Except for the scene of the "Shadow Dance," the libretto is incredibly inane--far more so than the demented heroine. But Meyerbeer evidently wanted to write a pastoral opera. He did so; with the result that now, instead of pastoral, it sounds pasteurized.

Hector Berlioz

(1803-1869)

This composer, born Cote-Saint-Andre, near Gren.o.ble, December 11, 1803; died Paris, March 9, 1869, has had comparatively little influence upon opera considered simply as such. But, as a musician whose skill in instrumentation, and knowledge of the individual tone quality of every instrument in the orchestra amounted to positive genius, his influence on music in general was great. In his symphonies--"Episode de la Vie d'un Artiste" (characterized by him as a _symphonie phantastique_), its sequel, "Lelio, ou la Retour a la Vie," "Harold en Italie," in which Harold is impersonated by the viola, and the _symphonie dramatique_, "Romeo et Juliette," he proved the feasibility of producing, by means of orchestral music, the effect of narrative, personal characterization and the visualization of dramatic action, as well as of scenery and material objects. He thus became the founder of "program music."

Of Berlioz's operas not one is known on the stage of English-speaking countries. For "La d.a.m.nation de Faust," in its original form, is not an opera but a dramatic cantata. First performed in 1846, it was not made over into an opera until 1893, twenty-four years after the composer's death.

BENVENUTO CELLINI

Opera in three acts, by Berlioz. Words by du Wailly and Barbier. Produced, and failed completely, Grand Opera, Paris, September 3, 1838, and London a fortnight later.

Revived London, Covent Garden, 1853, under Berlioz's own direction; by Liszt, at Weimar, 1855; by von Bulow, Hanover, 1879.

CHARACTERS

CARDINAL SALVIATI _Ba.s.s_ BALDUCCI, Papal Treasurer _Ba.s.s_ TERESA, his daughter _Soprano_ BENVENUTO CELLINI, a goldsmith _Tenor_ ASCANIO, his apprentice _Mezzo-Soprano_ FRANCESCO } Artisans in { _Tenor_ BERNARDINO } Cellini's workshop { _Ba.s.s_ FIERAMOSCA, sculptor to the Pope _Baritone_ POMPEO, a bravo _Baritone_

_Time_--1532.

_Place_--Rome.

Act I. The carnival of 1532. We are in the house of the Papal treasurer, _Balducci_, who has scolded his daughter _Teresa_ for having looked out of the window. The old man is quite vexed, because the Pope has summoned the goldsmith _Cellini_ to Rome.

_Balducci's_ daughter _Teresa_, however, thinks quite otherwise and is happy. For she has found a note from _Cellini_ in a bouquet that was thrown in to her from the street by a mask--_Cellini_, of course. A few moments later he appears at her side and proposes a plan of elopement. In the morning, during the carnival mask, he will wear a white monk's hood. His apprentice _Ascanio_ will wear a brown one.

They will join her and they will flee together. But a listener has sneaked in--_Fieramosca_, the Pope's sculptor, and no less _Cellini's_ rival in love than in art. He overhears the plot. Unexpectedly, too, _Teresa's_ father, _Balducci_, comes back. His daughter still up? In her anxiety to find an excuse, she says she heard a man sneak in.

During the search _Cellini_ disappears, and _Fieramosca_ is apprehended. Before he can explain his presence, women neighbours, who have hurried in, drag him off to the public bath house and treat him to a ducking.

Act II. In the courtyard of a tavern _Cellini_ is seated, with his a.s.sistants. He is happy in his love, for he places it even higher than fame, which alone heretofore he has courted. He must pledge his love in wine. Unfortunately the host will no longer give him credit. Just then _Ascanio_ brings some money from the Papal treasurer, but in return _Cellini_ must promise to complete his "Perseus" by morning. He promises, although the avaricious _Balducci_ has profited by his necessity and has sent too little money. _Ascanio_ is informed by _Cellini_ of the disguises they are to wear at the carnival, and of his plan that _Teresa_ shall flee with him.

Again _Fieramosca_ has been spying, and overhears the plot.

Accordingly he hires the bravo _Pompeo_ to a.s.sist him in carrying off _Teresa_.

A change of scene shows the crowd of maskers on the Piazza di Colonna.

_Balducci_ comes along with _Teresa_. Both from the right and left through the crowd come two monks in the disguise she and her lover agreed upon. Which is the right couple? Soon, however, the two couples fall upon each other. A scream, and one of the brown-hooded monks (_Pompeo_) falls mortally wounded to the ground. A white-hooded monk (_Cellini_) has stabbed him. The crowd hurls itself upon _Cellini_.

But at that moment the boom of a cannon gives notice that the carnival celebration is over. It is Ash Wednesday. In the first shock of surprise _Cellini_ escapes, and in his place the other white-hooded monk, _Fieramosca_, is seized.

Act III. Before _Cellini's_ house, in the background of which, through a curtain, is seen the bronze foundry, the anxious _Teresa_ is a.s.sured by _Ascanio_ that her lover is safe. Soon he comes along himself, with a band of monks, to whom he describes his escape. Then _Balducci_ and _Fieramosca_ rush in. _Balducci_ wants to force his daughter to become _Fieramosca's_ bride. The scene is interrupted by the arrival of _Cardinal Salviati_ to see the completed "Perseus." Poor _Cellini_!

Accused of murder and the attempted kidnapping of a girl, the "Perseus" unfinished, the money received for it spent! Heavy punishment awaits him, and another shall receive the commission to finish the "Perseus."

The artist flies into a pa.s.sion. Another finish his masterpiece!

Never! The casting shall be done on the spot! Not metal enough? He seizes his completed works and throws them into the molten ma.s.s. The casting begins. The master shatters the mould. The "Perseus," a n.o.ble work of art, appears before the eyes of the astonished onlookers--a potent plea for the inspired master. Once more have Art and her faithful servant triumphed over all rivals.

The statue of Perseus, by Benvenuto Cellini, one of the most famous creations of mediaeval Italy, is one of the art treasures of Florence.

BEATRICE AND BENEDICT

Opera in two acts, by Berlioz. Words by the composer, after Shakespeare's comedy, "Much Ado about Nothing." Produced at Baden Baden, 1862.

CHARACTERS

DON PEDRO, a general _Ba.s.s_ LEONATO, governor of Messina _Ba.s.s_ HERO, his daughter _Soprano_ BEATRICE, his niece _Soprano_ CLAUDIO, an officer _Baritone_ BENEDICT, an officer _Tenor_ URSULA, Hero's companion _Contralto_ SOMARONE, orchestral conductor _Ba.s.s_

The story is an adaptation of the short version of Shakespeare's play, which preserves the spirit of the comedy, but omits the saturnine intrigue of _Don John_ against _Claudio_ and _Hero_. The gist of the comedy is the gradual reaction of the brilliant but captious _Beatrice_ from pique and partially feigned indifference toward the witty and gallant _Benedict_, to love. Both have tempers. In fact they reach an agreement to marry as a result of a spirited quarrel.

LES TROYENS

THE TROJANS

PART I. "LA PRISE DE TROIE"

THE CAPTURE OF TROY

Opera in three acts, by Berlioz. Words by the composer, based upon a scenario furnished by Liszt's friend, the Princess Caroline Sayn-Wittgenstein. Produced, November 6, 1890, in Karlsruhe, under the direction of Felix Mottl.

CHARACTERS

PRIAM _Ba.s.s_ HECUBA _Contralto_ Ca.s.sANDRA _Mezzo-Soprano_ POLYXENA _Soprano_ HECTOR'S ghost _Ba.s.s_ ANDROMACHE } _Mutes_ ASTYONAX } aeNEAS _Tenor_ ASCANIUS _Soprano_ PANTHEUS _Ba.s.s_ CHOROEBUS _Baritone_

_Time_--1183 B.C.

_Place_--The Trojan Plain.

Act I. The Greek camp before Troy. It has been deserted by the Greeks.

The people of Troy, rejoicing at what they believe to be the raising of the siege, are bustling about the camp. Many of them, however, are standing amazed about a gigantic wooden horse. There is only one person who does not rejoice, _Ca.s.sandra_, _Priam's_ daughter, whose clairvoyant spirit foresees misfortune. But no one believes her dire prophecies, not even her betrothed, _Choroebus_, whom she implores in vain to flee.

Act II. In a grove near the walls of the city the Trojan people, with their princes at their head, are celebrating the return of peace.

_Andromache_, however, sees no happiness for herself, since _Hector_ has fallen. Suddenly _aeneas_ hurries in with the news that the priest _Laoc.o.o.n_, who had persisted in seeing in the wooden horse only a stratagem of the Greeks, has been strangled by a serpent. Athena must be propitiated; the horse must be taken into the city, to the sacred Palladium, and there set up for veneration. Of no avail is _Ca.s.sandra's_ wailing, when the G.o.ddess has so plainly indicated her displeasure.

Act III. _aeneas_ is sleeping in his tent. A distant sound of strife awakens him. _Hector's Ghost_ appears to him. Troy is lost; far away, to Italy, must _aeneas_ go, there to found a new kingdom. The _Ghost_ disappears. The priest, _Pantheus_, rushes in, bleeding from wounds.

He announces that Greeks have come out of the belly of the horse and have opened the gates of the city to the Greek army. Troy is in flames. _aeneas_ goes forth to place himself at the head of his men.

The scene changes to the vestal sanctuary in _Priam's_ palace. To the women gathered in prayer _Ca.s.sandra_ announces that _aeneas_ has succeeded in saving the treasure and covering a retreat to Mount Ida.

But her _Choroebus_ has fallen and she desires to live no longer.

Shall she become the slave of a Greek? She paints the fate of the captive woman in such lurid colours that they decide to go to death with her. Just as the Greeks rush in, the women stab themselves, and grief overcomes even the hardened warriors.

PART II. "LES TROYENS a CARTHAGE"

THE TROJANS IN CARTHAGE