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Comic Opera

A King Against His Will
A Night's Rest At Granada
Abu Hassan
Aida
Alessandro Stradella
Armida
Ballo In Maschera
Bearskin
Benvenuto Cellini
By Order Of His Highness
Carmen
Cavalleria Rusticana
Cosi Fan Tutte
Delila
Der Freischuetz
Djamileh
Don Carlos
Don Juan
Don Pasquale
Donna Diana
Elektra
Ernani
Eugene Onegin
Euryanthe
Falstaff
Fidelio
Flauto Solo
Fra Diavolo
Frauenlob
Friend Fritz
Genoveva
Guglielmo Tell
Gustavus The Third
Hamlet
Hans Heiling
Hansel And Gretel
Henry The Lion
Herrat
Hoffmann's Tales
Idle Hans
Idomeneus
Il Barbiere Di Seviglia
Il Demonio
Il Seraglio
Il Trovatore
Ingrid
Iphigenia In Aulis
Iphigenia In Tauris
Jean De Paris
Jessonda
Joseph In Egypt
Junker Heinz Sir Harry
Kirke Circe
L'africaine
La Boheme
La Dame Blanche
La Figlia Del Reggimento
La Juive The Jewess
La Muette De Portici
La Somnambula
La Traviata
Le Domino Noir
Le Nozze Di Figaro
Le Prophete
Les Huguenots
Little Bare Foot
Lohengrin
Lorle
Love's Battle
Lucia Di Lammermoor
Lucrezia Borgia
Madame Butterfly
Manon
Manru
Marga
Marguerite
Martha
Melusine
Merlin
Mignon
Moloch
Nausikaa
Norma
Oberon
Odysseus' Death
Odysseus' Return
Orfeo E Eurydice
Othello
Pagliacci
Philemon And Baucis
Preciosa
Rienzi The Last Of The Tribunes
Rigoletto
Robert Le Diable
Romeo E Giulietta
Salome
Sealed
Siegfried
Silvana
Tannhaeuser
The Alpine King And The Misanthrope
The Apothecary
The Armorer
The Barber Of Bagdad
The Beauties Of Fogaras
The Bell Of The Hermit
The Cid
The Cricket On The Hearth
The Departure
The Devil's Part
The Dusk Of The Gods
The Evangelimann
The Fledermaus The Bat
The Flying Dutchman
The Folkungs
The Golden Cross
The King Has Said It
The Lowlands
The Maccabees
The Magic Flute
The Maidens Of Schilda
The Master-singers Of Nueremberg
The Master-thief
The Merry Wives Of Windsor
The Nibelungen Ring
The Nuremberg Doll
The Piper Of Hameln
The Plague Of Darkness
The Poacher
The Postilion Of Longjumeau
The Queen Of Sheba
The Sold Bride
The Taming Of The Shrew
The Templar And The Jewess
The Three Pintos
The Trumpeter Of Saekkingen
The Two Grenadiers
The Two Peters
The Vampire
The Walkyrie
Tosca
Tristan And Isolda
Undine
Urvasi
Wedding's Morning
Werther
Will O' The Wisp
Zampa


The Standard Operaglass

A Night's Rest At Granada
Aida
Alessandro Stradella
Armida
Bearskin
Benvenuto Cellini
Carmen
Cavalleria Rusticana
Delila
Der Freischuetz
Djamileh
Don Carlos
Don Juan
Elektra
Ernani
Eugene Onegin
Euryanthe
Fidelio
Flauto Solo
Frauenlob
Friend Fritz
Genoveva
Guglielmo Tell
Gustavus The Third
Hamlet
Hans Heiling
Hansel And Gretel
Henry The Lion
Herrat
Hoffmann's Tales
Idle Hans
Idomeneus
Il Demonio
Il Seraglio
Il Trovatore
Ingrid
Iphigenia In Aulis
Iphigenia In Tauris
Jessonda
Joseph In Egypt
Junker Heinz Sir Harry
Kirke Circe
L'africaine
La Boheme
La Juive The Jewess
La Muette De Portici
La Somnambula
La Traviata
Le Prophete
Les Huguenots
Little Bare Foot
Lohengrin
Lorle
Love's Battle
Lucia Di Lammermoor
Lucrezia Borgia
Madame Butterfly
Manon
Manru
Marga
Marguerite
Melusine
Merlin
Mignon
Moloch
Nausikaa
Norma
Oberon
Odysseus' Death
Odysseus' Return
Orfeo E Eurydice
Othello
Pagliacci
Philemon And Baucis
Preciosa
Rienzi The Last Of The Tribunes
Rigoletto
Robert Le Diable
Romeo E Giulietta
Salome
Siegfried
Silvana
Tannhaeuser
The Alpine King And The Misanthrope
The Cid
The Cricket On The Hearth
The Dusk Of The Gods
The Evangelimann
The Fledermaus The Bat
The Flying Dutchman
The Folkungs
The Golden Cross
The Lowlands
The Maccabees
The Magic Flute
The Master-singers Of Nueremberg
The Master-thief
The Nibelungen Ring
The Piper Of Hameln
The Plague Of Darkness
The Queen Of Sheba
The Templar And The Jewess
The Trumpeter Of Saekkingen
The Vampire
The Walkyrie
Tosca
Tristan And Isolda
Undine
Urvasi
Wedding's Morning
Werther
Will O' The Wisp
Zampa



The Three Pintos








In three acts by C. M. v. WEBER.

After WEBER'S manuscripts and designs, and TH. HELL'S textbook. The
musical part completed by GUSTAV MAHLER, the dramatic part by CARL VON
WEBER.


Thanks to the incessant endeavours of Weber's grandson and of Gustav
Mahler, the gifted disciple of Weber, a real treasure in German music
has been disinterred from the fragments of the past, thus long after
its composer's death. It is a striking illustration of the
universality of Weber's genius that aught like this should prove to
have been written by him, for his manuscript is a fragment of a
comic opera of the best kind. Although only seven parts were completed
by the composer himself, Mahler took the remaining ten mostly from
Weber's other manuscripts. He completed them himself so adroitly, that
the best musicians cannot distinguish Weber from Mahler. We owe a debt
of gratitude to both composer and poet, who have performed this act of
piety towards the great deceased and at the same time have preserved us
real musical pearls. The text is well done, though not important
enough for three acts; two would have been quite sufficient.

The first scene takes us into a little village in Spain, where a
student, Don Gaston Piratos bids farewell to his fellows. He is a gay
and gallant youth, whose money dwindles to a paltry sum before mine
host's long account. But this cunning host has a charming daughter
Ines, and light-hearted Gaston flirts with the damsel, his servant
Ambrosio valiantly assisting him.

The Kater-romance sung by Ines is as gracefull as it is droll and
effective.

Don Pinto de Fonseca now arrives on horseback. He is so corpulent,
that he is scarcely able to dismount, and he excites the curiosity and
amusement of all. Having called for food and drink, he tells Gaston,
that he comes to marry a rich and noble lady, Donna Clarissa de
Pacheco. Fonseca's father has once rendered a great service to Don
Pantaleone Roiz de Pacheco, and in reward he destined his only child
Clarissa for Fonseca's son. This promising young knight has a
letter of recommendation from his father. He is in perplexity as to
his behaviour towards such a young lady and Gaston offers to instruct
him therein. Ambrosio acts as bride, Gaston shows how she is to be
courted and Don Pinto gawkishly imitates his teacher's gestures. This
scene is most irresistibly comic. When wine and food are brought by
Ines and her servants, Don Pinto so entirely absorbs himself in
satisfying his hunger and thirst, that at last the wine gets the better
of him. He falls asleep and Gaston, thinking it an injury to a noble
lady to be wooed by such a clown, takes away old Fonseca's letter and
departs with Ambrosio. Don Pinto is carried into the house on a
grass-covered litter.

In the second act Don Pantaleone's servants are assembled in the
ancestral hall, where their master announces to them the approaching
arrival of Don Pinto, his daughter's future bridegroom. Donna
Clarissa, who already loves Don Gomez Freiros, a knight of wealth,
noble birth and bearing is in despair, as is also her lover, but Laura,
her pretty maid promises to find ways and means to avert the dreaded
marriage.

In the third act Laura and the servants are decorating the hall with
flowers. The majordomo sends them away, proclaiming Don Pinto's
arrival. All go except Laura, who hides behind a bosquet. Gaston,
entering with Ambrosio sees all those preparations with wonder.
Ambrosio detects Laura and according to his wont begins to court her.
Gaston warns the damsel, and she entering into the joke mockingly
quits them. Gay Ambrosio is consoling himself in a charming song of
which the burden is girls' fickleness, when Don Gomez enters and
touches Gaston's kind heart by the description of his love for
Clarissa. Gaston tenders him Fonseca's letter, counselling Gomez to
play the part of Don Pinto, for Don Pantaleone has never seen either of
them. Gomez accepts the letter gratefully from the supposed Don Pinto
and presents it to Don Pantaleone, who has entered with his daughter
and his whole suite. Of course the father, struck by the knight's
noble bearing, gives his consent to the union with his daughter and
adds his benediction. But their joy is disturbed by the entrance of
the real Don Pinto, who at once begins wooing in the manner he has
practised with Don Gaston.

The ridiculous fellow is thought mad and is about to be turned out,
when catching sight of Gaston, he loudly accuses him of treachery.
Gaston however draws his sword and menaces Don Pinto, upon which the
poor swain cries for mercy and is thereafter removed from the hall
amidst the laughter of the whole chorus.

Imagine the assistant's astonishment, when Gaston declares, that they
have turned out the true Don Pinto. Gomez believing himself betrayed
challenges Gaston, and the father rages against the two pretenders.
But Clarissa pleads and Gaston quietly shows to Don Pantaleone the
contrast between the two suitors, while Gomez is obliged to
acknowledge gratefully that he owes his lovely bride solely to Don
Gaston's joke. So the lovers are united.





Next: The Piper Of Hameln

Previous: Philemon And Baucis



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