GOLDMARK.
Karl Goldmark was born at Keszthely, Hungary, May 18, 1832. He first studied with the violinist Jansa at Vienna, and in his fifteenth year entered the Conservatory in that city. Little is known of the events of his early life. Indeed, his success in his profession is generally credited more to his native ability and industry than to the influence of teachers or schools. He began composition at an early period, and produced his works in concerts with much success under the encouragement of Hellmesberger and others, who recognized his ability before he had made any impression out of Vienna. Four of his compositions during the past fifteen years, the "Sakuntala" overture, the operas "The Queen of Sheba" and "Merlin," and "Die Iändliche Hochzeit" (The Country Wedding) symphony have made a permanent reputation for him. The overture and operas have been performed several times in this country. Besides these he has written several pieces of chamber music.
THE QUEEN OF SHEBA.
"The Queen of Sheba" was first produced in Vienna, March 10, 1875, and was first heard in this country at New York, Dec. 2, 1885, when the cast was as follows:—
KING SOLOMON Herr ROBINSON.
HIGH-PRIEST Herr FISCHER.
SULAMITH Fraülein LEHMANN.
ASSAD Herr STRITT.
BAAL HANAN Herr ALEXI.
QUEEN OF SHEBA Frau KRAMER-WEIDL.
ASTAROTH Fraülein BRANDT.
The libretto by Mosenthal is one of rare excellence in its skilful treatment of situations and arrangement of scenes with the view to spectacular and dramatic effect. The Biblical story has but little to do with the action of the opera beyond the mere fact of the famous visit of the Queen of Sheba to Solomon. The stirring episodes during the journey and the visit spring from the librettist's imagination. The story in substance is as follows:—
King Solomon, learning of the Queen's intention to visit him, sends his favorite courtier Assad to escort her. While she waits outside the gates of Jerusalem, Assad announces her arrival to the King and Sulamith, the daughter of the high-priest, to whom the courtier is affianced. Observing his disturbed looks, the King, after dismissing his attendants, inquires the cause. Assad replies that on their journey through the forest he had encountered a nymph bathing whose beauty had so impressed him as to banish even the thoughts of his affianced. The wise Solomon counsels him to marry Sulamith at once. Meanwhile the Queen comes into the King's presence, and as she lifts her veil reveals the unknown fair one. She affects ignorance of Assad's passion; but when she learns that he is to wed Sulamith love for him springs up in her own breast. Upon the day of the wedding ceremony Assad, carried away by his longing for the Queen, declares her to be his divinity, and is condemned to death for profaning the Temple. Both the Queen and Sulamith appeal to the King for mercy. He consents at last to save his life, but banishes him to the desert. The Queen seeks him there, and makes an avowal of her love; but Assad repulses her. As Sulamith comes upon the scene a simoom sweeps across the desert. They perish in each other's arms; while in a mirage the Queen and her attendants are seen journeying to their home.
The first act opens in the great hall of Solomon's palace with a brilliant, joyous chorus ("Open the Halls, adorn the Portals") in praise of the King's glory. After the entrance of the high-priest, Sulamith sings a fascinating bridal song ("My own Assad returns"), richly oriental both in music and sentiment, dreamy and luxurious in its tone, and yet full of joyous expectation, with characteristic choral refrain and dainty accompaniment. The fourth and fifth scenes are full of agitation and unrest, and lead up to Assad's explanation of his perturbed condition ("At Lebanon's Foot I met Arabia's Queen"), a monologue aria of rich glowing color and reaching a fine dramatic climax as it progresses from its sensuous opening to the passionate intensity of its finale. It is followed by the entrance of the Queen, accompanied by a brilliant march and a jubilant chorus ("To the Sun of the South our Welcome we bring") and a stirring concerted number, describing the recognition of the Queen by Assad; after which the chorus resumes its jubilant strain, bringing the act to a close.
The second act opens in the gardens of the palace and discloses the Queen, who gives expression to her love for Assad and her hatred of Sulamith in an impassioned aria ("Let me from the festal Splendor"). In the second scene Astaroth, her slave, appears and lures Assad by a weird strain, which is one of the most effective passages in the opera ("As the Heron calls in the Reeds"). After a short arioso by Assad ("Magical Sounds, intoxicating Fragrance"), a passionate duet with the Queen follows, interrupted by the call of the Temple-guard to prayer. The scene changes to the interior of the sanctuary with its religious service; and with it the music changes also to solemn Hebrew melodies with the accompaniment of the sacred instruments, leading up to the stirring finale in which Assad declares his passion for the Queen, amid choruses of execration by the people.
The third act opens in the banquet-hall upon a scene of festivity introduced by the graceful bee dance of the Almas. It is followed by the powerful appeal of the Queen for Assad's life, rising to an intensely dramatic pitch as she warns the King of the revenge of her armed hosts ("When Sheba's iron Lances splinter and Zion's Throne in Ruins falls"). In sad contrast comes the mournful chant which accompanies Sulamith as she passes to the vestal's home ("The Hour that robbed me of him"), and ends in her despairing cry rising above the chorus of attendants as Solomon also refuses her petition.
The last act passes in the desert. Assad beneath a solitary palm-tree laments the destiny which pursues him ("Whither shall I wend my weary Steps?"). In the next scene the Queen appears, and an agitated duet follows, ending with her repulse. Assad in despair calls upon death to relieve him. The sky darkens. Clouds of sand envelop the fugitive. The palm bends before the blast as the simoom sweeps by. The storm at last subsides. The sky grows brighter; and the Queen and her attendants, with their elephants and camels, appear in a mirage journeying eastward as Sulamith and her lover expire in each other's arms. As their duet dies away, the chorus of maidens brings the act to a close with a few strains from the love-song in the first act.
MERLIN.
The opera of "Merlin" was first performed at Vienna, Nov. 17, 1886, and was heard for the first time in this country at New York, Jan. 3, 1887, under the direction of Mr. Walter Damrosch, with the following cast:—
KING ARTHUR Herr ROBINSON.
MODRED Herr KEMLITZ.
LANCELOT Herr BURSCH.
GAWEIN Herr HEINRICH.
GLENDOWER Herr VON MILDE.
MERLIN Herr ALVARY.
VIVIANE Fraülein LEHMANN.
BEDWYR Herr SIEGLITZ.
THE FAY MORGANA Fraülein BRANDT.
THE DEMON Herr FISCHER.
The libretto of the opera is by Siegfried Lipiner. The scene is laid in Wales, and the hero, Merlin, is familiar as one of the knights of King Arthur's round-table. The story is as follows:—
The Devil, ambitious to banish all good from the world, unites himself to a virgin in order that he may beget a child who shall aid him in his fell purpose. The child is Merlin, who partakes of the mother's goodness, and instead of aiding his father, seeks to thwart his design. The Devil thereupon consults the Fay Morgana, who tells him that Merlin will lose his power if he falls in love. In the opening scene King Arthur sends Lancelot to Merlin for aid, who promises him victory and achieves it by the assistance of his familiar, a demon, who is in league with the Devil. Tired of his service to Merlin, the demon contrives to have him meet the beautiful Viviane, with whom he falls in love. The second act transpires in Merlin's enchanted garden, and reveals his growing passion, and at the same time his waning power of magic; for when once more Arthur summons his aid he attempts to tear himself away from her only to realize his weakness. She seeks to detain him by throwing a magic veil over him which has been given her by the demon; in an instant the scene changes, and Merlin appears confined to a rock by fiery chains, while the demon mocks him from a neighboring eminence, and Viviane gives way to anguish. In the last act Viviane is told by the Fay Morgana that Merlin's release can only be secured by woman's self-sacrifice. Once more an appeal for help comes to him from Arthur, and he promises his soul to the demon in exchange for his freedom. His chains fall off. He rushes into the battle and secures the victory, but is fatally wounded. The demon claims him; but Viviane, remembering the words of the Fay Morgana, stabs herself and thus balks him of his expectant prey.
Like Wagner's operas, "Merlin" has its motives, the principal ones being that of the demon, or the evil principle, and two love motives. In its general treatment it is also Wagnerish. The first scene opens with the spirited message of Lancelot to Glendower, beseeching Merlin's aid for the hard-pressed Arthur. It is followed by the strains of Merlin's harp in the castle and his assurance of victory, and these in turn by very descriptive incantation music summoning the demon and the supernatural agencies which will compass the defeat of Arthur's enemies. Then comes the interview between the demon and the Fay Morgana, in which he learns the secret of Merlin's weakness. In the next scene Arthur returns from his victory over the Saxons to the tempo of a stirring march, and accompanied by the joyous choruses of women. A vigorous episode, in which Bedwyr, one of Arthur's knights, is charged with treachery, is followed by Merlin's chant of victory with chorus accompaniment. As its strains die away a distant horn announces Viviane, who makes her appearance singing a breezy hunting song with her maidens, leading up to a spirited septet. Then follows the baffled attempt of Viviane to crown Merlin, the scene closing with a repetition of the chant of victory and the choruses of jubilation.
The second act opens in the enchanted gardens of Merlin; and the first scene reveals a conspiracy to seize the crown during Arthur's absence and proclaim Modred king, and the farewell of Arthur and his suite to Merlin. The magic-veil scene follows with its fascinating dance tempos, and leads with its graceful measures up to the passionate love-scene between Merlin and Viviane, which is harshly broken in upon by the clash of arms between Modred and his perfidious companions and the faithful friends of Arthur. A dramatic scene of great energy follows, in which Viviane at last throws the magic veil around Merlin with the transforming results already told.
The last act opens with Viviane's mournful lament for the wretched fate which she has brought down upon her lover, and the announcement of the means by which he may be released made to her in slumber by the Fay Morgana. Her maidens seek to rouse her with choral appeals, in which are heard phrases of her hunting song. Meanwhile mocking spirits appear about Merlin and taunt him in characteristic music. Then follows the compact with the demon, which releases him. He rushes into the battle accompanied by an exultant song from Viviane; but soon the funeral march, as his followers bear him from the field, tells the mournful story of his fate. A very dramatic ensemble contains the deed of self-sacrifice, by which Viviane ends her life to redeem Merlin from the demon, and with this powerful effect the opera closes.