Opera Plots I - MDC Faculty Home Pages

lovers, asks the irate father to consent to their union; and finally the Cadi relents and bestows his
blessing upon the now happy pair. The Caliph then declares that the amusing old barber shall
become his chief story-teller, and the opera ends with the royal invitation to all present to feast and
dance at the wedding of Noureddin and his lady-love.
33. L'ENFANT PRODIGUE
Lyrical Opera in One Act By Claude Debussy
Libretto By E. Guinard
First Produced Paris, 1884
Chief Characters Lia, Azaël, Simeon
THE story is based on the Biblical parable of " The Prodigal Son," omitting the incident of the
brother's complaint, and ending with the father's forgiveness of his repentant son. The setting is a
peaceful village scene near the Lake of Genesareth: From the distance comes the sound of the
happy voices of merrymakers, who are singing joyful songs in celebration of a summer revel; and,
contrasted with them is the drooping figure of Lia, who has left the gay scene to seek a quiet spot
where she may weep undisturbed. She still mourns the loss of her best-beloved child, Azaël, the
Prodigal Son, who left his home long since to indulge in wild excesses and extravagant pleasures,
and is now an outcast wanderer. She constantly prays for his return, and has already forgiven him
for his wrongdoing. As she weeps alone, her husband, Simeon, appears, and tenderly bids her
forget her grief; and when the happy youths and maidens enter with their garlands of flowers and
offerings of fruit she follows in their train with her lord. As the last of the revellers depart Azaël
himself emerges from the trees and bushes where he has been hiding, and gazes upon the scene of
his happy childhood with a breaking heart. He is clad in rags an outcast, indeed worn out and
utterly exhausted with suffering and weary wanderings; and, after giving vent to a passionate
outburst, in which he blames himself for his folly and sin, and longs for the love of his parents and
the peace of his home once more, he falls to the ground unconscious, unable to bear such sad
thoughts. Presently, Lia returns, having escaped again from the jarring mirth of the merrymakers;
and, seeing the prostrate figure, she approaches, full of compassion for one who is an outcast as is
her own erring child but, when she see that the new-coiner is her beloved Azael, she is full of joy
at his return. Her joy is changed to despair, however, when, on beholding his pallor, she believes
him to be dead; but Azaël presently recovers, and is filled with happiness at the loving greeting of
his mother. The merrymakers now enter with Simeon, and Lia brings forward the outcast, and bids
all greet him as her long-lost son. Simeon, however, hesitates, as his repentant child kneels at his
feet and asks forgiveness; but he is not long able to resist the promptings of his paternal heart nor
the appeals of the eager Lia, and he presently folds the prodigal in his arms with great joy. He then
bids his followers give welcome to the wanderer and kill the fatted calf and make merry in his
honour; and the scene ends with renewed revels and a song of thanksgiving for the return of the
repentant sinner.
34. PELLEAS AND MELISANDE
Tragic Opera in Five Acts By Claude Debussy