The story follows almost entirely the familiar lines of the fairy tale. It may differ from some versions in including _Cinderella's_ father, _Pandolfe_, among the characters. In the third act, sympathizing with her in her unhappiness with her stepmother and stepsisters, he plans to take her back to the country. But she goes away alone, falls asleep under the fairy oak, and in a dream sees the _Prince_, with whom she has danced at the ball. The fairy reveals them to each other and they pledge their love. In the fourth act the dream turns into reality.

As for the music, it is bright, graceful, and pretty, especially in the dances, the fairy scenes, and the love scene between _Cinderella_ and _Prince Charming_.

LA NAVARRAISE

Opera in one act by Ma.s.senet; libretto by Jules Claretie and Henri Cain. It was performed for the first time at Covent Garden, June 20, 1894, by Mme. Calve and Messrs. Alvarez, Plancon, Gilibert, Bonnard, and Dufriche.

The opera is one of other days. Now it is seldom given. There were two famous _Anitas_--Emma Calve and Jeanne Gerville-Reache. The extraordinary success of "Cavalleria Rusticana" no doubt impelled Ma.s.senet to try his hand at a tragic one-act opera, just as "Hansel and Gretel" was responsible for his "Cendrillon." It is among the best of his works. The music is intensely dramatic. It has colour, vitality. The action is swift and stirring, uninterrupted by sentimental romanzas. The libretto is based on a short story, "La Cigarette," written by Jules Claretie and published in the _Figaro Ill.u.s.tre_ about 1890. Later it gave the t.i.tle to a collection of short stories.

The time is during the last days of the Carlist war. The place is Spain. _Araquil_, a Biscayan peasant, loves _Anita_ madly, but her parents frown upon his poverty. No crime seems too great to win his bride. _General Garrito_, the Spanish chief, has promised a reward to any man who will deliver up _Zucarraga_, the Carlist. When this dangerous foe is injured in battle, _Araquil_ poisons the wound and claims the promised reward. The general pays the sum, but, disgusted, orders _Araquil_ to be shot. _Anita's_ father consents to the wedding before the execution. But _Anita_ refuses disdainfully, and _Araquil_ is killed as he puffs a cigarette. This is Claretie's story. At his suggestion and for the purposes of opera the parts were changed.

_Araquil_ became _Anita_ and the peasant with the cigarette became _La Navarraise_.

LE JONGLEUR DE NoTRE DAME

Opera in three acts by Jules Ma.s.senet. Libretto by Maurice Lena.

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

Mary Garden in "Le Jongleur de Notre Dame"]

The opera was first sung at Monte Carlo, February 18, 1902, when the part of Jean was taken by Mr. Marechal, for this miracle play with music was composed originally for male singers. The only two women in the cast were represented as angels. The part of _Boniface_ the cook was created by Mr. Renaud.

The story was first published by Gaston Paris as "Le Tombeor de Nostre Dame" in 1874-75 in the review, _Romania_, and later in his "etude sur la Poesie Francaise au Moyen age." The story is better known, however, by Anatole France's version, included in his "etui de Nacre" (1912).

A poor juggler after performing in the streets to earn his bread, begins to think of the future life and enters a monastery. There he sees the monks paying homage to the Virgin in eloquent prayers. Unable in his ignorance to imitate their pious learning, _Jean_ decides to offer homage through the only means in his power. He shuts himself in the chapel, turns somersaults, and performs his feats in Our Lady's honour. When the monks searching for _Jean_ rush in and cry "Sacrilege" at his singing, dancing, and tumbling, the statue of the Virgin comes to life, smiles, and blesses the poor juggler, who dies in ecstasy at her feet, while the monks chant the beat.i.tude concerning the humble.

Ma.s.senet was later persuaded to turn the part of _Jean_ into a soprano. It is known to New York through Miss Mary Garden. It is said that the libretto of this opera was handed to Ma.s.senet by the postman, one day, as he was leaving for the country. In the railway carriage, seeking distraction, he opened the registered package. He was delighted with the libretto and wrote at once to the author, a teacher in the university.

WERTHER

Opera in four acts by Jules Ma.s.senet with a libretto by edouard Blau, Paul Milliet, and G. Hartmann. First performance in New York, April 19, 1894, with Mme. Eames and Sigrid Arnoldson and Jean de Reszke.

In the first act the bailiff, _Charlotte's_ father, is seen teaching his youngest children to sing a Christmas carol, while _Charlotte_ dresses for a ball. Ready before the carriage arrives, she gives the children their bread and b.u.t.ter as she has done every day since their mother died. She greets _Werther_, her cousin, who is also invited to the ball, with a kiss. After they have gone, _Albert_ returns. He has been away six months. He wonders whether _Charlotte_, his betrothed, still cares for him and is rea.s.sured as to her fidelity by her younger sister _Sophie_. When _Charlotte_ and _Werther_ return from the ball _Werther_ declares his love. At that moment the bailiff announces _Albert's_ return. _Charlotte_ tells _Werther_ that she had promised to marry him only to please her mother. _Werther_ replies: "If you keep that promise I shall die."

Act II takes place three months later. _Charlotte_ and _Albert_ are man and wife. _Albert_ knows that _Werther_ loves his wife but trusts him. _Charlotte_ begs _Werther_ not to try to see her again until Christmas day.

In Act III _Charlotte_ is at home alone. Her thoughts are with _Werther_ and she wonders how she could have sent him away. Suddenly _Werther_ returns and there is a pa.s.sionate love scene. When _Werther_ has gone _Albert_ enters, and notices his wife's agitation. A servant brings a note from _Werther_ saying that he is about to go on a long journey and asking _Albert_ to lend him his pistols. _Charlotte_ has a horrible presentiment and hastily follows the servant.

In Act IV _Charlotte_ finds _Werther_ dying in his apartments. He is made happy by her confession that she has loved him from the moment when she first saw him.

HeRODIADE

Ma.s.senet's "Herodiade," with a libretto by Paul Milliet, had its first performance in New York at the Manhattan Opera House, November, 1908, with Lina Cavalieri, Jeanne Gerville-Reache, Charles Dalmores, and Maurice Renaud in the princ.i.p.al roles. The scene is Jerusalem and the first act shows _Herod's_ palace. _Salome_ does not know that she is the daughter of _Herodias_, for she was mysteriously separated from her mother in childhood. With a caravan of Jewish merchants, who bring gifts to _Herod_, she comes to Jerusalem in search of her mother. She tells _Phanuel_, a young philosopher, that she wishes to return to the _Prophet_ who had been kind to her in the desert.

As she leaves _Herod_ enters, notices her, and is aroused by her beauty. He calls upon her to return. But instead _Herodias_ enters demanding _John's_ head for he has publicly called her Jezebel.

_Herod_ refuses. _John_ appears and continues his denunciation. The royal couple flee. _Salome_ returns and falls at _John's_ feet confessing her love.

_Herod_ in vain seeks to put the thought of _Salome_ from him.

_Herodias_, mad with jealousy, consults the astrologer _Phanuel_ who tells her that her daughter is her rival.

In the temple _Herod_ offers his love to _Salome_, who repulses him crying: "I love another who is mightier than Caesar, stronger than any hero." In his fury _Herod_ orders both _Salome_ and _John_, who has been seized and put in chains, delivered into the hands of the executioner. _John_ in his dungeon clasps _Salome_ in his arms.

In the last scene _Salome_ implores _Herodias_ to save _John_, but the executioner's sword is already bloodstained. _Salome_ s.n.a.t.c.hes a dagger and rushes upon _Herodias_ who cries in terror, "Have mercy. I am your mother." "Then take back your blood and my life," cries _Salome_, turning the weapon upon herself.

SAPHO

Ma.s.senet's "Sapho," with a libretto by Henri Cain and Arthur Bernede, based on Daudet's famous novel, was a complete failure in New York when it was sung for three performances in 1909. Its favourable reception in Paris, where it was produced at the Opera Comique in 1897, was chiefly due to the vivid impersonation of Emma Calve. The story concerns an artist's model who captivates an unsophisticated young man from the country and wrecks his life in attempting to rise above her past.

CLeOPaTRE

Opera by J. Ma.s.senet. Written for Lucy Arbell, the opera was produced by Raoul Gunsbourg, at Monte Carlo, in his season of 1914-15 with Marie Kousnezova in the t.i.tle role. The first performance in America took place in Chicago, at the Auditorium, January 10, 1916, with the same singer. The first performance in New York was on January 23, 1919, with Miss Mary Garden as the Queen of Egypt and Alfred Maguenat, who created the role at Monte Carlo and in Chicago, as the _Marc Anthony_. The story is the traditional one.

LOUISE

A musical romance in four acts, libretto and music by Gustave Charpentier.

CHARACTERS

JULIEN _Tenor_ THE FATHER _Baritone_ LOUISE _Soprano_ THE MOTHER _Contralto_ IRMA _Soprano_

The opera was produced at the Opera Comique, Paris, February 2, 1900.

The part of _Louise_ was created by Miss Rioton, who then sang for the first time in an opera house; that of _Julien_ by Marechal; that of the father by Fugere, and that of the mother by Mme. Deschamps-Jehin.

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

Mary Garden as Louise]

The story is simple. _Louise_, a working girl, loves _Julien_, an artist. Her father puts no trust in an artist of irregular life, so _Louise_ leaves her family. The lovers are happy, but _Louise_ is remorseful. She grieves for her father and reproaches herself for ingrat.i.tude. Finally she returns home. But free forgiveness does not make up for the freedom she has lost. Paris the city of pleasure tempts her again, and again she succ.u.mbs. Her family realizes that she is for ever lost to the home.

Charpentier himself described his work to F. de Menil. When asked why he called his opera a musical romance, he replied: "Because in a romance there are two entirely distinct sides, the drama and the description, and in my 'Louise' I wish to treat these different sides.

I have a descriptive part, composed of decoration, scenic surroundings, and a musical atmosphere in which my characters move; then I have the purely dramatic part, devoted wholly to the action.

This is, therefore, a truly musical romance." When asked whether the work were naturalistic, realistic, or idealistic, he answered: "I have a horror of words that end in 'istic.' I am not a man of theories.

'Louise,' as everything that I do, was made by me instinctively. I leave to others, the dear critics, the care of disengaging the formulas and the tendencies of the work. I have wished simply to give on the stage that which I have given in concert; the lyric impression of the sensations that I reap in our beautiful, fairy-like modern life. Perhaps I see this as in a fever, but that is my right for the street intoxicates me. The essential point of the drama is the coming together, the clashing of two sentiments in the heart of _Louise_--love, which binds her to her family, to her father, the fear of leaving suffering behind her, and, on the other hand, the irresistible longing for liberty, pleasure, happiness, love, the cry of her being, which demands to live as she wishes. Pa.s.sion will conquer because it is served by a prodigious and mysterious auxiliary, which has little by little breathed its dream into her young soul--Paris, the voluptuous city, the great city of light, pleasure, and joy, which calls her irresistibly towards an undaunted future."

SALAMMBo

Reyer's "Salammbo" received a gorgeous production at the Metropolitan Opera House on March 20, 1901, with the following cast: _Salammbo_, Lucienne Breval; _Taanach_, Miss Carrie Bridewell; _Matho_, Albert Saleza; _Shahabarim_, Mr. Salignac; _Narr'Havas_, Mr. Journet; _Spendius_, Mr. Sizes; _Giscon_, Mr. Gilibert; _Autharite_, Mr.

Dufriche; _Hamilcar_, Mr. Scotti. Mr. Mancinelli conducted. The exquisitely painted scenes were copies of the Paris models, and the costumes were gorgeous. Miss Breval's radiant Semitic beauty shone in the t.i.tle role. Flaubert's novel was made into a libretto by Camille du Locle. History supplied the background for romance in the shape of the suppression of a mutiny among the mercenaries of the Carthaginians in the first Punic war. Against this is outlined in bold relief the story of the rape of the sacred veil of Tanit by the leader of the revolting mercenaries, his love for _Salammbo_, daughter of the Carthaginian general; her recovery of the veil, bringing in its train disaster to her lover and death to both.

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