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Full text of "Sovereigns, revolutions and republics; recollections of a Parisian"

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:^lCTORBGDIv 
of the OPER^ 

Stories cf One-Tluvdred Opaas 

vltfl^ive-TtundredlliustTations 

& '-ikscriptiom of Ovc-%ousaDd 

'Victor Opera B^cords 



•,% 





^^o 




,arf+ 



JndoX^ continuQd 



-.«.«.« 245 

Marruge of Fifwo 247 

Martha, Marts 253 

Masked Ban 261 

MefiitafeU 26T 

MeuteraiaKcr. Die 273 

Mephiitophelei 267 

Mitfnon 279 

Mikado 206 

MiieilUt 28» 

Natoma 291 

Norma 294 

NoEEediFitfara 247 

Orf CO ed Buridice 297 

Orpheui and Eurydiee 297 

OteUo SOO 

{liacci 309 

rsifal 319 

tience 336 

Pearl Fiiheia 336 

Pearl of BrazU . . . . 342 

Picheurf de Perlo, Lee . . 338 

Peacatori di Perle ... 338 

I Pinafore ' - ' . . . 343 

Pirates of PeBtancc 345 

Profcta. Prophite 347 

Prophet. The 34r 

PuriUni, I 392 

Puritan*. The 352 



Robert the Devd 380 

Rohin Hood 3 

Roi de Lahore. Le 384 

Rom«o and Juliet 385 

Rustic Chivalry 61 

Sanuon and Delilah 391 

Samson et Dalila 391 

Sapho (Gounod) 394 

Segreto di Susanna 395 

Semiramide 396 

Shepherd Kinf. The . . 398 

Sicilian Vespers 459 

Siegfried 399 

Snegourotchka 405 

Snow Maiden, The . . . 405 
Sonnamhula. La 407 

Tale* of Hoffman 411 

Tannhauser 415 

Thab 425 

Tosca 428 

TraviaU. La 439 

Trisun und I*olde . . . 443 

Trompeter von 9ikkineeo.The458 

Troubadour, The 447 

Trovatore, II 447 

Trumpeter of Sacktntfen. The 458 

Ufonotti. Gli 180 



opera in America 

The opera ha> at Iwt come into ila own in the United States. In former 
yeoTB merely the paatime of the well-to-do in New York Gty and vicinity, 
erand opera is now enjoyed for ila own take by millions of heater* thTOUgh. 
out the country. Boeton. Chicago. Philadelphia, New Orleuii, San FraDciaco 
and Montieal now have their regular opera season ; while many other cities I 
have BirBnged for occnsionBl performances. 

The Victor Responsible for Much of this I 

Av^akened Interest I 

During the recent season several hundred petEormaitcea of grand opera, 
at an eabmated cost of millions of dollars, were given in the United States. I 
This great otitlay 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 yean of hundreds of 
thousands of grand opera records, at widely varying price* — from the I 
double-faced record* by well-known Italian and French artists of Europe, 
at 37}i cents per Betection, to the great concerted numbers by famous 
nngers at $6.00 and $7X30. | 

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- I 
ite singers may be heard at home as often as desired, and their voice* 
will be just as natural as in life. | 

Do you think Caruso the greatest of tenors ? Then do not be satisfied 



The Victor an Excellent Substitute for the Opera 

For every penon who can attend the opera (here are a hundred who 
cannot. However, many thounandi of loveri of ihe opera in the latter 
clan have diicovered what a Hlisfaclory substitute the Victor it. for it 
brings the actual voices of the great eingers to the home, with the added 
advantage that the artist will repeal the favorite aria a» many times as may 
be wished, while at the opera one must usually be content with 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 illustrabons in this book. 



The Victor Opera Season Never Ends 

In former yean, after the cloee 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 ia unique in many respects, and while there are many 
eicelleni books describing the plots of die operas, we think that in no 
other book on opera can be found all of these features : 
Q Titles in vsrious languages, with pronunciation of each. 
^ Date and place of original production. 
Q Dale and place of first performance in America. 

q Cast of characters and pronunciation of the same when necessary. 
' 4 Brief and clearly stated synopsis of plots of one hundred different operas. 
q Translations (all or part) of the text of several hundred separate numbers. 
q Every atX and scene indicated, with description of the stage setting. 
fl Every separate number mentioned in its proper place in the opera, and 

the numbers placed in the order in which they occur. 
Q More than live hundred portraits and pictures, making it the moat 

completely illustrated book on opera ever published. 



NOTE— AduDwUnnl a 

„ i^iBK occuonallT fnm diarinii.-^ -. 

mnr aptntK puUiuluu— SchimKr with mpnnkf pantai 



n«4r lUiKkrd* wilh 



SCENF.S FROM L-AFRICAINE 



dnllu] (Fnseh) 

L'AFRICANA L'AFRICAINE 

(Germu) (Enflvb) 

DIE AFRIKANERIN THE AFRICAN 

OPERA IN FIVE ACTS 

Text by Scribe; muaic by Meyerbeer. Firat produced at ike j^catUmlt, Pari*. April 26, 
1865. Fint London production in Italian, under die French title, at Covent Garden, July 22, 
1865: and in Enslnb at the Royal Engluh Opera, Covent Garden, October 21, 1865. Fir*t 
New York production December I, 1665. Revived in )906at the Metropolitan, with Caruao, 
Frematad. Plan^on and Journet. 

Cbaracter* in At Opera 

SEUKA, {SofiJe^ -Mi) a slave, fonnetly an African princea* Soprano 

Inez. (Et'-na) dau^ter of Don Dieso Soprano 

Anna, her attendant Ointralto 

NELUSKO. {Na^Jam'Jtt) a slave, formerly an African chief Basso 

DWJ Pedro, {Don Pat'-Jro) Premdent of the Royal Council Baav) 

Grande iNtauisrroRE ■ Basso 

Don DIECO, (Don D^W-to) Membei of the Council Basio 

High Priest of Brahma iBroh'-nth) Basso 

Don ALVAR. Member of the Council , Tenor 

VASCO ra GAMA,(CaA/-t«J"G'*'-™>*)anofflcerin the Portuguese Navy. Tenoi 
Chorus of Counsellora, Inquisitora, Sailors, Indians and Attendant Ladies. 

Tit action oeeun fn t^rhtgal, on Don Pein'tthtp al mo, end In In^a. 



VICTOR BOOK OF THE OPERA — THE AFRICAN 



ACT I — Council Chamber of the King of Portugal 

The first scene occurs at Portugal, in the King's Council Chamber, whither Vasco di 
Gama has come to announce his discovery of a strange land, producing two of the native 
slaves, Selika and Nelusko, as proof, in this scene is given the noble and stately chorus 

Dio che la terra venera (Thou 'Whom the Universe Adores) 

By La Scala Chorus (In Italian) *62614 lO-inch, $0.75 

Don Pedro, President of the Council, who wishes to marry yaaco*s sweetheart, Inez, 
influences that body to discredit the explorer's tale and throw 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 Voko is seen asleep on a bench, while 
Selika 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 Mar^arete 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 r angiol diletto (Oh t 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 Vasa>'s private 
papers and maps as well as the two slaves, Selika and Nelusko. 
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— Ded^a of Don Pedro's Ship 

Preludio (Prelude to Act III) 

By La Scala Orchestra *62614 10-inch, $0.75 

Act III shows the decks of Don Pedro's vessel. Nelusko, 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 deir onde profonde (Ruler of Ocean) 

By Francesco Ci((ada, Baritone {In Italian) *62407 10-inch, $0.75 

Nelusko: When the gale rolls o'er the deep, 

Adamastor, monarch of the pathless deep, Then beware then beware: 

c :f •«'-.. f ««.«;«« «,av-«. Sec, the lightning's flash reveals to thine eye. 

Swift o cr foaming waves ^^^ ^^^ ^^^^ ^1^^^ ^^^^ ^^^ storm-laden sky. 

To sound of fierce winds tramping; ^j| jjQp^ ^ow is lost 

When his dark steeds vex the misty sea, por the doomed wretch no tomb. 

Beware, mariner! Beware, mariner! None, none but a watery grave! 

A storm is threatened, and amid the preparations for resisting the elements a ship is 
seen, which proves to be di Gama's. He rashly comes on board, is promptly seized by Don 
Pedro and is about to be executed, when Selika draws her dagger and threatens to kill Inez 
unless her lover is released. The tyrant reluctantly 3rields, but afterward orders Selika to be 
flogged. The 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 IW— Temple of Brahma 

Act IV represents the Temple of Brahma in the country of Selika and Neluskp. The act 
opens with the weird and striking Indian March, played here by the Herbert Orchestra. 

* Doubie-Faced FUcord^For tUk of opposite side see DOUBLEJ^ACED L'AFRICANA RECORDS, page 13, 

12 




FAURE AS NELUSKO, 1865 



VICTOR BOOK OF THE OPERA — THE AFRICAN 



Marcia Indiana (Indian March) 

By Victor Herbert^s Orchestra 
By La Scala Orchestra 



70068 12-mch, $1^5 
*68027 12-inch. 1.25 



12-inch. $3.00 
12-inch, 1.50 
12-inch. 1.50 
12-inch, 1.25 



The priests, who have crowned SeliJ^o their Queen, announce 
the execution of cdl the prisoners except Vasco ; 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 

By Florencio Constantino {In Italian) 74085 

By Evan Williams (In English) 74148 

By Lambert Murphy (In Italian) 70100 

Vasco : 
Hail! fruitful land of plenty, beauteous gar- 
den, hail! 
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 ray 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 Seliko, 
who announces that he is her chosen husband. Nelusl^ is forced to 
remain silent by threats that Seli^a will destroy herself. Di Gama, 
forgetting Inez, yields to the spell and weds the Queen by the native rites. 

ACT V— SCENE I— 7%e Queen a 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 ov^n feelings and assists the lovers 

to escape. ACT V— SCENE W— Promontory Cher the Sea 

The final scene shows a promontory from which Selil^a is watching the ship bearing 
Inez and di Gama toward Portugal. As the vessel disappears from view she advances 
tovrard the deadly mancanilla tree, the fumes of which are death. 

Selika: 

Aye! here I look upon the mighty sea — ^bound- 

less — infinite 
As is my woe! 
Its waves in angry fury break, and then anon 

their course renew, 
As doth my sorrowing heart! 
(Ohserz*ing the mancanilla tree.) 

Gadiering the fatal flowers, she inhales their perfume, sadly saying : "Farewell, my Vasco, 

I forgive thee!** She is overcome and sinks unconscious beneath the tree. Nelusko, who 

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. 




fMOTO BCIIT 

AMATO AS NELUSKO 



Thou leafv temple, thou vault of foliage dark, 

After life s weary tumult I now come 

To seek repose of thee, and find oblivion from 

my woes. 
Yes! thy shade eternal is like the darkness of 

the tomb: 



DOUBLE-FACED L'AFRICAINE RECORDS 

{Marcia Indiana (Indian March) By La Scala Orchestra 

Traoiata — Preludio By La Scala Orchestra 

r Adamastor, Re dell onde profonde (Adamaster, Ruler of the 
I Ocean) By Francesco Cigada, Baritone (In Italian) 

jSei L'an^iol di letto (Oh, Guardian Angel!) By Tina 
I Farelli, Soprano; G. Martinez- Pa tti. Tenor (In Italian) 

jDio che la terra venera By La Scala Chorus (In ^'^''^'>) 1^26 14 

Bv La Scala Orchestral 



68027 12-inch, $1.25 



62407 10-inch, .75 



iPreludio— Atto III 



10-inch, .75 



* Doabk'Faoed Record — For tttk ofoppoMe aide aee tAoitt Iltt. 

13 



(Itdlan) 

AIDA 

OPERA IN FCajR ACTS 

Text translated from the French of Locle by Antonio Ghislanzoni. Music by Giuseppe 
Verdi. First produced in Cairo, December 24, 1671 ; at La Scala, Milan, February 8, 1672; 
in Paris. April 22, 1876; at Covent Garden, Tune 22, 1676; at St. Petersburg, 1679. First 
performance in America at the Academy of Music, New York, November 26, 1673, the cast 
including Torriani, Gary, Campanini and Maurel. Produced in New York in 1686 in both 
German and in English. 



Characters of the Drama 

AlDA, an Ethiopian slave Soprano 

THE KING OF EGYPT Bass 

AMNERIS, (Am^nar^4u) his daughter Mezzo-Soprano 

RHADAMES* iRahtr^h-auue) Captain of the Guard Tenor 

AMONASRO, (Am^h-nak^-roh) King of Elthiopia Baritone 

RAMRS, {Rahm'.fiu) High Priest Bass 

A MESSENGER Tenor 

Priests, Priestesses, Ministers, Captains, Soldiers, Officials, Ethiopian 

Slaves and Prisoners, Egjrptians* etc 



The scene is laid in Memphis and Thehes, in Pharaoh's time. 



This opera was written by request of the Viceroy of Egjrpt, who wished to celebrate 
the opening of his new^ Opera House at Cairo by the production of a work upon an E^ptian 
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 Egjrptians and is a slave at the Court of 
Memphis, where she and the young soldier Rhadames have 
fcdlen in love with 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. 

Rhadames returns, covered with glory and bringing many 
prisoners, among them Amonasro, Aida's father. The King 
releases all the prisoners except Amonasro, and bestows his 
daughter on the unwilling 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 with Amneris lead him 
to consent. Amneris, however, 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 sloMrly suffocate in each other's arms. 

ACT I 

SCEINE \—A Hall in the Palace. Through the grand gate at the 

back ^**S ^^ KC'> '^c Pyramids and the temples of Memphis 

The opera has no overture. The curtain rises, showing a 

hall in the palace of the King of Memphis, where Rhadames 

and the High Priest, Ratios, are discussing the coming 




•in. PAiit 

CABUSO AS KHM)AMES 



15 



VICTOR BOOK OF THE OPER A— V E R D 1 ' S A I D A 

invBBJon ol Ethiopia; and Ramfit Kints that Mme youns and 
brave warrior may be choaen to command the expedidon. 
Rhadamet, left alone, hopea that he hinuelf may gain the 
coveted honor, and promise! to lay hia triumphs at the feet of 
hit Alda. 

Celeste Aida (Heavenly Aida) 

By Enrico C>ru»o. Tenor 

(/n llalian) 68127 12-inch, f3.00 
By Leo Sleiak, Tenor 

(/n German) 64113 10-inch. l.OO 
Then occura the aplendid gem of Act I. the Ctleile Alda, 
beginning 



in which Rhadama chanta the praiaea of the peerleai Alda. 
\t is aeldom enjoyed at the opera, eapectally in America, aa it 
occura almoat immedialely 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 Slczak fully appreciated. 



Heavenly Aida. 
RadUn. Howe 


Would thai thy 1 
beauty resplendent. ins, 

i^iEni-sl o'er me transcendent. Round thy fair 
(pTrit in beamy') light. Thine were a 


bright skiea ana more behold- 
soft airs of thy native land, 
brow a diadem folding. 




the acene, then follows. 


otions of the characters in 



Ohime ! di tfuerra fremere (Alas 1 the 
Cry of War I Hear) 

By Elena Ruaicoivska. Soprano : Bianca Lavin 
de Casaa, Mc£zo-Soprana : B^jdio Cu- 
aega.Teaor (In llollon) B8261 12-inch, *3.Q0 
The King't daughter, Amnerit, enters, and seeing the young 
warrior's glowing enthusiasm, delicately hints of her secret 
■Section for htm. saying : 



Should awaken in thee this lijiht o( joy: 
Rhadama begins to explain his hope of securing the 
eommajtd of the expedition, when Alda enters, and the young 
soldier's expressive glance reveals to Amnetii his love for 
the Egyptian slave. 

TheK/ngand his guards enter and receive a messenger, who 
reports that Egypt has been invaded by the Ethiopian army, 
under the command of Amonam. (" My falhcrl ' exclaims 
Aida aside.) Amid great excitement Rhadama is appointed 
leader oE the army, and ia presented with a banner by 



VICTOR BOOK OF THE OPER A— V ERDI'S AIDA 



Sul delNilo (NUus' Sacred Shores 1) 

By Elcfu Ruf Ecowfka. Soprano : Msrim 
Cmppiello, Mexio-Sopraao; Tapccgi 
■od Davi (/n llaihm) 8B266 12-inch. *3.00 
Following the trio come* a etkikI choni* : 
To battle! We'll bunt the invader down. 
Ont Rbadames, Iby brow may liurels crown! 
All ilepart la prepare (or the expedition, while Alda, 
left alone, give* way to her grief and aingi the beautiful 
RUoma oIncUor, expte—mg her cxinflictinB emodona. 



Ritoma vincitor (Return Victorious !) 

By Johanna GadaLi, Soprano 

[In Italian) B8137 12-iacli. tS.OO 



Wcni tt 
Of 



nl fartb the impioua word! Conquci 
mr falber— of liiin who takea armi 



A countrvi a Idngdom: 

wil™ here I am forced I 
The insane word forjet. C 
Return Ibe daughter 
To the boHini of her falbe 

Wha"ani 



takea an 
md the i 



Shall I call deal 



S^l 



She I 



way 



> her emotion for 



brief 



I sacri notni (The Sacred Names) 

By CcUatina Bonituegns. Soprano 
Rouaing herself ihe calls on her god* for aid and goes 
alowly out aa the curtain (alia. 

SCENE II— Tht Tmpit 0/ Vulcan—In tht eenin an alia,. 
IlluminattJ ty a mt/iicrloui light from atot 

Ramfit, the High Priest, and the priest* and prieat- 
esse* luive assembled to blea* the expedition. The chant in 
piajie of Plah a heard from an invisible choir. RhaJama 
' e consecrated veil. 



E lovely and appealing 



88233 {In llallan) 12-itieh. *3.00 



Tempered by llit nodi, in thy hand becon 



Nume, custode e vindice (God, Guardian 
and Avenger) 

By Antonio PaoU. Tenor: Perello 
dc Sc^rola, Bas*: and Chonia 

(/n llaUan) 68268 12-inch. I9.00 



VICTOR BOOK OF THE OPBR A— V E R D I ' S A I D A 

Rantfit then ling* the cloaing invocation, in which Rhadamtt join*. 

He it invdted with ihe aacred Brmor, antl am the piiotene* peifoim the myatic dance 
the curtain ilowly falls. 

ACT II 

SCENE I— ^ hall In AmntHi' apartmenli 
The curtain riaet, showing the Princeu and her alavea, who 
are adorning her for the triumphB] feativaJ in honor of Hhadamtit 
iuat returned with hia vidorious army. AmiKrii and the ilavea 
■ing the ode to the returned hero. 

Chi mai in. (His Glory Now Praise) 
By Maria Capiello, Mezzo-Sopraoo. 

and Choru* (In llahan) *»9009 12-iach, *1.»0 
Seeing Alda approachinsk the Princeia dismiaaes her aUvea 

Thia acene ia expresaed in a aplendid duet, given here in two 
recorda by Mmea. Gadalci and Homer, and alao by Mmea. 
Ruazcowaka and Lavin de Caaaa, of the La Scale forces. 

Fu la sorte dell' armi ('Keath the Chances 
of Battle) 

By Johanna Gadaki, Soprano, and Louiae Homer, 

Contralto (/n //a/ton) 89024 12-iach. H.OO 

By Elena Ruazcowaka. Soprano, and Bianca 

Lavin de Caaaa. Mezzo-Soprano 

(In llallanj 80262 12-iacb. 3.00 

Alia pompa, che s'appreste (In the Pageant nix>><>i 
Now Preparing) «*"<" «« amkou 

By Johanna Gadaki, Soprano, and Louiae Homer. Contralto 

(/n llalhin) B9029 12.inch. •4.00 

Ebben qual nuovo fremito (Wliat 
New Alarm ?) 

By Elena Ruazcowaka, Soprano, and Bianca 
Lavin de Caaaa, Meiio-Soprano 

(Inllallan) 88263 12-iach, *3.00 
Amncrit prelendt to aympathixe with the afflicted 
gill, aaying: 

The fa'l* of arma was lieadly to Ihy people. 

Poor Aida! The grief 

Which weighs down Ihy bean I share with 

thee. 
I am Ihy friend; 

Time will heal the angiuth of Ihy heart. 
And more than lime— a powerful aod-love. 
Aid*: 

Oh: love immortal: oh: ioy and <orrow. 

As in Ihy trials nirw life I borrow. 

AHNEais Inside): 
This defllh-like pallor. Ihi< strong emolion. 
Plainly reveal the fever of love! 

(To Aide) : 
Among the braves who foufrht so well, 

Has someone a lender sorrow' haply waken'd 



'Dt>AkFmUB»a,rJ—F„lHkof„M-^^^m.DOUaLEJ'ACEaAIDA REC(XUiS.p^36. 



VICTOR BOOK OF THE O P E R A— V E R D I ' S AID A 



AicNESis: 

Tremble I I read thy secret, 

Thou lov'st him! lie no longer! 

I love him too — dost thou hear? 

I am thy rival, daughter of kings Egyptian. 

Aida: 
Thou my rival? 'tis well, so be it — 
Ah, what have I said? lorgive and pity, 
Ah, let this my sorrow thy warm heart move. 
'Tis true I adore him with boundless love- 
Thou art so happy, thou art so mighty, 
I cannot live hence from love apart! 



Amneris: 

Tremble, vile minion! be ye heartbroken. 
Warrant of death this love shall betoken! 
In the pomp which approaches, 
With me, O slave, thou shall assist; 
Thou prostrate in the dust — 
1 on the throne beside the King; 
Come, follow me» and thou shalt learn 
If thou canst contend with me! 

Aida: 

Ah. pity! What more remains to me? 

My life is a desert; 

This love which angers thee 

In the tomb I will extinguish! 



Always 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 rdles — splendidly acted and vocally perfect; while Mme. Homer's impersona- 
tion of the Egjrptian Princess is always a thrillingly dramatic one. 

The rendition by the two La Scala artists is one of the finest which has come to us from 
Milan. 

SCENE n—lVithout 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 Egjrptian troops, preceded by trumpeters, enter, followed 
by chariots of war, 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 tvro bands playing, at first 
separately, and then together. 



King (descending from the throne to embrace 
Rhadames) : 
Saviour of our country. I salute thee. 
Come, and let my daughter with her own hand 
Place upon you the triumphal crown. 



{Rhadames bows before Amneris, who places 
the crown upon htm.) 

Now ask of me 

What thou most wishest. Nothing denied to 
thee 

On such a day shall be — I swear it 

By my crown, by the sacred gods! 

The prisoners enter, including Amonasro, who is dressed as an officer. Aida sees 
him and cries, '* What do I see I My father I ** All are surprised, and Amonasro signals to 
Aida not to betray his rank. Amonasro then sings his recital : 

Quest' assisa ch'io vcsto (This Dress Has Told You) 

By Ernesto Badini, Baritone ; Sra. Fabris, Soprano ; Lavin de Casas, Mezzo- 

(/n Italian) 88264 12.inch, $3.O0 



Soprano ; Egidio Cunego, Tenor 

Amonasro: 

I am her father. I went to war. 
Was conquered; and death I sought in vain. 
(Pointing to his uniform) 
This habit I wear may tell jrou 
That I have defended my king and my coun- 
try. 
Fate was hostile to our arms; 
\'ain was the courage of the brave I 
At my feet, in the dust extended. 



Lay the King, transfixed by many wounds; 
If the love of country is a crime 
We are all criminals — all ready to die! 
(Turning to the King xvith a supplicating 

accent) 
But thou. O King, thou powerful lord, 
Be merciful to these men. 
To-day we are stricken by Fate, 
To-morrow Fate may smite thee I 



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, 
Amnerb glorying in her triumph, and Amonasro swearing secret vengeance against his 
captors. The curtain falls amid general rejoicing. 

* Doul>le^ae«d RtcorJ—For Wfe afofifiotUe tide Me DOUBLE-FACED AIDA RECORDS, page 26, 

20 



VICTOR BOOK OP THE OPE R A— V E R DPS A I D A 



O tu che sei d'Osiride (Oh, Thou 'Who Art 
Osiris) 

By Miria CappicUo. Soprano, and Chonu 

{/nAa/ton) •550O3 12.mcU. »1.50 



A boat Bppioachea. bcBiing Rhadama and Amnerii, who go Into 
the Temple. Alda, veiled, cautioualjr enters, hoping that Rhadama 
will come thither, and ainga a tender and deapsiring aong of that 
lovely land which ahe may never lee again. 

O patria mia (My Native Land) 

By Johanna Gadiki, Soprano 

:/n halian) 88042 12-inch, *3J>0 
By Emmy Deitina (/n German) 92058 12-ineh, 3.00 ■■■t. •»i 

By Celeitina Bonin«efna {Italian) 88239 I2'ineh, 3.00 "'"' 
By Lucy Iiabelle Manh {Italian) 60098 lO-iach. .75 
*D>i>Al^ac^Rta,fi—Ft,tlUtBfatp,^,U,HtDOUBLE^ACED AIDA RECORDS, p 



BOOK OF THE OPER A— V ERDI'S AIPA 

n hnme beloved, 1 nt'er shall sec Ihcc morel 
and frBgnnl vales, O Juiet dwelling. 



'a..""na. 



ig, O home brioved, I ne'er shall see Ihee murcl 

Three Rne renditions of thi* air. one o( 

the mo«t effective in the opera, are ^iven here 

by three celebrated prima donnai, all of whom 

have becQ seen in America in thia idle. 

A Ida ia about to depart when she ia 

proachei his daughter with her love for hia 
enemy Rhadama, telling her with significant 
emphaaia that she may behold her native land 
again if she wishes. He tells her dial his 
people have risen again, and proposes that 
■he shall influence RhaJama to betray the 
plans of his army in the new campaign. She 
at first refuaes, but he bids her be true to hei 
country, and pictures the sufferings of hei 

Ciel I Mio Padre ! (Heaven I My 
Father I) 



(/n Ilaban) 8906I 12-ioch. *4-00 



Rivedrai le foreste imbalsatnate (Thou Shalt See Again the 
Balmy Forests) 

By Elena RiuecowsIu and Giuseppe Matffi (Italian) 88267 12-iiich. «3.00 



ThJsiVf vJith Ce^or Riia<i«m«; ^He ufvM^h« I remember 'ti^™ieS thaVmy "hsTrt'iutleKd. 

The daughter of the Phatoahs is thy rival— Then delay not. In arms now is roused 

An infamous race, abhorred and fatal to usl Our people— everything is ready— 

Aida: \-ictory vi^e shall have. It only remains for me 

And I am in her power! I. the daughter of to know 

Amonasro. What path the enemy will follow. 

Ahohkeko; a I da: 

In .her power! No! If thou wishi'<l. Who will be able to discover ii> Whoever? 

And country, and thronet and'^ovVall shall T°hy»:lf:' 

be thine. Aida; 

Thou Shalt see again the balmy fotvsts, IP 

The fresh valleys, our temples of gold! .XHONAsao; 

AiDA (trith lra«storty. Khadames will come here soon- lie loves Ihee— 

I shall see again the balmy forests, lie leads llie Kgyplians. l>ost thou understand? 

Our valleys, our temples of gold: Aiba: 

Amomasiu: Horror! What dost Iboit counsel me? No. no! 

Thon rrmembetesl that the tnerciless Kgyptian Never! 

Su. dunquel (Up. Then!) 

By Johsnos C>4*ki and Pasquale Amato (Italian) 89068 11-iach, $4.0O 

By Elena RuBzcowslu and Ernesto Badini {Ilallan) 88265 I2-iiich. 3.00 
With growing excitement he describes the consequences of her refusal. 

E'fep'tiin zzr' ' y^- '"^';- „ , , , , 

Will! fire destroy our citiei^ AifoKASira t'cpulstng her): 

Spread terror, eatoase and death. fj* .''?^*''"' „ ... „. 

To your fury there ii no longer cbeckl "°" ""»" ™" thyself? 



VICTOR BOOK OF THE OP E R A— V E R D 1 • S A 1 P A 



AittA Utrrifitd and niffliaBi)! 




It is ,hy mother-recognize hcr- 


PLty: 




She curMS thecl 


Amon-s»o: _ ^ 




AiDA (>H Ihe grtalest ttmr): 


Riven of blood pour 




Ah, no! Father: 






Amonasio (ripulting kir): 

Go, unworthy one! Thou'rt not my offiprinc— 
Thou an Ibe slave of thf Pharaohsl 


S«th thou? From the bUdi gulf 

TD%h" tbc'y point and cry; 
For thee Ibe country dies! 






Aid* (yiildi«p-l: 






Father, their slave I am nol— 


PUy ! 












■*A"iro?rible eho» 




Of my country I will be worthy; 


Ttemble! fh« leihTw'armi""'"" 




AuoBASiio: 




Courage! he comes— there, I shall hear all. 


Ove. thy he*d it raised- 




(CDXcfo/i himaelf among Ihr palm Ireci.} 






now eater* and trie* to embrace her, but ike 



repukea him, uyins bitterly: 



In quiet joy contented, tbe world will we 

He finally consenta, and reveal* io her that the aimr 

will go bythepB«saf Napata. Ameniun, whohe*overheard, 

now enten, and Rhadama is horrified at the knowledge that 

!E«oL* AS BHADAUE* he Kb* betrayed the army to the King of Ethiopia. Hi* 

Bcruplei are finally overcome, Amomuro •aying: 

No; thou art not suilty- The brave men devoted to us; 

II was the will of^ fate. There the vows of thy heart 

Come; beyond the Nile await Shall be crowned with love. 

Amnerit, coming from the temple, pauae* behind a pillar and o 
Mad with jealouvy, *be rtuhe* in and denounce* the guilty trio. A 
but RhaJamts ia taken in custody as a traitor. 

ACT IV 

SCENE 1 —A mom In Iht Palacc-on one tiJt a door ItaJing hi Rhadama' firiian cell 

The cuttain rises, disclosing 
^mnerfi in on attitude of despair. 
She i* torn between her love 
for Rhadama and a desire for 
vengeance, and finally order* 
ihe prisoner brought before her. 
Ahnebis {6i(i*>-I>' milling): 
My rival has escaped me — 



To fly with her— tra 
To death, to dealb! 
Ob,, whal am I sayin 

Oh! it he could love 



VICTOR BOOK OF THE OPER A— V ERDI'S AIDA 

Rhadama enters, and the Grat great duet of the act occun. 

Gia isacerdoti adunnasi (The Priests Assemble) 

(InllaUan) 89090 12-inch. »4.0O 
(/n HaHan) 8S269 12-iilch. 3.00 

Aida a me totfiiesti (Aida Thou Hast Taken) 

By Louise Homer aad Eurico Cuuao (/n Ilalian) S9051 12-incii, t4.00 

Amatrii oSera to save hit life if he will renounce Aida. He •com* her piopoaal, resolv- 
ing to die rathei than be fal*e to hia Ethiopian Princeaa. 

Renounce her forever Who sBves thee, O wreleh, 

And thou ihalt livel From the fate that await) 
Rhadaucs: theei' 

I cannot do ill To fury faaat thou changed 

AuNUia: A love thai had no equal, 

Wouldst Ifaou die, toadmanf Revenge for my tears 

Rhadahes: Heaven will now consummalel 

Tike Kuarda now appear and conduct Rhadama to the judgment room. The enauing 
acene ia a nighly dramatic and imptesaive one. 

Ohimet Morir mi sento (Ah, met Death Approaches I) 

By Lavin de CaMa. Mezzo-Sopcano : Rizio Sant' Elia, 

Bsaa; and Chocua (/n Italian) 88270 12-inch. *3.00 

Amntrls, seeing Rhadama taken out t>y the Prieata, repents her harahneaa and sinka 
down deaolate on a seat. 
AUNERIS (falliag en a ckair, mtrtomt}: Ah, let me not heboid those while robed 

Ah me! Death's hand approacbell who now ohantoms! 

will save himP iCovers her fact irilfi hir hands. Tht voict 

He is now in their powci. of Ramfii can br htard within.) 

Hi* Bcnlence I have sealed— Oh. how I corse Raufii 
T '?"' •, ^ .u ■. I . J J Rhauimc 

hi?^'''' " '"™»**'' """■ *'"' •"" <1«™«<> Of thy c 
■ to everlasting sorrow! 
Ramfis and Ike FriesU. w 
and cnlir Ihc SMbttrram 

the camp the very day before Ibe 

Par tin; 

Defend Ihrself! 
Ravpib: 

Rhadames. Rhadamea: and 
thou has) played 

The part of a traitor to King. 

Pkiests: 

Defend thyself! 



Of all traitors the I 

be thine— 
'Nealh the allar w1 



VICTOR BOOK OF THE OPBR A— V ERDI'3 AIPA 

Sacerdoti, compiate un delittol (Prieata. a Crime You Have 
Enacted 1) 

By l^vin de Cam. Mezzo-Soprano : F. Rizzi, Baaa: and 

Chorus (In llallan) 8B323 12-uich, tiJQO 

The prieata now enter from the ciypt and pua acran the hall. The wretched woman 
denouncea them. 

Priests of Heaven, a erime vou have enaeted, Akhebis: 

Tigei! even in bloodshed exulling. Impious priestbood. cufks tight on ye all: 

Earthly jusliee and Heaven's you are insiiUmK. On yanr beads Heaven's vengean» will falH 
On the guiltless your sentence will fall: IEx\l wiVdly.) 

None ean hit doom recall; 

This ia one of the moat impreaaive tecorda of the AiJa aeriea. The deapait of the 
wretched ^nattrii, and the aolemn reply of the unbending prieata ate wonderfully eapreaaed 
by Verdi. 

SCENE n-hltrior oflht Tmplt o/Vvlcan-bcloin a SuUtrrantan Apartmad 

••ThealotkfinlahalntmraUlonJptace, aiti aich lamlnaiiom arc iht matt btaullful. Atoet. 
Ihe lanpit full of light, when Iht cerononla conllnut Immalable In the lanctaatv of the Indlffcrtnl 
goJt; Mow, lieo human belngi Jjiing in tach othei'i armi. Their long of loot and death ta among 
the moil beaulffiil of all miaic. "—Camllle Bellalgue. 

When we hear the eipreaaion "the duet from Aida," out thoughca alwaya inalinctively 
turn to thia number at the cloae of the work. There are other dueti in the opera, aome of 
them fine numberi, but thii ia the gieal one — perhapa the moat intenaely dramalit: and 
raelodiouily beautiful of all Verdi'a writinga. 

La fatal pietra (The Fatal Stone) 

By Johanna Gadaki, Soprano, and Enrico Caruao. Tenor 

(In Italian) B9028 11-inch^ 14.00 
By Nicola Zerola. Tenor (Part of acene— ~ To die, ao 

pure and lovely I") </n llallan) 7422S 12-uich, 1.90 



E ia a highly picturesque one. Above we aee the splendid Temple of 
ui, wnere prieata and prieateaaea are chanting their atranse aonga. Bel ' ' ' 

whoee deptha fthadames ia awaiting with patience a alow death by Bt4nn 



Rh«.ame» (d«pa.r.BWy) : 
The fatal ilone upon me now is i 
Now has the tomb engull'd me: 
The light of day no more shall I 
No more behold Aida; 
Aida. where ■" ,h„„ n„.u' 
Whate'er bef. 



ly frigiitTuf doom" be toll's 



(TIUH tHidlftI 

Iht erypi tha 



^\ 


eatt forebode 


this. 


thy 


readtii 


sen 


I "re 


t, unseen by 


norla" 


son.h 


- '" 


porUl 


irere 


free from all. 














e beh 








.I'i 


'p'd™n l"? ^« 
esolved to ^r 










To d 
It> a) 


'&d^i,>"bf 


h 


■nd lov 


elyl 




Fade 


thus fttrever; 














da alone for 


ove cr 


eated 


Yet" 


o destroy thee 




ny love then 


filed 


Thou 


shall not die; 




hi lo 


e thee 




Thou 


art too lovely 











VICTOR BOOK OF THE OPER A— V E R D I ' S A I P A 

AiDA (Iransporitd}: I see heaven's gates are open wide 

See'st thou where death in angel gui«. Where tears are never Blreaming. 

Wiih heavenly ladiance twamini. Where onlv bliw and jov reside. 

Would waft us lo eternal joys. The biisa and ioy of never fadiu. endleis 

On golden wings abovel love? 

The lovers nng iheir plaintive farewell to earth in hauntingly lovely itrains, while in 
tfrange contraat the heathen chanting continiiea above. 

O terra addio (Farewell. Oh. Earth) 

By Johanna Cadiki. Soprano, and Enrico Caru*o. Tenor 

</n Ilaliant 89029 ll-jnch. **JXi 

Farewell. O earth.' Srt, brighllx opens tor us. 

Farewell. Ihou dark vale of aotiow. Brightly opens now the sky, and endless mor- 

Brief dream o( jor, row. 

Condemned la end in woe! There, all unshadow'd, shall eternal glow! 



DOUBLE-PACED AND MISCELLANEOUS AIDA RECORDS 

I Chi mai fra (Hii Glory Now Praise) By Maria ] 

Cappiello. Mezxo-Soprano, and Chorui (In llallan)\ 
O tu che ««■ d'Oairide (Oh. Thou 'Vfho Art 0*iri() [59009 12-inch. *1.50 

By Maria Cappiello. Meizo-Soprano. and Chorus I 
(/n Hallan)} 
/CeleateAida (Heavenly Aida) Trombone By Arthur Pryorl-,.-_ ,, . . , _, 
til Guarany Overture By Pryor'a BandP"'^*' 12-mch, IM 

(The Fatal Stone Cerntl- Tnmiont ] 

\ By Arthur Prytn'.EmilKencke and Pryor'i Bandb»l»0 12-inch. 1.25 

[ Sennade {Tll[) 'Ctllo-Flule Bu Louli Htine and Dariiu Lyons] 

/Aida FantaaJa By Police Band of Mexicol. ii i-,k i i,« 

\ CixaJa <^ Rxua tValU By Police Bond 0/ Mtxicor''"*^ 12-uieh. 1.25 

(Aida Selection By Pryor". Bandl,-,„. ,_ . . , ,, 

\ AUIIo— Grand Trh By Kryf, Bohemian Band]^^^^^ 12-.nch, 1J5 

Aida Selection (Finale. Act II) By Pryor'i Orcheatra 31359 12-inch. l.OO 

Veaaella'a Italian Bandl-.,,. ,, . . , ,, 

Marcha TriunM (Triumphal March) 

ByG„J.R.puWi.ai.tB..dU„, ,„.i„.|,, .„ 



P 



ToKo—Toaca dMnal (In Ilallan) 

By Gualaoo Bai-Ralfl/. BariUmt] 



ANDREA. CHENIER 

(Aim J f^ -oh SM ikV) 

OPERA IN FOUR ACTS 

Libretto by Luip llliu : muiic by Umberto Giordano. FlrK pioduced at U ScaU, 
Milan. March 26, 16%. FirM performance in Berlin in 1896; in London. April 2, F903, by 
the Carl Ro«b Company, in English. Given in Italian «ome yean afterward, with Slarkosch. 
de Ciuieros. Zenatello and Sammarco. Pint American production at ihe Academy of 
Munc, November 13. 1896, with Durot, Ushetto and Bonaplala-Bau. Flevived in 1906 by 
Clear Hammerrtein'* Manhattan Opera Company, the cast including Mme. Eva Campanini. 
Baasi. Sammarco, Zeppili and de Cisneroe, 

Character! 
ANDREA CHENIER Tenor 

Charles Gerard Baritone 

COUhfTESS DE COIGNY Soprano 

Madeleine, her daughter Soprano 

BERSL her maid Mezzo-Soprano 

Rougher Ban 

MaTHIEU Baritone 

MADELC»1 Soprano 

FLEVILLE Tenor 

THE ABBE Tenor 

Schmidt, jailer at St. Lazsre Baa* 

A SPY GioMAiro 

Ladieii Gentlemen, Servant*. Page*. Peasants, Republican Soldieri, Maaqueraden, 
Judges, Jurymen, Priaonera, etc 



Time and Place : Part*: during the Fiench Rtooluthm. 



The story tells of AnJna Chenler, a patriot, poet and dreamer, who was bom in Con- 
stantinople, coming to Paris for his education. The French Revolution was in full swing, 
and being a worahipper of liberty and a hater of monarchs, he look vigorous sides, and was 
arrested, imprisoned and finally guillotined on July 25. 1794. Illica's plot, however, is almost 
wholly pure fiction. 

ACT 1 
SCENE— Hall In Ihe CaslU of Colgny 

As the curtain rises the servants of the castle are preparing for a balU and among them 
is Gaard, 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 seuanl' 

Son flessant* aooi (My Aged Father) 

By Ernesto Bsdini, Baritone (/n Uallan) 49012 lO-inch. *1.00 

luring the festivities 



VICTOR BOOK OF THE OPERA — ANDREA CHENIER 

Itnprowiso — Un di air azzurro spazio (Once 0*er the Azure 
melds) 

By Enrico Caru0O, Tenor (In Italian) 88060 12-inch, $3.00 

By Nicola Zerola, Tenor (In Italian) 74216 12.inch, 1.50 

in this air Cher^er sharply criticises the aristocracy, and speaks of the pride of the rich 
and its effect upon the poor. The guests are displeased at his lack of taste, and later, when 
Gerard appears with a crowd of ragged men and women, Chenier supports him and goes 
with the party when it is ordered from the castle. 

ACT II 

SCENEr--<4 Cafi on the Seine, Paris. Five years later 

Bersi and a spy eu'e 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 vratched, 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 caf^ with the spy, but presently returning, mingles with 
the crowd and speaks to Chenier, begging him to await a lady whom she calls Speranza. 

As darkness falls Madeleine appears and is recognized by both Chenier and the spy, who 
is concealed and watching from a distance. He hurries away to report to Gerard, and the 
young girl begs Chenier to save her from Gerard. They avow their love and are about to 
fly together when Gerard intercepts them and tries to drag Madeleine away, but Roucher 
interferes and escorts the girl to her home, while Chenier and Gerard draw their swords. 
Gerard is wounded, and warns Chenier that he is proscribed and begs him to save Madeleine. 
Chenier flees and the mob surrounds the wounded Gerard, while he declares his assailant is 
unknown to him. 

ACT III 

SCENE— At 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 a^ay. 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 ia 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 ^t/as a Soldier) 

By Egidio Cunetfo, 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 away. 

ACT IV 

SCENE — The Prison of St. Lazare 

Andrea is in his cell, writing verses by the light of a lamp. Madeleine succeeds in 
getting into the prison bv impersonating a tecently pardoned prisoner, and by bribing his 
jailer. Gerard conducts her to Andrea and then goes for a last appeal to Robespierre. The 
lovers cling to each other in a last embrace, and at dawn, when the death wagon comes 
for Artdrea, Madeleine goes to the guillotine to die with him. 



DOUBLE-FACED ANDREA CHENIER RECORDS 

Son se^sant* anni (My A(fed Father) By Ernesto Badini, 1 

Baritone (^" ^'<'''<"») U*m -* ia-<»^k ai nn 

Si fui* soldato (I Was a Soldier) By Egidio Cunego, Tenor [♦5012 lO-inch, $1.00 

(In Italian)] 
28 



IL BARBIERE DE SIVIGLIA 
BARBER OF SEVILLE 

COMIC OPERA IN TWO ACTS 

Text t^ Sterbini, n Roman poet, founded on the celebrated trilogy of BeaumBTckala. 
Music by Koasini. Fim preaented at the Argentina Theatre in Romc^ February 3, 1816. 
Pint London production March 10, 1818. Firat New York production November 29. 1829. 
The opera waa at firat called "Almavivo. or the Uaelesa Precaution," to diHinguish it froin 
Paiaieflo'. "Barber of Seville.' _ 

Caat 

Count ALMAVIVA {Al-maS-m'-Pah} Tenor 

BARTOLO, {BM-Mmt) phyaician Baaa 

ROSINA, hia ward Soprano 

BASIUO, (Bahjttl-itoh) muaic niaater Baaa 

MARCELUNE (Mar^MJtt' -nd,) Soprano 

F1G«*0 (Fm'-tah-na) Baritone 

FlOREU-O, aervani to the Count Tenor 

A Notary. Chorua of Muiiciana, Chorua of Soldicra 

Scene and Period: StOlUt, the leoenleenlh century. 

Roaaini'i opera is a marvel of rapid composition, having been compoaed in about fifteen 
days! Thia aeema almoat incredible, but the fact ia well authenticated. The composer had 
agreed to write two operaa for the Roman carnival of 1816, the firat of which waa produced 
December 26, 161 5. and on that day he waa told that the aecond would be required on Jan- 
uary 20, IS16. He agreed to have it completed, although he did not even know what the 
aubject waal The libretto waa given to him by Steibini in aectiona, and he wrote the muaic 
aa faat aa the veraea were fumiahed. . While the opera did not achieve ai 



ceas. it padually found favor with opera-lovera on account of ita brightneaa and the manner 
in which the humor of ita action ia reflected in the muaic. 

Tlie plot of Baritr qf Seollte ia very aimple. The Count Almaotca lovea Rotina, the ward 
of Dr. Barfolo, a crvaty old bachelor who aecretly wiahea to wed her himaelf. AlmaolBa per. 
■uadea the village barber, Figaro, to arrange a meeting for him, and gaiika entrance to the 
houae diaguised aa a dragoon, but ia arreated by the guardian. 

Not diacouraged, he re- 
turru, pretending to be a aub- 
•titute for Rotlna't muaic 
teacher, who. he aayi^ is 111. 
The appearance of the real 
Dm Baiillo apoila the plan, and 
the Count retreats for the 
second time, having, however, 
arranged a plan for elopement. 

Battolo finally arouaea 
Rotlna'i 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 htting or act i, scehi i, at l* scaui 
of Bartolo. and the lovers are wedded by a notary, just as Barlolo arrives with officer* to 
arrest the Count 



VICTOR BOOK OF THE OPERA — BARBER OF SEVILLE 
Overture to Barber of Seville 

By Li Seals OrciiotnL 66010 12-iach. tl^S 

ACT I 
SCENE I— A Siretl In Sroltle. Day h Breaking 

The Count, sccompuiied by hia aervant Flordio ^nd •everal 

ike beautiful RtHina, Accompanied by the manddins. he singa hi 
con*ideTed one of the moat beauliful numbeia in the opera. 

Ecco ridente (Daw^, 'With Her Rosy Mantle) 

By Fernando de Lucia. Tenor (Piano ace.) {In llallan) 16000 12-incli. nXM 

Count: 

Ld: smiling in tbe Orient sky. But, husb!— tnelhinks I view that face, 

Morn in her beauty breaking. And all my doubts are vani^bed; 

Canst Ibou, my loTt. irattive lie— Thine eyes dilfuse soft pity's grace. 

My life, art ihoa not waking* And all my fearc are banished. 

Arise, my bran's own treasure, Oh. rapturous moment of delightl 

Air Ihat my aoul holds dear; All other blisses shaming; 

Obi turn my grief to pleasurel My sours content, so pure and bright. 

Awake, my love, appear; On earlh no equal claiming' 

Even auch a lovely aerenade aa thia faiia to biHng a reaponse from the window, but the 
Count atill lingera, concealing himaelf in the ahadow as he aees Figato, the jack-of-all-tradea 
ot the village and general factotum in the houae of Bartolo. Fifaro unslinga hia guitar and 
■ings that gayeat and moat difficuh of all aiia. the joy or de^air of baritonea the world avei, 
which has been recorded for the Victor by three fatnous baritonei. 

Largo al factotum (Room for the Factotum) 

By Paaquale Amato. Baritone 

(In Italian) 88329 12-iach, *3.00 
By EiDilio de Gotforza. Baritone 

[inllatlan) 88181 12-inoh, 3.00 
By Titta Rufib. Baritone 

(In llallan) 68391 12-inch. 3.00 
Figaro ia thoroughly aatisRed with himself, and gives a 
ong list of his numetoua accompliahments. of which the 
ollowing ia b aiunple : 
FiCABo: Room for the city's factotum here. 
La. la, la. la, la, la. 



What a merrv life, what pies 
Awaits a liarlier of quality. 
Ah, brave Fiearo: bravo. 1 
La, la, ia, la, la, la. 



an sun ihe hanpust of men, ready at all hours of the night, and. by day, 
perpcluallj in hu^lle and motion. What happier rwion of delight; what 
nobler lifi- for a barber than nimc: Razors, combs, lanmls. scissors— behold 

gav daiiis,.|» and cavaliers! All mil xaf. alf ^oTmi t^amJ an"d'ma?Je*!l— 

me! cries Ihis^his billMdoiix: whispers thai. Figaro!" Figa"o ! "eave'iw. 
what a crowd. Pioaro, Fiparnl heavens, what a tumult! One at a time, 
fur mercy «ke; Fiparu here; Firaro there: Figaro above; Figaro below. 
I am all aclivily: 1 am quick as liehtning; in a word- 1 am the factotum 

menl- Willi a pockiL that can afwavs'boa'st a doublo'on, the 'Zb" f*Mt''of 
my 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: I. under 
eicHse of my comb by day, and under favor of my guitar by night, endeavor 
to please all in an honest way. tlh. what a life. wLat a life!" 



VICTOR BOOK OF THE OPERA — BARBER OF SEVILLE 

Three fine record* of ihia great air are siven 
here. Ruffo, in hi* rendition, proves himaelf poi- 
■ewed of on Bdmirable «en*e of humor, and thiik 
with his powerful and flexible voice, enables him 
to attack this difficult solo in ike true optra- 
boufie vein. The leault is as fine a performance 
of the Lar^ a* one would wish to hear. The e«. 
treme difficulties are made a vehicle for the display 
of the baritone'* ample vocal Tesource*, which 
■weep everything before them ; he is indeed a 
little free with the text, and singi snatches of the 
accompaniment out of sheer bravado, while bits 
of comic characterization peep out at every avail, 
able opportunity. Amato's rendition ia a fine ex- 
ample of how the music of this air *hould be 
sung, and is a veritable triumph (or the singer. 

Signor de Gogorza's version differ* from the 
others in many respects. It is one of the finest 
records he has made for the Victor, and exhibits 
hi* line voice and wonderful execution to per- 

IHK DiscuiiEp conBT AMD ■ASToui The Couut oow accost* FlgoTo, asking him to 

IN SCENE II arrange a meeting with RMtna, telling hiro that 

hi* rank must not be known and that he has assumed the name of LlnJor. 

11 mio nome 7 (My Name 7) 

By Fernando de Lucia, Tenor (Piano ace.) {In Ualian) 66O00 10-inch, *\A0 
Figaro consents to become his ally. RoMlna and her guardian come to the balcony, and 
Ratlna, perceiving the Count, manages to drop a note, which he secure*. BaHoh leave* the 
house and orders that no one be admitted. 

Figaro now says that he is expecting a militaiy friend to arrive in the village, and 
suggest* the Count dress himself a* thi* aoldier and thu* gain admittance to the hou*e. He 
agrees, and retires to assume the disguise. 

SCENE II— ..4 Room In Barlata'i Houtt 

Retina 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 Marcelia Sembrich. Sopfsno 

(In Italian) 88097 12-inch, 13.00 
By Luiss Tetraiiini, Soprano 

( In Italian) 8830 1 1 2-inch, 3.00 
By Mscia Galvany, Soprsno 

(In Italian) 67060 lO-inch. 2.00 
By Giuseppina Hutftiei, Soprano 

Jn Italian) *6B144 12-inch. 1.29 
The number ia in the form to which moat Italian conipos- 
ers of the period adhered — -a slow opening section (here 
accompanied by occasional chord* for the orchestra) succeeded 
by a quicker movement culminating in a coda which presents 
many opportunitie* (or brilliant vocal display. Musically the 
aria is full of charm, and is deservedly popular with those 
singer* whose method enables then 
uisite lightness and bravura. 



ediy pop 



with the req- 



•DwrfkJlmfBMrJ— F.rlM.nfiiB>Mf(t.<ib — rf.ril./.wrfJMwi^af.J'*. 



VICTOR BOOK OF THE OPERA — BARBER O F SEVILLE 

A bewildering array of artists have essayed this charming 
song» and Victor audiences can choose whether they will have it 
sung by an Italian, Polish or Spanish prima donna. 

Rosina runs out as her guardian and Don BaslUo come in. 
Bariolo is telling Basilio that he wishes to marry his ward, either 
by love or force. Baailio 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 I" says 
Baailh. Bariolo 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 "Whisper) 

By Marcel Journet, Bass 

{In Italian) 74104 12-inch, $1.50 

Basilio: Oh! calumny is like the si^h 

Of gentlest zephyrs breathing by; 
How softly sweet along the ground, 
Its first snrill 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! 
(They 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 w^ho the young man was she observed 
that morning. Figaro tells her his name is LinJor, and that he is madly in love with a certain 
young lady, whose name is Rosina. 




ce^rT Duraar 

SEMBSICH AS ROSINA 



Dunque io son CWhat ! I ?) 

By Maria Galvany, Soprano, and Titta Rufifo, Baritone 

(/n Italian) 92501 



12-inch, $4.00 



Rosina: 

What! I? or dost thou mock me? 
Am I, then, the happy being? 
(But I all the scheme foreseeing, 
Knew it, sir, before yourself) ; 

FiGAKo: 

Yes, Ltndor loves you. lady; 

Oft he sighs for his Rosina, 

(As a fox she cunning seems. 

Ah, by my faith, she sees thro* all) , 

Rosina: 

Still one word, sir— to my Lindor 
How shall I contrive to speak? 

Fir.ARo: 

Poor man, he but awaits some sign 
Of ^our affection and assent; 
A little note, a sinple line, 
And he himself will soon present. 
To this, what say you? 

Rosina: 

I do not know. 

Fir.ARo: 

Take courage, pray you. 



Rosina: 

I could not 
Figaro : 

A few lines merely. 
Rosina: 

I blush to write. 

FiGAKO : 

At what? Why really — may I indite? 

Haste, haste, your lover quick invite. 

(Going to the desk.) 
Rosina: 

A letter! Oh, here it is. 

(Calling him, she takes a note from her bosom, 
which she gives hitn.) 
Figaro : 

Already written! What a fool (astonished) 

Was I to think to be her master! 

Much fitter that she me should school: 

Her wits, than mine, can flow much faster. 

Oh, woman, woman, who can find. 

Or fathom, all that's in thy mind? 

(Exit Figaro.) 



Bariolo comes in and accuses Rosina of dropping a note from the balcony, and when 
she denies it he shows 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 sw^eetmeats to send to a girl friend, 
and cut the pen to design a flower for her embroidery. Bariolo then denounces her in 
another famous air: 



32 



VICTOR BOOK OF THE OPERA — BARBER OF SEVILLE 

Manca un ioglio (Here's a Leaf Missinif) 
By Af canf «lo Rohi. Bm* 

{InllaHan) *6ei44 12-iAch. *U9 

Bastolo: 
To 1 doctor of my rank, Wh«i the doclor qniu hi> houK 

Tbe^c eicuKS. Signorina. He will cirefully provide 

I adviH another lime ^ For Ihe keeping you iaMt. 

Why i» Ihc paper missing? DiMppointed then may poul: 

That I would wish to know. In her room shall she lie locked. 

UkIcsii. ma'am, are al[ jour sir*— Till I choose lo let her out. 

Be slill, nor interrupt me so. (Ht gotiout in a rag,, fpllamd 

A loud knocking ia heard at the Mreet door. — it ia the Count 
in hi* aoldier disguiae. He puahea bia way in, and inaiata that the 
coraroandBnt ha* ordered him to put up in Barlolo'a houae. A long 
acene followa, full of comedy, finally ending in the arreat of the 
Count, who, however, privately informa the officer who he ia ; and 
the aatoniahed official aalutea reapectfully and takes kia aoldiera 
•way. Barlalo ia in auch a rage that he can hardly apeak, and iha 
act endavrith the famoua quartet : 

Guarda Don Bartolo (Look at Don Bartolo) 

By Giutcppina Hu^et. Soprano: Antonio Pini- 
Corii. Baritone: Gaetaao Pini-Coru. Tenor: 
Erneato Badini, Baritone *631Z1 10-ineh. tO.Zi 

»-»...». u.L«. ACT II 

wntUKH aa aoiiNA SCENE— v< Room In Bartoh't Houae 

Bartolo ia diacovered muaing on the a£«ir of the aoldier, and M he haa learned that no 

one in the regiment knowa the man, he auapecla that he waa aent by the Count. 

A knocking ia heard and the Count ia uabered in, dreaaed aa a muaic maater. He 

greela Barteie, beginning the duet. Pact e gMa. 

Pace e tfioia (Heaven Send You 
Peace and Joy) 

By Antonio Pini-Corai, Baritone, 
and Emilia Perea. Tenor 

{In Italian) 'eilOS lO-inch. *0.79 

Barlolo aaya he la much obliged for theae 
kind wiahea and wonder* who thi* can be. The 
Count explaina that Don Bailie ia ill and he haa 
come in the muiic maatei'a place to give Rotlna 
« leaaon. He *bow* Bartolo the note RoMlna had 
written, aajring he found it at the inn, and offera 
to make Rotina believe the Count haa shown her 
note to another lady. Bartolo ia pleaaed with the 
idea and calls AoiJna, Then occurs the cele- 
brated "Leaaon Scene" in which Roilna uaually 
interpolates an air. Roaaini wrote a trio for thi* 
acene, but in aome manner it was lost. 

Figaro now cornea in to (have Bartolo. and in 
tbe couiae of the scene contrive* to aecure the 
key to the balcony. At thi* moment all are pet- 
rified at the entrance of Don BatlUa. who is 
mippoaed to be confined to hi* bed. Figaro see* 

that quick action ia neceaaeuy and asks him what iosiha and couht alhaviva 

he mean* by coming out with auch a fever. 
"Fevei?** aajs the astonished music master. "A raging fever," <mi:laima Figaro, feeling his 



VICTOR BOOK OF THE OPERA— BARBER OF SEVILLE 

pube. "You need medicine." says the Count,' meaningly, and alip* a fat purae in hia band. 
Don Batillo partially compiehends the lituation, loolu at the pune and departs; 

The shaving is renewed, and Roaina and the Count pretend to continue the lesson, but 
are really planning the elopement. Bariolo tries to watch them, but Figaro manages to get 
•oap in the Doctor's eye at each o( hia efforts to rise. He finally jumpa up and denounces 
the Count aa an impostor. The three conspirators laugh at him, and go out, followed by 
Bartolo, who is purple with rage. This scene is amusingly pictured in a himous fresco in the 
Vienna Opera. 

Botha, the housekeeper, enters, and in her air, // oecchlello, complains that she can no 
longer stand the tunnoil, quarreKng and scolding in this house. 

II vecchietto cerca mo^He (The OU Fool Seeks a W^ife) 

By Emuu Zaccsrii IDoableJ^aaJ—Stc btlta) {16 Italian) 62105 lO-inett, fO.79 
"What kind of thing is this love which drives everybody crazy?" she asks. This air 
used to be called in Rome Aria dl torbttto (sherbet), because the audience used to eat ices 
while it was being sungl 

Dtm Bariolo now desperately plays his last card, and shows Rotlna the note, saying that 
her lover is conspiring to give her up to the Count Almanioa. Roaina is furious and offers to 
many Bariolo at once, telling him that he can have Llndor and Figaro arrested when they 
arrive for the elopement. Bariolo goes after the police, and he is barely out of sight when 
Flgara and the Count enter by means of the key which the barber had secured. Roatna 
greets them with a storm of reproaches, accusing Llndor of pretend- 
ing to love bet in order to sacrifice her to the vile Couni AlmaBlea. 
The Count reveals himself and the lovers are soon clasped in B 
fond embrace, with Figaro in a "Bless you, my children," attitude. 
Don Baiitio, who had been sent for a notary by BarU^o, now 
arrives. The Count demands that the notary shall wed him to RoMia. 
Baaillo 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 Stgnor and Signora Almaelea to the company. Bartaio 

Ehilosophically decides to make the best of the matter. However, 
e inquires of Baaillo: 
Baktolo: Fiqabo: 



Ahl Doctor, *"■■ howhappy . 

The Couni W certain per^asives ^„„„,. 



W&iih there is no withsuodingl p,„^^. 
Bastolo: Yo™ng love, 

.^v. ayi I understand van. All hsriher, 

Well, veil, whm matters it? All quarrels 

Go; and may Heaven bless you! Now waves 

(Curtain) 



DOUBLE-FACED BARBER OF SEVILLE RECORDS 

farber of Seville Selection By Pryor's Baodl,,,,. ,- . . ,, -, 

Profihelt Fanlaalt By Pryor'a BandP^"^ 12-inch, »I.15 

(Overture By La Scala OrchestraU-.,. ,- ■ t . n> 

t Den Faaquate-Slnfonia {Donlztlli) By U Scala Orch^lrar^^^^ 12-iI.ch. l.M 

(Manca un foalio (Here's a Leaf Out) By A. Rossi. Bassl . -, . . ,,,„„. , ,, 

\Un> voce poco fa By Ginseppina Huttiet. Soprano^*'** 13-ioch. 1.25 

{Cuaida Don Bartolo (Look at Bartolo) By Hufuet, 1 

A. and G. Pini-Corsi, and Badini {In Italian))f>3\7l lO-ineh. .79 

Fra TXatxilo^Agnae la Zletdla By Piftro Lara (In llallan)] 

111 vecchietto c ~ ~ ~ ...... 

\P*ce e ^ia 



(Ea(luh> (Bolumua) 

BARTERED BRIDE PRODANA NEVESTA 

COMIC OPERA IN THREE ACTS 
LIbtetto by Sabina. Muaic by Ftiedrich Smelana. Firat production, Piague, i066. 
Fird London production. Dmry Lane, 1693. Firat American production February 17, 191 \. 

Characters 

KRUSCHINA, apcaant Baritone 

KATHINKA, hi. wife Soprano 

Marie, their daughter Soprano 

MICHA, a land owner . .Bau 

AGNES, his wife Meno-Soprano 

WENZEL. their man Tenor 

Hans. MiCHA'Saon by fint marriage Tenor 

KEZAU b marriage broker Ban 



The Barltred Bridt wbi intended by it* compoaer* to be typical of Bohemian life and 
character — to be a national opera, and ao it really ii. The work illuMratei accurately Bohe- 
mian village life, and ia baKcl on a aimple atory full of mirth and aometimes almort farcical 

Marie, daughter of Knaehtna, a rich peaaant, i> betrothed to Hans, her fnthei's aervanL 
Hant and Marie, however, are threatened with aeparation becauae the maiden'a father baa 
determined >he ahall many Wtnzel, a half-witted, stuttering lad. who ia the aon of 
Knachlna't old friend. Mkha, Kratchlna and Kezai endeavor to arrange this marriage, but 
the girl Satly refuaea to give up hei old lover, Kciat finally offer* Hans three hundred 
crown* if he will renounce Marie. At firat the offer ia indignantly rejected, but later Ham 
conaenta. insiating on a rather strange condition — that these word* be inaerted in the 
agreement, "that Morfe ahall only be married to a son of MicAa. " K'eza/, although he does 
not underaiand the reaaon for thia, gladly agreea, and ahordy afterward the paper i* signed, 
the entire village being called in to witness the signature. 

Marie refuses to believe that her lover has sold her for three hundred crowns, but i* 
compelled to realiie the truth when the marriage broker produces //eiu' receipt for the 
money. The young girl meets her ruthless lover, who seems remarkably joyous over the 
alfaii. and still declare* hia love for her. The mystery ia not explained until Micha and hi* 
wife arrive and recognize Hans to be their long-lost eldest son. So Hans not only win* his 
bride, but gains 300 crowns, for Ketalhaa agreed that Marit "shall marry only a aon of Micha. " 
As the money remain* in the family no one objecta aave Ktzal, who departs in wrath. 

The famous Oocrfun to Bartered Bride ia a work of delightful melody, and ha* had number, 
leas performances as a concert number. It is delightfully spontaneous and highly intereatiikg. 
containing parta of the national aira of Bohemia. 

/Overture By Arthur Pryor'a Bandl,,, .- ,~,-„„i, ,. »« 

1 Madam BuHt^y Selection (Pocdnl) By Pryor', BandP^^*^ 12-Wch, *IM 



(Fcoeh) (EafUib) 

LA BOHEME THE BOHEMIANS 

OPERA IN FOUR ACTS 
Text b]r Giacoaa and lllica; mutic by Puccini. First produced at the Teatco Reggioa 
Turin. FebruWT 1. IS96. In EnKliih, as "The Bohemian*," at Mancherter (Carl R<Ma Com- 
pany), April 22, 1897, and at Covent Garden with the (ame company, October 2d of the aame 
year. In Italian at Covent Garden, July I, 1699. Fir*l American production, November 2a 
1899. 

Character* 

RUDOLPH, npoel Tenor 

MARCEU a painter Baritone 

COLUNE. a phiUMopher Bm* 

SCHAUNARD, a muncuui Baritone 

BENOIT, an imptrtunate landlord Bau 

ALONDORO, s Mate councilor and follower of Muaetta Ban 

PARPIGNOL Tenor 

MUSETrA. a piaelte . .Soprano 

MiMI, a maker of embroidery Soprano 

Student*, work'girl*. citizen*, ahopkeepen, atreel vender*, aoldiera, 
restaurant waiters, boys, girl*, etc 

Scene and Period : Paiii, aboul 1830. 



Puccini's Boh«me i* an adaptation of part of Murger'* La Vie Bohbne, which depict* 
life in the QuaMer LaHa, or the Student*' Quarter, in 1630. It being impa*Hble to weave a 
complete atory from Murger's novel, the librettist* 
have merely taken four of the principal scene* and 
aeveral of Murger's characters, and have strung them 
together without much regard for continuity. 

The principal character* in Puccini'* delightful 

Sera are the inseparable quartet described by 
urger, who with equal cheeriFulnes* defy the pang* 
of hunger and the landlord of their little garret. In 
the *cene* of careless gaiety is interwoven a touch 
of patho* : and the music i* in turn lively and tender, 
with a haunting sweetne** that i* mo*l fascinating. 

Rudolph, a poet ; MaKel, a painter ; CAUnt, a 
philosopher! and Sehaunaid, a mu*ician, are four 
friend* who occupy an attic in the Qaariler Latin, 
where they live and work together. Improvident, 
reckless and carele**, these happy-go-lucky Bohe- 
mians find a joy in merely living, being full of faitb 

ACT I 
SC£NE^/4 Cartel In ihe QuarHtr LaUn 
The opening scene *how* the four friend* with- 
out money or provisions, yet happy. Marcel is at 
TBI n>ui soBiMiANi work on a painting, "Passage of the Red Sea," and 

remark*, begiiming a duet with Rudol/A, that the 
passage of this supposedly torrid sea seem* a very cold affair I 

Questo mar roaso (This Red Sea) 

By Gcnoaco de Tura, Tenor, and B. Badint, Baritone 

(In llallan) 88233 12-inch, *3.00 



VICTOlt tOOlt Of THE OPBRA-PUCCIMl'a LA BOHiME 

~ Rudolph (ay* that in order to keep them from freez- 

ing he will sacrifice the bulky nuinuicript of hii tragedy. 
Mated holds the landlord at bay until Schaunard arrive* 
with an unexpected *toie of eatable*. Having dined 
and warmed themielve*, Maittl, Coillne and Schaunard 
go out, leaving Rudolph writing. A timid knock at the 
door reveala the pretence of Mlml, a young girl who 
live* on the floor above. She ha* come to B*k her 
neighbor for a light for the candle, which haa gone out. 
They enter into converaation, and when Miml artleaaly 
asks Rudolph what his occupation i*. he aing* the lovely 
air usually termed the " Narrative." 

Racconto di Rodolfo (Rudolph's Nar- 
rative) 

By Earico Caruso, Tenor 

(In Italian) 88002 12-iii.. *3.00 
By Herman Jadlo'wker. TenoT 

Unll<dlan) 76023 12-tn., 2.00 
By John McCornuek, Tenor 

(In Italian) U222 12-in.. l.SO 
By Florencio Constantino, Tenor 

(/n Italian) 74106 12-in., 1.50 

By George Hamlin, Tenor 

CAMPAHAxi AS uABCEL (In Italian) 7418» 12-in., l.SO 

By Evan 'William* (EnfAiA) 74129 12-in., 1-30 

Caruso ha* never done anything more perfect in its way than hia superb delivery of thi* 

number. It i* one of hi* great scenes in the opera, and alway* arouses the audience to a 

high pitch of enthusiasm. He ha* 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 — "I am a poet"; the glorious beauty of the love motive at the end — all 

are given with characteristic richnes* and warmth of style by this admired singer, while the 

final high note i* brilliantly taken. 

Two entirely different interpretations, though also very fine one*, are given by Mr. 

tadlowker and Mr. McCormack, while three other veraion*— in Italian ''---■ ' 

Hamlin, and in Engliah 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 chiatuano Mimi (My Name is Mimi) 

By Nellie Melba. Soprano (/Wlan) 88074 12-in., *3.00 

By GcraldineFsrrar, Soprano (/fa/) 88413 12-in., 3.00 

By Alice Nielsen, Soprano {llallan) 74062 12-iQ., 1.90 

Then follows the charming Ml cblomano Mlml, in which 
the young girl tells Rudolph of her pitifully simple life; of how 
she work* all day making artificial flowers, which remind her of 
the blossoms and green meadow* of the country; of the lonely 
existence she leads in her chamber up among the housetops. 

O soave fanciulla — Duo and Finale, Act I 
(Thou Sweetest Maiden) 

By Nellie Melbi, Soprano, and 

Enrico Caruso, Tenor 9920O 12-in., *3.00 

' ' Mlml 1 ddlcalt per/ecllon enchanted the young poef — etptdally 
htr lllllt hands, aihich In iplte of her menial iBoili, $he managed lo 
keep at aihlte at tnom. " — Murger's La Vie de la BohSme. 

This lovely duet occurs just after the Ml chlamano Mlml. 
The young girl having finished her »tory. Rudolph hears the 
shout* of hi* friend* in the courtyard below. He opeiu the uni 
window to spcwk to them, letting in a flood of moonlight which 



VICTOR BOOK OP THE OPERA— PUCCINI'S LA BOHfiME 

brisklena (he room. The Bohemians go off singing. As 
Rudolph turns to Miml and sees her in the moonlight, he is 
■truck with her beauty, and tells her how entrancing she 
appears to htm. 

Love awakens in the heart of the lonely sirl, and in this 
beautiful duet she pledges her faith to the handsome slranser 
who has come into her life. 

Mme. Melba's singing in tki* scene is of exquisite beau^, 
while Caruso's delivery of the passionate phrases of RaJolph 
is superb. The beautiful motive with which the duet begins 
is associated throughout the opera with the presence of Mlml, 
and is employed with touching effect in the death scene in 
Act III. 

Af/mJ consents to go to the Cafi Momai, 
where his friends are to dine, and after a 
tender scene at the door they go out, and 
the curtain slowly falls. 

ACT II 
SCENE— .^ StuJadM- Cafi in Parit 
This act represents the terraces of the 
Cafi Moitaa, where the artists are holding a 
carnival. Puccini has pictured with mas- 
terly skill the noisy, bustling activity of this 
„„., „„„ scene, and the iMHsterous merriment of the 

FAUAi Ai mui S*y revelers. The Bohemians of Act I are 

seated at a table with Mlml, when MuttUa, 
an old flame of Maretl'i, appears with her latest conquest, a foolish and 
ancient beau named Aldndoro. Marctl pretends not to see her, but 
MattUa 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 waltx of MiueHa, which 
Mme. Viafora sings here with spirit and delighthil abandon. 

Musetta Waltz 

By Gin* C. Vi«for>.Sopf«no (AaAoft) 640S3 lO-inch. *1A0 
By Guido Gialdini {IVhbltlng) *l6e9Z lO-inch, .79 a„ m».«. 

Mme. Viafore's light soprano is heard to advantage in this pretty cluck as hiui 
waltz, which she sings with fluency and skill. 

The fun now becomes 
hstand furious, and A/uiiffa is 
6nally carried off on the shoul- 
ders of her friends, while the 
foolish old banker, AldnJon, 
is left to pay the bills of the 
entire paRy. 

ACT III 
SCENE— .^ Ofti Gale of Parti 
This act begins in the 
cheerless dawn of a cold 
morning at the city gales, the 
bleakness of the scene being 
well upressed in Puccini's 
music The snow falls, work- 
men come and go. shivering 
and blowing on their cold 
fingers. AAmf appears, and 
THi cAFt uouui— ACT II ssks the officoT at the gate if 

*Dtauj:<*^ Record— For aik ofoppoMc mIJ, » DOUBLE-FACED LA BOHiME RECORDS, pet, 42. 



VICTOR BOOK OF THE OPERA— PUCCINI'S LA BOH£me 



while the other ren. 
dicioti by La Scala 
■nitta is alio a vciy 

Mimi lella her 
fiiend that ahe can 
no longer beat the 

vridi Audo/pA, and 
that they muit aep- 
arate. Mated, much 
troubled, goe* into 
the inn to aummon 
Rudolph, but beh>re 
the latter comet, 
Miml aectetea her- 
•elf. uul when ha 
enter* ihe hears him 
again Bccuae her of 
fickleneaa. 



Mimi e una civetta 

(Coldhearted Mimi I) 

By Laura Mellerio, Soprano : Gennaro 
Ac Tun, Tenor: and Ern««to Ba- 
dini. Baritone 

(IntlaUan) 68227 12-Jnch, *3.00 



■ Road and 
paintuiK. not landacapei, but 
tavern ligna. In order to keep 
body and aoul together. 
Marcd entera and ia aurpiiaed 
to lee Miml, whom he aup- 
poaea to be in Paiia. NotidnK 
that (he ia melancholy and 
apparently ill. he kindly quea- 
tiona her and leama her aad 

Mimi, lo son 1 
(Mimi, Thou Here t) 

By Geraldine Firrar. So- 
prano, and Antonio 
Scotti, Baritone 

(In Italian) 
S9016 12-incb, *4.00 
— — By Dora Domar. So- 

prano, and Eraulo Ba- 
dini. Baritone 
88228 12-uich. 3jOO 
duet ia one of the fineat number* in Pucdni'* 
id Mb* Farra* and Mr. Scotti have made a atrikingly 



VICTOR BOOK OF THE OPERA— PUCCINI'S LA BOH^ME 



e of the feature* of thi* act. 

Addio (FareweU) 

By Nellie Mdba. Soprano {In Italian) 88073 12-iiu:li. *3XK> 
By GeraUine Farrar, Soprano 

{la Italian) 86406 12.uic[i, 3.0O 

By Alma GlucL. Soprano (in Italian) 64225 lO-inch. 1.00 

Moet pathetically doea the poor grirra " Farewell, may you be happy " 

come from her simple heart, and the turn* to go. Rudolph proteata, aome' 

thins of hia old affection having returned at the aight of her pale cheek*. 

Muttlla now entera and ia accuaed by Marcel of flirting. A fuhoua 

quBiTel foUow*, which contraata atrongly with 

the lender paaaagea between Mlml and RuM^ 

a* the lovera are partially reconciled. 

Quartet, "Addio. dolce svegliare" |i 
(Farewell, Sweet Love) 

By Geraldine Farrar.Sopranoi Gina 
C. Viafbra. Soprano: Enrico 
Caruco. Tenor: and Antonio 
Seotti, Baritone 
(/n ttallan) 96002 12-ineh, *6.00 
^^^._ _^ _ ^ By Dora Domar, Soprano: Annita 

Santoro, Soprano; Gino Gio- 
" * ™ ** ""cai. vannelli. Tenor; and Emeato 

Badini. Baritone 
(In llallatt) 8904S 12-inch. 4.00 
Like the Rigoletto Quartet, thi* number ii uaed by the com- 
pD*er ta expre» many different emotiona: The aadneaa of Mimi'i 
farewell to Rudolph; hia lender effort* to induce her to remain; 
the fond recoUectiona of the briyht dayi of their liiat meeting — 
and contraated to theae aentimenta ia the quarreling of MatHa 
and Marctl, which Puccini ha* ikillfully interwoven with the 



a Farrar haa added another tAle 



> the long liat 




thia lovely music moat effectively. 
Caniao ainga. as he always 
doe*, with a beauty of voice 
and a sincerity erf emotion 
which cannot tnl to excite 



Mme. Viafora, who i* id- 
way* a piquant, gay and inter. 
esting Mutlla; and Signor 
Seotti, whoae admirable 
Maud is one of hia fineat 
imperaonations, both vocally 
and dramatically, round out 
an eiuemble v^hich could not 

Truly a brilliantly aung 
and perfect balanced rendi' 
tion of one of the greatest 
of concerted numbers. An- 
other version by famous artist* 
of La Scala is also offeiW, 



VICTOR BOOK OP THE OPERA-PUCCINI'S LA BOHEME 

ACT IV 
SCENE— SoTTie a, Acl I 
"^1 ihU llmt, tht frttndt for many tcttks had ItveJa kncly and mdancholy 
exislenct. Manila had made no tlgn, and Marcel had ncocr met her, ahlle no 
ward af Miml came lo Rudolph, though he oflcn repeated her name to himielf. 
Marcel treasured a tlllle bunch of ribbora ivhtch had been left behind by Muietta, 
and wheit one day he detected Rudolph gaxing fondly at the pink bonnet Mimi 
had forgotten, he muttered : ' /( teena I am not the only one I" '— Murger. 

Act IV shows the same garret in which the events of Act 1 took 

Elace. Bereft of their sweethearts, the young meit are living sad and 
inely lives, each trying to conceal {lom the other that he is secxetly 
pining (or the absent one. 

In the opening scene. Marcel stands in fiont of his easel pietending 
to paint, while Rudolph, apparently writing, is really furtively gazing at 
Miml's little pink bonnet. 

Ah Mimi, tu piu (Ah. Mimi. Falae One !) 

By Enrico Caruso, Tenor, and Antonio Scatd, Baritone 

{In Italian) 89006 12--inch. •4.00 

ByMcCormackandSanuiufco (ilaUen) 8»044 12-inch, 4-00 

By Ds Gradi and Badini (/n /(O/Jan) *45013 10-inch. 1.00 

Three recotds of this favorite duet are offered— by Caruso and Scotti, 

««T ■•■■III McCorniBck and Sammaico — and a popular priced version. 

coMsrABTiNo IS The friends, however, pretend to brighten up when Schaanard and 

BtTuiLPU Colllne enter with materisis for supper, and the four Bohemians make 

merry over their frugal fare. This scene of jollity is interrupted by the unexpected entrance 
of Muietta, who tells the friends that Mimt, abandoned by her viscount, has come back to die. 
The poor girl is brought in and laid on Rudolph 'i bed, while he is distracted with grief. 
The friends hasten to aid her. Marcel going for a doctor, while Colllne, in order to get money 
to buy delicacies for the sick girl, decides lo pawn his only good garment, an overcoat. He 
bids farewell to the coat in a pathetic song, which Joumet delivers here with much feeling. 

Veccfaia zimarra (Coat Song) 

By Marcel Journet. Bass {In Italian) 64035 10-inch. *1.00 

Colllne goes softly out, leaving Miml and Rudolph alone, and they sing a beautiful duet. 

Sono andati ? (Are "We Aloae?) 

By Maria Bronzoni, Soprano, and Franco de Greforjo. Tenor 

(In Italian) *4»013 10-inch. II JJO 
The past is all forgotten and the reunited lovers plan for a future which shall be free 
from jealousies and quarrels. Just as Miml, in dreamy tones, lecalls their first meeting in 
the garret, she is seized with a sudden fointnes* which alarms Rudolph, and he summons 
his friends, who are returning with delicacies for Miml. But the young girl, weakened by 
disease and privations, passes away in the midst of her weeping friends, and the curtain 
falls lofiuA/pA'j despairing cry of "Mimil Mimil" 



DOUBLE-FACED AND MISCELLANEOUS BOH&ME RECORDS 

rihime Fantssie {'Cello) By Victor Sorlin\_.,,_ ,_ ._ v - 

Calm Sea and Happy Voyage-Ocertare By Pryor't Banc/r''" la-mcB. » 

(Boheme Selection By Pryor's B»nd\,.___ ,_ - . 

\ Jolly Robben Overture {Suppi) By Pryot's Bar>dr^°" 13-.nch. 

[Ah, Mimi. tu piu (Ah. Mimi. False One I) ) 

I By Da Gradi and Badini {In }tallan)\*S0\3 lO-inch. 

(Sono andatiT By Bronsoni and dc Grcgorio {In Italian) I 

lusetu ^Valti (Whiiltlng Solo) Guido GUldinil,.--, ,n_,„h 

Carmen Selection {Xylophone) H'm. H. flrilr/' *»** lO-mch. 



/Ml 
t ( 



* rtniAk Fmnil RrcarJ—Fot ale b/ opposite ilJt les aimm IImL 



THE BOHEMIAN GIRL 

OPERA IN THREE ACTS 

Text by Bunn ; muiic by Balfe. Firtt produced at Drury Lane Theatre, LondoD, 
Ncnrember 27. 1843. Fitat American production November 23, 1844, with Frazer. Seguin. 
Pearson and Andrews. Bunn took bis plot bam a ballet wiitlen {or Ellsler, the dancer, by 
Sc Georgea, but transferred the scene from Scotland to Hungary. The work waa immedi- 
atoly successful in Ejigland. and was eventually translated into almost every language of 
Europe, and during the neit twenty years was produced in Italy as La Zingara ; in Hamburg 
as La Gllana; in Vienna aa Die Zigeunerin; and in Paris, with additional numbers, as La 
BohAnltnne. 

Cbaraeterf 

ARUNE, daughter of Count Amheim Soprano 

THADDEUS, a Polish exile Tenor 

Gypsy Queen Contralto 

DEVILSHOOF, Gypsy leader Baw 

COUNT ARNHEIM. Governor of Presburg Baritone , 

FLOBESTINE. nephew of the Count Tenor 

Retainers, Hunters, Soldiers, Gypsies, etc. 

Time and Place i Piaburg. Hungary .- nlatleenli ctntury. 

The story of this opera is quite familiar, and can be dismissed with a brief mention. 
ThadJeia, an exile from Poland, is fleeing from Austrian troops, and to facilitate his escape 
he casta his lot with a band of gypsies, headed by Deofla/mof. As the tribe is crossing the 
estate of (he Governor of Piesburg. Coant Arnhdm. Thaddaia 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 Thaddeit refuses to drink the health of 
the Emperor, and is about to be arrested when Decllihoof interferes and is himself conlined 
in tbe Castle, wbile Thaddeai i« permitted to go. DcolUhoctf climbs from a window and 



VICTOR BOOK OP THE OPERA-THE BOHgMIAM GIRL 

MeaU the litde AAne, making hia eac^>e good hj chopping down the bn<lge acroaa the 

ravina a* the (oldieri punue him. 

Twelve yean elapae anil 
we aee the camp of the gypaiea, 
among whom ArUne ha* grovm 
to be a beautiful girl of aeven- 
teen. ThaJdaa, who hai fallen 
in love with the young girl, 
now tell* her of hi* love, and 
in a beautiful duet the loveia 
plight their troth. The QiMf 
Qaeen, herself eruunored of 
Thaddaa, it forced to unite 
him to Atiint, but secretly 

, plan* vengeance. Heroppor- 

tunity (oon comea, a* ihe con- 
trive* to have j4rAne accused of 
Stealing a medoUion from the 
young nephew of Counf Am- 
hdm, who ha* come to the fair 
at Pre*burt near where the 
gypne* are camped. AHlne is 
arrested and taken before the 
CHinl, who in the course of the 
examination recognize* her as 
his daughter, from the scar 
made by the itag in her child- 

TBE COUST KCOCmiES HIB BAUGHTMIt ACT II hood. 

The third act show* Aitlne 
restored to her position, but still secretly pining for ker gypay lover. DeoiUhiK^ contrive* to 
get TkaJdaa into the castle and he aecures an interview with ArUne, TTiey are interrupted, 
however, by the Ciunf'j approach, and Thaddaa hides in a closet a* the guest* arrive for • 
reception in honor of the newly-found heiiesi. 



The Queen, still bent on revenge, now enters, and in a dramatic denunciation reveals 
the hiding place of Thaddaa. Tlie Count asks for an explanation, and Ariint declare* she 
loves Thaddaa even more than her father. The Count, enraged, i* about to attack Thaddaa, 
when the young man reveals hi* hi*lory and prove* himself to be of noble blood. The 
Cxinf then gives his consent and aU end* happily. 



VICTOR BOOK OF THE OPERA— THE BOHEMIAN GIRL 

Many of the mo*t effective number* fTom this pretty opera have been recorded by the 
Victor, beaiile* the brilliant potpourri made by the Opera Company, which include* no 
leaa than seven of the moat tuneful bits. 

DOUBI^-FACED AND MISCELLANEOUS BOHEMIAN GIRL RECORDS 

"'^'.W}'"" ■°-™'- «■" 

Elizabeth Wheeleri j 
Harry Macdoaough/ 



/Overture to Bohcfnian Girl 
\ La Ciaiint Maiutlta {Gannt) 
h Dreamt I Dwelt in Marble Halli 
iThen You'll Remember Me 



^6398 tO-inch. 



.79 



Alan Turaerl , 

Morgan and Macdonoughj 

Frederic Freemantel) _ 

Hart]/ Macdoitaugh) 

George Hamlin 74134 12-iiich, 



1 6407 10-inch. .75 
'35046 12-inch, US 



rie Heart Bow'd Down 
Home lo our Mourtlaira 
rien You*lI Remember Me 
I'll Slag ThttSortgt of And,,! (Clay) 
Then Yonll Remember Me 
JThen Youll Remember Me 
II Dreamt I Dwelt in Marble HalU 
(Then YouH 
\ ViUa 5ons 

rPantana of Principal Airi Wm. H. Rei 

\ JlgMc£qi (Ro/AnMn) 

{Selection from Bohemian Girl Pryor'a Band! 

Yttaa Ootrturt (ReUilga) Airar'i Bond) 

Gems from Bohenuan Girl 

Part of Overture — Ckorua, "In the Cypiy'a Life" — Chorus, "Come with 
the Gypsy Bride" — Entr'act Waltz — Chorus. "Happy and Light" — "Then 
You'll Remember Me "—Fmale. "Oh. What Full Delight" 
By the Victor Light Opera Company 31761 12-inch. fI.OO 



/iSfcl}'""' '»-»■'■• ■" 



'35081 12-1 



L AT TKC51UM — ACT H 



CARMEN 

OPERA IN FOUR ACTS 

Teitl by Meilhac and Hal«vy, founded on ttie novel of Proapei M^timte. Music by 
Bizet. Firat produclion at the Opera Comique. Paria, March 3, 1875. FiratLondon produc- 
tion June 22. 1878. Fiiat New York production October 23. 1879. with Minnie Hauk. 
Some notable revivala were in 1893, being Calvi'a fint appearance^ in 1903 with Caruso; 
and the tiammerstein revival of 1906. with Bresaler-Gianoli, Dalmorea, Gilibert, Trentini and 



Characters 

Don Jose, (Don Ho.iV) a Brigadier Tenor 

ESCAMILLO. {EKo-m^-vo) a Toreador Basa 

DANCAIRO. (DarHb^-mu) 1 . ( Baritone 

REMENDADO. {Rem^^„l/Jcu>) t """' t - , - Tenor 

ZUNICA, (Zoo-n«'.,«A) a Captain Ban 

Morales, (MoA-mA-.ti) a Brigadier Ban 

MlCAEUV, IMIk-hi-t/Jah) a Peaunt Girl Soprano 

FRASQUrTA. (f^-W-toA) 1_ . ,., ,_ ( Mezzo-Soprano 

MERCEDES. (M.,<WJ«) t^^^"'^ '"'"'^ '* *="""«" \ , , Meizo-Soprano 

Carmen, a Cigarette Girl, afterwards a Gypsy Soprano 

Ad Innkeeper, Guide. Ofiicer*. Dragoon*, Lads. Qgar GirU, Gjrpsies. Smugglers. 



Sant and Period: Seville, Spain; about J 820. 



VICTOR BOOK OF THE O P E R A>-B I Z E T ' S CARMEN 

BIZET 

Georges Bizet was a native of Paris, where he was born on October 25, 1636. Lik^ 
Gounod and Berlioz, he won the Prix de Rome {Free dt Roam'); in this case in 1657, the year 
that his first opera, Docteur Miracle, was produced. Among other productions caxne Les Pecheuri 
de Perles, in 1663, an opera recendy revived at Covent Garden w^ith Mme. Tetrazzini as Leila, 
Carmen was produced in 1 673, and this most Parisian of all operatic works was 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 vroil 
it a place among the two or three most popular operas in the modem repertory. 

The talents of Bizet are shown by his remarkable lyric gifts ; the power of writing shorty 
compact and finished numbers, full of exquisite beauty cund convincing style, at the same time 
handling dramatic scenes with the freedom demanded by modem opera. His music is more 
virile, concentrated and stimulating than perhaps any other French composer. 

It was probably not a litde owing to the hostile reception of this, his finest work, that its 
composer died three months later. The music Bizet has w^ritten, however, is likely long to 
survive him, and chief among the works into which he ungrudgingly poured his life's energy 
was Carmen. 

THE PLOT 

I 

Carmen has its opening scene in a public square in Seville, showing at one side a guard- 
house, where Jose, a young brigadier, keeps guard. Micaela, a peasant girl whom he loved 
in his village home, comes hither to seek him with a message from his mother. As Jose 
Appears, the girls stream out from the cigarette factory hard by, and with them their leading 
spirit in love and adventure. Carmen, the gypsy, reckless and bewitching. Heedless of the 
pressing throng of suitors, and attracted by the handsome young soldier. Carmen throws 
him a flower, leaving him dazed and bewildered at her beauty and the fascinating flash of 
her dark eyes. A moment later a stabbing atfray 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, lliere is a 
sudden struggle and confusion — the soldier lets go his hold — and the bird has flown! 

II 

Act II takes place in the tavern of Ldllas 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 Jose. He defies his officer, 
who is bound by the smugglers, and Jose deserts his regiment for Carmen. 

Ill 

The next scene finds Jose "with the smugglers in the rocky camp in the mountains. The 
career of a bandit, however, is one to which a soldier does not easily succumb. His distaste 
offends Carmen, who scornfully bids him return home, she also foreseeing, in gjrpsy 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 a new^ suitor for 
Carmen ; and Micaela, with a message from Jose 's d3nng 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. 1^ 

The final act takes place outside the Plaza de Toros, at Seville, the scene of Escarrdllo's 
triumphs in the ring. Carmen has returned here to w^itness the prowess of her new lover, 
and is informed by her friends that Jose, half crazed with jealousy, is watching, capable of 
desperate deeds. Tliey 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 
swiftly, while within the arena the crowd is heard acclaiming the triumph of Escamillo. 

48 



VICTOR BOOK OF THE O P E R A — B I Z ET* S CARMEN 



Prelude (Overture) 

By La Scsla Orchcatra 
By Lb Sola Orehcitn 
The Prelude to Carmen open* with > 
quick march in 2-4 time, on the following | 

The march ia of an exceedingly virile and fiery description and ia taken from the mua 
preceding the bull-fight in the laat act. Following this stimulating march comes tl 
"Torvador'a Song," leading to the march theme again. These two sections, complete 
themselves, are now followed by a short m ' ~'~ 

ment in triple time indicating the tragic e 
elusion of the drama, hlere, the appealing ni 
of the brass, heard beneath the tremolo of the I 
string*, give* poignant expression to the p 
which lies in the jealous love of the foiaak 
death of Camtn. This movement break* o 
•eveoth a* the curtain rise*. 

ACT I 
SCENE— v4 PuUic Sqaan In StcllU 

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 quarter*. The cigarette factory 

lies to the right, and a bridge 



a the ri 



nthe 



Among the crowd which 
throng* the stage a young girl 
may be seen searching Tor a 
familiar face. It ia Micatia, 
the maiden whom Joit has left 
behind in his native village. 
The soldiers accost her, and 
from them she learns of her 
lover's absence. She decline* 
the invitation to remain, and 
depart* hastily. 

The cigarette girl* now 
emerge from the factory, fill- 
ing the air with the smoke of 
their cigarettes, and with them 
Carmen, who answer* tha 
salutations of her admirers 

„, ~^, . among the men by singing the 

gay Haliamra. 

Habanera (Love is Like a \^ood-bird) 

By Jeanne GerviUe-Riache. Contralto (In Frtneh) 88278 12-ineh, *3.O0 

By Emma Calv^ Soprano (in Frtneh) 86069 12-inch. 3.00 

By Maria Gay. Mczso-Soprano (/n Ilalian) 92059 12-inch, 9.00 

This chamting " Habanera" has always been a favorite Carmen number, it* entrancing 

rhythm alwa]^ being delightful to the ear; and it does not seem strange that ZXhi /ok found 

■t irresistible when sung by Carmen. 

Though often attributed to Bizet, the air wa* not original with him, but wa* taken 
from Yradier's "Atbam Ai Chantont Etpagnota. " The refrain, 

I jJ^ i P^Tj l Tj'jj l I. . ijJ i JJJ'J-r. 



VICTOR BOOK OF THE O P B R A — B I Z ET '5 CARMEN 



HABANERA.-"Lova u Liki ■ Waad-E 



Ihy »■ 


wild bi 


d thee 


reclaim? 


coldly 





And if 1 lave 1h», now beware! 
Ofl ardent homage thou'It refuM, If Ihou me lovest not, beware: 

Whiltl he who doth coldly slight theo. But if I love you. It I love you. beware! 

Thou for thy mailer ofl IhoJ'lI choose. beware! 

To a large number of opera-goeri and music-lovera there i* but one emotionB) •oprant 
— but one exponent of auch rOlea a> CimKn and Sanlaaa. Calvi'a Carmen, eapecially, is idmoa 
Univeraally acceptetl aa the greateat of all impenonations 
Cerville-R6ache'a Carmen ia a fine imperaonation 
original linea. her conception being baaed on a can 
of M^rim^'a atory and on the teachinga oF her Spanii 
Carmtn, according to Mme. Cerville-Riache, wa* a 
and fickle woman, but not a vulgar one. 

The men invite ConTien to chooae a new lover, 
and in reply she flinga a flower in the Face oE the sur- 
prised /ok and laughingly departs. 

Mia madre vedo aacor (My Mother 
I Behold] 

By Fernando dc Lucia, Tenor, and Ciuseppii 
Huguet, Soprano (Aano ace.) 

{In llaUan^ 92092 12-in 

Parle-moi de ma mere (Tell Me of M; 

Mother) 

By Lucy Marsh, Soprano, and John McCorn 
Tenor (In French) 74343 12-ii: 

Now Micaeia returns, and finds the aoldiei she seeks 
tells of the message of greeting she brings Jose from h 
and with it a kias. The innocence oF Micaeia ia he 
the riper attrBctlt>na of the gypsy, and the music alio 
maiden possesses the same simple charm ; the com 
Mlcatla'i air being a broad sustained melody oF mu . 

/oje takes up the strain, aa the memories of hia old home crowd ""' ""'"' 
upon him. and the beautiful duet Follows. "» *• =""»" 

50 



VICTOR BOOK OF THE O P B R A — B I Z E T' S CARMEN 



Jose: "s 

MtcHAEI. 






•oldier, partly (o facili- 



Mlaitla leaves him after a tender 
farewell, and Joie hepnt to read hi> 
mother's letter, but is interrupted by a 
commotion within the factory. Carmen 
has itabbed one of her companions, and 
is aricMed and placed under the guard 
of Don Jote, The soldien <bive away 
the crowd, and Carmen, left alone with 
Jott, bringm her powers of fascinat: 
bear on the young soldier, parti 
tate her escape, and partly b' 
has attracted her attention. Here she 
sings the Seguldllla, a form o( Spanish 

SeguidilU (Near the^^alls 
of Seville) 

By Maria Gay. Mceeo- 

Soptsno {In Italian) 

»1083 lO-inch. *2.00 
By Margarete Matzeniuer. 
Mezio- Soprano {InFrench) 

87103 lO-inch, 2.00 
e StaulMa is one of Spain's most 
'cd dances, and its rhythm is most 



sees, and it 
Biiet" 
I Carre's 



And Iben Ihii kiu. kind one. 
Thou will to him give for me." 

SSE: a kiss from my mother? 
ICHAEU; 

To her ton. 

JoK, I live it to thee— « I promised. 

iMichatla Hand! on tiptol and kiliri 
a Inu molhtr'i klss.—Jcie u mm 
rtgnrdt Michaela Itndtrly.) 

Mv home in yonder Taller. 

My mother lov'd shall! e'er seef 
Ah fondly in my heart I cherish 

Mem-ries so dear yet to me. 

MlCHAELAt 

That one eiveel hope. 
Twill strength and courage eive thee. 
Thai yel again ihou wilt iVl-onie 
And thy dear mother once more sec. 



mbet. which he I 



y friend Lillas Pa,1 






VICTOR BOOK OF THE O P E R A— B I Z E T'S CARMEK 



Aldiough /ok wy> to hinuelf tW , _ . „ , 

the time with her gypsy •ongs, the worcis which fail on hii ear — of ■ meeting-place on the 
rampBTIa of Seville — of a coldier ihe loves — b common aoldier. all theie play upon the feel- 
ings of Jtat and rouse in him a love for tbe changeful gypsy, who is fated to be the cause 
of his downfall. 

He unties her hands, and when the soldiers are conducting her to prison (he pushes Joic, 
who fall*, and in the confusion she escapes. 

Between Acta 1 and II is usually played a chaiming entr'acte, 
which haa been rendered (or this Carmen series by Mr. HeibeA. 

Intermezzo (1 at Entr'acte) 

By Victor Herbert** Orch. 60067 lO-inch, fO.IS 
ACT II 
SCENE— /4 Tintm in the Sabuiht of SeMt 
The second act opens amid the Bohemian surroundings of the 
tavern of Lillas Pastia ; the wild tune with which the orchestra leads 
off depicting the freedom and gaiety with which the mixed char- 
acter* here assembled are wont to take enjoyment and recreation. 

Les tringles des sistres (Gypsy Song) 

By Emois Cslvi, Soprano 

(.InFrtnch) 88124 12>inch. *3.00 
Canntn again leads them with her song, another lively gypsy 
tune, in the exulting refrain of which all join, a picture of reck- 
less merriment resulting. 

Ah! when of gay guitars Ihr sound 
On. the air in cadence, rLngiiiR, . 

While "lamboufinca' the eLn("pro*lonB, 
In rhythm with the music beating. 



VICTOR BOOK OF THE O P E R A— B I ZET* S CARMEN 

But Carmen i* thinking of the (oldier who went to priaon for 
her *mke end who, now at liberty, will ahortly be with her. Her 
munngi are interrupted hy the arrival of a procenion in honor 
of EkoiMUo, whoae appearance is followed hy the famous 
" Toreador Song," the moet popular of all Carmen numbers. 

Cancion de Toreador (Toreador Song) 

By Titta Ru£Fb, Baritone, and L> Scala Chorus 

(InltaUan) 9Z06S IZ-inch. *3.00 
By Emilio de Gofforza. Bsritone, and Ne^r York 

Opera Chorus (/n Sfianiih) B81 T8 12-iiich, 3.00 
By I^squale Amato, Baritone 

{in Italian) 88327 12-iach, 3.00 
By Giuseppe Campanari, Baritone 

(/n Italian) 85073 12-ineb. 3.00 
By Alan Turner, Baritone 

(In EngUih) *lbi2l 10-inch. .TS 
By Francesco Ci^da, Baritone; Giuseppina 
Huguet, Soprano: Inez Salvador. Mezzo- 
SoiHvno ; and La Scala Choru* 

(/n AoAan} *62618 10-inch, .75 
No lea* than six renditions of thia universal favorite are 
offered hy the Victor for the choice of customers. 

After Eieamilio'i departure. Catmat'i comradea invite her to 

part upon a smuggling expedition, but ""■' ■""•" 

she refuses to alir until she seea the cahuso a< dok jcms 

soldier for whom she is waiting. Their 

efforts to persuade her has been put by Bizet into the form of a 

brilliant quintet. 

Quintet- "Nou8 avona en tSte une a£Faire'* 
(We Have a Plan) 

By Mmea. Lejeuoe. Soprano; Duchtne, Mezzo- 
Soprano; Dumesnil. Soprsno; Mm, Leroux. 
• Tenor; Chsrles Gilibert, Baritone 

{In French) 88231 ll-inch. *3.00 

This is one of the favorite numbers in Bizet's opera, and at the 

seme 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 srtiita who can do it justice. 

For the present reproduction, the Victor assemhled a most 
competent corps of singen, who were under the direction of the late 
Charles Gilibert, himself the most famous of Rantndadoi, 

Joie't voice being heard outside. Carmen pushes her compan- 
ions from the room, and greeting him with joy, questiona him about 
his (wo months in priaon. She then tries her fascinations on the 
stolid soldier to induce him to join the band of smugglers. Connen 
dancea for the soldier while he walchea her with faacinated gaze. 
Her efforts are uselesa. as he is reminded of his duty when he hears 
an-ia,Hii> '^'^ bugle in the distance summoning him to quarters. "Then go, 

DALMoau A* DOM JOSE ' '"'* '"'" ' " "^ Cifmcn, and mocka him, singing 

(Atidt.-) ijut li'ow ll*^ u"'hc'he«rf the Iruraptt lalll 
Ta ra U ra! and then off he flics 
LLkf a guest lo a (easl I 

She is furious, and pitches at him his cap and sabre, and bids him begone. 

^cUiU-FwJRuRf— Fwdlfeo/'MMoWfeiAfaH DOUBLEJ'ACED CARMEN RECOKDS, law 60. 



VICTOR BOOK OF THE O P B R A— B I Z ET' S CARMEN 
Air de la fleur (Flower Song) 

By Enrico Ciru*o. Tenor 

(In French) 88208 12-incli, *3.00 
By Eorico Caruso, Tenor 

(/n llallan) S6Z0» 12-mch, 3X>0 
By Chulei Dslmorei, Tenor 

[In Frtnch) 85122 12-mch. 9.00 
By Herman Jadlowker. Teoor 

(In Frtnch) tb027 12-iiieh, 2.00 
By Fcrnsodo ile Lucia. Tenor 

(/n llallan) 76001 12-inch, 2.00 
By Evan WillianiR. Tenor 

(InEngllih) 74122 l2-ilich. 1.50 
By John McCormack, Tenor 

(In llallan) 74218 12-inch, 1.50 

Desperate at the thought of loaing her forever, Don 
Jolt ahowB her the fiower* >he threw him at their firrt 

meeting and which he had preserved, then dnga tiiia ■iissleh-oiaiioli •■ caiueh 

lovely romance, beginning : 



i Mrr I j-|.MT l J JvJIrri r C ^^ 

Li OKrqiHti mm-alt )i . u - • Dut an pri-HB ta-MilI IM.I4 - • 

The struggle between love and duty which has been diilractiag the unfortunate lover is 
m teemingly forgotten, and he pours out hi> heart in this romsnza, telling only of his great 
Mion for the beautiful but heartless gypsy. 

Dos Jose: 
Thii flowEr you gave lo me, dMraded 
'Mid prison walls, I've kept, Iho*^ faded', 

1 llir iTUIh. CaTinen, <m confidmg; 
Il9 loved odor did I inhale. 
And wildly called Ihee without avail. 
My love itself I cursed and hated. 

Then alone myself I detested, 

And naught else this heaH interested, 

Naught eTse it (ell but one desire. 



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 Cnnnen 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- 
Hn'iiuniiT ^*^ genius which belong only to a Caruso, 

n. iTKou i< 1-1. UF» Other fine renditions, at varying prices, in both Italian 

and EnglUh. are alK> offered. 
Cimien then paints the joys of the gypsies' life which might be Jmt't, if he would desert 
a regiment and follow her. 



VICTOR BOOK OF THE O P E R A— B I Z E T ' S CARMEN 



Las baa dans la monta(;ne (A^vay to Yonder Mountains) 

By Emms Calv^, Soprano, aad Clurles Dalmorei, Tenor 

{In French) 89019 12-inch. M.OO 
The Boldier listcna with KKlf'willing can, hii voice joining hera at the cloae, in a lovely 
duct paaaage. 



U^'lty'ii 



And above ill — mott pri«d o 



Jos 



However, in tpite of Carmtn 'a fi 
appearance of hia luperior officei 
Donjoat reaenls the overbearing tone hia captain ui 
overpowereil and bound by the syp*ie>, and the amu) 



I. /ok is about to return to hia duty, when the 
who orders him back, decide* the matter, 
usea and defiea him. Zunlga it fin«ly 
ill depart on their expedition. . 



Aragonaise (2d Entr'acte) 

By Victor Herbert*! Orchestra ZOObT 12-inch, *1^» 

By La Scala Orchcftra {D<>Bik.fmctJ—Sct pagt 60) 62102 lO-inch. ,75 

The retreat in the mountains is musically described by this pastoral intermezzo. A 

dreamy melody given to the Bute, with a pizzlcttto accompaniment, is taken up by the other 

instruments in turn, the atringa joining in the coda. 



VICTOR BOOK OF THE O P E R A — B I Z E T'S CARMEN 



ACT III 
SCENE— ^ WllJ anJ Racks P*^ I" '^ Maimlatnt 
Aa the curtain liiea, the smuBglers are leen entering their rock)' lair. Here occur* the 
(amoua aeitetle, a portion of which ii given in the "Genu from Carmen" (page60). 

The amugglera prepare to camp for the nighL It is evident that Joat i* aheady repenting 
of hia (oily, and that Carmtn is tiring of hei tatoat lover. After a qunnel with Je*e, ahe joina 
Ftatqidla and Mereeda, who are telling fortunes with carda. 

En vain pour evitcr (Card Sonf ) 

ByLavindeCaaia.Meito-5opraDo(/^anaacc.) (/n/fotton) *626I7 10-inch, M>.75 

Carmen telb her own (ate by the carda, 

readins death, fint for heiaelf and then for her 

lover. In vain (he ahufllea and re-b^ea the 

reaulti the anawer ia ever the same. 

This highly dramatic air, one of the moat 
impresiive numlxra in Bizet'a opera, ia effect- 
ively sung by Mme. d* Caaaa. 

The neighboring camp being ready, the 
smuggler! retire, and the alage ia once more 
deKrted. 

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

By Geraldine Famr, Soprano 

[In French) 88144 ll-inch. 15.00 
By Alma Gluck, Scqtrano 

(In French) 74245 12-iltch. l.SO 

Into this atrange and wild acene now enten 

Micaela. the peaaant sweetheart of Don Jme, 

who has forgotten her in hli faacination for the 

wayward Carmen. Micaela has braved the 

dangera of the road to the smugglerB' retreat, 

fNoiD •orLiicii whither Don /om has followed Carmen, to carry 

THE CABDS PREDICT caihen's DEATH to the ooldicr a meswige from his dying RiotheT. 

^^^_ (euua CALvi) The innocent girl is frightened by the vast and 

• DvMeJ'aaJRia.rd—For Wfc n/'woxOi Hi « DOUBLE-FACED CARMEN RECORDS, naf 60. 



VICTOR BOOK OP THE O P B R A - B 1 Z ET' S CARMEN 

lonely mountaine. sod id her aria appeala to Heaven to protect her. 
ingenuoualy confening Ker love for Dan Jett and her deteatation of tke 
woman who kaa led him away from hia duty. 



WbSr bo"iai Vol dceid chill my uJ' heart 






ind shall li 
her beiut; 
a»righU n 



: to Ihii 



The youDS girl, hearing a shot fired, run* into a cave in fright. 
Jote, who ii guarding die imugslen' effect^ ham teen a atianger and 
fiis* at him. It prove* to be EteamlUo, the toreador, who hat come 

to join Carmen. He appeara. exaroinins hia hat with rueful gaze, aaTiEHiiNi m pbakuita 
Jaie'i bullet had gone through it. "Who are you >" aaya die latter. 
"1 am Eieamltta, toreador of Granada I" replica the bull fighter. 

The duet which followa ii given here by two famoui artiati of the Paria Opita. 

Je suis Escatnillo (I atn Escatnillo I) 

By Lfon Beyle Tenor, and Hector Dufivnne, Baritone 

{D«,tU.fiKmlS~ fog. 60) (In Frtnch) 62790 10>inch. M).79 
The two men compare notea. and learning that they are rival*, /«e challenge* the other 
to a duel with knives, which is interrupted by the timely arrival of Carmen herself. Thi* 
dialogue, with the fiery duet at the close, well depict* thi* exciting scene. 

A popular priced rendition by Beyle and £>ufranne, of the Optra, is listed above. 

Finale — "Mia tu sei" {You Command Me to Leave You) 

By Antonio Paoli, Tenor: Giuseppina Hufuet. Soprano; 

Inez Salvador, and Franccieo Cigada (/n Italian) 92035 12-inch. *9.00 

A dramatic scene between Camtai and /ok is interrupted by Mitaela, who beg* /ok to 

return to hi* mother; and Camwn. with fine acorn, echoe* her reque*t. Thu* to leave hi* 

rival in possession of the field is too much for the soldier, who swears never to he parted 

from the gypsy until death. 

Caiueh (I0 Joiri: Be not deaf to my prayers: 

Go. and go quiekly; alay not here; Thy mother wait* lh« Ibere. 

Th<> way ollife is not for thccl Tbr chain thai binds thee. Jase 

Joss (to Carmtn) : Death win break. 



The message from his dying mother, however, decides him; he wilt go, but vows to 
return. In this wild and tumultuous number the jealous anger of Jctt gives rise to *ome 
highly dmmatic singing, delivered with extreme intensity and power by Paoli, the tragic 
theme at the close being introduced with meaning effecL The Toreador chorus indicates 
the triumph of Etcamlllo in the gypsy's attentiont, and this with the orchestral close slowly 
sinking to rest brings the powerful act to a finish. 



VICTOR BOOK OP THE O P E R A— B I Z ET'S CARMEW 

ACT IV 

(A SqBon In StvItU, with the lealU <^ iht 
Ball Ring jAoum al iht hack) 

Prelude 

By Victor Herbert'! Orcfaeitri 

70066 t2-inch. tUS 
The fourth act openi with a 
momentaiy brighlneaa. Outiide the 
Fleia it Tomt, in Seville, an animated 
crowd awaits theproceuion about to 
enter the ring. Thla ahort movement 
iaa quick bustling one. only the plaint- 
ive oboe aolo indicating the tragedy 
which ia aoon to occur. The playing 
o( thii ttriking prelude ia on the <ame 
atTtiatic level which marka each oF the 
renditiona by thia famoua orcheatra. 

This acene, a* the orange aellera, 

hawkera of fana, icea and the reat, 

preaa their warea on the waiting crowd. 

JOSE FLBADiBG WITH cAauiH — ACT IV ia cxtTemely gay, and afford* welcome 

relief from the intenaity of the drama. 

a take part in the bull-fight, now enters, and all join in 

Se tu m'anii (If You Love Me) 

By MarSarete Matieaauer, Mezzo-Soprano ; Paaquale Amata, Baritone: 

with Metropolitan Opera Chorua (/n Italian) 89061 12-inch, *4.00 

By Inez Salvador, Mezzo-Soprano, and Ftanceaco Ci^da, Baritone 

{Daibkjaced—Sc pofc 60) (In Ilallan) 62103 lO-ioch, .75 

EMcamlOo takea farewell of Carmen before entering the arena. He pTomiaea to fight the 

better for her preaence, and ahe, half conacioua of what la coming, avowa her readineaa to 

die for him. Inia number ia full of lovely melodies and one of the moat beautiful records 

of the Carmen aerie*. 



VICTOR BOOK OF THE O P E R A — B I Z ET'S CARMEN 

A* the pioccMion psues on, the waming cornea to Carmen that Jme it here, to which 
•he replio that ahe feata him not. 

Duetto e Finale (Duet and Finale) 

By Maria PsMcri, Meexo-Soprano : 
Antonio Paali. Tenor; and I^ Scala 
Chorui 92050 12-inch. 13.00 

/oie now enter* and makes a last appeal, which is dramatic 
in ita intenait)'. It take* the (arm of a iwinging melody to an 
inaiitent triplet accompaniment. To each lequeat of her lover, 
CaFmenadda her diadainfu I negative, recklen of the danger which 
threatens her. 

"noJ" ho" "fuseat 'my pravcrs', 



Josh Ah! vreary am 1 of 
Carmen: Ccim then, — or U 
Chosus (in bvll rinff) : Vic 



Carmtn 'i laH reftual. aa ahe flinga 
him back hia ring, rouiea the aoldier'a 
jeolouay to madneaa and he ataba her to 
the heart. Aa ahe falla the aucceaa of the 
roruijorin the arena ia announced by the 
■inging of hia wel[. known refrain. The 
laat notea of the opera are a few pitiful 
tones From the atricken Joe addresaed 
to the mute (orm of hia beloved. 

Hiia is another truly powerful 
record byPaoli, worthy of a climax auch 
aalhia. The muaicia delivered with the 
realiam and eameatneas beyond the 
reach of all but the very few tenora; and 
it enable, the listener to fully realize the 
■treaa and pathoa of thia moving dra- 

DOUBLE-FACED AND MISCELLANEOUS CARMEN RECORDS 
Carmen Selection By Pryor'i Bind 31962 12-inch. *1.00 

fCarmcB Selection By Souaa'a Bandl„,„„„ ,, . ■ , _, 

/Carmen Selection By Pryor'a Bandi , ,- -, ,- - i. -- 

The selection begins with the brilliant and animated Prelude, the first part of which ia 
given, including the refrain of the famous , ^y~^i-"-f-. . i. . . . _ , ^ . , 

-Toreador Song." Then ia heard (aa a comet lyK-t-t-S-S-*: 'fffc^ ^'i^JJJBjBJ-,?^ 
solo) the quaint "Habanera." t:;TZ Z.',:! Z.t*' ICr,:! T. ZS.'^'^. 

with ita curiously varied rhythm, its chromatic melody and the changes from minor to major 
which are ao effective. With the last note the full band ukes up the ToUicking chorus of 
street boys from Act I, and after a few measures there 
ipeara suddenly the weird strain from Act IV when 

am hurls at Don Joae her laat defiance. "- "' 

The apirited introductory strain returns, closing the selection. 



S! 



GB 



VICTOR BOOK OF THE O P E R A — B I Z ET'S CARMEN 

DOUBLE-FACED AND MISCELLANEOUS CARMEN RECORDS— Coiitiflu«<l 
Gems &otn Carmen 

Choru*, " Heie They Are " — Solo and Choru*. "Haluineni" (Love ia Lilce 
■ BirdJ— Due^ " Again He See» HU Village Home "—Sextette. " Our Cl™en 
Tiade " — Solo and Choru*, " Toreador Song " — Finale. 

By Victor LiKht Opera Compiay (h Engllth) 31843 12-iiich. *1.00 
An ania^ng number of the moat popular bits of Bizet*< masterpiece have been crowrded 
into (hi* Bttraclively arranged potpourri. 
IHabanen (IVktlllng) By Guido GUWiniK.,,, ,„ ,„l ^ ,, 

{Torodor Song By Alan Turner. Baritone (In Engll»h)\ 

Tmeatore—Ttmpal of Iht Heart >16521 10>iach. .75 

^ Jllan Tamtr, Baiitone (In EnglUh)] 

By L> ScaU Qrchcatral , , 
h Bs Souaa't Bandr 

(Prelude (Overture) By La Seala Orcheatrsl 

<Scena dellc carte (CardSonf) By Lavin de Cuaa. Mc»o- >626ir 10-inch, 
I Soprano (PTono occ.) {In Ilailan)] 

ICancone del Toreador (Toreador Son{) By F. Citfada. Bari- "[ 
tone: G. Husaet. Soprano; I.S.lv«lor.MexK,-Sopr*no: L^feiB 10-inch, 
La Scala Choru* I'n Italian)] 

Caoalleria Ruiiicana—Inltimexxo ftf Piytir » OreAet/roJ 

ilntermezxo — Acta III. Araffonaiae La Scala Otcheatra, Milanj 
Setum'ami (If You Love Me) By Inez Salvador. Meiio- [62102 10-inch, 
Soprano: F. Cicada. Baritone {In Ilailan)] 

lie *uia Eacamillo (I Am Eacamillot) By Lfon Beyle, Tenor: 1 
{ Hector Dufranne. Baritone (/n F'^l') 62750 lO-inch. 

I Valte da Tina {Mara) By MIU. LuctUe Koitoff. Soprano (French) \ 
(Preludio. Acto IV By La Scala Orcheatra) 

i Norma— Mira o Norma~Bv Ida QiacomtUi, Soprano; Una Mlltri, ^62101 10-inch, 
I Contralto „ (In llolfan) 

/Carmen Selection (Xi^ophont) By Wm. Reiwl ,^^32 10-inch. 

\ Bohtm<^Mu»tta Walt! (Whailing) B], Guldo GlaldlnlS^'"'^^ iU men. 



(tolbn) 

CAVALLERIA RUSTICANA 

<Bn(li«h) 

RUSTIC CHIVALRY 

OPERA IN ONE ACT 

Libretto adapted from the book of Verga by Targioni-Tonotti and Mcnatci; tnuaic by 
Mascagni. Firil production in Rome, May 17, 1690. Fint London piodueticni at the 
Shaftetbuiy Theatre, 1891. Fint American production b Philadelphia. 1891. 

Cm«t 

SANTUZZA, (SonJoq^^m*) a viUage girt Soprano 

Lola. (Asu'-M) wife of Alfio Mezzo-Sc^nuio 

TUR1M)U, (Toojtt'Jon) a young (oldier Tenor 

Alfio, (^/-Ai-dA) a teamatei Baritone 

LUOA, (Ltt-chet -ah) mother of Turiddu Contralto 

Chorua of Peaaanta and VilUgert. Chonu behind the (cenea. 

Tht tcene It laid In a Sicilian vltlagt. Time, ihe praaA. 

THE COMPOSER 
Pietro Maacagni, md or a baker in Leghorn, waa bom December 7, 1863. Destined by 
his father to succeed him in business, the young man rebelled, and secretly entered the 
Cherubini Conservatory. hHe began composing at an early age, but none of his works at- 
tracted attention until 1890. when he entered a contest planned by Sonzogno^ the Milan 
pubhsher. Securing a libretto based on a aimple Sicilian tale by Veiga. he composed the 
whole of this opera in eight days, producing a work lull of dramatic lire and rich in Italian 
melody, and easily won the prize. Produced in Rome in 1690. it created asensation, and in 

NOTE— Til gagMfwu/nm CmOula RutfuM an gHa, Jv klnJ faimMon af G. Schlnmr. (C««w'( 1091.} 



VICTOR BOOK OF THE OPERA— CAVALLERl A RUSTICANA 

B short lima ksm become one of the moot popular of 
operM. THE STORY 

TaridJu, a young Sicilian peasant, retuma horn the 
war and finds his ■weetheart, Lola, has wedded Affio, 
a carter. For consolation he pays court to Sanhiaa, who 
lovei him not wiaely but too well. Tiiins of her, be tunu 
■sain to Lata, who aeemi to encourage him. 

Prelude 

By La Seals Orcbntra *99104 12-uicli. «1^» 
By Veoella'i Italian Band 

31831 12-incfa. 1J>0 
The Prelude taket the form of a Eanlaaia on the 
principal tbemea of the opera. Maacagni'i lovely melodiea 
are played with exquisite lone and CKpteuion, while at 
the climaiea the entry of the hiasa ia moat aRiMically 
managed. Tliia ia band playing of a high order, and 
certainly the beat record of the Prelude we have heard. The 
La Scala Oicheatra record ia alao a moat interesting one. 

During the prelude 7uW(/cJu 'i voice is heard in the charm- 
ing Sicillana, in whicKhe tells of his love for Lola: 



Sicilians (Thy Lips Like Crimson Berries) 



By Enrico Caruso, Tenor (Ht., , 

By Enrico Caruto. Tenor {Piano aec.} 

By Gearfie Hamlin, Tenor (Harp ace.) 

By Leo Sleiak, Tenor 

By Carlo Ciffetto, Tenor (Plana ace.) 

It is sung behind the acenea, before the Hieoftht 

tain, making it peculiarly effective. At the close of the 

number TurJJc/u 'i voice ii heard dying away in the distance. 

Thist/ecresceni/apassage 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. 

Tlie best of the many translatioiks (Schirmet Edition, 
capy't 1891) is given here. 

TirHlBDIT: 

O Loll, wilh thy lips like crimson berries. 
Cheeks of Ihe hue of wild, blossDmiiiB cherries. 



(/n Ilallan) 87072 lO-ioch. *2.00 

(In Ilallan) 81030 10-incb. 2.00 

(In Ilallan) 64387 lO-inch. 1.00 

(InGcrman) 61202 lO-inch. I.OO 

(In Italian) *62620 10-ineh. .79 



Fine lenditiona in German by Slezak and in Italian by 
Hamlin and CaSetto ere also listed. 

SCENE— ,4 Squan In a Sicilian Village 

After the Sicillana the chorus of villagers is heard, 
also behind the scenes, and during this chorus the curtain tah 

rises, showing a square in the village, with (he church 
at one side and the cottage of TurfrfJu'j mother on the other, 

•DeaUi-FacoIKtairJ—FQr lllk <./oMwn> •l-U a JoMcfaaJ «•!. p>it 66. 



VICTOR BOOK OF THE OPERA— CAVALLERIA RU5TICANA 



Gli aranci olezzano (Blossoms of Oranjfes) 

By New York Grand Opera Chorus (In Italian) 64046 lO-incli, $1.00 

By La Scala Chorus (In Italian) *68218 12-mch, 1JK5 

Thia 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. Santuzxa enters, and knocking at Luda'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, Baritono 

{wlih Metropolitan Opera Cho.) (In Italian) 

87097 10-inch $2.00 
By Renzo Minolfi, Baritone 

(In Italian) *45003 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 Alfio is left with Lucia and 
Santuzza. When he sajrs he has just seen Turiddu, Luda is 
surprised, but at a gesture from Santuzza she keeps silent. 

After Affio has entered the church, the Easter music is 
heard within and all kneel and join in the singing. 




PHOTO BtBT. PARIS 

AMATO AS ALPIO 



(In Italian) *68218 12-inch, $1.25 



Retina Coeli (Queen of the Heavens) 

By La Scala Chorus 

This great number, given by La Scala Chorus, has been combined with the opening 
chorus noted above on one double-faced record. 

All go into the church except Luda and Sarduzza, and the agitated girl now^ sings her 
touching romanza, beginning: 




as she pours out her sad history to the S3rmpathetic Mamma Luda, This is one of the most 
powernil numbers in Mascagni's work. 

Voi lo sapete (Well You Know^, Good Mother) 

By Mirtfarete Matzenauer, Soprano (In Italian) 88430 12-inch, $3.00 

By Emma Calv^, Soprano (In Italian) 88086 12-inch, 3.00 

By Enuna Barnes, Soprano (In Italian) 88037 12-inch, 3.00 

Stung with the remembrance of her great wrong she sings of vengeance, but love over, 
powers revenge, and in spite of herself, she cries 



llf'l I lig I I 







•DotAkJ^aoeJ Retard— For iHk ^foppodk 9idt aet JotAk-faeed Ud, page 66, 

63 



VICTOR BOOK OF THE OPERA— CAVALLERIA RUSTICANA 

Then the thought of her rival. Lola, relunw and ihe give* way to despair, throwing heiaeK 
at ihe feet of the gentle mother of Taiidda, who i> powerless to aid her and who can only 
pray for the wretched woman. 

Santuiz*: 
Well do you know, good molhfr, 

furiddu plighted la Lola fais troth. 



Three fine renditions of this diamatic number, by three famous 
sopianos, are offered lo music lovers. 

Lacia tries to comfort her and passes into the church just as 
TarlJdu appears. He aslis Santuzza why she does not go to mass. 
She says she cannot, and accuses him of treachery, which puts him 
in a rage, and he tells her brutally that she is now nothins lo him. 

Tu qui Santuzza (Thou Here, Santuzza!) 
By B. Bessia. Soprano, and G. Ciccolini. Tenor 

(In llallan) *»5022 I2-uich, *I.SO 

Ko, No, Turiddu 

By BeMili) and Ciccolini (Italian) *»9022 12-in.. 1.90 
This scene isnow interrupted by Lola'i voice, heard behind 

Lola (.behind llu ictnts): None like to him so bright 

My king of roses, That land discloaes, 

Radianl angeU 5land My king of roses!— 

In Heav'n in thousands; 
She enters, and divining the situation, shows her power by taking Turiddu into the 
church with her. Frantic with jealousy, Sanluiza turns to Alfio, who now enters, and tells 
him that his wife is false. Two records are required to present this powerful scene. 

Turiddu mi tolse (Turiddu 
Forsakes Me I) 

By B. Beatla and E. Badini 

(Inllallan) *S9021 12-inch. *1.50 
By Clara Josnoa, Soprano, and 
Renio Minolfi. Baritone 

(tn Italian) *49002 10-inch. l.OO 

Ad essi io non perdono ('Tis They 
"Who Are Shameful) 

By Clara Joanna and Rcnio MinolB 

(/n llallan) *45002 10-inch, *1.00 
A(fio swears vengeance, while ^onfuizaBlieady 
regrets her disclosure, but is powerless to prevent 
the consequences of her revelation. They go out, 
leaving the stage empty, and the beautiful Inter- 
meoo follows. 

Intermezzo 

By Victor Herbert's Orchestra 

60074 10-in., *0.75 

Pryor's Orchestra *6261fl 10-in., .79 

Victor Orchestra 4184 10-in., .60 

TTie irutanlaneous popularity of this selection 

was remarkable, and in no small measure helped sahtuiia pleaptkg witH tubiddu act I 

tomakeCaDa/fcrfaRuiHconathetremendaussuccess (destinn ahd CABtJBo) 

that it was. These records bring out the beautiful 
ground of peaceful harmony — and makes (he Inlcn 

*boiitkJ'4Meed RttmJ—FtT lak n/etWMtt Xii « Joutk.factJ Ilat, f 



VICTOR BOOK OF THE OPERA— CAVALLERIA RU5TICANA 



tm- tarn. prm Wit. H, 




After the storm and passion of the first scene, this lovely number comes as a blessed relief. 
The curtain does not fall during the playing of the Intermezzo, although the stage is empty. 

PART II 

A casa, a casa (No'w Home^ward) 

By La Scala Chorus (In Italian) *45014 10-inch, $1.00 

The services being over, the people now come from the church, and Turiddu in a reck- 
less mood invites the crowd to drink with him, and sings his spirited Brindiai, 

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, i ^^ P if'g T' g iT '- l ■ 
although at that moment the culminating Igt^ ^ \^ > ^ ^ H ""^ aE 
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 : 

TuatDDu: 

Hail the red wine richly flowing. 
In the beaker, sparkling, flowing. 
Like young love, with smiles bestowing. 
Now our holiday 'twill bless. 

Alfio now enters, and when Turiddu offers him a cup refuses, saying : 

Thank you! Poison I might be drinking. 

Turiddu throws out the wine, saying carelessly : 

Very well! 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 motl^er 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 Fare^well to His Mother) 




Hail the wine that flows and bubbles. 
Kills care, banishes all troubles. 
Brings peace, pleasure it redoubles, 
Causes sweet forgetful ness! 



By Riccardo Martin, Tenor 

By Gennaro de Tura, Tenor 

By G. Ciccolini. Tenor 

By Giorgio Malesci, Tenor (Piano ace,) 

Turiddu (calling): Mother! 
{Enter Lucia.) 

Exciting surely that wine was. 
I must have taken 
Too many cups 
While we were drinking! 
For a stroll I am going. 
Rut first, I pray you, 
Give your son your blessing 
As when 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) 88277 

(In Italian) 76015 

(In Italian) *55021 

(In Italian) *62620 

To Santuzza be a mother! 

I have sworn to shield her 

And lead her to the altar. 
Lucia: 

Why speakest thou so strangely? 

My son, oh, tell me? 
Turiddu (nonchalantly): 

Oh, nothing! the wine 

Has filled my brain with vapors! 

O pray that God forgive me! 

One kiss, dear mother! 

And yet another! (He rushes off.) 



Finale to the Opera 

By Clara Joanna, Soprano ; Sra. Rumbelli, Mezzo-Soprano ; 

and Chorus (In Italian) *45003 10-inch. tl.OO 

Lucia is distressed and bewildered, and calls after him despairingly. Confused cries are 
no'wr heard and a woman screams " Turiddu is murdered I ** Santuzza and Luda sink down 
senseless, and the curtain slowly falls. 

*DmiUe-Face J Record — For title of opposite tide aee douhle-faced list, page 66. 

65 



VICTOR BOOK OP THE OPERA— CAVALLERIA RUSTICANA 

DOUBLE-FACED AND MISCELLANEOUS CAVALLERIA RECORDS 

Selection— Part I By Victor OrcIiMtra 3103? Il-inch. II.OO 

Selection— Part II By Victor Orchestra 310S8 12-inch, 1.00 

Gemifrom " Cavalleria Rusticaiu** 

•' Bloaaonu of Oranges "— "Alfio'* Song "— LoU*» Ditty, " My King of Roki " 
— "SaDtuzia's Aria " — "Drinking Song" — "Eaaler Chonii" 

By Victor Opera Company (In Eagliih) 31674 12-inch. 

fufiddu. mi tolie (Turiddu Foraakei Mel) By 1 

B. Beaalil, Soprano, and E. Badini. Baritone (/n /(a/Jan) I . . „ , ,, . . 

lamma. quel vino i ifeneroio (Motherl the Wine 3»u^l iz-wcn. 

Cup too Freely Paue*) By G. Coccolini. Tenor (In Ilallan)} 

|Tu qui Saotuiza (Thou, Santuzza) By Beaaltl and Ciccolinil ,. . • 

\No, No, Turiddu By Boalil and Ciccolini (In llalian)!"^"^^ IZ-incB, 

(Prelude By La Scala Orcheatral ., , „ . ,, . . 

^Selection (■■Alfio-.9oo,.-"E.««Chonl.. ■■■■Iat<r«««-) Pryor'.BP'"''* "-"'<=''■ 

jCoro d* Introduzione By La Scala Choc lu (/n /lo/'an)) . ... _ ... . 

■\ReeinaCoeli By U Scala Choru- (/n /Wtei.)?*"^* 12-mch, 

(Turiddu. mi toltc I'oiiore (Turiddu Forsakes Mel) ) 

By Clara Joanna and Renzo Minolfi (In Ilallan) U9002 lO-inch, 
Ad essi io non perdono— By Joanna and Minolfi [In Italian) | 
|Pinal« dell' Opera— By Clara Joanna, Soprano; Sra. | 

{ Rumbelli, Mezzo-Soprano i and La Scala Chorus (In /fo/fan) USCWS )0-inch. 
Ill cavatlo Bcalpita By Renzo Minolfi. Baritone (/n Ilallan) | 

iAc>ta.acasa (Now Homeward 1) La Scala Chorus (llallan)\,.„,. ,- . . 

\ Gaslldmo Ratdiff-PaJn No,tn Muulnl anJ Mollnari {/(o/(on) (*'*"* l«-"icn, 

{Intermezzo By Pryor's Orcbestral 

Carmtn—TortaJar (BittI) 162618 lO-iAch. 

Ba Qgaja, Hugutt. Salvador and Chorus (In Italian) I 

JAddioallamadre (Plartoaix.) By Giortfio Malesci.Tenorl ,-. -_ ,« . _i 



1,25 



\Siciliana (F^ano ace.) 



By Carlo Caffetto. Tenor/ 



(French) 

LES CLOCHES DE CORNEVILLE 

(Eneluh) 

THE CHIMES OF NORMANDY 

COMIC OPERA IN THREE ACTS 

Text by Clairville and Gabet ; music by Robert Planquette. First produced at the Folies 
Dramaliques, Paris, April 19. 1877. First N. Y. production at the 5th Avenue Theatre, 1877. 

Characters 

Henri, the Marquis of Valleroi Baritone 

GRENICHEUX, a young villager Tenor 

GASPARD, a miser Bass 

SERPOLETTE. the good-for-nothing Soprano 

CERMAINEI, 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 Valient, has just returned 

^^^_^^^^____^^^^^ to his native town after an absence of many years. The 

KOBiKT PLANQUBTTX vilUge gossips are discussing with vehemence scandals about 

Serpoleiie, the village good-for-nothing, who 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 Grenicheux, a young villager, in gratitude 
for his saving her life. To escape the marriage, which is distasteful to both Germt^ne and 
Grenichewc, and to fly from the Vengeance of Gaspard and the sheritf, 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 f£te to 'which he invites all the villagers, including the crazy Gaspard. Serpolelte 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 Comeville ring out sweetlv and gludly 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 Til Ne'er Forget"— "Bell Chorus"- -Finale. 

By the Victor Light Opera Company 31 788 12-inch, $1.00 

Selection of the Principal Airs 

By Sousa*s Band 3 1 1 80 1 2-inch, 1 .00 

{Selection of the Principal Airs By Sousa*s Band\^^.« . ,^ . < _ .^ 

Naila Intermezzo (Pas des Rears) By Pryor's Bandf^^^^^ 12-inch, 1.25 

{Selection of the Principal Airs By Pryor's Band\-^«a- -^ . - _^ 

Poei and Peasant Overture {von Suppe) By Pryor's Band]^^^^^ 12-tnch, .75 

67 



LA DAMNATION DE FAUST 

(LiA Dan-wA-Kc-on' Jch FouM) 
(Enflub) 

DAMNATION OF FAUST 

Hector Berlioz'a dramatic legend in four parts; book baaed on de Nerval's venion of 
Goethe's poem, partly by GandonnieTe. but completed by Berlioz himaelf. First performed 
December 6, 1646, at the Opira Comlgue, Paris, in concert form, and in New York under 
Dr. Leopold Damrosch in I6S0. It was given at Monte Carlo as an opera in 1903. First 
American performance of the operatic version in New York. 1908. 

Cast 

Marguerite {^Mahnucr^) Soprano 

Faust (FouW) Tenor 

MEPHISTOPHELES (MtfJm-Oif -tl-lmi) Baritone or Ban 

BRANDER Bass 

Plact : A Gtrmaa Oillagt. 



THE COMPOSER 

No one to-day double the genius of Berlioz, and critics are almost unanimous in praising 
his originality, his spontaneous force and immense creative power. Le Damnation de Fmal, 
his best known work, originally written as an oratorio, but which has since been adapted 
for the stage, was first produced in 1846 and met with a cold reception. Ten years after 
his death, however, what ■ change began I A Beilioz memoHal in Paris, at the Hippodrome, 
! thousands were turned away; Berlioz monuments erected in Grenoble and other 
luction of Damnation of Faust as an opera at Monte Carlo 
snthusiasm. 



VICTOR BOOK OF THE OPERA — BERLIOZ'S FAUST 



[n hi* "Faust" Beilioz has 

S'ven USB muiicol legend which 
ts all tho picturuquencBS of 
the original work. 

Whatever severe cHlics may 
•ay of its merits in the highest 
artistic sense, it is nevertheless 
B wonderful work. Strange 

are found side by side; even 
the wild orgie of fiends called 
"Pandemonium." which almost 
transgresses the license of genius, 
must be admired for it. astound- 
ing orchestral efiects. On the 
other hand, there aie melodies 



=auly. 



suck B 



the 



numbers for Marguerite. How- 
ever, the most striking numbers AtERBACHS BEEl CELLAl IK LE1P5IC— ACI ir 
in the opera are those written by Berlioz for Mephlilophelea, three of which have been 
most effectively rendered for the Victor by Plan^on. 
THE OPERA 
Berlioz, disregarding Goethe's poem, located the opening scene on a plain in Hungaiy 
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 Vierina, 
made such a sensation at Pesth that 1 introduced it into my Faust score, taking the liberty of 
putting my hero in Hungary and making him ivitness the passage of a Hungarian troop 
BCiosB the plain where he is wandering in reverie." But Raoul Cunabourg, 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 
Faiat soliloquiies on the vanity of all things, while the people make merry outside, and the 
match of the soldiers makes an inspiring finish to the scene. 

Hungarian (Rakoczy) March 

By Souss's Band {DvAli-foaJ,Mtp.7I) 68052 I2-in_ *1.29 
■ By Soum'* Band 31424 13-ia., 1.00 

This is Berlioz's treatment of the famous "I^koczy 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 
bi order that he might make use of this wild and pulse-quickening 
melody. His treatment of it is brilliant in the extreme, 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 1662: "My transcription of the 
Rakoczy March ' * * is twice as long as the well-known version 
of Berlioz, and it was written tiefon 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." 

Scene II shows FaatI 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. 
Mephlilophela then appears and suggests that they go forth and 
see the world together, to which Fauil consents. 

In the third scene Faail and Mtpfdilofihela go to a beer cellar in 
■iiKiiD's STsiKTHc COM- I^F*>c, where students end soldiers are carousing. Brandcr min^ 
cirriDH or HirHirro his aong of the rat, which as in the Gounod opera, meets wiln 



VICTOR BOOK OF THE OPE R A — BERLIOZ'S FAUST 



but ironical praise from Mephisiophelcs, 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 (Son^ 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 

work, 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, be it noted, had a fine and lusty ilea, 
And on this flea he doted, cherish'd him tenderly. 
So he sent for his tailor, and to the tailor spake: 
"Please to measure this youngster, and coat and breeches 
make!" 

In velvet and in satin 

lie now was dulv drest 

Had jewels rare nis hat in. 

And medals deck'd his breast! 

Fau9t 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 

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 banks of roses, softly the IJRht reposes. 
On this fair, fragrant bed, rest, O Faust, rest thy head- 
Here slumber, while lovely 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 jOounod, and shows a room 
in Marguerite 's cottage. 
The demon now sum- 
mons the w^ill - o*- the- 

wisps in this evocation: *•••*' "**'■»— " ■< •««■ 

The sprites come flying to Marguerite's door to aid in her enchantment, and the demon 
continues : 

Ye spirits of caprice and of evil, conspire 

To enchant and subdue, and win a maiden soul. 

Now dance, ye sons of Evil, dance in the name of the devil, 

VVill-o'-the-wisp and gnome, dance, or away you go! 

Tlien follows the beautiful dance of the will-o'-the-wisps, after which Mephistopheles sings — 

"To this lute, I'll sing a serenade 
One that shall please the lady .... 
It is moral, her tastes to suit!" 




COPT T UUPOIT 



PLAN^ON 




Serenade — Mephistopheles 

By Pol Plan^on, Bass (In French) 81034 10-inch, $2.00 

Mephistopheles then warbles in his scoffing voice this mocking serenade : 



^^ 




in the accompaniment of which Berlioz has reproduced the peculiar effect of the guitar by 
pizzicato crescendo* for strings. 



70 



BOOK OF THE OPER A — B E R LI OZ'S FAUST 



"Rc'[r«i'n.''no" eo'ilt'Vhett ! 

Ab. hrrd Ihcc welt, fair lau, 

Lest thy lover betray tbn: 

FroRiTl'l-lup what^shall stay 
But let thy iDvcr prove tbe 
When" the" linl ^b^rTrhily 
Ab! then only, believe hi» 

Berlioz'i Mephlilophtia ii 

_. __ _ „. a much more Mrdonic and 

lesa eentlemanly de*il ihui the 
one we are accuBlocned lo aee in Counod'a opera. Plan^on interpieta tbi* difficult character 
admirably, and deliver* thia sneering serenade with great effectiveneu. 

While the Bpiilea dance Matgaerllt apparently aleepa, but *oon cornea from the hotiae in 
a kind of trance. She Iriea to enter the church, but the influence of MtphlilopMet pteventa, 
and ihe returns to the house and falls into the arms of Fauil. 

The last act tionlairu four scenes. Scene I shows a moonlit room where the unhappy 
Margaerilt sings her lament. This changes to a rocky pass where MephiilopMet informs 
Faust that Mavuerifc is about to be executed for the murder of her mother, fousf demands that 
(he be saved, but is first required by Mephhiophtia to sign the fatal contract which pledges 
his soul to the Devil. Summoning the infernal steeds Porta and Giaour, the wild Ride lo 
Hell commences, shown by a striking moving panorama, while at the close the angels are 
•een hovering above the town to rescue the soul of the pardoned Marguerite. 

DOUBLE.FACED DAMNATION OF FAUST RECORDS 



(English) 

DAUGHTER OF THE REGIMENT 

(French) 

LA FILLE DU REGIMENT 

{Lah Feenth dth Rezh' -et-monf^ ) 

COMIC OPERA IN TWO ACTS 

Words by Bayard and St. Georges. Music by Donizetti. First produced at the Opira 
Comique, Paris, 1840; Berlin, 1642; London, 1647. 



Characters 

TONIO, a peasant of Tyrol Tenor 

SULPIZIO. Sergeant of the 21st Bass 

Marie, Vivandi^re of the 21st Soprano 

MAROIIONESS of BERKENRELD Mezzo-Sopiano 

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 1 7, who had been found on the 
battlefield as an infemt, 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, which decides that he may have the Vioandiire providing he joins 
the army, which he prompdy does. Sulpizio meets the Marchioness of BeH^en- 
field and gives her a letter which he had found addressed to her at the time 
the baby Marie was found on the battlefield. The Marchioness, who had 
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 
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 i m't^ 
Marie to be her niece, and dismisses Tonio as a totally unfit person to wed 
a high-bom maiden. Marie assumes her proper position ii^ society, her K^^ 
"aunt" selecting a weidthy Count as a future husband for her. However, ^v9 
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 wishes 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 vioer vidno, 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'^'i roicv 
spirited Overture and a Vessella Band record of the principal airs in the opera, mc cor mack as 

TONIO 

Per viver vicino (To Be Near Her) 

By John McCormack, Tenor (In Italian) 7422 1 1 2-.inch. $ 1 .50 



« 



DOUBLE-FACED DAUGHTER OF THE REGIMENT RECORDS 

fOvcrtufc By Pryor's Bandl ^^^^^ 12-inch 

\ Dance of the Serpents (Boccalari) By Pryor's Band) ' * 

{Principal Airs of the Opera By Vessella's BandiQ^iai it j«*k 

Fra Diaoolo Selection (Auber) By Vessella 's BandP 2-incIi, 



1.25 



72 



DINORAH 

(Dln-B*'.™*) 

OPERA IN THREE ACTS 
Libretto by Barbier and Carri. Music by Giacomo MeyetbecT. Fitil production Poiu, 
I8S9. Fint London production, under direction at Meyerbeer, July 26, 1859. Firat New 
York production. Opera Comique, 1864, with Cordicr, Brignoli and Amodio. 

Can 

HOEL, a goatherd Bass 

CORENTINO, bag-piper Tenor 

DlNORAH. betrothed to Hoel Soprano 

HUNTSMAN Bass 

Place: Bielon alUagt e/Plo€nnel. 

Although the name of Meyerbeer is usually as. 
sociated with Roitrl It Diable, Prophilt and Huguenots, 
his opera. Pardon dc Ploirmel (afterwards revised and 
renamed Dlnoiab), waaat one time a favorite work with 

The revival of Meyerbeer's sparkling opera dtiring 
the last Manhattan season was most welcome, not only 
for its tunefulness, but because it was an ideal medium 
for the exhibition of Mme. Tetrazzini's marvelous gift*. 
Old opera-goers in America will remember the 
productions of the past — that arranged for Marie Van 
Zandl in 1692i Patti's famnua performance a dozen 
years before; and the fine impersonations of Gerster, 
di Murska and Marimon. But it is safe to say that no 
exponent 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 runaway loveri the lover himself, who con- 
trary to operatic precedent is a baritone, and wrho 
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 o( the libretto, and the audience listens to the 

rADiE Its hoEl. i8s« delightful melodies and pays little attention to the plot. 

The action is laid in Brittany . Dinomh. a maiden of the 

village of PloErmel is about to be wedded to Hod, a goat-herd, when a storm destroys 

the house of the bride's father. Hatl resolves to rebuild it, and goes off to seek treasure 

in a haunted region, while Dinorah. thinking herself deserted, loses her reason, and wanders 

through the country with her faithful goat, seeking the absent Hod. 

Overture 

By La Seals Orchestra 68010 12-incb, tl.2S 

ACT I 

As the curtain rises, Dinorah enters in her bridal dress, seeking her goat, and finding 
the animal asleep, sings this lullaby to him. So lovely an air is worthy of a better object. 

Si, carina caprettina (Yes, My Beloved One) 

By Giuseppina Hutfuet. Soprano </n Italian) *35I80 12-inch, *l.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: 

Slumtwf. darling, swmly slumber, Perchance she has windertd on the hillt 

Steep, my beloved our, sleep! Amid the tbornil 

■"Nealh lhrcoo"?lig'!-'liado!«%''he''re'*' i will "be Iberelo defend tbee— fear noil 

Flows a slreamlt'I. fresh and clear, Vcs, darling sleep in peaee. 

Swift, smone the »o»crs straying. Kweet lillle birds vnur warbling cesic, 

Alai! six days has she been awsy, My beauteous one must sleep. 

Ko r yel returns' Awake her noil Yet wfler blili! 

*Dsalfc/'aa^ Rmid- On ofinuffa ,lA I, lU Mad Sane fram Haf<kl, tu AfiK H^^ml. 



VICTOR BOOK OF THE OPERA— MEYERBEER'S DINORAH 

Corenlino, a bag-piper. enterB and U lerrilied at the light 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, make* him dance until he is exhausted, and runs 

HoUt enters, still seeking the treasure, and confides in Carentino, telling him that the 
wizard with whom he had lived for a year had instructed him to seek (or a white goat 
which would guide him to the gold. The bell of Dinorali'i goal is heard, and Hoel pursues 
it, dragging with him the terribed CoKtillno. 

ACT II 

The second act begins with the famous shadow dance, (oi 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. 

Ombrit leggiera (Shadow Son^f) 

By LuisaTetrailini. Soprano 68298 12-inch. *3.00 
By MarU Calvany. Soprano 68222 12>iach, 3.00 

Play hr'rc btsidi- me, dark fears bclide me 



IS his bride 1 
*ell hath kn( 



M cloud pBssis orer the moon—llir iliadow disafptarj.-) 
This dance is accompanied by a waltz, which is full 

of the most brilliant vocal efiecta, including a florid cadenza 

for voice and flute, as in Lucia. 

The act closes with the rescue of Dinorah by W«*/ when 

the bridge, on which she wa» crossing a ravine, gives away. 

ACT"!!! 

Act 111 opens with the famous "Hunter's Song." long • 
favorite concert number. 

Chant du Chasseur (Hunter's Song) 

By Pol Plan«on. Bass (Piano ace.) 

(In Fnnch) 81065 lO-incb. *2.00 



g and hsppv I< 
Thinking Y 



DON CARLOS 

(Dsn Knhr'-M 

OPERA IN FOUR ACTS 



Original Puis Cut 
PHIUP 11 Obin, Ban 

Don Carlos Morsre, Ttnar 

Marquis DE POSA Faure. Btirllont 

Grand inquisitor Belval. Bau 

Elizabeth de Vaudis Sau. 5<>pRina 

Princess EFOU CueyirmjA, Soprano 

The libretto Ii based on Schiller's drama of Don Cacloa, and telU of the erratic and morbid 
■on of Philip 11 of Spain, who was engaged to Elizabeth of Fiance, but subsequently became 
her ilepton. The conduct of Don Carloa finally became so scandalous (hat his father 
placed him under arrest and confined him in the Madrid prison, where he died in 1566, 
at the age of twenty-three. 

The same plot had previously been used by Bona. Milan, 1647; Costa. London, 1S44: 
MoKuiza. Naples, 1662; and also by FerraH. 

Don Carlos is not one of Verdi's papular operas, but the music is dramatic, effective and 
full of genuine Italian warmtti and passion, Schiller's drama has been much changed, and 
made to conform to the dramatic requirements of the stage and. the music. 

7S 



VICTOR BOOK OF THE OPERA— VERDI'S DON CARLOS 



>. how. 

.pi«c 

■tepmather ia u intenK aa ever, and he confide* in Rodrlga, 

MatquU of Pota, who entreaU the Prince to leave the 

Spaniih Court in the hope that he will forget hii love. 

. CaAoa hegi the Queen to obtain Phlllp'i permiuion for him 

j to join the Flemings in their struggle against the cruelties 

I of the Spaniards. Time seeRii to have but strengthened 

1 the mutual affection o( the pair, and the Queen is unable to 

conceal from Carloi the (act that her love for him is greater 

than ever. 

Prtncea Ehall. who is herself in love with Carloa, learns 

of the Queen 'i affection for the Prince. Her iealousy ii 

aroused and she tells all to PHllfi, ThU maddens the King. 

lAvti AS DON cjiiLos who is already angry with his son for his sympathy with 

the Flemings, and. on the advice of the Grand Inqulalior, 

Carlot is thrown into prison. RoJrigo visits the Prince there, and is shot by (riendi of the 

.King, who suspect him of helping the Flemings. Carloi is freed and goes to St. Just 

Monastery to keep a tryst with Ellzabtlh. The King surprises them there, and hia anger 

being once more aroused, he hands over Carln to the Officers of the Inquisition, who bear 

him away to his death aa the curtain falls. 

O don fatale (Oh. Fatal Gift!) 

By Janet Speoeec, Soprano {h Italian) T4293 12-iaeh. 11.50 

Dio che neir alma (God in My Soul) 

By Enrico Caruso sod Antonio Scotti (In llalian) 89064 12-iach. 4.00 

Per me tfiunto e il di aupremo (The Supreme Day) 

By Titts Ruffo. Baritone (/n An/fan) 92038 12-iach, 3.00 

DOUBLE-FACED DON CARLOS RECORD 



llaiimm) (hneh) 

DON GIOVATSTNI DON JUAN 

OPERA IN TWO ACTS 
Libretto by Lorenzo da Ponte. Muaic by WolEgBng Amadeui Mozart. Firit produced 
at PniBue. October 29. 1787, and at Vienna, May 7, 1786. Pint London production April 
12, 1817; produced in Nev York May 29. 1826. Some notable revival, occurred in 1896 
with Sembricb. Nordic*. Eames and Plancon, and in 1909 with Ruas. Donalda, Bonci and 
Renaud. _ 

Cut 

Don QOVANNI. a Itcentious young nobleman Baritone 

Don OCTAVIO. (OcmA'-woA) betrothed to Donna AniiB Teiw* 

LEPORELLO. {Ltp-oh-id' Jnai aervanl <A Don Giovanni Ban 

Don Pedro. (Pw-^ro) the Commandant Ban 

Donna Anna. hi» daughter Soprano 

MASETTO, (Mouc/.hi) B peaunt. . BaM 

ZERUNA (Zfr-hc'-noA) betrothed to Masetto. . . Soprano 

DON ELVIRA, a lady of Burgos Soprano 

Peasants, Musicians. Dancers, Demotu. 

Scene and Period ; StDlllt, In Ihe middle of Iht leventeenlh century, 

Mozart's Don Giovanni was written in 1767 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 ibe opera was probably founded upon a play entitled El 
BurtadoT de Stollla y Comireda dt pitdra, attributed to Tirso de Molina, a Spanish monk 
and prior oi a monastery at Madrid. This had also served as a basis for numerous other 
"Don Juan" plays and operas by Fabrizzi. Gardi. Raimondi, Camicer and latterly Dargo- 
mynky, the Russian composer. 

ACT I 
SCENE l—Tht Courtyard of the-Commandanl't Palace at 
SeoilU. It is Nighl 
The wicked Don Gjananni. ever pursuing his gay 
conquests, attempts (o enter ZXinno /Inna 'i 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 Ltponllo, his servant. Donna Anna is overcome with 
grief, and charges her betrothed, Don Octaelo, to avenge 
her father's death. 

SCENE 11— .i4n Inn In a Deserted Sfiol Oulilde Seollh 
Don Cloeannl and Lepottllo 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 Elolra, a young 
woman whom he has lately deceived and deserted. 
She denounces him for his baseness and he makes his 
escape, leaving Lefiorello to explain as best he can. 
Lepordlo rather enjoys the situation, produces his diaiy 
and adds to the lady's anger by reading a list of the 
mistresses of the Don. This list is recited by LtportUo »■•< «u>o.< 



VICTOR BOOK OF THE OPERA — MOZART'S DON GIOVANNI 
Madamina, il cataloffo (Gentle Lady, this List) 

By Marcel Journct. &■■■ (/n Italian) 64150 lO-inch. *1.00 

By AroaSelo RoHi, iDBuUt-fatal—Stt page 81) {llaUan) 62623 lO-inch. .79 

Nellabionda (The Fair One) . 

By Marcel Journet. Bua {la htdlan) 74191 12-ifleh. tLSO 

Lepokeilo: 

Ev'ry counlry. rv'rv township, fully con(c»c> 
Thosr of ihc MX wbom la his rank he prcHci, 
Gcnlle lady. Ihls my calaloKUf numbers 

Tis * dmumenrot 'my To^nHing^ "^' '"*" 

An il pImw ye. peruse il wilh me. 

In llalTa,~six humlrrd and forty: 

Then in (hernia ny.-^ouhle fitly seem plenty; 

While in old Spain her;,— we count thousands 



^■i»cnH^t■— eVry kind of Vjjm. 
Womenfolk of all conditions. 
Ev'.y form and ev'ry stale! 
Joumet'a Leporelh is a unique perfomunci; 
ol its kind, and his charBcterization always stands 
forth as an admirable foil lo the polished villainies 
of the suave and distinguished Don. This great 
bulfo number, usually called the Calalogat 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 Elolra is horrified and drives off, 
■wearing vengeance. 

SCENE 111— /n /Ae Subuiti of StellU. Den 
■■"■"""■■^ Qaoannl') Palace VliAU an iht Right 

A rustic wedding party comprising Zetlina, Maietto and a company of peasants are enjoy- 
ing an outing. Z>an Cioeanni 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. 
(reshments. contriving, however, to detain Zerlina. 
Maietla protests, but the Don points significantly to 
his sword and the bridegroom fallows the peasants. 

The Don then proceeds to flatter the young girl 
and tells her she is too beautiful for such a clown as 
Maiello. She is impressed and coquettes wilh him in 
the melodious duet. La d Jarem, the witty phraaea 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 Farrsr. Soprano, and 
Antonio Scotti. Baritone 

(In llatlan) 69019 12-inch. *4.00 
By Emma Eames. Soprano, and Emilio 
de GoKoria, Baritone 

l/n Ftalian) 69005 12-inch, 4-00 
By Griiiella Pareto. Soprano, and Titta 
RuSo. Baritone 

l/n Italian) 92505 12-inch. 4.00 
By Mattia Battistini. Baritone, and 

Emilia Corsi. Soprano n>i>Ti. .»>i>i 

{In Italian^ 92024 12-inch. 3.00 n>llsi:n as rEKLiHi 



VICTOR BOOK OF THE OPERA — MOZART'S DON GIOVANNI 

Thia celebrated number, which haa been sung by many 
fatnoua artiala during the one hundred and twenty years lince 
its Gnl hearing, ia one of the beat examplea o( the many apark. 
ling concerted number* which Mozart haa written. Alwaya 
inlereating, it ■■ wholly delightful when aung by auch artiata aa 
thoae who have rendered it for the Victor. Not leaa than four 
veniona, by famoua exponenia of the characters of Ztrllna and 
Don GiooannU are presented here. 
1>0B Giovanni; 

Nay. bid me not renign, love, coldly the band 

I would and yd I would not. I feci my heart 

ShoilS'srihou prove false. I could not. became 
thy Korn and live. 
Don fimvANNi; 

Come then, oh come then, dearest. 
Zexliha^ 

Yel should Ihy fondues alter. 



Out joy no bounds than know! 
Miss Farrar's Zeillna ia a dainty and fascinating character, 
r>ns aint.fnti and she sings the music brilliantly. It ia hardly necessary to 

JEJiH DE lEsiKE AS DOH CIO- lay anything about Scotli's Oon GfoTonRf, SB it IS quite familiar to 
VAMKr, HIS nttuT *s a opera-goers, ranking among his best impersonations. The 
' ' '^ rendition by Mme. Eames and Mr. de Gogorza ia a most delight- 
ful one, while two other records by famous European artists are also offered. 

Cheannl is about to lead Zerilna away, when Donna Elaira, who haa been watching 
rescues the young girl and carries her off. to the chagrin 
of the Dun. Donna Anna now enters with Ocfaola, 
who asks the help of his friend Don Glooannl in tracing 
the murderer of Donna Anna'i father. The Don assures 
them of his devotion, and goes to his palace, while 
Donna Anna tells her lover that she recognizes by his 
voice that Don Qfoaannl ia the one who slew her father. 
They depart, and Ltpoidio and the Don enter. The serv- 
ant telU his master that when Donno Elelra and Zallna 
arrived at the palace, and Elcira attempted to tell ihe 
peasants the truth about the Don, he ted her gently out- 
side the gate and then locked it. He ia 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 Dan Gloeannl'j garden. Ztrilna 
is endeavoring to make her peace with Maaelto, but he 
is sulky. She then sings her lovely Baltl, batll. 

Batti, batti. o bel Masetto (Scold Me, 
dear Masetto) 

By Marcella Sembrich. Soprano 

UnhaUan) 88026 12-ioch. «3.00 
This gende number is in striking c 
brilliant writing in the lighter bits of Zeriini 

Chide me. clear Ma'clto. 
Chide Zerlina at your will: 



VICTOR BOOK OF THE OPERA — MOZARTS PON GIOVANNI 

MokHo in only Half appeaeffd. but goea in to fliuice wilK 
bis bride. Donna Anna, Donna Eicira and Dan Oclaoto, diiguUed 
and masked, enter and aing a ttio, in which ihey pledge them- 
Belvea to have revenge on the traitor. 

The scene changes to the inlerior of the palace, where 
the ball ia in progress. Don Giovanni continues his efforts (o 
get Ztrllna away from her jealous and watchful lover, and 
finally succeeds, but ZerUna calls for help and Maaetto and the 
three conspirators rush to her Eusistance. TTiey denounce Don 
Clooannl, who defies them with drawn sword, and makes his 
escape from the palace. 

ACT II 

SCENE I— A Square In Seolllt. Donna Elolra'i RaUoKt on iht 
Left. Il it 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 whom Donna Ehira possesses, and is plotting to get 
the mistress out of the way. As Elvlta sits at her window, he 
addresses her. pretending to he repentant, but when she comes 
out he pushes Ltbortilo torward 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 hU famous ».,.. on.^i 
StrenaJe to (he fair waiting maid. uaibil as don ciovanhi 

Serenata. "Deh vieni alia finestra" 
(Open Thy W^indo'w, Love) 

By Antonio Scotti, Baritone 

(In Italian) 88194 12-inch. *3.00 
By Titto Ruffo, Baritone 

(In tiallan) 671 12 lO-iach. 2.O0 
By M, Hector Dufraane. Baritone 

(In Fnnch) *4S01 1 lO-inch. l.OO 
By Ciuseppi de Luca. Baritone (Piano 

ace.) {In Italian) *62623 lO-inch, .75 



Thyself one moment sho*; 




.hr WDuIdst thou MC me dying 
De««iirin(..a< thy l«i,> ^ . ^ ^ 

Viiluc. worthy an an»l, thy 


"-.IS'- 



0, for one kiss, this soul would perish: 
Ruffo's impersbnation of Don Giovanni is admir- 
able in every respect. He is the profligate nobleman 
and irresistible wooer to the life, and sings the 
BEXMD AS ats liioVAKM difficult Bcote with ease. Scotti's rendition o( 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 Masttlo, who appears with a company of villagers. 
nil armed with muakets. seeking the villain. The Don. pretending to be Leportllo, offers to 
put them on the right track. Then follows a aeries of amusing situationa. 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. 

~^D«dUi-FaaiRtard—Fer tik ifaetcMc d^ n DOUBLE-FACED DON GOVANNI RECORDS, patt 81. 
80 



VICTOR BOOK OF THE OPERA — MOZARTS DON GIOVAKNI 

The neit Kene ihowf the Cathedral Square, with the atatue 
of the mucdereil Commaiidant 
in the centre. The Doa and 
Leporclh enter, and are diKUU. 
ina the event! of the evening, 
when the ilatue apealcs to them. 
Ltparelto it tenilied, but the Don 
defiei a]l spirila and boldly in- 
vitei the statue to supper. 

The Kcne changes ta the 
banquet hall in the palace of 
the Don. In the midst of the 
festivities . loud knocking i. 
heard. The gueats flee in terror, 
the lights go out. and the gigan- 
tic figure of the Cominanaant 
appears at the door. Lcpordio 
cowers in terror undei the table, 
but Don GlooannI is deliant until 
the ghost seizes hii hand, when 
he feels for the Rrst time a ter- 
rible fear. The statue sinks, 
flames appear on all sides, and 
demorj rise and seize the guilty 
libertine. 

/Minuet from Act I By Victor Dance Orchestra U.^tn ... ■ l ., ■.■ 

\ Fonvard M»rch-Tuo Sttp E^ t'/cio. Dance OrcAe^mP*^**" "-«■«>>. "-aS 

jSiiinade By M. Hector Dufranne. Baritone {In Fnnch) [,.-,, ,„ . . , „„ 



DIE NEUGIERIGEN FRAUEN 

(Itiliu) 

LE DONNE CURIOSE 

lDt«.nch KM-m-th'-mh) 
(Eadiih) 

rNQUISmVE WOMEN 

MUSICAL COMEDY IN THREE ACTS 
Libretto by Luigi Sugana. after Carlo Goldoni : music by Ermsnna Wolf-Ferrari. 
ProJucerl in Munich in 1903 a» Dl< Ntuglerigen Fraam. First production at the Metropolitan 
Opera House, New York. January 3, 1912, with Fsrrar, Jadlowker, Scotti, Fornia and Murphy. 

Character* 

OTTAVIO, a rich Venetian Bus 

BEATRICE, his wife Meno-Soprano 

ROSAURA, hU daughter Soprano 

FLORlNIKi. betrothed to Rosaura Tenor 

PANTALONE, a Venetian merchant .Buffo-BaHlone 

LEUO. k • I • J (Baritone 

LEANDRO. r» '"«"*'• i Tenor 

COLCMBINA Roaauras maid Soprano 

ELEAN<»A. wife to Lelio , Soprano 

ARLECCHINO. lervanl to Panlalone BuAo-Bass 

Servants, gondoliers, men and women of the populace. 

nine and Pfact : Vtrda ; tht mlMe of iht dghlttnth ccntary. 



VICTOR BOOK OF THE OPERA — INQUISITI VE WOMEN 

Le Donnt Cariott ia a genuine comedy. The 
plot ii very liRiple, and deala with the achem- 
ing of BtaMa, Awiuro. Eieanom and Colamblna 
to Bain enlTanee to the Friendahip Clubhouse, 
oE which their huabanda and lovera are mem- 
bera. Over the door of the club mny be aeen 
the motto, "No Women Admitled." Each 
woman haa her own theory as to the doinga 
behind cloaed doora, and they aeek in varioua 
vraya to gain an entrance- In reality the Tnen 
are enjoying themielvea with aimple maacuMne 
pleaaurea, and chuckling over the intenaecurioaity 
of their wives and aweethearta. 

With the help of ColoirAlna and Atlttxhlne, 
and by luring the keys from the pocket of 
one of the membeia, the ladiea Anally aucceed 
in making an entrance within the aacied walls, 
and are aurprised to find the men enjoying 
themselves harmlessly at dinner. On being dia. 
covered by the huabanda they are forgiven, and 
the evening ends happily with a merry dance. 

The Victor oSera two interesting airs from 
Act II. The first, Talta per le mlo btnt, ia sung by 
Aeiaura as BialHce and Cclemhina go off together 
to try to effect an entrance into the Club, and the 
second ii the love duet of Aojauro and RorinJo, 
AS iiijs^MjHA AND ruiiuNiio sung after she haa induccd him to give hcrlhe keys. 

Tutta per te, mio bene (Only For Thee. My Sweetheart) 

By Geraldine Farrar. Soprano (/» llallan) 68396 12-ioch. *3.00 

II cor nel contento (My Heart. How it Leaps in Rejoicing) 

By Geraldine Farrar and Herman Jadlowker {Italian) 88399 12-iach, I3.00 



DON PASQUALE 

(D«n Pahu-nah'Jehi 

COMIC OPERA IN THREE ACTS 

Text and muuc oy Gaetana Donizetti. Librei 
Sb Marc' Anlonlo, by Camerano. First prnent 
January 4. 1843. Firn production in Paria in French. 1664. Fiiit London production June Kl. 
1843. First New York production March 9. 1646, in English, and in 1049 in Italian. 

Recently revived at the Metropolitan with Sembrich. Scotti and Rosai: and at the Bos- 
ton Opera Hou«e with Nielsen. Bourrillon, Antonio Pini-Coni and Fomari. 

Characters 

Don PASQUALE, an old bachelor Bus 

Dr. MALATESTA, hi* friend, a physician . Baritone 

Ernesto, nephew of Don Pasquale Tenor 

NORINA, beloved o( Etnesto Soprano 

A Notary Baritone 

Chorus of Valets and Chambermaids, MajtH'domo, Dressmaker and Hairdresser. 

Scene anJ PtrhJ .- Riimt .- the beginning of Iht nlntletnth ctnlari;. 

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 lacking in 
genuine humor. Don Ptuqaatt is pure entertainment, nothing else, the true spirit of comedy 
being found 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. 

as 



VICTOR BOOK OF THE OPERA— DONIZETTI'S DON PASQUALE 



ACT I 
SCENE — A Room in Don Pasquale's House 

The Don is eagerly awaiting the arrival of Dr. Malatesta, who has promised to obtain 
for him a young and lovely bride. 

Son nov'ore (*Tis Nine O'Clock !) 

By Antonio Pini-Corsi, Baritone, and Ernesto Badini, Baritone 

{In Italian) *68273 12-inch. $1 J&S 

7*he 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 

Pasquale: 

A fire, all unfelt before, Ah! hasten speedily, 

Uurns in my heart's core: Sweet little bride, to me I 

1 can resist no more — Yes, I am born again! Now for my nephew,^ — 

ril strive no longer. By playing thus the careless, heedless hair- 

Of old age enfeebling me, brain, 

Forgoi is the misery. See what it is the wise and wary gain! 

Feeling still young to be — (Looking off.) 

Than twenty mucn stronger. Ah! 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 
Of early youth, adieu! ye vanish! 
If I e'er long'd for riches, splendor, 
It was but for thee, love; 



But now, poor and abandoned, I, 
Reduc'd from my condition high. 
Sooner than thee in misery see, 
Dearest, I'll renounce thee. 



Before leaving his uncle, Ernesto begs him to consult Dr. Malatesta for advice, but Don 
Pasquale says it was the Doctor himself who proposed the plan and offered his own sister as 
the happy bride. Ernesto is astonished to hear that the Doctor, -who he thought was his 
friend, had deserted him. 

SCENE II— y4 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 Huguet, Soprano 



Norixa: 

"(ilanccs so soft revealing 
The llame of truest love, 



{In Italian) *68272 12.inch, $1.25 

To that sweet maiden kneeling 
lie swore he'd faithful prove!" 



Cavatina— So anch^io la virtu magica (I« Too, Thy Magic 
Powers Know) 



By Amelia Pollini, Soprano {In Italian) *62103 

She then declares that she too knows the value of a glance and smile. 



10-inch, $0.75 



Norina: 

1, too, thy maeic virtues know. 
Of glance well tim'd and tender, 
A Kiiuli- smile, born to beguile, 
I know — an old ofTenrlcr! 
A hidden tear, a languor near, 



I know the mnilr, oh, dear, 
Of love's bewitching wilt-s, 
llis facile arts and guiles. 
To lure with wanton smiles. 
I know the modes, oh, dear! 



*DoubleJ^aoeJ RtcorJ—For title of opposite aide «ee DOUBLE-FACED DON PASQUALE RECORDS, page 90. 

86 



VICTOR BOOK OF THE OPERA— DONIZETTI^S DON PASQUALE 

A servant gives her a letter from Emetio, just as the Dodor enters and informs her that 
he has conceived a scheme to force her lover's guardian to consent to the marriage. Norina 
declares she will have nothing to do with it, bidding him to read Ernesto's despairing letter, 
in which the young man tells her he is disinherited and will leave Rome, bidding her a last 
farewelL 

The Doctor soothes her, telling her he will induce Ernesto to remain, and then reveals 
the details of the plot against Don Pasqutde, 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 
Norina shall play the part of this girl, and go through a mock marriage with Don Pasquale. 
Norina is delighted and begins to rehearse her new rdle. This takes the form of a charming 
duet, which 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 Hutfuet, Soprano, and Ernesto Badini, Baritone 

(In Italian) *68272 12-inch, 1.25 

Nokina: Doctor: 

My part I'll play, if not oflfendinf^ 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 fiel'* 

Our plot but tends, you may believe, Doctor: 

Don Fasquale to deceive. Pursed-up mouth — "Ashamed am I." 

Norina: Norina: 

We're quite agreed, and I'm enlisted. "I'm quite confus'd, my thoughts take wing — " 

Would 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 head 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 sprighdy duet, which closes the act. 

Vado corro (Haste We !) 

By Giuseppina Hutfuet and Ernesto Badini (Italian) *62097 10-inch« $0.75 

ACT II 
SCENE— i4 Richly Furnished Hall in Don PasquaU's House 

Don Pasquale, in the most youthful of wedding garments, enters and struts up and 
do%^n, 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 w^ife, 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. Ehn 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 
straw, and the bewildered old man stands in a daze, his brain refusing to comprehend what 
has happened! 

This tableau is followed by the quartet, E rimasto, 

•DoMsJ^aeeJ Ruord—For tUk i^f^pfiotlk aide see DOUBLE-FACED DON PASQUALE RECORDS, page 90. 

87 



VICTOR BOOK OF THE OPERA— DONIZETTI^S DON PASQUALE 

E rimasto la impietrato (He Stands Itntnovable) 

By Linda Brambilla, Soprano: Antonio Pini-Corsi, Baritone; 
Gaetano Pini-Corsi, Tenor ; Aifuato Scipioni, Bass 

Pasquale: (In Italian) *16566 10-inch« $0.75 

Dream I? Sleep I? What's amiss? To know not if be 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 ? 
We shall see what's coming next! 
I, Don Pasquale, she'd think meet 
To trample underneath her feet! 
NosiNA AND Ernesto: 

lie stands petrified, and seems — 

The great finale to Act 11 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, two carriages, 
new furniture, etc., planning expenditures on a lavish scale. Don Pasquale attempts to pro- 
test, but is silenced, and in a voice choked with rage and astonishment begins the finale. 

Son tradito (I Am Betrayed I) 

By Giuseppina Hu^et, Soprano; Antonio Pini-Corsi* Baritone; 
Gaetano Pini-Corsi, Tenor ; Af^sto Scipioni, Bass 



Malatesta : 
Take heart, Pasquale, my old buck. 
Don't be discouraged, use your brains. 

Norina: 

Now then, at least, my worthy friend. 
You must begin to comprehend. 



Pasquale : 

I am betray'd, trod down and beat, 
A laughing stock to all I meet; 
Oh! with mingled rage and spite 
I am suffocating quite! 

Norina ito Ernesto): 

Now you see, ungrateful heart. 
How unjust was your suspicion: 
Love, to bring him to submission, 
Counsell'd me to play this part. 

Ernesto (to Norina) : 

You are justified, dear heart; 
Momentary my suspicion. 
Love, to bring him to submission, 
Counsell'd thee to play this part. 



(In Italian) *62097 10-inch, $0.75 

All (pointing to Don Pasquale) : 

Don Pasquale, poor, dear wight. 

Is nearly suffocated quite! 
Malatesta {to Pasquale): 

You're a little heated, really — 

Do go to bed, dear Don Pasquale. 

(I'o Norina, in a tone of reproof.) 

On my brother-in-law to play 

Thus, I'll not endure, I say! 

(To the lovers, who are embracing behind Don 
Pasquale' s back.) 

Silly ones, for Heaven's sake, pray, 

Don't, I beg, yourselves betray! 



ACT in 



(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 dovrn 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, Why 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.) 

Why, you impertinent! 

Hut there — take what you well deserve, sir! 

(Boxes his ears.) 
Pasquale: 

Ah! 

(It is all over with you, Don Pasquale! 

All that now remains for you to do 

Is quietly to go and drown yourself!) 
Norina: 

(I must confess, 'tis rather hard a lesson; 

Yet was required to have its due effect.) 

(To Don Pasquale): 

I'm going now, then — 
Pasquale : 

Oh, yes, certainly! 

But do not take the trouble to return. 
Norina: 

Oh. we shall see each other in the morning. 
Pasquale: 

A face of wood — a closed door, you will find. 



Pasquale: 

Prithee, where are you running in such haste, 
Young lady, may I beg you will inform me? 

Norina: 

Oh! that's a thing that very soon is told: 
I'm going to the theatre to divert me. 

Pasquale: 

But the husband, with your leave — excuse me 
Saying so — may perchance object to it. 

Norina: 

The husband sees, and wisely holds his tongue: 
For when he speaks there's no one listens to 
him. 

Pasquale (xvith rising xvarmth) : 

Not to put me to the trial. Madame, — 
It is for your own good that I advise you — 
You'll to your chamber go, this very instant — 
Remain content at home — stay in the house. 

Norina (ironicallw) : 
Oh, really! 



*DoubkJ'aotJ Record— For UOe of opposite side see DOUBLEJ^ACED DON PASC^ALE RECORDS, page 9a 



88 



VICTOR BOOK OF THE OPERA— DONIZETTI'S DON PASQUALE 

As she goes out she intentionally drops a note which Don Pasquale seizes and peruses. 
He is petrified to find that it reads: 



"Adored Sophrania — 

Between the hours of nine and ten 

evening, 
I shall be at the bottom of the garden— 



By the small grated gate, 
this 'Tis in a song I shall announce my coming: 
Thine to command — thine faithfully; — adieu." 



This is too much, and the unhappy man runs in search of Malatesta. Ernesto and the 
Doctor enter, discussing the plot, and the young man, after being instructed to be at the 
garden rendezvous at nine that evening, goes out. 

Pasquale returns, and going solemnly up to the Doctor, exclaims : 

Pasquale: 

Brother-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 (Wait, Wait, Dear Little Wife) 

By Antonio Pini-Corsi, Baritone, and Giovanni Polese, Baritone 

{DotMeJ^aced^See page 90) (In Italian) 62103 10-inch. $0.75 



Pasquale: 

VV^ait, wait, dear little wife, 
I soon revenged will be: 
£*en now 'tis near, my life. 
This night, without delay. 
Thou must the reckoning pay! 
ThouMt see what little use 
Now will be each excuse — 
Useless thy tender smiles. 
Sighs, and tears — and wil< 
All I have now at stake, 
Conquer'd, again I'll take! 



Malatesta (aside) : 
Oh, the poor fellow! 
Vengeance he's prating; 
Let the dolt bellow — 
lie 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! 
(Exit together.) 



SCENE W—Don Pasquale s Garden— It is Night— Ernesto is DiscooereJ 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 {In Italian) 85048 12-inch. $3.00 

By Aristodemo Giorgini, Tenor, and La Scala Chorus 

(In Italian) 76010 12-inch. 2.00 



Ernesto: 

Oh! summer night, thy tranquil liizht 

Was made for those who shun the busy day. 

Who love too well, yet 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 your presence make the world more 
bright! 



Two renditions of this exquisite air are listed here, headed by Caruso's, familiar fo 
admirers of the great tenor. A fine record by Giorgini, a tenor now much liked in Italy, 
follows. 

Norina joins Ernesto, and they are reconciled in a duet. Tell Me Again. Pasquale and the 
Doctor, with dark lanterns, enter softly and hide behind 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 Ernesto, 
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. 

89 



VICTOR BOOK OF THE OPERA— DONIZETTI'S DON PA5QUALE 



DOUBLE-FACED DON PASQUALE RECORDS 

By ErnUu Cor.i and Antonio Pini-Coni (/n nallan)Lg^j^ U-mch. »l JS 



jSon nov* ore (Ti> Nine 0*cIockII 

[ By AntODio Pini-Coni mil EraeMo Biduii 

iietto (Glance* So Soft) | 

By GiuMpjiina Hu^et. Soprano (/n //oftonlLgjri 12-inch, 



(In tlallan)\ 

ID'un guardo. 
By iiiuuppin^ 
Pronu ia Hill (My Part 111 Play) 
By Giuaeppina Huguet and Erneato Badint (In llalfan)) 
(Overture By La Scala Orcheatral . __, _ ,_ - _|, 

Borbiert Jl Sieigba-Manca vn fcgllo By La Scala Orchalrar^"^" """="■ 

Va foco inaolito (A Fire All Unfelt Before) 

By Antonio Pini-Corii and Emeato Badini (/n Italian) 
Vado. corro (Haate We I) By Emilia Corai. Soprano, and 

Erneato Badini, Baritone (In llallan) 

E rimaato la impietrato (He Standa Inunovable) 
By Linda Brambilla. Soprano; Antonio Pini-Corai. 

Baritone: Pini-Corai, Tenor: Scipioni. Baaa (Inliallan) 

Biiir d'amon—lo aoniHi ricco (/ Haae RIcha) flj. Powart, 
Soprano; A. Plrd-Conl, Bariloat; and Chorta (In Italian), 

Cavatina — So anclt'to lo virtil ma^ica (I, Too. Thy Magic 
Vif tuea Know) 

By Amelia PoUini, Soprano (In Italian) 
Aapetta aapetto cara eapoaina (Wait. Wait. Dear Little 
Wife) By Antonio Pini-Corai. Baritone, and Giovanni 
Polese, Baritone \ln Italian) 

Sogao aoave e caato (Fond Drean: of Love) 

By Giuaeppe Acerbi, Tenor (In Italian) 
Fautl — Con dt aoldadoi (Soldttrs' China) La ScaU Chona 

Vado corro (Haate We) By Giuaeppina Huguet, Soprano. 

and Erneato Badini. Baritone (In llallan) 

Son tradita By Giuaeppina Hutfuet, Soprano: Antonio 
Pini-Corai. Baritone: Gaetano Pini-Corai, Tenor: Erneato 
. Badini, Baritone (In llallan) 



62104 lO-inch. .79 



6566 10-inch. 



62103 10-inch. .TS 



62624 10-inch. 



6209T 10-inch, .79 



(Icmlian) 

UEUSIR D'AMORE 

{Au le e ae / dam-oh'-nh) 
(Eatfluh) 

THE ELIXIR OF LOVE 

OPERA IN TWO ACTS 

Text by Romani. Music by Gaetano Donizetti. First produced in Milan in 1832. First 
London production December 10, 1836. First New York production in 1838. First Paris 
production in 1839. 

Cast 

ADINA, a wealthy and independent young woman Soprano 

NEMORINO, a young peasant, in love with Adina Tenor 

BELCORE, sergeant of the village garrison Bass 

DOCTOR DULCAMARA, a quack doctor Buffo 

GlANNETTA, a peasant girl Soprano 

A Landlord, a Notary, Pecuants, Soldiers, Villagers. 

Scene and Period : A little Italian village ; the nineteenth century. 

This delightful example of Donizetti's work is a real op^ra boujfe, and while simple and 
unconventional in plot, it has always been a favorite because of the lovely songs w^ith which 
it abounds. 

Adina, a lively village beauty and heiress, is loved by a young peasant, Nemorino, who 
although handsome and manly, is afraid to press his suit ; but while the beauty treats him 
rather coolly she is by no means indifferent to him. 

ACT I 

SCENE — The Homestead of Adina 's Farm 

Adina and her companion are seated under a tree reading. Nemorino is near, pensively 
observing his innamorata, and ^ngs his first Caoatina, 

Quant'e bcUa ! (Ah ! How Lovely) 

By Emilio Perea. Tenor {In Italian) *62626 lO-inch, $0.75 

Nemorino: 

Ah! bow lovely! ah! how dear to me! 
While I gaze I adore more deeply; 
Ah! what rapture that soft bosom 
With a mutual flame 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, Udite, 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 

* Doabk-Faced Rtcotd-For Utk c/ oppoalU $ide «ee /M on page 93, 

01 



VICTOR BOOK OF THE OPERA — ELIXIR OF LOVE 

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

Dulcamara: 

I cure the apoplectical, 

The asthmatical, the paralytical, 

The dropsical, the diuretical, 

Consumption, deafness, too, 

The rickets and the scrofula — 

All evils are at once upset 

By this new and fashionable mode! 

Nemotino exclaims, '* Heaven itself must have sent this miraculous doctor to our village I '* 
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 Nemotino 's 
last coin in exchange for the coveted potion, which is in reality a bottle of strong wine. 

This scene is in the form of an amusing duet, Ohhligato. 

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 swain so merry. Feeling sure that the potion will bring the lady to his feet, 
he pays no attention to her, which piques her so much that when the sergeant arrives and 
renews his suit, she consents to wed him in three days. Nemorino laughs loudly at this, 
which further enrages the lady, and she sets the wedding for that very day. Tliis sobers 
Nemorino, who fears that the marriage may take place before the potion works, and he 
pleads for delay. Adina and Belcore laugh at him, and the curtain falls as preparations for 
the wedding are begun. 

ACT II 
SCENE I — 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 w^ith him. 

lo 8ono ricco e tu sei bella (I Have Riches, Thou Hast Beauty) 

By Mme. Passari, Soprano ; Antonio Pini-Corsi, Baritone ; La Scala Chorus 

(In Italian) *16S66 lO-inch, $0.75 

This amusing dialogue, supposed to occur between a rich old man and a young girl, is 
given here by two 'well-known singers of La Scala, supported by the chorus. 

The company now goes to an adjoining room to dance ; all but the Doctor, who says he 
doesn't know when another free dinner will come his way, and therefore remains at the 
feast. Nemorino enters, distracted, and tells the Doctor that the elixir has not yet taken 
etfect. 

" 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 I 

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 downcast looks, feels compassion for her, and gazing after her 
sadly, sings the lovely romanza, famous in every land. 

Una furtiva lagrima (Do^wn Her Cheek a Pearly Tear) 

By Enrico Caruso. Tenor {In Italian) 88339 12- inch, $3.00 

By Enrico Caruso, Tenor {Piano ace.) (In Italian) 81027 10-inch, 2.00 

By John McCormack, Tenor (In Italian) 74219 12-inch. 1.50 

By Florencio Constantino, Tenor In Italian) 74065 12- inch, 1.50 

By Emilio Perea. Tenor (In Italian) * 68 152 12-inch, 1.25 

* Dotthk'FaotJ Record* — For tiUe of oppo$tk siJe «ee page 93 » 

02 



VICTOR BOOK OF THE OPERA — ELIXIR OF LOVE 

Neclected ai the opera, bb b whole, haa 
been for many years, thiB lovely romanza, 
the BOng which Ntmorlno sings to [he tear 
that stood in hia Adina'i eye, will always 
keep the opera from being forgotten. This 
is one of the most famous of the Caniso 
records, and his exquisite sinKing of this 
beautiful number is somelhing lo be long 
remembered. 

Down her Mift chHk a prarly tear 
Slale from h<rr eyelids dark. 

Telling .Ihrir gay and t«>ivt thtti. 

Why'Th'en herdw" p?e™™' fly? 

When all her love she is showing? 
Could I but feci her beating bean 

Pressing against mine own^ 
Could I my feeling sofi impart, and mingle 
sigh wiih sigh. 
But feel her heart against mine own, 
GUdly I then v,-ould die. 
.'Ml h» love knowing! 

Mr. McCormack-B rendition !s also a 
most attractive one. Very few Elnghsh sing- 
ers are able lo sing an Italian aria in a man- 
ner that would be acceptable to Italian audi- 
ences, but McCormacL is one of these, and 
his rendering of Donizetti's exquisite air la 
an example of this mastery of the old achool 

The crafty Dulcamara now suggeata to 

AJina that she try the wonderful elixir in 

Hsmpel Caruso order to win back her lover, but she sa3rs 

A GEHIAH B£KEA«SAL of EllSta D'aMO>« (hc OCeds BOl SUch aids. 

Adiha: Adiha: 

With respect to your elixir. With a tender look I'll charm him— 

One more potent, sir. have I— With a mudesl smile invite him— 

Through whose virtues Nemorino, Wilh a tear or sigh alarm him— 

Leaving all. lo mc will fly! \yith ■ fond caress excite him. 

The« gi?ls*know eicn 'mor^Shan^i. NcmoHno's fate"* decided! 

When Naitorino has aung hia air A^na comes on wilh the soldier'a contract, which she 
has bought back, and tells him that he must not go away. Alt misunderstandings are now 
cleared away, and Belcore arrives to find hia bride-to-be embracing another. However, 
he is philosophical and saying, "There are olhcr womeni" marches off, while the villagera 
tell Adina and Nemorino of the latter'a good fortune. The Doctor claims credit for the 
reconciliation, and the curtain falls as he is relieving the peasants of their wages in relum for 
bottles of hia wonderful Eliiir of Loot I 

DOUBLE-FACED L*ELISIR D*AMORE RECORDS 

IUdite. udite o ruatici (Give Ear. Rustiest) 
By A. Pini-Corsi. Baritone {In Italian) ... i-i i„^i, >■ ->« 
Un. furrivs Ugrim. (A Furtive Tear) *^'" "-inch. 11.25 

By Emilio Peres. Tenor {In Hallan) 
iQuiDt'&bcllal (Ah. How Lovely I) 

{ By Emilio Perea. Tenor (/n Italian) 62626 10-tnch. .7S 

I Udite. udite o ruatici— By Arcanfelo Rossi. Bass {In Italian) 

flo Bono ricco e tu aei belli (I Have Richei. Thou Hast 
Beauty) By Maria Passari. Soprano; Pini-Corsi and 
Chorus { In Italian) ,-,-- ift-i«„k rK 

Don Pasquale— Quorfel, Aclll By Linda Bfambilla. Soprano: '"*"' »»-'ncl>. .!» 
Antonio Pini-Corsi. Baritone: Gaetino Pini-Corai. 
Tenor ; and Auffusto Scipioni. Baritone (/n Italian) 

93 



ERNANI HERNANI 

OPERA IN FOUR ACTS 

Libretto adapted by Maiia Piave; from Victor Hugo's drama "Hetnani;" music 1^ 
Giiueppe Verdi. Fir«t productioo in Venice, March 9. 1344. First London production at 
Her Maj«ty's 1 heatre. March 8, 1845. Firat New York pioduction. 1846. at the Altar PUce. 
At it! Pari* production, lanuary 6, 1846. the libretto was altered at Victor Huso's requeat. 
the characters being made Italians and the name of the opera changed to // Praicrlllo. 

Cist of Characters 

Don Carlos. King of Spain Baritone 

I>ON RUY GOMEZ DE SiLVA, a Grandee of Spain Bass 

ERNANI, a bandit chief Tenot 

Don RlCCABDO, an esquire of the King Tenor 

lAGO, (&-aA--«o) an esquire of Don Silva BaM 

Elvira (£/-»' -i-.AI betrothed to Don Sllva Soprano 

GlOVANNA iC^^h^h'-mh) in attendance upon her Mezzo-Soprano 

Chorus of mountaineers end bandits, follower! of Don Silva, ladiea of Eloira. followers of 
the King, Spanish and Geiman nobles and ladies, electors and pages. 

Scint and Ptriod : /Iragan ; about 1 519. 



VICTOR BOOK OF THE OPER A— V ERDl'S ERNANI 

ACT I 

SCENE 1— 7Ae Mounlalm of Aragon 

Eietra. a Spanish lady of tank, is about to be married (o the elderly Don Gomtx de Sllva, 

a Grandee of Spain. Ernani, a bandit chief (in leality John of Aragon, become a brigand 

■f(er his eatatea were confiscated), loves Eldra and resolvea to prevent this unwelcome 

marriage. The first scene shows a mountain pass where Emanl'i men arc encamped. 

Beviatn, beviatn (Comrades, Let's Drink and Play) 

By La Scala Chorus (/n Italian) *39168 12-ioch, (1^3 

The opeia 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: 

"What malti-rs (o the bandit 
If hunted anrl branded 
So wiiic br his sharer" 
EmanI, their chief, appears on a neighlwring height with a melancholy brow. Hia men 
remark at hia gloomy appearance, and he tella them that he is powerless to prevent the mar- 
riage of his betrothed to the aged Siloa on the morrow. He describes the peerless Eioiia in 
a fine aria. The Sweetest Flow'r. 

Come nigiada al cespite (The Sweetest Flow'r) 

By Luifi Colaiza, Tenor (/n Ualian) *6262r lO-inch, *0.T9 

The bandits offer their lives, if need be, in the service of their chief, and it ia decided to 
rescue Solra that night. 

O tu che I'alma adora {O Thou. My Life's Treasure) 

By Martitiee Patti. Tenor, and La Scala Chorus (/n Italian) 

•]656r 10-inch. W.IS 
EmanI, in this passionate aiia, sings of the charms of his beloved. 

Oh thou, my lifr's sole treasure. I lote thy starry (lances. 

Come, come to my arms adoring. Thy smile my hear! cntranwB, 

Death at Ihy frel were pleasure, Most Mested he of mortals 

The joy of heav'n is mine where'er Ihou art. To whom thou gav'st ihy heart! 

£rnan/ and hia men depart in the direction of Sllva 'a castle 
and the aceiie changes. 

SCENE II— f^orro's Aparlmenl in the Caille 
Ehiia is discovered alone, brooding over the prospect of 
the aacrilice, which ahe seems powerless to prevent. 
F.LViBA : 

■Tis near the dawrins. and Silva yet returns notr .Ah; would 
he eame no more-wiih odious wor.ls of loving, more deeply 
confirming my love for Ernani 1 

Emani involami (Ernani, Fly with Me) 

By Marcella Sembrich 08022 12-inch. I3.00 

By Frieda Hempel. Soprano 88383 12-inch. 3.00 

By Maria Grisi *63 1 73 10-incb. .75 

In this beautiful but despairing number she calls on her 

lover to save her, singing : 

Prevent t^i>"hal^''niarriaBe: 
With thee. e>n the barren dewrl 
Would beem ait Eden of enehantinent ! 
Two brilliant renditiona 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'i ladies-in-waiting now enter, bringing her wedding 
gifts, and in the graceful chorus with which this record begins. ""' •""' 
congratulate her. st¥>«irn as elvio 

'Daoik-FvaiRKarJ—FarliileBfBBi^ie^Jcic DOUBLE-FACED ERNANI RECORDS, i-a,, 100. 



VICTOR BOOK OF THE O P E R A— V E R D I ' S ERNANI 

Quante d^Iberia giovani (Noble Hispania^s Blood) 

By Ida Giacomelli and La Scala Chorua (In Italian) '''IdSer 10-inch, $0.75 

She thanks them, saying: '*EUich kindly wish awakes a response in my own heart;*' then 
sings, aside, a second number, " Tuiio sprezto che d'Ernanl, " 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 ^vrhen First 
Thy Beauty) 

By Angela de Angelis, Soprano ; Francesco Cigada« Baritone 

{In Italian) *35168 12-inch. $1.25 

We come now to one of the greatest scenes in the opera. Eloira, 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 with her. She appeals to his honor, saying : 

"In pity, sire, leave 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, which concludes 
this sixth number. 

Tu se' Ernani ! (Thou Art Emani!) 

By Giacomelli, Martinez-Patti and Pi^nataro (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 with this dagger I will slay us both I" 
The King is about to summon his guard, when suddenly a secret panel door opens and 
Emani appears. Carlos recognizes him and exclaims : *' Thou art Emani, the assassin and 
bandit," and in the spirited trio which follows the rivals declare their hatred, while Eloira, 
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^furola, 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 Situa, who 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 well-known 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 Emani are so distorted as 
to be almost meaningless. The few extracts w^hich are given have been revised and made 
somewhat intelligible. ** Opera in Ejiglish,** about which we hear so much nowadays, 
cannot be permanently successful without 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 Far congealing unto the core. 

In my breast were tho't too gainless. Winter lords it in this bo^om. 

Winter lords it within this my bosom. Far congealing, far congealing to the core, 

Far concealing, far congealing to the core. Unto the core, congealing unto the core I 

Far congealing unto the core, 

Now anyone who can tell just what this means is certainly a highly gifted individual I 
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, whose 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. 

* DmJbit-Faoti Record— For Me o/opposile »ide $te DOUBLE-FACED ERNANI RECORDS, page»99 and 100. 

96 



VICTOR BOOK OF THE OPER A— V ERDI'S ERNANI 

Vedi come il buon vegliardo 

CWeU I Knew My Trusty Vassal) 

By Maris Griai. Soprano: Carlo Ottoboni, 
Baai: Remo 3aii0iorKi> Tenor; and 
Giuieppi Sala, Baritone 

(/n IlaUan) *39169 12-mch, «U5 
Having reproached Kia bride for her aupiKMed 
tt«achery, Siha thinks of vengeance, and calling for hia 
armor and a aword. demanda that the Intruden follow 
hiro to comlwt. Before they can reply, the King'a 
aquirea enter and aalute their aovereign. The astounded 
Slea, though secredy enraged, kneels to his King, aay- 
ing : " Duty to my King cancels all offences." Th« 
great finale then begins with Carlos ' aolo, sung aside to 
tus squires : 

"IVell Ikntw my trusly tbsmI 



Finale, Act I 

By Maria Griai. Soprano: Carlo Ottoboni. 
Basa; Kemo Sangiorgl, Tenor; and 
Giuaeppi Sala. Baritone 
T«E KiHO rLE*D» Bit Lovi (In Italian) "itSefl 10-inch. »0.» 

The finale to Act I is continued in this record. The situation at the dome of the act may be 
onderatood by these quotations from the words the lihrettiat has {pven to the various characters: 

I will savs thee!* Power, dominion inij love's dtlighla, 

iAIoud Is 5>;iti): All these arc mint — all my will must abcyl 

Lit ihii Irusly friend depift. Siuva; 

EiHAHi. From my eyes a veil bis fallen . . . 

I thy frienrtf Never; unto deBlh my Ten- I c»n scarce believe my icnscsl 
geanw will pursue thee! Courtiers: 

Elviia: Well doth Silva hide hit an^r 

Fl;. Emini. lei love leach Ihre prudence! But within il still doth smolder! 

EmaiH yields to Eloira'i pleodinga and in the confusion makes hi* escape. The curtain 
falls on an impressive tableau. ACT II 

SCENE— ,^ Hail In Sllea; CailU 
After his escape From the cutle, nothing has been aeen of Emanl. Ehira believes the 
rumors of his death and despairingly conaenla to wed Don Slloa. 

Gaultiatn (Day of Gladness) 

By La Scala Chorus (/n Ilaban) *16»6» lO-inch. *0.75 

The first scene of Act II occurs in a magnilicent hall in the castle. The company of 
knights and pages of Sitoa, and ladies in attendance on Elalra aing the opening chorus in 
praise of (he nohle Sltea and his peerless bride. 

Oro quant* oro (I am the Bandit Gmani) 

By Maria Bernacchi. Soprano: Ltiisi Colazza, Tenor : and Torrea dc Luna, 

Bass {In Italian) *16969 10-inch, (O.TS 

Slloa, attired as a Grandee, enters. His squire. /ago. announces a holy man, who craves 
the hospitality of the castle. Emanl, disguised as a pilgrim, enters, then throws off his disguise 
and cKclaima, beginning this line trio : 

■■I am the bandit Ernani ... My men ate dead or in chains . . . My 
enemies are without Ihe caslle . . . Seize me and deliver mc up. for I am 
weary of life!" 
Siha, however, refuses to betray one whom he has received as a guest. The trio, 
which is one of the great scenes of the opera, then follows. 

* DmM.SaaiRmii—Ftrmk-fBM-t^ilJ'mcDOVm^EfACED ERNANI REC<:^tDS.paia99ai,i 100. 



VICTOR BOOK OF THE O P E R A— V E R D I ' S ERNANI 

La vedremo, o vetflio audace (I Will Prove, Audacious 
Greybeard) 

By Mattia Battistini. Baritone, and Ariatodemo SiUich, Baas 

(In Italian) 92007 12-inch, $3.00 

By Erneato Caronna, Baritone, and Torres de Luna, Bass 

(In Italian) *16570 10-inch, .75 

The retainers bring news that the King and his warriors are without the castle. Siha 
hides Emani in a secret passage and orders that the King be admitted. Don Carlos inquires, 
with irony, why Silca 's castle is so well guarded, and demands that he surrender Emani or 
lose his own life. Siloa refuses. The soldiers are ordered to search the casde. This duet 
then occurs, beginning: 

Carlos: I will prove, audacious greybeard. 
If thou^rt loyal to thy King! 
In my wrath I will destroy thee! 
Silva: Oh King, be just; I cannot yield! 

Vieni tneco (Cotne, Thou Dearest Maiden) 

By Emilia Corsi, Soprano; Mattia Battistini, Baritone: and La Scala 

Chorus (In Italian) 92008 12-inch, $9.00 

By Maria Grisi, Soprano ; Francesco Cigada, Baritone: Carlo Ottoboni, 

Bass : and La Scala Chorus (In Italian) *1 65 70 10-inch, .75 

This record begins "with a chorus of soldiers, who have explored the castle but have found 
no trace of Emani, 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 which follows the con- 
flicting emotions of those in the scene are expressed in Verdi*^s fiery music. 



A te scegli, seguimi (Choose Thy S^^vrord, and FoUo^sr!) 

By hvdgi Colazza, Tenor, and Torres de Luna, Bass 

(In Italian) *35169 

The King, hia followers, and the Lady Eloira having retired, 
Silifa exclaims: "Hell cannot hate with the hatred I bear thee, 
vile King I '* He then takes down two swords from the armory, 
and releasing Emani from his hiding place, challenges him* to com- 
bat. Emani refuses, saying that his life belongs to Siha, who has 
saved it. Siloa taunts him with cowardice and Emani consents to 
fight, but asks for one look at Eloira. Siloa replies that the King has 
taken her away. "Fool! "cries Emani to the astonished Grandee, 
" the King is our rival I " and agrees to combine with Sdoa against 
their mutual foe. Once their revenge is accomplished, Emani agrees 
to yield his life at Siloa *s call, and gives him a hunting horn which 
ahall be the signal for his (Emani' s) death. For this magnificent num- 
ber Verdi has written some of his most dramatic music. 

In arcion, cavalieri (To Horse, Ye Warriors) 

By Giuseppi Sala, Tenor; Cesare Preve, Baritone; 

and La Scala Chorus (Italian) *16571 10-inch, $0.75 

The act closes with the spirited duet and chorus by Emani, Siloa 
and the warriors of the Don, who prepare to pursue the King to the 
death. 

ACT UI 

SCENE— ^ Vault in AixAa-ChapelU Cemetery 

O de^ verd* anni miei (Oh Bright and Fleeting 
Shadoivs) 

ByMarioAncona,Baritone(//a//an) 88062 12-inch, $3.00 



12-inch, $1J&5 




VAN DYCK AS ERNANI 



• Doubk-FacmJ Record— For tilie of opposite ride wt DOUBLE-FACED ERNANI RECORDS, page* 99 and 1 00. 

08 



VICTOR BOOK OF THE O P E R A— V E R D I ' S ERNANI 



The third act occurs in the Tomb of Charlemagne at AiX'la-Chapelle. Carlos con- 
ceals himself in the tomb of his ancestor to witness the meeting of the conspirators who 
are plotting against him. He is depressed and melancholy, and sings this famous O de otrd, 
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 lO-inch, $0.75 

The conspirators, among whom are Emani and Silva, assemble at the tomb. Emani is 
chosen to assassinate Car/oa, and greets the decision with joy, exclaiming that his dead father 
will at last be avenged. The great ensemble then follows. 

O somtno Carlo (Oh Noble Carlos) 

By Mattia Battistini, Baritone: Emilia Corsi, Soprano; Luigi Colazsa, 
Tenor: Aristodemo Sillich« Bass: and La Scal% Chorus 

(In Italian) 92046 12-inch, $3.0O 

By Maria Grisi, Remo Sangiortfi, Francesco Cigada and La Scala Chorus 

(Douhle-/ai»d—S€e bekw) (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 Eloira rushes 
to him and asks for mercy. The Emperor heeds her, pardons them all, and unites Ehira 
and Errumi. In this great finale all glorify the Emperor except Stlva^ who still secredy cries 
for vengeance. 

ACT IV 

SCENE — Terrace of a Palace in Aragon 

Festa da ballo (Hail, Bright Hour of Gladness) 

By La Scala Chorus (In Italian) *16572 10-inch. $0.75 

The lovers are novi happily united, and this scene sho^s them at Emani's palace, which, 
with his estates, has been restored to hini. A chorus of ladies, masks and pages greets the 
happy pair. 

Fema crudel, estin^ere (Stay Thee, My Lord !) 

By Maria Bernacchi, Soprano : Luigi Colazza, Tenor: and Torres de Luna, 

Baritone (DrnMe-faeed—Sethdoio) (In Italian) 55170 12-inch, $1.25 

Ehira and Emani are alone on the terrace, oblivious to all but each other, when a blast 
from a horn is heard. Emani 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 SiliHi for her husband, but 
in vain. After an affecting farewell Emani fulfills nis vow, stabs himself and dies, while 
Eloira falls lifeless on his body. The curtain falls as the cruel and remorseless Siloa is gloat- 
ing over his terrible revenge. 



DOUBLE-FACED ERNANI RECORDS 

V55007 12-inch, $1.50 



finfelice e tu credevi By PereU6 de Se^urola, Bass' 

Puritani — Sorgea la rtotte By Perelld deSegurola, Bass (In Italian)^ 
Ferna. crudel By Maria Bernacchi, Soprano : Luitfi 

Colazza, Tenor : and Torres de Luna, Baas (In Itauan) 

O sommo Carlo By Maria Grisi, Soprano : Remo Santfiorgi, 

Tenor: Francesco Cigada, Baritone: and Chorus (Italian) 
Emani Selection By Pryor*s Band 

Mdstersinger— Prize Song By Victor Sorlin, 'CelUsi 

A te scegli, setfuimi By Luigi Colazza, Tenor, and 

Torres de Luna. Bass (In Italian) 

Vedi come il buon vegliardo By Maria Grisi, 

Soprano; Remo Sangiorgi, Tenor ; Giuseppi Sala, Tenor : 

and Carlo Ottoboni, Bass (In. Italian) 



35170 12-inch, 1.25 



35111 12-inch, 1.25 



35169 12-inch, 1.25 



* DoMtJ^aotd Reconh-For Nile o/appottie die jm DOUBLE-FACED ERNANI RECORDS, page 100, 

90 



VICTOR BOOK OF THE OPER A— V ERDI'S ERNANI 

(Bevimm, bevum By La Semis Chorui (In llallan)\ 

Db quel di che t*ho vcduta By Angela de Aagelia. >39168 12-uieIi. tUS 

Soprano, and Franceaco Cigada. Baritone (/n llallan)} 

IO tu che raUna adon By Maftinet-Patti, Tenor. 1 

and Chorua (/n /Wten)| ,, ,. , in^-„,l. 7* 

Quante d'Iberia tfiovani By Ida GUcomeUi. Soprano, f'*"*^ lO-incn. .15 
and Chorua (M ttaltan)) 

(Finale.Actl ByMariaGrui.Sopraao: Carlo Ottoboni. I 
Baaa; Remo Sangiorgi, Tenor ; and Giuaeppt Sala, Tenorl,, ,,„ m - 1. t* 

Tu ae- Emani By IdaGucomclli. Soprano ; Martinei- Mf^**"" lo-incn. .15 
Patti. Tenor: and Enrico Pignataro. Baritone (/n Italian)] 
[Eaultiaml By La Scata Chorua (In haUan)^ 

\Oto quant* oro By Maria Bcrnacchi. Soprano: ll6S69 10-inch, .79 

I LuitfiColazia. Tenor; and Torrea de Luna, Baaa (?n/iaiJan)j 

I La vedremo By Emeato Caronna, Baritone, and I 

Torre* de Luna. Baa* {In Iialian)\ ini«.k t* 

Vieni meco By Maria Griai, Soprano : Franeeaco Ci«ada, f ^*>5I0 lO-inen, .rs 
Baritone: Carlo Ottoboni, Baai: and Chorua (/n Italian)] 
fin arcion. cavalieri I By Giuacppi Sala, Tenor: ) 

\ Ccaare Preve, Baaa; and Chorua (In ltaUan)\lbi7 1 10-inch. .75 

[SirideatiU leon di Caatitflia By L* Scala Chorua {llaUait)] 

IFcaCa da hallo *'0 come felici" By La Scala Chorua I 

u I . n _ J, J . <-,. '^"^'""""'116372 10-inch, .79 

HamUl—O dn, diKaeda la Irltltaa [ 

Bt/ Franeeaco Qgada, Baritone, and Chona (In Italian)] 
IBrnani involami (Ernani. Ply with Me) I 

By Maria Griii, Soprano (In Italian) I , . , , „„■„„(, -, 

Ballo In MaKhtra—0 Flgllo d InghllUrra |6SI73 lO-inch. .15 

Bs Hagatl. Salvador. Ogada, SlUlch. and Charm (In Ilalian)] 
Ilnfelice e tu credcvi (Unhappy Onel) 1 

By Ariatodemo Sillich. Baaa (In Italian)]-.,.., ,„ .„„i, ,, 

■ # r\i aj I ,_ /03421 lO-incn. ,75 

Manon — Uft, Manott, $emfirt la itreiM | 

By Giorgio Malad, Tatar (tnltallan)] 
{Come ru^iada al ceapite By Luigi Colaiia (In Italian) \ 

O tu che ratma adora [62627 lO-inch. .75 

By Martioec-Patti. Tenor, and Chorua (In Italian)] 



FALSTAFF 

COMIC OPERA IN THREE ACTS 

Text by Boito, taken from Skakeepeere'* comedy, The Meny fVloa of Winitoi. Muaic 
by Verdi. FirM production. Milui, March, 1693. Firat American production at the Metro- 
politan Opera Houae, New York, Februajry 4, IS95, under the direction of Maurice Crau. 



Charaetera and Oritfinal Metropolitan Caat 

Sir John FALSTAFF Baritone Mauiel 

FENTON, a young gentleman Tenor. . . .Ruaaitano 

Ford, a wealthy burgher Baritone. . -Caropanari 

Dr. CAIUS. a phyaician Tenor Vanni 

?S?SSf- }<■■«— ■>'"■'-•■: rs2::::"sS^ 

MRS. ALICE FORD Soprano Eamea 

NANETTA, her daughtec Soprano , . -de Luaaan 

Mrs. QUICXLEY ContrJto Scalchi 

MRS. MEC Pace Meno-Soprano de Vigne 



I It wai the youthful dream of the Brist compoaer, Verdi, 

j to write a comic opera, but it waa not until he wai nearing 

eighty years of age that hia dream waa realized. The music 
of Falitaff denotes in all things almost the antitheais of the 
style andmethods and ideala of Verdi'a early operas. Thq 
i muaic is vivacious and sparkling, being interspersed with 
delightful fragments of melody. 

Sit]ahn Fidtlaffia a merry rogue, so conceited as to be- 
lieve himself irresistible to all womankind. Hia egotism 
leads him to think he haa faacinated both Mldreu Page and 
Mitinu Alice Ford, and he writes each of the ladies ■ love 
letter identical in contents. The two women compare the 
I notes and plan to punish [he Knight for presuming to address 

them in such terms of affection. 
! ForJ leama of Falttaff'i advances to hia wife and fliea 

j into « jealoua rage. MUlrtti Ford aends Dame Quicj^'qt to Sir 
John with an invitation to call, which he is quick to accept. 
I Scarcely does he arrive at ForJ'i house than Dame Qu'ct'cy 
reports the coming of Mltlreu Page, and Fahlaff ia com- 
pelled to hide behind a acreen. Then the angry Ford 
ucBHAHH Ai rAUTAir appcafa With hia fiienda, determined to Capture Fojfiqf, but 

lOL 



VICTOR BOOK OF THE OPER A— V E RDI 'S FALSTAFF 



the laRer takea refuge in a 
clothes baakeL Mliinn ForJ 
has the basket thrown into the 
ditch, and the unlucky suitor 
receives a good ahaking.up 
before the jeenng crowd. 

Falilaff, undaunted by his 
basket experience, aTransc 
to meet Ladi/ Font again, the 
trysting place this time being 
at Heme'i Oak, in Windwii 
Park. Ford and his men, in- 
cluding Plllola and BarJM,. 
who have turned against Fal- 
jf<1]7' because of his bad treat- 
ment of them, overhear the 
arrangements and plan to be 
therealso. Now, For/ 'i daugh- 
ter. Nanella, is in love with 
Fenfon, but her father de- 
mands that she marry Dr. 
Calm. ForJ tells the doctor 
that this is a good time for 
him to secure NantUa, and 
promiaea to aid him. Dame 



Qu/a^/cil, however, leams 
of this, and the women 
plan to have Ferdon spoil 
the designs of the phy- 

Falilaff's love scene 
with AfWreii Ford is inter- 
rupted by Ford's friends, 
disguised aa elves and 
fairies, who thiash the fat 
knight soundly. In the 
confusion Dr. Calua mis- 
takes Bariolfe iot NaneOa, 
Ford is finally won over, 
and his daughter and 
Ftnton are happily mar- 

The Victor offers two 
very fine records of two 
of the best known airs 
from the opera: the Qaand' 
em paggto, sung by FalOaff 
to MMrttt Alice Ford in 
Act II; and the Sat fit 

I d'urt niffio from Act lU 
sung by Nantlla as the pre. 
tended fairies gather in 

I Windsor Park. ' 



Quand* ero paggio ("When I "Was Page) 

By Antonio Scotti. Baritone Un Ilallart) 88194 

Sul fil d'un sof&o (Borne on the Breeze) 

By France* AUa, Soprano Un Italian) 88247 



Z-inch. *3.00 



12-iDch. *3.00 



Fiuat. the Aged PhilofOpher. 'Wurie* of Life 



VICT O R BOOK OP THE O P ER A — G O UN O P 'S FAUST 

FAUST 

Fifty-four yean have elapaed lince the first production 
of thi* masterpiece by Gounod ; and it ii to-day lung 
throughout the world more than any other five opera* 
combined. At the Paris Op^a alone it has been siven 
more than 1 500 times, and the new setting recently pro. 
vided (or it there coal not less than 130,000 francs, a sum 
which would not be risked on any other opera whatever- 
It seems strange now, in view of the overwhelming 
success of Faust, to recall that it was received with indif- 
ference in Parih and all but failed in Milan. The London 
production, however, with Titiens, Giuglini, Trebelli, 
Gassier and Sontley, was quite lucceufulj and in the 
following June Patti sang Morgotrilt 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 does not attempt to follow the Goethe drama, but 
merely makes use of the Faait-Marguoitt incident This 
is sufficient, however, to provide an intensely interesting 
, Bubiect fot Gounod's lovely music. 



:. Palis 



Prelude to Faust 

By L'Orehestre Sytnphoniqui 

The m-elude to Faust is a short ... 

follow. The fateful single note of the full 
OTchestm with which it opens and the mysteri- 
ous chromatic chords stealing in from the 
strings form a fitting introduction t 
of such unusual portent. 

The tempo is then accelerated and a pas- 
sage suggesting Fnuil'i mental struggles leads 
to the lovely melody in F major { Dio pouenle) . 
The prelude closes with sustained chords, sole 

This number is rarely heard apart from the opera, and so excellent a reproduc 
this one by the orchestra will be highly appreciated. 

ACT I — The Compact 

The first act reveals the studio of Fatal, an aged philosopher and alchemis^ 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 S3rmbol of the despair in the heart of the 
aged Fatal, 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 
Boat llu-ough the open window. He goes to the window, and filled with rage at the sight 
of human happiness, he cunes all earthly things and calls on Satan to aid him. 

This scene is given in a roost impressive record by De Tura and the La Scala Chorus. 




La vaffa pupilla (Rise. Slumb'rintf Maiden) 

By Gennaro De Tura aiid U Seals Chorus (/n Itattan) 



i) 7b01» 



t-incfa, t2.00 



R rooks and bees and floweri 
Warble lo the grove. 
Who has time for >adness? 
Awake 10 love! 
Favbt: 
Foolish echoes of human gladne 



Goblet » oft 
w!^ "tt 'dot 



And forgiveneM and prayer 
Infernal king, appear! 
iUiphistBpktltt apptari.) 



VICTOR BOOK OF THE O P E R A — G O U N OD'5 FAUST 



The acroll u (igned in letter* of fire, Fautl 
drain* the magic potion snd i* ttanafotmed 
into a youth. The spiiited duet which follow*, 
ending the first act, i* suns with fine etfecl : 
both of the Victor rendition* being most 



Mephlitopfiela, attired in the dre** 
a gallant, promptly appeal* in re- 
onae to the call and propoae* that 
e good Doctor ihoU enter into a com- 
pact with him. in return for richei. 
invthine he denrea, Fauti 
The 



lo votflio il piacer (The 

Pleasures of Youth) 

By Gietano Pini-Corai. Tenor : 

Ariftodemo Sillieh, Bm* 
. (/n/fd/fon) *63174 10-in.,*0.75 
The bargain i* aoon agreed upon 
and FaatI ia about lo pledge hii soul 
in return for youth and love, but a* he 
■till hesitate*. Mtphlite aaya, "See bow 
fair youth invites youl Lookl" 

O tnerveille (Heavenly 

Vision) 

By Eiu-ico Carojo. Tenor; 
Marcel Joumet. Ban 
(In FnncJi) 89039 13-io.. »4.00 



for 



Then follow* the delicate paaaage 

atringa which accompanies the vis- 

Fausl. gazing rapturously on the 

.uliful MarguaUe, 




ACT II— The Fair 
(7%e scene jAou* a fair In pngntt In the paillc njaart of a Gtrman lokn) 
A motley crowd of students, soldiers, old men, young women and matrons ai 
ing themselves — drinking, talLing, flirting, quarreling! and this 
the Kermeaae Scene begin*, graphically picture* the whole. 

Kermesse Scene 

By New York Grand Opera Choru* 
By La Seala Choru* 



(Inllaban) 74213 I2-incIi. si.au 
Un Italian) *6ei60 12-inch. 1.2S 
sturdy decIarBtion c 



Each group delivers its quota in distinctive fashiotk, ihe *oldiers' sturdy decIarBtion con- 
ting with the laughing, chattering passages allotted to the women: the high-pitched 
etto of the gossiping old men always proving a favorite portion of this number. At the 
e the different group* combine into a chorus of six parts. This wonderful piece of 
ral writins is reproduced in a strikins manner, and sivea a moat realistic oicture of the 



falsetto 
Kermeaae. 



'DtaUtfactJ Rmri—FBT utk a) 



itriking manner, and gives a moat realistic picture of the 
HtHJtict DOUBLEfACED FAUST RECORDS, pf I2S. 



VICTOR BOOK OF THE O P E R A — G O U N CD ' 5 FAUST 



Wc know wbal i 



Fights for to-iUy'i liiile gloryi "'■' ■■- ' '--—'^- < 



Th«y would 11 
Lont IWr the 



Here ValtnUne. A 
about to depart for tl 
Bnd hi* home. 



Dio possente (Even the Bravest Heart) 

By Antonio Scotti. Baritone (tn Italian) 88203 12-inch, *3J>0 

By Emilio de Gotforsa. Baritone (/n llallan) 86174 IS-inch. SMt 

By Titta RuSo. Baritone (In Italian) 93043 12-lnch. 3.00 

By Fraacefco Cifaila {Oi^l^faaJ—Sm pa^ 125) {Italian) 68279 12'ii)eli. I.Z9 

In the precwUng recitative he apeaka of hia feara in leaving hi* liater Margutrltt alone, 

and conlemplatei with aftecdon the amulet she haa given him to bring good fortune. 

Valihtihe: 

Dear gift nf my sister. 

Made more holy by her pray'r. 



The (amiUar "Cavatina" then foUowa: 

Ever braretl helit may swell, 
In the moment of farewell. 
Loving smile of sister kind. 
Quiet liome I leave behind; 

Oft ahall T think of you. 
Whene'er the wine-cup ps^^ei 'round. 

When alone my watch I keep 

And my comrades lie aileep 



tented battleground. 

danger to glory shall i 
ill be first In Ihe fray. 



BOOK OF THE O P E R A — G O U N OD ' S FAUST 

This Dio pouenlt wai not in ihe original produclion of the open, 
but was written by Gounod eipedally for Sanlley in the English 
production at Her Majesty'* Theatre, I8M, 

The Victor offers a wide choice to buyers of this fine " Cavatiiu." 
Scotti's ValtnUnt is always a revelation in dramatic pouibilitiea. This 
rale, too often allotted to a mediocre artist, is filled by him with 
dignity; and he makes a serious and soldierly Valentine, singing the 

Although Mr.deGogorza has not sung the number in opera, it is 
frequently seen on hi* concert pTOgram*. and he sing* it superbly. 
Other fine renditions in Italian are the ones by RuSo, the famous 
Italian baritone, who has recently made luch a success in this country, 
andCigada, a well-known European baritone, who has not yet visited 

Le veau d'or (The Calf of Gold) 

By Pol Pluicon. BiBi (InFrench) 8103B 10-inch, *2.D0 
By Marcel Journet, Bass (In French) 64096 10-inch. 1.00 
We are now in the full hustle of the Fair Scene, where in front 
of an inn a crowd of drinkers are listening to one of their number, 
IVagner, singing a somewhat coar*e ditty concerning a rat. MtphhU)- 
phelia breaks in upon the revelers, and offers to sing a song of his 
own. "The Song of the Golden Calf." After the diabolically sug. 
sestive introduction by the orchestra, with it* semi-quavers and 
descending chromarics, we hear the bold opening passage of ihU 
anthem in praise of Mammon, of which the calf is symboUc 



Csif of Gold! 1 



?.:fs:&r 



Cslf of Gold, slrongrsl god M 
To hii temple overflowing 
Crowds before his vile sliane b 
At Ihey strive in sbi^ct loil. 



Two renditions of this effective bass 
sons are offered by the Victor. Plao^n'* 
lenditioii is a minted one, the number 
always being sung by him with a full 
appreciation of its caustic laillety. Jour- 
net's record is also a splendid one in 
many respects, and show* the magnificent 
voice of thi* artist to great advantage. 

Mephlitophtla now proceeds to aston- 
ish the company by his feats 



I sign perched up aloft — ea,__ _. 

drawing the wine he likes the besL 

The scene which follows, a most 
dramatic one, is given in a splendid 
record by Amato, Joumet and the Metro- 
politan Chorus. 



VICTOR BOOK OF THE O P E R A— G O U N O D'S FAUST 
Faust— Scene lea Epeea (Scene of the Sworda) 

By Puqtule Amato, Baritone ; Marcd Journet, Baw ; and 
Metropolitan Opera Choruf 

(Giulio 9cRi. Diccelor) 

(/n French) B9059 12-illch. *4.0O 
TKe record begins with the invocation to Bacchua. 

MEPHrSTOPHELES: 

I drink, lo you all: 

Bah! what rubbishy wine. 



iwerlesa in hia hand. 



■ making the Sign of the Croaa. tl 



Look biliicr! Whilst this blcn sign we wur 

(.Holds up hii miord la form a crDii.) Thou ansx not harm usi 

MephMopMei it diacomfited. and cowera in tenor aa the aoldien aing the choral, with ila 
Btnking untaon paauige for male voices, aUcmated with huzata of harmony, 

Tliia ia a lemaikably fine teproduclion, the men'a voicea being rich and aonoroui, and 
the dramatic feeling inlenae. 

Tlie deUghtful waltz, which haa been a model of ita kind ever since the first per- 
formance of Faust, now begitia. 

"Waltz from Kermesse Scene 

By Pryor*s Band (DBuik.F,Kal—S~ pait 125) 169S2 10-inch. %Q.7i 

This favorite number ia played by (he band with the abaolute precision and daintineaa 
which are indispensable to its proper performance. 

Faial now observes Marguerite and approaching her, greets her respectfully, offering 



She inod««dy declines, aaying : 

UAiGt'Eaiie: 
Vo. my lord, not a [>dy am 1. Faust d^uixji ofltr h 

Nor yet a beauty; Rv my youth! nhat 



VICTOR BOOK OF THE O PE R A — G O U N OD '9 FAUST 



ACT III — The Garden Scene 
The Garden Scene of Fault ii undoubtedly Counod'a finest inapirationi and the •eniuoua 
beauty of the mualc with which the compoaer has ■urronnded the atory of Maitutrlle'i 
innocence and truM betrayed, haa held many million* in rapt attention during Uie fifty 
year* aince it wsa fint beard. 

Flo'wer Song— Le parlate d*ainor (In the Language of Love) 

By Louise Homer. Contralto (In Ilallan) 87079 lO-inch. f2.00 

By Corinnc Morgan. Contralto (In EngUth) *39086 12-tncb. 1.29 

By Rita Fomia. Soprano {In French) 64162 10-inch, 1.00 

By Emma Zaccaria, Meiio-Soprano (/n Ilalian) *62085 lO-inch, .79 

Tliia fresh and dainty aong of Sfeic/ ushera in the act. TliB gentle boy enters Margutrilt't 
garden, thinking of the dark prophecy of McpMalo^iela, who had told him (in Act II): 
"Each flower thai you touch, 
Evci? tKsuly yoti dote on 
Shall tot and shall wiiherl" 
Slebel now thinks to put this cuise to a test, and prepare* to send a measage of love to 
Morgutritt by mean* of a flower, ainging 

"In the language of lore, oh gentle flow'r, 
Say to her I adore her." 



Thenpth- _ 

Siit '? i< ^ s i r'" J'J i J SJ^^ Jv i y ^ 



J.-FoctJRta,rJ—Forlllk d/'mm.A. W<fa mi DOUBLE-FACED FAUST RECORDS. «> 



VICTOR BOOK OF THE O P E R A — G O UN OP ' S FAUST 

But the . Happy thought occun to him to dip hi* fi 
font of holy water by the aide of the cottage, 
delighted to find the ipell broken. The firu M 
cloaug the aria. 

liiis poeular itumber ia offered in Itahan by Homer and 
Zaccaria, in French by Fomia and in En^iah by Mi«> Morgan. 

Salut demeure (All Hail, Thou Dwellin;) 

By Enrico Csruao (In Fnnch) 88003 12-ineh. td.OO 

By John McCocmuslc ilnltaUan) 74Z20 12-inch, 1.50 
MtfihUbphtUt and Faait, who have been aecredy watching 
Si^tl, now aiKieari the Tempter being in high apirita at the appar- 
ent aucceaa of hia achemea, while Fauil gazea in rapture at th« 
garden where hia beloved one ia vront to walk, and ainsa hia lovely 
cooeHna. He thus rhapaodizea the modeat dwelling of Margutrilt i 



Here thou ttidst with csre overshidDK (hy Slighter 
In her dream of the niBht! 

Made bei an Eden-bower of beauty and delight. 

The Caruao record of thia number, which the (enor ainga in "*" ■■•• ■'i"™' 
French, ia one of the fineat in hia entire liat ; while the other ren- <:»<;» as FAist 

dition ia a splendid one by McCormack. in Italian. 

While Fmal ia aii^ng hia apoetrapha 
to Marguerilt't dwelling Mtphbloplicta, 
with an eye to more practical thinga, 
haa replaced SithtS't humble noeegay 
with a aplendid bouquet, a more fitting 
accompaniment to the (»aket of jewela 
with which Matgutritt ia to be tempted. 
Marguerite enlera the garden, pen- 
sively dreaming of the handanme atran- 
ger ahe had met in the market place. 
Her entrance ia announced on the clari- 
neta and violina in « lovely elrain aug. 
sealing the coming aong. 

She aeata heraelf at the apinning 
wheel and murmura dreamily : 

1 wieb I coutd but know who was he thai 



Le Roi de Thule (Ballad of 
the Kintf of Thul<) 

By Getaldine Furar, Soprano 
(French) 8ea3» I2>ia„*3 00 

Then rebuking heraelf for her idle 
fanciea;ahe appliea heraelf to her apin- 
ning and begina thia plaintive cfiemon ; 



VICTOR BOOK OF THE O P E R A — G O UK O P ' S PAU8T 
Then ber thoughte return to Faiut. and breaking off the aons, she singa aa if to herielh 

llf"*^' ' ll I t' I t II I'l 



Again impatient with her wandering minil, she finiahe* the ballad. 

Mia* Farrar lingi thia beautiful blk-aong with autpaxing lovelineM of voice, and in 
the dreamy aentimenta] atyle which it requires. 

Finding heraelf in no humor to apin, Margaeritt moves 
toward rhe house and aeca the floivcra» ivhich ahe atops to 
admire, thinking them from Si^l. The box of jewela then 
calchea her eye, and after aome miigivingi ihe opens it. Then 
follow* the bright and sparkling "Jewel Song," or Air Ja bijoia, 
in which childiah glee and virgiiul coquettishness are ao happily 

"Oh Hcav'n! whtt brilliant gems! 
Can they be real? 

Uh nevrr in my sleep did I dream of au|bt 
so lovely!" 
exclainu the delighted Marguailt. 

Air dea Bijoux (Jewel Song) 

By Nellie Melba, Soprano 

(/n Fraidi) SS066 12-iach. *9.00 
By Marcella Sembricb, Soprano 

UnFnnch) 66024 12-inch. 9.00 
By Geraldine Farrar. Soprano ,.„. ., u.aGUMiTa 187S 

(In French) 68147 la-incb. 3.00 
By Giiueppina Huguet iDaMt-/aMl—Smpttf2S) (h ItaliaB) 66160 12'inch. *I.aS 
No leas than four fine recorda of tbii well-known uid papular air are presented (or 
the choice of Victor opera lovers. 

Melba's rendition is a moat delightful one, her 
voice exhibiting the most entrancing smoothness; 
in its lovelinesa, flexibility and brilliancy it seenu 
absoluteW without a flaw. 

Sembrich's Mmguerlte was always a fine imper- 
sonatjon, and her delivery of the number is exceed- 
ingly artistic, being one of the cleanest and most 
finished bits of coloiature singing ever heard in 

Miss Farrar's brilliBnt Marguerite has been much 
admired during the past few seaaoiui and this 
number shows well the loveliness and flexibility of 
her voice. A fine record at a lower price is con- 
tributed by Mme. Huguet, doubled with the Ker- 
messe record described in Act II. 

Quartet — Seiffneur Dieu I (Sainta 

Above. What Lovely Gems 

By Geraldine Farrar, Soprano: Enrico 
Caruso, Tenor: Marcel Journct. Bass; 
and Mme. Gilibcrt. 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 

FAiSAi AS Htir.i'EitTE duenna is struck with astonishment at the sight of 



VICTOR BOOK OF THE O P E R A — G OUN OP'S FAUST 

the jewels oocl begina to queetion Margaerilt, 
when ake !■ inteiTupteil by Mephltlophtla, who 
appcari with FaatI; and to escuse hii entiance 
telU MarUia that her husband ii dead. Thii 
■nnouncement ii received with cries of grief and 
■ympathy from the women, and the impreaaive 
pause which ensues ia followed by the beautiful 
quartet, in which Gounod expresses the various 
emotions of the characters. 

MtphtiofJida then begins to flatter the vain 
matron and pay her mock attentions, so that 
Fdiul may have an opportunity to plead his cause 
without interrupbon. This dialoEue with the 
susceptible duenna furnishes the only touch of 
comedy in the opera. 

Mephistophelcs: 

Happy will be tbc nun 

Whom you chDDSc for your neit! 

Ftaat urges the timid girl to taLe his arm, 
at which she demuni while the crafty Tempter 
continues his flattering attentions to MaHha. The 
second quartet bit then follows, closing the 

Quartet— Eh quoi toujours seule ? 
(But ^^hy So Lonely ?) 

By Geraldinc Fsrrsr. Soprano; Enrico Caruso. Tenor: Marcel Jouraet. 
Bus; ind Mme. Gilibert, MciEO-Sopraito 

UnFrtnch) 95205 12-inch. tiX>0 
The second part of the scene begins with the beautiful dialogue between Marguerile 
and Faial. She confides to him hei toncLness, and in an exquisite passage speaks of her 
dead sister. 
Hascuekiti: My molber is gone; 

One dear lillle 31916° 1 'had, 
Bui the darling, too, is dead I 

Fault is tender and sympathetic, and the im- 
pressionable girl's heart turns more and more 
toward the handaoma stranger, who aeema all 
that a lover should be. 

The record closes with the final quartet pas- 
sage, by far the moat effective hit of concerted writ, 
iog in the opera. It is magnilicently sung here, 
the balance of the voices being absolutely perfect. 

The recording of so complex and varied a 
piece of concerted muaic aa ia 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 utmoat 
fidelity, making a marveloua musical picture of 
one of the most interesting pages of Gounod's 
charming score. 

MtphUlophtiti has succeeded in getting rid of 
Martha, who vainly looks for him in the garden, and 
he now watches with satisfaction the loven, who 
are wandering among the trees in the moonlight ow^iTrT — *ci iii 



Marguerite'* Surrender 



VICTOR BOOK OF THE OPERA-GOUNOD'S FAUST 

The Tempter now sings the famous Incantation, in which he calls upon night and 
the flowers to aid him in his diabolical plot against the soul of Marguerite, 

Invocation Mephistopheles (Oh Night, Drzw Thy Curtain!) 

By Marcel Joumet, Bass (In French) 64119 10-mch« $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, 'neatn the balmy linden. Let naught waken alarm, or misgivings ever! 

Our lovers devoted approaching; His 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 MephiMiopheles, and it is mag- 
nificently sung by Joumet. 

The lovers appear again, and Mephistopheiea discreedy retires from view. The first part 
of the exquisite duet then follows. 

Tardi si fa ! (The Hour is Late I) 

By Geraldine Farrar, Soprano, and Enrico Caruso, Tenor 

{In French) 89032 12-mch, $4.00 
By Giuseppina Hugueu Soprano, and Fernando de Lucia, Tenor 

Piano Ace, {In liaUan) 92053 12-inch, 3.00 

Marguerite, finding herself alone with Faust, looks in vain for Martha, and not seeing 

her, endeavors to bid farewell to her lover. 

Marguerite: Bright and tender, lingers o*er met 

The hour b 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 en wind me. 

And all my heart subdue! 

The second part of the duet begins vrith the lovely Sempre amor, in which Marguerite 
and Fauai pledge their love. 

Dammi ancor (Let Me Gaze on Thy Beauty) 

By Alice Nielsen, Soprano, and Florencio Constantino, Tenor 
«^ -- ,„ m-. V (In Italian) 74076 12-inch, $1.50 

Eteraelle (Forever Thine) 

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 ** Etemelle,*' 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. 

Mabcuesite : 
Faust: By that tender vow that we have sworn, 

O tender moon. O starry Heav'n ?^„Vlti**l''n,!VX"J''Zr^*t« Iw. a««.f 

Silent above thee where angels are enthronU Yajj!t^ ^ 

Hear me swear how dearly do I love thee! Qh fair and tender child' 

(Struck with a sudden fear, the timid girl begs Angel, so holy, thou shalt control me. 

Faust to depart): I obey— but at morn? 

Marguerite: Marguerite (eagerly): 

Ah! begone! I dare not hear! Yes. at morn, very early! 

Ah! how I falter! I faint with fear! „ At morn, all day! 

Pity, and spare the heart of one so lonely! *'^5^V^ord at parting! Thou lov'st me? 

Faust (tenderly protesting): (^she hastens toward the house, but stops at the 

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 (»fi rapture) : 

Marguerite. I implore thee! Were it already mom! Now away! 

115 



VICTOR BOOK OP THE O P E R A-G O UN O D'8 FAUST 

Elle ouvre sa fenetre (See t She Opens the 
Window I) 

By Genldine Farrar, Sopruio. and Marcel Joumet. 
Bai* (In Frtndi) S9040 12-iDch, *4.00 

Ei m'ama (He Loves Me t) 

By Celcftiiii Bomnwtfns, Soprano 

(hllallan) 88296 12-inch, *3.00 
(Thu ii the Hmc HlastJoa u S9O40 with lb* ahoit dlalofug 
hitw«n Fiuft and MaphiHophelo oaunmi) 





haat 


overhear 


1 iKvt— yo 
Go luck, oi 


t'rS^'t^ 


,Er -!?";•■ 


Not I 

IS! 


'sE 


, you ahi 
ipcni the 



Marguerite had entered the hotiie, 
jt return* to the window, looks out at 
.e night and atara, and poura forth her 

Maigubbiti (Jraiino on! in IA« «<wit- 
lightf. 
He loves me! He Jovea met 
Rrpcat ii again, bird that calteati 
5oft wind that fallesi: 



Ah, spted. Ihou night, away! 

One of the moat original and 
beaudFul of the Fauat melodiea. this 
make* a EttinK terminatian of the ex- 
quiaitely beautiful Garden Scene. A 
lovely melody in 96 time^ divided 
between flute and clarionet forma the 
baaia of the movement, and in thia 
the (Cyrano joina in ahoit dreamy 

Her longing for the paaaing of 
night and the return of Fault, ex- 
preued in the laat ecstatic phrate, is 
anawered by the cry of her lover, and 
Mcphlalophelts, who has been holding 
Faiul back, now releases him. 
Faust (fuiM'nfl lo Ihe ir.«donr>: 
M.itouEB"iV:' '' 

Mf.piiistopheliei (H'rJ* sardemc 'laufhtir}: 
Thercl Ka. ha, ha! ha! 

aht '-nciiy ,levly fall,.-) 



VICTOR BOOK OP THE O P E R A -G O UNOD 'S FAUST 
Fantasie from Garden Scene 

By Muclu Eiman. VioUniat iPlano ace.) 64122 10-inch, II.OO 

For those who wiah ta enjoy M>in« of the exquiiile meloiliea of thia act in bo iuitni- 

menlBl form only, the pofpaiirrf by Elmoo i* included here. 

In thia record the young artiM doe* not ahow ua (eata o( execution, but bringa out all 

the lenauoua beauty ot the niuaic which Gounod compoaed (or thia inunortBl acenSi It ia 

one of the knrelieat bita of violin playing imasinable. 

ACT IV— The Deaertion 

Quando a te lieta (^^en All W^as Young) 

By Loui«e Homer. Contralto (/n IlaUan) 88200 12-inch, *3.O0 

The opening of the fourth acene ahowa the unhappy Marguaile aeated at her apinnins 
wheel, brooding over the ■orraws which have overtaken her young life. Slebei, her (aithhil 
friend, enten and talica of vengeance againat the absent Faiul, but MaifaaHe dafenda him 
and aadly goei into the bouae. Left alone. Sldiel. . .y "•- . , ^, . _ ■ j _i.^_ 

vrith gentle melancholy, ainga thia esquinte ro- '9 ' d - r I r,^ i t F* S I ' ^ ~ 

Thia aong has long been a favorite number with many (amoua contrahoa, and its lovely 
melody ia frequently uaed in our cburduia aa a actting to "Come Unto Me," and other 

Sinn.: 

When all wia young ind pleaBUI Muf was Hopr snd delight have pi.u'd from life Bwayl 
blooming. Wc were not born witk true love lo triflel 

1, ih/ poor friend, took part with t' ' -■ - 



play : Wlial 

Now Ihat the clobd of Autumn dark ii O Mi 



.argutriW! Slill o 
eaf of gold: 



gloorr.. 

Kow ii for me, too, mournful tbe daji! 
The acene abruptly changes to the aquare in front of tbe cathedral, with tbe honae of 
MafgatriU ahown at one aide, The victorioua aoldiera, juat returned from the war, enter, 
accompanied by delighted wivea and aweethearta, and aing their famoua Soldiera' Oiorua, 
a jubilant inapiring Dumber, and one of the Sneat niarchea ever compoaed. 

Deponiam il brando (Soldiera* Chorus) 

By Mew York Grand Opera Choru* (/n FrencA) 74214 12-iach, *1^0 

By Pryor'i Band {DoJilt-FattJ—S^t nvt 125) 16902 lO-inch. .7» 

By La Scala Chorua (D«iU*J^a«f— &• patt 125) {IlaUan) 62624 lO-ineh, .75 

By Mountun Aah Party of Wales {In Engluh) 5689 10-inch. .60 



VICTOR BOOK OF THE O P E R A — G O U N O D 'S FAUST 

Tbi* number waa written for a previou* opera by Gounod, but was taken bodily and 
added to FauM, a Happy thought which added another q>leiu]id touch to a lucceaaful 

Several renditiona of this great chortu ore offered, both vocal and inatrumental. and a 
complete ttanalation of the words is given. 

The Soldiers' Chorus — Deponiam il bnodo — D^posons les irmes 



Fold thr flag', my brother^ 




Who lacks pity to spare, when the 








We come f.om the battle o 




Who would fly from a foe. if alone. 


Our pale praying molbers, 






Our wives and sisters dear, 






Ouf loss need not deplore. 




Glory and love to the men of old. etc 


To'ihi"chili".?n'by'lh" fi"" 


""rnnbling in o 


ur Now to home again we come, 

The long and fiery strife of hallle over 


To'™d''>ge of old time glon 




Resi is pleasant after toil as hard as o 


To talk of war's alarmsT 




Ma"ny"a maVde'n*f'a'ir'"s""waiting here 


Glory and love to tbe men 


of old. 


To ireel he. truant soldier .lover. 


Their sons may copy Ihei, 


in«e» bold. 



Ready to fisl" or 'tsdy to die, for Fatherland! To hear tbe tale of peril he has run! 
Who needs bidding to dare, by a trumpet Glory and love to the men of old, etc 

r companioiu and deseited by all save the 

„ _ „., (earing to meet her brother, who has ju»t 

relumed from the war. Mtphttof^ela, not content with the evil he has already wrought, 
returns to taunt the maiden with her fault, and sings this insulting and literally itkfemal 
song, each verse of which ends with a mocking laugh. 



VICTOR BOOK OF THE O P E R A— G O U N O D'S 


FAUST 


Serenade — Mephistopheles (Catarina, 
Sleeping) 

ByPorPUi>ton.BM( (i 


, WhUe You 


Play at 


•n French) «I040 10-iach. HMO 


By Marcel Journet. Bus (/ 


n French) 74036 12 


-inch. I. SO 












^j-:(fgf|f ff pp.|f 


}ff!-^^t\ 


m 








:he low G. concluding v 


nth a pal ol 






Two veniora. by two famoiu expanenta of the 




, »re offered 


for your choice. 






























































' hs! 
























dear. 










CflHrina! eruel. cruel! 






Cruel to deny Id him oho loves 1h^ 






And for Ihee d«.li mourn and «gh- 






A-"?i«';i-'">'"_'hyrojylij». 







Unless the ring appear! 
Ha. ha, ha. ha I etc. 

PIbdcod's Mephl^ophdt* wn* invari- 
ably a Rniahed perfomiancc-^vnlty. ele- 
gant, debonairc and aonorous. It is a „„., ,„„,, 

polished Devil that he pictured; yet hklba >s MAfr-iTEHiTE 

heneath the poliih we could see the ciiubch scsna 

tWTi iiiHiii Bnirter Satan ever present. In hisrecord 

lAiiUAico AS vALiKTini ^ jj^^ moclung serenade he is at his best, and the number is sung with 
the brilliancy and vocal finish to be expected of this fine artist 

Joumet'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. 

Que voulez-vous, messieurs? (What ia Your Will?) (Duel 
Scene) 

By Enrico Csruso. Tenor: Antonio Scotti. Baritone; and Marecl 

Journet, Bass {In Frtrxb) 95206 12-inch. tS.OO 

By Ellison Van Hooie, Tenor; Marcel Journet. Bass; and Emilio de 

Gotforza, Baritone {In French) 74O04 12-inch. 1.90 

VatmUrK, smarting with shame of his sister's disgrace, comes from the house and ex- 
claims, "What is your will with me>'* Meplditophela replies in his most mocking 
voice that th«r "serenade" was not meant for him. "For my siater. then I "cries 
Vaienllae in a rage, and draws his sword. The great trio then follows, leading up to a 
splendid climax. 

This thrilling trio forms one of the most effective scenes in the opera, and is closely 
fallowed hy the duel, in which Valentine is wounded. 




The Death of Valenliae 



VICTOR BOOK OF THE O P E R A — G O U N OD'S FAUST 

Morte di Valentino (Death 

of Valentine) 
By Antonio Scotti. Bmritone, *nd 
Grand Opers Chorui 
(InFruich) 88283 12-iach. *3.00 
Leaving the wounded Kofendne on 
the ground, tke auailants rapidly de- 
patt, and a crowd oF aoldien and 
women anemble around the dying 
toldiei, the choriu here ciying out in 
•cxenti of pily. in which Maigatrilt joina. 
ValatOnt, aeeing hia liater, utter* curaea 
upon her, the aolemnity of the acene 
enhanced by the luatained trumpet 
tone* in the Bccompaniment. The 
throng endeavor to ntitigate the dying 
man'i anger, and Margiitrile bega for- 
giveness, but yalenllne diea with the 
curae upon hia lipa. 

Thia dramatic acene ia vividly pic- 
tured in the wonderful painting by 
Krelin^ reproduced on the oppoaite 
page. 

Scene de L'Etflise (I) 

(Church Scene, Part I) 

By Gerildine Farrir. Soprano, and 
Marcd Journet, Baaa 
{InFrtnch) 89035 12-ineli. %AS)0 



and almost terrible acene outside tha 

Marguaile, curaed by her dying brother, abandoned by all but the faithful SltM, ia 
kneeling at a small altar. Fearing to enter, and endeavoring to aeek conaolation in prayer, 
she aupplicatea Heaven to accept her repentance. 
Haicvuiti: MEPHisTorHELu (lo>i>.ii'i>0 htr): 

Oh, Thou who on Thy ihronc Kecollccl the old time, when the angelr. 

Giv'st an ear for repenuncc! carEssing. 

Heic. before Thy feel, lei me prayl Did teach thee In pray. 



Chokui op Dehoms: 

Marguerite; 
Mabcuebiii Uainlly) : 

Who call! me? 

MAacuiaiTK (lerriliti): 



did ^alt'i 



The worm lo welcome ihee. the fire 10 warm 

ih». 
Wait hut I'll thou shalt come! 
n the invjaible Evil Spirit, Margutrllt ia overcome 

Scene de L'Eelise (11) (Church Scene. Part ID 

By Geraldine Farrar, Soprano; Marcel Journet, Baaa; and 

Metropolitan Opera Chorus [In Fnnch) 89037 12-inch, *4J00 

The unhappy girl, beside herself with terror, cries out wildly : 

Ahl what sound in the gloom. 
Ia faeuealta me, around met 
An|el> at unslh? ii this your •entence of 
cruel doom? 



BOOK OF THE O P E R A-G O U N O D '8 FAUST 

Then «• the chorale w beard 
from within the church, the endeavora 
to break the endrding Satanic tpell 
and koeeU again in prayer. 



No; Let Ibcm pny 
But thy Bin is dsep, 
To hope forgivenei 



Ah, the hymn is iround and above m< 
It bindetG a cord 'round ay brow! 



O Thaul on Thy throne, who dost 

Lei a tear of mercy fall near nie. 
To pily and savel 

Mephistophelis: 

Marguerite! Mine art thon! 

MAicuEaiTE; Ah^ 

Tormented beyond further en- 
durance, the unhappy girl'a reaaan 
S'vea way, and with a terrible ciy ahe 
111 Ufelea. before the church. 
»i.irD 11 UAtcuEKiTE AHD TitE TEKPTU Worda are pitiful things in de- 

"■"■* Bcrihing auch a acene aa tbii, given 

aa tbete two artiata render it The conflict in the >ouI of MargatHle, the taunting apoa- 
trophe of Mtphiitephtla aa he atrivea to prevent hia victim from praying, while the aombre 
■traina of the Dia irat iwue from the church, form a muaical picture which cannot be 

-'"'"■'''' ^•^'^- THE WALPUROI3 NIGHT 

At the period of the firat production of Fault, a ballet wai 
of an opera, if it were to be given at the Paris Opera, though t< 

Gounod placed hia ballet between the death of Valentine and the fnaon Scene; called 
it a Walpurgii Night, let it in a mountain faatneaa amid ruini, and called to the scene the 
clasaic queena, Helen, Phryne and Cleopatra, who danced to weird and distorted vemoni of 
melodiei from the opera. 

Ballet Music (Part I — VaUe, "Lea Nubienaes") 

By L'Orcheitre Symphonique. Paris 58015 12-ioch, tl.OO 

By VeMella'i Italian Band * 17284 10-iach. .79 

The Grit part, which in the opera ac- 

companiea the dance of the Nubian Slavea, j 

ii a most itriking portion, beginning with 1 

introductory chorda, followed by the violin 

in this delicioua melody; 

afterward repeated with baasoon obbligato. 

Ballet Music No. 2— Adaffio (Cleopatra and the Golden Cup) 

By L'Orcheitre Symphonique. Paris S8018 12-iDch. *1J>0 

The second part is the adagio movement accompanying the scene in which the 
Nubian Slavea drink from golden cups the poisons of Cleopatra, who herself moistens her 
lipa from a vase in which she haa disaolved her moat precioua pearls. 

" ai$IJtKe DOUBLE-FACED FAUST RECORDS, pan 125. 

133 



VICTOR BOOK OF THE O P ERA — G O UNOD'S FAUST 

Ballet Music Nos. 5 and 6 (Les Troyennes et Variation) 

By L*Orcheftre Sytnphonique, Paris 58020 12-mch, $1.00 

By Ves9ella*s Italian Band *17284 lO-incli. .75 

These two parts are heard during the appearance of the goddess Phtyne, '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 Phryne, who surpasses all her rivals and wins the favor of Fauai, arousing 
the anger and jealous of the courtesans — Helen, Cleopatra^ Aspatla and Lais — and the dance 
develops into a bacchanalian frenzy, graphically pictured in Gounod's music. 

ACT V 
SCENE— rAc Thison 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't reason is gone — grief and remorse have driven her insane, and in a frenzy she 
has destroyed her child. Condemned to death,, s|ie lies in prison, into which Mephiaiopheles 
and Fauai, de^ng bolts and bars, have entered. 

**Mon coeur est penetre d*6pouvante ! " (My Heart is Tom) 

By Geraldine Farrar and Enrico Caruso {In French) 89033 12-inch, $4.00 

Gazing at the unhappy girl, vrho is sleep- 
ing on a pallet of straw, Fauat cries : ^^ 

and, as the full measure of his own guilt comes to him, continues : 

Faust: Marguerite {awaking); 

Oh, what anguish! She lies there at my feet Ah, do I hear once again, the song of time 

A young ana lovely being, imprisoned here gone by — 

As if herself, not 1, 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 ! Marguerite ! 

She forgets all but that her loved one is before her, and sings in a transport of love 

Marguerite: Faust {supporting her 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 met 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 I 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 happy days 
gone by, 
The day your eye did not dare 
To meet my eye! 
Marguerite now rehearses the first meeting with Fauai, his respectful greeting, and her 

modest and dignified reply : 

"High born and lovely maid, forgive my hum- Every flower is incense breathing, 




ble duty; And through the still evening air 

!rfu 

»y _ _ 

"No my lord! not a lady am I, nor yet a To every glowing crimson rose 



Let me your willing slave, attend you home A cloud of dew, with perfume wreathing; 

to-day ?'* Hark! how the nightingale above 



beauty, 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! They shall not harm thee! 

my way!" Come away! 

Faust {in despair"): There is yet time to save thee! 

Come away! It thou lov'st me! Marguerite! Thou shalt not perish! 

Makc.uerite {dreamih, her thoughts in the Marguerite {listlesslv) : 

Past): Tis all too late! Here let me die! 

How my garden is fresh and fair! Farewell! My memory live to cherish! 



^DatAkJ^aosdRecorJ— For title of ofipoeiletldtsmDOUBLBFACED FAUST RECORDS, page 1 25. 

133 



The RedemptioQ of Mtrfuer 



VICTOR BOOK OF THE OPERA—GOUNOD'S FAUST 



The impassioned duet then follows, Fausl endeavoring to persuade her to escape ; but 
the poor weak mind cannot grasp the idea of safety. 7*he duet is interrupted by the im- 
patient Mephiitophtles, whose brutal ** Alette " begins the final trio. 

Trio— Alerte I ou vous etes perdus ! (Then Leave Her I) 

By Farrar, Caruso and Jour net {In French) 95203 12-incli, $5.00 

By Victor Opera Trio (/n English) 60097 10-inch, .75 

By Hu^et, Lara and de Luna (DoubU-faeeJ—See below) 62085 10-inch, .75 

Mephistopheles, fearing the coming of the jailers, and uncertain of his own power, cries out : 

Then leave her, then leave her, or remain to What does he here! He who forbade me to 

your shame; pray! 

If it please you to stay, mine is no more the Mephistopheles (to Faust): 

game! Let us go, ere with dawn 

MAKGUEaiTE (in horror, recognising the Evil Doth justice come on; 

One. the cause of all her woes): Hark! the horses panting in the courtyard 

Who is there! Who is there' below. 

Dost thou see, there in the shadow; To bear us awav! 

Come, ere 'tis day! 

As he sings, the tramping and neighing of horses are heard in the accompaniment. 

Marguerite (with fresh courage, defving him) : 

Away, for I will pray! (in rapture) 

Holy Angels, in Heaven bless'd 

My spirit longs with thee to rest! 
Faust: Come, ere 'tis too late to save thee I 

The inspiring trio, perhaps the most thrilling and moving of all operatic compositions, 
then commences; Marguerite continuing her prayer, Fatist urging her to follow him, while 
Mephistopheles, in desperation, repeats his warning 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 Heaven, pardon grant, I implore thee, 

Faust: For soon shall I appear before thee! 

Lean on mv breast. (She dies.) 
O come! I m here to save thee! 

At the close of the trio, Mephistopheles is about to triumph over the soul of his victim, 
when a company of angels appear and announce that Marguerite is saved. The Evil One, 
dragging Faust with him, disappears in a fiery abyss. 



DOUBLE-FACED AND MISCELLANEOUS FAUST RECORDS 



Gems from Faust 

" ICennesse Waltz " — " Flower Sona " — " Jewel Sons " — '* Garden Scene "- 

Sen."-" Soldi.™- Cho™." By Victor 0*«. Co. 31879 

Selection from Faust By Sousa*8 Band 31104 

fSelection from Faust By Victor Bandl*^^.^ 

XOown Diamonds Ooerture By Victor Bandr^^^^ 

/Flower Song By Corinne Morgan (In English)\ 

\ Drink To Me Only With Thine Eyes By Harry Macdonoughj 



' Priaon 

12- inch, $1.00 
12-inch 1.00 

12-inch, 1.25 



Thine Eyes By Harry Macdonough 

(Aria dei gioielli (Jewel Song) By Huguet (/n ^1^^^^^)\^ai^q 

\La Kermesse (Kermesse Scene) By La Scala Chorus (/n Italian)] 
fDio possente By Francesco Cigada (In I^^lo'*)\f.a'%r^ 

1 Faw>rita—Q^ando le soglie By MileH and Minolfi (In Italian) r^^ ' ^ 
f Alerte I ou vous dtes perdus t Huguet, Lara and De Lu<>^Ia2085 

\Le parlate d*amor (Flower Song) By Emma Zaccariaf 

{Deponiam il brando (Soldiers* Chorus) By La Scala ^^^16262^1 

DonPasquale — Sogno soaoe e casto ^Acerhi, Tenor (In Italian)) 
jlo voglio il piacer By Pini-Corsi and Sillich (In Italian) 1^4 1 74 

\ Forxa del Desiirw — Solenne in quest' ora Colazza and Caronnaf 



35086 12-inch, 1.25 
12-inch, 1.25 



Pryor's BandK^^^j^ 



{Soldiers* Chorus 
Deoil's March (von Suppe) Pryor's Band\ 

{Waltz from Kermesse Scene Pryor*s ^^^^A 1^5 52 

In Happy Moments (from Maritana) Jllan Turner] 

{Ballet Music *'Dance of Nubian Slaves** Vessella^s Band 
Ballet Music ( ' 'Dance of the Trojan Maidens "and' 'Mirror 
Dance ' ') By Vessella *s Italian Band 

125 



12-inch, 1.25 

10-inch, .75 

10-inch, .75 

10-inch, .75 

10-inch, .75 

10-inch, .75 



17284 10-inch. .75 



(German) (Italian) 

DIE FAVORITIN LA FAVORITA 

(Dee Fah-vt-w^Mn) {Lah Fah^h-n^-iah) 

(Entflith) 

THE FAVORITE 

OPERA IN FOUR ACTS 

Text by Alphonse Royer and Gustave Waez, adapted from a drama of Baculard- 
Damaud« " Le Comte de Commingea." Music by Gaetano Donizetti. In its present form it 
was first produced at the Acadimie, Paris, December 2, 1640. First London production Feb- 
ruary 16, 1847. Produced in America July 29, 1853. 



Cast 

ALPHONSO XI, King of Castile Baritone 

Ferdinand, a young novice of the Convent of St James of Compostella, 

afterwards an officer Tenor 

DON CASPAR, the King's Minister Tenor 

Balthazar, Superior of the Convent of St. James Bass 

LEONORA Dl GUSMANN, the Kings favorite Soprano 

Inez, her confidante Soprano 

Courtiers, Guards, Monks, Attendants, etc. 
Scene and Period: The action it supposed to take place in Castile, about the year 1340. 

Favorita so abounds with 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 1903, with Caruso, Walker, Scotti and Plan^on, but has not since been given. 

However, for the consolation of those who admire Donizetti's beautiful work, the Victor 
has collected all the best airs and several of the stirring concerted numbers, so that the 
opera, given by famous artists, may be enjoyed in the comfort and seclusion of the home. 

ACT I 

SCENE — The Monastery of St. James 

The rise of the curtain discloses a Spanish cloister with its secluded garden and weather- 
stained wall, 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 
woman and has fallen in love with her. He describes his meeting with the ^ur one in a 
lovely song, Una oergine. 

Una vercfine (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 (Knoiv^st Thou) 

By Gino Martinez- Pa tti. Tenor, and Cesare Preve, Bass 

{Doubk-foctd— See page 130) {In Italian) 62635 10-inch, $0.75 

Balthazar: 

Ah, my son, my life's latest solace, Ferdinand (in rapture): 

May thy innocence rescue thee still! Yes, ador'd one! 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? I'll 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'It hither bring a broken heart! 

Ferdinand: Ferdinand: 

I know her not; but I love her! Ah, dear Idol! this heart so enchaining, 

Balthazar: In vain thy spell I strive to break! 

Begone! too profane! Fly these cloisters To thee only my truth maintaining. 

Far, far from hence! — avoid my sight. My cloister I forsake! 

126 



VICTOR BOOK OF THE OPERA — LA FAVORITA 




C0Pv*T oupoar 



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 flowers. They sing a melodious chorus, 

Bei tzggi lucent! (Ye Beams of Gold) 

By Ida Roselli, Soprano, and La Scala 

Chorus {In Italian) *62635 lO-inch, $0.75 
which tells of the love which their mistress feels for a hand- 
some youth whom she has seen but once, and who is now 
on his way to the Isle at Leoiwras request 

Ferdinand, who, shortly after his departure from the 
monastery, had received a note bidding nim come to the 
Isle of Leon, now arrives in a boat, blindfolded, is assisted 
to land by the maidens, and the bandage removed. He 
gazes around him wonderingly, and asks Inez the name of 
the unknown lady who 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 follows, but the Favorite is anxious, fearing that Ferdi- 
nand will learn that she is the King's mistress. She shows 
him a parchment which she says will insure his future, and 
then bids him leave her forever. 



CAKUSO AS FERDINAND 



Fia vero I lasciarti I (Fly From Thee!) 

By Clotilde Esposito and Sitf. Martinex-Patti *68309 12-inch, $1.25 
Ferdinand, beginning the duet, indignantly refuses, saying : 

Fekdinand: Thy vows and thy love! 

Fly from thee! Oh, never! No longer regret me — 

'Twerc madness to try Mine image remove. 

From thee to sever; The rose tho' she fair be, 

*Twere better to die! A canker that wears, 

Leonora: Can never restor'd be 

Farewell! Go; forget me! By anguish or tears! 

Inez enters and whispers to Leonora that the King has arrived at the villa. Leonora gives 
Ferdinand the parchment and bids him again to depart, then exits hastily. Ferdinand reads 
it and is delighted to find that it is a captain's commission* and declares that he will win 
great honors to lay at the feet of his love. 

ACT II 

SCENE — Gardens of the Alcazar Palace 

The King enters and admires the beauty of the palace, which he has just acquired from 
the Moors by the victory of his army, led by the young captain, Ferdinand. A message comes 
from Balthazar, the King's father-in-law, who is at the head of the powerful Church party, 
and Alfonao 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 JS5 

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, Qaando le soglie. 

Quando le soglie (From My Father* s Halls) 

By Lina Mfieri and Renzo Minolfi (In Italian) *68275 12-mcli. $1.25 

Ah I Talto ardor (Oh, Love 1) 

By Margarete Matzenauer and Pasquale Amato 89062 12-inch, $4.00 

Leonora recalls the circumstances connected with her departure from her Other's home. 

•DoMeJ^aced Record— For tHk cfofiposUe tide «ee DOUBLBFACED LA FA VORTTA RECORDS, page 130. 

127 



VICTOR BOOK OF THE OPERA— LA FAVORITA 



When from my lalbtr'i hall) you bore mc, 
A poor simple maiden, betrayed, deceived. 

WouidTe thoMevowiso 'sworn f ' 
Kmc lailh rtmorit): No morel 



r these' jei 

1 the« flowers around roe. 

■mile, but (he heart i> weeping 



e Ihnllingl 



of BaUhaiar, who bringa the mandaCe from the 



Balthaiar then begin* the linale, one of (he moM impreuive of (he concerted number*. 

Ahl paventa il furor (The W^rath of Heaven) 

By Amelia Codolini. Fnncctco Citfsda. ArUtodemo Sillich and La Scab Chorui 
(Inllallan) *lf>i3i> lO-inch. (CTS 



Should crush my fondest hopes. 

The curtain falla on a dramatic tableau, — Leonora weeping wilh ihame, (he King heaita- 
ting between love and ambition, while the terrible BaUhatar thunders the papal cune down 
upon tha guU^ pair. ^^^ ^^^ 

SCENE— ^ Room tn Iht Palact 
Ferdinand, who haa Won diatinction in the wari, ii received by (he King, who aski him 
to name his own reward. The young captain asks (or (he hand of a noble lady to whom 
he owes all hia renown, and when the King asica hei name he points to Leonora. Alfoiaa 
gaze* at her coldly and sternly and sings his ironical air. 

A tanto atnor (Thou FlowV Beloved) 

By Mario Ancona, Baritone (In Italian) 86063 12-iaeh, I3.00 

By Mattia Battistini, Baritone (In Italian) 92049 12-iach, 9.00 

By FranccKO Cigada. Baritone (/n Italian) *I6S36 lO'inch, .79 

Alfo.vso: Both niiiht and morn: 

Thou flow'r hflovM. Fad'sl from ray brea.^1. 

And in hope's nardcn cherish'd, Thine eVry bcsuty pirishi-il. 

'Dtitkh-FaaJ RtrB,J—Fi.f mk o/appoMtn ilJt « DOUBLE-FACED LA FAVORITA RECORDS. page 130. 



VICTOR BOOK OF THE OPERA — LA F A V O R I T A 



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 Ferdinand, She gives expression to her mingled joy and despair in a noble air : 

O mio Fernando (Oh, My Ferdinand) 

By Mari^arete Matzenauer, Mezzo-Soprano {In Italian) 88363 12.inch« $3.00 

Leonora: 

Oh, my Ferdinand, were mine this earth's 

whole treasure — 
Mine, too» each star of yon blue heav*n: 
To purchase thee one pleasure, 



All, all at once hy this fond hand were giv'n! 

All should be thine, save my poor name de- 
graded ; 

And thine should be, too, my life's latest sish! 

Ah! But ere I give to thee a name thus 
clouded. 



And thou deceive, I'll die! 
Oh, Death! Where art thou? 
I call thee! I await thee! 
Approach! lead to the tomb. 
O er this brow pale cypress twine, 
Roses are too bright and glowing — 
O'er this face a dark veil throwing; 
Tears, for smiles, be sadly flowing- 
Deck with sable plumes the shrine: 
Yes, I'll die. my shame avowing. 
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 piepaies to obey, but on her way is arrested by the 
order of the King. 

The King enters with Ferdinand, to whom he gives the tide of Count ofZamora, Leonora 
appears and is overjoyed to see Ferdinand stiU 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 with sudden 
remorse* begins the great finale to Act HI. 

Orsu, Fernando (Stay! HearMe« Ferdinand!) 

By Maria Cappiello, Mezzo-Soprano ; Giuseppe Acerbi, Tenor ; 

Francesco Cicada, Baritone {in Italian) *62659 10-inch, $0.75 

Ferdinand hurls at the King's feet his badge of honor and his broken sword and leaves 
the Court, followed by Balthazar. Leonora faints as the curtain falls. 

ACT IV 

SCENE — The Cloisters of the Monastery 

The opening number in this act is the impressive Splendon piu belle, considered by many 
critics to be the finest of the Favorita numbers. The scene represents the cloister at the 
Convent of St. Tames of Compostella, illumined by the rays of the rising sun. The monks 
have assemblea to ^welcome back the prodigal Ferdinand, who, heartbroken at the falseness 
of Leonora, is returning to renew his vows. The ceremonies are conducted by Balthazar, who 
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 {In Italian) *68061 12.in.« 1.25 
By PerellodeSe^rola, 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 Spirio gerdlL 

Spirto gentil (Spirit So Fair) 

By Enrico Caruso, Tenor {In Italian) 88004 12-inch, $3.00 

By Gennaro de Tura, Tenor {In Italian) 76012 12-inch, 2.00 

By Evan Williams, Tenor {In English) 74141 12-.inch, 1.50 



•DpoUe^aceJ Record— Fqv tftk c/oppa$lff #/4e 9ee DOUBLEJ^A CED LA FA VORITA RECORDS, page ISO. 

l?9 



VICTOR BOOK OF THE OPERA — LA FAVORITA 



Ferdinand: 

Spirit so fair, brightiv descending, 
Tlien like a dream all 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 lovel 



The monks now lead Ferdinand to the chapel. Leonora, who has come hither disguised 
as a novice to entreat forgiveness of her lover, hears him take the final vows and despair- 
ingly falls at the altar. Ferdinand comes from the chapel, and seeing a poor novice, assists 
him to rise. He is at first horrified to recognize Leonora, and bids her begone, but she 
pleads for mercy. 



Leonora: 

Ah, hcavenlike. thy mercy showing. 

Turn not thy heart away from me I 
Ferdinand (hts love 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! 

ilmpetuousiy.) 

I love thee! 

Come, ah, come, 'tis vain restraining 

Passion's torrent onward th<it dashes. 

O'er my bosom still art thou reigning 

And we together will live and die! 



Pietoso al par d*un Nutne (As Merciful as God) 

By Clotilde Esposito, Soprano, and Martinez-Patti, Tenor 

(Doui>te./aeedS€e Mo»; {In Italian) 62659 10-inch, $0.75 

Again gendy reminding him of his vows, she falls from weakness and privation. 



Leonora: 

No, no! 'Tis Heaven calls thee! 
Ferdinand (recklessly) : 

Yet more power hath love; 

Come, could I possess thee 

There's naught I would not brave. 

Aye, here and hereafter! 



Leonora (feebly) : 

Ileav'n forgive me, now I'm dying, 

Ferdinand. I am happy, 

We shall hereafter meet no more to be parted, 

Farewell, now, farewell! 

(She dies.) 



{Curtain) 



DOUBLE-FACED AND MISCELLANEOUS FAVORITA RECORDS 



iQuando le aoglie (From My Father^s Halls) By Lina 1 
Mileri, Contralto, and Renzo Minolfi, Baritone (Italian) >68275 
Faust — Dio possente (Gounod) By Francesco Qgada (Jn Italian)} 

Fia verollasciartil (Fly From Thee!) Clotilde Esposito, 
Soprano, and Sig. Martinez-Patti, Tenor (In Italian) 
Norma — In mia mano alfin tu aei Giacomelli and MarUnez-PatU 

rVien Leonora (Leonora, Thou Alone) By Francesco 

I Citfada, Baritone (In Italian) 

jSplendon piu belle in ciel (In Heavenly Splendor) By 

I Torres de Luna, Bass, and La Scala Chorus (In Italian) ^ 

A tanto amor ( FlowV Beloved) By Cicada (In Italian)] 

Ahl paventa il furore (The Wrath of Heaven) By ^16536 

Codolini, Cicada and Sillich (In Itahan) J 

[Non sai tu che d*un giusto (Know^st Thou) By Gino 
I Martinez-Patti, Tenor, and Cesare Preve, Bass (Italian) 
Bei ratfifi lucenti (Ye Beams of Gold) By Ida Roselli, 
[ Soprano, and La Scala Chorus (In Italian) 

Orsu, Fernando (Stay t Hear Me, Fernando !) By Maria 

Cappiello, Mezzo-Soprano ; Giuseppe Acerbi, Tenor; 
Francesco Cicada, Baritone (In Italian) 

Pietoso al par d*un Nume (As Merciful as God) By 

Clotilde Esposito, Soprano, and Gino Martinez-Patti, 
Tenor (In Italian) 

(Splendon piu belle in ciel le stelle (In Heavenly Splendor) 1 
By Perello de Se^urola, Bass, and Chorus (In Italian) U5551 

Manon—Etje sais voire rwm (If I Knew But Your Name)_ | 



12-inch, $1JS5 



68309 12-inch, 1.25 



68061 12-inch, 1.25 



10-inch, .75 



62635 10-inch, .75 



62659 10-inch, .75 



» I 



^ Mile, Korsoff, Soprano, and Leon Beyle, Tenor (In French) 



10-inch, .75 



130 



FIDELIO 

or, CONJUGAL LOVE 
GRAND OPERA IN TWO ACTS 



Word* adapted by Joseph Sonnleithner from Bouilly'i Lionere, eu I'Amour Conivpil 
(Leonora, or Conjugal Love). Music by Ludwig Ton Beethoven. First produced at Iha 
Thtatn an der Wan, Vienna, November 20, 1B05, in three acta, the cait incfudinB Weinkoff, 



, Milder and Rathe. A revised version was given in 1806 and a third 
productiaa in IBM. Produced in London, at the King's Theatre, May 18, 1832. In English 
at CovenI Garden. June 12, 1833. In Italian at Her Majesty's, May 20, 1831. In Pari* at 
the TheAtre Lyrique, translated by Barbier and Carr«, and in three act*. May 5, 1660. 
T\M American performance in New York, September 9, 1839, with Giubilei, Manveis and 
Poole. Other notable productions were in 1837, vrithjohannsen. Weinlich and Oehrleini in 
183& with Mme. Canidori and Karl Formes; in 1868, with Mme. Rotter, Habelmann aod 
Formes ; the Damrosch production of 1 884, with Mme. Brandt, Mile. Belz and Hen Koegcl ; 
•nd in 1901, with Temina as Lioaatt. 



Characters 

DON FEBNANIX). Minister 

Don PlZARRO, Governor of the State Prison Baritone 

FLORESTAN, a prisoner Tenor 

LiONORE, hi* wife, known as Fidelio Soprano 

ROCCO, jailor Ba** 

MARZELLINE, bis daughter Sopiwio 

JAQUINO, gatekeeper Tenor 

CAFTAIN or THE GUARD Bos* 

LIEUTENANT Bass 

Soldier*, Prnoner*, People, etc. 

Piaac : A Spanlth Slalt prison In the eldnllg of SeeiBt. 



VICTOR BOOK OF THE OPERA— BEETHOVEN'S FIDELIO 



FlJdlo muat ever be regarded with greet intere«t ai being the only opera written by one 
of tbe sreateat compoaera. Originally given aa Fidelia, it wu rewritten and condensed into 
two acta by Breuning, Mill a third revision being made in 1614 by Treitschke. At the time 
of the second production in 1806 the title was changed to Ltonore, Beethoven writing a new 
overture, now known as LeonortNo. 3. A portion of this splendid number has been played 
here by Piyor'a Band, while the complete overture is given in three parts by the Victor 
Q>ncert Orchestra. 

Leonore Overture No. 3 

By Victor Concert Orchestra 

(Part* I and it) 3»26B I2-uich, tUS 
[By Victor Concert I 

Orchestra {PariIIt)\ ,i ;„^i. , ,, 

AJaglo /mm Foarth Symphony P»"9 12-inch. 1.25 
(BeelhoBtn) Keue//a 'i A ntfon BJ 
The action of the opera occurs in a fortren near Seville. 
Don Florettan, a Spanish nobleman, has been imprisoned here for 
life, and to make his fate certain his mortal enemy, Don Pixam, 
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 tionecessary 
a resort to violent means. 
One of the best numbers in the opera is this fine air in D minor, which has been 
sung for the Victor by Mr. Coritz. 

Ha, welch ein Augenblicfc (Fateful Moment) 

By Otto GoritE. Baritone (In Cennan) 64169 lO-inch, *I.OO 

In this the wicked Governor unfolds his hatred and his malignant intentions towaid 



VICTOR. BOOK OF THE OPERA— BEETHOVEN'S FIDELIO 



And Ihou. thv doom is lattL 
Once in Ihc duM I IrcmbJcd 
TtcTiealh Ihy conquering Heel. 



An extremely pleaauit nncl agreeable pereon this 
Spaniih Governor rouat have been I Corilz, whoae Plzarre 
U one of kiB greatest impersonations, aing* thi* itriking 
air in a highly effective manner, fairly exuding the spirit 
of revenge. 

Dm Florataa, however, haa a devoted wife who re- 
fuae* to believe the report of hia death. Diaguiaing 
heraelf aa a aervant, and aaauming the name of Fidtllo, 
■he secures employment with Roeco, the head jailor. 
Aoocd'i daughter falls in love with the auppoeed hand. 
•ome youth, and he ia soon in auch high favor that he is 
permitted to accompany /Jocco on hia visits to the priaoner. 

Hearing that the Minister of the Interior is coming to tl . 
poaed death of Floralan, the Governor decides to murder him, and asks Raceo'i help, 
overhears the conversation and gela Roceo to allow her to dig the grave. Just as Don Plzam 
is about to Btrike the fatal blow, FiJello ruahea forward, proclaima herself the wife of the 
prisoner and ahielda him. The Governor is astonished for a moment, but recovers himself 
and is about to aacrilice both, when a fjourish of trumpets announces the coming of the 
Minister, and Dan Plxarn ia aoon diagraced, while Floralan ia pardoned and giveD oack to 
hia faithful wife. 



DER FLIEGENDE HOLLANDER 

(Esfliab) 

FLYING DUTCHMAN 

(Italiu) 

n Vascello Fantasma 

(£>/ VoMt^tl-kM Fakn-lchif-miil,) 

A ROMAKTIC OPERA IN THREE ACTS 

Teit and acore by Richard Wssner. Firat 

produced at the Royal Opera In Dreaden, January 

, 1843. with a Paris production the following 



!r the title of Le Valaeau FanUint,_ First 
by Carl Rou in I87S: first New York productio 



indon praduction July 23, 1870: and in English 



by 

in English, January 26, 1677; in Gerrnan, March 
12, 1877. 



Cast 

DALAND, a Norwegian sea captain Bass 

SENTA. his daughter Soprano 

Eric a huntsman Tenor 

MARY.Senta's nurse Contralto 

Dai-and'3 Steersman Tenor 

The Dutchman Baritone 

Sailors. Maidens, Hunters, etc. 
Place : ^^a iht cotai of Norway 



VICTOR BOOK OF THE OPERA — PLYING DUTCHMAN 

THE STORY 

One ot the mcMt melodioua of Wagner's operss, and the moat popular in Germany 
to-day, FlltgtnJe HoUHnJtr is ako the one which was moat promptly condemned by the 
critica after ita production. Ita preaent vosue ia a notable example of the cbanse in inuaical 
taate .Ince 1643. 

Wagner waa led to write the Flying Dulchmon after reading Heine'a lesend of the 
unhappy mariner, who. after trying long in vain to paaa the Cape of Coca l-l<^c^ had 
■worn that he would not deaiat if he had to aail on the ocean to eternity. To puniah hia 
blasphemy be ia condemned to the fate of the Wandering Jew. hia only hope of aalvalion 
Ijring in hia releaae through the devotion unto death of a woman ; and to find such a 
maiden he i* allowed every aeven yeara to go on ahore, 

Flying Dutchman Overture 

By Pryor'a Band 31781 12-inch, fl,00 

The overture ia a complete miniature drama, em' 

bodying the evenla of the opera to follow. Driven by 

the nle, the Phantom Ship approachea the ahore, while 

amid the fury of the tempeat ia heard the themje of Tilt 



The Btorm increaaea and reaches ita height in a won- 
derful piece of writing. No composer ever succeeded 
in portraying a raging atorm with such vivid effect. 
Amid a lull in the tempest, we hear the melancholy 

complaint of the £>u(cAmiin from the great air in the first cast or tke ofeia ih waghei'i 
act "Wis a/I . . . Mein Ctah, a ichloa ^ch nlchl>" handwsitino 

IMjf graee — IfinJil noil) A gleam of hope appears in the Redemption theme, and a jojroua 
•train ia heard from the sailors of Dolond'i ahip, which ia safe in the harbor. 

Thus the various events of the drama are presented in miniature; and the overture ia 
in fact a complete r&ami of the opera, aummarizing the leading mollfi. It ia superbly 
plasred by Mr. Pryor'a fine organization. 

SCENE— He C«M( o/NorawK 
Thecurtainiiseaahowingarockysea coaa* 
in Norway, with the ship of Dalond anchored 
near the ahore. As the crew furl the sails, 
Z>a/an</ goes ashore, and climbing the cliff, aeea 
that he is only seven miles from home, but as 
he muat wait for a change in the wind, bids 
the crew go below and rest. 

The Slteaman remains on watch, and to 
keep awake ainga a sailor ballad : 



My maiden. com« 1 ncarr 
Over loweimg waves, with soulhem breeie. 

Mj maiden am I herr! 
My maiden, "lere there no doulh wind, 

My'm"iSen.*s'h'c 'longs for mei 
llo-yoho! Hallo-hd! 
From Ihe shores of the south, in flr-off lands. 



VICTOR BOOK OF THE OPERA— FLYING DUTCHMAN 



"Wie oft in Meerea tiefsten Schlund (In Ocean's Deepest Wave) 

By Otto Gorits, Baritone (/» Cerman) 74230 12-meh, tl.50 

The •pectral crew {url the Uoad.red uiU and drop (he rusty anchor. The Dulehman 
ctanda on die deck, and dehven his great toIUoquy. He gloomily gaze* at the land, and 
•mg* hia preliminary recitative ; 

ThF lerm i< past, and once agiEn arc ended ihe seven long yean; 

The weary Ha casts me upon the land. 

Ha! baughly oeean^ 

A Little while and thou again wilt bear me! 

Though (hou art changeful, unchanging is my doom! 

Release, which on the land I aeck for. 

Never shall I meet with! 

True, Ihou heaving ocean, am I lo (hcc 

Until thy latest billDw shall bieak. 

Until at Usl Ibou an no more! 

An introduction in 6^ allegm motto leada to the ariai 
Dutch hah: 

Kngulf'd in ocean's deepest wave, 
Oa have I long'd to find a grave; 
Hut ah! a grave, I found it notl 
I oft have Mindly rushed along, 
To find my death sharp rocks among; 
Bui ah! my death. I found il not. 
And oft. the pirate boldly daring. 
My death I've courted from the sword. 
VIM wmv .1 *». ....'r.-..u.u Here, cried I. work thy d 



richly 

I. When thou didst lell 

raiahi was gone A single hope with ii 



emainelh, 
leth fast; 
aised again. 



DtJanJ come* on deck 
and i* aitoniahed to see tha 
Mrange ship. He wake* the 
Slttnmaa and they hail th« 
■trnnger, who a*La DatanJ to 
give him (helter in hi* home, 
offering him treasure from hi* 
•hip. On hearing that Dalani 
ha* a daughter he propose* 
marriage. The simple Nor- 
wegian i* dazzled hy auch an 
honor from a man apparently 
ao wealthy, and freely con- 
sent*, providing hia daughter 
is pleased with the stranger. 

The wind changes and 
DalanJ sail* for hi* home, the 
Dulehman promtnng to fallow 

ACTH 

SCENE—^ Room In Daland-, 



Traft ihx das Sclu£F (Senta*5 Ballad) 

By Johsnn* Gad*ki. Sopr»no (/n GernMn) 88116 12-inch. (3.00 



VICTOR BOOK OF THE OPERA — FLYING DUTCHMAN 

The msideiu are busily ipinning — all but Scnfn, ZJa/nni/ i daughter, who ia idly dreaming, 
with her ey» hied on the fanciful portrait o{ the Flying Dutchman which hangs on the wait. 

The legend of the unhappy Hollander haa made a atrong impreMion on the young giil^ 
and he aeem* simoM a reality to her. The maidena ridicule her, saying that her lover. 
Eric, will be jealoua of the Datckman. Senia routes heraelE and commencea the ballad, 
which begina with the motive of TAe Oirae. With growing enlhuaiatm she goea on. 
describing the unhappy lot of the 
condemned to aail forever on the se> 
leaa redeemed by the love of a wo: 
Then with emotion she cries: m at. m. «_.». 

This is the theme of RtdtmfiHon by tVoman'i Love, and 
a» Stnia sings the beautifully tender and melodiaua phrase, 
she runs toward the portrait with outstretched arms, hardly 
cooacioua of tho now alarmed maidena. 

Sbnta: 

Yo-bo-hoe! Vo-ho-hoe! Yo-hohiwl Yo-ho-hoel 
Saw ye the iib[p on ibe raging deep 
ItlotxTred Ibe canvas, blat:li the mast? 



Mme. Gadaki, whoae Senia ii always a fine imperaonn- 
lion, sings this dramatic number most eipresaive^. The 
difficult attack on the high C, which occurs several times, 
is beautifully taken and perfectly recorded. cadski as sent* 

The maidens are so alarmed at Stnla'M outburat of paasion that they run out and call 
Eric, who meet* them at the door with news of the Dufcbnun'i arrival. They run to the 
shore while Eric remaiaa and reproaches Sen/a. She refuses to listen and the diatmcted 

Suddenly the door opens and the Dutchman appear*. 
Senia is transfixed with surprise as she involuntarily com- 
pares the portrait with the living man. A long silence fol- 
lows. The Dutchman, hia eyes fixed on the glovnng 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 between the stranger and 
hia daughter, leaves them together. 

The Hollander sees in Senta the angel of whom he had 
dreamed and who is to haniah the curse, and ahe sees the 
original of the portrait on which the sympathy of her 
girlish and romantic heart had been lavished. The Hol- 
lander aaka SenIa if she agrees with her father's choice of a 
husband. She gladly consents, and a long love duet follows, 
the final theme of which ia "faith above all." 

^^ie au9 der Feme (Like a Vision) 

By Otto Coritz, Baritone (In German) 

74222 12-incb. tlAO 

Versank ich jetzt (Do I Dream?) 

By JohannsCadski, Soprano, and Olto Gof its. 
oESTiNH A. SEHTA B»fitone (/» Cumon) 883TO 12-inch. »3,00 

Wohl konn* ich 'Weibes (Woman's Holy Duties) 

By Jofasnn>Gadiki,SDpTano,OttoCoritz.Baritone (German) 88371 12-iDch, *3.00 



VICTOR BOOK OF THE OPERA— FLYIKG DUTCHMAN 

At ihe cloae of the duet The Dutchman 

and Senia rejoice at his deliverance from the 
■pelL 

The Flvi-ic Dittchuan: 

Froin oul ber plighted ward doth flow. 

Tw»B surely wrought by pow'r oi nugic 
Thai I ihould hi> deliverer be. 
Th» Flvinc l)urcHK*H: 

Hear Ihisi ReleaK al last ix granledl 

y"; ^tr^LrJi' fa^id low 
Sbnta: 

Here may a homr at last he gran led. 
Here may he rest, rrom danger free! 

Almighly. now that high Thou* hast raised me, 
GranI me Thy sIrenBth. thai I be truet 
Didand re-enlere and is dehghted to find 
■uch a complete understanding between the 
two. He invitea the Dulchman to the fete that 
evening in celebration of the safe arrival of the 
Norwegian ship. Stnla repeats her vow unto 
death, and a magnificent trio closet the act. 

ACT III 

SCENE— Da/an</'f Haibor 

BcHUHAHN-HEiHE AS HAKY This acenc showa the ahipB anchored in 

the bay near Dalami'i home. Dalond't vessel 

■a gay vrith lanterns, in contrast to the gloom and silence which marks the Dalchman't ship. 

A gay Norwegian chorus ia followed by a spirited hornpipe with a most peculiar rhythm. 

Bits ofthese number* are to be heard inthePryor's Band record* of the Overture and Fantasia. 

The maidens now appear with batkeu of eatable*; and are joyfully received by the 
aailor*. Having aupplied the wanla of their own countrymen, they approach the Dutchman't 
•hip and call to the sailor*; but only a ghostly silence rewards them. Piqued at this neglect, 
they turn their remaining baskets over to the Norwegian sailor* and return home. 

Suddenly the sea around the Dutchman begins to rise, and a weird glow light* the ship. 
The crew appear and begin a sepulchral chant, which causes the gay Norwegians to cease 
■inging and cross themselves in terror, and finally to go below. With mocking laughter, the 
crew of the Dalchman also disappear and the ship is in darkness. 

Satia and Eric appear and a stormy scene ensue*. He ha* heard of her engagement to 
the *trange captain, and is be- 
side hiniafelf. He kneels and 
begs her to have pity on him. 
Suddenly the HellanJer comes 
upon the scene and is horror- 
stricken al the tableau. Be- 
lie vingSenld to be false,he erica, 
"All i* lo*ti Stnla. farewelll" 

The crew* of both *hipa 
appear and the townsmen rush 
to the scene. The Dulchman 
reveals hi* identity and de- 
'dares himself curaed forever. 
Ha iprings upon his ship — 
the crimson sail* expand a* if 
by magic and the *hip de- 
parts, with the crew chanting 
their weird refrain. 

Scuta, in wild exaltation, 
ruahea to the highest rock, 
e*llitigto the departing veaael, '"' *■ "■' *"" sewta is rArrnniL mtro duth 



VICTOR BOOK OF THE OPERA— FLYING DUTC HMAN 

" [ oni faithful unto deatK" and throwi herteU into the lea. The Flying Dolclmian linkm he. 
neath the water, and ruing horn the wreck con he aeen the forma of Stnla and the Dutchman 
cWped in each other's anna. The curM haa hecn hanithed — true love has triumphedl 

Thia brilliant lelection contain! tome of the finest muiic of this wonderful maBterpiece, 
in which Wagner ha* portrayed the itory of the Dutchman condemned to uiil forever on the 
■tormy aea unlew redeemed by the love of a woman. 

Two variation* of the exquisite theme representinx ReJanpUon by Woman'i Loee are 
given. We first hear the magnificent strain played by the orchestra in Act 111 when Stnla 
plunges into the sea, after the Datchman, believing her false, has sailed away; then follows 
the theme first heard iaSaila'i ballad, one of the finest numbers in the opera. Then appear* 
the second of the two principal themes: the Flgtng Dalchnan motive: 



m 



==rr=? 



J ju • 



T? 



J. J ■ ■ ' -U" 



a weird melody representing the restlesa wanderer. In strong contrast comes the rollick- 
ing chorus oi DataitJ't sailors, "Steersman, Leave the Watch," and the fantastic dance 
which follows: 



The Fantasia is brought to an effective close with a portion of the grea 
Saita and the Dutchman, leading up to a splendid climax. 

MISCELLANEOUS FLYmC DUTCHMAN RECORDS 

ryintf Dutchman FanCMia 
Pagilaccf — Prohgue 



='ft'C>.l^i}»"« ''-'~t. "•" 



(Italiaii 

LA FORZA DEL DESTINO 

{La Forf-xah del DeUe^ -noh) 
(English) 

THE FORCE OF DESTINY 

OPERA IN FOUR ACTS 

Book by Piave ; music by Giuseppe Verdi. First produced at St. Petersburg, Novem- 
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. 



CHARACTERS 

Marquis of CALATRAVA. (/CoU^/roA'.oaA) Bast 

Donna LE0N0RA.\ , . , .,, /Soprano 

DON CARLO. / ^ "^"^^^ tiaritone 

DON ALVARO, {AhUiM^nh) Tenor 

ABBOT OF THE FRANCISCAN FRIARS Bass 

MEUTONE, a friar Baritone 

CURRA, Leonora's maid 

TRABUCO, muleteer, afterwards a peddler Tenor 

A SPANISH Military Surgeon Tenor 

AN ALCADE Bass 

Muleteers, Spanish and Italian Peasants and Soldiers, 
Friars of the Order of St. Francis, etc. 



iScene and Period: Spain and Italy ; about the middle of the eighteenth century. 



Verdi's opera of La Forza del Destino was never a great success; its story, which is 
taken from a drama of the Duke of Rivas, entitled Don Aloaro o la Fuerxer del Slno, 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, with Annie Louise Gary, Campanini, Galassi and Del Puente in the casL 

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 (DotAk^/aotd—See pagt 145) 

By Arthur Pryor*s Band 35215 1 2-mch, $ 1 .25 

fOverture, Part I La Scala Orchestral ^^ 12.mch, 1.25 

\Overture« Part II La Scala Orchestra/ ' 

It opens with a trumpet blast which sufficiently foreshadows the tragic character of the 
opera, tnis being followed 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 Pleio$a, afterwards heard with such mag- 
nificent etfect in the opera. 

Part 11 opens with a light and pretty pastoral melody auite in the Italian vein. A 
notably brilliant passage for strings brings us again to the Madre Pletosa melody, this time 
delivered in a triumphant fortiMsimo, after which the overture works up to a truly animated 
and powerful finale. • 



141 



VICTOR BOOK OF THE OPERA^LA FORZA DEL DESTINO 

ACT I 

SCEINE — Drawing Room in Iht House of the Marquia of Calairaoa 

Don Aloaro, a noble youth from India, becomes enamored with Donna Leonora, the 
daughter of the Marquia of Calatraoa, 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 when her father appears, and is accidentally slain by her 
lover. Leonora^ horror-stricken, rushes to her father, who curses her with his d3ring breath. 

ACT II 

SCENE I — An Inn at Homacuelos 

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 
mcde attire, eurives at the inn", and is horror-stricken at seeing her brother, -who has sworn 
to kill her lover Aloaro and herself. She flees to the convent of Homacuelos, arriving at 

SCENE II — The Conoeni of Homacuelos 

Kneeling in the moonlight, she pra3rs 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 Verginc (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 with the background of male voices singing the 
Vertite in the chapel is powerful and thrilling* and forms one of the finest of the Victor 
reproductions of Verdi's scenes. 

Leonora: Leonora: 

Oh, Holy Virgin, O 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 are heard in their morning hymn.) I will go to the holy sanctuary. 

The Friars: The pious father cannot refuse to receive me. 

Venite, adoremus et procelamus O Lord! Have mercy on me, 

An te Deum, ploremus, ploremus Nor abandon me. 

Coram Domino, coram Domino qui fecit nos. (She rings the bell of the convent.) 

Leortora 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 know her name or to enter her abode. In her gratitude she sings the second 
great air. 

La Vergine degli angeli (May Ancfels Guard Thee) 

By Celestina Boninseffna, Soprano, and La Scala Chorus 

(In Italian) 91075 10-inch, $2.00 

Again we have the effect of the solemn chant of the priests blending w^ith the prayer of 

Leonora. 

The Friars: Leonora: 

La Vergine degli Angeli Let the Holy Virgin 

Vi copra del suo manto, Cover you with her mantle, 

E voi protegga vigile And the angels of God 

Di Dio VAngelo santo. Watch over you! 

{Leonora kisses the hand of the Abbot and 
goes to her retreat. The monks return to 
the church.) 

ACT III 

SCENE— y4 Military Camp near VdletH 

In Act III we are transported to Italy, where we meet Aloaro, who has enlisted in the 
Spanish army. In a sad but beautiful air he recounts his misfortunes, and appeals to heaven 
for pity. 

O tu che in seno agli Angeli (Thou Heavenly One) 

By Enrico Caruso, Tenor (In Italian) 88207 12-inch, $3.00 

142 



VICTOR BOOK OF THE OPERA-LA FORZA DEL DESTINO 



Alvaro : 
Life is 
death. 



In vain I seek 

Leonora I 

Oh, night I Thou 

my happiness 1 I 

e unhappy." . . . So it is writ- 

My father tried to make his 



misery 

. . Seville I 

Oh, memories! 
hast taken from me all 
shall ever be 
ten. . . My 

country free, and to wear a crown by marry- 
ing the only daughter of Ineas. He was 
foiled in his design. ... I was bom 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 life 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 
Aloaro, 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 (Si^ear in This Hour) 

By Enrico Caruso, Tenor, and Antonio Scotti, Baritone 

{In Italian) 

By Lambert Murphy and Reinald Werrenrath 

{In Italian) 

By Carlo Barrera and Giuseppe Matfffi {In Italian) 

By Luiffi Colazza and Ernesto Caronna {In Italian) 

The w^ounded 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 farew^ell. 



89001 


12-inch, 


$4.00 


70103 


12-inch, 


1.25 


♦68213 


12-inch, 


1.25 


♦63174 


10-inch, 


.75 



Alvaso : 

My friend . . 
my last wish. 
Caelo: I swear! 
Caklo: a key! 
AirVABo : 

Open this case and you will find a sealed 

I trust it to ^our honor. 



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



parcel. 



with me 

the letters. 
Cablo: 

So be it. 
Alvaro ifeebly): 

Now I die nappy . . 

you .... farewell! 



when I am dead destroy 



let me embrace 



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 manv 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 two 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 two young singers to great advantage. 

Just at this point it maybe 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 : 



Dow AXtTABO (CaBOM). 




o-J i r' r'p l J^^ 



ne In qvcK'ora 
M Ms komr 



flu -nr-nl de*vt*t» 
mty UU wish lo grmml •■#. 






Dew GAELn (SOOfRl) 



Horn Alvaso (Cabow). 




pa-goua mio voio 
d» tut re 'fuM M#. 



Lo g1« ■ ro lo gta • ro^ 



Sol CO • re ccr • cs • M 
t^'Om my htart yotfU /tttd 



* DwAltrFooti Record— Fw tHk tfofipotUe $lde «e the JotAh-faoed tlet on page 145, 



143 



VICTOR BOOK OF THE OPERA<-LA FORZA DEL DESTINO 



Alcaro, however, does not die, and in the next scene his identity becomes known to 
Don Carlo, who challenges him. They fight, and Aloaro, thinking he has killed his enemy, 
resolves to end his days in a monastery. 

ACT IV 
SCENE — Same aa Act II, Scene II 

Five years have now elapsed and the last act reveals again the cloister of Homacuelos, 
where 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. Aloaro 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 who are familiar with the wonderful duet from Act III, 
by Caruso and Scotti, will 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 Aloaro renew the 

feud, but the priest refuses, saying that vengeance is with God. Don Carlo taunts him with 

a terrible persistence, until the monk, goaded past endurance, consents to fight to the death. 

Caklos: 

Yes! and for long years 

I have sought and now find thee. 



Caszx>s: 

In vain, Alvaro. 

Thou hast hid irom the world, 

And concealed thy coward heart 

With the habit of a monk! 

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! 
Alvabo (recognising him) : 

Don Carlos! Thou livest! 



By thy hand I fell, 

But God restored my stren^h 

That I may avenge thy crimes! 

Here are two swords. 

Thy choice now make! 
Alvako : 

Leave me! By this holy habit 

Thou may*st see my repentance! 
Caklos («n fury): 

Coward! 

Thou shalt not hide behind thy robes! 
Alvaro {agitate d) : 

Coward! Oh, God 

Give me strength to forgive thee! 



Le minaccie, i fieri accenti (Thy Menaces 'Wild !) 

By Enrico Caruso, Tenor, and Pasquale Amato, Baritone 

(In Italian) 89053 
By Titta Ruffo, Baritone, and Emanuele Ischierdo, Tenor 

(In Italian) 92504 
By Carlo Barrera* Tenor, and Giuseppe Magtfi, Baritone 

(Double-faeed—See page 145) (In Italian) 68213 

Aloaro recovers his poise and endeavors to appeal to the reason of his enemy, showing 
him the futility of reopening the feud. Part U begins as follows : 
Alvaro (firmly) : 



12-inch, $4.00 
12-inch, 4.00 
12-inch, 1J25 



Thy menaces wild 
Be heard only by the winds, 
I cannot listen! 
Brother, let us submit to fate 
And the will of God! 
Carlos : 

Thou hast left me 

A sister deserted and dishonored! 

Alvaro : 

No! I swear it! 

I adore her with a holy love. 

Carlos (furiously) : 

Thy cowardly pleadings 

Cannot move me to pity. 

Take thy sword and fignt! 
Alvaro : 

Brother, let me kneel to thee, 

(He kneels.) 
Carlos: 

Ah, by such an act 

Thou showest thy base origin! 



Alvaro (rising^ unable to control himself) : 

My lineage is brighter than a jewel — 
Carlos (sneeringly) : 

A jewel flaw'd and discolored! 
Alvaro (in fury) : 

Thou liest! 

Give me a sword. Lead on! 
Carlos : 

At last! 
Alvaro (recovering himself) : 

No, Satan shall not thus triumph. 

(Throws down his sword.) 
Carlos : 

Then coward. I brand thee with dishonor! 

(Strikes him.) 
Alvaro : 

Oh, God, no more.' 

(To Don Carlos) 

Defend thyself! 
Both: 

We both must die, 

Our hatred will be^ appeased 

And Satan will claim us for his own! 



144 



VICTOR BOOK OF THE OPERA— LA FORZA DEL DESTINO 

ACT V 

SCENE— ^ Wild Spol Near HomaaidoB 

The scene changes to the vicinity of Leonora's cave. Pale and worn, the unhappy 
woman 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 Boninse^na, Soprano 



(In Italian) 92027 12-.inch, $3.00 



Leonora: 

Mercy, oh Lord! 

Mjr sorrows are too great to bear. ^ 

This fatal 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 now breaks, and Leonora retires within the cave just as Aloaro 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 Alcaro, 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 cavte ; Leonora rushes forth, sees her 
brother wounded and embraces him, but true to his vow made in Act 1 he makes a dying 
etfort and stabs her to the heart. 

This dramatic scene has been put by Verdi into the form of a trio. 

Non imprecare, umiliati (Si^ear Not« Be Humble) 

By Ida Giacomelli, Soprano : Gino Martinez-Patti, Tenor ; Ces are Preve« 

Bass {Doabh-faaJ— See below) {In Italian) 66026 12-mch, $1.25 

Don Aloaro then completes the catalogue of horrors by throwing himself from a clitf 
just as the monks arrive singing the Miserere, The curtain then falls, evidendy 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 I 



DOUBLE-FACED FORZA DEL DESTINO RECORDS 



By Arthur Pryor*s Band\«,.^. ,. 
{Offenbach) By Arthur Pryor's Band) * ^ 

By La Scala Orchestral^ ^^wia 
By La Scala Orchestra/*^®*'*^ 



rOvcrturc 

\ Orpheus in Hades Overture 

^Overture, Part I 
iOverture, Part II 

Le minaecie, i fieri accent! (Let Your Menaces) 

By Carlo Barrera, Tenor, and Giuseppe Maggi, Baritone 

(/n /to/ton) [68213 

Solenne in quest*ora (S^ivear in This Hour) By Carlo I 

Barrera, Tenor, and Giuseppe Magtf i. Baritone {In Italian) J 

"Non imprecare. umiliati By Ida Giacomelli, Soprano ; 

Gino Martinex-Patti, Tenor; Cesare Preve, Bass 

{In Italian) 
Ballo in Maschera — Ah I qual soave hrtfido { Thy Words, Like Dew) 
By Ida Giacomelli, Soprano, artd Gino MartineZ'Patti, Tenor 

{In Italian), 

Solenne in quest*ora (S^wear in This Hour) By Lui^ 

Colazza, Tenor, and Ernesto Caronna, Baritone {Italian) 
Fausi — lo voglio il piacer {The Pleasures of Youth) By 

G, Pini-Corsi, Tenor, and Aristodemo Sillich, Baritone {Italian) 



12-inch, $1^5 
12-inch, 1JB5 

12-inch, 1^5 



^8026 12-inch, 1.25 



63174 10-inch, .75 



145 



FRA DIAVOLO 

(Frah DuA'wA^A} 

COMIC OPERA IN THREE ACTS 

Libretto by Scribe, devised from the itoryof Lemeur'* earlier 
opera, La Caveme, Mu»ic by Daniel Ft«n5oi»E»pritAuber, Fir»t 
production at the Opira Comlque, PaHa. January 28, IS30. 
Prenenled in Vienna. 1830. London, at the Drury Lane Theatre, 
in English. Novembers. 1631. In Italian at the Lyceum Theatre. 
London. July 9. IB37. First AmeHcan production at the Old 
Park Theatre, New Yolk, in English, June 20. 1833. It was not 
until IS64 that it was given in Italian in New York, and thia waa 
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 afterwards at the New Theatre by the Metropolitan 



Characters 

[T(A DIAVOLO, calling himself "MarquU of San Marco" Tenot 

Lord RoCBURG (Lord Allcash). an English traveler Tenor 

LADY PAMELA (Udy Allcash). his wife Soprano 

Lorenzo, Chief of the Ouabimers . Tenor 

MaTTEO. the innkeeper Bass 

ZERUNA, hia daughter Soprano 

G]AC0M0.1_ ■ c 17 rv t / B»~ 



Tht Scene : Italy. In the ndghhorhooJ of Terr 



VICTOR BOOK OF THE OPERA — FRA DIAVOLO 

The maty of Fia Diaoolo i* meloilrBinBtic in the highcM de- 

S;e. Lortnzo, in command of the Roman Dtagoons, is leaving 
alleo'i inn la capture Diaaolo and hia brigand^ juit aa Lord 
Rotbarg and hia wife, Pamela, who are traveling under the 
names of Lord and LaJif Allcaih, arrive, lamenting their mii- 
foRunei, having been robbed on the load. AiuAcr traveler, 
calling himself MarqitU of San Marco, who is no other than Fro 
Diavolo, appears soon after and is also ivelcomcd b^ the inn- 
ke«)er, Matleo, and his daughter. ZtAina. Lonrao is in love 
with Ztrllna, but she hss been promised by her father to aj-ich 
peasant. Tlie Marqtili openly courts Lady AlUai/i and at (lie 
some time manages to relieve her of her jewels. 

Qacomo and Btppe, two of Diaaolo 't companions, appear On 
the scene, and when all are asleq^ are admitted through the 
window by the bandiL All three conceal themselves in Zedlna'i 
room, and after she has retired they proceed to again rob Leti 
SAKTLiv A9 rsA DMvoLo tmA Lady Allcoih. Lartiuo now retuma, havin g killed most of 
the band of robbers and recovered the Englishman's property. 

He'expecta to receive the proffered reward of 

ten thousand piastres, and his hopes of winning 

Ztrllna seem brighter. 

The soldiers arrive at the inn in time to 

discover the robbery, but Diavolo covers the 

letieat of his fellow-bandita by pretending to 

have a rendezvous with some lady, arousing the 

jealousy of both the Englishman imd Lonnio, 

the latter challenging him to a duel. 

The last act of the opera shotvs the forest 

where the duel is to take place. As Lorenzo 

sadly watches the marriage procession cf Zerlina 

and the peasant Franclaco approach, he recognizes 

in the crowd Glecome and Btppo. Both are 

arrested by the young captain, who through 

them hopes to capture the chief, Fra Diaeolo. 

The two brigands are forced to betray Diaooto 

and lure him into a trap, where he is ensnared 

and shot. As a fitting dirruu. the happy Loreiuo 

wins Mollto 't daughter for his bride. 

Those who hear these records of Auber's 

melodious opera will be charmed by the bril. 

liant and fluent measures, varied here and there 

with pretty bits of sentiment, which go hand in 

hand with the romantic story of the Italian 

The Victor offers a fine record of the .>4gnese 
la lUtlla, the popular Italian melody wUch 

Diaoah sings in Act II, to warn his com. con^Burui fais*s as ziblina 

paniona, Btppo and Glacomo, that all is quiet 

in the house and they may now carry out iheii scheme to again rob Lord Rodurg and 
Lady Pamela. 

Records of the Overture and principal selections from the opera by two famous bands 
■re also offered, while the brilliant opera aggregation has given a tuneful presentation of 
some of the gems of Auber's work. 

Gems from Fra Diavolo 

Chorus, '• Victoria " — Solo. " Over Yonder flock Reclining "—Easter 
Chorus, "Hail, Blessed Mom "—Chorals, "Bless'd Powers Thst Still the Good 
Protect" — Solo. "Friend. Beppo, See" — Finale, "Victoria." 

By the Victor Opera Company 318Z9 12-inch. »1.00 
147 



VICTOR BOOK OF THE OPERA— FRA DIAVOLO 



The medley 
opena with the 
cfionia o( sieet' 
ing to the »o\- 

Victori*: Victoria! 
Joy now reign* 

bit of ZaUna't 
baltad about the 
«a Fra Dia. 
ecio, "On Yonder 
RoclcRedinlng." 
followed by the 
EaaterChorua. 
The prayer in 
Act [n. "Bleat 
PoweraThat Still 

the Good Pro- ■"*™"' *"" '""'"' 

tect,"nezt occuTi. 

_„E remaining numbera are the boaat of Dimoh aa 
he seeB victory for all hia echemea: "The lord*a gold 
and hia wife all are mine 1 " and [he chorus of thanka- 
giving at the final capture and death of the bandit, 
BUQg to the melody of Dlmolo 'j air in Act L 



'^^T^-'lISi""" '"^"- "-"^ 



iPra Diavolo Selection By VcMclla'a Italian Band) 

Daagkitt of the Reglmail StlecOoa {DonUeHf) )39I91 

Bff yetttlla-, Italian Banj] 

IAgneae, la litella (A^ne*. Deiutiful Flower) 1 

By Pietro Lara. Tenor (/n Italian) L _, ,, 
Beihitit—Caarda Don Bartolo f^" " 

Bs Hugatl. Conl. f^nl-Corwl and Badtnl] 



DER FREISCHUTZ THE FREESHOOTER 

a3ttFr^-i/miU) 

ROMANTIC OPERA IN THREE ACTS 
Words by Friedrich Kind; music by Carl MariavoD Weber (hi* eighth open); completed 
»»DlcJaganbraat. May 13. 1820. ProducedatBerlin. June 18. 1621: in Drewlen. 1622; in Paru 
(at Rotln da Bolt, with new lihretla by Blaze and Sauvage, and many changes), at the Odion. 
December 7, 1824. Another new venion. with accurate traniUtion by Pacini, and recita- 
tivea by BerUoz, at the Academic Royale, June 7, 1841, under the tide of Lt Franc Archer. 
In London a* Dtr FrelKhuU or The Seeenlh Build, with many ballads inserted. July 23. 
1824; in Italian, as II Franco Ardero, at Covent Garden, March 16, 1630 (reciUtivea by 
Costa) ; in German, at King's Theatre, May 9, 1832. It was rerived at Astley's Theatre with 
■ new libretto by Oxenford, 
April 2, 1866. Fin* New York 
production, in English, March 
12, 1825. 

Cast 

Prince ottokar, Duke of 

Bohemia Baritone 

CUNO. head ranger Bass 

Max llwo young p"enor 
CASPAR,/fore8ters \ Bass 
KlLIAN. a rich peasant. .Tenor 

A HERMTT Boss 

ZaMIEU the fiend huntsman 
ACNESk Cuno's daughter. 

Soprano 
ANNIE, her cousin, , .Soprano 
Chorus of Hunters, Peasants, 

Bridesmaids, and Spirits. 

Scent and Period: Bohemia, 

ilnrtiy <tfler ihe Seoen .r,„, „t .„ , 

Yean' War. 



VICTOR BOOK OF THE OPERA— DER FREI5CHUTZ 



Overture to Freiachutz 

By Souu*a Band (Daaih-Faai—SiKpmt, 151) S9000 IZ.iocli, «U5 

By La Scala Orcheatra iDaMt-Faad—Sm faf HI) 62636 lO-inch, .75 

The overture preaenta the story of the opera in 
a condenaed form. An introduction with a tender 
horn paaaage lenda ua into the (oreat. Night >a fall- 
ing and myaterioua aounds are heard. The ailtgm, 
repreaenting ihe doubta of the good but vacillating 
'. begina. and the sound of the magic 



buil^ta can be heard aa ihey drop in the melKng 

Kt.'; Next a beautiful melody, portraying love and 
ppineaa, appears, but thia in turn is succeeded by 
another mood of distress. At length the triumphant 



of the final victory is sounded, 
leading up to a aplendid 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 muaic. 

The atoiy of the opera is founded on a German 
tradition, told among huntsmen, thai whoever will 
aell hia aoul to Zandel, the Demon Hunter, may re- 
ceive seven magic bulleta, which will always hit the 
mark. For each victim whom he succeeds in secur- 
ing for the Demon, hia own life ia extended, and he 
receives a fresh aupply of the charmed missiles, 

Cuno, head ranger to Ollal(ar, a Bohemian '-xtisTii 
*"** prince, haa two aaaistanta. Max and Catpat, both caspa* 

excellent marlcamen. Max is in love with Agna, Carta i daughter, who has promised to be 
his bride only on condition that he provea himself the beat ahot at a forthcoming conteat. 
This conteat, however, is won by Killan, a peasant. Max, in a dramatic air, bewails 
his bad luck. 

Durch die "Walder (Thro* the Forest) 

' By Dkniel Beddoe. Tenor (In Englbh) 74244 11-incEi. *1,»0 

He believes he ia cursed by an evil spirit which cauaea hi* hand to fail. 
Max: While mv rifle, never failing. 

O, I can bear my fate no longer: Made each bird and beasi my prey. 

E'en hnpe is banii^lied from my soul! When at length from cbasc remrning, 

What unknown grief thus haunts my spirit. Ere home rose befoce my sigbl. 

And o'er me works its dark control ? Agnes, smiling met me. 

Thro' Ihe forests, Ihro' the meadows, Cloth'd in beauty's heavenly light. 

Joy was Honl with me to stray, But now am I by Heaven forsaken 

Caipar, who haa already put himself in the power of Zamlel, aeea her« an opportunity 
to extend hia own days of grace, and adviaea Max to aeek the magician and secure some of 
the magic bullets. 

^eou, qu il ne m'echappe pas (Caspar's Air) 

By Marcel Jouraet, Baas (/n Fnnch) 64236 lO-inch, tl.OO 

He finally induces Max to meet him in the WolPs Glen in order to receive the magic 
bullets, which he declares will alwaya hit the mark. Max departs and Ca$par gives vent to 
a fierce joy in thia florid and dramatic number. 

In the meantime Agna is anxiously awaiting her lover and ia much alarmed at hia 
non-appearance. .,4Rnre, her cousin, endeavors to cheer her by singing a gsyait. 
150 



VICTOR BOOK OP THE OPERA— PER FREISCHOTZ 

Annie's Air/'Comes 
a Gallant Youth " 

By Marie A. Mictuilowi, 
Soprano {In Ruitlan) 
61134 lO-inch, *1.00 

She docribes playfully 
ihe Btlitucle a aky maiden 
■hould aMume when the right 
young man happens along. 



Eyes thai flash 19 he regards 

nirn'my captive I will mark! 

^es bent down to earth for 



And if )wift emotion raihes. 

Noihing worse than mai^n bluthes 
Nrrd the gallant stranBc' spy- 
Annlt bega Agna to retire, but the young girl aaya she will wait (or her lover. Left alone, 
■he drawa the curtaina uide, revealing a atarlight 
night She exclaiiiia at the beauty of the night, and 
folding her henda in prayer, the proya for the safety 
of her lover, and aalu Heaven to watch over them both. 

Preffhiera (Agatha's Prayer) 

By BmUia Corsi * 62636 lO-JAch, tO-TS 
Max arrivea, followed by Armie, but aeem* em- 
barraaaed and aaya he muat go to bring in a atag he 
haa shot near the Wolf'a Glen. Apia bega him not 
to go near that haunted spot, but he diaregarda her 
warning and goes out. 

The acene changes to the WolFa Glen, where 
Max meeta Catpai, and the magic bullet* are caat 
amid scenes of horror, while the demon Zom/e/hover* 
near awaiting hia prey. Max i* returning with his 
prize when he meets the Prince, who aJcs him to 
ahoot a dove. The hunter complies, just misaing 
Agnei. who haa come to the wood in aearch of her 
lover. Caipar ia wounded by the very bullet which 
he had intended ahould slay Agna at the hands of 
Max. Zamid carriea off his victim, while Max i* 
„„, Hita forgiven and all enda happily. 

DOUBLE-FACED FREI5CHUTZ RECORDS 

fOvertuf e to Freischiiti By Sou»a'» Bandl _,___ ,~ ;„„l ,, ,. 

Carmen Se/«tf on ^ SoauS Bandr^°°° 12-mch. »1J3 



f^62636 lO-ioch, 



/Overture to FreiachiitE By La Seals Orcbeatral . 

IPceghiera (Agatha** Priyer) Emilia Corsi, Soprano Ulallan)) 

fl. Prayer from Freisohiiti 2. Greeting Victor Braaa Qt.l,.._„ ,n - l «■ 

\ VtntUan Leee Seng (Canxont Am<,ro«,) Vizlor Orzhatra]^'*^^*' lO-inch. .IS 



* DmAbJ'octJ RccorJ—For I 



GERMANIA 

A Lyric Dranu in a Prologue, Two Scene* «A<1 Epilotfue 
Text by Luigi [Mica. Muiic by Alberto Franchetti. FitM production at Milan in 1902' 
Firal AmericBO production. New York, Januaiy 22, 1910, with C^ruio, Dertinn and Amato. 

C>(t of Character* 

QOVANM FIUPPOPaLM Baa* 

FEC^RICO L(EWEt t Tenor 

CARLO WORMS iStudenta ^Baritone 

CRISOCONO J [Baritone 

RlCXE Soprano 

Jane, Ker lister Mezzo. Saprano 

LeNE ARMUTH, an aged beggar-waman Mezzo-S<^ano 

JEBBEL, her nephew Soprano 

STAPP3, Proteatant Priert BaM 

LUIGI ADOLFO GUCUELMO LiJTZOW Ban 

CARLO TEODORO KORNER Tenor 

SICNORA HEDVIGE Mezzo-Soptano 

Peters, a heidaman Basi 

Chief of German Police Ban 

Hiatorical Peraonaffea, Students, Soldiers, Police Officers, Member* and 

Associate! of the " Tugendbund," " Louise -Bund " 

and " Black Knights " ; Forest Gitk. 

~ Tint: 1813. 
The opera !■ the work of an Italian nobleman, who. although a very wealthy man, is 
ambitious and makes the vrhtinK of operas his hobby. Ctrmania is a picturesque and in- 
teresting opera, full of local color, describing [he Germany of the time of Napoleon, with its 
many conspiracies; and for this the Baron has written much effective and agreeable music 
The action takes place in 1813, at the time o( the ballle of Leipzig. 
IGZ 



liklC^et 



VICTOR BOOK OF THE OPERA— FRANCHETTI'S GERMANIA 

PROLOGUE 

SCENE— i4ii Ahandontd Mill near Nuranberg 
A company of atudenta, under the leadersliip o( Clooaiml Palm, have occupied an old 
mill, and are ■hipping aacka of grain, which really contain pfJidcal documents intended to 
rouse the people to revolt. Prominent among the atudenli ii iVormt, who previously had 
a love affair with Riclte, a young girl who ii now betrothed to LooDt, the poet and warm 
friend of Wcrmi. Loaet ii expected to arrive at any moment, and Riclte dreads his coming 
IS she hat made up her mind to tell him her guilty secret. Wormi, however, divines her 
>ose and bids her keep ailent. a* in the duel which was sure to occur Loeicc would 

y be the one to die. 

Lociac arrives and is Joyfully greeted by the conapiratora. He encourages them to fresh 
effoita in bis noble aria. 

Studenti, udite 1 (Students, Hear Me I) 

By Enrico Cwtuo. Tenor (/n IlaBan) 87053 lO-inch. *2.00 

Caruso delivers this iitspiring number with splendid effect, ahowing well the beau^ and 
power of hia marveloua voice. 

The enthusiasm which follows LoaPt'i 
great address is rudely interrupted by the 
arrival of the police, who seize Palm and 
take him away to hia death. 

ACT I 
SCENE— j4 Cellagt in the Black Forest 

Seven years have elapsed. [Hither 
Loeme has come after the disaatrous cam- 
paisn of 1606. which followed the plotting 
in the old mill. He lives in this hut with 
hia aged mother and the two girl*, Ridce 
and her sister Jane. Wornu haa disap- 
peared and is supposed to be dead. 

LoeiM is about to be married to 
Ricl[e, and the bridesmaids now arrive to 
deck the cottage with flowers. Afote, think- 
ing of her past, is melancholy, but the 
marriage ceremony is performed and the 
bride and bridegroom are left alone. 
Fedtrico claaps her in his arms and sipgs 
his beautiful air to the eyes of his bride. 

>]on i^iuder (fli occhi va^hi 

g'lose Not Those 
reamy Eyes) 

"™ CA.USO Ai FiDiaico ^^ Eurico Cariuo, Tenor 

(Jnllaiiajij 87094 10-ineh, *2.00 

Forgetting the past, R/dtc yields herself lo the joy of the moment and tenderly kisses 

him, when suddenly from the hirest is heard a familiar voice singing an old student song. 

" Womal" joyfully cries Ftderico, and runs out to meet his old friend, who is wasted and 

bMtle.scBrred. 

IVonra, in a dramatic aria, tells his friend how he has literally come back from the dead. 
He relates his thrilling escape from prison, his delight in his new-found liberty, and hia 
earnest desire for vengeance. 

Ferito, prigionier (A Wounded Prisoner) 

By Pasqiule Amato. Baritone (/n llaUan) 88437 12-ineb, 13.00 

Amalo, who was the original Wotmt in America, sings this great air with splendid effect 

Woma is astonUhed to see Rlc^e, who haa been listening h Jf hidden behind the folds of 

K curtain. She looks coldly at him and he uneasily aajis be roust be on bis way. Federtco 



VICTOR BOOK OF THE OPERA— FRATJCHBTTI'S GERMANIA 

orotesU, but fforrni iniiita and depoits. 
Hicke, overcome by thU reminder o{ her 
[>ut mufortune, resolvei to leave her hui- 
tuind, and vrritea him a note and fleei into 
the (oreat. Fedtrico retutiu. reads the 
note, and wrongfully concludes that «he 
tiaa Bed with IVoraa. 

ACT II 
SCENE— ^ Cellar In Kt>nlg>Urg 
\a tkU underground retreat Wonat ia 
knin plotting agaiiut Napoleon. A meeting 
rf the Council ii in progreu, when Ftderico 
ippeara and demandi that Woma ihall 
Sght with him to the death, but Wormt, 
bieeling. aalu Fededco to kill him, FedeHco 

which Woma decides to fight him, and 
[ueparations for the duel are begtin. They 
l^e bitefrupted by the entrance of Qaeen 
Loufw, who luggeala that such brave men 
had better be uaing their awords for their 
:»>jintfy. Fired with enlhuiiaim, the 
enemi^ embrace each other and swear to 
die for Germany. 

EPILOGUE 

«*KCH1TT1 fLAYCNO .119 SCOK TO 1>-AMHUNII0 SCENE— 7"A|! BoUltJittd of Leipdg 

The awful three days' conflict is aver 

' ' ' " " md dead and wounded men. Rickfi 

: upon hia face once more. She finds 

, „ „ „ at the body of Woma is nearby, asks 

o forgive him as he himself has done. Rldce looks an the face of the man who had 
ruined her life and forgives him. 

She returns to her husband and when he dies in her arms waits beside his body for 
her own death, which she feels approaching. As the sun seta the defeated Napoleon with 
the shattered remains of his army is seen retreating. 



LA. GIOCONDA 

(Lai, JoUcon'-JM 

OPERA IN FOUR ACTS 
Libretto by Artigo Boltoi muaic by Amilcare Ponchielli. It ia an adaptation of Victor 
Hubd'* <]raina, "Anselo," and «ra« firat preaented at La Scala, Milan, April 8> 1676. First 
London production in the aummer of 1883. pint New York 
production December 20, 1863, with Chriatine Nilaaon, 
Scalchi. Furach-Madi, del Puente and Novara. 



Chsrictcca 

La GiOCONDA, a ballad ainser _-, 

La QBCA. (&(V-idA) her blind mother Contralto 



ALVISE, (AI-ac/Mi) one of the heada of State Inquiaition . . Baaa 

Laura, hia wife Mezxo-Smrai 

ENZO CRIMAUX). a Genoeae noble Ten 



BARNABA, a apy o( the Inquiaition Baritone 

ZUANEt a boatman Baaa 

ISEPO, public letter-writer Tenor 

A Pilot Baaa 

Monica, Senator^ Sailora, Shipwrighta, Ladiea, 
Gentlemen. Populace, Maaqueia, etc 



The aetbn lalfa place In Vadce. In the itvenletnlh collars. 



Gioconda ia a work of great beauty, full of wonderful (milah, IB76) 

ariaa, dueta and enaemblea, with fine choral effecta, and a 

magnificent ballet. The book ia founded on Hugo'a "Tyrant of Padua," and tella a moat 
dramatic atoiy, which, however, cannot be called inviting, aa the librettiat has crowded 
into it nearly all the Crimea he could think of I 

But the average audience doea not concern itaelf much 
with theae horrors, being engaged in liatening to the beautiful 
muaic, and admiring the n>lendid acenei and colorful action. 
Therefore the atoiy will be but brieBy aketched here. 

ACT I 

SCENE— a«e( Mar iht Adriatic Short, Venice 
Ghconda, a ballad ainger who ia in love with Entp, a Gen. 

oese noble and captain of a ahip now in the harbor, auppoTta 

her blind mother. La Geca, \ty ainging in the atrecta of Venice. 

She baa attracted the attention of Bamaba, an influential police 

apy, and he plana to gain her affectiona. 

Thia ia the aituation at the riae of the curtain. Tlie atage ia 

filled with people, peaaanta, aailora, maaqueia. all in holiday at. 

tire. Barnaba la leaning againat a pillar, watching the gay acene. 

The chorua aing their opening number, SpaiU and FtatUng. 

Feste ! pane I (Sports and Feasting 1) 

By La Seala Chorua (/n/lo&an) *49010 10-inch. *t.00 
At the cloae of thia number, Bamaha advancea and an- 
nouncea the commencement of the Regatta. All haaten to the 
ahore, while Barnaba lemaina to aoliloquize on hia plot to aecure 
the lovely Gioconda. Gioconda entera. leading her mother. La 
Qeca, bv the hand, and Bamaba haatily hidea behind a column 
■■Hcu. •■■•u to watch them. La Qeca ainga a beautiful air, bleaaing her 

DESTiHi AS ciocQHDA daughter for her tender care, and thia leada to a trio. 
• DtmUtJ'aad R«<.nf— For lllk »/ oHoiffc tiJc H DOUBLE-FACED LA aOCONDA RECORDS, pott 161. 



VICTOR BOOK OF THE OPERA— LA OlOCOKDA 
Figlia che reggi tremulo pi£ (Daughter. My Faltering Steps) 

By A. Roisi Murino. Sopruio; L6pcE 'Nunc*. Soprano; 
Erneito Badini. Btritoae " '' '' ' 

Fin"cf ^r^alTce and ™?ol«lwn"* * * ThTeK% T " alelV "guidi^" 

I grslefully bless my Loss of sight, Here recommence Ihy daily life. 

That heightena tby alTtclion! In calm contentment gliding. 

While thou unto mankind thy goag9 are Bing- Baihaba (asidr): 

ing, With fiereesl joy my heart would be enrap- 

To Heiv'n my ceaselcES pray'rs their flight are lured 

winging. If in my net she were securely captured! 

For thee I pray and render thanks to Fate The wildest ecslasies within me waken! 

Thai left me sightless,— but no 

Gloconda leave* to •eek 
£rin>, but Barnaia 11008 her 
mad boMly decUrei that he 
loves her. She akudderi with 
inctive aveiaioii, and 
n •tand aside. He at- 
tempu to aeize hei. but ahe 
eludes him and nuke* her 
evcape. leaving the apy furiou* 
and planning revenge. 

The people now return 
from the Regatta, bearins the 
victor on their shourden. 
BarnAa, aeeing the defeated 
combatant, Zaant, conceive! 
a plan to deprive GfoconJa of 
her mother, thiu leaving him 
free to carry out his plans. 
He takes Zudns aside and letls 

him that the blind La Qeca is a witch who has cast a spell over him, causing his defeat. 
The old woman ia being roughly handled by Zuane and his friends when Eiao suddenly 
appears and protects her, holding the mob at bay. 

Alelit. Chief oF the Council, enters with his wife Laura, formerly betrothed to £ruo. 
Laura pleads for Otea, and she is protected by Alebe. The blind woman voice* her giati- 
(ude in this lovely song, which is familiar to moat concert.goers. 

Voce di donna (Angelic Voice) 

By Louiae Homer, Concrslto (/n Italian) SS 1 04 1 2-inch, *3.00 
Although the part of the blind mother. La Qeca, hai never been 
■Ung by Mme. Homer, she being usually cast for Laura (the superb 
lady of Venice and rival of Qoconrfa), this beautiful air ha* always 
appetded to hei. It is con«dered the finest aingle number in 
Ponchielli's work, and i* undoubtedly one of the lovelie*t gem* in 
thi* or any other opera. 

Certain it is that no Otca of present memory has ever delivered 
thi* romance with *uch richness of voice and such touching pathos. 
This beautiful passage — 



which i* *ung as La Qtea present* the rosary, is perhaps the moat 
effective part of the aria. 

Mme. Homer's singing of this foce dl donna makes this record 
i»ir Dun» one of the gems of the Victor's fine production of La QloconJa, and it 

HOUEi AS LAUBA should foFm part of every opera collection. 

'DtaUiJ'aaJRKml—FtrahBfouia^'lik « DOUBLEJ'ACED LA GIOCONDA RECORDS, r^t 161- 



VICTOR BOOK OF THE OPERA— LA GIOCONDA 



L* Cika: 
Thanki ui 
My fEtlcii 



By whom IhoK word- i 



Tbia roorr I oTer thee — no ricbcr boon pot- 
Deign to accept, the humble gift, 'twill briOB 



All BO iota ilie churck ^cept £nco, who mtandm gimag after Lavra. having recognized 
his (ormer love. BarmAa approachea kim and telU him tkat Lauia plani to viiit the Cenoeae 
nobte'i (hip that night, cnn, whoae love (or Laura haa revived at the light oE her, ii 
dehghted at this news, and forgetting Gioeenda, he retunu to hia •hip. 

Thia acene haa been put by Verdi into the form oE a dramatic duet, aung here by Conti 
and Badini, of the La Seals forces. 

Enzo Grimaldo (Duet Enio aad Barnaba) 

By F. Coati. Tenor. tuid E. Badini. Baritone {InlltJlaa) *49033 10>iiich. ILOO 

Baihaia (.atproackiiif Eto}: 
EniD Grimaldo. 
Prince of Sania Fior, tbou art peniive. 



'T-"-"' 



I am b>[ni>ti>n, 


Enio Gi 


For 

Yet 

b 


srs 


Dl for 


life lo _peri 

der, in tlTine 
ide became. 


.Jf;. 



Enzo: 

1 have pMttd mj faitb to Gioconda. 
Bain aba: 

Poor wand'ring ballad-iinger! 

Her ihoa doit love at sialer, but Laura ai thy 

Tbou hadrt all bape abandoned, dreamed not 

Bu? here, "ndVr"he? velvet maik, Iby beau- 
teous angel taw thee 
And reeogniied (he*. 
EUTO (hyfully)-. 



All this niebl will her huaband lUj 
Doge'a palace. 



of Ttn} tmbraiitrti <i 
9 back): 



I Laura, mjf adored. 



BAaijABA do Emo): 

■mo"' '""'"' ""•"»'""' »"" ' 'lAiljr) ' * ' "" " 

' Ah." with what joy my heart is filled. ' "" "!' ,"i''"lP'' '"4 ... 

Fortune at last ii kind' In each glad glance of thine eyei! 

Bui who ait Ihou. oh, gloomy meaaenger at Eitio (o'litt: 

joT? " ' ■ ■ * ' "^ Wh« Ihe dark nigbt falls, 

lAiHaaA- *-*" bosrd my ibip I ahall await my Lai 

I hatEIbcet I am the demon-in^blef BAaHAiA itneeriHelyi : 

Of the Council of Ten. Rewl thia. Beware Good luck attend youl 

»D,M,.Fa€^lt»cmJ-FHlltl,t/,,»manlJ.mt DOUBLE-FACED LA CIOCONDA RECORDS.pa 



VICTOR BOOK OP THE OPERA — LA GIOCONDA 

Bam<Aa then writes to Ahlm thai hia wife plan* to elope with Eiao. He apealu the 
words aloud aa he writeai and ia heard by Chtonda. who ia overcome at this evidence of her 
lover'* faithleuneia. and hearthroken, enteri the church with her mother. Bamata linga 
the famoua Sohloquy to the Doge'a Palace, given here in iplendid atyle by Ruffo. 

Oh Monumento ! (Oh, Mighty Monument) 

By Titta RuSo, Baritone (In Italian) 68396 12-ineh, 13.00 

The act closes with a famous dance, the Furlana, pJayed here hy the famoua Otcheatni 
Sinfonica of La Scala. 
Furlana (Finale. Act I) 

By Italian Orchestra *49033 lO-ineh, *1.00 

ACT II 
SC£N£ — A Lagoon near Vtnica — H h nlghc. Emo't lA/p It thoien at anchor, 
iBllh talhn gnaped on decl(, rating 

peon in his boat, haib the sailors, and smgs them 

Ah. pescator affonda Tesca (Fisher Boy. Thy Bait Be Throwing 1) 

By Tina Ru£fo. Baritone (In llatiair) B8394 12-inch, tS.OO 

By PasqualeAmato and Opera Chorus Un Italtan) 6J093 lO-ioch, 2.00 

By Ernesto Badini. Baritone, sad Chorus (h Italian) *49010 lO-inch, l.OO 

This is one of the moat 
popular numbers in the opera, 
its beautiful melody and 
rhythmical awing being a wel- 
come relief ia the midat of so 
much that ia gloomy. 

After taking careful note 
of the strength of the crew, 
Bamaba sends his aide for the 
police galleys and leaves in 

Enm now appeara, and is 
greeted by his men with en- 
thusiasm. He ia in a gay hu- 
mor, thinking of Laara'a ei- 
piected visit, and bids the 
sailors go below while he 
keeps the walch. 

Left alone, he gives ex- 
pression to his joy in this great „.„ ekjo's vpssfl— act 
aria, one ofthe mostbeautiful 

in the whole range of opera. Caruso sings the number with exquisite purity of tone and a 
lavish outpouring of voice. 

Cielo e mar (Heaven and Ocean) 

By Enrico Caruso, Tenor (/n Italian) 8B246 12-inch, *3.00 

By Florencio Conitaatino. Tenor (/n Italian) 64070 10-inch. l.OO 

By Franco de Grefforio, Tenor (/n Italian) *4S02I lO-iocfa. 1.00 

Especially noticeable Efag JWfg^4^.-jJT ^Rff p^^^ ^ 
IS this fine passage— '"" « « « "i." — .kH ^ « ». *j.h..— .«,•« rT^i 

which the tenor delivers in splendid style, fairly thrilling his hearers. 

Other fine records of ihia effective number, by Constantino and de Cregorio, ate also 
offered. 

IfciJcfen DOUBLE-FACED LA CIOCONDA RECORDS,patt 161. 



VICTOR BOOK OF THE OPERA — LA GIOCONDA 



Enzo: 

Heaven 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 I 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! on come, my dearest I 

Oh come, taste the kisses that magic bliss 
im^rt ! 

Oh come! Oh come! Oh come! 

Laura now appears, and after a rapturous embrace, the lovers 
plan to set sail when the 'wind rises. Ewbo soes below to rouse the 
men, when Gioconda, disguised, enters and qenounces Laura. 

They sing a splendid dramatic duet in which each declares 
her love for Enzo and defies the other. 

L^amo come il fulgor del create ! (I Adore Him I) 

By Elena Ruszccwska, Soprano, and Bianca 
Lavin de Casas, Mezzo-Soprano 

(/n hahan) 88271 12-inch, $9.00 

Gioconda is about to stab her rival, when the sight of a rosary 
worn by her intended victim causes her to repent, and she aids 
Laura to escape just as her husband, sumnionea by Barrtaha is ap- 
proaching. 

CONSTANTINO AS sMZo Enzo appears and is greeted with reprottches by Ghconda, who 

tells him that the war galleys, led by Bamaka, are coming to capture the ship. Enzo, stung 
by Gioconda's scorn, and heartbroken at the loss of Laura, fires his s^ip to prevent it falling 
into the hands of Bamaba. 

ACT III 

SCENE—^I Room in the Palace of Alvise, Night 

Aloise is discovered alone, in violent agitation, planning the death of Laura because of 
her attempted elopement with Ertzo. 

He sings a dramatic air, picturing his fearful revenge. 




COrVr MISMKIB 



Si ! morir ella de* ! (To 

By Amleto Galli, Bass 



is Her Doom !) 

(In Italian) *55019 12-inch, $1.50 



Alvise (m violent agitation): 

Yes, to die is her doom! My name, my honor. 

Shall not with impunity be disgraced. 

From Badocrs, when betrayed, 

Pity 't were vain to hope. 

Though yesterday upon the fatal isle 

She Escaped this vengeful hand, 

She shall not escape a fearful expiation. 

Last night a sharp poniard should have 

I>ierced her bosom; 
This night no poniard I'll use; she dies by 

poison! 
{Pointing to the adjoininq room.) 
While there the dancers sing and laugh, 
In giddy movements flying. 
Their mirthful tones shall blend with groans, 



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! 



The guilty woman now enters at his summons and is denounced by him. He orders 
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 aueAloise 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 giving a 
masked ball. The famous Dance of the Hours is given for the entertainment of the guests. 

* DoaUt^acedRtawh-For tflfe o/oppoMe 9ide me DOUBLEJ^ACED LA aOCONDA RECORDS, page 161. 

159 



VICTOR BOOK OF THE OPERA — LA O I O C O TJ D A 
Dance of the Hours 

By Victor Herbert'* Orch. 70070 12-incli, tUS 

By Victor Orelieitni *35087 12-incb, 1.2» 

By Victor Orcheatn 3U43 I2-mch, l.OO 

By Wm. H. ReitE (XjibpAone) *17147 lO-iach, .75 
This U one of the moat beautiful of balleta and lytnbolizei, 
like many other modem Italiaa balieti. the itruKgle Wween the 
conflicting povren of light and daiknest, progreu and ignorance. 
The music ia fascinating in the extreme, and i* one of ihe moat 
popular parti of the opera. 

Emo ia present among the masker*, and when Samaia whii- 
pers in hw ear (hslLaunlia dead, heunmaakiand denounces y4/ofM, 
who cause* hi* arrest. The great finale begin* with Enxo't solo: 

Gia ti vedo (I Behold Thee) 

By Lotti. de Gregorio. Bsdini and Choru* 

(/n Italian) *99019 12-iaeh. *1.S0 
The emotions of the variou* characters may be undentood 
by the quotation* below. 



dead, ]. 



Shrouded in thy 

Thou irt dead. lu.c. ... 

The (luip »x"*{or*'nie''i 
Openi wide a dark abys 
Bit to thee ihsll tortur 



Baknaia (aside la Gioconda) : La Cieca: 

Yield Ihee. yield thee! all around thee Thou art wtepInE. 

See what pow'r I have for illl Let me fold ihee t< 

GiocoNDA iasidt lo Barnaba}: Never love, like lo 

Do Ihou uve him, brint him salt out there. Can encounter evei 

Close hy the Redentor, and then Alviie: 

Myself I will^ surrender ;7did the splendor 

nEe'billere"l'fSte'will 



Baxhaba (IP Ciaconda): 

Though desnair may prompt thy olFer, 
I accept il for m - 



To complete hia revenge, 
AMk now drawB aside a cur- 
tain and show* the gue*t* the 
body of Laura, acknowledging 
that be took her life. Honor 
and indignation are expreaaed 
by thoae preaent, and Enm 
attempt* to kill Alolt. He 
faila, i* *eized by the guard*; 
and i* led away to prison aa 
the curtain falls. 

ACT IV 

SCENE— /4 mlntJ palace on on 
lalanJ In ihe Adtiattc. Va^tx 
laMt in the dtttanct 

To this deaolate island 

CloconJa ha* managed to bring 

lED i-ALACE — ACT IV endeavor to save her. A* the 

lit ofaptctHi Mit tm DOUBLE-FACED LA GIOCONDA RECORDS i-te 161. 



VICTOR BOOK OF THE OPERA — LA GIOCONDA 



curtain rises two men are carrying the 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 (DoubkJ^aeed—See behw) {In Italian) 55015 12-mch, $1.50 

For a moment the unhappy girl is tempted to complete Alolse'a 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, with 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 between the two, which is interrupted by the voice of Laura, who 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 swallow 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 her cour- And ne'er will Gioconda be false to her oath. 

a{/c. and retains it to the end): May Heaven in mercy withhold condem- 

Yes, I keep to my compact; we both swore nation, 

to keep it. And pardon us both! 

Bamaba 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 Murifio and E. Badini {In Italian) 5501 7 12-inch« $1.50 
Barnaba: 

Thou'rt mine now! and swift from this deso- Thou claimest Gioconda ? Now demon accursed, 

late heart, Gioconda is thine! 

Expelled by love's rays, sombre shadows de- iShe stabs herself to the heart with the dagger 

part. that she had secreted while adorning herself, 

Gioconda {to Barnaba, who is approaching her) : and falls dead at his feet.) 

Restrain awhile thy ardent passion! Basnaba {in horror): 

'ihou soon shalt in splendor Gioconda behold! Ah. stay thee! *Tis a jest! 

For thee I am braiding my clustering tresses (IVith nendish joy.) 

With purple and gold! Well, tnen, thou shalt hear this, 

(.Concealing her terror, she adorns herself.) And die ever damned! 

With glittering jewels, the gay tinsel worn {Bending over the corpse of Gioconda, and 

nightly screaming furiously into her ear.) 

By madcaps theatrical, cover*d I'll be: Last .nh;ht thy mothcr did okkend' me: 

Now list to the song that this ardent young siren I have strangled her! 

Will sing unto thee! {Wildly.) She hears me not! 

I keep to mv compact, no false oath was mine; {With a cry of half-choked rage he rushes 

{Changing her tone.) from the ruin. The curtain falls.) 



55019 12-inch, 1.50 



DOUBLE-FACED AND MISCELLANEOUS LA GIOCONDA RECORDS 

fFiglia che re((gi tremulo pi^ (Daughter, My Faltering Steps) 1 

I By Murine, Nunes and Badini {In Itdian) l--^,- ,^. . *, */» 

I Vo' farmi pid gaia (ThouVt Mine Now) [**^^ ' 12-inch, $1.50 

[ By A. Rossi Murino, Soprano ; E. Badini, Baritone) 

Gii ti vedi (I Behold Thee) By F. Lotti, Soprano ; 

de Gregorio, Tenor : E. Badini, Baritone (In Italian) 
I Si! morir ella de'l By Amleto Galli, Bass (In Italian) 

jSuicidio! (Suicide Only Remains) By Elda Cavalieri\ ^^^. ^ ,^ . « -, ^n, 

1 Mefistofde-U altra notte By Bda Cavalieri r^^^^ 12-mch, 1.50 

! Dance of the Hours By Victor Orchestral^ -^n- -^ . * , ^- 

Sweet Longings {VioUn-Flute) By Rattay and Lyons r*"®^ 12-inch, 1.25 

Opening Chorus — ^**Feste I pane t ** La Scala Chorusing. ^.^ .-^ . . . -^ 

Barcarola- ' Pescator affonda Tesca •- By E. BadiniP^^^^ 10-inch, 1.00 

/Enzo Grimaldo By Conti and Badini {In Italian)} . ^^^^ .^ . « i /w> 

IFurlana (Finale, Act I) By Orchestra Sinfonicar*^^^ lO-mch, l.OO 

jCielo e Marl By Franco de Gregorio {In Italian) I45Q27 lO-inch 1 00 

\ Manon Lescaut — Ah, Manon ! mi tradiace By de Gregorio {Italian) \ " * 

{Dance of the Hours {Xylophone) By Wm. H. ReitzK .. j. .^ . « .^ 

Maurice Tango {Banjo) By Fred Van Eps/^^^*^ lO-inch, .75 

161 



gotterdAmmerung 

( GtiUn-daluif -mtnitii ) 
(Bafliih) 

THE DUSK OF THE GODS 

MUSIC DRAMA IN THREE ACTS AND A PRELUDE 

, iii«ry 25. 1886. with 
Lehmann, Seidl-Krausa, Traubman, Niemann and FUcher. 

Character! 

Siegfried Tenor 

GUNTHEB (CBwi'-fcf) Baaa 

HAGEN(H»ft>n) Bbu 

BRUNNHILDE Soprano 

GUTRUNE (CwKJmwi'-iA) Soprano 

WOCUNDA. I I SopTBDO 

WELLCUNDA, [Rhine-Nymphs \ Soprano 

FLOSSHILDE. J _ [Contralto 

PRELUDE 

SCENE- r^e Walkurr-i Rock 
The Dutk of the Godi. the last part of the letialosy, coniisU of three acts and a prelude. 
In the prelude we once more see BrUnnhitde on the rock, where she had lain during her 
magic aleep, and where Siegfried had found her and taken her aa hia bride. The hero, after 
a brief period of domestic happinesa in a cave near by, decide* to leave his bride for awhile 
and go in search o( adventures, giving her the Nibelung's Ring as a pledge of faith. Thia 
ring he had oblained when he slew the dragon Fafner, and as the opera progteHea it will 
be seen that he is doomed to luffer the consequences of the fatal curse, invoked on eveiy 
poaseasor of the Ring by Aibtrich, from whom it was forcibly takeiv bj- K'ulan. 



VICTOR BOOK OF THE OPERA— THE DUSK OF THE GODS 

PROLOGUE 

A( the curtain ruet BrOmOilUe and SitgfHtd come out of the cave. 
SitgfrieJ in full Brmor and the yaUa/rle lending her horee by the 
bridle. She begin* her lender addtew of fBrewetl : 

Zu neuen Thaten (Did 1 Not Send Thee?) 

By Johanna Gadiki 

In German B7096 lO-iach. *2.00 



hold. 



( lighla against it, far Icar nol wholly thy hei 



Tliis lovely air i> delivered by Mme. Gadaki with tendemeaa and 
feeling, and the record ii an unusually fine example of the perfect 
recording of a beautiful soprano voice. 
ACT I 
SCENE— Co^/e of King Ganlher 
SiegfrieJ joyouity Kti out on hia journey and soon coma* to the 
»»'! suxiii Court of King Cunlher on the Rhine, where dwell* aUo Ganlhtr's liater 

EOoUAiD DE nEiiKE Gutrune, and their half-brother Hagrn. who i* a ion of Albtrtih, the 
ii HAi^i.H dwarf. Hagtn knowa the huloty of the Ring and i* anxiou* to re- 

*tore it to hi* father, h he artfully trie* to win the help of Gantha. 
Knowing that the hero i* approaching the caitle, he outline* thi* 
•cbeme, which ia to give Sitgfrltd a drink which will make him forget BrOttnMdt and fall 
in love with Gatnint, after which Canlhtr can win the peerleaa BrannhttJe for himaelf. 
Cunlher ia tempted, and when Sitgfried't horn announce* hi* approach he conaenta. 

Siegfried greet* them a* frienda, and when offered the magic drink he accepta and 
immediately lo*e* all recollection of BriSnnhlUe. Seeing the lovely Gulnme, who atanda with 
lowered eye*, he exclaim* ; 

SiccniED (BBniKO on Gutrune milh a tindlime 

Thou fiir one. who» boams 

Mv breaM have enflamrd. 

Why fall thus Ifainc eyes before mine? 

IGulruni lo^ki «/■ ol him. blushing,) 

Ha! iwrrlcM maidr 

Screen Ihose briuhl beam.: 

The heart in my brtasl ^ _^ 

Burn) with their slrenglTT: 

Gtihvnt. trembling with emotion, leave* the 
Hall, and Siegfried, gazing after her. aaks CunfAer 
if he ha* a wife. The King, prompted by Hagtn, 
repliea that he know* of one he would wed. but 
that *he ia aurrounded by a magic lire which he 
cannot paaa. Sltgfrltd *eems trying to remember 
hi* pB*t, but fail*, look* confu*ed, then suddenly 



in order that BriinnMde may think that it ia albehick and hacin— act ii 

Guitlhtr who ha* won her. it is agreed that 

5JU/rW shall, by meana oif the Tarnhelm, change himself into GunlAer') form. Thinking 
only of hi* rewaird, Siegfried eagerly departs. 



VICTOR BOOK OF THE OPERA— THE DUSK OF THE GOD S 

Hier sitz' ich zur wacht (Here I Wait) 

By Marcel Journet, Bass {In German) 74276 12-mch, $1.50 

Hagen, left alone, outlines his coming triumph, when he shall possess the Ring, and 
avenge ito theft from his father. Alherich, 



Hag EN : 

Here I sit and wait, watchins the hall, 

VVarding the house from all foes. 

Gibich's son is wafted by winds; 

A- wooing forth is he gone. 

And fleetly steereth a stalwart man, 

Whose force all perils can stem. 



His own the bride he brings down the Rhine; 

Hut he will bring me the King. 

Ye gallant partners, gleeful companions. 

Push ye then merrily hence! 

Slight though your natures. 

Ye still may serve the Nibclung's soul 



SCENE II— rAe WaJkurt's Rock 

The scene changes to the Valkyrie Rock again, where 
BrUnnhilde awaits Siegfried's return. She is astonished and 
alarmed when 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 win her for his wife. BrUnnhilde, in horror and despair, holds 
up the Ring, exclaiming: 

Brin nhii.de: 

Stand back! bow to this token! 
No shame can touch me from thee 
While 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 BrUnnhilde 
into the cave the curtain falls. 

ACT n 

SCENE — The Rhine near Guniher' 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 Tamhelm, arrives, 
greets him cheerily and says he has gained Gunther 's wife for 
him, but that they are returning home more slowly. 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 BrUnnhilde, who is pale and downcast. Siegfried 
and Gutrune come out to meet them and BrUnnhilde sees Siegfried in his rightful form. She 
recoils in horror at seeing him with another woman, and regarding her as a stranger. She 
then perceives the Ring on Siegfried's finger and demands to know where he obtained it. 
He seems confused and regards the Ring with a puzzled air. BrUnnhilde, beginning to 
comprehend what has occurred, denounces him, and Gunther, beginning to doubt whether 
Siegfried had kept his oath to respect BrUnnhilde 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 aaid Hagen, Hagen holds out his spear; Siegfried 
lays tw^o fingers of his right hand on its point. 




COPY'T OUPaMT 

GAPS K I AS BRUNNHILDE 



SiFC.FRIF [): 

llaft of war, hallowed weapon! 

Hold thou my oath from nishonor! 

On this spotless sj)car-hcad 

I speak the oath: 

Sjieai -point, aid thou my speech! 



Where steel e'er ran strike me. 

Strike thou at mc: 

Wher'er death can be dealt me 

Deal it to me. 

H .«;hc is really wronged.^ — 

H I have injured my friend! 



BrUnnhilde, unable to contain herself at this evidence of Siegfried's baseness, repeats his 
oath and denounces him. 

Helle "Wehf ! Heilige W^aflfe ! (Haft of War ! Hallowed 'Weapon) 

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, 
BrUnnhilde, Hagen and Gunther remain behind, the latter in deep depression. Hagen tells 



164 



VICTOR BOOK OF THE OPERA— THE DUSK OF THE GODS 

BrUnnMde that he will avenge her wronsa. "Thou?" uya BrlinnMldt, contemptuouily, and 
(ells him that only in hia back ia SicgfrltJ vulnerable, and that no magic piolection waa 
placed there because she knew that never would he retreat. Canlher now rou*ea himtelf 
and the three decide that Sitgfrltd must die tor his tieachery. 

ACT UI 

SCENE \—A Wild Vaaty near the Rhine 
The Rhine nympha rise to the sur- 
face of the water and sing of the Rhine- 
gold. They spy Slegfiltd and ask 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 a* he watches them swim away, 
■ay* lightly : 

Alike oil tsnd and water. 
Woman's ways I've kanu tp know. 
The man wbo resisIK thelt >mi[» 
Thev seek hv threats IQ f ri; hlen. 
And when ihese both arc HTOined 
They bait him with bitter words. 
And yd wtre fiulnme not my wife. 

Hunting horns are heard and 
Stcgfiitd gayly answers with his own. 
Ganiher, Hagai and the hunters descend 
from the hill and greet him. They camp 
and begin to eat and drink. Siegfried 
tells them of his sdvenlure with Mime 
and the Dragon. Hagen gives him a 
magic drink which brings back hia 
memory and he goes on to tell of the 
forest bird and his quest of the lovely 
BrOanhildt. Cunlher begins to listen at- 
TUs iHiNs UAiMHs wuHiHc iiiGniiiD tentively, but when Siegfried reaches 

this part of his narrative, Hagen plunges 
aniher, in pity for the dying man, leans over 



Arain now the bride's bunds be has broken^— Brunnliilde beckons to mel {Ht ditt.t 
SCENE n—Hall ir, Cunlher-, Palace 

Siegfried's body is borne mournfully to the Hall, where the weeping Galnine meets them 
and clasps her husband's lifeless form. Hagen now demands the fling as his booty, but 
Ganl/ier refuses to yield it and they draw their swords. Quniher being killed by Hagen. 

Hagen now attempts to withdraw the fUng from SlegfrieJ't finger, but as he approaches, 
the arm of the dead hero is raised threateningly, and all recoil in terror. 

Brilnnhllde now approaches and gazes long and sadly at Slegfrled't face, then orders a 
funeral pyre erected to bum the hero's body. The vaataU obey and build a huge pyre on 
the bank of the Rhine, on which the body is laid. BrOnnhilde summons two ravens from 
the rocks, and begina her great Immolation Scene. 

Flietft heim (Immolation Scene) 

By Johanna Gadski, Soprano {In German) 8ei8» I2-incb. *3.00 



VICTOR BOOK OF THE OPERA— THE DUSK OF THE GODS 

She bids the raven* fly 
to Lok'. sod of fire, that he 
mty complete the downfall 
of the Bod* by buminB 
VnlhalU. 



She kindle* the pile, 
which bums rapidly, and 
Ihe two nveni dinppe«^ in 
ihe diilancs. Briinnhtldt'i 
horae i* brouoht in, and >he 
lake* off the bridle. 

BrChmhildi ((0 the horse): SErrmo of act ii at iathutb 

firani. my horsr. gr«t ihcc Bgsin' Feci how my brtast loo holly dolh burn; 

Would)! Ihou know dtar friend. Sparkling furFflam; my siiirit enfolds. 

What joornpy we follow? O. but lo clasp him— 

Kj Oamc illuminird lies there th/ lord. Recline in his arms! 

To meet with Ihy master neishcEt thou Onee moie to be his! 

merrily? HeiaJBhol tlrano: Creel wc our hero; 

Lo! how Ihe flame Siegfried! Siegfried: see! 

Doth teap and allure thee: Sweetly greets thee thy wife! 

She awiiiBs herself on the Meed and ride* straight into the burning pile, which Baroe* 
up mightily, half conauming the Hall itself. The Rhine then rise* and put* out ihe flames, 
and on the surface are seen the Rhine daughters, who seize the Ring from the embers. 
Hagen, who ha* been aniioualy watching, now ruslys into the water*, crying: "The Ring is 
mine I " The nymphs seize him and drag him dowti in the flood. An increasing red glow 
is seen in the sky, and yathalla appears in flames, with the gods and heroes calmly await- 
ing their doom. As the flame* envelop all, the curtain fall*. 

IXJUBLE-FACED gGTTERDAMMERONG RECORDS 

rsntasU from the Opera By Arthur Pryor's Bandl.,,, - ,, . „. ., ,, 

RhinesoU Selection {Wagner) Bj, Conwau'l BanJ^'^" 12-inch. »I.2a 



GRISEUDI5 

OPERATIC MIRACLE PLAY IN THREE ACT8 AND A PROLOGUE 

Poem by Armand SylveHer and EuEcne Morond. Music by MoMenet. Firat pro- 
duction, CVra Comlque, Paris, November 20. 1901, with Mme. Lucienne Brevnl. Fint 
production in America at the ManKaltui Opera House. New York, January 19, 1910. 

CharicWf* 

GfUSEUDISk wife of the MarquU Saprano 

FlAMlNA, the Devil's wife Soprano 

BEBTRADE SopnuK) 

The Marquis de Saluces Baritone 

Alain, b shepherd Tenor 

The Devil Baritone 

The Prior Baritone 

GONDEBAUD Baritone 

Sctnt and Ptriad : Pnotnet, Fiance ; tht ihlrltenlh ctnlaiy, 

GriUllAt U bated on a modem "mystery" which was produced by Arinand Sylvester 
and Eugene Morand at the Comtdit FranQait in 1891. [n this play the author gave a much 
changed ve'rsion of a legend. Patient Gflaet, which has had a place in European literature 
since (he eleventh century. It is one of the stories that Boccaccio tells in his Deaanercn, and 
the same tale has been used by Chaucer in his Canterhun/ Tola. 

The plot of GriUlliks ia quite refreshing in contrast to most grand opera plots, its 
principal theme being true love and faithfulness. The opera opena with a Ptoloaie, occur- 
ring in the forest of Provence. The Maiqait de Saluca, lord of the region, while walking 
along the forest edge, meets the young and beautiful Gris^ldli. f-le falls deeply in love 
with her and asks her to be his wife, whereupon she replies that she ia his slave and must 
obey hia will. Together they depart for the chateau of the MarqaU, leaving the poor 
shepherd, Alain, who is also in love with Grttilldli, bewailing the fate which has robbed 
him of his sweetheart. 

167 



VICTOR BOOK OP THE OPERA — GRI3ELIDIS 

A year elspaei, and in Act 1 we see the Marquli about to depart for the war asainM the 
Saracens. The scene ahowa the inaide of the Chateau ; in the background a triptych open, 
with an image ai St. Agnea holding in her arma a white lamb, and at her feet an image of 
the Deal. The Marquta expreaaea hia great love (or his wife, and says that he would be 
willing to awear in the preaence of the Dtull himaelf that ahe would always be faithful and 
true. Suddenly the atone image of the Deell cornea to life, bounda on the atage and oSeta 
to wager the Marqult that during hia abaence at the wars Grii^lldla will break her vows of 
faithfulness. At first the Marquli spurns the wager, but finally accepta and gives the Denll 
hia wedding ring to show his absolute trust in CriUllJit. The latter is left alone with her 
little aen. Lofii, aa her huaband departa for the war. 

Act l[ ahowa the terrace 
oftheCastlo. The Deo// in- 
duce* hia wife, Fiamina, to 
join bim in hia wicked plana 
to tempt Criiadis, and they 
appear at the Caatle dis. 

chant and a Moorish slave. 
The merchant (DeVlO tells 
Gria^ldli thai her husband 
bought the slave from him 
!n the Orient, being greatly 
attracted by her charms, and 
tells her that her husband 
commands that the slave be 
installed sa raiatresa of the 
Chateau. As proof of the 
truth of hia atatement he 
ahowa Crli^lJti the MamuW 
wedding ring, and ahe aub- 
missively declares that ahe 
will obey her husband's or- 
ders. This acquiescence is 
contrary to the Dtoil'a ei- 
pectationa, and in consterna- 
tion he now has his Ecll 
DIABLEAHD FIAMISA— ACT II SpiHti bring Alain to the 

Castle, hoping to tempt 
CriUliJii to flv with the shepherd, who atill loves her ; but little Loya appears just in time to 
save his mother when her reaiatance ia weakening. Aa Alain rushea away, in deepair, the 
DttAl auddenly appeara, seizes Loga and disappears, and the act ends with a wild search for 
the child. 

The third act shows the Interior of the Chateau widi the triptych as in Act I. The Deell 
again appears to GriadlJla, this time disguised as an old man. He tells her that Loya haa 
been kidnapped by a pirate, who demanda a kiss from Grisilidia in relum for surrendering 
her child. Mother love forcea her to yield, and ahe atarts for the harbor. The Marqua 
comes home from the wars and the Deoil tells him Grililidlt haa gone to keep a rendezvous 
with her lover, but the Marqult refuses to believe these accuaationa against his wife. 
Griididia retuma and tefla the Marqala of the kidnapping of little Lays, and they pray that 
help may be given them to fight the powers of evil. Whereupon the cross on the altar 
ia turned into a flaming swoid, and when Gnailldli prays to St. Agnea that \>er 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 white lamb, but the child 
Loya. A glad pealing of bells can be heard a* the Maiqula and Griadlldli, with their child 
between them, are happily reunited. 

The Victor offers here a very fine record of the air Ouorea-vou, aa, mon fmnl. which 
occurs at the beginning of the opera. It is the song of the shepherd Aloln, telling of hia 
love for the maiden, Grisilldis. 

Ouvres-vou8 sur mon front, portes du Paradise I (Open 
Now to My Eyes, Portals of Paradise !) 

By Charlca Dalmorea. Tenor (h French) B839T 12-inch, (3.00 



HAMLET 

OPERA IN FIVE ACTS 

Muaic by AmbroUe ThomBi. 
production June 19. 1869. 



Cut 

Hamlet -BaHione 

Claudius, King of E}eninark Bui 

Laertes, Polonius' »on Tenor 

Chod of the dead King Bbm 

POLONIUS. Chancellor Bua 

GERTRUDE, Hamlet's mother, Queen of Denmark . Mezzo- Soprano 

OFWEUA, daughter of Poloniua Soprano 

Lord*. Ladies, Officers. Pages, Peaunti, etc. 

Scene : EJtInore, In Denmark- 

The itory of Hamltl, Prince of DenmaHi, ia (o well known that it would teem hardly 
neceasary to describe the plot at any length. However, for operatic purposes the librettist* 
were obliged to modify and reconstruct certain portions of the tragedy, and the revised vei' 
sion will be briefly sketched here. 

The present King of Denmark, ClauJlui, has seized the throne, after having murdered 
the late King, Hamlel'i father. At the opening of the open Hamlel knows nothing of the 
murder, but is highly incensed at bis mothet for having married ClauJlut before she had 
been two months a widow. 

ACT I 
SCENE I— ^ Room of Stale In ihe Palace 
The new Queen is being presented to the Court at a public reception. She is annoyed 
because Hamlel shoWs his displeasure by absenting himself from the ceremony. After the 
presentation is over. Hamlel enters slowly, in a melancholy mood. 
Hahlet: Ah: vain indeed it eriff! 

AfTcclion. loo. doth seem short lived indeed. 
My much-loved father but two motilhs dead; 
And yet, unto snolher wedlock, my mother hath conHnted; 

Hi* bitter musing is interrupted by the entrance of Ophelia, his betrothed. She has heard 
diat Hamlel intends to leave the kingdom and ask* if he has ceased to love her. In the beautiful 
love duet he reassurs* her. and tells her why the palace has become intolerable t4 him. 



BOOK OF THE O PER A— TH OM AS* HAMLET 
Neifa se puoi la luce (Love Duet) 

By Maria G«lvany. Soprano, sad Titu 

RuSo. Baritone {/n tialian) 92»00 12-inch. *4-00 



Thou couldst not le 
Yi^hMvcn'r'pow"' 



SCENE ll—E,plonaJc of the Palace. It i. Night 
_ HoraSo and Marctllus are ditcovered excitetlly ducuraing the 

*■"* ■" *"' appearance of the spectre of the murdered King. TTiey greet Hamltl 

AENAuu AS iiAULET Qpd tell him of the ghoatly vioitor, vrhich appeared just at mid- 
night. Hamltt ii much affected, and auggeata that a> it ia nearly 
twelve the ghoit may come again. 

The clock Mrikea, and the figure of the murdered King appearm. Hamltl apeak* to the 

Thou spirit dread. Ihou ihadc revered. Wherein we saw (liec peanfully entombfd. 
Hear thou Ihy hapless son's lamenl. Ilalh op'd his pondeiuus and marble jaw*. 

Teirme whyihe*s*pulchre7' ' 
The ghoat motions Horatio and 
MarctUua to withdraw, and when they 
arc gone he tells Hamlel of the murder 
and bid* him become the avenger, but 
ask* him to leave hia mother'* pun- 
ishment to God. Hamlel is much 
affected and eidaima : 
IIahlft: 

Yes! Shade revered! Thy bidding 

O linht. O Bun,' O glory, O love lo me 
FarewcllfFarewell! 

The ghoat, before disappearing, 
pauses at the back of the stage, and 
•tand* with one hand extended toward 
HamUl: at thi* moment Horallo and 
Marcellia re-enter, and appear teitot. 
■tricken at the spectacle before them. 
Trumpets and joyoua muaicare heard 
without aa the curtain falls. 
ACT II 
SCENE— GarAn of iht Palace 
Ophelia enters and is much dU- 
turbed because W™/«( seems to avoid •.-• ™'... „a«i,»t akd thi ohost 



VICTOR BOOK OF THE OP ER A— TH OM AS* HAMLET 



her. The Queen finda her weeping, uid after queitianing her uya thai Hamttt hai alao 
acted strangely toward hii mother and feat* hia reeaon ia affected. 

Hamtcl, Becking to entrap the King in aome manner into betraying h 
a troupe of players to piesent a play which shal' 
Queen are delighted that he aeema to aeek amuaei 
witnesa the play. 



...oju.B »»'<self. has engaged 

..milar crime. The King and 

, and gladly accept his invitation to 




Y/hen the royal pair have departed, the playera come on and are instructed hy HamUl 
in the plot he haa conceived. The Prince then calls for wine and bida the playera be merry, 
offcnng to sing them a drinking aong. 

O vin, discaccia la tristezza (Brindisi) (Wine. This Gloom Dispel) 

By Emilio dc Gogorza. Baritone (In Fnnch) BSIBO 12'incb. *3.00 

By Titta Ruffo. Baritone, and La Scala Chorus (Italian) »203I 12-inch. 3.00 
By Franceaco Cicada. Baritone, and L> Scala Cborua 

(In Italian) *16572 lO-ioch, .75 



'. tbc gloom di>.pel. 



Sad Ifaoughig 



folly r. 



Thou poiem jorcerer. The only »i« 

>u oblivion to my huiir Who wisdom's pircirpis nc ci ooeyi: 

SCENE W—The Palace Hall. On one tide a stage lua been erecleJ 

a and the ptay begina, Hamlet placing himself where he can watch 



uid all leave the re 



Handel enters and ■! 



It the Court belie 
1 as he faints in Horatio's arm*. 
ACT III 
SCENE— rhe Qaeen a Apartments 
■ hia farewell soliloquy. 

Monologo (Soliloquy) 

By Tina Ruffo. Baritone (In Italian) 92042 12-iDch.t3.00 

This ia Thomaa' splendid setting of the well-known soliloquy and one of the most con- 

apicuoua numbera in the opera. Although the librettiata took many liberties with Shake- 

neare's drama, they did not venture to alter such a welLknown excerpt aa thia. Ruffo ainga 

this famous monotone in a superb manner, delivering it with great dramatic power. 

• DoaikfactJ ReeofJ-Fa, IKk ofouMlIt Oit « DOUBLE-FACED HAMLET RECORDS, p^ 172. 



VICTOR BOOK OF THE O PE R A-THO M AS* HAMLET 



From whost bourne no ttiveler returns!" 
"AtT to be, or noc to be? 
To die. to sleep; percbance lo dream." 
The Queen and OsJiella enter and plead with Hamlet lo 
bsnUh his wild imaginings. He sternly rebukes them, advises 
Ophelia to retire to a convent, and accuses his mother of being 
an accomplice. Tlie ghost again appears, visible only to Hamitt, 
bids him spare his mother, and slowly disappears. The Prince 
conducts the Queen lo the door, urging her to pray and repent. 
ACT IV 
A rural Ktne near a lake, IVllloioi line Ihe thore 
Ophelia, driven insane by Hamlel'i desertion of her, has 
wandered to the lake. She plays with a garland ai flowers, 
and sings her wonderful aria, usually known as the Mad Scent, 
one of the most difficult of all fiorid compositions. 

BalUta d'Ofelia (Mad Scene) 

By Nellie Mdba {In French) 88251 12-iiieh, *3.00 
By Maria Galvaay (In llallan) 86235 12-iDch. 3.00 
ByGiuseppiiiaHuKuet(/JoAan) '35180 12-inch. 1.25 
An exquisite introduction by the orchestra is heard as 
Ophelia enters — a strange, wild figure, with flowing hair and ,„^ „„„ 
torn white dress. She speaks to the wondering peasants and murro as haulet 

tells them childishly of the lark which she heard at dawn, fol- 
lowing with a brilliant display of bird'like trills and staccatos. 

Opheila 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 mth 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't vow 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— 7^ Churchyard 
HamUl comes hither to attend the funeral of Opheila. He 
sings his beautiful song to her memory and resolves lo take his 
own life upon her grave. 

Come il romito fior (As a Lovely Flower) 
By Titta RuSo. Baritone, and La Scala Chorus 
""■' ="•"' (In llallan) 92064 12-inch. »3.00 

TALv* AS opHiLiA By Eorico Pifoataro, Baritone 

(In Italian) *63424 lO-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 



DOUBLE-FACED HAMLET RECORDS 

/Ballata d'Ofelia (Mad Scene) By Huguet, Soprano (/la/lon)) ,., ._ ,- - i, . 

\ Dinorah—Sl. carina caprelllna Bf, Gluieppina Huguet. 5opra™,P'*°" JZ-IOCB. . 

(Brindisi By Francesco Cigada and Chorus (/n //a/ton)! ,,,_, ,„. . 

\ ■ Emani-Fe.ta Ja ballo By La Scala Chorum f/f. ftcftcn)/'*''* lO-mch. 

(Come il romito fior By Enrico Pignataro (/n fto//on)l , _ ., . ,„ . _. 

) PalllJe Mamm^e-Romama Bs Laein Je C<aat (In ltallan)r^*^* lO-inch. 



HANSEL UND GRETEL 
NrNO^ERITA HANSEL AND GRETEL 

(NetK-it <K Aoc'-teA) iHan^l and GiaJM) 

(or HANS AND CRETCHEN) 
A FAIRY OPERA IN THREE ACTS 
Text by AdelKeid Wette. Music by Cngelbert Humperdinck. 
Firal produced 1893, at Weimar. First AmericBn perfoimBnce at 
ibe MetropoliUui Opera Houie. New York. 1895. 

Cast 

Peter, a broom-maker Baritone 

GERTRUDE, his wife Mezzo-Soprano 

GRE-reu ] '•'«'' '='''"^"" { sl^o'""""' 

The WrrCH who eat> children Mezxo-Soprano 

Sandman, ike Sleep Fairy Soprano 

DEWMAN, the Dawn Fairy Soprano 

It is now some seventeen year* since Humperdinck's lovely (aiiy 

■yKUL iNi.iu opera was brought out in America by Augustin Daly, and it has 

uuurESDiNCK since been Armly established in the repertoire of every producer of 

grand opera. 
H&nsel and Crete! has been called the Peter Pan of grand opera; the audiences 
who wilness it being invariably delisted with the childish )<^ou*ness and fairy charm of 
Humperdinck's work. 



VICTOR BOOK OF THE OPERA— HANSEL AND GRET EL 

Thii delightful opera ii built upon the limple Grimm tnle of 
Baba In tht Woods, and lirit niBBested itoelf to the compoaer to 
amuae hii aiater'* children. It wai BfterwHrd elaborated into a 
complete opera, which haa become one of the moat important and 
interesting of modern German works. 

Two German peasant children, Haia and Grttchen, are aent to 
the woodi for itrawberriea and get lo«. The SanJman finda the 
babea and singa them to iteep, while angels and fairies walch over 
them. They are awakened by the DeiV Man, and go for breakfaat 
to the house of the Wllch, who plans to eat them; but when she 
opens the oven to see'if it is hot enough to cook Ham, she herself 
is pushed in by Grelchtn. 

Several numbers from thia interesting opera are presented here, 
—the first being the beautiful Prelude. 

Prelude to Hansel and Gretel 

By Arthur Pryof't Band 31893 12-iiich. t\J0O 

This Prelude is an especially beautiful number. It opens with 
the Prayer of the Chlldna, played by the brass — at first softly, then 
swelling to the full strength of the band. This is followed by a 
passage portraying morning in the Eoreat. and upon this pastoral un'r •»•• h-oiim 
scene there breaks in rudely the Hocui pocui, or WUcha' moHve. altek as obtel 

The Prelude is brought to a close with a return of the Pra^r Ihtmt, 

The delicacy and charm of this music is well brought out by the band under Mr. 
Piyor's masterly baton. 

ACT I 

The scene is laid in the houae of f^er, where the two children are busily vrarking 
— Hsmd making brooms and Greld knitting a stocking. Grefef begins the old German folk- 
song, "Susie. What is the News?" with its nonsense about the geese going barefoot becauae 
of their lack of shoes. HHiatl, thinking more of his stomach than of the feet of the geese, 
asks when they ate likely to have something to eat. Little Gnld reproves him for making 
a fuss about something which cannot be 
helped. 

Suae.liebe Su»e (Little Susiel) 

By Alma Cluck. Soprsno, ind 

Louise Homer, Contrslto 

(InGtrman) 86416 12-iach, ts'.OO 

Ptier now returns to his cottage and 
finds the children gone after strawberriea. 

In this air he frightens his wife by 
telling of the witch who lives in a honey- 
cake house, and who after enticing little 
children into it. bakes them into ginger- 
bread in her oven. 

Eine Hex' steJnalt (The 
Old Witch) 



Mr. Goritz'a admirable character 
study as Ptttr, the lipsy. kind-hearted 
and superstitious (alher. was one of the 
features of the Metropolitan revival, arid 
this odd number is given by him with 
much effectiveness. 



VICTOR BOOK OF THE OPERA— HANSEL AND GRETEL 
ACT II 

This scene akows the depths of 
the forest, into which the children have 
vraDdered. //Ann/ pick* berries while 
Gititt weaves garlands of flowers. 
Daikneas soon comes, and the children 
are frightened and cling together. A 
little gray man. the Sandman, or Setp 
Falty. Mrews sand in their eyes as he 

Der kleine Sandmann bin 
ich (I Am the Sleep 
Fairy) 

By Gluck and Homer (/n 
German) 8B419 12-uich. I3.00 
The children slumber, and as the 
curtain (alli angels are «eeii keeping 
ggard over them. 

ACT III 

The curtain rises, showing Hunttt 
and G-^d still asleep jn the wood. 
The Dawn Fair]/ shakes dewdrops on 
the children and wakes them just as 

the miat clears away, revealing the ^'" chilpwji in thk wood 

house of the iVHch. 

The children approach cautiously and begin to nibble at the gingerbread fence, when the 
lyilch comes out and casts a spell over them. 

Hexenritt und Knusperwalzer (Witch's Dance) 

By Alma Gluck and Louise Homer (/n Ctrman) 87131 lO-inch. *2.00 

She make* a good £re in the stove (or the purpose of roasting the babes, and in her 
joy she rides wildly around 
the room on a broomstick, 
singing this unique Hrxcnrlll. 
The duet begins with the 
soliloquy of the IVltcb as she 
sees Grdel 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 
Hintl and Gnlel after the 
wicked Wllch 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 Witch' > house. 

After the death ot the 
Witch the gingerbread chil- 
dren come to life and thank 
the children for releasing them 
from the spell. The father and 
mother of HSn^ and Crd<J 
now arrive and embrace the 
„,K,.L .ND r..rT.L KvocNc *, ,ME „ iTCi-. POO. children as the curtain falls. 



/ (FrcBcb) 

HERODIADE 

OPERA IN FIVE ACTS 
Word* by Paul Miltiet and Henri Gi^mont baaed on Guatavfr Flaubert'* noTelette. 
HtmJlia. Music by Jule* MMKnet. Pint production December 19. 1681, at the Thiaire 
Je la Monnait, Bmaaela. Praduced in Paria at the ThUIrt Italltn. February I, 1884, with 
Jean and Eduard de Fteazke. MaureL Tremelli and Devriii. Revived at the ThMIn de la 
<3alU in 1903. with CbIv« and Renaud. Pint German production in Hamburg. 1883. with 
Sucher. Krausa and Winkelmann. Fint London production 1904. under the title ^o/onK. 
with the locale ctumged to Ethiopia by the Biitiih cenaor'a orders. Firit American pToduC' 
tion at ihe Manhattan Opera Houae. New York, November 6^ 1909, with Cavalieri, Gerville- 
FUache, Oucheme, Dalmores and Renaud. 

CAST 

John the Prophet Tenor 

Herod, King of Galilee. . Baritone 

PHANUEU a young Jew B«M 

VlTELLlUS, a Roman proconsul , B«ritane 

The High Priest Baritone . 

A Voice in the Temple .». Baa* 

Salome . .Soprano 

HERODIAS Contralto 

A Young Babylonian Woman 

Merchants, Hebrew Soldiers. Roman Soldiers, Priests. Levites, Temple 

Servitors, Seamen. Scribes, PhaiiKes. Galileans, Samarilana, 

Sadduceea, Ethiopians, Nubians. Arabs. Romans. 



Tht action laka plac 



VICTOR BOOK OP THE OPERA— MASSENET'S HERODIADE 

Hetodiade waa fiiM produced in BruaaeU !n 1881. 
The £isl Paiia pioduction of thia opera waa eapeciatly 
inteceating becauae of the first appearBnce of Jean de 
Reazke u a tenor (he waa formeily a baritone). It waa 
not until 1904, however, that the opera waa brought 
out in London (under the title of Salome) with Mme. 
C«lv«, DalmoreaandRenaud in the leading rAles. Mr. 
Hammeialein'a brilliant production of thia work waa 
one of the eventa oE a recent aeason at the Manhattan. 

The opera contains much of the beat music 
MaaKnet haa written; and the plot, while baaed on 
the well-known Scnptural ttory, doea not follow the 
Bible or tradition very cloaely. differing quite largely 
from Salome. 

ACT I 
SCEN£-~G>urt ofHtmd'i Palace at Jenaaltm 

Salome enter* and la greeted by Phajuiel, a young 
Jew, who is aatonished that she ahould be in the Palace, 
and wonden if ihe can be ignorant of the fact that 
Hcrodica ia her mother. Salome telli him ahe is seeking 
John the Prophet, and in this air she describes how 
he had saved her from the deKrt when a child, and 
'"""■ ' '""' , how good and kind he is. 

II est doux, il est bon (He is Kind. He is 

Good) By Emau CtUi [French) 88130 12-iii.. >3.00 
Salome goea out just as Herod enters searching for her. 
Herodlai rushes in and demands John'a head, saying that he 
had insulted her. Jobrt appeara, denounces them both and 
drivea them out, terrified. Salome enters and tell* John of her 
love for him, but he bids her turn to Cod. 
ACT II 
SCENE— Werw/'j ChatfJier 
Herod liea on his luxurious couch, while attendanta sing to 
him. He can think of no one but Salome, and bids the slaves 
dance to diatract his mind. A love potion is given him by a 
slave, who says it will make him see the face of the one he loves. 
He then sings the famous Cijioo fygilloe. considered the 
most beautiful of the airs in the opera. 

Vision fugitive (Fleeting Vision) 

By Emuio de Gogorza, Baritone «•.'• •<,.,•. 

(In French) 881S3 12-iai:h, »3.00 arsviLLe ntjiciic as hebodias 

Htwd describes the vision 
of Salome which haunts him 
night and day. and declares that 
to posaeas her he would gladly 
surrender his soul. He drinks 
the love potion, and falls on the 
couch in a delirious sleep. 
SCENE W— Public Square at 
Jerusalem 

The scene shows Werod re- 
ceiving messages from the allies, 
onddenouncingRome. Herodlai 



VICTOR BOOK OF THE OPERA— MASSENET'S h£rODIADE 

Roman general, Vlltiliut, u approaching. The people are teirilicii but KAcMui declarea that 
Rome deairo the favor of the Jcwi and will give back the Temple of Israel. 

John and Salamt enter and VUdUai is surprised at the honor paid to the Pnphd. 
Hood gazes with eyes oF love at Salamt, while Htrodlat watches her jealously. John 
I Vllelltai as the curtain falU. 

ACT III 
SCENE l—Phanuti; WooK 

the city, which lies silent under a starry sky. and 

Air de Phanuel (Oh. Shining Stars) 

By Marcel Journet. Bass (In Fnnch) 74192 12-iach. *1.90 

Ho 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. HttoJlat enters, much agitated. Phamtd 
inquirei what has brought the Queen to his 
house, and she cries, "Vengeance on the woman 
who has stolen Htrod'i love!" He reads her 
(ate by the stars, and sees nothing but blood 
in the horoscope. She asks him about herchild, 
lost so long ago. and he takes her to the window 
and shows her Salomt, who is just entering the 
Temple. Horrified. Htrodiia cries, "My daugh' 
terj Never r That u my rival 1 " 

SCENE II— /nner Couti of tht Tanplt 
The second scene shows the entrance of 
the Temple. Salomt enters half fainting, having 
heard that John has been cast in prison, and 
falls exhausted al the prison entrance. Herod 
enters, and seeing Sa/ome, breaks out into a mad 
declaration of his love, but she repulses him 
with horror, and ,telU him she loves another. 
He declares he will End this lover and kill him, 
and goes out as the people enter the Temple. 
John is brought in and denounced by the 

Eriests. but prays for them as they demand 
Aj. r..~nuc., " '^'•'^>' Salome runs la John and falls at his 

feet, wishing to die with him. HemJ, seeing 
thai it is John whom Salomt loves, orders them both put to death, and they are seized and 
borne out by guards as the curtain falls. 

ACT IV 

SCENE l—PriM>n Ctll In Ihe TempU 

John and Salome are here seen in prison. John admits that he loves the young girl, and 

urges her to fly and save her life, but she refuses, declaring she will die with him. PrieM* 

appear and otdet John to death, and command Salome (o be taken to the Palace by Hend't 

commands. She resists desperately, but is dragged away. 

SCENE II— C«fl( Hall In Iht Temple 
The great festival in honor of the Roman Empire is in progress. Salomt a brought in 
and again entreats to be allowed to die with John. She appeals to the Queen, saying, 
"If thou wert ever a mother, p\ty me." Herodlat trembles al 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 Pnphtt is dead." Salome gives a terrible cry and tries to 
lull the Queen, who screams: "Mercyl 1 am thy mother! " Sabnw recoils in horror, curses 
her mother and stabs herself. 

(Cattttin) 

179 



LES HUGUENOTS DIE HUGENOTTEN 

{Lai/i Hncf-cniAl (DaHm-gln-Blf-tB) 

ItulilD) lEBflilh) 

GLI UGONOTTI THE HUGUENOTS 

lOa Oo^oh-oof-m (Heu'-ofi-ata) 

OPERA IN FIVE ACTS 
Libretto by Scribe and Emile DeschBuipt. Score by Giacomo Meyerbeer. First pre- 
■enled at the Acodiratt in Paris, February 29, 1636. Firat London production in German in 
1842 and in itali-n July 20. 1648. FirM New York performance June 24. 1850. Some notable 
American production! were in 1858, with La Grange. Siedenbuig, Tiberini and Karl Formeai 
in 1872. with Parepa-Roaa, Wachtel and Santley; in 1873, with Nilawin. Gary, Campanini 
and del Puente: in 1692, with Montariol. de Reazke, Laulle. Albani and Scalcbii in 1905, 
with Sembrich, Caruso, Walker, Plan^n, Scotti and Joumet', in 1907, with Nordica. Nielsen. 
Constantino and deSegurola; and the Manhalttm production in 1906. with Pinkert, Russ, 
Baiai, Ancona and Arimondi. 

Cut 

Count of St. BRIS, (&■* Sih') ).-.,■ .i ' Baritone 

COUNT OF NEVERS, (NtMln') I ^tholic noblemen ■, b„j(o„, 

RAOUL de NANGJS. (Rah-oof iaa Ntm-iht') a Protestant gentleman Tenor 

MaRCEU tMnh.^M) a Huguenot soldier and servant to Raoul Bass 

Margaret of VALOIS. { Val-ooah') betrothed to Henry IV Soprano 

VaLENTJNE, daughter of St. Bria Soprano 

URBANO. ((/r-iaA'.™*) page to Queen Margaret Meao-Soprano 

Ladies and Gentlemen oE the Court, Pages, Citizens, Soldiers. Students, etc. 

Scent and PtHod : Touralne and Paris ; daring Ihe monlh of Auguil. 1572. 



VICTOR BOOK OF THE OPER A— T HE HUGUENOTS 

This opera is considered the composer's masterpiece, and is indeed a wonderfully 
imposing ivork, with its splendid scenes, beautiful arias and concerted numbers, and its 
thrilling dramatic situations. The romance as well as the fanaticism of the period are 
faithfully pictured, and the whole presented on a magnificent scale. The work, 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. Tlie Victor, however, has been merciful, 
and has selected only the gems of the work, 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 1372, and of the efforts of Margarei of ValoU, the betrothed of 
Henry IV, to reconcile the disputes between the Protestants and the Catholics. 

ACT I 

SCEINE I — House of the Courd of Neven 

The overture is a short one and consists mainly of the Lutheran chorale, which 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, whom he hopes they will treat 
with courtesy. Raoul arrives and makes a favorable impression on the guests. Neoen 
toasts the ladies, proposing that each relate an adventure with some fair one; Raoul, 
being the latest arrival, is called upon first, and describes his rescue of an unknown beauty 
(who proves afterward to be ycdeniine, St. Brit' daughter^ from some drunken revelers. 
In this air he tells of her beauty and the deep impression sne made on him. 

Piu bianca — Romanza (Fairer Thafi the Lily) 

By Enrico Caruso, Tenor (In Italian) 88210 12-inch, $9.00 

By M. Gautier, Tenor (In French) *45007 10-inch, l.OO 

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 with whom he has fallen in love. In dreamy tones he sings the recitative, after 
which a short introduction brings us to the romanza, beginning 

Amitatlao Ormttmt. 



i rf^'^.J iTi fg'.J-.Ji^ 




PM bUa • ca, <l«l piA bun -co vc lo. 

fmir • tr /tr r'en than /mtr -est lit y 

Nothing could be more tender and beautiful than Caruso's singing of this number. 

Raoi'l: 

Fairer far e'en than fairest lily. And in her eyes the love-light gleamed. 
Than siiring morn more pure and more lovely Bidding me hope her love to gain. 

and bright, Oh! she was charming past all expression! 

An angel of Heaven born beauty And as before her form divine I bent my 

lUirst upon my ravish'd ^ight. knee, 

Sweetly she smiled as I stood by her side, I falter'd forth, "Fair angel, that cometh 

Sighing the love which e'en her tongue to from Heav'n above, 

speak denied; For evermore shail I love none but thee!" 

A French rendition by M. Gautier, of the Paris Op^ra, is offered at a popular price, and 
the record is a most excellent one. 

The applause which greets this recital is interrupted bv 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. 

Marcel: 

Sirs, I will; an old Hugiienot song against the snares of Rome and the 
dark wiles of woman. You. sirs, should know it well — it is our battle 
hong: you heard it at Rochelle. for there 'twas sung, 'mid the din of 
drums and trumpets; with a full accompaniment — piff, pafif. piff, paff, — 
of bullets from our ranks, thus out it rang: 

*DoiAle-Factd Record— See page 186. 

181 



VICTOR BOOK OF THE OPER A— T HE HUGUENOTS 
Pi£Fl PaffI (Marcel's Air) 

By Marcel Jauraet, Bail 

U" French) 74156 12-ifich. *1^0 

Ol" Rome and her revelries. 

The minks'and rtei"'devif^ie«. 
We;il grind, Ihem to dust, boirs! 



a!l deli I era fg 
tiMd Iheir shi 
the Dalilihs 



PiftI pair! piff'; paff: piH; piflf. part, piff. oaffl 
No pi^y"for"hm! "No"the"y dfi— slUylll: 
„„„„„„ No, no. no. no. no. no. no; slay alM 

Joumet't portrayal of the grim, atubbom old aerv. 
ant ia a very fine one, and his rendition of the P^ff", Paff ia remarkable in ita nigged force 
and stem aimplici^. 

A aervanl of Ntoen annaunc«a a veiled lady to tee him and he retirea to an adjoining 
room. Rooal catche* light of the lady through the window aa ahe lifts her veil, and ia 
Mtoniahed and grieved to recognize the beauty he had aaved from the rufEana. 

A young page now enlera. and in a lovely air, familiarly called the Pagt Song, 
announces thai (he haa a measage for one of the cavoliera present, 

Nobil Signori salute I CNoble Sirs, I Salute You) 

By Louiae Homer, Contralto (In Italian) 65101 12-inch, •S.OO 



ijfi'i'J 'T \ 7k . 



mm t U ■ 4r fttr tmt Imr ■ !>- .. fr wtm mtltl t Hmt mlfU ■«. 

worked up with much apirit and reintroduced after a atriking aeriea of vocal ligurea aung 
on the word "no." Mme, Homer'a execution of ihia florid air exhibits well the great flexi- 
bility of her fine voice. 

Meyerbeer intended this part for soprano, but it ia usually transposed and sung by a 
contraho. 

Ursa ho: 
A most eharming noble lady. 
Whom with envy kines might viex. 



The note proves to be for Raoul, and bids him consent to come blindfolded in a 
carriage, without question, to wherever his guide will take him. The young man ia puzzled 
but decides to obey, and shows the note to the others. They recognize the seal of Morgattt 
tf Vaioit, and caal looks of envy at him as he follows the page. 



VICTOR BOOK OF THE OPER A— T HE HUGUENOTS 
ACT II 

SCENE— C<»l/e and Gardtm q/' Chtnonctaax 
The Queen is Kated on a kind of tKrone turrounded by her maidt, who, wilh Urhatto, 
are assisting in her coilet. She riaea and sing* her 
great air in praise of fair Touraine. 

O, vai;o suol detla Turenoa (Fair 
Land of Touraine) 

By Maria GalvBoy, Soprano 

l/n Italian) 88234 12-iDch. *3.00 
By Frieda Hempel, Sopraao 

{In Frtnch) 86382 12-i(lch. 3.00 
By Giufeppina Hufuet. Soprano 

{In lloUan) *3S123 12-inch, lai 
Uueem: 

Oh, lovely land of (air Touramil 

Thy vine-clad hi] It. Ihy >|iaildiiig fountains. 

Thy irren bankn and thy Riurm ring zephyrs, 

Vrt. fur ii difference in hrlief. 

This fait scene mav by war be .lain'dl 



M\ re-eehu the sitsin 

That's devoted to love! ~u-c. f, .a,. r,u= 

The maida disperse, and yalaiOne enters and tells the Queen ihal she ha* seen the 
CcunI dt Ntotn, who has promised to release her from the engagement which had been 
arranged. Margaret informs her thai she has another cavaher in mind— meaning Raoul, 
who is now conducted to the ladies and his mask removed. He is much astoniihed to find 
that it is the Queen who has sent for him, and pledges his honor and his sword to her service. 
He doe* not, howeTei, perceive Valentine, who has retired at the moment of his entrance. 

The nobles of the Court Protestant and Catholic, now enter, 
having been sent for by Margaret. She announces that she is 
planning a marriage which 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 lake 
the oath. 

Valtntlnt is now led in hy her father and presented to Raanl. 
He starts in astonishment, having recognized the lady he had res- 
cued, and whom he had seen meeting Ntoeri, 



Never, r 



A terrible scene follows, St. Bra challenging Raoul, who is 
ordered under arrest by the Queen, Volentint is overcame with 
shame, and the Catholics are furious. Marcel is delighted that his 
master has escaped marriage with a Catholic, and the curtain falls 
as the Lutheran chorale is again heard in the orchestra. 



'Do^lt-Facai ftmrJ—Stc M|e 186. 



VICTOR BOOK OF THE OPER A— T HE HUGUENOTS 



ACT III 

SCENE— -4 Square I 



Part* 



Catholic •tudents are aeated 
outoide an inn on the le[t, while 
oppoaile aome Huguenot aoU 
dier* are drinking and playins 
dice. The aoldiera ling theii 
famous Rat-a-plan. 

Coro di Soldati 
i (Soldiers' Chorus, 

' "Rataplan") 

By Metroplitao Opera 
Chorui (In Italian) 

'4S0S1 10-inch. *l.OO 

A wedding proceaaion paaa- 

ea en ita way to the church ; it 

is for VaUnlInt, who haa been 

perauBcleii to wed Neveri, 

^^-^^^—^~^^^— yottnllnt oaks that she be per. 

HiLSSON AS VAUBTiaa fitted to spend the day in the uniucsea *s baoul 

chapel in prayer. While there ahe overhears a plot to asaaa- 

sinate Raoul, and at once goes in aeaixh o( Maral to inform him of the plan. She meeta 
him in the aquare and tells him of the plot. 

Nella aotte io sol qui ve^flio (Here By Night Alone I "Wander) 
By Maria Grisi, Soprano, and Perello De Sefurala. Baas 

{In Italian) *65404 lO-inoh. •0.15 

Marcel thanks her for the warning and goes with his friends to the rescue. A general 
conflict is threatened but ia prevented by the Queen, who sppeara just in time. She tella 
Raoai that Valtnllne is innocent of wrong, having merely gone to Neeen' house to aslc him 
to release her. Raoul ia overcome with remorae, but the Icnowledge comes too late, as 
yaUnHiM ia already the wife of Ntetrt. 

A richly decorated boat approachea, occupied by the nuptial ' 

auite. Ntetn leads VaUnllnt to it, and aa all aalule the bridal 
couple the boat movea away, while Raoul, overcome by grief, 
ia supported by Marcel. The curtain falls. 

ACT rv 

SCENE— ^ Room in Ntceri' Caille 

yaltnlliK, alone, broods over her aoirows, confessing to her- 
self that although wedded to another, ahe aHII loves Raoal. 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 conceala Raoal behind the tapestry. 
The Catholic nobles enter to discuss the plot outlined by^. Bris. 
Tliey finally agree to his fiendish proposal, and swear to slaughter 
the HuguenoU. Necen is horrified at the bloody scheme to 
exterminate all Protestanta. and refusing to become an aasassm, 
he breaks his sword, and ia led away by the guards. 

The conference closes with the famous BeneJicllon of tht 
SuMrdt, perhaps the greatest and moat thrilling of all operatic 
scenes. A magnificent record of this number has been given by 
Journet and the Opera chorus. 

Benediction of the S^vords 

By Marcel Journet, Bass, and Metropolitan 

Opera Chorus {In Italian) T4279 12-inch, *1.90 
By Souss's Band *3»1 18 12-inch. 1.2S ^.,^f^^^^T^.- a^ >*oul 

•Doat^FaaJRcainl—FtiriiikBfopeoMlic^Jcmt DOUBLE-FACED HUGUENOTS RECORDS, pait 166. 



VICTOR BOOK OF THE OPER A— T HE HUGUENOTS 

The number begin* with the strain sung by Si. Brii in his recital of the plan. 





Thf King's 




ds, 


we will 


obry! 














St. IUis: 






















■Tis *rl!; 




lh( 


■ King'. 


< deer. 














These Htig 






: vile d 














hat.., 






















Shall from 


this day by 


Ihe >wo 


rd disappea 












St. Uiis: 






















On Huvcn 






relyini 
















This impioi 




lefyi 


















■Mid Ihous, 






"« dyii 
















Now swear 
A acred I. 


:al tnspfri 


mi' 


cy Ihou 


-It aho 


'*■ 




«-- 


Dun... 






All hMrla 


with cam 




firing, 












I.R BkS 




To compasE 




s de 




















mgeance 


















Thi 


:n comes th 




s ai 


nd fanatical 


choi 


ri>* of 


■ prietta 


and 


lord.. 










































SlriV 


■.t (hem down. 




d .^h 


ild.en. 


all! 




Be sii 




Friend) 


., and 


And 




ever be i 


ihp» 
















By the ^word Ihc, 












To"*! 


ike our s 


Inmb-r 


ing fo< 



The nobles having gone, Raoal comes out. horrilied at what he 
has heard, and wishes to warn Hii frienda. when l^a/enffnc, thinking 
lo save his life, urges him to remain, telling him that she loves him. 
In a transport of delight he begins the great duel. 

Dillo ancor (Speak Those ^^oi-ds A(aiii I) 

By Ida Giicomelli. Soprano, and Gtno Martinei- 

Pstti. Tenor {In Ilallan) *35I23 12-inch, *I,23 



From fLrlD 
Forever iir 
Thou hasi 



* D«iUc-PaaJ Ria,rtl—F«r\ 



tear I have awakened to blio! 
■re un.ltd, 
„ thy fale lo mine— 

lUtim DOUBLEJ'ACED HUGUENOTS RECORDS. » 

ISS 



VICTOR BOOK OF THE OPER A— T HE HUGUENOTS 



The great bell of St. Germain, the lignal to prepare (or the slaughter, ia heard lolling, 
end Raoul makea a freih effort to KO to the aid of hit people. Valentine clingi to him. 
but he ruahei to the window, and skowa her that the massacre has already begun; then 
teara himielE from her arms and leaps from the window, while she (alls fainting. 

In recent productions in America, because oE the great length of Meyerbeer's work, the 
opera has ended with the shooting of Raoul by the mob ai he leaps from the window; but 
in the original version a fifth act occurs, in which Ntem is kilted, and Valtnline, renouncing 
her faith, is united by Marcel to Raoul. St. Brii and his party enter the street, and not 
recognizing Valentine, lire upon the three and kill them. The curtain falls as St. Brit dis- 
covers that he has murdered his daughter. Hiis final tragedy is graphically pictured in 
the accompanying reproduction from an old drawing. 

DOUBLE-FACED AND MISCELLANEOUS HUGUENOTS RECORDS 
/Benediction of the Poiffnsrdi By Souss's Bandl-. , , „ ,- . „. ,, ,. 

\ Trovulore-Homc to Ou, Mountain, By Morgan-Macdano„gh,r^^^^ 12-iQch. 11.25 

lO vatfo suol delU Tureons (Fair Land of Toursine) Huguet] 

JDillo ancor (Speak Those 'Words Again) By Ida ' i3SI23 12-inch, 1.25 

I Giacomelli. Soprano, and Gino Mxrtinei-Patti, Tenor J 

■'■•~"°" %^K~"i°ii«o» "-».k. 1.2. 



Norma Ouerfui 

lus blanche (Fairer Than the Lily) M. Gautier 
Gulllaume Ttll^Jlttle Heredltalre—M. Gautier, Tenor 
Coio di Soldati (Soldiers' Chorus. -Rataplan") 

By Metropolitan Opera Chorus (/n Italian) 
Magic Flalt—O Itit und Idrli {Qrtal hli) 

^ MetmfKlllan Opera Chona (In German) 
Nella nocte io sol qui veglio (Here By Night Alone 

I Wander) By Crisi andSefurola (In Italian) 

Lacnxta Borgia— VienI la mla vtndetta By Glullo Rotat, Bau 

Huguenota— Gnini/ Stttcllon (Pari of Prelude — Chorat, Act I~ 
Sextette. Act III— Dante Bahtme. Ad III— Prelude 

Arthur Pryor'a B 
Maiked Ball Selection {Part of Ballet Muilc and the Aria. 

■•Saper norrttte, " Ad III) VeatUa't Italian Band 



(/nFrtncA)}*''***' 10-inch. I.OO 



49051 10-inch, IJOO 



63404 lO-inch. 



17314 10-inch. 



I GIOJELLI DELLA MADONNA 
DER SCHMUCk'dER MADONNA 
THE JEWELS OF THE MADONNA 

OPERA TVS THREE ACTS 

Libretto by C ZnnguHn! and E. Coliscuni; 
munc by Ernianno Wolf-Feirari. Fint periormed 
a. DtrSchnuck dtr Madonna M the Kurfueriten. 
oper, Berlin, December 23, 191 1. Firat American 

E'duction at the Auditorium Theatre, Cbicago, 
uary 12, 1912. Firrt New York performance 
rch 5. 1912. 

Chancier* 

CENNARO, in love with Mahella Tenor 

MaLIELLA. in love with RaEaele Soprano 

RAFAELE. leader of the CammoriMa Baritone 

CARMELA Soprano 

BlASO TeniM- 

QcaLLO Tenor 

STELLA Soprano 

CONCETTA Soprano 

SERENA Sopmno 

GRAZIA Dancer 

ToroNNO 

ROCCO Bbm 

Vendon, Monk*. People o( the Street^ etc. 

Timt and Place : The ko» b laid In NapleM, 
iMHAico AS urAiLs al ihe prtteni lime. 

187 



VICTOR BOOK OF THE OPERA— JEWELS OF MADONNA 



Few opeiBi of recent yearq have 
met with the unqualified aucceH which 
has been Bccorded Wolf-Frrrari'i vivid 
melodnima of Neapolitan life. The 
■tory of the opeiB it the composer's ovm 
idea, based on actual happenings in the 
squalid, superstitious life of the people of 
Naples, feverish with its reckless gayety, 
and mingled with sadness and gloom. 
The wild doinKt oF the Cammorista, the 

of the Virgin, the pageantry of the Cath- 
olic ceremonial and the wild tumult of 
Neapolitan revelries form the baclc- 
giound and atmosphcie for this realistic 

The plot may be summed up as 
follows : Maliella, a wayward Neapolitan 
beauty, is loved by her foster brother, 
Qcnnam. a simple, honest lad, but the 
girl is infatuated with the dashing 
Rafatlt, leader of the Cammorists. 
RafaeU proudly boasts that he wouM 
■top at nothing to prove his love for 
MalltHe. declaring he would even steal 
for her the jewels which deck the image 
of the Virgin. The young girl, annoyed 
by Cennara's attentions, taunts him with 
not daring to do for her what Rafade 
had offered. Almost in the hope of 
winning her favor the poor fellow steals 
to the church at night, secures the 



jewels, and lays them at MaHclla'i feet. At 
first she is fascinated by the brilliancy of the 

Gennaro has committed she flies to Rafaelt, 
whom she finds in the inn of the Cammarisls. 
He, in a frenzy of jealousy, spurns her, declar- 
ing she has sold herself for the jewela. The 
unhappy girl drowns herself, and 'Gennora, in 
an abandon of remorse and despair, places the 
jewels on an altar, prays for mercy, and drives 
a dagger into his heart. As the people, bent 
on vengeance, burst into the room, they see the 
body of the unfortunate youth lying before the 
Madonna. 

One of the features of the opera is the 
beautiful waltz intermezzo between the second 
and third acts, which haa been given here in 
delightful kshion by the Victor's fine organi- 
zation, under Mr. Elogets' direction. 

Intermeiio 
Victor Coi 

cert Orchestra 

Merry Wiaei of 

Wirr^KT Ottr 

lure (Nic^al) 

Nete Symfihony 

Orchatra of 



'270 12-inch. *1.2S 



KONIGSKINDER THE KING'S CHILDREN 



Book by ErnBl Rosmer (Elu BemHein). Muric by Engelbeit Humperdinck. Firit 
otaductian in any counliy December 28^ 1910; at the Metropolitan Open House. New 
York, with Fairai, Homer, Jadlowkei and Gontz in the caat. The opera haa lince been 
given in London and throughout Europe. 

Character! 
The Goose ORL Soprano 

The King's Son Tenor 

The WrrCH Contralto 

THE iTW>LER Baritone 

The Woodcutter Baaa 

The BROOMMAKER Tenor 

Innkeeper Baa« 

Innkeeper's Daughter Mezzo-Soprano 

Tailor, Stable-maid, Cate-keepera. Citizens, Councillora, Mueiciana, Children, etc 

The opera of Konigtt^fnJer it baaed on a three-act plav by Emit Ftoamer (in private 
life Elta Bernstein), with incidental music by Humpeidinek. The BrM production of thia 
play took place at Munich, January 23. 1897, and the following year it waa given at Irving 
PUce Theatre. New York, and (our years later in EnglUh a> ChlUnn cflhe King. 

Humpeidinck'a opeia ig ailegorical in diatacter, 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 pathoa. humor and tendemeaa, and no one could have given it the gentle, 
sympathetic touch better than Humperdinck. 



VICTOR BOOK OF THE OPERA— THE KING'S CHILDREN 

Ttie story telta of a Gaeie 
QA who live, with an old 
WUch in the hill* above the 
town of Hellabrunn. A 

out of the woods and tells the 
Come Glri of his wanderings. 
He lain reality the King't Son, 
but the girl does not know 
this. The boy falls in love 
with the beautiful maiden, 
and asks her to so maying 
with him through the summer 
land. 7*he girl longs to run 
oS with him, but finds her 
feet glued to the ground. The 
King 'iSon, believing her afraid 
tODo,telli her she is unworthy 
to be a king's mate, and leaves 
her, vowing she shall never 
see him again till a star has 
fallen into a lily which U 
,■„■ ,„^ ,,„.., ^,,, ...,,,_^ „,. ..n^,, blooming nearby. 

".»^LDr" prMA." The Witch returns and 

■colds the G«ue Cirl for wairt- 
ing her lime on a man. The FiJdIa entera, followed hy the fVooJcullcr and Brvommaktr 
from the town, who come to ask the tVllch if she has seen the King't Son, as the King ia 
dsad and the people want the aon lo rule in his place. The fVilcli tells them that the first 
person who enters the city gate next day at noon, no matter what his seeming social condi- 
tion may be, will be crowned King. The Woed- 
" rand BniomnuJ(er depart hut the FldJltr lingers. 






The 

:neelB a snooting star tails into the heart ot 
the lily. She runs off into the woods with her 
flock in search of her lover. 

In Act II we see the town of Hellabrunn in an 
uproar, awaiting the new ruler. At the irm near 
ihe town gates is the King't Son, still in tags. 
Musicians enter and a dance begins. The Gale' 
keeper refuses to allow the people to crowd in the 
gateway, keeping it dear for the entry of the King. 
The Woodcvller is invited to relate his adventures 
in the woods, and he says that on the stroke of 
twelve the King'i Son will enter the gates. The 
people scoff at the suggestion that their new King 
might come in rags, but as the clock strikes twelve, 
the crowd rushes toward the gates and beholds the 
King's Son in his rags, and the Gooje Gid, escorted 
by Tier flock, entering the city. The people, with 
the exception of the FiJdIti. who recognizes the 

King's Son, roock the couple and drive them out gositi as ihe fiddli» 

with sticks. 

In Act III the Fidditr, who has been cast out of the town For his defense of the King't 
Son and the Goose Qlrl, is seen at the Wlleh's hut. feeding the doves the girl has left behind 
her. He lives here alone, (he Witch having been burned at the slake by the people, who 
declared she had deceived them in her promise of a new ruler. A troop of children come 
(o heg the Fiddler lo lead them in a search for ihe lost King's Son and his sweetheart, ancl he 
gladly consents. The Woodcailcr and the Broontmaiter arrive and go into the hut. and hardly 

100 



VICTOR BOOK OF THE OPERA— THE KING'S CHILDREN 

hss the (ound of the learchinK party died away than the King't Son and Gmim Girl appear. 
They are half (amiaheil and beg of the WooAcalttr nmethinB to eat. and he finally gives 
them ■ome poiioned paaliy which he Gnda in the hut. The outcaala eal it and die. and 
when the Fiddler and the children return from their useleaa search they can only mournfully 
bear away to the hill* for burial the bodies of the poor Kingly CMJrtn. 

KONIGSKINDBR RECORDS (In Cermia) 

Lieber Spielmann (Dearest Fiddler) 

GeraUiae Fsrrar 88409 12-inch. %3.0Q 

This is the song of the Sreoinniiii^r 'i child, who 

ii spokesman for the throng at children who come 

to the hut in Act 111 In beg the Fidiltr to lead them 

in a search for the outcasts. 

O du liebheilige Einfalt du I (Thou 
Innocent One) 

ByOttoGoritz 64184 10-iach, (LOO 
This is the Fiddler's annver to the appeal of the 
children that he go with them in their search for 
the Royal Pair, 

Ihr Kindlein sie sind gefundea 
(Children.^^e Have Found Them) 

By Otto Goritz 74287 I2-iilch. *1.90 

Sung by the FlMer as the searching party 

return to the hut and discover the bodies of the 

Chlldnn. 

Weisst noch daa grosse Nest (Hast 
Thou Forgotten Our Nest 7) 

By Gerildine Farrsr. Soprano 
KTUiH TO THE Hui— *.cT 111 88412 12-iiich, *3,00 

This pathetic bit occurs in the last act. as the Goott GlH and Klng'i Son, banished from 
the city, wander in the wintry wood, cold and hungry. She recalls to his memory the happy 
daya when he wooed her in the leafy bower. 



(Fcench) 

LAKME 

(Lak'-may) 

OPERA IN THREE ACTS 

Book by Goudinet and Gille, taken from the story Lc Mariage de Loti. Music by LAo 
Delibes (Deh-Ud/). First production Paris, April 14» 1863. First London production at 
the Gaiety Theatre, June 6. 1885. Produced in New York November 28, 1888. 

Characters 
r-«^r^r-«/« f officers of the British army in India S _» . 

Frederic,/ ^ I Baritone 

NlLAKANTHA, a Brahman priest Bass 

Hadji, a Hindoo slave Tenor 

LAKME, daughter of Nilakantha Soprano 

El .1 .F.N, daughter of the Governor Soprano 

Rose, her friend Soprano 

Mrs. Benson, governess of the young ladies Mezzo-Soprano 

MALUKA, slave of Lakm6 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, with its graceful music and 
scenes of Oriental splendor, was given by the American Opera Company in 1886, although 
a version w^as put on by Emma Abbot in 1883. Since then 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^m^, like Aida, loves her country's enemy ; Nilakantha and Nelusko possess simi- 
lar traits ; while Lakm^ and Seliko both poison themselves botanically. 

The Oriental atmosphere is somewhat spoiled by the introduction of the modem and 
somewhat commonplace English characters, but the romantic ending atones for any 
shortcomings. 

ACT I 

SCENE — A Qarden in IndiH 

Nilcmkatha, La^m^'s father, hatds the Elnglish invaders and resists their presence in India. 
Gerald and Frederic, English officers, while sauntering with some English ladies, venture on 
sacred ground near Nilakontha's temple, and when rebuked they all depart but Gerald, who 
remains to sketch some Oriental jewels which Lakmi had left in the garden. He takes up 
the trinkets and sings his charming air, Idle Fancies. 

Fantaisie aux divins menson^es (Idle Fancies) 

By M. Rocca, Tenor (Douhle^/aced— See page ! 95) {In French) 16573 10- inch. $0.75 

He is struck vrith the daintiness and beauty of the gems and tries to picture the 
unknown beauty to whom they belong. 

192 



VICTOR BOOK OF THE O P E R A— D E L I B E S ' LAKME 



CuiAUi: 




The small foo 


"!f.;"3. 


radlcd by delusion. 


TbVs" riTac 


Go 1o dcean 






F»ir dove 


fantaitic. with wings of gotd. 


Embalm'd 




ma'd' round her ann folding. 




ThiirtrK 


let rich must o(l entwine. 


Tr™Wi,;« 


Ah! what d 


ligbl would bc^ the holding. 


The hand 






''4^':it' 


"""ii 


Swi"f ily pa. 



Idle fancy, cradled by delusion, tic. 

(From Iht Dillon EdilioK.) 

This bouliful air has been rang for tKe Victor by 
B brilliant anil accampliahed young tenor, M. Rocca, of 
the Optm Cottttqut. 

Hemring aome one approaching, Gerald hidea himaelf 
in the ahrubbeiy. Laipnt enteia and lay* flowers at the 
feet of an idol. She ia about to go when aha patiae* 
and triea to analyze a atrange feeling which haa coma 
oyer her, aaying; 



She then ainga her first lovely aong, 

Pourquoi dana les ifrands bois 
(Why Love I Thus to Stray?) 

By Alice Verlet, Soprano 

(DoMcJaaJ-Sec pof 195) 

{InFrench) 4S006 lO-inch. •I.OO 
and uka heraelf why she lovea lo wander in the forest 
and why ahe ia both sad and glad. 



Why love I thus to stray. Ah! wl 

In woods berc, day by day, Why 1 



Why doth Ibe dove's note sadden. 
And (ill my hear) with sighing; 
As doth a fading flow' ret, 
Or a leaf eastward Hying? 



Or by 1. 



She suddenly sees Gerald among the trees and utters a cry of fear. Her atlendanta nin 
in. but some intuition tells her not to reveal Ctrald't presence, and she senda them away. 
Going to his hiding place she denouncea him for trespasaing on sacred ground, and bids 
him begone, f-fe bega her for a few moments' conversation, and tells her of the imj 
ahe has made c 



hi^^t 



LiJcmi looks on the handsome youth with interest, but tells him she fears the return of 
her father, who would surely seek vengeance for the Englishman's desecration of holy 
ground. Gerald departs juat as Nilaltanlha, summoned by Laipnt't atlendanls, enters, and 
seeing traces of a trespasser, declares that he must die. They go in pursuit of Qertdd, 
leaving Laipni motionless with fear, 

193 



VICTOR BOOK OF THE O P E R A— D E L I B E S ' LAKME 

ACT II 
SCENE— y4 Street in an Indian City 

Act II shows a public square, lined with Chinese and Indian shops and bazaars. Eng- 
lish visitors are strolling about, viewing the scenes with interest. Nila^antha, disguised as a 
beggar, is seeking traces of the intruder, whom he has sworn to kill. Lalftn^ is with him, 
wearing the dress of a dancing girl. He orders his daughter to sing, hoping that the Eng- 
lishman w^ill recognize her voice and betray himself. She sings the famous fie// Song, 



Ou va la jeune Hindoue (Bell Song) 

By Luisa Tetrazzini, Soprano 
By Bessie Abott, Soprano 
By Maria Galvany, Soprano 
By Ellen Beach Ya^r, soprano 



(/n 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 



Delibes has ingeniously used bells to give character to this 

number, which is a most intricate one, especially in the refrain, 

where voice, vroodwind and bells blend with many charming 

touches. 

LAKifi: 

Down there, where shades more deep are 

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

illuming, 
But on he journeys, as by chance, on the wayl 
The wolves in their wild joy are howling. 
As if for their prey they were prowling; 
The young girl forward runs, and doth their 

fury dare. 
A ring in her grasp she holds tightly, 
Whence tinkles a bell, sharply, lightly, 
A bell that tinkles lightly, that charmers wearl 
(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 Vishnu, 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 rin^ng, 
The legend back to him bringing, 
A small bell ringing like those the charmers 
wear! 




PHOTO lIUUIHCri 

ABOTT AS LAKMi 



Mme. Tetrazzini*s rendition of this beautiful air is w^hoUy charming, and the vocal em- 
bellishments which she introduces "will 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, whose fresh young voice is heard to 
great advantage ; and by Miss Yaw, who provides a lower-priced version. 

As Nilakaniha had planned, Gerald recognizes Lakmi and betrays himself. The Brahman 
goes to collect his Hindoos, intending to kill the Englishman, while Lakm^ finds Gerald, 
warns him of the plot, and tells him of a hut in the forest where he may be free from 
pursuit. 



LAKMi: 

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 eves secret it lies, 
And waits it there a happy pair! 



Far away from prying sight. 
Without there's naught to reveal it. 
Silent woods by day and night. 
Ever jealously conceal it; 
Thither shalt thou follow me! 
When dawn earth is greeting. 
Thee with smiles I shall be meeting. 
For 'tis there thy home shall be. 



194 



VICTOR BOOK OF THE OPER A— D ELIBBS' LAKMfi 

Ctraid at fint refuses thus to hide, declaring it unworthy of a British officer, but Lal(ttti 
oleadi with him and he consents; but ■■ he attempts to follow her he is alahhed by Nlta- 
)(a''tha, who then escapes. Latcmi runs (o Ceroid, and overjoyed to find his wound is not 
serious, she prepare*, with the help of her faithful attendant HoJjI. to bear him to the 
foreat retieaL 

ACT III 
SCENE-,4n /niAan F<.™( 

Act 111 show* the hut in the tropical foreat. Girald is lying on ■ 
Lakmi watches over him, linging soothing melodies. He opens hi* 
with rapture, nnging hi* beautiful In Forai Deplhi. 

Vieni al contento profondo 
(In Forest Depths) 

By John McComuck, Tenor 

(Inllatian) 64IT1 10-tnch, * 






Which *ofl hcaris, wiih la^iurcs b,.s«. 
While all cl»: we fD[g<:t: 

A* the day* pan and Ceroid recover* hi* 
*tTength, he seems to forget all else but hi* love 
for the Brahman maiden, but one day, while she 
is ab*ent. hi* friend Frederic find* him and urge* 
him to return to his duty, telling him his regi- 
ment ia ordered off at once to *uppress an outbreak 
among the Hindoo*. CcrnM promise* to be at hi* post in time, but aslu for a little time in 
which to say good-bye to Laimi. Frederic leaves with his promise, and when La}^( come* 
back she find* Gerald changed. She asks the leoson. but before he can answer the distant 
■ound of bugles calling the regiment together is heard. She sees by his face that he means 
to go hack to hi* friends, and in despair she eat* some flowers of the deadly stramonium 
tree and die* in hi* arm*. ju*t a* her father and Friend* arrive upon the *cene. 



DOUBLE-PACED AND MISCELLANEOUS LAKME RECORDS 

IPtnirquoidana tesgranilsbois (Why Love I Thus to Stray ?) I 
By Alice Verlet, Soprano (/n FrerKh)\4SOOb lO-ioch. *I.OO 
Mlgiten—PclonalMe Bt/MlU. Kortoff. Soprano [la Frtrxh)] 

IFiataisie aux divio* mem 
Rlgolello—Coraglanl, dl ro 
Bg Raizo Minolfi. Baritone {In Italian) ) 
NOTE— QugtMiou ars frou ihs Ditnn UbicOD br pemuHBn — Cspji't 1890. OUt« DIt»n Co. 



(Icaliaii) 

LINDA DI CHAMOUNIX 

OPERA IN THREE ACTS 

Words by Roasi; music by Donizetti. First production at the Kftmthnerthor Theatre, 
Vienna, May 19, 1842; in Paris, November 17, 1842; in London at Her Majesty's, June, 1843; 
in New York, 1847. 



Cast 

Marquis of BOISFLEURY Baritone 

CHARLES DE SiRVAL, 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, 1 760, during the reign of Louis XV. 



The story tells of an aged couple, Loustolot and Madeline, and their only daughter Linda, 
who 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 Sirval, 
who holds a mortgage on Loustolot* 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 with colorature sopranos for more than seventy years. 

A Huguet record of this lovely air is offered here, doubled with the Trentini-Catfo 
duet below. 

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 arc we both in worldly state; Thou'rt life and light to me; 

On love we live, — on hope we dream! 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'd! 

And I his happy wife shall be! Oh, whpt joy! My every pulse is thine! 

Charles enters, and the lovers sing their charming duet. 

A consolarmi affrettati (Oh, That the Blessed Day ^^ere Come) 

By Emma Trentini, Soprano, and Alberto Ca£fo, Tenor 62090 10-inch, $0.75 



Linda and Charles: 

Oh! that the blessed day were come, 
When standing side by side. 
We before God and man shall be 
As bridegroom and as bride. 



And then, my love, we'll never part, 
But each a treasure find 
In having brought a faithful heart 
To heav'nly love resigned! 



The worthy parish priest having warned 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 renews 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 shows the little farm at Chamounix. The demented Linda has made 
her way back to her parents, and is found by Charles, who has escaped the unwelcome 
marriage and now brings the release of the farm from debt. The sight of her lover causes 
Linda to fall in a death-like swoon, but when she recovers her reason has returned, and the 
lovers are united. 

196 



LOBETANZ MERRYDANCE • 

MUSICAL PLAY IN THREE ACTS 
Test by Otto Julius Bierbaum ; music by Ludwis Thuille. First production at Mann- 
heitn, Germany, 1896. Fint production in America November 16^ 1911, witb Gadaki, 
Jndlowker, Witheiapoon and Murphy. 

C»t 

LOBETANZ Tenor 

The f^NCESS Mezzo-Soprano 

The Kl^4G Baa* 

The Forester. I 

The HANCMAN.J Speaking Parta 

The Judge. ) 

Girla, musicians, prisoner*, two heralds, the people. 
Time and Place : Germany In the Middle Ages. 

The story of Ldbelanx resembles an old (airy 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-sfler " variety. 

The curtAin rises on a rose file, which young girls are pre. 
paring in anticipatian of the arrival of the King and his daugh- 
ter. The Princett is ill, and the King has appointed a day 
of festivity in the hope that it will revive her. Loielanx, a 
wandering musician, strolls into the Klng'i rose garden, where 
(UOSKI Ai THE psiHciM the prepBTBtioiu are being made, and stays to watcb the ra3ral 
187 



VICTOR. BOOK OF THE OPERA— THUILLE'S LOBETAK2 

procoiion, which U accorO' 
panicd by poeta and lingcrB. 
The muiiciaUB play and sing 
to the Princeu. but all their 
effoiUfailtopleBKber. Sud. 
denly a violin is heard {rom 
an arbor in the rear of the 
garden. The Princtn ii im- 
mediately faKinated with the 
muaic, and Loitlam cornea 
(orward, hi> iDHTument on 
hit shoulder. The patho* ol 
his playing so affects the 
Princeii that she swoons, and 
Lotelenz barely escapes from 
the wrath of the people. 

In the second act the 
stroll ing minstrel meets the 
Princta in a wood and tells 
her of his love for her. The 
lovers are interrupted by the 

■— ■■ "-— arrival of the King and the 

royal hunting party, and Lobetanx is seized by the pikemen and dragged away, while the 
PHncm falls in a swoon. 

The third act shows the unfortunate lover in prison, charged with witchcraft, and sen- 
tenced to he hanged. As preparations are being made to place the noose about his neck, 
the funeral procession of the Princeu approaches. Loitlanihega to be allowed to play upon 
his violin once more, declaring he can revive her. The fT/n^ promises him his daughter's 
hand if he can bring her back to life again. As Lobelanx plays, the flush of life appears upon 
the cheeks of the young girl, and she slowly revives and is clasped in her lover's arms. 
The act closes with a merry dance, in which every one joins, and we are left to suppose 
that the lovers "live happy ever after." 

The air which Mme. Gadski has sung for the Victor occurs in Act I. in the scene rep- 
resenting the rose garden of the Kira, where the rose (esrival is to be celebrated. The 
Princt3S, at the bidding of the Ktng, offers a greeting to Spring and the roses. 

An alien Zw^eigen (Lovely Blossoms of Spring) 

By Jahaniu Cadtki. Soprano (InCtmen) 88362 12-inch. I3,00 



LOHENGRIN 

ILBU-tn-grIn} 

OPERA IN THREE ACTS 

Word* tmd munc by Richard Wagner. Firal produced at Weimar, Germsny, Ausust 
28. 1850. under the direction of LitZL Produced at Weitbaden. 1833; Munich and Vienna, 
1858; Berhn, 1839. FirM London production. I87S : Pari*. 1887. Fir*t American production 
in New York, in Italian. March 23. 1874. with Niluon, Caiy, Campanini and Del Puente : in 
German, in 1885. with Brandt, Krauu, Fiacher and Stritt — thia being Anton Seidl'a Ameri- 
can dibut aa a conductor. 

Ch«racter> 

Henri the Fowler. King o( Germany Bam 

LOHENGRIN Tenor 

ELSA of Brabant Soprano 

Duke Godfrey, her brother Mute Per»nage 

Frederick of TELRAMUND. Count of Brabant . Baritone 
ORTRUD. hia wife Mezzo-SopTano 

The Kings herald Baa 

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

SctiK and PtrUtd : Antiottp. fint half of the tenth century. 

Most of US are familiar with the story of the Knight 
Lohengrin, who comes in hia boat, drawn by a swan, to 
defend EUa from the charge (preferred by Telmmand and 
Orlnid, who covet £^'i 'estates) of having murdered her 
young brother. God/rty, 

Ttlramund is vanquished and disgraced by Lohengrin, 

MooKAM OF DBiciHAL who wins EImo as his bride. One condition he exacts 

raoDUCTioH from hei — that she shall never aak who he is or. whence he 

came. By the influence of Ortrud, however, she rashly 

3 notions him, and in fulfillment of his vow, but in 
eep grief, he leaves her and departs in hia boat 
drawn by a dove. The ethereal Grail harmonies, the 
lovely Siean Molloe, the noble Prayer of the King and 
the Bridal Chona make thia one of the most melcMliou* 
of all the master'a operas. 

Prelude 

By.La Scab Orcheatrs 31779 ll-ineh. tLOO 
The prelude, one of the moat beautiful of all 
Wagner'a compoaitions. s}mibolizes the descent from. 
Heaven of a group of angels bearing the Holy Gnul. 
The number begins with soft A major chords in the 
highest register of the violin. The motive of the Grail 




Coming nearer and neorer, the light of the Grail ia seen 
in the sky, while the air is filled with the bleMJngs dis- 
pensed by the holy cup. As the sounds grow louder, 
the aenae* are overwhelmed, until at the tremendous 
climax thundered out by the full orchestra the mystic 
light of the Grail ia seen in all its gloiy. 



VICTOR BOOK OF THE OPERA— WAGNER'S LOHENGRIN 

The myalerioui Grail motive ihen fade* sway, being played 
at the end by muted Mrings ; and the number end* with the 
Mune A majOT chorda planisaimo. 

ACT I 

SCENE— Bonki of the SchdJl. near Aniaap 

King Henry of Gennany arrivea at Antwerp and find* 

Bmbant in almoM a state of anarchy. He lummonB the count* 

and noble* of Saxony and Brabant to meet undei the Oak of 

Juitice, and call* on FnJeridt of TelramanJ for an explanation. 

King. Hm, la my gHcf, I mm witfa nauRht but »rifc. 



All in disunion, from your chiefs • 
Confu^Jon, civil waTfmc meet v,'c I 
On Ihcc I cbII. Frederick of Tell 



'TwaA me he chose as fuArdian oi hiK childrei 
F.lu the maiden, and Gottfried her brother: 
WhoK dawning with lender care I guarded, 
Whose welfare I have treasured as my honor. 



Vilh feiin'd lamentir 
his safety. 



Her pallor 


and he, 


■ falfring 


belray'd 


her, 




Her crime 


in its 


guilty L 


stood COT 


ifess'd! 




A horror f 




me of til 


The claim 


upon hei 




With wi?li 


;7 hear, 


1, 1 stra 


sirned. 






And chose 


a wife fi 


Jll pleasar 








Ortrud.' da 

death. 
I here arri 


ughtcr ol 
iign her. 


[ Radhod. 
Princess 










ie be she 


charged! 


I claim d( 




o'er Ibis 


right; 






"u-.-'-" 


1 kinsma. 


, was the 


My wife de 


scended , 


5f the rac. 


Th« pr«^ 


this land 




K^n^"^! 


'e judgmi 


fnl! All n 



VICTOR BOOK OF THE OPERA- WAGNER'S LOHENGRIN 




The King ii muck (luturbed, and 
uka that EUa be >ent for. When 
■he enters timidly, with downcast eyea, 
he may* kindly: "Speak. Elta, in thy 
King thou may'rt conliclel" 

The young giil icenii bewildered 
and dreamily aingi the lovely Traum, 
telling of her vision o( * tplendid 
Knight who came to be her defender. 

Elsa's Traum 
(Elsa's Dream) 

By Johanna Gadaki. Soprano 

(Gemian) 88038 12-in., *3.00 
By Emma Jucb. Soprano 
{Piano ace.) (In Gtrman) 

74014 12-inch. 1.90 
Elu: Ofl when Ibt hours were lonely. 



One boon I ask'd for only, 
To Hnd the orphans aid: 

I dreamt'' n^'help"wTs nigh, 
But One on high vouchsird It, 
While I in sleep did lie. 
(ui'fft orowitiB rnlAuiKiiin) 
I saw In splendor shining, 
A knight of glorioua mien. 
On n>e hia eves inclining. 
With tranquil gaze serene. 
A hom of gold beside him. 



of the time. The trumpetera blow th 



a the four pointa of the coropaaa. 



VICTOR BOOK OF THE OPERA— W^AGNER'S LOHENGRIN 

Nun sei bedankt, mein 
lieber Schwan I (Thanks. 
My Trusty S'wan 1) 

By Ferfundo it LucU, Tenor 

{In Italian) I6002 ll-inch. t2.00 
By Leo Sleuk, T^or 

(InCtrman) 6I203 lO-inch, l.OO 
Lohtngrin Mtept out. chen tuminguitlcareH. 
ing the iwan, linga : 
LoHEHmN: 



Well Ihy appointed task is donel 

Farewell! fatewelll my tnitly s*«n; 

(fa llii \i~ii) 

Hail, gradoui tov'reisn! 

Victory and honor by thy yalor'a meed! 

Thy glorious name shall from thr land 

That chose thee ruler, ne'er derarl. 
The knight now umouncei (hat be ha* 
come to defend the maiden, who ia unjiutly 
acciued by her enemy. 



The King bid* the noblei pre- 
pare to fight, and in thi> noble 
Geief calls upon Heaven to judge 
bet^veen the combatanta. 

Mein Herr und Gott — 
Koenig's Gebet 
(King's Prayer) 

By Marcel Journet. BiH 
{In Gennan) 

64013 10-inch. tl.OO 

The King is one of Joumet's 

best parta. and he alv^aya singa it 

magnificently, bia great voice rolling 

lendous volume. Hia 



delivery ia alwaya 
(ul. and hii acting 



ean and erace- 
,g dignified and 



lo Thou, 
all o 






FnJtrIck is soon itricken to 
the earth by LohtngHn, who ia pro- 
claimed a hero. EUa ia nro- 
nounced innocent, plighta hi 
to her brave defender, and the cur- 
tain falls aroid general reioicing. 



roth 



VICTOR BOOK OF THE OPERA— WAGNER'S LOHENGRIN 



SCENE--Cbur( 0/ tht Paha 



Euch luften du meinKU^en 
(Ye ^^anderinf; Breezes) 
By Johaoiu Gadfki. Soprano 

ihCaman) 66377 12.ia..*3X>0 

Elsa: 

V« wind'ring breezes heard me. 
When griel was bU I knew; 



trick 
dre 



rerp. It u niBht rrcd- 
uid OrtruJ, diagTBced and 
Barments, 



Fralerick Bccuiing 

OrtniJ ai inventins the atory 
of Elm'i crime. A long duel 
follow*, ending in a terrible 
plot for vengeance. 
^aa e,ppc»n o 



n the bal- 



coiucioua of the wretched 
and diagraced TtlramanJ and 
Ortnid. who are hidden in the 
■kadow. In a blinful reverie, 
the young girl sing* to the 
•oft hreexea of the knightly 
Lohengrin, to whom ahe ia 
now betrothed. 



Whcif'ti' IhV'pmion'futhrlh. 

My c'hp™k"lhiVburnyand'^fliiXclb 
Wilh Love, oh cooL and hide! 

Du Aermste (Thou Un- 
happy One) By Emms Eamea 

ana Louiie Homer i/n Cennan) 

89021 12-inch. »4.00 

Eisa, who haa finiahed her raplur. 
OUB soliloquy to the wandering breeze, 
atill lingers on the balcony, enjoying tKe 
balmy night and dreaming of her be- 
trothal on the morrow. OrlruJ, purauing 
the plot agreed upon with Frederick, 
appeara ajtd calla to E/sa.who hearing 



kern. 



alls? Mow slrangrly 

mc icioundclh Ihro'^ the vh-M' 

OriraJ feigna repentance, and Elia, ii 



her new-found hsppineaa. forgivaa her, aaying: 



VICTOR BOOK OF THE OPERA— WAGNER'S LOHENGRIN 



Orlnid warn* Elia agniiut tnuting her hu*buid too blindly, hintinE of the myMer)' 
in hi* tife, and thua pluitm a Ked a( iiupicion in the young girl'a hearL The duet 
then followi: 



Ildw irust dolh hallow jov ind 
Turn, then, lo our failh, 1, besee 



> the palace and TdramunJ renews hia vow of 

Day breaka, and the Herald sppeari and announce* the 
haniahment of Tdramand, Elia, attended by her ladiea. pa**e* 
on her way to the in<n*ter but i* *uddenly confronted by 
Ortnid, who ha* arrayed herself again in *plendid garment*. 
She taunt* Eita with the fact that her knight ha* no name. 



EUA {itidig^anlly'l: 

Ld" mj " pW* all (TcTulHT'Bssur^"' 
Sn pure and noble is his nalure. 
As none can match in high renown. 
Oh. can thee li.e so vile a creature 
As to asperse all honor's crown? 

V enter and Eixi, a*toni*hed a 



VICTOR BOOK OF THE OPERA— WAGNER'S LOHENGRIN 
ACT III 

SCENE ]—Tht Bridal Chamber In Iht Pelect 
The act open* with the WeJSng March, played by the archestra. 

Prelude to Act III— The ^^edding March 

By La SeaU OrcIic*tra *62699 lO-lfich. »0.75 

Tbu i* (ollowetl by the heauti/ul Bridal Chami, one of the lovelieM numbeo in the 
opera. A* the curtain ritei. showinB the brida] chamber, the itraini of the inarch continue, 
but in a softer mood. The steal cfooTa at the back open, and the bridal party enterm,^ 
the ladiei leading EUa and the King and noble* conducting Lohtngrtn, — they come to the 
front and the chotu* begin* : 
Choius: 

Faithful and true, wc lead Ihee fonh 

Where Love, triumphant, shall crown re with joyl 

Star of renawn, How'r of the earth. 

ItlesI be ye both far from all life's annoyl 

Champion victorious, go thou befort! 

Maid bright and glorious, bo thou beforel 

Mirth's noisy revel ye've fSrsaken. 

Tender delights for you now awaken; 

Fragrant abode ensbrine re in bliss; 

Splendor and state in joy ye dismiss! 
Eight Ladies (passittg around the bridal Mir): 

As solemn vows unite ye 

We hallow ye to joy! 

This hour shall still requite ye. 



Faithful and true, now rest you here. 
Where Love, triumphant, etc. 

The party goe* alowly out leaving the bridal 
pair alone, while the Miain* of the nuptial sir die 
away in the diatance. 

The full atrength of the Victor organizalion ha* 
been lued for the vocal rendition, and the reauti i* « 
record of mirpaning beauty. An ioitrumental record 
of thi* number >• also offered. 

Bridal Chorus w*cNEa's own hahowsitiso 

By Victor Opera Chonw 

(InEngUth) 31846 llnincb, *1.00 

By Arthur Pryor't Bind 31221 12'4nch. l.OO 

By La Sc*U Choru* (Inltallan) *16537 lO-inch. .73 

The bridal pair are left alone and a long duet occur*, part of 

which i( recorded here by two famoua artiata of La Scaia. 

Cessero i canti alfin (The Song Has Died Away) 

By Giuaeppina Huguet, Soprano : Fernando 

de Lucia. Tenor (In Italian) 920»9 12-inch. *9.00 
The beautiful air which Lohaigrln aing* in the duet. Dotf Thou 
Brtalht Iht Ineaae, i* aUo given here by Dahnore*. 

Athmest du nicht mit mir die »uaaen Dufte ? 
(Dost Thou Breathe the Incense Sweet ?) 

By Cbirle* Dalmore*. Tenor 
I {In Gtrman) 87088 10-incb, •2.00 

catrr Dumi Thi* duet ia acarcely over when the poi*on inatilled in Eba 'i 

HoiiiEa Ai otTEuD mind by Orbtid cause* her, in violation of her promioe, to question 

* DoiMtJ'atmd RatiA—Sm fati ^0^- 



VICTOR BOOK OP THE OPERA—WAGNER'S LOHENGRIN 



then with authority. i 



: and more agitated. 



Ttey are interrupted by the entrance 
of FnJtrickand four asiociates, whobreaL 
in with drawn iwords. Eiia ihrieka and 
hands Lahtngrin his iword, with which 
he itrikes Frederick dead. The nobles 
■urrender. and Eha (alia ■en.eleu in 
LohcngHn 'i arma. After a long ailenca, 
Lohengrin orders the body into uie Judg- 
ment Hall, and gives Elsa in charge of 
her Udi». 

SCENE II— Same a. Act I 
A quick change of scene shows again 
the banks of the Scheldt at Antwerp, as 
in Act I. The Ktng and his nobles await 
the coming of Lentngrin, who is to ac- 
company them to battle. They are . 
startled by ~ ' 



entrance of the _ 

Lohengrin enters and i 



And Hght by thy a. 
! surprised when the knight i 



dine the command of the expedition, and tells of the attempt on his life. 

Mr gracious sov'ccign, bear mc bUmclcs^. 
Reason; hav? 1 that must be nameless, 

To'lea'd ye fo^h'^o'dll* "hert"l 'came noti 
Dut judge nie. for your leniency 1 claim not. 
Then, firstly, do yelioldthat 1 am guilty? 

lie wueht my life despite honor and fealty- 
Say, did I right when W I iUvf 
The King declares TeiramanJ to be justly slain, and Lahtngrin 
now reveals with reluctance that Elm has broken her promise. 

LotiF.NGaiN: 

And further, 1 declare in face of Heaven. 
Though hitler grief to me it bode. 



VICTOR BOOK OF THE OPERA— WAGNER'S LOHENGRIN 

Lohengrin: Vainly I hop'd she would fulfil her task! 

Ye all have heard her ffive her word in token Now mark me well, I will no more withhold it. 

That she my name ana country ne'er would Nor have I cause to shrink from any test; 

ask: When I my name and lineage have unfolded 

That 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 moat dramatic declamations 
in all opera. 

Lohengrin^s Narrative — In Femem Land (In Distant Lands) 

By Herman Jadlowker. Tenor {In German) 76026 12- inch, $2.00 

By Evan Williams, Tenor {In English) 74190 12-inch, 1.50 

Lohengrin: 

Tn 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 li^ht it holds a cup immortal. 

That whoso sees from earthlv 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 Heav'n descendeth. 

To strengthen it anew for works of grace; 

*Tis called the Grail, the powV 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 may see; 

Its champion knight from doublings 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 Lohengrin my name! 

After this amazing narrative, which causes a great stir among the people, the swan 

appears to conduct Lohengrin away. 

Ladies and Men: Lohengkin: 

While I hear him the wondrous tale revealing. Too long I stay — I must obey the Grail! 

The holy tears adown my cheek are stealing! My trusty swan! O that this summons ne'er 

Elsa* "^^ been! 

•Tis dark around me! Give me air! ?\ that this day I ne'er had seen! 

Oh, help, help! oh, me, most wretched! Ii.\?''"*Lt* ^^"^ T?-*" ^o"*^ «>2" ^"^ ° ^^ 

T ■««•/• \ -^ ^\ When thy probation would have pass d; 

Ladies and Men (m great excUement): ^hen by the Grail's transcendent pow'r. 

The swan! the swan! the swan! !„ thy true shape we'd meet at last! 

The stream he floateth down. Oh, Elsa, think what joys thy doubts have 

The swan! ah, he comes! ended! 

Elsa (half -fainting) : Couldst thou not trust in me for one short 

Oh, horror! ah, the swan! year? 

Orirud, in triumph, now reveals the fact that the swan is really EUa't 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 £/sa faints in her brother's arms. 



DOUBLE-FACED AND MISCELLANEOUS LOHENGRIN RECORDS 

Selection, No. I By Sousa*s Band 31425 12-inch, $1.00 

/Selection, No. 1 By Sousa^s Band\ ^^i ij. %o :^^u it* 

\ Flower Song {BlumenUeJ) By Victor SorUn, 'Cellist] ^^^^^ 12-mcli, 1.25 

{ Selection, No. 2 By Pryor*0 Band 

Meditation from Thais — Intermezzo Religieuse 
By Howard Rattay, Violinist 

/Prelude, Act III By La Scala Orchestra \ .^.^^ in ;«^k y< 

t IValkQre-Cavalcata By U Scala Orchestra f^^^^^ lO-inch, .75 

{Coro delle nozze (Bridal Chorus) By La Scala Chorus I i^la.- i ^ :^^u t« 

Tannhauser-^Pllgrims' Chorus By Pryor's Band] ^^^^^ lO-mch, .75 

207 



35147 12-inch, 1.25 



LOUISE 

OPERA IN POUR ACTS 

: by Custsve Choipentjer. Firat pre 



Character* 
Louise Soprano 

Her Mother Contralto 

Her Father Baritone 

JUUEN, an artiat Tenor 

Girls at the DreMmaking Eatabluhmenl, Street PeiJdlera. People, etc 

Seine and PtrioJ .- Pari* ; tht preitnl lime. 

Charpentiet's firat opera, Loulat, i* a romance of bohemian Paris. The story tells of 
Lou'm, a beautiful young girl engaged in a dressmaking establishment. Julltn, a romantic 
artist, falls in love with the maiden, and soon finds his love returned. The mother and 
father of Loahe disapprove of the gay young artist, but Jalitn will not give up bis sweetheart 
and implores her to leave her hard work and go with him to a little home. Loalie at first 
steadily refuses, knowing how her parents would grieve, but Jalien persists, tempts her with 
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 with a merry company of true Parinan bohemians. who crown her as 
the Queen of Revels. In the midst of a gay party hei mother appears, begging the young 
girl to return to her father, who is ill. Loulit is filled with 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 
of Jalitn, rushes out into the night and haMens back to the protection of her lover. 

The Victor offers two fine records of the lovely Dtpata It loot, sung by Louise in the 
garden at Montmartie in Act 111, The young girl tells Julltn how happy she has been since 
they came to the cottage, comparing her life with him to the dreary one she had left. 

Depuis le jour (Ever Since the Day) 

By Alma Gluck. Saprano (/n French) r4292 12-ineb, tl.90 

By Floreace Hiokle, Soprano (/n FrcncA) 70089 12-inch, 1.29 



LUCIA DI lAMMERMOOR 

(Badifh) 

LUCY OF lANfMERMOOR 

OPERA IN THREE ACTS 

Tdt by Salvatot Cammerano. derived From Sco«'* novel, " The Bride of Lammermoor." 
Music by Gaetano Donizetti. First production at Naplea, September 26, 1835. Performed 
in London. April 5, 1838; Pari.. 1839; New York, in Engliak, at the Park Theatre. 1843; and 
in Italian, 1849. .: 

Character! < i 

Henry ASHTON, of Lammennoor BaritMre 

Lucy, hiaiiater S«*i)iM 

Sir EDCAR. of Ravenrwood Tenor 

Lord Arthur Bucklaw : . . .Tenor 

Raymond, chaplain to Lord Aahton Tenor 

ALICE, companion to Lucy Mezzo-Soprano 

NCAMAN, Captain of the Guard at Raveniwood . . Tenor 

Ladies and Knighta related to the Aahtona ; Inhab- 

itanta of Lammermoor ; Pagca, Soldiery, and 

E>omeatica in the Aahton family. 

•Scene and Period : The acUon t<dt^ place in Scotland, part 

In Raeemioood Caillt, pari In ihe mined totoer of 

Wotftctag. The Hme It ihe dote of 

the elxteenlh centary. 

The proliBc Donizetti (1797-1848) wrote no fewer 

than aixty-three operaa, the moat popular of theae 

^'"'^ "^ ■^""i'*^ Lucia di Lammermoor. It haa long 

'*"' *' "-uciA m been the cuitom with a certain cUsa of critic* to run 

doivn the old Italian school of opera represented by 

Lucia, and talk about the artificiality of the muaic, thinnesa of the orcheatration. etc. But 

the public in general pays veiy little attention to these opinions, because they love the 

music of Lucia, aa their grandfather* did, and realize that throughout the whole work there 

run* a current of tendemeas and passion, expressed in simple melody thai will ever appeal 

to the heart. 

Let us now forget the critics and tell the simple and sorrowful story, and listen to the 
melodious aits which have given pleasure to many millions in the seventy-sis year* 
since it* production. 

e plot of Lucia i* founded on Sir Walter Scott's novel. The Bride of Lammermoor. 



Lord Heiast Athlon, Lacy 't brother, knowing nothing of her attachment to his enemy, Edgar 
'^ intwoodt has arranged a marriage hetv^een Lacy and the wealthy Lord Arlhuft in order 
Eve his fallen fortunes. Learning that Lucy is in love with Edgar, he intercept* her 



lover** letter* and executes a forged paper, which convince* Lat^ that Edgar is false li 
Convinced of her lover's perfidy, and urged by the necessities of her brother, she unwiiimgiy 
rtsents to wed Sir Arthur. 

The guests are assembled for the ceremony, and Lucy has just *igned the contract, 
when Edgar appear* and denounce* Luqr for her fickleness. Edgar is driven from the castle, 
and the shock being too much for the senile mind of Lues, *he become* insane, kills her 
husband and dies. Edgar, overcome by theso tragic happenings, visits the churchyard of 
Ravenawood and stab* nimself among the tombs of his anceatots. 



VICTO R BOOK OF THE OPERA— DONIZETTrS LUCIA 

ACT I 

SCENE I — -A FomI near Lamma'moor 
The cuitBin rucA, ducloBing Norman, ond followers of 
Sir Henry. Norman tella the retainers to watch carefully and 
■■ceitain who is secretly meeting Lmch. In the opening 
chorus they promise to watch with diligence. 

Opening Chorus, Act I 

By La ScaU Chorti* 

(fnllaiim) *62106 lO-ineh. *O.TS 

Sir Hentfi enters and talks with Norman of his suspicion 

that LacD has formed an attachment for some unknown 

knight. Norman sugsesta that it may be Edgar. Hairy is 

funoui and declares he will have a deadly vengeance. 

SCENE l\—A Park neo' the Catllt 
Lacu enters, accompanied by her faithful attendant, 
Alice. She has come from the castle to meet hei lover. Edgar ; 
and while waiting for him, telU Alice of the legend of the 
fountain, which relates how a Ravenswood lover once slew 
a maiden on this spot. 

Regnava nel silenzio (Silence O'er All) 

ByTetrszzini (In Italian) 8B303 I2.incb. »3,(H) 
■■no ■•■ill g^ Giuseppina Huftiet, Soprano 

coNsiAMTiico Ai EDGAs {In llatlan) 'IftSSS lO-inch. .74 

Lu<^ ahudderingly relates how she once saw the spectre of the murdered girl, and fears 
it is on omen of the future. 






iiT^i 



Th« specLre did appear! And comftut U 

But Blow on high lis skeleton hand. 

This graceful number is given by Mme. Tetra^ni vrith 
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 Mtne. Huguet is also a very attractive one. 

This is followed by the second part, — the beautiful 
Qfiando raplla,—^ 

Quando rapita in estasi (S'wifc as Thought) 

Grsiiella Pireto (.Italian) 76009 12-inch. *2.00 

Giuseppina Hu^et *63172 10-inch. .Ti 

also given here by Mme. Huguet and Mme. Pareto. This 

animated melody is well fitted to display the brilliant tones 

of these admirable singers. 

Ed;ar appears and tells Lacylhat 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. 
Luqi, knowing her brother only too well, entreati him to keep 
their love secret or they will be forever parted. Edgar, 
roused to futy by this evidence of Htnry'i mortal hale, re- 
vo^v of vengeance, beginning a dramatic duet. 



VICTOR BOOK OF THE OPERA — DON IZETTI'S LUCIA 
SuUa tomba che rinserra (By My Father's Tomb) 

By P-mm» Tientini. Soprano, ami Gino Martinez- Pitti. Tenor 

{Jnllallan) *16974 lO-iuch. *0.I5 
Edca>: H'CY: 

By Ihr lone lomb. o'er Ihc eoLd gc»c Ah: pr>r calm th«. ah. reslrain (hee; 

Where my father'! bonis lie mouldina, Thint what miKry will soon enlbral mel 

With Ihy kindred clernal warUre 1 can scarce from fear sustain me; 

To the death 1 swore to wage! Would'st (hcu have me die from lerrorr 

Ahl when I saw thee my heart relented: Yield thee, yield Ihee to the dictate) of 

Of my dark vow 1 halt repenterf; affection. 

Bill m/ oath remains unbroken, 'Tis a nobler, purer passion. 

EJgar now aay* ihat be muat go, and in a tender duet, which cloaca the act. the lover* 
bid each other (arewell. 

Verraono a te sull* aura (Borne on Sighing Breeze) 

By Alice Nieiien, Soprano, and Florencio Constantino, Tenor 

{In Italian) T4064 12-inch. *l.50 

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

{In ll<dlan) '62106 lO-ineh, .79 



Th'al 


^^y^ 


!lhe' 


..'slxs: 


'love: 


Eicb 






shall echo 


make. 




r"hTabMn 


ce di 


y mourn, lo' 




Ah* 




whei 






Witl 


;„T,fc":, 


hear 


1 tVX^tl'. 






:h th 


ougbl of Ihi 














Lucy: 










7^" 






I bear. Ihy 


>i>h. 


Will 










The 






atill 


I'm . 






Ibec. lo.cl 














1 ihi 


S-:l 


ch't" 


t trchee'?; 
ouKhl of tbi 


« 


Will: 




















J^: 


y a lonely h. 


our ■■ 


twill cheer; 





Feai not! Have no fear, thou ihalt hear! 
Boru; 

My sighs shall on Ihe balmy breeze iir..»u.r> .. .»-.. 

That hither wafts Ihee be borne, love; etc. ^^^ 

EJgar tears himself from het arnia and departs, leaving the half-fainting Lacy to be con- 
soled by her faithful .,4Ace. 

ACT II 

SCENE l-An Antt-nem In Iht CaaU 
Sir Htmp and his retainer Norman are discussing the approaching marriage of Lacs/ to 
Arlhm. The events which have occurred since Act 1 are indicated by this extract from the text: 
HfHSt: IlEHiy: 

Should Lucy still persist See. she approaches! Thou hast that forged 

In opposing me— Idler. 

Nojb^b: Give .1 me. Now basic Ihee to the northern 

Have no fear! The long absence TheVe'Vee' watch and awail 

We've intercepted 'and Ihe false news '^^^ appcoacb of Arthur, and witb sti speed, 

tbou'lt tell her. ' „ "" •"' '.'■"'"l 

Will quench all hope thai yel may linger. tci:ilucl him hnherl 

Believing, Edgai faithless, from her bosom f^^,', Sormu'.t 

Laqi enters, pale and liatless, and to her brother s greeting ; 
HcnaY: 

Draw nearer, my Lucy. 

On this fait day accept a brolher's greelins! Auspicious orove to Ihee. Thou hear'at met 

May Ibis glad day. Mtrcd lo Love and TtouVi silent! 

die answers with a last appeal to him to release her from this hated Tnairiage. 

■ DaMi-FaaiftmiJ—Fi,T HIk b/ -ippoMc .iJt « DOUBLESACED LUCIA RECORDS, pap 215. 



VICTOR BOOK OF THE OPERA— DONIZETTI'S LUCIA 

II pallor funesto (If My Cheek is Pale) 

By Linda Brambilk and Francesco Cicada (In Italian) *I6574 10-inch, $0.75 

Lucy: 

See these cheeks so pale and haggard. 

See these features so worn with sadness 1 

Do not they betray too plainly 

All my anguish, all my despair? 

Pardon may'st thou from Heaven 

Not vainly ask for this thy inhuman constraint. 
Henky: 

Cease this wild recrimination. 

Of the past be thou but silent! 

Flown has my anger! Banish thy dejection! 

Buried be all that thine honor could taint. 

A noble husband, thou wilt have. 

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

Se tradirme tu potrai (Fm Thy Guardian) 

By Huguet, Soprano: Cigada, Baritone (In Italian) ^^62089 10-inch, $0.75 



Lucy: 

Cease to urge me! 

To another true faith have I sworn! 
Henry: 

'Tis well! 

By this letter thou, may'st see 

How he keeps his faith with thee! 

Read it 

{Hands her a letter.) 
Lucy: 

How beats my fluttering heart! 

(Reads) : 

Ah! great Heaven! 



Henry: 

I'm thy guardian, dar'st thou brave me? 
I'm thy brother — ^wilt thou save me? 
From the hands of thee, my sister, 
Must I meet a traitor's doom? 
See the axe. by one thread hanging; 
Hark! the deep toned deathbell clanging. 
Hath affection lost all power? 
Wilt consign me unto tne tomb? 



Lucy: 

I'm thy sister, dost thou love me! 
I am dying, will that move thee! 
From the nands of thee, mv brother, 
Must I meet now this dreadful doom! 
Hopeless misery all surrounding, 
E'en while the marriage bell is sounding: 
Fear and hate will be my dower; 
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. 

Luqf enters and is escorted to the table where 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 Lu^ 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 writing, but is so well fitted to the scene in which 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 (What Restrains Me) 

By Marcella Sembrich, Enrico Caruso, Antonio Scotti, Marcel Joumet, 



Mme. Severina and Francesco Daddi (In Italian) 96200 
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 



12-inch, $7.00 



12- inch. 
12-inch, 
12- inch, 
12-inch, 



7.00 
1.25 
1.00 
1.25 



Edgar remains standing, with 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 Henrjf, with suppressed emotion, sing their short duet : 

* DotAle-Faeed Recofd^See page 2 15. 



213 



VICTOR BOOK OF THE OPERA— DON tZETTPS LUCIA 

Hehiv and Edca>: 

Instanl renguace. what rcMraineth, 
Whit thui >Uvi my iword in Kabbird? 
t>-t affeciion lliat ilill rcmaiaelh. 



lie who for faer by piiy » nal mov'd. 
H.9 of ■ tiger in lii^breiBl the heart. 



h GIL! 



One by one the chsracten in the acene take up their portioiu of (he •exiette until the 
(Teat climax, one of the moat dnmatic momenta in open, ii reached. 

Several recordt of tliii magnibcent number are offered to Victor audience*. Beaide* 
the aplendid CaniKi'Sembnck and CaruaO'Telra^ni rendidona, the Victor haa recendy 
iaaued a auperb record by the Victor Opera forces at the popular pHce of $1.25, while for 
thoae who prefer an inatTumenlal rendition a fine band record ia 
offered. 

Htnjji and EJgar. who have drawn their aworda, are aeparoted 
by Ragimad, who cominand* them in Ffeaven'a name to aheath 
their weapon*. Htnty aaka Edgar why he haa come, and the 
knight repUea: 

Edcak: 

Hither came I 

For my bride— thy aiMcr 

Unto me her faith hath iwornl 

Thou niuit atl hope ol her relinquiih; 
She is another's: 
He exhibila the aigned contract, but EJgar refuaea to believe 
the evidence of hi* eyea and a*L* Lucu if ahe had aigned it. With 
her eyea fixed on him ahe tremblingly nod* her head in a«*ent. 
EJgar. in a furioua rage, teara the contract in piece*, Ainga it at the 
fainting maiden, and ruahea from the caade aa the curtain fall*. 
ACT III 
SCENE I— The Toaet of Raaaaaood Catlle 
EJgar i* brooding on hi* miifortune* when a horaenian ride* 
up, di*mounta and enter* the tower. It prove* to be Sir Hairy, 
who ha* come to challenge EJgar to a duel to the death. They 
agree to fight the following morning, and in thia duet a*k the ni|^t 
to baaten away, that their vengeance may be conaummated. 

O sole piA rapido (Haate, Crimson Morning) 

By GiuMppe Acerbi, Tenor, and Renso Mioolfi. Baritone 

{In HaUan) •62644 lO-ineh, K>.r5 
Why the gendemen do not take advantage of the preaent moment the librettiat does 
not reveal I Tbia acene is so melodramatic that it bordeia on the absurd, and it is uaually 
omitted in thi* country, although it ia well worth hearing from a musical point of view. 
SC£NE II— HaU In Lonnwrnoor Ca^lU 
The peoaants and domestics of the caade are making merry st their feast in honor of 
the marriage when RagmonJ enters, greatly agitated, bearing the fearful news that Lucy has 
become insane and has killed her husband. Thia gives opportunity for a dramatic aif, 
sung here by Signor Sillich and the La Scale Cborua. 

O qual funesto avvenimento (Oht Dire Misfortune) 

By Aristodemo Sillich, Bsss, and Chorus {In Ilallan) *62644 10-ineh, M.rS 
Raynmtd'M tidings have scarcely been apoken when Lucu entera, a oale and lovely figure 
in while, and all unconscious of the horror-akicLen servants, begins her famous so-called 
Mad Scene. 

'DeMt-FaaJHrniJ— FtrWk of ,u»aMi .1 A .K DOUBLE-FACED LUCIA REXrORDS.pmti 215. 



VICTOR BOOK OP THE OPERA— DON IZETTI'S LUCIA 
Mad Scene ( with nuu obbiicua) 

By Luiia Tetrazzioi. Soprano {In Itallm) 88299 12-inel), tS.OO 

By Mu'cella Sembrich. Soprano (/n iUiUan) B8021 I2-uieh. 3.00 

By Nellie Melba, Soprano (In Ilallan) 88071 12-iiicb, S.OO 

By Maria Galvany, Soprano (In Italian) 88221 12-inch. 3.00 

By CraEiell* Par eto. Soprano (/n Ilallan) 76006 12-mch. 2.00 

By Edith Helena, Soprano (In EngUah) 3S214 12-inch. 1.29 

By Marie Michailowa. Soprano (In Raalan) 61129 10-ineh. 1.00 

ForgeCtinB her murnBgc, the demented maiden Bpeaiu one moment of the happy day 

when she will be Edgar't wife, and next ia terrified by a vague feeling that aomething haia 

come between them. 

This famous number must be judged solely as a biilliant piece of vocaliam ; it can hardly 
be considered dramatically, because when the prima donna loses her reason in this style ^ 
opera, it only means that the scales become more rapid and the roulades more difficultl 
The 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 which a sane person 
would stand aghaslJ In short. Donizetti forgot bis dramatic miaaion temporarily in his effocta 
ta write a shotv piece of musical execution. 



... the hymi. ... ... 

The afur^or^ua'ir^^'d thus, 







urm^ of Raymcnd) 
_ . - e 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 
the listener is dazzled. Her runs, trills and daecalo notes 
glitter and scintillate, and compel a new admiration (or the 
wonderful vocal mechanism over which she has such absolute 

The rftle 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 ouile the greatest success of her 
career. When she reaches this florid and difficuh MaJSctne, 
the listeners are absolutely electrified, and such a torrent of 
enthusiasm bursts forth that the diva ia 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 sInn the difficult 
music with delightful flexibility. 

Other renditions of this well-known scene are given by 
Mme. Galvany and Mme. Pareto. the famous Italian prima 
donnas, and by Michaikiwa. the famous Russian singer. 
Although none of these artists has yet visited America, their 
beautiful voices are heard in thousands of homes in which 
the Victor is a welcome entertainer. 

The unhappv Lac//, after having in this scene again 
enacted the terrible events of the previous day. (alls inaenwhle 
and ia carried to her room by jillct and RaynmnJ. 

:NE W—Thc Tombt oflht RaaenaUMoJs 

rranged with Htmy, intending to 



Htntjt. filled with remorse at the consequences of his schemes, has left England, ne 
Edgai sings the firw of the two beautiful aiis written by Donizetti fcr this w 



VICTOR BOOK OF THE OPERA— DONIZETTPS LUCIA 

Fra poco a me ricovero (Fare^svell to Earth) 

By John McCormack. Tenor {In liolian) 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 LMcy 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 Tali (Thou Hast Spread Thy ^V^inffs to 
Heaven) (O belf alma innamorata) 

By John McCormack. Tenor (/n 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 die 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. 

Edgar : 
Tho' from earth thou'st flown before me, 
My ador'd, my only treasure; 
Tho' from these fond arms they tore thee, 
Soon, soon, I'll follow thee. 

Breaking from Raymond, who endeavors to prevent the fatal act, Edgar stabs himself, 
and supported in the good man*s arms, he repeats in broken phrases the lovely O hell' alma 
innamorata, and lifting his hands to Heaven, as if to greet the spirit of Luq/, he expires. 



I'll follow thee above. 
Tho' the world frown'd on our union, 
Tho' in this life they did i>art us. 
Yet on hi(;h, in fond communion. 
Shall our hearts be turned to love! 



DOUBLE-FACED AND MISCELLANEOUS LUCIA RECORDS 

35214 12-inch. $1.25 



{ 

{Sextette (Transcription) Pianoforte By Himmelreichl «,.^^^ 

Caprice EspaAol {MoMxkfitDakf) Pianoforte B^ Charles G. Sprou/^'^^^ 



Mad Scene By Edith Helena. Soprano (In English) 

Trooatore — Tacea la twtte (Peaceful Was the Night) 

^ Edith Helena, Soprano (In English) 



(In ItaUan)L^^^^ 
(In Italian)} 

(/n /to/ton) L^^y^ 
(In Italian)] 



Re^nava nel silenzio (Silence 0*er All) 

By Giuseppina Hu^et, Soprano 
Norma — Casta Dioa (Queen of Heaven) 

By Giuseppina Huguei, Soprano 

1 pallor funesto (If My Cheek Ib Pale) 

By Linda Brambilla and Francesco Cigada 
Sulla tomba che rinserra (By My Father^s Tomb) 
By Emma Trentini and Martinex-Patti 

Se tradirme su potrai (Pm Thy Guardian) 

By Giuseppina Hu^et, Soprano, and Francesco Cigada, 
Baritone (In Italian) 

Tu che a Dio spiegasti Tali (Thou Hast Spread Thy Wings) 
(O bell* alma innamorata) By Martinex-Patti (In Italian) _ 

O qual funesto awenimento 1 

By Aristodemo Sillich, Bass, and Chorus (In Italian) 1^264^4 
O sole piu rapido (Haste, Crimson Morning I) vo^^^^ 

By Acerbi and Minolfi (In Italian)] 

Opening Chorus By La Scala Chorus (In ItaUan)\ 

Verranno a tc sull* aura (Borne on Sighing Breeze) >62106 

By Trentini and Martinez-Patti (In Italian) J 

IQuando rapita in estasi (Swift as Thought) 1 

By Giuseppina Huguet, Sioprano (In //a//<i/i)l^^, -^ 

Lucrezia Borgia— Rischiarata i la finestra fooii^ 

By La Sctda Chorus (In Italian)} 

* DoaUe-FaceJ Record— For Utk of oppo$ikt aide tee abate UaL 

215 



12-inch, 1.25 



lO-inch, .75 



lO-inch, .75 



62089 10-inch, .75 



10-inch, .75 



10-inch, .75 



10-inch, .75 



LUCREZIA BORGIA 

{LiK^n/-aah Btr'Jah} 

OPERA IN THREE ACTS 

Text by Felice Romoni, taken from a work of the ume name fcy Victor Hugo. Muaic 

by Caetano Donizetti. Pint pretented to the public at La Scala, Milan, [n 1834; given at 

the ThtatM Itallen. Paris. October 27, 1040. First London production at her Majesty's 

■" - ' e 6. 1839; in English at the Princess' Theatre. December 3a 1843. Produced 

t at the Astor Place Opera House, 1847, and in 1854 with Maria Grin. 



'Ym] 



Chiricters 

LUCREZiA BORQA ' Soprano 

' " " " ■ ' ' ' Contralto 

Tenor 



LIVEROTTO, 
VlTELLOZZO. 
PETRUCCI. 

Gazella. 



Tenor 

Ban 
Bau 



IL DUCA ALFONSO Baritone 

RUSTIGHELLO, in the service of Don Alfonso Tenor 

ASTOLFO.'} '" *•*' "™=' °f ^""^ Lucrezia |^ 

BATTISTA Tenor 

LA PR1NCIPES3A NEGRONI Soprano 

CHORUS 

Scene and PeiioJ: Ilakt: ifit ktginnlng of the tlxlecnlh ceniaiy. 




cerrr oupobt 

DE MOSCHI AS LUCREZIA 



VICTOR BOOK OF THE OPERA— DONIZETTTS LUCREZIA BORGIA 

THE PLOT 

The plot of Donizetti's opera cannot be called a cheerful one — ^it is, in fact, crowded with 
horrors. However, it was a great favorite with American audiences for many years, being 
one of the stock operas of Emma Abott during nearly her whole career. The opera was 
revived in 1904 for Caruso, but failed to score, and it is auite likely that those who admire 
its few fine airs must depend on their Victors if they wish to hear them. 

Lucnzla, the heroine, was a conspicuous member of the 
notorious patrician family — the Bor^a«— celebrated for their 
diabolical success as poisoners. 

Lucrezia Borgia married as her second husband Don Alfonso, 
Duke ofFenara. By her former marriage she had a son named 
Gennaro, of whose existence the Duke is ignorant. This son had, 
at birth, been placed in the care of a fisherman who brought 
him up as his own child. 

ACT I 

At the opening of the story iMcrezia, 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 watches 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 prepcu-es to depart, 
when he awakes and asks her who she is. She evades the 
question, and leads him to talk about his mother, whom he 
says he has never seen. Feeling drawn toward the beautiful 
stranger, he tells his story, in the fine Di peacatore, 

Di pescatore ignoble (In a Fisher's Loi^ly Cot) 

B^f^Francesco Marconi, Tenor (/n Italian) 76004 12-inch, %%O0 

ShMSids him farewell, and is about to take her leave when Onirti appears, recognises 
her, arid' after brutally reciting her crimes one by one, tells the horror-stricken Genrwro that 
it is the Borgia, All turn from her in horror, and iMcrexia falls fainting. 

.^^ACT 11 
Germaro afterwards shows his hatrM and contempt for the Borgiaa by tearing down 
Lucrezia* s coat of arms from her palace gates, and is imprisoned by the Duke's orders. 
Lucrezia, ignorant of the identity of the individual who has insulted her, complains to the 
Duke, who promises that the perpetrator shall be immediately punished. He gives vent to 
his. feelings in his air, Vieni la mia vendeita, 

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 JDtti^ is relentless and compels Lucrezia 
herself to hand a poisoned cup to her son. She oheyn, but afterward contrives to give the 
youth an antidote. He suspects her of treachery, but she pleads so tearfully with him that 
he trusts her and drinks the remedy. 

ACT III 

This act opens with a chorus of bravos, who have been set to watch the dwelling of Gennaro. 

Rischiarata e la finestra (Yonder Light is the Guiding Beacon) 

By La ScaU Chorus (In Italian) > *631 72 10-inch, $0.75 

Genrtaro, whose life has been saved bv the antidote Lucrezia had given him, instead of 
escaping from the city as she had advised him, accompanies Orsinl to a banquet which has 
been secretly arranged by Lucrezia, and to which have been invited the young men who 
had recognized and denounced her in Venice. 

In this scene occurs the famous Brindisi, or drinking song. 

*Doul4eJ^aoeJ Record—me page 218, ' 



217 



VICTOR BOOK OF THE OPERA— DONIZETTl-S LUCREZIA BORGIA 
Brindisi (It is Better to Laugh) 

By Emettine Schununn-Heiiik. Contralto {In Gtmon) 86 1 BB 12-ineh. ¥3.00 
Thu air i> B very well known one. and Kaa been (requenlly sung, but Mme. Schumann- 
Hmnk puti nich brilliant ipirit into it, and ainB* it with such wealth of gayety, such attoniah- 
ing range and (uch agility, that the Tendilion amazea the liMener. It i* certain that no rou(ie- 
lover of (he precent generation haa ever heard it rang ao brilliandy. The high notea are 
taken with the eaae of a aopTaDO, and altogether ihia familiar drinking aong ha* never been 
•o well delivered. 

The rAle of Maffie Ontni wa* alway* one of Mme. Schuroann-Heink'a favoritea, and (he 
makaa a gallant Bgure a* the gay Roman youth. The words are well suited to the gayet; 
of the muiic, and have been tranalated a* foUowa: 



;r 10 laugh than be lighing. 



Far loo frigid for fri< 
SouIb unblHt. and foi 

Tho' good fortune art 



To her horror ahe aeea Gaman among. the gueiU. He, too, tiM drunk of the fatal 
wine. She again oSera him an antidote, which he refuiet; because the amount is inaufficienl 
to save the lives of his friends. Lucrtzia confesses the relationship between them, but 
Cenndra spurns her and dies. The Dal(t now appears, intending to share in LacrtxIa'M 
hijeous triumph, but finds hii wife surrounded by her victima — some dead, olhera dying. 
Lacmla, a witness to the horrible result of her crime, suAers the keenest remorse, drinlu 
some of her own poison and herself expires. 






DOUBLE-FACED LUCREZIA BORGIA RECORDS 

. _ ___B vendetta By Giulio Rossi, Baas (In Ilallanj] 

Qll UgonoW—Dutlla Valtnllna Marcdio 6340* lO-incb. MKIS 

~l/ Maria Citl. Soprano, and Pertito De Stfarola, Bau] 
la fincstrs (Yonder Light is the Guiding 1 

, By Ls Seals Chorus {In UaUan)\,-. .. ,„ . ^. 

Lude dl Lcmn«rrr«or~Qoando r^'-"- '"■'-' 'J631I2 lO-inch. 



MADAMA BUTTERFLY 

IMah'-Jeh-mah) 

MADAM BUTTERFLY 

OPERA IN THREE ACTS 
A Japaneae lyric tragedy, founded on the book of John Luther Long and the dnma hy 
David Belaico, with Italian libretto by lUica and Giacow. Muaic by Giacomo Puccini. RiU 
produced at La Scale. Milan, in 1904, it proved a failure. Revived the followins year in 
■lishtly changed form with muck Buccen. Finl American preaentation (in Engliah) occurred 
in October. 1906, in Wathington, D. C, by Savage Opera Company. Fint repreaentalion in 
Italian at Metropolitan Opera Houk. February H. 1907. with Farrar, Caruao, Homer and 
ScottL 

Character* 

MADAM BUTTERFLY (Cho-Cho-San) Soprano 

Suzuki. (Sa,.B/Jm) ChoXZho-San'* aervant Mezzo-Swrano 

B. F. PINKERTON. Lieutenant in die United Statea Navy Tenor 

Kate PINKERTON, hi* American wife Mezzo-St^rano 

SHARPLE5S. United Stales Conaul at NbsbmJcI Baritone 

GORO. a marriage broker Tenor 

Prince YAMADORI. suitor for Cho-Cho-San Baritone 

THE Bonze. Cho.Cho-San"> uncle Bas. 

CHO-CHO-SAN-S Mother Mezzo-Soprano 

The Aunt Mezzo-Sc^rano 

The Cousin S<irano 

Trouble. Cho-Cho-Sans child 

Cho-Cho-San's relatiooa and friends — Servants. 

At Nagaialil, Japan — Time, the prtiail. 



VICTOR BOOK OF THE OPERA — MADAM BUTTERFLY 

The StMy 

Puccini'* opera, wKich from the firat ■rouied the keenest interest among opeta-goera, 
has became an enduiing succxu. The onginal Melropolitan production in Italian was under 
the personal direction of Puccini himself, who refined and beautilied it according to his own 
ideas into one of the moat finished operatic productions ever seen here. 

The alary of ike diama is familiBi Co all thiaugh John Luther Lang's narralive and the 
Belasco dramatic version. The tale is ihe old one of the passing fancy of a man for a woman, 
and her faithfulness even unto death, which comes hy hei own hand when she finds herself 



Puccini has completely identified his music with the sentiments and sorrows of the 

charactera in John Luther Long's drama, and has accompanied the pictorial beauty of the 

various scenes with a setting of incompaiahle loveliness. Rarely has picturesque action 

been more completely wedded to beautiful music. 

ACT I 

SCENE— Exterior of Ptrikfton '» Ami k at Nagaiaki 

At the rise of the curtain Goto, the marriage broker who has secured PirJceHan his bride, 
is showing the Lieutenant over the house he has chosen foe his honeynioon. Shaipltu, the 
American Consul and friend of /^fiu^rfon. now arrives, having been bidden to the marriage. 

Then occurs the fine duel, which Caiuso and Scotti have aung here in splendid style. 

Atnore o ifrillo (Love or Fancy ?) 

By Enrico Caruso. Tenor, and Antottio Scotti. Baritone 

(InkaUm) 69043 I2-ineh. 14.00 
Pir^rUtn, joyous in the prospect of his n 



the dainty Japanese girl, and quite careless of the cons 
quences which may result from such a union, describei 1: 
bride to the Consul, who gives the j^ung lieutenant s 



hmayresu 

::on«il,whc „ . „ ..__ 

good advice, bidding him be careful, that he may not break 
Uie trusting heart of the Butterfly who loves him too well. 

The number closes with a splendid climax, as Pinktrlon 
recklessly pledges the " real American "wife " whom he 
hopes to meet some day ; while the Consul gazes at his 
young friend with some sadness, as if already in the shadow 
of the tragedy which ia to come. 

Now is heard in the distance the voice of Battery, who 
is coming up the hill with her girl friends ; and she dngs a 
lovely song, full of the freshness of youth and the dawning 

Entrance of Cio-Cio San 

By Geraldine Fimr, Soprano 

(.In Italian) 87004 lO-ioeh. 92/00 
By Frances Aids. Soprsno 

(/n naUaa) 64334 lO-iach. 1.00 
By Edith Helena. Soprano 

[/n£rw/(.A) •17346 10-inch. .75 

The friends and family having been duly introduced to 

PlrJ(tTlon, they go to the refreshment table, while Baltafly 

timidly confide* to f^nkerto". in this touching number, that 

UAkiiN AS piNKEiiioH she has for his sake renounced her religion, and will in 

future bow before the God of her husband. 

leri son salita (Hear Me) 

By Geraldine Farrsr. Soprino {In Italian) 87031 10-inch, *a.OO 

The contract is signed and the guests are dispersing when BuUtifly'i uncle rushes in and 
denounces her, having discovered that she has been to the Mission, renounced her religion, 
and adopted that of her husband. 

'DtaUi-FiiaJ Rtard—Sa page 225. 



VICTOR BOOK OF THE OPERA— MADAM BUTTERFLY 

She n c«*t off by the f&cnil)', who flee (ram the acene u 
but i* comforted by the Lieutenant, who tells her he caiei : 
her alone. 

Then occun the incompaiabh' beautiful duet which cloaes the firat act, and which it 
beyond all question the finest of the melodious numbers which Puccini has composed (or 
the opera; and the effect of this exquisite music, given on a darkened stage amid the 
flashing of fireflies, is wholly beautiful. 

O (fuanti occhi fisi (Oh 
Kiadly Heavens) (Love 
Duet from Finale, Act I) 

By Geraldine Farrar. 
Soprano, and Enrico 
CsTuao, Tenor 
{InllaUan) S901I 12-in.. *4.00 
Miss Famr sings all of Puccini's 
music fluently snd gmcefully, 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 cj it. 

The blending of the voices of the 
artists is remarkably effective, and the 
ecstatic cUmax at the end it iplendidly 
given, both singers ending on a high 
C sharp ; the effect being absolutely 
thrilling. bi'ttfjifii's uhclf omouiiciiin H« — *ct i 

ACT II 

SCENE— Interior of BaUafiy'i Home— at the iacit a Garden iBtth Cherrlet In BUtam 
Three yean have now elapsed, and Bulleifly, with her child and faithful maid, SuxuJtl, 
are awaiting the return of PhJceilen, Saaikl begins to lose courage, but Butlttflu rebukes her 
and declares her faith to be uiuhaken. 

Un bel di vedremo (Some Day He'll Come) 

By Geraldine Farrar, Soprano (/n Ilalian) 88119 12-inch. tS.OO 

By Emmy Destinn, Soprano (in Italian) 9209 7 12-inch. 3.00 

By France* Aids. Soprano (/n Italian) 74339 12-inch. 1.50 

By Aenes Kimball (/n Engliih) 70094 I2-ineh. 1.29 

This highly dramatic number is sung after Botttrfiy 

has reproached Siaaki for her doubts, and in it she 

proudly declares confidence in her husband, jn the 

English version this is called the "Vision Song." as it 

describes her vision of the arrival of PtrJtaton'i ship, 

Ora a noi I (Letter Duet) 

By Geraldine Farrar, Soprano, 
and Antonio Scotti, Baritone 

[In Italian) 69014 12-inch, *4.00 
Bulterfiu is visited by Sharpltit, who has received a 
letter from Plni(erton, and has accepted the unpleasant 
task of informing BiMetfiy that the Lieutenant has de- 
serted her. He finds his task ■ difficult one. for when 
he attempts to read Ptni(trten't letter to her. she mis- 
understands its purport and continually interrupts the 
Consul with little bursts of joyful anticipation, thinking 
I that Piid^rion will soon come to her. Finally real- 

tmt t.M M " iiing something of his message, she runs to bring her 

THE LETTcs Hoii nBKEsioN— ACT II chilo to ptove to Shotplot tho ccTtainty of her husband's 



121 



BOOK OF THE OPERA — MADAM BUTTERFLK 



Sai cos' ebbe cuore (Do You 
Know, My Sweet One) 

By Geraldinc Fsrrar, Soprano 

(/n hailan) 87059 10-in„ *2.00 
By Emmy Deitiiiii. Soprano 

(In Italian) 91064 lO-lo.. 2.00 
In ihia pitiful air she ulu little " TnuUt" 
not to liMen to the bad man {Sharpitu), who U 
uying that PlrJcaion ha* deaeited them. 

Shocked at the light of the child, which he 
knew nothing about. Siarpleta give* up in despaJT 
the idea of further undeceiving her. knowing 'hat 
ahe will (oon leain the truth, and leaves Batttlfiu, 
who refute* to doubt PtrJ^aton, in an exalted Mate 
of rapture over the idea of her huaband'i retum. 
ThrouBhout the duet may he heard the 
mournfully aweet " waiting motive " played aoftly 
by the homt. and accompanied by atiingt piztlcall. 
Thia i* beautifully given here, and the lecord is a 

The aound of a cannon i* heard, and vrtth 
aid of a glaaa the (wo women see An^rion 'lohip, the 
Abiaham Lincoln, entering the harbor. 

Duet of the Flow^ers 

By Geraldine Farrar. Soprano, 
sod Louiae Homer. Contralto 

(/n Italian) 8900S 12-ui„ 14.00 



Greatly excited, Butiafig bida the maid atrew 
the room with flowera. and they acatter the cherry 
bloaaoma everywhere, linging all the while weird 
harmonie* which ate hauntingly beautiful. 

Min Farrar'i impreaaive Ch-Ch-San, childiah 
and piquant in ita lighter aapecti and pitifully 
tmgic in ita final acenea. and Mme. Homet'a 
Saxalil, the patient handmaiden, who lovea and 
protecta her miatresi through all the weary yean 
of waiting, are two mod powerful imperaonationa. 
Of the muaic written for theae two rAlea, thi* 
eiquiaite duet ii eipecially attractive. 

Night ia falling, and not expecbng Pinkerton 
until moming, BufUifiu, Stauh and the child take 
their place* at the window to watch for hia com- 
ing. Aa the vigil begina. in the otcheatra can be 
heard the " Waiting Motive," with ita accompani- 
ment by diatant voicea of the aailor* in the har- 
bor, producing an effect which i* indeacribably 
beautiful. 



Thee. 



SCENE II— Same oi iht Pnctdlng 
■ on the aame acene. It ia daybreak. SuxakU exhauated, ia aleeping, but 
nerPy atill watchea the path leading up the hill. Sunij^/ awakes and inaiata on BudaQfy 
Iking some rest, promising to call her when the Lieutenant arrives. 

Sharplat and FHnlttrlon now enter, and question Suxukl, the Lieutenant being deeply 
luched to find that BnUtrfiy haa been faithful to him, and that a child luu been bom. 

Siuuif ■ aeeing a lady in the garden, demanda to know who ahe ia, and Sharplat lelta her 
: ia the wife of Anteitan, he having married it 



VICTOR BOOK OP THE OPERA — MADAM BUTTERFLY 

Tke introductiaii by Puccini'* librettist oi thii character bu been Kverely criticiae<l, 
many cotiBidering it of doubtful taste, and forming a jairing note in the opera. So itrong 
ia this feeling in France, that the part of Kale has been eliminated from the cait. 

Tlie faidlful maid is hoirilied, and dieadi the effect of this newa on her miitrcM. 
Weeping bitterly, ihe goes into Bulttify't chamber, while the friendi are left to bitter 
reflections, expressed by Puccini in a pov^erful duet- 

Ve lo dissi ? (Did I Not Tell You ?) 

By Eoiieo Catiuo aiid Antonio Scotti (In Italian) 8904T 12-iacb. 14.00 

PirJcerfon realizes for the Grat time the baaenes* of hU conduct, while the Consul reminds 



n Act I,- 



oewaie lest the 



him of the wamin 

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 Soxuki occurs the trio for Pti^(irlon, Sharplat and Sutal^. 

Lo ao che alle sue pene (Naught Can Console Her) 

By Martia, Fornia and Scotti (In Italian) 8T303 lO-inch, tS.OO 

Tliis trio is dramatically given by Martin, Fomia and Scotti, who have this sesaon made 
successes in the several rates of PliJt"l<"i. SuziJfl and Sharpleu. 

Finale Ultimo (Butterfly's Death Scene) 

By Geraldine Farrar. Soprano (In Italian) 07030 lO-inoh, *2.00 

By Emmy Destino, Soprano {In Italian) 910S6 lO-inch, 2.00 

By Edith Helena, Soprano (In Engkih) *1I346 10<inch, .79 

Now comes the pathetic death scene at the close of the opera. Butttifig, convinced 

that PfrJterton has renounced her, blindfolds her child that he may not witness her suicide, 

takes down the dagger with which her father committed haH-ttarli 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 atni^le she gropes her way to the innocent babe, who, blindfolded 
the spirit of play. The tragic intensity of this 

Miss Farrar puts into this 
final number all the pathetic 
despair of Ch-Cla-San i over- 
burdened heart, her rendition 
being a moat 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 Ejiglish version by 
Miss Helena is offered. 

Pfriterfon enters lo ask 
Batteifia't 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 



death struggle she gropes 
I his little flag, lakes it all i 



• DaMi-F<a*A Ktrari—Stt p> 



VICTOR BOOK OF THE OPERA — MADAM BUTTERFLY 

DOUBLE-PACED AND MISCELLANEOUS MADAM BUTTERFLY RECORDS 
M«il*me Butterfly Fantuie— By Victor Herbert's Orch 7005S 12-uieh. «IJt5 
MwUme Butterfly Selectioa By Victor Orcliutra 31631 12-iiich. 1X>0 

Thia ■election begins with the entrance muaic of Pinkalon, accompanied by the 
AuMiican tlienie for whicK Puccini ham utilized the "Star Spangtcd Banner/' 

Then in auccesnon are heard the gay air of the thoughtleaa Lieutenant (aa a comet 
aolo) in which he deacribea the chsracteriatica of hia countrymen ; the principal strain of the 
love duet witb which the act cloaca; the eiquiiitely poetical "Duet of the FTowera," part 
of which ia given on the orchestra bells : and the beginning of the supremely beautiful scene 
where BalltiHy, her maid and little son, take their places at the window to watch until 
moming for the husband's coming, while in the distance can be heard the faint voices of 
■ingera in the night, producing a mournful and indescribable effect. 

Then from the last scene we hear the return of PirJttrion announced just aa Bulttify haa 
taken her life ; the American motif strangely contrasting with the tragic music of the death 

[adame Butterfly Selection. No. 1 By Pryor's Bandl ,. ,_ . . 

Bartered Bride OMrta« By Pryet't Band]^^^*^ 12-iilch. fIJS 

lam Butterfly Selection. No. 2 By Pryor's Band I ,.,-, , , .__l , ,. 
mnhauMa Sd»:llon ft. /^r'. Banff/ ^"^' 12-inch. 1J5 

Madame Butterfly Selectian By ^yor's Band 31697 12-inch. 1.00 

Two fine twelve-inc 
and splendidly played, ai 

Madame Butterfly Fantasie By Victor Sorlin 'CeUo 31696 12-inch. *1.00 

Some of the most beautiful passages in this fascinating Puccini opera have been 

combined in this attractive fantaue. Among the themes used are the lart part of BuHtifty't 

"Song of Devotion" in Act II, sometimes cidled the "Vision Song"; and the mournful but 

beautiful "Waiting Motive." 

[What a Sky.^^t a Sea (Entrance of Butterfly. Act I) ] 

(InEngliih) By Edith Helena, Soprano I ,--.. ■« ;„„i, ./it* 



LA FLUTE ENCHANT^ THE MAGIC FLUTE 

(Lah Flail /f An-ihin-W} 

DIE ZAUBERFlQtE XL FLAUTO°MAGICO 

(Dh TtaiB^r-JIo^-ltM lEtl Fla^*,k Maf tt-itok) 

OPERA IN TWO ACTS 

Libretto by Schickaneder, adapted h-om a tale by Wieland. " Lulu, or the Magic Flute." 
Muiic by Wolfgang AmadeuB Mozart. Firat produced in Vienna, September 30, 1791, Mozart 
directing. Fint Paria production na "LeiMyilira i/'/j/j, " Auguil 20, 1801. FIrmt London 
production, in Italian, in 1811; m German. 1833; in English, 1636. First New York pro- 
duction April II. 1633. 

Characters 

SARASTRO. (SoAr-Bu'-froA) High Priest of Isis Bass 

TAMINO, (7oAjm!'.noi) an Egyptian fMnce Tenor 

PAPACENO, (Pai«A-f<i»'-™>*> a bird-catcher Baritone 

The Queen of Night Soprano 

PAMINA. {P=n,«'.«A) her daughter Soprano 

MONOSTATOS. (Ms«i»^a<'.«.) a Moor, chief of the slaves of the Temple 

of leU Baritone 

PAPAGENA, (P«m.**bm»A} Soprano 

FIRST LADY. ) f Soprano 

Second Lady, [attendants on the Queen of Night \ Mezzo-Soprano 

THIRD LADY, } { Alio 

sSd^BOY. 1 l"''o"Bi"e to the Temple, and fulfilling the [ M^Soprano 
THIRD Boy. ) ^^'^' °f Saraslro J ^|,^ 

Priests and f^iestemes of the Temple of Isisi Male and Female Slaves; 
Warriors of the Temple. Attendants, etc. 

The tetne It lalJ In the vidnlly of and In the Templt of his at Mtmphli. The action 
"h Teprttenttd aa taking place aboal the Haw of Ranaet I. 



VICTOR BOOK OF THE OPERA-THE MAGIC FLUTE 

"A fantastic (able waa the gioundwock; 
tupemalural appnrilioiu and a good doae of 
comic element were to lerve lu garnish. 
But what did Mozart build on this prepos- 
teroUB foundation} What godlike magic 
bteathea thcou ghoul thia wock, frora the 
most popular ballad to the noblest hymnl 
What many-aidednen, what marvelous va- 
riety I The quintessence of every noblest 
bloom of art seems here to blend in one un- 
equaled flower ." — Richard Wagmr. 

Strictly speaking, the Magic Flute is not 
an opera, but rather a fairy extravaganza ac- 
companied by some of the most delightful 
muaic imaginable. To fully appreciate 
Mozart's work it should be heard in some 
German town on a Sunday evening, where 
middle-cUs. families and .weethearts l^nd 
much enjoyment in the mixture of mystery, 
sentiment, comedy and delightful muaic 
which make up the opera. The libretto is, >-oto iiii 

of course, utterly absurd, describing as it papacena and 'apmcno 

does the magic of the pipes of Tamino which 
had the power to control men, animals, birds, r 
flute is continually playing throughout the work. 

Overture 

By Pryor's Band *35139 12-ineh. 11.25 

By La Scala Orchestra *68207 12-mch. 1.29 

The overture ia 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 few bars later the comets take up the theme, followed 
by every instrument in the band in the marvelous finale. 
ACT I 
The scene showi a rocky landscape with the Tem- 
ple of the Queen «/ iht Night visible in the background. 
Tamino, an E^gyptian 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 Temple to his rescue and stab the snake with their 
javelins. White they go to tell the Queen of the occur- 
rence. Tamino revives, sees the dead serpent and hides as 
he hears a flute. 

Ein Votfelfanjer bin ich ja (A Bird 
Catcher Am I) 

By Otto Goriu {Gtrman) 64163 10-inch, fl.OO 

Papagtno, a bird catcher, admirer of damsels, and 

all-around rogue, enters and sings a merry lay, piping at 

THB TiiKEE LADIES ur iiLE ouiEN eveiy pause. In his song the fowler describes his oc. 

cupation of snaring birds, but says he would like catching women better I 



Th'p'fowlrr f.mrs. in -pile' of rain. The fov, 



rsin : 



Jlchkio! DOUBLE-FACED MACIC FLUTE RECORDS,i>ait230. 



VICTOR BOOK OF THE OPERA — THE MAGIC FLUTE 

In (he part of Papagtna Mr. Goritz haa few rivali. and hi* impersonation wa* one o( the 
j^cBt (cBtuTea oF the recent revival at the Metropolitan. 

Tamtno now cornea (orwanl and give* Papagene credit for having killed the leipent. an 
honor which he promptly aecepta. The three ladies now return, rebuke Popagtne andahow 
Tajtitno a photograph of the Queen of Night's daughtei, the lovely Pamlna, who ha> been 
taken from her mother by Saraiiro, the Prial of hit. to save her from evil influences. Tamlno 
falls in love with the picture and offers to rescue the maiden. He is given an all-powerful 
magic flute, and accompanied by Papagam sets out for Saiaslto'a palace. 

The scene changes to a room in the palace of the High Priest, where Pamlna u dis- 
covered in charge of Monattatat, a Moor. 

The Moot is betraying his trust by persecuting Pamlna with his attentions, when Papagtno 
enters and frightens him away. The bird catcher then tells Pamtna of Tamlno 'a love (or her, 
and oSera to conduct her to this mysterious lover. 

Ulallm) (Gtrman) (Eiq/liA) 

La dove prende— Bei Mannem — Smiles and Tears 

By Emma Eames, Soprano, and Emilio de Gofottt. Baritone 

(/n llallan) 89003 12-inch. •4.00 
By Jobanoa Gad«ki. Soprano, and Otto Goriti, Baritone 

{In Qerman) 88369 12-inch, 3.00 
This charming duet, with its grace and inimitable gaiety, introduces the melody of an 
old German song, Btl MSnnem 

The amilF, tfasi on the lip i> playing, Vet. whilst that smrle the brow ii wrnthing, 

How oft 'twill hide a heart'!) deep woe! One word shall cbanKc ii Id a icar, 

The tear, that down the cheek i> straying, And one lofi ligh's impassion'd breathing 

Prom purest springs of joy may flow. Shall bid the teardrop diuppear. 

And Bmile» and tears, »o legends say. When each alike miiilracfs in turn. 

Make up the sum of Life's ^Hef day. Oh, who the heart's deep lore shall learn! 

After many adventures 7anifnoBndPaniJnfimeet,and by means of the magic Bute they are 
about to escape, but are interrupted by Saratim, 
who agreea to unite the lovers if they will remain 
and be purified by the sacred rites; and as the 
priest separates them and covers their heads with 
veils, the curtain falls. 

ACT II 

The first scene shows a noble forest showing 
the Temple of Wisdom. The pHests assemble, and 
Saiaibo 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-mch. *3.00 
By Marcel Jour net. Bass 

(In French) 64235 lO-inch. 1.00 
By Metropolitan Opera Chorus 

(In Ctnnan) '49091 10-inch, IjOO 
In the Invocation, Saraitro calls on the gi>da 
Isis and Osiris to give Tam/noand Papogowstrenglh 
to bear the trial now at hand. 

Slrrnglhen with wisdom's strength this tyro pair; 



^ s*ii*siao Take them elect to your abodes! 

•D™(fc-fo«rf Riiori-Fvr mk <if oHKum tiJt Kt DOUBLE-FACED MAGIC FLUTE RECORDS, m 



VICTOR BOOK OF THE OPERA — THE MAGIC FLUTE 

In the noble rAle o( Saratlm Plwi^Mi a especially effect- I 

ive, and hia dijpiiBed iropenonation of the benignant High i 

Priert. who imooths out all the fanlMlic langiet in the (ilua- 
lion* which occur in Mozait's opera, ia alwayi singularly im' 

The lovers are admitted to the Temple and begin their 

In the next (cene Pamlna i* discovered asleep in a bower 
of roKi. The Qu«n suddenly rises from the earth and give* 
Pamlna a dagger, telling her to kill Saraairo or Tamino can 
never be hers. Pamlna hesitates, and her mother, in a ter- 
rifying and dramatic song, threatens vengeance on all con- 

Aria delta Regina (The Queen's Air) 

By Bessie Abott. Soprano 

{In Italian) 88091 12-iiieh. *3.00 
By M«ri« Galvany, Soprano 

(In Italian) 87099 10-ineh, 2,00 
The Queen of Night. Atlrlflammanlt, is one of the most 
striking character* in Mozart's opera, and the few numbers 
altolled to her are difficult and florid ones. Tliis great aria 
is one which the moat experienced of sopranos always ap- 
proaches with misgiving, because of its excessive demands 
on the vocal po^vers. Miss Abott and Mme. Qalvany com- 
pletely meet these demands, both singing the air gracefully tahiho «hd TtMivk 
and with superb execution. 

The pangs of hell arc raging in mr bosom, I ipurn thee and renounce 1h«, 

DeatSand deslruclion wifdly Hame around! If thou dai'sl to brave my wtalh; 

Go [ortb and bcai my vrnecance to Sarastro, Tbrougb thee Saraslro is to pcriib! 

Or as my dauihler thuu shall bt disowned! Hear, gods of vengeance! 

I cast tbee off foiever, Hear a mather't vowl ISht diiaffeari.y 

Saraihv enters and soothes Pamino, saying that he will take a righteous revenge on tKe 
Queen by obtaining the happiness of her daughter, f-fe then sings the noble Cavatina, con- 
•idered one of the greatest of bass arias. 

Qui sdettno non s'accende CWithin These 
Sacred Walla) 

By Pol PUnvon, Bass (Plana aec.) 

(In Italian) 85077 12>il)ch. 13.00 
By Marcd Jouraet, Bass 

(hFrtnch) 74266 12.iach, 1.50 
In this number PLan^n ia at his best, and the noble 
strains are delivered in the broad sonorous swie which the 
music requires, while a splendid rendition by JouTnet in 
French is also offered. 
SAaAiTRo: Witbin ibis ballawed dwelting 
Revenge and Hirrow cease; 
Here troubled doubt dispelling, 

If thou^hafTstiay-d.'a bfolher'i iiand 
Shall guide Ihee t'ward the better land. 
This hallow'd fane prolecis thee 

From falsi-hood. guile and fear; 
A bralfaer'< tove directs thee, 
To him thy woes are dear. 
The probatiDnary trials of the lovers continue through 
many strange scenes, in one of which Pamlna meets Tomfm, 
and not knowing that he has been forbidden to speak to any 
woman, cries out that he no longer loves her. She then sings 
cwTTHHin this pathetic little ait, which Mme. Gadski has interpreted 

CADSEi AS rAUiirA beie so beautifully. 



VICTOR BOOK OF THE. OPERA — THE MAGIC FLUTE 
Ah lo SO (All Has Vanished) 



Mme. GadBki has \ang been recognized aa one of the 
(oremoat exponent! of Moiart in thia country. The muaic 
of this msater demands ain gen o[ great understanding and 
feeling, who must poaaeaa not only voice but intelligence and 
taste. 

That Gadiki possesses these qualilicBtions in ample 
measure ia fully apparent to all who listen lo her superb 
Mozart reproduction!. 



Cqmt. kind dralh. in plly tret 
My »car>- bo.oiii from its pain! 
Pamlna, thinking Tamino ha* deserted her, wishes to 
die. and tries to atab herself with the dagger her mother 
has given her, but is prevented by the three boys, or genii 
TA .o» D PAuiK.\ (under instructions from Soroj(ro), who aanire her that 

Tamino is still true and promise to conduct her to him. 

Du also bist mein Brautigam ? (Thou Art My Bridegroom I ) 
By Johanna Gadski. Soprano, and Mmcs. Sparlcj, Case and Mattfeld 

{In German) 88441 12-iach. *3.00 
Mme. Gadski gives the straina of Pamlna in her usual finished style while the music of 
the three "boys" ia sung by Mmes, Sparks. Case and Mattfeld, with voices of clear, youth- 
ful timbre which exhibit well the grace and brightness of Mozart's music 



And m. »he is i 


lo madness near, ' 


This. Bla!:, we 1 


mntt r 






Hut we will sh. 


3W hir 


I wish to Hie, si 


nee the man. 


And wilh wond 


ler tho 


Whom I ne'er e; 


in hale. 


That his heart 


is Ihh 


This failhrul hr< 


irt will thus descc 








■nfll.) 


'Lead* me forth! 


I wis 






All: 




(old. unhappy < 


>ne: and hear! 


Come, we him 


forlh» 


™ld Tamino 8. 




Two heant iha 


I trull 






Can human wei 




■o''r'h'<.- fJiidl?! 


)vi;th the*. 







The trials being finally completed, the lovers are united in the sacred Temple. The Que 
and her accomplices attempt to preve 

the Temple of the Sun, where Sarai 

beside him. while the baffled Queen and her train sink into the earth. 

DOUBLE-FACED MAGIC FLUTE RECORDS 



(Maeic Flute Overture 

\ Melileraingrr Freluae 

ID I(is und Isiris 'Great Isis) ) 

By Metropolitan Opera Chorus (In German) I . , -, , 
Hugaenoh—Coro dl SolJall (Soldiers ' CAoruj) /•aua i 

By Melropolitan Opera Chorui (In Ilatlan)} 



MANON 

OPERA IN FOUR ACTS 

Word* \>y Meilhac and Cille. after the novel of Ahht Pi«vort. Miuic by [ulcs 
Firat production at the Opira-Cottdttut, Pari*. January 19, 1864. Fint London production 
May 7. I883i in Engliih by the Carl Rou Company, at Uverpool. January 17. 1665. In 
French at Covent Garden. May 19, 1891. First Ameiican pioducdon at New York. Decem- 
ber 23. 1885, with Minnie Hauk, Giannini and Del Puente. Some notable revival* were 
in 1895 with Sybil Sandemn and Jean de Reaike ; in 1899 with SaviUe. Van Dyk. Dufriche 
and Plangon; and at the recent production (in 1909) at the Metropolitan, with Caruao, 
Fairar, Scotti and Note. 

Caat 

CHEVAUER DES GRIEUX (SAbu/W Mi CneV) Tenor 

Count DES CRIEUX. hia father BaM 

LESCAUT, (LmJt^) Manon'i couiin, one of the Royal Guard Baritone 

GUILLOT MORFONTEIN. a rou«, Miniiter of France Bon 

De BRETICNY, iBn^*t^tm/) a nobleman Baritone 

MANCMJ, a »chool girl Soprano 

People. Aclreaaea and Students 

Tbae and flace : 1721 ; Anient, Paris, Hmn. 

The Mary of Manon ia, of courae. taken by Mauenet'a librettimti from the famoua novel 
of the Abbt Prjvoat. but for operatic purpoaea several changes have been made, notably in 
the events of the fourth act, which takes place in France instead of America. Although the 
tale ia very well known, a brief akelch will be included here. 

Maaon is a country girl, gay. pretty and thoughtless, who meets a handsome young 
cavalier, da Grieax, while on her way to a convent to complete her education. He falls in 



VICTOR BOOK OF THE OPERA— MASSENET'S MANON 

lore with her and ilie wilh him to far as her nature will allow, and when he telli her of die 
gaietie* and pleaiurei o( Pari*, (he needs little perauuion to induce her lo elope with him 
to the Capitol, to the chagrin of Galllol, whoae carriage the loven appropriate. 

Soon tiring of love in a cottage, however, the young girl encourages the attentions of b 
rich nobleman, A Brflignu, and when Jej Gritai a taken away forcibly by his father, she 
siezes the opportunity and leaves with her new lover. 

In Act 111 she learns that det Cdtux, despondent because of her faithlessness, has resolved 
lo enter a monastery. Her fickle affections turn again to him, and she visits him at the 
Seminary of St. Sulpice. He at lirat repulses her, saying his love is dead, but is unable to 
reuat her, and they depart together. 

The next act occurs in a gambling house, where dtt Grltai is endeavoring to win money 
to support Manon in the luxury she demands. Gulliol, in revenge for the trick played on 
him in Act I. causes their arrest, Ja Gricux far cheating and Manon as a dissolute woman. 

The last scene occurs on the road to Havre, where da Grieax and Lacaut, Manon'i 
cousin, plan to rescue Manon as she is being taken to the ship, en route to the prison colony 
in Louisiana. The K^iers appear, hut it is a dying Manon they escort, and the unfortunate 
girl, after repeating and asking forgiveness of Je4 Gritax, dies in his arms. 

ACT 1 
SCENE \~C«irb,aTd of an Inn at Amltni 
Aa the curtain risei the crowd of villagera. including Lexaul. are waiting the coming 
of the coach, which presently arrives and diachargea Manon. The young girl regards the 

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 Seals singers. 

Restate qui (Wait a Moment) 

By Elisa Tromben. Soprano; Federieo Federici. Tenor: G. Pini-Corii. 
Tenor : Riecardo Tegani, Baritone (In Italian) *S5000 12-inch. *1.90 

Z.e>eauf asks Manon lo excuse him for a while as he must go to see after her luggage. 

LEsr-UT (to Itancx): 



'D-HAkJ'ariJRieoni-Ftthlkar'PK'^tlAtmDOUBLE^ACED MANON RECORDS, t 



VICTOR BOOK OF THE O PER A— MASSENET'S MANON 



He goes out, and the townspeople desert the square, leaving Manon alone. The rou€, 
Guillot, appears on the balcony of the hotel, crying : *' Miserable landlord I Are we never to 
have any wine ? ** 

He sees Manon, and his evil eyes light up at this vision of youth and beauty. 



What 

Ahem I 



do I see? Young lady! 
Voung lady! 



Guillot: 
Heavens! 
Ahem! 
(.-Iside) 
Really, my head is turning round! 

Manon (aside and laughing): 
What a funny man! 

Gi'illot: 

Voung lady, I am Guillot de Morfontaine. I 
am rich and would give a good deal to hear 
a word of love from you. Now, what do 
you say to that? 

^Ianon: 

That I .should be ashamed, if I were not more 
disposed to laugh. 

De Breticny: 

Now then, Guillot, what's the game? We are 
waiting for you. 

GriLLOT: 

Oh, go to the Devil. 

POUSETTE (to Guillot) 



De Breticny: 
This time I swear the dog has by chance found 

a prize. 
Never did sweeter look light up a woman's 

face! 
Now then, Guillot, let the girl alone and come 
in. We are calling you. 
Guillot: 

Ay, ay, in a moment. 
(To Alanon): 

Mv little one, give me a word. 
De HRETir.Nv: 

Guillot, let the girl alone. 
Glmllot (softly to Alanon): 

A postillion is coming directly; when you see 
him, understand that a carriage is at your 
service. Take it, and afterwards you shall 
know more. 
Lescaut (who has iust entered) : 

What do you say? 
Guillot (confused): 

Oh, sir! nothing, sir! 
Lescaut (boisterously): 

Oh, sir! Did you say — 
Guillot (returning to the pavillion): 
Nothing, sir, I said. 



Are you not a&hamed? At your age! 

Guilloi is frightened by the grutf soldier, to the amusement of the bystanders, who 
laugh at the baffled libertine until he flees in confusion. 

Lescaut now warns Manon to beware of the men she may meet. 



Lescaut (to Manon) : 

He spoke to you, Manon. 
Manon (lightly) : 

Well, can you say 'twas my fault? 
Lescaut: 

That's true; and in my eyes you are so good 
that I won't trouble myself. 

(The two guardsmen enter.) 
FiPST Guardsman (to Lescaut): 

IIow now! Thou comcst not! 



Second Guardsman : 

Both cards and dice are waiting your pleasure 
below. 
Lescaut: 

I come; but first to this young lady, with your 

leave, good sirs, 
I must speak some words of counsel full of 
wisdom. 
Guardsmen (in mock resignation): 
To his wisdom we'll listen. 



Mi raccotnando (Wait for Me) 

By Elisa Tromben, Soprano ; Federico Federici, Tenor : Chorus 

(In Italian) *55000 12-inch, 

The young girl promises to be prudent and Lescaut leaves with the guardsmen. 

Lescaut (to .Manon): 

Give good liced to what I say — 

Duty calls mc now away. 

To consult these comrades here 

I'pon a point that's not quite clear. 

Wait for mv, Manon, just a moment, no more. 

Make no mistake, but prudent be. 

And if, forsooth, some silly man 



$1.50 



Should whisper folly in your ear, 

Tlehave as though you did not hear. 

For safety's sake adopt that plan. 

(To the Guardsmen, aside) 

Now let us go and see on which of us the 

goddess of the game will look with loving 

eyes. 
(They go out.) 



Des Grietix now enters, and seeing Manon, is much impressed with her beauty and 
modest bearing. He addresses her respectfully, beginning the lovely duet, Etje sals ifotre nom, 

Et je sais votre nom (If I Kne^w But Your Name) 

By Mile. KorsofiF, Soprano, and L^on Beyle, Tenor 

(InFrench) *16551 10-inch, $0.Z5 

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. 

Des Grieux: 



Des Griki'x (with emotion): 

Manon 1 
Manon (aside) : 

How tender are his looks. 

How delightful his voice to my soul! 

*DoaBkJ^aceJ Record— For tttk c/opposlle aide «ee DOUBLE-FACED MANON RECORDS, page 240. 



If I knew hut yonr name 
M\NON ('with sinif^lictty) : 
I am called Manun. 



2r>4 



VICTOR BOOK OF THE OPERA— MASSEN ET'S MANON 



Des CiRiKt'x: 

All my fond foolish words, 

1 pray you forgive I 
Manon (naiicly): 

How condemn your words when they charm 
my heart; 

To my ears they arc music! 

Would to Heav n such language were mine, 

Vou fit answer to make. 
Des (iRiEix {in a transport of jo\): 

Lovely enchantress, all-conquering beauty, 

Manon, from henceforth thou art mistress of 
my heart! 
Manon : 

Oh! what joy! 

I'm henceforth the mistress of his heart! 
Des Griei'x: 

Ah, speak to me! 
Manon: 

I am only a simple maiden. 

(S milt tiff) 

Believe me, I'm not wicked. 

But I often am told by those at home. 

That I love pleasures too well; 

(Sadly) 

I am now on my way to a convent. 

That, sir, is the story of Manon, 

( H 'i / /» simplicity ) 

Of Manon Lescaut! 



Des Grieux (with ardor): 

No, I will not believe that fate can be so 
hard! 

That one so young and so fair can be destined 
to dwell in a living tomb. 
Manon: 

But 'tis, alas! the sovereign will of Heaven, 

To whose service I'm devoted. 

And no one from this fate can deliver me. 
Des Grievx (.firmly): 

No, no! Not from you, Manon, shall hope 
and joy be torn. 
Manon (joyfully) : 

Oh, Heaven! 
Des Grieux: 

For on my will and power you can safely 
depend. 
Manon (with energy) : 

Ah! to you I owe tar more, far more than life. 
Des Grieux (passionately): 

Ah! Manon, you shall never leave me now I 

Since I would gladly roam thro* all the world. 

Seeking for you. love, an unknown retreat. 

And carry you there in my arms. 
Manon: 

To you, my life and my soul! 

To you I give my life tor evermore! 
Des Grieux: 



Light of my soul! Manon, 

The mistress of my heart for evermore! 

Manon novr observes the carriage of Guillol, 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 vivroiis a Paris ( Wc Will Go to Paris) 

By MUe. Korsoff, Soprano, and Lton Beyle, Tenor 

{In French) *45009 10-inch, $1.00 

Manon and Des Grif.i'x: Evermore bliss is ours. 

We to Paris will go. Heart to heart! And with love's sweetest flow'rs 

And, though fortune may frown, never part! Will we crown the bright hours! 

Hearing Leacaui's voice from within the hotel, vrhere he has been gambling, the lovers 
hastily enter the carriage and drive off, while Guillot swears revenge and Lescaut bewails his 
double loss of money and cousin. 

ACT II 

SCENE — Apartment 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 writing to his father : 

Des Grieux: Des Grieux: 

This letter's for m^ father, and I tremble lest Yes, Manon, I'm afraid, 

he should read m anger what I write from Manon: 

my heart. Ah, well, then we'll read it together. 

Manon: Dfs Griei'x: 

You arc 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 MUe. 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 : 



Manon : 

"She is called Manon, and is young and fair. 
In her all charms unite. She has grace, 
radiant youth and beauty: music flows in a 
St nam from her lips: m her eyes shines 
the tender light of love." 

Dfs Grievx (ardently): 

In her eyes shines the tender light of love. 



Maxon: 

Is this true? 

(Tenderly) 

But I know how much T am loved. 
Des Grikux (ttnth Passion): 

Thou art loved: Manon, I adore thee I 
Manon: 

Come, come, good sir, there's more to read 
yet. 



Ah, I knew it not. 



*DoiAleJ^actd ReeorJ—For litk cfo/tpoMt side jee DOUBLEFACED MANON RECORDS, page 240. 

235 



VICTOR BOOK OF THE OPE R A— M ASSEN ET'S MANON 



Des Grieux: 

"Like a bird that through all lands follows 



the spring, so her young soul to life is ever 
open. Iler lips, like flowers, smile and 
speak to the zephyrs that kiss them in pass- 
ing." 
Manon (repeating) : 

"To the zephyrs that kiss them in passing.*' 

{Pensively)^ 

Do you think your father will give his con- 
sent? 



Des Griel'.\: 

Yes; he will never in such a matter as this 
oppose me. 

Manon : 

Dost thou desire it? 

Des Grieux: 

1 desire it, with all my soul! 

Manon: 

Then embrace me. Chevalier. (They embrace.) 
And now, go; — send thy letter. 



Des Grieux starts to go, but seeing some beautiful flowers on the table asks wko 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 LescatiU accompanied by de BrUignjf, 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 written to his father asking her hand in marriage. 
Lescaui engages him in conversation, thus giving de Britigny 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 with him. Tempted by the thoughts of wealth the young girl hesitates. Lescaui now 
loudly expresses satisfaction with the attitude of des Grieux, and departs with de Brilign^. 

Des Grieux goes out to post the letter and Manon struggles with the temptation which 
has come to her ; the pathetic air. Adieu noire petite table, indicating that she is 3rielding. 

Adieu notre petite table (Fare^well Our Little Table) 

By Geraldine Farrar, Soprano {In French) 88146 12-inch, $3.00 

By Mme. Vallandri, Soprano, and Lton Beyle, Tenor 

{In French) *45008 lO-inch, 1.00 

NOTE. — In record 45008 Mme. Vallandri sings a ^rtion of the " Farewell ** solo and this is 
followed by the short duet which precedes the * Dreant." 

She regards the little table at which they had served their simple meals. 



Manon: 

Farewell, our pretty little table! So small and 
yet so large for us. Side by side so often 
there we've sat. (With a sad smile.) I 
smile as now I call to mind what narrow 



space we lovers filled. A single ^lass served 
both of us, and each, in drinking, sought 
upon its margin where dear lips had been. 
Ah I best of friends, how thou hast loved! 



Hearing des Grieux approaching, she hastily tries to conceal her tears. He observes 
them, however, and tries to soothe her by relating a dream he has had. 



(Italian) 



(English) 



(French) 



II soffno — The Dream — Le Reve 

By Enrico Caruso, Tenor 

By Edmond Clement, Tenor, 

By Fernando de Lucia, Tenor {Piano ace.) 

By John McCormack, Tenor 

By L^on Beyle, Tenor 



{In Italian) 81031 
{In French) 74258 
{In Italian) 66001 
(in Italian) 64312 
{In French) *45008 



10-inch, 
12-inch, 
10-inch, 
10-inch, 
10-inch, 



" Listen, Manon," he cries, " On my way 1 dreamed a lovely dream." 



Dfs Grieux: 

With fancy's eye I saw, Manon, 

A sweet and lowly cot. 

Its white walls, deck'd with flowers fair, 

(Jleam'd thro' the wood! 

Beneath whose peaceful shadows 

Ran clear the babbling brook; 

Overhead, 'mid verdant leaves 

Sang so sweet and full the joyous birds, 



$2.00 
1.50 
1.50 
1.00 
1.00 



*Doakk-Faced Record— For titk afoppoatie aide 



'Tis paradise! Ah, no. 

All is sad, so snd and dreary, 

For, O my only love, thou art not there. 

Manon (softly) : 

'Tis a vibion, 'tis but a fancy! 

Des Grieux: 

No! for thus we'll pass our life. 
If but thou wilt, O Manon! 

DOUBLE-FACED MANON RECORDS, page 240. 
236 



VICTOR BOOK OF THE OPERA— MASSENET'S MANON 

A knock it heard and Manon exdaima, ande. "Oh. Heaven, akeady they have come 
(or him I " She tiie* to prevent him From opening the door, but he inaitta, and i< seized 
and carried away, while Manen, auddenljr repenting, ia overcome with grief. 

ACT III 
SCENE.— ^ Stretl In Paris an a File Day 
Manon enteri. accompanied hy dt Btitlgny axtA several gallants. She is in a gay mood and 
extols youth and love in a fine vocal gavotte. 

Gavotte — Obeissons quand leur 
voix appelle (Hear the Voice 
of Youth) 

By Geraldine Farrar. Soprano 

(InFrtnch) 87023 lO-ioch. »2.00 
By Fraoces Aids. Soprano 

(/n French) 87 1 1 1 10-incb. 2.00 
Mahon : 

List to Ihc voice of youth when it callelh. 

It bids yc to love for ay<.-! 

And ere the piidc of beauty fallei)i. 

Profit then by the time ot voulh. 
And do not iilay lo eount toe dayv, 
Rcfuctnbcr wrU this adage — be merry and gay 

Th'e'hca't, aU^. to love is e'er willing. 

And ever willing to forget, 

So while ils pulse is thrilling. 

Love, ere its day halh set! 
Manon, seeing Ja Griaii'a father, timidly ap- 
proaches him and fuks if Jez Griaix has forgotten 
her. She leama that the young man haa for- 
given her, buried his love, and is planning to enter 
a monastery. When the Count haa departed, the 

capricious girl resolves to go to St. Sulpice and rAasAi as hanom act hi 

see for herself if she has been so easily forgotten ; 

and ta the curtain falls she ia calling to Lticaul to conduct her thither, 
SCENE II— RecepHon fioom at Si. Salpla 
At the beginning of this scene the Count pleads with his son not to retire from the 
world, but dtt GHeux says he ia resolved, and his father, after promising him one hundred 

and francs, takes a sorrowful leave. 



Des Gaisu... .. 

Nothing shall stop me from pronouncing my One 



any one will helieve me is doubtful, 
Des r,>iEux; 






Left alone, Jet Grieax sings his lov 
Italian and French by three famous tenors. 

(FrencA) Ul^lan) (EmlHh) 

Ah, fuyez, douce image!— Dispar. vision — {Depart. Fair Vision I) 

NOTE— Tlu CiruKi record it jireeeded by the fUctlstiva. " Ji luia huI " (Alone SI Laitt) 

By Enrico Caruso. Tenor (In French) 88348 12-ineh, »3,00 

By Gino Giovannelli. Tenor (In Italian) *9900l 12-mch, 1.50 

By M. Rocca, Tenor (In French) *16575 lO-incb. .75 

•Dtubk-FactJ RK0rd—F,f Ulk »/ <>M»(te ndi h DOUBLE-FACED MANON RECORDS, par, 240. 



VICTOR BOOK OF THE OP ER A— M ASS EN ET'S MANON 

He declares he will now (eek the peace of minil which only faith in Heaven can Eive. 
Du Giliui: I'm alone >t U»! Tbe supimc manicnt now bas 



To the drcKB I have drain'd 

Life's most bitter cup, 

Kor lo Hoavon on« complain'd. 

Though heaH's blood filled ii up. 

Dead lo me now are lave and all that men call glorr. I de- 
■ire to banish rrom my memory an evil name— a name 
which haunts nic! Oh Heaven: with flame all i^earcliing, 
my soul now puree from sUln! Oh! let (by pure and glo- 

He goet slowly out and Manon enlets, ihuddering at ihe gloomy walls aod wondering 
i( her lover has quite forgolten her. Da Crlaix soon returns and is astounded id see Manon, 
bidding het begone, saying his love is dead. She says she cannot believe iL 

M.non: my weeping! Am I not myself? Do nnt 

These eyes Ihat aft Ihnu ha^t kissed wilh turn away, but look on me. Am 1 not 

ardor, do Ihey shine no more, even through Manon? 

Da Criaa is deeply moved, but asks Heaven for strength to resist her. Her plead' 
ings finally have their effect, and he cries : "Ah I Manon I No longer will 1 struggle against 
myseUI" and they depart together. 



SCENE— ^ Gambling Roam m Paris 

Z)ei Crfeiu has been persuaded by Manon lo come lo this place in the hope of winning money 
to satisfy her desire for luxury. He plays for high stakea and wins large sums from Guillol, 
who leaves in a rage. As da Crteiuf is showing Manon the gold he has won, a loud knock- 
ing is heard and the police enter with Culllol, who denounces da Crieui as a swindler and 
Manon as his accotnplice. They are arrested and taken to prison, hut da Griewr is after- 
ward released through his father's influence, while Manon is ordered^ to be deported to 
America by way of Havte. 



VICTOR BOOK OP THE O P E R A— M A 3S ETJ ET'S MANOK 

Concertato finale— 
O dolor 

By Afiitodemo Giorgini, 
Teoor : A. Sancoro, So- 

Braoo: S. Nicolicchia, 
■ritonei aiul Choru* 

{In Italian) 
61083 10-inch. *2.00 
ACT V 
SCENE— On the Road to Havn 
Da Glitax and Lacaut aie 
on the Havre road, wailing 
for ihe Kildien who are es- 
corting the pritonera to the 
■hip bound tor America, dtt 
Criaa having conceived the 
mad idea of rescuing Manon. 
Beginning ihe duet he tings 

TUB iiAViE »o*i) ACT V '*'* ""^ """^ remofseful air. 

Marten In Chalnal 

Manon, la catena (Manon m Chains I) 

By Remo Andreioi. Tenor ; Riccardo Tegaai. Baritone ; and Choru* 

{DeMe-FaaJ, mi mi« 240) (/n Italian) 55001 12-ineh. *l.SO 

Des Gbieux IdiKB-.-rrcd lealtd bv Iht tvayiidc): 
Manon. poor Manon! Miisl I see thee lierded with Ihcse wrelched beings and be poivvr- 
less to aid? O Heaven! Mrrcilrss Htavcn! Must 1 then desjiair! IHe ices Leiraiii 
afF'ooehiog.-i He eon.es! {Advaoiino imfrluoush In Luscaul.) Thy fellows now 
make readv; the soldiers will soon reach this place. Thy men are [nlly armed; they 
will i»cue Manon and give h^r back to me! What! can it not be done? Are all my 
fond hopci vain? Oh! why dost thou keep silence? 
Lttcaai hesitate* and finally sajra: 
Lescaut: 

Sir. 1 have done my best— 
Des Ghieux iafisiouily): 



e had the bui 
tiers ere all i 
lEi.x {dislrao 



Lescavt (lodlv): 

Since I have told the truth— 
De« GsiEUI (about la strike ftini): 

Les"^': 

Sirike if you will. 'Tis soidiel's fare. He's 
by Ihe King ill-paid; and then, whaie'er hi< 
worlh. Ihe good folks shake Iheir head and 
call him ■'wretched fellow." 

Des C.fir.vx (-.■iQlenily): 

The voices of the soldiers are now heard in the distance singing as they ride. Da 
Grltm and Lacaut liaten attentively, and the former, realizing that they are aiinoat at hand, 
madly tries to rush forward. Lacaut diaauadea him, aaying he has a better plan, as he is well 
acquainted with the oilicer in command. When the escort arrives. Manon is found to be 
very ill and is left behind by the oHicer at Lacaul'i suggeation. During a heart-rending 
scene Manon aaka and receives the forgiveness of des Crtcuz, lepents her sins and dies in 



VICTOR BOOK OF THE OPE R A— MASSENET'S MANON 



DOUBLE-FACED AND MISCELLANEOUS MANON RECORDS 



Recnic qui (Wait a Moment) By Eliia Trombcn. 1 

Soprano; Fedcrico Fcderici. Tenor: G. Pini-Corsi. 

Tenor: Riccardo Tefani, Baritone (In Italian)! 
Mi raccomando (^A'ait for Mc) By Eliu Trombcn. i 

Soprano: Federico Federici, Tenor, and 

La Scala Chorus (In Uallart) J 
lo M>n aolo (I'm Alone at I^at) 1 

By Giao Giovauuelli, Tenor (In ItaUan) 
Manon. la catena (Manoa in Chains t) By Remo Andreini. 
Tenor ; Riccardo Tefani, Baritone, and 

La Scala Chocui (la Italian)] 
Noua vivrona 1 Paris (We WiU Go to ParU) 1 

By Mile. KorsoS. Soprano: lAoa Beyle. Tenor 
On I'appelle Manon (She is Called Manon) By Mile. | 

Koraofi, Soprano : Uon Beyle, Tenor (InFrench), 
:a, natre petite table (Farewell, Our Little Table) 
By Mme. Vallandri. Soprano; Lfon Beyle. Tenor 

UnFnnch) 

Lc rive (The Dream) By Lioa Beyle. Tenor (/n Fnnch) 
Et je sais votre nam (If I Knew But Your Name) 

By Mile. Korsoff. Soprano; Uon Beyle (In French) 
Fatorita—SpUndon pla htltt in del lc ilcllc {In Hem'nly 
Splendor) By Perello de Segurola, Baa, and 

U Scala Chomi {In Italian) 
Aht fuyez douce image I (Depart Fair Vision) 

By M. Rocca. Tenor (In Frtnch) 
imun Selection (Blxel) By Pryor't Band 



93000 I2-incb. fl,90 



5S001 12-inch. 



49008 lO-inch. l.OO 



16991 lO-inch, 



16975 lO-inch, 



MANON LESCAUT 



OPERA IN FOUR ACTS 



Music by Giacomo Puccini, the libretto (founded on Abbi Pr^oal'a novel) being 
mainly the work of the corapoter emd a committee of frienda. English version by 
Mowbray Marras. First presented at Turin. February I, IS93. Produced atCovent Garden, 
May 14. IS94. First important New York production, January 16^ 1907. 



Characters 

MANON LESCAUT Soprano 

LESCAUT. aerBeant of the King's Guards Baritone 

CHEVAUER DES CRIEUX (A* Gi«-«o,') Tenor 

GERONTE DE RAVOIR, Treaaurer-Ceneral Basa 

Edmund, a student Tenor 

An Innkeeper, a Singjer. ■ Dancing-master, a Sergeant, a Captain, Singers, 

Old BeauK and Abb^ CirU. CilizeRi, Villagera, Students. 

People, Courtezans, Archers, Sailors. 

Scent end Ptrlod ; Paria and elclnilj/ ; tconJ half of iht clghlanlh ctnturu- 



THE STORY 



This early Puccini opera was performed by a struggling opera company in IS96. but the 
performance was so wholly bad that we have made no mention of it in our chronicle at the 
lop of (he page. The real New York pranten was of course the Metropolitan production in 
1907, when Puccini himself was present. An English Ternon of the opera was given in Phila- 
delphia, however, by Custav Hinrieha during one of his summer seasons, — August 29, 1894. 



VICTOR BOOK OP THE OPERA-MANON LESCAUT 

TKe Abb< Pr^oit romance has been treated opeiaticalty 
by tevera] compoaeri, the fiist beiDgHal^vy, who wrote a bal- 
let on the subject in 1B30. Other tettings followed — by Balfe, 
1836: Auber in 1856 and Maraenet in 1664. 

Puccini's veriion confists o( (our detached acenes Kleclcd 
from the novel, and the hearer (hould poaaeM some knowl- 
edge o( the story to (ully understand the action o( the opera. 

The first act shows the courtyard of an inn at Amleni. 
Manon'a brother, Ltieaal, a disaolute soldier, is escorting his 
pretty litde sister to the convent where she is to complete her 
education. While Lacaul is carousing with some chance 
companions, Monon meets a handaome gallant, dtt Gritax, 
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 dtt Griaa, thereby spoil- 
ing the plans of the old roai, Geronte, who had planned to 
abduct the pretty school girl. Manon soon tires of dtt Gritia 
and his poverty, and leaves him for the wealthy Gtnnit ; 
but even this luxury fails to bring hei happiness, and when 
det Grieax appears again she runs away with him. 

Ceronte is furious and denounces Manon to the police as an abandoned woman. She is 
condemned to be deported to the French possessions in Louisiana. Dei Grttttx and Lesrau' 
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 Abb£ 
Provost's knowledge of American geography was evidently limitedl) Da Grieux leaves 
Manon to search tor water, and returns just in time to see her die in his arms, after a most 
affecting scene. 

ACT I 
SCENE— .,4 SbaU In fn>nt of an Inn at Amiaa 

Dtt Gritax, dressed as a student, strolling among the crowd, meets Edmand and a party 
of students, who warmly greet him. He is in a gay mood and addresses some of the girb 
who are passing, asking them, in this charming air, if there is one among them who will 
take pity on his lonely condition. 

Tta voi belle brune (Now Amon^ You) 

By Franco d« Cretforio, Tenor </n Italian) *4S015 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 II. 

A diligence now arrives, and Manon and her brother 
and Gcronit, a chance traveling companion, alight. Dei 
Grieax is struck with the beauty of the young girl, and 
when Lacaul and Gtmntt 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 wish to go. 
LcKoul now calls to his sister, and she enters the inn after 

The young man gazes after her. and says to himself 
that never has he seen so lovely a picture of youth and 

the loveliest of the numbers allotted to da Gritax. 

Donna non vidi mai (Never Did I Behold) 

By Enrico Caruso, Tenor (With Harp and 

Orchestra) {In Italian) 87133 »0-inch. »2.00 
By Etfidio Cunego, Tenor 

siorti AS LEscAui {In Italian) *450I6 10-inch. l.OO 

• Douik^taJ RctcrJ—FMiiA of«epo^b .iJe Kt D OUBLE-FACED MA NON LESCA UT RECORDS, pan 244. 



VICTOR BOOK OF THE OPERA— MANON LESCAUT 

The students now gather round, bantering Jes Grieux on his new conquest, but he is in 
no mood for joking and goes into the inn. Lescaui now joins a crowd of soldiers who are 
gambling, and soon becomes absorbed in the game. Geronie, 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. Leacaut, 
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 dea Grieux for the older 
but wealthier suitor. 

ACT II 

SCEINE — An Apartment in Geronte '3 House in Paris 

Since the events of Act I Manon is supposed to have left des Grieux for the wealthier 
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 — w^hether 
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 lO-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 vratch 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 no-w enters and reproaches Manon bitterly. At the sight of him her love 
returns, and she begs him to take her a\«ray 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 
iite'd'titet 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 w^ith 
being an abandoned woman. 

Intermezzo (Between Acts II and III) 

By Arthur Pryor*8 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 I'* cries the 
unhappy lover. 

This number exhibits well the genius of this composer in making the orchestra reflect 
the incidents and passions of the story instead of using it as a mere accompaniment. 



*Double-FaceJReconi-For Utk o/oppasile MiJe $ee DOUBLE-FACED MANON LESCAUT RECORDS, page 244. 

243 



VICTOR BOOK OF THE OPERA— MANON LESCAUT 

ACT III 

SCENE — Tbi Harbor al Haon 

Manan ha* been banUked from France, and i« novr embarluns on the ahip for the 

Frendi colony in LouUisna. Da Griaix, unable to HCUre her release, entreat* the officen 

to pemtit him to go on board. The captain, touched by the giief of the unhappy lover*, 

consent*, and with a cry of joy Da Gritax embark* juat a* the skip is sailing. 

ACTIV 

SCENE— .^ DtuJatt Spot In Loaidena 

Tki* act is merely a long duet in wkich the tad, but very human, tragedy i* ended. 

The muiic portray* the failing strength of Manon, the despair of Da Grieux when he is 

powerless to aid her, the last farewell of the lover*, and the bitter grief of the unhappy 

young man when Manon die*. As she expires, unable to bear more, he falls senselea* on 

DOUBLE-FACED AND MISCELLANEOUS MANON LESCAUT RECORDS 

(Tr* voi belle brune (Noiv Atnong You) 
By Franco de CreKorio. Tenor (In Hallari) 
Madri|[*le— Sulla vett* del monle (Speed O'er Summit) 
By Lopez-Nune*. Soprano, and Chorus (/n Italian) 
(Doniu oon vidi mai (Never Did I Behold) 

By Etfidio Cuoego. Tenor (In Italian) 
Toica — Gla ml straggea By Ernato Badlnl. Baritone (/n Italian) 
Ahl Manon. mi tradisce (Manon. Kind and Gentle) 

By Franco de Gretforio, Tenor [In Italian) 
QtKonJo—Cldo t Mar t {Heaven and Ocean) By ie Cregerlo 
Afal Manon. mi tradisce By Giorgio Msleaci {In Italian) 
Entant—li]fellce e tu credeel (C/nAaf>f» Onr t) 

By ArittoJemo Stlllch, Baa {In Italian) 



lO-ioch. 1.00 



45016 lO-tncli. 



4S027 lO-incb. IXK) 



63421 10-it)ch. 



MARITANA 

ROMANTIC OPERA IN THREE ACTS 

Libretto by Edward FitzUtl. Muiic by Wdliam Vbicent WalUce. FJrM produced a 
Drury Lane Theatre, London. November IS, 1845. Fitat American production at tb 
Chestnut Street Theatre. Philadelphia. 1846. 

Chirac tera 

Charles II. King of Spain Baaa 

Don Jose DE SANTABEM, hia Miniater Baritone 

Don Caesar de Bazan Tenor 

Marquis de Moi^TEnoRi , Ba** 

LAZABILLO Mezzo-Soprano 

MARITANA, a gypry dnBer Soprano 

Marchioness de montehori Soprano 

Noblea. Soldiers, Gypalea, Populace. Etc. 

Time and Ptam Tht scene U laid In MadHJ. at iht llmt of Charltt 11. 
84S 



VICTOR BOOK OF THE O P E R A — M A R I T A N A 

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 well-known play, Don Caesar de Bazan, 

ACT I 

SCENE— ^ Public Place in Madrid 

The opening scene shows a band of gypsies singing 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 with 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 
cavalier. 

ACT II 

SCENE — Interior of a Fortress 

In the second act Don Caesar sleeps in his cell, with the faithful Lazarillo, w^ho has 
accompanied his benefactor, by his side. The Minister enters, and when 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 will consent to be married. With but two hours to live, Don Caesar 
decides that even marriage is preferable, and consents without inquiring who the bride is 
to be. The wedding banquet is being served \^hen Lazarillo arrives w^ith a pardon from 
the King, which /oje secures and hides, his scheme being to have Don Caesar shot and then 
induce Maritana to go to the palace by pretending that her husbanch is there, and then 
compromise the King. Maritana, w^ho has been promised a glorious future if she w^ill consent 
to wed Don Caesar, enters, heavily veiled, and the marriage takes place, after which the 
guards enter for the execution. Lazarillo, however, has drawn the b^ets from the guns, 
and when 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, Mfho is closely veiled. The scheme does not 'work, hovrever, 
as Caesar hears Maritana 's voice and tries to claim her, but she is quickly spirited away. 

ACT III 

SCENE — Apartment in the Palace 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, while 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 with 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 12- inch, $1.00 

/Overture to Maritana By the Victor Band\»^^.. i^ • u i ^< 

\ Manila Waltz By the United States Marine Sondj^^^^ ^ IZ-mch, 1.25 

There is a Flo'wer By John McCormack, Tenor 64307 10-inch, 1.00 

(Scenes That Are Brightest By Charles D'Almainc,Violinist\-^^Qo in • k t< 

WalU from Faust Sy Charles D'Almaine, Violinist]^^^^^ lO-mch, .75 

246 



NOZZE DI FIGARO MARIAGE DE FIGARO 

THE MARRIAGE OF FIGARO 

OPERA IN FOUR ACTS 

Text br Lorenzo da Ponle, founded on a comedy by BcBumsTchais of the tame name. 
Munc by Mozart. FirM production at the National Tbeatre, Vienna. May I, 17%. with 
Mozait conducting. In Parii aa Le Mariagt dt Figaro, in five acta, with BeaumarchBis' 

rken dialogue, at the Academie, March 20, 1793; at the Theatre Lyrique, a« La Noca 
Figaro, by Barbier and Carr*, in four acta. May 8. 1858. In London, in Italian, at the 
King's Theatre, June 18^ 1812. Pint American production ApHI 8, 1633, in English. Some 
notable revivals were— in the 70'b, with Heraee, Sequin and Parepa-Roaai. in 1889. with 
Noidica, Eome*. de Reazke, Ancona and Amoldaon; in 1902, wlih Sembiicb. Eamca. Fritzi 
ScbeS, de Reazlte and Campanari ; and in 1909. with Sembiich, Eamea, Fatiat and Scotti. 



FIGARO, (Fk'-oA n>A) the Barber, valet to the Count 

Count alma viva. (^/->miA-«'-uA) a Spanish noble 

Countess Almaviva. his wife sopnno 

Susanna, maid of the Counteaa, betrothed to Figaro Soprano 

CHEBUBINO. (Clxiu-n»*v-n«l,) page to the Counteas Soprano 

MARCELUNA. {Mar^M-ia j>ah) aervanl to Bartolo Contralto 

BARTOLO, a rejected lover of Susanna Basa 

BaSILIO, (BaA.m'J(«.o*) a busybody Tenor 

Don CURZJO Tenor 

ANTONIO, gardener to the Count Baas 

Servants. Country People. Guards. 

Scate artd Ptrfod : Stcillt ; Iht itotnlttnlh eenlatji. The eclloa It a dlrccl 
, of lU Barbtr of StcilU. 



VICTOR BOOK OF THE OPERA— THE MARRIAGE OF FIGARO 



iiic, u one of the mort delight. 

.... _ ..... ., .. the oil too infrequent perform- 

■nce of thi* ever-young and lovely opera, in which the complications of the itoTy, the quick 
changes of mood, and the tpaikling humor are all ao well reflected in the muiic. In no 
■ingle opera, perhaps, i* there auch a lucceMion of muiical gem* ai in Figaro. Each ia pel. 
feet in ita way and each aeema lo enhance the beauty of the otherj. 

This comedy by Beaumarchaia, on which the plot ia founded, ha* been utilized by 
many compoaeia, Mozart'* veraion being written in 1765. 

Thoae who have read the atory of Barbtt of StelUe will find themaelvea again making 
the acquaintance of Bariolo, Almadoa and f^aro, aome time after the marriage of the dash, 
ing Count to Bariolo') ward. The Count haa aettled down quietly on his eatatea, while 
Figaro, aa a reward for hi* aervice* a* a match-makei, haa been appointed majoi-domo of 
the caatle. Figaro ia in love with the Coanteu' nuid Siuanna, and eKpecIs to marry her 
aoon, but unfortunately (or hi* plan*, had also promiaed to wed Marcelllna, the ex.houie. 

keeper of Bariolo, on the very 
same day. Further complica- 
tiona are promised by the fact 
that the Count, already weary- 
ing of hi* wife, i* making love 
to Suionno himaelf. 
ACT I 
SCENE {—J Room In the 
Coanl'i Ciialtau 

Overture 

By Arthur Pryor'* Band 

*3SI0» 12-incfa. *1J9 

The overture is a moat 

delightful one. written in 

true Mozartian alyle, and Mr. 

Pryor has given a bnlliani 

reading of it, biinging out all 

.. .. _. it* beauties. 



VICTOR BOOK OF THE OPERA— THE MARRIAGE OP FTGARO 

At the opening of the opera Saianna tell* Figaro that (he Count i> trying lo Bin with her, 
and Figam plana revenge. Marctlllna haa confided in Dr. Barlolo, arid aa the portly doctor 
atill haibora a grudge againit Figaro for robbing him of hi* ward, he conaenti lo help her. 
The Coanteu. who aeemi to be the only one in the castle not engaged in intrigue of aoroe 
kind, tbinlu oniy of her huaband, and how to bring him back to her aide. 

ACT 11 
SCENE ]—JllKalmtnl oj Ihe Counfeu 
At the begiooing of Scene U, the Counlat aing* her lovely appeal to Cupid. 

PoTgi amor (Love, Thou Holy Impulse) 

By Johaniu Gadckl. Soprano (In Italian) 88213 I2~lAeh. »3MO 

By Tereaa Arkel. Soprano iDaMc-faai.ttpatt252) {ItaUan) 63419 lO-ioch. .15 

The Coanlta ia one of Mme. Gadski's moat elective imperaooationa, and the makea an 
impoaing figure in her royaJ garh. ainging the Mozart tnuaic with a richneaa of voice which 
ia alwaya a dehght to the ear. The PorglarrtoT, with its melancholy undertone, never seema 
to be heard at ita beat at the opera, aa it is introduced under rather trying condition* — at the 
very beginning of a acene and without preparatory recitative. Certainly Mme. Gadski haa 
never aung thia lovely air better than at thia time, it being delivered with much purity of 
tone and genuine aentiment. The record will be pronounced one of the moat aatiafactoij 
and appeaJing interpretationa in the artiat*! entire liat. 

&uanna tella the Coanlta of her huaband'* hckleneaa and they conault Figaro, who plana 
to make the Coant jealoua by telling him that the Caanlai ia to meet a lover that evening in 
the garden. It ia planned to aend Marcellina in the Coanlat' place, and Cheratlno, dreaaed 
aa a young girl, to meet the C>unl in Sataima'i place. 

Figaro departa, and Cheruhlne entera. Seeing hia miatreaa, he begina to heave deep aigh*, 
but SoManrta mock* him and tells the 
CNfnleu he has written a aong about 
hi* lady love. The Coanlai bids him 
aing it, and he takes hi* guitar and 
describes the delighta and tonnents 
cauaed by Cupid'a arrow. 

"Voi che sapete (What is 
This Feeling?) 
By Nellie Melba. 

Soprano (hllallan) 

68067 12-inch. •3.00 
By Luiia Tetrazzini, 
Soprano (In Italian) 

86300 13-iacb. 3.00 
The aong ia in balUd form, to 
suit the situation, the voice giving 
out the clear, lovely melody, while 
the stringed inBtruments carry on a 
simple accompaniment plzxicato, to 
imitate the guitar: and this delicate 
outline i* *haded and animated by 

It ia difficult to aay which to 
admire most — the gracefulness of the 
melodiea. the delicacy of disposition 
of the parta, the charm of the tone' 
coloring, or the tenderness of eipres. 
sion — the whole i« of entrancing 
beauty. """' 



VICTOR BOOK OF THE OPERA— THE MARRIAGE OF FIGARO 

Cimi-irNo: 

What IS this reding makrs inc so sad? Why am I buniiHE? Why do 1 fmu? 

What is IhiB feeling makes nic so glad? Kesiks!' forever, never al ca». 

Pain Ihal delighls me.— Ilow an il be? All is so altered, nothine'ii at tat. 

Pleasure Ihal naini^ im-:— Or arc these changes but in my breast? 

Felter'd though free! (icntler the breezes, day is more brighl; 



The wo 


men now drem 


up the page 




>anna. and hs 


ve no Kioner fin- 


iahed when the Count knock.. 


and Chcnjblr 


« hide, in the 


cloKt. The 




hi.wi(e»con 


fuiion.Bnd hear- 




1 the cliMct, be. 




a. He demand. 


that she open the doKt door. 


and when ah 


e refuK. he goe. 



for a crowbar. The i 
he ia out CIteruhIno, aided by 
Saianna, slip, out and CM^pes 
through the window, and 5u- 
tanna enters the clmet in hi* 
place. When the Cxinlretum* 
scEHi ACT III and open, the door, the maid 

ame. out and the husband is forced to apologize for hi. .uspicions. 

Marcelllna now enter, with her lawyer and demands that Figaro shall keep his pramiM 
o many her. The Count promises to look into the matter. 
ACT III 
SCENE I— j4 Coifne* in Iht Coanl'i Raidence 
The third act opens with a K«ne between Sutanna and the Couitl. He plana (o foTC« 
ler to accept hi. attentions by threatening to make Ffgaro wed the ancient Marcelllna, while 
iaianna endeavors to gain time. This scene is continued In a charming and graceful duet. 



VICTOR BOOK OF THE OPERA— THE MARRIAGE OF FIGARO 



Col'nt: 

Too long you have deceived me; 

Hope, weary, bids farewell. 
Susanna: 

What passes in her bosom 

A maiden dreads to tell. 
Count: You'll meet me in the grove, then? 
Susanna: When sunset's on the lea. 
Count: And do not mean it falsely? 
Susanna: Oh, no; rely on me! 
Count {aside): 

What transport now is flying 

Thro* this enraptured breast! 



Crudel perch^ finora (Too Lon^ You Have Deceived Me) 

By Geraldine Farrar, Soprano, and Antonio Scotti, Baritone 

{In Italian) 89027 12-incli. $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, 
^ Bring all to peace and rest! 
Count: Then, by the warden bower? 
Susanna: At twilight I will be. 
Count: You'll not forget the hour? 
Susanna: Oh, no, depend on me. 
Count: In the garden? 
Susanna: Yes! 
Count: You'll not forget? 

Susanna: No! No! No! Oh, no, depend on me! 
Count {retiring): I have won her! 
Susanna {aside): AVell, cunning as you are, sir. 
This time you've met your match! 

Of the seven ouets 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 with the interview, — the Count 
believing she has yielded, and Susanna convinced that she has him in a trap. 

Marcellina, with her lawyer, 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 ze£Eiretto (Letter Duet — Son^ to the 
Zephyr) 

By Marcella Sembrich, Soprano, and Emma Eames, 

Contralto {In Italian) 95202 12-inch, $5.00 

This number is always greatly enjoyed in representations of the 
opera, being a fine example of the Mozartian style and full of beauties, 
HEMPKL AS SUSANNA ^^^ ^^^y in the vocal parts, but in the masterly orchestration. 

SCENE W—Hall in the Chateau 
In this scene Figaro and SusantM are married, and in the course of the festivities Susanna 
contrives to slip the note to the Count, who is overjoyed. 

ACT IV 
SCENE — The Qarden of the Chateau 
The last setting shows the garden where the most delightful of the comedy scenes takes 
place. Figaro enters and soliloquizes on the fickleness of woman. 

Ach ! o£Fnet eure Augen (Of Women Bei^v^are !) 

By Otto Goritx, 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, \^hile Susanna, awaiting the CourU, 
and knowing that Figaro is listening, sings her famous soliloquy. 

Deh vieni non tardar (Oh, Come, My Hearths Delight) 

By Marcella Sembrich, Soprano {In Italian) 88020 12- inch, $3.00 

She pours out her whole soul in this address to the imaginary lover, in order to 
increase the jealousy of Figaro, who is hidden near by. This is one of the most exquisite 
numbers in the opera, and Mme. Sembrich's singing of it always remains long in the mem- 
ory of those who hear her in Nozze, 

251 




VICTOR BOOK OF THE OPERA— THE MARRIAGE OF FIGARO 



long dday? speed, 
he moon, and bright ll 



In the rustling ireds that ni-ar it quiver. 
A voice lo love invites, the bosom fillinjc 
With lave alone, all olhrr passions stilling:— 
Come then, my dearest.— the hours are quicl[[y 

flying! 
Let me wilh roses bind now Ihy hcadi 
Chtniilna, having an appointment with the maid Barharina, 
now enter*, and aeeing the Coanteu, thinks it is Suianna and 
kiMes her. The Counleis strugglea, and the little taacal laya: 



One liiss to your little friendl 

The Coatil arrives just in time to see this, and giving 

Cheruhino a boi on the ear, sends him flying. He then makes 

ai'1-1 lu-Dii 1^^^^^ ^^ ij^^ supposed Susanna, the Counfeu disguising her voice 

BE LussAH AS cHEBUBiHo ^j^j encouraging him. Figaro now sees Susanna, whom he 

oF course takei to he the Coanlat, and tells her that her husband and Siuanna are together. 

Susanna reveals herself and Figaro embraces her. The Counl sees this embrace and his 

jealousy making him forget his new conquest, he seizes Figaro and calls for help. The 

plot ia now revealed, and the Counl. confessing he ia conquered, begs the Cbunfeu'forgiv«ieM 

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 Bsndl-.,^ 11. :„„k tt t* 

Portfi smor By Term Arkel, Soprsno (/n /'o"on)l . - . , „ ,- . ^. ,, 



MARTA MARTHA 

iMak/Jnk) iMaht'Jhah) 

OPERA IN FOUR ACTS 
Libretto by St. George and FHediich. Muiic by Friedrich von Flotow. Tlie opera ia 
an eUboTBdon of "Lady Henrietta, or the Servant of Greenwich," a ballet-pantomime, with 
text by St. George and munc by Flotow. Burgmuller and Deldevez, which waa auggeMed by 
an actual incident and preaented in Pari* in 1844. Martha was firet produced at the Couit 
Opera. Vienna, November 25, 1847. Firat London production July I, I8S8, at Covenl 
Garden, in Italian. Firat American production I8S2, in German. 

Cbaracteca of the Drama 

Lady Harriet Durham. Maid-of-honot to Queen Anne Soprano 

Nancy, her friend Mezzo-Soprano 

SIR Tristan MICKLEFORD, Lady Harriet's couain Baaa 

PLUNKETT. a wealthy farmer Baaa 

LlONEU hia foaler.brother. afterwarda Earl of Derby Tenor 

THE SHERIFF OF RICHMOND Baaa 

Three servants of Lady Harriet. Tenor and Two Baaaea 

THREE Maidservants. Soprano and Mezzo-Soptano 

Qiorua of Ladies. Servanta, Farmera, Hunters and HuQtreaaea, Pages, etc. 

Thin 



Flotow'a melodioua opera baa always been a most popular one, Wth ila apiriled Fair Scene, 
ilsbeaulifuldueUand quartet, the famous third act 
finale and the beloved "Last Rose of Summer." 

The composer waa of noble birth, a son of 
Baron von Flotow of Mecklenburg, and waa bom 
in 1812. Hia father destined him for a diplomat, 
but the boy loved muaic, and went to Paris to 
study. His first attempt at opera was Pitrre et 
Catharine, followed by Sfradtlla and others. 

Many great prima Jonnt have sung the Me of 
WartAa— Patti, Nilsson, Kellogg, Gerater. Richinga, 
Parepa Roaa ; and in the present day Sembrich, 
have charmed their audiences with Flotow's bcau- 

The fine overture, which contains many of 
the best known melodies, ia aplendidly played 
here by the band. On the reverse side of the 
double-faced (33133) ia a 'cello aolo by Sorlin. 

Overture 

By Pryor's Band "SSISS 12-inch, *1.29 
By Pryor*a Band 314T8 12-inch, IJM 

ACT I 

SCENE 1—BouJoU of Lads, Harrlcl '■""'"■ ""' ""-.sKm-ACT i 

Lady Harriet, maid-o(-honor to Queen Anne, ia weary of the inonolony of court life. 
She is bored hy her admirers, and jewela and Bowera pall upon her. " Why do you weep ?" 
aaya her faithful maid, Nancy. "1 do not know," exclaims Harriet, Nancy, beginning the 

•Daahk-FactdRtcBri— For IHlmfopKaUttkkKi DOUBLE-FACED MARTHA RECORDS, f^ 260. 



VICTOR BOOK OF THE OPERA — FLOTOWS MARTHA 

Mesta Offnor (Ah, These Tears) 

By Louiae Homer. Coatrklto. and BcMie Abon^ Soprano 

(/n Ilallan) S9009 12-iacb. t4.00 



1 thf knights : 
!ho surround . 
nd Ihcmsclvci 






Proudly" frpV 



Which 



V»m btlied lto« ._.. . ., 

Such insipid, idle Idvf? AM my glqwina ardeni wishes 

Far to please and inlcrnt me Please me not when they're ful: 

Flaltery is not enoushi What of happiness I dreamed 

Nancv; Always has disgust inslili'd. 

Riches heap on you their Ireasurci, The homaees Ihey ofler. 

Honor high is offered you. Praise and honor Ihey bestow. 

Lady llAaaiET: ' ■— ' k.-:_.. 

In Ihe midsl of gold 
Weariness alone I n- 

Nahcv: 

This i> really to- di- 
ner's is called a 



Uave me joyless once obtained 
Make me not wilh pride to glow. 



Tritlan, Haniet'i couun, a gay but rather ancient beau, ia now announced ant) propoae* 
B long li*t of diveraioni for Harriet'i amuiement Sbe decline! them all and teaaes him un- 
mercifully. The King of ihe servant maida, on their way Co the Richmond Fair, now floats 
in through the window; and hearing these strain* of the happy peaaanti, Hanitt conceive* 
a madcap desire to accompany them. Nancu and Triilan 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 Triitan garbed as a farmer. 

SCENE II— 7:fc. Fair al RidancnJ 
The scene changes to the Richmond Fail, where a motley cro^d of men and maidens 
are looking for positions. Two yoting farmers, PfunJ^eti and UoneS, now enter, the latter 



being an orphan and adopted brother of Flanlcelt, Llontl'i father, on his deathbed, had 
given Plunkell a ring, which was to be presented to the Qu«n should the son ever be 
involved in difficulties. 

In this fine duet, one of the gems of Rotow's popular romantic opera, the friend* speak 
of Llontl'i father and the incident of the ring. 



VICTOR. BOOK OP THE OPER A— PLOTO WS MARTHA 
Soto, profu^o (Lost. Proscribed) 

By Enrico Ciruio and Marcel Journct (In Italian) 89036 13-iilch, *4-00 

By Van Hocue »a4 de Gofforxa (In ilallan) 14009 12-inch, 1.90 

Llimtt telU the itory of his adoption by PtaiJctH't family in the £ne aria beginning — 



lad lella of the great lore he ha* (or hi* adopted brother. 
The duet, which i> a very beaubful one, then follow* : 

Pluneftt: Lionel: 






le will uve »ou 
When no otier 



ipear, acconnpanied by the unwilling and di*guited Trlilan, 

a joke in veiy bad taste. The two young farmera *py the 

girt*, and being much taken 

with their looks, offer to hire 






The Udie: 



r mad prank, ac- 

ottered them, not knowing 

that they are legally bound 

thereby to serve their new 

master* for a year. Tritlan 

loudly prote*t*. but i* hooted 

oS the ground*, and the 

frightened girls are taken 

away by the farmer*. 

ACT II 

SCENE->4 Ffl/mA™* 

A* the curtain rises the 

Tanners enter, dragging ivith 

— them the unwilling and ter- 

Tiir sfiNHiKi, wiiFFT. 01 ASTPTTE nfied maiden*. 

Siam giunti, o giovinette (This is Your Future Dwelling) 

By France* Alda. Soprano: Josephine Jicoby, Contralto: Enrico Caruao. 

Tenor: Marcel Journet. Ba** (In Ilallan) »920T 13>tnch. *5.00 

The farmer* addrett the maidens as follows: 



We're rMl.inK for mr tolly. 
Full tncasiir'd punishmrnl! 



VICTOR BOOK OF THE OPER A — FLOTO WS MARTHA 

The quartet paaaage with which this record ends is one of the most beautiful in 
Flotow*s opera. 

Che vuol dir cio (Surprised and Astounded !) 

By Frances Alda, Soprano ; Josephine Jacoby, Contralto : Enrico Caruso, 

Tenor ; Marcel Journet, Bass (In Italian) 95208 12-incli, $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, MurJ^ett shows 
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 Plunl^eti, thinking of his 
appetite, stops them. 

Plunkett (interposing): 

Not quite so fast — 

First prepare a light repast! 
Harriet and Nancy: 

Kitchen work! O these barbarians! 
Lionel: 

Why not excuse them? They are tired! 
Plunkett ifirmly): 

Too much kindness will not do. 

However, even the gruff farmer has realized by this time 
that these are servant girls of a most unusual kind, and hesi- 
tates to scold them. 



Plunkett: 

What names bear you? 
Harriet and Nancy: 

We? 
Lionel: 

Yes, you! 
Plunkett: 

Yes, of course! 
Harriet: 

Martha is mine. 
Lionel: 
Martha? 
Plunkett (mimicking her) : 

Ju-oo-olia! You're proudly nam'd 
(IVith exaggerated courtesy.) 
Julia! Be kind enough — 
If your ladyship so please it — 
(Gruffly) 

To hang my hat and mantle up! 
Nancy (indignantly) : 
Do it yourself! 



Harriet: 

Yes! 
Plunkett (to Nancy): 

Well, and yours? 
Nancy (aside to Harriet) : 

(What shall I tell him?) 
Plunkett: 

Well, don't jrou know it? 
Nancy (hesitatingly) : 

Ju-ju-julial 




COFTT DUFOar 

SEMBRICU AS MARTHA — ACT I 



girl! 



Plunkett (taken aback) : 

Bold! by the prophets! 
Lionel (to Plunkett) : 

Not so bluntly give your orders, 

Rather wishes breathe, like me: 

(Very politely) 

Martha, take these things, prithee! 

(Harriet takes them, but promptly throws them 
on the floor.) 



Astonished at such revolutionary conduct from servants, the young menv exclaim: 



Lionel and Plunkett: 

Surpris'd I am and astounded, 
Ana I can say no more; 
Such impudence unbounded. 
Was never seen before! 



Harriet and Nancy: 

Surpris'd they are and confounded, 
Ana sorely puzzled is their brain; 
This blow has smartly sounded, 
May be they'll never try again! 



The maidens determine to lead their captors a strenuous life, and when they are 
ordered to get supper they promptly refuse. 

Presto, presto (Spinning \(^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, 1J85 

Lionel and Plunkett, astonished at such signs of insubordination, unheard of in servants 
of the seventeenth century, decide to leam what accomplishments these strange domestics 
do possess, and request them to show their skill at spinning. 



256 



VICTOR B^OK OP THE OPERA-FLOTO W'S MARTHA 



yuicl. 



(Tkr ladiri brino tl 
Ihi foregrouHd.) 



• AHO Nancv (u»'f« mac 
bey, sir: 



AND Flcnkett (i/'iKKiNe) : Ha»[It and N*k 

n the fool Ihe wheel iuiii< liRfailx What 1 channin 



l>raw and twisl i[, neatly, tightly. Genlly guided, drawn and Iwisled. 

Then 'iwill be both strong and Rne'. Il becomes bolb strong and fine! 

At the cloae of the quartet Nancy maliciauily overtumi the wheel and luns out, pur- 
sued W Plankell. and leads him a merry chaae. caudng him to loae hia temper, while 
Lionel finds himself fallinK in love with the beautiful Martha. She laughs at him, tut is 
nevertheless impressed with hia good looks and manly bearing; so much so that when 
he asks her to sing she conaenta, and taking the roae from her bosom she singa the ezquiaile 
" Last I^se of Summer." 

Last Rose of Summer 

By Adelina Patti. Soprano (/n EngtUfi) 99030 12-incli. IS.OO 

By Luisa Tetrazcini. Soprano (/n EngUih) B8308 12-iiich, 3.00 

By Marcella Sembrich, Soprano (/n Engllih) 88102 12-inch. 3.00 

By Alice Nielsen. Soprano (/n English) 74121 12-inch. 1.90 

By Elizabeth Wheeler. Soprano (D<HU.faW) (/n£n(//sA) 16813 lO-inch, .ti 



VICTOR BOOK OF THE OPER A — FLOTO WS MARTHA 



As is generally known, this air is not by Flotow, but is an old Irish tune, to which 
Moore fitted his poem, in fact, Martha undoubtedly owes much of its vogue to this 
ancient Irish air. The melody is a very old one called *' The Groves of Blarney.** Moore 
wrote the words about 1813, and they have become the most popular of all his verses. 



*Tis the last rose of summer, 

Left blooming alone; 
All her lovely companions 

Are faded and gone; 
No flower of her kindred. 

No rosebud is nigh 
To reflect back her blushes, 

Or give sigh for sigh! 



I'll not leave thee, thou lov'd one. 

To pine on the stem: 
Since the lovely are sleeping. 

Go sleen thou with them. 
Thus kindly I scatter 

Thy leaves o'er the bed — 
Where thy mates of the garden 

Lie scentless and dead! 



Nancy now returns, still pursued by the exasperated Plunkelt. 



Plunkett: 

Don't you try this game again, girl! 
Where do you suppose she was? 
In the kitchen was the vixen 
Breaking bottles, glasses, dishes. 
And a good deal have I sufi"er'd. 
Till at last I caught the lass! 

Nancy: 

Let me go! Don't make me mad, sir. 
Or some scratching you will see! 



Plunkett {releasing her): 

By the prophets! she has spirit! 
I confess, that pleases me! 
Nancy (plaintivelv) : 

Martha! 
Plunkett: 

Pooh! What's wrong with you now? 
Standing as if thunder-struck! 
Get yourselves to bed, yc idlers! 
Off with you, my saucy Puck! 
(The clock strikes twelve.) 



The farmers, somewhat subdued by the knowledge that they have engaged two 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. 

Quartette nottumo (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 {Doahlerfactd, tee page 260) (In English) 17226 10-inch. .75 



Plunkett and Lionel: 
Midnight sounds! 

Lady and Nancy: 
Midnight sounds! 

Lionel (to Martha): 

Cruel one, may dreams transport thee 
To a future rich and blest I 
And tomorrow, gently yielding. 
Smile upon me I sweetly rest! 

Plunkett (to Nancy): 

Sleep thee well, and may thy temper 
Sweeter in my service grow; 



Still your saucincss is rather 
To my liking — do you know? 

Martha and Nancy: 

Yes, good-night! such night as never 
We have lived to sec before; 
Were I but away. I'd never 
Play the peasant any morel 

All: 

Good-night! 

(Harriet and Nancy retire to their 
and Plunkett and Lionel leave by 
door, locking it after them.) 



chamber, 
the large 



The maidens now peep out from their room, and seeing no one, come out, and are ex- 
citedly discussing their chances of escape, when Trisian '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 Trisian. 

ACT HI 
SCENE— i4 Hunting Park in Richmond Forest 

Act 111 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 witness the hunting and forget the two maidens who have wrought such havoc with their 
affections. 

The act opens with the spirited apostrophe to porter beer, sung by Plunkett. 

Canzone del porter (Porter Song) 

By Marcel Journet, Bass (In Italian) 640 14 1 0-inch, $ 1 .00 

By Carlos Francisco (Doakk-faceJ, »ee 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. 

258 



VICTOR BOOK OF THE OPERA — FLOTOWS MARTHA 



[■s John null. wh.TiVt h< 



gondly color I 
can And ynn ' 



M'appari (Like a Dream) 

By Enrico Csriuo, Tenor 
By Ev»o William*. I'cnor 



passM o'ith thee 



O'er m" |«llmay'"'h<" I'^hy liBii?nt« 



Y.t my 

Harbift 



VICTOR BOOK OP THE OPER A— FLOTO W^'S MARTHA 

La^ Harriet ii forced to call the hunter*, to whom ike declarea 
that Uontl muat be mad. He i* diitiacled. while Ptunl^ell endeavor* to 
contole him. The great finale, a part of which closea the Opera Medley 
(see below), then occurs. It is a masniliceiit piece of concerted music 

ACT IV 

SCENE \—Piar>keirM Fam, //«ih 

Hunktit i* discovered alone, musing on the tinhappy plight of hi* 

foster brother, who. since his rejection by HarritI, a inconsolable. He 

sings his great air, which is often omitted in American presentations of 

II tnio Lionel (My Unhappy Lionel) 

By Mattia Bsttistini. Bsritone 

{In Italian) 92003 12-iDch. *3.00 
It i* a line number, superbly sung by Battistini, whose great 
cMuso AS LIONEL succBs* in thii i6le at Covent Garden is well remembered. 



Whtn first wc saw thai girl, Noughl lo his pain brings rtlitf; 

When firel we brought her beneath our roof! Merciful God. liear my cry, 

Soon will my Lionel die. Else musi my Lionel die: 

Nancy now enter*, and she and PtaiJttH soon come to an understanding. They decide 
to present Lhntl'i ring to the Qoeen. hoping thus to clear up the my*tery of his birth. 
SCENE 11—^ RepKitnlatton of ihc RiclmonJ Fair 
Liontl't ring has been shown to the Queen, who discover* that the young man i* 
really the aon of the bani*hed Earl of Dertii. However, he refuses to accept his rightful 
rank and continues to brood over the intuit offered him in the forest. A* a loat resort a 
complete reproduction of the Fair Scene of Act 11 is arranged, with booths and the crowd 
of servants all represented. HarritI, Nanq/ and f^un^ttl arc dre**ed in the costumes worn 
at their firat meeting. 

Lionel is led in by FlanlteH, 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 t^vo couple* pledge 
their troth and all end* happily. 

DOUBLE-FACED AND MISCELLANEOUS MARTHA RECORDS. 

(Overture to Martha By Pryor'* Band] 

Nocturnt in El iOpu, 9) {Chopin) }35133 12.uich. II.IS 

By Victor Sotiin. 'Celllat (Piano ace. ) | 
I Last Rose of Summer By Elisabeth ^Alieeler. Soprano | 

{ {In Engllah)\lfiS13 lO-inch. .75 

I Tannhaoset— The Evening Star By yiclor Sorlln. 'Cellhll 

Good Night Quartet By Lyric Quartetl 

i Madrigal from " The Mikado " (Brighify Damm our Wedding \\ 7226 lO-ioch. .75 

I Day) (Gllberl-Sulllvan) By, Lyric Quartell 

i Canzone del porter (Porter Song) ] 

By Carlos Franci.co. Baritone (/n ftoAan) L . - , , ,„ . . _, 

Trovalore-ll iaien del ««, »rri» (The TtmpttI of ihe Heart) [>*8I2 10-mch. .75 

Bt/ Francetco Ogada, Bariione (tnliallan)} 

Gems from Martha 

Chorus of Servants—Quartet. "Swain* So Shy"— "Last Rose of Sum- 
mer" — "Good Night Quartet" — "May Dream* Ttan*port Thee" — Finale, 
"Ah,ftlay Heaven Forgive Thee." 
By the Victor Opera Company {In English) 31I9T 12-inch. *1.00 



BALLO In'mASCHERA 

(Fnoeli) ^ (Eadkb) 

BAL MASQUE MASKED BALL 

OPERA IN THREE ACTS 

Text by M. Somma, muiic by Verdi. Finl produced in Rome at ike Teatra Apollo, 
February 17. 1859; at Pari*. Thaire da ItiJiena, January 13. 1661. Firat London production 
June 15, 1861. FirM New York production February 11. 1661. 

Ckaracter* 

Richard, Count <rf Warwick and Governor of Boaton Tenor 

REINHART, hiawcrebu? Baritone 

AMEUA, wife of Reinhart Soprano 

Ulrica, a negreat aatrologer Contralto 

Oscar. « page Soprano 

Samuel.) t j. r- . JBa« 

Tom, IwK'n.e. of tbe Count ^B^ 

Scene and Period : In and ntai Botbm, tnd of the 



The opera waa compoaed for the San Carlo, Naplea, and fint called Gustavo 111 (after an 
aaaaaainated Italian morutfch). but after the announcement had almoat created a riot in Naplea, 
Verdi wat forced to change the acene from Stockholm to Boaton, and the name to Maaked 
Ball. Finally it wu thought beat to abandon the Naplea premiere altogether, and the opera 
waa taken to Rome. 

There are many, of course, who consider thi* work old- 
(aahioned — and >o it is. not pretending at all to be a great 
music drama ; but there are many far more ambitious works 
with certainly less real music Tlie familiar Eri la and .Saper 
Mirrufe and the fine concerted number* in Acta II and III are 
well worth hearing. Tlie Victor has assembled a very fine 
collectioD of the best music in the opera, and preaents it 
with the belief that this revival is the best heard in recent 

Richard, Count of Warwick and Governor of Boaton. falls 
in love with Amelia, the wife of AdiAarf, 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 sather a certain kerb which will prove 
effective. Richard, who had alao gone to consult the astrolo- 
ger, overhears the conversation, and follow* Amelia to the magic 
spot. Amelia 'i husband, vrho has come in search of Rlcharato 
warn him of a conspiracy to assassinate him, now appears, and 
Richard makes bis escape, after requesting Rtlnhari to escort 
the veiled lady to her home without attempting to learn her 
identity. On the way. however, they are surrounded by the 
coiupirator* and Amelia is revealed. Reinhart awears vengeance 
on bis false friend and joins the plotters. 

At the Masked Ball, Richard a atabbed by RtliAari. but 
the dying roan declare* the inixiccnce of Amelia and forgives »»-i aiim 
his murderer. ct-auto us bichaso 



VICTOR BOOK OF THE OPERA-THE MASKED BALL 

ACT I 

SCENE I — 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 warmly 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 ^hich the score 
of Ballo in Maschera is studded, is effectively given by Zerola, 
whose beautiful voice is shown to great advantage. 

Richard {reading aside): 
Amelia — dear, s»\veel name! 
Its mere sound fills my heart with joy! 
Her beauteuus, charnnnK 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 
Noiv Dost Cherish) 

ByMattiaBattistini {Italian) 88232 12-in., $3.00 
ByTittaRufFo {In Italian) 87113 10-in.. 2.00 

In this fine air he enthusiastically praises Richard's noble acts, and tells him his friends 
and faithful subjects will defeat the plans of the conspirators. 

A negro woman, Ulrica, is now brought in and accused of being a witch. Richard 
laughs at the accusation and dismisses the woman. He calls his courtiers around him, and 
suggests that for a lark they go disguised to the hut of the sorceress and consult her. The 
friends agree, and the plotters, headed by Samuel and Tom, see a chance to further their 
plans. 

SCENE W^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 

She calls on the abyssmal king to appear and aid in her mystic rites. 




COPr'I MI9NRIII 



ZEROLA AS RICHABD 



12.mch, $2.00 



Ulrica (as if insf^ircd) : 

Hasten. C) Kinji; of flie AbyssI 

Kly lluoufih tlif ainhitnt air 

And fnt( r my nlxidi-. 

Thret- liiiiCN has been heard screeching. 



The ominous lapwing. 

Three times, too. has been hissing 

The venomous red dragon. 

And three times have been groaning 

The spirits from the graves! 



The Governor now arrives, dressed as a sailor, and accompanied by his companions. 
They are conversing with the witch when a knock is heard, and all leave the hut by Ulrica's 
orders except Richard, who conceals himself in a comer. 

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 which can be brewed a magic liquor. 

Delia citta alPoccaso (Hard by the W^estem Portal) 

By Ida Giacomelli, Soprano : Lina Mileri, Contralto : Gino 

Martinez- Patti« Tenor {In Italian) *68143 12- inch, $1.25 

* PouhiC'Faced — See page 266. 



262 



VICTOR BOOK OF THE OPERA— THE MASKED BALL 

Amelia asks for directions, and the witch proceeds : 

Ulrica: Accurs'd, abhor'd, deserted, 

?i'hcn 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 I 

The frightened girl 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 swing of a rollicking song of the sea. 

Di tu se fidcle (The Waves Will 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, asking her 
to tell him if he will meet with storms on his next voyage. 



Richard: 

Declare if the waves will 
If weeping the lov'd one 
tear me. 



faithfully bear me; 



rhi 



from whom I now 



Farewell, to me saying, my love is betraying. 

asunder. 



rent 



with soul in com* 



With sails 

motion, 
I go now to 

ocean, 
The anger of Heav'n and Hell to defy I 
Then naste 



steer thro* the dark waves of 



GORITZ AS KKINHART 



with thy magic, the future 

exploring. 
No power have the thunder or angry winds 

roaring. 
Or death, or affection my path to deny! 

This famous Barcarolle has been a favorite with many gceht 

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. Tlie 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. 

Reinhari, 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 ^tch she is a false prophet, 

as this is his most faithful friend. 

Richard: 
The oracle has lied! 
That man who grasped mv hand 
Is my most faithful friend! 

All the people greet the Governor with cheers, and kneeling, sing the hymn : 

O figlio d^Inghilterra (O, Son of Glorious England) 

By Giuseppina Huguet, Soprano ; Ines Salvador, Mezzo-Soprano ; Francesco 
Ci<fada, Baritone ; Aristodemo Sillich, Bass : La Scala Chorus 

{DouUeJ^aud— See page 266) {In Italian) 63173 10-inch, $0.75 

This noble concerted number, which closes the first act, is sung in a splendid manner 
by Huguet, Salvador, Cigada and Sillich of La Scala forces, assisted by the famous chorus 
of that opera house. 

ACT II 

SCENE I — A Field near Boston — on one side a Gallows 

Amelia, much frightened by her lonely surroundings, enters in search of the magic herb. 
She sings her dramatic air. Yonder Plant Enchanted. 



263 



VICTOR BOOK OF THE OPERA— THE MASKED BALL 
Ma dall'arido stelo divuUa (Yonder Plant Enchanted) 



ler weed of dre. 



M dii- 

Hark! 'lis midnight! Ah. 



poor IhrobbinE 



Pix'6 on me tbey angrily burn! 

Deien. oh. Heaven. Thy slringth lo imparl 

To this fainting, fear-slricken heart. 

The vidon resolves it>eU into Richard, who now 
approaches. The unhappy girl confesses that she loves 
him, but begs him to leave her. They ling a line 



Ah 1 qual soave brivido (Like Dew Thy 'Words Fall on My 
Heart) 



Like dew Ihy words fall on my bean 

K right clar thai bidst all gloom depa 
My ballow'd love enshrinmg; 
While lb us on me Ihou'rt shinlnK, 
Ah, let night forever teign! 



uld by i 
t for Mm 



They are interrupted by the appearance of Rdnharl, who comes to warn Richard that 
his enemies are lying in wait to munJer him. Richard, unwilling to leave Amelia, is forced 
to ask Rdnharl to escort the veiled lady to the city without seeking lo discover her identity. 
Rdnharl swears lo obey, and Richard makes his escape. The couple start for Boston, but 
are surrounded by the conspirators, who take Rdrdtart to be the Governor. Disappointed 
in their prey, they tear the veil from the unknown lady and Rdnharl is astounded to see that 
it is his wife. The great finale to Act II now occurs. 

Ve' ae di notte qui con la aposa (Ah 1 Here by Moonlight) 

By Ida Giscomelli. Soprano; Reaza Minolfi, Baritone; Cesare Preve. Bass: 

Chorus {In Italian) *39179 12-ioch, *1.25 

Amelia is overcome with shame, but protests her innocence. Relnharl bitterly upbraids 
her and denounces his false friend Richard, while the conqiirators depart, anticipating the 
sensation which the city will enjoy on the morrow. 

* Di>aUtJ'taJRta>rd—For(llleefcBHuUi^Jtiacpagt266. 



VICTOR BOOK OF THE OPERA-THE MA3KEP B ALL 

Rtlnhait, now bent On revenue, decidea to CMt hu lot with the 
plotters, and the act cloaei &• he say* to Amtlla with deep meaning: 
Reihhait (jlDKf with Amtlia): Amelia (aiidr): 

t BhBll fulHll my promiK Hij voice like a dealh warruit 

To »kc thcc Id ihc city! Dgtb sound in my nrl 

ACT III 
SCENE ]—A Rmhb in AdnAari'i //otuc 
Rtttthart i* denouncing Amelia (or her (uppoaed crime, and finally 
decidea to kill her. She bega to be allowed to embrace her child 
once more, and her huaband conaenting, ahe goea out. Left alone, 
the unhappy man repenta hia resolution, and reaolvea to apare the 
guilty woman*! life, fn the greatert of the airi allotted to Rdnhaii he 
■weara to avenge hia wronga. 

Eri tu che macchiavi quell' anima (Is It Thou ?) 

By Emilio de Goforia. Baritone 

{In Italian) 8B324 12-ineh, *3.00 

By Mattia Battiatini (/n UaUan) 92044 12-inch. 3.00 

By Fraaccaeo Cicada (/n UaUan) *35ir9 12-iach. 1.25 

By Giuaeppe de Luca (/n Italian) *62086 10-inch, .75 

Semad and Tom enter and RdiAari tella them he knowa of their 

plota, and will naaiat them, aa he deairea the Govemor'a death. They 

draw Iota, and Rdnhari it choaen to be the aaaaaain. Amtlla entera in 

time to realize the atate of affaiia. and ia about to plead for the 

Governor'a life, when Oicar, the page, enten bearing an invitation to 

the Muked Ball. The page, beginning an effective quartet, tella of the """"■^^ *» "iHaui 
brilliancy of the occasion, and at the cloae of the number the conapirators go out, after 
agreeing on the paaaword, " Death t " 

Di che fulffor CWhat Dazzlintf Litfht) 

By Giuaeppina Huguet, Soprano: Fraaccaeo CiOada, Baritone: Carlo 

Octoboni. Ba**: Maria Griai. Soprano {In llaltan) *620e6 lO-inch, M.tS 

SCENE II— r^e Gootmor't PHoatt Qffke 
Richard, alone, reaolves to tear the unworthy love from hia heart and send Amtlla and 
Retnhart to England. 

Ma se m'e forsa perderti— Romanza (Forever to Lose Thee !) 

(Preceded by the reciutive. Forae la aoflia— Thu A&ir Must Endt) 

By Enrico Cartt*o,Tenar (In Italian) S6346 12-iach. *3.00 

The recitative indicates this decision : 

RiCRAtD: 
liaplv I hi 
Remhart > 



decided, findii 
return lo hi. 


'» 


iiESI" 








ipolten, the bro 







If compelled lo Iok Ihee now Within my inmost heart. 

To [art from ihcc forever: And now, what dark forebodings 

.MyliurninK thouiihls will fly to Ihee, Around my noul arc thronging* 

Thouyh fate our lot may wvcr. When, onct morr lo behold ther. 

Thy memory Mill enshrined shall he Seems [ike a fatal longing! 

Caniao aings thia lovely air with that wonderful ease of deliveiy and golden voice which 
have made bim the greatest of tenors. 

A page brings a note to the Governor from an unknown lady who wama him of the 
plot, but Richard reaolvea lo brave hia enemiea and attend the ball. 

*Dtutk^BadRiB„J— For ua^tfiiPpa^,H* MX DOUBLEJ'ACED MASKED BALL RECORDS. pott 266. 



VICTOR BOOK OF THE OPERA— THE MASKED BALL 

SCENE III— Grand Ballroom in iht CoMmor'i Hnat 
Rtinharl, mingling with the guests, meets iKe page Oscar, and attemps to learn how the 
Governor is dressed. The page teases him, singing his gay air. Saper cornste. 

Saper vorreste — Canzone (You 'Would 
be Hearing) 

By Luisa Tetraiiin 
In reply to KefnAarf'i questions the menypage ta 



Rank 



.re my heart fed. all I 
'itchful ever, my ttctt 
nor brUhl cyM shall 
ra la la la. la la la) 



This gay numher is brilliantly sung by Tetrazzini, the high B 
in the cadtnxa being taken with ease. 

The page finally reveals to Rdnhail 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 Relnhoil stab* 
him. The dying Governor, supported in the arms of his friends, 
tell* Relnharl that his wife is guiltleu. and that to remove her from 
tempUtion he had planned to send Reiaharl to England to fill an 
honored post. 

The secretary is overcome with remorse, and Richard die^ 
after declaring that Rtinhari must not be punished. 



DOUBLE-FACED MASKED BALL RECORDS 

I Delia citta airocciso rHard by the Western Portali I 

By Giacomelli. Mileri and Martinei-Patti (In U<diun)\ ,2 :„«k ,,« 

Ma dairarido slelo divulsa (Yonder Plant Enchanted) j*>»143 IZ-iocb. *I J3 

By Lucia Crestani. Soprano (In Italian) ] 

iVe' sc di notte qui con la iposa (Here By Moonlight) I 

By Ciacomelli. Minolfi. Pre ve and Chorus l/n llalionl\3S119 1 1-inch. 1.29 
Eri tu (Is it Thou T) By Francesco Cigada I In Italian) \ 

(Ah I qual soave brivido (Like Dew Thy Words Fall ott I 

My Heart) By Ciacomelli and Martinez- Pa tti I, .„_, ,~ ■_ 1, , ~< 

FcrtaddD«Uno-Nonimp-ecar^um>tiati-ByldaGiaco,r,dll. f^**" 12-lIlch. 1.2S 

[ Gfno Martlnez-Pata and Caart Prtet (In Ilollan)\ 

10 fitflio d'lntfbilterra (Oh. Son of Glorious England) 1 

I By Huffuci. Salvador, Ciffada.Sillicb and Chorus (In Italian) \f}3l73 10-ineh. .19 

I Ernanl^Emani inoolaml By Maria Ciiai, Soprano (In Italian) I 

lEri tu (Is it Thou?) By Giuseppe de Luca (In Italiani] 

Di che fultfor (What Dazzling Light) [62086 10-inch. .79 

I By Huguet. Cigada, Ottoboni and Griii (In Italian) \ 



Huguenoti — Grand Sdectian Arlhar Pryor't Band) 



(PKBch) lEa(liib) 

MEFISTOFELE MEPHISTOPHELES 

OPERA IN FOUR ACTS 
est and muaic bv Arrigo Bollo; ■ paraphrase of bolK part> of Goethe'i "Fauat," with 

mentof the legend by other aulhori ties. 
The licat production at La Scala. Milan, 
IS6S.wiuiarai]ure. Rewritten Bud given 
inlS75witkiuc:cea. Pint London pro. 
ducHon July 6. 1860. Fint American 
production at the Atzademy of Muaic, 
November 24. 1880. with Campanini. 
Cary and Novara. Other production! 
were in 1696, with Calv«. and in 1901 
with Mclntyre, Homer and Plan^on. 
Some recent notable revivals: At the 
Metropolitan, when the opera was 
btought out for Chaliapine, the cast 
including Fanar and Martin, and the 
Boston Opera production of 1910, 
both noteworthy for their splendid 
settings. 

Characters 

MEFISTOFELE Bass 

Faust Tenor 

Margaret Soprano 

Martha Contralto 

Wagner Tenor 

HELEN Soprano 

PaNTAUS. Contralto 

NEREUS Tenor 

Celestial PKalanie.. Mystic Choir, 

Cherubs, Penitents. Wayfarers. Men. 

at-amu. Huntsmen, Students, Citi- 

Witches, Wizards, Creek Chorus, 

FAUST LBAviHn BIS STUDIO — ACT 1 Sirens. Naiad*. Dancers. Warrior*. 



VICTOR BOOK OF THE OPERA — BOITO'S MEFISTOFELE 

Airigo Botto well deserve* a coiupicuoui place among the great modern compoaera. Hi* 
Mefiitofele ranks with the maaterpiecea of modem Italy, and contains accnea of great beauty, 
notably the Garden Scene, with ita lovely music, and the Prison Scene, in which the pathos of 
the demented Margarel'i wanderings, the beautiful duet and the frenzy of the nnale are 
pictured by a maatei hand. 

Bolto is not only a composer, but a poet of ability and a clever librettist. Notable aroona 
hia writings are the libretto* of Verdi's Oldlo and Fahtaff, which shouy rather be caU^ 
dramas set to music, for it is unfair to class them with the old-fashioned Italian libretto*. 

The atoiy of Bolto's opera is directly drawn from Goethe's Fault, but the composer ha* 
chosen episodes from the whole of Goethe's story, not confining himself to the tale of 
Gnlchen, but including the episode of Helen of Troa. In his Af<ri*'q/'e'c Bolto has followed the 
great poet's work more closely than did Gounod's librettist, and the work ia a deeper one in 
many respect*. 

PROLOGUE 

SCENE— ne Region, of Space 

The prologue to Botto's open is a most impressive *cene. which takes place in the indef- 
inite region* of space. Invisible angel* and cherubim, supported by the celestial trumpets, 
•ing in praise of the Ruler of the Universe. 

M^ito/dt is represented hovering between Hell and Earth, denying the power of God. 
He addresses the Almighty in hi* HoJ/. Greo' LorJl 

Ave Signor (Hail, Sovereign Lord) 

By Marcel Journet. Bmi {In Ilallan) 64126 lO-ioch. »\.00 

The Devil contends that man i* but a weakling, easily cheated of his salvation. Standing 
OD a cloud Mifalofde mockingly addresses the Creator : 

Samcwfaat'bc'hinTis {>ll'i"| 
Those sublime antbems sung 
In heavenly plaees! 
Forpvc me <t my face is 
Mow Hranling Ifae radiance 
That, as witfa a gsrland, 

So^""riSk ' I'm * «king^' of i.rrv'rent out- 
breaking! 

E?r'etE"Z<)^gS wro?,g"^op"i^,»' "'""'"'<""'■ 
And like a crii^ket, with a long leap rushing. 
'Mid stars his nose is pushing. 
Then with sunerh faluily tenacious. 
Trills with pride contumacious! 
Vain, glorious atom- 
Proud ^mid confusion! 
Phantom of man's delusion! 
Ah! in such deep degradation 
Is fallen the master, 
Lord of the whole creation. 

Him 'to'"cmi'>t lo'inf' ?""Mli.S|'X«Ilf^,Ci JOUSKET AS UETIITOriLS 

Then, discussing Fouif with the Mystic Chorus, Mffitle/dt wagers that he can entice the 
philosopher from the path of virtue. 'The challenge is accepted, and M^Uofele disappears 
to begin his plot* against the soul of Fatal. 

Journet sings this great number splendidly, and it will be pronounced one of the most 
striking features of his Victor list. 

ACT I 
SCENE \—A Square In Frankfort— Ee^er Sundaff 
The aged philosopher. Faa^l. and his pupil Wagntr, while mingling with the crowrd, 
observe a grey Friar who seems to be shadowing their movements. Faait is alumed and 

Fnusi: Observe him closely. Tell me. «ho is he? 

Wacher: Some lowly Friar, who begs alms from those he passes. 



VICTOR BOOK OF THE OPERA— BOITO'S MEFISTOFELE 

Faust: Look more closely. He moves slowly on in lessening circles; and with each spiral* comes 

ever nearer and nearer. Oh! as I gaze, 1 see his footprints marked in fire! 
Wagnek: No, master, 'tis some idle fancy that thy brain deceives thee; I only see there a poor 

grey friar. Timidly he ventures to approach us, and we are to him but 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 journeys. Come hence, good master. 

As they leave th^ square, followed by the Friar, the scene changes to Faust's laboratory. 

SCENE 11 - The Studio 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 campl. 

Dai campi, dai prati (From the Green Fields) 

By John McConiuck, Tenor (In Italian) 64303 lO-inch, $1.00 

By Alberto Amadi, Tenor (DoubU-Faeed) {In Italiari) 63313 10-inch, .75 

He speaks of his deep contentment, his love for God and his fellow man. 

Faust : 

From the meadows, from the valleys, which Its love for its God! 

lie bathed in moonlight. Ah! From the meadows, from the valleys. 

And where paths silent sleep, I come return- I come to read the blest Evangels; 

ing; my soul filled Who delight me, and fill me with holy fire! 

With calmness, mysterious and deep. (Opens a Bible placed upon a high reading 

The passions, the heart rudely trying, desk. As he begins to meditate he is 

In quiet oblivion are lying; startled by a cry from the Friar in the 

'My spirit knows only its love for its fellows; alcove.) 

This is one of the most beautiful of all Italian operatic airs, and is sung by Mr. McCor- 
mack with a loveliness of tone which makes every note a delight, while a lower-priced 
rendition, and an excellent one, is furnished by Mr. Amadi. 

The Friar appears, and throwing off his disguise, reveals himself as the Devil, singing a 
splendid aria, / Am the Spirit, 

Ballata del fischio, "" Son lo spirito** (I Am the Spirit) 

By Marcel Journet, Bass (In Italian) 74210 12-inch, $1.50 

Mefistofele says that he is that great force which forever thinketh ill but doeth well, and 
then continues : 

Mefistofele: 

I'm the spirit that denieth all things, alwajrs; On I ''go, whistling! whistling! Eh! 

Stars or flowers — that by sneers and strife Part am I of that condition, 

supplicth 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 fiftht. 

Death! Over .sun and earth is pendmg, 

Shouting and laughing out this word I throw: Endless 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 
whisdes Bolto has introduced in the number. Joumet delivers this splendid number with 
admirable declamatory power, bringing out the strange symbolism of the climax 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 I 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. 

This departure from the laboratory of Faust is strikingly pictured in the great painting of 
Kreling, a reproduction of which is given on page 267. 

ACT II 

SCENE — The Garden of Margaret 

Faust (now a handsome young man known as Henry) is strolling in the garden "with 
Margaret, while M^stofele, as in Gounod's version, makes sarcastic love to Martha, whom 
Bolto has pictured as Margaret's mother. Faust pleads for a meeting alone with the maiden, 

NOTE — Mefistofele quotatioM are from the DitMa libretto, by pemuMoo. (Copy't 1 860. Oliver Diltan Compuiy) 

269 



VICTOR BOOK OF THE OPERA— BOJTO'S MEFISTOPELE 

but she date* not coiwenl because her mother aleepi lightly. 
He givei her a aleeping draught, anuring her that it will 
not harm her mother, but merely cause her to aleep soundly. 
The (our then sing a fine quartet, and ihe scene suddealy 
changes to ike Brocken. 

SCENE II— nc Summil of the Brocktn 
This scene shown a wild spot in the Brocken moun- 
tains by moonlighl. The wind is whistling in weird gusts. 
Mffittoftle is helping FaasI to climb the jagged rocks, from 
which Barnes now and then dart forth. WilUo-the-wups 
flutter to and fro. and Fatal welcomes them, grateful fat 
the light they give. 

Folletto. foUetto (Sprites of Hades) 

By de Tura, Mansueto, and Chorus 

ilnhailan) 67067 lO-inch. *2.00 
Af^Silo/eJe echoes him, ever urging him to climb higher. 



l-srlhT V.-1 -ti- n,..r.- ,lr..a.. 
Thai will Ind u> id Sstsn's 
F*i-»t: 
Afa: oiLMirc. Fal1i<l light. 



3""- 



Arriving at the summit. Mefiilofde 
summons the infernal host— demons, 
witches, wizards, goblins, imps — -and 
presides over the satenic 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 I" 

Fauil now sees a vision of Marganl, 
on her way to prison for the murder of 
her mother and her babe. A red slain 
on her neck horrifies him. but Mcfislrftlt 
laugha and says, "Turn away your 
eyes." The act closes in a riotous orgy, 
the demons whirling and dancing in 
a mad revelry. This wild scene is 
graphicallypicturedinKreling'spainting. 

ACT III 

SCENE— Tht Pri«,n of Margaret 
The demented girl is lying on a 
straw bed. She rouses herself and sings 

her sad ballad. L'aUra mitt. 



L'altra notte iLast Night in 
the Deep Sea> 

By Geraldine Farrar, Soprano 

[llalian] 86114 12-inch. *3.00 



VICTOR BOOK OF THE OPERA— BOITO'S MEFI3TOFELE 



Thev <k-clarc 'lwa< I Ihal <li'» 
Cold ibc air i>. th.- dark n-tl 
And ray »i.irit r.iok.'ii ■..■rlay. 

Lontl' to Hy: ah, to Hy od. fai 

Father. i>i'y ""■; 

In a dnlhly >1u-nl>t-r fnlTinn. 



n.l t< 



li'clari 



M^ilo/clt now enters, followed t>y Faasl. who bega 
(he demon to aave Margaret. The fiend reminca Fautt 
that it is his own fault, but promises to try, erd goes out. 

Faual goes to Margarel. who does not know him and 
is frightened, thinking her jailera have come for her. 
He urges her to fly with him. and they sing a tender 
duel. Far Aaias). 

Lontano, lontano (Away From All 
Strife) 



By Giuaeppioa Hutfuet. Soprano, 
and Gennaro de Tura. Tenor 

tin Italian) 
8T056 lO-iocfa, (2.00 

Maicaret AMD FAi;sr: 
Away, far rinm strife and coinmotJon, 
OVr wavt-s of a widv siiicading cx:vbii. 
'Mid iwrium*- c.haled hy Ihi- «a. 
'Mid palm lrrc« and flnw'rs in iirofuHon, 
Thv jiorial of pracc and s^UiMon. 
The blue i.rcr tcrmi, waiting for me. 



ward" that lifr-diving island. 
; island fat distant: 

:tum of Mefialoftlt drive* 

a frenzy, and she refuses 
: prison, finally falling into 

1 in her death agony. Her 
ning for a brief period, she 
1 and dies, while s chorus 

beinga announce that her 
1. Fault and Mtfidafdt dis- 



ACT IV 
The Nighl of the Ctaaical Satbalh 



VICTOR BOOK OF THE OPERA— BOITO'S MEFISTOFELE 

the beautiful Helen of Troy ioi the further temptation of Fatal. The acene ahowa an en- 
chontins spot on the bank* of the Peneua, with the moon shecidiDg a goklen Ught upon 
Htlai, Panlalh and groupi of Sirena. Helen begin* 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 Cum. Mezzo-Sop rano: Gietino 

Pini-Corii. Tenor {In Italian) 8I068 lO-inch. *2.00 

Faial and Mtfitiofde enter and the former aoon forgeti all elae in the love of the fail 

Grecian. M^ila/ele, howevei, feeU out of place in this clanic neighborhood, and leaving 

Fauil in the arm* of Heien. retunu to the Brocken. where he amUHs himKlf with hi* 

aatanic crew. 

EPILOGUE 
SCEtiE~Fau,t', Sladh 
Fauil has returned to hia atudio, again old and feeble and full of remorse for hi* paal life. 
He ha* taaled the pleasure* of earth and found them empty. He aings hi* famou* epilogue : 

Giunto sul passo (Nearinff the End of Life) 

By Alberto Amadi iDtiMi-/atnl\ (In Italian) 63313 lO-inch. *0.7S 



In s v^ian dflighlCul did wander foilh my soul.' 
King of some piicid region, unknown to care and 
1 found • failfifut people and fain would aid tlieii 



Holy longi now 1 hear. 

Now 1 bathe in the radiant splendor of Heaven's glorious morning! 

Ideal bliss u[Kin my >oul is alr^-ady dawning! 

M^tfq/efe entera for hi* final triumph, but Fauil turn* to the Bible and *eek* aalvation. 
M^tlo/tle, in deaperation, aummoni the Sirena to hi* aid, but Faaal, leaning an the aacred 
book, pray* for forgiveneaa, and the defeated Mtfiatofele ainlu into the ground. A ahower 
of roaea, a token of Fautt 'i lalvation, (all* on the dyipg man a* the curtain descend*. 



(EaiSitb) 

THE MASTERSINGERS 



<C«nuii) 

DIE MEISTERSINGER 

OPERA IN THREE ACTS 

Both lezt and music of Die MtiMlmlngtr *Dn NOmitig are by Wagner. The idea 
of the opera was suggeated to the composer in boyhood, as was Tannhkuser, by the reading 
of one of Hoffmann'* novels, and was planned as a kind of burlesque of the Minnetlnger con- 
tort in Tannhauser. Pint production in Munich, June 21, 1868. 

The first performance in England took place under fUchter, at Diury Lone, May 30, 
1862i an Italian version was given at Covent Garden, July 13, 1699, and an English produc- 
tion by the Carl Rosa Company at Manchester. April 16, 1896. 

hi 1668 it was given for the firat time " 
took place in New York. January 4, 1886. 



t Bayrcuth : and the first Americ 



productian 



Maater-Sinsen. . 



Chirac cers 

Hans Sachs, cobbler, ] 

POCNER. goldsmith. 

VOGELGESANG, furrier, 

NACHTICAL, buckle maker, 

BECKMESSZa town clerk, 

KOTHNER, baker, 

ZORN, pewterer, 

ElSSUNCER, grocer, 

MOSER, tailor, 

ORTEU soap boiler, 

SCHWARZ, stocking weaver. 

FOLZ. coppersmith. 

Sir Walter Von Stolzing, a young Fran- 

conian knight 

David, apprentice to Han* Sachs 

Eva, Pogner's daughter ....... . 

rinBT nioosAH or ueiito- HAGDALENA, Eva's nurse 

■iHcu. HUHicu. isss ^ Night Watchman 

Burghers of all Guilds. Joumejimen. Apprentice*, Girl* and People. 

Scene.- Namnterg In the miJJIe of tht ttilanlh antuty. 

To the t^era-going public in general Mei*ter*inger i* the most 
entertaining of all the Wagner operas. Ifs gaiety and tunefulness are 
charming, and its story easily understood by an audience, which 
cannot be said of mo«t of the works by the master. 

The humor is essentially German, — an intermingling of play- 
fulness, satire, practical jokes, and underneath all something oE 
seriouanes* and even sadneas, while the romantic element, provided 
by the lover*. £n> and Waller, is not lacking. 

The opera is a satire on the musical methods of the dajis of 
the Reformation, the mediieval burgher'* life in Nuremberg being 
pictured with a master hand. The love* of fVatUt and Eoa .- the 
noble philosophy of Sacht, the cobbler-poeti the envy of the ridicu- 
lous Beckmaaer; and the youthful frolics of Doriif— all are surrounded 
by some of the most gloriou* mu*ic imaginable. 

The first act opens in St. Catherine's Church at Nuremberg, 
where Eoa, daughter of the wealthy goldsmith Pagner, and Walltr, a 



Bass 
Ba** 
Bass 



Soprano 
.Soprano 
Ba** 



VICTOR BOOK OF THE OPERA — THE M ASTE RSING ERS 

, IVafUr leania thai Eoc', hand hu been promised 
[ conteil, he re^olvea to compete. «nd remain* . 
for the eiamination before 
the meeting of Maatel- 
tinsei*. BedcmeDtr, who aUo 
wiahea to marry Efia, i» choaerk 
marker, and under the rigid 
nilea of the order givei [Valler 
■o many bad marks that he i« 
rejected in spite of the. influ- 
ence of Hant Sacht in hia 
favor. 

Act II (how* a atreet. with 
the houaea of Hana Sacia and 
Pogntr on oppoaite tides. The 
apprenticea. who are putting 
up the shutters, plague Daeld 
on hia aSection for MagdaUna, 
Eca's nurae. Socks drive* 
them away and sends [iailia 
to bed, then sits down in his 
doorway and aoliloquizes. 
HALTEs's TKi*L— ACT I He connot foTget the song 

which Walta delivered before the Mastersingers, — its beauty haunts him. 



Wordi unto 
Bui I'd iH'ItQ 
And Irt alt ll 



And yd— it haunl<< mc stilt. 
I fwf. but eoniptehcnd i»; 



ll M-mei so oM, vfi nrw in its chime.— 
Like sonttx of birds in Bw<;et May-time;— 

And gentle hand 

Ttb Mul mith this did eiilrusi: 



en tic han 

u1 m-ith ■ 

He sang b«.-BU 

Eoa now leams of Walla t rejection, and i* *o indignant 
that ahe promise* to elope wilh him. The lovers are inter, 
rupled and forced to hide by Beci^meuer, who come* beneath 
EvQ*i ^vindow for the double purpose of serenading her 
and rehearsing the song he is to sing for the prize on the 
morrow. Hana Sachs, hearing thetinklingof the lute, peeps 
out, and just as Btd^mtaer begins lo sing Sachx breaka out 
into a jolly folk song. 



Bcdtneuer i* greatly annoyed and aaya Socht muat be drunk. After a long altercation with 
the cobbler, BeiJimesaei finally starts his song, but as SacAj continues to hammer on his shoe at 
each mistake or wrong accent, Btckmater gets badly mixed, and deliver* himself of this doggerel : 






VICTOR BOOK OP THE OPERA— THE M A3TERSINGERS 

The neigbbon now besin to put their heads out the 
.vrindovri and inquire who it bawling there «o iMe. MagJalena 
opens Eoa'i window and siBnala to BecJ^mesatr to go away; 
but Dmid, thinking ihe ii waving her hand at the markei, 
becomes jealous and attack* BtdpiKuer. The noiie brings 
everyone into the street, and the curtain (alU on lomething 

Act III opens in Sachi' workshop. Walter, who had 
spent the night with Sacta, comes in and lells 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 BccJ^mcuer enters, seei the aong, and questions Sachi about 
it. Sacha makes him believe it is his own and offer* to give 
it to him, having conceived a plan to force the Masteraingen 
to consent to the appearance ot Waller. Bedfmeuer i* 
overjoyed and runs out to learn the song. £00 enters to 
set • shoe iitted, and then occurs the great scene in which 
the famous quintet i* *ung. The young girl, who ha* ju*! 
had fully revealed to her the noble character of Hanj Sachi, 
turns to the good shoemaker, and with a grateful heart sings— 
Eva: 
ThroUKh th« nCc-i iTca&uTc 

Through 'thee I mn-u.e 

And were my choice but free, 

Ti- yon would plcaw my tyrs; 

My fiu^riand you should be. seckhkssfbs >..iitNAhB 

None Hse ihould win llic prt«: 

ied ImlJe only to find 



VICTOR BOOK OF THE OPERA — THE M ASTERSINCBRS 

He calla in Magdaltna and Dadd, who are drened for ike featival, nnd telli them he 
wishea ihem (or wjtnewe* (or • chriMenins- AH look amazed, and Sacha explain* that he 
wishes to christen Sir Walltr'i Master Seng. As no apprentice can be a witness, Sacht sur- 
prises Daold by creating him a joumesrman. Eoa then commences the Qulnletit of Baptlam 
with a ahoTt solo, beginning: 



pm^ 



'J^iiri'' ' 



■£ 


■wcct >nd 


holy 


•■rain 






:.&.. 


ih»i 


nni my he 






F.A AND Dav 
















(Undtrly le 


I---.'-, 




ly^ 








iiii ih 




a- w1 


















lo win the 1 






ti .-!• 


'"^^'^'^J. 




■maiioH) : 



SCENE 11— ..4 Fidd en the Sbora a/ Ike Riaer PegntU 
The scene suddenly changes to an open meadow on the 
banks of the Pegnitz, where 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 Bind 39044 12-inch. *1J9 

The Mastersingers now 

arrange their procession and 

march to take their places on 

the platform. 

When all are assembled, 
Sachi rises, and in a noble 
address states the term* of 
the contest. 



Thi "crown>*of "worVh inliniK, 
By sny hand so highly 'holden. 
Goo/ fortune may h Itnd'htr! 

vf to Pegner, viho preiici Ms hand, detfly 



VICTOR BOOK OF THE OPERA — THE M ASTERSINGERS 

Bed(niater, who ia in an awful Male with hi* effort* to commit 
Waller'i tong to memory, wipei hi* heated brow and begini. He 
confuse* hi* old melody with the new one, lose* hia place, mixea 
hi* line*, and ia forced by the laughter of the people to atop. 
In ■ towering rage he accuae* Sacki ol plotting hi* defeat, then 
fling* down the song and rushe* off. Sacfa calmly picks up the 
*croll and remarks that the aong ia a vecy fine one, but that it 
must be rendered properly. The Maatersingers accuse him of 
joking, but he declare*; 

S^CHi: I lelt you. sirs, the work i) 6nr: 



ough. J 








I am areu 


but Judged sini:erelv. 
ed and must defend: 




A witness 
t> there on 


et me bid attend! 

e here who knows I'm rigbl. 




Let bim ap 


pear before our light. 




(H'fllWr ad 


■aiicta ntjiid oeficral «■>.) 


Haitiu 


Ah. Sachi! 


You're very sly Indeed!— 




But you m 


y far thi> once proceed. 


S*CH<. 


It ehaw> ou 






If now .n> 


then exceptions Ibey'll bear 


PlOfLE 


A noble w 


nesj, proud and boldt 
ahoufd some good unfold. 




Melhinks h 


SacH!^ 


Masters an 


tjeople^al ^agree 




To Bive m 





The Maatersingei* agree that Waller may attempt the air. and he mount* the platfonn 
and *ing* the noble Prixt Song. 

Preislied (Prize Song) 

By Evan Williama (la Englhh) 1*115 ll-inch, »1.50 

By Mischi Elman. VioUniat 74166 12-ineh. 1.50 

By Lambert Murphy. Tenor (/n Gtrman) rooso 12-inch, 1.25 

By Souia'i Band (DaaUt-faaJ. « siwe ' 

By Victor Sarlin, 'Celliat (a>.Ur./>»J. w paf 
Waltei (ahe has aactndid la llu platform ui'lA 
firm and proud ilipi): 

The"air"'was filled "" ""* ' '' 

With icent distilled 

Where, beauty-beaming. 

Past all dreaming. 
A tardea did iavile. 
{Tht Mailers litre, abiorbid. Itl full tht 

Waller knojft Ike long: ke nalitti it wilK- 



Evening, fell and uighl c 
By rugged way 
My feet did stray 
Towards a mounWin, 



VICTOR BOOK OF THE OPERA — THE M ASTERSING ERS 



That Paradise of which I dTvamfd, 
Glorified 






e palh the broolilei streamed: 

SeTernl vocal and matnimenlal rendititin* of this lovely aong ate given. Mr. Murphy 
give* m aplendici rendition in Gemian, Mt. Williams sings it beautifully in the purest of 
English, while the instiumental perEormances by Sousa and Soilin are most pleasing. 
Elman gives the arrangement by Wilhelmj of the Prdtlled, which has often been given 
in America, and plays it with a marvelous softness and purity of tone which will delight 
every listener. 

Eea, who has listened with rapt attention, now advances to the edge of the platform 
and places on the head oF fValler. 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 Eca lean against Sacha, one on each side, while Pogner sinks on his knee before 
him as if in homage. The Maatersingen point to Sacht, with outstretched hands, as to their 
chief, while the 'prentices clap hands and shout and the people wave hats and kerchiefs in 

DOUBLE-FACED MEISTERSINGER RECORDS 

3»044 12-mch. *IJ9 



Srize Son; 
[eistersinger March 
(Prixe Son; 
\ Eraani Stlecllan 
/Prelude 
1 Magic Flale Ooeriurt 



By Sousa's Band' 
By SouBa*s Band. 
By Victor Sorlin. *Cellii 



&C-'TSi>"" "■'-'■■ '"" 



MIGNON MIGNON 

iMmn-pthtf) <Mln'«cn} 

OPERA IN THREE ACTS 
Text by Barbier uid Carre, baaed upon Coeike'i Wilhtlm Mdtler. Miuic by Ambroiae 
Thomaa. Fint production at the Opin Comlque, ParU, in 1866. In London at Drury Lane. 
1670, Firat New York production November 22. 1872. with Nil»an, Duval and Capoul. 

Character! of the Drama 

MiGNCM. a jroung girl Molen by gypaiea Mezzo-Soprano 

nUNA. {RUt'-nalii an actreas Soprano 

Frederick, a young nobleman Contralto 

WILHELM MEISTER. a atudent Tenor 

LAERTES, !(,«.'■««) an actor Tenor 

Lothario. (f.«i>jAiiA'.»uA) an Italian nobleman Baato Cantante 

GIARNO. {/oAr'-no) a gypay Beaa 

Towna{o)k. Peaaanta, Gypaiea^ Actora and Actreaaea. 

The tcene a/ AcU I and II it laid in Gerniorty ; of Act III in Italy. 

Overture 

Part 1 and Part II By La Scala OrchcKra *6S029 12-uich. *1.29 

By Pryor*> Band 31336 12-ineh. 1.00 

The overture U full of the grace and delicacy for 
which Thomaa' muaic ii celebrated, and containa the 
principal themes notably FiUna'$ daahing "Polonaiae." 
The l^or record ii a fine example of the perfection at- 
tained in the playing of thia organization. Every detail 
of the wonderful inatrumenlation which Thomaa haa 
written, and eapecially the paaaasea for the wood-wind, 
ia clearly brought out. A fine orcheatral rendition by 
the La Scala playera, in two parta. ia alao offered. 
ACT I 
SCENE— CHIrtJrori/ of a German Inn 

Mtgnon, a daughter of noble parenta, waa stolen 
when a child by gypaiea. and aa the act opena ia a 
girl of seventeen, forced to dance in the public atreeta 
by the brutal Giarno, chief of the gypay band. 

The Bral acene ahowa the courtyard of a German 
inn, where townspeople and travelers are drinking. 
After the vigorous opening chorua. aung here by the 
La Scala forces. Lothario, a v^andering minatrel, enters 
and aings, accompanying himself on hia harp. 

Opening Chorus and Solo. " Fuggitivo 

e tremante" (A Lonely WanMrer) cii.,ou«.i ■ — ■ ■ 

By Perelld de Segurola. BaM. iaxm •» uigndn 

and La Sola Choru* 

(/n Italian) *9»004 12-iach, *1.90 

Fuggitivo e tremante (A Lonely Wanderer) 

By Cesare Preve. Baaa (/n Italian) *62630 tO-inch. (O.rS 

The minatrel ia in reality Mignon'i father, whoae mind was affected by hia daughter's 
abduction, and he wanders about seeking her. 

I»rTiA«io: A lonely ^aniifrcr am l: 1 Mray from door to door. 

As taxe rtoih guidr, or as ihc sio.in doih hurry me. 
Far, far I'll roam .n search of her- 
• DtailcJ^aaJRta«l— For mkefaoptMi .He Kt DOUBLE J'ACED MIGNON RECORDS, p^ 285. 



VICTOR BOOK OF THE OPER A— T HOMAS' MIGNON 

The 8yP*T buul appear* and Mignoa U ordered to dance by Qarne, who ihrealeiu her 
with hi* >tick when the wearily refuse*. Wilhdm, a youns *tudenl, protect* her from ihe 
gypsy and quesdona her about her parent*. She remember* but little, but telU him of her 
iropreaaion of home in thi* lovely Cbnno^i-to It pay: full of tender beauty. 
(Frraoh) {BalUali) 

Connaia-tu le pays? (Knowest Thou the Land?) 

(Goaua) (Itdua) 

Kennst du das Land 7 Non conosci il hel suol ? 

By Msrcella Sembrich. Soprano {In French) 88090 ll-inch, »S.0O 

By EmeatineSchumaiui-Heink, Contralto (InGaman) 8S090 12-iiich. 3.00 
By Geraldine F>rr*r. Soprano (In Fnnch) 88211 12-iitch. 3J>0 

By Emmy Dcstinn, Soprano (/n Gttman) 91083 lO-inch, 2.00 

By Giuaeppina Hu^et, Sopruio (In IlaUan) *3517B 12-ioch. 1.23 

Five record* of thi* beautiful air. in French, German and Italian, by five famou* *in8cn, 
ranging in price from $]2i to $3.00, are listed here for a choice. 

Thi* air ii one of the happieat inipirations of the compoaar. It is said that much of iti 
charm come* from Thoma*' inbmate itudy of Scheff er'* painting, " Mignon." At any rate he ha* 



l f'"'g J J. I V J ■ 



The op. 

give* us an idea of the melody, one of the moat beaudfttl in the entire range of opera. Thepaa- 

sionate longing 

of the < . ' 

child for her f 

childhood hon 

i* effectively e: 

pre**ed in thj 

in which Mignon *eems to pour forth her whole heart ii 
flood of emotion. The words are most beautiful ones. 

Koowcn Thou (tic Land T 



9uld die! 



' obeying. 



IVllhelm, full of pity for the helpless girl, offers Gloma 
a sum of money to relea*e her, and goe* into the inn to 
complete the bargain. Lothario comes to Mignon to hid her 
farewell, saying he muit go south, following the swallow*. 

Tlien occur* the beautiful "Swallow Duet," one of the 
gem* of the opera. 

Les hirondelles (Son); o£ the Swallows) 



• DmUcJ^ooJ RtarJ—Fo, mk ^atpnm lit m, DOUBLE-FACED MIGNON RECORDS, » 



VICTOR BOOK OF THE O P E R A— T H O M A S' MIGNON 

MrcNox: latcemfianyina hrralf on Ik, )u,rf): 
Oh swillows g»x andbliiht. 
Ye joy of every land. 
Unfold your genlle wings. 



Thrice ha|>py bird, thrice happy bird. 
\\'ho (iril the wished'far goaif 
Riihl joyously ahall reach. 

The effectiveness of Thomu' exquisite score de- 
pends very much on the perfection of its lendering; 
and this is especially true of the lirst act music — the 
Cuinoff-lu, Lothario's song, snd 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 alipvayi de- 
lightful, both to eye and ear, Joumet sings the music 
of Lalharto with dignity and beauty of voice i while 
Farrar's every note is exquisite in Its loveliness. 

" " tVilhelm is now invited to go to the Castle of Prfnee 

"""""' '" "" "' Tl^enbach with the troupe of players, beaded by the 

lovely f^llna, who has observed tbe handsome student 

with an appreciative eye. He hesitates, thinking of Mignon, but she begs to be allowed to 

accompany him disguised as a servant. 

MibHON: 

Stranger! (hou didst purchase me— 

Dispose at me, hencefonli, e'en as thou wilt. 






(fainting to I.BIIiaHo. kIio afproachefl 
I'll e-en depart with hi»,f 

Come!''ray' {",.\"™,i f.illnw; 
Through hv-n-mti. lonr and wild: 
iAltemfls IV ur.m Uirjiinn mf»i Aim.) 

WlllKbn finally yields a reluctant const 
not knowing what else to do. and the 
ends with tbe departure of the players. 



VICTOR BOOK OF THE OPERA—THOMAS' MIGNON 

ACT n 

SCENE l—A Boudoir in Tieffenbach Castle 

Act II represents a room in the Prince's castle. Filina is seated in front of her toilet 
table, musing on the handsome Wilhelm, who has made a deep impression on her some- 
what volatile affections. IVilhelm enters with Mignon, who meets with a cool reception 
from the gay actress. H^ilheim 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, ** Jc connais '* (I Know^ a Poor Maiden) 

By Geraldine Farrar, Soprano {In French) 88152 12-mch, $3.00 

Miss Farrar has given us a charming rendition of this Mignon air, which (next to the 
well-known Connais-iu) is the favorite one in the opera. 

Mignon: 

Well I know a poor 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 r 

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 

(Looking in the glass) : to heighten. 

Am I still Mignon? (Opens the 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 Filina, would he love me 

A stratagem boldly trying, as well? 

To the master's good pleasure applying, What idle folly ! (From ihr DUkoh noore. 

Ah! ah! ah! what a foolish story! 'Tis a demon now tempts me! Copt'ti»<o.) 

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. R^tfis, Tenor (/n 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 B&ys : 

VV'lLHELM : 

Farewell, Mignon, take heart! 

Thy tears restrain! 

In the bright years of youth no grief doth 

linger long. 
Weep not, Mignon! 
O'er thee just Heaven will watch with fost'- 

ring care. 
Oh, may'st thou thy dear native land once 

more regain! 
May fortune on thy fate henceforth benignly 

smile! 
It pains me much to leave thee: my stricken 

heart 
With thy lone destiny will ever sympathize! 
Farewell. Mignon, take heart! 
Then dry thy tears. 

Mignon refuses money which he offers her, and is about to bid him farewell when 
Filina enters, and seeing Mignon in one of her own dresses, eyes her with sarcastic amuse- 
ment, vrhich puts Mignon into a jealous rage and she rushes into the cabinet, tears off the 
borrowed finery and puts on her g3rpsy garments. 

SCENE II — 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 

* DouUeJ^acedRecorJ—For title ofopftotihi side jee DOUBLEJ^ACED MIGNON RECORDS, page 285. 

283 



VICTOR BOOK OF THE O P E R A— T H O M AS ' MIGNON 



wishes that fire would consume the castle in which Filina had "won her master's affections. 
Lothario is puzzled by this and goes off muttering to himself. 

The actors and guests now issue from the castle proclaiming the beauty and talent of 
Filina. In the flush of her triumph she sings the brilliant Polonese or polacca (French Polonaise), 
one of the most difficult and showy of all soprano airs. 

Polonese, ^^ lo son Titania** (Fm Fair Titania I) 

By Luisa Tetrazzini, Soprano (In Italian) 88296 12-mch, $3.00 

By Giuseppina Huffuet, 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 Op6ra 
Comique, sings the air in French with much brilliancy, while an Italian record is furnished 
by that gifted Spanish prima donna, Mme. Huguet. 

lo ton Titanis 

iBehold Titania 



Chorus: 

She is truly divine, Filina! 

At her feet we lay our hearts and our flowers I 

What charms, what beauties are hers! 

Ah! what success! Bravo! Honor to Titania! 
Filina: 

Yes; for to-night I am queen of the fairies! 

Observe ye here, my sceptre bright, 

(Raising the wand which she holds in her 
hand.) 

And behold mv num'rous trophies! 

(Pointing to the wreath which has been pre- 
sented to her.) 

I'm fair Titania, glad and gav, 

Thro* the world unfetter'd 1 blithely stray. 



With jocund heart and happy mien, 

I cheerily dance the hours awa^. 

Like the bird that freely wings its flight. 

Fairies dance around me, 

Elfin sprites . on nimble toe around me gaily 

dance. 
For I'm fair Titania! 

Roth night and day. My attendants ever sing. 
The achievements of the god of Love! 
On the wave's white foam, 
'Mid the twilight grey, 'mid hedges, 'mid 

flowers, 
I blithely do dance! 
Rehold Titania, glad and gay! 



Wilhebn now sees Mignon and is about to speak to her when Filina interposes and asks 
her to go to the castle on some errand. The young girl, glad to escape meeting Wilhelnu 
obeys, but has no sooner gone than the castle is discovered to be in flames, the half-witted 
Lothario having set fire to it after having heard Mignon^ s jealous wish. 

IVilhebn rushes into the burning castle and soon reappears with the unconscious form 
of Mignon, while the curtain falls on a magnificent tableau. 

ACT III 

SCENE — Count Lothario's Castle in Italy 

This act takes place in the castle of Lothario, to which the old man has instinctively re- 
turned with Mignon, followed by Wilhelm, who now realizes that he loves his youthful ward. 
The young girl is recovering from a dangerous illness, and as Lothario w^atches outside her 
sick room, he sings a beautiful lullaby or berceuse. 



Berceuse (Lullaby) (Ninna nanna) 

By Pol Plancon, Bass 

By Marcel Journet, Bass 

By Gaudio Mansueto, Bass 

By Cesare Preve, Bass 

Lothario: 

I've soothed the throbbing of her aching heart. 
And to her lips the smile I have restored. 
Her weary eyes at last have closed 
In gentle slumber; 



(In Italian) 85126 12-mch, $3j00 

(In Italian) 74270 12-inch. 1.50 

(In Italian) *55004 12-inch, 1.50 

(In Italian) *62650 10-inch, .75 



Ry day and nifht some heav'nly spirit 

Tne maiden doth protect; 

On wings celestial, it doth hover round 



Protecting her from harm! 

Wilhelm takes Lothario's place as watcher, and tells of his new-found aflFection in this 
beautiful air, given here by M. Regis, of the Paris Op^ra Comique. 

EUe ne croyait pas (Pure as a Floiver) 



By M. Reffis. Tenor 



(In French) *45023 10-inch, $1.00 



* DmJtIe-FaeeJ Reeotd—For title ofoppoaiic aide ace DOUBLE-FACED MIGNON RECORDS, page 285. 

284 



VICTOR BOOK OF THE O P E R A— T H O M A S' MIGNON 

Wilhelm:^ And thus pervert the peaceful current 

In soothing yon poor, hapless maiden Of her peaceful life. 

At last I have discovered her secret; Oh balmy April, 

From her sweet lips my name escaped! Who to the wither'd flowers restoreth their 
Ah! little thought the maid, colors. 

In innocence arrayed, Kiss her fair cheek, 

What she in her breast had nurtured. And a grateful sigh of love cause to escape! 
Would ardent love become, 

Mignon now comes with feeble step on the balcony, and seeing Wilhelm, 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 neune 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! 

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 eyea raised to Heaven. Lothario is much 
agitated and when she has finished, recognizes her as his lost daughter. Father and 
daughter are reunited, while a blessing is bestowed on the young people by the happy 
Lothario. 



12-inch, $1.00 



35337 12-inch, 1.23 



55004 12-inch, 1.50 



12-inch, 1.25 



DOUBLE-FACED AND MISCELLANEOUS MIGNON RECORDS 

Gems from Mij^non 

"Away Ye Friends "—" Polonaise "—Barcarolle, " Now On We Sail"— 
" Pure as a Flower *' — ** Dost Thou Know " — ** Finale " 

By the Victor Light Opera Co (In English) 31867 

{Gems from Mitfnon By the Victor Liffht Opera Co' 

"Away Ye Friends"— "Polonaise"— Barcarolle, " Now 
On We Sail"— "Pure as a Flower "—" Dost Thou 
Know " — " Finale " I 

Gems from Tales of Hoffman By Victor Light Opera Co) 

I Opening Chorus and Solo, ** Fuggitivo e tremante ** 
By Andrea Perell6 de Segurola, Bass, and 
La Seals Chorus 
Ninna nanna By Gaudio Mansueto, Bass. 

Preludio, Parte 2a (Overture, Part 2) 1 

By La Seals Orchestra I ^^^^i. 

Preludio, Parte Is (Overture, Part 1) b»025 

By La Seals Orchestra) 

IPolonese— lo Son Titania ! (Vm Fair Titania !) 
By Giuseppina Huguet, Soprano (In Italian) 
Non conosci il bel suol ? (Dost Thou Knov^ That Fair 
Land?) By Giuseppina Huguet, Soprano {In Italian) 

I Polonaise — lo Son Titania t 
By Mile. Korsoff, Soprano {In French) 
Lakmi — Pourquoi Jans les grands bois 
By Alice Verlet, Soprano {In French)^ 

Adieu, Mignon, Courage ( Far ev^elt, Mignon) 

By M. Regis, Tenor (In French) 

EUe ne croyait pas (Pure as a Flower) 

By M. Regis, Tenor {In French) 

/Fuggitivo e tremante 
^Ninna nanna 

/Gavotte By Victor String Quartet). , ^^^ 

1 Norma Selection (Bellini) By Pryor's Band^^^^^ 

Addio, Mignon (Fare^nrell, Mignon) 

By Emilio Perea, Tenor (In Italian) 
Stelle d'Oro — Romanza By Silvarm Isalherti, Tenor (In Italian) _ 



35178 12-inch, 1.25 



45006 10-inch, 1.00 



45023 10-inch, 1.00 



By Cesar e Prevc, Bas8\^^^^-^ 
By Cesarc Preve, Bassr^^*" 



10-inch, 
10-inch, 



.75 
.75 



63420 10-inch, .75 



285 



THE MIKADO 

OR 

THE TOWN OF TITIPU 

COMIC OPERA IN TWO ACTS 

Text by W. S, Gilbert: music by Sir Arthur Sullivan. FirX produced at the Savoy 
Theatre, London. March 14. 1065. Fir>t American production at the Union Square Theatre. 
New York, July 20. I8B5. All star revival by Mesan. Shubert and William A. Brady at the 
Caiino Theatre. May 30. 1910. Revived at the Majestic Theatre by the Gilbert and Sullivan 
Featival Company, 1913. 

Characters 

Mikado of Japan Baritone 

NANKI-POO. hia aon, disguised as a minstrel, in love with Yum- Yum .... Tenor 

KO-KO. Lord High Executioner of Titipu Comedian 

Pooh-Bah. Lord High Everything Else Baas 

PlSH-TUSH. a noble lord Baritone 

Yum. Yum 1 [ Soprano 

PiTn-SiNG Three sisters, wards of Ko-Ko Mezio-Sopiano 

PEEP-BO J ( Soprano 

KATSHA an elderly lady, in love with Nanki-Poo Contralto 

Schoolgirls, nobles, guards and coolies. 

Timt and Plaet : Tht acent h laid in Japan ; prtatnl (ime. 



VICTOR BOOK OF THE OPERA— THE MIKADO 






It ii beginning to be recognized that the Gilbert and 
ice Engliih claHica — not in the 
:t becauae they are national, and 

.-> be valued equally with the Comediea of 

Shakcfpeare. The MikaJo is undoubtedly the greateM 
of theae, and curiously enough it was this opera which 
iirat anticipated the rise of Modem Japan, although the 
characters portrayed arc by no means Japs, but ourselves 
CILIEXT ' — in ■ very thin disguise. silltvah 

This charming travesty of Japan has been the 
greateat popular favorite of all comic operas since its original production in the eightia. 
The story is so generally known thai a brief outline of the plot is all that is necessary here. 
Nanki-Poo i» 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 Nankl-Poo of his 
sweetheart's betrothal to another, but the young man secures an interview with Vum-Kum 
and confesses he is the MlJ(aJo'* son, disguised in the hope of escaping punishment for his 



refusal to marry KaHtha. Ko-Ka Tecei*es a message from the Mlltado, telling him he must 
see that some one in Titipu i* beheaded within the month or he will lose his position, which 
message interferes with the Lord High Executioner's matrimonial arrangements. NarJcl-Poa 
agrees to sacrifice himself if he may marry Yam-Yam 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 Nankl-Poo she U interrupted bv Ko-Ko. who tells her that according to the 
law. when a married man is executed his wile is burned alive. This news cools Yam- Yum 't 
ardor, but NarJil-Poa, to save her. swears that he will that day perform the Htappy Dis- 
patch or hari-kari. As this would be dangerous for Ko-Ko, he promises in alarm to 
swear falsely to the execution of Nankl-Poo. 

The Mikado now arrives and Ko-Ko tells him the execubon has taken phice, 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, Naid(l-Poo opportunely 
appears and Ko-Ko gains his pardon by marrying KaUtha, while Yum-Yum and Nankl-Poo 
are happily united. 



VICTOR BOOK OF THE OPERA— THE MIKADO 

Two iplendid records by the Victor opera forces are otfereti contBUiing no leu than 
thirteen of the favorite numbera, admirably sung and grouped in a maat attractive raao. 
~ et ha> given the dainty Brightly Daam Our Wtddlng Day, one of 
mplea of the MaJrigalc in eaiatcnce. 



DOUBLE-FACED AND MISCELLANEOUS MIKADO RECORDS 
Gems from *' Mikado "—Part I 

"Behold the Lord High Executioner" — "The Rowers that Bloom in the 
Spring""— "Three Uttle Maid» ""— " Tit Willow "—" He". Gone and Mairied 
Vum-Vum'" — "With Joyoii* Shout" 

By the Victor Light Opera Company 3178ft la-incb. »1.00 

Gems from "Mikado" — Part II 

" Gentlemen of Japan '" — " A Song of the Sea "' — "' Three Little Maida from 
School"' — " Moon Song'" — "Emperor of Japan" — "My Object all Sublime"" — 

By the Victor Light Opera Company 31601 12-inch, l.OO 

{Madrigale — Brightly Da-wni Our Wedding Day | 

By the Lyric QuartetHTlZe 10-inch. .7» 
Martha— CooJ Nighl QuaHet By iht Lyrtc Quart«f) 

39119 12-inch. 1.25 
ll691B lO-inch. .79 



(Prueh) (Enflilh) 

MIREILLE MIRELLA 

(Mlh-i^-uiHl iMlk-HTJalO 

OPERA IN FIVE ACTS 

Word* by M. Can^ {rom MirUo, Proven^l poem by Miitral; muaic by Counod. 
Piaduced at the Thidln Ljtrique. March 19, 1864. Reduced to three act^ with the addition 
of the waltz, and leproduced December 15, 1864, at the (ame theatre. In London, in Italian 
with five acls, as Mirella. al Her MajeMy'a Theatre, July 5, 1664. 

Cut 

Ramon, a rich farmer Bus 

Mirella. hi« daughter Soprano 

AMBROISE Ban 

VINCENT. I, . ^. .,.,„ I Tenor 

VlNCENETTE. T" <*'"<''«" iMeaoAjpraao 

TAVENA. a (ortune-teller Contialto 

OURRIAS, a bull lamer Baritone 

ANDRELLU. a shepherd Contralto 

CLEMENCE. a peasant girl Mezzo-Soprano 

Peasants and People; Pilgrims. 

Mirella, which came Istec than Faatl in order of production, is an ezample 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 Proven^ waimlh and color. 

The librettist look for bis subject the putoraJ poem MiMo, by the beloved poet of 
Provence, Frederic Mistral, and Counad has given it a tuneful setting with much local color, 
including many kik-songs. 



VICTOR BOOK OF THE OPERA— GOUNOD'S MIREILLE 

The lirit icene opena in a 
mulberry Ktove, where Mlrella 
ii tea*ed by the village girl* 
about her attach ment for 
yinccnl, the basket- maker. 
ToBtna, the fortune-teller, 
warn* the young girl that 
Ramon, MinUa'i father, will 
never coDaent la the union. 
Aflntla mceU f/ncen( and the 
warning of Toctna i> aoon for- 
gotten. Theloverarenewtheii 
pledge* and agree to meet soon 
at the Chapel of the Virgin. 

Tlie young girl is alao in- 
formed by tho fortune-teller 
that yincenl baa a rival, a wild 
herdaman, who haa asked 
Mlrdla't father for her Und 
and obtained hia coniicnt. 
When the her<laman appeara 

M'K//arepuUe*him,decUring MIREILLE— act i 

hpr irrevocable attachment for Vinctnt. She then atarta on the long journey across the desert 
to meet her lover at the chapel, and on the way meets Tavena, who aoaurea her that Vincent 
will bo waiting for Ker. The journey proves almost too much for the young girl's strength, 
and when she finally arrives at the uiapel she is completely exhausted, and faints on the 
threshold. Vincent soon appears and miniatera to his fainting love. Ramon, who has 
followed his daughter, soon appears, and moved to pity by her sad condition, gives hia 
consent to the union of the lovers, and all ends happily. 

This delightful Valse occurs in the first act where Mlrella fancifully appeals to the 
swallows to bring ber tidings of her lover. Miss Abott's lovely and flexible voice is shown 
to great advantage in this brilliant number. 

Valse ^om Act I 

08129 By Bessie Abott. Soprano {hFttmh) 12-ineh. •S.OO 



r 



NATOMA 

(The Maid from the Mountain*) 
OPERA IN THREE ACTS 

Teit by JoMph D. Redding ; music by Victor Herbert. Rr»l produced at the Metro- 
politan Opera Houk. Philadelphia. February 25. 1911. First New York production Feb- 
ruary 28. 1 9 1 1 . 

Character* 
(With th< Cut of the FiM Pafonnuce) 

Don Francisco DE la GUERRA. a noble Spaniard of the old regime 

Bau (Huherdeau] 

Barbara, hja daughter Soprano (Grenville) 

NaTOMA, an Indian girl Sopcono (Gorden) 

Paul Merrill, Lieutenant of the U. S. Brig " Liberty " . . Tenor (McComiack) 

Juan ALVARADO. a young Spaniard Baritone (Sammarco) 

Jose Castro, a half-breed Baritone (PreiKh) 

Father PERALTA. Padre of the Minion Church Baaa (Dufranne) 

Chiquita. a dancing girl; Two American Officers: Nuna; Convent GirU; 
Friarai Soldier*; Spanish Danceta, etc 

Scent and Period: California, under ihe Spanlih riglme, 1820. 

Victor Herbert's Natoma treats of one of the most romantic periods of American his- 
tory, the scene being laid in CBlifomia in the days of Spanish rule. The opera takes it* 
title from it* Indian heroine, and the character* comprise Indian*. Spaniard* and pioneer 
Americans. The story centres around Notoma. an Indian girl ; Baitara, the lovely daughter 
of Don Frandico Jt la Gaena, a noble Spaniard of the old regime ; and Litat. Paul MetHll, of 
the U. S. Navy, who is loved by both Naloma and Batlittra. 

ACT I 

SCENE— //dc/eni/a o/ Don Francfsco on ihe Uand of Sanla Cmx 

At the opening of Act I Don Fiancltca a gazing over the waters of the Santa Barbara 

channel waiting the coming of his daughter Bajhara, who is leaving th»convent at the close 

of her school day*. Aloarado, a hot-headed young Spaniard and Baihara't cou*in. who is 

anxious to marry the young girl and thus gain control of the vast estates left her by her 

391 



E 



VICTOR BOOK OP THE OPERA — HERBERT'S NATOMA 

mother, ia also anxioudy waiting her arrival. Natoma haa met Litolenant Paul and there i* 
already a bond of sympathy between the handaome Indian maiden and the young officer. 
The two are now aeen approaching, the Indian girl innocently telling the young officer that 
her mittreu, Baitara.it veiy beautiful. Suddenly realizing that Paul may forget her when 
ha aees Barbara, ihe begs him to let her be his ilave. When Barhara arrivca and meela 
Paalit is a case of love at first sight, and later, when Atoarado urges his suit, the young girl 
haughtily refuses him. In a rage he plots with Caiiro, the half-breed, to carry Barhara ott to 
the mountains the next day, when the celebrations in honor of her coming of age are 
Bt their heighL This plot is overheard by Natoma, who ia concealed in the arbor. All 
the guest* take their departure, and Baibata, alone on the porch in the moonlight, de- 
clare* her love (or Pout The young lieutenant 
l^pear* and they sing an impassioned love dueL 
When a light is seen in the hacienda, the young 
irl. thinking it ia her father, urges Paul to take 
departure, and goea into the hacienda. As 
the curtain falls Natoma, who realizes that her 

the window, gazing out into the nighu 

ACT II 

SCENE— Hoza /n Front af the Mlaion 
ChtiKh, Santa Battata 
In the dim light of early morning Naloma ia 
singing her "song of fate," and aa dawn be- 
gina to break the Spanish aotdiers appear, the 
flag of Spain ia raised, and tiumpelera and drum- 
mera play the national salute. The Taqueros artd 
ronchero* arrive, singing of their life on the plains, 
while the dancing gids join in the revelry. ftM 
sings his stirring Vaqatro'i Song, which in per- 
(ormancea of the opera always arouses great en- 
thusiasm, and which is vigorously sung here by 
Mr. Cartwright, while the melodious chorus ia 
splendidly tendered by the Opera forces. 

Vaquero'fl Son^ 

By Earl Cartwright, Baritone, and 
„„,„ „.„,,„ , _ Opera Company [In Eiallth) 

'"''' {Harp accomfianlmenl ty LaplUno) 

9Sn 10-inch, »0.60 

Who dares Ihs broncho «i]d defy? With a leap from the ground 

Who look. Ihe mustang [o Ibc ey*F To the saddle in a bound, 

Fearlpv and bold. And away! Ale! 

Their master behold: Aiel Ocri'iltltpU, Milmir. 

Don Frendico and his daughter appear on horseback, with Natoma walking by their side. 
The guests assemble, and after the Castilian custom. Don Franclico places on his daughter's 
brow a woof of royal lace, signifying that she succeeds to title and estate. Barhara ainga a 
brilliant song of happiness, love and apringtime, with an exquisite accompaniment, in which 
Mr. hHerbert has woven the songs of birds, the rustling of leaves and the breeze* of *pnng 
with marvelous skill. Mme. Cluck in this lendilion quite surpasses anything she ha* yet 
done for the Victor, and pour* out her vocal resources lavishly and with e%Hdent enjoyment. 

Spring Song (I List the Trill of Golden Throat) 

By Alma Gluck, Soprano {In Eng(lth) 742T4 12-inch. «1.50 

The sailors from the U. S. S. Uherti/ appear, and with them U Uailenanl 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 Own Outvie) 

By John McCormack. Tenor [In Engllih) I429S 12-inch, tl.SO 

The E^ueb, or "dance of declaration." follows, in which each man places hia hat on 



VICTOR BOOK OF THE OPERA— HERBERT'S NATOMA 



ihe head of the girl he love*. Baihara infuriatet AlearaJo by gaily Iouuik his hat into the 
crowd when he place* it on her head, but before he can ipealc Cailro appears and dare* 
any one to dance with him ihe ancient Dasger Dance of California. Natoma accept* the chal- 
lenge, and they dance to the wild and barbaric rhythm. Thi* old dance ia. like other 
ckaracterlMic number* in the opera, baaed on Indian melodies which Mr. Herbert ha* 
been collecting for some years, and it* performance for the Victor, which was made under 
the ..... 



: Dance 

By Victor Herbert'* Orch««tr* 70049 12-ioeli. fl.25 

As the scene becomes mote absorbing, Aleatado and Pice slip close to Bartara, and, 
throwing a aerape over her head, attempt to carry her off. Natoma, who has been watching 
AharaJo, rushes wildly past Cattro and plunges her dagger into the Spaniard, who fall* life- 
less. The crowd rushes at Naloma to avenge the death of Alcarajo and Paul draws his 
■word to protect her. Suddenly the Mission door opens, and Father Paalla slowly 
advances, holding aloft the cross. The people kneel, and the Indian girl, dropping her dag- 
ger, approaches the priest and fall* at hi* feet. They go into the church a* the curtain falk. 
ACT HI 
SCENE— /niertor of Ihe Mlulon Chimh 
A* 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 misfottunes. The old priest seeks to calm her, and finally strike* the 
one responsive chord in her heart — her love for her mistress. He recalls to hei mind 
her happy childhood day* ivith RaAara, and she realizes that ahe can yet make her mis- 
tress happy, and that fate ha* decreed the union between Nalonxa and Paal. 

The church now fill* with the people, who respond to the words of Father Peralla. 
Pio/and Barbara sit near the altar in apposite pews, and at a sign from the priest the Indian 
girl walks down the aisle to where they are seated. Under her ipell they kneel, facing the 
altar, and Natoma, lifting the amulet ahe wears around her neck, beelows it as a blessing on 
her beloved mistres*. Turning, she walk* toward the convent garden, and as the priest in 
the pulpit raises his hands in benediction, the doors of the cloister close upon her. 



NORMA 

OPERA IN TWO ACTS 

Book by Felice Romani, founded on an old French story. Score by Vincenzo Bellixu. 
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 New York 
production February 23, 1841; other early productions, September 20, 1843, with Corsini and 
Perozzi, and 1854 with Grisi, Mario and Susini. 



Characters 

Norma, High Priestess of the Temple of Elsus Soprano 

ADALGISA, a Virgin of the Temple Soprano 

CLOTILDE, attendant on Norma Soprano 

POLUONE, 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 
which our forefathers delighted in, and which are an occasional welcome relief from the 
abundance of "music dramas" widi which we are surrounded of late. Elspecially charm, 
ing is the spirited overture, alw^ays a favorite on band programs. 

Overture to Norma 

By Arthur Pryor's Band * 35166 12-mch, $1.25 

By Victor Band '^ 35029 12-mch, lJi5 

The briskness and sparkle of this fine overture and its inspiring climax are well 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 two children. She rebukes the Druids for 
wishing to declare war, and after the ceremony of cutting the mistletoe, she invokes p«ice 
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 modem airs. As evidence of the great popularity of 
this number, three famous prima donnas have selected it for their Victor lists. 

Norma: 

Queen of Heaven, while thou art reigning Queen of Heaven, hallow'd by thy presence, 

Hove upon us is still rcmainins:. Let its holier, sweeter essence, 

Clad in purcness, alone disdaining Quelling ev'ry lawless license, 

Grosser earth's nocturnal veil. As above, so here prevail! 

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 titk ofoppo$^ «/</e Me rext page. 

294 



VICTOR BOOK OF THE O P E R A — BELLINI'S NORMA 

yield her hiubsod and children to AdalglMn and expiate her offences on the (uneral pyre. 
Adalglta pleadi with her, urging her to abandon her purpoie, and offen to (end Polllone 
back to her. 

This scene is expressed in the Hear Me, Norma, Eamilior to every muaic-lover. 

Mira o Norma (Hear Me, Norma) 

By Ida Giiconielli, Soprano, 
and Lina Milcru Contralto 

{In Italian) * 62IOI lO-incfa. *0.79 

By Arthur Pryor's Band * 16323 10-ineh, .79 

The lovely straini at this melodious number have 

delighted countless hearer* in ihe eighty years since it was 



Back In Mrth'a delusive nlrSburri,. 
From the phinlomi. far more Heeling, 
Which in dcalh'g deep ocean tfaoal? 
Paillane refuses to renim to Norma and attempts to seize 
AdalgUa against her will. Norma foils this attempt and 
reason* with him, telling him he must give up hi* guilty love 
ciisi AS No«HA ijj. jj^^ This is expressed in a dramatic duet 

In mia mano (In My Grasp) 

By Ida Giacomelli. Soprano, and Gino Martinez-Pani, Tenor 

{htleltan) * 68309 12>inch. tUS 
IWborK still leEuses, and Norma strikes the sacr^ shield to summan the Druids. She 
declare* war on Rome and denounces f^tllk/nt, but offers to save his life if he will leave the 
country. He refuse*, and she i* about to put him to death, when love overcomes justice 
and the Priestess denounces herself to save Potlhnt. Notma'i noble sacrifice cau*e* hi* love 
to return and they aacend the funeral pyre together. As the flames mount about them 
they are declared purified of all sin. 

DOUBLE-FACED AND MISCELLANEOUS NORMA RECORDS 



Huguenoli Selection 
mia mano alfin tu sei (In My Grasp) 
By Ida Giacomelli. Soprano, and Gino Martinei-Patti. 
Tenor (In Italian) . 



r 



Fooorla-Flo oero la>cl<,ftl (Shall I Uovt Thtt?) "^**® ll-mch. 

Bu Clolilde Eipoaito. Soprano, and Gino Martlnei-PalH. Tenor 
(lit Italian) 
lornu Selection (Hear Me. Normal) By Pryor's Band) ,.-__ ,_ . . 

Mignon-GaooUe &, Victor Striftg Quorttir*'^" lO-mch. 

1 Casta Diva (Queen of Heaven) 1 

By Giuseppina Hu^et, Soprano (In Italian) [. . . 

Luda-Regnava ,«l .tlenzlo (Silence O'er M) J16539 lOmch. 

By Gliaepplna Hugutl, Sopnmo (In Italian)] 
{Mira o Norma ''Hear Me, Norma) By Ida Giacomelli. | 
Soprano, and Lina Mileri, Contralto (In Ilaltan)\ft2l0l lO-inch. 

Carmen— Preladh. Act IV Ba La Seala Oichtttra] 

• DtaUi-FaciJ Rtcord—Fat lllk Bf ttP-lf iJt w aitti Hd. 



ORFEO ED EURIDICE 

(Enllith) 

ORPHEUS AND EURYDICE 

OPERA IN FOUR ACTS 
Book by Ramieri De Calzabigi ; muaic by ChriMoph Willibald von Cluck. FuM pro- 
duction in Vienna, October 3, 1762, Cluck conducting. Pint Pari* production. 1774, when 
the rAle of Orphan wu tTBiupoaed for high tenor. Firat London production at Covent 
Garden. June 26, 1770. Other revival* were during the Winter Carden ■euonori863; in 
1865 (in German), by the Metropolitan Opera under Walter Damriuch ; the Engliik produc- 
tion in 1866 by the National Opera Company ; the Abbey revival In Italian in 1692 ; and the 
Metropolilan production of 1910, with Homer. Cad*ki and Cluck. 

C>at 
Orpheus Contralto 

EURIDICE Soprano 

Love Soprano 

A Happy Shade Soprano 

Shepherda and Shepherdeaaea, Furiea and Demona. Heroes and 
Heroine! In Hade*. 

Thi* opera, which ha* been called "Cluck's incomparable masterpiece." and of which 
the great Fftii wrote:, "it is one of the moU beautiful productions of genius," may be 
properly termed a purely claaaical music drama. The music is exquisite in its delicacy and 



VICTOR BOOK OF THE OPERA— ORPHEUS AND EURYDICE 

grace, while iKe ttory i* an intereslinB and affect- 
ing one. Orpheus may be called the grandfBthcr 
of grand opera, it being the oldest work of ica 
kind to hold ila place on the Hage, ihe fiist repre- 
' E hundred and fifty yean 

luate Ameri- 



The opera haa had only one adequate Ami 
tn production previous to the recent Metropoli 



revival, and that waa during the American Opera 
Company aeaaon of 1886— the Abbey revival of 
1892 meeting with but indifferent success. Sucfi 
haa been the interest aroused by the recent per- 
formances, that it is likely to he heard quite 
frequently in the future. 

The story cancems the Greek poet Or^iaa, 
who grieves deeply over the death of his wife 
EurlJlce, and finally declares he will enter the 
realms of Plalo and search for her among the 
spirits of the departed. Tlie goddess Lode appears 
and promises to aid him, on condition that when 
he has found EaiiJict he will return to eaitli 
without once looking at her. 

In recent productions of the opera at the 

Metropolitan it has been the custom to introduce, 

)ioHiB AND cADSEi AS oKPHsus AND Bt the close of Act [, a very appropriate air from 

"■■vnicK Cluck's Atcatt. ThU Mme. Homer has sung here 

very beautifully indeed. 

Fatal divinita (Gods of Fate) 

By Louise Homer. C«atr>1to (/n Italian) 68286 12-inch. Id.OO 

Orphtas journeys to the Gates of Erebus, and so softens the hearts of 
the [^mon guards by his grief and his exquisite playing of his lyre, that 
he IS permitted to entei. hie finds EuTidice, 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 Relyin^f) 

By Jotianiu Gadski, Soprano: Louise Homer. Contralto 

(In Italian) 89041 12-inch. *4.00 

Orpbtaa, 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 Cluck's music suggests the present pcTplexity 

and the tragedy which is to follow. 

Unable to endure longer the reproaches of his ivife, he clasps her 
in his arms, only to see her sink down lifeless. 

Ach. Ich habe sie verloren (I Have Lost My 

Eurydice) 

By Ernestine Sc human n-Heink. Contralto 

(In German) 86091 12-ioch, *5.00 

Che faro senza Euridice (I Have Lost My 

Eurydice) „^ „,„., 

By Louise Homer (In Italian) 86265 12-inch, *3.00 """i^' « oufheui 

"Malheitttut! qa'al-Je /ail? El dana quel pt€clplct m'a plong^ man funetle amour/" 
("Wretched one, what have I done I Into whal gulf has my fatal love cast me?") cries the 
hapless youth, and breaks into his lovely and pathetic lamentation. 



VICTOR BOOK OF THE OPERA— ORPHEUS AND EURYDICE 



"I faivt Ion my Eurrdice It is your Cailhfiil hiinband. 

My inisfonune is without in like. Htar my voice, which calls you. 

Cruel Ule! I shnll die of my sorrow. Silence of dralh; vain hope: 

Eurydice, Eurydicr, answer me! What suffering, what torment, wrings my beart!" 

Of the many beautiful numbers in duck's draniB this lovely aria of mourning (best 
nown by the Italian title Che faro lenza Euridlce) is the most familiar. Two renditions, in 
^rman mid Italian, by two famous exponents of the part of OrpAcui, aie offered for the 

The grief -Btiicken poet i* about to take his own life when the goddess again appears and 

Love: 

Hold. Orpheus! Eurydiee! revive! 

Ospiitus (irspairingly'i ; To emhrace the fond vouth 

What would you with me? Who dared » much for ihee! 



OTELLO OTHELLO 

OPERA IN FOUR ACTS 
Text by Arrigo Boilo, after the drama of Shakeapeare. Music by Giuseppe Verdi. 
Fir«t production February 5. 1867. at U Scala, Milan. Firrt London production May 18, 
1889. First American production April 16^ IB88, with Campanini as Oltllo. Some noiable 
revivals occurred in 1894, with Tamasno and Maureli in 1902, with Eamea, Alvarex and 
Scotti: and in 1906 at the Manhattan, with Melba. Zenalello and Sanimarco. 



Charicters 

OTELLO. a Mooi. general in the Venetian army Tenor 

lACO. (£m*'-io) hia ensign Baritone 

CASSEO, (C™'-«-oA) hU lieutenant Tenor 

RODERIGO, {Rol,^t,^'^) a Venetian gentleman Tenot 

LODOVICO, ambaiuador of the Venetian Republic Bass 

MONTANO, predecessor of Othello in the government of Cyprus Bass 

A Herald , . Bass 

DESDEMONA. wife o( Othello Soprano 

EMIUA, (/li> im'-fac-aAJ wife of lago Mezzo-Si^rano 

Soldiers and Sailors of the {public i Venetian Ladies and Genllemen; 

Cypriol Men, Women and Children; Gieek, Dalmatian 

and Albanian Soldiers; an Innkeeper. 



Sane and Period : End of ihe fifteenth cenlaiy ; a seaport in Cypna. 



VICTOR BOOK OF THE O P E R A — V E R D I 'S OTELLO 

After having given the world hia aplendid AtJa, Verdi 
rested on hia laurela and wu ailent for aixteen yeara; 
then, at the age of leventy-four, he auddenly aatoniahed 
the world with hia magnificent Otello, a masterly muaic. 
drama which alone would aulSce to make him famoua. 

The change from the Verdi o( 1S33 and 11 Trovatore. 
to the Verdi oF I6S7 and Otello. ia amazing. Each opera 
produced by him ahowa a ateady advance, until aomething 
approximating perfection ia leached in Otello, the writing 
ol which was an aatoniahing (eat for a man of nearly eighty 
years of age. 

The text, by that accomplished scholar and maaler 
librettisl, Boito, follows closely the tragedy of Shakespeare. 

ACT I 

SCENE— Ofaj/o'i Cattle In Qipnu. A Slofm Is Raging 
I and the Jlngry Sea U OiMe In ihe Background 

Venelians, soldiera, including logo, Rodeiigo and CouJo. 
vKiui AMD HAuiEL AT FiUT Bre Bwaiting the return of Oltilo. His vessel arrives safely. 

ftKFuRuANtE OF OTtLUi and amid much rejoicing the Moor announces that the war 

ia over, the enemy'a ahipa having all been sunk. He goes into the castle, and logo and 
Roderlgo plan the conspiracy against Caala and Qltllo, by which Rodeilga hopes to secure 
Dademona for himself and logo to be revenged on Otello. 
They join the aoldieis and try to induce CouJo 
to drink. He refuses, but when lago toasts Detdemona, 
he is compelled to join. logo singa the rouaing Brin^M : 

Brindisi — Inaffia Tugola (Drinkintf Soog 
—Let Me the Cannalun Clink) 

By Puquale Amito, Baritone, and Chorus 

{Inllallan) 88338 12-inch. »3JtO 

By Antonio Scotti, Baritone 

(In Italian) 86082 12-tach. 3.00 

By Antonio Scotti. Bsritone 

{In llaUan) 87040 10-inch. 2.00 
during which he continues to fill Cusfo'i glass. When 
the latter ia quite dnink (hey pick a quarrel with him. 
and he draws hU sword, wounding Montana, while 
lago and Qus/o rouse a cry of "riot." which brings 
Otello from the castle. He diagiacea Curia and ordera 
all to disperse, remaining alone with Dtademona 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 huaband and wife go alowly into the castle. 

Quando narravi (W^hett Thou 
Speakest) 

By F. Lotti. Soprano: F. Conti. Tenor »-,■...,..,. 

(/n Italian) *5S023 12-inch, »1.50 *'"'"' ** "'"J" 

ACT II 

SCENE —A Room In.tht Cattle 

The crafty logo is advising CaufO how (o regain the favor of Otello, telling him that he 

must induce Dademona to intercede for him. Coirio eagerly goes in search of Detdtmona, 

while /ago gazes after him. salislied with the progress of hia achemes. and then sings the 

superb Credo. 

'DoatkJ'aaJHittrJ—FtHHhBfoppitHt,ldtiBcDOUBLEJ^itCED OTELLO RECORDS, pote 304. 
301 



VICTOR BOOK OF THE O P E R A — VERD I * S OTELLO 
Credo (Otello'fl Creed) 

By Pasquale Amato. Baricone lln Italian) 88328 12-iDch. >3.00 

By Ernesto Badini. Baritone {In Italian) *55023 12-iiich. 1.50 

Thi« ia a free adaptalion of logo's laal apeeck with Caalo 
in Shakeapeare, Act IL In hit setting Verdi ha* expieued 
fully ibe character of the perfidioua logo : cynical, vain, 
weak and aubde. He declarea that he waa faahioned by a 
cruel God who intended him for evil, and that he carea 
naught for the conaequencea, aa after death there ii nothing. 

The wonderful lendition of thia great number by Amato 
will be pronounced one of the most striking in his list, while 
a splendid lower-priced record by Badini is also offered. 

lago aeea Dtsdanona approach and Caialo greet her, and 
as aoon as the young officer is earnestly pleading with her 
to intercede for him, lago runs in search of Ottllo, and sows 
the iirst aeeda of jealousy in the heart of the Moor, bidding 
him watch hii wife well. Olello, much troubled, seek* 
DetJtmona and questions het. She begins to intercede (or 
CaiMio, but the Moor repulses her, and when she would wipe 
his peispiHng brow, roughly throws down the handker- 
chief, which i* picked up by /ago. 

Left alone with lago, Oletlo gives way to despair, and 
expresBcs his feelings In the bitter Oia e per tempn, 

Ora e per aempre addio (And Now, 
Forever Fare^vell) 

By Francesco Tanufno, Tenor 

(In Italian) 95003 10-inch. »S.OO 
By Enrico Caruso 87071 10-inch. l.OO '""•'" 

By Nicola Zerola 64168 10-incb. l.OO '"■"" *' "^'° 

Now finally convinced that DaJanona is deceiving him. he 
arewell to peace of mind, ambition and the glory of conquest, 
aruso delivers the number magnificently, being especially 
ve in the closing passage. Other renditions are the famous 
y Tamagno, and a popular- priced record by Zerola. 
igo further says that he has seen Dademone 'i handkerchief 
alo'i room, at which news Olello is beside himself with rage. 
ict closes with the great scene in which lago offers to help 
secure his revenge, and they swear an a^ul oath never 
use until the guilty shall be punished. 

ACT in 

SCENE— rAe Great Hall of the CaitU 
Hello now seeks Deademona and contrives an excuse to borrow 
indkerchief. She offers it, but he says it is not the one. and 
or the one he had given her, with a peculiar pattern. She 
t is in her room and offers to bring it. but he at once de- 
es her. and sends her away astonished and grieved at the 
sudden jealousy which she cannot understand. He re- 
mains looking after her in the deepest dejection, then 
sings his sorrowful soliloquy, Dio ml polcol. 

Dio mi potevi scagliare (Had it Pleased 
Heaven) 

By Antonio Paoli. Tenor 

(In Italian) 88240 I2-iach. •3.00 
iinilnt By Carlo Barrera. Tenor 

M..K .i „Fsm:un!>A (In Italian} *55009 12-inch. 1.30 

*Di>Mi-FaadRK«nl— Foriiilt of ^vpatttMiJiKi DOUBLE-FACED OTELLO RECORDS. pa^304. 



VICTOR BOOK OF THE OPERA — VERDI'S OTELLO 



logo now telli Oieih tiow Ke had slept in Caulo'i room 
lately and had heard Caulo talking in him aleep, hemnaning 
the fate which had robbed him of Dadanona and given hei 

Caulo enter*, and lago, bidding Olello watch behind a 
pillar, goes to the young officer, and with liendiih ingenuiQ' 
induces him to talk of hia aweetheut Bianco. Otdlo, jielen- 
ing. thinki that it ia oE Dademona that Cou/o ipeaks, aa 
Ciulo produces the fatal handkerchief, telling logo he had 
found it in his room, and wondering to whom it can be- 
long. Oltlle, seeing the handkerchief and not heaiinB the 
conversation, has no further doubt of Dademona 's guilt, and 
when Caulo departa he asks logo how best can he murder 
them both. The villain suggests that Dttdanona be strangled 
in her bed. and aays he will himself kill Catilo. 

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 *SS0O9 12-inch tUO icom u iaco 

Messengers now arrive 
from the Senate bearing orders 
for Otello, who has been re. 
called to Venice, and Cwsto 
oppointed Governor of Cyprus 
in his stead. He announces 
his departure on the morrow, 
and then unable to control his 
rage and jealousy he publicly 
insults Dademona and Hings 
her to the ground. As she 
is being led away by her 
maids he (alls in a (it. The 
people, considering the sum- 
mon* to Venice an additional 
honor for the Moor, rush in, 
shouting "Hall to Otello," 
when /ago, pointing with 
fiendish triumph to the pros- 
trate body, cries, "Behold 
■coTTi. wicEiiAH. ALDn Avn sLKrikK IN OTELLO your LJoD of Venicc 1 " 

ACT IV 

SCENE — Deidanona's Bedroom 
The heartbroken Dademona is preparing to retire, assisted by her maid, Emilia. She 
tells Emilia that on old song of her childhood keeps coming into her miixl. Then she sings 
the sad and beautiful IVillow Song. This i* an old melody which has been definitely traced 
to the sixteenth century, and which is supposed to be much older. 

Salce, salce (Willow Song) 

By Nellie Melba. Soprino (/n Italian) 68148 12-incfa. t3.00 

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 Aee, one of the most inspired portions of the wonderful fourth oct. 

Ave Maria (Hail, Mary) 

By Nellie Melbi, Soprano fin Italian) 88149 12-inch. *3.00 

By Frances Alda. Soprano l/n Italian) 86213 12-inGli, 3.00 

lie Eidt H DOUBLEJ^ACED OTELLO RECORDS, f^o J(M. 
303 



'DaakkJ^actJ RtcarJ—Fai t 



VICTOR BOOK OF THE OPl 



lA — VERDI'S OTELLO 



ine (or the « 



)ice, ac 



companied by aomeorgsn-lilie 
harmonio which iteal in with 
eiquitite e0ect from the Mrings 
of the orchestra. 

The portrayal of the mia- 
gled Bpprehen*ion and reiig- 
nation of Dadtmona in thia 
•cene through the medium of 
the voice ia worthy to rank 
with Melba'a ino«t celebrated 
operatic creationa— her Mar- 
gutrila—het Juiltl—hci Mhnl. 
The puiity and youthfulneaa 
of the feeling imparted, apart 
from the (leahnesa and deli- 
cate perfection of (he tonea 
themaelvea is amazing filling 



the mind with wonder 



t the 



perpetual miracle of the aing. 
era perfect art. Mme, Alda, 

— „. , ^, , whose DeM/emona hai been one 

of the finest of her impersonations at the Metropolitart, sings the 
number beautifully. 

At the close of the air Dttdanena remains kneeling and prays 
in broken accents, her voice being almost inaudible. 

Olello enters and rushes toward the bed, but atopa and gales 
at his sleeping wife a long time, then approaches and kisses her. 
She wakes and speaks his name. He accuses her again of an 
intrigue with Caalo, 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 Olello. who hardly realizes what he has 
done. Seeing DeaJanona lifeless, she accuses him of the crime 
and calb ioudly for help. Ail rush in and EmlUa, seeing logo, 
denounces him as the author of the plot, and tells Olello that 
DaJanona was innocent. The Moor is lorn with remorse, and 
tenderly gazing on his dead wife, sings his last air. 

Morte d'OttUo (Death of Otello) 

By Francetco Tinugno, Tenor 

(Inllallan) 95002 lO-Jnch, *S.OO 
By Nicola Zerola. Tenor 

{Inllallan) 74217 12-incb. 1.90 

He then draws a dagger and stabs himself, and with a final 

effort to embrace the Daitmona he has so cruelly wronged, he 



DOUBLE-FACED OTELLO RECORDS -"^v 



IDio mt potevi scagliare (Had It Pleased Hesven) 
By Carlo Barren. Tenor (In Italian) 
Giuramento — Ah I millc vitc (A Thousand Lives) 
By Carlo Barren, Tenor : Ernesto Badini. Baritone 
{In Italian) 
(Qtundo narravi (When Thou SpeakesO 
By F. Lotti. Soprano : F. Conti. Tenor {Inltalian) 
Credo (Otello's Creed) 
By Ernesto Badini. Baritone {In Italian) 



9S009 12-inch, fl.90 



,»3023 12-ineh. 1.50 



I PAGLIACCI THE PLAYERS 

{£• PbUinC-cW 
Drama in Two Acts. Words and Music by R. Leoncavallo 
The Engliih veruoa quiMed from ii by Henry Grafton Oispmsn 

QvtiniBthcmtmtBiiai^laat'iKpi'iBtiMiibyUBdiBmiitiaBalG.SchinDB. (Cocy'l 1906) 

Ruggiero Leoncavallo was bom at Naples, 
March 6, 1838, and was the son of a magislTBte, 
the Chevalier Vinconl, president of the tribunal 
of Potenza. His mother was a daughter of the 
celebrated artist, Raffaele d'Auria, famous for 
hi* decorations in the royal palace at Naples. 
He took tip the pianoforte at an early age 
vritk Simonetti, a well-known teacher of Naptea, 
and entered the Neapolitan Conservatoire, where 
he studied under Cen, Ruta and Rossi. At sixteen 
he made a concert lour as a pianist with some 
success. Leaving the Conservatoire at eiBhteeu 
he promptly showed his leaning toward operatic 
composition by begiiuung to write an opera, the 
libiretto hosed on de Vigny's well-known drama, 
Chatterton. Fiitding an tmfiraarie, the produc- 
tion of this opera was promised, but at the last 
moment he was deserted hy his manager and the 
young composer was reduced to poverty. He did 
not despair, however, and abandoning for a time 
his operatic pretensions, set to work at anything 
which would give him a living. He gave lessons 
and played accompaniments at caf 6 concerts, finally 
becoming a concert pianist, the latter occupation 
taking him to many countries — England. France, 
LEONCAVALLO Hollajid, Germany and Elgypt. Etetuming to Italy 

after several years of these wanderings, he proved 
that he had not been idle by submitting to the house of EUcordi the first part of a tremen- 
dous trilogy baaed on the subject of the Renaissance in Italy. 

This monumental work he entitled Cnfiatculum (Twilight), and the three parts were 
called: l~Medlcl; U—Clrolamo Saoonamla ; III— Ctxart Borfia. This Ricordi accepted, agreeing 
to produce the first part, and Leoncavallo spent a year in its completion. Three years passed 
by and the production was not made. In despair he went to the rival firm of Sonzogno. 
which encouraged him to write the opera which was to make him famous. Tlie young 
composer went to work and in ibe space of five months completed his opera, baaing the 
plot on an actual occurrence in the court where his father was presiding as judge. 

The production of Pagliacd was made on May 21, 1092. at the Teatro dal Verme, 
Milan, lu success was 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, 
Mtdid; but it was not well received. Other operas by Leoncavallo which have been pro- 
duced with more or less success are: Chatterton (produced 18%); BohCme (1897); Zaza 
(1900): and finally Roland, written at the request of the German Emperor (1904), He has 
written also a irymphomc poem, Strafita; n baHet iLa Vita J'una Mariantlla) and several 
comic operas. 

But it is Pagliacd which will keep the ttame of Leoncavallo remembered. Its master- 
fully constructed libretto ; its compelling and moving story ; the orchestration, written with 
extraordinary skill; and finally, its moving and intensely dramatic plot, which always 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 work. 



VICTOR BOOK OF THE OPERA— LEONCAVALLO'S PAGLIACCI 

ANNOUNCEMENT 

The Victor Company takes pleasure in announcing Leoncavallo's fcunous two-act musical 
drama, recorded especially (or the Victor under the personal direction of the composer. 
The records in the series were made in the presence ol 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 performance as he himself conducted it. This advan- 
tage would have been priceless with regard to many well-known operas of the past, as it 
would have setded 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 work are well know^n 
and most competent ones. Mme. Huguet, one of Italy's most beloved prima Jonne, 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 with Nedda. As Canio a choice of tenors is offered, 
the more delicate voice of Barbaini being contrasted with the splendid fire and intensity of 
Paoli's singing. Badini as Siloio 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 
world wide. 

Leoncavallo's beautiful opera is admirably suited for reproduction on the Victor, and 
while listening to the singing of the artists who have rendered these dramatic scenes, no 
great imagination is required to picture the various situations. 

In addition to the La Scala series, which w^as made under the composer's direction* 
many other Pagliacci records are listed in their proper places. 

THE ARGUMENT 

During the orchestral introduction Tonio, in his clown costume, suddenly appears in 
front of the curtain and begs permission to revive the ancient Greek prologue. He then 
comes forward 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. Canto and his troupe of strolling 
players, or pagliacci, having paraded through the village, return to their traveling theatre, 
followed 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' a wife. She repulses him scornfully, striking him with her whip, and he swears to be 
revenged. Siloio, a rich young villager, in love with Nedda, now joins her and begs her to 
fly with 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 Siloio, but hears 
Nedda *s parting words, '* Forever I am thine I " 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 while his heart 
is breaking. 

Act 11 : The curtain rises on the same scene and the play is about to begin. This 
proves to be the usual farce in w^hich 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 like 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 when 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, while the 
audience is delighted by such realistic acting until the intensity of Canio*s pension 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 Siloio, 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 efiniia'* — (The comedy is ended). 

306 



VICTOR BOOK OF THE OPERA— LEONCAVALLO'S PAGLIACCI 



(Inliu) (Eafliahi 

I PAGLIACCI THE PLAYERS 

(£c PaUi^^M 

(GcRBU) (Fnoeh) 

DIE BAJAZZI PAILLASSE 

(.Dm Bah-ttt-il) (.Palnialm'l 

DRAMATIC OPERA IN TWO ACTS 
Libretto and music by Ruggieio Leoncavallo. First performed at the Teairo dal Venne, 
Milan, on May 21. r892i in Landan. May 19, 1893. FirM New York producdon June 15. 1894. 
with Kronold, Monlegriffo and Campanari. Some Eamous caats of recent years at the Melro- 

Klitan and Manhattan opera: CaruK. Fariar. Stracciari— Alvarez. Scheff, Scotti — Farrar, 
rt. Scotti — Cavalieri, Rauweliete, Scotti — Deveyne, Mardn. Campanari — Donalds, Baan, 
Sam ma res. etc. ^^^^^^^^ 

Character* in the Drama 
NEDDA iNtf-Jah) (in the play "Cotamtlnc"), a strolling player. 

wife of Canio Soprano 

CANIO fKak'-iwr-al.) (in the play "Pagliacdo " [PanchltKlla]). 

master of the troupe Tenor 

TONIO IToK-nnt^l (in the play "TaJda"), the down Baritone 

PEPPE IPtp'-pn) (in the play "Hariojaln") Tenor 

SILVIO. (SIT j«-o*) • villager Baritone 

Villagers and Peasant* 

The «en« It hiJ In CalotHo. near Afonlallo, or. tht Ftatl of ihc Auamplhn. 



VICTOR BOOK OF THE OPERA— LEONCAVALLO'S PAGLIACCI 



THE PROLOGUE 

Leoncavallo chote to introduce his characters in a novel manner, and vrrote this number 
in the midst of the orchestral prelude, when Tonio comes forward, like the prologue of ancient 
Greek tragedy, and explams that the subject of the play is taken from real life, and that the 
composer has devoted himself to expressing the sentiment, good or bad, but always human, 
of the characters he introduces. 

Pfologo (Prologue) 

By Pasquale Amato, Baritone 
By Antonio Scotti, Baritone 
By Antonio Scotti, Baritone 
By Emilio de Gotf6rza, Baritone 
By Titta Ruffo, Baritone 
By Alan Turner, Baritone 
By Alan Turner, Baritone 
By Pryor*s Band 

ProlojfO (Prologue) (Complete in two parts) 

Parti— Si puo? (A Word) 

By Titta Ruffo, Baritone {In Italian) 88392 
Part II — Un nido di memorie (A Sontf of Tender Memories) 



(In Italian) 


88326 


12'-inch« 


$3.00 


(In Italian) 


88029 


12-inclu 


3.00 


(In Italian) 


81021 


10-inch« 


2.00 


(In Italian) 


88176 


12-inch, 


3.00 


(In Italian) 


92040 


12-inch, 


3.00 


(In EnglUh) 


*16157 


10-inch, 


.75 


(In EnglUh) 


♦35002 


12-inch, 


1.25 




*3dl58 


12-inch, 


1J&5 



By Titta RuEo, Baritone (In Italian) 

(a) Part I— Si puo ? (A Word) 

By Francesco Cigada, Baritone (In Italian) 

(b) Part II — Un nido di memorie (A Song of Tender 

Memories) 

By Francesco Cigada, Baritone (In Italian) 



88393 



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 _^-^,j.=«, . _,^, 



U'^^m 



always accompanies the appearance § j[ B , J. ^.i^ _, | i ^ | 
of the players or pagliacci: ^ l\ $ ¥ • i^ i ^ \f d J J 

The second theme represents 




^ 
^ 



iSSLidsUL 




toy.— ri(j a«<> 

Canto's jealousy and is a sombref J h j p ^ l J i I pL^ g- J ^^ 
strain suggestive of revenge : Hj i * f J M^ j i * a- i^ '^ ^ Z ^ j-^ 

The third repre- «■ 

sents the guilty love j ^„ ■ ■_t^'>l-.i Pj 
of Ntdda and Silvio: 
and appears fre- ' 

quently throughout the opera, not only in the love duet, but in the last act, when Nedda 
refuses to betray her lover even with death awaiting her. 

The presentation of these themes is followed by the appearance of Tonio, the clown, 
who peeps through the curtain and says : 

Ladies and Kcntlemen! 
Pardon mc if alone I appear. 
I am the Prologue! 

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 prologue to 

his story, 
And as he would revive for you the ancient 

glory, 
He sends me to speak before ye! 
Rut not to prate, as once of old. 
That the tears of the actor are false, unreal, 



That his siehs and the pain that is told, 

He has no heart to feel! 

No! our author to-night a chapter will borrow 

From life with its laughter and sorrow! 

Is not the actor a man with a heart like you? 

So 'tis for men that our author has written, 

And the story he tells you is true! 



* Douhk-Faced Record— For title of opposite »iJe mc DOUBLE-FACED PAGLIACCI RECORDS, page3f8, 

308 



VICTOR BOOK OF THE OPERA— LEONCAVALLO'S PAGLIACCI 



He then goes on to apeak of the author's inspiration, and says : 

A son^ of tender mem'ries 

Deep m his listening heart one day was ringinK; 

And then with a trembling hand he wrote it, 

And he marked the time with sighs and tears. 

Come, then; 

Here on the stage you shall behold us in human fashion. 

And see the saa fruits of love and passion. 

Hearts that weep and languish, cries of rage and anguish, 

And bitter laughter! 

The beautiful andante which follows is the most admired portion of the aria, and is 
indeed a noble strain. 

Ah, think then, sweet people, when ye look on us. 

Clad in our motley anci tinsel, 

For ours are human hearts, beating with passion. 

We are but men like you, for gladness or sorrow, 

'Tis the same broad Heaven above us, 

The same wide, lonely world before us! 

Will 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!*' (TheyVc Here!) 

By La ScmUl ChoruB (Doubh-faa^h-See page 3 i 8) (In Jialian) 16814 lO-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 wandering mountebanks are common in the rural districts 
of Italy and are knovm as pagliacd. They take with them a 
small tent (usually carried in a cart drawn by a donkey), which 
they set up in the market places of the small villages, or any- 
where that they see a prospect for the earning of a modest 
living. 

A number of the townspeople have assembled in front of 
the little theatre and are awaiting the return of the downs, 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 h^ard from a distance, and the villagers are full 
of joy at the prqspect 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 : 




CO»TT HItNKIR 

SAMMAKCO AS TONIC 



^ii±tk : f 1 ^'>^i^-^ 



C* • n • Ts! U ifrto • H 



m' dat p»|)lM • ai' 
^ all |»|^-alM: 



which is presented with many odd modulations, produces a peculiar and novel effect. 

Women: See, there's the wagon! 

» My, 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, Nedda, riding in the cart drawn by a donkey, while 
Ton/o and Pef>pe make hideous noises on the bass drum and cracked trumpet, which con- 
stitute the orchestra of the playera. 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 



Boys: Hi! They're here! 

They're coming back! 

Pagliaccio's there 

The grown-up folks and boys 

All follow after! 

Their jokes and laughter 

They all applaud. 



309 



VICTOR BOOK OP THE OPERA— LEONCAVALLO 'S PAGLIACCI 

addresa the crowd, but the noise it (remendout. 
Tonio beats the drum furiously to silence the 
voices, but it is not until Canio has raised hit 
hand to command attention that he it allowed 

Un grande spettacolo I (A 
Wond'rous Performance!) 

By Antonio Ptoli, Tenor: Fran- 
cesco Cigidi, Biritone : Gaecano 
Pini-Corsi, Tenor; and Sig. 
Rotci. Baritone 
[Inllalien) 92009 12-inch. *3.00 



y will be given, 
rouT humbi* servants 



The crowd boitlerouily express their joy 
at the prospect of an evening's entertainment. smivai. of the plavmi 

CanIo now turns (o attitt NtJda to alight from 

•h« cart, but lindt Tonio, the Fool, there before him. Giving him a ea& 
the ear, he bids him be off, and Tonio slinks away muttering. The 
t in the crowd jeer him, saying : 

Do.-s Ihal suil you, Mr. Lovrr? 

Tonio ihrealent the boys, who run away. He goes grumbling into 
the theatre, saying, aside : 

He'll pay for this ere il's over! 
One of the peasants invites the players to the wine thop for a 
friendly glass. They accept, and Canio calls to Tonio to join them, but 
ke replies from within: "I'm rubbing down the donkey,' which causes 
I a villager to remark, jestingly : 
, .\ Peasant: Careful. PafiU- 



/ Canio smiles, but knits his brow and 

evidently impressed by the thought. 




BA«i.EouiM y^ ^^ gioco (Such a Game f) """' 

By Antonio Paoli and La Sola Chorus (In Italian) 92010 12-iach. t3.00 

By Nicola Zerola. Tenor {In Italian) 64206 10-inch, 1.00 

The (irsl trace of Canto's jealoua nature is now shown, as he takes with apparent 
seriousness the idle joke of the pessaint, and begini to warn the spectators as follows: 
310 



VICTOR BOOK OF THE OPERA— LEONCAVALLO'S PAGLIACCl 



'Twcrcr better nol lo plav. my neigbbor*' 
For Ibe stage there and life, ttty are di: 



With some fine fellow in her room. 
He'd Rive Ibe IKO a rating ... or rciiEn himsctf. 
And take a jolly beating! 
( With a auJJat chante of lone) 

r.ui if Nedda I really should surprise so. 
Whal came alter were a far different story! 
NtJJa, who M liiteniDg, is sunMiMd and uy* aside : " What doea he mean ?" The 
villagers, rather puxzled at hia eameatnesa, a*k him if he is •eriou*. With an effort he rouses 
himself from his gloomy mood and say* lightly; 

Not I— I love my wife moat dearly! 

(He approatha NtdJa and klucs htr an Iht fonhead. ) 
The sound of bagpipes (oboe) is heard in the 
distance, telUng of the merrymaking in the village, 
and the church bells begin to loll the call to vespers. 
The people commence to disperse, and Canbt again 
repeats his melodious strain of invitation : 



M^g-iNEa^ 



{Hegoet allhft 

Coro della catnpane (Chorus of the 
Bells) 

By La Seals Chorus 

Unllallan) *3»172 12-ineb, *U9 
This is the famous Bell Chorus, or "Ding Dong" 
Chorus, one of the most remarkable numberi in Uie 
opera. It is sung with spirit, and the chiming bells are 
introduced in a most effective manner. Tlie people go 
off singing and the measures die away in the distance. 

Ballatella. " Che volo d'angelli I" (Ye 
""** " "'""' Birds W^ithout Numberi) 

By Alma Gluck. Soprano (In hallan) 74230 12-iaeh, tl.iO 

By Giuseppina Hu«uet. Sopruio {In llalian) *391T2 12-iocb. 1.29 

Ntdda, 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 drop! my eyes, fearful lesl he should hare read there 
What i was secretly thinking. 
But shaking off her depression, she becomes once more alive to the brightness of tl 
tremolo in tho s 
whom she said o 



i fl>lsr^-m mA^smi:23S3m 



VICTOR BOOK OF THE OPERA— LEONCAVALLO'S PAGLIACCI 

It i( B moat beautiful number with an exquiiile accompaniment, mainly of atringi. 
Mme. Cluck give* it heie in delightful faihion, linging with dazzling hnlliancy. while a very 
fine rendition by Mme. Huguet i* offered ai part of a double-faced lecord. 

So ben che deforme (I Know That You 
Hate Me) 

By Giuteppina Huguet, Soprano, >ad Frsn- 
cefco Cigidi, Baritone 

{/nllallan) *39173 12-iiich. fU9 
At the doie of her (ong NtJda finds that the hideoui 
Tonto baa been listening, and now seeing the handaome 
Columbine alone, begina to make love to her: but ahe 
acomfuily oidari him away. I-Ie pertist*. but hia proteata- 
tiona are greeted with mocking laughter, and Nedda aaya 
inaolently; 



In ■ furioua lage. Tenlo aweara she n 



By Ihc ■ 



A d«r1y! 



Nulla scordai 1 (Naught I Forget 1) 

By Giuaeppiua Huguet, Fraoceico Cigadi, and Emeato Bidiai 

(D«d,kJ Mh <Aca d^) [Inllailan) *391T3 12-iDch. *1J9 

Tonh, driven almoat to madneaa by NeJJa'a acorn and ridicule, 
aeiiea and trie* to kia* her. She atrikea him acrosa the lace with h« 
whip, crying : 

Oh. you would, you ciirr 
ToNm (irreo«,!n<0: lly thr BlMwd Vitiiin of A.suii.iHion. 




Neuda: Silvio! In Ihc daytimf' Whil folly; 
Si..vin <,m,li«gi: I famy ir- no grcal risk frn lakinii! 

Tonio I .|iicd from afar with Ptppr yonder. 

She tells him of Tonlo't behavior and bida him beware, aa the clown is to be (eared. 
Her lover cheers her and laugha at her fear*, and they sing the beautiful love duet, in 
which Slloio urgea her to fly with him; but she is afraid and bega him not to tempt her. 
He peraiata. and reproaches her for her coldnesa, until finally in a paaaion of abandon- 



VICTOR BOOK OF THE OPERA-LEONCAVALLO'S PAGLIACCI 

The lovcn, who have cast aside i 
each other, Fail to ob«erve Canio, who . 
■nd haa hurried from the taveni. 

To.MO (haldina Canie bulk): Now just slcp » 
And you wilfc. 
Silvio (diiofpfonBD o'" "■' ™"): 



(SAe Ko Canh and gloa a era offeai.) 

Aitalo Sifnor I (May Heaven Protect Hintl) 

By Antonio Pmoli Tenor; Giujeppina Hufuec 
Soprano: Franeeico Citfa<Ia, Baritone; Gaetano 
Pioi-Corii. Tenor [InllaUan) 92011 12-inch. >3JX> 
Canto, who haa not leen Sllelo, but ha* heard NtJda'i part, 
ing worda, now ruihea toward the wall. NtJda ban his way. 
The record besix' with the tnelodramic music written by Leonca- 
vallo for (his exciting struEgte, during which Canto pushes her 
aside and runs in pursuit of Slht«. , 

NcDPA (lisltmig anxlo-ily) : May Heaven prolcgl him n 

Canio (from behitd): Scoundifl! Whtre hidcsl 
ToHio llauahing cynicalh): Hat Ha! Ha! 
g (0 Tnnia wilh loathing): Bravol Well done, Tonio! 



suppressed rage ... 

niment dut dismal theme of revengt 



parument nut dismal theme ol revenge : - ■. - ■■_, 

which throughout the opera always accompanies the acenea of Canlo'i jealous and pasaii 




Cakio: 


























And 


;|f3;5 



Speak now! 

NtJJa proudly refuses. Filled with joy because of 
Sleh'i escape, she cares not what may be her own hte. 
Canh, beside himself, rushes on her with the knife, but 
Ptfipe hotda him back and takes away hia weapon. Tonto 
comes to Peppt 'i assistance, aaying : 

Restrain your-;r]f, good maitcr. 
Tis best lo sham awhile. 
The fellow will come back, 



NtJJa goes into the iheatTe and Con. 
s head bowed v 



Vesti la giubba (On ^^ith the Play) 
By Enrico Canuo. Tenor 
By Nicola ZeroU. Tenor 



VICTOR BOOK OF THE OPERA— LE.ONCAVALLOS PAGLIACCI 

We DOW come to the tnoit famoui of the numbert in 
Leoncavallo's opera, the great Lament of Pagliaccio. It* heart. 
brealuns pathoa never fail* to touch the liitener, when sung by i 
■uch artiiti as the Victor offera. 

The unhappy Canio, left alone after the eidtinB acene « 
NeJda, wriogt hU hand* and criea : 
Canio; 
To plsy: When my head's whirl- Y<^1 I musl foicc myselC 

Not^Wwin^V™''"' '«>''"K "' l'm"buTa P^gtil'tcio: 

de*cribea how he must paint hi* face 
while hi* heart ii lorn with jealouiy. 



I.»UBh. PaKliBccio. f 
Laugh tor the pai 



{Ht ntoca alouAy hioarJ iht thealrt, UKtpIng ; he ttopi at the enltance ani htMaltt. Sdted 
iji a ntu> fii of totting, he taiiet hit face In hit handt ; Ihtn at the curtain tlowlji fallt, mihet 
Inlo the lent.) 

Caruso's Canio j* still the Kreat feature of Pagliacci, and his magniiicent singing of ihi* 
famou* lament cannot be described — it muit be heard. In all that tlu* artitt ha* done there 
i* no piece of dramatic tinging to equal in emottonal 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 hii heart is breaking. Sometime* Caruso's voice merely delights 
the ear — here he searches the heart; and is not merely the greatest of tenors, but is the clown 
himself, full of the most tragic emotion. 

ACT II 

SCENE— Some at Act I 

^a Commedia (The Play) Part I. Serenata d'Ar- 
lecchino (Harlequin's Serenade) 

By Giuieppina Huguet >ad Gsetano Pini-Corii. 

(£}«Ucy<n<f— SxMtcJ/a) (InUallan) 35174 12-iiIch. *1.2S 
Passing over the preparationa for the play and the quarreling 
horu* of the peasants as they fight for the best seats, which is not 
ileresting without the action, we come to the commencement of the 
comedy. The curtain is drawn aside, disclosing a small room with 
. two aide doors and a window at the back. Nedda as Columbine is 
' discovered walking about anxiously. The tripping m~ 
I which runs throughout the t^ ^ _ 



Columbine rises and looks out of the window, saying: 

Pa-liaccio, my hutband. till late Ihis evening 
\^ ill not he al home. 
The sound of a guitar, cleverly imitated by the violins, pitzicato, 
cause* Columbine to utter a cry of joy, and the voice of Harlequin 

lide in the eStsT^ 
Serenade,! ^ 



n which he extravagantly rhapsodizes his sweetheart. 



VICTOR BOOK OF THE OPERA— LEONCAVALLO'S PAGLIACCI 




La Commedia (The Play) Part IL E dessa I (Behold Her I ) 

By Giuseppina Hu^uet, Soprano: Francesco Cicada, Baritone: and 

Gaetano Pini.Corsi, Tenor {In Italian) *35174 12-inch, $1.25 

Tonio as Taddeo, with his basket, now peeps through the 

door and says nfif^HlTSS^ ijmm^^m^m ^m%^ttmtmm*f») 

exaggeratedly, 
with a comical 
cadenza: t i-.-i 

•• • Mi tart k > at dta 1mm •••.«. ^1 

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 : 

Sec, wc are both before thee kneeling! 

His pretensions are cut short by Harlequin, who enters and leads 
him out by the ear. As he goes he gives the lovers a mock benediction, 
singing : 

Then I my claim surrender. Bless you, my children! 

This scene is most cleverly done and the three records depicting 
the little farce are among the most enjoyable of the series. 

Versa il filtro nella tazza sua! (Pour the Potion 
in His Wine, Love !) 

By Antonio Paoli, Tenor : Giuseppina Huguet. Soprano: 
Francesco Cicada, Baritone: and Gaetano Pini- 
Corsi. Tenor {In Italian) 91073 10-inch, $2.00 

By Autfusto Barbaini, Tenor: Giuseppina Huguet. Soprano; Francesco 
Ciifada, Baritone: and Gaetano Pini-Corsi, Tenor 
{Doulfie-/aceJ—Seep<ve3/8) {In Italian) 35175 12-inch, 1^5 

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 : 




AMATO AS TONIO 



ITaxlequin: 
Take this little sleeping draught, 
'Tis for Pagliaccio! 
Give it him at bedtime. 
And then away we'll ny. 



Columbine ieagerly): 
Yes, give me I 



Upon the scene suddenly bursts Tonio, in mock alarm crying : 

Tonic {bawling loudly): 
Re careful I 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 

Silvio earlier in \ ^ j f%^ -^ 



CoLVH (at lb* wiadow) 




the day : 
Canio, dressed as Punchinello* now enters from the door on the right. 



Can ID (trif^ suppressed rage): 
Ilell and damnation! 
And the very same words, too! 

(Recovering himself) : 
Hut, courage! 

(Taking up his part): 
You had a man with you! 

CoLr M Bi NE (lifjhtly) : 
What nonsense! You are tipsy! 



Pagliaccio (restraining himself with difficulty): 
Ah, if thou wast alone here 
Why these places for two? 

Columbine: 
Taddeo was supping with me. 
He's there — ^you scared him into hiding! 

Taddeo (from within) : 
Kelieve her, sir! She is faithful! 

(Sneering) : 

Ah. they could never lie, those lips so truthful! 

815 



VICTOR BOOK OF THE OPERA— LEONCAVALLO S PAGLIACCl 

The audience laushs loudly, which enrage* the unhappy man, and forgetting hi* part 
he turn* to Ntdda and fiercely demanda the name of hei lover : 



No. Paifliaccio non son! 
(No. Punchinello No 
Morel) 

By Enrico Caruao, Tenor 

ijlalian) B8279 12-inck. >3.00 
By Antonio Paoli. Tenor 

{Italian) 92012 13-inch, 3.00 
By Nicola ZeroU. Tenor 

(Italian) 74241 ll-inch, 1.90 
By Aufuito Barbiini, Tenor 
(ttallan) 'SSI 75 12-inch. 1J15 
ThtowiiiB off entirely the maak 
of the player, Canio becomeg again 
the iealou* hu*hand, and singa thia 
great aria, which ii aecond only to 
the yttU la glubba in dramatic power, 
Canio: 
No. pMliaccio. I'm not: 
If my fare be whiK. 



The people, while a little puz 
zled hy such intensity, loudly ap 
plaud what they think is a piece o 
auperb acting. 



Caruao'a rendering of thia great acene it a magnificent one. The opening paaaage ia 
delivered with tremendoua power, ai Canio pleads hia defenae. aayins that he ia no 
longer a player, but a man. and proteata aa a man againat the vrroog inmcted upon him. 
Hi* paasion gives place to a softer strain a* he speaks of hia love for Ntdda, hia faith- 
fuineaa and hia aacrifices (or her. At the cloae is the intense climax, with ita splen- 
did high B flaL Other fine renditions of the air are by Paoli, Zerola and Barhaini. 

Finale to the Opera 

By Antonio Paoli, Tenor; Giuseppina Huguet, Soprano; Francesco 
Citfsda. Baritone; Gsetano Pini-Corsi. Tenor: Ernesto Badini. 
Tenor; snd Choru* {In kalian) 92013 12-ineh. 13.00 



VICTOR BOOK OF THE OPERA— LEONCAVALLO'S PAGLIACCI 

The cloae of Canh't great 
air. " No, Paaliaccio No More t " 
ia greeted with loud crie* ot 
"bravo" from the excited au. 

""Nedda i. now thoroughly 
alarmed, but courageoudy 
face* her hu*band with out- 



Nedda (f 


idii 


m ttrioiuly 
















b»n 




Cam 10 (is 












"\.; 


sr 


betWr w 
















Hf» 


:n. for her 


viT 


Ihy 





NeJJa, in deape ration, 

tries to continue the play, and 

aa the little gavotte movement 

ia teaumed in the accompani. 

.. ment, she ling* : 

Nepda: Oh dear. I never knew that you 
Were such a rurful rain, sir! 
There's nolhini tragic for you here. 

The crowd begina to laugh, but ia checked by Canto i appearance, which ia alarming. 

Cahio («,>;*«;>>: Ah, you de_fy me; 

You'll name him, or eL» I'll Idll yon I 

{Sho»li«u) ■■ Who was il? 
EDDA llhroaina of her mm* dlfantly) : 

I'm faithless, or whatever you chooK to call met 
(Proudly): Bui cowardly, no. never! 



Aa ahe ainga we hea 
love motive; 



Vou will speaki 
NeJda falla, and with a taat faint effort calla: 

"Oh, help me. Silvia." 
Silvio, who haa drawn hi* dagger, ruahea to her, when Canfocriea: 
Ah. 'twas you! 'Tit well! ISlabt him.) 
Csio (« ,/ »«ptfitd. Iflti-ejpll his knit,): 

The comedy is ended! 
Then once more ia heard the tragic motive of jealouiy and death, now thundered out 
by the orchestra as if rejoicing at Ita final triumph. 
Curfofn. 
317 



VICTOR BOOK OP THE OPERA— LEONCAVALLO'S PAGLIACCI 

DOUBLE-PACED AND MISCELLANEOUS PAGLIACCI RECORDS 

/ProkMuc. Part I By Franceica Ci«>da. Baritone (In ltallan)\-.,,, ,_ . , ., ., 

tProlopie. Pact II By Francoco Ciffsda. Baritone (In Italian) r^'^^ 12-mcli.fl.2S 

r^Wue By AUn Turner. Baritone (/n fitgftjA}! ,.^- ,, • . , ,, 

Omclnto the GarJtn. MauJ Bs, Har<dd Jarpi,. Tcf^rP'^'^^ 13-mch. 1.2S 

(Prologue By Pryor'. Bandl,,,,. ,- . . , ,, 

t Fli;Ing Dutchman Fantasia By Pri^r-* BandP !*-"'=»>• >-2S 



{La Commedia — Part I By Hu^et and Pini-Corail 

La Commedis — Part II By GiuseppinsHutuet. Soprano: p5IT4 
Franccaco Cifada. Baritone; Gaetano Pini<Cor>i. Tenor) 
I Veraa il filtro nella taiza aua I ) 

\ By Barbaini. Hutfuct. Cigada and Pini-Corsi (In llallan)\3ilTi 

|No, Patflisccio non aont By Aufiuto Barbaini (/n /la/fan)) 
/Prologue By Alan Turner. Baritone (In English)) ^^^^J 

\ Bmam Ega By Alan Tama, Barilont (In Engllth)) 

Ion qua " By La Scala Chorua I 
ra /atale— Ernesto Caronna and Chorui 



-Duet. The 



Il effective n 



Gema from Pagliacci 

Chorua— '■ Ding DonB" — "Thia Evening at Seven '"—Bird Sor 
Without Numbet "-"Pagliaccioa Lament" (Veati U giubba)- 
Comedy, "Juat Look My Love "^Choraa, "See, They Come" 
By Victor Opera Company (/n Engllih) 31816 12-inch. tl.OO 

The Victor's potpourri opena with the {amoua Bell Chorua. or"Ding Dong" Chorua, 
remarkable numfaera in the opera. The chiming belle ate introduced in a 
atuier, and the measuiea die away in the diMance. 

Then cornea Con/o 'j addreaa 
.o (he peaaanta. telling them of 
iheplayvrhich mil he given that 
evening, folloived by NeJda't 
beautiful aong to the birda. with 

Next we have the moat (a- 
moua of the numbera in the 
opera, the great lament of Pag' 
llacclo. Mr. Rogets now goea 
Act 11 for a bit of the de- 
lightful comedy duet between 
Q^umhint and Harlapiln, and 
concludea the record with the 
rousing chorua of villagers 
which greeta the coming o( the 
player* at the beginning of the 

This is one of the fineat 
ccords of the Opera Company 
ctiea, the maaterly arrange- 
lent being given by the Vic- 

mosl admirable manner. 



s 
nz 



PARSIFAL 

A FESTIVAL DRAMA IN THREE ACTS 

Miuic by Richard Wapier ; libretto by the campoMtr, bued on the famoui Grail Legend. 
Pint produced at Bayreulh. in Germany. July 28. I8B2, and not tlsewhere until December 
24. 1903. when it wa. given at the Metropolitan Opera Houm. New York, in apite of the 
determined oppoaition of Mme. Wagnei. A production in Engliah waa afterward given 
by Henry W. Savage'* company, which toured the United State*. 

Character* 

TmjREL, a Holy Knight Baa* 

AMFORTAS, hia aon Baritone 

GURNEMANZ. a veteran Knight o( the Grail Baaa 

PAEISIFAU a "guileleaa fool" Tenor 

KUNGSOR, an evil magician Baaa 

KUNDRY Soprano 

Knight* of the Grail; Klingaor'* Fairy Maiden*. 
310 



VICTOR BOOK OP THE OPERA— WAONER'8 PARSIFAL 
THE STORY 

The itOTY of the Grail i« perhapi the moH beautiful 
in lesendaiy lore. Wagner's veraion, which was inspired 
by a medinval epic written about 1300 by Wolfram von 



the cup from which Christ drank at the Last Supper 
with His disciples, and into which wa. placed the blood 
which flowed from the wounds of the Saviour. 

This sacred cup. together with the lance which 
caused these wounds, was in danger of profanation from 
infidel hands, and was therefore sent by holy messengers 
to a pure Knight. Tllanl. who built a splendid sanctuary 
or) an inaccessible lock in the Pyrenees and gathered to- 
gether a company of Knights of unimpeachable honor, 
who are devoting theit lives to the guarding of the Grail. 
Once each year a dove descends from Heaven to renew 
the sacred powers of the Grail and its guardians. Such 
a subject as this, mystic, symbolic and poetic, so inspired 
Wagner that in Panifal he reached his highest sphere 
as a composer. By no other writer or composer has this 
most beautiful of legends been ao reverently treated, or 
given such a wonderful significance. 

The events which are supposed to occur before the 
opening of the opera must be understood before a clear obiginal psogiam of passipai 

idea of the action of Wagner's work can be gained. (saysei'th, 1882) 

Tllard, finding himself growing old, appoints his son, 

AmfoHai, as his successor. Near the Castle of Monsalvat there lives KOngwr, a Knight, who. 
feeling himself growing old and wishing to atone for his sins, vainly tries to join the Order 
of the Crail, but without avail. In revenge, he consults an Evil Spirit and plots to bring 
about the downfall of the Knights, To this end he invokes the aid of a company of sirens, 
half women and half flowers, called flower girls, who dwell in a magic garden. One by one 
the Knights have fallen from grace because of the allurements of die flower maidens, until 
Am/orla*. seeking to end these fatal enchantments, resolves to go himself, carrying the sacred 
Lance, which he is confident will be proof against the magic of the sirens. But. alasl he is 
not only defeated, but is wounded by the sacred Lance, which his enemy seizes and turns 
against him, makingawound which nothing can heal. The unhappy Amfortai 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 Riles, all the while feeling himself unworthy. 
In vain he seeks far and wide for a remedy for his wound and forgiveness for his sin. until 
one day in a vision he hears an invisible voice proclaim that only a guileless fool (/■ t,, one 
who is ignorant of sin and who can resist tempUtiDn). and whom heavenly messengers will 

guide to Monsalvat. will be 
able to bring him relief, 

AmfcTia,' downfall was 
brought about by a strange 
being. Kandry, who seems 




rthe r 



influ- 



ence of Kllngaor, 
of terrible beauty, who lures 
to their ruin all Knights who 
come within her power. This 
punish- 









'^^^^S ^J^^' -"""^ 



a previous existence, when a 
Hemdlat she mocked at Chrii 



I VICTOR BOOK OF THE OPERA— WAGNER'S PARSIFAL 



ACT I 

SCENE— i4 FomI Ntar Momaival 
The TIM of the curtain ahawi Cumononz, a veteian Knight, with two novices, aaleep. 
Trumpet calU from the Caitle awaken them, and they join in prayer, afterward pieparing 
the bath with which Amfortaa seeks to heal hii wound. Menengen from the Caitle report 
that the LiteBt balm which he had tried failed to bring relief. Gumemanz ia much grieved, 
and links down in dejection, until he ia rouied by the anproach of Kundry, who comei in 
hurriedly, dreued in aombre garment! and in her normal mind, but exhausted with fatigue. 
She bringi a new remedy which «he had sought in distant Arabia. When Amfortat arrives 
with his train for a hath in the aacred lake, the new balm ii offered to him. He accepUamd 
thanks the strange -looking woman for her kindnen. When the procession departs the 
lovices attack Kundry, calling her • aotcereas, but she is defended by Gumtmanx, who says 
subject to strange apells, during which she vanishes for 






I Ions bavf known her now^ 
But Tilurd knew b^r yet longer; 
When he yoti taale consecraied. 
He found her sleeping in this wod<1. 
All stiff, livi. like deXh. 
Tbus I Ditself did find her lately, 
hist when tlie trouble came on us 

So sb»nieful!y did bring about. 



VICTOR BOOK OF THE OPERA— WAGNER'S PARSIFAL 




llrre in boly forest? 

Why harmed tbee that goodtr Swan? 

Suddenly ■ wild iwan falls wounded at the feet 
of Gamanani, end two Knighta appear diBBginB the 
innocent Panifai, who had ahot it, not knowing it 
waa under the King'i protection. He ii reproached 
by Gumanaja and queationed, hut can tell little of 
himself. He remembera that hia mother wa« called 
Hcrzdiid and lived in a (oresL Kundry, whoae atten- 
tion is attracted, explains that the youth's father was 
Gamunt. and after his death in battle his mother 
took him away from the haunts of men lest he meet 
the same fate. She it now dead, and Panifai is a 

The train of An\fortia again spproachea, returning 
« from the lake. Gamanara invites Fanlfal 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 i4n^eriiu ' regeneration. 



VICTOR BOOK OF THE OPERA— WAGNER'S PARSIFAL 



High BUnd 
For— an Ih 
{tit Li ff* 



Illy laid Parnfai; arm o 



Melhinks I know 
No earthly road t< 
By no one can it 
Who hy itself is i 



The change to the Ca«de Hatl ia here effected by a movins scene behind Cumtmani 
and Petjtfal, ao that they (eem to be walkins aiovrly along, at <ir«t through the foreat, then 
into a covered gallery which aacends to the Caatle. Thia effective device WM fint used at 
Bayteuth, and afterward in the American repreientationa. 



VICTOR BOOK OF THE OPERA— WAGNER'S PAR9IFAL 



SCENE II— Tht Caillt Halt 

The two suddenly lind themielves in a vast Hall, Ailed with a itrange lisht, while invii- 
ible belli are pealing. Fantfal ii dazzled and hacinated by the wonderful light, while he 
ia carefully watched by Qumtmara, who hopes to see signa of an awakening knowledge of hit 
miiaon. 

In the hall ihe Knighta are preparing for the daily rite* which occur before the Holy 
Gnil. Then one of the most imprenive vcenea in the opera takes place. The unfortunate 
AmfoHat i* brought in on B 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, TllartI, 
Is heard from the dark chapel commanding him to proceed. Am/oriat, in a hesirt'breaking 
plea, begs Heaven to fiermit him to die, to end his intolerable sufferings. 



Awaked 






which 


What is 


the wound an 


d all iti 


•GsinM t 


he di 




e pang! 


In this t 


ligh ) 




JtsI lo 


Woeful i 


nfaen 




mc pn 


I. only s 








Thi holy 


hou 






And praj 




bl.^s5infis 


uponm 


Oh, cha. 






lins dir 






STw/on' 


c offend 


Fo?"r»<^ 








My panli 




leart is ri 




The hot 




linful bio. 


nd doth 



VICTOR BOOK OP THE OPERA— WAGNER'S PARSIFAL 



Ttttttd't voice U asain heanl, urging AmfoHia to proceeil, and the pain-racked piieat 
laiae* himaelf from the couch and offera the prajrer of conaecration. Aa he apealu a blind- 
ing ray of light atream* down from the vault above and (alia on the Grail, which glows with 
a great luater. The Cup ia covered and all partake ei the bread and wine, after which they 
file alowly out. During the ceremony Panlfal haa aUtoi faacinated. but with iropaaaive fa<^. 
" ru, finally out of patience, cornea up and thtucta him out, aaying: 



Thou 



a foo 



Uivc all our swans tor Ihe future *lonc 
And seek thytclf. gander, a goow! 
(//< p«lHtl Partifal SHI and tlami Ihe 
angrily oa him u Iht nrjajs fellt.i 



VICTOR BOOK OF THE OPERA-WAGNER'S PARSIFAL 



ACT 11 

SCESE—Kllngior', Magic CalU 
In the inner keep ai a tower open above ; stone iteps lead up to the battlementetl aum- 
nit and down into darkness below the stage, which represents the ramparL Magical 
mplements and necromatic appliances are seen. KUngtor is discovered sitting at one aide 
in a rampart before a metal mirror. 



Ariw! 'iDraw near to me! Gundryiigia ihcre. kundry here: 

She-Uic^fer! Rose of Hades! ' Thy mistrr calls— sppearl ' 

In the bluish light arises the (orm o( Kundfy. She is heard to utter a dreadful cry. as if 
half awakened from a deep steep. She tries to resist him, hatKUngnr'i power over her finally 
prevails. He tells her she must tempt Panifal, who is now approaching the Castle of KllngKi. 
Kl,iKCSO« (wralhfnily): Kundry: Oh !— Hi.'ry- Mis'ryl 

lEave a care! Weak eVn he! Weak— all men! 

The sle'rn'^e"slro" i^ho"in.:''=s. "■*" ' ' a!"! o/'thcm'f^ri^hT' 



VICTOR BOOK OP THE OPERA— WAGNER '8 PARSIFAL 

With B Uit ciy of pro(e*t and an- 
guwh she vanithe* in a bluiih miat. The 
tower (inks beneath the earth, while a 
magic garden filled with wonderful 
floweri and plant* riaei to talce iu place. 
On the wall atanda Panifal. looking 
down on the garden in astoniihmenL 
From all (idea, (ram the garden and 
from the palace, ruih in mazy couraei 
lovely damaela, (ir*t (ingly and then in 
number*; their dreu ia haatily thrown 
about them, aa if they had been aud- 
denly atartled from aleep. They have 
diacovered that aeveral of their lover* 
have been *lain by an unknown foe, and 
aeeioK Panifal, they accuse him of the 
deed. Panifal comea nearer, aaying 
innocently : 
P*Mir.L (m arral ailonUhmtnt) : 

Lovely m»L(fens, had I nol to slay them, 



VICTOR BOOK OF THE OPERA— WAGNER'S PARSIFAL 



Wouldst Ihoii conaolc us riohlly 
Then win il from us, and ligblTy. 

Some have gone into tKe grove* 
and now return in flower dreMcs. ap. 
pearins like flowera themselves. They 
playfuily quarrel for poHeuIon of Par. 
il/al, who stands looking about him in 

Suiet enjoyment of the scene. He 
nally gently repulses them, saying : 
P.isifal; 

Ye wild crowd o( beautiful flowers. 



As they push closer to him he 
becomes angry and tries to flee, but hia 
attention is suddenly arrested as Kandiy 
calls; " Pardfal. tarry I " He stops iit 
astonishment, aaVing: 

Pahiifm.: 
Parsifal , , ,? 



Shunned Iheir i-ir.le of ent«inini 
With gcntk gvaturts."— .Jrl //. 
Genlly laughing, they diiappear 
visible as a woman of ezquiaile beaui 

Ps.siFAi,: Thou. RuilelfK fool, atl "Pa.sifal." 

What i^allest Ihou mc. who am nameless? So cried, uhtn in .Arabia's land he expi 

Kunoky: Thv father, tismuiel, unlo his son. 

1 named Ihee, foolish jure one, "Fal parsi,"— 

Ich sah' das Kind (I Saw the Child) 

By Mar;ircteMatzen*uer. Mciio-Soprsno In Gtrman 86364 12-inch. 

Tenderly gazing at the now attentive youth, she begins, softly : 

KvKDRv; That through like hap thou shouldst i 

I >ia» the rhild upon lt< mother's brea«1i auish. 

Its iii[:int li-<i.in|! laughi yet in my ear: Recame her eare ail else above. 

Thimgh rilled wilh <iadne>s. Afar from nrms. from morlal strife and 

IloH' lanitlied then even ilearfs .^fflielion. Soudht -.lie to hide aw-ajr with Ihec in qu 

When, shouliiiv vlmlne^:.. .Ml eare .vay she. alas! and fearing: 

Il (Kive her sorrows r„ni™li,ii.,n! Never -hmilii aught of knowledge re. 



Denenth the den- of nuxherV weeping. Her i>a<n wax dulled of ik smsrl. 

All tear* «a> -he. eiie.i^d in anirni^h. And genlly ehh.d life's tide; 

CiuMd by ihy falhei'. dealli and love: The aneui^h broke her heart, 

And— Heart's Affi let ion— died. 

e of her greatest imperMnntlotn. dnga this number 



VICTOR BOOK OP THE OPERA-WAGNER'3 PARSIFAL 

Panlfal is Kreatly affected snct (inks at Kundn/'t 
feet, diitrened. She embracei him tendeily and tiiei 
to comfort him. while he seems to imagine that it ia 
again his mother whoie gendc embracea he i» receiv. 
ing. As she gives him the kiss which ia to complete 
his subiection he avralcea to a knowledge of his mis- 
sion, lealizea Kundty'i evil purpose and repulaes her 
with acom. She pleads with him. playing on his 
ayropathiea i 

Ki'NDnv: 

Lm inc upon thy hrcasl lie sobbing. 
Itut for ant hour together Ihrabbing; 
Though forced from Cod and man to flee, 
Re yel redeemed and latdoned by Ihee! 

^Ete^l'ly !^hau1d I be damned with Ihee. 
If for one hour 1 forgot my holy mission. 
Within Ihy arm's embrscingl— 
To Ihy help aliio am I Mnt. 
It of Ihy cravings thou repent. 



Rnallj, eniaged by his refusal, ahe calls for help. 
Fearing that he will a 



capie. Kllngaor and the 
flower maidens rush out 
of the Caatle. uatzehauib as kohiiit 

Kli»oso» (Coiji'ip a VaBfc): 

Hall (here! riT ban Ihee with hefiliing gear: 
The Fool aball perish by his Masicr'a spear! 
He flings the apear at Panlfal, but an invisible forc« stops 
It and it remains floating over hia head. Panlfal gnsps il with 
his hand and brandiahes it with a gesture of excited rapture, 
making the sign of the Cross with it 
Vxti\t\v: 

This sign t make, and ban Ihy cursed magic: 



Aa with an earthquake 
the Castle falla to ruin*, the 
garden ivithera up to a deaert. 
the damsels become shriveled 
flowers strewn around on the 

Kundry sinks down at Par- 
ilfat't feet, while the hero. gaz. 
ing at her with compaasion. 
and referring to the Holy Grail. 

be found, erica: 



Where only we 
air diiaf prnrs, 



VICTOR BOOK OF THE OPERA— WAGNER'S PARSIFAL 



ACT III 

SCENE— ^ iprlng landscape In Ihe gwunds of Moraalaal. At ihc back <> ">"'' hamllage 

Gumemanx, novr «n p-ged man, in Kermit'a drcsa but sdll wearing the tunic of a Knight of 
the Gnil. cotnea out of the hut and listeni. He then goes to a thicket and findi Ktmiiy 
apparently lifele*^ but ahe revives under hia mlniitrationa. She i* dreiaed bb in Act L and 
■oon ariaea and goes immediately, like a serving maid, to work. She entera the hut, pn>. 
cure* a water jug which she fUU at the ipring. Camemant watcheaher careFulty, aeeinKaigni 
al a change in her. Parsifal now enlen from the wood in complete armor and seat* himielf. 
ecognizing him. reminds him that no armed knight is allowed in the sacred 
" ' r- ■ • — ■ ■ ^ word, Paratfal riaea, 

1 surprise, sajra softly 

11 PBIh aye came he? 



VICTOR BOOK OF THE OPERA-WAG NER'3 PARSIFAL 

tedaeiti. the c 
the Cutle. 

GunNiHAHI: Td which 

Urn wails for thee ihe knighlly b»a^. ^*'''"' '"' 

Ah, how they nrrd thr bl.s^ing. _ BV""!- 

The blfiiing thai thou brmaSf.— E.p.rnl,- 

Since that first diy in which Ihau camesl here, „ ,, 

The mourning whfeh thou hardest then- PA«sirAL (fi, 

The anguish— sorely ha. increased. And I— I 

Amfoilas, struggling with his larluie. Who all ll 



For death with calmness waiting. All path, of safety froi 

He it on the point o( Uling, help- 
leuly. GurnemanKUpporli him and al- 
lovra him to sink down on the gr»»»y 
knoll. KunJry hal brought a haain oF 
water with which to aprinkle Panlfal, 
but Gamenani wavea her away, aayinK 
that holy water alone muit be uaed for 
hit anointment. 

Panlfal aaks to be guided to Am- 
/orfiu, 'and Gamemam and Kandry busy 
thetnaelvei in preparing him for the or- 
deal. " /Cuni/ry baUiea his feel and dries 
them on her hair. Panlfal asks Gamt- 
maiu, who by hia pure Ufe haa become 
worthy of thia olSce. to anoint him with 
the water of puri&cation and the con- 
tent* of the golden vial which Kundry 
pToducea from her boaom. Cumemoni 
conMnta, and beatowa on Panlfal the 
Hda of Prince and King of the Grail. 
Panlfal now looka at Kundry with deep 
compaaaion, and taking up aome water 
■prinklea her heed, aaying: 



The« tendrils bursting wilh blos«om, Ni^w -"r.ly rvtrylhing thai thrives, 

Whose scent recalls my childhood's days Thai breathes and lives and lives again. 

And speaks of loving liust lo me. Should only mourn and sorrow? 

Camanaiu explaiiu that thia beauty of the wood* and lieldi ii cauaed by the apell of 
Good Friday, and that the Bowen and trees, watered by the tear* of repentant ainneri, 
expresa by uieir luiuriouanes* the redemption of man. 



VICTOR BOOK OF THE OPERA— WAGNER'S PARSIFAL 



Char-Freitags Zauber (Good 
Friday Spell) 

By Herbert W^itherspoon. Bssf 

In Qeman I4I44 12-iach. 

Gubheuane: Thou stt'st. that is not so. 
The sad repcnUnt teais of sinners 
Have here with holy rain 
lieqirinkled field and plain. 

All earlhly creatures in'delieht" 



That mortal foot to-day it need i 

Sor. as the Lord in pily man did 
nd in His mercy for him hied. 

Then thanks the whole creation t 

„„„. With all that flow'rs and fast go. 

That irespats-pardoned Nature ■■ 

wiTHKurooH Ai cucNiUAHz Kow 10 her day of li 



VICTOR BOOK OF THE OPERA— WAG NER'S PARSIFAL 



Pamipal: Like biciscd sweet dew a tear from Ibee COo 

I saw my scornful mocttrs wilhrr: rtow.th: 

Kow look Ihey for forgiveness hither?— Thou weepcBl— sec ! Ihe landscape glowelh. 

aic kisses her seflly on ll.e brow.) 

Ditlaiit bella are heard pealing, very gradtiallj' twelling. 

GuiNtUAHi: 
Mid-d>y. 

The hour has come:— 
Permil. my lord, thy Hrvant hence to lead 

Gumtmaru hat brought out a coat-o[-mail anil mantle of the Knighta of the ClaiL which 
he and Kundry pul on Pantfci. The landacape changei very giadually. as in the fint act. 
Paraifal aolemnly 8n*P* die Spear, and, with KunJrj/, follow* the conducting Curnar 



When the wood hai diiappeared and rocky entiancei have presented thcRiKlvea in which 
the three become invinble, procenioni ol Knighta in mourning garb are pel 
arched panagea, the pealing of belli ever increaaing. At last the whole 



the three become invinble, proceasioni ol Knights in mourning garb are perceived in the 
ages, the pealing of bells ever increasing. At last the whole immense hall 
ibie, just as in the first act. only without the tables. There is a faint li^t. The 



the Knight! bear in Tllartl 't corpse in a 
coffin. From the other Amfortai ia carried 
on in his litter, preceded by the covered 
ahrine of the Grail. The bier is erected 
in the middle; behind it the throne 
with canopy where Amfoitai is set down. 



this Heavenly atrength. 



Warned of Iby duty to all. 
AHreiTAi (raiting himself on kii coHch 

and lurniHff In Ihl body): 
My father I 

Hieheil venerated berol 
Thou purest, lo whom once e>n Ihe 

angefi blended! 
Obi ihou who now In Heavenly heigbts 
Tiost behold the Saviour's self. 
Implore Him to grant that Hia hat 

lowed blood, 

To llfeln new'life' while giving, 
To me may offer— but Death: 
My father! I— call Ibee, 



Heboid me 


1 !— the open 


'w( 


lund behc 


.Ml 





















































VICTOR BOOK OF THE OPERA— W^AGNER'S PARSIFAL 



All have ihrunk back in awe and Amforiat stands alone in fearful < 
accompanied by Gumtmanz and Kundry, has entered unperceived, and 
stretches out the Spear, touching Amfortaa' aide with the point 



ice ahinea with holy rapture, and he totters with emotion. Gumanani 
suppoitmg mm, P«.5if*i.: 

lie whole, unsullitd and ahsolrcd! 
For I now govern in ihy place. 
Oh, bleucd by thy Borrows. 

And Kn^ot/T"', ■";?«! 
They t2»m a^timJS'FMl.'""'" 
The holy rtT>far— 
Once mure luliold in this. 
All aaze with intense rapture on the Spear which Parsifal holds aloft, while he look* 
(teadfaat^ at its point and continues: 



VICTOR BOOK OF THE OPERA— W^AGNER'S PARSIFAL 



Uncover tbe Grail: Open 
The hoy* open the ■hiini 

from it the Gniil nnd LneeU, Bbaorbed ii 

lemplation, silently praying. The Grail glows with 
light, and a halo of gloiy pours down over all. 
"nianl. for the moment reanimaled. raises himself 
in benediction in his coffin. From the dome de- 
scends a while dove and hovers over Panlfal'i 
head. He waves the Ciail gendy to anel fro before 
the upgnzing Knights. Kundrg, looking up at Par- 
stfal, sinks slowly to the ground, dead. Amforiat 
and Cumemaivc do homage on their knees to 

All (oi'Ii veict$ front thi middle and txiremt 
licitilils, 10 soil 01 Id be sco'ccly oi.diW(): 
WrnirtVous wort ol mrrn: 
S»lvalion lo the Saviour f 

(ThecarfalnfalU.) 

"iKiu. AS fAMiFAL MISCELLANEOUS PARSIFAL RECORDS 

Processional of the Knights of the Holy Grail 

By Arthur Pryor's Bind 31739 12-inch, •l.OO 

Parsifal Fantasia (including the follow^intf motioa) 

"The Euchariw"— "The Flower Maidens"— " The Giail" 

By Arthur Pryor'* Band 31242 IZ-inch, *1.00 



PATIENCE, OR BUNTHORNE'S BRIDE 

COMIC OPERA IN TWO ACTS 

Libretto by W. S. Gilbert ; muiic by Sir Arthur Sullivnn. FIrrt produced Bt the Oain 
Comique, London. April 23, 1661. Fint American production at the Standoril Theatre, New 
York. September 23. IS8L ]t was revived at the Herald Square Theatre in 18%; at the 
American Theatre, in 1900. by the Csatle Square Opera Company ; and quite recendy at the 
Lyric Theatre in New York. 

Characterj 

With the Orifin*] AlneHcui Cut 

Reginald BUMTHORNE. a aeihly poet Wm. White 

Archibald GROSVENOR. an idylUc poet .James B. Key 

Lady ANGELA.! f Alice Bunrille 

LADY 5APHIR, R,„,„„„. „.;j„. Ro.eCh»pe!le 

Lady ELIA. R»P'""»" maiden. j^^j^ 3j^__^ 

Lady Jane. | lAuguMa Roche 

Patience, a dairy maid Carrie Burton 

OLDNEL CALVERLY. I ( Wm. T. Carleton 

Major MURGATROYD. iOfdccn of the Dragoon GuardalArthui Wilkinun 

LIEUTENANT DUNSTABLE,) | A. Cadwallader 

Guard*. Eathetic Maidena. 



Caitlt Bunthomt ; the tail cenlary. . 



Patience ia CilbcTt'a famous satire on the eatheti _.._ _ _ 

the moat delightful of all Sullivan's music. This absurd school of estheticlsm. 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 maidena are sighing, and singing plaintively of their love 
for SunfAorne. Palitnct, a buxom milkmaid, appears and ridicules them, telling them the 
33fl 



VICTOR BOOK OF THE OPER A— P A T I E N C E 

[hagoon Guards are expected ahortly; but though tHe maiden* doted upon the DragoonMn 
ysar Bgo they Kom them now. The Cuardi arrive, ulao Bunthame, (ollowed by the {bit twenty, 
who pay no attention whatever to the Dragooia but follow the poet, liiitening to hia latest crea- 
tion, whereupon tbe Dragooia leave in a rage. When alone BunfAorrM confeasea to himself 
that he i> a aham. Palltnce appear*, and the poet immediately makes love to her, but ahe 
is Frightened and nins to Ljidi/ Angtla, who tells her it is hei duty to love someone. Pallenct 
thereupon declare* she will not allow the day to go by without falling in love. 

Gmtoenar, the idyllic poet, and an old playmate or Palltnce, enters, and she promptly falla 
in love with him. but he remains indifferent. Burdhamt, twined with garlands, enters, led by 
the maidens, and, unable to decide between them, puts himself up as the prize in a lottery, 
but PaUtnce interrupts the drawing and announces tlut she will be his wife. She is 
promptly accepted, whereupon the fickle maideiu transfer their affection* to CFoioenor. This 
doe* not please Banlheme, and he predicts that hi* 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 Bunlhome, who is content with a milkmaid. Grotetnor enters, 
followed by Patience, who tells him that she still loves him but that her duly is toward Bun- 
Ihome. Bunlheme enters with Jane clinging to him in spite of all his efforts lo get nd of her. 
Finally, in a jealous rage at Palltnct'i regard for the fleshly poet, he exita with Jane. 
Now the maiden* are beginning to make advancea to the Diagoont, and the poets begin to 
quarrel with each other. Bunthome asks Gmioenot how to make himself less attractive, and 
ia told to dress himself in a more commonplace matmer. When the maidens find he has 
given up esthetic* they declare they will do likewise. Paf/ence deserts Bunlhome for Cnunenor. 
the maidens find suitors among the Dragoota, and Jane goes over lo the Dukfi. leaving 
Bunlhome lonely and disconsolate. 

The Opera Company has given us • 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, "Twenty 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 Wo Our Love Confess." 
By the Victor Light Open Company 31B16 12-iiicIi, tlJXt 



(lulian) (Entftuh) 

PESCATORI DI PERLE PEARL FISHERS 

I.Pt.JnlUBV.rm Jm Ptai'-hh) 

OPERA IN THREE ACTS 

Text by Qani nnii Cormon. Muiic by Geocges Bizet. First production nl the Tb^Atre 
Lyrique, PbiU, Septembei 29, 1863. Pint London production, entitled "Leila," at Covent 
Garden. April 22, 1887; tmd u Puutor/ <// Pcr/e, May 16, 1889. FLrat New York productioD 
January 1 1. 18%. 

Cbaractera 

Leila, a prieaten Sopfano 

Naur, a pearl iUher Tenor 

ZURCA, • chief Baritoite 

NOURABAD. higkprieat BaM 

Prie>t% Prieateno, Pearl Fisher*. Women, etc 

Scene and Ptrlod ; Ctjflon ; tarharic period. 

La Ptchtutt dt Perlet, one of Bizet'a earlier opeiaa and the Gnt one to achieve •ucceM. 
U a work dealing with an Oriental aubject, and containa much muaic of charm and original, 
ity, ahowing tracea of that dramatic force which reached ita full development in C^nnen. 
Tlie character of the muaic, lem paaaionate and highly 
colored than Cannen, is yet equally original and of even 
more atiiking beauty. 

The Btoiy tella of the love of two Cingaleae pearl 
fiahera for the priestess Leila, and of the generosity of 
the unauccessful nval, who helps the lovers to eacape 
at the COM of hia own life. 

THE PRELUDE 

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

Preludio (Prelude) 

By La Scab Orcheatrs *62I00 KVinch, to.rs 
ACT I 

SCENE— TAe Coail a/ Ceylon 
The riae 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 Zatga 
recognizes him as a friend of hia youth. They greet 
each other and speak of the days when they were 
rivals for the hand of a beautiful woman. Nadir, be. 
ginning the duet, recalls the moment when the 

fnenda first beheld the lovely Ltila. dufiiamhs ai iusc* 

(Italisa) (Fr*Dcb> 

Del tetnpio al limitar (Au fond du temple saint) 

(Eafliita) 

(In the Depths of the Temple) 

By Enrico Caruso. Tenor, and Mario Ancona. Baritone 

{IrtltaUari) 89007 12-lncli. *4.00 

By Giatfitii and Fcderici (In Italian) 8831» 12-inch. 3.00 

By Clement, Tenor, and Journet. Baaa (In French) 76022 12-inch. 2.00 

By John McCormack and G. Mario SanuDsrco {llallon) 87062 10-inch, 2.00 

By Giuaeppe Acerbi and Renzo Minolfi (/n lUdlan) *68063 12-iiich, 1.25 
*DBHiikJ'accJKtterJ— Ftrmle of tppailtiiUitct DOUBLE-FACED f¥ARLFlSHEltSRB:ORDS,»af 34 1. 



VICTOR BOOK OF THE OPERA— BIZET'S PEARL FISHERS 

In an impreauve Mrain he docribe* the acene withia the Temple of Brahma; 
N'^dib: Lift] her vcif. revealing 

In the deplii* oi xbi- tempi* A face (hat haun.s me slill 

A lovely form we beheld. Wilh its beamy eibereal! 



They ipeak of their sudden realization of the fact that they had both fallen in love at 
sight with Uie prieaten, and fearing their friendihip was in danger, they awore never to see 
her BBoin. The comrades, now pronouncing themselves entirely cured of their infatuation, 
pledge ane^v their friendship and s^ear to be brothers to the end. 

A lUherman now enters and announces the arrival of the mysterious veiled lady who 
comes once a year to pray for the success of the lisheries, and whom the Ceylonese have 
adapted as their guardian saint. She entera and begins her prayer. Nadir recognizes her 
voice and realizes that i" ' "' ■ . i .1 ■" 1 <■ 1 ■ r ■ . 

Brahma for ■ blessing, i 

Brahma gran Dio (Divine Brahma t) 

By Linda Brambilla. Soprano, and La Seals Chorus 

(In Italian) *68062 12-iach, *US 

This isa moat 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 lovea the 
maiden. He recalls the memories of his first 
aight of her in a lovely song. 

Mi par d'udir ancora (I Hear aa 
in a Dream) 

By Florencio Constantino. 
Teitor (In Ilallan) 

74067 12-iAch, 11.50 

L^itt reappears and the act doses wilh her 
prayer to Brahma for the good fortune of the 
fishermen. Just as the curtain falls she rec- 



._ !i'A'<.<fir!"ln" 
that she loves him. 



ACT II 
SCENE— v4 Ralitei Ttmple 
As the curtain rises Leila and NourrAaJ, 
Ae high priest, are seen, they having sought 
shelter in the ruins of an ancient temple. Tlie 
high priest, in a line air, reminds Ldla of her 
oath to renounce love and marriage and de- 
vote herself to the welfare of the people. She 
rwpTo iiuTiii ra saya that she -w\)\ keep her promise and 

HUE. uEHDti AS L«ii^ tells him of avow she made when a child to a 

fugitive who implored her to save his life. Although his pursuers held a dagger to her 
breast she refused to betray him and he escaped to safety. 

« DOUBLEJ'ACED PEABL FISHERS RECORDS, putt 341. 
339 



VICTOR BOOK OF THE OPERA— BIZET'S PEARL FISHERS 
Siccotne un di caduto (A Fu(fitive. One Day) 

By Giiueppina Piccoletti, Sopraoo (In Italian) *6e307 12-iacb, *US 

Ths high prieit ilemly recitea the punithment which will overtake her ahould the 
prove (site to net vow. " Shame and death be thy portion!" criei the Mem prieat. LeFt 
alone, the miserable woman biooda over her unhappy plight. Bound by an oath which ahe 
now regret*, and conacioui of her love for Nadir, which may mean death for thera botK (he 
■ink* down in an agony of deapair. Nadir enteia and aaka her to fly with him, defying 
Biahma and the prieata. She at first repuUea him, but tove ii finally triumphant and the 
loven rapturoualy embrace, while a fearful atorm rages, unheeded, without the ruin*. 

This scene is expressed by a splendid duet, two records of which are given here for 

Non hai compreso un cor fedel (You Have Not Understood) 

By Gitueppina Hu^et, Soprano, and Fernando de Lucia, 

Tenor {In Italian) 92054 12-inch, *S.OO 

By Giuseppina Piccoletti, Soprano, and Ivo Zaccari, 

Tenor {In ItaUan) *6B062 12-inch, 1^5 

The lovers are *urpri*ed by Noarabad, and Nadir fiees, closely pursued by the prieata. 
He ia captured and brought back, while Zutga ia aummoned to pronounce aentence on the 
guilty lovers. His friendship for Nadir moves him to mercy, ai 
bids them fly the country. As they go. however, the high prie 
and when Zarga realizes that it ia (he woman Nadir has sworn 
and sentences them both to death. 

ACT HI 

SCENE \—The Camp of Zarga 

Zarga ia diacovered alone, brooding c 
woman he loves. His mood of despair is ii 
to hia tent and aaka him to diamiaa the guard* 
and speak with her alone. She asks mercy 
(or Nadir in a dramatic aria. 

Temer non so per me (I Fear Not) 

By Emilia Corai, Soprano 

{In Italian) *63394 10-inch, tO.?) 

She proudly refuses to plead for her own 
life, but begs that he spare the friend whom he 
loves. Zarga refuse* and aummona the guard* 
to conduct her 



SCENE II— T^e P/oce of Execution 
The scene shows the wild spot where the 
funeral pile haa been erected. Leila and Nadir 
are led in, and are about to mount the pyre 
when a red glow is seen in the sky. and Zurga 
enter* crying that the camp ia on fire, and bids 
the people By 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 whet Zurga will aay. The nu'i-' 
laHer confease* that he kindled the iiie in >"'x- "e huovina as lkiu 

•DQMi-F-aJRKeiJi—FvmlmBf»pt1nm.m,DOUaLE-FACED PEARL FtSHERRECORDS,paf 341. 



VICTOR BOOK OP THE OPERA— BIZET'S PEARL FISHERS 



Terzetto finale — Fascino etereo 

By Linda Brambilli. Soprano : Giuacppe 
Acerbi, Tenor: Franceaco Cifada. Baritone 
{In Italian) *68063 12-inch, *U5 

The loven praiae the genetoaity and gieatneu of 



Zurga, who for the aake of friendahip ha« < 

an act which may coat him hia own hfe. He bida them 
Ay at once, and they go ai the voice* of the eniaged 
hidiani are heaid returning for vengeance, NourabaJ 
denouncea Zurga (or the eacape of the victima and for 
the deatiuction of (be camp, and he i> forced to mount 
the funeral pyre. Aa the Bamea mount about him he 



Aa Zmga die* a fiery slow reveala that the foreat ii 
ablaze, and all proattate thenuelvea, [earing the diapleaaure of Brahma. The curtain falla ai 
the flames envelop the atage. 



DOUBLE-FACED AND MISCELLANEOUS PEARL FISHERS SELECTIONS 

Fl tcmpio al limitar (In the Depth* of the Temple) 1 

By Giuaeppe Acerbi and Reozo Minolfi (/n Italian) I 
rietto finale— Faicino etereo ^6B063 12-inch, >1.29 

By Linda Brambilla. Soprano : Giuaeppe Acerbi. I 

Tenor ; Francesco Cigada, Baritone (/n Italian) ) 

fan hai eompreao un cor fedel (You Have Not Under- 1 
■tood) By Giuaeppina Piccoletti, Soprano, and [ 

Ivo Zaccari. Tenor {In Italian) 168062 12-inch. 1.25 
'ahma f ran Dio (Divine Brahma I) By Lina Brambilla, 
Soprano, and La Seal* Chorua {In Italian)] 

ISiccome un di (A Fugitive. One Day) 1 

By Giuaeppina Piccoletti, Soprano {In /lal/on) > 68301 12-ineh, 1.29 



>■■ 



iPrdudio (Prelude) By La Scala Orchealra] 

Eina—Rachdt attor cht Iddio ^62100 lO-inch, 

Bo Qno MarHna-PalH. Tenor {In Italian)] 

jTemcr nan ao per me (I Fear Not) 

I Jana—Sl Jannalo mom 

"Dimi^J'aaJ BxcBrJi—For mk of a^ 



(French) 

LA PERLE DU BRESIL 

iPairi du Bnh-zeeT) 
(English) 

THE PEARL OF BRAZIL 

LYRICAL DRAMA IN THREE ACTS 

Words by Gabriel and Sylvain Saint £tienne ; music by F^licien David. First produced 
at the Th^tre Lyrique, Paris, November 22, 1851. Revived at the same theatre March, 
1658, with Mme. Miolan-Carvalho ; and at the Op6ra Comique, 1883, with Ejnma Nevada 
as Zora. 

Characters 

(With the Original Cut) 

ZORA Mile. Duez 

LORENZ, her lover Soyer 

ADMIRAL SALVADOR Bouch6 

Sailors, Brazilians, etc. 



The Pearl of Brazil was David's first dramatic work, and is the story of Zora, a youn^f 
girl whom Admiral Salvador found in Brazil, and whom he intends to educate and eventually 
to marry. They set sail from South America, but Salvador soon discovers that Zora has a 
lover, LorenZf a young lieutenant, who has disguised himself as a sailor and is on board in 
order to be near his sweetheart A storm arises and the ship is compelled to seek shelter 
in a harbor of Brazil. The natives attack the ship and almost overpower 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 Charmant 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, 
showing to rare advantage the flexibility of the voice, especially in the duet with the flute, 
with its difficult runs. 

Charmant oiseau (Thou Charming Bird) Wah Fluie OhhUgato 

By Luisa Tetrazzini, Soprano (In French) 88318 12-inch, $3.00 

By Emma Calv^, Soprano (/n French) 88087 12- inch, 3.00 

By Marie Michailowa, Soprano (In Russian) 61130 10- inch, 1.00 

Delightful bird of plumage glowing 

With sapphire and with ruby dyes, 

'Mid the shade his rare beauty showing 

Uefore our wonderstricken eyes; 

When on the branch with blossoms trembling, 

He poises swinging gay and bright, 

His checkered pinions gleams resembling 

A many-colored prism of light. 

How sweet is he, the Mysoli! 

When dav appears his ioyful singing 
Awakes the dawn's encnanted 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 troubles, 
From out the tulip tree dies away. 
How sweet is he, the Mysoli! 

From DilMD edition— Cop.v I Oliver PltBuii Co. 
342 



H. M. S. PINAFORE 

OR 

THE LASS THAT LOVED A SAILOR 

COMIC OPERA IN TWO ACTS 

Text by W. S. Gilberti rouaic by Sir Arthur Sullivan. Fint produced at the Op^ra 
Coroique. London. May 26^ 1878. Firit American production occurred in New York in 1678, 
but was unauthorized, and was fcrflowed by the nrit important production at the Boaton 
Muwniro. in November. IS79. Succewfully revived in New York in 191 1 and again in 1912. 

Character* 
RT. HON. SIR Joseph Porter. K.C B., Tirat Lord of the Admiralty. .Baritone 

Captain Corcoran. Commanding "H. M. S. Pinafore" Baritone 

Ralph RACKSTRAW, able seaman Tenor 

Dick DEADCYE. able aeaman Baa* 

BILLY BOBSTAY, boetewain'a male BaM 

Bob BEOCET, carpenter's inan 

Tom TUCXER, midihipmite 

Sergeant of marines 

Josephine, the Captain'i daughter Soprano 

Hebe, Sir Joaeph'a firat cousin Mezxo-Soprano 

UTTLE Buttercup, a bumboat woman .Contraho 

Firrt Lord'* Siater*. hi* Couiina and Aunt*. Sailor*, Marine*. 

Time and Place! The m 



VICTOR BOOK OF THE OPERA— SULLIVAN'S PINAFORE 




DBWOLF UOPPE& AS DKAOEYB 



The production of this little opera marked the tempo- 
rarjr retirement of ot>era houffe 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 without a single touch of 
the coarseness which frequendy marred the opera bouffe 
translations. 

Pinafore has an inexhaustible fund of this Gilbertian 
wit, and never fails to please an audience. When first 
presented in London, ho-wever, so little interest was shown 
that the management decided to w^ithdraw the piece, but 
its ultimate success was quite phenomenal. 

ACT I 

The story of Pinafore is so generally known that it is 
like repeating an old, familiar tale to outline the plot. The 
rise of the curtain shows the deck of His Majesty's Ship 
Pinafore. The Captain is in a mournful mood because his 
daughter does not favor his plan to marry her to Sir Joseph 
Porter, and confesses that she loves an ordinary sailor. Soon 
after she meets Ralph, who tells her of his love, but is 
haughtily repulsed. In desperation he threatens to shoot 
himself, and Josephine then confesses that she cares for him. 
Their plans to get .ashore and be married are overheard by 
Dick beadeye, a sort of comedy villain, w^ho threatens to 
prevent their elopement. 

ACT II 

In the second act iJllle 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 t\iAt 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 wed Ralph. £)/c^ Deadeye now reveals the planned elopement^ 
and the Captain stops the couple as they are stealing away, demanding where they are 
going. Ralph confesses his love, which so angers Corcoran that he swears. Sir Joseph over- 
hears him and orders him to his cabin, but on being told the cause of the excitement, 
orders Ralph also to be confined. Little Buttercup, interrupting, reveals her secret and tells 
how the Captain and Ralph were accidentally exchanged when both were 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, 
who 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 two 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 3 1 782 1 2.inch, $ 1 .OO 

Gems from ''H, M. S, Pinafore/' Part II 

"The Gallant Captain of the Pinafore •'—" When 1 Was a Ud"— "The 
Merry Maiden and the Tar" — "Carefully on Tip-toe Stealing" — "Baby 
Farming " — " Farewell, My Own " — " For He is an Elnglishman." 

By the Victor Light Opera Company 31835 1 2-inch, 9 1 .00 



344 



THE PIRATES OF PENZANCE 



THE SLAVE OF DUTY 

COMIC OPERA IN TWO ACTS 

Text by Sir W. S. Gilbert; mtuic by Sir Arthur Sullivan. The dttt p 

any Mage took place in New York, December 31, 1679, under the immediate . , _. 

Mr. Sullivan and Mr. Gilbert. Produced at the Optra Comique. London. April 3. 1660. 
Recently revived by Meatra. Shuberl and W. A. Brady. 

Characters 

Major-General Stanley Baritone 

Pirate King Baa* 

Samuel, hi* lieutenant Tenor 

Frederic the pirate apprentice , , .Tenor 

Sergeant of Pcuce Bbm 

Mabel] 

l^._^ /General Stanley'! daughtera Sopratuia 

Isabel! 

Ruth, a pirate niaid-of-all-work Contralto 

Piratai. Police, etc 

Tjnie and Ptatt : The icene h lalJ on IIk coatt of Cornwall ; llmt, Iht ptttenl. 



VICTOR BOOK OF THE OPERA— THE PIRATES OF PENZANCE 

The Piratea, u it ia {uniUaily called, i* 
one of the very few operas of note to have 
ita first production in America. Thi> unuaual 
•tep vraB taken to protect the right! of the 
compoaers and publiahera in American rep. 
reaentations of the work. 

The first act wat 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 whinuical story 
tells of Fitderic, apprenticed when a child to 
the Plrala of Penzana, who were very gentle 
with orphans for the reason that they them- 
selves were orphans! 

ACT I 
The Plrala are celebratiiig the twenty- 
first birthday of Fndtrie, who, tiring of a 
piratical career, is about to leave them to 
seek another occupation. Rulh, a "female 
pirate," begs him to marry her, and as she 
is the only woman he has known, he 
■■"' consents, after she has assured him that 

OS woLT Kotn.\ A3 iHi sEUGSANT OF POLICE ahc is "a fine figure of a woman." 

Shortly afterward Fialerle meets Genera/ 
StanlEg 's daughters, who have come to this locky shore on an outing, falling in love with 
Maiei, the youngest. The PlriHst capture Mabel'i sisters and propose to many them 
(the ladies meanwhile doing very little struggling with the handsome pirates I), but when 
their father arrives and tells them he also is an orphan, they relent and release &e gills. 

ACT II 

In the second act the Central, with a highly exaggerated seiue of honor, is lamenting 
because he has deceived the Plrala by telling them he ia an orphan. Frederic, who is about 
to lead an expedition (composed of brave policemen I) to exterminate the Anifei, comes to 
bid Mabei good-bye. 

The f^rale King and Rulh arrive and show Frederic the apprentice papers which bound 
him to the Pirata until his twenty-first birthday, and call attention to their discovery of the 
fact that as he was bom 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 Plrala 
and serve out his unexpired term of something like aix^ years! He alao considers it his 
duty, now that he is a pirate once more, to tell them of the Geneial'j 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 ELngliah noblemen "gone wrong." On 
promising to give up their piratical career they are pardoned, and this releases Frtdtric, 
who is now free to many MiAd. 

The Victor offers here, in condensed Form, six of the beat numbers from the opera. 

Gems from Pirates of Penzance 

Choruaof pirates— Solo, "Poor Wond'ring One"— Solo. "Ia There Not One 
Maiden Breast" — Solo, and Chorus, "A Policeman's Lot"— Chorus, "With 
Cadike Tread "—Finale. 

By the Victor Light Opera Company 31S08 12-inch. tt.OO 



atiUu) (Pmah) nEaiUih) 

IL PROFETA LE PROPHETE THE PROPHET 

{EMlPro-ftK-taKI lUh Pn-fth/ ) 

OPERA IN FIVE ACTS 
c by Giacomo Meyerbeec. FirM prexnied in PurU. April 16, 

, Jtion July 24. 1849. Firrt New York producllon Novemboi 25, 

Revived at the Manhattan Opera in 1909 with d'Alvarez. Lucu and Walter. Villa. 

Cluracterf 
John of LEYDEN. (ty'-ikn) the Prophet. choKn leader of the Anabaptirta , . Tenor 

BERTHA, hit aweethean Soprano 

F1DC& (Frn'-Jagi) mother of John of Leyden .... Mezzo-Soprano 



Count OBERTHAL, ruler of the domain about Dordreckt. 

ZACHARIAH. I jBaaa 

Jonas. jthree AnabaptUt preacher* <Teno 

MATHISEN, J [BaM 

Noble*, Citizens. Peaaanu, Soldiere. Priaonen. 



State and Period : Midland and Germans : In 1543, allhe Hme of Iht AnabapUtl uprliing. 

Meyerbeer's great work is certainly entitled to 
be called a grand opera, for it ii grand to the utmoal 
in theme, character and scene*; 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 i and all these requirement* 
are fully met with in Le Pri^hite. 

The plot is based on the Anabaptist fanaticism 
of the sixteenth century, which agitated a large out 
of Germany and Holland, and the leader of which 
was one Bockelson, commonly called John of Leyden. 

ACT I 
SCENE— ^ 5[iiiiri of Dordrecht. HeUaad 
The story (umisbed by the librettists describes 
John as the son of the widow Fldlt, an intikeeper of 
Leyden. At the opening of the opera he is about 
to vrcd Bertha, an orphan. She. being a vassal of 
"" ' """ the Count Obtrthal, is obliged to ask his pcrmisaiofl 

sLVA«E7 AS Tiie pBoPHET before marrying, and goes with Fidii, John't mother. 

The Count, struck with the young girl's beauty, covets her 
It and orders Fidi, and Berlha into the castle. 

ACT II 

SCENE— 7Ac Inn ojjohn In ihc Suhurit of Leaden 
nabaptists enter and being struck with the reaemfalanee ot John to the portrait 
■ . n . , I .11 . ^^^ ihey try to induce him to become their leader. He 

earn he has had. 
Juhk: Under the vast dome of ■ uplrndld trmp}^ 

[ sluod— Iht people at my fci-I were prQstrale— 
The royal coronal adoin'd my brov-l 
The Anabaptists declare that Heaven has spoken in the dream, i 
vet be a ruler; but/oAn'j thoughts turn to his beloved Bertha, and ir 
he tells them that another and sweeter life calls to him. 



VICTOR BOOK OF THE OPERA— MEYERBEER'S PROPHET 

John: Less than this thatch'd roof 

Oh, there's a sweeter empire, far, My hopes would bless. 

Which long has been my guiaing star; Sweet tiome of calm felicity, 

Ohf thou m:^ joy, my greatest gain. Where I would gladly live and die, 

If m 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 htm as the Count's soldiers enter and threaten to kill Fidis unless John delivers 
up the maiden. To save his mother's life he is forced to yield, and sees his bride carried 
otf to become the Count's mistress. 

Fidis» in her gratitude, sings this most dramatic and intense of Meyerbeer's airs, which 
has attained a world-wide popularity. 

Ah, mon fils I (Ah, My Son !) 

By Louise Homef, Contralto (In French) 88284 12-inch, $3.00 

By Ernestine Schumann-Heink, Contralto (In French) 88187 12-inch, 3.0O 

FiDfes: 

Ah, my son! Blessed be thou! 

Thy loving mother to thee was dearer 

Than was Bertha, who claimed thy heart! 

Ah, my son! For thou, alas, 

Thou dost p\e 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 Operatlo Anthelocr, bj pmnlMlon of 

My son, blessed be forever more! G. Sci> inner. (Copjr't 18M.) 

The part of Fidis, is perhaps most interesting in the opera, and this Ah, mon Jila, 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 be able to destroy Oberthal? 

power, Anabaptists: 

Did you not say follow us. In an instant. 

And you shall reign? John: 

First Anabaptist: What must I do for this? 

And again we offer thee ^ Speak, and I will quickly follow you. 

A crown to be a king. First Anabaptist: 

_ Groaning beneath the yoke of tyranny, 

J°'I'*' - , , . . , 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 thejr shall be them 

Destroyed in an instant. By Heaven, and who is found in thee. 

The compact is soon made and they depart, leaving some blood-stained garments to 
lead Fidi3 to believe John has been slain by the Count's assassins. 

ACT III 

SCENE— Camp ofAnahaplUU in the Westphalia Forest 

The city of Munster is about to be besieged by the rebels, and before proceeding to the 
charge, John, navr 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 Tamatfno, Tenor (Piano ace.) (In Italian) 95005 10-inch, $5.0O 

By Antonio Paoli, Tenor, and La Scala Chorus (Italian) 91080 10-inch, 2.00 

By Luigi Colaxza,Tenor (I>oci&i^/4HeJ-5eep.J5/) (Italian) 16578 10-inch, .75 

John: Let's unfurl the sacred flaff, 

Kin^ of Heaven and of the angels. He whom we serve is Lord 

I will praise Thee, Of Heaven and earth. 

Like David, Thv servant. Let's sing and march 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 ChoruSt 

349 



VICTOR BOOK OF THE OPERA— MEYERBEER*S PROPHET 
ACT IV 

SCENE \—A Puillc Squart In Marnier 
The iniurgenta have captured the city, Tlie Prophet i» received with mixed (eelins*. 
aome denouncinB him na an impoator. Fldii, reduced to beggaiy, meets Beriha, who haa 
eacaped from the Count and come to Muiuter to (eek John. Fidit tella her John is dead, and 
Beriha, thinking the Pmph^ is respon- 
sible, swear* to have vengeance. 

SCENE 11— rAe Mun^ir Oithtdral 
Thii magnificent cathedral scene is 
one of Meyerbeer's most brilliant com. 
positions. It forms a striking contrast 
to the rest of the opera, ao 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 Pryof 's Bind 

31903 12-inch, tl.OO 
The great symphonic march which 
occurs in this scene is by far the most 
striking inrtrumental number in Meyer- 
beer's op^a. It is brilliant and power- 
ful, with superb instrumentation, and 
always produces a marked effect on the 

As John passes into the church. 
Fidit 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 acknowledgea her. She 
finally realizes the situation, confesses 
that she is mistaken, and is led away J""" denyiso his uothes— act iv 

FiDis; FiDJs (aside): 

Y«^ the [ight conies to my darkened eyi^ O grief, lo sive his life 

People. I Have deceived you— J m"sl deny him. 

It is not my lonl — I have no longer a son. „ Have pity on him, Lord! 
Peopli: Xmiracle! A miracle; 

Hail to the great Prophet. The power of his voice has restored her reason t 

ACT V 

SCENE ]—The Gyp/ 0/ the Palace al Murate 
The first scene takes place in the prison vaulu beneath the palace, where Fidit. feeling 
certain that John will contrive to see her. patiently awaits hia coming. Slje at first denounces 
him as an ungrateful aon. then, prays that Heaven may lead him lo repent. 

Prison Scene 

By Ernestiiie Schununn-Heiok, Contralto (In French) 86095 12-iach. *3.00 

Finis (o/orTf): llirr a'ralh SHbsides.) 

O! m^ cruel destiny! Whither h^ve yoii led Though Ihou hast ahan don ed me. 

What; the walls of a prison! Iht-y artesi my Thy molh"%rd™?™^e.' 

mother; ' ™'^ " Xow^fwould give my life. 

On his head let the wralh of Heaven fall; .\nd my soul exalted, will wait tor thee in 

An officer enters and announces the arrival of the Prophet. 



VICTOR BOOK OP THE OPBR A— MEYERBEER'S PROPHET 

Fidlt then begiiu the Mcmtd part o( her great 



ThD' he be euilly, save him now 

Froin that dirk abyis which ihreifens to 

Lei ihy light' pierce this Ingriie son, 

Conscience riv'n. his soul soften. 

Like brass in furnace fierce. 

That he ratj ascend and reiga in Heav'n! 
When John enlera, Fiitt denounces the bloody 
deed* of the AnabaptiMi and calU an her son to 
repent and renounce hi> faUe robea. 
FidIs: 

But thou, whom tfae world detests. 

Yes. IbDU. biaving Heaven's behesls; 

Thou, whose fell band is reekinc with blood; 

mioi-tt^i^A, go" ■ " """ ""^ """^ 

John con(ewei hie lint and plead* for f aigiTeneM, 

°o •*'' "■'■ 70HH THE FiorBEt finally kneeling and receiving ner blening, ju*t a* a 

fBithhil officer enters and inEorma John that the Ana- 

baptiat* are plotting to deliver him to the Emperor'* force*, which are marching on the city. 

Bertha enter* through a ■ecret pB**B8e, revealed to her by her grandfather, who waa 

ODce keeper of the palace. She ha* resolved to blow up the palace and the false Prophet, 

and i* honilied to learn that John is the Prophtt. She denounce* him for his crime*, 

and declaring she ha* no longer rea*on to live, stabs herself. 

John, in deapair, resolves to die with hi* enemies, and sending away his mother, plans to 
have the palace set on fire, and goes to the banquet hall. 

SCENE II— rfis Greal Ho// <./ Iht Pa/ace 



)ieithal: 










Ifir ruml ixlo John-1 arm,. Ht r.c«tnil.t 
h„ mcthir.) 


Naj, It ate all my captives; 




John; 


lAn txphtian latti phcr, thf aallt fall a 


nd 


F.-^.^s:""'""- 


famit iprcad on iviry lidt.i 




Yes. receive my pardon; I will die with Ihee! 


on* ((o Ciont and Obirlkal): 




Fints .KD Joiih: 


Tbou. trailorl and thou, Irrani! shall per 


ish 


Welcome, sacred flame! 






To yon celestial sphere may our souls take 


Justice has sealed our doom; 




flight 1 


1 am the instrument. 




Adieu! 


We, all guiltr, are all punished! 




U, Ike fame, mount about Ihtm tht cmrUin 



DOUBLE-FACED LE PROPH^TE RECORDS 



n 



from Prophet 

Barttr of ScdtU SdtcUon 

! del cielo (Kiaff of Heaven) 

millan, Tdl BaUtt Mmle—Part III 



(Italian) (English) 

I PURITANI THE PURITANS 

(Ee Poo-ree4af/ -nee) 

OPERA IN THREE ACTS 

Book by Count Pepoli; music by Vincenzo Bellini. First presented at the Th^dtre 
lialien, Paris, January 25, 1835, with a famous cast — Crisi, Rubini, Tamburini and Lablache. 
First London producton. King's Theatre, May 21, 1835, under the title of PuHiani ed i Caoalieri, 
First New York production, February 3, 1844. Revived in 1906 at the Manhattan Opera, 
with Pinkert, Bonci and Arimondi. 

Characters 

Lord gautier Walton. Puritan Bass 

SIR George. Puritan • Bass 

Lord Arthur Talbot, Cavalier Bass 

SIR Richard forth. Puritan Baritone 

SIR Bruno Robertson, Puritan Tenor 

Henrietta of France, widow of Charles l Soprano 

Elvira daughter of Lord Walton Soprano 

Chorus of Puritans, Soldiers of Cromwell, Heralds and Men-at-Arms of Lord 
Arthur, Countrymen and Women, Damsels, Pages and Servants. 



Scene and Period : England in the neighborhood of Plymouth, in the period preceding 
the impeachment and execution of Charles II by Parliament. 



Previous to Mr. Hammerstein*s revival in 1906, Puritanl had not been given in America 
since the production of 1683, 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 written 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 
EJoira, whom he wishes to marry to Richard Forth, a Puritan colonel, but the young girl loves 
an enemy. Lord Arthur. 

ACT I 

SCENE 1 — Exterior of a Fortress near Plymouth 

At the beginning of Act I, Forth, learning that £/o/ra 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, however, takes its title from the second part of the number. 

Bel segno beato di pace (Blissful Dream) 

By Mattia Battistini, Baritone (In Italian) 88952 12-inch, $3.00 

Forth : 

Ah I to me forever lost, 

Flow'r of love, and hope the dearest! 

Life, to me thou now appearest, 

(lloomy and with tempests cross'd. 

Oh, happy and lovely dream of peace and joy! 

Oh, change thou my fate, or change my heart! 

Ah, what a keen torment, in the day of grief, 

Becomes the memory of a vanished love! 

Bruno, a Puritan officer, enters and otfers Sir Richard command of the army. He 
refuses, saying that his disappointment in love has unfitted him for so high an honor. 

353 



VICTOR BOOK OF THE OPERA— BELLIN PS PURITANI 



SCENE W— Elvira's Room in the Castle 

The next scene shows Eloira 's apartment, where her uncle. Sir George, in a fine air, tells 
her that he has persuaded her father to consent to her marriage with 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 nottc (The Night Was Growing Dark) 

By A. Perell6 de Segurola, Bass {In Italian) 55007 12-inch. $1.50 

The night was growing dark, 

And Hcav'n and earth were silent, — 

Favorable the sad hour, 

Thy pray'rs ^a\e courage to my soul, 

And to thy sire I went. 

Thus I began, — "My brother" — 

"Your angel-like Elvira 

Ts for the valiant Arthur pining — 

Should she another wed. 

Oh, wretched one! she dies!" 

Said thy father 

"She is to Richard promised!" 

"Thy unhappy chilJ," repealed I, "will die." 

"Oh! say not so," he cried. 

"I must yield, let Elvira live, — 

Ah! may «»hc be happy — 

Let her live in love! 

EloIra is overjoyed, and expresses her gratitude. Trumpets 
are now heard, and Eloira* s surprise is complete when Lord Arthur 
arrives, attended by squires and pages, and bearing nuptial 
presents, prominent among which is a splendid white veil, soon 
to play an important part in the events to come. 

Shortly after his arrival Arthur discovers that the widow of 
Charles / 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 Eloira's veil, the guards thinking it is tne 
bride. The escape is soon discovered and Eloira, supposing that 
her lover has deserted her on the eve of her bridal day, becomes 
insane. All denounce Arthur and swear to be revenged. 

ACT II 

SCENE— r^e PuHtan Camp 
Act II 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. Eloira enters, 
demented, and sings her famous air, much like the Mad Scene in Lucia. 

Qui la voce (In S^weetest 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. 

Elvira: 

It was htre in accents sweetest. 

Fte would call me — he calls no more! 

Here affection swore he to cherish, 

That dream so hapny. alas! is o'er! 

We no more shall be united, 

I'm in sorrow doomed to sigh. 

Oh, to hope once more restore me, 

Or in pity let me die! 

(Her mood changes.) 

Yes. — my father: thou call'st me to the 

temple? 
*Tis no dream, my Arthur, oh. mv love! 
Ah, thou art smiling — thy tears thou driest, 
Fond Hymen guidinp, I quickly follow! 
Then dancing and •ringing. 

All nuptial feasts providing. 
(Dancing toxcard Richard, whom she takes by 

the hand.) 
And surely you will dance with me — 
Come to the altar. 




rr HiSHKia 



ANCONA AS STR RICHARD 



353 



VICTOR BOOK OF THE OPERA-BELLINI'S PURITANI 

Eloira *a uncle, hoping that the sight of her lover will restore her reason, begs Sir 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. 5ir George agrees to this, and in 
the splendid Sound the Trumpet they pledge themselves to fight together for their country. 

Suoni la tromba (Sound the Trumpet) 

By Pasquale Amato, 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 1 

Sir Richaso and Sir George: 

Sound, sound the trumpet loudly! 
Bravely we'll meet the foemen, 
'Tis sweet affronting death! 
Bold love of country aiding. 
The victor's wreath unfading. 
Will unto us be proudly 
Restor'd by Love and Faith! 
Morn! rising on a nation. 
Whose -only trust is freedom — 
Will 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: 

Sir (Ikoeck: 

All is now concluded. 

If Arihur is defenceless — 
Richard: 

He'll find support and succor. 
Sir George: 

If he in arms returns — 
Richard: 

He comes to shame and vengeance! 

ACT III 
SCENE — A Garden near Elvira 's House 

The rise of the curtain discloses Arthur, who is fleeing from the enemy, and has come 
to the castle in the hope of seeing Elvira once more before he leaves Elngland 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 was 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 

Forgetting their present danger, they think only of their love and that they are in each 
other's arms again. 

Arthur: 

Come, come to my arms. 
Thou my life's sole delight! 
And thus press'd to my heart. 
We'll no more disunite I 
Thrill'd with anxious love and fear, 
On thee I call — for thee I sigh; — 
Come, and saj^ the love is dear 
That soareth to boundless height! 

The sound of a drum is heard, and Elvira again becomes delirious, w^hich so alarms 
Arthur that 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 sa3ring that the Stuarts "were defeated and a pardon had be^a granted to all captives. 
Eloira 's reasdn returns, and the lovers are finally united. 

{Curtain) 
354 



(Italian) (Eagtuh 

REGINA DI SABA QUEEN OF SHEBA 

iRa».gt€^-nah dee Sah'^/d 

OPERA IN FOUR ACTS 

Text by Mossnthal, founded upon the Biblical mention of the visit of the Queen of 
Sheba to Solomon. Music by Goldmark. First production 1875, in Vienna. In New York 
1885, with Lehmann and Fischer. Revived in 1905, with Walker, Rappold, Knote and Van 
Rooy. 

Characters 

King Solomon Baritone 

High PfllEST Bass 

SULAMITH, his daughter Soprano 

Assad, Solomon's favorite Tenor 

QUEEN OF Sheba Mezzo-Soprano 

ASTAROTH, her slave (a Moor) Soprano 

Priests, Singers, Harpists, Bodyguards, Women of the Harem, People. 

Scene: Jerusalem and vicinity. 



MosenthaFs story tells of the struggle of Assad, a courtier of Solomon, against fleshly 
temptation, and of his final victory which 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 
w^as too "exotic**! Later, through the influence of Princess Hohenlohe, it was presented 
and was a great success. 

ACT I 

The wisdom and fame of Solomon having reached even distant Arabia, the Queen of 
Sheba decides to visit him, and a favorite courtier, Assad, has been sent to meet her and es- 
cort her to the city. When Assad arrives with 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 Qfueen of Shd>a 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 with the King. 

ACT II 

In Act II the Queen discovers that she loves Assad, and seeing him in the garden, bids 
her maid attract his attention with a weird Oriental song. Assad starts when he hears the 
mysterious air, as it seems to bring back memories of the night at Lebanon. He sings his 
beautiful air. Magic Tones. 

Magiche note CMagic Tones !) 

By Enrico Caruso, Tenor (In Italian) 87041 10-inch, $2.0O 

A lovely melody, sung at first in mezzo-voce, develops gradually until the intense and 
passionate climax is reached. 

The Queen and Assad soon meet and confess their love for each other, but are inter- 
rupted by the arrival of the night guard. 

ACT III 

In the next scene the Court assembles for the wedding of Sulamith and Assad, but Assad 
insults his bride and declares his love for the Queen. He is banished from Jerusalem and 
finally dies in the arms of Sulamith, who is crossing the desert on her way to a convent. 

355 



LA REINEDE SABA QUEEN OF SHEBA 

(Lah FUn Ah- Sahiah-) 

OPERA IN FOUR ACTS 

Text by JuIm Bu-bier and Michel Carr^. Music by Gounod. First performed at the 
Operi, Patit. February 28. 1862. An Engliih veraion called Irene, by Famie, waa given 
in London at the Concert Palace. Auguit 12, 1865. First Atnerican production December 
2, 1665. 

Characteri in the Opera 

King Solomon Baw 

BALKIS. Queen of Sheba Soprano 

ADONIRAM. a sculptor. Tenor 

BENONI, his assistant Tenor 

PHANOR, I (Baritone 

AMRU. workmen \ Tenor 

METHUSALuI I Baas 

SARAHIU maid to the Queen Contralto 

SADOC Soprano 

The action lalfei place in Jeruialem. 

La Reint Jt Saha ii one of the four operas which Gounod composed between hi* Faaal 
1 1659) and Romeo (1867). None of these works have been very successful, but they contain 
muck beautiful music. 

ACT I 
SCENE I- The Sladio ofAdoniram 
The curtain rises, disclosing Adaniram at work on an important group of statuary. 
Baton! entera and toforma him thai the Kltig deaiiea his presence, aa the Queen ofSheta ia 

366 



VICTOR BOOK OF THE OPERA-GOUNOD'S QUEEN OF SHEBA 

expected to arrive at any moment. As Adoniram prepares to leave the studio his workmen 
demand higher wages, but he refuses them and they go out muttering threats. 

SCENE II — Square in front of the Temple 

The Queen arrives and is welcomed by King Solomon and the people. Adoniram is 
presented to her as one of Palestine's great artists, and she seems greatly impressed by the 
handsome young sculptor. 

ACT II 
SCENE — Moulding Room of Adoniram 's Studio 

King Solomon and the Queen have promised to come and see the final casting of 
Adonircun's masterpiece, and he is preparing for this event when Benoni enters hurriedly and 
reveals the plot of the workmen, who have stopped the channels so that the melted bronze 
cannot flow. His information comes too late, and the molten mass overflows, apparently 
ruining the statue. 

ACT III 
SCENE — Open place on the Feiche 

Adoniram meets the Queen of Sheba here, and she confesses her love for him. He is at 
first inclined to repel her advances, but soon falls under the spell of her fascinations and 
clasps her in his arms. He tells her that he also is of her race, the Nimrod. The faithful 
Benoni hurriedly enters in search of Adoniram, telling him that in spite of the plot of the 
workmen the moulding of his statue has been successful. 

ACT IV 

SCENE — The Great Hall of Solomon's Palace 

Adoniram is received by Solomon and the Court and proclaimed the greatest sculptor of 
the time. All leave the hall except Solomon and the Queen, who gives a sign to her maid, 
Sarahil, to bring a draught which she presents to Solomon. He soon falls asleep at the feet 
of the Queen, who takes the ring from his finger and leaves the Palace. 

ACT V 

SCENE— rAe Valley of Hebron 

AdorUram 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 great 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 
Queen 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-mch, $1.50 

By Herbert Witherspoon, Bass (In French) 74277 12-inch, 1.50 

Queen of Sheba March 

By Sousa*s Band 3 1 453 1 2-inch, $ 1 .00 

367 



IL RE PASTORE THE SHEPHERD KING 

DRAMATIC CANTATA IN TWO ACTS 

Texl by MetasUtaio ; mu.ic by MoBUt. Fir»t 
production Salzburg, April 23, 1 775. The libretto 
u the one used foT Bono'* opera of the ume 
name, given in Vienna in 1 73 1. 

Character* 
ALESSANEHIO. King of Macedonia. 
AMINTA. ahepherd deacendant of the King* of 

Sidon and lover of Eliaa. 
EUSA. (hepherdeas. 
TAMIRI. fugitive princess, daughter of the tyrant 

ACENCKt, noble of Sidon. lover of Tamiri and 
friend ofAleaaandro. 

The opera of " 11 R« Pastore " waa written by 
Mozart in honor of the Archduke Maximilian, 
the composer having been ordered to produce the 
work for the enlcrtainmenl of the Archduke 
during his visit to Salzburg in 1775. 

The story tells of the capture o( Sidon. the 

execution of the usurper Sliatone by AleiaanJro, 

HBi.>« King o( Macedonia, who places on the throne the 

rightful king, Aminia, who has been living as a 

shepherd. Alaaandro plans that the new king shall 

marry Tamiri. daughter of Siralonc, but Amlnla is 

already in love with EIha, a shepherdess, and rather 

than give her up he refuses the crown. The King. 

pleaaed with Amlnla 'a fidelity, gives his consent to 

the marriage with £&m and establishes the couple 

upon the throne. He also gives Tamiri to her lover 

Agtnor, and promises them the next kingdom he 

•hall conquer. 

The aria Uamcm »rt> coilanh. which Melba has 

sung for the Victor, was a great favorite with Jenny 

Und. The beauty of Mozart's music is enhanced by 

the pure vocalization of Melba, and no litter vehicle of 

expression for the composer's heautiCul melody than the 

perfect vocal organ of this great singer could be imag- 
ined. The double cadenza at the conclusion for voice 

provides a strong and effective climax to Melba'a per- 
formance of this line air. Kubelik's playing of the 
violin part i* a masterly performance. 

L'amero saro costante (My Love is 
Ever True) 

By Nellie Melba. Soprano, and Jan 
Kubelik. Violinist (/n FrencA) 

89074 12-inch. *4.00 kvsilik 



DAS RHEINGOLD THE RhSeGOLD 

{Dalai RM^aUf] 

MUSIC DRAMA IN FOUR SCENES 
Woidi and music by Richard Wagner. First produced at Munich, September 22. 1669. 
Firat American production at New York, January 4, 1686. 

Cbaracteri 
WOTAN, (K.'-fciAn) | fBaritone 

DONNER, L, .. iBa.. 

LOGI, :l«.'.jI-| 1 iTenor 

FASOLT, i-. _ IBaai 

FAFNEB. F-"" iBaw 

ALBERICH, iAhfJxrJjin^,.. , ,~ , /Baritone 

MIME. {m;-L_) |N.belunB. (Gnome.) \j^^^^ 

FRIOCA, [Fnc'Jtah) I [Soprano 

F"RElA. (Fiw'-oAl [CoddcMe* ]Soprano 

ERDA, [Ehr'-Jah) j IContralto 

WOGUNDE. Soprano 

WELLGUNDE. JNymphi of the Rhine ^Soprano 

FLOSSHILDE. I IConlialto 

Rhelngold ia not a "society" opera. Played in complete darknes* and with no inter- 
missions during the two hours required for its piesentalion, it is ■ work only for real music- 
lovers who understand BOmething of the story and appreciate Wagner's wonderful music. 

This first part of the ?{fng ia an introduction to the Trtlogy proper, and a full under- 
sunding of its incidenla ia necessary to properly appreciate the other Ring operas. 
SCENE \—The Bottom of the Rhine 
The stage ia in semi-darkness, representing the murky depth* of the Rhine, and the 
light glimmering on the surface of the water above shows but faintly the three Rhine 
maideni guarding the RhIntgolJ. 

They aing their quaint songs as they Boat about the rock which conceoli the treasure. 



VICTOR BOOK OF THE OPERA— THE RHINEGOLD 



deep in the earth, obaervei the 
beauty of the mBideiu and trie* la 
make love to (hem. They laugh 
at him and evade with ease hit 
clumay endeavors to catch them. 
Suddenly, aa theiun riiea.the gleam 
a( the RhIntgolJ ia aeen. j4lbaich. 
dazzled by the splendor of this 
glow, aaka what it ii, and the maid- 
ena foolishly inform him that who- 

form it into a ring can become lord 
of all the world. One condition, 
however, is that the possenor can- 
not wield this power unless he re. 
nounces forever the joys of love. 

Aibtrich, having (ailed in his 
amorous attempts towards the Nai- 
ads, now conceives an ambition for 
power. He cries, "Then love I 

to the rock, he tears the gold from 
its place and flees, while from the 
complete darkness which ensues 
comes the dwarf's mocking laughter 
and the wailing of the maidena who 
are moaning for their lost treasure. 

SCENE W-A Moanlain Top, Show- 
ing Iht CailU of fValhalla 
Ehiring this darkness the scene 

changes and as the stage becomes 

lighter we see WathalU. the abode 

of the gods, a wonderful castle 

built for Wolan by the gianU. 

Wolan and his wife are lying asleep 

on a flowery bank, but soon wake 

and see the castle which has been 

built while they slept. Wolan is overjoyed at the glorious sight, but the more practical 
FridtO teminda him of the price which he had 
agreed to pay the giants for this godly dwell- 
ing; this being the surrender of Frda, goddess 
of youth and beauty. Wotan tells het that he 
never intended to keep his agreement, the god 
Loge having promised to show him a way to 
evade payment. 

Frela now hastily enters, closely pursued 



by the giants Faaall and Fafner, who call upon 
IVotan to deliver the goddess to them as agreed. 
Wolan repudiates his promise, saying that it 



What only in jpon »r had sclllcd: 

This beauteous goddtF^. light and bright. 

What use lo you are htr charms? 

Frtlh and Danner. Filcka'i brothers, enter, 
also Logt, and a long argument ensues, Wolan 
finally realizing that he must give up Fnia to 



VICTOR BOOK OF THE OPERA — THE kHINEGOLD 



but envy could have brought thei 
when the cnfty Lege make* him . 
power. Alttiich is ao enraged t 



lat he 



the giBDla. Logt. however, tella thero of the 
RhlntgolJ, uying that if this treaauie could be 
stolen from Atbcrich by Wolan. it might be 
accepted by the giants in place of Frela. 
Wolan refuies to entertain this plan and the 

K'uita seize Frtla and cany her off. declaring 
at if the RlilnegoU is not in their hand* by 
night the original bargain must stand, and Frtla 
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 
aie suddenly aging. Wetan thereupon decides 
to secure the Nibelungi' gold, and goes with 
Logt in search of Albtrich. A vapor arises 
from the earth, concealing the stage, and when 
it disappears the scene has changed. 

SCENE m—Alhalch't Coee 
Alhtrich. since he has acquired the Rkne- 
geld, has become more arrogant and cruel than 
ever, and compels Mime and the other Nlbe- 
lungt to continually toil and slave to bring him 
in more gold. At the beginning of the scene 
he is berating Mimt for loitering over his task 
of making a Tamhelm, or magic cap, fashioned 
from the RhlnegolJ. and which gives the wearer 
the power to become invisible. fVolan and 
Logt now enter on this scene and are rudely 
greeted by Alterich, 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 lutight 
Wolan is angiy and is about to voice his wmth 
and begins to taunt AlBerich, doubting hia 






the magic of the Tamhelm, and immediately be- 
comes a huge dragon. Logt affects extreme ter- 
ror, at which AlUrlch laughs and resumes hU 
human shape again. The god then cunningly asks 
him to change to a toad, which shape he has no 
sooner assumed than Loge puts his foot on the 
toad and seizes the Tamhelm, thus cobbing <4/- 
tertch of his power. His natural form returns and 
they bind him and start for the upper eaith. The 
scene changes again to the mountain summit. 



SCENE IV- 



u Scene // 



Wolan and Logt enter, dragging the helpleas 
AlhericK who is beside himself with rage. They 
demand that he give them his hoarded store of 
gold as the price of his freedom, hfe reluctanlfy 
obeys and summons the Nibelungi, who instantly 
•warm up from below carrying the hoard. He 
then asks to be set free, but Wolan demands also 
the Ring. Alhalch is horrified, but is finally 
compelled to add it to the pile of gold. He 
tliea sings his bitter and ironical air. Bin Idt nun 



VICTOR aOOK OP THE OPERA-THE RHINEGOLD 

Bin ich nuD frei ? 
(Am I Now Free?) 

By Otto Goritz, 

Baritone 
(/n Gtrmon) 
64209 lO-incb. ll.OO 

He laya a ErightFul curae 
on the Ring, predicting that 
it will bring m'ltery and death 

restored to him again. 



1 1 r 



"-yi: 



meisurrltss mighl. , , 

Now may ils magic dc»l »ach owner death: Its far on 

No man shall eVr own it in mirth. Though long 



''e'?he'miVd-Kr™^r"niri'l"'sh 



ch several possesMiT. Till within my hand I 
who nearelh il nci: hehnid it:— 

-, delighlM. So — stirred by the har 

y them to proRl him. The Nibelung Unfri 



He vaniihea and 
IVolan. who has paid 
little attention to his 
cursing, dont ihe Ring. 
gazing at it in admi. 
ration. The giants now 
return for their pay, and 
demand that enough 
gold shall be piled 
around Frefo to hide her 
completely from sight. 
"" ■ is done, but when 



ble, and insists that it be 
Riled with the Ring. 
IVolan lelusea, and the 
giants are about to seize 
Frtia again, when Erdo, 
the earth goddesa. rises 
and delivers her appeal 
to Wolan. 



Weiche. "Wotan, weiche ! (Waver. Wotan) 

By Ernestine Schumani 

Mr. Witherspoon) 

She warns him solemnly that the Ring is cursed and charges him 



VICTOR BOOK OP THE OPER A-T HE RHIMGOOLD 



{Ske canlinurs hfr loltmn n-arning) All thai exitti, endfthl 

Ruin and diEinaL»t downfall wail Ihte In lis A disinsi dav dawns for tbe £slr: 
.CHllh, O render wisely the ring: 

Wutak: {She begini lo t<«b iloicti into thf earth.) 

Who si*aks such menacing words? Wc.tan: 

'"Whalevrr wst. was I: whal is, as well; WflT"™nd'"i'mpa'rru.ore"wiKlom!" '' 

What BDt's shall work— ell I show; Rbda idiiul-feanitu) ■ 

The endlesi world's All-wise one, Erda. opens I've warned Ihee now: thou wotl'st enouKb; 

Ihinc ry.'s. Pause and ponder truth: 

Three, the .laughters born lo mc tSlir comptrlelw disapf.-ari.) 

Mme. SchumBDn.Heink aingB this powerful number wilh dignity and dtamatic force. 

Wolen at la*t yielda and iht ?wb the Ring on the heap of gold. The giants, aa if to ptove 
the curae, immediately begin lo quarrel about iti po»c»sion. and Faioit ia killed by Fafntr ; 
after which the murderer coolly proceeds to collect the gold and then departa. 

Donner. the god of thunder, now call* up a alorm and cauaea a magic rainbow bridge 
lo form, mailing a panage to the cattle. 

Abendlich strahit der Sonne Auge (The Evening Light) 
(\(^otan's Invocation) 

By Marcel Journet. Bui (/n German) 7426S 12-iiich. *1.90 

iVolan then ainga the famoui invocation to the Castle of Valhalla, which gleama with 
great brilliance, illumined by the setting aun. The god. absorbed in contemplation of the 
castte. sings: ' 

VWiTAJi: From morning till evening thro' mighty ills 

See how at eve the eye of sunlight I won no way to its wonders. 

With Klorious touch gilds turret and tow'r; The night is nigh: from all annoy 

In the morning glamour, manful and glad, Shelter it shows us now. 

It bided masterle<s, mildly bet-k'ninn In me. So.bailed be the fort: sorrow and fear it heals! 

Aa the gods proceed acrou the bridge to WalhaUa the voices of the Rhine maidena can 
be heard from below, still bewailing the loss of their gold. 



> mighl but again 


Base a 


d bad thn 


{A,thtg<,d,d<«iycn 


>B the bridge lo the cadU. the curl 


chtfalb.) 



DOUBLE-FACED RHINEGOLD RECORD 

/Selection from the Opera By Conway's Bindl,.,, . ,,:„„«, .1 'la 

\ Gotlerdammemng Fanl<,tla (Wogner) Bi, Arlhar P^o'-* Sondi 12..i.cl«. (US 



RIGOLETTO 

OPERA IN THREE ACTS 

Text by Piave, adapted from Victor Hugo's drama Le Roi I'AmoMt. Miuic by Giuseppe 
Verdi. First produced in Venice, March II, 1851. Firtt London producbon at Covent 
Garden, May 14, 1853; at the liaUtm, Paris, January 19, 1657. First New York production 
November 2, 1857. 

Character* 

RIGOLETTO, ■ hunchback, jealer to the Duke Baritone 

Duke of MANTTJA, a titled pioflisate Tonoi 

QLOA, (M-dah) daughter of Rigoletto Soprano 

SPARAFUCILE, iSp-^hr^h^aKhtcf) ». hired assaaain B««i 

MAIX>ALENA. (MadJahJau' -noh) his sister Contralto 

Count M<»*TER0NE (Mun^r^^'jii*) Baritone 

Count Ceprano &»■■ 

Courtiers, Pages, Servants. 
SctJtt and Pttiod : Manlaa and cictnttu ; ilitttnth ccnfuiy. 

The story tells of the gay and unprincipled Dukt of Manlaa, who ia assisted in his 
crimes by his jester, Rigolello. a hunchback. The father of one of the Dake't victim* is 
mocked by Rigolelto and launches upon him a father's awful curse, which stuns and sober* 
the jester, as he, too, has a daughter, GlUa, unknown to the court. 

On his way home Rigolello meets a professianal assassin, SparafaaU, who offers, for a 
price, to kill any enemy he may have. Rigolello says he may need him later. The Duict, 
in the guise of a young student, has already met Gllda. not knowing who she is, and the 
young girl has (alien in love with him. When R'toltllo ha* left the house the Duk.t'' 
courtiers abduct Gilda and take her to the Palace. The father's rage is terrible to witness, 
and he goes to the Palace, but (oo late to save his daughter. She pleads for the Dui^'j life, 
but Rigoltllo sweats to kill him, and arranges with the aaaaasin. SfiarafudU, to accomplish 



The Dulte i* lured to a lonely inn by Sparafadle't attractive sister, MaJdalem . 
and i* about to be murdered when Maddaltna, who has taken a fancy to him. begs for his 
life. Spaiafudit consents provided a substitute should happen along before midnight. Gllda, 



365 



VICTOR BOOK OF THE OPERA — VERDI'S RIGOLETTO 



whom Rlgalttlo had biought hither (disKuiied as a page) in order that she might witneia the 
iickleneu of her lover, has been listening to the conversation, and now resolves to save the 
Duke'' life at the cost of her own. She enters the hut. is slabbed by Spara/udU, who 
delivers the body to Rigoitllo according to agreement. Rigaleilo is about to cast the body 
into the river when he hears the Dut(t'i voice in the distance. The wretched man opens 
the sack, sees his daughter and (alls senseless on her body. 

ACT I 

SCENE \-~Balli«,m in the. Dui^'i Palact 
As a fete is in progress in the ducal residence, the Duke conhdes to one of his courtiers 
that he is about to make a new conquest. Kor some months he has seen a young and 
beautiful girl at church, but knows nothing of her except that she is visited often by a man 
who is supposed to be her lover. The Duj^e then sings his first air. Qfiato o quclh. 

Questa o quella (*Mid the Fair Thronj) 

By Enrico Caruso. Tenor (In kalian) B7018 10-inch. I2.00 

By Florencio Constantino. Tenor (In Italian) 64069 10-inch. l.OO 

This melodious number is perhaps the best of the Ou^e'j solos, though usually caat 

somewhat in the background by the popular La donna c mohlle. In it the Duke announces 

himself as a man of pleasure, seta forth his code of morals, and boasts o( his conquests. 



Not one o^pr my heart hold^ away; 






i^arm rac. "^ Thiis'"do T fly from constancy's tetter; 

A glance from some bright eye in spell E'en women's spells I shun—all Iheir eflfons 

AH alike may attract, each in turn may please; A hiisbanfl (hat's icalous I scorn and despise. 
Now with one I may iriBe and play. And 1 laugh at and heed not a lover's sighs: 

Then anolher Hiay (port with and tease— If a fair one take my heart by surprise, 

Caruso's interpretation of the Dakt i« 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, — >o 
attractive that the infatuation of Gtlda 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. 



VICTOR BOOK OF THE OPERA — VE RDI'S RIGOLETTO 

Conatsntino, who haa insde a grcBt (uccsm b* the Dukt in recent seBMin*, both at the 
ManhattBn Open and in Boston, lings thii gay air with grace and abandon. 

After making another enemy in the penon of the Count Ceprano, by his marked atten- 
tion to the latter '■ wife, the Dtu^c departs. Manilla enters and eagerly announcea to the 
courtiers a rich discovery. Rigoltllo, the Dul^e'i jester, is in love I 'llie courtier* refuse to 
believe this, as Higoictlo is known as a confirmed woman-hater. Manilla insists that the 
jester makes frequent visits to a young girl. The nobles, who all hate RigaUlta (or his cruel 
tongue, are eager to turn this knowledge into a means of revenge, and agree to meet Ceprano 
the next evening for a tare adventure. 

The voice of the aged CounI Monleront, whose daughter is one of the n^ent victims of 
the Duke, is now heard outside demanding admittance. He throws aside the guards who 
seek to stop him, and entering, denounces the Dukt for his crimes. 

Ch'io le parii (I "Will Speak to Him) 

By Francesco Cigsda. Baritone; Aristo- 
demo SiUich. Bass: L> Seals Chorus 

(In Italian) +6B190 12-inch, fl.29 

Rigoltllo ridicules and mocks the old man, who 
calls him a "vile buffoon," and then, in an awful 
rage, utters bo terrible a curse upon him. — the 
curse of a father. - that all are horrified. 

Rigolcllo is stunned and sabered by this terri. 
ble malediction, for he, too, has a daughter, un- 
known to the court: and love for his child end 
respect for her dead mother are the sole redeem- 



SCENE II— /f Slrttl ; Rigolttio s Coltagt on ont aUe, 
appadte 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 5pora/uc/fc, a professional 
assassin, who offers to rid him of an enemy if he 
has one. Rigolelta looks at him thoughtfully and 
says that if he has need of his services he will 
inform him. SpatafiictU departs and RlgaleOo 
delivers his famous monologue. /^'r ,^ ecehs it 

Monolo(fo~Pari siamo CWe Are Equal) 

By Msrio Ssmnurco. Baritone {In llalion) 883ZO 12-inch. t3.00 

By Titu Ruffo. Baritone {In Italian) 92041 12-inch. 3.00 

By Ernesto Bidini. Baritone {In Italian) *45032 lO-inch. 1.00 
He looks at the retreating form of the bravo and says: 



Ktab men by daylinhi: 
hf \M a falhfr-s curse 



<He Ihiu. 



•DoMi-Fta!jRrri^rJ-Fi>rlilki>fafit»^i-^Jria DOUBLB^/ICED RIGOLETTO BECORDS. pt 



VICTOR BOOK OP THE OPER A— VERD I "3 RIGOLETTO 

ulu him about her mother, whom ahe but dimly remem- 
bere. Rigoieilo avoids her question and nngi a pathetic air. 
in which he hen her lo refrain from question! regarding 
their paM Mfc. The duet then followa : 

Deh non parlare al miaero (Recall Not 
the Past) 

By Mme. MaKrini. Soprsno, and Titta RufFo, 
Baritone (In lletlm) 09058 12-ineh. (4.00 







S^^k no, oSo^^'^ho^ l<«s lo Ihee 
All eanh can boast could ne'er restore; 






Jer angel form net hi nk. 1 see. 
Who lov'd me. Ihough dcform'd and poor. 
Pity, oh! Gilda: spare me! 






Falher. dear father, calm yourself. 
Or my heart will surely break. 

■ The^^-^Vha" wdSenii you imparl. 


SAUMAl 

RlGOLlTin 

is. 

In Mhei 


ICO AS iioouino 


useless myself lo diacovei 
It (hat thy father 1 am. 

rs. perhaps envy 1 exdie. 


Thou art my country, family and frii 



Gilda; Ah! if happier I could make yon. 

Counlty, family, posstss you none? What joy lo my heart it woulcl bi'mn: 

He embraces her tenderly, then, recalling the curse, solemnly enjoins her lo keep 
within the house and never venture into the town. Qlda says she has only been lo 
Mass each Sunday, but does not tell him of the student with whom she had exchanged 
fond glances, RigoltUo summons the maid, Gfocanna, and questions her, beginning another 
lovely duet, full of pathos. 

Veglia o donna (Safely Guard This Tender Blossom) 

By Maria Galvany and Titta Ruffo (/n llalian) 91900 lO-inch, >3.00 

He warns the maid to always closely guard her mistress from any danger. 
RinoiETTo: Giu)a: 

Safely Ruaid this lender blossom, Ah' such fear for me revealing. 

Which to thee I now confide: Father dear, why ihug display? 

In her jinilcless heart and bosom One from whom there's no concealing 

fiigolith bids his daughter a lender farewell and takes 
kia departure. The Duitt, again dressed as a student, now 
enters, having previously purchased the silence of Glecanna. 

Gllda is alarmed, not thinking her innocent flirtation in 
the church would lead to this, and bids him begone, but he 
reassures her, beginning a fine dueL 

E i\ sol dell* anima (Love is the Sun) 

By Giuseppina Huniet and Fernando de Lucia 

(In Italian) 920S6 12-inch. tS.OO 
By Alice Nielsen and Florencio Constantino 

{In Italian) 74065 12-inch. 1.90 
He soothes her fears, telling her he loves her with a pure 
devotion. 

Love is the sun by which passion i> lighted, 
Happy Ihe mortal who feels its power: 
Each pleasure once prla'd without it seem* 

blighted: 
With it we heed not what fate may shower. 
Feeling celestial, no joy terrestrial 
Kver to me can such sweet joys impart 



VICTOR BOOK OF THE OP 



R.DI*S RIGOLETTO 



FooMteps are now heard, and after a tender farewell he Icsaves. after telling her that 
faia name i> Waller Malde. 

Gilda remaina pensively gazing at the gate through which the pretended atudenl has 
departed. In laptuioua toliloquy ahe singB: 



Caro notne (Dearest Name) 

By Luisa Tetrazztot. Soprano 
By Mircella Sembrich. Soprano 
By Nellie Melba. Soprano 
By Graziella Pareco. Soprano 
By Edith Helena {Doi,tk-f<r«t-Stc fw 
By Marie Michailowa. Soprano 
Then the lovely air, Caro Nome, begin*. 



(/n Ilallait) 88299 

Un Italian) 88017 

(/n Ilallan) SS078 

(la Italian) 7600T 

(/n EnglUh) 39067 

(In Rutalan) 61141 



17,- 


inrh 


*3A>0 


12- 


inch. 


3.00 


12- 


inrh. 


3.00 


U- 


inrb 


2.0O 


12- 


inch, 


1.29 


10- 


inch. 


1.00 



Oh. dial 
Oh n 



Ey'ry Ihoughl ti 



Melba's rendition is worthy of ao exquisite a number, and she has aurpasaed herself 
here. Tlie ease with which she aingi Is wonderful, and her voice shows in an unusual de- 
gree that luscious smoothneas, golden purity and perfect equality for which it is noted. 

The character oF Gllda 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. 

Tetranini's delivery of this lovely air is marked hy surpassing beauty of tone, the 
roulades, trills and slaccatoa 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. Rlgo- 
ItHo returns and is much alarmed to see them in this neighborhood, but his feaia 
are allayed when they announce that ihoy have come to carry off Ctprana') wife, as 



VICTOR BOOK OF THE OPERA — VERDI'S RIGOLETTO 

he is well swsre tlml the Duke 

hai had deiigiu on that lady 
for Mine time past. He tella 
them Cyrano 'i palace is on 
the oppoaite side and offers to 
help them. They insist that 
he must be disguised and 
contrive to give him a mask 
which coven his eyes and 
ean. and lead him in a circle 
back to hie own balcony, giv- 
ing him a laddei to hold. 
Gllda is seized, her mouO) 
gagged with a handkerchief, 
and she is carried away. 

Rigolello. suddenly finding 
himself alone, becomes suspi- 
cious, tears oB his mask and 
finds himself at his own bal. 
cony. Frantic with fear he 
rushes in, finds his daughter 

gone, and falls in a swoon as ' — "' " 

the curtain descends. ACT II 

SCENE— .^ Holt In Iht Dakc'i Palace 

Panni veder le lagritne (Each Tear That Falls) 

By Enrico Caruso. Tenor {In Italian) 88429 12-iaeh. *3.00 

The Dukt, after his tender parting with Qllda, in the previous act. had again returned 
to the/e)(er'i house, only to find it deserted and the young girl gone. Not knowing that his 
courtiers had carried her off under the veiy nose of Rlgoiello, he bewails the unhappy fate 
which has robbed him of his latest conquest As we hear him sing his pathetic lament, 
we forget his real nature and almost sympathize with the tinhappy loverl 

This melodious number has been much neglected in American performances of the 
opera, being usually omitted. 
Ths Dusb: 

l>•^aI maid, ucli tut at tliine Ilial fsll\ No aid rould I alTord Ihte: 

Kach Md ■.idh ilial bosom hi^aving Yet. could my life thy woes repay. 

Pining within some drrary mlla, Cladly txchang'd it should be. 

Fills me with grief there's no relieTing. Not e"rn the angcd' blessed sbode 

.\h: vainly diiAt thou ery to me. Could |H;ace lo me restore. 

"Hel|> me. dear Walter, help!" If from thee sptrt. 

The courtiers enter and tell the DiJft that they have captured Rigaltllo'i mistress. He 
expresses his appreciation of the adventurer not knowing they had abducted the young girl 
he had just left, and asks for particulars. They sing their chorus, Scotrendo anilt. 

Scorrendo unite remota via (On Mischief Bent) 

By New York Grand Opera Chorus {In Ilailant 64049 lO-inch, »IM> 

which gives the details of the huge joke they have played on Rigoletio by making him assist 
in the capture of his own mistress. 

CoUtTIEBS: 

Unto a lonely abode directed. 





,s.-jsi'.ii,s, 








IIi> eyes »er 


e Iwndag'd. he did 







When Rigolello just then came by u,, And the startled 

When the Duke learns that Cilda is in an adjoining room he joyfully goes to her, saying 
that her fears will be soothed when she discovers he is the Walttr Malde she loves. 

Then occurs one of the most dramatic scenes in the opera, and the greatest opportunity 
for Rlgoiello. This scene has been recorded in its entirety by Amato, one of the greatest of 
Rigeltllot, assisted by Bada, Setti and the Metropolitan Chorus. 
371 



VICTOR BOOK OF THE O PERA — VERDI'S RIGOLETTO 



Povero Rigoletto ! (Poor Ritfoletto !) 

By Pasquale Amato, with Bada.Setti and Chorus 88340 12-inch, $3.00 

Rigoletto's voice is now heard outside, singing a careless air. He enters, affecting in- 
difference, but trying to find some clue to Gilda '5 whereabouts. A page enters with a mes- 
sage (or the Duke and the courtiers tell him their master cannot be disturbed. Rigoleito 
listens, his (ears becoming confirmed, and he exclaims : 

RiCOLETTO: RiC.OLKTTO: 

Ah, she must be here then! Yrs. my daughter! 

In yonder chamber! The maid whom you last night 

CouKTiERS: If a sweetheart you've lost, From my roof carried hither. 

Go somewhere else to seek her! Ah, she is there, I know it! 

RicK)LETTO (U'ith terrible emphasis): (Rushes toward the door, but the courtiers bar 

Give me my daughter! his passage and a terrible struggle occurs,) 

Courtiers {in astonishment)'. She i^ thrrti nand back, I tell yc! 

What, his daughter! 

His rage, now terrible to witness, is expressed in the second part. Cortigiani, oil razza. 



Cortigiani, vil razza dannata (Vile Race of Courtiers) 

By Pasquale Amato, Baritone {In Italian) 88341 12-inch, $3.00 

By Titta Ru£fo, Baritone, and La Scala Chorus {Italian ) 92066 
By Etnilio Sa(fi-Barba, Baritone {In Spanish) 74161 

By Renzo Minolfi, Baritone * 165 73 

He at first denounces them as abductors and assassins, then breaking down, asks for pity. 

RlGOLETTO : 



12.inch, 3.00 
12-inch, 1.50 
10-inch, .75 



Race of courtiers, vile rabble detested. 

Have 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 pour! 

{Again making for the door.) 

Let me enter, ye assassins, stand back! 

That door I must enter! 

{He struggles again with the courtiers but 

is repulsed and gives up in despair.) 
Ah, I see it — all against me — have pity! 



Ah, I weep before yc, Marullo. so kindless? 
Others' grief never yet saw thee mindless. 
Tell, oh tell where my; child they have hidden, 
Is't there? — say in pity — ^thou'rt silent! alas! 
{In tears.) 

Oh, my lords, will ye have no compassion 
On a father's despairing intercession? 
Give me back my belov d only daughter, 
Have pity, oh give me back my child, 
In pity, oh hear me implore! 



This affecting scene is ended by Gilda, who now enters, in tears, cmd embraces her father. 



RicoLETTO {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? 



(iiLDA {hiding her face): 

Dishonor, oh my father! 
RlGOLETTO : Horror! what say'st thou? 
Gilda: 

Father, oh hide me from ev'ry eye but thine! 
RlGOLETTO {imperiously . to the courtiers) : 

Hence, I command, and leave us! 



If the worthless duke ye serve dares approach, 
I forbid him to enter! 
Say that, I charge ye! 

Tlie courtiers, somewhat ashamed, obey, and Gilda begins her pitiful confession. 



Tutte le feste al tempio (On Every Festal Morning) 

By Marceila Sembrich and G. Mario Sammarco 89042 12-inch, $4.00 

{In Italian) 88242 12-inch. 3.00 

{In Italian) *45000 10-inch, l.OO 

{In Italian) '•'62083 10-inch, .75 



By Olimpia Boronat, Soprano 

By Laura Mellerio and Ernesto Badini 

By Giuseppina Huguet, Soprano 

Gilda: 

On ev'ry festal morning 

Near to the holy altar, 

I saw a youth obscrvinR nie. 

Beneath whose gaze mine did falter, 

ThouRh 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 ine, 

And I gave him vow for vow. 
RiGOLETTr) (despairingly) : 

Ah! that thou be i^parcd my infamy 

I've wearied Heaven with praying. 

That every good may light on thee 

Far from the world s betraying. 



Ah, in my hopeless misery, 
My saint I have enshrined thee. 
In horror and anguish here I must find thee. 
Thy future all turned to woe! 
(To Gilda.) 

Daughter come, let me comfort thee in thy 
sorrow — 
Gilda: 
Father! 

RlGOLETTO : 

Weep here, weep, on my heart thy tears may 

flow. 

(tILDA: 

Father, in thee an angel doth comfort bestow. 



♦ Pwhle-FaceJ Record— For Mle c/oppo$Ne side jee DOUBLF^FACED RlGOLETTO RECORDS, page 378. 

372 



VICTOR BOOK OF THE OPERA— VERDI'S RIGOLETTO 
Ptaiufi fanciuUa CW^eep. My Child) 

By Marii Galvany, Soprano, and Tina Ruffo. Baritone 

[In kalian] 92902 12-inch, *4.00 
By A. Cawani, Soprano, and F. Federici. Baritone '49032 lO-ineli. 1.00 

FoUdwiiiB the duet RigoitHo exclaima : 



Oh. how all our fate hai been changed in a 

The CmuiI Monltnitt now paaaea thiough (he hall under guard. He pauaea before the 
Dnk' * portrait and eiclunu ; 



RigoUHo, gazing after Afonferone, grimly aays thai vengeance will not he long delayed. 

Si veiuietta (Yes. My Vengeance) 

By Maria Gilvany. Soprano, and Titta Ru&o. Baritone 

(InltaUan) 9190I 10-incb. t3.00 
By Laura Mellerio and Eroeato Badini {In llallan) *49000 10-ineh. 1,00 

He in turn gazea on the Duke'i portrait and ainga fiercely: 

RlCOLETTO; IMLIIA <li»i>dl.v): 

But 'twill nol be long thui. ibe avenger is lleav'n dolh know hit crime alrocioui. 

nigh. Ob, miabl I avert its »rath— 

aa^etlwutly.) RiooLEiTo: 



(In my heart there's 


nought of aogcr.) 


Tn^-u^h.Tf.^iTfSS 


ce 1 doom ihee— 
cr's wrath! 


fifiilr"'"" 


writb Of H«a«B 



» DOUBLE-FACED RIGOLETTO RBTORDS, m 



VICTOR BOOK OF THE OPERA — VERDI'S RIGOLETTO 

ACT III 

SCENE 1— i4 Lonely Spot on the Rioer Mindo 

A houae, half in ru.in$» at one side. The front of the house, open to the spectator, shows 
a rusttc 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 Mindo is seen in the background, behind a ruined parapet; bejfond, the towers of 
Mantua, It is night. Sparafucile is in the house, seated b}^ a table polishing hts belt, unconscious 
of what is spoken outside. 

Rigoleito 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: 



RiGOLETTO : 

Thou lov'st him? 
Gilda: 
Always. 

RiGOLETTO : 

Still to love him is mere infatuation. 
Gilda: 
I love him. 

RlGOLKTTO: 

Ah, tender heart of woman I 

Oh, base despoiler! 

Thou, my child, shalt yet have vengeance. 



Gilda: 

Nay, rather pity. 

RiGOLETTO : 

And if I could convince thee that he is 
worthless, wouldst thou still then love him? 

Gilda: 
Perhaps. 



Ah, he does love me! 



RiGOLETTO (leads her towards the house to look 
through a fissure in the wall): 
Come here, and look within. 



She does so, and is starUed to see the Duke, who comes in disguised as a soldier. He 
demands some wine, and while Sparafucile is serving him, sings his famous La donna e mobile. 



La donna e mobile (W^oman is Fickle) 

* By Enrico Caruso, Tenor 

By Florencio Constantino, Tenor 
By Giuseppe Acerbi, Tenor 

This familiar canzone, beginning 



(In Italian) 87017 
{In Italian) 64072 
(In Italian) *62083 



10-inch. $2.00 
10-inch, l.OO 
10-inch, .75 




LadotMMtmO'bi-kqaalplD'maalTm-to, Bra>ud'ac • c«n>to • dl pto rie • i« 
Vmmm "STa* • U,/UtgMl.io'.rttA-*r.Mdv'dli»eHU/ea't»*riorm*i!ytkebree-M€i 



is perhaps the best known of all the airs of the opera. Its spontaneous melody pictures the 
gay, irresponsible character of the young noble who thus sings of changeable womankind. 

Duke: 

Woman is fickle, false altogether, 

Moves like a feather borne on the breezes; 
Woman with guiling smile will e'er deceive 

you, 

Often can grieve you, yet e'er she pleases. 
Her heart's unfeeling, false altogether; 
Moves like a feather borne on the breeze. 
Borne on the breeze, borne on the breeze! 

Wretched the dupe is, who when she looks 
kindly. 

Trusts to her blindly. Thus life is wasted! 
Yet he must surely be dull beyond measure, 

Who of love's pleasure never has tasted. 
Woman is fickle, false altogether, 
Moves like a feather, borne on the breeze! 

Caruso delivers the gay air w^ith 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. 



* DoMeJ^ooad Record— For tflk of oppoaile tide 



DOUBLE-FACED RIGOLETTO RECORDS, 
374 



373. 



VICTOR BOOK OF THE OPERA — VERDPS RIGOLETTO 

At the doae of the Dakt'i aoiiB Sparafudlt enter* with the wine. He knocks twice on 
ihe ceiling and a young girl comes down. The Dui^e tries to embrace her but she laughingly 

escapes him. Now occurs the great Quartet, one 

of the moat famoua of concerted piecea. 

Quartet— Bella fi^lia deiratuore 

(Fairest Daughter of the Graces) 

By Bessie Abott. Soprano; Loui*e 
Homer.Coatralto: Enrico Caruso. 
Tenor: Antonio Scotti. Baritone 

(Inllatlon) »6000 12-inch. *6.00 
By Mareella Sembrich, Mmc. Sev- 
erina, Enrico Caruso and An- 
tonio Scotti 

(/n llallan) 96001 12-inch. 6.00 
By Giuseppiaa Hufuet, Emma Zac- 
caria, Carmelo Lantirotti and 
Fraaceaco Cicada 

(/n nallan) *6B06T 12-inch. U5 
By Victor Opera Quartet 

(In llallan) 70013 12.inch. 1.25 
By Kryl's Bohemian Band 

*99239 12-iach. 1.25 
By Huguet. Zaccaria. Lantirotti. 

and Cigada 98399 12-inch, 1J>0 

By Pryoi*s Band 3 1471 12-inch. l.OO 

><iN3T>HiiNo A< T>ii! PITKP.-ACT Til By Pryor'sBand *162r6 10-inch. .75 

Among the musical gem* with which the score at Rigolelto abound*, none is so well 
known and univenally admired as this fine number, sung by the Duke. Cllda. MaddaUita 
and Rigolelto. It is undoubtedly ihe moat brilliant and musicianly of all Verdi's concerted 
pieces, and the contrasting emotions — the tender addrcaae* and coquetry on the one aide. 
and the heart-broken aobs of GilJa and the cries for vengeance of her father on the othei-— 
ate pictured with the hand of a geniu*. 

No less than five records of this great number, in various clasaes, also three instrumental 
renditiona, are offered by the Victor. The singers who have been engaged for these records 
are all noted for their artistic interpretationB of the characters represented. Caruso's Dul[t, 
with its gloriou* oulpouiinga of luscious voice in the lovely airs; Sembrich 's perfect por- 
trayal with its wonderful vocalization ; Abott's girlish and brilliantly aung imper- 
sonation: Homer's MaddaUna. 

to Bltract any Duke, and whose 
one voea! opportunity occurs 
here; Scotti's truly wonderful 
and superbly sung Jaler, one 
of the most powerful Im- 
persona lions on the operatic 
stage— all these are familiar 
and admired portrayals: ivhile 

black label record* are all 
well-known and competent 

The situation at the open- 
ing of the act is a most dra- 
maticone. The ZXiite. gay and ""ra ••"- thi ouasiei — jurt in 

' D«iUi-FactJFIta-d— Fcrmk^opBtiai MtJi IK DOUBLEJ^ACED RIGOLETTO RECORDS. »at, 37a. 



VICTOR BOOK OF THE OPER A — VERD I "S RIGOLETTO 

: the BHBMJn hired by RlgoltOc 



making love t 

T hi> opportunity. 

t, beginning the quartet: 



FBireil daugliler of the iricei, 

I thy humble iLivc implore ihce. 

With one lender wordlo jav restore me. 

End (he pangt, the pangs of unrequited \m 



Madbalek* (rcpuliin^ Aim): 
I appreciate you rightly, 
All you lay f, but to flatter. 
Ah. I laugh Id think how many 

Rlgoletto, who deairei ta prove to QUo that her lovei 
> faUe, bida her look through the window of the inn al 
he (cene within. The unhappy girl, convinced, eidaims ; 



WokU *S^ the« \ 



V goea to hii bediooro and it aoon aaleep. RigolcUo bida hii daughter | 



he will meet her ther 



She 



Icllo payi Spargfucllt halF h 
price, the remainder to be 
paid on the delivery of the 
body o( the Dul^c at midnight. 
Rigoltllo goes away just aa 
QlJa. who has diaobeyed her 

what ia going on inaide the 
houae. SparafudU enter, the 
house and MaddaUna. who 
haa taken a fancy to the Dukt, 
bega her brother to apare hia 
life, delicately auggeiting that 
he kill Rigoletlo and take 
the money from him. Spara- 
facile ia indignant and pro- 
tests that he haa never yet 
failed in hia duty to his em. 
-ployers. Maddatcm pleads 
with him and he finally aaya 
if another gucit should enter 
he will kill him instead of 
the Duke. 

' 7f"1ome o 



\TS^i^ 



VICTOR BOOK OF THE OPERA — VERDI'S RIGOLETTO 

During this dramatic scene a storm is raging, and in addition to the stage effects of 
thunder and lightning Verdi has the chorus humming in chromatic thirds to illustrate the 
moaning of the wind. Thb scene is given here in a most impressive record. 

Tempesta—Somitflia 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. $1JK5 

GilJa 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. SparqfudU, fearing that Rigoleiio 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 gazes on the body with a horrible satisfaction, saying: 

RiGOLETTO : 

He is there, pow'rless! Ah, I must see him! Ves, my foot is upon him! 

Nay, 'twere folly! 'tis he surely! 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! 

Here the buffoon is monarch! Away, now I 

He is about to drag the sack towards the river, when he hears the voice of the Duke 
leaving the inn on the opposite side. 

Duke: 

Woman is fickle, false altogether, etc 
RiGOLETTO (tearing his hair): 

That voice ! Am I mad ? What fiend deludes me ? 

No, no, no! here I hold him! 

(Calling 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, recognising Gilda.) 

My daughter, oh, Heav'n, my daughter! 

Ah, no! Not my daughter! She is in Verona! 

'Tis a dream! 

Then begins the wonderful final duet, a fitting end to such a noble and powerful work, 
and a number which is unfortunately omitted in American performances of the opera. 
However, the Victor customer, more fortunate than the opera-goer, may hear it at his 
pleasure. 

LabsH in cielo (In Heaven Above) 

By Graziella Pareto and Titta Ru£Fo (In Italian) 92506 12-inch. $4.00 

By Giuseppina Hutfuet and Rcnzo Minolfi (In Italian) *68067 12-inch, 1.25 

RiGOLETTO: The assassin deceived nic. llola! 

'Tis Gilda! (Knocks desperately on the door of the house.) 

(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 calls me? Child, in pity, oh speak not of dying; 

Rigoletto: Stay thou to bless me, oh leave me not alone. 

Ah, she hears me! She lives then! Gilda (feebly): 

Oh, thou, my heart's only treasure. There we wait, my father, for 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: Ah, no — forgive my betrayer, my father. 

Heaven'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? Rigoletto: 

Gilda: Gilda! my Gilda! I've lost her! 

Father, oh ask net, (He recalls the curse.) 

Bless thy daughter and forgive her. Ah! 'twas a father cursed me! 

(Tears his hair and falls senseless on the body,) 
(Curtain) 

* Douhle^aceJ Record— For lUk ofofiposHe tide $se DOUBLEJ^ACED RIGOLETTO RECORDS, page 378. 

377 ' 



VICTOR BOOK OF THE OPERA— VERDPS RIGOLETTO 



Gems from Rigoletto 

Chorui, "Pleasure CalU Us"— Solo a; 
(Cam Nomt)~Dact. "Love is (he Sun"- 
"Fnireil Daughler" — Finale 
By the Victor Open Company {In English) 31386 12-iiich. J 

Rigoletto— Paraphrase de Concert (Verdi-Liszt) 

By Vladimir de Pachmann. Pianist r426I 12-inch, 1 

DOUBLE-FACED RIGOLETTO RECORDS 
rCh 'io le parli (I 'Will Speak to Him) I 

By Ci^aiU. Sillich and La Scala Chorus (/n /(<i//an>L-,^. 
Tempesu-SomiBlia nn Apollo (He's Fair as Apolloj *•*'*' 

I By BrambiUa, CappicUo. SiUich and ChorusJ 

iCaro nome (Dearest Name) By Edilh Helena (/n EngHih)\,,^,. 
Sonnambula-Ah, non glangc By Edith Helena {English) (^^°^ ' 

Quartet— Bella fi^lia dell' amore (Fairest Daughter of the 
Graces) By Giuscppina Hut(uet. Emma Zaccaria, Carmelo 
Lanzirotti and Francesco Cigada {In Italian) 

Laaaik in cielo (In Heaves Above) By Giuscppina 

Huguet. Soprano, and Rcnzo Minolfi, Baritone {In Italian) 

(Quartet By Kryl's Bohemian Band) 

) Tfooalort SelKliin {Hume l„ Our Mountains) VasdlaS Bandj 

rMonoIotfO— Pari siamo By Ernesto Badini (/n Italian)) 

IPiaogi fanciulla By Cassani and Fcdcrici {In Ilailan)] 

[Tutte le feste al tempio lOn Every Festal MorningJ 



12-Jnch. : 
6806T 12-inch. 



45032 



iln Italia- 



Usooo 



By Laura Melicrio : 

I (Yes. My Vengeai 
I By Laura Melicrio and Ernesto Badini 

iCortitfiani. vil razza dannaU I Vile Race of Cou 
< By Renzo Minol&, Baritone 

I Lo/tnx — Fanlalsle awe dtvlns By M. Rocca, Tenor 

{Tuttc Ic feste al tempio (On Every Festal Morning) 
By G-useppina Huguel. Soprano (Io Ilailan) ^62083 
La donna e mobile By Giuseppe Acerbi. Tenor {Italian) ) 

(Rigoletto Quartet « . . ". , ^ ., 

I Peocanake, March 



]0-inch. 
lO-ioch. 



(/-, Italia.,)] 

lln /tofton)[l«i573 
l/nFrencA)) 



By Arthur Pryor's Bandl,fc,-fc 
Bs Arthur Prycr-s SonJJ"*"" 






RINALDO 

OPERA IN THREE ACTS 

Test by Adam Hill : Italian text by Roni. founded on ihe epiw>de of Rlimldo and Armlda 
in Tasso'i Ctruialemme llbtrala. Music by George Frederick hlandel. 

RlnalJo was produced at a time when Italian music had become 
tbe fashion in London, and the compcwer followed the plan then in 
vogue, to write the dialogue in recitative form. This opera was writ, 
ten by Handel in the amazinKly brief lime of fourteen days, and iiral 
performed at Queen's Theatre. February 24, 171 1. The work was put 
on to siBnalize 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 RinatJo, Rossi wrote the Italian libretto, and Handel hur. hahdel 
riedly dashed off the music. 

The opera ran for fifteen consecutive nights— an unprecedented feat for thai age — and was 
mounted with a splendor then quite unusual. Among other innovations, the gardens of 
AnniJa were filled with living birds, a piece of realism hardly outdone even in these days. 

Characters in the Opers 

RINALDO, a knight Soprano 

ARMIDA, an enchantress Soprano 

ALMIRENA. Godfrey's daughter Soprano 

ARCAt^E. a Pagan king Bass 

Godfrey, a noble Bass 

EOSTAZIO Alto 



RinalJo is a Knight Templar who loves Alminna, daughter of Codfrcs, The enchantress. 
Armlda, also loves Rlnaldc, and in a jealous rage seizes Aim lena and conceals her in s 
magic garden. Armida'i lover, a Pagan King named Argantt, complicates matters by himself 
falling in love with Alminna. RlnalJo finally rescues Almlrena. 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 Laida ch 'I'o 
planga, in which Alminna 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 dramatic passages. The melody is a beautiful one. 

Lascia ch'io pianga ('Mid Lures! 'Mid Pleasures 1) 

By Ernestine Schumann-Heink. Contralto IJn llallanj 68169 12-inch. *3.00 



The bli^', of Hva 



(Fnaafc) (EafUih) 

ROBERT LE DIABLE ROBERT THE DEVIL 

iRohUr hh Dm-alf-U> 

OPERA IN FIVE ACTS 

Words by Sciibc and DeLavignei music by Giacomo Meyeibeer. First prescDled nt ihe 
Acadimie. PaiU, 1831; in London, in EnBlish, at Drurv Lane, 1632; in Italian al Ker 
Majaty'i Theatre. May 4, 1847 lUimt appearance of Jenny Lind). 

Cast 

Robert, Duke of Normandy Tenor 

BERTRAM, the Unknown Baw 

Isabella. Princess of Sicily Sopiano 

AUCE, foster aister of Robert Soprano 

Knights. Couitiera, Heralds, Pilgrims, Peasants, Chaplains. Piieits, Nuns. etc. 

~'~ Although Meyeibeer had 

produced seveial operas, moat- 
ly unsuccessful, it was not 
until the production oF Robert 
le Diable in 1831 that the 
genius of the composerbecame 
known. The opera met with 
an unpaialleled auccen and 
really made the fortune of the 
Paria Op#ra with its splendid 
scenic effects, brilliant instru- 
mentation, vigorous recitative 
and its heroic and partly 
legendary story. 

RiAerl. Dakt of NonnaTtdy. 
who was called Robtrl Ihe DtUt 
because of his courage in 
battle and his successe. in 
love, is banished by his sub- 
iects and goes toSicily. where 
he continues to struggle with 

~, .. Bj, £vi] Spirit, which seem* 

to tempt him to every kind of 
excess. Alice, hie foster sister, suspects that his supposed friend Bertram, is in reality thia 
evil inSuence. Al the close of Act I Roberl, led on by Berlram, gambles away all hia 
possessions, and failing to attend the Tournament, loses the honor of a knight and greatly 
displeases the Lad// hahella. whom he loves. 

The second act shows the entrance to the Cavern of Satan, wherein a company of Evil 
Spirits are collected, and where occurs the great scene for Berlram and the chorus of fiends. 

Valse Infernal, "Ecco una nuova preda" il Have ^^ell Spread 
My Toils; 

By Marcel Journel and Chorus {In French) 74282 12-inch. *l.SO 

Beriram promises the Demons that he will complete the ruin of Robert and the fiends 
rejoice al the prospect of adding another soul to their company. 

Hm"**!; 01 their inftrnal joy * • * the fallen 

t have »f|] spread my toils, anolbcr soul to spiril^ >cck 

caplurr! , ^ . To drown their remorse in hellish mirth! 

At which c^ons'mmt rejoice! Ye demonK. who Heaven and its" laws defy, 

(A ifblerraniBu, noije is lirnrd: darkncis The sound of your revels now mounts to Ihe 
falli. Berlram, under Ike control of Ihe sky, ^ 

Kio(! of fallen anse^s! rufrr mine! •,',', PraiK'^lh"'ma«pr" who reigns over ui. 



VICTOR BOOK OF THE OPERA-ROBERT THE DEVIL 

Alice, who hat come to the vicinity of the cave to meet her lover, overhear* (hia infernal 
bargain and determinea to cave him. Rohtrl, dejected over the loM of his honor and 
wealth, meets Bertram, who promises that all shall be restored to him if he will have the 
courage to visit the rubed abbey and secure a magic branch, which can give wealth, power 

Du rendezvous (This is Our Meeting Place) 

By Edmond Clement and Marcel Journet (/n French) 16020 12-inch, t2J>0 

Le bonheur est laus I'inconstance (What is Life Without Change ?) 

By Edmond Clement and Marcel Journet {h French) 16021 12-inch, *2.00 
The next scene shows the ruins, where Bertram invokes the aid of the buried nuns in 
completing the downfall of Rabe^. This famous invocation is sung hero by Ptan;on. 

Invocation— Nonnes. qui reposez (Ye Slumbering Nuns) 

By Pol Plan«on. Baritone (In French) 85129 12-iDch, *3.00 

Bertram speaks of the founding of the convent and of the false nuns who lie buried 
here, and calls upon them to arise. 

BratSAK: Whose unholy devotion was offered to other 

Here src Ihe nuns of the ancient monsstefy, . goiU. 

Rosalie. For an boor roraske your sepulcher beds.' 

Merc lie buried the filic dsughten King of Hell, it is I who calls yon. 

The spectres arise, and 
when Roterl appears they 
dance around him and lead 
him to the grave of Si. 
RoMalte, where he is shown 
the magic branch. Overcom- 
ing his fears, he grasps it, and 
by its power defealsthe mul- 
titude of demons who arise 
from the infernal regions to 
prevent his escape. 

In the next scene Roierl 
use* the branch to become 
invisible, and goea to LaJji 
hiiella't room to carry her 
off. In this scene occurs the 
"Oh, 
eloved," 

Robert. O tu che adoro (Oh. Robert. My Beloved I) 

By Margarete Maizenauer. Mezzo-Soprsno (Italian) 86369 12-inch. tSJM) 
She appeals to his better nature in this lovely cavalina : 
lEASELtA: Kow at Ihy feel I kneel! 

Oh, RobEtl. oh, my hrlovtd! Merey on thysetf. 

1 live atone, yc-., alone for thee Oh, have mvrcy and pity on nel 

My anguish Ihou see'st, Hoberl, who alone I cherish, 

,\h. 't^e^ties Ihst'on'w houn/'lfee" "' My°anplish th™u sects' *' '^'" ' 

Now no more canst Ihou feel? On thyself hare mercy, and pily on mel 

Once I receiv'd 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 (D<vhk.f*tJ) 39064 12-inch. 11.29 

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 life, 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 Roberl'i father. The clock strikes 
twelve, and the baffled Fiend disappears, white the cathedral door opens showing the 
Prlnceu waiting for the reformed Robert. 



ROBIN HOOD 

COMIC OPERA IN THREE ACTS 



; mutic by Resinald de Koven. Firrt perfonnance in 
. . . , . - . liana, who sang the opera more ihan four thousand times, 
necenlly revived at the New Amsterdam. New York, hy the de Koven Opera Company. 

Characters 
ROBERT OF Huntington, known as Robin Hood Tenor 

Sheriff of NomNCHAM Basa 

Sir Guy of QSBORNE, his ward Tenor 

UTTLE John 1 fBaritone 

Will Scarlet I^ ,, iBas* 

ALLAN-A-DaLE pJ"""'" IConlraho 

FRIAR TUCK J (Basa 

Lady Marian FITZWATER. afterwarda Maid Marian Soprano 

Dame DURDEN, a widow Contiaho 

ANNABEL, hei daughter Soprano 

Villagers, Milkmaids, Outlaws. King's Foresters. Archers and Peddlers. 

Time and FVace : NoUtngham, England, in the liaelflh cenhity. 
At the beginning of the opera a merrymaking is in progrena at the marketplace in 
Nottingham. The three outlaws. Lillle John, Will Scarlet and Frior Tack, enter and sing of 
their free life in the Forest of Sherwood, and finally the handsome, daahing Rotin Hood 
appears, declaring that he is the Earl of Hanllnglon, and demanding that the Sheriff thaW so 
proclaim him. The Sheriff, however, protests that the youth has been disinherited by his 
own father, who before the birth of Roiln Hood-was secretly married to a peasant girl, who 
died when her child was an mfanl. The child is Sir Guy of GiAome, the rightful heir to the 
earldom and the Sheriff') ward, whom he is planning to marry to LaJji Marian, ward of the 
Crown. However, 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 prolesta 



VICTOR BOOK OF 



OPERA— ROBIN HOOD 



against her marriage to Sir Cay, hoping that on the return o( the King 
from the Cruaadem she will be releiued, while Robin Hood plans with 
the help o( the King to prove hia right to the earldom. The out- 
laws lymptathize with the pair and invite Roiln Hood to join them, 
promising him he shall he their king and rule them under the 
Greenwood Tree, to which proposal Rohin Hood at length agrees. 
In the last act the dashing Icing o( the outlaws brings the message 
which saves Maid Marian from the hated marriage with Sir Quy. and 
the opera ends amid general rejoicings at the triumph oE 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 Litfht Opera Company 31768 12-inch. tl.OO 

Gema from Robin Hood — Part II 

"Ho, Ho. Then for Jollity" — "Ye Birds in Aiure 
Winging"— "Armorer's SonB"— "A Hunting We'll Go" 
— "Ahl I [)o Love You" — "Sweetheart. My Own 
Sweetheart"— "Love. Now We Never More Will Part" 

Victor Light Opera Company 31668 12-inch. l.OO 

I Oh. Promise Me | 

By Harry Macdonoujh. Tenor I,,, _. ,„ - i _- 

SlngMeloSI«p (G«™) J16I96 lO-.nch. .15 

Bji Corinnt Morgan, Soprano) 
iOh. Promise Me 1 

By Alan Turner. Baritone I, _,oa m i«»h i* wakefisld as 

Bg Eitle Baker, Soprano] 
/Favorite Airs from the Opera By Pryor's Bandt, ^ , - ,„ .-.l ,„ 7. 

t Prince of F^htn Seltcllor, {Ludtr,) By Souta', Band}**^^^ 10-inch. •0.75 

I Armorer's Song By Wilfred Glenn. Basil , -_.q ,„ i_„L ,. 

\ Till the Sandt of the Deterl Gfo» Cold Bj. Wllfrtd Glenn, &■«/' '^"^ '«-"":«>■ ■!» 
Armorer'a Soof By Eufene Cowles. Bass 4737 lO-inch. .60 



(Fmeh) 

LE ROI DE LAHORE 

tRooah'-deh' Lah^h/) 
(Entfluh) 

THE KING OF LAHORE 

OPERA IN FIVE ACTS 

Libretto by Louis Gallet; music by Jules Massenet. First production at the Grand 
Op^ra, Paris, April 27, 1877; and at Covent Garden, Royal Italian Opera, June 2fi, 1879. 



Cast 

ALIM, King of Lahore Tenor 

SCINDIA, his minister Baritone 

TlMUR, a priest Bass 

INDRA Bass 

SlTA Soprano 

KALED, confidant of the King Mezzo-Soprano 



Time and Place : India ; the eleventh century, during the incursion of the Mohammedam, 



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, 
Sdndia, 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 
Scirtdia, and is killed in battle, while Sdndia 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 allow him to return to earth. His request is granted on condition that he does 
not resume his rank and returns to India when ^ta dies. On his return he finds that 
Sdndia has secured the throne and forced Sita to become his w^ife. Alim declares himself, 
but Sdndia denounces him as an impostor. Alim is obliged to flee, but Sita goes with him, 
and when 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 (/n French) 881 72 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 with great success. A portion of the fine 
translation by Dudley Buck, from the Schirmer "Operatic Anthology" (Copy *t G. Schirmer), 
is given here by permission. 

Scindia: 

The Sultan's barb'rous horde, who had so 

gladly riven 
From us fair Lahore, 
By our own might have from the field been 

driven. 
From care mv people free. 
Loudly sound tortn my praises! 
O promise fair of joy divine, Sita, ••••••••••♦•• 

Thou dream of all my life, Sita, my queen thou soon shalt be! 

O beauty torn from 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, O come! ah I be mine! 

And ne'er asain from me depart! 

A fine rendition of this air is given here by Mr. de Gogorza, whose beautiful voice and 
perfect French diction are w^ell exhibited. 

384 



ROMEO ET JULIETTE ROMEO and JULIET 

OPERA IN FIVE ACTS 

WorcU by Barbier and Cani. after Shakeapeare'a diama. Mumic by Charles Gounod. 
FirM produced al the Thiaire Ls/rtque, Pari*. April 27, 1867. Pint London production July 
M, 1667. PreMnled in America. I86S. with MinnLe Hauk. 

Some famous American productions occurred in 1890, with Paiti, Ravelli. del Puente and 
Fafan; in 1691. with Eames (d«but). the de Renkes and Capoul; In 1696, with Melba. 
SiJos, de Reszke and PUn^on : and more recently with Farrat aa JaOtl. 



Characters 

JUUET, I.JooJm-tt') daughter of Capulet Soprano 

STEPHANO. (,Sk/'-al,-~^) page to Romeo Soprano 

Gertrude. juUel'* n^irse Meuo-Soprano 

ROMEO Tenor 

TYBALT. (r»J«Af') Capulet's nephew Tenor 

BENVOUO, (&n.»'.Ji«>&) friend of Romeo Tenor 

MERCUTIO. (Mcr-itcB'->Ac«^) friend of Romeo Baritone 

Paris, (PaA-m') Capulet's kinsman Baritone 

GREGORIO. Capulet'a kinsman Baritone 

Capulet. {Ca.-u.lili') a Veronese noble Bauo-Cantante 

FttiAR Laurence Ban 

The Duke OF Verona Bass 

Guests: Relatives and Retainers of the Capulets and 
Montagues. 

The acllon laka plact at Vtrona. 



Romeo and Juliet over- 
flows with charming music, 
Gounod having written for the 

tional passages ever composed, 
and the opera has even been 
called "a loveduet with occa- 
sional intetruptioiia.'' It is of 
course not anothet Faust. — no 
composer couldwiitetwo such 
works, — but it is a moat beaU' 
tiful setting of the story of 
the ill. fated Italian lovers. 
and will always be listened 
to with pleasure. 

Several of the Shake- 
been omitted from (he opera 
cast by the librettists, and a 
new character, that of the 
page Stephana, has been added. 



VICTOR BOOK OP THE OPERA-GOUKOD'3 ROMEO AND JULIET 

ACT I 

SCENE— Sotfrown (n Capulet'i Haute, Vtame 

The curtain lue* on b scene at Eeativity. Capalcl. a 
Veroneae noble, it giving a masked ffile in honor of hit 
daughter JulM 'i entrance into (ociety. 

JuUcl ii prcKnted lo the gueiti by her father, and 
Capultl, in a rousing air, calUon hii gue«t* to make meriy. 

When the guests have gone lo the banquet halU 
/uffef lingers behind and gives expression lo her girlish joy 
in the famous waltz. 

Value (Juliet's Wal« SonJ) 

By Louise TetraZEini. Soprsno 

{In Ilalian) 86302 ll-inch, t3.00 
By Enuns Eames. Soprsno 

{In Fnnch) 88011 12-iach, 3,00 
By Blanche Arril. Soprino 

(/n Fraick) r415I 12-iach, l.SO 
It is maintained by some critica thai this waltz is too 
showy and brilliantly effective to be sung by a modest 
young girl at her first ball. However. Gounod has written 
such an uncommonly pretty waltz of exquisite melody, 
that moat heorera are too ddighted to inquire very closely 
into questions of dranutic fitneaa. 

r*s»»» AS jULirr 

Song) jest. pcrfunH; and dancci. Sprites from fairvLsnJ olden. 

RmiTci. vows. lovf.ladcn gUnas On me now bend. 

All thai apcll) or cnlrancri Foriver would this gladness 

In one cfaarni blend Shine on me brightly as now. 

Ai in fair dreami^ enfoldeii Would ihal never an or ssdne<< 

Born of (antasy golden. Threw ilieir shade o^er my brow: 

Three records of this delicate waltz, with its ear-haunting melody, are offered for a 
•election. Mme. Tetrazzini gives it with much animabon. its difficult requirements being 
met with a perfect ease and grace. 

Mme. Eamea, whoae Jallel is remembered with pieaaure, sings the number with much 
chann; while another fine rendition is contributed by Mme. Airal. 

Jatltl is about lo leave the room when Romto enters, having ventured masked into 
the house of hia enemy. He ia much impreaaed with her beauty and grace, and contriving 
lo apeak with her. aaks 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 aeema lo draw the youth and maiden toward each other, and the duet becomes 
d love scene. 



Ange adorable (Lovely Angel) 

By Geraldine Farrsr, Soprano, and Edmond Clement. Tenor 

[In Fnnch) B8421 12-inch, (3.00 

By Alice Nielsen and Ftorencio Constantino (In Frtnch) 7410B 12-uich. l.SO 



Unto deepest despair! 



VICTOR BOOK OP THE OPERA— GOUNOD'S ROMEO AND JULIET 



,'ic,'sv 



Ti/tall, a hot-headed memher of the Capvltt family, recog- 
nize* Romto through hii msik. and threaten! to kill him for 
hi( preramption in coming to the houae of hia enemiea. 
CaputtI realraina Tybalt and the dancing recommences. 

ACT 11 
SCEJ^E — Capultl 't Gordtn ; Jalltl 't Aparimtnta About 



n the hope of aeein) 
appears, and gazing at the balu 
lovely serenade. 

Ah I leve toi soleil (A 
Fairest Sun) 

By Herman J«dlowker. 1 

UnFttnchj 16025 12 

By Lunbert Murphy. T( 

Un French) 70102 12 







h( slars w 


















l;!htn^ 
































staf 




Ah! h 



/ultel appeal! on the bal- 
cony and Romeo conceali him- 
»elf. She (peaka to the atart 
of her new-found happineaa. 



VICTOR BOOK OF THE OPERA— GOUNOD'S ROMEO AND JULIET 

A long icene between the lovers it interrupted 
by Gregorio and some retainen, who arc •eaiching 
(or Romeo, He conceal* himaeK, and on iheir de- 
parture ibe duet U reiumed. 

Ne fuis encore (Linger Yet a Moment) 

By Alice Nieben. Soprano, and Florencio 
Conitanlino, Tenor 

{In Frtnch) 64091 lO-inch, tl.OO 

Rom™ '>J'»^)'-''-^;^f j^^^ ^^^ ^ 



Coo'd night: Iturcsl. thi> (and goad niglil 

II -.tich s»-«t sorrow 
Th»l I would a.y good nighl, till it lie .bwn; 

InVh'rbJilm: "wo'Sl'.ri^wcre twp"**"'! 1^»" """"" *"" ■""■'" 

ACT III 

SCENE \—The Cell of Friar Uimmt 
Romeo and Julltl meet by appointment in the Friar'a cell to aak him to marry them. He 
at fint prolesti bul finally concenti, hoping the union will bring the rival houae* to- 
gether in friendihip. The marriage takes place, and Jalici retunu home with her nurse. 
SCENE 11—^ Sireel In Vtnma 
Slephano enten. seekins his master. Obaerving the residence o{ Capulel, he decides (o 
sing B song, thinking Romeo may still be lingering near the house. A line rendition of this 
ait has been given by Rita Fomia. 

Chanson de Stephano (Pa(fe Sonf() 

By Rita Fornia, Soprano (In Frtnch) 74211 12-inch, f 1.50 

This brilliant young so- 
prano, who has just been en- 
gaged by the Victor, has made 

Metropolitan in this rAte, her 
(resh and youthful voice being 
admirably suited to the music ' 
of the Page, while in the 
recent revival of Romeo her 
singing of Stephano'i air was 
pronounced one of the best 
features of the peiformance. 
Gngorio appears, angry at 
being waked up. and scolds 
the noisy youth, finally rec- 
ognizing him as the compan- 
ion of Romeo on the previous 
night. They fight, but are 
inteTTupted by Mtttalio and 
Tyball, who begin to quarrel 
with Crtgorh. Romeo enters 

^.._.->= ™ and tries to act as peacemaker, 

but is insulted and farced to fight, kilUng Tytatl, The action comes to the ears of the 



;TOR BOOK OF THE OPERA-GOUNOD'S ROMEO AND JULIET 

: nf Vttona, who happeiu to be psuing with hia •uite, and he buiiaKe* Romeo from 
Hngdom. The unhappy youth yield* to the decree, but secretly vowi to cee/u/tef again. 
ACT IV 
SCENE— /uif«( J Room 

Romea haa made hit way into Capuleti house at imminent riak of death, and haa 

trated to the loom o( hia bride. Aa the curtain liaea he ia taking leave of her, and in 

ner exquiaite duel ahe bega him not to go. He finally departa after a tender farewell, 

juat aa Capaltl and Friar Laurence enter to tell her that it wu Tylmll'l 

djring wiab that ahe ahould mairy Parit, Left alone with the good 

priest she tella him ahe will die rather than be aeparated from Remeo. 

The Friar telU her to have patience, aa he haa a plan by which they 

are to be reunited. He then givea Jullel a potion, commanding her 

to drink it when her marriage with Parit aeema imminent, and tella 

her ahe will go into a death-like trence. He continuca.- 

FaiAi IjijiiEKci: 

Thf annTa above wlu r^?yI"^Shc hul alMps!" 
For twa-and-(orty hours thou shall Jie in 

And thcn.'ta"'t'ifc' awakins as from a pleasant 

F^«^^'hL''a'nrieIlI vaull Ihau shall hislr away: 
Thy husband fihall be there, in the nighl Id 

The good piieal leavea her and ahortly afterward, aeeing her 
father and Parii approaching, ahe drinks the contenta of the phial, and 
I growing faint, apparently expirea in Capultt't arma. 

ACT V 

' SCENE— TAe Tomb ofjallel 

The curtain riaea, ahowing the ailent vault of the Capaleli, 

where /uAef i> lying on the bier atill in hei trance. Romeo, who haa 

failed to receive Friar Laurence m meaaage. and believes JuUct ia dead, 

now forcea the door with an iron bar and enter*. 

■'•"'■ He acea hia bride apparently dead, and fling* himaelf on her body. 

STANTiHo AS aouEo Aftot a mournful air in which he bida her farewell, he drinks poiaon, 

but i> aoon atartled to aee aigna of life in the body of Jullel. For- 

ng the poison he had taken, he embracea her joyfully and they sing their final duet: 



eofl fallmg! Juli: 



. fly h. 



ank nf this draught 



ecalling! 




11* 1 


now and '■ 










Holy , 


ind pure, 




r life sha 


n^ingthe 


fatal dr. 


»ght.ftom«>c 


ie* out ii 


ihorn 


or; 








happy dag 


ger. be 


■hold thy 


d»d, lo' 


,e. and— 


isZ' 


Xah h€r. 


,W/. 


Ifilh a 






Rom 


lea half r 




limitlf lo 






Romeo: 








■ 




IMd! 


Hold thy 


hand; 





fy souf now with rapture i« swe 
hilt to die. love, with Ihee. 
Sl,( lets lall Ike diioacr.) 



DOUBLE-FACED ROMEO RECORDS 

o Slid Juliet Selection By Arthur Pryor'a Band!,,-, . ,-- t , 

nn and Ddllah Selecllon {SatnlSaOa) Arthur Pryor'i Bmr^l]^"^* 12-incli, 



(FrcDob) 

SAMSON ET DALILA 

<S<ii>i-«An' afDahJit-lal/) 
(BotflUi) 

SAMSON AND DELILAH 

OPERA IN THREE ACTS 

Text by Ferdinand Lemure; muiic by Camille Saint- SaCnB {.Sah'-Sahn^). Pint pro 
lion at Weimar, under Liut, December 2, 1877. In Frnnce at Rouen, 1890. Pertormf 
Covent Garden, in concert form, September 23, 1893. First American production Febn 
IS95. with Tainagno and Manleiti (one performance only). Revived by Oscar Hammeri 
November 13. 1908. 

Cait of Character* 

Deuuui Mezzo-Soprano 

SAMSON Tenor 

HIGH Priest OF DAGON Baritone 

ABIMELECH. Satrap of Gaza Firat Baa* 

AN Old Hebrew Second Baaa 

Philistine Messenger TenM- 

rrst Philistine Tenor 

Second Philistine Baa* 

Chorui of Hebrews and Philistine*. 



Time and Place .' / 150 B. C. ; Gaza In Palallne 



Camille Saint-SaSna ha* been for two generation* the (oremoit figure in musi 
ance. Poet, astronomer, traveler, exceliins in every branch of the art of music, 
undoubtedly the moat versatile muaician of our time, 
ha* held a commanding position on (he concert i 
since 1846. when at the age of ten he gave a concc 
Pari*. On October 13, 1906, he played one of his 
concerto* at the Philharmonic concert in Berlin. ', 
year* before the public) In all the kiitory of n 
there i* no more wonderful career than that of the i 

Eoser of Samaon, who a few years ago visited Am 
>r the first time. 

Samaon d Dallla may be called a biblical i^ 
almost an oratorio, and the polished beauty and gm 
this great composition has caused it to be pronou 
Saint-SaCns' maiterpiece. The religiou* and mil 
Savor of the Jewi*h nation is finely expressed in 
score, and the exquisite love music is more or less fan 
by it* frequent performance on the concert stage. 

ACT I 

SCENE— ^ Public Sqiiart In Caxa 
The opera ha* no overture. The first si 



CTOR BOOK OF THE OPERA— SAMSON AND DELILAH 



UALHOBES AS sAusoH Spring. Delilah (peaks to Samton and invite* him to the 

valley where (he dwell*. He praya for ttiensth to 

t her faacinaliona, but in spite of himaelf he is forced to look at her as she dancea with 

maidens. As the young girls dance Delilah ungs to Salmon the lovely Song of Spring. 

{Frtach) (Go-man) 

ntempa qui commence — Der Fruhlin^ erw^achte 

Delilah's Song of Sprinjjf) 

By Ernesline Schumian-Heiitk. Coatralto (InGtrman) 88411 12-iach. *3.00 
By Gerville- Rise he. Contralto {In FroKh) 86244 12-Joch, 3.00 



The cinh glad and beaming. Till fond love relnrning. 

With freshness ie teeminR. In his bosom burninti 

In vain all my bcaiily: May en!n«:r his reliirn: 

Saouen shows by his hesitation and troubled bearing that Dellloh has shaken his 
lutions, and as the curtain falls he is gazing at her, fascinated. 
ACT II 
SCENE— Delilah; Home In Iht Vallty <,/ Soreck 
Delilah, richly attired, is awaiting the coming of Samton. and muses on her coming 
nph over his affections, and the plot to secure his downfall. In a fine air she calls on 

nour viens aider (Love, Lend Me Thy Might) 

By Louise Homer. Contralto (in Frtncl^ 88201 12-inch, tS.OO 

> Love! in my wpaknrss give power! Could he only drive out the passion 

■oison Samsons brave heart for me! Thai remembrance dolh now preserve. 
Neath my soft sway may he be vanquished: llui he is under my dominion; 

Tomorrow let him caplive l>r; In vain his iieoplc may enlreal. 

'.v'rj thought o( me he would hari-h, 'Ti- I alonp tkal can hold him— 

.\nd fruin his tribe he would ~%vcTve. I'll have him captive al my feel! 

After « scene between Delilah and Da;ort, who urges her not to fail in her purpose. 



I* that wonderfully beautiful song of love and passion. 

a DiUDB E<£i>«> by pemii^in. Copr'i 1895, C 



VICTOR BOOK OF THE OPERA— SAMSON AND DELILi^ 

Mon coeur a'ouvrc a ta voix (My Hea 
at Thy Sweet Voice) 

By Louise Homer. Contralto 

(InFrtnch) 8B199 12-tnch. *~ 
By Schumaan-Heiak, Cootralto 

[In German) 88190 12-ioch. 
By Jeanne Gerville-Rfiche, Cootralto 

{In FnnJt) 68184 12-inch. 
By Elfie Biker, Contralto 

(InEngUih) *16I»2 lO-incb. 
By Michele Rioaldi with Ve**ellB'« Band 
Cornrt *172I6 lO-inch. 
This lovely air of Dtillah. perhaps the moal beaut 
contralto air ever wntlen, and the moM familiar of 
numbers in (he opera, ia in ihe repertoire of aim 
everycontrallo. 

Thia quotation ftom the effective translation 
Nathan Haskell Dole U from the Schirmer libre 
(Copyriaht 1692, a Schirmer.) 

]>ELILAH^ 

My hem al Ihy sw»t voice oncn! wide like Ihr Hdwci 
Which Ihe mom's, kisus wsWn! 

Tell Ihy love alill un's'hakcnl 
O, >ay thou wilt nol now leave Delilah agiiii! 
-=r==;=-.,„.„ Rcjcat IhirH aicenls tender, ev'ry ia-,iioiiaIf vnw. 

,"" , |„ ^, 0^,.,^^ " ""™ deirebl of men: 

Five record* of this well-known air are listed hi 
Delilah now aaks that Samton confide to her the secret plana of the Hebrews, and wl 
he refuses she calls the Philistines, who are concealed, and Samnm is overpowered. 
ACT III 
SCENE I— A Prim, al Coxa 
Samien is shown in chains, blinded and shorn of his hair. As he slowly and painfi 
pushes a heavy mill which is grinding com, he calls on Heaven to forgive hia offence. 
A hie of guards enter and conduct him to ike Temple. 

SCENE \l—A Magntfietnl Hall In Ihe Tanple of Dagon 
The High FViesU and Philistines, with Delilah and the Philistine maidens, are rejoic 
over the downfall of their enemies. The music of the opening chorus and the Bachanal 
been given here in a line record by a famous Spanish band. 

Coro y Bacanal ^Chorus and Bachanal) 

By Baada Real de Alabsrdero* de Madrid *62660 lO-ineh, 10 

They have sent for Samson lo make sport of him. Delilah approaches him and tai 
him with his weakneas. He bows his head in prayer, and when Iney have wearied of ll 
sport Samaon asks the page to lead him to the great pillars which support the Temple, 
offers a last prayer lo God for strength to overcome his enemies, then, straining at 
pillars, he overthrowa them The Temple falls amid the shrieks and groans of the peo 

DOUBLE-FACED SAMSON AND DELILAH RECORDS 
id Delilsh Selection (srr. by Godfrey) Pryor's Bsndl - 
nJJallel Selection (GounoJ) (arr. ht/Godfny) Pryor'i BanJr 

JMy Heart St Thy Sweet Voice— By EUie Baker (In EntU,h)\.,,., ,„ . . 

t Manon—Uughing Song Bu Edilh Helena (/n finfft.A)/"""" lO-meh. 

iMy Heart at Thy Sweet Voice Cornel 1 

Micbcle Rioaldi with Vessella's BaodI,--,. ,_ . . 
Fartmdtlelht Fatal (Mtndeluohn) 2. Spring Song (PlruuH) f'^lb lO-ioch. 
yicloi Brau Quariell 
/Chorus and Bachanal By Banda Real de Alabarderosi--.-. ,_ . . 

1 Minuet /mm 2nJSsflnphoau IHoydnj Bg BonJa Reair^*'**^ lO-inch. 

•DaMiJ'aai Rrc»rJ-F^ Wb ■/■BS.UfcriA h Jxhk iM. 



SAPHO 

OPERA IN THREE ACTS 

Text by Emilfl Augier : music by Couiuxl. The opera wu first preaented at the Op<n. 
, April 16, 1 B5 1 , with Mme. Viaidot. and wu the fint work Gounod had written for the 
m 1856 it WB* reduced to two acti and revived. Another revival occurred in Paria, 
2, I6S4. under the direction oF Gounod. The (int London production, under the 
S^o, occurred at Covent Garden in 1651, with Viardot, CaMellan. Tamberlik and 



Character* with the Original Cut 

SAPHO. a poetera Viatdol 

PHAON Gueymaid 

GLYCERE Poinaot 

PYTHtAS Br^mond 

ALCEE Marii 

FUeXRE Aym*« 



ne vcene of Gounod'i Sapho ib laid in Mytilene. 
e Sapho, the poeteu, rulei. She hu fallen in 
rvilh Phoon, but thia affection proving hopeleu. 
lapi from the rock of Lencadia and ii drowned, 
le mutic of thii opera i* little known in America 
the exception of the beautiful air, O ma lyre 
ielU, a fine record of which ii here offered by 
loui contralto. 

oa lyre iaunortelle (Oh, My 
amortal Lyre) 

By Janae Cerville-Reache, Contralto 

{InFnnch) SB166 12-inch. *3.00 



Oh hari 
t)iys r< 



>[ this last iiound I'm dying! 
ris a wound of th< h«rt; 
iritt I must know till from Ii 
sriwell. thou moonlight isnde 



(IwUm) 

IL SEGRETO DI SUSANNA 

lEtlSth-git^'-lcliJtiSar-Maif-iuH 
(Eatflifh) 

THE SECRET OF SUZANNE 

{Soo-ian) 

OPERA IN ONE ACT 

From the French of GotUcumi; text hy Kalheck ; muuc hy Ejmanno Wolf-Fen 
FitM production Munich. 1909; in A merica. Chicago, 191 1, with White. Sammaicoand Db< 
Characters 

Count QL (aged thirty) Borilone 

Countess Suzanne, hii wife (aged twenty) Soprano 

SANTE. a aervsnt (aged fifty) , Acting part 

TbntmdPlac»: A Jiaiaint room In P itJmenI ; 1840. 
II Stgnio dl Sutaima ia a playful conceit, with a very aimple hitle plot. Coanl Gil n v 
much in love with hia wife, but ia avetae to cigarette amoke, and Coanleti Siaannt, who 
devotee of the cigarette, takes the importunity to imoke during her huaband'a abtei 

On hi> return he am 
the amoke and queati 
the aervant, who del 
being the guilty pa 
The Counl immedia 
concludes that his be 
bful wife is receii 



Piedmont gallanL 
wife's eSorta to pa 
him are utuuccessful. 
in a huff he leaves 
house. On hia dcparl 
SuLanne lights a cigart 
but on her husbai 
sudden return ihe thrr 
it into the fire. Theti 
Counf notices the k 
smoke and rushes ab 
the apartment in jeal 
rage, determined to c 
lure the culprit. Fail 
to find any one, he o 

HAKIO CAUMAICO AMD ULLE. LirKOWIXik mOrC gOCSOU I. As SuZfl 

cigarette, the Count peepa through the window, and aeeing the amoke, ruahea in triumph i 
the room. Siixanne hides the cigarette behind her. and the Coanl, trying to reach the im 
inaiy man whom the lady is concealing, buma his hand ! The secret ia out, the ChiM I 
gives Suzanne, Saianne forgives the CiNrnl, and husband and wife amoke a cigarette togell 
Three of the best airs of the opera are offered — the first being the cluirmlng duet 
Suianne and the Counf, in which they recall their first meeting: the second the Vial coti 
which Suzann* entreats her husband not to go away angry; and the last the song of Suia 
which tells of the deLghts of smoking. 

II dolce idillio (Dost Thou Remember?) 

By Geraldine Farrar. and Pasquale Amato. {InllaUan) 69097 12-iaeh. t4 

Via t cofli non mi lasciate (Do Not Go Like This) 

By Geraldine Famr. Soprano (,ln Italian) 87136 10-inch, ta. 

Oh i^ia, U nube letf^era (What Joy to Watch) 

By Geraldine Farrar. Sopnno {In Italian) 8S424 13-iDch. *3. 



SEMIRAMIDE 



GIC OPERA IN TWO ACTS 

by GioBcKino Antonio Elauini. It U founded on Voltaire'* 
duced at the Fenice Theatre. Venice. Februaiy 3. IS23; in 
•■, July 15, 1824. In French, as Sanlraml$, it appeared in Pari*. 
1 production occurred in New York, April 25, 1626. Some 
ere in 1633 with Grisi and Ve«valli; in 1890 with Adetina 
m with Melba and Scaichi. 

Cut of Cbancters 
SEMIRAMIDE, or SEMIRAMIS. Queen of Babylon . . .Soprano 
ARSACE4 commander in the Asaynan army, after- 
ward the Mm of Ninut and heir to the throne. Contralto 

The Ghost of Minus Bau 

OROE. chief of the Magi Ban 

ASSUR. a Prince of the blood royal Ban 

AZEMA, Princeas of the blood royal Soprano 

IDRENUS, of the royal houiehold Tenor 

MlTRANES, of the royal household Baritone 

Magi, Guards, Satraps. Slaves 



Semiramide is perhapi the finest of Rossini's serious 
operas, but although it was a great success in its day, its 
splendid overture and the brilliant Bet raggio are about ike 
only reminders of it which remain. 

The story is baaed on the classic subject of the murder 
of Agamtmrton by his wife, called Sanitamii in the Babylonian 
version. It is a work which the composer completed in the 
astonishingly short time of one month, but which shows his 

The action takes place in Babylon ; Sanlramide, the Queen, 
IS murdered her husband. King Nlnua, who. in the second act, 
j)d prophesies the Queen's downfall. 



exico City *3SI6I 12-ineh. tl.Z5 

ind 31S27 IS-inch, 1.00 

> an unusually brilUant introduction, followed by a beautiful 
e of the most admired portions of the work. The farniliar 
lipal theme of the overture then appears as b clarinet passage. 



jrawn out for modern ears, but is a fine example of its kind, 
showy one. very popular on band and orchestra progtams. 
famous number are presented here, and a comparison of the 



VICTOR BOOK OF THE OPERA— ROSSINI'S SEMIRAMI 



RoMini. who objected to ihe o ma mentation oE 

ait in m> elaborate b fashion aa to make further addii 
impoHible. But even u left by Rouini, Bel raggio ia 
lufficienlly elaborate to show the mV\\\ of a Semb 
and the additioni with which the diva has embellishi 
not only ribLg it more dazzling, but belong also to 
true spirit oE the air. 

Thus the inspiring declamatory passages, with their 
liant runs. re<:eive a lavish addition of the singer's sple 
high notes, notably the high B on the olfin peimc b 
and the astonishing arpeggio up to C sharp on the Jai 
pentler which fallows. 

The ensuing canlaille is sung with all the Itgalo and g 
ivhich it requires, its principal hguTe being also additioi 



DOUBLE-FACED SEMIRAMIDE RECORD 
(Overture By Police Biad o(| 
I MezicoCity U.it,T ii ,„„k « 

[ f^ Arthur Pryot's Band] 



SIEGFRIED 

MUSIC DRAMA IN THREE A< 

Second Open of the Rhioetfold Tr 

Words Biid music by Wagner. Firat produced at Bayrei 

given in French at BrtuieU, June 12, 1691. and (uluequently at 

don (in Engliih) by the Carr Rom Company, in 1896. Fini / 

York. Febniaiy I, 1888. __^^_ 

Character! 

Siegfried 

MIME (Ma'-mec> 

The Wanderer (Wotan). . 

ALBERICH (Ahf-itr-lk) 

FAFNER {Faf-ner) 

ERDA (Elir'-Jah) 

BRUNNHILDE {BnKn-hll'-JI,) 



There i* little of tragedy and much of lightneH and the j 
mml beautiful of the fting Cycle, which tella of the young Sltg 
ful and handsome ; and BiOnnhlldt, (he god-like maid — 
unaellUh, lovely, innocent, who Gnda she i* but a woman 
after all. 

After Slegltmit had been saved from the wrath of Wotan 
by BrUimhHde (related in the last part of WatkUn). she 
wanders through the forest and dies in giving birth to the 
child SitgfHed, who is found and brought up by Mime, the 
Niblung. 

In the first two acts of Siegfried the hero is shown in 
his forest home, where he mends his father's sword, and with 
it slays the dragon. Having accidentally tasted the dragon's 
blood, he becomes able to understand the language of the 
birds, which tells him of Brtlnnhlldt, the fair maiden who 
■leepa on the lire- encircled rock. He follows the guidance 
of one of the birds, cuts throu^ 
the spear of Wotan, who endeav. 

the flames. On (he top of the 
rock he beholds the sleeping 
Valkyrit covered with her shield. 
He removes the armor, and Brilnn- 
hlUe lies before him in soft, wO' 
manly garments. She is the first w 
kneels down and kisses her long i 
up in alarm: BrUnnhllJe has openec 
wonder, and both remain for some 
recognizes him as Siegfried, and ha 
save the world. This part of the t 

ACT 

SCENE— ^ Fona*. Ji 

Mime, the Niblung, brdther of j 

forest after she had escaped from 

child, knowing that it was Siegfried, 

and regain the Ring. The opera o] 




HI THT PAIHTIdO RY Df I 11/ 



Sie^ffried and the Dragon 



VICTOR BOOK OF THE OPERA— WAGNER'S SIEGFRII 



Zwantfvolle Plage! (Heartbreaking 
Bondage) 

By Albert Reiia. Tenor 

(/n Gaman) 74235 12>iach. *l.90 

Mr. EteUa' wonderful character study of Mtme, the 
dwarf. Has b«en one of the moat impreaaive features of 
(he Metropolitan performance* during the past few 
years. His impersonation gains each year in the sar- 
donic and malignant side of Mime's natuie. but iaat^^rays 
amusing, nevertheless. The artist's portrayal, dramatic- 
ally and vocally, leaves nothing to be deiired, and in 
the episodes where the dwarf is moat abject and favni- 
ingly malicious he is superb. 

Siegfried, in forest dreu, 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, 
SltgfHtd 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 siei^tiied. uruE and tmf 

fight. Siegfried demands that MHm shall mend his ieah— act i 

father's sword vrithout delay, and goes back into the forest. 

IVolan now enters and in answer to Mime's questions says he is the Wandtttr, and spi 
to Mime of the sword, telling him that only he who knows no fear will be able to forge 
broken weapon. After the Wandtnr has departed, Siegfried returns, and Mime, who i« r 
beginning to be afraid of the youth, tells him that it was his mother's wish that he she 
team fear. " What is this fear t" says Siegfried, and Mhne attempts to describe it. 



In ihr breast burbling and hi| 
Beat thy hammering hfail> 
Siegfried regretfully admits that he has never 
any such sensation. Miml, in despair, then tells I 
of the Dragon which dwells near hy. Siegfried eag 
asks Mime to conduct him hither, hut says he n 
have his sword mended first, and. when Mime refu 
he forges it himself. When it is finished, to try the bL 
he strikes the anvil a mighty blow and splits it in I 
while Mime falls on the ground in extreme tei 
Siegfried brandishes the sword and shouts with i 
as the curtain falls. 

ACT II 
SCENE— TAe Dragon'i Cace In the Forat 
Fafner, who has changed himself into a dts) 
the better to guard his gold, dwells within a cave. k< 
ing constant watch. Alberich is spsring near by, hopin 
regain the treasure by killing the hero whom 
' 'mimw. at the .HViL-ACT T ■"">"• ^" overcomc the Dragon. The Wanderer 

ters and warns ^Ihtrich of the approach of Siegfi 
Alherich wakes the Dragon and offers to save its life in return for the Ring. Fafner conten 
uously refuses, and makes light of the hero's prowess. (Ko/on departs, laughing at the 
comfited AtbericK who hides as Siegfried and Mime approach. The latter is still tryini 
terrorize Siegfried vrith awful descriptions of the Dragon, but Siegfried laughs at him 
finally drives him away. 

401 



ICTOR BOOK OP THE OPERA — LA SONNAMBUL A 

jealouiy findi espTeuion in ■ melodious air, SounJM So Joyful. Alet^t a villager wKo 
cie* Uta, trie* to console her, but ahe repulaei him. Amino and her friends enter, (ol- 
'ed soon after by Eioloo, and (he marriage contract is signed. Elolno places the ring on 
bride's finger, and they ling a charming duet. Take Noie Thlt Ring. 

•endi I'anel ti dono (Take Now This Rinp) 

By MarU Galvany and Fernando De Lucia (In llalHin) 8904S 12-inch. •4JM> 

By Emilio Peru, Tenor (In Italian) *62092 lO-inch, .75 

Two renditions of this number are given here, the Perea record including only 

(ns'j solo at the beginning of the duet. The words are not given, being merely a sue. 

■ion of flowery phraia la which Bellini hai written his delightful melodiea. 

The nuptial celebration is interrupted by the sound of horses' hoofs, and a handsome and 

D the castle, and learning that it is some 



ance, decides to remain at the inn. He looks around him, appearing ti 
De, and sings his fine air, Vi raoolto. 

i rawiso (As I View These Scenes) 



As I view tbc Ken;, how familiar (hat mill- 
stream, von fountain. IhoM meadows! 
Oh iemeinbrsiii:e of Kenes lone vanish'd. 
Soft enehaotment long lost an3 banisfa'd. 
Where my childhood serenely glided. 
Where the joyous momen(s ifew; 
Oh how peaceful have ye abided. 
While those days noughl can renewl 

The stranger inquires the reason for the 
tivities, and is presented to the pretty bride, 
whom he is much interested. He tells the 
issnts that in his childhood he lived with 

lord of the caatle, and now brings news 
ihe lord's only son, who disappeared some 

Amina't mother, Ttnia, now says that as 
ht is falling they must go within, as the 
intom may appear. The stranger is told 
t a Kiectre has been often seen of late, and 
scoSs at the tale, but the peasants, in an 
ictive chorus, describe the appearance of 

Sh»'- JS»NV LIHD ABAMIHA 

h I fosco ciel I (When Daylight's Going) 

By La Scab Chorus (/n Italian) *62642 lO-inch, • 

HORUi: Chobus; 

H'hen dusky nightfall doth shroud (be Bun- Ah. no such folly in our relation . 

'■fnm, We all have seen it. in very truth. 

And half repulses the limid moonbcim. And wheresoever its pathway fslteth 

\Mieo thunJer boometh; where distance loom- A hideous silence all things appalleth; 

elh; ?;n Ipaflpt Irpnihlf.^. Tin renhvr ramblpn. 

Floating on misl. a shade appear^: 
In filmy raanlle of pallid wliileness. . 



As 'twere a frost Ihe brook congeals. 

l^Ke Cloud ocr Heaven hy tempest driven, Th""sc' eec"h-ow'l ""hrielcinV btt ^aliSt seek 

Plainly contest Ihe phantom wearM Far from the ghost her dark wing wheels. 

lipoLMI: Ri-n,.LPH: 

^ ou arc all dreaming; 'tis some creation 'Tis triaht for youth. I will discover 

Of mere gossiDS, lo frigblen youth. What hidden mystery your tale conceals. 

The stranger now desires to retire and is shown to his room. Amino and Elelno remi 
] the latter reproaches his bride for her interest in the guest: but at the sight of htr t( 
r^eots his suspicions, and the act closes with a duet by the reconciled lovers. 

tr aik ef oppoMlIt ilil ^ SH on paat 410. 



VICTOR BOOK OF THE OPERA — LA SONNAMBU 

ACT II 

SCENE — The Apartment of the Stranger 

The guest muses that he might have done worse than stop at this little inn — ^the p4 
are courteous, the women pretty, and the accommodations good. Lisa enters and asks 
is comfortable, calling him " my lord/* the villagers having suspected that he is the i 
Rudolph, 

The Count, although somewhat annoyed that his identity is revealed, takes it g 
naturedly, cuid even flirts a litde with the buxom landlady. She coyly runs away, drop 
her veil as she does so. 

Amina now appears at the window, 'walking in her sleep. She unlatches the casei 
and steps into the room, saying in her sleep, *' Elvino, dost thou remain jealous ? 1 lov< 
thee.** The Count is at Erst astonished, but soon sees that the young girl is asleep, 
here lJ»a peeps into the room, and seeing Amirta, runs oS scandalized. Amina, in 
dream, again goes through the marriage ceremony, and entreats Eldno to believe that 
loves him, finally throwing herself on the bed in a deep sleep. The Count is some' 
puzzled at the situation, and finally deciding to leave the young girl in possession ol 
room, goes out by the window. 

Eloino and the villagers, who have been summoned by Lisa, now enter and are ai 
ished to see Amina asleep in the Count*s room. She wakes at the noise, bewildered, 
runs to Elvino, who repulses her roughly. She is met with cold looks on every hand, 
sinks down in despair, crying bitterly. Rousing herself, she begins the duet, D*un pen 

D*un pensiero (Hear Me S-wear, Then) 

By Giuseppina Huguet, Soprano : Aristodemo Giortfini, Tenor : 

and Chorus (In Italian) 88255 12-mch, $ 

Amina: , Elvino: 

Not in thought's remotest dreaming, Heav'n forgive ye, this guilt redeeming; 

Was a crime by me intended; May thy breast be ne'er thus rended; 

Is the little faith now granted, With what love my soul was haunted. 

Fit return for so much love? Let these burning tear-drops prove! 

Finding all turned against her except her mother, she runs to the maternal arms, \ 
Eloirto rushes from the room. The curtain falls. 

ACT III 

SCENE I— A Shady Valley near the Castle 

Amina and Teresa enter on their way to the castle to plead with the Count to clea] 
girl's good name. Seeing Eloino, Amina makes another effort to convince him she is 
true, but he reproaches her bitterly, takes the ring from her finger, and rushes away. 

SCENE W—A Street in the Village. Teresa's mill on the left 

The villagers enter and inform Lisa that Ehino has transferred his affections to her. 
enters and confirms the good news, and they go toward the church. The Count i 
them, and assures Elvirto that Amina is the victim of a dreadful misunderstanding. E 
refuses to listen to him and bids Lisa follow him to the church, but they are again i: 
rupted by Teresa, who has learned of the proposed marriage, and now shows Lisa's 
which she had found in the Count's room. ** Deceived again,** cries Eloino, and asks if 
of these women are to be trusted. 

Rudolph assures him again that Arrtina is guiltless, and Eloirw desperately says, *' But w 

is the proof?*' "There,** cries the Count, suddenly pointing to Amina, who in her i 

dress comes from a window in the mill roof, carrying a lamp. All watch her breathle 

fearing to wake her lest she fall. She climbs down to the bridge over the wheel, anc 

scends the stairs. 

AuiNA (advancing, still in her sleep, to the mid- (Amina, clasping her hands on her bi 

die of the stage) : takes from it the flowers given he 

Oh, were I but permitted Elvino in the first Act.) 

Only once more to see him, Amina: 

Ere that another he doth lead to the altar 1 Sweet flowers, tenderest emblems, 

Rudolph (to Elvino) : Pledging his passion, from ye ne'er w 

Hear her — sever. 

Tesesa: Still let me kiss you — 

She is thinking, speaking of thee I But your bloom is fled forever! 

The first of the two lovely airs for Amina in this act now occurs. 

409 



3TOR BOOK OF THE OPERA — LA SQNNAMBULA 

! non cf edea mirarti (Could I Believe) 

By Luifa Tetrazzini, Soprano (In Italian) 68305 12-inch, $9.00 

By Graziella Pareto, Soprano {In Italian) 76003 12-inch. 2.00 

By Alma Gluclu Soprano {In Italian) 74263 12-inch. 1.50 

'erkaps the most elective part of the opera lies in this sleep-walking scene, when Aminot 
tate of somnambulism, walks along the roof of the building, and finally climbs down to 
'ound. This act establishes her innocence, and clears up a mystery which had caused 
[>od character to be doubted. 

\h/ non credea is sung by the sleeper as she descends from her dangerous position, 
her lover and friends watch in terror, fearing to awaken her. It opens with a beauti- 
ntabile in the key of A minor, its pathos being fully in keeping with the plight of Amino, 
being discarded by her lover and doubted by her friends, weeps over her short-lived 
ind happiness. At the words ** Potrio novel vigore, " the pathetic note gives place to a 
ardent emotion, as hope is mingled with her despair. 
LCgarding the flowers which her lover had given her, and which are now faded, she 



ms: 

na: 

il must ye fade, sweet flowers, 

Forsaken by sunlight and showers, 

i transient as lover's emotion 

That lives and withers in one short day! 



But tho* no sunshine o'er ye. 

These tears might yet restore ye, 

But estranged devotion 

No mourner's tears have power to stay I 

~ From tbf Dltaoo Edition. 

lie singer's aim has been to illustrate the simple charm of the character of Amina and 
ithos of the scene, rather than exhibit brilliance of ornament. The cadenza at the 
although typical of Tetrazzini*s marvelous powers of execution, is well subordinated 

character of the song, and pleases as much by its delicate beauty as by its amazing 
ical perfection. 
Ivino can restrain himself no longer, and rushes to Amina, who wakes, and seeing 

on his knees before her, utters a cry of delight and falls in his arms, 
lie opera then closes with the joyous, bird-like air. Ah ! non giunge, which is a fitting 
to this charming work, with its graceful and tender music and peaceful pastoral scenes, 
if'mi, Mme. Tetrazzini finds a most congenial r6le, and for her sake alone Sonnambula 
I always be worth hearing. She has the voice, style and technical skill to make such 

as this captivating; while Sembrich's impersonation of the ingenuous village beauty, 
s all liveliness and joy, leaves nothing to be desired. Hers is a graceful and natural 
sonation, and the delightful sleep-walking scene is given 'with a delicacy which is 
able. 

non giunge (Oh Recall Not One Earthly Sorro^ 

By Luisa Tetrazzini, Soprano (In Italian) 88913 12-inch, $3.00 

By Marcella Sembrich, Soprano (In Italian) 88027 12-inch« 3.00 

By Edith Helena, Soprano (In English) '<'35067 12-inch, 1.25 



na: 



> not mingle one human feeling 

ith the rapture o'er each sense stealing; 

e these tributes, to me revealing 

y Klvino, true to love. 



Ah, embrace me, and thus forgiving. 
Each a pardon is now receiving: 
On this bright earth, while we are living. 
Let us form here a heaven of love! 



(Curtain. ) 



DOUBLE-FACED SONNAMBULA RECORDS 

non giunge By Edith Helena, Soprano (In ^"^^'^^)\3<067 

^oletto — Can nome By Edith Helena, Soprano (In English)} 

avviso (As I View These Scenes) 

By Perello de Se^rola, Bass 
di Tanel ti dono (Take Now This King) 

By Emilio Perea, Tenor 

fosco ciel t (When Daylight's Going) 

By La Scala Chorus 
hengrin — Coro Nuxiale By La Scala Chorus 



(In Italian) 
(In Italian) 

(In Italian) [62642 
(In Italian)] 



12-inch. $1.25 



62092 10-inch. .75 



10-inch. .75 



410 



C OF THE OPERA — TALES OF HOFFMAN 



THE PROLOGUE 

■cene occurs in NurembeiE at Luther's lavern, b popular itudent 
reM>Tt Hoffman, 
die favorite of alt. 
enters with hi* 
friend Nlchalaa and 
joins in the merry' 
making. Inreaponae 
to calls for a song. ' 
Hoffman sings the 
BattadofKldn-Zach. 
KaA then volunteers 
to relate hii three 
love affairs. This 
proposal is greeted 

and as Hoffman be- 
gins by saying "The 

Olj'inpia." the cur- 
tain (alU. When it 
risea. the 6rM tale of 
Hoffman is seen in 

luE — THE LECEHD oT KLiiHiACE «ctual perfoTniBnce. 

ACT I 

hy man with a mania for automatons, has per- 

xhanical figure of a young girl which he calU 

s his daughter. Hoffman and Nicholai call upon 

■aanl'i absence, Hoffman discovers Olsmfifa, and 
Unable to take hU eyea from the doll-like per- 

: expresses his infatuation in a beautiful air. 

She!) 

lore*. Tenor {InFrtnch) 87089 lO-incb. *a.OO 

great success in the part of Hoffman. This rOle 

jpeerance. a gallant bearing, and enduring vocal 

ilia these requirements admirably. He aings this 

ful fluency and much warmth of tone, 

Nicholai tries in vain to prevent his friend 
from making a fool of himself, but Hoffman, 
owing (a the magic glasses SpalanianI has in- 
duced him to wear, sees only a lovely woman 
instead of an automaton i but is undeceived 
when he dances with the figure and she falls 
to pieces before his astonished eyes. 
ACT II 
This adventure concerns the Lady Glalldia, """ '•"•■"••'""• 
who resides in Venice. Among her many nlvupiA, the 

friends are Hermann and Nalhanid. and the ''^'^"^'""l dou, 
latter, fearing the power of the lovely coquette, tries to gel 
Hermann away, but he insists that he is proof against her fascina- 
tions. Dapertatlo, the real lover of the lady, hearing this boast, 
induces QiuUetta to try her arts on the young man. She suc- 
ceeds, and Hoffman, madly in love, challenges QiuUttta 't protector. 
SMemit.^ and kills him in a duel. Hoffman rushes back to hia 
charmer's residence only to find that she has fled with her chosen 



VICTOR BOOK OF THE OPERA— TALES OF I 



Barcarolle— Belle Nuit (Oh, Niffht of Love) 

By GeraUine Farrar and Antonio Scotti (In Ilellan) ai502 

By Lucy Marih and Marguerite Dunlap (In Engltth) 6O096 

BylAi.taA'MTi.'WhKtlei{D<>aUi-FiKtJ—Smp.4l4)(Engllih) 16627 

By the Victor Orchestra, with duet for two vioUn* 5333 

By the Vienna Quartet 5754 



This popular 
afterwarda aa an u 


Offenbach number, which i* given u ■ duel it. the Ver 
utrumental intermezzo, ia one of the heat known eumplea 
Ai the name implies, it was originally a aong or cha 
Venetian gondoliera. 




EE t, I^^^^Se^ 


and its dreamy melancholy auggeats the calm of a pc 
night. 

O Ni«hi of Lova 

Ifcsulenuh night. O nieht of love. Far away *htre 
Smilf thou on our enchantment; For time dolh n 
Radian! niRhl. with stifi above. Sweet zephyrs br 
(> iK^auteous night of love! Shed on i« Ihj c 
Flri-ling time *>lli neVr relutn Kighl of love. 



Air de Dapertutto (Dapertutto's Air) 

By Marcet Journet. BaM (In French) 74103 
Joumet delivera this song oF the awaggering, gsn 



HE OPERA— TALES OF HOFFMAN 

ACT III 

rd adventure of Hofman introduce! lu to an humble 
ne where Anionia, a young «in^r, haa become the victizn 
•tion. She ia (oibidden to •ins by her father, but a 
who i* the aecret enemy ai the Family. SvengaliJike. 
■n, and Hagman, who knows nothing of the poor girl'i 
ea her literally aing heraelf to deatK and ahe diea in hi* 

e— Elle a fui (The Dove Has Flown) 

'ranccf Alda. Soprano 

(InFrtnch) S83»» 12-iach. tS-OO 
ithelic air aung by the unfortunate young singer. JIntoria, 
\a finally aaciificed to bet art. 

THE EPILOGUE 

lilogue ihows again the tavern of the prologue, where 
apparently juat concluding hia third tale. Having tried 
1 of love — the love that ia inapired by mere beauty, the 
rve, and the affection that springs from the heart — he says 
ned hia leaaon. and will henceforth devote himself to art. 
■treaa who will prove faithful. He bids fareweU to another 
ea, Stella, an opera singer, and aa the curtain falls is left 
roing, while the Muae appears and bids him follow her. 



NEOUS HOFFMAN RECORDS 

lost" — Solo, "Song of Olympia" — Chorus, "Hear 
-Solo, "Ah. Now Within My Heart "—Barcarolle, 
s. "See She Dances" — Finale. "Fill Up Our Glasses" 
ompsny {In EngUih) 31859 12-inch, »1.00 

Victor Opera Company!,, ,, . . - 

BsVl^lorUght Opera Cmpa^sr^^^^ 12-mch. US 
By Victor Concert Orch. 31820 12-iach, l.OO 
By Mr.andMrs. Wheelerl,,--- ,rt_j„,i, r< 



TANNHAUSER 

ROMANTIC OPERA IN THREE ACTS 

Words and muaic by Richard Wagner. First pmented at the Royal Op 
October 20. 1845; at the Grand Opera. Paris, March 13, 1661. First London ; 
Covent Garden, in Italian, May 6, 1676. First performance in English took 
Majesty's Theatre. February 14, 1BB2. Flral New York production April 4, 18 



Characters 
Hermann. Landgrave of Thuringia 

tannhauser. ( 

Wolfram von Eschenbach, B. 

WALTHER von DER VOCELWEIDE. ,. „ , fc. ■ . _ J 

BiTEROLF. Minstrel Kn.ght. i 

HEINRICH DER SCHREIBER, 

Reinmar von ZWETER, I 

Elizabeth. Niece of the Landgrave S 

Venus , S 

A Young Shepherd & 

Four Noble Pages Soprano an 

Chorus of Thuringian Nobles and Knights. Ladies. Elder and Younj 
Pilgrims, and Sirens, Naiads. Nymphs and Bacchantes. 



Sctne anJ PirioJ : VleMly of Eiiaiach ; beginning of the thlrieenlh cenbi} 



BR'S TANNHAuSER 

•'■'»H« Wlmn 6. II mill 

kraffrtfn^iiifitoffiirg. 



^KS 



. lS4S 



: in the Touriument of Sods 
ne of the contest ii The Nature 
e of the Venusbcrg ia appa- 
Outraged by thi* insult the 
■es. too late, he repents, and 
.»• them to seek pardon for hi* 
^ by the nobU (Toj/Mm, wka 



VICTOR BOOK OF THE OPERA— WAGNl 



also loves her, watching for the Pilgrims to return, but Ta 
EUzabeth is overcome with disappointment and feebly returns t 
Tarmhduser now appears, in a wretched plight, on his way 
He tells Wolfram that he appealed to the Pope for pardon, but 
was as impossible as that the Pope's staff should put forth leav 
are in vain, and Tannhduaer is about to invoke the goddess, wh 
Pilgrims appear, announcing that the Pope's staff had blossor 
was forgiven. Tannhduaer kneels in prayer as the mourners pa i 
who, overcome by her bitter disappointment, had suddenly pai 

The Overture 

Overture — Part I 

By Arthur Pryor*s Band 

Overture — Part II 

By Arthur Pryor*8 Band 

This overture, with its sombre opening chorus, its weird 
and the final return of the penitents, when the chant is accomp 
for clarinets, is one of the greatest works of Wagner. It has l 
frequent repetitions in orchestra and military band concerts, ar 
admired. 

The overture depicts the struggle between good and evil 
poem on the same subject as the opera and equally comprehen 

The sombre religious motive appears first: 



i^ii 




beginning softly and gradually swelling to a fortissimo. Then, i 
denly interrupted by the Venusberg motive : 




with its rising tide of sensual sounds. This motive continues w 
ing into TarmhUuaer'a hymn to Venus, after which the enchantin 
is developed with various changes. The tide now changes agf 
theme predominates, finally reaching a climax in the final hymi 

ACT I 

SCENE \—The Hill of Vertua— Nymphs, Sirens, Naiads and Bacc 

mossy banl^s 

The rising of the curtain discloses Pemis reclining on 
TannhHuser, who is in a dejected attitude. The goddess asks 
and he tells her he is weary of pleasure and would see the ear 
fondly : 

Venus: 



What! art thou wav'ring? Why these vain 

lamentings? 
Canst thou so soon weary of the blisses 
That love immortal hath cast 'round thee? 
Can it be — dost thou now repent that thou'rt 

divine? 
Hast thou soon forgotten how thy heart was 

mourning, 



Till by me thot 
My minstrel, c( 
Recall the rapl 

of love 
In tones that 

thy slave! 
Of love sing < 

thine! 



417 



68352 


12- inch. 


$1^5 


31160 


1 2-inch. 


1.00 


16537 


10-inch. 


.75 


17133 


10-inch. 


.75 



THE OPERA— WAGNER'S TANNHAUSER 



B the Praiae to Venus, but it is a forced effort, and throwing 



To strife or glory forth I go, 
I'm burning, Come life or death, come joy or woe, 

e — No more in bondage will I sigh! 

Oh queen, beloved goddess, let me fly! 

iim to go if he 'will, but predicts his return and disappears 
!ne instantly changes. 

SCENE ll—A VaUty 

himself in a beautiful valley near the Wartburg. On the 
the notes <^ a shepherd's pipe, and tinkling sheep bells 

npany of Pilgrims pass, singing their chant, ^hile the little 
begs them utter a prayer for him in Rome. This scene is 

ige and the Nebe Chorus, while additional records of the 

by Pryor's Band and the Brass Quartet. 



>rano, and Nebe Qt {German^ 

hk.faced—S«e page 423) 

et {DouhU-facei—See page 423) 

y): 

I faint, I sink beneath the burden! 
mercy! Nor will I cease, nor will I rest, 

•rcss'd — Till heav'nly mercy grant me pardon! 

minstrels now enter, and seeing a knight kneeling in praver, 

1 and delighted to see that it is the long lost Henry, their 

1 him, but he gives evasive replies. The Knights urge him 

to return with them, and speak the name of Elizabeth, 

Wolfram telling him that he is beloved by the Landgrave's 

fair niece. 

WOLFEAM : 

When for the palm in song^ we were contending. 

And oft thy conq'ring strain the wreath had won. 

Our son^s anon thy victory, suspending. 

One glorious prize was won by tnee alone! 

Was't magic, or a pow'r divine, 

That wrought thro thee the wondrous sign, 

Thy harp and song in blissful hour 

Enthrall d of royal maids the flower! 

For ah, when thou in scorn hadst left us. 

Her heart was closed to jov and song. 

Of her sweet jjrcsence she bereft us. 

For thee in vain she wearied long. 

Oh! minstrel bold, return and rest thee. 

Once more awake the joyous strain! 

Cast off the burden that oppress'd thee. 

And her fair star will shine again! 

Tannhduser joyfully consents to return and promises to 
compete in the forthcoming Tournament of Song, the prize 
for which is to be the hand of Elizabeth. The remainder of 
the hunting train of the Landgrave now arrives, and as 
Tannhduser is being greeted by his friends, the curtain faJls. 

ACT II 

^JE— rAe Great Hall in the WaHhurg 

y over the return of Tannhduser, and greets the Hall in ■ 



418 



VICTOR BOOK OF THE OPERA— \^rAGNER'S TANNHAUSER 

The ICnights and Ladies noiv assemble to the strains of the noble /^es/ March, s^vcn 
here in splendid fashion by Sousa*s Band. 

Fest March 

By Sousa*f Band 3 1 423 1 2-uich« $ 1 XK) 

By Sousa*f Band {DmM^faotdSee pag* 423) 16514 lO-inch, .75 

When the company is seated, the Landgraoe rises and makes the address of ^welcome. 

Landgrave: 

Minstrels assembled here, I give you greeting. To what we owe his (iresence here amonest us 

Full oft within these walls your lays have In strange, mysterious darkness still is 

sounded: wrapp'd; 

In veiled wisdom, or in mirthful measures The magic power of song shall now reveal it, 

Thev ever gladdened every list'ning heart. Therefore hear now the song you all shall 

Antf though the sword of^ strife was loosed sing. 

in battle. Sav, what is love? by what signs shall we 

Drawn to maintain our German land secure, know it? 

Knto the harp be equal praise and glory I This be your theme. Who so most nobly 

The tender graces of the homestead, this can tell. 

The faith in what is good and gracious — Him shall the Princess give the orize. 

For these you fought with word and voice;' He mav demand the fairest gueraon: 

The meed of praise for this is due. I voucti that whatsoe'er he ask is granted. 

Your strains inspiring, then, once more Up, then, arouse ye — sing, oh, gallant min* 

attune. strelsl 

Now that the gallant minstrel hath returned, .\ttune your harps to love — great is the prize. 

Who from our land too long was parted. Ere ye begin, let all receive our thanks! 

Four pages, who have drawn lots from a gold cup, now announce that W<^fram la to 
begin the contest. He rises and delivers his Eulogy of Looc. 

Wolfram's Ansprache (Wolfram's Eulogy of Lovej 

By Otto Goritz, Baritone {In German) 74215 12-inch, fl.50 

The singer gives his conception of love, which he describes as pure and ethereal, com- 
paring it to a crystal spring. 

WOLFRAU: 

CJazing around upon this fair assembly, My heart was sunk in prayerful holy dreams. 

How doth the heart expand to see the scene I And lol the source of afl delights ana power 

These gallant heroes, valiant, wise and gentle — Was then unto my listening soul revealed, 

A stately forest soaring fresh and green. From whose unfathomed depths all joy doth 
And blooming by their side in sweet perfec- shower — 

tion. The tender balm in which all grief is healed. 

I see a wreath of dames and maidens fair; Oh, may I never dim its limpid waters. 

Their blended glories dazzle the beholder — Or rashly trouble them with wild desires'. 

My song is mute before this vision rare I 1 worship thee kneeling, with soul devoted: 

I raised my eyes to one whose starry splendor To live and die for thee my heart aspires! 

In this bright heaven with mild effulgence (After a pause.) 

beams, I know not if these feeble words can render 

And gazing on that pure and tender radiance. What I have felt of love both true and tender. 

Tannhduser, who has shown signs of impatience during this recital, now jumps to his 
feet, flushed and eager, while the company looks at him in astonishment. 

TANNHArsER: (Ardently.) 

Oh. minstrel, if 'tis thus thou singest. But what can yield to soft caresses. 

Thou ne'er hast known or tasted love! .And, fram'd with me in mortal mould 

If thou desire an unapproached perfection — Gentle persuasion's rule confesses. 

Behold the stars — adore their bright reflec- .Xnd in these arms I may unfold— 

tion — This is for joy, and knows no measure. 

They were not made to be belov'd: For love's fulfillment is its pleasure! 

At this definition of love, strange for such an occasion, Biterolft a hotheaded Knight, 

rises and challenges Tannhduaer, who excitedly retorts that such a grinn wolf as Biterolf caai 

know nothing of the delights of love I He then, in wild exultation, sings his blasphemous 

Praise of Venus, saying 

Tannhauser: 

Dull mortals, who of love have never ta>te(l 
Go forth I \'enus alone can show ye love! 

At this the ICnights rush toward him with drawn swords, exclaiming : 

Knights: 

Y* all have heard. In \*enus' dark abode that dwell. 

His mouth hath confess'd Disown him— curse him — ^banish him! 

That he hath shared the joys of Hell, Or let bis traitor life-blood flow! 

420 



VICTOR BOOK OF THE OPERA— WAGTJ 

Eiladxth throw! heraeU in front of the unhappy Tarn 
trance. She beg* for hia life in a touching plea. 

Zunick, von ihm I (Away from Him !) 

=__ . I ^ . .. . ^ _ j^ij^ ^j^ Gtnm 

you to judic Let Hfav'n 

nst you all: The erring i 

1 implore ye! Wilhin the \ 
denied: How dare ye 



t hope of pardon be deti 
lewM his linking faith r 



udgment and declarea 



he join the band of Pilgrims about to Mart for Rome. In the 
chant, and the atraini aeem to bring the erhng knight to his t 
and daihei from the hall. 

ACT III 
SCENE— rAe VaUty btneaih iht (Toi^iy— <i/ < 
A* the curtain rises Eiliatelh is seen kneeling at the shri 
down by the path, and observing her, sadly notices her ch 
on his own hopeless love. The song of the Pilgrims is 
Eilxabelh eagerly rises and scans the approaching band. Tan. 
the despairing maiden kneels again at die shrine, and offers t 

Elizabeth's Gebet (Elizabeth's Prayer) 



Before Ihy 
ni wreslfe 
Until in de, 
If of my si 



rapture; as ,Y 
Walf«im. who 
by gesture not 



EiitiAtth 
Mate that ■ 
ror hi* faith 
1, where she has a high purpose to fulfill; shi 
ow. She slowly ascend* the height and di 



gesture that *h 
for hi* faithf. 



A— WAGNER'S TANNHAUSER 



oni; to the Evening Star) 

(/n German) 68154 12-iach. «3X>0 

UnCtrman) 14006 12-iilcIi. 1.50 

(/n Geman) 'SSlftO 12-inch. 1 J5 

(/n Gtiman) 31462 12-iiicli. IJW 

(/n£n«&>A) *17446 lO-iacb, .75 

*168I3 lO^inch, .75 

inff Star) 

(/n FrencA) 91067 lO-inch. t2.00 

adow, Nighl bet gloam 

II the vale she bendetb: 

tread yon palh ot lighl. 

gale of Fear and Night. 
,?in Heaven Ihe tairesl, 

is by Ihee made bright, 
:d by pure lichl. 
oly litiKl 
e to my ught, 
hat ne'er diicloi'dl 
ihy light reposed; 



ILE-TACED TANNHAUSER RECORDS, p, 



VICTOR BOOK OF THE OPERA-WAGN : 



Wolfram, in horror, urge* bim to remain, but TonnAiIuwr . 
tlu) naine of Ellzattth. The unhappy man, in ludden repenl ; 
in the dictance is (een a company oE minitrel* bearing the body i 
paaied away. As the procenion approaches, a company of - 
that the Matf of the Pope had put forth green leaves aa ■ sign i 

The Mlratrtl, supported by Wolfram, gazes on the saint! 

then expires, while the Pilgriini and minstrels with great emc i 

The Lord inmsclf now thy boncbi : 

Go. enter <n with the blett in Hii [lea 



DOUBLE-FACED AND MISCELLANEOUS TANl. 

jEUistwth*« Prayer By EUtabeth Wlieeler, Sopra : 

\ A Night In Vtnia: Mr. anJ Mr,. What 

I Lied de« Hirtcaknsben uod Cbor der Pilfer 
(tn Centum) Runtfe and Nebe C 
Lied des Hirtenknaben uod Cbor der Pilger (Pirt II) 
(/n German) Ruotfe and Nebe C 
lO du meiti holder Abeodstern By Reinald Werrenrii 

\ Treue Litie—Ach. wle lit 'i mtgllch Jaim Emil Muench. Ten 
I Overture— Part I By La Scsla Orchesti 

I Overture— Part II By La Scala Orcbesti 

Selection from the Opera By Arthur Pryor's Ban 

Madame Baltafty StltcUon, Na. 2 By Arthur Pryor's Bai 

Feat March By Souaa'a Ban 

La Marielllalie— National Air of France By Sniua ', Ba, 

[The EveninK Star By Victor Sorlin, *Celli 

I Latt Rw of Sarnmer By Elizabtth Wheela, Soprai 

(The Evenioff Star {/n EngUih) By Alan Turni 

\ The Rotary IN^n) By Alan Turn 

/Piltfrima' Chorus By Pryor's Bar 

) Lohengrin— Cut> dclle noae (In Ilallan) By La Scala Chor 

IPiltfrinis' Choru* By Victor Bras* Quart. 

\ Don Carlot— Grand March ( Verdi) By Soum '* Ba, 



THAIS 

OPERA IN THREE ACTS 
Libretto by Louis Gallet, based on the t 
t. Rrrt pfo" 
evoiy capital of Europe. First America 
Opera House. New li^rk. 



Characters 

Thais, actress and courtesan Soprano 

ATHANAEl, a Cenobite monk Baritone 

NICIAS, a wealthy Alexandrian Tenor 

PALEMON, an aged Cenobite monk , . Bass 

ALBiNE. an abbess Mezio-Soprano 

CROBYLE. 1 , . , 

MvDTii r r»«vo girls Sopranos 



MVRTALE, 

Monka. Nuns. Otizens, Servants, Dai 

TImt and Place 



d)^^ El»ptian, a woman of wonderful beauty and ■ co 

i^ Pv^iKlo and led by him into the riBhleoui path, is the subie 
librettist has given the name of Alhaoaei to Pafnado, who is a > 
living with an assemblage of holy men, called Cenobites, in thi 

A( 

SCENE I— rA« Camp o> 

At the opening of th( 

turned from Alexandria, 

famous courtesan, ThaU, • 

save. Against the adv 

Palanon, he calls his brot 

nouncea his intention of 

convert the courtesan to t 

SCENE II— rA< Hmu 

i4lAanae/ arrives and i 

who knew the monk yeai 

bis old friend he haa ci 

Thau the better life, but 

and scoff, at the idea. I 

dress the monk in rich n> 

she is soon curious abo 

monk tells her he has co 

her salvation and the III 

she believes only in Joi 

In horror at the revelry 

evenins, Alhanatl leaves. 

uTiHi DurtAHMi Ai ATHANAiL at her home and show h< 

ACT II 

SCENE \-Thal,- Apartm.nl, 

. TTjo aecond act takes pUce in die luxurious home of Thah 

himself against the ■educlivc charms of Thali. and eloquently pli 



•ombre gannenU, and becom- 
ing infuriated over hcT di 
Nldai, realizing the (eTioui 
among ihem, and in the w 

ACT III 

SCENE I— A Datrt Ocli 

In Act III the pur are Men on their way to a convent. Thali is almost exhauMed with 

tatigue, and Alhanad tenderly nipporta her. SaiM Alblnt and the Whltt Sitltn come to meet 

them, and the monk deliveri Thats over to them 

to remain with them till the end oE life. Tholt ia 

happy with a great apitilual peace, but Alhanatl, 

.„1 I «_ 1 I IiL aLI-. !.».- 



SCENE II— 7"Ae CtnobUa' Camp 
Alhanatl, returned to his retreat, no longer 
linda there the peace of former day*, and endure* 
mental torture, continually thinking ol Thali. He 
ha* a viflion in ivhich ahe appear* to him firat a* 
the courteian and then as a nun dying in the 
convent. Awakening in terror, he ruahes out in 
the darknea* and make* hi* way again to the 
retreat of Thali, 

SCENE m—The Cnvtnl of tht IVhilt! Slittr, 
AihanatI arrives, find* Thais ill, and in a frenzy 
of love implore* her to return to the earthly life, 
but ThalM ha* a vision of heavenly bli*a and !* 
deaf to hia cntrealie*. dying with a glow of hap. 
pine** on her face, while Alhanatl falls to the 
ground in despair. 

No opera of Mr. HammerMein* producing 
made *uch a deep impression on opera-goer* 
as did Massenet's wonderful and mystic work, 
although it* beautie* were almost intangible 
and hard to realize without many hoaring* and 
4M 



VICTOR BOOK OF THE O P E R A— M A 3 S E N E T'S TH 

on intiniate acquaintonci 
the text. The lovely A 
Hon, however, alwaya 
an inatant impremioa on 
hearer and received en 
Bitic approval, being j 
as on intermezzo betwe< 
acenea of the opera. 
Thats audiences heard ni 
renderings of this inten 
as have been given h<! 
Powell. Etman and K 
Two other fine records : 
zer and Rattay, in the j : 
double.faced class, a : 
offered. The great a 
Act 1, in which Alhar ; 

"I"' THE DEATH Of iiiAis ACT IV '^' Ccnobiles of his ' i 

life in the wicked city < 
by Mr. Whitehill with a noble quality of voice and much dramatic force. A very fii 
of the D'acqaa atper^mf, the duet between ThaTi and Alhaitatl in Act III. by Janni ax 
tini, U alio presented. 



THAiS RECORDS 
Meditation (Intermezzo Religieuse) 

By Maud Powell. Violinut 74135 12-ti 

By Friti Kreisler. Violinist 7*182 I2-i 

By Mischa Elmao, Violinut 74341 12-i: 

Voili done la terrible cite (That 
Awful City I Behold) 



D'acqua aspergimi (With Holy 
W^ater Anoint Me) 

By Mme. Jsnni. Soprano, iDd 
Mattia Banistini. Baritone 

(InUaUan) 8B393 12-ioeh. tS.OO 

I Meditation (/nfermuza 
Rdigitu,t) 
By Howard 
Rattay, Violinist 39147 12-inch, ^ 
Lohengrin SeltcHon 
(.tVagner) 
Eb Pryor't !Bond 
i Meditation (Inttrmeztc 
Rthgtaat) 
By Maximilian 
I Pilier, Violinist 39306 12-inch, 

By Maxindllan 
I PlUer. VlaUnitt 



Puccini. 


Fi«t 


loduelion July 


'w"&™" "'" 


Be. 


Sopr«io 




. .Tenor 




Baritone 




...BSM 




Baritone 









VICTOR BOOK OF THE OPER A— P OCCINI'S TOS( 



painring *!>« unknown benuly whom ho had nabced caiuso as mabjii— act i 

at late in the church. Mario amilingly confoaea that while she had prayed he had >t' 
her likenen (or hi* Madonna. Then taking out a miniature of hi* betrothed. Toko. 
•ing* a lovely air in which he compare* her dark beauty with the fair treaae* and I 
eye* of the unknown worihipper. calling it "a itrange but harmoniou* contraat." 

Ilan) 87043 lO-inch. *: 
Hi* mu*ing> are ii 
Tupted by the hurried entr 
o( a man in priaon garb. [ 
ing with (ear and fati 
whom Mario recognize* i 
old friend. AnStiolU, a pol 
prisoner. Maria, in letp 
to hiafriend'a appeal (or ai 
anc^ haatily close* the i 
door, and conceal* Angtla 
the chapel, juit aa Tt 
voice i* heard impatient)] 
manding admittance. 

He admila her, bi 
anxiou* and ill at ease. (» 
to intruM even Toica wit 
dangeroua a aecret, bul 
noticea hi* preoccupation 
i* (omewhal piqued bee 

I She ia at fint jealoua and 
him if he ia thinking of ani 

I woman ; but soon repents 
in the charming love ■ 

I which followa endeavor 

I aroooth hi* brow by plan 
' a for the mor 



ill wander and 
wionat 1ii& 
. and >he con- 
Jed little retreat 

aickantros. and 

on of love. 

ietta (Our 



ncso. Tenor 



(No Eyes on 



.id (he bid* her lover a 



.howing him the path t 
Era telU that the e*cape o 



ED TOSCA RECORDS, p. 



VICTOR B OOK OF THE O P E R A— P U C C 1 N I ' 5 TOS 

The act cicwe* with a 7c Datm, aung in celebration of the defeat of Bonaparte, an 
scene at the (all of the curtain ia b moat imprenive one. the aolemn atraina of the w 
aoundinK through the church, while Scarfia LneeU, apparently in reverence, but ae 
plotting nia diabolical cnniea. 

ACT II 

SCENE— /4 Room In Scarplai AparbntnU In iht Famae Palace 
When the curtain rises Scarpla ia shown at his supper, restless and agilated, awaitin 
report of hia police, who have been sent to arrest Aforfo and Angdotll. Hearing T 
voice in the apartments of the Queen below, where she is ainging at a Kirte, he sends 

note saying he has nei 
her lover. He is cettaii 
will come for Matio't 
and aure that hia plani 
succeed. He then sinj 
celebrated soliloquy. S 
loves Buch a conquest as i 
no tender vows in the r 
light for himl He p 
talcing what he deiiri 
force, then when wearii 
ia ready for further coni 
This, in abort, is hia cr< 
God has created divers 
and many types c^ bea 
he prefera to enjoy as 
of them as possible I 

Mario is brought in I 

police.who report that Ar 

ini luniimi — IU.1 11 cannot be found, i 

is furious, and tries to 

Marh to reveal the hiding place of the fugitive ; but he refuses to speak, and is or 

into the torture chamber adjoining. Totca comea in answer to Scorpla't summons i 

told that Mario is being tortured into a confession. Unable to bear the sound of hia g 

she reveals the hiding place of Angelolll. Scarpla, in triumph, 

ordera the torture to cease, but aends Mario to prison, telling 

him he must die. Tosco tries to go with him but is forced 

Then b«ins the great scene of the opera, which Scarpla 
begins by offering to save Marh't life. She scornfully ailu 
him his price, and he proposea that Tuco shall accept hia 
attentions in order to save her lover's life. He then sings his 
famous CanlablU. 

Cantabile Scarpia (Scarpia's Air) 

By Antonio Scotti. BiritoDC 88122 12-uich, *3.00 

(You Have Scome' 

<Hla Itailan) 45016 lO-in^ *\JOO 
He lella her that he has long loved her and had sworn to 
possess her. She scortu him, but when he tells her that Mario ""* •*" 
shall die in an hour and exults in his power, her spirit is broken. scorrt ai scAsrtA 

and weeping (or shame, she sings that loveliest and moat pathetic of airs, Viul 

Vissi d'arte e d'atnor (Love and 'Music) 

By Nellie Melba. Soprano (/n llalian) 86075 12-iiich. 

By Gerildine Fsmr, Soprano {In Italian) B8192 12-inch. 

By Emms Eames, Soprano (In llalian) 88010 12-iDcb. 

By Lucille Msrcell. Soprano {In Italian) I601B 12.inch. 

By Maria Broozoni, Soprano </n Italian) 4501 7 lO-ineh, 

By A«n<« Kimball. Soprano (/n Engllih) 6OO70 10-inch, 



VICTOR BOOK OP THE O P E R A— P U C C I N I ' 5 TOSCA 

ACED AND MISCELLANEOUS TOSCA RECORDS 
I Act I 1 



'ou Have Scorned Me) l 

By Eroeato Badioi. Baritone d" {'"ItonAAKnti. in :-^k inn 



By De Grefforio. Soprano (/n /la/fon)J 

Toaea— rajca Diolna (Divine Toacal) * I 

By Berl-Reaky. Barilone (/nfta/tan) ,,_,, ,„ :„,h 

^ Giufou Btrl-Raky, Baritone (In tlallan}} 



LA TRAVIATA 

OPERA IN THREE ACTS 

Text by Piave, founded on Dumu' "Lady ol the Cameliai." but the period Uchangi 



Chanctetf of th« Opcr« 

VlOLETTA VALERY. b courtecui Soprano 

Flora, friend of Violetta Mezzo-Soprano 

ANNIN A confidante of Violetta Soprano 

ALFREDO GERMONT, (ZAcr^mua) lover of Violetta Tenor 

aoRGlO GERMONT, hi* father Bwitone 

CASTONE, Vi»count of Letorierei f Tenor 

Baron EWUPHOU a rival of Alfred Baritone 

Doctor GRENVIL, a phyiiclan Baa* 

QUSEPPE, aervant to Violetta .Tenor 

Choru* of Ladies and Gentlemen, frienda of Violetta and f^ora. 

Mute Peraonages: Matadara. Picadora. Cypiiea, Servanta, Maika, etc 

Scene ani PerloJ: Parti and aiolrom, aboul the ytar 1700. 

Verdi'a La Traviata i» baaed upon a well-known play by Alexandre Dumoib La i 
aux camtllat, familiar in its dramatic form ai Camllle. It is one of the moM beautiful « 
of iU class, and is full of lovely melodies; while the atory oi the unfortunate Vlolttli 
caused many tears to be shed by sympathetic listeners. 

The opera met with but indifferent 
succeu at its first production. S< 
ludicrous incident* aroused the Ibu_ 
of the audience, the cliroai being reached 
when the yioUlta (Mme. Donalelli). who 



happened to be very stout, declaimed i 



9 



feeble accents that sbe waa dying of ci 

■umptioni This wa* too much for the 

Venetian sense of humor, and the house 

exploded with mirth, utterly spoiling the 

final scene. fbahcesco fIav 

The opera was then revised, eight- (1810.1876) 

eenth century costumes and setting! being "'tUv'a.til'" 

substituted for the modern ones first used ; 
and the new version was produced in various cities with 
vuDi AT THE TIUE OF TUE cess, the London seaaon being particularly brilliant. 

usit tRAViATA no- TJie plot_ being quite familiar, will be but briefly altet 

DUcTioH ^^^ Vlolclia, a courteaan of Paris, is holding a bril 

revel in her home. Among the guest* i* a young man 
Provence, Alfnd, who is in love with Vloltlta, and after much persuasion, the spoiled be 
agrees to leave her gay life and retire with him to an humble apartment near Paris. J 
a few brief months of happiness, the lovers are discovered by Alfred') father, who pi 
with Vloltlta to release his son from his promises. She yields for his soke, and reauma 
former life in Paris. Alfred, not knowing the real cauae of her deaertion, seeks her out 
publicly inaulli her. Too late he diacovers the sacrifice Violttia ha* made, and whe 
returns, full of remorae, he find* her dying of c«nsumption, and she expires in his armi 

Prelude to Act I 

By La Seals Orchestra {D-vhU.{aa^Sm pag* 441) 68027 12-iiich, * 

The prelude, one of the lovelieit bits in the opera, is played in fine style by the fai 
orchestra of La Scala. 

433 



VICTOR BOOK OF THE O PE R A— V E RD I'S TRAVIA 



Libiam nei lieti calici (A Bumper We'll Drain) 

By Ametia Rizzini. Sopruio: Eniilia Peiea, Tenor; ani] L« Scats 

Clioruf (/n Uaban) *62415 10-ineh, * 



Like eumm 

The 'pre wn 
lU H^deri. 



Un di felice (Rapturous Moment) 

By Marie A. MiehsUowa, SopriAo. and A. M. Davulow. 

Tenor (In Ruiaian) 61198 lo-inch. * 

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

Tenor (In llollan) *6206T lO-ineh. 

Alfred now bidi her a tender farewell and takei hU departure, and Vi<detta ainei 
great air, one of the matt brilliant of all colorature number*. 

I Ah, fors' e lui fThe One of ^^hom I Dreamed) 
) Sempre libera (The Round of Pleasure) 

By Luiia Tetraccini, Soprano (In Italian) 88293 12-inch. * 

By Marcclla Sembrich, Soprano {In Italian) 88018 12-ine!i. 

By Nellie Melba. Soprano (In Italian) 88064 12-incb, 

By Lucy Marib, Soprano (In Italian) 70O94 12-inch, 

By Giu*eppiaa HuVuet. Soprano (Part I) {In Italian) *62084 lO-iach. 
By Giuieppina Huguet. Soprano, and Pietro Lara. Tenor 

(Part II) {In Italian) *620S4 lO-inch. 

The sriB occur* a( the cloae of the act. Violtlta, wonderMruck at finding heraell 
object of a pure love, begin* the (oliloquy, £ ttraiK, taying: 
How wondious! Shall 1 darr dbdain il. 

His i>ord« drtp Hithin my heart air K'avcn! And choo^ the einpty follies that now surr 

Nd Igre or rnorul yel halh moved me. me? 

She then ainga the plaintive air, Ah, fan' i hi, and give* heraelf up to the *pe 
awakening love: 
\'ioliita: ' 

Ah. wB> it he my lieart forttold. vrhsn in the Strewing my way with flowers, 

throng of pleasure. Walling my heart to love! 

Oft have 1 ]oy'd to shadow forth one whom Ah. now I feel Ihal 'lis love and love alo 

alone I'd treasure. Sole breath of all in the life, the life univ< 

He who with «a1t:hfu1 lenderne<« guarded my Mysterious power, guiding the fate of mo 

n shake* off the illv 

*SMbkJ'ao^RK„i—F«mi>^c^cM.dJ.,«D<XIBLEJ'ACEDLA TRAV UT A RECORDS. p<^ 
i37 



VICTOR BOOK OF THE OPERA-VERDI'S TRAVIATA 



In rv'ry firFLc and wild drlTght. 
I'll •irrp my unw and dit! 
I'll fulfill the found of pleaiure. 
joyinii, m^ini (rum flowci lo flower. 



Victor cuatomers have no fewer than aix rendi- 
tion* of thi« great air at their command and are 
Iik«l7 to be embarraaaed in their attempta to ckooae 
between them. 

Melba'a ainging of thia air ia marked not only 
by Bre» brilliancy, but by dramatic fervor, and ahe 
makea a marlied contrast between the aadneaa of 
the prelude and the forced gayety of the finale. 
Both portiona of the aria (formerly iaaued in two 
parta) now are included in one record. 

Mme. Tetrazzini choae thia opera for her firat 
appearance both in London and New York, and the 
choice waa an admirable one, aa Verdi'a work ex- 
hiblla all the aoprano'a fine qualitiea^ — not only her 
wonderful coloratura but the warmth and color 
which ake poaaeatea in a high degree. Many oper- 
atic aopranoa regard the part of Vlolitla merely aa a 
background for a vocal diaplay. Tetrazzini on the 
other hand, while not neglecting the opportunitiea for coloratura, bru 
tenderneaa and a pathoa which are moat affecting. Her rend 

i lul ia a moat muaical one. with ita aatoniihing feata of i ..._ __ 

which ihe trilli an £ In all con only be deacribed aa amazing. 

Mme. Sembrich in her turn fully realizea the compoaer'a ideal in the preaentation of 
thia Borid and ornamental air, and aeldom haa a more aatisfying rendition been heard. 

Other fine rendering* are provided by Miaa Marah and Mme. 
Huguet. 

ACT II 
^^ SCENE— /nJerto t/ o Qxinfisi Houae near Parii 

^^^ fl Alfred enter* and aoliloquizea upon his new-found happiness. 

^A H Altiis: Three months bave already flown 

5^ 



IhM Hand a 



He than singa his Del miti holltatl, a lovely air. in which he apeaka 
of hia wild youth, and the peace and happineu which have come to 
him through his love for Vieitlla. 

Dei tniei bollenti spiriti (Wild My Dream) 

By Ariawdemo Giorf iDi {llalian) 76011 12-inch, «2.00 

By Herman Jadlowker (llallan) 16024 I2-iiich. 2.0O 

By Emilia Pecea, Tenor (llallan) *6ei»6 12-ineh. 1.2S 

By Alberta Amadi. Tenor {llallan) *63314 lO-incb, .75 



■-M ;w7;oubi;>;r.;;;;: 



lisuer'd: "Liic Cor mt, an 

Ab, Mnn that briEhl. that blessed dajr, 
>«.v»nx.< >.< jtLTtlD In llraven, 'mid joys crlestial. 

iMr II, s.'tKC I) In Heaven I seem la be! 

* D,mtkAtURK*'J-F4rmk^mm^>li>imDOUaLE^ACEDLATRAyiATAK£CORDS.»ti,44l. 



VICTOR BOOK OF THE OPER A— VERD I 'S TRAVIA 



Alfni leaina from Vklaia't (ailhful maid that ake ha* been obliged 
to aell her jewela for their lupport. He U much athamed and teavea for 
Pari* to ae^re sqi^ ■Qm.CT- 

KUe»a 'i^urw^t^ i* ■urpriaed at Alfttd't nidden departure. A 
ytntor i* announced, who provei to be Germonl, the father of A^eJ. He 
hat been greatly dittresied at hii aon's entanglement, and comea to beg 
VloleUa to releaae the young man from hi* promiae*. She i* much moved, 
and her bearing make* a favorable imprenion on Gemxinf, eapecially wher 
he leanu that ahe haa told her property for Atfnd'i lake. 

Pura siccome un angelo (Pure as an Angel) 

By Battaglioli and Badini On Italian) *43001 lO-ineh. tl.OC 
By RenzoMinolG. Baritone (/n/fo/fon) *6241S lO-inch. .73 

Non sapete (Ah, You Know Not) 

By Eraeito Badioi, Baritone (llalian) *4502B ' lO-inch. •I.OO 

In ihii air Ctrmonl pleadi for big own daughter, whoae engagemeni 

to ■ youth of Provence vHIl be broken if Al/nd doea not return home. 

VioUtta at 6rM refuae*. aaying that her love for Alfred ia above (dl other 

conaiderationa, but when Cetwont aayi : 

Be In mi home and lov'd anca 
Our ingfl. good, ronsoling. 

Wbilr t'cI Ihcrc mav be lime. 

e AffrtJ forever, and they *ing a melo. 



These wgrda 
ahe finally jrielda, agreeing to lei 
diouaduet: i«:t "r hei 

Dice alia i^iovtne (Say to Thy Dtughter) 

By Maria Galvany and TiKa Ru£Fo {In Italian) 92503 . 12-ineh. : 



Had b 



Wiep on; I wilnew thy trial 
In what I ask of thy sclf-deniat 



r. then 



Udly d 



I th]F daugbicr 



(They 



Ctrmonl expreaae* hia gratitude, emhracet the we 
Vteitlla and depsrta. while the unhappy woman wril 
AlfrtJ of her deciaion and retuma to Pari*. 

When the young man retuma he ia driven to despi 
t^io/effo'inote. and repuUe* hia father, who plead* with 
to return. Ctrmonl then ainga hia moat beautiful numbe 
Dl Proetnia. 

Di Provenza il mar (Thy Home in 
Provence) 

By G, Mario Sanunarco. Baritone 

[In Italian) 8B314 12-inch. 
By Enie«ta Badini. Baritone 

{In Italian) '49001 lO-incb. 
In this touching appeal he aaka hia aon to return I 
home in Provence and to hia falher'a heart. 

Sammarco ainga the number with a wealth of tendt 
and expreaaion. revealing a amooth, rich and resonant 
which ia good in hear : and a popular-priced reco 
ni ia alao oflered. 

A le DOUBLE-FACED LA TRAVIATA RECORDS.pa, 



VICTOR BOOK OP THE OPERA— VERDI'S TRAVIATA 



In Ihiac abicnce, lo It 
Sccm-d his home, witb 
Hut I find Ihcc now n 



At the curtain riaes Flora and her friendi are diacuning the aeparation of the lovers 
Biul Flora aaya ihe eipecta Vhitlla will aoon arrive with the Baron. Alfred entera, and 
remarking with aaaumed indifference that he Imowa nothing of yioitUa'i whereabouta, 
begin* to ssnible and wina heavily. 

The Baron appears, accompanied by VhltUa, who ia agitated at the aight of Alfred, 
but he pretenda not to aee her and challenges the Baron to a game, again winning large 
amounts. Supper ii announced and all leave the room except yioleUa and Alfml, who 
linger behind. He charges her with her falseness, and, in furtherance of the promise 
made to Ctrment, she pretends to him that she loves the Boron, Alfred then losea all con- 
trol over himself, and throwing open the doora. he calls to the gueata to re-enter. 

Quests donna conoscete (Kno^v Ye All This 'Woman ?) 

By Atberto Anudi, Tenor {In llallan) *633U 10-inch. *0,7S 

Pointing to Violetta. Alfred cries wildly: 



All shr pas» 
lUlh for mj 
I. blindly, bi 



'ly. wrrlchrdlv. Bear wilncss ill arou 

condescended. That here 1 pay Ifae 



and completes the inauk by throwing at her feet the money he had just won. 

At this moment Alfied't father. Gttmorxt, enters, and it horrified at the scene which con. 
fronts him. Then follows the splendid Gnale. one of the greatest of Verdi's concerted 

Alfredo, di questo core (Al&ed, Thou Knowest Not) 
By Giuseppina Hu^et. Sowano: G. Pini-Corsi. Tenor: Brnetto 

Badini, Baritone: and Chorua {In Italian) 983»2 12.iach. >1.0O 

The emotions of the various characters are expressed by the librettist aa fallows; 
Guests: Babon: 

(Ih. lo what baseness thy passions have led This shameful insult against this lady 

To wound thus faUlly one who has loved thee! Offends hII present: behold me ready 

'of scorn most worthy himself dotfc render \' lattnTl'ifix-ingy.'*' ' 

Who wounds in aniier a woman lender! Ah. lov'd Alfredo, this heart's devotion 

My son, where is he? Ko more I see him; Thou canst not falhotn yel— its fond emotion! 

In Ihee. Alfred. 1 seek himi but in vain! When, hereafter the truth comes o'er thee 

Alfsep taiide): May Heaven in piiy 



Dt>Ak^ac^fUari— Format tMxom^dimtDOUBLEJ'ACED LA TRAVIATA RECORDS, paf 441. 



VICTOR BOOK OF THE OPERA-VERDI'S TRAVIA 



( VhUtla 'i apatimenl. She It ailap on the couch, uihiU htr maid data by the fin) 
Ai the curtain rise* the doctor*! knock i* heard, and Dr. Greneil, Vioiefla.'i pliyrii 
enters and attend* hia patieot, aflerwsida telling the maid that she haa not l6nK to 
Left alone, Violetia readi again a letter ike kaa received from Ctrmonl. 

" Thou hail t^epl thy pmrnlac. Tht duel loolf ptact and the Baron iKoi uicunJtd, b 
Imfmiclng, Alfrtdo it In foreign eounlHtt. Yout tacrifict hai been reoealed lo him by me, an 
lelll relatn lo y>u for pardon. Haile lo recover ; Ihou daerveth a brighl fulure. ' ' 

Georgio GeTmont 
"Alaa, it u too late," she exclaim*, and >ing* her beautiful and pathetic "Farewell.' 

Addio del passato (Farewell to the Bright Visions) 

By Alice NieUen, Soprano (In Ilallan) b40*t8 lO-inch, • 

By Marie MichaUow«. Soprano (In Ruutan) 611 7B 10-inch, 



"ffifS' 






Aifrtd now enters, filled with reniorae, and uk* forgivenea*. which i* (reel)' gran 
and yhlella. forgetting her illnen, plan* with Alfred to leave Pari* forever. They aing 
malodioua duet. "Gay Pari* We'll Leave With Gladne**." 

Parigi o cara (Far from Gay Paris) 

By Alice Nielsen and Florencio Constantino {Ilallan) 74079 12-inch. * 
By Amelia Riiiini, Soprano, and Emilio Peres, Tenor *62067 10-inch. 
At the close of the duet Violetia 't overtaxed strength give* way, and she collapaea in 
lover's arms. He notices (or the lirst time her paleness, and is much alarmed, aending 
maid to call the doctor. Dr. Grenvll soon enters, accompanied by Germonl, and ofle 
affecting scene, in which Germanl blames himself for all that has occurred, Vloletta txp 
and the curtain (alia on a aorrowful tableau. 



DOUBLE-FACED AND MISCELLANEOUS TRAVIATA RECORDS 

r elude By La ScaU Orche»tral . --,_ ,, ;„t , 

L-ytfrlcana—MoKla Indiana By La Scala OrcheHraT^" la-inch. » 

rraviata Selectioo By Pryor's Bandl,.-,, ,,=„>, 

TrovaloreSelecllor, By Pryor', BarJi^*^^" 12-ioeh. 

/Alfredo, di queato core By Hutfuet, Pini-Corsi and Badinii , -__„ ,~ ■_ i 

1 Ray Blat-O dolce oolulla By Qrld and Lara (In Ilallan)!*"^^^ IS-incU. 

/Dei miei bollente (Wild My Dream) By Perea (/" /(flftan)l , _, ., ,~ ■ u < 

i Emanl-Fenna craddc Bff Bernacchl. Cola^a and de LunLr^^^*' "-"«=''■ ^ 

ron*apete (Ah. YouKnowNot) By ErneatoBadinil . , -,- ,„ j„„i. . 

Afanon—Gaoolla By Qlu»pi4na Hoguel (/n /(o/tan)/***'" lO-inch, 

(Di Provenza il mar By Erneato Badini (In Italian)], ..^n, m j— i. i 

IPura aiccome uo aoerfo By Battatflioli and Badini (In Ilatlan)]*^^^ lO-inch. i 



/Ah, for*' t lui By Giuaeppina Hu^et (/n/faiian]i.--_ . ■n_;„„i, 

■(Sempre libera By Hutfuet and Ura (/o /toi/on) /"'"'* lO-inch, 

fUn di felicc, eterea ByTrentini and Martinez- Pa tti I 

{Paritfi o cara By Amelia Rizzini. Soprano, and [62067 lO-inch, 

Emilio Perea. Tenor (In Italian) I 

Dme un angelo By Renzo Minolfi (In llallan)\ 

:i lieti calici {A Bumper Well Drain) [62413 lO-inch. 

\ By Rizzini. Perea and Chortis (In Italian) ] 

/Dei miei boUenti spiriti By Alberto Amadi (In Ilallan)[..-, . ,_ - .i 

Oucata donna conoscete By Alberto Amadi (In Ilallan)l"^^* lO-mcn, 

' ^^„MtJ'aitJfUctrJ—FerHlktf»P»-IHilJtK»,ABO,IU. 



TRI 



VICTOR BOOK OF THE OPERA— TRISTAN AND ISOLDE 

Cluracur* 
Tristan. ■ ComUh knight, nephew of King Mark. Tenor 

King Mark of Cornwall Baw 

Isolde. Princax of Ireland Soprano 

KURVCNAL, Trutan'a devoted Krvanl Baritime 

MELOT, (AW-W) one of King Mark'* courtiera. . . .Tenor 
BRANGANE. {Bm-tai/-i^) Uolde'i friend and 

attendant . Soprano 

A SHEPHERD Tenor 

A Steersman Baritone 

A Sailor Lad Tenor 

Choni* of Sailora. Knighta, Eaquires and Men-at-Amw. 

Although completed in 1859, Trittan wai not produced 
until lis yean later. Through the atrenuoui efiorti of King 
Ludwig II of Bavaria, it wat ultimately brought out in 
Munich with diitinct artistic aucceas — Schnorr. the tenor, 
acoring brilliantly in the rOle of Trtalan. Previous to this 

lime, however, it had been underlined for performance in oucihal rsouiAU or iiistah. 
Vienna, but was abandoned after fifty-seven rehearaali. udhich. iS6; 

more than twenty years old. but aince that time has 
grown (teadily in popularity. 

Thia great drama of love and hatred, with it* won. 
derful music, is now quite generally admitted to be the 
finest of the master's operas. Written at the time of 
Wagner's own love affair (with Mathilde Wcaendonck)^ 
it ia supposed that he sought to emphasize the fact that 
love cannot always be bound by conventions. 

Trbton, a Cornish knight, has a quarrel with MorolJ, 
an Irish chieftain who had been sent to collect tribute, 
and kills him; and after the custom of the time, sends 
back his head, which is given to his affianced, an Irish 
princess, laolJe. Trittan himself had received a danger- 

the name of Tanbis and seek the assistance of lioiJe, who 
is famed for her knowledge of the art of healing. laolJe. 
however, recognizes him by a notch in his sword, which 

exactly a piec< 

d of MorcU 

instead, while he n: 

uncle, King Manfc. 

" cnsK, :,, isoLPE Preludio (Prelude) 

By La Seals Orchcitri 66210 12-inch. *1J5 
The first act (hows the deck of the ship which is conveying IiolJt and Triitan to Cornwall, 
she having accepted Kilru Mora's propoaal, made through his nephew. During the voyage, 
however, the refusal of Triilon to see her, the exultation of the sailors over the killing of 
Monld (which freed Cornwall from its subjection to liolJe'i royal father), and detestation of 
the loveless marriage she is about to contract, infuriate the Princess, and she resolves to die 
and drag Trtilan down to death with her. She tells Tiiilan she ia aware of his crime in kill- 
ing her lover, and demands vengeance. He admits her right to kill him and offers his sword, 
but she bid* her maid, BrangSne, prepare two cups of poison from her casket BrangSnt, 
unwilling to see her mistress die. secretly substitute* for the poison a love potion, the effect 
of which is immediate, and the lovers sink into each other's arms just as the ship ap- 
proaches the shore and the King arrives to claim hia bride. 

Act II takes place in the garden outside Iiolde'i chamber. The King has gone on a 
hunting expedition, but Brangilne fear* that it is merely a ruse, and thinks the King's cour< 



BOOK OP THE OPERA— TRISTAN AND ISOLDE 

tier. Mtlot, auspect* die true atate of affair*. BrcngHne then confeaaea 
that aha intentionBlly lubMituted the philtre ioi the poiaoned cup in- 
tended (or Trtilan. 



Thy dfders to oppose! 
Had I been deaf and blind. 
Thy woik weie then Ihy dral 
■tut th^ distress. 



Ilia canf eaaion meeta with but faint reproachea from Itolde, who 
heraelf up wholly to the intoxication of the potion, and aing* 
with growing exaltation; 




Dein Werk (Thy Act) 
By Johanna GadAL ' 



(In German) 86169 12- 



go^i 



.'ha» will the wurld obeys: 
ith she holds in her hands, 
hate into loni 



uins to heed Brangant'M warning ImlJc give* the aignal for Tri$tan't coming by ei- 
ng Ute torch. He appear*, and a long tove scene eniuea, interrupted by the return 
ICing, who lurpriMa the lovera in a fond embrace. Marl( bitterly reproachea hia 
, and Mehl, ahouting "treaaon," staba Triilan, inflicting a fatal wound. 
; third act ahow* Tristan djong of the wound at hia caatle in Brtlagne, whither he 
•n canied by his faithful aervant, Kuntnid, who has sent for Itolde, knowing that 
ne can cure his maatcr'a wound by meaiu of her healing arts. 



VICTOR BOOK OF THE OPERA— TRISTAN AND ISOLDE 

Deipairing of her coming TWifan in his delirium tears off hi) 
point □( death when ItalJt arrivea, and did in her arm*. Kins 
cloaely punuins IfUc, now arrive and are attacked by Kurtntti 
hiinaelf .Uin by Mari^ 'j aoldien. Mark. ■«i'<S 7*^.(0^ dead and 
laeldt MiuelcM on hi* body, repenta hit rage and gives way to 
grief. Iioldc revive*, and when *he realize* that Triiian i* dead, 
her grief burets forth in the heaitrending Loce-Dtalh motiot! 



of Tri$lan. 

Isolde's Liebestod (Isolde's Love-Death) 

By Johanna G«d*ki. Soprano 

{/n Gtman) 86038 12-iach, f3.00 
By Victor Herbert** Orchestra 

(Dauklt-faaJ~-St€ Uoa) 99041 12-inch. 1.50 

By La Scab Orcheatra (ptKiUe-fac^—Sa Mm) 

68210 U-inch. 1.29 



lion OH Trislan-j body): 
Mild and »flly he is smiling; 
Haw hie eydiifs sweetly opent 

How h» bHineth 'ev*i brightei — 
Haw he risea ever radiant 
Steeped in sUrlight. barne abov< 

WUh "Ion 'iest?'ca1mly 'happy 



Trumpet lone that round me gushei. 
Brighter grou'ing, o'er me flawing, 
Mr these breetea airy piLlaws? 
Are they balmy beauteous billows? 
How they riw and gleam and glisten ■ 
Shall I breathe them? Shall I listen? 
Shall I sip them, d>Te within Ihcni? 



atilSgnrtd. it. 
ion and gritf 



DOUBLE-FACED TRISTAN AND ISOLDE RECORDS 



I TtHame 
/Prelude 
Iholde'* Love-Death 



(IbUu) (Esduh) 

IL TROVATORE THE TROUBADOUR 

OPERA IN FOUR ACTS 
>rd* by Salvatore Camnuinsro, the Moiy being luggeatecl by b Spaniah dnnia oi the 
,me. Mu«ic by Ciuaeppe Verdi. Produced at the Teatro Apollo, Rome, January 19, 
t the TMdtre it* haUtm. Paris. [}eceinber 23, 1654; at the Optra, Pari^, >• 
v«re, January 12, 1857; at Covent Garden. LondoD. May 17. t855: in Engliih aa Tht 
Vtngtanct. Drury Lane, March 24, 1856. Firat New York production May 17, 1655, 
(DCtii, Amodio and Vutvali. In German, at the Metropolitan Opera House, in 1889. 

CbBricteri 
O/VORA. (^'Oc-oA-noA'-mlkJa noble lady of theCourtoF an AragonPrinccM. Soprano 

UCENA {Ahi-utn-t^' .nah) a wandering BiM^yan gypiy Mezzo-Soprano 

Z, (E*'-ncM) attendant of Leonora Soprano 

J^RICO. (Afen-ret'-i"^) n young chiehatn under the Prince of Biacay. 

of myalen'oua birth, and in reality a brother of Count di Luna Tenor 

JtfT DI L.UNA, (Jbt Loo'-nak) a powerful young noble of tho Prince 

of Arrason Baritone 

RANDO, a captain of the guard and under di Luna - Baa* 

' a aoidier in Manrieo'a aerviee. Tenot 

OLD GYPSY Baritone 

Alao a fAcaaOger, a Jailer, Soldiera. Nuna, Gypaie*. Attendanta. etc. 

Scene and Period: BlKny anJ Aiagon ; fifttcnih ctnlarg. 

ACT I 

SCENE l—yttUbule In Ahafcria Palaa 
traaic work, // Trooatore opena in an atmoaphere of romance and myaleiy. 
",',-.",„^ Jj lj,na B^vait the arrival of their master, and to beguile the lime Ftr- 
h^oryof »*»•= Counl's childhood and the loss of his brother. 

ITjn'orar-a fS-warthy and Threatenintf) 

STImom anJ ^^ ^*^ Chorui {In hdlon) *b2A\b lO-incb. »O.I5 



VICTOR BOOK OF THE OPERA — IL TROVATORE 

The bcother, aa ui infant, came under tke etil eye of a witch, who was aeized and coa- 
demned to the (take. Thia witch had a daughlei, who delennined to avenge her mother's 
fate, with the renih that the Count* younset (on disappeared ; and after the witch's humir.g 
there was discovered upon the piJe M charie^ embers the bones of a child. This story is 
told in the Ahhtelta to a fierce rkj^hmicai tunc, e]^>ressing all shades of horror. 

Wiib two Eoni, hciri of fonunc and aflcftion. 
Liv'd tbe Cbuni in enjoyment; 

A iao(i"nuru foon" Finployni'nl* ' *"" 
' One morning, as (he thwn'i f,Ta rays were 



Whi> • 

reclir 



""sVmVolH 



Soon Ihev found tbe child wai failing. 
Coming darkness Bupall'ii him, 
The hag's dark spell enlhrall'd him! 
(All appear horrified.) 

Stil^d Bnd'coniiemn'^d''ii ™lo dealh"by''bornmg. 
One child, accursed, left the remaining. 
Quick la avenge her, no means disdaining. 
Thus r'he accomplished her daik rclrihution! 
Lost was the Count's child: search unavailing; 



SuU' orlo del tetti (As a Vampire You May See Her) 

By Torres dc Luna. Bass, and La Scala Chorus *1665S 10-incb, tO.75 

To the voice of the narrator is added the awe-stricken whispers of the choniSi which 
afterwards swell into a cry 
of fierce denunciation. The 
foreboding bell and an inatru. 
mental diminuendo complete 
the picture, which makes a 
fitting conclusion to a grue. 

The clock strikes twelve, 
and with cries of "Cursed be 
the witch infernal I " the relain- 

SCENE II- n« Cardtm of tht 
Palace 
The fair Ltonora now ap- 
pears with her faithful com- 
nion, Inei. She confides to 

knovfn knight whom she had 
first seen at the Tournament, 

*DoJ,k-FaaJRia>Hl—Fi,iiulf<f-eaQimtl<it IK DOUBLESACEDIL TROVATORE RECORDS, imet 457. 



rOR BOOK OF THE OPERA — IL TROVATORE 



la notte placida (My Heart is His Alone) 

y Luisa Tetrazzini« Soprano 

y Celestina Boninsegna, Soprano 

y Gina Viafora, Soprano 

y Edith Helena, Soprano 

y Lucia Crestani. Soprano 

lis wistful air, so unlike the weird music preceding it, she speaks of the Troubadour 

tnades her* and of the feelings which have been inspired in her breast by his song. 



(In Italian) 


88420 


12- inch. 


$3.00 


{In Italian) 


92026 


12-inch, 


3.00 


{In Italian) 


74116 


12-inch, 


1.50 


(In EnglUh) 


*35214 


12-inch, 


1.25 


{In Italian) 


* 16655 


10- inch. 


.75 



In tones so sweet and thrilling. 
Breathing to Heav'n an earnest pray'r. 



Mv heart with deep joy filling, 
I heard a voice oft heard before. 




calm, how placid, was the night! 

loudiess sky, how clear, how bright! 

loon in splendor shed her light, 

ill was hushed in peace around! 

nly, on the midnight air, My long-loved knightly Troubadour! 

ladies go into the house just as the Count, who is also wooing the fair Leonora, ap- 
watch under her window. He has barely taken his station when the lovely song 
oubadour is heard: 

o suUa terra (Naught on Earth is Left Me) 

By Nicola Zerola, Tenor {In Italian) 64 1 72 1 0-inch, $ 1 .00 

In this beautiful serenade, one of the gems of the opera, the Trouha- 
dour sings of his lonely life and the one hope that remains to him. 

Manrico: 

Lonelpr on earth abiding. Hut that fond treasure {gaining. 

Warring 'gainst fate's cruel chiding. In faith and love obtaining, 

Hope doth one heart implore, High o'er all kings would soar, 

To love the Troubadour! The happy Troubadour! 

The Count is filled with rage as Manrico appears and confesses his 
love in song, and when Leonora comes forth to greet her lover, the anger 
of di Luna bursts in a storm upon them both, in the strain with which 
this number opens. 

Di geloso amor sprezzato (Noyv My Vengeance) 

By Antonio Paoli. Tenor ; Clara Joanna, Soprano : Francesco 

Citfada, Baritone {In Italian) 9 1 082 1 0-inch, $2.00 

By Maria Bernacchi, Soprano ; Luigi Colazza,Tenor : Ernesto 

Caronna, Baritone {In Italian) * 16808 10-inch, .75 

Manrico defies him and they agree to fight to the death. Leonora 
implores her lover to stay, but is unable to restrain the jealous passion 
%vhich inspires the rivals, and after the powerful and exciting trio they 
rush out with drawn swords, while Leonora falls senseless. 

ACT II 

SCENE I — A Gy/U}f Camp in the Biscay Mountains 

We are now in the g3rpsy encampment at early morning, as the shad- 
ows of night are passing away before the dawn. The men are beginning 
cANBzco work, and in this, the famous Anoil Chorus, they hammer as they sing. 

rella (Anvil Chorus) 

1 Scala Chorus (In Italian) *62418 10-inch, 10.75 

'ictor Orchestra: 17231 10-inch, .75 

^ictor Male Chorus {In English) 1258 10-inch, .60 

nirinff tune ia accompanied by the ring of blows on the anvil, and the rough 
\ men and the sound of the hammers make a truly impressive musical picture. 

Women: 

Who makes the gypsy's, a life with pleasure 
laden, who? 
All: 

The pypsy maiden! 

See how the sunlight, radiantly glowing, 

Borrows new beams from our wine cups o'er- 
flowing! 

Resume our labor! Take each his hammer! 

Who makes the gypsy's life, etc. 



h'rshadUs of night are flying! 
raketh? Heav n's glorious arch un- 

r.nfl' widow, who, wcary of sighing. 
^"^ ^l«;*Mits of sorrow and wailing, 
icr garments "• 

to Tabor! 
his hammer. 



life with pleasure 



-s the gypsy s» * 

r^^FortttU of opt>o»a^'^^ « DOUBLE-FACED IL TROVATORE RECORDS, page 457, 



449 



VICTOR BOOK 



II balen del suo sor 

By Emilio dc Go(o 

By Fr»t»«ejco Ci(», 

By Alan Turner, B 

TKli lolo almoMwiiui] 

ielt an expreuioi "i the tea 



Per me ora. fatale ( 

By Erne**o Cjroni 

ThU decW^*""! it ei| 

Cofsi (/.nOKi/v): 
Oh. houiof fa<'lomr 
llasitn thy la^Pm m™ 
Tht joy Ihal • anticiiB,, 
Is of more Iba" moiui 
They conces.1 theniKl, 

Ah! se Terror t'inj 

By Fr.nc«co Cij,, 

They mnB of the tami„ 
of conccBUnent the Cnni ^ 
Choius Of Ni-NS; 

Ah: nhcn the >hiil„ ., 
Ob. dauahlei of Ew i,S 
Thrn will thou kno. ||V 

^ Are all our eirfhlr huptf. 



K OF THE OPERA— IL TROVATORE 

bold martial air, the gypsy'a 
incitements to vengeance be- 
ing heard at the aame time, 
leading to the vigoroua climax 
oi the duet. 

SCENE U—Tht OoUltrt of a 

In thii tcene we return 
to ike fortune* o( the Coanl 
and Leonora. She, believing 
the TroahaJour to have been 
killed, presumably in a recent 
duel with his rival, has deter- 
mined to enter a convent Dl 
Luna appears in front of the 
convent with the intention of 
carrying her away before the 
ceremony shall have taken 
NE*» CASTrLLoi— Acr II place, and sings his famous 

air, "llbBlen." 

rrlso (The Tempest of the Heart) 

;orsa. Baritone (In Italian) 8817S 12-inch. O.OO 

ada. Baritone (In llalian) '16812 10-inch, .TS 

Baritone [In Englijh) *16521 10-ioch, .73 

. the Counf our sympathy, in spile of ourselves, so genuine and hearl- 
nder passion it is. 



(This Passion That Inspires Me) 

ma. Baritone, and La Scala Chorus 

(In llalian) *16814 10-ineh. tO,79 
:presse<l in a vigorous air. 

No rival can 1 havr: 
ncnlg. No one darf my love to Ihwarl! 

,f For me halh faU dcsign'd her, 

wQiIhl And to mr >hc shall brlung! 

Ives among ihe trees aa the chant of the nun* is heard. 

igombra ('Mid the Shades of Error) 

ada. Baritone, and La Scala Chorus 

{la Italian) *16930 10-inch, *Q.1i 
ling retirement of Ltonora from the world, while from their place 
and his retainers speak of their coming triumph. 



m ilJiKe DOUBLE-FACEDILTROVATOREBECORDS.Knt^ST. 



VICTOR BOOK OF THE OPERA — IL TROVATORE 



Azucena, the gypsy, who now appears, proves to be none 
other than the witch's daughter spoken of in the first act. In 
the highly dramatic song allotted to her she relates to Manrico 
the dreadful story of the death of her mother, who had been 
burned at the stake as a witch by the father of the present 
Count di Luna. 

Stride la vatnpa (Fierce Flames Are Soaring) 

By Louise Homer, Contralto 

{In Italian) 87033 lO-inch, $2.00 
By Lina Mileri, Contralto 

{In Italian) * 16808 10-inch. .75 

In the aria she mentally lives again through the scene of 
her mother's execution, each horrible detail of which is indeli- 
bly imprinted upon her memory. 

This wild contralto air in the minor, with its deep, rich, 
and ever-changing tones, is well suited to so grim a recital. 



Upward the flames roll; the crowd presses 
fiercely on. 

Rush to the burning with seeming gladness; 

Loud cries of pleasure from all sides re-echo- 
ing! 

By guards surrounded — forth comes a woman! 

While, o'er them shining, with wild, unearthly 
glare, 

Dark wreaths of flame curl, ascending to 
heaven I 

Upward the flames roll! on comes the victim 
still; 




coPT-r McimosM 

HOMER AS AZUCENA 



Robed in dark garments, ungirt, unsandaKd; 

Fierce cries of vengeance from that dark crowd 
arise; 

Echo repeats them from mountain to moun- 
tain. 

O'er them reflecting, with wild, unearthly 
glare. 

Dark wreaths of flame curl, ascending to 
heaven ! 



The rendition of this thrilling air by Mme. Homer is a most dramatic and impressive 
one ; while an excellent lower-priced record is furnished by Mme. Mileri. 

Questioned by Manrico, Azucena tells him the story of her past. In obedience to her 
mother's last cry for vengeance, she stole the Count's young child, and threw it on the flames 
where her mother was consumed. But she soon discovered that in her frenzy she had 
destroyed her own infant, and preserved the child of the noble. Wild as was the previous 
air, this proves a still more dramatic setting of the conclusion of the story. The orchestral 
accompaniment crashes, wails and sobs, the voice rises and falls in hatred or terror, 
until at last the gypsy sinks exhausted with the stress of emotion that her tale has excited. 

Condotta elPera in ceppi (In Chains to Her Doom They Dragged 
Her) 

By Una Mileri, Contralto {In Italian) *35176 12-inch, $1.25 

The story has set Manrico thinking. " If your son perished,** he asks, *' whose child am 
I >*' But the gjrpsy, with a born instinct for dissimulation, avoids the question, still claiming 
him as her son. She reminds him of the almost fatal wounds received in an attack from the 
Count di Luna and his men, from which she had nursed him back to life. 

Azucena: 

To me thy life's protection thou owcst. 

At midnight, on the field of battle 

My cares revived the vital spark 

Many hours did I tend thee, healing thy wounds. 

So ghastly and numerous! 

Mai reggendo alPaspro assalto (At My Mercy Lay the Foe) 

By Louise Homer and Enrico Caruso {In Italian) 89049 12-inch, $4.00 

By Clotilde Esposito and Luigi Colazza {In Italian) *16550 10-inch, .75 

In the opening strain of this air, Manrico tells of his single combat with the Count, in which 
by an irresistible impulse, after felling his antagonist to earth, he spared the noble's life. 
The voice of the gypsy then bids him never again to allow their enemy to escape, but to 
unhesitatingly administer the death-blow. Manrico's story of the duel is expressed by a 

* DoubieJ^aced Record — For title of oppotite tide tee lid on page* 456 and 457. 

450 



BOOK OF THE OPERA — IL TROVATORE 



PreccJinR thw to Heaven, will doih 
AEune ajipear to mel 
Quietneu aoon deparU, (or the new* come* thai the BtlackiDs 
party have captured Aaicena, and are piling up (bbkoU around 
the itake at which she i> to be burnt. Maddened at the approach- 
ing outrage upon one whom he believei to be hii mother. Manrico 
Keparea to ruih to her aaiidance. The air with chorus which 
rms the climax to this acene ia full oF martial fire. 

Di quella pira (Tremble Ye Tyrants) 

By FrancMCO Tamaffao. Tenor 

{In Italian) 95006 10-inch. *5.00 
By Antonio Psoli. Tenor, and La Scila 

Choriu (/n llaUan) 92032 12-incb, 3.00 

> Caruao. Tenor {In Italian) 8TOOI lO-inch. 2.00 

1 ZeroU. Tenor (/n Italian) 641 TO lO-inch. l.OO 

nni Valla, Tenor, and La Scala Chorus 

(In Italian) *16809 lO-tnch. .75 
} by a very powerful introductory paiaage, and the high notea at the end, 
at tonea^ never fail o( their effect. 



nit. Hale now is rs|i<ne— l-tom flame> coii-.um<ng Ihy form shall snatch il be, 

'ngeance on yuu stall Call. Or with thvc. inolhcr. I luu will falh 

ing of this number ia abaolulely electrifying in ita effect on the liatenei. 

igh C'a being eBaily taken and with the full power of hia great voice. 

'anrica waa b 

proportiona, 

t with all hia 

Such a high 

efore been 

■ctrified the 

ecord of Di 

thful repro- 

eat aingera 

^°Mil«n 
a vigoroua 
ihia great 

iditiona, at a 

igS'w Vaiui 

bChorua. tbi aAUPiiBTs op ali.pui*— *ct iv 

„^_f„„„,l^,lA^OOUBLE-FACEDIL TROVATORE RECORDS.»a^457. 



VICTOR BOOK OF THE OPERA — IL TROVATORE 



Count: 

Triumphant hour impending. 

Thy moments urge with speed elating, 

The joy my heart's awaiting, 

Is not of mortal birth. 

In vain doth Heaven, contending 

With rival claims, oppose mc. 

If once these arms enclose thee. 

No power in heav'n or earth. 

No pow'r shall tear thee from me! 
Ferxando and Retainers: 

How bold I Let's go— conceal ourselves 

Amid the shades in haste. 

How bold! — Come on — ^and silence keep. 

The prize he soon will hold! 

As the nuns appear, conducting the penitent, the Count's 
retainers rush out and seize Leonora. 

The calculations of <// Luna are once more upset, for just as 
he interrupts the ceremony, Manrico unexpectedly appears. 
Leonora, overjoyed to find her lover still living, begins the great trio. 

E degtfio e posso crederlo (Blessed Vision) 

By Grisi, Sangior^i, Cigada and Chorus 

(In Italian) '*'35 1 76 1 2-inch, $ 1 .25 

Leonora foregoes her religious vows, and the lovers, for the 
time united, make their escape, to the chagrin of the baffled 
Count, while his men are defeated by Manrico'a followers. 

ACT III 

SCENE I — The Camp of di Luna 

Squilli echeggi la tromba (Soldiers^ Chorus) 

By New York Grand Opera Chorus (In Italian) 64050 10-inch, $1.00 

Act III opens with the chorus of Ji Luna's men — called the Soldiers' Chorus. In spite of 
the wealth of melody already heard in this work, here is yet another marvelous number, 
which works up to a powerful climax, and then dies away softly, as these Trooatore choruses 
so frequently do. 

Ne'er more brilliant were prospects victorious 
Than the hopes which our hearts now elate. 
Thence, we'll gather renown, bright and glo- 
rious 
Pleasure, honor and profit there await us. 
Honor and booty for us there await. 




CO^Y'T DUPOar 



MARTIN AS MANRICO 



Soldiers: 

Now let the trumpet in war tones resoundinfr. 
Call to arms, witn courage bold, we'll march 

undaunted. 
Haply, to-morrow, our proud foes confounding 
On tnose walls shall our banners be planted. 



Giomi poveri vivea (In Despair I Seek My Son) 

By ida Mamelli. Soprano ; Renzo Minolfi, Baritone ; Cesare Preve, 

Baritone ; La Scala Chorus (In Italian) '•'dd 1 7 7 1 2-inch. $1^5 

A scouting party from the Count's troops have fallen in with Azucena, and now bring 
her to the Count as a possible spy. Inquiries as to her past immediately connect her with 
the episode of the Count's childhood, and Ferrando declares her to be the murderess of 
di Luna 's lost brother. Azucena in her extremity, cries out the name of Manrico^ and the Count, 
finding she claims the Troubadour as her son, vows upon her a double vengeance, and she is 
bound and dragged away. Tlie gypsy's pleading, the Count's threatening anger and triumph, 
with the accompanying chorus, combine to make a moving and dramatic ensend>le. 

SCENE II — Manrico's Castle 

The scene changes to the castle wherein Manrico and Leonora are at last enjoying a brief 
honeymoon, though in expectation of an attack from the baffled Count di Luna. Here Man- 
rico sings a tender and affectionate farewell to his beloved ere he departs to repel his rival's 
assault. 

Ah, si ben mio (The Vows We Fondly Plitfhted) 

By Enrico Caruso, Tenor (In Italian) 88121 12-inch, $3.00 

By Giorgio Malesci, Tenor (In Italian) * 16809 10-inch« .75 

* Double-FaceJ ReeorJ^For Mle «/ oppoaU side «ee /M on page$ 456 and 457. 

452 



R BOOK OF THE OPERA — IL TROVATORE 

ance of di Luna brings from Leonora a prayer for mercy for the prisoner. The 
leeded, or rather it appears to increase the triumph which belongs to the Count's 
The appeal of the unhappy woman and the fierce joy of the gratified noble are 
cpressed in this magnificent duet. 

jcrbe lagritne (Oh, Let My Tears Implore Thee) 

hanna Gadski, Soprano, and Pasquale Amato, Baritone 

{In Italian) 89069 12-inch, $4.00 

ima Eames, Soprano, and Emilio de Gogorza, Baritone 

(In Italian) 89022 12.inch, 4.00 

lestina Boninsegna, Soprano, and Francesco Cicada, Baritone 

(In Italian) 91077 10-inch. 2.00 

iria Bernacchi and Ernesto Caronna (In Italian) * 1 68 1 1 0-inch, .75 

tremity of despair, Leonora makes one l£ist effort. If the Count will spare the 
s, she will consent to become di Luna's wife. She swears to perform her 
,e same time intending to take poison as soon as Manrico is free. Di Luna's 
changed into joy, while Leonora, forgetting her own fate, is filled with happiness 
It of the Troubadour's release. This situation gives opportunity for another 
et of a moat thrilling character. 

ontende i\ giubilo (Oh, Joy, He*s Saved) 

lanna Gadski, Soprano, and Pasquale Amato, Baritone 

(In Italian) 89070 12-inch, $4.00 

linaegna and Cicada (In Italian) 91071 10-inch, 2.00 

An^elis and Citfada (In Italian) * 168 11 10-inch, .75 

mber the Count expresses his rapture at the success of his conquest, while 
ns, aside : " Thou shalt possess but a lifeless bride.'* As the scene changes 
tower to secure the release of Manrico. 

SCENE II— 7%e Prison Cell of Manrico 

i duet — the famous Home to Our Mountains. The scene has changed to the 
where Azucerni and Manrico are together, and the gypsy, with the second- 
36, predicts her approaching end. 

nonti (Home to Our Mountains) 

ise Homer and Enrico Caruso (In Italian) 89018 12-inch, $4.00 

iimann-Heink and Caruso (In Italian) 89060 1 2-inch, 4.00 

•tfan and Macdonough {In English) *35118 12-inch, 1.25 

aella*0 Italian Band *35239 12-inch, 1.25 

tfan and Macdonough (In English) 31555 12-inch, 1.00 

f\A^ Esooaito, Soprano, and Luigi Colazza, Tenor 

iioex^ifF (In Italian) *16811 10-inch, .75 

rfan and Macdonough (In English) *16407 10-inch, .75 

duet i« considered by many to be the gem of Verdi's opera, and when 
'^tists as the Victor offers, it is doubly enjoyable. 

^ Kinff over the couch of Axucerui, whose strength is exhausted, and who 
watcning endeavors to soothe her fears. 

terrors; »"" *•*' 

Azucena: 
thv bosom. Yes, I am grief-worn and fain would rest me, 

remains ^^ ^"^ ^ji hear me I But more than grief have sad dreams 

ct my motncr, t oppressed me; 

ors to """YL^^T'j-orrows in soothing Should that dread vision rise in slumber 
pose from tny » Rouse me! its horrors may then depart. 

Manrico: ^ oh mother! IMl watch o'er thee, 

K^ „,flv restore sweet peace to thy heart. 

Sleep **"*^ 111 1 • • 

no longer, but a broken woman whose consummg passions 

d avcnginfif S^Rv j ««ray, she dreams of the happy days gone by. 
revenge have aiea » 

. / .,^.tuuUe side see U$t on pazes456 and 457. 
^rd-For title of opposUe ^^^ 



VICTOR BOOK OF THE OPERA — IL TRO VATORE 

ACT IV 
SCENE \—Exltrioi of tht PaUm of AUafeiia 
The laal act bringm us oul(ide the nlace of AUaftria, wherein ManHco. defeated by 
diLuna't men, and the gytpy, are confined in the dungeon*. Hither Leonora hu wended her 
way lo be near her lover, and she now sing* the plaintive D'amor. 

D'amor suU' ali roaee (l.ove. Fly on Rosy Pinions) 

By LtiiM Tetrizziai. Soprano (In llalianj SS426 12-iach. *3.00 

By Johanna Gadiki, Soprano {In Ilollanj 88319 12-Jneh, 3.00 

By Lucia Cretuni, Soprano {In Italian) *16810 lO-inch. .79 

Thii aad hut melodioua air reveala her heartfelt grief for the soiTowi which the cannot 



Console his s[iir[| failing, 

I^t how's salt whis)>rrs wrrilhinR 



On rosr wing! of love dcpan. 

Ilcarini my E^rt-* sad waili.iK. 

Visit l^c prisoner's Jonety cell, 

And now come* Verdi's moat famoui 



Miserere (I Have Sighed to Rest Me) 

By Enrico Caruso. Tenon Frinccs Alda. Soprano: 

Chorus of the Metrapolitin Opera {In Italian) 89030 12-inch. •4.00 

By Ida Giacomelli, Soprano ; Cino Martinez- Patti, 

Tenor: UScaliChorui {In Italian) SB366 12.iacb. I.OO 

By Eli*e Stevenion. Soprano: Harry Macdonough, 

Tenor; Victor Male Chorus {In Engllih) 31703 12-inch. I.OO 

By Stevenson, Macdonough and Chorus (In Engllih) '16013 10-inch, .79 

By Arthur Pryor and Emile Keneke (7"nBn4oni!-Com«0 *\b31l 10-inch. .75 

By Walter Rogers and Arthur Pryor {ConKl'Tromhont) *1 6794 10-inch, .75 

Lnnora i* terror -stricken at the solemn toUing of a deep-toned bell and the mournful 

chorus of priests chanting for the aoul of a doomed prisoner. 

PaiEsis: 

'S^hilh*r ^%"cv^^o* tlToughl"" ear"!!!' can 

l]«av*nly mercy allays tlie panss of parting, 
Look up beyond ifiis lifeV delusions holfo*. 

Then follow* an imprecsive series of chords in the 
orchestra, leading to a sobbing lament of Ltonota. 



ealh thai is near? 
In upon this there breaks the beautiful air of the 



These fragments, first given separately, are next combined and heard together, fomiins 
a most impressive scene of touching beauty, for which the opera of // Trouabtn will ever be 
remembered. 

• DcM^FacJ R«o,J—F«i aik ifaBpoUk .idt « DOUBLE-FACED IL TROVA TORE RECORDS, par 1S7- 



BOOK Of THE OPERA— IL TROVATORE 



(Peaceful Was the Nitfht) By Edith 1 

;>rano {In English) [352 1 4 

:ene Ssf Edith Helena, Soprano (In Engliah)] 

^ountaina By Veasella*a Italian Bandl «^.-- 

rtet (Verdi) By Kryl's Bohemian Band r^^^^ 

Victor Orchestra I 
resi (Michaelia) (DeacHpiive piece with anvil \ 1 723 1 

Arthur Pryor' a Band] 

a (S^^arthy and Threateninff) By Torres ] 
, and La Scala Chorus (In Italian) I . ^ ... 

Ui (As a Vampire You May See Her) |«>241b 

rres de Luna and La Scala Chorus (In Italian) ] 

tti de Luna and La Scala Chorus (In Italian) 
»lacida (My Heart is His Alone) 

By Lucia Crestani, Soprano (In Italian) 

sprezzato (No^nr My Vengeance) 
Bernacchi, Colazxa and Caronna (In Italian) 
(Fierce Flames Are Soaring) 

By Lina Mileri, Contralto (In Italian) 

ill*aspro assalto (At My Mercy Lay the 
lotilde Esposito and Luigi Colazza (In Italian) 
t* ingombra (*Mid the Shades of Error) 
\y Francesco Cigada and Chorus (In Italian) 

Borriao (The Tempest of the Heart) 1 

By Francesco Cigada, Baritone (In Italian) [ 1 68 1 2 
Song B^ Carlos Francisco (In Italian) J 

Heart By Alan Turner (In English)\ 

lor Song Bp Alan Turner (In English)} 

e (This Passion That Inspires Me) 

By Ernesto Caronna, Baritone (In Italian) 
\irtg Chorus, Son qua La Scala Chorus (In Italian) 

(The Vows We Fondly Plighted) 1 

By Georgio Malesci, Tenor (In Italian) I , ^q/^^ 
(Tremble Ye Tyrants) By Giovanni [*^»*^^ 
nd La Scala Chorus (In Italian)] 

osec (Love, Fly on Rosy Pinions) 

By Lucia Crestani, Soprano (In Italian) 
frime (Oh, Let My Tears Implore Thee) 
Bernacchi and Ernesto Caronna (In Italian) 

By Stevenson and Macdonough (In English) 1 1 ^q i « 
fy Ijooe By Steverison and Macdonough) 

By Pryor and Keneke ( TronAone-Comet) \ n^o * « 
UndeUaohn) By Victor String Quartet] * *»^ ' * 

By Rogers and Pryor (Comel'Tromhone)\. (.m^A 
es ( Tachaikpwaky) Bp Vienna String Quartet] ^^^^^ 

i il giuhHo (Oh, Joy, He*s Saved) 
le Angelis and Francesco Cigada (In Italian) 
(Home to Our Mountains) By Clotilde 
>prano, and Luigi Colazza, Tenor (In Italian) 

ountaina By Corinne Morgan, 
1^ HarrV Macdonough, Tenor (In English) 
■ieari BoU>'d Dc»n By Alan Turner (In English) 
>rezzato (Now My Vengeance) 
lacchi. doprano; Luigi Colazza, Tenor; 
) Carofsna, Baritone (In Italian) 

0vii Cta^rus) La Scala Chorus (In Italian) 

i57 



i2-inch, $1.25 
12-inch, 1.25 
10-inch, .75 

10- inch, .75 
16655 10-inch. .75 
16808 10-inch, .75 



16550 10-inch, .75 

10-inch, .75 

16521 10-inch, .75 

16814 10-inch, .75 

10-inch, .75 



16810 10-inch, .75 

10- inch, .75 

10- inch, .75 

10-inch, .75 



16811 10-inch, .75 



16407 10-inch, .75 



62418 10-inch, .75 



LES \ 

(ItMliMn) 

I VESPRI SIC 



Text by Scribe and Du 
June 13. 1633. An Italian vi 
production i^as at Drury L 
presented in Ne'w York in 1 



GUY DE MONTFORD . 

ARRIGO 

DUCHESSE H£l£NE.. 

John of Prooda. . 



Verdi's JSid/tan Vetpen { 
Op^ra, being produced thei 
popular, and much wonder 1 
stage, should have selected 
French I 

But the young compose 
by the great Scribe, then in 
looked the plot and welcome 

The scene U laid in Sicil 
of the French at vespers, 
Viceroy's brutal attitude towi 

Arrigo is in love with H 
afterward discovered to be tl 

The Victor offers a fine i 

O tu Palermo (Oh, ' 

By Herbert Witheff/ 

Fatherl 
At last 

• « 

ph. tho 
i-and ol 
Thy lov 
Summon 
in ancie 
I have s. 
I have ci 
But nev( 
Came thf 
Oh. Sicil 
Let us ra 
L«t us ra 



^ (French) 

,ES VEPRES SICILLIENNES 

{Leh Veh-per See-wt-tet-^n') 
Italiin) (English) 

[ SICILIANI SICILIAN VESPERS 

OPERA IN FIVE ACTS 

and Duveyrier. Music by Verdi. First given at the Acad6mie, Paris, 
Italian version was given at La Scala, Milan, in 1856. The first London 
>ury Lane, 1859, with Tietiens, Mongini and Vialetti. The work was 
ork in 1659, with Colson, Brignoli and Ferri. 



Characters 

PFORD Viceroy 

A Sicilian officer 

L^E A prisoner 

31DA A Sicilian conspirator 



espers followed the composer's Traoiala and was written for the Paris 
;d there June 13, 1655. It is a brilliant work, but has never been 
mder has often been expressed that Verdi, in writing for the French 
ected so inappropriate a subject as the Sicilian massacre of the 

Tiposer could hardly help himself, as the libretto was offered to him 

len in the height of his glory. The French, however, kindly over- 

Icomed the composer's fine music most generously. 

I Sicily at the time of the French invasion, and tells of the slaughter 

>er8, Easter Monday, 1282. This massacre was caused by the 

i toward the Sicilians. 

ith HiUna, and the plot turns on his attempt to rescue her. He is 

be the son of the Viceroy. 

fine record of the splendid O iu Palermo, by Mr. Witherspoon. 

►h. Thou Palermo!) 

lerspoon, Bass {In Italian) 74207 12-inch, $1.50 

itherland, beloved country I 
: last I now behold thee! 



I, thou Palermo, 

nd of my devotion, 

y lovinK smile shall ever be mine! 

mmon thy pride from shameful emotion, 

ancient Rlory once more to shine I 

ave souKht near and far for an ally, 

ave call d on the town and the tow'r; 

never heeding the voice of my pleading, 
r e the reply : 

Sicilians, why fails your own pow'r? 
us rally for vict'ry, 
us rally for our fame! 

From the Schirmer F«I]tton. 

Cop7't G. Schiriucr, 1904. 

459 



VICTOR. BOOK OF 



■: thi« unioo Te«aUinB 

the lalvatUHi al the gcxk. F 

Srevail on the earth mm a ra 
TiDg hortBM, the bravcM ot 
themaelvea reail)' to defokd i 
a brave hero u nrxemary, wf 
fiom FmSati, now changed inl 
(folon vinta the earth m»in i 



Tuihea in exhaucted. md falU I 
to him by •ome Jtrange wtt^ , 
i/W enter*, and afler queitionr 
mortal enemy. He uyi, "Xi 
to-nighl. but to-morrow itou , 
SlegUnde prepare hii evening , 
in it to make him aleep ttj^^ . 
control her iotercM in |tt „ ' 
atfeclcd hei. 

Then occur, the \mt[j • 

Sie^tauad'a IaAoIu, 

By Riccardo Mitiin, ' 

By George Hamlin. -], 

The hut. which Km teen j 
by ihe blowing open of the , , 
be seen the beaut; of the i , 
moon shines in upon Aon, 
for the first time. Sletniml, 



VICTOR BOOK OF THE OPERA— WAGNER'S DIE WALKURE 

sodden; thia union multing in nine aplendid daughters, the fValkOre. who are to aid in 
toe (olvKlion oE the godi. Riding forth each day among the tumult and the itrife which 
prevail on the earth a> a leault of the Cutie oi the Ring, they cany to Walhalla, on their 
Hying horfe^ the bravest of the wartiora who fall in battle. Theae revived hetoea keep 
(hemaelvea ready to defend Walhatla from the Nlehtlungi. But in order to regain the Ring, 
a brave hero ■■ neceaaary. who ahaU be free from the universal cur«e and who can take it 
from Falaei, now changed into a dragon the better to guard the treaaure. With this in mind 
Wotai yintm the earth again and weda a mortal who bear* hitn twins. SicgmunJ and SltgUnJt. 

While these children are quite 
young, the brutal Handing 
finds their cottage, hums h, 
kills the mother and carries off 
Slegllnde, whom he afterward 

The father and son return 
and swear vengeance on 
HanJing. Wotan (known aa 
foltt on earth) returns to 
IValhalla, leaving the young 
Slegmund to fight alone and 
become a seU-reUant hero. 
This is the situation when the 
action hegina. 

ACT I 

SCENE I— M/erior cf Handing ', 

Hal in ihe Foral — a Large 

Trtt rtttt through the Roof 

The prelude represents a 

FIRST »ci acKBE— ■"■■".I'in . fearful storm in the forest, in 

the midst of which SttgmunJ 

■ exhausted and /alU by the fire. SitgUndt gives him refreshment and feels drawn 

'im by some stra^ige attraction. While they are conversina WunJ- 

.^t«. and ^^i^^:^^^^'\iT^^:\;^^'^j''^Zt, 

'"L '"wT,\. morr^thou diest I" and goes to his room, bidding 
,ght, but '°-™°';*'" ;*^°" drink. She does «, but putt a drug 
InJe P'fP»'^ J*''. '_ „undly. nod returns to SicgmunJ, unable to 
.jrb";:''rr.,er^'t''thr™y^«'-. youth who has so -rangely 

nin^iccura the lovely Uebe,lud. the gem of this beautiful 
act. 

fmuna's Licbealied (Sietfrnund'. Love Song) 

By Riccardo Martin. Ten^^^^j ^^^^^ 12-ioch. .3.00 

By G«w«e Hamlin. Teoor_^^_^^^j ^^^^^ 12-inch. 1.30 

■ L K n in ■emi'darlcneSB, is suddenly illumined 
T,e hut. which haa «>«" , J^or at the back, and without can 
blowi^B OP=" V I .oHn« night after the rtorm. TTie full 
;„ the beauty of ,^; 'P'^Vat' they «^ each other elearly 
^ine* in "P°S, "l„Tj in ecrt««y- 'hapsodaes Spring and 
5 firat time, ibiegmuna. 



DIE WALKtJRE LA VAXKYRIE 

(Eafliah) 

THE VALKYRIE 

MUSIC-DRAMA IN THREE ACTS 



Character* 

SlEGMUND (Sect' -noonJ) Tenor 

HUNDING (Htvod'-Ing) Baw 

WOTAN (^■DA'Jii*n) Baritone 

SlECUNDE {Sotr-fln'-rf'A) Soprano 

BrONNHILDE (BnM-Aet/^-A) Soprano 

FRICKA (Fwf-,*) Soprano 

Valkyries— Gerhilda, Ortlinda, Valirauta. Sverleita. Helmviga. Sieamna, 
Giimgerda, Rouviia. 

WaUtOre m tKe lecond in the ■erica of muaic-dtama* compoaing the Nieitlung Ring, and 
to moat opeia.goera perhapa the moat melodioua and pleaaing. The atory >■ beauti- 
ful and compelling, the aituationa by turn thrilling and pathetic, while the glorioui muaic 
written by the maater to accompany the sdventurea of hia mythical peraonagea ia eaaily un- 
derstood and appreciated by the average liatener. 

A peruaal of the preceding deacription o( the atory of the Nldxlung in Rhinegold 
(page 360) will help the reader to underatand more fully the Victor aynopaia of WalkOrt. 

fVolan haa been warned by ErJa, the Earth Goddtu. that if AlUrlch regaina the Ring the 
goda muat periah. Brooding over thia impending fate, tVolan deacenda to earth and weda the 



VICTOR BOOK OF THE OPERA— WAGNER'S DIE WALKURE 

soddcMi this union reaulting in nina qilendid daughten, iKe WaUcOrt, who are to aid in 
tlie aalvBtion of the god*. Riding forth each day among the tumult and the mtrife which 
prevail on the earth a* a result of the Cune of the Ring, ihey carry to Walhalla, on their 
Bying horaes, the bravest of ihe warrior* who fall in battle. Theae revived heroea keep 
tkemselvea ready lo defend Walhalla from (he Niebtlunga. But in order to tegain the Ring, 
a brave hero >• neceaaary, who shall be free from ihc universal curse and who can take it 
from Fafner, now changed into a dragon the better to guard the treasure. With this in mind 
IVoUm visila the earth again and weda a mortal who bears him twins, SlegmunJ and Sitgilndt. 

While these children are quite 
young, the brutal Handing 
ha6a their cottage, bum* it, 
kill* the mother and Carrie* off 
Sitglladt, whom he afterward 
forces lo beconie his bride. 
The father and son return 

Wtim//^.**' (t'ofan (known M 
VqIic on earth) return* to 
Walhalla, leaving the young 
SlegmunJ to fight alone and 
become a aetf-ieliani hero. 
This is the ailuation when the 
action begin*. 

ACT I 

SCENE \—lnla1or<tf Handing's 
Hal in Ihe Foral — a Large 
Tree rliei through ihe Roof 
The prelude represent* a 

the midst of which Slegmund 
rushes in exhausted, and fall* by the lire. Siegllnde give* him refreshment and feels dtavm 
to him by some alrange attraction. While they are conversing. Hand- 
ing enters, and after questioning the attangei, recognizes in him his 
mortal enemy. He says. "Thou shall have shelter from the storm 
to-night, but to-morrow thou dieall" and goes to his room, bidding 
SitgUndt prepare his evening drink. She does so but puts a drug 
in it lo make him sleep soundly, and return* to Slegmand, unable to 

affected her. 

Then occurs the lovely Lithalicd. the gem of this beautiful 

Sie^mund's Liebealied (Siegmund's Love'Son^) 

By Riccardo Martin, Tenor 

{la German) 88276 12-inch, *3,00 
By Geortfe Hamlin. Tenor 

Un German) 741 1 1 I2-incb, 1.50 
The hut, which has been in semi -darkness, i* suddenly illumined 
by (he blowing open of the great door at the back, and without can 
be seen the beauty of the spring night after the storm. The full 
moon shines in upon them, *o thai they see each other clearly 
for the first time. Slegmund, in ecstasy, rhap*odizes Spring and 



1 1 riL-rrr l Ti I I l i r ' " "n 



rilcC*y 




il<le m ngbt- 



ilin: to fa> 
-Wolan im ia f or a 

, b«d humor. //a>^ 
ler. the pianliMI ol RiBTriagc for telp. 
' ■ ! puni^ed. Ifo/an preto" 
...ould not be interfered wii 
inds him that the whole diAci^ 
of hia own in&dehty. uid he u finallT" 
SitgmunJ shall be punished, 
then tnumphanOy calU to BrOnnM* »■ 
r inMru<:tiotu for her. BrUmth/Ut fi«» °? 
him he f»nfidea to her hi* effort» W *•»' 
lert h™ been in vain. He bid. !.«.«■ t^ 
s sternly cotnmanda obedience Md leif S' 
I1.8 f.om the wrath of Hunding. A^fi"*'*" 
uWed. Brannhilde comet to the lo«« "f, 
prophecy and aaya hia iword '*'",'"*'?, 
idden wave of empathy flfflnnWA r*"" 



VICTOR BOOK OF THE OPERA— WAGNER'S DIE ^(^ALKOrE 

He take* Ker hand, (eala her beaide him on the nide bench, and continue*: 



wTauv ' snd storm wane u hi> 

nwtnl'gf hi* harrly •.tnvinK 
The slouttM doDis hr ii crlraving. 
Wh<t:h. stubborn and strong, once hcl 

him: 
To »r»1 hit sislfr «wifl1y he flies; 
ThT» Love (he fprinK liath allurrd. 



Although the true charm oF this poetry can be realized heal by thoae on intimate lerma 
with the German tongue, this excellent translation from ihc DitKin Wagner Lyrici for Tenor 
will add to the enjoyment at the record. 

SlegliiuJe then (ella Siegmand the Mory of the Sword — how at her wedding a stranger had 

suddenly appeared and thrust into the trunk of the tree a magic aword which should belong 

only to him who could take it out 

Slegmund riaea eagerly, and going to 
the tree withdraws the sword with a 
mighty effort. The reunited brother sjid 
sister embrace each other and agree to 
fly from the power of HanJing. The 
curtain falls as they pass out into the 
moonlit forest. 

The love scenes between SicgllnJc 
and SlagmunJ should be considered in 
their allegorical and poetical sense, and 
not judged by modem ethical standards. 
Wagner intended this episode to represent 
the union of Love and SpHng. 

ACT II 

SCENE l~A Wild and Roda Pa„ 
Wolan and his favorite Valkifrte 
daughter, Brannhlldt, are discovered in 
full armor. He tells her to go to the 
rescue of the Volavng (Siegmand), whom 
Hundlng is pursuing, 
WorAK: 
Make ready thy steed, warrior maid. 
Brunnhildc. haste to the lield. 



RA— WAGNER-S DIE WALKUrE 



Jattlc Cry) 

{In German) 87002 10-inch. *2.00 
ul BratmMdt, aaA her voice Blorifi« thu muiic. 
noetic depth and power o{ the atory, hear only 
■he bruiB* into beautiful relief the jo)^l 
, happy vitality. Some idea of 



hiUof « 



j| r r ^ hFt 



■ki, however, surmounta theae dilScuhiea with 
he aria i* a really wonderful tpecimeD of both 
I recording. 



m-ioiiw'iUd c 
fHghtin;d'"g 



lifJe is right— Wnlan ia in (or a •coldins, aa Fricka 
ri in an extremely bad humor. HumUng haa ap- 
her. the guardian of marTiage, for help, and ahe 
Sfepnund be punished. If ofon protests that this 
omance should not he inteiieied with, but the 
ife reminds him that the whole difficulty u hut 
of hia own inhdehty, and he i* finally farced to 
Slegmand ihM be punished. 

then triumphantly calls to BrUnnfilUt that ifolan 
• inatructiona for her. Brtlnnhlldt finds her father 
him he con&des to her hia elfarts to Gnd a hero 
est has been in vain. He bids her see that vie. 
sternly commands obedience and leaves her. 
ig from the wrath of /yunJirv. SlegllnJt'i tti^agth 
iiled. Brannklde comes to the lovers and tells 
irophecy and says his sword will not fail him. 
Iden wave of sympathy BrOnnhllde resolves to 



VICTOR BOOK OF THE OPERA— WAGNER'S DIE WALKt 

ACT III 
SCENE \—TheSummtlofaRoda/Moam 
The act opens with the wonderful R 
Iht yalla/ria, one of the most itrikins of a 
RiBsler'a compoiitiocu. This is graph 
pictured in the iplendid Fontaaia by Pi 
Band, and in the La Scala record. 

Cavalcata (Ride of the Vail 

ries) 

By La Scala Orchestra 

(D«iMt-A«<0 62693 10-icch. i 

Fantasie 

(Includinff Ride of the Vslkyriei) 
By Arthur Pryor's Band 

31333 12<inch. I 

The Fantaiie contain! some of the 

poKions of this aecond opera of the Nieb 



by full band, fallowed by the tumut 
RlJt of Iht Valkj/rlei, one of the most tre 
dou( compoaitions in existence. The 
shouts of the goddcHca as they ride 

winged steeds through the air to the '. 

iiiE DEATH av siEcuuND the waiUke cries of BrOnnhlldi and the r 

ing of the war horses are splendidly porti 

A skillful modulation brings us to the last act. and b part of the great scene bet 

Wolan and Brilnnhlldt is given, beginning with 

the wonderful Sleg/ritJ, Guardian nf the SwcrJ 

on the trombone, and which is repeated magnili. 
cenlly by the basses in another key. 

The closing line of Wotan's Farewell. So 
kuMil er die GoUhell von dir ("with a kiss [ divest 
thee of godhead"), is heard on the comet. foL 
lowed by the Fire Music an exquisite blending 
of the two fire mol/M with BrUnnhilde'i Sittp. 

The Valkyria see BrUnnhlldt flying toward 
them, evidently in great distress. She alights 
and asks her sillers to shield her from the wrath 
of (Kofon, who is riding in pursuit; but they 
dare not help her. 
lUr-NSHiLnE: 

Shield mt\ Oh, help in hardeal n»d: 
The \'ALKritEi: 

Why flHst thnu in all ha<tr? 

Art thou In fear? So Hee but culpril<i who fear! 

BlI'NNHILDi: 

I am for (hr Rrst limt nursucct in Right: 
Hosl-falher hunts me down! 
She then bids Sttgllndt flee alone, telling her 
that she is destined to bear a son who shall be 

the hero Slegfrttd. tbi iiscde or sibouwdb 

405 



VICTOR BOOK OF THE OPERA-^ 



Fort denn 

By Ma: 



What coi 
For hiB I 

weal! 
ISIu bei 



J hasi shaped Ibe 
rcV Ihysert: 



He then tellbher that ahe tnuM be put in a dee 
■nd (hall be wakened by the RiH man who paaae 
plenda with him in a beautiful appeal. 

Brunnhilde's Bitte (Brunnhilde's A 
to "Wotan) 

By Jolunna Gadaki, SopriDo 

{In German) 08163 12-il)cfc 



VS DIE WALKURB 



■ that she (hall be won only 
1 be ■urrounded. He then 

>artl) 

) 64376 10-inch. *I.OO 

• lil with IdKhcs more brillianl 
iridal hive btirned: 
■11 Rirdle Ihc fell. 
DrcTiingf scaring Ihc timid. 
may cron nol Rrunnhildr's 

rHIh thp bride; 

he holds her in a long em- 



?2Ltt II) 

74309 12-iach, *1.50 

i«'lisM" on ""me^ii^w u mj 

is la-;t far<r»fl1! 

al here shall they betm: 

ig god may never hencefoKh 

he livrs thee hU kiu, 

godhood away! 

BTDM with doaed esres, her 



VICTOR BOOK OF THl 



les from (he 
lund Wolan. le 

Maffic Fire Spell (Feuerzau 

By Alfred Grunfeld, Pianift 

The leavt 
muaicolly picti 
which only W. 
(ion i* artisticail 
gins with the p; 



Then follows b I< 




besin* and continu 
to the cloK of the 
IVolcn directi, 
rock.. 

W0IA«: 11,: 


e» 

op. 

who 


He a.U . lu 

.he fire. 


look 


{The curl 


InM 



LEAUX 

ded upon Coedie'a 
Muiic by Massenet. 
(92. with Van Dyck 
6. 1893, with Mme. 
ew York. April 20. 
: the New TheBlre 
k and Dinh-Gilly : 



, .Baritone 

. .Soprano 
.Baritone 



VICTOR BOOK OF THE OPERA— MAS SENET'S W 

Ai the curtain ri>e«, CharlotU, aurro 
brother* and liaters, ■■ enBaged in | 
noonday meal. WeHhcr. a. acHou*- 
romantic young man, comes to the ho 
friend AUiert. who ia hetrothed to Ci 
charming domeitic picture appeals to H 
and he promptly falU in love with th 
When Wttihtr finds an opportunity to tt 
hia love, aKe confeuea that ahe return! 
but feeU it her duly to marry Albt 

Cromiie made to her dying mother, am 
lave the village- 
After Charlotte and Alktrt are ma 
return* and tella Charlolte that he atill lo 
admit* that he atill poaaenea her affect 
treala him to apare her and go away fori 
then wrilea a meaaage to Albert, tellini 
resolved to go on a long ioumey, and a 
his brace of pistola. Charlotte, great 
thia request, followa Wtrlher. but ia t 
find* him mortally wounded, and 1 
arm*. Overcome with grief, ahe fain 
of her lover, while in atrange contrai 
ing *cene the pealing of bell* and lh( 
»KiuB AS iiiABLuTTi IN tvuTiiEi of little children ainging Christmas c 

in the distance. 
Two of the best Belectiona from the opera, by Oement and Battiatini, a 

Lied d'Ossian (Ossian^s Sontf) 

By Edmood ClemcDC. Tenor {In French) 64234 

Ah I non mi ridestar 1 (Do Not Waken Me I) 

By Mattia Battiatini. Baritone {In llallan) 86394 



TELL 
TELL 
TELL 



mand MaraM, taken from Schiller'* 
ni. Fir*t presenied at the Acadimit, 
^sliih, Bl Dniry Lane. 1830, and in 



VICTOR BOOK OF THE OPERA— ROSSIl 



Characters 

WILUAM TELU 1 

Arnold, suitor of Matilda, >Swis8 Patriots 

WALTER FORST. J 

MELCTHAU Arnold's father 

GESSLER, Governor of Schwitz and Uri 

Rudolph, Captain of Gessler's bodyguard 

RUODI, a fisherman 

LEUTHOLD, a shepherd 

Matilda, daughter of Gessler 

HEDWIGA. TelFs wife 

JEMMY, Teirs son 

Chorus of Peasants of the Three Cantons ; Knight 
of the train of Matilda; Hunters, Soldiers anc 

Scent and Period : Switzerland; thrieen\ 



ACADEIMI E ROY A IE DE MUSIQIk 



** ' ' •#»'•• •« /• 



GCJIEiLAUME 

TELL. 



t LF> E.NTHJ.FS IH I AN LI M MINT SlSPl.NWra ; 



PKOGKAM OP WILLIAM TELL 
PKEMIESE, PAKIS OPERA, 1829 



The story of 
and chief instrui 
delivered the Sv 
yoke in 1207, has 
theme of one of 
dramatic interest 1 
duction of love sc 
in the librett< 
endowed with a I 
Matilda, who has 
by Arnold, son of 
country, and a de 
nies of Gessler. 
attachment ensues 
might have been 
connection. 
At the opening of the opera we learn that an agent of Ge 
on the daughter of a herdsman, and has been slain by her fi 
the country after this act of vengeance, it becomes necessary 
the weather is so adverse that none of the boatmen will 
tempestuous waters. IVilliam Tell finally undertakes the res 
mortal hatred of Gessler. 

As time progresses, the people become more and more 
disaffected ; and the father of Arnold, suspected of inciting 
them to acts of insubordination, is seized by Gessler and 
executed. The son's feelings are thus subjected to a 
aevere conflict between his love for Matilda, Gessler' s 
daughter, his duty to his country, and his desire to avenge 
his father's death. He, however, renounces his love, 
and joins the band of patriots now marshaled under 
William Tell. Events are brought to a climax by Gessler 
causing a cap to be elevated on a pole, and requiring 
all passers-by to bow to it. Tell firmly refuses to do so, 
and is thereupon subjected to the ordeal of the apple, being 
required, under pain of death, to shoot at an apple placed 
on the head of his son. Although the distance was consid- 
erable, he was able to strike the apple off without injuring 
the child. The tyrant, perceiving another arrow concealed 
under TelVs cloak, asks him for what purpose it was in- 
tended. To which he boldly replies, "To have shot you 
to the heart, if 1 had killed my son I " The enraged governor 
orders him to be hanged; but the Swiss, animated by 



473 



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te of 
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1.00 



VICTOR BOOK OF THE OPERA— ROSS 



(he patriarch of iKe villase. AmolJ, Mtlcl/ial'i aon, u sadden 
hia own love, Matilda, who ii (he daughter of (he tyrant Geultr 
Tdl confidea to Arnold aome oE hia plana (or overthrowini 
aska Arnold to aaiiat. 

Ch£ finger tanto invano (Vain is the Attem 

By Aniooio PaoH. Tenor, and Francesco Citfada, Barit 
{In haUan] 



VICTOR BOOK OF THE OPERA-'ROSSINTS WILLIAM TELL 

Arnold: His grief his repentance doth attest. 

(Ah! vain is all dissembling.) {To Arnold): 

While the tyrant's yoke continues. We have no need for doubt or fear — 

M^ heart is o'erwhelm'd with grief. If true to ourselves, we must conquer. 

What dost thou desire? Arnold: 
Tell: What power do we possess? 

To recall you, Arnold, to your duty. Tell: 
Arnold: Strength enough has he who doubts not 

Ah! Matilda, dearly do I love thee; If our valor fail us not. 

But from my heart the passion I must root. The tyrant will surely fall. 

If my country and my honor so demand. Arnold: 
Tell (aside) : When the hour of danger comes. 

If to us unfaithful he has been. Faithfully I will stand by you. 

The young man hesitates between duty to his country and his love (or the tyrant's 
daughter, but finally casts his lot with Tell, and goes to bid a last farewell to Matilda. 

The festival now begins, but is interrupted at intervals by the sound of hunting horns, 
showing that Gessler and his huntsmen are in the mountains near by. The young couples 
are wedded, and all are rejoicing in their happiness when the festival is rudely inter- 
rupted by Ltuthold, a shepherd, who rushes in crying, ** Save me from the tyrant.'* He 
explains that one of Gessler *s officers had abducted his daughter, and. to rescue her he 
had killed the villain. He begs the fishermen to row him across the lake to safety. They 
refuse, not daring to offend the tyrant, and because of the storm which is raging. Tell 
appears, rushes to the boat with Leuthold and puts out on the raging lake just as the 
soldiers of Gessler appear. Baffled of their revenge, they bum the village, devastate the 
fields, and strike down the aged Melcthal. 

ACT II 

SCENE— i4 deep valley in the Alps. On the left the Lake of the Four Cantons. TuHlight 

Matilda appears and muses upon her love for Arnold. Her lover now joins her, and an 
effective love scene ensues, which is interrupted by the approach of Tell and Walter, and 
Matilda departs. Tell has seen the young man talking to the daughter of his mortal enemy, 
and accuses him of being false to the Swiss. Arnold confesses that he loves Matilda, but 
says he will renounce her if his country demands the sacrifice. 

They then break to Arnold the news that Gessler has put his father to death, and feel- 
ings of vengeance drive from his mind all thought of Matilda. In a fine trio the three 
patriots call upon Heaven to aid their righteous cause. 

Troncar suoi di (His Life Basely Taken) 

By Paoli, Cigada and Sillich {In Italian) 92051 12-mch, $3.00 

Arnold: Our cause propitious Heaven will aid; 

His life the tyrant wickedly hath taken. The shade of your father ouf souls will 

And yet my sabre in its sheath reposeth; inspire! 

Alas! my father his son's aid was needing, Vengeance it calls for. and not lamentation; 

While I Helvetia was e*en then betraying. Although departed, he doth seem to say. 

Heavens! never again shall I behold him! Happy in his destiny hath he been; 

Trio: His remains a martvr's tomb shall hallow. 

May glory our hearts with courage exalt Of virtue such as hfs the fit recompense. 

Berlioz writes of his attempt to analsrze this great trio: "Whatl Analyze the awful 
despair of a son who learns his father is brutally slain > Note the details of a flute or 
second violin passage I No, — I can only cry, ' Wonderful, superb, heart-rending 1 * ** 

The men of the cantons now assemble, and in a splendid finale swear to conquer or die. 

Dotno, o ciel, da uno straniero (By a Vile Foreigner Subdued) 

By Nestore Delia Torre, Baritone {In Italian) 76013 12-iiich, $2.00 

The curtain falls to a magnificent outburst of patriotism, **To armsl To arms I** 

ACT III 

SCENE — The Grand Square of Altorf — Gessler 's Castle in the backgrourtd. In the Foreground 

a Pole surmounted by a Cap 

Gessler and his barons are seated on a throne at one side of the Square, while various 
amusements are given for their entertainment. It is here that the superb ballet, one of the 
most beautiful ever composed, is introduced. 

William Tell Ballet Music— Parts I and II By Pryor*8 Band '*'35042 12-inch. $IJ25 
William Tell Ballet Music— Part III By Pryor's Band *16578 10-inch. .75 

*DotAk.Faetd Record— For tiiie t^fofipaMe Ode set DOUBLE-FACED WILLIAM TELL RECORDS,page 478. 

476 



VICTOR BOOK OF THE OPERA— ROSSINI'S 



Gealer, who. with much wtiafiiction, ku been watching the ( 
which he hns had placed on a pole ai a symbol o( hi* authority, ■■; 
and hia toa [ail to pay honor to the (landard, and he orden them ■ 
him. He uka if the hoy ii Ttlf, man. and when Ttlt replica. " My • 
■trikei the tyrant. He orders Tdl to shoot an apple from the boy't 
death for both. Ttit reEuaes. hut Jenuoj; urgea hia father to obey, 
•aying. '"Father, remember your akill I Fear not. I will not movel" 

Till embraces his boy, and aelecting an arrow, manages to 
conceal another in hia coal. He casts ■ fierce look at the tyrant, 
then aima with care and atrikes the apple fairly in the centre. 
When he realizes Jtmmfi ia safe. Tttl faints and the concealed 
arrow is diacovered. "For whom wm the second arrow?" de- 
mands Gtala. " For you, tyrant. If I had harmed my child ! " 

GtaltT then orders both put to death, but Malllia, who hsia 
entered, demandi the life of the boy sind takes him under her 
protection. Till ia taken to prison amid the curses of the Swiss. 

ACT IV 

SCENE— rfe Ralittd Vlllagt of Act I 

AmolJ, who knows nothing of the capture of Tell, haa come 

to hia native village to bid farewell to the home of his boyhood. 

He gazes at the desolate cottage and sings his charming and palhet 

O muto asil (Oh. Blessed Abode) 

By Franceico Tsmafno, TcAOr </n llallm) 

By M. Gautier, Tenor (In French) * 

By Leon Beyle. Tenor (/n FrcncA) * 

This number, one of the most effective of those allotted to 

offers a fine contrast to the tumult of the last scene. 

A1.1.0LD: Oh! bItM'd stiode. 

I will nc>r abinilan my revive. .Mine rya first s 

My heart's thirsting for rfvenn: On« to brlov-d, y 

William thr ivranl h» in chain* nnprison'd! Dtini mi^'rv to 1 

Thu- hour of battif impatiently I waitl In >iin 1 call: no 

What silence in Ihit lone place doth reign: Which fancy now t 

I listen.— my own slcps alone 1 hear! Will e'«f again the 
Then home once lo 

»D<Ktk.FactJRta„J— FtrWk of iM,€.lk>tJ.mt DOUBLE-FACED WILUAM 



-ROSSINTS WILLIAM TELL 

and tell Arnold of recent events at Altdorf. 
rdlt and all depart. 

SCEINE II — Lak^ of Four Cantons. 
A Storm is Gathering 

TelVs wife is resting here on her way 
to demand of Gessler her husband and son. 
SMdenly she hears her son's voice and is 
overjoyed to see him brought to h^r by 
Matilda. She clasps him in her arms,. and 
anxiously inquires for her husband. Ma- 
tilda says that Tell has been removed from 
Altdorf Prison, and taken across the lake. 
She has no sooner spoken than Tell ap- 
pears, having escaped from the boat and 
sent an arrow through the tyrant's heart. 
Arnold and the patriots appear, rejoicing 
that Gessler has been slain and that the 
Swiss are free once more. 

The storm breaks, and as if to an- 
nounce liberty to Switzerland the sun 
bursts forth, revealing the glittering, snowy 
peaks of the Alps in all their dazzling 
beauty. An invocation to Freedom comes 
from every throat : . 

Tell: 

Let us invoke, with hearts devout. 

Thee, oh Freedom, to sway each heart! 

Thou gav'st us pow'r to strike and conquer, 

Do thou ne*er depart! 
All: 

Thou gav'st us pow*r to strike and conquer! 

We are free, do thou ne'er depart! 



OUS WILLIAM TELL RECORDS 



(In French) ^^^Q^j lO-inch. IMt 

(In Fnnch) 
.■ove. In My 

(/n FrencA) |^5Q26 lO-inch. IJOO 

(In French) 



j 



ZAZA 

OPERA m FOUR i 

Libretto adapted by the composer from a plaj i 
RuBgiero Leoncavallo. FiiM production in Milan, 1900. 

Tivoli Opera Houm, San FranciKo. November 27, 1903. i 

New Tivoli. San Francisco, under the direction of Leone I 

Character* 

ZAZA 

ANAIDE 

FLORIANA 

NATAUE 

SICNORA DUFRESNE 
MlUO DUFRE^E 

Cascart 

BUZZY 

MALARDOT the propr 

Lartignon 

DUCLOU 

MICHEUN. 

Marco V» 

Sinsera, Dancera, Scene Skiften, Firemen. Pro[i 

Time and Place : Peril ; iht pnttnt 11, 

Zaza hai had same auccex in London, Pari* and Berlin, I 
New York, although, several Zaza ezcerpta were given at the L 
when the composer visited America. The story is quite (am: 
however, trough the performances of the play of that name 
many countries and many languages, and the musical version fo 



R A— LEONCAVALLO'S ZAZA 



[ curtain discloiea a 
<ra aectiona, at one 
ing room of Zaza, 
>ther the end of a 
Zaai, m concert 
1 love with Du/reine, 
> Butty, the jour. 
: will have his love 
lie exerta all her 
tofittnt finally falli 
B faicinating (inser. 
nd act taken place 

ne tells Zaza that he 

intha. She pleada 
» go, and he finally 
stpone hia trip, but 
luit BO to Paris at 
.«,. CoKarf. an old 
I, enters and hinta 
may have other 

in in Paris with sAuuAtco as cabcait 

if following him to Paris. 

house in Paria. Zaza entera, accompanied by 

•A to Signora Dafrane, she realiies that he ia 

lorii Dujrant herself, who gazea with astonish- 

1 made a mistake in the house and goes away. 

The scene of the last act is again Zaxa i 

house in the suburbs. Caxart, who haa 

learned of the singer'a visit to Paris, pleada 

with her to give up Dufrane, but she only 

laughs at the suggestion and Caicart reminds 

her sternly that it is a matter of duly. 

Cetcari leavesand Dafremc is announced. He 

greets Zaza in the old affectionate way, but 

•he informs him she knows of his marriage. 

but that she forgives his deception. She 

declares she has told Signora Dufrant of their 

intimacy, and in a rage he curses her. She 

then sends him away, crying she is cured of 

her love, after assuring him that her Brat 

story was untrue, and that Signara Dufrant 

really knows nothing of the affair. 

The rale of CaKart Is one of Titta Ruffo's 
best, and hia rendition of the great air. Banna 
Zata, del mlo tuon lanpo, from the second 



t'ust before the parting of the Ic 
lighly effective number, emotional yet veiy 
melodious. Those, who hear these £ne airs 
I adequately presented here. 

UnUallan) 87114 10-iocV I2.00 

tie Gypsy) 

{In Jlallan 



an) eri25 10-inch, 12.00 



y