One of the most characteristic phrases, suggestions of which occur also in "La Traviata" and even in "Ada," is the following:

[Music: a chi desia, a chi desia morir!]

Familiarity may breed contempt, and nothing could well be more familiar than the "Miserere" from "Il Trovatore." Yet, well sung, it never fails of effect; and the gaoler always has to let _Manrico_ come out of the tower and acknowledge the applause of an excited house, while _Leonora_ stands by and pretends not to see him, one of those little fictions and absurdities of old-fashioned opera that really add to its charm.

The _Count_ enters, to be confronted by _Leonora_. She promises to become his wife if he will free _Manrico_. _Di Luna's_ pa.s.sion for her is so intense that he agrees. There is a solo for _Leonora_, "Mira, di acerbe lagrime" (Witness the tears of agony), followed by a duet between her and the _Count_, who little suspects that, _Manrico_ once freed, she will escape a hated union with himself by taking the poison in her ring.

The scene changes to the interior of the tower. _Manrico_ and _Azucena_ sing a duet of mournful beauty, "Ai nostri monti" (Back to our mountains).

[Music: Ai nostri monti] [Music: Riposa o madre, io p.r.o.no e muto]

_Leonora_ enters and bids him escape. But he suspects the price she has paid; and his suspicions are confirmed by herself, when the poison she has drained from beneath the jewel in her ring begins to take effect and she feels herself sinking in death, while _Azucena_, in her sleep, croons dreamily, "Back to our mountains."

The _Count di Luna_, coming upon the scene, finds _Leonora_ dead in her lover's arms. He orders _Manrico_ to be led to the block at once and drags _Azucena_ to the window to witness the death of her supposed son.

"It is over!" exclaims _Di Luna_, when the executioner has done his work.

"The victim was thy brother!" shrieks the gypsy hag. "Thou art avenged, O mother!"

She falls near the window.

"And I still live!" exclaims the _Count_.

With that exclamation the c.u.mulative horrors, set to the most tuneful score in Italian opera, are over.

LA TRAVIATA

THE FRAIL ONE

Opera in three acts by Verdi; words by Francesco Maria Piave, after the play "La Dame aux Camelias," by Alexandre Dumas, _fils_. Produced Fenice Theatre, Venice, March 6, 1853. London, May 24, 1856, with Piccolomini. Paris, in French, December 6, 1856; in Italian, October 27, 1864, with Christine Nilsson. New York, Academy of Music, December 3, 1856, with La Grange (_Violetta_), Brignoli (_Alfredo_), and Amodio (_Germont, pere_). Nilsson, Patti, Melba, Sembrich and Tetrazzini have been among famous interpreters of the role of _Violetta_ in America. Galli-Curci first sang _Violetta_ in this country in Chicago, December 1, 1916.

CHARACTERS

ALFREDO GERMONT, lover of VIOLETTA _Tenor_ GIORGIO GERMONT, his father _Baritone_ GASTONE DE LETORIeRES _Tenor_ BARON DOUPHOL, a rival of ALFREDO _Ba.s.s_ MARQUIS D'OBIGNY _Ba.s.s_ DOCTOR GRENVIL _Ba.s.s_ GIUSEPPE, servant to VIOLETTA _Tenor_ VIOLETTA VALeRY, a courtesan _Soprano_ FLORA BERVOIX, her friend _Mezzo-Soprano_ ANNINA, confidante of VIOLETTA _Soprano_

Ladies and gentlemen who are friends and guests in the houses of Violetta and Flora; servants and masks; dancers and guests as matadors, picadors, and gypsies.

_Time_--Louis XIV. [Transcriber's Note: The correct time is about 1850. See author's discussion below.]

_Place_--Paris and vicinity.

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

Galli-Curci as Violetta in "La Traviata"]

At its production in Venice in 1853 "La Traviata" was a failure, for which various reasons can be advanced. The younger Dumas's play, "La Dame aux Camelias," familiar to English playgoers under the incorrect t.i.tle of "Camille," is a study of modern life and played in modern costume. When Piave reduced his "Traviata" libretto from the play, he retained the modern period. This is said to have nonplussed an audience accustomed to operas laid in the past and given in "costume."

But the chief blame for the fiasco appears to have rested with the singers. Graziani, the _Alfredo_, was hoa.r.s.e. Salvini-Donatelli, the _Violetta_, was inordinately stout. The result was that the scene of her death as a consumptive was received with derision. Varesi, the baritone, who sang _Giorgio Germont_, who does not appear until the second act, and is of no importance save in that part of the opera, considered the role beneath his reputation--notwithstanding _Germont's_ beautiful solo, "Di Provenza"--and was none too cheerful over it. There is evidence in Verdi's correspondence that the composer had complete confidence in the merits of his score, and attributed its failure to its interpreters.

When the opera was brought forward again a year later, the same city which had decried it as a failure acclaimed it a success. On this occasion, however, the period of the action differed from that of the play. It was set back to the time of Louis XIV., and costumed accordingly. There is, however, no other opera today in which this matter of costume is so much a go-as-you-please affair for the princ.i.p.als, as it is in "La Traviata." I do not recall if Christine Nilsson dressed _Violetta_ according to the Louis XIV. period, or not; but certainly Adelina Patti and Marcella Sembrich, both of whom I heard many times in the role (and each of them the first time they sang it here) wore the conventional evening gown of modern times. To do this has become entirely permissible for prima donnas in this character. Meanwhile the _Alfredo_ may dress according to the Louis XIV. period, or wear the swallow-tail costume of today, or compromise, as some do, and wear the swallow-tail coat and modern waistcoat with knee-breeches and black silk stockings. As if even this diversity were not yet quite enough, the most notable _Germont_ of recent years, Renaud, who, at the Manhattan Opera House, sang the role with the most exquisite refinement, giving a portrayal as finished as a genre painting by Meissonnier, wore the costume of a gentleman of Provence of, perhaps, the middle of the last century. But, as I have hinted before, in old-fashioned opera, these incongruities, which would be severely condemned in a modern work, don't amount to a row of pins.

Given plenty of melody, beautifully sung, and everything else can go hang.

Act I. A salon in the house of _Violetta_. In the back scene is a door, which opens into another salon. There are also side doors. On the left is a fireplace, over which is a mirror. In the centre of the apartment is a dining-table, elegantly laid. _Violetta_, seated on a couch, is conversing with _Dr. Grenvil_ and some friends. Others are receiving the guests who arrive, among whom are _Baron Douphol_ and _Flora_ on the arm of the _Marquis_.

The opera opens with a brisk ensemble. _Violetta_ is a courtesan (_traviata_). Her house is the scene of a revel. Early in the festivities _Gaston_, who has come in with _Alfred_, informs _Violetta_ that his friend is seriously in love with her. She treats the matter with outward levity, but it is apparent that she is touched by _Alfred's_ devotion. Already, too, in this scene, there are slight indications, more emphasized as the opera progresses, that consumption has undermined _Violetta's_ health.

First in the order of solos in this act is a spirited drinking song for _Alfred_, which is repeated by _Violetta_. After each measure the chorus joins in. This is the "Libiamo ne' lieti calici" (Let us quaff from the wine cup o'erflowing).

[Music: Libiamo, libiamo ne' lieti calici]

Music is heard from an adjoining salon, toward which the guests proceed. _Violetta_ is about to follow, but is seized with a coughing-spell and sinks upon a lounge to recover. _Alfred_ has remained behind. She asks him why he has not joined the others. He protests his love for her. At first taking his words in banter, she becomes more serious, as she begins to realize the depth of his affection for her. How long has he loved her? A year, he answers. "Un d felice, eterea" (One day a rapture ethereal), he sings.

In this the words, "Di quell'amor ch'e palpito" (Ah, 'tis with love that palpitates) are set to a phrase which _Violetta_ repeats in the famous "Ah, fors'e lui," just as she has previously repeated the drinking song.

Verdi thus seems to intend to indicate in his score the effect upon her of _Alfred's_ genuine affection. She repeated his drinking song.

Now she repeats, like an echo of heartbeats, his tribute to a love of which she is the object.

It is when _Alfred_ and the other guests have retired that _Violetta_, lost in contemplation, her heart touched for the first time, sings "Ah fors'e lui che l'anima" (For him, perchance, my longing soul).

[Music: Ah, fors'e lui che l'anima solinga ne' tumulti, solinga ne'

tumulti]

Then she repeats, in the nature of a refrain, the measures already sung by _Alfred_. Suddenly she changes, as if there were no hope of lasting love for woman of her character, and dashes into the brilliant "Sempre libera degg'io folleggiare di gioja in gioja" (Ever free shall I still hasten madly on from pleasure to pleasure).

[Music: Sempre libera degg'io folleggiare]

With this solo the act closes.

Act II. Salon on the ground floor of a country house near Paris, occupied by _Alfred_ and _Violetta_, who for him has deserted the allurements of her former life. _Alfred_ enters in sporting costume.

He sings of his joy in possessing _Violetta_: "Di miei bollenti spiriti" (Wild my dream of ecstasy).

From _Annina_, the maid of _Violetta_, he learns that the expenses of keeping up the country house are much greater than _Violetta_ has told him, and that, in order to meet the cost, which is beyond his own means, she has been selling her jewels. He immediately leaves for Paris, his intention being to try to raise money there so that he may be able to reimburse her.

After he has gone, _Violetta_ comes in. She has a note from _Flora_ inviting her to some festivities at her house that night. She smiles at the absurdity of the idea that she should return, even for an evening, to the scenes of her former life. Just then a visitor is announced. She supposes he is a business agent, whom she is expecting.

But, instead, the man who enters announces that he is _Alfred's_ father. His dignity, his courteous yet restrained manner, at once fill her with apprehension. She has foreseen separation from the man she loves. She now senses that the dread moment is impending.

The elder _Germont's_ plea that she leave _Alfred_ is based both upon the blight threatened his career by his liaison with her, and upon another misfortune that will result to the family. There is not only the son; there is a daughter. "Pura siccome un angelo" (Pure as an angel) sings _Germont_, in the familiar air:

[Music: Pura siccome un angelo]

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

Farrar as Violetta in "La Traviata"]

[Ill.u.s.tration: Photo by Mishkin

Scotti as Germont in "La Traviata"]

Should the scandal of _Alfred's_ liaison with _Violetta_ continue, the family of a youth, whom the daughter is to marry, threaten to break off the alliance. Therefore it is not only on behalf of his son, it is also for the future of his daughter, that the elder _Germont_ pleads.