"Il Ballo in Maschera," an opera in three acts, but usually performed in four, words by M. Somma, was first produced in Rome, Feb. 17, 1859. In preparing his work for the stage, Verdi encountered numerous obstacles. The librettist used the same subject which M. Scribe had adopted for Auber's opera, "Gustavus III.," and the opera was at first called by the same name,--"Gustavo III." It was intended for production at the San Carlo, Naples, during the Carnival of 1858; but while the rehearsals were proceeding, Orsini made his memorable attempt to kill Napoleon III., and the authorities at once forbade a performance of the work, as it contained a conspiracy scene. The composer was ordered to set different words to his music, but he peremptorily refused; whereupon the manager brought suit against him, claiming forty thousand dollars damages. The disappointment nearly incited a revolution in Naples. Crowds gathered in the streets shouting, "Viva Verdi," implying at the same time, by the use of the letters in Verdi's name, the sentiment, "Viva Vittorio Emmanuele Re Di Italia." A way out of his difficulties, however, was finally suggested by the impresario at Rome, who arranged with the censorship to have the work brought out at the Teatro Apollo as "Un Ballo in Maschera." The scene was changed to Boston, Massachusetts, and the time laid in the colonial period, notwithstanding the anachronism that masked balls were unknown at that time in New England history. The Swedish king appeared as Ricardo, Count of Warwick and Governor of Boston, and his attendants as Royalists and Puritans, among them two negroes, Sam and Tom, who are very prominent among the conspirators. In this form, the Romans having no objection to the assassination of an English governor, the opera was produced with great success.
The first act opens in the house of the Governor, where a large party, among them a group of conspirators, is assembled. During the meeting a petition is presented for the banishment of Ulrico, a negro sorcerer. Urged by curiosity, the Governor, disguised as a sailor and accompanied by some of his friends, pays the old witch a visit. Meanwhile another visit has been planned. Amelia, the wife of the Governor's secretary, meets the witch at night in quest of a remedy for her passion for Richard, who of course has also been fascinated by her. They arrive about the same time, and he overhears the witch telling her to go to a lonely spot, where she will find an herb potent enough to cure her of her evil desires. The Governor follows her, and during their interview the Secretary hurriedly rushes upon the scene to notify him that conspirators are on his track. He throws a veil over Amelia's face and orders Reinhart, the Secretary, to conduct her to a place of safety without seeking to know who she is. He consents, and the Governor conceals himself in the forest. The conspirators meanwhile meet the pair, and in the confusion Amelia drops her veil, thus revealing herself to Reinhart. Furious at the Governor's perfidy, he joins the conspirators. In the denouement the Secretary stabs his master at a masquerade, and the latter while dying attests the purity of Amelia, and magnanimously gives his secretary a commission appointing him to a high position in England.
After a brief prelude, the first act opens with a double chorus, in which the attitude of the friends of the Governor and the conspirators against him is strongly contrasted. In the next scene Richard and his page, Oscar, enter; and after a short dialogue Richard sings a very graceful romanza ("La rivedra nell' estasi"), which in the next scene is followed by a spirited aria for Reinhart ("Di speranze e glorie piena"). In the fourth scene Oscar has a very pretty song ("Volta la terrea"), in which he defends Ulrica against the accusations of the judge, leading up to a very effective quintet and chorus which has a flavor of the opera bouffe style. In grim contrast with it comes the witch music in the next scene ("Re del abisso"), set to a weird accompaniment. As the various parties arrive, a somewhat talky trio ensues between Amelia, Ulrica, and Richard, followed in the next scene by a lovely barcarole ("Di' tu se fedele") sung by Richard, leading to a beautifully written concerted finale full of sharp dramatic contrasts.
The second act opens upon a moonlight scene on the spot where murderers are punished; and Amelia, searching for the magic herb, sings a long dramatic aria ("Ma dall arido") consisting of abrupt and broken measures, the orchestra filling the gaps with characteristic accompaniment. Richard appears upon the scene, and the passionate love-duet follows, "M'ami, m'ami." The interview is ended by the sudden appearance of Reinhart, who warns the Governor of his danger, the scene taking the form of a spirited trio ("Odi tu come"). A buffo trio closes the act, Sam and Tom supplying the humorous element with their laughing refrain.
The last act opens in Reinhart's house with a passionate scene between the Secretary and his wife, containing two strong numbers, a minor andante ("Morro, ma prima in grazia") for Amelia, and an aria for Reinhart ("O dolcezzo perdute"), which for originality and true artistic power is worthy of being classed as an inspiration. The conspiracy music then begins, and leads to the ball scene, which is most brilliantly worked up with orchestra, military band, and stringed quartet behind the scenes supplying the dance-music, and the accompaniment to the tragical conspiracy, in the midst of which, like a bright sunbeam, comes the page's bewitching song, "Saper vorreste." The opera closes with the death of Richard, set to a very dramatic accompaniment. "The Masked Ball" was the last work Verdi wrote for the Italian stage, and though uneven in its general effect, it contains some of his most original and striking numbers,--particularly those allotted to the page and Reinhart. In the intensity of the music and the strength of the situations it is superior even to "Trovatore," as the composer makes his effects more legitimately.
