George P. Upton

“ It is a quarrel between two petty states, Genoa and Massa Carrara, growing out of the fact that a popular dancer has made simultaneous engagements at the theatres of each. Both claim her, and the question at issue is at which theatre the dancer shall appear. One harmless hand grenade is thrown from either side with monotonous regularity each day, and the “merry war” is without interesting incident until the pretty Countess Violetta appears in one of the camps. She is seeking to make her way in disguise into the city of the other camp, to take command of the citadel. ”

“ After a spirited trio, “Boiling Rage I feel within me,” Ganymede takes to his heels and Midas is driven out. When Pygmalion is alone with the statue, a sudden impulse moves him to destroy it because it has been polluted by Midas’s glances, but his hand is stayed as he hears the chorus of the returning worshippers, and he makes an impassioned appeal to Venus (“Venus, oh, see, I fly to thee”) to give life to the marble. Venus answers his prayer. ”

“ The music of “Erminie” is light and graceful throughout. Its principal numbers are Erminie’s song, “Ah! when Love is Young”; the duet for Eugene and Erminie, “Past and Future”; the Marquis’ stirring martial song, “Dull is the Life of the Soldier in Peace”; the rollicking thieves’ duet, “We’re a Philanthropic Couple, be it known”; Erminie’s pretty dream song, “At Midnight on my Pillow lying,” and the lullaby “Dear Mother, in Dreams I see her,” which is the gem of the opera; the song and whistling chorus, “What the Dicky Birds say”; the vocal gavotte, “Join in Pleasures, dance a Measure” ”

“ Tavena informs Mirella that Vincenzo has a rival in Urias, a wild herdsman, who has asked her hand of her father. Mirella however repulses him when he brings the father’s consent. Ambrogio, Vincenzo’s father, and his daughter, Vincenzina, intercede with Raimondo in Vincenzo’s behalf, but in vain. Mirella, who has overheard them, declares to her father her irrevocable attachment for Vincenzo, which throws him into such a rage that he is about to strike her. She is saved from the blow by appealing to the memory of her mother. ”

“ In the mean time an order comes for the departure of the troops, and the sergeant presses her to marry him that day.
Adina gives her consent, and the second act opens with the assembling of the villagers to witness the signing of the marriage contract. While the principals and notary retire for the signing, Nemorino enters, and finding Dr. Dulcamara begs of him some charm that will make Adina love him; but as he has no money the quack refuses to assist him. Nemorino is in despair, but at this juncture the sergeant enters out of humor, as the capricious Adina has refused to sign until evening. ”

“ The opening of the third act finds Fra Diavolo once more among his native mountains. He gives expression to his exultation in a dashing, vigorous song, “Proudly and wide my Standard flies,” followed by the pretty rondo, “Then since Life glides so fast away.” As he joyously contemplates a speedy meeting with Lord and Lady Allcash and the securing of their valuables, villagers arrayed in festival attire in honor of the approaching nuptials of Lorenzo and Zerlina enter, singing a bright pastoral chorus, “Oh, Holy Virgin, bright and fair.” ”

“ Duty is more powerful than passion, and he consents. When Lakmé finds that he is going, she takes poison and dies in Gerald’s arms.
The first act opens with a chorus of Hindoos, oriental in its coloring, followed by a duet between Lakmé and her father, the scene closing with a sacred chant. A beautiful duet for Lakmé and her slave follows, “Neath yon Dome where Jasmines with the Roses are blooming.” As Lakmé appears at the shrine, she sings a restless love song, “Why love I thus to stray?” followed by Gerald’s ardent response, “The God of Truth so Glowing.” ”

“ Jupiter is faithful to his promise, and soon arrives there, but not in his proper person. He appears in the disguise of a fly, and allows Eurydice to catch him, after which he reveals himself. When Pluto comes in, he finds her transformed into a bacchante of the most convivial sort. Other deities make their appearance, and finally Orpheus comes sailing up the Styx, playing his violin, and demanding of Jupiter the fulfilment of his contract. Jupiter consents, but makes the condition that he shall return to his boat, Eurydice following him, and that he must not look back. ”

“ The story of “The Mikado” is so well known that it need not be given with much fulness of detail. Nanki-Poo, the Mikado’s son, is in love with Yum-Yum, the ward of the tailor Ko-Ko, who is also Lord High Executioner, and to whom she is betrothed, as Nanki-Poo is informed by Pooh-Bah, when he comes to Titipu in quest of her. Pooh-Bah, who accepted all the offices of the Ministers of State after their resignations when Ko-Ko was made Lord High Executioner, is also “the retailer of state secrets at a low figure,” and [208] furnishes much of the delightful comedy of the opera. ”

“ In the dénouement Fritz is restored to his Wanda and the Duchess marries Prince Paul.
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The music is in keeping with the drollery of the situations, and abounds in vivacity and odd descriptiveness, defying all accepted laws and adapting itself to the grotesquerie and extravagance of the action. The principal numbers in the first act are the pompous “Pif, paf, pouf” song of General Boum; the Grand Duchess’ air, “Ah! I love the Military” (“Ah! que j’aime les militaires”) ; the regiment song for her and Fritz, “Oh! what a Famous Regiment” (“Ah! c’est un fameux régiment”) ”

“ The numbers, however, which have made the greatest success are Wagner’s topical song, “He didn’t know exactly what to do”; a charming smoking-song, “Pictures in the Smoke”; the “Tale of the Sea-shell”; the unaccompanied male chorus, “Oh! Heidelberg, dear Heidelberg,” which should be a favorite students’ song; and the “Song of the Cities,” in which the peculiarities of the girls of various American cities are imitated, the song ending with a droll cake walk. So far as numbers go, indeed, the opera presents a bewildering embarrassment of good things. ”

“ The gypsy music is particularly charming. There are also a clever sextette, “We are six noblemen”—indeed, there is an unusual amount of six and seven part writing in the opera; the “Song of the Bee,” a delightful melody for Queen Topaze with a particularly characteristic accompaniment, likewise a brilliant bolero; a lovely romance in the last act for Rafael, and a somewhat dramatic narrative song for him in the first act; and a skilfully constructed trio for Annibal and the two gypsies. ”

“ The best numbers of the second act are Fritz’s spirited rondo, “All in Good Order, Colors flying” (“En très bon ordre nous partîmes”) , in which he tells the story of his victory; the romanza “Say to him” (“Dites lui”) , a delightful little song, and so refined that it hardly seems to belong to the opera; and the conspirators’ trio, “Max was a Soldier of Fortune” (“Max était soldat de fortune”) , which is irresistible in its broad humor and queer rhythms. The musical interest really reaches its climax in the second act. ”

“ The second act discloses Crispino in the midst of a nourishing business, and the delighted Annetta sings a joyous little melody, “I no longer am Annetta” (“Io non sono piu l’Annetta”) . A workman who has met with an accident is brought to Crispino for treatment, and as the fairy is not present he is successful. The musical treatment of the healing scene is worked up with great skill. It begins with a baritone solo, leading up to a duet with soprano and chorus accompaniment. A sextette then takes up the theme, and in the close all on the stage give it with impressive effect. ”

“ The music is light and brilliant. Much of it is in the waltz movement, and the choral work is a strong feature. Its best numbers are the Queen’s humorous romanza, “It was a wondrous Fair and Starry Night”; another humorous number, the King’s truffle song, “Such Dish by Man not oft is seen”; the epicurean duet for the King and premier, “These Oysters are great”; Cervantes’ recitative, “Once sat a Youth,” in the finale of the first act: a dainty little romanza for Cervantes, “Where the Wild Rose sweetly doth blow”; the trio and chorus, “Great Professors, Learned Doctors” ”

“ The wit is always delicate, though the satire is keen. Words and music rarely go so well together as in this opera. As a prominent English critic said of “Trial by Jury,” “it seems, as in the great Wagnerian operas, as though poem and music had proceeded simultaneously from one [192] and the same brain.” The chorus plays a very important part in it, and in the most solemnly ludicrous manner repeats the assertions of the principals in the third person. All its numbers might be styled the leading ones, but those which have become most popular are the song, “I’m called Little Buttercup” ”

“ Marie’s aria, “By the Glitter of Greatness and Riches”; the soldiers’ spirited choral appeal, “We have come our Child to free”; Tony’s romance, “That I might live in her Dear Sight”; and the effective trio, “Once again, what Delight,” leading to the exultant finale. The music of the opera is light, but exceedingly brilliant, and the leading rôles have always been esteemed by great artists. That of Marie was a favorite one with Jenny Lind, Patti, Sontag, and Albani. ”

“ As the Princess discovers Medigua in El Capitan, a quarrel duet follows between her and Estrelda, leading up to a pompous military finale, as the Spanish troops appear. The leading numbers of the third act are a serenade and duet for Verrada and Isabel; a song by the tipsy Medigua, “The Typical Tune of Zanzibar,” which is the most popular number in the opera; and a final march with chorus. ”

“ The one burning so brightly is Annetta’s, the one so dimly is his own. When he asks her to take some oil out of Annetta’s lamp and put it into his, she upbraids him, reveals herself as death, and tells him to make his last request, for he is about to die. ”

“ The first act of this charming little fairy opera opens with a unison chorus of apothecary’s apprentices, “Thump, thump” (“Batti, batti”) . Crispino, a poor cobbler, over head and ears in debt, whose wife Annetta tries to help him out by ballad singing, is seated at his bench at work in front of his house. In the intervals of the chorus the Count, who figures in a side plot, sings a beautiful romanza, “Thou Beauteous as an Angel art” (“Bella siccome un angelo”) . ”

“ Thereupon all the fairies confess that they have married peers. As it is impracticable to kill them all, the Queen hunts up a husband, and finds one in Private Willis, the sentry in the palace yard. All the husbands join the fairies, and thus matters are straightened out.
The music of “Iolanthe” is peculiarly refined and fanciful, and abounds in taking numbers. The best of these are Strephon’s song, “Good Morrow”; the delightful duet between Strephon and Phyllis, “None shall part us from each other,” one of the most felicitous of the composer’s lighter compositions ”

“ The second act contains many pleasing and characteristic songs, among them “The Monk and the Magpie,” sung by Scarlet and chorus; the “Song of the Outlaw,” a spirited ballad by Robin Hood; the Sheriff’s serenade, a popular tune, “When a Man is in Love”; “The Snake Charmer’s Song,” by Maid Marian; and the vigorous “Song of the Crusader” by Robin; but the two most effective numbers are a graceful song, “Tell me again, Sweetheart,” sung by Allan a Dale, and the duet in waltz manner, “True Love is not for a Day,” by Robin and Marian. ”

“ While Don Cæsar sets off for the prison, Don José promises Maritana speedy marriage and presentation at court.
The second act opens in the prison. Don José enters, and professes great sympathy for Don Cæsar. When asked if he has any last request, he begs to die like a soldier. Don José agrees that he shall not die an ignominious death if he will marry. He consents, and is also treated to a banquet, during which Lazarillo delivers a paper to Don José containing the royal pardon of Don Cæsar, but Don José conceals it. ”

“ Pomponnet’s pretty air, “Elle est tellement innocente” (“She is so innocent”) ; a charming sentimental duet for Mademoiselle Lange and Clairette, “Jours fortunes de notre enfance” (“Happy Days of Childhood”) ; a striking ensemble in the form of a quintette, “Oui, je vous le dis, c’est pour elle” (“Yes, ’tis on her Account alone”) ; and the famous conspirators’ chorus, “Quand on conspire” (“When one conspires”) , in the second act: and Clairette’s couplets with chorus, “Vous aviez fait de la dépense” (“You put yourselves to Great Expense”) ”

“ The story of “Dorothy” is a simple one, but affords much scope for humor. The first act opens in a hop-field, introducing a chorus and dance of the hop-pickers. Afterward appears Dorothy, daughter of a wealthy squire, who is masquerading in a peasant’s dress, and while serving the landlord’s customers falls in love with a gentleman whose horse has lost a shoe. Her cousin, Lydia Hawthorne, who is with her in disguise, also falls in love with a customer. Each girl gives her lover [51] a ring, and each lover vows he will never part with it ”

“ In the finale, when it is discovered that Grosvenor has become a commonplace young man, the maidens decide that if “Archibald the All-Right” has discarded æstheticism, it is right for them to do so. Patience takes the same view of the case, and leaves Bunthorne for Grosvenor. The maidens find suitors among the Dragoons, and even the antique Jane takes up with the Duke, and Bunthorne is left alone with his lily, nobody’s bride.
The most popular musical numbers in the opera are the Colonel’s song, “If you want a Receipt for that Popular Mystery” ”

“ The music is very elaborate for light-opera purposes, and is written broadly and effectively, especially for the orchestra. Many Irish melodies [46] sprinkled through the work relieve its heaviness. The principal numbers are the serenade and duet, “The Moon has raised her Lamp above”; Myles’ song, “It is a Charming Girl I love”; Eily’s song, “In my Wild Mountain Valley he sought me,” and the well-known original Irish melody, “The Cruiskeen Lawn,” also sung by Eily; the “Tally-ho” chorus, introducing the second act; Danny Mann’s recitative and airs, “The Colleen Bawn” and “Duty? ”