Opera Plots I - MDC Faculty Home Pages

her for long, but that he will soon have the roving fever upon him once more. Ulana, who
passionately loves Manru, begs Urok to procure for her a potion which will cause her husbands
already waning love to revive again; and this Urok very unwillingly does.
In Act 2, whilst Ulana is soothing her child with a crooning song, Manru is shown in a restless
mood, already tired of cabin life, and longing for freedom and wanderings once more; and his
longings are increased by presently hearing the exquisitely wild music of a violin, played by one
of his old gipsy companions, who has been sent to entice him back to his people. Ulana begs her
husband not to desert her; and finally her entreaties prevail, and Manru drinks the potion she offers
him, upon which his love for her returns for a season.
In the last act, however, the old wandering fever returns with such irresistible force that Ulanas
entreaties and potions can no longer prevail against it; and Manru rushes away to join his people.
He is soon found by his former gipsy sweetheart, Asa, who receives him joyfully, and for whom
his old-time love is passionately renewed; and though the tribe at first refuse to admit the deserter,
their objections are at length over-ruled by the eager Asa, who promises to make Manru their
leader. The leadership of the tribe has, however, been assumed by Oros, a former rival of Manrus;
and he is furious at the return of the wanderer, who is now gladly acclaimed by the gipsies. Ulana,
seeking her faithless husband, and seeing him caressing Asa, is filled with despair; and she flings
herself into a lake near by, as the gipsy pair stroll away together. Manru, however, is not long left
to enjoy his liberty; for Urok the dwarf, determined to be revenged for the death of the unhappy
Ulana, creeps up behind the lovers, and, with a sudden movement, thrusts Manru into the lake,
where he perishes.
123. ROSALBA
Opera in One Act By Emilio Pizzi
Libretto By Luigi Illica
Chief Characters Rosalba, Firmiani, Ezio Colonna
THE scene is laid in Venice, about the middle of the sixteenth century, and the opera opens in the
studio of Firmiani, who is at work trying to finish a song he is to send in for a musical competition
at St Zaccaria. Bending over him is Rosalba, the beautiful Roman singer, whose love and fair
personality inspires his work; but the soul of the artist is not yet satisfied with his efforts to clothe
in song the beautiful thoughts suggested by the inspiring presence of Rosalba, who is a veritable
Queen of Love and Beauty. Though Firmiani is unaware of the fact, Rosalba has been a celebrated
courtesan in Rome; but having now conceived a real passion for the young Venetian, she hopes to
enter upon a new and better life with him, and has therefore kept him in ignorance of her old life.
She is so anxious for Firmiani to secure the prize in the competition that she presently sings to him
a beautiful melody which was composed by her last Roman lover, Ezio Colonna, which she now
states to be the production of Firmiani, declaring that she heard him murmuring it in his sleep one
day. Firmiani is so fascinated by this lovely melody, and so delighted by her declaration that it is
his own composition, that he agrees to give it in the competition; and as a bell announces that it is
now time for the competitors to assemble, he passionately kisses Rosalba, and hurries away to put