In the third act Fernando returns victorious from the war with the Moors. Already beginning to fear the result of the papal malediction, and having learned of Leonora's passion for the victor, Alphonso heaps rewards upon him, even to the extent of giving him Leonora's hand. Fernando, who is ignorant of her past relations to the King, eagerly accepts the proffer; but Leonora, in despair, sends her attendant, Inez, to inform him of the real nature of the situation and implore his forgiveness. The King intercepts her, and the marriage takes place at once, Fernando not discovering Leonora's shame until it is revealed by the courtiers, who avoid him. He flies from the world to the convent once more for shelter and consolation, followed by Leonora, who dies in his arms after she has obtained forgiveness.
The music of the work is very dramatic in its character, some of the finales being the strongest Donizetti has written. In the first act there is a beautifully melodious aria ("Una Vergine"), in which Fernando describes to Balthasar the vision of Leonora which had appeared to him at his orisons, and a very tender duet ("Deh, vanne! deh, parti") between Fernando and Leonora, in which they sorrowfully part from each other. In the second act the King has a very passionate aria, where he curses his courtiers for leaguing against him at Rome, followed by a very dramatic duet with Leonora ("Ah! l'alto ardor"). The third act contains the beautiful aria, "O mio Fernando!" which is a favorite with all contraltos. It is remarkable for its warmth and richness, as well as its dramatic spirit, and the act closes with a concerted finale of splendid power, in which Fernando breaks his sword, and once more Balthasar anathematizes the King. The fourth act is the most beautiful of all in its music and the most powerful in dramatic effect. The chorus of monks in the first scene ("Scaviam l'asilo") is remarkable for its religious character and solemnity. In the third scene occurs one of the tenderest and loveliest romanzas ever written ("Spirto gentil"), which Donizetti transferred to this work from his opera, "Le Duc d'Albe," which had not been performed, and the libretto of which was originally written by Scribe for Rossini. The closing duet between Fernando and Leonora is full of pathos and beauty, and forms a fitting close to an act which, in one sense at least, is an inspiration, as the whole act was composed in four hours,—a proof of the marvellous ease and facility with which Donizetti wrote.
DON PASQUALE.
"Don Pasquale," an opera buffa in three acts, was first produced at the Théâtre des Italiens in Paris, Jan. 4, 1843, with the following extraordinary cast:
NORINA Mme. GRISI.
ERNESTO Sig. MARIO.
DR. MALATESTA Sig. TAMBURINI.
DON PASQUALE Sig. LABLACHE.
The scene of this brilliant and gay little opera is laid in Rome. Don Pasquale is in a rage with Ernesto, his nephew, because he will not marry to suit him. Dr. Malatesta, his friend and physician, who is also very much attached to the nephew, contrives a plot in the latter's interest. He visits the Don, and urges him to marry a lady, pretending that she is his sister, though in reality she is Norina, with whom Ernesto is in love. He then calls upon Norina, and lets her into the secret of the plot, and instructs her how to play her part. She is to consent to the marriage contract, and then so harass the Don that he will not only be glad to get rid of her, but will give his consent to her marriage with Ernesto. The second act opens in Don Pasquale's house, where Ernesto is bewailing his fate. The Don enters, magnificently dressed, and ready for the marriage. Norina appears with Malatesta, and feigns reluctance to enter into the contract; but when the notary arrives she consents to sign. No sooner, however, has she signed it than she drops her assumed modesty. Ernesto, who is present, is bewildered at the condition of affairs, but is kept quiet by a sign from the Doctor. Norina refuses all the Don's amatory demonstrations, and declares Ernesto shall be her escort. She summons the servants, and lays out a scheme of housekeeping so extravagant that the Don is enraged, and declares he will not pay the bills. She insists he shall, for she is now master of the house. In the third act we find Norina entertaining milliners and modistes. Don Pasquale enters, and learning that she is going to the theatre forbids it, which leads to a quarrel, during which Norina boxes his ears. As she leaves the room she drops a letter, the reading of which adds the pangs of jealousy to his other troubles. The Doctor at this juncture happens in and condoles with him. The Don insists that Norina shall quit his house at once. In the next scene he taxes her with having a lover concealed in the house, and orders her to leave. The Doctor counsels him to let his nephew marry Norina; and in the course of explanations the Don discovers that the Doctor's sister and Norina are one and the same person, and that the marriage was a sham. He is only too glad of an escape to quarrel with the Doctor for his plot, and the young couple are speedily united, and have the old man's blessing.
The charm of the opera lies in its comic situations, and the gay, bright music with which they are illustrated. It is replete with humor and spirit, and flows along in such a bright stream that it is almost impossible to cull out special numbers, though it contains two duets and a quartet which are of more than ordinary beauty, and the exquisite serenade in the last act, "Com'e gentil," which has been heard on almost every concert-stage of the world, and still holds its place in universal popular esteem. For brilliant gayety it stands in the front rank of all comic operas, though Donizetti was but three weeks in writing it. It is said that when it was in rehearsal its fate was uncertain. The orchestra and singers received it very coldly; but when the rehearsal was over, Donizetti merely shrugged his shoulders and remarked to his friend, M. Dormoy, the publisher: "Let them alone; they know nothing about it. I know what is the matter with 'Don Pasquale.' Come with me." They went to the composer's house. Rummaging among a pile of manuscripts, Donizetti pulled out a song. "This is what 'Don Pasquale' wants," he said. "Take it to Mario and tell him to learn it at once." Mario obeyed, and when the opera was performed sang it to the accompaniment of a tambourine, which Lablache played behind the scenes. The opera was a success at once, and no song has ever been more popular.
In strange contrast with the gay humor of "Don Pasquale," it may be stated that in the same year Donizetti wrote the mournful "Don Sebastian," which has been described as "a funeral in five acts." Crowest, in his "Anecdotes," declares that the serenade is suggestive of Highland music, and that many of his other operas are Scottish in color. He accounts for this upon the theory that the composer was of Scotch descent, his grandfather having been a native of Perthshire, by the name of Izett, and that his father, who married an Italian lady, was Donald Izett. The change from Donald Izett to Donizetti was an easy one. The story, however, is of doubtful authenticity.
LUCIA DI LAMMERMOOR.
"Lucia di Lammermoor," an opera in three acts, words by Cammarano, was first produced at Naples in 1835, with Mme. Persiani and Sig. Duprez, for whom the work was written, in the principal rôles of Lucia and Edgardo. Its first presentation at Paris was Aug. 10, 1839; in London, April 5, 1838; and in English, at the Princess Theatre, London, Jan. 19, 1843. The subject of the opera is taken from Sir Walter Scott's novel, "The Bride of Lammermoor," and the scene is laid in Scotland, time, about 1669.