In the story of the opera, _Florestan_, a n.o.ble Spaniard, has aroused the enmity of _Pizarro_, governor of a gloomy mediaeval fortress, used as a place of confinement for political prisoners. _Pizarro_ has been enabled secretly to seize _Florestan_ and cast him into the darkest dungeon of the fortress, at the same time spreading a report of his death. Indeed, _Pizarro_ actually plans to do away with _Florestan_ by slow starvation; or, if necessary, by means more swift.

One person, however, suspects the truth--_Leonore_, the wife of _Florestan_. Her faithfulness, the risks she takes, the danger she runs, in order to save her husband, and the final triumph of conjugal love over the sinister machinations of _Pizarro_, form the motive of the story of "Fidelio," a t.i.tle derived from the name a.s.sumed by _Leonore_, when, disguised as a man, she obtains employment as a.s.sistant to _Rocco_, the chief jailer of the prison. _Fidelio_ has been at work and has become a great favourite with _Rocco_, as well as with _Marcellina_, the jailer's daughter. The latter, in fact, much prefers the gentle, comely youth, _Fidelio_, to _Jacquino_, the turnkey, who, before _Fidelio's_ appearance upon the scene, believed himself to be her accepted lover. _Leonore_ cannot make her s.e.x known to the girl. It would ruin her plans to save her husband. Such is the situation when the curtain rises on the first act, which is laid in the courtyard of the prison.

Act I. The opera opens with a brisk duet between _Jacquino_ and _Marcellina_, in which he urges her definitely to accept him and she cleverly puts him off. Left alone she expresses her regret for _Jacquino_, but wishes she were united with _Fidelio_. ("O war' ich schon mit dir vereint"--O, were I but with you united.)

Afterward she is joined by her father. Then _Leonore_ (as _Fidelio_) enters the courtyard. She has a basket of provisions and also is carrying some fetters which she has taken to be repaired.

_Marcellina_, seeing how weary _Leonore_ is, hastens to relieve the supposed youth of his burden. _Rocco_ hints not only tolerantly but even encouragingly at what he believes to be the fancy _Fidelio_ and _Marcellina_ have taken to each other. This leads up to the quartet in canon form, one of the notable vocal numbers of the opera, "Mir ist so wunderbar" (How wondrous the emotion). Being a canon, the theme enunciated by each of the four characters is the same, but if the difference in the sentiments of each character is indicated by subtle nuance of expression on the part of the singers, and the intonation be correct, the beauty of this quartet becomes plain even at a first hearing. The partic.i.p.ants are _Leonore_, _Marcellina_, _Rocco_, and _Jacquino_, who appears toward the close. "After this canon," say the stage directions, so clearly is the form of the quartet recognized, "_Jacquino_ goes back to his lodge."

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_Rocco_ then voices a song in praise of money and the need of it for young people about to marry. ("Wenn sich Nichts mit Nichts verbindet"--When you nothing add to nothing.) The situation is awkward for _Leonore_, but the rescue of her husband demands that she continue to masquerade as a man. Moreover there is an excuse in the palpable fact that before she entered _Rocco's_ service, _Jacquino_ was in high favour with _Marcellina_ and probably will have no difficulty in re-establishing himself therein, when the comely youth _Fidelio_, turns out to be _Leonore_, the faithful wife of _Florestan_.

Through a description which _Rocco_ gives of the prisoners, _Leonore_ now learns what she had not been sure of before. Her husband is confined in this fortress and in its deepest dungeon.

A short march, with a p.r.o.nounced and characteristic rhythm, announces the approach of _Pizarro_. He looks over his despatches. One of them warns him that _Fernando_, the Minister of State, is about to inspect the fortress, accusations having been made to him that _Pizarro_ has used his power as governor to wreak vengeance upon his private enemies. A man of quick decision, _Pizarro_ determines to do away with _Florestan_ at once. His aria, "Ha! welch' ein Augenblick!" (Ah! the great moment!) is one of the most difficult solos in the dramatic repertoire for ba.s.s voice. When really mastered, however, it also is one of the most effective.

_Pizarro_ posts a trumpeter on the ramparts with a sentry to watch the road from Seville. As soon as a state equipage with outriders is sighted, the trumpeter is to blow a signal. Having thus made sure of being warned of the approach of the _Minister_, he tosses a well-filled purse to _Rocco_, and bids him "for the safety of the State," to make away with the most dangerous of the prisoners--meaning _Florestan_. _Rocco_ declines to commit murder, but when _Pizarro_ takes it upon himself to do the deed, _Rocco_ consents to dig a grave in an old cistern in the vaults, so that all traces of the crime will be hidden from the expected visitor.

_Leonore_, who has overheard the plot, now gives vent to her feelings in the highly dramatic recitative: "Abscheulicher! wo eilst du hin!"

("Accursed one! Where hasten'st thou!"); followed by the beautiful air, "Komm Hoffnung" (Come, hope!), a deeply moving expression of confidence that her love and faith will enable her, with the aid of Providence, to save her husband's life. Soon afterwards she learns that, as _Rocco's_ a.s.sistant, she is to help him in digging the grave.

She will be near her husband and either able to aid him or at least die with him.

The prisoners from the upper tiers are now, on _Leonore's_ intercession, permitted a brief opportunity to breathe the open air.

The cells are unlocked and they are allowed to stroll in the garden of the fortress, until _Pizarro_, hearing of this, angrily puts an end to it. The chorus of the prisoners, subdued like the half-suppressed joy of fearsome beings, is one of the significant pa.s.sages of the score.

Act II. The scene is in the dungeon where _Florestan_ is in heavy chains. To one side is the old cistern covered with rubbish. Musically the act opens with _Florestan's_ recitative and air, a fit companion piece to _Leonore's_ "Komm Hoffnung" in Act I. The whispered duet between _Leonore_ and _Rocco_ as they dig the grave and the orchestral accompaniment impress one with the gruesome significance of the scene.

_Pizarro_ enters the vault, exultantly makes himself known to his enemy, and draws his dagger for the fatal thrust. _Leonore_ throws herself in his way. Pushed aside, she again interposes herself between the would-be murderer and his victim, and, pointing at him a loaded pistol, which she has had concealed about her person, cries out: "First slay his wife!"

At this moment, in itself so tense, a trumpet call rings out from the direction of the fortress wall. _Jacquino_ appears at the head of the stone stairway leading down into the dungeon. The _Minister of State_ is at hand. His vanguard is at the gate. _Florestan_ is saved. There is a rapturous duet, "O, namenlose Freude" (Joy inexpressible) for him and the devoted wife to whom he owes his life.

In _Florestan_ the _Minister of State_ recognizes his friend, whom he believed to have died, according to the reports set afloat by _Pizarro_, who himself is now apprehended. To _Leonore_ is a.s.signed the joyful task of unlocking and loosening her husband's fetters and freeing him from his chains. A chorus of rejoicing: "Wer ein solches Weib errungen" (He, whom such a wife has cherished) brings the opera to a close.

It is well said in George P. Upton's book, _The Standard Operas_, that "as a drama and as an opera, 'Fidelio' stands almost alone in its perfect purity, in the moral grandeur of its subject, and in the resplendent ideality of its music." Even those who do not appreciate the beauty of such a work, and, unfortunately their number is considerable, cannot fail to agree with me that the trumpet call, which brings the prison scene to a climax, is one of the most dramatic moments in opera. I was a boy when, more than forty years ago, I first heard "Fidelio" in Wiesbaden. But I still remember the thrill, when that trumpet call split the air with the message that the _Minister of State_ was in sight and that _Leonore_ had saved her husband.

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When "Fidelio" had its first American performance (New York, Park Theatre, September 9, 1839) the opera did not fill the entire evening.

The entertainment, as a whole, was a curiosity from present-day standards. First came Beethoven's opera, with Mrs. Martyn as _Leonore_. Then a _pas seul_ was danced by Mme. Araline; the whole concluding with "The Deep, Deep Sea," in which Mr. Placide appeared as _The Great American Sea Serpent_. This seems incredible. But I have searched for and found the advertis.e.m.e.nt in the New York _Evening Post_, and the facts are stated.

Under Dr. Leopold Damrosch, "Fidelio" was performed at the Metropolitan Opera House in the season of 1884-85; under Anton Seidl, during the season of 1886-87, with Brandt and Niemann as well as with Lehmann and Niemann as _Leonore_ and _Florestan_.

The 1886-87 representations of "Fidelio," by great artists under a great conductor, are among the most vivid memories of opera-goers so fortunate as to have heard them.

Weber and his Operas

Carl Maria von Weber, born at Eutin, Oldenberg, December 18, 1786, died in London, June 5, 1826, is the composer of "Der Freischutz;"

"Euryanthe," and "Oberon."

"Der Freischutz" was first heard in Berlin, June 18, 1821. "Euryanthe"

was produced in Vienna, October 25, 1823. "Oberon" had its first performance at Covent Garden, London, April 12, 1826. Eight weeks later Weber died. A sufferer from consumption, his malady was aggravated by over-exertion in finishing the score of "Oberon,"

rehearsing and conducting the opera, and attending the social functions arranged in his honour.

DER FREISCHuTZ

The first American performance of this opera, which is in three acts, was in English. The event took place in the Park Theatre, New York, March 2, 1825. This was only four years later than the production in Berlin. It was not heard here in German until a performance at the old Broadway Theatre.

This occurred in 1856 under the direction of Carl Bergmann.

London heard it, in English, July 23, 1824; in German, at the King's Theatre, May 9, 1832; in Italian, as "Il Franco Arciero," at Covent Garden, March 16, 1825. For this performance Costa wrote recitatives to replace the dialogue.

Berlioz did the same for the production at the Grand Opera, Paris, as "Le Franc Archer," June 7, 1841. "Freischutz"

means "free-shooter"--someone who shoots with magic bullets.

CHARACTERS

PRINCE OTTOKAR _Baritone_ CUNO, head ranger _Ba.s.s_ MAX, a forester _Tenor_ KASPAR, a forester _Ba.s.s_ KILIAN, a peasant _Tenor_ A HERMIT _Ba.s.s_ ZAMIEL, the wild huntsman _Speaking Part_ AGATHE, Cuno's daughter _Soprano_ AENNCHEN (ANNETTE), her cousin _Soprano_

_Time_--Middle of 18th Century.

_Place_--Bohemia.

Act I. At the target range. _Kilian_, the peasant, has defeated _Max_, the forester, at a prize shooting, a Schutzenfest, maybe. _Max_, of course, should have won. Being a forester, accustomed to the use of fire-arms, it is disgraceful for him to have been defeated by a mere peasant.

_Kilian_ "rubs it in" by mocking him in song and the men and girls of the village join in the mocking chorus--a clever bit of teasing in music and establishing at the very start the originality in melody, style, and character of the opera.

The hereditary forester, _Cuno_, is worried over the poor showing _Max_ has made not only on that day, but for some time past. There is to be a "shoot" on the morrow before _Prince Ottokar_. In order to win the hand in marriage of _Agathe_, _Cuno's_ daughter, and the eventual succession as hereditary forester, _Max_ must carry off the honours in the compet.i.tion now so near at hand. He himself is in despair. Life will be worthless to him without _Agathe_. Yet he seems to have lost all his cunning as a shot.

It is now, when the others have gone, that another forester, _Kaspar_, a man of dark visage and of morose and forbidding character, approaches him. He hands him his gun, points to an eagle circling far on high, and tells him to fire at it. _Max_ shoots. From its dizzy height the bird falls dead at his feet. It is a wonderful shot.

_Kaspar_ explains to him that he has shot with a "free," or charmed bullet; that such bullets always. .h.i.t what the marksman wills them to; and that if _Max_ will meet him in the Wolf's Glen at midnight, they will mould bullets with one of which, on the morrow, he easily can win _Agathe's_ hand and the hereditary office of forester. _Max_, to whom victory means all that is dear to him, consents.

Act II. _Agathe's_ room in the head ranger's house. The girl has gloomy forebodings. Even her sprightly relative, _Aennchen_, is unable to cheer her up. At last _Max_, whom she has been awaiting, comes.

Very soon, however, he says he is obliged to leave, because he has shot a deer in the Wolf's Glen and must go after it. In vain the girls warn him against the locality, which is said to be haunted.

The scene changes to the Wolf's Glen, the haunt of _Zamiel_ the wild huntsman (otherwise the devil) to whom _Kaspar_ has sold himself, and to whom now he plans to turn over _Max_ as a victim, in order to gain for himself a brief respite on earth, his time to _Zamiel_ being up.

The younger forester joins him in the Wolf's Glen and together they mould seven magic bullets, six of which go true to the mark. The seventh goes whither _Zamiel_ wills it.

Act III. The first scene again plays in the forester's house. _Agathe_ still is filled with forebodings. She is attired for the test shooting which also will make her _Max's_ bride, if he is successful. Faith dispels her gloom. The bridesmaids enter and wind the bridal garland.

The time arrives for the test shooting. But only the seventh bullet, the one which _Zamiel_ speeds whither he wishes, remains to _Max_. His others he has used up on the hunt in order to show off before the _Prince_. _Kaspar_ climbs a tree to watch the proceedings from a safe place of concealment. He expects _Max_ to be _Zamiel's_ victim. Before the whole village and the _Prince_ the test shot is to be made. The Prince points to a flying dove. At that moment _Agathe_ appears accompanied by a _Hermit_, a holy man. She calls out to _Max_ not to shoot, that she is the dove. But _Max_ already has pulled the trigger.

The shot resounds. _Agathe_ falls--but only in a swoon. It is _Kaspar_ who tumbles from the tree and rolls, fatally wounded, on the turf.

_Zamiel_ has had no power over _Max_, for the young forester had not come to the Wolf's Glen of his own free will, but only after being tempted by _Kaspar_. Therefore _Kaspar_ himself had to be the victim of the seventh bullet. Upon the _Hermit's_ intercession, _Max_, who has confessed everything, is forgiven by _Prince Ottokar_, the test shot is abolished and a year's probation subst.i.tuted for it.

Many people are familiar with music from "Der Freischutz" without being aware that it is from that opera. Several melodies from it have been adapted as hymn tunes, and are often sung in church. In Act I, are _Kilian's_ song and the chorus in which the men and women, young and old, rally _Max_ upon his bad luck. There is an expressive trio for _Max_, _Kaspar_, and _Cuno_, with chorus "O diese Sonne!" (O fateful morrow.) There is a short waltz. _Max's_ solo, "Durch die Walder, durch die Auen" (Through the forest and o'er the meadows) is a melody of great beauty, and this also can be said of his other solo in the same scene, "Jetzt ist wohl ihr Fenster offen" (Now mayhap her window opens), while the scene comes to a close with gloomy, despairing accents, as _Zamiel_, unseen of course by _Max_, hovers, a threatening shadow, in the background. There follows _Kaspar's_ drinking song, forced in its hilariousness and ending in grotesque laughter, _Kaspar_ being the familiar of _Zamiel_, the wild huntsman.

His air ("Triumph! Triumph! Vengeance will succeed") is wholly in keeping with his sinister character.