Its most effective pa.s.sage begins as follows:

[Music]

Another striking musical number is _Arnold's_ solo in the last act, at sight of his ruined home, "O muto asil" (O, silent abode).

The opera ends with a hymn to liberty, "I boschi, i monti" (Through forests wild, o'er mountain peaks).

At the initial performance of "Guillaume Tell" in Paris, there was no indication that the opera was not destined to remain for many years in the repertoire. It was given fifty-six times. Then, because of the great length of the opera, only the second act was performed in connection with some other work, until the sensational success of Duprez, in 1837, led to a revival.

"Guillaume Tell," given in full, would last nearly five hours. The poor quality of the original libretto by "Jouy" led to the revision by Bis, but even after that there had to be cuts.

"Ah, Maestro," exclaimed an enthusiastic admirer of Rossini to that master, "I heard your 'William Tell' at the Opera last night!"

"What?" asked Rossini. "The whole of it?"

Clever; but by his question Rossini unconsciously put his finger on the weak spot of the opera he intended to be his masterpiece. Be it never so well given, it is long-winded.

Vincenzo Bellini

(1802-1835)

Bellini, born in Catania, Sicily, November 3, 1802, is the composer of "La Sonnambula," one of the most popular works of the old type of Italian opera still found in the repertoire. "I Puritani," another work by him, was given for the opening of two New York opera houses, Palmo's in 1844, and Hammerstein's Manhattan, in 1903. But it maintains itself only precariously. "Norma" is given still more rarely, although it contains "Casta diva," one of the most famous solos for soprano in the entire Italian repertory.

This composer died at the village of Puteaux, France, September 23, 1835, soon after the highly successful production of "I Puritani" in Paris, and while he was working on a commission to compose two operas for the San Carlo Theatre, Naples, which had come to him through the success of "Puritani." He was only thirty-two.

It is not unlikely that had this composer, with his facile and graceful gift for melody, lived longer he would have developed, as Verdi did, a maturer and broader style, and especially have paid more attention to the instrumentation of his operas, a detail which he sadly neglected.

LA SONNAMBULA

THE SLEEPWALKER

Opera in three acts by Bellini, words by Felice Romani.

Produced, Carcano Theatre, Milan, March 6, 1831. London, King's Theatre, July 28, 1831; in English, Drury Lane, May 1, 1833. New York, Park Theatre, November 13, 1835, in English, with Brough, Richings, and Mr. and Mrs. Wood; in Italian, Palmo's Opera House, May 11, 1844; frequently sung by Gerster and by Adelina Patti at the Academy of Music, and at the Metropolitan Opera House by Sembrich; at the Manhattan Opera House by Tetrazzini.

CHARACTERS

COUNT RODOLPHO, Lord of the castle _Ba.s.s_ TERESA, proprietress of the mill _Soprano_ AMINA, her foster daughter _Soprano_ LISA, proprietress of the village inn _Soprano_ ELVINO, a young farmer _Tenor_ ALESSIO, a villager _Ba.s.s_

Notary, Villagers, etc.

_Time_--Early Nineteenth Century.

_Place_--A Village in Switzerland.

Act I. The village green. On one side an inn. In the background a water mill. In the distance mountains. As the curtain rises the villagers are making merry, for they are about to celebrate a nuptial contract between _Amina_, an orphan brought up as the foster-child of _Teresa_, the mistress of the village mill, and _Elvino_, a young landowner of the neighbourhood. These preparations, however, fill with jealousy the heart of _Lisa_, the proprietress of the inn. For she is in love with _Elvino_. Nor do _Alessio's_ ill-timed attentions please her. _Amina_ enters under the care of _Teresa_, and returns her thanks to her neighbours for their good wishes. She has two attractive solos.

These are "Come per me sereno" (How, for me brightly shining)

[Music: Come per me sereno]

and "Sovra il sen la man mi posa" (With this heart its joy revealing).

[Music: Sovra il sen la man mi posa,]

Both are replete with grace and charm.

When the village _Notary_ and _Elvino_ appear the contract is signed and attested, and _Elvino_ places a ring on _Amina's_ finger. Duet: "Prendi, l'anel ti dono" (Take now the ring I give you), a composition in long-flowing expressive measures.

Then the village is startled by the crack of whips and the rumble of wheels. A handsome stranger in officer's fatigue uniform appears. He desires to have his horses watered and fed, before he proceeds to the castle. The road is bad, night is approaching. Counselled by the villagers, and urged by _Lisa_, the officer consents to remain the night at the inn.

The villagers know it not at this time, but the officer is _Rodolpho_, the lord of the castle. He looks about him and recalls the scenes of his youth: "Vi ravviso" (As I view).

[Music: Vi ravviso a luoghi ameni,]

He then gallantly addresses himself to _Amina_ in the charming air, "Tu non sai con quei begli occhi" (You know not, maid, the light your eyes within).

[Music: Tu non sai con quei begli occhi,]

_Elvino_ is piqued at the stranger's attentions to his bride, but _Teresa_ warns all present to retire, for the village is said to be haunted by a phantom. The stranger treats the superst.i.tion lightly, and, ushered in by _Lisa_, retires to the village inn. All then wend their several ways homeward. _Elvino_, however, finds time to upbraid _Amina_ for seemingly having found much pleasure in the stranger's gallant speeches, but before they part there are mutual concessions and forgiveness.

Act II. _Rodolpho's_ sleeping apartment at the inn. He enters, conducted by _Lisa_. She is coquettish, he quite willing to meet her halfway in taking liberties with her. He learns from her that his ident.i.ty as the lord of the castle has now been discovered by the villagers, and that they will shortly come to the inn to offer their congratulations.

He is annoyed, but quite willing that _Lisa's_ attractions shall atone therefor. At that moment, however, there is a noise without, and _Lisa_ escapes into an adjoining room. In her haste she drops her handkerchief, which _Rodolpho_ picks up and hangs over the bedpost. A few moments later he is amazed to see _Amina_, all in white, raise his window and enter his room. He realizes almost immediately that she is walking in her sleep, and that it is her somnambulism which has given rise to the superst.i.tion of the village phantom. In her sleep _Amina_ speaks of her approaching marriage, of _Elvino's_ jealousy, of their quarrel and reconciliation. _Rodolpho_, not wishing to embarra.s.s her by his presence should she suddenly awaken, extinguishes the candles, steps out of the window and closes it lightly after him. Still asleep _Amina_ sinks down upon the bed.

The villagers enter to greet _Rodolpho_. As the room is darkened, and, to their amus.e.m.e.nt, they see the figure of a woman on the bed, they are about to withdraw discreetly, when _Lisa_, who knows what has happened, enters with a light, brings in _Elvino_, and points out _Amina_ to him. The light, the sounds, awaken her. Her natural confusion at the situation in which she finds herself is mistaken by _Elvino_ for evidence of guilt. He casts her off. The others, save _Teresa_, share his suspicions. _Teresa_, in a simple, natural way, takes the handkerchief hanging over the bedpost and places it around _Amina's_ neck, and when the poor, grief-stricken girl swoons, as _Elvino_ turns away from her, her foster-mother catches her in her arms.

In this scene, indeed in this act, the most striking musical number is the duet near the end. It is feelingly composed, and, as befits the situation of a girl mistakenly, yet none the less cruelly, accused by her lover, is almost wholly devoid of vocal embellishment. It begins with _Amina's_ protestations of innocence: "D'un pensiero, e d'un accento" (Not in thought's remotest region).

When _Elvino's_ voice joins hers there is no comfort for her in his words. He is still haunted by dark suspicions.

[Music]

An unusual and beautiful effect is the closing of the duet with an expressive phrase for tenor alone: "Questo pianto del mio cor" (With what grief my heart is torn).

[Music]

Act III, Scene 1. A shady valley between the village and the castle.

The villagers are proceeding to the castle to beg _Rodolpho_ to intercede with _Elvino_ for _Amina_. _Elvino_ meets _Amina_. Still enraged at what he considers her perfidy, he s.n.a.t.c.hes from her finger the ring he gave her. _Amina_ still loves him. She expresses her feelings in the air: "Ah! perche non posso odiarti" (Ah! Why is it I cannot hate him [Transcriber's Note: should be 'hate you']).

Scene 2. The village, near _Teresa's_ mill. Water runs through the race and the wheel turns rapidly. A slender wooden bridge, spanning the wheel, gives access from some dormer lights in the millroof to an old stone flight of steps leading down to the foreground.

_Lisa_ has been making hay while the sun shines. She has induced _Elvino_ to promise to marry her. Preparations for the wedding are on foot. The villagers have a.s.sembled. _Rodolpho_ endeavours to dissuade _Elvino_ from the step he is about to take. He explains that _Amina_ is a somnambulist. But _Elvino_ has never heard of somnambulism. He remains utterly incredulous.

_Teresa_ begs the villagers to make less disturbance, as poor _Amina_ is asleep in the mill. The girl's foster-mother learns of _Elvino's_ intention of marrying _Lisa_. Straightway she takes from her bosom _Lisa's_ handkerchief, which she found hanging over _Rodolpho's_ bedpost. _Lisa_ is confused. _Elvino_ feels that she, too, has betrayed him. _Rodolpho_ again urges upon _Elvino_ that _Amina_ never was false to him--that she is the innocent victim of sleepwalking.