File:Italo Montemezzi, composer of "l'amore dei tre re".jpg

Identifier: morechaptersofop00kreh (find matches)
Title: More chapters of opera : being historical and critical observations and records concerning the lyric drama in New York from 1908 to 1918
Year: 1919 (1910s)
Authors: Krehbiel, Henry Edward, 1854-1923
Subjects: Opera
Publisher: New York : H. Holt and company
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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t, he throttles her. The lover is of the people of the princess and was be-trothed to her before she became perforce a hostage and aloveless wife. His passion is like that of Tristan, Romeo,and all their fellows who have lived since the human racebegan. There is pathos in its fierceness and in the fatalitywhich enshrouds it from its first disclosure. There is a greaterpathos in the struggle which takes place in the heart of theyoung wife when she feels the first movings of a love forher husband awakened by recognition of the overwhelmingtenderness of his affection; and a still greater pathos in theconduct of the outraged husband who can not take revengeupon the man upon whom his wife has bestowed the boonfor which he feels an infinite longing and who follows himinto death beside the body of the one who had been so dearto both. And when, at the last, the old man is left alone inthe darkness made trebly black by the triple destructionwhich he has wrought—for lover and husband had both
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Italo Montemezzi Composer of LAmore dei tre Re OPERATIC PARALLELS RECALLED 315 sucked death in kissing the lips of the woman whom he hadkilled and whose mouth he had smeared with poison in thelast despairing hope of thus discovering who had wrongedhis son and his house—there is a pathos which is infinite inhis impotent desolation and mute despair. In this story, but more especially in its presentation, thereare many dramatic motivi which have done service in otherdramas. Involuntarily we think of the tale of Tristramand Yseult, of Romeo and Juliet, of Francesca da Rimini,of Pelleas and Melisande. There are moments when a cur-sory glance might almost make one think one or the otherof these plays was occupying the stage; for instance, whenFiora, the princess, is seen waving her scarf from the castleterrace, and when Avito, the lover, comes into the crypt ofthe castle to say farewell to his dead love. But there is alarge difference between Benellis treatment of these epi-sodes and the a

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