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Appendix 1 Synopsis of Das unterbrochene Opferfest Led by the high priest Villakumu, the people of Peru are in the middle of a religious ceremony in praise of the Sun God (“Schön glänzt die gold’ne Sonne”) when they hear news of a great triumph. Murney, an Englishman in the service of the Inca, has led their troops to victory against the Spanish. Villakumu praises Murney’s valor in the second number, “Wenn Siegeslieder tönen,” and his sentiments appear to be shared by everyone. But in a short aside we learn that Elvira, Murney’s Spanish wife, had hoped for the victory of her kinsmen and plans to take revenge for their defeat. Murney, Rocca, Mafferu, and the Inca enter ceremoniously during the third number, “O danket der mächtigen Sonne,” and in the dialogue that follows the Inca names Murney as the “oberster Feldherr”of Peru, thus arousing the jealousy of Mafferu. Elvira is enraged when Myrrha, the daughter of the Inca, ®irts openly with her husband. But she and Mafferu hide their true feelings during the sextet and chorus “Zieht ihr Krieger”(no. 4) and join with the others in giving thanks that the Fatherland is now free from the threat of the “bearded men.” The scene changes from the ceremonial court of the Inca to an open meadow, where Pedrillo, Murney’s servant, is giving thanks for his narrow escape from the battle. Pedrillo is the “negative image” of his master— cowardly instead of courageous, and concerned (like his counterpart Papageno ) almost exclusively with women and food. In his aria alla marcia “Man rückt in grosser Eile” (no. 5) he gives his own, far less exalted account of the victory over the Spanish. Guliru, one of Myrrha’s servants and Pedrillo ’s primary love interest, enters in the next scene and berates him for his lack of valor. She resists his attempts to kiss her and sings an aria, “Die Mädchen , merk’ es” (no. 6), in which she advises all maidens “to kiss only brave men.” Pedrillo resolves to ¤nd a less particular woman to court. The scene changes once again to a garden where Elvira sits alone. Her brother, the last scion of the house of Calvado, died in the battle, and Elvira vows once again to take revenge on her husband for his death.Murney enters in the next scene, and Elvira accuses him of loving Myrrha. Murney protests his innocence, but Elvira departs, even more enraged. In the next scene Myrrha enters and declares her love for Murney. Murney is obviously attracted to her, but explains that he must resist her love, because he is already married. (Myrrha does not see this as an impediment because in Peru, according to the libretto, it is the custom for a man to take many wives.) In their following duet (no. 7), “Wenn mir dein Auge strahlet,”Myrrha dreams of a life together while Murney advises her to forget her love. After Murney and Myrrha leave, Mafferu enters alone and gives full vent to his rage and jealousy in the bravura aria (no. 8) “Allmächt’ge Sonne, höre der Rache grössten Eid!” Mafferu hides himself as Myrrha enters. In the next number (no. 9), “Ich war, wenn ich erwachte,” the soprano recalls her innocence and joy before she was smitten with love for Murney. Mafferu sees her passion as a tool to further his plans of revenge. In the dialogue and duet that follow (no. 10), “Mich machen Furcht und Hoffnung schwanken,” Mafferu slowly convinces Myrrha that Murney will never love her unless his life is endangered. By accusing the Englishman of blaspheming the Sun, Mafferu continues, we can threaten him with death by burning and thereby open the way to love. Confused and distraught, Myrrha hesitantly agrees to support Mafferu’s false testimony against Murney. Elvira enters shortly after Myrrha departs, and Mafferu takes advantage of her emotional turmoil. He en®ames Elvira’s anger by telling her that Murney plans to renounce her and marry Myrrha. By supporting his false accusations against Murney, he continues , she can be revenged both for the death of her brother and for Murney ’s supposed in¤delity. Elvira does not require a duet to convince her to accede to Mafferu’s plans, and the general leaves the stage before her virtuostic rage aria (no. 11) “Süss sind der Rache Freuden.” After Elvira exits, Pedrillo enters once more, this time chasing...

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