LITMIR.BIZ

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declared his study to be "in vain," he has, nevertheless, acquired the accomplishment of being able to call up Mephistopheles (this is the operatic name for the great demon), and in his present despair he resorts to this power. Mephisto appears without delay. Flaming colors and a bass voice are the essential attributes of this great character. It seems rather hard on our artists who sing to low G that a bass voice is so often chosen to represent iniquity; but such happens to be the case. Mephisto is invariably clad in red from head to toe; exaggerated eyebrows and a fantastic cap with unobtrusive horns complete his diabolical appearance.

      In a continuous flow of harmony, Faust informs his visitor of his wants, and Mephisto promptly states his conditions: for the price of his soul after death the philosopher shall now be granted his youth. Faust hesitates at this, whereupon the wily demon causes him to behold a vision. A bright light at the back of the stage suddenly reveals the lovely Marguerite at her spinning-wheel. While the picture lasts there is heard in the orchestra a suggestion of one of the themes that come afterward in the love-scene of the opera; this is accompanied by a soft tremolo on the violins. Forest scenes, moonlight, and dreams are very often represented in music by a violin tremolo. When the vision passes away, Faust is decided, and he drinks the potion Mephistopheles prescribes. Presto! The gray hair and beard disappear; the long robe falls off, and Faust is a young man—tall and handsome, as a tenor should be. He comes forward with an elastic step and sings of youth and its joys, which now are his. The music has undergone a metamorphosis like the singer. It throbs with a life and vigor which were lacking before; and this final song of the first act is one of the best tenor solos in the opera.

      The second act is chiefly remarkable for its choruses. It is called the Kyrmess, and represents a street thronged with villagers in festive array and mood. They dance and sing in honor of their soldiers, who start this day to war. The opening chorus is divided among the students, girls, soldiers, and citizens, the latter being represented by old men, who come forward and sing their delightful refrain in thin, piping voices. Every phrase of this first chorus is a surprise, and each one seems more fascinating than the preceding. It is all in a rapid, tripping tempo, and fairly bubbles over with good humor.

      In this act we are introduced to all the principal characters. Siebel, the village youth who loves Marguerite, is already on the scene, and very soon her soldier-brother, Valentine, appears. This is the baritone rôle, and, while not a long one, is still important, and requires a great artist, for he has a splendid death-scene in the fourth act. His first solo begins with the words "O santa medaglia!" ("O blessed medallion!"). He sings to the token which his sister has just given him at parting. He is depressed at the thought of leaving Marguerite alone, for she is an orphan; but Siebel consoles him with promises to protect and watch over her.

      Mephisto is the next one to come upon the scene, and, in spite of his satanic make-up, the villagers do not recognize his "name and station." He joins in their merry-making, and soon astounds them with his wizard tricks and actions. He sings a song about "Gold—the lord of the earth." It is one of the three important solos of this rôle, and is a most characteristic piece. One has not the least doubt that he learned it at home! Such eccentric, sardonic intervals and rhythm at once suggest an unholy origin.

      The peasants soon become so convinced of this stranger's evil power that they unanimously hold up the hilts of their swords, which are formed like a cross, and before this emblem Mephisto trembles. A very strong and inspiring chorus accompanies this move on the part of the peasants.

      Faust, the handsome cavalier, now comes forward. After a short dialog between this master and servant—who we know are under compact to change places in the hereafter—the chorus again take possession of the stage. They sing first a charming waltz song, which of itself seems to start them all to dancing. And then comes the celebrated "Faust Waltz," during which the listener should pay most attention to the orchestra. There is some singing and much dancing on the stage, but the instruments have the most important part. Of this well-known composition it is unnecessary to say more than that it is a splendid waltz.

      Its brilliant rhythm is temporarily diverted by the entrance of Marguerite, who is on her way home from church. She carries a prayer-book in her hand, and is dressed in white, which betokens innocence. This costume of the heroine has been considered as imperative as the make-up of Mephisto; but Madame Eames carefully studied old Nuremburg pictures and resurrected the correct style of that period, which somewhat departs from operatic tradition.

      On seeing Marguerite, Faust addresses her as "My charming lady," and begs permission to walk home with her. To which Marguerite very properly replies that she is neither "charming" nor a "lady," and can go home "alone." The question and response last only a moment, but the two themes are most exquisitely adapted to the words, and should be noted, as they recur later on in the opera. Especially lovely are these first notes of the soprano; and after so much chorus and bass and orchestra, they soar out like strokes from a silver bell.

      Marguerite goes on her homeward way, and leaves Faust more in love than before. Mephisto rejoices, and the waltz is resumed. Thus ends Act II.

      And now for the Garden Scene—a veritable bouquet of melodies, flowers that never fade! The first aria is, indeed, called the "Flower Song," but only because Siebel sings to the flowers he has brought for Marguerite. Siebel is the contralto rôle, and therefore always taken by a woman. It is a very short part, but as two of the sweetest songs in the opera belong to Siebel, great artists are glad to take the character. The short prelude by the orchestra before the "Flower Song" is as artistic as any other part. It seems to smooth the brow and quiet the mind, and coax the hearer into just the right mood "to be lulled by sounds of sweetest melody." Siebel's song is indeed "sweetest melody"—so much so that a poor singer can hardly spoil it. That gentle and caressing theme captures the heart every time.

      After Siebel has gone, there enter Faust and Mephistopheles (who gains admission everywhere). The latter is in high spirits, and Faust is in love. They look upon the garden with different emotions. Faust rhapsodizes and is lost in romance; but Mephisto's more practical vision perceives the flowers which Siebel has left at Marguerite's door. He goes off at once to procure a present that shall outshine these. During his absence Faust sings the "Salve Dimore." These are the first words of the song, which mean "Hail! dwelling pure and simple;" but this composition is always given its Italian name. It is interesting to note the names by which celebrated arias are known. Some are designated by the subject, as the "Jewel Song," "Flower Song." Then, again, some are known by the rhythm, as the "Waltz Song" from "Romeo and Juliet," or the "Polacca from 'Mignon.'" Then, there are others whose names only indicate the number of voices, as the "Sextet from 'Lucia,'" the "Quartet from 'Rigoletto';" while many are spoken of by their Italian names. The "Salve Dimore" belongs to this class, and, like the "Jewel Song," is so celebrated that many people who have not heard the music are still familiar with the name. The tenor who does not receive abundant applause after this aria may feel that he has lost his best chance in the opera.

      After the solo Mephisto reenters with a jewel-casket under his arm. He places this where Marguerite will surely find it, and then the two retire. Now is an expectant moment, for the soprano holds the stage alone for some time, and has in this scene her finest solos. She comes in through the garden gate and walks very slowly, for she is thinking about the handsome stranger who spoke to her in the street. She tries, however, to forget the occurrence, and resolutely sits down to her spinning. As she spins she sings a ballad called "The King of Thule." It is a sad little song, with strange minor intervals that make one feel "teary 'round the heart." Marguerite interrupts her ballad to soliloquize again, in pretty recitative tones, about that "fine stranger," but she soon recalls herself and resumes the song. At last she gives up trying to spin, and starts for the house; whereupon she sees Siebel's flowers, which are admired, but dropped in amazement when her eyes rest upon the jewel-box. After some misgivings she opens it and discovers jewels so beautiful that from sheer joy and delight she starts to trilling like a bird. This trill is the opening of the great aria, which seems to thus poise for a moment and then fly away in the ascending scale which commences the brilliant theme. The "Jewel Song" is as difficult as it is beautiful, and the artist who renders it well deserves unstinted praise.

      Before the song is ended, Martha, the matron in whose care Marguerite has been entrusted, comes into the garden, and soon is followed by Faust and Mephistopheles. Hers is a necessary but unimportant character,

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