THOMAS, CHARLES AMBROISE.
Mignon.
[Opéra comique, in three acts; text by Barbier and Carré. First produced at the Opéra Comique, Paris, November 17, 1866.]
PERSONAGES.
Mignon. Wilhelm Meister, a student. Laertes, an actor. Frederic, an admirer of Filina. Lotario, Mignon’s father in disguise of a harper. Filina, an actress.
[Actors, gypsies, etc.]
The scene is laid in Germany and Italy; time, the last century.
The story of “Mignon,” Thomas’s universally popular opera, is based upon Goethe’s “Wilhelm Meister.” Mignon, the heroine, who is of noble birth, was stolen in her childhood by gypsies. Her mother died shortly afterwards, and her father, disguised as Lotario, the harper, has long and vainly sought for her. At the opening of the opera, a strolling band of actors, among them Filina and Laertes, arrive at a German inn on their way to the castle of a neighboring prince, where they are to perform. At the same time a gypsy band appears and arranges to give the guests an entertainment. Mignon, who is with the band, is ordered to dance, but being tired, she refuses. The leader of the band rushes at her, but Lotario, the old harper, intercedes in her behalf, whereupon he is singled out for assault, but is saved by the wandering student, Wilhelm Meister. To spare her any further persecution, he engages her as his page, and they follow on in the suite of Filina, to whom he is devoted. Touched by his kindness to her, Mignon falls in love with him; but he, ignorant of her passion, becomes more and more a victim to the actress’s fascinations. When they arrive at the castle, all enter except Mignon, who is left outside. Maddened by jealousy, she is about to drown herself, but is restrained by the notes of Lotario’s harp. She rushes to him for counsel, and invokes vengeance upon all in the castle. After the entertainment the guests come out, and Filina sends Mignon in for some flowers she has left. Suddenly flames appear in the window. Lotario has fired the castle. Wilhelm rushes in and brings out the insensible Mignon in his arms. In the dénouement Wilhelm discovers her attachment to him, and frees himself from Filina’s fascinations. A casket containing a girdle Mignon had worn in childhood, a prayer which she repeats, and the picture of her mother convince Lotario that she is his daughter, and Wilhelm and Mignon are united.
The leading numbers of the first act are the quintette immediately following the rescue of Mignon by Wilhelm; the romanza, “Non conosci il bel suol” (“Know’st thou the Land”), a song full of tender beauty and rare expression; the duet which immediately follows it, “Leggiadre rondinelli” (“Oh, Swallows Blithe”), known as the Swallow Duet, and of almost equal beauty with the romanza: and the graceful aria, “Grazia al gentil signore” (“You’ll come with us”), in which Filina invites Wilhelm to join them. The best numbers in the second act are the trio, “Ohimè quell’ acre riso” (“Alas! her Bitter Laugh”); Filina’s gay, coquettish aria, “Gai complimenti” (“Brilliant Compliments”); Mignon’s exquisite and characteristic song, “Conosco un zingarello” (“A Gypsy Lad I well do know”), which the composer himself calls the “Styrienne”; a bewitching rondo-gavotte, “Ci sono” (“I’m here at last”), sung by the love-lorn Frederic; Wilhelm’s pathetic farewell to Mignon, “Addio, Mignon! fa core” (“Farewell, Mignon, take Heart”); the beautiful duet for Mignon and Lotario, “Sofferto hai tu” (“Hast thou e’er suffered”); and the polacca in the fourth scene, which is a perfect feu de joie of sparkling music, closing with an extremely brilliant cadenza. The last act is more dramatic than musical, though it contains a few delightful numbers. Among them are the chorus barcarole in the first scene, “Orsù, scioglian le vele” (“Quick, the Sails unfurl”); a song by Wilhelm, “Ah, non credea” (“Ah, little Thought”), and the love duet, “Ah, son felice” (“Ah, I am happy”), in which is heard again the cadenza of Filina’s polacca.
WALLACE, WILLIAM VINCENT.
Maritana.
[Romantic opera, in three acts; text by Fitzball. First produced at Drury Lane Theatre, London, November 15, 1845.]
PERSONAGES.
Charles the Second, King of Spain. Don Jose de Santarem, his minister. Don Cæsar de Bazan. Marquis de Montefiori. Lazarillo. Maritana, a gitana. Marchioness de Montefiori.
[Nobles, alquazils, soldiers, gypsies, populace, etc.]
The scene is laid in Madrid; time of Charles the Second.
The story of “Maritana” is founded upon the well-known play of “Don Cæsar de Bazan.” At the opening of the first act a band of gypsies, Maritana among them, are singing to the people. The young King Charles listening to her is fascinated by her beauty. Don José, for reasons of his own, extols her charms and arouses her hopes for a brilliant future. At this point Don Cæsar de Bazan, a reckless, rollicking cavalier, once a friend of Don José, makes his appearance. He has parted with the last of his money to gamblers, and while he is relating his misfortunes to Don José, Lazarillo, a forlorn lad who has just tried to make away with himself, accosts Don Cæsar and tells him a piteous tale. The Don befriends, and thereby becomes involved in a duel. This leads to his arrest for duelling in Holy Week, which is forbidden on pain of death. While Don Cæsar sets off for the prison, Don José promises Maritana speedy marriage and presentation at court.
The second act opens in the prison. Don José enters, and professes great sympathy for Don Cæsar. When asked if he has any last request, he begs to die like a soldier. Don José agrees that he shall not die an ignominious death if he will marry. He consents, and is also treated to a banquet, during which Lazarillo delivers a paper to Don José containing the royal pardon of Don Cæsar, but Don José conceals it. Maritana, her features disguised by a veil, is married to the Don, but at the expiration of an hour he is led out to meet his fate. The soldiers fire at him, but he escapes, as Lazarillo has managed to abstract the bullets from their guns. He feigns death, and when the opportunity presents itself hurries to a ball at the Montefiori palace, and arrives just as the Marquis, who has had his instructions from Don José, is introducing Maritana as his niece. Don Cæsar demands his bride, but Don José arranges with the Marquis to present him with the Marchioness closely veiled. The scheme does not work, as Don Cæsar hears Maritana’s voice and claims her, but she is quickly spirited away.