WALLACE.
William Vincent Wallace was born at Waterford, Ireland, in 1815. He first studied music with his father, a bandleader, who afterwards sent him to Dublin, where he speedily became an excellent performer on the clarinet, violin, and piano. At the early age of fifteen he was appointed organist at the Cathedral of Thurles, and soon afterwards was engaged as a theatre director and concert conductor. At the age of eighteen he had a fit of sickness, and upon his recovery went to Australia for his health, and thence to Van Diemen's Land and New Zealand. He passed some time in the latter country, and then began a long series of wanderings, in the course of which he visited the East and West Indies, Mexico,—where he conducted Italian opera,—and the United States. He remained in New York a considerable period, and gave concerts which were very remunerative. In 1846 he returned to Europe, and shortly afterwards his pretty little opera, "Maritana," appeared, and made quite a sensation among the admirers of English opera. In 1847 "Matilda of Hungary" was produced, and met with success. Thirteen years of silence elapsed, and at last, in 1860, he produced his legendary opera, "Lurline," at Covent Garden. It gave great satisfaction at the time, but is now rarely performed. Besides his operas he also wrote many waltzes, nocturnes, studies, and other light works for the piano. After the production of "Lurline" he went to Paris for the purpose of bringing out some of his operas, and while in that city also composed the first act of an opera for London, but his health was too delicate to admit of its completion. He died at Château de Bayen, Oct. 12, 1865.
MARITANA.
"Maritana," a romantic opera in three acts, words by Fitzball, founded upon the well-known play of "Don Caesar de Bazan," was first produced at Drury Lane, London, Nov. 15, 1845. The text closely follows that of the drama. The first act opens in a public square of Madrid, where a band of gypsies are singing to the populace, among them Maritana, a young girl of more than ordinary beauty and vocal accomplishments. Among the spectators is the young King Charles, who after listening to her is smitten with her charms. Don José, his minister, to carry out certain ambitious plans of his own, resolves to encourage the fascinations which have so attracted the King. He extols her beauty and arouses hopes in her breast of future grandeur and prosperity. At this juncture Don Caesar de Bazan, a reckless, rollicking cavalier, comes reeling out of a tavern where he has just parted with the last of his money to gamblers. In spite of his shabby costume and dissipated appearance he bears the marks of high breeding. In better days he had been a friend of Don José. While he is relating the story of his downward career to the minister, Lazarillo, a forlorn young lad who has just attempted to destroy himself, accosts Don Caesar, and tells him a piteous tale of his wrongs. Don Caesar befriends him, and in consequence becomes involved in a duel, which leads to his arrest; for it is Holy Week, and duelling during that time has been forbidden on pain of death. While Don Caesar is on his way to prison, Don José delights Maritana by promising her wealth, a splendid marriage, and an introduction to the court on the morrow.
The second act opens in the prison, and discovers Don Caesar asleep, with his faithful little friend watching by him. It is five o'clock when he wakes, and at seven he must die. Only two hours of life remain for him, but the prospect does not disturb him. On the other hand he is gayer than usual, and rallies Lazarillo with playful mirth. In the midst of his gayety the crafty Don José enters and professes strong friendship for him. When Don Caesar declares that he has but one last wish, and that is to die a soldier's death instead of being ignominiously hanged, Don José says it shall be gratified upon condition that he will marry. The prisoner has but an hour and three quarters to live, but he consents. He is provided with wedding apparel, and a banquet is spread in honor of the occasion. During the feast Lazarillo brings in a paper to Don José containing the King's pardon for Don Caesar, but the minister promptly conceals it. Maritana, her features disguised by a veil, is introduced, and as the nuptial rites are performed the soldiers prepare to execute the penalty. At the expiration of the hour Don Caesar is led out to meet his fate, but Lazarillo has managed to abstract the balls from the guns. The soldiers perform their duty, and Don Caesar feigns death; but as soon as the opportunity occurs, he leaves the prison and hurries to a grand ball given by the Marquis and Marchioness de Montefiori at their palace, while the Marquis, who has had his instructions from Don José to recognize Maritana as his long-lost niece, is introducing her as such. Don Caesar enters and demands his bride. The astonished Don José, perceiving that his scheme to introduce Maritana at court is liable to be frustrated, offers the Marquis a rich appointment if he will induce his wife to play the part he shall suggest. The scheme is soon arranged, and the Marchioness, closely veiled, is presented to Don Caesar as the Countess de Bazan. Disgusted at "the precious piece of antiquity," as he terms her, and fancying that he has been duped, he is about to sign a paper relinquishing his bride, when he suddenly hears Maritana's voice. He recognizes it as the same he had heard during the marriage rites. He rushes forward to claim her, but she is quickly carried away, and he is prevented from following.
The last act opens in a palace belonging to the King, where Maritana is surrounded with luxury, though she is as yet unaware that she is in the royal apartments. Don José, fancying that Don Caesar will not dare to make his appearance, as he does not know of his pardon, carries out his plot by introducing the King to her as her husband. She at first rejects him, and as he presses his suit Don Caesar breaks into the apartment. The King in a rage demands to know his errand. He replies that he is in quest of the Countess de Bazan, and with equal rage inquires who he (the King) is. The King in confusion answers that he is Don Caesar, whereupon the latter promptly replies, "Then I am the King of Spain." Before further explanation can be made, a messenger arrives from the Queen with the announcement that she awaits the King. After his departure Don Caesar and Maritana mutually recognize each other, and upon her advice he resolves to appeal to the Queen to save her. He waits for her Majesty in the palace garden, and while concealed, overhears Don José informing her that the King will meet his mistress that night. He springs out, and denouncing him as a traitor to his King slays him, and then returning to Maritana's apartment finds the King there again, and tells him what has occurred. He has saved the King's honor: will the King destroy his? The monarch, overcome with Don Caesar's gallantry and loyalty, consigns Maritana to him and appoints him Governor of Granada. The appointment does not suit Don Caesar, for Granada is too near his creditors. The King, laughing, changes it to Valencia, a hundred leagues away, and thither Don Caesar conducts his happy bride.
The drama is one which is well adapted to bright, cheerful, melodious music, and the opportunity has been well improved, for "Maritana" is one of the sprightliest and brightest of all the English operas, and contains several ballads which for beauty and expressiveness may well challenge any that Balfe has written. The principal numbers in the first act are Maritana's opening song in the public square ("It was a Knight of princely Mien"); the romanza which she subsequently sings for Don José, "I hear it again, 'tis the Harp in the Air," which is one of the sweetest and most delicate songs in any of the lighter operas; the duet between Maritana and Don José, "Of fairy Wand had I the Power;" Don Caesar's rollicking drinking-song, "All the World over, to love, to drink, to fight, I delight;" and the tripping chorus, "Pretty Gitana, tell us what the Fates decree," leading up to the stirring ensemble in the finale, when Don Caesar is arrested. The first scene of the second act is the richest in popular numbers, containing an aria for alto, Lazarillo's song ("Alas! those Chimes so sweetly pealing"); a charming trio for Don Caesar, Lazarillo, and Don José ("Turn on, old Time, thine Hourglass"); Don Caesar's stirring martial song, "Yes, let me like a Soldier fall;" the serious ballad, "In happy Moments, Day by Day," written by Alfred Bunn, who wrote so many of the Balfe ballads; and the quartet and chorus closing the scene, "Health to the Lady, the lovely Bride!" The second scene opens with a pretty chorus in waltz time ("Ah, what Pleasure! the soft Guitar"), followed by an aria sung by the King ("The Mariner in his Bark"), and introduced by an attractive violin prelude. The finale is a very dramatic ensemble, quintet and chorus ("What Mystery must now control"). The last act falls off in musical interest, though it is very strong dramatically. It contains a few numbers, however, which are very popular; among them one of the most admired of all English songs ("Scenes that are brightest"), which Maritana sings in the King's apartments at the beginning of the act; the humorous duet between the King and Don Caesar when they meet; the love-duet between Don Caesar and Maritana ("This Heart with Bliss o'erflowing"); and Don Caesar's song, "There is a Flower that bloometh," which is in the sentimental ballad style. The freshness, brightness, and gracefulness of the music of this little opera, combined with the unusual interest and delicate humor of the story, have always commended it to popular admiration.