The opera of "Euryanthe" was written for the Kaernthnerthor Theatre, Vienna, where it was first produced Oct. 25, 1823, though not with the success which afterwards greeted it in Berlin, owing to the Rossini craze with which the Austrian capital was afflicted at that time. The libretto is by Helmine von Chezy, an eccentric old woman who proved a sad torment to the composer. The plot, which is a curious mixture of "Cymbeline" and "Lohengrin," was adapted from an old French romance, entitled "L'Histoire de Gerard de Nevers et de la belle et vertueuse Euryanthe, sa mie," and is substantially as follows:--
In the palace of King Louis of France, where a brilliant assemblage is gathered, Count Adolar sings a tribute to the beauty and virtue of Euryanthe, his betrothed. Count Lysiart replies with a sneer, and boasts that he can gain her favor; but Adolar challenges him to bring a proof. The scene then changes to the castle of Nevers, and discloses Euryanthe longing for Adolar. Eglantine, who is also in love with Adolar, and who is conspiring against Euryanthe, soon joins her, and in their interview the latter rashly discloses the secret of a neighboring tomb known only to herself and Adolar. In this tomb rests the body of Emma, Adolar's sister, who had killed herself, and whose ghost had appeared to Euryanthe and her lover with the declaration that she can never be at peace until tears of innocence have been shed upon the ring which was the agency employed in her death. Lysiart arrives from court with a commission to take Euryanthe to the King, while Eglantine is left behind in possession of the secret.
In the second act Lysiart deplores his failure to obtain the favor of Euryanthe; but his hopes are renewed when he meets Eglantine emerging from the tomb with the ring, and learns from her that it can be made to convict Euryanthe of indiscretion, or at least of breaking her promise not to reveal the tomb secret. He obtains the ring, confronts Euryanthe with it at the palace, and forces her to admit the broken promise. Adolar, believing that she is guilty, drags her away to a wilderness where it is his intention to kill her; but on the way they are attacked by a serpent. Adolar slays the monster, and then, seized with sudden pity, he abandons his intention of killing her, but leaves her to her fate. She is subsequently found by the King while on a hunting expedition, and to him she relates the story of Eglantine's treachery. The King takes her with him to the palace. Meanwhile Adolar has begun to suspect that Euryanthe has been the victim of her base wiles, and on his way to Nevers to punish Lysiart he encounters the wedding-procession of the guilty pair, and challenges him. The King suddenly arrives upon the scene and announces Euryanthe's death, whereupon Eglantine declares her love for Adolar. The furious Lysiart turns upon her and stabs her. Euryanthe is not dead. She has only fainted, and is soon restored to her lover, while Lysiart is led off to the scaffold.
The overture, which is familiar in our concert-rooms, gives a sketch of the principal situations in the opera. The first act opens in the great banquet-hall of the King with a flowing and stately chorus ("Dem Frieden Heil") alternating between female and male voices and finally taken by the full chorus. Then follows Adolar's lovely and tender romanza ("Unter bluehenden Mandelbaeumen"). The next number, a chorus ("Heil! Euryanthe"), with recitatives for Adolar, Lysiart, and the King leads up to a vigorous trio ("Wohlan! Du kennst"). Euryanthe's idyllic and touching cavatina ("Gloecklein im Thale") is a match in beauty and tenderness for Adolar's romanza. The recitative which follows introduces a sentimental aria for Eglantine ("O mein Leid ist unermessen"), leading to a duet with Euryanthe ("Unter ist mein Stern gegangen"). A scena for Eglantine, characterized by all the hatred and fury of jealousy, introduces the finale, which consists of a vigorous chorus ("Jubeltoene") accompanying Euryanthe's solo ("Froehliche Klaenge").
The second act opens with a powerful recitative and aria for Lysiart ("Wo berg ich mich"), which is full of passion. A duet of a menacing and sombre character between Lysiart and Eglantine ("Komm denn unser Leid zu raechen") stands out in gloomy contrast with Adolar's aria ("Wehen mir Luefte Ruh'") and the duet with Euryanthe ("Hin nimm die Seele mein"), so full of grace and tenderness. They lead up to the finale, a grand quartet ("Lass mich empor zum Lichte"), with powerful chorus accompaniment.
The last act opens with the serpent episode, with characteristic music, and a recitative scene between Euryanthe and Adolar leads up to a pathetic cavatina for Euryanthe ("Hier am Quell wo Weiden stehn"). The ringing notes of the horns behind the scenes announce the approach of the King's party, who sing a fresh and sonorous hunting chorus ("Die Thale dampfen"). The remaining numbers are a duet for Euryanthe and the King with chorus ("Lasst mich hier in Ruh' erblassen"), a lovely and melodious aria with chorus for Euryanthe ("Zu ihm"), a bright wedding-march and scene with chorus, and a duet for Adolar and Lysiart with chorus, leading to the grand quintet and chorus which bring the opera to a close.
