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A Gift from 

the Performing Arts Collection 


Marvin K. Frankle 

Class of 1931 


924 068 919 

Cornell University 

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. 





Stories of Onc-JiwDdrccL Operas 

mtf^ivc-Jtuvdrcd illustrations 

(^ descriptions of Onc-Tbousand 

Victor Opera Rccoi 

Copyright 1912 


Camden, New Jersey, U. S. A. 


Copyright 1913 

Camden, New Jersey, U. S. A. 




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) 


i p i I iiiiiii i i i i iii 'n i I i i m ii iiiii — I 


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 


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 


iiiiiii i ii ii i iiiiiiiiii ii iii ii iiii ii iy ii ii i ii i iiiiiii i i ii iiiiiiiiii iiiiiMiiiiiiiiiiiiiiiiiiiiiiiiiiilllllllllllllllliiiiilllllillliiii m 


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) 


iiiiimiiiiiii iiiiinmii im i 



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. 




Vasco hrforv 
Scene in the PrU 


Thr .\fassar,-v—Act TIT 





{Dee Ah-free-koh' -ner-in) 






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 


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, 



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 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 


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-inch, $1.25 
12-inch, 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 


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. 


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 


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. 

/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 





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 

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. 


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 



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, 

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. 



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- 

Breathing the soft airs of ihy native land, 
Round tliy fair brow a diadem folding'. 

Thine were a throne next the snn tn stand! 


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 

The King begins another trio, urging the Egyptian forces 
to guard with their lives the sacred Nile. 


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 


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 

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. 


Mortal, beloved of the gods, to thee 

Is confided the fate of Egypt. Let the holy 

Tempered by the gods, in thy hand become 
To tiae enemy, terror — a thunderbolt-death! 


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 


88223 {In Italian) 12-inch, $3.00 




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. 


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 : 


The fate of arms was deadly to thy people. 

Poor iVidal The grief 

Whicli weighs down thy heart I share with 

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 ? 


What say'st thou? 





' Doubk^FaceJ Record—For title o/ opposite Side see DOUBLE-FACED AIDA RECORDS, page 26. 



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 

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 


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, 





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 

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. 


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 




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 

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 

Ciel ! Mio Padre ! (Heaven ! My 

By Johanna Gadski, Soprano, 
and Pasquale Amato, Bari- 
{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 



-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 

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! 


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 


Who will be able to discover it' Whoever? 


Aida : 

-Vmunasro : 

Rhadames will come here soon— he loves thee— 
lie leads the Egyptians. Host thou undersland? 


Horror! What dost thou counsel 
Neve]- ! 


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? 


AiDA ( terrified and suppliant) : 


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 : 


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. 


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 

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. 


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. 


( bitterly innsing) : 
al has escaped me- 

And Rhadames awaits from the 

The ]"junishment of a traitor. 
Traitor he is not, though he 

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 





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 



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! 

I cannot do it! 

Wouldst thou die, madman? 


I am ready to die. 


Wlio .saves thee. O wretch, 
From the fate that awaits 

To fury liast thou changed 
A love that had no equal. 
Reven^'e for my tears 
Heaven will now consummate! 


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 

{Loz'crs her face zvitli her hands. The I'oicc 
of Ramfis can be heard within.) 

Rhadames, Rhadames : thou hast betrayed 
Of thy country the secrets to aid the focTnin: 

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 

Jealousy, vile monster, thou who hast doomed 

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! 


Defend thyself! 

Rami- IS : 

Rhadames, Rhadames: and 

thou hast played 
The part of a traitor to King, 
and to honor! 


Defend thyselfl 


He is silent. 

jglljj^ 'iii''-'''^ '^^^'^■H 





HpS^^nt i'lMj^^^^ 










Alt. ■ 

vile : 


Ram I 1,S : 

Rlinrlanies, wc lliv fale have 

Of all traitors tin- fate shall 

lie thine — 
'Neath the allar wliosc d.A 

thou'st deriiled 
Thou a sejnilehre li\-im; shall 



Find a sepulehre living! 

Hated wretches I 
Ever vengeful, blood-thirsty 

and blind! 



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 

My heart foreboded this, thy dreadful sen- 

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! 




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 


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] 


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] 


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 


lla's Italian Bandl „,,, , ,, • , 

sella 's Italian Bandr^^^^ 12-mch, 1.25 



( Italian) 


(Ahn-dree 'oh Sheh neay) 


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. 



CHARLES Gerard Baritone 


Madeleine, her daughter Soprano 

BERSI, her maid Mezzo-Soprano 

Rougher Bass 

MATHIEU Baritone 

MADELON Soprano 


The Abbe Tenor 

Schmidt, jailer at St. Lazare Bass 



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. 


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. 


Improvviso — Un di all' azzurro spazio (Once O'er the Azure 

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. 


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. 


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. 


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. 


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)] 



{Eel Bahr-beay' -reh dec See-veeC -yah) 



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." 


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. 



Overture to Barber of Seville 

By La Scala Orchestra 

68010 12-inch, $1.25 


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 


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 


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 

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" 




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- 

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. 











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. 


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.) 


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 


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? 


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? 


I do not know. 


Take courage, pray you, 


I couUl not so— 

A few lines merely. 

I blush to write. 

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.) 

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; 



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.) 



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 


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, 




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 : 


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 

Which there is no withstanding! 


Ay, ay! I understand you. 
Well, wcH, what matters it? 
Go; and may Heaven bless you I 


Bravo, bravf 
Let me emb 

, Doctor ! 
ace you! 

<.'n, now najijiy we are! 

'OUNT : 
Oh, propitious love! 


I'lGARO : 

Young love, triumjihant smiling, 
All harsher, thoughts exiling, 
All quarrels reconciling, 
Now waves his torch on high! 



/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 


62105 10-inch, .75 


(English) (Bohemian) 



Libretto by Sabina. Music by Friedrich Smetana. First production, Prague, 1866. 
First London production, Drury Lane, 1895. First American production February 17, 191 \. 


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) 




{La Bow-ehm) 




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, 


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 


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. 

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) 


88233 12-inch, $3.00 



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 


(Rudolph's Nar- 











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 




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. 

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. 


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. 



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 

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 

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 





ACT iii 


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 



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 

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. 






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!" 



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 


(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. 


12-inch, $1.25 
12-inch, 1.25 

10-inch, 1.00 



i£ _______ 

life - ■wfcgaaM^iPWMa^Mn^ i«3fr/>JKvM 

PMOro HALL ^jj^ ABULLll ! \RLI\E — \ T 1 



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 


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 



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- 

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 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. 



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. 


(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 









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 




L \RMLN b 1)1 1 



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 


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, 




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. 



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 


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. 


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. 




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. 

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 

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. 


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. 




'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 ! 


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 

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 




tcU me of her — -my mother far away. 


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, 


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? 


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? 


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.) 

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. 


That one sweet hope, 
'Twill strength and courage give thee. 
That yet again thou wilt thy home 
And thy dear mother once more see. 


1 ^ "*^^3Hi 


^/i^ ^HH 


'JB' ^^^ff 




m| iWJH 




3 ,;^^^' 


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! 




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. 





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. 




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. 














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. 




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 


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. 




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 

Je dis que rien ne m'epouvante 
(Micaela's Air," I am not Faint- 

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. 


(EMMA calve) 


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. 


I try not to own that I tremble; 

But I know I'm a coward, altlio' bold I 
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. 


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. 


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! 



(A Square in Seville, with the walls of the 
Bull Ring shown at the back) 


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. 





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? 


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. 






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. 



lO-inch, $0.75 

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, 












{Kah'OabUlay-ree -ah Roos-lee kah' -nah) 



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. 


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. 


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 .) 



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. 


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. 


O Lola, with thy lips like crimson berries, 
Eyes with the glow of love deepening in 
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 


Yet tho' I died and 
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. 


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. 



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. 


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 




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, 



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 


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. 


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. 



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. 

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: 


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. 

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. 



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'"^"^" 


12-inch, $1.00 
12-inch, 1.00 

of Roses " 

31874 12-inch, 1.00 

55021 12-inch, 1.50 

{In Italian) 




{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 








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. 


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 





1 00 






{Lah Dan-nah-see-on' deh Fowst) 


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. 


Marguerite {Mahr^guer^ei') ' Soprano 

Faust (Fowst) Tenor 

MEPHISTOPHELES (Mef-iss-lo/^Ueez) Baritone or Bass 


Place : A German village. 


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. 



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. 


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 





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. 




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 

But let thy lover prove the 

truth of his advances; 
When the ring brightly 

Ah ! then only, believe his 


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. 


/Hung^arian March 
\ Carmen — Prelude 


By Sousa's Band\ 

By La Scala Orchestra} 

68052 12 $1.25 


^L^ -^4 







^^BH^^BBfl^^H^firffiggsr' ^^^^^^^^^^^Hm 

-.: •'■■>. 



UMPlri^ L- 



■ '^^^^■^^^^f '-H^'- 






{Lah Fee\>eh deh Rezh' -ee-mong ) 


Words by Bayard and St. Georges. Music by Donizetti. First produced at the Opera 
Comique, Paris, 1840; Berlin, J 842; London, 1847. 


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 


Per viver vicino (To Be Near Her) 

By John McCormack, Tenor {In Italian) 74221 12-inch, $1.50 


/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 



(Din-oh' -rah) 


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. 


HOEL, a goatherd Bass 

CORENTINO, bag-piper ' ." .' ......'.'."'.'...'..'. . .Tenor 

DiNORAH, betrothed to Hoel Soprano 


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 

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. 


By La Scala Orchestra 68010 12-mch, $1.25 


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 




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. 


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 


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 


'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. 



(Don Kahr'-los) 


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 


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. 



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. 


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 


By Sousa's Bandl 

(Grand March 

\ Tannhauser — Pilgrims' Chorus (IVagner) 

Victor Brass Quartetf 

17133 10-inch, $0.75 



{Don /oh-vahn' -nee) 



(Don Huahn) 


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 


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. 


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. 



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 

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 



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 

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. 


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! 



Ni)jht and day, to thee, devoted, 
Here 1 vow to err no more. 


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. 


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. 


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 
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. 





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 



/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, 


62623 10-inch, .75 






(Don-neh Koo-ree-oh'-aeh) 



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. 


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. 


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 

H S\L k\ \ND Fl Rl NDJ 





{Don Pahss-Quah' -leh) 


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. 


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. 



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. 



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 

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. 


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. 


(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. 


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 


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: 


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. 


{In Italian)} 

(In lialian)] 
By La Scala Orchestral „„,„ 

By La Scala Orchestra) 


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 

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 




{Afj-lee-zee/ dam-oh' -reh) 


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. 


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. 


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. 



After the Doctor has recited the wonderful effects of his medicines, saying: 


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. 


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. 


[In Italian) 




{In Italian) 




(In Italian) 




In Italian] 




{In Italian) 






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 

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. 


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 


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 


(Italian) (French) 


{Ayr-nah' -nee) {Hcr-nah'-nee) 


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. 



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) 


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. 




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. 




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. 



(I W^ill Prove, Audacious 

La vedretno, o veglio audace 

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 



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 


SCENE — A Vault in Aix-la-Chapelle Cemetery 

O de' verd' anni miei (Oh Bright and Fleeting 

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. 



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. 


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. 


/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. 


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, 


65 70 10-inch. 

16571 10-inch, 

165 72 10-inch, 

63173 10-inch. 

63421 10-inch. 

62627 10-inch, 















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 


. . . Rinaldini 
. . . . Nicolini 


. . de Lussan 
.... Scalchi 
. . de Vigne 


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 



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 



Quickhy, how^ever, learns 
of this, and the women 
plan to have Fenton spoil 
the designs of the phy- 

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- 

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. 


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 



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. 


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. 


Faust, the Aged Philosopher, "Wearies of Life 



36, Auiourd'hni MEI^CREnl 3 Mars ItiOO. 
^^^^^ P ill H n. m m i'ia si \i \iio^ 


nus..|iied<'>I. CII.GOliVOI) 

w luminT m detotod m gaspard 

.•-.i,.. MDESBORDES 

,.s--i.. LES CHOEURSuu'em.'niS'rti- ''/'^T^N 



.„o...,..,u...„. FAUST Vj 



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! 

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? 


Chorus ov Reapers (without) : 

Cometh forth, ye reajjers, young and hoary! 

The earth is proud with harvest glory I 

Rejoice and pray. 

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.) 




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 

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 

*Douhle-Faccd Rtcord— For mie of opposite siJe see DOUBLE-FACED FAUST RECORDS, page 125. 




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 


Only look how they do eye us, 
\'onder fellows gay I 
Mow'soever they defy us, 
Ne^'er run awavl 


Mow those merry girls do eye us 

We know what it means — 

To despise us, to decoy us, 

LiKe so many queens 1 

Only see the brazen creatures 

With the men at play; 

Had the latter choice in features. 

They would turn this way I 

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. 


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. 


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. 



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 

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. 



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. 





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 

^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 propose the health of the dearest of all 

Our Margarita ! 

Enough ! 

Bridle thy tongue, or thou diest by my hand! 

Come on! (Botli drazu) 
Chorus : 

Come on! 
Mephistoppieles ( mocking) : 

So soon afraid, who so lately defied me? 

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. 



art powerless to harm us! 

Soldiers (imitating him) : 
Look hither! 


Whilst this blest sign we wear 
Thou canst not harm us! 
Whilst this blest sign we wear 
Thou canst not harm us! 


But know tho 

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. 


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. 



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. 



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. 


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." 



Then her thoughts return to Faust, and breaking off the song, she sings as if to herself: 


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 

"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 

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 



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. 


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 

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. 




Marguerite's Surrender 


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. 


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! 



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? 

I have — your parting with its modest vi'ord ! 

Go back, on the spot, to your school again! 
Faust : 

Let me pass! 

Not a step; you shall stay and overhear 

That which she telleth the stars! 

See! She opens the window! 



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- 

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 

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 ! 

Ah! (she faints in his arms). 
Mephistopheles (with sardonic laughter): 

There! Ha, ha, ha I ha! 

{The curtain slozvly falls.) 


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. 

When all was young and pleasant May was 
I, thy poor friend, took part with thee in 
play ; 
Now that the cloud of Autumn dark is 
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. 



Deposons les arines 

pity to 

a fo( 

when the field is 

^ if alone, or last? 
cowards might do 


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 

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 

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 

To hear the tale of peril he has run! 
Glory and lo\e to the men of old, etc. 




Serenade — Mephistopheles (Catarina, W^hile You Play at 

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. / 



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. 


Death of Valentine 


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 

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 


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?, 

Did teach thee to pray. 
Recollect how thou earnest t 



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? 

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 ? 


ask for a 

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 

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 

Wait but till thou shalt- come! 

Spirit, Marguerite is overcome 

12-inch, $4.00 


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? 


And I, the frailest of the frail, 
Have most need of Thy forgivenessi 


No! Let them pray, let them wcepl 
But thy sin is deep, too ^deep, 
To hope forgiveness! No! 


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! 


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 ! 


Marguerite! Mine art thou! 


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. __ 

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. 


Ballet Music (Part I — Valse, '*Les "Nubiennes ") 


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. 


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. 


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. 


The Redemption uf Marguerite 


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 

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 

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. 


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)} 


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] 




10- inch. 





(German) (Italian) 


{Dee fah-Ve-ree'-lin) {Lah Fah-voh-ree' -tah) 




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. 


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. 


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 


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! 



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. 


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. 

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. 



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! 

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! 

TJut tell me the cause of your grief. 

Ah! ask not to know it. 

Permit me, sir, to leave this court! 

No man can love t!ice more than I! 

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! 


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) 




12-inch, $3.00 
12-inch. 3.00 
10-inch, .75 


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. 



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. 


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) 




(In Italian) 




(In English) 




*Doubk-FaceJ RecorJ^For title of opposite sUe ste DOUBLE-FACED LA FA VORITA RECORDS, page 130. 




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. 


^\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 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! 


68061 12-inch, 1.25 


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) 



62659 10-inch, .75 

16551 10-inch, .75 




{ Fee-de h'-lee-oK) 



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. 


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. 



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 



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. 









(Dehr FlitL -gen-deh Hot -lan-der) 




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II Vascello Fantasma 

{Eel Vass-sel-lou) Fahn-tahz' -mah) 


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. 


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. 


Place : On the coast of Norway 



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 : 





-■.■..■ .1,,'. 










■ ■<•'•'!/ 











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 

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 




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 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. 


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! 



Traft ihr das Schiff (Senta's Ballad) 

By Johanna Gadski. Soprano 

{In German) 88116 12-inch, $3.00 



Yo-ho-hoe ! 
Yo-ho-lioe ! 


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, 

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 




At the close of the duet, The Dutchman 
and Senta rejoice at his deliverance from the 

The Flying Dutchman: 

A healing balm for all my sorrows 
From out her plighted word doth flow. 


'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! 


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. 


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 




"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: 


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. 


/Flying Dutchman Fantasia 
\ Pagliacci — Prologue 

^VyTyt-Xn')^^^^^ ^^--h. n.25 


(from an OLD print) 




(.La Fort' -zah del Des-tee'-noh) 



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. 



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 


MEUTONE, a friar Baritone 

CURRA, Leonora's maid 

TRABUCO, muleteer, afterwards a peddler Tenor 

A Spanish Military Surgeon Tenor 


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. 




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. 


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 

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 

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.) 


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 



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 


swear that you will grant 
Alvaro : Look at my breast. 


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. 



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. 


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. 


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! 


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! 



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! 

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.) 

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! 

At last! 
Alvaro (rccoTcring himself) : 

No, Satan shall not thus triumph, 

(Throws down his sword.) 

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! 




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 ! 


/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 



(Frah Deah'-ooh-loh) 


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 


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. 



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 


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. 



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 



The medley 
opens ■with the 
chorus of greet- 
ing to the sol- 

Victoria! Victoria! 
Joy now reigns 

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. 


/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 






THE Wi^il-F S ni.F.N SCENE 




{Der Fry' -sheutz) 


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. 

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. 

Annie, her cousin. . .Soprano 
Chorus of Hunters, Peasants, 
Bridesmaids, and Spirits. 

Scene and Period: Bohemia, 

shortly after the Seven 

Years' War. 




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. 


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. 




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. 


Comes a gallant youth towards 


Be he golden hair'd or dark, 

Eyes that flash as he regards 


Him my captive I will mark'. 

Eyes bent down to earth for 

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. 



/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, 



* Douhle-Faced Record- 

-For litle of opposite side see ahoce list. 





{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 


Carlo Worms Students Baritone 


RiCKE Soprano 

Jane, her sister Mezzo-Soprano 

LENE ARMUTH, an aged beggar-woman Mezzo-Soprano 

JEBBEL, her nephew Soprano 

STAPPS, Protestant Priest Bass 




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. 




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. 


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 




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. 


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. 


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. 






(La/i Joh-kon'-dah) 


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. 


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. 


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. 




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- 

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- 

To Heav'n my ceaseless pray'rs their fiiglit are 

For thee I pray and remier thanks to Fate 

That left me sightless. — 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 — 


* 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- 


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! 

What magic stupor steals away thy senses? 

'Tis of the Lady Laura, Alvise's wife, thou'rt 
Enzo (astoiiislted) : 

Who art thou? 
Barnaba (i)}tpressirely) ; 

I know all; 

Can penetrate thy thoughts, however secret. 

Thy birthplace was Genoa! 

Prince I am not, but sailor. Yonder's my 

I am Dalmatian, Enzo Giordan. 

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, 


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! 


'^D^hle.FaceJRecorJ-Fortiile of opposite side sec DOUBLE-FACED LA GIOCONDA RECORDS, page /6L 



I have pledged my faith to Gioconda. 

Poor wand'ring ballad-singer! 

Her thou dost love as sister, but Laura as thy 

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! 


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! 

Ah, with what joy my heart is filled, 
Fortune at last is kind! 

But who art thou, oh, gloomy messenger of 

I hate thee! I am the demon-in-chief 
Of the Council of Ten. Read this. Beware 


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 


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 

* Double-Faced Record— For title of opposite side see DOUBLE-FACED LA GIOCONDA RECORDS, page 161, 


Caruso sings the number with exquisite purity of tone and a 


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. 


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 

( 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. 


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! 

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. 


La Cieca: 

Thou art weeping, O Gioconda, 

Let me fold thee to my breast. 

Never love, like love maternal. 

Can encounter every test. 

'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. 


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. 



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 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.) 


[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 





( Goet-ter-dahw' -mer-ung) 



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. 


Siegfried Tenor 

GUNTHER (Goon'-ler) Bass 

HAGEN (Hah' -gen) Bass 


GUTRUNE (Gool-lroon'-ch) Soprano 

WOGLINDA, I I Soprano 

WELLGUNDA, Rhine-Nymphs Soprano 

FLOSSHILDE, J - (Contralto 


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., 



AS PIA<.;ii:N 


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 

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. 


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. 




himself into Gunther's form. Thinking 


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. 


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. 


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 


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. 


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 


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 


(In German) 88185 12-inch, $3.00 


She bids the ravens fly 
to Lokj, god of hre, that he 
may complete the downfall 
of the gods by burning 


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. 


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! 

/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 






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. 


GRISELIDIS, wife of the Marquis Soprano 

FlAMINA, the Devil's wife Soprano 


The Marquis de Saluces Baritone 

Alain, a shepherd Tenor 

THE Devil Baritone 

The Prior 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. 






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 




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. 


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. 

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. 



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 




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. 

Beloved Ophelia I 

In thee this heart doth trust! 
IIawlet : 

My heart doth beat for thee alone! 

.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 : 


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 



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 



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. 


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. 


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. 


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. 




/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 




(Hahn'-sel oondt Gray'-fel) 
(ItalianJ (English) 


'Neen-vo ay Ree -tah) (Han-sel and Grav'-tel) 


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. 




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. 


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 


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. 





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 

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. 


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. 




/ (French) 




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. 


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 place in Jerusalem — Time, about 30 A. D. 





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. 


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. 


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 



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 
1 he scene shov/s Herod re- 
ceiving messages from the allies, 
and denouncing Rome Herodias 
enters and announces that the 





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. 


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!" 


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. 


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) 



(French) (German) 


(Layz Hueg-gnoh) i Dee Hoo-gen-otf' -en) 

(Italian) (English) 


(Glee Oo-gob-not'-lih^ iHeuf -gen-ahts) 


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. 

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. 



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. 


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. 


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. 


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. 


Pi£f! Paff! (Marcel's Air) 

By Marcel Journet, Bass 

(In French) 74156 


12-inch, $1.50 


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! 

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 


bil do 

-nae Un -too-ne - 

sea. . . 

che tar 

lie-to u 


a la 

rty /air and love 

ly. - . 

For whos 



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 

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. 




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 


(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 


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? 

Why this astonishment?' 

What! is this the l^ride you would offer to me? 
Margaret : 

Yes, to marry and to love, 

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. 





him of the plan. She meets 


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, 

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. 


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. 




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 

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 

To wake our slumb'ring foe! 


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 


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. 


12-inch, $1.25 




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. 

/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 



45051 10-inch, 1.00 

63404 10- inch. 

17314 10- inch. 













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. 


CENNARO, in love with Maliella Tenor 

MALIELLA, in love with Rafaele Soprano 

R.AFAELE, leader of the Cammorists. . . .Baritone 

CARMELA Soprano 

BlASO Tenor 


STELLA Soprano 


Serena Soprano 

GRAZIA Dancer 



Vendors, Monks, People of the Streets, etc. 



Time and Place : The scene is laid in Naples, 
at the present time. 



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 

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 



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 

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. 

Victor Con- 
cert Orchestra 

Merry Wives of 
Windsor Over- 
ture (Nicolai) 
New Symphony 
Orchestra of 


35270 12-inch, $1.25 






{Koenigs -kin-der) 


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. 


The Goose Girl Soprano 

The King's Son Tenor 

The Witch Contralto 

The Fiddler Baritone 

The woodcutter Bass 


Innkeeper Bass 


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. 


lU. tiUOSK (.'.IKI- l-EEUIN'G HER FL<.> 

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 




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. 

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 

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. 






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. 


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 

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. 


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, 











\>lLL\ndri as 

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 
Embalm'd as yet with sweets from her lips 
that came, 
Has felt the true heart, beating, glad, con- 
Trembling with joy at the one well-loved 
Away, fly, fond illusions. 

Swiftly passing visions that my reason dis- 
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 

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 


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 

Or by loving lips pressed. Tho' 

Ah, why? 


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. 




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 


Down t litre, where shades more deep arc 

What trav'ler's that, alone, astray? 
Around him flame bright eyes, dark depths 

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 


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 

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. 



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. 


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 

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. 



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. 






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. 


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, 


""■'''^ " ^ I BET\NZ PL\^I^ h K IIIE IR N E S \Ll I 

(German) (English) 



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. 



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. 


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 


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. 


An alien Zweigen (Lovely Blossoms of Springf) 

By Johanna Gadski, Soprano (In German) 88362 

12-inch, $3.00 




iLoh' -en-grin) 

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. 


HENRI THE Fowler, King of Germany Bass 


ELSA of Brabant Soprano 

Duke Godfrey, her brother Mute Personage 

Frederick of TELRAMUND, Count of Brabant . . Baritone 

ORTRUD, his wife Mezzo-Soprano 


Saxon, Thuringian and Brabantian Counts and 
Nobles, Ladies of Honor, Pages, Attendants. 

Scene and Period : Antwerp, first half of the tenth century. 


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. 


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. 




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. 


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, 



honor's treasure I am 

when Elsa had 
wandered forth, 
boy, trembling, 

W'hen of 

One day, 

Without the 

With feign'd lamenting, questioned of 

his safety. 
Pretending she had been from him 

And in vain his traces she had 

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 

And chose a wife full pleasant to my 

Ortrud, daughter of Radbod, true in 

I here arraign her, Princess Elsa of 

Hrabant ; 
Of fratricide be she charged! 
I claim dominion o'er this land by 

i\Iv nearest kinsman was the valiant 

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- 




fashion of the time, 
and the Herald calls: 



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. 




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 
King Henry: 

O King of kings, on TiiL-e I call; 
Look down on us in this dread 

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 

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! 







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. 


Euch luften du mein Klagen 
(Ye W^andering Breezes) 

By Johanna Gadski, Soprano 
(/n German) 88377 12-in., $3.00 


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 

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! 


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! 



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 

Their wrath-destroying thou shalt prove! 

Elsa enters the palace and Telramund renew^s his vow of 

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. 


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 

My champion! shelter me against her 

wrath I 
tWame me, if I obey'd not thy command; 
1 heard her weeping sore by yonder 


And in compassion harbor'd her this 

And now with harsh and bitter words of 

She taunts me for my boundless trust 

in thee! 




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 =^ .* 


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. 



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 





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? 

Woe is thine, Elsa! 



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 


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 ? 


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 \ 


35147 12-inch, 1.25 

By Pryor's Bandf 





THE Ct.iTlA<.,b; '.It'' Jl'LIEN AND LOLMSE 

.iM \ 1 MAK I KE — -ACT III 



Words and music by Gustave CKarpentier. First presented at the Opera Comique, 
Paris, February 2, 1900. First American production at the Manhattan Opera 1908. 


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 




(Loo'chee'-ah dee Lah' -mair-moor) 



^,^ ^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. 


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. 


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. 




SCENE I — A Forest near Lammermoor 
The curtain rises, disclosing Norman, and follow^ers of 
Sir Henry. Norman tells the retainers to watch carefully and 
ascertain w^ho is secretly meeting Lucy. In the opening 
chorus they promise to watch w^ith diligence. 

Opening Chorus, Act I 

By La Scala Chorus 

{In Italian) -==62106 10-inch, $0.75 

Sir Henry enters and talks w^ith Norman of his suspicion 

that Lucy^ has formed an attachment for some unknown 

knight. Norman suggests that it may be Edgar. Henry is 

furious and declares he w^ill have a deadly vengeance. 

SCENE \\~A Park near the Castle 
Lucy enters, accompanied by her faithful attendant, 
Alice. She has come from the castle to meet her lover, Edgar ; 
and w^hile waiting for him, tells Alice of the legend of the 
fountain, w^hich relates how a Ravenswood lover once slew 
a maiden on this spot. 

Regnava nel silenzio (Silence O'er All) 

By Tetrazzini (In Italian) 88303 12-inch, $3.00 
By Giuseppina Huguet, Soprano 

{In Italian) ^16539 10-inch, .75 
Lucy shuddermgly relates how she once saw^ the spectre of the murdered girl, and fears 
it is an omen of the future. 

Silence o'er all was reigTiing 

Dark was the night and low'ring. 

And o'er yon fountain her pallid ray 

Yon pale moon was pouring. 

Faintly a sharp but stifled sigh 

Fell on my startled ear. 

And straightway upon the fountain's brink, 

The spectre did appear! 

But slow on high its skeleton hand. 



Threatening it did uprear, 

Stood for a moment immovable, 

Then vanish'd from my view! 


Oh. what horrid omen is this? 

I ought to banish from my heart this love, 

But I cannot; it is my life, 

And comfort to my sufE'ring scull 

This graceful number is given by Mme. Tetrazzini with 
rare charm and pathos; the concluding ornamental passages 
being sung with especial delicacy, and the beauty of the long 
sustained A at the close being notable. The popular-priced 
rendition by Mme. Huguet is also a very attractive one. 

This is follow^ed by the second part, — the beautiful 
Cluando rapita, — 

Quando rapita in estasi (S^vift as Thought) 

Graziella Pareto {Italian) 76009 12-inch, $2.00 
Giuseppina Huguet '^63172 10-inch, .75 

also given here by Mme. Huguet and Mme. Pareto. This 
animated melody is well fitted to display the brilliant tones 
of these admirable singers. 

Edgar appears and tells Luct; that he has been summoned 
to France, and proposes that he seek out Henry and endeavor 
to end the mortal feud which exists between the families. 
Lucy, know^ing her brother only too well, entreats him to keep 
their love secret or they w^ill be forever parted. Edgar, 
roused to fury by this evidence of Henry's mortal hate, re- 
nev/s his vow of vengeance, beginning a dramatic duet. 

' Double-FaceJ Record — See page 2 15. 


Sulla tomba che rinserra (By My Father's Tomb) 

By Emma Trentini, Soprano, and Gino Martinez-Patti, Tenor 

{In Italian) ^H6574 lO-inch, $0.75 

Edgar : Ll'cv : 

By the lone tomb, o'er the cold grave Ah: pray calm thee, ah, restrain thee; 

Where my father's bones lie moulding, Think what misery will soon enthral me; 

With thv kindred eternal warfare I can scarce from fear sustani mc ; 

To the death I swore to wage! Would'st thou have me die from terror? 

Ah! when I saw thee my heart relented: Yield thee, yield thee to the dictates of 

Of my dark vow I half repented; affection. 

Hut my oath remains unbroken, 'Tis a nobler, jjurer passion. 

Still I've power to redeem my gage! Let that thought thy rage assuage! 

Edgar now says tKat he must go, and in a tender duet, which closes the act, the lovers 
bid each other farewell. 

Verranno a te suir aura (Borne on Sighing Breeze) 

By Alice Nielsen, Soprano, and Florencio Constantino, Tenor 

[In Italian) 74064 

By Emma Trentini, Soprano, and Martinez-Patti, Tenor 

{In Italian) ^^62106 


My sighs shall on the balmy breeze 
That hither wafts thee, be borne, love; 
Each murm'ring wave shall echo make. 
How I thy absence do mourn, level 
Ahl think of me when far away. 
With nought my heart to cheer; 
I shall bedew each thought of thee 
With many a bitter tear! 
Lucy : 

The balmy breeze that bears thy sigh, 
Will w^aft one back from me, love; _ 
The murm'ring waves re-echoing still 
I'm ever constant to thee, love! 
Ah 1 think of me when far away, 
With nought my heart to cheer; 
I shall bedew each thought of thee 
\A'ith many a bitter tear! 
Ah! thou wilt not fail to write me, 
Many a lonely hour 'twill cheer; 

Fear not! Have no fear, thou shalt hear! 
Both: ''"''''' '"''" 

My sighs shall on the balmy breeze mccormack as edgar 

That hither wafts thee be borne, love; etc. 
Edgar tears himself from her arms and departs, leaving the half-fainting Lucy to be con- 
soled by her faithful Alice. 

SCENE \—An Ante-room in the Castle 
Sir Henry and his retainer Norman are discussing the approaching marriage of Lucy to 
Arthur. The events which have occurred since Act I are indicated by this extract from the text: 
Henry* Henry: 

Should Lucv still persist See, she approaches! Thou hast that forged 

In opposing me- ^.'^eUer, ^^^^ ^^^^^ ^^^^^^ ^^^^^ ^^ ^^^^ northern 

Norman : entrance 

Have no fear! The long absence ^^^^^ ^^^^ „,3j^,^ ^„j ^^^^^ 

Of him she mourneth, the letters ^j^ approach of Arthur, and with all speed, 

We've intercepted, and the false news ■" ° „ ^'^ arrival 

thou'lt tell her, r.-<-duct him hither' 

Will quench all hope that yet may Imger. ^''- 

Believing Edgar faithless, from her bosom (Exit Norman.) 

love will vanish! 
Lucy enters, pale and listless, and to her brother's greeting : 
Henry : 

oT^nTJr Ta^;';«^p. a brother's greeting' At.spicious prove to thee. Thou hear'st me? 

May this glad day, sacred to Love and Thou rt silent . 

Hymen, ' i i i ■ 

she answers with a last appeal to him to release her from this hated marriage. 

^ouhk-FaceJ Reco,d-For title of opposite side see DOVBLE-FACED LUCIA RECORDS, page 2 15. 


II pallor funesto (If My Cheek is Pale) 

By Linda Brambilla and Francesco Cigada {In Italian) *165 74 10-inch, $0.75 

Lucy : Lucy : 

See these cheeks so pale and haggard, Cease to urge me! 

See these features so worn with sadness! To another true faith have I sworn! 

Do not they betray too plainly Henry: 

All my anguish, all my despair? "i'is well! 

Pardon may'st thou from lleaven By this letter thou may'st see 

Not vainly ask for this thy inhuman constraint. How he keejis his faith with thee! 

Henry: Read it. 

Cease this wild recrimination, {Hands her a letter.) 

t_)f the past be thou but silent! Lucy: 

Flown has my anger! Banish thy dejection! How beats my flutt'ring heart! 

Buried be all that thine honor could taint. {Reads): 

A noble husband, thou wilt have. .\h! great Heaven! 

Henr^, in desperation, now tells Ker that unless she consents to wed Arthur he will be 
disgraced and ruined. This begins another duet, the Se tradirme. 

Se tradirme tu potrai (I'm Thy Guardian) 

By Huguet, Soprano ; Cigada, Baritone {In Italian) ^=62089 10-inch, $0.75 

Henry: Lucy: 

I'm thy guardian, dar'st thou brave me? I'm thy sister, dost thou love me! 

Lm thy brother — wilt thou save me? I am dying, will that move thee! 

From the hands of thee, my sister, From the hands of thee, my brother. 

Must I meet a traitor's doom? Must I meet now this dreadful doom! 

See the axe, by one thread hanging; Hopeless misery all surrounding. 

Hark! the deep toned deathbell clanging. E'en while the marriage bell is sounding: 

Hath affection lost all power? Fear and hate will be my dower; 

Wilt consign me unto the tomb? Better had I wed the tomb! 

However, convinced of Edgar's falseness, she half consents to the sacrifice, and retires 
to prepare for the ceremony. 

SCENE n—The Great Hall of the Castle 

The knights and ladies sing a chorus of congratulation to the bride and bridegroom, 
while Sir Henry greets the guests and asks them to pardon Lucy's agitated bearing, as she is 
still mourning for her mother. 

Lucy enters and is escorted to the table w^here the notary is preparing the marriage 
papers. Believing her lover false, she cares little what becomes of her, and passively signs 
the contract. Pale as death and almost fainting, she is being supported by her faithful maid 
and her family adviser, Raymond, -when suddenly a terrible silence ensues, as Edgar, the 
lover of Lucy and the deadly enemy of her brother, appears at the back of the room dressed 
in a sombre suit of black. The wedding guests are dumb with amazement at the daring of 
the young noble in thus presenting himself unbidden at the house of his enemy. The great 
sextette, the most dramatic and thrilling number in the entire range of opera, now begins. 

Unlike many operatic ensembles, this sextette is not merely a most remarkable bit of 
concerted w^riting, but is so w^ell fitted to the scene in w^hich it occurs that even the enemies 
of Donizetti, who call Lucia merely a string of melodies, are compelled to admit its extreme 
beauty and powerful dramatic qualities. 

Sextette — Chi mi frena ( W^hat Restrains Me) 

By Marcella Sembrich, Enrico Caruso, Antonio Scotti, Tvlarcel Journet, 

Mme. Severina and Francesco Daddi {In Italian) 96200 12-inch, $7.00 

By Tetrazzini, Caruso, Amato, Journet, Jacoby and Bada 

(In Italian) 96201 
By Victor Opera Sextette {In Italian) 70036 

By Pryor's Band 31460 

Transcription by Ferdinand Himmelreich (Pianoforte) *35223 

Edgar remains standing, w^ith his eyes steadily fixed on the unhappy Lucy, who is 
unable to meet his glance. This dramatic silence is broken by the -commencement of the 
sextette, as Edgar and Sir Henry, with suppressed emotion, sing their short duet: 

* Double-Faced Record — See pafje 2 15. 











Henry and Kdgar: 

Instant vengeance, what restrainetli, 
What thus stays my swovd in scabbard? 
Is't affection that still remaineth. 
And each angry tho't enchaineth? 

Of mine own blood { ^'-'j^,''''"^ | betrayer, 

And despair- u^,- \ heart doth wither, 


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 

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! 

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. 


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. 




{In Italian) 





{In Italian) 





{In Italian) 





{In Italian) 





{In Italian) 





{In English) 





{In Russian) 





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 

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. 

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. 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. 


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. 





(Loo-krez'-yah Bor'jah) 


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. 


LUCREZIA Borgia Soprano 

MAFFIO ORSINI (Maf'-fee-oh Or-see 
GENNARO, Uen-nah' -roh) 



-nee) Contralto 


Young noblemen in the service of the Venetian 






RUSTIGHELLO, in the service of Don Alfonso Tenor 

GUBETTA,! . , en I • /Bass 

» „-p„. p^ |- in the service or Uonna Lucrezia i^. 


La Principessa Negroni Soprano 


Scene and Period: Italy; the beginning of the sixteenth century. 





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. 


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. 


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. 


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. 


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 : 


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. 


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. 


{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 


63404 10-inch, $0.75 

63172 10-inch, .75 





i Mah' -dah-mah) 




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 


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. 



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 

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. 


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. 





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 


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 


[In Italian) 




{In Italian) 




(In Italian) 




(In English) 







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 


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. 



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 

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- 

In the orchestra, strangely 
mingling with the American 
motive, the tragic death 
motive may be heard as the 
curtain slowly falls. 


'' Oouble-Faced Hecord — See page 225 . 



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, 


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 ^ 





(Lah Fleut Ahn-shan-tay') 


(Dee Tsow-her-floe' -teh) 





(Eel Flau'-toh Maf ■<x-koh) 


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. 


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. 




"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. 


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. 
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. 


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. 


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. 


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 Record— For title of oDpObUe side . 


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- 

The lovers are admitted to the Temple and begin their 

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- 

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. 


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 


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. 





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 

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 


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. 


\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! 


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. 


/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 






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. 


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 



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. 


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. 


^oul,lc.Faced Record- For title of opposite side see DOUBLE-FACED MANON RECORDS, pose 240. 



n ! 

\\h:a .1.. I Me" Y 
Aliuiii ! ^ .iiini; ! 



head ib (urning round! 


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, (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. 



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. 


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 : 



"She is called Manon. and is young and fail 

Is this trui ■?' All, I knew it 

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. 


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? 


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.) 


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. 




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. 


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. 


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 
Count : 

Thou art resolved? 
Des Grteux: 

I am resolved. 

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 




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: 

Count : 

The money is thine. It comes from thy 
mother. And now, farewell, my son 1 
Des Grieux: 

Farewell 1 Farewell I 

Farewell! Remain to pray. (L.vit.) 

hich the Victor offers in 





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 

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. 



SCENE— y4 Gambling Ro 


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. 



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 


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, 



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) : 


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 ! 

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. 




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, 


10-inch, 1.00 

45008 10-inch, 1.00 





[Man-on' Les-koh') 


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. 



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. 


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. 




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. 


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. 



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. 

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. 




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. 


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. 


/Intermezzo (Bet-ween Acts II and III) 

By Pryor's Band) 

By Arthur Pryor's Band\ 

By Arthur Pryor's Bandl 

By Sousa 's Bandl 




>63421 10-inch, 



\ Tosca Selection 

jManon Selection 

I El Capitan March (Sousa) 

ITra voi belle brune (Now Among You) I 

By Franco de Gregorio, Tenor (In Italian) \ 
Madrigale — Sulla vetta del monte (Speed O'er Summit) 
By Lopez-Nunes, Soprano, and Chorus {In Italian) 
I Donna non vidi mai (Never Did I Behold) I 

] By Egidio Cunego, Tenor (/n /(a/ian) 45016 10-inch, 1.00 

\ Tosca — Gia mi struggea By Ernesto Badini, Baritone (In Italian ) | 

{Ah! Manon, mi tradisce (Manon, Kind and Gentle) 
By Franco de Gregorio, Tenor (In Italian) 
Gioconda — Cielo e Mar I (Heaven and Ocean) B\j de Gregorio] 
I Ah! Manon, mi tradisce By Giorgio Malesci (/n Italian) 
< Ernani — Infelice e tu credevi (Unhappy One!) 
[ By Aristodemo Sillicb, Bass [In Italian)] 

45015 10-inch, 1.00 

45027 10-inch, 1.00 





Libretto by Edward Fitzball. Music by William Vincent Wallace. First produced at 
Drury Lane Theatre, London, November 15, 1845. First American production at the 
Chestnut Street Theatre, Philadelphia, 1846. 


Charles II, King of Spain Bass 

Don Jose DE SANTAREM, his Minister Baritone 


Marquis de Montefiori Bass 

LAZARILLO Mezzo-Soprano 

MARITANA, a gypsy singer Soprano 

Marchioness de Montefiori Soprano 

Nobles, Soldiers, Gypsies, Populace, Etc. 

Time and Place: The scene is laid in Madrid, at the time of Charles II. 



Wallace's lovely opera of old Madrid is still beloved for its tunefulness and its sen- 
timental music. The ideal of opera fifty years ago was that of quiet, unaffected sweetness, 
and the composer in his Maritana achieved that quality to perfection. The story of the 
opera is founded upon that w^ell-knov/n play, Don Caesar de Bazan. 


SCENE— ^ Public Place in Madrid 

The opening scene shows a band of gypsies singmg in the streets. The young king, 
Charles, listens and is fascinated by the beauty of Maritana, one of the gypsies. The crafty 
Don Jose, the King's Minister, extols her charms to His Majesty, hoping that the King will 
compromise himself so that he [Don Jose) can inform the Queen and further his own designs 
on Her Majesty. Don Caesar, a jovial cavalier and a former friend of Don Jose's^ appears in 
a slightly exhilarated condition, and in befriending a forlorn lad, Lazarillo, involves himself 
in a duel w^ith Lazarillo' s master. This leads to his arrest for dueling in Holy Week, and he 
is sentenced to die, to the grief of Maritana, who has taken a fancy to the gay and careless 

SCENE — Interior of a Fortress 

In the second act Don Caesar sleeps in his cell, w^ith the faithful Lazarillo, who has 
accompanied his benefactor, by his side. The Minister enters, and w^hen Caesar begs to be 
allowed to die like a soldier instead of being hanged, he is assured that it can be arranged 
if, in the meantime, he v/ill consent to be married. With but Iw^o hours to live, Don Caesar 
decides that even marriage is preferable, and consents v/ithout inquiring who the bride is 
to be. The wedding banquet is being served v/hen Lazarillo arrives with a pardon from 
the King, -which. Jose secures and hides, his scheme being to have Don Caesar shot and then 
induce Maritana to go to the palace by pretending that her husband is there, and then 
compromise the King. Maritana, w^ho has been promised a glorious future if she w^ill consent 
to w^ed Don Caesar, enters, heavily veiled, and the marriage takes place, after which the 
guards enter for the execution. Lazarillo, hov^ever, has draw^n the bullets from the guns, 
and w^hen the soldiers fire, Caesar is unharmed, but pretends death, and later escapes to a 
ball at the Montefiori palace. Under instructions from Don Jose, the Marquis introduces 
Maritana as his niece. When Caesar demands his bride, Don Jose arranges that he shall be 
presened to the Marchioness, v/ho is closely veiled. The scheme does not w^ork, how^ever, 
as Caesar hears Maritana's voice and tries to claim her, but she is quickly spirited aw^ay. 


SCENE — Apartment in the T^alace of the King 

In the last act Maritana is in the palace, and the scheming Minister introduces the King 
as her husband, but Caesar suddenly appears and demands his bride. Before explanations 
can be made the King is summoned by the Queen, w^hile Don Caesar and Maritana consult 
together, finally deciding to appeal to the Queen. While waiting for her in the palace gardens, 
Caesar overhears Jose telling Her Majesty that the King has a rendezvous w^ith Maritana that 
evening. Caesar appears, denounces him as a traitor, and slays him. When the King 
hears of Caesar's loyalty, he repents of his designs on Maritana and gives her to Caesar, be- 
sides making him Governor of Valencia. 

The Victor offers four splendid records from this melodious opera, including six 
numbers blended into a most appropriate medley by the Victor Opera Company ; a Victor 
Band record of the tuneful Overture; the song of Don Caesar in Act II, There is a Flower, 
given by Mr. McCormack ; and a violin record of the favorite Scenes That Are Brightest, 
from Act III. 

Gems from Maritana 

Chorus, "Angelus " — Solo, "Scenes That Are Brightest "—Solo, "Let Me 
Like a Soldier Fall " — Trio, " What Mystery " — Chorus, " Oh, What Pleasure " — 
Finale, " Viva Maritana" 

By Victor Light Opera Company 31804 
(Overture to "Maritana By the Victor Band| 

1 Manila Waltz By the United States Marine ^and\^ 

There is a Flower By John McCormack, Tenor 64307 

jScenes That Are Brightest By Charles D'Almaine, Violinistl , ^^^^ 
( Waltz from Faust ^y Charles D'Almaine, Violinist j 









10- inch. 





{Nol'-zeh dee Fee -gar-oh) 



[Mah-ree-ahzK deh Fee' -gah-row) 



Text by Lorenza da Ponte, founded on a comedy by Beaumarchais of the same name. 
Music by Mozart. First production at the National Theatre, Vienna, May 1, 1786, with 
Mozart conducting. In Paris as L,e Manage de Figaro, in five acts, "with Beaumarchais' 
spoken dialogue, at the Academie, March 20, 1793; at the Theatre Lyrique, as Les Noces 
de Figaro, by Barbier and Carre, in four acts. May 8, 1858. In London, in Italian, at the 
King's Theatre, June 18. 1812. First American production April 8, 1835, in English. Some 
notable revivals were — in the 70's, w^ith Hersee, Sequin and Parepa-Rosa; in 1889, w^ith 
Nordica, Fames, de Reszke, Ancona and Arnoldson ; in 1902, with Sembrich, Fames, Fritzi 
Scheff, de Reszke and Campanari ; and in 1909, v/ith Sembiich, Fames, Farrar and Scotti. 


Figaro, {Fee -gah-roh) the Barber, valet to the Count Bass 

COUNT ALMAVIVA, (ALmah-vee -oah) a Spanish noble Baritone 

Countess ALMAVIVA, his wife Soprano 

Susanna, maid of the Countess, betrothed to Figaro Soprano 

CHERUBINO, (Chay-rtie-bee -noh) page to the Countess Soprano 

MARCELLINA, {Mar-cheUee -nah) servant to Bartolo Contralto 

BARTOLO, a rejected lover of Susanna . ,' .Bass 

BASILIO, (Bah-zee'-lec-oh) a busybody . .Tenor 

Don CURZIO Tenor 

ANTONIO, gardener to the Count Bass 

Servants, Country People, Guards. 

Scene and Period : Seville; the seventeenth century. The action is a direct 
continuation of the Barber of Seville. 




Mozart's Marriage of Figaro, -with its merry plot and music, is one of the most delight- 
ful of musical comedies, and regret must be expressed for the all too infrequent perform- 
ance of this ever-young and lovely opera, in v/hich the complications of the story, the quick 
changes of mood, and the sparkling humor are all so well reflected in the music. In no 
single opera, perhaps, is there such a succession of musical gems as in Figaro. Each is per- 
fect in its way and each seems to enhance the beauty of the others. 

This comedy by Beaumarchais, on w^hich the plot is founded, has been utilized by 
many composers, Mozart's version being written in 1785. 

Those w^ho have read the story of Barber of Seville will find themselves again making 
the acquaintance of Bartolo, Almaviva and Figaro, some time after the marriage of the dash- 
ing Count to Bartolo's w^ard. The Count has settled down quietly on his estates, while 
Figaro, as a re'ward for his services as a match-maker, has been appointed major-domo of 
the castle. Figaro is in love w^ith the Countess' maid Susanna, and expects to marry her 
soon, but unfortunately for his plans, had also promised to v/ed Marcellina, the ex-house- 
keeper of Bartolo, on the very 
same day. Further complica- 
tions are promised by the fact 
that the Count, already weary- 
ing of his w^ife, is making love 
to Susanna himself. 


SCENE l—Jl Room in the 
Count 's Chateau 


By Arthur Pry or 's Band 
*35109 12-inch, $1.25 
The overture is a most 
delightful one, written in 
true Mozartian style, and Mr. 
Pryor has given a brilliant 
reading of it, bringing out all 
its beauties. 


uble-Faced Record — For title of opposite side see doulyle faced list on page 252. 




At the opening of the opera Susanna tells Figaro that the Count is trying to flirt ^vith her, 
and Figaro plans revenge. Marcellina has confided in Dr. Bartolo, and as the portly doctor 
still harbors a grudge against Figaro for robbing him of his ward, he consents to help her. 
The Countess, who seems to be the only one in the castle not engaged in intrigue of some 
kind, thinks only of her husband, and how to bring him back to her side. 


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 



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. 


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. 





Cu 1,1 N T 

Too long you have deceived nie ; 

Hope, weary, bids farewell. 

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 

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. 


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. 






long delay? speed, speed 
rt away, all nature seems 

stars a 



Ah, w 


withe _ 
Tho' bright the moon, and bright the 

]")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 

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: 

^^'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. 


/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 

{In Italian) \ 









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 


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. 


By Pryor'sBand =^35133 12-inch, $1.25 
By Pryor's Band 31478 12-inch, 1.00 


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. 


Mesta ognor (Ah, These Tears) 

By Louise Homer, Contralto, and Bessie Abott, Soprano 

[In Italian) 89009 12-inch. $4-00 


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! 

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. 


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 


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. 


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. 


SCENE — A Farmhouse 
As the curtain rises the 
farmers enter, dragging with 
them the unwilling and ter- 
rified maidens. 


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! 

And extra crowns your purse may sec 

Before the year is out! 


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! 

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. 


What names \yK:^\r you? 
Harriet and Nancy: 


Yes. you ! 

Yes, of course ! 
Harriet : 

Martha is mine. 
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 — 

To liang my hat and mantle up! 
Nancy (indinnantly) : 
Do it yourself! 


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) : 


^■ii %r ^'"^ 





I^^IK ^ kl" ' 



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. 


Plun kett : 

<_)uick now. fetch tlu' spinning-whctils 

From out the corner! 
Harriet and Nancv: 

Do you want us then to spin? 

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.) 

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.) 

Turn the wheel! hrr, brr, hrr! 

(Imitating the noise of the wlicel.') 

It will not turn! 

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 

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) 




(In English) 




{ In English ) 




{In English) 




(In English) 





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 

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. 


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 

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. 



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! 


(In Ilalian) 88001 
{In English) 74128 



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 


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: 

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.) 

ITold! presumptuous man' 

No further! thou hast rav'd too long i 





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. 


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. 


By Pryor's Band] 

fOverture to Martha 

< Nocturne in El {Opus 9) (Chopin) 

Last Rose of Summer 

12-inch, $1.25 



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, 









(French) »■ 


[Bahl' Mahs-kay'} 




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. 


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 

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. 




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 

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. 


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. 



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. 


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- 

I go now to steer thro' the dark waves of 

The anger of pleav'n and ITell to defy! 
Then haste with thy magic, the future 

No power have the thunder or angry winds 

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. 


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. 


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. 




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 


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. 



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 

Ah ! qual soave brivido (Like Dew Thy W^ords Fall on My 

By Ida Giacomelli, Soprano, and Gino Martinez-Patti, Tenor 

{In Italian) *68026 12-inch, $1.25 


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. 


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! 


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 : 


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! 


If compelled to 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. 



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. 



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 : 


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. 


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] 


12-inch, 1.25 


10-inch, .75 

10-inch, .75 




{May-phee-stoW -fehUeh) 



{Mef^iss-tof -e-ieez) 


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 



FAUST Tenor 


Martha Contralto 

Wagner Tenor 

Helen Soprano 

PANTALIS Contralto 


Celestial Phalanxes, Mystic Choir, 
Cherubs, Penitents, Wayfarers, Men- 
at-arms, Huntsmen, Students, Citi- 
zens, Populace, Townsmen, 
Witches, Wizards, Greek Chorus, 
Sirens, Naiads, Dancers, Warriors. 




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. 

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- 
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. 

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. 




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 : 


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. 


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) 



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! 

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 



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. 


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 





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 

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. 


The Night of the Classical Sabbath 

We are now transported to distant 
Greece, where Mefistofele has resurrected 




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. 

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. 



(Dee My' -sler-singer) 



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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Burghers of al 


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 


. Tenor 
. 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 


oTio i;nRrTZ 



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 

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 





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! 


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 




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: 


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. 


Still. R AS SACTis ir-; 




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 





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? 


Evening fell and night closed around; 
Ev rugged way 
M'y feet did stray 
Towards a mountain, 


















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 


/Prize Song 
\'Meistersinger March 
Prize Song" 

Ernani Selection 
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 






(Meen-yohn) (Min'-yon) 

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 


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. 


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. 



Con - 


- tu 


- pa - ys 

oit fleu 


I'o - ran 



- est 



■ der land 

where the 



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. 




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. 


Stranger! thou didst purchase me — 

Dispose of nie, bencefortli, e'en as thou wilt. 


In this very town, to which Fate hath brought 

There lives an aged relative of mine. 
Who, to her home, will gladly welcome thee. 
Mignon : 

Must I then part from thee? 


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? 

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 

nd encircling 



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. 


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 

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. 



■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. 


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. 




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 

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 

35337 12-inch, 1.25 


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)] 












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. 


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. 



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 


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 


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. 



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. 

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 " — 

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 





{Mih'Tay -yeh) 





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. 


Ramon, a rich farmer Bass 

Mirella, his daughter Soprano 


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. 



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 






(The Maid from the Mountains) 


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. 


(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. 


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 



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. 
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 


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 



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. 


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. 




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. 


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. 



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 



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. 


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. 



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, 


/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. 





{Or-feh'-oh ayd U-y-ree' -dee-cheh) 


(Or' 'fee-US and U-ri-dee' -chee) 


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. 


Orpheus Contralto 


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 



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 

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 

By Ernestine Schumann-Heink, Contralto 

(In German) 88091 12-inch, $3.00 

Che faro senza Euridice (I Have Lost My 

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. 




W^'-p^ "''^^^ 

m i k 

..;?\ ^'^^,:;;^^K|ft^ ^\-' 



"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. 


Hold, Orpheusl 
Orpheus ( despairingly) : 

What v\'ould you with me? 

Thine anguish well doth prove 

Thy constancy and truth. 

'Tis time that tlie trial be ended I 


Eurydice! revive ! 

To embrace the fond youth 

Who dared so mncli for thee! 
Orpheiis : 

My Eurydice I 
Eurydice (rcviviiiii) : 

My Orpheus! iTJicy embrace.) 



(Italian) (English) 


(Oh-tel'-loh) iOlh-lhel'-lob) 


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. 


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, 



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. 


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 

By F. Lotti, Soprano ; F. Conti, Tenor 

[In Italian) *55023 12-inch, $1.50 



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. 



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. 


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 

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. 



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 



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 ! " 


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. 



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 


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 



(£e Pahl-yat' -chee) 



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. 




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. 


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). 






(Ee Pahl-yat'-cbee) 


(Dee Bah'))ot' -5i) 







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. 




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) 




{In Italian) 




{In Italian) 




{In Italian) 




{In Italian) 




{In English) 




{In English) 







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 


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 

]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. 




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 

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 



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 : 


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 


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. 


Eh! What? 
You think so 

{He becomes serious, and signing to the peasants 
to come round him, he begins to address them.) 


Un tal gioco (Such a Game !) 

By Antonio Paoli and La Scala Chorus (In Italian) 

By Nicola Zerola, Tenor {In Italian) 


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 : 


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 

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 : 





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 


^^^^^^Jr'J^Kr jC^^^^^^l 


HBr--^ m 





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 

Ivissed you I 
ly luwar,l In 

12-inch, $1.25 



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! 


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. 


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. 


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 


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 


tKe exciting scene wi 

^'<_'t I iiuist force n 
I am nnt a man, 
I'm linl a Pagl iacci- 


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 

T.augh loud, Pa.Ldiaccin' 
And all will bhout, well dune! 

Laugh, Pagliace 
(Sobbing) : 

Laugh for the 
heart! " 

for Ih 


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. 


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/ 


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. 



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) 

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? 

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! 



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. 


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- 

if nits iu a chnir. oi'Cr- 


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 



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 



The close of Canto's great 
air, " No, Pagliaccio No More ! " 
is greeted with loud cries of 
"bravo" from the excited au- 

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 

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. 



[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 


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)]. 


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 

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. 





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. 


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. 




fur die Mitgljeder des Palronal-Vereins, 

m :10. .lull, I. 1. li. 8. II. |:j. \!>. \». JO. eO. i'i. 1*7. UO. Aii^;. m2 
ofiontlicho AuffOhrungeD des 


EiQ B&boiD«>lhr«itgplil oa RICS&KD WAGHEK. 



(nAVRKUTll. 1S82) 


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 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. 


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. 







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 

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. 





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. 



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 

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. 


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, 




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: 


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.) 





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? 


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? 


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? 

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. 
P>ut sadly 

What thou hast done has annoyed us; 
Our playmates thou hast destroyed us: 
Who'll sport with us now? 

Then well will I. 





"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 : 


Ye wild crowd of beautiful flowers. 
If I am to play, ye must wi<len your 

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 . . .? 

So once, when dreaming, my mother 
called me. 
KiTNDRv's X'oice: 

Here bide thee, Parsifal! 

'U'here joy and gladness on thee shall 

Ye frivolous wantons, leave him in 

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. 


What callest thou mc, who am nameless? 


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 : 



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- 
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 

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. 



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 : 


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 

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. 


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 

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 

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 : 


Thou know'st — 
Where only we shall meet 

(He disappears, and the 
curtain falls quickly.) 




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 : 


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. 


Thank Heaven that I apain have found thee! 


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 

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 : 


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- 

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 ! 


Gurnemanz : 

That is Good Friday's spell, my lord! 


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. 





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 

Through God's love-sacrifice made clean and 
pure : 

And now perceives each blade and meadow- 

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. 



Kundry has slowly raised her head again, and gazes with moist eyes, earnestly and 
calmly beseeching up at 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. 



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 

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): 


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 

Take up your weapons! 
Kill both the sinner and all his pain: 
The Grail's delight will ye then regain! 



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. 

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, 



\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 

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.) 



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." 





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. 


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 



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 



(Italian) (Enjtlish) 


iPes-kah-loh' -ree dee Pear -leh) 


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. 


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 is a most beautiful number, and con- 
sidered one of the finest of Bizet's instrumental 

Preludio (Prelude) 

By La Scala Orchestra *62100 10-inch, $0.75 
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) 


(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 



12-inch, $4.00 
12-inch, 3.00 
12-inch, 2.00 
10-inch, 2.00 
12-inch, 1.25 


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*: 

'Twas a visiun of beauty I 

The kneeling wnrshipcvs. astonished. 

Now murmur, "The go<ldess comes 1" 

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 

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. 


^V fatal love both our souls 


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. 


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 


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, 


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. 


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 . 



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 : 


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. 


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 


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. 







iPalrl Ju Breh-zeef) 



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. 


("With the Original Cast) 

ZORA Mile. Duez 

LORENZ, her lover Soyer 


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! 





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. 


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. 




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 

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. 


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. 


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 


31835 12-inch, $1.00 






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. 


MAJOR-GENERAL Stanley Baritone 

Pirate King Bass 

Samuel, his lieutenant Tenor 

Frederic, the pirate apprentice Tenor 

Sergeant of Police Bass 


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. 



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! 


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. 


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. 


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 



(Eel Pro-fth'-tah) 



itch Pro-A-h-f ) 




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. 


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 


Jonas, three Anabaptist preachers {Tenor 


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. 


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. 


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. 





I iiiiiiiniiiiiiiiiiiii 1 1 






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 


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. 


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, 




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 

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. 

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. 


Hail to the great Prophet. 


Fides (aside) : 

grief, t(.i save his life 

T must deny him. 

riavL' pity nil him, Lord! 

.\ miracle ! .\ miracle I 

The jjower of his voice has restored her reason! 

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 
An officer enters and announces the arrival of the Prophet. 


What, the walls of a prison ! they arrest 

I am no longer free. 
Bertha swore my son's death, he denied 

On his head let the wrath of Heaven fall I 


Fides then begins the second part of her great 

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. 


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. 


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.) 

My mother I 

Yes, receive my pardon; I will die with thee! 
Fides and John : 

Welcome, sacred llame ! 

To yon celestial sjihere may our souls take 

Adieu I 

(As the flames mount about them the curtain 

Oberthal : 

You are my prisoner! 

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 

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 



(Italian) (English) 


(£e Poo-ree-tah' -nee) 


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. 


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. 


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, 



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. 


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. 


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! 


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. 


(Italian) (English 


(Rav-gee' -nah dee Sah' -bah) 


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 


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. 


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. 


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. 


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. 




HE Ql.rEliM — ACT t 

V French) 



{Lah Ran deh' Sah-bah') 



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 


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. 


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 



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. 

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. 


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. 


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. 


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 






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 


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. 


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 

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 


(German) (English) 


(Dahss Rine' -goUl) 


Words and music by Richard Wagner. First produced at Munich, September 22, 1869. 
First American production at New York, January 4, 1888. 


WOTAN, ( Vo'-lahn) ] fBaritone 


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. 




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 










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 


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 ? 



Bin ich nun frei ? 

(Am I Now Free ?) 

By Otto Goritz. 

(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. 


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 


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. 



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 
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 : 


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.) 


/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. 






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. 


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, 




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. 


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. 


'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-^ 

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. 




;\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. 


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 

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!' 


12-inch, $3.00 
12-inch, 3.00 
10-inch, 1.00 


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 




'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 


Father, dear father, calm yourself, 
Or my heart will surely break. 
To me your name pray tell; 
The grief that saddens you impart. 


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 


Love is the sun by which passion is lighted, 
Happy the mortal who feeU its power ; 
Each pleasure once priz'd without it seems 

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 

Rest in my bosom, ne'er to depart! 



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 

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 




[In Italian) 88017 




(In Italian) 88078 




(In Italian} 76007 




?) (In English) 3506 7 




(In Russian) 61141 




(Sl!C d!S^!J'tC(n'S, hut C(l!l 





OhI nanie hclovcfll 

Dear naTnc, within tliis hrcri 


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! 


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. 



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. 


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; 


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. 

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? 


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) 


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 — 


Rigoletto : 

Weep here, weep, on my heart thy tears mav 

Father, in thee an angel doth comfort beslow. 

* Douhk^Fac^d Record— For title of opposite side see DOUBLE-FACED RIGOLETTO RECORDS, page 378. 


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 : 


1 think what remains yet for nic to accomplish: 
This fatal abode we inust leave on the instant. 

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, 


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. 


Oh my father, a joy ferocious 

In thy words doth tell of danger — 

Rigoletto : 

To vengeance! 

Oh, might I avert its wrath- 


To vengeance I 

(In my heart there's nought of anger.) 

Yes, to vengeance fierce I doom thee — 

Thou shalt feel a father's wrath! 

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. 




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. 


Woman is fickle, false altogether, 

Moves like a feather iKsrne on the breezes; 
Woman with gnilin^ smile will c'ct- deceive 

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 
^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. 



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 

The situation at the open- 

of the act is a most dra- 


matic one. The Duke, gay and 


Doul>le-Faced Record— For title of opposite Side see DOUBLE-FACED RIGOLETTO RECORDS, page 378. 



careless, is making love to Maddalena, all unconscious that the assassin hired by Rigolettc 

is waiting for his opportunity. 

He sings, beginning the quartet: 


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: 


,\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 


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. 



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 



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: 


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. 

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 

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.) 


^ouble^FacedRecord— For title of opposile si Jesse DOUBLE-FACED RIGOLETTO RECORDS, page 378. 




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 

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 


12-inch. 1.25 
10-inch, 1.00 

45000 10-inch. 1.00 

lo573 10-inch, 

16276 10-inch. 





> Ree-nahl'-doh) 


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 


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! 




(Roh-her lehDee-ah'M) 


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). 


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 

Your voices lift high! 
Pi^aise the master who reigns over us, 
Sing aloud in Iu^ty chorus! 
Praise the Master, yes praise! 



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 

Here He buried 

the false daughters 

Whose unlioly devotion was 
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 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. 




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. 

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 



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, 



By Pryor's Band! 

16919 10-inch, $0.75 

10- inch. 





{Rooah'-deh' Lah-oh/) 



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. 


ALIM, King of Lahore Tenor 

SCIND! A, his minister Baritone 

TlMUR, a priest 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 

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. 


(French) (English) 


(Hoh' -may-oh ay Joo-lee-et') 


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. 


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 

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. 




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. 







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, 


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 





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. 

Thy hand, good pilgrim, this rmc but 

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 



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 ! 

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. 


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, 


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! 




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 


.\h! go not \'ft. but stay thee! 

Let me once more kibb tliy elear hand, I pray 
thee ! 

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- 


niglit, love. 

Good ni; 
KoivrEo : 
( iood 

Good night! Dearest, this fond good ni^lit 

is such sweet sorrow 
That I would say good night, till it he dawn I 

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 


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) 


but is insulted and forced to fight, killing Tybalt. 



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 


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. 

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 

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. 
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! 

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.) 








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1 : 


/Romeo and Juliet Selection By Arthur Pryor's Band).,,. . 

\ Samson and Delilah Selection (Saint-Sains) Arthur Pryor's Band] 

12-inch, $1,25 



{Sam' -sohn' a\} Dah-kc-lah' } 



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 


High Priest of Dagon Baritone 

ABIMELECH, Satrap of Gaza First Bass 

AN Old Hebrew Second Bass 

Philistine Messenger 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. 


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. 


Figlia miei v'arrestate (Pause, My 

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 

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. 


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. 


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 

/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. 


12-inch, $1.25 


17216 10-inch, 






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 

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 



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 




(Eel Seh-gray' -toh dec Soo-zan -nab) 




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. 


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 






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. 


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 : 



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. 


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 

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 


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 



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> 




iSecg' -freed) 

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. 


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 


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 


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. 


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. 





Siegfried and tKe Dragon 




Z^vangvolle Plage ! 

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. 


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 




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. 


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 

W^ohin schleichst du ? (W^hither Slinkest 
Thou ?) 

By Otto Goritz, Baritone, and Albert Reiss, Tenor 

(/n German) 64215 10-inch, $1,00 



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? 

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 ? 

Who formed the Tarnhelm which l(i all forms 

can turn? 
Uy line 'twas wanted : its woi'kei- wert tliou 
Alpertch : 

What coLddst thou ere. fool. 
lly thyself have fancied and fashioned^ 
The magic Ring made the dwarf meet fnr the 

Wlierc now is thy Ring^ 

The giants have roljbed thee, tlmu rccieanll 
What thou hast lost, by my lore, belike, 1 will 
.\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. 

I nourhshefl him. 

And his nurse now shall he pay: 
l-"nr tuil and woe long while have T wailed 


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! — 

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.) 

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. 


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. 








1^^^/'^* "" ^i^^H^^B^B^^S 

"■-" '"^'^^^^^^.^■'■— 


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 : 

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) 

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. 


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? 


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. 




(French) (English) 



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. 


SNEGOUROTCHKA, the Snow Maiden Soprano 

MlSGUlR, her lover Baritone 



BOBY ^'^^^ 

BOBYLYCKA, his wife Soprano 

KOUPAVA, betrothed to Misguir Contralto 

The scene is laid in Bevendey, an imaginary province of Russia. 



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 




(Italian) (English) 


(^L.ah Son-nahm -boo-lah) 


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 


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 Peasan