BOIELDIEU.
François Adrien Boieldieu was born Dec. 16, 1775, at Rouen, France. Little is known of his earlier life, except that he studied for a time with Broche, the cathedral organist. His first opera, "La Fille Coupable," appeared in 1793, and was performed at Rouen with some success. In 1795 a second opera, "Rosalie et Myrza," was performed in the same city; after which he went to Paris, where he became acquainted with many prominent musicians, among them Cherubini. His first Paris opera was the "Famille Suisse" (1797), which had a successful run. Several other operas followed, besides some excellent pieces of chamber music which secured him the professorship of the piano in the Conservatory. He also took lessons at this time of Cherubini in counterpoint, and in 1803 brought out a very successful work, "Ma Tante Aurore." We next hear of him in St. Petersburg, as conductor of the Imperial Opera, where he composed many operas and vaudevilles. He spent eight years in Russia, returning to Paris in 1811. The next year one of his best operas, "Jean de Paris," was produced with extraordinary success. Though he subsequently wrote many operas, fourteen years elapsed before his next great work, "La Dame Blanche," appeared. Its success was unprecedented. All Europe was delighted with it, and it is as fresh to-day as when it was first produced. The remainder of Boieldieu's life was sad, owing to operatic failures, pecuniary troubles, and declining health. He died at Jarcy, near Paris, Oct. 8, 1834.
LA DAME BLANCE.
"La Dame Blanche," opera comique in three acts, words by Scribe, adapted from Walter Scott's novels, "The Monastery" and "Guy Mannering," was first produced at the Opera Comique, Dec. 10, 1825, and was first performed in English under the title of "The White Maid," at Covent Garden, London, Jan. 2, 1827. The scene of the opera is laid in Scotland. The Laird of Avenel, a zealous partisan of the Stuarts, was proscribed after the battle of Culloden, and upon the eve of going into exile intrusts Gaveston, his steward, with the care of the castle, and of a considerable treasure which is concealed in a statue called the White Lady. The traditions affirmed that this lady was the protectress of the Avenels. All the clan were believers in the story, and the villagers declared they had often seen her in the neighborhood. Gaveston, however, does not share their superstition nor believe in the legend, and some time after the departure of the Laird he announces the sale of the castle, hoping to obtain it at a low rate because the villagers will not dare to bid for it through fear of the White Lady. The steward is led to do this because he has heard the Laird is dead, and knows there is no heir to the property. Anna, an orphan girl, who had been befriended by the Laird, determines to frustrate Gaveston's designs, and appears in the village disguised as the White Lady. She also writes to Dickson, a farmer, who is indebted to her, to meet her at midnight in the castle of Avenel. He is too superstitious to go, and George Brown, a young lieutenant who is sharing his hospitality, volunteers in his stead. He encounters the White Lady, and learns from her he will shortly meet a young lady who has saved his life by her careful nursing after a battle,—Anna meanwhile recognizing George as the person she had saved. When the day of sale comes, Dickson is empowered by the farmers to purchase the castle, so that it may not fall into Gaveston's hands. George and Anna are there; and the former, though he has not a shilling, buys it under instructions from Anna. When the time comes for payment, Anna produces the treasure which had been concealed in the statue, and, still in the disguise of the White Lady, discovers to him the secret of his birth during the exile of his parents. Gaveston approaches the spectre and tears off her veil, revealing Anna, his ward. Moved by the zeal and fidelity of his father's protégée, George offers her his hand, which, after some maidenly scruples, she accepts.
The opera is full of beautiful songs, many of them Scotch in character. In the first act the opening song of George ("Ah, what Pleasure a Soldier to be!") is very poetical in its sentiment. It also contains the characteristic ballad of the White Lady, with choral responses ("Where yon Trees your Eye discovers"), and an exquisitely graceful trio in the finale ("Heavens! what do I hear?"). The second act opens with a very plaintive romanza ("Poor Margaret, spin away!"), sung by Margaret, Anna's old nurse, at her spinning-wheel, as she thinks of the absent Laird, followed in the fifth scene by a beautiful cavatina for tenor ("Come, O Gentle Lady"). In the seventh scene is a charming duet ("From these Halls"), and the act closes with an ensemble for seven voices and chorus, which has hardly been excelled in ingenuity of treatment. The third act opens with a charmingly sentimental aria for Anna ("With what delight I behold"), followed in the third scene by a stirring chorus of mountaineers, leading up to "the lay ever sung by the Clan of Avenel,"—the familiar old ballad, "Robin Adair," which loses a little of its local color under French treatment, but gains an added grace. It is stated on good authority that two of Boieldieu's pupils, Adolph Adam and Labarre, assisted him in the work, and that the lovely overture was written in one evening,—Boieldieu taking the andante and the two others the remaining movements. Though a little old-fashioned in some of its phrasing, the opera still retains its freshness and beautiful sentiment. Its popularity is best evinced by the fact that up to June, 1875, it had been given 1340 times at the theatre where it was first produced.