Then the _King_ presents himself at the entrance of the tomb. Three times he strikes the door of bronze with the hilt of his dagger. The princ.i.p.al entrance to the vault opens. To the sound of trumpets six Electors enter, dressed in cloth of gold. They are followed by pages carrying, upon velvet cushions, the sceptre, crown, and other imperial insignia. Courtiers surround the Emperor. _Elvira_ approaches. The banners of the Empire are displayed. Many torches borne by soldiers illuminate the scene. The act closes with the pardon granted by the _King_, and the stirring finale, "Oh, sommo Carlo!" (Charlemagne!)

Act IV, on the terrace of _Ernani's_ castle, is brief, and there is nothing to add to what has been said of its action. _Ernani_ asks _Silva_ to spare him till his lips have tasted the chalice filled by love. He recounts his sad life: "Solingo, errante, misero" (To linger in exiled misery).

_Silva's_ grim reply is to offer him his choice between a cup of poison and a dagger. He takes the latter. "Ferma, crudele, estinguere"

(Stay thee, my lord, for me at least) cries _Elvira_, wishing to share his fate. In the end there is left only the implacable avenger, to gloat over _Ernani_, dead, and _Elvira_ prostrate upon his form.

"Ernani," brought out in 1844, is the earliest work by Verdi that maintains a foothold in the modern repertoire, though by no means a very firm one. And yet "Ernani" is in many respects a fine opera. One wonders why it has not lasted better. Hanslick, the Viennese critic, made a discriminating criticism upon it. He pointed out that whereas in Victor Hugo's drama the mournful blast upon the hunting horn, when heard in the last act, thrills the listener with tragic forebodings, in the opera, after listening to solos, choruses, and a full orchestra all the evening, the audience is but little impressed by the sounding of a note upon a single instrument. That comment, however, presupposes considerable subtlety, so far undiscovered, on the part of operatic audiences.

The fact is, that since 1844 the whirligig of time has made one--two--three--perhaps even four revolutions, and with each revolution the public taste that prevailed, when the first audience that heard the work in the Teatro Fenice, went wild over "Ernani Involami" and "Sommo Carlo," has become more remote and undergone more and more changes. To turn back operatic time in its flight requires in the case of "Ernani," a soprano of unusual voice and personality for _Elvira_, a tenor of the same qualities for the picturesque role of _Ernani_, a fine baritone for _Don Carlos_, and a sonorous ba.s.so, who doesn't look too much like a meal bag, for _Don Ruy Gomez di Silva_, Grandee of Spain.

Early in its career the opera experienced various vicissitudes. The conspiracy scene had to be toned down for political reasons before the production of the work was permitted. Even then the chorus, "Let the lion awake in Castilia," caused a political demonstration. In Paris, Victor Hugo, as author of the drama on which the libretto is based, raised objections to its representation, and it was produced in the French capital as "Il Proscritto" (The Proscribed) with the characters changed to Italians. Victor Hugo's "Hernani" was a famous play in Sarah Bernhardt's repertoire during her early engagements in this country. Her _Dona Sol_ (_Elvira_ in the opera) was one of her finest achievements. On seeing the play, with her in it, I put to test Hanslick's theory. The horn was thrilling in the play. It certainly is less so in the opera.

RIGOLETTO

Opera in three acts, by Verdi; words by Francesco Maria Piave, founded on Victor Hugo's play, "Le Roi s'Amuse."

Produced, Fenice Theatre, Venice, March 11, 1851; London, Covent Garden, May 14, 1853; Paris, Theatre des Italiens, January 19, 1857; New York, Academy of Music, November 4, 1857, with Bignardi and Frezzolini. Caruso made his debut in America at the Metropolitan Opera House, New York, as the _Duke_ in "Rigoletto," November 23, 1903; Galli-Curci hers, as _Gilda_, Chicago, November 18, 1916.

CHARACTERS

THE DUKE OF MANTUA _Tenor_ RIGOLETTO, his jester, a hunchback _Baritone_ COUNT CEPRANO } { _Ba.s.s_ COUNT MONTERONE } n.o.bles { _Baritone_ SPARAFUCILE, a bravo _Ba.s.s_ BORSA, in the Duke's service _Tenor_ MARULLO _Ba.s.s_ COUNTESS CEPRANO _Soprano_ GILDA, daughter of Rigoletto _Soprano_ GIOVANNI, her duenna _Soprano_ MADDALENA, sister to Sparafucile _Contralto_

Courtiers, n.o.bles, pages, servants.

_Time_--Sixteenth century.

_Place_--Mantua.

"Rigoletto" is a distinguished opera. Composed in forty days in 1851, nearing three-quarters of a century of life before the footlights, it still retains its vitality. Twenty years, with all they imply in experience and artistic growth, lie between "Rigoletto" and "Ada."

Yet the earlier opera, composed so rapidly as to const.i.tute a _tour de force_ of musical creation, seems destined to remain a close second in popularity to the more mature work of its great composer.

There are several reasons for the public's abiding interest in "Rigoletto." It is based upon a most effective play by Victor Hugo, "Le Roi s'Amuse," known to English playgoers in Tom Taylor's adaptation as "The Fool's Revenge." The jester was one of Edwin Booth's great roles. This role of the deformed court jester, _Rigoletto_, the hunchback, not only figures in the opera, but has been vividly characterized by Verdi in his music. It is a vital, centralizing force in the opera, concentrating and holding attention, a character creation that appeals strongly both to the singer who enacts it and to the audience who sees and hears it. The role has appealed to famous artists. Ronconi (who taught singing in New York for a few years, beginning in 1867) was a notable _Rigoletto_; so was Gala.s.si, whose intensely dramatic performance still is vividly recalled by the older opera-goers; Renaud at the Manhattan Opera House, t.i.tta Ruffo at the Metropolitan Opera House, Philadelphia, both made their American debuts as _Rigoletto_.

But the opera offers other roles of distinction. Mario was a famous _Duke_ in other days. Caruso made his sensational debut at the Metropolitan in the character of the volatile _Duca di Mantua_, November 23, 1903. We have had as _Gilda_ Adelina Patti, Melba, and Tetrazzini, to mention but a few; and the heroine of the opera is one of the roles of Galli-Curci, who appeared in it in Chicago, November 18, 1916. No coloratura soprano can, so to speak, afford to be without it.

Thus the opera has plot, a central character of vital dramatic importance, and at least two other characters of strong interest. But there is even more to be said in its behalf. For, next to the s.e.xtet in "Lucia," the quartet in the last act of "Rigoletto" is the finest piece of concerted music in Italian opera--and many people will object to my placing it only "next" to that other famous ensemble, instead of on complete equality with, or even ahead of it.

The "argument" of "Rigoletto" deals with the amatory escapades of the _Duke of Mantua_. In these he is aided by _Rigoletto_, his jester, a hunchback. _Rigoletto_, both by his caustic wit and unscrupulous conduct, has made many enemies at court. _Count Monterone_, who comes to the court to demand the restoration of his daughter, who has been dishonoured by the _Duke_, is met by the jester with laughter and derision. The _Count_ curses _Rigoletto_, who is stricken with superst.i.tious terror.

For _Rigoletto_ has a daughter, _Gilda_, whom he keeps in strict seclusion. But the _Duke_, without being aware who she is, has seen her, unknown to her father, and fallen in love with her. _Count Ceprano_, who many times has suffered under _Rigoletto's_ biting tongue, knowing that she is in some way connected with the jester, in fact believing her to be his mistress, and glad of any opportunity of doing him an injury, forms a plan to carry off the young girl, and so arranges it that _Rigoletto_ unwittingly a.s.sists in her abduction.

When he finds that it is his own daughter whom he has aided to place in the power of the _Duke_, he determines to murder his master, and engages _Sparafucile_, a bravo, to do so. This man has a sister, _Maddalena_, who entices the _Duke_ to a lonely inn. She becomes fascinated with him, however, and begs her brother to spare his life.

This he consents to do if before midnight any one shall arrive at the inn whom he can kill and pa.s.s off as the murdered _Duke_. _Rigoletto_, who has recovered his daughter, brings her to the inn so that, by being a witness of the _Duke's_ inconstancy, she may be cured of her unhappy love. She overhears the plot to murder her lover, and _Sparafucile's_ promise to his sister. Determined to save the _Duke_, she knocks for admittance, and is stabbed on entering. _Rigoletto_ comes at the appointed time for the body. _Sparafucile_ brings it out in a sack. The jester is about to throw it into the water, sack and all, when he hears the _Duke_ singing. He tears open the sack, only to find his own daughter, at the point of death.

Act I opens in a salon in the _Duke's_ palace. A suite of other apartments is seen extending into the background. All are brilliantly lighted for the fete that is in progress. Courtiers and ladies are moving about in all directions. Pages are pa.s.sing to and fro. From an adjoining salon music is heard and bursts of merriment.

[Music]

There is effervescent gayety in the orchestral accompaniment to the scene. A minuet played by an orchestra on the stage is curiously reminiscent of the minuet in Mozart's "Don Giovanni." The _Duke_ and _Borsa_ enter from the back. They are conversing about an "unknown charmer"--none other than _Gilda_--whom the _Duke_ has seen at church.

He says that he will pursue the adventure to the end, although a mysterious man visits her nightly.

Among a group of his guests the _Duke_ sees the _Countess Ceprano_, whom he has been wooing quite openly, in spite of the _Count's_ visible annoyance. The dashing gallant cares nothing about what anyone may think of his escapades, least of all the husbands or other relatives of the ladies. "Questa o quella per me pari sono" (This one, or that one, to me 'tis the same).

[Music]

This music floats on air. It gives at once the cue to the _Duke's_ character. Like _Don Giovanni_ he is indifferent to fate, flits from one affair to another, and is found as fascinating as he is dangerous by all women, of whatever degree, upon whom he confers his doubtful favours.

_Rigoletto_, hunchbacked but agile, sidles in. He is in cap and bells, and carries the jester's bauble. The immediate object of his satire is _Count Ceprano_, who is watching his wife, as she is being led off on the _Duke's_ arm. _Rigoletto_ then goes out looking for other victims.

_Marullo_ joins the n.o.bles. He tells them that _Rigoletto_, despite his hump, has an inamorata. The statement makes a visible impression upon _Count Ceprano_, and when the n.o.bles, after another sally from the jester, who has returned with the _Duke_, inveigh against his bitter tongue, the _Count_ bids them meet him at night on the morrow and he will guarantee them revenge upon the hunchback for the gibes they have been obliged to endure from him.

The gay music, which forms a restless background to the recitatives of which I have given the gist,

[Music]

trips buoyantly along, to be suddenly broken in upon by the voice of one struggling without, and who, having freed himself from those evidently striving to hold him back, bursts in upon the scene. It is the aged _Count Monterone_. His daughter has been dishonoured by the _Duke_, and he denounces the ruler of Mantua before the whole a.s.sembly. His arrest is ordered. _Rigoletto_ mocks him until, drawing himself up to his full height, the old n.o.ble not only denounces him, but calls down upon him a father's curse.

_Rigoletto_ is strangely affrighted. He cowers before _Monterone's_ malediction. It is the first time since he has appeared at the gathering that he is not gibing at someone. Not only is he subdued; he is terror-stricken.

_Monterone_ is led off between halberdiers. The gay music again breaks in. The crowd follows the _Duke_. But _Rigoletto_?

The scene changes to the street outside of his house. It is secluded in a courtyard, from which a door leads into the street. In the courtyard are a tall tree and a marble seat. There is also seen at the end of the street, which has no thoroughfare, the gable end of _Count Ceprano's_ palace. It is night.

As _Rigoletto_ enters, he speaks of _Monterone's_ curse. His entrance to the house is interrupted by the appearance of _Sparafucile_, an a.s.sa.s.sin for hire. In a colloquy, to which the orchestra supplies an accompaniment, interesting because in keeping with the scene, he offers to _Rigoletto_ his services, should they be needed, in putting enemies out of the way--and his charges are reasonable.

[Music]

_Rigoletto_ has no immediate need of him, but ascertains where he can be found.

_Sparafucile_ goes. _Rigoletto_ has a soliloquy, beginning, "How like are we!--the tongue, my weapon, the dagger his! to make others laugh is my vocation,--his to make them weep!... Tears, the common solace of humanity, are to me denied.... 'Amuse me buffoon'--and I must obey."

His mind still dwells on the curse--a father's curse, p.r.o.nounced upon him, a father to whom his daughter is a jewel. He refers to it, even as he unlocks the door that leads to his house, and also to his daughter, who, as he enters, throws herself into his arms.

He cautions her about going out. She says she never ventures beyond the courtyard save to go to church. He grieves over the death of his wife--_Gilda's_ mother--that left her to his care while she was still an infant. "Deh non parlare al misero" (Speak not of one whose loss to me).

[Music: Deh non parlare al misero]

He charges her attendant, _Giovanna_, carefully to guard her. _Gilda_ endeavours to dispel his fears. The result is the duet for _Rigoletto_ and _Gilda_, beginning with his words to _Giovanna_, "Veglia, o donna, questo fiore" (Safely guard this tender blossom).

[Ill.u.s.tration: Photo copyright, 1916, by Victor Georg

Galli-Curci as Gilda in "Rigoletto"]

[Ill.u.s.tration: Copyright photo by Dupont

Caruso as the Duke in "Rigoletto"]

_Rigoletto_ hears footsteps in the street and goes out through the door of the courtyard to see who may be there. As the door swings out, the _Duke_, for it is he, in the guise of a student, whose stealthy footsteps have been heard by the jester, conceals himself behind it, then slips into the courtyard, tosses a purse to _Giovanna_, and hides in the shadow of the tree. _Rigoletto_ reappears for a brief moment to say good-bye to _Gilda_ and once more to warn _Giovanna_ to guard her carefully.

When he has gone _Gilda_ worries because fear drove her to refrain from revealing to her father that a handsome youth has several times followed her from church. This youth's image is installed in her heart. "I long to say to him 'I lo--'"