Liszt, the great redeemer of many a tried genius brought the opera upon the stage on the 15th of December 1858 in Weimar.
But the Intendant Dingelstedt was against him, the opera proved an entire failure, though it was meant more as demonstration against Liszt than against the opera. Liszt, tired of these disgraceful intrigues, quitted Weimar, only to return there from time to time in private. With his abdication Weimar's glorious time was passed. In 1889 at last the Barber of Bagdad took its rightful place after many years of oblivion.
Munich, Mannheim and Vienna came first and the music having been enthusiastically applauded, Dresden followed the good example in October 1890. The music is full of sweet melody, the composition masterfully set. Its comic parts are not quite natural, but the lyric is almost classical and the text, written by the composer himself, though lacking in action, shows, that Cornelius was a true poet as well as a true musician.
The scene takes place in Bagdad, in the house of a wealthy young Mussulman, called Nurredin. He is lying on a couch, surrounded by his servants, who think him dying. But it is only the flame of love which devours his strength and deprives him of all energy.—As soon as Bostana, an old relative and companion of his ladylove, appears, in order to tell him that Margiana, his adored, is willing to receive him, Nurredin forgets his illness and only longs for the promised interview. The ensuing duet between him and Bostana, wherein she gives instruction about time and hour of the rendez-vous, is delightfully fresh and piquant.
As Nurredin has neglected his personal appearance during his malady, his first wish is for a barber, who is speedily sent to him by Bostana.—This old worthy Abul Hassan Ali Ebe Bekar the barber makes him desperate by his vain prattle. Having solemnly saluted to Nurredin, he warns him not to leave the house to-day, as his horoscope tells him that his life is in danger. The young man not heeding him, Abul Hassan begins to enumerate all his talents as astrologer, philologer, philosopher, &c., in short he is everything and knows everything. When Nurredin orders him to begin his shaving he relates the fate of his six brothers, who all died before him and always of love. At last Nurredin's patience giving way, he calls his servants in to throw the old dotard out of doors. But Abul drives them all back and Nurredin tries to pacify him with flattery and finally succeeds.
Now Abul is curious as all barbers are, and having heard Nurredin's sighs, he determines to find out all about the young man's love. This scene is most ludicrous, when Abul sings his air "Margiana", which name he has heard from Nurredin's lips, and the latter is in despair at being left with only one side of his head shaved. This great work done at last, Abul wants to accompany the young lover to the house of the Cadi Baba Mustapha, Margiana's father. Nurredin again summons his servants, who begin to surround Abul, pretending to doctor him. Nurredin escapes, but Abul after having shaken off the servants, runs after him.
The second act takes place in the Cadi's house.
Margiana is full of sweet anticipation, while her father, who has already chosen a husband for his daughter in the person of an old friend of his youth, shows her a large trunk full of gifts from the old bridegroom. Margiana admires them obediently. A musical scene of surpassing beauty follows, where we hear the call of the Muezzin summoning the faithful to prayer. It is also the sign for Nurredin to appear. The Cadi hurries to the Mosque and Bostana introduces the lover. Here ensues a charming love-duet, accompanied, originally enough, by a song from the old barber, who watches before the house. Suddenly they are interrupted by cries of alarm, and with dismay they learn from Bostana, that the Cadi has returned to punish a slave, who has broken a precious vase.
Nurredin, unable to escape unobserved, is hidden in the big trunk. Meanwhile Abul, having heard the slave's cries and mistaking them for Nurredin's, summons the latter's servants and breaks into the Cadi's house to avenge his young friend, whom he believes to be murdered. Bostana angrily bids him carry away the trunk signifying to him whom she has hidden in it, but the Cadi intervenes, believing the servants to be thieves who want to rob his daughter's treasure. The rumor of the murder gradually penetrates the whole town; its inhabitants gather before the house, and the appointed wailing-women mingle their doleful lamentations with the general uproar. At last the Calif himself appears in order to settle the quarrel.
The Cadi accuses the barber of theft, while Abul calls the Cadi a murderer.—To throw light upon the matter, the Calif orders the trunk to be opened, which is done with great hesitation by Margiana. When the lid gives way Nurredin is lying in it in a deep swoon. All are terrified believing him to be murdered, but Abul, caressing him, declares that his heart still throbs. The Calif bids the barber show his art, and Abul wakens Nurredin by the love-song to Margiana. The young man revives and the truth dawns upon the deceived father's mind. The Calif, a very humane and clement prince, feels great sympathy with the beautiful young couple, and advises the Cadi to let his daughter have her treasure, because he had told them himself, that it was Margiana's treasure, kept hidden in the trunk.