Nedda again tries to resume the play. She forces herself to smile and sing the gay gavotte; but this only maddens Canio the more. With tones of fury he declares that she shall either die or tell her lover's name. Nedda defies him, and her words are sustained by a distorted arrangement of the love-theme, which effect is like seeking concealment behind a skeleton. The music has become as breathless as the situation. Nedda tries to escape toward the spectators, but Canio holds her, and there follows a piercing shriek. Nedda has been stabbed. She falls, and with her dying breath calls "Silvio!" Canio turns upon her lover and completes vengeance with a single stroke. The orchestra now trumpets forth, like the expounding of a moral, that poignant theme whose growth and supremacy we have watched. The village spectators are still puzzled, and can hardly believe that the tragedy is real. Tonio comes forward and announces in parlando voice that "the comedy is finished!"
"Pagliacci" only occupies half an evening, and even with the "Australian Nightingale" and a great tenor in the cast the public still expect "some more." New Yorkers have become spoiled by the great performances lately given at the opera-house. We take it as a matter of course that "Don Giovanni" should be given with Lehmann, Sembrich, Nordica, Edouard de Reszke and Maurel, and quite expect "The Huguenots" to have in its cast two great sopranos and the two de Reszkes. We have an idea that a large city like New York should expect nothing less, and are not sure but the European capitals do better. In point of fact, however, when Madame Sembrich sings in Berlin the royal opera-house is crowded by the attraction of her name alone; and the same may be said of Madame Melba in Paris, or Calvé, or any of them. There are never more than six or seven great prima donnas in the world at one time, and when one of these sings in Europe the rest of the company is often mediocre. But not so in New York. After "Pagliacci" with Melba, "Cavalleria" with Calvé is the usual program—a rather unfortunate combination of operas, for they are both so feverishly intense. After the "beautiful horror" of "Pagliacci's" finale, a contrast might be welcome. Glück's "Orpheus and Eurydice" is a short opera that alongside of Leoncavallo's work would delight the musical epicure. Such an opportunity to study the new and the old would surely be beneficial.
"Orpheus
and Eurydice"
"ORPHEUS AND EURYDICE"
Classic myth and classic music are in this opera happily united. The beautiful legend belongs to the past, but Glück the composer, like Orpheus the musician, has brought the departed to life. With gentle harmonies he pacified those surrounding Furies, the critics, and his creation has attained a lasting place in the musical world. Simplicity and sincerity stamp the entire composition. The musical thoughts are put down in the plainest, straightest way, in strong contrast to the old Italian style, whose profuse embellishments remind one of ornate penmanship. Glück lived more than a century ago, but his ideas anticipated many of our modern formulas. He succeeded in imparting a musical individuality to all his characters.