Stories from the operas — Inside the Classic

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In Category - Opera Performance
Davidson, Gladys, 1874-1962 Project Gutenberg 2018 Not confirmed
Operas -- Stories, plots, etc. Readers of public-domain and historical texts
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Edition facts

Words 176,961
Reading time 770 min
Text sections 64

The catalog record for Stories from the operas — Inside the Classic provides practical reading context through 176,961 words, 12 hr 50 min estimated reading time, and 64 detected text sections.

The text analysis averages about 44.1 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Operas -- Stories, plots, etc.,” connecting these edition facts with the source record’s subject description.

Gladys Davidson retells opera libretti as short stories, focusing on dramatic incident and emotional climax. The excerpts show her method: compressing plot into narrative prose while preserving key dialogue and stage directions, as seen in her handling of Madama Butterfly's final scene and The Barber of Seville's serenade opening.
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out to retire to the private apartments that had been hastily prepared for them, when a splendid carriage suddenly drew up at the inn door. A handsome man, of gay _débonnaire_ appearance, stepped lightly to the ground, and bowed gracefully to the English tourists; and Lady Allcash, to her delight, recognised a charming fellow-traveller who had followed in their wake for several days past, and with whom she had more than once indulged in a pleasant flirtation.

But her husband uttered an angry exclamation, for, being somewhat dull and stupid himself, he was already jealous of his coquettish wife's brilliant admirer; and seizing her by the hand, he led her into an inner chamber, very much against her will.

The gay newcomer, who gave his name as the Marquis of San Carlo, entered the inn and ordered a repast, announcing that he meant to remain the night; and old Matteo bustled his servants about in high good-humour, blessing the good fortune that had brought two great lords to his hostelry on the same day.

He informed the Marquis, with many humble apologies, that he himself would be absent from the inn until morning, since he intended to spend the night with his future son-in-law, Francesco, who was to be married to his daughter on the morrow; but he assured him that every possible attention would be accorded to him during his absence.

So far from expressing annoyance at this announcement, the Marquis showed signs of pleasure, and as he sat down to the supper that had been quickly spread before him, he asked the landlord for the news of the neighbourhood. Matteo informed him that the talk of the country-side at that time was all of the daring bandit, Fra Diavolo, whose lawless band had only a few hours ago set upon and robbed the rich English lord and lady whom he had seen on entering the inn; and seeing that the Marquis was inclined to scoff at the notion of brigands, he bade his daughter sing to their guest a ballad well known to the peasants round about, in which the wild deeds of the famous robber were set forth in glowing colours.

Just as the song came to an end, two rough, swarthy men, wrapped in dark, ragged cloaks, entered the inn, and asked for shelter for the night; and when Matteo, suspicious of their rascally looks, declared that he did not harbour vagabonds, the Marquis good-naturedly begged him to grant their request, saying that he would gladly pay for their board and lodging. Matteo, though somewhat surprised at the great lord's generous offer, made no more objection, but ordered one of the servants to provide the tramps with food, and afterwards to lodge them in the barn; and then, bidding his noble guest farewell for the night, he set off to the farm of Francesco, calling to Zerlina to accompany him part of the way.

No sooner had the inn-keeper and his daughter departed, than the two vagabonds, casting hasty glances around, approached the Marquis and began to talk familiarly with him; for, though old Matteo little imagined it, the dashing guest he had served so obsequiously was in reality none other than the famous Fra Diavolo himself, now engaged on one of his most desperate enterprises! Having heard that a rich English lord and his lady were travelling through Italy, the daring brigand had determined to relieve them of all their available belongings, and to this end, being of gentlemanly aspect and manners, he had provided himself with fashionable attire, and made their acquaintance under the name of the Marquis of San Carlo. The coquettish Lady Allcash had quickly fallen under the fascinating spell of the brilliant Marquis, who, regardless of the fussy husband's black looks, had flirted desperately with her from the beginning; and, following in their wake from hotel to hotel, he had discovered under the pretence of friendly interest, the exact amount of all the valuables the wealthy pair had brought with them from England.

Having learnt that Lord Allcash intended to bank the sum of twenty thousand gold pieces at Leghorn, the disguised brigand had given orders to his band to waylay the travellers on their journey thither, and to possess themselves, not only of the gold, but also of the lady's handsome jewels; and he had also bidden two of the gang to follow him to the inn of Terracina, to give him an account of their raid.

Gladys Davidson's method in Stories from the Operas is to transform libretti into continuous narrative prose, compressing stage directions and dialogue into a flowing third-person account. The excerpts reveal a consistent technique: she opens each story with a vivid sensory detail—the 'rosy dawn' and 'soft, sweet music' of The Barber of Seville, or the 'sound of voices' that alerts Butterfly—then moves quickly to emotional crisis. Her prose favors clear, declarative sentences and a restrained tone, even in moments of high drama.

Narrative Compression and Emotional Focus

Davidson's retellings prioritize emotional turning points over extended exposition. In the Madama Butterfly excerpt, she devotes most of her word count to the confrontation with Kate Pinkerton and Butterfly's subsequent suicide, while the preceding years of waiting are summarized in a single sentence. She signals key emotional shifts with phrases like 'to the surprise of all' and 'now that she at last realised.' The result is a story that moves swiftly from one dramatic peak to the next, mirroring the operatic structure of arias and ensembles.

Dialogue Rendered as Indirect Speech

Davidson rarely uses direct quotation; instead, she paraphrases characters' words into reported speech. Butterfly's vow to 'die with honour' is given as a murmured line, while her promise to give up her child is reported as 'she promised quietly that Pinkerton should have his child.' This technique keeps the narrative voice consistent but sacrifices the distinctive cadence of the original libretto. The Barber of Seville excerpt similarly avoids direct serenade lyrics, describing the song's effect rather than its content.

Stage Directions Absorbed into Description

Physical actions that would be staged are woven into the prose. Butterfly 'dropping the sword' and 'rushing forward' to clasp her child are described as continuous motion, not as separate stage directions. Davidson also notes character positions—'his wife entered from the garden,' 'Butterfly was heard calling from the chamber above'—to maintain spatial clarity without interrupting the narrative flow. This absorption of staging into description is a hallmark of her approach throughout the collection.

Moral Framing and Sympathetic Portrayal

Davidson's narratorial voice often includes moral judgments that guide reader sympathy. Butterfly is described as bearing her fate with 'quiet dignity' and 'resigned suffering,' while Pinkerton is 'full of remorse and grief.' Kate Pinkerton is 'beautiful and kind-hearted.' In The Barber of Seville, the Count is introduced as 'a rich nobleman' who 'straightway fell in love.' These evaluative adjectives shape the reader's response, aligning with the operatic tradition of clear heroes and villains.

Readers approaching this volume should expect condensed, emotionally charged retellings that emphasize plot and feeling over musical or theatrical detail. Davidson's prose serves as a reliable summary of each opera's story, but those seeking the texture of the original libretto—its wordplay, repetition, or rhythmic patterns—will need to look elsewhere. The collection is best used as a preparatory or reference tool before attending a performance or listening to a recording.

I’ve spent many evenings with Gladys Davidson’s retellings, the way she holds a libretto’s final trembling note. It reminds me of the other shelf, where singers speak in their own voices—not staged, but personal. That book, Stars of the Opera A Description of Operas & a Series of Personal Interviews with Marcela Sembrich, Emma Eames, Emma Calvé, Lillian Nordica, Lilli Lehmann, Geraldine — Key Ideas to Explore, whispers the same truth: the drama lives in the breath between words.

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