major, and the melancholy sounds of the violoncello are succeeded by the cheering tones of the violin, which now steps in with a solo. A gentle sleep, produced by magic, then steals on Fortunatus, and the chord of E major, softly breathed by the wind instruments, hints already the approach of Fortuna, who shortly afterwards appears with her genii, singing tender choruses; bestows on Fortunatus her gifts—the wishing-cap and ever-full purse—then disappears. As Fortunatus awakes, the key of E major suddenly changes again into A, and the transition gives to the whole situation a dream-like character. Fortunatus is now free, and the orchestra bursts out fortissimo, with all its brass instruments and drums, and seems to revel with the happy youth, who can scarcely calculate the extent of his good fortune. He now wishes himself in Famagusta’s rich market-place; the scene changes, and the dealers of all kinds sing a popular air, No. 5, extolling their wares. Carlino appears, banished from the court on the suspicion of being the cause of Fortunatus’s escape, and sings a song, No. 6[5].
No. 7. Finale is comic throughout. King Claudio appears with the two ladies, Pedro, and attendants. Fortunatus, recognized by Alide alone, attracts the attention of the king by the splendour of his dress. Pedro makes inquiries respecting him of Carlino, who has entered the service of Fortunatus. When the king is told that the stranger is Count Minian of Flanders, and that he is worth ten millions, his joy knows no bounds, and he invites him immediately to the palace. The music of the Finale is lively, dramatic, and well put together; the chorus at the conclusion, however, borders on the trivial. The scene in which Fortunatus is presented to the king by Pedro (tempo di minuetto) is highly diverting, the melody is in the antique stiff style, and at the end, four bars universal rest can scarcely fail to draw from the audience a burst of laughter.
Second Act.—Fortunatus has been victorious in the tournament. The king greets the rich Count of Flanders, in the presence of the whole court, as his intended son-in-law. Pedro, too, for his valour in the tournament, receives from the king a scarf. This forms the subject of the chorus No. 8, of which it may be said, that it is powerful and effectively written, and the solo parts are in true character. Fortunatus acquaints Alide with the properties of the magic gifts, and is overheard by Agrippina.
No. 9. A very beautiful duet between Fortunatus and Alide commences. The motivo is uncommonly sweet, and the whole piece is calculated for the display of vocal talent.
No. 10. Aria of Agrippina, almost in the bravura style. Agrippina has revealed everything to her brother, and they resolve to despoil Fortunatus of his magic gifts.
No. 11. Terzet between Agrippina, Pedro, and Fortunatus. This and the following aria of Alide are the weakest pieces in the opera; the colouring and inspiration, more or less conspicuous in the other pieces, are wanting here. It should, however, be remarked that the action of the drama begins to drag in the second act, and that no situation predominates that is deserving of distinguished musical treatment, except the finale, No. 13. Fortunatus, deprived of his talismans, and wandering about in a rocky glen, deplores his fate. He relates how Agrippina and Pedro bereft him of his magic gifts. To quench his thirst he plucks an apple from a tree, on the tasting of which he becomes as black as a negro. His good genius, however, directs him to pluck an apple from the opposite tree, the taste of which dissolves the spell. Upon this, he forms a plan for avenging himself, and recovering his lost treasures. The finale begins with an aria in C minor, in which Fortunatus expresses his eagerness for revenge. He plucks the apples which turn black such as taste them; but on gathering those which restore the original colour, and the effect of which is, therefore, just the reverse, the orchestra plays the same musical phrase reversed. The choruses of male and female gardeners are of a pastoral character. The awful passage of the horn solo when Fortunatus appears under the guise of a magic spirit, and which is introduced with great effect as a second melody, simultaneously with the peculiar subject which accompanies the plucking of the apples, forms a striking contrast to the chorus of the courtiers, who assent to the king’s remarks, and laugh at every stupid joke he utters. Agrippina and Pedro, tasting the apples, become black. General consternation ensues. The king curses the place, and the scene closes with a chorus.
No. 14. The commencement of the third act re-introduces the opening chorus of the first act. Fortunatus then appears as a Quack Doctor, and takes Carlino into his service as Punch. Pedro, understanding that the Doctor possesses unfailing remedies for diseases of the skin, is in hopes, through his means, to retrieve his lost colour.
Now begins No. 15, a terzet between Fortunatus, Carlino, and Pedro, during which the latter, by eating the healing apples, (the same musical phrase being played at the time which expressed the plucking of them,) recovers his complexion. The whole scene of the disenchantment is very original and dramatically written. Pedro hastens to his sister with Fortunatus to effect her cure also.
No. 16. Aria of Alide, who attempts to console her cousin Agrippina; full of melody, and concertante for the oboe, and of exquisite effect.