Mabel Wagnalls

“ After removing her jewels and placing them upon a stone table, Lakme proposes a row on the river. The music of this scene is fraught with a tropical heat and midday languor—dreamy, drowsy violin tremolos that suggest the drone of bees. The two maidens render a duet whose words—
are set to music that seems to sing itself. It is a fountain of melody with flowing rhythm and rippling runs, staccatos like drops of water, and trills that are light as bubbles. The singers step into the boat, and we hear their song far down the stream, soft as a shadow and lovely as a dream. ”

“ The music is all fearful and threatening, with creeping chromatics shrouded in a minor key.
Orpheus is undaunted; and with enduring faith in the power of his music he takes up his harp and sings to them of his love for Eurydice. Entreating their pity, he begs them to let him pass; but Cerberus still howls and the Furies shout "No!" They threaten him with eternal torture, but the inspired youth sings on. No punishment they can devise could exceed the grief he already suffers—such is the burden of his song. Even the Demons and Furies can not long resist such tender strains. ”

“ With full voice and soaring tones she calls to the receding ship: "My vow was true! I am faithful unto death!"—whereupon she throws herself into the waves.
No sooner has she done so than the phantom vessel sinks from sight. The music also tumbles down a tremendous chromatic; then it mounts again, changing from minor to major, which gives an effect of sudden peace. The Holländer has found true love. He rescues Senta, and we see him clasping her in his arms, while the chords of the salvation-theme rise above the other harmonies like the spires of a beautiful city. ”

“ The words are menacing, but not so the music. José suffers more than he hates, and, instead of the rising tones of anger, the harmonies which struggle upward are continually repulsed as they reach the top, like a wild bird that beats its wings against prison bars. When Michaela finally tells him that his mother is dying, Don José consents to go. He calls out to Carmen, "We shall meet again!" She pays little heed to his words, but a glad smile lights her features as she hears in the distance the song of the toreador. And with this melody the act ends. ”

“ Charlotte sings to him the words he has longed to hear. This last love-song ends in a whisper. The instruments, too, seem hushed with that mysterious silence of Christmas night. We can see through the window the bright moonlight, for the storm has abated.
Suddenly the dying man looks up as sweet music greets his ear—
It is the happy children's voices singing their Christmas song in the church. A merry carillon of the instruments accompanies the familiar tones of Sophia's high, bright voice in the distance—
This startling contrast of life and death has never been more beautifully portrayed. ”

“ We see an Indian forest, dense of foliage and brilliant with flowers. At one side is a hut, half concealed by the shrubbery, and near it are Lakme and Gerald, the latter reclining upon a bank, while she watches over him as he slumbers. No sound or movement mars the effect of a perfect picture, and beneath it all, like gold letters spelling out the subject, come the tones of that sweet melody of the Cabin Song. The conductor at his desk reminds us of an artist at his easel who, with a magic brush, traces in tone-colors this beautiful inscription. ”

“ Soon the clouds become black and lowering, the waves are white and towering, and the orchestra is like a seething cauldron of sound. The conductor stirs it up more and more, until he brings to the top that awful curse-theme of the Flying Dutchman. We lift our eyes to the stage, and lo! over the dark waters comes another ship, strange and uncanny in appearance, for its sails are blood-red and they hang upon masts that are black as night. With a mighty crash this wanderer of the seas sinks anchor alongside the Norwegian vessel. The dreaming boatswain is aroused for a moment. ”

“ A tender, wistful strain high up in the violins forms the opening of the prelude. With this first faint phrase the composer seems to awaken from her long sleep the muse of Egyptian music. Like the hero of fairy lore, Verdi, the prince of melody, has penetrated a realm of slumbering harmonies. They are at first subdued, dazed, and bewildered with themes mingled and woven together like exquisite cobwebs. The conductor's wand gently disperses these clinging meshes of sound, the curtain is lifted, and we are ushered into the musical life of an ancient civilization. ”

“ As in the first prelude and swan-song, the harmonies of this last great recital seem not of earth but from another sphere; they linger and abide with us like a beautiful blessing. This silver-clad knight of the Grail has been singing of a hallowed mystery whose purity and spirituality are revealed more in the music than by the words. After bidding farewell to the hapless Elsa, from whom he must part in spite of her piteous appeals, there comes gliding upon the river the swan-boat. ”

“ Orpheus, the disconsolate husband, is leaning upon the shrine. Not even his lute can solace him in this hour of grief. A dirge of unrivaled beauty arises from the orchestra like a flower from the earth. It is taken up by the chorus and given as an offering to the departed. There is something mythical about the music as well as the scene. All nature seems to join in this lament over Eurydice. Ever and anon Orpheus proclaims her name in tones so pitiful that—
He asks the chorus to scatter flowers upon her grave and then leave him alone, for their song but adds to his grief. ”

“ Indeed, the music is exquisite enough to make any one dream of heaven. When Madame Nordica sings it, the whole scene seems real and so sadly beautiful that your own heart too almost stops its beating. With soft, sweet tones and bated breath Aida sings till she dies.
Instead of closing with a crescendo, as do most operas, the final of "Aida" becomes ever softer and fainter, like a departing spirit. The brass and wood instruments have long since retired, only the violins and harp keep up a gentle vibrating accompaniment like the flutter of cherubs' wings. ”

“ A halcyon peace pervades the music, and its harmonies are strange and rare like the perfume of some exotic flower. Rhadames demurs, but the power of her song is irresistible, and he soon consents to leave Egypt for her sake. There is nothing half way about his decision when once made. The orchestra music rises in emphatic, resolute crescendos that are gloriously inspiring, and the singer's voice is carried forward like a rider on his steed. The music recurs to the first impulsive theme of greeting. It is given in full chords, and the soprano joins with the tenor. ”

“ Elsa spurns the tempter away, and Lohengrin, who perceives him at her side, bids him forever begone. But finding Elsa even more agitated than before, he asks in the presence of all if she wishes to be told his name. She remembers her vow, and in tones of exultation declares that love is greater than doubt. The magnificent march music is again resumed, and they enter the minster without further incident, excepting the defiant gaze of Ortrud as Elsa passes; and while the curtain descends we hear again, half hidden in the orchestra, the terrible dark motif. ”

“ The tragic theme attains a grandeur now that makes it seem the apotheosis of human heartache. Through the alembic of the composer's art this gruesome theme emerges ablaze with a terrible glory. It sweeps apast like a fiery chariot, bearing poor little Butterfly's soul to heaven.
There is little more to record; the moment of death seems already gone through in bidding the child good-bye. What follows is done very quietly; every movement is lifeless and spiritless. She ties a bandage about the little one's eyes, and she puts in his hand an American flag; the Japanese mother's token of surrender. ”

“ It is a chilly moonlight night—a sharp contrast to the beam of lights from within and the blare of dance music which ever and anon reaches our ears. But the prelude which opens the act is thoroughly descriptive of the scene before us. It has deep, rumbling tremolos and chilling chromatic crescendos, with here and there a moaning, wo-weighted theme that is piteous to hear. There is much singing without orchestra and much orchestra without singing in this scene of the esplanade, which accounts for the charge against it of being "rather thin ghost music." ”

“ She repeats this last sweeping phrase, and shudders at the words, for success to Rhadames implies defeat to her father. This distressing thought agitates the music like the passing of a great ship over tranquil waters. The ensuing melody rises and falls like waves in the wake of a vessel. Aida realizes that she can not pray for either lover or father. "Was there ever a heart so oppressed!" Her song is like a wail, and the accompaniment introduces a pagan use of the monotone that gives startling effects. "Pieta, pieta!" are the final words of Aida's great solo. ”

“ A duel would ensue did not Carmen quickly call her friends. They seize Zuniga, and to avoid being denounced must keep him prisoner until they have made sure their escape. Carmen turns to José and asks once more if he will be one of them. As there is now no alternative, he consents, whereupon Carmen with light steps and light heart rushes to his arms like a sunbeam, dispelling for the moment all clouds of memory and doubt. The free, fearless measures of her mountain song are heard again as all sing about the gypsies' life of liberty. They all go off as the curtain falls. ”

“ Orpheus explains that he dare not look at her, but Eurydice is not satisfied. She refuses to go farther, for if he can not look at her she does not wish to live. The ensuing duet is intense and full of climacteric effects. The voices chase each other like clouds before a storm, low down and hovering near that sea of sound, the orchestra, over which the conductor rules with his wand like Neptune with his trident.
Orpheus firmly resists the pleadings of Eurydice until she declares that his coldness will break her heart,—she will die of grief if he does not look at her. ”

“ A veritable religious ecstasy throbs through the music. The theme is broad and free, and seems to burst asunder every bond. It suggests a glory and splendor that are celestial. Ever higher and grander it grows. Marguerite is now standing with upraised arms; and altho Faust and Mephisto join in the singing, our attention is entirely riveted by that white-robed supplicant. The peerless theme is repeated three times, and always higher than before. Those soprano tones finally reach an atmosphere so clear and rare that they seem to carry the soul of Marguerite with them. ”

“ Terrifying tremolos accompany the tragic theme that is now let loose in the orchestra like a strange, wild animal in the arena. It preys upon the emotions, gnawing at the heart of every listener. Massenet delights in startling contrasts.
While Charlotte is grieving over these missives, a happy voice greets her, "Good day, sweet sister!" It is Sophia, come with an armful of toys and a heart full of melody. She is accompanied by the gay staccatos of her "Spring Song." Charlotte hastily conceals the letters; but tears are not so easily disposed of. ”

“ With tones of fury he declares that she shall either die or tell her lover's name. Nedda defies him, and her words are sustained by a distorted arrangement of the love-theme, which effect is like seeking concealment behind a skeleton. The music has become as breathless as the situation. Nedda tries to escape toward the spectators, but Canio holds her, and there follows a piercing shriek. Nedda has been stabbed. She falls, and with her dying breath calls "Silvio!" Canio turns upon her lover and completes vengeance with a single stroke. ”