The second act opens with a double chorus of huntsmen and shepherds ("Qual silvestre metro intorne"), which is followed by a scena preluding a charming romanza ("Selva opaco") sung by Mathilde. Its mild, quiet beauty is in strange contrast with the remainder of this great act. It is followed by a passionate duet with Arnold, a second and still more passionate duet between Tell and Walter, which leads to the magnificent trio of the oath ("La gloria inflammi"), and this in turn is followed by the splendid scene of the gathering of the cantons. For melodic and harmonic beauty combined, the spirited treatment of masses, and charm and variety of color, this great scene stands almost alone.
The last act opens with a duet between Mathilde and Arnold, which is followed in the next scene by a march and chorus as the multitude gathers in the square of Altorf, closing with a lovely Tyrolean chorus sung by the sopranos and accompanied with the dance. The dramatic scene of the archery follows, and then Arnold has a very passionate aria ("O muto asil"). Some very vivid storm-music preluding the last scene, and the final hymn of freedom ("I boschi, i monti") close an opera which is unquestionably Rossini's masterpiece, and in which his musical ability reached its highest expression. "Manly, earnest, and mighty," Hanslick calls it; and the same authority claims that the first and second acts belong to the most beautiful achievements of the modern opera.
RUBINSTEIN.
Anton Gregor Rubinstein was born Nov. 30, 1829, at Weghwotynez in Russia. His mother gave him lessons at the age of four, with the result that by the time he was six she was unable to teach him anything more. He then studied the piano with Alexander Villoing, a pupil of John Field. In 1840 he entered the Paris Conservatory, where he attracted the attention of Liszt, Chopin, and Thalberg. He remained in that city eighteen months, and then made some professional tours, in which he met with extraordinary success. In 1844 his parents removed to Berlin, and he was placed under Dehn, the famous contrapuntist, to study composition. From 1846 to 1848 he taught music in Pressburg and Vienna, and then went back to Russia. For eight years he studied and wrote in St. Petersburg, and at the end of that time had accumulated a mass of manuscripts destined to make his name famous all over Europe, while his reputation as a skilful pianist was already world-wide. He visited England again in 1857, and the next year returned home and settled in St. Petersburg, about which time he was made Imperial Concert Director, with a life-pension. At this period in his career he devoted himself to the cause of music in Russia. His first great work was the foundation of the Conservatory in the above city in 1862, of which he remained principal until 1867. He also founded the Russian Musical Society in 1861, and in 1869 was decorated by the Czar. In 1870 he directed the Philharmonic and Choral Societies of Vienna, and shortly afterwards made another tour, during which, in 1872, he came to this country with the eminent violinist, Wieniawsky, as will be well remembered. His greatest works are the "Ocean Symphony," "Dramatic Symphony," and a character sketch for grand orchestra called "Ivan the Terrible;" his operas, "Children of the Heath," "Feramors," "Nero," "The Maccabees," "Dimitri Donskoi," and the "Demon;" the oratorios "Paradise Lost," and "Tower of Babel," and a long and splendid catalogue of chamber, salon, and concert music, besides some beautiful songs, which are great favorites in the concert-room.
NERO.
The opera of "Nero," the libretto by Jules Barbier, was first produced in Hamburg in 1879,—though it was originally intended for the French stage,—and in this country, March 14, 1887, at New York, by the American Opera Company, under the direction of Mr. Theodore Thomas, with the following cast:—
NERO Mr. CANDIDUS.
JULIUS VINDEX Mr. LUDWIG.
TIGELLINUS Mr. STODDARD.
BALBILLUS Mr. WHITNEY.
SACCUS Mr. FESSENDEN.
SEVIRUS Mr. HAMILTON.
TERPANDER Mr. LEE.
POPPOEA SABINA Miss BERTHA PIERSON.
EPICHARIS Miss CORNELIA VAN ZANTEN.
CHRYSA Miss EMMA JUCH.
AGRIPPINA Miss AGNES STERLING.
LUPUS Miss PAULINE L'ALLEMAND.
The first act opens in the house of Epicharis, a courtesan, which is a rendezvous for the dissolute Roman nobles. The guests assembled sing a chorus in praise of the establishment, followed by a scene in which Vindex, the prince of Aquitania, Saccus the poet, Terpander the citharist, and others conspire against Nero. Suddenly Chrysa, daughter of Epicharis, who is ignorant of her mother's real character and dwells apart from her, rushes in and implores the protection of Vindex from a crowd of revellers who have pursued her. A very spirited duet follows in which the prince promises her his assistance. Upon hearing the shouts of her pursuers he conceals her just in time to escape the masked band, headed by Nero himself, which bursts into the apartment. The tyrant demands the girl; and as he throws off his mask the guests stand amazed. Saccus at last breaks the spell by the suggestion that Nero shall marry the girl. When she is led out, and Vindex discovers that Epicharis is her mother, he no longer espouses her cause. Then follows the music of the mock marriage, interspersed with dance strains and sardonic choruses by the courtesans and their associates, at last rising to a wild bacchanalian frenzy, in the midst of which Vindex breaks out in a spirited song, with harp accompaniment, and finally hurls invectives at Nero, as Chrysa, who has drunk a narcotic at her mother's order, falls senseless. The latter declares she has been poisoned, and the act closes with a scene of great power in which Vindex is hurried away as Nero's prisoner.
The second act opens in the dwelling of Poppoea, Nero's mistress, whose attendants are trying to console her. She has heard of Nero's new infatuation; but her apprehensions are relieved when Balbillus, the astrologer, enters and not only announces that Chrysa is dead, but tells the equally grateful news that Octavia, Nero's wife, has been condemned to die. Nero himself now appears upon the scene, and a duet follows in which Poppoea reproaches him for his fickleness and he seeks to console her with flattery. At its close the death of Octavia is announced, and Poppoea is appeased by the prospect of sharing the throne. Meanwhile Chrysa has fallen into the custody of Agrippina, Nero's mother, who keeps close charge of her to further her own ambitions. During the interview between the tyrant and his mistress, Epicharis rushes in and implores Nero to give up Chrysa, which leads to a powerful ensemble. Learning that Chrysa is still alive he leaves the apartment to find her. The second scene is brilliantly spectacular. Nero and his mother appear in front of the temple, followed by a long procession to the music of a brilliant march. They enter the temple. After a short episode, in which Poppoea informs Epicharis of the refuge Chrysa has found, the ballet is given in the open square, with its fascinating dances of warriors, bacchantes, jugglers and buffoons, and their mimic combats, the music of which is very familiar from its frequent performance in our concert-rooms. Nero then appears and announces his divinity in a finale, which is rich with scenic, spectacular, and choral effects, accompanied by full military band and orchestra.
The third act opens in Chrysa's new asylum of refuge. The persecuted girl sings a beautiful prayer, at the close of which Vindex joins her in a love-duet, which will always remain as one of the most refined and noble products of Rubinstein's skill in harmony. The next number is one of almost equal beauty,—a duet for Chrysa and Epicharis, the motive of which is a cradle song. Its soothing tones are interrupted by the appearance of Nero, followed by Poppoea and Saccus, the last-named announcing to the tyrant that Rome is in flames, which leads up to a vigorous trio. The concluding scene is full of characteristic music. It shows us Nero watching the fire from his tower, while he sings a hymn ("O Ilion") to the accompaniment of his lyre; the death of Chrysa, who proclaims herself a Christian and is killed by the infuriated populace; and the fate of Epicharis, who is crushed beneath a falling house as she mourns for her daughter.