The second act opens in Filina's boudoir, where she is at her toilet, arraying herself for her part as Titania in the forthcoming performance of the "Midsummer Night's Dream" at the castle. As Wilhelm and Mignon enter the apartment, a very dramatic conversation ensues between them in the form of a terzetto ("Ohimè quell' acre riso"). Mignon is in despair at the attention Wilhelm pays Filina, and the latter adds to her pangs by singing with him a gay coquettish aria ("Gai complimenti"). As they leave the room Mignon goes to the mirror and begins adorning herself as Filina had done, hoping thereby to attract Wilhelm, singing meanwhile a characteristic song ("Conosco un zingarello") with a peculiar refrain, which the composer himself calls the "Styrienne." It is one of the most popular numbers in the opera, and when first sung in Paris made a furor. At the end of the scene Mignon goes into a cabinet to procure one of Filina's dresses, and the lovelorn Frederick enters and sings his only number in the opera, a bewitching rondo gavotte ("Filina nelle sale"). Wilhelm enters, and a quarrel between the jealous pair is prevented by the sudden appearance of Mignon in Filina's finery. She rushes between them, Frederick makes his exit in a fume, and Wilhelm announces to Mignon his intention to leave her, in the aria, "Addio, Mignon, fa core," one of the most pathetic songs in the modern opera. In the next scene she tears off her finery and rushes out expressing her hatred of Filina. The scene now changes to the park surrounding the castle where the entertainment is going on. Mignon hears the laughter and clapping of hands, and overcome with despair attempts to throw herself into the lake, but is restrained by Lotario, and a beautiful duet ensues between them ("Sofferto hai tu?"). In the next scene Filina, the actors, and their train of followers emerge from the castle, and in the midst of their joy she sings the polacca, "Ah! per stassera," which is a perfect feu de joie of sparkling music, closing with a brilliant cadenza. The finale, which is very dramatic, describes the burning of the castle and the rescue of Mignon.
The last act is more dramatic than musical, though it contains a few delightful numbers, among them the chorus barcarole in the first scene, "Orsu, sciogliam le vela," a song by Wilhelm ("Ah! non credea"), and the love duet, "Ah! son felice," between Wilhelm and Mignon, in which is heard again the cadenza of Filina's polacca. "Mignon" has always been a success, and will unquestionably always keep its place on the stage,—longer even than the composer's more ambitious works, "Hamlet" and "Françoise de Rimini," by virtue of its picturesqueness and poetic grace, as well as by the freshness, warmth, and richness of its melodies. In this country opera-goers will long remember "Mignon" by the great successes made by Miss Kellogg as Filina, and by Mme. Lucca and Mme. Nilsson in the title-rôle.
VERDI.
Giuseppi Verdi was born at Roncale, Italy, Oct. 9, 1813. He displayed his musical talent at a very early age; indeed, in his tenth year he was appointed organist in his native town. He then studied for a time at Busseto, and afterwards, by the help of a patron, M. Barezzi, went to Milan. Curiously enough he was refused a scholarship on the ground that he displayed no aptitude for music. Nothing daunted, he studied privately with the composer Lavigne, and five years afterwards commenced his career as an operatic writer. His first opera, "Oberto," was given at La Scala, Milan, with indifferent success. He was not fairly recognized until his opera "I Lombardi" was performed. In 1844 "Ernani" was received with great enthusiasm. "Attila" (1846) was his next great triumph; and then followed in rapid succession a large number of operas, among them: "I Masnadieri" (1847), written for the English stage, with Jenny Lind, Lablache, and Gardoni in the cast; "Luisa Miller" (1849); "Stifellio" (1851); "Rigoletto" (1851); "Il Trovatore," Rome (1853); "La Traviata," Venice (1853); "I Vespri Siciliani," Paris (1855); "Simon Boccanegra," Venice (1857); "Un Ballo in Maschera," Rome (1858); "La Forza del Destino," St. Petersburg (1862); "Don Carlos," Paris (1867), and "Aida," his last opera, Cairo (1871). Since that time Verdi has produced nothing but a Pater Noster and an Ave Maria (1880), and the "Requiem," composed in memory of the patriot Manzoni, and produced at Milan in 1874, on the occasion of the anniversary of his death. It has been reported that he is at work upon a new opera, "Othello," the words by Arrigo Boito, the composer of "Mephistopheles;" but nothing more than the report has been heard from it during the past three or four years. The great melodist now spends a very quiet life as a country gentleman upon his estates near Busseto.
ERNANI.
"Ernani," a tragic opera in four acts, words by F.M. Piave, the subject taken from Victor Hugo's tragedy of "Hernani," was first produced at Venice, March 9, 1844. The earlier performances of the opera gave the composer much trouble. Before the first production the police interfered, refusing to allow the representation of a conspiracy on the stage, so that many parts of the libretto, as well as much of the music, had to be changed. The blowing of Don Silva's horn in the last act was also objected to by one Count Mocenigo, upon the singular ground that it was disgraceful. The Count, however, was silenced more easily than the police. The chorus "Si ridesti il Leon di Castiglia" also aroused a political manifestation by the Venetians. The opera was given in Paris, Jan. 6, 1846, and there it encountered the hostility of Victor Hugo, who demanded that the libretto should be changed. To accommodate the irate poet, the words were altered, the characters were changed to Italians, and the new title of "II Proscritto" was given to the work.
The action of the opera takes place in Arragon, Spain, and the period is 1519. Elvira, a noble Spanish lady, betrothed to the grandee Don Gomez de Silva, is in love with the bandit Ernani, who forms a plan to carry her off. While receiving the congratulations of her friends upon her approaching marriage with Silva, Don Carlos, the King of Spain, enters her apartment, declares his passion for her, and tries to force her from the castle. She cries for help, and Ernani comes to her rescue and defies the king. The situation is still further complicated by the sudden arrival of Silva, who declares he will avenge the insult. Finding, however, that it is the King whom he has challenged, he sues for pardon. In the second act, as the nuptials are about to be solemnized, Ernani enters, disguised as a pilgrim, and believing Elvira false to him, throws off his disguise and demands to be given up to the King, which Silva refuses, as he cannot betray a guest. Discovering, however, that Elvira and Ernani are attached to each other, he determines on vengeance. The King eventually carries off Elvira as a hostage of the faith of Silva, whereupon the latter challenges Ernani. The bandit refuses to fight with him, informs him that the King is also his rival, and asks to share in his vengeance, promising in turn to give up his life when Silva calls for it, and presenting him with a horn which he is to sound whenever he wishes to have the promise kept. In the third act, the King, aware that the conspirators are to meet in the catacombs of Aquisgrana, conceals himself there, and when the assassins meet to decide who shall kill him, he suddenly appears among them and condemns the nobles to be sent to the block. Ernani, who is a duke, under the ban of the King of Castile, demands the right to join them, but the King magnanimously pardons the conspirators and consents to the union of Ernani and Elvira. Upon the very eve of their happiness, and in the midst of their festivities, the fatal horn is heard, and true to his promise Ernani parts from Elvira and kills himself.
The first act opens with a spirited chorus of banditti and mountaineers ("Allegri, beviami") as they are drinking and gambling in their mountain retreat. Ernani appears upon a neighboring height and announces himself in a despondent aria ("Come rugiada al cespite"). A brief snatch of chorus intervenes, when he breaks out in a second and more passionate strain ("Dell' esilio nel dolore"), in which he sings of his love for Elvira. The third scene opens in Elvira's apartments, and is introduced with one of the most beautiful of Verdi's arias, "Ernani, involami," with which all concert-goers have become acquainted by its frequent repetition. A graceful chorus of her ladies bearing gifts leads to a second and more florid number ("Tutto sprezzo che d' Ernani"). Don Carlos enters, and in the seventh scene has an aria ("Bella come un primo amore") in which he declares his passion for Elvira, leading up to a very dramatic duet between them ("Fiero sangue d' Aragona"). This is followed in turn by a trio between the two and Ernani. The finale commences with an impressive and sonorous bass solo ("Infelice! e tuo credevi") by Silva, and closes with a septet and chorus of great power.
The second act, like the first, opens with a chorus, this time, however, of mixed voices, the power of which is amplified by a military band on the stage. After three scenes of dramatic dialogue, an impassioned duet ("Ah! morir potessi adesso!") occurs between Ernani and Elvira, followed by a second, of great dramatic intensity, in the seventh scene ("La vendetta piu tremenda"). The finale begins with a spirited appeal by Silva and Ernani for vengeance against the King ("In arcione, cavalieri") which is met by a stirring response from their followers ("Pronti vedi li tuoi cavalieri"), sung by full male chorus and closing the act.
The third act is devoted to the conspiracy, and in the second scene Don Carlos has a very impressive and at times thrilling soliloquy ("Gran Dio! costo sui sepolcrali marmi"). The conspiracy then begins with very characteristic accompaniments, closing with the chorus in full harmony ("Si ridesti il Leon di Castiglia"), which at the performance of the work in Venice roused such a fury among the Venetians. The finale commences with the appearance of Don Carlos among the conspirators, and closes with the great sextet and chorus, "O Sommo Carlo." Opening with a barytone solo, it is gradually worked up in a crescendo of great power and thrilling effect. The number is very familiar from its English setting under the title, "Crowned with the Tempest."