'Der Roland' was produced in a German version at Berlin
in 1904, and in spite of Court patronage failed completely.
Umberto Giordano, who during the last few years has steadily worked his
way to the front rank of Italian composers, started his career with a
_succes de scandale_ in 'Mala Vita' (1892), a coarse and licentious
imitation of 'Cavalleria Rusticana.' There is far better work in 'Andrea
Chenier' (1896), a stirring tale of the French Revolution set to music
which shows uncommon dramatic power and in certain scenes a fine sense
of lyrical expression. After a good deal of preludial matter the plot
centres in the rivalry of Chenier the poet and Gerard, a revolutionary
leader, for the hand of Madeleine. Gerard condemns Chenier to death, but
is melted by Madeleine's pleading, and rescinds the order for his
execution. The pardon, however, comes too late, and Madeleine and
Chenier ascend the scaffold together, in an ecstasy of lyrical rapture.
'Fedora' (1898), an adaptation of Sardou's famous drama, has less
musical interest than 'Andrea Chenier,' the breathless incidents of the
plot giving but little scope for musical treatment. The first act shows
the death of Vladimir, the police investigation and Fedora's vow to
discover the murderer. In the second Fedora extorts from Loris Ipanoff a
confession of the vengeance that he wreaked upon the perfidious
Vladimir, and, finding Loris innocent and Vladimir guilty, in a sudden
revulsion of feeling throws herself into Loris's arms, bidding him stay
with her rather than leave the house to fall into the hands of spies.
Pages:
303
304
305
306
307
308
309
310
311
312
313
314
315
316
317
318
319
320
321
322
323
324
325
326
327