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CORNELL
UNIVERSITY
L I BRARY
A Gift from
the Performing Arts Collection
of
Marvin K. Frankle
Class of 1931
CORNELL UNIVERSITY LIBRARY
924 068 919
Cornell University
Library
The original of tiiis book is in
tine Cornell University Library.
There are no known copyright restrictions in
the United States on the use of the text.
http://www.archive.org/details/cu31924068919012
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VICTOR 5GDK
oPthc
Stories of Onc-JiwDdrccL Operas
mtf^ivc-Jtuvdrcd illustrations
(^ descriptions of Onc-Tbousand
Victor Opera Rccoi
Copyright 1912
VICTOR TALKING MACHINE COMPANY
Camden, New Jersey, U. S. A.
REVISED EDITION
Copyright 1913
VICTOR TALKING MACHINE COMPANY
Camden, New Jersey, U. S. A.
||||IPI[[|IIINIII|1[I!1I!
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A LTHOUGH the Opera Stories in this book are in alphabetical order,
"■ under the most familiar of the various titles, this index will be found
convenient for quick reference.
Africana, Africaine 11
Aida 15
Amleto 169
Andrea Chenier .27
Ballo in Maschera 261
Barbiere di Siviglia 29
Bartered Bride 35
Boheme 3 7
Bohemian Girl 43
Carmen 47
Cavalleria Rusticana .... 61
Chimes of TMormandy 67
Contes d'Hoffman 411
Damnation of Faust 68
Daughter of the Regiment . . 72
Dinorah 73
Don Carlos 75
Don Giovanni, Don Juan . . 7 7
Donne Curiose 83
Don Pasquale 85
Dusk of the Gods 162
Elisir d'Amore (Elixir) ... 91
Ernani 94
Falstaff 101
Faust 103
Favorita, La 126
Fidelio 131
Flauto Magico 226
Flying Dutchman 134
Force of Destiny 141
Forza del Destino, La . ■ 141
Fra Diavolo 146
Freeshooter, The 149
Freischutz, Der 149
Germania 152
Gioconda, La ... .... 155
Gotterdammerung 162
Griselidis 167
Guglielmo Tell 472
Guillaume Tell 472
Hamlet 169
Hansel and Gretel 173
Hernani 94
Herodiade, Herodias . • .177
Huguenots, Les 180
Jewels of the Madonna ■ 187
King of Lahore, The 384
Konigskinder 189
L'Africana, L' Africaine ... 11
Lakme .192
Linda di Chamounix • • . 196
Lobetanz ...197
Lohengrin 199
Louise 208
Lucia di Lammermoor .... 209
Lucrezia Borgia . ..... .216
Madama Butterfly 219
Magic Flute, The 226
Manon (Massenet) . . • .231
Manon Lescaut (Puccini) 241
(Index continued on pare 5)
■mmnmiMi
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m
jTidoX^ continued
Maritana 245
Marriage of Figaro 247
Martha, Marta 253
Masked Ball 261
Mefistofele 267
Meistersinger, Die 273
Mephistopheles 267
Mignon 279
Mikado 286
Mireille 289
Natoma 291
Norma 294
Nozze di Figaro 247
Orfeo ed Euridice 29 7
Orpheus and Eurydice 29 7
Otello 300
Pagliacci 305
Parsifal 319
Patience 336
Pearl Fishers 338
Pearl of Brazil . . 342
Pecheurs de Perles, Les . 338
Pescatori di Perle 338
Pinafore . . 343
Pirates of Penzance 345
Prof eta, Prophete 347
Prophet, The 347
Puritani. I 352
Puritans, The 352
Queen of Sheba (Goldmark) 355
Queen of Sheba (Gounod) 356
Regina di Saba 355
Re Pastore, II 358
Rheingold, Das 359
Rigoletto 365
Rinaldo 379
Robert le Diable 380
Robert the Devil 380
Robin Hood 382
Roi de Lahore, Le 384
Romeo and Juliet 385
Rustic Chivalry 61
Samson and Delilah 391
Samson et Dalila 391
Sapho (Gounod) 394
Segreto di Susanna 395
Semiramide 396
Shepherd King, The . . 358
Sicilian Vespers 459
Siegfried 399
Snegourotchka 405
Sno^v Maiden, The ... 405
Sonnambula, La 407
Tales of Hoffman 411
Tannhauser 415
Thais 425
Tosca 428
Traviata, La 435
Tristan und Isolde ... 443
Tr6mpetervonSakkingen,The458
Troubadour, The 447
Trovatore, II 447
Trumpeter of Sackingen, The 458
Ugonotti, Gli 180
Valkyrie, La 460
Vascello Fantasma, II . 134
Vespri Sicilian!, I 459
Walkiire, Die 460
Werther 470
■William Tell 472
Zauberflote, Die 226
Zaza 479
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iiiiiii i ii ii i iiiiiiiiii ii iii ii iiii ii iy ii ii i ii i iiiiiii i i ii iiiiiiiiii iiiiiMiiiiiiiiiiiiiiiiiiiiiiiiiiilllllllllllllllliiiiilllllillliiii m
foreword
Opera in America
The opera has at last come into its own in the United States. In former
years merely the pastime of the well-to-do in New York City and vicinity,
grand opera is now enjoyed for its own sake by miUions of hearers through-
out the country. Boston, Chicago, Philadelphia, New Orleans, San Francisco
and Montreal now have their regular opera season ; while many other cities
have arranged for occasional performances.
The Victor Responsible for Much of this
Awakened Interest
During the recent season several hundred performances of grand opera,
at an estimated cost of millions of dollars, were given in the United States.
This great outlay for dramatic music alone would not have been possible
had it not been for the increased interest aroused in opera by the wide-
spread distribution by the Victor during the past ten years of hundreds of
thousands of grand opera records, at widely varying prices — from the
double-faced records by well-known Italian and French artists of Europe,
at 37J-2 cents per selection, to the great concerted numbers by famous
singers at $6.00 and $7.00.
The Opera-Goer and the Victor
Even though fortunate enough to be able to attend the opera, the lover
of operatic music is reminded that with the Victor and the operatic
records his enjoyment of the opera may be greatly increased. The favor-
ite singers may be heard at home as often as desired, and their voices
will be just as natural as in life.
Do you think Caruso the greatest of tenors ? Then do not be satisfied
■with an occasional hearing of his glorious voice at the opera, but let him
sing for you and your friends by means of the Victor.
Is Sembrich, Farrar, Tetrazzini, Gadski, Calve, Schumann-Heink, Homer
or Amato your favorite singer ? The Victor makes it possible to hear these
voices at any time, no matter v^^here the artists may be singing.
Voices of Absent Singers
Do you regret that Melba is often in Australia or Europe ? There is
consolation in the thought that her voice is always here in all its loveliness,
indelibly impressed on Victor discs.
Have you memories of Tamagno v^rhen he was at his best ? The Victor
Vi^ill revive these memories for you by bringing the voice of this singer back
from the grave. (FomworJ continued on page 9)
IIIIIIIIIHHmillllllHilllllllllMIM
iiiiimiiiiiii iiiiinmii im i
a
^OreWOrd'Continued
The Victor an Excellent Substitute for the Opera
For every person who can attend the opera there are a hundred -who
cannot. However, many thousands of lovers of the opera in the latter
class have discovered v/hat a satisfactory substitute the Victor is, for it
brings the actual voices of the great singers to the home, w^ith the added
advantage that the artist w^ill repeat the favorite aria as many times as may
be v^rished, w^hile at the opera one must usually be content w^ith a single
hearing ; and even though the scenery and costumes may be lacking, the
absence of these accessories will now be atoned for in some measure by the
graphic descriptions and numerous illustrations in this book.
The Victor Opera Season Never Ends
In former years, after the close of the opera season and the annual
migration of the artists to Europe, no one seemed to think much about
grand opera or opera singers. The Victor, however, has changed all this,
and operatic records now form a most important part of the musical life
of the home ; and at all seasons of the year may be heard the voices of the
great singers, a consolation and a delight to opera lovers.
This Book the First of Its Kind
This little work is unique in many respects, and while there are many
excellent books describing the plots of the operas, w^e think that in no
other book on opera can be found all of these features :
^ Titles in various languages, w^ith pronunciation of each.
^ Date and place of original production.
^ Date and place of first performance in America.
^ Cast of characters and pronunciation of the same w^hen necessary.
^ Brief and clearly stated synopsis of plots of one hundred different operas.
^ Translations (all or part) of the text of several hundred separate numbers.
^ Every act and scene indicated, with description of the stage setting.
^ Every separate number mentioned in its proper place in the opera, and
the numbers placed in the order in which they occur.
^ More than five hundred portraits and pictures, making it the most
completely illustrated book on opera ever published.
NOTE — Acknowledgment must be made to Oliver Ditson Co. and G. Schirmer for kind perfaission
to quote occasionally from their copyrighted publications. Both these houses have set nev^ standards with
their operatic publications — Schirmer with superbly printed opera scores and collections of opera airs
entitled "Operatic Anthology"; and Ditson with the Musicians' Library, masterpieces of music typography.
iiiniiHiiiiimmi
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Vasco hrforv
Scene in the PrU
SC FM s FROM L \FRTCAINE
Thr .\fassar,-v—Act TIT
(Italian)
L'AFRICANA
(Z.a/-ree-^a/i'-na/j3
(German)
DIE AFRIKANERIN
{Dee Ah-free-koh' -ner-in)
(French)
UAFRICAINE
(Laf-ree-kahni
(English)
THE AFRICAN
OPERA IN FIVE ACTS
Text by Scribe ; music by Meyerbeer. First procJuced at the Jlcademie, Paris, April 28,
1865. First London production in Italian, under the French title, at Covent Garden, July 22,
1865; and in English at the Royal English Opera, Covent Garden, October 21, 1865. First
New York production December 1, 1865. Revived in 1906 at the Metropolitan, with Caruso,
Fremstad, Plan^on and Journet.
Characters in the Opera
SELIKA, (Smi-ke -kah) a slave, formerly an African princess Soprano
Inez, (£e'-nez) daughter of Don Diego Soprano
Anna, her attendant Contralto
NELUSKO, [Nav-loos -ko) a slave, formerly an African chief Basso
Don Pedro, {Don Pav'-dm) President of the Royal Council Basso
Grande INQUISITORE Basso
Don Diego, (Don Oee-av'-go) Member of the Council Basso
High Priest of Brahma (Brah'.mah) Basso
Don ALVAR, Member of the Council Tenor
VASCO D1 GAMA, (Vahs -ko dee Gah' -mah) an officer in the Portuguese Navy, Tenor
Chorus of Counsellors, Inquisitors, Sailors, Indians and Attendant Ladies.
The action occurs in Portugal, on Don Pedro 's ship at sea, and in India,
II
VICTOR BOOK OF THE OPERA — THE AFRICAN
ACT I — Council Chamber of the King of Portugal
The first scene occurs at Portugal, in the King's Council Chamber, whither Vasco di
Gama has come to announce his discovery of a strange land, producing two of the native
slaves, Selil^a and Nelus^o, as proof. In this scene is given the noble and stately chorus
Dio che la terra venera (Thou W^hom the Universe Adores)
By La Scala Chorus (h Italian) *e)2614 10-inch, $0.75
Don Pedro, President of the Council, ^vho wishes to marry Vasco 's sv^^eetheart, Inez,
influences that body to discredit the explorer's tale and throve him into prison with his
slaves. In the prison scene occurs this duet between Selil^a and di Gama.
ACT II — Prison of the Inquisition
As the curtain rises Vasco is seen asleep on a bench, while
Selil^a watches over him. She gazes at the sleeping youth and
sings this beautiful lullaby.
Aria de Sonno, " In grembo a me" ("Lulled
in My Arms)
By Margarete Matzenauer, Contralto
(In Italian) 88360 12-inch, $3.00
The slave, seeing her master's grief over his inability to find
the route to the unknown country, reveals to him the location of
the coveted land. Vasco, overcome with gratitude, embraces her.
Sei I'angiol diletto (Oh! Guardian Angel!)
By Tina Farelli, Soprano, and Gino Martinez-Patti,
Tenor [In Italian) *62407 10-inch, $0.75
Inez consents to marry Don Pedro in order to save Vasco, who
is released, but too late to prevent his enemy from sailing in
search of the unknown land, carrying with him Vasco's private
papers and maps as well as the two slaves, Selil^a and Nelusl(o.
The latter, who loves Selika, has discovered her attachment for
Vasco, and through jealousy offers to guide Don Pedro to his
country. The young officer secures a ship and goes in pursuit.
ACT III— Dec^s of Don Pedro's Ship
Preludio (Prelude to Act III)
By La Scala Orchestra *62614 10-inch, $0.75
Act 111 shows the decks of Don Pedro's vessel. Nelusk.0, who is secretly plotting to de-
stroy the ship, is brooding over his plans; and his gloomy bearing being noticed by the
sailors, they ask him to relate the old legend of Adamastor, king of the seas.
Adamastor, Re dell' onde profonde (Ruler of Ocean)
By Francesco Cigada, Baritone (In Italian) *62407 10-inch, $0.75
Nelusku: When tlie gale rolls o'er the deep,
Adamastor, monarch of the patiile.ss deep. Then Ix-ware. then beware!
Swift o'er foaming waves ^"^^^ 'Jj^ lightning's flash reveals to thine eye.
To sound of fierce winds trainiiing;
When his dark steeds vex the misty sea,
Beware, mariner 1 Beware, mariner 1
FAURE AS NELUSK
bee. , ^ _^ ^
Hmv the dark waves seek the storm-laden sky!
All hope now is lost.
For the doomed wretch no tomb,
None, none but a w-atery grave!
A storm is threatened, and amid the preparations for resisting the
1.1 lUj./-^ ■ II "i i' ■"' ■^■"•=""5 '"c elements a ship is
seen, which proves to be di Gamas. He rashly comes on board, is promptly seized by Dor,
Pedro and is about to be executed, when Selika draws her dagger and threatens to kill Inez
unless her lover is re eased. The tyrant reluctantly yields, but afterward orders Selika to be
Hogged. 1 he storm breaks, and in its midst the ship is boarded by Indians, fellow-country-
men of Nelusko, and the entire ship s company are either killed or made prisoners.
ACT l^/— Temple of Brahma
Act ly represents the Temple of Brahma in the country of Selika and Nelusko The act
opens w ith the weird and striking Indian March, played here by the Herbert Orchestra.
*DoMe.FaceJ Record— For title of opposile side see DOUBLE-FACED L'AFRICANA RECORDS, page 13
12
VICTOR BOOK OF THE OPERA— THE AFRICAN
12-inch, $1.25
12-inch, 1.25
12-inch,
12-inch,
12-inch,
12-inch,
$3.00
1.50
1.50
1.25
Marcia Indiana (Indian March)
By Victor Herbert's Orchestra 70068
By La Scala Orchestra *6802 7
The priests, who have crowned Selit^a their Queen, announce
the execution of all the prisoners except fiasco ; and he too is con-
demned to die. The priests and people disperse and Vasco enters,
guarded by soldiers. He is entranced with the beauty of this won-
derful land, of which he had dreamed, and voices his admiration in
the celebrated air, "O Paradiso. "
O Paradiso ! (Oh Paradise !)
^^^^_ By Enrico Caruso, Tenor [In Italian) 88054
i ^l^l^H By Florencio Constantino (/n/(a/ian) 74085
l> jS^^m By Evan Williams (In English) 74148
By Lambert Murphy (In Italian) 70100
\'asco:
Hail! fruitful land of iilenty, beauteous gar-
deTi, haill
An earthly paradise art thou!
Oh Paradise on earth!
Oh azure sky, oh fragrant air
All enchant my heart;
Thou fair new world art mine!
Thee, a radiant gift.
On my native land I'll bestow!
O beauteous country — mine thou art at last!
Caruso's singing of this famous air is a magnificent performance,
while two other fine records are offered in both Italian and English.
The soldiers are about to kill Vasco, but he is saved by Selika,
who announces that he is her chosen husband. Nelusk.0 is forced to
remain silent by threats that Selika will destroy herself. Di Gama,
forgetting Inez, yields to the spell and weds the Queen by the native rites.
ACT V— SCENE \—The Queen's Gardens
At the beginning of the last act, Inez, who had escaped from the prison, is captured and
brought before the Queen, who becomes convinced that di Gama still loves the Portuguese
maiden. In a moment of generosity she sacrifices her own feelings and assists the lovers
to escape. ACT V — SCENE \\— Promontory Cher the Sea
The final scene shows a promontory from which Selika is watching the ship bearing
Inez and di Gama toward Portugal. As the vessel disappears from view she advances
toward the deadly mancanilla tree, the fumes of which are death.
Selika;
Aye! here I look upon the mighty sea — bound-
less — infinite
As is my woe !
Its waves in angry fury break, and then anon
their course renew.
As doth my sorrowing heart!
iOhscrving tlie mancauiUa tree.)
Gathering the fatal flowers, she inhales their perfume, sadly saying :
I forgive thee !" She is overcome and sinks unconscious beneath th
Thou leafy temple, thou vault of foliage dark,
.\fter life's weary tumult I now come
To seek repose of thee.
my woes,
Yes! thy shade eternal
the tomb!
and find oblivion from
is like the darkness of
"Farewe
tree
my Vasco,
Nelusko, who
torgive thee 1 one is overcome
has come in search of her, finds her dying; and in a frenzy of grief, also inhales the deadly
blossoms and falls lifeless by her side.
DOUBLE-FACED L'AFRICAINE RECORDS
/Marcia Indiana (Indian March) By La Scala Orchestra
\ Traviata—Preludio By La Scala Orchestra
IAdamastor, Re dell onde profonde ( Adamaster, Ruler of the
Ocean) By Francesco Cigada, Baritone (In Italian)
Sei L'angiol di letto (Oh. Guardian Angel!) By Tina
Farelli, Soprano; G. Martinez-Patti, Tenor (In Italian]]
/Die che la terra venera By La Scala Chorus (In ^l''l'''"^\(,2i,l4
IPreludio— Atto III By La Scala Orchestral
'■'■' Double-Faced Record — For title of opposite side see above list.
68027 12-inch, $1,25
62407 10-inch, .75
10-inch, .75
(Italian)
AIDA
(Ah-ee'-dah)
OPERA IN FOUR ACTS
Text translated from the French of L^ocle by Antonio Ghislanzoni. Music by Giuseppe
Verdi. First produced in Cairo, December 24, 1871 ; at La Scala, Milan, February 8, 1872;
in Pans. April 22. 1876; at Covent Garden. June 22, 1876; at St. Petersburg. 1879. First
performance in America at the Academy of Music. New York, November 26, 1873. the cast
including Tornani, Gary, Campanini and Maurel. Produced in New York m 1886 in both
German and in English.
Characters of the Drama
AlDA, an Ethiopian slave Soprano
The King of Egypt Bass
AMNERIS. iAm-nare'-iss) his daughter Mezzo-Soprano
RHADAMES, iRahd'-ah-maze) Captain of the Guard Tenor
AMONASRO, (Am-oh-nahz'-roh) King of Ethiopia Baritone
RAMFIS, (Rahm'-fiss) High Priest Bass
A Messenger Tenor
Priests, Priestesses, Ministers, Captains. Soldiers. Officials, Ethiopian
Slaves and Prisoners. Egyptians, etc.
The scene is laid in Memphis and Thebe
Pharaoh' s time.
This opera was written by request of the Viceroy of Egypt, w^ho v/ished to celebrate
the opening of his new^ Opera House at Cairo by the production of a w^ork upon an Egyptian
subject from the pen of the most popular composer of the time. The story originated with
Marietta Bey, the famous Egyptologist, and seems to have inspired Verdi to unusual efforts.
Aida, daughter of Amonasro, King of Ethiopia, has been
captured by the Egyptians and is a slave at the Court of
Memphis, w^here she and the young soldier Hhadames have
fallen in love w^ith each other. Rhadames goes to the Egyptian
war, and during his absence the King's daughter, Amneris,
discovers his attachment and is furious, as she herself loves
R_hadames.
Rhadames returns, covered v^^ith glory and bringing many
prisoners, among them Amonasro, Aida's father. The King
releases all the prisoners except Amonasro, and bestow^s his
daughter on the unvsrilling Rhadames.
in the next scene Amonasro forces his daughter to persuade
Rhadames to become a traitor. The latter's love for Aida and
his distaste for the approaching union w^ith Amneris lead him
to consent. Amneris, how^ever, has overheard the plot, and
after vainly trying to induce Rhadames to abandon Aida, she
denounces him as a traitor, and he is condemned to be buried
alive. When the vault is sealed he discovers Aida, who had
concealed herself there that she might die with him ; and the
lovers slowly suffocate in each other's arms.
ACT I
SCENE I — A Hall in the Palace. Through the grand gate at the
back. "I'^i' ^c seen the Pyramids and the Temples of Memphis
The opera has no overture. The curiam rises, showing a
BEfiT, PARIS hall in the palace of the King of Memphis, where Rhadames
CARUSO AS RTIAnA^r[.s and the High Priest, Ramfis, are discussing the coming
15
VICTOR BOOK OF THE OPER A— V E R D I ' S A I D A
invasion of Ethiopia; and Ramfis hints that some young and
brave warrior may be chosen to command the expedition.
Fihadames, left alone, hopes that he himself may gain the
coveted honor, and promises to lay his triumphs at the feet of
his Aida.
Celeste Aida (Heavenly Aida)
By Enrico Caruso, Tenor
{ In Italian) 88127 12-inch, $3.00
By Leo Slezak. Tenor
[In German) 64113 10-inch, 1.00
Then occurs the splendid gem of Act 1, the Celeste Aida,
beginning
V,-l>Jl t.'J^F CIS. - ^^ /■ ^ ^ ^.^ - ^ ^ - ,
Ce - k sle A ■ i - da, (or - m.i di vi - na,— tin sii-co ser-lo di tu ■ ce e fior
Heav'n-ly A - i ■ da. b^aii ly te-il>Un-dcii! ,~ Ra - di aitt fiou-er.btoom-ing and bright
in w^hich Rhadames chants the praises of the peerless Aida.
It is seldom enjoyed at the opera, especially in America, as it
occurs almost immediately after the rise of the curtain, and is
invariably marred by the noise made by late comers. With
the Victor, however, it may be heard in all its beauty and the
fine renditions by Caruso and Slezak fully appreciated.
AS RMADAMHS
Rhadamks:
Heavt-nly Aida, Ijeauty resplendent,
Radiant flower, blooming and bright;
Queenly thou reignt:st o'fr nie transcendent.
Bathing my spirit in beauty's light.
\\'ould that thy Ijiight skies once more behold-
ing.
Breathing the soft airs of ihy native land,
Round tliy fair brow a diadem folding'.
Thine were a throne next the snn tn stand!
T DOVER Sr STUDIOS
MARTIN AS liJlADAMES
A fine trio, expressing the emotions of the characters in
the scene, then follows.
Ohitne ! di guerra fremere (Alas ! the
Cry of War I Hear)
By Elena Ruszcowska, Soprano ; Bianca Lavin
de Casas, Mezzo-Soprano ; Egidio Cu-
nego. Tenor (/n//a//an] 88261 12-inch, $3,00
The King's daughter, Amneris, enters, and seeing the young
warrior's glowing enthusiasm, delicately hints of her secret
affection for him, saying:
Am xeris:
A\'hat unwonted fire in thy glance I
With what noble pride glows thy face!
Worthy of envy — nh, Iiow nuich —
\\'ould lie the woman whose beloved aspect
Should awaken in thee this light of joy!
Rhadames begins to explain his hope of securing the
command of the expedition, when Aida enters, and the young
soldiers expressive glance reveals to Amneris his love for
the Egyptian slave.
The King and his guards enter and receive a messenger, v/ho
reports that Egypt has been invaded by the Ethiopian army,
under the command of Amonasro. ("My fatherl" exclaims
Aida aside.) Amid great excitement Rhadames is appointed
leader of the army, and is presented with a banner by
Amneris.
The King begins another trio, urging the Egyptian forces
to guard with their lives the sacred Nile.
VICTOR BOOK OF THE OPER A— V E R D I ' S A I D A
Su! del Nilo (Nilus' Sacred Shores!)
By Elena Ruszcowska, Soprano ; Maria
Cappiello, Mezzo-Soprano; Tapergi
and Davi [In Italian) 88266 12-inch, $3.00
Following the trio comes a grand chorus:
To battle! We'll hunt the invader down.
On! Rhadames, thy brow may laurels crown!
All depart to prepare for the expedition, while Aida,
left alone, gives w^ay to her grief and sings the beautiful
Hitorna vincitor, expressing her conflicting emotions.
Ritorna vincitor (Return Victorious !)
By Johanna Gadski, Soprano
(In Italian) 88137 X2-inch. $3.00
Aida:
Return victorious! And from my lii)s
Went forth the impious word! Conqueror
Of my father — of him who takes arms
For me — to give me atiain
A country; a kingdom; and the illustrious
name
Which here I am forced to conceal !
The insane word forget, O gods;
Return the daughter
To the bosom of her father:
Destroy the squadrons of our oppressors!. . .
What am 1 saying? And my 1nvc,
Can 1 ever foiget
This fervid love which oppresses and enslaves.
As the sun's ray which now blesses nic?
Shall I call death on Rhadames —
On him whom I love so much?
Ah! Never on earth was heart torn by more
cruel agonies!
She gives way to her emotion for a brief moment, then sings the lovely and appealing
I sacri nomi (The Sacred Names)
By Celestina Boninsegna, Soprano
Rousing herself she calls on her gods for aid and goes
slow^ly out as the curtain falls.
SCENE II — The Temple of Vulcan — in the centre an altar,
illuminated by a mysterious light from above
Ramfis, the High Priest, and the priests and priest-
esses have assembled to bless the expedition. The chant in
praise of Ptah is heard from an invisible choir. Rhadames
enters and receives the consecrated veil.
Ramfis:
Mortal, beloved of the gods, to thee
Is confided the fate of Egypt. Let the holy
sword
Tempered by the gods, in thy hand become
To tiae enemy, terror — a thunderbolt-death!
Rhadames:
God, who art leader and arbiter
Of every human war,
Protect thou and defend
The sacred soil of Egypt!
Nume, custode e vindice (God, Guardian
and Avenger)
By Antonio Paoli, Tenor; Perello
de Segurola, Bass; and Chorus
(In Italian) 88268 12-inch, $3.00
17
88223 {In Italian) 12-inch, $3.00
COPr-T DUPOW
EAMES AS AIDA
VICTOR BOOK OF THE OPER A— V E R D I ' S A I D A
Hamfis then sings the closing invocation, in which Rhadames joins.
He is invested with the sacred armor, and as the priestesses perform the mystic dance
the curtain slow^ly falls.
ACT II
SCENE I — A hall in Amneris' apartments
The curtain rises, show^ing the Princess and her slaves, w^ho
are adorning her for the triumphal festival in honor of Hhadames,
just returned with his victorious army. Amneris and the slaves
sing the ode to the returned hero.
Chi mai fra (His Glory Now Praise)
By Maria Capiello, IMezzo-Soprano,
and Chorus {In Italian) *55005 12-inch, $1.50
Seeing Aida approaching, the Princess dismisses her slaves
and prepares to enjoy her revenge.
This scene is expressed in a splendid duet, given here in tw^o
records by Mmes. Gadski and Homer, and also by Mmes.
Ruszcow^ska and Lavin de Casas, of the La Scala forces.
Fu la sorte dell' armi ("Neath the Chances
of Battle)
By Johanna Gadski, Soprano, and Louise Homer,
Contralto (/n Italian) 89024 12-inch, $4.O0
By Elena Ruszco'svska, Soprano, and Bianca
Lavin de Casas, Ivlezzo-Soprano
(In Italian] 88262 12-inch, 3.00
Alia pompa, che s'appreste (In the Pageant
Now Preparing)
By Johanna Gadski, Soprano, and Louise Homer, Contralto
(In Italian) 89025 12-inch, $4-00
Ebben qual nuovo fremito (W^hat
New Alarm?)
By Elena Ruszcow^ska, Soprano, and Bianca
Lavin de Casas, ^ezzo-Soprano
(In Italian) 88263 12-inch, $3.00
Amneris pretends to sympathize w^ith the afflicted
girl, saying :
Amneris:
The fate of arms was deadly to thy people.
Poor iVidal The grief
Whicli weighs down thy heart I share with
thee.
I am thy friend;
Time will heal the anguish of thy heart,
And more than time — a powerful god-love.
A I DA :
Oh! love immortal I oh! joy and sorrow.
Sweetest delirium, dark doubts and woes!
As in thy trials new life I borrow,
A heav'n of rapture thy smiles disclose.
Amneris inside) :
This death-like pallor, this strong emotion,
Plainly reveal the fever of love!
(To Aida):
Among the braves who fought so well.
Lost in their country's service,
lias someone a tender sorrow haply waken'd
in your heart ?
Aida;
What say'st thou?
HOTO BERT
HOMER AS AMNERIS
1"I MISHKfH
nALMORES AS RITADAMES
' Doubk^FaceJ Record—For title o/ opposite Side see DOUBLE-FACED AIDA RECORDS, page 26.
19
VICTOR BOOK OF THE OPER A— V E R D I ' S A I D A
Amneris: Amneris:
Tremble I I read thy secret. Tremble, vile minion! be ye heartbroken,
Thou lov'st him I lie no longer! Warrant of death this love shall betoken!
I love hini too — dost thou hear? In the pomj) which approaches.
I am thy rival, daughter of kings Egyptian. With me, U slave, thou shall assist;
Thou prostrate in the dust —
Aiha: 1 <m the throne beside the King;
Thou my rival? 'tis well, so be it — Come, follow me, and thou shalt learn
Ah, what have I said? forjaive and pity. If thou canst contend with me!
Ah, let this my sorrow thy warm heart move. Aiha:
'Tis true I adore him v/ith boundless love — Ah, )iity 1 What more remains to me ?
Thou art so happy, thou art so mighty, My life is a desert;
I cannot live hence from love apart! This love \\hieh angers thee
In the tomb I will extinguish 1
Alw^ays a highly impressive number, this duet is doubly so -when rendered by such
famous exponents of the parts of Aida and Amneris. Mme. Gadski's Aida is one of her
most effective roles — splendidly acted and vocally perfect; while Mme. Homer's impersona-
tion of the Egyptian Princess is aWays a thrillingly dramatic one.
The rendition by the two La Scala artists is one of the finest w^hich has come to us from
Milan.
SCENE n—mthout the City Walls
The scene changes to a gate of the city of Thebes. The King and his court are
assembled on a magnificent throne to receive the conquering army. A splendid chorus is
sung by people and priests. The Egyptian troops, preceded by trumpeters, enter, followed
by chariots of v/ar, ensigns, statues of the gods, dancing girls carrying treasures, and finally
Rhadames, under a canopy borne by twelve slaves ; the procession headed by bands of
musicians playing the famous Triumphal March.
Grand March (Triumphal March)
By Vessella's Italian Band -^35265 12-inch, $1.25
Vessella has admirably produced the familiar effect of the two bands playing, at first
separately, and then together.
KiNc. (descending from the fhiuiie to embrace (Rhadames Lwn's before Amneris. ivlio places
Rhadames) : the croicn upon him.)
Saviour of our country. I salute thee. Now ask of me
Come, and let my daughter with her own hand What thou most wisliest. Nothing denied to
Place upon you the triumphal crown. thee
On such a day shall be — T su-car it
Ry my crown, by the sacred gods!
The prisoners enter, including Amonasro, who is dressed as an officer. Aida sees
him and cries, "What do 1 see! My father 1" All are surprised, and Amonasro signals to
Aida not to betray his rank. Amonasro then sings his recital :
Quest' assisa ch'io vesto (This Dress Has Told You)
By Ernesto Badini, Baritone; Sra. Fabris, Soprano; Lavin de Casas, Mezzo-
Soprano; Egidio Cunego, Tenor [In Italian) 88264 12-inch. $3.00
Amonasrii:
1 am her father. 1 went In war, Lay the Kinj:, transfixed by many wouTids-
Was conquered, and death I sought in vain. If the love of country is a' crime
(Pointiiicj to his uiiiforw) We are all criminals— all ready to diel
Thi= habit I wear may tell you (Turnino to the King nuth a supplicating
T h:it I ba\"e defendiil m_\' king and my coun- accent)
f'">'- Tint thou. O King, thou powerful lord,
[■ate was hovtde lo imr arniH; Tie merciful to these men.
\ am wa<- the cnuraue of the brave! To-day we are stricken by Fate
At my feet, m the dust extended. To-morrow Fate may smile thee!
The people and prisoners appeal to the King for mercy, while the priests demand that
the captives be put to death. Rhadames, seeing the hesitation of the King, reminds him of
his vow, and demands life and liberty for the captured Ethiopians. The King yields,
stipulating only that Aida and her father be held as hostages, and then announces that
Rhadames shall have the hand of Amneris as his reward.
The magnificent finale then follows, Aida and Rhadames gazing at each other in despair,
Amneris glorying in her triumph, and Amonasro swearing secret vengeance against his
captors. The curtain falls amid general rejoicing.
* Doubk-Faced Record — For title of opposite si Je see DOUBLE-FACED AIDA RECORDS, pafsc 26,
20
VICTOR BOOK OF THE OPER A— V E R D I ' S A I D A
THE GREAT CONSECRATION SCENE
ACT III
SCENE I — A moonlight night on the banks of the Nile — the Temple of his
can be seen, half concealed b;^ palm trees
As the curtain rises on this beautiful scene, a chorus within the
Temple is heard in a chant oi praise.
O tu che sci d'Osiride (Oh, Thou Who Art
Osiris)
By Maria Cappiello, Soprano, and Chorus
[In Italian) =^=55005 12-inch, $1.50
Chorus (in the temple) :
O Thou who art of Osiri;
Mother immortal and spouse.
Goddess who awakens the beatings
In tlie heart of human creatures,
Come ]")iteous to our help.
Mother of eternal love.
Amneris:
I will pray that RhadaTius Tiiay
give me
His whole heart — as mine to him
Is consecrated forever!
A boat approaches, bearing Rhadames and Amneris, who go into
the Temple. Aida, veiled, cautiously enters, hoping that Rhadames
will come thither, and sings a tender and despairing song of that
lovely land w^hich she may never see again.
O patria mia (My Native Land)
By Johanna Gadski, Soprano
[In Italian) 88042 12-inch, $3.00
By Emmy Destinn {In German) 92058 12-inch, 3.00
By Celestina Boninsegna {Italian) 88239 12-inch. 3.00 u^stinn
By Lucy Isabelle Marsh {Italian) 60098 10-inch, .75
* Double-FaceJ Record— For title of opposite side see DOUBLE-FACED AIDA RECORDS, page
21
26.
VICTOR BOOK OF THE OPER A— V E R D I ' S A I D A
O native land, no more to thee sliall I return
O skies of tendc^r blue. O soft airs blowing,
Where calm and pL-acefuI my dawn of lift.
pass'd o'er,
O hills of verdure, O perfuni'd waters flowing
U hunu' beloved, I ne'er shall seu thee morel
O fresh and fragrant vales, O quiet dwelling,
Promise of happy days of love that bore.
Now hope is banish'd. love and }'onder dream
dispelline,
O home beloved, I ne'er shall see thee inore!
Three fine renditions of this air, one of
the most effective in the opera, are given here
by three celebrated prima donnas, all of v^'hom
have been seen in America in this role.
Aida is about to depart when she is
astonished to see her father. Amonasro re-
proaches his daughter with her love for his
enemy Rhadames, telling her with significant
emphasis that she may behold her native land
again if she wishes. He tells her that his
people have risen again, and proposes that
she shall influence Rhadames to betray the
plans of his army in the new campaign. She
at first refuses, but he bids her be true to her
country, and pictures the sufferings of her
people.
Ciel ! Mio Padre ! (Heaven ! My
Father!)
By Johanna Gadski, Soprano,
and Pasquale Amato, Bari-
tone
{In Italian) 89067 12-inch, $4.00
Riyedrai le foreste imbalsamate (Thou Shalt See Again the
Balmy Forests)
\iDv -^y ^'^"^ ^"*"°'^*''^ ='"<1 <^'"seppe Ma^gi {Italian) 88267 12-inch, $3.00
Ilt'avunl Mv
Nn SCOTl-r 7N AIDA
father!
-Vmonaskm :
(irave altairs lead nic to tliee, Aida.
Nothing escapes my sight: thou art destroying
Thyself with love for Rliadanies: lie loves thee
And here thou waitest him.
The daughter of the Pharoahs is tin' ri\-al —
An infamous race, abhorred and f.a'tal to us'
Aida :
And I am in her ]Jower! I. the daufihter of
Amonasro.
Amonasko :
In her jiower! No! ]f thou wishest.
This powerful rival thou shalt defeat.
And country, and throne, and love' all shall
he thine.
Thou shalt see attain the halnr,- foiesl^,
The fresh valleys, our temjiles ",)f guld!
AroA iwilli Irnusf'ort) :
I shall see again the balmy forests,
(.)ur valle\s, our temples of gold!
.\monasro;
Thou rememherest that th^ meieiless Egyptian
Profaned our houses, temples and altars-
Mothers, old men and children he slew
A 1 D.\ :
.\h! well I remember those unhapjiy days
I remember the grief that mv heart suffered
Amonasro :
Then delay not. In arms now is roused
Our people — everytlu'ng is ready —
X'lctory we shall have. It only remains for me
to know
What path the encniv will follow
Aida;
Who will be able to discover it' Whoever?
-Amonasro:
Thyself!
Aida :
I?
-Vmunasro :
Rhadames will come here soon— he loves thee—
lie leads the Egyptians. Host thou undersland?
Aida:
Horror! What dost thou counsel
Neve]- !
No,
Su, dunque ! (Up, Then !)
By Johanna Gadski and Pasquale Amato (Italian) 89068 12-inch. $4 00
By Elena Ruszcowska and Ernesto Badini illalian) 88265 12-inch 3 00
With growing excitement he describes the consequences of her refusal,
Amonasro (lei//: saianc roue): ,
Up, then! ' A'";-'
Rise, Egyptian legions! '^"' father!
With fire destroy our cities — -\monasro (rc^nlsinij her)-
Spread terror, carnage and death. My daughter
To your fury there is no longer check! r)ost thou call thyself?
VICTOR BOOK OF THE OPER A— V E R D I ' S A I D A
AiDA ( terrified and suppliant) :
Pity:
Amonasro:
Rivers of Llood pour
On the cities of the \-anquished —
Seeth thou? From the black gulfs
The dead are raised —
To thee they point and cry;
For tliec the country dies I
AiDA :
Pity:
Amonasro;
A horrible ghost
Among the shadows to us approaches-
Treinlile: the tieshless arms
Over thy head it raised —
Amonasro :
No; thou art not guilty —
It was the will of fate.
Come; beyond the Nile await
It is thy mother — recognize her —
She curses thee:
AiDA {ill the greatest terror) :
Ah, no! Father!
Amonasro (repulsing her) :
Go, unworthy one: Thou'rt not my offspring —
Thou art the slave of the Pharaohs!
Aida (yielding) :
Father, their slave 1 am not —
Reproach me not — curse me not;
Thy daughter again thou canst call me —
Of my country I will be wnrthy:
Amonasro :
Courage! he conies — there, I shall htar all.
{Conceals himself among the palm trees.)
Rhadames now enters and tries to embrace her. but she
repulses him, saying bitterly :
Aida :
The rites of another love await thee,
Thou spouse of Amneris!
He protests that he loves Aida alone, but she bids him
prove his affection by fleeing with her.
A IDA:
Ah! fly with me, and leave behind
These deserts bare and blighted;
Some country, new anil fresli to find,
Where we may love united.
There, 'mid virtjin forest groves.
By fair sweet flow'rs scented,
In quiet joy contented, the world will we
forget!
He finally consents, and reveals to her that the army
w^ill go by the pass of Napata. Amonasro, w^ho has overheard,
now^ enters, and Hhadames is horrified at the know^ledge that
he has betrayed the army to the King of Ethiopia. His
scruples are finally overcome, Amonasro saying;
The brave men devoted to us;
There the vows of thy heart
Shall be crowned with love.
Amneris, coming from the temple, pauses behind a pillar and overhears the final w^ords.
Mad w^ith jealousy, she rushes in and denounces the guilty trio. Aida and Amonasro escape
but Rhadames is taken in custody as a traitor.
ACT IV
SCENE I — A room in the Palace — on one side a door leading to Rhadames' prison cell
The curtain rises, disclosing
Amneris in an attitude of despair.
She is torn between her love
for Rhadames and a desire for
vengeance, and finally orders
the prisoner brought before her.
Awni^k:
My
( bitterly innsing) :
al has escaped me-
And Rhadames awaits from the
priests
The ]"junishment of a traitor.
Traitor he is not, though he
revealed
The high secret of war. fie
wished to fly —
To fly with her — traitors all !
To death, to death!
Oh, what am T saying? I love
him —
Oh! if he could love me!
I would save him — but how?
Let me try. Guards, Rhadames
comes.
i A TRAITOR
23
VICTOR BOOK OF THE OPER A— V E R D I * S A I D A
Rhadames enters, and the first great duet of the act occurs.
Gia i sacerdoti adunnasi (The Priests Assemble)
By Louise Homer and Enrico Caruso (In Italian)
By Pietracewska and Barrera (In Italian)
Aida a me togliesti ( Aida Thou Hast Taken
By Louise Homer and Enrico Caruso
89050
88269
12-inch, $4.00
12-inch, 3.00
(In Italian) 89051 12-inch, $4-00
Amneris offers to save his hfe if he will renounce Aida.
ing to die rather than be false to his Ethiopian Princess.
He scorns her proposal, resolv-
^'\ M N EE 1 S :
Renounce her forever
And thou shalt live!
Rhadames:
I cannot do it!
Amneris:
Wouldst thou die, madman?
E.HADAMF.S :
I am ready to die.
Amneris:
Wlio .saves thee. O wretch,
From the fate that awaits
thee?
To fury liast thou changed
A love that had no equal.
Reven^'e for my tears
Heaven will now consummate!
Th
e ensuing
The guards now appear and conduct Rhadames to the judgment room,
scene is a highly dramatic and impressive one.
Ohime! Morir mi sento ( Ah, me ! Death Approaches D
By Lavin de Casas, Mezzo-Soprano ; Rizzo Sant' Elia,
Bass; and Chorus (In Italian) 882 70 12-inch, $3.00
Amneris, seeing Rhadames taken out by the Priests, repents her harshness and sinks
down desolate on a seat.
Ah, let me not behold those white robed
_phantomsI
{Loz'crs her face zvitli her hands. The I'oicc
of Ramfis can be heard within.)
Ramfis:
Rhadames, Rhadames : thou hast betrayed
Of thy country the secrets to aid the focTnin:
Priests:
Defend thyself!
Amneris (jaUi)ig on a citair. overcome):
Ah me! Death's hand approaches! who now
will save him?
lie is now in their pnuei.
His sentence I have sealed — Ob, how I curse
thee,
Jealousy, vile monster, thou who hast doomed
him
To death, and me to everlasting: sorrow!
{Turns mid sees Ramfis and the Priests, zvho
cross the stage and enter the subterranean Ramfis:
holl.) Rhadames, Rhadames: and thou wast absent
What see I? Behold of death From the camp the very day before the
The ministers fatal, his merciless judges. combat!
Priests:
Defend thyself!
Rami- IS :
Rhadames, Rhadames: and
thou hast played
The part of a traitor to King,
and to honor!
PRIICSTS:
Defend thyselfl
Ramfis:
He is silent.
jglljj^ 'iii''-'''^ '^^^'^■H
1
H^l
1
1
HpS^^nt i'lMj^^^^
^^I^I^^biiIk
B
l^w
1
l^ll
^^^^H
H
2
ii
Alt. ■
Traito
vile :
THE PESPATK OF A M N EH [ S ACT IV
Ram I 1,S :
Rlinrlanies, wc lliv fale have
^(.■citlcd.
Of all traitors tin- fate shall
lie thine —
'Neath the allar wliosc d.A
thou'st deriiled
Thou a sejnilehre li\-im; shall
lind.
Amnj:ris:
Find a sepulehre living!
Hated wretches I
Ever vengeful, blood-thirsty
and blind!
24
VICTOR BOOK OF THE OPER A— V E R D I ' S A I D A
Sacerdoti, compiste un delitto ! (Priests, a Crime You Have
Enacted !)
By Lavin de Casas, Mezzo-Soprano ; F. Rizzi, Bass; and
Chorus {In Italian) 88323 12-inch, $3.00
The priests now enter from the crypt and pass across the hall. The wretched woman
denounces them.
Priests of Heaven, a crime you have enacted,
Tigers even in bloodshed exulting,
Earthly justice and Heaven's you are insulting,
On the guiltless your sentence will fall!
Priests : (Dcf^artiiuj slo'vly.)
None can his doom recall I
A M N EK 1 s :
Impious priesthood, curses light on ye all I
On your heads Heaven's vengeance will fall 1
(Exit wildly.)
This is one of the most impressive records of the Aida series. The despair of the
wretched jimneris, and the solemn reply of the unbending priests are w^onderfully expressed
by Verdi.
SCENE II — Interior of the Temple of Vulcan — below a Subterranean Apartment
"The work finishes in serenity and peace, and such terminations are the most beautiful. Above,
the temple full of light, where the ceremonies continue immutable in the sanctuary of the indifferent
gods; below, two human beings dying in each other's arms. Their song of love and death is among
the most beautiful of all music. " — Camille Bellaigue.
When we hear the expression "the duet from Aida," our thoughts always instinctively
turn to this number at the close of the w^ork. There are other duets in the opera, some of
them fine numbers, but this is the great one — perhaps the most intensely dramatic and
melodiously beautiful of all Verdi's writings.
La fatal pietra (The Fatal Stone)
By Johanna Gadski, Soprano, and Enrico Caruso, Tenor
{In Italian) 89028 12-inch, $4-00
By Nicola Zerola, Tenor (Part of scene—'* To die, so
pure and lovely!") [In Italian) 74225 12-inch, 1.50
This last scene is a highly picturesque one. Above w^e see the splendid Temple of
Ptah, where priests and priestesses are chanting their strange songs. Belov^, a dark vault,
in whose depths Flhadames is aw^aiting with patience a slow^ death by starvation.
Rhadames (despairingly) :
The fatal stone upon me now is closing!
Now has the tomb engull'd me I
The light of day no more shall I see!
No more behold Aida!
Aida, where art thou now?
Whate'er befall me, may'st thou be happy!
Ne'er may my frightful doom be trild to thine
ear I
{Then suddenly in flic shadozcs he sees a
form- — it is Aida, zvho has secreted herself in
the crypt that she may die with her lover.)
What moan was that?
Is't a phantom, or vision dread? ^
No! 'tis a human being!
Heaven! Aida I
Aida: Yes I
Rhadames (in great desperation):
Thou, with me here bui'iedl
Aida;
My heart foreboded this, thy dreadful sen-
tence,
And to this tomb that shuts on thee its portal,
I crept, unseen by mortal.
Here, free from all.
Where none can more behold us,
Clasp'd in thy arms. lD\'e.
I resolved to perish!
Rhadames: To die I so pure and lovely!
To die! thyself thus dooming,
In all thy beauty blooming.
Fade thus forever!
Thou, whom the gods alone for love created;
Yet to destrov thee, was my love then fated!
Thou shalt not die! so much I love thee,
Thou art too lovely!
25
CAMPANINI AS RHADAMES
VICTOR BOOK OF THE OPER A— V E R D I ' S A I D A
AlDA itransl'ortci.l) :
Sce'st thou where death, in angel guise,
With heavenly radiance beaming,
Would waft us to eternal joys,
On golden wings above I
I see heaven's gales are open wide
Where tears are never streaming.
Where only bliss and joy reside.
The bliss and joy of never fading, endless
love '.
The lovers sing their plaintive farewell to earth in hauntingly lovely strains, while in
strange contrast the heathen chanting continues above.
O terra addio (FareAvell, Oh, Earth)
By Johanna Gadski, Soprano, and Enrico Caruso, Tenor
i/n Italian I 89029 12-inch, $4-00
AlDA AND RtlADAMES:
Farewell, O earth, Se^. , brightly <.ijxii^ fnr u>.
Farewell, thou dark vale of sorrow, Hrightly opens now the sky, and endless mor-
Erief dream of joy, row,
Condenmed tu end in woe! There, all unshadowM, shall eternal glow!
( Curtain]
DOUBLE-FACED AND MISCELLANEOUS AlDA RECORDS
55005 12-inch. $1.50
Chi mai fra {His Glory Now Praise) By Maria
Cappiello. Mezzo-Soprano, and Chorus In Italian)
O tu che sei d'Osiride (Oh. Thou Who Art Osirisj
By Maria Cappiello, Mezzo-Soprano, and Chorus
( In Italian)
Celeste Aida (Heavenly Aida) Trombone By Arthur Pryorl„-.
II Guarany Overture By Pryor's Bandf^^*^^^ 12-inch, 1.25
The Fatal Stone Cornel- Trombone I
By Arthur Pryor.Emil Keneke and Pryor's Band [35 150 12-inch.
Serenade ( Titl) 'Cello-Flute By Louis Heine and Darius Lyons]
)Aida Fantasia
I Cascades of Roses Walt.
(Aida Selection
I Aitila — Grand Trio
Aida Selection (Finale. Act II)
/Aida — ^Grand March
) Rondo Capriccioso (Mendelssohn)
IMarcha Triunfal (Triumphal March) |
By Garde Republicaine Band L ^ .^^ ,„ . .
Tosca—Tosca divina I (In Italian) }62409 10-inch,
By Gustavo Berl-Res^y, Baritone]
1.25
By Police Band of Mexicol ^ - ^ , „ ,
By Police Band of Mexicof^^^"^^ 12-inch. 1.25
By Pryor's Band! „^ - „^ ,^ . ,
By Kryl's Bohemian Bandf^^^^^ 12-mch. 1.25
By Pryor's Orchestra 31359 12-inch, 1.00
Vessel
lessen
lla's Italian Bandl „,,, , ,, • ,
sella 's Italian Bandr^^^^ 12-mch, 1.25
.75
FTNAI, SCENE OF AIDA
26
( Italian)
ANDREA CHENIER
(Ahn-dree 'oh Sheh neay)
OPERA IN FOUR ACTS
Libretto by Luigi lllica ; music by Umberto Giordano. First produced at La Scala,
Milan, March 28, 1896. First performance in Berlin m 1898; m London, April 2, 1903, by
the Carl Rosa Company, in English. Given in Italian some years afterward, with Starkosch,
de Cisneros, Zenatello and Sammarco. First American production at the Academy of
Music, November 13, 1896, with Durot, Ughetto and Bonaplata-Bau. Revived in 1908 by
Oscar Hammerstein's Manhattan Opera Company, the cast including Mme. Eva Campanini,
Bassi, Sammarco, Zeppili and de Cisneros.
Characters
ANDREA CHENIER Tenor
CHARLES Gerard Baritone
COUNTESS DE COIGNY Soprano
Madeleine, her daughter Soprano
BERSI, her maid Mezzo-Soprano
Rougher Bass
MATHIEU Baritone
MADELON Soprano
FLEVILLE Tenor
The Abbe Tenor
Schmidt, jailer at St. Lazare Bass
A SPY
GIORDANO
Ladies, Gentlemen. Servants, Pages, Peasants, Republican Soldiers, Masqueraders,
Judges, Jurymen, Prisoners, etc.
Time and Place : Paris ; during the French Revolution.
The story tells of Andrea Chenier, a patriot, poet and dreamer, \vho was born in Con-
stantinople, coming to Paris for his education. The French Revolution w^as in full sw^ing,
and being a worshipper of liberty and a hater of monarchs, he took, vigorous sides, and w^as
arrested, imprisoned and finally guillotined on July 25, 1794. lllica's plot, however, is almost
wholly pure fiction.
ACT I
SCENE— Ha/I in the Castle of Coigny
As the curtain rises the servants of the castle are preparing for a ball, and among them
is Gerard, afterward to become the leader of the Revolution. As his old father enters, bent
under the weight of a load of furniture, the young man wistfully sings the Son sessant'
anni :
Son sessant' anni (My Aged Father)
By Ernesto Badini, Baritone (In Italian) 45012 10-inch, $1.00
The guests arrive, including Andrea Chenier, the young poet, and during the festivities
Madeleine coquettishly asks Chenier to improvise upon the theme of love.
VICTOR BOOK OF THE OPERA — ANDREA CHENIER
Improvviso — Un di all' azzurro spazio (Once O'er the Azure
Fields)
By Enrico Caruso, Tenor (In Italian) 88060 12-inch, $3.00
By Nicola Zerola, Tenor (In Italian) 74216 12-inch. 1.50
In this air Chenier sharply criticises the aristocracy, and speaks of the pride of the rich
and its effect upon the poor. The guests are displeased at his lack of taste, and later, "when
Gerard appears with a crowd of ragged men and women, Chenier supports him and goes
with the party when it is ordered from the castle.
ACT II
SCENE — A Cafe on the Seine, Paris. Five years later
Bersi and a spy are dining at one of the tables, while at another table nearby is Andrea.
Roucher enters and tells the young man that he is in danger and is being watched, giving
him a pass which will enable him to escape in case of necessity. Andrea, however, tells
Roucher that he has a rendezvous that evening with an unknown lady, and the latter begs
him not to go. Bersi goes into the cafe with the spy. but presently returning, mingles with
the crowd and speaks to Chenier, begging him to await a lady whom she calls Speranza.
As darkness falls Madeleine appears and is recognized by both Chenier and the spy, who
is concealed and watching from a distance. He hurries away to report to Gerard, and the
young girl begs Chenier to save her from Gerard. They avow their love and are about to
fly together when Gerard intercepts them and tries to drag Madeleine away, but Roucher
interferes and escorts the girl to her home, while Chenier and Gerard draw their swords.
Gerard is wounded, and warns Chenier that he is proscribed and begs him to save Madeleine.
Chenier flees and the mob surrounds the wounded Gerard, while he declares his assailant is
unknown to him.
ACT III
SCENE— ^( the Tribunal
At a meeting of the people at which Gerard is spokesman, a spy enters and tells him
that Chenier has been arrested and that Madeleine is not far away. The spy urges him to
denounce Chenier, and after much hesitation he consents to draw up the necessary papers.
He signs them and hands them to the spy. when Madeleine appears and offers herself in
exchange for Andrea's life. Gerard is touched by the young girl's grief and promises to do
what he can.
Andrea is brought before the judges and jury and denounced as a traitor, whereupon
he speaks with deep feeling and defends himself with brilliancy.
Si fui soldato (I W^as a Soldier)
By Egidio Cunego, Tenor (In Italian) 45012 10-inch. $1.00
Gerard, regretting that he has signed the papers which condemned Andrea, rushes
forward and testifies for him, but the people demand more victims, insisting upon the death
sentence, and the prisoner is led a\vay.
ACT IV
SCENE— The Prison of St. Lazare
Andrea is in his cell, writing verses by the light of a lamp. Madeleine succeeds in
getting into the prison by impersonating a recently pardoned prisoner, and by bribing his
jailer. Gerard conducts her to Andrea and then goes for a last appeal to Robespierre The
lovers chng to each other in a last embrace, and at dawn, when the death wagon comes
for Andrea, Madeleine goes to the guillotine to die with him.
DOUBLE-FACED ANDREA CHENIER RECORDS
iSon sessant' anni (My Aged Father) By Ernesto Badini, \
Baritone (/„ Italian)
Si fui soldato (I Was a Soldier) By Egidio Cunego. Tenor f'*^^^^ 10-inch. $1.00
{In Italian)]
28
(Italian)
IL BARBIERE DE SIVIGLIA
{Eel Bahr-beay' -reh dec See-veeC -yah)
BARBER OF SEVILLE
COMIC OPERA IN TWO ACTS
Text by Sterbini, a Roman poet, founded on the celebrated trilogy of Beaumarchais.
Music by Rossini. First presented at the Argentina Theatre in Rome, February 5, 1816.
First London production March 10, 1818. First New York production November 29, 1825.
The opera was at first called "Almaviva, or the Useless Precaution," to distinguish it from
Paisiello's " Barber of Seville."
Cast
Count almaviva {Al-mah-oee -oah) Tenor
BARTOLO, (Bah/ -to-loiv) physician Bass
ROSLNA, his w^ard Soprano
BASILIO, ( Bah-zecl-yob) music master Bass
MARCELLINE (Mar-chel-lee'-neh) Soprano
Figaro {Fee -gah-row) Baritone
FlORELLO, servant to the Count Tenor
A Notary, Chorus of Musicians, Chorus of Soldiers
Scene and Period : Seville, the seventeenth century.
Rossini's opera is a marvel of rapid composition, having been composed in about fifteen
days! This seems almost incredible, but the fact is vv^ell authenticated. The composer had
agreed to write two operas for the Roman carnival of 1816, the first of which was produced
December 26, 1815, and on that day he was told that the second would be required on Jan-
uary 20, 1816. He agreed to have it completed, although he did not even know what the
subject was! The libretto w^as given to him by Sterbini in sections, and he w^rote the music
as fast as the verses were furnished. While the opera did not achieve an instantaneous suc-
cess, it gradually found favor w^ith opera-lovers on account of its brightness and the manner
in which the humor of its action is reflected in the music.
The plot of Barber of Seville is very simple. The Count Almaviva loves Rosina, the ward
of Or. Bartolo, a crusty old bachelor v/ho secretly wishes to wed her himself. Almaviva per-
suades the village barber, Figaro, to arrange a meeting for him, and gains entrance to the
house disguised as a dragoon, but is arrested by the guardian.
Not discouraged, he re-
turns, pretending to be a sub-
stitute for Hasina's music
teacher, who, he says, is ill.
The appearance of the real
Don Basilio spoils the plan, and
the Count retreats for the
second time, having, however,
arranged a plan for elopement.
Bartolo finally arouses
Rosina's jealousy by pretend-
ing that the Count loves
another, and she promises to
forget him and marry her
guardian. When the time for
the elopement arrives she
meets the Count, intending to
reproach him, but he con-
vinces her of the base plot setting of act i, scene i, at la scala
of Bartolo, and the lovers are wedded by a notary, just as Bartolo arrives with officers to
arrest the Count.
29
VICTOR BOOK OF THE OPERA -BARBER OF SEVILLE
Overture to Barber of Seville
By La Scala Orchestra
68010 12-inch, $1.25
ACT I
SCENE 1 — A Sireel in Seville. Day is Breaking
The Count, accompaniea by his servant Fiorello and several musicians, enters to serenade
the beautiful Rosina. Accompanied by the mandoUns, he sings his serenade, Ecco ridente,
considered one of the most beautiful numbers in the opera.
Ecco ridente (Dawn, "With Her Rosy Mantle)
By Fernando de Lucia, Tenor [Piano ace.) {In Italian) 76000
12-inch, $2.00
Count;
Lo 1 smilini; in the Orient sky,
Morn m her Ijeauty breaking.
Canst thou, my love, inactive lie—
My life, art thou not waking?
.'Vrise, m\' heart's own tixasure,
All that my sonl holds dear;
Oh I turn my grief to pleasure 1
.-\uake, my love, appear!
But. hushl — nietliinks 1 view that face,
^\nd all my doubts are vanished;
Thine eyes dilluse soft pity's grace.
And all my fears are banished.
Oh, rapturous moment of delight!
AH other blisses shaming;
My soul's content, so jmre and bright,
( tn earth no equal elaimingl
Even such a lovely serenade as this fails to bring a response from the window, but the
Count still lingers, concealing himself in the shadow as he sees Figaro, the jack-of-all-trades
of the village and general factotum in the house of Barlolo. Figaro unslings his guitar and
sings that gayest and most difficult of all airs, the joy or despair of baritones the world over,
which has been recorded for the Victor by three famous baritones.
Largo al
12-inch, $3.00
12-inch, 3.00
12-inch, 3.00
CAM TANARl
factotum (Room for the Factotum)
By Pasquale Amato, Baritone
(In Italian) 88329
By Emilio de Gogorza, Baritone
(In Italian) 88181
By Titta Ruffo, Baritone
(In Italian) 88391
Figaro is thorqughly satisfied with himself, and gives a
long list of his numerous accomplishments, of which the
following is a sample:
FlCAEO: Ronm for Ihe city's factolom here
La, la, la, la. la, la.
I must be off to my slin|,, f,,r tile dawn is
near.
La, la. la. la, la. la.
What a merry life, what jileasurc gay
.\wan- a barber of (|uality.
Ah, biave Ficaro; bravo, bravis-imo. brave
La, la, la, la, la, la.
Of men, the hai>piest, sure, art thru, bravo
La, la. la, ia, la. la, etc.
Ob what a happy I, te. solilu.pnzes Ihe gav barber, ■■wha, pleasure
awaits a barur m quality :—( lb. bravo. Figaro, bravo, bravissimi,: thou
art sun be hapine.t nt men, ready at all h,.urs of the night, and, by dav
noir";;- f'" "r"l ■■"'; '"""""■, 'Sy''"' '''•"'"'"- ---Mon of-deHghl;- wha;
nobler hlc h.i ,i b.irlier llian nunel Razors, combs, lancets, scissors— behold
them all al m>' comniand; besides the snug perquisites of the business, with
gay damsels and cavaliers. All call me! all want me I— dames and maidens—
."^r'^e,- '""iT-'- H -'i'ui";V-' S''", .»"'— '"y '"^ard; shouts another— bleed
1.1 "",^- !"^ billejdou.x whispers that. Figaro, Figaro! heavens,
uiiat d crowd. !• ie,aro. l-igarol heavens, what a tumult: One at a time
tor mercy sake. Figaro here; Ficraro there; Figaro above: Figaro below.'
of ^he t/' ' ni '1'""/'""i.'' ^' l>?htning; in a word— I am the factotum
luent w? i fT,"" ''"''Pf ''^"'i ''"' ""'■= fatigue-abundant amuse-
ment— wuh a pocket that can always boast a doubloon, the noble fruit of
iny reputation. So it is; without Figaro there's not a girl in" Seville will
marry; to me the little widows have recourse for a husband; 1 under
excuse of my comb by day, and under favor of my guitar by night, endeavor
to please all in au honest way. Oh, «lial ;i life, what a lifel"
30
VICTOR BOOK OF THE OPERA BARBER OF SEVILLE
niE niSr.UISEll COUNT AND BARTOLO
Three fine records of this great air are given
here. Ruffo, in his rendition, proves himself pos-
sessed of an admirable sense of humor, and this,
with his powerful and flexible voice, enables him
to attack this difficult solo in the true op6ra-
bouffe vein. The result is as fine a performance
of the Largo as one would wish to hear. The ex-
treme difficulties are made a vehicle for the display
of the baritone's ample vocal resources, which
sweep everything before them ; he is indeed a
little free wiih the text, and sings snatches of the
accompaniment out of sheer bravado, while bits
of comic characterization peep out at every avail-
able opportunity. Amato's rendition is a fine ex-
ample of how the music of this air should be
sung, and is a veritable triumph for the singer.
Signor de Gogorza's version differs from the
others in many respects. It is one of the finest
records he has made, for the Victor, and exhibits
his fine voice and wonderful execution to per-
fection.
The Count now accosts Figaro, asking him to
arrange a meeting w^ith Rosina, telling him that
his rank must not be knov/n and that he has assumed the name of Lindor.
II mio nome ? (My "Name ?)
By Fernando de Lucia, Tenor [Piano ace.) (In Italian) 66000 10-inch, $1.50
Figaro consents to become his ally. Rosina and her guardian come to the balcony, and
Rosina, perceiving the Count, manages to drop a note, w^hich he secures. Bartolo leaves the
house and orders that no one be admitted.
Figaro nov^ says that he is expecting a military friend to arrive in the village, and
suggests the Count dress himself as this soldier and thus gain admittance to the house. He
agrees, and retires to assume the disguise.
SCENE II — 'A Room in Barlolo^s House
Rosina is discovered holding in her hand a letter from the
Count. She is agitated and expresses her feelings in her
celebrated entrance song.
Una voce poco fa (A Little Voice I Hear)
By Marcella Sembrich, Soprano
I In Italian) 8809 7
By Luisa Tetraszini, Soprano
{In Italian) 88301
By Maria Galvany, Soprano
(In Italian) 87060
By Giuseppina Huguet, Soprano
{In Italian) ='=68144
The number is in the form to which most Italian compos-
ers of the period adhered — a slow opening section (here
accompanied by occasional chords for the orchestra) succeeded
by a quicker movement culminating in a coda which presents
many opportunities for brilliant vocal display. Musically the
aria is full of charm, and is deservedly popular with those
singers w^hose method enables them to deliver it with the req-
uisite lightness and bravura.
KOSINA
12-inch,
*3.00
12-inch,
3.00
10-inch,
2.00
12-inch,
1.25
MELBA AS ROSINA
A little voice I huard jii^t now;
Oh, it has thrill'd my very heart!
I feel that I am wounded sore :
And Lindor 'twas who imri'd the
Yes, Lindor, dearest, shall he mine 1
I've irworn it, and we'll .levev part.
I\Iy yuardian bure will ne'er consent;
But I must sharpen ail my wit:
Content at last, he will relent,
dart. And we, oh. joy I be wedded yet.
Ves, Lindor I have sworn to love I
And, loving, we'll our cares forget.
'' Double-Faced Record — For title of opposite side see double-faced list on page 34.
VICTOR BOOK OF THE OPERA-BARBER OF SEVILLE
A bewildering array of artists have essayed this charming
song, and Victor audiences can choose whether they will have it
sung by an Italian, Polish or Spanish prima donna.
Rosina runs out as her guardian and Don Basilio come m.
Bartolo is telling Basilio that he wishes to marry his ward, either
by love or force. Basilio promises to help him, and says that the
Count is trying to make Rosina s acquaintance. They decide to
invent some story that will disgrace him. "A calumny!" says
Basilio. Bartolo asks what that is. and Basilio, in a celebrated
air gives his famous description, which is a model of its kind.
La calunnia (Slander's W^hisper)
By Marcel Journet, Bass
[In Italian)
74104 12-inch. 51.50
Basilio; * Hi I calumny is like the sigh
(Jf gentlest zejihyrs breathing by;
How softly sweet along the ground,
Its first shrill voice is heard around.
Then passing on from tongue to tongue,
It gains new strength, it sweeps along
In giddier whirl from place to place,
And gains fresh vigor in its race;
Till, like the sounds of tempests deep.
That thro' the woods in murmurs sweep
And howl amid their caverns drear.
It shakes the trembling soul with fear.
Thus calumny, a simple breath.
Engenders ruin, wreck and death;
And sinks the wretched man forlorn,
Beneath the lash of slander torn,
The victim of the public scorn!
{TItcy go out.)
SEMBKICI-I AS KDSINA
Rosina and Figaro return, and the barber tells her that her guardian is planning to marry
her. She laughs at the idea, and then asks Figaro who the young man was she observed
that morning. Figaro tells her his name is Lindor, and that he is madly in love with a certain
young lady, whose name is Rosina.
Dunque io son (W^hat ! I ?)
By Tvlaria Galvany. Soprano, and Titta Ruffe, Baritone
(/n Italian) 92501
12-inch, $4.00
Rosina:
What! 1? or dost thou mock me?
.\m I. then, the happy Ijeing?
{But I all tlie scheme foreseeing,
Knew it, sir, before yourself) ;
Figaro :
Yes, Lindor loves you. ladv;
Oft he sighs for his Rosina,
(As a fox she cunning seems,
.Ah, by my faith, she ^cl-s thro' all).
Rosina :
Still one word, sir — to my Lindor
How shall I contrive to s]*eak?
FiGAKO :
Poor man. he but awaits some sign
Of your affection and as'^enl;
A little note, a sinrle line,
And he himself will snon present.
To this, what say you?
Rosina:
I do not know.
FiGARr,:
Take courage, pray you,
Rosina:
I couUl not so—
Figaro:
A few lines merely.
Rosina:
I blush to write.
Figaro:
At what? ^^'l^y really — may I indite?
Haste, haste. "\'nur Inver i|uick invite.
(Goi)nj to tJiC desk.)
Rosina :
A letter! Oh. here it is.
(Calli)i(i liiiii. she iakcs a iiolc fyo)n tier hosoiu,
ivhiili she </i:\-s him.)
Figaro:
Already written! \^'^hat a fool (astonished)
Was I tn think to be her master!
Much fitter that she me should school:
J-Jer wits, than mine, can flow much faster.
Oh, woman, woman, who can find,
Or falliom, all that's in thy mind?
(Exit Figaro.)
Bartolo comes in and accuses Rosina of dropping a note from the balcony, and when
she denies it he show^s her ink marks on her finger and calls attention to a cut pen and a
missing sheet of paper. She says she wrapped up some sv^eetmeats to send to a girl friend,
and cut the pen to design a flow^er for her embroidery. Bartolo then denounces her in
another famous air;
32
VICTOR BOOK OF THE OPERA — BARBER OF SEVILLE
Manca un foglio (Here's a Leaf Missing)
By Arcangelo Rossi, Bass
{In Italian) =^=68144 12-inch, $1.25
Bartolo :
To a doctor of my rank,
Thesf excuiscs, Signorina,
I advise another time
That yon better should invent.
W'hy is the paper missing;*
That I would wish to know.
Useless, ma'am, are all your airs-
Be still, nor interrupt me so.
Another time, sweet Signorina,
^Vhcn the doctor quits his house
lie will carefully provide
For the keeping you inside.
And poor innocent Rosina,
Disappointed then may pout:
In her room shall she be locked,
Till I choose to let her out.
(He goes out in a rage, followed
by Rosina, who is laughing.)
HOTO JOHNSON, SALT LAKE
NIELSEN AS ROSINA
A loud knocking is heard at the street door, — it is the Count
in his soldier disguise. He pushes his way in, and insists that the
commandant has ordered him to put up in fiar/o/o's house. Along
scene follows, full of comedy, finally ending in the arrest of the
Count, w^ho, how^ever, privately informs the officer w^ho he is; and
the astonished official salutes respectfully and takes his soldiers
aw^ay. Bartolo is in such a rage that he can hardly speak, and the
act ends w^ith the famous quartet :
Guarda Don Bartolo (Look at Don Bartolo)
By Giuseppina Huguet, Soprano; Antonio Pini-
Corsi, Baritone; Gaetano Pini-Corsi, Tenor;
Ernesto Badini, Baritone *63171 10-inch, $0.75
ACT II
SCENE- — A Room in Bartolo^ s House
Bartolo is discovered musing on the affair of the soldier, and as he has learned that no
one in the regiment knows the man, he suspects that he w^as sent by the Count.
A knocking is heard and the Count is ushered in, dressed as a music master. He
greets Bartolo, beginning the duet, Pace e gioia.
Pace e gioia (Heaven Send You
Peace and Joy)
By Antonio Pini-Corsi, Baritone,
and Emilio Perea, Tenor
(In Italian) ^'=62105 10-inch, $0.75
Bartolo says he is much obliged for these
kind wishes and w^onders who this can be. The
Count explains that Don Basilio is ill and he has
come in the music master's place to give Rosina
a lesson. He shows Bartolo the note Rosina had
w^ritten, saying he found it at the inn, and offers
to make Rosina believe the Count has shown her
note to another lady. Bartolo is pleased with the
idea and cails Rosina. Then occurs the cele-
brated "Lesson Scene" in w^hich Rosina usually
interpolates an air. Rossini wrote a trio for this
scene, but in some manner it was lost.
Figaro now^ comes in to shave Bartolo, and in
the course of the scene contrives to secure the
key to the balcony. At this moment all are pet-
rified at the entrance of Don Basilio, who is
supposed to be confined to his bed. Figaro sees
that quick action is necessary and asks him what
he means by coming out with such a fever.
"Fever?" says the astonished music master. 'A raging fever," exclaims Figaro, feeling hi^
* Double-Faced Record — For Utle of opposite side see double-faced list on page 34,
33
ROSINA ANU COUNT ALiMAVIVA
VICTOR BOOK OF THE OPERA — BARBER OF SEVILLE
pulse. "You need medicine," says the Count, meaningly, and slips a fat purse in his hand.
Don Basilio partially comprehends the situation, looks at the purse and departs.
The shaving is renewed, and Hoslna and the Count pretend to continue the lesson, but
are really planning the elopement. Bartolo tries to watch them, but Figaro manages to get
soap in the Doctor's eye at each of his efforts to rise. He finally jumps up and denounces
the Count as an impostor. The three conspirators laugh at him, and go out, follow^ed by
Bartolo, who is purple with rage. This scene is amusingly pictured in a famous fresco in the
Vienna Opera.
Bertha, the housekeeper, enters, and in her air, // vecchietto, complains that she can no
longer stand the turmoil, quarreling and scolding in this house.
II vecchietto cerca moglie (The Old Fool Seeks a ^^ife)
By Emma Zaccaria [Double-Faced — Sec beloin) {In Italian) 62105 10-inch, $0.75
"What kind of thing is this love which drives everybody crazy?" she asks. This air
used to be called in Rome Aria di sorbetto (sherbet), because the audience used to eat ices
while it w^as being sung I
Don Bartolo now^ desperately plays his last card, and shows Bosina the note, saying that
her lover is conspiring to give her up to the Count Almaoioa. Rosina is furious and offers to
marry Bartolo at once, telling him that he can have Lindor and Figaro arrested when they
arrive for the elopement. Bartolo goes after the police, and he is barely out of sight w^hen
Figaro and the Count enter by means of the key v^hich the barber had secured. Rosina
greets them with a storm of reproaches, accusing Lindor of pretend-
ing to love her in order to sacrifice her to the vile Count Almaviva.
The Count reveals himself and the lovers are soon clasped in a
fond embrace, w^ith Figaro in a "Bless you, my children," attitude.
Don Basilio, -who had been sent for a notary by Bartolo, now^
arrives. The Count demands that the notary shall wed him to Rosina.
Basilio protests, but the sight of a pistol in the Count's hand soon
silences him.
This scene is rudely interrupted by the arrival of Bartolo and the
soldiers. The officer in charge demands the name of the Count, who
now introduces Signor and Signora Almaoioa to the company. Bartolo
philosophically decides to make the best of the matter. However,
he inquires of Basilio :
Bartolo:
I!ut you, you rascal —
Even you to betray me and turn
witness I
Basilio :
Ah I 1 Joctor.
The (."ount has certain persuasives
And certain arguments in liis
pocket,
Which there is no withstanding!
r>ARI0LO:
Ay, ay! I understand you.
Well, wcH, what matters it?
Go; and may Heaven bless you I
Figaro:
Bravo, bravf
Let me emb
, Doctor !
ace you!
<.'n, now najijiy we are!
'OUNT :
Oh, propitious love!
SAMMARCO AS FlUARiJ
I'lGARO :
Young love, triumjihant smiling,
All harsher, thoughts exiling,
All quarrels reconciling,
Now waves his torch on high!
{Curtain)
DOUBLE-FACED BARBER OF SEVILLE RECORDS
/Barber of Seville Selection By Pryor's Band) ,^ , ^^ ,.- . . .
1 Prophete Fantasie By Prwr's Bandj ^ 12-inch, $1.25
jOyerture By La Scala Orchestral ,„., ^
I Don PasqualeSinfonia (Donizetti) By La Scala Orchestrar^^^^
/Manca un foglio (Here's a Leaf Out) By A. Rossi, Bass) ,o, . . . ,
lUna voce poco fa By Giuseppina Huguet, Soprano^^^^^ 12-inch, 1.25
|Guarda Don Bartolo (Look at Bartolo) By Huguet, 1
I r-"^' ^^^ ^' Pi"i-^o^'si' andBadini (/n //aAan) 631 71 10-inch,
I Fra T>iaoolo—Agnese la Zietella By Pietro Lara (In Italian)\
/II vecchietto cerca mo^lie By Emma Zaccaria {In Italian)
\Pace e gioia By A. Pini-Corsi and Perea
{In Italian) i
12-inch, 1.25
.75
62105 10-inch, .75
34
(English) (Bohemian)
BARTERED BRIDE PROD ANA NEVESTA
COMIC OPERA IN THREE ACTS
Libretto by Sabina. Music by Friedrich Smetana. First production, Prague, 1866.
First London production, Drury Lane, 1895. First American production February 17, 191 \.
Characters
KRUSCHINA, a peasant Baritone
KATHINKA, his wife. . Soprano
Marie, their daughter. .■ Soprano
MiCHA. a land owner Bass
AGNE3, his wife Mezzo-Soprano
WENZEL, their son Tenor
Hans, MICHA'S son by first marriage Tenor
FCEZAL, a marriage broker Bass
The Bartered Bride was intended by its composers to be typical of Bohemian life and
character — to be a national opera, and so it really is. The work illustrates accurately Bohe-
mian village life, and is based on a simple story full of mirth and sometimes almost farcical.
Marie, daughter of Kruschina, a rich peasant, is betrothed to Hans, her father's servant.
Mans and Marie, how^ever, are threatened with separation because the maiden's father has
determined she shall marry Wenzel, a half-witted, stuttering lad, who is the son of
Kruschina' s old friend, Micha. Kruschina and Kezal endeavor to arrange this marriage, but
the girl flatly refuses to give up her old lover. Kezal finally offers Hans three hundred
crow^ns if he w^ill renounce Marie. At first the offer is indignantly rejected, but later Hans
consents, insisting on a rather strange condition — that these words be inserted in the
agreement, " that Marie shall only be married to a son of Micha. " Kezal, although he does
not understand the reason for this, gladly agrees, and shortly afterward the paper is signed,
the entire village being called in to witness the signature.
Mane refuses to believe that her lover has sold her for three hundred crowns, but is
compelled to realize the truth when the marriage broker produces Hans' receipt for the
money. The young girl meets her ruthless lover, w^ho seems remarkably joyous over the
affair, and still declares his love for her. The mystery is not explained until Micha and his
wife arrive and recognize Hans to be their long-lost eldest son. So Hans not only wins his
bride, but gains 300 crowns, for Kezal has agreed that Marie "shall marry only a son of Micha.
As the money remains in the family no one objects save Kezal, who departs in wrath.
The famous Overture to Bartered Bride is a work of delightful melody, and has had number-
less performances as a concert number. It is delightfully spontaneous and highly interesting,
containing parts of the national airs of Bohemia.
l°Trj"% » fl Q ; ,• fP . .,^^^"''%^7°''f^o"'^l35l48 12-inch, n.25
\ Madam Butterfly Selection (Puccim) By fryor s Band)
35
(French)
LA BOHEME
{La Bow-ehm)
(English)
THE BOHEMIANS
OPERA IN FOUR ACTS
Text by Giacosa and lUica ; music by Puccini. First produced at the Teatro Reggio,
Turin, February I, 1896. In English, as "The Bohemians," at Manchester (Carl Rosa Com-
pany), April 22, 1897, and at Covent Garden with the same company, October 2d of the same
year. In Italian at Covent Garden, July 1, 1899. First American production, November 28,
1899.
Characters
Rudolph, a poet Tenor
Marcel, a painter Baritone
COLLINE, a philosopher Bass
SCHAUNARD. a musician Baritone
BENOIT an importunate landlord Bass
ALCINDORO, a state councilor and follower of Musetta Bass
PARPIGNOL Tenor
Musetta. a grisette Soprano
MlMI. a maker of embroidery Soprano
Students, w^ork-girls, citizens, shopkeepers, street venders, soldiers,
restaurant waiters, boys, girls, etc.
Scene and Period : Paris, about 1630.
Puccini's BoKeme is an adaptation of part of Mlirger's La Vie Boheme, which depicts
life in the Quariier Latin, or the Students' Quarter, in 1830. It being impossible to w^eave a
complete story from Mlirger's novel, the librettists
have merely taken four of the principal scenes and
several of Mlirger's characters, and have strung them
together w^ithout much regard for continuity.
The principal characters in Puccini's delightful
opera are the inseparable quartet described by
Murger, w^ho with equal cheerfulness defy the pangs
of hunger and the landlord of their little garret. In
the scenes of careless gaiety is interwoven a touch
of pathos; and the music is in turn lively and tender,
with a haunting sweetness that is most fascinating.
Rudolph, a poet; Marcel, a painter; Colline, a
philosopher ; and Schaunard, a musician, are four
friends "who occupy an attic in the Quariier Latin,
where they live and work together. Improvident,
reckless and careless, these happy-go-lucky Bohe-
mians find a joy in merely living, being full of faith
in themselves.
ACT I
SCENE — A Garret in the Quartier Latin
The opening scene show^s the four friends w^ith-
out money or provisions, yet happy. Marcel is at
work on a painting, "Passage of the Red Sea," and
remarks, beginning a duet w^ith Rudolph, that the
passage of this supposedly torrid sea seems a very cold affair !
Questo mar rosso (This Red Sea)
By Gennaro de Tura, Tenor, and E. Badini, Baritone
{In Italian)
THE FOUR BOHEMIANS
88233 12-inch, $3.00
37
VICTOR BOOK OF T HE OPERA-PUCCINI'S LA BOHEME
Rudolph says that in order to keep them from freez-
ing he will sacrifice the bulky manuscript of his tragedy.
Marcel holds the landlord at bay until Schaunard arrives
with an unexpected store of eatables. Having dined
and warmed themselves, Marcel, Colline and Schaunard
go out, leaving Rudolph writing. A timid knock at the
door reveals the presence of Mimi, a young girl who
lives on the floor above. She has come to ask her
neighbor for a light for the candle, which has gone out.
They enter into conversation, and when Mimi artlessly
asks Rudolph what his occupation is, he sings the lovely
air usually termed the " Narrative."
Racconto di Rodolfo
rative)
(Rudolph's Nar-
12-in..
2.00
12-in.,
1.50
12-in.,
1.50
12-in.,
1.50
12-in.,
1.50
By Enrico Caruso, Tenor
{In Italian) 88002 12-in., $3.00
By Herman Jadlowker, Tenor
(In Italian) 76023
By John McCormack, Tenor
(In Italian) 74222
By Florencio Constantino, Tenor
(In Italian) 74106
By George Hamlin, Tenor
CAMPANARi AS MARCKL {In Italian) 74185
By Evan Williams (English) 74129
Caruso has never done anything more perfect in its way than his superb delivery of this
number. It is one of his great scenes in the opera, and always arouses the audience to a
high pitch of enthusiasm. He has sung it here with a fervor and splendor of voice which
holds one spellbound. The tender sympathy of the opening — " Your little hand is cold ;
the bold avowal — "1 am a poet"; the glorious beauty of the love motive at the end — all
are given with characteristic richness and warmth of style by this admired singer, while the
final high note is brilliantly taken.
Two entirely different interpretations, though also very fine ones, are given by Mr.
Jadlowker and Mr. McCormack, while three other versions— in Italian by Constantino and
Hamlin, and in English by Evan Williams — complete a list in
which every lover of this beautiful air can find a record to suit
his taste and purse.
Mi chiamano Mimi (My Name is Mimi)
By Nellie Melba, Soprano (//a/ian) 88074 12-in., $3.00
By GeraldineFarrar, Soprano (/(o/) 88413 12-in., 3.00
By Alice Nielsen, Soprano (//a/ran) 74062 12-in., 1.50
Then foUovi'S the charming Mi chiamano Mimi, in which
the young girl tells Rudolph of her pitifully simple life ; of how
she v/orks all day making artificial flowers, which remind her of
the blossoms and green meadows of the country ; of the lonely
existence she leads in her chamber up among the housetops.
O soave fanciuUa — Duo and Finale, Act I
(Thou S'weetest Maiden)
By Nellie Melba, Soprano, and
Enrico Caruso, Tenor 95200 12-in., $5.00
" Mimi's delicate perfection enchanted the young poet — especially
her little hands, which in spite of her menial work,, she managed to
keep as white as snow. " — Miirger's La Vie de la Boheme.
This lovely duet occurs just after the Mi chiamano Mimi.
The young girl having finished her story, Rudolph hears the
shouts of his friends in the courtyard below. He opens the
window to spe^k to them, letting in a flood of moonlight which siiMBKicri as mimi
38
VICTOR BOOK OF THE OPERA — PUCCINI'S LA BOHEME
TAHkAR AS MIMI
brightens tKe room. The Bohemians go off singing. As
Rudolph turns to Mimi and sees her in the moonUght. he is
struck with her beauty, and tells her how entrancing she
appears to him.
Love awakens in the heart of the lonely girl, and in this
beautiful duet she pledges her faith to the handsome stranger
w^ho has come into her life.
Mme. Melba's singing in this scene is of exquisite beauty,
while Caruso's delivery of the passionate phrases of Rudolph
is superb. The beautiful motive with which the duet begins
is associated throughout the opera v/ith the presence of Mimi,
and is employed w^ith touching effect in the death scene in
Act 111.
Mimi consents to go to the Cafe Momus,
where his friends are to dine, and after a
tender scene at the door they go out, and
the curtain slow^ly falls.
ACT II
SCENE— ^ Students' Cafi in Paris
This act represents the terraces of the
Cafe Momus, where the artists are holding a
carnival. Puccini has pictured with mas-
terly skill the noisy, bustling activity of this
scene, and the boisterous merriment of the
gay revelers. The Bohemians of Act I are
seated at a table with Mimi, w^hen Musetta,
an old flame of Marcel's, appears with her latest conquest, a foolish and
ancient beau named Alcindoro. Marcel pretends not to see her, but
Musetta is determined on a reconciliation, and soon gets rid of her elderly
admirer and joins her old friends.
The gem of this gay scene is the charming waltz of Musetta, w^hich
Mme. Viafora sings here with spirit and delightful abandon.
Musetta Waltz
By Gina C. Viafora, Soprano (Italian) 64085 lO-inch, $1.00
By Guido Gialdini {Whistling} *16892 10-ioch, .75
Mme. Viafora's light soprano is heard to advantage in this pretty cluck as mtmi
waltz, which she sings with fluency and skill.
The fun nov/ becomes
fast and furious, and Musetta is
finally carried off on the shoul-
ders of her friends, w^hile the
foolish old banker, Alcindoro,
is left to pay the bills of the
entire party.
ACT III
SCENE— y4 City Gate of Paris
This act begins in the
cheerless da'wn of a cold
morning at the city gates, the
bleakness of the scene being
well expressed in Puccini's
music. The snow^ falls, w^ork-
men come and go. shivering
and blowing on their cold
fingers. Mimi appears, and
asks the officer at the gate if
* Double-faced Record— For litl^ of opposite side see DOUBLE-FACED LA BOHEME RECORDS. page42.
39
VICTOR BOOK OF THE OPERA — PUCCINrS LA BOHEME
This duet is one
opera, and Miss Farrar
effective record of it,
while the other ren-
dition hy La Scala
artists is also a very
fine one.
Mimi tells her
friend that she can
no longer bear the
jealous quarrels
with Rudolph, and
that they must sep-
arate. Marcel, much
troubled, goes into
the inn to summon
Rudolph, but before
the latter comes,
Mimi secretes her-
self, and when he
enters she hears him
again accuse her of
fickleness.
Mimi e una civetta
(Coldhearted Mimi !)
By Laura Mellerio. Soprano : Gennaro
de Tura, Tenor ; and Ernesto Ba-
dini. Baritone
{In Italian) 8822 7 12-inch, $3.00
he w^ill find Marcel, that good
and kind-hearted Bohemian
painter, now^ sojourning at the
inn on the Orleans Road and
painting, not landscapes, but
tavern signs, in order to keep
body and soul together.
Marcel enters and is surprised
to see Mimi, whom he sup-
poses to be in Paris. Noticing
that she is melancholy and
apparently ill, he kindly ques-
tions her and learns her sad
story.
Mimi, lo son !
(Mimi, Thou Here !)
By Geraldine Farrar, So-
prano, and Antonio
Scotti, Baritone
{In Italian)
89016 12-inch, $4.00
By Dora Domar, So-
prano, and Ernesto Ba-
dini. Baritone
88228 12-inch, 3.00
or the finest numbers in Puccini's
and Mr. Scotti have made a strikingly
DOtfEfi ST. STUDIOS
MARTIN AS RUDOLPH
'HOTO BERI
FARRAR ANH SCri
TI AS MIMI AND MARCEL
ACT iii
VICTOR BOOK OF THE O PER A — PUCCINTS LA BOHEME
A distressing fit of coughing reveals her presence, and she appears
and sings the sad little air which is one of the features of this act.
12-inch, $3.00
3.00
1.00
SAMMAHUn AS MARCEL
Addio (Farewell)
By Nellie Melba, Soprano (In Italian) 88072
By Geraldine Farrar, Soprano
(In Italian) 88406 12-inch,
By Alma Gluck, Soprano {In Italian) 64225 10- inch.
Most pathetically does the poor girl's " Farewell, may you be happy "
come from her simple heart, and she turns to go. Rudolph protests, some-
thing of his old affection having returned at the sight of her pale cheeks.
Musetta now enters and is accused by Marcel of fiirting. A furious
quarrel follows, which contrasts strongly with
the tender passages between M(m( and Rudolph
as the lovers are partially reconciled.
Quartet, "Addio, dolce svegliare"
(Fare^vell, S^veet Love)
By Geraldine Farrar, Soprano; Gina
C. Viafora, Soprano ; Enrico
Caruso, Tenor; and Antonio
Scotti, Baritone
(In Italian) 96002 12-inch, $6.00
By Dora Domar, Soprano; Annita
Santoro, Soprano; Gino Gio-
vannelli. Tenor; and Ernesto
Badini, Baritone
(In Italian) 69048 12-inch, 4.00
Like the Rigoletto Quartet, this number is used by the com-
poser to express many different emotions: The sadness of Mimi's
farew^ell to Rudolph ; his tender efforts to induce her to remain ;
the fond recollections of the bright days of their first meeting — -
and contrasted to these sentiments is the quarreling of Musetta
and Marcel, which Puccini has skillfully interw^oven with the
pathetic passages sung by the lovers.
In Mimi Miss Farrar has added another role to the long list
of her successes in America, and her impersonation is a most
charming one. She was in superb voice and has given this lovely music most effectively.
Caruso sings, as he always
does, w^ith a beauty of voice
and a sincerity of emotion
which cannot fail to excite
admiration.
Mme. Viafora, who is al-
•ways a piquant, gay and inter-
esting Musetta; and Signor
Scotti, whose admirable
Marcel is one of his finest
impersonations, both vocally
and dramatically, round out
an ensemble v^hich could not
be surpassed.
Truly a brilliantly sung
and perfect balanced rendi-
tion of one of the greatest
of concerted numbers. An-
other version by famous artists
of La Scala is also offered.
TRENTiNI AS MUSETTA
PAINTED BV
THE DEATH OF MTMI
VICTOR BOOK OF THE O P ER A— PU CC INI'S LA BOHEME
ACT IV
SCENE— 5ame as Act I
' 'j4t this timet the friends for many weeks had lived a lonely and melancholy
existence. Muselta had made no sign, and Marcel had never met her, while no
word of Mimi came to Rudolph, though he often repeated her name to himself.
Marcel treasured a little bunch of ribbons which had been left behind by Musetta,
and when one day he detected Rudolph gazing fondly at the pinl^ bonnet Mimi
had forgotten, he muttered : 'It seems I am not the only one I ' " — Miirger.
Act !V shows the same garret in which the events of Act I took
place. Bereft of their sw^eethearts, the young men are hving sad and
lonely lives, each trying to conceal from the other that he is secretly
pining for the absent one.
In the opening scene, Marcel stands in front of his easel pretending
to paint, while Rudolph, apparently w^riting, is really furtively gazing at
Mimi's little pink bonnet.
Ah Mimi, tu piu (Ah, Mimi, False One!)
By Enrico Caruso, Tenor, and Antonio Scotti, Baritone
{In Italian) 89006 12-inch, $4-00
By McCormack and Sammarco (Italian) 89044 12-inch, 4-00
By Da Gradi and Badini {In Italian) ^==45013 10-inch, 1.00
Three records of this favorite duet are offered — by Caruso and Scotti,
McCormack and Sammarco — and a popular priced version.
The friends, however, pretend to brighten up w^hen Schaunard and
Colline enter w^ith materials for supper, and the four Bohemians make
merry over their frugal fare. This scene of jollity is interrupted by the unexpected entrance
of Musetta, who tells the friends that Mimi, abandoned by her viscount, has come back to die.
The poor girl is brought in and laid on Rudolph's bed. while he is distracted v/ith grief.
The friends hasten to aid her, Marcel going for a doctor, while Colline, in order to get money
to buy delicacies for the sick girl, decides to pawn his only good garment, an overcoat. He
bids farewell to the coat in a pathetic song, w^hich Journet delivers here with much feeling.
Vecchia zimarra (Coat Song)
By Marcel Journet, Bass (In Italian) 64035 10-inch, $1.00
Colline goes softly out, leaving Mimi and Rudolph alone, and they sing a beautiful duet.
Sono andati ? (Are We Alone ? )
By Maria Bronzoni, Soprano, and Franco de Gregorio, Tenor
{In Italian) =^^45013 10-inch. $1.00
The past is all forgotten and the reunited lovers plan for a future which shall be free
from jealousies and quarrels. Just as Mimi, in dreamy tones, recalls their first meeting in
the garret, she is seized with a sudden faintness which alarms Rudolph, and he summons
his friends, who are returning with delicacies for Mimi. But the young girl, weakened by
disease and privations, passes away in the midst of her weeping friends, and the curtain
falls to Rudolph's despairing cry of "Mimi! Mimi!"
S'STANTINO AS
EUD(JLPH
DOUBLE-FACED AND MISCELLANEOUS BOHEME RECORDS
By Victor Sorlin
JBoheme Fantasie ( 'Cello)
\ Calm Sea and Happy Voyage — Overlure
/Boheme Selection
I Jolly Robbers Ooerture iSuppe')
jAh, Mimi, tu piu (Ah, Mimi, False One !)
I By Da Gradi and Badini
[Sono andati? By Bronzoni and de Gregorio
By Pryor's Bandj
By Pryor's Band)
By Pryor's BanJI
35132
35077
(In kalian) \45013
{In Italian) I
/Musetta "Waltz ( Whistling Solo)
\ Carmen Selection (Xylophone)
Guido Gialdinil
Wm. H. Reitzi^^^^^
* Double-Faced Record—
-For title of opposite side see above list.
42
12-inch, $1.25
12-inch, 1.25
10-inch, 1.00
10-inch,
.75
i£ _______
life - ■wfcgaaM^iPWMa^Mn^ i«3fr/>JKvM
PMOro HALL ^jj^ ABULLll ! \RLI\E — \ T 1
THE BOHEMIAN GIRL
OPERA IN THREE ACTS
Text by Bunn ; music by Balfe. First produced at Drury Lane Theatre, London,
November 27, 1843. First American production November 25, 1844, with Frazer, Seguin,
Pearson and Andrews. Bunn took his plot from a ballet written for EUsler, the dancer, by
St. Georges, but transferred the scene from Scotland to Hungary. The work was immedi-
ately successful in England, and was eventually translated into almost every language of
Europe, and during the next t^venty years "was produced in Italy as La Zingara ; in Hamburg
as La Gitana ; in Vienna as Die Zigeunerin ; and in Paris, with additional numbers, as La
Sohdmienne.
Characters
ARLINE, daughter of Count Arnheim Soprano
THADDEUS, a Polish exile Tenor
Gypsy Queen Contralto
DEVILSHOOF, Gypsy leader Bass
Count arnheim. Governor of Presburg Baritone
FLORESTINE, nephew of the Count Tenor
Retainers, Hunters, Soldiers, Gypsies, etc.
Time and Place : Presburg, Hungary ; nineteenth century.
The story of this opera is quite familiar, and can be dismissed with a brief mention.
Thaddeus, an exile from Poland, is fleeing from Austrian troops, and to facilitate his escape
he casts his lot with a band of gypsies, headed by Devilshoof. As the tribe is crossing the
estate of the Governor of Presburg, Count Arnheim, Thaddeus is enabled to rescue the little
daughter of the Count from a wild stag, and in his gratitude the Count invites the gypsies to
the hunting dinner. In the course of the festivities Thaddeus refuses to drink the health of
the Emperor, and is about to be arrested when Devilshoof interferes and is himself confined
in the Castle, while Thaddeus is permitted to go. Deoilshoof climbs from a window and
43
VICTOR BOOK OF THE OPERA— THE BOHEMIAN GIRL
steals the little Arline, making his escape good by chopping down the bridge across the
ravine as the soldiers pursue him.
Twelve years elapse and
w^e see the camp of the gypsies,
among w^hom Arline has grow^n
to be a beautiful girl of seven-
teen. Thaddeus, w^ho has fallen
in love with the young girl,
now^ tells her of his love, and
in a beautiful duet the lovers
plight their troth. The Gypsy
Queen, herself enamored of
Thaddeus, is forced to unite
him to Arline, but secretly
plans vengeance. Her oppor-
tunity soon comes, as she con-
trives to have y^r/ine accused of
stealing a medallion from the
young nephew of Count Arn~
heim, w^ho has come to the fair
at Presburg, near w^here the
gypsies are camped. Arline is
arrested and taken before the
Count, who in the course of the
examination recognizes her as
his daughter, from the scar
made by the stag in her child-
hood.
The third act shows j4r/zne
restored to her position, but still secretly pining for her gypsy lover. Devilshoof contrives to
get Thaddeus into the castle and he secures an interview with Arline. They are interrupted,
however, by the Count's approach, and Thaddeus hides in a closet as the guests arrive for a
reception in honor of the newly-found heiress.
THE COUNT RECOGNIZES HIS DAUGHTER- — ACT II
THE OUEEN ACT [11
The Queen, still bent on revenge, now enters, and in a dramatic denunciation reveals
the hiding place of I haddeus. The Count asks for an explanation, and y4r/rne declares she
loves I haddeus even more than her father. The Count, enraged, is about to attack Thaddeus,
when the young man reveals his history and proves himself to be of noble blood. The
Count then gives his consent and all ends happily.
44
VICTOR BOOK OF THE OPERA— THE BOHEMIAN GIRL
Many of the most effective numbers from this pretty opera have been recorded by the
Victor, besides the brilliant potpourri made by the Opera Company, -which includes no
less than seven of the most tuneful bits.
DOUBLE-FACED AND MISCELLANEOUS BOHEMIAN GIRL RECORDS
(Overture to Bohemian Girl
\ La Czarine Mazurl^a {Canne)
(l Dreamt I Dwelt in Marble Halls
\Then You'll Remember Me
(The Heart BoTv'd Down Herbert
\ Good Bye, Sweetheart
(The Heart Bow^'d Dow^n
\ Home to our Mountains
(Then You'll Remember Me
\ I'll Sing Thee Songs of Arahy (Clay)
Then You'll Remember Me
/Then You'll Retnember Me
\I Dreamt I Dwelt in Marble Halls
/Then You'll Remember Me
\ Vilia Song
(Fantasia of Principal Airs \^m,
t Jig Medley (Rollinson)
Selection from Bohemian Girl
Yelva Overture (Reissiger)
Pryor's Band]
Pryor's Bandj
Elizabeth Wheeler!
Harry Macdonough/
Goddard (Piano ace. )
Herbert Goddardj
Alan Turner)
Morgan and Macdonoughj
Frederic Freemantel)
Harry Macdonoughj
George Hamlin
Harry Macdonough)
Elizabeth WheelerJ
Harry Macdonough\
Elizabeth IVheelerj
H. Reitz (Xylophone)
Pryor's Bandi
Pryor's Band\
Pryor's Bandj
1628r
16398
16064
1640r
35048
74134
16398
35082
16505
35081
10-inch, $0.75
10-inch. .75
10-inch. .75
10-inch. .75
12-inch. 1.25
12-inch. 1.50
10-inch, .75
12-inch. 1.25
10-inch, .75
12-inch, 1.25
Gems from Bohemian Girl
Part of Overture — Chorus, " In the Gypsy's Life " — Chorus, "Come with
the Gypsy Bride" — Entr'act Waltz — Chorus, "Happy and Light" — "Then
You'll Remember Me "—Finale, "Oh, 'What Full DeUght "
By the "Victor Light Opera Company 31761 12-inch. $1.00
PHQTO BYRON
THE CARNIVAL AT PRESBURG ACT U
45
L \RMLN b 1)1 1
CARMEN
OPERA IN FOUR ACTS
Text by Meilhac and Halevy, founded on the novel of Prosper Merimee. Music by
Bizet. First production at the Opera Comique, Paris, March 3, 1875. First London produc-
tion June 22, 1878. First New York production October 23, 1879, with Minnie Hauk.
Some notable revivals were in 1893, being Calve's first appearance; in 1905 with Caruso;
and the Hammerstein revival of 1906, v/ith Bressler-Gianoli, Dalmores, Gilibert, Trentini and
Ancona.
Characters
Don Jose. (Don Ho-zay') a Brigadier Tenor
ESCAMILLO, {Es-ca-meel' -yo) a Toreador Bass
DANCAIRO. (Dan-ky'-row) 1 ^ , ( Baritone
o m u £ 2 1 e rs
REMENDADO. (Rem-en-dah' -dou}) ) I Tenor
ZUNIGA, iZoo-nee -gah) a Captain Bass
Morales. {Mok-tah' -kz) a Brigadier Bass
MICAELA, {Mih-ky-a,/ -lah) a Peasant Girl Soprano
FRASQUITA, (Frass-kee'-tah) 1 _ . , . , , ^ I . . . Mezzo-Soprano
<■ Livpsies, rriends or Carmen . . , ^
Mercedes, (A/er-cW-<^eei) ' l Mezzo-Soprano
Carmen, a Cigarette Girl, afterwards a Gypsy Soprano
An Innkeeper, Guide, Officers, Dragoons, Lads, Cigar Girls, Gypsies, Smugglers.
Scene and Period : Seville, Spain; about 1820,
47
VICTOR BOOK OF THE O P E R A — B I Z E T ' S CARMEN
BIZET
Georges Bizet was a native of Paris, where he was born on October 25, 1838. Like
Gounod and Berlioz, he won the Prix de Rome (Pree de Roam'); in this case in 1857, the year
that his first opera, Docteur Miracle, was produced. Among other productions came Les Pecheurs
de Perles, in 1863, an opera recently revived at Covent Garden Vi^ith Mme. Tetrazzini as Leila,
Carmen was produced in 1875, and this most Parisian of all operatic works w^as received at
its production with a storm of abuse. It was immoral, it was Wagnerian — the latter at that
time being a deadly sin in France! Nevertheless, the supreme merits of Carmen have won
it a place among the two or three most popular operas in the modern repertory.
The talents of Bizet are shown by his remarkable lyric gifts ; the power of writing short,
compact and finished numbers, full of exquisite beauty and convincing style, at the same time
handling dramatic scenes with the freedom demanded by modern opera. His music is more
virile, concentrated and stimulating than perhaps any other French composer.
It was probably not a little owing to the hostile reception of this, his finest work, that its
composer died three months later. The music Bizet has written, however, is likely long to
survive him, and chief among the works into which he ungrudgingly poured his life's energy
was Carmen.
THE PLOT
I
Carmen has its opening scene in a public square in Seville, showing at one side a guard-
house, where Jose, a young brigadier, keeps guard. Micaela, a peasant girl whom he loved
in his village home, comes hither to seek him with a message from his mother. As Jose
appears, the girls stream out from the cigarette factory hard by, and with them their leading
spirit in love and adventure. Carmen, the gypsy, reckless and bewitching. Heedless of the
pressing throng of suitors, and attracted by the handsome young soldier. Carmen throws
him a flower, leaving him dazed and bewildered at her beauty and the fascinating flash of
her dark eyes. A moment later a stabbing affray with a rival factory girl leads to the gypsy's
arrest, and she is placed in the care of Jose himself. A few more smiles and softly-spoken
words from the fascinating Carmen, and he is persuaded to allow her to escape. There is a
sudden struggle and confusion — the soldier lets go his hold — and the bird has flown I
II
Act 11 takes place in the tavern of Lillas Pastia, a resort of smugglers, gypsies and ques-
tionable characters generally. Here arrives Escamillo, the toreador, amid the acclamations of
the crowd, and he, like the rest, offers his homage to Carmen. Meanwhile, the two smug-
glers, Dancairo and Remendado, have an expedition afoot and need Carmen to accompany
them. But she is awaiting the return of the young soldier, who, as a punishment for allow-
ing her to escape, had gone to prison, and she will not depart until she has seen him. The
arrival of Jose leads to an ardent love scene between the two. Carmen dances her wild gypsy
measures before him ; yet, in the midst of all, he hears the regimental trumpets sounding the
retreat. While Carmen bids him remain and join her, the honor of a soldier urges him to
return. The arrival of his captain, who orders him back, decides /oie. He defies his officer,
who is bound by the smugglers, and Jose deserts his regiment for Carmen.
Ill
The next scene finds Jose with the smugglers in the rocky camp in the mountains. The
career of a bandit, however, is one to which a soldier does not easily succumb. His distaste
offends Carmen, who scornfully bids him return home, she also foreseeing, in gypsy fashion,
with the cards, that they will end their careers tragically together. In the midst of this strained
situation two visitors arrive: Escamillo, the toreador, in the character of anew suitor for
Carmen; a.nd Micaela, with a message {mm Jose's dying mother. The soldier, frustrated in
his attempt to kill Escamillo, cannot resist the girl's appeal and departs, promising to return
later for his revenge. ^_^
The final act takes place outside the Plaza de Tons, at Seville, the scene of Escamillo's
triumphs in the ring. Carmen has returned here to witness the prowess of her new lover,
and is informed by her friends that Jose, half crazed with jealousy, is watching, capable of
desperate deeds. They soon meet, and the scene between the maddened soldier and the
gypsy is a short one. The jealous Jose appeals to her to return to him, but she refuses with
scorn although she knows it means death. In a rage Jose stabs her, and thus the end comes
swifdy, while within the arena the crowd is heard acclaiming the triumph of Escamillo.
48
VICTOR BOOK OF THE O P E R A — B I Z E T ' S CARMEN
==68052
*62617
12-incli, $1.25
10-inch, .75
-^^^^^^^
Prelude (Overture)
By La Scala Orchestra
By La Scala Orchestra
The Prelude to Carmen opens with a
quick march in 2-4 time, on the following
theme :
The march is of an exceedingly virile and fiery description and is taken from the music
preceding the bull-fight in the last act. Following this stimulating march comes the
"Toreador's Song." leading to the march theme again. These two sections, complete in
themselves, are now foUow^ed by a short move-
ment in triple time indicating the tragic con-
clusion of the drama. Here, the appealing notes
of the brass, heard beneath the tremolo of the
strings, gives poignant expression to the pathos
which lies in the jealous love of the forsaken Jose, and expresses the menace of the future
death of Carmen. This movement breaks off on a sudden detached chord of the diminished
seventh as the curtain rises.
ACT I
SCENE — A Public Square in Seville
The curtain rises on a street in Seville, gay with an animated throng. In the fore-
ground are the military guard stationed in front of their quarters. The cigarette factory
lies to the right, and a bridge
across the river is seen in the
background.
Among the crow^d which
throngs the stage a young girl
may be seen searching for a
familiar face. It is Micaela,
the maiden whom Jose has left
behind in his native village.
The soldiers accost her. and
from them she learns of her
lovers absence. She declines
the invitation to remain, and
departs hastily.
The cigarette girls now
emerge from the factory, fill-
ing the air v^^ith the smoke of
their cigarettes, and with them
Carmen, w^ho answ^ers the
salutations of her admirers
among the men by singing the
gay Habanera,
Habanera (Love is Like a W^ood-bird)
By Jeanne Gerville-Reache, Contralto (In French) 88278 12-inch, $3.00
By Emma Calve, Soprano (In French) 88085 12-inch, 3.00
By Maria Gay, Mezzo-Soprano (In Italian) 92059 12-inch, 3.00
This charming "Habanera" has always been a favorite Carmen number, its entrancing
rhythm always being delightful to the ear ; and it does not seem strange that Don Jose found
it irresistible when sung by Carmen.
Though often attributed to Bizet, the air was not original w^ith him, but was taken
from Yradier's "Album des Chansons Espagnoles. " The refrain,
AUegreito quasi Andantino.
SETTING OF ACT I
L'a-mourest en - fant de Bo - h€nie
And Love's a gyP - sy boy to true.
II n'a Ja - mals, ]a>inals con-nu de . loi,
He ev • er was a rov-er free as air/
is a particularly fascinating portion of the number.
* DoubleFaced Record—For tilk of opposite side see DOUBLE-FACED CARMEN RECORDS, page 60.
VICTOR BOOK OF THE OPERA — BIZET'S CARMEN
HABANERA.
rARMI-:N SIKi-.l NC IIAPANERA
'Love is Like a Wood-Bird Wild."
Ah I love, thou art a wilful wild bird.
And none may hope thy wings to tame,
If it please thee to be a rebel,
Say, who can try and thee reclaim?
Threats and prayers alike unheeding;
Oft ardent homage thou'lt refuse,
\yhilst he who doth coldly slight thee,
TIiou f(]r thy master oft thou'lt choose.
Ah, love!
For love he is the lord of all,
And ne'er law's icy fetters will he
If thou me lovest not, I love thee.
And if I love thee, now beware!
If thou me lovest not, bewaixl
But if I love you, if I love you,
beware !
hcwa
To a large number of opera-goers and music-lovers there is but one emotional soprano
— but one exponent of such roles as Carmen and Santuzza. Calve's Carmen, especially, is almost
universally accepted as the greatest of all impersonations of the role.
Gerville-Reache's Carmen is a fine impersonation, on quite
original lines, her conception being based on a careful study
of Merimee's story and on the teachings of her Spanish mother.
Carmen, according to Mme. Gerville-Reache, was a passionate
and fickle woman, but not a vulgar one.
The men invite Carmen to choose a new lover,
and in reply she flings a flower in the face of the sur-
prised ]osc and laughingly departs.
Mia tnadre vedo ancor (My Mother
I Behold)
By Fernando de Lucia, Tenor, and Giuseppina
Huguet, Soprano {Piano ace.)
{In Italian] 92052 12-inch, $3.00
Parle-moi de ma mere (Tell Me of My
Mother)
By Lucy Marsh, Soprano, and John McCormack,
Tenor (In French) 74345 12-inch, $1.50
Now Micae/a returns, and finds the soldier she seeks. Her song
tells of the message of greeting she brings Jose from his mother,
and with it a kiss. The innocence of Micaela is here a foil to
the riper attractions of the gypsy, and the music allotted to the
maiden possesses the same simple charm ; the conclusion of
Micaela's air being a broad sustained melody of much beauty.
Jose takes up the strain, as the memories of his old home crowd
upon him, and the beautiful duet follows. o*" *» carmen
50
VICTOR BOOK OF THE O P E R A — B I Z E T ' S CARMEN
Jose;
Ah!
tcU me of her — -my mother far away.
CALVE AS CARMEN
Micaela leaves him after a tender
fare-well, and Jose begins to read his
mother's letter, but is interrupted by a
commotion w^ithin the factory. Carmen
has stabbed one of her companions, and
is arrested and placed under the guard
of Don Jose. The soldiers drive away
the crowd, and Carmen, left alone w^ith
Jose, brings her powers of fascination to
bear on the young soldier, partly to facili-
tate her escape, and partly because he
has attracted her attention. Here she
sings the Seguidilla, a form of Spanish
country dance.
Seguidilla (Near the "W alls
of Seville)
By Maria Gay, Mezzo-
Soprano i In Italian)
91085 10-inch, $2.00
By Margarete Matzenauer,
Mezzo-Soprano (In French)
87103 10-inch. 2.00
The Seguidilla is one of Spain's most
beloved dances, and its rhythm is most
fascinating. Bizet has given us a brilliant
to Michael Carre's w^ords.
Carmen (airily) :
Nigh to the walls of Sevilla,
Soon at my friend Lillas I^astia
I'll trip thro' the light Seguidilla.
And I'll quaff Manzanilla,
I'll go seek out my friend Lillas Pastia.
will to thee render,
from the chapc-l came,
MlCIIAELA :
Faithful messenger from her to thee,
I bring a leUcr.
And some money also;
liecause a dragoon has not too much.
And, besides that —
Jose: Something else?
MiCHAELA :
Yes, I will tell you.
What she has given, I
Your mother with me
And then, lovingly, she kissed me
"My daughter," said she, to llie city go:
A\'hen arrived in Seville,
Thou wilt seek out Jose, my beloved son;
Tell him that his mother,
By night, by day,_ thinks of her Jose:
For him she always prays and hopes,
And pardons him, and loves him ever.
And then this kiss, kind one.
Thou wilt to him give for me."
Jose; A kiss from my mother?
MiCHAELA :
To her son.
Jose, I give it to thee — as I proiniscfl.
{Alicliaela stands on tip-toe and kisses Jose
a true mother's kiss. — Jose is moved ai
regards Michaela tenderly.)
Jose;
My home in yonder valley.
My mother lov'd shall I e'er see?
Ah fondly in my heart I cherish
Mem'ries so dear yet to me.
^MrCHAELAI
That one sweet hope,
'Twill strength and courage give thee.
That yet again thou wilt thy home
And thy dear mother once more see.
I^M
1 ^ "*^^3Hi
|H
^/i^ ^HH
H^H
'JB' ^^^ff
R
i^^si
KjI.,
m| iWJH
|r^
il^^.^P
w^
3 ,;^^^'
CAKM!-:N AND KSCAMILl.O AT THF: INN ACT II
example in this dainty number, which he has set
{Plaintively, casflni/ glances at Jose):
Yes, but alone one's joys are few,
Onr pleasures double, shared by two!
So just to keep me company.
My beau I'll take along with me!
51
VICTOR BOOK OF THE OPERA — BIZET'S CARMEN
THE INN OF PASTIA ACT II
Although Jose says to himself that the girl is only amusing herself, and whiling away
the time with her gypsy songs, the w^ords w^hich fall on his ear — of a meeting-place on the
ramparts of Seville^of a soldier she loves — a common soldier, all these play upon the feel-
ings of Jose and rouse in him a love for the changeful gypsy, -who is fated to be the cause
of his dov^nfall.
He unties her hands, and w^hen the soldiers are conducting her to prison she pushes Jose,
who falls, and in the confusion she escapes.
Between Acts 1 and II is usually played a charming entr'acte,
w^hich has been rendered for this Carmen series by Mr. Herbert.
Intermezzo (1st Entr'acte)
By Victor Herbert's Orch. 60067 10-inch, $0.75
ACT 11
SCENE — A Tavern in the Suburbs of Seville
The second act opens amid the Bohemian surroundings of the
tavern of Lillas Pastia ; the w^ild tune w^ith w^hich the orchestra leads
off depicting the freedom and gaiety w^ith w^hich the mixed char-
acters here assembled are wont to take enjoyment and recreation.
Les tringles des sistres (Gypsy Song)
By Emma Calve, Soprano
{In French) 88124 12-inch, $3.00
Carmen again leads them w^ith her song, another lively gypsy
tune, in the exulting refrain of which all join, a picture of reck-
less merriment resulting.
All! when of gay guitars the sound
(.)n tliL- ail- in cadence ringing,
Ouickly forth the gipsies springing,
To dance a merry, mazy round.
While tambourines the clang prolong,
In rhythm with the music beating.
And ev'ry voice is heard repeating
The merry burthen of glad song.
Tra la la la. etc.
52
ALVE SINT.IN
SONG
G THE GYPSY
ACT II
VICTOR BOOK OF THE O P E R A — B I Z E T ' S CARMEN
But Carmen is thinking of the soldier who went to prison for
her sake and who, now at liberty, will shortly be with her. Her
musings are interrupted by the arrival of a procession in honor
of Escamillo, whose appearance is followed by the famous
" Toreador Song," the most popular of all Carmen numbers.
Cancion de Toreador (Toreador Song)
By Titta Ruffo, Baritone, and La Scala Chorus
{In Italian) 92065 12-inch, $3.00
By Emilio de Gogorza, Baritone, and New^ York
Opera Chorus (/n Spani5/i) 88178 12-inch, 3.00
By Pasquale Atnato, Baritone
{In Italian) 88327 12-inch, 3.00
By Giuseppe Campanari, Baritone
{In Italian) 85073 12-inch, 3.00
By Alan Turner, Baritone
{In English) *lbS21 10-inch, .75
By Francesco Cigada, Baritone; Giuseppina
Huguet, Soprano; Inez Salvador, Mezzo-
Soprano ; and La Scala Chorus
(/n/(a/(an) *626 18 10-inch, .75
No less than six renditions of this universal favorite are
offered by the Victor for the choice of customers.
After Escamillo' s departure, Carmen's comrades invite her to
part upon a smuggling expedition, but ""'' oi™"'
she refuses to stir until she sees the caruso as don jhse
soldier for whom she is waiting. Their
efforts to persuade her has been put by Bizet into the form of a
brilliant quintet.
Quintet— "Nous avons en tete une affaire"
(W^e Have a Plan)
By Mmes. Lejeune, Soprano; Duchene, Mezzo-
Soprano ; Dumesnil, Soprano ; Mm. Leroux,
Tenor; Charles Gilibert, Baritone
{In French) 88237 12-inch, $3.00
This is one of the favorite numbers in Bizet's opera, and at the
same time one of the most difficult imaginable. When sung as the
tempo indicates, it goes at break-neck speed, and it is only the most
capable artists who can do it justice.
For the present reproduction, the Victor assembled a most
competent corps of singers, who were under the direction of the late
Charles Gilibert, himself the most famous of Remendados.
Jose's voice being heard outside, Carmen pushes her compan-
ions from the room, and greeting him with joy, questions him about
his two months in prison. She then tries her fascinations on the
stolid soldier to induce him to join the band of smugglers. Carmen
dances for the soldier while he watches her with fascinated gaze.
Her efforts are useless, as he is reminded of his duty when he hears
the bugle in the distance summoning him to quarters. "Then go,
1 hate you ! " says Carmen, and mocks him, singing
Ah, this is too mortifying!
All to please you, sir, I gaily sang and danced.
(Aside.') But now ta ra ta ! he hears the trumpet call!
Ta ra ta ra ! and then off he flies
Like a guest to a feast!
She is furious, and pitches at him his cap and sabre, and bids him begone.
^oubl.-FacedReco,d^For title of opposite side see DOUBLE-FACED CARMEN RECORDS, page 60.
53
DALMORES
VICTOR BOOK OF THE O P E R A — B I Z E T ' S C A R MEK
Air de la fleur
(Flo^ver Song)
12-inch, $3.00
By Enrico Caruso. Tenor
{In French) 88208
By Enrico Caruso, Tenor
{In Italian) 88209
By Charles Dalmores. Tenor
{In French) 85122
By Herman Jadlowker, Tenor
{In French) 7602 7
By Fernando de Lucia, Tenor
{In Italian) 76001
By Evan Williams, Tenor
(In English) 74122
By John McCormack, Tenor
{In Italian) 74218
Desperate at the thought of losing her forever, 'Don
Jose shows her the flowers she threw him at their first
meeting, and which he had preserved, then sings this
lovely romance, beginning:
AndanlmD. (J — 69.)
p con amore.
12-inch,
3.00
12-inch,
3.00
12-inch,
2.00
12-inch,
2.00
12-inch,
1.50
12-inch,
1.50
BRESSLER-CIANOLI AS CARMEN
r^^. r, r r^j ^ ^^jNj \ c : r: g ^ ^
La fleur que tu ma-vals je - te - e Dans ma pri - son
This flow' r you, gave to me, de -grad - ed 'MidpH-son walls
m'e-tait res - 16 - e .
I've kept tho" fad - ed
TKe struggle between love and duty -which has been distracting the unfortunate lover is
now seemingly forgotten, and he pours out his heart in this romanza, telling only of his great
passion for the beautiful but heartless gypsy.
1 )nN Jose:
Tliis flower you gave to nic, degraded
'Mid prison walls, I've kept, the' faded;
Tlio' withered quite, the tender bloom
])oth yet retain its sweet perfume.
Nij^ht and day in darkness abiding,
I tile truth, Carmen, am confiding;
Its loved odor did I inhale.
And wildly called thee without avail.
My love itself I cursed and hated.
Then alone myself I detested.
And naught else this heart interested,
Naught else it felt but one desire,
One sole desire did it retain.
Carmen, beloved, to see thee once again!
O, Carmen, mine ! here as tliy slave, love
binds me fast,
Carmen, I love thee!
From Scliirraer ncore. Coii_T't 0. S<:lurmer
The number might have been written expressly for
Caruso, so well does it suit his voice and style. One can
but marvel at the masterful ease of phrasing, and the
warmth of vocal coloring imparted by the singer. The
changing moods of the lover are here indicated with dra-
matic expression — the regret at the havoc Carmen has played
with his life mingling with the devotion for her he still feels.
This is a remarkable and memorable performance, the whole
song being lighted up with that rich vocal beauty and artis-
tic genius which belong only to a Caruso.
Other fine renditions, at varying prices, in both Italian
and English, are also offered.
Carmen then paints the Joys of the gypsies' life which might be Jose's, if he would desert
his regiment and follow her.
',4
DE LUSSAN AS CARMEN
VICTOR BOOK OF THE O P E R A— B I Z E T * S CARMEN
Las bas dans la montagne (A'way to Yonder Mountains)
By Emma Calve, Soprano, and. Charles Dalmores, Tenor
{In French] 89019 12-inch, $4.00
lovely
ing ears, his voice joining hers
at the cl
e close, in a
JcjSF, :
(.'aniien 1
C'arm i:x :
Wilt come witli mc ?
I_Tp yondfv. up yonilcr, thus will we
Away, if thuLi iov'st nic, tiij^cthL-r I
The soldier listens with half-wil
duet passage.
Carmen :
For roof, the sky — a wandering life;
For country, the whole world;
Thy will thy master;
And above all — most prized of all —
Liberty ! freedom!
Up yonder, up yonder, if thou Inv'st me,
To the mountains, together we'll go.
However, in spite of Carmen's fascinations, Jose is about to return to his duty, when the
appearance of his superior officer Zuniga, w^ho orders him back, decides the matter.
Don Jose resents the overbearing tone his captain uses and defies him. Zuniga is finally
overpowered and bound by the gypsies, and the smugglers all depart on their expedition.
Aragonaise (2d Entr'acte)
By Victor Herbert's Orchestra 70067 12-inch, $1.25
By La Scala Orchestra {Doubk^/aced —See page 60) 62102 10-inch, .75
The retreat in the mountains is musically described by this pastoral intermezzo. A
dreamy melody given to the flute, with a pizzicato accompaniment, is taken up by the other
instruments in turn, the strings joining in the coda.
AndarUino quasi aUegretUt.
This is one of the finest records made by the Herbert Orchestra, who have given an
artistic and finished rendering of the interlude.
MICAELA PLEADS WITH JOSE— ACT III
55
VICTOR BOOK OF THE O P E R A — B I Z E T ' S CARMEN
ACT III
SCENE— /I Wild and Rock}! Pass in the Mountains
As the curtain rises, the smugglers are seen entering their rocky lair. Here occurs the
famous sextette, a portion of which is given in the "Gems from Carmen" (page 60).
The smugglers prepare to camp for the night. It is evident that Jose is already repenting
of his folly, and that Carmen is tiring of her latest lover. After a quarrel with Jose, she joins
Frasquila and Mercedes, who are telling fortunes with cards.
En vain pour eviter (Card Song)
By Lavinde Casas.Mezzo-Soprano (Piano ace.) (/n/(a//an) *62617 10-inch, $0.75
Carmen tells her own fate by the cards,
reading death, first for herself and then for her
lover. In vain she shuffles and re-tries the
result ; the ans-wer is ever the same.
This highly dramatic air, one of the most
impressive numbers in Bizet's opera, is effect-
ively sung by Mme. d6 Casas.
The neighboring camp being ready, the
smugglers retire, and the stage is once more
deserted.
Je dis que rien ne m'epouvante
(Micaela's Air," I am not Faint-
Hearted")
By Geraldine Farrar, Soprano
(In French) 88144 12-inch, $3.00
By Alma Gluck, Soprano
(In French) 74245 12-inch, 1.50
Into this strange and v^^ild scene now enters
Micaela, the peasant s-weetheart of Don Jose,
who has forgotten her in his fascination for the
wayward Carmen. Micaela has braved the
dangers of the road to the smugglers" retreat,
whither Don Jose has followed Carmen, to carry
to the soldier a message from his dying mother.
The innocent girl is frightened by the vast and
* Douhle-FaceJ Record— For title of opposite sije see DOUBLE-FACED CARMEN RECORDS, page 60.
.50
THE CARDS PRKmCT CARMEN S DEATH
(EMMA calve)
VICTOR BOOK OF THE O P E R A — B I Z E T ^ S CARMEN
lonely mountains, and in her aria appeals to Heaven to protect her,
ingenuously confessing her love for Don Jose and her detestation of the
■woman who has led him away from his duty.
Micaela:
I try not to own that I tremble;
But I know I'm a coward, altlio' bold I
appear.
Ah! how can I ever call up my courai-'e,
While horror and dread chill my sad heart
with fear?
Here, in this savage retreat, sad and weary
am I,
Alone and sore afraid.
Ah! heav'n, to thee I humbly pray.
Protect thou me, and guide and aid!
I shall see the guilty creature.
Who by infernal arts doth sever
From his country, from his duty,
riim I loved — and shall love ever!
I may tremble at her beauty,
But her power affrights me not.
Strong, in my just cause confiding,
lieaven! I trust myself to thee.
Ah! to this poor heart give courage,
Protector! guide and aid now me!
The young girl, hearing a shot fired, runs into a cave in fright.
Jose, who is guarding the smugglers' effects, has seen a stranger and
fires at him. It proves to be Escamillo, the toreador, w^ho has come
to join Carmen. He appears, examining his hat with rueful gaze, as trentini as frasquita
Jose's bullet had gone through it. '*Who are you?" says the latter.
" 1 am Escamillo, toreador of Granada I " replies the bull fighter.
The duet which follows is given here by two famous artists of the Paris Opera.
Je suis Escamillo (I am Escamillo!)
By Leon Beyle, Tenor, and Hector Dufranne, Baritone
{Double-faced— See page 60) {In French) 62750 10-inch, $0.75
The two men compare notes, and learning that they are rivals, Jose challenges the other
to a duel with knives, w^hich is interrupted by the timely arrival of Carmen herself. This
dialogue, with the fiery duet at the close, well depicts this exciting scene.
A popular priced rendition by Beyle and Dufranne, of the Opera, is listed above.
Finale — *'Mia tu sei" (You Command Me to Leave You)
By Antonio Paoli, Tenor; Giuseppina Huguet, Soprano;
Inez Salvador, and Francesco Cigada {In Italian) 92035 12-inch, $3.00
A dramatic scene between Carmen and Jose is interrupted by Micaela, who begs Jose to
return to his mother; and Carmen, with fine scorn, echoes her request. Thus to leave his
rival in possession of the field is too much for the soldier, who swears never to be parted
from the gypsy until death.
Michaela:
Be not deaf to my prayers;
Thy mother waits tliee there.
The chain that binds thee, Jose
] )eath will break.
Jose {to M ichacta) :
CiO from hence;
I cannot follow thee.
(To Carmen.)
Mine thiai art, accursed one!
And I will force thee to know
And submit to the fate
That both our lives unites!
The message from his dying mother, however, decides him ; he will go, but vows to
return. In this wild and tumultuous number the jealous anger of Jose gives rise to some
highly dramatic singing, delivered with extreme intensity and power by Paoli. the tragic
theme at the close being introduced with meaning effect. The Toreador chorus indicates
the triumph of Escamillo in the gypsy's attentions, and this with the orchestral close slowly
sinking to rest brings the powerful act to a finish.
57
Carmen (to Jose) :
Go, and go quickly; stay not here;
This way of life is not for thee!
losE (to Carmen) :
To depart thou dost counsel me?
Carmen :
Yes, thou shouldst go —
Jose {fiercely) :
Yes, that thou mayst follow
Another lover — the toreador!
No, Carmen, I will not depart!
VICTOR BOOK OF THE O P E R A — B I Z E T ' S CARMEN
ACT IV
(A Square in Seville, with the walls of the
Bull Ring shown at the back)
Prelude
By Victor Herbert's Orchestra
70066 12-inch, $1.25
The fourth act opens with a
momentary brightness. Outside the
Plaza de Tows, in Seville, an animated
crowd awaits the procession about to
enter the ring. This short movement
is a quick bustling one, only the plaint-
ive oboe solo indicating the tragedy
w^hich is soon to occur. The playing
of this striking prelude is on the same
artistic level w^hich marks each of the
renditions by this famous orchestra.
This scene, as the orange sellers,
hawkers of fans, ices and the rest,
press their w^ares on the waiting crowd,
is extremely gay, and affords w^elcome
relief from the intensity of the drama.
Escamillo, w^ho has returned to take part in the bulhfight, now enters, and all join in
the refrain of the Toreador Song in his honor.
Se tu m'ami (If You Love Me)
By Margarete Matzenauer, Mezzo-Soprano ; Pasquale Amato, Baritone:
with Metropolitan Opera Chorus {In Italian) 89061 12-inch, $4.00
By Inez Salvador, Mezzo-Soprano, and Francesco Cigada, Baritone
{Double-faced— Sec page 60) {In Italian) 62102 10-inch, .75
Escamillo takes farewell of Carmen before entering the arena. He promises to fight the
better for her presence, and she. half conscious of w^hat is coming, avows her readiness to
die for him. This number is full of lovely melodies and one of the most beautiful records
of the Carmen series.
JOSE PLEADING WITH CARMEN \LT
TITE DKATTi; OK CARMliN^ACT IV
58
VICTOR BOOK OF THE OPERA BIZET'S CARMEN
to which
As the procession passes on, the warning comes to Carmen that Jose is here,
she rephes that she fears him not.
Duetto e Finale (Duet and Finale)
By Maria Passeri, Mezzo-Soprano ;
Antonio Paoli, Tenor; and La Scala
Chorus 92050 12-inch, $3.00
Jose now enters and makes a last appeal, which is dramatic
in its intensity. It takes the form of a swinging melody to an
insistent triplet accompaniment. To each request of her lover,
Carmen adds her disdainful negative, reckless of the danger which
threatens her.
JusE (in desperation) :
Now thou refusest my prayurs,
Inhuman girl! For thy sake am I lost!
And then to know thee shameless, infamous!
Laughing, in his arms, at my despair!
No, no! it shall not be, by Heaven!
Carmen, thou must be mine, mine only!
Carmen (proudly) ; No, no. never !
Jose: Ah! weary am I of threats.
Carmen: Cease then, — or let me pass!
Chorus {in bull ring): X'ietory! vielory!
\'iva Escamillo I
Jose: Again I beseech thee, Carmen,
Wilt thou with me depart?
MARTIN as don JOSE
Carmen 's last refusal, as she flings
him back his ring, rouses the soldier's
jealousy to madness and he stabs her to
the heart. As she falls the success of the
Toreador in the arena is announced by the
singing of his w^ell-known refrain. The
last notes of the opera are a few pitiful
tones from the stricken Jose addressed
to the mute form of his beloved.
This is another truly powerful
record by Paoli, worthy of a climax such
as this. The music is delivered with the
realism and earnestness beyond the
reach of all but the very few tenors, and
it enables the listener to fully realize the
stress and pathos of this moving dra-
matic picture.
JUSE AND CARI\I I . f
^35000
12-inch,
10-inch,
$1.00
1.25
.75
DOUBLE-FACED AND MISCELLANEOUS CARMEN RECORDS
Carmen Selection By Pryor's Band 31562 12-inch,
/Carmen Selection By Sousa's Band
\ Freischutz — Overture By Sousa 's Bandf
/Carmen Selection By Pryor's Bandl ,^ei7r-
( Manon — J^h ! fu^ez douce image ! By M. T^occa, Tenorj
The selection begins with the brilliant and animated Prelude, the first part of w^hich is
given, including the refrain of the famous < J3, ^■"T^'''T'''"^"''"~^-,^i-fv— b ■ • n
" Toreador Song." Then is heard (as a cornet ^- "" -- ^-"^ -v U ^ ^^^^^-^ . =^ ^E!irL± JiJ- ^ ^ / I j! . -
solo) the quaint riabanera, i™< m lu^ a- > u^^ o.-j wm, 7»j/™^^/.^™ ,v . rrt^o^t « <o~.
with its curiously varied rhythm, its chromatic melody and the changes from minor to major
which are so effective. With the last note the full band takes up the rollicking chorus of
street boys from Act I, and after a few measures there
appears suddenly the w^eird strain from Act IV when
Carmen hurls at Don Jose her last defiance. ''"■ ~' "'
The spirited introductory strain returns, closing the selection.
59
VICTOR BOOK OF THE O P E R A — B I Z E T* S CARMEN
lO-inch, $0.75
DOUBLE-FACED AND MISCELLANEOUS CARMEN RECORDS— Continued
Gems from Carmen
Chorus, " Here They Are " — Solo and Chorus, " Habanera " (Love is Like
a Bird) — Duet, "Again He Sees His Village Home" — Sextette, "Our Chosen
Trade" — Solo and Chorus, "Toreador Song" — Finale.
By Victor Light Opera Company (In English) 31843 12-inch, $1.00
An amazing number of the most popular bits of Bizet's masterpiece have been crowded
into this attractively arranged potpourri.
jHabanera (IVhislling) By Guide Gialdinij ,
\ The Pretty Maiden (Xylophone) By Peter Lewinr*'^ ^-^
[Toreador Song By Alan Turner, Baritone (/n English) 1
I Trooalore — Tempest of the Heart 16521 10-inch, .75
[ Sp Jilan Turner, Baritone [In English)}
jPrelude (Overture) By La Scala Orchestral ,„_, 12 ' h 1 25
I Damnation of Faust — Hungarian March Bp Sousa 's Band\
(Prelude (Overture) By La Scala Orchestral
< Scena delle carte (Card Song) By Lavin de Casas, Mezzo- >62617 10-inch,
1 Soprano {Piano ace.) {In Italian)]
rCanzone del Toreador (Toreador Song) By F. Cigada, Bari-
1 tone; G. Huguet, Soprano; I. Salvador, Mezzo-Soprano;
I La Scala Chorus {In Italian) (
[ Caoalleria Rusticana — Intermezzo By Pr\}or's Orchestra}
I Intermezzo — Acto III, Aragonaise La Scala Orchestra, Milan I
Se tu m'ami (If You Love Me) By Inez Salvador, Mezzo- 62102 10-inch,
I Soprano; F^ Cigada, Baritone {In Italian)}
IJe suis Escamillo (I Am Escamillo!) By Leon Beyle, Tenor; 1
l Hector Dufranne, Baritone (/n Frenc/i) 162 750 10-inch,
( 'Ualse des looses (Me'lra) B\) Mile. Lucette Korsoff, Soprano {French) \
IPreludio, Acto IV By La Scala Orchestral
'< Norma — Mira o Norma — By Ida Qiacomelli, Soprano; Lina Mileri, 62101 10-inch,
I Contralto (In Italian) \
/Carmen Selection (X\)lophone) By Wm. Reitz) , 10 inch
\ Boheme — Musetia Waltz (Whistling) By Guido Gialdinif
62618 10-inch,
.75
.75
.75
.75
.75
.75
A FAMOUS OPEN-AIR PRODUCTION OF CARMEN IN FRANCE
00
THE METROPOLITAN OPERA HOUSE SETTING
(Italian)
CAVALLERIA RUSTICANA
{Kah'OabUlay-ree -ah Roos-lee kah' -nah)
(English)
RUSTIC CHIVALRY
OPERA IN ONE ACT
Libretto adapted from the book of Verga by Targioni-Torzetti and Menasci ; music by
Mascagni. First production in Rome, May 17, 1890. First London production at the
Shaftesbury Theatre, 1891, First American production in Philadelphia, 1891.
Cast
SANTUZZA, {San-looi' 'Zah) a village girl Soprano
Lola, {Low -lah) wife of Alfio Mezzo-Soprano
TURIDDU, {Too-ree -doo) a young soldier Tenor
Alfio, (At-fee-oh) a teamster Baritone
Lucia, {Loo-chee -ah) mother of Turiddu Contralto
Chorus of Peasants and Villagers. Chorus behind the scenes.
The scene is laid in a Sicilian village. Time, the present.
THE COMPOSER
Pietro Mascagni, son or a baker in Leghorn, was born December 7, 1863. Destined by
his father to succeed him in business, the young man rebelled, and secretly entered the
Cherubini Conservatory. He began composing at an early age, but none of his works at-
tracted attention until 1890, w^hen he entered a contest planned by Sonzogno, the Milan
publisher. Securing a libretto based on a simple Sicilian tale by Verga, he composed the
whole of this opera in eight days, producing a work full of dramatic fire and rich in Italian
melody, and easily won the prize. Produced in Rome in 1890, it created a sensation, and in
NOTE — The quotations from CaOallcrla RusUcana are given by kind permission of G. Schlrmer. (Copy'l 1 89 1 .)
61
VICTOR BOOK OF THE O PE R A— C A V ALLE RI A RUSTICANA
a short time has become one of the most popular of
operas. THE STORY
Turiddu, a young Sicilian peasant, returns from the
war and finds his sweetheart, Lola, has wedded Alfio,
a carter. For consolation he pays court to Santuzza, who
loves him not w^isely but too w^ell. Tiring of her, he turns
again to Lola, who seems to encourage him.
Prelude
By La Scala Orchestra '35104 12-inch, $1.25
By Vessella's Italian Band
31831 12-inch, 1.00
The Prelude takes the form of a fantasia on the
principal themes of the opera. Mascagni s lovely melodies
are played with exquisite tone and expression, while at
the climaxes the entry of the brass is most artistically
managed. This is band playing of a high order, and
certainly the best record of the Prelude w^e have heard. The
La Scala Orchestra record is also a most interesting one.
During the prelude Turiddu 's voice is heard in the charm-
ing Siciliana, in w^hich he tells of his love for Lola :
Siciliana (Thy Lips Like Crimson Berries)
By Enrico Caruso, Tenor [Harp ace.)
By Enrico Caruso, Tenor (Piano ace.)
By George Hamlin. Tenor {Harp aec.)
By Leo Slezak, Tenor
By Carlo Caffetto, Tenor [Piano aec.)
It is sung behind the scenes, before the rise of the
tain, making it peculiarly effective. At the close of the
number Turiddu 's voice is heard dying away in the distance.
This decrescendo passage is exquisitely sung by Caruso. This
delightful serenade, one of the most popular of the
Caruso records, is almost the only bright spot in Mascagni's
passionate and tragic operatic melodrama.
The best of the many translations (Schirmer Edition,
copy't 1891) is given here.
'J'URIDDTI :
O Lola, with thy lips like crimson berries,
Eyes with the glow of love deepening in
tliem.
Cheeks of the hue of wild, hlossoming clierries,
Fortunate he who first finds favor to win
the in ;
[In Italian)
(In Italian)
{In Italian)
(In German)
{In Italian) ^''62620
87072
81030
64387
61202
Yet tho' I died and
beaming,
Wert thou not ther
should cherish!
found llcav'n
to greet me,
ef I
Fine renditions in German by Slezak and in Italian by
Hamlin and Caffetto are also listed.
Afte
SCENE — A Square in a Sicilian Village
the Siciliana the chorus of villagers is heard,
also behind the scenes, and during this chorus the curtain
rises, showing a square in the village, v/ith the church
at one side and the cottage of Turiddu 's mother on the othe
' Douhle-Faojd Record ^ For lille of opposite side see double-faced list, page 66.
TAMAGNO AS TURIDDU
VICTOR BOOK OF THE O PE R A— C A VALLERI A RUSTICANA
Gli aranci olezzano (Blossoms of Oranges)
By New York Grand Opera Chorus (In Italian) 64048 10-inch, $1.00
By La Scala Chorus (In kalian) *68218 12-inch, 1.25
This beautiful chorus is rendered here both by the famous
organization of La Scala, Milan, and the New York Grand
Opera Chorus.
It IS Easter Day and crowds of villagers cross the stage and
enter the church. Santuzza enters, and knocking at Lucia's
door, asks her if she has seen Turiddu. His mother replies
that he is at Francofonte, but the jealous girl refuses to believe
it, and suspects that he is watching for Lola.
The cracking of a whip and shouts of the villagers
announce Alfio, who appears and sings a merry song.
II cavallo scalpita (Gayly Moves the
Tramping Horse)
By Pasquale Amato, Baritone
(uoiih Metropolitan Opera Cho. ) (In Italian)
87097 10-inch $2.00
By Renzo Minolfi, Baritone
(In Italian) *450O3 10-inch, 1.00
He is happy and free, his wife Lola loves him and guards
his home while he is gone — this is the burden of his air.
The peasants disperse and Atfio is left with Lucia and
Santuzza. When he says he has just seen Turiddu, Lucia is
surprised, but at a gesture from Santuzza she keeps silent.
After Alfio has entered the church, the Easter music is
heard within and all kneel and join in the singing.
AMATO AS ALFIO
Regina Coeli (Queen of the Heavens)
By La Scala Chorus
This great number, given by La Scala Chorus, h,
chorus noted above on one double-faced record.
All go into the church except Lucia and Santuzza, and the agitated girl now sin
touching romanza, beginning:
(In Italian) *68218 12-inch, $1.25
ls been combined with the opening
^
=g=£^=
^^^^
as she pours out her sad history to the sympathetic Mamma Lucia. This is one of the most
powerful numbers in Mascagni's TA^ork.
Voi lo sapete (W^ell You Kno^v, Good Mother)
By Margarete Matzenauer, Soprano {In Italian) 88430 12~inch, $3.00
By Emma Calve, Soprano {In Italian) 88086 12-inch. 3.00
By Emma Eames, Soprano {In Italian) 88037 12-inch, 3.00
Stung with the remembrance of her great w^rong she sings of vengeance, but love over-
powers revenge, and in spite of herself, she cries
/ lovtd him!
I lavfd htm' Ahl .
*Doable-Face<i Record — For title of opposite side see double-faced list, page 66,
03
VICTOR BOOK OF THE OPERA— C AVALLERI A RUSTICANA
Then the thought of her rival, Lola, returns and she gives Vi^ay to despair, throwing herself
at the feet of the gentle mother of Turiddu, who is powerless to aid her and who can only
pray for the w^retched w^oman.
Santuzza :
Well do you know, good mother,
Ere to tlif war he depa.rted
Tiiriddu plighted to Lola his troth.
Like a man true-hearted.
And then, finding her wedded
Loved me I — 1 loved him! —
She. coveting what was my only treasure —
Enticed him from trie I
She and Turiddu love again!
I weef' ^'id I WCC11 and I weep still!
Three fine renditions of this dramatic number, by three famous
sopranos, are offered to music lovers.
Lucia tries to comfort her and passes into the church just as
Turidda appears. He asks Santuzza why she does not go to mass.
She says she cannot, and accuses him of treachery, vt'hich puts him
in a rage, and he tells her brutally that she is now nothing to him.
Tu qui Santuzza (Thou Here, Santuzza!)
By B, Besalu, Soprano, and G. Ciccolini, Tenor
{In Italian) =^55022 12-inch, $1.50
>Jo, No, Turiddu
By Besalu and Ciccolini (Italian) ='=55022
This scene is now interrupted by Lola's voice,
the scenes.
12-in.. 1.50
heard behind
GADSKI AS SANTUZZA
None like to him so bright
That land discloses.
My king of roses 1 —
Lola (behind the scenes) :
My king of roses,
Radiant angels stand
In Ileav'n in thousands;
She enters, and divining the situation, shows her power by taking Turiddu into the
church with her. Frantic with jealousy, Santuzza turns to Alfio, who now^ enters, and tells
him that his wife is false. Two records are required to present this pov/erful scene.
Turiddu mi tolse (Turiddu
Forsakes Me !)
By B. Besalii and E. Badini
{In Italian) ^=55021 12-inch, $1.50
By Clara Joanna, Soprano, and
Renzo Minolfi., Baritone
[In Italian) *45002 10-inch, 1.00
Ad essi io non perdono CTis They
\^ho Are Shameful)
By Clara Joanna and Renzo Minolfi
{In Italian) *45002 10-inch, $1.00
Alfio S'wears vengeance, "while San/uzzo already
regrets her disclosure, but is po\verless to prevent
the consequences of her revelation. They go out,
leaving the stage empty, and the beautiful Inter-
mezzo follows.
Intermezzo
By Victor Herbert's Orchestra
60074 10-in., $0.75
Pryor's Orchestra *62618 10-in., .75
Victor Orchestra 4184 10-in., .60
The instantaneous popularity of this selection
was remarkable, and m no small measure helped santuzza pleading with turiddu— act i
to make Caua/Zeria Kus^lcanathe tremendous success (destin'n and caruso)
that it was. These records bring out the beautiful melody — the harp lending a lovely back-
ground of peaceful harmony — and makes the Intermezzo a tone picture of exquisite coloring.
* Doublc-Faced Record — For title of opposite side see double-faced list, page 66.
6i
VICTOR BOOK OF THE OPERA— C AV ALLERI A RUSTICANA
After the storm and passion of the first scene, this lovely number comes as a blessed relief.
The curtain does not fall during the playing of the Intermezzo, although the stage is empty.
PART II
A casa, a casa (Now Home^vard)
By La Scala Chorus (/n Italian) *45014 10-inch, tl.OO
The services being over, the people nowr come from the church, and Turiddu in a reck-
less mood invites the crowd to drink with him, and sings his spirited Bnndisi.
Brindisi (Drinking Song)
By Enrico Caruso. Tenor {In Italian) 81062 10-inch, $2.00
By George Hamlin. Tenor {In Italian) 64245 10-inch, 1.00
In striking contrast to the prevailing tragic tone of Mascagni's opera comes this merry
drinking song, which Turiddu sings as
gaily as if he had not a care in the world,
although at that moment the culminating
tragedy of the duel was close at hand.
Turiddu calls to the crowd about the inn :
then sings the
Brindisi, which
has a most fas-
cinating swing:
Turiddu:
Hail the Tvd wine richly flowing.
In the beaker, sparklinti, glowing.
Like \'nuiig l^^■e, with smiles bestowing,
N'(tw (.mr hiiliday 'twill bless.
Hail the wine that flows and bubbles,
Kills care, banishes all troubles.
Brings peace, pleasure it redoubles,
Causes sweet forgetfulnessl
Alfio now^ enters, and when Turiddu offers .him a cup refuses, saying:
Thank you! Poison I might be drinking.
Turiddu throws out the v^^ine, saying carelessly:
\'ery well I suit your pleasure!
The seriousness of this scene is not lost on the peasants, who now leave the young
men together. The challenge is quickly given and accepted after the Sicilian fashion,
Turiddu viciously biting Alfio'' s ear, and they arrange to meet in the garden.
Turiddu now calls his mother from the cottage, and asks for her blessing, bidding her,
if he does not return, to be a mother to Santuzza.
Addio alia madre (Turiddu's Farewell to His Mother)
By Riccardo Martin, Tenor
By Gennaro de Tura, Tenor
By G. Ciccolini. Tenor
By Giorgio Malesci, Tenor {Piano ace.)
Turiddu (calling): .Mother !
(liiitcr Litem. )
Exciting surely that wine was.
I must Iiave taken
Too many cups
^\'hiIe we were drinking!
For a stroll I am going,
Hut first, I [iray you.
Give your son your blessing
As wlien I left you
To become a soldier !
If I return not, you must not falter
12-inch, *3.00
12-inch, 2,00
12-inch, 1.50
10-inch, .75
{In Italian) 882 77
{In Italian) 76015
{In Italian) *55021
{In Italian) *62620
To Santuzza be a mother!
I have sworn to shield her
And lead her to the altar.
Lucia:
Why speakest thou so strangely?
My son, oh. tell me ?
Turiddu ( uoiichalantly) :
Oh, nothing! the wine
Has filled my brain with vapors!
O pray that God forgive me!
One kiss, dear mother I
And yet another! {He riishcs off.)
Finale to the Opera
By Clara Joanna, Soprano; Sra. Rumbelli, Mezzo-Soprano ;
and Chorus (In Italian) *45003 10-inch, $1.00
Lucia is distressed and bewildered, and calls after him despairingly. Confused cries are
now heard and a woman screams " Turiddu is murdered 1 " Santuzza and Lucia sink down
senseless, and the curtain slowly falls.
* Douhk'Faced Record — For title of opposite side see double-faced list, page 66.
65
VICTOR BOOK OF THE OPERA— CAVALLERI A RUSTICANA
DOUBLE-FACED AND MISCELLANEOUS CAVALLERIA
Selection — Part I By Victor Orchestra 31057
Selection — Part II By Victor Orchestra 31058
Gems from " Cavalleria Rusticana"
"Blossoms of Oranges" — "Alfio's Song" — Lola's Ditty, "My King
— " Santuzza's Aria " — " Drinking Song " — " Easter Chorus "
By Victor Opera Company {In English)
(Turiddu, mi tolse (Turiddu Forsakes Me !) By
I B. Besalii, Soprano, and E. Badini, Baritone {In Ilatian)
I Mamma, quel vino e generoso (Mother ! the AVine
[ Cup too Freely Passes) By G. Coccolini, Tenor {In Italian)
jTu qui Santuzza (Thou, Santuzza) By Besalii and Ciccolini
1 No, No, Turiddu By Besalii and Ciccolini {In Italian)
(Prelude By La Scala Orchestra
iSelection ("Alfio'sSong," "Easter Chorale," "Intermezzo") pryor's B
jCoro d' Introduzione By La Scala Chorus (In ltalian)\
(Regina Coeli By La Scala Chorus
{Turiddu, mi tolse Tonore (Turiddu Forsakes Me!)
By Clara Joanna and Renzo Minolfi
Ad essi io non perdono — By Joanna and Minolfi
I Finale dell' Opera — By Clara Joanna, Soprano; Sra, |
I Rumbelli, Mezzo-Soprano; and La Scala Chorus {In //a/ian) UsOOS
III cavallo scalpita By Renzo Minolfi, Baritone {In Italian) \
JA casa, a casa (Now Homeward !) La Scala Chorus (^'a/(an)i ., .
I Guglielmo Ratcliff— Padre Nostra Mussini and Molinari {Italian)r *
(Intermezzo By Pryor's Orchestral
< Carmen — Toreador {Bizet) 62618
I By Cigada, Huguei, Salvador and Chorus {In Italian) |
J Addio alia madre (P/ano ace.) By Giorgio Malesci, Tenor), ,
ISiciliana {Piano ace.) By Carlo Caffetto, Tenor'"^"^"
RECORDS
12-inch, $1.00
12-inch, 1.00
of Roses "
31874 12-inch, 1.00
55021 12-inch, 1.50
{In Italian)
55022
35104
68218
{In Italian) 45002
{In Italian) \
12-inch, 1.50
12-inch, 1.25
12-inch, 1.25
10-inch, 1.00
10- inch, 1.00
10-inch. 1.00
10-inch, .75
10- inch, .75
Caruso Tnscanini "DLslinn nntli-C'izza/.T Martin
llnllirr
A REHEARSAL OF CAVALLERIA A [■ TILL M EIROPo LI TA N OLLRA HOUSE, NEW YORK
66
(French)
LES CLOCHES DE CORNEVILLE
(English)
THE CHIMES OF NORMANDY
COMIC OPERA IN THREE ACTS
Text by Clairville and Gabet ; music by Robert Planquette. First produced at the Folies
Dramaliques, Paris, April 19, 1877. First N. Y. production at the 5th Avenue Theatre, 1877.
Characters
Henri, the Marquis of Valleroi Baritone
GRENICHEUX, a young villager Tenor
GASPARD, a miser Bass
SERPOLETTE, the good-for-nothing Soprano
GERMAINE, the lost Marchioness Mezzo-Soprano
Sheriff Bass
Time and Place : Normandy ; time of Louis XV.
The Chimes of Normandy abounds in striking numbers,
and the music is full of gayety and French grace. It has had
no less than six thousand performances, a testimony to its
enduring place in popular appreciation.
The opera opens in an old Norman village, where a fair is
in progress. Henri, the Marquis of Valleroi, has just returned
to his native town after an absence of many years. The
ROBERT PLANQUETTE villsge gossips are discussing with vehemence scandals about
Serpolette, the village good-for-nothing, v^^ho arrives just in
time to vindicate herself by turning the tables on her traducers. Gaspard, the miser, has a
plan for marrying his niece, Germaine, to the sheriff, but the young girl objects, telling him
that if she must wed she feels it her duty to marry Grenicbeux, a young villager, in gratitude
for his saving her life. To escape the marriage, which is distasteful to both Germaine and
Grenicheux, and to fly from the vengeance of Gaspard s^nd the sheriff, she and Grenicheux take
advantage of the privileges of fair time and become servants of the Marquis.
In the second act the ghosts are reported to be roaming the Castle of Valleroi, The
Marquis does not credit these stories and soon discovers it is only old Gaspard, the miser,
who, when found out, goes crazy through fear of losing the treasures he has concealed
there. In the last act the castle is restored to its former splendor and the Marquis is giving
a fete to which he invites all the villagers, including the crazy Gaspard. Serpolette is there as
a fine lady with Grenicheux as her factotum. After a love scene between the Marquis and
Germaine, it is discovered that the latter is the rightful heiress and true claimant to the title
of Marchioness. The story comes to a fitting conclusion with the betrothal of the Marquis and
Germaine, over whom the bells of Corneville ring out sweetly and gladly to tell the happy news.
The Victor offers three band records of the principal airs, and an unusually effective
selection of five of the most popular numbers in the opera by the Victor Light Opera Company.
Gems from " Chimes of Normandy "
Chorus, "Silent Heroes" — "Just Look at This, Just Look at That" — "Cold
Sweat is on My Brow" — "That Night I'll Ne'er Forget" — "Bell Chorus"- -Finale.
By the Victor Light Opera Company 31788 12-inch, $1.00
Selection of the Principal Airs
By Sousa's Band 31 180
/Selection of the Principal Airs
\ Naila Intermezzo (Pas des Fleurs)
fSelection of the Principal Airs
\ Poet and Peasant Overture ( oon Suppe)
By Sousa's Band)
By Pryor's Band I
By Pryor's Band)
By Pryor's Bandf
35134
16385
12-inch,
12-inch,
12-inch,
1 00
1.25
.75
67
NATION OF FAUST FOURTH SCENE PARTS OP^RA
(French)
LA DAMNATION DE FAUST
{Lah Dan-nah-see-on' deh Fowst)
DAMNATION OF FAUST
Hector Berlioz's dramatic legend in four parts; book based on de Nerval's version of
Goethe's poem, partly by Gandonniere, but completed by Berlioz himself. First performed
December 6, 1846, at the Op^ra Comique, Paris, in concert form, and m New York under
Dr. Leopold Damrosch in 1880. It was given at Monte Carlo as an opera in !903. First
American performance of the operatic version in New^ York, 1908.
Cast
Marguerite {Mahr^guer^ei') ' Soprano
Faust (Fowst) Tenor
MEPHISTOPHELES (Mef-iss-lo/^Ueez) Baritone or Bass
BRANDER Bass
Place : A German village.
THE COMPOSER
No one to-day doubts the genius of Berlioz, and critics are almost unanimous in praising
his originality, his spontaneous force and immense creative power. Le Damnation de Faust,
his best known work, originally written as an oratorio, but which has since been adapted
for the stage, w^as first produced in 1846 and met with a cold reception. Ten years after
his death, how^ever, vv'hat a change began ! A Berlioz memorial in Paris, at the Hippodrome,
w^here thousands w^ere turned av^'ay ; Berlioz monuments erected in Grenoble and other
cities of France ; and finally, the production of Damnation of Faust as an opera at Monte Carlo
in 1903, amid scenes of the w^ildest enthusiasm.
VICTOR BOOK OF THE O P E R A — B E RL I O Z ' S FAUST
Bi:r-:R CI^LLAR IN LEIPSIC ACT II
In his " Faust " Berlioz has
given us a musical legend which
has all the picturesqueness of
the original work.
Whatever severe critics may
say of its merits in the highest
artistic sense, it is nevertheless
a -wonderful work. Strange
eccentricities and rare beauties
are found side by side ; even
the wild orgie of fiends called
*' Pandemonium, " vi^hich almost
transgresses the license of genius,
must be admired for its astound-
ing orchestral effects. On the
other hand, there are melodies
of purest beauty, such as the
numbers for Marguerite. How-
ever, the most striking numbers
in the opera are those written by Berlioz for Mephislopheles. three of which have been
most effectively rendered for the Victor by Plan^on.
THE OPERA
Berhoz, disregarding Goethe's poem, located the opening scene on a plain in Hungary
simply to excuse the interpolation of the Rakoczy March. We quote Berlioz himself
here: "The march on the Hungarian Rakoczy theme, written one night at Vienna,
made such a sensation at Pesth that 1 introduced it into my Faust score, taking the liberty of
putting my hero m Hungary and making him witness the passage of a Hungarian troop
across the plain where he is wandering in reverie." But Raoul Gunsbourg, who adapted
the cantata for the stage, changed the first scene to a room with open windows showing the
peasants dancing and the military passing by to the strains of the Hungarian March. Here
Faust soUloquizes on the vanity of all things, while the people make merry outside, and the
march of the soldiers makes an inspiring finish to the scene.
Hungarian (Rakoczy) March
BySousa'sBand ( Double-faced, seep. 71 ) 68052 12-in., $1.25
By Sousa's Band 31424 12-in., 1.00
This is Berlioz's treatment of the famous "Rakoczy March,"
known as a national Hungarian melody for a hundred years. Its
stirring measures so fascinated the composer that, contrary to his
original intention, he laid the scene of his " Faust " legend in Hungary
in order that he might make use of this wild and pulse-quickening
melody. His treatment of it is brilliant in the extrenie, and it
remains one of the most effective portions of his " Faust.
In this connection it is interesting to remember that Liszt,
although a warm friend of Berlioz, considered himself aggrieved
and wrote to Mme. Tardieu in 1882: "My transcription of the
Rakoczy March * * * is twice as long as the well-known version
of Berlioz, and it was written before his. Delicate sentiments of
friendship for the illustrious Frenchman induced me to withhold it
from publication until after his death. * * * In writing it he
made use of one of my earlier transcriptions, particularly in the
harmony." • l /-^ j
Scene II shows Faust alone in his study, as in the Gounod
version. He is about to take poison, when the strains of the
Easter hymn come from the adjoining church and arrest his purpose.
Mephistopheles then appears and suggests that they go forth and
see the world together, to which Faust consents.
In the third scene Faust and Mephislopheles go to a beer cellar in
Leipsic, where students and soldiers are carousing. Brander sings
his song of the rat, which as in the Gounod opera, meets with
«9
RENAUD S
CEPTION
STRIKING
OF MEPHI
VICTOR BOOK OF THE O P E R A — B E R L I O Z ' S FAUST
but ironical praise from Mephistopheles, and he volunteers his famous " Romance
of the Flea, " a curiosity of music as effective as it is difficult
to render.
Chanson de la puce (Song of the Flea)
By Pol Plan9on, Bass
[In French) 81087 10-inch, $2.00
Gounod's Mephistopheles is mild and innocent by the side
of the strange utterances of the Devil as portrayed by Berlioz.
This is one of the most interesting numbers in the
v/ork, for Berlioz has described, by means of clever forms
in the accompaniment, the skipping of the flea in various
directions. The words are most fantastic —
Once a king, tit it notfd, hail a fine anil lusty flea,
And on this flea he dutcd, cherish'd him tenderly.
So he sent for his tailor, and to the tailor sjjake:
"Please to measure this youngster, and coat and hreeches
make I"
In velvet and in satin
He now was duly drest
Had jewels rare liis hat in.
And medals deck'd his hreast!
Faust dislikes the scene, and the two vanish from the
gaze of the astonished students amid a fiery glow.
Voici des roses ('Mid Banks of Roses)
By Mattio Battistini, Baritone
{In Italian) 92023 12-inch. $3.00 ^--^'^^w.
We next discover Faust asleep in a lonely forest on the banks of the Elbe, where the
demon murmurs a softly penetrating melody into his ear, lulling him to slumber with these
seductive words —
"Mid hanks of roses, softly the light reposes.
On this fair, fragrant bed. rest, O Faust, rest thy head-
Hei-e slumher. while lo\'ely visions haunt thy dream
Of radiant forms, rare lips and eyes that fondly beam!
while the gnomes and sylphs dance through his dreams, and the vision of Marguerite is seen
for the first time.
The next scene corresponds to the Garden Scene of Gounod, and shows a room
in Marguerite's cottage. msphibt b^.
The demon now^ sum- .... .. -T; j^:f^^^-^^ --?!?— ^■.—
mons the w^ill - o'- the- l'* ** '''^'' I ' { [t* j— | -^-l^^^
V/ispS in this evocation: Ve .pir ltBorinH:or»tani art, Hiil ™ h=T^. ODibewingsol .Irl
The sprites come flying to Marguerite's door to aid in her enchantment, and the demon
continues :
Ve spirits of caprice and nf evil, conspire
'I (I enchant and subdue, and win a maiden soul.
N;>w rlance, ye son-; of P^vil, dance in the name of the devil,
W ill-u'-tlie-wisp and gnome, dance, or away you go 1
Then follows the beautiful dance of the will-o'-the-wIsps, after which Mephistopheles sings—
"T(. this lute. ]'ll sing a serenade
One that shall please the lady ....
It is moral, her tastes to suit I"
Serenade — Mephistopheles
By Pol Plan^on, Bass (/n French) 81034 10-inch. *2.00
Mephistopheles then warbles in his scoffing voice this mockmg serenade :
in the accompaniment of which Berlioz has reproduced the peculiar effect of the guitar by
pizzicato crescendos for strings.
70
VICTOR BOOK OF THE O P E R A — B E R L I O Z 'S FAUST
Mephistopheles:
Dear Katherinc, why to the
door of thy lover,
Drawest thou nigh?
Why there timidly hover? why
art there?
Oh, sweet inaiden, heware;
come away do not enter;
It were folly to venture.
Refrain, nor enter there!
Ah, heed thee well, fair lass.
Lest thy lover betray thee ;
Then good night, alas!
From ill-hap what shall stay
ihee?
But let thy lover prove the
truth of his advances;
When the ring brightly
glances.
Ah ! then only, believe his
love!
Berlioz's Mephistopheles is
a much more sardonic and
less gentlemanly devil than the
one we are accustomed to see in Gounod's opera. Plan^on interprets this difficult character
admirably, and delivers this sneering serenade with great effectiveness.
While the sprites dance Marguerite apparently sleeps, but soon comes from the house in
a kind of trance. She tries to enter the church, but the influence of Mephistopheles prevents,
and she returns to the house and falls into the arms of Faust.
The last act contains four scenes. Scene I shows a moonlit room w^here the unhappy
Marguerite sings her lament. This changes to a rocky pass where Mephistopheles informs
Faust that Marguerite is about to be executed for the murder of her mother. Faust demands that
she be saved, but is first required by Mephistopheles to sign the fatal contract which pledges
his soul to the Devil. Summoning the infernal steeds Vortex and Giaour, the w^ild Ride to
Hell commences, shown by a striking moving panorama, while at the close the angels are
seen hovering above the town to rescue the soul of the pardoned Marguerite.
FOURTH ACT SETTING DAMNATION OF FAUST
/Hung^arian March
\ Carmen — Prelude
DOUBLE-FACED DAMNATION OF FAUST RECORDS
By Sousa's Band\
By La Scala Orchestra}
68052 12 $1.25
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Jv..i.4^^^:
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L «BT DU ThEItBI
THE RIDE TO HELL ACT V
DAUGHTER OF " THE REGIMENT
(French)
LA FILLE DU REGIMENT
{Lah Fee\>eh deh Rezh' -ee-mong )
COMIC OPERA IN TWO ACTS
Words by Bayard and St. Georges. Music by Donizetti. First produced at the Opera
Comique, Paris, 1840; Berlin, J 842; London, 1847.
Characters
TONIO, a peasant of Tyrol Tenor
SULPIZIO, Sergeant of the 21st Bass
Marie. Vivandiere of the 21st Soprano
Marchioness of Berkenfield Mezzo-Soprano
The scene is laid in the Swiss Tyrol,
Donizetti's Daughter is a brilliant little opera, with its rollicking songs, its drums, its
vivacious heroine and its comic old Corporal.
At the beginning of the opera Marie is a beautiful girl of 17, who had been found on the
battlefield as an infant, and brought up by Sulpizio as the daughter of the regiment. Marie
is loved by Tonio, a young peasant, who had saved her life in the Alps and
who follows the regiment to be near her. The young girl returns his affec-
tion, and they decide to appeal to Sulpizio.
In asking for Marie's hand in marriage Tonio' s suit is brought before the
regiment, w^hich decides that he may have the Vivandiere providing he joins
the army, which he promptly does. Sulpizio meets the Marchioness of Berime n-
field and gives her a letter w^hich he had found addressed to her at the time /
the baby Marie w^as found on the battlefield. The Marchioness, who had / sj^
married a French army captain far beneath her own rank, immediately rec- ( -'^^»'^
ognizes the young girl as her daughter. The marriage had been a secret i '
one and the child was confided to her father's care at her birth. Not
wishing to acknowledge this marriage even now, the Marchioness declares
Marie to be her niece, and dismisses Tonio as a totally unfit person to w^ed L
a high-born maiden. Marie assumes her proper position in society, her &
"aunt" selecting a w^ealthy Count as a future husband for her. Hov/ever, ^\
in the midst of all her beautiful surroundings Marie continues to long for \
her sweetheart Tonio. Her mother, still pretending to be her aunt, endeav-
ors to persuade her to give up Tonio and marry the Count, but Marie flatly
refuses. In desperation the Marchioness reveals herself as the girl's own
mother, and the maiden then agrees to accede to her v/ishes and marry the
Count. Touched by Marie's filial devotion, the Marchioness consents to
allow^ her to marry Tonio, who in the meantime, through rapid promotion,
has reached a high rank in the French army under Napoleon.
The Victor offers three records from this charming opera ; the first
being the tuneful Per vicer oicino, the song of the lover Tonio. Mr. McCormack
gives a spirited performance of this delightful Romanza. Two splendid
band records are also offered— a Pryor's Band rendition of the gay and co'"''' 'o^ev
spirited Overture and a Vessella Band record of the principal airs in the opera, f^u cuKNtACK as
TONIO
Per viver vicino (To Be Near Her)
By John McCormack, Tenor {In Italian) 74221 12-inch, $1.50
DOUBLE-FACED DAUGHTER OF THE REGIMENT RECORDS
/Overture By Pryor's Band\„-^.- -^ . . ^, ^-
\ Dance of the Serpents (Boccalari) By Pryor's Bandf-^^^^^ 12-mch, $1.25
/Principal Airs of the Opera By Vessella's Bandl„- i -^ ■ i.
\ Fra Diavolo Selection {Auber) By Vessella's Bandr^^^^ 12-inch, 1.25
72
DINORAH
(Din-oh' -rah)
OPERA IN THREE ACTS
Libretto by Barbier and Carre. Music by Giacomo Meyerbeer. First production Paris,
1859. First London production, under direction of Meyerbeer. July 26. 1859. First New
York production. Opera Comique, 1864, with Cordier, Brignoli and Amodio.
Cast
HOEL, a goatherd Bass
CORENTINO, bag-piper ' ." .' ......'.'."'.'...'..'. . .Tenor
DiNORAH, betrothed to Hoel Soprano
HUNTSMAN Bass
Place : Breton village of Ploermel.
Although the name of Meyerbeer is usually as-
sociated with Robert le Diable, Prophete and Huguenots,
his opera, Pardon de P/oe>me/ (afterwards revised and
renamed Dinorah), w^as at one time a favorite v^ork w^ith
opera-lovers.
The revival of Meyerbeer's sparkling opera during
the last Manhattan season w^as most welcome, not only
for its tunefulness, but because it w^as an ideal medium
for the exhibition of Mme. Tetrazzini's marvelous gifts.
Old opera- goers in America v/ill remember the
productions of the past^that arranged for Marie Van
Zandt in 1892 ; Patti's famous performance a dozen
years before ; and the fine impersonations of Gerster,
di Murska and Marimon. But it is safe to say that no
ej'iponent of the part of the wandering Breton shepherd-
ess has ever excelled Mme. Tetrazzini in the role.
The plot is utterly absurd — its demented goat-girl,
seeking a runaw^ay lover; the lover himself, who con-
trary to operatic precedent is a baritone, and w^ho
spends a year chasing an imaginary treasure; a weak-
kneed bag-piper. These are the principal characters.
But in the music Meyerbeer has atoned for the
triviality of the libretto, and the audience listens to the
delightful melodies and pays little attention to the plot.
The action is laid in Brittany. Dinorah, a maiden of the
village of Ploermel, is about to be wedded to Hoel, a goat-herd, when a storm destroys
the house of the bride's father. Hoel resolves to rebuild it. and goes off to seek treasure
m a haunted region, v/hile Dinorah, thinking herself deserted, loses her reason, and wanders
through the country with her faithful goat, seeking the absent Hoel.
Overture
By La Scala Orchestra 68010 12-mch, $1.25
ACT I
As the curtain rises. Dinorah enters in her bridal dress, seeking her goat, and finding
the animal asleep, sings this lullaby to him. So lovely an air is worthy of a better object.
Si, carina caprettina (Yes, My Beloved One)
By Giuseppina Huguet. Soprano {In Italian) *35180 12-inch, $1.25
Mme. Huguet has sung this pretty air with charming fluency, and the record is one of
the most attractive in her list. The translation follows:
Slumber, darling, sweetly slumber, Perchance she has wandered on the hills
Sleep, my belov'd one, sleep! Amid the thornsi
Soft the evening bi'eeze is playing, -Mil wei't thou to be seized by the wolf — fear not!
'Neath the cooli'ng shadows here I will be there to defend thee — fear not!
Flows a streamlet, fresh and clear, Ves, darling sleep in i)eace,
Swift, among the flowers straying. Sweet little birds your warbling cease,
Alas! six days has she been away, My beauteous one must sleep.
Nor yet returns I Awake her not I Yet softer still 1
* Double-Faced Record^ On opposite side is the Mad Scene from Hamlet, by Mme. Huguet
73
FAURE AS HOEL, 1859
VICTOR BOOK OF THE O PE R A— M E Y E RB E E R'S DINORAH
Coreniino, a bag-piper, enters and is terrified at the sight of Dinorah, believing her to be
an evil fairy about whom he had heard, who causes the runaway traveler to dance till he
dies. Dinorah, in a spirit of mischief, makes him dance until he is exhausted, and runs
aw^ay laughing.
Hoel enters, still seeking the treasure, and confides in Corentino, telling him that the
wizard with whom he had lived for a year had instructed him to seek for a white goat
which would guide him to the gold. The bell of Dinorah's goat is heard, and Hoel pursues
it, dragging with him the terrified Corentino.
ACT II
The second act begins with the famous shadow dance, for which Meyerbeer has
furnished some most beautiful music. Dinorah enters, and seeing her shadow in the
moonlight, imagines it is a friend and sings and dances to it.
Ombra leggiera (Shado\v Song)
By LuisaTetrazzini. Soprano 88298 12-inch, $3.00
By Maria Galvany, Soprano 88222 12-inch, 3.00
Light Hitting sliadow, companion gay
(Jo nut away I
Play ln-Te bcsidt; mc, dark fears betide me
When thou dost go far from me!
Ah: go not away, go not away I
Each coming morn 1 tliee would find,
Ah prithee stay and dance with me!
If tliou wilt stay, nor go away,
Thou thus shalt hear me sing.
Know'st thou not that Hoel loves me?
That as his bride he claims nie !
Love well hath known
Our two hearts to unite!
(.■=} cloud passes over the moon — the shadow disafpcars.)
This dance is accompanied by a waltz, which is full
of the most brilliant vocal effects, including a florid cadenza
for voice and flute, as in Lucia.
The act closes w^ith the rescue of Dinorah by Hoel when
the bridge, on w^hich she was crossing a ravine, gives away.
ACT in
Act III opens with the famous "Hunter's Song," long a
favorite concert number.
Chant du Chasseur (Hunter's Song)
By Pol Plan^on, Bass (Piano ace. )
(In French) 81065 10-inch, $2.00
TETRAZZIN'I AS DINQRAH
On, on to the bunt I
To follow the trace of beast or bird.
Tlie day is awake.
The mist from the lake
Rising, passes over,
Hoel enters, bearing the form of Dinorah,
bitterly reproaches himself in the great air, Sei vendicala
The fresh morning breeze
Plays light in the trees,
IJke a young, a young and happy loverl
Hunting is jolly, when night is ovei".
vho is still senseless. Thinking her dead, he
HoiiL;
'Twas on this sclf-sanic syiot — a year ago
When from the tempest an a.^yluin niy Dinorah
sought ;
Within these arms I pressed ber; and now!
Dead! — ahl heaven. 111 not believe it yet!
Look up again, dear angel, thy i>ardon I im-
plore !
(He aii.viouslv zvatchcs Dinorah. who gradu-
allv rccorrrs. )
Great heaven! my pray'r hath risen unto thee!
"V'es! she breathes again ; her eyes she o])ens!
F.ut why thus fixedly they gaze upon me?
O heaven. I barl fnrgotti'ii
That grief of reason had bereft her!
Dinorah now opens her eyes and recognizes Hoel, her reason having been restored
by the shock. The reunited lovers go to the village, are greeted by their friends, and the
curtain falls on preparations for the wedding.
SCENE FRi:>M DO
DON CARLOS
(Don Kahr'-los)
OPERA IN FOUR ACTS
Libretto by Mery and Du Locle ; music by Verdi. First produced at Paris, March II,
1867; in London, at Her Majesty's Theatre, June 4, 1867.
Original Paris Cast
PHIUP II Obin, Bass
Don Carlos Morere. Tenor
Marquis DE POSA Faure, BarUone
Grand inquisitor Belval, Bass
EUZABETH DE VALOIS Sass, Soprano
Princess EPOLI Gueymard, Soprano
The libretto is based on Schiller's drama of Don Carlos, and tells of the erratic and morbid
son of Philip II of Spain, "who ^vas engaged to Elizabeth of France, but subsequently became
her stepson. The conduct of Don Carlos finally became so scandalous that his father
placed him under arrest and confined him in the Madrid prison, where he died in 1568,
at the age of twenty-three.
The same plot had previously been used by Bona, Milan, 1847; Costa, London, 1844;
Moscuzza, Naples, 1862; and also by Ferrari.
Don Carlos is not one of Verdi's popular operas, but the music is dramatic, effective and
full of genuine Italian -warmth and passion. Schiller's drama has been much changed, and
made to conforna to the dramatic requirements of the stage and the music.
75
VICTOR BOOK OF THE OPERA— VERDTS DON CARLOS
Don Carlos, son of Philip II of Spain, is in love with Elizabeth of Valois, daughter of the
French King, Henry II. For state reasons, however, Henry has arranged that his daughter
shall marry King Philip, and accordingly the royal ceremony
takes place. The passion w^hich Carlos feels for his young
stepmother is as intense as ever, and he confides in Rodrigo,
Marquis of Posa, w^ho entreats the Prince to leave the
Spanish Court in the hope that he will forget his love.
Carlos begs the Queen to obtain Philip's permission for him
to jom the Flemings in their struggle against the cruelties
of the Spaniards. Time seems to have but strengthened
the mutual affection of the pair, and the Queen is unable to
conceal from Carlos the fact that her love for him is greater
than ever.
Princess Eboli, who is herself in love with Carlos, learns
of the Queen s affection for the Prince. Her jealousy is
aroused and she tells all to Philip. This maddens the King,
who is already angry w^ith his son for his sympathy v/ith
the Flemings, and, on the advice of the Grand Inquisitor,
Rodrigo visits the Prince there, and is shot by friends of the
helping the Flemings. Carlos is freed and goes to St. Just
Monastery to keep a tryst with Elizabeth. The King surprises them there, and his anger
being once more aroused, he hands over Carlos to the Officers of the Inquisition, who bear
him away to his death as the curtain falls.
FAURE AS DON CARLOS
Carlos is throw^n into prison.
King, v/ho suspect him of
O don fatale (Oh, Fatal Gift!)
By Janet Spencer, Soprano (In Italian)
Dio che neir alma (God in My Soul)
By Enrico Caruso and Antonio Scotti (In Italian)
Per me giunto e il di supremo (The Supreme Day)
By Titta Ruffo, Baritone (In Italian) 92038 12-inch, 3.00
74253 12-inch, $1.50
89064 12-inch, 4.00
DOUBLE-FACED DON CARLOS RECORD
By Sousa's Bandl
(Grand March
\ Tannhauser — Pilgrims' Chorus (IVagner)
Victor Brass Quartetf
17133 10-inch, $0.75
(Italian)
DON GIOVANNI
{Don /oh-vahn' -nee)
(French)
DON JUAN
(Don Huahn)
OPERA IN TWO ACTS
Libretto by Lorenzo da Ponte. Music by Wolfgang Amadeus Mozart. First produced
at Prague, October 29, 1 787, and at Vienna, May 7, 1 788. First London production April
12, 1817; produced in New York May 29, 1826. Some notable revivals occurred in 1898
with Sembrich, Nordica, Eames and Planijon, and in 1909 with Russ, Donalda, Bonci and
Renaud.
Cast
Don Giovanni, a licentious young nobleman Baritone
Don OCTAVIO, (Oct-tah' -vee-oh) betrothed to Donna Anna Tenor
LEPORELLO, [Lefj-oh-rti' -low) servant of Don Giovanni Bass
Don Pedro, (Paydro) the Commandant Bass
Donna anna, his daughter Soprano
MASETTO, [Mas-set' -to) a peasant Bass
ZERLINA, iZer-ke' -nah) betrothed to Masetto Soprano
Don Elvira, a lady of Burgos Soprano
Peasants, Musicians, Dancers, Demons.
Scene and Period : Seville, in the middle of the seoenteenth century-
Mozart's Don Giovanni v^^as w^ritten in 1787 and produced during the same year at
Prague. Da Ponte, the librettist, was a Viennese Court dramatist, who had also written Le
Nozze di Figaro. The plot of the opera was probably founded upon a play entitled El
Burlador de Seoilla ij Convlrada de pledrOy attributed to Tirso de Molina, a Spanish monk
and prior of a monastery at Madrid. This had also served as a basis for numerous other
" Don Juan " plays and operas by Fabrizzi, Gardi, Raimondi, Carnicer and latterly Dargo-
myszky, the Russian composer.
ACT I
SCENE 1 — The Courtyard of the Commandant's Palace at
Seville. It Is Night
The wicked Don Giovanni, ever pursuing his gay
conquests, attempts to enter Donno yJnna's apartments.
She cries for help and he tries to escape, but is pursued
by the angry girl, who endeavors to penetrate his dis-
guise. Her father comes to the rescue and is mortally
wounded by the Don, who makes his escape, followed
by Leporello, his servant. Donna Anna is overcome with
grief, and charges her betrothed, Don Oclavlo, to avenge
her father's death.
SCENE U—An Inn in a Deserted Spot Outside Seville
Don Giovanni and Leporello enter and conceal them-
selves as a lady approaches in a carriage. Hoping for
a new conquest, the Don comes forward, hat in hand,
but is surprised to find that it is Donna Elvira, a young
woman whom he has lately deceived and deserted.
She denounces him for his baseness and he makes his
escape, leaving Leporello to explain as best he can.
Leporello rather enjoys the situation, produces his diary
and adds to the lady's anger by reading a list of the
mistresses of the Don. This list is recited by Leporello
in the famous // catalogo.
SCUTTl .*.S IJON GIOVANNI
VICTOR BOOK OF THE OPERA — MOZART'S DON GIOVANNI
Madatnina, il catalogo (Gentle Lady, this List)
By Marcel Journet, Bass (In Italian) 64150 10-inch, $1.00
By Arcangelo Rossi, (Double-faced— See page 81) (Italian) 62623 10-inch, .75
Nella bionda (The Fair One)
By Marcel Journet, Bass (In Italian) 74191 12-inch, ♦!. 50
Lephrello :
Ev'ry country, ev'ry township, fully confesses
Those of the sex whom to his rank he presses,
(lentle lady, this my catalogue numbers
All whose charms lent my master beguiling.
'Tis a document of my compiling.
An it please yc, j)eruse it with me.
In Italia, — six hundred anil forty:
Then in (Germany, — double fifty seem plenty;
\\'hile in old .Spain here. — we count thousands
three!
Some you see are country flainsels,
Waiting-maids and city ma'aniselles,
Countess', duchess', baronesses.
\'iscount' — ev'ry kind of 'esses.
Womenfolk of all conditions.
Ev'ry foriu and ev'ry state!
Journet's Leporello is a unique performance
of its kind, and his characterization always stands
forth as an admirable foil to the polished villainies
of the suave and distinguished Don. This great
buffo number, usually called the Catalogue Song,
is full of the broadest humor, and is given by this
artist with all the sly humor, gaiety, irony and
sentiment which it requires.
Donna Eloira is horrified and drives off,
swearing vengeance.
SCENE III— /n the Suburbs of Seoille. Don
Giovanni s Palace Visible on the Right
A rustic wedding party comprising Zerlina, Masetto and a company of peasants are enjoy,
ing an outing. Don Giovanni and Leporello appear, and the Don is charmed at the sight of so
much youthful beauty. He bids Leporello conduct the party to his palace and give them re-
freshments, contriving, however, to detain Zerlina.
Masetto protests, but the Don points significantly to
his sword and the bridegroom follows the peasants.
The Don then proceeds to flatter the young girl
and tells her she is too beautiful for such a clown as
Masetto. She is impressed and coquettes with him in
the melodious duet. La ci darem, the witty phrases and
delicate harmonies of which make it one of the gems
of Mozart's opera.
La ci darem la mano (Thy Little
Hand, Love !)
By Geraldine Farrar, Soprano, and
Antonio Scotti, Baritone
(In Italian) 89015 12-inch, $4.00
By Emma Eames, Soprano, and Emilio
de Gogorza, Baritone
(In Italian) 89005 12-inch, 4.00
By Graziella Pareto, Soprano, and Titta
Rufifo, Baritone
(In Italian) 92505 12-inch, 4.00
By Mattia Battistini, Baritone, and
Emilia Corsi, Soprano ...oyk, iohdo.
(In Italian-: 92024 12-inch, 3.00 n.llsen as zerlina
LEPORELLO
VICTOR BOOK OF THE OPERA — MOZART^S DON GIOVANNI
This celebrated number, which has been sung by many
famous artists during the one hundred and twenty years since
its first hearing, is one of the best examples of the many spark-
ling concerted numbers which Mozart has written. Always
interesting, it is wholly delightful when sung by such artists as
those who have rendered it for the Victor. Not less than four
versions, by famous exponents of the characters of Zerlina and
Don Giovanni, are presented here.
Don Giovanni:
Nay, bid me not resign, love, coldly the hand
1 press.
Oh 1 say thou wilt be mine, love, breatiic but
tliat one word "yes."
Zerlina :
I would and yet I would not. I feel my heart
misgive.
Shouldst thou prove false, I could not, become
thy scorn and live.
Don GifiVANNi:
Come then, oh come then, dearest.
Zerlina :
Vet should thy fondness alter.
Don Giovanni :
Nay, love, in vain thou fcarest.
Both :
Yes, hand and heart uniting, each other's
cause requiting.
Our joy no bounds shall know I
Miss Farrar's Zerlina is a dainty and fascinating character,
and she sings the music brilliantly. It is hardly necessary to
say anything about Scotti's Don Giovanni, as it is quite familiar to
opera-goers, ranking among his best impersonations. The
rendition by Mme. Eames and Mr. de Gogorza is a most delight-
ful one, while two other records by famous European artists are also offered.
Giovanni is about to lead Zerlina away, w^hen Donna Elvira, who has been watching,
rescues the young girl and carries her off, to the chagrin
of the Don. Donna Anna now enters with Octavio,
who asks the help of his friend Don Giovanni in tracing
the murderer of Donna Anna's father. The Don assures
them of his devotion, and goes to his palace, v^^hile
Donna Anna tells her lover that she recognizes by his
voice that Don Qiovanni is the one w^ho slew her father.
They depart, and Leporello and the Don enter. The serv-
ant tells his master that w^hen Donna Elvira and Zerlina
arrived at the palace, and Elvira attempted to tell the
peasants the truth about the Don, he led her gently out-
side the gate and then locked it. He is complimented
by his master, who bids him prepare for the feast of the
evening. Left alone, the gay Don sings his brilliant
Drinking Song, famous in every land.
The scene changes to Don Giovanni's garden. Zerlina
is endeavoring to make her peace with Masetto, but he
is sulky. She then sings her lovely Baiti, baiH.
Batti, batti, o bel Masetto (Scold Me,
dear Masetto)
By Marcella Sembrich, Soprano
{In Italian) 88026 12-inch, $3.00 ^
This gentle number is in striking contrast to the
brilliant writing in the lighter bits of Zerlina' s music.
JEAN DE RESZKE AS DON GIO-
VANNI. HIS DEBUT AS A
BARITONE (LONDON, 1875)
Chide mc, dear JMasetto,
Cliide Zerlina at your will;
Like the patient lamb I'll suffer.
Meek and mute and lovinp still.
Ah! I see, love, you're relenting.
Pardon, kneeling, I implore!
PHOTO BERGER
ABOTT AND RENAUD AS ZERLIN
DON GIOVANNI
Ni)jht and day, to thee, devoted,
Here 1 vow to err no more.
VICTOR BOOK OF THE OPERA — MOZART'S DON GIOVANNI
Maselto is only half appeased, but goes in to dance with
his bride. Donna Anna, Donna Eloira and Don Octaoto, disguised
and masked, enter and sing a trio, in which they pledge them-
selves to have revenge on the traitor.
The scene changes to the interior of the palace, where
the ball is in progress. Don Giovanni continues his efforts to
get Zerlina aw^ay from her jealous and v/atchful lover, and
finally succeeds, but Zerlina calls for help and Maselto and the
three conspirators rush to her assistance. They denounce Don
Giovanni, who defies them w^ith drawn sword, and makes his
escape from the palace.
ACT II
SCENE 1 — A Square in Seville. Donna Elvira's Residence on the
Left. It is a Moonlight Night
Don Giovanni, followed by his servant, enters, wrapped in a
mantle and carrying a mandolin. He has heard of a pretty
servant w^hom Donna Elvira possesses, and is plotting to get
the mistress out of the way. As Elvira sits at her w^indow, he
addresses her, pretending to be repentant, but when she comes
out he pushes Leporello torw^ard to impersonate him. While
they are conversing, the Don makes a great outcry and the pair
run off in fright. The coast clear, the Don sings his famous
Serenade to the fair waiting maid.
MALiRlil. AS DON CTOVANNI
Serenata, '*Deh vieni alia finestra "
{Open Thy W^indo^v, Love)
By Antonio Scotti, Baritone
{In Italian) 88194 12-inch, $3.00
By Titto Ruffo. Baritone
{In Italian) 87112 10-inch, 2.00
By M. Hector Dufranne. Baritone
{In French) -''45011 10-inch, 1.00
By Giuseppe de Luca, Baritone {Piano
ace.) (In Italian) ='^62623 10-inch, .75
Dl'N GlilVANNT :
ope, ope thy casement, dearest,
Thyself one moment sliuw;
Oh, if my pi-ay'r thou hearest.
Wave but that arm of snow.
Can'^t thou my ceaseless sighing
With cold indif'rence greet?
Ah! wouldst thou see me dying
Despairing, at thy feet?
Thy lip outvies Hymettian-honied bowers;
\'irtue worthy an ani?i.'l, thy heart doth
cherish:
Thy sifih were bahii amid a heav'n of flowers;
O, for one kiss, tJiis ;>oul would perisli 1
Ruffo's impersonation of Don Giovanni is admir-
able in every respect. He is the profligate nobleman
and irresistible wooer to the life, and sings the
difficult score w^ith ease. Scotti's rendition of this
famous serenade is given by the baritone with the
grace and ease which never fail him, while two lower priced records are also offered.
His amours are rudely interrupted by Masetto, who appears with a company of villagers,
all armed with muskets, seeking the villain. The Don, pretending to be Leporello, offers to
put them on the right track. Then follows a series of amusing situations, ending with the
capture of the supposed Don by the three conspirators, but it proves to be Leoorello, who
takes advantage of the situation to make his escape.
* Doublc-Faced Record— For title of opposite side see DOUBLE-FACED DON GIOVANNI RECORDS, page 81.
80
RENAUD AS rii
GIOVANNI
VICTOR BOOK OF THE OPERA — MOZART'S DON GIOVANNI
The next scene shows the Cathedral Square, with the statue
of the murdered Commandant
in the centre. The Don and
Leporello enter, and are discuss-
ing the events of the evening,
w^hen the statue speaks to them.
Leporello is terrified, but the Don
defies all spirits and boldly in-
vites the statue to supper.
The scene changes to the
banquet hall in the palace of
the Don. In the midst of the
festivities a loud knocking is
heard. The guests flee in terror,
the lights go out, and the gigan-
tic figure of the Commandant
appears at the door. Leporello
cowers in terror under the table,
but Don Giovanni is defiant until
the ghost seizes his hand, w^hen
he feels for the first time a ter-
rible fear. The statue sinks,
flames appear on all sides, and
demons rise and seize the guilty
libertine.
EDOUAKD DE RESZKr! AS LEPORELLO
LEPORELLO
/Minuet from Act I By Victor Dance Orchestral
\ Forward March — Two Step By Victor Dance Orchestra]
/Serenade By M. Hector Dufranne, Baritone [In French] \
1 Sij 'etais R.oi — Un regard de ses y^eux ! — Leon Beyle, Tenor (French) (
fMadamina, i\ catalogfo — By Arcangeio Rossi, Bass (In Italian)
<Serenata^Deh! vieni alia finestra (Open Thy
[ Vv^indo\v, Love; By Giuseppe de Luca, Baritone]
35060 12-inch,
45011 10-inch,
$1.25
1.00
62623 10-inch, .75
DONNE CURIOSE THE CLL'B, ACT I
(German)
DIE NEUGIERIGEN FRAUEN
(Italian)
LE DONNE CURIOSE
(Don-neh Koo-ree-oh'-aeh)
INQUISITIVE WOMEN
MUSICAL COMEDY IN THREE ACTS
Libretto by Luigi Sugana, after Carlo Goldoni ; music by Ermanna Wolf-Ferrari.
Produced in Munich in 1903 as Die Neugierigen Frauen. First production at the Metropolitan
Opera House, Ne\v York, January 3, 1912, with Farrar, Jadlowker, Scotti, Fornia and Murphy.
Characters
OTTAVIO. a rich Venetian Bass
Beatrice, his wife Mezzo-Soprano
ROSAURA, his daughter Soprano
FLORINDO, betrothed to Rosaura Tenor
PANTALONE, a Venetian merchant Euffo-Baritone
LELIO, I. ■ c • J (Baritone
LEANDRO, r^ f"^"'^^ 1 Tenor
COLOMBINA, Rosaura's maid Soprano
ELEANORA. wife to Lelio Soprano
ARLECCHINO, servant to Pantalone Buffo-Bass
Servants, gondoliers, men and -women of the populace.
Time and Place : Venice; the middle of the eighteenth century.
VICTOR BOOK OF THE OP E R A — I NQ U I S I TI V E WOMEN
Le Donne Curiose is a genuine comedy. The
plot is very simple, and deals with the schem-
ing of Beatrice, Hosaura, Eleanora and Colombina
to gain entrance to the Friendship Clubhouse,
of which their husbands and lovers are mem-
bers. Over the door of the club may be seen
the motto, " No Women Admitted." Each
w^oman has her ow^n theory as to the doings
behind closed doors, and they seek in various
w^ays to gain an entrance. In reality the men
are enjoying themselves with simple masculine
pleasures, and chuckling over the intense curiosity
of their wives and sweethearts.
With the help of Colombina and Arlecchino,
and by luring the keys from the pocket of
one of the members, the ladies finally succeed
in making an entrance within the sacred w^alls,
and are surprised to find the men enjoying
themselves harmlessly at dinner. On being dis-
covered by the husbands they are forgiven, and
the evening ends happily with a merry dance.
The Victor offers two interesting airs from
Act II. The first, Tutta per te mio bene, is sung by
Rosaura as Beatrice and Colombina go off together
to try to effect an entrance into the Club, and the
second is the love duet of R-osaura and Florindo,
sung after she has induced him to give her the keys.
Tutta per te, mio bene (Only For Thee, My Sweetheart)
By Geraldine Farrar, Soprano (/n Italian) 88356 12-inch, *3.00
II cor nel contento (My Heart, How it Leaps in Rejoicing)
By Geraldine Farrar and Herman Jadlowker (Italian) 88359 12-inch, $3.00
1RR \R ^ND T^DL W KER
H S\L k\ \ND Fl Rl NDJ
SCENF FROM ACT III
84
THE GARDEN ACT III
(Italian)
DON PASQUALE
{Don Pahss-Quah' -leh)
COMIC OPERA IN THREE ACTS
Text and music Dy Gaetano Donizetti. Libretto adapted from the older Italian opera
Ser Marc' Antonio, by Camerano. First presented at the Theatre des Italiens, Paris, on
January 4, 1843. First production in Paris in French, 1864. First London production June 30,
1843. First New York production March 9, 1846, in English, and in 1849 in Italian.
Recently revived at the Metropolitan with Sembrich, Scotti and Rossi; and at the Bos-
ton Opera House with Nielsen, Bourrillon, Antonio Pini-Corsi and Fornari.
Characters
Don FASQUALE, an old bachelor Bass
Dr. MALATESTA, his friend, a physician Baritone
Ernesto, nephew of Don Pasquale Tenor
NORINA, beloved of Ernesto Soprano
A Notary Baritone
Chorus of Valets and Chambermaids, Majordomo, Dressmaker and Hairdresser.
Scene and Period : Ro
the beginning of the nineteenth century.
This brightest of genuine lyric comedies always appeals to that class of opera-goers who
find the present-day comic opera or musical comedy to be cheap, gaudy and lackmg m
genuine humor. Don Pasquale is pure entertainment, nothing else, the true spirit of comedy
being fpund in the music as well as the plot; and both are delightful when the opera is
presented by such artists as the Victor has assembled for this series.
VICTOR BOOK OF THE OPERA— DONIZETTFS DON PASQUALE
ACT I
SCENE — A Room in Don Pasquale's House
The Don is eagerly awaiting the arrival of Dr. Malaiesta, who has promised to obtain
for him a young and lovely bride.
Son nov'ore CTis Nine O'Clock !)
By Antonio Pini-Corsi, Baritone, and Ernesto Badini. Baritone
{In Italian) *68273 12-inch, $1.25
The Doctor enters, declares he has found the bride, and proceeds to describe the
charmer. The Don is overjoyed, and insists on seeing the lady at once. When the Doctor
leaves, Pasquale gives vent to his feelings in an amusing air.
Un foco insolito (A Fire All Unfelt Before)
By Antonio Pini-Corsi, Baritone, and Ernesto Badini, Baritone
{In Italian) ^=62104 10-inch, $0.75
Pasqlwle :
\ firf, all unfelt before, Ah! hasten speedily,
liurns in my heart's core: Sweet little bride, to me I
1 can resist no more — Vc-s, I am born again I Now for my nephew. —
I'll strive no longer. By playing thus the careless, heedless hair-
Of old age enfeebling me, brain,
Forgoi is the misery. See \vhat it is the wise and wary gain!
Feeling still young to be — (Looking off.)
Than twenty much stronger. .\h! here the very man comes, apropos!
His nephew enters, and is again urged by his uncle to give up Norina, whom the uncle
calls a vain, coquettish widow^. Ernesto refuses, and Don Pasquale announces his intention of
marrying and disinheriting his nephew. The young man. at first incredulous, is finally
convinced that his uncle is in earnest and gives way to despair, beginning his first air:
Sogno soave e casto (Fond Dream of Love)
By Giuseppe Acerbi, Tenor {In Italian) *62624 10-inch, $0.75
Ernesto :
Sweet holy dreams I loved to cherish Rut now. poor and abandon'd. I,
Of early youth, adieu! ye vanish! Reduc'd from my condition high.
If I e'er long'd for riches, splendor. Sooner than thee in misery see.
It was but for thee, love; Dearest. I'll renounce thee.
Before leaving his uncle, Ernesto begs him to consult Dr. Malatesta for advice, but Don
Pasquale says it w^as the Doctor himself vs'ho proposed the plan and offered his ow^n sister as
the happy bride. Ernesto is astonished to hear that the Doctor, who he thought was his
friend, had deserted him.
SCENE II — A Room in Norina's House
Norina is reading a romance, and at the beginning of her air quotes from the book:
Quel guardo (Glances so Soft)
By Giuseppina Hugfuet, Soprano (In Italian) *682 72 12-inch, $1.25
Norina :
"Glances so soft revealing To that sweet maideJi kneeling
Tlie flame of truest love, He swure lie'd faithful prove!"
Cavatina — So anch'io la virtu magica (I, Too, Thy Magic
Powers Kno^v)
By Amelia Pollini, Soprano (In Italian) *62103 10-inch, $0.75
She then declares that she too know^s the value of a glance and smile.
NuRlN'A :
1. too. thy magic virtues know, I know tlie mode, nh, dear,
Oi glance well tim'd and tender, Of love's bewitching wile?.
A gentle smile, born to beguile, TTis facile arts aui.1 guiles.
I know — an old offender I To lure with wanton smiles.
A hidden tear, a langmji' near, I know the modes, oh, dear!
"^ Double-Faced Record— For title of opposite side see DOUBLE-FACED DON PASQUALE RECORDS, page 90.
86
VICTOR BOOK OF THE OPERA— DONIZETTI' S DON PASQUALE
A servant gives her a letter from Ernesto, just as the Doctor enters and informs her that
ne has conceived a scheme to force her lover's guardian to consent to the marriage. Norina
declares she will have nothing to do with it. bidding him to read Ernesto's despairing letter
in which the young man tells her he is disinherited and will leave Rome, bidding her a last
farewell.
The Doc/or soothes her. telling her he will induce Ernesto to remain, and then reveals
the details of the plot against Don Pasquale, in which he proposes to play on the vanity of
the old bachelor, by pretending to find him a young and lovely wife. They decide that
mnna shall play the part of this girl, and go through a mock marriage with Don Pasquale
Nonna is delighted and begins to rehearse her new role. This takes the form of a charming
duet, vt'hich ends the first act and which is always greatly admired. Two records of this
sprightly duet, at widely varying prices, are cataloged here.
Pronta io son (My Part I'll Play)
By Marcella Sembrich, Soprano, and Antonio Scotti, Baritone
(In Italian) 89002 12-inch, $4.00
By Giuseppina Huguet, Soprano, and Ernesto Badini, Baritone
(In Italian) *68272 12-inch, 1.25
Norina: Doctor:
My part 111 play, if not offending Bravo, bravo, capital!
Against my lover's repose and quiet; It can't be better — all goes well!
Well the plot with me will fare! Norina:
Doctor: Head turned aside— "Oh fie! oh fie!"
Uur plot but tends, you may believe, Doctor:
Don Pasquale to deceive. Pursed-up mouth— ".-Vshamed am I."
Norina: Norina:
We're quite agreed, and I'm enlisted. "I'm quite confus'd, my thoughts take wing — "
\\ ould you have me gay or tearful? Doctor:
Doctor: Oh, clever creature! Just the thing!
Listen, and you'll all be told: — Both:
You must play simplicity. Of this old fool, all sense who spurn'd; —
Norina: This time the bead will be quite turn'd!
I'll lessons give — leave that to me.
"I'm so confused — I'm young, you know —
Thank you — Your servant. — Yes. sir, — Oh!"
The scene is continued in another sprightly duet, which closes the act.
Vado corro (Haste W^e !)
By Giuseppina Huguet and Ernesto Badini (Italian) *62097 10-inch, $0.75
ACT 11
SCENE — A Richly Furnished Hall in Don Pasquale's House
Don Pasquale, in the most youthful of wedding garments, enters and struts up and
do-wn, admiring himself, until the Doctor arrives with Norina, who is closely veiled. She
pretends to be shrinking and frightened, and the Doctor, beginning a delightfully humorous
trio, the first of the concerted numbers in this act, begs her to have courage.
The pretended notary now^ arrives, and another comical scene ensues as the mock
ceremony is performed. Pasquale, so much in love that his judgment is clouded, is not
only induced to sign over one-half his property to his wife, but agrees that she shall be
absolute mistress of the house. As Norina is signing, Ernesto's voice is heard outside
demanding admittance, having come to bid his uncle farewell. He is amazed to see Norina
posing as the Doctor's sister and about to be wedded to his uncle, and tries to interfere, but
is restrained by Malatesta.
The moment Norina affixes her signature to the contract her manner changes, and when
Pasquale attempts to embrace her she coldly asks him not to be so rude. Pasquale is aston-
ished and Ernesto laughs, which enrages the old man so that he orders his nephew from the
room. Norina stops him and says that as Don Pasquale is too old, fat and feeble to attend a
young wife, she must have a young cavalier to attend her, and signifies that Ernesto is her
choice. Don Pasquale is thunderstruck and attempts to protest, but Norina warns him that
if her words are not sufficient to keep him in his place she will beat him I This is the last
straws, and the bev^ildered old man stands in a daze, his brain refusing to comprehend what
has happened [
This tableau is followed by the quartet, E rimasto.
*DoubU-Fa(xd Record— For title of opposite side see DOUBLE-FACED DON PASQUALE RECORDS, page 90.
87
VICTOR BOOK OF THE OPE RA— DONIZETTrS DON PASQUALE
E rimasto la impietrato (He Stands Immovable)
By Linda Brambilla, Soprano; Antonio Pini-Corsi, Baritone;
Gaetano Pini-Corsi, Tenor; Agusto Scipioni, Bass
Pasquale: {In Italian) *16566 10-inch, $0.75
Dream 1? Sleep I? What's amiss? To know not if he wakes or dreams!
Kicks — cuffs: good — a fine pretext — He's like a man by lightning struck:
'Tis well she warn'd me now of this — what's No drop of blood runs in his veins.
that mean? Malatesta;
We shall see what's coming next! Take heart. Pascjuale, my old buck,
I, Don Pasquale, she'd think meet ^ Don't be discouraged, u:^e your brains.
To trample underneath her feet! Norina:
Nortna" AND Ernksto: Now then, at least, my worthy friend,
He stands petrified, and seems — Vou must begin to comprehend.
The great finale to Act II then follows, and the curtain always descends amid a gale of
laughter from the audience. Norina rings a bell, summoning the servants, and announces that
she is now sole mistress of the house. She orders new servants engaged, tw^o carriages,
nev^ furniture, etc., planning expenditures on a lavish scale. Don Pasquale attempts to pro-
test, but is silenced, and in a voice choked vv^ith rage and astonishment begins the finale.
Son tradito (I Am Betrayed !)
By Giuseppina Huguet, Soprano; Antonio Pini-Corsi, Baritone;
Gaetano Pini-Corsi, Tenor; Agusto Scipioni, Bass
p^s^^j^^j,. {In Italian) ^62097 10-inch. $0.75
I am betray'd, trod down and beat, All (pointing to Don Pasquale ) :
A laughing stock to all I meet; Don Pasquale, poor, dear wight,
Oh! with mingled rage and spite Is nearly suffocated quite!
I am suffocating quite! Malatesta (to Pasquale) :
Norina {to Ernesto) : You're a little heated, really —
Now you see, ungrateful heart, Do go to bed, dear Don Pasquale.
Dow unjust was your suspicion: (To Norina. in a tone of reproof.)
Love, to bring him to submission. On my brother-in-law to play
Counsell'd me to play this part. Thus, I'll not endure, I say!
Ernesto (to Norina): (To the lovers, who are embracing behind Don
Vou are justified, dear heart; Pasguale's back.)
Momentary my suspicion. Silly ones, for Heaven's sake, pray,
Dove, to bring him to submission. Don't, I beg, yourselves betray!
Counsell'd thee to play this part.
ACT III
(Same as Act I — On the floor and furniture are piled up dresses, bandboxes, furs, etc., in great pro-
fusion. Servants are running to and fro with bustle and excitement)
Don Pasquale is seen amid the confusion, looking -with utmost consternation at a huge
pile of bills. He throws them dov^n in despair, and as Norina approaches resolves to make
one last attempt to remain master in his own house.
Signorina in tanta fretta (My Lady, W^hy This Haste ?)
By Emilia Corsi, Soprano, and Antonio Pini-Corsi, Baritone
(In Italian) *68273 12-inch, $1.25
She is dressed to go out, and is hastening to her carriage when Don Pasquale begins :
( With great heat.)
Pasquale: \\'hy, you impertinent!
Prithee, where are you running in such haste, r>ut thfre — take what you well deserve, sir!
Young lady, may I beg you will inform me? (Bo.rcs his cars.)
Norina: Pasquale:
Oh! that's a thing that very soon is told: Ah!
I'm going to the theatre to divert me. (It is all o^^cr with you, Don Pasquale!
Pasquale: All that now remains for you to di:"
But the husband, with your leave — excuse me Is quietly to go and drown yourself!)
Saying so — may perchance object to it. Norina:
Norina: ^ (I must confess, 'tis rather hard a lesson;
The husband sees, and wisely holds his tongue: Yet was required to have its due effect.)
For when he speaks there's no one listens to (To Don Pasquale) :
him. I'm going now, then —
Pasquale (ivith rising zvarmth) : Pasquale:
Not to put me to the trial, iMadame, — Oh, yes, certainly!
It is for your own good that I advise you — But do not take the trouble to return.
You'll to your chamber go, this very instant — Norina:
Remain content at home — stay in the house. Oh, we shall see each other in the morning.
Norina (ironically) : Pasquale:
Oh, really! A face of wood — a closed door, you will find.
*Double-Faced Record—For title of opposite aide jec DOUBLE-FACED DON PASQUALE RECORDS, page 90.
VICTOR BOOK OF THE OPERA— DONIZETTI'S DON PASQUALE
As she goes out she intentionally drops a note which Don Pasquale seizes and peruses.
He is petrified to find that it reads:
"Adored Snphrania- —
Between thu hour^ of nine and ten th
evening.
I shall be at tlie bottom of the garden —
lly tin* small grated gate.
'Tis in a s(.tng 1 shall announce my coming:
Thini- to command — thine faithfully ; — adieii-"
This is too much, and the unhappy man runs in search of Malatesta. Ernesto and the
Doctor enter, discussing the plot, and the young man, after being instructed to be at the
garden rendezvous at nine that evening, goes out.
Pasquale returns, and going solemnly up to the Doctor, exclaims:
Pasquale:
I!rotlicr-in-law, in me, alas, you see
A dead man, walking upright!
and tells him of the contents of the note. Malatesta pretends to sympathize and proposes
that they lie in wait for the guilty lovers that evening and teach them a severe lesson.
Pasquale gloats over his coming triumph, and begins the duet.
Aspetta aspetta cara esposina (W^ait, W^ait, Dear Little W^ife)
By Antonio Pini-Corsi, Baritone, and Giovanni Polese, Baritone
iDouhte-Faced—See page 90) {In Italian) 62103 10-inch, $0.75
Pasquale :
Wait, wait, dear little wife,
I soon reveng'd will be:
E'en now "tis near, my life.
This night, without delay.
Thou must the reckoning pay!
Thou'lt see what little use
Now will be each excuse —
Useless thy tender smiles,
Sighs, and tears — and wiles —
All I have now at stake,
Conquer'd, again Til take !
Malatesta (aside) :
Uh, the poor fellow I
\'engcance he's prating;
Let the dolt bellow —
He knows not what's waiting!
He knows not he is building rare
Castles in the empty air:
He sees not, the simpleton —
That in the trap, poor elf,
He of his own accord
Now goes to throw himself!
(£.1-1^ together. )
SCENE 11 — Don Pasquale s Garden— If is Night^Ernesto is Discovered Waiting
This scene begins with the beautiful serenade, the most melodious of the airs in
Donizetti's work.
Serenata— Com' e gentil (Soft Beams the Light)
By Enrico Caruso, Tenor (/n Italian) 85048
By Aristodemo Giorgini, Tenor, and La Scala Chorus
{In Italian) 76010
12-inch, $3.00
12-inch, 2.00
Ernesto :
Oh! summer night, thy tranqud light
Was made for those who shun the busy day,
Who love too well, vet blush to tell
The hopes that led their hearts astray!
All now is still, on dale, on hill,
And none are nigh, with curious eye;
Then why, my love, oh, why delay?
Your lattice open to the starry night,
And with yovir presence make the world mu
bright I
Two renditions of this exquisite air are listed here, headed by Caruso's familiar to
admirers of the great tenor. A fine record by Giorgmi, a tenor now much liked m Italy.
° °7Vorma joins Ernesto, and they are reconciled in a duet. Tell Me Again. Pasquale and tWe
Doctor with dark lanterns, enter softly and hide behmd the trees, but the irate old man can
contain himself no longer and rushes out to denounce the lovers. Ernesto vanishes and
Norina calmly declares there was no one with her. that she had merely come out to get
fresh air Pasquale is so beside himself with rage and chagrin that Malatesta considers it
time to end the farce, and proposes to rid Pasquale of his bride by marrying her to trnesto,
revealing that the first marriage was not a real one. and that the lady was not his sister but
Norina Pasquale is so glad to be rid of such an extravagant termagant that he pardons the
deception, consents to the union, and settles an income on the happy pair.
VICTOR BOOK OF THE OPERA— DONIZETTrS DON PASQUALE
{In Italian)}
(In lialian)]
By La Scala Orchestral „„,„
By La Scala Orchestra)
DOUBLE-FACED DON PASQUALE RECORDS
Signorina in tanta fretta (My Lady. W^hy This Haste ?) 1
By Emilia Corsi and Antonio Pini-Corsi [In Italian) I
Son nov' ore ('Tis Nine O'clock!)
By Antonio Pini-Corsi and Ernesto Badini
D'un guardo, un sorrisetto (Glances So Soft)
By Giuseppina Huguet, Soprano
Pronta io son (My Part I'll Play)
By Giuseppina Huguet and Ernesto Badini
Overture
Barbiere di Sioiglia — Manca un foglio
Un foco insolito (A Fire All Unfelt Before)
By Antonio Pini-Corsi and Ernesto Badini (In Italian)
Vado, corro (Haste W^e!) By Emilia Corsi, Soprano, and
Ernesto Badini. Baritone (In Italian)
E rimasto la impietrato (He Stands Immovable)
By Linda Brambilla, Soprano; Antonio Pini-Corsi.
Baritone; Pini-Corsi, Tenor ; Scipioni, Bass {In Italian)
Elisir d'amore — Io sonno ricco (I Have Riches) B\} Passari,
Soprano; A. Pini-Corsi, Baritone; and Chorus (In Italian)
Cavatina — So ancttTolo- virtu magica (I, Too, Thy Magic
Virtues Know)
By Amelia Pollini, Soprano (In Italian
Aspetta aspetta cara esposina (^^ait, ^^ait. Dear Little
W^ife) By Antonio Pini-Corsi, Baritone, and Giovanni
Polese, Baritone {In Italian
Sogno soave e casto (Fond Drean:; of Love) I
By Giuseppe Acerbi, Tenor (In Italian) 1-62624
Faust — Coro de soldados (Soldiers' Chorus) La Scala Chorus)
Vado corro (Haste We) By Giuseppina Huguet, Soprano.
and Ernesto Badini. Baritone (In Italian)
Son tradito By Giuseppina Huguet, Soprano; Antonio
Pini-Corsi, Baritone; Gaetano Pini-Corsi, Tenor; Ernesto
Badini, Baritone (In Italian)
68273 12-inch, *1.25
12-inch. 1.25
12-inch, 1.25
62104 10-inch. .75
16566 10-inch, .75
62103 10-inch. .75
10-inch, .75
62097 10-inch, .75
SCENE FOB ACT IT AT METROPOLITAN OPERA
90
(Italian)
L'ELISIR D'AMORE
{Afj-lee-zee/ dam-oh' -reh)
THE ELIXIR OF LOVE
OPERA IN T\^0 ACTS
Text by Romani. Music by Gaetano Donizetti. First produced in Milan in 1832. First
London production December 10, 1836. First New York production in 1838. First Paris
production in 1839.
Cast
ADINA, a wealthy and independent young woman Soprano
NEMORINO. a young peasant, in love with Adina. Tenor
BELCORE, sergeant of the village garrison Bass
Doctor Dulcamara, a quack doctor Buffo
GlANNETTA, a peasant girl Soprano
A Landlord, a Notary, Peasants, Soldiers, Villagers.
Scene and Period : A little Italian village; (he nineteenth century.
This delightful example of Donizetti's work is a real opera bouffe, and while simple and
unconventional in plot, it has alw^ays been a favorite because of the lovely songs w^ith w^hich
it abounds.
Adina, a lively village beauty and heiress, is loved by a young peasant, Nemorino, who
although handsome and manly, is afraid to press his suit; but while the beauty treats him
rather coolly she is by no means indifferent to him.
ACT I
SCENE — The Homestead of Adina's Farm
Adina and her companion are seated under a tree reading. Nemorino is near, pensively
observing his innamorata, and sings his first Cavaiina.
Quant'e bella ! (Ah ! How Lovely)
By Etnilio Perea, Tenor (In Italian) *62626 10-inch, $0.75
Nemorino :
Ah! how lovely I ah! how dear to me I
While I gaze I adurc more deeply;
Ah! what rapture that soft bosom
With a mutual ilame to move.
But while reading, studying, improving.
She hath learning and every attainment.
While I can nothing do but love!
Adina then reads to her friends a legend of a cruel lady who coldly treated a knight
who loved her, and only smiled on him when he gave her a love potion. Nemorino wishes
he could find the receipt for this potent elixir.
Martial music is heard and Belcore, a dashing sergeant stationed near the village,
appears with a bouquet for Adina. She has but few smiles for the military man, which
cheers Nemorino somewhat, and when Belcore departs he renews his suit, but the fair one
tells him that it is useless.
A commotion among the villagers is heard, and Dulcamara, a quack doctor, comes on
the scene, riding in a splendid carriage. He announces his wonderful medicines in a famous
song, Udile, udite o rustici, the delight of buffos for more than eighty years.
Udite, udite o rustici (Give Ear, Ye Rustics)
By Antonio Pini-Corsi, Baritone (In Italian) *68152 12-inch. $1.25
By Emilio Perea, Tenor In Italian) *62626 10-inch, .75
-^ Double-Faced Record — For title of opposite side see list on page 93.
91
VICTOR BOOK OF THE OPERA — ELIXIR OF LOVE
After the Doctor has recited the wonderful effects of his medicines, saying:
] )ULCAMARA :
J cure the apopk'ctical,
Tlic asthmatical, the paralytica!.
The dropsical, tiie diurctical.
Consumption, deafness, too,
The rickets and the scrofula —
All evils are at once ujiset
By tliis new and fashionable ninde!
Nemorino exclaims, "Heaven itself must have sent this miraculous doctor to our village ! "
He draws the quack aside, and asks him if he has an elixir that can awaken love. The
Doctor, of course, says that he is the original inventor of the liquid, and soon has Nemorino's
last coin in exchange for the coveted potion, which is in reality a bottle of strong w^ine.
This scene is in the form of an amusing duet, Obbligalo.
Obbligato, obbligato (Thank You Kindly)
By Fernando de Lucia. Tenor, and Ernesto Badini, Baritone
{In Italian) 91079 10-inch, $2.00
As soon as the Doctor has departed Nemorino drinks the elixir, and at once feels a new
courage in his veins. He begins to sing and dance, and Adina, coming in, is astonished to
see her love-sick sw^ain so merry. Feeling sure that the potion v/ill bring the lady to his feet,
he pays no attention to her, w^hich piques her so much that when the sergeant arrives and
renews his suit, she consents to w^ed him in three days. Nemorino laughs loudly at this,
w^hich further enrages the lady, and she sets the w^eddJng for that very day. This sobers
Nemorino, who fears that the marriage may take place before the potion w^orks, and he
pleads for delay. Adina and Belcore laugh at him, and the curtain falls as preparations for
the w^edding are begun.
ACT II
SCENE {^Interior of the Farmhouse
The wedding feast is in progress, but the notary has not arrived. Dulcamara is present,
and produces the latest duet from Venice, which he asks Adina to sing with him.
lo sono ricco e tu sei bella (I Have Riches, Thou Hast Beauty)
By Mme. Passari, Soprano; Antonio Pini-Corsi, Baritone; La Scala Chorus
{In Italian) *16566 10-inch, $0.75
This amusing dialogue, supposed to occur between a rich old man and a young girl, is
given here by two well-know^n singers of La Scala, supported by the chorus.
The company now goes to an adjoining room to dance ; all but the Doctor, w^ho says he
doesn't know when another free dinner will come his w^ay, and therefore remains at the
feast. Nemorino enters, distracted, and tells the Doctor that the elixir has not yet taken
effect. .
"Take another bottle," says the Doctor, "only twenty crowns." Nemorino says he has no
money, so the Doctor promptly pockets the bottle and goes in to the dancers, telling the
unhappy youth to go out and raise the amount.
Belcore, the sergeant, comes in, and learning that Nemorino' s distress is caused by lack
of money, suggests that he enlist as a soldier and be richer the fee of twenty crowns.
Nemorino jumps at the chance, signs the articles, runs in search of the Doctor, and drinks
the second bottle !
The peasant girls, having heard that the death of Nemorino'' s uncle has just made him
rich, begin to pay him attentions. The Doctor tells Nemorino that this popularity is the
result of the elixir he has just sold him. Adina, woman-like, when she sees her lover in
such demand, promptly regrets having treated him so coldly, and runs out on the verge of
tears. Nemorino, noting her dow^ncast looks, feels compassion for her, and gazing after her
sadly, sings the lovely romanza, famous in every land.
Una fuftiva lagrima (Down Her Cheek a Pearly Tear)
By Enrico Caruso, Tenor
By Enrico Caruso, Tenor (Piano ace.)
By John McCormack. Tenor
By Florencio Constantino, Tenor
By Emilio Perea, Tenor
* Double-FaceJ Records — For title of opposite aide see page 93.
92
[In Italian)
88339
12-inch,
»3.00
{In Italian)
81027
10-inch,
2.00
(In Italian)
74219
12-inch,
1.50
In Italian]
74065
12-inch.
1.50
{In Italian)
*68152
12-inch,
1.25
VICTOR BOOK OF THE OPERA — ELIXIR OF LOVE
ITcnipcl
A GERMAN REHEARSAL UF ELISIR
Neglected as the opera, as a whole, has
been for many years, this lovely romanza,
the song which Nemorino sings to the tear
that stood in his Adina's eye, will always
keep the opera from being forgotten. This
is one of the most famous of the Caruso
records, and his exquisite singing of this
beautiful number is something to be long
remembered.
Down her ^uft clifck a pearly tear
Stole from her eyelids dark.
Telling their pay and festive cheer,
It pained her soul to mark;
\\'hy then her dear presence fly?
\\*hen ail her love she is showing?
Could 1 but feel her beating heart
Pressing against mine own;
Could I my feeling soft impart, and mingle
sigh with sigh,
P.ut feel her heart against mine own,
Gladly I then would die.
All her love knowing!
Mr. McCormack's rendition is also a
n:iost attractive one. Very few English sing-
ers are able to sing an Italian aria in a man-
ner that would be acceptable to Italian audi-
ences, but McCormack is one of these, and
his rendering of Donizetti's exquisite air is
an example of this mastery of the old school
of vocalization.
The crafty Dulcamara now suggests to
Adina that she try the wonderful elixir in
order to win back her lover, but she says
she needs not such aids.
Adina:
With a tender look Til charm him —
With a modest smile invite him —
With a tear or sigh alarm him —
With a fond caress excite him.
Never yet was man so mulish,
That I could not make him yield.
Kemorino's fate's decided I
Adina :
With respect to your elixir,
One more potent, sir, have I —
Through whose virtues Nemorino,
Leaving all, to me will fl\'l
Dulcamara (aside) :
Oh! she's far too wi^e and cunning;
These girls know e\'en more than I.
When Nemorino has sung his air Adina comes on with the soldier's contract, which she
has bought back, and tells him that he must not go away. All misunderstandings are now
cleared away, and Belcore arrives to find his bride-to-be embracing another. However,
he is philosophical and saying, " There are other women I " marches off, while the villagers
tell Adina and Nemorino of the latter's good fortune. The Doctor claims credit for the
reconciliation, and the curtain falls as he is relieving the peasants of their wages in return for
bottles of his wonderful Elixir of Love !
68152 12-inch, $1.25
DOUBLE-FACED L'ELISIR D'AMORE RECORDS
Udite, udite o rustici (Give Ear, Rustics!)
By A. Pini-Corsi. Baritone iln Italian)
Una furtiva lagrima (A Furtive Tear)
By Emilio Perea, Tenor {In Italian)]
Quant'e bella! (Ah. How Lovely !) ]
By Emilio Perea, Tenor (In //a/ian) 62626 10-inch. .75
Udite, udite o rustici — By Arcangrelo Rossi, Bass (In Italian)]
lo sono ricco e tu sei bella (I Have Riches, Thou Hast
Beauty) By Maria Passari. Soprano; Pini-Corsi and
Chorus <^" Italian]
Don Pasquale — Quartet, Act II By Linda Brambitla, Soprano ;
Antonio Pini-Corsi, Baritone; Gaetano Pini-Corsi,
Tenor; and Augusto Scipioni, Baritone [In Italian)
16566 10-inch. .75
liRNANI RESCUES ELVIRA FROM THE KING ACT I
(Italian) (French)
ERNANI HERNANI
{Ayr-nah' -nee) {Hcr-nah'-nee)
OPERA IN FOUR ACTS
Libretto adapted by Maria Piave ; from Victor Hugo's drama " Hernani ;" music by
Giuseppe Verdi. First production in Venice, March 9, 1344. First London production at
Her Majesty's Theatre, March 8, 1845. First New York production, 1846, at the Astor Place.
At its Paris production, January 6, 1846, the libretto was altered at Victor Hugo's request,
the characters being made Italians and the name of the opera changed to // Proscrillo.
Cast of Characters
DON Carlos, King of Spain Baritone
Don RUY Gomez DE SILVA, a Grandee of Spain Bass
ERNANI. a bandit chief Tenor
Don RICCARDO. an esquire of the King Tenor
lAGO, (Ee-ah'-go) an esquire of Don Silva Bass
Elvira, (El-vee'-rah) betrothed to Don Silva Soprano
GIOVANNA, (Gee-oh-vah' -nah) in attendance upon her Mezzo-Soprano
Chorus of mountaineers and bandits, followers of Don Silva, ladies of Elvira, followers of
the King, Spanish and German nobles and ladies, electors and pages.
Scene and Period : Aragon ; about 1519.
04
VICTOR BOOK OF THE OPER A— V ERDI'S ERNANI
ACT I
SCENE I — The Mountains of Aragon
Elvira, a Spanish lady of rank, is about to be married to the elderly Don Gomez de Siha,
a Grandee of Spain. Ernani, a bandit chief (in reality John of Aragon, become a brigand
after his estates were confiscated), ioves Eloira and resolves to prevent this unwelcome
marriage. The first scene shows a mountain pass where Ernani 's men are encamped.
Beviam, beviam (Comrades, Let's Drink and Play)
By La Scala Chorus {In Italian) *35168 12-inch, $1.25
The opera opens with this spirited chorus of bandits and mountaineers, who are drinking
and gambling in their stronghold. With reckless satisfaction in their lot they sing:
"Wliat matters to the bandit
If hunted and branded
So wine be his share!"
Ernani, their chief, appears on a neighboring height with a melancholy brow. His men
remark at his gloomy appearance, and he tells them that he is powerless to prevent the mar-
riage of his betrothed to the aged Silva on the morrow. He describes the peerless Elvira in
a fine aria, The Sweetest Flovv^'r.
Come rugiada al cespite (The Sweetest Flo^v'r)
By Luigi Colazza, Tenor (In Italian) *6262 7 10-inch, $0.75
The bandits offer their lives, if need be, in the service of their chief, and it is decided to
rescue Eloira that night.
O tu che Talma adora (O Thou, My Life's Treasure)
By Martinez Patti, Tenor, and La Scala Chorus {In Italian)
*1656r
10-inch, $0.75
I love thy starry glances,
Thy sniile my heart entrances,
Most lilessed he of mortals
To whom thou gav'st thy heart!
Ernani, in this passionate aria, sings of the charms of his beloved
Ernani :
Oh thou, my life's sole treasure,
Come, come to my arms adoring,
Death at thy feet were pleasure,
The joy of heav'n is mine wliere'er thou art.
Ernani and his men depart in the direction of Siloa's castle
and the scene changes.
SCENE II — Elvira's Apartment in the Castle
Ehira is discovered alone, brooding over the prospect of
the sacrifice, which she seems powerless to prevent.
Elvira : * l . i j
"Tis near the dawning, and Silva yet returns not! Ah. would
he came no more— with odious words of loving, more deeply
confirming my love for Ernani !
Ernani involami (Ernani. Fly with Me)
By Marcella Sembrich 88022 12-inch, $3.00
By Frieda Hempel, Soprano 88383 12-inch, 3.00
By Maria Grisi *63173 10-inch, .75
In this beautiful but despairing number she calls on her
lover to save her, singing:
Ernani, fly with me:
Prevent tiiis liatcd marriage 1
Witli tliee, e'en tlie barren desert
\Vonlil .seem an Eden iil enchantment:
Two brilliant renditions of this famous number are given,
by Mme Sembrich and Mme. Hempel; while a popular-
priced record is contributed by Mme. Grisi, of La Scala.
Elvira's ladies-in-waiting now enter, bringing her wedding
gifts, and in the graceful chorus with which this record begms,
congratulate her.
^Doubk.FaceJ Record-For titk of oppoMe side ,ee DOUBLE-FACED ERNANI RECORDS. pa,e 100.
95
T DUPONT
SLMBRICII
\S ELVIRA
VICTOR BOOK OF THE OPER A— V ERDI'S ERNANI
Quante d'Iberia giovani (Noble Hispania's Blood)
By Ida Giacomelli and La Scala Chorus (In Italian) *16567 10-inch, $0.75
She thanks them, saying: "Each kindly wish awakes a response in my own heart;" then
sings, aside, a second nunnber, " Tutto sprezzo che d'Ernam, " in which she tells of her hope
of rescue. The chorus joins in the concluding strain.
Da quel di che t'ho veduta (From the Day when First
Thy Beauty)
By Angela de Angfelis, Soprano: Francesco Cigada, Baritone
(In Italian) *35168 12-inch, $1.25
We come now to one of the greatest scenes in the opera. Elvira, who has left the room
with the ladies, returns and is amazed to discover in her boudoir the King, who has been
secretly in love v/ith her. She appeals to his honor, saying :
"In pity, ^irc, lca\'e me!"
The record begins with the dramatic dialogue between Carlos and Elvira, Carlos then
declares his love in the aria "Da quel di" leading up to a dramatic duet, w^hich concludes
this sixth number.
Tu se' Ernani ! (Thou Art Ernani!)
By Giacomelli, Martinez-Patti and Pignataro {Italian) * 16568 10-inch, $0.75
The King, maddened by Elvira's resistance, is about to carry her away by force. She
snatches a dagger from Carlos ' belt and cries : *' Go, or w^ith this dagger 1 will slay us both !"
The King is about to summon his guard, when suddenly a secret panel door opens and
£rnQnr appears. Car/os recognizes him and exclaims: "Thou art Ernani, the assassin and
bandit," and in the spirited trio which follows the rivals declare their hatred, while Elvira,
almost distracted, endeavors to protect her lover.
Infelice e tu credevi (Unhappy One !)
By Marcel Journet. Bass (In Italian) 74008 12-inch, $1.50
By Perello de Se^urola, Bass {In Italian) *55007 12-inch. 1.50
By Aristodemo Sillich, Bass (In Italian) *63421 10-inch, .75
In the midst of this thrilling tableau now appears Silva, w^ho does not recognize the
King and who is naturally astounded to find two rivals in the apartments of his future
bride, quarreling for her possession. He summons his squires and soldiers, then addresses
himself to Elvira and reproaches her in this w^ell-know^n and impressive Infelice, one of the
most beautiful of bass arias. Four records of this favorite number are available — by
Journet (in both 10 and 12-inch), by de Segurola and by Sillich.
The editor regrets that he is unable to give satisfactory English translations for the ma-
jority of the Ernani airs, but most of the available translations of Ernani are so distorted as
to be almost meaningless. The few^ extracts w^hich are given have been revised and made
somew^hat intelligible. "Opera in English," about w^hich we hear so much nowadays,
cannot be permanently successful v^ithout new^ translations for some of the older works.
For instance, here is a specimen translation of the text of this very air of Infelice,
Ah, to win, to win back summer's blossom Faf congealing unto the core.
In my Ijrcast were tho't too gainless. Winter h:irds it in this bosom.
\\'inler lords it within this my bosom. Far congealing, far congealing to the core,
Far cont'caling, far congealing to the core, Unto the core, congealing unto the core!
Far congealing unto the core.
Now anyone who can tell just what this means is certainly a highly gifted individual!
In this connection, however, it should be stated that several American music publishers
are entitled to praise for their efforts to improve opera translations, especially G. Schirmer,
with many beautiful new editions of the older operas and collections of opera airs; and Oliver
Ditson Company, w^hose Musicians' Library, a splendid piece of music typography, contains
many new translations. The editor of this catalogue is indebted to both these firms for
permission to quote from their new translations.
♦ Double-Faced Record'-For title of opposite side see DOUBLE-FA CED ERNANI RECORDS, pages 99 and 100.
90
VICTOR BOOK OF THE OPER A— V ERDI'S ERNANI
THE KING PLEADS HIS LOVE
Vedi come il buon vegliardo
(Well I Knew My Trusty Vassal)
By Maria Grisi, Soprano; Carlo Ottoboni,
Bass; Remo Sangiorgi, Tenor; and
Giuseppi Sala, Baritone
{In Italian ) *35169 12-inch, $1.25
Having reproached his bride for her supposed
treachery, Sil^a thinks of vengeance, and calling for his
armor and a sword, demands that the intruders follow
him to combat. Before they can reply, the King's
squires enter and salute their sovereign. The astounded
Silva, though secretly enraged, kneels to his King, say-
ing : " Duty to my King cancels all offences. The
great finale then begins "with Carlos' so\o, sung aside to
his squires :
"Well I knew my trusty vassal
Fieice in hate, in passion tender
\\'ould his wrath and love surrender
In the presence of his King."
This is one of the most impressive records of the
Ernani series.
Finale, Act I
^v By Maria Grisi. Soprano; Carlo Ottoboni,
^, Bass; Remo Sangiorgi, Tenor; and
Ijsw*"'^" Giuseppi Sala, Baritone
{In Italian) *16568 10-inch, $0.75
The finale to Act I is continued in this record. The situation at the close of the act may be
understood by these quotations from the words the librettist has given to the various characters:
Carlos (to liriiani): Carlos:
I will save thee! Power, dominion and love's delights,
(^Aloiid to Sil'oa): All these are mine — all my will must obey!
Let this trusty friend depart. Silva:
EriNANi. From my eyes a veil has fallen
I thy friend? Never! unto death my ven- I can scarce belie^-e my senses!
geancc will pursue thee! Courtiers:
Elvira: Well doth Silva hide his anger
Fly. Ernani. let love teach thee prudence! But within it still doth smolder!
Ernani yields to Elvira's pleadings and in the confusion makes his escape. The curtain
falls on an impressive tableau. ACT IT
SCENE— y4 Hall in Silva' s Castle
After his escape from the castle, nothing has been seen of Ernani. Elvira believes the
rumors of his death and despairingly consents to wed Don Silva.
Esultiam (Day of Gladness)
By La Scala Chorus {In Italian) *1&569 10-inch, $0.75
The first scene of Act II occurs in a magnificent hall in the castle. The company of
knights and pages of Silva, and ladies in attendance on Elvira sing the opening chorus in
praise of the noble Silva and his peerless bride.
Oro quant' oro (I am the Bandit Ernani)
E.y Maria Bernacchi, Soprano; Luisi Colazza, Tenor ; and Torres de Luna,
Bass {In Italian) *16569 10-inch, $0.75
Silva, attired as a Grandee, enters. His squire, /ago, announces a holy man, who craves
the hospitality of the castle. Ernani, disguised as a pilgrim, enters, then throws off his disguise
and exclaims, beginning this line trio :
"I am the bandit lirnani . . . My men are dead or
enemies are without the castle . . . Sei
ze me am!
chains . . . My
■r me up, for I am
weary of life!
Silva, however, refuses to betray one whom he has received as a guest. 1 he trio,
vhich is one of the great scenes of the opera, then follows.
^^^oable-FaccJ Record— For title of opposite side see DOUBLE-FACED ERNANI RECORDS, pages 99 and 100.
97
VICTOR BOOK OF THE OPER A— V ERDI'S ERNANI
(I W^ill Prove, Audacious
La vedretno, o veglio audace
Greybeard)
By Mattia Battistini, Baritone, and Aristodemo Sillich, Bass
{In Italian) 92007
By Ernesto Caronna, Baritone, and Torres de Luna, Bass
{In Italian) ='=165 70 10-inch,
The retainers bring news that the King and his warriors are w^ithout the castle
hides Ernani in a secret passage and orders that the King be admitted. Don Carlos inquires,
w^ith irony, w^hy Siloa's castle is so well guarded, and demands that he surrender Ernani or
lose his ow^n life. Stlva refuses. The soldiers are ordered to search the castle. This duet
then occurs, beginning :
Carlos: I will pi"(.ive, amlaciiuis gix'j'bc-ai"d,
If tliou'rt loyal to thy King!
In my wrath I will destroy thee!
Silva: Oh King, be just; I cannot yield!
12-inch, $3.00
.75
Silva
Vieni meco (Come, Thou I>earest Maiden)
By Emilia Corsi, Sopr".!: Mattia Battistini. Baritone; and La Scala
Chorus {In Italian) 92008 12-inch, $3.00
By Maria Grisi, Soprano ; Francesco Cigada. Baritone; Carlo Ottoboni,
Bass; and La Scala Chorus {In Italian) "^'16570 10-inch, .75
This record begins with a chorus of soldiers, w^ho have explored the castle but have found
no trace of Ernani. The King is about to torture Siloa into revealing the secret, when Elvira
rushes in and begs the mercy of his Majesty. Carlos turns to her, and sings consolingly of
the bright future before her as his Queen, and in the great trio %vhich follows the con-
flicting emotions of those in the scene are expressed in Verdi's fiery music.
A te scegli, seguimi (Choose Thy Sword, and Follo-w!)
12-inch, $1.25
By Luigi Colazza, Tenor, and Torres de Luna, Bass
(In Italian) ^'=35169
The King, his followers, and the Lady Elvira having retired.
Silva exclaims : " Hell cannot hate w^ith the hatred 1 bear thee,
vile King!" He then takes down two swords from the armory,
and releasing Ernani from his hiding place, challenges him to com-
bat. Ernani refuses, saying that his life belongs ic Silva, w^ho has
saved it. Siloa taunts him w^ith cowardice and Ernani consents to
fight, but asks for one look at Elvira. Silva replies that the King has
taken her away. " Fool ! " cries Ernani to the astonished Grandee,
"the King is our rival!" and agrees to combine vv'ith Silva against
their mutual foe. Once their revenge is accomplished, Ernani agrees
to yield his life at Silva's call, and gives him a hunting horn which
shall be the signal for his (Ernani's) death. For this magnificent num-
ber Verdi has written some of his most dramatic music.
In arcion, cavalieri (To Horse, Ye W^arriors)
By Giuseppi Sala, Tenor; Cesare Preve, Baritone;
and La Scala Chorus {Italian) '''1 65 71 10-inch, $0.75
The act closes with the spirited duet and chorus by Ernani, Silva
and the warriors of the Don, who prepare to pursue the King to the
death.
ACT III
SCENE — A Vault in Aix-la-Chapelle Cemetery
O de' verd' anni miei (Oh Bright and Fleeting
Shado'svs)
ByMarioAncona.Baritone (/(o/ian) 88062 12-inch, $3.00 van dvck as ernani
* Docibk^FaccJ Record— For ink of opposite side see DOUBLE-FACED ERNANI RECORDS, pages 99 end I 00.
98
VICTOR BOOK OF THE OPER A— V ERDI'S ERNANI
The third act occurs in the Tomb of Charlemagne at Aix-la-Chapelle. Carlos con-
ceals himself in the tomb of his ancestor to witness the meeting of the conspirators %vho
are plotting against him. He is depressed and melancholy, and sings this famous O de oerd,
in which he pledges himself to better deeds should the Electors, then in session, proclaim
him Emperor.
Si ridesti il leon di Castiglia (Rouse the Lion of Castile)
By La Scala Chorus [In Italian) *16571 10-inch, $0.75
The conspirators, among v^hom are Ernani and Silva, assemble at the tomb. Ernani is
chosen to assassinate Carlos, and greets the decision with joy, exclaiming that his dead father
will at last be avenged. The great ensemble then follow^s.
sommo Carlo (Oh Noble Carlos)
By Matt'ia Battistini, Baritone; Enailia Corsi, Soprano ; Luigi Colazza,
Tenor; Aristodemo Sillich, Bass; and La Scala Chorus
(!n Italian) 92046 12-inch, $3,0O
By Maria Grisi, Remo Sangiorgi, Francesco Cigada and La Scala Chorus
{Double-faced— See below) {In Italian) 35170 12-inch. 1.25
The booming of cannon having announced that Carlos is proclaimed Emperor, he comes
from the tomb and surprises the conspirators. At the same time the Electors and the King's
courtiers enter from a secret door. Carlos condemns the plotters to death, when Elvira rushes
to him and asks for mercy. The Emperor heeds her, pardons them all, and unites Elvira
and Ernani. In this great finale all glorify the Emperor except Stloa, who still secretly cries
for vengeance.
ACT IV
SCENE — Terrace of a Palace in Aragon
Festa da ballo (Hail, Bright Hour of Gladness)
By La Scala Chorus {In Ilalian) *16572 lO-inch, $0.75
The lovers are now happily united, and this scene shows them at Ernani' s palace, which,
with his estates, has been restored to him. A chorus of ladies, masks and pages greets the
happy pair.
Ferna crudel, estinguere (Stay Thee, My Lord !)
By Maria Bernacchi, Soprano ; Luigi Colazza, Tenor; and Torres de Luna,
Baritone (Double-faceJSee below) (In Ilalian) 35170 12-inch, $1.25
Elvira and Ernani are alone on the terrace, oblivious to all but each other, when a blast
from a horn is heard. Ernani awakes from his dream of bliss and recognizes the sound of
his own hunting horn, which he had given to Siha as a pledge to die when the revengeful
Don should demand his life. The distracted Elvira pleads with Silva for her husband, but
in vain. After an affecting farewell Ernani fulfills his vow, stabs himself and dies, while
Eloira falls lifeless on his body. The curtain falls as the cruel and remorseless Silva is gloat-
ing over his terrible revenge.
DOUBLE-FACED ERNANI RECORDS
/Infeliceetucredevi By Perello de Segurola Bassl ^^ 12.inch, $1.50
1 Purilani — Sorgea la nolle By Ferello de^egurola, Bass (In Italian))
Ferna, crudel By Maria Bernacchi, Soprano ; Luigi 1
I Colazza, Tenor; and Torres de Luna. Bass [In Ilalian)\^^^^Q 12-inch, 1.25
1 sommo Carlo By Maria Grisi, Soprano ; Remo Sangiorgi, |
I Tenor; Francesco Cigada, Baritone; and Chorus (Ilalian)]
/Ernani Selection By Pryor's Bandl ^^j j j i2-inch, 1.25
\ Meislersinger — Prize Song By Viclor Sorlin, 'Cellisti
A te scegli, seguimi By Luigi Colazza, Tenor, and
Torres de Luna. Bass (In Ilalian)
Vedi come il buon vegliardo By Maria Grisi,
Soprano: Remo Sangiorgi, Tenor ; Giuseppi Sala, Tenor ;
and Carlo Ottoboni, Bass (In Ilalian)
35169 12-inch, 1.25
* Doubk-Faced Record— For titk of opposite side see DOUBLE-FACED ERNANI RECORDS, page 100.
VICTOR BOOK OF THE OPER A— V ERDI'S ERNAN
IBeviatn, beviam By La Scala Chorus {In Italian)
Da quel di che t'ho veduta By Angela de Angelis,
[ Soprano, and Francesco Cigada, Baritone (In Italian)
IO tu che I'alma adora By Martinez-Patti, Tenor,
and Chorus (In Italian)
Quante d'Iberia giovani By Ida Giacomelli, Soprano,
and Chorus (In Italian)]
IFinale.ActI By Maria Grisi, Soprano : Carlo Ottoboni. ]
Bass; Remo Sangiorgi, Tenor: and Giuseppi Sala, Tenor [
Tu se' Ernani By Ida Giacomelli. Soprano ; Martinez- [
Patti,Tenor; and Enrico Pignataro, Baritone (In Italian)]
jEsuItiam! By La Scala Chorus {In Italian)]
Oro quant' oro By Maria Bernacchi, Soprano; 16569
I Luigi Colazza, Tenor; and Torres de Luna, Bass (Inltalian)]
!La vedremo By Ernesto Caronna, Baritone, and ]
Torres de Luna, Bass {In Italian)\
Vieni meco By Maria Grisi. Soprano; Francesco Cigada. '
Baritone; Carlo Ottoboni, Bass; and Chorus {In Italian)
(In arcion, cavalieri ! By Giuseppi Sala, Tenor ;
Cesare Preve, Bass ; and Chorus (In Italian)
I Si ridesti il leon di Castiglia By La Scala Chorus (Italian)
fFesta da ballo "O come felici " By La Scala Chorus
J (In Italian)
I Hamlet — O vin, discaccia la tristezza
[ By Francesco Cigada, Baritone, and Chorus (In Italian)
fErnani involami (Ernani, Fly with Me)
) By Maria Grisi. Soprano {In Italian)
I Ballo in Maschera — O Figlio d' Inghilterra
[ By Huguet, Salvador, Cigada, Sillich, and Chorus {In Italian)
rinfelice e tu credevi (Unhappy One!)
J By Aristodemo Sillich. Bass {In Italian)
I Manon — Oh, Manon, sempre la stressa
I By Giorgio Malesci, Tenor {Inltalian}
iCome rugiada al cespite By Luigi Colazza (In Italian) \
O tu che I'alma adora
i By Martinez-Patti. Tenor, and Chorus {In Italian)]
35168 12-inch. *1.25
16567 10-inch,
6568 10-inch,
10-inch,
65 70 10-inch.
16571 10-inch,
165 72 10-inch,
63173 10-inch.
63421 10-inch.
62627 10-inch,
.75
.75
.75
.75
.75
.75
.75
.75
.75
100
(Italian)
FALSTAFF
iFahe-staff)
COMIC OPERA IN THREE ACTS
Text by Boito, taken from Shakespeare's comedy, The Merry Wioes of Windsor. Music
by Verdi. First production, Milan, March, 1893. First American production at the Metro-
politan Opera House, New York, February 4, 1895, under the direction of Maurice Grau.
Characters and Original Metropolitan Cast
Sir John FALSTAFF Baritone .
FENTON, a young gentleman Tenor.
Ford, a wealthy burgher Baritone .
Dr. CAIUS, a physician Tenor
BARDOLFO, 1, ,, , r- 1 ,T (Tenor
PISTOLA, /followers of Falstaff j^^^^^^^ ■
Mrs. Alice Ford Soprano .
NANETTA, her daughter Soprano ,
Mrs. QUICKLEY Contralto.
MRS. MEG PAGE Mezzo-Soprano .
.... Maurel
. . Russitano
. Campanari
Vanni
. . . Rinaldini
. . . . Nicolini
Fames
. . de Lussan
.... Scalchi
. . de Vigne
BACH MANN AS FALSTAFF
It was the youthful dream of the great composer, Verdi,
to write a comic opera, but it w^as not until he was nearing
eighty years of age that his dream was realized. The music
of Falstaff denotes in all things almost the antithesis of the
style and methods and ideals of Verdi's early operas. The
music is vivacious and sparkling, being interspersed with
delightful fragments of melody.
Sir John Falslaff \s a merry rogue, so conceited as to be-
lieve himself irresistible to all w^omanlcind. His egotism
leads him to think he has fascinated both Mistress Page and
Mistress Alice Ford, and he w^rites each of the ladies a love
letter identical in contents. The two w^omen compare the
notes and plan to punish the Knight for presuming to address
them in such terms of affection.
Ford learns of Falstaff 's advances to Kis wife and flies
into a jealous rage. Mistress Ford sends Dame Quicf^ley to Sir
John w^ith an invitation to call, w^hich he is quick to accept.
Scarcely does he arrive at Ford's house than Dame Quickley
reports the coming of Mistress Page, and Falstaff is com-
pelled to hide behind a screen. Then the angry Ford
appears with his friends, determined to capture Falslaff, but
101
VICTOR BOOK OF THE OPERA— VE RDI'S FALSTAFF
the latter takes refuge in a
clothes basket. Mistress Ford
has the basket thrown into the
ditch, and the unlucky suitor
receives a good shaking-up
before the jeering crowd.
Falstaff, undaunted by his
basket experience, arranges
to meet Lady Ford again, the
trysting place this time being
at Heme's Oak, in Windsor
Park. Ford and his men, in-
cluding Pisiola and Bardolfo,
who have turned against Fal-
siqff hecause. of his bad treat-
ment of them, overhear the
arrangements and plan to be
therealso. Now, Fort/ '5 daugh-
ter, Naneita, is in love with
Fenton, but her father de-
mands that she marry Dr.
Caius. Ford tells the doctor
that this is a good time for
him to secure Nanetia, and
promises to aid him. Darne
SCUTII AS 1-"ALSTA1'F
l^ALSTAFF GETS IN TlIE BASKET — ACT U
Quickhy, how^ever, learns
of this, and the women
plan to have Fenton spoil
the designs of the phy-
sician.
Falstaff's love scene
w^ith Mistress Ford is inter-
rupted by Ford's friends,
disguised as elves and
fairies, w^ho thrash the fat
knight soundly. In the
confusion Dr. Caius mis-
takes Bardolfo for Nanetta,
Ford is finally w^on over,
and his daughter and
Fenton are happily mar-
ried.
The Victor offers tw^o
very fine records of tw^o
of the best know^n airs
from the opera: the Quand'
ero paggio, sung by Falstaff
to Mistress Alice Ford in
Act II ; and the Sul fil
d'un soffio from Act III,
sung by Nanetta as the pre-
tended fairies gather in
Windsor Park.
JADLOWKER AS FENTON
Quand' ero paggio (W^hen I Was Page)
By Antonio Scotti, Baritone {In Italian)
88194 12-inch, $3.00
Sul fil d'un soffio (Borne on the Breeze)
By Frances Alda, Soprano {In Italian) 88247
12-inch, $3.00
{FotDsl)
OPERA IN FIVE ACTS
Words by Barbier and Carre, founded upon
Goethe's tragedy. Music by Charles Gounod.
First produced at the Theatre L^rique, Paris,
March 19, 1859. First performance in London
June 11, 1863; in New York November 26,
1863, at the Academy of Music, with Kellogg,
Mazzoleni, Biachi and Yppolito.
Some famous American productions
were in 1883, with Nilsson, Scalchi, and
Campanini : and the same year with Nor-
dica (debut) as Marguerite; in 1892 with
Fames, the de Reszkes and Lasall
and recently with Caruso and Farrar.
Characters
Faust (FowsO Tenor
MEPHISTOPHELES (Mtf-issAof' -ct-leez) Bass
VALENTINE (Val' -en-teen) Baritone
BRANDER, or Wagner Baritone
SlEBEL (See'-bel) Mezzo-Soprano
Marguerite (Mahr-guer-eei') . . . .Soprano
Martha Contralto
Students, Soldiers, Villagers,
Sorcerers, Spirits.
The action laJ^es place in Germany.
103
Faust, the Aged Philosopher, "Wearies of Life
VICTOR BOOK OF THE O P E R A — G O U N O D ' S FAUST
TH. IMPERIAL DE LOPERA
36, Auiourd'hni MEI^CREnl 3 Mars ItiOO.
^^^^^ P ill H n. m m i'ia si \i \iio^
FAUST
nus..|iied<'>I. CII.GOliVOI)
w luminT m detotod m gaspard
.•-.i,.. MDESBORDES
,.s--i.. LES CHOEURSuu'em.'niS'rti- ''/'^T^N
n FIORETTI. FOHTA°''"eFIOCiA ;,^
HARODET BARATTE MERAN / ,
.„o...,..,u...„. FAUST Vj
PEOCKAM OF A FAMOUS KEVIVAL (iSCg)
FAUST
Fifty-four years have elapsed since the first production
of this masterpiece by Gounod; and it is to-day sung
throughout the world more than any other five operas
combined. At the Paris Opera alone it has been given
more than 1500 times, and the nevv' setting recently pro-
vided for it there cost not less than 150,000 francs, a sum
which w^ould not be risked on any other opera w^hatever.
It seems strange now^, in view of the overwhelming
success of Faust, to recall that it v/as received w^ith indif-
ference in Paris, and all but failed in Milan. The London
production, how^ever, with Titiens, Giuglini, Trebelli,
Gassier and Santley, \vas quite successful ; and in the
follov/ing June Patti sang Marguerite for the first time, the
opera receiving a tremendous ovation.
The story is familiar to almost every one and will be
but briefly sketched here. The libretto by Barbier and
Carre doss not attempt to follow the Goethe drama, but
merely makes use of the Faust- Marguerite incident. This
is sufficient, however, to provide an intensely interesting
subject for Gounod's lovely nnusic.
Prelude to Faust
By L'Orchestre Symphonique, Paris 58016 12-inch, $1.00
The prelude to Faust is a short one, merely giving a clue to the drama which is to
follow. The fateful single note of the full ^
orchestra with which it opens and the mysteri-
ous chromatic chords stealing in from the
strings form a fitting introduction to a drama/
of such unusual portent.
The tempo is then accelerated and a pas-
sage suggesting Faust's mental struggles leads r
to the lovely melody in F major (Dio possente}. ^
The prelude closes with sustained chords, solemn and impressive.
This number is rarely heard apart from the opera, and so excellent a reproduction as
this one by the orchestra will be highly appreciated.
ACT I — The Compact
The first act reveals the studio of Faust, an aged philosopher and alchemist, who is
seen surrounded by musty parchment rolls and the rude scientific apparatus of the fifteenth
century. The fitful light of the expiring lamp is a symbol of the despair in the heart of the
aged Faust, as after a lifetime spent in the pursuit of learning, he realizes that he knows
but little of true knowledge. Tired of the struggle, he resolves to end it with a poisonous
draught, and raises the goblet to his lips; but pauses as the songs of the happy peasants
float through the open window. He goes to the window, and filled with rage at the sight
of human happiness, he curses all earthly things and calls on Satan to aid him.
This scene is given in a most impressive record by De Tura and the La Scala Chorus.
La va^a pupilla (Rise, Slumb'rin^ Maiden)
By Gennaro De Tura and La Scala Chorus {In Italian)
Chorus of Peasant Girls (passing zvitlwut
windotv) :
76019 12-inch, $2.00
Ah! careless, idle maiden.
Wherefore dreaming still?
Day with roses laden
Cometh o'er the hill.
Brooks and bees and flowers
Warble to the grove,
Who has time for sadness?
Awake to love!
Faust:
Foolish echoes of human gladness,
Go by, pass on your way I
(His hand trembles.)
Goblet so often drained by my father's
so steady,
Why now dost thou tremble in mine?
hand
Chorus ov Reapers (without) :
Cometh forth, ye reajjers, young and hoary!
The earth is proud with harvest glory I
Rejoice and pray.
Faust:
If I pray there is none to hear —
To give me back my love,
Its believing and its glow.
Accurst be all ye thoughts of earthly pleasure!
Fond dreams of hope I ambitions high,
And their fulfillment so rare !
Accurst, my vaunted learning.
And forgiveness and prayer!
Infernal king, appear !
(Mcphistophcles appears.)
105
VICTOR BOOK OF THE O P E R A — G O U N O D ' S FAUST
FAUST DREAMS OF YOUTH AMD BEAUTY
Mephislopheles, attired in the dress
of a gallant, promptly appears in re-
sponse to the call and proposes that
the good Doctor shall enter into a com-
pact with him. In return for riches,
glory, power, anything he desires, Faust
shall merely give up his soul. The
aged philosopher, spurning gold or
power, cries out for youth, only youth!
lo voglio il piacer (The
Pleasures of Youth)
By Gaetano Pini-Corsi, Tenor ;
Aristodemo Sillich, Bass
(Inllalian) *63ir4 10-in., $0.75
The bargain is soon agreed upon
and Faust is about to pledge his soul
in return for youth and love, but as he
still hesitates, Mephisto says, " See how
fair youth invites you! Look!"
O merveille (Heavenly
Vision)
By Enrico Caruso, Tenor;
Marcel Journet. Bass
{In French) 89039 12-in., $4.00
Then follows the delicate passage
for strings which accompanies the vis-
ion. Faust, gazing rapturously on the
beautiful Marguerite, sings;
The scroll is signed in letters of fire, Faust
drains the magic potion and is transformed
into a youth. The spirited duet which follows,
ending the first act, is sung with fine effect ;
both of the Victor renditions being most
attractive ones.
ACT II— The Fair
( The scene shows a fair in progress in the public square of a German town)
A motley crowd of students, soldiers, old men, young women and matrons are disport-
ing themselves — drmkmg, talking, flirting, quarreling ; and this animated chorus, with which
the Kermesse Scene begins, graphically pictures the whole.
Kermesse Scene
By New York Grand Opera Chorus
By La Scala Chorus
(In Italian) 74213 12-inch, $1.30
(In Italian) *68160 12-inch, 1.25
Each group delivers its quota in distinctive fashion, the soldiers' sturdy declaration con-
trastmg with the laughing, chattering passages allotted to the women; the high-pitched
falsetto of the gossiping old men always proving a favorite portion of this number. At the
close the different groups combine into a chorus of six parts. This wonderful piece of
choral writing is reproduced in a striking manner, and gives a most reahstic picture of the
Kermesse.
*Douhle-Faccd Rtcord— For mie of opposite siJe see DOUBLE-FACED FAUST RECORDS, page 125.
106
VICTOR BOOK OF THE OPERA — GOUNOD'S FAUST
Soldiers:
Red and white liquor, coarse or fine.
What can it matter, so we have wine?
Old Men:
Each new feast-day hrings the old story,
Danger gone by, how we enjoy itl
Wliile to-day each hot-headed boy
Fights for to-day's little glory I
Girls:
Only look how they do eye us,
\'onder fellows gay I
Mow'soever they defy us,
Ne^'er run awavl
Students:
Mow those merry girls do eye us
We know what it means —
To despise us, to decoy us,
LiKe so many queens 1
Matrons:
Only see the brazen creatures
With the men at play;
Had the latter choice in features.
They would turn this way I
Soldiers:
Long live the soldier,
The soldier gay !
P>e it ancient city, be it maiden pretty.
Both must fall uur prey!
Here Valentine, the brother of Marguerite, is found among the crowd of soldiers just
about to depart for the war, and he sings the noble Dio possente, a farewell to his sister
and his home.
M F.ET I N G OF M ARG U ER i T E
Dio possente (Even the Bravest Heart)
By Antonio Scotti, Baritone (/n Italian) 88203 12-inch, $3.00
By Emilio de Gogorza. Baritone {In Italian) 88174 12-inch, 3.00
By Titta Ruffo, Baritone (In Italian) 92043 12-inch, 3.00
By Francesco Cigada {Double-faced— See page 125) (Italian) 68275 12-inch, 1.25
In the preceding recitative he speaks of his fears in leaving his sister Marguerite alone,
and contemplates with affection the amulet she has given him to bring good fortune.
\'alentine:
l)ear gift of my sister.
Made more holy by her pray'r.
However great the danger,
There's naught can do me harm,
Protected by this charm I
The familiar "Cavatina" then follows:
Even bravest heart may swell,
In the moment of farewell.
Loving smile of sister kind,
Quiet home I leave behind;
Oft shall I think of you,
Whene'er the wine-cup passes 'round,
When alone my watch I keep
And my comrades lie asleep
Upon the tented battleground.
But when danger to glory shall call me,
I still will be first in the fray.
As blithe as a knight in his bridal array,
Careless what fate may befall me.
When glory shall call me.
Oft shall I sadly think of you
When far away, far away.
107
VICTOR BOOK OF THE O P E R A — G O U N O D ' S FAUST
TKis Dio possenle was not in the original production of the opera,
but was written by Gounod especially for Santley in the English
production at Her Majesty's Theatre, 1864.
The Victor offers a w^ide choice to buyers of this fine " Cavatina."
Scotti's Valentine is always a revelation in dramatic possibilities. This
role, too often allotted to a mediocre artist, is filled by him with
dignity ; and he makes a serious and soldierly Valentine, singing the
music w^ith admirable richness of tone and beauty of expression.
Although Mr. de Gogorza has not sung the number in opera, it is
frequently seen on his concert programs, and he sings it superbly.
Other fine renditions in Italian are the ones by Ruffo, the famous
Italian baritone, who has recently made such a success in this country,
and Cigada, a well-known European baritone, who has not yet visited
America.
Le veau d'or (The Calf of Gold)
By Pol Plan?on, Bass [In French) 81038 10-inch, $2.00
By Marcel Journet, Bass (/nFrencA) 64036 10-inch, 1.00
We are now in the full bustle of the Fair Scene, where in front
of an inn a crow^d of drinkers are listening to one of their number,
Wagner, singing a somewhat coarse ditty concerning a rat. Mephisio-
pheles breaks in upon the revelers, and offers to sing a song of his
own, "The Song of the Golden Calf." After the diabolically sug-
gestive introduction by the orchestra, with its semi-quavers and
descending chromatics, we hear the bold opening passage of this
anthem in praise of Mammon, of which the calf is symbolic.
r AS MEPIIISTO
MEPHlSTiiPIIELES:
Calf of Gold! aye in all the world
To your mightiness they pi-olTer,
Incense at your fane they oBer
From en'd to end of all the world.
And in honor of the idol
Kings and peoples everywhere
To the sound of jingling coins
Dance with zeal in festive circle,
Round ahout the pedestal,
Satan, he conducts the ball !
Calf of Gold, strongest god below!
To his temple overflowing
Cro\vds before his vile shape bowing,
As they strive in abject toil,
As with souls debased they circle
Round a))out the pedestal.
Satan, he conducts the ball!
Two renditions of this effective bass
song are offered by the Victor. Plan^on's
rendition is a spirited one, the number
always being sung by him with a full
appreciation of its caustic raillery. Jour-
net s record is also a splendid one in
many respects, and shows the magnificent
voice of this artist to great advantage.
Mepbistopheles now^ proceeds to aston-
ish the company by his feats of magic,
first reading their palms and then draw-
ing wine from the barrel of Bacchus— the
inn sign perched up aloft — each man
drawing the wine he likes the best.
The scene which follows, a most
dramatic one, is given in a splendid
record by Amato, Journet and the Metro-
politan Chorus.
MEPiriSTOPHELES AND FAUST VIEW
THE WORLD
108
VICTOR BOOK OF THE OPER A-G OUNOD'S FAUST
Faust — Scene les Epees (Scene of the S^vords)
By Pasquale Amato, Baritone; Marcel Journet, Bass; and
Metropolitan Opera Chorus
(Giulio Setti. Director)
[In French) 89055 12-inch, $4.00
The record begins with the invocation to Bacchus.
;Mki'1i istophelf_s:
I drink to you all!
(Throwing it out zvitli a wry face.)
Bah! what rubbishy wine.
Let me see if I cannot find you better!
{Striking the iniaijc of Bacchus with his
szvord.)
^yhat ho. Bacclius! up there I some liquors!
Come \\'hile you can.
And each one drink the wine he likes the best!
He then affronts Valentine by proposing the health of Marguerite,
and the soldier draws his sword, only to find that some unforeseen
force has made it powerless in his hand.
i\Il-:PHlSTOPHELES:
I propose the health of the dearest of all
dears.
Our Margarita !
A'aliiNTINe:
Enough !
Bridle thy tongue, or thou diest by my hand!
Mephistopheles:
Come on! (Botli drazu)
Chorus :
Come on!
Mephistoppieles ( mocking) :
So soon afraid, who so lately defied me?
\\\lentine:
I\Iy sword I O disgrace I In my hand is
powerless! '""^ '
Valentine, however, turns the handle upwards, thus making the Sign of the Cross, the
soldiers doing likew^ise, and they now face the Tempter v/ith confidence.
\'alentine axd Soi-Dters:
'("lainst the powers of evil our arms assailing,
Strongest earthly might must be unavailing.
SAMMARCr
\'ali:nt]Xe
art powerless to harm us!
Soldiers (imitating him) :
Look hither!
All:
Whilst this blest sign we wear
Thou canst not harm us!
Whilst this blest sign we wear
Thou canst not harm us!
\'alentine:
But know tho
\'"alentine:
I^ook hither!
{Holds lip his szvord to form a cross.)
Mephistopheles is discomfited, and cow^ers in terror as the soldiers sing the choral, w^ith its
striking unison passage for male voices, alternated w^ith bursts of harmony.
This is a remarkably fine reproduction, the men's voices being rich and sonorous, and
the dramatic feeling intense.
The delightful w^altz, w^hich has been a model of its kind ever since the first per-
formance of Faust, now^ begins.
W^altz from Kernaesse Scene
By Pryor's Band [DoubkFaced^See page 125) 16552 10-inch. $0.75
This favorite number is played by the band -with the absolute precision and daintiness
which are indispensable to its proper performance.
Faust now observes Marguerite and approaching her, greets her respectfully, offering
his escort.
Faust:
High-born and lovely maid,
Forgive my liumble duty.
Let me, your willing slave.
Attend you home to-day?
She modestly declines, saying :
Marcuerite :
No, my lord, not a lady am T, Faust (gazing after her) :
Nor yet a beautv; By my youth! what a charm 1
And do not need an arm, She knows not of her beauty.
To help me on my way. Oh! darling child, I love thee!
The waltz now re-commences and the act ends in a wild and exciting dance, in which
all join — students, soldiers and women.
100
VICTOR BOOK OF THE O P E R A — G O U N O D ' S FAUST
L \l PARlb OPLR \
ACT III — The Garden Scene
The Garden Scene of Faust is undoubtedly Gounod's finest inspiration; and the sensuous
beauty of the music with which the composer has surrounded the story of Marguerite's
innocence and trust betrayed, has held many millions in rapt attention during the fifty
years since it w^as first heard.
Flcwer Song--Le parlate d'atnor (In the Language of Love)
By Louise Homer, Contralto {In Italian) 87075 10-inch, $2.00
By Corinne Morgan, Contralto (In English) -^35086 12-inch, 1.25
By Rita Fornia, Soprano {In French) 64162 10-inch, 1.00
By Emma Zaccaria, Mezzo-Soprano {In Italian) '''62085 10-inch, .75
This fresh and dainty song of 5/eie/ ushers in the act. The gentle boy enters Marguerite's
garden, thinking of the dark prophecy of Mephistopheles, who had told him (in Act II) :
"Each flower that yon touch,
Every beauty you dote on
Shall roL and shall witherl"
Siebel now thinks to put this curse to a test, and prepares to send a message of love to
Marguerite by means of a flower, singing
"In the language of love, oh gentle flow'r,
Say to her I adore her."
Then gath-
ering a blos-
som he ex-
claims, as
he sees it
fade :
Andante. Bectt.
Son viz - z\, ahi - rafe lo sire-go ma - le det • to mel di-ce-vaor or. ,
'Tis witk-er'd! A-las.' that dark stran-ger fort -told me What my fate must be. .
"^ Dofible-FaceJ Record^FoT title of opposite side see DOUBLE-FACED FAUST RECORDS, page 125.
110
VICTOR BOOK OF THE O P E R A — G O U N O D * S FAUST
But the happy thought occurs to him to dip his fingers in the
font of holy water by the side of the cottage. He does so, and is
deUghted to find the spell broken. The first strain then reappears,
closing the aria.
This popular number is offered in Italian by Homer and
Zaccaria, in French by Fornia and in English by Miss Morgan.
Salut demeure (All Hail, Thou D^velling)
By Enrico Caruso (In French) 88003 12-inch, $3.00
By John McCormack {Inlialian) 74220 12-inch, 1.50
Mephisiopheles and Faust, who have been secretly watching Cl.J^
Siebelf now appear; the Tempter being in high spirits at the appar-
ent success of his schemes, while Faust gazes in rapture at the
garden where his beloved one is w^ont to walk, and sings his lovely
cavatina. He thus rhapsodizes the modest dwelling of Marguerite :
All hail, thon dwelling pure and lowly 1
Home of an angel fair and holy,
What wealth is here, what wealth outhidding gold.
Of peace and love, and innocence untold!
Uounteous Nature I
'Twas here by day thy love was taught her,
liere thou didst with care overshadow thy daughter
In her dream of the night I
Here, waving tree and flower
Made her an Eden-bower of beauty and delight.
The Caruso record of this number, which the tenor sings in
French, is one of the finest in his entire list; while the other ren-
dition is a splendid one by McCormack, in halian.
ARUS<< AS FAUST
A^'^ MRPHisropHEr.Fs entering
marguerite's garden
While Faust is singing his apostrophe
to Marguerite's dwelling, Mephisiopheles,
with an eye to more practical things,
has replaced Siebel's humble nosegay
with a splendid bouquet, a more fitting
accompaniment to the casket of jewels
with which Marguerite is to be tempted.
Marguerite enters the garden, pen-
sively dreaming of the handsome stran-
ger she had met in the market place.
Her entrance is announced on the clari-
nets and violins in a lovely strain sug-
gesting the coming song.
She seats herself at the spinning
wheel and murmurs dreamily :
I wish I could but know who was he that
addressed me;
If he was noble — or at least what his
name is. . . .
Le Roi de Thule (Ballad of
the King of Thule)
By Geraldine Farrar, Soprano
{French) 88229 12-in., $3 00
Then rebuking herself for her idle
fancies, she applies herself to her spin-
ning and begins this plaintive chanson :
"Once there was a king in Thule
Who was until death always faithful.
And in memory of his loved one
Caused a eup of gold to be made."
Ill
VICTOR BOOK OF THE OPERA — GOUNOD'S FAUST
Then her thoughts return to Faust, and breaking off the song, she sings as if to herself:
Adagio.
PATTI AS MARGUERITE, 1875
i ce • qu'il me sem - bI6
ing- his voice was so kind.
Again impatient with her wandering mind, she finishes the ballad.
Miss Farrar sings this beautiful folk-song with surpassing loveliness of voice, and in
the dreamy sentimental style w^hich it requires.
Finding herself in no humor to spin, Marguerite moves
tow^ard the house and sees the flow^ers, w^hich she stops to
admire, thinking them from Siehel. The box of jewels then
catches her eye, and after some misgivings she opens it. Then
follows the bright and sparkling "Jewel Song," or Air des bijoux,
in which childish glee and virginal coquettishness are so happily
expressed.
"r)li Heav'n I what brilliant gems!
t'an they be real?
Uh never in my sleep did I dream of aught
so lovely!"
exclaims the delighted Marguerite.
Air des Bijoux (Jew^el Song)
By Nellie Melba, Soprano
{In French) 88066 12-inch, $3.00
By Marcella Sembrich, Soprano
(In French) 88024 12-inch, 3.00
By Geraldine Farrar, Soprano
(In French) 88147 12-inch, 3.00
By GiuseppinaHuguet {DouA/e-/acec/ — Seepage 125) (In Italian) 68160 12-inch, $1.25
No less than four fine records of this well-known and popular air are presented for
the choice of Victor opera lovers.
Melba's rendition is a most delightful one, her
voice exhibiting the most entrancing smoothness;
in its loveliness, flexibility and brilliancy it seems
absolutely v/ithout a flaw.
Sembrich's Marguerite w^as always a fine imper-
sonation, and her delivery of the number is exceed-
ingly artistic, being one of the cleanest and most
finished bits of colorature singing ever heard in
opera.
Miss Farrar's brilliant Marguerite has been much
admired during the past few seasons, and this
number shows well the loveliness and flexibility of
her voice. A fine record at a low^er price is con-
tributed by Mme. Huguet, doubled with the Ker-
messe record described in Act II.
Quartet — Seigneur Dieu! (Saints
Above, What Lovely Gems !)
By Geraldine Farrar, Soprano; Enrico
Caruso, Tenor; Marcel Journet, Bass;
and Mme. Gilibert, Mezzo-Soprano
(In French) 95204 12-inch, $5.00
The first of the great quartet records begins
with the entrance of Martha, a susceptible matron
who is companion to the motherless girl. The
duenna is struck with astonishment at the sight of
^\», ,>|«H^^^iH
FARRAP AS M^K^;L■^:R1TE
VICTOR BOOK OF THE O P E R A — G O U N O D ' S FAUST
the jewels, and begins to question Marguerite,
when she is interrupted by Mephistopheles, who
appears with Faust; and to excuse his entrance
tells Martha that her husband is dead. This
announcement is received with cries of grief and
sympathy from the w^omen, and the impressive
pause w^hich ensues is followed by the beautiful
quartet, in w^hich Gounod expresses the various
emotions of the characters.
Mephistopheles then begins to flatter the vain
matron and pay her mock attentions, so that
Faust may have an opportunity to plead his cause
w^ithout interruption. This dialogue with the
susceptible duenna furnishes the only touch of
comedy in the opera.
Mephistopheles:
Ha]ij)y will be the man
Whom you choose for your next!
I trust he may be worthy:
Faust urges the timid girl to take his arm,
at w^hich she demurs, w^hile the crafty Tempter
continues his flattering attentions to Martha. The
second quartet bit then follow^s, closing the
record.
Quartet — Eh quoi toujours seule ?
FAUST (COVENT GARDEN. 1863) (g^^ "WHy So Loncly ? )
By Geraldine Farrar, Soprano; Enrico Caruso, Tenor; Marcel Journet,
Bass; and Mme. Gilibert, Mezzo-Soprano
(In French) 95205 12-inch, $5.00
The second part of the scene begins with the beautiful dialogue between Marguerite
and Faust. She confides to him her loneliness, and in an exquisite passage speaks of her
dead sister.
Marguerite: My mother is gone;
At the war is my brother;
One dear little sister I had,
]!ut the darling, too, is dead!
Faust is tender and sympathetic, and the im-
pressionable girl's heart turns more and more
toward the handsome stranger, who seems all
that a lover should be.
The record closes with the final quartet pas-
sage, by far the most effective bit of concerted w^rit-
ing in the opera. It is magnificently sung here,
the balance of the voices being absolutely perfect.
The recording of so complex and varied a
piece of concerted music as is contained in these
two records is a marvelous piece of work, and
one of the most amazing achievements in the
reproduction of operatic music yet heard. The
solo, duet, and quartet parts which constitute it,
the short pieces of dialogue between various
persons, not forgetting the important orchestral
interludes — ^all these are portrayed with the utmost
fidelity, making a marvelous musical picture of
one of the most interesting pages of Gounod's
charming score.
Mephistopheles has succeeded in getting rid of
Martha, who vainly looks for him in the garden, and
he now watches with satisfaction the lovers, who
are wandering among the trees in the moonUght.
113
QUAKTF.T-
ITEC ey KRELtNG
Marguerite's Surrender
VICTOR BOOK OF THE O P E R A - G O U N O D • S FAUST
The Tempter now sings the famous Incantation, in which he calls upon night and
the flowers to aid him in his diabolical plot against the soul of Marguerite.
Invocation Mephistopheles (Oh Night, Draw Thy Curtain!)
By Marcel Journet, Bass {In French) 64119 10-inch, $1.00
Stretching out his arms, he invokes the powers of Night, that its mysterious scents and
seductive charms may aid him in his work of the lovers' undoing. In this stately passage
the singer drops for a time the satirical vein of the previous quartet, and gives the invo-
cation with befitting solemnity and grandeur.
Mephistopheles :
It was high time — O night! draw around them thy curtain!
See, "neath the balmy linden. Let naught waken alarm, or misgivings ever!
Our lovers devoted approaching; 'tis well! Ye flowers, aid the enchanting charm,
Better leave them alone. Her senses to bewilder; till she knows not
With the flow'rs and the moon. Whether she be not already in Heaven!
This is the most impressive passage in the whole part of Mephistopheles, and it is mag-
nificently sung by Journet.
The lovers appear again, and Mephistopheles discreetly retires from view. The first part
of the exquisite duet then follows.
Tardi si fa ! (The Hour is Late !)
By Geraldine Farrar, Soprano, and Enrico Caruso, Tenor
(In French) 89032 12-inch, $4.00
By Giuseppina Huguet, Soprano, and Fernando de Lucia, Tenor
Piano Ace. {In Italian) 92053 12-inch, 3.00
Marguerite, finding herself alone with Faust, looks in vain for Martha, and not seeing
her, endeavors to bid fare-well to her lover.
AIarguerite; Bright and tender, lingers o'er me!
The hour is late! Farewell: To love thy beauty too!
Faust: Marguerite:
Oh, never leave me, now. I pray thee! Oh! how strange, like a spell.
Why not enjoy this lovely night a little longer? Does the evening bind me!
Let me gaze on the form before me! .And a deep languid charm
While from yonder ether blue I feel without alarm,
Look how the star of eve. With its melody enwind me.
And all my heart subdue!
The second part of the duet begins with the lovely Sempre amar, in which Marguerite
and Faust pledge their love.
Dammi ancor (Let Me Gaze on Thy Beauty)
By Alice Nielsen, Soprano, and Florencio Constantino, Tenor
TH ,^ /T-. rT.1 • X U" Italian) 74076 12-inch, $1.50
Eternelle (Forever 1 hine)
By Geraldine Farrar, Soprano, and Enrico Caruso, Tenor
{In French) 89031 12-inch, $4.00
And now the lovers plight their troth in the fateful word " Eternelle," which, with the
solemn chords in the wood wind, sounds like a true lover's sigh.
Faust, in an exquisite strain, calls on Heaven, the moon and stars to witness that his
love is true.
Marguerite:
p^^jjg^. By that tender vow that we have sworn,
^„ ' , /^ . TLT • By that secret torn from me,
O tender moon, O starry Heav n j g„treat you only in mercy to be gone!
Silent above thee where angels are enthron d. p^^gj.
Hear me swear how dearly do I love thee! Oh, fair and tender child!
(Struck witli a sudden fear, tite timid gtrl begs Angel, so holy, thou shalt control me.
Faust to depart): I obey — but at morn?
Makguerite: Marguerite {eagerly):
Ah! begone! I dare not hear! \f' =" "'°:"-Zl7 '""'"'^
Ah! how I falter! I faint with fear! Faust
Pity, and spare the heart of one so lonely! One' word at parting! Thou lov'st me?
Faust (tenderly protesting) : (She liastens toward tlie liouse. but stops at tlie
Oh, dear one, let me remain and cheer thee, door and wafts a kiss to Faust) I love thee!
Nor drive me hence with brow severe! Faust (in rapture):
Marguerite, I implore thee! Were it already morn! Now away!
115
VICTOR BOOK OF THE O P E R A — G O U N O D ' S FAUST
EUe ouvre sa fenetre (See ! She Opens the
W^indow !)
By Geraldine Farrar, Soprano, and Marcel Journet,
Bass {In French) 89040 12-inch, $4.00
Ei m'ama (He Loves Me !)
By Celestina Boninsegna, Soprano
{In Italian) 88256 12-inch, $3.00
(This is the same selection as 89040 -with the short dialogue
between Faust and Mephistopheles omitted)
Hunrying away full of thoughts of the morrow, when he
w^ill see his Marguerite again, Faust is confronted by the sneering
Mephistopheles, who bars his w^ay.
Mephistopheles {contemptuously) :
Thou dreamer!
Faust :
Thou hast overheard?
Mephistopheles:
I have — your parting with its modest vi'ord !
Go back, on the spot, to your school again!
Faust :
Let me pass!
Mephistopheles:
Not a step; you shall stay and overhear
That which she telleth the stars!
See! She opens the window!
CONSTANTINO AS FAUST
MARGUERITK LONGS Fi.iR FAUSI S RI'ITURN
Marguerite had entered the house,
but returns to the window^, looks out at
the night and stars, and pours forth her
soul in song.
Marguerite {leaning out in the moon-
light) :
He loves me! He loves me!
Repeat it again, bird that callest!
Soft wind that fallest!
He_ loves me! Ah, our world is glo-
rious.
And more than Heaven above ! The
air is balmy
With the very breath of love!
How the bows embrace and murmur!
Ah, speed, thou night, away!
One of the most original and
beautiful of the Faust melodies, this
makes a fitting termination of the ex-
quisitely beautiful Garden Scene. A
lovely melody in 9 8 time, divided
between flute and clarionet, forms the
basis of the movement, and in this
the soprano joins in short dreamy
phrases.
Her longing for the passing of
night and the return of Faust, ex-
pressed in the last ecstatic phrase, is
answered by the cry of her lover, and
Mephistopheles, who has been holding
Faust back, now releases him.
Faust {rushing to tJtc window) :
Marguerite !
Marguerite:
Ah! (she faints in his arms).
Mephistopheles (with sardonic laughter):
There! Ha, ha, ha I ha!
{The curtain slozvly falls.)
VICTOR BOOK OF THE O P E R A - G O U N O D ' S FAUST
Fantasie from Garden Scene
By Mischa Elman, Violinist (Piano ace.) 64122 10-inch, $1.00
For those who wish to enjoy some of the exquisite melodies of this act in an instru-
mental form only, the potpourri by Elman is included here.
In this record the young artist does not show us feats of execution, but brings out all
the sensuous beauty of the music which Gounod composed for this immortal scene. It is
one of the loveliest bits of violin playing imaginable.
ACT IV— The Desertion
Quando a te lieta ("When All 'Was Young)
By Louise Homer, Contralto (In kalian) 88200 12-inch, $3.00
The opening of the fourth scene shows the unhappy Marguerite seated at her spinning
wheel, brooding over the sorrows which have overtaken her young life. Siebel, her faithful
friend, enters and talks of vengeance against the absent Faust, but Marguerite defends him
and sadly goes into the house. Left alone, Siebel,
with gentle melancholy, sings this exquisite ro-
mance, beginning: if-«« J« ™? ,"!".f ^,j ^z^, T, 'Ly ". Z' «!., ,1.'^
This song has long been a favorite number with many famous contraltos, and its lovely
melody is frequently used in our churches as a setting to "Come Unto Me," and other
sacred words.
Siebel:
When all was young and pleasant May was
blooming,
I, thy poor friend, took part with thee in
play ;
Now that the cloud of Autumn dark is
glooming.
Now is for me, too, mournful the day!
The scene abruptly changes to the square in front of the cathedral, "with the house of
Marguerite shown at one side. The victorious soldiers, just returned from the war, enter,
accompanied by delighted wives and sweethearts, and sing their famous Soldiers* Chorus,
a jubilcoit inspiring number, and one of the finest marches ever composed.
Deponiam il brando (Soldiers' Chorus)
By New York Grand Opera Chorus (In French) 74214 12-inch, $1.50
By Pryor's Band (Double-faced — See page 125) 16502 10-inch, .75
By La Scala Chorus (Double-FaceJ — See page 125) (Italian) 62624 10-inch, .75
By Mountain Ash Party of Wales (In English) 5689 10-inch, .60
Hope and delight have pass'd from life away 1
We were not born with true love to trifiel
Nor born to part beeause the wind blows cold:
What tho' storm the summer garden rifle,
O Marguerite 1 Still on the bough is left a
leaf of gold!
From nitson libretto, cotiv't IBtlS.
SOLDI P:RS CHORrjS — ACT IV
117
Deposons les arines
pity to
spare,
a fo(
when the field is
^ if alone, or last?
cowards might do
VICTOR BOOK OF THE OPERA — GOUNOD'S FAUST
This number was written for a previous opera by Gounod, but was taken bodily and
added to Faust, a happy thought which added another splendid touch to a successful
w^ork.
Several renditions of this great chorus are offered, both vocal and instrumental, and a
complete translation of the words is given.
(Kui^lish) (HMli;,r,) (l-rei,ch)
The Soldiers' Chorus — Deponiam il brando-
Fold the flag, my brothers,
Fold the flag, my brothers.
Lay by the spear!
We come from the battle once more;
Our pale praying mothers.
Our wives and sisters dear,
Our loss need not deplore,
Yes! 'tis a joy for men victorious,
To the children by the fire, trembling in our
arms.
To old age of old time glorious.
To talk of war's alarms!
Glory and love to the men of old.
Their sons may copy their virtues bold.
Courage in heart and sword in hand.
Ready to fight or ready to die, for Fatherland!
Who needs bidding to dare, by a trumpet
blown ?
The unhappy Marguerite, shunned by her companions and deserted by all save the
faithful Siebel, is brooding within the cottage, fearing to meet her brother, w^ho has just
returned from the v/ar. Mephisiopheles, not content with the evil he has already wrought,
returns to taunt the maiden with her fault, and sings this insulting and literally infernal
song, each verse of which ends with a mocking laugh.
Who lacks
won ?
Who would fly from
And boast he was tru
When peril is past?
Glory and love to the men of old, etc.
Now to home again we come.
The long and fiery strife of battle over;
Rest is pleasant after toil as hard as ours
Beneath a stranger sun.
Many a maiden fair is waiting here
To greet her truant soldier lover.
And many a heart will fail and brow grow
pale,
To hear the tale of peril he has run!
Glory and lo\e to the men of old, etc.
DUEL SCENE — .\CT IV
118
VICTOR BOOK OF THE OPER A— G OUNOD'S FAUST
Serenade — Mephistopheles (Catarina, W^hile You Play at
Sleeping)
By PolPlan^on. Bass {In French) 81040 10-inch, $2.00
By Marcel Journet, Bass {In French) 74036 12-inch, 1.50
After the second verse occurs this famous passage —
Mbphisio. /
adlib.
^^^^^
Ha! hal ha! ha! ha! ha! ha! ha! ha! ha! ha! ha! ha! ha! ha! ha! ha! ha! ha!
■with its beginning on a high G and its octave jumps to the low G, concluding with a peal of
Mephistophelean laughter.
Two versions, by two famous exponents of the part of Mephistopheles, are offered
for your choice.
_ Mephistopheles:
Thou who here art soundly sleeping,
Close not thus thy heart,
Close not thus thy heart I
Caterinal wake thee! wake thee!
Caterinal wake I 'tis thy lover near!
Hearken to my love-lorn pleading;
Let thy heart be interceding,
Awake, love, and hear I
Ha, ha, ha, ha, ha! ha! ha! ha! ha! ha!
Don't come down until, my dear.
The nuptial ring a]-)]iear
On thy finger sparkling clearly —
The wedding-ring — the ring shineth clear.
Hal ha! ha! ha! etc.
Caterina ! cruel, cruel !
Cruel to deny to him who loves thee^
And for thee doth mourn and sigh—
A single kiss from thy rosy lips.
Thus to slight a faithful lover,
Who so long hath been a rover,
Too bad, I declare!
Ha, ha, ha, ha, hal
Not a single kiss, my dear,
Unless the ring appear!
Ha, ha, ha, hal etc.
Plancon's Mephistopheles was invari-
ably a finished performance — w^itty, ele-
gant, debonaire and sonorous. It is a
polished Devil that he pictured; yet mi,lb.\.\s makim'ertte —
beneath the polish we could see the liiurcu scene
copYT MisHKiH simstcF Satan ever present. In his record
SAMM.^Rco AS VALENTINE ^f ^^^^ mocHng Serenade he is at his best, and the number is sung with
the brilliancy and vocal finish to be expected of this fine artist.
Journet's impersonation has also been highly praised, and he sings the music superbly,
acting with freedom and with an elegance that exhibits the Prince of Darkness as a
gentleman, though we never lose sight of his inner nature. The famous serenade is
given with much spirit by this artist. ta t
Que voulez-vous, messieurs? (What is Your W^ill?) (Duel
Scene) ^ ^, .
By Enrico Caruso, Tenor; Antonio Scotti, Baritone; and Marcel
Journet, Bass (/n French) 95206 12-inch, $5.00
By Ellison Van Hoose, Tenor; Marcel Journet, Bass; and Emilio de
Gogorza, Baritone {In French) 74004 12-inch, 1.50
Valentine, smarting with shame of his sister's disgrace, comes from the house and ex-
claims, "What is your will with me?" Mephistopheles replies in his most mocking
voice that their "serenade" was not meant for him. *' For my sister, then I cries
Valentine in a rage, and draws his sword. The great trio then follows, leading up to a
splendid climax. j • i i
This thrilling trio forms one of the most effective scenes in the opera, and is closely
followed by the duel, in which Valentine is wounded.
119
Death of Valentine
VICTOR BOOK OF THE O P E R A — G O U N O D * S FAUST
Morte di Valentino (Death
of Valentine)
By Antonio Scotti, Baritone, and
Grand Opera Chorus
(In French) 88283 12-inch, $3.00
Leaving the wounded Valentine on
the ground, the assailants rapidly de-
part, and a crowd of soldiers and
women assemble around the dying
soldier, the chorus here crying out in
accents of pity, in w^hich Marguerite joins.
Valentine, seeing his sister, utters curses
upon her, the solemnity of the scene
enhanced by the sustained trumpet
tones in the accompaniment. The
throng endeavor to mitigate the dying
man's anger, and Marguerite begs for-
giveness, but Valentine dies with the
curse upon his lips.
This dramatic scene is vividly pic-
tured in the wonderful painting by
Kreling, reproduced on the opposite
page.
Scene de L'Eglise (I)
(Church Scene, Part I)
By Geraldine Farrar, Soprano, and
Marcel Journet, Bass
{In French) 89035 12-inch, $4.00
We no'w come to the impressive
and almost terrible scene outside the
church.
Marguerite, cursed by her dying brother, abandoned by all but the faithful Siebel, is
kneeling at a small altar. Fearing to enter, and endeavoring to seek consolation in prayer,
she supplicates Heaven to accept her repentance.
Mephistopiieles (taunting her) :
Recollect the old time, when the angel?,
caressing.
Did teach thee to pray.
Recollect how thou earnest t
MARGUERITE AT THE STIRINE
Marguerite:
Oh, Thou who on Thy throne
Giv'st an ear for repentance I
Here, before Thy feet, let me pray!
Mephistopheles (invisible) :
Nol thou shalt pray no morel
Let her know ere she prayeth.
Demons of ill, what is in store!
Chorus of Demons:
Marguerite !
Marguerite (faintly) :
Who calls me?
Demons:
Marguerite !
Marguerite (terrified) :
I falter — afraid!
Oh! save me from myself!
rTas even now the hour of torture begun!
As this terrible prophecy is heard from the invisible E"
with terror and sinks down almost fainting.
Scene de L'Eglise (II) (Church Scene, Part II)
By Geraldine Farrar, Soprano; Marcel Journet. Bass; and
Metropolitan Opera Chorus {In French) 8903 7
The unhappy girl, beside herself with terror, cries out wildly :
Ah I what sound in the gloom,
Is beneath me, around me?
Angels of wrath? is this your sentence of
cruel doom ?
121
ask for a
blessing
At the dawn of the dayl
When thy feet did fall back, and thy breath
it did falter
As thougli to a^k for aid;
Recollect thou wast then of the rite and the
altar
In thine innocence afraid!
And now lie glad and hear
Thy playmates do claim thee from bi-'Jow, to
their home!
The worm to welcome thee, the fire to warm
thee.
Wait but till thou shalt- come!
Spirit, Marguerite is overcome
12-inch, $4.00
VICTOR BOOK OF THE OPERA-GOUNOD'S FAUST
Then as tKe chorale is heard
from within the church, she endeavors
to break the encircling Satanic spell
and kneels again in prayer.
C'lroiR izvifhiii tlic church):
When the book shall be unsealed,
When the future be revealed,
What frail mortal shall not yield?
Marguerite:
And I, the frailest of the frail,
Have most need of Thy forgivenessi
Mephistopheles;
No! Let them pray, let them wcepl
But thy sin is deep, too ^deep,
To hope forgiveness! No!
Choir;
Where shall human sinner be,
How lie hid in earth and sea,
To escape eternity?
RIariiuerite (wildly) :
Ah, the hymn is around and above me,
It bindeth a cord 'round my brow!
I\lEPniSTOPHELES:
Farewell, thy friends who love thee I
And thy guardians above thee!
The past is done! the payment now!
Marguerite and Choir:
O Thou! on Thy throne, who <lost
hear me.
Let a tear of mercy fall near me,
To pity and save !
M EP III STOP HELES:
Marguerite! Mine art thou!
I\rARGUERITE : Ah!
Tormented beyond further en-
durance, the unhappy girl's reason
gives way, and w^ith a terrible cry she
falls lifeless before the church.
Words are pitiful things in de-
''"^'-"■^ scribing such a scene as this, given
as these tw^o artists render it. The conflict in the soul of Marguerite^ the taunting apos-
trophe of Mephistopheles as he strives to prevent his victim from praying, while the sombre
strains of the Dies irae issue from the church, form a musical picture w^hich cannot be
adequately described. __
THE \^ALPURGIS NIGHT
At the period of the first production of Faust, a ballet v/as an absolutely essential part
of an opera, if it w^ere to be given at the Paris Opera, though to-day it is seldom performed.
Gounod placed his ballet betw^een the death of Valentine and the Prison Scene ; called
it a Walpurgis Night, set it in a mountain fastness amid ruins, and called to the scene the
classic queens, Helen, Phr}^ne and Cleopatra, w^ho danced to weird and distorted versions of
melodies from the opera.
MARGUERITE AiNU THE TEMPTER
Ballet Music (Part I — Valse, '*Les "Nubiennes ")
58015
i= 17284
12-inch, $1.00
10-inch, .75
By L'Orchestre Symphonique, Pans
By Vessella's Italian Band
The first part, w^hich in the opera ac-
companies the dance of the Nubian Slaves,
is a most striking portion, beginning w^ith
introductory chords, follow^ed by the violins
in this delicious melody :
afterw^ard repeated with bassoon obbligato.
Ballet Music No. 2— Adagio (Cleopatra and the Golden Cup)
By L'Orchestre Symphonique, Paris 58018 12-inch. $1.00
The second part is the adagio movement accompanying the scene in w^hich the
Nubian Slaves drink from golden cups the poisons of Cleopatra, w^ho herself moistens her
lips from a vase in v^hich she has dissolved her most precious pearls.
^" * Double-faced Record— For title of opposite side see DOUBLE-FACED FAUST RECORDS, page 125.
122
VICTOR BOOK OF THE OPERA — GOUNOD'S FAUST
Ballet Music Nos. 5 and 6 (Les Troyennes et Variation)
By L'Orchestre Symphonique, Paris 58020 12-inch, $1.00
By Vessella's Italian Band *17284 10-inch, .75
These two parts are heard during the appearance of the goddess Phryne, "who rises, a
veiled apparition, and commands the dance to recommence.
Ballet Music — Finale, " Danse de Phryne "
By L'Orchestre Symphonique, Paris 58021 12-inch, $1.00
The finale is brisk in movement, rising to a wild climax and ending suddenly with
a crashing chord. It is a most effective and exciting bit of ballet composition, and accom-
panies the dance of P/irljne, who surpasses all her rivals and wins the favor of Faust, arousing
the anger and jealousy of the courtesans — Helen, Cleopatra, Aspasia and Lais — and the dance
develops into a bacchanalian frenzy, graphically pictured in Gounod's music.
ACT V
SCENE— r/ie "pTison Cell of Marguerite
The short final act of Faust is truly one of the grandest of operatic compositions,
Goethe's story giving Gounod ample opportunity for some most dramatic writing.
Marguerite's reason is gone — grief and remorse have driven her insane, and in a frenzy she
has destroyed her child. Condemned to death, she lies in prison, into which Mephistopheles
and Faust, defying bolts and bars, have entered.
"Mon coeur est penetre d'epouvante ! " (My Heart is Torn)
By Geraldine Farrar and Enrico Caruso {In French) 89033 12-inch, $4.00
Gazing at the unhappy girl, who is sleep-
ing on a pallet of straw, Faust cries :
and, as the full measure of his own guilt comes to him, continues :
P^ust: jMarguerite (aza'akiiKj) :
Oh, what anguish ! .She lies there at my feet Ah, do I hear once again, the song of time
A young and lovely being, imprisoned here gone by —
As if herself, not I, were guilty! 'Twas not the cry of the demons —
No wonder that her fright has reason ta'en 'Tis his own voice I hear!
away !
Marguerite! ilarguerite !
She forgets all but that her loved one is before her, and sings in a transport of love
;M.^rgueritf. : Faust (supporting licr tenderly):
'Ah! I love thee only! Yes, I love thee only!
Since thou cam'st to find me Let who will, now goad
No tears more shall blind me! Or mock me, or upbraid.
Take me up to Heaven, Earth will grow as Heaven.
To Heaven by thy aid! By thy beauty made!
Attends ! voici la rue (This is the Fair)
By Geraldine Farrar and Enrico Caruso (In French) 89034 12-inch, $4.00
Marguerite's mind wandering, she sings dreamily of the Fair, where first Faust appeared
to her: 'Tis the Fair!
Where I was seen by you, in ha|ipy ilay^^
gone by.
The day your eye did not dare
To meet my eye !
Marguerite now rehearses the first meeting with Faust, his respectful greetmg, and her
modest and dignified reply : . u i ■
"High born and lovely maid, forgive my hum- Every flower is incense breathing,
ble duty ^"<^ through the still evening air
Let me your willing slave, attend you home A cloud of dew, with perfume wreathing;
to day'" Hark! how the nightingale above
"No my lo'rd! not a lady am I, nor yet a To every glowing crimson rose
Ijgauty Fondly murmurs thy love!
Not a lady', not a beauty, Faust (urging her): , ,, ^ . „ ,
And do not need an arm to help me on Yes! but come! 1 hey shall not harm thee,
mv way'" Come away!
Faust (iti desfair)- There is yet lime to save thee!
Come away ■'^ if thou lov'st me! , Marguerite! Thou shalt not perish!
Marcuer.te- (d,-.a„„7y. I,er tl.ougius u. ,Uc iI«™-;7j;'^/^'';-"'l\V,-, ,et n,e die '
How my garden is fresh and fair! Farewell! My memory live to cherish'
~^ouhk.Fac<:J RecorJ-For title of opposite side see DOUBLE-FACED FAUST RECORDS, poge 125.
123
The Redemption uf Marguerite
VICTOR BOOK OF THE OPER A— G OUNOD'S FAUST
The impassioned duet then follows, Faust endeavoring to persuade her to escape ; but
the poor weak mind cannot grasp the idea of safety. The duet is interrupted by the im-
patient Mephistophelesy whose brutal "Alerte " begins the final trio.
Trio— Alerte ! ou vous etes perdus ! (Then Leave Her !)
By Farrar. Caruso and Journet (In French) 95203 12-inch, $5.00
By Victor Opera Trio (In English) 60097 10-inch, .75
By Huguet, Lara and de Luna {Doubk-faced — 5ee bdow) 62085 10-inch, .75
Mephistopheles, fearing the coming of the jailers, and uncertain of his own power, cries out :
then leave her,
stay, mine i;
Then leave he
your shame;
If it please you to
game !
Marguerite (in liorror, recognizing
One. the cause of all her woes):
Who is there! Who is there'
Dost thou see, there in the shadow:
)r remain to What does he here ! He who forbade me to
pray!
no more the Mephistopheles (to Faust) :
Let us go, ere with dawn
tlie Evil Doth justice come on;
Hark ! the horses panting in the courtyard
below.
To bear us away !
Come, ere 'tis day!
As he sings, the tramping and neighing of horses are heard in the accompaniment.
Marguerite (zvith fresh courage, defying him) :
Away, for I will pray! ((';; rapture)
Holy Angels, in Heaven bless'd
My spirit longs with thee to rest!
Faust: Come, ere 'tis too late to save thee!
The inspiring trio, perhaps the most thrilling and moving of all operatic compositions,
then commences; Marguerite continuing her prayer, Faust urging her to follow him, w^hile
Mephistopheles, in desperation, repeats his w^arning to Faust.
Mephistopheles: Marguerite:
Let us leave her! Holy angels, in Heaven bless'd,
Come away! the dawn is grey, My spirit longs with thee to rest!
Come, ere they claim thee! Great Pleaven, pardon grant, I implore thee,
Faust: For soon shall I appear before thee!
Lean on my breast. (She dies.)
O come! I'm here to save thee!
At the close of the trio, Mephistopheles is about to triumph over the soul of his victim,
when a company of angels appear and announce that Marguerite is saved. The Evil One,
dragging Faust with him, disappears in a fiery abyss.
DOUBLE-FACED AND MISCELLANEOUS FAUST RECORDS
Gems from Faust
" Kernfiesse Waltz " — " Flowe;
Scene " — " Soldiers' Chorus "
Song " — " Jewel Song" — " Garden Scene "
By Victor Opera Co. 318 79
Selection from Faust By Sousa's Band 31104
/Selection from Faust By Victor Bandl^^^^^^
1 Crown Diamonds Overture By Victor Bandj
/Flower Song By Corinne Morgan (In English)\^^^Q^
\ Drink To Me Only With Thine Eyes By Harry Macdonoughj
jAria dei gioiellt (Jewel Song)
By Huguet (In Italian)}
68160
682 75
ILa Kermesse (Kermesse Scene) By La Scala Chorus (In Italian) (
Dio possente By Francesco Cigada (In Italian)]
Favorita — Quando le soglie By Mileri and Minolfi [In Italian) I
/Alerte! ou vous etes perdus ! Huguet, Lara and De Lunat^^osS
\Le parlate d'amor (Flower Song) By Emma Zaccariaj
/Deponiam il brando (Soldiers' Chorus) By La Scala Cho\^2524
\ Don Pasquale — Sogno soaoe e casto By Acerbi, Tenor (In Italian) '
JIo voglio il piacer
Forza del Destino — Solenne in quest' ora
J Soldiers' Chorus
1 Devil's March (van Suppe)
/Waltz from Kermesse Scene
I In Happy Moments (from Maritana)
i Ballet Music "Dance of Nubian Slaves'
Ballet Music (
Dance ' ')
By Pini-Corsi and Sillich (In Italian) 1
Colazza and Caronnaj
Pryor's Bandl 502
rryor s JDana]
Pryor'sBandl 52
Jiian 1 urner\
Vessella's Band I
Dance of the Trojan Maidens" and "Mirror 17284
By Vessella 's Italian Sand]
125
12-inch.
12-inch
12-inch.
12-inch.
12-inch.
12-inch,
10-inch.
10-inch.
10-inch.
10-inch.
10-inch,
10- inch.
$1.00
1.00
1.25
1.25
1.25
1.25
.75
.75
.75
.75
.75
.75
(German) (Italian)
DIE FAVORITIN LA FAVORITA
{Dee fah-Ve-ree'-lin) {Lah Fah-voh-ree' -tah)
(English)
THE FAVORITE
OPERA IN FOUR ACTS
Text by Alphonse Royer and Gustave Waez, adapted from a drama of Baculard-
Darnaud, " Le Comte de Comminges." Music by Gaetano Donizetti. In its present form it
was first produced at the Academic, Paris, December 2, 1840. First London production Feb-
ruary 16, 1847. Produced in America July 29, 1853.
Cast
ALPHONSO XI, King of Castile Baritone
Ferdinand, a young novice of the Convent of St. James of Compostella,
afterwards an officer Tenor
Don Caspar, the King's Minister Tenor
Balthazar, Superior of the Convent of St. James Bass
Leonora DI GUSMANN, the King's favorite Soprano
Inez, her confidante Soprano
Courtiers, Guards, Monks, Attendants, etc.
Scene and Period: The action is supposed to ta^e place in Castile, about theyear 1 340.
Favorita so abounds w^ith charming airs, fine music and striking dramatic situations that
it is difficult to account for the neglect of it in America. The opera was revived, it is true,
in 1905, with Caruso, Walker, Scotti and Plan^on, but has not since been given.
How^ever, for the consolation of those w^ho admire Donizetti's beautiful v^^ork, the Victor
has collected all the best airs and several of the stirring concerted numbers, so that the
opera, given by famous artists, may be enjoyed in the comfort and seclusion of the home.
ACT I
SCENE — The Monaster;^ of St. James
The rise of the curtain discloses a Spanish cloister w^ith its secluded garden and w^eather-
stained wslW, while in the distance is a glimpse of the tiled roofs of the city. Ferdinand, a
novice in the monastery, confesses to the Prior, Balthazar, that he has seen a beautiful
w^oman and has fallen in love v/ith her. He describes his meeting v^^ith the fair one in a
lovely song, Una vergine.
Una vergine (Like An Angel)
By Florencio Constantino. Tenor (In Italian) 64090 10-inch, $1.00
The good Prior is horrified and urges him to confess and repent.
Non sai tu che d'un giusto (Kno^v'st Thou)
By Gino Martinez- Patti, Tenor, and Cesare Preve, Bass
{Double-faced— See page 130) {In Italian) 62635 10-inch, $0.75
Balthazar:
Ah, my son, my life's latest solace, Ferdinand (in rapture):
May thy innocence rescue thee still! Ves, ador'd one I this heart's dearest idol!
Thou, thou who shouldst be my successor, For thee I will break ev'ry tie!
And all my solemn duties fill. To thee all my soul I surrender —
Ferdinand: At thy dear feet content to die!
Ah, father, I love her! Forgive me! Father, I go!
Balthazar: Balthazar:
This woman, wretched one! oh, knowest thou Hence, audacious! away in madness!
Who has lur'd thee thus to shame? Fll not curse thee! no — depart!
Knowest thou her, for whom thy holiest vow If Heaven spare thee, soon in sadness,
Is forfeit? Her rank — her name? Thou'lt hither bring a broken heart!
Ferdinand: Ferdinand:
I know her not; but I love her! Ah, dear Idol I this heai't so enchaining,
Balthazar: In vain thy spell I strive to break!
Begone! too profane! Fly these cloisters To thee only my truth maintaining,
Far, far from hence! — avoid my sight. My cloister I forsake!
126
VICTOR BOOK OF THE OPERA — LA FAVORITA
The Prior's pleading fails to restore Ferdinand to his duty,
and he leaves the convent to search for the beautiful unknown.
As he goes he turns and stretches out his arms toward
Balthazar, who averts his head.
The scene changes to the Island of Leon, where Inez,
an attendant of Leonora, and a chorus of maidens are gather-
ing flow^ers. They sing a melodious chorus,
Bei raggi lucenti (Ye Beams of Gold)
By Ida Roselli, Soprano, and La Scala
Chorus [In Italian) ^62635 10-inch, $0.75
w^hich tells of the love w^hich their mistress feels for a hand-
some youth whom she has seen but once, and w^ho is now^
on his way to the Isle at Leonora s request.
Ferdinand, w^ho, shortly after his departure from the
monastery, had received a note bidding him come to the
Isle of Leon, now arrives in a boat, blindfolded, is assisted
to land by the maidens, and the bandage removed. He
gcizes around him wronderingly, and asks Inez the name of
the unknown lady w^ho has sent for him. She smilingly
refuses, and tells him only her mistress may reveal the secret.
Leonora now appears, and the maidens depart. A tender love
scene foUov/s, but the Favorite is anxious, fearing that Ferdi-
nand w^ill learn that she is the King's mistress. She show^s
him a parchment v/hich she says w^ill insure his future, and
then bids him leave her forever.
FERDINAND
Fia vero ! lasciarti ! (Fly From Thee!)
By Clotilde Esposito and Sig. Martinez-Patti ^68309 12-inch, $1.25
Ferdinand, beginning the duet, indignantly refuses, saying :
Ferdinand: Thy vows and thy love I
Fly from thee! Oh, never! No longer regret me —
'Twere madness to try Mine image remove.
From thee to sever; The rose the' she fair be,
'Twere better to die! A canker that wears,
Leonora: Can never restor'd be
Farewell! Go; forget me! By anguish or tears!
Inez enters and whispers to Leonora that the King has arrived at the villa. Leonora gives
Ferdinand the parchment and bids him again to depart, then exits hastily. Ferdinand reads
it and is delighted to find that it is a captain's commission, and declares that he will win
great honors to lay at the feet of his love.
ACT II
SCENE — Gardens of the Alcazar Palace
The King enters and admires the beauty of the palace, which he has just acquired from
the Moors by the victory of his army, led by the young captain, Ferdinand. A message comes
from Balthazar, the King's father-in-law, who is at the head of the powerful Church party,
and Alfonso is threatened with the wrath of the Church if he does not give up Leonora. In a
fine air he declares he will not submit.
Vien Leonora (Leonora, Thou Alone)
By Francesco Cigada, Baritone {In Italian) *68061 12 -inch, $1.25
Leonora enters and the King tenderly asks the cause of her melancholy. She tells him
her position is intolerable, and asks that she be allowed to leave the Court. She begins
the duet, Quando le soglie.
Quando le soglie (From My Father's Halls)
By Lina Mileri and Renzo Minolfi {In Italian) ^^=68275 12-inch, $1.25
Ah! Talto ardor (Oh, Love!)
By Margarete Matzenauer and Pasquale Amato 89062 12-inch, $4.00
Leonora recalls the circumstances connected with her departure from her father's home.
~~^ouble.FaceJ Record— For title of opposite side see DOVBLEFACED LA FA VORITA RECORDS, page 130.
127
VICTOR BOOK OF THE OPERA— LA F AV O R I TA
When from my father's halls you bore me,
A poor simple maiden, betray'd. deceived,
Alas! within these walls I hop'd, fulfilled
Would be those vows so sworn!
King {zcitli remorse): No more!
Leonora:
Silent and alone, shunned by the world,
Live I in the dark: the mistress of the King.
\'ainly glitter these jewels,
\'ainly bloom these flowers around me.
The lip may smile, but the heart is weeping!
King:
TJut tell me the cause of your grief.
Leonora:
Ah! ask not to know it.
Permit me, sir, to leave this court!
Kino:
No man can love t!ice more than I!
Leonora:
I dare not look so high as thee.
King (aside) :
Oh, love! soft love! her bosom filling,
\\'ith sweet response each fii)re thrilling,
Inspire her heart !
Leoncira {aside) :
Oh, love, alas! this bosom filling,
With secret woe each fibre thrilling!
King :
Disperse this gloom; enjoy the feasts
Spread 'round thee by my tender love!
MLLE. BAILAC
They are interrupted by the entrance of Balthazar, who brings the mandate from the
Pope. The King defies him, saying:
K 1 N r, ; T h i s 1 a dy I sha 1 1 \\' e (1 , a n d w li o u \' (.■ r
My will is sacred! On my brow 1 )oubts my right shall feel
Rtsts the ru\-al diai.leinl The anger (if a monarch!
Balthazar then begins the finale, one of the most impressive of the concerted numbers.
Ah! paventa il furor (The ^^rath of Heaven)
By Amelia Codolini, Francesco Cigada, Aristodemo Sillich and La Scala Chorus
{In Italian) =^16536 10-inch, $0.75
Still this sudden tempest
Shall not bend me nor break ine;
Calm thee, my Leonora,
Bright is thy destiny.
Balthazar (denouncing Leonora) :
All ye that hear ine
Shun the adultress;
Aecurs'd of Heaven is she!
Balthazar :
Do not call the wrath of God,
Avenging upon thee;
For it visitcth terriiily
Those who do not bow to His will.
Leonora and Chorus:
I tremble with fear
In my inmost heart,
Lest this terrible blow
Should crush my fondest herpes.
The curtain falls on a dramatic tableau, — Leonora weeping with shame, the King hesita-
ting between love and ambition, while the terrible Balthazar thunders the papal curse dow^n
upon the guilty pair. ^^^ ^^^
SCENE— v4 Room in the Palace
Ferdinand, who has won distinction in the w^ars, is received by the King, w^ho asks him
to name his own reward. The young captain asks for the hand of a noble lady to whom
he ow^es all his renow^n, and w^hen the King asks her name he points to Leonora. Alfonso
gazes at her coldly and sternly and sings his ironical air.
A tanto amor (Thou Flow'r Beloved)
By Mario Ancona, Baritone {In Italian)
By Mattia Battistini, Baritone {In Italian)
By Francesco Cicada, Baritone {In Italian)
88063
92045
*16536
12-inch, $3.00
12-inch. 3.00
10-inch, .75
Ali.
Th'iu flow'r belovM,
And in hiipe's garilen cheriKh'd,
With sighs and tears refrcsh'd,
Roth night and morn:
l-'ad'st fnmi my breast.
Thine ev'ry beauty perished,
And in thy stead alone have left a thorn!
""Double^Faced Record— For title of opposite side see DOVBLEFACED LA FA VORITA RECORDS, page 130.
128
VICTOR BOOK OF THE OPERA- LA F AV O R I TA
He consents to the marriage, however, and announcing that they must prepare to wed in
an hour, goes out with Ferdinand. Leonora, left alone, decides to sacrifice her own feeling
and renounce terdinand. She gives expression to her mingled joy and despair in a noble air :
O mio Fernando (Oh, My Ferdinand)
By Margarete Matzenauer, Mezzo-Soprano (In Italian) 88363 12-inch, $3.00
Leonora: ^\nd th„u deceive, I'll die!
Uli, my l<erdmand, were mine this earth's Oh, Death! Where art thou?
whole treasure— I call thee! I await thee!
Mine. too. each star of yon hlue heav'n : Approach! lead to the tomb.
io purchase thee one pleasure. O'er this brow pale cypress twine,
All. all at once by this fond liand were giv'u! Roses are too bright and glowing-
All should be thine, saye my poor name de- O'er this face a dark veil throwing:
graded: Tears, for smiles, be sadly flowing —
And thine should be, too, my life's latest si(.h! Deck with sable plumes the shrine:
Ah Jiut ere I give to thee a name thus Yes. I'll die. my shame avowing.
cloucled. Ere. despis'd. I will be thine!
Her resolution is no sooner taken, however, than she resolves to tell him all and throw
herself on his mercy.
She calls Inez, and bidding her seek out Ferdinand and reveal all, goes to her apartments
to prepare for the wedding. Inez prepares to obey, but on her way is arrested by the
order of the King.
The King enters with Ferdinand, to whom he gives the title of Count of Zamora. Leonora
appears and is overjoyed to see Ferdinand still looking at her lovingly, not knowing that Inez
has failed in her mission, and that he is yet ignorant of her secret.
The ceremony is performed and the pair are presented to the Court, but are met with
cold and averted looks. Ferdinand, although not aware of the cause, resents this and is about
to draw his sword when Balthazar enters and demands peace.
When he learns of the wedding he is horrified, and tells Ferdinand he has married the
King's mistress. Ferdinand is furious and denounces the King, who, seized v^^ith sudden
remorse, begins the great finale to Act III.
Orsu, Fernando (Stay! Hear Me, Ferdinand !)
By Maria Cappiello, Mezzo-Soprano; Giuseppe Acerbi, Tenor;
Francesco Cigada, Baritone (In Italian) *62659 10-inch, $0.75
Ferdinand hurls at the King's feet his badge of honor and his broken sword and leaves
the Court, followed by Balthazar. Leonora faints as the curtain falls.
ACT IV
SCENE — The Cloisters of the Monastery
The opening number in this act is the impressive Splendon piu belle, considered by many
critics to be the finest of the Favorita numbers. The scene represents the cloister at the
Convent of St. James of Compostella, illumined by the rays of the rising sun. The monks
have assembled to welcome back the prodigal Ferdinand, who, heartbroken at the falseness
of Leonora, is returning to renevy his vows. The ceremonies are conducted by Balthazar, v^ho
begins this great number.
Splendon piu belle in ciel le stelle (In Heavenly Splendor)
By Marcel Journet and Metropolitan Chorus 74273 12-in., $1.50
By Torres de Luna, Bass, and La Scala Chorus (Inltalian) *68061 12-in., 1.25
By Perello de Segurola, Bass, and La Scala Chorus (Italian) *16551 10-in., .75
Balthazar entreats him to lift his eyes from earthly things and contemplate the stars,
which typify a forgiving Heaven.
The monks now go into the chapel to prepare for the final rites, and Ferdinand, left alone,
casts a look behind him to the world he has left forever, and sings his lovely Spirto gentil.
Spirto gentil (Spirit So Fair)
By Enrico Caruso, Tenor
By Gennaro de Tura, Tenor
By Evan 'Williams, Tenor
(In Italian)
88004
12-inch,
$3.00
(In Italian)
76012
12-inch,
2.00
(In English)
74141
12-inch,
1.50
*Doubk-FaceJ RecorJ^For title of opposite sUe ste DOUBLE-FACED LA FA VORITA RECORDS, page 130.
129
VICTOR BOOK OF THE OPERA— LA F AV O R I TA
Ferdinand:
Spirit so fair, brightly descending.
Then like a dream ail sadly ending,
Hence from my heart, vision deceiving
Phantom of love, grief only leaving,
In thee delighting, all else scorning,
A father's warning, my country, my fame!
Ah, faithless dame, a passion inviting,
Fair honor blighting, branding my name,
Grief alone thou leav'st, phantom of love!
The monks now lead Ferdinand to the chapel. Leonora, who has come hither disguised
as a novice to entreat forgiveness of her lover, hears him take the final vows and despair-
ingly falls at the altar. Ferdinand comes from the chapel, and seeing a poor novice, assists
him to rise. He is at first horrified to recognize Leonora, and bids her begone, but she
pleads for mercy.
Leonora:
^\li, heavenlike, thy mercy showing.
Turn not thy Iieart away from me!
Ferdinand {iiis ioz'C returning):
From tears thy words persuasion borrow.
Like a spell their softness impart.
Those sighs, the hope of some bright morrow
Waken once more in my heart !
i^hnl'etiiously.)
I love thee!
Come, ah, come, 'tis vain restraining
Passion's torrent onward that dashes.
O'er my bosom still art thou reigning
Ar\<\ we tot:etlier will live and die!
Pietoso al par d'un "Nutne (As Merciful as God)
By Clotilde Esposito, Soprano, and Martinez-Patti, Tenor
{Double-faced — See below) (In Italian) 62659 10-inch, $0.75
Again gently reminding him of his vows, she falls from weakness and privation.
Leonora: Leonora (feebly):
No, no! 'Tis Heaven calls thee 1 Jleav'n forgive me, now I'm dying,
Ferdinand (recklessly): Ferdinand, I am happy.
Yet more power Iiath love; We shall hereafter meet no more to be parted.
Come, could I possess thee Farewell, now, farewell!
There's naught I would not brave, (She dies.)
Aye, here and hereafter!
(Curtain)
68061 12-inch, 1.25
DOUBLE-FACED AND MISCELLANEOUS FAVORITA RECORDS
fQuando le soglie (From My Father's Halls) By Lina 1
Mileri, Contralto, and Renzo Minolfi, Baritone (Italian) 1(>82T 5 12-inch, $1.25
( Faust — Dio possente (Gounod) By Francesco Cigada (In Italian)]
IFia vero! lasciarti! (Fly From Thee!) Clotilde Esposito, 1
Soprano, and Sig. Martinez-Patti, Tenor {In Italian) ^68309 12-inch, 1.25
[ Norma — In mia mano alfin tu sei Giacomelli and Martinez-Patti]
fVien Leonora (Leonora, Thou Alone) By Francesco
I Cigada, Baritone (In Italian)
iSplendon piu belle in ciel (In Heavenly Splendor) By
I Torres de Luna, Bass, and La Scala Chorus (In Italian)
f A tanto amor ( FlowV Beloved) By Cigada (In Italian)}
Ah! paventa il furore (The 'Wrath of Heaven) By 116536 10-inch, .75
[ Codolini, Cigada and Sillich (In Italian) J
fNon sai tu che d'un giusto (Kno'w'st Thou) By Gino "1
I Martinez-Patti, Tenor, and Cesare Preve, Bass (Italian)\,^^,, 10-inch
Bei raggi lucenti (Ye Beams of Gold) By Ida Roselli, '
[ Soprano, and La Scala Chorus (In Italian)
Orsu, Fernando (Stay! Hear Me, Fernando !) By Maria
Cappiello, Mezzo-Soprano : Giuseppe Acerbi, Tenor ;
Francesco Cigada, Baritone (In Italian)
Pietoso al par d'un Nume (As Merciful as God) By
Clotilde Esposito, Soprano, and Gino Martinez-Patti,
Tenor (In Italian)
iSplendon piu belle in ciel le stelle (In Heavenly Splendor)
By Perello de Segurola, Bass, and Chorus (In Italian)
Manon — Et je sais voire nom (If I Knew But Your Name)
By Mile. KjTsoff, Soprano, and Leon Beyle, Tenor (In French)
130
75
62659 10-inch, .75
16551 10-inch, .75
BEETHOVEN
(German)
FIDELIO
{ Fee-de h'-lee-oK)
or, CONJUGAL LOVE
GRAND OPERA IN TWO ACTS
Words adapted by Joseph Sonnleithner from Bouilly's Leonore, oa I'Amour Conjugal
(Leonora, or Conjugal Love). Music by Ludwig von Beethoven. First produced at the
Theatre an der Wein, Vienna, November 20, 1805, in three acts, the cast including Weinkoff,
Meier, Demmer, Milder and Rothe. A revised version was given in 1806 and a third
production in 1814. Produced in London, at the King's Theatre, May 18, 1832. In English
at Covent Garden, June 12, 1835. In Italian at Her Majesty's, May 20, 1851. In Paris at
the Theatre Lyrique, translated by Barbier and Carre, and in three acts. May 5, 1860.
First American performance in New York, September 9, 1839, with Giubilei, Manvers and
Poole. Other notable productions were in 1857, with Johannsen, Weinlich and Oehrlein ; in
1858, with Mme. Caradori and Karl Formes; in 1868, with Mme. Rotter, Habelmann and
Formes; the Damrosch production of 1884, with Mme. Brandt, Mile. Belz and Herr Koegel ;
and in 1901, with Ternina as Leonore.
Characters
Don Fernando, Minister Baritone
Don PlZARRO, Governor of the State Prison Baritone
FLORESTAN, a prisoner Tenor
Leonore, his wife, known as Fidelio Soprano
ROCCO, jailor Bass
MARZELLINE, his daughter Soprano
JAQUINO, gatekeeper Tenor
Captain of the Guard
Lieutenant Ba
Soldiers, Prisoners, People, etc.
Place : A Spanish State prison in the vicinity of Seville.
131
VICTOR BOOK OF THE OPERA — BEETHOVEN'S FIDELIO
FIRST ACT SCENE AT METROPOLITAN OPERA Hi.lUSE
Fidelio must ever be regarded -with great interest as being the only opera written by one
of the greatest composers. Originally given as Fidelio, it v*^as rewritten and condensed into
two acts by Breuning, still a third revision being made in 1814 by Treitschke. At the time
of the second production in 1806 the title w^as changed to Leonore, Beethoven ^vriting a new
overture, now know^n as Leonore No. 3. A portion of this splendid number has been played
here by Pryor's Band, w^hile the complete overture is given in three parts by the Victor
Concert Orchestra,
BEETHOVEN ( I 7711-18^7)
One of the best n
sung for the Victor by
Leonore Overture No. 3
By Victor Concert Orchestra
{Parts I and II)
35268 12-inch, $1.25
>35269 12-inch. 1.25
I By Victor Concert 1
Orchestra {Part III) \
Adagio from Fourth Symphony
(Beethoven) Vessella 's Italian B\
The action of the opera occurs in a fortress near Seville.
Don Florestan, a Spanish nobleman, has been imprisoned here for
life, and to make his fate certain his mortal enemy, Don Pizarro,
Governor of the prison, has announced his death, meanwhile
putting the unfortunate man in the lowest dungeon, where he is
expected to die by gradual starvation, thus rendering unnecessary
a resort to violent means.
umbers in the opera is this fine air in D minor, w^hich has been
Mr. Goritz.
Ha, welch ein Augenblick (Fateful Moment)
By Otto Goritz, Baritone (In German) 64165 10-inch, *1.00
In this the wicked Governor unfolds his hatred and his malignant intentions toward
Florestan.
VICTOR BOOK OF THE OPERA^BEETHO VEN'S FIDELIO
Governor:
Fateful moment! My revenge is n<
Long I've waited for this hour,
Fearful lest he should escape me!
Over my enemy 1 trivmiph;
He who would my life have taken!
Oh, fateful moment!
Ah, what a day is this!
My vengeance shall be sated,
And thou, thy doom is fated.
Once in the dust I trembled
Reneath thy conquering steel,
But fortune's wheel is turning
In torments thou art burning
The victim of my hate!
Sura (Sstthcift
CInt ^pfr In JiDtu Slufsi'radl.
(0901 Mb fiixntt Kd Art an t« 1 1 «o|itM<r'C«ft P
An extremely pleasant and agreeable person this
Spanish Governor must have been I Goritz, whose Pizarro
is one of his greatest impersonations, sings this striking
air in a highly effective manner, fairly exuding the spirit
of revenge.
Don Florestan, however, has a devoted wife who re-
fuses to beUeve the report of his death. Disguising
herself as a servant, and assuming the name of Fidelia,
she secures employment with Rocco, the head jailor.
Rocco's daughter falls in love with the supposed hand-
some youth, and he is soon in such high favor that he is
permitted to accompany /?occo on his visits to the prisoner.
Hearing that the Minister of the Interior is coming to the prison to investigate the sup-
posed death of Florestan, the Governor decides to murder him, and asks Rocco's help. Fidelio
overhears the conversation and gets Rocco to allow her to dig the grave. Just as Don Fizarro
is about to strike the fatal blow, Fidelio rushes forward, proclaims herself the wife ot the
prisoner and shields him. The Governor is astonished for a moment, but recovers himself
and is about to sacrifice both, when a flourish of trumpets announces the coming of the
Minister, and Don Pizarro is soon disgraced, while Florestan is pardoned and given back to
his faithful wife.
ORIGINAL
PROGRAM
VIENNA
REMBRAND1
SCENE FROM FIDELIO
133
THE PHANTOM S 1i I P
(German)
DER FLIEGENDE HOLLANDER
(Dehr FlitL -gen-deh Hot -lan-der)
FLYING
(English)
DUTCHMAN
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(Italian)
II Vascello Fantasma
{Eel Vass-sel-lou) Fahn-tahz' -mah)
A ROMANTIC OPERA IN THREE ACTS
Text and score by Richard Wagner. First
produced at the Royal Opera in Dresden, January
2, 1843, with a Paris production the following
year under the title of Le Vaisseau Fanlome. First
London production July 23, 1870; and in English
by Carl Rosa in 1876; first New York production,
in English, January 26, 1877; in German, March
12, 1877.
Cast
DALAND, a Norwegian sea captain Bass
SENTA, his daughter Soprano
Eric, a huntsman Tenor
Mary, Senta's nurse Contralto
Daland's Steersman Tenor
THE Dutchman Baritone
Sailors, Maidens, Hunters, etc.
ORIGINAL PROGRAM DEESUKN, I 843
Place : On the coast of Norway
VICTOR BOOK OF THE OPERA — FLYING DUTCHMAN
THE STORY
One of the most melodious of Wagner's operas, and the most popular in Germany-
to-day, Fliegende Hollander is also the one which w^as most promptly condemned by the
critics after its production. Its present vogue is a notable example of the change in musical
taste since 1843.
Wagner was led to write the Flying Dutchman after reading Heine's legend of the
unhappy mariner, who, after trying long in vain to pass the Cape of Good Hope, had
sworn that he w^ould not desist if he had to sail on the ocean to eternity. To punish his
blasphemy he is condemned to the fate of the Wandering Jew, his only hope of salvation
lying in his release through the devotion unto death of a woman; and to find such a
maiden he is allowed every seven years to go on shore.
Flying Dutchman Overture
By Pryor's Band 31787 12-incli, $1.00
The overture is a complete miniature drama, em-
bodying the events of the opera to follow. Driven by
the gale, the Phantom Ship approaches the shore, w^hile
amid the fury of the tempest is heard the theme of The
Curse :
/«,.?.-,.,/*'*
■SW/
J..'J
.^^A.;
-■.■..■ .1,,'.
J-
-../
<*.
'm
'■i-H
'm3^-'>''
AlLu
//-.
-^',i;.,:'
■ ■<•'•'!/
.r?'.,/:
iV.S.
..A.A.._
w->
.^^,.
,^
'V-^'
,^..v^.,.
THE OPERA IN
HANDWfilTINU
WAGNER ^
The storm increases and reaches its height in a ■won-
derful piece of writing. No composer ever succeeded
in portraying a raging storm with such vivid effect.
Amid a lull in the tempest, we hear the melancholy
complaint of the Dutchman from the great air in the first
act, ' ' iVie oft . . . Mein Grab, es schloss sich nicht ? "
{My grace — I find it not!) A gleam of hope appears in the Redemption theme, and a joyous
strain is heard from the sailors of Daland's ship, which is safe in the harbor.
Thus the various events of the drama are presented in miniature ; and the overture is
in fact a complete resume of the opera, summarizing the leading motifs. It is superbly
played by Mr. Pryor's fine organization. ACT T
SCENE— r/ie Coast of Norway
The curtain rises showing a rocky sea coas'
in Norway, with the ship of Daland anchored
near the shore. As the crew furl the sails,
Da/an</ goes ashore, and climbing the cliff, sees
that he is only seven miles from home, but as
he must wait for a change in the wind, bids
the crew go below and rest.
The Steersman remains on watch, and to
keep awake sings a sailor ballad :
Steersman :
Through thunder and wars of distant seas,
My maiden, come I near!
Over towering waves, with southern breeze.
My maiden am I here!
My maiden, were there no south wind,
I never could come to thee;
O fair south wind, to mc be kind!
My maiden, she longs for me!
Ho-yo-ho! Hallo-ho!
From the shores of the south, in tar-off lands,
I oft on thee have thought;
Through thunder and
strands.
A gift I thee have brought.
My maiden, praise the sweet south wind-
I bring thee a golden ring.^
O fair south wind, to me be kind!
My maiden doth spin and sing.
llo-yo-ho! Ilallo-ho!
fi-om Moorish
RENAUD AS Uir
13.5
VICTOR BOOK OF THE OPERA— FLYING DUTCHMAN
He soon rails asleep, however, and fails to see the Flying Dutchman, ^vhich now appears,
with blood-red sails and black masts, for one of her periodical visits.
W^ie oft in Meeres tiefsten Schlund (In Ocean's Deepest W^ave)
By Otto Goritz, Baritone {In German) 74230 12-inch, $1.50
The spectral crew furl the blood-red sails and drop the rusty anchor. The Dutchman
stands on the deck, and delivers his great soliloquy. He gloomily gazes at the land, and
sings his preliminary recitative ;
THE DUTCHMAN
The term is past, and once again are ended the seven lonj^ years
The weary sea casts me upon the land.
Hal haughty ocean!
A little while and thou again wilt bear me!
Though thou art changeful, unchanging is my doum!
Release, which on the land I seek fur,
Never shall I mee"^t with!
True, thou heaving ocean, am I to thL-c
Until thy latest billow shall break,
Until at last thou art no more!
An introduction in 6-8 allegro molto leads to the aria:
Dutchman :
Engulf'd in ocean's deepest wave,
Oft have I long'd to find a grave;
r>ut ah! a grave, I found it not!
I oft have blindly rushed along.
To find my death sharp rocks among;
Tiut ah! my death, I found it not.
And oft, the pirate boldly daring.
My death IVe courted from the sword.
Here, cried I, work thy deeds unsparing.
My ship with gold is richly stor'd!
Alas, the sea's rapacious son.
But sign'd the cross, and straight was gone
Nowhere a grave, no way of death!
Mine is a curse of living breath.
Thee do I pray
Bright angel sent from Heaven.
Was there a fruitless hope to mock me given,
Daland comes on deck
and is astonished to see the
strange ship. He w^akes the
Steersman and they hail the
stranger, who asks Daland to
give him shelter in his home,
offering him treasure from his
ship. On hearing that Daland
has a daughter he proposes
marriage. The simple Nor-
wegian is dazzled by such an
honor from a man apparently
so wealthy, and freely con-
sents, providing his daughter
is pleased with the stranger.
The wind changes and
Daland sails for his home, the
Dutchman promising to follow
at once.
ACT II
SCENE— /^ Room in Daland's
When thou didst tell me how to gain release?
A single hope with me remaineth,
A single hoiie still standeth fast;
When all the dead are raised again.
Destruction then I shall attain.
Ye worlds, your curse continue not!
Endless destruction be my lot!
FIRST act setting USED IN MUNICH
Home
Traft ihr das Schiff (Senta's Ballad)
By Johanna Gadski. Soprano
{In German) 88116 12-inch, $3.00
lo7
VICTOR BOOK OF THE OPERA — FLYING DUTCHMAN
Yo-ho-hoe !
Yo-ho-lioe !
■^0
The maidens are busily spinning — all but Sen/a, Da/ant^ '5 daughter, who is idly dreaming,
with her eyes fixed on the fanciful portrait of the Flying Dutchman which hangs on the wall.
The legend of the unhappy Hollander has made a strong impression on the young girl,
and he seems almost a reality to her. The maidens ridicule her, saying that her lover.
Eric, w^ill be jealous of the Dutchman. Senta rouses herself and commences the ballad,
which begins with the motive of The Curse. With growing enthusiasm she goes on,
describing the unhappy lot of the man piu unto. j^ - \m.
condemned to sail forever on the sea un-
less redeemed by the love of a w^oman.
Then with emotion she cries:
This is the theme of Redemption hy Woman's Love, and
as Senla sings the beautifully tender and melodious phrase,
she runs toward the portrait with outstretched arms, hardly
conscious of the nov^^ alarmed maidens,
Senta:
Yo-ho-hoe I Yo-ho-hoe ! Yo-Iio-!ine ! Yo-ho-boe!
Saw ye the ship on the raging deep
lilood-red the canvas, black the mast?
On board unceasing watch doth keep
The vessel's master pale and ghast!
Hui ! riow roars the wind! Yo-ho-hoe!
Hui ! How bends the mast! Yo-ho-hoe!
Hui! Like an arrow she flies
Without aim, without goal, without rest!
{She gases at the portrait zvith growing e.xcitcmc
Yet can the spectre seaman
]ie freed from the curse infernal.
Find he a woman on earth
Who'll pledge him her love eternal.
Ah: that tbc unhappy man may find her
Pray, that Hen\cn may soon
In pity grant him this boon!
Mme. Gadski, whose Senta is always a fine impersona-
tion, sings this dramatic number most expressively. The
difficult attack on the high G, w^hich occurs several times,
is beautifully taken and perfectly recorded. uauski as SE^■TA
The maidens are so alarmed at Senta's outburst of passion that they run out and call
Eric, who meets them at the door with news of the Dutchman's arrival. They run to the
shore v^^hile Eric remains and reproaches Senta. She refuses to listen and the distracted
lover runs out.
Suddenly the door opens and the Dutchman appears.
Senta is transfixed w^ith surprise as she involuntarily com-
pares the portrait with the living man. A long silence fol-
low^s- The Dutchman, his eyes fixed on the glowing face
of the maiden, advances toward her. Daland soon observes
that the others pay no attention to him, and well satisfied
with the apparent understanding betw^een the stranger and
his daughter, leaves them together.
The Hollander sees in Senta the angel of whom he had
dreamed and v^ho is to banish the curse, and she sees the
original of the portrait on vi^hich the sympathy of her
girlish and romantic heart had been lavished. The Hol-
lander asks Senta if she agrees w^ith her father's choice of a
husband. She gladly consents, and a long love duet foUow^s,
the final theme of which is "faith above all."
W^ie aus der Feme (Like a Vision)
By Otto Goritz, Baritone (In German)
74322 12-inch, $1.50
Versank ich jetzt (Do I Dream ?)
By Johanna Gadski, Soprano, and Otto Goritz,
Baritone (In German) 88370 12-inch, $3.00
Wohl konn' ich W^eibes CWotnan's Holy Duties)
By Johanna Gadski, Soprano, Otto Goritz, Baritone (German) 88371 12-inch, $3.00
138
DESTINN AS SENTA
VICTOR BOOK OF THE OPERA — FLYING DUTCHMAN
At the close of the duet, The Dutchman
and Senta rejoice at his deliverance from the
spell:
The Flying Dutchman:
A healing balm for all my sorrows
From out her plighted word doth flow.
Senta:
'Twas surely wrought l>y pow'r of magic
That I should his deliv'rer he.
The Flying Uutchman:
Hear this! Release at last is granted!
Ilear this, yc mighty:
Your jiower is now laid low!
Senta:
Here may a home at last be granted,
Here may he rest, from danger free!
What is the power within me working?
What is the task it bids me do?
Almighty, now that high Thou hast raised me.
Grant me Thy strength, that I be true!
Daland re-enters and is delighted to find
such a complete understanding between the
two. He invites the Dutchman to the fete that
evening in celebration of the safe arrival of the
Norv/egian ship. Senta repeats her vov^r unto
death, and a magnificent trio closes the act.
ACT in
SCENE— Daland's Harbor
This scene shows the ships anchored in
the bay near Daland's home. Daland's vessel
is gay w^ith lanterns, in contrast to the gloom and silence which marks the Dutchman's ship.
A gay Norwegian chorus is follow^ed by a spirited hornpipe w^ith a most peculiar rhythm.
Bits of these numbers are to be heard in the Pryor's Band records of the Overture and Fantasia.
The maidens now appear w^ith baskets of eatables, and are joyfully received by the
sailors. Having supplied the wants of their own countrymen, they approach the Dutchman's
ship and call to the sailors, but only a ghostly silence rewards them. Piqued at this neglect,
they turn their remaining baskets over to the Norw^egian sailors and return home.
Suddenly the sea around the Dutchman begins to rise, and a w^eird glow^ lights the ship.
The crew appear and begin a sepulchral chant, which causes the gay Norw^egians lo cease
singing and cross themselves in terror, and finally to go below. With mocking laughter, the
crew of the Dutchman also disappear and the ship is in darkness.
SCHUMANN-IIEINK AS MARY
Senta and Eric appear and
the strange captain, and is be-
side himself. He kneels and
begs her to have pity on him.
Suddenly the Hollander comes
upon the scene and is horror-
stricken at the tableau. Be-
lievingSen/a to be false, he cries,
"All is lost; Senta, farew^ell!"
The crew^s of both ships
appear and the tow^nsmen rush
to the scene. The Dutchman
reveals his identity and de-
clares himself cursed forever.
He springs upon his ship —
the crimson sails expand as if
by magic and the ship de-
parts, with the crew chanting
their weird refrain.
Senta, in wild exaltation,
rushes to the highest rock,
calling to the departing vessel,
a stormy scene ensues. He has heard of her engagement to
SENTA IS faithful UNTO DEATH
130
VICTOR BOOK OF THE OPERA— FLYING DUTCHMAN
"I am faithful unto death," and throws herself into the sea. The Flying Dutchman sinks be-
neath the w^ater, and rising from the wreck can be seen the forms of Senta and the Dutchman
clasped in each other's arms. The curse has been banished — true love has triumphed!
This brilliant selection contains some of the finest music of this wonderful masterpiece,
in which Wagner has portrayed the story of the Dutchman condemned to sail forever on the
stormy sea unless redeemed by the love of a woman.
Two variations of the exquisite theme representing Hedempthn by; IVoman's Love are
given. We first hear the magnificent strain played by the orchestra in Act 111 when Senta
plunges into the sea, after the Dutchman, believing her false, has sailed aw^ay; then follow^s
the theme first heard in Senta's ballad, one of the finest numbers in the opera. Then appears
the second of the two principal themes: the Flying Dutchman motive:
7>rf.
a weird melody representing the restless w^anderer. in strong contrast comes the rollick-
ing chorus of Daland's sailors, " Steersman, Leave the Watch," and the fantastic dance
which follow^s :
KM Iroppe aUtfny.
The Fantasia is brought to an effective close w^ith a portion of the great duet between
Senta and the Dutchman, leading up to a splendid climax.
MISCELLANEOUS FLYING DUTCHMAN RECORDS
/Flying Dutchman Fantasia
\ Pagliacci — Prologue
^VyTyt-Xn')^^^^^ ^^--h. n.25
FINAL SCENE OF THE
FLYING DUTCHMAN AT THE LYCEUM THEATRE, LONDON
(from an OLD print)
140
(Italian
LA FORZA DEL DESTINO
(.La Fort' -zah del Des-tee'-noh)
THE force" OF DESTINY
OPERA IN FOUR ACTS
Book byPiave; music by Giuseppe Verdi. First produced at St. Petersburg, No .-
ber 11, 1862; and in London at Her Majesty's Theatre, June 22, 1867. First New York
production February 2, 1865, with Carozzi-Zucchi, Massimilliani and Bellini.
Novem-
CHARACTERS
Marquis of Calatrava, iKai-ah-trah' .mh) Bass
Donna Leonora,] /Soprano
r-.^-, /-. . ^r ^ c his children „
DON CARLO. / iBaritone
Don ALVARO, {Abl-oah'-wh) Tenor
ABBOT OF THE FRANCISCAN FRIARS Bass
MEUTONE, a friar Baritone
CURRA, Leonora's maid
TRABUCO, muleteer, afterwards a peddler Tenor
A Spanish Military Surgeon Tenor
An ALCADE Bass
Muleteers, Spanish and Italian Peasants and Soldiers,
Friars of the Order of St. Francis, etc.
Scene and Period : Spain and Italy; about the middle of the eighteenth century.
Verdi's opera of La Forza del Destine -was never a great success ; its story, -which is
taken from a drama of the Duke of Rivas, entitled Don Alvaro o la Fuerzer del Sino, being
doleful and so crowded with horrors that not even the beautiful music could atone for the
gloomy plot. Old opera- goers well remember the last production of the opera at the
Academy in 1881, w^ith Annie Louise Gary, Campanini, Galassi and Del Puente in the cast.
The only production in America subsequent to that time was that of the Lombardi
Opera Company in San Francisco several years ago.
The overture is a most interesting and rather elaborate one.
Overture (Double-faced — See page 145)
By Arthur Pryor's Band 35215 12-inch, $1.25
/Overture, Parti La Scala Orchestra) .q„„q ,^ - ^i , _-
»/"v T^^TT Toi/-\i.i , ooUUy Iz-incri, 1.^5
[Overture, Part II La Scala OrchestraJ
It opens with a trumpet blast w^hich sufficiently foreshadows the tragic character of the
opera, this being follow^ed by an air in the minor, leading up to a striking theme which steals
in softly from the strings.
This is the beautiful subject of the Madre Pietosa, afterwards heard with such mag-
nificent effect in the opera.
Part II opens w^ith a light and pretty pastoral melody quite in the Italian vein. A
notably brilliant passage for strings brings us again to the Madre Pietosa melody, this time
delivered in a triumphant fortissimo, after which the overture works up to a truly animated
and pow^erful finale.
141
VICTOR BOOK OF THE OPERA— LA FORZA DEL DESTINO
ACT I
SCENE — Drawing Room in the House of the Marquis of CalatraOa
Don Alvaro, a noble youth from India, becomes enamored with Donna Leonora, the
daughter of the Marquis of Calatrava, who is strongly opposed to the alliance. Leonora,
knowing her father's aversion, determines to make her escape with Aloaro, aided by Curra,
her confidant.
She is in the act of eloping w^hen her father appears, and is accidentally slain by her
lover. Leonora, horror-stricken, rushes to her father, w^ho curses her with his dying breath.
ACT II
SCENE I — An Inn at Hornacuelos
The second act begins in a village inn, where Don Carlo, son of the murdered Marquis,
is disguised as a student in order to better avenge his father. Leonora, who is traveling in
male attire, arrives at the inn, and is horror-stricken at seeing her brother, who has sw^orn
to kill her lover Aloaro and herself. She flees to the convent of Hornacuelos, arriving at
night.
SCENE II — The Convent of Hornacuelos
Kneeling in the moonlight, she prays to the Virgin to protect her. This beautiful
prayer is splendidly sung here by Mme. Boninsegna, accompanied by the chorus of La Scala.
Madre, pietosa Vergine (Holy Mother, Have Mercy)
By Celestina Boninsegna. Soprano, and La Scala Chorus
{In Italian) 92031 12-inch, $3.00
The effect produced by the solo voice w^ith the background of male voices singing the
Venite in the chapel is pov/erful and thrilling, and forms one of the finest of the Victor
reproductions of Verdi's scenes.
Leonora: Leonora:
Oh, Holy A'irgin, i.) sublime song.
Have mercy on my sins! Which like incense.
Send help from Heaven Ascends heavenward.
To erase from my heart It gives faith, comfort.
That ungrateful one. And quiet to my soul.
(The friars arc heard in their morning hymn.) I will go to the holy sanctuary.
The Friars: The pious father cannot refuse to receive me.
Veniic, adorenuts et procclamus () Lord I Have mercy on me,
An te Dcum, pi ore mil s. p! or em us Ntir abandon me.
Coram Domino, coram Douiino qui fecit nos. (She rinijs the bell of the convent.)
Leonora is admitted to the convent by the Abbot, to whom she confesses. He procures
her a nun's robe and directs her to a cave, assuring her that a curse will rest upon anyone
who seeks to knovv^ her name or to enter her abode. In her gratitude she sings the second
great air.
La Vergine degli angeli (May Angels Guard Thee)
By Celestina Boninsegna, Soprano, and La Scaia Chorus
[In Italian) 91075 10-inch, $2.00
Again we have the effect of the solemn chant of the priests blending with the prayer of
Leonora.
The Friars: Leonora:
La Vergine degli Angcli Let the Holy \'irgin
Vi copra del siio manfo. Cover vou with her mantle,
E vol protegga vigile And the angels of God
Di Dio I'Angelo santo. Watch over you!
(Leonora kisses the hand of the Abbot and
goes to her rcfrenl. The monks return to
the church.)
ACT HI
SCENE— ^ Military Camp near Velletri
In Act III we are transported to Italy, where we meet Aloaro, wKo has enlisted in the
Spanish army. In a sad but beautiful air he recounts his misfortunes, and appeals to heaven
for pity.
O tu che in seno agli Angeli (Thou Heavenly One)
By Enrico Caruso, Tenor (In Italian) 88207 12-inch, $3.00
142
VICTOR BOOK OF THE OPERA-LA FORZA DEL DESTINO
Alvaro :
Life is a misery ... In vain I seek
death. . . . Seville! . . . Leonora!
.... Oh, memories! Oh, night! Thou
hast taken from me all my happiness! I
shall ever be unhappy. . . . So it is writ-
ten. . . . My father tried to make his
country free, and to wear a crown by marry-
ing the only daughter of Ineas. He was
foiled in his design. ... I was born in
prison. _. . . The desert educated me; un-
known is my royal descent! My ancestors
aspired to a throne. Alas! They were be-
headed! Oh, when will my misfortune cease?
Thou who hast ascended in heaven, all beau-
tiful and pure from mortal sins, do not for-
get to look on me, a poor sufferer, who with-
out _ hope fights eagerly for death against
destiny! Leonora, help me and have mercy
on my sufferings!
In the next scene he saves the Hfe of Don Carlo, whose wanderings in search of ven-
geance have led him to this region. Both having assumed fictitious names, they do not know
each other, and swear eternal friendship. Shortly afterward, during an engagement, Don
Alvaro, wounded, is brought in on a stretcher by his soldiers. Thinking himself dying, he
sends away the soldiers and requests that he be left alone with Don Carlo. The great duet,
the finest number in the opera, then occurs.
Solenne in quest'ora (S^vea^ in This Hour)
By Enrico Caruso, Tenor, and Antonio Scotti, Baritone
{In Italian) 89001 12-inch, $4.00
By Lambert Murphy and Reinald "Werrenrath
{In Italian) 70103
By Carlo Barrera and Giuseppe Maggi (In Italian) =^68213
By Lui^i Colazza and Ernesto Caronna (In Italian) *63174
12-inch, 1.25
12-inch, 1.25
10-inch, .75
The wounded man confides a case of letters to his friend Don Carlo to be destroyed,
making him swear that he will not look at the contents. Carlo swears, and the friends bid
each other a last farewell.
Alvaro :
My friend
my last wish.
Carlo: I swear!
Carlo: A key!
Alvaro :
Open this case
parcel
swear that you will grant
Alvaro : Look at my breast.
an
id you
I trust
find a sealed
your honor
with me
the letters.
Carlo :
So be it.
Alvaro (feebly) :
Now I die happy
vou .... farew-e
hen I am dead destroy
let nic embrace
-L Li iiM iL Lo yuui lioiioj, you .... lareweii:
It contains a mystery which must die Carlo: Put thy trust in heaven! Both: Adieu!
The Caruso and Scotti rendition of this number is considered by many to be one of the
most perfect and beautiful of all the Red Seal Records, it is certainly the most wonder-
fully lifelike reproduction of these tw^o great voices which could be imagined. The Purple
Label Record by Mr. Murphy and Mr. Werrenrath is an excellent one, exhibiting the fine
voices of these tw^o young singers to great advantage.
Just at this point it may be well to settle a controversy which has been raging ever since
the issue of this record in 1906. This argument concerns the identity of the voices in the
opening measures, and is the natural result of a remarkable similarity between Caruso's
lower register and the medium tones of Scotti's voice. The Victor Catalogue Editor now
appoints himself a court of final appeal, and declares that contrary to the usual impression
it is Caruso, not Scotti, who begins the record. Here are the opening measures just as sung
by the artists :
Don alvabo (Caeuso).
giu ■ rar -mi do - ve - te Far
mji last wish lo grant me. So
Don CABLoa (Scorn). .^zL^m-
Don Alvaeo (Cabcso).
pa - go un mio voto
do not re -fuse me.
Lo gju ro lo gill
/ swfar. I su-ca
Sul CO - re cer ■ ca - te
up • on nij- heart yon' 1/ /ind
* Double-Faced Record^ For (ilk of opposite side see the double-faced list on page 145.
U3
VICTOR BOOK OF THE OPERA— LA FORZA DEL DESTITSIO
Alvaro, however, does not die. and in the next scene his identity becomes known to
Don Carlo, who challenges him. They fight, and Alvaro, thinking he has killed his enemy,
resolves to end his days in a monastery.
ACT IV
SCENE — Same as Act II, Scene II
Five years have now elapsed and the last act reveals again the cloister of Hornacuelos,
v^rhere Alvaro, now Father Raphael, is discovered by Don Carlo, who with a persistence rival-
ing that of a Kentucky mountaineer, revives the feud and tries to force him to renew the
combat. Alvaro finally consents, and they agree to fight in a deserted spot near by. This
agreement is expressed in a fiery duet.
Invano Alvaro ! (In Vain, Alvaro !)
By Enrico Caruso, Tenor, and Pasquale Amato, Baritone
{In Italian) 89052 12-inch, $4-00
The host of Victor opera-lovers w^ho are familiar with the w^onderful duet from Act III,
by Caruso and Scotti, v/ill note with delight the issue of another famous duet from this
opera, sung by Caruso and Amato.
This great scene has been recorded in two parts. Carlo demands that Alvaro renew the
feud, but the priest refuses, saying that vengeance is with God. Don Carlo taunts him v/ith
a terrible persistence, until the monk, goaded past endurance, consents to fight to the death.
Carlos:
In vain, Alvaro,
Thou hast hid from the world,
And concealed thy coward heart
With the habit of a monkl
My hate and desire for vengeance
Have enabled me to persist
Until I have discovered your retreat!
In this lonely spot
We shall not be disturbed.
And your blood shall wipe out
The stain upon my honor;
That I swear before God!
Alvaro {rccogniziug him) :
Don Carlos! Thou livest!
Carlos;
Yes! and for long years
I have sougiit and now find thee.
By thy hand I fell.
But God restored my strength
That I may avenge thy crimes!
Here are two swords.
Thy choice now make!
Alvaro :
Leave me! By this holy habit
Thou may'st see my repentance!
Carlos {in fury) :
Coward !
Thou shalt not hide behind thy robes!
Alvaro (agitated) :
Coward ! Oh, God
Give me strength to forgive thee!
$4.00
4.00
1.25
Le minaccie, i fieri accenti (Thy Menaces W^ild !)
By Enrico Caruso, Tenor, and Pasquale Amato, Baritone
{In Italian) 89053 12-inch,
By Titta Ruffo, Baritone, and Emanuele Ischierdo, Tenor
{In Italian) 92504 12-inch,
By Carlo Barrera, Tenor, and Giuseppe Maggi, Baritone
{Double-faced— See page 145) [In Italian) 68213 12-inch,
Alvaro recovers his poise and endeavors to appeal to the reason of his enemy, shovkfing
him the futility of reopening the feud. Part II begins as follows :
Alvaro (fin)ily) :
Thy menaces wild
Be heard only by the winds,
I cannot listen!
Brother, let us submit to fate
And the will of God!
Caklos
Thou hast left mc
A sister deserted and dishonored!
Alvaro :
No! I swear it!
I adore her with a holy love.
Carlos (furiously) :
Thy cowardly pleadinps
Cannot move me to pity.
Take tby sword atid fight!
Alvaro :
Brother, Jet me kneel to thee.
(He kuceh.)
Carlos:
Ah, by such an act
Thou showest tby base origin!
i\L\'ARo (rising, unable to control himself) :
My lineage is brighter than a jewel—
Carlos (snceringly) :
A jewel flaw'd and discolored!
Alvaro {in fury) :
Thou liest!
Give me a sword. Lead on!
Carlos;
At last!
Alvaro (rccoTcring himself) :
No, Satan shall not thus triumph,
(Throws down his sword.)
Carlos:
Then coward, I brand thee with dishonor!
{Strikes him.)
Alvaro :
Oh, God, no more'
(To Don Carlos)
Defend thyself!
Both :
We both must die.
Our hatred will be appeased
And Satan will claim us for his own!
144
VICTOR BOOK OF THE OPERA— LA FORZA DEL DESTITsTO
ACT V
SCENE— ^ mid Spot Near Hornacuelos
The scene changes to the vicinity of Leonora's cave. Pale and worn, the unhappy
v^roman comes from the cave, and in another great air implores Heaven to let her die, as
she is unable to forget her lover.
Pace mio Dio (Mercy, O My Lord)
By Celestina Boninsegna, Soprano (In Italian) 9202 7 12-inch, $3.00
Leonora :
Mercy, oh Lord!
My sorrows are too great to bear.
This fata! love has been my undoing.
But still do I love him.
Nor can I blot his image from my heart;
Yet 'tis Heaven's decree that I shall see him
no more!
Oh Lord, let me die,
Since death alone can give me peace !
A storm novk^ breaks, and Leonora retires within the cave just as Alvaro and Carlo ap-
pear for the final combat. Aloaro recognizes the spot as an accursed one, but declares
that it is a fitting place for the ending of so deadly a feud.
Don Carlo falls mortally wounded, and desiring to repent his sins asks Aloaro, who is
known as Father Raphael, to confess him, but the monk- is under the curse of the cave ana
cannot. He goes to call the friar who dwells in the cave ; Leonora rushes forth, sees her
brother wounded and embraces him, but true to his vow made in Act 1 he makes a dying
effort and stabs her to the heart.
This dramatic scene has been put by Verdi into the form of a trio.
Non imprecare, umiliati (Swear Not, Be Humble)
By Ida Giacomelli. Soprano ; Gino Martinez-Patti, Tenor ; Cesare Preve,
Bass (Double-faced— See below) (In Italian) 68026 12-inch, $1.25
Don Alvaro then completes the catalogue of horrors by throwing himself from a cliff
just as the monks arrive singing the Miserere. The curtain then falls, evidently because, as
one critic has said, every member of the cast being dead, there seems to be no reasonable
excuse for keeping it up any longer !
DOUBLE-FACED FORZA DEL DESTINO RECORDS
/Overture ^Y Arthur Pryor's BandUj^ 15 i2-inch, $1.25
\ Orpheus in Hades Overture (Offenbach) By Arthur Fryor s Band)
/Overture, Part I By La Scala Orchestra] ^g^^g 12-inch. 1.25
\Overture, Part II By La Scala Orchestra)
Le minaccie, i fieri accenti (Let Your Menaces)
By Carlo Barrera, Tenor, and Giuseppe Maggi, Baritone
(In Italian)
Solenne in quest "ora (Swear in This Hour) By Carlo
^ Barrera, Tenor, and Giuseppe Maggi, Baritone (In Italian)
Non imprecare, umiliati By Ida Giacomelli, Soprano ;
Gino Martinez-Patti, Tenor; Cesare Preve. Bass
(In Italian)
Ballo in Maschera—Ah I qual soaoe brivido ( Thy Words. Like Dew)
By Ida Giacomelli, Soprano, and Gino Martinez-Patti, Tenor
(In Italian)
68213 12-inch. 1.25
68026 12-inch, 1.25
rSolenne in quest'ora (Swear in This Hour) By Luigi "1
I Colazza. Tenor, and Ernesto Caronna. Baritone {Italian} y
] Faust — lo voglio il piacer (The Pleasures of Youth) By
I G. Pini-Corsi, Tenor, and Aristodemo Sillich, Baritone (Italian
63174 10-inch, .75
FRA DIAVULU ACT III
FRA DIAVOLO
(Frah Deah'-ooh-loh)
COMIC OPERA IN THREE ACTS
Libretto by Scribe, devised from the story of Lesueur's earlier
opera, La Caverne. Music by Daniel Fran(;ois Esprit Auber. First
production at the Opera Comique, Paris, January 28, 1830.
Presented in Vienna, 1830. London, at the Drury Lane Theatre,
in English, November 3, 1 83 1 . In Italian at the Lyceum Theatre,
London, July 9, 1857. First American production at the Old
Park Theatre, New York, in English, June 20, 1833. It was not
until 1864 that it was given in Italian in New York, and this was
at the Academy of Music, with Clara Louise Kellogg. Colonel
Mapleson gave three performances of the opera at the Academy
of Music in 1885. It was recently revived at the Manhattan
Opera and afterw^ards at the Nev^^ Theatre by the Metropolitan
forces.
Characters
FRA DIAVOLO, calling himself "Marquis of San Marco" Tenor
Lord ROCBURG (Lord AUcash). an Enghsh traveler Tenor
Lady Pamela (Lady Allcash), his wife Soprano
Lorenzo, Chief of the Carabiniers Tenor
MATTEO, the innkeeper Bass
ZERLINA, his daughter Soprano
GlACOMG.i- .-„_., r Bass
o^^^^ (L-ompanions or rra Uiavolo i —
BEPPO. I ^ iTenor
The Scene : Italy, in the neighborhood of Terracina.
14G
VICTOR BOOK OF THE OPERA — FRA DIAVOLO
SANTLEY AS FRA DIAVOLO
The story of Fra Diavolo is melodramatic in the highest de-
gree. Lorenzo, in command of the Roman Dragoons, is leaving
Matteo's inn to capture Diavolo and his brigands, just as Lord
Rocburg and his wife, Pamela, who are traveling under the
names of Lord and Lady Allcash, arrive, lamenting their mis-
fortunes, having been robbed on the road. Another traveler,
calling himself Marquis of San Marco, who is no other than Fra
Diaoolo, appears soon after and is also w^elcomed by the inn-
keeper, Malteo, and his daughter, Zerlina. Lorenzo is in love
with Zerlina, but she has been promised by her father to a rich
peasant. The Marquis openly courts Lady Allcash and at the
same time manages to relieve her of her jew^els.
Giacomo and Beppo, two of Diavolo' s companions, appear on
the scene, and when all are asleep, are admitted through the
w^indow by the bandit. All three conceal themselves in Zerlina's
room, and after she has retired they proceed to again rob Lord
and Lady Allcash. Lorenzo now returns, having killed most of
the band of robbers and recovered the Englishman's property.
He expects to receive the proffered reward of
ten thousand piastres, and his hopes of winning
Zerlina seem brighter.
The soldiers arrive at the inn in time to
discover the robbery, but Diavolo covers the
retreat of his fellow-bandits by pretending to
have a rendezvous w^ith some lady, arousing the
jealousy of both the Englishman and Lorenzo,
the latter challenging him to a duel.
The last act of the opera shows the forest
where the duel is to take place. As Lorenzo
sadly watches the marriage procession of Zerlina
and the peasant Francisco approach, he recognizes
in the crowd Giacomo and Beppo. Both are
arrested by the young captain, who through
them hopes to capture the chief, Fra Diavolo.
The two brigands are forced to betray Diavolo
and lure him into a trap, w^here he is ensnared
and shot. As a fitting climax, the happy Lorenzo
wins Matteo's daughter for his bride.
Those w^ho hear these records of Auber's
melodious opera will be charmed by the bril-
liant and fluent measures, varied here and there
w^ith pretty bits of sentiment, which go hand in
hand with the romantic story of the Italian
bandit.
The Victor offers a fine record of the ^^nese
la zitella, the popular Italian melody v/hich
Diavolo sings in Act II, to w^arn his com-
panions, Beppo and Giacomo, that all is quiet
in the house and they may now carry out their scheme to again rob Lord Bocburg and
Lady Pamela.
Records of the Overture and principal selections from the opera by tw^o famous bands
are also offered, w^hile the brilliant opera aggregation has given a tuneful presentation of
some of the gems of Auber's w^ork.
COPY'T DUPONT
FARRAR AS ZERLINA
Gems from Fra Diavolo
Chorus, "Victoria" — Solo, "Over Yonder Rock Reclining" — Easter
Chorus, "Hail, Blessed Morn" — Chorus, "Bless'd Powers That Still the Good
Protect" — Solo, "Friend, Beppo, See" — Finale, "Victoria."
By the Victor Opera Company 31829 12-inch, $1.00
147
VICTOR BOOK OF THE OPERA— FRA DIAVOLO
LORD AND LADY ALLCASir
The medley
opens ■with the
chorus of greet-
ing to the sol-
diers:
Victoria! Victoria!
Joy now reigns
around.
Then comes a
bit of Zerlina 's
ballad about the
dread Fra Dia-
Volo, "On Yonder
Rock Reclining,"
followed by the
Easter Chorus.
The prayer in
Act III. "Blest
Powers That Still
the Good Pro-
tect,*'next occurs.
The remaining numbers are the boast of Diaoolo as
he sees victory for all his schemes: "The lord's gold
and his wife all are mine ! *' and the chorus of thanks-
giving at the final capture and death of the bandit,
sung to the melody of Diavolo 's air in Act I.
DIAVOLO AND ZERLINA
/Overture to Fra Diavolo
\ Marriage of Figaro Overture {Mozart)
%l7ri:-^i:^}i^^^09 12-inch. ».«
(Fra Diavolo Selection By Vessella's Italian Band]
I Daughter of the Regiment Selection (Donizetti) [35191 12-inch, 1.25
I By Vessella 's Italian Band]
fAgnese, la zitella (Agnes, Beautiful Flower) ]
I By Pietro Lara, Tenor (In Ilalian)\,„, -, ,„ . ,
Barbiere—Guarda Don Bartolo |63171 10-inch,
I By Huguet, Corsi, Pini-Corsi and Badinij
.75
ZERLINA S Ri")OM ACT II
I4S
OTO LANOE
(German)
THE Wi^il-F S ni.F.N SCENE
DER FREISCHUTZ
(Enelish)
THE FREESHOOTER
{Der Fry' -sheutz)
ROMANTIC OPERA IN THREE ACTS
Words by Friedrich Kind ; music by Carl Maria von Weber (his eighth opera) ; completed
as Die Jagarsbraut, May 13, 1820. Produced at Berlin, June 18, 1821; in Dresden, 1822; in Paris
(as Robin des Bois, with new libretto by Blaze and Sauvage, and many changes), at the Odeon,
December 7, 1824. Another new version, v^^ith accurate translation by Pacini, and recita-
tives by Berlioz, at the Academic Royale, June 7, 1841, under the title of Le Franc Archer.
In London as Der Freischuiz or The Seventh Bullet, with many ballads inserted, July 23,
1824; in Italian, as // Franco Arciero, at Covent Garden, March 16, 1850 (recitatives by
Costa) ; in German, at King's Theatre, May 9, 1832. It was revived at Astley's Theatre with
a ne'w libretto by Oxenford,
April 2, 1 866. First New York
production, in English, March
12. 1825.
Cast
Prince OTTOKAR, Duke of
Bohemia Baritone
CUNO, head ranger Bass
Max, \two young /Tenor
CASPAR,/ foresters \ Bass
KlUAN, a rich peasant . . Tenor
A Hermit Bass
ZAMIEL, the fiend huntsman
AGNES, Cuno's daughter.
Soprano
Annie, her cousin. . .Soprano
Chorus of Hunters, Peasants,
Bridesmaids, and Spirits.
Scene and Period: Bohemia,
shortly after the Seven
Years' War.
SCENE OF ACT I
149
VICTOR BOOK OF THE OPERA — DER FRETSCHUTZ
The word freischutz, probably better translated as " free marksman," means a Schiiiz or
marksman who uses charmed bullets w^hich do not depend on the aim of the shooter.
Overture to Freischutz
By Sousa's Band (Double-Faced — Seepage 15/) 35000
By La Scala Orchestra (Doable- Faced — See page 151) 62636
12-inch, $1.25
10-inch, .75
The overture presents the story of the opera in
a condensed form. An introduction with a tender
horn passage leads us into the forest. Night is fall-
ing and mysterious sounds are heard. The allegro,
representing the doubts of the good but vacillating
young hunter, begins, and the sound of the magic
bullets can be heard as they drop in the melting
pot. Next a beautiful melody, portraying love and
happiness, appears, but this in turn is succeeded by
another mood of distress. At length the triumphant
strain indicative of the final victory is sounded,
leading up to a splendid climax.
Sousa's Band has given a stirring performance
of this brilliant overture, while the rendition by La
Scala Orchestra will please those who prefer orches-
tral music.
The story of the opera is founded on a German
tradition, told among huntsmen, that w^hoever v^^ill
sell his soul to Zamiel, the Demon Hunter, may re-
ceive seven magic bullets, which w^ill alw^ays hit the
mark. For each victim whom he succeeds in secur-
ing for the Demon, his own life is extended, and he
receives a fresh supply of the charmed missiles.
CunOy head ranger to Oiial^ar, a Bohemian ''""'" """"'
^^^^ prince, has two assistants. Max and Caspar, both Caspar
excellent marksmen. Max is in love with Agnes, Cuno's daughter, who has promised to be
his bride only on condition that he proves himself the best shot at a forthcoming contest.
This contest, how^ever, is won by Kilian, a peasant. Max, in a dramatic air, bewails
his bad luck.
Durch die W^ alder (Thro* the Forest)
By Daniel Beddoe, Tenor
{In English) 74244 12-inch, $1.50
He believes he is cursed by an evil spirit which causes his hand to fail.
Max:
O, I can bear my fate no longer I
E'en liope is banished from my soul!
What unknown grief thus haunts my spirit,
And o'er me works its dark control?
Thro' the forests, thro' the meadows,
Joy was wont with me to stray,
\\'hilc my rifle, never failing,
Made each bird and beast my prey.
When at length from chase returning,
Ere home rose before my sight,
Agnes, smiling met me.
Cloth'd in beauty's heavenly light.
But now am I by Heaven forsaken
Caspar, who has already put himself in the power of Zamtel, sees here an opportunity
to extend his ov/n days of grace, and advises Max to seek the magician and secure some of
the magic bullets.
Neou, qu il ne m'echappe pas (Caspar's Air)
By Marcel Journet, Bass {In French) 64236 10-inch, $1.00
He finally induces Max to meet him in the Wolf's Glen in order to receive the magic
bullets, which he declares w^ill always hit the mark. Max departs and Caspar gives vent to
a fierce joy in this florid and dramatic number.
In the meantime Agnes is anxiously aw^aiting her lover and is much alarmed at his
non-appearance. Annie, her cousin, endeavors to cheer her by singing a gay air.
150
VICTOR BOOK OF THE OPERA — DER FREISCHUTZ
THE CASTING
Annie's Air, "Comes
a Gallant Youth "
By Marie A. Michailowa,
Soprano iln Russian)
61134 10-inch, $1.00
SKe describes playfully
the attitude a shy maiden
should assume when the right
young man happens along.
Annie:
Comes a gallant youth towards
me.
Be he golden hair'd or dark,
Eyes that flash as he regards
me.
Him my captive I will mark'.
Eyes bent down to earth for
shyness,
As befits a modest maid,
With a stolen look of slyness
Yet may cv'ry thing he said!
And if swift emotion rushes.
Shot from answ'ring lip and eye.
Nothing worse than maiden blushes
Need the i;^^allant stranger spy !
: begs Agnes to retire, but the young girl says she will wait for her lover. Left alone,
, she draw^s the curtains aside, revealing a starlight
^^~>*- night. She exclaims at the beauty of the night, and
folding her hands in prayer, she prays for the safety
Is. of her lover, and asks Heaven to watch over them both.
Preghiera (Agatha's Prayer)
By Emilia Corsi * 62636 10-inch, $0.75
Max arrives, followed by Annie, but seems em-
barrassed and says he must go to bring in a stag he
has shot near the Wolf's Glen. Agnes begs him not
to go near that haunted spot, but he disregards her
w^arning and goes out.
The scene changes to the Wolf's Glen, where
Max meets Caspar, and the magic bullets are cast
amid scenes of horror, while the demon Zamiel hovers
near awaiting his prey. Max is returning with his
prize when he meets the Prince, who asks him to
shoot a dove. The hunter complies, just missing
Agnes, who has come to the wood in search of her
over. Caspar is wounded by the very bullet which
he had intended should slay Agnes at the hands of
Max. Zamiel carries off his victim, while Max is
forgiven and all ends happily.
AND ANNA
DOUBLE-FACED FREISCHUTZ RECORDS
/Overture to Freischiitz By Sousa's Band! g^^pQ
1 Carmen Selection By Sousa's Band\
/Overture to Freischiitz By La Scala Orchestra\^2e,36
\Preghiera (Agatha's Prayer) Emilia Corsi, Soprano (Ilalian)f
/I. Prayer from Freischutz 2. Greeting Victor Brass Qt.\j^g2o
i Venetian Love Song (Canzone Amorosa) Victor Orchestral
12-inch, $1.25
10- inch,
10-inch,
.75
75
* Douhle-Faced Record-
-For litle of opposite side see ahoce list.
151
^'*"'^'= THE BATTLEFIELD OF LEll'ZHi ACT III
(CARUSO, DESTIXN AND AMATu)
(Italian)
GERMANIA
{Jaer-mah' -nee-ah)
A Lyric Drama in a Prologue, Two Scenes and Epilogue
Text by Luigi Illica. Music by Alberto Franchetti. First production at Milan in 1902.
First American production, New York, January 22, 191 0, with Caruso, Destinn and Amato.
Cast of Characters
Giovanni Filippo Palm Bass
FEDERICO LCEWEI [ Tenor
Carlo Worms Students Baritone
CRISOGONO J I Baritone
RiCKE Soprano
Jane, her sister Mezzo-Soprano
LENE ARMUTH, an aged beggar-woman Mezzo-Soprano
JEBBEL, her nephew Soprano
STAPPS, Protestant Priest Bass
LUIGI ADOLFO GUGLIELMO LUTZOW Bass
CARLO TEODORO KORNER Tenor
SIGNORA HEDVIGE Mezzo-Soprano
Peters, a herdsman Bass
Chief of German Pohce Bass
Historical Personages, Students, Soldiers, Police Officers, Members and
Associates of the "Tugendbund," "Louise-Bund"
and " Black ICnights " ; Forest Girls.
Time: 1813.
The opera is the work of an Italian nobleman, who, although a very wealthy man, is
ambitious and makes the writing of operas his hobby. Germania is a picturesque and in-
teresting opera, full of local color, describing the Germany of the time of Napoleon, with its
many conspiracies ; and for this the Baron has w^ritten much effective and agreeable music.
The action takes place in 1813, at the time of the battle of Leipzig.
152
VICTOR BOOK OF THE OPERA — F RANG H ETT I ' S GERMANIA
PROLOGUE
SCENE — An Abandoned Mill near Nuremberg
A company of students, under the leadership of Giovanni Palm, have occupied an old
mill, and are shipping sacks of grain, which really contain political documents intended to
rouse the people to revolt. Prominent among the students is Worms, vyho previously had
a love affair with Rick.^, a young girl w^ho is now betrothed to Loewe, the poet and warm
friend of IVorms. LoeWe is expected to arrive at any moment, and Ricl^e dreads his coming,
as she has made up her mind to tell him her guilty secret. Worms, however, divines her
purpose and bids her keep silent, as in the duel w^hich w^as sure to occur Loewe would
likely be the one to die.
Loewe arrives and is joyfully greeted by the conspirators. He encourages them to fresh
efforts in his noble aria.
Student!, udite ! (Students, Hear Me !)
By Enrico Caruso, Tenor {In Italian) 87053 10-inch, $2.00
Caruso delivers this inspiring number vi'ith splendid effect, show^ing w^ell the beauty and
power of his marvelous voice.
The enthusiasm w^hich follows Loewe's
great address is rudely interrupted by the
arrival of the police, v/ho seize Palm and
take him aw^ay to his death.
ACT I
SCENE— .4 Collage in Ihe Black Forest
Seven years have elapsed. Hither
Loerve has come after the disastrous cam-
paign of 1806, which followed the plotting
in the old mill. He lives in this hut with
his aged mother and the two girls, Ricke
and her sister Jane. Worms has disap-
peared and is supposed to be dead.
Loewe is about to be married to
R.icke, and the bridesmaids now arrive to
deck the cottage with flowers. Ricke, think-
ing of her past, is melancholy, but the
marriage ceremony is performed and the
bride and bridegroom are left alone.
Federico clasps her in his arms and sings
his beautiful air to the eyes of his bride.
Non chiuder gli occhi vaghi
(Close Not Those
Dreamy Eyes)
By Enrico Caruso, Tenor
(In Ilalian) 87054 10-inch. $2.00
Forgetting the past, Ricke yields herself to the joy of the moment and tenderly kisses
him, when suddenly from the forest is heard a familiar voice singing an old student song.
" Worms!" joyfully cries Federico, and runs out to meet his old friend, who is wasted and
battle-scarred. i i r l j j
Worms in a dramatic aria, tells his friend how he has literally come back from tfie dead.
He relates his thrilling escape from prison, his delight in his new-found liberty, and his
earnest desire for vengeance.
Ferito, prigionier (A Wounded Prisoner) ,..,„„
By Pasquale Amato, Baritone {In kalian) 88437 12-mch, $3.00
Amato, who was the original Worms in America, sings this great air with splendid effect.
Worms is astonished to see Ricke, who has been listening half hidden behind the folds of
a curtain. She looks coldly at him and he uneasily says he must be on his way. tederico
153
CARUSO AS FEDERICO
VICTOR BOOK OF THE OPERA— FRANCHETTTS GERMANIA
protests, but Worms insists and departs.
Ric\e, overcome by this reminder of her
past misfortune, resolves to leave her hus-
band, and writes him a note and flees into
the forest. Federico returns, reads the
note, and "wrongfully concludes that she
has fled with Worms.
ACT II
SCENE — A Cellar in Konigsberg
In this underground retreat Worms is
again plotting against Napoleon. A meeting
of the Council is in progress, w^hen Federico
appears and demands that Worms shall
fight with him to the death, but Worms,
kneeling, asks Federico to kill him. Federico
replies v/ith a violent blow in the face, at
which Worms decides to fight him, and
preparations for the duel are begun. They
are interrupted by the entrance of C^ueen
Louise, w^ho suggests that such brave men
had better be using their swords for their
country. Fired v/ith enthusiasm, the
enemies embrace each other and swear to
die for Germany.
EPILOGUE
SCENE— rAe Battlefield of Leipzig
The awful three days* conflict is over
and the field is a mass of ruins, battered wheels and dead and wounded men. Ricke
searches for the body of Federico that she may look upon his face once more. She finds
him dying, but he recognizes her, and telling her that the body of Worms is nearby, asks
her to forgive him as he himself has done. Ricl^e looks on the face of the man w^ho had
ruined her life and forgives him.
She returns to her husband and w^hen he dies in her arms w^aits beside his body for
her ov/n death, v/hich she feels approaching. As the sun sets the defeated Napoleon w^ith
the shattered remains of his army is seen retreating.
FLAYING HIS SCURE TU D ANNUNZIO
CELLAR SCENE — ACT III
154
(Italian)
LA GIOCONDA
(La/i Joh-kon'-dah)
OPERA IN FOUR ACTS
Libretto by Arrigo Boito ; music by Amilcare Ponchielli. It is an adaptation of Victor
Hugo's drama, "Angelo," and was first presented at La Scala, Milan, April 8, 1876. First
London production in the summer of 1883. First New York
production December 20, 1883, with Christine Nilsson,
Scalchi, Fursch-Madi, del Puente and Novara.
Characters
La GIOCONDA, a ballad singer Soprano
La CIECA, {See-ay^ -kah) her blind mother Contralto
ALVISE, {Al-vec -zcni) one of the heads of State Inquisition . . Bass
Laura, his wife Mezzo-Soprano
ENZO GRIMALDO, a Genoese noble Tenor
BARNABA, a spy of the Inquisition Baritone
ZUANE, a boatman Bass
ISEPO, public letter- writer Tenor
A Pilot Bass
Monks, Senators, Sailors, Shipwrights, Ladies,
Gentlemen, Populace, Masquers, etc.
The action takes place in Venice, in the seventeenth century.
_. ,. rnr iri TROGRAM OF first performance
Gioconda is a work or great beauty, full of wonderful (milan. 1876)
arias, duets and ensembles, "with fine choral effects, and a
magnificent ballet. The book is founded on Hugo's "Tyrant of Padua," and tells a most
dramatic story, which, how^ever, cannot be called inviting, as the librettist has crowded
into it nearly all the crimes he could think of !
But the average audience does not concern itself much
with these horrors, being engaged in listening to the beautiful
music, and admiring the splendid scenes and colorful action.
Therefore the story v^^ill be but briefly sketched here.
ACT I
SCENE — Street near the Adriatic Shore, Venice
Gioconila, a ballad singer who is in love with Enzo, a Gen-
oese noble and captain of a ship now in the harbor, supports
her blind mother. La Cieca, by singing in the streets of Venice.
She has attracted the attention of ISarnaba, an influential police
spy, and he plans to gain her affections.
This is the situation at the rise of the curtain. The stage is
filled with people, peasants, sailors, masquers, all in holiday at-
tire. Barnaba is leaning against a pillar, watching the gay scene.
The chorus sing their opening number, Sports and Feasting.
Feste ! pane ! (Sports and Feasting !)
By La Scala Chorus (/n/(a/ion) *45010 10-inch. $1.00
At the close of this number, Barnaba advances and an-
nounces the commencement of the Regatta. All hasten to the
shore, while Barnaba remains to soliloquize on his plot to secure
the lovely Gioconda. Gioconda enters, leading her mother. La
Cieca, by the hand, and Barnaba hastily hides behind a column
to watch them. La Cieca sings a beautiful air, blessing her
daughter for her tender care, and this leads to a trio.
* DouMe-Faced Record— For lille of opposilc >ije sec DOUBLE-FACED LA GIOCONDA RECORDS, page 161.
MUSICAL AMERICA
DESTINN AS GIOCONDA
VICTOR BOOK OF THE OPERA— LA GIOCONDA
Figlia che reggi tremulo pie (Daughter, My Faltering Steps)
By A. Rossi Murino, Soprano; Lopez Nunes, Soprano;
(In Italian) *55017 12-inch, $1.50
GiocoNDA (.tenderly) :
Place tliy dear hand once more in mine
Thy steps I'm safely guiding;
Here recommence thy d,ii!y life,
In calm contentment gliding.
Barnara (aside) :
With fiercest joy my heart would be enrap-
tured
If in my net she were securely captured!
Tlie wildest ecstasies within me waken !
lleware thee, moth, if in my net thou'rt taken!
Ernesto Badini, Baritone
La Cifxa:
Daughter, in thee my faltering steps
Find guidance and protection;
I gratefully hless my loss of sight,
That heightens thy affection!
While thou unto mankind thy songs are sing-
ing,
To Heav'n my ceaseless pray'rs their fiiglit are
winging.
For thee I pray and remier thanks to Fate
That left me sightless. — l.mt not desolate!
Gioconda leaves to seek
Enzo, but Sarnaba stops her
and boldly declares that he
loves her. She shudders with
an instinctive aversion, and
bids him stand aside. He at-
tempts to seize her, but she
eludes him and makes her
escape, leaving the spy furious
and planning revenge.
The people now return
from the Regatta, bearing the
victor on their shoulders.
Barnaha, seeing the defeated
combatant, Zuane, conceives
a plan to deprive Gioconda of
her mother, thus leaving him
free to carry out his plans.
He takes Zuane aside and tells
him that the blind La Cieca is a witch who has cast a spell over him, causing his defeat.
The old woman is being roughly handled by Zuane and his friends when Enzo suddenly
appears and protects her, holding the mob at bay.
Aloise, Chief of the Council, enters with his wife Laura, formerly betrothed to Enzo.
Laura pleads for Cieca, and she is protected by Aloise. The blind woman voices her grati-
tude in this lovely song, which is familiar to most concert-goers.
Voce di donna (Angelic Voice)
By Louise Homer, Contralto {In Italian) 85104 12-inch, $3.00
Although the part of the blind mother, La Cieca, has never been
sung by Mme. Homer, she being usually cast for Laura (the superb
lady of Venice and rival of Gioconda), this beautiful air has always
appealed to her. It is considered the finest single number in
Ponchielli's work, and is undoubtedly one of the loveliest gems in
this or any other opera.
Certain it is that no Cieca of present memory has ever delivered
this romance with such richness of voice and such touching pathos.
This beautiful passage —
HOMER AS LAURA
* Double-Faced Record—
which is sung as La Cieca presents the rosary, is perhaps the most
effective part of the aria.
Mme. Homer's singing of this Voce di donna makes this record
one of the gems of the Victor's fine production of La Qioconda, and it
should form part of every opera collection.
-For title of opposite side see DOUBLE-FACED LA GIOCONDA RECORDS, page I6f-
VICTOR BOOK OF THE OPERA — LA GIOCONDA
La Cieca:
Thanks unto thee, angelic voice.
My fetters asunder are broken;
I cannot see the face of 'her
By whom those words were spoken.
{Takes the rosary from her belt.)
This rosary I olTer thee — no richer boon pos-
sessing —
Deign to accept the humble gift, 'twill bring
to thee a blessing.
And on thy head may bliss descend; I'll ever
pray for thee I
All go Into the church except Enzo, who stands gazing after Laura, having recognized
his former love. Bamaba approaches him and tells him that Lama plans to visit the Genoese
noble's ship that night. Er\zo, whose love for Laura has revived at the sight of her, is
delighted at this news, and forgetting Gioconda, he returns to his ship.
This scene has been put by Verdi into the form of a dramatic duet, sung here by Conti
and Badini, of the La Scala forces.
Enzo Grimaldo (Duet Enzo and Barnaba)
By F. Conti, Tenor, and E. Badini, Baritone (/n Italian) *45033 10-inch, $1.00
Barnaba (approaching Enzo) :
Enzo Grimaldo,
Prince of Santa Fior, thou art pensive.
Enzo (aside) :
I am discovered!
Barnaba:
What magic stupor steals away thy senses?
'Tis of the Lady Laura, Alvise's wife, thou'rt
thinking.
Enzo (astoiiislted) :
Who art thou?
Barnaba (i)}tpressirely) ;
I know all;
Can penetrate thy thoughts, however secret.
Thy birthplace was Genoa!
Enzo:
Prince I am not, but sailor. Yonder's my
ship.
I am Dalmatian, Enzo Giordan.
Barnaba:
For others, but not for me. Pi-oscribed thou
wert by \'enice,
Yet hither thou art led, by chainless imjiulse.
Thy life to peril. Thou didst love a maiden
Yonder, in thine own Genoa, but she another's
bride became.
CARUSO as enzo
(Opens his dress and shozas the letters "C. X."
{Council of Ten) embroidered in silver on
his icst.)
Enzo (starting back) :
Oh, horror!
Barnaba (fiercely) :
To thy doom at once I could bring thee, but
I spare thee,
Gioconda loves thee, hates me fiercely;
I have sworn to crush her heart.
Enzo's death would little serve me;
She must learn how false thou art.
Enzo (aside) :
Kind Heaven, to her thy mercy show,
Save her from grief and pain;
But ah, sweet Laura, my adored,
Bring to my arms again!
Barnaba (to Enzo) :
Go! not a moment lose.
Spread thy white sails to the skies,
(Aside)
I can my triumph read
In each glad glance of thine eyes!
Enzo (going) :
When the dark night falls.
On board my ship I shall await my Laura.
Barnaba (sneeringly) :
Good luck attend you!
(Exit.)
'^D^hle.FaceJRecorJ-Fortiile of opposite side sec DOUBLE-FACED LA GIOCONDA RECORDS, page /6L
157
Enzo:
I have pledged my faith to Gioconda.
Barnaba:
Poor wand'ring ballad-singer!
Her thou dost love as sister, but Laura as thy
mistress.
Thou hadst all hope abandoned, dreamed not
to see her features.
But here, under her velvet mask, thy beau-
teous angel saw thee
And recognized thee.
Enzo (joyfully) :
Oh, happiness!
Barnaba:
Love sees through disguises.
All this night will her husband stay at the
Doge's palace.
With the Great Council. Laura shall be on
board thy vessel.
Love's sweetest consolations await thee!
Enzo:
Ah, with what joy my heart is filled,
Fortune at last is kind!
But who art thou, oh, gloomy messenger of
joy?
Barnaba:
I hate thee! I am the demon-in-chief
Of the Council of Ten. Read this. Beware
thee!
VICTOR BOOK OF THE OPERA^LA GIOCONDA
Barnaba then "writes to Alvise that his wife plans to elope with Enzo. He speaks the
words aloud as he writes, and is heard by Gioconda, who is overcome at this evidence of her
lover's faithlessness, and heartbroken, enters the church with her mother. Barnaba sings
the famous Soliloquy to the Doge's Palace, given here in splendid style by Ruffo.
Oh Monumento! (Oh, Mighty Monument)
By Titta Ruffo. Baritone {In Italian) 88396 12-inch, $3.00
The act closes with a famous dance, the Furlana, played here by the famous Orchestra
Sinfonica of La Scala.
Furlana (Finale, Act I)
By Italian Orchestra *45033 10-inch, $1.00
ACT II
SCENE — A Lagoon near Venice — // is night. Enzo's ship is shown at anchor,
with sailors grouped on deck, resting
Barnaba, disguised as a fisherman, appears in his boat, hails the sailors, and singe them
a merry ballad. Ah, pescator!
Ah, pescator affonda Tesca (Fisher Boy, Thy Bait Be Thro^ving!)
By Titta Ruffo, Baritone (In Italian) 88394 12-inch, $3.00
By Pasquale Amato and Opera Chorus {In Italian) 87093 10-inch^ 2.00
By Ernesto Badini, Baritone, and Chorus {In Italian) *45010 10-inch, 1.00
This is one of the most
popular numbers in the opera,
its beautiful melody and
rhythmical sw^ing being a w^el-
come relief in the midst of so
much that is gloomy.
After taking careful note
of the strength of the crew^,
Barnaba sends his aide for the
police galleys and leaves in
his boat.
Enzo now appears, and is
greeted by his men w^ith en-
thusiasm. He is in a gay hu-
mor, thinking of Laura's ex-
pected visit, and bids the
sailors go below w^hile he
keeps the watch.
Left alone, he gives ex-
pression to his joy in this great
aria, one of the most beautiful
in the whole range of opera,
lavish outpouring of voice.
Cielo e mar (Heaven and Ocean)
By Enrico Caruso, Tenor (In Italian) 88246 12-inch, $3.00
By Florencio Constantino, Tenor {In Italian) 64070 10-inch, 1.00
By Franco de Gregorio, Tenor (In Italian) '''45027 10-inch, 1.00
Especially noticeable
is this fine passage —
w^hich the tenor delivers in splendid style, fairly thrilling his hearers.
Other fine records of this effective number, by Constantino and de Gregorio, are also
offered.
* Double-Faced Record— For title of opposite side see DOUBLE-FACED LA GIOCONDA RECORDS, page 161,
158
Caruso sings the number with exquisite purity of tone and a
VICTOR BOOK OF THE OPERA— LA GIOCONDA
En 20 :
llfaven and ocean! yon ethereal veil
Is radiant as a holy altar.
My angel, will she come from heaven?
My angel, will she come o'er ocean?
Here 1 await her, I breathe with rapture
The soft zephyrs fill'd with love.
Mortals oft, when fondly sighing,
Find ye a torment, O golden, golden dreams.
Come then, dearest, here I'm waiting;
Wildly panting is my heart.
Come then, dearest 1 oh come, my dearest!
Oh come, taste the kisses that magic bliss
impart 1
Oh come! Oh come! Oh come!
Laura now appears, and after a rapturous embrace, the lovers
plan to set sail when the w^ind rises. Enzo goes below^ to rouse the
men, when Gioconda, disguised, enters and denounces Laura.
They sing a splendid dramatic duet in w^hich each declares
her love for Enzo and defies the other.
L'atno come il fulgor del creato ! (I Adore Him !)
By Elena Ruszcowska, Soprano, and Bianca
Lavin de Casas, Mezzo-Soprano
[In Italian) 88271 12-inch, $3,00
Gioconda is about to stab her rival, v/hen the sight of a rosary
worn by her intended victim causes her to repent, and she aids
Laura to escape just as her husband, summoned by Barnaba is ap-
copYT MisHKiN preaching.
CONSTANTINO AS ENZO Enzo appcaTS and is greeted w^ith reproaches by Gioconda, w^ho
tells him that the war galleys, led by Barnaba, are coming to capture the ship. Enzo, stung
by Gioconda' s scorn, and heartbroken at the loss of Laura, fires his ship to prevent it falling
into the hands of Barnaba.
ACT III
SCENE— ^ Room in the Palace of Alvise. Night
Alvise is discovered alone, in violent agitation, planning the death of Laura because of
her attempted elopement with Enzo.
He sings a dramatic air, picturing his fearful revenge.
Si ! morir ella de' ! (To Die is Her Doom !)
By Amleto Galli, Bass
Alvise (in violent agitation) :
Yes, to die is her doom! My name, my honor,
Shall not with impunity be disgraced.
From Badoers, when betrayed,
Pity 't were vain to hope.
Though yesterday upon the fatal isle
She 'scaped this vengeful hand,
She shall not escape a fearful expiation.
Last night a sharp poniard should have
pierced her bosom;
This night no poniard I'll use; she dies by
poison!
( Pointing to the adjoining room.')
While there the dancers sing and laugh.
In giddy movements flying,
Their mirthful tones shall blend with groans,
{In Italian) =*=55019 12-inch. $1.50
Breath'd by a sinner dying.
Shades of my honored forefathers!
Soon shall your blushes disappear;
Soon shall a deadly vengeance prove
Honor to me is dear.
While dance the giddy crowd,
In mirthful movements flying.
Here shall be heard the bitter groans.
The sinner breathes in dying.
Yonder, the nobles of the nation
Are gathered at my invitation;
Here, an insulted husband
For signal vengeance cries!
Exult, in dances and in songs,
While here a faithless one dies!
He orders
The guilty woman now enters at his summons and is denounced by him.
her to take poison, and leaves her. She is about to obey, when Gioconda, who has been
concealed in the room, appears, takes the poison from her and gives her a narcotic, which
will produce a death-like trance. Laura drinks this and Gioconda exits just as ^/t;/se appears.
Seeing the empty phial on the table he believes Laura has obeyed his will.
The second scene shows a magnificent hall in the palace, where Alvise is givmg a
masked ball. The famous Dance of the Hours is given for the entertainment of the guests.
* Double^Faced Record— For title of opposite side see DOUBLE-FACED LA GIOCONDA RECORDS, page 161.
VICTOR BOOK OF THE OPERA — LA GIOCONDA
12-mch, $1.25
12-inch, 1.25
12-inch. 1.00
10-inch, .75
Dance of the Hours
By Victor Herbert's Orch. 70070
By Victor Orchestra *35087
By Victor Orchestra 31443
By Wm. H. Reitz {Xylophone) *17147
This is one of the most beautiful of ballets and symbolizes,
like many other modern kalian ballets, the struggle between the
conflicting powers of light and darkness, progress and ignorance.
The music is fascinating in the extreme, and is one of the most
popular parts of the opera.
Enzo is present among the maskers, and when Sarnaha w^his-
pers in his ear that Laura is dead, he unmasks and denounces Alcise,
who causes his arrest. The great finale begins with Enzo's solo:
Gia ti vedo (I Behold Thee)
By Lotti, de Gregorio, Badini and Chorus
[In Italian) ^^55019 12-inch, $1.50
The emotions of the various characters may be understood
by the quotations below.
Enzo (aside) :
I behold thee motionless, pallid,
.Shrouded in thy snowy veil I
Thou art dead, love! thou art dead, love!
Ah, my darling, hopeless I wail.
Tiic sharp axe for nic is waiting.
Opens wide a dark abyss;
But to thee shall torture guide me.
Soon we'll share celestial bliss!
Gioconda:
Sadly fall the tear-drops.
In the silence of despair;
]lreak, oh heart! sad eyes, rain torrents!
I''ate, thy sharpest doom prepare !
Barnaba (aside fo Gioconda):
Yield thee, yield thee! all around thee
See what pow'r I have for ill!
Gioconda {aside fo Barnaba) :
Do thou save him, bring him safe out there.
Close by the Redentor, and then
Myself I win surrender
To thee, fearfulest of men.
Barnaba {to Gioconda) :
Though despair may prompt thy offer,
I accept it for my part.
And tlie bitterest fate will welcome.
Once to press thee to this heart.
ANCONA AS BARNABA
La Cieca:
Thou art weeping, O Gioconda,
Let me fold thee to my breast.
Never love, like love maternal.
Can encounter every test.
Alvise:
'Mid the splendor this fete surrounding,
Thou art unwelcome, cavalier;
But, ere long, new scenes of horror
Shall from thee attention claim.
Thou shalt soon see if I am watchful
Of the honor of my name!
To complete his revenge,
Alcise now draws aside a cur-
tain and show^s the guests the
body of Laura, acknowledging
that he took her Ufa. Horror
and indignation are expressed
by those present, and Enzo
attempts to kill Alvise. He
fails, is seized by the guards,
and is led aw^ay to prison as
the curtain falls.
ACT IV
SCENE — A ruined palace on an
island in the Adriatic. Venice
visible in the distance
To this desolate island
Gioconda has managed to bring
the unconscious Laura, in an
THE RUINED TALACE— ACT IV cndcavor to savc hcr. As the
* Double^FaceJ Record— For tUk of opposite side see DOUBLE-FACED LA GIOCONDA RECORDS page 161.
IGO
VICTOR BO OK OF THE OPERA^LA GIOCONDA
curtain uses two men are carrying tKe insensible form into the ruin. Gioconda asks the men
to seek out her mother, whom she fears never to see again. Left alone, she approaches the
table, looks fixedly at a flask of poison, and begins her terrible song, one of the most dra-
matic of the numbers in Ponchielli's work.
Suicidio (Suicide Only Remains)
By Elda Cavalieri (Double-FacedSee hdow) (In Italian) 55015 12-inch, $1.50
For a moment the unhappy girl is tempted to complete Alvise's work by giving the poison
to Laura, but banishes the temptation and throws herself down in a passion of weeping.
Gioconda has secured the release of Enzo, and has sent for him to come to the ruined palace,
intending, w^ith splendid generosity, to restore the lovers to each other.
Enzo now arrives, thinking that he is only to visit the grave of Laura, and a bitter scene
occurs betw^een the tv^'O, "which is interrupted by the voice of Laura, w^ho has revived and
now calls feebly. Enzo rushes forward in a transport of joy, while Gioconda makes further
preparations for their escape. The lovers express their gratitude and depart, "while Gioconda
prepares for the end. She is about to s"waIlo\v the poison when Barnaba appears, and in
terrible accents demands "why she has broken her "word to him. She pretends to yield to him.
Gioconda (.at first terrified, recovers lier coiir- And ne'er will Gioconda be false to her oath.
Liije. anj retinas it to file end): May Heaven in niei"cy withhold eondem-
Ves, I kee]) 10 my compact; we both swore nation,
to keep it, -\nd jjaidon us both!
Barnaba is overjoyed and begins the final duet, the most dramatic scene in the opera.
Vo' farmi piu gaia (Thou'rt Mine Now !)
By A. Rossi Murino and E. Badini [In kalian) 55017 12-inch, $1.50
Barnae.a :
Thou'rt mine nowl and swift from this dcso- Thou claimest ( iioeonda ? Now demon aceuised,
late heart. Gioconda is thine I
E.xpelled by love's rays, sombre shadows de- (Slie stabs lierself to tlie lieart leitli the daijger
part. tliat she luui secreted li'lnie adonuinj iu-rselj,
Gioconda (to Barnaba, ■hjlio is apfiroacliing tier): and fails dead at his feet.)
Restrain awhile thy ardent passion 1 IJarnaba {in liorror):
'thou soon Shalt in splendor Gioconda beholdl Ah, stay theel 'Tis a jest!
For thee I am braiding my clustering tresses (ll'itli fiendish joy.)
With purple and gold! AA'ell, then, thou shalt hear this,
iConcealino her terror, she adi'rns herself.) And die ever danmcd!
With glittering jewels, the ,uav tinsel wurn (Bendiin.l o:-er the corpse of Gioconda, and
nightly seranii an furiously into her ear.)
By madcaps theatrical, covcr'd I'll be: Last .nh.ht tiiv motiikr nil) o|-|■"l;^■n Mi::
Now list to the song that this ardent young siren I have sthanoled her!
Will sing unto thee! (Jl'lldly.) She hears me not!
I keep to mv compact, no false oath was mine; (ll'ith a cry of half-choked rage he rashes
(Changing her tone.) from the rain. The curtain falls.)
DOUBLE-FACED AND MISCELLANEOUS LA GIOCONDA RECORDS
[Figlia che reggi tremulo pie (Daughter, My Faltering Steps) 1
I By Murino, Nunes and Badini (In Italian) \ ^^q.^,^ 12-inch $150
I Vo' farmi piu gaia (Thou'rt Mine Now) I
I By A. Rossi Murine, Soprano; E. Badini, Baritone]
Gia ti vedi ll Behold Thee) By F. Lotti, Soprano ; |
] de Gregorio, Tenor : E. Badini. Baritone (/n fta/.'an) 55019 12-ir)'h, 1.50
I Si! tnorir ella de' ! By Amleto Galli, Bass I In Italian)]
jSuicidio! (Suicide Only Remains) By Elda Cavalieril j g i2-inch. 1.50
1 Mefistofde—V altra notte By Elda CavatienI
(Dance of the Hours By Victor Orchestral j^^g^ 12-inch, 1.25
) Sweet Longings (Violin-Flute) By Rattay and Lyons I
(Opening Chorus— "Feste! pane!" La Scala ChorusI , ^^jq lo-inch, 1.00
IBarcarola— " Pescator affonda 1 esca By E. Badini)
(Enzo Grimaldo By Conti and Badini lln Italiann .^^^^ 10-inch. 1.00
IFurlana (Finale, Act I) By Orchestra Sinfonical
fCielocMar! By Franco de Gregorio {In Italian) {.^^^.^ 10-ineh, 1.00
\ Manon Lescaut—Ah, Manon ! mi tradisce By de Gregorio (Italtan)f
[Dance of the Hours (Xylophone) By Wm. H. Reitz) j ^^^^ 10-inch, .75
\ Maurice Tango (Banjo) By Fred Van EpsJ
161
SIEGFRIED S DEATH ACT ITt
(German)
gotterdAmmerung
( Goet-ter-dahw' -mer-ung)
THE DUSK OF THE GODS
MUSIC DRAMA IN THREE ACTS AND A PRELUDE
Words and music by Richard Wagner. First produced at Bayreuth, August 17, 1876,
■with Materna and Unger. First American production at New York, January 25, 1888, with
Lehmann, Seidl-Krauss, Traubman, Niemann and Fischer.
Characters
Siegfried Tenor
GUNTHER (Goon'-ler) Bass
HAGEN (Hah' -gen) Bass
BrONNHILDE Soprano
GUTRUNE (Gool-lroon'-ch) Soprano
WOGLINDA, I I Soprano
WELLGUNDA, Rhine-Nymphs Soprano
FLOSSHILDE, J - (Contralto
PRELUDE
SCENE— r/ic Walkure's Rock
The Dusk of the Gods, the last part of the tetralogy, consists of three acts and a prelude.
In the prelude we once more see Briinnhilde on the rock, %vhere she had lain during her
magic sleep, and where Siegfried had found her and taken her as his bride. The hero, after
a brief period of domestic happiness in a cave near by, decides to leave his bride for av^hile
and go in search of adventures, giving her the Nibelung's Ring as a pledge of faith. This
ring he had obtained when he slew the dragon Fafner, and as the opera progresses it will
be seen that he is doomed to suffer the consequences of the fatal curse, invoked on every
possessor of the Ring by Alberich, from whom it was forcibly taken by Wotan.,
162
VICTOR BOOK OF THE OPERA— THE DUSK OF THE GODS
EUOUARD DE RESZKE
AS PIA<.;ii:N
PROLOGUE
As the curtain rises Briinnhilde and Siegfried come out of the cave,
Siegfried in full armor and the Valkyrie leading her horse by the
bridle. She begins her tender address of farewell :
Zu neuen Thaten (Did I Not Send Thee?)
By Johanna Gadski
In German 87098 10-inch, $2.00
Did I not send thee, sweetest hero, to fresh exploits, fvail were my love.
But one misgiving hghts against it, for fear not wholly thy heart 1
hold.
I gave to thee all that gods had taught : heavenly runes, the riehest
hoard; but my restoreless maidenhood's strength snatch'd thou from
me, who but seek to serve thee.
My wisdom fails, but good will remains; so full of love, but failing
in strength, thou wilt despise perchance the i)00r one, who having
giv'n all, can grant thee nj morel
This lovely air is delivered by Mme. Gadski v^ith tenderness and
feeling, and the record is an unusually fine example of the perfect
recording of a beautiful soprano voice.
ACT I
SCENE— Castle of King Guniher
Siegfried joyously sets out on Kis journey and soon comes to the
Court of King Gunther on the Rhine, "where dwells also Gunther's sister
Gutrune, and their half-brother Hagen, who is a son of Alberich, the
d-warf. Hagen knows the history of the Ring and is anxious to re-
store it to his father, so he artfully tries to win the help of Gunther.
Knowing that the hero is approaching the castle, he outlines this
scheme, which is to give Siegfried a drink which will make him forget Briinnhilde and fall
in love with Gutrune, after -which Gunther can win the peerless Briinnhilde for himself.
Gunther is tempted, and when Siegfried's horn announces his approach he consents.
Siegfried greets them as friends, and when offered the magic drink he accepts and
immediately loses all recollection of Briinnhilde. Seeing the lovely Gutrune, who stands with
lowered eyes, he exclaims :
Siegfried {gazing on Gutrune witli a kindling
eye) :
Then fair one, whose beams
My breast have enflamed,
Why fall thus thine eyes before mine?
(Gutrune loolcs up at tiim, blusliing.)
Ha I sweetest maid I
Screen those bright beams!
The heart in my breast
Burns with their strength.
Gutrune, trembling with emotion, leaves the
Hall, and Siegfried, gazing after her, asks Gunther
if he has a wife. The King, prompted by Hagen,
replies that he knows of one he would wed, but
that she is surrounded by a magic fire which he
cannot pass. Siegfried seems trying to remember
his past, but fails, looks confused, then suddenly
says :
SiECi-RiJiD (u'itit a sudden start) :
I — fear not the fire.
And thy bride fain will I fetch;
For thy own am I
And mv arm is tliine:
If Gutrune for wife I may gain!
In order that Briinnhilde may think that it is
Gunther who has won her, it is agreed that
Siegfried shall, by means of the Tarnhelm, change
only of his reward, Siegfried eagerly departs.
163
r ECHTER
ALEERICH
NO IIAr.EN-
himself into Gunther's form. Thinking
VICTOR BOOK OF THE OPERA— THE DUSK OF THE GODS
Hier sitz" ich zur wacht (Here I Wait)
By Marcel Journet, Bass {In German) 74276 12-inch, $1.50
Hagen, left alone, outlines his coming triumph, when he shall possess the Ring, and
avenge its theft from his father. Alberich.
Hag EN :
Here I sit and wait, watching,' the h;
\'\'arding tlie house from all foes.
Gihich's son is wafted by winds;
A-\\'oning forth is he gone.
And fleetly steereth a stalwart man,
\\'!i(ise forec all jierils can stem.
Tlis nwn llie hyu\c l,c hrin-^ ^^wn (he Kl
i'.nt lu- will bi'ing uic the King.
Ve gallant jiartners, gleeful eomjianions,
Push ye then merrily hence I
Slight though yoiir natures.
^'e still may serve the Nihuluny.'s son I
SCENE W—The Walkure's Rock
The scene changes to the Valkyrie Rock again, "where
Briinnhilde awaits Siegfried's return. She is astonished and
alarmed "■A'hen she sees a stranger approaching, not understanding
how^ he has penetrated through the fiery barrier. It is Siegfried
in the form of Gunther. He announces that he is Guniher come
to w^in her for his w^ife. Briinnhilde, in horror and despair, holds
up the Ring, exclaiming :
] 5 R i ■ N x 1 n 1 . n i; :
Stand back! bow to this token 1
No shame can touch me from tliee
A\niile yet this Ring is my shield.
Siegfried attempts to take it from her and after a struggle,
succeeds. As he draws the helpless and despairing Briinnhilde
into the cave the curtain falls.
ACT II
SCENE — The Rhine near Gunther 's Castle
Hagen and Alberich discuss the progress of the plot to regain
the Ring. Hagen swears to accomplish it, and Alberich vanishes.
Siegfried, in his own form, but wearing the Tarnhelm, arrives,
greets him cheerily and says he has gained Gunther' s wife for
him, but that they are returning home more slow^ly. Gutrune
comes to meet Siegfried, and they go to the Hall. Hagen sounds his horn to summon the
vassals and bids them prepare for a feast, as Gunther has taken a bride.
Gunther now arrives in his boat, leading Briinnhilde, who is pale and downcast. Siegfried
and Gutrune come out to meet them and Briinnhilde sees Siegfried in his rightful form. She
recoils in horror at seeing him w^ith another w^oman, and regarding her as a stranger. She
then perceives the Ring on Siegfried's finger and demands to know^ w^here he obtained it.
He seems confused and regards the Ring w^ith a puzzled air. Briinnhilde, beginning to
comprehend what has occurred, denounces him, and Gunther, beginning to doubt whether
Siegfried had kept his oath to respect Briinnhilde as a brother's bride, looks threateningly at
him. Siegfried, eager to set himself right, swears the oath of the spear.
The vassals make a ring round Siegfried and Hagen. Hagen holds out his spear; Siegfried
lays two fingers of his right hand on its point.
GADSKI AS BRUNNHILDE
aEGT'RILn ;
Haft of war. Iiallowed weai-o
Hold thou my nath fmni dis
On this si:iotless si)ear-head
I speak the oath
Sn ■ ■ ■ ■
^\'here steel e'er can stril
Strike thou at me:
^\'her'er death can be dc;
1 'eal it to me.
Tf she is really wrongL'd.-
H I have injured my fri
r'liear-point, aid thou my speech! H I have injured my friendl
Briinnhilde, unable to contain herself at this evidence of Siegfried's baseness, repeats his
oath and denounces him.
Helle ^Wehr ! Heilige \^affe ! (Haft of \^ar ! Hallowed \^eapon)
By Johanna Gadski, Soprano {In German) 87052 10-inch, $2.00
Siegfried looks at her in pity, thinking her mad, and goes to the Hall with Gutrune.
Briinnhilde, Hagen and Gunther remain behind, the latter in deep depression. Hagen tells
VICTOR BOOK OF THE OPERA-THE DUSK OF THE GODS
Brunnhilde that he will avenge her wrongs. "Thou?" says BriinnhilJe, contemptuously, and
tells him that only in his back is Siegfried vulnerable, and that no magic protection was
placed there because she knew that never would he retreat. Guniher now rouses himself
and the three decide that Siegfried must die for his treachery.
ACT HI
SCENE I— A mid Valley near the Rhine
The Rhine nymphs rise to the sur-
face of the water and sing of the Rhine-
gold. They spy Siegfried and aslc him
to give up the Ring, but he refuses, and
they warn him that he shall die that
very day. He laughs at the prophecy,
and as he watches them svirim away,
says lightly:
Siegfried :
Alike on land and water.
Woman's ways I've learnt to know.
The man who resists their smiles
They seek hy threat.? to frirhten.
And when these hoth are scorned
They hait him with bitter words.
And yet were Gutnme not my wife,
I must have promptly captured
One of those iiix-tty maids!
Hunting horns are heard and
Siegfried gayly answers with his own.
Gunthery Hagen and the hunters descend
from the hill and greet him. They camp
and begin to eat and drink. Siegfried
tells them of his adventure with Mime
and the Dragon. Hagen gives him a
magic drink which brings back his
memory and he goes on to tell of the
forest bird and his quest of the lovely
Hriinnhilde. Gunther begins to listen at-
tentively, but v/hen Siegfried reaches
this part of his narrative, Hagen plunges
Gunther, in pity for the dying man, leans over
THE RHINE MAIDENS WARNING SIEGFRIED
his spear in Siegfried's back and he falls,
him, and Siegfried faintly says :
Siegfried :
Brunnhilde 1 Heavenly bride ! —
Look up! Open thine eyelids!
What hath sunk thee once more in sleep?
W^ho drowns thee in slumlier so drear?
The wak'ner caTne. his kiss awoke: —
iV.Lain now the bride's bond.s he has brok^^n ;
Enchant liim Brunnbilde's charms!
Ah! now forever ojien her eyelids!
Ah! and what od'rous breeze is her breath!
Thrice blessed ending —
Thrill that dismays not —
Briinnhilde beckons to me! (He dies.)
SCENE \\—Hall in Gunther 's Palace
Siegfried's body is borne mournfully to the Hall, where the w^eeping Gutrune meets them
and clasps her husband's lifeless form. Hagen now demands the Ring as his booty, but
Qunther refuses to yield it and they draw their swords, Qunther being killed by Hagen.
Hagen now attempts to v/^ithdrav^^ the Ring from Siegfried's finger, but as he approaches,
the arm of the dead hero is raised threateningly, and all recoil in terror.
Briinnhilde' now approaches and gazes long and sadly at Siegfried's face, then orders a
funeral pyre erected to burn the hero's body. The vassals obey and build a huge pyre on
the bank of the Rhine, on w^hich the body is laid. Brunnhilde summons two ravens from
the rocks, and begins her great Immolation Scene.
Fliegt heim (Iminolation Scene)
By Johanna Gadski, Soprano
165
(In German) 88185 12-inch, $3.00
VICTOR BOOK OF THE OPERA— THE DUSK OF THE GODS
She bids the ravens fly
to Lokj, god of hre, that he
may complete the downfall
of the gods by burning
Valhalla.
Brlnnhildi:;
Dvaweth near in gloom
'i'he Dusk of the gods.
Tluis, casting my torch,
1 kindle X'alhalla's tow'rs!
She kindles the pile,
which burns rapidly, and
the two ravens disappear in
the distance. BriinnhiUe's
horse is brought in, and she
takes off the bridle.
ErCk>;hilde (lo the horse):
Grani, my liorse, greet thee aL;ain '
Wouldst thon know dear friend,
What journey wc follow?
]Jy flame illumined lies there thy lord,
Siegfried, the star of my life.
To meet with thy master neighest thou
merrily ?
Lo! how the flame
Doth leap and allure thee I
She swings herself on the steed and rides straight into the burning pile, which flames
up mightily, half consuming the Hall itself. The Rhine then rises and puts out the flames,
and on the surface are seen the Rhine daughters, w^ho seize the Ring from the embers.
Hagen, v^ho has been anxiously watching, now rushes into the w^aters, crying: "The Ring is
mine!' The nymphs seize him and drag him down in the flood. An increasing red glow^
is seen in the sky, and Valhalla appears in flames, with the gods and heroes calmly await-
ing their doom. As the flames envelop all, the curtain falls.
SETTING OF ACT
Feci iiow my hreast too hotly doth hum
Sparklin,'? fureflame my spirit enfolds.
O, hut to clasp him —
Recline in his arms!
In madd'ning emotion
Once more to be his!
TIeiajaho! Grand Greet we our hero!
Siegfried ! Siegfried ! see !
Sweetly greets thee thy wife!
DOUBLE-FACED GOTTERDAMMERUNG RECORDS
/Fantasia from the Opera By Arthur Pryor's Band\„-^ ^i lo • u at -i a
t Rhinegold Selection {Wagner) By Conway's Bandr^^^^ 12-inch, $1.25
THE RHINE MAIDENS RECOVER THE RHINEGOLD
w
THE MARQUIS LEAVES FOR TKE WARS ACT I
GRISELIDIS
OPERATIC MIRACLE PLAY IN THREE ACTS AND A PROLOGUE
Poem by Armand Sylvester and Eugene Morand. Music by Massenet. First pro-
duction. Opera Comique, Paris, November 20, 1901, with Mme. Lucienne Breval. First
production in America at the Manhattan Opera House, New York, January 19, 1910.
Characters
GRISELIDIS, wife of the Marquis Soprano
FlAMINA, the Devil's wife Soprano
BERTRADE Soprano
The Marquis de Saluces Baritone
Alain, a shepherd Tenor
THE Devil Baritone
The Prior Baritone
GONDEBAUD Baritone
Scene and Period : Provence, Prance ; the thirteenth century.
Griselidis is based on a modern " mystery " which was produced by Armand Sylvester
and Eugene Morand at the Comedie Francois in 1891. In this play the author gave a much
changed version of a legend. Patient Gfisel, which has had a place in European literature
since the eleventh century. It is one of the stories that Boccaccio tells in his Decameron, and
the same tale has been used by Chaucer in his Canterbury Tales.
The plot of Griselidis is quite refreshing in contrast to most grand opera plots, its
principal theme being true love and faithfulness. The opera opens with a Prologue, occur-
ring in the forest of Provence. The Marquis de Saluces, lord of the region, while "walking
along the forest edge, meets the young and beautiful Griselidis. He falls deeply in love
with her and asks her to be his wife, whereupon she replies that she is his slave and must
obey his will. Together they depart for the chateau of the Marquis, leaving the poor
shepherd, Alain, who is also in love with Griselidis, bewailing the fate v^^hich has robbed
him of his sweetheart.
167
VICTOR
BOOK
OF
THE OPERA — GRISELIDIS
A year elapses, and in Act I we see the Marquis about to depart for the war against the
Saracens. 1 he scene shows the inside of the Cliateau ; in the background a triptych open,
■with an image of St. Agnes holding in her arms a white lamb, and at her feet an image of
the Devil. The Marquis expresses his great love for his wife, and says that he w^ould be
Avilling to swear in the presence of the Devil himself that she would alw^ays be faithful and
true. Suddenly the stone image of the Devil comes to life, bounds on the stage and offers
to wager the Marquis that during his absence at the w^ars Gnselidis will break her vows of
faithfulness. At first the Marquis spurns the wager, but finally accepts and gives the Devil
his wedding ring to show his absolute trust in Griselidts. The latter is left alone with her
little son, Loys, as her husband departs for the war.
Act II shows the terrace
of the Castle. The Devil in-
duces his wife, Fiamina, to
join him in his wicked plans
to tempt Griselidis, and they
appear at the Castle dis-
guised as a Levantine mer-
chant and a Moorish slave.
The merchant (£)eo//) tells
Griselidis that her husband
bought the slave from him
in the Orient, being greatly
attracted by her charms, and
tells her that her husband
commands that the slave be
installed as mistress of the
Chateau. As proof of the
truth of his statement he
shows Griselidis the Marquis'
vi^edding ring, and she sub-
missively declares that she
w^ill obey her husband's or-
ders. This acquiescence is
contrary to the Devil 's ex-
pectations, and in consterna-
tion he now^ has his Evil
Spirits bring Alain to the
Castle, hoping to tempt
Gris(^lidis to fly v^^ith the shepherd, w^ho still loves her; but little Loys appears just in time to
save his mother when her resistance is weakening. As Alain rushes aw^ay, in despair, the
Devil suddenly appears, seizes Loys and disappears, and the act ends with a w^ild search for
the child.
The third act show^s the interior of the Chateau with the triptych as in Act 1. The Devil
again appears to Griselidis, this time disguised as an old man. He tells her that Loys has
been kidnapped by a pirate, who demands a kiss from Griselidis in return for surrendering
her child. Mother love forces her to yield, and she starts for the harbor. The Marquis
comes home from the w^ars and the Devil tells him Griselidis has gone to keep a rendezvous
w^ith her lover, but the Marquis refuses to believe these accusations against his v^ife.
Griselidis returns and tells the Marquis of the kidnapping of little Loys, and they pray that
help may be given them to fight the powers of evil. Whereupon the cross on the altar
is turned into a flaming sword, and w^hen Griselidis prays to St. Agnes that her son be
restored to her, there is a flash of lightning, a clap of thunder and the triptych opens,
revealing the image of St. Agnes holding in her arms, not the w^hite lamb, but the child
Loys. A glad pealing of bells can be heard as the Marquis and Griselidis, with their child
betw^een them, are happily reunited.
The Victor offers here a very fine record of the air Ouvres-vous sur mon front, which
occurs at the beginning of the opera. It is the song of the shepherd Alain, telling of his
love for the maiden, Griselidis.
Ouvres-vous sur mon front, portes du Paradise ! (Open
Now to My Eyes, Portals of Paradise !)
By Charles Dalmores, Tenor (In French) 8839 7 12-inch, $3.00
DIABLE AND FIAMINA ACT II
HAMLET
OPERA IN FIVE ACTS
Book by Barbier and Carre, based on Shakespeare's play. Music by Ambroise Thomas.
First production March 9, 1868, at the Paris ^cai/e'm/e. First London production June 19, 1869.
Cast
Hamlet Baritone
Claudius, Kmg of Denmark Bass
Laertes, Polonius' son Tenor
Ghost of the dead King Bass
Polonius, Chancellor Bass
Gertrude, Hamlet's mother. Queen of Denmark Mezzo-Soprano
Ophelia, daughter of Polonius Soprano
Lords, Ladies, Officers, Pages, Peasants, etc.
Scene : Elsinore, in Denmarl^.
The story of Hamlel, Prince of Denmark, is so well known that it w^ould seem hardly
necessary to describe the plot at any length. However, for operatic purposes the librettists
w^ere obliged to modify and reconstruct certain portions of the tragedy, and the revised ver-
sion w^ill be briefly sketched here.
The present King of Denmark, Claudius, has seized the throne, after having murdered
the late King, Hamlet's father. At the opening of the opera Hamlet knows nothing of the
murder, but is highly incensed at his mother for having married Claudius before she had
been tv^ro months a widow.
ACT I
SCENE I— A Room of Stale in the Palace
The new Queen is being presented to the Court at a public reception. She is annoyed
because Hamlet shows his displeasure by absenting himself from the ceremony. After the
presentation is over, Hamlet enters slowly, in a melancholy mood.
Hamlet: Ah! vain indeed is grief!
Affection, too. doth stem sliovt lived indeed.
My much-loved father but two months dead;
And yet, unto another wedlock, my motiier hath consented;
"Frailty, thy name is woman."
His bitter musing is interrupted by the entrance of Ophelia, his betrothed.
that Hamlet intends to leave the kingdom and asks if he has ceased to love her.
She has heard
In the beautiful
Jove duet he reassures Ker, and tells her why the palace has become intolerable to him.
16fl
VICTOR BOOK OF THE OPER A— T HOMAS' HAMLET
Nega se puoi la luce (Love Duet)
By TVlaria Galvany, Soprano, and Titta
Ruffe, Baritone (In Italian) 92500
12-inch, $4-00
; not thcc I chide,
mind doth s]iuak through
PHOTO DU G
AS HAMLET
ITawlet:
Celestial maiden, 'l
The ])urity of thy
those swcft eyes:
"Douht that the stars are lire,
Doubt that the sun doth move,
J)ouht truth tu he a liar;
Hut n e V L' r d u u )H my I u v e . "
OriiELiA :
It may be so, but such excess of love
llath no enduring power;
Thou couldst not leave me to my sorrow.
Did thy heart know such love as mine I
Ye heavenly powers, — celestial choir,
That aye surround the eternal throne,
From your bright homes above,
Bear \\itness to my ti'uthful love.
Hamlet:
Beloved Ophelia I
Ophelia:
In thee this heart doth trust!
IIawlet :
My heart doth beat for thee alone!
Ophelia:
.Mil never will wc paitl
SCENE l\— Esplanade of the Palace. It is Night
Horatio and Marcellus are discovered excitedly discussing the
appearance of the spectre of the murdered King. They greet Hamlet
and tell him of the ghostly visitor, v/hich appeared just at mid-
night. Hamlet is much affected, and suggests that as it is nearly
twelve the ghost may come again.
The clock strikes, and the figure of the murdered King appears. Hamlet speaks to the
spectre :
IlA^rLET:
Thou spirit dread, thou shade revered.
Hear thou thy hapless son's lament.
In pity answer, — speak to me I
Tell me why the sepulchre,
The ghost motions Horatio and
Marcellus to v/ithdraw, and when they
are gone he tells Hamlet of the murder
and bids him become the avenger, but
asks him to leave his mother's pun-
ishment to God. Hamlet is much
affected and exclaims :
Ham llt:
Yes! Shade revered 1 Thy bidding;
shall be dnuL-.
O light, O sun. O glory, O love to me
so dear.
Farewell ! Farewell I
The ghost, before disappearing,
pauses at the back of the stage, and
stands w^ith one hand extended tow^ard
Hamlet; at this moment Horatio and
Marcellus re-enter, and appear terror-
stricken at the spectacle before them.
Trumpets and joyous music are heard
w^ithout as the curtain falls.
ACT n
SCENE^Garden of the Palace
Ophelia enters and is much dis-
turbed because Hamlet seems to avoid
\\'herein we saw thee jieacefully entombed,
llath op"d his ponderous and marble jaws,
To east thee forth again?
hamlet and the ghost
170
VICTOR BOOK OF THE O P E R A— T H O M A S ' HAMLET
her. The Queen finds her weeping, and after questioning her says that Hamlet has also
acted strangely toward his mother and fears his reason is affected.
Hamlet, seeking to entrap the King in some manner into betraying himself, has engaged
a troupe of players to present a play which shall enact a similar crime. The King and
Queen are delighted that he seems to seek amusement, and gladly accept his invitation to
witness the play.
When the royal pair have departed, the players come on and are instructed by Hamlet
in the plot he has conceived. The Prince then calls for wine and bids the players be merry,
offering to sing them a drinking song.
O vin, discacciala tristezza (Brindisi) (Wine, This Gloom Dispel)
By Emilio de Gogorza, Baritone (In French) 88180 12-mch, $3.00
By Titta Ruffo. Baritone, and La Scala Chorus (Italian) 92037 12-inch, 3.00
By Francesco Cigada, Baritone, and La Scala Chorus
(In Italian) *1(>572 10-inch, .75
may.
and
We'll laugh and drink while yet
Each, alas, his burthen bears.
Sad thoughts have all ; — grun thoughts
sorrows ;
But care avaunt, let folly reign.
The only wise man he,
Who wisdom's precepts ne'er obeys!
(The curtain falls on a scene of merriment.)
Hamlet :
O wine! the gloom dispel.
That o'er my heart now weighs;
Come grant me thine intoxicating Joy ;
The careless laugh — the mocking jest!
O wine! Thou potent sorcerer.
Grant thou oblivion to my heart!
Yes, life is short, death's near at hand,
SCENE II — The Palace Hall. On one side a stage has been erected
The court assembles and the play begins. Hamlet placing himself where he can watch
the King closely. As the action proceeds the guilty man shows unmistakable evidence of
agitation, and finally in a rage he orders the players away. Hamlet rushes forward and
denounces the murderer, but the Court believes his accusation to be the ravings of a mad-
man, and all leave the room as he faints in Horatio's arms.
ACT III
SCENE— The Queen's Apartments
Hamlet enters and sings his farewell soliloquy.
Monologo (Soliloquy)
By Titta Ruffo, Baritone (/n Italian) 92042 12-inch, $3.00
This is Thomas' splendid setting of the well-known soliloquy and one of the rnost con-
spicuous numbers in the opera. Although the librettists took many liberties with Shake-
speare's drama, they did not venture to alter such a well-known excerpt as this. Kutto sings
this famous monologue in a superb manner, delivering it with great dramatic power.
* Doubk-Faced Rccord-For title of opposite side see DOUBLE-FACED HAMLET RECORDS, page 172.
VICTOR BOOK OF THE OPER A— T HOMAS' HAMLET
Hamlet: To be, or not to be, that is the question.
To die, to sleep; perchance to dream;
,\li I \\'ere it aUowi-d nu' to sever
The tie that binds inc to inovtality.
And seek "the undiscovered country
From whose bourne no traveler returns!"
"Ay! to be, or not to be?
To die. to sleep; jierchance to dream."
The Queen and Ophelia enter and plead with Hamlet to
banish his wild imaginings. He sternly rebukes them, advises
Ophelia to retire to a convent, and accuses his mother of being
an accomplice. The ghost again appears, visible only to Hamlet,
bids him spare his mother, and slow^ly disappears. The Prince
conducts the Queen to the door, urging her to pray and repent.
ACT IV
A rural scene near a lake. IVillows line the shore
Ophelia, driven insane by Hamlet 's desertion of her, has
v^andered to the lake. She plays v/ith a garland of flow^ers,
and sings her wonderful aria, usually known as the Mad Scene,
one of the most difficult of all florid compositions.
Ballata d'Ofelia (Mad Scene)
By Nellie Melba (In French) 88251 12-inch, $3.00
By Maria Galvany (/n/(a/ian) 88235 12-inch, 3.00
By GiuseppinaHuguet(//a/ian)*35180 12-inch, 1.25
An exquisite introduction by the orchestra is heard as
Ophelia enters — a strange, wild figure, with flo"wing hair and
torn white dress. She speaks to the wondering peasants and
tells them childishly of the lark which she heard at dawn, fol-
lowing with a brilliant display of bird-like trills and staccatos.
Ophelia then turns to the shepherds and asks them to listen
to her song, a strange, sad melody, which is interrupted at
intervals by wild laughter and weeping. Presently she seems
to forget, and placidly plays with her flowers, until the magical
siren's song is heard luring her to the water's edge, and she
plunges in and floats away, singing of Hamlet 's vo-w of love.
Mme. Melba fairly surpasses herself in this scene, with its
sudden alternations of joy and sorrow, the pathos which over-
shadows every phrase.
Other fine renditions, that of Mme. Galvany and a popular-
priced one by Mme. Huguet, are also offered to opera-lovers.
ACT V— The Churchyard
Hamlet comes hither to attend the funeral of Ophelia. He
sings his beautiful song to her memory and resolves to take his
own life upon her grave.
Come il romito fior (As a Lovely Flower)
By Titta Ruffo, Baritone, and La Scala Chorus
cop,-TBu™»T (In Italian) 92064 12-inch, $3.00
(ALVE AS OPHELIA By Enrico PigHataro, Baritone
(In Italian] *63424 10-inch, .75
When the cortege has arrived, the ghost again appears and looks reproachfully on Hamlet,
who stabs the King, and as the curtain falls the people, now convinced of their monarch's
guilt, acclaim Hamlet as his successor.
PHOTO EBMINI
RUFEO AS HAMLET
DOUBLE-FACED HAMLET RECORDS
/Ballata d'Ofelia (Mad Scene) By Huguet, Soprano (Italian)\„,
\ Dinorah — Si, carina caprettina By Giuseppina Huguet, Sopranof
(Brindisi By Francesco Cigada and Chorus (In Italian)\ ,,-_.,
1 Ernani — Fesla da hallo
jCome il romito fior
I Pallide Mammole — Romanza
Slj La Scala Chorus (In Italian) |
By Enrico Pignataro (In Italian) '
By Lacin de Casus (In Italian)]
12-inch, $1.25
10-inch, .75
63424 10-inch. .75
THE FdREST-
(German)
HANSEL UND GRETEL
(Hahn'-sel oondt Gray'-fel)
(ItalianJ (English)
NINO E RITA HANSEL AND GRETEL
'Neen-vo ay Ree -tah) (Han-sel and Grav'-tel)
(or HANS AND GRETCHEN)
A FAIRY OPERA IN THREE ACTS
Text by Adelheid Wette. Music by Engelbert Humperdinck.
First produced 1893, at Weimar. First American performance at
the Metropolitan Opera House, New York, 1895.
•^ IBIf „ , , Cast
■ -- ...^ ' Peter, a broom-maker Baritone
' «k ^t^d Gertrude, his wife Mezzo-Soprano
.%JBH^ Hansel, I . . ,.,j [Mezzo-Soprano
^____, , their children -ic
GRETEL, I I soprano
The Witch who eats children Mezzo-Soprano
Sandman, the Sleep Fairy Soprano
DEWMAN, the Dawn Fairy Soprano
It is now some seventeen years since Humperdinck's lovely fairy
MUSICAL AMb.ii.- opera was brought out in America by Augustin Daly, and it has
HUMiLRDiNCK since been firmly established in the repertoire of every producer of
grand opera.
Hansel and Gretel has been called the Peter Pan of grand opera; the audiences
w^ho witness it being invariably delighted with the childish joyousness and fairy charm of
Humperdinck's work.
173
VICTOR BOOK OF THE OPERA— HANSEL AND GRETEL
ALjrX AS GRETKL
This delightful opera is built upon the simple Grimm tale of
Babes in the Woods, and first suggested itself to the composer to
amuse his sister's children. It "was afterward elaborated into a
complete opera, \vhich has become one of the most important and
interesting of modern German works.
Two German peasant children, Hans and Gretchen, are sent to
the w^oods for straw^berries and get lost. The Sandman finds the
babes and sings them to sleep, w^hile angels and fairies w^atch over
them. They are aw^akened by the Deu) Man, and go for breakfast
to the house of the Witch, w^ho plans to eat them ; but w^hen she
opens the oven to see if it is hot enough to cook Hans, she herself
is pushed in by Gretchen.
Several numbers from this interesting opera are presented here,
— the first being the beautiful Prelude.
Prelude to Hansel and Gretel
By Arthur Pryor's Band 31853 12-inch, $1.00
This Prelude is an especially beautiful number. It opens with
the Prayer of the Children, played by the brass — at first softly, then
sw^elling to the full strength of the band. This is follow^ed by a
passage portraying morning in the forest, and upon this pastoral
scene there breaks in rudely the Hocus pocus, or Witches' motive.
The Prelude is brought to a close w^ith a return of the Prater theme.
The delicacy and charm of this music is well brought out by the band under Mr.
Pryor's masterly baton.
ACT I
The scene is laid in the house of Peter, w^here the two children are busily working
— Hansel making brooms and Gretel knitting a stocking. Gretel begins the old German folk-
song, "Susie, What is the New^s?" with its nonsense about the geese going barefoot because
of their lack of shoes. Hansel, thinking more of his stomach than of the feet of the geese,
asks "when they are likely to have something to eat. Little Gretel reproves him for iriaking
a fuss about something v/hich cannot be
helped.
Suse, liebe Suse (Little Susie ! )
By Alma Gluck, Soprano, and
Louise Homer, Contralto
{In German) 88418 12-inch, $3.00
Peter now returns to his cottage and
finds the children gone after straw^berries.
In this air he frightens his wife by
telling of the w^itch w^ho lives in a honey-
cake house, and w^ho after enticing little
children into it, bakes them into ginger-
bread in her oven.
Eine Hex' steinalt (The
Old \^itch)
By Otto Goritz, Baritone
{In German) 64164 10-inch, $1.00
Mr. Goritz's admirable character
study as Peter, the tipsy, kind-hearted
and superstitious father, was one of the
features of the Metropolitan revival, and
this odd number is given by him w^ith
THE CHILDREN AT HOME much effectiveness.
174
VICTOR BOOK OF THE OPERA— HANSEL AND GRETEL
jHC CIIILDK^N IN 1 IlL \\{
ACT H
This scene shows the depths of
the forest, into which the children have
w^andered. //anse/ picks berries while
Qretel weaves garlands of flow^ers.
Darkness soon comes, and the children
are frightened and cling together. A
little gray man, the Sandman, or Sleep
Fairy, strew^s sand in their eyes as he
sings his air.
Der kleine Sandmann bin
ich (I Am the Sleep
Fairy)
By Gluck and Homer {In
German) 88419 12-inch, $3.00
The children slumber, and as the
curtain falls angels are seen keeping
guard over them.
ACT III
The curtain rises, showing Hansel
and G'Ctel still asleep in the wood.
The Dawn Fairy shakes dewdrops on
the children and wakes them just as
the mist clears away, revealing the
house of the Witch.
The children approach cautiously and begin to nibble at the gingerbread fence, when the
Witch comes out and casts a spell over them.
Hexenritt und Knusperwalzer ('Witch's Dance)
By Alma Gluck and Louise Homer {In GcTman) 87131 10-inch, $2.00
She makes a good fire in the stove for the purpose of roasting the babes, and m her
joy she rides wildly around
the room on a broomstick,
singing this unique Hexenritt.
The duet begins with the
soliloquy of the Witch as she
sees Crelel peeping into the
oven, and prepares to push
her in to be baked into magic
gingerbread. The second part
of the duet is the portion
called the "Witch's Waltz."
and is sung and danced by
Hansel and Gretel after the
wicked Witch has been pushed
into the oven. They dance
around the room, wild with
joy, and then prepare to eat
their fill of the good things
stored in the Wilch's house.
After the death of the
Witch the gingerbread chil-
dren come to life and thank
the children for releasing them
from the spell. The father and
mother of Hansel and Gretel
now arrive and embrace the
children as the curtain falls.
H\NSLL AND
( RTTLL KN-QCKING AT THE WITCH S DOOR
175
THE CHAMBER OF HEROD
/ (French)
HERODIADE
(Ay-rod-yaJJ')
OPERA IN FIVE ACTS
Words by Paul Milliet and Henri Gremont, based on Gustave Flaubert's novelette,
Herodias. Music by Jules Massenet. First production December 19, 1881, at the Theatre
de la Monnaie, Brussels. Produced in Paris at the Thedtre lialien, February I, 1884. with
Jean and Eduard de Reszke, Maurel, Tremelli and Devries. Revived at the Thedtre de la
Qaite in 1903, with Calve and Renaud. First German production in Hamburg, 1883, w^ith
Sucher, Krauss and Winkelmann. First London production 1904, under the title Salome,
with the locale changed to Ethiopia by the British censor's orders. First American produc-
tion at the Manhattan Opera House, New York, November 8, 1909, w^ith Cavalieri, Gerville-
Reache, Duchesne, Dalmores and Renaud.
CAST
John the Prophet Tenor
Herod, King of Galilee Baritone
PHANUEL, a young Jew Bass
VlTELLIUS, a Roman proconsul Baritone
The High Priest Baritone
A Voice in the Temple Bass
Salome Soprano
Herodias Contralto
A Young Babylonian Woman
Merchants, Hebrew Soldiers, Roman Soldiers, Priests, Levites, Temple
Servitors, Seamen, Scribes, Pharisees, Galileans, Samaritans,
Sadducees, Ethiopians, Nubians, Arabs, Romans.
The action tak.es place in Jerusalem — Time, about 30 A. D.
177
VICTOR BOOK OF THE OPERA— MASSENET'S HERODIADE
BERGER
AS SALOME IN IIERnDIADE
Herodiade was first produced in Brussels in 1881.
The first Paris production of this opera was especially
interesting because of the first appearance of Jean de
Reszke as a tenor (he w^as formerly a baritone). It w^as
not until 1904, how^ever, that the opera w^as brought
out in London (under the title of Salome) w^ith Mme.
Calv6, Dalmores and Renaud in the leading roles. Mr.
Hammerstein's brilliant production of this w^orlc w^as
one of the events of a recent season at the Manhattan.
The opera contains much of the best music
Massenet has v/ritten ; and the plot, while based on
the ^vell-know^n Scriptural story, does not follow^ the
Bible or tradition very closely, differing quite largely
from Salome.
ACT I
SCENE — Court of Herod's Palace at Jerusalem
Salome enters and is greeted by Phanucl, a young
Jew, who is astonished that she should be in the Palace,
and wonders if she can be ignorant of the fact that
Herodias is her mother. Salome tells him she is seeking
John the Prophet, and in this air she describes how^
he had saved her from the desert when a child, and
how^ good and kind he is.
li est doux, il est bon (He is Kind, He is
Good) By Emma Calve (French) 88130 12-m., $3.00
Salome goes out just as Herod enters searching for her.
Herodias rushes in and demands John's head, saying that he
had insulted her. John appears, denounces them both and
drives them out, terrified. Salome enters and teWs John of her
love for him, but he bids her turn to God.
ACT II
SCENE— //eroJ '5 Chamber
Herod lies on his luxurious couch, v^rhile attendants sing to
him. He can think of no one but Salome, and bids the slaves
dance to distract his mind. A love potion is given him by a
slave, w^ho says it w^ill make him see the face of the one he loves.
He then sings the famous Vision fugitive, considered the
most beautiful of the airs in the opera.
Vision fugitive (Fleeting Vision)
By Emilio de Gogorza, Baritone
\ln French) 88153 12-inch, $3.00
N HERODIADE
EENAUD AS HEROD
Herod describes the vision
of Salome w^hich haunts him
night and day, and declares that
to possess her he "would gladly
surrender his soul. He drinks
the love potion, and falls on the
couch in a delirious sleep.
SCENE W— Public Square at
Jerusalem
1 he scene shov/s Herod re-
ceiving messages from the allies,
and denouncing Rome Herodias
enters and announces that the
178
VICTOR BOOK OF THE OPERA— MASSENET'S HERODIADE
da
that
Roman general, KiYe/Zius, is approaching. The people are terrified, but Vitellius declares
Rome desires the favor of the Jews and will give back the Temple of Israel.
John and Salome enter and Vitellius is surprised at the honor paid to the Prophet.
Herod gazes with eyes of love at Salome, while Herodias watches her jealously. John
denounces Vitellius as the curtain falls.
ACT III
SCENE \—PhanueVs House
Phanuel is disclosed gazing at the city, which lies silent under
prophesying the fate -which is to overv/helm it.
a starry sky, and
Air de Phanuel (Oh, Shining Stars)
By Marcel Journet, Bass (In French) 74152 12-inch, $1.50
He calls upon the stars to tell him what
manner of man is this John, who speaks with
such authority. "Is he a man or a god?" he
cries. Herodias enters, much agitated. Phanuel
inquires what has brought the Queen to his
house, and she cries, "Vengeance on the woman
who has stolen Herod's love!" He reads her
fate by the stars, and sees nothing but blood
in the horoscope. She asks him about her child,
lost so long ago, and he takes her to the window
and shows her Salome, who is just entering the
Temple. Horrified, Herodias cries, " My daugh-
ter ? Never! That is my rival!"
DUFRANNE AS PlfANUEL
SCENE II— /nner Court of the Temple
The second scene shows the entrance of
the Temple. Salome enters half fainting, having
heard that John has been cast in prison, and
falls exhausted at the prison entrance. Herod
enters, and seeing 5a/ome, breaks out into a mad
declaration of his love, but she repulses him
with horror, and tells him she loves another.
He declares he will find this lover and kill him,
and goes out as the people enter the Temple.
John is brought in and denounced by the
priests, but prays for them as they demand
his death. Salome runs to John and falls at his
feet, wishing to die with him. Herod, seeing
that it is John "whom Salome loves, orders them both put to death, and they are seized and
borne out by guards as the curtain falls.
ACT IV
SCENE I — Prison Cell in the Temple
John and Salome are here seen in prison. John admits that he loves the young girl, and
urges her to fly and save her Ufe, but she refuses, declaring she will die with him. Priests
appear and order John to death, and command Salome to be taken to the Palace by Herod's
commands. She resists desperately, but is dragged away.
SCENE W-^Qreat Hall in the Temple
The great festival in honor of the Roman Empire is in progress. Salome is brought in
and again entreats to be allowed to die with John. She appeals to the Queen, saying,
"If thou w^ert ever a mother, pity me." Herodias trembles at the word, and gazing on
her daughter, seems about to yield, when the executioner appears at the back with a
dripping sword and cries, "The Prophet is dead. Salome gives a terrible cry and tries to
kill the Queen, who screams: "Mercy! I am thy mother!" Salome recoils in horror, curses
her mother and stabs herself.
( Curtain)
179
THE GREAT BALLROOM SCENE ACT IV
(French) (German)
LES HUGUENOTS DIE HUGENOTTEN
(Layz Hueg-gnoh) i Dee Hoo-gen-otf' -en)
(Italian) (English)
GLI UGONOTTI THE HUGUENOTS
(Glee Oo-gob-not'-lih^ iHeuf -gen-ahts)
OPERA IN FIVE ACTS
Libretto by Scribe and Emile Deschamps. Score by Giacomo Meyerbeer. First pre-
sented at the Academic in Paris, February 29, 1836. First London production in German in
1842 and in Italian July 20. 1848. First New York performance June 24. 1850. Some notable
American productions were in 1858, with La Grange. Siedenburg, Tiberini and Karl Formes;
in 1872, with Parepa-Rosa, Wachtel and Santley; in 1873, w^ith Nilsson, Gary, Campanini
and del Puente; in 1892, with Montariol, de Reszke, Lasalle, Albani and Scalchi; in 1905,
with Sembrich. Caruso, Walker, Plangon. Scotti and Journet; in 1907, wth Nordica, Nielsen,
Constantino and de Segurola; and the Manhattan production in 1908, "with Pinkert, Russ,
Bassi, Ancona and Arimondi.
Cast
Count of St. BRIS, {Sah Bree) t r- i ,- i , ( Baritone
COUNT OF NEVERS. [Nev-airz' ) I "-^tholic noblemen ^ Baritone
RAOUL de NANGIS, {Rah^oot day Non-zhee ) a Protestant gentleman Tenor
Marcel. iMahr-chef ) a Huguenot soldier and servant to Raoul Bass
Margaret of VALOIS, iVal.ooah') betrothed to Henry IV Soprano
Valentine, daughter of St. Bris Soprano
URBANO, (Ur-bah' -noh) page to Queen Margaret Mezzo-Soprano
Ladies and Gentlemen of the Court, Pages, Citizens, Soldiers, Students, etc.
Scene and Period : Toaraine and Paris ; during the month of August, 1572.
ISO
VICTOR BOOK OF THE OPER A— T HE HUGUENOTS
This opex'a is considered the composer's masterpiece, and is indeed a wonderfully
imposing work, with its splendid scenes, beautiful arias and concerted numbers, and its
thrilling dramatic situations. The romance as w^ell as the fanaticism of the period are
faithfully pictured, and the whole presented on a magnificent scale. The w^ork, however,
is undeniably too long for a single evening's performance, requiring fully five hours when
given entire ; and it is to be regretted that some courageous impresario does not prune
and pare it until it becomes of reasonable length. The Victor, however, has been merciful,
and has selected only the gems of the w^ork, which have been given by a fine cast headed
by Caruso.
The story relates to one of the most dramatic periods in French history, and tells of the
massacre of Huguenots in 1572, and of the efforts of Margaret of Valois, the betrothed of
Henry IV, to reconcile the disputes between the Protestants and the Catholics.
ACT I
SCENE I — House of the Count of Neoers
The overture is a short one and consists mainly of the Lutheran chorale, v/hich occurs
several times in various portions of the opera. The curtain rises, disclosing a magnificent
salon in the house of Nevers, where a gay party of Catholic noblemen are feasting. The
Count explains that he expects another guest, a Huguenot, w^hom he hopes they w^ill treat
with courtesy. Haoul arrives and makes a favorable impression on the guests. Nevers
toasts the ladies, proposing that each relate an adventure with some fair one ; R.aoul,
being the latest arrival, is called upon first, and describes his rescue of an unknown beauty
(who proves afterward to be Valentine, St. Bris' daughter) from some drunken revelers.
In this air he tells of her beauty and the deep impression she made on him.
Piu bianca — Romanza (Fairer Than the Lily)
By Enrico Caruso. Tenor (In Italian) 88210 12-inch, $3.00
By M. Gautier, Tenor (In French) ='=45007 10-inch, 1.00
Caruso makes a manly picture as the young nobleman, and sings the music allotted to
Raoul charmingly, especially this delicate Romanza, in which he describes the vision of the
unknown v/ith w^hom he has fallen in love. In dreamy tones he sings the recitative, after
w^hich a short introduction brings us to the romanza, beginning
AndaTitino Grazioao.
Nothing could be more tender and beautiful than Caruso's singing of this number.
RAfUL:
Fairer far e'en than fairest lily. And in her eyes the love-Ught gleamed,
Than spring morn more pure and more lovely Bidding me hope her love to gam.
and bright. *-*h ■ ^'i*^ ^^'^^ charming past all expression!
An angel of*Heaven born beauty And as before her form divine I bent my
r»urst upon my ravish'd ^•ight. knee.
Sweetly she smiled as I stood bv her side, I falter d forth, "Pair angel, that coineth
Sighing the love which e'en her tongue to from Heav'n above.
speak denied; For evermore shad I love none but thee!"
A French rendition by M. Gautier, of the Paris Opera, is offered at a popular price, and
the record is a most excellent one.
The applause which greets this recital is interrupted by the entrance of Marcel, who
makes no secret of his displeasure at seeing his master dining with Romanists. Raoul
apologizes, begging indulgence for an old soldier and faithful servant who loves him, and
the guests call on Marcel for a song. The grim soldier offers to sing an old Huguenot song
of warning both against Rome and the wiles of woman.
I\[.\rcel:
Sirs, I will: an old Huguenot song aganist the snares of Rome and the
dark wiles of woman. You, sirs, should know it well — it is our battle
song: you heard it at Rochelle. for there 'twas sung, 'nnd the dm of
drums and trumpets; with a full accomi>animent — piff, jiaff. piff, paff, —
of bullets from our rank^. thus uut it rang:
* Double-Face J Record — See page 186.
VICTOR BOOK OF THE OPER A— T HE HUGUENOTS
Pi£f! Paff! (Marcel's Air)
By Marcel Journet, Bass
(In French) 74156
I*L.\NCON AS ST. BRIS
12-inch, $1.50
Marcel:
Old Rome- and licr revelries.
Her pride and her lu^t. boys,
The monks and their devilries,
We'll grind them to dust, boys!
Deliver to fire and s\vor(i
Their temples of Hell,
Till of the Ijlack demons
Is'one live to tell 1
Woe to all defilers fair!
1 ne'er Jieed their shriekin^^ —
Woe to the Dalilahs fair._
Who men's souls are seeking!
])eliver to fire and sword
Those children of Hell.
Till of the black dem<ins
None live to tell!
Refrain
Piff, patf, piff; slay them all,
PifF, ])atT. piff, ev'ry soul!
Piff, paff. piff; paff; piff; piff. paff. piff. patT!
All vainly for aid or for mercy they call;
No pity for them! No they die — -^lay all!
No, no, no, no, no, no, no; slay all!
Journet's portrayal of the grim, stubborn old serv-
ant is a very fine one, and his rendition of the Piff, Paff is remarkable in its rugged force
and stern simplicity.
A servant of Nevers announces a veiled lady to see him and he retires to an adjoining
room. Paoul catches sight of the lady through the window as she lifts her veil, and is
astonished and grieved to recognize the beauty he had saved from the ruffians.
A young page now enters, and in a lovely air, familiarly called the Page Song,
announces that she has a message for one of the cavaliers present.
Nobil Signori salute ! (Noble Sirs, I Salute You)
By Louise Homer, Contralto iln Italian) 85107 12-inch, $3.00
This gay and brilliant cavatina is considered one of the most difficult of contralto num-
bers. It begins with a long and very ornamental cadenza, followed by this graceful melody:
Jndandao CanUitile, con grai
No
bil do
-nae Un -too-ne -
sea. . .
che tar
lie-to u
rom
a la
rty /air and love
ly. - .
For whos
smiUs
king
worked up v^ith much spirit and reintroduced after a striking series of vocal figures sung
on the word "no." Mme. Homer's execution of this florid air exhibits w^ell the great flexi-
bility of her fine voice.
Meyerbeer intended this part for soprano, but it is usually transposed and sung by a
contralto.
Urbano :
A most charming noble lady.
Whom with envy kinps might view.
With a message here has charged mc.
Cavaliei's, cavaliers, to one of you.
I do not name him; but honor be
Unto the good knicht, whoe'er be be!
And imtil now, sirs, there ne'er hath been
Mortal so favor'd by beauty's queen I
The note proves to be for Raoul, and bids him consent to come blindfolded in a
carriage, without question, to w^herever his guide will take him. The young mian is puzzled
but decides to obey, and shows the note to the others. They recognize the seal of Margaret
of Valois, and cast looks of envy at him as he follows the page.
182
VICTOR BOOK OF THE OPER A— T HE HUGUENOTS
ACT II
SCENE — Castle and Gardens of Chenonceaux
The Queen is seated on a kind of throne surrounded by her maids, who, with Urbano,
are assisting in her toilet. She rises and sings '
great air in praise of fair Touraine.
O, vago suol della Turenna (Fair
Land of Touraine)
By Maria Galvany, Soprano
(In Italian) 88234
By Frieda Hempel, Soprano
(In French) 88382
By Giuseppina Huguet, Soprano
(/n Italian) ^'=35123 12-inch
12-inch, $3.00
12-inch, 3.00
1.25
(JUE£i\' :
(.)h, lovely land of fair Touraine I
Thy vine-clad hills, thy sparkling fountains.
Thy green banks and thy mumi'ring zephyr
All fill my soiii with peace and love I
Vet. for a difference in belief,
This fair scene may by war be stain'd!
Oh, tliat men would observe the moral.
To love and fear the all-powerful Being!
But hence with sorrow 1
Care we will banish;
Quick, let it vanish, far, far away!
In the land where I reign.
From the mount to the main,
-\I1 re-echo tlie strain
That's devoted to love I
irOMER AS THE PAGE
The maids disperse, and Valentine enters and tells the Queen that she has seen the
Count de Nevers, who has promised to release her from the engagement which had been
arranged. Margaret informs her that she has another cavalier m mind— meaning Raoul,
w^ho is now conducted to the ladies and his mask removed. He is much astonished to find
that it is the Queen w^ho has sent for him, and pledges his honor and his sword to her service.
He does not, however, perceive Valentine, -who has retired at the moment of his entrance.
f The nobles of the Court, Protestant and Catholic, now enter,
Bi having been sent for by Margaret. She announces that she is
^A planning a marriage w^hich shall reconcile all their differences, and
^) asks them to swear to live in peace with each other. Raoul,
■^•- Nevers, St. Bris and the nobles gather around the Queen and take
the oath.
Valentine is now led in by her father and presented to Raoul.
He starts in astonishment, having recognized the lady he had res-
cued, and whom he had seen meeting Neoers.
Raoul (in a stifled -.■oicc) :
Great Heaven! what do I sec?
Margaret:
Why this astonishment?'
Raoul:
What! is this the l^ride you would offer to me?
Margaret :
Yes, to marry and to love,
Raoul:
What perfidy! what treachery!
I her husband! Never. nc\'erl
A terrible scene follows, St. Bris challenging Raoul, who is
ordered under arrest by the Queen. Valentine is overcome with
shame, and the Catholics are furious. Marcel is delighted that his
master has escaped marriage with a Catholic, and the curtain falls
scALCHi as the PAGE ^^ the Lutheran chorale is again heard in the orchestra.
'Double-Faced Record — See page 1 86.
183
VICTOR BOOK OF THE OPER A— T HE HUGUENOTS
KILSSON AS VALENTINE
UALMCRES AS EAOUL
him of the plan. She meets
ACT III
SCENE — A Square in Paris
Catholic students are seated
outside an inn on the left, while
opposite some Huguenot sol-
diers are drinking and playing
dice. The soldiers sing their
famous Rat-a-plan.
Coro di Soldati
(Soldiers' Chorus,
*'Rataplan")
By Metroplitan Opera
Chorus (In Italian)
*45051 10-inch, $1.00
A ^vedding procession pass-
es on its way to the church ; it
is for Valentine, who has been
persuaded to wed N eo e rs .
Valentine asks that she be per-
mitted to spend the day in the
chapel in prayer. While there she overhears a plot to assas-
sinate Haoul, and at once goes in search of Marcel to inform
him in the square and tells him of the plot.
Nella notte io sol qui veglio (Here By Night Alone I 'Wander)
By Maria Grisi, Soprano, and Perello De Segurola, Bass
[In Italian) =^=63404 10-inch, $0.75
Marcel thanks her for the w^arning and goes w^ith his friends to the rescue. A general
conflict is threatened but is prevented by the Queen, w^ho appears just in time. She tells
Raoul that Valentine is innocent of wrong, having merely gone to Nevers' house to ask him
to release her. Raoul is overcome with remorse, but the knowledge comes too late, as
Valentine is already the wife of Neoers.
A richly decorated boat approaches, occupied by the nuptial
suite. Neoers leads Valentine to it, and as all salute the bridal
couple the boat moves aw^ay, w^hile Raoul, overcome by grief,
is supported by Marcel. The curtain falls.
ACT IV
SCENE — A Room in Nevers' Castle
Valentine, alone, broods over her sorrows, confessing to her-
self that although v/edded to another, she still loves Raoul. She
is astounded to see her lover appear, he having braved death
and entered the castle to see her again. Valentine hears her
father's voice, and hastily conceals Raoul behind the tapestry.
The Catholic nobles enter to discuss the plot outlined by St. Bris.
They finally agree to his fiendish proposal, and swear to slaughter
the Huguenots. Nevers is horrified at the bloody scheme to
exterminate all Protestants, and refusing to become an assassin,
he breaks his sw^ord, and is led aw^ay by the guards.
The conference closes v^'ith the famous Benediction of the
Swords, perhaps the greatest and most thrilling of all operatic
scenes. A magnificent record of this number has been given by
Journet and the Opera chorus.
Benediction of the Swords
By Marcel Journet, Bass, and Metropolitan
Opera Chorus [In Italian) 74275 12-inch, $1.50
By Sousa's Band ===35118 12-inch. 1.25
' ''Douhk^Faced Record—For tille of opposite side see DOUBLE-FACED HUGUENOTS RECORDS, page 186.
184
\ST,\NTlNn AS RAnUL
VICTOR BOOK OF THE OPER A— T HE HUGUENOTS
The number begins with the strain sung by Si. Bris in his recital of the plan.
This is followed by the noble strain of the Benediction, one of the best known passages
in Meyerbeer's work —
D'un sa - cro zel
On Heav'n's just iausf
St. Bris:
Do you wish our dear country to save?
Monks and Nohlics:
It is our wish I our hearts' desire!
St. l^Ris:
To serve our noble King,
\\'\\\ ye the traitors destroy?
Monks and Kos'.Liiis:
The King's commands, wc will obey!
St. 1'ris:
'Tis well! now hear the King's decree:
These Huguenots, whose vile detested race we
hate.
Shall from this day by the sword disappear!
St. IIris:
On Heaven's just cause relying,
This impious race defying,
'Mid thousands round thee dying,
Now swear that no mercy thou'lt show!
A sacred zeal inspiring.
All hearts with courage firing,
To compass Heav'n's desiring,
Now for vengeance we go!
KEszKE as raoul
Then comes the furious and fanatical chorus of priests and lords, one of the most
difficult of ensembles.
Strike them down, men and children, all!
And let no mercy ever be shown!
By the sword they shall perish.
And their temples be o'erthrown!
St. Bris:
Be silent, my friends, and breathe not e'en
murmur
To wake our slumb'ring foe!
All:
Whisper low, not a word,
Not a breath or sign revealing, while we,
silent stealing,
Strike the impious foe!
{With fury.)
Now for vengeance! we will go!
The number closes with the famous passage for the basses which
finishes on a low E natural, sung very pianissimo, as the company
disperses. i r i l l
The nobles having gone, Raoul comes out, horrihed at what he
has heard, and wishes to warn his friends, when Valentine, thinking
to save his life, urges him to remain, telling him that she loves him.
In a transport of delight he begins the great duet.
Dillo ancor (Speak Those \(/ords Again !)
By Ida Giacomelli, Soprano, and Gino Martinez-
Patti, Tenor [In Italian) ^-35123 12-inch, $1.25
Ra<:iul:
Ah! say again thou lov'st me!
From darkness drear I have awakened to bliss!
Forever now we're united.
Thou hast link'd thy fate to mine —
Forever, forever, forever !
la SALL1-: AS NEVERS Say once again thou lov'st me!
~'^'E>uhle^Facc3Record-Formle of opposite side sccDOUBLE^FACED HUGUENOTS RECORDS, page 186.
VICTOR BOOK OF THE OPER A— T HE HUGUENOTS
12-inch, $1.25
45007
12-inc
12-mch,
10-inch,
h, 1.25
The great bell of St. Germain, the signal to prepare for the slaughter, is heard tolling,
and Haoul makes a fresh effort to go to the aid of his people. Valentine clings to him,
but he rushes to the window, and shows her that the massacre has already begun ; then
tears himself from her arms and leaps from the window, while she falls fainting.
In recent productions in America, because of the great length of Meyerbeer's work, the
opera has ended with the shooting of Raoul b}' the mob as he leaps from the -window; but
in the original version a fifth act occurs, in which Nevers is killed, and Valentine, renouncing
her faith, is united by Marcel to Raoul. St. Bris and his party enter the street, and not
recognizing Valentine, fire upon the three and kill them. The curtain falls as ,S/. Sris dis-
covers that he has murdered his daughter. This final tragedy is graphically pictured in
the accompanying reproduction from an old drawing.
DOUBLE-FACED AND MISCELLANEOUS HUGUENOTS RECORDS
/Benediction of the Poignards By Sousa's Band|„, „
\ Trovatore — Home to Our Mountains By Morgan-Macdonough, \
jO vago suol della Turenna (Fair Land of Touraine) Huguetl
<Dillo ancor (Speak Those Words Again) By Ida !35123
I Giacomelli, Soprano, and Gino Martinez-Patti, Tenor |
jHuguenots Selection By Victor Band|„,_29
\ Norma Overture By Victor Band\
Plus blanche (Fairer Than the Lily) M. Gautier (InFrench}\^
Guillaume Tell — Jisile Heredilaire — M. Gautier, Tenor {In French)
Core di Soldati (Soldiers' Chorus, "Rataplan")
By Metropolitan Opera Chorus {In Italian)
Magic Flule — O his und Isiris {Qreat Isis)
By Metropolitan Opera Chorus {In German)
Nella notte io sol qui veglio (Here By Night Alone
I Wander) By Grisi and Segurola {In Italian)
Lucrezia Borgia — Vieni la mia vendetta By Giulio Rossi, Bass
Huguenots — Grand Selection { Part of Prelude — Chorus, Act I —
Sextette, Act III~Danse Boheme, Act III— Prelude
Arthur Pryor's Band
Masked Ball Selection {Part of Ballet Music and the Aria,
"Saper vorreste," Act III) Vessella's Italian Band
1.25
1.00
45051 10-inch, 1.00
63404 10- inch.
17314 10- inch.
.75
.75
THE FINAL TRAGEDY
ISG
bCE.NE TRUiM JEWELS u !■ THE MADuNNA
(Italian)
I GIOJELLI DELL A MADONNA
(German)
DER SCHMUCK DER MADONNA
(English)
THE JE\^ELS OF THE MADONNA
OPERA IN THREE ACTS
Libretto by C. Zangarini and E. Golisciani ;
music by Ermanno Wolf-Ferrari. First performed
as Der Schmucl^ der Madonna at the Kurfuersteir-
oper, Berlin, December 23, 191 1. First American
production at the Auditorium Theatre, Chicago,
January 12, 1912. First New York performance
March 5, 1912.
Characters
CENNARO, in love with Maliella Tenor
MALIELLA, in love with Rafaele Soprano
R.AFAELE, leader of the Cammorists. . . .Baritone
CARMELA Soprano
BlASO Tenor
CICCILLO Tenor
STELLA Soprano
CONCETTA Soprano
Serena Soprano
GRAZIA Dancer
TOTONNO
ROCCO Bass
Vendors, Monks, People of the Streets, etc.
DOVER ST, STUDIOS
SAMMARCO AS RAFAELE
Time and Place : The scene is laid in Naples,
at the present time.
187
VICTOR BOOK OF THE OPERA— JEWELS OF MADONNA
Few operas of recent years have
met with the unquaHfied success which
has been accorded Wolf-Ferrari's vivid
melodrama of Neapohtan hfe. The
story of the opera is the composer s own
idea, based on actual happenings in the
squaUd, superstitious Hfe of the people of
Naples, feverish with its reckless gayety,
and mingled with sadness and gloom.
The w^ild doings of the Cammorists, the
preparations for the celebration in honor
of the Virgin, the pageantry of the Cath-
olic ceremonial and the w^ild tumult of
Neapolitan revelries form the back-
ground and atmosphere for this realistic
music-drama.
The plot may be summed up as
follow^s : A/a//e//o, a w^ayv/ard Neapolitan
beauty, is loved by her foster brother,
Qennaro, a simple, honest lad, but the
girl is infatuated w^ith the dashing
Rafaele, leader of the Cammorists.
jRafaele proudly boasts that he would
stop at nothing to prove his love for
Maliella, declaring he would even steal
for her the jew^els which deck the image
of the Virgin. The young girl, annoyed
by Qennams attentions, taunts him v/ith
not daring to do for her v/hat Rafaele
had offered. Almost in the hope of
w^inning her favor the poor fellow^ steals
to the church at night, secures the
GENNARO AND MALIELLA
HAWLIN AS r.ENNARO
jewels, and lays them at Maliella' s feet. At
first she is fascinated by the brilliancy of the
gems, but as she realizes the awful sacrilege
Qennaro has committed she flies to Rafaele,
Vk^hom she finds in the inn of the Cammorists.
He, in a frenzy of jealousy, spurns her, declar-
ing she has sold herself for the jewels. The
unhappy girl drowns herself, and Gennaro, in
an abandon of remorse and despair, places the
jewels on an altar, prays for mercy, and drives
a dagger into his heart. As the people, bent
on vengeance, burst into the room, they see the
body of the unfortunate youth lying before the
Madonna.
One of the features of the opera is the
beautiful w^altz intermezzo betw^een the second
and third acts, which has been given here in
delightful fashion by the Victor's fine organi-
zation, under Mr. Rogers' direction.
Intermezzo
Victor Con-
cert Orchestra
Merry Wives of
Windsor Over-
ture (Nicolai)
New Symphony
Orchestra of
London
35270 12-inch, $1.25
188
ri-lK OPENING SCENE OE KONJGSKINDER
(German)
(English)
KONIGSKINDER THE KING'S CHILDREN
{Koenigs -kin-der)
FAIRY OPERA IN THREE ACTS
Book by Ernst Rosmer (Elsa Bernstein). Music by Engelbert Humperdinck. First
production in any country December 28, 1910, at the Metropolitan Opera House, Ne"w
York, with Farrar, Homer, Jadlowker and Goritz in the cast. The opera has since been
given in London and throughout Europe.
Characters
The Goose Girl Soprano
The King's Son Tenor
The Witch Contralto
The Fiddler Baritone
The woodcutter Bass
The BROOMMAKER Tenor
Innkeeper Bass
INNKEEPER'S DAUGHTER Mezzo-Soprano
Tailor, Stable-maid, Gate-keepers, Citizens, Councillors, Musicians, Children, etc.
The opera of Konigsf(m(Jer is based on a three-act play by Ernst Rosmer (in private
life Elsa Bernstein), with incidental music by Humperdinck. The first production of this
play took place at Munich, January 23, 1897, and the following year it was given at Irving
Place Theatre, Nev^^ York, and four years later in English as Children of the King.
Humperdinck's opera is allegorical in character, illustrating the stupidity of mankind
in failing to recognize true loyalty when it appears to them in disguise. It is a human
little story, full of pathos, humor and tenderness, and no one could have given it the gentle,
sympathetic touch better than Humperdinck.
VICTOR BOOK OF THE OPERA— THE KING'S CHILDREN
lU. tiUOSK (.'.IKI- l-EEUIN'G HER FL<.>
((iERAI.DI XE FARRAR)
The story tells of a Goose
Girl who Hves with an old
Wilch in the hills above the
tow^n of Hellabrunn. A
poorly-dressed youth comes
out of the woods and tells the
Goose Girl of his w^anderings.
He is in reality the King 's Son,
but the girl does not know
this. The boy falls in love
with the beautiful maiden,
and asks her to go maying
with him through the summer
land. The girl longs to run
off with him, but finds her
feet glued to the ground. The
King 's Son, believing her afraid
to go, tells her she is unworth}'
to be a king's mate, and leaves
her, vow^ing she shall never
see him again till a star has
fallen into a lily which is
blooming nearby.
The Witch returns and
scolds the Goose Girl for v^ast-
ing her time on a man. The Fiddler enters, follow^ed by the Woodcutter and Sroommal^er
from the town, -who come to ask the Witch if she has seen the King's Son, as the King is
dead and the people want the son to rule in his place. The Witch tells them that the first
person v/ho enters the city gate next day at noon, no matter w^hat his seeming social condi-
tion may be, v/ill be crow^ned King. The Wood-
cu//er and Sroomma^cr depart, but the Fiddler lingers,
hoping to get a glimpse of the Goose Girl, w^ho is in
the hut. She appears and tells him her sorrow^s, and
he assures her she shall w^ed the King's Son. The
girl prays that his w^ords may come true, and as
she kneels a shooting star falls into the heart of
the lily. She runs off into the w^oods v/ith her
flock in search of her lover.
In Act II we see the tow^n of Hellabrunn in an
uproar, awaiting the new ruler. At the inn near
the tov/n gates is the King's Son, still in rags.
Musicians enter and a dance begins. The Gate-
l^eeper refuses to allow the people to crowd in the
gatew^ay, keeping it clear for the entry of the King.
The Woodcutter is invited to relate his adventures
in the woods, and he says that on the stroke of
twelve the King's Son will enter the gates. The
people scoff at the suggestion that their new King
might come in rags, but as the clock strikes tw^elve,
the crow^d rushes tow^ard the gates and beholds the
King's Son in his rags, and the Goose Girl, escorted
by her flock, entering the city. The people, w^ith
the exception of the Fiddler, who recognizes the
King's Son, mock the couple and drive them out
w^ith sticks.
In Act III the Fiddler, who has been cast out of the town for his defense of the King's
Son and the Goose Qirl, is seen at the Witch's hut, feeding the doves the girl has left behind
her. He lives here alone, the Witch having been burned at the stake by the people, who
declared she had deceived them in her promise of a new^ ruler. A troop of children come
to beg the Fiddler to lead them in a search for the lost King's Son and his sv/eetheart, and he
gladly consents. The Woodcutter and the Broommaker arrive and go into the hut, and hardly
190
Gr)RlTZ AS THE FIDDLER
VICTOR BOOK OF THE OPERA— THE KING'S CHILDREN
has the sound of the searching party died away than the King's Son and Goose Girl appear.
They are half famished and beg of the Woodcutter something to eat, and he finally gives
them some poisoned pastry which he finds in the hut. The outcasts eat it and die, and
when the Fiddler and the children return from their useless search they can only mournfully
bear away to the hills for burial the bodies of the poor Kingly Children.
KONIGSKINDER RECORDS (In German)
Lieber Spielmann (Dearest Fiddler)
Geraldine Farrar 88405 13-inch, $3.00
This is the song of the Broommat^er's child, who
is spokesman for the throng of children "who come
to the hut in Act HI to beg the Fiddler to lead them
in a search for the outcasts.
O du liebheilige Einfalt du ! (Thou
Innocent One)
By Otto Goritz 64184 10-inch, $1.00
This is the Fiddler's answer to the appeal of the
children that he go with them in their search for
the Royal Pair.
Ihr Kindlein sie sind gefunden
(Children, W^e Have Found Them)
By Otto Goritz 74287 12-inch, $1.50
Sung by the Fiddler as the searching party
return to the hut and discover the bodies of the
Children.
W^eisst noch das grosse Nest (Hast
Thou Forgotten Our Nest ?)
By Geraldine Farrar, Soprano
RETURN TO THE HUT ACT III 88412 12-inch, $3.00
This pathetic bit occurs in the last act, as the Goose Girl and King's Son, banished from
the city, wander in the wintry wood, cold and hungry. She recalls to his memory the happy
days when he wooed her in the leafy bower.
CROUP OF CHILDREN ACT III
191
(French)
LAKME
OPERA IN THREE ACTS
Book by Goudinet and Gille, taken from the story Le Manage de Loli. Music by L^o
Delibes (Deh-leeb'). First production Paris, April 14, 1883. First London production at
the Gaiety Theatre, June 6. 1885. Produced in New York November 28, 1888.
Characters
Gerald, i ^ c l □ ■ • r • ■ j- i Tenor
,_ • orncers or the British army in India ', r>
Frederic, i I Baritone
NILAKANTHA, a Brahman priest Bass
Hadji, a Hindoo slave Tenor
LAKME, daughter of Nilakantha Soprano
Ellen, daughter of the Governor Soprano
Rose, her friend Soprano
Mrs. Benson, governess of the young ladies Mezzo-Soprano
MALLIKA, slave of Lakme Mezzo-Soprano
A Fortune Teller
A Chinese Merchant
A Sepoy
Hindoos, Men and Women, English Officers and Ladies, Sailors,
Bayaderes, Chinamen, Musicians, Brahman, etc.
Scene and Period : India, at the present time.
The first important American production of this opera, w^ith its graceful music and
scenes of Oriental splendor, "was given by the American Opera Company in 1886, although
a version was put on by Emma Abbot in 1883. Since theti it has had three revivals — the
Patti production of 1890; that of 1895 for Marie Van Zandt, and the Metropolitan revival
of 1906-7. The music of the opera is wholly beautiful, and the principal numbers are
exquisite compositions — lovely in idea and execution.
The story resembles in some points both Aida and Africaine ; all three are more or less
Oriental; La^mtf, like Aida, loves her country's enemy; Nilak_antha and A^e/us^o possess simi-
lar traits; while Lakme and Selil^a both poison themselves botanically.
The Oriental atmosphere is somewhat spoiled by the introduction of the modern and
somewhat commonplace English characters, but the romantic ending atones for any
shortcomings.
ACT I
SCENE — A Qarden in India
Nilanf^atha, Laf^me's father, hates the English invaders and resists their presence in India.
Gerald and Frederic, English officers, while sauntering with some English ladies, venture on
sacred ground near Nilakantha' s temple, and when rebuked they all depart but Gerald, who
remains to sketch some Oriental jew^els ^vhich Lal^me had left in the garden. He takes up
the trinkets and sings his charming air, Idle Fancies.
Fantaisie aux divins mensonges (Idle Fancies)
By M. Rocca, Tenor (Double-faced— See page 195) ilnFrench) 16573 10-inch, $0.75
He is struck with the daintiness and beauty of the gems and tries to picture the
unknov/n beauty to v/hom they belong.
VICTOR BOOK OF THE OPER A-D ELIDES' LAKME
Gerald :
Idle fancy, cradled by delusion,
You mislead me now as of old.
Go to dreamland, turn baek in confusion,
Fair dove fantastic, with wings of gold.
(Taking up a bracelet.)
Of some fair maid round her arm folding.
This bracelet rich must oft entwine.
Ah I what delight would be the holding.
The hand that passes there, in mine.
(Taking up a ring.)
This ring of gold, my dream supposes.
Oft has followed, wand'ring for hours,
'
1
\
/^
■•^
fo^.
1
|m
f
^^^^
\>lLL\ndri as i.ak.me
Lakme:
Why love I thus to stray,
In woods here, day by day.
While tears have sway?
Why doth the dove's note sadden.
And fill my heart with sighing;
As doth a fading flow'ret.
Or a leaf eastward flying?
\'et are these tears most sweet to me,
Tho' sad they be!
And my heart is gladsome,
Tho' I'm sighing, I'm gladsome.
The small foot, that but reposes
On mossy banks or beds of flowers.
This necklace, too, with her own perfume
scented,
Embalm'd as yet with sweets from her lips
that came,
Has felt the true heart, beating, glad, con-
tented,
Trembling with joy at the one well-loved
name.
Away, fly, fond illusions.
Swiftly passing visions that my reason dis-
turb!
Idle fancy, cradled by delusion, etc.
(From the Ditson Edition.)
This beautiful air has been sung for the Victor by
a brilliant and accomplished young tenor, M. Rocca, of
the Opera Comique.
Hearing some one approaching, Gerald hides himself
in the shrubbery. La^me enters and lays flowers at the
feet of an idol. She is about to go when she pauses
and tries to analyze a strange feeling which has come
over her, saying :
Lakme :
In my heart now I feel there's
strange.
The flow'rs are more lovely appear
And Heaven's more radiant now.
From woods a new song I am hearing,
Fond zephyrs caress my brow.
And a fragrance that's rare is filling.
All my senses with a rapture so thrilling!
She then sings her first lovely song,
Pourquoi dans les grands bois
(W^hy Love I Thus to Stray?)
By Alice Verlet, Soprano
{Double-faced — See page 195)
{In French) 45006 10-inch. $1.00
and asks herself why she loves to wander in the forest
and why she is both sad and glad.
murmur so
■in&.
Ah: why?
Why look for reasons here, in
the stream.
Where roses dream ?
In leaves that fall around?
In my heart soft reposes, like a 1
Sweeter balm than yield roses, by
caressed,
Or by loving lips pressed. Tho'
gladsome,
Ah, why?
of
ly at rest,
gentle winds
I sig
She suddenly sees Gerald among the trees and utters a cry of fear. Her attendants run
in, but some intuition tells her not to reveal Gerald's presence, and she sends them aw^ay.
Going to his hiding place she denounces him for trespassing on sacred ground, and bids
him begone. He begs her for a few moments' conversation, and tells her of the impression
she has made on his heart.
Gerald : Ah ! linger, go not yet, so thoughtful, sweet, unchiding!
Let blushing charms that mine eyes now have met,
O'ermantle thy cheek.
Its lily pallor hiding!
Lakmi looks on the handsome youth w^ith interest, but tells him she fears the return of
her father, w^ho w^ould surely seek vengeance for the Englishman's desecration of holy
ground. Gerald departs just as Nila\antha, summoned by Lakm6's attendants, enters, and
seeing traces of a trespasser, declares that he must die. They go in pursuit of Qerald,
leaving Lak,m6 motionless with fear.
193
VICTOR BOOK OF THE OPER A— D ELIBES' LAKME
ACT II
SCENE — A Street in an Indian City
Act II shows a public square, lined with Chinese and Indian shops and bcizaars. Eng-
lish visitors are strolling about, viewing the scenes with interest. Nilakonlha, disguised as a
beggar, is seeking traces of the intruder, w^hom he has sw^orn to kill. Lal^me is w^ith him,
wearing the dress of a dancing girl. He orders his daughter to sing, hoping that the Eng-
lishman will recognize her voice and betray himself. She sings the famous Bell Song.
Ou va la jeune Hindoue (Bell Song)
By Luisa Tetrazzini, Soprano
By Bessie Abott, Soprano
By Maria Galvany, Soprano
By Ellen Beach Ya\v, Soprano
Delibes has ingeniously used bells to give character to this
number, which is a most intricate one, especially in the refrain,
where voice, w^oodwind and bells blend v/ith many charming
touches.
Lakmi'l:
Down t litre, where shades more deep arc
glooming.
What trav'ler's that, alone, astray?
Around him flame bright eyes, dark depths
illuming,
But on he journeys, as by chance, on the wayl
The wolves in their wild joy are howling.
As if for their prey they were prowling;
The young girl forward runs, and doth their
fury dare.
A ring in her grasp she holds tightly,
Whence tinkles a bell, sharply, lightly,
A bell that tinkles lightly, that charmers wear!
(She imitates the bell.)
Ah! Ah! Ah! Ah!
While the stranger regards her
Stands she dazed, flush'd and glowing.
More handsome than the Rajahs, he!
**-*» -)(■***»
And to heaven she soars in his holding,
It was X'ishnu, great Brahma's son!
And since the day in that dark wood,
The trav'ler hears, where Vishnu stood,
The sound of a little bell ringing,
The legend back to him bringing,
A small Ik'II ringing like those the charmers
wear !
{In Italian) 88297 12-inch, $3.00
[In French) 88084 12-inch, 3.00
[In Italian) 88219 12-inch, 3.00
{In French) 74090 12-inch, 1.50
TT AS LAKM^
Mme. Tetrazzini's rendition of this beautiful air is wholly charming, and the vocal em-
bellishments w^hich she introduces w^ill be something of a novelty to those who are familiar
only with the usual cadenzas.
Other fine renditions of this brilliant air are given by Mme. Galvany, who indulges in
some quite astonishing cadenzas; by Bessie Abott, w^hose fresh young voice is heard to
great advantage; and by Miss Yaw, who provides a lower-priced version.
Ai.s Nilal^antha had planned, Gera/c/ recognizes La^me and betrays himself. The Brahman
goes to collect his Hindoos, intending to kill the Englishman, w^hile Laf^me finds Gerald,
warns him of the plot, and tells him of a hut in the forest w^here he may be free from
pursuit.
La k m e :
In the forest near at hand,
A hut of bamboo is hiding,
'Neath a shading tree doth stand,
This roof of my providing.
Like a nest of timid birds,
In leafy silence abiding,
From all eyes secret it lies,
And waits it there a happy pair!
Far away from prying sight,
Without there's naught to reveal it,
Silent woods by day and night,
Ever jealously conceal it;
Thither shalt thou follow me!
When dawn earth is greeting,
Thee with smiles I shall be meeting.
For 'tis there thy home shall be.
194
VICTOR BOOK OF THE OPER A— D ELIBES' LAKME
Gerald at first refuses thus to hide, declaring it unworthy of a British officer, but Lakm6
pleads with him and he consents; but as he attempts to follow^ her he is stabbed by Nita-
l^antha, w^ho then escapes. Lakjne runs to Gerald, and overjoyed to find his w^ound is not
serious, she prepares, w^ith the help of her faithful attendant Hadji, to bear him to the
forest retreat.
ACT III
SCENE— ^n Indian Forest
Act HI shows the hut in the tropical forest. Gerald is lying on a bed of leaves while
Lakm^ w^atches over him, singing soothing melodies. He opens his eyes and greets her
with rapture, singing his beautiful In Forest Depths.
Vieni al contento profondo
(In Forest Depths)
By John McCormack, Tenor
{In Italian) 64171 10-inch, $1.00
This lovely cantilena is given in delightful
style by Mr. McCormack.
Gerald :
I too recall. — still mute, inanimate. — -
I saw you hcnt o'er my lips; while thus lying:.
My soul upon your look was attracted and
fastened ;
'Neath your breath life awoke and recovery
hastened.
O my charming Lakme;
Through forest depths secluded.
Love's wing above us has passed;
Earth-cares have not been intruded,
And heaven on us falls at last.
These flow' ring vines, with blooms capricious,
Bear o'er our pathway scents delicious;
Which soft hearts, with raptures beset,
While all else we forget!
As the days pass and Gerald recovers his
strength, he seems to forget all else but his love
for the Brahman maiden, but one day, while she
is absent, his friend Frederic finds him and urges
him to return to his duty, telling him his regi-
ment is ordered off at once to suppress an outbreak
among the Hindoos. Gerald promises to be at his post in time, but asks for a litde time in
which to say good-bye to Lakme. Frederic leaves with his promise, and when Lakmi comes
back she finds Gerald changed. She asks the reason, but before he can answer the distant
sound of bugles calling the regiment together is heard. She sees by his face that he means
to go back to his friends, and in despair she eats some flowers of the deadly stramonium
tree and dies in his arms, just as her father and friends arrive upon the scene.
AS LAKME
DOUBLE-FACED AND MISCELLANEOUS LAKME RECORDS
fPourquoi dans les grands bois (Why Love I Thus to Stray ? ) 1
By Alice Verlet, Soprano (/n FrencA) 45006 10-inch. *L00
1 Mignon — Polonaise By Mile. Korsoff, Soprano {In French)}
fPantaisie aux divins mensonges (Idle Fancies) |
By M. Rocca, Tenor (/n FrencA) [16573 10-inch.
I Rigolello — Corligiani, vil razza dannaia
y By Renzo Minolfi, Baritone (In Italian) |
NOTE— Quotations are from the Ditson libretto by permission— Copy't 1890, Oliver Ditson Co.
195
.75
(Italian)
LINDA DI CHAMOUNIX
OPERA IN THREE ACTS
Words by Rossi ; music by Donizetti. First production at the Karnthnerthor Theatre,
Vienna, May 19, 1842; in Paris, November 17, 1842; in London at Her Majesty's, June, 1843;
in New York, 1847.
Cast
Marquis of BOISFLEURY Baritone
CHARLES DE SlRVAL, his son Tenor
The Parish Priest Bass
Antonio LOUSTOLOT, a farmer Bass
Madeline, his wife Mezzo-Soprano
Linda, their daughter Soprano
Time and Place : Chamounix and Paris, I 760, during the reign of Louis XV.
The story tells of an aged couple, Loustolot and Madeline, and their only daughter Linda,
w^ho dwell in the valley of the Chamounix (in the French Alps). Linda loves a young
painter, Charles, who has come to the valley to paint the mountains. The Marquis de Siroal,
who holds a mortgage on LoustoloV s farm, visits the old couple and assures them that he
will not press the mortgage ; but at the same time he is secretly plotting to effect the ruin
of Linda.
Linda enters and speaks of her love for Charles. She then sings the gem of the first
act, a favorite w^ith colorature sopranos for more than seventy years.
A Huguet record of this lovely air is offered here, doubled with the Trentini-Caffo
duet belov/.
O luce di quest' anima (Guiding Star of Love !)
By Giuseppina Huguet, Soprano {In Italian) 62090 10-inch, $0.75
Linda: Oh! star that guidest my fervent love.
Poor are we botli in worldly state; Thou'rt life and light to me;
On love wc live, — on hope we dream I On earth, in Heav'n above,
A painter yet unknown, is he. Entwin'd our hearts will be.
Yet by his genius he will rise. Oh, come, then, come, my best bclov'dl
And I his happy wife shall be 1 Oh. what joy I My every pulse is thine!
Charles enters, and the lovers sing their charming duet.
A consolarmi affrettati (Oh, That the Blessed Day W^ere Come)
By EmmaTrentini, Soprano, and Alberto Caffo, Tenor 62090 10-inch, $0.75
Ltnda and Charles:
Oh! that the blessed day were come. And tlicn, my love, we'll never part,
When standing side by side, But each a treasure find
We before God and man shall be In having brought a faithful heart
As bridegroom and as bride. To heav'nly love resigned!
The v/orthy parish priest having v^arned Linda's parents of the dishonorable intention
of the Marquis, they decide to remove Linda from the danger, and send her to Paris.
The Marquis pursues her to the city and renev^s his attentions, while Charles ("who is in
reality the son of the Marquis) is compelled by his father to transfer his attentions to another.
Linda's father comes to Paris in disguise, and discovers his daughter. Believing her to be
an abandoned woman, he curses her, and she becomes insane through grief.
The last act again show^s the little farm at Chamounix. The demented Linda has made
her way back to her parents, and is found by Charles, w^ho has escaped the unwelcome
marriage and nov^' brings the release of the farm from debt. The sight of her lover causes
Linda to fall in a death-like swoon, but when she recovers her reason has returned, and the
lovers are united,
196
""■'''^ " ^ I BET\NZ PL\^I^ h K IIIE IR N E S \Ll I
(German) (English)
LOBETANZ MERRYDANCE
MUSICAL PLAY IN THREE ACTS
Text by Otto Julius Bierbaum ; music by Lud-wig Thuille. First production at Mann-
heim, Germany, 1898. First production in America November 18, 1911, "with Gadski,
Jadlowker, Witherspoon and Murphy.
Cast
LOBETANZ Tenor
The Princess Mezzo-Soprano
The King Bass
The Forester, )
The Hangman, Speaking Parts
The Judge, J
Girls, musicians, prisoners, two heralds, the people.
Time and Place : Germany in the Middle Ages.
GADSKI Ab THE PRINCESS
The story of Lohetanz resembles an old fairy tale in its
simplicity, the Prince Charming in this instance being a wander-
ing musician, and the ending, as in all good fairy stories, being
of the " lived-happy-ever-after" variety.
The curtain rises on a rose fete, which young girls are pre-
paring in anticipation of the arrival of the King and his daugh-
ter. The Princess is ill, and the King has appointed a day
of festivity in the hope that it will revive her. Lohetanz, a
wandering musician, strolls into the King's rose garden, where
the preparations are being made, and stays to watch the royal
VICTOR BOOK OF THE OP ER A — TH U I LLE'S LOBETANZ
procession, which is accom-
panied by poets and singers.
The musicians play and sing
to the Princess, but all their
efforts fail to please her. Sud-
denly a violin is heard from
an arbor in the rear of the
garden. The Princess is im-
mediately fascinated with the
music, and Lobetanz comes
forward, his instrument on
his shoulder. The pathos of
his playing so affects the
Princess that she sw^oons, and
Lobetanz barely escapes from
the wrath of the people.
In the second act the
strolling minstrel meets the
Princess in a w^ood and tells
her of his love for her. The
lovers are interrupted by the
arrival of the King and the
royal hunting party, and Lobetanz is seized by the pikemen and dragged away, v^'hile the
Princess falls in a sv/oon.
The third act shows the unfortunate lover in prison, charged -with witchcraft, and sen-
tenced to be hanged. As preparations are being made to place the noose about his neck,
the funeral procession of the /^n'ncess approaches. Lobetanzhegs to be allow^ed to play upon
his violin once more, declaring he can revive her. The King promises him his daughter s
hand if he can bring her back to life again. As Lobetanz plays, the flush of life appears upon
the cheeks of the young girl, and she slov/ly revives and is clasped in her lover's arms.
The act closes with a merry dance, in which every one joins, and v^^e are left to suppose
that the lovers "live happy ever after."
The air w^hich Mme. Gadski has sung for the Victor occurs in Act I, in the scene rep-
resenting the rose garden of the King, v^^here the rose festival is to be celebrated. The
Princess, at the bidding of the King, offers a greeting to Spring and the roses.
E GALLOWS SCENE
An alien Zweigen (Lovely Blossoms of Springf)
By Johanna Gadski, Soprano (In German) 88362
12-inch, $3.00
THE fLUWER FESTIVAL ACT I
198
LOHENGRIN
iLoh' -en-grin)
OPERA IN THREE ACTS
Words and music by Richard Wagner. First produced at Weimar, Germany, August
28, 1850, under the direction of Liszt. Produced at Weisbaden, 1853; Munich and Vienna,
1858; Berlin, 1859. First London production, 1875; Paris, 1887. First American production
in New York, in Italian, March 23, 1874, with Nilsson, Gary, Gampanini and Del Puente; in
German, in 1885, with Brandt, Krauss, Fischer and Stritt — this being Anton Seidl's Ameri-
can debut as a conductor.
Sof SbCBtCC.
™ J8 ^uji^u i^;,o
Bur ftiflrtljr.ifirrr
}»r oUfl
£ ^ ( It g t i n.
Characters
HENRI THE Fowler, King of Germany Bass
LOHENGRIN Tenor
ELSA of Brabant Soprano
Duke Godfrey, her brother Mute Personage
Frederick of TELRAMUND, Count of Brabant . . Baritone
ORTRUD, his wife Mezzo-Soprano
The KING'S HER.ALD Bass
Saxon, Thuringian and Brabantian Counts and
Nobles, Ladies of Honor, Pages, Attendants.
Scene and Period : Antwerp, first half of the tenth century.
PROGRAM OF ORIGINAL
PRODUCTION
questions him, and in fulfillment of his vo'w, but in
deep grief, he leaves her and departs in his boat
drawn by a dove. The ethereal Grail harmonies, the
lovely Swan Motive, the noble Prater of the King and
the Bridal Chorus make this one of the most melodious
of all the master's operas.
Prelude
By La Scala Orchestra 31779 12-inch, $1.00
The prelude, one of the most beautiful of all
Wagner's compositions, symbolizes the descent from
Heaven of a group of angels bearing the Holy Grail.
The number begins v^^ith soft A major chords in the
highest register of the violin. The motive of the Grail
is then announced :
Most of us are familiar with the story of the Knight
Lohengrin, who comes in his boat, drawn by a swan, to
defend Elsa from the charge (preferred by Telramund and
Ortrud, who covet Elsa's estates) of having murdered her
young brother, Godfrey.
Telramund is vanquished and disgraced by Lohengrin,
who wins Elsa as his bride. One condition he exacts
from her — that she shall never ask who he is or whence he
came. By the influence of Ortrud, however, she rashly
Coming nearer and nearer, the hght of the Grail is seen
in the sky, while the air is filled with the blessings dis-
pensed by the holy cup. As the sounds grow louder,
the senses are overwhelmed, until at the tremendous
climax thundered out by the full orchestra the mystic
light of the Grail is seen in all its glory.
199
GADSKI AS ELSA
VICTOR BOOK OF THE OPERA— WAGNE R'S LOHENGRIN
The mysterious Grail motive then fades away, being played
at the end by muted strings; and the number ends with the
same A major chords pianissimo.
ACT I
SCENE — Ban/^s of the Scheldt, near Antwerp
King Heniy of Germany arrives at Antwerp and finds
Brabant in almost a state of anarchy. He summons the counts
and nobles of Saxony and Brabant to meet under the Oak of
Justice, and calls on Frederick, of Telramund for an explanation,
saying :
King. Here, to my grief, I meet with naught but strife,
All in disunion, from your chiefs estranged!
Confusion, civil warfare meet we here.
On thee I call, Frederick of Telramund!
I know thee for a knight as brave as true,
I charge thee, let me know this trouble's cause.
Frederick, now^ advances and begins his narrative, boldly
accusing Elsa of the murder of her brother.
Frkherick :
Thanks, gracious King, that thou to judge art come!
The truth I'll tell thee, falsehood I disdain.
When death was closing round our valiant Duke.
'Twas me he chose as guardian of his children,
Elsa the maiden, and Gottfried her brother;
Whose dawning with tender care I guarded.
Whose welfare I have treasured as my honor.
My sov'reign, mark now, if I'm aggrieved,
LRAMUND
my
honor's treasure I am
her
when Elsa had
wandered forth,
boy, trembling,
W'hen of
robbed!
One day,
brother
Without the
turned.
With feign'd lamenting, questioned of
his safety.
Pretending she had been from him
divided,
And in vain his traces she had
sought.
Fruitless was every search wc made
to find him;
And when I questioned her with
words severe.
Her pallor and her
betray'd her,
Her crime in its
stood confess'd!
A horror fell upon
The claim upon her
had conferr'd
With willing heart
siened.
And chose a wife full pleasant to my
sense,
Ortrud, daughter of Radbod, true in
death.
I here arraign her, Princess Elsa of
Hrabant ;
Of fratricide be she charged!
I claim dominion o'er this land by
right;
i\Iv nearest kinsman was the valiant
Duke,
My wife descended of the race
That gave this land their rulers tbro'
long ages past.
O King, give judgment! All now thou
hast heard!
falt'ring tongue
guilty blackness
mc of the maid;
hand her father
, I straight re-
ELSA RELATING HER DREAM
200
VICTOR BOOK OF THE OPERA-WAGNER*S LOHENGRIlsr
fashion of the time,
and the Herald calls:
Who
F THE SCHELDT ACT I
The King is much disturbed, and
asks that Elsa be sent for. When
she enters timidly, -with downcast eyes,
he says kindly: '* Speak, Elsa, in thy
King thou may* St confide!"
The young girl seems bewildered
and dreamily sings the lovely Traum,
telling of her vision of a splendid
Knight w^ho came to be her defender.
Elsa's Traum
(Elsa's Dream)
By Johanna Gadski, Soprano
(German) 88038 12-in., $3.00
By Emma Juch, Soprano
{Piano ace.) {In GeTman)
74014 12-inch, 1.50
Elsa: Oft when the hours were lonely.
I unto lieav'n have pray'd,
One boon I ask'd for only,
To send the orphans aid;
Away my words were wafted,
I dreamt not help was nigh,
But One on high vouchsaf'd it.
While I in sleep did lie.
(with grozving enthusiasm)
I saw in splendor shining,
A knight of glorious mien,
On nie his eyes inclining.
With tranquil gaze serene.
A horn of gold beside him,
ITe leant upon his sword.
His words so low and tender,
Brought life renew'd to me.
(with rapture)
My guardian, my defender,
Tliou shalt my champion be.
The King is much moved, and
ELSA AND LOHENGRIN ^^\\^ f^^. ^ judgment of God aftct the
The trumpeters blow the summons to the four points of the compass.
ill do battle here for Elsa of Brabant! Let him appear I
At first there comes no response, and Elsa is in despair, but after a second call
knight in shining armor is seen approaching in a boat drawn by a swan.
201
VICTOR BOOK OF THE OPERA— WAGNER'S LOHENGRIN
ARRIVAL or LOHENGRIN
The King bids the nobles pre-
pare to fight, and in this noble
Gebet calls upon Heaven to judge
bet%veen the combatants.
Mein Herr und Gott —
Koenig's Gebet
(King's Prayer)
By Marcel Journet, Bass
{In German)
64013 10-inch, $1.00
The King is one of Journet's
best parts, and he always sings it
magnificently, his great voice rolling
out in tremendous volume. His
delivery is always easy and grace-
ful, and his acting dignified and
intelligent.
King Henry:
O King of kings, on TiiL-e I call;
Look down on us in this dread
hour!
Let him in this ordeal fall
\\'hom Thou know'st guilty. Lord
of pow'rl
To stainless knight give strength
and might.
With craven heart the false one
smite;
Do Thou, O Lord, to hear us deign,
For all our wisdom is but vain I
Frederick is soon stricken to
the earth by Lohengrin, w^ho is pro-
claimed a hero. Elsa is pro-
nounced innocent, plights her troth
to her brave defender, and the cur-
tain falls amid general rejoicing.
Nun sei bedankt, tnein
lieber Schwan ! (Thanks,
My Trusty Swan !)
By Fernando de Lucia, Tenor
[In Italian) 76002 12-inch, $2.00
By Leo Slezak, Tenor
(InGerman) 61203 10-inch, 1.00
Lohengrin steps out, then turning and caress-
ing the sw^an, sings ;
Lohengrin :
I give thee thanks, my faithful swan!
Turn thee again and breast the tide,
Return unto that land of dawn
Where joyous we did long abide,
Well thy appointed task is done!
Farewell! farewell! my trusty swan!
(to the King)
Hail, gracious sov'reign !
X'ictory and honor by thy valor's meed!
Thy glorious name shall from the land
That chose thee ruler, ne'er de])art.
The knight now announces that he has
come to defend the maiden, who is unjustly
accused by her enemy.
Lohengrin :
Ye knights, nobles and freemen of tliis land,
Guiltless and true is Elsa of Jirabant!
Thy tale was falsehood, Count Telramund,
By Ileav'n's assistance all thou shalt recant!
PANEL BY HUGO BBAUNE
THE FIGHT BETWEEN LOHENGRIN AND TELKAMUND ACT I
202
VICTOR. BOOK OF THE OPERA — WAG N E R'S LOHENGRIN
THE PLOT—
ACT II
SCENE— Cour; of the Palace
This scene shows the
inner court of the palace at
Antwerp. It is night. Fred-
erick and Orttud, disgraced and
dressed in sombre garments,
are seated on the church
steps. They upbraid each
other, Frederick. accusing
Ortrud of inventing the story
of Elsa's crime. A long duet
follows, ending in a terrible
plot for vengeance.
Elsa appears on the bal-
cony of the palace, all un-
conscious of the w^retched
and disgraced Telramund and
Ortrud, w^ho are hidden in the
shadow, in a blissful reverie,
the young girl sings to the
soft breezes of the knightly
Lohengrin, to v/hom she is
now^ betrothed.
of
Euch luften du mein Klagen
(Ye W^andering Breezes)
By Johanna Gadski, Soprano
(/n German) 88377 12-in., $3.00
Elsa:
Ye wand'ring breezes heard me,
When grief was all I knew;
Now that delight hath stirred me,
IMy joy I'll breathe to you!
Telramund and Ortrud:
'Tis she! Be near, ye powers
darkness!
Elsa (continuing dreamily) :
Thro* heaven's azure ye bore him.
Ye wafted him to me;
'Mid stormy waves watched o'er him,
My guide, my love to be!
Where'er thy pinion rusheth.
The mourner's tears are dried;
My cheek that burns and flushetb
With love, oh cool and hide!
Du Aermste (Thou Un-
happy One) By Emma Eames
and Louise Homer f/n German)
89021 12-inch, $4.00
Elsa, who has finished her raptur-
ous soliloquy to the w^andering breeze,
still lingers on the balcony, enjoying the
balmy night and dreaming of her be-
trothal on the morrow. Ortrud, pursuing
the plot agreed upon with Frederick,
appears and calls to Elsa, -who hearing
her name, cries :
\\'ho calls? How strangely
My name resoundeth thro' the night !
Ortrud feigns repentance, and Elsa, in her
Unhappy one, that thy heart could know
the treasure
Of love that knows not fear or doubt!
ORTRUD KNEELING TO ELSA
new^-found happiness, forgives her, saying:
No child of earth that biiss can measure
Who doth not dwell in faith devout!
Rest thee with me!
VICTOR BOOK OF THE OPERA— WAGNER'S LOHENGRIN
THE KING DENOUNCING TEI.RAMUND ACT II
Orlrud warns Elsa against trusting her husband too blindly, hinting of the mystery
in his life, and thus plants a seed of suspicion in the young girl's heart. The duet
then follows ;
F.LSA :
Oil, let me teach thee
How trust doth hallow joy and love.
Turn, then, to our faith, I beseech thee,
Oh, turn unto our faith divine,
For God is love!
Ortrud (aside — with fierce joy) :
Oh! pride of heart, I yet will teach thee,
That an illusion is this love,
The gods of vengeance soon shall reach
thee.
Their wrath-destroying thou shalt prove!
Elsa enters the palace and Telramund renew^s his vow of
imprecation.
Day breaks, and the Herald appears and announces the
banishment of Telramund. Elsa, attended by her ladies, passes
on her way to the minster but is suddenly confronted by
Ortrud, who has arrayed herself again in splendid garments.
She taunts Elsa with the fact that her knight has no name.
Ortrud:
Your stranger, say, as what doth thou
proclaim him?
If I have heard aright, thou canst not
name him !
Elsa {indignantly) :
Thou slanderer, taunt me no more,
Let my reply all doubts assure —
So pure and noble is his nature.
As none can match in high renown.
Oh, can there live so vile a creature
As to asperse all honor's crown?
The King and Lohengrin now enter and Elsa, astonished and
grieved, goes to Lohengrin, saying:
S C H U M A N N - H E I N K
URTKUD
My champion! shelter me against her
wrath I
tWame me, if I obey'd not thy command;
1 heard her weeping sore by yonder
portal,
And in compassion harbor'd her this
night.
And now with harsh and bitter words of
hatred
She taunts me for my boundless trust
in thee!
204
VICTOR BOOK OF THE OPERA— WAGNER'S LOHENGRIN
ACT HI
SCENE I— The Bridal Chamber in the Palace
The act opens with the Wedding March, played by the orchestra.
Prelude to Act III— The W^edding March
By La Scala Orchestra
*62693 lO-inch, $0.75
This is followed by tKe beautiful Bridal Chorus, one of the loveliest numbers in the
opera. As the curtain rises, showing the bridal chamber, the strains of the march continue,
but in a softer mood. The great doors at the back open, and the bridal party enters, —
the ladies leading Elsa and the King and nobles conducting Lohengrin, — they come to the
front and the chorus begins :
Chorus :
Faithful and true, we lead thee forth
Where Love, triumphant, shall crown ye with joy!
Star of renown, flow'r of the earth.
Blest be ye both far from all life's annoy!
Champion victorious, go thou before!
Maid bright and glorious, go thou before!
Mirth's noisy revel ye've forsaken.
Tender delights for you now awaken;
Fragrant abode enshrine ye in bliss;
Splendor and state in joy ye dismiss!
Eight Ladies (passing around the bridal pair);
As solemn vows unite ye
We hallow ye to joy!
This hour shall still requite ye,
When bliss hath known alloy!
After a striking and effective modulation the
first strain is repeated by the full chorus.
Faithful and true, now rest you here.
Where Love, triumphant, etc.
The party goes slow^Iy out, leaving the bridal
pair alone, while the strains of the nuptial air die
away in the distance.
The full strength of the Victor organization has
been used for the vocal rendition, and the result is a
record of surpassing beauty. An instrumental record
of this number i« also offered.
■■//■" ■■■'■'"-
; -' . •- !- ,1 -•/■■
(*'
'
i' '.yf
(■->■"/■
.,', *:::
-, '"f ^ .
f ■■
' ■ ■ ^
. ' 'i =^ .*
FRAGMENT OF THE BRIDAL CHORUS IN
Bridal Ohorus wacn^r's own handwriting
By Victor Opera Chorus
{In English) 31846 12-inch, $1.00
By Arthur Pryor's Band 31227 12-inch, 1.00
By La Scala Chorus (/n/;a/mn) *1653r 10-inch, .75
The bridal pair are left alone and a long duet occurs, part of
which is recorded here by two famous artists of La Scala.
Cessero i canti alfin (The Song Has Died Away)
By Giuseppina Huguet, Soprano ; Fernando
de Lucia, Tenor (/n /(a/ian) 92055 12-inch, $3.00
The beautiful air which Lohengrin sings in the duet, Dost Thou
Breathe the Incense, is also given here by Dalmores.
Athmest du nicht mit mir die siissen Diifte ?
CDost Thou Breathe the Incense Sweet ?)
By Charles Dalmores, Tenor
(/n German) 87088 10-inch, $2.00
„p,.,„„p„„ This duet is scarcely over when the poison instilled in Elsa's
HOMER AS ORTRUD mind by Ortrud causes her, in violation of her promise, to question
* Doable-Faced Records — See page 207.
205
VICTOR BOOK OF THE OPERA— WAGNER'S LOHENGRIN
Lohengrin as to his name and origin. He
remonstrates with her, at first gently and
then with authority, reminding her that
she has promised not to ask his name.
She becomes more and more agitated,
saying :
Elsa :
No, thou shalt not compel me to trust by
w'orfU of blame —
No, not unless thou tell me thy country
and thy name I
Lohengrin ;
Elsa, oh. I conjure thee!
Elsa :
What fatal spell is thine?
In vain wouldst tliou assure me —
Declare thy race and name!
They are interrupted by the entrance
of Frederic!^ and four associates, w^ho break
in w^ith draw^n sw^ords. Elsa shrieks and
hands Lohengrin his sw^ord, with which
he strikes Frederick, dead. The nobles
surrender, and Elsa falls senseless in
Lohengrin 's arms. After a long silence,
Lohengrin orders the body into the Judg-
ment Hall, and gives Elsa in charge of
her ladies.
SCENE n—Same as Act I
A quick change of scene shows again
the banks of the Scheldt at Antwerp, as
in Act 1. The King and his nobles aw^ait
the coming of Lohengrin, who is to ac-
company themi to battle. They are
startled by the
TELRA.MUNU
PROLESSION'-
COPVT MISHKIN
DALMORES AS LOHENGRIN
entrance of the
nobles bearing the body of Telramund. Lohengrin enters and is
greeted by the King w^ith warmth :
King :
Plail, heav'n-sent hero, welcome here!
Thy loyal vassals all are near,
Waiting for thee to give the word.
And fight by thy all-conq'ring sword.
All are surprised when the knight announces that he is forced to de-
cline the command of the expedition, and tells of the attempt on his life.
Lohengrin ;
My gracious sov'reign, bear me blameless,
Reasons have I that must be nameless.
The destin'd campaign I suspend!
To lead ye forth to battle here I came not;
But judge me. for your leniency 1 claim not.
Then, firstly, do ye hold that I am guilty?
Your just decree to me is due.
He sought my life despite honor and fealty —
Say, did I right when him I slew?
The King declares Telramund to be justly slain, and Lohengrin
now reveals with reluctance that Elsa has broken her promise.
Lohengrin ;
And further, I declare in face of ITeav'n.
Though bitter grief to me it bode,
That from her fair allegiance hath been driven
The wife that I-Ieav'n on me bestow'd.
Men ;
Elsa! say, oh, what hast thou done?
Sentence so stern how hast thou won?
Ladies:
Woe is thine, Elsa!
206
VICTOR BOOK OF THE OPERA— WAGNER'S LOHENGRIN
Lohengrin: Vainly I hop'd she would fulfil her task:
Ye all have heard her Rive her word in token Now mark me well, I will no more withhold it,
1 hat she my name and country ne'er would Nor have I cause to shrink from any test;
^,^^^- . , When I my name and lineage have unfolded
Ihat promise her impatient heart hath broken— Ye'll know that I am noble as the best!
Then follows the great narrative of Lohengrin, one of the most dramatic declamations
in all opera.
Lohengrin's Narrative— In Fernem Land (In Distant Lands)
By Herman Jadlowker, Tenor (/n German) 76026 12-inch, $2.00
By Evan Williams, Tenor {In English) 74130 12-inch, 1.50
LuHENGRIN :
In distant land, by ways remote and hidden,
There stands a mount that men call Monsalvat;
It holds a shrine, to the profane forbidden:
More precious there is nought on earth than that.
And thron'd in light it holds a cup immortal,
That whoso sees from earthly sin is cleans'd;
'Twas borne by angels thro' the heav'nly portal —
Its coming hath a holy reign commenc'd.
Once every year a dove from Meav'n descendeth,
To strengthen it anew for works of prace;
'Tis called the Grail, the pow'r of Heav'n attendeth
The faithful knights who guard that sacred place.
He whom the Grail to be its servant chooses
Is armed henceforth by high invincible might;
All evil craft its power before him loses,
The spirits of darkness where he dwells take flight.
Nor will he lose the awful charm it blendeth.
Although he should be called to distant lands.
When the high cause of virtue he defendeth:
While he's unknown, its spell he still commands.
By perils dread the holy Grail is girded.
No eye rash or profane its light inay see:
Its champion knight from doubtings shall be warded,
If known to man, he must depart and flee.
Now mark, craft or disguise my soul disdaineth,
The Grail sent me to right yon lady's name;
My father. Percival, gloriously reigneth.
His knight am I. and Lohengi-in my name!
After this amazing narrative, which causes a great stir among the people, the swan
appears to conduct Lohengrin aw^ay.
Ladies and Mex: Loiienhrin :
While I hear him the wondrous tale revealing.
The holy tears adown my cheek are stealing!
Elsa :
'Tis dark around me I Give me air!
Oh, help, help! oh, me, most wretched!
Ladies and ME>r (in great excitement) :
The swan! the swan 1 the swan!
The stream he floateth down.
The swan! ah, he comes!
Elsa (half-faintiuri) :
Oh, horror! ah, the swan!
Ortrud, in triumph, now reveals the fact that the swan is really Elsa's brother, whom
she had transformed by magic. Lohengrin kneels in prayer, and as the dove of the Grail is
seen descending, the swan sinks, and Gottfried, the young Duke, arises, restored to human
form. Lohengrin's boat is drawn away by the dove as Elsa faints in her brother's arms.
Too long I stay— I must obey the Grail!
My trusty swan! O that this summons ne'er
had been I
Oh, that this day I ne'er had seen!
I thought the year would soon be o'er
A\'hen thy probation would have pass'd;
Then by the Grail's transcendent pow'r,
In thy true shape we'd meet at last!
Oh, El^a, think what joys thy doubts have
ended !
Coiddst thou not trust in me for one short
year ?
DOUBLE-FACED AND MISCELLANEOUS LOHENGRIN RECORDS
12-inch, $1.00
35114 12-inch,
Selection, No. 1
Selection, No. 1
Flower Song (Blumenlied)
Selection, No. 2
Meditation from Thais-
/Prelude, Act III
\ IValkUre — Caoalcata
/Core delle nozze (Bridal Chorus)
\ Tannhauser — Pilgrims' Chorus
By Sousa's Band 31425
By Sousa's Band ]
By Victor Sorlin, 'Cellist (
By Pryor's Band 1
Intermezzo Heligieuse 1
By Howard Raltay, Violinist |
By La Scala Orchestra \ /iT^-qo
By La Scala Orchestra (
By La Scala Chorus \
1.25
35147 12-inch, 1.25
By Pryor's Bandf
16537
10-inch,
10-inch,
.75
.75
THE Ct.iTlA<.,b; '.It'' Jl'LIEN AND LOLMSE
.iM \ 1 MAK I KE — -ACT III
LOUISE
OPERA IN FOUR ACTS
Words and music by Gustave CKarpentier. First presented at the Opera Comique,
Paris, February 2, 1900. First American production at the Manhattan Opera 1908.
Characters
Louise Soprano
Her Mother Contralto
HER Father Baritone
JULIEN. an artist Tenor
Girls at the Dressmaking Establishment, Street Peddlers, People, etc.
Scene and Period : Paris ; the present lime.
Charpentier's first opera, Louise, is a romance of bohemian Paris. The story tells of
Louise, a beautiful young girl engaged in a dressmaking establishment. Julien, a romantic
artist, falls in love with the maiden, and soon finds his love returned. The mother and
father of Louise disapprove of the gay young artist, but Julien v/ill not give up his sweetheart,
and implores her to leave her hard work and go w^ith him to a little home. Louise at first
steadily refuses, knowing how^ her parents would grieve, but Julien persists, tempts her w^ith
visions of a bright future with him, and at last, unable to resist, the young girl goes with
him to Montmartre.
Here she falls in w^ith a merry company of true Parisian bohemians, who crov/n her as
the Queen of Revels. In the midst of a gay party her mother appears, begging the young
girl to return to her father, w^ho is ill. Louise is filled w^ith remorse and returns to her home,
trying all the while to forget the gay, happy life she has left at Montmartre. Her father
reproaches her for her conduct, and Louise, remembering only the kindness and tenderness
oi Julien, rushes out into the night and hastens back to the protection of her lover.
The Victor offers tv/o fine records of the lovely Depuis le jour, sung by Louise in the
garden at Montmartre in Act III. The young girl teWs Julien how happy she has been since
they came to the cottage, comparing her life w^ith him to the dreary one she had left.
Depuis le jour (Ever Since the Day)
By Alma Gluck, Soprano (In French) 74252 12-inch, $1.50
By Florence Hinkle, Soprano (In French) 70085 12-inch, 1.25
208
(Italian)
LUCIA DI LAMMERMOOR
(Loo'chee'-ah dee Lah' -mair-moor)
LUCY OF LAMMERMOOR
OPERA IN THREE ACTS
^,^ ^1^' ^ Salvator Cammerano, derived from Scott's novel, " The Bride of Lammermoor."
Music by Caetano Donizetti. First production at Naples, September 26, 1835. Performed
m London April 5, 1838; Paris, 1839; New York, in English, at the Park Theatre, 1843; and
in Italian, 1849.
Characters
Henry ASHTON, of Lammermoor Baritone
Lucy, his sister Soprano
Sir Edgar, of Ravenswood Tenor
LORD Arthur BUCKLAW .Tenor
Raymond, chaplain to Lord Ashton Tenor
Alice, companion to Lucy Mezzo- Soprano
Norman, Captain of the Guard at Ravenswood . . Tenor
Ladies and Knights related to the Ashtons ; Inhab-
itants of Lammermoor ; Pages, Soldiery, and
Domestics in the Ashton family.
Scene and Period : The action lakes place in Scolland, part
in Ravenswood Castle, part in the ruined tower of
Wolfscrag. The time is the close of
the sixteenth century.
PATTl AS LUCIA IN 1860
The prolific Donizetti (1797-1848) wrote no fewer
than sixty-three operas, the most popular of these
being, of course, Lucia di Lammermoor. It has long
been the custom with a certain class of critics to run
down the old Italian school of opera represented by
Lucia, and talk about the artificiality of the music, thinness of the orchestration, etc. But
the public in general pays very little attention to these opinions, because they love the
music of Lucia, as their grandfathers did, and realize that throughout the w^hole work there
runs a current of tenderness and passion, expressed in simple melody that will ever appeal
to the heart.
Let us now forget the critics and tell the simple and sorrowful story, and listen to the
melodious airs which have given pleasure to many millions in the seventy-six years
since its production.
The plot of Lucia is founded on Sir Walter Scott's novel. The Bride of Lammermoor.
Lord Henry Ashton, Lucy's brother, knowing nothing of her attachment to his enemy, Edgar
of Ravenswood, has arranged a marriage between Lucy and the wealthy Lord Arthur, in order
to retrieve his fallen fortunes. Learning that Luc^ is in love with Edgar, he intercepts her
lover's letters and executes a forged paper, w^hich convinces Lucy that Edgar is false to her.
Convinced of her lover's perfidy, and urged by the necessities of her brother, she unwillingly
consents to wed Sir Arthur.
The guests are assembled for the ceremony, and Lucy) has just signed the contract,
when Edgar appears and denounces Lucy for her fickleness. Edgar is driven from the castle,
and the shock being too much for the gentle mind of Lucy, she becomes insane, kills her
husband and dies. Edgar, overcome by these tragic happenings, visits the churchyard of
Ravenswood and stabs himself among the tombs of his ancestors.
209
VICTOR BOOK OF THE O P E R A— D O N I Z E TT I' S LUCIA
ACT I
SCENE I — A Forest near Lammermoor
The curtain rises, disclosing Norman, and follow^ers of
Sir Henry. Norman tells the retainers to watch carefully each angry tho't enchaineth?
Of mine own blood { ^'-'j^,''''"^ | betrayer,
And despair- u^,- \ heart doth wither,
Edgar:
Vet, ungrateful one, I love thee still!
Henry :
And remorse my breast doth fill!
Lucy (dcspoiriiujly) :
I had hop'd that death had found me,
And in his drear fetters bound nie,
Lut be comes not to relieve nie I
Ah! of life will none bereave me?
Raymond and :\lici::
Ah! like a rose that withers on the stem,
She now is hovering 'twixt death and life!
He who for her by pity is not mov'd,
Has of a tiger in his breast the heart.
Arthur :
Hence, thou traitor, hence betake thee.
Ere our rage shall o'erwhelm thee!
One by one the characters in the scene take up their portions of the sextette until the
great chmax, one of the most dramatic moments in opera, is reached.
Several records of this magnificent number are offered to Victor audiences. Besides
the splendid Caruso-Sembrich and Caruso-Tetrazzini renditions, the Victor has recently-
issued a superb record by the Victor Opera forces at the popular price of $1.25, while for
those v^ho prefer an instrumental rendition a fine band record is
offered.
Henry and Edgar, w^ho have drawn their swords, are separated
by Raymond, vi'ho commands them in Heaven's name to sheath
their w^eapons. Henry asks Edgar w^hy he has come, and the
knight replies :
Edgar :
Hither came I
For my bride — thy sister
Unto me her faith hath sworn!
Raym<^ind:
Thou must all hope of her relinquish;
She is another's!
He exhibits the signed contract, but Edgar refuses to believe
the evidence of his eyes and asks Lucy if she had signed it. With
her eyes fixed on him she tremblingly nods her head in assent.
Edgar, in a furious rage, tears the contract in pieces, flings it at the
fainting maiden, and rushes from the castle as the curtain falls.
ACT III
SCENE 1 — The Tower of Ravenswood Castle
Edgar is brooding on his misfortunes when a horseman rides
up, dismounts and enters the tower. It proves to be Sir Henry,
who has come to challenge Edgar to a duel to the death. They
agree to fight the following morning, and in this duet ask the night
to hasten away, that their vengeance may be consummated.
O sole piu rapido (Haste, Crimson Morning)
By Giuseppe Acerbi, Tenor, and Renzo Minolfi, Baritone
{In Italian) *62644 10-inch, $0.75
Why the gentlemen do not take advantage of the present moment the librettist does
not reveal! This scene is so melodramatic that it borders on the absurd, and it is usually
omitted in this country, although it is well worth hearing from a mus-ical point of view.
SCENE W—Hall in Lammermoor Castle
The peasants and domestics of the castle are making merry at their feast in honor of
the marriage when Raymond enters, greatly agitated, bearing the fearful news that Lucy has
become insane and has killed her husband. This gives opportunity for a dramatic air,
sung here by Signor Sillich and the La Scala Chorus.
O qual funesto avvenimento (Oh! Dire Misfortune)
By Aristodemo Sillich, Bass, and Chorus [In Italian) *62644 10-inch, $0.75
Raymond's tidings have scarcely been spoken when Lucy enters, a pale and lovely figure
in white, and all unconscious of the horror-stricken servants, begins her famous so-called
Mad Scene.
'^~Dotible.Foced Record— For title of opposite side see DOUBLE-FACED LUCIA RECORDS, page 215.
213
i-T DUPONT
SALEZA AS EDGAHDO
VICTOR BOOK OF THE O P E R A — D ON I Z ETT I 'S LUCIA
{In Italian)
88299
12.
-inch.
?3.00
{In Italian)
88021
12-
-inch,
3.00
{In Italian)
88071
12-
-inch.
3.00
{In Italian)
88221
12-
-inch.
3.00
{In Italian)
76006
12-
-inch.
2.00
{In English)
35214
12-
-inch.
1.25
{In Russian)
61129
10-
inch.
1.00
Mad Scene (With Flute obbUgato)
By Luisa Tetrazzini. Soprano
By Marcella Sembrich, Soprano
By Nellie Melba, Soprano
By Maria Galvany, Soprano
By Graziella Pareto. Soprano
By Edith Helena, Soprano
By Marie Michailo\va, Soprano
Forgetting her marriage, the demented maiden speaks one moment of the happy day
when she will be Edgar's wife, and next is terrified by a vague feeling that something has
come betw^een them.
This famous number must be judged solely as a brilliant piece of vocahsm ; it can hardly
be considered dramatically, because when the prima donna loses her reason in this style of
opera, it only means that the scales become more rapid and the roulades more difficult!
Tbe unfortunate Lucy in her agony seems inclined and able to sing the most difficult and
florid music conceivable, and venture without hesitation on passages at v/hich a sane person
would stand aghast! In short, Donizetti forgot his dramatic mission temporarily in his efforts
to write a show^ piece of musical execution.
See yuii jihantom rise to part us!
(Her mood again changes.)
Yet sliall we meet, dear Edgar, Ijefore the altar.
Hark to those strains celestial I
Ah! 'Tis the hymn for our nuptials!
For us they are singing!
The altar for us is deck'd thus.
Oh, joy unbounded!
■Round us the brilliant tapers are shining.
The priest awaits us.
Oh I day of gladness!
Thine am I ever, thou mine forever !
(She falls fainting into the ar)ns of Raymond.)
Donizetti's scene seems especially set apart for the display
of such a coloratura as Melba possesses, and she sings this
florid music with such brilliancy and graceful fluency that
tbe listener is dazzled. Her runs, trills and staccato notes
glitter and scintillate, and compel a new admiration for the
w^onderful vocal mechanism over w^hich she has such absolute
command.
The role of the unhappy Lucy is also admirably fitted
to Tetrazzini's peculiar talents, and as the heroine of Donizetti's
lovely opera she has made quite the greatest success of her
career. When she reaches this florid and difficult Mad Scene,
the listeners are absolutely electrified, and such a torrent of
enthusiasm bursts forth that the diva is usually compelled to
repeat a portion of the aria.
Mme. Sembrich's rendition proves that the compass of
her voice is all but phenomenal, and she sings the difficult
music with delightful flexibility.
Other renditions of this w^ell-known scene are given by
Mme. Galvany and Mme. Pareto, the famous Italian prima
donnas, and by Michailow^a, the famous Russian singer.
Altbough none of these artists has yet visited America, their
beautiful voices are heard in thousands of homes in w^hich
the Victor is a v^^elcome entertainer.
The unhappy Lucy, after having in this scene again
A77INI AS THE cuactcd the terrible events of the previous day, falls insensible
uiiMENTED Lucv and is carried to her room by Alice and Raymond.
Lucy :
I hear the breathing of his tender voice,
That voice beloved sounds in my heart forever.
My Edgar, why were we parted?
Let me not mourn thee;
See, for thy sake, I've all forsaken!
What shudder do I feel thro' my veins?
]\Iy heart is trembling, my senses fail!
(She forgets her trouble and smiles.)
Come to the fountain;
There let us rest together.
Ah me! see where yon spectre arises,
Standinj; between us! Alas! Dear Edgar
SCENE II — The Tombs of the Raoenswoods
Edgar, weary of life, has come to the rendezvous arranged with Henry, intending to
throw bimself on his enemy's sword, the last of a doomed race. But he waits in vain, for
Henry, filled with remorse at the consequences of his schemes, has left England, never to return.
Edgar sings the first of the two beautiful airs written by Donizetti for this scene.
VICTOR BOOK OF THE O P E R A — D ON I Z ETT I 'S LUCIA
Fra poco a tne ricovero (Farewell to Earth)
By John McCormack, Tenor {In Italian) 74223 12-inch $1.50
His attention is now attracted by a train of mourners coming from the castle, accom-
panied by Raymond, who reveals to the unhappy man that Lucy is dying, and even while
they converse the castle bell is heard tolling, a signal that the unhappy maiden is no more.
The grief-stricken lover then depicts his emotion in the second air, a lovely number
with sadness in every tone.
Tu che a Dio spiegasti I'ali (Thou Hast Spread Thy Wings to
Heaven) (O bell' alma innamorata)
By John McCormack. Tenor {In Italian) 74224 12-inch, $1.50
By Florencio Constantino, Tenor {In Italian) 74066 12-inch, 1.50
By Gino Martinez-Patti, Tenor {In Italian) *62089 10-inch, .75
The dramatic interest deepens as the air proceeds, until the finale, when Edgar, in an
excess of penitence, prays that not even the spirit of the wronged Lucy may approach so
accursed a tomb as that of Ravenswood.
Edc.ar: I'll follow thee above.
Tho' from earth thou'st flown before me, Tho' the world frown'd on onr union,
My ador'd, my only treasure; Tho' in this life they did part us,
Tho' from these fond arms they tore thee, Yet on hig-h, ni fond communion,
Soon, soon, I'll follow thee, Shall our hearts be turned to love I
Breaking from Raymond, who endeavors to prevent the fatal act, Edgar stabs hrmself,
and supported in the good man's arms, he repeats in broken phrases the lovely O bell' alma
innamorata, and lifting his hands to Heaven, as if to greet the spirit of Lucy, he expires.
DOUBLE-FACED AND MISCELLANEOUS LUCIA RECORDS
Mad Scene By Edith Helena, Soprano {In English) |
Troeatori^Tacea la notte (Peaceful Was the Night) 35214 12-inch, $1.25
Sj) Edith Helena, Soprano {In English) I
Sextette (Transcription) Pianoforte By HimmelreichU ^^23 12-inch, 1.25
Caprice Espanol {Moszkowski) Pianoforte B\) Charles G. Sprossj
Regnava nel silenzio (Silence O'er All) 1
By Giuseppina Huguet, Soprano {In Italian) {^^^^^ 10-inch, .75
Norma — Casta Diva (Queen of Heaven)
By Giuseppina Hugaet, Soprano {In Italian)
n pallor funesto (If My Cheek is Pale)
By Linda Brambilla and Francesco Cigada (In Italian) l^j^j^^ 10-inch. .75
Sulla tomba che rinserra (By My Father's Tomb)
By Emma Trentini and Martinez-Patti (In Italian)
Se tradirme su potrai (I'm Thy Guardian)
By Giuseppina Huguet, Soprano, and Francesco Cigada,
Baritone ('" Italian)
Tu che a Dio spiegasti I'ali (Thou Hast Spread Thy "Wings)
(O bell' alma innamorata) By Martinez-Patti (In Italian)
IO qual funesto avvenimento 1
By Aristodemo Sillich, Bass, and Chorus {In Italian) \^^^^^ 10-inch, .75
O sole piu rapido (Haste, Crimson Morning!)
By Acerbi and Minolfi {In Italian)}
(Opening Chorus By La Scala Chorus (In Italian)]
iVerrannoate sull' aura (Borne on Sighing Breeze) 62106 10-mch, .75
[ By Trentini and Martinez-Patti (In Italian) \
IQuando rapita in estasi (Swift as Thought) 1
By Giuseppina Huguet, Soprano (/n /fa/ionjLjj ^2 10-inch, .75
Lucrezia Borgia — Rischiarata e la finestra
By La Scala Chorus {In Italian)}
62089 10-inch,
* Double-Faced Record — For title of opposite side see above list.
215
AND THE SLEEPING CENNARO ACT
(Italian)
LUCREZIA BORGIA
(Loo-krez'-yah Bor'jah)
OPERA IN THREE ACTS
Text by Felice Romani, taken from a work of the same name by Victor Hugo. Music
by Gaetano Donizetti. First presented to the public at La Scala, Milan, in 1834; given at
the Theatre Italien, Paris, October 27, 1 840. First London production at her Majesty's
Theatre, June 6, 1839; in English at the Princess' Theatre, December 30, 1843. Produced
in New York at the Astor Place Opera House, 1847, and in 1854 with Maria Grisi.
Characters
LUCREZIA Borgia Soprano
MAFFIO ORSINI (Maf'-fee-oh Or-see
GENNARO, Uen-nah' -roh)
LIVEROTTO,
VlTELLOZZO.
Petrucci,
Gazella,
-nee) Contralto
Tenor
Young noblemen in the service of the Venetian
Republic
Tenor
Tenor
Bass
Bass
IL DUCA ALFONSO Baritone
RUSTIGHELLO, in the service of Don Alfonso Tenor
GUBETTA,! . , en I • /Bass
» „-p„. p^ |- in the service or Uonna Lucrezia i^.
BATTISTA Tenor
La Principessa Negroni Soprano
CHORUS
Scene and Period: Italy; the beginning of the sixteenth century.
216
VICTOR BOOK OF THE OPERA— DONIZETTI'S LUCREZIA BORGIA
i:iSCI[I AS LUCREZIA
THE PLOT
The plot of Donizetti's opera cannot be called a cheerful one — it is, in fact, crowded with
horrors. However, it was a great favorite with American audiences for many years, being
one of the stock operas of Emma Abott during nearly her whole career. The opera was
revived in 1904 for Caruso, but failed to score, and it is quite hkely that those who admire
its few fine airs must depend on their Victors if they wish to hear them.
Lucrezia, the heroine, w^as a conspicuous member of the
notorious patrician family — the Borgias — celebrated for their
diabolical success as poisoners.
Lucrezia Borgia married as her second husband Don Alfonso,
Duf^e of Ferrara. By her former marriage she had a son named
Gennaro, of whose existence the Duk.e is ignorant. This son had,
at birth, been placed in the care of a fisherman who brought
him up as his ow^n child.
ACT I
At the opening of the story Lucrezia, who in spite of her
criminal practices has still the mother's yearning towards her
own child, goes in disguise to Venice to visit him.
She finds her son in the company of some gay Venetian
gallants. She w^atches them, and presently Gennaro, wearied
by the mirth of his companions, draws apart and falls asleep
on a seat. Lucrezia draws near, and gazing on his youthful
beauty, she forgets everything except that she is his mother.
She gently presses a kiss on his brow^ and prepares to depart,
when he av/akes and asks her w^ho she is. She evades the
question, and leads him to talk about his mother, whom he
says he has never seen. Feeling draw^n tow^ard the beautiful
stranger, he tells his story, in the fine Di pescatore.
Di pescatore ignoble (In a Fisher's Lo^vly Cot)
By Francesco Marconi, Tenor {In Italian) 76004 12-inch, $2.00
She bids him farew^ell, and is about to take her leave when Orsini appears, recognizes
her, and after brutally reciting her crimes one by one, tells the horror-stricken Gennaro that
it is the Borgia. All turn from her in horror, and Lucrezia falls fainting.
ACT II
Gennaro afterwards shows his hatred and contempt for the Borgias by tearing down
Lucrezia' s coat of arms from her palace gates, and is imprisoned by the Dulse's orders.
Lucrezia, ignorant of the identity of the individual w^ho has insulted her, complains to the
Dul^e, -who promises that the perpetrator shall be immediately punished. He gives vent to
his feelings in his air, Vieni la mia vendetta.
Vieni, la mia vendetta (Haste Thee, for Vengeance)
By Giulio Rossi, Bass (In Italian) ^63404 10-inch, $0.75
Gennaro is sent for and Lucrezia at once recognizes him. Full of horror, she turns to the
Duke and begs him to overlook the offense. The Duke is relentless and compels Lucrezia
herself to hand a poisoned cup to her son. She obeys, but afterw^ard contrives to give the
youth an antidote. He suspects her of treachery, but she pleads so tearfully with him that
he trusts her and drinks the remedy.
ACT III
This act opens with a chorus of bravos, who have been set to watch the dw^elling of Gennaro.
Rischiarata e la finestra (Yonder Light is the Guiding Beacon)
By La Scala Chorus {In Italian) =^^631 72 10-inch, $0.75
Gennaro, whose life has been saved by the antidote Lucrezia had given him, instead of
escaping from the city as she had advised him, accompanies Orsini to a banquet which has
been secretly arranged by Lucrezia, and to which have been invited the young men w^ho
had recognized and denounced her in Venice.
In this scene occurs the famous Brindisi, or drinking song.
^Double-Faced Record — see page 218.
217
VICTOR BOOK OF THE OPERA— DONIZETTI'S LUCREZIA BORGIA
Bfindisi (It is Better to Laugh)
By Ernestine Schumann-Heink, Contralto {In German) 88188 12-inch, $3.00
This air is a very "well known one, and has been frequently sung, but Mme. Schumann-
Heink puts such brilliant spirit into it, and sings it with such wealth of gayety, such astonish-
ing range and such agility, that the rendition amazes the listener. It is certain that no music-
lover of the present generation has ever heard it sung so brilliantly. The high notes are
taken w^ith the ease of a soprano, and altogether this familiar drinking song has never been
so w^ell delivered.
The role of Mqffio Orsini was alw^ays one of Mme. Schumann-Heink's favorites, and she
makes a gallant figure as the gay Roman youth. The w^ords are well suited to the gayety
of the music, and have been translated as follov/s :
Brindisi
It is better to laugh than be sighing.
When we think how life's moments are flying;
For each sorrow Fate ever is bringing.
There's a pleasure in store for us springing.
Tho' our joys, like to waves in the sunshine,
Gleam awhile, then are lost to the sight,
Yet, for each sparkling ray
That so passes away.
Comes another as brilliant and light.
In the world we some beings discover,
Far too frigid for friend or for lover;
Souls unblest, and forever repining,
Tho' good fortune around them be shining.
It were well, if such hearts we could banish
To some planet far distant from ours;
They're the dark spots we trace,
On this earth's favored space;
They are weeds that choke up the fair fiow'rsi
Then 'tis better to laugh than be sighing;
They are wise who resolve to be gay;
A\'hen we think how life's moments are flying,
Enjoy Pleasure's gifts while we may!
In the midst of the feast the door opens, the Borgia appears and tells them that they
are doomed, as the w^ine has been poisoned by her.
DISC IVERS SHE HAS POISONED HER SON
To her horror she sees Gennaro among the guests. He, too, has drunk of the fatal
w^ine. She again offers him an antidote, w^hich he refuses, because the amount is insufficient
to save the lives of his friends. Lucrezia confesses the relationship betw^een them, but
Gennaro spurns her and dies. The Duf^e now appears, intending to share in Lucrezia's
hideous triumph, but finds his wife surrounded by her victims — some dead, others dying.
Lucrezia, a w^itness to the horrible result of her crime, suffers the keenest remorse, drinks
some of her ow^n poison and herself expires.
DOUBLE-FACED LUCREZIA BORGIA RECORDS
{Vieni, la mia vendetta By Giulio Rossi, Bass (In Italian)
Qli Ugonotti — Duetto Valeniina Marcello
By Maria Qrisi, Soprano, and Perello De Segarola, Bass
IRischiarata e la finestra (Yonder Light is the Guiding
Beacon) By La Scala Chorus (In Italian)
Lucia di LammermooT — Qaando rapita in estasi
By Qiuseppina Huguet, Soprano
218
63404 10-inch, $0.75
63172 10-inch, .75
PHOTO HALL
THE MARRIAGE SCENE-
(Italian)
MADAMA BUTTERFLY
i Mah' -dah-mah)
(English)
MADAM BUTTERFLY
OPERA IN THREE ACTS
A Japanese lyric tragedy, founded on the book of John Luther Long and the drama by
David Belasco, with ItaUan hbretto by IHica and Giacosa. Music by Giacomo Puccini. First
produced at La Scala, Milan, in 1904, it proved a failure. Revived the following year in
slightly changed form with much success. First American presentation (in English) occurred
in October, 1906, in Washington, D. C, by Savage Opera Company. First representation in
Italian at Metropolitan Opera House, February II, 1907, with Farrar, Caruso, Homer and
Scotti.
Characters
Madam Butterfly (Cho-Cho-San) Soprano
SUZUKI, iSoo-zu' -key) Cho-Cho-San's servant Mezzo-Soprano
B. F. PlNKERTON. Lieutenant in the United States Navy Tenor
Kate PINKERTON, his American wife Mezzo-Soprano
SHARPLESS, United States Consul at Nagasaki Baritone
GORO, a marriage broker Tenor
Prince YAMADORI, suitor for Cho-Cho-San Baritone
The bonze, Cho-Cho-San's uncle Bass
CHO-CHO-SAN'S Mother Mezzo-Soprano
The Aunt Mezzo-Soprano
The cousin Soprano
Trouble, Cho-Cho-San's child
Cho-Cho-San's relations and friends — Servants.
Al Nagasaki, Japan — Time, the present.
219
VICTOR BOOK OF THE OPERA — MADAM BUTTERFLY
The Story
Puccini's opera, which from the first aroused the keenest interest among opera-goers,
has become an enduring success. The original Metropohtan production in halian was under
the personal direction of Puccini himself, w^ho refined and beautified it according to his own
ideas into one of the most finished operatic productions ever seen here.
The story of the drama is familiar to all through John Luther Long's narrative and the
Belasco dramatic version. The tale is the old one of the passing fancy of a man for a woman,
and her faithfulness even unto death, which comes by her own hand when she finds herself
abandoned.
Puccini has completely identified his music w^ith the sentiments and sorrows of the
characters in John Luther Long's drama, and has accompanied the pictorial beauty of the
various scenes w^ith a setting of incomparable loveliness. Rarely has picturesque action
been more completely wedded to beautiful music.
ACT I
SCENE — Exterior of Pin/^erton's house at Nagasaki
At the rise of the curtain Goto, the marriage broker who has secured Pinl^erton his bride,
is shovk'ing the Lieutenant over the house he has chosen for his honeymoon. Sharpless, the
American Consul and friend of Pink,erton, now arrives, having been bidden to the marriage.
Then occurs the fine duet, which Caruso and Scotti have sung here in splendid style.
Amore o grillo (Love or Fancy?)
By Enrico Caruso, Tenor, and Antonio Scotti, Baritone
(In Italian] 89043 12-inch, $4.00
Pinkerton, joyous in the prospect of his marriage with
the dainty Japanese girl, and quite careless of the conse-
quences w^hich may result from such a union, describes his
bride to the Consul, w^ho gives the young lieutenant some
good advice, bidding him be careful, that he may not break
the trusting heart of the Butterfly -who loves him too w^ell.
The number closes with a splendid climax, as Pinkerton
recklessly pledges the " real American w^ife " v^^hom he
hopes to meet some day ; v/hile the Consul gazes at his
young friend with some sadness, as if already in the shadow
of the tragedy which is to come.
Now^ is heard in the distance the voice of Butterfly, -who
is coming up the hill w^ith her girl friends; and she sings a
lovely song, full of the freshness of youth and the dawning
of love.
Entrance of Cio-Cio San
By Geraldine Farrar, Soprano
(In Italian) 87004 10-inch, $2.00
By Frances Alda, Soprano
(In Italian) 64334 10-inch, 1.00
By Edith Helena, Soprano
{In English) *ir346 10-inch, .75
The friends and family having been duly introduced to
Pinkerton, they go to the refreshment table, while Butterfly
timidly confides to Pinkerton, in this touching number, that
piNKicKTON she has for his sake renounced her religion, and w^ill in
future bow before the God of her husband.
leri son salita (Hear Me)
By Geraldine Farrar, Soprano (In Italian) 87031 10-inch, $2.00
The contract is signed and the guests are dispersing v^^hen Butterfly's uncle rushes in and
denounces her, having discovered that she has been to the Mission, renounced her religion,
and adopted that of her husband.
*' Double-Faced Fiecord — See page 225.
COPV'I MISHKIN
MARTI X
VICTOR BOOK OF THE OPERA — MADAM BUTTERFLY
FLY S UNCLE DENnUNCINn HER ACT
Sne is cast off by the family, who flee from the scene in horror. Butlerfiy at first weeps,
but is comforted by the Lieutenant, who tells her he cares nothing for her family, but loves
her alone.
Then occurs the incomparably beautiful duet which closes the first act, and which is
beyond all question the finest of the melodious numbers which Puccini has composed for
the opera ; and the effect of this exquisite music, given on a darkened stage amid the
flashing of fireflies, is -wholly beautiful.
O quanti occhi fisi (Oh
Kindly Heavens) (Love
Duet from Finale, Act I)
By Geraldine Farrar,
Soprano, and Enrico
Caruso, Tenor
(In Italian) 89017 12-in., $4.00
Miss Farrar sings all of Puccini's
music fluently and gracefully, but is al-
■ways at her best in this exquisite love
duet, while the number is Caruso's finest
opportunity in the opera, and he makes
the most of it.
The blending of the voices of the
artists is remarkably effective, and the
ecstatic climax at the end is splendidly
given, both singers ending on a high
C sharp ; the effect being absolutely
thrilling.
ACT II
SCENE — Interior of Butterfly's Home — at the back a Garden with Cherries in Bloom
Three years have now elapsed, and Butterfly, with her child and faithful maid, Suzuki,
are awaiting the return of Pinkerton. Suzuki begins to lose courage, but Butterfly rebukes her
and declares her faith to be unshaken.
Un bel di vedremo (Some Day He'll Come)
By Geraldine Farrar, Soprano
By Emmy Destinn, Soprano
By Frances Alda, Soprano
By Agnes Kimball
This highly dramatic number is sung after Butterfly
has reproached Suzuki for her doubts, and in it she
proudly declares confidence in her husband. In the
English version this is called the " Vision Song," as it
describes her vision of the arrival of Pinkerton' s ship.
Ora a noi ! (Letter Duet)
By Geraldine Farrar, Soprano,
and Antonio Scotti, Baritone
(In Italian) 89014 12-inch, $4.00
Butterfly is visited by Sharpless, who has received a
letter from Pinkerton, and has accepted the unpleasant
task of informing Butterfly that the Lieutenant has de-
serted her. He finds his task a difficult one, for when
he attempts to read Pinkerton' s letter to her, she mis-
understands its purport and continually interrupts the
Consul with little bursts of joyful anticipation, thinking
that Pinkerton will soon come to her. Finally real-
izing something of his message, she runs to bring her
child to prove to Sharpless the certainty of her husband s
home-coming.
221
[In Italian)
88113
12-inch,
$3.00
{In Italian)
92057
12-inch,
3.00
(In Italian)
74335
12-inch,
1.50
(In English)
70054
12-inch,
1.25
THE LI^TTKR FROM PINKERTON-
(CERALDJNE FARRAR)
VICTOR BOOK OF THE OPERA — MADAM BUTTERFLY
n-IRKLY ANn
Sai cos' ebbe cuore (Do You
Know, My Sweet One)
By Geraldine Farrar, Soprano
(In Italian) 87055 10-in., $2.00
By Emmy Destinn, Soprano
(In Italian) 91084 10-in.. 2.00
In this pitiful air she asks httle " Trouble"
not to listen to the bad man iSharpless), who is
saying that Pinl^erton has deserted them.
Shocked at the sight of the child, which he
knew^ nothing about, Sharpless gives up in despair
the idea of further undeceiving her, knowing that
she w^ill soon learn the truth, and leaves Butterfly,
w^ho refuses to doubt Pinf^erton, in an exalted state
of rapture over the idea of her husbands return.
Throughout the duet may be heard the
mournfully sw^eet "availing motive " played softly
by the horns, and accompanied by strings pizzicati.
This is beautifully given here, and the record is a
most impressive one.
The sound of a cannon is heard, and with
aid of a glass the two women see Pin/^erton 's ship, the
Abraham Lincoln, entering the harbor.
Duet of the Flo^ver s
By Geraldine Farrar, Soprano,
and Louise Homer, Contralto
(In Italian) 89008 12-in., $4.00
Greatly excited, Butterfly bids the maid strew
the room w^ith flowers, and they scatter the cherry
blossoms everywhere, singing all the while weird
harmonies which are hauntingly beautiful.
Miss Farrar's impressive Cio-Cio-San, childish
and piquant in its lighter aspects and pitifully
tragic in its final scenes, and Mme. Homer's
Suzuki, the patient handmaiden, v/ho loves and
protects her mistress through all the weary years
of waiting, are tw^o most powerful impersonations.
Of the music written for these two roles, this
exquisite duet is especially attractive.
Night is falling, and not expecting Pin^erton
until morning, Butterfly, Suzuk^i and the child take
their places at the window^ to watch for his com-
ing. As the vigil begins, in the orchestra can be
heard the " Waiting Motive," with its accompani-
ment by distant voices of the sailors in the har-
bor, producing an effect which is indescribably
beautiful.
FARRAR AND IIuMER
SCENE II— Same as the Preceding
The curtain rises on the same scene. It is daybreak. Suzuki, exhausted, is sleeping, but
Butterfly still watches the path leading up the hill. Suzuki awakes and insists on Butterfly
taking some rest, promising to call her when the Lieutenant arrives.
Sharpless and Pinkerlon now enter, and question Suzuki, the Lieutenant being deeply
touched to find that Butterfly has been faithful to him, and that a child has been born.
Suzuki, seeing a lady in the garden, demands to know who she is, and Sharpless tells her
it is the wife of Pinkerton, he having married in America.
223
VICTOR BOOK OF THE OPERA — MADAM BUTTERFLY
The introduction by Puccini's librettist of this character has been severely criticised,
many considenng it of doubtful taste, and forming a jarring note in the opera. So strong
is this feeUng in France, that the part of Kate has been eUminated from the cast.
The faithful maid is horrified, and dreads the effect of this news on her mistress.
Weeping bitterly, she goes into Butterfly's chamber, while the friends are left to bitter
reflections, expressed by Puccini in a pow^erful duet.
Ve lo dissi ? (Did I Not Tell You ?)
By Enrico Caruso and Antonio Scotti (In Italian] 89047 12-inch, $4-00
Pinf^erton realizes for the first time the baseness of his conduct, w^hile the Consul reminds
him of the warning he had given him in Act 1,- — to beware lest the tender heart of Butterfly
be broken.
The part of the Consul is not a great one, but Scotti almost makes it one with his care-
ful portrayal, singing with dignity and tenderness and giving the part its full dramatic value.
With the re-entrance of Suzu/^i occurs the trio for Pinl^erfon, Sharpless and Suzu/^i.
Lo so che alle sue pene (Naught Can Console Her)
By Martin, Fornia and Scotti [In Italian) 87503 10-inch, $3.00
This trio is dramatically given by Martin, Fornia and Scotti, vv^ho have this season made
successes in the several roles of Pinl^erion, Suzul^i and Sharpless.
Finale Ultimo (Butterfly's Death Scene)
By Geraldine Farrar, Soprano (In Italian) 87030 10-inch, $2.00
By Emmy Destinn, Soprano (In Italian) 91086 10-inch, 2.00
By Edith Helena, Soprano {In English) -U 7346 10-inch, .75
Now comes the pathetic death scene at the close of the opera. Butterfly, convinced
that Pinkerton has renounced her. blindfolds her child that he may not witness her suicide,
takes down the dagger with which her father committed hari-kari, and after reading the
inscription on the handle, "To die with honor when one can no longer live with honor,"
she stabs herself.
In her death struggle she gropes her way to the innocent babe, w^ho, blindfolded
and waving his little flag, takes it all in the spirit of play. The tragic intensity of this
scene always moves many to
tears.
Miss Farrar puts into this
final number all the pathetic
despair of do-Cio-San's over-
burdened heart, her rendition
being a most impressive and
wholly pathetic one. Mme.
Destinn gives a most dramatic
interpretation of this scene,
perhaps the most heartrending
in the entire range of opera,
while an English version by
Miss Helena is offered.
Pinl^erton enters to ask
Butterfly's forgiveness and bid
her farewell, and is horrified
to find her dying. He lifts
her up in an agony of re-
morse.
In the orchestra, strangely
mingling with the American
motive, the tragic death
motive may be heard as the
curtain slowly falls.
TfE DF.ATH OF BUTTERFLY
'' Oouble-Faced Hecord — See page 225 .
VICTOR BOOK OF THE OPERA — MADAM BUTTERFLY
DOUBLE-FACED AND MISCELLANEOUS MADAM BUTTERFLY RECORDS
Madame Butterfly Fantasie — By Victor Herbert's Orch 70055 12-inch, $1.25
Madame Butterfly Selection By Victor Orchestra 31631 12-inch, 1.00
This selection begins with the entrance music of Pinkerton, accompanied by the
American theme for which Puccini has utilized the "Star Spangled Banner."
Then in succession are heard the gay air of the thoughtless Lieutenant (as a cornet
solo) in which he describes the characteristics of his countrymen ; the principal strain of the
love duet with which the act closes; the exquisitely poetical "Duet of the Flowers, part
of which is given on the orchestra bells ; and the beginning of the supremely beautiful scene
where Butterfly, her maid and little son, take their places at the window to watch until
morning for the husband's coming, while in the distance can be heard the faint voices of
singers in the night, producing a mournful and indescribable effect.
Then from the last scene we hear the return of Pinl^erton announced just as Butlerfly has
taken her life; the American mo/i/ strangely contrasting with the tragic music of the death
scene ; and a few measures of the final curtain music, -with its ancient Japanese melody.
By Pryor's Band )
radame Butterfly Selection, No. 1
Bartered Bride Overture
JMadam Butterfly Selection, No. 2
\ Tannbauser Selection
Madame Butterfly Selection
By Pryor's Band ^
By Pryor's Band I
35148 12-inch, $1.25
35331 12-inch,
B\) Pryor's Band j
By Pryor's Band 31697 12-inch,
1.25
1.00
Two fine twelve-inch selections, composed of the most effective portions of the opera,
and splendidly played, as usual, by this fine concert band.
Madame Butterfly Fantasie By Victor Sorlin 'Cello 31696 12-inch, $1.00
Some of the most beautiful passages in this fascinating Puccini opera have been
combined in this attractive fantasie. Among the themes used are the last part of Butterfly's
"Song of Devotion" in Act 11, sometimes called the "Vision Song"; and the mournful but
beautiful " Waiting Motive."
["What a Sky, What a Sea (Entrance of Butterfly, Act I) 1
J (InErrghsh) By Edith Helena Soprano lO-inch, $0.75
(Butterfly s DJ^athScene^ Act II)
I J
I Beloved Idol
(In English)
By Edith Helena, Soprano ^
BUTTERFLY AND SUZUKI IN THE GARDEN
225
THE BRILLIANT MAGIC FLUTE REVIVAL OF IpTl IN BERLIN
(French)
LA FLUTE ENCHANTEE
(Lah Fleut Ahn-shan-tay')
(German)
DIE ZAUBERFLOTE
(Dee Tsow-her-floe' -teh)
(English)
THE MAGIC FLUTE
(Italian)
IL FLAUTO MAG ICO
(Eel Flau'-toh Maf ■<x-koh)
OPERA IN TWO ACTS
Libretto by Schickaneder, adapted from a tale by Wieland, "Lulu, or the Magic Flute."
Music by Wolfgang Amadeus Mozart. First produced in Vienna, September 30, 1 791 , Mozart
directing. First Paris production as " Les Mysteres d'Isis, " August 20, 1801. First London
production, in Italian, in 18)1; in German, 1833; in English, 1838. First New York pro-
duction April 11, 1833.
Characters
SARASTRO, (Sahr-ass -troh) High Priest of Isis Bass
TAMINO, [J ah-mee -noh) an Egyptian Prince Tenor
PAPAGENO, (Pap-ah-gay'-noh) a bird-catcher Baritone
The Queen of Night Soprano
PAMINA, (Pam-ee'-nah) her daughter Soprano
MONOSTATOS, (Moh-no-stal' -oss) a Moor, chief of the slaves of the Temple
of Isis Baritone
PAPAGENA, (Pap-ah-gas-nah) Soprano
First Lady, ] f Soprano
Second Lady, \ attendants on the Queen of Night - Mezzo-Soprano
Third Lady, ) I Alto
SEcdND°B^6Y, belonging to the Temple, and fulfilling the | Me^zzT-Soprano
THIRD BOY, J designs of Sarastro ^ ^,^^
Priests and Priestesses of the Temple of Isis; Male and Feinale Slaves;
Warriors of the Temple, Attendants, etc.
The scene is laid in the vicinity of and in the Temple of Isis at Memphis. The action
is represented as talking place about the time of Ramses I.
VICTOR BOOK OF THE OPERA-THE MAGIC FLUTE
ENA AND PAPACENO
the
"A fantastic fable was the groundwork:;
supernatural apparitions and a good dose of
comic element were to serve as garnish.
But what did Mozart build on this prepos-
terous foundation? What godlike magic
breathes throughout this work, from the
most popular ballad to the noblest hymn!
What many-sidedness, w^hat marvelous va-
riety ! The quintessence of every noblest
bloom of art seems here to blend in one un-
equaled flow^er." — Richard Wagner.
Strictly speaking, the Magic Flute is not
an opera, but rather a fairy extravaganza ac-
companied by some of the most delightful
music imaginable. To fully appreciate
Mozart's work it should be heard in some
German tovi'n on a Sunday evening, w^here
middle-class families and sweethearts find
much enjoyment in the mixture of mystery,
sentiment, comedy and delightful music
w^hich make up the opera. The libretto is,
of course, utterly absurd, describing as it
does the magic of the pipes of Tamino w^hich
had the pow^er to control men, animals, birds, reptiles and even the elements,
flute is continually playing throughout the w^ork, the results may be imagined.
Overture
By Pryor's Band -35135 12-inch, $1.25
By La Scala Orchestra =^=68207 12-inch, 1.25
The overture is not only one of the greatest of its kind, but one of the most generally
appreciated. Its wonderful fugue, "in which Mozart sports with fugal counterpoint as
though it were mere child's play," is played by the band in a striking manner. This fugue
is announced first by the clarinets and a fev/ bars later the cornets take up the theme, foUow^ed
by every instrument in the band in the marvelous finale.
ACT I
The scene shows a rocky landscape w^ith the Tem-
ple of the Queen of the Night visible in the background.
Tamino, an Egyptian prince who is traveling with his
friends, becomes separated from them, is pursued by a
huge serpent, and finally faints from fright and fatigue.
Three veiled ladies, attendants on the Queen, come from
the T. emple to his rescue and stab the snake v/ith their
javelins. While they go to tell the Queen of the occur-
rence, Tamino revives, sees the dead serpent and hides as
he hears a flute.
Ein Vogelfanger bin ich ja (A Bird
Catcher Am I)
By Otto Goritz [German] 64163 10-inch. $1.00
Papageno, a bird catcher, admirer of damsels, and
all-around rogue, enters and sings a merry lay, piping at
THE THREE LADIES OF THE QUEEN evcry pausc. In his song the fov/ler describes his oc-
cupation of snaring birds, but says he would like catching women better!
Papageno ;
The fowler comes, in spite of rain,
And sings his song in merry strain;
This merry fowler, too, is known
By young and old. from zone to zone.
Knows how to whistle every sound
That hirds may sing the whole year round.
Oh, none can be more blithe than I,
With these sweet warblers of the sky.
^Double Faced Record— For title of opposite side sec DOUBLE-FA CED MA GIC FL UTE RECORDS, page 230.
227
The fowler comes, in spite of rain,
y\nd sings his song in merry strain;
This merry fowler, too. is known
V.y voung and old, from zone to zone.
A net for maidens T should like
\^''ould catch the pretty dears by dozens,
I'd '^hut them safely up at home.
And never let them forth to roam.
VICTOR BOOK OF THE OPERA — THE MAGIC FLUTE
In the part of Papageno Mr. Goritz has few rivals, and his impersonation was one of the
great features of the recent revival at the Metropolitan.
Tamino now comes forward and gives Papageno credit for having killed the serpent, an
honor which he promptly accepts. The three ladies now return, rebuke Papageno and show
Tamino a photograph of the Queen of Night's daughter, the lovely Pamina, -who has been
taken from her mother by Sarastro, the Priest of I sis, to save her from evil influences. Tamino
falls in love with the picture and offers to rescue the maiden. He is given an all-pow^erful
magic flute, and accompanied by Papageno sets out for Sarastro's palace.
The scene changes to a room in the palace of the High Priest, w^here Pamina is dis-
covered in charge of Monostatos, a Moor.
The Moor is betraying his trust by persecuting Pamina v/ith his attentions, v^hen Papageno
enters and frightens him away. The bird catcher then tells Pamina of Tamino 's love for her,
and ofl"ers to conduct her to this mysterious lover.
{Italian ) ( German) ( English)
La dove prende— Bei Mannern — Smiles and Tears
By Emtna Eames, Soprano, and Emilio de Gogorza, Baritone
[In Italian) 89003 12-inch, $4.00
By Johanna Gadski, Soprano, and Otto Goritz, Baritone
[In Qerman) 88369 12-inch, 3.00
This charming duet, w^ith its grace and inimitable gaiety, introduces the melody of an
old German song, Bei Mannern
Smiles and Tears
The smile, that on the lip is playing,
How oft 'twill hide a heart's deep wnel
The tear, tliat down the cheek is straying.
From purest s])rings of joy may flow.
And smiles and tears, so legends say,
Make up the simi of Life's brief day.
\'tX, whilst that smile the l)row is wreathing,
< )nc word shall change it to a tear,
--Xnd one soft sigh's inipassion'd breathing
Shall bid the tear-drop disappear,
When each alike misleads in turn.
Uh, who the heart's deep lore shall learn!
After many adventures Tamino and Pamina meet, and by means of the magic flute they are
about to escape, but are interrupted by Sarastro,
who agrees to unite the lovers if they will remain
and be purified by the sacred rites; and as the
priest separates them and covers their heads with
veils, the curtain falls.
ACT II
The first scene shov/s a noble forest show^ing
the Temple of Wisdom. The priests assemble, and
Sarastro orders the lovers brought before him. He
then sings this superb Invocation, one of the most
impressive numbers in the opera.
Invocation (Great Isis)
By Pol Plan^on, Bass [Piano ace.)
{In Italian) 85042 12-inch, $3.00
By Marcel Journet, Bass
{In French) 64235 10-inch, 1.00
By Metropolitan Opera Chorus
{In German) *4505l 10-inch, 1.00
In the Invocation, Sarastro calls on the gods
Isis and Osiris to give Tamino and Papageno strength
to bear the trial now^ at hand.
Great Isis, ^reat Osiris!
^Strengthen with wisdom's strength this tyro pair;
'^'e who guide steps where deserts lengthen,
l>racc theirs with nerve, your proof to bear!
Grant tliem probation's fruit all living;
Vet, should tliev find a grave while striving,
Think on their virtues, gracious gods.
Take them elect to your abodes!
DOUBLE-FACED MAGIC FLUTE RECORDS, page230.
1^28
SARASTRO
*" Double-Faced Record— For title of oDpObUe side .
VICTOR BOOK OF THE OPERA — THE MAGIC FLUTE
In the noble role of Sarastro Plan<;on is especially effect-
ive, and his dignified impersonation of the benignant High
Priest, who smooths out all the fantastic tangles in the situa-
tions which occur in Mozart's opera, is always singularly im-
pressive.
The lovers are admitted to the Temple and begin their
probation.
In the next scene Pamtna is discovered asleep in a bower
of roses. The Queen suddenly rises from the earth and gives
Pamina a dagger, telling her to kill Sarasiro or Tamino can
never be hers. Pamina hesitates, and her mother, in a ter-
rifying and dramatic song, threatens vengeance on all con-
cerned.
Aria della Regina (The Queen's Aif)
By Bessie Abott, Soprano
{In Italian) 88051 12-mch, $3.00
By Maria Galvany, Soprano
{In Italian) 87059 10-inch, 2.00
The Queen of Night, Astriflammanie, is one of the most
striking characters in Mozart's opera, and the few numbers
allotted to her are difficult and florid ones. This great aria
is one which the most experienced of sopranos always ap-
proaches with misgiving, because of its excessive demands
on the vocal powers. Miss Abott and Mme. Galvany com-
pletely meet these demands, both singing the air gracefully
and w^ith superb execution.
TAMTNO AND PAMINA
I spurn thee and renounce thee,
If thou dar'st to brave my wrath;
Through thee Sarastro is to perish!
Hear, gods of vengeance!
Hear a mother's vow! {Site disappears.)
85077 12-inch, $3.00
Astriflammante:
The pangs of hell are raging in my bosom,
Death and destruction wildly flame around!
Go forth and bear my vengeance to Sarastro,
Or as my dau,thter thou shalt be disown'd!
I cast thee oft forever,
Sarastro enters and soothes Pamina, saying that he will take a righteous revenge on the
Queen by obtaining the happiness of her daughter. He then sings the noble Cavatina, con-
sidered one of the greatest of bass arias.
Qui sdegno non s'accende (Within These
Sacred \^alls)
By Pol Plani;on, Bass {Piano ace.
(In Italian)
By Marcel Journet, Bass
{In French) 74266 12-mch, 1.50
In this number Plancjon is at his best, and the noble
strains are deUvered in the broad sonorous style which the
music requires, while a splendid rendition by Journet in
French is also offered.
Sarastro; Within this hallowed dwelling
Revenge and sorrow cease;
Here troubled doubt dispelling,
The weary heart hath peace. ^
If thou hast strav'd, a brother's hand
Shall guide thee t'ward the better land.
This hallow'd fane protects thee
From falsehood, guile and fear;
A brother's love directs thee.
To him thy woes are dear.
The probationary trials of the lovers continue through
many strange scenes, in one of which Pamina meets Tamino,
and not knowing that he has been forbidden to speak to any
woman, cries out that he no longer loves her. She then smgs
this pathetic little air, which Mme. Gadski has interpreted
here so beautifully.
229
COPY'T DUPOHT
GADSKI AS PAMINA
VICTOR BOOK OF THE OPERA — THE MAGIC FLUTE
Ah lo SO (All Has Vanished)
By Johanna Gadski, Soprano {In Italian)
88254 12-inch, $3.00
Mme. Gadski has long been recognized as one of the
foren^ost exponents of Mozart in this country. The music
of this master demands singers of great understanding and
feeling, "who must possess not only voice but intelligence and
taste.
That Gadski possesses these qualifications in ample
measure is fully apparent to all who listen to her superb
Mozart reproductions.
1'am in a: ^^■^(.■tch tliat I am. too well I know
Xnutjht is left me but to mourn,
C'ljiK.lcmn'd to drain the cup of woe,
ji.i\' 10 mu will ne'er return.
Oh, Tanimn, if for thee,
-^^y sighs and bitter tears are vain,
Come, kind death, in pity free
.My weary bosom from its ]iain!
Pamina, thinking Tamino has deserted her, wishes to
die, and tries to stab herself with the dagger her mother
has given her, but is prevented by the three boys, or genii
(under instructions from Sarastro), w^ho assure her that
ND PAM INA
Tamino is still true and promise to conduct her to him.
Du also bist mein Braiitigam ? (Thou Art My Bridegroom ! )
By Johanna Gadski, Soprano, and iVlmes. Sparks, Case and Tvlattfeld
[In German) 88441 12-inch, S3.00
Mme. Gadski gives the strains of Pamina in her usual finished style while the music of
the three "boys" is sung by Mmes. Sparks, Case and Mattfeld, with voices of clear, youth-
ful timbre w^hich exhibit "well the grace and brightness of Mozart's music.
P.
\M I ,\,\ :
Oil dagger! thou are my bridegroom 1
liy thee alone I'll end my eare.
The linvs:
Oh woel what said Pamina there?
And see, she is to madness near.
Pami na :
I wisli to die, since the man,
\\'hom I ne'er can hate.
This faithful heart will t1uis desert.
{Tries in stub herself. )
The P<ivs :
Hold, tmhap))y one! and hear!
Could TaTiiino see thee thus.
Tie wit h so r r r> w w o u 1 d expire,
For be fondly lovetb thee.
pATiriNA [recovers herself):
What! did he feel responding love,
And yet concealed his feelings?
TiiR Pi^vs:
This, alas, we must not tell,
iiut \M.- will sliow him now to thee;
And with wonder thou wilt see,
Tliat liis lieart is thine alone!
Pamtn'a :
Lead me forth! T wish to see him!
All:
Come, we hiin forthwith will seek.
Two hearts that truly love.
Can human weakness nevei" jiart.
The trials being finally completed, the lovers are united in the sacred Temple. The Queen
and her accomplices attempt to prevent the ceremony, but the scene suddenly changes to
the Temple of the Sun, where Sarastro is seen on his throne with Tamino and Pamina
beside him, w^hile the baffled Queen and her train sink into the earth.
DOUBLE-FACED MAGIC FLUTE RECORDS
/Magic Flute Overture By Pryor's Band\
I My Queen Waltz
By Victor Dance Orchestral
La Scala Orchestral
La Scala Orchestral
(Magic Flute Overture
I Meistersinger Preluae
iO Isis und Isiris 'Great Isis)
J By Metropolitan Opera Chorus (In German)
\ Huguenots — Coro di Soldali (Soldiers' Chorus)
[ By Metropolitan Opera Chorus (In Italian)
35135 12-inch, $1.25
68207 12-inch, 1.25
45051 10-inch, 1.00
OF ACT r
(French)
MANON
{Man-on')
OPERA IN FOUR ACTS
Words by Mellhac and Gille, after the novel of Abbe Prevost. Music by Jules Massenet.
First production at the Opera- Comique, Paris, January 19, 1884. First London production
May 7, 1885; in English by the Carl Rosa Company, at Liverpool, January 17, 1885. In
French at Covent Garden, May 19, 1891. First American production at New York, Decem-
ber 23, 1885, with Minnie Hauk, Giannini and Del Puente. Some notable revivals w^ere
in 1895 with Sybil Sanderson and Jean de Reszke ; in 1899 w^ith Saville, Van Dyk, Dufriche
and Plangon ; and at the recent production 'in 1909) at the Metropolitan, Vk'ith Caruso,
Farrar, Scotti and Note.
Cast
CHEVALIER DES GRIEUX (Shev-al-vav' deh CreeW) Tenor
COUNT DES GRIEUX, his father Bass
LESCAUT, [Les-koh^) Manon's cousin, one of the Royal Guard Baritone
GUILLOT MORFONTEIN, a roue, Minister of France Bass
De BRETIGNY, {Bray)4ee-yne/) a nobleman Baritone
MANON, a school girl Soprano
People, Actresses and Students
Time and place : 172}; Amiens, Paris, Havre.
The story of Manon is, of course, taken by Massenet's librettists from the famous novel
of the Abbe Prevost, but for operatic purposes several changes have been made, notably in
the events of the fourth act, which takes place in France instead of America. Although the
tale is very w^ell know^n, a brief sketch will be included here.
Manon is a country girl, gay, pretty and thoughtless, who meets a handsome young
cavalier, des Grieux, while on her w^ay to a convent to complete her education. He falls in
231
VICTOR BOOK OF THE OPER A— M ASSENET'S MANON
love w^ith her and she with him as far as her nature will allow, and when he tells her of the
gaieties and pleasures of Paris, she needs little persuasion to induce her to elope with him
to the Capital, to the chagrin of Guillot, whose carriage the lovers appropriate.
Soon tiring of love in a cottage, however, the young girl encourages the attentions of a
rich nobleman, de Bretigny, and w^hen des Grieux is taken away forcibly by his father, she
siezes the opportunity and leaves w^ith her new lover.
In Act III she learns that des Grieux, despondent because of her faithlessness, has resolved
to enter a monastery. Her fickle affections turn again to him, and she visits him at the
Seminary of St. Sulpice. He at first repulses her, saying his love is dead, but is unable to
resist her, and they depart together.
The next act occurs in a gambling house, w^here des Grieux is endeavormg to w^in money
to support Manon in the luxury she demands. Guillot, in revenge for the trick played on
him in Act I, causes their arrest, des Grieux for cheating and Manon as a dissolute w^oman.
The last scene occurs on the road to Havre, where des Grieux and Lescaul, Manon' s
cousin, plan to rescue Manon as she is being taken to the ship, en route to the prison colony
in Louisiana. The soldiers appear, but it is a dying Manon they escort, and the unfortunate
girl, after repenting and asking forgiveness of des Grieux, dies in his arms.
ACT I
SCENE I — Courtyard of an Inn at Amiens
As the curtain rises the crowd of villagers, including Lescaul, are waiting the coming
of the coach, which presently arrives and discharges Manon. The young girl regards the
animated scene with much interest, and soon espies Lescaut, her cousin, v/ho was to meet
her at this point and escort her to the convent school. He greets her and compliments her
on her charming appearance. She blushes and then artlessly tells him of her impressions
during the journey from her country home. The scene from this point has been recorded
by the Scala singers.
Restate qui (W^ait a Moment)
By Elisa Tromben, Soprano; Federico Federici. Tenor; G. Pini-Corsi,
Tenor; Riccardo Tegani, Baritone (In Italian) *55000 12-inch. $1.50
Lescaut asks Manon to excuse him for a while as he must go to see after her luggage.
Lkscaut (to Maiioit):
Wait a moment.
Be prudent; I am going to find your luggage.
; ANTEROOM OF ST. SULPICE METROPOLIT.\N 0PER.-\ SETTING
^oul,lc.Faced Record- For title of opposite side see DOUBLE-FACED MANON RECORDS, pose 240.
2.3.3
lliav.i
Aim
n !
\\h:a .1.. I Me" Y
Aliuiii ! ^ .iiini; Ici.ly !
Really,
my
head ib (urning round!
VICTOR BOOK OF THE OPER A— M ASSENET'S MANON
He goes out, and the townspeople desert the square, leaving Manon alone. The roue,
Guillot, appears on the balcony of the hotel, crying: "Miserable landlord! Are we never to
have any w^ine ?
He sees Manon, and his evil eyes light up at this vision of youth and beauty.
C,v 1 1,1. MT : I ii l;Rl:l■ll;^■^■ :
Iruly! This time 1 !i\vcar lliu <.iny liris Iiv chance foiiml
NcvL-r (lid swectci" lonk liyht ii|> a wmnan's
face I
-_ ., , , ,, ^ Nuw tlien, (luillot, let tlie girl alnnu ami cnme
^lAXnN iasijlc mid hnn-ilnuo): i,^_ ^y^. .,,.^, ^alliiiK you.
W hat a liinn>' mail ; Gr i lldt ■
Gui LLOT ■ Ay. a\', ill .'I momeiil.
VouTiK 1ailv. I am (aiillot dc :\[nrf ontaine. I i I o Minuni): _
am i-icli and wnuld -ivu a gn,id deal tn hear , ^'>; ^'^tle one, give me a word,
a \v(Hd of lovu from vnii. Xou , what do I '!■: . I :RET[(,N V : ^
\uLi ^u■ In tlrit^ ' 'iinllot. let the girl almie.
■^ ■'■ ' ■ (if I LLOT (softly to Malum):
^Faxon: a postillion is coming directly: when yoii sec
That I should he ashamed, if T were not more liim, understand that a carriarc is at yuuv
disi)oscd tu laugli. service. Take it, and afterwards ytm shall
-p, -p. know more.
nr I.RFTicNv:^ , , , -, „, I.KSt-ArT iwlw has just entered):
Anw iln.li, (tuiUdI, what s the game? We are What ilo ynu sav"?
waiting for you. (\v\LUyTU-.n, fused):
Gnir LOT ■ * )h, sir I nothing, sir !
Oh, go to the Devil. I.tscAVT [boisterously):
nil, sir ' I )id yon say —
I'musett;: ilo Cnillnl): Gimllot ( rel h niiinj tn the parillioa):
Are you nut ashamed? At your age! Xuthing, sir, I saiil.
Guillot is frightened by the gruff soldier, to the amusement of the bystanders, who
laugh at the baffled libertine until he flees in confusion.
Lescaui now warns Manon to beware of the men she may meet.
Lj.scaut I to Maiuni) : Si roxn Oi. akmsmax :
He spoke to you, Manon. I'-oth cards and dice are waiting your pleasure
Manon {lightly): hehiw.
Well, can you say 'twas my fault? T.l■■se^\L: i :
T-I-scaut: 1 come; but first to this young lady, \\\\h \'mir
That's iriie: anrl in my e\'es you arc .so good leave, good sirs,
that 1 won't trouble myself. I must speak some words of counsel full of
(The tri'o iiuardsnicii enter.) wisdom.
First (Iiiakusman (to J^cscaut): Guardsmen (in moek rrsifjnotioii) \
Ilo\v' nuwl Thou eomest not! To his wisdom wl^'II listen.
Mi raccotnando (Wait for "Me)
By Elisa Tromben, Soprano; Federiico Federici, Tenor; Chorus
(In Italian) =^^55000 12-inch, $1.50
The young girl promises to be prudent and Lescaut leaves with the guardsmen.
Lescm.! (/(' Manon): Should whisper frdly in your car,
Give goinl heed to what I saj^- Uehavc as though you did nut hear.
Duty calls mc now away, For safety's sake adopt that plan.
To consult these comrades here (To the Giiardsincn . aside)
l''^pon a point that's not quite clear. Now let us go and ■^ee on which of us the
AA'ait fur mc. Mannn, ju^t a moment, no more. goddess of the f.aiiie will bxik with loving
Make no mistake, hut jundi itt be. eyes.
And if, fiirsooth, smiie silly man (They go out.)
Des Grieux now^ enters, and seeing Manon, is much impressed w^ith her beauty and
modest bearing. He addresses her respectfully, beginning the lovely duet, El je sais voire nom.
Et je sais votre nom (If I Knew But Your Name)
By Ivllle. Korsoff, Soprano, and Leon Beyle, Tenor
(InFrench) =^^16551 10-inch, $0.75
The young girl answers simply, but feels herself strangely drawn to the young student.
The transition from strangers to lovers is a quick one, as will be seen by the translation.
Dns Grifux: Dr^ Gk-m-x (tc//// emolion):
!f I kniw l)iil \niii- n.'inii- — M\\ii.n ia-iiilc)-
MNxrix (u'ilh snn/^hrityt: ' I I „„, |, .„,!,.,- are liix looks,
T nm oalkd .\Ianon. ||,,„, <|cUi;lltful his voice to my soul!
*Douhk-FaceJ Record— For title of opposite side see DOUBLE-FACED MANON RECORDS, page 240.
2:,4
VICTOR BOOK OF THE O P E R A— M A S S E N E T ' S MAN ON
All my tend foolish words. Nn. j „,ill nut W]hx<j Lliat fale can be so
1 pray you turyivel hardl
Manun ()(.(/:■<:•/;'); That onu so young and s(j fair can be destined
How condemn your words when they charm to dwell in a living innib.
my heart; ManmjN :
To my ears they aw music! liut 'tis, alas! the sovereign will of Tleavea,
Would to Ik-av'n such language were mine, To whose service I'm devoted.
You fit answer to make. And no one from this fate can deliver me.
Des Grieux (ill a transfort of joy): Des Grieux Ifirnily):
Lovely en clian tress, all -conquering In-auty, No, no ! Not from you, [Man on, shall hope
Manon, from henceforth thou art mistress of and joy be torii.
my heart! JManon (joyfully) :
IManon; Oh, Heaven!
Oh! what jo>-! ])i:s Grieux:
I'm henceforth the mistress of his heart! For on my will and power you can saf'ly
Pes Grtei'x: depend.
Ah, speak to me! 1\Ianon {zvitli oicrgy) :
Manon: Ah! to you I owe far more, far more than life.
I am only a simple maiden. I^^s Grieux (passionately) :
(Sinilliu/) Ah! Manon, you shall never leave im- now!
Believe me. I'm not wicked. Since I would gladly roam thro' all the worbl,
But I often am told bv those at home. Seeking for ynu. love, an unkn<iwn rutreal,
That T love pleasures too well; ■'^"d carry you there in my arm-,.
(Smlly) Manon:
I am now on my way to a convent. '^o yo^i- '"ny ''f*^ ^'I'l '^iv soul!
That, sir, is the story of Manon. To you I give my life for evermore!
(inth siwplicifv) riEs Grii-ux:
Of :\Ianon Lescaut! J^^ght of my soul! Manon,
1 he mistress of my heart for e\-LrinorL!
Manon now observes the carriage of Guillot, which had been offered her, and suggests
that they take it and fly together. Des Grieux joyfully agrees and they sing their second duet.
Nous vivrons a Paris (We W^ill Go to Paris)
By Mile. Korsoff, Soprano, and. Leon Beyle, Tenor
(/n Frenc/j) *45009 10-inch, $1.00
!Manon and T)i:s Griel-x: Evermore liHss is ours,
\\\' to Paris will go. Heart to heart! And with love's sweetest How'rs
And, though fortune may frown, never part ! \\'ill v\c crown the bright hours !
Hearing Lescaut's voice from within the hotel, where he has been gambling, the lovers
hastily enter the carriage and drive off, v/hile Guillot sw^ears revenge and Lescaut bevv'ails his
double loss of money and cousin.
ACT II
SCENE— ..^par/men/ of Des Grieux and Manon in Paris
Des Grieux is writing at a desk, while Manon is playfully looking over his shoulder.
He tells her he is w^riting to his father:
Des Grieux: Des Griel'x:
This letter's for my father, and I tremble lest Yes. Manon, I'm afraid,
he shoubl read in an,L:er what I write from ^Faxon:
my heart. Ah, well, then we'll rend it together.
Manon: 1'es Griei'X :
You are afraid? Yes, that's the way. Together we'll read.
On Tappelle Manon (She is Called Manon)
By Farrar, Soprano, and Caruso, Tenor (In French) 89059 12-inch, $4-00
By Mile. Korsoff, Soprano, Beyle, Tenor {In French) ='=45009 10-inch, 1.00
Continuing this charming scene, she takes the letter from him and reads with simplicity :
M,\N.iN-:
Manon
"She is called Manon. and is young and fail
Is this trui ■?' All, I knew it
(Tciuh-r/y)
In her all charms unite. She has grace,
radiant vuulh and beautv; music i^ows in a ^ ^'^'^ ^ know hnw much T am loved.
stream from her lips; "in her eyes shines i >es (.rm:ux ( le; /< /^.s-.v/ro, } :
the tender light of love." ,/l^^'" ^'' '"^-^^^1- ^^^^"""- ^ ^^^'■"■- ^'^-■'
ii I A N T) N .
Pes r.RiEUX (ardciifly) : Cnme. come, good sir, there's more to read
In lier eyes shines the tender light or love. y^.^
*Douhk-Faced Record— For title o/ opposite side 3ee DOUBLE-FACED MANON RECORDS, pose 240.
VICTOR BOOK OF THE O P E R A— M A S S E N E T ' S MAN ON
Dfs Grieux :
I)i-:s (.iRiKux :
"Like a bird that llnougli all lands follows
Yes; he will tiuver in such a matter as this
the spnny, so Ikt young soul to life is evur
uj^Hj^e me.
open. Her lips, like llowers, smile and
Manon :
speak to the zejihyrs thai kiss them in pass-
Dost thou desire it?
ing."
Manux I rctcaliini) :
Des Grifux:
"To the zejjhyrs that kiss them in passing."
1 desire it, with all my soul!
i rensfi'cly)
ATanon :
Do you think your father will give his con-
Then embiace me. Ghevalier. {They embrace.)
sent?
And now, go; — v^nd ihy letter.
Des Grieux starts to go, but seeing some beautiful flo%vers on the table asks who sent
them. Manon replies evasively, and asks if he does not trust her and if he is jealous. He
assures her of his perfect confidence.
A noise is heard outside, and Lescaut, accompanied by de Bretign;^, a French nobleman,
enters, the former loudly demanding satisfaction from des Grieux for the abduction of his
cousin. Des Grieux at first defies him, but remembering that he is a member of Manon' s
family, shows him the letter he had w^ritten to his father asking her hand in marriage.
Lescaut engages him in conversation, thus giving de Breiigny an opportunity to speak to Manon
aside. He tells her that des Grieux is to be carried off by his father that night, and urges her
to fly w^ith him. Tempted by the thoughts of wealth the young girl hesitates. Lescaut now
loudly expresses satisfaction wth the attitude of des Grieux, and departs with de Bretignv.
Des Grieux goes out to post the letter and Manon struggles with the temptation which
has come to her; the pathetic air, Adieu notre petite table, indicating that she is yielding.
Adieu notre petite table (Fare^vell Our Little Table)
By Geraldine Farrar, Soprano (In French) 88146 12-inch, $3.00
By Mme. Vallandri, Soprano, and Leon Beyle, Tenor
{In French) *45008 10-inch, 1.00
NOTE. — In record 45008 Mme. Vallandri sings a portion of the " Farewell
followed by the short duet which precedes the " Dream."
olo and this is
She regards the little table at which they had served their simple meals.
R'fANON" :
Faiewell. our pretty little ta!)le! So small and space we lovers filled. A single glass served
yet so large frir us. Side hy side so often ))nth of us. and each, in rlrinking, sought
there we've sat. ill'ith a sad sinilc.) I upnn its margin where dear lips had heen.
smile as now 1 call to mind what narrow Ah I hest of friends, how thou hast loved!
Hearing des Grieux approaching, she hastily tries to conceal her tears. He observes
them, however, and tries to soothe her by relating a dream he has had.
(Italian)
{English)
(French)
II sogno— The Dream — Le Reve
By Enrico Caruso. Tenor (In Italian) 81031 10-inch, $2.00
By Edmond Clement, Tenor, (In French) 74258 12-inch, 1.50
By Fernando de Lucia, Tenor (Piano ace.) (In Italian) 66001 10-inch, 1.50
By John McCormack, Tenor (In Italian) 64312 10-inch, 1.00
By Leon Beyle, Tenor (/n Frenc/i) *45008 10-inch, 1.00
" Listen, Manon," he cries, " On my way .
With fancy's eye I saw, Manon,
A sweet and lowly c<;it.
Its white walls, deck'd with Howers fair,
Cdeam'd thro' the woodl
lleneath whose peaceful shadows
Ran clear the hahhiing brook;
Overhead, 'mid verdant leaves
Sang so sweet and full the joyous birds,
{In French) *45008
dreamed a lovely dream.
"Tis )iai-adisel .'\h, no,
All is sad, si) sad and dreary,
For, O my only love, thou art not there.
Manon (softly) :
'Tis a vision, 'tis hut a fancy I
Des Grteux :
No: for thus we'll pass nur life.
If but thou wilt, O Manon!
*Doub!eFaced Record— For title of opposite side see DOUBLE-FACED MANON FIECORDS, page 240.
VICTOR BOOK OF THE O PE R A — M ASS EN ET'S MAN ON
A knock is heard and Manon exclaims, aside, " Oh, Heaven, already they have come
for him ! " She tries to prevent him from opening the door, but he insists, and is seized
and carried away, w^hile Manon, suddenly repenting, is overcome with grief.
ACT III
SCENE — A Street in Paris on a Fete Day
Manon enters, accompanied by de Bretign;^ and several gallants. She is in a gay mood and
extols youth and love in a fine vocal gavotte.
Gavotte — Obeissons quand leur
voix appelle cHear the Voice
of Youth)
By Geraldine Farrar, Soprano
{In French) 87023 10-inch, $2.00
By Frances Alda, Soprano
{In French) 87111 10-inch, 2.00
Manon :
List to the voice of youth whuii it callcth,
It bids ye to love for aytl
And ere the pride of beauty fallcth,
Love then while you may.
Profit then by the time of youth,
And do not stay to count the days,
Remember well this adage — be merry and gay
always I
The heart, alas, to love is e'er willing,
And ever willing to forget.
So while its pulse is thrilling.
Love, ere its day hath set I
Manon, seeing des Grieux's father, timidly ap-
proaches him and asks if des Grieux has forgotten
her. She learns that the young man has for-
given her, buried his love, and is planning to enter
a monastery. When the Count has departed, the
capricious girl resolves to go to St. Sulpice and
see for herself if she has been so easily forgotten;
and as the curtain falls she is callmg to Lescaut to conduct her thither.
SCENE U— Reception Room at St. Sulpice
At the beginning of this scene the Count pleads with his son not to retire from the
world, but des Grieux says he is resolved, and his father, after promising him one hundred
thousand francs, takes a sorrowful leave.
Des (iRiEUx:
Nothing shall stop me from pronouncing my
vows.
Count :
Thou art resolved?
Des Grteux:
I am resolved.
Count:
So be it. I will go and announce to ail that
we have a saint in the family. Whether
any one will believe me is doubtful.
Des Cirieux:
I pray you, sir. do not mock me!
Left alone, des Grieux sings his lovely song of renunciation, w
ItaUan and French by three famous tenors.
{French) (Italian) (English)
Ah, fuyez, douce image!— Dispar, vision— (Depart, Fair Vision!)
NOTE— The Caruso record {s preceded by the Recitative. "Jesuisseul" (Alone at Last!)
By Enrico Caruso, Tenor (In French) 88348 12-inch, $3.00
By Gino Giovannelli, Tenor (In Italian) J55001
By "M. Rocca, Tenor (/" French) =^65 75
Double-Faced Record-For title of opposite side see DOUBLE-FACED MANON RECORDS, page 240
237
FARRAR AS MANON ACT III
Count:
One word more. As it is not certain that thou
wilt not hf an ahhot to-morrow. I shall send
thee at once a hundred thousand francs.
Des Grieux:
Father!
Count :
The money is thine. It comes from thy
mother. And now, farewell, my son 1
Des Grieux:
Farewell 1 Farewell I
Ci.'Unt:
Farewell! Remain to pray. (L.vit.)
hich the Victor offers in
12-inch.
10-inch,
1.50
.75
VICTOR BOOK OF THE OPER A— M ASSENET'S MANON
He declares he will now seek the peace of mind which only faith in Heaven can give.
Des Grieux: I'm alone at last I The supreme moment now has
cume. l-'rom earthly ties I'm free, and only suck the rest
\;'hich faith in heaven ean give I
Ah I depart, image fair,
Leave me now at rest;
Have regard to my prayer.
Ease my 7joor tortured hreast.
To the dregs I have drain'd
Life's most Intter cup,
Nor to Heaven once complain'd,
Thougli heart's blood filled it up.
Dead to me now are love and all that men call glory. I de-
sire to banish from my memory an evil name — a name
which haunts me I Oh Heaven ! with flame all searching,
my soul now purge from stain! OIi I let thy jnire and glo-
rious light chase far away the gloom that la>'s on my heart.
He goes slowly out and Manon enters, shuddering at the gloomy walls and w^ondering
if her lover has quite forgotten her. Des Gr/eu.r soon returns and is astounded to s&e. Manon,
bidding her begone, saying his love is dead. She says she cannot believe it.
■y..s that oft I
do they shine
u hast kissed with
more, even through
my weeping I An
tuin away, but 1
^lanon?
I not myself? Do
ok otr me. Am 1
Des Grieux is deeply moved, but asks Heaven for strength to resist her. Her plead-
ings finally have their effect, and he cries: "Ah I Manon! No longer w^ill 1 struggle against
myself I " and they depart together.
THE GAMBLING SCENE ACT IV
ACT IV
SCENE— y4 Gambling Ro
Paris
Des Grieux Kas been persuaded by Manon to come to this place in the hope of winning money
to satisfy her desire for luxury. He plays for high stakes and wins large sums from Guillot,
who leaves in a rage. As des Grieux is showing Manon the gold he has won, a loud knock-
ing is heard and the police enter with Guillot, who denounces des Grieux as a swindler and
Manon as his accomplice. They are arrested and taken to prison, but des Grieux is after-
ward released through his father's influence, while Manon is ordered to be deported to
America by way of Havre.
238
VICTOR BOOK OF THE O P E R A— M A S S E N ET ' S MANON
nr: itavkt road
Manon, la catena (Manon in Chains !)
Concertato finale —
O dolor
By Aristodemo Giorgini,
Tenor ; A. Santoro, So-
prano; S. Nicolicchia,
Baritone ; and Chorus
{In Italian)
87083 10-inch, $2.00
ACT V
SCENE— On the Road lo Havre
Des Grieux and Lescaut are
on the Havre road, waiting
for the soldiers who are es-
corting the prisoners to the
ship bound for America, des
Grieux having conceived the
mad idea of rescuing Manon.
Beginning the duet he sings
his sad and remorseful air,
Manon in Chains !
By Remo Andreini, Tenor; Riccardo Tegani, Baritone; and Chorus
[Double-Faced, see page 240) [In Italian) 55001 12-inch,
H.50
1"
Des Grieux (disco-.'crcd seated by the waysiiie ) :
j\Ianon, poor Manon! JNhist I see thee lienlcil with Uu'se \\rLtcIu'd bcin^^ ^ind In
less to aid? O Heaven I Merciless IIea\Lnl Mu^t I then desjiairl </lc sees Lescaut
al'l'roaclnng.) lie comes! {Advancing iiuj^ctuousiy to Lescaut.) 'I'hy fellows now
make ready; the soldiers will soon reach this place. Thy men are fully armed; they
will rescue Manon and give her back to me! What! can it not be done? Are all my
fond hopes vain? Ohl why du^-t thou keep !?ilcncc?
Lescaut hesitates and finally says :
Lescaut :
Sir, I have ihrnc my be:^t —
Des CiKIEUX (anxiously) :
Go on !
Lescaut :
And grieve to say that all is lo^t.
Des Grieux (pilcous/v) :
Lost:
Lescaut:
Scarce had the sun shone on the arms of the
soldiers ere all our men fled 1
Des Grieux (distracted) :
'Tis false! 'Tis false! Great Heaven hath
taken pity on my suffering, and at last comes
the hour cxjiectedl In a moment my Manon
shall he free!
Lescaut (sail/y ) :
Since I have tnld the truth —
Des Grieux (about to strike liim):
Away !
Lescaut;
Strike if you will. 'Tis soldier's fare. He's
by the King ill-paid; and then, whate'er his
worth, the good folks shake their head and
call him "wretched fellow."
Des Grteux (I'iolcutly) :
Away !
The voices of the soldiers are now heard in the distance singing as they ride. Des
Grieux and Lescaut listen attentively, and the former, realizing that they are almost at hand,
madly tries to rush forward. Lescaut dissuades him, saying he has a better plan, as he is well
acquainted with the officer in command. When the escort arrives, Manon is found to be
very ill and is left behmd by the officer at Lescaut's suggestion. During a heart-rending
scene Manon asks and receives the forgiveness of des Grieux, repents her sins and dies in
his arms.
239
VICTOR BOOK OF THE O PE R A— M AS S EN ET'S MANON
DOUBLE-FACED AND MISCELLANEOUS MANON RECORDS
55000 12-inch, $1.50
55001 12-inch,
Restate qui (W^ait a Moment) By Elisa Tromben,
Soprano; Federico Federici, Tenor; G. Pini-Corsi,
Tenor; Riccardo Tegani, Baritone {In Italian)
Mi raccomando (Wait for Me) By EHsa Tromben,
Soprano; Federico Federici, Tenor, and
La Scala Chorus {In Italian)
lo son solo (I'm Alofte at Last)
By Gino Giovannelli, Tenor {In Italian)
Manon. la catena (Manon in Chains!) By Remo Andreini,
Tenor ; Riccardo Tegani, Baritone, and
La Scala Chorus {In Italian)
I Nous vivrons a Paris (W^e "Will Go to Paris) 1
I By Mile. Korsoff, Soprano; Leon Beyle, Tenor [ . , „„q
lOn I'appelleManon (She is Called Manon) By Mile. | 4500J
[ Korsoff, Soprano ; Leon Beyle, Tenor {In French)}
[Adieu, notre petite table (Farewell, Our Little Table)
I By Mme. Vallandri, Soprano ; Leon Beyle, Tenor
i {In French)
[he reve (The Dream) By Leon Beyle, Tenor (In French)
Et je sais votre nom (If I Knew But Your Name)
By Mile. Korsoff, Soprano ; Leon Beyle {In French)
Favorita — Splendon piu belle in del le stclle {In Hea\>'nly
Splendor) By Perello de Segurola, Bass, and
La Scala Chorus {In Italian)
I Ah! fuyez douce image ! (Depart Fair Vision) )
i By M. Rocca, Tenor {In French) 165 75 10-inch,
[ Carmen Selection {Bizet) By Pryor's Band]
16551 10-inch,
1.50
10-inch, 1.00
45008 10-inch, 1.00
.75
.75
SETTING OF ACT I AT THE WETKUFOLITAN
(Italian)
MANON LESCAUT
[Man-on' Les-koh')
OPERA IN FOUR ACTS
Music by Giacomo Puccini, the libretto (founded on Abbe Prevost's novel) being
mainly the work of the composer and a committee of friends. English version by
Mov^^bray Marras. First presented at Turin, February 1, 1893. Produced at Covent Garden,
May 14, 1894. First important New York production, January 18, 1907.
Characters
MANON LESCAUT Soprano
LESCAUT, sergeant of the King's Guards Baritone
CHEVALIER DES GRIEUX {deh Crec-uay) Tenor
GERONTE DE RAVOIR, Treasurer-General Bass
Edmund, a student Tenor
An Innkeeper, a Singer, a Dancing-master, a Sergeant, a Captain. Singers,
Old Beaux and Abbes, Girls, Citizens, Villagers, Students,
People, Courtezans, Archers, Sailors.
Scene and Period : Paris and oicinity ; second half of the eighteenth century.
THE STORY
This early Puccini opera was performed by a struggling opera company in 1898, but the
performance was so wholly bad that we have made no mention of it in our chronicle at the
top of the page. The real New York premiere was of course the Metropolitan production in
1907, when Puccini himself was present. An English version of the opera was given in Phila-
delphia, however, by Gustav Hinrichs during one of his summer seasons, — August 29, 1894.
2^11
VICTOR BOOK OF THE OPER A— M ANON LESCAUT
FARRAR AS MANijN
abandoned woman. She
The Abb6 Pr6vost romance has been treated operatically
by several composers, the first being Halevy, who wrote a bal-
let on the subject in 1830. Other settings followed — by Balfe,
1836; Auber in 1856 and Massenet in 1884.
Puccini's version consists of four detached scenes selected
from the novel, and the hearer should possess some knowl-
edge of the story to fully understand the action of the opera.
The first act show^s the courtyard of an inn at Amiens.
Manon's brother, Lescaut, a dissolute soldier, is escorting his
pretty little sister to the convent where she is to complete her
education. While Lescaut is carousing with some chance
companions, Manon meets a handsome gallant, des Grieux,
who chances to be dining at the inn, dressed as a student.
The prospect of school not appealing strongly to the young
girl, she readily agrees to elope with des Grieux, thereby spoil-
ing the plans of the old roue, Geronle, who had planned to
abduct the pretty school girl. Manon soon tires of des Grieux
and his poverty, and leaves him for the w^ealthy Geronte ;
but even this luxury fails to bring her happiness, and w^hen
des Grieux appears again she runs away vv^ith him.
Geronte is furious and denounces Manon to the police as an
condennned to be deported to the French possessions in Louisiana. Des Grieux and Lescaut
try to rescue her, but the attempt fails, and in desperation the former begs the commandant
to permit him to accompany her to America.
In the final scene the lovers are shown in a desert near New Orleans. (The Abb6
Prevost's know^ledge of American geography was evidently limited!) Des Grieux leaves
Manon to search for w^ater, and returns just in time to see her die in his arms, after a most
affecting scene.
ACT I
SCENE — A Street in front of an Inn at Amiens
Des Grieux, dressed as a student, strolling among the crov^d, meets Edmund and a party
of students, who warmly greet him. He is in a gay mood and addresses some of the girls
w^ho are passing, asking them, in this charming air, if there is one among them who will
take pity on his lonely condition.
Tra voi belle brune (Now Among You)
By Franco de Gre^orio. Tenor (In Italian) ''45015 10-inch, $1.00
This gay song is effectively given by one of the Victor's
new tenors, of the La Scala forces, and the record is
doubled with the Madrigale from Act 11.
A diligence now^ arrives, and Manon and her brother
and Geronte, a chance traveling companion, alight. Des
Grieux is struck with the beauty of the young girl, and
when Lescaut and Geronte have gone into the inn to arrange
for quarters, he questions her respectfully. She tells him
that she is bound for a convent, but does not w^ish to go.
Lescaut now^ calls to his sister, and she enters the inn after
promising to meet des Grieux later in the evening.
The young man gazes after her, and says to himself
that never has he seen so lovely a picture of youth and
innocence. He expresses his emotion in a fine air, one of
the loveliest of the numbers allotted to des Grieux.
Donna non vidi mai (Never Did I Behold)
By Enrico Caruso, Tenor ("With Harp and
Orchestra) (In Italian) 87135 10-inch, $2.00
By Egidio Cunego, Tenor
scoTTi AS LESCAUT {In Italian) =^45016 10-inch, 1.00
^DoMc.Faced RecorJ-For title of opposite side see DOUBLE-FACED MANON LESCA UT RECORDS, page 244.
242
VICTOR BOOK OF THE OPER A— M ANON LESCAUT
The students now gather round, bantering Jes Grieux on his new conquest, but he is in
no mood for joking and goes into the inn. Lescaut now joins a crowd of soldiers who are
gambhng, and soon becomes absorbed in the game. Geronte, seeing the brother thus
engaged, seeks the landlord and plots to abduct Manon. Edmund overhears the scheme and
informs des Grieux, who finds Manon and induces her to elope with him. They take
the carriage which Geronte had ordered and make their escape, leaving him furious. How-
ever, he finds Lescaut and suggests that they go to Paris in search of the runaways. Lescaut,
who has been drinking, consents, delicately hinting that if Geronte will admit him into the
family group, he will use his influence to induce Manon to desert des Grieux for the older
but wealthier suitor.
ACT II
SCENE — An Apartment in Geronte' s House in Paris
Since the events of Act I Manon is supposed to have left des Grieux for the vv^ealthier
Geronte, She is seen surrounded by the utmost luxury, attended by her hairdresser, dancing
master, etc. Lescaut enters, evidently much at home, and congratulates her on her change
of fortune, taking to himself all the credit for having advised her so cleverly. She says she
is happy and contented, but asks Lescaut if he has heard any news of des Grieux — whether
he is grieving or whether he has already forgotten her. Lescaut tells her that the young
man is disconsolate, and is gambling in order to get wealth to win her back to him.
Manon gazes pensively at the rich hangings, and in a fine air expresses her longing for
the humble cottage she has left.
In quelle trine morbide (In Those Silken Curtains)
By Frances Alda, Soprano (In Italian) 87106 10-inch, $2.00
Madame Alda, whose Manon is one of her most successful impersonations, sings this
pathetic scene from Puccini's opera in exquisite style.
They are interrupted by the entrance of a company of Madrigal singers who have been
sent by Geronte to amuse Manon. They sing a beautiful Madrigal, given here by Signora
Lopez-Nunes and La Scala Chorus.
Madri^ale — Sulla vetta del monte (Speed O'er Summit)
By Lopez-Nunes, Soprano, and Chorus {In Italian) *45015 10-inch, $1.00
When the singers have departed, the dancing master appears to teach Manon the minuet.
She takes her lesson, while Geronte and several friends watch her admiringly. In a gay mood
she sings a little song to the air of the minuet.
Minuetto di Manon, "L'ora o Tirsi" (Joyful Hours)
By Frances Alda, Soprano (In Italian) 87079 10-inch, $2.00
Des Grieux now enters and reproaches Manon bitterly. At the sight of him her love
returns, and she begs him to take her away from all this luxury. They sing a passionate
duet, followed by a lovely solo for des Grieux, who reproaches Manon for her fickleness.
Ah! Manon, mi tradisce (Manon, Kind and Gentle)
By Franco de Gregorio, Tenor {In Italian) *45027 10-inch, $1.00
By Giorgio Malesci, Tenor (In Italian) *63421 10-inch, .75
Geronte surprises them, but controls his rage, and sarcastically wishing them a pleasant
tete-a-tete, goes out. Lescaut shortly afterward rushes in and announces that Geronte has
sent for the police. Des Grieux begs Manon to escape at once, but she insists on collecting
her jewels first. This delay is fatal, and she is arrested and taken to prison, charged with
being an abandoned Vi'oman.
Intermezzo (Between Acts II and III;
By Arthur Pryor's Band *35003 12-inch, $1.25
Now comes the exquisite intermezzo, which gives a musical picture of the journey to
Havre of Des Grieux to secure the release of Manon, and of his resolution to follow and
protect her wherever she may be sent — "Even to the end of the world!" cries the
unhappy lover. i i i a
This number exhibits well the genius of this composer in makmg the orchestra reflect
the incidents and passions of the story instead of using it as a mere accompaniment.
*Doulle.FaceJ Record-Far title of opposite side see DOUBLE^FA CED MANON LESCA UT RECORDS, page 244.
243
VICTOR BOOK OF THE OPER A— M ANON LESCAUT
ACT III
SCENE— rAe Harbor at Havre
Manon has been banished fronn France, and is now embarking on the ship for the
French colony in Louisiana. Des Grieux, unable to secure her release, entreats the officers
to permit him to go on board. The captain, touched by the grief of the unhappy lovers,
consents, and with a cry of joy Des Grieux embarks just as the ship is sailing.
ACT IV
SCENE — A Desolate Spot in Louisiana
This act is merely a long duet in w^hich the sad, but very human, tragedy is ended.
The music portrays the failing strength of Manon, the despair of Des Grieux when he is
powerless to aid her, the last farew^ell of the lovers, and the bitter grief of the unhappy
young man v/hen Manon dies. As she expires, unable to bear more, he falls senseless on
her body.
DOUBLE-FACED AND MISCELLANof her husband, and how to bring him back to her side.
ACT II
SCENE 1 — Jipartment oj the Countess
At the beginning of Scene II, the Countess sings her lovely appeal to Cupid.
Porgi amor (Love, Thou Holy Impulse)
By Johanna Gadski, Soprano (In Italian) 88275 12-inch. $3.00
By Teresa Arkel, Soprano (Double-faced, see page252) {Italian) 63419 10-inch, .75
The Countess is one of Mme. Gadski's most effective impersonations, and she makes an
imposing figure in her royal garb, singing the Mozart music with a richness of voice which
is always a delight to the ear. The Porgi amor, with its melancholy undertone, never seems
to be heard at its best at the opera, as it is introduced under rather trying conditions — at the
very beginning of a scene and without preparatory recitative. Certainly Mme. Gadski has
never sung this lovely air better than at this time, it being delivered with much purity of
tone and genuine sentiment. The record will be pronounced one of the most satisfactory
and appealing interpretations in the artist's entire list.
Susanna tells the Countess of her husband's fickleness and they consult Figaro, who plans
to make the Count jealous by telling him that the Countess is to meet a lover that evening in
the garden. It is planned to send Marcellina in the Countess' place, and Cheruhino, dressed
as a young girl, to meet the Count in Susanna's place.
Figaro departs, and Cheruhino enters. Seeing his mistress, he begins to heave deep sighs,
but Susanna mocks him and tells the
Countess he has written a song about
his lady love. The Countess bids him
sing it, and he takes his guitar and
describes the delights and torments
caused by Cupid's arrow.
Voi che sapete (W^hat is
This Feeling?)
By Nellie Melba,
Soprano (In Italian)
88067 12-inch, $3.00
By Luisa Tetrazzini,
Soprano (In Italian)
88300 12-inch, 3.00
The song is in ballad form, to
suit the situation, the voice giving
out the clear, lovely melody, while
the stringed instruments carry on a
simple accompaniment pizzicato, to
imitate the guitar; and this dehcate
outline is shaded and animated by
solo wind instruments.
It is difficult to say which to
admire most — the gracefulness of the
melodies, the dehcacy of disposition
of the parts, the charm of the tone-
coloring, or the tenderness of expres-
sion — the whole is of entrancing
beauty.
GADSKI AND REIGELMAN AS COUNTESS AND CHERUBINO
249
VICTOR BOOK OF THE OPERA— THE MARRIAGE OF FIGARO
Cherl-bin(i :
What is this feeling makes nie so sad?
Wliat is this feeling makes me so glad?
Pain that delights me, — -How cati it be?
Pleasure that pains me! —
Fetter'd though free!
Whence, too, these yearnings,
Strange to myself?
Tell nie their meaning, spirit or elf!
Why am I burning? Why do I freeze?
Kestless forever, never at case.
All is so altered, nothing's at rest.
Or are these changes but in my breast?
Gentler the breezes, day is more bright;
Fairer tlie moonbeams shine on the night:
(ireener the forest, greener the hill.
Soft, tuu, the music flows from each rill.
The -women now dress
up the page to represent Su-
sanna, and have no sooner fin-
ished when the Count knocks,
and Cherubino hides in the
closet. The Count observes
his vi'ife's confusion, and hear-
ing noises in the closet, be-
comes jealous. He demands
that she open the closet door,
and v/hen she refuses he goes
for a crowbar. The moment
he is out Cherubino, aided by
Susanna, slips out and escapes
through the window, and Su-
sanna enters the closet in his
place. When the Coun/ returns
and opens the door, the maid
comes out and the husband is forced to apologize for his suspicions.
Marcellina now enters with her law^yer and demands that Figaro shall keep his promise
to marry her. The Count promises to look into the matter.
ACT III
SCENE I — y? Cabinet in the Count's Residence
The third act opens with a scene between Susanna and the Count. He plans to force
her to accept his attentions by threatening to make Figaro -wed the ancient Marcellina, w^hile
Susanna endeavors to gain time. This scene is continued in a charming and graceful duet.
SCENE ACT III
THE COUNT IS JEALOUS— ACT H
250
VICTOR BOOK OF THE OPERA— THE MARRIAGE OF FIGARO
Cu 1,1 N T
Too long you have deceived nie ;
Hope, weary, bids farewell.
Susanna:
What passes in her bosom
A maiden dreads to tell.
Count: You'll meet me in the grove,
Susanna: When sunset's on the lea.
Count: i\nd do not mean it falsely?
Susanna: Oh, no; rely on me!
Count (aside) :
What transport now is flying
Thro' this enrajitured breast!
Cf udel perche finora (Too Long You Have Deceived Me)
By Geraldine Farrar, Soprano, and Antonio Scotti, Baritone
(In Italian) 8902 7 12-inch, $4.00
Susanna pretends to encourage the attentions of the Count, in furtherance of the plot
conceived by the Countess; while at the same time she deftly repels his advances. Finally
she promises to meet him in the arbor and the Count is in ecstasies.
Susanna {aside) :
Oh. may the scheme I'm trying,
]lring all to peace and rest!
Count: Then, hy the garden bower?
Susanna: At twilight I will he.
Count: You'll not forget the hour?
then? Susanna: Oh, no, depend on me.
Count: In the garden?
Susanna: Yes!
Count: You'll not forget?
Susanna: Nol No! No! Oh, no, depend oti mel
Count (retiring): I have won her!
Susanna (aside) : Well, cunning as you are, sir.
This time you've met your match!
Of the seven auets in which Susanna takes part in the opera, the
Crudel perche is the most effective, and Miss Farrar and Mr. Scotti, both
accomplished Mozart singers, deliver it delightfully.
The two now separate, each satisfied v^ith the interview, — the Count
believing she has yielded, and Susanna convinced that she has him in a trap.
Marcellina, w^ith her law^yer, Bartolo and Figaro now enter, and Figaro
is informed that he must -wed Marcellina or pay damages ; but the dis-
covery of a birthmark proves him to be the long lost son of Marcellina.
He embraces his mother just as Susanna comes in, and she, seeing Figaro
with his arms around the woman he was lately trying to avoid, decides
that he has changed his mind. Matters are explained, however, and
preparations for the wedding are begun.
Susanna now seeks the Countess and tells her mistress that the Count
wishes to meet her (Susanna) in the garden. The Countess then dictates
a letter in which Susanna is to appoint a time and place for the meeting.
The writing of this letter is portrayed in a delicate duet.
Che soave zeffiretto (Letter Duet — Song to the
Zephyr)
By Marcella Sembrich, Soprano, and Emma Eames.
Contralto {In Italian) 95202 12-inch, $5.00
This number is always greatly enjoyed in representations of the
opera, being a fine example of the Mozartian style and full of beauties,
not only in the vocal parts, but in the masterly orchestration.
SCENE W—Hall in the Chateau
In this scene Figaro and Susanna are married, and in the course of the festivities Susanna
contrives to slip the note to the Count, who is overjoyed.
ACT IV
SCENE— The Qarden of the Chateau
The last setting shows the garden where the most delightful of the comedy scenes takes
place. Figaro enters and soliloquizes on the fickleness of woman.
Ach ! offnet eure Augen (Of Women Beware !)
By Otto Goritz, Baritone (in German) 74289 12 $1.50
After his air he hides, just as Susanna, disguised as the Countess, and the Countess dis-
guised as Susanna, enter. The mistress conceals herself, while Susanna, awaiting the Count,
and knowing that Figaro is listening, sings her famous soliloquy.
Deh vieni non tardar (Oh, Come, My Heart's Delight)
By Marcella Sembrich, Soprano (/n Italian) 88020 12-inch, $3.00
She pours out her whole soul in this address to the imaginary lover, in order to
increase the jealousy of Figaro, who is hidden near by. This is one of the most exquisite
numbers in the opera, and Mme. Sembrich's singing of it always remains long in the mem-
ory of those who hear her in Nozze.
251
HEMPEL AS SUSANNA
VICTOR BOOK OF THE OPERA— THE MARRIAGE OF FIGARO
THE GARDEN ACT IV
tho
long delay? speed, speed
rt away, all nature seems
stars a
thee
SllS.WXA
Ah, w
While
withe _
Tho' bright the moon, and bright the
glowing,
]")eeper around the wood its shade is throwinL^.
In ev'ry gentle murmur of the river.
In the rustling reeds that near it quiver,
A voice to love invites, the bosom filling?
With love alone, all other passions stilling; —
Come then, my dearest. — the hours arc (|uickly
flying!
Let me with roses bind now thy heai.l 1
Cherubino, having an appointment with the maid Barharina,
now enters, and seeing the Counless, thinks it is Susanna and
kisses her. The Coun(e5S struggles, and the httle rascal says:
Cherubino;
^^'hy to me a kiss deny?
Witli the Count you are not shy!
Come, come, give o'er, then,
And strive no more, then;
One kiss to your little friend!
The Count arrives just in time to see this, and giving
Cherubino a box on the ear, sends him flying. He then makes
love to the supposed Susanna, the Countess disguising her voice
dl: ll'^san as cnERUEiNO ^^j encouraging him. Figaro now sees Susanna, whom he
of course takes to be the Countess, and tells her that her husband and Susanna are together.
Susanna reveals herself and Figaro embraces her. The Count sees this embrace and his
jealousy making him forget his new conquest, he seizes Figaro and calls for help. The
plot IS now^ revealed, and the Count, confessing he is conquered, begs the Countess' forgiveness
and promises to be a model husband. As the curtain falls the three happy couples are
entering the house to continue the marriage festivities.
DOUBLE-FACED MARRIAGE OF FIGARO RECORDS
/Overture By Arthur Pryor's Bandj 35 ^^^ 12-inch, $1.25
I rra Oiaoolo Overture By Arthur t^ryor s Band\
/Porgi amor By Teresa Arkel, Soprano (In Italian l\^„ , ^ „ , r> • u -t
<:_". . X „_*^.,,... ^(^'^A^c) lO-inch, .i5
\ Toglietemi la vita ancor — Romanza
Btt Teresa Arkel
252
{In Italian) \
63419
(Italian)
MARTA
(Mahr'-tah)
(English)
MARTHA
(Mahr'-lhah)
OPERA IN FOUR ACTS
Libretto by St. George and Friedrich. Music by Friedrich von Flotow. The opera is
an elaboration of "Lady Henrietta, or the Servant of Greenwich," a ballet-pantomime, with
text by St. George and music by Flotow, Burgmuller and Deldevez, v/hich was suggested by
an actual incident and presented in Paris in 1844. Martha was first produced at the Couit
Opera, Vienna, November 25, 1847. First London production July 1. 1858, at Covent
Garden, in Italian. First American production 1852, in German.
Characters of the Drama
Lady Harriet Durham, Maid-of-honor to Queen Anne Soprano
Nancy, her friend Mezzo-Soprano
Sir Tristan MICKLEFORD, Lady Harriet's cousin Bass
PLUNICETT, a wealthy farmer Bass
Lionel, his foster-brother, afterwards Earl of Derby Tenor
THE SHERIFF OF RICHMOND Bass
THREE Servants of Lady Harriet, Tenor and Two Basses
THREE Maidservants Soprano and Mezzo-Soprano
Chorus of Ladies, Servants, Farmers, Hunters and Huntresses, Pages, etc.
The scene is laid, a( first, in the Caslle of Lady Harriet, then in Richmond
and environs, during the reign of Queen Anne.
Flotow^'s melodious opera has aWays been a most popular one, w^-th its spirited Fair Scene,
its beautiful duets and quartet, the famous third act
finale and the beloved "Last Rose of Summer."
The composer was of noble birth, a son of
Baron von Flotow^ of Mecklenburg, and was born
in 1812. His father destined him for a diplomat,
but the boy loved music, and went to Paris to
study. His first attempt at opera was Pierre et
Catharine, followed by Stradella and others.
Many great prima donne have sung the role of
Martha — Patti, Nilsson, Kellogg, Gerster, Richings,
Parepa Rosa ; and in the present day Sembrich,
have charmed their audiences w^ith Flotow^'s beau-
tiful strains.
The fine overture, v/hich contains many of
the best known melodies, is splendidly played
here by the band. On the reverse side of the
double-faced (35133) is a 'cello solo by Sorlin.
Overture
By Pryor'sBand =^35133 12-inch, $1.25
By Pryor's Band 31478 12-inch, 1.00
ACT I
SCENE I— Boudoir of Lady Harriet L.n.K,_.M, ,■,,.,.,.,, .. , ,
Lady Harriet, maid-of-honor to Queen Anne, is weary of the monotony of court life.
She is bored by her admirers, and jewels and flowers pall upon her. "Why do you weep?"
says her faithful maid, Nancy, "I do not know," exclaims Harriet. Nancy, beginning the
duet, ventures to guess.
"^•Double-faced Record— For title of opposite side see DOUBLE-FACED MARTHA RECORDS, page 260.
253
VICTOR BOOK OF THE O P E R A — F L OT O'W'S MARTHA
Mesta ognor (Ah, These Tears)
By Louise Homer, Contralto, and Bessie Abott, Soprano
[In Italian) 89009 12-inch. $4-00
Nancy:
Of the knights so brave and chai'ming
Wlio surroiitid our gracious queen.
And themselves with wit are arming,
Some one has so lucky been
Your cold and haughty heart to win!
Is there aught in this alarming?
Lady Harriet:
Vain belief! How can rejoice me
Such insipid, idle love?
For to please and interest me
Flattery is not enough!
Nancy:
Riches heap on you their treasures,
Honor high is offered you.
Lady Harriet:
In the midst of gold and pleasures
Weariness alone I see.
Nancy :
This is really too distressing;
Her's is called a brilliant lot!
If love does not work a wonder,
This flower fades and blossoms not!
Balls and tournaments are giving,
And your colors win the prize,
Proudly from the banners waving,
While the victor vainly sighs
For a smile from your fair eyes,
Which his armor penetrated!
Lady Harriet:
All my glowing ardent wishes
Please me not when they're fulfiU'd!
What of happiness I dreamed
Always has disgust instill'd.
The homages they offer.
Praise and honor they bestow.
Leave me joyless, once obtained
Make me not with pride to glow.
Nancy:
Then, from ennui to save you,
Nothing is for you remaining
But to let your heart be conquer'd,
Not a particle retaining I
Tristan, Harriet's cousin, a gay but rather ancient beau, is now announced and proposes
a long list of diversions for Harriet's amusement. She declines them all and teases him un-
mercifully. The song of the servant maids, on their way to the Richmond Fair, now floats
in through the w^indow^; and hearing these strains of the happy peasants, Harriet conceives
a madcap desire to accompany them. Nancy and Tristan protest, but she orders them to go
with her. Dresses are procured and they start for the fair, the ladies in the disguise of
servant girls, and Tristan garbed as a farmer.
SCENE U—The Fair at Richmond
The scene changes to the Richmond Fair, w^here a motley crow^d of men and maidens
are looking for positions. Two young farmers, Plunl^ett and Lionel, now^ enter, the latter
TTIE FAIR SCENE
being an orphan and adopted brother of Plunkett. Lionel's father, on his deathbed, had
given Plunkett a ring, w^hich was to be presented to the Q_ueen should the son ever be
involved in difficulties.
In this fine duet, one of the gems of Flotow's popular romantic opera, the friends speak
of Lionel's father and the incident of the ring.
VICTOR BOOK OF THE O P E R A— F L OTO \^ ' S MARTHA
Solo, profugo (Lost, Proscribed)
By Enrico Caruso and Marcel Journet {In Italian) 89036 12-inch, $4-00
By Van Hoose and de Gogorza {In Italian) 74005 12-inch, 1.50
Lionel tells the story of his adoption by Plunk^tVs family in the fine aria beginning —
Leil. firo ■ icridd, d /ntnd Uii pil t"". ^"'* '"F "
This air is universally popular and has been used for many poems, including several
hymns. Plunf^ett then sings —
and tells of the great love he has for his adopted brother.
The duet, which is a very beautiful one, then follows :
Plunkett: Lionel:
We have never learnt his station,
Never knew your father's rank;
All he left to tell the secret
Was the jewel on your hand.
"If your fate should ever darken," Both:
Quoth he, "Show it to the Queen;
She will save you, she will guard you
When no other help is seen."
Here in peace and sweet contentment
Have I passed my life with you;
Stronger, daily, grew a friendship
That forever lasts, when true.
Brother, tlimk not wealth and splendor,
If perchance they e'er he mine,
Can as happy this heart render
As the friendship fix'd in thine.
The disguised ladies now appear, accompanied by the unwilling and disgusted Tristan,
who considers the w^hole affair a joke in very bad taste. The two young farmers spy the
girls, and being much taken
with their looks, offer to hire
them. The ladies, carrying
further their mad prank, ac-
cept the money which is
offered them, not knowing
that they are legally bound
thereby to serve their new
masters for a year. Tristan
loudly protests, but is hooted
off the grounds, and the
frightened girls are taken
away by the farmers.
ACT II
SCENE — A Farmhouse
As the curtain rises the
farmers enter, dragging with
them the unwilling and ter-
rified maidens.
WIIFI-^L ni-ARTETTF,
Siatn giunti, o giovinette (This is Your Future D^velling)
By Frances Alda, Soprano; Josephine Jacoby, Contralto; Enrico Caruso,
Tenor ; Marcel Journet, Bass {In Italian) 95207 12-inch, $5.00
The farmers address the maidens as follows:
Lionel and Plunkett:
This is your future dwelling;
And traveling has an end.
Harriet and Nancy:
AVe're reaping for our folly,
Full measur'd punishment!
Lionel and Plunkett (cordially) :
Our house and home are yours now,
Their comfort you will share.
Harriet and Nancy (ironically):
Their house and home are ours now,
O we unhappy pair!
Lionel and Plttnkett:
At dawn of day and morn's first glim])se
Be up and stir about!
Harriet and Nancy:
What vulgar ways they make us take!
Hefore the sun is out!
More monstrous things they'll next command
That we never heard about!
Lionel:
And extra crowns your purse may sec
Before the year is out!
VICTOR BOOK OF THE O PE R A — FLOTO WS MARTHA
The quartet passage with
Flotow's opera.
which this record ends is one of the most beautiful in
Che vuol dir cio (Surprised and Astounded !)
By Frances Alda, Soprano ; Josephine Jacoby, Contralto ; Enrico Caruso,
Tenor ; Marcel Journet, Bass [In Italian) 95208 12-inch, $5.00
When the ladies have recovered their breath and begin to realize that they are in
no immediate danger, the temptation to plague their employers is irresistible, and when
the young men endeavor to instruct the new servants in their
duties the fun commences.
At the close of the first quartet passage, Plunk.elt show^s
the girls the door of their room. Anxious to escape from the
scene and have an opportunity to discuss their predicament,
they start toward their room, but Plunkett, thinking of his
appetite, stops them.
pLUNKETT ( inlcyfosiiifi) :
Not quite so fast —
First prepare a lif^ht repast!
Harriet and Nancy:
Kitchen work I () these harliarians!
LioNEi-:
Why not excuse tlicm? They are tired!
pLUN KETT {jirixly ) :
Too nuich kindness will not do.
How^ever, even the gruff farmer has realized by this time
that these are servant girls of a most unusual kind, and hesi-
tates to scold them.
Plunkett:
What names \yK:^\r you?
Harriet and Nancy:
We?
LruNEL:
Yes. you !
Plunkett:
Yes, of course !
Harriet :
Martha is mine.
Lionel:
Martha?
Plunkett (mi in I del hi/ her):
Ju-oo-olia! You're proudly nam'd
{ll'ith exaggerated courtesy.)
Julia! Be kind enough —
Jf your ladyship so please it —
(Gruffly)
To liang my hat and mantle up!
Nancy (indinnantly) :
Do it yourself!
Harriet:
Yes !
Plunkett (to Nancy):
Well, and yours?
Nancy (aside to Harriet):
(What shall I tell him?)
Plunkett :
Well, don't you know it?
Nancy (hesitatingly) :
Ju-ju-julia!
^■ii %r ^'"^
1
1
^^1
3
I^^IK ^ kl" '
^
SH.MBRICH AS MARTHA ACT I
Plunkett (token abacli-) :
Bold I hy the prophets!
Lionel (to Plunkett) :
Not so hluntly give your orders.
Rather wishes hreathe, like me:
( \'cry politely)
Martha, take these things, prithee 1
(Harriet takes them, but proniftlv tUrozvs them
on the floor.)
Astonished at such revolutionary conduct from servants, the young men exclaim :
Lionel and Plunkett:
Surpris'd I am and astounded.
And I can say no more;
Such impudence unhounded,
Was never seen before!
Harriet and Nancy:
Surpris'd they are and confounded,
And sorely inizzled is their brain;
This blow has smartly sounded.
May be they'll never try again 1
The maidens determine to lead their captors a strenuous life, and w^hen they are
ordered to get supper they promptly refuse.
Presto, presto (Spinning W^heel Quartet)
By Frances Alda, Soprano; Josephine Jacoby, Contralto; Enrico Caruso,
Tenor; Marcel Journet, Bass (In Italian) 95209 12-inch, $5.00
By Victor Opera Quartet (In English) 70052 12-inch, 1.25
Lionel and Plunkeli, astonished at such signs of insubordination, unheard of in servants
of the seventeenth century, decide to learn what accomplishments these strange domestics
do possess, and request them to show their skill at spinning.
VICTOR BOOK OF THE O PE R A-FLOTO WS MARTHA
Plun kett :
<_)uick now. fetch tlu' spinning-whctils
From out the corner!
Harriet and Nancv:
Do you want us then to spin?
Lionel:
Yes, most surely.
Plunkett :
Do you think
That for talking we engag'd you?
Harriet and Nancv:
Ha, ha. hal To see us spinning!
Pll'nkett {angrily) :
"Ha, ha. ha! To see us spinningl"
If you want your wages paid
You must earn tliem first, my maid.
Come and make tlien a beginning.
Fetch the wheels now!
FIarriet and Nats'cy (zclth mock hiiniility) :
We obey, sir!
Lionel (to Phnikcti) :
vlicels and place llicin iit
(The ladies brim/ the
the foret/roiind.)
Plunkett:
Begin now, I command it.
Harriet and Nancy:
We cannot!
Lionel and Plunkett (astonislted) :
Ilowf' \\'liat:^
Sit down now !
Girls :
We're seated. (Taking seats behind the ii<hecls.)
Plunkett:
Turn the wheel! hrr, brr, hrr!
(Imitating the noise of the wlicel.')
Girls:
It will not turn!
Lionel:
Witli your thumb and your first finger
Draw a thread and twist it round.
Gtkls {iu luock despair):
Hut the stubborn wheel won't move, sir!
Xr>t so har^h, you frighten them.
When it is plainly seen that they are ignorant of the art the young men offer to teach
them.
Harriet and Nancv (sitting doiv
What a charming occuiiation
Thus to make the thread entwine;
Gently guided, drawn and twisted.
It becomes both strong and fine!
(7/ tlic ivJiccls) :
LitiNEi, AND Plunkett (sl^inuiug) :
\\^hen the foot the wheel turns lightly
Let tlie hand the thread entwine;
Draw and twist it. neatly, ti^ditly.
Then 'twill be both strong and fine!
At the close of the quartet Nancy maliciously overturns the w^heel and runs out, pur-
sued by Plun/^ett, and leads him a merry chase, causing him to lose his temper, w^hile
Lionel finds himself falling in love with the beautiful Martha. She laughs at him, but is
nevertheless impressed with his good looks and manly bearing; so much so that v/hen
he asks her to sing she consents, and taking the rose from her bosom she sings the exquisite
" Last Rose of Summer."
Last Rose of Summer
By Adelina Patti, Soprano
By Luisa Tetrazzini, Soprano
By Marcella Sembrich, Soprano
By Alice Nielsen, Soprano
By Elizabeth Wheeler, Soprano (Doubk-Faced)
{In English)
95030
12-inch,
$5.00
(In English)
88308
12-mch,
3.00
{ In English )
88102
12-inch,
3.00
{In English)
74121
12-inch,
1.50
(In English)
16813
10-inch,
.75
VICTOR BOOK OF THE OPERA- FLOTOWS MARTHA
As is generally known, this air is not by Flotow, but is an old Irish tune, to which
Moore fitted his poem. In fact, Martha undoubtedly owes much of its vogue to this
ancient Irish air. The melody is a very old one called "The Groves of Blarney." Moore
w^rote the w^ords about 1813, and they have become the most popular of all his verses.
'Tls the last r<»sL' of '^uniiTier, Til not leave tlice, thoLi lov'd one,
Left blooming alone; To pine on the stem;
All liev lovely companions Since the lovely are sleeping,
Are faded and gone; Go sleej) thou with them.
No flower of her kindred, Thus kindly I scatter
No rosebud is nigh Thy leaves o'er the bed —
To reflect back ber blushes, Where thy mates of the garden
Or give sigh for sigh 1 Lie scentless and dead I
Nancy nov/ returns, still pursued by the exasperated Plun^ett.
Plunkett: Plunkett (releasing Iter):
Don't you try this game again, girl I Ity tbe jirophets! she has spirit I
Where do you suppose she was? I confess, that pleases me!
In the kitchen was tbe vixen Nancy (plaiiitiz-ely) :
Breaking bottles, glasses, dishes, Martha!
And a good deal have I suffer'd, Plunkett:
Till at last T catight the lass! Poohl What's wrong with you now?
Nancy: Standing as if thunder-struck!
Let me go! Don't make me mad. sir, Get yourselves to bed, ye idlers!
Or some scratcbitig you will seel OPf with you. my saucy Puck!
i'l'lic clock strikes izeelve.)
The farmers, somew^hat subdued by the know^ledge that they have engaged tw^o most
spirited and insubordinate damsels, now bid their new^-found servants good night in this
beautiful number, one of the gems of Flotow^'s opera.
Quartetto notturno (Good Night Quartet)
By Frances Alda, Soprano ; Josephine Jacoby, Contralto ; Enrico Caruso,
Tenor ; Marcel Journet, Bass [In Italian) 95210 12-inch, $5.00
By Lyric Quartet (Double- faceJ, see page 260) {In English) 1 7226 10-inch, .75
Plunkett anm T^ionkl: Still your sauciness is rather
Midnight sounds I To my liking — do you know?
Lady and Xancy: Martha and Nancy:
Midnight sounds! Yes, good-night! such night as never
Lionel (to Mnrtliu): We have lived to see before;
Cruel one, may dreams transport thee Were I but away. I'd never
To a future rich and blest! Play the peasant any morel
,\nd tomorrow, gently yielding. All:
Smile upon me! sweetly rest! Good-night I
Plunkett (to Nancy): (Harriet and Nancy retire to their chamber.
Sleep thee well, and may thy temper and Plunkett and Lionel leave by the lar.je
Sweeter in my ser\-ice grm\- ; door, locking it after them.)
The maidens now^ peep out from their room, and seeing no one, come out, and are ex-
citedly discussing their chances of escape, w^hen Tristan's voice is heard outside softly calling
to them. Overjoyed, they make their escape through the -window^, and return to their
home in the carriage provided by Tristan.
ACT III
SCRNR^A Hunting Park: '" Richmond Forest
Act III represents the Forest of Richmond, where the Queen is hunting with her attend-
ants. The young farmers, who have sought vainly for their late servants, have come hither
to w^itness the hunting and forget the two maidens who have wrought such havoc with their
affections-
The act opens with the spirited apostrophe to porter beer, sung by Plunkett.
Canzone del porter (Porter Song)
By Marcel Journet, Bass (!n Italian) 64014 10-inch, $1.00
By Carlos Francisco i Double-faced, see page 260) {In Italian) 16812 10-inch. .75
This most famous of old English beverages is highly praised by the jovial Plunkett, who
gives it credit for much of Britain's vigorous life.
VICTOR BOOK OF THE O P E R A — FLOTO W'S MARTHA
THE QUEEN S HUNTING PARK ACT III
Plunkett :
I want to ask you. can you not tell me,
What to our land the British strand
Gives life and power? say I
It is old porter, brown and stout,
We may of it be justly proud.
It guides John Bull, where'er he be.
Through fogs and mists, through land and seal
\'es. hurrah I the hops, and hurrah! the malt.
They are life's flavor and life's salt.
Hurrah! Tra, la, la, la, la, la, la, lal
And that explaineth where'er it rcigneth
Is joy and mirth! At ev'ry hearth
Resounds a joyous song!
Look at its goodly color here I
Where else can find you such good beer?
So brown and stout and healthy, tool
The porter's health I drink to you!
the
(In Ilalian) 88001
{In English) 74128
12-inch,
12-inch,
$3.00
1.50
The farmers disperse, leaving L,ionel alone, and he sings his famous "Mappari,"
melodious air of the broken-hearted lover, in which he tells of his hopeless passion for the
fair Lady Harriet, whom he know^s only as Martha.
M'appari (Like a Dream)
By Enrico Caruso, Tenor
By Evan W^illiams, Tenor
Lionel:
Like a dream bright and fair.
Chasing ev'ry thought of care,
Those sweet hours pass'd with thee
Made the world all joy for me.
But, alas! thou art gone,
7\nd that dream of bliss is o'er.
Ah! I hear now the tone
Of thy gentle voice no more;
Lionel suddenly encounters Lady Harriet,
dress of a lady, warmly pleads his love.
Oh! return happy hours, fraught with hope
so bright;
Come again, sunny days.
Sunny days of pure delight.
Fleeting vision cloth'd in brightness.
Wherefore thus, so soon depart;
O'er my pathway shed thy lightness
Once again, and cheer my heart.
and although amazed at seeing her in the
Lionel :
Yes, 'tis thee!
Once more I do behold thee!
Praised be ("iod; it is no dream!
Hakriet (aside) :
My heart:
Lionel:
Lookest down so proudly;
Yet my heart knew thee at once.
LIarriet (zvith dignity);.
Knew me? You're mistaken!
Lionel :
I've hoarded thy fair jmage
Deep in my breast — No —
This dress does not deceive ttic — -
'Tis thee, thee! Be Heaven blest I
I-Iarriet :
Madman, you dream I
Lionel :
Ah I If but a dream.
This, a creation, of my brain.
Then, oh Martha, let me enjoy
This delusion while it lasts!
(?Ie attempts to sci::.c her Jiand.)
Harriet:
ITold! presumptuous man'
No further! thou hast rav'd too long i
check'dl
VICTOR BOOK OF THE O P E R A — F L O T O "W'S MARTHA
COPY'I DUPONT
CARUSO AS J.TONEL
Lady Harriet is forced to call the hunters, to whom she declares
that Lionel must be mad. He is distracted, "while Plun/^ell endeavors to
console him. The great finale, a part of which closes the Opera Medley
(see below^), then occurs. It is a magnificent piece of concerted music.
ACT IV
SCENE l—Plunketi's Farm House
Plunk.etl is discovered alone, musing on the unhappy plight of his
foster brother, w^ho, since his rejection by Harriet, is inconsolable. He
sings his great air, which is often omitted in American presentations of
the opera.
II mio Lionel (My Unhappy Lionel)
By Mattia Battistini, Baritone
{In Italian) 92005 12-incK, $3.00
It is a fine number, superbly sung by Battistini, w^hose great
cuccess in this role at Covent Garden is well remembered.
Pli.'nket 1- :
Poor Lionel I he sighs, he lainents,
lie flies from his friend;
lie is beside himself with lovu
Accursed be the hour
W'hen first we saw that girl,
W'heti first we brought her l:)eneath our roof!
Sunn will my Lionel die.
[ f no aid come f r o tti on high;
Fatal the hour.
When first his heart felt love's pow'r;
Weeping, he wanders in grief.
Nought to his pain brings relief;
Merciful God. hear my cry.
Else must my Lionel die I
Nancy nov/ enters, and she and Plunkett soon come to an understanding. They decide
to present Lionel's ring to the Queen, hoping thus to clear up the mystery of his birth.
SCENE II — A Representation of the Richmond Fair
Lionel's ring has been shov/n to the Queen, who discovers that the young man is
really the son of the banished Earl of Derby. How^ever, he refuses to accept his rightful
rank and continues to brood over the insult offered him in the forest. As a last resort a
complete reproduction of the Fair Scene of Act 11 is arranged, with booths and the crowd
of servants all represented. Harriet, Nancy and Plunl^ett are dressed in the costumes w^orn
at their first meeting.
Lionel is led in by Plunl^ett, and when he sees Harriet in the dress of a servant, the
cloud seems to pass from his mind and he embraces her tenderly. The tw^o couples pledge
their troth and all ends happily.
DOUBLE-FACED AND MISCELLANEOUS MARTHA RECORDS.
By Pryor's Band]
fOverture to Martha
< Nocturne in El {Opus 9) (Chopin)
Last Rose of Summer
12-inch, $1.25
10-inch,
10-inch,
35133
By Victor Sorlin, 'Cellist {Piano ace. ) \
By Elizabeth "Wheeler, Soprano]
{In English] 16813
Tannhauser — The Evening Star By Victor Sorlin, 'Cellist]
Good Night Quartet By Lyric Quartet!
Madrigal from " The Mikado " {Brightl}) Dawns our Wedding 17226
Da^) (Gilbert- Sullivan) By Lyric Quartell
(Canzone del porter (Porter Song) 1
I By Carlos Francisco, Baritone (In Italian) [. ^_
I Trovalore — // balen del suo sorriso ( The Tempest of the Heart) |
I By Francesco Cigada, Baritone (In Italian) \
Gems from Martha
Chorus of Servants — Quartet, " Sw^ains So Shy " — " Last Rose of Sum-
mer " — '*' Good Night Quartet '- — " May Dreams Transport Thee "■ — Finale,
"Ah, May Heaven Forgive Thee."
By the Victor Opera Company (In English) 31797 12-inch,
.75
.75
10-inch,
.75
$1,00
(Italian)
BALLO IN MASCHERA
{Mah'-skeh-rah)
(French) »■
BAL MASQUE
[Bahl' Mahs-kay'}
(English)
MASKED BALL
OPERA IN THREE ACTS
Text by M. Somma, music by Verdi. First produced in Rome at the Teatro Apollo.
February 17, 1859; at Paris, Theatre des Italiens, January 13, 1861. First London production
June 15, 1861. First New York production February II, 1861.
Characters
Richard, Count of Warwick and Governor of Boston Tenor
REINHART, his secretary Baritone
Amelia, wife of Reinhart Soprano
Ulrica, a negress astrologer Contralto
Oscar, a page Soprano
SAMUEL,^ . c ,-, r . iBass
TOM, /enemies of the Count ' ^^^
Scene and Period : In and near Boston, end of the seventeenth century.
The opera was composed for the San Carlo, Naples, and first called Gustavo III (after an
assassinated Italian monarch), but after the announcement had almost created a riot in Naples,
Verdi was forced to change the scene from Stockholm to Boston, and the name to Masked
Ball. Finally it w^as thought best to abandon the Naples premiere altogether, and the opera
w^as taken to Rome.
There are many, of course, who consider this work old-
fashioned — ^and so it is, not pretending at all to be a great
music drama ; but there are many far more ambitious w^orks
w^ith certainly less real music. The familiar Eri tu and Saper
Vorreste and the fine concerted numbers in Acts II and III are
w^ell worth hearing. The Victor has assembled a very fine
collection of the best music in the opera, and presents it
w^ith the belief that this revival is the best heard in recent
years.
Richard, Count of Warwick and Governor of Boston, falls
in love with Amelia, the wife of Reinhart, his secretary and
intimate friend. This love is returned, but the wife's conscience
troubles her, and she consults Ulrica, a black sorceress, hop-
ing to secure a drug that will cause her to forget Richard.
Ulrica sends her to gather a certain herb which will prove
effective. Richard, who had also gone to consult the astrolo-
ger, overhears the conversation, and follows Amelia to the magic
spot. ^me//a '5 husband, w^ho has come in search of Richard to
warn him of a conspiracy to assassinate him, now appears, and
Richard makes his escape, after requesting Reinhart to escort
the veiled lady to her home without attempting to learn her
identity. On the way, however, they are surrounded by the
conspirators and Amelia is revealed. Reinhart swears vengeance
on his false friend and joins the plotters.
At the Masked Ball, Richard is stabbed by Reinhart, but
the dying man declares the innocence of Amelia and forgives
his murderer.
26i
VICTOR BOOK OF THE OPERA-THE MASKED BALL
ACT I
SCENE 1 — A Hall in the Governor's House
The hall is filled with people — officers, deputies, gentlemen, etc. — waiting for the
appearance of the Governor. He enters, is w^armly greeted by those assembled, receives
their petitions and inspects a list of the guests invited to the Masked Ball. He sees Amelia's
name, and in an aside sings his rapturous air.
La rivedra neirestasi (I Shall Behold Her)
By Nicola Zerola, Tenor
{In Italian) 64167" 10-inch, $1.00
This, the first of the lovely gems with which the score
of Ballo in Maschera is studded, is effectively given by Zerola,
whose beautiful voice is shown to great advantage,
RinrARD {reading aside) :
Amtlia — dear, sweet name!
Its mere sound fills my heart with joy!
Her beauteous, charming image
Inspires my soul with love;
Here soon shall I behold her
In all her tender charms.
No matter what the splendor
Of night's most brilliant stars,
I swear none is so brilliant
As my love's dazzling eyes!
Reinhart enters and tells the Governor of a plot against
his life.
Alia vita che t'arride (On the Life Thou
Now Dost Cherish)
By Mattia Battistini (Italian) 88232 12-in„ $3.00
ByTittaRuffo {In Italian) 87113 10-in,. 2.00
In this fine air he enthusiastically praises Richard's noble acts, and tells him his friends
and faithful subjects will defeat the plans of the conspirators.
A negro woman, Ulrica, is now brought in and accused of being a witch. Richard
laughs at the accusation and dismisses the woman. He calls his courtiers around him, and
suggests that for a lark they go disguised to the hut of the sorceress and consult her. The
friends agree, and the plotters, headed by Samuel and Tom, see a chance to further their
plans.
SCENE n—The Hut of Ulrica
The hut is crowded with people who have come to have their fortunes told. The
sorceress stands over her magic cauldron and sings her incantation.
Re deir abisso (King of the Shades)
By Carolina Pietracewska, Contralto (In Italian) 76005 12-inch, $2.00
She calls on the abyssmal king to appear and aid in her mystic rites.
ZKKOLA AS RICHARD
Ulrica (as if inspired):
Hasten, i) King of tliu Aby^^!
Fly through the amliient air
And enter my abode.
Three times has been huard scree
The ominous lapwing.
Three times, too, has been hissing
Tiie venomous red dragon.
And three times have been groaning
The spirits from the graves!
The Governor novi^ arrives, dressed as a sailor, and accompanied by his companions.
They are conversing w^ith the w^itch w^hen a knock is heard, and all leave the hut by Ulrica's
orders except Richard, who conceals himself in a corner.
Amelia enters and asks the sorceress to give her peace of mind by banishing a love
which she cannot control. The witch promises speedy relief if Amelia will gather a certain
herb from w^hich can be brew^ed a magic liquor.
Delia citta airoccaso (Hard by the "Western Portal)
By Ida Giacomelli, Soprano; Lina Mileri, Contralto; Gino
Martinez-Pa tti. Tenor (In Italian) ='^68143
12-inch, $1.25
^' Oouble-Faced^-See page 266.
262
VICTOR BOOK OF THE OPERA— THE MASKED BALL
Amelia asks for directions, and the "witch proceeds :
Ulrica: Accurs'd, abhor'd, deserted,
Then pause and listen. And cull the flowers lowly
(^lO from the city eastward. From those black rocks unholy,
To where by gloom engirted Where crimes have dark atonement made
Fall the pale moonbeams on the field, With life's departing sigh!
The frightened giil consents to go that very night, and takes her departure. Ulrica now
admits the people again, and Richard, in the character of the sailor, asks her to tell his for-
tune. His inquiry of the prophetess takes the form of a barcarolle — the favorite measure of a
sea-song — and the ballad, vigorous and tuneful, has all the sw^ing of a rollicking song of the sea.
Di tu se fidele (The >J^aves \^ill Bear Me)
By Enrico Caruso, Tenor, and. Metropolitan Opera Chorus
(In Italian) 87091 10-inch, $2.00
This attractive ballad is full of humor, the staccato passages
toward the close indicating the Governor's impatience to learn
the future. In a gay mood he banters the woman, ashing her
to tell him if he "will meet with storms on his next voyage.
Richard:
Declare if the waves will faithfully bt-ai- me;
If weeping the lov'd one from whom I now
tear me,
Farewell, to me saying, my love is betraying.
With sails rent asunder, with soul in eom-
motion,
I go now to steer thro' the dark waves of
ocean,
The anger of pleav'n and ITell to defy!
Then haste with thy magic, the future
exploring,
No power have the thunder or angry winds
roaring.
Or death, or affection my path to deny!
This famous Barcarolle has been a favorite with many great
tenors, but no one has ever sung it as Caruso has given it here.
Ulrica rebukes him, and examining his palm, tells him he is
soon to die by the sword of that friend who shall next shake his
hand. The conspirators, Samuel and Tom, are uneasy, thinking
themselves suspected, but the Governor laughs and asks who will
grasp his hand to prove the prophecy false. No one dares to
grant his request.
Reinhart, who has become anxious about his chief and has come in search of him. now
enters, and seeing the Governor, shakes him by the hand, calling him by name, to the
astonishment of all those not in the secret. Sir Richard tells the witch she is a false prophet,
as this is his most faithful friend.
Richard:
The oracle has lied!
That man who grasped my hand
Is my most faithful friend !
All the people greet the Governor with cheers, and kneeling, sing the hymn r
O figlio d'Inghilterra (O, Son of Glorious England)
By Giuseppina Huguet. Soprano ; Ines Salvador, Mezzo-Soprano ; Francesco
Cigada, Baritone ; Aristodemo Sillich, Bass ; La Scala Chorus
(Double-FaceJ^See page 266) (In Italian) 63173 10-inch, $0.75
This noble concerted number, which closes the first act, is sung in a splendid manner
by Huguet, Salvador, Cigada and Sillich of La Scala forces, assisted by the famous chorus
of that opera house.
ACT II
SCENE I — A Field near Boston — on one side a Gallows
Amelia, much frightened by her lonely surroundings, enters in search of the magic herb.
She sings her dramatic air, Yonder Plant Enchanted.
263
lORITZ AS REINHART
VICTOR BOOK OF THE OPERA — THE MASKED BALL
Ma dairarido stelo divulsa (Yonder Plant Enchanted)
By Celestina Boninsegna, Soprano
By Lucia Crestani, Soprano
{In Italian) 92000 12-inch, $3.00
[In Italian) ='68143 12-inch, 1.25
Amelia:
When at last froTii its stem I shall sever
Yonder weed of dread virtue enchanted.
From my tenipcst-torn bosom forevei"
When that image so ethereal shall peri
What remains to thee then, oh, my 1k;i
Ah, tears blind me !
The weight of my sorrow
Chains my steps on their desolate jijurn
Heart, have courage;
From these rocks their hardness borrow
Come, oh, Death, let thy merciful dart,
Still forever my poor throbbing heart I
(A distant clock strikes.)
HarkI 'tis midnight! Ah. yon vision I
Moving, breathing, lo! a figure.
All mist-like upward wreathing!
Ha! in those orbits baleful anger is see
Fix'd on me they angrily burn!
Deign, oh, Heaven, Thy strength in ini
To this fainting, fear-stricken heart.
■thing;
jurt
VMKS AS AMELIA
The vision resolves itself into Richard, who now
approaches. The unhappy girl confesses that she loves
him, but begs him to leave her. They sing a fine
duet.
Ah ! qual soave brivido (Like Dew Thy W^ords Fall on My
Heart)
By Ida Giacomelli, Soprano, and Gino Martinez-Patti, Tenor
{In Italian) *68026 12-inch, $1.25
Richard:
Like dew thy words fall on my heart,
Aglow with love's fond passion!
Ah, murmur with compassioii those gentle
^\■ords again !
riright star that bidst all gloom depart,
i\Iy iiallow'd love enshrining:
While thus on me thou'rt shining,
i\h, let night forever reign!
UiciiAKii :
Amelia! thou lov'st me!
Amelia :
I love thee,
P.ut thy noble heart
Amelia :
From out the cypress bower,
W'here I had thought it laid in deatli
giant power, tlu- ]n\(.-
ny heart
Return^ with
doth fear!
Ah, would by Heaven 'twere granleii.
To sigh for him my latest breath,
Or in death's sleep enchanted rest my weary
spirit here!
'ill protect me from
They are interrupted by the appearance of Reinharl, who comes to w^arn Richard that
his enemies are lying in wait to murder him. Richard, unwilling to leave Amelia, is forced
to ask Reinhart to escort the veiled lady to the city v/ithout seeking to discover her identity.
Reinnart sw^ears to obey, and Richard makes his escape. The couple start for Boston, but
are surrounded by the conspirators, who take Reinhart to be the Governor. Disappointed
in their prey, they tear the veil from the unknown lady and Reinhart is astounded to see that
it is his wife. The great finale to Act II now occurs.
Ve' se di notte qui con la sposa (Ah ! Here by Moonlight)
By Ida Giacomelli, Soprano; Renzo Minolfi, Baritone; Cesare Preve, Bass;
Chorus (/n Italian) =^35179 12-inch, $1.25
Amelia is overcome with shame, but protests her innocence. Reinhart bitterly upbraids
her and denounces his false friend Richard, v^hile the conspirators depart, anticipating the
sensation v/hich the city will enjoy on the morrow^.
' Doublc-Faccd Record—
-For title of opbosite side see page 266.
264
VICTOR BOOK OF THE OPERA— THE MASKED BALL
Reinhart, now bent on revenge, decides to cast his lot with the
plotters, and the act closes as he says to Amelia w^ith deep meaning :
Re IN HART (aloiic zvith Amelia) : Aim i;i.ia (aside ) :
I shall fuliill my promise Mis voice like a death warrant
To take thcc in the city! l)olh sound in my ear!
ACT III
SCENE I — A Room in Reinhart's House
Reinhart is denouncing Amelia for her supposed crime, and finally
decides to kill her. She begs to be allowed to embrace her child
once more, and her husband consenting, she goes out. Left alone,
the unhappy man repents his resolution, and resolves to spare the
guilty woman's life. In the greatest of the airs allotted to Reinhart he
swears to avenge his wrongs.
Efi tu che macchiavi queiranima (Is It Thou ?)
By Emilio de Gogorza, Baritone
[In Italian) 88324 12-inch, $3.00
By Mattia Battistini [In Italian) 92044 12-inch, 3.00
By Francesco Cigada {In Italian) *35179 12-inch, 1.25
By Giuseppe de Luca (In Italian) *62086 10-inch, .75
Samuel and Tom enter and Reinhart tells them he knows of their
plots, and will assist them, as he desires the Governor's death. They
draw lots, and Reinhart is chosen to be the assassin. Amelia enters in
time to realize the state of affairs, and is about to plead for the
Governor's life when Oscar, the page, enters bearing an mv.tation to ^^^^^^^^^ ^^ beinhart
the Masked Ball. The page, begmnmg an effective quartet, tells of the
brilliancy of the occasion, and at the close of the number the conspirators go out, after
agreeing on the password, " Death !
Di che fulgor (What Dazzling Light)
By Giuseppina Huguet, Soprano; Francesco Cigada, Baritone: Carlo
Ottoboni, Bass ; Maria Grisi, Soprano {In Italian) *62086 10-inch, $0.75
SCENE W—The Governor's Private Office
Richard, alone, resolves to tear the unworthy love from his heart and send Amelia and
Reinhart to England.
Ma se m'e forza perderti — Romanza (Forever to Lose Thee ! )
(Preceded by the recitative, Forse la soglia — This Affair Must End!)
By Enrico Caruso.Tenor (In Italian) 88346 12-inch, $3.00
The recitative indicates this decision :
Richard:
Haply I have decided, finding peace of mind
Reinhart will return to his country.
T-Iis wife, submissive, will follow him.
Farewells unspoken, the broad ocean will divide us.
He summons courage and writes the order for the departure of Reinhart.
his bosom, he gives expression once more to his love for the fair Amelia :
Concealing it
Within my inmost heart.
And now, what dark forebodings
Around my soul are thronging?
When, once more to behold thee,
Seems like a fatal longing!
Richard:
If compelled to lo.se thee now
To part from thee forever:
My burning thoughts will fly to thee.
Though fate our lot may sever.
Thy memory still enshrined shall be
Caruso sings this lovely air with that wonderful ease of delivery and golden voice which
have made him the greatest of tenors. , i l l • c .u
A page brings a note to the Governor from an unknown lady who warns tiim ot ttre
plot, but Richard resolves to brave his enemies and attend the ball.
"* DoMc-FacedRccord-For title of opposite side see DOUBLE-FACED MASKED BALL RECORDS, pose 266.
265
VICTOR BOOK OF THE OPERA— THE MASKED BALL
SCENE 111 — Grand Ballroom in the Governor's House
Reinhart, mingling with the guests, meets the page Oscar, and attemps to learn how the
Governor is dressed. The page teases him, singing his gay air, Saper correste.
_^^
THE PAGE
Saper vorreste-
be Hearing)
-Canzone (You W^ould
By Luisa Tetrazzini, Soprano
( In Italian)
88304 12-inch, $3.00
In reply to Reinhart 's questions the merry page tauntingly sings :
Oscar:
You'd fain be hearing, what dress he's wearing
When lie has bidden, the fact be hidden?
I know right well but may not tell
Tra la la la, la la lal
Of love my heart feels all the stnart.
Yet watehful ever, my secret never
Rank nor bright eyes shall e'er surprise!
Tra la la la. la la lal
This gay number is brilliantly sung by Tetrazzini, the high B
in the cadenza being taken with ease.
The page finally reveals to Reinhart that the Governor is
dressed in black, with a red ribbon on his breast.
Amelia meets the Governor and warns him against the plot-
ters. He bids her farewell and is about to go, when Reinhart stabs
him. The dying Governor, supported in the arms of his friends,
tells Reinhart that his wife is guiltless, and that to remove her from
temptation he had planned to send Reinhart to England to fill an
honored post.
The secretary is overcome with remorse, and Richard dies,
after declaring that Reinhart must not be punished.
DOUBLE-FACED MASKED BALL RECORDS
68143 12-inch, $1.25
35179 12-inch, 1.25
(Delia citta airoccaso (Hard by the Western Portal)
I By Giacomelli, Mileri and Martinez-Patti (In Italian]
IMa dall'arido stele divulsa (Yonder Plant Enchanted)
[ By Lucia Crestani, Soprano {In Italian}
iVe' se di notte qui con la sposa (Here By Moonlight)
By Giacomelli, Minolfi, Preve and Chorus i/n Italian)
|Eri tu (Is it Thou?) By Francesco Cigada iln Italian]]
I Ah! qual soave brivido (Like Dew Thy 'Words Fall on |
I My Heart) By Giacomelli and Martinez-PattiLg^.f,
1 Forza del Destino — Non imp-'ecare umiliati — By Ida Giacomelli, j
[ Gino Martinez-Patti and Cesare Preoe {In Italian]]
(O figlio d'Inghilterra (Oh, Son of Glorious England) |
] By Huguet, Salvador, Cigada, Sillich and Chorus l/n/(a/ian) 63173 10-inch,
I Ernani — Ernani involami By Maria Grist, Soprano {In Italian)]
lEri tu (Is it Thou?) By Giuseppe de Luca (In Italian]]
Di che fulgor ("What Dazzling Light) 62086
\ By Huguet, Cigada, Ottoboni and Grisi {In Italian] \
{Masked Ball Selection (Part of Ballet Music and the |
Aria, " Saper vorreste," Act III) (Verdi) ' 17314
Vessella's Italian Bandl
Huguenots — Grand Selection Arthur Pryor's Band]
266
12-inch, 1.25
.75
10-inch, .75
10-inch, .75
SCENE FROM MEFJSTOFELE^ ACT 111
(French)
MEFISTOFELE
{May-phee-stoW -fehUeh)
(English)
MEPHISTOPHELES
{Mef^iss-tof -e-ieez)
OPERA IN FOUR ACTS
Text and music bv Arrigo Boito ; a paraphrase of both parts of Goethe's " Faust," with
additionalepisodes taken from the treat-
ment of the legend by other authorities.
The first production at La Scala, Milan,
1 868, -was a f ailu re. Rewritten and given
in 1875 with success. First London pro-
duction July 6, 1880. First American
production at the Academy of Music,
November 24, 1880, with Campanini,
Gary and Novara. Other productions
were in 1896, with Calve, and in 1901
with Mclntyre, Homer and PlanQon.
Some recent notable revivals : At the
Metropolitan, when the opera was
brought out for Chaliapine, the cast
including Farrar and Martin, and the
Boston Opera production of 1910,
both noteworthy for their splendid
settings.
Characters
MEFISTOFELE Bass
FAUST Tenor
MARGARET Soprano
Martha Contralto
Wagner Tenor
Helen Soprano
PANTALIS Contralto
NEREUS Tenor
Celestial Phalanxes, Mystic Choir,
Cherubs, Penitents, Wayfarers, Men-
at-arms, Huntsmen, Students, Citi-
zens, Populace, Townsmen,
Witches, Wizards, Greek Chorus,
Sirens, Naiads, Dancers, Warriors.
FAUST LEAVINf, HIS STUDIO — ACT I
267
VICTOR BOOK OF THE OPERA — B OITO'S MEFISTOFELE
Arrigo Boito well deserves a conspicuous place among the great modern composers. His
Mehstorele ranks with the masterpieces of modern Italy, and contains scenes of great beauty,
notably the Garden Scene, with its lovely music, and the Prison Scene, in which the pathos of
the demented Margarel's w^anderings, the beautiful duet and the frenzy of the finale are
pictured by a master hand.
Bolto is not only a composer, but a poet of ability and a clever librettist. Notable among
his writings are the librettos of Verdi's Otello and Falstaff, which should rather be called
dramas set to music, for it is unfair to class them with the old-fashioned Italian librettos.
The story of Boito's opera is directly draw^n from Goethe's Faust, but the composer has
chosen episodes from the whole of Goethe's story, not confining himself to the tale of
Grelchen, but including the episode of Helen of Troy. In his Mefistofele Boito has followed the
great poet's work more closely than did Gounod's librettist, and the work is a deeper one in
many respects.
PROLOGUE
SCENE — The Regions of Space
The prologue to Boito's opera is a most impressive scene, which takes place in the indef-
inite regions of space. Invisible angels and cherubim, supported by the celestial trumpets,
sing in praise of the Ruler of the Universe.
Mefistofele is represented hovering between Hell and Earth, denying the power of God.
He addresses the Almighty in his Hail, Great Lord!
Ave Signer (Hail, Sovereign Lord)
By Marcel Journet, Bass {In Italian) 64126 10-inch, $1.00
The Devil contends that man is but a w^eakling, easily cheated of his salvation. Standii
on a cloud Mefistofele mockingly addresses the Creator :
Ilai], SovLTfign Lord,
Forgive nic if my bawling
Somewhat behind is falling
Those sublime anthems sung
In heavenly places!
Forgive me if my face is
Now wanting the radiance
That, as with a garland.
The cherub legion graces!
Forgive me if in speaking,
Some risk I'm taking of irrcv'rent out-
breaking!
The puny king of puny earth's dominions,
Erreth through wrong opinions
And like a cricket, with a long leap rushing.
'Mid stars his nose is pushing.
Then with superb fatuity tenacious,
Trills with pride contumacious!
\'^ain, glorious atom!
Proud 'mid confusion !
Phantom of man's delusion!
Ah 1 in such deep degradation
Is fallen the master,
Lord of the whole cieation,
No more liave I the will.
While in that station, From t)ir DiKnn Kdilion
Him to tu-nipt ti) ill! roini i«h(i, niivi-r ;)it>uii ('c
Then, discussing Faust with the Mystic Chorus, Mefistofele wagers that he can entice the
philosopher from the path of virtue. The challenge is accepted, and Mefistofele disappears
to begin his plots against the soul of Faust.
Journet sings this great number splendidly, and it will be pronounced one of the most
striking features of his Victor list.
ACT I
SCENE I — A Square in Frankfort — Easter Sunday
The aged philosopher, Faust, and his pupil Wagner, while mingling with the crowd,
observe a grey Friar who seems to be shadowing their movements. Faust is alarmed and
says to Wagner:
Faust: Observe him closely. Tell mc, who is he?
Wagner; Some lowly Friar, who begs alms from those he passes.
268
MEFISTOFELE
VICTOR BOOK OF THE OPERA — BOITO'S MEFISTOFELE
Faust: Look more closely. ITe moves slowly on in lessening circles; and with each spiral, comes
ever nearer and nearer. Oh! as I gaze, I sec his footprints marked in fire!
Wagner: No, master, 'tis some idle fancy that thy brain deceives thee; I only see there a poor
grey friar. Timidly he ventures to apiiroach us, and we are to him hut two passing strangers.
Faust: Now he seems as though he wove nets about our path. His circles grow smaller! He
draweth close! Ah!
Wagner (carelessly) : Look calmly. 'Tis a grey friar, and not a specter. Muttering his prayers,
he tells his beads as he join"neys. Come hence, good master.
As they leave the square, followed by the Friar, the scene changes to Faust's laboratory.
SCENE l\ — The Sludio of Faust. It is Night
Faust enters, not observing that the Friar slips in behind him, and conceals himself in
an alcove. The aged philosopher delivers his soliloquy, Dai campi.
Dai campi, dai prati (From the Green Fields)
By John McCormack, Tenor {In Italian) 64303 10-inch, $1.00
By Alberto Amadi, Tenor {Doable- Faced) {In Italian) 63313 10-inch, .75
He speaks of his deep contentment, his love for God and his fellow man.
Fattst :
From the meadows, from the valleys, wliich Its love for its God!
lie bathed in moonlight. Ah ! From the meadows, from the valleys,
And wdiere patlis silent sleep, 1 come return- 1 come to read the blest Evangels;
inQ-; my soul filled Who delight me, and fill me with holy fire!
With calmness, mysterious and ducii, (Opens a Bible placed upon a higii reading
The passions, the heart rudely trying, deslr. As he begins to meditate he is
In quiet oblivion are lying; startled by a cry from the Friar in tite
My spirit knows only its love for its fellows; alco-ec.)
This is one of the most beautiful of all Italian operatic airs, and is sung by Mr. McCor-
mack 'with a loveliness of tone which makes every note a delight, while a lower-priced
rendition, and an excellent one, is furnished by Mr. Amadi.
The Friar appears, and throwing off his disguise, reveals himself as the Devil, singing a
splendid aria, / Am the Spirit.
Ballata del fischio, *' Son lo spirito" (I Am the Spirit)
By Marcel Journet, Bass {In Italian) 74210 12-inch, $1.50
Mefistofele says that he is that great force which forever thinketh ill but doeth well, and
then continues :
Mefistofele:
I'm the spirit that denieth all things, always; On I go, ndiistling! whistling! Eh!
Stars or flowers — that by sneers and strife Part am I of that condition,
supplieth Of the whole obscurity,
Cause to vex the Heavenly powers. Child of darkness and ambition,
I'm for Naught and for Creation, Shadows hiding, wait for me.
Ruin universal, death! If the light usurps, contending,
And my very life and breath, On my rebel scepter's right.
Is what here they call transgression, sin and Not prolong'd will be the fight.
Death! Over sun and earth is pending.
Shouting and laughing out this word T throw: F.ndless night!
"No!" Sland'ring, wasting, howling, hissing. Shouting and laughing, etc.
This is sometimes called Ballata del fischio, or Whistling Ballad, because of the peculiar
whistles Boito has introduced in the number. Journet delivers this splendid nurnber with
admirable declamatory power, bringing out the strange symbolism of the chmax in a thrill-
ing manner. . , . ,,
Mefistofele offers to be Faust's servant if he will accompany him. "What is the price?
asks the philosopher. "Up here 1 will obey thee," says Mefistofele. "but below our places
will be reversed." Faust says he cares nothing for the future, and if Mefistofele can give him
but one hour of happiness, for that one hour he would sell his soul. The bargain is made
and they set forth. , • i ■ ■ r
This departure from the laboratory of Faust is strikingly pictured in the great painting of
Kreling, a reproduction of which is given on page 267.
ACT II
SCENE— r/ie Garden of Margaret
Faust (now a handsome young man known as Henry) is stroUing in the garden with
Margaret, while Mefistofele, as in Gounod's version, makes sarcastic love to Martha, whom
Boito has pictured as Margaret's mother. Faust pleads for a meeting alone with the maiden,
NOTE— Mefistofele quotations are from the Dilson libretto, by permission. (Copy'l 1880, Oliver Dilson Company)
269
VICTOR BOOK OF THE OP E R A — B O ITO 'S MEFISTOFELE
but she dares not consent because her mother sleeps lightly.
He gives her a sleeping draught, assuring her that it will
not harm her mother, but merely cause her to sleep soundly.
The four then sing a fine quartet, and the scene suddenly
changes to the Brocken.
SCENE II — The Summit of the Brocken
This scene shows a w^ild spot in the Brocken moun-
tains by moonlight. The wind is w^histling in weird gusts.
Mefistofele is helping Faust to climb the jagged rocks, from
w^hich flames now^ and then dart forth. Will-o-the-w^isps
flutter to and fro, and Faust w^elcomes them, grateful for
the light they give.
Folletto, foUetto (Sprites of Hades J
By de Tura, Mansueto, and Chorus
(In Italian) 87067 10-inch, $2.00
Mefistofele echoes him, ever urging him to climb higher.
Mefistofelk :
Come up higher, and higlicr, and higher,
Farther yd 'tis more dreary the road
That will lead us to Satan's abode!
Faust:
Ah! wild-fn-L-, pallid light,
Now so dim, now so bright.
Flash o'er us thy i"ay
To illumine our way,
Come flame wildly dancing,
Come Higher, and nighcrl
FARRAR AND MARTIN IN ACT II
THE VISION OF MARGARET
Arriving at the summit, Mefistofele
summons the infernal host — demons,
w^itches, w^izards, goblins, imps— and
presides over the satanic orgies as King.
All pay him homage and dance in wild-
est joy as he breaks into fragments a
glass globe, typifying the earth, crying:
"On its surface vile races dwell, de-
graded, toilsome, quarreling among
themselves. They laugh at me, but 1
can laugh also!"
Faust now sees a vision of Margaret,
on her way to prison for the murder of
her mother and her babe. A red stain
on her neck horrifies him, but Mefistofele
laughs and says, " Turn away your
eyes." The act closes in a riotous orgy,
the demons w^hirling and dancing in
a mad revelry. This w^ild scene is
graphically pictured in Kreling's painting.
ACT III
SCENE— The Prison of Margaret
The demented girl is lying on a
stravv^ bed. She rouses herself and sings
her sad ballad, L'altra nolle.
L'altra notte (Last Night in
the Deep Sea>
By Geraldine Farrar, Soprano
(kalian) 88114 12-inch, $3.00
270
VICTOR BOOK OF THE OPERA — BO ITO'S MEFISTOFELE
'HOTO NUMA BLANC FItS, MONTE CARLO
MELBA AS HliLEN
SKe raves of the cruel jailors, whom she says threv^^
her babe into the ocean and now^ accuse her of the crime.
M.\Hi;ARrT :
To the sea. O night of sarlnussl
They my babe took and in it threw him!
Now to drive me on to madness,
Tliey declare 'twas I that slew him!
Cold the air is, the dark c<-ll narrow.
And my spirit broken to-day.
I^ike the timid woodland sparrow.
Longs to fly; ah, to Hy off, far, far away,
l-'atber, pity me I
In a deathly sUnnber falling.
Died my mother, no aid could save her;
And to crown the woe appalling,
Tliey declare I poii'on gave her I
Mefistofele now enters, followed by Faust, w^ho begs
the demon to save Margaret. The fiend reminds Faust
that it is his own fault, but promises to try, and goes out.
Faust goes to Margaret, who does not knov/ him and
is frightened, thinking her jailers have come for her.
He urges her to fly with him, and they sing a tender
duet. Far Away.
Lontano, lontano (A^vay From All
Strife)
By Geraldine Farrar, Soprano, and. Edmond
Clement, Tenor (Italian) 88422 12-in., $3.00
By Giuseppina Huguet, Soprano,
and Gennaro de Tura, Tenor
[In Italian)
87056 10-inch, $2.00
Margaret and Faust:
Away, far from strife and commotion,
O'er waves of a wide-spreading ocean,
'Mid perfumes exhaled by the sea,
'Mid palm trees and flow'rs in profusion,
The portal of peace and seclusion.
The biue isle seems waiting for me.
There, skies in their beauty transcendent,
Seem girt with a rainbow resplendent,
Reflecting the sun's loving smile.
The flight of all iiearts that are loving,
And hopeful and moving and roving.
Is turned towards that life-giving island.
Away to that island far distant I
The return of Mefistofele drives
Margaret into a frenzy, and she refuses
to leave the prison, finally falling into
Faust's arms in her death agony. Her
senses returning for a brief period, she
forgives him and dies, while a chorus
of celestial beings announce that her
soul is saved. Faust and Mefistofele dis-
appear just as the headsman and jailers
come to conduct Margaret to execution.
ACT IV
The Night of the Classical Sabbath
We are now transported to distant
Greece, where Mefistofele has resurrected
MARUAKfiT GOING TO EXECUTION
271
VICTOR BOOK OF THE OPE R A— BOITO 'S MEFISTOFELE
the beautiful Helen of Troy for the further temptation of Faust. The scene shows an en-
chanting spot on the banks of the Peneus, with the moon shedding a golden light upon
Helen, Pantalis and groups of Sirens. Helen begins her enchanting ode to the moon, fol-
lowed by the trio.
Scena della Grecia — La luna immobile (Moon Immovable !)
By N. Ardoni, Soprano; Lavin de Casas, Mezzo-Soprano ; Gaetano
Pini-Corsi, Tenor (In Italian) 87068 10-inch, $2.00
Faust and Mefislofele enter and the former soon forgets all else in the love of the fair
Grecian. Mefistofele, however, feels out of place in this classic neighborhood, and leaving
FausI in the arms of Helen, returns to the Brocken, where he amuses himself with his
Satanic crew.
EPILOGUE
SCENE- — Faust's Studio
Faust has returned to his studio, again old and feeble and full of remorse for his past life.
He has tasted the pleasures of earth and found them empty. He sings his famous epilogue :
Giunto sul passo (Nearing the End of Life)
By Alberto Amadi {Double-faced) {In Italian) 63313 10-inch, $0.75
Faust :
Kearing the utmost limit of life's extreniest goal,
In a vision delightful did wander forth my soul.
King of some placid region, unknown to care and striving,
I found a faithful people and fain would aid theii" living.
Ah! would then that this fair vision could hut he my last dream!
Look you — the crowds now come within my nhservation!
Lo, the crowds turn t'wards cities, Ileav'nward turn the nation!
Holy songs now I Jicar,
Now I hathe in the radiant splendor of Heaven's glorious morning!
Ideal bliss upon my soul is already dawning 1
Mefistofele enters for his final triumph, but Faust turns to the Bible and seeks salvation.
Mefistofele, in desperation, summons the Sirens to his aid, but Faust, leaning on the sacred
book, prays for forgiveness, and the defeated Mefistofele sinks into the ground. A shower
of roses, a token of Faust's salvation, falls on the dying man as the curtain descends.
(German)
DIE MEISTERSINGER
(Dee My' -sler-singer)
THE MASTERSINGERS
OPERA IN THREE ACTS
Both text and music of Die Meistersinger von NUrnberg are by Wagner. The idea
of the opera was suggested to the composer in boyhood, as was Tannhauser, by the reading
of one of Hoffmann's novels, and was planned as a kind of burlesque of the Minnesinger con-
test in Tannhauser. First production in Munich, June 21, 1868.
The first performance in England took place under Richter, at Drury Lane, May 30,
1882; an Italian version w^as given at Covent Garden, July 13, 1889, and an English produc-
tion by the Carl Rosa Company at Manchester, April 16, 1896.
In 1888 it w^as given for the first time at Bayreuth; and the first American production
took place in New York, January 4, 1886.
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Master-Singers.
FIRST PROGRAM OF
SINGER, MUNICH,
MEISTER-
l86S
Burghers of al
Characters
Hans Sachs, cobbler.
POGNER, goldsmith,
VOGELGESANG, furrier,
NACHTIGAL, buckle maker.
BECKMESSER, town clerk,
KOTHNER, baker,
ZORN, pewterer,
ElSSLINGER, grocer,
MOSER, tailor,
ORTEL, soap boiler,
SCHWARZ, stocking weaver,
FOLZ, coppersmith,
SIR Walter Von STOLZING. a young Fran-
conian knight
David, apprentice to Hans Sachs
Eva, Pogner's daughter
MAGDALENA, Eva's nurse
A Night Watchman
Guilds, Journeymen, Apprentices, Girls and People.
" Bass
Bass
Tenor
Bass
Bass
Bass
Tenor
Tenor
Tenor
Bass
Bass
Bass
.Tenor
. Tenor
Soprano
. Soprano
. Bass
Scene : Nuremberg in the middle of the sixteenth century.
To the opera-going public in general Meistersinger is the most
entertaining of all the Wagner operas. Its gaiety and tunefulness are
charming, and its story easily understood by an audience, which
cannot be said of most of the works by the master.
The humor is essentially German,— an interminghng of play-
fulness, satire, practical jokes, and underneath all something of
seriousness and even sadness, while the romantic element, provided
by the lovers, Eva and Walter, is not lacking.
The opera is a satire on the musical methods of the days of
the Reformation, the mediaeval burgher's life in Nuremberg being
pictured with a master hand. The loves of Walter and Eva ; the
noble philosophy of Sachs, the cobbler-poet; the envy of the ridicu-
lous Bec^^mes^er; and the youthful frolics of David^aW are surrounded
by some of the most glorious music imaginable.
The first act opens in St. Catherine's Church at Nuremberg.
where Eva, daughter of the wealthy goldsmith Pogner, and Walter, a
273
oTio i;nRrTZ
AS HANS SACHS
VICTOR BOOK OF THE OPERA — THE M A S T E R S I N G E R S
young knight, meet and fall in love. When Walter learns that £oa '5 hand has been promised
by her father to the winner of the song contest, he resolves to compete, and remains
for the examination before
the meeting of Master-
singers. Becl^messer, who also
wishes to marry Eva, is chosen
marker, and under the rigid
rules of the order gives Walter
so many bad marks that he is
rejected in spite of the influ-
ence of Hans Sachs in his
favor.
Act 11 shows a street, with
the houses of Hans Sachs and
Pogner on opposite sides. The
apprentices, w^ho are putting
up the shutters, plague David
on his affection for Magdalena,
Eva's nurse. Sachs drives
them away and sends Davia
to bed, then sits dow^n in his
doorway and soliloquizes.
He cannot forget the song
which Walter delivered before the Master singers, — its beauty haunts him.
Sachs :
The cider's scctit is waxinj;
So mild, so full and strong:
Its charm my limbs relaxing:
Words unto my lips would throng.
]'«ut I'd better slick to my leather
And let all this poetry be I
(/-/(' tries ai/uin to zvork.)
And yet — it haunts me still.
I feel, but comprehend ill;
Cannot forget it, — and yet cannot grasp it;
I measure it not, e'en when I clasp it.
Tt seemed so old, yet new in its chime, —
Like songs of birds in sweet ]\Iay-time: —
Spring's comma ml
And gentle hand
His soul \\'ith this did entrust:
Tie sang because he mustl
Eoa now learns of Walter s rejection, and is so indignant
that she promises to elope w^ith him. The lovers are inter-
rupted and forced to hide by Secl^messer, v^ho comes beneath
Eva's w^indov^r for the double purpose of serenading her
and rehearsing the song he is to sing for the prize on the
morrow^. Hans Sachs, hearing the tinkling of the lute, peeps
out, and just as Becl^messer begins to sing Sachs breaks out
into a jolly folk song.
Sachs: \\'hen mother Eve from Paradise
Tooi-al loorall Was by the Almighty driven,
Tiddy fr>l de rol ! Her naked feet so small and nice.
Oho! Tralalal Oho 1 Hy stones were sorely riven I
Beckmesser is greatly annoyed and says Sachs must be drunk. After a long altercation vv^ith
the cobbler, Becl^messer finally starts his song, but as Sachs continues to hammer on his shoe at
each mistake or wrong accent, Beckpnesser gets badly mixed, and delivers himself of this doggerel :
Beckmesser: 'Tis because a dam.?c/
I see the dawning daylight, By her loved father.
With great pleasjff I do; At his wish rather,
For now my heart takes a right To he wed doth go in.
Convagc both fresh and new. The bold man who
I do not think of dying, Would come and view.
Rather of trying May see the maiden there
A 3'oung mairfcii to win. On whom my hopes I firmly glue.
Oh, wherefore doth the weather There/orc is the sky so bright blue.
Then fo-day so excel? As I said to begin.
I to all say together
274
IIAXS SACHS
true.
VICTOR BOOK OF THE OPERA— THE M AS TE RS I N G E RS
The neighbors now begin to put their heads out the
windows and inquire who is bawUng there so late. Magdalena
opens Eoa's window and signals to Beckmesser to go away ;
but David, thinking she is waving her hand at the marker,
becomes jealous and attacks Beckmesser. The noise brings
everyone into the street, and the curtain falls on something
resembling a riot.
Act HI opens in Sachs' workshop. Walter, who had
spent the night with Sachs, comes in and tells the cobbler
of a wonderful melody which had come to him in a dream.
They write it down and leave it on the table. Waller goes out
and Beckmesser enters, sees the song, and questions Sachs about
it. Sachs makes him believe it is his own and offers to give
it to him, having conceived a plan to force the Mastersingers
to consent to the appearance of Walter. Beckmesser is
overjoyed and runs out to learn the song. Eoa enters to
get a shoe fitted, and then occurs the great scene in which
the famous quintet is sung. The young girl, who has just
had fully revealed to her the noble character of Hans Sachs,
turns to the good shoemaker, and with a grateful heart sings —
Eva :
Through thee life's treasure
I control,
Through thee I measure
First iny soul.
And were my choice but free,
'Tis you would please my eyes;
My husband you should be.
None else should win the prize!
BECKMESSER S SEREN.\DE
Sachs then alludes to the fate of King Mark in Tristan, who married Isolde only to find
too late tnat she loved another, and says :
Sachs :
To find the man before too late
I sought, or else that had been my f ate 1
SCENE OF ACT II
275
VICTOR BOOK OF THE OPERA — THE MASTERSINGERS
He calls in Magdalena and David, who are dressed for the festival, and tells them he
wishes them for witnesses for a christening. All look amazed, and Sachs explains that he
wishes to christen Sir Walter's Master Song. As no apprentice can be a witness, Sachs sur-
prises Daoid by creating him a journeyman. Eva then commences the Quintette of Baptism
with a short solo, beginning:
Eva.
GADSK: as EVA
Glu-ctces lacht,
for - tune breaks.
In the rapture of her new-found love she sings of
the Prize Song:
Eva :
In this sweet and holy strain
Lies a secret hidden;
Stilling all the welcome pain
That fills my heart unbidden;
Magdalena and David {bezvildcrcd) :
Am I awake or dreaming still?
Walter {tenderly to Eva):
Is it still the morning dream?
Dare I try to rede its theme?
Rut this strain, the' whispered here,
Will greet thine ear loud and clear,
'Mid the Master's guild shall rise,
There to win the highest prize 1
Hans Sachs {with deep emotion):
To the maid I fain would sing
Of my secret hidden;
But to tell my heart's sweet pain
Now it is forbidden!
SCENE II — A Field on the Shores of the River Pegnitz
The scene suddenly changes to an open meadow on the
banks of the Pegnitz, w^here the contest is to be held. The
spectacle is a brilliant one. with gaily decorated boats dis-
charging the various Guilds, with the wives and families of the
members. It is in this scene that the famous March of the
Guilds is played. A fine rendition of this number has been
given by Sousa's Band.
March of the Guilds
By Sousa's Band 35044 12-inch, *1.25
The Mastersingers now
arrange their procession and
march to take their places on
the platform.
When all are assembled,
Sachs rises, and in a noble
address states the terms of
the contest.
HOMER AS MAGDALENA
Still. R AS SACTis ir-;
CAN PROUUCTION,
RST AMERI-
]8y6
A Master, noble, rich and wise.
Will prove you this with pleasure;
His only child, tlie highest prize
With all his wealth and treasure.
He offers as inducement stron.r;-
To him who in the art of song
Before the people here
As victor shall appear.
This crown's of worth infinite,
And ne'er in recent days nr olden.
By any hand so highly holden,
As by this maiden tender:
Good fortune may it lend her I
(Great stir among alt present. Sachs goes
up to Pogner, who presses his Iiand. deeply
moved.)
276
VICTOR BOOK OF THE OPERA — THE M AST E RS I N G E RS
BECKMESSER
Beckmesser, who is in an awful state with his efforts to commit
JValter's song to memory, wipes his heated brow and begins. He
confuses his old melody with the new one, loses his place, mixes
his lines, and is forced by the laughter of the people to stop.
In a towering rage he accuses Sachs of plotting his defeat, then
flings down the song and rushes ott. Sachs calmly picks up the
scroll and remarks that the song is a very fine one, but that it
must be rendered properly. The Mastersingers accuse him of
joking, but he declares:
Sachs: I tell you, sirs, the work is fine:
Hut it is easy to divine
That licckmesser has sung it \\ rong.
I swear, though, you will like the song
When someone rehearses
The rightful tune and verses.
And he who does will thus make known
That he composed them, clearly;
A Master's name, too, he should own
Were he but judged sincerely.
I am accused and must defend:
A witness let me bid attend!
Is there one here wlio knows I'm right.
Let him appear before our sight.
(Walter advances amid a general stir.)
The Masters: Ah, Sachs! You're very sly indeed! —
Hut you may for this once proceed.
Sachs: It shows our rules are of excellence rare
If now and then exceptions they'll bear.
Peoplk: a noble witness, proud and bold!
Methinks he should some good unfold.
Sachs; Masters and people all agree
To give my witness liberty.
Sir Walter von Stolzing, sing the song!
You, Masters, see if he goes wrong.
The Mastersingers agree that IVatter may attempt the air, and he mounts the platform
and sings the noble Prize Song.
Preislied (Prize Song)
By Evan Williams {In English]
By Mischa Elman, Violinist
By Lambert Murphy, Tenor (In German)
By Sousa's Band (Double-faced, see page 246)
By Victor Sorlin, 'Cellist {Double- faced, see page 246)
Walter (ivho has ascended to the platform with
firm and proud steps) :
Morning was gleaming with roseate light.
The air was filled
With scent distilled
Where, beauty-beaming.
Past all dreaming.
A garden did invite.
(The ]\l asters here, absorbed, let fall the
scroll they are watching to prove that
If'alter kn'ozvs the song: he notices it with-
out seeming to do so, and now proceeds in
a freer style.)
Wherein, beneath a wondrous tree
With fruit superbly laden,
In blissful love-dream I could see
The rare and tender maiden,
Whose charms beyond all price.
Entranced my_ heart —
Eva, in Paradise!
The People (softly to one another) :
That is quite different! Who would surmise
That so much in performance lies?
Walter:
Evening fell and night closed around;
Ev rugged way
M'y feet did stray
Towards a mountain,
74115
12-inch,
$1.50
74186
12-inch,
1.50
70080
12-inch,
1.25
35044
12-inch,
1.25
35111
12-inch,
1.25
277
VICTOR BOOK OF THE OPERA THE M AST E R S I N G E RS
Where a fountain
Enslaved me with its sound;
And there beneath a laurel tree,
With starlight glinting under,
In waking vision greeted me
A sweet and solemn wonder;
She dropped on me the fountain's dews.
That woman fair —
Parnassus's glorious IMuse.
UlJth great exaltation) :
Thrice happy day.
To which my poet's trance gave place!
That Paradise of wliicli 1 dreamed,
In radiance before my face
Glorified lay.
To point thu path the brooklet streamed:
She stood beside me,
Wiio shall my bride be.
The fairest siglit earth ever gave,
My Muse, to wJiom I bow.
So angel — sweet and grave.
I woo her boldly now,
r>efore the world remaining,
I!y might of music gaining
Parnassus and Paradise.
People (accomf^aiiyinci the close, very softly) :
I feel as in a bively dream,
Hearing Init jj rasping ncit the theme !
Give him the jirizel
Masters :
^'es. glorious singer I \'ictor, rise!
Vuur song has won the jMaster-prize !
Several vocal and instrumental renditions of this lovely song are given. Mr. Murphy
gives a splendid rendition in German, Mr. Williams sings it beautifully in the purest of
English, w^hile the instrumental performances by Sousa and Sorlin are most pleasing.
Elman gives the arrangement by Wilhelmj of the Preished, which has often been given
in America, and plays it w^ith a marvelous softness and purity of tone which w^ill delight
every listener.
Eva, who has listened with rapt attention, now advances to the edge of the platform
and places on the head of Walter, who kneels on the steps, a wreath of myrtle and laurel,
then leads him to her father, before whom they both kneel. Pogner extends his hands in
benediction over them.
Walter and Eva lean against Sachs, one on each side, while Pogner sinks on his knee before
him as if in homage. The Mastersingers point to Sachs, with outstretched hands, as to their
chief, while the prentices clap hands and shout and the people wave hats and kerchiefs in
enthusiasm.
DOUBLE-FACED MEISTERSINGER RECORDS
/Prize Song
\'Meistersinger March
Prize Song"
Ernani Selection
jPrelude
I Magic Flute Overture
By Sousa's Band]^- , .
By Sousa's Bandf
By Victor Sorlin, ^Cellist!
By Pryor's Band\
By La Scala Orchestral
By La Scala Orchestral
12-inch, $1.25
35111 12-inch, 1.25
68207 12-inch, 1.25
SETTING UF ACT III AT THE METROPOLITAN
278
(French)
MIGNON
(English)
MIGNON
(Meen-yohn) (Min'-yon)
OPERA IN THREE ACTS
Text by Barbier and Carre, based upon Goethe's Wilhelw Meisler. Music by Ambroise
Thomas. First production at the Opera Comique, Paris, in 1866. In London at Drury Lane,
1870. First New York production November 22, 1872, with Nilsson, Duval and Capoul.
Characters of the Drama
MlGNON, a young girl stolen by gypsies Mezzo-Soprano
FlLINA, {FiUee -nah) an actress Soprano
FREDERICK, a young nobleman Contralto
WlLHELM MEISTER, a student Tenor
Laertes, (tayr -tecz) an actor Tenor
Lothario, [Low-lbah^-iee-oh) an Italian nobleman Basso Cantante
GlARNO, (Jahr'-no) a gypsy Bass
Tovi^nsfolk, Peasants, Gypsies, Actors and Actresses.
The scene of Acts I and II is laid in Germany ; of Act III in Italy.
By La Scala Orchestra *68025
31336
Overture
Part I and Part II
By Pryor's Band
The overture is full of the grace and delicacy for
■which Thomas' music is celebrated, and contains the
principal themes, notably Filina's dashing "Polonaise."
The Pryor record is a fine example of the perfection at-
tained in the playing of this organization. Every detail
of the wonderful instrumentation which Thomas has
written, and especially the passages for the wood-^vind,
is clearly brought out. A fine orchestral rendition by
the La Scala players, in two parts, is also offered.
ACT I
SCENE — Courtyard of a German Inn
Mignon, a daughter of noble parents, was stolen
when a child by gypsies, and as the act opens is a
girl of seventeen, forced to dance in the public streets
by the brutal Giarno, chief of the gypsy band.
The first scene shows the courtyard of a German
inn, where townspeople and travelers are drinking.
After the vigorous opening chorus, sung here by the
La Scala forces, Lothario, a wandering minstrel, enters
and sings, accompanying himself on his harp.
Opening Chorus and Solo, " Fuggitivo
e tremante" (A Lonely "Wanderer)
By Perello de Segurola, Bass,
and La Scala Chorus
{In Italian) *55004 12-inch, $1.50
Fuggitivo e tremante (A Lonely W^anderer)
By Cesare Preve, Bass (/" Italian) *62650 10-inch, $0.75
The minstrel is in reality Mignon 's father, whose mind was affected by his daughter's
abduction, and he wanders about seeking her.
Lothario: A lonely wandevei- am 11 I stray from door tn door.
As fate doth guide, or as the storm dnth hurry me.
Far, far I'll roam in search of Iicr.'
^Doable-Faced Record— For titl<: of opposite side see DOUBLE-FACED MIGNON RECORDS, page 285.
279
VICTOR BOOK OF THE OPER A— T HOMAS' MIGNON
Con -
nais
- tu
le
- pa - ys
oit fleu
rit
I'o - ran
ger?..
Know
- est
thoti,
yo.jf
■ der land
where the
or
ange
grows !
The gypsy band appears and Mignon is ordered to dance by Giarno, who threatens her
with his stick when she w^earily refuses. Wilhelm, a young student, protects her from the
gypsy and questions her about her parents. She remembers but httle, but tells him of her
impression of home in this lovely Connais-tu le pays, full of tender beauty.
(French) (English)
Connais-tu le pays ? (Knowest Thou the Land?)
(German) (Italian)
Kennst du das Land ? Non conosci il bel suol ?
By Marcella Sembrich, Soprano {In French) 88098 12-inch, $3.00
By Ernestine Schumann-Heink, Contralto {InGerman) 88090 12-inch, 3.00
By Geraldine Farrar, Soprano {In French) 88211 12-inch, 3.00
By Emmy Destinn, Soprano {In German) 91083 10-inch, 2.00
By Giuseppina Huguet, Soprano {In Italian) *35178 12-inch, 1.25
Five records of this beautiful air, in French, German and kalian, by five famous singers,
ranging in price from $1.25 to $3.00, are listed here for a choice.
This air is one of the happiest inspirations of the composer, it is said that much of its
charm comes from Thomas' intimate study of Scheffer's painting, " Mignon." At any rate he has
caught the inner
sense or Lioetrie s j.,.. ^ J '
poem and has
expressed it in
exquisite tones.
The opening
passage :
gives us an idea of the melody, one of the most beautiful in the entire range of opera. The pas-
sionate longing
of the orphan _ n h. Mignon. ^ ^ /^
:h i 1 d for her
childhood home
is effectively ex-
pressed in this
superb climax :
in which Mignon seems to pour forth her whole heart in a
flood of emotion. The words are most beautiful ones.
Knowest Thou the Land ?
Mignon :
Knowest thou yonder land where the orange grows,
Where the fruit is of gold, and so fair the rose?
Where the hreeze gently wafts the song of birds,
Where the season round is mild as lover's words?
Where so calm and so soft, like Heaven's blessing true,
Spring eternally reigns, with the skies ever Itlue?
Alas, why afar am I straying, why ever linger here?
'Tis with thee I would fly!
'Tis there! 'Tis there I my heart's love obeying,
'Twere bliss to live and die!
'Tis there my heart's love obeying,
I'd live, I would die !
Wilhelm, full of pity for the helpless girl, offers Giarno
a sum of money to release her, and goes into the inn to
complete the bargain. Lothario comes to Mignon to bid her
farewell, saying he must go south, following the swallows.
Then occurs the beautiful "Swallow Duet," one of the
gems of the opera.
Les hirondelles (Song of the Swallows)
By Geraldine Farrar, Soprano; Marcel Journet,
Bass (In French) 89038 12-inch, $4-00 abott as filina
* Double-faced Record- For title of opposite side see DOUBLE-FACED MIGNON RECORDS, page 285.
281
VICTOR BOOK OF THE OPER A— T HOMAS' MIGNON
LOTIIARTO
Mignon: {accompanying herself on the hurp):
Oh swallows gay and blithe,
Ve joy of every land,
Unfold your gentle wings.
Speed quickly on your way!
LriTHARlo :
The hai"p. touched by licr gentle hand
A melancholy sound mysteriously gives forth.
Mtcnon :
Ve blithe and gentle swallows,
Unfold j'our nimble wings;
(Juick, hasten to the land
\\'here winter never reigns,
Thiice happy bird, thrice happy bird,
Who first the wished-for good
Riglit joyously shall reach.
The effectiveness of Thomas' exquisite score de-
pends very much on the perfection of its rendering;
and this is especially true of the first act music — the
Connais-tu, Lothario's song, and this serene and beauti-
ful duet, given so charmingly here.
Very little need be said about Miss Farrar's
familiar impersonation of Mignon. It is always de-
lightful, both to eye and ear. Journet sings the music
of Lothario with dignity and beauty of voice ; while
Farrar's every note is exquisite in its loveliness.
PVilhelm is no'w invited to go to the Castle of Prince
Tieffenhach with the troupe of players, headed by the
lovely Filina, who has observed the handsome student
w^ith an appreciative eye. He hesitates, thinking of Mignon, but she begs to be allowed to
accompany him disguised as a servant.
MiONON :
Stranger! thou didst purchase me —
Dispose of nie, bencefortli, e'en as thou wilt.
WlLlIELM ;
In this very town, to which Fate hath brought
thee,
There lives an aged relative of mine.
Who, to her home, will gladly welcome thee.
Mignon :
Must I then part from thee?
WlLIIELM :
My child, tlimi can'st not dwell with me;
111 could T the Tiart perform,
Of father!
M [GNON :
Could I not disguise myself.
And as thy servant, travel with thee?
WiLHELM (t akin (I her hands) :
And what couldst thou do then?
Mi(;.\'on:
With love and gratitude,
My heart is filled.
To follow thee. O master mine.
Indeed were hafipi'icss to mc !
Wti.iielm :
VVould'st thou anew thy liberty renounce.
And be a slave once more?
Mignon (satlly) :
Well since my prayers thou wilt not hear,
(pointing to Lothario, who appr
I'll e'en depart with liiin!
Lothario Inishiiig to Mignon. a
her ivith his arms) :
Come! my footsteps follow;
Through bv-patlis lone and wild 1
(Attempts !o ,lni7v Mignon -.cilh him.)
Wilhelm finally yields a reluctant consent,
not knowing what else to do, and the act
ends with the departure of the players. farrar as mignon— act ii
oachcs)
nd encircling
VICTOR BOOK OF THE OPER A— T HOMAS' MIGNON
ACT II
SCENE I — A Boudoir in Tieffenhach Castle
Act II represents a room in the Prince's castle. Filina is seated in front of her toilet
table, musing on the handsome IVilhelm, who has made a deep impression on her some-
■what volatile affections. IVithelm enters with Mignon, who meets with a cool reception
from the gay actress. IVilhelm makes love to Filina while Mignon watches them with a
sad heart, as she has learned to love her new master. When left alone, she tries by
the aid of Filina's rouge to make her complexion as beautiful as that of the actress
who has dazzled her master, and, noting the effect in the glass, sings a gay song with
an odd refrain, called by the composer " Styrienne."
Styrienne, "Je connais " (I Know a Poor Maiden)
By Geraldine Farrar, Soprano (In French) 88152 12-mch, 13.00
Miss Farrar has given us a charming rendition of this Mignon air, which (next to the
well-known Connais-tu) is the favorite one in the opera.
MlCNON :
Well I know a poov young child, I fain would turn away,
A sad young child of Bohemia, But so improved am seeming.
On whose pale sunken cheeks joy ne'er rested, Am I the same, or dreaming?
Ah! ah! ah! ah! what a dull story! Ah! Ah! la la
I cannot leave the plass. Am I still Mignon?
So much improved I'm seeming, No! no! 'tis I no longer!
Am I the same, or dreaming? But then! 'tis not she either!
Ah! la la. Some other secrets she must have her charms
(Lodging in tlic glass) : to heighten.
Am I still Mignon? (Opens tlie door of the dressing room)-.
Can it be Mignon that I see? Is it not there she keeps her gayest dresses?
One fine day. the child in play. Yes! alas! were I Fihna, would he love me
A stratagem boldly trying, as well?
To the master's good pleasure applying. What idle folly! (From ihi- riitM),, score.
Ah! ah! ah! what a foolish story! 'Tis a demon now tempts me! Top. tissd,)
Miss Farrar sings this quaint and fascinating "Styrienne" with the child-like gaiety and
charm which belong to it ; and her voice is as pure and true as a flute when she reaches
the high D at the end of the air.
Mignon now goes into the closet, and after IVilhelm has returned makes her appearance
in one of Filina 's dresses. He tells her in a beautiful air that he must leave her.
Addio, Mignon (Farewell, Mignon)
By M. Regis, Tenor {In French) *45023 10-inch, $1.00
By Emilio Perea, Tenor (Piano ace.) (In Italian) *63420 10-inch, .75
Mignon utters a cry of grief and begins to weep, while IVilhelm tenderly says :
\^'rLI-Il-:LM :
Farewell, Mignon, take heart!
Thy tears restrain!
In 'the bright years of youth no grief doth
linger long.
Weep not, Mignon !
O'er thee just Heaven will watch with fost'-
ring care.
Oh, may'st thou thy dear native land once
more regain!
May fortune on thy fate henceforth benignly
smile !
It. pains me much to leave thee: my stricken
heart
With thy lone destiny will ever sympathize!
Farewell, Mignon, take heart!
Then dry thy tears.
Mignon refuses money which he offers her, and is about to bid him farewell when
Filina enters, and seeing Mignon in one of her own dresses, eyes her with sarcastic amuse-
ment, which puts Mignon into a jealous rage and she rushes into the cabmet, tears off the
borrowed finery and puts on her gypsy garments.
SCENE U—The Gardens of the Castle
The scene changes to the park of the castle. Mignon, in despair, attempts to throw
herself into the lake, but is prevented by Lothario, who consoles her. In a fit of jealousy she
* DoMe-FaceJ RccorJ—For title of opposite side see DOUBLE-FACED MIGNON RECORDS, page 285.
283
VICTOR BOOK OF THE OPER A— T HOMAS' MIGNON
■wishes that fire would consume the castle in which Filina had won her master's affections.
Lothario is puzzled by this and goes off muttering to himself.
The actors and guests now^ issue from the castle proclaiming the beauty and talent of
Filina. In the flush of her triumph she sings the brilliant Polonese or polacca (French Polonaise),
one of the most difficult and show^y of all soprano airs.
Polonese, *' lo son Titania'' (Fm Fair Titania !)
By Luisa Tetrazzini, Soprano {In Italian) 88296 12-inch, $3,00
By Giuseppina Huguet. Soprano [In Italian) "^35178 12-inch, 1.25
By Lucetta Korsoff, Soprano {In French) *45006 10-inch, 1.00
The Victor is able to offer three fine renditions of this popular number, headed by the
superb Tetrazzini record, one of the most perfect in her list. Mile. Korsoff, of the Opira
Comique, sings the air in French w^ith much brilliancy, w^hile an Italian record is furnished
by that gifted Spanish prima donna, Mme. Huguet.
lo son Titania
(Behold Titania!)
Chorus: AN'itli jocund heart and liappy mien.
She is truly divine, Filina! I cliecrily dance tlie hours away,
At lier feet we lay our hearts and our flowers! Like the bird that freely wings its flight.
What charms, what beauties are hers! ]-'airies (.lance around me,
Ah! what success! liravol Honor to Titania! Klfni S])rites on nimble toe around mc ^aily
Filina: dance.
Yes; for to-night I am queen (if the fairies! Imm- Fm fair Titania 1
Observe ye here, my sceptre bright, I'nth night and day. My attendants ever sing,
(Raising tlic zvand which she IioUls in her The achievements of the god of Love I
liond.) On the wave's white foam.
And behold my num'rous trojiliies! 'Mid the twilight grey, 'mid hedges, 'mid
{Poiniing to the wreath zcliich has been pre- flowers,
sented to her.) I hlithcly do dance!
I'm fair Titania, glad and gay, Uehitld Titania, glafl and gay!
Thro' the world unfetter'd I blithely stray.
Wilhelm now sees Mignon and is about to spealc to her when Filina interposes and asks
her to go to the castle on some errand. The young girl, glad to escape meeting IVilhelm,
obeys, but has no sooner gone than the castle is discovered to be in flames, the half-w^itted
Lothario having set fire to it after having heard Mignon' s jealous wish.
Wilhelm rushes into the burning castle and soon reappears v^ith the unconscious form
of Mignon, v/hile the curtain falls on a magnificent tableau.
ACT III
SCENE — Count Lothario's Castle in Italy
This act takes place in the castle of Lothario, to w^hich the old man has instinctively re-
turned with Mignon, followed by IVilhelm, who now realizes that he loves his youthful ward.
The young girl is recovering from a dangerous illness, and as Lothario watches outside her
sick room, he sings a beautiful lullaby or berceuse,
Berceuse (Lullaby) (Ninna nanna)
By Pol Plancon, Bass {In Italian) 85126 12-inch. $3.00
By Marcel Journet, Bass (In Italian) 742 70 12-inch, 1.50
By Gaudio Mansueto, Bass (In Italian) =^^55004 12-inch, 1.50
By Cesare Preve, Bass {In Italian) ^'62650 10-inch, .75
Lothario :
I've soothed the throbbing of her aching heart. lly day and nirht some heav'nly spirit
And to her li]>s the smile I have restored. The maiden doth protect;
Her weary eyes at last have closed <')n wings celestial, it doth hover round
In gentle slumber; Protecting her from harm!
Wilhelm takes Lothario's place as watcher, and tells of his new-found affection in this
beautiful air, given here by M. Regis, of the Paris Opdra Comique.
Elle ne croyait pas (Pure as a Flower)
By M. Regis, Tenor {In French) *45023 10-inch. $1.00
^ Double-FaceJ Record^For title of opposite side see DOUBLE-FACED MIGNON RECORDS, page 285.
284
VICTOR BOOK OF THE OPER A— T HOMAS' MIGNON
WlLHELM :
In soothing yon poor, hapless maiden
At last I have discovered her secret;
I'rom her sweet lips my name escaped!
Ah ! little thought the maid.
In innocence arrayed,
What she in her breast had nurtured,
Would ardent love become.
And thus pei'vert the peaceful current
Of her peaceful life.
Oh balmy April,
Who to the withered flowers restoreth their
colors.
Kiss her fair cheek,
And a grateful sigh of love cause to escape!
Mignon now comes w^ith feeble step on the balcony, and seeing Pl^ilhelm, is much agi-
tated. He endeavors to soothe her, but she insists that only Lothario loves her. Lothario now
enters, and announces that he is the Count Lothario, having been restored to his right mind by
the familiar scenes of his ancestral home. He shows them the jewels and prayer book of
his lost daughter, and tells them her name was Sperata. Mignon starts at the name and
murmurs :
Ah, that sweet name to my ear is familiar,
A memory of my childhood
It may be, that's gone forever 1
She then begins to read from the book a little prayer, but soon drops the book and
continues from memory, her hands clasped and her eyes raised to Heaven. Lothario is much
agitated and w^hen she has finished, recognizes her as his lost daughter. Father and
daughter are reunited, while a blessing is bestowed on the young people by the happy
Lothario.
35337 12-inch, 1.25
1.50
DOUBLE-FACED AND MISCELLANEOUS MIGNON RECORDS
Gems from Mignon
"Away Ye Friends" — "Polonaise" — Barcarolle, "Now On We Sail" —
" Pure as a Flow^er " — " Dost Thou Know " — " Finale "
By the Victor Light Opera Co [In English) 31867 12-inch, $1.00
Gems from Mignon By the Victor Light Opera Co
"Away Ye Friends" — "Polonaise" — Barcarolle, " Now
On We Sail" — "Pure as a Flow^er " — "Dost Thou
Know " — " Finale "
Gems from Tales of Hoffman By Victor Light Opera Co
I Opening Chorus and Solo, " Fuggitivo e tremante " 1
By Andrea Perello de Segurola Bass and Lgp^^ 12-inch,
La acala Chorus
Ninna nanna By Gaudio Mansueto, BassJ
iPreludio, Parte 2a (Overture, Part 2) 1
„ , ,. „ ,^ „ By La Scala OrchestraL8025 12-mch
Preludio, Parte la (Overture, Part 1)
By La Scala Orchestral
fPolonese — lo Son Titania ! (I'm Fair Titania!) 1
J By Giuseppina Huguet, Soprano (In Ilalian)\^^^^^ 12-inch
INon conosci il bel suol ? (Dost Thou Know That Fair |
I Land?) By Giuseppina Huguet, Soprano (In Ilalian)]
1 Polonaise — lo Son Titania ! 1
, , „ , By Mile Korsoff, Soprano (In Frenchjl^^^^^ 10-inch, 1.00
Lakmi — Pourquoi dans les grands hois
By Alice Verlel, Soprano (In French)]
f Adieu, Mignon, Courage (Farewell, Mignon) 1
J By M. Regis, Tenor (In French)\^^^^^ 10-inch,
lEUe ne croyait pas (Pure as a Flo-wer)
[ By M. Regis, Tenor (In French) ]
/Fuggitivo e tremante By Cesare Preve, BassU^bSO 10-inch,
INinna nanna By Cesare Preve, Bass/
(Gavotte By Victor String QuartetK ^323 io.i„ch,
I Norma Selection (Bellini) By Fryor s Band)
{Addio, Mignon (Fare'well, Mignon) ]
By Emilio Perea, Tenor (In //a/ian) 63420 lO-inch,
Stelle d'Oro — Romanza By Silvano Isalherti, Tenor (In Italian)]
2S5
1.25
1.25
1.00
.75
.75
.75
SCENE FROM MIKADO
THE MIKADO
OR
THE TOWN OF TITIPU
COMIC OPERA IN T\^0 ACTS
Text by W. S. Gilbert; music by Sir Arthur Sullivan. First produced at the Savoy
Theatre, London, March 14, 1885. First American production at the Union Square Theatre,
New York, July 20, 1865. All star revival by Messrs. Shubert and William A. Brady at the
Casino Theatre, May 30, 1910. Revived at the Majestic Theatre by the Gilbert and Sullivan
Festival Company, 1913.
Characters
MIKADO of Japan Baritone
NANKI-POO, his son, disguised as a minstrel, in love w^ith Yum- Yum . . . .Tenor
KO-KO, Lord High Executioner of Titipu Comedian
Pooh-Bah. Lord High Everything Else Bass
PISH-TUSH, a noble lord Baritone
YUM-YUM 1 I Soprano
PiTTI-SiNG (Three sisters, wards of Ko-Ko Mezzo-Soprano
PEEP-BO I I Soprano
KATSHA, an elderly lady, in love w^ith Nanki-Poo Contralto
Schoolgirls, nobles, guards and coolies.
Time and Place : The scene is laid in Japan ; present time.
280
VICTOR BOOK OF THE OPERA-THE MIKADO
It IS beginning to be recognized that the Gilbert and
SuUivan operas are pure Enghsh classics — not in the
sense of being dull — but because they are national, and
possess those qualities which will cause them in the
future to be valued equally with the Comedies of
Shakespeare. The Mikado is undoubtedly the greatest
of these, and curiously enough it was this opera which
first anticipated the rise of Modern Japan, although the
characters portrayed are by no means Japs, but ourselves
— in a very thin disguise.
This charming travesty of Japan has been the
SULLIVAN
greatest popular favorite of all comic operas since its original production in the eighties.
The story is so generally known that a brief outline of the plot is all that is necessary here.
Nanki-Poo is in love with Yum-Yum, who is betrothed to her guardian, Ko-Ko, Lord
High Executioner. Poo-Bah, "retailer of state secrets at a low figure," tells Nanki-Poo of his
sweetheart's betrothal to another, but the young man secures an interview with Yum-Yum
and confesses he is the Mikado's son, disguised in the hope of escaping punishment for his
POOH BAH, PITTI.SING, KO KO, MIKADO AND KATISHA
refusal to marry Katisha. Ko~Ko receives a message from the Mikado, telling him he must
see that some one in Titipu is beheaded within the month or he will lose his position, which
message interferes with the Lord High Executioner's matrimonial arrangements. Nanki-Poo
agrees to sacrifice himself if he may marry Yum-Yum and have her with him during the
intervening month. This is agreed to and the wedding plans are made.
At the opening of the second act Yum-Yum is preparing for the ceremony. While
talking "with Nanki-Poo she is interrupted by Ko-Ko, who tells her that according to the
law, when a married man is executed his wife is burned alive. This news cools Yum-Yum's
ardor, but Nanki-Poo, to save her, swears that he will that day perform the Happy Dis-
patch or hari-kari. As this would be dangerous for Ko-Ko, he promises in alarm to
sv\^ear falsely to the execution of Nanki-Poo.
The Mikado now arrives and Ko-Ko tells him the execution has taken place, but the
Mikado, on learning who the victim is, flies into a rage and says he has beheaded the heir
to the throne, and must himself suffer torture for his act. However, Nanki-Poo opportunely
appears and Ko-Ko gains his pardon by marrying Katisha, while Yum- Yum and Nanki-Poo
are happily united.
287
VICTOR BOOK OF THE OPERA— THE MIKADO
Two splendid records by the Victor opera forces are offered, containing no less than
thirteen of the favorite numbers, admirably sung and grouped in a most attractive man-
ner. The Lyric Quartet has given the dainty Brightly Dawns Our Wedding Day, one of
the most beautiful examples of the Madrigale in existence.
DOUBLE-FACED AND MISCELLANEOUS MIKADO RECORDS
Gems from " Mikado " — Part I
"Behold the Lord High Executioner" — "The Flowers that Bloom in the
Spring" — "Three Little Maids" — "Tit Willow" — "He's Gone and Married
Yum-Yum " — " With Joyous Shout "
By the Victor Light Opera Company 31789 12-inch, $1.00
Gems from "Mikado" — Part II
"Gentlemen of Japan" — "A Song of the Sea" — "Three Little Maids from
School " — " Moon Song " — " Emperor of Japan " — " My Object all Sublime " —
Finale
By the Victor Light Opera Company 31881 12-inch, 1.00
(Madrigale — Brightly Da^vns Our W^edding Day |
\ By the Lyric Quartet il 7226 10-inch, .75
I Martha — Good Night Quartet By the Lyric Quartet]
Mikado Lancers — First, Second and Fifth Figures
By the Victor Dance Orchestra 35115 12-inch, 1.25
[Mikado Lancers — Third and Fourth Figures li<i<ia in • u
\ La Gitana Waltz B\) the Victor Dance Orchestra} ^^'^^^ lO-inch, .75
j Mikado Waltzes
\ Belle of New York Selection
By Pryor's Band| , . , ,
Sj, Prx,or's Bandj^^^^'^ 12-.nch. 1.25
SCENE FROM MIKADO
288
SCENE FKUM MIREILLE
(French)
MIREILLE
{Mih'Tay -yeh)
(English)
MIRELLA
{Mih-rel'.lah)
OPERA IN FIVE ACTS
Words by M. Carre, from Mireio, Provencal poem by Mistral ; music by Gounod.
Produced at the Theatre Lyrique, March 19, 1864. Reduced to three acts, with the addition
of the waltz, and reproduced December 15, 1864, at the same theatre. In London, in Italian
with five acts, as Mirella, at Her Majesty's Theatre, July 5, 1864.
Cast
Ramon, a rich farmer Bass
Mirella, his daughter Soprano
AMBROISE Bass
Vincent, Iu- uu ) Tenor
VINCENETTE, /^'" children | Mezzo-Sopjano
TAVENA, a fortune-teller Contralto
OURRIAS, a bull tamer Baritone
ANDRELLU, a shepherd Contralto
CLEMENCE, a peasant girl Mezzo-Soprano
Peasants and People ; Pilgrims.
Mirella, which came later than Faust in order of production, is an example of the more
delicate art of Gounod, and the story of the faithfulness of the heroine for her peasant lover
is reflected in the music with true Provencal warmth and color.
The hbrettist took for his subject the pastoral poem Mireio, by the beloved poet of
Provence, Frederic Mistral, and Gounod has given it a tuneful setting with much local color,
including many folk-songs.
289
VICTOR BOOK OF THE O P E R A— G O U N O D 'S MIREILLE
The first scene opens in a
mulberry grove, where Mirella
is teased by the village girls
about her attachment for
Vincent, the basket- maker.
Tavena, the fortune-teller,
warns the young girl that
Ramon, Mirella 's father, w^ill
never consent to the union.
Mirella meets Vincent and the
warning of Tavena is soon for-
gotten. The lovers renew^ their
pledges and agree to meet soon
at the Chapel of the Virgin.
The young girl is also in-
formed by the fortune-teller
that Vincent has a rival, a w^ild
herdsman, w^ho has asked
Mirella' s father for her hand
and obtained his consent.
When the herdsman appears
M(re//a repulses him, declaring mireille act i
her irrevocable attachment for Vincent. She then starts on the long journey across the desert
to meet her lover at the chapel, and on the way meets Taoena, -who assures her that Vincent
Vi'ill be v/aiting for her. The journey proves almost too much for the young girl's strength,
and when she finally arrives at the chapel she is completely exhausted, and faints on the
threshold. Vincent soon appears and ministers to his fainting love. Ramon, w^ho has
follow^ed his daughter, soon appears, and moved to pity by her sad condition, gives his
consent to the union of the lovers, and all ends happily.
This delightful Valse occurs in the first act, w^here Mirella fancifully appeals to the
sv/allow^s to bring her tidings of her lover. Miss Abott's lovely and flexible voice is shov/n
to great advantage in this brilliant number.
Valse from Act I
88129 By Bessie Abott, Soprano
{In French) 12-inch, $3.00
(IPEN AIR PRODUCTION OF MIREILLE AT ARLES
290
SCENE- — ACT I
NATOMA
(Nah-toh'-mah)
(The Maid from the Mountains)
OPERA IN THREE ACTS
Text by Joseph D. Redding ; music by Victor Herbert. First produced at the Metro-
pohtan Opera House, Philadelphia, February 25, 1911. First New York production Feb-
ruary 28, 1911.
Characters
(With the Cast of the First Performance)
Don Francisco DE la GUERRA, a noble Spaniard of the old regime
Bass (Huberdeau)
BARB.ARA, his daughter Soprano (Grenville)
NATOMA, an Indian girl Soprano (Garden)
Paul Merrill, Lieutenant of the U. S. Brig •• Liberty " . . Tenor (McCormack)
Juan ALVARADO, a young Spaniard Baritone (Sammarco)
JOS£ Castro, a half-breed Baritone (Preisch)
Father PERALTA, Padre of the Mission Church Bass (Dufranne)
Pico, Ip , r^ , /Tenor (Crabbe)
t' A ^ A «« A ( Comrades of Castro ; „ X,. , <
KAGAMA, / \ Bass (Nicolay)
Chiquita, a dancing girl ; Two American Officers ; Nuns ; Convent Girls ;
Friars ; Soldiers ; Spanish Dancers, etc.
Scene and Period: California, under the Spanish regime, 1820.
Victor Herbert's Natoma treats of one of the most romantic periods of American his-
tory, the scene being laid in California in the days of Spanish rule. The opera takes its
title from its Indian heroine, and the characters comprise Indians, Spaniards and pioneer
Americans. The story centres around Naloma, an Indian girl; Barbara, the lovely daughter
of Don Francisco de la Guerra, a noble Spaniard of the old regime ; and Lieul. Paul Merrill, of
the U. S. Navy, who is loved by both Natoma and Barbara.
ACT I
SCENE — Hacienda of Don Francisco on the Island of Santa Cruz
At the opening of Act I Don Francisco is gazing over the waters of the Santa Barbara
channel waiting the coming of his daughter Barbara, w^ho is leaving the convent at the close
of her school days. Alvarado, a hot-headed young Spaniard and Barbara's cousin, who is
anxious to marry the young girl and thus gain control of the vast estates left her by her
291
VICTOR BOOK OF THE O P E R A — H E RB E RT 'S NATOMA
mother, is also anxiously waiting her arrival. Naioma has met Lieutenant Paul and there is
already a bond of sympathy between the handsome Indian maiden and the young officer.
The two are now seen approaching, the Indian girl innocently telling the young officer that
her mistress, Barbara, is very beautiful. Suddenly realizing that Paul may forget her when
he sees Barbara, she begs him to let her be his slave. When Barbara arrives and meets
Paul it is a case of love at first sight, and later, when Aharado urges his suit, the young girl
haughtily refuses him. In a rage he plots with Castro, the half-breed, to carry Barbara off to
the mountains the next day, w^hen the celebrations in honor of her coming of age are
at their height. This plot is overheard by Natoma, who is concealed in the arbor. All
the guests take their departure, and Barbara, alone on the porch in the moonlight, de-
clares her love for Paul. The young lieutenant
appears and they sing an impassioned love duet.
When a light is seen in the hacienda, the young
girl, thinking it is her father, urges Paul to take
his departure, and goes into the hacienda. As
the curtain falls Natoma, -who realizes that her
mistress is now her rival, is seen seated alone in
the w^indow, gazing out into the night.
ACT II
SCENE — Plaza in Front of the Mission
Church, Santa Barbara
In the dim light of early morning Natoma is
singing her "song of fate," and as dawn be-
gins to break the Spanish soldiers appear, the
flag of Spain is raised, and trumpeters and drum-
mers play the national salute. The vaqueros and
rancheros arrive, singing of their life on the plains,
w^hile the dancing girls join in the revelry. Pico
sings his stirring Vaquero's Song, w^hich in per-
formances of the opera always arouses great en-
thusiasm, and w^hich is vigorously sung here by
Mr. Cartwright, w^hile the melodious chorus is
splendidly rendered by the Opera forces.
Vaquero's Song
By Earl Cartwright, Baritone, and
Opera Company {In English)
{Harp accompaniment by Lapitino)
5871 10-inch, $0.60
IfAMLIN AS LIEUT. PAUL MERRILL
Who dares the broncho wild defy?
Who looks the mustang in the eye?
Fearless and bold,
Their master behold: Aie!
With a leap from the ground
To the saddle in a bound,
And away ! Aie !
Copy't 1910, G. Sohirmer.
Don Francisco and his daughter appear on horseback, w^ith Natoma walking by their side.
The guests assemble, and after the Castilian custom, Don Francisco places on his daughter's
brow a woof of royal lace, signifying that she succeeds to title and estate. Barbara sings a
brilliant song of happiness, love and springtime, w^ith an exquisite accompaniment, in w^hich
Mr. Herbert has w^oven the songs of birds, the rustling of leaves and the breezes of spring
with marvelous skill. Mme. Gluck in this rendition quite surpasses anything she has yet
done for the Victor, and pours out her vocal resources lavishly and w^ith evident enjoyment.
Spring Song (I List the Trill of Golden Throat)
By Alma Gluck, Soprano [In English) 74274 12-inch, $1.50
The sailors from the U. S. S. Liberty appear, and with them is Lieutenant Paul, who ex-
tends his compliments on behalf of his commander. This address, one of the most in-
spiring numbers in the work, is given by Mr. McCormack in splendid style.
Paul's Address (No Country Can My O^vn Outvie)
By John McCormack, Tenor {In English) 74295 12-inch, $1.50
The Panuelo, or "dance of declaration," follows, in which each man places his hat on
VICTOR BOOK OF THE O PE R A — H E R B E RT'S NATOMA
THE DAGGER DANCE ACT II
the head of the girl he loves. Barbara infuriates Alvarado by gaily tossing his hat into the
crowd when he places it on her head, but before he can speak Castro appears and dares
any one to dance w^ith him the ancient Dagger Dance of California. Natoma accepts the chal-
lenge, and they dance to the v/ild and barbaric rhythm. This old dance is, like other
characteristic numbers in the opera, based on Indian melodies which Mr. Herbert has
been collecting for some years, and its performance for the Victor, w^hich was made under
the composer's direction, is a very fine one.
Dagger Dance
By Victor Herbert's Orchestra 70049 12-ipch, $1.25
As the scene becomes more absorbing, Alvarado and Pico slip close to Barbara, and,
throw^ing a serape over her head, attempt to carry her off. Natoma, who has been w^atching
Aharado, rushes w^ildly past Castro and plunges her dagger into the Spaniard, who falls life-
less. The crowd rushes at Natoma to avenge the death of Alvarado and Paul draws his
sw^ord to protect her. Suddenly the Mission door opens, and Father Peralta slow^ly
advances, holding aloft the cross. The people kneel, and the Indian girl, dropping her dag-
ger, approaches the priest and falls at his feet. They go into the church as the curtain falls.
ACT III
SCENE — Interior of the Missior} Church
As the curtain rises Natoma is kneeling on the steps of the altar, crooning an Indian
cradle song. She invokes the Great Spirit to give her strength to join her people, and seek
vengeance for her misfortunes. The old priest seeks to calm her, and finally strikes the
one responsive chord in her heart — her love for her mistress. He recalls to her mind
her happy childhood days with Barbara, and she realizes that she can yet make her mis-
tress happy, and that fate has decreed the union between Natoma and Paul.
The church now fills with the people, who respond to the words of Father Peralta.
Paul and Barbara sit near the altar in opposite pews, and at a sign from the priest the Indian
girl walks down the aisle to where they are seated. Under her spell they kneel, facing the
altar, and Natoma, lifting the amulet she wears around her neck, bestows it as a blessing on
her beloved mistress. Turning, she v/alks toward the convent garden, and as the priest in
the pulpit raises his hands in benediction, the doors of the cloister close upon her.
NORMA
{NoZ-mah)
OPERA IN T\^0 ACTS
Book by Felice Romani, founded on an old French story. Score by Vincenzo Bellini.
First production December 26, 1831, at Milan. First London production at King's Theatre,
in Italian, June 20, 1833. In English at Drury Lane, June 24, 1837. First Paris production
Theatre des Italienos, 1833. First Vienna production, 1833; in Berlin, 1834. First Ne-w York
production February 25, 1841; other early productions, September 20, 1843, with Corsini and
Perozzi, and 1854 with Grisi, Mario and Susini.
Characters
Norma, High Priestess of the Temple of Esus Soprano
ADALGISA, a Virgin of the Temple Soprano
CLOTILDE, attendant on Norma Soprano
POLLIONE, a Roman proconsul commanding the legions of Gaul Tenor
FLAVIO, his lieutenant Tenor
OROVESO, the Arch-Druid, father of Norma Bass
Priests and Officers of the Temple, Gallic Warriors, Priestesses and Virgins
of the Temple, two children of Norma and Pollione
Scene and Period : The scene is laid in Gaul, shortly after the Roman conquest.
Norma, although an opera of the old school and seldom performed nowadays, contains
some of the loveliest of the writings of Bellini. Its beauties are of the old-fashioned kind
w^hich our forefathers delighted in, and which are an occasional w^elcome relief from the
abundance of "music dramas" with which w^e are surrounded of late. Especially charm-
ing is the spirited overture, always a favorite on band programs.
Overture to Norma
By Arthur Pryor's Band -'351^6 12-inch, $1.25
By Victor Band * 35029 12-inch. 1.25
The briskness and sparkle of this fine overture and its inspiring climax are w^ell pre-
served in Mr. Pryor's vigorous rendering, and in the splendidly played Victor Band record,
made under Mr. Rogers* direction.
The scene is laid among the Druids at the time of the Roman invasion. Norma, the
High Priestess, though sworn to bring about the expulsion of Rome, is secretly married to
a Roman proconsul, Pollione, by whom she has tw^o children. She rebukes the Druids for
wishing to declare war, and after the ceremony of cutting the mistletoe, she invokes peace
from the moon in the exquisite prayer. Casta Diva.
Casta Diva (Queen of Heaven)
By Marcella Sembrich, Soprano (In Italian) 88104 12-inch, $3.00
By Celestina Boninsegna, Soprano (In Italian) 92025 12-inch. 3.00
By Giuseppina Huguet, Soprano (In Italian) '''16539 10-inch, .75
This lovely air still holds a high place in popular favor, its beauty and tenderness mak-
ing it well worthy of a place among modern airs. As evidence of the great popularity of
this number, three famous prima donnas have selected it for their Victor lists.
Queen of Heaven, while thou art reigning Queen of Heaven, hallow'd by thy presence.
Love upon us is still remaining. Let its holier, sweeter essence.
Clad in pureness, alone disdaining Quelling ev'ry lawless license.
Grosser earth's nocturnal veil. As above, so here prevail I
In the next scene Norma discovers that her husband loves Adalgisa, and in her rage she
contemplates killing her children; but her mother's heart conquers, and she resolves to
* Double-Faced Record — For title of opposite side see next page.
294
VICTOR BOOK OF THE OPERA — BELLINI'S NORMA
yield her husband and children to Adalgisa and expiate her offences on the funeral pyre.
Adalgisa pleads •with her, urging her to abandon her purpose, and offers to send Pollione
back to her.
This scene is expressed in the Hear Me, Norma, familiar to every music-lover.
Mira o Norma (Hear Me, Norma)
By Ida Giacomelli, Soprano,
and Lina Mileri, Contralto
{In Italian) * 62101 10-inch, $0.75
By Arthur Pryor's Band -'= 16323 lO-inch, .75
The lovely strains of this melodious number have
delighted countless hearers in the eighty years since it was
^vritten.
AHALC.I.SA :
l)earest Norma, licfore thee kneeling.
View these darlings, thy j)recions treasures;
]-et that sunbeam, a mother's feeling,
Jlreak the night around tliy srnil.
Norma :
Wouldst win that soul, by this entruating
Hack to earth's delusive pleasures.
From the phantoms, far more fleeting.
Which in death's deeji ncL'aii slmal?
Pollione refuses to return to Norma and attempts to seize
Adalgisa against her w^ill. Norma foils this attempt and
reasons "with him, telling him he must give up his guilty love
or die. This is expressed in a dramatic duet.
CRISI AS NORMA
In mia mano (In My Grasp)
By Ida Giacomelli. Soprano, and Gino Martinez-Patti, Tenor
{In Italian) ='68309 12-inch, $1.25
Pollione still refuses, and Norma strikes the sacred shield to summon the Druids. She
declares war on Rome and denounces Pollione, but offers to save his life if he will leave the
country. He refuses, and she is about to put him to death, v/hen love overcomes justice
and the Priestess denounces herself to save Pollione. Norma's noble sacrifice causes his love
to return and they ascend the funeral pyre together. As the flames mount about them
they are declared purified of all sin.
DOUBLE-FACED AND MISCELLANEOUS NORMA RECORDS
/Overture
1 Oberon Overture ( Weber)
By Arthur Pryor's Bandl -
By Arthur Pryor's Band\
jOverture By Victor Bandl^^^^^
[ Huguenots Selection By Victor Band\
In mia mano alfin tu sei (In My Grasp)
By Ida Giacomelli, Soprano, and Gino Martinez-Patti,
Tenor {In Italian)
Favorta — Fia vero lasciarii (Shall I Leave Thee ?)
By Clotilde Esposito, Soprano, and Gino Martinez-Patti, Tenor
{In Italian)
12-inch, $1.25
12-inch, 1.25
68309 12-inch, 1.25
16323 10-inch,
75
/Norma Selection (Hear Me, Norma!) By Pryor's Band!
\ Mignon — Gavotte By Victor String Quartelj
! Casta Diva (Queen of Heaven) i
By Giuseppina Huguet Soprano (In Jlalian)L^^^^ lO-inch. .75
Lucia — Hegnaca net sitenzio i^dence U er All)
By Giuseppina Huguet, Soprano (In Ilalian 1 1
{Mira o Norma (Hear Me, Norma) By Ida Giacomelli, |
Soprano, and Lina Mileri, Contralto (In Ilalian)\b2l01 10-inch. .75
Carmen — Preludio, Act IV By La Scala Orchestra]
* Double-Faced Record — For title of opposite side see above list.
29.5
ELY STUM
(Italian)
ORFEO ED EURIDICE
{Or-feh'-oh ayd U-y-ree' -dee-cheh)
ORPHEUS AND EURYDICE
(Or' 'fee-US and U-ri-dee' -chee)
OPERA IN FOUR ACTS
Book by Ramieri De Calzabigi ; music by Christoph Willibald von Gluck. First pro-
duction in Vienna, October 5, 1762, Gluck conducting. First Paris production, 1774, when
the role of Orpheus was transposed for high tenor. First London production at Covent
Garden, June 26, 1770. Other revivals w^ere during the Winter Garden season of 1863; in
1885 (in German), by the MetropoHtan Opera under Walter Damrosch ; the English produc-
tion in 1886 by the National Opera Company; the Abbey revival in Italian in 1892; and the
Metropolitan production of 1910, with Homer, Gadski and Gluck.
Cast
Orpheus Contralto
EURIDICE Soprano
Love Soprano
A Happy Shade Soprano
Shepherds and Shepherdesses, Furies and Demons, Heroes and
Heroines in Hades.
This opera, which has been called "Gluck's incomparable masterpiece," and of w^hich
the great Fetis wrote, "it is one of the most beautiful productions of genius," may be
properly termed a purely classical music drama. The music is exquisite in its delicacy and
VICTOR BOOK OF THE OPERA ORPHEUS AND EURYDICE
irOMER AND GADSKI AS ORPHEUS AND
KURVnrCF.
grace, while the story is an interesting and affect-
ing one. Orpheus maybe called the grandfather
of grand opera, it being the oldest work of its
kind to hold its place on the stage, the first repre-
sentation occurring one hundred and fifty years
ago.
The opera has had only one adequate Ameri-
can production previous to the recent Metropolitan
revival, and that was during the American Opera
Company season of 1886 — the Abbey revival of
1892 meeting with but indifferent success. Such
has been the interest aroused by the recent per-
formances, that it is likely to be heard quite
frequently in the future.
The story concerns the Greek poet Orpheus,
who grieves deeply over the death of his w^ife
Euridice, and finally declares he will enter the
realms of Pluto and search for her among the
spirits of the departed. The goddess Love appears
and promises to aid him, on condition that when
he has found Euridice he will return to earth
w^ithout once looking at her.
In recent productions of the opera at the
Metropolitan it has been the custom to introduce,
at the close of Act I, a very appropriate air from
Gluck's Alceste. This Mme. Homer has sung here
very beautifully indeed.
Fatal divinita (Gods of Fate)
By Louise Homer, Contralto {In Italian) 88286 12-inch, $3.00
Orpheus journeys to the Gates of Erebus, and so softens the hearts of
the Demon guards by his grief and his exquisite playing of his lyre, that
he is permitted to enter. He finds Euridice, and without looking at her.
takes her by the hand and bids her follow him. She obeys, but failing
to understand his averted gaze, upbraids him for his apparent coldness
and asks that he shall look at her.
Su e con me vieni cara (On My Faith Relying)
By Johanna Gadski, Soprano ; Louise Homer, Contralto
iln Italian) 8904l 12-inch, $4-00
Orpheus, knowing that to cast a single look at his loved one means
death to her, keeps his face averted. The dialogue portrays the emotions
of the characters, while Gluck's music suggests the present perplexity
and the tragedy which is to follow.
Unable to endure longer the reproaches of his ^vife, he clasps her
in his arms, only to see her sink down lifeless.
Ach, Ich habe sie verloren (I Have Lost My
Eurydice)
By Ernestine Schumann-Heink, Contralto
(In German) 88091 12-inch, $3.00
Che faro senza Euridice (I Have Lost My
Eurydice)
By Louise Homer {In Italian) 88285 12-inch, $3.00 homkr as orpheus
"Malheureux ! qu'ai-je fait? Et dans quel prdcipice m'a plong^ mon funeste amour!"
("Wretched one, what have 1 done! Into what gulf has my fatal love cast me?") cries the
hapless youth, and breaks into his lovely and pathetic lamentation.
298
VICTOR BOOK OF THE OPERA— ORPHEUS AND EURYDICE
.,.,.^?
W^'-p^ "''^^^
m i k
..;?\ ^'^^,:;;^^K|ft^ ^\-'
^^^^^-
THE GATES OF HELL ACT IV
"I have lost my Eurydice
My misfortune is witliout its like.
Cruel fate I I shall die of my sorro\^
Eurydice, Eurydice, answer me!
It is your faithful husband.
Hear my voice, which calls you.
Silence of death I vain hope I
\\'hat suffering, what torment, wrings my heart!"
Of the many beautiful numbers in Gluck's drama this lovely aria of mourning (best
known by the Italian title Che faro senza Euridice) is the most familiar. Two renditions, in
German and Italian, by two famous exponents of the part of Orpheus, are offered for the
choice of opera lovers.
The grief-stricken poet is about to take his own life w^hen the goddess again appears and
arrests his arm.
Love:
Hold, Orpheusl
Orpheus ( despairingly) :
What v\'ould you with me?
Love:
Thine anguish well doth prove
Thy constancy and truth.
'Tis time that tlie trial be ended I
{Curtain)
Eurydice! revive !
To embrace the fond youth
Who dared so mncli for thee!
Orpheiis :
My Eurydice I
Eurydice (rcviviiiii) :
My Orpheus! iTJicy embrace.)
EURYDICE RESTORED TO ORPHEUS — ACT III
200
fBo-i THE paiNriNG BY BFCKER Q-JELLii AND DHSDEMONA
(Italian) (English)
OTELLO OTHELLO
(Oh-tel'-loh) iOlh-lhel'-lob)
OPERA IN FOUR ACTS
Text by Arrigo Boito, after the drama of Shakespeare. Music by Giuseppe Verdi.
First production February 5, 1887, at La Scala, Milan. First London production May 18,
1889. First American production April 16, 1888, "with Campanini as Otello. Some notable
revivals occurred in 1894, with Tamagno and Maurel ; in 1902, with Fames, Alvarez and
Scotti ; and in 1908 at the Manhattan, with Melba, Zenatello and Sammarco.
Characters
Otello, a Moor, general in the Venetian army Tenor
lAGO, (Ee-ah'-go) his ensign Baritone
CASSIO, {Cass -ee-oh) his lieutenant Tenor
RODERIGO, { Roh-der-ee -go) a Venetian gentleman Tenor
LODOVICO, ambassador of the Venetian Republic Bass
MONTANO, predecessor of Othello in the government of Cyprus Bass
A Herald Bass
DESDEMONA, wife of Othello Soprano
Emilia, {Ay-mee -lee-ah) wife of lago Mezzo-Soprano
Soldiers and Sailors of the Republic; Venetian Ladies and Gentlemen;
Cypriot Men, Women and Children; Greek, Dalmatian
and Albanian Soldiers; an Innkeeper,
Scene and Period : End of the fifteenth century; a seaport in Cyprus,
300
VICTOR BOOK OF THE OPERA — VERDI'S OTELLO
After having given the w^orld his splendid Aida, Verdi
rested on his laurels and was silent for sixteen years ;
then, at the age of seventy-four, he suddenly astonished
the world with his magnificent Otello, a masterly music-
drama Vi'hich alone w^ould suffice to make him famous.
The change from the Verdi of 1853 and II Trovatore,
to the Verdi of 1887 and Otello, is amazing. Each opera
produced by hinn show^s a steady advance, until something
approximating perfection is reached in Otello, the v/riting
of w^hich was an astonishing feat for a man of nearly eighty
years of age.
The text, by that accomplished scholar and master
librettist, Boito, follows closely the tragedy of Shakespeare.
ACT I
SCENE — Otello's Castle in Cyprus. A Storm is Raging
and the Jingry Sea is visible in the Back,ground
Venetians, soldiers, including logo, Roderigo and Cassio,
VERDI AND MAUREL AT FIRST are awaiting the return of Otello. His vessel arrives safely,
ptiRFORMANci; OF oTELLu and amid much rejoicing the Moor announces that the war
is over, the enemy's ships having all been sunk. He goes into the castle, and lago and
Roderigo plan the conspiracy against Cassio and Otello, by which Roderigo hopes to secure
Desdemona for himself and lago to be revenged on Otello.
They join the soldiers and try to induce Cassio
to drink. He refuses, but w^hen lago toasts Desdemona,
he is compelled to join. lago sings the rousing Brindisi :
Brindisi — Inaffia Tugola (Drinking Song
— Let Me the Cannakin Clink)
By Pasquale Amato, Baritone, and Chorus
(In Italian) 88338 12-inch, $3.00
By Antonio Scotti, Baritone
[In Italian) 88082 12-inch, 3.00
By Antonio Scotti, Baritone
{In Italian) 87040 10-inch, 2.00
during which he continues to fill Cassia's glass. When
the latter is quite drunk they pick a quarrel with him,
and he draws his sword, wounding Montano, while
lago and Cassio rouse a cry of "riot," w^hich brings
Otello from the castle. He disgraces Cassio and orders
all to disperse, remaining alone with Desdemona for a
long love scene. Part of this scene has been recorded
here by Mme. Lotti and M. Conti, of Milan. The cur-
tain falls as husband and w^ife go slow^ly into the castle.
Quando narravi (W^hen Thou
Speakest)
By F. Lotti, Soprano ; F. Conti, Tenor
[In Italian) *55023 12-inch, $1.50
faLEZ\K \S OTELLO
ACT II
SCENE —A Room in the Castle
The crafty lago is advising Cassio how to regain the favor of Olello, telling him that he
must induce Desdemona to intercede for him. Cassio eagerly goes in search of Desdemona,
while lago gazes after him, satisfied with the progress of his schemes, and then sings the
superb Credo.
*Double-Faced Record— For title of opposite side see DOUBLE-FACED OTELLO RECORDS, pose 304.
301
VICTOR BOOK OF THE O P E R A — V E R D I * S OTELLO
Credo (Otello's Creed)
By Pasquale Amato, Baritone (In Italian} 88328 12-inch, $3.00
By Ernesto Badini, Baritone [In Italian) *55023 12-inch. 1.50
This is a free adaptation of lago's iast speech ^vith Cassio
in Shakespeare, Act II. In his setting Verdi has expressed
fully the character of the perfidious lago : cynical, vain,
weak and subtle. He declares that he was fashioned by a
cruel God who intended him for evil, and that he cares
naught for the consequences, as after death there is nothing.
The wonderful rendition of this great number by Amato
w^ill be pronounced one of the most striking in his list, w^hile
a splendid low^er-priced record by Badini is also offered.
lago sees Desdemona approach and Cassio greet her, and
as soon as the young officer is earnestly pleading with her
to intercede for him, lago runs in search of Otello, and sows
the first seeds of jealousy in the heart of the Moor, bidding
him watch his wife w^ell. Otello, much troubled, seeks
Desdemona and questions her. She begins to intercede for
Cassio, but the Moor repulses her, and when she w^ould wipe
his perspiring brow, roughly throws down the handker-
chief, which is picked up by lago.
Left alone w^ith lago, Otello gives way to despair, and
expresses his feelings in the bitter Ora e per sempre.
Ora e per sempre addio (And Now,
Forever Fare^vell)
By Francesco Taniagno, Tenor
[In Italian) 95003
By Enrico Caruso 87071
By Nicola Zerola 64168
10-inch, $5.00
10-inch, 2.00 ""^''^'"^
10-inch, 1.00 ■'''■''''' ^'^ ^^'-'^
Now finally convinced that Desdemona is deceiving him, he
bids farewell to peace of mind, ambition and the glory of conquest.
Caruso delivers the number magnificently, being especially
effective in the closing passage. Other renditions are the famous
one by Tamagno, and a popular-priced record by Zerola.
lago further says that he has seen Desdemona' s handkerchief
in Cassio' s room, at which new^s Otello is beside himself with rage.
The act closes with the great scene in which lago offers to help
Otello secure his revenge, and they swear an awfu! oath never
to pause until the guilty shall be punished.
ACT III
SCENE— r/ie Great Hall of the Castle
Otello now seeks Desdemona and contrives an excuse to borrow
her handkerchief. She offers it, but he says it is not the one, and
asks for the one he had given her, w^ith a peculiar, pattern. She
says it is in her room and offers to bring it, but he at once de-
nounces her, and sends her aw^ay astonished and grieved at the
sudden jealousy w^hich she cannot understand. He re-
mains looking after her in the deepest dejection, then
sings his sorrowful soliloquy, Dio mi poteVi.
Dio mi potevi scagliare (Had it Pleased
Heaven)
By Antonio Paoli, Tenor
{In Italian) 88240 12-inch, $3.00
LE THEifKE By Carlo Barrera. Tenor
Av\'K AS i^Esi.EM.iNA {In Italian) *55009 12-inch, 1.50
*Doubte-Faced Record— For title of opposite side see DOUBLE-FACED OTELLO RECORDS, page 304.
302
VICTOR BOOK OF THE OPERA — VERDI'S OTELLO
logo now tells Otello how he had slept in Cassio 's room
lately and had heard Cassio talking in his sleep, bemoaning
the fate w^hich had robbed him of Desdemona and given her
to the Moor.
Cassio enters, and lago, bidding Otello watch behind a
pillar, goes to the young officer, and w^ith fiendish ingenuity
induces him to talk of his sweetheart B/anca. Otello, listen-
ing, thinks that it is of Desdemona that Cassio speaks, as
Cassio produces the fatal handkerchief, telling lago he had
found it in his room, and wondering to whom it can be-
long. Otello, seeing the handkerchief and not hearing the
conversation, has no further doubt of Desdemona's guilt, and
w^hen Cassio departs he asks lago how best can he murder
them both. The villain suggests that Desdemona be strangled
in her bed, and says he will himself kill Cassio.
in a highly dramatic duet, given here by Barrera and
Badini, they swear a solemn oath of vengeance.
Ah! mille vite (A Thousand Lives!)
By Barrera and Badini *55009 12-inch $1.50
SCOTTI, WICKHAM, ALDA AND SLEZAK IN OTELLO
SCOTTI AS lAGO
Messengers now arrive
from the Senate bearing orders
for Otello, w^ho has been re-
called to Venice, and Cassio
appointed Governor of Cyprus
in his stead. He announces
his departure on the morrow^,
and then unable to control his
rage and jealousy he pubhcly
insults Desdemona and flings
her to the ground. As she
is being led aw^ay by her
maids he falls in a fit. The
people, considering the sum-
mons to Venice an additional
honor for the Moor, rush in,
shouting "Hail to Otello,'*
when lago, pointing with
fiendish triumph to the pros-
trate body, cries, " Behold
your Lion of Venice ! "
ACT IV
SCENE — Desdemona *s Bedroom
The heartbroken Desdemona is preparing to retire, assisted by her maid. Emilia. She
tells Emilia that an old song of her childhood keeps coming into her mind. Then she sings
the sad and beautiful Willow Song. This is an old melody which has been definitely traced
to the sixteenth century, and which is supposed to be much older.
Salce, salce CWillow Song)
By Nellie Melba, Soprano (/n Italian) 88148 12-inch, $3.00
This plaintive song seems like the lamentation of a broken heart, its last words being
prophetic of the coming tragedy.
The faithful Emilia leaves her, and she kneels before the image of the Madonna and
sings the noble Ave, one of the most inspired portions of the wonderful fourth act.
Ave Maria (Hail, Mary)
By Nellie Melba, Soprano (In Italian) 88149 12-inch, $3.00
By Frances Alda, Soprano (/" Italian) 88213 12-inch, 3.00
^Qf^h-Facc^He^ord— For title of opposite side see DOUBLE-FACED OTELLO RECORDS, page304.
303
VICTOR BOOK OF THE OPERA — VERDI'S OTELLO
The "Ave Maria" is in-
troduced by a characteristic
monotone for the voice, ac-
companied by some organ-like
harmonies which steal in with
exquisite effect from the strings
of the orchestra.
The portrayal of the min-
gled apprehension and resig-
nation of Desdemona in this
scene through the medmm of
the voice is worthy to rank
with Melba's most celebrated
operatic creations — her Mar-
gueriia — her Juliet — her Mimi.
The purity and youthfulness
of the feeling imparted, apart
from the freshness and deli-
cate perfection of the tones
themselves is amazing, filling
the mind with wonder at the
perpetual miracle of the sing-
er's perfect art. Mme. Alda,
'-'"'"' THE MURDFR OF oFSHEMONA (ALDA AN'D slezak) whose Dcs JemonQ has bccn ouc
of the finest of her impersonations at the Metropolitan, sings the
number beautifully.
At the close of the air Desdemona remains kneeling and prays
in broken accents, her voice being almost inaudible.
Otello enters and rushes tow^ard the bed, but stops and gazes
at his sleeping w^ife a long time, then approaches and kisses her.
She wakes and speaks his name. He accuses her again of an
intrigue with Cassio, but she swears that it is false. He disre-
gards her cries for mercy and strangles her. Emilia knocks at the
door and is admitted by Otello, who hardly realizes what he has
done. Seeing Desdemona lifeless, she accuses him of the crime
and calls loudly for help. All rush in and Emilia, seeing lago,
denounces him as the author of the plot, and tells Otello that
Desdemona was innocent. The Moor is torn w^ith remorse, and
tenderly gazing on his dead wife, sings his last air.
Morte d'Otello (Death of Otello)
By Francesco Tamagno. Tenor
(In Italian) 95002 10-inch, $5.00
By "Nicola Zerola, Tenor
{In Italian) 74217 12-inch, 1.50
He then draw^s a dagger and stabs himself, and 'with, a final
effort to embrace the Desdemona he has so cruelly w^ronged, he
dies.
DOUBLE-FACED OTELLO RECORDS alvarez a. uthellu
Dio mi potevi scagliare (Had It Pleased Heaven)
By Carlo Barrera. Tenor {In Italian I
Giuramento — Ah! mille vite (A Thousand Lives)
By Carlo Barrera, Tenor: Ernesto Badini, Baritone
{In Italian)
Quando narravi (W^hen Thou Speakest) ^
By F. Lotti, Soprano; F. Conti, Tenor (/n//a//an) 1 55023 12-inch, 1.50
Credo (Otello's Creed) [
By Ernesto Badini, Baritone {In Italian)]
55009 12-inch, $1.50
(Italian)
PAGLIACCI
(£e Pahl-yat' -chee)
(English)
THE PLAYERS
Drama in Two Acts. Words and Music by R. Leoncavallo
The English version quoted from is by Henry Grafton Chapman
Quotations from text and music (except the Prologue) by kind permicsion of G. Schirnier. (Copy't 1 906)
Ruggiero Leoncavallo was born at Naples,
March 8, 1858, and was the son of a magistrate,
the Chevalier Vincont, president of the tribunal
of Potenza, His mother was a daughter of the
celebrated artist, RafTaele d'Auria, famous for
his decorations in the royal palace at Naples.
He took up the pianoforte at an early age
with Simonetti, a well-known teacher of Naples,
and entered the Neapolitan Conservatoire, where
he studied under Cesi, Ruta and Rossi. At sixteen
he made a concert tour as a pianist with some
success. Leaving the Conservatoire at eighteen
he promptly showed his leaning toward operatic
composition by beginning to write an opera, the
libretto based on de Vigny's well-known drama,
Chatterton. Finding an impresario, the produc-
tion of this opera w^as promised, but at the last
moment he was deserted by his manager and the
young composer w^as reduced to poverty. He did
not despair, how^ever, and abandoning for a time
his operatic pretensions, set to w^ork at anything
which would give him a living. He gave lessons
and played accompaniments at cafe concerts, finally
becoming a concert pianist, the latter occupation
taking him to many countries — England, France,
Holland, Germany and Egypt. Returning to Italy
after several years of these w^anderings, he proved
that he had not been idle by submitting to the house of Ricordi the first part of a tremen-
dous trilogy based on the subject of the Renaissance in Italy.
This monumental work he entitled Crepusculum (Tw^ilight), and the three parts "were
called : 1 — Medici ; II — Girolamo Savonarola ; 111 — Cezare Borgia. This Ricordi accepted, agreeing
to produce the first part, and Leoncavallo spent a year in its completion. Three years passed
by and the production vi^as not made. In despair he w^ent to the rival firm of Sonzogno,
which encouraged him to v/rite the opera which was to make him famous. The young
composer went to w^ork and in the space of five months completed his opera, basing the
plot on an actual occurrence in the court where h;s father was presiding as judge.
The production of Pagliacci was made on May 21, 1892, at the Teatro dal Verme,
Milan. Its success w^as overwhelming, and the name of Leoncavallo was heard throughout
the world. His fame led to the production, in 1893, of the first section of the great trilogy,
Medici; but it v/as not well received. Other operas by Leoncavallo w^hich have been pro-
duced with more or less success are: Chatterton (produced 1896); Boheme (1897); Zaza
(1900); and finally Roland, w^ritten at the request of the German Emperor (1904). He has
written also a symphonic poem, Serafita ; a ballet (La Vita d'una Marionetta) and several
comic operas.
But it is Pagliacci v^^hich will keep the name of Leoncavallo remembered. Its master-
fully constructed libretto ; its compelling and moving story ; the orchestration, w^ritten v/ith
extraordinary skill; and finally, its moving and intensely dramatic plot, w^hich aWays holds
an audience in rapt attention.
It is indeed a matter for congratulation that the Victor is able to offer such a fine pro-
duction of this master w^ork.
LEONCAVALLO
VICTOR BOOK OF THE OPE R A— LEONCAVALLO'S PAGLIACCI
ANNOUNCEMENT
The Victor Company takes pleasure in announcing Leoncavallo's famous two-act musical
drama, recorded especially for the Victor under the personal direction of the composer.
The records in the series were made in the presence of Signor Leoncavallo, and the music
conducted by him, a feature which should make this collection ever valuable and unique.
Any question arising in future concerning the composer's intentions in regard to the opera
may be decided by reference to this perform,ance as he himself conducted it. This advan-
tage would have been priceless with regard to many w^ell-known operas of the past, as it
w^ould have settled many controversies. But now^, by means of the Victor, the composer's
ideas may be imperishably recorded.
The artists selected by Signor Leoncavallo to interpret his great w^ork are w^ell known
and most competent ones. Mme. Huguet, one of Italy's most beloved prima donne, has a
voice of ample range and power, and sings the music of Nedda most beautifully. Cigada s
Tonio is a remarkable performance, the richness and beauty of his voice being especially
noticeable in the Prologue and the duet w^ith Nedda. As Canio a choice of tenors is offered,
the more delicate voice of Barbaini being contrasted w^ith the splendid fire and intensity of
Paoli's singing. Badini as Silvio is fully adequate, while the smaller parts are well filled.
Nothing need be said about the orchestra and chorus of La Scala, as their reputation is
w^orld v^ide.
Leoncavallo's beautiful opera is admirably suited for reproduction on the Victor, and
w^hile listening to the singing of the artists lA^ho have rendered these dramatic scenes, no
great imagination is required to picture the various situations.
In addition to the La Scala series, w^hich was made under the composer's direction,
many other Pagliacci records are listed in their proper places.
THE ARGUMENT
During the orchestral introduction Tonio, in his clown costume, suddenly appears in
front of the curtain and begs permission to revive the ancient Greek prologue. He then
comes forw^ard as Prologue and explains that the subject of the play is taken from real life;
reminds the audience that actors are but men, with passions like their own, and that the
author has endeavored to express the real feelings and sentiments of the characters he will
introduce. He then orders up the curtain.
The first act shows the entrance to an Italian village. Canio and his troupe of strolling
players, or pagliacci, having paraded through the village, return to their traveling theatre,
follow^ed by a noisy crowd of villagers. Canio announces a performance for that evening at
seven, then goes with Peppe into the tavern. Tonio, the clown, remains behind ostensibly
to care for the donkey, but takes advantage of his master's absence to make love to Nedda,
Canio' s wife. She repulses him scornfully, striking him with her whip, and he sw^ears to be
revenged. Silvio, a rich young villager, in love with Nedda, now joins her and begs her to
fly w^ith him. She refuses, but admits that she loves him, her confession being overheard by
Tonio, who hurries in search of his master. Canio returns too late to see Silvio, but hears
Nedda's parting words, "Forever 1 am thine!" Mad with jealousy, he demands the lover's
name, and when Nedda refuses, tries to kill her, but is restrained by the others. Nedda
goes to dress and Canio is in despair at the thought of being obliged to play w^hile his heart
is breaking.
Act II : The curtain rises on the same scene and the play is about to begin. This
proves to be the usual farce in which the Clown makes love to Columbine during the
absence of her husband, Punchinello, but is laughed at and resigns his pretensions, finally con-
senting to act as a lookout while Columbine and her accepted lover. Harlequin, dine together.
Strangely enough, this conventional farce is very Hke the situation in the real lives of
the players, and when Punchinello (Canio) arrives and surprises the lovers, as the play
demands, he loses his head vt'hen he hears Columbine repeat in the farce the very words
he overheard her say to her real lover earlier in the day. Mad with rage, he again demands
her lover's name. Nedda tries to save the situation by continuing the play, w^hile the
audience is delighted by such realistic acting until the intensity of Canio's passion begins to
terrify them. The other players endeavor to silence him, but in vain. Finally, stung by his
taunts, Nedda defies him and is stabbed, Canio hoping that in her death agony she will reveal
the name of her lover. She falls, calling upon Silvio, who rushes from the crowd only to
receive in turn the dagger of the outraged husband. As Canio is disarmed by the peasants
he cries as if in a dream, "La commedia efinita" — (The comedy is ended).
306
VICTOR BOOK OF THE OPERA— LEONCAVALLO'S PAGLIACCI
AERTV\L OF THE PLAYERS ACT I
(Itali:
I PAGLIACCI
(Ee Pahl-yat'-cbee)
(German)
DIE BAJAZZI
(Dee Bah'))ot' -5i)
(Englisli)
THE PLAYERS
(French)
PAILLASSE
{Pah-yahss)
DRAMATIC OPERA IN T\t^O ACTS
Libretto and music by Ruggiero Leoncavallo. First performed at the Teatro dal Verme,
Milan, on May 2 1 . 1892; in London, May 19, 1893. First New York production June 15, 1894,
with Kronold, Montegriffo and Campanari. Some famous casts of recent years at the Metro-
politan and Manhattan opera : Caruso, Farrar, Stracciari — Alvarez, Schefl, Scotti — Farrar,
Bars, Scotti — Cavalieri, Rousseliere, Scotti — Deveyne, Martin, Campanari — Donalda, Bassi,
Sammarco, etc.
Characters in the Drama
NEDDA (Ned' -dak) (in the play "Columbine"), a strolling player,
wife of Canio Soprano
CANIO {Kah' -nee-oh) (in the play "Pagliaccio " [Punchinello]),
master of the troupe Tenor
TONIO ( To h' -nee-oh) (in the play "Tadcleo"), the clown Baritone
PEPPE (Pep' -pay) (in the play "Harlequin") Tenor
SILVIO, iSil' -vee-oh) a villager Baritone
Villagers and Peasants
The scene is laid in Calabria, near Montalto, on the Feast of the Assumption.
Period, between 1865 and 1870.
307
VICTOR BOOK OF THE OPERA— LEONCAVALLO'S PAGLIACCI
THE PROLOGUE
Leoncavallo chose to introduce his characters in a novel manner, and w^rote this number
in the midst of the orchestral prelude, when Tonio comes forw^ard, like the prologue or ancient
Greek tragedy, and explains that the subject of the play is taken from real life, and that the
composer has devoted hinnself to expressing the sentiment, good or bad, but always human,
of the characters he introduces.
Prologo ( Prologue)
By Pasquale Amato. Baritone
By Antonio Scotti, Baritone
By Antonio Scotti, Baritone
By Emilio de Gogorza, Baritone
By Titta Ruffo, Baritone
By Alan Turner, Baritone
By Alan Turner, Baritone
By Pryor's Band
{In Italian)
88326
12-inch,
$3.00
{In Italian)
88029
12-inch,
3.00
{In Italian)
81021
10-inch,
2.00
{In Italian)
88176
12-inch,
3.00
{In Italian)
92040
12-inch,
3.00
{In English)
*16157
10-inch,
.75
{In English)
*35002
12-inch,
1.25
*35158
12-inch,
1.25
Prologo (Prologue) (Complete in two parts)
Part I— Si puo? (A "Word)
By Titta Ruffo, Baritone (In Italian) 88392
do di memorie (A Song of Tender Memories)
(/n Italian) 88393
Part U— Un
By Titta Ruffo, Baritone
(a) Part I— Si puo? (A \^ord I
By Francesco Cigada, Baritone {In Italian)
(b) Part n — Un nido di memorie (A Song of Tender
Memories)
By Francesco Cigada, Baritone {In Italian)
12-inch, $3.00
12-inch, 3.00
^35171 12-inch, 1.25
The first part of the Prologue is in itself a miniature overture, containing the three repre
sentative themes associated with the main events of the drama to be unfolded.
The first is the motive which n^ .o^ pn^ ij .^^,i ^IsI^^^W^'
aWays accompanies the appearance t -Q .t f~ - ' i = — r T ^ -r^ F! tn .?^
of the players or pagliacci :
The second theme represents
Canio's jealousy and is a sombre
strain suggestive of revenge :
The third repre- ca r^Mu mt^uu atwi ( j -
sents the guilty love » , -f~^^^^^^
of Nedda and Silvio:
and appears f re
quently throughout the opera, not only in the love duet, but in the last act, when Nedda
refuses to betray her lover even w^ith death av/aiting her.
The presentation of these themes is followed by the appearance of Tonio, the clown,
who peeps through the curtain and says :
Ladies and gentlemen !
Pardon me if alone I appear.
I am the Prologue I
He then comes in front of the curtain and explains the author's purpose, which is to
present a drama from real life, showing that the actors have genuine tragedies as well as
mimic ones.
Our author loves the custom of a ])]-i>]ot'uc to
his story,
And as he would revive fur ynii (lie aneient
glory,
]Ie sends mc li> ^pcak before ye!
Rut not to pratr. as once of old.
That the tears of the actor arc false, unreal,
That his sighs and the pain that is told,
lie has no heart to feel!
No! our author to-night a chapter will burrow
From life with its laughter and sorrow I
Ts nut the actor a man with a heart like you?
Su 'lis fi.r men that our author has written.
And tile stur\- he tells you is truel
* Double-Faced Record— For title of opposite siJe see DOUBLE-FACED PAGLIACCI RECORDS, page 3 IS.
30H
VICTOR BOOK OF THE OPERA— LEONCAVALLO'S PAGLIACCI
th
e ana, and is
He then goes on to speak of the author's inspiration, and says :
A song of tender niem'rics
Deep in his list"ning heart one day was ringing;
Anci then with a trembling hand he wrote ii,
And he marked the time with sighs and tears.
Come, then ;
Here on the stage you shall behold us in human fashion,
And see tlie sad fruits of Inve and passion.
Hearts that weep and languish, cries of rage and anguish,
j\nd bitter laughter!
The beautiful andante which follows is the most admired portion of
indeed a noble strain.
Ah, think then, sweet people, when yc look on us,
■ V", , Clad in our motley and tinsel,
- For ours are human hearts, beating with passion.
We are btit men like you, for gladness or sorrow,
'Tis the same broad Heaven above us,
The same wide, lonely world before us!
\\'ill ye hear, then, the story.
As it unfolds itself surely and certain!
Come, then! Ring up the curtain!
The curtain now rises, as the pagliacci motive reappears in the orchestra.
Opening Chorus— " Son qua!'' (They're Here!)
By La Scala Chorus (Double-faced— See page 3 ! 8) {In Italian) 16814 10-inch, $0.75
The first scene, representing the edge of a small village
in Calabria, is now revealed to the audience. The people
are engaged in celebrating the Feast of the Assumption, and
among the attractions offered to the crowds who have flocked
to the village is the troupe of strolling players headed by Canio.
These w^andering mountebanks are common in the rural districts
of Italy and are knov/n as pagliacci. They take with them a
small tent (usually carried in a cart drawn by a donkey), v/hich
they set up in the market places of the small villages, or any-
where that they see a prospect for the earning of a modest
living.
A number of the townspeople have assembled in front of
the little theatre and are awaiting the return of the clowns, who
have been parading through the village to announce their ar-
rival, as is the custom. As the curtain rises, the sound of a drum
and trumpet is heard from a distance, and the villagers are full
of joy at the prospect of a comedy performance. They express
their excitement in a vigorous opening chorus. This is a clever
bit of writing, but so difficult that it is seldom well given. The
famous chorus of La Scala, however, under the leadership of
Maestro Sabaino, have given this stirring number in splendid
style. This oft-recurring phrase:
SAMMARCO AS TONIO Lt-og l.fe i" b.m, lb- pnoc. .. cf all pi- gh^ - oios'
which is presented with many odd modulations, produces a peculiar and novel effect.
They're here!
Boys; Hi
They're coming back!
Pagliaccio's there
The grown-up folks and boys
All follow after!
Their jokes and laughter
They all applaud.
Women :
See, there's the wagon!
Wy. what a fiendish din!
The Lord have mercy on us!
All: Welcome Pagliaccio;
Long life to him.
The prince of all pagliaccios.
You drive our cares away
With fun and laughter !
The little troupe has now come into view and the noise is redoubled. Canio appears at
the head of his company, his wife, NeJda, riding in the cart drawn by a donkey, while
7"omo and Peppe make hideous noises on the bass drum and cracked trumpet, which con-
stitute the orchestra of the players. Canio is dressed in the traditional garb of the clown,
his face smeared with flour and his cheeks adorned with patches of red. He tries to
309
VICTOR BOOK OF THE OPERA-LEONCAVALLO'S PAGLIACCI
address the crowd, but the noise is tremendous.
Tonio beats the drum furiously to silence the
voices, but it is not until Canio has raised his
hand to command attention that he is allowed
to speak.
Un grande spettacolo ! (A
W^ond'rous Performance !)
By Antonio Paoli, Tenor; Fran-
cesco Cigada, Baritone ; Gaetano
Pini-Corsi, Tenor ; and Sig.
Rosci, Baritone
{In Italian) 92009 12-inch, $3.00
He begins to address the peasants in this
fashion :
Canio:
A wondrous performance
I say will be given,
By your humble servants
This evening at seven.
The wrath of Pagliaccio
Will there be presented —
What vengeance he took.
And the trap he invented!
You'll witness tlie carcass of Tonio trumble.
And see him dissemble and pile up the ]»lotl
So honor us by coming this even;
Come all, then, at seven 1
The crow^d boisterously express their joy
at the prospect of an evening's entertainment.
Canio no-w turns to assist Nedda to alight from
ARRIVAL OF THE PLAYERS
the cart, but finds Tonio. the Fool, there before him. Giving him a cuff
the ear, he bids him be off, and Tonio slinks aw^ay muttering. The
boys in the crowd jeer him, saying:
r»ocs that suit you, Mr. Lover ?
Tonio threatens the boys, who run away. He goes grumbling into
the theatre, saying, aside :
He'll pay for this ere it's over I
One of the peasants invites the players to the w^ine shop for a
friendly glass. They accept, and Canio calls to Tonio to join them, but
he replies from v/ithin : *T'm rubbing dow^n the donkey," w^hich causes
a villager to remark, jestingly :
A Peasant: Careful, Pagliaccio I
He only stays behind there
For making love to Nedda 1
Canio smiles, but knits his brov^^ and is
evidently impressed by the thought.
Cax'i
Eh! What?
You think so
{He becomes serious, and signing to the peasants
to come round him, he begins to address them.)
HARLEQUIN
Un tal gioco (Such a Game !)
By Antonio Paoli and La Scala Chorus (In Italian)
By Nicola Zerola, Tenor {In Italian)
92010
64206
12-inch, $3.00
10-inch, 1.00
The first trace of Canto's jealous nature is now show^n, as he takes w^ith apparent
seriousness the idle joke of the peasant, and begins to w^arn the spectators as follow^s :
VICTOR BOOK OF THE OPERA— LEONCAVALLO'S PAGLIACCI
Canio: Such a game, I'd have you know,
'Twerc better iKJt to play, my neighbor^!
To Tonio, aye, to you al) I say itl
For the stage there and life, they are dilTerent altogether:
If up there, {{pointing to the tliciirc)
Pagliaccio his lady should disco\-er
With some fine fellow in her room,
He'd give the two a rating ... or resign himself.
And take a jolly beating!
{Wilh a sudden change of tone)
I'uf if Nedila I really should surprise so,
\Wiat eanie after were a far different sloryl
Nedda, who is listening, is surprised and says aside: "What does he mean?" The
villagers, rather puzzled at his earnestness, ask him if he is serious. With an effort he rouses
himself from his gloomy mood and says lightly:
Not I — I love my wife most dearly!
(He approaches Nedda and pisses her on the forehead.)
The sound of bagpipes (oboe) is heard in the
distance, telling of the merrymaking in the village,
and the church bells begin to toll the call to vespers.
The people commence to disperse, and Canio again
repeats his melodious strain of invitation:
(Hegoes with several peasants into theinn.)
Coro della campane (Chorus of the
Bells)
By La Scala Chorus
(In Italian) *35172 12-inch, $1.25
This is the famous Bell Chorus, or "Ding Dong"
Chorus, one of the most remarkable numbers in the
opera. It is sung v^ith spirit, and the chiming bells are
introduced in a most effective manner. The people go
off singing and the measures die away in the distance.
Ballatella, ^*Che volo d'angelli!^' (Ye
Birds "Without Number!)
By Alma Gluck. Soprano (In Italian) 74238 12-inch, $1.50
By Giuseppina Huguet, Soprano {In Italian) *35172 12-inch, 1.25
Nedda, left alone, is troubled by her remembrance of Canto's manner and wonders
if he suspects her. She speaks of the fierce look he had given her, and says:
I dropt my eyes, fearful lest he should liave read there
What I was secretly thinking.
But shaking off her depression, she becomes once more alive to the brightness of the
day, w^hich fills her ^vith a strange delight. A gay tremolo in the strings announces the
theme of the birds, and Nedda speaks of her mother, whom she said could understand their
language. Nedda: Ah, ye birds without number!
What countless voices!
What ask ye? Who knows?
My mother, she that was skillful at telling one's fortune,
Understood \\'hat they're sinpin)/,
And in my childhood, tlius would she sing me.
Then follows the brilliant Balatella or Bird Song, beginning :
FARKAR AS NEPDA
^m^^m^m^^^--^^m
311
VICTOR BOOK OF THE OPERA— LEONCAVALLO'S PAGLIACCI
It is a most beautiful number with an exquisite accompaniment, mainly of strings.
Mme. Gluck gives it here in delightful fashion, singing with dazzling brilliancy, while a very
fine rendition by Mme. Huguet is offered as part of a double-faced record.
So ben che deforme (I Know That You
Hate Me)
By Giuseppina Huguet, Soprano, and. Fran-
cesco Cigada, Baritone
{In Italian) ^'=35173 12-inch, $1.25
At the close of her song Nedda finds that the hideous
Tonio has been listening, and now^ seeing the handsome
Columbine alone, begins to make love to her ; but she
scornfully orders him away. He persists, but his protesta-
tions are greeted with mocking laughter, and Nedda says
insolently :
Nkuda: . ■ ■
There's time, if viiii like, y_
( )nee iiinre to tfll ine thi^ e\-ening ' . '.
^^■llen ynu will be aetiny the fool! ./-'
j list iiuw, it. is [laiiil Lil.
In a furious rage, Tonio swears she must listen to him
HI
^^^^^^Jr'J^Kr jC^^^^^^l
Ir
HBr--^ m
P
>-i
y
GLUCK AS NEDDA
and cries :
You mock me? Wretched creature I
By the cross of tlic Savior
You shall ])ay for tliis, and dearly 1
A thi
I ; N H i :
l!nl T
until I've
yRushi
Ivissed you I
ly luwar,l In
12-inch, $1.25
Tr,NT.
(s
NfDDA (7iUlffhi ill/ lii.
Nulla scordai ! (Naught I Forget !)
By Giuseppina Huguet, Francesco Cigada, and Ernesto Badini
[Doubled with above duet) (In Italian) '''35173
Tonio, driven almost to madness by Nedda' s scorn and ridicule,
seizes and tries to kiss her. She strikes him across the face with her
w^hip, crying :
Oh. ynu woidtl, you cur!
uu ) : Vy tlic 111 esse d \irpin of A^suTnjjtion,
Nedda. I swear it.
You shall pay me fur it! {Ktishcs off.)
'i) : Scorpion ! at last >'ou'vc slmwn ymir nntnre I
ToTun. the clown, '
Tlie lu'art of you is just as crooked as your ImmIv!
The young villager, Silvio, v/hom Nedda has secretly met on
previous visits to the town, now jumps over the wall. Nedda,
alarmed, cries :
Xedoa: Silxin! In the daytiine^ \\'hat foUyl
SiMiM isnnliii'j) : I faniy it's no great risk I'm takin;^ I
Cnnio T spied from afar with Peppc yonder.
Ay 1 at the tavern I saw them I
She tells him of Tonio's behavior and bids him bew^are, as the clown is to be feared.
Her lover cheers her and laughs at her fears, and they sing the beautiful love duet, in
which Silvio urges her to fly with him; but she is afraid and begs him not to tempt her.
He persists, and reproaches her for her coldness, until finally in a passion of abandon-
ment she yields, singing the beautiful passage which begins the record:
Then together they sing the lovely duet:
All, all forgot!
Look iiito my eyes, love,
All is forgotten I
Then kiss me. dear!
Stlvto: Thou'lt come?
Nkdda (f-dssiniuilrlv ) :
Ave! kiss uw
P.OTii: I love thcc!
VICTOR BOOK OF THE OPERA-LEONCAVALLO'S PAGLIACCI
The lovers, who have cast aside all prudence and see only
each other, fail to observe Canio, who has been w^arned by Tonio
and has hurried from the tavern.
ToNU) (Uoldiiuj Canio b,ick): Now just sU\> softly,
And you will catch them now!
Silvio (disal'pcariiiy over the wall):
'I'o-night at midnight,
I'll bL- there below!
Xedda : "Fin to-night then,
And forever I'll be thine!
{She sees Canio and gives a cry of fear.)
Aitalo Signor! (May Heaven Protect Him!)
By Antonio Paoli Tenor; Giuseppina Huguet,
Soprano; Francesco Cigada, Baritone; Gaetano
Pini-Corsi, Tenor {In Italian) 92011 12-inch, $3.00
Canio, -who has not seen Silvio, but has heard Nedda's part-
ing w^ords, now rushes tow^ard the wall. Nedda bars his way.
The record begins with the melodramic music v/ritten by Leonca-
vallo for this exciting struggle, during which Canio pushes her
aside and runs in pursuit of Silvio.
SILVIO AND NEDDA
im now!
est thriL!
Nedda (!istciii)uj aii.viously) : May Pleaven protect liii
Canio {from behind i : Scoundrel! Where hidi
Tonic (laughing cynically) : Ha! Ila ! Ha!
Xkooa {turning to Toiio with loathing) : IJravo ! Well done, Tonin!
Tonio {with fiendish satisfaction ) : AH that I could do!
But I hope in tiie future to do better!
Canio re-enters, out of breath and com-
pletely exhausted. As he turns to Nedda with ^^t^.'r^J^'' ~^
suppressed rage we hear again in the accom- 'fW^=^=^^=^^ ^^^=f^^^^^^^^-:^^
paniment that dismal theme of revenge : ^^ - - _ _
which throughout the opera always accompanies the scenes of Canto's jealousy and passion.
Canio:
No one!
That shows hnw axxII he knows that path.
But no matttr!
{ Furiously) :
Because right now you'll tell mi.- his name!
Kedda (indiffcrentlv) :
Canio (in frcii.':y) :
Vou! lly ( ind in Heaven!
.\nd if u]j to this moment I have not cut yuur throat,
'Tis liL'cause I'd ha\'i.' yi>n name him !
Speak now!
Nedda proudly refuses. Filled w^ith joy because of
Silvio's escape, she cares not what may be her own fate.
Canio, beside himself, rushes on her v/ith the knife, but
Peppe holds him back and takes away his weapon. Tonio
comes to Peppe' s assistance, saying:
Restrain yourself, good master.
'Tis best to sham awhile.
The fellow will come back.
You take my word for it!
They finally persuade him to restrain himself, and
beg him to make ready for the play, as the audience is
already assembling.
Nedda goes into the theatre and Canio remains alone,
his head bowed with shame and baffled revenge in his
soul.
CARUSO SINHING VESTI LA GIUREA
Vesti la ^iubba (On With the Play)
By Enrico Caruso, Tenor
By Nicola Zerola, Tenor
88061 12-inch, $3.00
64169 10-inch, 1.00
VICTOR BOOK OF THE OPERA— LEONCAVALLO'S PAGLIACCI
tKe exciting scene wi
^'<_'t I iiuist force n
I am nnt a man,
I'm linl a Pagl iacci-
If:
We now come to the most famous of the numbers in
Leoncavallo's opera, the great Lament of Pagliaccio. Its heart- .
breaking pathos never fails to touch the listener, when sung by /
such artists as the Victor offers.
The unhappy Canio, left alone
Nedda, w^rings his hands and cries ;
Ca N 1 :
To play! A\'hcn my head's whirl-
ing with madnes'^.
Not knowing what J'm saying or
what I'm doing!
The great aria now^ follow^s, in which the unfortunate Pagliaccio
describes how^ he must paint his face and make merry for the public
w^hile his heart is torn w^ith jealousy.
Can 10 :
The people jjay yon, and they must ha\e
their fun !
If Harlequin your Cnlumhine takes from
you,
T.augh loud, Pa.Ldiaccin'
And all will bhout, well dune!
Laugh, Pagliace
(Sobbing) :
Laugh for the
heart! "
for Ih
that
nded !
pain that is gnawing your
[He moves slowly toward the theatre, weeping; he stops at the entrance and hesitates. Seized
h^ a new Jit of sobbing, he buries his face in his hands ; then as the curtain slowly falls, rushes
into the tent. )
Caruso's Canio is still the great feature of Pagliacci, and his magnificent singing of this
famous lament cannot be described — it must be heard. In all that this artist has done there
is no piece of dramatic singing to equal in emotional force his delivery of the reproaches of the
clown, which he pours out not only on his faithless wife, but on himself and the occupation
that bids him be merry when his heart is breaking. Sometimes Caruso's voice merely delights
the ear — here he searches the heart ; and is not merely the greatest of tenors, but is the clown
himself, full of the most tragic emotion.
ACT II
SCENE— 5ame as Act I
La Commedia (The Play) Part I, Serenata d'Ar-
lecchino (Harlequin's Serenade)
By Giuseppina Huguet and Gaetano Pini-Corsi,
(Double-faced— See page 3 1 8) (In Italian) 35174 12-inch, $1.25
Passing over the preparations for the play and the quarreling
chorus of the peasants as they fight for the best seats, which is not
interesting without the action, we come to the commencement of the
\ comedy. The curtain is drawn aside, disclosing a small room with
tw^o side doors and a v/indow^ at the back. Nedda as Columbine is
discovered walking about anxiously. The tripping minuet movement
which runs throughout the
action of the comedy nov/
begins.
Columbine rises and looks out of the windov/, saying :
Pa'liaccio, my husband, till late this evening
Will not be at home.
The sound of a guitar, cleverly imitated by the violins, pizzicato,
causes Columbine to utter a cry of joy, and the voice of Harlequin
is heard out- nAriLKgm« (PirppB. b<:bm.i«ceno)
side in the
Serenade, be-
ginning : o .-
in w^hich he extravagantly rhapsodizes his sweetheart.
NEDDA AS COLUMBIXF.
VICTOR BOOK OF THE OPERA— LEONCAVALLO'S PAGLIACCI
La Commedia (The Play) Part II, E dessa ! (Behold Her !)
By Giuseppina Huguet, Soprano; Francesco Cigada, Baritone; and
Gaetano Pini-Corsi, Tenor (In Italian) *35ir4 12-inch, $1.25
Tonio as Taddeo, with his basket, now peeps through the
door and says ^MaJetatatiaHrr^uti (liftlDB hut hnnja an d Iho ^^,kct opirnnlfl)
exaggeratedly,
with a comical
cadenza ;
The audience laughs in delight as Tonio tries to express his love
by a long exaggerated sigh. Columbine tries to suppress him by
inquiring about the chicken he had been sent for, but Tonio kneels,
and holding up the fowl says :
Sf-C, we are botli before thee kneeling:
.^^^^_^^^^_- His pretensions are cut short by Harlequin, who enters and leads
^^^H^^^H him out by the ear. As he goes he gives the lovers a mock benediction,
^^^^^^^M Then I my elaim surrender. Jlless you, my children:
^^^^^^^^^L This scene is most cleverly done and the three records depicting
^^^^^^^^^^L the little farce are among the most enjoyable of the series.
^^r^W^ Versa il filtro nella tazza sua ! (Pour the Potion
^^ I in His 'Wine, Love !)
^^^ ^g By Antonio Paoli, Tenor ; Giuseppina Huguet, Soprano;
AnnTO ^s TONIO Franccsco Cigada, Baritone; and Gaetano Pini-
Corsi, Tenor {Inllalian) 91073 10-inch, $2.00
By Augusto Barbaini, Tenor; Giuseppina Huguet, Soprano; Francesco
Cigada, Baritone; and Gaetano Pini-Corsi, Tenor
iDouhle-faced — See pass 3 18) {In Italian) 35175 12-inch, 1.25
The lovers now partake of their feast and make merry together. Harlequin takes from
his pocket a little vial, which he gives to Columbine, saying :
TTarlequin :
Take this little sleeping draught.
'Tis for Pagliaccio;
Give it him at bedtime,
And then away we'll fly.
CoLUMEiXE {eagerly):
Yes, give me:
Upon the scene suddenly bursts Tonio, in mock alarm crying :
Tonio {bawling loudly) :
lie careful! Pagliaccio is here!
Trembling all over, he seeks for weapons!
He has caught you, and I shall fly to cover!
The lovers simulate the greatest alarm, at which the excited spectators are highly pleased,
and applaud lustily. Harlequin leaps from the window, and Nedda continues the scene by
repeating Columbine's next lines, which by a strange chance are the very words she
had spoken to 'SfStS' rJJ.ZT''
in ^^= ^iS=
Silvio earlier ]
the day :
^^^ r-rn'~H-t-r~nrg=
Canio, dressed as Punchinello, now enters from the door on the right.
Canio iix'itli suppressed rage):
Hell and damnation!
And the very same words, too!
{Recovering himself) :
Cut, courage!
(Taking up his part):
Vou had a man with you!
CoLi-MEiNE (ligJitly) :
What nonsense! Vou are tipsy!
PAGLiACcro {restraining himself witii difficulty):
Ah. if thou wast alone here
Why these places for two?
Columbine:
Taddeo was supping with me.
He's there — you scared him into hiding!
Taddeo (from within) :
Believe her, sir! She is faithful!
{Snccr\ng^ :
All, they could never lie, those lips so truthful!
315
VICTOR BOOK OF THE OPERA— LEONCAVALLO'S PAGLIACCI
The audience laughs loudly, which enrages the unhappy man, and forgetting his part
he turns to Nedda and fiercely demands the name of her lover :
Nedda {faintly, niiicJi alarmed) :
Woman, 'tis thy lover's name I want,
The wretched scoundrel from whose arms thou comesti
Oh, shameless woman!
Pagliaccio ! Pagliaccio I
No, Pagliaccio non son !
(No, Punchinello No
More !)
By Enrico Caruso, Tenor
[Italian) 88279 12-mch, $3.00
By Antonio Paoli, Tenor
[Italian) 92012 12-inch, 3.00
By Nicola Zerola, Tenor
{Italian) 74247 12-inch, 1.50
By Augusto Barbaini, Tenor
{Italian) ='35175 12-inch, 1.25
Throwing off entirely the mask
of the player, Canio becomes again
the jealous husband, and sings this
great aria, v^hich is second only to
the Vesti la giubba in dramatic power.
Ca.nmo;
No, Pagliaccio, I'm not I
If my face be white,
'Tis shame tliat pales it
And VL-ngeaTice twists my fea-
I am that foolish man
Who in poverty found and
tried to save thee !
lie gave a name to thee.
A burning love that was mail-
ness!
if nits iu a chnir. oi'Cr-
zvliclmcd.)
The people, w^hile a little puz
zled by such intensity, loudly ap- g^
plaud what they think is a piece of
superb acting.
Canio {recovering liii)iself
!T HADCEN
LF.OU I N AT SUPPF.R
All my life to thee I sacrificed with gladness I
Full of hope and believing far less in God tlian thee!
**»**-;***•**■
Go I Thou'rt not worth my grief,
O thou abandoned creature!
And now. with my conteniiit,
ril crush tliee under heel I
Caruso's rendering of this great scene is a magnificent one. The opening passage is
delivered w^ith tremendous pow^er, as Canio pleads his defense, saying that he is no
longer a player, but a man, and protests as a man against the wrong inflicted upon him.
His passion gives place to a softer strain as he speaks of his love for Nedda, his faith-
fulness and his sacrifices for her. At the close is the intense climax, with its splen-
did high B flat. Other fine renditions of the air are by Paoli, Zerola and Barbaini.
Finale to the Opera
By Antonio Paoli, Tenor; Giuseppina Huguet, Soprano; Francesco
Cigada, Baritone; Gaetano Pini-Corsi, Tenor; Ernesto Badini,
Tenor; and Chorus {In Italian) 92013 12-inch, $3.00
VICTOR BOOK OF THE OPERA— LEONCAVALLO'S PAGLIACCI
THE PLAY ACT It
The close of Canto's great
air, " No, Pagliaccio No More ! "
is greeted with loud cries of
"bravo" from the excited au-
dience.
Nedda is no%v thoroughly
alarmed, but courageously
faces her husband with out-
ward calm.
Ki;uDA (coldly but seriously) :
'Tis well !
If thou think'st me vile,
Send me off, then,
Uefore this moment's over!
Canio (laui/hiiig louillv):
11a! lla!
Oh, nothing better would'st
thnu ask,
Than to be let run to meet
thy lover!
No! by Heaven, for here thou
stayest.
Until thy paramour's vile
name thou sayest !
Nedda, in desperation,
tries to continue the play, and
as the little gavotte movement
is resumed in the accompani-
ment, she sings:
Nedda: Oh dear. I never knew that you
Were such a fearful man, sir!
There's nothing tragic for ynu here.
Come now, Taddeo, answer!
The crowd begins to laugh, but is checked by Canio' s appearance, which is alarming.
Canio (violently) : Ah, you defy me!
You'll name him, or else I'll kill you! .. —
( Shoutiitij) : A\'ho was it?
Nedda (throzi-'ing off her mask defiantly) :
No, by my mother,
I'm faithless, or whatever you choose to call me;
(Proudly) : But cowardly, no, never!
********
I will not speak!
No, not even if you kill me.
As she sings we hear triumphantly appearing above her
voice the G ntaHt? toOenttti, aiMi U — M ) ^
love nnotive: .-^^^ »-tt _ •f^^ -.-tA*-^ ,. -. ^' w J^' -% » -.i *^m ^
teUing of her passion for Silvio, which is to endure even unto death.
Canio novk^ rushes toward her, but is restrained by Tonic and Peppe.
Nedda tries to escape, but Canio breaks away and stabs her, crying :
Canmo: Take that!
Perhaps in death's la^t agony,
You will speak!
Nedda falls, and with a last faint effort calls:
"Oh, help mc, Silvio."
Silvio, who has drawn his dagger, rushes to her, when Cam'o cries:
Ah. 'twas you! "Tis well! {Stahs him.)
Canto (us if shij^cfied, letting fall his knife):
The comedy is ended!
Then once more is heard the tragic motive of jealousy and death, now thundered out
by the orchestra as if rejoicing at its final triumph.
' Curtain.
VICTOR BOOK OF THE OPERA— LEONCAVALLO'S PAGLIACCI
DOUBLE-FACED AND MISCELLANEOUS PAGLIACCI RECORDS
[Prologue, Part I By Francesco Cicada, Baritone (In Iialian)\
[Prologue, Part II By Francesco Cigada, Baritone {In Italian) {
[Prologue By Alan Turner, Baritone (In English)]
{ Come into the Garden, Maud By Harold Jarvis, Tenorj
[Prologue By Pryor's Band)
1^ Flying Dutchman Fantasia By Pryor's Bandj
[Coro della campane By La Scala Chorus {In ItaUan)\
I^Che volo d'angelli By Giuseppina Huguet, Soprano {Italian) i
/So ben che deforme By Huguet and Cigada (In Italian)}
\Nulla scordai! By Huguet, Cigada and Badini {In Italian)!
fLa Commedia — Part I By Huguet and Pini-Corsi
La Commedia — Part II By Giuseppina Huguet, Soprano :
I Francesco Cigada, Baritone ; Gaetano Pini-Corsi, Tenor
(Versa il filtro nella tazza sua!
By Barbaini, Huguet, Cigada and Pini-Corsi
[No, Pagliaccio non son! By Augusto Barbaini
35171
35002
35158
35172
35173
12-inch, $1.25
12-inch, 1.25
12-inch. 1.25
12-inch, 1.25
12-inch, 1.25
35174 12-inch. 1.25
/Prologue By Alan Turner, Baritone
[ Brown Eyes By Alan Turner, Baritone
/Opening Chorus, "Son qua'* By La Scala Chorus
1^ Trovatore — Per me ora fatale— -Ernesto Caronna and Chorus {Italian) j
(In Italian) 35175 12-inch, 1.25
{In Italian)]
(In English)]
(In English)!'
(In Italian)].
16157
16814
10-inch, .75
10-inch. .75
Gems from Pagliacci
Chorus — "Ding Dong" — "This Evening at Seven" — Bird Song, "Ye Birds
Without Number ' — " Pagiiaccio's Lament " (Vesti la giubba) — Duet, The
Comedy, "Just Look My Love" — Chorus, "See, They Come"
By Victor Opera Company {In English) 31876 12-inch, $1.00
The Victor's potpourri opens Vk'ith the famous Bell Chorus, or "Ding Dong" Chorus,
one of the most remarkable numbers in the opera. The chiming bells are introduced in a
most effective manner, and the measures die away in the distance.
Then comes Canio 's address
to the peasants, telling them of
the play which will be given that
evening, follow^ed by Nedda 's
beautiful song to the birds, w^ith
its exquisite accompaniment.
Next we have the most fa-
mous of the numbers in the
opera, the great lament of Pag-
liaccio. Mr. Rogers now goes
to Act II for a bit of the de-
lightful comedy duet between
Columbine and Harlequin, and
concludes the record w^ith the
rousing chorus of villagers
which greets the coming of the
players at the beginning of the
opera.
This is one of the finest
records of the Opera Company
series, the masterly arrange-
ment being given by the Vic-
tor's famous organization in a
THE COMEDY IS ended! Hiost admirable manner.
PANEL BV BRAUHE
TEMPLE OF THE GRAIL
PARSIFAL
A FESTIVAL DRAMA IN THREE ACTS
Music by Richard Wagner ; libretto by the composer, based on the famous Grail Legend.
First produced at Bayreuth, in Germany, July 28, 1882, and not elsewhere until December
24, 1903, when it was given at the Metropolitan Opera House, New York, in spite of the
determined opposition of Mme, Wagner. A production in English was afterward given
by Henry W. Savage's company, which toured the United States.
Characters
TITUREL, a Holy Knight Bass
AlVIFORTAS, his son Baritone
GURNEMANZ, a veteran Knight of the Grail Bass
Parsifal, a " guileless fool " Tenor
KUNGSOR, an evil magician Bass
KUNDRY Soprano
Knights of the Grail ; Klingsor's Fairy Maidens.
319
VICTOR BOOK OF THE OPER A— W AGNER'S PARSIFAL
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ORIGINAL PROGRAM OF PARSIFAL
(nAVRKUTll. 1S82)
THE STORY
The story of the Grail is perhaps the most beautiful
in legendary lore. Wagner's version, which was inspired
by a mediaeval epic written about 1300 by Wolfram von
Eschenbach. of Thuringia, whom Wagner has already
introduced to us in Tannhauser, tells of the Holy Grail,
the cup from which Christ drank at the Last Supper
with His disciples, and into w^hich w^as placed the blood
which flowed from the wounds of the Saviour.
This sacred cup, together v/ith the lance which
caused these wounds, w^as in danger of profanation from
infidel hands, and was therefore sent by holy messengers
to a pure Knight, Titurel, who built a splendid sanctuary
on an inaccessible rock in the Pyrenees and gathered to-
gether a company of Knights of unimpeachable honor,
w^ho are devoting their lives to the guarding of the Grail.
Once each year a dove descends from Heaven to rene^v
the sacred pow^ers of the Grail and its guardians. Such
a subject as this, mystic, symbolic and poetic, so inspired
Wagner that in Parsifal he reached his highest sphere
as a composer. By no other writer or composer has this
most beautiful of legends been so reverently treated, or
given such a wonderful significance.
The events w^hich are supposed to occur before the
opening of the opera must be understood before a clear
idea of the action of Wagner's work can be gained.
Tilurel, finding himself grow^ing old, appoints his son,
Amforlas, as his successor. Near the Castle of Monsalvat there lives Klingsor, a Knight, who,
feeling himself growing old and wishing to atone for his sins, vainly tries to join the Order
of the Grail, but w^ithout avail. In revenge, he consults an Evil Spirit and plots to bring
about the dow^nfall of the Knights. To this end he invokes the aid of a company of sirens,
half v/omen and half flow^ers, called flower girls, w^ho dwell in a magic garden. One by one
the Knights have fallen from grace because of the allurements of the flower maidens, until
Amforlas, seeking to end these fatal enchantments, resolves to go himself, carrying the sacred
Lance, w^hich he is confident w^ill be proof against the magic of the sirens. But, alas! he is
not only defeated, but is w^ounded by the sacred Lance, which his enemy seizes and turns
against him, making a v/ound which nothing can heal. The unhappy Amforlas returns to the
Castle weighted with an eternal remorse and a perpetual agony from his wound, but is forced
as head priest to continue to celebrate the Holy Rites, all the w^hile feeling himself unw^orthy.
In vain he seeks far and v/ide for a remedy for his v/ound and forgiveness for his sin, until
one day in a vision he hears an invisible voice proclaim that only a guileless fool (/. e. , one
who is ignorant of sin and who can resist temptation), and whom heavenly messengers will
guide to Monsalvat, w^ill be
able to bring him relief.
Amforlas ' dow^nfall w^ a s
brought about by a strange
being, Kundry, w^ho seems
to have two natures. She
appears alternately as a de-
voted servant of the Grail, and,
when under the magic influ-
ence of Klingsor, as a v/oman
of terrible beauty, who lures
to their ruin all Knights who
come v/ithin her pov/er. This
cursed existence is a punish-
ment for a crime committed in
a previous existence, v/hen as
Herodias she mocked at Christ
A FRAOMENT OF WACNER'S PARSIFAL At S. O^ the CrOSS.
VICTOR BOOK OF THE OPERA-WAGNER'S PARSIFAL
CURNEMANZ AND THE NOVICES ACT
SCENE-
ACT I
-A Forest Near Monsaloat
The rise of the curtain shows Gurnemanz, a veteran Knight, with tw^o novices, asleep.
Trumpet calls from the Castle awaken them, and they join in prayer, afterw^ard preparing
the bath with which Amfortas seeks to heal his vv^ound. Messengers from the Castle report
that the latest balm which he had tried failed to bring relief. Gurnemanz is much grieved,
and sinks dow^n in dejection, until he is roused by the approach of Kundry, w^ho comes in
hurriedly, dressed in sombre garments and in her normal mind, but exhausted w^ith fatigue.
She brings a new remedy w^hich she had sought in distant Arabia. When Amfortas arrives
with his train for a bath in the sacred lake, the new balm is offered to him. He accepts and
thanks the strange-looking w^oman for her kindness. When the procession departs the
novices attack Kundry, calling her a sorceress, but she is defended by Gurnemanz, who says
she is devoted to the King but is subject to strange spells, during w^hich she vanishes for
long periods.
Gurnemanz :
Yea, under a curse she may have been;
Here now's her home, —
Renewed become,
That of her sins she may be shriven
From former life yet unforgiven,
Seeking her shrift by such good actions
As advantage all our knightly factions.
Sure she does well in working thus:
Serves herself and also us.
Novice:
Then it is not surely her fault
So much d4stress hath come to us?
Gurnemanz :
True, when she often stayed afar from us
Then broke misfortune ever in.
I long have known her now;
But Titurel knew her yet longer:
When he yon castle consecrated.
He found her sleeping in this wood,
All stiff, rigid, like death.
Thus I myself did find her lately,
Just when the trouble came on us
Which yonder miscreant beyond the mountain
So shamefully did bring about.
321
VICTOR BOOK OF THE OPERA— "WAG NER' S PARSIFAL
NEL Br STflSJE
PANEL BY 8BAUNE
PARSIFAL AND THE SWAN
GURNEMANZ:
Could'st thou do murder
Here in holy forest?
Why harmed thee that goodly Swan?
Suddenly a wild swan falls wounded at the feet
of GurnemanZy and two Knights appear dragging the
innocent Parsifal, who had shot it, not knowing it
w^as under the King's protection. He is reproached
by Gurnemanz and questioned, but can tell little of
himself. He remembers that his mother was called
Herzeleid and lived in a forest. Kundry, w^hose atten-
tion is attracted, explains that the youth's father was
Gamuret, and after his death in battle his mother
took him away from the haunts of men lest he meet
the same rate. She is now dead, and Parsifal is a
"wanderer.
The train of Amfortas again approaches, returning
from the lake. Gurnemanz invites Parsifal to accom-
pany them to the Castle, the thought having occurred
to him that this strange youth may be the " guileless
fool " who is to be the means of Amfortas ' regeneration.
322
VICTOR BOOK OF THE O PE R A— WAG N E R'S PARSIFAL
GURNEMANZ CONDUCTING PARSIFAL TO MONSALVAT— ACT I
GURNEMANZ :
From bathing comes the King again;
High stands the sun now:
Let me to the lioly Feast then conduct thee;
For— an thou'rt pure.
Surely the Grail will feed and refresh thee.
{He has gently laid Parsifal's arm on his own
neck. and. supporting his body zi'ith his arm,
leads him slozvly along.)
Parsifal: What is the Grail?
GuRNEMANz: I may not say:
liut if to serve it thou be bidden.
Knowledge of it will not be hidden.
And lol
Methinks I know tliee now indeed:
No earthly road to it doth lead,
Tly no one can it be detected
Who by itself is not elected.
Parsifal: I scarcely move, —
Yet swiftly seem to run.
Gurnemanz ;
My son, thou secst
Here time and space are one.
The change to the Castle Hall is here effected by a moving scene behind Gurnemanz
and Parsifal, so that they seem to be walking slowly along, at first through the forest, then
into a covered gallery which ascends to the Castle. This effective device wa? first used at
Bayreuth, and afterward in the American representations.
323
VICTOR BOOK OF THE OPE R A— W AG N E R 'S PARSIFAL
SCENE II— r/ie Castle Hall
The two suddenly find themselves in a vast hall, filled with a strange light, while invis-
ible bells are pealing. Parsifal is dazzled and fascinated by the wonderful sight, while he
is carefully watched by Qurnemanz, who hopes to see signs of an awakening knowledge of his
mission.
In the hall the Knights are preparing for the daily rites which occur before the Holy
Grail. Then one of the most impressive scenes in the opera takes place. The unfortunate
Amfortas is brought in on a couch and prepares to preside at the ceremony. In agony of
mind and body, he endeavors to postpone the rites, but the voice of his aged father, Tilurel,
is heard from the dark chapel commanding him to proceed. Amfortas, in a heart-breaking
plea, begs Heaven to permit him to die, to end his intolerable sufferings.
Amfortas:
No! Leave it unrevealcd!
May no one, no one know the anguish dire
Awaked in me by that which raptures ye I
What is the wound and all its torture wild,
'Gainst the distress, the pangs of Hell,
In this high post — accurst to dwell I —
Woeful inheritance on me pressed,
I. only sinner 'mid the blessed,
The holy house to guard for otliers
And pray for blessings upon my purer brothers!
Oh, chast'ning — chast'ning dire! descended
From the Almighty One offended.
For grace and for compassion yearning
My panting heart is riven.
The hot and sinful blood doth surge,
324
VICTOR BOOK OF THE O PER A— W AG N E R' S PARSIFAL
PARSIFAL WATCHING THE RITES- — ACT I
Ever renewed from my yearnings' fountain,
Which no expiation yet can purge
Have mercy! Have mercy!
God of pity, oh! have mercy!
TitureVs voice is again heard, urging Amforias to proceed, and the pain-racked priest
raises himself from the couch and offers the prayer of consecration. As he speaks a blind-
ing ray of light streams down from the vault above and falls on the Grail, v/hich glows w^ith
a great luster. The Cup is covered and all partake of the bread and wine, after which they
file slowly out. During the ceremony Parsifal has stood fascinated, but with impassive face.
Gumemanz, finally out of patience, comes up and thrusts him out, saying:
GURNEMANZ :
Thou art, then, notliing but a fool!
(He opens a small side door.)
Come away, on thy road be gone
And put my rede to use:
Leave all our swans for the future alone
And seek thyself, gander, a goose!
(He pushes Parsifal out and slams flic door
angrily on him as the curtain falls.)
325
VICTOR BOOK OF THE OPERA-WAGNER'S PARSIFAL
COURT OF KLINGSOR S CASTLE
ACT II
SCENE— Klingsor's Magic Castle
In the inner keep of a tower open above ; stone steps lead up to the battlemented sum-
mit and down into darkness below the stage, which represents the rampart. Magical
implements and necromatic appliances are seen. KUngsor is discovered sitting at one side
on a rampart before a metal mirror.
Klincsor: Lo! how my magic tow'r entices
The time has come! Yon fool who neareth, shouting like a child!
He lights incense, which immediately fills part of the background v^'ith a bluish vapor.
He then reseats himself and calls tov^^ard the depth w^ith mysterious gestures :
Klingsor: TTerodias wert thou, and what else?
Arise! Draw near to me! Gundryggia there, Kundry here:
Thy master calls tliee, nameless woman: Approach! v\]>proach tlien, Kundry!
She-I.uciferl Rose of Hades! Thy master calls — appear!
In the bluish light arises the form of Kundry. She is heard to utter a dreadful cry, as if
half awakened from a deep sleep. She tries to resist him, hut. Klingsor' s power over her finally
prevails. He tells her she must tempt Parsifal, who is now approaching the Castle of Klingsor.
Klingsor (zcrafhfully) : Kundry: Oh! — Mis'ry — JNfis'ry!
Have a care! Weak e'en he! Weak — all men!
One his contempt and scorn hath repented; Ey my curse and with me
The stern one, strong in Iiolines
By whom I once was spurned
Ills stock I've ruined:
Unredeemed shall the Relics' curator soon lan-
guish ;
And soon — I feel it —
I shall possess the Grail.
TTa! ha!
How suited thy taste Amfortas the brave,
Whom to thee in rapture I gave?
All of them perish!
Oh, unending sleep.
Only release,
\\''hen — when shall I win thee?
KLtNGSOR :
Ha! He who sjiurns thee setteth thee free;
So try't with yon boy who di-aws near!
Ki_^NDRV: Oh wne's me! woe's me!
Awakened T for this?
i\Iust I — must?
VICTOR BOOK OF THE OPERA— WAGNER 'S PARSIFAL
With a last cry of protest and an-
guish she vanishes in a bluish mist. The
tower sinks beneath the earth, while a
magic garden filled w^ith w^onderful
flow^ers and plants rises to take its place.
On the w^all stands Parsifal, looking
down on the garden in astonishment.
From all sides, from the garden and
from the palace, rush in mazy courses
lovely damsels, first singly and then in
numbers; their dress is hastily thrown
about them, as if they had been sud-
denly startled from sleep. They have
discovered that several of their lovers
have been slain by an unknown foe, and
seeing Parsifal, they accuse him of the
deed. Parsifal comes nearer, saying
innocently :
Parsifal (in great astonishment) :
Lovely maidens, had I not to slay them.
When they endeavored to check ap-
proach to your charms?
Damsels: To us earnest thou?
Parsifal:
I've seen nowhere yet beings so liright:
If I said fair, would it seem right?
Damsels (with merriment) :
Then wilt thou not treat us badly?
Parsifal (smiling) :
I could not so.
Damsels:
P>ut sadly
What thou hast done has annoyed us;
Our playmates thou hast destroyed us:
Who'll sport with us now?
Parsifal:
Then well will I.
K.LINGSOR COMMANDING KUNDRY TO LURE PARSIFAL
PARSIFAL AND THE FLOWER MAIDENS ( HENR\ W. t.A\ALE PRODUCTION)
327
VICTOR BOOK OF THE O P E R A— WA G N E R'S PARSIFAL
"JJut Parsifal
Slumned their circle of entwining arms
With gentle gestures."
1 )amsels ilauiihiuij ) :
If thou are friendly come more nigh.
Let kindness be accorded,
And thou shalt be rewarded:
b'or gold we do not play
liut only for love's sweet pay.
Wouldst thou console us rightly
Tlien win it from us, and lightly.
Some have gone into the groves
and now return in flower dresses, ap-
pearing like flow^ers themselves. They
playfully quarrel for possession of Par-
sifal, vvrho stands looking about him in
quiet enjoyment of the scenei He
finally gently repulses them, s&ying :
Parsifal:
Ye wild crowd of beautiful flowers.
If I am to play, ye must wi<len your
bowers.
As they push closer to him he
becomes angry and tries to flee, but his
attention is suddenly arrested as Kundr^
calls, " Parsifal, tarry ! " He stops in
astonishment, saying :
Parsifal:
Parsifal . . .?
So once, when dreaming, my mother
called me.
KiTNDRv's X'oice:
Here bide thee, Parsifal!
'U'here joy and gladness on thee shall
fall.
Ye frivolous wantons, leave him in
peace:
Flow'rs soon to be faded,
He came not here for your delight!
Go home, tend the wounded:
Lonely awaits you many a knight.
-Act II.
Gendy laughing, they disappear into the Castle. The form of Kundry now becomes
visible as a woman of exquisite beauty, reclining on a flowery couch.
Parsifal:
What callest thou mc, who am nameless?
KUNDRY :
I named thee, foolish purt- one, "Fal parsi,'
Thou, guileless fool, art "Parsifal."
So cried, when in Arabia's land he expired.
Thy father, Gamuret, unto his son.
Ich sah' das Kind (I Saw the Child)
By MargareteMatzenauer, Mezzo-Soprano In German 88364 12-inch,
Tenderly gazing at the now attentive youth, she begins, softly :
$3.00
KUNDRV :
I saw the child upon its mother's breast;
Its infant lisping laughs yet in my ear:
Though filled with sadness.
How laughed then even Heart's Affliction,
When, shouting gladness.
It gave her sorrow's contradiction I
In beds of moss 'twas softly nested,
She kissed it till in sleep it' rested:
With care and sorrow
The timid mother watched it sleeping;
It waked the morrow
Beneath the dew of mother's weejjing.
All tears was she. encased in anguish.
Caused by thy father's death and love:
That through like hap thou shouldst not lan-
guish,
Became her care all else above.
Afar from arms, from mortal strife and riot.
Sought she to hide away with thee in quiet.
All care was she. alasl and fearing:
Never should aught of knowledge reach thy
hearing.
Hear'st thou not still her lamenting voice.
When far and late thou didst roam?
For days and nights she waited.
And then her cries abated;
Her pain was dulled of its smart.
And gently ebbed life's tide;
The anguish broke her heart,
And— Heart's Affliction — died.
Mme. Matzenauer, whose Kundr^ is one of her greatest impersonations, sings this numbe
with exquisite tenderness and great beauty of voice.
328
VICTOR BOOK OF THE O P ER A— W A G NE R' S PARSIFAL
Parsifal is greatly affected and sinks at Kundry's
feet, distressed. She embraces him tenderly and tries
to comfort him, while he seems to imagine that it is
again his mother whose gentle embraces he is receiv-
ing. As she gives him the kiss which is to complete
his subjection he awakes to a knowledge of his mis-
sion, realizes Kundry's evil purpose and repulses her
w^ith scorn. She pleads with him, playing on his
sympathies :
KUNDRY :
Let me upon thy breast lie sobbing,
But for one hour together throbbing;
Though forced from God and man to flee.
Be yet redeemed and pardoned by thee I
Parsifal:
Eternally should I be damned with thee.
If for one hour I forgot my holy mission,
Within thy arm's embracing I —
To thy help also am I sent.
If of thy cravings thou repent.
The solace, which shall end thy sorrow.
Yields not that spring from which it Hows:
Salvation canst thou never borrow,
Till that same spring in thee shall close.
Finally, enraged by his refusal, she calls for help.
Fearing that he will es-
cape, Klingsor and the
flow^er maidens rush out
of the Castle.
MAT2ENAUER A3 KUNDRY
Klingsor (poising a Imicc) :
Halt there! I'll ban thee with befitting gear:
The Fool shall perish by his Master's spear!
He flings the spear at Parsifal, but an invisible force stops
it and it remains floating over his head. Parsifal grasps it w^ith
his hand and brandishes it with a gesture of exalted rapture,
making the sign of the Cross with it.
Parsifal :
'I'his sign I make, and ban thy cursed magic:
As the wound shall be closed,
Which thou with this once clovest, —
To wrack and to ruin
Falls thy unreal display!
PARSIFAL capturing THE
SACRED SPEAR
As with an earthquake
the Casde falls to ruins, the
garden w^ithers up to a desert,
the damsels become shriveled
flowers strew^n around on the
ground.
Kundry sinks down at Par-
sifal's feet, while the hero, gaz-
ing at her with compassion,
and referring to the Holy Grail,
where true salvation can alone
be found, cries :
Parsifal:
Thou know'st —
Where only we shall meet
again!
(He disappears, and the
curtain falls quickly.)
VICTOR BOOK OF THE OP ER A— W AG N ER'S PARSIFAL
GURNEMA.NZ S HERMITAGE-
ACT III
SCENE — A spring landscape in the grounds of Monsalval. At the back o small hermitage
Gurnemanz, now an aged man, in hermit's dress but still wearing the tunic of a Knight of
the Grail, comes out of the hut and listens. He then goes to a thicket and finds Kundry
apparently lifeless, but she revives under his ministrations. She is dressed as in Act I, and
soon arises and goes immediately, like a serving maid, to work. She enters the hut, pro-
cures a water jug which she fills at the spring. Gurnemanz watches her carefully, seeing signs
of a change in her. Parsifal now enters from the wood in complete armor and seats himself.
Gurnemanz, not recognizing him, reminds him that no armed knight is allowed in the sacred
premises, and especially on this day. Good Friday. Without saying a word, Parsifal rises,
removes his helmet, and kneels down in silent prayer. Gurnemanz in surprise, says softly
to Kundry :
Gurnemanz:
Dost know who 'tis?
lie wlio long since laid low the swan.
(Kundry confinvs him by a sliiiht )iod.)
For sure 'tis he!
The foul whom in anger I dismissed.
ITa! by what path aye canie he?
That S;.iear — I recognize!
(/;; great emotion.)
Oh I — holiest day,
To which my happy soul awakes!
(Kiiiiilry has turned azvay her face.)
Parsifal rises slowly from his prayer, gazes calmly around, recognizes Gurnemanz, and
stretches out his hand to him in greeting.
Pahsital:
Thank Heaven that I apain have found thee!
VICTOR BOOK OF THE O P E R A— W^ A G N E R'S PARSIFAL
Gurnemanz questions Kim and is confirmed in his belief that this is the one who is to
redeem the sins of the Grail brotherhood. He tells Parsifal of the sad state of affairs at
the Castle.
Gurnemanz ;
Here art thou, in the Grail's domain;
Here waits for thee the kniglitly band.
Ah, how they need the blessing.
The blessing that thou bring'sti —
Since that first day in which thou earnest here,
The mourning wliich thou heardest then —
The anguish — sorely has increased.
j\mfortas, struggling with his torture,
With the wound tliat tore his spirit,
Desired with reckless daring then his death:
No pray'rs, no sorrow of his comrades
Could move him to fulfill his holy office.
Pale, dejected stays around
The crushed and leader-lacking band of
knights.
Here on the w^oodside lone T hid myself,
For death with calmness waiting,
He is on the point of falling, help-
lessly. Gurnemanz supports him and al-
lovrs him to sink down on the grassy
knoll. Kundry has brought a basin of
water w^ith which to sprinkle Parsifal, ■
but Qurnemanz w^aves her away, saying
that holy w^ater alone must be used for
his anointment.
Parsifal asks to be guided to Am-
forias, and Gurnemanz and Kundry busy
themselves in preparing him for the or-
deal. Kundry bathes his feet and dries
them on her hair. Parsifal asks Gurne-
manz, who by his pure life has become
w^orthy of this office, to anoint him with
the w^ater of purification and the con-
tents of the golden vial which Kundry
produces from her bosom. Gurnemanz
consents, and bestows on Parsifal the
title of Prince and King of the Grail.
Parsifal now looks at Kundry with deep
compassion, and taking up some water
sprinkles her head, saying :
Parsifal:
I first fulfill my duty thus: —
Be thou baptized,
And trust in the Redeemer!
(Kundry bows her licad to the earth
and appears to weep bitterly.)
Parsifal (turns round and gaacs unth gentle
rapture on the Txioods and meadows) :
How fair the woods and meadows seem to-day!
Many a magic flow'r I've seen.
Which sought to clasp me m its baneful twm-
ings;
Put none I ve seen so sweet as here.
These tendrils bursting with blossom,
Whose scent recalls my childhood s days
And speaks of loving trust to me.
To which my old commander has succumbed;
h'or Titurel, my cherished chief.
When he no more beheld the Grail's reful-
{ ence.
Expired, — a man like others I
Parsifal (flinging up liis arms in intense grief) :
And I— I 'tis.
Who all this woe have wrought!
Ha! what a grievous,
What a heinous guilt
Must then my foolish head
Forever be oppressed with!
If no atonement, exjiiation
My blindness e'er can banish!
I, who to save men was selected,
Must wander undirected;
All paths of safety from me vanish !
I'AKSIFAL BEARING THE LANCE TO THE CASTLE
Gurnemanz :
That is Good Friday's spell, my lord!
Parstfal:
Alas, that day of aj^onyl
Now surely everything that thrives.
That breathes and lives and lives again,
Should only mourn and sorrow?
Gurnemanz explains that this beauty of the woods and fields is caused by the spell of
d Friday, and that the flowers and trees, watered by the tears of repentant smners,
Good X . J, .
express by their luxuriousness the redemption ot man.
331
VICTOR BOOK OF THE O P E R A— WAG N E R'S PARSIFAL
PARSIFAL, KUNDRY AND GURNEMAN:^ ENTERlNii; THE CASTLE^ ACT I
WITHERSPOON AS GURNEMANZ
Char-Freitags Zauber (Good
Friday Spell)
By Herbert W^itherspoon, Bass
In Qerman 74144 12-inch, $1.50
GuRNEMANZ: TIiou see'st, that is not so.
The sad repentant tears of sinners
Have here with holy rain
liesprinkled field and plain,
And made them glow with beauty.
-All earthly creatures in delight
At the Redeemer's trace so bright
Uplift their pray'rs of duty.
To see Ilim on the Cross they have no power:
And so they smile upon redeemed man,
Who, feeling freed, with dread no more doth
cower.
Through God's love-sacrifice made clean and
pure :
And now perceives each blade and meadow-
flower
That mortal foot to-day it need not dread;
For, as the Lord in pityman did spare.
And in His mercy for him bled.
All men will keep, with pious care,
To-day a tender tread.
Then thanks the whole creation makes.
With all that flow'rs and fast goes hence,
That trespass-pardoned Nature wakes
Now to her day of Innocence.
332
VICTOR BOOK OF THE O P E R A— WA G N E R ' S PARSIFAL
Kundry has slowly raised her head again, and gazes with moist eyes, earnestly and
calmly beseeching up at Parsifal.
Parsifal:
I saw my scornful mockers witht-r:
Now look they for forgiveness hitlier?-
Like blessed sweet dew a tear from thcc foo
fiovvetli :
Thou \vfcpest — see! the landscape glowetli.
(He kisses her softly on the brow.)
Distant bells are heard pealing, very gradually swelling.
GURNEMANZ :
Mid-day.
The hour has come; —
Permit, my lord, thy servant hence to lead
thee !
Gurnemanz has brought out a coat-of-mail and mantle of the Knights of the Grail, which
he and Kundry put on Parsifal. The landscape changes very gradually, as in the first act.
Parsifal solemnly grasps the Spear, and, with Kundry, follow^s the conducting Gurnemanz.
When the wood has disappeared and rocky entrances have presented themselves in w^hich
the three become invisible, processions of Knights in mourning garb are perceived in the
arched passages, the pealing of bells ever increasing. At last the whole immense hall
becomes visible, just as in the first act, only without the tables. There is a faint light. The
doors open again, and from one side
the Knights bear in Jiturel's corpse in a
coffin. From the other ^m/or/as is carried
on in his litter, preceded by the covered
shrine of the Grail. The bier is erected
in the middle ; behind it the throne
with canopy where Amfortas is set dow^n.
First Train {with the Grail and
Amfortas) :
To sacred place in sheltering shrine
The Holy Grail do we carry;
A\'hat hide ye there in gloomy shrine,
Which hither mourning ye bear?
Second Train {with Titurel's coffin):
A hero lies in this dismal shrine
With all this Heavenly strength.
To whom all things once God did
entrust:
Titurel hither we bear.
Sorrow: Sorrow! Thou guard of the
Grail !
"He once more only
Warned of thy duty to all.
Amfortas (raising himself on his couch
and turning to the body):
My father!
Highest venerated hero!
Thou purest, to whom once e'en the
angels blended!
Oh I thou who now in Heavenly heights
Dost behold the Saviour's self.
Implore Him to grant that His hal-
lowed blood,
He pour upon these brothers.
To them new life while giving,
To me may offer — but Death!
My father! I — call thee,_
Cry thou my words to Him:
"Redeemer, give to my son release!'
Several Knights (pressing tozvard Am-
fortas) :
Uncover the shrine!
Do thou thine office!
Thy father demands it;
Thou must, thou must!
Amfortas (tn a paroxysm of despair
springs up and throw's himself amid
the Knights, who drazv back):
amfortas
No! — No more!
I bid ye to slay me!
(Tears open Jiis dress.)
Behold me! — the open wound behold!
Here is my poison — my streaming
blood.
Take up your weapons!
Kill both the sinner and all his pain:
The Grail's delight will ye then regain!
VICTOR BOOK OF THE O P ER A— 'W AG "NE R 'S PARSIFAL
PARSIFAL HEALING AMFORTAS ACT III
All have shrunk back in awe and Amforlas stands alone in fearful ecstasy. Parsifal,
accompanied by Gurnemanz and Kundry, has entered unperceived, and now advancing,
stretches out the Spear, touching Amforlas' side v/ith the point.
Parstfal;
One weapon only serves: —
The one that struck
Can staunch thy wounded side.
Amforlas' countenance shines "with holy rapture, and he totters with emotion, Gurnemanz
supporting him. Parsifal:
Be whole, unsullied and aljsolved!
For I now grivern in thy place.
Oh, blessed by thy sorrows, /
For Pity's potent might
And Knowledge's purest power
They taught a timid Fool.
The holy S])ear —
Once more behold in this.
All gaze with intense rapture on the Spear w^hich Parsifal holds aloft, w^hile he looks
steadfastly at its point and continues :
Oh, mighty miracle of bliss 1 —
This that "through me tliy wound restoreth.
With holy blood behold it poureth,
334
VICTOR BOOK OF THE O P E R A— WA G N E R'S PARSIFAL
\A'hich yearns to join the fountain glowing.
Whose pure tide in the Grail is llowingi
Hid be no more that shape divine:
Uncover the Grail! Open the shrine!
The boys open the shrine and Parsifal takes
from it the Grail and kneels, absorbed in its con-
templation, silently praying. The Grail glows with
light, and a halo of glory pours down over all.
Titurel, for the moment reanimated, raises himself
in benediction in his coffin. From the dome de-
scends a w^hite dove and hovers over Parsifal's
head. He w^aves the Grail gently to and fro before
the upgazing Knights. Kundry, looking up at Par-
sifal, sinks slowly to the ground, dead. Amfortas
and Gumemanz do homage on their knees to
Parsifal.
All (witli voices from the middle and extreme
Iwiijhts. so soft as to be scarcely audible):
Wond'rous work of mercy:
Salvation to the Saviour!
(The curtain falls.)
MISCELLANEOUS PARSIFAL RECORDS
HEN'SEL AS PARSIFAL
Processional of the Knights of the Holy Grail
By Arthur Pryor's Band 31735 12-inch. $1.00
Parsifal Fantasia (including the follow^ing motives)
"The Eucharist "—" The Flower Maidens" — "The Grail"
By Arthur Pryor's Band 31242 12-inch, $1.00
"Then suddenly the heavenly splendor fell
And flamed and glowed within the sacred cup."
335
SCENE FROM PATIENCE
PATIENCE, OR BUNTHORNFS BRIDE
COMIC OPERA IN TWO ACTS
Libretto by W. S. Gilbert; music by Sir Arthur Sullivan. First produced at the Opera
Comique. London, April 23, 1881. First American production at the Standard Theatre, New-
York. September 23, 1881. It was revived at the Herald Square Theatre in 1896; at the
American Theatre, in 1900, by the Castle Square Opera Company; and quite recently at the
Lyric Theatre in New^ York.
Characters
WitK the Original American Cast
Reginald BUNTHORNE, a fleshly poet Wm. White
Archibald GROSVENOR, an idyllic poet James B. Key
Lady ANGELA, I f Alice Burville
LADY SAPHIR, o ., Rose Chapelle
1 A r^v^ c , A /Rapturous maidens { i . cl
LADY LLLA, ^ Jennie Stone
LADY Jane, J I Augusta Roche
Patience, a dairy maid Carrie Burton
COLONEL CALVERLY, | ( Wm. T. Carleton
Major MURGATROYD, Officers of the Dragoon Guards^ Arthur Wilkinson
Lieutenant Dunstable,] [ A. Cadwallader
Guards, Esthetic Maidens.
Time and Place : Castle Bunthorne ; the last century.
Patience is Gilbert's famous satire on the esthetic craize of the early 80' s, set to some of
the most delightful of all Sullivan's music. This absurd school of estheticism, represented
by Oscar Wilde and his imitators, did not long survive the witty ridicule which Gilbert
aimed at it, and soon disappeared. The opera was one of the most successful of the Gilbert
and Sullivan series, and well deserved its great vogue.
In the first act twenty love-sick maidens are sighing, and singing plaintively of their love
for Bunthorne, Patience^ a buxom milkmaid, appears and ridicules them, telling them the
336
VICTOR BOOK O F THE O P E R A~P A T I E N C E
Dragoon Guards are expected shortly; but though the maidens doted upon the Dragoons a
year ago they scorn them now. The Guards arrive, also Bunthorne, followed by the fair twenty,
who pay no attention whatever to the Dragoons but follow the poet, listening to his latest crea-
tion, whereupon the Dragoons leave in a rage. When alone Bunthorne confesses to himself
that he is a sham. Patience appears, and the poet immediately makes love to her, but she
is frightened and runs to Lady Angela, who tells her it is her duty to love some one. Patience
thereupon declares she will not allow the day to go by without falling in love.
Grosoenor, the idyllic poet, and an old playmate of Patience, enters, and she promptly falls
in love with him, but he remains indifferent. Bunthorne, twined with garlands, enters, led by
the maidens, and, unable to decide betvvreen them, puts himself up as the prize in a lottery,
but Patience interrupts the drawing and announces that she will be his wife. She is
promptly accepted, w^hereupon the fickle maidens transfer their affections to Grosvenor. This
does not please Bunthorne, and he predicts that his rival shall "meet a horrible doom."
In the opening of the second act we see a rather ancient damsel, Jane, mourning because
of the maidens desertion of Bunthorne, who is content w^ith a milkmaid. Grosoenor enters,
followed by Patience, who tells him that she still loves him but that her duty is toward Bun-
thorne. Bunthorne enters w^ith Jane clinging to him in spite of all his efforts to get rid of her.
Finally, in a jealous rage at Patience's regard for the fleshly poet, he exits with Jane.
Now the maidens are beginning to make advances to the Dragoons, and the poets begin to
quarrel with each other. Bunthorne asks Grosoenor how to make himself less attractive, and
is told to dress himself in a more commonplace manner. When the maidens find he has
given up esthetics they declare they will do likew^ise. Patience deserts Bunthorne for Grosoenor,
the maidens find suitors among the Dragoons, and Jane goes over to the Duf^e, leaving
Bunthorne lonely and disconsolate.
The Opera Company has given us a splendid medley of the airs of this delightful opera,
no less than six of the most interesting numbers, in abbreviated form, being included.
Gems from Patience
Chorus, " Tw^enty Love-Sick Maidens We" — Male Chorus, ** The Soldiers
of Our Queen" — Solo, "Love is a Plaintive Song"- — ^Solo and Chorus, "A
Most Intense Young Man" — Sextet, "1 Hear the Soft Note" ^ Finale, "Oh,
List While We Our Love Confess."
By the Victor Light Opera Company 31816 12-inch, $1.00
pHorg wmie
BUNTHORNE AND THE LOVE-SICK MAIDENS
337
(Italian) (Enjtlish)
PESCATORI DI PERLE PEARL FISHERS
iPes-kah-loh' -ree dee Pear -leh)
OPERA IN THREE ACTS
Text by Carre and Cormon. Music by Georges Bizet. First production at the ThiSStre
Lyrique, Paris, September 29, 1863. First London production, entitled "Leila," at Covent
Garden, April 22. 1887; and as Pescalori di Perk, May 18, 1889. First New York production
January 11, 1896.
Characters
Leila, a priestess Soprano
Nadir, a pearl fisher Tenor
ZURGA, a chief Baritone
NOURABAD, high priest Bass
Priests, Priestesses, Pearl Fishers, Women, etc.
.Scene and Period : Ceylon ; barbaric period.
Les Pecheurs de Perles, one of Bizet's earlier operas and the first one to achieve success,
is a work dealing with an Oriental subject, and contains much music of charm and original-
ity, showing traces of that dramatic force which reached its full development in Carmen.
The character of the music, less passionate and highly
colored than Carmen, is yet equally original and of even
more striking beauty.
The story tells of the love of two Cingalese pearl
fishers for the priestess Leila, and of the generosity of
the unsuccessful rival, -who helps the lovers to escape
at the cost of his own life.
THE PRELUDE
The prelude is a most beautiful number, and con-
sidered one of the finest of Bizet's instrumental
writings.
Preludio (Prelude)
By La Scala Orchestra *62100 10-inch, $0.75
ACT I
SCENE — The Coast of Ceylon
The rise of the curtain discloses a company of
Cingalese pearl fishers, who, after choosing one of their
number, Zurga, to be their chief, are enjoying themselves
with games and dances. Nadir appears and Zurga
recognizes him as a friend of his youth. They greet
each other and speak of the days -when they w^ere
rivals for the hand of a beautiful woman. Nadir, be-
ginning the duet, recalls the moment when the
friends first beheld the lovely Leila.
(Italian) (French)
Del tempio al limitar (Au fond du temple saint)
(English)
(In the Depths of the Temple)
By Enrico Caruso, Tenor, and Mario Ancona, Baritone
(In Italian) 89007
By Giorgini and Federici (In Italian) 88319
By Clement, Tenor, and Journet, Bass (In French) 76022
By John McCormack and G. Mario Sammarco (Italian) 87082
By Giuseppe Acerbi and Renzo Minolfi {In Italian) *68063
* Double-Failed RccorJ-For lille of opposite side see DOUBLE-FACED PEARL FISHERS RECORDS, page 341
333
DUFRANNE AS ZURGA
12-inch, $4.00
12-inch, 3.00
12-inch, 2.00
10-inch, 2.00
12-inch, 1.25
VICTOR BOOK OF THE O PER A— BI ZET'S PEARL FISHERS
In an impiressive strain he describes the scene "within the Temple of Brahma :
N A L> I R :
In the d<.>]ilhs of the tcin])lc
A lovely form we heheUi,
That form 1 still can sul*:
Zurga:
'Twas a visiun of beauty I
Nadir:
The kneeling wnrshipcvs. astonished.
Now murmur, "The go<ldess comes 1"
Zurga:
She descends from the altar
And, moving near to us
Lifts her veil, revealing
A face that haunts me still
With its beauty ethereal 1
Nadir:
Rut now her veil she drops
And, passing through the wandering crowd
She disappears.
Now a strange emotion o\'erpowers me,
I fear to touch thy hand.
ZUKGA :
^V fatal love both our souls
possess.
They speak of their sudden reahzation of the fact that they had both fallen in love at
sight with the priestess, and fearing their friendship was in danger, they swore never to see
her again. The comrades, now pronouncing themselves entirely cured of their infatuation,
pledge anew their friendship and sw^ear to be brothers to the end.
A fisherman now enters and announces the arrival of the mysterious veiled lady who
conies once a year to pray for the success of the fisheries, and w^hom the Ceylonese have
adopted as their guardian saint. She enters and begins her prayer. Nadir recognizes her
voice and realizes that it is the priestess Leila. The pearl fishers sing a chorus of appeal to
Brahma for a blessing, in which Leila joins.
Brahma gran Dio (Divine Brahma !)
By Linda Brambilla, Soprano, and La Scala Chorus
[In Italian) =^=68062 12-inch, $1.25
This is a most impressive record, the lovely
voice of Mme. Brambilla showing to great
advantage above the choral background.
Leila goes into the temple and the people
disperse. Nadir, left alone, is agitated by his
discovery, realizing that he still loves the
maiden. He recalls the memories of his first
sight of her in a lovely song.
Mi par d'udir ancora (I Hear as
in a Dream)
By Florencio Constantino,
Tenor (In Italian)
74067 12-inch, $1.50
Leila reappears and the act closes w^ith her
prayer to Brahma for the good fortune of the
fishermen. Just as the curtain falls she rec-
ognizes Nadir, and contrives to let him know
that she loves him.
ACT II
SCENE— ^ Ruined Temple
As the curtain rises Leila and Nourahad,
the high priest, are seen, they having sought
shelter in the ruins of an ancient temple. The
high priest, in a fine air, reminds Leila of her
oath to renounce love and marriage and de-
vote herself to the welfare of the people. She
says that she will keep her promise and
tells him of avow she made when a child to a
Although his pursuers held a dagger to her
RiME. MENDES AS LEILA
fugitive who implored her to save his life,
breast she refused to betray him and he escaped to safety.
■^DQubk-Faced Record^For title of opposite side see DOUBLE-FACED PEARL FISHERS RECORDS, page 34 1,
339
VICTOR BOOK OF THE OPE R A— B I Z ET'S PEARL FISHERS
Siccome un di caduto (A Fugitive, One Day)
By Giuseppina Piccoletti, Soprano (In Italian) ^'dSSOZ 12-inch, $1.25
The high priest sternly recites the punishment which will overtake her should she
prove false to her vow. "Shame and death be thy portion !" cries the stern priest. Left ,
alone, the miserable w^oman broods over her unhappy plight. Bound by an oath w^hich she
now^ regrets, and conscious of her love for Nadir, w^hich may mean death for them both, she
sinks dow^n in an agony of despair. Nadir enters and asks her to fly w^ith him, defying
Brahma and the priests. She at first repulses him, but love is finally triumphant and the
lovers rapturously embrace, w^hile a fearful storm rages, unheeded, without the ruins.
This scene is expressed by a splendid duet, tw^o records of w^hich are given here for
a choice.
Non hai cotnpreso un cor fedel (You Have Not Understood)
By Giuseppina Huguet, Soprano, and Fernando de Lucia,
Tenor (In Italian) 92054 12-inch, $3.00
By Giuseppina Piccoletti, Soprano, and Ivo Zaccari,
Tenor (In Italian) ='^68062 12-inch, 1.25
The lovers are surprised by Nourabad, and Nadir flees, closely pursued by the priests.
He is captured and brought back, w^hile Zurga is summoned to pronounce sentence on the
guilty lovers. His friendship for Nadir moves him to mercy, and he spares their lives and
bids them fly the country. As they go, hov/ever, the high priest tears the veil from Leila,
and when Zurga realizes that it is the woman Nadir has sworn never to see, he is enraged
and sentences them both to death.
ACT III
SCENE I — The Camp of Zurga
Zurga is discovered alone, brooding over the impending death of his friend and the
woman he loves. His mood of despair is interrupted by Leila, who appears at the entrance
to his tent and asks him to dismiss the guards
and speak w^ith her alone. She asks mercy
for Nadir in a dramatic aria.
Temer non so per me (I Fear Not)
By Emilia Corsi, Soprano
(In Italian) ='^63394 10-inch, $0.75
She proudly refuses to plead for her own
life, but begs that he spare the friend whom he
loves. Zurga refuses and summons the guards
to conduct her to execution.
SCENE \\~The Place of Execution
The scene show^s the v/ild spot w^here the
funeral pile has been erected. Leila and Nadir
are led in, and are about to mount the pyre
w^hen a red glow^ is seen in the sky, and Zurga
enters crying that the camp is on fire, and bids
the people fly to save their children and
effects. All run out except Leila, Nadir and
Zurga, and the high priest, who, suspecting
a plot, hides to hear what Zurga w^ill say. The
latter confesses that he kindled the fire in wMii. de nuovina as leila
*Poub!c-Faced Records— For title of opposite side see DOUBLE-FACED PEARL FISHER RECORDS, page 3 4 1 .
HO
VICTOR BOOK OF THE OP E R A— B IZET'S PEARL FISHERS
order to save the lovers. Unfastening their chains, he bids them escape, while Nourahad
runs to virarn the Indians, and Leila and Nadir, beginning the great trio, voice their gratitude.
Terzetto finale — Fascino etereo
By Linda Brambilla, Soprano ; Giuseppe
Acerbi, Tenor; Francesco Cigada, Baritone
{In Italian) *68063 12-inch, $1.25
The lovers praise the generosity and greatness of
Zurga, who for the sake of friendship has committed
an act which may cost him his own life. He bids them
fly at once, and they go as the voices of the enraged
Indians are heard returning for vengeance. Nourahad
denounces Zurga for the escape of the victims and for
the destruction of the camp, and he is forced to mount
the funeral pyre. As the flames mount about him he
cries :
Zurca:
Farewell, my friend!
Farewell, my Leila!
For thee I give my life!
As Zurga dies a fiery glow reveals that the forest is
ablaze, and all prostrate themselves, fearing the displeasure of Brahma. The curtain falls as
the flames envelop the stage.
DOUBLE-FACED AND MISCELLANEOUS PEARL FISHERS SELECTIONS
Del tempio al limitar (In the Depths of the Temple)
By Giuseppe Acerbi and Renzo Minolfi (/n Italian)
Terzetto finale — Fascino etereo
By Linda Brambilla, Soprano ; Giuseppe Acerbi,
Tenor; Francesco Cigada, Baritone {In Italian)
Non hai compreso un cor fedel (You Have Not Under-
stood) By Giuseppina Piccoletti, Soprano, and
Ivo Zaccari, Tenor {In Italian)
Brahma gran Dio (Divine Brahma !) By Lina Brambilla,
Soprano, and La Scala Chorus {In Italian)
[Siccome un di (A Fugitive, One Day) |
{ By Gius.;ppina Piccoletti, Soprano {In Italian)\i>830T 12-inch,
t Hermes — S'io t'amo By Melts and Taccani {In Italian)]
68063 12-inch, $1.25
68062 12-inch, 1.25
1.25
Sousa's Band)
Pryor's Bandf
By La Scala Orchestral
35033 12-inch,
/Pearl Fishers Selection
\ Spinning Wheel {Spindler)
fPreludio (Prelude)
Ebrea—Rachele allor che Iddio 62100 10-inch,
[ By Gino Martinez-Paiti, Tenor {In Italian) \
fTemer non so per me (I Fear Not) ]
> By Emilia Corsi, Soprano {In Italian) 63394 10-inch,
I Jana — Si dannato morro By Taccani {In Italian) \
* Double-Faced Records-
-For title of opposite side see above list.
an
1.25
.75
.75
(French)
LA PERLE DU BRESIL
iPalrl Ju Breh-zeef)
THE PEARL OF BRAZIL
LYRICAL DRAMA IN THREE ACTS
Words by Gabriel and Sylvain Saint £tienne ; music by Felicien David. First produced
at the Theatre Lyrique, Paris, November 22, 1851. Revived at the same theatre March,
1858, with Mme. Miolan-Carvalho ; and at the Opera Comique, 1883, with Emma Nevada
as Zora.
Characters
("With the Original Cast)
ZORA Mile. Duez
LORENZ, her lover Soyer
ADMIRAL SALVADOR Bouch^
Sailors, Brazilians, etc.
The Pearl of Brazil w^as David's first dramatic w^ork, and is the story of Zora, a young
girl whom Admiral Salvador found In Brazil, and v^hom he intends to educate and eventually
to marry. They set sail from South America, but Salvador soon discovers that Zora has a
lover, Lorenz, a young lieutenant, who has disguised himself as a sailor and is on board in
order to be near bis sweetheart. A storm arises and the ship is compelled to seek shelter
in a harbor of Brazil. The natives attack the ship and almost overpov/er the sailors, when
Zora chants a hymn to the Great Spirit, and the Brazilians, recognizing their compatriot,
make peace. In gratitude for the young girl's act, which saved the lives of all on board,
the Admiral gives his consent to her marriage "with Lorenz.
The Charmanl oiseau is the most beautiful number in David's opera, and is offered here
by three celebrated sopranos. This is one of the most famous of colorature airs, and one of
which colorature sopranos are very fond as it exhibits to perfection the skill of the singers,
show^ing to rare advantage the flexibility of the voice, especially in the duet w^ith the flute,
with its difficult runs.
Charmant oiseau (Thou Charming Bird) ^n^ Flute Obbligato
By Luisa Tetrazzini, Soprano (In French) 88318 12-inch, $3.00
By Emma Calve, Soprano {In French) 88087 12-inch, 3.00
By Marie Michailowa, Soprano {In Russian) 61130 10-inch, 1.00
1 lelitilitful bird of pKimage glowing
With sapphire and with ruby dyes.
'Mid the shade his rare beauty showing
Before our wonderstricken eyes;
When on the branch with blossoms trembling,
T-Ie jjoises swinging gay and bright,
His checkered pinions' gleams resembling
A many-colo)"ea prism of light.
How sweet is he, the Mysoli!
\\'hen day ajipears liis joyful singing
Awakes the dawn's enchanted rest;
When evening falls his notes are ringing,
While fiery day fades from the west.
A-down the grove the silence doubles.
As now his plaintive dulcet lay,
That breathes of love's ecstatic troiibles.
From out the tulip tree dies away.
How sweet is he, the Mysoli!
H. M. S. PINAFORE
OR
THE LASS THAT LOVED A SAILOR
COMIC OPERA IN TWO ACTS
Text by W. S. Gilbert; music by Sir Arthur Sullivan. First produced at the Op6ra
Comique, London, May 28, 1878. First American production occurred in New York in 1878,
but was unauthorized, and was followed by the first important production at the Boston
Museum, in November, 1879. Successfully revived in New York in 191 1 and again in 1912.
Characters
RT. Hon. Sir Joseph Porter, K. C. B., First Lord of the Admiralty . , Baritone
CAPTAIN Corcoran, Commanding " H. M. S. Pinafore " Baritone
Ralph RACKSTRAW, able seaman Tenor
Dick DEADEYE, able seaman Bass
Billy BOBSTAY, boatswain's mate Bass
Bob BECKET, carpenter's man
Tom Tucker, midshipmite
Sergeant of Marines
Josephine, the Captain's daughter Soprano
Hebe, Sir Joseph's first cousin Mezzo-Soprano
Little Buttercup, a bumboat woman Contralto
First Lord's Sisters, his Cousins and Aunts, Sailors, Marines.
Time and Place :
The scene is laid on the quarterdeck of "H. M. S. Pinafore"
time, the present.
343
VICTOR BOOK OF THE OPERA— SULLIVAN'S PINAFORE
DE WOLF HOI'PER AS DEjVDFA'E
The production of this little opera marked the tempo-
rary retirement of opera bouffe in America ; its dainty music
and the sparkling wit of its dialogue being grateful to a
public which was becoming satiated by the productions of
German and French composers. Gilbert's satire was keen,
but the wit was always delicate w^ithout a single touch of
the coarseness which frequently marred the opera bouffe
translations.
Pinafore has an inexhaustible fund of this Gilbertian
w^it, and never fails to please an audience. When first
presented in London, hov^'ever, so little interest w^as shown
that the management decided to w^ithdraw the piece, but
its ultimate success -was quite phenomenal.
ACT I
The story of Pinafore is so generally known that it is
like repeating an old, familiar tale to outline the plot. The
rise of the curtain shows the deck of His Majesty's Ship
Pinafore. The Captain is in a mournful mood because his
daughter does not favor his plan to marry her to Sir Joseph
Porter, and confesses that she loves an ordinary sailor. Soon
after she meets Ralph, who tells her of his love, but is
haughtily repulsed. In desperation he threatens to shoot
himself, and Josephine then confesses that she cares for him.
Their plans to get ashore and be married are overheard by
Dick Deadeye, a sort of comedy villain, w^ho threatens to
prevent their elopement.
ACT II
In the second act Little Buttercup naively reveals her affection for the Captain_ but he
tells her he can only be her friend. This angers her, and she prophesies a change in his
fortunes. Sir Joseph enters and complains to the Captain tliat Josephine has disappointed him.
Corcoran tells him his daughter is probably dazzled by the exalted station of her suitor, and
suggests that he plead his cause on the ground that love levels all rank. Sir Joseph accepts
his suggestion, but only succeeds in strengthening his rival's cause, as Josephine becomes
even more firmly resolved to w^ed Palph. Dicf^ Deadeye now^ reveals the planned elopement,
and the Captain stops the couple as they are stealing av/ay, demanding where they are
going. Palph confesses his love, w^hich so angers Corcoran that he sw^ears. Sir Joseph over-
hears him and orders him to his cabin, but on being told the cause of the excitement,
orders Palph also to be confined. Little Buttercup, interrupting, reveals her secret and tells
how the Captain and Palph w^ere accidentally exchanged when both w^ere infants. Where-
upon Sir Joseph, revealing the crowning absurdity of Gilbert's plot, sends for the seaman, gives
him command of the ship and nobly consents to his marriage -with Josephine. The Captain,
w^ho now automatically becomes a common sailor, marries the happy Little Buttercup.
The Victor's fine singing organization has given two splendid medleys from this
melodious nautical opera, and these tv/o attractive records contain, in condensed form,
thirteen of the most popular numbers from the production.
Gems from ** H. M. S. Pinafore/' Part I
Opening Chorus, "We Sail the Ocean Blue" — Air, Ralph and Chorus,
"A Maiden Fair to See "—Song, "Captain, I Am the Monarch of the Sea" —
"I'm Called Little Buttercup" — "Captain of the Pinafore" — Finale, Act I,
"His Foot Should Stamp. "
By the Victor Light Opera Company 31782 12-inch, $1.00
Gems from *'H. M. S. Pinafore/' Part II
"The Gallant Captain of the Pinafore" — "When 1 Was a Lad "^ — "The
Merry Maiden and the Tar" — "Carefully on Tip-toe Stealing "^" Baby
■ He is an Englishman."
Farming" — "Farewell, My Own" — "Fo
By the Victor Light Opera Company
344
31835 12-inch, $1.00
SCENE FROM PIRATES UF PENZANCE
THE PIRATES OF PENZANCE
OR
THE SLAVE OF DUTY
COMIC OPERA IN TWO ACTS
Text by Sir W. S. Gilbert ; music by Sir Arthur Sullivan. The first performance on
any stage took place in New York, December 31, 1879, under the immediate supervision of
Mr. Sullivan and Mr. Gilbert. Produced at the Opera Comique, London, April 3, 1880.
Recently revived by Messrs. Shubert and W. A. Brady.
Characters
MAJOR-GENERAL Stanley Baritone
Pirate King Bass
Samuel, his lieutenant Tenor
Frederic, the pirate apprentice Tenor
Sergeant of Police Bass
MABELl
k'ATP ("General Stanley's daughters Sopranos
Isabel J
Ruth, a pirate maid-of-alhwork Contralto
Pirates, Police, etc.
Time and Place : The scene is laid on the coast of Cornwall ; time, the present.
34.5
VICTOR BOOK OF THE OPERA— THE PIRATES OF PENZANCE
The Pirates, as it is familiarly called, is
one of the very few operas of note to have
its first production in America. This unusual
step was taken to protect the rights of the
composers and publishers in American rep-
resentations of the w^ork.
The first act was written and the entire
opera scored in this country, and the work
was not published until after Messrs. Gilbert
and Sullivan had returned to England.
Gilbert's delightfully w^himsical story
tells of Frederic, apprenticed v/hen a child to
the Pirates of Penzance, who were very gentle
with orphans for the reason that they them-
selves w^ere orphans!
ACT I
The Pirates are celebrating the twenty-
first birthday of Frederic, who, tiring of a
piratical career, is about to leave them to
seek another occupation. Ruth, a "female
pirate," begs him to marry her, and as she
is the only woman he has know^n, he
consents, after she has assured him that
she is "a fine figure of a woman.
Shortly afterw^ard Frederic meets Gerieral
ughters, who have come to this rocky shore on an outing, falling in love w^ith
youngest. The Pirates capture Mabel's sisters and propose to marry them
meanw^hile doing very little struggling with the handsome pirates!), but w^hen
arrives and tells them he also is an orphan, they relent and release the girls.
ACT II
In the second act the General, with a highly exaggerated sense of honor, is lamenting
because he has deceived the Pirates by telling them he is an orphan. Frederic, who is about
to lead an expedition (composed of brave policemen!) to exterminate the Pirates, comes to
bid Mabel good-bye.
The Pirate King and Puih arrive and show Frederic the apprentice papers v^hich bound
him to the Pirates until his tw^enty-first birthday, and call attention to their discovery of the
fact that as he w^as born in leap year on the 29th of February, he has had but five birth-
days, and consequently is still a member of the band until sixteen more leap years have
rolled around! A strong sense of duty influences him to consent to return to the Pirates
and serve out his unexpired term of something like sixty years! He also considers it his
duty, now that he is a pirate once more, to tell them of the General's falsehood, and they
swear vengeance.
In an attempt to carry off the General the pirates are captured by the policemen, but ask
for their liberty on the ground that they are really English noblemen "gone v/rong." On
promising to give up their piratical career they are pardoned, and this releases Frederic,
w^ho is novkT free to marry Mabel.
The Victor offers here, in condensed form, six of the best numbers from the opera.
UE WULF H'lPPER A^ TlfE SERGEANT UF
Stanley's da
Mabel, the
(the ladies
their father
Gems from Pirates of Penzance
Chorus of Pirates — Solo, " Poor Wand'ring One" — Solo. " Is There Not One
Maiden Breast" — Solo, and Chorus, *' A Policeman's Lot" — Chorus, "With
Catlike Tread " — -Finale.
By the Victor Light Opera Company 31808 12-inch, $1.00
(Italian)
IL PROFETA
(Eel Pro-fth'-tah)
(French)
LE PROPHETE
itch Pro-A-h-f )
(English)
THE PROPHET
OPERA IN FIVE ACTS
lo^n^'^r' '^y, ^"',''«- Music by Giacomo Meyerbeer. First presented in Paris, April 16,
o^T n '^' London production July 24, 1849. First New York production November 25,
1854. Revived at the Manhattan Opera in 1909 with d' Alvarez, Lucas and Walter- Villa.
Characters
John of LEYDEN, ( ty'-den ) the Prophet, chosen leader of the Anabaptists . . Tenor
Bertha, his sweetheart Soprano
Fides, (Fee'-Jayz) mother of John of Leyden Mezzo-Soprano
Count OBERTHAL, ruler of the domain about Dordrecht Bass
ZACHARIAH, I I Bass
Jonas, three Anabaptist preachers {Tenor
MATHISEN, J [Bass
Nobles, Citizens, Peasants, Soldiers, Prisoners.
Scene and Period : Holland and German;^; in 1 543, at the time of the Anabaptist uprising.
Meyerbeer's great work is certainly entitled to
be called a grand opera, for it is grand to the utmost
in theme, character and scenes ; and with its brilliant
and impressive music, at the time of its production
sixty years ago was a model of its kind, as opera-goers
demanded melodramatic action, tuneful music and
opportunity for ballet; and all these requirements
are fully met with in Le Prophete.
The plot is based on the Anabaptist fanaticism
of the sixteenth century, which agitated a large part
of Germany and Holland, and the leader of which
was one Bockelson, commonly called John of Leyden.
ACT I
SCENE— ^ Suburb of Dordrecht, Holland
The story furnished by the librettists describes
fohn as the son of the widow Fides, an innkeeper of
Leyden. At the opening of the opera he is about
to wed Bertha, an orphan. She, being a vassal of
the Count Oberihal, is obliged to ask his permission
before marrying, and goes with Fides, fohn's mother,
to beg the Count's consent. The Count, struck with the young girl's beauty, covets her
for himself, refuses his consent and orders Fides and Bertha into the castle.
ACT II
SCENE — The Inn of fohn in the Suburbs of Leyden
Three Anabaptists enter and being struck with the resemblance of John to the portrait
of the guardian saint, David, at Munster, they try to induce him to become their leader. He
refuses, but tells them of a strange dream he has had.
.Tiiiix: Under the vast dome of a spUndid temple
T stood — (he people at my feet were prostrate —
The royal coronal adorn'd my brow!
The Anabaptists declare that Heaven has spoken in the dream, and promise that he shall
yet be a ruler; hut fohn's thoughts turn to his beloved Bertha, and in the beautiful Pastorale
he tells them that another and sw^eeter life calls to him.
S THE PROPHET
347
TTTmi
iiiiiiiiiiiiiiiiiniiiiiiiiiii[iiin
I iiiiiiiniiiiiiiiiiiii 1 1
SCHUMANN HEINK AS FIDES
lllllllliniHIIIIHIIIIITTTITr
TTT TfM
m
VICTOR BOOK OF THE O P E R A — ME YERBEER'S PROPHET
John: Less than this Ihatch'd roof
Oh, there s a sweeter einpire, tar, My hopes would hless,
Whieh long has been my guiding star; Sweet home of calm felicilv.
Oh, thou my joy, my greatest gain, Where 1 would gladly live 'and die.
If in thy faithful heart I reign! Where Bertha will forever prove
For me, the proudest kingdom. Alike my bosom's queen and love!
Bertha, who has escaped from the castle, now runs in, asking John to save her. She is
concealed by him as the Count's soldiers enter and threaten to kill Fides unless John delivers
up the maiden. To save his mother's life he is forced to yield, and sees his bride carried
off to become the Count's mistress.
Fides, in her gratitude, sings this most dramatic and intense of Meyerbeer's airs, which
has attained a vyorld-wide popularity.
Ah, mon fils ! (Ah, My Son !)
By Louise Homer, Contralto (/n French) 88284 12-inch. $3.00
By Ernestine Schumann-Heink, Contralto {In French) 88187 12-inch, 3,00
Fides:
Ah, my son! Blessed he thou I
Thy loving mother to thee was dearer
Than was Bertha, who claim'd thy heart!
Ah, my son! For thou, alas.
Thou dost give for thy mother more than life,
For thou giv'st all the joy of thy soul!
Ah, my son! now to heav'n my pray'r ascends
for thee ; From Oper:itic Atitholoer, by perntissiori of
Aly son. blessed be forever more! u. SciiirmcT. (Copy't isaw.)
The part of Fides, is perhaps most interesting in the opera, and this Ah, mon fils, is a
dramatic aria full of real passion.
John, left by his mother to bitter thoughts, hears the Anabaptists in the distance, and
resolves to join them as a means of vengeance on the Count. The three conspirators enter
and are addressed by John :
John : John :
When in my dreams I thought of supreme And shall I he able to destroy Oberthal?
power, Anabaptists:
Did you not say follow us, In an instant.
And you shall reign? Jhhn:
First Anabaptist: JXl^^l '"'-^^i J ^l^'^^'^^th's?
And again we offer thee ^ ■^P^a'^' ^"-^ ^ ^^''^ quickly follow you.
A crown to be a king. I'^^.st Anabaptist:
Groaning beneath the yoke ot tyranny,
John': _ The sons of our land await with ardor
Can I then destroy my enemies? The coming of the one to set them free.
Anabaptists: In the name of the Prophet, who is promised
At thy word they shall be them
Destroyed in an instant. IjV Heaven, and who is found in thee.
The compact Is soon made and they depart, leaving some blood-stained garments to
lead Fides to believe John has been slain by the Count's assassins.
ACT III
SCENE — Camp of Anabaptists in the Westphalia Forest
The city of Munster is about to be besieged by the rebels, and before proceeding to the
charge, John, no\r the Prophet, and in command of the rebels, makes them kneel and pray for
victory. They chant the Miserere, and John sings this noble Inno or hymn.
Re del cielo e dei beati (Triumphal Hymn, " King of Heaven")
By Francesco Tamagno, Tenor (Piano ace.) (In Italian) 95005 10-inch, $5.00
By Antonio Paoli, Tenor, and La Scala Chorus (Italian) 91080 10-inch, 2.00
By Luigi Colazza, Tenor (DouJ/e-/acerf—5ee p. i5/} (Italian) 16578 10-inch. .75
jojjjsj. Let's unfurl the sacred flag,
King of Heaven and of the angels, Tie whom we serve is Lord
I will praise Thee. '>f Heaven and earth.
Like David, Thy servant. Let's smg and marcn away.
A voice I heard" — "Array thyself. The eye of Heaven will watch over us.
And safely on I will guide thee." A supreme power will guide us!
Praise to the Omnipotent! With songs of joy — with shouts of glory —
Yes, victory is on our side, On — on to Munster!
Three renditions of this inspiring number are presented. Tamagno, who was perhaps
the most famous of all Prophets, sings the air gloriously, while other fine records are furnished
by Colazza and Paoli, the latter being assisted by La Scala Chorus,
319
VICTOR BOOK OF THE O P E R A — ME YERBEER'S PROPHET
ACT IV
SCENE \^A Public Square in Munster
The insurgents have captured the city. The Prophet is received v^ith mixed feelings,
some denouncing him as an impostor. Fides, reduced to beggary, meets Bertha, who has
escaped from the Count and come to Munster to seek John. Fides tells her John is dead, and
Bertha, thinking the Prophet is respon-
sible, swears to have vengeance.
SCENE 11— The Munster Cathedral
This magnificent cathedral scene is
one of Meyerbeer's most brilliant com-
positions. It forms a striking contrast
to the rest of the opera, so gloomy with
religious and political fanaticism, and
as a piece of glittering pageantry with
gorgeous decoration, pealing bells,
solemn chants, and the stately Corona-
tion March, has seldom been equaled.
Coronation March
By Arthur Pryor's Band
31503 12-inch, $1.00
The great symphonic march v/hich
occurs in this scene is by far the most
striking instrumental number in Meyer-
beer's opera. It is brilliant and power-
ful, with superb instrumentation, and
always produces a marked effect on the
listener.
As John passes into the church.
Fides sees him. and in a transport of
joy greets him as her son. He de-
clares she is mad, knowing it is death
to both if he acknowledges her. She
finally realizes the situation, confesses
that she is mistaken, and is led away
to prison.
Fides:
Yes. the liglit comes to niy darkened eyes.
People, I have deceived you—
It is not my son I — I have no longer a son.
People:
Hail to the great Prophet.
JOHN DENYING TI I S :M0TIIER- — ACT IV
Fides (aside) :
grief, t(.i save his life
T must deny him.
riavL' pity nil him, Lord!
People:
.\ miracle ! .\ miracle I
The jjower of his voice has restored her reason!
ACT V
SCENE \~The Crypt of the Palace at Munster
The first scene takes place in the prison vaults beneath the palace, where Fides, feeling
certain that John will contrive to see her, patiently aw^aits his coming. She at first denounces
him as an ungrateful son, then, prays that Heaven may lead him to repent.
Prison Scene
By Ernestine Schumann-Heink, Contralto {In French) 88095 12-inch, $3.00
( ?{cr ivrath subsides.)
Thougli thou hast abandoned me.
Fides (alone) :
O! my cruel destiny
\\'hit]iir ha\'r you led
J'.ut my heart is disarmed.
Thy mother pardons thee.
Yes, T am still a mother.
I have given my cares that thou may'st be
^ hapiiy.
Now J would give my life.
And my soul exalted, will wait for thee in
lu-av<nl
An officer enters and announces the arrival of the Prophet.
350
What, the walls of a prison ! they arrest
footsteps.
I am no longer free.
Bertha swore my son's death, he denied
mother;
On his head let the wrath of Heaven fall I
VICTOR BOOK OF THE O P E R A — ME YERBEER'S PROPHET
Fides then begins the second part of her great
scene.
FiDKs (joyfuHy) :
He comes !
I shall see him, delightful hope!
Oh, truth I daughter of heaven.
May thy flauie, like lighttiinij.
Strike the soul of an ungrateful son.
Celestial flame restore to him calmness!
Restore, bless'd Heaven, his guardian angel!
Immortal grace. Oh! conq'ring come;
With thy pure love his heart reprove;
Tho' he be guilty, save him now
From that dark abyss which threatens to
engulf him;
Let thy light pierce this ingrate son,
Conscience riv'n, his soul soften.
Like brass in furnace hcree.
That he may ascend and reign in Heav'n I
When John enters, Fides denounces the bloody
deeds of the Anabaptists and calls on her son to
repent and renounce his false robes.
Fides:
But thou, whom the world detests.
Yes, thou, braving Heaven's behests;
Thou, whose fell hand is reeking with blood;
Go thou, my son no longer now I
Far from m}' heart, far from my eyes —
Llood-stain'd, go 1
John confesses his sins and pleads for forgiveness,
finally kneeling and receiving her blessing, just as a
faithful officer enters and informs John that the Ana-
baptists are plotting to deliver him to the Emperor's forces, which are marching on the city.
Bertha enters through a secret passage, revealed to her by her grandfather, who was
once keeper of the palace. She has resolved to blow up the palace and the false Prophet,
and is horrified to learn that John is the Prophet. She denounces him for his crimes,
and declaring she has no longer reason to live, stabs herself.
John, in despair, resolves to die with his enemies, and sending away his mother, plans to
have the palace set on fire, and goes to the banquet hall.
JOHN THE PROPHET
SCENE W—The Great Hall of the Palace
After the Emperor's forces have entered, crying, "Death to the Prophet," John orders
the gates closed. An explosion occurs and the palace falls, carrying down to death John
and all his enemies.
(A ivoinan ivifh dlslicz-cllcd hair rushes tlirough
the niins into John's iiniis. He recognizes
his mother.)
John;
My mother I
FroES:
Yes, receive my pardon; I will die with thee!
Fides and John :
Welcome, sacred llame !
To yon celestial sjihere may our souls take
flight!
Adieu I
(As the flames mount about them the curtain
falls.)
Oberthal :
You are my prisoner!
John:
Nay, ye are all tny captives!
(An explosion takes place, the walls fall and
flames spread on every side.)
John (to Clone and Oberthal):
Thou, traitor! and thou, tyrant! shalt perish
with me;
Justice has sealed our doom;
I am the instrument.
We, all guilty, are all punished!
/Fantasie from Prophet
\ Barber of Seville Selection
/Re del cielo (King of Heaven)
t miliam Tell Ballet Music— Part III
DOUBLE-FACED LE PROPHETE RECORDS
By Pryor's Band
35125 12-inch, $1.25
By? Pryor's Band\ '
By Luigi Colazza, Tenor] ^^^ ^^ :«^i,
^ n D ' D J 1 o5 78 1 0-inch,
By Pryor s Bandy
.75
351
(Italian) (English)
I PURITANI THE PURITANS
(£e Poo-ree-tah' -nee)
OPERA IN THREE ACTS
Book by Count Pepoli ; music by Vincenzo Bellini. First presented at the Th^dlre
Italien, Paris, January 25, 1835, with a famous cast — Crisi, Rubini, Tamburini and Lablache.
First London producton, King's Theatre, May 21,1 835, under the title of Purifani ed i Cavalieri.
First New York production, February 3, 1844. Revived in 1906 at the Manhattan Opera,
with Pinkert, Bonci and Arimondi.
Characters
Lord GAUTIER Walton, Puritan Bass
Sir George. Puritan Bass
Lord Arthur Talbot. Cavalier Bass
SIR Richard Forth, Puritan Baritone
Sir Bruno Robertson. Puritan Tenor
Henrietta of France, widow of Charles l Soprano
Elvira, daughter of Lord Walton Soprano
Chorus of Puritans, Soldiers of Cromwell, Heralds and Men-at-Arms of Lord
Arthur, Countrymen and Women, Damsels, Pages and Servants.
Scene and Period : England in the neighborhood of Plymouth, in the period preceding
the impeachment and execution of Charles II by Parliament.
Previous to Mr. Hammerstein's revival in 1906. Puritani had not been given in America
since the production of 1883, with Gerster as Elvira. This is not strange, as the opera on
the whole is somewhat dreary, only the few numbers the Victor has collected being really
worth hearing.
The plot is rather a foolish one: the libretto being one of the poorest ever w^ritten for
Bellini, but the music is delightful and fascinating. However, we will briefly sketch the
story, as it will add to the enjoyment of the lovely melodies of Bellini which the Victor has
recorded. The only available translation is a very unsatisfactory one, but a few quotations
are given.
The action occurs in England in the time of the Stuarts, during the civil war between
the Royalists and the Puritans. Lord Walton, the Puritan Governor-General, has a daughter
Elvira, whom he wishes to marry to Richard Forth, a Puritan colonel, but the young girl loves
an enemy, Lord Arthur.
ACT I
SCENE I — Exterior of a Fortress near Plymouth
At the beginning of Act I, Forth, learning that Elvira loves Arthur, and that her father
refuses to force her into an unwelcome marriage, is disconsolate and gives vent to his feel-
ing in a famous air, best known as Ah per sempre ("To me forever lost"). The Battistini
record, hov/ever, takes its title from the second part of the number.
Bel sogno beato di pace (Blissful Dream)
By Mattia Battistini, Baritone {In Italian) 88352 12-inch, $3.00
Forth :
Ah! to me forever lost,
Flow'r of love, and hope tiie dearest!
Life, to me thou now appearcst,
(iloomy and with tempests cross'd.
Oh, happy and lovely dreajii of peace and joy!
Oh. cliange tliou my fate, or change my heart!
Ah. wliat a keen torment, in the day of grief.
Becomes the jnemory of a vanished love!
Bruno, a Puritan officer, enters and offers Sir Richard command of the army. He
refuses, saying that his disappointment in love has unfitted him for so high an honor,
352
VICTOR BOOK OF THE O P E R A — B E L L I N T S PURITANI
12-inch, $1.50
SCENE II — Elvira '5 Room in the Castle
The next scene shows Elvira 's apartment, where her uncle. Sir George, in a fine air, tells
her that he has persuaded her father to consent to her marriage w^ith Arthur. This is sung
here by de Segurola and issued as a double-faced record, the opposite selection being the
Infelice from Ernani.
Sorgea la notte (The Night W^as Growing Dark)
By A. Perello de Segurola, Bass [In Italian) 55007
The night was growing tl.irk.
And lluav'n and earth wiix- -^il^■nl. —
Kavorahle the sad Imur,
Thy pray'i"^ ga\e cuina,:;i- \<< my soul,
And to thy sire 1 went.
Thus T heijan.— "My hn.lher"—
"Your angel -I ike Elvira
Is for tile valiant ^\rthur jiiniTi;^—
Should slie another wed,
Oh, wretched one I she dies!"
Said thv fatlier
'■She i-' to Richard ]iroinl^eil !"
"Thy un]ia[>i)y child," repealed I, "will die."
"Oh! say not so," he cried.
"I must yield, let Elvira li\e, —
Ah! may she be hajipy —
Let her live in love!"
Elvira is overjoyed, and expresses her gratitude. Trumpets
are nov/ heard, and Elvira s surprise is complete w^hen Lord Arthur
arrives, attended by squires and pages, and bearing nuptial
presents, prominent among w^hich is a splendid white veil, soon
to play an important part in the events to come.
Shortly after his arrival Arthur discovers that the \vidow^ of
Charles I is in the castle under sentence of death, and his sense of
duty toward the late Queen impels him to contrive her escape
by concealing her in Elvira's veil, the guards thinking it is the
bride. The escape is soon discovered and Elvira, supposing that
WTmXA \? FIR RICHARD 1_ J J L ,.1, £ L L -J 1 J 1_
her lover has deserted her on the eve or her bridal day, becomes
insane. All denounce Arthur and swear to be revenged.
ACT II
SCENE — The Puritan Camp
Act 11 shows the camp of the Puritan forces. Sir George announces that Parliament has
condemned Arthur to death for aiding in the escape of the late Queen. Elvira enters,
demented, and sings her famous air, much like the Mad Scene in Lucia.
Qui la voce fin Sweetest Accents)
By Marcella Sembrich, Soprano {In Italian) 88105 12-inch, $3.00
She recalls her first meeting with Arthur and repeats the vows he swore.
El\'ira :
It was Ik, I'e in accents sweetest,
He would call me — he calls no morel
Ilerc affection swore he to cherish,
That dream so happy, alas! is o'er!
We no more shall he united,
I'm in sorrow doomed in ^igh.
Oh, to hope once more restore me.
Or in pity let me die !
(Her mood chaiujcs.)
Yts, — my father : thou call'st mc 1o the
tem])le ?
'Tis no dream, my Aiihur, oh, my love!
Ah, thou art smilinj,- — tliy tears ihon driest.
Fond Ilymcn guidiny. 1 ipii^'l-^'y f'llh'w!
Then dancing and siuf^in^,
AU nu]»tial fea>ts providing'.
(Daiiciiu) touHinJ h'ichnnl. wlioni she tuhrs I'V
flic hand.)
And surely you will fiance with me — -
Come to the altar.
VICTOR BOOK OF THE OPERA -BELLINPS PURITANI
Elvira's uncle, hoping that the sight of her lover "will restore her reason, begs 5/r Richard
to pardon the young man. Richard consents, provided he returns helpless and in peril, but
if he comes bearing arms against his country he shall die. Sir George agrees to this, and in
the splendid Sound the Trumpel they pledge themselves to fight together for their country.
Suoni la tromba (Sound the Trumpet)
By Pasquale Atnato, Baritone, and Marcel Journet, Bass
{In Italian) 89056 12-inch, $4-00
This favorite duet, often sung in concert, has been aptly described as a "stentorian"
number. It is undeniedly a most vigorous piece of declamation, and if the loyalty of Sir
George and Sir Richard can be judged by the vigor of the usual rendition, they are loyal
indeed !
Sir Richard and Sir GEcmcE:
Sound, sound tht- trumpet loudly!
Ilravely we'll uicft the foemeii,
'Tis sweet affronting death 1
I'.old love of country aiding.
The vietor's wreath unfading,
Will unto us be proudly
Restor'd by Love and Faith!
Morn I rising on a nation,
A\'ho=e only trust is freedom —
W'U] bring us eternal fame!
Earth's tyrants who dissemble.
At the war-message tremble.
Midst the world's execration
They sink in endless shame!
The Puritans then renew their pledge as to Arthur, saying:
SiK ("'.KniiCM:
All is now concludeil.
If j\rihur is defenceless—
Richard :
He'll find support rind succor.
Sir George:
If he in arms returns —
Richard :
ITe comes to shame and vengeance!
ACT III
SCENE — A Garden near Elvira's House
The rise of the curtain discloses Arthur, who is fleeing from the enemy, and has come
to the castle in the hope of seeing Elvira once more before he leaves England forever. She
comes from the castle and at the sight of Arthur her reason suddenly returns. The lovers
are reconciled after Arthur explains that it vi'as in the service of his Queen that he had fled
from the castle. They sing a lovely duet:
Vieni fra queste braccia (Come to My Arms)
By Maria Galvany, Soprano, and Francesco Marconi, Tenor
(In Italian) 89046 12-inch, $4.00
f^orgetting their present danger, they think only of their love and that they are in each
other's arms again.
Arthur :
C omc, come to mv arms.
Thou my life's sole delif^htl
And thus press'd to my heart,
^\'e'll no more disunite 1
Thrill'd with anxiou.s love and fear,
On thee I call — for thee I siph; —
Cnme, and say the love is dear
That soareth to boundless height!
The sound of a drum is heard, and Elvira again becomes delirious, which so alarms
Arthur thai he thinks not of escape and is captured by the Puritan forces. The sentence of
death is read to him and he is being led to his execution, when a messenger arrives from
Cromwell saying that the Sluarls were defeated and a pardon had been granted to all captives.
Elvira's reason returns, and the lovers are finally united.
(Curtain)
(Italian) (English
REGINA DI SABA QUEEN OF SHEBA
(Rav-gee' -nah dee Sah' -bah)
OPERA IN FOUR ACTS
Text by Mosenthal. founded upon the Biblical mention of the visit of the Queen of
Sheba to Solomon. Music by Goldmark. First production 1875, in Vienna. In New York
1885, with Lehmann and Fischer. Revived in 1905, with Walker, Rappold. Knote and Van
Rooy.
Characters
King Solomon Baritone
High Priest Bass
SULAMITH, his daughter Soprano
Assad, Solomon's favorite Tenor
Queen of Sheba Mezzo-Soprano
ASTAROTH, her slave (a Moor J Soprano
Priests, Singers, Harpists, Bodyguards, Women of the Harem, People.
Scene : Jerusalem and vicinity.
Mosenthal s story tells of the struggle of Assad, a courtier of Solomon, against fleshly
temptation, and of his final victory w^hich involves the sacrifice of the happiness of his
betrothed, Sulamith.
For this text Goldmark furnished some of the most beautiful and sensuous music in the
entire range of opera, and it is an interesting detail that after he had finished his opera and
had submitted it to the Imperial Opera, Vienna, it was not accepted on the ground that it
was too "exotic"! Later, through the influence of Princess Hohenlohe, it was presented
and was a great success.
ACT I
The wisdom and fame of Solomon having reached even distant Arabia, the Queen of
Sheba decides to visit him, and a favorite courtier, Assad, has been sent to meet her and es-
cort her to the city. When Assad arrives w^ith the Queen, his betrothed, Sulamith, is aston-
ished to find him pale and embarrassed, and trying to avoid her. Assad afterward confesses
to Solomon that he had met a beautiful woman at Lebanon and had fallen in love with her.
When the Queen of Sheba arrives and removes her veil, Assad is astounded to recognize in her
the mysterious woman who had captured his senses. Involuntarily he rushes toward her,
but she coldly repulses him and passes on w^ith the King.
ACT II
In Act II the Queen discovers that she loves Assad, and seeing him in the garden, bids
her maid attract his attention with a weird Oriental song. Assad starts when he hears the
mysterious air, as it seems to bring back memories of the night at Lebanon. He sings his
beautiful air. Magic Tones.
Magiche note (Magic Tones !)
By Enrico Caruso, Tenor (In Italian) 87041 10-inch, $2.00
A lovely melody, sung at first in mez20-voce, develops gradually until the intense and
passionate climax is reached.
The Queen and Assad soon meet and confess their love for each other, but are inter-
rupted by the arrival of the night guard.
ACT III
In the next scene the Court assembles for the wedding of Sulamith and Assad, but Assad
insults his bride and declares his love for the Queen. He is banished from Jerusalem and
finally dies in the arms of Sulamith, who is crossing the desert on her way to a convent.
355
PHOIO REMBRAHOT
SOLOMON Ui;CEl\-
HE Ql.rEliM — ACT t
V French)
(English)
LA REINE DE SABA
{Lah Ran deh' Sah-bah')
QUEEN OF SHEBA
OPERA IN FOUR ACTS
Text by Jules Barbier and Michel Carre. Music by Gounod. First performed at the
Opera, Paris, February 28, 1862. An English version called Irene, by Farnie, "was given
in London at the Concert Palace, August 12, 1865. First American production December
2, 1885.
Characters in the Opera
King Solomon Bass
BALKIS, Queen of Sheba Soprano
ADONIRAM, a sculptor Tenor
BENONI, his assistant Tenor
PHANOR, I (Baritone
AMRU. workmen \ Tenor
METHUSALL.I I Bass
SARAHIL, maid to the Queen Contralto
SADOC Soprano
The action lal^es place in Jerusalem.
La Fieine de Saba is one of the four operas which Gounod composed between his Faust
(1859) and Romeo ( 1867). None of these works have been very successful, but they contain
much beautiful music.
ACT I
SCENE 1— r/ie Studio of Adoniram
The curtain rises, disclosing Adoniram at work on an important group of statuary.
Benoni enters and informs him that the King desires his presence, as the Queen of Sheba is
356
VICTOR BOOK OF THE OPERA— GOUNOD'S QUEEN OF SHEBA
expected to arrive at any moment. As Adoniram prepares to leave the studio his workmen
demand higher wages, but he refuses them and they go out muttering threats.
SCENE, II — Square in front of the Temple
The Q^ueen arrives and is w^elcomed by King Solomon and the people. Adoniram is
presented to her as one of Palestine's great artists, and she seems greatly impressed by the
handsome young sculptor.
ACT II
SCENE — Moulding Room of Adoniram 's Studio
King Solomon and the Queen have promised to come and see the final casting of
Adoniram's masterpiece, and he is preparing for this event when Benoni enters hurriedly and
reveals the plot of the workmen, who have stopped the channels so that the melted bronze
cannot flow. His information comes too late, and the molten mass overflows, apparently
ruining the statue.
ACT III
SCENE — Open place on the Feiche
Adoniram meets the Queen of Sheba here, and she confesses her love for him. He is at
first inclined to repel her advances, but soon falls under the spell of her fascinations and
clasps her in his arms. He tells her that he also is of her race, the Nimrod. The faithful
Benoni hurriedly enters in search of Adoniram, telling him that in spite of the plot of the
workmen the moulding of his statue has been successful.
ACT IV
SCENE — The Great Mall of Solomon 's Palace
Adoniram is received by Solomon and the Court and proclaimed the greatest sculptor of
the time. All leave the hall except Solomon and the Queen, who gives a sign to her maid,
Sarahil, to bring a draught which she presents to Solomon. He soon falls asleep at the feet
of the Queen, who takes the ring from his finger and leaves the Palace.
ACT V
SCENE— r/ie Valley of Hebron
Adoniram and the Queen have planned to fly together, and are already approaching
the meeting place, when three of Adoniram's discontented workmen, bent on revenge, set
upon and stab him. The Queen hurries to his side and falls on his body, cursing his
murderers and Solomon.
The Victor has selected four numbers from Queen of Sheba which are worthy of preser-
vation — the first being the splendid recitative and air. Lend Me Your Aid, sung by Evan
Williams ; the second the grea; air of the Queen, given by Mme. Gerville-Reache ; two
records of the Sous les pieds by Journet and Witherspoon ; and a Sousa's Band record of the
Qt;een of Sheba March. This famous marche et cortege is a grand number, and played with
the full strength of the band.
Queen of Sheba Records
Lend Me Your Aid
By Evan Williams, Tenor (In English) 64096 10-inch. $1.00
Plus grand dans son obscurite (More Regal Than a King)
By Jeanne Gerville-Reache, Contralto (In French) 88205 12-inch, $3.00
Sous les pieds d'une femme (She Alone Charmeth My Sadness)
By Marcel Journet, Bass (In French) 74269 12-inch, $1.50
By Herbert Witherspoon, Bass (In French) 74277 12-inch, 1,50
Queen of Sheba March
By Sousa's Band 31453 12-inch, $1.00
(Italian)
(English)
IL RE PASTORE
THE SHEPHERD KING
DRAMATIC CANTATA IN T\^0 ACTS
shepherd. Alessandro plans that the new Icing shall
marry Tamiri, daughter of Slratone, but Aminia is
already in love with Elisa, a shepherdess, and rather
than give her up he refuses the crown. The King,
pleased w^ith Aminia 's fidelity, gives his consent to
the marriage with Elisa and establishes the couple
upon the throne. He also gives Tamiri to her lover
Agenor, and promises them the next kingdom he
shall conquer.
The aria L 'amero saw coslante, v/hich Melba has
sung for the Victor, w^as a great favorite v/ith Jenny
Lind. The beauty of Mozart's music is enhanced by
the pure vocalization of Melba, and no fitter vehicle of
expression for the composer's beautiful melody than the
perfect vocal organ of this great singer could be imag-
ined. The double cadenza at the conclusion for voice
and instrument is an intricate and striking one, and
provides a strong and effective climax to Melba's per-
formance of this fine air. Kubelik's playing of the
violin part is a masterly performance.
L'atnero saro costante (My Love is
Ever True)
By Nellie Melba, Soprano, and Jan
Kubelik, Violinist (/n French)
89074 12-inch, $4.00 ""'^e
358
Text by Metastasio ; music by Mozart. First
production Salzburg, April 23. 1775. The libretto
is the one used for Bonos opera of the same
name, given in Vienna in 1751.
Characters
ALESSANDRO. King of Macedonia.
AMINTA, shepherd descendant of the Kings of
Sidon and lover of Elisa.
Elisa, shepherdess.
Tamiri. fugitive princess, daughter of the tyrant
Stratone.
Agenor, noble of Sidon, lover of Tamiri and
friend of Alessandro.
The opera of " 11 Re Pastore " was written by
Mozart in honor of the Archduke Maximilian,
the composer having been ordered to produce the
work for the entertainment of the Archduke
during his visit to Salzburg in 1775.
The story tells of the capture of Sidon, the
execution of the usurper Stratone by Alessandro,
King of Macedonia, who places on the throne the
ightful king, Aminta, who has been living as a
TJIi; THKFT iiF THE RHINEGOLD
(German) (English)
DAS RHEINGOLD THE RHINEGOLD
(Dahss Rine' -goUl)
MUSIC DRAMA IN FOUR SCENES
Words and music by Richard Wagner. First produced at Munich, September 22, 1869.
First American production at New York, January 4, 1888.
Characters
WOTAN, ( Vo'-lahn) ] fBaritone
DONNER, U J Bass
PRnH |(jOds {^
rKUH, 1 enor
LOGi, (Low'-jee) I [Tenor
FASOLT. \^. ^ I Bass
FAFNER. /^'^"^^ iBass
ALBERICH, (Ahl'-ber^ish)\j.r.-, , ,^ , [Baritone
MIME. (Mee'-mee) /Nibelungs (Gnomes) j^^^^^
FRICKA, (Free'-kab) 1 I Soprano
FREIA, [Free -ah) I^Goddesses Soprano
ERDA, iEhr-dah) \ (Contralto
WOGUNDE, I Soprano
WELLGUNDE. Nymphs of the Rhine Soprano
FLOSSHILDE, J I Contralto
Rheingold is not a "society" opera. Played in complete darkness and with no inter-
missions during the two hours required for its presentation, it is a w^ork only for real music-
lovers who understand something of the story and appreciate Wagner's wonderful music.
This first part of the l^ing is an introduction to the Trilogy proper, and a full under-
standing of its incidents is necessary to properly appreciate the other Fiing operas.
SCENE \—The Bottom of the Rhine
The stage is in semi-darkness, representing the murky depths of the Rhine, and the
light glimmering on the surface of the water above shows but faintly the three Rhine
maidens guarding the Rhinegold.
They sing their quaint songs as they float about the rock which conceals the treasure.
MOTIVE OF THE RHINE MAIDENS
359
VICTOR BOOK OF THE OPERA— THE RHINEGOLD
Alberich, prince of the Nibelungs,
a strange race of dwarfs who dw^ell
deep in the earth, observes the
beauty of the maidens and tries to
make love to ^hem. They laugh
at him and evade w^ith ease his
clumsy endeavors to catch them.
Suddenly, as thesun rises, the gleam
of the Rhinegold is seen. Alberich,
dazzled by the splendor of this
glow, asks what it is, and the maid-
ens foolishly inform him that w^ho-
ever can secure this treasure and
form it into a ring can become lord
of all the world. One condition,
how^ever, is that the possessor can-
not wield this pow^er unless he re-
nounces forever the joys of love.
Alberich, having failed in his
amorous attempts tow^ards the Nai-
ads, now conceives an ambition for
pow^er. He cries, " Then love 1
renounce forever, " and svvimming
to the rock, he tears the gold from
its place and flees, w^hile from the
complete darkness which ensues
comes the dw^arf s mocking laughter
and the w^ailing of the maidens w^ho
are moaning for their lost treasure.
SCENE II A Mountain Top, Show-
ing the Castle of Walhalla
During this darkness the scene
changes and as the stage becomes
lighter we see Walhalla, the abode
of the gods, a v/onderful castle
built for Wotan by the giants.
Wolan and his w^ife are lying asleep
on a flowery bank, but soon w^ake
and see the castle w^hich has been
built while they slept. Wotan is overjoyed
■
^3
a
hI
J
%
i^-y^'^8H^fc^ji^^^M
AND REISS AS MIME
THE KIIINE ItATJC. MTERS
at the glorious sight, but the more practical
Fricl^a reminds him of the price which he had
agreed to pay the giants for this godly dw^ell-
ing ; this being the surrender of Freia, goddess
of youth and beauty. Wotan tells her that he
never intended to keep his agreement, the god
Loge having promised to show him a way to
evade payment.
Freia now hastily enters, closely pursued
by the giants Fasolt and Fafner, w^ho call upon
Wotan to deliver the goddess to them as agreed.
Wotan repudiates his promise, saying that it
was made only in jest.
Wotan :
How sly to take for truth
What only in sport wc had scltU'cll
This beauteous goddess, li^lil and hrii^ht.
What use to you art; hi-r clirii-ni- '
Froh and Donner, Frick.a '5 brothers, enter,
also Loge, and a long argument ensues, Wotan
finally realizing that he must give up Freia to
VICTOR BOOK OF THE OPE RA— THE RHINEGOLD
the giants. Loge, however, tells them of the
Rhinegold, saying that if this treasure could be
stolen from Alberich by IVotan, it might be
accepted by the giants in place of Freia.
Woian refuses to entertain this plan and the
giants seize Freia and carry her off, declaring
that if the Rhinegold is not in their hands by
night the original bargain must stand, and Freia
be lost to the gods forever.
Left alone, the gods realize the serious
predicament they are in, especially as it is seen
that, deprived of their youth goddess, they
are suddenly aging. IVotan thereupon decides
to secure the Nibelungs' gold, and goes with
Loge in search of Alberich. A vapor arises
from the earth, concealing the stage, and when
it disappears the scene has changed.
SCENE \\\—Alherich's Cave
Alberich, since he has acquired the Rhine-
gold, has become more arrogant and cruel than
ever, and compels Mime and the other Nibe-
lungs to continually toil and slave to brmg him
in more gold. At the beginning of the scene
he is berating Mime for loitering over his task
of making a Tarnhelm, or magic cap. fashioned
from the Rhinegold, and w^hich gives the wearer
the power to become invisible. Woian and
Loge now^ enter on this scene and are rudely
greeted by Alberich, who demands their busi-
ness, and holding out the Ring bids them
tremble at his power. They at first craftily
flatter him. but he is surly and says that naught
but envy could have brought them here. Wotan is angry and is about to voice his w^rath
when the crafty Loge makes him a sign to be quiet and begins to taunt Alberich, doubting his
pow^er. Alberich is so enraged that he offers to
change himself into any shape required to prove
the magic of the Tarnhelm, and immediately be-
comes a huge dragon. Loge afl"ects extreme ter-
ror, at v/hich Alberich laughs and resumes his
human shape again. The god then cunningly asks
him to change to a toad, w^hich shape he has no
sooner assumed than Loge puts his foot on the
toad and seizes the Tarnhelm, thus robbing Al-
berich of his pow^er. His natural form returns and
they bind him and start for the upper earth. The
scene changes again to the mountain summit.
SCENE IV— 5ame as Scene II
IVotan and Loge enter, dragging the helpless
Alberich, -who is beside himself with rage. They
demand that he give them his hoarded store of
gold as the price of his freedom. He reluctantly
obeys and summons the Nibelungs, who instantly
swarm up from below carrying the hoard. He
then asks to be set free, but IVotan demands also
the Ring. Alberich is horrified, but is finally
compelled to add it to the pile of gold. He
then sings his bitter and ironical air. Bin ich nun
frei ?
361
VICTOR BOOK OF THE OPERA— THE RHINEGOLD
Bin ich nun frei ?
(Am I Now Free ?)
By Otto Goritz.
Baritone
(In German)
64203 10-inch. $1.00
He lays a frightful curse
on the Ring, predicting that
it will bring misery and death
to each possessor until it is
restored to him again.
Albkrich (zvitli biltcr irony) :
Am I now ! i^c .' —
Really fret:-'
Then listen, friends,
To my frcL-doni's rtrst
salute ' —
As at first by my curse
'twas reaclu'il,
Henceforth cursed be this
ring! painted a/ makart
Gold which gave me
measureless migiit.
Now may its magic deal each owner death I
No man 'shall e'er own it in mirth,
And to i-'ladden no life shall its luster gleam.
May care consume each several possessor,
And envy gnaw him who neareth it noil
All shall lust after its delights.
But none shall employ them to profit hmi.
To its master giving no gain.
Aye the murd'rer's brand it shall bring.
To death he is fated,
He vanishes and
Wotan, who has paid
little attention to his
cursing, dons the Ring,
gazing at it in admi-
ration. The giants now^
return for their pay, and
demand that enough
gold shall be piled
around Freia to hide her
completely from sight.
This is done, but when
all the gold is piled up
Fafner says there is still
one small crevice visi-
ble, and insists that it be
filled with the Ring.
Wotan refuses, and the
giants are about to seize
Freia again, v/hen Erda,
the earth goddess, rises
and delivers her appeal
to Wotan.
BATTLE OF THE GIANTS-
Its fear on his fancy shall feed;
Though long he live sliall he languish each day,
The treasure's lord and the treasure's slave:
Till within my hand I in triumph once more
behold it: —
So — stirred by the hardest need.
The Nibelung blesses his ring! —
I give it thee, — guard it with care —
Rut my curse canst thou not flee I
HOMER AS EKI)
Weiche, 'Wotan, ^veiche ! (Waver, Wotan)
By Ernestine Schumann-Heinle, Contralto (Wotan's responses by
Mr. Witherspoon) {In Qerman) 88092 12-inch. $3.00
She warns him solemnly that the Ring is cursed and charges him to give it up.
362
VICTOR BOOK OF THE OPER A— T HE RHINEGOLD
Erda (strctcliiiig her hand) :
Waver, Wotan, waver!
Quit the Ring accursed 1
{She co)\tiiiucs her solemn zvurning)
Ruin and dismal est downfall wait thee in its
wealth.
Wotan :
Who speaks such menacing words?
Erda :
Whatever was, was I; what is, as well;
What at-'es shall work — all 1 show;
The endless world's All-wise one, Erda, opens
thine eyes.
Three, the daughters born to me
E'er the world was made; all I notice
Nightly thou know'st from the Nornir.
But hither in dire danger haste I to thy help.
Hear me! Hear me I Hear me!
All that exists, endeth!
A dismal day dawns for the .--Esir:
(J render wisely the ring !
{She bcyins to sink slozvly into the earth.)
Wi.iTAN :
,'\ secret s)iell sjjcaks in thy words:
Wait and impart more wisdom.
Erda (disaf't'eariny) :
I've warned thee now; thou wott'st emmgh;
Pause and ponder ti-uth !
{She completely Jisappcdrs. )
Mme. Schumann-Heink sings this powerful number with dignity and dramatic force.
IVotan at last yields and throws the Ring on the heap of gold. The giants, as if to prove
the curse, immediately begin to quarrel about its possession, and Fasoli is killed by Fafner ;
after which the murderer coolly proceeds to collect the gold and then departs.
Donner, the god of thundc, now calls up a storm and causes a magic rainbow^ bridge
to form, making a passage to the castle.
Abendlich strahlt der Sonne Auge (The Evening Light)
(W^otan's Invocation)
By Marcel Journet, Bass {In German) 74268 12-inch, $1.50
Wotan then sings the famous invocation to the Castle of Valhalla, which gleams with
great brilliance, illumined by the setting sun. The god, absorbed in contemplation of the
castle, sings :
\\'otan:
See how at eve the eye of sunlight
With glorious touch gilds turret and tow'r!
In the morning glamour, manful and glad,
Tt bided masterless, mildly lieek'ning to me.
As the gods proceed across the bridge to Walhalla the voices of the Rhine maidens can
be heard from below, still bewailing the loss of their gold.
Rhine-nvmphs (from below): In the wave thy pure magic wake!
Rhinegoid! Rarest gold! What is of worth dwells but
O might but again Uase and bad those
{As the gods slowly cross the bridge to the castle, the curtain falls.)
DOUBLE-FACED RHINEGOLD RECORD
/Selection from the Opera By Conway's Bandl 3^3 ^ ^ 12-inch. $1.25
I Gotterdammerung Fantasia [Wagner) By Arthur fryor s ^ant/j
From morning till evening thro' mighty ills
I won no way to its wonders.
The night is nigh; from all annoy
Shelter it shows us now.
So-hailed be the fort; sorrow and fear it heals!
the waters!
vho are throned above.
THE RAINBOW BRIDGE TO
VALHALLA
363
ENOUNCFS THE JESTER ACT
RIGOLETTO
OPERA IN THREE ACTS
Text by Piave, adapted from Victor Hugo's drama Le Roi s' Amuse. Music by Giuseppe
Verdi. First produced in Venice, March II, 1851. First London production at Coven t
Garden, May 14, 1853; at the Italiens, Paris, January 19, 1857. First New York production
November 2, 1857.
Characters
RiGOLETTO, a hunchback, jester to the Duke Baritone
Duke of Mantua, a tided profligate Tenor
GILDA, ijeel'-dah) daughter of Rigoletto Soprano
SPARAFUCILE, (Spahr-ah-foo-ched ) a hired assassin Bass
MADDALENA, {Mad-dah-lay'-nah) his sister Contralto
Count MONTERONE {Mon-ter-oh' -nay) Baritone
Count Ceprano Bass
Courtiers, Pages, Servants.
Scene and Period : Mantua and vicinity ; sixteenth century.
The story tells of the gay and unprincipled Duf^e of Mantua, who is assisted in his
crimes by his jester, Rigoletto, a hunchback. The father of one of the Dune's victims is
mocked by Rigoletto and launches upon him a father's awful curse, w^hich stuns and sobers
the jester, as he, too, has a daughter, Gilda, unknown to the court.
On his way home Rigoletto meets a professional assassin, Sparafucile, ^vho offers, for a
price, to kill any enemy he may have. Rigoletto says he may need him later. The Duk,e,
in the guise of a young student, has already met Gilda, not knowing who she is, and the
young girl has fallen in love with him. When Rjgoletlo has left the house the Duke's
courtiers abduct Gilda and take her to the Palace. The father's rage is terrible to witness,
and he goes to the Palace, but too late to save his daughter. She pleads for the Duke's life,
but Rigoletto sw^ears to kill him, and arranges with the assassin, Sparafucile, to accomplish
the deed. The Duke is lured to a lonely inn by Sparafucile' s attractive sister, Maddalena,
and is about to be murdered when Maddalena. who has taken a fancy to him, begs for his
life. Sparafucile consents provided a substitute should happen along before midnight. Gilda,
363
VICTOR BOOK OF THE OPERA — VERDI'S RIGOLETTO
SETTTNG OF ACT T AT THE METEOPOLTTAN
whom Rigoletio had brought hither (disguised as a page) in order that she might witness the
fickleness of her lover, has been listening to the conversation, and now resolves to save the
Duke's life at the cost of her ow^n. She enters the hut, is stabbed by Sparafucile, who
delivers the body to Rigoletio according to agreement. Rigoletio is about to cast the body
into the river v/hen he hears the Dulse's voice in the distance. The w^retched man opens
the sack, sees his daughter and falls senseless on her body.
ACT I
SCENE {—Ballroom in the Duke's Palace
As a fete is in progress in the ducal residence, the Duke confides to one of his courtiers
that he is about to make a new^ conquest. For some months he has seen a young and
beautiful girl at church, but knov^s nothing of her except that she is visited often by a man
w^ho is supposed to be her lover. The Duke then sings his first air, Questo a quelle.
Questa o quella ('Mid the Fair Throng)
By Enrico Caruso, Tenor {In Italian) 87018 10-inch, $2.00
By Florencio Constantino, Tenor (In Italian) 64069 10-inch, 1.00
This melodious number is perhaps the best of the Duke's solos, though usually cast
somewhat in the background by the popular La donna e mobile. In it the Duke announces
himself as a man of pleasure, sets forth his code of morals, and boasts of his conquests.
Duke:
'Mid tliL' fair throng ihat sparkle around mc,
Not one o'er my heart holds sway;
Though a sweet :^niile one moment ma\'
charm me.
A glance from simie bright eye its spell
drives away.
All alike may attract, each in turn may please;
Now with one T may trifle and play,
Then another may sport with and tease-
Yet all my heart to enslave tlieii- wiU-^
display-.
Caruso's interpretation of the Duke is quite different from the one to which opera-goers
have been accustomed. He does not picture Mantua as a deliberate villain, a fiend in
human guise, but as a light-hearted, careless and irresponsible devotee of pleasure, — so
attractive that the infatuation of Gilda seems wholly natural. This air is always sung by the
tenor with perfect ease and extreme brilliancy, and the record is a superb one, not sur-
passed by any in his list.
366
oft
Torts
;\s a dove Hies, alarm'd. to seek shelter
Pursued by some vulture, to bear :
in flight,
Thus do 1 fly from constancy's fetter:
E'en women's spells I shun — all their
I slight.
.\ husliand that's jc-alous T scorn and dcsjiise.
And J laugh at and heed not a lover's sighs;
If a fair one take my heart by surprise,
I heed not scornfvd tongues or prying eyes.
VICTOR BOOK OF THE OPERA — VERDI'S RIGOLETTO
Constantino, who has made a great success as the Du/^e in recent seasons, both at the
Manhattan Opera and in Boston, sings this gay air with grace and abandon.
After making another enemy in the person of the Count Ceprano, by his marked atten-
tion to the latter s wife, the Dul^e departs. Marullo enters and eagerly announces to the
courtiers a rich discovery. Rigoletto, the Dulse's jester, is in love! 1 he courtiers refuse to
believe this, as Higohtlo is known as a confirmed woman-hater. Marullo insists that the
jester makes frequent visits to a young girl. The nobles, who all hate Rigoletto for his cruel
tongue, are eager to turn this knowledge into a means of revenge, and agree to meet Ceprano
the next evening for a rare adventure.
The voice of the aged Count Monterone, w^hose daughter is one of the recent victims of
the Duke, is now heard outside demanding admittance. He throws aside the guards who
seek to stop him, and entering, denounces the Duf^e for his crimes.
Ch'io le parli (I \t^ill Speak to Him)
By Francesco Cigada, Baritone; Aristo-
demo Sillich, Bass; La Scala Chorus
(/n Italian} *68190 12-inch, $1.25
Rigoletto ridicules and mocks the old man, who
calls him a "vile buffoon," and then, in an awful
rage, utters so terrible a curse upon him, — the
curse of a father, —that all are horrified.
Rigoletto is stunned and sobered by this terri-
ble malediction, for he, too, has a daughter, un-
known to the court ; and love for his child and
respect for her dead mother are the sole redeem-
ing traits in his cruel nature.
Monterone is removed by the guards, and the
scene changes to the street in front of Rigolelto's
house.
SCENE 11 — A Street ; Rigoletto 's Cottage on one side,
opposite the Palace of Count Ceprano
The jester enters, brooding with superstitious
fear over the curse which had been laid upon
him. He is accosted by Sparafucile, a professional
assassin, who offers to rid him of an enemy if he
has one. Rigoletto looks at him thoughtfully and
says that if he has need of his services he will
inform him. Sparafucile departs and Rigoletto
delivers his famous monologue.
Monologo— Pari siamo (W^e Are Equal)
By Mario Sammarco, Baritone (In Italian) 88320
By Titta Ruffo, Baritone (/" Italian) 92041
By Ernesto Badini, Baritone (In Italian) *45032
He looks at the retreating form of the bravo and says:
Tells me, between sleeping and wakin
"Come, buffoon, I would laugh now!'
SPARAFUCILE OFFERS HIS SERVIC
ACT I, SCENE II
12-inch, $3.00
12-inch, 3.00
10-inch, 1.00
Rigoletto:
Yon assassin is my equal —
He stabs in darkness,
While I with a tongue of malice
Stab men by daylight!
(He tliinl;s of Montcrone's curse.)
He laid a father's curse on me. . . .
(Continuing in a burst of rage.)
Oh hideous fate! Cruel nature!
Thou hast doom'd me to a life of torment.
I must jest, I must laugh,
.-Vnd be their laughing stock!
Yonder the Duke, my master,
and brilliant, rich and handsome.
Oh shame, I must obey him!
Oh life accursed! How I hate ye.
Race of vile and fawning courtiers!
"Tis mv only joy to taunt ye!
For if I am vile, 'tis to your vice I owe it!
(He tliinlcs of liis Iwnie und daugitter.)
In that blest abode my nature changes!
(Again lie remenihers tJie curse.)
How heavy was that old man's curse!
Still I hea'r it; 'tis ringing in my ears!
My soul is troubled — fear I some misfortune?
.-\h, no, this is folly!
Youthful a.... , - ^11
The jester enters the court-yard and is affectionately greeted by Gilda, who comes
from the house. She notes his anxious
looks and begs him to confide in her. Shi
'^^uhle.FaceJ Record- For lillc of op.osiU siJe see DOUBLE-FACED RIGOLETTO RECORDS. pa,e378
367
VICTOR BOOK OF THE O PE R A — VE RD I ' S RIGOLETTO
SAM MARCO AS RIGOLETTO
RlGOLETTO :
'Twere useless myself to discover;
Suffice it that thy father I am.
Some in the world there are who fear me,
In others, perhaps, envy I excite.
Liut one there is who has cnrs'd mel
G I I.IIA :
Country, family, possess you none?
asks him about her mother, whom she but dimly remem-
bers. Rigoleito avoids her question and sings a pathetic air,
in which he begs her to refrain from questions regarding
their past hfe. The duet then follows :
Deh not! parlare al misero (Recall Not
the Past)
By Mme. Magrini, Soprano, and Titta Ruffo,
Baritone {In Italian) 89058 12-inch, $4.00
RluuLl':i in :
Recall not the jiastl
Sjieak not uf one whose loss to thee
All earth can boast could ne'er restore;
Her angel form methinks I see.
Who lov'd me, though dcform'd and ]joor.
Pity, oh! Gilda; spare mel
Gilda:
Father, dear father, calm yourself,
Or my heart will surely break.
To me your name pray tell;
The grief that saddens you impart.
Rtgoletto:
Thou art my country, family and friends!
The whole universe thou art to mel
Gilda :
Ah! if hajjpier I could make you.
\'\''hat joy to my heart it would br
He embraces her tenderly, then, recalling the curse, solemnly enjoins her to keep
within the house and never venture into the town. Gilda says she has only been to
Mass each Sunday, but does not tell him of the student with whom she had exchanged
fond glances. Rigoletto summons the maid, Giooanna, and questions her, beginning another
lovely duet, full of pathos.
Veglia o donna (Safely Guard This Tender Blossom)
By Maria Galvany and Titta Ruffo [In Italian) 91500 10-inch, $3.00
He warns the maid to alw^ays closely guard her mistress from any danger.
Rigoletto : Gilda:
Safely guard this tender blossom, Ah I such fear for me revealing,
Which to thee I now confide; Father dear, why thus display?"
In her guileless heart and bosom One from whom there's no concealing
May no thought of ill betide; Guides rae ever on my way
Rigoletto bids his daughter a tender farew^ell and takes
his departure. The Dul^e, again dressed as a student, now
enters, having previously purchased the silence of GioVanna.
Gilda is alarnned, not thinking her innocent flirtation in
the church w^ould lead to this, and bids him begone, but he
reassures her, beginning a fine duet.
E il sol deir anima (Love is the Sun)
By Giuseppina Huguet and Fernando de Lucia
(In Italian) 92056 12-inch, $3.00
By Alice Nielsen and Florencio Constantino
(In Italian) 74063 12-inch. 1.50
He soothes her fears, telling her he loves her with a pure
devotion.
Uuke:
Love is the sun by which passion is lighted,
Happy the mortal who feeU its power ;
Each pleasure once priz'd without it seems
blighted;
With it we heed not what fate may shower.
Feeling celestial, no joy terrestrial^
Ever to me can such sweet joys impart.
Ah! may no blight ever this heart from thee
sever;
Rest in my bosom, ne'er to depart!
369
VICTOR BOOK OF THE O P E R A — V E R D I ' S RIGOLETTO
Footsteps are now heard, and after a tender farewell he leaves, after telling her that
his name is Walter Malde.
Gilda remains pensively gazing at the gate through which the pretended student has
departed. In rapturous soliloquy she sings:
CiiLiiA :
Walter Malde! Thnt rnmantic namu 1 Walter. J lnvf thcu.
Already it is on my ht-art engraven! Ev'ry fond, lender thoui^lit f(ir the- I cherish:
Caro nome (Dearest Name)
By Luisa Tetrazzini, Soprano
By Tvlarcella Sembrich. Soprano
By Nellie Melba, Soprano
By Graziella Pareto, Soprano
By Edith Helena { Double-faced— Sec page 378)
By Marie Michailowa. Soprano
Then the lovely air, Caro Nome, begins.
GiLiM ;
Carv'd i.i]>iin my iniimst heai t
Is that name f<M(\rrinore
Ne'er a.uain frnm thence tn part,
Name nf ]uyr \\v.\\ 1 adore,
Thou In nil- :i I r r\-{-\- near,
Ev'ry thouMlil In ihue will fly.
Life for thee a1(]Tic is dear.
Thine shall )x- my jiarting sigh!
(Gilda enters Ihc house, but rcapfcars on flu
balcony.)
Oh, dearest name'
Oh name beloved !
Melba's rendition is worthy of so exquisite a number, and she has surpassed herself
here. The ease with which she sings is wonderful, and her voice shows in an unusual de-
gree that luscious smoothness, golden purity and perfect equality for which it is noted.
The character of Gilda is always represented by Mme. Sembrich with genuine simplicity,
yet with truly impassioned feeling where occasion calls for it; as in this tuneful "Caro
nome, when the young girl in soliloquy dwells with rapture on the name of her lover.
Tetrazzini's delivery of this lovely air is marked by surpassing beauty of tone, the
roulades, trills and staccatos in the concluding portion being poured out lavishly and with
the utmost ease and fluency. Other adequate renditions, at lower prices, are also listed above.
Night has now fallen and the courtiers, led by Ceprano, enter, wearing masks. Rigo-
leiio returns and is much alarmed to see them in this neighborhood, but his fears
are allayed when they announce that they have come to carry off Ceprano's wife, as
(In Italian) 88295
12-
inch.
$3.00
[In Italian) 88017
12-
inch.
3.00
(In Italian) 88078
12-
inch.
3.00
(In Italian} 76007
12-
inch.
2.00
?) (In English) 3506 7
12-
inch.
1.25
(In Russian) 61141
10-
inch.
1.00
(Sl!C d!S^!J'tC(n'S, hut C(l!l
wiltnu.)
hc
hear,
horn
OhI nanie hclovcfll
Dear naTnc, within tliis hrcri
si.
Tllv niL-in rv will nniaini
My Invc for Hue cnnfc^sM,
Xo ]io\\ijr can restrain 1
Carved ninm my inmost heart
Ts that name for evermore.
Ev'ry thon^ht to thee will fly.
Thine shall he my partini; siph,
1)1, Walter mine!
VICTOR BOOK OF THE OPERA — VERDFS RIGOLETTO
Ke is well aw^are that the Dul^e
has had designs on that lady
for some time past. He tells
them Ceprano 's palace is on
the opposite side and offers to
help them. They insist that
he must be disguised and
contrive to give him a mask
which covers his eyes and
ears, and lead him in a circle
back to his ow^n balcony, giv-
ing him a ladder to hold.
Gilda is seized, her mouth
gagged with a handkerchief,
and she is carried away.
Rigoletto, suddenly finding
himself alone, becomes suspi-
cious, tears off his mask and
finds himself at his ow^n bal-
cony. Frantic w^ith fear he
rushes in, finds his daughter
gone, and falls in a swoon as
the curtain descends.
THE ABDUCTION OF GILDA
ACT II
SCENE— ^ Hall in the Duke's Palace
Parmi veder le lagrime (Each Tear That Falls)
By Enrico Caruso, Tenor {In Italian) 88429 12-inch, $3.00
The DuJ^e, after his tender parting w^ith Qilda, in the previous act, had again returned
to the Jester's house, only to find it deserted and the young girl gone. Not know^ing that his
courtiers had carried her off under the very nose of Rigoletto, he bew^ails the unhappy fate
w^hich has robbed him of his latest conquest. As w^e hear him sing his pathetic lament,
we forget his real nature and almost sympathize w^ith the unhappy lover !
This melodious number has been much neglected in American performances of the
opera, being usually omitted.
The Duke:
I )t-ar maid, each tear of tliiiie that falls
Kach sad sim'Ii that bosom heaving
Pining within some dreary walls,
Fills me with grief there's no relieving.
.\h ! vainly didst thou cry to me,
"Help me, dear Walter, help!"
No aid etiuld I afford thee;
Yet, could my life thy woes repay.
Gladly exchang'd it should be.
Not e'en the angels' blessed abode
Could peace to me restore.
If from thee apart.
The courtiers enter and tell the Duke that they have captured Rigoletto's mistress. He
expresses his appreciation of the adventure, not knowing they had abducted the young girl
he had just left, and asks for particulars. They sing their chorus, Sconendo unite.
Scorrendo unite remota via (On Mischief Bent)
By New York Grand Opera Chorus (/n Italian] 64049 10-inch, $1.00
which gives the details of the huge joke they have played on Rigoletto by making him assist
in the capture of his ow^n mistress.
Courtiers :
Unto a lonely abode directed.
When shades of evening were falling fast.
By dark'ning shadows we were protected
Until our game we spied at last:
With timid footsteps she scarce came nigh ii;
We were preparing our prey to seize
When Rigoletto just then came by us.
When the Duke learns that Gilda is in an adjoining room he joyfully goes to her, saying
that her fears will be soothed when she discovers he is the Walter Malde she loves.
Then occurs one of the most dramatic scenes in the opera, and the greatest opportunity
for Rigoletto. This scene has been recorded in its entirety by Amato, one of the greatest of
Rigolettos, assisted by Bada, Setti and the Metropolitan Chorus.
371
With angry brow and ill at case.
.\nd that the joke might be all the madder.
We said Ccprano's wife should be our prey,
We then desir'd him to hold the ladder;
His eyes were bandag'd, he did obey.
We swiftly mounted to the room.
And the startled beauty bore away;
VICTOR BOOK OF THE O P E R A — V E RD I ' S RIGOLETTO
Povero Rigoletto ! (Poor Rigoletto !)
By Pasquale Amato, with Bada, Setti and Chorus 88340 12-inch, $3.00
R-igoletto's voice is now heard outside, singing a careless air. He enters, affecting in-
difference, but trying to find some clue to Gilda's whereabouts. A page enters w^ith a mes-
sage for the Dul^e and the courtiers tell him their master cannot be disturbed. Rigoletto
listens, his fears becoming confirmed, and he exclaims:
Rigoletto :
All, she must l)e here then I
In yonder chanilierl
Courtiers: If a sweetheart you've lost,
(^o somewhere else to seek her!
RrGOLETTO (zvith terrible einpliasis) :
Give me my daughter I
CnrRTJERS {in nsloiiisliiiieiit) :
Whnt, his dauyhter!
Rigoletto :
^'^,■s. my dauKliterl
Tlie maid whom you last niuht
I'rom my ronf carried hither.
Ah, she is there, I know it I
(Rushes lo'a'iird ilte door, hut the courtiers bur
his pussaijc and a terrible struggle occurs.)
She i^ iliiii : 'land back, I irll vd
His rage, now terrible to "witness, is expressed in the second part, Cortigiani, vil razza.
Cortigiani, vil razza dannata (Vile Race of Courtiers)
By Pasquale Amato, Baritone (!n Italian) 88341 12-inch, $3.00
By Titta Ruffe, Baritone, and La Scala Chorus (Italian i 92066 1 2-inch. 3.00
By Emilio Sagi-Barba. Baritone (/n Spanish) 74161 12-inch, 1.50
By Renzo Minolfi. Baritone '16573 10-inch, .75
He at first denounces them as abductors and assassins, then breaking down, asks for pity.
Rigoletto:
Race of courtiers. \ de rabble (lelcsi;.-*!.
riave ye sold her, whose peace ye molested?
Where is she? do not rouse me to madness —
Though unarm'd. of my vengeance beware,
For the blood of some traitor I'll pourl
{Again making for the door.)
Let me enter, ye assassins, stand back!
That door I must enter!
(He struggles again zvith the courtiers bii
is repulsed and gives uf? in despair.)
Ah, I see it— all against me — have pity!
This affecting scene is ended by Gilda, who now enters, in tears, and embraces her father.
;Vh, I weep )jefore ye, Marullo, so kindless?
• Hhers' grirf never yet saw thee mindless.
Tell, oh tcM w licre my child they have hidden.
Is't there ? — say in pity — thou'rt silent ! alas!
(In tears.)
Oh, my Irird.s, will ye ha\e no compassion
On a fathei''s des];airing intercession?
(live me back my belov'd only daughter,
Have pity, oh give me back my child,
In jiity, oh hear me implore !
Rigoletto (overjoyed) :
(jilda. my daughter!
My lost one — my treasure!
Angel, I've found thee!
Come tell me, 'twas but jesting?
( To the courtiers.)
I who was weeping rejoice now.
(To Gilda.)
But why art thou weeping?
(heda {hiding her face) :
Dishonor, nh my father '
Rigoletto: Horror! what say'st thou?
C.ILDA :
Father, oh hide me from ev'ry eve but thine!
Rigoletto (iniperiously. to the courtiers):
Hence, I command, and leave us!
If the worthless duke ye serve dares approach,
T forbid him to enter!
Say that, I charge yc !
The courtiers, somewhat ashamed, obey, and Gilda begins her pitiful confession.
Tutte le feste al tetnpio (On Every Festal Morning)
By Marcella Setnbrich and G. Mario Sammarco
By Olimpia Boronat, Soprano
By Laura Mellerio and Ernesto Badini
By Giuseppina Huguet, Soprano
Gilda :
On ev'ry festal iiKjrning
Near to the holy altar,
I saw a youth observing me.
Fieneath whose gaze mine did falter,
Though not a word he said to me.
My heart his meaning well did know!
Last night he stood before me.
Fondly he vow'd to love me, (
And I gave him vow for vow.
Rigoletto (despairingly) :
Ah! that thou be spared my infamy
I've wearied Heaven with praying.
That every good may light on thee
Far from the world's betraying.
(In Italian]
(In Italian)
(In Italian)
89042
88242
=45000
'62083
12-inch, $4.00
12-inch, 3.00
10-inch, 1.00
10-inch, .75
Ah, in my ho]ieless misery,
My saint T have enshrined thee.
In horror and anguish here I must find thcc,
Thy future all turned to woe!
(To Gilda.)
Daughter come, let me comfort thee in thy
sorrow —
lda:
Father!
Rigoletto :
Weep here, weep, on my heart thy tears mav
flow.
(iilda:
Father, in thee an angel doth comfort beslow.
* Douhk^Fac^d Record— For title of opposite side see DOUBLE-FACED RIGOLETTO RECORDS, page 378.
VICTOR BOOK OF THE OPERA — VERDPS RIGOLETTO
Piangi fanciuUa (Weep, My Child)
By M^aria Galvany, Soprano, and Titta Ruffo, Baritone
{In Italian) 92502 12-inch, $4.00
By A. Cassani, Soprano, and F. Federici, Baritone '*'4-5032 10-inch, 1.00
Following the duet Rigoletto exclaims :
RlUOLETTU :
1 think what remains yet for nic to accomplish:
This fatal abode we inust leave on the instant.
Gilda:
Yes, my father, let ns go 1
Rigoletto {aside) :
Oh, how all our fate has been changed in a
day 1
The Count Monterone now passes through the hall under guard. He pauses before the
Dune's portrait and exclaims:
Mu.NTIiKuNE :
Oh, then, 'twas in vain in my anger I cursed
I heel
No thunder from Heaven yet hath burst down
to strike thee.
With pleasure triumphant thy days yet are
ei'MW ned.
{Exit, guarded.)
Rigoletto, gazing after Monterone, grimly says that vengeance will not be long delayed.
Si vendetta (Yes, My Vengeance)
By Maria Galvany, Soprano, and Titta Ruffo, Baritone
{In Italian) 91501 10-inch, $3.00
By Laura Mellerio and Ernesto Badini (In Italian) *45O0O 10-inch, 1.00
He in turn gazes on the Dulles portrait and sings fiercely:
RiGOLEiTO: (iiLDA itunidly) :
But 'twill not be long thus, the avenger is Heav'n doth know his crmic atrocious,
nigh.
(I»ipctuously.)
Yes, my vengeance hath doomed thee.
Heartless fiend, 'tis my sole consolation.
That ere the flames nf Hell entomb thee,
Thou shalt feel a father's wrath.
Gilda:
Oh my father, a joy ferocious
In thy words doth tell of danger —
Rigoletto :
To vengeance!
Oh, might I avert its wrath-
RlGOLETTO:
To vengeance I
Gilda:
(In my heart there's nought of anger.)
Rigoletto:
Yes, to vengeance fierce I doom thee —
Thou shalt feel a father's wrath!
Gilda:
Oh, forgive him!
Ah, might I avert the wrath of Heaven!
(They depart.)
sparafucile's den— act hi
= Double-FaceJ RecorJ—For mk of opposite side see DOUBLE-FACED RIGOLETTO RECORDS, page 378.
373
VICTOR BOOK OF THE OPERA — VERDI'S RIGOLETTO
ACT III
SCENE I — A Lonely Spot on the River Mincio
A house, half in ruins, at one side. The front of the house, open to the spectator, shows
a rustic inn on the ground floor ; a broken staircase leads from this to a loft, where stands a rough
couch. On the side towards the street is a door, and a low wall extends backwards from the
house. The Mincio is seen in the background, behind a ruined parapet; beyond, the towers of
Mantua. It is night. Sparafucile is in the house, seated 63? a table polishing his belt, unconscious
of what is spoken outside.
Rigoletto and Gilda, the latter in male attire, now approach the inn. Rigolelto pityingly
asks his daughter if she still can love the Duke. She confesses that she does, and he
exclaims :
Rk.oletto : Gilda:
Thou lov'st him? Nay, rather jiity.
Gij-da: ^
Always. Rigoletto :
Rigoletto ■ And if T I'lmld convince thcc that he is
Still to iove him is mere infatuation. worthless, wouldst thou still then love him?
^^'j-^,^' ^. Gilda:
1 love him. Perhaps. Ah, he docs love mel
Ah, tender heart of woniani Riijoletth (IcfuLs her touHirds the house to look
0\\, base despoilerl through a fissure in the wall):
Thou, my child, shalt yet have vengeance. Come here, and look within.
She does so, and is startled to see the Duke, who comes in disguised as a soldier. He
demands some w^ine, and ^vhile Sparafucile is serving him, sings his famous La donna e mobile.
La donna e mobile (W^oman is Fickle)
By Enrico Caruso, Tenor (In Italian) 87017 10-inch, $2.00
By Florencio Constantino. Tenor [In Italian) 64072 10-inch, 1.00
By Giuseppe Acerbi, Tenor {In Italian) "62083 10-inch, .75
This familiar canzone, beginning
I AUcgretlo.
Ladon-na6mo-bi-lequalpiu-maalven-lo, mu-ta d'ac ■ cen - to e di pen sic- ro
IVom-an is fick - le. false al- to- geth-er, Mov'd like the fea-iher borne by the tree -zes
is perhaps the best known of all the airs of the opera. Its spontaneous melody pictures the
gay, irresponsible character of the young noble who thus sings of changeable womankind.
Duke:
Woman is fickle, false altogether,
Moves like a feather iKsrne on the breezes;
Woman with gnilin^ smile will c'ct- deceive
you.
Often can j/rieve ynn. yet e'er :-he plea'^es,
Her heartV tinf i-t- ling, false altogether ;
Moves like a feather borne on the breeze,
llorni;- (j[i ihu bi-ecze, borne on the breeze!
Wretched the dupe is. who when she looks
kindly,
^Trusts to her blindly. Thus life is wasted I
Yet he must surely be <lnl! beyond measure,
Who of love's pleasure never has tasted.
\\''oinan is fickle, false altogether,
Moves like a feather, borne on the breeze!
Caruso delivers the gay air with an ease and abandon which are infectious, and sings
the difficult cadenza in the second verse with unusual effectiveness.
Other renditions are given at varying prices.
* Double-Faced Record— For title of opposite side see DOUBLE-FACED RIGOLETTO RECORDS, page 378.
.174
VICTOR BOOK OF THE O P E R A — V E R D I ' S RIGOLETTO
At the close of the Duke's song Sparafucile enters with the wine. He knocks twice on
the ceiling and a young girl comes down. The Duk.e tries to embrace her but she laughingly
escapes him. Now occurs the great Quartet, one
of the most famous of concerted pieces.
Quartet — Bella figlia deiramore
(Fairest Daughter of the Graces)
By Bessie Abott, Soprano; Louise
Homer, Contralto; Enrico Caruso,
Tenor; Antonio Scotti, Baritone
{In kalian) 96000 12-inch, $6.00
By Marcella Sembrich, Mme. Sev-
erina, Enrico Caruso and An-
tonio Scotti
(In Italian) 96001 12-inch, 6.00
By Giuseppina Huguet, Emma Zac-
caria, Carmelo Lanzirotti and
Francesco Cigada
(In kalian) *68067 12-inch, 1.25
By Victor Opera Quartet
(In kalian) 70073 12-inch, 1.25
By Kryl's Bohemian Band
*35239 12-inch, 1.25
By Huguet, Zaccaria, Lanzirotti,
and Cigada 58359 12-inch. 1.00
By Pryor'sBand 31471 12-inch, 1.00
By Pryor'sBand '16276 10-inch, .75
Among the musical gems with which the score of Rigoletto abounds, none is so well
known and universally admired as this fine number, sung by the Duke, Gilda, Maddalena
and Rigoletto. It is undoubtedly the most brilliant and musicianly of all Verdi's concerted
pieces, and the contrasting emotions — the tender addresses and coquetry on the one side,
and the heart-broken sobs of Gilda and the cries for vengeance of her father on the other —
are pictured with the hand of a genius.
No less than five records of this great number, in various classes, also three instrumental
renditions, are offered by the Victor. The singers who have been engaged for these records
are all noted for their artistic interpretations of the characters represented. Caruso's Duke,
with its glorious outpourings of luscious voice in the lovely airs; Sembrich 's perfect por-
trayal with its wonderful vocalization ; Abott's girlish and brilliantly sung imper-
sonation ; Homer's Maddalena,
which is fascinating enough
to attract any Duke, and -whose
one vocal opportunity occurs ^^^E^^^B^^^^^^^^tt^' ^-tt^^ 4iPb ^^r
here; Scotti's truly v/onderful jHR^flP^ /^^^^^^K ' '' ^i^ mm^ <A
and superbly sung Jester, one ^ ^ ^>
of the most powerful im-
personations on the operatic
stage — all these are familiar
and admired portrayals; while ^^^B^S^Ml\ iMB^^^^ •\'
the artists who render the ' '
black label records are all
w^ell-know^n and competent
singers.
The situation at the open-
of the act is a most dra-
ing
matic one. The Duke, gay and
THE OUARTKT ,\CT III
Doul>le-Faced Record— For title of opposite Side see DOUBLE-FACED RIGOLETTO RECORDS, page 378.
375
VICTOR BOOK OF THE OPERA — VERDI'S RIGOLETTO
careless, is making love to Maddalena, all unconscious that the assassin hired by Rigolettc
is waiting for his opportunity.
He sings, beginning the quartet:
Duke:
Fairest daughter of the graces,
I thy hunible slave implore thee,
With one tender word to joy restore Tne,
End the pangs, the pangs of unrequited love.
Of my anguish see the tract.^.
Thee I treasure all above.
With one tender word to joy restore me.
End the pangs, the pangs of unrequited love!
Maddalena {repulsing him) :
I appreciate you rightly.
All you say is but to flatter.
Ah, I laugh to think how many
Yet your tender tale inay move!
Rigoletio, who desires to prove to Gilda that her lover
is false, bids her look through the window of the inn at
the scene w^ithin. The unhappy girl, convinced, exclaims:
C.ilna:
,\h, to s])eak of love thus lightlyl
Words like these to me were spoken,
lie is false; my heart is broken!
Rkioletto :
Silence, thy tears will not avail thee.
It were baseness to regret him!
Thou must shun him and forget him.
( JVitk fierce joy. )
Thy avenger I will prove
The strength to punish will not fail tne
That I vow to every power that rules above!
bedroom and is soon asleep. Higolello bids his daughter go
MAIilJALENA
The Dul^e now goes to his
to Verona w^ith all speed and
he will meet her there. She
reluctantly departs and fiigo-
telto pays Sparafucile half his
price, the remainder to be
paid on the delivery of the
body of the Du/^e at midnight.
Rigoletio goes aw^ay just as
Gilda, who has disobeyed her
father, returns and tries to see
vi^hat is going on mside the
house. Sparafucile enters the
house and Maddalena, w^ho
has taken a fancy to the Duf^e,
begs her brother to spare his
life, delicately suggesting that
he kill Rigoletio and take
the money from him. Spara-
fucile is indignant and pro-
tests that he has never yet
failed in his duty to his em-
ployers. Maddalena pleads
with him and he finally says
if another guest should enter
he w^iU kill him instead of
the Duke.
.OVER FAI.se
Sparafucile:
If some one should enter ere midnight has sounded,
I promise that he for thy favorite shall die!
Gilda :
Oh, what a temptation! my fate! T have found it,
Tn silence and darkness, to save him and diel
376
VICTOR BOOK OF THE OPERA — VERDI'S RIGOLETTO
During this dramatic scene a storm is raging, and in addition to the stage effects of
thunder and Hghtning Verdi has the chorus humming in chromatic thirds to illustrate the
moaning of the wind. This scene is given here in a most impressive record.
Tempesta — Sotniglia un Apollo (He's Fair as Apollo)
By Linda Brambilla, Soprano ; Maria Cappiello, Mezzo-Soprano ; Aristo-
demo Sillich, Bass ; and La Scala Chorus (In Italian) *68190 12-inch, $1,25
Gilda hears this terrible agreement and the broken-hearted girl resolves to sacrifice her
own life to save that of her false lover. She knocks at the door, is seized and stabbed by
the bandit and her body wrapped in a sack. Rigoletto soon returns, pays the remainder of
the price agreed upon, and receives the body. Sparafucile, fearing that Rigoletto will discover
the substitution, offers to throw^ the body into the river. The Jester says he will do it him-
self and bids the bravo depart.
Left alone, the Jester gcizes on the body with a horrible satisfaction, saying:
Rigoletto:
He is there, pow'rlessl Ah, I must see him! Ves, my foot is upon him I
Nay, 'twere folly! 'tis he surely I I feel his My grief has vanish'd,
spurs here. 'Tis turned to joy triumphant;
Look on me now ye courtiers! Thy tomb shall be the waters.
Look here and tremble. This coarse sack thy shroud and grave cloth 1
Here the buffoon is monarch! Away, now!
He is about to drag the sack tow^ards the river, v/hen he hears the voice of the Duke.
leaving the inn on the opposite side.
Duke:
Woman is fickle, false altogether, etc.
Rigoletto (tearing his hair):
That voice! Am I mad? What fiend deludes me?
No, no, no I here I hold him I
{Calliii;/ to the house.)
Hola. thou thief, thou bandit!
(The Duke's voice dies in the distance.)
Then whom have I within here ?
I tremble — the form is human!
(With utmost horror, rccogniziiicj Gilda.)
My daughter, oh, Heav'n, my daughter!
Ah, no! Not my daughter! She is in Verona!
'Tis a dream !
Then begins the wonderful final duet, a fitting end to such a noble and powerful work,
and a number which is unfortunately omitted in American performances of the opera.
However, the Victor customer, more fortunate than the opera-goer, may hear it at his
pleasure.
Lassu in cielo (In Heaven Above)
By Graziella Pareto and Titta Ruffo [In Italian) 92506 12-inch, $4.00
By Giuseppina Huguet and Renzo Minolfi (In Italian) "^68067 12-inch. 1.25
Rigoletto: The assassin deceived me. llola!
'Tis Gilda! (Knocks desperately on the door of the lioiise.)
(Kneeling.) No answer! despair! my daughter! my Gilda!
Child of sorrow! my angel, look on thy father! Oh. my daughter!
The young girl, who is not yet dead, opens her eyes and cries feebly :
Gilda: Rigoletto:
Ah 'who call'; me?* Child, in pity, oh speak not of dying;
Rigoletto: Stay thou to bless me, oh leavt- me not alone.
Ah, she hears me! She lives then I Gilda (feebly):
Oh, thou, mv heart's only treasure. There we wait, my father, tor thee!
Behold thy father despairing! Rigoletto:
Who was't that struck thee? Ah, no, no, leave me not!
Gilda: Live, my child.
Oh, my father, for him that I cherish. Canst thou leave me alone, despairing?
I deceived thee, and for him I perish. Gilda:
Rigoletto: -'^h. no — forgive my betrayer, my father.
lieaven's avenging wrath has undone me, From yonder sky— there we wait — my father.
Turn thine eyes, oh my angel, upon me, for — (She dies.)
Speak, oh speak to me, who hath bereft me? RiooLETTfi: ., , , ,
Gi,P^. Gilda! my Gilda! I ve lost her!
Father, oh ask net, CH^ recalls the curse.)
Bless thy daughter and forgive her. Ah! twas a father cursed me „ , ,.
^ (Tears Ins hair and falls senseless on the body.)
(Curtain)
^ouble^FacedRecord— For title of opposile si Jesse DOUBLE-FACED RIGOLETTO RECORDS, page 378.
VICTOR BOOK OF THE OPERA — VERDI'S RIGOLETTO
Us
the
Gems from Rigoletto
Chorus, " Pleasure Call
iCaro Nome) Duet, "Love is
" Fairest Daughter" — Finale
By the Victor Opera Company (In English)
Rigoletto^Paraphrase de Concert (Verdi-Liszt)
By Vladimir de Pachtnann, Pianist 74261
Solo and Chorus, "Carved Upon My Heart"
Sun" — Solo, "Woman is Fickle"— Quartet,
31386 12-inch, $1.00
12-inch. $1.50
12-inch. $1.25
35067 12-inch. 1.25
68067 12-inch. 1.25
DOUBLE-FACED RIGOLETTO RECORDS
iCh 'io le parli (I V/ill Speak to Him) I
I By Cigada, Sillich and La Scala Chorus {In Italian i \^Q^an
jTempesta— Somiglia un Apollo (He's Fair as ApoUo) f
I By Brambilla, Cappiello. Sillich and Chorus)
jCaro nome (Dearest Name] By Edith Helena (In English) \
\ Sonnambula — Ah, non giunge By Edith Helena f English)
Quartet — Bella figlia deir amore (Fairest Daughter of the
Graces ) By Giuseppina Huguet, Emma Zaccaria, Cartnelo
Lanzirotti and Francesco Cigada {In Italian)
Lassu in cielo (In Heaven Above) By Giuseppina
Huguet, Soprano, and RenzoMinolfi, Baritone [In Italian)
/Quartet By KryTs Bohemian Band!
I Trovatore Selection {Home Io Our Mountains) Vessella's Bandj
/Monologo — Pari siamo By Ernesto Badini {In Italian)\
(Piangi fanciulla By Cassani and Federici {In Italian) j
(Tutte le feste al tempio i On Every Festal Morning)
] By Laura Tvlellerio and Ernesto Badini (In Italian]
] Si vendetta (Yes. My Vengeance)
[ By Laura Mellerio and Ernesto Badini {In Italian)
iCortigiani, vil razza dannata (Vile Race of Courtiersj
By Renzo Minolfi, Baritone (/n Italian)
\ Lakme — Fantaisie aux divins By M. Rocca, Tenor {In French] ]
I Tutte le feste al tempio (On Every Festal Morning) 1
By Giuseppina Huguet, Soprano {In Italian) 62083 10-inch, .75
[La donna e mobile By Giuseppe Acerbi, Tenor {Italian) \
(Rigoletto Quartet By Arthur Pryor's Band
I Peacemaker March B^ Arthur Pryor's Bandj
35239
'45032
12-inch. 1.25
10-inch, 1.00
45000 10-inch. 1.00
lo573 10-inch,
16276 10-inch.
75
75
GIT.DA S DESPAIR-
37S
RINALDO
> Ree-nahl'-doh)
OPERA IN THREE ACTS
Text by Adam Hill ; Italian text by Rossi, founded on the episode of Rinaldo and Armida
in Tasso's Gerusalemme liberata. Music by George Frederick Handel.
Rinaldo was produced at a time when Italian music had become
the fashion in London, and the composer followed the plan then in
vogue, to write the dialogue m recitative form. This opera was writ-
ten by Handel in the amazingly brief time of fourteen days, and first
performed at Queen's Theatre, February 24, 1711. The work was put
on to signalize the coming of Handel to London, and was a magnificent
production for that period. Only the year before the composer had
been induced to leave the Court of Hanover for that of England; and
upon his arrival in London Mr. Aaron Hill, the enterprising manager of
the new Haymarket Theatre, engaged him to supply an Italian opera.
Hill planned Rinaldo, Rossi wrote the Italian libretto, and Handel hur-
riedly dashed off the music.
The opera ran for fifteen consecutive nights — an unprecedented feat for that age — and was
mounted with a splendor then quite unusual. Among other innovations, the gardens of
Armida w^ere filled with living birds, a piece of realism hardly outdone even in these days.
Characters in the Opera
Rinaldo, a knight Soprano
Armida, an enchantress Soprano
ALMIRENA, Godfrey's daughter Soprano
ARGANTE, a Pagan king Bass
Godfrey, a noble Bass
EUSTAZIO Alto
The action iof^es place in Palestine at the lime of the Crusade.
Rinaldo is a Knight Templar w^ho loves Almirena, daughter of Godfrey. The enchantress,
Armida, also loves Rinaldo, and m a jealous rage seizes Aim tena and conceals her in a
magic garden. Armida' s lover, a Pagan King named Argante, complicates matters by himself
falling in love with Almirena. Rinaldo finally rescues Almirena, and the sorceress and her
lover are captured and converted to Christianity.
Among the many arias of great beauty with which the score abounds is the Lascia ch'io
pianga, in which Almirena laments her capture by the sorceress. This striking number is
delivered by Schumann-Heink with great beauty of tone coloring and impressive power in
the most dramiatic passages, The melody is a beautiful one.
Lascia ch'io pianga ('Mid Lures ! 'Mid Pleasures !)
By Ernestine Schumann-Heink, Contralto [In Italian) 88189
Almirena: Armida. tlioii enchantress.
With thy craft, dark and fiendish.
Hast stolen from my sad heart
The bliss of Heaven;
And here a doom eternal
Suffer I ever,
The prey of pow'rs infernal!
Alah;! nanglit's left to me
12-inch, $3.00
Hut ^-rief with bitter tears!
'Mid lures, 'mid pleasure^,
Hopeless ] languish
\'ainly deploring my freedom lost!
Heaven, who canst measure
Aly jiain and anpuish.
Tliee I'm imploring
IJy in fate toss't!
(French)
(English)
ROBERT LE DIABLE ROBERT THE DEVIL
(Roh-her lehDee-ah'M)
OPERA IN FIVE ACTS
Words by Scribe and Delavigne; music by Giacomo Meyerbeer. First presented at the
Academic, Paris, 1831; in London, in English, at Drury Lane, 1832; in Italian at Her
Majesty's Theatre, May 4, 1847 (first appearance of Jenny Lind).
Cast
Robert, Duke of Normandy Tenor
Bertram, the Unknown Bass
Isabella, Princess of Sicily Soprano
Alice, foster sister of Robert Soprano
Knights, Courtiers, Heralds, Pilgrims, Peasants, Chaplains, Priests, Nuns, etc.
Although Meyerbeer had
produced several operas, most-
ly unsuccessful, it was not
until the production of Robert
le Diable in 1831 that the
genius of the composer became
know^n. The opera met with
an unparalleled success and
really made the fortune of the
Paris Opera w^ith its splendid
scenic effects, brilliant instru-
mentation, vigorous recitative
and its heroic and partly
legendary story.
Robert, Duke of Normandy,
^vho w^as called Robert the Devil
because of his courage in
battle and his successes in
love, is banished by his sub-
jects and goes to Sicily, where
be continues to struggle with
an Evil Spirit, w^hich seems
to tempt him to every kind of
excess. Alice, his foster sister, suspects that his supposed friend Bertram, is in reality this
evil influence. At the close of Act I Robert, led on by Bertram, gambles away all his
possessions, and failing to attend the Tournament, loses the honor of a knight and greatly
displeases the Lady Isabella, vi'hom he loves.
The second act shows the entrance to the Cavern of Satan, wherein a company of Evil
Spirits are collected, and w^here occurs the great scene for Bertram and the chorus of fiends.
Valse Infernal,
My Toils)
By Marcel Journet and Chorus
Bertram promises the Demons that he w^i
rejoice at the prospect of adding another soul
Bertram :
I have well spread my toils, another snul (n
capture I
One more gained! glorious conquest,
At which demons must rejoice I
(A subterraneous noise is hear J ; darkness
falls. Bertram, under the control of the
evil one, feels an unholy joy.)
King of fallen angels! ruler mine! * * *
Lie is here! * * * He awaits me! * *
I hear the noise
'* Ecco una nuova preda '' J Have ^^ell Spread.
{In French) 74282 12-inch, $1.50
11 complete the ruin of Robert and the fiends
to their company.
Of their infernal joy * * '^ the fallen
spirits seek
To drown their remorse in hellish mirth!
Infernal Chorus (from the cavern):
Ye demons, who Heaven and its laws defy.
The sound of your revels now mounts to the
sky,
Your voices lift high!
Pi^aise the master who reigns over us,
Sing aloud in Iu^ty chorus!
Praise the Master, yes praise!
380
VICTOR BOOK OF THE OPERA— ROBERT THE DEVIL
Alice, who has come to the vicinity of the cave to meet her lover, overhears this infernal
bargain and determines to save him. Hobert, dejected over the loss of his honor and
wealth, meets Bertram, w^ho promises that all shall be restored to him if he v^^ill have the
courage to visit the ruined abbey and secure a magic branch, which can give w^ealth, pow^er
and immortality.
Du rendezvous (This is Our Meeting Place)
By Edtnond Clement and Marcel Journet {In French) 76020 12-inch, $2.00
Le bonheur est laus Tinconstance (What is Life^^-'^ithout Change ?)
By Edmond Clement and Marcel Journet {In French) 76021 12-inch, $2.00
The next scene shows the ruins, where Bertram invokes the aid of the buried nuns in
completing the downfall of Robert. This famous invocation is sung here by Plan^on.
Invocation — Nonnes, qui reposez (Ye Slumbering Nuns)
By Pol Plan90n, Baritone {In French) 85125 12-inch, $3.00
Bertram speaks of the founding of the convent and of the false nuns w^ho lie buried
here, and calls upon them to arise.
Bertram :
Here are the nuns of the ancient monastery.
offered to other
To Heavens
Rosalie,
Here He buried
bequeathed
the false daughters
Whose unlioly devotion was
gods,
by St. Nuns, who beneath this cold stone repose.
For an hour forsake your sepulcher beds,
King of Hell, it is I who calls you.
THE RUTNED ABREY-
The spectres arise, and
when Robert appears they
dance around him and lead
him to the grave of St.
Rosalie, w^here he is show^n
the magic branch. Overcom-
ing his fears, he grasps it, and
by its power defeats the mul-
titude of demons who arise
from the infernal regions to
prevent his escape.
In the next scene Robert
uses the branch to become
invisible, and goes to Lady
Isabella 's room to carry her
off. In this scene occurs the
famous air for Isabella, **Oh,
Robert, My Beloved."
Robert, O tu che adoro (Oh, Robert, My Beloved !)
By Margarete Matzenauer, Mezzo-Soprano (Italian) 88365 12-inch, $3.00
She appeals to his better nature in this lovely cavatina :
Isabella: ^'ow at thy feet I kneel:
Oh, Robert, oh. my beloved! Mercy on thyself,
I live alone, yes. alone for thee Oh, have mercy and pity on me!
My anguish thou see'st, Robert, who alone I cherish,
On thyself have mercy, and pity on me! Thou for whom I'd gladly perish,
Ah, the ties that once bound thee My anguish thou see'st.
Now no more canst thou feel? On thyself have mercy, and pity on me!
Once I received thy homage,
The air, which is written for a soprano, is well adapted to show the great range of
Mme. Matzenauer's voice, her high notes being beautifully taken.
Selection, including '' Oh, Robert, My Beloved"
By Arthur Pryor's Band (Double-faced) 35064 12-mch, $1.25
Moved by her entreaties, he yields to the promptings of his good angel and breaks the
branch, thus destroying the spell.
In the last act Bertram renews his efforts to induce Robert to sign an eternal contract.
Tired of hfe, he is about to yield when Alice appears and tells him of the last words of his
mother, warning him against the Fiend, who is in reality Robert's father. The clock strikes
twelve, and the baffled Fiend disappears, while the cathedral door opens showing the
Princess waiting for the reformed Robert.
381
ROBIN HOOD
COMIC OPERA IN THREE ACTS
Libretto by Harry B. Smith ; music by Reginald de Koven. First performance in
Chicago, June 9, 1890, by the Bostonians, who sang the opera more than four thousand times.
Recently revived at the New^ Amsterdam, New York, by the de Koven Opera Company.
Characters
Robert of Huntington, known as Robin Hood Tenor
SHERIFF OF Nottingham Bass
Sir guy of GISBORNE, his ward Tenor
Little John 1 fBaritone
Will Scarlet |^ , JBass
ALLAN-A-DALE r-'^t'^^^ Contralto
Friar Tuck | [Bass
Lady Marian FITZWATER, afterwards Maid Marian Soprano
Dame DURDEN, a widow Contralto
ANNABEL, her daughter Soprano
Villagers, Milkmaids, Outlaw^s, King's Foresters, Archers and Peddlers.
Time and Place : Nottingham, England, in the twelfth century.
At the beginning of the opera a merrymaking is in progress at the marketplace in
Nottingham. The three outlaws, Little John, Will Scarlet and Friar Tuck, enter and sing of
their free life in the Forest of Shervs'ood, and finally the handsome, dashing Robin Hooa
appears, declaring that he is the Earl of Huntington, and demanding that the Sheriff shaW so
proclaim him. The Sheriff, how^ever, protests that the youth has been disinherited by his
own father, w^ho before the birth of Robin Hood-was secretly married to a peasant girl, w^ho
died w^hen her child was an infant. The child is Sir Guy of Gisborne, the rightful heir to the
earldom and the Sheriff's ward, whom he is planning to marry to Lad^ Marian, v/ard of the
Crown. How^ever, the young girl and Robin Hood are already deeply in love and ex-
change vows of eternal faith, much to the indignation of Sir Guy. Lady Marian protests
383
VICTOR BOOK OF THE OPERA— ROBIN HOOD
against her marriage to Sir Guy, hoping that on the return of the King
from the Crusades she will be released, while Robin Hood plans with
the help of the King to prove his right to the earldom. The out-
laws sympathize with the pair and invite Robin Hood to join them,
promising him he shall be their king and rule them under the
Greenwood Tree, to which proposal Robin Hood at length agrees.
In the last act the dashing king of the outlaws brings the message
which saves Maid Marian from the hated marriage with 5(V Quy, and
the opera ends amid general rejoicings at the triumph of Robin Hood
and the gentle Marian over the plotting Sheriff and his ward.
Gems from Robin Hood — Part I
"Hey. for the Merry Greenwood" — "Brown October
Ale" — "Come Dream So Bright" — "Tinkers' Chorus" —
"Oh, Promise Me" — "Come Along to the Woods"
Victor Light Opera Company 31768 12-inch, $1.00
Gems from Robin Hood — Part II
"Ho, Ho, Then for Jollity" — "Ye Birds in Azure
Winging" — "Armorer's Song" — "A Hunting We'll Go"
— "Ah! 1 Do Love You" — "Sweetheart, My Own
Sweetheart" — "Love, Now We Never More Will Part"
Victor Light Opera Company 31868 12-inch, 1.00
I Oh, Promise Me )
By Harry Macdonough, Tenor
Sing Me to Sleep (Greene)
By Corinne Morgan, Soprano
I Oh, Promise Me
I By Alan Turner. Baritone
\ Dearie (Kummer)
I By Elsie Balder, Soprano
) Favorite Airs from the Opera
) Prince of Pilsen Selection (Luders) By Sousa s Bandl
/Armorer's Song By W^ilfred Glenn, Bass)
I Till the Sands of the Desert Grow Cold Sjj Wilfred Glenn, Bass f
Armorer's Song By Eugene Co^vles, Bass AI^T
16196 10-inch, .75
17189 10-inch,
.75
WAKEFIELD
AI.LAN-A-DA
By Pryor's Band!
16919 10-inch, $0.75
10-inch,
10- inch.
.75
.60
38.3
(French)
LE ROI DE LAHORE
{Rooah'-deh' Lah-oh/)
(English)
THE KING OF LAHORE
OPERA IN FIVE ACTS
Libretto by Louis Gallet; music by Jules Massenet. First production at the Grand
Op^ra, Paris, April 27, 1877; and at Covent Garden, Royal Italian Opera, June 28, 1879.
Cast
ALIM, King of Lahore Tenor
SCIND! A, his minister Baritone
TlMUR, a priest Bass
INDRA Bass
SlTA Soprano
KALED, confidant of the King Mezzo- Soprano
Time and Place : India ; the eleventh century, during the incursion of the Mohammedans.
This early "work of Massenet's is founded upon an Indian subject, and deals with the
Mussulman invasion. It is noted for its brilliant ballet, illustrative of an Indian paradise.
Sita, niece of the high priest, Timur, is beloved by Alim, King of Lahore. His rival,
Scindia, accuses her of profaning the Temple and she is condemned to death, but is saved
by the King, who asks her hand in marriage.
In the second act Alim, at war with the Mussulmans, is betrayed to the enemy by
Scindia, and is killed in battle, while Scindia seizes his throne and carries away Sita.
Alim is transported to the celestial realm of India, but is not contented, and begs the
divinities to allov/ him to return to earth. His request is granted on condition that he does
not resume his rank and returns to India when Sita dies. On his return he finds that
Scindia has secured the throne and forced Sita to become his wife. Alim declares himself,
but Scindia denounces him as an impostor. Alim is obliged to flee, but Sita goes with him,
and w^hen they are about to be captured she kills herself. Alim, in fulfillment of his vow,
also dies, and the lovers are united in celestial India.
Promesse di mon avenir (Oh, Promise of a Joy Divine)
By Emilio de Gogorza, Baritone {In French) 88172 12-inch, $3.00
The most famous of the numbers is of course this superb air for baritone in the fourth
act, which La Salle sung in the first production w^ith great success. A portion of the fine
translation by Dudley Buck, from the Schirmer "Operatic Anthology" (Copy'tG. Schirmer),
is given here by permission.
Sc? nuia:
Tin.' Sviltan's bart)'rnus horde, who had bo
gladly riven
Krom us fair Lahore.
J!y our own might have from tin- iicid been
driven.
I'rom care iny people free,
Loudly sound forth my praises I
O promise fair of joy divine, Sita, ***»«■»**»♦-»•»
Thou dream of all my life, Sita, my queen thou soon shall be!
O beauty torn frnni me by strife, To thee the world its glory offers,
At last, thou shalt be mine! O Sita! To thee a king his crown now proffers;
O fair one, charm my loving heart. Come, Sita, <> comel ah I Ik- mine I
And ne'er again from me depart!
A fine rendition of this air is given here by Mr. de Gogorza, whose beautiful voice and
perfect French diction are v/ell exhibited.
3S4
(French) (English)
ROMEO ET JULIETTE ROMEO and JULIET
(Hoh' -may-oh ay Joo-lee-et')
OPERA IN FIVE ACTS
Words by Barbier and Carre, after Shakespeare's drama. Music by Charles Gounod.
First produced at the Theatre Lyrique, Paris, April 27, 1867. First London production July
11, 1867. Presented in America, 1868. with Minnie Hauk.
Some famous American productions occurred in 1890, with Patti, Ravelli, del Puente and
Fabri ; in 1891, with Fames (debut), the de Reszkes and Capoul ; in 1898, with Melba,
Saleza, de Reszke and Plangon ; and more recently w^ith Farrar as Juliet.
Characters
Juliet, {/oo-lee-et' ) daughter of Capulet Soprano
STEPHANO, [Stef'^ah^noh) page to Romeo Soprano
Gertrude, Juliet's nurse Mezzo-Soprano
ROMEO Tenor
Tybalt, iTee-hahl') Capulet's nephe'w Tenor
BENVOUO, (Ben-vo -lee-oh) friend of Romeo Tenor
MERCUTIO, {Mer-ken,' -shee-oh) friend of Romeo Baritone
Paris, (Pah-ree ) Capulet's kinsman Baritone
GREGORIO, Capulet's kinsman Baritone
Capulet, iCap-u-lch') a Veronese noble Basso-Cantante
Friar Laurence Bass
The Duke of Verona Bass
Guests ; Relatives and Retainers of the Capulets and
Montagues.
The action taJ^es place at Vc}
THE rn\rrs
Romeo and Juliet over-
flow's w^ith charming music,
Gounod having written for the
lovers some of the most emo-
tional passages ever composed,
and the opera has even been
called " a love duet v/ith occa-
sional interruptions. " It is of
course not another Faust, — no
composer could w^rite two such
works, — but it is a most beau-
tiful setting of the story of
the ill-fated Italian lovers,
and will always be listened
to with pleasure.
Several of the Shake-
spearean personages have
been omitted from the opera
cast by the librettists, and a
new^ character, that of the
page Stephano, has been added.
385
VICTOR BOOK OF THE OPERA-GOUNOD'S ROMEO AND JULIET
ACT I
SCENE — Ballroom in Capulel 's House, Verona
The curtain rises on a scene of festivity. Capulel, a
Veronese noble, is giving a masked fete in honor of his
daughter Juliet 's entrance into society.
Juliet is presented to the guests by her father, and
Capulel, in a rousing air, calls on his guests to make merry.
When the guests have gone to the banquet hall,
fuliet lingers behind and gives expression to her girlish joy
in the famous waltz.
Valse (Juliet's \^altz Song)
By Louise Tetrazzini, Soprano
{In Italian) 88302
By Emma Eames, Soprano
(In French) 88011
By Blanche Ajral, Soprano
{In French) 74151
It is maintained by some critics tKat this waltz is too
sho\vy and brilliantly effective to be sung by a modest
young girl at her first ball. However, Gounod has w^ritten
such an uncommonly pretty v^^altz of exquisite melody,
that most hearers are too delighted to inquire very closely
into questions of dramatic fitness.
12-inch,
$3.00
12-inch,
3.00
12-inch,
1.50
Juliet :
Song, jest, perfume and dances.
Smiles, vows, love-laden glances
All that spells or entrances
In one charm blend
As in fair dreams enfoldcn
Horn of fantasy golden,
FARRAR AS JULIET
S])rites from fairyland ulden,
On me now bend.
Forever would this gladness
Shine on me brightly as now,
\^'ould that never age or safhiess
Threw their shade o'er niy brow I
Three records of this delicate waltz, with its ear-haunting melody, are offered for a
selection. Mme. Tetrazzini gives it with much animation, its difficult requirements being
met with a perfect ease and grace.
Mme. E.ames, w^hose Juliet is remembered v^^ith pleasure, sings the number v^ith much
charm; while another fine rendition is contributed by Mme. Arral.
Juliet is about to leave the room w^hen Romeo enters, having ventured masked into
the house of his enemy. He is much impressed with her beauty and grace, and contriving
to speak with her, asks her to remain a moment. They sing the first of their duets, the
opening portion of which is full of airy repartee. As the number progresses a mysterious
attraction seems to draw the youth and maiden toward each other, and the duet becomes
an impassioned love scene.
Ange adorable (Lovely Angel)
By Geraldine Farrar, Soprano, and Edmond Clement. Tenor
{In French) 88421 12-inch,
By Alice Nielsen and Florencio Constantino {In French) 74108 12-inch,
IUit, ah me! T Tiot such as this.
Palm unto palm, not vcd lifis inL)_liny,
Is a holy palmer's kissi
RiiMK
$3.00
1.50
fair
Romeo:
Angel that weai-est graces th
Forgive, if to touch I dare.
The marble whiteness of thy hand
That Heav'n hath formed so fair I
Claim, then, unsparing, that for my daring
I one soft kiss be fined.
Kiss, that effaces unworthy traces,
This hand hath left behind.
Juliet:
Thy hand, good pilgrim, this rmc but
wrongeth
For thou dost blame it o'er much.
To pure devotion surely belongeth.
- Saintly palm that thou may'st touch.
Hands there are, sacred to pilgrim's greeting.
To palmer and to saint, ha\'e not lij.ts too
been given .''
Juliet :
Yes; but onlv for praj-er I
Then grant my pray'r. deai- saini, or faith
may else be (Iriveu,
Unto deepest despair I
JfLI ET :
Know, the saints uv't^v are moved,
And if they grant a pray'r, 'tis for the
prayer's sake I
387
VICTOR BOOK OF THE OPERA— GOUNOD'S ROMEO AND JULIET
Then move not, swcttest saint.
Whilst the effect of my pi'ay'r, from tiiy lijis
(He kisses her)
I shall take!
Juliet :
Ah! now my lips from tliinr hnrning.
Have the sin that thuv hiivv takrn !
Romeo:
O give that sin hack again,
To my lips tliuir fault returning-.
Juliet :
No, not again! No, not again!
Rn M EO :
() gi\f the sin \.'> me again I
Tybalt, a Kot-headed member of the Capulei family, recog-
nizes Romeo through his mask, and threatens to kill him for
his presumption in coming to the house of his enemies.
Capulei restrains Tyhall and the dancing recommences.
ACT II
SCENE. — Capulei's Garden; Juliet's Apartments Above
This scene is taken almost literally from Shakespeare, the only variation being the
entrance of Gregorio and the servants, w^hich serves merely to divide the long love duet.
Romeo, who is braving the displeasure of
his enemies in the hope of seeing Juliet again,
appears, and gazing at the balcony, sings his
lovely serenade.
Ah ! leve toi soleil (Arise,
Fairest Sun)
By Herman Jadlo^vker, Tenor
(InFrench) 76025 12-inch,
By Lambert Ivlurphy, Tenor
{In French) 70102 12-inch,
$2.00
Ro iM EO :
Rise, fairest sun in heaven !
Quench the stars with thy brightness,
That o'er the vault at even
Shine with a feeble lightness.
Oh! rise again! ()U\ rise again!
And banish night's dark shades.
She is watching, ah! ever untwining
From their bonds her tresses shining!
Now she speaketh. Ah! how cliarmin
Ily her beauty's brilliant ray.
As Inirnt-ih, ashamed and jaded,
A lamp hy the light of day!
v\t her window, on her fair hand.
Sec now she leaneth her cheek.
On that hand, were I a glove.
That I might tmuh that cheek!
Juliet appears on the bal-
cony and Romeo conceals him-
self. She speaks to the stars
of her new-found happiness.
Juliet :
Ah, nic — and still I love him!
Romeo, why art thou Romeo?
JJoff then thy name, for it is
no part,
My love, of thee! \\'liat rose
wc call
J>y other name would smell as
sweetly :
Thou'rt no foe, 'lis thy name!
THr HAT CONY SCENE
388
VICTOR BOOK OF THE OPERA-GOUNOD'S ROMEO AND JULIET
A long scene between the lovers is interrupted
by Gregorio and some retainers, who are searching
for Romeo. He conceals himself, and on their de-
parture the duet is resumed.
Ne fuis encore (Linger Yet a Moment)
By Alice Nielsen, Soprano, and Florencio
Constantino, Tenor
[In French) 64091 10-inch, $1.00
IvU.MEO AND Jl'LIET:
.\h! go not \'ft. but stay thee!
Let me once more kibb tliy elear hand, I pray
thee !
Juliet:
Silence I a sti-p is near us.
Someone I fear will litar us,
Let me at lua^t take my lianil from tliy keep-
love
niglit, love.
Good ni;
KoivrEo :
( iood
I'.cth:
Good night! Dearest, this fond good ni^lit
is such sweet sorrow
That I would say good night, till it he dawn I
R.0ME0:
Soft he thy repose till morning!
f *n thine eyes slumber dwell, and sweet jieace
In thy bosom: would I were sleep and jieace
So sweet to rest I
ACT III
SCENE 1 — The Cell of Friar Laurence
Romeo and Juliet meet by appointment in the Friar's cell to ask him to marry them. He
at first protests but finally consents, hoping the union w^ill bring the rival houses to-
gether in friendship. The marriage takes place, and Juliet returns home w^ith her nurse.
SCENE W—A Street in Verona
Stephana enters, seeking his master. Observing the residence of Capulet, he decides to
sing a song, thinking Romeo may still be lingering near the house. A fine rendition of this
air has been given by Rita Fornia.
Chanson de Stephano (Page Song)
By Rita Fornia, Soprano
{In French)
TRIAR LAURENCE AND ROMEO
but is insulted and forced to fight, killing Tybalt.
389
The
74211 12-inch, $1.50
This brilliant young so-
prano, who has just been en-
gaged by the Victor, has made
an especial success at the
Metropolitan in this role, her
fresh and youthful voice being
admirably suited to the music
of the Page, while in the
recent revival of Romeo her
singing of Stephano' s air w^as
pronounced one of the best
features of the performance.
Gregorio appears, angry at
being w^aked up, and scolds
the noisy youth, finally rec-
ognizing him as the compan-
ion of Romeo on the previous
night. They light, but are
interrupted by Mercutio and
Tybalt, who begin to quarrel
v^'ith Gregorio. Romeo enters
and tries to act as peacemaker,
action comes to the ears of the
VICTOR BOOK OF THE OPERA-GOUNOD'S ROMEO AND JULIET
Dul^e of Verona, who happens to be passing with his suite, and he banishes Romeo from
the kingdom. The unhappy youth yields to the decree, but secretly vows to see Juliet again.
ACT IV
SCENE— /u/iers Room
Romeo has made his way into Capulet' s house at imminent risk of death, and has
penetrated to the room of his bride. As the curtain rises he is taking leave of her, and in
another exquisite duet she begs him not to go. He finally departs after a tender farewell,
just as Capulet and Friar Laurence enter to tell her that it was Tybalt's
dying wish that she should marry Paris. Left alone v/ith the good
priest she tells him she will die rather than be separated from Romeo.
The Friar tells her to have patience, as he has a plan by which they
are to be reunited. He then gives Juliet a potion, commanding her
to drink it when her marriage with Paris seems imminent, and tells
her she v/ill go into a death-like trance. He continues;
Friar Laurence:
Loud will they raise tlie sound of lamentation,
"Juliet is dead I Juliet is deadl" For so
Shall they deem thee reposing. But
The angels above will rcj)]y, "She but sleeps!"
For two-and-foi'ty hours thou shalt lie in
death's seeminj,\
And then, to life awakin^,^ as from a ])!easant
dreaniinp".
From the ancient vault thou shalt haste away;
Thy husband shall be theru, in tlu- nipiht "in
watch n'l^r tlu'el
The good priest leaves her and shortly afterward, seeing her
father and Paris approaching, she drinks the contents of the phial, and
growing famt, apparently expires in Capulet' s arms.
ACT V
SCENE— TAe Tomb of Juliet
The curtain rises, showing the silent vault of the Capulels,
where Juliet is lying on the bier still in her trance. Romeo, w^ho has
failed to receive Friar Laurence's message, and believes Juliet is dead,
now forces the door with an iron bar and enters.
He sees his bride apparently dead, and flings himself on her body.
ciiNsiA.NTiNo AS Ro M E( i After a moumful air in which he bids her farewell, he drinks poison,
but is soon startled to see signs of life in the body oi Juliet. For-
getting the poison he had taken, he embraces her joyfully and they sing their final duet:
Juliet: Romeo;
Ah! methouKhl that J heard Come, let's fly hencci
Juliet :
Happy dawn I
Romeo and Juliet:
i''d. Come, the world is all before ns,
two hearts, yet one!
Grant that our love —
]\v now and ever
Tones that I
that J heard
>v'd, soft falling!
'Tis I! Ronu'O — tiiine ow
Who thy slumbers have
Fetl by my lu-art alone,
'J'liee, my bride, unto love
And the fair world recalling
(Juliet fulls into his arms.) Ilnly and pure, till our life shall end.
Suddenly remembering the fatal draught, Romeo cries out in horror:
Kow, happy dagger, behold thy sheath!
and — (She s/abs herself. H'ith a supreme effort
Runico half raises Itiniscif to present her.)
Romeo :
Hold! Hold thy hand!
Juliet:
Ah, happy moment.
iMy soul now with rapture is swellio!.;,
drop thnii'st Thus to die. love, with thee.
(She lets fall the daof/er.)
Vvt one embrace ! I love thee I
n reineuiher- ( They half rise in eacJi other's anus. )
O lieav'n grant us thy grace!
(They die.)
Romeo
Mas!
'l
Ih'I
icvcil
thrt.
dea.
I, h
ive,
I (Ira
Ilk
of
this
.Iraiigl
it!
iShn:
i'.\-
Ihi
• />/,i„
7.)
n, 1 1,1 :
(If til
( 7,i/,i
al
ilri
uiiKht
r /i/o',
: Tt ■
is dt
■ath!
Ah:
Ihn
n
churl
To <
Irink
all:
No
fri
endl
y
1. ft
m
So 1
ma
>■ '
li<- w
ith (h<
e !
iin/
Ih,
n>].'
: llu-
'a'Jilct
■, drui
aii
es il
'oy.
out
/he
.)
Ah: 1
j'^
my daggor
stii:
1 :
DOUBLE-FACED ROMEO RECORDS
/Romeo and Juliet Selection By Arthur Pryor's Band).,,. .
\ Samson and Delilah Selection (Saint-Sains) Arthur Pryor's Band]
12-inch, $1,25
(French)
SAMSON ET DALILA
{Sam' -sohn' a\} Dah-kc-lah' }
SAMSON AND DELILAH
OPERA IN THREE ACTS
Text by Ferdinand Lemaire ; music by Camille Saint-Saens [Sah'-Sahnz ). First produc-
tion at Weimar, under Liszt, December 2, 1877. In France at Rouen, 1890. Performed at
Covent Garden, in concert form, September 25, 1893. First American production February.
1895, with Tamagno and Mantelli (one performance only). Revived by Oscar Hammerstein.
November 13, 1908.
Cast of Characters
DEULAH Mezzo-Soprano
SAMSON Tenor
High Priest of Dagon Baritone
ABIMELECH, Satrap of Gaza First Bass
AN Old Hebrew Second Bass
Philistine Messenger Tenor
FIRST PHIUSTINE Tenor
Second Philistine Bass
Chorus of Hebrews and Philistines.
Time and Place: I 1 50 B. C. ; Gaza in Palesth
Camilla Saint-Saens has been for tv/o generations the foremost figure in music in
France. Poet, astronomer, traveler, excelling in every branch of the art of music, he is
undoubtedly the most versatile musician of our time. He
has held a commanding position on the concert stage
since 1846, "when at the age of ten he gave a concert in
Paris. On October 15, 1906, he played one of his ow^n
concertos at the Philharmonic concert in Berlin. Sixty
years before the public ! In all the history of music
there is no more w^onderful career than that of the com-
poser of Samson, who a few years ago visited America
for the first time.
Samson et Dalila may be called a biblical opera,
almost an oratorio, and the polished beauty and grace of
this great composition has caused it to be pronounced
Saint-Saens' masterpiece. The religious and militant
flavor of the Jewish nation is finely expressed in the
score, and the exquisite love music is more or less familiar
by its frequent performance on the concert stage.
ACT I
SCENE — A Public Square in Gaza
The opera has no overture. The first scene shov/s a
i \MA(,N-r) AS SA^fsr)N squarc in the city of Gaza, v^^here a crowd of Hebrews
are lamenting their misfortunes, telling of the destruction
of their cities and the profanation of their altars by the Gentiles.
Samson speaks to the people and bids them take courage.
VICTOR BOOK OF THE OPERA— SAMSON AND DELILAH
Figlia miei v'arrestate (Pause, My
Brothers)
By Charles Dalmores, Tenor
{In French) 87087 10-inch, $2.00
By Nicola Zerola 64173 10-inch, 1.00
Samson {coming out from tlic ihromj) :
Let us pause, O my brothers,
And bless the holv name of tiie (.loil of our
fathers:
For now the hour is here when pardon sliall
hi.- s])uken.
^'cs, a voice in my heart is tlie token.
"J'is the voice of the Lord, who by my month
thus speaketh.
Our prayers to him liave risen,
And lilierty is ours.
Brothers! we'll break from bondage !
Our altars raise once more
To our God, as before!
The Hebre"ws are cheered by Samson's words, but
their mood soon changes \vhen a number of Philistines
enter and revile them. A hght occurs, and Samson
-wounds Abimelech. The High Priest of Dagon comes
out of the Temple and curses Samson.
From the Temple now comes Delilah, followed by
the Priestesses of Dagon, bearing flow^ers and singing of
DAi.MOKKS AS sAiisuN Spring. Delilah speaks to Samson and invites him to the
valley where she dwells. He prays for strength to
resist her fascinations, but in spite of himself he is forced to look at her as she dances with
the maidens. As the young girls dance Delilah sings to Samson the lovely Song of Spring.
(French) (German)
Printemps qui commence^Der Fruhling erwachte
(Delilah's Song of Spring)
By Ernestine Schumann-Heink, Contralto [In German) 88417 12-inch, $3.00
By Gerville-Reache, Contralto {In French) 88244 12-inch. 3.00
])h:lilah: Spring voices are singing, I weep my poor fatel
{She gazes fondly al Sainso)i.)
When night is descending,
With love all unending,
LJewailing my fate,
I-'or him will I wait.
Till fond love returning,
In his bosom burning
?ilay enforce his return !
and troubled bearing that Delilah has shaken His
is gazing at her, fascinated.
ACT 11
SCENE — Delilah's Home in the Valley of Soreck.
Delilah, richly attired, is awaiting the coming of Samson, and muses on her coming
triumph over his affections, and the plot to secure his dow^nfall. In a fine air she calls on
Love to aid her.
Spring voices are singing,
liright hope they are bringing,
All hearts making glad.
And gone sorrow's traces.
The soft air effaces
AH days tliat are sad.
The earth glad and beaming.
With freshness is teeming,
Tn vain all my beauty:
Samson show^s by his hesitation
resolutions, and as the curtain falls he
Amour viens aider (Love, Lend Me Thy Might)
By Louise Homer, Contralto
Dkli lah :
O Love! in my weakness give power!
Poison Samson's brave heart fur im- !
'Neath my soft sway may he l)c \TiTii"iuishi.'d ;
ToiTinrrow let him captive In'
K\''r\' thouj^lit of me he wmild bani-li.
Aufl from his tribt ln_- wnuld swi.i\x,
After a scene between Delilah and Dagon,
(In Fn
88201 12-inch, $3.00
Con Id he only drive out the passion
That remembrance doth now preserve.
r.nt he is under my dominion;
In vain his people may untreat.
"I'i-; T alone that can hold him —
I'll ha\'f him captive at m>' feet!
'ho urges her not to fail in her purpose.
Samson arrives, impelled by a power he cannot resist.
Delilah greets him tenderly, and w^hen he bitterly reproaches himself for his weakness,
she sings that w^onderfully beautiful song of love and passion.
NOTE. — Text on this page from Ditson Edition by permission. Copy't 1895, Oliver Ditson Co.
VICTOR BOOK OF THE OPERA SAMSON AND DELILAH
i;i:evi llil-ri£ACIii;
Mon coeur s'ouvre a ta voix (My Heart
at Thy S-sveet Voice)
By Louise Homer, Contralto
(In French) 88199 12-inch, $3.00
By Schumann-Heink, Contralto
(In German) 88190 12-inch, 3.00
By Jeanne Gerville-Reache, Contralto
(In French) 88184 12-inch, 3.00
By Elsie Baker, Contralto
(In English) *16192 10-inch, ,Z5
By Michele Rinaldi with Vessella's Band
Cornel *17216 10-inch, .75
This lovely air of Delilah, perhaps the most beautiful
contralto air ever written, and the most familiar of the
numbers in the opera, is in the repertoire of almost
every contralto.
This quotation from the effective translation by
Nathan Haskell Dole is from the Schirmer libretto.
(Copyright 1892, G. Schirmer.)
Deltlah :
My heart at thy sweet voice opens wide like the flower
Whieh the morn's kisses waken!
lUit, tliat I may rejoice, that my tears tio more sliouer,
Tell thy love still unshaken!
O, say thou wilt not now leave Delilah again!
Rejieat thine accents tender, ev'rv passionate vow,
<J thon dearest of men!
Five records of this well-known air are listed here.
Delilah now asks that Samson confide to her the secret plans of the Hebrews, and when
he refuses she calls the Philistines, who are concealed, and Samson is overpowered.
ACT III
SCENE I— A Prison at Gaza
Samson is shown in chains, blinded and shorn of his hair. As he slowly and painfully
pushes a heavy mill which is grinding corn, he calls on Heaven to forgive his offence.
A file of guards enter and conduct him to the Temple.
SCENE II — A Magnificent Hall in the Temple of Dagon
The High Priests and Philistines, with Delilah and the Philistine maidens, are rejoicing
over the downfall of their enemies. The music of the opening chorus and the Bachanal has
been given here in a fine record by a famous Spanish band.
Coro y Bacanal (^Chorus and Bachanal)
By Banda Real de Alabarderos de Madrid *62660 10-inch, $0.75
They have sent for Samson to make sport of him. Delilah approaches him and taunts
him vyith his weakness. He bovys his head in prayer, and when they have wearied of their
sport Samson asks the page to lead him to the great pillars v^^hich support the Temple. He
offers a last prayer to God for strength to overcome his enemies, then, straining at the
pillars, he overthrows them The Temple falls amid the shrieks and groans of the people
DOUBLE-FACED SAMSON AND DELILAH RECORDS
/Samson and Delilah Selection farr. by Godfrey ) Pryor's Band) , .
1 Romeo and Juliet Selection (Gounod) (arr. by Godfrey) Pryor's Bandf
/My Heart at Thy Sweet Voice — By Elsie Baker (In English)] ^
I Manon — Laughing Song By Edith Helena (In English] f
(My Heart at Thy Sweet Voice Cornet
Michele Rinaldi with Vessella's Band
Farewell to the Forest (Mendelssohn) 2. Spring Song (Pinsuti)
Victor Brass Quartet
IChorus and Bachanal By Banda Real de Alabarderos) ^^ftftn
I Minuet from 2nd Symphony (Haydn) By Banda Reall
^Douhte-FaceJ fiscorj — For title of opposite side see abotie list.
393
12-inch, $1.25
10-inch,
.75
17216 10-inch,
10-inch,
.75
.75
SAPHO
OPERA IN THREE ACTS
Text by Emile Augier ; music by Gounod. The opera was first presented at the Opera,
Paris, April 16, 1851, with Mme. Viardot. and was the first work Gounod had written for the
stage. In 1858 it w^as reduced to tw^o acts and revived. Another revival occurred in Paris,
April 2. 1884, under the direction of Gounod. The first London production, under the
title Saffo, occurred at Covent Garden in 1851, with Viardot, Castellan, Tamberlik and
Tambourini.
Characters with the Original Cast
SAPHO, a poetess Viardot
PHAON Gueymard
GLYCERE Poinsot
PYTH£AS Bremond
ALCEE Marie
Pr£TRE Aymes
The scene of Gounod's Sapho is laid in Mytilene,
where Sapho, the poetess, rules. She has fallen in
love w^ith Phaon, but this affection proving hopeless,
she leaps froin the rock of Lencadia and is drow^ned.
The music of this opera is little know^n in America
with the exception of the beautiful air, O ma lyre
immortelle, a fine record of w^hich is here offered by
a famous contralto.
O ma lyre immortelle (Oh, My
Immortal Lyre)
By Jeanne Gerville-Reache, Contralto
(In French) 88166 12-inch, $3.00
MME. KRAUSS AS SAPHO
cmcmber.
V to life hath bound inc,
"WHierc am I ?
Ah! yes, I now
All which ere n
Is no more.
For nie there now remaineth
Naught but night eternal,
Wherein my heart may rest fri"ini its woe,
Oh harp immortal, consoling!
Days full of woe abound;
By thee my grief controlling.
When tliy sweet tones resound.
In vain thy voice, soft sighing,
Strives to comfort my pain;
Ah! it will aye remain:
Of this last wound I'm dying!
'Tis a wound of the heart;
Grief I must know till from life I depart.
Farewell, thou moonlight tender.
Shine on with radiance blest!
Cold wave, I now surrender;
fn-ant me eternal rest.
The day which soon is dawning,
Phaon shall light for thee,
Think not, I pray, of me,
For thee returns the morning.
Open, thou wat'ry grave!
I soon shall sleep evermore
'Neath the wave.
i'o\,y-< (;. Sniilrmer
:i94
(Italian)
IL SEGRETO DI SUSANNA
(Eel Seh-gray' -toh dec Soo-zan -nab)
THE SECRET OF SUZANNE
iSoO'Zan')
OPERA IN ONE ACT
From the French of GoUsciani ; text by Kalbeck ; music by Ermanno Wolf-Ferrari.
First production Munich, 1909; in America, Chicago, 191 1, with White, Sammarco and Daddi.
Characters
COUNT GIL (aged thirty) Baritone
Countess Suzanne, his wife (aged twenty) Soprano
SANTE, a servant (aged fifty) Acting part
Time and Place : A drawing room in Piedmont ; 1 840.
II Segreto di Susanna is a playful conceit, with a very simple little plot. Count Gil is very
much in love with his wife, but is averse to cigarette smoke, and Countess Suzanne, who is a
devotee of the cigarette, takes the opportunity to smoke during her husband's absence.
On his return he smells
the smoke and questions
the servant, "who denies
being the guilty party.
The Count immediately
Ii5^ '^^'^^^^^^^H^^K'l^i^i^^^^^^^^^^^^H concludes that his beau-
tiful w^ife is receiving
attentions from some
t^^T'^'^i^^^^^^^^^H Piedmont gallant. His
w'3 ..'^^^^^^^^^^^H w^ife's efforts to pacify
him are unsuccessful, and
in a huff he leaves the
house. On his departure
Suzanne lights a cigarette,
but on her husband's
sudden return she throws
it into the fire. The testy
Count notices the fresh
smoke and rushes about
the apartment in jealous
rage, determined to cap-
ture the culprit. Failing
to find any one, he once
MARIO SAMMARCO AND MLLE. LiPKowsKA morc gocsout. As5t/zanne
attempts to enjoy another
cigarette, the Count peeps through the window, and seeing the smoke, rushes in triumph into
the room. Suzanne hides the cigarette behind her, and the Count, trying to reach the imag-
inary man v^^hom the lady is concealing, burns his hand ! The secret is out, the Count for-
gives Suzanne, Suzanne forgives the Count, and husband and wife smoke a cigarette together.
Three of the best airs of the opera are offered — the first being the charming duet of
Suzanne and the Count, in w^hich they recall their first meeting ; the second the Via I cost, in
which Suzanne entreats her husband not to go away angry; and the last the song of Suzanne
which tells of the delights of smoking.
II dolce idillio (Dost Thou Remember?)
By Geraldine Farrar, and Pasquale Amato, (J n Italian) 89057 12-inch, $4.00
Via ! cosi non mi lasciate (Do Not Go Like This)
By Geraldine Farrar, Soprano (In Italian) 87136 10-inch. $2.00
Oh gioia, la nube Icggera. (What Joy to Watch)
By Geraldine Farrar, Soprano (In Italian) 88424 12-inch, $3.00
395
SEMIRAMIDE
{Seh^r
--deh)
TRAGIC OPERA IN TWO ACTS
Text by Rossi ; music by Gioachino Antonio Rossini. It is founded on Voltaire's
tragedy Sewiramis. First produced at the Fenice Theatre, Venice, February 3. 1823; in
London at the King's Theatre, July 15. 1824. In French, as Semiramis, it appeared in Paris,
July 9, 1860. First American production occurred in Ne%v York, April 25, 1826. Some
notable American revivals were in 1855 with Grisi and Vestvalli ; in 1890 with Adelina
Patti as Semiramide ; and in 1894 with Melba and Scalchi.
Cast of Characters
Semiramide, or Semiramis, Queen of Babylon . Soprano
ARSACES, comnnander in the Assyrian army, after-
ward the son of Ninus and heir to the throne. Contralto
THE Ghost of Ninus Bass
OROE, chief of the Magi Bass
ASSUR, a Prince of the blood royal Bass
AZEMA, Princess of the blood royal Soprano
IDRENUS, of the royal household Tenor
MiTRANES, of the royal household Baritone
Magi, Guards, Satraps, Slaves
Senniramide is perhaps the finest of Rossini's serious
operas, but although it was a great success in its day, its
splendid overture and the brilliant Bel raggio are about the
only renninders of it w^hich remain.
The story is based on the classic subject of the murder
of Agamemnon by his wife, called Semiramis in the Babylonian
version. It is a w^orlc w^hich the composer completed in the
astonishingly short time of one month, but which shows his
art at its ripest.
The action takes place in Babylon; Semiramide, the Queen,
assisted by her lover Assur, has murdered her husband, King Ninus, w^ho, in the second act,
rises in spirit from the tomb and prophesies the Queen's downfall.
Overture
By Police Band of Mexico City *35167 12-inch, $1.25
By Arthur Pryor's Band 31527 12-inch, 1.00
The overture opens with an unusually brilliant introduction, follow^ed by a beautiful
chorale for brass which is one of the most admired portions of the work. The familiar
melody w^hich forms the principal theme of the overture then appears as a clarinet passage.
It begins :
S SI-.MJRAMIDE
1^^^
The finale is rather long draw^n out for modern ears, but is a fine example of its kind,
and the overture is a most show^y one, very popular on band and orchestra programs.
Two splendid records of this famous number are presented here, and a comparison of the
playing of these tw^o great organizations is most interesting.
^" Double-Faccd Rei
-For title of opposite side see next page.
VICTOR BOOK OF THE O P E R A— R O S S I N I ' S SEMIRAMIDE
The Bel raggio, a favorite cavatina with
air, occurs in the first act.
The scene shows the Temple of Belus. where a
religious festival is in progress. Semiramide is about to
announce an heir to the throne and has secretly deter-
mined to elect Arsaces, a young warrior, with whom she has
fallen in love, unaw^are that he is in reality her ow^n son.
Bel raggio lusinghier (Bright Gleam of
Hope)
By Marcella Sembrich, Soprano
[In Italian) 88141 12-inch, $3.00
Semiram ii)e:
I lere hojje's consoling lay
liids sorrow hence away,
And joy calls from above!
Arsaces to my love soon will retnrn (kjeeted,
But ere while with grief I drupp'd my head.
Now once more beams my smile!
Hence all my doubts have fled.
No more I feel the sway of grief and anguish
dread !
Yes I now hope's consoling ray
Bids dark sorrow hence away.
And calls down joy from above,
Aw^hile in this breast to stay.
Arsaces will return I
\'ision enchanting, my spirit haunting.
With fond emotion thou fill'st my heart.
Ah, bright smiles the morn
When dark waves of sonow
Like some wild ocean sink and du])artl
prima donnas, and a brilliant and imposing
AS ARSACES
the ornamentation of hi;
said to have v^ritten thi;
Rossini, who objected
music by famous singers,
air in so elaborate a fashion as to make further additions
impossible. But even as left by Rossini, Bel raggio is not
sufficiently elaborate to show the skill of a Sembrich,
and the additions w^ith w^hich the diva has embellished it
not only make it more dazzling, but belong also to the
true spirit of the air.
Thus the inspiring declamatory passages, with their bril-
liant runs, receive a lavish addition of the singer's splendid
high notes, notably the high B on the alfin perme brillo,
and the astonishing arpeggio up to C sharp on the dal mio
pensier w^hich follov/s.
The ensuing cantabile is sung with all the legalo and grace
which it requires, its principal figure being also additionally
embellished.
■\S ASSUR
DOUBLE-FACED SEMIRAMIDE RECORD
fOverture By Police Band ofl
Mexico City i.;i^t it ;„„u ti t<
,. , P, ,>-i o J (351dZ 12-inch, 51.25
Marche Slaoe {Op. 31) '
I By Arthur Pryor s Bar7>
397
(German)
SIEGFRIED
iSecg' -freed)
MUSIC DRAMA IN THREE ACTS
Second Opera of the Rhinegold Trilogy
Words and music by Wagner. First produced at Bayreuth, August 16, 1876. It was
given in hrench at Brussels, June 12, 1891, and subsequently at the Opira in Paris. In Lon-
don (in hnglish) by the Carl Rosa Company, in 1898. First American production in New
York, February 1, 1888.
Characters
SIEGFRIED jg^or
Mime (Mec'-mee) ' ' Jgnor
The Wanderer (Wotan) Baritone
ALBERICH {Ahl'Mr-ik) Baritone
FAFNER (Faf-ner) Bass
ERDA (Ehr'-Jah) ■;.■.■ .Contralto
BRONNHILDE (Broon.hil'.dh) Mezzo-Soprano
this
joy-
There is litde of tragedy and much of Hghtness and the joy of youth and love
most beautiful of the Ring Cycle, which tells of the young S/eg/r/eJ,— impetuous, brave,
ful and handsome ; and BriinnhitJe, the god-like maid —
unselfish, lovely, innocent, who finds she is but a woman
after all.
After Sieglinde had been saved from the wrath of Wotan
by Briinnhilde (related in the last part of WalkUre), she
wanders through the forest and dies in giving birth to the
child Siegfried, who is found and brought up by Mime, the
Niblung,
In the first two acts of Siegfried the hero is shown in
his forest home, where he mends his father's sword, and with
it slays the dragon. Having accidentally tasted the dragon's
blood, he becomes able to understand the language of the
birds, which tells him of Briinnhilde, the fair maiden who
sleeps on the fire-encircled rock. He follows the guidance
of one of the birds, cuts through
the spear of Woian, who endeav-
ors to stop him, and penetrates
the flames. On the top of the
rock he beholds the sleeping
Valkyrie covered with her shield.
He removes the armor, and Briinn-
hilde lies before him in soft, wo-
manly garments. She is the first woman he has ever seen, and he
kneels dov^^n and kisses her long and fervently. He then starts
up in alarm ; Briinnhilde has opened her eyes. He looks at her in
wonder, and both remain for some time gazing at each other. She
recognizes him as Siegfried, and hails him as the hero who is to
save the world. This part of the trilogy ends in a splendid duet.
ACT I
SCENE— /i Forest. At One Side a Cave
Mime, the Niblung, brother of Alberich, found Sieglinde in the
forest after she had escaped from Wotan, and brought up her
-child, knowing that it was Siegfried, who was destined to kill Fa/ner
and regain the Ring. The opera opens with an air by Mime, who
is discovered at the anvil in his forest smithy trying to forge a
s^vord for Siegfried.
399
\D THE SWI
SS AS MIME
FROM THE PAfNTING Pr I
Siegfried and tKe Dragon
VICTOR BOOK OF THE O P E R A WAG N E R'S SIEGFRIED
(Heartbreaking
r.FRIFn. MIME AND
BEAR ACT I
Z^vangvolle Plage !
Bondage)
By Albert Reiss, Tenor
(/n German) 74235 12-inch, $1.50
Mr. Reiss* wonderful character study of Mime, the
dwarf, has been one of the most impressive features of
the Metropolitan performances during the past few
years. His impersonation gains each year in the sar-
donic and malignant side of Mime's nature, but is always
amusing, nevertheless. The artist's portrayal, dramatic-
ally and vocally, leaves nothing to be desired, and in
the episodes -w^here the dwarf is most abject and fawn-
ingly malicious he is superb.
Siegfried, in forest dress, with a horn around his
neck, bursts impetuously from the woods. He is driv-
ing a great bear and urges it with merry roughness to-
wards Mime, who drops the sword in terror and hides
behind the forge. Taking pity on the frightened dwarf,
Siegfried drives the bear back into the wood, and seeing
the sword, breaks it over the anvil, as he has broken all
of the others. He questions Mime about his childhood,
and the dwarf tells him reluctantly about his mother
and about the sword his father had broken in his last
fight. Siegfried demands that Mime shall mend his
father's sword without delay, and goes back into the forest.
Wotan now enters and in answer to Mime 's questions says he is the Wanderer, and speaks
to Mime of the sword, telling him that only he who knows no fear will be able to forge the
broken weapon. After the IVanderer has departed, Siegfried returns, and Mime, who is now
beginning to be afraid of the youth, tells him that it was his mother's wish that he should
learn fear. "What is this fear ?" says Siegfried, and Mime attempts to describe it.
Mime: Feltest thou ne'er in forest dark,
i\t gloaming Iiour in gloomy spots,
Feltest thou then, no grisly gruesomeness grow
o'er thy fancy?
Balefullest shudders shake thy whole body.
All thy senses sink and forsake thee,
Jn thy breast bursting and big
liLat thy hammering heart?
Siegfried regretfully admits that he has never felt
any such sensation. Mimi, in despair, then tells him
of the Dragon which dwells near by. Siegfried eagerly
asks Mime to conduct him hither, but says he must
have his sword mended first, and, when Mime refuses,
he forges it himself. When it is finished, to try the blade,
he strikes the anvil a mighty blow and splits it in half,
while Mime falls on the ground in extreme terror.
Siegfried brandishes the sword and shouts with glee
as the curtain falls.
ACT II
SCENE— r/ie Dragon's Cave in the Forest
Fafner, who has changed himself into a dragon,
the better to guard his gold, dwells within a cave, keep-
ing constant watch. Alberich is spying near by, hopmg to
the treasure by killing the hero whom he
PHOTO HOFFEfiT
MIME AT THE ANVIL-
regain
knows wui overcome
_. the Dragon. The IVanderer en-
ters and warns Jllberich of the approach of Siegfried.
Alberich wakes the Dragon and offers to save its life in return for the Ring. Fafner contempt-
uously refuses, and makes light of the hero's prowess. IVolan departs, laughing at the dis-
comfited Alberich, who hides as Siegfried and Mime approach. The latter is still trying to
terrorize Siegfried with awful descriptions of the Dragon, but Siegfried laughs at him and
finally drives him away.
VICTOR BOOK OF THE O P E R A— W AG N E R'S SIEGFRIED
The young hero, left alone, sits down under a tree and
meditates about his mother, whom he pictures as gentle and
beautiful. His dreaming is ended by the song of the birds, and
he regrets that he cannot understand their language. He answ^ers
their song w^ith a blast of his horn, which disturbs Fafner and the
Dragon utters an awful roar, which, however, only makes the
youth laugh. The Dragon rushes upon him, but Siegfried jumps
aside and buries his faithful sw^ord in the reptile's heart.
Having accidentally tasted of the Dragon's blood by carrying
his stained hand to his lips, he finds to his astonishment that he
is able to understand the song of the bird, w^hich tells him to go
into the cave and secure the Ring. Siegfried thanks the warbler
and goes into the cavern. Mime comes back and, seeing the dead
Fafner, is about to enter the cave w^hen Alberich stops him and a
heated argument occurs. This scene has been given for the
Victor by two celebrated impersonators of these roles, Goritz and
Reiss.
W^ohin schleichst du ? (W^hither Slinkest
Thou ?)
By Otto Goritz, Baritone, and Albert Reiss, Tenor
(/n German) 64215 10-inch, $1,00
KRAUS AS SIEtlfRIED
Sll|Jpfl"y
Alrerich ;
Witlici- slinkfst tliou, hasty and
scainjj 'f
M I M K :
Accursed hrnthcr, what brings thcc here?
I bid tlicc hence.
ALBERrcii ;
(Irasj^cst thou, rogue, towards my gold?
] )ost lust for mv goods ^
M I M !■: :
Yield the jiosition I This station is mine.
What stirrest thnu here?
Al.BERICH :
Startled art thou from stealthy concerns, that
I've disturbed?
M I M E :
What I have -hajieil with shrewdest toil shall
not be shaken,
AbRERicir :
Was't thou that robbed the golden Ring from
the Rhine?
Or charged it witJi great and choice enchant-
ment arountl ?
MiMi-::
Who formed the Tarnhelm which l(i all forms
can turn?
Uy line 'twas wanted : its woi'kei- wert tliou
too?
Alpertch :
What coLddst thou ere. fool.
lly thyself have fancied and fashioned^
The magic Ring made the dwarf meet fnr the
task.
^rl^Tl•::
Wlierc now is thy Ring^
The giants have roljbed thee, tlmu rccieanll
What thou hast lost, by my lore, belike, 1 will
gain.
.\i.BERrcH :
I'.y the hoy's exploit
Shalt thou, booby, be bettered?
Thou shalt liave it not,
I'^or its holder in truth is he.
-Mimk:
I nourhshefl him.
And his nurse now shall he pay:
l-"nr tuil and woe long while have T wailed
reward.
VICTOR BOOK OF THE OPERA-WAGNER'S SIEGFRIED
Alberich :
For a bantling's keep
Would this beggarly, niggardly boor,
ijold and blustering,
Be well nigli as a king?
To rankest of doge bootelli Ihc ring
Far ratlier tlian tlicc:
Never, thou rogue, shall reach thee the mr
round !
Mi MI-::
Then hold it still and heed it well,
Thy hoarded Ring.
Be thou head, ^ and yet hail me as a brother
For my own Tarnhelni,
Excellent toy, Fll tender it thee!
'Twill boot us twain.
Twin we the booty like this.
^\LBERicn (laughing scornfully) :
Twin it with thee?
And the Tarnhelm too?
Mime (beside himself) :
Wilt not bargain? Wiit not barter?
Giv'st thou to nie no booty?
Alberich :
Not an atom, not e'en a nail's worth!
Mime (furiously) :
In ^the Ring and Tarnhehn
Ne'er shalt thou triumph I
Nought talk we of shares!
Siegfried, the caustic boy,
Shall crush thee, brother of mine!
Alberich :
The Tarnhelm he holds! —
Mime:
Ave. and'the Ringl —
(JJ'itli an evil laugh) :
Let him the Ring to thee render!
I ween full soon I shall win it.
(He slips back into the zcood.)
Alberich:
And yet to its lord
Shall it alone be delivered!
(He disappears in the cleft.)
They hide themselves as Siegfried comes from the cave with the Ring, the value of
which he does not yet comprehend. The bird's voice is again heard explaining its history,
and revealing the intended treachery of Mime. When the dwarf approaches, Siegfried
is able, by the magic of the Ring, to read his thoughts. Horrified to learn that Mime is plan-
ning to kill him, he strikes down the dw^arf and throws his corpse in the cave, rolling the
body of the Dragon before the entrance.
Wearied by his adventures, Siegfried reclines under the tree and asks the bird to sing
again. This time the songster reveals to him that Sriinnhilde lies sleeping, waiting for the
hero who is able to reach the fire- encircled spot.
The RiRn:
Hey I Siegfr
dwarf I
I wot for him now a glorious wife.
In guarded fastness she sleeps.
Fire doth emborder the sjmt:
O'erstepped he the blaze,
Waked lie the bride,
llriinnhilde then would be his I
Siegfried (starting iuipctitously to his feet):
O lovely song! Sweetest delight!
How burns its sense my suffering breast!
PiUt once more say to me, lovely singer, —
May I the furnace then break through?
And waken the mar\'elous bride?
The I '. I r II :
The bride is won.
Rriinnhilde awaked by faint-heart tu'er:
I'ut by him who knows not fear.
He laughs with delight, saying, '*Why, this stupid lad who knows not fear, — it is l!"
and follows the bird, w^ho flies ahead to guide him to Briinnhilde s fiery couch.
ACT III
SCENE — A Wild Region at the Foot of a Rocky Mountain
The act opens w^ith a long scene betw^een Erda and Woian. The god summons his
earth goddess wife and tries to consult her regarding the coming deliverance of the world
through Siegfried and Briinnhilde. The goddess, however, is confused and bew^ildered by
Wotan's eager questions and fails to give counsel, asking only to be allowed to return to her
sleep. Wotan, wearying of the struggle against fate, renounces his sway over the w^orld,
reahzing that the era of love must supplant the rule of the gods.
VICTOR BOOK OF THE O PE RA— WAG N E R'S SIEGFRIED
^
W^l
fM
^^^fe^S
^^3
^■■^
1^^^/'^* "" ^i^^H^^B^B^^S
"■-" '"^'^^^^^^.^■'■—
THE AWAKENINii OF BRCNNHILDE — "ACT III
Siegfried approaches and Wolan attempts
to bar his way as a final trial of his courage.
The youth, however, makes short work of the
weary god, shatters his spear at a single
stroke, and continues on his way singing:
Sii;i;fri k ii :
Ha I Heavenly glow ! brightening glare!
Roads are now opening radiantly round me!
In lire will I bathe,
Tlirough fire will I fare to my bride!
Oho: Ohol Aha! Aha! daily! Gaily!
Soon gi'eets me a glorious friend!
As the hero plunges fearlessly through the
hre the flames gradually abate, and when he
reaches the sleeping Briinnhilde they die out
completely. Siegfried approaches the uncon-
scious maiden w^ith aw^e and removes her helmet.
He is speechless w^ith admiration, and naively
asks if the strange emotion v^^hich he feels can
be fear. Finally, v^hen he presses an ardent kiss
on her lips she awakes and greets him joyfully
as the hero Siegfried v^ho is to save the w^orld.
After a long scene in v/hich Siegfried's ardent
wrooing is gently repressed by Briinnhilde, he
finally seizes her in his arms. Frightened, she
repulses him, crying :
BRONNiitLnF,:
No god e'en has touched me!
As a maiden c\'cr heroes revered me:
\"irgin I hied from Valhalla!^
\\'oe's me! Woe's me!
Woe for the shame, the shunless disgrace!
AIv wak'ning hero deals me this wound!
Siegfried pleads his love and asks her to be his bride, but she begs him to spare her in
a w^onderful plea, Deathless Was I, sung here by Mme. Gadski.
Ewig ^var Ich (Deathless W^as I)
Siegfried)
By Johanna Gadski, Soprano
(Briinnhilde's Appeal to
{In German) 88186 12-inch, $3.00
When into wavelets the water wa^ Vduseii,
The brook's glassy surface broken and flawed,
Thy face saw'st thou no more;
Nought but ripples swirling round!
So disturb me no more, trouble me not :
Ever then thou wilt shine
In me an image reflected.
Fair and lovely, my lord! —
O Siegfried! !biegfried! Light of my soul!
Destroy not thy faitliful slave!
But the impetuous hero resumes his w^ooing, and love finally conquers the god-like
maiden. She laughs in a transport of love, exclaiming;
JIRl":N^M^Ll)]; :
() high-minded boy! O blossoming !ier<^! (iladly glide to destruction,
Thou babe of prowess. (iladly go down to death!
I'a^t all that breathe! Far hence, Walhall' lofty and vast,
(rladly ln\'c do 1 glow witli, T,ct fall thy structure of stately tow'rs;
'Ilarlly yield to thee blindly. Farewell, giandeur and pride of gods!
and throws herself into Siegfried's arms as the curtain falls.
IlKLNNHiLni-;:
Deathless was I, deathless am I.
J)eathless to sweet sway of aiVection —
Hut deathless for thy good !
O Siegfried, happiest hone of the world!
Life of the universe! Lordliest hero!
Leave me in peace!
Press not upon me thy ardent ]-epi"oaches!
Master me not with thy conquering might!
Saw'st e'er thy face in crystal flood'^?
I>id it not gladden thy glance?
MISCELLANEOUS SIEGFRIED RECORDS
Siegfried Fantasie By Sousa's Band 31621 12-inch, $1.00
A superb record of some of the most famous portions of Wagner's great music drama,
including several of the leit motice — Siegfried's Hunting Call, The Sword, The Bird, and Casting
of {he Steel, w^ith part of Siegfried's wonderful Song of the Forge.
404
SCENE fUR THE PROLOGUE
(Russian)
SNEGOUROTCHKA
(French) (English)
LA FILLE DE NEIGE THE SNOW MAIDEN
OPERA IN FOUR ACTS AND A PROLOGUE
Text by Ostrovsky, based on the old folk-lore tale of the Snow Maiden. Music by
Nicolai Andreyevich Rimsky-Korsakoff. First production St. Petersburg, March, 1882.
Produced at the Private Opera, Moscow, 1911. In Paris, at the Opera Comique, June, 1908.
The work has not yet been given in America.
Characters
SNEGOUROTCHKA, the Snow Maiden Soprano
MlSGUlR, her lover Baritone
SHEPHERD LEHL Contralto
CZAR BERENDEY Tenor
BOBY ^'^^^
BOBYLYCKA, his wife Soprano
KOUPAVA, betrothed to Misguir Contralto
The scene is laid in Bevendey, an imaginary province of Russia.
40.5
VICTOR BOOK OF THE OPERA— T HE SNO\^ MAIDEN
Those v/^ho have enjoyed Mme. Gluck's beautiful inter-
pretation of The SnoTo Maiden air will like to know something
of this Russian opera, and we therefore give a brief sketch of
the plot.
The opera abounds in picturesque scenes, representing
Winter and Spring, and the poetic little story is supposed
to take place in the happy country of Berendey, an unknown
province of an imaginary Russia, ruled by a benevolent
old Czar who has devoted his life to the happiness of his
people, governing his kingdom by the law^ of love.
The beautiful, unknown Snegourotchf^a, daughter of old
Winter and the fairy Spring, is found one cold morning by
some villagers, abandoned in the forest, and the old drunkard,
Bohy, and his w^ife, Bobylycka, adopt her without knowing
her parentage. Misguir, a merchant, falls in love w^ith her,
abandoning his sweetheart FCoupaca, but Snegourotch^a, as her
name indicates, is made of ice, and her coldness and indif-
ference discourage all the young men v/ho are infatuated
with her beauty. Even the handsome shepherd Lehl, who
sings such wonderful songs, gives up in despair and offers
his heart to Koupava. The old Czar is grieved that this cold-
ness has entered his kingdom, and offers the hand of the
5non) Maiden and a handsome gift besides to any one who
can w^in her love. SnegouroichJ^a finds it impossible to love,
and appeals to her mother, the fairy Spring, w^ho invokes the
aid of the flow^ers — the carnation lending its grace, the rose its
heart and the jasmine its languor. This influence gradually
touches the heart of the Snow Maiden, and she finds herself
falling in love v/ith the handsome Misguir. They both attend the festival of lovers and present
themselves to the good Czar as a betrothed couple. But, alas, at the first kiss from her lover
the little snow^flake melts and disappears, while Misguir, in despair, throws himself into the river.
This dainty little shepherd song is the gem of the opera — a tender, melodious air vrhich
Miss Gluck sings exquisitely in perfect English.
Song of the Shepherd Lehl
By Alma Gluck, Soprano
{In English) 64209 10-inch, $1.00
SCENE FROM THE SNOW MAIDEN
406
'■**'°^ THE SLEEl'-WALKING SCENE ACT IH, SCENE II
(Italian) (English)
LA SONNAMBULA-THE SOMNAMBULIST
(^L.ah Son-nahm -boo-lah)
OPERA IN THREE ACTS
Libretto by Felice Romani ; music by Vincenzo Bellini. Produced at the Teatro Carcano,
Milan, March 6, 1 83 1 ; Paris, October 28, 1 83 1 ; and at the King's Theatre, London, July 28th
of the same year. At Drury Lane in English, under the Italian title. May 1, 1833. First
performance in New York, in English, at the Park Theatre, November 13, 1835, with Brough,
Richings, and Mr. and Mrs. Wood. First performance in Italian in New York, Palmo's
Opera Company, May 1 1, 1844. Revived in 1905 at the Metropolitan -with Caruso, Sembrich
and Plangon ; at the Manhattan Opera, 1909, with Tetrazzini, Trentini, Parola and de
Segurola.
Characters
COUNT Rudolph, lord of the village Bass
Teresa, miUeress Mezzo-Soprano
AMINA, orphan adopted by Teresa, betrothed to Elvino Soprano
ELVINO, wealthy peasant Tenor
Lisa, inn-keeper, in love with Elvino Soprano
ALESSIO, peasant, in love with Lisa Bass
A Notary Tenor
Peasants and Peasant Women.
The scene is laid in a Swiss village.
How our grandfathers and grandmothers doted on this fine old opera by Bellini ! In
the '30's it was a novelty by a young and gifted composer; by 1850 it was part of every
opera season and shone through a halo of great casts — Malibran, Pasta, Jenny Lmd, Gerster,
Campanini, Grisi — and in the '60's and 70's it continued to be popular. Then came the
Wagnerian era, and the pretty little pastoral work was all but forgotten.
Now, however, Italian opera of the old-fashioned kind has begun to be appreciated once
more, and even the Wagnerites admit that there may be some pleasure in witnessing this
charming little work.
ACT I
SCENE— /4 Village Green
The peasants are making merry in honor of the marriage of Amino and Elvino. Lisa,
the hostess of the inn, enters and gives way to bitter reflections. She also loves Elvino, and
407
VICTOR BOOK OF THE OPERA— LA SONNAMBULA
her jealousy finds expression in a melodious air. Sounds So Joyful. Alessio, a villager who
fancies Lisa, tries to console her, but she repulses him. Amina and her friends enter, fol-
lowed soon after by Eloino, and the marriage contract is signed. Elvino places the ring on
his bride's finger, and they sing a charming duet, Taf^e Now This Ring.
Prendi Tanel ti dono (Take No^v This Ring)
By Maria Galvany and Fernando De Lucia (In Italian) 89045 12-inch, $4.00
By Emilio Perea, Tenor {In Italian) =^=62092 10-inch. .75
Two renditions of this number are given here, the Perea record including only
Eloino^s solo at the beginning of the duet. The words are not given, being merely a suc-
cession of flow^ery phrases to which Bellini has w^ritten his delightful melodies.
The nuptial celebration is interrupted by the sound of horses' hoofs, and a handsome and
distinguished stranger enters, inquires the way to the castle, and learning that it is some
distance, decides to remain at the inn. He looks around him, appearing to recognize the
scene, and sings his fine air, K/ raoviso.
Vi ravviso (As I Vie"sv These Scenes)
By Perello de Segurola, Bass
{In Italian) ^=62092 10-inch, $0.75
Count :
As I view the scene, liow familiar that mill-
stream, yon fountain, those meadows I
Oh rememhrance of scenes long vanish'cl,
Soft enchantment long lost and banish' d.
Where my childhood serenely glided,
Where tiie joyous moments flew;
Oh how peaceful have ye abided,
While those days nought can renew!
The stranger inquires the reason for the
festivities, and is presented to the pretty bride,
in v/hom he is much interested. He tells the
peasants that in his childhood he lived w^ith
the lord of the castle, and now brings news
of the lord's only son, who disappeared some
years since.
Amina^s mother, Teresa, now says that as
night is falling they must go within, as the
phantom may appear. The stranger is told
that a spectre has been often seen of late, and
he scoffs at the tale, but the peasants, in an
effective chorus, describe the appearance of
the ghost.
Ah ! fosco ciel ! ("When Daylight's Going)
shroud the sun-
By La Scala Chorus
CiidRUs:
When dusky nightfall doth
lie am,
And half repulses the timid moonbeam,
\\'hen thunder buometh ; where distance loom-
eth ;
Floating on mist, a shade appears!
In iilmy mantle of pallid whiteness,
The eye once gentle now glaring brightness.
Like cloud o'er Heaven by tempest driven.
Plainly confest the phantom wears!
Rudolph :
You are all dreaming; 'tis some creation
Of mere gossips, to frighten youth.
{In Italian) *62642 10-inch, $0.75
Chorus:
.\h, no such folly in our relation ,
We all have seen it, in very truth.
And wheresoever its pathway falleth
A hideous silence all things appalleth;
No leaflet trembles, no zephyr rambles,
As 'twere a frost the bi'ook congeals.
The fiercest watchdog can nought but cower,
A mute true witness of its fell power.
The screech-owl shrieking, her haunt seeking,
Far from the ghost her dark wing wheels.
RunoLPH :
'Tis fright for youth. I will discover
What hidden mystery your talc conceals.
The stranger now desires to retire and is shown to his room. Amina and Elvino remain,
and the latter reproaches his bride for her interest in the guest; but at the sight of her tears
he repents his suspicions, and the act closes w^ith a duet by the reconciled lovers.
* Double-Faced Record — For title of opposite side see list on page 410.
VICTOR BOOK OF THE O P E R A -^ L A SONNAMBULA
ACT II
SCENE — The AparlmenI of the Stranger
The guest muses that he might have done worse than stop at this Kttle inn — the people
are courteous, the women pretty, and the accommodations good. Lisa enters and asks if he
is comfortable, calling him " my lord," the villagers having suspected that he is the Count
Rudolph.
The Count, although somev/hat annoyed that his identity is revealed, takes it good-
naturedly, and even flirts a little with the buxom landlady. She coyly runs away, dropping
her veil as she does so.
Amino novi' appears at the window, walking in her sleep. She unlatches the casement
and steps into the room, saying in her sleep, "Elvino, dost thou remain jealous? 1 love but
thee." The Count is at first astonished, but soon sees that the young girl is asleep. Just
here Lisa peeps into the room, and seeing Amino, runs off scandalized. Amino, in her
dream, again goes through the marriage ceremony, and entreats Elvino to believe that she
loves him, finally throwing herself on the bed in a deep sleep. The Count is somewhat
puzzled at the situation, and finally deciding to leave the young girl in possession of the
room, goes out by the v^^indow.
Eloino and the villagers, who have been summoned by Lisa, now enter and are aston-
ished to see Amino asleep in the Count's room. She wakes at the noise, be-wildered, and
runs to Elvino, -who repulses her roughly. She is met with cold looks on every hand, and
sinks down in despair, crying bitterly. Rousing herself, she begins the duet, D'un pensiero.
D'un pensiero (Hear Me Swear, Then)
By Giuseppina Huguet, Soprano; Aristodemo Giorgini, Tenor;
and Chorus {In Italian) 88255 12-inch, $3.00
Amina: Elvino:
Not in thought's remotest dreaming, Ilcav'n forgive ye, this guilt redeenung;
Was a crime by nic intended: May thy breast be ne'er thus rended;
Is the little faith now granted. With what love my soul was haunted.
Fit return for so much iove? J-et these burning tear-drcips prove!
Finding all turned against her except her mother, she runs to the maternal arms, while
Elvino rushes from the room. The curtain falls.
ACT III
SCENE I— A Shady Volley near the Castle
Amina and Teresa enter on their way to the castle to plead with the Count to clear the
girl's good name. Seeing Eloino, Amino makes another effort to convince him she is still
true, but he reproaches her bitterly, takes the ring from her finger, and rushes away.
SCENE II — A Street in the Village. Teresa 's mill on the left
The villagers enter and inform Lisa that Ehino has transferred his affections to her. He
enters and confirms the good news, and they go toward the church. The Count stops
them, and assures Elvino that Amina is the victim of a dreadful misunderstanding. Elvino
refuses to hsten to him and bids Lisa follow him to the church, but they are again inter-
rupted by Teresa, who has learned of the proposed marriage, and now shows Lisa's veil
which she had found in the Count's room. "Deceived again," cries Elvino, and asks if any
of these women are to be trusted. . d r
Rudolph assures him again that Amina is guiltless, and Eloino desperately says. But where
is the proof?" "There," cries the Count, suddenly pointing to Amino, who in her night
dress comes from a window in the mill roof, carrying a lamp. All watch her breathlessly,
fearing to wake her lest she fall. She climbs down to the bridge over the wheel, and de-
scends the stairs.
Amina (advancing, still in her sleep, to the mid- iAnnna. clasping her hands on her bosom,
die of the stage): 'f" /™"' '* "^ f ""'''" ""'"' ''
Oh, were I but permitted Eh'uw ,„ the p,st Act.)
gre^hTan^other'he'lotlnead to the altar! ^Swc^t flowers, tenderest emblems, ,
Rudolph ((»£/.'»«): T>\edg.ng his passion, from ye ne er will 7
Hear her— ''""^'''■
Teresa:
She is thinking, speaking of thee!
Still let me kiss you —
But your bloom is tied forever!
The first of the two lovely airs for Amina in this act now occurs.
409
VICTOR BOOK OF THE OPERA — LA SONNAMBULA
Ah! non credea mirarti (Could I Believe)
By Luisa Tetrazzini, Soprano (In Italian) 88305 12-inch, $3,00
By Graziella Pareto, Soprano (/n Italian) 76003 12-inch, 2,00
By Alma Gluck, Soprano {In Italian) 74263 12-inch, 1.50
Perhaps the most effective part of the opera hes in this sleep-walking scene, when Amina,
in a state of somnambulism, w^alks along the roof of the building, and finally climbs down to
the ground. This act establishes her innocence, and clears up a mystery which had caused
her good character to be doubted.
Ah f non credea is sung by the sleeper as she descends from her dangerous position,
while her lover and friends watch in terror, fearing to awaken her. It opens with a beauti-
ful cantabile in the key of A minor, its pathos being fully in keeping with the plight of y4mina,
who, being discarded by her lover and doubted by her friends, weeps over her short-lived
love and happiness. At the words '' Potrio novel vigore, '' the pathetic note gives place to a
more ardent emotion, as hope is mingled w^ith her despair.
Regarding the flowers which her lover had given her, and which are now^ faded, she
exclaims :
A Ntl N A :
All I must ye fade, sweet flovvurs. Hut iho' no sunshine o'er ye,
Forsaken by sunlight and showers, These tears might yet restore ye.
As transient as lover's emotinn But e-^tranged devotion
That lives and withers in one short day! Xn mourner's tears have power to ^tay I
- FruMi lli<- DitsDii Kdition.
The singer's aim has been to illustrate the simple charm of the character of Amina and
the pathos of the scene, rather than exhibit brilliance of ornament. The cadenza at the
close, although typical of Tetrazzini's marvelous powers of execution, is well subordinated
to the character of the song, and pleases as much by its delicate beauty as by its amazing
technical perfection.
Eloino can restrain himself no longer, and rushes to Amina, who wakes, and seeing
Elvino on his knees before her, utters a cry of delight and falls in his arms.
The opera then closes w^ith the joyous, bird-like air, Ah ! non giunge, w^hich is a fitting
close to this charming work, w^ith its graceful and tender music and peaceful pastoral scenes.
In Amina, Mme. Tetrazzini hnds a most congenial role, and for her sake alone Sonnambula
w^ould alw^ays be w^orth hearing. She has the voice, style and technical skill to make such
music as this captivating; w^hile Sembrich's impersonation of the ingenuous village beauty,
who is all liveliness and joy, leaves nothing to be desired. Hers is a graceful and natural
impersonation, and the delightful sleep-walking scene is given with a delicacy which is
admirable.
Ah, non giunge (Oh Recall Not One Earthly Sorrow)
By Luisa Tetrazzini, Soprano (In Italian) 88313 12-inch, $3,00
By Marcella Sembrich, Soprano I In Italian) 88027 12-inch, 3.00
By Edith Helena, Soprano {In English) ='=35067 12-inch, 1.25
Amina:
! )o not mingle one human feeling _ Ah, embrace me, and thus forgiving,
With the rajtture o'er each sense 'Stealing; Each a ]jar(ion is now rc'ceiving;
See these tributes, tu me r(\'e<'iling <.)ii this bright earth, while we are living,
My I'^h'inn, true to b)\-e. J.et us forni bei-e a ]ie:i\cn nf love!
{Curtain.)
DOUBLE-FACED SONNAMBULA RECORDS
/Ah non giunge By Edith Helena, Soprano (In English)U^^^^ 12-inch, $1.25
I Rigolelto — Caro name By hdith Helena, Mprano [In tlngiish)\
fVi ravviso (As I View These Scenes) 1
By Perello de Segurola, Bass i In Italian) \ , r^ • u Tt
Prendi lanel ti dono ( lake Now 1 his Ring)
I By Emilio Perea, Tenor {In Italian, |
I Ah! fosco ciel ! ("When Daylight's Going) I
By La Scala Chorus (/n //a/ian) 62642 10-inch, .75
[ Lohengrin — Coro Nuziale By La Scala Chorus (In Italian I \
410
TITF \ E^ I l\N ^ t. L \T JHI [ hK \ L MIQUE
(French) (English)
CONTES D'HOFFMAN TALES OF HOFFMAN
(Kahnt Tioff'-mahn)
(German)
HOFFMAN'S ERZAHLUNGEN
{AiT-tsay -loong-en)
OPERA IN THREE ACTS
WITH PROLOGUE AND EPILOGUE
Text by Jules Barbier. Music by Offenbach. First performance in Paris, February 10,
1881. First United States production October 16, 1882, at Fifth Avenue Theatre. Revived
at the Manhattan Opera House, New York, November 27, 1907.
Cast
The Poet Hoffman Tenor
NICLAUS, his friend Soprano
OLYMPIA, 1
ANJxriMIA ' ( *-^^ various ladies -with whom Hoffman falls in love, . . Sopranos
Stella, J
COPPELIUS, 1 , . . /-ru .u -i u
n APFRTl I I'm I opponents. ( 1 tiese ttiree roles are usually sung
MlRAn F * I ^^ *^^ same artist) Baritone
Luther, an innkeeper Bass
SCHLEMIL, Giulietta's admirer Bass
SPALANZANI, an apothecary Tenor
COUNCILLOR CRESPEL, father of Antonia Bass
Offenbach's delightful and fantastic opera comique, first produced at Paris in 1881, has
been a success wherever performed, although it was tabooed in Germany for many years
after the disastrous fire at the Ring Theatre in Vienna, which occurred during the presenta-
tion of the opera at that house. Its American successes are familiar to opera-goers,
especially the brilliant and altogether admirable Hammerstein production, which drew large
and delighted audiences for several years.
VICTOR BOOK OF THE OPERA— TALES OF HOFFMAN
THE PROLOGUE
This introductory scene occurs in Nuremberg at Luther's tavern, a popular student
resort. H off man ,
the favorite of all,
enters with his
friend Nicholas and
joins in the merry-
making. In response
to calls for a song,
Hoffman sings the
Ballad of Klein- Zach,
and then volunteers
to relate his three
love affairs. This
proposal is greeted
with enthusiasm,
and as Hoffman be-
gins by saying "The
name of my firstw^as
Olympia," the cur-
tain falls. When it
rises, the first tale of
Hoffman is seen in
PROLOGLTE — THK LEiiKND (.iF KLEiNSACK actual performance.
ACT I
Spalanzani, a w^ealthy man %vith a mania for automatons, has per-
fected a marvelous mechanical figure of a young girl v/hich he calls
Olympia, pretending it is his daughter. Hoffman and Nicholas call upon
him. and during Spalanzoni's absence, Hoffman discovers Ol;ympia, and
falls in love at sight. Unable to take his eyes from the doll-like per-
fection of the figure, he expresses his infatuation in a beautiful air.
C'estelle CTis She!)
By Charles Dalmores, Tenor (/nFrenc/)) 87089 10-inch, $2.00
Dalmores makes a great success in the part of Hoffman. This role
calls for a handsome appearance, a gallant bearing, and enduring vocal
powers, and this tenor fills these requirements admirably. He sings this
beautiful air with graceful fluency and much -warmth of tone.
Nicholas tries in vain to prevent his friend
from making a fool of himself, but Hoffman,
ow^ing to the magic glasses Spalanzani has in-
duced him to v/ear, sees only a lovely w^oman
instead of an automaton; but is undeceived
when he dances with the figure and she falls
to pieces before his astonished eyes.
ACT II
This adventure concerns the Lady Giulietia,
who resides in Venice. Among her many
friends are Hermann and Nathaniel, and the
latter, fearing the power of the lovely coquette, tries to get
Hermann away, but he insists that he is proof against her fascina-
tions. Daperlutto, the real lover of the lady, hearing this boast,
induces Qiulietia to try her arts on the young man. She suc-
ceeds, and Hoffman, madly in love, challenges Qiulielta's protector,
Schlemil, and kills him in a duel. Hoffman rushes back to his
charmer's residence only to find that she has fled with her chosen
admirer.
This second tale introduces that lovely gem, the Barcarolle,
■with its languorous, fascinating rhythm and charming melody.
OLYMPIA, THE
MECHANICAL DOLL
COPY'
OALMORES AS HOFFMAN
412
VICTOR BOOK OF THE OPERA — TALES OF HOFFMAN
; , ^
' ■' '■'"■"" -i"
•^^.:
'■'%—-'■
M
Hf'%f^'n
^■-«^^g3ji
^^_—
H
^^ft'.
LE THEATRE
TALES OF HOFFMAN ACT ITT THE BARCAROTLLE
Barcarolle— Belle Nuit (Oh, Night of Love)
By Geraldine Farrar and Antonio Scotti (In Italian) 87502 10-inch, $3.00
By Lucy Marsh and Marguerite Dunlap {In English) 60096 10-inch, .75
ByMr. andMrs.NVheeler (Dou6/e-Facerf— ^eep.^/-^) {English) 1682 7 10-inch, .75
By the Victor Orchestra, with duet for two violins 5333 10-inch. .60
By the Vienna Quartet 5 754 10-inch, .60
This popular Offenbach number, -which is given as a duet in the Venetian scene and
afterwards as an instrumental intermezzo, is one of the best known examples of the barcarolle.
_. As the name implies, it was originally a song or chant used by the
Jp^^ Venetian gondoliers.
The music,
in 6-8 time,
portrays ad-
mirably the
swaying of
the boat
and its dreamy melancholy suggests the calm of a perfect moonlight
night.
O Night of Love
r.caulenus night, O night of love,
Smile thou on our enchantmc-nt ;
Radiant night, with stars above,
() beauteous night of love!
Fleeting time doth ne'er return
But bears on wings our dreaming,
In this act is also the air sung by Dapertaiio to the sparkhng dia-
mond, which he says never yet failed to tempt a woman.
^pi^^^^^^^^
Far away where we may yearn,
For time doth ne'er return.
Sweet zephyrs aglow.
Shed on us thy caresses —
Night of love, O night of love I
From Dit.suL K.iitioN - Coiiy'l VM
^-^X^l^^
(^^>iNL^' Air de Dapertutto (Dapertutto'
^2S^>V^w>^ By Marcel Journet, Bass {In French)
Journet delivers this song of th
bravo with much spirit.
413
s Air)
74103 12-inch, $1.50
sw^aggering, garrulous Venetian
VICTOR BOOK OF THE OPERA — TALES OF HOFFMAN
ACT HI
The third adventure of Hoffman introduces us to an humble
German home where Antonia, a young singer, has become the victim
of consumption. She is forbidden to sing by her father, but a
Dr. Miracle, who is the secret enemy of the family, Svengah-like,
urges her on, and Hoffman, w^ho know^s nothing of the poor girl's
affliction, sees her literally sing herself to death, and she dies in his
arms.
Romance — Elle a fui (The Dove Has Flown)
By Frances Alda, Soprano
(In French) 88399 12-inch, $3.00
The pathetic air sung by the unfortunate young singer, jJntonia,
w^hose life is finally sacrificed to her art.
THE EPILOGUE
The epilogue show^s again the tavern of the prologue, where
Hoffman is apparently just concluding his third tale. Having tried
three kinds of love — the love that is inspired by mere beauty, the
sensuous love, and the affection that springs from the heart — he says
he has learned his lesson, and will henceforth devote himself to art,
the only mistress vtf^ho w^ill prove faithful. He bids farew^ell to another
of his flames, Slella, an opera singer, and as the curtain falls is left
alone, dreaming, v^hile the Muse appears and bids him follow her.
MISCELLANEOUS HOFFMAN RECORDS
Gems from Tales of Hoffman
Chorus, *'Our Good Host "^Solo, "Song of Olympia " — Chorus, "Hear
Him His Tales Disclose" — Solo, "Ah, Now Within My Heart "—Barcarolle,
"Oh, Night Divine" — Chorus, "See She Dances ' — Finale, "Fill Up Our Glasses"
By Victor Light Opera Company {In English) 31859 12-inch. $1.00
/Gems from Tales of Hoffman Victor Opera Companyl„^
( Gems from Mignon fi\? Victor Light Opera Compan\^i
Contes d'Hoffman Selection By Victor Concert Orch. 31820
(Barcarolle — O, Night of Love By Mr, and Mrs. W^heelerl . ^„^ _
[ Faiinitza Selection {von Suppe) By Pryor's Bandj
12-inch, 1.25
12-inch, 1.00
10-inch, .75
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TANNHAUSER AND VENUS
'German)
TANNHAUSER
{ Tahn' -hoy-zer)
ROMANTIC OPERA IN THREE ACTS
Words and music by Richard Wagner. First presented at tKe Royal Opera, Dresden,
October 20, 1845; at the Grand Opera, Paris, March 13, 1861. First London production at
Covent Garden, in Italian, May 6, 1876. First performance in English took place at Her
Majesty's Theatre, February 14, 1882. First New York production April 4, 1859.
Characters
Hermann, Landgrave of Thuringia Bass
tannhauser,
Wolfram von Eschenbach,
Walther von der Vogelweide.
biterolf,
HEINRICH DER SCHREIBER,
Reinmar von Zweter,
Minstrel Knights
Tenor
Baritone
Tenor
Bass
Tenor
Bass
Elizabeth, Niece of the Landgrave Soprano
Venus Soprano
A Young Shepherd Soprano
Four Noble Pages Soprano and Alto
Chorus of Thuringian Nobles and Knights, Ladies, Elder and Younger
Pilgrims, and Sirens, Naiads, Nymphs and Bacchantes.
:^cene an
d Period : Vicinity of Eisenach ; beginning of the thirteenth century.
VICTOR BOOK OF THE OPERA— \^AGNER'S TANNHAUSER
THE STORY
SbainUi) g fl6fif(tf< ^oUbtattt.
^eanrgg, tit VJ OUtiti lti1&
S:iinn|(iufrr
kt6ilnacrtricpiif28(ir(Ciira.
There are a great many people ■who like to go to the
opera, but who do not care for Wagner's Ring Operas, with
their Teutonic myths and legends, and their long and some-
times undeniably tedious scenes. But Tannhduser, with its
poetry, romance and passion, and above all its characters,
who are real human beings and not mysterious mythological
gods, goddesses and heroes, appeals strongly to these opera-
goers.
To show^ the w^onderful vogue of this v/ork, it is esti-
mated that more than one thousand performances of the
opera take place annually throughout the world.
The story is quite familiar, but the chief events v/ill be
noted here in brief. It tells of conflict between tw^o kinds
of love; true love of the highest human kind as distin-
guished from mere sensuous passion ; and relates how^ the
higher and purer love triumphed in the end.
Tannhduser, a knight and minstrel, in an evil moment,
succumbs to the w^iles of l^enus and dw^ells for a year in
the Venusberg. Tiring of these monotonous delights, he
leaves the goddess and returns to his home, w^here he is
warmly received and told that the fair Elizabeth, niece of
the Landgrave, still mourns for him. He is urged to compete in the Tournament of Song
not far distant, the prize being the hand of Elizabeth. The theme of the contest is The Nature
of Love, and when Tannhduser 's turn arrives the evil influence of the Venusberg is appa-
rent w^hen he delivers a wild and profane eulogy of passion. Outraged by this insult the
minstrels draw their swords to slay him. Coming to his senses, too late, he repents, and
when a company of Pilgrims pass on their way to Rome, he joins them to seek pardon for his
sin. In the last act we see Elizabeth, v/eary and worn, supported by the noble Wolfram, who
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FIKST I'Rur.RAM OF TANNHAUSIiR, 1845
ACT ITI AT THF. MFTROPOr.lTAN
410
VICTOR BOOK OF THE OPERA— "WAGNER'S TANNHAUSER
also loves her, watching for the Pilgrims to return, but Tannhduser is not among them.
Elizabeth is overcome with disappointment and feebly returns to her home.
Tannhduser now appears, in a wretched plight, on his way to re-enter the Hill of Venus.
He tells Wolfram that he appealed to the Pope for pardon, but was told that his redemption
was as impossible as that the Pope's staff should put forth leaves. Wolfram 's remonstrances
are in vain, and Tannhduser is about to invoke the goddess, when a chant is heard and the
Pilgrims appear, announcing that the Pope's staff had blossomed as a sign that the sinner
was forgiven. Tannhduser kneels in prayer as the mourners pass with the body of Elizabeth,
who, overcome by her bitter disappointment, had suddenly passed av^^ay.
31382 12-inch, $1.00
31383 12-inch, 1.00
The Overture
Overture — Part I
By Arthur Pryor's Band
Overture — Part II
By Arthur Pryor's Band
This overture, with its sombre opening chorus, its weird music of the Venus Mount,
and the final return of the penitents, when the chant is accompanied by a striking variation
for clarinets, is one of the greatest works of Wagner. It has become quite familiar by its
frequent repetitions in orchestra and military band concerts, and no concert piece is more
admired.
The overture depicts the struggle between good and evil, and as Liszt has said, is a
poem on the same subject as the opera and equally comprehensive.
The sombre religious motive appears first ;
beginning softly and gradually swelling to a fortissimo. Then, as it is dying away, it is sud-
denly interrupted by the Venusberg motive :
with its rising tide of sensual sounds. This motive continues with terrible persistence, lead-
ing into Tannhduser 's hymn to l^enus, after which the enchanting Venus motive returns and
is developed with various changes. The tide now changes again and the majestic pilgrim
theme predominates, finally reaching a climax in the final hymn of triumph.
ACT I
SCENE \—The Hill of Venus— Nymphs, Sirens, Naiads and Bacchantes dancing or reclining on
mossy banl^s
The rising of the curtain discloses f enus reclining on a couch gazing tenderly at
Tannhduser, who is in a dejected attitude. The goddess asks him why he is melancholy,
and he tells her he is weary of pleasure and would see the earth again. She reproves him
fondly :
Venus:
What! art tiiou wav'ring?
lamentings ?
Canst thou so soon weary of the blisses
That love immortal hath cast 'round thee?
Can it be — dost thou now repent that thou'rt
divine?
Hast thou soon forgotten how thy heart was
mourning,
417
Why these vain
Till by me thou wert consoled?
My minstrel, come, let not thy harp be silent;
Recall the rapture — sing the praise and bliss
of love , .
In tones that won for thee love s selt to Be
thy slave! ,,
Of love sing only, for her treasures are all
thine 1
VICTOR BOOK OF THE OPERA— WAGNER'S TANNHAUSER
He rouses himself and sings the Praise to yenus, but it is a forced effort, and throw^ing
do\/n his harp he exclaims :
arp
Tannhauskk :
For earth I'm yearning,
In thy soft chains with shame I'm burning,
'Tis freedom I must win or die —
For freedom I can all defy;
To strife or glory forth I go,
Come life or death, come joy or woe.
No more in bondage will I sigh!
Oh queen, beloved goddess, let mc fly I
Venus in a rage, then tells him to go If he will, but predicts his return and disappears
with all her train, w^hile the scene instantly changes.
SCENE II— A Valley
Tannhduser suddenly finds himself in a beautiful valley near the Wartburg. On the
peaceful scene there break in the notes of a shepherd's pipe, and tinkling sheep bells
sound from the heights. A company of Pilgrims pass, singing their chant, while the little
shepherd pauses in his lay, and begs them utter a prayer for him in Rome. This scene is
effectively given by Mme. Runge and the Nebe Chorus, while additional records of the
Pilgrims' Chorus are provided by Pryor's Band and the Brass Quartet.
Pilgrims' Chorus
By Gertrud Runge, Soprano, and Nebe Qt {German) 68352 12-inch,
By Pryor's Band 31160 12-inch.
By Pryor's Band {Double-faced— See page 423) 16537 10-inch,
By Victor Brass Quartet (Double-faced — See page 423} 17133 10-inch,
$1.25
1.00
.75
.75
Tanniiauser (kneeling in ecstasy) :
Almighty, praise to Thee I
Great arc the marvels of Thy mercy!
Oh, see my heart by guilt oppressed —
I faint, I sink beneath the burden !
Nor will I cease, nor will I rest.
Till heav'nly mercy grant mc pardon
The Landgrave and several minstrels now enter, and seeing a knight kneeling in prayer,
accost him. They are amazed and delighted to see that it is the long lost Henry, their
brother knight. They question him, but he gives evasive replies. The Knights urge him
to return "with them, and speak the name of Elizabeth,
Wolfram telling him that he is beloved by the Landgrave's
fair niece.
Wolfram :
When for the palm in song we were contending,
And oft thy conq'ring strain the wreath had won,
Our songs anon thy victory, suspending,
One glorious prize was won by thee alone!
Was't magic, or a pow'r divine.
That wrought thro thee the wondrous sign,
Thy harp and song in blissful hour
Enthrall'd of royal maids the flower!
For ah, when thou in scorn liadst left us,
Her heart was closed to joy and song.
Of her sweet presence she bereft us.
For thee in vain she 'wearied long.
Oh ! minstrel bold, return and rest thee,
Once more awake the joyous strain!
Cast off the burden that oppress'd thee.
And her fair star will shine again!
Tannhauser joyfully consents to return and promises to
compete in the forthcoming Tournament of Song, the prize
for w^hich is to be the hand of Elizabeth. The remainder of
the hunting train of the Landgrave now arrives, and as
Tannhduser is being greeted by his friends, the curtain falls.
ACT 11
SCENE— TAe Great Hall in the Wartburg
Elizabeth enters, full of joy over the return of Tannhduser, and greets the Hall in a
noble Gong.
41S
VICTOR BOOK OF THE OPERA— WAGNER'S TANNHAUSER
Dich, theure Halle (Hail, Hall of Song)
By Johanna Gadski (German) 88057 12-inch, $3.00
By Louise Voigt (German) 31849 12-inch, 1.00
Elizabeth :
Oh, hall of song, I give thee greeting!
All hail to thee, thou hallowed place 1
'Twas here that dream so sweet and fleeting.
Upon my heart his song did trace.
Hut since by him forsaken
A desert thou dost seem —
Thy echoes only waken
Remembrance of a dream.
Rut now the flame of hope is lighted.
Thy vault shall I'ing with glorious war;
For he whose strains my soul delighted
No longer roams afar I
Mme. Gadski sings this glorious air in a surpassingly
beautiful fashion, "while a fine rendition is given by Miss Voigt.
Tannhduser enters and kneels at the feet of Elizabeth, who in
blushing confusion bids him rise.
Verzeiht ^venn ich nicht weiss (Forgive, I
Scarcely Kno^v W^hat I am Saying)
By Johanna Gadski (Qerman) 88442 12-in., $3.00
FARRAR AS I:L12ABETII
With that frankness which seems characteristic of Wagner's
heroines, the young girl makes no secret of her partiality for the Knight, and a long scene
between the lovers ensues, interrupted by the entrance of the Landgrave, w^ho greets
Tannhduser cordially and welcomes him to the contest.
THE HALL OF SHNG ACT H
419
VICTOR BOOK OF THE OPERA— \^AGNER'S TANNHAUSER
The Knights and Ladies now assemble to the strains of the noble Fest March, given
here in splendid fashion by Sousa's Band.
Fest March
By Sousa's Band 31423 12-mch. $1.00
By Sousa's Band (Double-faced — See page 423) 16514 10-inch, .75
When the company is seated, the Landgraoe rises and makes the address of welcome.
LANn(;RA\-K :
Minstrels asscmljlcd liurc, I give you grt-tling, 'I'd wliat wc owe his presence here amongst us
Full oft within tliese walls your lays have In strange, mysterious darkness still is
sounded ; wrapp'd;
In veiled wisdom, or in niirtliful measures The magic power of song ^hall now reveal it,
Thev ever gladdened every list'ning heart. Therefore hear now the song you all shall
And' though the sword of strife was loosed sing.
in battle. Say, what is love?' iiy what signs shall we
Drawn to maintain oui" German land stcure, know it.''
I'nto the harp be equal praise and glory I This be your theme. Who so most nohly
The tender graces of the homestead, this can tell.
The faith in what is good and gracious — Ilim shall the Princess give the prize,
l-'iir these you fought with word and voice; He may demand the fairest guerdon:
The meed of praise for this is due. I vouch that whatsoe'er he ask is granted.
^'l>ur strains insijiriiig, then, once more ITp, then, arouse ye — sing, oh, gallant min-
attune, strels!
Xnw that the gallant minstrel hath returned, Attune your harj>s to love — great is the prize.
WliLi friim our land too long was parted. Kre ye begin, let all receive our thanksl
Four pages, who have drawn lots from a gold cup, now announce that Wolfram is to
begin the contest. He rises and delivers his Eulogy of Love.
W^olfram's Ansprache (W^olfram's Eulogy of Love)
By Otto Goritz, Baritone \In German) 74215 12-inch, $1,50
The singer gives his conception of love, which he describes as pure and ethereal, com-
paring it to a crystal spring.
Wolfram :
(iazing around upon this fair assembly. My heart was sunk in [u-ayerful holy dreams.
How doth the heart expand to see the scene I And lol the souice of all delights and power
These gallant heroes, valiant, wise and gentle — Was then unto my listening soul revealed,
A stately forest soaring fresh and green. I-'rom whose unfathomcd depths all joy doth
^\nd blooming by their side in sweet perfec- sliower — -
tion. The tender balm in which all grief is healei.!.
1 see a wreath of dames and maidens fair; i)h, may I never dim its limpid waters.
Their blended glories dazzle the beholder — Or rashly trouble them with wild desires!
My song is mute before this vision rare I 1 worship thee kneeling, with soul devoted:
I raised my eyes to one whose starry splendor To live and die for thee my heart aspires 1
In this bright heaven with mild effulgence {After a pause.)
beams, T know not if these feeble words can render
-And gazing on that pure and tender radiance, What I have felt of love both true and tender.
Tannhduser, who has show^n signs of impatience during this recital, now jumps to his
feet, flushed and eager, while the company looks at him in astonishment.
Tannitai'ser: i .Ardently.)
(Jh, minstrel, if 'tis thus thou singest. Ftut what can yield to soft caresses,
Then ne'er hast known or tasted level .And, fram'd with me in mortal mould
If thou desire an unapproached perfection — (ientle persuasion's rule confesses.
Behold the stars — adore their bright retlec- And in these arms I may unfold —
tion— This is for joy, and knows no measure,
They were not made to be belov'd: For love's fulfillment is its pleasure I
At this definition of love, strange for such an occasion, Biferolf, a hotheaded Knight»
rises and challenges Tannhduser, who excitedly retorts that such a grinn w^olf as Biterolf can
know^ nothing of the delights of love! He then, in w^ild exultation, sings his blasphemous
Praise of Venus, saying
Tann iiauser:
Dull mortals, who of !nve ha\-e never tasle'l
(lO forth I \'enus alone can show ye level
At this the Knights rush toward him with drawn swords, exclaiming:
Knichts:
Ye all have heard, In \'enus' dark abode that dwell,
ITis mouth hath ccmfess'd hisown him — curse him — banish him!
That he hath shared the joys of Hell, Or let his traitor life-blood flow!
420
VICTOR BOOK OF THE OPERA— \^AGNER'S TANNHAUSER
Elizabeth throws Herself in front of the unhappy Tannh-
ice. She begs for his life in a touching plea.
auser, w
ho stands
Zuruck, von ihm ! (Away from Him !)
By Johanna Gadski, Soprano {In German) 88443 12-inch, $3.00
hini! 'Tis not for you to judge
Elizabeth :
Away from
him I
Shame on youl He is one against you all!
1 pray tor him — spare him, oh, I implore ye!
Let not the hope of pardon be denied I
To life renew'd his sinking faith restore yc.
Think that for him, too, once tlie Saviour
died:
Oh, let a spotless maid your graee implore 1
Let Ileav'n dcelarc through nie wliat
will—
The erring mortal, who hath fallen
\\'ithin the weary toils of sin,
How dare ye close the heav'nly portal!
(_)n me, a maiden young and tender,
"\'on knight hath struck a cruel blow —
I, who so deeply, truly loved hiTii,
Am hurl'd in dark abyss of wnul
iln German}
88053
12-inch,
$3.00
(In English)
'35096
12-inch,
1.25
The Landgrave pronounces judgment and declares Tannhduser banished, suggesting that
he join the band of Pilgrims about to start for Rome. In the distance is heard the Pilgrims'
chant, and the strains seem to bring the erring knight to his senses. He cries: "To Rome!"
and dashes from the hall.
ACT III
SCENE — The Valley beneath the Wariburg — at one side a Shrine
As the curtain rises Elizabeth is seen kneeling at the shrine in prayer. Wolfram comes
down by the path, and observing her, sadly notices her changed appearance, and muses
on his own hopeless love. The song of the Pilgrims is heard in the distance, and
Elizabeth eagerly rises and scans the approaching band. Tannhduser is not among them, and
the despairing maiden kneels again at the shrine, and offers her prayer to the Virgin.
Elizabeth's Gebet (Elizabeth's Prayer)^
By Geraldine Farrar, Soprano
By Elizabeth "Wheeler, Soprano
This prayer of the sainted Elizabeth is
one of the most beautiful and touching of
the master's compositions. "He will return
no more!" cries the unhappy girl, and falls
on her knees.
Elizabeth :
Oh. blessed \'irgin. hear m>- jirayerl
Thou star of glory, look on me!
Here in the dust I bend before thee
Now from this earth, oh. set me free I
Let me, a maiden pure and white.
Enter into thy kingdom bright I
If vain desires and earthly longing;
Have turn'd my heart from thee away,
The sinful hopes within me thronging,
Before thy blessed feet T lay;
I'll wrestle with the love I cherish'd.
Until in death its flame hath perish'd.
If of my sin thou will not shrive me.
Yet in this hour, oh grant thy aid!
Till thy eternal peace thou give me,
I vow to live and die thy maid.
And on thy bounty I will call.
That heav'nly grace im him may fall!
She remains for a long time in prayerful
rapture; as she slowly rises she glances at
Wolfram, who is approaching. She bids him
by gesture not to speak to her, but he asks
that he may escort her.
Elizabeth again expresses to him by
gesture that she thanks him from her heart
— ' for his faithful love; her way, however,
leads to Heaven, where she has a high purpose to fulfill; she wishes him not to accompany
or follow her now. She slowly ascends the height and disappears gradually from view.
421
ELIZABETH AND WOLFRAM — ACT
VICTOR BOOK OF THE OPERA— -WAGNER'S TANNHAUSER
Wolfram gcizes sadly after her for a long time, then seats himself at the foot of the hill,
begins to play upon his harp, and finally sings the noble and beautiful ode to the evening star.
O du mein holder Abendstern (Song to the Evening Star)
By Emilio de Gogorza, Baritone {In German) 88154
By Marcel Journet, Bass {In German) 74006
By Reinald W^errenrath, Baritone {In German) *35160
By Reinald W^errenrath, Baritone (In German) 31462
By Alan Turner, Baritone [In English) * 1 7446
By Victor Sorlin, 'Cellist =^=16813
O douce etoile (Song to the Evening StarJ
12-inch,
$3,00
12-inch,
1,50
12-inch,
1,25
12-inch,
1.00
10-inch,
,75
10-inch,
,75
By Maurice Renaud, Baritone
Wolfram :
Likt Death's dark shadow.
extendeth.
Tier sable wing o'er all the
The soul that longs to tread yon jjath of light
^'et dreads to pass the gate of Fear and Night,
I look on thee, oh, star in Heaven the fairest,
Thy gentle beam thro' trackless space thou
bearest;
The hour of darkness is by thi_'C made bright,
Thou lead'st us ujiward by jiurc light.
(.) ev'ning star; thy holy Hglit
Was ne'er so welcome to my sight.
With glowing heart, that ne'er disclos'd;
Greet her when she in thy light reposed;
When parting from this vale a vision,
She rises to an angel's mission.
(He continues to play, his eyes raised to
licai'cn.)
{In French) 91067 10-inch, $2.00
Night her gloom
vale she bendeth;
Tannhduser now appears, wearing a
ragged Pilgrim's dress, his face pale and
draw^n, and supporting himself -with diffi-
culty by means of a staff. Wolfram greets
him w^ith emotion and learns that he is
still unforgiven and has resolved to re-enter
the Venusberg.
The unhappy Tannhduser tells of the
Pope's refusal of a pardon:
Tannhauser:
Rome I gained at last; with tears imploring,
I knelt before the rood in faith adoring.
When daylight broke, the silv'ry bells were
pealing ;
Through vaulted roof
stealing;
A cry of joy breaks
voices —
The hope of pardon ev'ry heart rejoices.
I told what mad desires my soul had dark-
ened.
By sinful earthly [deasure long enslav'd —
To me it seem'rl that he in mercy harken'd —
A gracious word in dust and tears I crav'd.
Then he who thus I prayed replied:
"If thou liast shared the joys of Hell
Jf thou unholy flames hast nurs'd
That in the hill of \'enus dwell.
Thou art forever more accurs'dl
And as this barren staff I hold
Ne'er will put forth a flower or leaf.
Thus shalt thou never more behold
Salvation or thy sin's relief I"
a song di
forth from
thousand
EATII OF ELIZABETH
* Doubk-Faced Record— 'For title of opposite side see DOUBLE-FACED TANNHAUSER RECORDS, page 423.
422
VICTOR BOOK OF THE OPERA— WAGNER'S TANNHAUSER
Wolfram, in horror, urges him to remain, but Tannhduser refuses until Wolfram mentions
the name of Elizabeth. The unhappy man, in sudden repentance, sinks to his knees, while
in the distance is seen a company of minstrels bearing the body of Elizabeth, who has suddenly
passed away. As the procession approaches, a company of Pilgrims enter and announce
that the staff of the Pope had put forth green leaves as a sign that Tannbauser was pardoned.
The Minstrel, supported by Wolfram, gazes on the saintly face of the dead Elizabeth,
then expires, ^vhile the Pilgrims and minstrels with great emotion exclaim :
The Lord Himself now thy bondage hath
riven —
Go, enter in witli the blest in His Heaven I
(Curtain)
DOUBLE-FACED AND MISCELLANEOUS TANNHAUSER RECORDS
J Elizabeth's Prayer By Elizabeth ^^heeler. Soprano
\ A Night in Venice Mr. and Mrs. Wheeler
I Lied des Hirtenknaben und Chor der Pilger
I (In German) Runge and Nebe Qt
iLied des Hirtenknaben und Chor der Pilger (Part II)
I (In German) Runge and Nebe QtJ
)0 du mein holder Abendstern By Reinald 'Werrenrathl
1 Treue Eiebe — Ach, wie ist's moglich dann Emil Muench, Tenor
(Overture — Part I By La Scala Orchestral ^g^gs
(Overture — Part II By La Scala Orchestra)
(Selection from the Opera By Arthur Pryor's Band\^g^ggj
( Madame Butterfly Selection, No. 2 By Arthur Pryor's Bandj
)Fest March By Sousa's Band) ^^^^^
( La Marseillaise — National Air of France By Sousa'sBandf
35096 12-inch, $1.25
68352 12-inch, 1.25
35160
(The Evening Star
\ Last Rose of Summer
(The Evening Star {In Englis
\ The Rosary {Nevin)
/Pilgrims' Chorus
\ Lohengrin — Coro delle nozze
(Pilgrims' Chorus
Don Carlos — Grand March {Verdi)
By Victor Sorlin, 'Cellistl ig^oi^.
By Elizabeth Wheeler, Sopranoj
By A tan I urner)
By Pryor's Band)
{In Italian) By La Scala Chorus I
By Victor Brass Quartet!
16537
By Sousa 's Sandj
17133
12-inch,
12-inch,
12-inch,
10-inch,
10-inch,
10-inch,
10-inch,
10-inch,
1.25
1.25
1.25
.75
75
.75
.75
.75
THE REDEMPTION OF TANNHAUSER
423
THAIS
( Tah-ees' )
OPERA IN THREE ACTS
Libretto by Louis Gallet, based on the novel of Anatole France ; music by Jules
Massenet. First production at the Opera Comique, Paris, 1894, and afterward in nearly
every capital of Europe. First American production November 25, 1908, at the Manhattan
Opera House, New York.
Characters
Thais, actress and courtesan Soprano
ATHANAEL, a Cenobite monk Baritone
NiCIAS, a wealthy Alexandrian Tenor
PALEMON, an aged Cenobite monk , Bass
ALBlNIi, an abbess Mezzo-Soprano
CROBYLE, 1 , . ,
MYRTALE, 1^'""" ^'^'^ Sopranos
Monks, Nuns, Citizens, Servants, Dancers, etc.
nd Place : Alexandria and the Egyptian desert ;
early Christian era.
DALMORES AS NICTAS
Thais the Egyptian, a woman of wonderful beauty and a courtesan, w^ho w^as converted
by Pafnucio and led by him into the righteous path, is the subject of this lyric opera. The
librettist has given the name of Athanael to Pafnucio, v/ho is a young and handsome monk
living with an assemblage of holy men, called Cenobites, in the desert of Thebes.
ACT I
SCENE 1 — The Camp of the Cenobites near the Nile
At the opening of the opera Athanael has just re-
turned from Alexandria, haunted by the story of the
famous courtesan, Thais, w^hom he feels it his duty to
save. Against the advice of the head Cenobite,
Palemon, he calls his brother monks together and an-
nounces his intention of returning to Alexandria to
convert the courtesan to the nobler life.
SCENE 11 — The House of Nicias at Alexandria
Athanael arrives and is w^armly greeted hy Nicias,
•who knew the monk years before. The traveler tells
his old friend he has come to the capital to teach
Thais the better life, but Nicias only laughs at him
and scoffs at the idea. How^ever, he has his slaves
dress the monk in rich robes, and when Thais arrives
she is soon curious about the handsome stranger,
whose severe demeanor arouses her interest. The
monk tells her he has come to Alexandria to teach
her salvation and the life everlasting, but she says
she believes only in joy and love and pleasure.
In horror at the revelry which is planned for the
evening, Athanael leaves, declaring he will see Thais
MAizENE DUFRANNE AS ATHANAEL at her homc and show her the true light.
ACT II
SCENE 1 — Thais' Apartments
The second act takes place in the luxurious home of Thais. Athanael enters, steeling
himself against the seductive charms of Thais, and eloquently pleads with her for the new
425
VICTOR BOOK OF THE OPER A-M ASSENET'S THAIS
and higher love and the Ufe to
come. Thais is at first fright-
ened and then defiant, but
Atbanael declares that she will
yet repent, and that he will
aw^ait her coming.
SCENE 11—^ Street in
Alexandria
The next scene is in the
square at daw^n, where Thais
comes to Aihanael, renounces
her life of pleasure, and tells
him she w^ill follow wherever
he leads. He urges her to put
a torch to all her earthly pos-
sessions, and she permits him
to set fire to her palace. Nicias
now appears with his joyous
companions, singing and danc-
ing. In the midst of the rev-
elry they discover Thais in her
sombre garments, and becom- '""" " ^«"-"'"' conversion of tiiais
ing infuriated over her departure, and the firing of her house, threaten to hang Athanael.
Nicias, realizing the seriousness of the situation, diverts his follow^ers by scattering gold coins
among them, and in the scramble which follows Thais and Athanael make their escape.
ACT III
SCENE \—A Desert Oasis
In Act ill the pair are seen on their v^^ay to a convent. Thais is almost exhausted with
fatigue, and Athanael tenderly supports her. Saint Albine and the White Sisters come to meet
them, and the monk delivers Thai's over to them
to remain w^ith them till the end of life. Thais is
happy v/ith a great spiritual peace, but Athanael,
who has grow^n to love her with an earthly love,
is troubled at the thought of parting with her for-
ever.
SCENE W^The Cenobites' Camp
Athanael, returned to his retreat, no longer
finds there the peace of former days, and endures
mental torture, continually thinking of Thais. He
has a vision in v/hich she appears to him first as
the courtesan and then as a nun dying in the
convent. Awakening in terror, he rushes out in
the darkness and makes his way again to the
retreat of Thais.
SCENE m—The Convent of the White Sisters
Aihanael arrives, finds Thais ill, and in a frenzy
of love implores her to return to the earthly life,
but 7 hais has a vision of heavenly bliss and is
deaf to his entreaties, dying with a glow of hap-
piness on her face, while Aihanael falls to the
ground in despair.
No opera of Mr. Hammerstein's producing
made such a deep impression on opera-goers
as did Massenet's wonderful and mystic w^ork,
although its beauties were almost intangible
AND ATHANAEL — ACT II and hard to realize without many hearings and
VICTOR BOOK OF THE O P E R A— M A S S E N ET'S TH A f S
an intimate acquaintance with
the text. The lovely Medita-
tion, however, alw^ays made
an instant impression on every
hearer and received enthusi-
astic approval, being played
as an intermezzo between the
scenes of the opera. But
Thais audiences heard no such
renderings of this intermezzo
as have been given here by
Powell, Elman and Kreisler.
Two other fine records by Pil-
zer and Rattay, in the popular
double-faced class, are also
offered. The great air from
Act I, in which Athanael tells
the Cenobites of his vision of
life in the v/icked city, is sung
by Mr. Whitehill with a noble quality of voice and much dramatic force. A very fine record
of the D'acqua aspergimi, the duet between Thais and Athanael in Act III, by Janni and Battis-
tini, is also presented.
THE DEATH OF TIIATS ACT IV
THAIS RECORDS
Meditation (Intermezzo Religieuse)
By Maud Po^vell, Violinist
By Fritz Kreisler, Violinist
By Mischa Elman, Violinist
Voila done la terrible cite (That
Awful City I Behold)
By Clarence 'Whitehill, Baritone
{In French) 74364 12-inch, $1.50
D'acqua aspergimi (W^ith Holy
Water Anoint Me)
By Mme. Janni, Soprano, and
Mattia Battistini, Baritone
(In Italian) 88353 12-inch, $3.00
Meditation (Intermezzo
Religieuse)
By Ho^vard
Rattay, Violinist
Lohengrin Selection
( Wagner)
By Pryo-'s Jjand
Meditation (Intermezzo
Religieuse)
By Maximilian
Pilzer, Violinist
Humoresque (Dvorak)
By Maximilian
Pilzer, Violinist
427
74135 12-inch, $1.50
74182 12-inch, 1.50
74341 12-inch, 1.50
35147 12-inch, $1.25
35306 12-inch, 1.25
DELMAS AS ATHANAEL
(Italian)
TOSCA
{Toss' -l^ah)
OPERA IN THREE ACTS
Text by Illica and Giacosa after Sardou's drama. Music by Giacomo Puccini. First
produced at the Constanzi Theatre, Rome, in January, 1900. First London production July
12, 1900. First American production February 4, 1901, at the Metropolitan, the cast including
Ternina, Cremonini, Scotti and GiUbert. Also produced in English by Henry W. Savage.
Characters
FLORIA TOSCA, (Floh' -ree-ah Toss -kah) a celebrated singer Soprano
Mario CAVARADOSSI, {Mah'-ree-oh Cao-a-rah-Joss'-ee) a painter Tenor
Baron SCARPIA, iScar-pee-ah) chief of the police Baritone
CESARE ANGELOTTl, (See-zahr'-ay Ahn-ieUol'-lee) Bass
A Sacristan Baritone
SPOLETTA, (Spo-lei'-lah) a police agent Tenor
SCIARRONE, a gendarme Bass
A Jailor Bass
Judge, Cardinal, Officer, Sergeant, Soldiers, Police Agents, Ladies, Nobles, Citizens.
Scene and Period : Ro
• h
1800.
The
Story
Tosca is Puccini's fifth opera, and by far the most popular, next to Mme. Butterfly,
which probably holds first place in the affections of opera-goers. The opera is a remarkable
example of Puccini's skill in adjusting both instrumental and voice effects to the sense of
the story, interpreting both the characters and the situations.
The plot is gloomy and intensely tragic, following closely the Sardou melodrama, but
is relieved somew^hat by the beauty of the musical
setting, which confirmed Puccini's place in the first
rank of modern operatic composers. The three acts
of the ope 
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