This indicates why the revival of this opera attends the appearance upon the horizon of a coloratura star. It is typical of the requirements of the character.

The _Sergeant_ puts her through a drill. Then they have a "Rataplan"

duet, which may be called a repet.i.tion of _Marie's_ solo with an accompaniment of rataplans. The drum is the music that is sweetest to her; and, indeed, _Marie's_ manipulation of the drumsticks is a feature of the role.

But for a few days _Marie_ has not been as cheerful as formerly. She has been seen with a young man. _Sulpice_ asks her about him. She tells the _Sergeant_ that this young man saved her life by preventing her from falling over a precipice. That, however, establishes no claim upon her. The regiment has decreed that only a grenadier shall have her for wife.

There is a commotion. Some soldiers drag in _Tonio_, whom they charge as a spy. They have discovered him sneaking about the camp. His would have been short shrift had not _Marie_ pleaded for him, for he is none other than her rescuer. As he wants to remain near _Marie_, he decides to become a soldier. The grenadiers celebrate his decision by drinking to his health and calling upon _Marie_ to sing the "Song of the Regiment," a dapper tune, which is about the best-known number of the score: "Ciascun lo dice, ciascun lo sa! e il Reggimento, ch'egual non ha."

(All men confess it, Go where we will!

Our gallant Regiment Is welcome still.)

[Music:

Ciascun lo dice, Ciascun lo sa!

e il Reggimento Ch'egual non ha.]

There is then a love scene for _Marie_ and _Tonio_, followed by a duet for them, "A voti cos ardente" [Transcriber's Note: should be 'A confession s ardente'] (No longer can I doubt it).

Afterwards the grenadiers sing a "Rataplan" chorus.

[Music: Rataplan, rataplan, rataplan,]

But, alas, the _Sergeant_ has been informed that the _Marquise de Birkenfeld_ desires safe conduct. Birkenfeld! That is the very name to which were addressed certain papers found on _Marie_ when she was discovered as a baby on the battlefield. The _Marquise_ examines the papers, declares that _Marie_ is her niece and henceforth must live with her in the castle. Poor _Tonio_ has become a grenadier in vain.

The regiment cannot help him. It can only lament with him that their daughter is lost to them. She herself is none too happy. She sings a sad farewell, "Convien partir! o miei compagni d'arme" (Farewell, a long farewell, my dear companions).

Act II. In the castle of the _Marquise_. _Marie_ is learning to dance the minuet and to sing cla.s.sical airs. But in the midst of her singing she and _Sulpice_, whom the _Marquise_ also has brought to the castle, break out into the "Song of the Regiment" and stirring "rataplans."

Their liveliness, however, is only temporary, for poor _Marie_ is to wed, at her aunt's command, a scion of the ducal house of Krakenthorp.

The march of the grenadiers is heard. They come in, led by _Tonio_, who has been made a captain for valour. _Sulpice_ can now see no reason why _Marie_ should not marry him instead of the n.o.bleman selected by her aunt. And, indeed, _Marie_ and _Tonio_ decide to elope. But the _Marquise_ confesses to the _Sergeant_, in order to win his aid in influencing _Marie_, that the girl really is her daughter, born out of wedlock. _Sulpice_ informs _Marie_, who now feels that she cannot go against her mother's wishes.

In the end, however, it is _Marie_ herself who saves the situation.

The guests have a.s.sembled for the signing of the wedding contract, when _Marie_, before them all, sings fondly of her childhood with the regiment, and of her life as a vivandiere, "Quando il destino, in mezzo a strage ria" (When I was left, by all abandoned).

The society people are scandalized. But the _Marquise_ is so touched that she leads _Tonio_ to _Marie_ and places the girl's hand in that of her lover. The opera ends with an ensemble, "Salute to France!"

LA FAVORITA

THE FAVORITE

Opera in four acts, by Donizetti; words by Alphonse Royer and Gustave Waez [Transcriber's Note: more commonly 'Vaez'], adapted from the drama "Le Comte de Comminges," of Baculard-Darnaud. Produced at the Grand Opera, Paris, December 2, 1840. London, in English, 1843; in Italian, 1847. New York, Park Theatre, October 4, 1848.

CHARACTERS

ALFONSO XI., King of Castile _Baritone_ FERDINAND, a young novice of the Monastery of St. James of Compostella; afterwards an officer _Tenor_ DON GASPAR, the King's Minister _Tenor_ BALTHAZAR, Superior of the Monastery of St. James _Ba.s.s_ LEONORA DI GUSMANN _Soprano_ INEZ, her confidante _Soprano_

Courtiers, guards, monks, ladies of the court, attendants.

_Time_--About 1340.

_Place_--Castile, Spain.

_Leonora_, with Campanini as _Fernando_, was, for a number of seasons, one of the princ.i.p.al roles of Annie Louise Cary at the Academy of Music. Mantelli as _Leonora_, Cremonini as _Fernando_, Ancona as _King Alfonso_, and Plancon as _Balthazar_, appeared, 1895-96, at the Metropolitan, where "La Favorita" [Transcriber's Note: this is the Italian t.i.tle] was heard again in 1905; but the work never became a fixture, as it had been at the Academy of Music. The fact is that since then American audiences, the most spoiled in the world, have established an operatic convention as irrevocable as the laws of the Medes and Persians. In opera the hero must be a tenor, the heroine a true soprano. "La Favorita" fulfils the first requisite, but not the second. The heroine is a role for contralto, or mezzo-soprano. Yet the opera contains some of Donizetti's finest music, both solo and ensemble. Pity 'tis not heard more frequently.

There is in "La Favorita" a strong, dramatic scene at the end of the third act. As if to work up to this as gradually as possible, the opera opens quietly.

_Ferdinand_, a novice in the Monastery of St. James of Compostella, has chanced to see and has fallen in love with _Leonora_, the mistress of _Alfonso_, King of Castile. He neither knows her name, nor is he aware of her equivocal position. So deeply conceived is his pa.s.sion, it causes him to renounce his novitiate and seek out its object.

Act I. The interior of the monastery. _Ferdinand_ makes known to _Balthazar_, the Superior, that he desires to renounce his novitiate, because he has fallen in love, and cannot banish the woman of his affections from his thoughts. He describes her to the priest as "Una vergine, un angel di Dio" (A virgin, an angel of G.o.d).

[Music: Una vergine, un angel di Dio]

Although this air bears no resemblance to "Celeste Ada" its flowing measures and melodious beauty, combined with its position so early in the opera, recall the Verdi aria--and prepare for it the same fate--which is to be marred by the disturbance caused by late-comers and to remain unheard by those who come still later.

_Balthazar's_ questions elicit from _Ferdinand_ that his only knowledge of the woman, whose praises he has sung, is of her youth and beauty. Name and station are unknown to him, although he believes her to be of high rank. _Balthazar_, who had hoped that in time _Ferdinand_ would become his successor as superior of the monastery, releases him reluctantly from his obligations, and prophesies, as the novice turns away from the peaceful shades of the cloister, that he will retrace his steps, disappointed and heart-broken, to seek refuge once more within the monastery's walls.

The scene changes to an idyllic prospect on the island of St. Leon, where _Leonora_ lives in splendour. She, in her turn, is deeply enamoured of _Ferdinand_, yet is convinced that, because of her relations with _King Alfonso_, he will despise her should he discover who she is. But so great is her love for him, that, without letting him learn her name or station, she has arranged that he shall be brought, blindfolded, to the island.

"Bei raggi lucenti" (Bright sunbeams, lightly dancing), a graceful solo and chorus for _Inez_, _Leonora's_ confidante, and her woman companions, opens the scene.

It is followed by "Dolce zeffiro, il seconda" (Gentle zephyr, lightly wafted), which is sung by the chorus of women, as the boat conveying _Ferdinand_ touches the island and he, after disembarking, has the bandage withdrawn from over his eyes, and looks in amazement upon the charming surroundings amid which he stands. He questions _Inez_ regarding the name and station of her who holds gentle sway over the island, but in vain. _Inez_ and her companions retire, as _Leonora_ enters. She interrupts _Ferdinand's_ delight at seeing her by telling him--but without giving her reasons--that their love can lead only to sorrow; that they must part. He protests vehemently. She, however, cannot be moved from her determination that he shall not be sacrificed to their love, and hands him a parchment, which she tells him will lead him to a career of honour.

He still protests. But at that moment _Inez_, entering hurriedly, announces the approach of the _King_. _Leonora_ bids _Ferdinand_ farewell and goes hastily to meet _Alfonso_. _Ferdinand_ now believes that the woman with whom he has fallen in love is of rank so high that she cannot stoop to wed him, yet expresses her love for him by seeking to advance him. This is confirmed when, on reading the scroll she has given him, he discovers that it gratifies his highest ambition and confers upon him a commission in the army. The act closes with his martial air, "S, che un tuo solo accento" (Oh, fame, thy voice inspiring).

He sees the path to glory open up before him, and with it the hope that some great deed may yet make him worthy to claim the hand of the woman he loves.

Act II. Gardens of the Palace of the Alcazar. _Ferdinand's_ dream of glory has come true. We learn, through a brief colloquy between _Alfonso_ and _Don Gaspar_, his minister, that the young officer has led the Spanish army to victory against the Moors. Indeed, this very palace of the Alcazar has been wrested from the enemy by the young hero.

_Gaspar_ having retired, the _King_, who has no knowledge of the love between _Ferdinand_ and _Leonora_, sings of his own pa.s.sion for her in the expressive air, "Vien, Leonora, a' piedi tuoi" (Come, Leonora, before the kneeling).

The object of his love enters, accompanied by her confidante. The _King_ has prepared a fete in celebration of _Ferdinand's_ victory, but _Leonora_, while rejoicing in the honours destined to be his, is filled with foreboding because of the illicit relations between herself and the _King_, when she truly loves another. Moreover, these fears find justification in the return of _Gaspar_ with a letter in _Ferdinand's_ handwriting, and intended for _Leonora_, but which the minister has intercepted in the hand of _Inez_. The _King's_ angry questions regarding the ident.i.ty of the writer are interrupted by confused sounds from without. There enters _Balthazar_, preceded by a priest bearing a scroll with the Papal seal. He faces the _King_ and _Leonora_ while the lords and ladies, who have gathered for the fete, look on in apprehension, though not wholly without knowledge of what is impending.

For there is at the court of _Alfonso_ a strong party that condemns the _King's_ illicit pa.s.sion for _Leonora_, so openly shown. This party has appealed to the Papal throne against the _King_. The Pope has sent a Bull to _Balthazar_, in which the Superior of the Monastery of St. James is authorized to p.r.o.nounce the interdict on the _King_ if the latter refuses to dismiss his favourite from the Court and restore his legitimate wife to her rights. It is with this commission _Balthazar_ has now appeared before the _King_, who at first is inclined to refuse obedience to the Papal summons. He wavers.

_Balthazar_ gives him time till the morrow, and until then withholds his anathema.

_Balthazar's_ vigorous yet dignified denunciation of the _King_, "Ah paventa il furor d'un Dio vendicatore" (Do not call down the wrath of G.o.d, the avenger, upon thee), forms a broadly sonorous foundation for the finale of the act.

[Music: Ah paventa il furor d'un Dio vendicatore,]

Act III. A salon in the Palace of the Alcazar. In a brief scene the _King_ informs his minister that he has decided to heed the behest of the church and refrain from braving the Papal malediction. He bids _Gaspar_ send _Leonora_ to him, but, at the first opportunity, to arrest _Inez_, her accomplice.

It is at this juncture, as _Gaspar_ departs, that _Ferdinand_ appears at court, returning from the war, in which he has not only distinguished himself by his valour, but actually has saved the kingdom. _Alfonso_ asks him to name the prize which he desires as recompense for his services. _Leonora_ enters. _Ferdinand_, seeing her, at once asks for the bestowal of her hand upon him in marriage.

The _King_, who loves her deeply, and has nearly risked the wrath of the Pope for her sake, nevertheless, because immediately aware of the pa.s.sion between the two, gives his a.s.sent, but with reluctance, as indeed appears from the irony that pervades his solo, "A tanto amor"

(Thou flow'r belov'd).

He then retires with _Ferdinand_.

_Leonora_, touched by the _King's_ magnanimity, inspired by her love for _Ferdinand_, yet shaken by doubts and fears, because aware that he knows nothing of her past, now expresses these conflicting feelings in her princ.i.p.al air, "O, mio Fernando," one of the great Italian airs for mezzo-soprano.

[Music: O, mio Fernando, della terra il trono]