In the second act the Count gains entrance to Bartolo's house as a singing-master who is deputed to give a lesson instead of the feverstricken Basilio. Of course the music-lesson is turned into a love-lesson.
When all seems to be going well, the real Maëstro, Basilio, enters and all but frustrates their plans. With gold and promises Figaro bribes him to retreat, and the lovers agree to flee on the coming night.
Almost at the last moment the cunning of Bartolo hinders the projected elopement, he shows a letter, which Rosina has written, and makes Rosina believe that her lover, whom she only knows as Lindoro, in concert with Figaro is betraying her to the Count. Great is her joy, when she detects, that Lindoro and Count Almaviva are one and the same person, and that he loves her as truly as ever.—They bribe the old notary, who has been sent for by Bartolo to arrange his own (Bartolo's) wedding with Rosina. Bartolo signs the contract of marriage, with Figaro as witness, and detects too late that he has been duped, and that he has himself united the lovers. At last he submits with pretty good grace to the inevitable, and contents himself with Rosina's dowry, which the Count generously transfers to him.
BENVENUTO CELLINI.
Opera in three acts by HECTOR BERLIOZ.
Text by de WAILLY and BARRIER, translated into German by PETER CORNELIUS.
This opera by the spirited French musician has had a singular fate. Composed more than forty years ago it never had the success it merited in France; a "succès d'estime" was the only result. Liszt, who was the saviour of many a talented struggler was the first to recognize the genius of the French composer. He brought the opera out upon the stage at Weimar, but without much success. Berlioz was not understood by the public. Devrient in Carlsruhe tried a similar experiment and failed, and so the opera was almost forgotten, until Germany, remembering the duty owed to genius of whatever nationality it may be, placed it upon the stage in Dresden, on the 4th of Nov. 1888 under the leadership of one of the ablest of modern interpreters of music, Director Schuch.—Its representation was a triumph. Though Berlioz can in nowise be compared with Wagner, whose music is much more realistic and sensuous Wagner may nevertheless be said to have opened a path for Berlioz' style, which, though melodious differs widely from that of the easy flowing Italian school, being more serious as well as more difficult for the musical novice to understand. This explains, why Berlioz' compatriots esteemed, but never liked him; he was too scientific. To-day our ears and understanding are better prepared for striking intervals and complicated orchestration, which latter is the most brilliant feature in the opera.
Indeed the instrumentation is simply perfect, the choruses are master-pieces of originality, life and melody, and the rythm with its syncopes, is so remarkable, that one is more than justified in calling the style unique; it is Berlioz and no other.
The text is far less good than the music, though the hero, whose life Goethe found worthy of description in the 24th and 25th volume of his works, might well interest.—The libretto is by no means strictly historical, and suffers from improbabilities, which can only be excused in an opera.
The tale is laid in Rome in the year 1532 under Pope Clement VII, and comprises the events of three days, Monday before Shrove-tide, Shrove-Tuesday and Ash-Wednesday.—Benvenuto Cellini, the Tuscan goldsmith has been called to Rome by the Pope, in order to embellish the city with his masterpieces. He loves Teresa, the daughter of the old papal treasurer Balducci, and the love is mutual.—At the same time another suitor, Fieramosca, the Pope's sculptor, is favored by her father. Old Balducci grumbles in the first scene at the Pope's predilection for Cellini, declaring that such an excellent sculptor as Fieramosca ought to suffice. He goes for a walk and Cellini finds Teresa alone. To save her from Fieramosca he plans an elopement, selecting the close of the Carnival as the time best suited for carrying out their design. The rendez-vous is to be the Piazza di Colonna, where he will wait for her, disguised as a monk in white, accompanied by a Capuchin, his pupil Ascanio.—Unhappily the rival Fieramosca has entered unseen, and overheard all. The ensuing terzetto is a masterpiece. While the lovers are bidding each-other farewell Balducci returns; and Cellini has scarcely time to hide behind the window-curtain before he enters. The father is surprised to find his daughter still up and Teresa, seeking for an excuse to send him away, feigns to be frightened by a thief in her chamber. There Balducci finds the hapless Fieramosca hidden and Cellini meanwhile escapes. Balducci and his daughter calling for help, all the female servants and women of the neighborhood appear armed with brooms and wooden spoons. They fall upon the hapless lover and finally force him to escape through the window.