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PAGE ADAM The Postilion of Lonjumeau 15 AUBER Fra Diavolo 19 The Crown Diamonds 22 AUDRAN Olivette 26 The Mascot 29 BALFE The Bohemian Girl 33 The Rose of Castile 36 BELLINI La Sonnambula 40 BENEDICT The Lily of Killarney 43 BOIELDIEU La Dame Blanche 47 CELLIER Dorothy 50 CHASSAIQUE Falka 52 DeKOVEN Robin Hood 57 Maid Marian 60 Rob Roy 63 The Fencing-Master 67 DELIBES Lakm? 70 DONIZETTI The Daughter of the Regiment 73 Don Pasquale 76 Linda 78 The Elixir of Love 81 EICHBERG The Doctor of Alcantara 84 FLOTOW Martha 87 Stradella 90 GEN?E Nanon 93 GOUNOD Mirella 97 HUMPERDINCK Hansel and Gretel 100 JAKOBOWSKI Erminie 103 LECOCQ Girofle-Girofla 106 La Fille de Madame Angot 109 L?RTZING Czar and Carpenter 113 LUDERS King Dodo 116 The Prince of Pilsen 118 MASS? Paul and Virginia 121 Queen Topaze 124 The Marriage of Jeannette 126 MILL?CKER The Beggar Student 128 The Black Hussar 131 NESSLER The Trumpeter of S?kkingen 134 NICOLAI The Merry Wives of Windsor 138 OFFENBACH The Grand Duchess of Gerolstein 141 La Belle H?l?ne 145 Orpheus 148 PLANQUETTE The Chimes of Normandy 152 RICCI Crispino 155 ROSSINI The Barber of Seville 158 SOLOMON Billee Taylor 161 SOUSA El Capitan 164 STRAUSS The Merry War 167 The Queen's Lace Handkerchief 169 Queen Indigo 171 Die Fledermaus 174 STUART Florodora 177 SULLIVAN Cox and Box 180 Trial by Jury 182 The Sorcerer 185 H. M. S. Pinafore 188 The Pirates of Penzance 193 Patience 196 Iolanthe 200 Princess Ida 203 The Mikado 206 Ruddygore 209 The Yeomen of the Guard 213 The Gondoliers 216 SUPP? Fatinitza 220 Boccaccio 224 The Beautiful Galatea 227 THOMAS Mignon 230 WALLACE Maritana 233 Lurline 236

THE STANDARD LIGHT OPERAS.

ADAM, ADOLPHE CHARLES.

The Postilion of Lonjumeau.

PERSONAGES.

Chapelou, postilion. Madeleine, mistress of the inn. Marquis de Courcy, opera manager. Bijou, village blacksmith. Boudon, chorus leader.

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 ch?teau 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 d?nouement 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. ng by Commander Wouldri AUBER, DANIEL FRAN?OIS ESPRIT.

Fra Diavolo.

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 her murmuring her prayer. Then follows a trio by the robbers, sung pianissimo, which is very dramatic in its effect. At this point the carbineers return again, and the house at once is in an uproar. Lord and Lady Allcash rush in to find out the cause, followed by Lorenzo, who came to greet Zerlina. A sudden noise in the closet disturbs them. Fra Diavolo, knowing that he will be discovered, steps out into the room, and declares he is there to keep an appointment with Zerlina, whereupon Lorenzo challenges him. He accepts the challenge and coolly walks out of the room. One of his comrades is captured, but to secure his liberty agrees to betray his chief.

The opening of the third act finds Fra Diavolo once more among his native mountains. He gives expression to his exultation in a dashing, vigorous song, "Proudly and wide my Standard flies," followed by the pretty rondo, "Then since Life glides so fast away." As he joyously contemplates a speedy meeting with Lord and Lady Allcash and the securing of their valuables, villagers arrayed in festival attire in honor of the approaching nuptials of Lorenzo and Zerlina enter, singing a bright pastoral chorus, "Oh, Holy Virgin, bright and fair." The finale of the act is occupied with the development of the scheme between Lorenzo, Beppo, and Giacomo to ensnare Fra Diavolo, and the final tragedy in which he meets his death at the hands of the carbineers, but not before he has declared Zerlina's innocence. The text of the opera is full of vivacity and humor, and the music so bright and melodious and yet artistically scored that it made Auber's reputation at the Op?ra Comique.

The Crown Diamonds.

PERSONAGES.

Count de Campo Mayor, Minister of Police. Don Henrique, nephew of the Count. Don Sebastian, friend of Don Henrique. Rebelledo, chief coiner. Catarina, leader of the coiners. Diana, cousin of Don Henrique.

The scene is laid in Portugal; time, 1777.

The story of "The Crown Diamonds," one of the most melodious of Auber's works, is as follows: Don Henrique, nephew of the Count de Campo Mayor, Minister of Police at Coimbra, on his way to participate in the coronation ceremonies and at the same time to sign a marriage contract with his cousin Diana, daughter of the Minister of Police, is overtaken by a storm in the mountains and seeks shelter in a ruined castle near the monastery of St. Huberto. While there he espies Rebelledo, the chief coiner, and two of his comrades examining the contents of his trunk. The latter, discovering him in turn and thinking him a spy, rush upon him, but he is saved by Catarina, the leader of the gang, who returns him his trunk and allows him to depart upon condition that he shall not mention what he has seen for a year. He consents, but before he leaves, the gang is surrounded by soldiers led by Don Sebastian, a friend of Don Henrique. They make their escape, however, disguised as monks, while Rebelledo and Catarina disappear through an underground passage, carrying with them a mysterious casket of jewels.

The second act opens in the Ch?teau de Coimbra, and discloses Don Henrique in love with the mysterious Catarina and Diana with Don Sebastian. As Diana and Don Henrique are singing together, Don Sebastian announces that an accident has happened to a carriage and that its occupants desire shelter. Catarina and Rebelledo enter and accept the proffered hospitality. When Diana begins to read the account of a robbery containing a description of Rebelledo and his companions, that worthy vanishes, but Catarina remains in spite of Don Henrique's warning that she is in the house of the Minister of Police. He declares his love for her, and begs her to fly with him; she refuses, but gives him a ring as a souvenir. At this point the Count enters, and announces that the crown jewels have been stolen and Don Henrique's ring is recognized as one of them. Catarina is saved by Diana, who promises Don Henrique she will send her away in the Count's carriage if he will refuse to sign the marriage contract. He consents, and Catarina makes her escape.

The last act opens in the anteroom of the royal palace at Lisbon, where the Count, Don Henrique, and Don Sebastian are present, and Diana awaits an audience with the Queen. While they converse, Rebelledo enters, announced as the Count Fuentes, and an usher brings him word that the Queen will have private audience with him. While awaiting her, Rebelledo in a monologue explains that the real crown jewels have been pledged for the national debt, and that he has been employed to make duplicates of them to be worn on state occasions until the genuine ones can be redeemed. The Queen enters, declares she is satisfied with the work, and makes Rebelledo Minister of Secret Police. Count de Campo Mayor then announces to her the decision of the Council that she shall marry the Prince of Spain. She declares she will make her own choice, and when the Count remonstrates she threatens to confiscate his property for allowing the crown jewels to be stolen, and orders him to arrest his daughter and nephew for giving shelter to the thieves. Diana, suddenly entering, fails to recognize her as Catarina, and implores pardon for her connivance in the escape. Then Don Henrique still further complicates the situation. He recognizes Catarina, and declares to Diana he will seize her and fly to some distant land. His purpose is thwarted by his arrest for treason upon the Queen's order. He rushes forward to implore mercy for Catarina, when the Queen reveals herself and announces that she has chosen Don Henrique for her husband and their King.

The principal musical numbers of the opera are Rebelledo's rollicking muleteer's song, "O'er Mountain steep, through Valley roaming," the rondo, "The Young Pedrillo," with chorus accompaniment, and the lugubrious chorus of the pseudo monks, "Unto the Hermit of the Chapel," in the first act; the nocturne, "The Brigand," closing in gay bolero time, "In the Deep Ravine of the Forest," Catarina's bravura aria, "Love! at once I break thy Fetters," the duet, "If I could but Courage feel," and the beautiful ballade, "Oh! whisper what thou feelest," in the second act; the usually interpolated air, "When Doubt the Tortured Frame is rending," originally written for Louisa Pyne, who really made the first success for the opera, and the charming cavatina, "Love, dwell with me," sung by the Queen in the last act.

AUDRAN, EDMUND.

Olivette.

PERSONAGES.

Captain de M?rimac, of the Man of War "Cormorant." Valentine, his nephew, officer of the Rousillon Guards. Duc des Ifs, cousin of the Countess. Coquelicot, his foster brother. Marvejol, Seneschal to the Countess. Olivette, daughter of the Seneschal. Bathilde, Countess of Rousillon. Veloutine, the Seneschal's housekeeper. Moustique, Captain's boy on board the "Cormorant."

The scene is laid at Perpignan on the Mediterranean Sea; time of Louis the Fourteenth.

Following the English version of the opera, at the opening of the first act the villagers of Perpignan are greatly excited over the approaching marriage of Olivette, the Seneschal's daughter, and De M?rimac, an old sea-captain. Olivette, however, just out of a convent, is in love with Valentine, a young officer and the Captain's nephew. In the mean time the Countess of Rousillon is also in love with Valentine and has come to Perpignan to see him. She is at the house of the Seneschal, and is surprised there by Valentine, who has climbed her balcony expecting to find Olivette. The old Captain, who is making slow progress with his suit, writes to the Countess demanding Olivette's hand. Valentine seizes his opportunity, passes himself off as the Captain, and marries Olivette at the request of the Countess herself.

The opening of the last act shows that the plot is partially successful. The Countess is a prisoner on board De M?rimac's vessel, and Olivette and Valentine, who are disguised as sailors, seek a vessel to take them away; but Valentine is recognized and seized, Olivette contrives to free the Countess, and passes herself off for her, Olivette's maid, Veloutine, pretending to be her mistress. This introduces a new complication, for the near-sighted Duke des Ifs courts the maid, supposing her to be Olivette, and boasts of it to Valentine in the hearing of De M?rimac. Both uncle and nephew then renounce Olivette until the Countess returns and an explanation is made. In the d?nouement Valentine is united to Olivette and the Countess to the Duke, while the old Captain is advised to follow the example of the Venetian Doges and "marry the sea," which he promptly hastens to do, and follows his bride ever after.

The music of "Olivette" is light and sprightly throughout, the most taking numbers being the marine madrigal, a song with chorus, "The Yacht and the Brig"; the pretty waltz song, "O Heart, wherefore so light," sung by the Countess; Olivette's tyrolienne song, "The Convent slept"; Valentine's serenade, "In Quaint and in Mystic Word," and Olivette's characteristic sob song, "Oh! my Father," in the first act: Olivette's serio-comic song, "The Matron of an Hour"; the Countess' song, "When Lovers around Woman throng"; another humorous song for Olivette, "I do think Fate, upon my Life"; a charming duet for Olivette and the Countess, "Like Carrier Dove, I'll swift be flying," with the refrain, "I love my Love so well," and the jolly farandole, "The Vintage over, then Maid and Lover," sung and danced by Olivette, Countess, and chorus, in the second act: the romanza "Nearest and dearest," an effective number for the Countess, and three delicious bits of nonsense,--"Give Milk to Babes, to Peasants Beer," styled in the score a Grog-orian chant, the ridiculous legend "The Torpedo and the Whale," and the dashing bolero, "Where Balmy Garlic scents the Air," in the last act.

The Mascot.

PERSONAGES.

Bettina, the Mascot. Fiametta, daughter of Prince Lorenzo. Pippo, a shepherd. Lorenzo, prince of Piombino. Rocco, a farmer. Frederic, prince of Pisa. Parafante, sergeant. Matheo, innkeeper.

The scene is laid in Piombino, Italy; time, the fifteenth century.

The story of "The Mascot" is charmingly romantic, and much more consistent and coherent than the usual plots of the comic operas. The first act opens with a vintage festival. The peasants are all rejoicing except Rocco, the farmer, who has had bad luck. Pippo, his shepherd, whom he had sent to his brother for help, returns with a basket of eggs and a letter in which he informs Rocco that he has also sent him Bettina, his turkey-keeper, who will bring him prosperity, as she is a mascot. Pippo, who is in love with Bettina, waxes eloquent over her charms, but when she comes she is coldly received by Rocco and ordered to go back. As she is preparing to leave, Prince Lorenzo, his daughter Fiametta, Prince Frederic, and others of a hunting-party arrive and stop for refreshment. Prince Lorenzo, who is one of the unlucky kind, learns by chance of Bettina's gift, and determines to take her to his court; but Rocco objects. The Prince, however, gains his consent by promising to make him Lord Chamberlain. The party sets off homeward with Rocco in good spirits and Bettina sad, while poor Pippo is left behind disconsolate.

The second act opens in the palace at Piombino, where a festival is to be given in honor of the marriage of Fiametta to Prince Frederic of Pisa. Among the attractions of the f?te is an entertainment by a troupe of actors and dancers, the most prominent of whom is Saltarello, in reality Pippo in disguise. The lovers discover each other and plan an escape; but Rocco, who has recognized Pippo, frustrates their scheme by disclosing his identity to the Prince, who orders his arrest. The sitt Far?as to the Vice Pr complicated by the fickle Fiametta, who has fallen in love with Pippo and tells him that Bettina is false and is about to marry Prince Lorenzo. At last Pippo and Bettina have a chance to meet, and they make their escape by leaping through a window into the river.

The last act opens in the hall of an inn in Pisa. There has been a war between the two princes, and Frederic has defeated Lorenzo. Pippo has been a captain in the Pisan army, and Bettina, disguised as a trooper, has fought by his side. They reveal their real names to Frederic, and declare their intention of marriage. During preparations for the wedding Prince Lorenzo, Fiametta, and Rocco, who are travelling about the country as minstrels to make their living, owing to the misfortunes of war, meet the bridal party at the inn. After mutual explanations Fiametta returns to her old lover Frederic, and Pippo and Bettina are married. The Mascot brings good luck to them all at last.

The most interesting numbers in the opera are the drinking-song, "All morose Thoughts now are flying"; the legend of the Mascots, "One Day the Arch Fiend drunk with Pride," sung by Pippo and chorus; Bettina's song, "Don't come too near, I tell you"; the quaint duet for Bettina and Pippo, "When I behold your Manly Form"; the charming coaching-chorus, "Come, let us now be off as quick as a Bird," sung by Bettina and chorus in the first act; the chorus and air of Saltarello, "Hail, Princesses and Lords"; the pretty duet, "Know'st thou those Robes," for Bettina and Pippo, and the concerted finale of the second act; the stirring rataplan, "Marking Time with Cadence so Steady," the entrance of the refugees preluding the grotesque "Orang-Outang Song," sung by Fiametta and chorus, and the graceful arietta following the entrance of the wedding-party in the last act.

BALFE, MICHAEL WILLIAM.

The Bohemian Girl.

PERSONAGES.

Arline, daughter of Count Arnheim. Thaddeus, a Polish exile. Gypsy Queen. Devilshoof, Gypsy leader. Count Arnheim, Governor of Presburg. Florestein, nephew of the Count.

The scene is laid at Presburg, Hungary; time, last century.

"The Bohemian Girl," usually designated as grand opera, strictly speaking, is a ballad opera, and is one of the few English works of its class which has made a success upon the Continent and in the United States. The first act opens with the rescue of Arline, daughter of Count Arnheim, from the attack of a stag by Thaddeus, a Polish fugitive, who has joined a gypsy band to save himself from arrest. In return for his timely aid, the Count invites him to a banquet, where he gets into trouble by refusing to drink the health of the Emperor. Devilshoof, the leader of the band, saves him from the angry soldiers, but in turn is himself seized. The Count allows Thaddeus to go, and Devilshoof subsequently escapes, carrying Arline with him.

Twelve years elapse between the first and second acts. The Count has received no tidings from Arline and has given her up as lost. The second act opens in the gypsy camp in the suburbs of Presburg, and discloses Arline asleep with Thaddeus watching over her. The gypsies themselves depart in quest of plunder, headed by Devilshoof, and happen upon Florestein, the Count's nephew, returning in a drunken condition from a revel. They speedily relieve him of his valuables. After their departure Arline awakes, and Thaddeus tells her how she received the scar upon her arm and of her rescue from the stag, at the same time declaring his love for her. Arline confesses her love for him, and the two are united according to the laws of the tribe by the Gypsy Queen, who is also in love with Thaddeus, and vows vengeance upon the pair. The scene now changes to a street in the city. A fair is in progress, and the gypsies resort to it with Arline at their head. As they mingle among the people, Florestein attempts to insult Arline, and an altercation ensues between them, ending in his repulse. He seeks revenge by having her arrested for stealing a medallion which belonged to him and which the Gypsy Queen, knowing it to be his, had maliciously given to her. Arline is brought before the Count for trial, during which he asks her about the scar on her arm. She replies by relating the story Thaddeus had told her, and this leads to his discovery of his daughter.

The last act finds Arline restored to her old position but still retaining her love for Thaddeus. With Devilshoof's help he secures a meeting with her. The Gypsy Queen gives information to the Count, and Thaddeus is ordered to leave. Arline implores her father to relent, and threatens to go with her lover. The situation happily resolves itself when Thaddeus proves that he is of noble descent. The Count thereupon yields and gives his daughter to him. The baffled and furious Gypsy Queen induces one of the tribe to fire at Thaddeus, but by a timely movement of Devilshoof the bullet pierces the heart of the Queen.

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