HOCHZEITSMORGEN.
(WEDDING'S MORNING.)
Opera in one act by KARL VON KASKEL.
Text by FRANZ KOPPEL-ELLFELD.
This opera, which was represented for the first time at the Royal Opera in Dresden on April 29th, 1893, is the first attempt of its young composer, and as such shows considerable talent, even genius.
Indeed it sins rather in too much than in too little invention; it would seem that Kaskel's brain, overflowing with musical ideas, wanted to put them all into this one first child of his muse. This promises well for the future, but it explains, why it lacks the great attraction of Cavalleria with which it has some relation, without imitating it in the least. The hearer's attention is tired by too much and divided by lack of unity. Nevertheless the composer has understood how to make the most of a somewhat weak libretto, and the manner in which the musical interest increases from scene to scene is admirable in a beginner.
The scene is laid in an Italian Frontier Fortress near Mentone at the foot of Col di Tenda. It may be added here, that the national colouring is particularly well hit.
Giovanna, the daughter of Regina Negri an inn-keeper is betrothed to Pietro Montalto, Captain of the Bersaglieri; and the wedding is fixed for the following morning. Before her betrothal Giovanna has carried on a flirtation with Paolo Tosta, a wild fellow, who unfortunately took the girl's play seriously, and seeing the friend of his childhood estranged from him, has turned smuggler and head of a band of Anarchists. Giovanna is afraid of him, and trembles for her bridegroom, whom she loves truly.
However, when she sees Paolo taken captive and sentenced to death by her own lover, she implores the latter to deal mercifully with the miscreant. She has neglected to tell him of her early friendship for the captive, and so Pietro, who does not understand her softness for the ruffian refuses, his soldierly honour being at stake. But at last love conquers and Giovanna extracts a promise from him, to let the prisoner escape during the night.
Left alone, Pietro's keen sense of duty reawakes and he leaves the place without freeing the captive.