Peter Cornelius (1824-1874) was one of the
most prominent of the band of young men who gathered round Liszt at
Weimar, and by means of their music and writings sought to further the
cause of 'New-German' art. 'Der Barbier von Bagdad' was immensely in
advance of its time. It failed completely to attract the public of
Weimar, the most cultivated in Europe, when it was originally produced,
but it is now one of the most popular operas in Germany. The beauties of
the score are doubly astonishing when it is remembered that when it was
written 'Die Meistersinger' had not been composed. The germs of much
that delights us in Wagner's comic opera may be found in 'Der Barbier,'
and it is certain that if Cornelius received his initial impulse from
'Lohengrin,' he himself reacted upon Wagner to a very remarkable extent.
The plot of 'Der Barbier' is long-winded and puerile, and the interest
is entirely centred in the music, Noureddin loves Margiana, the daughter
of the Cadi, and is bidden to an interview by Bostana, her _confidante_.
He takes with him Abul Hassan, a talkative fool of a barber, who watches
in the street while Noureddin visits his sweetheart. Suddenly the cries
of a slave undergoing the bastinado are heard. The barber jumps to the
conclusion that Noureddin is being murdered, summons help and invades
the house. Noureddin takes refuge from the wrath of the Cadi in a chest.
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