"That is worthy of Mozart!" he exclaimed. "See how that German can handle his chords, and through what masterly modulations he raises the image of terror to come to the dominant C. I can hear all hell in it!
"The curtain rises. What do I see? The only scene to which we gave the epithet infernal: an orgy of knights in Sicily. In that chorus in F every human passion is unchained in a bacchanalian allegro. Every thread by which the devil holds us is pulled. Yes, that is the sort of glee that comes over men when they dance on the edge of a precipice; they make themselves giddy. What go there is in that chorus!
"Against that chorus—the reality of life—the simple life of every-day virtue stands out in the air, in G minor, sung by Raimbaut. For a moment it refreshed my spirit to hear the simple fellow, representative of verdurous and fruitful Normandy, which he brings to Robert's mind in the midst of his drunkenness. The sweet influence of his beloved native land lends a touch of tender color to this gloomy opening.
"Then comes the wonderful air in C major, supported by the chorus in C minor, so expressive of the subject. 'Je suis Robert!' he immediately breaks out. The wrath of the prince, insulted by his vassal, is already more than natural anger; but it will die away, for memories of his childhood come to him, with Alice, in the bright and graceful allegro in A major.
"Can you not hear the cries of the innocent dragged into this infernal drama,—a persecuted creature? 'Non, non,'" sang Gambara, who made the consumptive piano sing. "His native land and tender emotions have come back to him; his childhood and its memories have blossomed anew in Robert's heart. And now his mother's shade rises up, bringing with it soothing religious thoughts. It is religion that lives in that beautiful song in E major, with its wonderful harmonic and melodic progression in the words:
"Car dans les cieux, comme sur la terre,
Sa mère va prier pour lui.
"Here the struggle begins between the unseen powers and the only human being who has the fire of hell in his veins to enable him to resist them; and to make this quite clear, as Bertram comes on, the great musician has given the orchestra a passage introducing a reminiscence of Raimbaut's ballad. What a stroke of art! What cohesion of all the parts! What solidity of structure!
"The devil is there, in hiding, but restless. The conflict of the antagonistic powers opens with Alice's terror; she recognizes the devil of the image of Saint Michael in her village. The musical subject is worked out through an endless variety of phases. The antithesis indispensable in opera is emphatically presented in a noble recitative, such as a Gluck might have composed, between Bertram and Robert:
"Tu ne sauras jamais à quel excès je t'aime.
"In that diabolical C minor, Bertram, with his terrible bass, begins his work of undermining which will overthrow every effort of the vehement, passionate man.