The standard operas, their plots and their music; . ene and her father ( Que cest beau ),and the duet for Chimene and the Infanta (Ah! la cherePromesse), which intermingles with the chimes of bells,sonorous organ peas, and fanfares of the knightly ceremonial,followed up by Rodrigues bold and soldierly sword song ( O,noble lame Etincelant ), in which he sings his allegiance toSpain and dedicates his sword to Saint Jacques. The remain-ing numbers of striking importance in this act are the musicto the quarrel scene and the soliloquy of the insulted DonDiegue ( O Rage, O Desespoir). The second act
The standard operas, their plots and their music; . ene and her father ( Que cest beau ),and the duet for Chimene and the Infanta (Ah! la cherePromesse), which intermingles with the chimes of bells,sonorous organ peas, and fanfares of the knightly ceremonial,followed up by Rodrigues bold and soldierly sword song ( O,noble lame Etincelant ), in which he sings his allegiance toSpain and dedicates his sword to Saint Jacques. The remain-ing numbers of striking importance in this act are the musicto the quarrel scene and the soliloquy of the insulted DonDiegue ( O Rage, O Desespoir). The second act opens with a fine declamatory scene forRodrigue (Perce jusques au fond du Cceur), followed bythe duel music ( A moi, Comte, deux Mots ! ), and the dra-matic music to Chimenes demand that the slayer of her fathershall reveal himself, closing with the thrilling cry Ah, lui!Ciel! Rodrigue ! cest lui! which is heard through the solemnstrains of the De Profundis. In the next scene occurs thefete music which is of the most attractive Spanish character,. Breval as Chimene Copyright, Aime Dupont MASSENET 155 including the Castillane, Andalouse, Aragonaise, Catalane,Madrilene, and Navarraise. A distinctive feature in this sceneis the Infantas Alleluia. The great ensemble (Ah! jedoute et je tremble) which follows Chimenes demand forjustice closes the act. The third act opens with Chimenes touching soliloquy( De cet affreux Combat), followed by one of the mostpowerful numbers in the whole work, the duet between Chimeneand Rodrigue (Oh, Jours de premiere Tendresse ). Thenfollow the camp scene with its dance music of a Moorishrhapsody and the effective apparition of Saint Jacques, ac-companied by harps and celestial voices promising sword song of the first act, transformed into a battlesong, closes the act. The principal numbers of the last actare the duet of Diegue and Chimene mourning the supposeddeath of Rodrigue, the pageantry music ( Gloire a celui queles Rois maures ), in
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Keywords: ., bookauthorupt, bookcentury1900, bookdecade1910, booksubjectoperas
