OPERAS.

ADAM, ADOLPHE CHARLES.

The Postilion of Lonjumeau.

[Opéra comique, in three acts; text by De Leuven and Brunswick. First produced at the Opéra Comique, Paris, October 13, 1836.]

PERSONAGES.

Chapelou, postilion.

Madeleine, mistress of the inn.

Marquis de Courcy, opera manager.

Bijou, village blacksmith.

Boudon, chorus leader.

[Villagers, chorus singers, etc.]

The scene of the opera is laid in Lonjumeau, a French village, and Paris; time of Louis the Fifteenth.

The sprightly opera “The Postilion of Lonjumeau” is characterized by grace and elegance of treatment, fascinating rhythm, and odd contrasts in effects. Its plot is very dramatic, and affords ample scope for humorous action. The opening scene of the first act introduces us to the wedding of Chapelou, the postilion, and Madeleine, mistress of the inn. During the merriment which follows, the Marquis de Courcy, Superintendent of the Paris Grand Opera, whose carriage has broken down, makes his appearance, seeking the aid of a wheelwright. He hears Chapelou singing, and is so pleased with his voice that he offers him a position in the opera. Chapelou after some persuasion accepts, entreats Bijou, the village blacksmith, to look after Madeleine, and goes off with the Marquis in quest of artistic glory. Bijou informs Madeleine of Chapelou’s baseness, and the act closes with her denunciations of him, in which she is enthusiastically assisted by the female members of the wedding-party.

The second act opens in Paris. Madeleine has inherited a fortune from an aunt, and makes her appearance in the gay city as a rich and noble lady, under the assumed name of Madame de la Tour. The Marquis de Courcy, who is in love with her, at her request brings Chapelou, who is now a famous tenor known as St. Phar, Bijou, the Lonjumeau blacksmith, who is primo basso under the name of Alcindor, and the operatic chorus to her château for a rehearsal. St. Phar, not wishing to sing, pleads a cold, but when he learns that he is in the apartments of Madame de la Tour he consents, and the rehearsal goes off finely. Left alone with his hostess, he proposes to her and is accepted, but as he is already married he arranges that Boudon, the chorus leader, shall play the part of priest. The Marquis, who overhears the conspiracy, informs Madame de la Tour, who sends for a real priest and accompanies St. Phar to the altar, where they are married for the second time.

In the third act St. Phar, who fears that he will be hanged for committing bigamy, finds a happy escape from his troubles. The Marquis, furious because he has been rejected by Madame de la Tour in favor of an opera singer, seeks revenge, but his plans are thwarted. A humorous scene ensues, in which St. Phar is tormented by Alcindor and the wedding-party, as well as by the Marquis, who is now reconciled. Finally, upon being left alone in a darkened room with Madame de la Tour, she also aggravates him by personating two characters, singing from different sides of the apartment in the voice of the Madame and that of Madeleine. The dénouement ensues when she appears to him as the veritable Madeleine of Lonjumeau, whither the joyous pair return and are happy ever after.

The principal music of the first act is a romanza for soprano, “Husband ever Dear,” leading into a dance chorus; the famous Postilion’s Song with whip-snapping accompaniment; and a balcony serenade by Madeleine. The second act opens with a long and well-written aria for soprano, which is followed by the rehearsal scene,—a clever bit of humorous musical writing. In the course of this scene the tenor has a characteristic aria, preceded by a clarinet obligato, and the basso also has one running down to G, in which he describes with much gusto the immunities of a basso with a “double G.” A duet follows for soprano and tenor with a cadenza of extraordinary length, the act closing with a finale in the conventional Italian style.

The third act opens with a long clarinet solo, the refrain of which is heard in the close of the act. This is followed by a “Good Night” chorus in mazurka time. The tenor then has an aria followed by a comic trio, which in reality is a duet, as the soprano is personating two singers with different voices. A duet and finale close the opera, the music of which is of just the class to be popular, while the action is so sustained in its humor as to make the bright little opera a favorite wherever heard.

AUBER, DANIEL FRANÇOIS ESPRIT.

Fra Diavolo.

[Opéra comique, in three acts; text by Scribe. First produced at the Opéra Comique, Paris, January 28, 1830; in English, at Drury Lane Theatre, London, November 3, 1831; in Italian, at the Lyceum, London, July 9, 1857.]

PERSONAGES.

Fra Diavolo, leader of the brigands.

Lord Allcash, English nobleman.

Lady Allcash, his wife.

Matteo, innkeeper.

Zerlina, Matteo’s daughter.

Lorenzo, Zerlina’s lover.

Beppo,
Giacomo, } brigands.

The scene is laid at the village of Terracina, Italy; time, last century.

The first act of this universally favorite opera opens with the hurried arrival of Lord Allcash, a typical English tourist, and his wife, at the inn of Terracina, kept by Matteo, whose daughter, Zerlina, is loved by Lorenzo, a young soldier. The latter is about to start for the capture of Fra Diavolo, the leader of the bandits, when the action of the opera begins. The English tourists have been robbed on their journey by the band of this same Fra Diavolo, who has followed them in the disguise of a marquis and has been very attentive to the susceptible Lady Allcash. Lord Allcash has a quarrel with his wife on this account in a humorous duet, “I don’t object.” Fra Diavolo learns that the travellers have saved the most of their valuables, and lays his own plans to secure them. In an interview with Zerlina, she, mistaking him for the Marquis, sings him the story of Fra Diavolo in a romanza, “On Yonder Rock Reclining,” which has become a favorite the world over. To further his schemes he makes love to Lady Allcash in a graceful barcarole, “The Gondolier, Fond Passion’s Slave.” In the finale of the act Lorenzo and his carbineers return, and not finding Fra Diavolo at the inn, where they had hoped to surprise him, resume their search, leaving him to perfect his plans for the robbery.

In the opening scene of the second act Zerlina is in her chamber, preparing to retire. Before doing so, she lights Lord and Lady Allcash to their room. During her absence Fra Diavolo and his companions, Beppo and Giacomo, conceal themselves in her closet, Fra Diavolo having previously given them the signal that the coast was clear by singing a serenade, “Young Agnes,” in violation of every rule of dramatic consistency. Zerlina returns, and after singing a simple but charming prayer, “Oh! Holy Virgin,” retires to rest. In attempting to cross the room they partially awake her. One of the bandits rushes to the bed to stab her, but desists from his purpose as he hears