ZAMPA " Zampa, or The Marble Bride," an opera in three acts, with music by Louis Joseph Ferdinand Herold and words by Mellesville, was produced in Paris, May 3, 1831.
Zampa, a corsair.
Alphonso, a Sicilian officer. Daniel, Zampa's mate.
Dandalo, a Sicilian peasant. Camilla, Lugano's daughter. Rita, her maid.
Corsairs, peasants and soldiers. The scene is laid in Sicily, in 1630.
The opera opens on the wedding-day of Camilla, daughter of the wealthy merchant, Signor Lugano, and the young lieutenant Alphonso, who some time before has saved his bride's father from the brigands of Val Demonio. There is in Lugano's house a marble statue, the figure of Albina Manfredi, a beautiful young girl, who a number of years before had been betrayed by the Count di Monza. At the merchant's home she found a haven and afterwards died there, having impressed all those with whom she came in contact with the nobility of her character. She has, indeed. come to be regarded in the light of a patron saint to all maidens suffering at the hands of dishonorable men and her statue is looked upon with something akin to awe. Alphonso, who is of a different stamp entirely from the Count of unpleasant memory, confesses with emotion that this same nobleman was his brother and that his own (Alphonso's) life had been burdened by the other's misdeeds. He being much younger, however, can no longer recall his brother's features and he believes him to have died in the prison of the Inqui sition.
The bridegroom is called away by a fictitious message and Dandalo, a not too courageous servitor who has been sent after the priest, returns in great perturbation, telling a tale of being waylaid by a terror-inspiring person in a red mantle and a slouching hat with black plume, who forbade his visit to the priest and declared that the marriage was not to be. Scarcely has he finished his recountal, when the man of the spectacular mantle and feather appears from behind the statue and, with his eyes fixed upon Camilla, gives her a letter from her father. Signor Lugano, it may be explained, had gone that morning to Cyprus to receive one of his mer chantmen coming from Smyrna and he had not taken the usual precautions in the way of bodyguard, having learned that the notorious corsair Zampa, who had devastated the country, had been captured. The letter bears the news that Camilla's father is in the hands of brigands and that Camilla is to pay the bearer, as ransom, anything he may ask. The intruder announces that he is Zampa himself; that it is Camilla he wants and that only her hand can save her father's life. Just as the corsair's mate, Daniel, comes to tell him that Alphonso is in chains in the citron grove, Camilla escapes in terror. The mate's eyes light upon the statue and he starts back aghast, for he recognizes the features of one of the many victims of his chief. Zampa mockingly offers now to fulfil his one-time promise of mar riage and puts the ring upon the statue's hand, which, to the general horror, closes upon it.
Zampa prepares in glee for his bridal. He assumes the splendid raiment of his last marriage and decks his crew in the garments of a Portuguese admiral who had been unhappy enough to meet him. The villagers assemble
and Camilla is brought forth in her bridal gown, pale and trembling. Zampa is really in love this time but he fails sadly to inspire a similar passion in Camilla. Even his monumental composure is shaken, however, when in the church is seen the spirit of Albina lurking in the shadows and pointing to the ring upon her finger. The ceremony proceeds, however, in spite of attempts to prevent it made by Alphonso, who has broken his bonds, the bridegroom supporting the waning courage of his bride by continual reminders that if she fails her father will die.
In the third act, Camilla is found deep in the realization of the fact that she is the wife of a man whose very looks fill her with horror. Alphonso, seeking her in disguise to promise her rescue, is told by her that she has exacted from her husband a promise to grant her first demand. Zampa appears congratulating himself on his new role of husband and property owner. To complete his happiness, he thinks himself free from further annoyance from the marble bride, for that morning his men have broken her to pieces and thrown her into the sea. Camilla now makes her request, asking to be allowed to hide herself in a convent. Her prayer is refused, her husband telling her that she may be proud of her new title of Countess di Monza. She faints at the sound of the name and, at this juncture, the door is burst open by Lugano, Alphonso and the peasants, who rush in with drawn swords. Alphonso is about to slay Zampa when Camilla warns him not to shed a brother's blood. The corsair shouts defiance, however, and says that he claims as his bride the one whose hand bears his ring. At this, The statue of Albina appears and seizes him by the arm. As he falls dying at her feet, they disappear together in a lightning flash.
The music which clothes this romantic tale is picturesque and effective. " Zampa " for many years enjoyed wide spread popularity and still retains its place in the opera houses of France and has occasional presentations in Ger many. It is interesting not alone for the many melodious solos and effectively written concerted numbers it contains but also as the chief work of a composer, who at the time of his early death, gave promise of becoming one of the ablest writers of opera France had produced.
The overture to " Zampa " has kept its hold on the public's liking and still is performed by bands and orchestras in all parts of the world. Of the vocal score, especially admirable numbers are the bright opening chorus, Camilla's " A ce bonheur " (" This joy of mine ") ; the quartet sung after the appearance of Zampa " Le voila " (" There he is "); the finale of the first act; the chorus within the chapel in Act II, "Aux pieds de la Madone " ("At the foot of the sacred shrine ") ; Zampa's barcarole " Oil vas-tu, pauvre gondo lier? " (" Ah. whither, lonely gondolier? ") and his cavatina " Pourquoi trembler? " (" Why shouldst thou fear? ") which is one of the gems of the entire score.