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oken his vow by admitting his identity, he so despises himself that, thinking he is dishonoured,
he rushes to the balcony and flings himself into the sea below. In the last act matters are brought to
a climax by a quarrel between the Duke and Sten Patrik, the latter demanding the land promised
him as payment for abducting the young Prince, and which Bengt now refuses to give, because
Magnus is still alive, and the country is in such a disturbed state. The arch-conspirator is about to
kill his accomplice when Maria interposes, having seen and heard the altercation; and,
understanding all, she calls her people around her and denounces the plotter, who endeavours to
stab her, but is seized by the enraged attendants and flung into the sea. At this moment, Magnus
himself returns; and Maria learns that he was rescued from the waves, and that he has been the
brave leader who has defeated the invading Danes and freed the country from those dreaded
enemies. Maria greets him with great joy; and upon the Abbot of Nydal setting the gallant young
Prince free from his vow, the royal lovers are united and rule the country together.
75. HENRY THE LION
Opera in Four Acts By Edmund Kretschmer
Libretto By the Composer
First Produced Leipzig, 1877
Chief Characters Clementina, Irmgard, Henry the Lion, Emperor Frederick Barbarossa, Conrad
von Wettin
THE scene is laid in Rome and Ancona, during the twelfth century. Frederick Barbarossa,
Emperor of the West, comes to Rome to bestow thanks and praises upon his victorious general,
Henry the Lion, Duke of Saxony, for his faithful and successful services during the war with the
Italians. A stranger appears at the meeting, foretelling disasters to the Emperor should he continue
his invasions of foreign lands, and advising him to return to his own country, to dwell there in
peace and honour; and to the anger of the Emperor, Henry the Lion agrees with the stranger, and
gives his warlike royal master similar undesired advice. A quarrel ensues, and Henry is thrown
into prison. The next act shows the lovely young Duchess, Clementina, eagerly awaiting the return
of her victorious lord to their castle; and with her is Irmgard, the sister-in-law of Henry, who is full
of envy of the young wife, she herself having desired to wed the hero. She is seeking a means for
bringing discredit on the gentle Clementina, and presently her chance occurs. Henry's companionin-arms,
Conrad von Wettin, comes with the sad news of his friend's imprisonment, and
Clementina, full of grief, at once announces her intention to return with the young man to entreat
the Emperor's pardon for her husband and Irmgard sees the pair depart with Satisfaction, intending
to use the circumstance to their discredit. In the third act Henry is still in captivity; and, during a
festival, the Emperor is too much upset by the absence of his favourite commander, Henry, to
enjoy the gaieties. Presently, however, Conrad von Wettin appears with a youthful minstrel, who
begs to be allowed to sing a German song to the lonely Emperor. The minstrel is Clementina in
disguise, and when Henry is presently brought forth in chains, to repudiate his rash words, she is
much agitated. Henry still refuses to retract his words; and on hearing the Emperor angrily
condemn him to banishment should he still remain obstinate within an hour, the pretended
minstrel begins to sing such a pathetic song about the noble service and love of a patriot, and of
the devotion of a faithful wife, that the Emperor is so pleased and moved by the song that he
agrees to grant any request the singer may make to him. The minstrel thereupon craves for the