LA DAME BLANCHE " La Dame Blanche " or " The White Lady," a comic opera in three acts, was first presented at the Opera Comique, Paris, Dec. 10, 1825. Its composer is Francois Adrien Boieldieu, and the book by Scribe is founded upon Sir Walter Scott's novels, The Monastery and Guy Mannering.
Anna, ward of the exiled Laird. Gaveston, dishonest steward of the castle.
Macirton, an auctioneer, the creature of Gaveston.
George Brown, lieutenant in the English army, or Julius of Avenel.
Dickson, a farmer, friend of Anna. jenny, his wife.
Margaret, the old nurse of Anna. Mountaineers, peasants, women.
George Brown, a young English officer on furlough, comes to Scotland where he is hospitably received by Dick son and his wife, tenants of the Laird of Avenel, who has been exiled for his loyalty to the Stuarts. Lieutenant Brown wins his way into the good graces of his host and hostess by offering to act as godfather at the christening of their youngest child. He inquires about the castle and finds the Avenel history interesting. Among its claims to considera tion is the possession of a ghost, " The White Lady." This spectral dame is of such benevolent nature that she is fairly held in affection by the villagers, many of whom claim actually to have seen her. In the castle there is also a statue called after her and it is in this statue that the Laird concealed his treasure when he went away. The care of the castle in the days of his proscription he has unwisely entrusted to his steward, Gaveston, who has proved most unworthy.
Gaveston has caused the Avenel heir to vanish mysteri ously when a child and is now planning to bring the estate to public sale, knowing that he can obtain it for himself at a low figure on account of its ghostly accessory. Lord Avenel's ward, Anna, an attractive girl, has been assigned to Gaveston in the general trust and, though she has been required by him occasionally to play the ghost, she is not in sympathy with him in his schemes. She decided to frustrate the plan of the sale and sends a message to the honest Dick son asking him to come to the castle at midnight. His superstition is too acute to allow him to risk such an inter view but Lieutenant Brown, who is ever ready for an adven ture, offers to go in his stead.
Brown meets " The White Lady " and, in the course of the interview, she discloses to him Gaveston's plans and how they may be brought to naught. She soon perceives
that her guest is not Dickson but a young officer whom, when wounded, she once nursed back to health during a sojourn in Germany. Hinting that her supernatural powers make it possible for her to know all things, she refers to the incident and Brown acknowledges that he long has loved his unknown benefactress. He promises to make the Avenel cause his own and, in reward, receives a warm hand clasp from his ghostly interlocutor.
The day of the auction comes. The penniless Brown, who has had instructions from the White Lady to outbid Gaveston, keeps the figure mounting. Gaveston, deeply chagrined, gives up the fight, and then the White Lady conveniently appears and pays over for the Lieutenant the treasure which has been concealed in the statue. She also furnishes him with the momentous information that he is really the son of the Laird and the Countess. Gaveston approaches and, in a rage, tears off the spectre's veil, revealing the face of Anna. The Lieutenant sees in her the playmate of his youth and the charming nurse he has loved so long. Naturally, the opera ends with a wedding in immediate prospect.
" The White Lady " is considered its composer's master piece, and is today firmly placed in the repertories of the French, as well as of certain of the German opera houses. Its music is essentially melodious and a Scotch flavor lends charm to a number of the songs. Prominent in the score are Brown's solo with chorus, "Ah, what pleasure a soldier to be ;" Jenny's ballad of the White Lady, "Where yon trees your eyes discover; " the trio for Brown, Dickson and Jenny in the finale, " Heavens! What do I hear? " in the second act, the song of the old nurse at the spinning-wheel, " Poor Margaret, spin away; " Brown's cavatina in the castle while waiting for the spectre, " Come, oh gentle lady; " Brown and Anna's duet, " From these halls; " the skilfully con structed ensemble for the peasants and tenants at the auction, "All our fields and our toils neglected; " in the third act, Anna's aria, " With what delight I behold the scenes of my childhood," and the stirring chorus, " 'Tis the lay ever sung by the clan of Avenel," a slightly Gallicized version of " Robin Adair."