MERLIN.

The opera of “Merlin” was first performed at Vienna, Nov. 17, 1886, and was heard for the first time in this country at New York, Jan. 3, 1887, under the direction of Mr. Walter Damrosch, with the following cast:—­

KING ARTHUR        Herr ROBINSON. 
MODRED             Herr KEMLITZ. 
LANCELOT           Herr BURSCH. 
GAWEIN             Herr HEINRICH. 
GLENDOWER          Herr VON MILDE. 
MERLIN             Herr ALVARY. 
VIVIANE            Frauelein LEHMANN. 
BEDWYR             Herr SIEGLITZ. 
THE FAY MORGANA    Frauelein BRANDT. 
THE DEMON          Herr FISCHER.

The libretto of the opera is by Siegfried Lipiner.  The scene is laid in Wales, and the hero, Merlin, is familiar as one of the knights of King Arthur’s round-table.  The story is as follows:—­

The Devil, ambitious to banish all good from the world, unites himself to a virgin in order that he may beget a child who shall aid him in his fell purpose.  The child is Merlin, who partakes of the mother’s goodness, and instead of aiding his father, seeks to thwart his design.  The Devil thereupon consults the Fay Morgana, who tells him that Merlin will lose his power if he falls in love.  In the opening scene King Arthur sends Lancelot to Merlin for aid, who promises him victory and achieves it by the assistance of his familiar, a demon, who is in league with the Devil.  Tired of his service to Merlin, the demon contrives to have him meet the beautiful Viviane, with whom he falls in love.  The second act transpires in Merlin’s enchanted garden, and reveals his growing passion, and at the same time his waning power of magic; for when once more Arthur summons his aid he attempts to tear himself away from her only to realize his weakness.  She seeks to detain him by throwing a magic veil over him which has been given her by the demon; in an instant the scene changes, and Merlin appears confined to a rock by fiery chains, while the demon mocks him from a neighboring eminence, and Viviane gives way to anguish.  In the last act Viviane is told by the Fay Morgana that Merlin’s release can only be secured by woman’s self-sacrifice.  Once more an appeal for help comes to him from Arthur, and he promises his soul to the demon in exchange for his freedom.  His chains fall off.  He rushes into the battle and secures the victory, but is fatally wounded.  The demon claims him; but Viviane, remembering the words of the Fay Morgana, stabs herself and thus balks him of his expectant prey.

Like Wagner’s operas, “Merlin” has its motives, the principal ones being that of the demon, or the evil principle, and two love motives.  In its general treatment it is also Wagnerish.  The first scene opens with the spirited message of Lancelot to Glendower, beseeching Merlin’s aid for the hard-pressed Arthur.  It is followed by the strains of Merlin’s harp in the castle and his assurance of victory, and these in turn by very