George P. Upton

[Comic opera, in three acts; text by Chivat and Duru. First produced at the Bouffes Parisiens, Paris, November 13, 1879; first American production, New York, January 7, 1881.]

PERSONAGES.

Captain de MÉrimac, of the Man of War “Cormorant.”

Valentine, his nephew, officer of the Rousillon Guards.

Duc des Ifs, cousin of the Countess.

Coquelicot, his foster brother.

Marvejol, Seneschal to the Countess.

Olivette, daughter of the Seneschal.

Bathilde, Countess of Rousillon.

Veloutine, the Seneschal’s housekeeper.

Moustique, Captain’s boy on board the “Cormorant.”

[Nobles of the Court of Rousillon, the watch of Perpignan, citizens, gossips, wedding-guests, sailors, etc.]

The scene is laid at Perpignan on the Mediterranean Sea; time of Louis the Fourteenth.

Following the English version of the opera, at the opening of the first act the villagers of Perpignan are greatly excited over the approaching marriage of Olivette, the Seneschal’s daughter, and De MÉrimac, an old sea-captain. Olivette, however, just out of a convent, is in love with Valentine, a young officer and the Captain’s nephew. In the mean time the Countess of Rousillon is also in love with Valentine and has come to Perpignan to see him. She is at the house of the Seneschal, and is surprised there by Valentine, who has climbed her balcony expecting to find Olivette. The old Captain, who is making slow progress with his suit, writes to the Countess demanding Olivette’s hand. Valentine seizes his opportunity, passes himself off as the Captain, and marries Olivette at the request of the Countess herself.

The second act opens with a ball which the Countess gives in honor of the wedding, at which Valentine is forced to personate both himself and the Captain. The latter appears upon the scene, and is heartily congratulated as the bridegroom. When Valentine also appears as the old man, De MÉrimac resolves he will have the bride whom Valentine has secured by the use of his name. By a little craft Olivette rids herself of her elderly suitor only to encounter fresh trouble, for the Countess declares she will marry the soldier. A plot is formed, the result of which is an order sending the Countess out of the kingdom.

The opening of the last act shows that the plot is partially successful. The Countess is a prisoner on board De MÉrimac’s vessel, and Olivette and Valentine, who are disguised as sailors, seek a vessel to take them away; but Valentine is recognized and seized, Olivette contrives to free the Countess, and passes herself off for her, Olivette’s maid, Veloutine, pretending to be her mistress. This introduces a new complication, for the near-sighted Duke des Ifs courts the maid, supposing her to be Olivette, and boasts of it to Valentine in the hearing of De MÉrimac. Both uncle and nephew then renounce Olivette until the Countess returns and an explanation is made. In the dÉnouement Valentine is united to Olivette and the Countess to the Duke, while the old Captain is advised to follow the example of the Venetian Doges and “marry the sea,” which he promptly hastens to do, and follows his bride ever after.

The music of “Olivette” is light and sprightly throughout, the most taking numbers being the marine madrigal, a song with chorus, “The Yacht and the Brig”; the pretty waltz song, “O Heart, wherefore so light,” sung by the Countess; Olivette’s tyrolienne song, “The Convent slept”; Valentine’s serenade, “In Quaint and in Mystic Word,” and Olivette’s characteristic sob song, “Oh! my Father,” in the first act: Olivette’s serio-comic song, “The Matron of an Hour”; the Countess’ song, “When Lovers around Woman throng”; another humorous song for Olivette, “I do think Fate, upon my Life”; a charming duet for Olivette and the Countess, “Like Carrier Dove, I’ll swift be flying,” with the refrain, “I love my Love so well,” and the jolly farandole, “The Vintage over, then Maid and Lover,” sung and danced by Olivette, Countess, and chorus, in the second act: the romanza “Nearest and dearest,” an effective number for the Countess, and three delicious bits of nonsense,—“Give Milk to Babes, to Peasants Beer,” styled in the score a Grog-orian chant, the ridiculous legend “The Torpedo and the Whale,” and the dashing bolero, “Where Balmy Garlic scents the Air,” in the last act.

The Mascot.

[Comic opera, in three acts; text by Chivat and Duru. First produced at the Bouffes Parisiens, Paris, December 29, 1880; first American production, Gaiety Theatre, Boston, April 12, 1881.]

PERSONAGES.

Bettina, the Mascot.

Fiametta, daughter of Prince Lorenzo.

Pippo, a shepherd.

Lorenzo, prince of Piombino.

Rocco, a farmer.

Frederic, prince of Pisa.

Parafante, sergeant.

Matheo, innkeeper.

[Peasants, lords and ladies of court, soldiers, etc.]

The scene is laid in Piombino, Italy; time, the fifteenth century.

The story of “The Mascot” is charmingly romantic, and much more consistent and coherent than the usual plots of the comic operas. The first act opens with a vintage festival. The peasants are all rejoicing except Rocco, the farmer, who has had bad luck. Pippo, his shepherd, whom he had sent to his brother for help, returns with a basket of eggs and a letter in which he informs Rocco that he has also sent him Bettina, his turkey-keeper, who will bring him prosperity, as she is a mascot. Pippo, who is in love with Bettina, waxes eloquent over her charms, but when she comes she is coldly received by Rocco and ordered to go back. As she is preparing to leave, Prince Lorenzo, his daughter Fiametta, Prince Frederic, and others of a hunting-party arrive and stop for refreshment. Prince Lorenzo, who is one of the unlucky kind, learns by chance of Bettina’s gift, and determines to take her to his court; but Rocco objects. The Prince, however, gains his consent by promising to make him Lord Chamberlain. The party sets off homeward with Rocco in good spirits and Bettina sad, while poor Pippo is left behind disconsolate.

The second act opens in the palace at Piombino, where a festival is to be given in honor of the marriage of Fiametta to Prince Frederic of Pisa. Among the attractions of the fÊte is an entertainment by a troupe of actors and dancers, the most prominent of whom is Saltarello, in reality Pippo in disguise. The lovers discover each other and plan an escape; but Rocco, who has recognized Pippo, frustrates their scheme by disclosing his identity to the Prince, who orders his arrest. The situation is still further complicated by the fickle Fiametta, who has fallen in love with Pippo and tells him that Bettina is false and is about to marry Prince Lorenzo. At last Pippo and Bettina have a chance to meet, and they make their escape by leaping through a window into the river.

The last act opens in the hall of an inn in Pisa. There has been a war between the two princes, and Frederic has defeated Lorenzo. Pippo has been a captain in the Pisan army, and Bettina, disguised as a trooper, has fought by his side. They reveal their real names to Frederic, and declare their intention of marriage. During preparations for the wedding Prince Lorenzo, Fiametta, and Rocco, who are travelling about the country as minstrels to make their living, owing to the misfortunes of war, meet the bridal party at the inn. After mutual explanations Fiametta returns to her old lover Frederic, and Pippo and Bettina are married. The Mascot brings good luck to them all at last.

The most interesting numbers in the opera are the drinking-song, “All morose Thoughts now are flying”; the legend of the Mascots, “One Day the Arch Fiend drunk with Pride,” sung by Pippo and chorus; Bettina’s song, “Don’t come too near, I tell you”; the quaint duet for Bettina and Pippo, “When I behold your Manly Form”; the charming coaching-chorus, “Come, let us now be off as quick as a Bird,” sung by Bettina and chorus in the first act; the chorus and air of Saltarello, “Hail, Princesses and Lords”; the pretty duet, “Know’st thou those Robes,” for Bettina and Pippo, and the concerted finale of the second act; the stirring rataplan, “Marking Time with Cadence so Steady,” the entrance of the refugees preluding the grotesque “Orang-Outang Song,” sung by Fiametta and chorus, and the graceful arietta following the entrance of the wedding-party in the last act.