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'Euryanthe' was the work of Helmine von Chezy, the authoress of 'Rosamunde, for which Schubert wrote his entrancing incidental music. Weber was probably attracted by the romantic elements of the story, the chivalry of mediæval France, the marches and processions, the pomp and glitter of the court, and overlooked the weak points of the plot.

Count Lysiart replies with a sneer, and boasts that he can gain her favor; but Adolar challenges him to bring a proof. The scene then changes to the castle of Nevers, and discloses Euryanthe longing for Adolar.

To one who really admires Shakspere and Homer, a fashionable novel is tedious beyond endurance; just so, to one who can appreciate "Tristan" or "Euryanthe," Verdi's "Ernani" and Bellini's "Norma" are heavy as lead, soporific as opium. The difficulty of understanding subtle harmonies is perhaps the main reason why English-speaking people are so slow in appreciating and encouraging the opera.

These operas had sprung into sudden popularity, whereas "Fidelio," "Euryanthe," "Lohengrin," and "Tannhäuser," which for years had to fight for every inch of ground, are now masters of the situation, and gaining in popularity every year.

Once when I had been doggedly beating out some easy passages from an old score of Euryanthe I had found among her music books, she came up to me and, putting her hands over my eyes, gently drew my head back upon her shoulder, saying tremulously, "Don't love it so well, Clark, or it may be taken from you."

The step from "Don Giovanni" and "Euryanthe" to "Tannhäuser" and "Lohengrin" does not seem quite as long a one to-day as once it did. Indeed, there are moments when one wonders whether "Lohengrin" is really a step beyond "Euryanthe," and whether the increase of power and vividness and imagination has not been made at the expense of style.

A singer who wishes to appear to advantage as Euryanthe or Lohengrin or Tristan must not only be entirely familiar with his own vocal parts but he ought to be as familiar with the orchestral score as the conductor himself: for, only then, can he acquire that ease which is necessary for producing a deep impression.

The plot, which is a curious mixture of "Cymbeline" and "Lohengrin," was adapted from an old French romance, entitled "L'Histoire de Gerard de Nevers et de la belle et vertueuse Euryanthe, sa mie," and is substantially as follows: In the palace of King Louis of France, where a brilliant assemblage is gathered, Count Adolar sings a tribute to the beauty and virtue of Euryanthe, his betrothed.

He wrote his wife after the performance: "Thank God, as I do, beloved wife, for the glorious success of 'Euryanthe. Weary as I am, I must still say a sweet good night to my beloved Lina, and cry Victory! All the company seemed in a state of ecstasy; singers, chorus, orchestra; all were drunk, as it were, with joy."

She is subsequently found by the King while on a hunting expedition, and to him she relates the story of Eglantine's treachery. The King takes her with him to the palace. Meanwhile Adolar has begun to suspect that Euryanthe has been the victim of her base wiles, and on his way to Nevers to punish Lysiart he encounters the wedding-procession of the guilty pair, and challenges him.