The Standard Operaglass - free ebook by Charles Annesley

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The Standard Operaglass

Charles Annesley

158 chapters

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158 chapters

ABU HASSAN.

ABU HASSAN.

This little opera, composed by Weber in his early youth and first represented at Dresden under the composer's own direction, for a time fell into utter oblivion, but has lately been reproduced. Though short and unpretending it really deserves to be heard, the music is so full of sweetness, so fresh and pretty. The text is taken from a tale of the Arabian Thousand and One Nights, and though full of nonsense, it amuses by its lightheartedness and gaiety of spirit. Abu Hassan, favorite of the Calif

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L'AFRICAINE.

L'AFRICAINE.

L'Africaine, one of the Maëstro's last operas (1865), unites in itself all the strength and at the same time all the weakness of Meyerbeer's composition. The music is easy flowing and enthralls us with its delicious melodies; but it only appeals to our senses, and nobler thoughts are altogether wanting. Nevertheless the opera finds favor by reason of these advantages, which are supplemented by an interesting, though rather improbable libretto. The famous Portuguese navigator Vasco de Gama (born

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AÏDA.

AÏDA.

This opera owes its great popularity not only to its brilliant music and skilful instrumentation, but also to its really magnificent outfit and decorations. Aïda ranks among the best operas of Verdi. The plot is taken from old Egypt; and the music, with its eastern and somewhat sensuous coloring is exquisitely adapted to the scenery. The scene of action is alternately Memphis and Thebes and the story belongs to the period when the Pharaohs sat on the throne. In the first act we see the King's pa

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ALESSANDRO STRADELLA.

ALESSANDRO STRADELLA.

Flotow, who composed this little opera when at Paris in the year 1844, that is long before his Martha, had the satisfaction of scoring a great success on the evening of its first representation in Hamburg. The pleasant impression then made by its agreeable and lovely melodies has not faded the less that, after hearing many of our stormy and exciting modern operas, one often and ardently longs for the restful charm and guileless pleasure of a piece like this. The libretto is interesting and touch

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ARMIDA.

ARMIDA.

The poet Quinault wrote the libretto of this opera for another composer, Lully, but almost one hundred years later, Gluck, recognizing the genuine richness of this French production, availed himself of it for an opera, the music of which is so sublime, that it will for ever be considered classic. The libretto is founded on an episode of Tasso's "Gerusalemme liberata". Warned by a fellow-warrior, Artemidor, to avoid Armida's enchanting presence he scorns the warning, saying that love for a woman

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DER WAFFENSCHMIED. (THE ARMORER.)

DER WAFFENSCHMIED. (THE ARMORER.)

Though this opera does not equal in value Lortzing's "Czar and Zimmermann", it has nevertheless proved an admirable addition to the operatic repertory. It is attractive both on account of the freshness of its melodies and the popular character of its music and text. The scene is located in Worms, in the 16th century. The Count of Liebenau has fallen in love with Mary, the daughter of a celebrated armorer, named Stadinger, and in order to win her, he woos her at first in his own rank as Count, th

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BALLO IN MASCHERA or GUSTAVUS THE THIRD.

BALLO IN MASCHERA or GUSTAVUS THE THIRD.

This opera has had a curious fate, its historical background having excited resistance and given rise to scruples. The murder of a king was not thought a fit subject for an opera, and so the libretto was altered and spoilt. The Italians simply changed the names and the scene of action; Verdi composed a new opera from the same matter and succeeded admirably; nevertheless Auber's composition is preferred in Germany, Scribe's libretto being by far the better, while the music is original and vivacio

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THE BARBER OF BAGDAD.

THE BARBER OF BAGDAD.

It took a long time, before this charming little Opera took its place amongst so many fellow operas much less entitled to notice. The composer had died 15 years previously, without having gained the success he so fully deserved, as poet as well as composer. Liszt, the great redeemer of many a tried genius brought the opera upon the stage on the 15th of December 1858 in Weimar. But the Intendant Dingelstedt was against him, the opera proved an entire failure, though it was meant more as demonstra

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IL BARBIERE DI SEVIGLIA.

IL BARBIERE DI SEVIGLIA.

This opera may be called a miracle of Rossini's creation, as it not only is his best work, but was written by him in a fortnight, a performance nearly incredible, for the music is so finely worked out, and so elegant, that the opera has grown to be a favorite with all nations. The subject, taken from Beaumarchais' witty trilogy of "Figaros" had ere this lent inspiration to more than one composer; Mozart's "Figaro", though done before the "Barbiere" is in a certain sense the continuation of Rossi

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BENVENUTO CELLINI.

BENVENUTO CELLINI.

This opera by the spirited French musician has had a singular fate. Composed more than forty years ago it never had the success it merited in France; a "succès d'estime" was the only result. Liszt, who was the saviour of many a talented struggler was the first to recognize the genius of the French composer. He brought the opera out upon the stage at Weimar, but without much success. Berlioz was not understood by the public. Devrient in Carlsruhe tried a similar experiment and failed, and so the

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CARLO BROSCHI or THE DEVIL'S PART.

CARLO BROSCHI or THE DEVIL'S PART.

This composition might rather be called a Vaudeville with musical accompaniment, than an opera. The music is not above mediocrity, though we find many pleasing and even exquisite melodies in it. That it has held its present place on the stage for the past forty years is due principally to its excellent libretto, which is full of comical and ingenious situations. The principal role is given to Carlo Broschi. He is no other than the famous singer Farinelli, who as a matter of fact did heal a Spani

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CARMEN.

CARMEN.

This opera is essentially Spanish. The music throughout has a southern character and is passionate and original to a high degree. Carmen, the heroine is a Spanish gipsy, fickle and wayward, but endowed with all the wild graces of her nation. She is adored by her people, and so it is not to be wondered at, that she has many of the stronger sex at her feet. She is betrothed to Don José, a brigadier of the Spanish army; of course he is one out of many; she soon grows tired of him, and awakens his j

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CAVALLERIA RUSTICANA. (SICILIAN RUSTIC CHIVALRY).

CAVALLERIA RUSTICANA. (SICILIAN RUSTIC CHIVALRY).

The composer of this very brief opera is a young man, who has had a most adventurous life notwithstanding his youth. Son of a baker in Livorno, he was destined for the bar. But his love for music made him enter clandestinely into the Institute Luigi Cherubini, founded by Alfreddo Soffredini. When his father heard of this, he confined him in his chamber, until Pietro's uncle, Steffano, promised to care for him in future. Pietro now was enabled to study diligently. He composed at the age of 13 yea

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COSI FAN TUTTE.

COSI FAN TUTTE.

This opera, though lovely in its way, has never had the success, which the preceding Figaro and Don Juan attained, and this is due for the most part to the libretto. In the original text it really shows female fickleness, and justifies its title. But the more Mozart's music was admired, the less could one be satisfied with such a libretto. Schneider and Devrient therefore altered it and in their version the two female lovers are put to the test, but midway in the plot it is revealed to them that

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CZAR AND ZIMMERMANN THE TWO PETERS.

CZAR AND ZIMMERMANN THE TWO PETERS.

This charming little opera had even more success than Lortzing's other compositions; it is a popular opera in the best sense of the word. Lortzing ought to have made his fortune by it, for it was soon claimed by every stage. He had composed it for Christmas 1837 and in the year 1838 every street-organ played its principal melodies. But the directors paid miserable sums to the lucky composer. (F. e. a copy of the work cost him 25 thalers, while he did not get more than 30 to 50 thalers from the d

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LA DAME BLANCHE.

LA DAME BLANCHE.

Boieldieu is for the French almost what Mozart was for the German. This opera especially may be called classic, so deliberate and careful is its execution. The "Lady in white" is the chef-d'oeuvre of all comic operas in French, as Mozart's Figaro is in German. The success of this opera, whose composer and whose poet were equally liked and esteemed in Paris was enormous, and since then it has never lost its attraction. The scene is laid in Scotland, the subject being taken from Walter Scott's rom

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IL DEMONIO.

IL DEMONIO.

This opera of the great Russian musician has an entirely national character. The great features of Rubinstein's work are most fertile imagination and an immense power of expression, which however sometimes almost passes the permitted bounds, although the forms are perfectly mastered and the fanciful subject is well calculated to afford it room for play. It is taken from the celebrated poem of Lermontoff, and it treats of the devices, by which Satan seeks to ensnare the immortal souls on earth. T

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LE DOMINO NOIR.

LE DOMINO NOIR.

This is one of the most charming comic operas, which were ever written by this master. Graceful archness and elegance of style are its characteristics, and these lose nothing from the presence of a gay and easy temper which makes itself felt throughout. The same may be said of the libretto. The plot is well worked out and entertaining. The scene is laid in Madrid in our century. The Queen of Spain gives a masqued ball, at which our heroine Angela is present, accompanied by her companion Brigitta

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DON CARLOS.

DON CARLOS.

This opera is one of the first of Verdi's. It was half forgotten, when being suddenly recalled to the stage it met with considerable success. The music is fine and highly dramatic in many parts. The scene of action lies in Spain. Don Carlos, Crown-prince of Spain comes to the convent of St. Just, where his grand-father, the Emperor Charles the Fifth has just been buried. Carlos bewails his separation from his step-mother, Elizabeth of Valois, whom he loves with a sinful passion. His friend, the

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DON JUAN.

DON JUAN.

Don Juan is Mozart's most beautiful opera; we may even say, that it is the greatest work of this kind, which was ever written by a German musician. The text too, written by Mozart's friend, is far above the level of ordinary opera-texts. The hero, spoilt by fortune and blasé, is ever growing more reckless. He even dares to attack the virtue of Donna Anna, one of the first ladies of a city in Spain, of which her father, an old Spanish Grandee, as noble and as strict in virtue as Don Juan is overs

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DON PASQUALE.

DON PASQUALE.

This opera, one of Donizetti's last compositions is a little jewel of the modern Italian kinds. Its music is sparkling with wit and grace and may rank among the best comic operas, of which we have not too many. The reason, why it does not occupy the place on the German stage, which is due to its undoubted merit, is the somewhat deficient German translation of the textbook, and the very small frame, in which it plays, without any of the dramatic pomp and decoration the people are wont to see in o

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LES DRAGONS DE VILLARS. (THE BELL OF THE HERMIT.)

LES DRAGONS DE VILLARS. (THE BELL OF THE HERMIT.)

Maillart, who studied under Halevy in Paris and received the Roman prize (prix de Rome) in the year 1841, composed six operas, all of which are now almost forgotten with the single exception of "Les Dragons de Villars" (in 1856), which found favor in Germany by virtue of its wit and grace. The music sparkles with French charm and gaiety of the most exquisite kind and these are the merits by which this unpretentious opera has kept its place by the side of its grander and more pompous sisters. The

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THE DUSK OF THE GODS.

THE DUSK OF THE GODS.

This is the end of the great and beautiful tragedy and really it may be called both a sublime and grand conclusion, which unites once again all the dramatic and musical elements of the whole and presents to us a picture the more interesting and touching, as it is now purely human. The Gods who, though filled with passions and faults like mortals, never can be for us living persons, fall into the background, and human beings, full of high aspirations, take their places. The long and terrible conf

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EURYANTHE.

EURYANTHE.

This opera has not had the success of Oberon or Freischütz, a fact to be attributed to the weakness of its libretto, and not to its music, which is so grand and noble, that it cannot but fill the hearer with admiration and pleasure. The overture is one of the finest pieces ever written, and the choruses and solos are equally worthy of admiration. The plot is as follows: Adolar, Count of Nevers and Rethel, is betrothed to Euryanthe of Savoy, and the wedding is to take place, when one day, in the

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FALSTAFF.

FALSTAFF.

Nobody who hears this opera would believe, that it has been written by a man in his eightieth year. So much freshness, wit and originality seem to be the privilege of youth alone. But the wonder has been achieved, and Verdi has won a complete success with an opera,—which runs in altogether different lines from his old-ones, another wonder of an abnormally strong and original mind. Falstaff was first represented in Milan in February 1893; since then it has made its way to all theatres of renown,

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FIDELIO.

FIDELIO.

This opera, the only one by the greatest of German composers, is also one of the most exquisite we possess. The music is so grand and sublime, so passionate and deep, that it enters into the heart of the hearer. The libretto is also full of the highest and most beautiful feeling. Florestan, a Spanish nobleman, has dared to blame Don Pizarro, the governor of the state-prison, a man as cruel as he is powerful. Pizarro has thus become Florestan's deadly foe, he has seized him secretly and thrown hi

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LA FIGLIA DEL REGGIMENTO.

LA FIGLIA DEL REGGIMENTO.

This opera is one of the few of Donizetti's numerous works, which still retain their attraction for the theatre-visitor, the others are his Lucrezia Borgia and Lucia di Lammermoor. The "Daughter of the Regiment" happily combines Italian richness of melody with French "esprit" and French sallies, and hence the continued charm of this almost international music. The libretto can be accounted good. The scene in the first act is laid near Bologna in the year 1815, the second act in the castle of the

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DER FLIEGENDE HOLLÄNDER. (THE FLYING DUTCHMAN.)

DER FLIEGENDE HOLLÄNDER. (THE FLYING DUTCHMAN.)

This fine opera is Wagner's second work, which he composed in direst need, when living at Paris with his young wife. The songs, which so well imitate the hurricane and the howling of the ocean, he himself heard during an awful storm at sea. The whole opera is exceedingly characteristic and impressive. Wagner arranged the libretto himself, as he did for all his operas which succeeded this one. He found the substance of it in an old legend, which dates from the 16th century. The flying Dutchman is

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THE FOLKUNGS.

THE FOLKUNGS.

The composer of this opera evidently belongs to the most talented of our days, and it is no wonder that his two operas "Henry the Lion" and "The Folkungs", have rapidly found their way to every stage of importance. Particularly "The Folkungs" is such a happy combination of modern orchestration, abundance of fine melody, and northern characteristical coloring, that it charms the connoisseur as well as the unlearned. The scene is laid in Sweden, in the 13th century. The first act represents the co

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FRA DIAVOLO.

FRA DIAVOLO.

This nice little opera, though not equal in beauty and perfection to the "Muette de Portici" by the same author, is notwithstanding, a happy invention of Auber's, particularly because the local tints are so well caught. The banditti are painted with bright and glowing colors, and the part of the heroine, Zerline is the most grateful ever written for a soubrelte. The text by Scribe abounds in happy sallies and lively details. It is laid at Terracina in Italy. Fra Diavolo is a celebrated and much

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FRAUENLOB.

FRAUENLOB.

Becker, the well-known Dresden composer, has long won name and fame by his beautiful songs, which may be heard all over the continent. He is a first-rate "Liedermeister", and great was the excitement, with which his friends looked forward to his first opera. Their expectations were not deceived, for the opera was put on the stage in Dresden on Dec. 8th 1892, and was received with unanimous applause. Becker is not one of those high-flown artists who elevate us to the skies; he rather lacks dramat

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DER FREISCHÜTZ.

DER FREISCHÜTZ.

This charming opera done at Dresden 1820, is the most favored of Weber's compositions. It is truly German, being both fantastic and poetic. The libretto is an old German legend and runs thus: A young huntsman, Max, is in love with Agathe,' daughter of Cuno, the chief-ranger of Prince Ottocar of Bohemia. Max woos her, but their union depends on a master-shot, which he is to deliver on the following morning. During a village-festival he has all day been unlucky in shooting, and we see him full of

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FRIEND FRITZ.

FRIEND FRITZ.

After the immense success of Cavalleria Rusticana, the first representation of Amico Fritz was awaited with feverish impatience by the whole musical world. But the high-strung expectations were not fulfilled. Though many pretended that the music was nobler and more artistic than that of the author's first work, the success was by no means as great as Mascagni's friends anticipated. In Vienna and Berlin it was even received with partial coolness. But lo, the first representation in Dresden on Jun

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GENOVEVA.

GENOVEVA.

The music of this opera is surpassingly delightful. Though Schumann's genius was not that of a dramatist of a very high order, this opera deserves to be known and esteemed universally. Nowhere can melodies be found finer or more poetical and touching than in this noble musical composition, the libretto of which may also be called interesting, though it is faulty in its want of action. It is the old legend of Genoveva somewhat altered. Siegfried, Count of the Palatinate, is ordered by the Emperor

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THE GOLDEN CROSS.

THE GOLDEN CROSS.

Brull, born at Prossnitz in Moravia, Nov. 7th, 1846, received his musical education in Vienna and is well known as a good pianist. He has composed different operas, of which however the above-mentioned is the only popular one. This charming little opera, which rendered its composer famous, has passed beyond the frontiers of Germany and is now translated into several languages. The text is skillfully arranged, and so combined as to awaken our interest. The scene is laid in a village near Melun in

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THE TWO GRENADIERS.

THE TWO GRENADIERS.

After a long interval of quiet Lortzing's charming music seems to be brought to honor again and no wonder.—The ears of the public grow overtired, or may we say over-taxed by Wagner's grand music, which his followers still surpass, though only in noise and external effects; they long for simplicity, for melody. Well, Lortzing's operas overflow with real, true, simple melody, and generally in genuine good humour.—For many years only two of his operas have been performed, viz, "Undine" and "Czar an

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HAMLET.

HAMLET.

Hamlet was first reproduced in Paris in 1868, a year after the representation of Mignon, but it never reached the latter's popularity. This is not due to the music, which is very fine, and even nobler than in Mignon, but to the horrid mutilation of Shakespeare's glorious tragedy, which almost turns into ridicule the most sublime thoughts. The text is soon explained. We find the Shakespearean name with their thoughts and deeds turned into operatic jargon. The first act shows Hamlet's disgust and

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HANSEL AND GRETEL.

HANSEL AND GRETEL.

After a long period of "Sturm und Drang" we have an opera so fresh and simple, that any child will delight in it! It not only captivates children and people of simple tastes; but, the most blasés must acknowledge its charms. No thrilling drama, but a simple fairytale, known in every nursery has achieved this wonder. It is a revelation. True music finds its way to the hearts, and how wonderfully refreshing are these simple nursery songs, recalling days of sweet childhood, how droll and truly real

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HANS HEILING.

HANS HEILING.

The text to this opera, which was written by the celebrated actor and sent to Marschner anonymously, so struck the composer by its beauty that he adapted music to it, music which ought to be heard much oftener on our stages, on account of its freshness and of its healthy dramatic action, which never flags, but continues to interest and move the hearer with ever-increasing effect till the end is reached. The contents are as follows: Hans Heiling, King of the gnomes, has fallen in love with a daug

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HENRY THE LION.

HENRY THE LION.

This opera has not had the same success as "The Folkungs", which may be attributed in part to the subject, which is less attractive. Nevertheless it has great merit, and has found its way to the larger stages of Germany. The libretto is written by Kretschmer himself. The background is in this instance also historical. The scene which takes us back to the middle of the 12th century is laid, in the first act, in Rome, in the second and fourth in Henry the Lion's castle and in the third act on the

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HERRAT.

HERRAT.

The first representation of Herrat took place in Dresden on the 10th of March 1892. Its author is long known as one of the first living composers, but his music is so serious, so extremely difficult in its execution, that this is probably the cause, why his operas have been almost unknown hitherto. Like Wagner he did the libretto himself, like him he chose his subject from the old "Heldensaga", but here all likeness ends; there is no relation between Draeseke and Wagner; each goes his own way, e

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HOCHZEITSMORGEN. (WEDDING'S MORNING.)

HOCHZEITSMORGEN. (WEDDING'S MORNING.)

This opera, which was represented for the first time at the Royal Opera in Dresden on April 29th, 1893, is the first attempt of its young composer, and as such shows considerable talent, even genius. Indeed it sins rather in too much than in too little invention; it would seem that Kaskel's brain, overflowing with musical ideas, wanted to put them all into this one first child of his muse. This promises well for the future, but it explains, why it lacks the great attraction of Cavalleria with wh

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LES HUGUENOTS.

LES HUGUENOTS.

This is the best opera of this fertile composer, and one with which only his "Robert le diable" can compare. The music is not only interesting, but highly dramatic; the "mise en scene", the brilliant orchestration, the ballet, everything is combined to fascinate the hearer. We find such an abundance of musical ideas, that we feel Berlioz but spoke the truth, when he said that it would do for twenty others of its kind. The scene is laid in France, at the time of the bloody persecutions of the Pro

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IDLE HANS. (DER FAULE HANS.)

IDLE HANS. (DER FAULE HANS.)

The composer of this hitherto unknown opera is no young man. He is over sixty, and his well deserved fame reaches him but tardily. Alexander Ritter, a relation and a true friend of Wagner's, was one of the few, who gave his help to the latter when he fled to Switzerland poor and abandoned. Though a warm admirer of Wagner's music, Ritter is not his echo. His music, saturated with the modern spirit is absolutely independant and original. His compositions are not numerous; two operas and a few song

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IDOMENEUS.

IDOMENEUS.

This opera, which Mozart composed in his twenty-fifth year for the Opera-seria in Munich, was represented in the year 1781, and won brilliant success. It is the most remarkable composition of Mozart's youthful age, and though he wrote it under Gluck's influence, there is many a spark of his own original genius, and often he breaks the bonds of conventional form and rises to heights hitherto unanticipated. The public in general does not estimate the opera very highly, in consequence Idomeneus was

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JEAN DE PARIS.

JEAN DE PARIS.

After a lapse of many years this spirited little opera has again been put upon the stage and its success has shown, that true music never grows old. Next to the "Dame blanche" Jean de Paris is decidedly the best of Boieldieu's works; the music is very graceful, fresh and lively, and the plot, though simple and harmless is full of chivalric honor and very winning. The scene takes us back to the 17th century and we find ourselves in an inn of the Pyrenees. The young and beautiful Princess of Navar

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JESSONDA.

JESSONDA.

Spohr wrote this opera by way of inauguration to his charge as master of the court-chapel at Cassel, and with it he added to the fame, which he had long before established as master of the violin and first-rate composer. His music is sublime, and sheds a wealth of glory on the somewhat imperfect text. The story introduces us to Goa on the coast of Malabar at the beginning of the 16th century. A Rajah has just died and is bewailed by his people, and Jessonda, his widow, who was married to the old

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INGRID.

INGRID.

Ingrid is a musical composition of considerable interest, the local tone and colouring being so well hit. It is a Norwegian picture with many pretty and original customs, to which the music is well adapted and effective, without being heart-stirring. The scene is laid in Varö in Norway. Helga the rich Norwegian peasant Wandrup's daughter is to wed Godila Swestorp, her cousin, and the most desirable young man in the village. She entertains but friendly feelings for him while her heart belongs to

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IPHIGENIA IN AULIS.

IPHIGENIA IN AULIS.

This opera, though it does not stand from the point of view of the artist on the same level with Iphigenia in Tauris, deserves nevertheless to be represented on every good stage. It may be called the first part of the tragedy, and Iphigenia in Tauris very beautifully completes it. The music is sure to be highly relished by a cultivated hearer, characterized as it is by a simplicity which often rises into grandeur and nobility of utterance. The first scene represents Agamemnon rent by a conflict

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IPHIGENIA IN TAURIS.

IPHIGENIA IN TAURIS.

Gluck's Iphigenia stands highest among his dramatic compositions. It is eminently classic and so harmoniously finished, that Herder called its music sacred. The libretto is excellent. It follows pretty exactly the Greek original. Iphigenia, King Agamemnon's daughter, who has been saved by the goddess Diana (or Artemis) from death at the altar of Aulis, has been carried in a cloud to Tauris, where she is compelled to be High-priestess in the temple of the barbarous Scythians. There we find her, a

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JOSEPH IN EGYPT.

JOSEPH IN EGYPT.

This opera, which has almost disappeared from the French stage, is still esteemed in Germany and always will be so, because, though clad in the simplest garb, and almost without any external outfit, its music is grand, noble and classic; it equals the operas of Gluck, whose influence may be traced, but it is free from all imitation. Here we have true music, and the deep strain of patriarchal piety so touching in the Biblical recital finds grand expression. Joseph, the son of Jacob, who was sold

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IRRLICHT. (WILL-O'-THE WISP.)

IRRLICHT. (WILL-O'-THE WISP.)

With "Irrlicht" the composer takes a step towards verisme; both, subject and music are terribly realistic, though without the last shade of triviality. The music is often of brilliant dramatic effect, and the fantastic text, well matching the music, is as rich in thrilling facts as any modern Italian opera. Indeed this seems to be by far the best opera, which the highly gifted composer has written. The scene is laid on a pilot's station on the coast of Normandy. A pilot-boat has been built and i

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LA JUIVE (THE JEWESS).

LA JUIVE (THE JEWESS).

This opera created a great sensation when it first appeared on the stage of the Grand Opera at Paris in the year 1835, and it has never lost its attraction. It was one of the first grand operas to which brilliant mise en scène, gorgeous decorations etc., added success. Halévy's great talent lies in orchestration, which is here rich and effective; his style, half French, half Italian, is full of beautiful effects of a high order. The libretto is one of the best which was ever written by the dexte

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JUNKER HEINZ (SIR HARRY).

JUNKER HEINZ (SIR HARRY).

This opera composed recently by the Superintendent of the Royal Opera in Munich, has made its way to the most renowned stages in Germany, which proves that the composition is not a common one. Indeed, though it is not composed in the large style to which we are now accustomed from hearing so much of Wagner, the music is interesting, particularly so, because it is entirely original and free from reminiscenses.—There are some little masterpieces in it, which deserve to become popular on account of

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A KING AGAINST HIS WILL. (DER KONIG WIDER WILLEN.)

A KING AGAINST HIS WILL. (DER KONIG WIDER WILLEN.)

The composer has recently become known in Germany by his opera Gwendoline, performed at Leipsic a short time ago. His latest opera, "A King against his will", was represented on the Royal Opera in Dresden, April 26th 1890, and through its wit, grace and originality won great applause.—Indeed, though not quite free from "raffinement", its melodies are exquisitely interesting and lovely. Minka's Bohemian song, her duet with De Nangis, her lover, as well as the duet between the King and Alexina are

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LOHENGRIN.

LOHENGRIN.

This is the most popular of all Wagner's operas. No need to say more about its music, which is so generally known and admired, that every child in Germany knows the graceful aria, where Lohengrin dismisses the swan, the superb bridal chorus etc. Wagner again took his material from the old legend, which tells us of the mystical knight Lohengrin, (Veron of Percifal), Keeper of the "Holy Grail". The scene is laid near Antwerp, where "Heinrich der Vogler," King of Germany, is just levying troops amo

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LORLE.

LORLE.

With this opera its composer has made a lucky hit; it stands far higher than the "Maidens of Schilda", by dint of the charming subject, founded on Auerbach's wonderful village-story: Die Frau Professorin. This romance is so universally known and admired all over Germany, that it ensures the success of the opera. The music is exceedingly well adapted to the subject; its best parts are the "Lieder" (songs) which are often exquisitely sweet, harmonious and refined. They realize Foerster's prominent

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LOVE'S BATTLE. (DER LIEBESKAMPF.)

LOVE'S BATTLE. (DER LIEBESKAMPF.)

This young composer, whose first opera was brought on the stage in Dresden in the spring of 1892, has been known for several years to the musical world by his most charming and effective songs. That he has talent, even genius is a fact which this opera again demonstrates, but the "making" is somewhat too easy not to say negligent, and it reminds us of Mascagni, whose laurels are an inducement to all our young genius' to "go and do likewise". Even the plot with its Corsican scenery has a strong r

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LUCIA DI LAMMERMOOR.

LUCIA DI LAMMERMOOR.

This opera is Donizetti's master-piece and except his "Figlia del reggimento" and "Lucrezia Borgia" is the only one of his fifty operas, which is still given on all stages abroad. The chief parts, those of Lucia and Edgardo, offer plenty of scope for the display of brilliant talent and Lucia in particular is a tragic heroine of the first rank. In the libretto there is not much left of Scott's fine romance. Edgardo, the noble lover is most sentimental, and generally English characteristics have h

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LUCREZIA BORGIA.

LUCREZIA BORGIA.

Donizetti's Lucrezia was one of the first tragic operas to command great success, notwithstanding its dreadful theme and its light music, which is half French, half Italian. It is in some respects the predecessor of Verdi's operas, Rigoletto, Trovatore etc., which have till now held their own in many theatres because the subject is interesting and the music may well entertain us for an evening, though its value often lies only in the striking harmonies. The libretto cannot inspire us with feelin

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THE MACCABEES.

THE MACCABEES.

This opera when it appeared, created a great sensation in the musical world. In it the eminent pianist and composer has achieved a splendid success. The music belongs to the noblest and best and is in most masterly fashion adapted to the Jewish character. Ludwig and Mosenthal, both names of renown in Germany, have given a libretto worthy of the music. The hero is the famous warrior of the Old Testament. The scene takes place 160 years before Christ, partly at Modin, a city in the mountains of Ju

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THE MAGIC FLUTE. (DIE ZAUBERFLÖTE.)

THE MAGIC FLUTE. (DIE ZAUBERFLÖTE.)

This last opera of Mozart's, written only a few months before his death, approaches so near to perfection, that one almost feels in it the motion of the spirit-wings which were so soon alas! to bear away Mozart's genius from earth, too early by far, for he died at the age of 35, having accomplished in this short space of time more than other great composers in a long life. The Magic Flute is one of the most remarkable operas known on the stage. It is half fictitious, half allegorical.—The text,

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THE MAIDENS OF SCHILDA.

THE MAIDENS OF SCHILDA.

The first work of this composer was produced on the stage of the Royal Dresden theatre on the twelfth of October 1889 and was received with great applause. This surprising success is due firstly to the great popularity, which Forster enjoyed as former Director of the renowned "Liedertafel" (Society for vocal music) and as teacher, and then to the numerous pretty melodies intermixed with national airs, in which particularly the old "Dessauer march" is skilfully interwoven, then the wellknown stud

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MARGA.

MARGA.

The first performance of this highly interesting little opera took place in Dresden in February 1894 and awakened the interest of every music lover in the hitherto quite unknown composer. Scenery and Music are of the colouring now common to modern composers, for whom unfortunately Mascagni is still the God, at whose shrine they worship. The scene is laid in a Bulgarian village at the foot of the Schipka-Pass. Marga the heroine, a Roumanian peasant-girl has had a sister Petrissa, who, suffering c

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MARGUERITE (OR FAUST).

MARGUERITE (OR FAUST).

The subject of this piece is taken from the first part of Goethe's greatest drama—"Faust". Faust, a celebrated old Doctor, is consumed by an insatiable thirst for knowledge, but, having already lived through a long life devoted to the acquirement of learning and to hard work as a scholar, without having his soul-hunger appreciably relieved, is dissatisfied and in his disappointment wishes to be released from this life, which has grown to be a burden to him. At this moment Mephistopheles, the inc

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MARTHA

MARTHA

This charming opera finally established the renown of its composer, who had first found his way to public favor through "Stradella".—It ranks high among our comic operas, and has become as much liked as those of Lortzing and Nicolai. Not the least of its merits lies in the text, which Friedrich worked out dexterously, and which is amusing and interesting throughout. Lady Harriet Durham, tired of the pleasures and splendours of Court, determines to seek elsewhere for a pastime, and hoping to find

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THE MASTER-SINGERS OF NÜREMBERG.

THE MASTER-SINGERS OF NÜREMBERG.

This opera carries us back to the middle of the 16th century and the persons whom we meet are all historical. Amongst the tradesmen, whose rhyme-making has made them famous, Hans Sachs, the shoemaker is the most conspicuous. The music is highly original, though not precisely melodious and is beautifully adapted to its characteristically national subject. In the first act we see St. Catharine's church in Nüremberg, where Divine Service is being celebrated, in preparation for St. John's Day. Eva,

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THE MASTER-THIEF.

THE MASTER-THIEF.

The young composer has hitherto been little heard of by the public, though he has a good name in the musical world, as he had already written an opera called "Ramiro", which was put on the stage in Leipsic and excited considerable controversy among his admirers and his opponents. Lindner then left Leipsic for Weimar, where he studied zealously and composed the above-mentioned opera which was at once accepted on the small but celebrated stage of this town and has now appeared on the greater one o

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DER MAURER. (THE MASON.)

DER MAURER. (THE MASON.)

This charming little work is one of the best semi-comic operas ever composed, from the time of its first representation in Paris until now it has never lacked success. The libretto is founded on a true anecdote, and is admirably suited to the music. The scene is laid in Paris in the year 1788. The first act represents the merry wedding of Roger, a mason, with Henrietta, sister of Baptiste, a locksmith. A jealous old hag, Mistress Bertrand, who would fain have married the nice young man, is wonde

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MELUSINE.

MELUSINE.

The composer of this opera is known in the musical world as the author of many other fine works. He has given us several operas worthy of mention, "St. Andrew's Night", and "Thusnelda" among others, which were brought on the stage in Dresden some years ago.— Melusine was first represented in Wiesbaden in 1874 with but small success.—Since then the opera has been rewritten and in part completely changed by the author, and in this new garb has found its first representation in the Dresden Opera-ho

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MERLIN.

MERLIN.

This latest creation of the talented composer at once proved itself a success, when produced for the first time in the Opera-House in Vienna. Since then it has quickly passed to all the larger stages. Merlin surpasses the Queen of Sheba in dramatic value and is equal to it in glowing coloring and brilliant orchestration. Goldmark is quite the reverse of Wagner. Though equally master of modern instrumentation, he abounds in melodies. Airs, duets and choruses meet us of surpassing beauty and sweet

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THE MERRY WIVES OF WINDSOR.

THE MERRY WIVES OF WINDSOR.

This charming opera has achieved the fame of its composer, of whom very little is known, except that he is the author of this really admirable musical composition, which is valued not only in Germany but all over Europe. Its overture is played by almost every orchestra, and the choruses and songs are both delightful and original. As may be gathered from the title, the whole amusing story is taken from Shakespeare's comedy. Falstaff has written love-letters to the wives of two citizens of Windsor

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MIGNON.

MIGNON.

This opera is full of French grace and vivacity, and has been favorably received in Germany. The authors have used for their libretto Goethe's celebrated novel "Wilhelm Meister", with its typical figure Mignon as heroine, though very much altered. The two first acts take place in Germany. Lothario, a half demented old man, poorly clad as a wandering minstrel, seeks his lost daughter Sperata. Mignon comes with a band of gipsies, who abuse her because she refuses to dance. Lothario advances to pro

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LA MUETTE DE PORTICI.

LA MUETTE DE PORTICI.

This opera was first put on the stage in the Grand Opera-House at Paris in the year 1828, and achieved for its author universal celebrity; not only, because in it Auber rises to heights, which he never reached either before or after, but because it is purely historical. The "Muette" is like a picture, which attracts by its vivid reproduction of nature. In the local tone, the southern temper, Auber has succeeded in masterly fashion, and the text forms an admirable background to the music. Its sub

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NACHTLAGER VON GRANADA. (A NIGHT'S REST AT GRANADA.)

NACHTLAGER VON GRANADA. (A NIGHT'S REST AT GRANADA.)

This little opera, which literally overflows with charming songs and true German melody, has never passed the bounds of the country which gave it birth, for notwithstanding, its beauties, which endear it to the German people, it lacks dramatic life and action. But in Germany its melodies have penetrated into the hearts of the people, and will never be taken thence. The tale is very simple and treats of Spanish life in the middle of the 16th century. The Crown-prince of Spain has strayed from his

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NORMA.

NORMA.

Few operas can boast of as good and effective a libretto as that, which Romani wrote for Bellini's Norma. He took his subject from a French tragedy and wrote it in beautiful Italian verse. With this work Bellini won his fame and crowned his successes. Again it is richness of melody in which Bellini excels; highly finished dramatic art and lofty style he does not possess, and it is this very richness of melody, which make him and specially his Norma such a favorite in all theatres. His music is a

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LE NOZZE DI FIGARO.

LE NOZZE DI FIGARO.

This opera may be said to be the continuation of Rossini's "Barbiere di Seviglia". The text too is taken from Beaumarchais' Figaroade, and the principal persons in it, we find to be old acquaintances. It is the same Count Almaviva, now married to Rosina; Figaro, the cunning barber, has entered the Count's service and is about to marry Rosina's maid, Susanna. We meet among the others old Doctor Bartolo and Basilio. Even in the management of the subject, and in the music we find some resemblance.

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THE NUREMBERG DOLL. (DIE NÜRNBERGER PUPPE.)

THE NUREMBERG DOLL. (DIE NÜRNBERGER PUPPE.)

This Operette, though almost buried in oblivion, has been revived by merit of its true comic humor, which is so rare now-a-days. The music is very simple, but melodious and natural and in Bertha's part offers ample scope to a good songstress. The scene takes place in a toy-shop at Nuremberg. Cornelius the owner, has an only son Benjamin, whom he dearly loves, notwithstanding his stupidity, while he is most unjust to his orphan nephew, Heinrich, whom he keeps like a servant, after having misappro

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OBERON.

OBERON.

Oberon is Weber's last work. In the year 1824 he had the honor of being commissioned to compose this opera for the Covent-garden theatre. He began at once to study English, but, his health giving way, he progressed slowly. Notwithstanding his illness however, he worked on and finished the opera in the year 1826. He had the happiness of seeing it crowned with success, when he travelled to London in February of that year, but he could not witness its triumphs in Germany, for he died in the followi

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ORFEO E EURYDICE.

ORFEO E EURYDICE.

This opera is the oldest of all we possess in our repertoire. Gluck had already written more than forty operas, of which we do not even know the names now, when he composed his Orfeo, breaking with the old Italian traditions and showing a new and more natural taste. All the charm of Italian melody is still to be found in this composition, but it is blent with real feeling, united to great strength of expression and its value is enhanced by a total absence of all those superfluous warbles and art

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OTHELLO.

OTHELLO.

In his seventy-third year the Maëstro has given to his time an opera, which surpasses his former compositions in many respects. It proves, that Verdi's genius has remained admirably fresh and that the new views and revelations, which Wagner opened to the musical world have been fully understood by the Italian. He has now broken with the unnatural traditions of the Italian opera, and has in Othello given us a work, which secures to him an honored place among the best dramatic composers. It must n

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PAGLIACCI. (MERRY ANDREW.)

PAGLIACCI. (MERRY ANDREW.)

In the summer of the year 1892 a rumour was going through the musical world, that Mascagni had found his equal, nay his superior in the person of another young Italian composer. When the "Pagliacci" by Leoncavallo was executed in Italy, it excited a transport of enthusiasm almost surpassing that of "Cavalleria", so that Berlin and Leipsic brought the opera on the stage as quickly as possible, and Dresden followed their example on January 22nd 1893, with the same great success. The opera is indee

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PARSIFAL.

PARSIFAL.

Though Parsifal is never to be given on any stage except in Baireuth (by Wagner's express wish), it must find its place here, by dint of being the master's last and most perfect composition. In Parsifal the heavenly greatness of the Christian idea of God, which is at the foundation of the legend of the holy Grail, finds grand expression. There scarcely exists another composition of such lofty and religious spirit, as finds expression in the Communion-scene. It is not possible to imagine a more v

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PHILÉMON AND BAUCIS.

PHILÉMON AND BAUCIS.

This is a truly delightful musical composition and though unpretending and not on the level of Gounod's "Margaretha", it does not deserve to be forgotten. The libretto is founded on the well-known legend. In the first act Jupiter comes to Philémon's hut, accompanied by Vulkan to seek refuge from a storm, which the god himself has caused. He has come to earth to verify Mercury's tale of the people's badness, and finding the news only too true, besides being uncourteously received by the people ar

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THE THREE PINTOS.

THE THREE PINTOS.

Thanks to the incessant endeavours of Weber's grandson and of Gustav Mahler, the gifted disciple of Weber, a real treasure in German music has been disinterred from the fragments of the past, thus long after its composer's death. It is a striking illustration of the universality of Weber's genius that aught like this should prove to have been written by him, for his manuscript is a fragment of a comic opera of the best kind. Although only seven parts were completed by the composer himself, Mahle

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THE PIPER OF HAMELN.

THE PIPER OF HAMELN.

Without any preliminary introduction to the musical world Nessler wrote this opera and at once became, not only known, but a universal favorite; so much so that there is scarcely a theatre in Germany, in which this work of his is not now given. The subject of the libretto is a most favorable one, like that of Nessler's later composition, "the Trumpeter of Saekkingen"; the principal personage Singuf, being particularly well suited for a first-rate stage hero. Then Wolff's poetical songs are music

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THE POACHER or "THE VOICE OF NATURE"

THE POACHER or "THE VOICE OF NATURE"

The music of this opera is so fresh, so full of gaiety and of charming melodies, that it might be compared with Lortzing's "Czar and Zimmermann", if only the text were as well done. Unhappily it lacks all the advantages which characterize the opera just named, as it is frivolous, without possessing the grace and "esprit", which distinguish French composition of a similar kind. Nevertheless the good music prevails over the bad text, and the opera holds its own with success in every German theatre

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THE POSTILION OF LONGJUMEAU.

THE POSTILION OF LONGJUMEAU.

This charming little opera is well worthy of being named among the best of its kind, both on account of its delightful music and because the text is so entertaining and funny as entirely to captivate the hearer's interest. The whole opera is essentially French in the best sense of the word and we scarce can find a more graceful and witty composition. Its subject, written originally in good French verse is as follows: Chapelou, stage-driver at Longjumeau is about to celebrate his marriage with th

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PRECIOSA.

PRECIOSA.

Though Preciosa is not an opera, we may feel justified in admitting it into our collection, as the music, which Weber wrote to it has alone given celebrity to Wolff's drama, which would otherwise have long been forgotten. This musical composition is justly called one of the German nation's jewels, and it shows all the best qualities of Weber's rich music. It was written after the Freischütz and done in the incredibly short space of nine days, and owed its success principally to the really nation

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LE PROPHÈTE.

LE PROPHÈTE.

Though Meyerbeer never again attained the high standard of his Huguenots, the "Prophet" is not without both striking and powerful passages; it is even said, that motherly love never spoke in accents more touching than in this opera. The text is again historical, but though done by Scribe, it is astonishingly weak and uninteresting. The scene is laid in Holland at the time of the wars with the Anabaptists. Fides, mother of the hero, John von Leyden, keeps an inn near Dortrecht. She has just betro

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THE QUEEN OF SHEBA. (DIE KÖNIGIN VON SABA.)

THE QUEEN OF SHEBA. (DIE KÖNIGIN VON SABA.)

Charles Goldmark was born in Hungary in 1852. He received his musical education in Vienna. The well-known name of Mosenthal is in itself a warrant that the libretto is excellently suited to the music. The opera is considered one of the best and finest of our modern compositions. It is noble, original and full of brilliant orchestral effects, which, united to a grand, not to say gorgeous mise en scène, captivate our senses. The contents are these: A magnificent wedding is to be celebrated in King

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THE NIBELUNGEN RING.

THE NIBELUNGEN RING.

The grand dramatic work, which cannot any longer with justice be called an opera, differing as it does so considerably from the ordinary style of these, is the result of many years of study and hard work. Wagner took the subject from the German mythology, the oldest representative of which is found in the Edda. We have first to do with the fore-evening, called the "Rhinegold." The first scene is laid in the very depths of the Rhine, where we see three nymphs, frolicking in the water. They are th

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RIENZI, THE LAST OF THE TRIBUNES.

RIENZI, THE LAST OF THE TRIBUNES.

In this first opera of Wagner's one hardly recognizes the great master of later times.—But though Wagner himself disowned this early child of his muse, there is a grand energy in it, which preserves it from triviality. The orchestration is brilliant, the brass instruments predominating, and here and there one may find traces of the peculiar power which led up to the greatness of after-years, and which sometimes make one think of Tannhäuser. The libretto, taken by Wagner from Bulwer's novel, is a

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RIGOLETTO.

RIGOLETTO.

No opera has become popular in so short a time as Rigoletto in Italy. The music is very winning and is, like all that Verdi has written, full of exquisite melodies. In Germany it has not met with the same favor, which is due in great part to its awful libretto, which is a faithful copy of Hugo's drama, and developed in a truly dramatic manner. The subject is however rather disgusting. Excepting Gilda, we do not meet with one noble character. The Duke of Mantua, a wild and debauched youth, covets

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ROBERT LE DIABLE.

ROBERT LE DIABLE.

Though the text, which embodies the well-known story of Robert the Devil, Duke of Normandy, is often weak and involved, Meyerbeer has understood in masterly fashion how to adapt his music to it, infusing into it dramatic strength and taking his hearer captive from beginning to end. The instrumentation is brilliant, and the splendid parts for the human voice deserve like praise. The famous Cavatina "Air of grace", as it is called, where the bugle has such a fine part, and the duet in the fourth a

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LE ROI L'A DIT. (THE KING HAS SAID IT.)

LE ROI L'A DIT. (THE KING HAS SAID IT.)

It is impossible to imagine music more charming or more full of grace and piquancy, than that which we find in this delightful opera. Every part abounds in exquisite harmonies, which no words can give any idea of. On hearing them one is compelled to the conclusion, that all the graces have stood godmother to this lovely child of their muse. The libretto though on the whole somewhat insipid, is flavored with naïve and goodnatured coquetry, which lends a certain charm to it. The Marquis de Moncont

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ROMEO E GIULIETTA.

ROMEO E GIULIETTA.

This highly favored opera by Gounod presents much that is worthy of admiration, though it does not rise to the high level of his Marguerite (Faust). {304 The libretto follows Shakespeare's version pretty accurately. The first act opens with the masked ball in Capuletti's palace, where the first meeting between the lovers takes place, Romeo being disguised as a pilgrim. They fall in love with each other, and Tybalt, Capulet's nephew, recognizing Romeo, reveals, but too late, their true names and

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IL SERAGLIO.

IL SERAGLIO.

Mozart modestly called this opera a Vaudeville (in German: Singspiel). They were the fashion towards the end of the last century, but "Il Seraglio" ranks much higher, and may be justly called a comic opera of the most pleasing kind. The music is really charming, both fresh and original. The libretto is equally happy. It particularly inspired Mozart because given him by the Emperor Joseph II at a time, when he (Mozart), a happy bridegroom, was about to conduct into his home his beloved Constanze.

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SIEGFRIED.

SIEGFRIED.

The first act represents a part of the forest, where Fafner guards the Rhinegold and where Sieglinda has found refuge. We find her son Siegfried,—to whom when she was dying, she gave birth—in the rocky cave of Mime the Nibelung, (brother of Alberich), who has brought up the child as his own, knowing that he is destined to slay Fafner and to gain the ring, which he covets for himself. Siegfried, the brave and innocent boy, instinctively shrinks from this father, who is so ugly, so mean and vulgar

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SILVANA.

SILVANA.

This opera was left unfinished by Weber. It has however recently been completed, the text by Ernest Pasqué, and the music by Ferdinand Langer, who rearranged the manuscript with loving care, interweaving different compositions from Weber, as for instance his "Invitation à la valse", and his "Polonaise", which are dexterously introduced into the ballet of the second act. The action is taken from an old German legend which comes to us from the land of the Rhine. There we may still find the ruins o

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LA SOMNAMBULA.

LA SOMNAMBULA.

This opera is decidedly of the best of Bellini's muse. Though it does not reach the standard of Norma, its songs are so rich and melodious, that they seem to woo the ear and cannot be heard without pleasure. Add to these advantages a really fine as well as touching libretto, and it may be easily understood, why the opera has not yet disappeared from the stage repertory, though composed more than fifty years ago. It is a simple village-peasant story, which we have to relate. The scene of action i

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THE TAMING OF THE SHREW.

THE TAMING OF THE SHREW.

This beautiful opera is the only one, which the gifted young composer left complete, for he died of consumption in his early manhood. His death is all the more to be lamented, as this composition shows a talent, capable of performances far above the average. Its melodies are very fresh and winning, and above all original. As the subject of the libretto is so generally known, it is not necessary to do more than shortly epitomise here. Of the libretto itself however it may be remarked in passing,

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TANNHÄUSER.

TANNHÄUSER.

With this opera begins a new era in the history of the German theatre. Tannhäuser is more a drama than an opera, every expression in it is highly dramatic; the management of the orchestra too is quite different from anything hitherto experienced, it dominates everywhere, the voice of the performer being often only an accompaniment to it. Tannhäuser is the first opera, or as Wagner himself called it, drama of this kind, and written after this one, all Wagner's works bear the same stamp. Wagner to

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GUGLIELMO TELL.

GUGLIELMO TELL.

This last opera of Rossini's is his most perfect work and it is deeply to be regretted that when it appeared, he left the dramatic world, to live in comfortable retirement for 39 years. How much he could still have done, if he had chosen! In Tell his genius attains its full depth, here alone we find the highly dramatic element united to the infinite richness of melody, which we have learned to associate with his name and work. The text is founded on the well-known story of Tell, who delivered hi

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THE TEMPLAR AND THE JEWESS.

THE TEMPLAR AND THE JEWESS.

The subject of this opera is the well-known romance of Ivanhoe by Sir Walter Scott. The poet understood pretty well how to make an effective picture with his somewhat too extensive and imposing material. Its chief defect lies in the conclusion, which is lacking in poetic justice and cannot be considered satisfactory, for the heroine Rebecca who loves her knightly succourer Ivanhoe, is only pitied by him, and so the difficulty of the situation is not solved to our liking. Apart from this defect,

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LA TRAVIATA (OR VIOLETTA).

LA TRAVIATA (OR VIOLETTA).

The original of the libretto is Dumas' celebrated novel "La dame aux camélias." The opera is like all of Verdi's works full of melody and there are numberless special beauties in it. The prelude which opens the opera instead of an overture, is in particular an elegy of a noble and interesting kind. But as the text is frivolous and sensual, of course the music cannot be expected to be wholly free from these characteristics. The scene is laid in and near Paris. Alfred Germont is passionately in lo

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TRISTAN AND ISOLDA.

TRISTAN AND ISOLDA.

The music to this drama is deemed by connoisseurs the most perfect ever written by Wagner, but it needs a fine and highly cultivated understanding of music to take in all its beauty and greatness. There is little action in it, and very often the orchestra has the principal part, so that the voice seems little more than an accompaniment, it has musical measures too, which cannot be digested by an uneducated hearer; but nevertheless many parts of it will interest every-one. Isolda's love-song for

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IL TROVATORE.

IL TROVATORE.

Though Verdi is far beneath his celebrated predecessors Rossini and Bellini, he is highly appreciated in his own country and the Trovatore counts many admirers not only in Italy but also abroad. This is easily accounted for by the number of simple and catching melodies contained in his operas, and which have become so quickly popular, that we hear them on every street-organ. Manrico's romance for example, is a good specimen of the work for which he is admired. The text of Il Trovatore is very gl

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DER TROMPETER VON SÄKKINGEN. (THE TRUMPETER OF SAEKKINGEN.)

DER TROMPETER VON SÄKKINGEN. (THE TRUMPETER OF SAEKKINGEN.)

Seldom in our days is an opera such a complete success in all German theatres, as this composition of Nessler's has proved to be. To tell the truth, it owes its popularity in great degree to the libretto, which has taken so many fine songs and ideas from its universally known and adored original. Nessler's Trompeter is however in every way inferior to Scheffel's celebrated poem. Nevertheless the music, though not very profound is pleasing, and there are several airs in it, which have already bec

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UNDINE.

UNDINE.

With this opera Lortzing for the first time tried his genius in another field. Until then he had only composed comic operas, which had met with a very fair measure of success, but in this opera he left the comic for the romantic and was peculiarly happy both in his ideas and choice of subject which, as it happened, had previously had the honor of being taken up by Weber. The first representation of Undine at Hamburg in the year 1845 was one of the few luminous moments in Lortzing's dark life. Hi

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URVASI.

URVASI.

This opera is so brilliantly supplemented by decorations and poetic enchantment of every kind, that it would be worth while to see those triumphs of modern machinery alone. But not only on account of external effect is Urvasi admired, the music is in itself well worth hearing, though it contains many reminiscences of other well-known composers. It is pleasing and graceful, and the orchestration is so brilliant, that it may even deceive the hearer as to the poverty of invention. The subject, arra

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THE VAMPIRE.

THE VAMPIRE.

This opera had long fallen into oblivion, when Hofrath Schuch of Dresden was struck with the happy idea of resuscitating it. And indeed its music well deserves to be heard. It is both beautiful and characteristic and particularly the drinking-scenes in the second act, the soft and graceful airs sung by Emma and Edgar Aubry belong to the best of Marschner's work. He is, it is true, not quite original and often reminds one of Weber, but that cannot well be called a fault, almost every genius havin

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THE WALKYRIE.

THE WALKYRIE.

In the first scene we are introduced into the dwelling of a mighty warrior, Hunding, in whose house Siegmund, a son of Wotan and of a mortal woman, has sought refuge, without knowing that it is the abode of an enemy. Sieglinda, Hunding's wife, who, standing alone and abandoned in the world, was forced into this union against her will, attracts the guest's interest and wins his love. When Hunding comes home from the fight, he learns to his disgust, that his guest is the same warrior, who killed h

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ZAMPA.

ZAMPA.

This opera has met with great success both in France and elsewhere; it is a favorite of the public, though not free from imitating other musicians, particularly Auber and Rossini. The style of the text is somewhat bombastic, and only calculated for effect. Notwithstanding these defects the opera pleases; it has a brilliant introduction, as well as nice chorus-pieces and cavatinas. In the first act Camilla, daughter of Count Lugano expects her bridegroom Alfonso di Monza, a Sicilian officer, for

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THE APOTHECARY. (LO SPEZIALE.)

THE APOTHECARY. (LO SPEZIALE.)

After a sleep of 125 years in the dust of Prince Esterhazy's archives at Eisenstadt, Dr. Hirschfeld received permission from Prince Paul Esterhazy of Galantha to copy the original manuscript. It is Dr. Hirschfeld's merit to have revived and rearranged this charming specimen of the old master's genius. And again it was Ernst Schuch, the highly gifted director of the Dresden opera who had it represented on this stage in 1895, and st the same time introduced it to the Viennese admirers of old Haydn

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DJAMILEH.

DJAMILEH.

Djamileh was composed before Carmen, and was given in Paris in 1872. But after the years of war and bloodshed, its sweetness was out of place, and so it was forgotten, until it was revived again in Germany. Though the text is meagre, the opera had great success on the stages of Berlin, Leipsic, Vienna and Dresden, and so its Publisher, Paul Choudens in Paris was right, when he remarked years ago to a German critic: "l'Allemagne un jour comprendra les beautés de Djamileh." There is no more exquis

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DONNA DIANA.

DONNA DIANA.

Many are the authors, who have dramatized this old, but ever young and fresh comedy, but yet none have so nearly reached the ideal, as this young composer. His manner of interweaving Spanish national airs is particularly successful, because they tinge the piece with peculiar local colouring. The Spanish melodies are chosen with exquisite elegance and skill. Reznicek's manner of composing is thoroughly modern; he has learnt much from Wagner and Liszt and not least from Verdi's "Falstaff"; neverth

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THE SOLD BRIDE.

THE SOLD BRIDE.

Poor Smetana! Nature had put on his brow the stamp of genius, but he never lived to see his glory. After grief and sorrow and direst need he died in a madhouse, and now posterity heaps laurels on his grave. The Sold Bride has been represented in Prague over 300 times, and it begins to take possession of every noted stage in Europe. The subject forms a simple village-idyll, without any strong contrasts, its ethical motive lies in its representation of quaint old customs and in the deep-rooted pat

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BALLO IN MASCHERA.

BALLO IN MASCHERA.

Auber's success with the opera of the same name inspired Verdi to try his hand at it too. He ordered his friend Piave to write the libretto for him and in 1854 the opera was handed to the San Carlo theatre in Naples, but was refused on the ground, that the murder of a king must not be represented on the stage. Then Verdi laid the scene in Boston, and in this shape the opera was performed in Rome on Feb. 17th, 1859 and met with great success. From this time it conquered the stages of Europe, all

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THE CRICKET ON THE HEARTH.

THE CRICKET ON THE HEARTH.

With this opera Goldmark has entered a novel way in composing. He has renounced all sensational effects and has produced an opera, which is full of charming melodies, but which lacks the high dramatic verve to which we are accustomed from this composer; there are however remarkably fine pieces in the whole, the best of them being Dot's dancing song in the second act, the quintette at the end of it, and the prelude in the third act, into which Goldmark has interwoven the popular song "Weisst Du,

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THE EVANGELIMANN.

THE EVANGELIMANN.

The author has learnt a great deal since the days, in which he composed Urvasi. His music has become more original and more independant of great models. The new opera, while not so poetical is eminently touching and true; the text, founded on fact, runs smoothly and is cleverly done, the verses being well adapted to the music. Like Verga's Cavalleria the subject is such as to be impressive even without music. It is necessary to explain the title of this opera, which signifies a man who goes abou

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ODYSSEUS' RETURN.

ODYSSEUS' RETURN.

A musical drama of the highest interest, one which may be considered equal to Wagner's great Nibelung series, has been created at last. "Odysseus' Return" is the third of four parts of a cyclus, called the Odyssey, and its success since its first representation in Dresden on December 12th 1896 has been so absolute, that one may hope to hear the other parts before long. It must be admitted here, that this is due partly to its splendid rendering under Schuch's genial conductorship, and to the inte

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BEARSKIN. (DER BÄRENHÄUTER).

BEARSKIN. (DER BÄRENHÄUTER).

In the beginning of the year 1899 a great sensation thrilled through the musical world; Siegfried Wagner had written his first musical drama. Some call him the small son of a great father; others consider him to be the true heir of his father's greatness; I, for my part think that the truth, as usual, lies between these two extremes. The drama was first performed in January 1899 on the Munich Stage, and a few days later Leipzig followed suit. The effect the work produced was much greater than th

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THE CID.

THE CID.

After an interval of more than thirty years the Dresden Opera has paid a debt of honour to the dead composer and gave his finest and best opera for the first time on January 17th 1899. This opera had hitherto only been performed in Munich and Weimar. Though its music is perhaps less fresh and piquant than that of the Barber of Bagdad by the same composer, yet it has the true ring of genius and its noble charm ranks high above the ordinary opera of the present day. We find in it many leading moti

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KIRKE (CIRCE).

KIRKE (CIRCE).

Kirke, the first part of Bungert's Odyssey was given for the first time in Dresden January 29th 1898. It had the same immense success as Odysseus' Return. Nevertheless it is weaker in many parts, which is perhaps due in part to the less congenial subject of its heroine. All the sweet parts of the tragedy, like the chorus of the Oceanides in the Prologue, the quartetti of the four nymphs and Periander's song of Ithaka are perfect in melody and expression. The strong and violent parts are Bungert'

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Prologue. "Polyphemus."

Prologue. "Polyphemus."

From the sea rises in the form of a chain of mountains the figure of Gäa in blue-green moonlight. Her song, sung by bass voices behind the scene, is about her children, the elect, the conquerors of the world, a race of men steeled by suffering, that struggle from darkness to light; who, lost and wandering during life, with vehement longings, yet remain blind, till in death their eyes are opened—but too late! Then Eos, as conqueror of the world swings in a galop on his lion to Olympus, singing to

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Act I.

Act I.

When the curtain rises the kingdom of Kirke, daughter of the sun-god Helios, lies before us, bathed in glowing sunshine. The foreground is a luxurious garden whose groves of palms and fantastic southern trees extend in deepening shade into the background. A colossal sphinx crouches at the gates of Kirke's palace on the left. Springs of water, represented by four attendant nymphs sing to their queen in melodious harmony. But Kirke—a lovely vision in soft flowing robes of yellow hue, with masses o

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Act II

Act II

The scene takes place on the sea-shore of the coast of Kirke's island Aea. Many of the companions of Odysseus are lying about sick or dying of a plague caused by the cruel rays of the sun and the poisonous air of the island. Helios is thus revenging himself upon the mortals that have offended him. Periander, dying of the fatal spear wound, is being tended by two or three friends not yet struck down by the pestilence. Odysseus has heard of their distress; he tears himself from the arms of Kirke a

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Act III.

Act III.

The scene changes again to Kirke's enchanted garden. On the steps of the palace Odysseus lies sleeping with his head resting on Kirke's knee. He murmurs names in his dreams. Kirke listens, hoping to hear her own name, but only hears that of Penelopeia. Enraged, the enchantress roughly wakens him. The hero is himself again. He exclaims: "Away to my native land! to my wife! to my hearth and home!" A wild struggle begins between the two. Kirke strives with all her arts and blandishments to enchain

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ERNANI.

ERNANI.

Verdi wrote this opera in 1844 when in his thirtieth year. One cannot help being struck by the improvement shown in it, as compared with Verdi's first operas Nabukadnezar and the Lombardi, and through Ernani the composer at once became one of the most popular musicians in Italy. The opera did not however at first find favour in France and Germany, and Verdi's fame was only established in these countries by his later operas, Rigoletto and Il Trovatore. But of late Ernani has been revived and duly

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WERTHER.

WERTHER.

The subject of this opera is Goethe's famous novel of the same name. Though the text is not to be compared with that of the novel, the music to which Massenet has set it is so marvellously adapted to its lyric and idyllic qualities, that one is inclined to forget its deficiencies while listening to the melodious strains. The scene is laid in Wetzlar in the year 1772. The first Act takes place in the house of Lotte's father, who is a bailiff in his native city. He has assembled his younger childr

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THE DEPARTURE.

THE DEPARTURE.

By this opera the young composer, whose previous dramatic efforts were to a certain extent unsuccessful, has proved that his forte lies in comic opera. The Departure was given in Dresden in October 1900, and was a complete success. The whole opera teems with bright and merry melodies, wrought-in with consumate art, and the text, though somewhat frivolous is artistically adapted to the music. The principal motive is the love-motive, its strains which run through the whole opera are not only charm

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DELILA.

DELILA.

The first performance of this opera in Dresden on November 13th 1900 proved a great success. This opera which was written almost thirty years ago did not meet with a favourable reception either in France or in any other country. In the year 1877 it was however given in Weimar through Liszt's influence, but fell flat. At last it was performed in Rouen in 1890, and in November 1892 the Grand Opera in Paris followed suit. Since that time it has been one of the standard operas in Paris. Its performa

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NAUSIKAA.

NAUSIKAA.

The first representation of Nausikaa took place in Dresden on March 20th 1901.—The reception was much warmer than that given to Kirke. Naturally the charming episode of the Phaeakean Princess is far better adapted to the composer's lyric genuis. Though the whole music is polyphoneous the easy flow of its melodies is hardly ever interrupted except in the highly dramatic moments. There are real pearls of lyric melody in this tragedy, which, totally different from Kirke's selfish passion glorifies

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Prologue.

Prologue.

Across the calm blue sea in the distance a ship passes. In it can be seen the figures of Odysseus and his companions. They can be heard lamenting their long absence from home and praying the gods to send them favourable winds and a speedy return to their native land. In the foreground is the rocky coast of an island. Partly hidden by the high cliffs, sirens may presently be seen looking out for their prey. Brilliant, many coloured lights cast a lurid glare over their hideous den that is full of

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Act I.

Act I.

Odysseus has landed in the country of the Pheacians. In the first part of this act he is lying asleep hidden among the shrubs and trees in the background. Nausikaa, the King's daughter has come at the bidding of Athene with her companions to wash the linen and garments of her family. While the clothes are drying in the sun the maidens dance and play at ball. Their voices and laughter awake Odysseus who rises and shows himself through the foliage. Seeing a nearly naked man the girls run away scre

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Act II.

Act II.

This scene takes place in front of the palace of King Alkinous. The gardens and terraces extend downwards to the shore of the sea that forms the background. It is evening. Youths and maidens are busy decking pillars and statues with garlands of flowers and making wreaths to crown the victors in the next day's games. Odysseus comes out of the palace; he cannot sleep; he thinks of his home, his father, his wife and child. He sees a temple to Athene on the right and resolves to spend the night ther

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Act III.

Act III.

In a great court in front of the gymnasium where games and wrestling matches are going on a procession of priests and young boys enter singing; they offer prayers and burn incense before the altars of the gods, particularly before that of Poseidon the special patron of the Phaeakens. Girls and matrons follow in a like procession and deck the statue and altar of Athene with flowers. The shouts of the people in the gymnasium greeting the victors in the games are heard at intervals. Among the maide

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MANRU.

MANRU.

Dresden claims the honour of having first represented the celebrated Polish pianist's opera. The performance took place on May 29th 1901, and a closely packed house showed its approbation in the most enthusiastic manner. Those who will look out for reminiscences in every new piece of music find of course that Paderewski is an imitator of Wagner, but though Manru would probably not have been written without the composer's intimate knowledge of the Ring of Nibelungen, the melodies and rythm are en

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FEUERSNOT (THE PLAGUE OF DARKNESS).

FEUERSNOT (THE PLAGUE OF DARKNESS).

The new Opera of the highly gifted young Bavarian composer was represented for the first time in Dresden on November 21st 1901. This absolutely original composition was received with acclamation, and it deserves it. The musical part is so difficult, that it can only be performed on a few very first rate stages, and it wants many hearings to take in all its charm of instrumentation and its eminently modern harmonies and intervals. The text is very witty and very clever, and quite worthy of the mu

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HOFFMANN'S TALES.

HOFFMANN'S TALES.

In this opera the composer far surpasses all his other compositions. It is his swan's song, for he composed it in the summer of 1880 and he died in October of the same year after having given his best to the world, a true work of genius, so full of grace, of delicate feeling and of phantastic loveliness, that nobody can hear it without being captivated by its sweetness. The libretto is taken from three different tales of E. Th. A. Hoffmann, who was not only an author and a poet, but a musician a

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THE ALPINE KING AND THE MISANTHROPE.

THE ALPINE KING AND THE MISANTHROPE.

The young composer, who is already conductor of the orchestra of the German Opera in Prague made his debut last year in a small one-act opera, called "That was I"—, the music of which is pretty and shows remarkable talent. There is however enormous progress to be observed in "The Alpine King". Blech, although following in Wagner's footsteps, has a style of his own. His modulations are bold, often daring; his dissonances are frequent but they are fully compensated for by the most charming folk-so

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MANON.

MANON.

The subject of this opera is based on Prevost's famous novel "Manon Lescaut". The libretto is much weaker than the story, but the music is most graceful and charming, and quite makes up for the defects of the text. The scene is laid in France in 1721. The first act takes place in the courtyard of a large inn at Amiens. Several young cavaliers are amusing themselves by paying attentions to three pretty ladies. They impatiently call upon their host to bring dinner, and at last it is brought to the

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ODYSSEUS' DEATH.

ODYSSEUS' DEATH.

This last part of the Tetralogy bears more decided indications of Wagner's influence than the others do; and though strikingly beautiful in many ways it fails to excite quite the same interest as the others, because it reminds us too much of the Nibelungen Ring, especially of Siegfried; nevertheless it deserves attention as the conclusion of the whole series and also on account of Bungert's adopting a later version of the story of Odysseus, whom Bungert does not suffer to die peacefully in his o

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TOSCA.

TOSCA.

The libretto of this opera is adapted from Sardou's tragedy of the same name; it possesses all the exquisite stage effects of which this writer is capable. It is based on fact; these most tragic events having actually taken place in Rome in 1800 at the time of the battle of Marengo. The music far surpasses the libretto, although the latter handles the dreadful facts with as much delicacy as possible. Puccini may fairly be called the most gifted among Italian composers. In Tosca especially he has

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BARFUSSELE (LITTLE BARE FOOT).

BARFUSSELE (LITTLE BARE FOOT).

The young composer's opera is a musical village-story, simple and well adapted to the pretty subject. Heuberger's talent is of the graceful style; he is not very original but his waltzes and "Ländlers" have the true Viennese ring, and the kirmess in the first act is very characteristic; it is melodious and full of healthy humour. The airs often recall popular songs. The story is simple. Its scene is laid in Haldenbrunn, a village in the Black Forest. Amrei and Dami, sister and brother, coming ho

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LA BOHÈME.

LA BOHÈME.

This opera was composed in 1896, and the music is of a far higher order than that of "La Tosca", particularly the love scenes.— La Bohème grows on one more and more, the oftener one hears it; but such bits as Musette's waltz, the quartet and the love duet in the last act cannot fail to appeal to everybody. The composer has given a most realistic subject a highly poetic setting. The first act opens in a garret in Paris, in about 1830, and shows us Rudolph the painter and Marcel the poet, from who

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THE FLEDERMAUS (THE BAT).

THE FLEDERMAUS (THE BAT).

The Fledermaus is the famous Viennese Waltz King's best operetta. The charming music is so well known, that only the libretto needs to be explained, because of its rather complicated plot. A serenade which is listened to by Adele Rosalind Eisenstein's maid, but is intended for her mistress, begins the first act. Adele has just received an invitation from her sister Ida to a grand entertainment to be given by a Russian prince, Orlofsky by name. She is longing to accept it, and attempts to get lea

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FLAUTO SOLO.

FLAUTO SOLO.

D'Albert's new attempt at an opera secured an even greater success than his "Departure", which is still constantly given at the Dresden Opera. "Flauto Solo" had a brilliant first night performance in Dresden in August 1906, both because of the unusually charming music, which is a masterly imitation of the compositions in vogue during the Roccocco period, and also for its remarkably clever libretto. The latter required no little ingenuity, since it is a medley of no less than three languages. The

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MOLOCH.

MOLOCH.

The first representation of this opera took place on December 8th 1906 in the Dresden Royal Opera. It is the production of a highly esteemed German composer, who, though independant in his musical invention follows in Wagner's steps. Two operas "Ingwelde" and the "Pfeiffertag" have already made him a name amongst modern composers; his last, "Moloch" is however the best in orchestration and invention. The Moloch music, if somewhat heavy and loud, is altogether noble and interesting. The first Act

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SALOME.

SALOME.

On December 9th, 1905, this opera was performed for the first time in Dresden. Its success was immense, and can only be compared with that achieved at Bayreuth in 1876 by the first performance of the Nibelungen Ring. The well-nigh perfect interpretation of this highly emotional opera proved to be the most difficult composition ever before attempted at the Dresden Opera House. Salome is the emanation of a genius; for the music is as weird and passionate as the libretto, and moreover perfectly in

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DIE SCHÖNEN VON FOGARAS. (THE BEAUTIES OF FOGARAS.)

DIE SCHÖNEN VON FOGARAS. (THE BEAUTIES OF FOGARAS.)

This opera was first performed in Dresden on September 7th, 1907. Victor Léon's great talent to amuse his public shows itself as clearly here as it did in "Barfüssele". The libretto is a lively picture of the time of the Hungarian King Matthias Corvinus. Grünfeld's music is not deep, but delightfully fresh and naïve. He is master in the instrumentation of miniature art. His vivid rythms display a grace, an "entrain" and a piquancy, which remind one of Delibes and Massenet, without being imitatio

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TIEFLAND. (THE LOWLANDS.)

TIEFLAND. (THE LOWLANDS.)

With this work the gifted composer has gained a footing, which promises to be permanent in the musical world, for the opera has been accepted by all the leading theatres in Germany and Austria, and its performances in Berlin, in Prague, in Dresden and in Vienna have found uniform appreciation. D'Albert's strongest point is his orchestration, which is admirably adapted to the text. His music, if lacking a personal note is always noble, harmonious and perfectly clear and agreeable to the ear. The

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MADAME BUTTERFLY.

MADAME BUTTERFLY.

Though Puccini has not reached the musical heights of "Bohème" and "Tosca" in this opera, it has nevertheless a certain value for its true local colouring, united to the grace and the broad, flowing cantilene peculiar to the Italian composer. These are most prominent in the love duet. In the second act the little flower scene, which seems redolent with the delicate perfume of cherry blossoms, and the shimmering atmosphere, steeped in a peculiar shifting haze, gives score to the best musical effe

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ACTÉ.

ACTÉ.

It is only a few years since the young Spanish composer has begun to be known beyond his own country. He was an infant prodigy, whose musical genius revealed itself in his earliest childhood. He began to play the piano at the age of three, and at seven he knew twenty-four of Bach's fugues by heart. His fame began to be spoken of during his tours in Spain and all over America, where he appeared not only as virtuoso on the piano and on the violin, but also as director in difficult orchestral piece

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EUGENE ONEGIN.

EUGENE ONEGIN.

Tschaikowsky's opera, long known and so intensely popular throughout Russia, that many of its melodies have become household-properties, has taken a long time to penetrate into other countries. But wherever it has been represented, its success was great and its impression upon the public deep and lasting. At the Dresden Opera House it was first given October 20th, 1908, though the composer wrote it fully 29 years ago. It was the most brilliant success of the season. Tschaikowsky is the classic a

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ELEKTRA.

ELEKTRA.

The first production of Strauss' Elektra took place in Dresden January 25th, 1909. It met with immense applause from one part, with trenchant criticism from the Philistines. Certainly Strauss is neither Wagnerian nor academical, and certain it is, that his new work is interesting enough, to necessitate its admission in the Standard Operaglass. The instrumentation is marvellous; orchestral impossibilities are unknown to Strauss. Although he depicts with predilection the weird and ghastly, followi

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VERSIEGELT. (SEALED.)

VERSIEGELT. (SEALED.)

The popularity of this work, the composer's first real success, is due not only to the sparkling and easy flow of melody, but also in large measure to the skill with which the librettists have adapted Rauppach's old-fashioned comedy. We are transported to the age of chokers and kneebreeches, and the easy-going and good-humoured spirit of the times is well caught, and combined with the more delicate touches of feeling. Blech is no mere imitator, but has a distinct individuality. The chorus of the

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