THOMAS.
Charles Ambroise Thomas was born at Metz, Aug. 5, 1811, and entered the Paris Conservatory in 1828, where he carried off the Grand Prize in 1832, which entitled him to go to Italy. During his Italian residence he wrote a cantata, "Hermann und Ketty," and several instrumental works. His first work at the Opera Comique was the one-act opera, "La double echelle," produced in 1837 with success. He then brought out several ballets at the Académie, but returned to the Opera Comique again, where, between 1840 and 1866, he composed thirteen operas, the most successful of which were "Le Songe d'une nuit d'été" (1850), "Raymond" (1851), "Psyche" (1857), and "Mignon" (1866). During this period he also wrote a large number of cantatas, choruses, part-songs, and instrumental works. His next great work was "Hamlet," first produced March 9, 1868, the success of which gained him the position of Director of the Conservatory in 1871. Since that time he has written only the opera "Françoise de Rimini," performed April 14, 1882. In 1880 he was made a member of the Legion of Honor. In common with Gounod he now shares the honor of being one of the few French writers who hold a high rank among modern composers.
MIGNON
"Mignon," an opera comique in three acts, words by Barbier and Carré, the subject taken from Goethe's "Wilhelm Meister," was first produced at the Opera Comique, Paris, Nov. 17, 1866, with the following cast:—
MIGNON Mme. GALLI-MARIÉ.
WILHELM MEISTER M. ACHARD.
LAERTES M. CONDERS.
LOTARIO M. BATAILLE.
FILINA Mme. CABEL.
The scene of the first two acts is laid in Germany, and of the third in Italy. Mignon, the heroine, in her childhood was stolen by gypsies. She is of noble birth. The mother died shortly after her bereavement, and the father, disguised as the harper Lotario, has wandered for years in quest of his daughter. The opera opens in the yard of a German inn, where a troupe of actors, among them Filina and Laertes, are resting, on their way to the castle of a neighboring prince, where they are to give a performance.
A strolling gypsy band arrives about the same time, and stops to give an entertainment to the guests. Mignon, who is with the band, is ordered to perform the egg dance, but, worn out with fatigue and abusive treatment, refuses. Giarno, the leader, rushes at her, but the old harper interposes in her behalf. Giarno then turns upon Lotario, when the wandering student, Wilhelm Meister, suddenly appears and rescues both Mignon and the harper. To save her from any further persecution he engages her as his page, and follows on in the suite of Filina, for whom he conceives a violent and sudden passion. Touched by his kind attentions to her, Mignon falls in love with Wilhelm, who, ignorant of his page's affection, becomes more and more a prey to the fascinations of Filina. At last the troupe arrives at the castle, Wilhelm and Mignon with them. Wilhelm enters with the others, leaving Mignon to await him outside. Maddened with jealousy, she attempts to throw herself into a lake near by, but is restrained by the notes of Lotario's harp. She rushes to him for counsel and protection, and in her despair invokes vengeance upon all in the castle. As the entertainment closes, Filina and her troupe emerge, joyful over their great success. She sends Mignon back for some flowers she has left, when suddenly flames appear in the windows. Maddened by his own grief and Mignon's troubles Lotario has fired the castle. Wilhelm rushes into the burning building and brings out the unconscious Mignon in his arms.
The last act opens in Lotario's home in Italy, whither Mignon has been taken, followed by Wilhelm, who has discovered her devoted attachment to him, and has freed himself from the fascinations of Filina. Through the medium of a long-concealed casket containing a girdle which Mignon had worn in her childhood, also by a prayer which she repeats, and the picture of her mother, Lotario is at last convinced that she is his daughter, and gives his blessing to her union with Wilhelm.
The overture recites the leading motives of the work. The first act opens with a fresh and melodious chorus of the townspeople over their beer in the inn yard ("Su borghesi e magnati"). During their singing a characteristic march is heard, and the gypsy band enters. The scene is a charming one, the little ballet being made still more picturesque by the fresh chorus and a song of Filina's in waltz time. The scene of the encounter with Giarno and Mignon's rescue follows, and leads up to a very spirited quintet, which is followed by a graceful trio between Wilhelm, Filina, and Laertes, the actor. In the next scene Wilhelm questions Mignon as to her history, and at the end of their pathetic duet, when he says, "Were I to break thy chains and set thee free, to what beloved spot wouldst thou take thy way?" she replies in the beautiful romanza, "Non conosci il bel suol," more familiarly known in Goethe's own words, "Kennst du das Land,"—a song full of tender beauty and rare expression, and one of the most delightful inspirations of any composer. It is said that much of its charm comes from the composer's study of Ary Scheffer's picture of Mignon. Be this as it may, he has caught the inner sense of the poem, and expressed it in exquisite tones. It is followed almost immediately by a duet between Mignon and Lotario ("Leggiadre rondinelle") of almost equal beauty, known as the Swallow duet. After a somewhat uninteresting scene between Laertes, Filina, and Frederick, who is also in love with Filina, the finale begins with the departure of the actors to fulfil their engagement, in which Filina, in a graceful aria ("Grazie al gentil signor"), invites Wilhelm to be of the number.
The second act opens in Filina's boudoir, where she is at her toilet, arraying herself for her part as Titania in the forthcoming performance of the "Midsummer Night's Dream" at the castle. As Wilhelm and Mignon enter the apartment, a very dramatic conversation ensues between them in the form of a terzetto ("Ohimè quell' acre riso"). Mignon is in despair at the attention Wilhelm pays Filina, and the latter adds to her pangs by singing with him a gay coquettish aria ("Gai complimenti"). As they leave the room Mignon goes to the mirror and begins adorning herself as Filina had done, hoping thereby to attract Wilhelm, singing meanwhile a characteristic song ("Conosco un zingarello") with a peculiar refrain, which the composer himself calls the "Styrienne." It is one of the most popular numbers in the opera, and when first sung in Paris made a furor. At the end of the scene Mignon goes into a cabinet to procure one of Filina's dresses, and the lovelorn Frederick enters and sings his only number in the opera, a bewitching rondo gavotte ("Filina nelle sale"). Wilhelm enters, and a quarrel between the jealous pair is prevented by the sudden appearance of Mignon in Filina's finery. She rushes between them, Frederick makes his exit in a fume, and Wilhelm announces to Mignon his intention to leave her, in the aria, "Addio, Mignon, fa core," one of the most pathetic songs in the modern opera. In the next scene she tears off her finery and rushes out expressing her hatred of Filina. The scene now changes to the park surrounding the castle where the entertainment is going on. Mignon hears the laughter and clapping of hands, and overcome with despair attempts to throw herself into the lake, but is restrained by Lotario, and a beautiful duet ensues between them ("Sofferto hai tu?"). In the next scene Filina, the actors, and their train of followers emerge from the castle, and in the midst of their joy she sings the polacca, "Ah! per stassera," which is a perfect feu de joie of sparkling music, closing with a brilliant cadenza. The finale, which is very dramatic, describes the burning of the castle and the rescue of Mignon.
The last act is more dramatic than musical, though it contains a few delightful numbers, among them the chorus barcarole in the first scene, "Orsu, sciogliam le vela," a song by Wilhelm ("Ah! non credea"), and the love duet, "Ah! son felice," between Wilhelm and Mignon, in which is heard again the cadenza of Filina's polacca. "Mignon" has always been a success, and will unquestionably always keep its place on the stage,—longer even than the composer's more ambitious works, "Hamlet" and "Françoise de Rimini," by virtue of its picturesqueness and poetic grace, as well as by the freshness, warmth, and richness of its melodies. In this country opera-goers will long remember "Mignon" by the great successes made by Miss Kellogg as Filina, and by Mme. Lucca and Mme. Nilsson in the title-rôle.