The principal numbers of the first act are a pretty drinking-song for the chorus; a solo for Medigua, “If you examine Human Kind,” followed by a dialogue and leading up to an aria for Estrelda, “When we hear the Call for Battle,” with chorus in march time; a second march, “In me you see El Capitan,” which heralds Medigua’s entrance; the chorus, “Lo, the Awful Man approaches”; and the solo and chorus, “Bah, bah,” closing the act. The second act opens with a march song, “Ditty of the Drill,” which is shortly followed by an effective scene in which a mournful accompaniment representing the grief of Marghanza and Isabel, and a festive accompaniment setting forth the exultation of Estrelda and her companions as they bind El Capitan with garlands of roses, are interwoven. As the Princess discovers Medigua in El Capitan, a quarrel duet follows between her and Estrelda, leading up to a pompous military finale, as the Spanish troops appear. The leading numbers of the third act are a serenade and duet for Verrada and Isabel; a song by the tipsy Medigua, “The Typical Tune of Zanzibar,” which is the most popular number in the opera; and a final march with chorus.
STRAUSS, JOHANN.
The Merry War.
[Opéra comique, in three acts; text by Zell and Genée. First produced in Vienna, November 25, 1881.]
PERSONAGES.
Countess Violetta. Col. Umberto. Duke de Limburg. Balthasar Groats, dealer in tulip bulbs. Else, wife of Groats. Spiuzzi. Franchetti. Biffi.
[Soldiers, citizens, etc.]
The scene is laid in Genoa; time, the eighteenth century.
The “merry war” is not a very serious one, as may be inferred from its title. It is a quarrel between two petty states, Genoa and Massa Carrara, growing out of the fact that a popular dancer has made simultaneous engagements at the theatres of each. Both claim her, and the question at issue is at which theatre the dancer shall appear. One harmless hand grenade is thrown from either side with monotonous regularity each day, and the “merry war” is without interesting incident until the pretty Countess Violetta appears in one of the camps. She is seeking to make her way in disguise into the city of the other camp, to take command of the citadel. Umberto, the colonel commanding, is deceived by her, and allows her to pass through the lines. When informed of the deception he determines to take his revenge by marrying her. Understanding that she is to marry the Duke de Limburg by proxy, he impersonates the Duke and is married to Violetta without arousing her suspicions. He is assisted in his scheme by Balthasar Groats, a Dutch speculator in tulip bulbs, whom the soldiers have arrested, thinking him a spy, and who is naturally willing to do anything for the Colonel to get him out of his predicament. Complications arise, however, when Groats’ wife appears and becomes jealous, also because of Violetta’s antipathy towards her supposed husband and her affection for Umberto. All these matters are arranged satisfactorily, however, when there is an opportunity for explanation, and a treaty of peace is signed between the two states, when it is found that the cause of the “merry war” will not keep her engagement with either theatre.
The music of “The Merry War” is light and gay throughout. Like all the rest of the Strauss operas, it might be said that it is a collection of marches and waltzes, and a repetition of dance music which has done good service in ballrooms, strung upon the slight thread of a story. Its most taking numbers are Umberto’s couplets, “Till now no Drop of Blood”; Balthasar’s comical song, “General, ho!” and his tulip song, “From Holland to Florence in Peace we were going”; Violetta’s arietta, “In vain I cannot fly”; the dainty duet for Violetta and Umberto, “Please do”; Else’s romantic song, “I wandered on”; the ensemble and Dutch song by Artemisia, “The much Admired One”; Umberto’s love song, “The Night begins to creep”; Violetta’s song, “I am yet Commander for To-day,” leading to a terzetto and spirited final chorus, “Of their Warlike Renown.”
The Queen’s Lace Handkerchief.
[Opéra comique, in three acts; text by Genée and Bohrmann-Riegen. First produced at Vienna, October 2, 1880.]
PERSONAGES.
The King. The Queen. Donna Irene, the Queen’s confidante. Marquis of Villareal. Cervantes, poet. Count Villaboisy Roderiguez, Prime Minister. Don Sancho de Avellaneda, tutor to the King. Marquis de la Mancha Villareal, Minister of War. Duke of Feria, Minister of Finance. Count San Gregorio, Minister of the Interior. Count Ermos, Minister of the Navy. Don Diego de Barados, Minister of Police. Dancing-Master. Master of Ceremonies. Antonio, innkeeper.
[Students, doctors, ladies and gentlemen of the court, toreadors, brigands, etc.]
The scene is laid in Portugal; time, the year 1570.
The romance of the story of “The Queen’s Lace Handkerchief” has helped to make this opera one of the most popular of Strauss’ works. The action begins at a time when Portugal is ruled by a ministry whose premier is in league with Philip II. of Spain, and who, to keep possession of power, has fomented trouble between the young Queen and King, and encouraged the latter in all kinds of dissipations. At this time Cervantes, the poet, who has been banished from Spain, is a captain in the Royal Guards, and in love with Irene, a lady in waiting. These two are good friends of both the King and Queen, and are eager to depose the ministry. Cervantes is reader to the Queen, and the latter, having a sentimental attachment for him, writes upon her handkerchief, “A queen doth love thee, yet art thou no king,” and placing it in a volume of “Don Quixote,” hands it to him. The book is seized, and as “Don Quixote” is Minister of War and “Sancho Panza” Minister of Instruction, Cervantes is arrested for libel and treason. Irene and the King, however, save him by proving him insane, and the King and Queen ascend the throne. In desperation the premier hands the King the handkerchief with the inscription on it, which leads to the re-arrest of Cervantes and the banishment of the Queen to a convent. Cervantes escapes, however, and joins some brigands. They capture the Queen on her way to the convent, and in the disguise of the host and waiting-maid of an inn, they serve the King, who happens there on a hunting-trip. Everything is satisfactorily accounted for, and the inscription on the handkerchief is explained as a message which the Queen sent to the King by Cervantes.
The music is light and brilliant. Much of it is in the waltz movement, and the choral work is a strong feature. Its best numbers are the Queen’s humorous romanza, “It was a wondrous Fair and Starry Night”; another humorous number, the King’s truffle song, “Such Dish by Man not oft is seen”; the epicurean duet for the King and premier, “These Oysters are great”; Cervantes’ recitative, “Once sat a Youth,” in the finale of the first act: a dainty little romanza for Cervantes, “Where the Wild Rose sweetly doth blow”; the trio and chorus, “Great Professors, Learned Doctors”; the fine duet for the King and Cervantes, “Brighter Glance on him shall repose”; Sancho’s vivacious couplet, “In the Night his Zither holding”; the Queen’s showy song, “Seventeen Years had just passed o’er me”; and the two closing choruses, “Now the King all hail,” in march time, and the Bull-fight, which is full of dash and spirit.