The second act starts with a short prelude, sostenuto and slow, and as the curtain goes up Katharina and Bianca begin their quarrel scene, mostly on the former's part. Bianca produces a guitar and plays, while her sister says she will live and die a maid. Petruchio enters and woos the Shrew in a dramatic duet, and the act closes with a fine ensemble for the principals.
The third act opens, after hardly any orchestral introduction, with a quartet for Bianca, Lucentio, Hortensio, and Baptista, lamenting the absence of the bridegroom. Katharina joins in, very scornful about him, and the wedding guests enter, singing how difficult it is to have a wedding without a bridegroom. Then comes the familiar lesson scene. Lucentio sings the first lines of the first book of the Æneid, with his own additions. Hortensio also sings to his guitar—a method of music-teaching that even Bianca can see through; and then Baptista enters, and, in a very lively number, gives the news of Petruchio's return. He arrives, more bluff and hearty than ever, clad in eccentric clothes, and hurries his bride-to-be to the church. The domestics of Baptista's house sing a chorus, showing how glad they are that Katharina is finally married and got rid of. The bridal party returns, and Petruchio announces his intention of departing at once. The close of the act must be very effective, according to the stage directions, when properly done. Grumio brings in two horses. Petruchio springs on one, Grumio rides off on the second, the chorus and principals singing lustily the while.
The fourth and last act opens with a male chorus, Petruchio's servants being bullied by Grumio, awaiting their master's return. The bridal pair make a fine entrance, and, as in the play, the husband finds fault with all the food, and sends it away. Katharina is left alone, and sings a beautiful and pathetic soliloquy on her difficult position. Grumio introduces the Tailor, and there is a very amusing quartet for the four. After this the action is much hurried. The changed Katharina arrives at her father's house; her father congratulates his son-in-law on the admirable way in which he has reformed Katharina; everyone is pleased, especially the servants of Baptista, and the whole work ends with a joyous ensemble, making a very brilliant close to the opera.
The opera was refused by innumerable managers, but was finally staged by Ernst Frank at Mannheim, 1874, where its success was immediate and decisive. The next year it was performed at Vienna, Leipsic, Berlin, and other German towns, and it was also produced in London at a matinée at Drury Lane, October 12, 1878. In 1880 it was revived by the Carl Rosa Company at Her Majesty's, Minnie Hauk taking the part of Katharina. It very well deserves a revival at the present day. Every note of it would be fresh to nine hundred and ninety-nine opera-goers out of a thousand. All the parts are good, and ample scope is given for brilliant singing.
THE TEMPEST
Of all the plays The Tempest has been most popular with musicians. The earliest music to The Tempest is generally believed to be by Robert Johnson, who wrote settings of "Where the bee sucks" and "Full fathom five." The Encyclopædia Britannica is quite definite on the subject; but as Johnson was born in 1604, and Shakespeare died in 1616, and had left off writing plays for several years before his death, Johnson must, as I said in the Introduction, have been something of a musical prodigy.
The next in order seems to be Matthew Locke's instrumental music to an operatic version of The Tempest (based on Dryden-Davenant), played in London in 1673. This work was revived and revised with additional numbers by Henry Purcell in 1695. The exquisite "Come unto these yellow sands" was one of the additional numbers. In both of these adaptations the words are very much altered, or "improved," as the theatre people of the time thought; but a very good hotch-potch version can be made by taking the best numbers mentioned, scoring them lightly, and having them sung simply and not operatically.
Arne's "Where the bee sucks" is his best work, and, I think, the most beautiful of all the settings.