The Portland daily press., 1879-10-31
PAUL AND VIRGINIA.
An Analysis of Masses New Opera.

Victor Masses Paul and Virginia is the best
known work of its author, and, with the ex-
ception of bright, one-act operetta, Les Nooes
de Jeanette. is the only one which has been
given in this country, and will be brought out
in City Hall next week by the Emma Abbott
Opera Company.
The opera is of course, founded on Bernar-
din de Saint Pierre's famous masterpiece. The
original text in French, is by MN. Jules Bar
bier and Michel Care. The overture begins
with movement which, the title of The Sea
having been given to it by the author, may be
accepted as "tone-picture" of the restless
waves. Several of the themes of the opera are
subsequently, introduced. The piece begins
with duet between Nine. La Tour (Virginia's
mothe) and Marguerite Pauls mother),
wherein the mutual affection of the children
Is referred to, and Nine. La Tour an
nounces her intention OF sending Paul to
India-not to try his love for Virginia, but to
prepare him for his future happiness. Domin-
go, an old family servant overhears the project
concerning Paul, and in a romance with Wig
orous rhythm begs that they will not send the
lad away. The arrival of ship is announced,
and Nine. La Tour runs to the shore in the
hope of receiving letter from her family A
storm arises, and Paul and Virginia run i'll for
shelter. The duet which follows has several in
teresting features. At its close Meala, a mulatto
slave, appears on the threshold, exhausted and
in rags. She comes to seek protection from
pitiless master. The compassionate Virginia
gives her food, and comforts her with the as
surance that Paul, with herself will lead her
back to her master and secure her pardon.
There is fine movement in this trio, set to
the words &c tbs Heaven itself did guide
your footsteps here" The scene changes to
the plantation Of M. de Sainte-Croix. The
slaves utter their sad complaints and negro
bewails his lot in plaintive melody Virginia,
Meala and Paul come. Virginias prayer for
pardon of the poor slave has broad and we'll
formed melody. The slaves express their rap
ture, and the planter himself yields to the
charm, and pardons Meala. But Virginia's
beauty has kindled an unholy passion which
Meala perceives; and while the planter impro-
vises fSte, the. mulatto gives warning of inn
pending danger in song c''mid the thick
liona') which is remarkable for its wild form
and rhythm. Virginia and Paul take the hint
and withdraw hastily. Sainte-Croix becomes
furious in consequence, and orders Meala to be
hogged. The movement which follow con-
tains the best concerted music in the opera;
the dance of the bambodd, the drunkenness of
the planter, Meala's cries, the doleful chant of
the slaves are mingled together with much
skill and OBJECT.
The prelude to Act L., entitled ''The For
rest is of a simpler character than the over
ture. 1t also contains several OF the themes OF
the work-one of which, passionate duet for
the hero and heroine, had already been heard
in the overture. The theme Of this duet, by
the way, has Wagnerian turn, and phases of
it are frequently introduced in accordance
with the lett motif theory. The curtain rises
ON Nine. La Tours house. Virginia is there,
handsomely dressed. A wealthy relative has
consented to make her his heir on condition
that she will go to France. But the girl can
not leave her mother. of whom she makes
confdante. The mother gives the child gem
tie counsel and leaves her. All of this scene
is treated by the composer with great delicacy;
a romance for Virginia is especially interest
ing. Virginia wishes to know what Domingo
thinks of her leaving but the only reply the
negro makes is Through ether cleaving the
bird doth SOAR" ETC., the melody of which is in
minor key and is very pathetic. Paul's de-
spair, on learning the sad news, forms the
counterpart of this scene, and the dramatic
intensity of the situation is increased as his
mother confesses to him her sin and the shame
of his birth. Meala again comes for refuge,
but this time she is followed by Sainte-Croix.
A discussion ensues, which is finally settled by
the purchase of the girl with some of the mon
ey sent to Virginia. A long scene between the
lovers 1OIiOWS. IL is IL Sc0ut siiu very
complicated is the music, witt constant
changes of key, rhythm and movement 1t
leads into the motif already referred to-a
broad and commanding theme, and perhaps
the most striking in the entire work. The
scene changes to a wood. The chorus which
accompanied the news of the ships arrival is
again heard. 1t dies away, and Virginia comes
to tell the stars, in an elaborate cayat1na, the
pains and joys which love has brought to her.
She falls asleep. Meala enters, and finding
III CT, 81 Ilacn
which has striking rhythm. M. La Bour-
donnais comes to hurry the departure. The
girl is awakened She throws herself into her
mothers arms with great cry, and the cur
tain falls
A short prelude. which includes the sea-mo-
tif'' of the overture, ushers in Act Ill Meala
is discovered sitting at the opening OF grotto.
She speaks OF Paul's melancholy. A fine effect
is produced in the succeeding chdnson by the
nearly incessant use OF syncopatlon. Ihen enter
Marguerite, Nine. La Tour and Domingo Then
are looking for Paul, whose continued melan-
choly has alarmed them. It is made known
that Sainte-Croix has followed Virginia to
France. There is a prayer (quartette? lnge,
"a time, alternately. and accompanied
by strings, which is quite effective.
They all go away as Paul enters
with letter from Virginia TO her mother)
which he has already read thousand times.
The ''air of the letter. is a graceful waltz.
She has sent d violet to her lover. Paul, still
inconsolable, sings his griefs and calls on her
wildly to return. Virginia appears to him in
a vision. She is in an elegant apartment, sur
rounded by lords and ladies Of high degree.
They ask her to sing (the chorus all through
this scene huns minuet); she consents-"On
spirit wings toward thee now flying" OF
whom can she think but of her friends in the
distant Isle of France? They surround her
and congratulate her, but her thoughts are
with Paul, and of course the motif of the love-
duet in Act II is repeated. Sainte Croix is pre-
sented to her. She repels him. The rich rela-
tive is indignant, and abruptly sends Virginia
away Paul cries, 'sShe is coming back to u.s.;
and the vision disappears, as Domingo runs
in to announce that ship is in the ofiing. But
the hungry waves will not permit their prey to
reach the shore. The scene changes. We are
on the beach. The ship, half-submerged, is in
the distance. Virginia's lifeless body lies on
the sand, while Paul kneels az her side. He
sings phrase of the duet but his anguish is
too great for words or song. The love duet re-
sounds in the orchestra and chorus for the last
time and the play is over.
Paul and Virginia was produced at the The
atre Lyrique, Paris, Nov. 10, 1876. An Italian
version was brought out at the Coyent Garden,
London, June 1, 1878. Miss Emma Abbott
brought out the work in the United States for
the first time at New Orleans, some time dur
ing last season.
i