DONIZETTI, GAETANO.

The Daughter of the Regiment.

[Opéra comique, in two acts; text by Bayard and St. Georges. First produced at the Opéra Comique, Paris, February 11, 1840.]

PERSONAGES.

Sulpice, an old sergeant.

Tony, a Tyrolean peasant in love with Marie.

Hortensius, secretary of the Marchioness.

Marie, the adopted Daughter of the Regiment.

Marchioness de Berkenfeld.

Duchesse de Crackenthorpe.

[Villagers, soldiers, gentlemen, guests.]

The scene is laid in the Tyrol; time, about twelve years after the Battle of Marengo.

At the opening of the opera Marie, the heroine, and vivandière in Napoleon’s Twenty-first Regiment, has been saved from falling over a precipice by Tony, a Tyrolean peasant, and is ever after the object of his special admiration and, shortly, of his love. She tells the story of her life, from which it appears that she was adopted as the Daughter of the Regiment because she was picked up on the field of battle by Sergeant Sulpice, who found upon her person a letter written by her father to the Marchioness de Berkenfeld. Tony’s reward for his rescue of Marie is his arrest [74] as a spy, but not before he has declared his love for her. He easily clears up his record, and the soldiers decide he may have Marie’s hand if he will join them. He gives joyous assent to this proposition, but his hopes are suddenly dashed to the ground when the Marchioness de Berkenfeld appears. Sergeant Sulpice delivers the letter to her, after reading which she claims Marie as her niece, and carries her off amidst smothered imprecations by the soldiers and especially by Tony upon the Marchioness.

In the second act Marie is found in her new home at the castle of Berkenfeld, and the old sergeant is with her, while she is rehearsing a romance which she is to sing to a grand company. She and Sulpice suddenly break out into a rollicking rataplan, and go through military evolutions to the horror of the Marchioness. While the latter is expostulating with them, martial music announces the approach of the gallant Twenty-first, with Tony at their head, for he is now a colonel. He makes another appeal for Marie’s hand, and the appeal is seconded by the soldiers, but the Marchioness refuses the favor. Tony then proposes an elopement, to which Marie consents. To thwart this scheme, the Marchioness announces that early in life she had been secretly married to an army officer of low rank and that he was Marie’s father. Unable to disobey her mother’s wishes, Marie gives up Tony and falls into a melancholy mood. Her sad plight rouses old associations in the mind of the [75] Marchioness, and she at last gives her consent to the union.

The music of the first act is very brilliant, and includes among its best numbers Marie’s opening song, “The Camp was my Birthplace”; the duet with Sulpice, known the world over as “The Rataplan,” stirring and martial in its character and accompanied by the rattling of drums and the sonorous strains of the brasses; the spirited “Salute to France”; Marie’s song of the regiment, “All Men confess it”; her pretty duet with Tony, “No longer can I doubt it”; and her touching adieu to the regiment, “Farewell, a Long Farewell.”

In the second act the principal numbers are the “Rataplan” (repeated); Marie’s aria, “By the Glitter of Greatness and Riches”; the soldiers’ spirited choral appeal, “We have come our Child to free”; Tony’s romance, “That I might live in her Dear Sight”; and the effective trio, “Once again, what Delight,” leading to the exultant finale. The music of the opera is light, but exceedingly brilliant, and the leading rôles have always been esteemed by great artists. That of Marie was a favorite one with Jenny Lind, Patti, Sontag, and Albani.

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Don Pasquale.

[Opera buffa, in three acts; text and music by Donizetti. First produced at the Theatre des Italiens, Paris, January 4, 1843.]

PERSONAGES.

Don Pasquale, an obstinate but kind-hearted bachelor.

Dr. Malatesta, his friend and physician.

Ernesto, Don Pasquale’s nephew.

Norina, a young widow.

Notary.

[Valets, chambermaids, majordomo, dressmaker, etc.]

The scene is laid in Rome; time, last century.

The opening of the first act of “Don Pasquale” discloses the Don enraged with Ernesto, his nephew, because he will not marry to suit him. Dr. Malatesta, a mutual friend, comes to the help of Ernesto, to whom he is greatly attached, and contrives a scheme to further his interests. He urges the Don to marry a lady, pretending she is his (the doctor’s) sister, in reality Norina, with whom Ernesto is in love. Norina is let into the secret, her part being to consent to the marriage contract and then so torment Don Pasquale that he will be glad to get rid of her and even consent to her marriage with Ernesto.

In the second act Ernesto is found bewailing his fate. The Don enters, showily arrayed for his wedding. Norina appears with the doctor, and shyly and reluctantly signs the wedding-contract. [77] As soon as she has signed it, however, she drops all modesty. The bewildered Ernesto is kept quiet by signs from the doctor. Norina first refuses all the Don’s demonstrations, and then declares Ernesto shall be her escort. She summons the servants, and lays out a scheme of housekeeping upon such an extravagant scale that Don Pasquale declares he will not pay the bills. She says he shall, as she is now master of the house.

In the third act Norina continues her annoying antics. She employs the most expensive milliners and modistes. At length, when he finds that she is going to the theatre, he forbids it. A quarrel follows. She boxes his ears, and as she flounces out of the room she purposely drops a letter, the contents of which add jealousy to his other troubles. At this juncture Dr. Malatesta comes in and condoles with him. Nothing will satisfy Don Pasquale, however, except her leaving the house, and finally he orders her to go, at the same time taxing her with having a lover concealed on the premises. The doctor pleads with him to let his nephew marry Norina. When he finds she is really the doctor’s sister, he is only too glad to get out of his troubles by consenting to the marriage of the young couple and blessing them.

The principal numbers in the first act are the duet for Ernesto and Don Pasquale; the scena for Norina, “And in that Look she gave”; and the charming duet for Norina and the doctor, “What Sport we’ll have,” closing the act. The second [78] act opens with the lugubrious aria, “Oh! how at one Fell Blow,” in which Ernesto bewails his sad condition, and also contains a charming quartette. The gem of the opera is the serenade in the last act, “How Soft the Air — in April Night so Fair,” better known perhaps by its Italian title, “Com ’e gentil,” which was inserted by Donizetti after the first performance to strengthen the work and make it more popular. The serenade has been heard the world over and is a favorite concert number still. The charm of “Don Pasquale” lies in its humorous situations and the bright, melodious music which illustrates them. For brilliant gayety it stands in the front rank of comic operas.

Linda.

[Grand opera, in three acts; text by Rossi. First produced at the Kärnthnerthor Theatre, Vienna, May 19, 1842.]

PERSONAGES.

Linda, daughter of Antonio.

Pierotto, a villager.

Antonio, a farmer.

Madalina, his wife.

Marquis of Boisfleury.

Carlo, the Marquis’ son.

Prefect.

[Villagers, Savoyards, etc.]

The scene is laid in Switzerland; time, last century.

The first act of “Linda de Chamouni” opens in the valley of that name, and discloses the home of [79] Antonio Lonstolat, a farmer, and his old wife, Madalina, whose only daughter, Linda, is in love with Carlo, a young painter who has recently come into the valley. Misfortunes have overtaken the old couple, and they are in danger of losing their farm, which is owned by the Marchioness de Sirval. Their anxiety is temporarily relieved when the Marquis of Boisfleury visits them and assures them he will save the farm, his real purpose being to effect the ruin of Linda by ingratiating himself with her parents. The Prefect of the village, however, is aware of his designs, and induces them to let Linda accompany a party of villagers to Paris, promising at the same time to place her with his brother, who is supposed to be living in that city. She soon leaves under the protection of Pierotto, the Savoyard.

The second act discloses them on the way to Paris, but Linda unfortunately loses her companion. Upon reaching Paris she finds that the Prefect’s brother is dead. Meanwhile Carlo, who has followed her, arrives, and reveals to her that he is the Viscount Sirval, son of the Marchioness, and nephew of the Marquis. He renews his offer of marriage, and places her in a handsome apartment. In these questionable surroundings Pierotto discovers her. Her father, who has had to give up the farm, also finds her, and, distrusting her innocence amid such luxury, curses her. The Marchioness meanwhile, who has learned of her son’s attachment, threatens to imprison Linda if he does [80] not marry the lady she has selected for him. He gives his feigned consent, and Linda, thinking he has deserted her, goes insane.

In the last act Pierotto takes her back to her native village. Carlo arrives there in search of her, and finding her with Pierotto sings to her, hoping she will recognize his voice and that her reason may return. The song has the desired effect. Subsequently the Marchioness relents, gives her consent to their union, and all ends happily.

The music of “Linda” is of that serious and dignified kind which justifies its inclusion in the list of grand operas. In the first act the opening aria of Antonio, “We were both in this Valley nurtured,” is a touching expression of the sorrow of the aged couple. Linda’s farewell, “Oh, Stars that guide my Fervent Love,” familiar on the concert stage by its Italian title, “O, luce di quest’ anima,” is an aria of strong dramatic power, and has always been a popular favorite. In this act also are Pierotto’s pathetic ballad, “Once a Better Fortune seeking,” and the passionate duet for Linda and Carlo, “Oh that the Blessed Day were come.” The principal numbers in the second act are the brilliant duet for Linda and Pierotto, “Oh, Linda, at thy Happy Fate,” which is highly embellished, and the aria for Linda, “Ah! go, my Love.” The last act contains a mournful aria by Carlo, “If from Heaven the Bolts should reach me”; his charming song in which he appeals to Linda, “Hear the voice that, softly singing”; and [81] the rapturous duet for Linda and Carlo, “Ah! the Vision of thy Sorrow fades,” which closes the opera.

The Elixir of Love.

[Opera buffa, in two acts; text by Romani. First produced in Milan in 1832; in English at Drury Lane Theatre, London, in 1839.]

PERSONAGES.

Nemorino, a young husbandman.

Sergeant Belcore.

Dr. Dulcamara, a travelling quack.

Landlord.

Notary.

Pietro, peasant.

Adina, a country girl.

Gianetta, Floretta, } her companions.

[Farmers, peasants, soldiers, villagers, etc.]

The scene is laid in an Italian village; time, last century.

Few more graceful little operas have been written than “The Elixir of Love.” Its heroine, Adina, a capricious country girl, is loved by Nemorino, a farmer, whose uncle lies at the point of death, also by Belcore, a sergeant, whose troops are billeted upon the neighboring village. Adina has both her lovers in suspense when Dr. Dulcamara, a quack, arrives in the village to sell his nostrums. Nemorino applies to him for a bottle of the Elixir of Love, and receives from him a bottle of ordinary wine with the assurance that if he drinks of it he can command the love of any [82] one on the morrow. To make sure of its agreeable properties, he drinks the whole of it with the result that he accosts Adina in a half-tipsy condition, and so disgusts her that she promises to marry the sergeant in a week. In the mean time an order comes for the departure of the troops, and the sergeant presses her to marry him that day.

Adina gives her consent, and the second act opens with the assembling of the villagers to witness the signing of the marriage contract. While the principals and notary retire for the signing, Nemorino enters, and finding Dr. Dulcamara begs of him some charm that will make Adina love him; but as he has no money the quack refuses to assist him. Nemorino is in despair, but at this juncture the sergeant enters out of humor, as the capricious Adina has refused to sign until evening. Finding that Nemorino needs money, he urges him to enlist, and for the sake of the bonus of twenty crowns he consents. Nemorino hastens with the money to the quack, and obtains a second bottle of elixir which is much more powerful than the first. The girls of the village somehow have discovered that Nemorino’s uncle has died and left him a handsome property, of which good fortune, however, Nemorino is ignorant. They use all their charms to attract his favor. Nemorino attributes his sudden popularity to the elixir, and even the quack himself is surprised at the remarkable change in his customer. Nemorino now pays Adina off in kind by making her jealous. Dr. [83] Dulcamara comes to her assistance, seeing an opportunity for the sale of more elixir. He explains its properties to her, tells her of Nemorino’s attachment, and advises her to try some of it. Struck with his devotion, she announces another change of mind to the sergeant, and bestows her hand upon the faithful Nemorino.

The opera abounds with bright and gay musical numbers, the most attractive of which are the long and characteristic buffo song, “Give Ear now, ye Rustic Ones,” in which Dr. Dulcamara describes his various nostrums to the villagers; the charmingly humorous duet, “Much obliged,” for Nemorino and Dr. Dulcamara; and the ensemble, “The Wine-cup full teeming,” in which the half-tipsy Nemorino appears in the finale of the first act. The prominent numbers of the second act are the beautiful duet, “What Affection and oh, how cruel,” for Adina and Dr. Dulcamara; the beautiful romanza for Nemorino, “In her Dark Eye embathed there stood” (“Una furtiva lacrima”), which is of world-wide popularity; and Adina’s gracefully melodious aria, “So much Joy is more than my Heart can contain.”

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