Storck, in his _Opera Book_, has this to say of Von Hofmannsthal's libretto: "The powerful subject of the ancient myth is here dragged down from the lofty realm of tragedy, to which Sophocles raised it, to that of the pathologically perverse. With a gloomy logic the strain of blood-madness and unbridled l.u.s.t is exploited by the poet so that the overwhelming effect of its consequences becomes comprehensible. None the less, there is the fact, of no little importance, that through its treatment from this point of view, a cla.s.sical work has been dragged from its pedestal."

The inner court of the palace in Mycenae is the scene of the drama.

Since _Clytemnestra_, in league with her paramour, _Aegisthus_, has compa.s.sed the murder of her husband, _Agamemnon_, her daughter _Elektra_ lives only with the thought of vengeance. She exists like a wild beast, banished from the society of human beings, a b.u.t.t of ridicule to the servants, a horror to all, only desirous of the blood of her mother and _Aegisthus_ in atonement for that of her father. The murderers too have no rest. Fear haunts them.

_Elektra's_ sister, _Chrysothemis_, is entirely unlike her. She craves marriage. But it is in a disordered way that her desire for husband and child is expressed. _Clytemnestra_ also is morbidly ill. Deeply she deplores her misdeed, but for this very reason has completely surrendered herself to the unworthy _Aegisthus_. So frightfully do her dreams torment her that she even comes to seek help from the hated Elektra in her hovel in the inner court. It is the latter's first triumph in all her years of suffering. But it is short-lived, for _Clytemnestra_ mocks her with the news that _Orestes_ has died in a distant land. A terrible blow this for _Elektra_, who had hoped that _Orestes_ would return and wreak vengeance on the queen and _Aegisthus_. Now the daughters must be the instruments of vengeance.

And as _Chrysothemis_, shocked, recoils from the task, _Elektra_ determines to complete it alone. She digs up in the courtyard the very axe with which her father was slain and which she had buried in order to give it to her brother on his return.

But the message regarding the death of _Orestes_ was false. It was disseminated by her brother in order to allay the fears of the murderers of his father and put them off their guard. The stranger, who now enters the court, and at first cannot believe that the half-demented woman in rags is his sister, finally is recognized by her as _Orestes_, and receives from her the axe. He enters the palace, slays _Clytemnestra_ and, upon the return of _Aegisthus_, pursues him from room to room and kills him. _Elektra_, her thirst for vengeance satisfied, under the spell of a blood-madness, dances, beginning weirdly, increasing to frenzy, and ending in her collapse, dead, upon the ground, where, since her father's death, she had grovelled waiting for the avenger.

As in "Salome," so in "Elektra" there is a weft and woof of leading motifs which, lacking the compactness, firmness, and unmistakable _raisons d'etre_ of the leading motives in the Wagner music-dramas, crawl, twist, and wind themselves in spineless convolutions about the characters and the action of the piece. In "Salome" the score worked up to one set climax, the "Dance of the Seven Veils." In "Elektra"

there also is a set composition. It is a summing up of emotions, in one eloquent burst of song, which occurs when _Elektra_ recognizes _Orestes_. It may be because it came in the midst of so much cacophony that its effect was enhanced. But at the production of the work in the Manhattan Opera House, it seemed to me not only one of Strauss's most spontaneous lyrical outgivings, but also one of the most beautiful I had ever heard. Several times every year since then, I have been impelled to go to the pianoforte and play it over, although forced to the unsatisfactory makeshift of playing-in the voice part with what already was a pianoforte transcription of the orchestral accompaniment.

Mme. Schumann-Heink, the _Clytemnestra_ of the original production in Dresden, said: "I will never sing the role again. It was frightful. We were a set of mad women.... There is nothing beyond 'Elektra.' We have lived and reached the furthest boundary in dramatic writing for the voice with Wagner. But Richard Strauss goes beyond him. His singing voices are lost. We have come to a full stop. I believe Strauss himself sees it."--And, indeed, in his next opera, "Der Rosenkavalier," the composer shows far more consideration for the voice, and has produced a score in which the melodious elements are many.

DER ROSENKAVALIER

THE KNIGHT OF THE ROSE

Opera in three acts by Richard Strauss; words by Hugo von Hofmannsthal. Produced: Royal Opera House, Dresden, January 26, 1911; Covent Garden, London, January 1, 1913; Metropolitan Opera House, New York, by Gatti-Casazza, December 9, 1913, with Hempel (_Princess Werdenberg_), Ober (_Octavian_), Anna Case (_Sophie_), Fornia (_Marianne_), Mattfeld (_Annina_), Goritz (_Lerchenan_), Weil (_Faninal_), and Reiss (_Valzacchi_).

CHARACTERS

BARON OCHS of Lerchenan _Ba.s.s_ VON FANINAL, a wealthy parvenu, recently enn.o.bled _Baritone_ VALZACCHI, an intriguer _Tenor_ OCTAVIAN, Count Rofrano, known as "Quin-Quin" _Mezzo-Soprano_ PRINCESS VON WERDENBERG _Soprano_ SOPHIE, daughter of _Faninal_ _Soprano_ MARIANNE, duenna of _Sophie_ _Soprano_ ANNINA, companion of _Valzacchi_ _Alto_

A singer (_tenor_), a flutist, a notary, commissary of police, four lackeys of _Faninal_, a master of ceremonies, an innkeeper, a milliner, a n.o.ble widow and three n.o.ble orphans, a hairdresser and his a.s.sistants, four waiters, musicians, guests, two watchmen, kitchen maids and several apparitions.

_Time_--Eighteenth century during the reign of Maria Theresa.

_Place_--Vienna.

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

Hempel as the Princess and Ober as Octavian in "Der Rosenkavalier"]

With the exception of Humperdinck's "Hansel und Gretel," "Der Rosenkavalier," by Richard Strauss, is the only opera that has come out of Germany since the death of Wagner, which has appeared to secure a definite hold upon the repertoire. Up to the season of 1917-18, when it was taken out of the repertoire on account of the war in Europe, it had been given twenty-two times at the Metropolitan Opera House, since its production there late in 1913.

The work is called a "comedy for music," which is mentioned here simply as a fact, since it makes not the slightest difference to the public what the composer of an opera chooses to call it, the proof of an opera being in the hearing just as the proof of a pudding always is in the eating. So far it is the one opera by Richard Strauss which, after being heralded as a sensation, has not disappeared through indifference.

To those who know both works, the libretto of "Der Rosenkavalier"

which has been violently attacked, goes no further in suggestiveness than that of "Le Nozze di Figaro." But it is very long, and unquestionably the opera would gain by condensation, although the score is a treasure house of orchestration, a virtuosity in the choice of instruments and manner of using them which amounts to inspiration.

An examination of the full orchestral score shows that 114 instruments are required, seventeen of them for an orchestra on the stage. The composer demands for his main orchestra 32 violins, 12 violas, 10 violoncellos, 8 double ba.s.ses, 3 flutes, 3 oboes, 2 clarinets, 1 ba.s.s clarinet, 3 ba.s.soons, 4 horns, 3 trumpets, 3 trombones, 1 tuba, 2 harps, glockenspiel, triangle, bell, castanets, tympani, side and ba.s.s drums, cymbals, celeste, and rattle. A small orchestra for the stage also requires 1 oboe, 1 flute, 2 clarinets, 2 horns, 2 ba.s.soons, 1 trumpet, 1 drum, harmonium, piano, and string quintet.

"Der Rosenkavalier" also contains melodious phrases in number and variety, which rarely permit the bearer's interest to flag. Waltz themes abound. They are in the manner of Johann Strauss and Lanner. It is true that these composers flourished much later than the rococo period in which the opera is laid, but just as it makes no difference what a composer calls an opera, so it makes no difference whether he indulges in anachronisms or not. Gavottes, etc., would have been more in keeping with the period, but the waltz themes served Strauss's purpose far better and are introduced with infinite charm. They give the work that subtle thing called atmosphere, and play their part in making pa.s.sages, like the finale to the second act, the most significant music for the stage of opera that has been penned in the composer's country since Wagner. They also abound in the scene between _Octavian_ and _Lerchenan_ in the third act.

Act I. Room in the _Princess von Werdenberg's_ palace. Morning. The curtain rises after an impa.s.sioned orchestral introduction which is supposed to depict _risque_ incidents of the previous night suggested by the stage directions. These directions were not followed in the production made at the Metropolitan Opera House. Not only did their disregard show respect for the audience's sense of decency, it in no way interfered with the success of the work as a comedy set to music.

_Octavian_, a handsome youth, is taking a pa.s.sionate leave of the _Princess_, whose husband, a Field Marshal, is away on military duty.

_Octavian_ is loath to go, the _Princess_, equally loather to have him depart. For the _Princess_ cannot conceal from herself that in spite of _Octavian's_ present love for her, the disparity in their ages soon will cause him to look to women younger than herself for love.

There is a commotion beyond the door of the _Princess's_ suite of rooms. One of her relatives, the vulgar _Baron Ochs von Lerchenan_, wishes to see her. The servants remonstrate with him that the hour is much too early, but he forces his way in. Taking alarm, and in order to spare the _Princess_ the scandal of having him discovered with her, _Octavian_ escapes into an inner room where he disguises himself in the attire of a chambermaid, a role which his youthful, beardless beauty enables him to carry out to perfection.

_Von Lerchenan_ has come to inquire of the _Princess_ if, as she promised, she has sent a Knight of the Rose with an offer of his hand to _Sophie_, daughter of the wealthy, recently enn.o.bled _Herr von Faninal_. A Knight of the Rose was chosen at that period as a suitor by proxy to bear a silver rose, as a symbol of love and fidelity, to the lady of his princ.i.p.al's choice. Unfortunately the _Princess's_ pa.s.sion for _Octavian_ has entirely diverted her thoughts from _Lerchenan's_ commission. He, however, consoles himself by flirting with the pretty chambermaid, _Octavian_, whose a.s.sumed coyness, coupled with slyly demure advances, charms him. Before this, however, he has lost his temper, because he has been unable to engage the _Princess's_ attention amid the distractions provided by her morning levee, at which she receives various pet.i.tioners--a singer, _Valzacchi_, and _Annina_, who are Italian intriguers, three n.o.ble orphans, and others. This levee, together with the love intrigues and the looseness of manners and morals indicated by the plot, is supposed in a general way to give to the piece the tone of the rococo period in which the story is laid. The scene is a lively one.

_Lerchenan_ is appeased not only by the charms of the supposed chambermaid, who waits on the _Princess_ and her relative at breakfast, but also because he is so eager to make a rendezvous with her. _Octavian_ in his disguise understands so well how to lead _Lerchenan_ on without granting his request, that he forgets the cause of his annoyance. Moreover the _Princess_ promises that she presently will despatch a Knight of the Rose to the daughter of the wealthy _Faninal_ whose wealth, of course, is what attracts _Lerchenan_. The _Princess_ chooses _Octavian_ to be the Knight of the Rose. Later she regrets her choice. For after the handsome youth has departed on his mission, and she is left alone, she looks at herself in the gla.s.s.

She is approaching middle age, and although she still is a handsome woman, her fear that she may lose _Octavian_, to some younger member of her s.e.x, cannot be banished from her thoughts.

Act II. Salon in the house of _Herr von Faninal_. This lately enn.o.bled _nouveau rich_ considers it a great distinction that the _Baron von Lerchenan_, a member of the old n.o.bility, should apply for the hand of his daughter. That the _Baron_ only does it to mend his broken fortunes does not worry him, although his daughter _Sophie_ is a sweet and modest girl. Inexperienced, she awaits her suitor in great agitation. Then his proxy, _Octavian_, comes with the silver rose to make the preliminary arrangements for his "cousin," _Baron von Lerchenan_. _Octavian_ is smitten with the charms of the girl. She, too, is at once attracted to the handsome young cavalier. So their conversation imperceptibly has drifted into an intimate tone when the real suitor enters. His brutal frankness in letting _Sophie_ comprehend that he is condescending in courting her, and his rude manners thoroughly repel the girl. _Octavian_ meanwhile is boiling with rage and jealousy. The girl's aversion to the _Baron_ increases.

The two men are on the point of an outbreak, when _Lerchenan_ is called by a notary into an adjoining room where the marriage contract is to be drawn up. _Sophie_ is shocked at what she has just experienced. Never will it be possible for her to marry the detested _Baron_, especially since she has met the gallant _Octavian_. The two are quick in agreeing. _Sophie_ sinks into his arms.

At that moment there rush out from behind the two large chimney pieces that adorn the room, the intriguers, _Valzacchi_ and his companion _Annina_, whom _Lerchenan_ has employed as spies. Their cries bring the _Baron_ from the next room. The staff of servants rushes in.

_Octavian_ tells the _Baron_ of _Sophie's_ antipathy, and adds taunt to taunt, until, however reluctant to fight, the _Baron_ is forced to draw his sword. In the encounter _Octavian_ lightly "pinks" him. The _Baron_, a coward at heart, raises a frightful outcry. There ensues the greatest commotion, due to the mix-up of the servants, the doctor, and the rage of _Faninal_, who orders _Sophie_ to a convent when she positively refuses to give her hand to _Lerchenan_. The latter, meanwhile, rapidly recovers when his wound has been dressed and he has drunk some of _Faninal's_ good wine.

_Octavian_ is determined to win _Sophie_. For that purpose he decides to make use of the two intriguers, who are so disgusted by the n.i.g.g.ardly pay given them by the _Baron_, that they readily fall in with the plans of the brilliant young cavalier. After the crowd has dispersed and the _Baron_ is alone for a moment, _Annina_ approaches and hands him a note. In this the _Princess's_ chambermaid promises him a rendezvous. _Lerchenan_ is delighted over the new conquest he believes himself to have made.

Act III. A room in an inn near Vienna. With the help of _Valzacchi_ and _Annina_, who are now in the service both of the _Baron_ and of _Octavian_, but are more p.r.o.ne to further the latter's plans because he pays them better, _Octavian_ has hired a room in an inn. This room is fitted up with trapdoors, blind windows and the like. Here, at the suggestion of the intriguers, who have the run of the place and know to what uses the trick room can be put, _Lerchenan_ has made his rendezvous for the evening with the pretty chambermaid. _Octavian_, in his girl's clothes, is early at the place.

Between the _Baron_ and the disguised _Octavian_, as soon as they are alone, a rude scene of courtship develops. _Octavian_ is able to hold him off skilfully, and gradually there is unfolded the mad web of intrigue in which the _Baron_ is caught. Strange figures appear at the windows. _Lerchenan_, ignorant, superst.i.tious, thinks he sees ghosts.

Suddenly what was supposed to be a blind window, bursts open, and a woman dressed in mourning rushes in. It is the disguised intriguante, _Annina_, who claims to be the deserted wife of _Lerchenan_. Innkeeper and servants hurry in. The clamour and confusion become more and more frantic. Finally the _Baron_ himself calls for the police, without thinking what a "give away" it may be for himself. When the Commissary of Police arrives, to save his face, he gives out that his companion, the supposed chambermaid, is his affianced, _Sophie von Faninal_.

That, however, only adds to the confusion, for _Octavian's_ accomplices have sought out _Faninal_ and invited him on behalf of the _Baron_ to come to the inn. In his amazement the _Baron_ knows of no other way out of the dilemma save to act as if he did not know _Faninal_ at all, whereupon the latter, naturally, is greatly angered.

When the confusion is at its height the _Princess_ suddenly appears. A lackey of the _Baron_, seeing his master in such difficulties, has run to her to ask for her powerful protection. She quickly takes in the whole situation; and however bitterly _Octavian's_ disaffection grieves her, she is a clever enough woman of the world to recognize that the time for her to give him up has come. The threads now quickly disentangle themselves. The _Baron_ leaves, _Octavian_ and _Sophie_ are forgiven, and _Herr von Faninal_ feels himself fully compensated for all he has been through, because he is to be driven home beside the _Princess_ in her carriage.

ARIADNE AUF NAXOS

ARIADNE ON NAXOS

Opera in one act; by Richard Strauss; words by Hugo von Hofmannsthal. To follow Moliere's Comedy, "Le Bourgeois Gentilhomme."

CHARACTERS

ARIADNE _Soprano_ BACCHUS _Tenor_ NAIAD _Soprano_ DRYAD _Alto_ ECHO _Soprano_ ZERBINETTA _Soprano_ ARLECCHINO } Characters in _Baritone_ SCARAMUCCIO } old Italian _Tenor_ TRUFFALDIN } comedy _Ba.s.s_ BRIGh.e.l.lA _Tenor_

_Time_--Antiquity.

_Place_--The Island of Naxos.

NOTE: On the stage there are present, as spectators of the opera, _Jourdain_, _Marquise Dorimene_ and _Count Dorantes_, characters from "Le Bourgeois Gentilhomme."

The peculiar relationship of this opera to Moliere's comedy is easily explained, although the scheme is a curious one. In "Le Bourgeois Gentilhomme," Moliere has _Jourdain_, the commoner, who in his folly strives to imitate the n.o.bility, engage an entire ballet troupe for a private performance at his house. The opera, "Ariadne auf Naxos," is supposed to take the place of this ballet. Besides the opera, Richard Strauss has composed eleven incidental musical members for the two acts of the comedy, to which the opera is added as an independent third act.

Into the representation there enters another factor, which is liable to cause confusion, unless it is understood by the spectator. Besides the opera, _Jourdain_ has engaged a troupe of buffoons to give a performance of the old Italian Harlequin (Arlecchino) comedy. Having paid for both, he insists that both shall take place, with the result that, while the opera is in progress, the comedians dash on the stage, go through their act, and dash off again.

The adapter of Moliere's work to Strauss's purpose has omitted the entire pa.s.sage of the love scene between _Cleonte_ and _Lucille_, _Jourdain's_ daughter, so that the two acts of the comedy concern themselves mainly with _Jourdain's_ folly--his scenes with the music teacher, the dancing master, the fencing master, the philosopher, and the tailor. They also show how the intriguing _Count Dorantes_ makes use of _Jourdain's_ stupidity, borrowing a large sum of money from him, and persuading him that he can win the favour of the _Marquise_ with costly presents and by arranging in her honour the fete at which the opera is given. At the same time the sly _Dorantes_ represents everything to the _Marquise_ as if he himself had contrived and paid for the gifts and the fete in her honour. The _Marquise_ goes to _Jourdain's_ house to the banquet and celebration, as a climax to which the opera "Ariadne auf Naxos" is presented. The opera therefore follows the adaptation of "Le Bourgeois Gentilhomme."

On a desert island lies _Ariadne_ asleep before a cave. _Naiad_, _Echo_ and _Dryad_ are singing. _Ariadne_, on awaking, bewails the lot of the forsaken one. In her grief she feels herself near death. Then the old comedy figures come whirling in. In her desire for death _Ariadne_ does not notice them. _Zerbinetta_ sings and dances with her four _Harlequins_. This is their idea of life--to enjoy things lightly. When they have disappeared, _Naiad_, _Dryad_, and _Echo_ come back and announce the arrival of a youthful G.o.d. _Bacchus_ approaches the island. From afar he sings. _Ariadne_ hopes it is Death coming to release her. She longs for him, sinks into his arms. They are the arms of love.

DIE VERKAUFTE BRAUT