Cammarano’s horrific libretto is given some of Donizetti’s most beautiful music. After eloping with her lover and being deserted by him, Maria is believed dead but returns home to discover her father has died and left everything to her cousin Matilde. Maria’s ex-lover stabs her and again Maria is believed dead, but in the gripping final scene – a gift for a soprano – Maria stabs Matilde and then confronts Corrado, telling him in her dying moments that she still loves him. This scene alone was enough to ensure many productions throughout Italy and Europe in Donizetti’s lifetime and beyond.
Booklet includes complete libretto with English translation.
'The blood and thunder ensembles and duets create a rip-roaring bel canto feast' - The San Francisco Tribune
Nelly Miricioiu (Maria de Rudenz), Regina Nathan (Matilde de Wolff), Robert McFarland (Corrado di Waldorf), Bruce Ford (Enrico), Matthew Hargreaves (Rambaldo), Nigel Douglas (Il Cancelliere del Castello), Geoffrey Mitchell Choir, Philharmonia Orchestra, David Parry – conductor
THE STORY
PART ONE. The Testament.
Scene 1. It is early morning in an inn on the banks of the River Aar. Through the windows can be seen part of the Convent of Arau, and, on the other side of the river, the castle of Rudenz. Matilde and the nuns of the convent are heard at their morning prayers.
Corrado awaits the arrival of his brother Enrico, impatient since he is eager to join Matilde at the castle. When Enrico appears, the two brothers greet each other warmly. In answer to Enrico’s enquiry, Corrado confirms that he has deserted Maria, the daughter of the last, recently deceased, Count of Rudenz. He tells how, after eloping with her to Venice, he had come to believe her faithless, so had taken her to Rome and abandoned her during a visit to the catacombs. His initial intention had been that she should perish, lost in the labyrinth of subterranean passages, but he had subsequently relented and sent a guide to rescue her. Since then he has been wandering from country to country, ever changing his name to prevent her from tracing him. Now, however, this wretched and fugitive existence has been replaced by a new happiness, for he has fallen in love with an orphaned heiress, Maria’s cousin Matilde di Wolff. He has wooed her, without revealing his true identity or past history, and they are about to be married. Enrico, as soon as he hears Matilde’s name is consumed by jealousy, for he too, it seems is desperately in love with her.
Corrado explains that the Count of Rudenz, in his last testament, decreed that, should Maria not reappear with a year, his estate should go to Matilde, who, instead of entering a convent, should be free to choose a husband. The year has now passed. In eager anticipation of his approaching happiness, Corrado urges Enrico to accompany him to the castle.
Scene 2. In the castle. Rambaldo, an elderly retainer of the house of Rudenz, is surprised to find a woman weeping before the portrait of his late master. It is Maria, who has found her way here by a secret underground passage. Rambaldo tells her of Matilde’s imminent inheritance and choice of a husband, and Maria initially – for at this stage she is unaware of the identity of the intended husband – wishes her cousin well: she herself has no further worldly ambitions, for she intends to take the veil and enter the convent of Arau.
As Maria withdraws, the retainers of the household gather to greet Matilde. But their mood is one of mourning for Maria, whom they believe dead – not joy at the prospect of bending the knee before a new master, Matilde’s future bridegroom. Matilde enters and presents Corrado as her chosen husband and their new lord. The testament of the Count of Rudenz is read, and Corrado is in the middle of swearing his love and undying fidelity when, summoned by Rambaldo, Maria appears. A major confrontation ensues, during which Maria succeeds in separating Corrado and Matilde. The retainers declare their allegiance to Maria, rather than to Matilde and Corrado, and Corrado is forcibly ejected.
PART TWO. A Crime.
Enrico returns to the castle to plead with Maria to show leniency towards Matilde. He remarks that, by keeping her cousin a prisoner and forcing her to take the veil, she may be pretending to fulfil her father’s wishes, but really she is perverting them to her own ends. Never, he declares, will Matilde enter a convent: he himself will prevent it, for he, too loves her. Maria’s reaction is to reveal that she has information that will enable him, rather than Corrado, to become Matilde’s husband – but before divulging it, she insists that she must see Corrado once more.
This interview – this confrontation – promptly ensues. Maria informs corrado that she intends that Matilde should marry Enrico. Corrado is incredulous and protests that Enrico, his own brother, would never be his rival. But Maria proceeds to disillusion him: Enrico is indeed the true son of their father, but she has proofs that Corrado was taken in as a foundling when his own father, a notorious criminal called Ugo di Berna, who has since been ignominiously put to death on the scaffold, fled the country. Corrado is shattered. Maria, taking advantage of his humiliation, pleads her own cause: if Corrado will give her back his love, she will willingly destroy the proofs of his birth. But although he can find it in his heart to pity her, Corrado is unable to love her. Her wish for revenge now begins to gain the upper hand. By pressing a secret spring, she makes the stones that form the threshold of Matilde’s room sink out of sight, leaving a gaping pit. She has only to call Matilde, and Corrado will see his hoped-for bride fall to her death as she answers the summons. She will be spared only if Corrado renounces her and instead swears eternal fidelity to Maria. As she beings to call, Corrado, driven to desperation, draws his dagger and plunges it in her breast. She falls, apparently fatally wounded. Rambaldo and the retainers come running. But Maria declares Corrado’s innocence, claiming that she stabbed herself.
PART THREE. The Spectre.
Scene 1. An atrium, adjoining the castle chapel where the marriage of Corrado and Matilde is being celebrated.
All the retainers are in a state of consternation and dismay, for they regard this match as guilty and ill-omened. Their disquietude is increased by the fact that the ghost of Maria, swathed in a dark mantle and with streaming hair, has been seen hovering near the bridal chamber.
Enrico arrives, breathless and dust-covered, but Rambaldo tells him that he comes too late: by this time the marriage vows will have been exchanged. At this moment, indeed, the wedding procession returns and mounts a staircase to the apartments where the wedding banquet is to be held. Enrico waylays Corrado. He taunts him with his shameful birth, and challenges him, vowing that he will never allow him to enjoy Matilde’s love. Corrado, who still feels a brotherly affection for Enrico, tries to avoid a quarrel, but Enrico tears the insignia of the Counts of Rudenz from his chest and tramples them underfoot. Provoked beyond endurance, Corrado accepts the challenge, and the two depart to fight a duel together.
Scene 2. A gallery in the castle
While the wedding guests celebrate the marriage of the as-yet-absent Corrado and an apprehensive Matilde, a masked female figure furtively crosses the stage and enters the nuptial chamber. In due course Matilde retires, attended by her ladies.
Corrado returns, conscience-stricken since he has killed Enrico, and wishing only to forget what he has done in Matilde’s embraces. But at this moment a suffocated scream comes from the bridal chamber. Corrado hastens to investigate, but before he can cross the threshold he is confronted by what he takes to be the ghost of Maria.
But Maria is very much alive. She throws open the chamber door and bids him enter. He returns ashy pale, for he has found Matilde murdered. He rounds on Maria and goes to draw his sword, only to find that he is unarmed. But, as Maria tells him, he has no need to slay her: she is dying already, for her unhealed stab-wound has reopened. Even as she reproaches him, she continues to declare her unquenchable love, and at last he begins to appreciated the immensity of the love that has driven her to such frightful lengths. Filled with remorse, he goes to embrace her, declaring that it is his punishment to have to continue to live. But even in this last act of remorse and contrition he is thwarted, for Maria tears the bandages from her wound and falls dead at his feet.
THE STORY
PART ONE. The Testament.
Scene 1. It is early morning in an inn on the banks of the River Aar. Through the windows can be seen part of the Convent of Arau, and, on the other side of the river, the castle of Rudenz. Matilde and the nuns of the convent are heard at their morning prayers.
Corrado awaits the arrival of his brother Enrico, impatient since he is eager to join Matilde at the castle. When Enrico appears, the two brothers greet each other warmly. In answer to Enrico’s enquiry, Corrado confirms that he has deserted Maria, the daughter of the last, recently deceased, Count of Rudenz. He tells how, after eloping with her to Venice, he had come to believe her faithless, so had taken her to Rome and abandoned her during a visit to the catacombs. His initial intention had been that she should perish, lost in the labyrinth of subterranean passages, but he had subsequently relented and sent a guide to rescue her. Since then he has been wandering from country to country, ever changing his name to prevent her from tracing him. Now, however, this wretched and fugitive existence has been replaced by a new happiness, for he has fallen in love with an orphaned heiress, Maria’s cousin Matilde di Wolff. He has wooed her, without revealing his true identity or past history, and they are about to be married. Enrico, as soon as he hears Matilde’s name is consumed by jealousy, for he too, it seems is desperately in love with her.
Corrado explains that the Count of Rudenz, in his last testament, decreed that, should Maria not reappear with a year, his estate should go to Matilde, who, instead of entering a convent, should be free to choose a husband. The year has now passed. In eager anticipation of his approaching happiness, Corrado urges Enrico to accompany him to the castle.
Scene 2. In the castle. Rambaldo, an elderly retainer of the house of Rudenz, is surprised to find a woman weeping before the portrait of his late master. It is Maria, who has found her way here by a secret underground passage. Rambaldo tells her of Matilde’s imminent inheritance and choice of a husband, and Maria initially – for at this stage she is unaware of the identity of the intended husband – wishes her cousin well: she herself has no further worldly ambitions, for she intends to take the veil and enter the convent of Arau.
As Maria withdraws, the retainers of the household gather to greet Matilde. But their mood is one of mourning for Maria, whom they believe dead – not joy at the prospect of bending the knee before a new master, Matilde’s future bridegroom. Matilde enters and presents Corrado as her chosen husband and their new lord. The testament of the Count of Rudenz is read, and Corrado is in the middle of swearing his love and undying fidelity when, summoned by Rambaldo, Maria appears. A major confrontation ensues, during which Maria succeeds in separating Corrado and Matilde. The retainers declare their allegiance to Maria, rather than to Matilde and Corrado, and Corrado is forcibly ejected.
PART TWO. A Crime.
Enrico returns to the castle to plead with Maria to show leniency towards Matilde. He remarks that, by keeping her cousin a prisoner and forcing her to take the veil, she may be pretending to fulfil her father’s wishes, but really she is perverting them to her own ends. Never, he declares, will Matilde enter a convent: he himself will prevent it, for he, too loves her. Maria’s reaction is to reveal that she has information that will enable him, rather than Corrado, to become Matilde’s husband – but before divulging it, she insists that she must see Corrado once more.
This interview – this confrontation – promptly ensues. Maria informs corrado that she intends that Matilde should marry Enrico. Corrado is incredulous and protests that Enrico, his own brother, would never be his rival. But Maria proceeds to disillusion him: Enrico is indeed the true son of their father, but she has proofs that Corrado was taken in as a foundling when his own father, a notorious criminal called Ugo di Berna, who has since been ignominiously put to death on the scaffold, fled the country. Corrado is shattered. Maria, taking advantage of his humiliation, pleads her own cause: if Corrado will give her back his love, she will willingly destroy the proofs of his birth. But although he can find it in his heart to pity her, Corrado is unable to love her. Her wish for revenge now begins to gain the upper hand. By pressing a secret spring, she makes the stones that form the threshold of Matilde’s room sink out of sight, leaving a gaping pit. She has only to call Matilde, and Corrado will see his hoped-for bride fall to her death as she answers the summons. She will be spared only if Corrado renounces her and instead swears eternal fidelity to Maria. As she beings to call, Corrado, driven to desperation, draws his dagger and plunges it in her breast. She falls, apparently fatally wounded. Rambaldo and the retainers come running. But Maria declares Corrado’s innocence, claiming that she stabbed herself.
PART THREE. The Spectre.
Scene 1. An atrium, adjoining the castle chapel where the marriage of Corrado and Matilde is being celebrated.
All the retainers are in a state of consternation and dismay, for they regard this match as guilty and ill-omened. Their disquietude is increased by the fact that the ghost of Maria, swathed in a dark mantle and with streaming hair, has been seen hovering near the bridal chamber.
Enrico arrives, breathless and dust-covered, but Rambaldo tells him that he comes too late: by this time the marriage vows will have been exchanged. At this moment, indeed, the wedding procession returns and mounts a staircase to the apartments where the wedding banquet is to be held. Enrico waylays Corrado. He taunts him with his shameful birth, and challenges him, vowing that he will never allow him to enjoy Matilde’s love. Corrado, who still feels a brotherly affection for Enrico, tries to avoid a quarrel, but Enrico tears the insignia of the Counts of Rudenz from his chest and tramples them underfoot. Provoked beyond endurance, Corrado accepts the challenge, and the two depart to fight a duel together.
Scene 2. A gallery in the castle
While the wedding guests celebrate the marriage of the as-yet-absent Corrado and an apprehensive Matilde, a masked female figure furtively crosses the stage and enters the nuptial chamber. In due course Matilde retires, attended by her ladies.
Corrado returns, conscience-stricken since he has killed Enrico, and wishing only to forget what he has done in Matilde’s embraces. But at this moment a suffocated scream comes from the bridal chamber. Corrado hastens to investigate, but before he can cross the threshold he is confronted by what he takes to be the ghost of Maria.
But Maria is very much alive. She throws open the chamber door and bids him enter. He returns ashy pale, for he has found Matilde murdered. He rounds on Maria and goes to draw his sword, only to find that he is unarmed. But, as Maria tells him, he has no need to slay her: she is dying already, for her unhealed stab-wound has reopened. Even as she reproaches him, she continues to declare her unquenchable love, and at last he begins to appreciated the immensity of the love that has driven her to such frightful lengths. Filled with remorse, he goes to embrace her, declaring that it is his punishment to have to continue to live. But even in this last act of remorse and contrition he is thwarted, for Maria tears the bandages from her wound and falls dead at his feet.
ERSTER TEIL. Das Testament
1. Szene. Früher Morgen in einem Gasthaus am Ufer der Aar. Durch die Fenster sind Teile des Klosters Arau zu sehen, auf dem gegenüberliegenden Ufer das Schloss Rudenz. Matilde und die Nonnen des Klosters sind bei der Morgenandacht.
Mit Ungeduld erwartet Corrado die Ankunft seines Bruders Enrico, da es ihn drängt, zu Matilde ins Schloss zu eilen. Als Enrico erscheint, begrüßen die Brüder sich herzlich. Als Antwort auf Enricos Frage bestätigt Corrado, dass er Maria, die Tochter des letzten, kürzlich verstorbenen Herzogs von Rudenz verlassen hat. Er erzählt, dass er zunächst mit ihr nach Venedig durchgebrannt sei, dort aber von ihrer Treulosigkeit überzeugt wurde; deshalb sei er mit ihr nach Rom gefahren, wo er sie bei einer Besichtigung der Katakomben in den unterirdischen Gängen zurückgelassen habe. Zunächst habe er beabsichtigt, sie dort dem sicheren Tod zu überlassen, doch dann seien ihm Bedenken gekommen, und er schickte einen Führer aus, der sie sicher ins Freie geleitete. Seitdem zieht er von Land zu Land, ständig unter anderen Namen, damit sie ihn nicht aufspüren kann. Jetzt aber hat dieses elende Flüchtlingslos ein Ende: Er hat sich in eine verwaiste Erbin, Marias Cousine Matilde di Wolff, verliebt. Er hat um sie geworben, ohne ihr seine wahre Identität oder seine Vergangenheit zu offenbaren, und sie werden in Kürze vermählt werden. Kaum hört Enrico Matildes Namen, wird er von Eifersucht übermannt, denn auch er ist in Liebe zu ihr entbrannt.
Corrado erklärt, dass der Graf von Rudenz in seinem letzten Testament verfügte, sein Vermögen solle, wenn Maria nicht innerhalb eines Jahres wieder erscheine, an Matilde übergehen, die aus dem Kloster austreten und sich einen Gemahl erwählen soll. Dieses Jahr ist nun vorüber. In Vorfreude auf sein kommendes Glück bittet Corrado seinen Bruder, ihn ins Schloss zu begleiten.
2. Szene. Im Schloss. Rambaldo, ein Faktotum des Haushalts von Rudenz, entdeckt überrascht eine weinende Frau vor dem Bild seines verstorbenen Herrn stehen. Es ist Maria, die durch einen geheimen unterirdischen Gang ins Schloss zurückgekehrt ist. Rambaldo berichtet ihr, dass Matilde in Kürze das Erbe antreten und heiraten wird. Zunächst ist Maria ihrer Cousine durchaus wohl gesonnen, denn noch weiß sie nicht, um wen es sich bei diesem Gemahl handelt; überdies will sie ohnehin dem weltlichen Leben entsagen und ins Kloster von Arau eintreten.
Als Maria sich zurückzieht, versammelt sich der Haushalt zu Matildes Empfang. Doch die Aussicht, bald einem neuen Herrn, Matildes künftigem Gemahl, die Ehre erweisen müssen, stimmt sie nicht froh; vielmehr trauern alle um Maria, die sie tot wähnen. Matilde tritt ein und stellt Corrado als ihren erwählten Gemahl und künftigen Schlossherrn vor. Das Testament des Grafen von Rudenz wird verlesen, soeben schwört Corrado Matilde ewige Liebe und Treue, als Maria, von Rambaldo herbeigerufen, erscheint. Es kommt zu einer heftigen Auseinandersetzung, in deren Verlauf es Maria gelingt, Corrado und Matilde zu trennen. Der Haushalt erklärt Maria seine Treue, nicht Matilde und Corrado, der mit Gewalt entfernt wird.
ZWEITER TEIL. Ein Verbrechen
Enrico kehrt ins Schloss zurück und bittet Maria, Matilde gegenüber Nachsicht walten zu lassen. Er erklärt, indem sie ihre Cousine gefangen setze und sie zwinge, den Schleier zu nehmen, erfülle sie vielleicht dem Anschein nach die Wünsche ihres Vaters, in Wirklichkeit aber missbrauche sie sie zu ihrem eigenen Vorteil. Nie, schwört er, werde Matilde ins Kloster eintreten, er selbst werde sie davon abhalten, denn auch er liebe sie. Daraufhin enthüllt Maria, dass sie Beweise besitzt, aufgrund derer er und nicht Corrado Matildes Gemahl werden kann – doch bevor sie diese Beweise preisgibt, besteht sie auf einem Gespräch unter vier Augen mit Corrado.
Diese Auseinandersetzung findet sogleich statt. Maria teilt Corrado mit, dass sie eine Vermählung Matildes mit Enrico betreibt. Ungläubig beteuert Corrado, dass sein Bruder nie in Rivalität zu ihm treten werde. Doch Maria raubt ihm alle Illusionen: Nur Enrico sei der wahre Sohn seines Vaters, sie, Maria, könne beweisen, dass Corrado lediglich als Findelkind aufgenommen wurde, als sein eigener Vater, ein berüchtigter Schurke namens Ugo di Berno, der mittlerweile einen schmachvollen Tod am Galgen gefunden habe, des Landes floh. Corrado ist vor den Kopf gestoßen. Angesichts seiner Verzweiflung fleht Maria ihn an, ihr wieder seine Liebe zu schenken, dann werde sie die Beweise seiner niederen Geburt eigenhändig vernichten. Corrado jedoch kann nur Mitgefühl für sie empfinden, nicht Liebe. Da gewinnt bei Maria die Rachsucht die Oberhand. Sie betätigt eine geheime Feder, woraufhin die Steine, die die Schwelle vor Matildes Zimmer bilden, im Boden versinken und sich ein Abgrund vor ihrer Tür auftut. Sie brauche nur nach Matilde zu rufen, dann müsse Corrado mitansehen, wie seine Braut in den Tod stürze. Maria erklärt, ihre Cousine nur dann zu schonen, wenn Corrado von ihr abschwört und Maria ewige Treue gelobt. Als sie Matildes Namen rufen will, greift Corrado verzweifelt zum Dolch und stößt ihn ihr in die Brust. Scheinbar tödlich verwundet bricht sie zusammen. Rambaldo und der Haushalt kommen herbeigelaufen, aber Maria erklärt, dass Corrado unschuldig sei, sie selbst habe sich erdolcht.
DRITTER TEIL. Das Gespenst
1. Szene. Ein Atrium neben der Schlosskapelle, in der die Hochzeit von Corrado und Matilde stattfindet.
Der Haushalt ist bestürzt und unruhig, denn in ihren Augen ist diese Verbindung mit Schuld beladen. Ihre Erregung steigt noch, als in der Nähe des Brautgemachs das Gespenst Marias, in einen dunklen Umhang gehüllt und mit wallendem Haar, gesehen wird.
Enrico trifft atemlos und staubig ein, aber zu spät, wie Rambaldo ihm erklärt: Die Trauung habe bereits stattgefunden. Und in der Tat kehrt in diesem Augenblick die Hochzeitsprozession zurück und steigt die Treppe zu den Gemächern empor, in denen das Bankett abgehalten wird. Enrico fängt Corrado ab, verhöhnt ihn mit seiner schändlichen Herkunft, fordert ihn zum Duell heraus und gelobt, er, Enrico, werde verhindern, dass sein Bruder sich je Matildes Liebe erfreuen kann. Corrado, der sich seinem Bruder noch immer verbunden fühlt, will einen Streit vermeiden, aber Enrico reißt ihm die Insignien des Grafen von Rudenz von der Brust und trampelt sie in den Boden. Zur Weißglut getrieben, willigt Corrado in das Duell ein, und die beiden treten ab, um es auszufechten.
2. Szene. Eine Galerie im Schloss
Während die Gäste die Hochzeit des noch abwesenden Corrado mit der beunruhigten Matilde feiern, schleicht eine maskierte weibliche Gestalt über die Bühne und betritt das Brautgemacht. Eine Weile später zieht Matilde sich im Kreis ihrer Damen zurück.
Corrado kehrt zurück. Er ist zutiefst gequält, denn er hat Enrico getötet und möchte nun in Matildes Armen Vergessen suchen. In diesem Augenblick erklingt aus dem Brautgemach ein erstickter Schrei. Corrado eilt hinzu, doch bereits an der Schwelle wird er von etwas aufgehalten, das er für das Gespenst Marias hält.
Doch Maria steht in Fleisch und Blut vor ihm. Sie wirft die Türen des Gemachs auf und bittet ihn einzutreten. Er wird aschfahl, als er Matilde ermordet vor sich sieht. Verbittert will er das Schwert ziehen und Rache üben, muss aber feststellen, dass er keine Waffe bei sich trägt. Maria jedoch erklärt, er brauche sie gar nicht zu töten – die Wunde, die sie von seinem Dolchstoß erhalten habe, sei nie verheilt und habe sich nun wieder geöffnet. Zwar überhäuft sie ihn mit Vorwürfen, beteuert ihm aber auch ihre unstillbare Liebe, und nun endlich beginnt er die Größe ihrer Liebe zu begreifen, die sie zu diesem Racheakt trieb. Von Reue übermannt, will er sie in die Arme schließen und ihr erklären, seine Strafe bestehe darin, weiterleben zu müssen. Doch selbst diese späte Reue wird ihm verwehrt, denn Maria reißt die Binden von ihrer Wunde und fällt ihm zu Füßen tot zu Boden.
ARGOMENTO
PARTE PRIMA. Il testamento.
Scena 1. È mattina presto in una locanda sulle rive del fiume Aar. Dalle finestre si può scorgere l’eremo di Arau e, sull’altra sponda del fiume, il castello di Rudenz. Dal convento giunge l’eco delle preghiere di Matilde e delle suore.
Corrado attende con impazienza l’arrivo di suo fratello Enrico, perché ha fretta di raggiungere Matilde al castello. All’arrivo di Enrico, i due fratelli si salutano con affetto e Corrado racconta quanto gli è accaduto negli ultimi anni. Dopo essere fuggito a Venezia con Maria, figlia dell’ultimo conte di Rudenz, recentemente defunto, aveva scoperto che la donna gli era infedele. L’aveva quindi condotta a Roma e poi abbandonata durante una visita alle catacombe. Inizialmente aveva sperato che lei morisse, sperduta nel labirinto dei corridoi sotterranei, ma poi si era impietosito e aveva inviato una guida al suo soccorso. Da allora era stato costretto a vagare da un paese all’altro, cambiando continuamente nome per impedirle di rintracciarlo. Adesso però la sua triste esistenza di esule è stata illuminata da una nuova felicità: si è innamorato di un’ereditiera orfana, Matilde di Wolff, cugina di Maria. L’ha corteggiata senza rivelarle la sua vera identità o il suo passato e stanno per sposarsi. A sentir nominare Matilde, Enrico è preso dalla gelosia: apparentemente anche lui ne è disperatamente innamorato.
Corrado spiega che, secondo il testamento del conte di Rudenz, se Maria non fosse ricomparsa entro un anno, i suoi beni sarebbero andati a Matilde e la giovane, anziché entrare in convento, sarebbe stata libera di scegliere un marito. L’anno è ormai trascorso. Pregustando la sua prossima felicità, Corrado chiede a Enrico di accompagnarlo al castello.
Scena 2. Nel castello. Rambaldo, anziano servitore della casa di Rudenz, rimane sorpreso nel trovare una donna in lacrime davanti al ritratto del suo defunto padrone. Si tratta di Maria, che è riuscita ad arrivare fin qui attraverso un corridoio sotterraneo segreto. Rambaldo le parla dell’imminente eredità di Matilde e del consorte scelto dalla cugina. Inizialmente ignara dell’identità del promesso sposo, Maria augura ogni bene alla cugina: lei non ha più ambizioni terrene perché intende prendere il velo ed entrare nel convento di Arau.
Maria si ritira mentre i vassalli si riuniscono per accogliere Matilde. Lo stato d’animo generale però non è gioioso: tutti pensano che Maria sia morta e la prospettiva di dover obbedire a un nuovo signore, il futuro sposo di Matilde, non è gradita a nessuno. Entra Matilde e presenta Corrado, lo sposo che ha scelto e il futuro signore del castello. Dopo la lettura del testamento del conte di Rudenz, Corrado sta pronunciando il suo giuramento di amore ed eterna fedeltà quando entra Maria, chiamata da Rambaldo. Durante il successivo confronto, Maria riesce a separare Corrado e Matilde. I servitori dichiarano fedeltà a Maria anziché a Matilde e Corrado e quest’ultimo viene fatto uscire con la forza.
PARTE SECONDA. Un delitto.
Enrico ritorna al castello per supplicare Maria di mostrare clemenza nei confronti di Matilde. Tenendo prigioniera sua cugina e obbligandola a prendere il velo, forse può illudersi di esaudire i desideri di suo padre, ma in realtà li sovverte in base ai suoi fini personali. Dichiara che Matilde non entrerà in convento: lo impedirà lui stesso, perché anche lui l’ama. Maria reagisce rivelando di avere in suo possesso alcune informazioni che consentiranno a lui piuttosto che a Corrado di sposare Matilde. Prima, però, vuole vedere ancora una volta Corrado.
Il tempestoso colloquio si svolge immediatamente. Maria comunica a Corrado il proprio desiderio che Matilde sposi Enrico. Incredulo, Corrado protesta che suo fratello non sarà mai suo rivale e a questo punto Maria lo disillude: solo Enrico è il vero figlio di suo padre. Corrado è stato accolto e allevato dalla famiglia, ma il suo vero genitore era un famigerato criminale in fuga, di nome Ugo di Berna, che in seguito era stato ignominiosamente giustiziato. Corrado è sconvolto. Approfittando della sua umiliazione, Maria perora la propria causa: se Corrado le promette di tornare ad amarla, è disposta a distruggere le prove della sua origine. Ma, per quanto mosso a compassione, Corrado non può accontentarla. A questo punto la donna comincia a essere sopraffatta dal desiderio di vendicarsi. Premendo una molla segreta, fa scomparire le pietre della soglia della stanza, lasciando un pozzo aperto. Le basterà chiamare la cugina e Corrado vedrà la sua amata sposa precipitarvi e morire. Matilde sarà risparmiata solo se Corrado rinuncerà a lei e giurerà eterna fedeltà a Maria. Mentre la donna inizia a chiamare, Corrado, disperato, estrae la spada e gliela immerge in petto. La donna cade, apparentemente ferita a morte. Entrano di corsa Rambaldo e i servitori. Maria però dichiara che Corrado è innocente e sostiene di essersi pugnalata da sola.
PARTE TERZA. Lo spettro.
Scena 1. Un atrio adiacente alla cappella del castello dove si celebrano le nozze tra Corrado e Matilde.
Tutti i servitori sono costernati e sgomenti, perché considerano l’unione colpevole e infausta. La loro inquietudine è accresciuta dal fatto che lo spettro di Maria, avvolto in un mantello nero e con i capelli sciolti, è stato visto aggirarsi nei pressi della camera nuziale.
Arriva Enrico, senza fiato e coperto di polvere, ma Rambaldo gli dice che è troppo tardi: ormai i voti nuziali sono stati pronunciati. In questo momento, appunto, ritorna il corteo nuziale e sale per la scalinata che porta alle sale in cui si svolgerà il banchetto nuziale. Enrico riesce a trattenere Corrado, lo provoca parlandogli dell’onta della sua nascita e lo sfida, giurando che gli impedirà di avere l’amore di Matilde. Corrado, che prova ancora un affetto fraterno per Enrico, cerca di evitare un litigio, ma Enrico gli strappa dal petto l’ordine dei conti di Rudenz e lo calpesta. Davanti a quest’ultimo insulto, Corrado accetta la sfida e i due si allontanano per combattersi a duello.
Scena 2. Una galleria nel castello
Mentre gli ospiti celebrano le nozze di Corrado, ancora assente, e della preoccupata Matilde, una figura femminile mascherata attraversa furtivamente la scena ed entra nella camera nuziale. Alla fine Matilde si ritira, con il suo seguito.
Rientra Corrado, pieno di rimorso: ha ucciso Enrico e desidera soltanto dimenticare ciò che ha fatto tra le braccia di Matilde. Ma a questo punto dalla camera nuziale arriva un grido soffocato. Corrado si precipita a vedere quanto è accaduto, ma prima di poter attraversare la soglia si trova davanti a quello che pensa sia lo spettro di Maria.
Maria è però viva. Spalanca la porta della camera e gli ordina di entrare. L’uomo ritorna pallidissimo perché ha trovato Matilde assassinata. Assale Maria e fa per sguainare la spada, ma si accorge di essere disarmato. Maria però lo rassicura: non c’è bisogno di ucciderla. La sua ferita non si è mai rimarginata e adesso si è riaperta. Pur rimproverandolo, continua a dichiarare il suo amore inestinguibile e alla fine Corrado comincia a rendersi conto dell’immensità del sentimento che l’ha spinta ad azioni così spaventose. Pieno di rimorso, si avvicina per abbracciarla, dichiarando che il suo castigo è la condanna a sopravvivere. Ma anche quest’ultimo atto di rimorso e contrizione gli viene impedito: Maria si strappa le bende che avvolgono la ferita e cade morta ai suoi piedi.
PREMIERE PARTIE. Le Testament.
Scène 1. Au petit jour dans une auberge sur la rive de l’Aar. Par les fenêtres, on aperçoit une partie du couvent d’Arau et, sur la rive opposée, le château de Rudenz. On entend la voix de Matilde et des nonnes en train d’entonner les prières du matin.
Corrado attend avec impatience la venue de son frère Enrico car il brûle de rejoindre Matilde au château. Lorsqu’Enrico arrive, les deux frères se saluent chaleureusement. En réponse aux questions d’Enrico, Corrado confirme qu’il a quitté Maria, la fille du dernier comte de Rudenz récemment décédé. Il raconte qu’après s’être enfui avec elle à Venise, il en est venu à douter de sa fidélité ; il l’a alors emmenée à Rome et l’a abandonnée au cours d’une visite des catacombes. Il voulait d’abord qu’elle se perde dans le labyrinthe souterrain et y périsse, mais il s’était radouci par la suite et avait envoyé un guide à son secours. Il avait ensuite erré de pays en pays, en changeant constamment de nom pour empêcher la jeune femme de retrouver sa trace. Cette misérable existence de fugitif a toutefois fait place à un bonheur nouveau depuis qu’il s’est épris de la cousine de Maria, Matilde di Wolff, héritière orpheline. Il l’a courtisée sans lui révéler sa véritable identité ou son passé, et ils sont sur le point de se marier. Dès qu’il entend son frère prononcer le nom de Matilde, Enrico est fou de jalousie car lui aussi est éperdument amoureux d’elle.
Corrado explique que dans son dernier testament le comte de Rudenz a décrété que si Maria ne s’était pas manifestée au bout d’un an ses biens iraient à Matilde qui, au lieu d’entrer au couvent, serait libre de se choisir un époux. L’année est écoulée. Manifestement impatient de voir ses vœux se réaliser, Corrado presse Enrico de l’accompagner au château.
Scène 2. À l’intérieur du château. Rambaldo, vieux serviteur de la maison de Rudenz, est surpris de découvrir une femme en larmes devant le portrait de feu son maître. C’est Maria, qui est parvenue jusqu’ici par un passage souterrain secret. Rambaldo lui révèle l’imminence de l’héritage de Matilde ainsi que le nom de son futur époux, et Maria – qui ignore encore tout de l’identité de celui-ci – se réjouit du bonheur de sa cousine car elle a l’intention de prendre le voile et d’entrer au couvent d’Arau.
Tandis que Maria se retire, les serviteurs du château se rassemblent pour accueillir Matilde. Ils sont remplis de tristesse à la pensée de Maria qu’ils croient morte, et non de joie à la perspective de devoir s’incliner devant un nouveau maître, le futur époux de Matilde. Matilde entre et leur présente Corrado, son promis et leur nouveau seigneur. Après lecture du testament du comte de Rudenz, Corrado est en train de jurer amour et fidélité éternels à Matilde lorsque, à l’appel de Rambaldo, Maria apparaît. Il s’ensuit une confrontation majeure au cours de laquelle Maria parvient à séparer Corrado de Matilde. Les serviteurs font serment d’allégeance à Maria plutôt qu’à Matilde et Corrado, lequel est chassé par la force.
DEUXIEME PARTIE. Un crime.
Enrico retourne au château pour supplier Maria de faire preuve de clémence envers Matilde. Il lui fait remarquer qu’en gardant sa cousine prisonnière et en l’obligeant à prendre le voile, elle peut prétendre exaucer les vœux de son père, mais qu’en fait, elle est en train de servir ses propres fins. Jamais, déclare-t-il, Matilde n’entrera au couvent : il l’en empêchera car il est, lui aussi, amoureux d’elle. Maria répond en lui dévoilant qu’elle possède des informations qui permettront à Enrico d’épouser Matilde à la place de Corrado – mais avant de tout révéler, elle insiste pour revoir, une fois de plus, Corrado.
Cet entretien – cette confrontation – a lieu sans tarder. Maria déclare à Corrado que sur ses instances Matilde épousera Enrico. Corrado refuse de la croire et affirme qu’Enrico, son propre frère, ne se comportera jamais en rival. Mais Maria s’empresse de lui ôter ses illusions : Enrico est bien le fils de son père, mais elle a la preuve que lui, Corrado, est un enfant abandonné par son propre père – criminel notoire du nom d’Ugo di Berna, mort depuis sur l’échafaud – et recueilli après que celui-ci a fui le pays. Corrado est anéanti. Profitant de son humiliation, Maria plaide sa propre cause : si Corrado consent à lui rendre son amour, elle détruira volontiers les preuves de sa naissance. Malgré toute la pitié qu’elle lui inspire, Corrado est incapable d’aimer Maria. La soif de vengeance est alors plus forte qu’elle. En appuyant sur un ressort secret, elle déplace les dalles formant le seuil de la chambre de Matilde, révélant ainsi une fosse béante. Il lui suffira d’appeler Matilde pour que celle-ci, venant à elle, périsse en se précipitant dans le vide sous le regard de Corrado. S’il veut qu’elle soit épargnée, Corrado doit renoncer à sa bien-aimée et jurer, au contraire, fidélité éternelle à Maria. Lorsque celle-ci se met à appeler Matilde, Corrado au désespoir sort un poignard et le plonge dans son sein. Elle s’effondre apparemment blessée à mort. Rambaldo et les autres serviteurs s’approchent précipitamment, mais Maria innocente Corrado en prétendant s’être poignardée elle-même.
TROISIEME PARTIE. Le spectre.
Scène 1. La cour intérieure qui jouxte la chapelle du château où se déroule la cérémonie de mariage de Corrado et Matilde.
Tous les serviteurs sont dans la consternation et le désarroi, car ils considèrent cette union illégitime de mauvais présage. Ils sont d’autant plus inquiets que le spectre de Maria, revêtue d’un manteau sombre et les cheveux dénoués, a été aperçu flottant au-dessus de la chambre nuptiale.
Enrico arrive hors d’haleine et couvert de poussière, mais Rambaldo lui dit qu’il arrive trop tard : les vœux de mariage auront déjà été prononcés. À cet instant précis, la procession nuptiale sort en effet de la chapelle pour gravir les marches menant aux appartements où va se dérouler le banquet. Enrico arrête Corrado au passage. Il raille sa naissance honteuse et le provoque en jurant qu’il ne lui permettra jamais de jouir de l’amour de Maltilde. Corrado, qui a une affection fraternelle pour Enrico, tente d’éviter la querelle, mais Enrico lui arrache de la poitrine l’insigne des comtes de Rudenz et le piétine. Excédé, Corrado accepte la provocation et ils partent ensemble se battre en duel.
Scène 2. Une galerie à l’intérieur du château.
Tandis que les invités fêtent les noces d’un Corrado qui se fait attendre et d’une Matilde pleine d’appréhension, une silhouette de femme masquée traverse furtivement la scène et entre dans la chambre nuptiale. Matilde finit par se retirer avec ses dames de compagnie à ses côtés.
Corrado réapparaît. Bien que la mort d’Enrico lui pèse sur la conscience, il est déterminé à tout oublier dans les bras de Matilde. Un cri étouffé venant de la chambre nuptiale se fait alors entendre. Corrado se précipite pour voir ce qui se passe, mais à peine atteint-il le seuil qu’il se trouve face à face avec ce qu’il croit être le fantôme de Maria.
Maria est toutefois bien vivante. Elle ouvre en grand la porte de la chambre et l’invite à y pénétrer. Il en ressort livide, car il y a découvert Matilde assassinée. Il s’en prend alors à Maria et va pour sortir son épée lorsqu’il s’aperçoit qu’il est sans arme. Maria lui dit alors qu’il n’a nul besoin de la tuer : sa blessure non cicatrisée s’est rouverte et elle agonise déjà. Tout en lui adressant des reproches, elle continue à lui déclarer son amour inextinguible, et il commence enfin à mesurer l’immensité de l’amour qui l’a poussée à une si terrible vengeance. Pris de remords, il va pour la prendre dans ses bras en lui affirmant que son châtiment sera d’être resté vivant, mais Maria le prive de ce dernier acte de repentir et de contrition : elle arrache les bandages qui recouvrent sa plaie puis s’effondre morte à ses pieds.