Stories from the operas — Inside the Classic
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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.
These two rogues, whose names were Beppo and Giacomo, now told their daring leader that they had stopped the English travellers at the spot agreed upon; but though they had easily secured the diamonds and other jewels, they declared they had been unable to find the gold. On hearing this, Fra Diavolo was disappointed and perplexed, but declaring that he would quickly discover the whereabouts of the money, he bade the bandits retire to the barn to await his further orders.
As the two rascals departed, Lady Allcash entered the parlour, announcing carelessly that her husband was resting, and, being somewhat dull, she had come to indulge in a little conversation with the charming Marquis; and the disguised bandit, determined to make the most of this fortunate circumstance, plunged at once into another amiable flirtation with the frivolous lady. They were, however, quickly interrupted by the angry husband, who had no intention of being supplanted by a mere stranger; but the pretended Marquis, with careless ease, refused to quarrel, and cleverly inveigled the duped one into friendly conversation.
With great cunning he expressed sympathy with Lord Allcash in the loss of his valuables, enquiring casually if he had managed to save the large sum of gold he had been conveying to Leghorn; and with conceited pride, the Englishman replied that his own wits had served him in this matter. Having heard that bandits were in the neighbourhood, he had changed all the gold into bank-bills, which he had caused to be sewn up in the coat he was wearing, and also in the large sleeves of his lady's gown, and by this simple ruse he had managed to cheat the robbers.
Whilst they were talking together, and Fra Diavolo was inwardly rejoicing at the information he had gleaned, approaching footsteps were heard outside, and next moment, Lorenzo and his carbineers hurried into the inn, exclaiming that they had gained a victory. Having cut off the brigands' retreat, they had caught the whole band in an ambush, and, attacking them unawares, had quickly killed twenty of their number, after which the remainder had fled away in a panic.
Zerlina, who had also returned, quickly hastened to the side of her lover, rejoicing to see him again so soon; but Lorenzo declared that they must set off again immediately, for they had not yet captured the leader of the band, and could not rest until that deed was accomplished. He had, however, good news for Lord Allcash, whose lost valuables he had himself recovered from one of the bandits; and to the great delight of the travellers, he placed their jewels before them once more.
Lady Allcash now announced that Lorenzo was entitled to the reward offered for the recovery of the jewels, and demanding her husband's pocket-book, which he had already replenished from his hidden store of bank-bills, she took therefrom a note for a thousand ducats, and handed it to the young brigadier. Overjoyed at the good fortune that had so suddenly made him even richer than his rival Francesco, Lorenzo clasped Zerlina in his arms with delight, knowing now that there was nothing to keep them apart; and declaring that he should return on the morrow to wed her, in spite of the farmer, he hurried off with his men to search for the brigand chief.
All this time the disguised Fra Diavolo had been gnashing his teeth with rage, inwardly furious at the defeat of his band, and vowing vengeance for the death of his brave rogues, yet outwardly compelled to preserve the unconcerned demeanour of the gay Marquis; but as soon as an opportunity occurred, he slipped from the inn and made his way to the barn where Beppo and Giacomo had been lodged for the night.
He quickly arranged a scheme for again robbing the English travellers of their jewels, and also of the bank-bills hidden in their clothing; and having bidden the bandits to join him a short time later, he returned to the inn parlour to gather further information for the perfecting of his plans.
It was now getting late into the night, and at last Zerlina led Lord and Lady Allcash to their sleeping-chamber, which lay beyond her own; and in answer to the lady's request, she remained a little while to assist her in disrobing.
Whilst the maiden was thus absent, her own chamber was entered by the supposed Marquis, who had discovered that this was the only means by which the English lord's apartment could be reached; and creeping on tip-toe to the window, he opened it to admit Beppo and Giacomo, who were now waiting outside. Informing them in a whisper that they would have to wait until the girl had also retired to rest before they could accomplish their purpose, the bandit captain led them towards a large lumber-cupboard, with glass doors, at one end of the room; and here the three concealed themselves just as Zerlina returned.
Having already ascertained that all in the house had retired to rest, Zerlina at once prepared for bed; and as she undressed, she sang softly to herself, for joy was in her heart. She knew that her father would no longer refuse her in marriage to her beloved Lorenzo, since the brigadier had now a fortune even larger than Francesco's, and she felt that the young farmer could soon be persuaded to resign a bride who would never have loved him.
Catching sight of her pretty figure in the mirror on her dressing-table, she was suddenly struck with her own good looks, and with a thrill of innocent pleasure she uttered aloud a few words of admiration for the charming reflection before her, to the great amusement of the hidden bandits, who kept indulging in sly peeps through the glass doors of the cupboard, and could hear every word uttered in the room beyond. Several times they nearly betrayed their presence; but Zerlina was too much occupied with her own pleasant thoughts to think of any lurking danger. She was soon ready for rest; and having uttered a prayer for protection during the night, she put out the light and retired to bed.
Having waited until the maiden's regular breathing assured them that she was asleep, Fra Diavolo and his two rascals crept forth from their hiding-place and made their way towards the door of Lord Allcash's apartment; but on passing the bed, Beppo suggested in a whisper that they ran a great risk in leaving Zerlina free to rouse the household, should she be awakened by any noise they might make. Fra Diavolo replied that if he had any such fear, he had better silence the maiden once and for all; and seizing his dagger, Beppo crept to the bedside.
But just as he raised his arm to strike, Zerlina murmured softly in her sleep, repeating the sweet childish words of her simple prayer, and the brigand, conscience-stricken, let his arm fall limply to his side again.
At that moment a loud knocking was heard outside at the inn door, and the voice of Lorenzo shouted eagerly for admission; and finding that their enterprise must now be delayed a little longer, Fra Diavolo and his companions quickly withdrew to the cupboard once more, just as Zerlina, awakened by the noise, sprang out of bed.
Hastily dressing herself, the girl ran to open the window, and discovering to her joy that Lorenzo and his carbineers were waiting below, she threw a key down to her lover, bidding him let the men into the kitchen. She then finished dressing, and was just about to go below, when Lorenzo, impatient to greet her, entered the room; and almost at the same time Lord Allcash issued forth in hasty attire from the chamber beyond, indignantly demanding the cause of the disturbance.
Lorenzo explained that he and his men had hopes of soon securing Fra Diavolo, for after pursuing him in a wrong direction on the hillsides for some time, they had casually learnt from a peasant that their quarry had been seen on the Terracina road. They had consequently retraced their steps, but deeming it necessary for his men to have a few hours' rest, having been long on the march, he had called in at Matteo's hostelry for that purpose. Zerlina quickly ran off to provide the carbineers with food, but Lord Allcash detained the brigadier a few minutes longer to listen to a pompous tirade against a country where peaceful travellers were set upon by brigands in the day-time, and roused thus rudely from their slumbers at night. Suddenly they were startled by a loud noise within the cupboard, for Beppo, by an awkward movement, had accidentally overturned some heavy object he had not noticed in the darkness. Fra Diavolo, however, was instantly ready with a subtle scheme to save the situation, and as Lorenzo and Lord Allcash crossed to the cupboard to discover the cause of the noise, he stepped forth, coolly smiling and bowing with the easy grace of the brilliant Marquis.
In answer to the indignant questions poured upon him, he blandly declared that he had concealed himself in the cupboard to keep a tender assignation; and by the aid of his clever wit, he led the Englishman to suppose that his intended meeting was to have been with Lady Allcash, whilst Lorenzo imagined that Zerlina was the expected fair one.
The young brigadier, filled with grief at this seeming proof of Zerlina's defection, instantly challenged the man he supposed to be her lover to a mortal duel, a challenge which was gaily accepted by the pretended Marquis, who arranged to meet him at seven o'clock next morning in a rocky pass near by.
Lady Allcash, attracted by the angry voices, now appeared on the scene, only to be met by indignant upbraidings from her outraged husband; and when Zerlina presently returned to announce that food was ready below, Lorenzo turned coldly aside and refused even to speak to her.
All was now confusion and dismay; and in the midst of the general disturbance, Fra Diavolo and his companions managed to escape unobserved from the inn.
Bidding Beppo and Giacomo return to the barn, and there await his further instructions, which he would convey to them next morning in a note concealed in a hollow tree near the inn, the bandit captain hastened to his familiar haunts on the mountain-side, and there, with the remnant of his scattered band, he arranged a third plot for the capture of the English travellers' wealth. It was decided that when Lorenzo came to keep his appointment for the duel in the rocky pass, he should be instantly surrounded and killed by a few ambushed rascals, and that when all the party from the inn had departed to the village church for Zerlina's wedding, and the carbineers had started on their march, the captain and remainder of the band should make a quiet raid on the hostelry and possess themselves of the treasure they had so long desired. Having completed his plans, Fra Diavolo wrote them down on a note for Beppo and Giacomo, bidding them to give him notice directly the inn was deserted by ringing the bell of a little hermitage on the hillside; and this message he slipped into the hollow tree agreed upon.
Just before seven o'clock next morning Matteo arrived at the inn with the young farmer, Francesco, and the rest of the wedding party, and poor Zerlina, who had vainly tried to learn the cause of Lorenzo's sudden coldness to her, was filled with despair. Seeing that the young brigadier was just about to depart with his carbineers in search of the brigand chief, and was making no attempt to prevent her marriage with Francesco, she ran to him once again, imploring him to say in what way she had offended him; and Lorenzo, still believing her to be false, at last declared in tones of suppressed anger that she had betrayed him by concealing another lover in her chamber the night before. He then hastened away to place himself at the head of the troop, remembering his appointment with the Marquis at seven o'clock; and his distracted sweetheart was left more mystified than ever.
At that moment, however, her attention was attracted by the two vagabonds, Beppo and Giacomo, who were drinking together at a little side-table close beside her; for having secured the captain's note, they were now awaiting the opportunity to carry out his instructions. Seeing Zerlina approach, Beppo nudged his companion, reminding him that this was the same pretty maid they had watched at her toilet the previous evening, and carried away by the amusing recollection, he repeated in a loud whisper the words of admiration she had uttered when standing before the mirror.
Every word of this careless whisper was heard by Zerlina, who was filled with amazement, and feeling sure that some mysterious plot was on foot, she called aloud to the carbineers to seize the two tramps, declaring they had just repeated certain words she remembered to have uttered when she believed herself alone in her chamber the night before.
Instantly the two rogues were seized, in spite of their struggles to escape, and as the carbineers searched them for proof of their guilt, they found the note containing the whole of Fra Diavolo's cunning plot.
Lorenzo, determined that the famous robber should not escape his hands this time, quickly decided to catch him in his own trap; and bidding the wedding guests retire within the inn, he ordered the carbineers to conceal themselves on the hillside down which Fra Diavolo intended to come. He next dispatched Beppo to toll the hermitage bell, with two soldiers hidden close by, covering him with their carbines; and then, concealing himself behind some bushes with Zerlina and Lord and Lady Allcash, he waited to see the result of his ruse.
The wretched Beppo, not daring to disobey the command given him, began to toll the hermitage bell, and almost immediately afterwards Fra Diavolo appeared on the hilltop. Although now attired in the gorgeous garb of a brigand chief, the hidden watchers instantly recognised him as the gay Marquis who had successfully deceived them all, and, amazed at the discovery, Lorenzo's contrite eyes sought Zerlina's in a silent appeal for forgiveness, whilst Lord and Lady Allcash joined hands in token of renewed good-fellowship.
Seeing that Beppo still tolled the bell undisturbed, Fra Diavolo concluded that all was well, and gaily descended the hillside with confidence; but at a sign from Lorenzo, the carbineers sprang suddenly from their ambush, and seized him ere he had time to realise his danger. In another moment his arms were tightly bound and shackled, and as he was led away between two files of carbineers, a loud cry of triumph arose from the spectators now assembled below, who all rejoiced together at the capture of the dreaded bandit.
A few hours later, Zerlina's wedding was celebrated in the little village church, and the happy bridegroom who joined hands with her that day was not Francesco the farmer, but Lorenzo, the proud vanquisher of the famous Fra Diavolo.
One bright summer day, towards the end of the eighteenth century, high revels were being held in the little city of Presburg, on the Danube; for a merry troupe of Austrian soldiers had just returned from the wars, flushed with success, and elated by their victorious invasion of the fair, but unhappy land of Poland.
The gayest scene of all took place in the beautiful grounds before the castle of Count Arnheim, their leader, for here preparations were being made for a great hunt, and the retainers and peasants on the estate were merry-making in honour of their lord's return.
Count Arnheim, accompanied by a number of neighbouring nobles whom he had invited to join in the chase, presently came forth from the castle, and as soon as he appeared, a loud shout of welcome arose from the whole party of holiday-makers.
Amongst these brilliant newcomers was the Count's nephew, Florestein, a conceited, foppish young man, whose gorgeous appearance was only surpassed by his foolish conversation; and in and out amongst the guests tripped little Arline, the heiress of Arnheim--a lovely child, who was the joy of her widowed father's heart.
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.
Alexander Taylor
1 week agoAva Torres
1 week agoBenjamin Allen
3 weeks agoCharlotte Baker
2 weeks ago-
Danielle Vanessa Martinez - 2 weeks ago
A handy guide for those new to opera, offering concise retellings of the most famous operas. The writing is straightforward and easy to follow, making it a good starting point. However, I noticed a few errors in character names and plot details, which might confuse readers. Also, some operas are given more depth than others, creating an uneven experience. Nevertheless, it's a useful reference for a quick refresher before attending a performance. -
Kathryn Dominique Prince - 1 week ago
Stories From The Operas is a delightful collection that brings the great operas to life through engaging prose. The author masterfully condenses complex plots into accessible stories, retaining the drama and emotion that make these works timeless. From Verdi's tragic tales to Mozart's comedic gems, each story is told with warmth and clarity. This book is perfect for opera novices seeking a quick overview or for experienced fans wanting to refresh their memory. A charming read that enhances the listening experience. -
Julia Adams - 1 week ago
This book is a superficial summary that fails to capture the essence of the operas. The retellings are simplistic, often reducing the intricate plots and psychological depth to mere plot points. There is little to no analysis of the music's role or the interplay between libretto and score. As an opera lover, I found it frustratingly shallow. If you want to understand the soul of these works, you're better off listening to the operas themselves or reading more scholarly sources. A disappointment.
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Grace Flores
3 weeks ago