RANDEGGER.
Alberto Randegger was born at Trieste, April 13, 1832, and began the study of music at an early age with Lafont and Ricci. In his twentieth year he had written numerous minor pieces of church music, several masses and two ballets which were produced with success in his native city. From 1852 to 1854 he was engaged as a conductor in the theatres of Fiume, Zera, Brescia, and Venice. In the latter year he brought out a grand opera in Brescia, called “Bianca Capello,” shortly after which he went to London, where he has since resided and made a world-wide reputation as a teacher. In 1857 he conducted Italian opera at St. James’s Theatre; in 1864 brought out a comic opera, “The Rival Beauties,” at the Theatre Royal, Leeds; in 1868 was appointed Professor of Singing at the Royal Academy of Music, in which he has since become a director; in 1879-80 was conductor for the Carl Rosa English Opera Company at Her Majesty’s Theatre, London; and has since been appointed conductor of the Norwich Festival in the place of Benedict. His principal works, besides those already mentioned, are: “Medea,” a scena, sung by Madame Rudersdorff at the Gewandhaus, Leipsic (1869); the One hundred and fiftieth Psalm, for soprano solo, chorus, orchestra, and organ (1872); cantata, “Fridolin” (1873); soprano scena, “Saffo” (1875); funeral anthem for the death of the Prince Consort; and a large number of songs which are great favorites on the concert-stage.
Fridolin.
“Fridolin, or the Message to the Forge” was written for the Birmingham Triennial Musical Festival of 1873. The words, by Mme. Erminia Rudersdorff, are founded on Schiller’s ballad, “Der Gang nach dem Eisenhammer.” The dramatis personæ are Waldemar, Count of Saverne; Eglantine, Countess of Saverne; Fridolin, page to the Countess; and Hubert, squire to the Count. The story closely follows that of Schiller. The preface to the piano score gives its details as follows:—
“Fridolin and Hubert are in the service of the Count of Saverne. Hubert, aspiring to win the affections of his beautiful mistress, conceives a violent hatred of Fridolin, whom he regards as an obstacle in his path. Taking advantage of Fridolin’s loyal devotion to the Countess, Hubert excites the jealousy of the Count, and prompts a stern revenge. The Count forthwith writes to some mechanic serfs, ordering that whoever comes asking a certain question shall be at once thrown into their furnace. Fridolin, innocent of wrong and unconscious of danger, receives the ‘message to the forge;’ but, ere setting out, he waits upon his mistress for such commands as she might have to give. The Countess desires him to enter the chapel he would pass on his way and offer up a prayer for her. Fridolin obeys, and thus saves his own life; but vengeance overtakes the traitor Hubert, who, going to the forge to learn whether the plot has succeeded, himself asks the fatal question, ‘Is obeyed your lord’s command?’ and himself becomes the victim. Fridolin subsequently appears, and is about to perish likewise, when the Count and Countess, between whom explanations have taken place, arrive on the scene, to preserve the innocent and to learn the fate of the guilty.”
The cantata opens with a short but stirring prelude, introducing the declamatory prologue-chorus:—
“A pious youth was Fridolin,
Who served the Lord with zeal,
And did his duty faithfully,
Come thereby woe or weal.