The standard operas, their plots and their music; . ng it from La Femmede Tabarin, by the French novelist, Catulle Mendes. Bethis as it may, Leoncavallos version has the merit of brevity,conciseness, ingenuity, and swift action, closing in a denoue-ment of great tragic power and capable, in the hands of agood actor, of being made very effective. The composer hasnot alone been charged with borrowing the story, but alsowith plagiarizing the music. So far as the accusation ofplagiarism is concerned, however, it hardly involves anythingmore serious than those curious resemblances which are sooften
The standard operas, their plots and their music; . ng it from La Femmede Tabarin, by the French novelist, Catulle Mendes. Bethis as it may, Leoncavallos version has the merit of brevity,conciseness, ingenuity, and swift action, closing in a denoue-ment of great tragic power and capable, in the hands of agood actor, of being made very effective. The composer hasnot alone been charged with borrowing the story, but alsowith plagiarizing the music. So far as the accusation ofplagiarism is concerned, however, it hardly involves anythingmore serious than those curious resemblances which are sooften found in musical compositions. As a whole, the operais melodious, forceful, full of snap and go, and intenselydramatic, and is without a dull moment from the prologue(Si puo? Signore ), sung before the curtain by Tonio, tothat last despairing outcry of Canio ( La Commedia efinita), upon which the curtain falls. The prominent num-bers are the prologue already referred to; Neddas beautifulcavatina in the second scene ( O, che volo d Angello ) ; her. IfpS^f Alice Zeppellin as Nedda Copyright^ Matzene LEONCAVALLO 141 duet with Silvio in the third scene ( E allor perche); thepassionate declamation of Canio at the close of the first act(Recitur! mentre preso dal Delirio); the serenade ofBeppe in the second act ( O Colombino, il tenero ) ; andthe graceful dance music which plays so singular a part inthis fierce struggle of the passions, that forms the motive ofthe closing scenes. LORTZING (GUSTAV ALBERT) Czar and Carpenter CZAR and Carpenter/ opera comique in three acts, textas well as music by Lortzing, was first produced inBerlin in 1839. The opening of the first act of the Czarand Carpenter discloses Peter the Great and Peter Ivanoff,a deserter from the Russian army, at work in the great ship-yard of Saardam. The British and French ambassadors, hav-ing been notified that the Czar is there in disguise, are search-ing for him with the object of negotiating a treaty with him,or, fail
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Keywords: ., bookauthorupt, bookcentury1900, bookdecade1910, booksubjectoperas
