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129 pages

English

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A fantastic resource for students and lovers of opera. This book contains a wealth of information about the works of the greatest opera composers. Includes information on the composers themselves, as well as discussions of the music and plot of the operas. Composers include Beethoven, Bizet, Mozart, Verdi, Wagner and many more.

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Opera

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Publié par	Andrews UK
Date de parution	19 juin 2012
Nombre de lectures	0
EAN13	9781781667590
Langue	English

Informations légales : prix de location à la page 0,0100€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

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THE STANDARD OPERAS
Their Plots, Their Music, and Their Composers
A Handbook
by
GEORGE P. UPTON
This edited version, including layout, typography, additions to text, cover artwork and other unique factors is copyright © 2012 Andrews UK Limited
This book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, resold, hired out or otherwise circulated without the publisher’s prior written consent in any form of binding or cover other than that in which it is published, and without a similar condition being imposed on the subsequent purchaser.
PREFACE.
The object of the compiler of this Handbook is to present to the reader a brief but comprehensive sketch of each of the operas contained in the modern repertory which are likely to be given during regular seasons. To this end he has consulted the best authorities, adding to the material thus collected his own observations, and in each case presented a necessarily brief sketch of the composer, the story of each opera, the general character of the music, its prominent scenes and numbers, - the latter in the text most familiar to opera-goers, - the date of first performances, with a statement of the original cast wherever it has been possible to obtain it, and such historical information concerning the opera and its composition as will be of interest to the reader. The work has been prepared for the general public rather than for musicians; and with this purpose in view, technicalities have been avoided as far as possible, the aim being to give musically uneducated lovers of opera a clear understanding of the works they are likely to hear, and thus heighten their enjoyment. In a word, the operas are described rather than criticised, and the work is presented with as much thoroughness as seemed possible considering the necessarily brief space allotted to each. In the preparation of the Handbook, the compiler acknowledges his indebtedness to Grove's excellent "Dictionary of Music" for dates and other statistical information; and he has also made free use of standard musical works in his library for historical events connected with the performance and composition of the operas. It only remains to submit this work to opera-goers with the hope that it may add to their enjoyment and prove a valuable addition to their libraries. - G.P.U.
CHICAGO, August, 1885.
AUBER.
Daniel François Esprit Auber, one of the most prominent representatives of the opera comique, was born at Caen, in Normandy, Jan. 29, 1784. He first attracted attention in the musical world by his songs and ballads, written when a mere boy. Young as he was, they were great favorites in French and English drawing-rooms, and their success diverted him from his commercial intentions to that profession in which he was destined to achieve such popularity. His début was made as an instrumental composer in his twentieth year, but before he had reached his thirtieth he was engrossed with operatic composition. His first two works were unsuccessful; but the third, "La Bergère Châtelaine," proved the stepping-stone to a career of remarkable popularity, during which he produced a large number of dramatic works, which not only secured for him the enthusiastic admiration of the Parisians, with whom he was always a favorite, but also carried his name and fame throughout the world, and obtained for him marks of high distinction from royalty, such as the office of Director of the Conservatoire from Louis Philippe, and that of Imperial Maître de Chapelle from Louis Napoleon. He died May 13, 1871, amid the fearful scenes of the Paris Commune. His best-known operas are: "Masaniello" (1828); "Fra Diavolo" (1830); "The Bronze Horse" (1835); "The Black Domino" (1837); "The Crown Diamonds" (1841); and "Zerline" (1851), - the last-named written for the great contralto, Mme. Alboni. Of these, "Fra Diavolo," "Masaniello," and "The Crown Diamonds" are as fresh as ever in their French and Italian settings, though their finest successes in this country have been made in their English dress.
FRA DIAVOLO.
"Fra Diavolo," opera comique, in three acts, words by Scribe, was first produced at the Opera Comique, Paris, Jan. 28, 1830; in English, at Drury Lane, London, Nov. 3, 1831; in Italian, at the Lyceum, London, July 9, 1857, for which occasion the spoken dialogue was converted into accompanied recitative. The composer himself also, in fitting it for the Italian stage, made some changes in the concerted music and added several morceaux. The original Italian cast was as follows: -
  ZERLINA Mme. BOSIO.
  LADY ALLCASH Mlle. MARAI.
  FRA DIAVOLO Sig. GARDINI.
  LORD ALLCASH Sig. RONCONI.
  BEPPO Sig. TAGLIAFICO.
  GIACOMO Sig. ZELGER.
The original of the story of Fra Diavolo is to be found in Lesueur's opera, "La Caverne," afterwards arranged as a spectacular piece and produced in Paris in 1808 by Cuvellier and Franconi, and again in Vienna in 1822 as a spectacle-pantomime, under the title of "The Robber of the Abruzzi." In Scribe's adaptation the bandit, Fra Diavolo, encounters an English nobleman and his pretty and susceptible wife, Lord and Lady Allcash, at the inn of Terracina, kept by Matteo, whose daughter Zerlina is loved by Lorenzo, a young soldier, on the eve of starting to capture Fra Diavolo when the action of the opera begins. In the first scene the English couple enter in great alarm, having narrowly escaped the robbery of all their valuables by Fra Diavolo's band. The bandit himself, who has followed them on their journey in the disguise of a marquis, and has been particularly attentive to the lady, enters the inn just as Lord Allcash has been reproving his wife for her familiarity with a stranger. A quarrel ensues in a duet of a very humorous character ("I don't object"). Upon the entrance of Fra Diavolo, a quintet ("Oh, Rapture unbounded!") ensues, which is one of the most effective and admirably harmonized ensembles Auber has ever written. Fra Diavolo learns the trick by which they saved the most of their valuables, and, enraged at the failure of his band, lays his own plan to secure them. In an interview with Zerlina, she, mistaking him for the Marquis, tells him the story of Fra Diavolo in a romanza ("On Yonder Rock reclining"), which is so fresh, vigorous, and full of color, that it has become a favorite the world over. To further his schemes, Fra Diavolo makes love to Lady Allcash and sings an exquisitely graceful barcarole to her ("The Gondolier, fond Passion's Slave"), accompanying himself on the mandolin. Lord Allcash interrupts the song, and the trio, "Bravi, Bravi," occurs, which leads up to the finale of the act. Fra Diavolo eludes the carbineers, who have returned, and they resume their search for him, leaving him unmolested to perfect his plans for the robbery.
The second act introduces Zerlina in her chamber about to retire. She first lights Lord and Lady Allcash to their room, a running conversation occurring between them in a trio ("Let us, I pray, good Wife, to rest"), which by many good critics has been considered as the best number in the work. Before Zerlina returns to her chamber, Fra Diavolo and his companions, Beppo and Giacomo, conceal themselves in a closet, and, somewhat in violation of dramatic consistency, Fra Diavolo sings the beautiful serenade, "Young Agnes," which had been agreed upon as a signal to his comrades that the coast was clear. Zerlina enters, and after a pretty cavatina ("'Tis to-morrow") and a prayer, charming for its simplicity ("Oh, Holy Virgin"), retires to rest. The robbers in attempting to cross her room partially arouse her. One of them rushes to the bed to stab her, but falls back awe-stricken as she murmurs her prayer and sinks to rest again. The trio which marks this scene, sung pianissimo, is quaint and simple and yet very dramatic. The noise of the carbineers returning outside interrupts the plan of the robbers. They conceal themselves in the closet again. Zerlina rises and dresses herself. Lord and Lady Allcash rush in en deshabille to find out the cause of the uproar. Lorenzo enters to greet Zerlina, when a sudden noise in the closet disturbs the company. Fra Diavolo, knowing he will be detected, boldly steps out into the room and declares that he is there to keep an appointment with Zerlina. Lorenzo challenges him, and he promises to give him satisfaction in the morning, and coolly effects his escape. One of his comrades, however, is captured, and to secure his own liberty agrees to betray his chief.
The third act introduces Fra Diavolo once more among his native mountains, and there is the real breath and vigor of the mountain air in his opening song ("Proudly and wide my Standard flies"), and rollicking freedom in the rondeau which follows it ("Then since Life glides so fast away"). He exults in his liberty, and gleefully looks forward to a meeting with Lord and Lady Allcash, which he anticipates will redound to his personal profit. His exultation is interrupted by the entrance of the villagers arrayed in festival attire in honor of the approaching wedding ceremonies, singing a bright pastoral chorus ("Oh, Holy Virgin! bright and fair"). The finale of the act is occupied with the development of the scheme between Lorenzo, Beppo, and Giacomo, to ensnare Fra Diavolo and compass his death; and with the final tragedy, in which Fra Diavolo meets his doom at the hands of the carbineers, but not before he has declared Zerlina's innocence. This finale is strong and very dramatic, and yet at the same time simple, natural, and unstudied. The opera itself is a universal favorite, not alone for its naturalness and quiet grace, but for its bright and even boisterous humor, which is sustained by the typical English tourist, who was for the first time introduced in opera by Scribe. The text is full of spirit and gayety, and these qualities are admirably reflected in the sparkling music of Auber. Not one of the books which the versatil