"La Favorita," an opera in four acts, words by Royer and Waetz, the subject taken from the French drama, "Le Comte de Commingues," was first produced at the Academie, Paris, Dec. 2, 1840, with Mme. Stolz as Leonora, Duprez as Fernando, and Baroelhst as Balthasar. Its success in England, where it was first produced Feb. 16, 1847, was made by Grisi and Mario. The scene of the opera is laid in Spain, and the first act opens in the convent of St. James, of Compostella, where the young novice, Fernando, is about to take monastic vows. Before the rites take place he is seized with a sudden passion for Leonora, a beautiful maiden who has been worshipping in the cloisters. He confesses his love to Balthasar, the superior, who orders him to leave the convent and go out into the world. Leonora, meanwhile, is beloved by Alphonso, king of Castile, who has provided her a secret retreat on the island of St. Leon. Though threatened by the pontiff with excommunication, he has resolved to repudiate his queen, in order that he may carry out his intention of marrying the beautiful Leonora. To her asylum a bevy of maidens conducts Fernando. He declares his passion for her and finds it reciprocated. He urges her to fly with him, but she declares it impossible, and giving him a commission in the army signed by the King, urges him to go to the wars and win honors for her sake.
In the second act Balthasar, in the name of the pontiff, visits their retreat and pronounces the papal anathema upon the guilty pair. The same curse is threatened to all the attendants unless Leonora is driven from the King, and the act closes with their vengeful menaces.
In the third act Fernando returns victorious from the war with the Moors. Already beginning to fear the result of the papal malediction, and having learned of Leonora's passion for the victor, Alphonso heaps rewards upon him, even to the extent of giving him Leonora's hand. Fernando, who is ignorant of her past relations to the King, eagerly accepts the proffer; but Leonora, in despair, sends her attendant, Inez, to inform him of the real nature of the situation and implore his forgiveness. The King intercepts her, and the marriage takes place at once, Fernando not discovering Leonora's shame until it is revealed by the courtiers, who avoid him. He flies from the world to the convent once more for shelter and consolation, followed by Leonora, who dies in his arms after she has obtained forgiveness.
The music of the work is very dramatic in its character, some of the finales being the strongest Donizetti has written. In the first act there is a beautifully melodious aria ("Una Vergine"), in which Fernando describes to Balthasar the vision of Leonora which had appeared to him at his orisons, and a very tender duet ("Deh, vanne! deh, parti") between Fernando and Leonora, in which they sorrowfully part from each other. In the second act the King has a very passionate aria, where he curses his courtiers for leaguing against him at Rome, followed by a very dramatic duet with Leonora ("Ah! l'alto ardor"). The third act contains the beautiful aria, "O mio Fernando!" which is a favorite with all contraltos. It is remarkable for its warmth and richness, as well as its dramatic spirit, and the act closes with a concerted finale of splendid power, in which Fernando breaks his sword, and once more Balthasar anathematizes the King. The fourth act is the most beautiful of all in its music and the most powerful in dramatic effect. The chorus of monks in the first scene ("Scaviam l'asilo") is remarkable for its religious character and solemnity. In the third scene occurs one of the tenderest and loveliest romanzas ever written ("Spirto gentil"), which Donizetti transferred to this work from his opera, "Le Duc d'Albe," which had not been performed, and the libretto of which was originally written by Scribe for Rossini. The closing duet between Fernando and Leonora is full of pathos and beauty, and forms a fitting close to an act which, in one sense at least, is an inspiration, as the whole act was composed in four hours,--a proof of the marvellous ease and facility with which Donizetti wrote.
