Radio Digest (Mar 1928-Oct 1929)

RADIO DIGES T — Illustrated 65 ORFEO ED EURIDICE (Or-feh-oh ayd Ayco-ree-dee-cheh). (Orpheus and Eurydice.) (Vienna, October 5, 1762.) (Gluck.) Book by Ramieri De Calzabigi; music by Christoph Willibald von Gluck. First production in Vienna, October 5, 1762, Gluck conducting. First Paris production, 1774, when the role of Orpheus was transposed for high tenor. First London production at Covent Garden, June 26, 1770. Other revivals were during the Winter Garden season of 1863; in 1885 (in German), by the Metropolitan Opera under Walter Damrosch ; the English production in 1886 by the National Opera company; the Abbey revival in Italian in 1892; and the Metropolitan production of 1910, with Homer, Gadslu and Gluck. The opera has had only one adequate American production previous to this Metropolitan revival, and that was during the American Opera company season of 1886 — the Abbey revival of 1892 meeting with but indifferent success. This opera, which has been called "Gluck's incomparable masterpiece," and of which the great Fetis wrote, "it is one of the most beautiful productions of genius," may be properly termed a purely classical music drama. The music is exquisite in its delicacy and grace, while the story is an interesting and affecting one. "Orpheus" may be called the grandfather of grand opera, it being the oldest work of its kind to hold its place on the stage, the first representation occurring over one hundred and fifty years ago. The story concerns the Greek poet, Orpheus, who grieves deeply over the death of his wife, Euridice, and finally declares he will enter the realms of Pluto and search for her among the spirits of the departed. The goddess Love appears and promises to aid him, on condition that when he has found Euridice he will return to earth without once looking at her. PAGLIACCI (The Players). (Pahl-yat-chee.) Dramatic opera in two acts by Ruggiero Leoncavallo. First produced in Milan, 1892. It opens with the world-famous "Prologue" in which Tonio, the clown of the strolling playyers, parts the curtains and explains that the play is taken from real life; reminds the audience that actors are but men with passions and emotions like our own, and that the author has tried to express the real feelings and sentiments of the characters. The "Prologue" ends when Tonio orders up the curtain. The first act shows Canio and his band of players returning from parading the village. He announces that the performance will begin at seven that evening and takes leave with Peppe (the Harlequin). Tonio remains behind and makes love to Canio's wife, Nedda, but she scorns him, striking him with her whip for which humiliation he swears to be revenged. Silvio, a rich young villager, is also in love with Nadda, and begs her to flee with him. She refuses but vows that she loves him. This is all overheard by the spurned Tonio, who immediately tells Canio. Canio comes to kill Nedda 's lover but arrives too late. He demands, however, that she tell him the name of her lover. She refuses. They then prepare for the evening performance. In Act II the audience is assembled and the play begins. A situation is then presented which is very akin to the drama of actual life which we have just recounted. Punchinello (Canio) arrives and surprises the lovers (as the playlet demands), then he loses his head when he hears Columbine (Nedda) repeat the very words he heard her say to her lover. Columbine (Nedda) tries to save the situation by continuing the play. The audience is delighted with such "realistic acting." He again demands the lover's name until Nedda, stung by his taunts, defies him (Canio) and is stabbed by him. She falls, calling for Silvio, who rushes to the stage from the crowd, only to receive in turn the dagger of the enraged husband. As Canio stands stupified he drops the dagger and cries, "The comedy is ended." PEARL FISHERS— Pescatori di Perle (Paris, 1863). (Bizet.) (All sung in Italian unless otherwise noted.) This beautiful opera tells of the love of two Cingalese pearl fishers for Leila, a priestess, and of the generosity of the unsuccessful one, who helps his rival and his love escape at the cost of his own life. Nadir appears to Zurga, a lifelong friend, during a dance of the pearl fishermen. A mysterious veiled lady, who comes once a year to pray for the fisheries, appears and begins her invocation. Despite her veil, she is recognized by Nadir and contrives to let him know that his love is returned. She is reminded later, at a temple, of her vow to renounce love and marriage. The high priest, who reminds her that the penalty is death, then leaves her alone, and Nadir enters. The lovers are surprised by Nourabad, the high priest, and Nadir flees. He is recaptured, and Zurga is brought to pronounce sentence upon the pair. Their funeral pyre is ready when Zurga cries that the camp is on fire; the lovers escape in the melee; Zurga later confesses and is burned to death. MIKADO (Gilbert and Sullivan). Light Opera in two acts. Text by Gilbert. Music by Sullivan. First produced in London, 1885. The scene is laid in Japan. Nankipoo, the son of the Japanese Mikado, flees from an undesirable marriage with Katisha. He falls in love with Yum-Yum, the ward of Ko-Ko, who secretly wishes to marry her himself. Because of his ill-luck in this affair Nankipoo starts to kill himself but is intercepted by Ko-Ko's executioners. Later Nankipoo is the hero of a fake execution but is recognized by his father and Ko-Ko is caught in his deception. The deceiving Ko-Ko is then forced to marry Katisha, and Nankipoo gets the girl of his heart. RIGOLETTO (Ree-goh-let-toh). An opera in three acts by the great Italian composer, Verdi. First presented in Venice, 1851. The story tells of the young profligate, the Duke of Mantuna, who loves every girl whom he meets. He is aided in his conquests by the deformed jester, Rigoletto. Count Monterone, father of one of the Duke's victims, meets Rigoletto and hurls an awful father's curse upon him, which affects him (Rigoletto) because of his own daughter, Gilda. On his way home Rigoletto meets the assassin, Sparafucile, who offers to kill any enemy he may have. Rigoletto sends him on his way but tells him that he may use him later. Later, Gilda (Rigoletto's daughter) falls in love with the Duke and is abducted to his palace, with the aid of Rigoletto, who is unaware that it is his daughter. When Rigoletto learns of what he has dont and that he is too late to save his daughter, he swears vengeance and arranges to have Sparafucile murder his master. Sparafucile has his attractive sister Maddalena lure the Duke to an old tavern. Maddalena, however, falls in love with the Duke and induces her father to murder a substitute. Gilda, who has been taken to the Inn by her father to witness the Duke's "fickleness," overhears the plot and determines to save the Duke at a sacrifice of her own life. SAMSON ET DALILAH (Sam-sohn-ay-Dahlee-lah). A biblical opera in three acts. By Saint-Saens. First produced in Weimar in 1877. Samson is the self-appointed leader of the Hebrews, and after a great battle returns a triumphant victor. His great power had won for the Hebrews. Dalilah, a beautiful woman, came with flowers to pay homage to the warrior and Samson, unwillingly (because he had been warned of her) fell madly in love with Dalilah. Later, in her own home, Dalilah uses all her charms to induce Samson to reveal the plans of the Hebrews and when he refuses, she calls for the Philistines, who overpower and capture him. They chain him to a heavy mill which is grinding corn for the Philistines and torture him. Samson is taken before the High Priests, who are celebrating their victory at a banquet in the temple and is made sport of. He prays to God for strength, is ans-wered and pulls the pillars from beneath the roof. The Temple crashes down amid shrieks and groans. TANNHAUSER (Tahn-hoy-zer) (Wagner). One of Richard Wagner's most notable music dramas. In three acts. Words also by Wagner. Tannhauser, a brave knight, has been under the evil wiles of Venus, living a life of passion and evil. He tires of such a sordid existence and returns to his home. He is joyously welcomed by Elizabeth, whose love for him is pure and holy. There is to be a song tournament and the one who wins is to have the hand of Elizabeth as the prize. Tannhauser is urged to compete in the contest, which is to be on individual compositions on "The Nature of Love." Because of his recent experience with Venus, Tannhauser renders a song of such a disgusting passionate appeal that the Minstrels draw their swords to slay him. He is saved, however, by Elizabeth, who pleads for his life. Tannhauser repents and realizes the greatness of the higher love. He joins a band of pilgrims and starts for Rome to ask forgiveness of the Pope. Elizabeth has been watching and waiting for the return of Tannhauser, steadfast in her love, but when she finds that he is not among the band of Pilgrims which has passed, she passes away. Tannhauser appeals to the Pope for forgiveness but is told that it is impossible. He is heart-broken and intends to return to Venus berg and Venus, but he meets his old friend, Wolfram, and tells him of his intentions. Then a band of Pilgrims is heard approaching. They come with the good news that the Pope's staff has blossomed and that Tannhauser was forgiven. Tannhauser kneels in prayer as the body of his beloved Elizabeth is carried by. _, TOSCA, LA (Toss-kah) (Puccini). An opera in three acts based on Sardou's novel. Text by Illica and Giacosa. Music by Giacomo Puccini. First produced in Rome, 1900. Mario Cavaradossi is in love with the beautiful Tosca. Scarpia, the head of the police, has maliciously imprisoned Mario when he is found to be hiding a friend, a state fugitive. In the absence of Mario, Scarpia makes ardent love to Tosca, and threatens to bring about the death of Mario unless she gives herself to him. Because of her great love for Mario she consents to this. Scarpia has told her there have been orders issued to the soldiers to use blank cartridges in their guns. He has, however, secretly instructed them that genuine bullets be used. Mario has been told, in the meantime, by Tosca, who has stabbed Scarpia, of the plan and he is to feign death after the firing. When the execution takes place, Mario falls to the ground and it is not until she calls for him to arise does Tosca discover the terrible tragedy. The body of Scarpia has been found and the officials enter to arrest Tosca, who throws herself from the Castle Wall — to death. TRAVIATA. Opera in three acts; libretto by Piave, based upon Dumas' "Lady of the Camelias"; music by Verdi. First presented in Venice, 1853. Verdi's opera "Traviata," and Sarah Bernhardt's playing of "Camille," are the two famous adaptions of Dumas' story. The story is simple, but appealing. Violetta is one of the beautiful and spoiled courtesans of Paris. Alfred, her lover, after a long suit has at last persuaded Violetta to give up her gay life and live with him in his humble apartment. Alfred's father, whose aims for his son are of another sort, comes to Violetta and persuades her to release his son from the marriage. Violetta unselfishly agrees, but being left alone seeks comfort in returning to her former gay life. Alfred, who has been made to believe Violetta untrue, goes to Paris and publicly insults her. The heroine gallantly remains by her promise to Alfred's father, and not until too late does the young man discover the truth. He seeks her again only to find her dying. TROVATORE. Opera in four acts. Words by Cammanaro; music by Verdi. First produced in Rome, 1853. Before the curtain rises on the first act, it is necessary to know that, many years before, the father of the present Count di Luna had burned the mother of Azucena, an old gypsy, who in revenge had stolen the young brother of the Count, and at the opening of the story had brought up Manrico as her own son, Manrico being quite unconscious1 of the plot of the gypsy. As a Troubadour he has gained the love of Leonora, also admired by the Count. In the first act Manrico and the Count meet in a duel, their paths having crossed on the way to Leonora. The Count's life is generously spared by Manrico. In the next act Manrico is seen in the gypsy camp under the care of Azucena, recovering from a wound. He hears that Leonora, whose affections are in his favor, believing him dead, is about to take the veil. Also he hears the Count intends to abduct her. He hastens to the Convent in time to rescue Leonora. One tragedy after another darkens the third act. Manrico learns that Azucena is in the power of the Count, condemned to be burned. Still believing her his mother, he flies to the rescue and is in turn captured by the Count. The gloom is even darker in the final act, where Leonora, to save Manrico. agrees to wed the Count, but on the signing of the order swallows poison. In retaliation the Count orders Manrico to instant death, and only learns, when too late, from Azucena that he has killed his own brother. ZAZA (Tsah-sah.) Opera in four acts. Libretto and music by Ruggiero Leoncavallo. First produced in Milan in 1900. Zaza, a concert singer loves Milio Dufresne but discovers that Dufresne is wedded to another. She tells him that she has discovered his deception and also that she has told his wife of their intimacy. This is untrue, but Dufresne curses Zaza and kills her love for him.