LORLE.
Opera in three acts by ALBAN FOERSTER.
Text by HANS HEINRICH SCHEFSKY.
With this opera its composer has made a lucky hit; it stands far higher than the "Maidens of Schilda", by dint of the charming subject, founded on Auerbach's wonderful village-story: Die Frau Professorin. This romance is so universally known and admired all over Germany, that it ensures the success of the opera. The music is exceedingly well adapted to the subject; its best parts are the "Lieder" (songs) which are often exquisitely sweet, harmonious and refined. They realize Foerster's prominent strength, and nowhere could they be better placed than in this sweet and touching story.
Though the libretto is not very carefully written, it is better than the average performances of this kind, and with poetical intuition Schefsky has refrained from the temptation, to make it turn out well, as Charlotte Birch-Pfeiffer has done in her play of L'orle, which is a weak counterpart of Auerbach's village-tragedy.
The first representation of the opera took place in Dresden on June 18th of 1891; it won the success it truly deserves.
The first act which is laid in a village of the Black Forest, represents the square before the house of the wealthy Lindenhost. He wishes his only daughter Lorle to marry a well to do young peasant, named Balder, who loved her from her childhood. But Lorle rejects him, having lost her heart to a painter, who had stayed in her father's house, and who had taken her as a model for a picture of the Madonna, which adorns the altar of the village church. Lorle's friend Bärbele guesses her secret, and advises her to consult fate, by wreathing secretly a garland of blue-bells and reed grass. This wreath she is to throw into the branches of an oak calling aloud the name of her lover. If the garland is stopped by the boughs, her wishes are fulfilled, if it falls back into the girl's hands, she must give up hope for the year.
Both maidens resolve to try their fate on the very same night, which happens to be St. John's (midsummer-night) the true night for the working of the charm.
Meanwhile the Hussars arrive, to carry away the newly enlisted peasants. The sergeant willingly permits a last dance, and all join in it heartily, but when the hour of parting comes the frightened Balder hides in an empty barrel. Unfortunately his officer happens to choose this one barrel for himself, deeming it filled with wine. When it is laid on the car, the missing recruit is promptly apprehended.
The scene changes now to one of sylvan solitude, through which two wanderers are sauntering. They are artists, and one of them, Reinhardt, is attracted to the spot by his longing for the sweet village-flower, whom he has not forgotten in the whirl of the great world. Already he sees the windows of his sweet-heart glimmer through the trees, when suddenly light footsteps cause the friends to hide behind a large oak-tree. The two maidens who appear are Lorle and Bärbele. The former prays fervently, then throwing her garland she shyly calls her lover's name Reinhardt. The latter stepping from behind the tree skillfully catches the wreath—and the maiden. This moment decides upon their fates; Reinhardt passionately declares his love, while Walter amuses himself with pretty Bärbele, whose naïve coquetry pleases him mightily.