Auber's "Masaniello," Rossini's "William Tell," Halévy's "La Juive," and Meyerbeer's own "Robert le Diable" practically having dropped out of the repertoire in this country, "Les Huguenots," composed in 1836, is the earliest opera in the French grand manner that maintains itself on the lyric stage of America—the first example of a school of music which, through the "Faust" of Gounod, the "Carmen" of Bizet, and the works of Massenet, has continued to claim our attention.
After a brief overture, in which Luther's hymn is prominent, the first act opens with a sonorous chorus for the banqueters in the salon of de Nevers's castle. Raoul, called upon to propose in song a toast to a lady, pledges the unknown beauty, whom he rescued from the insolence of a band of students. He does this in the romance, "Plus blanche que la plus blanche hermine" (Whiter than the whitest ermine). The accompaniment to the melodious measures, with which the romance opens, is supplied by a viola solo, the effective employment of which in this passage shows Meyerbeer's knowledge of the instrument and its possibilities. This romance is a perfect example of a certain phase of Meyerbeer's art—a suave and elegant melody for voice, accompanied in a highly original manner, part of the time, in this instance, by a single instrument in the orchestra, which, however, in spite of its effectiveness, leaves an impression of simplicity not wholly uncalculated.
Raoul's romance is followed by the entrance of Marcel, and the scene for that bluff, sturdy old Huguenot campaigner and loyal servant of Raoul, a splendidly drawn character, dramatically and musically. Marcel tries to drown the festive sounds by intoning the stern phrases of Luther's hymn. This he follows with the Huguenot battle song, with its "Piff, piff, piff," which has been rendered famous by the great bassos who have sung it, including, in this country, Formes and Édouard de Reszke.
De Nevers then is called away to his interview with the lady, whom Raoul recognizes as the unknown beauty rescued by him from the students, and whom, from the circumstances of her visit to de Nevers, he cannot but believe to be engaged in a liaison with the latter. Almost immediately upon de Nevers's rejoining his guests there enters Urbain, the page of Marguerite de Valois. He greets the assembly with the brilliant recitative, "Nobles Seigneurs salut!" This is followed by a charming cavatina, "Une dame noble et sage" (A wise and noble lady). Originally this was a soprano number, Urbain having been composed as a soprano rôle, which it remained for twelve years. Then, in 1844, when "Les Huguenots" was produced in London, with Alboni as Urbain, Meyerbeer transposed it, and a contralto, or mezzo-soprano, part it has remained ever since, its interpreters in this country having included Annie Louise Cary, Trebelli, Scalchi, and Homer. The theme of "Une dame noble et sage" is as follows:
The letter brought by Urbain is recognized by the Catholic noblemen as being in the handwriting of Marguerite de Valois. As it is addressed to Raoul, they show by their obsequious demeanour toward him the importance they attach to the invitation. In accordance with its terms Raoul allows himself to be blindfolded and led away by Urbain.
Following the original score and regarding what is now the second scene of Act I as the second act, this opens with Marguerite de Valois's apostrophe to the fair land of Touraine (Ô beau pays de la Touraine), which, with the air immediately following, "À ce mot tout s'anime et renaît la nature" (At this word everything revives and Nature renews itself),
[[Listen]]
constitutes an animated and brilliant scene for coloratura soprano.
There is a brief colloquy between Marguerite and Valentine, then the graceful female chorus, sung on the bank of the Seine and known as the "bathers' chorus," this being followed by the entrance of Urbain and his engaging song—the rondeau composed for Alboni—"Non!—non, non, non, non, non! Vous n'avez jamais, je gage" (No!—no, no, no, no, no! You have never heard, I wager).