Opera Plots I - MDC Faculty Home Pages

persuade her to elope with him that night, after the play is over; and Tonio, having seen and
overheard this pretty love-scene from behind the booth, now hurries to the village to acquaint
Canio with his wife's faith-lessness. Canio, who loves his pretty wife passion-ately, is of a rough
manner, and, being frantically jealous of her many admirers, he now returns in a rage and demands
the name of her new lover. Nedda, however, refuses to betray Silvio, whom she truly loves, having
always been afraid of her gloomy, masterful husband; whereupon Canio is about to stab her but is
prevented from doing so by Beppo, who endeavours to calm him and to persuade him to pre-pare
for the performance, since the audience are already arriving. Canio is held back for the moment,
and retires to make ready for the performance; but his jealousy is deep-seated and rankles in his
heart, so that Nedda is filled with alarm. She, however, dresses for her part; and, the audience
having taken their seats, the play begins with the second act. As it happens, the play given proves
to be a burlesque on events identical with those which have just taken place that afternoon with the
actors themselves. Tonio, taking the part of a silly servant, makes love to his mistress, Columbine
(played by Nedda), and is repulsed by her; after which Harlequin (taken by Beppo) appears as her
real lover, and the pair indulge in a pretty scene, and take supper together. They are presently
surprised by the return of the husband, Punchinello (played by Canio), and Harlequin makes his
retreat through the window. With the entrance of Punchinello the burlesque character of the play
quickly changes, the two principals no longer acting but actually living through real tragic
moments regardless of the onlookers. Directly Canio finds himself alone with his wife on the stage
he no longer has thought for the play he is taking part in, but, remembering only that his wife has
been deceiving him, he again angrily demands the name of her lover. Nedda still stoutly refuses to
grant his request, and, terrified by her husband's wild manner and passionate words, she tries to
turn him from the subject by going on with the words and actions of her part, smiling and
executing tfie dance she is supposed to perform. Her efforts are, however, in vain; for Canio,
determined not to be put off thus, seizes her by the wrists, and, wrought to the highest pitch by the
maddening jealousy that possesses him, he forces her to her knees and again and again
passionately commands her to reveal her lover's name. Until this moment the audience have
regarded this exciting scene as a piece of splendid acting, and have applauded loudly and
constantly; but now it dawns upon them that this is no play, but a piece of real, grim tragedy which
is being lived through before them and they are held spellbound as they realise the dreadful truth.
Nedda is now almost fainting with terror, seeing that her wronged husband is in deadly earnest;
but she still refuses to betray her lover, knowing that he is amongst the audience, and that Canio
would certainly kill him should she reveal his identity. She once again vainly tries to go on with
the words of her part; but Canio, now driven to a frenzy of passion by her refusal of his request,
seizes his dagger. In this moment of danger Nedda involuntarily calls upon" Silvio " to save her;
but though the young farmer springs upon the stage at her call he is too late to save her, for Canio
stabs her to the heart at that moment. With the same dagger he next rushes upon the horrified lover
and slays him also; then, as the people crowd on to the stage, he delivers himself into their hands
with these words, spoken broken-heartedly, as he gazes in utter grief upon the still form of the
wife he loved too well: "The comedy is ended!"
80. THE ARMOURER
Opera Comique in Three Acts By Albert Lortzing
Libretto By the Composer