"Le Prophete," an opera in five acts, words by Scribe, was first produced in Paris, April 16, 1849, with Mme. Viardot-Garcia as Fides, and M. Roger as John of Leyden. "The Prophet" was long and carefully elaborated by its composer. Thirteen years intervened between it and its predecessor, "The Huguenots;" but in spite of its elaboration it can only be said to excel the latter in pageantry and spectacular effect, while its musical text is more declamatory than melodious, as compared with "The Huguenots." In this sense it was disappointing when first produced.
The period of the opera is 1534. The first act transpires in Dordrecht and Leyden, in Holland, and the other three in Munster, Germany. The text closely follows the historical narrative of the period when Munster was occupied by John of Leyden and his fanatics, who, after he had been crowned by them as Emperor of Germany, was driven out by the bishop of the diocese. The first act opens in the suburbs of Dordrecht, near the Meuse, with the chateau of Count Oberthal, lord of the domain, in the distance. After a very fresh and vigorous chorus of peasants, Bertha, a vassal of the Count, betrothed to John of Leyden, enters and sings a cavatina ("Il cor nel sento"), in which she gives expression to emotions of delight at her approaching union. As she cannot go to Leyden, where the marriage is to take place, without the Count's consent, Fides, the mother of John, joins her to make the request. In the mean time the three Anabaptists, Zacarie, Gione, and Mathisen, leaders of the revolt in Westphalia, arrive on their mission of raising an insurrection in Holland, and in a sombre trio of a religious but stirring character ("O libertade") incite the peasants to rise against their rulers. They make an assault upon the castle of Count Oberthal, who speedily repels them, and turns the tide of popular feeling against the Anabaptists, by recognizing Gione as a former servant who had been discharged from his service for dishonesty. Fides and Bertha then join in a romanza ("Della mora un giorno"), imploring his permission for the marriage of Bertha and John. The Count, however, struck with her beauty, not only refuses, but claims her for himself, and seizes both her and Fides, and the act closes with a repetition of the warning chant of the Anabaptists.
The second act opens in the hostelry of John of Leyden, and is introduced with a waltz and drinking-chorus, in the midst of which the Anabaptists arrive and are struck with his resemblance to a portrait of David in the Munster Cathedral. From a very descriptive and highly wrought scena ("Sotto le vasti arcati") sung by him they also learn that he is given to visions and religious meditations. They assure him that he shall be a ruler; but in a beautiful romanza ("Un impero piu soave") he replies that his love for Bertha is his only sovereignty. Just as they depart, Bertha, who has escaped, rushes in and claims his protection. He conceals her; but has hardly done so when the Count enters with his soldiers, bringing Fides as a prisoner, and threatens to kill her unless Bertha is given up. He hesitates; but at last, to save his mother's life, delivers Bertha to her pursuers. Mother and son are left alone, and she seeks to console him. In this scene occurs one of the most dramatic and intense of Meyerbeer's arias ("O figlio mio, che diro"), known more popularly by its French words, beginning, "Ah! mon fils." It has enjoyed a world-wide popularity, and still holds its place in all its original freshness and vigor. Fides hardly disappears before the ominous chant of the Anabaptists is heard again. He does not need much persuasion now. They make their compact in a quartet of magnificent power, which closes the act; and some of John's garments are left behind stained with blood, that his mother may believe he has been killed.
The third act opens in the Anabaptists' camp in a Westphalian forest, a frozen lake near them, and Munster, which they are besieging, in the distance. In the second scene Zacarie sings a stirring pasan of victory ("In coppia son"), followed by the beautiful ballet music of the skaters as they come bringing provisions to the troops. Count Oberthal meanwhile has been taken prisoner and brought into camp. A buffo trio between himself and his captors follows, in which Gione penetrates his disguise and recognizes him. They are about to fall upon him; but John, learning from him that Bertha is still alive and in Munster, saves his life. He immediately resolves to take the place by assault, rouses his followers with religious chants of a martial character, and the act concludes with the march on the city.
The fourth act opens in the city itself after its capture. A mendicant appears in the public square begging for bread. It is Fides; and in a plaintively declamatory aria of striking power ("Pieta! pieta!") she implores alms. She meets with Bertha disguised as a pilgrim, and bent upon the destruction of the Prophet, who, she believes, has been the cause of John's death. The next scene opens in the cathedral, where the coronation of the Prophet is to take place; and among all Meyerbeer's pageants none are more imposing than this, with its accompaniment of pealing bells, religious chants, the strains of the organ, and the stately rhythms of the great Coronation March. It is a splendid prelude to the dramatic scene which follows. In the midst of the gorgeous spectacle, the voice of Fides is heard claiming the Prophet as her son. John boldly disavows her, and tells his followers to kill him if she does not confirm the disavowal. The feelings of the mother predominate, and she declares that she is mistaken. The multitude proclaim it a miracle, and Fides is removed as a prisoner. The dramatic situation in this finale is one of great strength, and its musical treatment has hardly been excelled.
The last act opens with a trio by the Anabaptist leaders, who, learning that the enemy is approaching in force, determine to save themselves by betraying John. In the third scene Fides in prison, learning that John is coming to see her, invokes the punishment of Heaven upon him in the passionate aria, "Spirto superno." A duet ("Tu che del cielo") of great power follows, in which Fides convinces him of the errors of his course. As they are about to leave, Bertha enters, bent upon the destruction of the palace, and in the trio which ensues learns that John and the Prophet are one. She stabs herself, and dying in the arms of Fides curses him. The last scene opens in a banqueting-hall of the palace, where John is revelling, with the Anabaptists around him. He sings a bacchanalian song of a wild description ("Beviam e intorno"), and, as it closes, the Bishop of Munster, the Elector, Count Oberthal, and the three Anabaptists who have betrayed him, enter the apartment. The revenge which John has planned is now consummated. An explosion is heard. Flames break out on all sides. Fides rushes in and forgives her son, and the Prophet, his mother, and his enemies perish together.
Although "The Prophet" did not meet with the popularity of some of his other operas, it contains some of the most vigorous and dramatic music Meyerbeer has written,--notably the arias of Zacarie and Fides, the skating-ballet, the Coronation March, and the drinking-song. As a pageant, "The Prophet" has never been surpassed.
