Operas Every Child Should Know. Mary Schell Hoke Bacon
Читать онлайн книгу.
himself.
"Do you know that when a rival tries to take a gipsy girl from her lover there is a price to pay?" he tries to ask with some show of tranquillity.
"Very well, I am ready."
"A knife thrust, you understand," José mutters, unable to hide his emotion. He hates Escamillo so much that he is about to spring upon him.
"Ho, ho! From your manner, I fancy you are that fine deserter. You want to fight? Good! I fight bulls for pleasure; you used to fight men for business. Evenly matched. Have at it," and the men fall to fighting. The fight grows hotter and hotter. Escamillo's knife suddenly snaps off short. José is about to kill him when Carmen and the men are heard running back. They have encountered some one in the valley below and have returned just in time to interrupt the quarrel.
"José," she screams, and holds his arm. Then he is set upon by the others and held in check. Escamillo throws his arms about Carmen and taunts the helpless fellow. José rages.
"I'm off, my fine dragoon," he cries, "but if you love me you will all come to the bull fight next week at Seville. Come, my friend," to José, "and see what a really good looking fellow is like," he taunts, looking gaily at Carmen. He goes off, down the path, while José is struggling to free himself, and at that moment, Michaela, nearly dead with fright, falls upon the rock, and is heard by the men. El Remendado hears her and runs out. He returns bringing the young girl with him.
"Michaela!" José calls.
"José! your mother is dying. I have come for you. For God's sake – "
"My mother dying," he shakes off the men. Then the voice of Escamillo is heard far down the mountain singing back at Carmen the Toreador's song. Carmen rushes for the entrance to the cave. She will follow Escamillo. José goes wild with rage. He bars the entrance.
"My mother is dying. I am going to her – but your time too has come," he swears, looking at Carmen. "I have lost friends, honour, and now my mother for you, and I swear you shall reckon with me for all this wrong. When we meet again, I shall kill you," and he disappears behind the rocks with Michaela.
Back in gay Seville, not near to its cigarette factory and the guard-house, but at the scene of the great bull-fight, where Escamillo is to strut and show what a famous fellow he deserves to be! The old amphitheatre at the back with its awning stretched, the foreground with its orange-girls, fan-girls, wine-pedlars, ragged idlers and beggars, fine gentlemen, mules – all eager for the entertainment! Escamillo is the man who kills bulls and makes love to all the pretty girls he sees. Everybody wants to get a peep at him. The air is full of excitement. Everybody, wine-sellers, orange-girls, all dance and twirl about, and donkeys' bells tinkle, and some are eating, and some are drinking. The Alcalde is to attend, and all the fine ladies and gentlemen of Seville. Here comes Zuniga.
"Here, bring me some oranges," he orders, in his old at-least-a-general fashion. The smugglers had let him loose, of course, as soon as Carmen and José had got away from Lillas Pastia's inn, that night. He sits to eat his oranges and to watch the gradually assembling crowd. Frasquita and Mercedes are on hand, and there is a fair sprinkling of smugglers and other gipsies.
"Here they come, here they come!" some one cries, and almost at once the beginning of the bull-fighting procession appears. First the cuadrilla, then the alguazil, chulos, banderilleros – all covered with spangles and gold lace; and the picadors with their pointed lances with which to goad the bull. Every division in a different colour, and everybody fixed for a good time, except the bull, perhaps. After all these chromo gentlemen have had a chance at him, Escamillo will courageously step up and kill him. Yes, Spain is all ready for a good time! Now at last comes Escamillo.
"Viva Escamillo!" If one ever saw a beauty-man, he is one! He might as well have been a woman, he is so good-looking. He has a most beautiful love song with Carmen, who of course is in the very midst of the excitement, and in the midst of the song, the great Alcalde arrives. Nobody wants to see the bull-fight more than he does. He was brought up on bull-fights. His entrance makes a new sensation.
In the midst of the hurly-burly Frasquita forces her way to Carmen.
"You want to get away from here. I have seen Don José in this crowd. If he finds you there will be trouble – "
"For him maybe." Carmen returns, insolently looking about to see if she can espy José. The girls urge her not to go too far; to keep out of José's way, but she refuses point blank.
"Leave the fight and Escamillo? Not for twenty Josés. Here I am, and here I stay," she declares. Everybody but Carmen thinks of the fortune in the cave: death, death, death! But gradually the great crowd passes into the amphitheatre, and Carmen has promised Escamillo to await him when he shall come out triumphant; and Escamillo has no sooner bade Carmen good-bye than José swings into the square in search of Carmen.
Carmen sees him and watches him. He does not look angry. As a matter of fact he has gone through so much sorrow (the death of his mother, and the jeers of his friends) that he has sought Carmen only with tenderness in his heart. He now goes up to her and tells her this.
"Indeed, I thought you had come to murder me."
"I have come to take you away from these gipsies and smugglers. If you are apart from them you will do better. I love you and want you to go away from here, and together we will begin over and try to do better."
Carmen looks at him and laughs. Suddenly she hears cheering from the amphitheatre and starts toward it. José interposes.
"You let me alone. I want to go in – "
"To see Escamillo – "
"Why not – since I love him – "
"How is that?"
"As I said – " At this, a blind rage takes possession of Don José. All his good purposes are forgotten. For a moment he still pleads with her to go away, and she taunts him more cruelly. Then in a flash José's knife is drawn, another flash and Carmen's fortune is verified: she falls dead at the entrance to the amphitheatre, just as the crowd is coming out, cheering the victorious Escamillo. José falls beside her, nearly mad with grief for what he has done in a fit of rage, while Escamillo comes out, already fascinated by some other girl, and caring little that Carmen is dead – except that the body is in the way. José is under arrest, Carmen dead, and the great crowd passes on, cheering:
"Escamillo, Escamillo forever!"
DeKoven
SMITH and DeKoven, who have made countless thousands laugh, are living still, and will very likely continue to do gracious things for the comic-opera-loving public.
The very imperfect sketch of the opera, "Robin Hood," given in this book, is lacking in coherence and in completeness in every way, but a prompt-book, being necessary properly to give the story, is not obtainable. Rather than ignore an American performance which is so graceful, so elegant, and which should certainly be known to every child, an attempt had been made to outline the story.
Little idea can be had of the opera's charm from this sketch, but the opera is likely to live, even after the topical stories of "Pinafore" and "The Mikado" have lost their application, because the story of Robin Hood is romantic forever, and the DeKoven music is not likely to lose its charm.
"Robin Hood" was first produced at the Chicago Opera House, June 9, 1890, by the Bostonian Opera Company. In January, 1891, under the management of Mr. Horace Sedger, the opera was produced, under the title of "Maid Marian," at the Prince of Wales's Theatre in London. The cast included Mr. Haydn Coffin, Mr. Harry Markham, Miss Marion Manola, and Miss Violet Cameron.
ROBIN HOOD
In Sherwood forest, the merriest of lives,
Is our outlaw's life so free!
We roam and rove in Sherwood's grove,
Beneath the greenwood tree.
Through all the glades and sylvan shades
Our homes (through