D'Albert's strongest point is his orchestration, which is admirably adapted to the text. His music, if lacking a personal note is always noble, harmonious and perfectly clear and agreeable to the ear.
The Prelude is on the whole the finest part of the drama. The broad flowing motive of the shepherd's pipe is the incarnation of peace and pure nature, the musical transition from the Prelude to act I is one, of the best things, that D'Albert ever did, and the peasant scenes, the trio of the three mocking village lasses are of the most enlivening freshness.
The text is ultra realistic, almost brutal.
The name "Tiefland" has a double meaning; this we learn from the Prelude.—
The plot is laid in the Pyrenees. Pedro, the shepherd lives alone in the high and clear mountain air. His one wish is to have a companion, a wife. This desire is realised by the arrival of Sebastiano, supposed to be a wealthy landowner, who offers Pedro a mill and a bride in the person of Marta.
The girl is Sebastiano's mistress, but financial difficulties compel him to get rid of her, in order to avoid scandal and to obtain a rich bride.
The simple and unsuspecting Pedro accepts the unexpected gifts with delight, not heeding Marta's reluctance, and so he leaves the clear physical and moral atmosphere of the mountains and descends into "Tiefland", the low valley with its human passions and human tragedies.
The first act takes place in the mill, where three village girls gossip about Marta's wedding, which is to take place on the very same day.
Nuri, a little girl and Marta's friend, has heard from Tommaso, an octogenarian, that their rich and mighty master Sebastiano has found a husband for Marta, and that the latter, being the master's property like everything else around, has to obey his orders.
Marta herself is in despair; she despises Pedro, her future husband, suspecting him to have been bribed to consent to this shameful bargain by her lover and tyrant Sebastiano.