The fourth act rapidly hurries to the tragic close, and is less interesting from a musical point of view, as the climax was reached in the finale of the third. The principal numbers are the chorus of masks in the first scene ("O come felici"), accompanied by military band, and the great duet between Elvira and Ernani ("Cessaro i suoni"), which passes from rapturous ecstasy to the despair of fate ("Per noi d' amore il talamo") as the horn of Silva is heard, reminding Ernani of his promise. Though one of the earliest of Verdi's works, "Ernani" is one of his strongest in dramatic intensity, in the brilliancy and power of its concerted finales, and in the beauty of its great chorus effects.
RIGOLETTO.
"Rigoletto," an opera in three acts, words by Piave, the subject taken from Victor Hugo's tragedy, "Le Roi s'amuse," was first produced at Venice, March 11, 1851. The part of Gilda has always been a favorite one with great artists, among whom Nantier-Didiée, Bosio, and Miolan-Carvalho played the rôle with extraordinary success. In the London season of 1860 Mario and Ronconi in the respective parts of the Duke and Rigoletto, it is said, gave dramatic portraitures which were among the most consummate achievements of the lyric stage. The records of its first production, like those of "Ernani," are of unusual interest. Verdi himself suggested Victor Hugo's tragedy to Piave for a libretto, and he soon prepared one, changing the original title, however, to "La Maledizione." Warned by the political events of 1848, the police flatly refused to allow the representation of a king on the stage in such situations as those given to Francis I. in the original tragedy. The composer and the manager of the theatre begged in vain that the libretto should be accepted, but the authorities were obstinate. At last a way was found out of the difficulty by the chief of police himself, who was a great lover of art. He suggested to the librettist that the King should be changed to a duke of Mantua, and the title of the work to "Rigoletto," the name of the buffoon who figures in the place of the original Triboulet. Verdi accepted the alterations, and had an opera ready in forty days which by nearly all critics is considered his musical masterpiece, notwithstanding the revolting character of the story.
The scene of the opera is laid in Mantua. Rigoletto, the privileged buffoon of the Duke, who also plays the part of pander in all his licentious schemes, among numerous other misdeeds has assisted his master in the seduction of the wife of Count Ceprano and the daughter of Count Monterone. The latter appears before the Duke and Rigoletto, and demands reparation for the dishonor put upon his house, only to find himself arrested by order of the Duke, and taunted in the most insolent manner by the buffoon, upon whom he invokes the vengeance of Heaven. Even the courtiers themselves are enraged at Rigoletto's taunts, and determine to assist in Monterone's revenge by stealing Gilda, the jester's daughter, whom they suppose to be his mistress. Closely as she had been concealed, she had not escaped the observation of the Duke, who in the guise of a poor student wins her affections and discovers her dwelling-place. Pretending that it is Count Ceprano's wife whom they are about to abduct, they even make Rigoletto assist in the plot and help convey his own daughter to the Duke's apartments. In his blind fury when he discovers the trick that has been played upon him, he hires Sparafucile, a professional assassin, to kill the Duke. The bravo allures the Duke to his house, intending to carry out his agreement; but his sister, Magdalena, is so fascinated with the handsome stranger, that she determines to save him. Sparafucile at first will not listen to her, but finally promises if any one else comes to the house before the time agreed upon for the murder he shall be the victim. Rigoletto meanwhile disguises his daughter in male attire in order that she may escape to Verona; but before she sets out he takes her to the vicinity of Sparafucile's house, that she may witness the perfidy of the Duke. While outside, she overhears the quarrel between Sparafucile and Magdalena, and learns his intention to murder the Duke, who is even then sleeping in the house. With a woman's devotion she springs forward to save the Duke's life, knocks at the door, and demands admittance. Sparafucile opens it, and as she enters stabs her. He then thrusts her body into a sack, and delivers it to her father as the body of the man whom he had agreed to slay. Rigoletto, gloating over his revenge, is about to throw the sack into the river near by, when he suddenly hears the voice of the Duke. He tears open the sack to see whose body it contains, and by the glare of the lightning is horrified to find that it is his own daughter, and realizes that the malediction of Monterone has been accomplished. She expires in his arms, blessing her lover and father, while he sinks to the ground overwhelmed with the fulfilment of the terrible curse.
The first act opens in the ball-room of the ducal palace. After a brief dialogue between the Duke and one of his courtiers, the former vaunts his own fickleness in one of the most graceful and charming arias in the whole opera ("Questa o quella"). Some spirited dramatic scenes follow, which introduce the malediction of Monterone and the compact between Rigoletto and Sparafucile, and lead up to a scena of great power ("Io la lingua, egli ha il pugnali"), in which the buffoon vents his furious rage against the courtiers. A tender duet between Rigoletto and Gilda follows, and a second duet in the next scene between Gilda and the Duke ("Addio, speranza ed anima"), which for natural grace, passionate intensity, and fervid expression is one of Verdi's finest numbers. As the Duke leaves, Gilda, following him with her eyes, breaks out in the passionate love-song, "Caro nome," which is not alone remarkable for its delicacy and richness of melody, but also for the brilliancy of its bravura, calling for rare range and flexibility of voice. The act closes with the abduction, and gives an opportunity for a delightful male chorus ("Zitti, zitti") sung pianissimo.
The second act also opens in the palace, with an aria by the Duke ("Parmi veder le lagrime"), in which he laments the loss of Gilda. Another fine chorus ("Scorrendo uniti remota via") follows, from which he learns that Gilda is already in the palace. In the fourth scene Rigoletto has another grand scena ("Cortigiani vil razza dannata"), which is intensely dramatic, expressing in its musical alternations the whole gamut of emotions, from the fury of despair to the most exquisite tenderness of appeal as he pleads with the courtiers to tell him where his daughter is. In the next scene he discovers her, and the act closes with a duet between them ("Tutte le feste al tempio"), which, after a strain of most impassioned tenderness, is interrupted by the passage of the guards conveying Monterone to prison, and then closes with a furious outburst of passion from Rigoletto. With the exception of two numbers, the last act depends for its effect upon the dramatic situations and the great power of the terrible denouement; but these two numbers are among the finest Verdi has ever given to the world. The first is the tenor solo sung in Sparafucile's house in the second scene by the Duke,—"La donna e mobile," an aria of extreme elegance and graceful abandon, which is heard again in the last scene, its lightly tripping measures contrasting strangely with the savage glee of Rigoletto, so soon to change to wails of despair as he realizes the full force of the malediction. The second is the great quartet in the third scene between the Duke, Gilda, Magdalena, and Rigoletto ("Bella figlia dell' amore"), which stands out as an inspiration in comparison with the rest of the opera, fine as its music is. The story itself is almost too repulsive for stage representation; but in beauty, freshness, originality, and dramatic expression the music of "Rigoletto" is Verdi's best; and in all this music the quartet is the masterpiece.
LA TRAVIATA.
"La Traviata," an opera in three acts, words by Piave, is founded upon Dumas's "Dame aux Camelias," familiar to the English stage as "Camille." The original play is supposed to represent phases of modern French life; but the Italian libretto changes the period to the year 1700, in the days of Louis XIV.; and there are also some material changes of characters,—Marguerite Gauthier of the original appearing as Violetta Valery, and Olympia as Flora Belvoix, at whose house the ball scene takes place. The opera was first produced at Venice, March 6, 1853, with the following cast of the principal parts:—
VIOLETTA Mme. DONATELLI.
ALFREDO M. GRAZIANI.
GERMONT M. VARESI.
The opera at its first production was a complete failure, though this was due more to the singers than to the music. It is said that when the doctor announced in the third act that Mme. Donatelli, who impersonated the consumptive heroine, and who was one of the stoutest ladies ever seen on the stage, had but a few days to live, the whole audience broke out into roars of laughter. Time has brought its consolations to the composer, however, for "Traviata" is now one of the most popular operas in the modern repertory. When it was first produced in Paris, Oct. 27, 1864, Christine Nilsson made her début in it. In London, the charming little singer Mme. Piccolomini made her début in the same opera, May 24, 1856. Adelina Patti, since that time, has not only made Violetta the strongest character in her repertory, but is without question the most finished representative of the fragile heroine the stage has seen.