls him she has esit ted , but now she he i

a no n e a n are t tes lo ger . Sir Jos ph and the C ptai

e o h er a a t a Of ea e r j icing over pp ren ch nge h rt, wh n

a a o a Dick De deye reve ls the pl t to elope th t night . The C aptain confronts them as they are stealthily

1 2 D ARD LI GH T OPE 9 THE S TAN RAS .

n s a and the s ame brai . The chorus play very

a t in th e os e n important p r it, and in m t sol m ly ludic rous m anner repeats the assertio ns of th e

e All principals in the third p rson . its numbers m t st a e se igh be yled the le ding on s , but tho which “ ’ a e o are h ve b come most p pular the song, I m ’ c alled Li ttle Buttercup Josephine s sentim ental “ ” o h er o s ng, Sorry Lot who l ves too well , one of th e few serious numbers in the Opera ; Sir Joseph ’ “ e s s am Sea Port r ong, I the Monarch of the , “ t o a ef a And wi h its irresistible ch r l r r in, so are his

s e and A s Si t rs and his Cousins his unts , his Si ters ” and h is s s m th e e Cou in , who he reckons by Doz ns, ea a a n was a l ding up to the s tiric l so g, When I Lad , ” s a s o A I erved Term ; the tirring tri , British ’ Tar is a Soaring Soul C aptain C o rcoran s senti “ ” a a o ee ment l ditty, F ir Mo n, to th I sing ’ o e a Josephine s scena, The H urs cre p on ap ce, ’ with its mock heroic reci tative Dick D ead eye s “ e a e d lightful song , The Merry M id n and the ” “ Tar o s a ; the pretty octette and ch ru , F rewell, ” ’ “ m e e A y own Little Butt rcup s l gend , many ” a a o e was and and Ye rs g , wh n I young charming “ th e o a na e h e and ch r l fi l , T n give three Cheers o n e Cheer more . A 1 THE PI RA TES OF PEN Z N CE . 93

S f c 1amof Du . ilibe lfiirates of iBeugante; or, Glib 5 ty

Co m o era in two a s e er rs ro e in [ ic p , ct ; t xt by Gilb t . Fi t p duc d En an at th e O ra Co i ue A r gl d pé m q , p il 3 ,

PERSONA ES G .

- MA . GEN. S A J T NLEY . P A IR TE KING . SA h is e enan . MUEL, li ut t F C th e ra e a ren REDERI , pi t pp tice. S A P CE ERGE NT OF OLI . MA BEL, E H DIT , ’ Gen . S A Y S a T NLE d ughters. A K TE , I SA BEL , wo R H a a e a o f all . UT , pir t m id rk

P a es o e etc . [ ir t , p lic , ]

Th e s ene is a on th e oas of Cornwa e th e resen c l id c t ll ; tim , p t .

“ THE Pirates o f Pe nzance h as a loc al interest from th e fact th at it was first pro duc ed in New ’ New ea s e e 1 1 8 York on Y r Eve , Dec mb r 3 , 7 9, o under the immediate supervisi n of b oth Mr . Sulli

van . e th e o e t and Mr Gilb rt . When comp s r lef Eng

n h e h ad n s e s and a la d only fi i h d the econd act, th t

was e a A te a a e without orch str tion . f r his rriv l h re h e act o e a wrote the first and sc red the entire op r . By this performance the pro fits of th e repres enta

tions in this country were secured . The work was not e published until after their r turn to England . At the opening o f the opera it is disclo sed that ’ bo a Frederic , when a y, in pursu nce of his father s I 3 1 S TAND ARD LI GH T OPE RA 94 THE S .

was to a a a orders, h ve been pprenticed to pilot

we - first ea but a e until his t nty y r, by the mist k of

- a was his nurse m id , Ruth , he bound out to one of

a e a e a the pir t s of Penz nc , who were celebr ted for th eir gentlene ss and never m olested orph ans b e

e a s cause th y were orph ns themselves . In the fir t

a are a n as e scene the pir tes m ki g merry, Fred ric h as re ached h is m aj ority and is about to l eave

o e a th em and seek some th r occup tion . Upon the eve Of e a u s s him a d p rture Ruth req e t to m rry her, and h e c s h as ee an on ents , as he never s n y other

an s a te wa o s wom , but hortly f r rds he enc unter the

a s ne a tan a d ughter of Ge r l S ley , f lls in love wi th

a e o and e es as M b l, the y ungest, d nounc Ruth a

a e d ec eiver . The pir t s encounter the girls about

a and o a the s me time , pr pose to m rry them , but when the General arrives and announce s that h e

an a e e a w is orph n, th y rel nt and llo the girls to

’ The second ac t op ens in the General s ancie nt

a a a e ea s e b roni l h ll, and r v l him surround d by his

a a e n a h as e th e d ughters, l m nti g th t he d ceived

a a n se an e e c pir tes by c lli g him lf orphan . Fr d ri a a a as IS a to ppe rs, and bids Mabel f rewell , he bout le ad an expedition for the extermination of the a a a and pir tes . While he is lone , the Pir te King Ruth visit him and show h im the papers which him I t a at bound to them . is st ted in them th he “ ” is e —first a but as bound until his tw nty birthd y, h is 2 th h ad birthday is the 9 of February, he has but five . Led by his strong sense of duty, he

1 6 D RD LI H T E 9 THE S TAN A G OP RAS .

’ wre or ifiunt ume e ilirtne. fl at a ; , b

w a s e r r r Com o era in t o e . s o e at [ ic p , ct ; t xt by Gilb t Fi t p duc d h ra Co e Lon on A r 2 t e Opé miqu , d , p il 3,

PERSONAGES .

OL. CA V o C L ERLEY, ffic ers MA M A o f D a o JOR URG TROYD , r g on L A TH E D D S A a IEUTEN NT UKE OF UN T BLE Gu rds .

R A B H a fl esh l oe . EGIN LD UNT ORNE , y p t CH A G SV a A n oe . R IB LD RO ENOR , idyllic p t ’

R . BUNTH ORNE S S C M OLI ITOR . LA A A DY NGEL , LA SAPH DY IR ,

a o s a ens . LA E A r ptur u m id DY LL , LA A DY J NE ,

PA - C a a a . TIEN E, d iry m id G a s aes e a ens [ u rd , th tic m id ]

Th e s ene is a at as e B n rn h n C o e e t e ur . c l id tl u th ; tim , last ce t y

THE opera of Patience is a pungent satire upon th e fl eshly school of poetry as represented by

s a as as o O c r Wilde and his imitators, well up n th e fad for aesthetic culture which raged so vio

l entl a e a o . n n y a qu rt r of a century g Bu thor e , in one of his soliloquies, aptly expresses the hollow

s ness of the ham ,

I am not fond of utt ering pl atitudes In st ained-gl ass atti tudes ’ I n s o media valism s affe a on h rt, my ct ti ” Born of a m orbid l ov e of admirati on.

In these four lines Gilbert pricked the aesthetic e and bubbl , nothing did so much to end the fad of 1 PA TI EN CE . 97

a a - lank , l nguorous m idens, and long haired, sun ’ wer a a s es as s - fl o ed m le e thet , Gilbert well directed

e a Shafts of ridicule in this op r . The sto ry of the op era t ells of the struggle fo r supremacy over female h earts between an aesthetic an ( Bunth orne) d an idyllic poet ( Grosvenor) . In the op eni ng scene love sick m aidens in clinging

ow s a a ns s a g n , pl ying m ndoli , ing pl intively of their

t a a love for Bun horne . Patience , a he lthy milkm id ,

and e comes upon the scene , makes fun of th m ,

a and and sks them why they sit sob and sigh . She announces to them that the Dragoon Guards will

a o soon arrive , but lthough they d ted upon Dra go o ns the year before they spurn them now and go a to the door of Bunthorne to c rol to him . The

a a a e Gu rds duly rrive , and are h rdly s ttled down wh en Bunth o rne passes by in the act o f comp osing

w a e s a poem , followed by the t enty lovesick m id n .

A h e and fter finis ing his poem he reads it to th m ,

e off a a th y go together, without p ying any ttention

e a a in to the Dragoons , who d cl re they h ve been sul ted a t e and leave in a r ge . Bun horn , when

n s a at alo e , confesses to him elf he is sham , and th e close of his confession Patience come s in .

at e a to s He onc m kes love her, but only frighten h r h e e o a wh o e . S t a A e th n c nfers wi h L dy ng l ,

a e s h er it is expl ins love to her, and t ll her duty to o o o ne a a e l ve s me . P tience decl r s she will not go

bed h as a e e one to until she f ll n in lov with some ,

s t s when Gro venor, the idyllic poe and apo tle of ” t s. simplici y, enter He and Patience had been 1 8 THE S TAND ARD LI GH T OPE RA 9 S .

a sh e pl aymates in e rly childhood, and promptly

a ff f lls in love with him , though he is indi erent . In

s a a the clo ing scene Bunthorne, twined with g rl nds , is led in by the maidens , and puts himself up as a prize in a lottery ; but the drawing is interrupted

a a a a by P tience , who sn tches w y the papers and o ffe rs herself as a bride to Bunthorne , who promptly a e a a cc pts her . The m idens then make dvances to th e a a Dr goons , but when Grosvenor appe rs they

l l a f r him a decl re their love o . Bunthorne rec ognizes him as a d angerous rival and threatens “ a a e he sh ll meet hid ous doom .

Th e th e se a opening of cond act reve ls Jane , an

a e s tt S a antique ch rm r, i ing by a heet of w ter mo urning because the fickle m aidens h ave deserted “ u s h as a e B nthorne , and becau e he t k n up with a ” f puling milkmaid , while she alone is aithful to

i e s s s h m. In the n xt cene Gro venor enter with

is e a . the m idens , of whom he tir d They soon

a l ow e a le ve him in spirits , wh n P tience appears and h im o es can h is tells she l v him , but never be ,

t to u Th e e for it is her du y love B nthorne . latt r

e t a o we n wh o n x appe rs , f llo d by the a tique Jane, clings to h im in spite of his effo rts to get rid of

a e a e o her . He ccus s P ti nce of l ving Grosvenor, a in a and goes o ff with J ne a wildly je lous mood .

I n e a o s a i the n xt scene the Dr go n , to win f vor W th

a s a s o a the m iden , tr n f rm themselves into group of aes e e a e thet s. Bunthorn and Grosvenor fin lly me t, and Bu ntho rne taxe s his rival with monopolizing

a e e the tt ntions of the young ladi s . Grosvenor

2 0 0 THE S TAND ARD LI GH T OPERAS .

z or El e m armt e m lfol autb ; , b 19 h 19 .

C o era in two a s e er . rs ro e at [ omic p , ct t xt by Gilb t Fi t p duc d o ea re Lon on No e er 2 th e Sav y Th t , d , v mb 3,

PERSONAGES.

LORD CHANCELLOR . MOUNTARARAT EARL OF .

EARL TOLLALLER. PR VA W S o f th e G ena e G a s I TE ILLI , r di r u rd . A a a e r S PH an n s e . TRE ON , rc di h p h d ’ I A H a fa S PH S o e . OL NT E , iry, TRE ON m th r S Q UEEN OF THE FAIRIE . C A ELI , L A f r a es. EIL , i i F A LET , PH S an Ar a an s e e es and war in C a s n er . YLLI , c di h ph rd d h c y D es ar ses ear s s o n s arons and fa r es [ uk , m qui , l , vi c u t , b , i i

Th e s ene is a in Ar a and at es ns er e e ween c l id c dy W tmi t tim , b t a 2 1 7 00 nd 1 88 .

“ ” THE s ac fir t t of Iolanthe opens in Arcady .

a a a ffe Iol nthe , f iry, having o nded her Queen by

n a ta h as e a s marryi g mor l , b en b ni hed for life but

th e e ne t ea s e in op ning sce , af er twenty y r of xile, sh e is e Sh e e th e e f h er mar pardon d . t lls Que n o ria e and h er son e o a a a g , Str ph n , h lf a f iry and h lf a e is a e s e sh pherd , who eng g d to Phyllis , a h p

e w e and a a c e . At s h rd ss, rd in Ch n ry thi point

t e o e e s and o e at S r ph n nt r , inf rms his moth r th the Lo rd Chanc ellor will not p ermit him to m arry

s w s te H e Phylli , but he ill do so in pi of him .

his a o e a curses f iryh od , but the Que n s ys she has I OLAIVTHE . 20 1

at sa him a borough her dispo l , and will return to

a en a a e a - se a e th e e P rliam t s Lib r l Con rv tiv . In n xt scene Strephon m eets Phyllis and pleads agai nst

e a in a a e s a d l y m rri g , ince the Lord Ch ncellor him

ma a h er and self y m rry , many of the lords are

ea to attentive to her . M nwhile the lords meet

O f a a th e decide which one them sh ll h ve Phyllis ,

o a a his a as l a L rd Ch ncellor w iving cl im , it might y

s o s is his decision open to mi constructi n . Phylli

o e e ea all en summoned bef r th m , but is d f to

e treaties, and declares she is in love with Str phon ,

a s e e a who h s ju t ntered . The p ers m rch out in a

e a e o an a dignifi d m nn r, while the L rd Ch cellor sep at s and and e s h er awa r es Phylli Strephon ord r y .

en s s e h is s e th He th refu e Str phon uit, wh reupon e a e es th e a o e l tt r invok aid of his f iry m th r, who

o s s to la e e n pr mi e y the cas b fore her Que e . In th e a are ea s fin le the peers seen l ding Phylli , who overhe ars something said by Strephon and I o lan

fa t ess the which induces her to believe he is i hl ,

a o a and she denounces him . He replies th t I l nthe

h is a o is mother, but c nn t convince her . She

a him e t and ffe h er a ch rges with dec i , o rs h nd to an th e s a a s to y one of peer . He then ppe l the

ee ea a o ee s and Qu n , who thr tens venge nce up n the p r

e a a t e s a t a a ent d cl res th t S r phon h ll go in o P rli m .

e be h er fo r and o es The p ers g mercy, Phyllis impl r

e a m . Str phon to relent , but he c sts her fro him

ac t o e at e e o The second p ns W stminster. Str ph n is in Parliament and carrying things with a high a hand . Phyllis is eng ged to two of the lords 2 0 2 TAND ARD LI GH T OP THE S ERAS .

a e e e c an e and c nnot d cide b tw en them , nor th y

a a settle th e m att er s tisf ctorily . Whereupon the Lord Chanc ellor decide s to pre ss his own suit

a a for her h nd . Strephon fin lly proves his birth a a all to Phyllis and expl ins way her fears . Iolan th e th en acknowl edges that the Lord Chancellor

’ is her husband and ple ads with him in Strephon s

a f s s beh l . When she makes thi confes ion , she is

o e a ak a c ndemn d to de th for bre ing her f iry vow . Th ereupon all the fairies confess that th ey have

a e As a m rried pe rs . it is impr cticable to kill them

a s a and all, the Queen hunts up hu b nd , finds one

a e s a a in Priv t Willi , the sentry in the p l ce yard .

All s an s a the hu b d join the f iries , and thus matters are straightened out . Th e mu sic of I ol anthe is peculiarly refined

d a n a n e s an a an . d f nciful , bou ds in t ki g numb r The ’ “ s es are s b e t of th e Strephon song, Good Mor row th e d elightful duet b etween Strephon and “ s a a a h o Phylli , None sh ll p rt us from e c ther, ’ one of the most felicitous of the compo ser s ’ m s s th e o a e l s lighter co po ition ; L rd Ch nc l or s ong , “ ’ When I went to the Bar Strephon s charming “ ” a a a o l a b ll d , In B byh od upon her Lap I y ; ’ “ a Willis s n n Priv te so g, When all Night lo g a ” Chap remains ; the p atter song of the Lord “ ’ a o a Ch ncellor, When y u re lying aw ke with a ” Dismal He ad ache ; the duet of Strephon and “ ’ re ea e a Phyllis , If we w k nough to t rry and ’ o a e a a B I l nthe s pr tty b ll d , He loves if in the y ” o a s g ne Ye r .

2 0 NDARD LI GH T OP 4 THE S TA ERAS . the labored and heavy style of the story h ad some thing to do with th e dry and somewh at forced

e th e as a styl of music, well as its l ck of the bright n ess and fancy which are so apparent in Pina ” and a fore P tience .

act ’ The first opens at King Hildebrand s palace , where the courtiers are watching for the arrival of

a a and a e ss Ida King G m his d ught r, the Prince ,

ee a who has b n promised in marri ge to Hilarion , ’ a son. a a s Ida Hildebr nd s When G ma fin lly come , is and a not with him , he expl ins to the enraged

H d a a sh e e A one o f il ebr nd th t is at Castl damant,

e 15 s e his country houses, wher she pre id nt of a ’

. a a and so woman s university G m his three ns,

Avac o and Sc nth ius are se e and as , Gur n , y , iz d held

s a fo r a a a and th e a tIme ho t ges her ppe r nce , in me n

a o and two ds and o an Hil ri n, his frien , Cyril Fl ri , d etermine to go to Castle Adamant and see if th ey

a o t a e s o o s c nn m k ome impressi n up n the Princes .

o a A a an and The second act pens at C stle d m t, disclo ses th e pupils o f the university in di scourse w a s e th e m es ith L dy P ych , Professor of Hu aniti , and a a o A L dy Bl nche , Pr fessor of bstract Science , wh a o is mbitious to get control of the institution . Hilarion and his two friends scale the wall and

et th e and n a a g into grounds , findi g some c demic

e s as e r o b s they disgui e themselves girls . Th y first meet the Prince ss and explain to h er th at

e s s sh e th y wi h to enter the univer ity, to which gives her consent up o n their subscription to th e

. S w rules They ign ith enthusiasm , especially 2 0 PRI N CESS I D A. 5 wh en they discover that there is one which re quires them to give th e fulness of their lo ve to

h e s o t th e hundred m aid ens of t e univ r ity . Sh r ly

a o a wh o aft erw rds they enc unter L dy Psyche ,

a a h er e h e recognizes Flori n s broth r . T ey t ll

ssa th e a f a e se . O th ir cret to her Meli , d ughter L dy

a e e a e and a t h er Bl nch , ov rhe rs th m , is in r p ures at

s o s first sight of men . She di cl se to her moth er

a sh e h as s o wh t di c vered , but urges her not to

a is ss spe k of it, for if Hilarion succe ful in his suit she ( the Lady Blanche) may succe ed to th e presi At owe denc . y the luncheon , h ver, the Princess discovers she is entertaini ng three men and flees

h s s e a from t e pot . In cro sing a bridg she f lls

He th e . r into river, but is rescued by Hilarion a e a a a sh e ng r is not ppeased by his g ll ntry, and

As e ar orders the arre st of the three . th y e

a c o ff e . m r hed , there is a tumult outsid Hil de rand t a w his o b , wi h an rmed force and ith f ur

os s h as s t h tage , arrived , and gives the Prince s un il the morro w afternoon to release Hilarion and

e become his brid . The last ac t opens with the preparations of the

and s Princess her pupils to defend themselve , but o ne t e a se s af er the oth r their cour ge de rt them . Gama proposes th at his three sons shall be pitted a a s a and and g in t Hil rion his two friends , if the a e are a a f l tt r defe ted the Princess sh ll be ree . In ’ th e s s s are d contest Gama on efeated , whereupon

at s s an e a the Princess once re ign d acc pts Hil rion .

The Lady Psyche falls to Cyril, and the delighted 0 6 A D I GH 2 THE S TAND R L T OPE RAS .

a s e Melissa to Flori n, and it is to be pre um d the ’ presidency of the Woman s College falls to Lady

Blanch e .

s t A has already been intima ed , the music as a are n whole is labored , but there some umbers that are fully up to the Sullivan stand ard amo ng ’ “ m a u a a Ida was we n the Hil rio s b ll d , a t lvemo th ” ’ “ o ld a a a a te s v ; G m s ch r c ri tic song, If you gi e ” ’ me A o and a a your ttenti n, the trio of G m s ” ac t ! sons, For a Month to dwell , in the first

’ a a At a a the Princess s long ri , this my C ll L dy ’ “ e e s a Blanch s song, Com , Mighty Mu t L dy ’ “ A a a Psyche s sarcastic evolution song, L dy F ir ” ’ “ e s of Lin age High ; Cyril song, Would you ” ’ know the Kind o f Maid ; and Hilarion s so ng

a w a Whom thou hast ch ined must ear his Ch in , ’ “ in act : and n the second the Princess s so g, I ” ’ “ ’ t a a on Wh e e buil upon a Rock ; G m s s g , n er ’ a a o th e s e s h us I spoke S rc stic J ke oldi r c or ,

s a h is and When Anger pre ds Wing the finale , ” With Joy abiding, in the third act .

Gli e Glinma of Ch i a. The fi ltrat e ; or, b n

rs rod e at Co o era in two a s e er . [ mic p , ct ; t xt by Gilb t Fi t p uc d th e Sa o ea re Lon on Mar 1 v y Th t , d , ch 4 ,

E P RSONAG ES.

MIKADO o f J ap an.

NA -PO O h is so n s se as a ns e in o e w NKI , , di gui d mi tr l , l v ith

YUM- YUM.

KO-KO Lo H n i , rd igh Ex ecutio er of Tit pu.

2 0 8 THE S TAND ARD LI GH T OPERAS . furnish es much of the delightful com edy of th e

a a —Po o n e eles a a e se e o p er . N nki ev rth s m n g s to cur

ew w - o nfe ses to h er h e an intervi ith Yum Yum , c s ’ a o s son and a is s e is th e Mik d , th t he in di guis to escap e puni shment for no t m arrying th e eld erly

’ a Ko - a i a a an s are K tisha . Ko s m tr moni l rr gement

n e e essa e o a o i t rf red with by a m g fr m the Mik d , th at u nl ess so me o ne is b eh ead ed in Titipu with in a o w a a - m nth he ill be degr ded . N nki Poo con sents to be behe ad ed if he is allowed to marry

- an Yum Yum d live with her for the month .

e a a n This b ing s tisf ctory, the arra gements for the n a are upti ls made . ’ The second act op ens with Yum - Yum s prepara

‘ ‘ a a A téta- - t ze a tions for her m rri ge . d é with N nki

Ko - Ko a o s Poo is interrupted by , who nn unce that by the law wh en a marri ed man is behe aded his ’ - wife must be burn ed alive . This cools Yum Yum s

ass a e h er a - ate s p ion , and to s v N nki Poo thre n to

e o a a As p rf rm the H appy D esp atch th t d y . this

a Ko - Ko would end nger , he arranges to swear to a ' a s ta a - f l e s tement of N nki Poo s execution . Sud denl Ko - Ko y the Mikado arrives . gives him the

a e a is st t ment , but a gre t danger imminent when the Mikado informs him h e h as killed the heir apparent and must suffer some horrible pun ish ment e a - a . In the dénouem nt N nki Poo re p

and Ko - Ko a pears , gets out of trouble by m rrying

a a a n - the ancient K tish , le vi g Yum Yum to Nanki

Poo .

The opera abounds in charming lyrics, though 20 R UD D YGORE . 9 w a ith a single exception, a m rch chorus in the ” se act a sa a a a a cond , Miv m , miy s m , there is no o a s c as l c l color to the mu i , might have been ex p ected in an opera entirel y J ap anese in its subj ect

a a ea I ts c s ne and dr m tic tr tment . lyri are no the

a a Th e a l ess d elightful on th t ccount . mo st p opul r ’ e s ac t are Ko - Ko s numb rs in the fir t song, with “ ’ se ma e m on its choral respon , You y put the ” List and th ey n ever will be mi ssed th e fascinat in - Yum - Bo and - g trio for Yum , Peep , Pitti Sing, Thre e Little Maid s fro m School are we Nanki ’ oo A WanderIn s th e P s song, g Min trel and trio fo r Ko - Ko - Bah and s - s a , Pooh , Pi h Tu h , My Br in, ” e s ea n e s it t em . The l di g numb r of the second ’ act are - s o Sun a s Yum Yum s ng, The , whose R y

a e a - Da the qu rt tte , Brightly d wns our Wedding y ’ a A o e a a the Mik do s song, m r Hum ne Mik do ’ Ko - Ko s a a a a never rom ntic b ll d , On Tree ” e by a Riv r a little Tomtit, which is in the

e s a and th e e - o w g nuine old Engli h m nner, w ll kn n “ e for a -Po o and Ko -Ko du t N nki , The Flowers " a o tra th t bl om in the Spring, la .

’ Bubbygure; or, C he CEHitth s Curse.

Co o era in two a s e er rs ro e at [ mic p , ct ; t xt by Gilb t . Fi t p duc d th e Sa o ea re Lon on an ar 2 2 v y Th t , d , J u y ,

PERSONA ES G . R OAKAPPLE a o n fa e . OBIN , y u g rm r ’ ’ R CHA DA SS his fos e o e and man-o -wa s I RD UNTLE , t r br th r r ma n. 2 1 0 TAND ARD LI GH T P RA THE S O E S .

SI R D SPA M A th e w e Barone . E RD URG TROYD , ick d t ’ OLD A A G H A R S fa f ser an . D M OOD E RT, OBIN ith ul v t

R S MAYBUD a l a e a en. O E , vi l g m id

MAD MARGARET . ’ DA HA AH R S S a n ME NN , O E u t . AH ZOR , f ro ess o na r es a s . R H p i l b id m id UT , S IX M A GH S URG TROYD O TS.

I R R C M we -firs B S A n t a on . ODERI URG TROYD , t ty r et Offi e an esto s and rofess o na es a s [ c rs c r , p i l brid m id ]

Th e s ene is a in Cornwa e ear in th e as en r c l id ll ; tim , ly l t c tu y .

“ AL HOUGH Rudd ore a u T yg , a s tire pon the old

s a h as as ss as Engli h melodram s , not been succe ful

e o f a a as e som the other Sulliv n oper s, it is ent r

as th e e es o taining any in s ri , while the st ry, with

s a a a e a its grote que dr m tic fe tures , is p culi rly Gil

rtian its s be in humor. The fir t act opens in

o a t o s C rnw ll . Sir Ruper Murgatr yd , the fir t of the

a o e e e b r nets, mploy d his leisure in p rsecuting w e an e s itch s d committing oth r crime . The chorus “ ” e s a a an s of the l gend , ung by H nn h , old pin

s a a a die ster , prophe ies th t e ch Murg troyd will “ ” s n . a e with inni g cloyed To void this fat , the

s n o e la t i herit r of the title , Sir Ruthven , seclud s h se o aka l e im lf under the name of R bin O pp , in th e s a Rederrin and Corni h vill ge of g, his younger

e es a d e to ea suc broth r, D p r , b lieving him be d d ,

wh o is sh an es c eeds e . d to the titl Robin , y mod t , is o e t o e n e dis in l v wi h R s , a foundli g, who is v ry c reet Th e ve - a a s and ea . lo m king l g , m nwhile ’ ’ a o man- o - a man Rich rd , his foster br ther, a w r s , r t eturns from sea, and so commiserates Robin hat

2 1 2 AN DARD LI GH T OP THE S T E RAS .

The princip al numbers in the first ac t are th e “ e e o his e s w ird leg nd, Sir Rupert Murgatr yd , L i

” ’ ure and n a a his Riches, sung by Ha n h ; Rich rd s “ ’ ee sea d see a br zy song, I shippe , d ye , in ” R evenue Sloop ; the very tuneful ch orus of “ a a the bridesm ids , H il the Bridegroom , hail ” ' th e Mad a a a Bride ; M rg ret s whimsic l song, “ ” Che erily c arols the Lark ; the melodious “ o s o f s and e ch ru the buck blades, Wh n thor

’ oughly tired of being admired Sir Despard s n a a a “ so g, with its ltern ting chor l refrains, Oh , ” and sad a why am I moody ; the m drigal , “ s Where the Bud are blossoming, written in

s e and e the early Engli h styl , support d by the chorus ; and the ch arming gavotte leading to

a e a a the fin le , which contains som dmir ble duet

e ea e s o f and trio numb rs . The l ding numb r the second act are the opening due t for Ro bin “ A was as New- and dam , I once as meek a born “ ” a h a L mb, with a most melodramatic Ha , followed by another ch arming du et fo r Rich ard and a a n a Rose, with chor l refr i , H ppily coupled “ are o we the weird song of Sir R deric, When ” d th e s the Night Win howls in Chimney Cowl , which is finely artistic in con structi o n ; the p att er

a a e trio for Robin, Despard , and M rg r t , My Eyes ’ are fully open to my Awful Situ ation H annah s ” a a e and pretty b ll d, There grew a Littl Flower ’ o s the brilliant finale , beginning with R bin num ” b er . , Having been a Wicked Baronet a Week / 2 1 THE YE O/lI E N OF THE GUARD . 3

fi t Che i eumeu a the C uarfi ; ar, Che fl urry

wan anti his main.

Co o era in two a s e er rs ro e [ mic p , ct ; t xt by Gilb t . Fi t p duc d at th e Sa o ea re O o er v y Th t , ct b 3 ,

PERSONA ES G .

SI R R CHA CH e enan of th e Towe . I RD OLMONDELEY, li ut t r FA A n e s en en e o f ea COL. . IRF X, u d r t c d th

MERYLL of th e Yeo en of th e G a . S . ERGT , m u rd

L A MERYLL h is so n. EON RD ,

ACK P a s o n es er. J OINT, tr lli g j t W B h SHAD OLT ea a e of t e Towe . ILFRED , h d j il r r

HEAD SMAN .

E S MA A a s o n s n e . L IE YN RD, tr lli g i g r ’

BE MERYL e . MERYL e PHCE L S L S a . , rgt d ught r DA A H S t o we C o se ee e to h e T . ME RRUT ER , h u k p r r A h r n e e e . K TE , i c

Yeo en o f th e a en e en zens etc. [ m gu rd, g tl m , citi , ]

Th e s ene is a at ower reen Lon on e th e s een h c l id T G , d ; tim , ixt t en r c tu y .

“ ” ALTHOUGH The Yeomen of the Guard has not ’ enjoyed the popularity of some others of Sullivan s

s o s work , the comp ser him elf believed it to b

a the best of his oper s . The music is in some numbers a parody of the old English ; the story

e a sen is melodramatic . Colon l Fairf x has been tenced As to death for sorcery . he has twice

a a Mer ll s ved the life of Serge nt y in battle , a o are a the l tter and his daughter , Ph ebe , nxious

him a e to save lso . The chance comes wh n the e o broth r of Ph ebe , who has been appointed a 2 1 A I 4 THE S TAND RD L GH T OPE RAS .

a is u a yeoman of the Gu rd , ind ced to let F irfax a take his place in the ranks . The l tter is brought in to the lieutenant o f th e Tower and declares his

a k re diness to die , but as s , as he has been con demned for sorcery through the machinations of one of his kinsmen who will succ eed to the

a d s estate in c se he ie unmarried , that he will find

im c an a s h some one whom he m rry at once . El ie a a n a w M ynard , strolling si ger, happens long ith

a and a e a e Jack Point, jester, she gre s for mon y consideration to be m arried blindfolded to Fair fax c an a a , provided she le ve immediately fter

a the ceremony. She m rries him , and then the question arises how to get the yeoman suit to

a a as Fairf x in his cell and let him esc pe , the a keys are in the possession of Wilfred , the he d

a o . j iler, who is in love with Ph ebe The problem

s o ea i solved by Ph ebe, who steals the keys , rel ses

a Fairf x , and returns them before Wilfred dis covers their absence . The executioner comes

wa act for rd , and the first closes as he is wait ing for his victim . The second act discloses the civilians and Dame C arruthers denouncing the warders for per a a mitting their prisoner to esc pe . Point arr nges with Wilfred that if he will discharge his arquebu s and state that he has killed Fairfax he shall

a be jester . When the shot is heard , Wilfred and Point notify the governor that Fairfax is

a a de d . D me Carruthers enters and informs Meryll that from what she has heard Elsie mut

2 1 6 THE S TAN D ARD LI GH T OPE R AS .

e th e ’ ture l Maid n wedded trio , If he s m ade ” h is and a the Best Use of Time , the qu rtette , “ a a- When Wooer goes wooing, which leads a through a melodram tic ensemble to the finale,

Heigh dy l h eighdy ! M ser me l ack ada d 1 i y , y ee He s e no su and h e a e no i pp d p cr v d crumb, ” As h e s e for th e o e o f a l ad igh d l v yee .

C e C ontro le s or h l r ; , C he Ring of Barataria.

Co o era i tw a n o s e er . t [ mic p , ct ; t xt by Gilb t First produced a th e Sa o ea re Lon on De e er v y Th t , d , c mb 7 ,

PERSONA ES G .

- D P A A T a an ee of S a n. UKE OF L Z ORO , gr d p i

LUIz h is a en an . , tt d t D ON A HA A B th e G an I n s o L MB R DEL OLERO, r d qui it r.

- D UCHESS OF PLAZA TORO .

CAS A h er a e . ILD , d ught r

Gon o i e o n a ne men- at- a ms e a s and a [ d l rs c t di , r , h r ld , p ges ]

is in en h Th e s ene a e e t e ear 1 0 . c l id V ic ; tim , y 75

“ THE Gondoliers will always bring a feeling of regret to the admirers of the Gilbert and Sul

a a as a . liv n oper s, it was their l st joint production It was during its run at the London theatre that th eir partnership was dissolved after the ex traor

w n - dinary collaboration of t e ty three years . Both “ Gon were at th eir b est in th eir Swan Song . The doliers is not so much m elodrama or pleasant A satire as it is genuine comedy . mong all the 2 1 THE GUN D ULI E RS . 7

s se Gilbert books which he furni hed the compo r, none is more delightful or more full of his rollick

s . ing humor than this . The tory opens in Venice The contadine are we aving garlands for the two a a and f vorite gondoliers, M rco Giuseppe , who , as a they have no preference , m ke their choice blind

s ianetta folded , and secure Te sa and G for their

As a e off n a brides . all g yly danc , a go dola rrives

t a a a- wi h the Sp nish Duke of Pl z Toro, the Duchess ,

a and a t a their daughter C silda, Luiz, their t end n t . While waiting for an audience with the Grand I II

uisitor a t q , the Duke tells C silda the Objec of their

sh e was a visit . When an infant she w s married by a a a a a proxy to the inf nt son of the King of B r t ri . Wh en the latter abandoned the creed of his fathers

a a t s h ad and bec me Me hodist, the Inqui itor the

a an a young husb nd stolen d t ken to Venice . Now

a a th e th t the King is dead , they h ve come to find

a a e . husb nd , and procl im Casilda que n During the audience the Inquisitor announces that the bus

is a and a s band gondolier, th t the per on who brought ” him up h ad such a t errible t aste for tippling that he was n ever certain which child had been

s intrusted to him , his own or the other . The nur e ,

’ Luiz s o and however, who is mother, w uld know, he would induce her to t ell in the torture cham

a t w e ber . Shortly f er ards the Inquisitor me ts the

a e newly wedded gondoliers , M rco and Gius ppe , and decides that one or the other of them is the

a a a new King, but as he c nnot tell which, he rr nges that both of them shall rule until the nurse can be 2 1 8 H S TAND ARD LI GH T OPER T E AS .

a found and m de to settle the matter . Thereupon

- b they bid their wives good y, and sail away for

Barataria . The second act discloses the two Kings upon the thrones . While they are cle aning the crown and and sceptre, their friends, the gondoliers, are

a a a pl ying cards , cont dine rrive with Tessa and ian a t G ett . The deligh ed Kings give them a grand a b nquet and ball , but the dance is interrupted by

s m a the Inqui itor, who informs the that the duc l

a and a party will shortly rrive , that C silda will

o ne m s claim of the for her husband . When Tes a and Gianetta realize that neither of them can be

Queen , they begin to weep , but are somewhat com forted when the Inquisitor assures them they will not be kept long in suspense as the foster - moth er

e e is in the tortur chamber . In the dénou ment she confesses that the late King intrusted the

h er and Prince to , when traitors came to steal him she substituted her own son and kept the

a is Prince in hiding, and th t Luiz the real Prince . Thereupon Luiz ascends the throne with Casilda as a o and a his queen , and M rc Guiseppe s il joy u w s Gianetta f lly back to Venice ith Te sa and . ’ m i s h as The us c is of Sullivan s be t . He repro duced a in the score the old It lian forms, employs

e and n e the legitimate mod rn ballad so g styl s , “ ” and introduces also the patter songs and the ” chant songs which are so common in his other

e s e op ras . Beside this , he has giv n strong local cachucas and color with fandangoes, boleros, ,

S E F Z O U P P , R A N V N.

f atinityt.

O ra o e in ree a s e Z e and enee. rs [ pé c miqu , th ct ; t xt by ll G Fi t o u e in enna an ar pr d c d Vi , J u y 5,

PERSONA ES G .

C T GAVRI LOVICH KANTSCHAKO FF R ss an OUNT IMOFEY , u i

General . P C SS L A I MANOVNA h i n e s e. RIN E YDI , i c I ZZET PASHA o erno r of Rustch uk fo , g v rtress. V AS ARA I EFF. CAPT . V IL ST SSIPP SAFONO FF LIEUT . O .

STEI PANN a ser ean . , g t SA MO I LOFF e enan o A f a . VL DIMIR , li ut t c valry

A s e a war o res on en . JULI N , p ci l c r p d t

H SSA E l d - B z A B Y ea e o f Bas a o uks . N , r hi M PHA a S A an of th e a e . U T , gu rdi h r m VUIKA a B a an , ulg ri .

HA A h is w fe. NN , i So e s Bas - Baz o uk s Co ssa s s a es o i s [ ldi r , hi , ck , l v , m uj k , etc. ]

Th e s ene is a at Rustchuk and near O essa me th e as c l id d ; ti , l t en c tury .

RANZ VON SUPPE h as been styled the

a ffe a o s o f Germ n O nb ch , th ugh the tyles

two f are the composers di fer widely . His operas a a more purely comic oper s, or operettas, th n a a burlesques . He m de his first success with n “ ” “ o Méidch en peretta, Das vom Lande ( The 2 2 1 FA TI NI TZ A .

o 1 8 C untry Girl produced in Vienna in 4 7 , and h is o a e next work, a musical c medy c ll d “ Paragraph m ade h im known all over Ger

a e of e a a m ny . His entir list light op r s , music l a and a s f rces, v udevilles include over one hundred and s but s are ixty titles, of the e only two or three

Fatinitza well known in this country . is the

es n and is e sa a . b t know , univ r lly popul r

e a The story is an interesting on . Vl dimir

Samoil off n en n th e a , a you g lieut a t in Russi n army, ’ while m asqu erading in girl s costume und er the

a Fatinitz a t R ss a e a n me of , encoun ers a u i n g ner l,

Kantsc h akoff a e e Count Timofey , who f lls d sperat ly

a a s s a e in love with him . He m n ge to e c p from ’ and s e s e e a s e e him , sub equently me t the G n r l ni c ,

s i a o o as a the Prince s Lyd , whom he kn ws nly Lydi ,

a o o f a a and th e two f ll in l ve . Hearing the tt ch

e a a o f e m nt, the Gener l tr nsfers the y ung o fic r to

ac the Russian o utposts . The first t op ens in

u a wa a at Rustc h k . r c mp Juli n , a correspondent, h as s as a n ju t been brought in spy , but is recog ized

as an e a a by Vladimir old friend . Th y pl n priv te

a a a a e a a the tric ls, in which Vl dimir t kes a f m le p rt .

a e a a s at a and The Gener l unexpect dly ppe r the pl y, e es Fa initz a e r cogniz Vladimir as his t . Wh n the

t e e e s his oppor unity pr s nts its lf, he re umes love

a it is e m king, but interrupt d by the arrival of

a a a a for Lydi , whose noble r nk Vl dimir le rns the An s . h e fir t time y danger of recognition , owev r,

' is a e s v rted by the corre pondent , who tells Lydia ’ a Fatinitz a is s s th t Vladimir si ter . The doting Old 2 2 2 THE S TAND ARD LI GH T OPE RAS .

Fatinitz a General commends to the Princess , and

ff s o III h is g oes o to in pect his tro ps . absence some Bashi - Bazouks surprise the camp and capture

a a a e Lydi , Vl dimir, and Juli n, leaving the latter b a an hind to rr ge a ransom . The second ac t op ens in the harem of Iz z et

th e s o a Pasha, governor of Turki h f rtress . Vl dimir, e a and in his f male ttire , Lydia are brought in as

a s and as a c ptive , the P ha nnounces to his four w at a ives th Lydia will be the fifth . Juli n then

ss a ea Stei ann arrives with the Ru i n serg nt , p , to a a as his en s a rr nge for the rele e of fri d . The P sha

ffe s Fatinitza a re o r to give up , but decl res he will

Stei ann tain Lydia . p returns to the General with ’ a a s a n s a se e a the P sh s term , c rryi g al o cr t mess ge

m a h as s e e ss a fro Juli n , who di cov r d how the Ru i ns

s a may capture the Turk . Juli n remains with the

as a e a a s a n P h , who giv s him m ny entert inment , mo g

a w an n them a sh do p tomime , duri g which the Gen eral and his soldiers rush in and rescue their

e fri nds . ’ The third act Opens in the General s summer

a H e h as e p alace at Ode ss . promised his ni ce to

Of h is a an old and crippled friend , but Juli n once more straighten s out m atters by convincing the General that the real Fatinitz a h as died o f grief e e b ecause sh e was s eparated from him . Th r upon ’ ’ he c onsent s to his niec e s union with Fatinitza s

o . br ther, Vladimir Th e principal numb ers of the first act are

’ a a in e a o Vl dimir s rom nce, the sentim nt l vein , L st

2 24 THE S TAND ARD LI GH T OPERAS .

Buttartfu.

in r a s e Z e n ne O ra o e ee a d e e. i rs pé c miqu , th ct t xt by ll G F t ro e at th e Car ea re enna e r ar I 1 8 p duc d l Th t , Vi , F b u y , 79

PE RSONAGES.

B CCACC no el s and oe . O IO , v i t p t

L h is fr en and s en . EONETTO , i d tud t

P P n e o f Pa er o . IETRO , ri c l m

LUTTER INGH I a o o e . , c p r LAMBERTUCCI O a o e , gr c r.

SCA A a arbe . LZ , b r F A a oo s e e . R TELLI , b k ll r

CH CC a e a . E O , b gg r ’ F SC th e oo e s a n e e . RE O , c p r ppr tic ’ F A A LAMBERTUC I O S a C o e a e . I METT , d pt d d ught r ’

B A C SCALZA S a e . E TRI E, d ught r ’ I SA A LUTTERI NGH I S Wi fe BELL , . ’

PERONELLA LAMBERTUCCI O S s s e . , i t r F PPA ILI .

O RETTA. B a s en z n e s e s o o e s o e s etc . [ gg rs tud t , citi , c p r , c urti r , ]

Th e s ene is a in oren e e near th e ose of th e fo r c l id Fl c ; tim , cl u nth n r tee ce tu y .

SUPPE is fond of introducing real characters a o his as and o ne m ng the personages of oper , in this , wh h as s a e s a e a ich become uch a f vorit , h ring qu lly “ ” in atinitza we c popularity with F , find Bo caccio

De o a t of the camer n, and the Fi me ta whom he h as immortalized in it ( th e Princess M aria of a s h e o t i n e mas N ple , wit whom he f ll vi len ly lov ) querading as th e adopted daughter of Lamber

e is a tuccio, the grocer . In the op ra he rew rded 22 B OCCA6 6 1 0. 5

in . with her hand the finale In reality, Maria, the ” am was Fi etta of the Decameron , already the wife of another when Boccaccio was enamoured of h er . She died long before her lover, but her

was memory cherished by him , as in the case of

a and Be trice and Dante , to her we owe undoubt edly the collection of tales in the “ Decameron which furnished such abu nd ant material to subse

s - s quent poet , story teller , and dramatists . Th e story of the opera is a simple one . Pietro,

a the Prince of Palermo, is to be m rried to Fiametta in accordance with the wishes of his

o father, and g es to Florence for that purpose .

The Duke , her father, for reasons of his own , has had her reared as the adopted d aughter of Lam bertuceio , a grocer, who was not aware of her a and a a roy l birth intends that she sh ll m rry Pietro,

a to whom she was betrothed in inf ncy . On his way to Florence Pietro falls in with a madcap h e lot of students , whose leader is Boccaccio , and joins them in many of their pranks . Boccaccio himself h as incurred the anger of the Florentine men for having ridiculed them in his stories, and he too is in love with Fiametta . Pietro among his other adventures has m ade love to a married woman whom the students induced him to believe Lutterin hi was the niece instead of the wife of g , the cooper . He has the misfortune before pre senting himself to the Duke and Flametta to be mistaken for Boccaccio and to receive a sound é beating . In the d nouement , when he is about 1 5 2 6 AND ARD LI GH T OP 2 THE S T ERAS .

F a e to be united to iametta for reasons of st t ,

a o o ar Bocc ccio , kn wing that he is l ved by her, ranges a play in which the misdeeds of Pietro are set forth in such strong ligh t that she refuses the latter and gives her hand to the poet . The m ost popular numbers in the opera are the

a a a a seren de to Be trice , Lovely Ch rmer, he r these ” ’ a o Sounds Bocc cci s song with chorus , I see a Gay Young Fellow standing nigh the charming for a Pero netta s duet Fi metta and , Li ten to the ’ ’ e iametta s a B lls Sweet Chime F rom nza , If I have but Affection the duet for Boccaccio and ” Fiametta A Poor Blind Man implores your Aid “ Leonetto s song, opening the second act, The ’ ” ’ Girl of my Heart s a Treasure the cooper s rol n licking song, My Wife has a Scoldi g Tongue “ the coquette song by Isabella, Young Maidens “ a must bew re the cretin song by Boccaccio , “ When they ask me for the News the graceful “ a waltz song by Fiamett , Blissful Tidings , reas ” - suring the rollicking drinking song of Pietro, ” See the Goblet fl ash and sparkle the duet for ” iametta fiorentina Boccaccio and F , Mia bella , n a a Ye Fool i the It li n style ; and the sextette , ” ish Men , which leads up to the finale of the last act .

8 2 2 THE S TANDARD LI GH T OPE RAS .

art patron, who has heard of the statue and informs a is G nymede that he ready to buy it, but first see a im wishes to it . The se rvant decl res it is

oss as a e is in p ible , his m st r love with it . Midas m ak es a further appeal to him in a long d escriptive ” arietta My Dear Father Gordias ) in which he a a a bo sts of his abilities , his p tron ge , and his con

s que ts . He finally bribes Ganymede to Show it to and as h e a a at him , st nds g zing it and praising its

s a lovelines , Pygm lion , who has suddenly returned ,

e and u A ent rs pbraids them . fter a spirited trio,

o m B iling Rage I feel within me , Gany ede takes

o hi e a t s he ls and Mid s is driven out . When a im Pygm lion is alone with the statue , a sudden pulse moves him to d estroy it because it h as been ’ a a his a is a e polluted by Mid s s gl nces, but h nd st y d as he hears the ch o rus of the r eturning worship

a an e a ea pers, and he m kes impassion d pp l to ” o h Venus Venus, , see , I fly to thee ) to give ma life to the rble . Venus answers his prayer . a a a The st tue comes to life , and Galate f lls in love

a with Pygm lion , the first man she has seen , which

o gives an pportunity for a charming number, the “ A a a w kening Duet ( I feel so w rm , so and for a solo closing the act Lightly sways and gently The second act opens with the couplets of “ Ganymede ( We at the close of s a which he espie G latea gathering flowers . As s oon as the fickle Galatea sees Ganymede, she falls in love with him because he is younger and hand L 2 2 THE BEA UTI FU GALA TE A. 9

As somer than Pygmalion . they are discoursing a admiringly, Midas appears and recognizes Galate ,

s f and proceed to woo her with o fers of jewels . A “ s pretty trio follows , See the Trinket I have ” t brought you . She accep s his trinkets and his e As money, but declines to acc pt him . they are

s. negotiating, Pygmalion return Ganymede once

a more takes to his heels, and Galatea conce ls Midas by putting him on the p edestal behind the

sh h ad screen where e stood . She then hide s her

w and s a is a je els , tell Pygm lion she hungry . G ny a and mede is summoned and arranges the t ble , ’ Sit a m a re they down , the serv nt with the at Galate s

e s a a t - qu st . She ings brilli n drinking song Bright in Glass the Foaming Fluid pass in which Pyg al an m ion d Ganymede join . During the banquet

a s S and P Mid s is di covered behind the creen , yg ’ malion also le arn s of Galatea s fickle conduct

e s and later, wh n he surpri es her Ganymede in a “ ’ e Ah m pretty love scen ( , I drawn to Thee By this time Pygm alion is so enraged that he prays

e e a e a Th e V nus to let her becom a st tu gain .

ess a s th e godd gr ciously con ents, and sculpto r pro mptly gets rid of Galatea by selling her to a Mid s . T C L S S . H O M A S, H A R E A M B R O I E

jittiguuu.

o e in ree a s e Bar er andCarr . rs [Opéra c miqu , th ct t xt by bi é Fi t h ra Co e Par s No e er I produced at t e Opé miqu , i , v mb 7 ,

ERSONA ES P G .

MIGNON .

H M S a s en . WIL ELM EI TER, tud t

LA S an a o . ERTE , ct r

C an a re o f F A. FREDERI , dmi r ILIN ’ M S fa e in s se of a a e L A . OT RIO , IGNON th r di gui h rp r

F A an a ess . ILIN , ctr

A o s es etc . [ ct rs gyp i , ]

n is a in er an and I a e th e as en ur . Th e sce e l id G m y t ly ; tim , l t c t y

” ’ n h omas s a l HE story of Migno , T univers l y ’ is a popular opera, b sed upon Goethe s Wil ” helm Meister . Mignon , the heroine , who is of n t oble bir h , was stolen in her childhood by gyp

e h er sies . Her mother di d shortly afterwards , and

a s as a a f ther, di guised Lot rio , the h rper, has long At and vainly sought for her . the opening of the a a opera , a strolling b nd of ctors , among them

and ae s at a e a Filina L rte , arrive G rm n inn on

wa a t their y to the c s le of a neighboring prince , h a where th ey are to p erform . At t e s me time a gyp sy band appears and arranges to give the

e a n guests an ent rt inment . Mig on, who is with th e a b nd , is ordered to dance, but being tired, she

2 2 D A D 3 THE S TAN R LI GH T OPERAS . full of tender beauty and rare expression ; the a “ duet which immedi tely follows it, Leggiadre ” rondinelli Oh, Swallows Blithe known as w w and the S allo Duet, of almost equ al beauty with

a : a “ the rom nza and the gr ceful aria, Grazia al gentil signore ” ( “ You ’ ll come with us in which Filina invites Wilhelm to join them . The

are best numbers in the second act the trio , ’ ” “ Ohime qu ell acre riso ( Al as l her Bitter ’ “ Filina s a g y, coquettish aria, Gai ” “ ” complimenti ( Brilliant Compliments ) Mig ’ and s non s exquisite characteristic song, Cono co ” “ nu zingarello ( A Gyp sy Lad I well do which the composer himself calls the “ “ St rienne - y a bewitching rondo gavotte , Ci ’ sono I m here at sung by the love - lorn ’ e a Fred ric ; Wilhelm s pathetic f rewell to Mignon , ” A fa ddio, Mignon core Farewell , Mignon, tak e th e beautiful duet for Mignon and “ ’ a ff h ai a Lot rio , So erto tu H st thou e er suf

an th e a d pol cca in the fourth scene,

' a ew de oze a which is perfect f j of sp rkling music , a a closing with an extremely brilliant c denz . The

a a a h l st act is more dr m tic than musical, thoug it A n contains a few delightful numbers . mo g them are a a e Q rsh the chorus b rc rol in the first scene , , ” sc io lian l e s a g vele Quick, the Sail unfurl ) ” “ son Ah credea Ah by Wilhelm , , non ( , little ” “ o and Ah Th ught the love duet, , son felice “ Ah am a ( , I h ppy in which is heard again ’ the cadenza of Filina s polacca . W LL C W LL V C T. A A E , I I A M I N E N

marinas.

Ro an o era in ree a s e Fitzball rs ro [ m tic p , th ct t xt by . Fi t p duced at Dr r Lane ea re Lon on No e er u y Th t , d , v mb

PERSONA ES G .

CHA S THE S C n of S a n. RLE E OND , Ki g p i

D ON S SA A h is m nis e . JO E DE NT REM , i t r

D ON CE SAR DE BAZAN .

MARQUI S DE MONTEFIORI .

LAZARILLO .

MARITANA a ana. , git

MARCH IONEss DE MONTEFIORI . No e al uazil s so d ers s es o a e etc [ bl s q , l i , gyp i , p pul c , . ]

Th e s ene is a in Ma r e of C ar es th e Se c l id d id ; tim h l cond .

HE story of Maritana is founded upo n the ” - Don a a a well known play of C esar de B z n .

At s s the opening of the fir t act a band of gypsie , Maritana among them , are singing to the people . The young King Charles listening to her is fas cinated h er ose by beauty. Don J , for reasons of

and e his own , extols her charms arouses her hop s

a At a sa for a brilli nt future . this point Don C e r de a e o a B zan , a reckl ss, r llicking cav lier, once a

of ose . friend Don J , makes his appearance He h as e e a s part d with the last of his mon y to g mbler , and while he is relating his misfortunes to Don 2 E S TAND ARD LI GH T OPE RA 3 4 TH S .

a a l ad José , L zarillo, forlorn who has just tried to

s a m ake away with him elf, accosts Don Caes r and

e h im a . t lls a piteous t le The Don befriends, and thereby becomes involved in a duel . Thi s le ads a l to his rrest for duelling in Ho y Week , which is a forbidden on p in of death . While Don Caesar

off sets for the prison, Don José promises Mari

a a s a tan speedy marri ge and pre ent tion at court .

The second act opens in the prison . Don José

e s enters , and prof sses great ympathy for Don

a . as an C esar When ked if he has y last request, b e begs to die like a soldier . Don José agre es that he Shall not die an ignominious death if he and will marry . He consents, is also treated to

a o a a banquet, during which Laz rill delivers a p per to Don J o sé containing the royal p ardon of Don

Maritana a . C esar, but Don José conceals it , her a a features disguised by veil , is m rried to the Don , but at the expiration of an hour he is led out to

e e s at meet his fat . The soldi r fire him , but he a h as a a s a escapes, as L zarillo m n ged to ab tr ct the

e e bullets from their guns . He f igns d ath , and when the opportunity pres ents it self hurri es to a

a a Montefiori a a e b ll t the p l c , and arrives just as

a wh o h as h ad his o the M rquis , instructi ns from Don

ari a a a h i o se is i M t n s s . J , ntroducing niece Don

a a s a n C esar dem nd his bride , but Don José rra ges with the Marquis to present him with th e Mar c n se e Th e d no t hio ess cl o ly v iled . scheme oes ’ o a a a Maritana s w rk , as Don C es r he rs voice and a cl ims her, but she is quickly spirited away .

2 6 AND ARD LI GH T P 3 THE S T O ERAS .

“ e Chimes the trio, Turn on, Old Time, thin ’ ae a a Hourglass Don C s r s stirring m rtial air, ” “ o Yes, let me like a S ldier fall ; the senti

a a a a Da ment l b ll d , In H ppy Moments, y by ” Day ; and the quartette and cho rus closing the “ ” a scene , He lth to the Lady, the Lovely Bride . The next scene contains a pretty chorus in waltz

Ah ! a s e a time , wh t Plea ure , follow d by an ria “ ” a e sung by the King, The M rin r in his Bark,

w e a a e e and the act closes ith a v ry dr m tic ens mbl , “ ” T What Mystery must now control . h e l ead ’ e th e as ac t are Maritana s ing numb rs of l t song,

s a are es a Scene th t Bright t, one of the most d mired of all English songs the love duet be tween “ a and Maritana Don C esar , This Heart with Bliss ’ ” ’ “ O erfl owin and ae a g Don C s r s song, There is

a bl oo meth i in a Flower th t , wh ch is the senti

a e mental ball d styl .

iLurline.

Ro an o era in ree a s e Fitzball . rs ro [ m tic p , th ct ; t xt by Fi t p duced at Co en ar en ea re Lon on e r ar 2 v t G d Th t , d , F b u y 3 ,

RS NA E PE O G S .

C R PH a o n no e an. OUNT UDOL , y u g bl m

W H his fr en . IL ELM , i d

RHINEBERG th e r e in . , iv r K g

BARON TRUENFELS.

Z ELLECK a no e. , g m C A ONR D . A PH DOL .

- L n of th e L e Be . URLINE , ymph url i rg I 2 LURL NE . 3 7

’ GHIVA th e Ba o n s a e . , r d ught r

L A a s o f th e R ne. IB , pirit hi assa ons a o s a es wa e s s [V ls c pir t r , p g , t r pirit ]

Th e scene is laid on th e banks and in the waters of th e Rhine

e th e resen . tim , p t

THE story of Lurline closely follows the old ” e o a legend of the Lor lei . C unt Rudolph , h ving

i a e o a a diss p t d his fortune , pr poses m rri ge with

Ghiva e a , daughter of a n ighboring b ron, to recoup

o himself. The Baron, h wever, turns out to be as

poor as the Count, and nothing comes of the propo

sition. n h Meanwhile Lurline , the Rhine ymp , has seen the Count sailing on th e river and fallen At a in love with him . the last b nquet he and

a s a a s his comp nions give in the old ca tle , she ppe r ,

w e s a a a eaves sp ll about him , pl ces m gic ring on

n e and a . e his fi g r, then disappe rs When he com s

e e a to his r ason , he finds hims lf en moured of her,

a e follows the notes of her h rp on the Rhin , and is engulfed in the whirlpool to which Lurline

es allur her victims . ’ The second ac t opens in Lurline s cavern under and u the Rhine , R dolph is there by virtue of h is a bears his s s m gic ring . He friend inging

as a and mourning his l oss they s il on the river, and is so touched by it that he implores per

for mission to return to them a short time . a Lurline consents to his absence for three d ys, and agrees to wait for him on the summit o f

- the Lurlei Berg at moonrise on the third evening . a She also prevails upon her f ther, the Rhine I P 23 8 THE S TAND ARD L GH T O E RAS .

a a King, to give him tre sures, with which h e emb rks

s ff a e e . in a fairy ki , le ving Lurline d ject d I n the last ac t Rudolph discloses to the Baron

as s and h is d aughter, as well to his companion ,

a t a o th e secret of his we l h . The B ron once m re

a e and a t Ghiva ea encour g s his suit, the cr f y st ls the m agic ring and throws it into the Rhine . In the mean time Lurline waits nightly on the

e - B h er and Lurl i erg for the return of lover, there

o a gnome brings to her the ring, t ken of his

fi t s w e in deli y . Di tracted bet een gri f and anger, she determines to reproach him with his p erfidy

a et a a e s at a b nqu in the c stle she suddenly pp ar , and f A demands her ring rom him . scene of

o a bitter repr ches ensues, ending with her de ’ nunciation h is a w of comp nions treachery . Gro ’ ing envious of the Count s wealth , they had conspired to destroy him and then plunder the

. Gh iva and h er a castle f ther , overhearing the

”“ and plot, reveal it to the Count urge him to a esc pe by flight . Rudolph , however, preferring

e a a s o d ath ne r Lurline , confronts the ssassin . L ve returns to Lurline once more . She strikes her

a e h rp and invok s the Rhine , which rises and

s a e engulfs the con pir tors . Wh n the waves sub s a ide , the Rhine King appe rs and gives the hand

his a of d ughter to the Count . The principal numbers of the first act are ’ “ Rhineb er s a a a g invoc tion ri , Idle Spirit, wildly ” ’ dreaming ; Lurline s beautiful romanzas with “ oh 0 harp accompaniment, Flow , flow on, Silver