Omaha daily bee., 1897-12-05

pected that he had reached the climax Of his
career, yet such was the fact, for he never
again produced an opera equal to Faust
In all he wrote eleven works for the stage
and in each one there are a few numbers
that deserve to live and that are frequently
heard in concert, The opera, La Refine de
Saba"-"The Queen of Sheba"-is one of the
most notable Of these-an contains three OF
the greatest arias that Gounod ever wrote.
The opera is founded upon the bible story
of the queen of 5Sheba and King Solomon,
which, by the way, has been very popular
with opera and cantata composers. The
greatest work of Goldmark is based upon the
same story and it VIII be interesting to note
that the Wagnerian- tenor, Alvary, made MS
first success in the part of Assad in Gold
marks work. Gouhod's Queen of Sheba"
opens-after a short prelude for the orches-
tra-with grand tenor aria entitled Lend
Me Your Aid" 1t begins with q dgnitied
recitative which scorns the temple as if it
were work hardly fit for human habita-
tion. This is followed by a most dgnified
melody beginning with the words of the title,
One would think that so impressive begin
ming would have carried the composer on to
Il new triumph, but it did not.
In the third act the next great aria oc-
ours. 1t is sung by Balkis. beloved by Solo
mon and in love with Adoniram. 1t follows
a great ballet scene, in which occurs some
very interesting music. 1t is over, the
chorus Of Jews and Sabeans exit, and Balk:s
exclaims, "At last l am alone" She has
seen Adoniram when his heroism put to
shame the king himself and she declares
him more regal in his low estate than
the mighty Solomon. The aria begins with
Il shcrt but dramatic recitative end Is fol-
lowed by one of the most beautiful melodies
Gounod ever wrote. 1t is thoroughly reli-
gious in character and yet passionate. The
composer was constantly influenced by the
religious nature of his subject and there is
a depth to this aria that is rarely found out
side of the realm of church music. How
ever, it is a scng of love and it affords the
singer an abundant opportunity to pour out
her whole soul in alteration of her lover.
1t Is very probable that the two aras al
ready described will be sung at the Nordica
concert and they are commended to public
attention, because the more they are upde!-
stood the more they will be enjoyed. There
Is no other singer in the world more compe-
tent to render Balkis' great tribute to her
hero than Nine. Nordica.
The third aria is in the part Of Solomon,
and Is well known by the title she Alone
Charmeth Ny Sadness" 1t is for bass voice
and is In form much like the two already
described. 1t represents the king all ready
for the marriage, but waiting in vain for the
bride. He advises himself to "be a king
again." but seems to have small respect for
his own admonitions. These arias were writ
ten before Wagner had revolutioni2ed oper-
attic composition, and they are just as effect
i've in concert as on the stage. It will inter-
est many to know that while Gounod was
writing "Saba' Wagner was writing Iris
tan and Isolde" the most Wagnerian of all
his muslc-dramas, and the one which hes
excrted the greatest influence upon the COM
pcseIs of every country. An effort will be
made to induce Nine. Nordica to add to her
program a selection from Tristan and
Isolde" An era In the history of music
separates the two operas, although they were
written at the very same time and produced
within three years of each other and in cities
not days ride apart.
II y HOMER MOORE.