Synopsis
By Dr. Lily Kass

The Golden Lilium Gallery is packing up its current exhibition and preparing for a new one to be presented. Maddalena, the gallery’s manager, directs the workers to hurry up as they pack away some paintings. Don Prudenzio checks in with Maddalena, congratulating himself on a job well done preparing the exhibition to be shipped to its next location in Reims. Everyone freezes at attention when the gallery’s owner, the elegant Madame Cortese, arrives to assess their progress. She wishes she could travel with the exhibit to its next destination, but she unfortunately cannot. She contents herself with micromanaging Maddalena’s work. She then turns her attention to the other workers, instructing them, at a frantic pace, as to exactly how they should treat each of the exhibits. The workers finally speed up and make considerable progress, leaving the gallery’s walls bare of paintings and the floor strewn with crates.

A disembodied voice calls for help. Suddenly the Contessa di Folleville tumbles out of one of the crates, and her maid, Modestina, unwraps herself from packing tape. Luigino pops out of a storage bin and announces that the Contessa’s belongings have been lost or damaged on their way to her. The Countessa feels faint with horror at this news. Don Prudenzio and the Barone di Trombonok check for vital signs and fear that she is in grave danger. The Countessa is afraid that she will not be able to travel at all without her beloved clothes, and she rejects the replacements the others offer her. At last, the Countess finds something that pleases her: Madama Cortese’s handbag. Although Maddalena tries to keep it safe from her clutches, the Countessa succeeds in taking control of the bag, delightedly putting on the other fashion accessories she finds inside. Her good mood is restored, and she triumphantly leaves the room, ready to travel in her new, 21st-century attire.

The Barone, partially clothed in priestly vestments, consults with one of the workers about the costs of the trip. When he processes out, Don Profondo, an antiquarian, enters the exhibition room. Conte di Libenskof and the Marchesa Melibea emerge partially clothed from storage boxes. Don Alvaro enters, brandishing his sword. He and Libenskof are rivals, fighting for Melibea’s attentions. As they duel, they freeze in a framed tableau that Don Profondo carefully examines and appraises as Madama Cortese looks on.

The sound of a harp filters into the room, dispelling tensions. The stage is lit only by candlelight. A statue of three figures is unveiled, and a voice begins to sing, accompanied by the harp. The other characters watch, enchanted, as the figures begin to dance. The spell is broken when the voice stops singing, and the figures return to their static poses.

A new shipment of artwork arrives, and members of gallery staff unload famous works of modern art and mount them on the walls. As this occurs, the subjects of the paintings come to life, walking around the gallery. Libenskof, Melibea, the Barone, and the others subjects of 19th-century paintings seem quite confused by these new arrivals, but the museum staff is happy to have the new exhibit up and running.

One of the paintings that is delivered needs some touchups, and Lord Sidney, an art restorer, works on it. He falls in love with its subject, and, Galatea-like, it comes to life, covering him in paint as it embraces him. When all the living art exits, and the art restorer is left alone with a lifeless canvas, Don Profondo asks him for help finding specific British artifact. The art restorer brushes off his request and leaves to find his beloved.

Corinna, an art student, walks into the gallery with her sketchbook and is surprised to find the Cavaliere Belfiore there, ready to chivalrously woo her. Corinna takes him as her subject for a sketch, as he moves into more and more dramatic postures. When someone enters the gallery, Belfiore, determined to be more than a figure model for Corinna, holds up the visitor with his sword and demands his clothes. Belfiore quickly changes outfits suddenly looking like a 21st-century art student himself. Corinna, who has been too focused on her art to notice this altercation, introduces herself to Belfiore, thinking that he is a different person. She flirts with him and even lets him sketch her. He triumphantly kisses her before running off with a crumpled pile of his 19th-century clothes.

Before Corinna can run after him, an auction begins, presided over by Don Profondo. He successfully auctions off the lots, and the proud owners go home with their new treasures.

At this point, the Barone runs in with the tragic news that their planned trip to Rheims has been canceled. This unexpected turn of events shocks them all, freezing them in place. However, a letter from Paris arrives that tells them all is not lost. They can go to Paris instead. Alvaro and the Count almost duel again, but Melibea calms them down. One by one, the characters disappear into a large picture frame behind them, peeking their heads through the paper that covers the canvas.

25-minute Intermission

Melibea and the Libenskof have a lovers’ quarrel, and from their vantage point within the huge picture frame they witness two visitors to the museum having a similar argument. Melibea and Libenskof each coach their real-life counterpoint towards a reconciliation,
rejoicing when they succeed.

Antonio enters with a large rack of clothes that he shows to Maddalena. It is full of the 19th-century costumes that will complete the outfits of all of the inhabitants of the large picture frame. Maddalena excitedly helps distribute the costumes to their wearers, supervised by Madama Cortese. They all leave the frame to get dressed. White-suited workers go into the frame to restore the painting’s background, which is revealed in all its richly-colored glory when they remove the white drop cloths. One by one, the characters enter the painting where they belong and sing a celebratory patriotic anthem. The Barone represents Germany, Melibea Poland, Libenskof Russia, Alvaro Spain, Lord Sidney, whose love for the woman in the painting he restored earlier has transformed him into a painted subject as well, represents England, and England, the Countess and the Cavaliere sing for France. Even Madama Cortese and Don Profondo join in with a Tyrolese anthem. Finally, Corinna is asked to improvise an ode on the subject of King Charles X of France, in honor of the painting they will create. As she sings, she walks through the painting, as the tableau is assembled. Once the tableau is indistinguishable from the painting itself, Corinna, Profondo, and Cortese admire the artwork and decide the exhibit is ready to open. Cortese ceremonially cuts the ribbon, and the museum workers toast the opening as the first visitors view the finished painting in awe.