LE NOZZE DI FIGARO.
Comic Opera in four acts by MOZART.
Text by LORENZO DA PONTE.
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. "Figaro's wedding" has the same character of gaiety; no storms, very few clouds; there prevails throughout an atmosphere of sunshine and brightness. After Don Juan, Figaro was Mozart's darling, and it shines radiantly in the crown of his fame. There is no triviality in it, as we find in most of the comic operas of Offenbach and others; it is always noble as well as characteristic in every part.
The text may be paraphrased thus:
Count Almaviva, though married to Rosina and loving her ardently, cannot bring himself to cease playing the role of a gallant cavalier; he likes pretty women wherever he finds them, and not withstanding his high moral principles, is carrying on a flirtation with Rosina's maid, the charming Susanna. This does not hinder him from being jealous of his wife, who is here represented as a character both sweet and passive. He suspects her of being overfond of her Page, Cherubino.—From the by-standers, Doctor Bartolo and Marcellina, we hear, that their old hearts have not yet ceased to glow at the touch of youth and love; Bartolo would fain give his affections to Susanna, while Marcellina pretends to have claims on Figaro.
These are the materials which are so dexterously woven into the complicated plot and which furnish to many funny qui-pro-quos.
In the second act we find Cherubino the Page in the rooms of the Countess, who, innocent and pure herself, sees in him only a child; but this youth has a passionate heart and he loves his mistress ardently. Mistress and maid have amused themselves with Cherubino, putting him into women's dresses. The Count, rendered suspicious by a letter, given to him by Basilio, bids his wife open her door. The women, afraid of his jealousy, detain him a while, and only open the door, when Cherubino has got safely through the window and away over the flower-beds. The Count, entering full of wrath, finds only Susanna with his wife. Ashamed of his suspicions, he asks her pardon and swears never to be jealous again. All blame in the matter of the letter is put on Figaro's shoulders, but this cunning fellow lies boldly, and the Count cannot get the clue to the mystery. Figaro and Susanna, profiting by the occasion, entreat the Count at last to consent to their wedding, which he has always put off. At this moment the gardener Antonio enters, complaining of the spoilt flower-beds. Figaro taking all upon himself, owns that he sprang out of the window, having had an interview with Susanna and fearing the Count's anger. All deem themselves saved, when Antonio presents a document, which the fugitive has lost. The Count, not quite convinced, asks Figaro to tell him the contents; but the latter, never at a loss and discovering that it is the Page's patent, says, that the document was given to him by the Page, the seal having been forgotten. The Count is about to let him off, when Bartolo appears with Marcellina, who claims a matrimonial engagement with Figaro. Her claim is favored by the Count, who wishes to see Susanna unmarried. Out of this strait however they are delivered by finding that Figaro is the son of the old couple, the child of their early love; and all again promises well. But the Countess and Susanna have prepared a little punishment for the jealous husband as well as for the flighty lover.
They have both written letters, in which they ask the men to an interview in the garden. Susanna's letter goes to the Count, Rosina's to Figaro. Under the wings of night the two women meet, each, her own lover, but Susanna wears the Countess' dress, while Rosina has arrayed herself in Susanna's clothes.—
The Countess, not usually given to such tricks, is very anxious. While she awaits her husband, Cherubino approaches, and taking her for Susanna, he, like a little Don Juan as he is, makes love to her. Hearing the Count's steps, he disappears. Almaviva caresses the seeming Susanna, telling her nice things and giving her a ring, which she accepts. They are observed by the other couple and the sly Figaro, who has recognized Susanna, notwithstanding her disguise, denounces the Count to her, vows eternal love and generally makes his bride burn with wrath. In her anger she boxes his ears, upon which he confesses to having known her from the first, and at once restores her good humor.
Seeing the Count approach, they continue to play their former roles, and the false Countess makes love to Figaro, till the Count accosts her as "traitress". For a while she lets him suffer all the tortures of jealousy, then the lights appear and the Count stands ashamed before his lovely wife, recognizing his mistake. The gentle Countess forgives him, and the repenting husband swears eternal fidelity. He speedily unites the lovers Figaro and Susanna and forgives even the little Page Cherubino.
THE NUREMBERG DOLL.
(DIE NÜRNBERGER PUPPE.)
Comic Opera in one act by A. ADAM.
Text by LEUVEN and BEAUPLAN, translated into German by ERNST PASQUÉ.
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 misappropriated the latter's inheritance.
The old miser wants to procure a wife for his darling, a wife endowed with beauty and every virtue, and as he is persuaded, that such a paragon does not exist in life, he has constructed a splendid doll, which he hopes to endow with life by help of doctor Faust's magic book.
He only awaits a stormy night for executing his design. Meanwhile he enjoys life and when presented to us is just going with Benjamin to a masked ball, after sending at the same time his nephew supperless to bed.—When they have left Heinrich reappears in the garb of Mephistopheles and clapping his hands, his fiancée Bertha, a poor seamstress soon enters.
Sadly she tells her lover, that she is unable to go to the ball, having given all her money, which she had meant to spend on a dress, to a poor starving beggar-woman in the street.
Heinrich touched by his love's tender heart, goodhumoredly determines to lay aside his mask, in order to stay at home with Bertha, when suddenly a bright idea strikes him. Remembering the doll, which his uncle hides so carefully in his closet, which has however long been spied out by Heinrich, he shows it to Bertha, who delightedly slips into the doll's beautiful clothes which fit her admirably.—
Unfortunately Cornelius and his son are heard returning, while Bertha is still absent dressing. The night has grown stormy, and the old man deems it favorable for his design; so he at once proceeds to open Faust's book and to begin the charm.
Heinrich, who has hardly had time to hide himself in the chimney, is driven out by his cousin's attempts to light a fire. He leaps down into the room and the terrified couple take him for no other than the Devil in person, Heinrich wearing his mask and being besides blackened by soot from the chimney. Perceiving his uncle's terror, he profits by it, and at once beginning a conjuration he summons the doll, that is to say Bertha in the doll's dress. Father and son are delighted by her performances, but when she opens her mouth and reveals a very wilful and wayward character, Cornelius is less charmed. The doll peremptorily asks for food, and Mephistopheles indicates, that it is to be found in the kitchen. While the worthy pair go to fetch it, Mephistopheles hastily exchanging words with his lady-love, vanishes into his sleeping room.
The doll now begins to lead a dance, which makes the toymaker's hair stand on end. She first throws the whole supper out of the window, following it with plate, crockery, toys etc. Then taking a drum, she begins to drill them, like a regular tambour-major, slapping their ears, mouths and cheeks as soon as they try to approach her.
At last, when they are quite worn out, she flies into the closet. But now the father's spirit is roused, he resolves to destroy his and the Devil's work; however he is hindered by Heinrich, who now makes his appearance, and seems greatly astonished at the uproar and disorder he finds in the middle of the night. He only wants to gain time for Bertha to undress and then escape.—
Resolutely the old man walks into the closet to slay the doll. But he returns pale and trembling, having destroyed her while asleep, and believing to have seen her spirit escape through the window with fiendish laughter.—Yet awed by his deed, he sees Heinrich returning who confesses to his uncle, that he has found out his secret about the doll, and that, having accidently broken it, he has substituted a young girl. Cornelius, half dead with fright, sees himself already accused of murder; his only salvation seems to lie in his nephew's silence and instant flight. Heinrich is willing to leave the country, provided his uncle give him back his heritage, which consists of 10,000 Thalers. After some vain remonstrances, the old man gives him the gold. Heinrich having gained his ends, now introduces Bertha, and the wicked old fool and his son see too late, that they have been the dupes of the clever nephew.—