MASANIELLO.
"Masaniello," or "La Muette de Portici," a lyric opera in five acts, words by Scribe and Delavigne, was first produced in Paris, Feb. 29, 1828; in English, at London, May 4, 1829; and in Italian, at London, March 15, 1849. The original cast included Mme. Damoreau-Cinti as Elvira, Mlle. Noblet as Fenella, and M. Massol as Pietro. In the Italian version, Sig. Mario, Mme. Dorus-Gras, and Mlle. Leroux, a famous mime and dancer, took the principal parts; while in its English dress, Braham created one of the greatest successes on record, and established it as the favorite opera of Auber among Englishmen.
The scene of the opera is laid near Naples. The first act opens upon the festivities attending the nuptials of Alphonso, son of the Duke of Arcos, and the Princess Elvira. After a chorus of rejoicing, the latter enters and sings a brilliant cavatina ("O, bel Momento") expressive of her happiness. In the fourth scene the festivities are interrupted by the appearance of Fenella, the dumb girl, who implores the princess to save her from Selva, one of the Duke's officers, who is seeking to return her to prison, from which she has escaped, and where she has been confined at the orders of some unknown cavalier who has been persecuting her. The part of Fenella is of course expressed by pantomime throughout. The remainder of the act is intensely dramatic. Elvira promises to protect Fenella, and then, after some spirited choruses by the soldiers, enters the chapel with Alphonso. During the ceremony Fenella discovers that he is her betrayer. She attempts to go in, but is prevented by the soldiers. On the return of the newly wedded pair Fenella meets Elvira and denounces her husband, and the scene ends with a genuine Italian finale of excitement.
The second act opens on the sea-shore, and shows the fishermen busy with their nets and boats. Masaniello, brother of Fenella, enters, brooding upon the wrongs of the people, and is implored by the fishermen to cheer them with a song. He replies with the barcarole, "Piu bello sorse il giorno,"—a lovely melody, which has been the delight of all tenors. His friend Pietro enters and they join in a duet ("Sara il morir") of a most vigorous and impassioned character, expressive of Masaniello's grief for his sister and their mutual resolution to strike a blow for freedom. At the conclusion of the duet he beholds Fenella about to throw herself into the sea. He calls to her and she rushes into his arms and describes to him the story of her wrongs. He vows revenge, and in a magnificent, martial finale, which must have been inspired by the revolutionary feeling with which the whole atmosphere was charged at the time Auber wrote (1828), incites the fishermen and people to rise in revolt against their tyrannical oppressors.
In the third act, after a passionate aria ("Il pianto rasciuga") by Elvira, we are introduced to the market-place, crowded with market-girls and fishermen disposing of their fruits and fish. After a lively chorus, a fascinating and genuine Neapolitan tarantelle is danced. The merry scene speedily changes to one of turmoil and distress. Selva attempts to arrest Fenella, but the fishermen rescue her and Masaniello gives the signal for the general uprising. Before the combat begins, all kneel and sing the celebrated prayer, "Nume del ciel," taken from one of Auber's early masses, and one of his most inspired efforts.
The fourth act opens in Masaniello's cottage. He deplores the coming horrors of the day in a grand aria ("Dio! di me disponesti") which is very dramatic in its quality. Fenella enters, and after describing the tumult in the city sinks exhausted with fatigue. As she falls asleep he sings a slumber song ("Scendi, o sonno dal ciel"), a most exquisite melody, universally known as "L'Air du Sommeil." It is sung by the best artists mezzo voce throughout, and when treated in this manner never fails to impress the hearer with its tenderness and beauty. At its close Pietro enters and once more rouses Masaniello to revenge by informing him that Alphonso has escaped. After they leave the cottage, the latter and Elvira enter and implore protection. Fenella is moved to mercy, and a concerted number follows in which Masaniello promises safety and is denounced by Pietro for his weakness. In the finale, the magistrates and citizens enter, bearing the keys of the town and the royal insignia, and declare Masaniello king in a chorus of a very inspiriting and brilliant character.
The last act is very powerful, both dramatically and musically. It opens in the grounds of the Viceroy's palace, and Vesuvius is seen in the distance, its smoke portending an eruption. Pietro and companions enter with wine-cups in their hands, as from a banquet, and the former sings a barcarole ("Ve' come il vento irato"). At its close other fishermen enter and excitedly announce that troops are moving against the people, that Vesuvius is about to burst into flame, and that Masaniello, their leader, has lost his reason. This is confirmed by the appearance of the hero in disordered attire, singing music through which are filtered fragments of the fishermen's songs as they rise in his disturbed brain. This scene, the third in the act, is one not only of great power but of exquisite grace and tenderness, and requires an artist of the highest rank for its proper presentation. Fenella rouses him from his dejection, and he once more turns and plunges into the fight, only to be killed by his own comrades. On learning of her brother's death she unites the hands of Alphonso and Elvira, and then in despair throws herself into the burning lava of Vesuvius.
"Masaniello" made Auber's fame at the Grand Opera, as "Fra Diavolo" made it at the Opera Comique. It has no points in common with that or any other of his works. It is serious throughout, and full of power, impetuosity, and broad dramatic treatment. Even Richard Wagner has conceded its vigor, bold effects, and original harmonies. Its melodies are spontaneous, its instrumentation full of color, and its stirring incidents are always vigorously handled. In comparison with his other works it seems like an inspiration. It is full of the revolutionary spirit, and its performance in Brussels in 1830 was the cause of the riots that drove the Dutch out of Belgium.