BERTRAM M. LEVa.s.sEUR.
RAIMBAUT M. LAFONT.
In the following year two versions in English, both of them imperfect, were brought out by the rival theatres, Covent Garden and Drury Lane.
On the 20th of February it appeared at Drury Lane under the t.i.tle of "The Demon; or, the Mystic Branch," and at Covent Garden the next evening as "The Fiend Father, or Robert Normandy." Drury Lane had twenty-four hours the start of its rival, but in neither case were the representations anything but poor imitations of the original. On the 11th of the following June the French version was produced at the King"s Theatre, London, with the same cast as in Paris, except that the part of Alice was taken by Mme. De Meric, and that of the Abbess by the danseuse Mlle. Heberle. On the 4th of May, 1847, the first Italian version was produced at Her Majesty"s Theatre, with Jenny Lind and Staudigl in the cast. Gruneisen, the author of a brief memoir of Meyerbeer, who was present, says: "The night was rendered memorable, not only by the ma.s.sacre attending the general execution, but also by the debut of Mlle. Lind in this country, who appeared as Alice. With the exception of the debutante, such a disgraceful exhibition was never before witnessed on the operatic stage. Mendelssohn was sitting in the stalls, and at the end of the third act, unable to bear any longer the executive infliction, he left the theatre."
The libretto of "Robert the Devil" is absurd in its conceptions and sensational in its treatment of the story, notwithstanding that it came from such famous dramatists as Scribe and Delavigne; and it would have been still worse had it not been for Meyerbeer. Scribe, it is said, wished to introduce a bevy of sea-nymphs, carrying golden oars, as the tempters of Robert; but the composer would not have them, and insisted upon the famous scene of the nuns, as it now stands, though these were afterwards made the b.u.t.t of almost endless ridicule.
Mendelssohn himself, who was in Paris at this time, writes: "I cannot imagine how any music could be composed on such a cold, formal extravaganza as this." The story runs as follows: The scene is laid in Sicily, where Robert, Duke of Normandy, who by his daring and gallantries had earned the sobriquet of "the Devil," banished by his own subjects, has arrived to attend a tournament given by the Duke of Messina. In the opening scene, while he is carousing with his knights, the minstrel Raimbaut sings a song descriptive of the misdeeds of Robert. The latter is about to revenge himself on the minstrel, when Alice, his foster-sister and the betrothed of Raimbaut, appears and pleads with him to give up his wicked courses, and resist the spirit of evil which is striving to get the mastery of him. Robert then confides to Alice his hopeless pa.s.sion for Isabella, daughter of the Duke. While they are conversing, Bertram, "the unknown," enters, and Alice shrinks back affrighted, fancying she sees in him the evil spirit who is luring Robert on to ruin. After she leaves, Bertram entices him to the gaming-table, from which he rises a beggar,--and worse than this, he still further prejudices his cause with Isabella by failing to attend the tournament, thus forfeiting his knightly honor.
The second act opens upon an orgy of the evil spirits in the cavern of St. Irene. Bertram is present, and makes a compact with them to loose Robert from his influence if he does not yield to his desires at once.
Alice, who has an appointment with the minstrel in the cavern, overhears the compact, and determines to save him. Robert soon appears, mourning over his losses and dishonor; but Bertram promises to restore everything if he will visit the ruined Abbey of St.
Rosalie, and carry away a mystic branch which has the power of conferring wealth, happiness, and immortality. He consents; and in the next scene Bertram p.r.o.nounces the incantation which calls up the buried nuns. Dazed with their ghostly fascinations, Robert seizes the branch and flies. His first use of it is to enter the apartments of Isabella, unseen by her or her attendants, all of whom become immovable in the presence of the mystic talisman. He declares his intention of carrying her away; but moved by her entreaties he breaks the branch, which destroys the charm. In the last act Bertram is at his side again, trying to induce him to sign the fatal compact. The strains of sacred music which he hears, and the recollections of his mother, restrain him. In desperation Bertram announces himself as his fiend-father. He is about to yield, when Alice appears and reads to him his mother"s warning against the fiend"s temptation. As he still hesitates, the clock strikes, and the spell is over. Bertram disappears, and the scene changes to the cathedral, where Isabella in her wedding robes awaits the saved Robert.
From the musical point of view "Robert le Diable" is interesting, as it marks the beginning of a new school of grand opera. With this work, Meyerbeer abandoned the school of Rossini and took an independent course. He cut loose from the conventional cla.s.sic forms and gave the world dramatic music, melodies of extraordinary dramatic force, brilliant orchestration, stately pageants, and theatrical effects.
"Robert le Diable" was the first of the subsequent great works from his pen which still further emphasized his new and independent departure. It is only necessary to call attention to a few prominent numbers, for this opera has not as many instances of these characteristics as those which followed and which are elsewhere described. The first act contains the opening baccha.n.a.lian chorus ("Versiamo a tazza plena"), which is very brilliant in character; the minstrel"s song in the same scene ("Regnava un tempo in Normandia"), with choral accompaniment; and a very tender aria for Alice ("Vanne, disse, al figlio mio"), in which she delivers his mother"s message to Robert. The second act opens with a spirited duet between Bertram and Raimbaut, leading up to a powerful and characteristic chorus of the evil spirits ("Demoni fatali"). An aria for Alice ("Nel lasciar in Normandia"), a duet between Bertram and Alice ("Trionfo bramato"), and an intensely dramatic trio between Bertram, Alice, and Robert ("Lo sguardo immobile"), prepare the way for the great scena of the nuns, known as "La Temptation," in which Meyerbeer ill.u.s.trates the fantastic and oftentimes ludicrous scene with music which is the very essence of diabolism, and in its way as unique as the incantation music in "Der Freischutz." The third act contains two great arias. The first ("Invano il fato"), sung at the opening of the act by Isabella, and the second the world-famous aria "Roberto, o tu che adoro," better known by the French words ("Robert! toi que j"aime"). The closing act is specially remarkable for the great terzetto in its finale, which is one of the most effective numbers Meyerbeer has written. The judgment of Hanslick, the great Viennese critic, upon this work is interesting in this connection. He compares it with "William Tell" and "Masaniello," and finds that in musical richness and blended effects it is superior to either, but that a single act of either of the works mentioned contains more artistic truth and ideal form than "Robert le Diable,"--a judgment which is largely based upon the libretto itself, which he condemns without stint.
DINORAH
"Dinorah," an opera in three acts, founded upon a Breton idyl, words by Barbiere and Carre, was first produced at the Opera Comique, Paris, April 4, 1859, under the t.i.tle of "Le Pardon de Ploermel." It contains but three princ.i.p.al characters, and these were cast as follows: Dinorah, Mme. Cabel; Corentin, M. Sainte-Foy; and Hoel, M. Faure. On the 26th of July, 1859, Meyerbeer conducted the work himself at Covent Garden, London, with Mme. Miolan-Carvalho as Dinorah, and it was also produced in the same year in English by the Pyne-Harrison troupe. The first representative of Dinorah in this country was Mlle. Cordier.
The scene of the opera is laid in Brittany, and when the first act opens, the following events are supposed to have transpired. On one of the days set apart by the villagers of Ploermel for a pilgrimage to the shrine of the Virgin, Hoel, the goatherd, and Dinorah, his affianced, set out to receive a nuptial benediction. The festivity is interrupted by a thunder-storm, during which Les Herbiers, the dwelling-place of Dinorah, is destroyed by lightning. Dinorah is in despair. Hoel determines to make good the loss, and upon the advice of Tonick, an old wizard, resolves to go in quest of a treasure which is under the care of the Korigans, a supernatural folk belonging to Brittany. In order to wrest it from them, however, it is necessary for Hoel to quit the country and spend a year in solitude in a desolate region. He bravely starts off, and Dinorah, thinking he has abandoned her, loses her wits, and constantly wanders about the woods with her goat, seeking him. Meanwhile the year expires and Hoel returns, convinced that he has the secret for securing the treasure.
The overture to the work is unique among operatic overtures, as it has a chorus behind the curtain interwoven with it. It is a picture of the opera itself, and contains a will-o"-the-wisp pa.s.sage, a rustic song with accompaniment of goat-bells, a storm, and in the midst of the storm a chant to the Virgin, sung by the unseen chorus, and then a Pilgrimage march, the whole being in the nature of a retrospect. The curtain rises upon a rustic chorus, after which Dinorah appears, seeking her goat, and sings a slumber-song ("Si, carina, caprettina") which is very graceful, and concludes with phrases in imitation of birds. In the next scene, Corentin, the bagpiper, who has been away three months, and is nearly dead with terror of goblins and fairies, returns to his cottage, and to rea.s.sure himself sings a very quaint and original song ("Sto in casa alfine"), to the accompaniment of his pipe. Dinorah suddenly appears and enters the cottage, and much to his alarm keeps him playing and singing, which leads to a very animated vocal contest between her and the bagpiper. It is abruptly terminated, however, by the arrival of Hoel. Dinorah makes her escape by a window, and Hoel relates to Corentin the story of the Korigans" treasure. As the first person who touches it will die, he determines that Corentin shall be his messenger, and to rouse his courage sends for wine. While Corentin is absent, Hoel sings an aria ("Se per prender") which has always been a favorite with barytones. After Corentin returns, the tinkling of the goat"s bell is heard. Dinorah appears in the distance, and a charming trio closes the act, to the accompaniment of the whistling wind and booming thunder on the contra ba.s.ses and drums of the orchestra.
The second act opens with a drinking-song by wood-cutters, and as they withdraw, Dinorah enters, seeking Hoel. She sings a tender lament, which, as the moonlight falls about her, develops into the famous "Shadow Song," a polka mazurka, which she sings and dances to her shadow. The aria, "Ombra leggier," is fairly lavish in its texture of vocal embroidery, and has always been a favorite number on the concert stage. The next scene changes to the Val Maudit (the Cursed Vale), a rocky, cavernous spot, through which rushes a raging torrent bridged by a fallen tree. Hoel and Corentin appear in quest of the treasure, and the latter gives expression to his terror in a very characteristic manner, with the a.s.sistance of the orchestra. Dinorah is heard singing the legend of the treasure ("Chi primo al tesor"), from which Corentin learns that whoever touches it first will die. He refuses to go on, and a spirited duet ensues between them, which is interrupted by the entrance of Dinorah and her goat. Hoel, fancying it is a spirit sent to keep him back, sings a very beautiful aria ("Le crede il padre").
The act closes with the fall of Dinorah, who attempts to cross the bridge, into the torrent, and her rescue by Hoel, to the accompaniment of a storm set to music. The scene, though melodramatic, is very strong in its musical effects.
The last act opens with a scene in striking contrast, introduced with a quintet of horns, followed by a hunter"s solo, a reaper"s solo, a duet for shepherds; and a quartet in the finale. Hoel arrives, bearing the rescued Dinorah, and sings to her an exquisite romance ("Sei vendicata a.s.sai"). The magic of his singing and her bath in the torrent restore her wandering senses. Hoel persuades her that all which has transpired has been a dream. The old song of the Pardon of Ploermel comes to her, and as she tries to recall it the chorus takes it up ("Santa Maria! nostra donna") as it was heard in the overture. A procession is seen in the distance, and amid some exquisite pageant music Hoel and Dinorah wend their way to the chapel, where the nuptial rites are supposed to be performed.
THE PROPHET.
"Le Prophete," an opera in five acts, words by Scribe, was first produced in Paris, April 16, 1849, with Mme. Viardot-Garcia as Fides, and M. Roger as John of Leyden. "The Prophet" was long and carefully elaborated by its composer. Thirteen years intervened between it and its predecessor, "The Huguenots;" but in spite of its elaboration it can only be said to excel the latter in pageantry and spectacular effect, while its musical text is more declamatory than melodious, as compared with "The Huguenots." In this sense it was disappointing when first produced.
The period of the opera is 1534. The first act transpires in Dordrecht and Leyden, in Holland, and the other three in Munster, Germany. The text closely follows the historical narrative of the period when Munster was occupied by John of Leyden and his fanatics, who, after he had been crowned by them as Emperor of Germany, was driven out by the bishop of the diocese. The first act opens in the suburbs of Dordrecht, near the Meuse, with the chateau of Count Oberthal, lord of the domain, in the distance. After a very fresh and vigorous chorus of peasants, Bertha, a va.s.sal of the Count, betrothed to John of Leyden, enters and sings a cavatina ("Il cor nel sento"), in which she gives expression to emotions of delight at her approaching union. As she cannot go to Leyden, where the marriage is to take place, without the Count"s consent, Fides, the mother of John, joins her to make the request. In the mean time the three Anabaptists, Zacarie, Gione, and Mathisen, leaders of the revolt in Westphalia, arrive on their mission of raising an insurrection in Holland, and in a sombre trio of a religious but stirring character ("O libertade") incite the peasants to rise against their rulers. They make an a.s.sault upon the castle of Count Oberthal, who speedily repels them, and turns the tide of popular feeling against the Anabaptists, by recognizing Gione as a former servant who had been discharged from his service for dishonesty. Fides and Bertha then join in a romanza ("Della mora un giorno"), imploring his permission for the marriage of Bertha and John. The Count, however, struck with her beauty, not only refuses, but claims her for himself, and seizes both her and Fides, and the act closes with a repet.i.tion of the warning chant of the Anabaptists.
The second act opens in the hostelry of John of Leyden, and is introduced with a waltz and drinking-chorus, in the midst of which the Anabaptists arrive and are struck with his resemblance to a portrait of David in the Munster Cathedral. From a very descriptive and highly wrought scena ("Sotto le vasti arcati") sung by him they also learn that he is given to visions and religious meditations. They a.s.sure him that he shall be a ruler; but in a beautiful romanza ("Un impero piu soave") he replies that his love for Bertha is his only sovereignty.
Just as they depart, Bertha, who has escaped, rushes in and claims his protection. He conceals her; but has hardly done so when the Count enters with his soldiers, bringing Fides as a prisoner, and threatens to kill her unless Bertha is given up. He hesitates; but at last, to save his mother"s life, delivers Bertha to her pursuers. Mother and son are left alone, and she seeks to console him. In this scene occurs one of the most dramatic and intense of Meyerbeer"s arias ("O figlio mio, che diro"), known more popularly by its French words, beginning, "Ah! mon fils." It has enjoyed a world-wide popularity, and still holds its place in all its original freshness and vigor. Fides hardly disappears before the ominous chant of the Anabaptists is heard again.
He does not need much persuasion now. They make their compact in a quartet of magnificent power, which closes the act; and some of John"s garments are left behind stained with blood, that his mother may believe he has been killed.
The third act opens in the Anabaptists" camp in a Westphalian forest, a frozen lake near them, and Munster, which they are besieging, in the distance. In the second scene Zacarie sings a stirring pasan of victory ("In coppia son"), followed by the beautiful ballet music of the skaters as they come bringing provisions to the troops. Count Oberthal meanwhile has been taken prisoner and brought into camp. A buffo trio between himself and his captors follows, in which Gione penetrates his disguise and recognizes him. They are about to fall upon him; but John, learning from him that Bertha is still alive and in Munster, saves his life. He immediately resolves to take the place by a.s.sault, rouses his followers with religious chants of a martial character, and the act concludes with the march on the city.
The fourth act opens in the city itself after its capture. A mendicant appears in the public square begging for bread. It is Fides; and in a plaintively declamatory aria of striking power ("Pieta! pieta!") she implores alms. She meets with Bertha disguised as a pilgrim, and bent upon the destruction of the Prophet, who, she believes, has been the cause of John"s death. The next scene opens in the cathedral, where the coronation of the Prophet is to take place; and among all Meyerbeer"s pageants none are more imposing than this, with its accompaniment of pealing bells, religious chants, the strains of the organ, and the stately rhythms of the great Coronation March. It is a splendid prelude to the dramatic scene which follows. In the midst of the gorgeous spectacle, the voice of Fides is heard claiming the Prophet as her son. John boldly disavows her, and tells his followers to kill him if she does not confirm the disavowal. The feelings of the mother predominate, and she declares that she is mistaken. The mult.i.tude proclaim it a miracle, and Fides is removed as a prisoner.
The dramatic situation in this finale is one of great strength, and its musical treatment has hardly been excelled.
The last act opens with a trio by the Anabaptist leaders, who, learning that the enemy is approaching in force, determine to save themselves by betraying John. In the third scene Fides in prison, learning that John is coming to see her, invokes the punishment of Heaven upon him in the pa.s.sionate aria, "Spirto superno." A duet ("Tu che del cielo") of great power follows, in which Fides convinces him of the errors of his course. As they are about to leave, Bertha enters, bent upon the destruction of the palace, and in the trio which ensues learns that John and the Prophet are one. She stabs herself, and dying in the arms of Fides curses him. The last scene opens in a banqueting-hall of the palace, where John is revelling, with the Anabaptists around him. He sings a baccha.n.a.lian song of a wild description ("Beviam e intorno"), and, as it closes, the Bishop of Munster, the Elector, Count Oberthal, and the three Anabaptists who have betrayed him, enter the apartment. The revenge which John has planned is now consummated. An explosion is heard. Flames break out on all sides. Fides rushes in and forgives her son, and the Prophet, his mother, and his enemies perish together.
Although "The Prophet" did not meet with the popularity of some of his other operas, it contains some of the most vigorous and dramatic music Meyerbeer has written,--notably the arias of Zacarie and Fides, the skating-ballet, the Coronation March, and the drinking-song. As a pageant, "The Prophet" has never been surpa.s.sed.
THE AFRICAN.
"L"Africaine," a grand opera in five acts, words by Scribe, was first produced at the Academie, Paris, April 28, 1865, with the following cast:--
SELIKA Mme. MARIE SAXE.
INEZ Mlle. MARIE BATTEO.
VASCO DI GAMA M. NAUDIN.
NELUSKO M. FAURE.
DON PEDRO M. BELVAL.
HIGH PRIEST M. OBIN.
The libretto of the opera was first given to Meyerbeer by Scribe in 1838; but such were the alterations demanded by the composer, that at last Scribe withdrew it altogether, although the music was already set. In 1852 he furnished a revised libretto, and the music was revised to suit it. The work was not finished until 1860, and owing to the difficulty of filling the cast satisfactorily, was not brought to rehearsal until the fall of 1863. While still correcting and improving it, Meyerbeer died, and it was not produced until two years later.
Shortly after the Paris performance it was brought out in London, with Mlle. Lucca in the part of Selika. Mme. Zucchi was one of the earliest representatives of the slave in this country.
The scene of the opera is laid in Portugal and Africa, and the first act opens in the council chamber of the king of the former country.
Inez, his daughter, is mourning the long absence of her betrothed, Vasco di Gama the explorer. Her father, wishing to marry her to Don Pedro, the President of the Council, tries to persuade her that Vasco has perished by shipwreck; but the refutation of the story comes in the sudden appearance of Vasco himself, who is summoned before the Council and narrates to them his discovery of a strange land, producing two of the natives, Selika and Nelusko, as confirmations of his announcement. Don Pedro incites the inquisitors to deny the truth of the story, at which Vas...o...b..eaks out in such a furious rage against them that he is arrested and thrown into a dungeon. The second act opens in the prison, where Selika is watching the slumbering Vasco. As he wakens she declares her love for him, and at the same time saves him from the dagger of the jealous Nelusko. She also indicates to him the course he should have taken to discover the island of which he is in quest. To save her lover, Inez consents to wed Don Pedro; and the latter, to cheat Vasco of his fame, takes command of the expedition under the pilotage of Nelusko, and sets sail for the new land. The Indian, thirsting for vengeance, directs the vessel out of her course towards a reef; but Vasco, who has followed in another vessel, arrives in time to warn Don Pedro of his danger. He disregards the warning, distrusts his motives, and orders him to be shot; but before the sentence can be carried out, the vessel strikes and is boarded by the savages, who slaughter the commander and most of his men. The fourth act opens on the island which Selika pointed out on the map, and of which she is queen. To save him from her subjects, she declares herself his spouse; but as the marriage rite is about to be celebrated, Vasco hears the voice of Inez in the distance, deserts Selika, and flies to her. In the last act, as the vessel sails away bearing Vasco and Inez back to Portugal, Selika throws herself down under the poisonous manchineel-tree and kills herself with its fatal flowers; expiring in the arms of Nelusko, who shares the same fate.
The first act opens with a very sweet but sombre ballad sung by Inez ("Del Tago sponde addio"), which recalls the English song, "Isle of Beauty, fare thee well," and is followed by a bold and flowing terzetto. The third scene opens with a n.o.ble and stately chorus ("Tu che la terra adora") sung by the ba.s.ses in unison, opening the Council before which Vasco appears; and the act closes with an anathema hurled at him ("Ribelle, insolente"),--a splendid ensemble, p.r.o.nounced in its rhythm and majestic in the sweep of its pa.s.sionate music.
The second act opens with the quaint slumber-song ("In grembo a me") which Selika sings to Vasco in prison. It is oriental in color, and is broken here and there by a barcarole which Vasco murmurs in his sleep.
In striking contrast with its dreamy, quiet flow, it leads up to a pa.s.sionate aria ("Tranquillo e gia") based upon a strong and fiery motive. In the next scene follows an aria of equal vigor sung by Nelusko ("Figlia dei Re"), in which his devotion to Selika changing to his hatred of Vasco is characterized by a grand crescendo. The act closes with a vigorous s.e.xtet, the motive of which is strangely similar to the old song, "The Minstrel Boy."
The third act contains a very impressive number, Nelusko"s invocation of Adamastor ("Adamastor, re dell" onde profondo"), but is mainly devoted to the ship scene, which, though grotesque from the dramatic point of view, is accompanied by music of a powerful and realistic description, written with all the vividness and force Meyerbeer always displays in his melodramatic ensembles. The fourth act contains the most beautiful music of the opera,--Vasco"s opening aria, "O Paradiso," an exquisite melody set to an equally exquisite accompaniment; the ensemble in the fourth scene, in which Selika protects Vasco and Nelusko swears vengeance ("Al mio penar de fine"); the grand duet between Vasco and Selika ("Dove son"), which has often been compared to the duet in the fourth act of "The Huguenots," though it has not the pa.s.sionate intensity of the scene between Raoul and Valentin; and the graceful choruses of the Indian maidens and Inez"s attendants which close the act.
The last act contains two scenes,--the first in Selika"s gardens, where there is a long and spirited duet between Inez and Selika. The second, known as "La Scene du Mancenillier," has a symphonic prelude in the form of a funeral march, based upon a fascinating melody, which is beyond question the finest of Meyerbeer"s orchestral numbers in any of his works. From this point the story hastens to its tragic denouement; and nearly the entire scene is occupied with Selika"s dying song, which opens with a majestic apostrophe to the sea ("Da qui io vedo il mar"), then turns to sadness as she sings to the fatal tree ("O tempio sontuoso"), and at the close develops into a pa.s.sionate outcry of joy ("O douce extase"). Though the plot of "L"Africaine" is often absurd, many of its incidents preposterous, and some of its characters unattractive, the opera is full of effective situations, and repeatedly ill.u.s.trates Meyerbeer"s powers of realization and his knowledge of effects.
MOZART.
Johann Chrysostomus Wolfgang Amadeus Mozart was born at Salzburg, Jan.
27, 1756. With this wonderful child music was a divine gift, for his first work, a minuet and trio for piano, was written in his fifth year. He began to study with his father when but three years of age, and at once gave signs of extraordinary promise. His sister was also very talented; and in 1762 the father determined to travel with his prodigies. They were absent a year, the most of that time being spent at Munich, Vienna, and Presburg, where they created a furor by their performances. A longer journey was then resolved upon. The princ.i.p.al German cities, Brussels, Paris, London, the Hague, Amsterdam, and the larger towns of Switzerland were visited in succession, and everywhere the children were greeted with enthusiasm, particularly when they played before the French and English courts. They returned to Salzburg in 1766, already famous all over Europe; and during the next two years Mozart composed many minor works. In 1768 he was again in Vienna, where he produced his little operetta, "Bastien und Bastienne," and in the same year the Archbishop of Salzburg made him his concertmeister.
The next year he went to Italy, where he both studied and composed, and was received with extraordinary honors. In 1771 he brought out his opera, "Mitridate, Re di Ponto," at Milan, with great success. The next year he produced "Lucio Silla," also in Milan, and during the next four years composed a great number of symphonies and other instrumental works. The ma.s.s of music which he composed up to his twenty-first year is simply bewildering. In 1781 he brought out "Idomeneo" at Munich, which left no doubt as to his position as a dramatic composer. In 1782 his "Entfuhrung aus dem Serail" was produced at Vienna by the Emperor"s command. His next great opera was "Le Nozze di Figaro," which was performed in 1786, and made all Vienna go wild. "Don Giovanni" followed it the next year, and was received with equal enthusiasm. In 1789 he composed the famous "Requiem;" and the same year the "Zauberflote," his last great opera, appeared, and made a success even greater than its two great predecessors. Two years later, Dec. 5, 1791, Mozart died in poverty, and amid the saddest of surroundings. One of the world"s greatest geniuses was carried to his last resting-place unaccompanied by friends, and was buried in the common pauper"s grave. G.o.d endowed him with a wonderful genius, which the world of his time could not recognize.
THE MARRIAGE OF FIGARO.
"Le Nozze di Figaro," in the German version, "Die Hochzeit des Figaro," an opera buffa in four acts, the words by Lorenzo da Ponte, after Beaumarchais"s comedy, "Le Mariage de Figaro," was first produced at the National Theatre, Vienna, May 1, 1786, with the following cast:--
COUNTESS ALMAVIVA Signora STORACE.
SUSANNA Signora LASCHI.
CHERUBINO Signora MANDINI.
MARCELLINA Signora BUSSANI.
BARBARINA Signora GOTTLIEB.
COUNT ALMAVIVA Signor MANDINI.
FIGARO Signor BENUCCI.
BARTOLO Signor OCCHELEY.
BASILIO Signor BUSSANI.