She considers that their future happiness depends upon _Ferdinand's_ being truthfully informed of what her relations have been with the _King_, thus giving him full opportunity to decide whether, with this knowledge of her guilt, he will marry her, or not. Accordingly she despatches _Inez_ with a letter to him. _Inez_, as she is on her way to deliver this letter, is intercepted by _Gaspar_, who carries out the _King's_ command and orders her arrest. She is therefore unable to place in _Ferdinand's_ hands the letter of _Leonora_.

Into the presence of the a.s.sembled n.o.bles the _King_ now brings _Ferdinand_, decorates him with a rich chain, and announces that he has created him Count of Zamora. The jealous lords whisper among themselves about the scandal of _Ferdinand's_ coming marriage with the mistress of the _King_; but _Leonora_, who enters in bridal attire, finds _Ferdinand_ eagerly awaiting her, and ready to wed her, notwithstanding, as she believes, his receipt of her communication and complete knowledge of her past.

While the ceremony is being performed in another apartment, the n.o.bles discuss further the disgrace to _Ferdinand_ in this marriage. That _Leonora_ was the mistress of the _King_ is, of course, a familiar fact at court, and the n.o.bles regard _Ferdinand's_ elevation to the rank of n.o.bility as a reward, not only for his defeat of the Moors, but also for accommodatingly taking _Leonora_ off the hands of the _King_, when the latter is threatened with the malediction of Rome.

They cannot imagine that the young officer is ignorant of the relations that existed between his bride and the _King_.

_Ferdinand_ re-enters. In high spirits he approaches the courtiers, offers them his hand, which they refuse. _Balthazar_ now comes to learn the decision of the _King_. _Ferdinand_, confused by the taunting words and actions of the courtiers, hastens to greet _Balthazar_, who, not having seen him since he has returned victorious and loaded with honours, embraces him, until he hears _Gaspar's_ ironical exclamation, "Leonora's bridegroom!" _Balthazar_ starts back, and it is then _Ferdinand_ learns that he has just been wedded "alla bella del Re"--to the mistress of the _King_.

At this moment, when _Ferdinand_ has but just been informed of what he can only interpret as his betrayal by the _King_ and the royal favourite, _Alfonso_ enters, leading _Leonora_, followed by her attendants. In a stirring scene, the dramatic climax of the opera, _Ferdinand_ tears from his neck the chain _Alfonso_ has bestowed upon him, and throws it contemptuously upon the floor, breaks his sword and casts it at the _King's_ feet, then departs with _Balthazar_, the n.o.bles now making a pa.s.sage for them, and saluting, while they sing

"Ferdinand, the truly brave, We salute, and pardon crave!"

Act IV. The cloisters of the Monastery of St. James. Ceremony of _Ferdinand's_ entry into the order. "Splendon piu belle in ciel le stelle" (Behold the stars in splendour celestial), a distinguished solo and chorus for _Balthazar_ and the monks.

Left alone, _Ferdinand_ gives vent to his sorrow, which still persists, in the romance, "Spirto gentil" (Spirit of Light), one of the most exquisite tenor solos in the Italian repertory.

[Music: Spirto gentil, ne' sogni miei brillasti un d, ma ti perdei]

In 1882, thirty-four years after Donizetti's death, there was produced in Rome an opera by him ent.i.tled "Il Duca d'Alba" (The Duke of Alba).

Scribe wrote the libretto for Rossini, who does not appear to have used it. So it was pa.s.sed on to Donizetti, who composed, but never produced it. "Spirto gentil" was in this opera, from which Donizetti simply transferred it.

_Balthazar_ and the monks return. With them _Ferdinand_ enters the chapel. _Leonora_, disguised as a novice, comes upon the scene. She hears the chanting of the monks, _Ferdinand's_ voice enunciating his vows. He comes out from the chapel, recognizes _Leonora_, bids her be gone. "Ah! va, t'invola! e questa terra" (These cloisters fly, etc.).

She, however, tells him of her unsuccessful effort to let him know of her past, and craves his forgiveness for the seeming wrong she has wrought upon him. "Clemente al par di Dio" [Transcriber's Note: some scores render this as 'Pietoso al par del Nume'] (Forgiveness through G.o.d I crave of thee).

All of _Ferdinand's_ former love returns for her. "Vieni, ah! vieni,"

etc. (Joy once more fills my breast).

He would bear her away to other climes and there happily pa.s.s his days with her. But it is too late. _Leonora_ dies in his arms. "By tomorrow my soul, too, will want your prayers," are _Ferdinand's_ words to _Balthazar_, who, approaching, has drawn _Leonora's_ cowl over her dishevelled hair. He calls upon the monks to pray for a departed soul.

LINDA DI CHAMOUNIX

LINDA OF CHAMOUNIX

Opera, in three acts, by Donizetti; words by Rossi.

Produced, May 19, 1842, Theatre near the Carinthian Gate (Karnthnerthor), Vienna. London, June, 1843. New York, Palma's Opera House, January 4, 1847, with Clothilda Barili; Academy of Music, March 9, 1861, with Clara Louise Kellogg, later with Patti as _Linda_ and Gala.s.si as _Antonio_; Metropolitan Opera House, April 23, 1890, with Patti.

CHARACTERS

MARQUIS DE BOISFLEURY _Ba.s.s_ CHARLES, Vicomte de Sirval _Tenor_ PREFECT _Ba.s.s_ PIERROT _Contralto_ LINDA _Soprano_ ANTONIO _Baritone_ MADELINE _Soprano_ INTENDANT _Tenor_

Peasant men and women, Savoyards, etc.

_Time_--1760, during the reign of Louis XV.

_Place_--Chamounix and Paris.

"Linda di Chamounix" contains an air for soprano without which no collection of opera arias is complete. This is _Linda's_ aria in the first act, "O luce di quest'anima" (Oh! star that guid'st my fervent love). When Donizetti was composing "Linda di Chamounix" for Vienna, with this air and its fluent embellishments, he also was writing for the Imperial chapel a "Miserere" and an "Ave Maria" which were highly praised for a style as severe and restrained as "O luce di quest'anima" is light and graceful.

"Linda di Chamounix" is in three acts, ent.i.tled "The Departure,"

"Paris," "The Return." The story is somewhat nave, as its exposition will show.

Act I. The village of Chamounix. On one side a farmhouse. On an eminence a church. _Antonio_ and _Madeline_ are poor villagers.

_Linda_ is their daughter. She has fallen in love with an artist, _Charles_, who really is the _Viscount de Sirval_, but has not yet disclosed his ident.i.ty to her. When the opera opens _Linda's_ parents are in fear of being dispossessed by the _Marquis de Boisfleury_, who is _Charles's_ uncle, but knows nothing of his nephew's presence in Chamounix, or of his love for _Linda_. She, it may be remarked, is one of those pure, sweet, unsophisticated creatures, who exist only on the stage, and possibly only in opera.

When the opera opens, _Antonio_ returns from a visit to the _Marquis's_ agent, the _Intendant_. Hopes have been held out to him that the _Marquis_ will relent. _Antonio_ communicates these hopes to his wife in the beautiful solo, "Ambo nati in questa valle" (We were both in this valley nurtured).

[Music: Ambo nati in questa valle,]

There are shouts of "Viva!" without. The _Marquis_ has arrived. He seems kindness itself to the old couple. He asks for _Linda_, but she has gone to prayers in the chapel. We learn from an aside between the _Marquis_ and his _Intendant_, that the _Marquis's_ apparent benevolence is merely part of a libidinous scheme which involves _Linda_, whose beauty has attracted the t.i.tled roue.

After this scene, _Linda_ comes on alone and sings "O luce di quest'anima."

[Music:

O luce di quest'anima, Delizia, amore e vita;]

I also quote the concluding phrase:

[Music:

Unita nostra sorte, In ciel, in ciel sara.]

Savoyards are preparing to depart for Paris to go to work there. Among them is _Pierrot_, with his hurdy-gurdy. He sings a charming ballad, "Per sua madre and una figlia" (Once a better fortune seeking).

There is then a love scene between _Linda_ and _Charles_, with the effective duet, "A consolarmi affrettisi" (Oh! that the blessed day were come, when standing by my side), a phrase which is heard again with significant effect in the third act.

[Music:

A consolarmi affrettisi, Tal giorno sospirato,]

_Antonio_ then learns from the good _Prefect_ of the village that the latter suspects the _Marquis_ of sinister intentions toward _Linda_.

Indeed at that moment _Linda_ comes in with a paper from the _Marquis_, which a.s.sures to her parents their home; but, she adds, navely, that she has been invited by the _Marquis_ to the castle.

Parents and _Prefect_ are alarmed for her safety. The _Prefect_ has a brother in Paris. To his protection it is decided that _Linda_ shall go with her Savoyard friends, who even now are preparing to depart.

Act II. Room in a handsome, well-furnished apartment in Paris. This apartment is _Linda's_. In it she has been installed by _Charles_. The natural supposition, that it has been paid for by her virtue, is in this instance a mistake, but one, I am sure, made by nine people out of ten of those who see the opera, since the explanation of how she got there consists merely of a few incidental lines in recitative.

_Linda_ herself, but for her incredible navete would realize the impossibility of the situation.

A voice singing in the street she recognizes as _Pierrot's_, calls him up to her, and a.s.sists him with money, of which she appears to have plenty. She tells him that the _Prefect's_ brother, in whose house she was to have found protection, had died. She was obliged to support herself by singing in the street. Fortunately she had by chance met _Charles_, who disclosed to her his ident.i.ty as the _Viscount de Sirval_. He is not ready to marry her yet on account of certain family complications, but meanwhile has placed her in this apartment, where he provides for her. There is a duet, in which _Linda_ and _Pierrot_ sing of her happiness.

_Pierrot_ having left, the _Marquis_, who has discovered her retreat, but does not know that it is provided by his nephew _Charles_, calls to force his unwelcome attentions upon her. He laughs, as is not unnatural, at her protestations that she is supported here in innocence; but when she threatens him with possible violence from her intended, he has a neat little solo of precaution, ending "Guardati, pensaci, marchese mio" (Be cautious--ponder well, Marquis most valiant).

The _Marquis_, having prudently taken his departure, _Linda_ having gone to another room, and _Charles_ having come in, we learn from his recitative and air that his mother, the Marquise de Sirval, has selected a wife for him, whom she insists he shall marry. He hopes to escape from this marriage, but, as his mother has heard of _Linda_ and also insists that he shall give her up, he has come to explain matters to her and temporarily to part from her. But when he sees her, her beauty so moves him that his courage fails him, although, as he goes, there is a sadness in his manner that fills her with sad forebodings.

For three months _Linda_ has heard nothing from her parents. Letters, with money, which she has sent them, have remained unanswered--another of the situations in which this most artless heroine of opera discovers herself, without seeking the simple and obvious way of relieving the suspense.