Part 15 (1/2)

Saint-Saens writes music _that keeps time_, without perpetually dragging out over those silly and detestable pauses which make any proper musical construction impossible, and which are a mere maudlin affectation. He is simply a thoroughbred musician, who draws and paints with all the freedom of a master-hand; and if originality consists in never imitating another, there can be no doubt about it in his case.

I do not propose in this place to go into all the details of the libretto of ”Henri VIII.” The various newspaper reports of the first performance have already performed that duty; and besides, the story (I had almost said of that crowned hog!) of that practised Bluebeard and conceited and contemptible theologian is known to everybody. Nothing less than the triple crown sufficed his ambition, and the thought of the Pope disturbed his mind as much, at all events, as any woman, or strong drink, even.

But storm and threats availed him nothing. The Papacy has been bl.u.s.tered at in every key, but it still slumbers on peacefully in its bark, which no tempest seems able to submerge.

M. Saint-Saens has given us no overture to this opera. This is certainly not because he lacked symphonic skill. Of that he has already given us superabundant proof. The work opens with a prelude based on an English theme, which will reappear as the princ.i.p.al one in the finale of the third act.

This prelude introduces us to the actual drama. In the very first scene, between Norfolk and Don Gomez, the Spanish Amba.s.sador to Henry VIII.'s Court, a charming air occurs, ”La beaute que je sers.” It has a ring of youth about it, and the close, on the words, ”Bien que je ne la nomme pas,” is quite exquisitely simple.

In the first act the most remarkable numbers are a chorus of gentlemen discussing Buckingham's sentence; the King's air, ”Qui donc commande quand il aime?” wonderfully truthful in expression; Anne Boleyn's _entree_--a graceful _ritournelle_, leading up to a charming chorus for female voices, ”Salut a toi qui nous viens de la France,” which is followed by a pa.s.sage quite out of the common both as regards the music itself and the scenic effect. I refer to the funeral march, when Buckingham is borne to his last home, in which the _De Profundis_ is interwoven in a superlatively talented manner with the asides of the King and of Anne Boleyn in front; while the orchestra, as well as the monarch, whispers the caressing phrase which is to reappear in the course of the opera, ”Si tu savais comme je t'aime!” in the young maid-of-honour's ear. This fine scene closes with a masterly ensemble, treated with great dramatic breadth, and which fitly and n.o.bly crowns the first act.

The second act is laid in Richmond Park. It opens with a charming prelude--exquisitely dainty and clear in instrumentation--introducing a delightful theme which reappears later on in the duet between the King and Anne Boleyn, one of the most remarkable pa.s.sages in the whole score.

After a soliloquy for Don Gomez, offering some fine opportunities for declamation, Anne Boleyn appears, with the ladies of the Court, who offer her flowers. This scene is full of charm and refinement. Then comes a short scene for Anne and Don Gomez, and then her great duet with the King. This duet is a very remarkable piece of writing. It throbs with impatient sensuality, concealed by an instrumentation full of the suggestion of feline caresses. The last ensemble is exquisite--well-nigh unapproachable in sonority and charm. The next air, ”Reine! je serai reine!” gives a fine impression of a woman's intoxicated pride. In the duet between Anne Boleyn and Katherine of Aragon the expression given to the feelings of that n.o.ble-minded, unhappy Queen, alternately proud and tenderly forgiving, is very striking.

The third act represents the Council Chamber. It opens with a stately march, accompanying the entrance of the Court and the Judges. Then commences a superb full chorus, ”Toi qui veilles sur l'Angleterre,”

after which Henry VIII. addresses the Synod, ”Vous tous qui m'ecoutez, gens d'Eglise et de loi!” Katherine, sorely agitated, scarcely able to speak, advances, and beseeches the King to have pity on her. This pa.s.sage, in which the chorus occasionally joins, is most true and touching in feeling. In the face of the King's cruel scorn of his unhappy Queen, Don Gomez rises, and declares that as a Spaniard he undertakes the defence of his mistress. In his rage, Henry VIII. appeals to his subjects, ”les fils de la n.o.ble Angleterre,” who proclaim themselves ready to accept the decree of Heaven, about to be delivered by the Archbishop of Canterbury: ”Nous declarons nul et contraire aux lois, l'hymen a nous soumis.”

Katherine rebels, and in a transport of indignant pride she cries, ”Peuple que de ton roi deshonore le crime--tu ne te leves pas!”

This pa.s.sage is very striking and impressive. Katherine appeals to posterity, and goes out with Don Gomez.

The Legate enters, and then comes the great scene with which the third act closes.

In his hand the Legate holds the Papal Bull--

”Au nom de Clement VII. pontife souverain.”

The King, driven to extremities, commands that the Palace gates shall be thrown open, and the populace admitted.

”Vous plait-il recevoir des lois de l'etranger?

Non! Jamais!

Vous convient-il qu'un homme Dont le vrai pouvoir est a Rome Sur mon trone ose m'outrager?

Non! Jamais!

And the King proclaims himself Head of the English Church, and takes Anne Boleyn, Marchioness of Pembroke, to wife!

This splendidly managed scene winds up with a stirring chorus, ”C'en est donc fait! il a brise sa chaine,” worked out on the theme of the national air already appearing in the prelude which takes the place of overture to the opera.

The fourth act is also divided into two parts. The first is laid in Anne Boleyn's chamber. The curtain rises on a graceful song and dance, during which Norfolk and Surrey carry on an aside conversation very ingeniously interwoven with the dance-music. The next scene, between Anne and Don Gomez, has a charming air, sung with much expression by M. Dereims. A dialogue between the King and Don Gomez closes this first part.

The second shows us a huge apartment in the banished Queen Katherine's lodging at Kimbolton Castle. The touch of a master-hand is evident all through these closing scenes of M. Saint-Saens' opera. They are instinct with incomparable power.

There is an admirable truth and sincerity in the Queen's soliloquy, full of tender and mournful expression. She presently distributes some of her belongings as keepsakes to her waiting-women. This little scene, almost domestic in its familiarity, is enn.o.bled by the deep feeling with which the author has inspired it. Thus does truth elevate everything it touches!

Next comes the magnificent scene between Queen Katherine and Anne Boleyn. Mdlle. Krauss's comprehension and rendering of the Queen's superb note of indignation marked the consummate tragedian; her acting of the part rose to a striking level both of expression and of power.

The final numbers of this second and closing part form what is known in theatrical parlance as the _clou_ of the drama. It is overwhelming.

Never did curtain fall on anything more thrilling. Situation, music, singing, acting, all contribute to the powerful impression caused by this splendid scene--which called forth thunders of applause.