Meanwhile good old Laemml himself appears to ask his old enemy Dal Segno to give singing-lessons to his dear son. The Italian teacher is very rude and ungracious, Laemml's blood rises also and a fierce quarrel ensues, which is interrupted by the arrival of the Prince. Having heard their complaints, he decides that the quarrel is to be settled by a singing competition in which Howora, Dal Segno's new and greatly praised pupil, and Franz, Laemml's son, are to contest for the laurels. Both masters are content and decide on a duet for tenor and soprano. This is a happy choice and Franz, who with Cornelia has heard everything, causes his lady-love to disguise herself, in order to play the part of Franz, while he decides to appear as Howora.
In the third act the Princess receives old Laemml, who comes to tell her, that he has complied with her wishes as to the happy issue of the tale and confides to her his son's secret, that Franz and Howora are one and the same person.—The gracious Princess promises her assistance, and Laemml leaves her very happy, dancing and merry-making with the Prince's fool.—
In the evening Louis finds Julia attired in Cornelia's dress, and believing her to be her niece, he places a ring on her finger and once more pledges his faith to his old love.
The two singers perform their duet so perfectly, that Laemml, uncertain who will obtain the prize begs for a solo. Each-one then sings a popular song (Volkslied), and all agree that Howora has triumphed. The happy victor is crowned with the laurels. But the Princess, touched by the sweet voice of the other singer puts a rose-wreath on his brow. When the cap is taken off, Dal Segno perceives that the pretended Franz has the curls of his own daughter.—Howora being presented to him as Laemml's son, he can do no other than yield. He embraces old Laemml and gives his benediction to the lovers.
CARLO BROSCHI
or
THE DEVIL'S PART.
Comic Opera in three acts by AUBER.
Text by SCRIBE.
This composition might rather be called a Vaudeville with musical accompaniment, than an opera. The music is not above mediocrity, though we find many pleasing and even exquisite melodies in it. That it has held its present place on the stage for the past forty years is due principally to its excellent libretto, which is full of comical and ingenious situations. The principal role is given to Carlo Broschi. He is no other than the famous singer Farinelli, who as a matter of fact did heal a Spanish King from madness, though it was not Ferdinand IV, but his predecessor Philip V, the husband of Elizabeth of Ferrara. Notwithstanding these anachronisms the libretto ranks with the best.
Carlo Broschi has placed his only sister Casilda in a convent near Madrid, to save her from the persecutions of the clergy, who have been trying for reasons of their own to give the beautiful maiden to the King. Casilda confesses to her brother that she is in love with an unknown cavalier, who entertains a like passion for her, but Carlo, a poor minstrel, considers that his sister, a milliner, does not stand high enough in the social scale to permit a lawful union with a nobleman.
Carlo meets the King accidentally. He has fallen into deep melancholy, and Carlo succeeds in cheering him by singing an old romance, which he learnt from his mother. Both King and Queen are full of gratitude, and Carlo soon finds himself at court and loaded with honors. In his new position he meets with Raphael d'Estuniga, Casilda's lover.