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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 Two Grenadiers








In three acts by ALBERT LORTZING.

Text adapted from the French.


After a long interval of quiet Lortzing's charming music seems to be
brought to honor again and no wonder.--The ears of the public grow
overtired, or may we say over-taxed by Wagner's grand music, which his
followers still surpass, though only in noise and external effects;
they long for simplicity, for melody. Well, Lortzing's operas overflow
with real, true, simple melody, and generally in genuine good
humour.--For many years only two of his operas have been performed,
viz, "Undine" and "Czar and Zimmermann".--Now Hamburg has set the good
example, by representing a whole cyclus (seven operas of Lortzing's),
and Dresden has followed with the "Two Grenadiers."

The opera was composed in the year 1837 and is of French origin and
though its music breathes German humour and naivete, the French
influence may be felt clearly. The persons show life and movement, the
music is light-hearted, graceful and truly comic.

The scene takes place in a little country-town, where we find Busch, a
wealthy inn-keeper, making preparations for the arrival of his only
son. The young man had entered a Grenadier regiment at the age of
sixteen, ten years before, so the joyful event of his home-coming is
looked forward to with pleasure by his father and sister Suschen, but
with anxiety by a friend of hers, Caroline, to whom young Busch had
been affianced before joining his regiment.

Enter two young Grenadiers from the regiment on leave, the younger of
whom falls in love with Suschen at first sight. However as the elder
Grenadier, Schwarzbart, dolefully remarks, they are both almost
pennyless and he reflects how he can possibly help them in their need.
His meditations are interrupted by the arrival of the landlord, who,
seeing the two knapsacks, and recognizing one of them as that of his
son, naturally supposes the owner to be his offspring, in which belief
he is confirmed by Schwarzbart, who is induced to practice this
deceit, partly by the desire of getting a good dinner and the means of
quenching his insatiable thirst, partly by the hope of something
turning up in favour of his companion in arms, Wilhelm. As a matter of
fact the knapsack does not belong to Wilhelm at all. On leaving the
inn, at which the banquet following the wedding of one of their
comrades, had been held, the knapsacks had inadvertently been exchanged
much to Wilhelm's dismay, his own containing a lottery ticket which, as
he has just learnt, had won a great prize. The supposed son is of
course received with every demonstration of affection by his fond
parent, but though submitting with a very good grace to the endearments
of his supposed sister--the maiden, with whom he had fallen in love so
suddenly--he resolutely declines being hugged and made much of by the
old landlord, this double-part being entirely distasteful to his
straightforward nature. Nor does his affianced bride, the daughter of
the bailiff, fare any better, his affections being placed elsewhere,
and their bewilderment is only somewhat appeased by Schwarzbart's
explanation that his comrade suffers occasionally from weakness of the
brain.

In the next act Peter, a youth of marvellous stupidity and cousin of
the bailiff, presents himself in a woful plight, to which he has been
reduced by some soldiers at the same wedding festivities, and shortly
after Gustav, the real son appears on the scene. He is a manly fellow,
full of tender thoughts for his home. Great is therefore his
surprise at finding himself repulsed by his own father, who not
recognizing him, believes him to be an impostor. All the young man's
protestations are of no avail, for in his knapsack are found the papers
of a certain Wilhelm Stark, for whom he is now mistaken.--When silly
Peter perceives him, he believes him to be the Grenadier, who had so
ill-treated him at the wedding, though in reality it was Schwarzbart.
Gustav is shut up in a large garden-house of his father's; the small
town lacking a prison.

In the third act the Magistrate has found out that Wilhelm's papers
prove him to be the bailiff's son, being the offspring of his first
love ----, who had been with a clergyman, and who, after the death of
the bailiff's wife is vainly sought for by his father. Of course this
changes everything for the prisoner, who is suddenly accosted
graciously by his gruff guardian Barsch, and does not know what to make
of his mysterious hints.

Meanwhile Caroline's heart has spoken for the stranger, who had
addressed her so courteously and chivalrously; she feels that, far from
being an impostor, he is a loyal and true-hearted young fellow and
therefore decides to liberate him. At the same time enter Wilhelm with
Schwarzbart, seeking Suschen; Peter slips in for the same reason,
seeking her, for Suschen is to be his bride. Gustav, (the prisoner)
hearing footsteps, blows out the candle, in order to save Caroline from
being recognized and so they all run about in the dark, playing
hide and seek in an infinitely droll manner. At last the bailiff,
having heard that his son has been found, comes up with the
inn-keeper.--The whole mystery is cleared up, and both sons embrace
their respective fathers and their brides.





Next: Hamlet

Previous: The Golden Cross



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