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VOL. V.
THE CINCINNATI MAY FESTIVAL
PROGRAMME OF THE PERFORMANCES.
No. 18
NEW YOEK, APKIL 20TH, 1882.
Mr. Candidus; (c) "The Ride of the Valkyries,"
Orchestra; (d) Wotam's Farewell and Magic Fire
Scene, Mr. Henschel. "Die Gotterdammerung."
(a) Siegfried's Death, Orchestra; {b) Finale,
Brunnhilde, Frau Friedrich-Materna.
HTHE Fifth May Festival will begin May 16 and
THIRD AFTERNOON CONCERT, MAY 19.
J_ continue through the three following days.
"Euryanthe," Weber, (a) Overture; (b) Ro-
Theodore Thomas will be the Musical Director.
manze—"Unter bliihenden Mandel baumen," Mr.
SOLOISTS.
Candidus; (c) Cavatina—"Glocklein im Thale,"
Sopranos : Frau Amalie Friedrich-Materna, Mrs. Mrs. Osgood.; (d) Scene and Aria,—"Wo berg' ich
Concerto in G, Bach.
E. Aline Osgood, Miss Elizabeth Hetlich, Miss mich," Mr. Henschel.
Elenora Kopp, Miss Adah B. Wilson. Altos: Miss String Orchestra. Aria, "Che Faro Senza Eury-
Annie Louise Cary, Miss Emma Cranch. Tenors: dice," Gliick, Miss Cary. "In Questa Tomba,"
Mr. William Candidus, Mr. Theodore J. Toedt. Beethoven, Mr. Whitney. Duo, "Benvenuto Cel-
Basses: Mr. George Henschel, Mr. Franz Rem- lini," Berlioz, Mrs. Osgood and Mr. Toedt. In-
mertz, Mr. T. J. Sullivan, Mr. Myron W. Whitney. termission.
A Symphony to Dante's "Divina
Mr. George E. Whiting, organist. Choir of one Comedia," Liszt.
1. "Inferno." 2. "Purga-
hundred boys from the public schools; Festival torio." 3. "Magnificat."
Grand Orchestra,
Chorus; Grand Festival Orchestra; Organ.
Chorus of Women, Organ.
PROGRAMMES:
"FRANCOISE DE RIMINI."
FIBST EVENING CONCERT, MAT 16.
"Requiem," Mozart, Frau Friedrich-Materna,
Miss Cary, Mr. Candidus, Mr. Whitney, chorus, PRODUCTION OF AMBROISE THOMAS'S NEW OPERA IN
orchestra and organ; Symphony in F, No. 8, op.
PARIS.
93, Beethoven; Recitation and aria, "Abscheu- r
licher" ("Fidelio"), Beethoven, Frau Friedrich- I iHE reports received by cable indicate that
Materna. Intermission. Dettingen "Te Deum," X Thomas's new opera, which was produced on
Handel, Miss Cary, Mr. Toedt, Mr. Remmertz, April 14 at the Grand Opera, Paris, was not a suc-
cess.
chorus, orchestra, organ; Trumpet Obligate bv
J
Mr. F. Dietz.
We are not surprised at this, as Thomas is by no
means a genius, and with the exception of a soli-
SECOND EVENING CONCERT, MAY 17.
tary song here and there in his operas, they do not
"Passion Music" (according to the Gospel of St. show any signs of inspiration.
Matthew), Bach, Frau Amalie Friedrich-Materna,
We give a resume of
Miss Annie Louise Cary, Mr. William Candidus,
THE PLOT.
Mr. Franz Remmertz, Mr. Geo. Henschel, Mr. T.
J. Sullivan, Mr. Myron W. Whitney, Mr. Herman
The plot is laid at Rimini, in the year 1300. It
Brandt (violin), Mr. George E. Whiting (organist), opens with a fantastic prologue and closes with a
first chorus, first orchestra, second chorus, second fantastic epilogue. The incidents in both are sup-
orchestra, choir of boys from the public schools. posed to occur in a supernatural world.
The first tableau represents the portals of hell,
THIRD EVENING CONCERT, MAT 18.
Symphony in C (No. 9), Schubert; Scenes from the second hell itself.
Both Dante and Virgil appear in these tableaux.
Goethe's "Faust," Schumann, Mrs. Osgood, Miss
Kopp, Miss Hetlich, Mr. Toedt, Mr. Sullivan, Miss By a remarkable stretch of the imagination,
Cranch, Miss Cary, Miss Wilson, Mr. Henschel Thomas and his librettist give a conversation that
takes place between the two, Dante asking Virgil
Mr. Whitney.
who the two lovers are embracing upon a rock
FOURTH EVENING CONCERT, MAT 19.
seen in the distance.
Forty-sixth Psalm, Gilchrist. (Prize Composi-
Virgil tells Dante that they shall live over again
tion.) Mrs. Osgood, Chorus and Orchestra. A their past lives before his eyes, and Dante, upon
Supplementary Movement to the Ocean Sym- asking Virgil who they are, is told that they are
phony (new), Rubinstein.
Scena (Oberon), "Paolo and Francesca da Rimini."
"Ocean, Thou Mighty Monster," Weber, Frau
Then begins act first.
Friedrich-Materna. Intermission. "The Fall of
Troy," from "Les Troyens," Berlioz, Frau Fried-
rich-Materna, Miss Cranch, Mr. Toedt, Mr. Rem-
The first tableau of act one represents a Byzan-
mertz, Mrs. Osgood, Mr. Candidus, Mr. Henschel, tine oratory. Paolo and Francesca while singing
Mr. Whitney. Chorus and Orchestra.
a love duo, after reading out of a book, are sur-
prised by Francesca's father, Guido de Polenta.
FIRST AFTERNOON CONCERT, MAY 17.
"Le Nozze di Figaro," Mozart; (a) Overture— Francesca implores his pardon for having plighted
Orchestra; (b) Aria—"Non piu andrai," Mr. Rem- her troth to Paolo without his consent. Guido
mertz; (c) Canzona—"Voi che sapete," Miss Cary; informs them that the ferocious Malatesta, Paolo's
(d) Recit. and Aria—"E Susanna non vien," Frau brother, who is a rival, and who has been banished
Friedrich-Materna. Symphony in A (No. 7, op. from Rimini, is marching at the head of a body of
92), Beethoven. Intermission. Overture ("Geno- triumphant Guelphs to attack the town. Paolo,
veva"), Schumann. Aria, "Penelope Weaving a however, does not despair of saving his native
Garment" (Odysseus), Bruch, Miss Cranch. Am place and his love. He intends to rouse the peo-
Meer, Schubert, Mr. Remmertz. Duo, Mendels- ple of Rimini.
In the second tableau of the first act we see the
sohn, Frau Friedrich-Materna and Miss Cary.
Ball Scene — From the Dramatic Symphony, citizens and soldiers of Rimini upon the ramparts.
The tocsin sounds, filling the hearts of the citizens
"Romeo and Juliet" (op. 17), Berlioz.
with fear. Ascanio, Paolo's friend and follower,
SECOND AFTERNOON CONCERT—WAGNER MATINEE.
tries to encourage them. Paolo himself appears.
"Huldigung's Marsch." "Vorspiel Lohengrin." In a war song he reminds the people and the
"Die Meistersinger von Nuernberg." (a) "Gath- troops that their ancestors had responded to the
ering of Meistersingers," Orchestra; (b) "Pogner's call of Caesar on that very spot like men and
Address," Mr. Henschel; (c) "Prelude to Act III," heroes. He fails to rouse their patriotism; only
Orchestra; (d) "The Master-song of Walther von Ascanio takes his stand beside him. The gate of
Stolzing," Mr. Candidus; (e) Introduction to Act the city is soon battered down by the invaders
I, Orchestra. "Das Rheingold." (a) Scene II and Rimini will have fallen without striking a
before Walhalla, Mr. Remmertz; (b) "Loge's Tid- blow in self-defense. Then there is a triumphal
ings," Mr. Toedt; (c) Grand closing scene (Wotam entry of the Guelphs, sword in hand. Malatesta
Donner, Froh, Loge and the three Rhine daugh- marches in at the head of his soldiers, while the
ters.) Intermission. "Die Walkiire." (a) Prelude trumpets exultantly proclaim his victory. He
to Act I, Orchestra; (b) Siegmund's "Love Song," arrogantly orders all to bow the head. All but
Paolo obey. The brothers are face to face, threat-
ening each other, when Francesca rushes between
them. Malatesta for a moment stands irresolute,
and Guido, in his turn intervening, beseeches him
to pardon his brother, whom he now has in his
power.
Paolo protests. He asks no pardon.
Malatesta, however, lets him go, carrying Fran-
cesca away as a hostage, and announcing that she
is to be his wife. The victorious banners of the
Guelphs are then unfurled from the top of the
city towers, and the act closes with a triumphal
ensemble, mingling with the lamentations of Fran-
cesca, Paolo, Guido and Ascanio.
The second act takes place in the gardens of the
palace. On the right stands a chapel, connected
with the palace on the left by a gallery. Fran-
cesca enters, followed by her father. She hears
that Paolo has found death fighting gallantly
against his foes, and resolves never to consent to
the marriage forced upon her by Malatesta. Rather
than submit she will seek her lover in the tomb.
Guido and Ascanio remind her that by sacrificing
herself she will assure the safety of the city. Her
father tells her that a whole people prays on
bended knees to consent, and, yielding, she enters
the church. Ascanio follows, and is about to cross
the threshold when Paola, haggard and blood-
stained, appears. Saved from death by a miracle,
he is determined not to perish. Hearing hymns
and the sound of the organ, he is on the point of
entering the church, whon Ascanio bars the way.
But Paolo has had a glimpse of the bride and
bridegroom. Distracted by his grief he tears
open his tunic, and, despite Ascanio's efforts, opens
his bandaged wounds, and sinks back fainting as
the bridal procession appears. Malatesta is horri-
fied at the sight of his brother. Francesca, at
first overjoyed at finding her lover alive, soon re-
members her cruel situation. What though Paolo
lives? He is lost to her, she knows, forever. In
a burst of sorrow she pulls her betrothal ring
from her finger and tears the bridal flowers and
veil from her head.
Act three takes place in a hall in the palace of
Malatesta. A fete is being given by the new mas-
ter of Rimini to celebrate his wedding with Fran-
cesca. His passion for his young wife grows
stronger every hour, but meets with, no return.
Francesca is indifferent to his love and inconsol-
able. At this juncture we have a ballet. It is
composed of an adagio, a scherzo, a capriccio, a
habanera, a sevillana and a saltarello. At its ter-
mination Malatesta and Francesca are alone. He
woos, weeps and threatens, hoping to win her
love, and at last throws himself at her feet. Fran-
cesca appeals to heaven for help, and at that very
moment Paolo reappears. Malatesta calls to his
guards, swearing vengeance against his rival. But
Paolo is saved once more by the timely arrival of
a messenger from the Emperor, who has heard of
Malatesta's cruelty and has summoned him to his
court to render an account. A tumultuous scene
takes place. Malatesta's partisans urge him to
disobey the order. He silences their clamor,
however, and proclaims his determination to sub-
mit to the will of his master. Francesca he con-
fides to the honor of his brother and rival, whom,
though he hates, he trusts.
ACT IV.
Act four returns to the Byzantine oratory. Fran-
cesca is alone, sadly gazing on the book which is
forever associated in her mind with Paolo and her
love. A torch throws a faint light upon the
gloomy oratory. All around is silent. Since Mala-
testa's departure, Francesca has seen nothing of
Paolo. He is watching over her, but lest he
should perjure himself he shuns her. In the dis-
tance Ascanio is heard singing an insiduous
song.
Francesca listens, listens too much, to the coun-
sel of Ascanio. Then troubled and terrified, she
flees from the oratory. Just then Paolo enters it.