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Updated: May 31, 2025
The pirate himself comes to Sicily to obtain his prisoner's ransom, bringing directions to Lugano's daughter Camilla to pay him whatever he may ask. Zampa at once falls a victim to the beaux yeux of Camilla, and demands her hand as the price of her father's safety. Camilla loves Alfonso, a Sicilian officer, but is prepared to sacrifice herself to save her father.
We had listened to the usual overture from Zampa, played by the lady professor and the eldest daughter of the brewer; to "Phil Blood's Leap," recited by the curate; to the violin solo by the pretty widow about whom gossip is whispered one hopes it is not true. Then a pale-faced gentleman, with a drooping black moustache, walked on to the platform. It was the local tenor.
'Zampa' ended amidst polite applause, the delighted parents of the four players feeling that they had not lived in vain.
But Zampa heard not his father's voice and pursued diving birds, and, lo! he was far from land and the dark fell. He sailed to the nearest shore and beheld the village of Yakaga, where the people of his sister's husband made him welcome, though Yakaga was not within his hut.
His beard was neatly and closely trimmed. Once in a while he withdrew his glance from the newspaper and looked about him. There was more noise than ever over at the house. The main building was called "the house," to distinguish it from the cottages. The chattering and whistling birds were still at it. Two young girls, the Farival twins, were playing a duet from "Zampa" upon the piano.
"When, therefore, the people of his tribe found the bodies of Kitt-a-youx and her child among the kelp, having heard of her love for Zampa, they bore them to the same cave, and, wrapping them in furs, they placed Kitt-a-youx beside her beloved husband, and in her burial she found her home and felt the kindness of the Great Spirit.
Colney's rapid interjections condensed upon the habitual shrug at human folly, just when Victor, fronting the glassy stare of Colonel Corfe, tapped to start his orchestra through the lively first bars of the overture to Zampa. We soon perceive that the post Mr. Radnor fills he thoroughly fills, whatever it may be. Zampa takes horse from the opening.
It would be in vain to look in Hérold's score for an echo of the passion and variety of Mozart, but much of the music of 'Zampa' is picturesque and effective. Hérold's tunes sound very conventional after Weber, but there is a good deal of skill in the way they are presented.
"One morning about eight bells, some two hundred miles off Rio we were 'board the Zampa, one of our South American line, with eighteen first-class passengers, half of 'em women, and ten or twelve emigrants when word came to the bridge that a fire had started in the cargo.
They were girls of fourteen, always clad in the Virgin's colors, blue and white, having been dedicated to the Blessed Virgin at their baptism. They played a duet from "Zampa," and at the earnest solicitation of every one present followed it with the overture to "The Poet and the Peasant." "Allez vous-en! Sapristi!" shrieked the parrot outside the door.
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