• Year of composition: Ytterby on 14 August, 1890 (according to the autograph of the score; Ytterby 17 August, 1888 according to Svenskt biografiskt lexikon)
• Work category: Operetta / Comic opera
• Text author: Henrik Christiernsson (1845-1915) [Christiernson according to the autograph of the score]
• First performed: Svenska Teatern [The Swedish Theatre], Stockholm, on 26 november, 1892. Performers: A. Sellergren (Filip av Spanien [Philip of Spain]), A. Almati née Rundberg (Eleonora), O. Lemon (Ruyz), D. Sterky (Jacinta), Mrs. Pettersson [sic] (Sanchica), C. F. Lundqvist (Mateo), H. Brag (Pedrillo), W. Strandberg née Söhrling (Fredegonda), O. Johanson (Alonzo), A. Rundberg (Miguel), C. Lundmark (José), Wolter [sic] (Isabella), S. Wolf (Dolores), A. Karlsohn (Inez), M. Strandberg (En mulåsnedrivare [A 'Hinny Handler'/Muleteer]), H. Heintz (En gosse [A Boy]), S. Linné (En flicka [A Girl]), S. Wegelin (En tjänare [A Servant]), J. Lindenau (Den mohriska prinsessan [The Moor Princess]); according to Ralf, Klas: Kungliga Teatern. Repertoar 1773-1973 [The Royal Theater. Repertoire 1773-1973] (1974)
• Duration: Approx. 90-120 min
• Detailed duration: Uncertain

Instrumentation

2*.2.2.2 / 4.2.4.0 / timp, perc, hp / str
(picc)
perc: sn dr, bass dr, cymb, trgl, Tamb. de Basque, Castagnettes
On the stage (acc. to the part material): ob solo, clar, vc solo, hp
(N.B. In the libretto a (silver-)lute [belonging to Jacinta], but the score says harp; also a viola da gamba [Ruyz] exists in the libretto, but the score says cello; the lute and viola da gamba and possibly also an oboe [Pedrillo] should however exist as props)

Solo voices/choir

Filip, konung af Spanien [Philip, King of Spain] (bass)
Eleonora, hans dotter [his daughter] (mezzo-soprano)
Ruyz de Alarcon, ung adelsman [a young nobleman] (tenor)
Jacinta (soprano)
Sanchica, hennes tant [her aunt] (spoken part)
Mateo, dagdrifvare och ciceron [drifter and cicerone/guide] (baritone)
Pedrillo Pedruga, anförare för konungens musikanter [conductor of the King’s musicians] (bass)
Fredegonda, duenna (sällskapsdam [Lady’s companion]) (soprano)
Don Alonzo, Hofman [courtier] (baritone/bass)
Don Miguel, Hofman [courtier] (tenor)
Don José, Hofman [courtier] (tenor)
Donna Isabella, Hofdam [lady-in-waiting] (soprano)
Donna Dolores, Hofdam [lady-in-waiting] (mezzo-soprano)
Donna Inez, Hofdam [lady-in-waiting] (soprano)
Arrieros, En bandoleron/En mulåsnedrifvare [A bandolero (robber)/A 'hinny handler'/muleteer] (tenor)

Hoffolk, Pager, Vakt, Mulåsnedrifvare, Musikanter, Bondfolk, Innevånare i Alhambra af båda könen [Courtiers, Pages, 'Hinny Handlers'/Muleteers, Musicians, Farmers, Alhambra Residents of both genders]

4 sopranos (Jacinta, Fredegonda, Donna Isabella, Donna Inez), 2 mezzo-sopranos (Eleonora, Donna Dolores), 4 tenors (Ruyz de Alarcon, Don Miguel, Don José), 2 baritones (Mateo, Don Alonzo), 2 basses (Filip, Pedrillo Pedruga)

1 spoken part (Sanchica)

Choir: S.S.A.A., T.T.B.B., S.A.T.B.

Examples of printed editions

The libretto was printed by Looström & Komp:s Förlag, Stockholm (1892)

Location for score and part material

Score in autograph and handwritten orchestral parts, prompt book, and ballet material can be found at the Musik- och teaterbiblioteket

• Location autograph: Musik- och teaterbiblioteket
• Possible call no. and autograph comment: Kungl. Teatern, Operetter G 25 [The Royal Opera, Operettas G 25]

Description of work

The plot is set in Alhambra in the 1500s.

Act I
A valley near the outer city wall of Alhambra. A partly derelict Moorish tower surrounded by gardens with vines, roses, and myrtle, etc. A fountain with pouring water.
No. 1. Introduction: Allegretto G minor 3/8 (varying tempo markings, keys and time signatures)
Scene no. 1: A choir of 'Hinny Handlers'/Muleteers can be heard offstage. Mateo and Sanchica enter from the tower. The 'Hinny Handlers'/Muleteers appear, followed by armed Soldiers. Jacinta can be heard offstage. Mateo and Sanchica leave. Kör af mulåsnedrifvare, [Choir of 'Hinny Handlers'/Muleteers], Mateo, Sanchica (Jacinta)
Scene no. 3 [sic]: Isabella, Dolores, Inez, Miguel, José, Mateo enter laughing and talking. They sit down on benches around the fountain. Isabella cautiously puts her arm under Alonzo’s. The sound of a lute. Then a distant cannon shot. All leave. Isabella, Dolores, Inez, Miguel, José, Mateo, Alonzo
Scene no. 5 [sic]: Jacinta is heard from the tower. She comes out, takes the lute, strums and hums, pensive, an old Spanish romance, which, along with several other songs, was published in 1549 by Pedro Flores. She moves towards the fountain, sits down on a bench with her head in her hands. There is a bowl by the fountain, from which she drinks, after which she dozes off.
Scene no. 6: The stage darkens. Light dancing figures float around the fountain.
No. 5: Ballet: Allegro molto leggiero E minor – E major 2/4
The water begins to simmer, then throwing high jets up in the air. A female figure, dressed in Moorish garments, appear from the water. The dancing figures surround her, and the choir sings while dancing. The vision disappears and the stage is bright again. Jacinta (dozing), The Moor Princess, and The Fountain Spirits
Scene no. 7: Ruyz enters, notices Jacinta’s lute, takes it and begin to play. Jacinta wakes up and reacts strongly. Ruyz hands her the lute. He slowly sinks to his knees while looking at her. She moves hastily towards the staircase. He hurries after her, and takes her hand. Shyly, she retrives her hand and leaves, with Ruyz in pursuit. Jacinta, Ruyz de Alarcon
Scene no. 8: Alonzo enters, hiding among the bushes near the fountain. Jacinta stands with her eyes dropped. Ruyz takes the lute, gazing lovingly at Jacinta. After having kissed her hand, he leaves carrying the lute. Unseen, Alonzo follows him. Jacinta remains dreamingly on the stage. She cheers. Alonzo, Ruyz, Jacinta
Curtain.


Act II
First scene.
The stage represents the Linjarda pleasure garden. There is a kiosk, an alabaster pool, and a comfortable garden chair. On a marble table in the kiosk, there is an easel with an unfinished painting, brushes, palettes, etc. A viol stands leaning against a chair.
No. 8. Introduction: Adagio F major 3/4
Scene no. 1: The Infante is busy painting. Two Paupers, a girl and a boy, are sitting on the ground, with their arms around each other. The curtain rises to evocative music while the Infante continues her painting of them. After the music having stopped, the Infante speaks, then sings. The children join in her song. The Infante takes a few gold lockets from a bag, giving them to the children. They kiss her dress. Having recently entered, Fredegonda fetches the children. The Infante, Fredegonda, [A Girl, A Boy]
Scene no. 2: The Infante (alone). The Infante
Scene no. 3: Fredegonda and Ruyz enter from different parts of the backdrop. She sits in the chair with a needlework, and Ruyz tunes the viol. The Infante sits down on a sofa in the kiosk so that she may observe while not being noticed herself. Ruyz plays a romance. Fredegonda falls asleep. The Infante takes a sheet and begins to write a poem. Ruyz continues playing and after a few bars, you hear a distant oboe playing the motif of a Moorish march. The Infante approaches Ruyz, handing him the poem. They retreat to the kiosk so that Pedrillo, who is approaching, will not see them. The Infante, Fredegonda, Ruyz (Pedrillo)
Scene no. 4: Pedrillo enters, having the oboe under his arm. He sits down on a bench and plays the march, with his back to Fregonda. She talks in her sleep, then dozes off again. The Infante gives a sign to Ruyz, who takes the viol, at times joining Pedrillo’s playing, but stops every time Pedrillo pauses. Pedrillo tries to find out from where the other sound is coming, but to no avail, and gets more and more enraged. Eventually, Pedrillo stops playing, furious. He notices Fredegonda, takes the sheet music and hits her head several times. She wakes up, shouts and as Pedrillo recognises her, he stops, dropping his oboe on the ground. Laughing uncontrollably, the Infante and Ruyz reveal themselves to Pedrillo, who, devastated, falls on his knees. Pedrillo points to Ruyz’s instrument. The Infante gives him a purse, and takes one of her bracelets which she gives to Fredegonda, who curtsies several times. Pedrillo and Fredegonda bow. Fredegonda leaves, and Pedrillo folds his hands and follows her. The Infante give Ruyz her hand. He bows, kisses her hand and leaves. Standing by the kiosk, the Infante following him with her eyes. The above, Pedrillo
No. 12. After Ruyz’s exit: Andante E major 3/8
Curtain.

Second scene.
The stage represents a magnificent room in the Palace.
Scene no. 1: Alonzo and Pedrillo enter from different directions. After having walked up and down the stage, Alonzo leaves. Alonzo, Pedrillo
Scene no. 2: Ruyz enter, hiding the silver lute under his coat. Pedrillo leaves, wanting be accompanied by Ruyz. Pedrillo, Ruyz
Scene no. 3: Jacinta and Mateo enter. Ruyz looks at Jacinta. [They sing a duet.] A distant march is heard. Mateo enters and Jacinta breaks free from Ruyz’s embrace. Alonzo, at the back of the stage, retreats, listening. After an embrace, Mateo and Jacinta leaves. Ruyz also leaves. Alonzo tiptoes after Jacinta and Mateo.
Change of scenery.
The stage now represents a parklike space within the Alhambra Palace. The minstrels’ gallery is filled with wind musicians, conducted by Pedrillo and playing the march which sounded a little while ago. The approaching pageant is in the following order:
1. A black Commander with a Moorish standard
2. Oriental Warriors
3. 6 Black Pages
4. 6 Ladies in Moorish costume
5. The Infante (in a litter carried by black slaves in lavish costumes)
6. Ladies in Moorish costumes
7. The Royal Standard of Spain
8. Spanish Knights
9. 12 Pages in Spanish costumes
10. The King, mounted
11. Mounted Spanish Knights
12. Mounted Moor Knights
13. Guard
When the Infante has entered and the Ladies have taken their places above the throne, the King enters.
Combat dance of Moor and Spanish noblemen, won by the Spaniards. Then dances by black Slaves, Devadasis, etc. Ruyz, having entered at the end of the march, is standing on the one side. Ruyz, Jacinta, Mateo (et al.)
Finale: Allegro C major 4/4 (C)
March: Allegro vivo G minor 2/4
Ballet: Allegro E-flat major (varying keys) 6/8
1. Combat dance: Allegro guerriero pomposo C major 3/4 (varying tempo markings, keys and time signatures)
2. Dance of Moor Girls: Allegretto moderato C minor 4/4 (C)
3. Moorish ballet: Allegro A minor 2/4
Ruyz and the Knights draw their swords. A Page presents a letter to the King, who, on reading it, gets up. Ruyz is arrested. The King, The Infante, Fredegonda, Don Ruyz, Don Pedrillo, Donna Isabella, Donna Dolores, Donna Inez, Don Miguel, Don José, Knights and Ladies
Scene no. 5: Jacinta approaches, timid and termbling. She drops the lute and falls to the King’s feet. Ruyz lifts her up, draws her to him and snatches a sword from one of the Knights. There is a fight, and Ruyz is disarmed. The King makes a sign, and Jacinta, Ruyz, and Matea are taken away. The Infante sinks into Fredegonda’s arms. The above, Alonzo (with Guards, bringing) Jacinta and Mateo
Curtain.


Act III
The stage represents a beautiful small valley with the river Darro. Moonlight.
No. 17. Fandango: Allegretto (Allegro, according to a later annotation in the autograph of the score) F major 3/8
Scene no. 1: When the curtain rises, there is a lively dance. Groups of people sit talking. Some walk in pairs. José and Inez (disguised as an Andalusian peasant girl and with her face concealed in her veil) converse. Miguel enters. José leaves the girl with whom he had been talking. José, Inez, and Miguel join the others. After the song, the dance resumes, whereafter all leave. Young Men and Girls from Seville and its surroundinges, Arrieros (muleteers) et al., José, Miguel, (Inez)
Scene no. 2: Inez enters, dressed as a Spanish peasant girl, with the veil concealing her face. She sits down on the ground. José enters, approaching Inez. He tries to kiss her, and as her mask falls, in astonishment, he recognises her. He speaks to her, and Inez answers mockingly. José falls on his knees. Inez makes a threatening gesture towards him with her hand fan. José smiles, takes her hand, and she hits him repeatedly with her fan until it breaks. He takes her head and kisses her. She remains in his arms, speaking in a weak voice. With gentle force, he brings her near the apron stage. Inez, Miguel, José
Scene no. 3: Dressed in a cloak, the Infante enters, followed by a Servant. The Servant bows. They hide. The Infante, A Servant
Scene no. 4: Mateo and Jacinta enter. Mateo smiles and leaves. Mateo, Jacinta
Scene no. 5: Jacinta, then the Infante. The Infante takes Jacinta’s hand. Jacinta falls on her knees. The Infante lifts her up. Jacinta, The Infante
Scene no. 6: The Servant speaks to the Infante, who gives him a purse. The Servant leaves. Jacinta and the Infante intend to rush out, but are stopped by entering Soldiers and Courtiers. The above, The Servant (Soldiers, Courtiers)
Scene no. 7: Jacinta speaks slowly. Soldiers leave in a hurry. The Infante speaks pleadingly to the King, who answers sternly. The Infante takes Jacinta’s hand. Mateo, brought in by the Guard, knees to the King. Gunshots are heard. Jacinta falls on her knees. The Infante hastily approaches the King, and speaks with effort. The King is about to issue a command when Ruyz is seen on the viaduct at the back of the stage. As soon as the shots were heard, the stage is filled with people. Ruyz, catching sight of Jacinta, wishing to cross the viaduct, but it collapses. Ruyz is seen grasping a branch, but it breaks and he falls into the depth. All are petrified. The Infante, hiding the face in her hands, is supported by the King. Jacinta is motionless. Eventually, she falls unconscious to the ground. The people falls to their knees, crossing themselves. Mateo puts Jacinta’s head on his knee. The Infante looks to the sky. The King slowly speaks as he tries to take her away. Suddenly, Ruyz appears among stones and rubble. He stops, noticing the collapsed viaduct. He then catches sight of Jacinta, who has been raised up by Mateo. Ruyz rushes into her arms. The Infante squeezes his hand, kisses Jacinta on her forehead and leaves. Ruyz kisses Jacinta’s hand. Smiling wistfully, she pulls back while the orchestra plays the viol motif from Act II. Ruyz takes her in his arms. The above, The King, (His) Entourage, Soldiers, Mateo, Farmers, Ruyz
Curtain.

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Libretto/text