Pepusch and Emanuele call for Peppina, the great Italian primadonna.—She appears on the steps wrapped in a long cloak, but when she throws it off, she shows herself in her native Tyrolese costume; she sings in dialect, and goes through all her charming native songs and "Jodls", to the delight of all her hearers. Prince Eberhard promises to grant any wish of Peppina's, while Prince Ferdinand does the same with Pepusch.—
Finally Prince Ferdinand joins Peppina's and Pepusch's hands, while the old Prince announces that the two shall henceforth play "Flauti due" by being married, and appointed musicians of his court for the rest of their lives.—
MOLOCH.
A musical tragedy in three Acts. Music by MAX SCHILLINGS.
Libretto by EMIL GERHAEUSER, founded on HEBBEL'S fragment "MOLOCH".
The first representation of this opera took place on December 8th 1906 in the Dresden Royal Opera.
It is the production of a highly esteemed German composer, who, though independant in his musical invention follows in Wagner's steps.
Two operas "Ingwelde" and the "Pfeiffertag" have already made him a name amongst modern composers; his last, "Moloch" is however the best in orchestration and invention.
The Moloch music, if somewhat heavy and loud, is altogether noble and interesting. The first Act is steeped in gloom, the second is more fascinating and especially the choral accompaniment to the quartette is as striking as it is beautiful.
But the culminating point is reached in the last Act, where we find passages of extreme beauty.