Skip to main content

Full text of "The Victor book of the opera"

See other formats


of tfie 1 


STORIES ^Seventy 
Grand Operas wit6 THREE 


Seven Hunarea VICTOR 








of t fie 


Stories of Seventy 
Grand Operas withThree 
Hundred Illustrations 
Si Descriptions of 
Seven Hundred Victor 
Opera Records r^o- 

VictorTalking Machine Co. 

Camden, New Jersey, U.S.A. 

Copyright 1912 

Camden, New Jersey, U. S. A. 

A LTHOUGH the Opera Stories in this book are in alphabetical order. 
'*' under the most familiar of the various titles, this index will be found 
convenient for quick reference. 

African 11 

Africana 11 

Africaine 11 

Aida 15 

Amleto 143 

Ballo in Maschera 218 

Bal Masque 218 

Barbiere di Siviglia 26 

Boheme 32 

Carmen 39 

Cavalier ia Rusticana .... 53 
Contes d'Hoffman 319 

Damnation de Faust 59 

Damnation of Faust .... 59 
Der Fliegende Hollander . . .115 

Der Freischiitz 126 

Die Afrikanerin 11 

Die Favoritin 108 

Dinorah 63 

Don Giovanni .. 65 

Don Juan 65 

Don Pasquale 70 

Dusk of the Gods 138 

Elisir d'Amore 76 

Ernani 79 

Faust 86 

Favorita, La . . 108 

Favorite, The 1O8 

Fidelio . .113 

Flauto Magico 189 

Flute Enchantee 189 

Flying Dutchman 115 

Force of Destiny 121 

Forza del Destino, La . . . .121 

Freeshooter, The 126 

Freischutz, Der 126 

Germania 129 

Gioconda, La . . T~T . . . .131 

Gotterdammerung 138 

Guglielmo Tell 370 

Guillaume Tell 37O 

Hamlet 143 

Hansel and Gretel 147 

Hansel und Gretel 147 

Hernani 79 

Herodiade 149 

Herodias 149 

Hoffman's Erzahlungen . . .319 

Huguenots, Les 152 

Huguenots, The 152 

Hugenotten, Die 152 

I Pagliacci 252 

II Trovatore 35O 

King of Lahore, The 297 

L' Africana 11 

L' Africaine 11 

Lakme 159 

Linda di Chamounix . . . 163 

Lohengrin . . . 164 

(Index continued on page 5) 


Lucia di Lammermoor . . . . 1 73 
Lucrezia Borgia 18O 

Madama Butterfly 183 

Madame Butterfly 183 

Magic Flute, The 189 

Manon 193 

Manon Lescaut 202 

Marta 212 

Martha 212 

Mariage de Figaro 206 

Marriage of Figaro 206 

Masked Ball 218 

Mastersingers, The 23O 

Mefistofele 224 

Meistersinger, Die 23O 

Mephistopheles 224 

Mignon 236 

Nino eRita 147 

Norma 242 

Nozze di Figaro 2O6 

Orfeo ed Euridice 244 

Orpheus and Eurydice . 244 

Otello 247 

Othello 247 

Pagliacci 252 

Pearl Fishers 266 

Pecheurs de Perles, Les . . 266 
Pescatori di Perle ..... 266 

Profeta, II 269 

Prophet, The 269 

Prophete. Le 269 

Puritani, I 274 

Puritans, The 274 

Regina di Saba ....... 277 

Roi de Lahore, Le ..... 297 

Rheingold, Das ....... 278 

Rhinegold, The ....... 278 

Rigoletto .......... 282 

Robert le Diable . . . . 295 

Roberto il Diavolo ..... 295 

Robert the Devil ..... 295 

Romeo and Juliet ...... 299 

Romeo et Juliette ..... 299 

Rustic Chivalry ...... 53 

Samson and Delilah ..... 304 

Samson et Dalila ...... 304 

Semiramide ........ 307 

Siegfried .......... 3O9 

Somnambulist, The ..... 315 

Sonnambula, La ....... 315 

Tales of Hoffman ...... 319 

Tannhauser ......... 322 

Tosca .......... 331 

Traviata, La ........ 339 

Tristan and Isolde ...... 345 

Tristano e Isotta ...... 345 

Tristan und Isolde ..... 345 

Troubadour, The ...... 35O 

Trovatore, II ........ 350 

Ugonotti, Gli ........ 152 

Valkyrie, La 


Vascello Fantasma, II . . . .115 

Walkiire, Die 361 

William Tell . 37O I 

Queen of Sheba 277 Zauberflote, Die 


Opera in America 

The opera has at last come into its own in the United States. In former 
years merely the pastime of the well-to-do in New York City and vicinity, 
grand opera is now enjoyed for its own sake by millions of hearers through- 
out the country. Boston, Chicago, Philadelphia, New Orleans, San Francisco 
and Montreal now have their regular opera season ; while many other cities 
have arranged for occasional performances. 

The Victor Responsible for Much of this 
Awakened Interest 

During the recent season several hundred performances of grand opera, 
at an estimated cost of millions of dollars, were given in the United States. 
This great outlay for dramatic music alone would not have been possible 
had it not been for the increased interest aroused in opera by the wide- 
spread distribution by the Victor during the past ten years of hundreds of 
thousands of grand opera records, at widely varying prices from the 
double-faced records by well-known Italian and French artists of Europe, 
at 37 ' l /t cents per selection, to the great concerted numbers by famous 
singers at $6.00 and $7.00. 

The Opera-Goer and the Victor 

Even though fortunate enough to be able to attend the opera, the lover 
of operatic music is reminded that with the Victor and the operatic 
records his enjoyment of the opera may be greatly increased. The favor- 
ite singers may be heard at home as often as desired, and their voices 
will be just as natural as in life. 

Do you think Caruso the greatest of tenors ? Then do not be satisfied 
with an occasional hearing of his glorious voice at the opera, but let him 
sing for you and your friends by means of the Victor. 

Is Sembrich, Farrar, Tetrazz : ni, Gadski, Calve, Schumann-Heink, Homer 
or Amato your favorite singer ? The Victor makes it possible to hear these 
voices at any time, no matter where the artists may be singing. 

Voices of Absent Singers 

Do you regret that Melba is in Australia ? There is consolation in the 
thought that her voice is here in all its loveliness, indelibly impressed on 
Victor discs. 

Have you memories of Tamagno when he was at his best ? The Victor 
will revive these memories for you by bringing the voice of this singer back 
from the grave. (Fonvord continued on page 9) 


The Victor an Excellent Substitute for the Opera 

For every person who can attend the opera there are a hundred who 
cannot. However, many thousands of lovers of the opera in the latter 
class have discovered what a satisfactory substitute the Victor is, for it 
brings the actual voices of the great singers to the home, with the added 
advantage that the artist will repeat the favorite aria as 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 illustrations in this catalogue. 

The Victor Opera Season Never Ends 

In former years, after the close of the opera season and the annual 
migration of the artists to Europe, no one seemed to think much about 
grand opera or opera singers. The Victor, however, has changed all this, 
and operatic records now form a most important part of the musical life 
in 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 Catalogue the First of Its Kind 

This little -work is unique in many respects, and while there are many 
excellent books describing the plots of the operas, we think that in no 
other book on opera can be found all of these features : 
<f Titles in various languages, -with pronunciation of each. 
<JDate and place of original production. 
tJDate and place of first performance in America. 
CJCast of characters and pronunciation of the same when necessary. 
<I Brief and clearly stated synopsis of plots of seventy different operas. 
^Translations (all or part) of the text of several hundred separate numbers. 
<I Every act and scene indicated, -with description of the stage setting. 
J Every separate number mentioned in its proper place in the opera, and 

the numbers placed in the order in which they occur. 
JMore than three hundred portraits and pictures, making it the most 

completely illustrated book on opera ever published. 

NOTE Acknowledgment must be made to Oliver Ditson Co. and G. Schirmer for kind permission 
to quote occasionally from their copyrighted publications. Both these houses have set new standards with 
their operatic publications Schirmer with superbly printed opera scores and collections of opera airs 
entitled " Operatic Anthology"; and Ditson with the Musicians' Library, masterpieces of music typography. 

I'isco before, the CouncilAct I 
.^eiif. in the Prison Act 11 


The Slaasacre-Act III 

The Indian Paradise Act IV 
Tut Fatal Tree Act V 



(Laf-ree-kah' -nah) 


(Dee Ah-free-kah'-ner-in} 






Text by Scribe ; music by Meyerbeer. First produced at the Academic, Paris, April 28, 
1865. First London production in Italian, under the French title, at Covent Garden, July 22, 
1865; and in English at the Royal English Opera, Covent Garden, October 21, 1865. First 
New York production December 1, 1865. Revived in 1906 at the Metropolitan, with Caruso, 
Fremstad, Plancon and Journet. 

Characters in the] Opera 

SELIKA, (Say-lee -kah) a slave, formerly an African princess Soprano 

INEZ, (Ee'-nez) daughter of Don Diego Soprano 

ANNA, her attendant Contralto 

NELUSKO, (Na-loos' -ko) a slave, formerly an African chief Basso 

DON PEDRO, (Don Pay' -dro) President of the Royal Council Basso 


DON DlEGO, (Don Dee-ay' -go) Member of the Council Basso 

HIGH PRIEST OF BRAHMA (Brah'-mah) Basso 

DON ALVAR, Member of the Council Tenor 

VASCO DI GAMA, (Vahs'-ko dee Gah'-mah) an officer in the Portuguese Navy, Tenor 

Chorus of Counsellors, Inquisitors, Sailors, Indians and Attendant Ladies. 

The action occurs in Portugal, on Don Pedro's ship at sea, and in India. 




The first scene occurs at Portugal, in the King's Council Chamber, whither Vasco Ji 
Gama has come to announce his discovery of a strange land, producing two of the native 
slaves, Selil(a 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 Scab Chorus (In Italian) *62614 10-inch, $0.75 

in which the voices of the famous male chorus of La Scala are heard to great advantage. 

Don Pedro, President of the Council, who wishes to marry Vasco 's sweetheart, Inez, 
influences that body to discredit the explorer's tale and throw him into prison with his 
sfaves. In the prison scene occurs this duet between Sel/faa and di Gama. 

Sei 1'angiol diletto (Oh ! Guardian Angel !) 

By Tina Farelli, Soprano, and Gino Martinez-Patti. 

Tenor (In Italian) *624O7 lO-inch. $0.75 

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. 


Inez consents to marry Don Pedro in order to save Vasco, who 
is released, but too late to prevent his enemy from sailing in 
search of the unknown land, carrying with him Vasco' s private 
papers and maps as well as the two slaves, Seli^a and Neluslfo. 
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. 

Preludio (Prelude to Act III) 

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

Act III shows the decks of Don Pedro's vessel. Nelus^o, who 

is secretly plotting to destroy 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 G. Mario Sammarco, Baritone 
By Francesco Cigada, Baritone 


Adamastor, monarch of the pathless deep, 

Swift o'er foaming waves 

To sound of fierce winds tramping; 

When his dark steeds vex the mist covered 

Beware, mariner! Beware, mariner! 

(In Italian) 883 1O 12-inch. $3.00 
(In Italian) *62407 10-inch, .75 

When their breath on the gale rolls o'er the 


Then beware, then beware! 

See, the lightning's flash reveals to thine eye, 
How the dark waves seek the storm-laden sky. 
All hope now is lost. 
For the doomed wretch no tomb. 
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 yields, but afterward orders Seli^a 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 IV represents the Temple of Brahma in the country of Selika and Nelusko-. The act 
opens with the weird and striking Indian March, played here by the Herbert Orchestra. 

Marcia Indiana (Indian March) 

By Victor Herbert's Orchestra 7O068 12-inch, $1.25 

By La Scab Orchestra *68027 12-inch, 1.25 

* Double-FcczJ R:corJFort:tl: o/oppoj/te side xe DOUBLE-FACED L AFRICAN A RECORDS, pa S e 13. 



The priests, who have crowned Selil^a their Queen, announce 
the execution of all 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 Paradise. " 

O Paradise ! (Oh Paradise !) 

By Enrico Caruso, Tenor (In Italian) 88O54 12-inch, $3.OO 
By Florencio Constantino (Inflation) 74O85 12-inch, 1.5O 
By Evan 'Williams (In English) 74148 12-inch, 1.5O 


Hail! fruitful land of plenty, beauteous gar- 

den, hail ! 

An earthly paradise art thoti ! 
Oh Paradise on earth! 
Oh azure sky, oh fragrant air 
All enchant my heart; 
Thou fair new world art mine! 
Thee, a radiant gift, 
On my native land I'll bestow! 

Hail, priceless treasure! Wondrous marvels, hail! 
O beauteous country mine thou art at last ! 
Yes land till now unknown, thou'rt mine! 

yes, mine! 

iMoioeEST Caruso's singing of this famous air is a magnificent performance, 

AMATO AS NELUSKO while two other fine records are offered in both Italian and English. 

The soldiers are about to kill Kasco, but he is saved by Selika, who announces that he 

is her chosen husband. NeluslfO is forced to remain silent by threats that Selika will destroy 

herself. Di Gama, forgetting Inez, yields to the spell and weds the Queen by the native rites. 


At the beginning of the last act, Inez, who had escaped from the prison, is captured and 
brought before the Queen, who becomes convinced that di Gama still loves the Portuguese 
maiden. In a moment of generosity she sacrifices her own feelings and assists the lovers 

' eSCape " ACT V-SCENE II 

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

SELIKA: Thou leafy temple, thou vault of foliage dark, 

Aye! here I look upon the mighty sea bound- That ceaseless wav'st thy deadly branches in 

less infinite the wind, 

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

their course renew, 
As doth my sorrowing heart! 
(Obseri'itig the mancanilla tree.) 

(lathering the fatal flowers, she inhales their perfume, sadly saying : 
Farewell, my Vasco, I forgive thee! 

(To the inaiicanilla tree) Which for a moment yields unearthly joy, 

'Tis said your dread perfume doth a joy inspire. And then doth cause a sleep eternal ! 

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. 

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! 

By La Scala Orchestral, ar .__ . _ , ,.. , 
V> i c i f\ L i )o8O27 12-incn, 91.25 
By La oca/a Urchestra) 


| Marcia Indiana (Indian March) 

I Traviata Preludio 

I Adamastor, Re dell onde profonde (Adamaster, Ruler of the 1 

I Ocean) By Francesco Cigada. Baritone (In Italian)\ , ,__ in . _, 

Sei L'angiol di letto (Oh, Guardian Angel!) By Tina 

I Farelli, Soprano; G. Martinez- Patti. Tenor (In Italian}} 

Dio che la terra venera By La Scala Chorus (In Italian)} , _, . , in . . _, 

Preludio-Atto III By La Scala Orchestra} 626 




(Ah-ee -Jah) 


Text translated from the French of Locle by Antonio Ghislanzoni. Music by Giuseppe 
Verdi. First produced in Cairo, December 24, 1871 ; at La Scala, Milan, February 8, 1872; 
in Paris, April 22, 1876; at Covent Garden, June 22, 1876. First performance in America 
at the Academy of Music, New York, November 26, 1873, the cast including Torriani, Gary, 
Gampanini and Maurel. 

Characters of the Drama 

AIDA, an Ethiopian slave Soprano 


AMNERIS, (Am-nare '-iss) his daughter Mezzo-Soprano 

RHADAMES, (Rahd'-ah-maze) Captain of the Guard Tenor 

AMONASRO, (Am-oh-nahz'-roh) King of Ethiopia Baritone 

RAMFIS, (Rahm'.fius) High Priest Bass 


Priests, Priestesses, Ministers, Captains, Soldiers, Officials, Ethiopian 
Slaves and Prisoners, Egyptians, etc. 

The scene is laid in Memphis and Thebes, in Pharaoh 1 s time. 

This opera was written by request of the Viceroy of Egypt, who wished to celebrate 
the opening of his new Opera House at Cairo by the production of a work upon an Egyptian 
subject from the pen of the most popular composer of the time. The story originated with 
Marietta Bey, the famous Egyptologist, and seems to have inspired Verdi to unusual efforts. 

Aida, daughter of Amonasro, King of Ethiopia, has been 
captured by the Egyptians and is a slave at the Cou^t of 
Memphis, -where she and the young soldier Rhadames have 
fallen 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 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 letter'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 slowly suffocate in each other's arms. 


SCENE 1 A Hall in the Palace. Through the grand gate at the 
back, may be seen the 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, Ramfis, are discussing the coming 



invasion of Ethiopia; and Ramfis hints that some young and 
brave warrior may be chosen to command the expedition. 
Rhadames, left alone, hopes that he himself may gain the 
coveted honor, and promises to lay his triumphs at the feet of 

his Aida. 

Celeste Aida (Heavenly Aida) 

By Enrico Caruso. Tenor 

(In Italian) 88127 12-inch, *3.0O 
By Leo Slezak. Tenor 

(In German) 64113 10-inch, 1.00 

Then occurs the splendid gem of Act I, the Celeste Aida, 

ma di vi na. mi MI -co ser-to di lu ce t fior 
i ly re-splen-dtnl.Ka di ant flow-cr, bloom-ing and bright 

in which Rhadames chants the praises of the peerless Aida. 
It is seldom enjoyed at the opera, especially in America, as it 
occurs almost immediately after the rise of the curtain, and is 
invariably marred by the noise made by late comers. With 
the Victor, however, it may be heard in all its beauty and the 
fine renditions by Caruso and Slezak fully appreciated. 




Heavenly Aida, beauty resplendent, 

Radiant flower, blooming and bright; 
Queenly thou reignest o'er me transcendent, 

Bathing my spirit in beauty's light. 

Would that thy bright skies once more behold- 

Breathing the soft airs of thy native land. 
Round thy fair brow a diadem folding, 

Thine were a throne next the sun to stand! 


A fine trio, expressing the emotions of the characters in 
the scene, then follows. 

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

By Elena Ruszcowska, Soprano : Bianca Lavin 
de Casas, Mezzo-Soprano; Egidio Cu- 
nego. Tenor (In Italian) 88261 12-inch. $3.0O 
The King's daughter, Amneris, enters, and seeing the young 
warrior's glowing enthusiasm, delicately hints of her secret 
affection for him, saying: 


What unwonted fire in thy glance! 
With what noble pride glows thy face! 
Worthy of envy oh, how much 
Would be the woman whose beloved aspect 
Should awaken in thee this light of joy! 

Rhadames begins to explain his hope of securing the 
command of the expedition, when Aida enters, and the young 
soldier's expressive glance reveals to Amneris his love for 
the Egyptian slave. 

The King and his guards enter and receive a messenger, who 
reports that Egypt has been invaded by the Ethiopian army, 
under the command of Amonasro. ("My father!" exclaims 
Aida aside.) Amid great excitement Rhadames is appointed 
leader of the army, and is presented with a banner by 

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



Su ! del Nilo (Nilus' Sacred Shores !) 

By Elena Ruszcowska, Soprano ; Maria 
Cappiello, Mezzo-Soprano; Tapergi 
and Davi (In Italian] 88266 12-inch, $3.OO 
Following the trio comes a grand chorus: 

To battle! We'll hunt the invader down. 
On! Rhadames, thy brow may laurels crown! 

All depart to prepare for the expedition, while Aida, 
left alone, gives way to her grief and sings the beautiful 
Ritoma vincilor, expressing her conflicting emotions. 

Ritorna vincitor (Return Victorious !) 

By Johanna Gadski, Soprano 

(In Italian) 88137 12-inch, $3.OO 


Return victorious! And from my lips 

Went forth the impious word! Conqueror 

Of my father of him who takes arms 

For me to give me again 

A country; a kingdom; and the illustrious 


Which here I am forced to conceal! 
The insane word forget, O gods; 
Return the daughter 
To the bosom of her father; 
Destroy the squadrons of our oppressors!. . . 
What am I saying? And my love, 
Can I ever forget 

This fervid love which oppresses and enslaves, 
As the sun's ray which now blesses me? 
Shall I call death on Rhadames 
CADSKI AS AIDA On him whom I love so much? 

Ah! Never on earth was heart torn by more 

cruel agonies! 

She gives way to her emotion for a brief moment, then sings the lovely and appealing 

(In Italian) 12-inch, $3.00 

I sacri nomi (The Sacred Names) 

By Celestina Boninsegna, Soprano 88223 

Rousing herself, she calls on her gods for aid and goes 
slowly out as the curtain falls. 

SCENE II The Temple of Vulcan in the centre an altar, 
illuminated by a mysterious light from above 

Ramfis, the High Priest, and the priests and priest- 
esses have assembled to bless the expedition. The chant in 
praise of Ptah is heard from an invisible choir. Rhadames 
enters and receives the consecrated veil. 


Mortal, beloved of the gods, to thee 

Is confided the fate of Egypt. Let the holy 


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


God, who art leader and arbiter 
Of every human war, 
Protect thou and defend 
The sacred soil of Egypt ! 

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

By Antonio Paoli. Tenor; Perello 
do Segurola, Bass ; and Chorus 

(In Italian) 88268 12-inch, $3.0O EAMES AS AIDA 



Ramfis then sings the closing invocation, in -which Rhadames joins. 

He is invested with the sacred armor, and as the priestesses perform the mystic dance 
the curtain dlowly falls. 


SCENE I A hall in Amneris' apartments 

The curtain rises, showing the Princess and her slaves, who 
are adorning her for the triumphal festival in honor of Rhadames, 
just returned with his victorious army. Amneris and the slaves 
sing the ode to the returned hero. 

Chi mai fra (His Glory Now Praise) 

By Maria Capiello, Mezzo-Soprano, 

and Chorus (In Italian) *55005 12-inch, $1.50 

Seeing Aida approaching, the Princess dismisses her slaves 
and prepares to enjoy her revenge. 

This scene is expressed in a splendid duet, given here in two 
records by Mmes. Gadski and Homer, and also by Mmes. 
Ruszcowska and Lavin de Casas, of the La Scala forces. 

Fu la sorte dell* armi CNeath the Chances 
of Battle) 

By Johanna Gadski, Soprano, and Louise Homer, 

Contralto (In Italian) 89O24 12-inch, $4.OO 

By Elena Ruszcowska, Soprano, and Bianca 

Lavin de Casas, Mezzo-Soprano 

(In Italian) 88262 12-inch, 3.OO' 

Alia pompa, che s'appreste (In the Pageant 


By Johanna Gadski, Soprano, and Louise Homer, Contralto 

(In Italian) 89025 12-inch, $4.00 

Ebben qual nuovo fremito (WTiat 
New Alarm ?) 

By Elena Ruszcowska, Soprano, and Bianca 
Lavin de Casas, Mezzo-Soprano 

(In Italian) 88263 12-inch, $3.OO 
Amneris pretends to sympathize with the afflicted 
girl, saying: 


The late of arms was deadly to thy people. 

Poor Aida! The grief 

Which weiehs down thy heart I share! 

I am thy friend; 

Time will heal the anguish of thy heart, 

And more than time a powerful god love. 

Amneris, having thus by her pretended sympathy 
gained Aida's confidence, determines to betray her into 
a declaration of her love for Rhadames, and suddenly 
announces that he has been killed in battle. Aida, over- 
come with grief, reveals plainly that she loves the young 

AMNERIS (aside) : 

This death-like pallor, this strong emotion, 
Plainly reveal the fever of love! 

Amneris then throws off her mask of friendliness, and 
gloating in her victory, confesses that she has spoken 
falsely and that Rhadames lives. 

Then, stung to fury by Aida's joy, she exclaims: 



* Doubh-Faced Record For title of opposite side see DOUBLE-FACED AIDA RECORDS, page 25. 




Tremble! I read thy secret, Tremble, vile minion! be ye heartbroken, 

Thou lov'st him! lie no longer! Warrant of death this love shall betoken! 

I lovj him too dost thou hear? In the pomp which approaches, 

I am thy rival, daughter of kings Egyptian. With me, O slave, thou shall assist; 

Thou prostrate in the dust 
AIDA: I on the throne beside the King; 

Thou my rival? 'tis well, so be it Come, follow me, and thou shall learn 

Ah, what have I said? forgive and pity, If thou canst contend with me! 

Ah, let this mv sorrow thy warm heart move. AIDA: 

'Tis true I adore him with boundless love Ah, pity! What more remains to me? 

Thou art so happy, thou art so mighty, My life is a desert; 

I cannot live hence from love apart! This love 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 roles splendidly acted and vocally perfect ; while Mme. Homer's impersona- 
tion of the Egyptian 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 

SCENE \\-Wtthmt the City Walls 

The scene changes to a gate of the city of Thebes. The King and his court are 
assembled on a magnificent throne to receive the conquering army. A splendid chorus is 
sung by people and priests. The Egyptian troops, preceded by trumpeters, enter, followed 
by chariots of war, ensigns, statues of the gods, dancing girls carrying treasures, and finally 
Rhadames, under a canopy borne by twelve slaves. 

KING (descending from the throne to embrace (Rhadames bows before Amneris, who places 

Rhadames): the crou'n upon him.) 

Saviour of our country, I salute thee. Now ask of me 

Come, and let my daughter with her own hand What thou most wishest. Nothing denied to 
Place upon you the triumphal crown. 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! My father!" All are surprised, and Amonasro signals to 
Aida not to betray his rank. Amonasro then sings his recital : 

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

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

Soprano ; Egidio Cunego, Tenor (In Italian) 88264 12-inch, $3.00 


I am her father. I went to war. Lay the Kinjr, transfixed by many wounds; 

Was conquered, and death I sought in vain. If the love of country is a crime 

(Pointing to his uniform) We are all criminals all ready to die! 

This habit I wear may tell you (Turning to the King with a- supplicating 
That I have defended my king and my coun- accent) 

try. But thou. O King, thou powerful lord, 

Fate was hostile to our arms; Be merciful to these men. 

Vain was the courage of the brave! To-day we are stricken by Fate, 

At my feet, in the dust extended. To-morrow Fate may smite thee! 

The people and prisoners appeal to the King for mercy, while the priests demand that 
the captives be put to death. Rhadames, seeing the hesitation of the King, reminds him of 
his vow, and demands life and liberty for the captured Ethiopians. The King yields, 
stipulating only that Aida and her father be held as hostages, and then announces that 
Rhadames shall have the hand of Amneris as his reward. 

The magnificent finale then follows, Aida and Rhadames gazing at each other in despair, 
Amneris glorying in her triumph, and Amonasro swearing secret vengeance against his 
captors. The curtain falls amid general rejoicing. 


SCENE I A moonlight night on the banks of the Nile the Temple of I sis can be seen, 
half concealed by palm trees 

As the curtain rises on this beautiful scene, a chorus -within the Temple is heard in a 
chant of praise. 



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

By Maria Cappiello, Soprano, and Chorus (In Italian) *550O5 12-inch, $1.50 

A boat approaches, bearing Rhadames and Amneris, who go into the Temple. Aida, 

veiled, cautiously enters, hoping that Rhadames will come thither, and 

sings a tender and despairing song of that lovely land which she may 

never see again. 

O patria mia (My Native Land) 

By Johanna Gadski, Soprano 

(In Italian) 88042 12-inch, $3.0O 
By Emmy Destinn, Soprano 

(In German) 92O58 12-inch, 3.OO 
By Celestina Boninsegna, Soprano 

(In Italian) 88239 12-inch, 3.OO 

O' native land, no more to thee shall I return ! 
O skies of tender blue, O soft airs blowing, 
Where calm and peaceful my dawn of life 

pass'd o'er, 

O hills of verdure, O perfum'd waters flowing, 
O home beloved, I ne er shall see thee more! 
O fresh and fragrant vales, O quiet dwelling, 
Promise of happy days of love that bore. 
Now hope is banish'd, love and yonder dream 

O home beloved, I ne'er shall see thee more! 

Three fine renditions of this air, one of the most effective in the 
opera, are given here by three celebrated prima donnas, all of whom 
have been seen in America in the part of Aida. 

Amonasro appears and reproaches his daughter with her love for 
his enemy Rhadames, telling her with significant emphasis that she BERT, PA 
may behold her native land again if she wishes. DESTINN AS AIDA 

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

By Elena Ruszcowska, Soprano, and Giuseppe Maggi, Baritone 

(In Italian) 88267 12-inch, $3.00 
He tells her that his people have risen 
again, and proposes that she shall influence 
Rhadames to betray the plans of his army in 
the new campaign. She at first refuses, but 
he bids her be true to her country, and pictures 
the sufferings of her people. 

Su, dunque ! (Up, Then !) 

By Elena Ruszcowska, Soprano, 
and Ernesto Badini, Baritone 
(In Italian) 88265 12-inch, $3.00 
With growing excitement he describes the 
consequences of her refusal. 

AMONASRO (with savage rage) : 

Up, then! 

Rise, Egyptian legions! 

With fire destroy our cities 

Spread terror, carnage and death. 

To your fury there is no longer check! 

Ah, father! 
AMONASRO (repulsing her) : 

My daughter 

Dost thou call thyself? 

Double-Faced Record For title of opposite side see DOUBLE-FACED AIDA RECORDS, page 25. 



AIDA (terrified and suppliant): 


Rivers of blood pour 

On the cities of the vanquished 

Seeth thou? From the black gulfs 

The dead are raised 

To thee they point and cry; 

For thee the country dies! 


A horrible ghost 

Among the shadows to us approaches 

Tremble! the fleshless arms 

Over thy head it raised 

It is thy mother recognize her 
She curses thee! 


AIDA (in the greatest terror) : 
Ah, no! Father! 

AMONASRO (repulsing her): 

Go, unworthy one! Thou'rt not my offspring 
Thou art the slave of the Pharaohs! 

AIDA (yielding) : 

Father, their slave I am not 
Reproach me notcurse me not; 
Thy daughter again thou canst call me 
Of my country I will be worthy! 


Courage! he comes there, I shall hear all. 
(Conceals himself among the palm trees.) 

Rhadames now enters and tries to embrace her, but she 
repulses him, saying bitterly : 

The rites of another love await thee, 
Thou spouse of Amneris! 

He protests that he loves Aida alone, but she bids him 
prove his affection by fleeing with her. 

Ah! fly with me, and leave behind 
These deserts bare and blighted; 
Some country, new and fresh to find, 
Where v/e may love united. 
There, 'mid virgin forest groves, 
By fair sweet flow'rs scented, 
In quiet joy contented, the world will we 

He finally consents, and reveals to her that the army 
will go by the pass of Napata. Amonasro, who has overheard, 
now enters, and Rhadames is horrified at the knowledge that 
he has betrayed the army to the King of Ethiopia. His 
scruples are finally overcome, Amonasro saying: 

No; thou art not guilty 
It was the will of fate. 
Come; beyond the Nile await 

Amneris, coming from the temple, pauses behind a pillar and overhears the final words. 
Mad with jealousy, she rushes in and denounces the guilty trio. Aida and Amonasro escape 
but Rhadames is taken in custody as a traitor. 

SCENE I A room in the Palace on one side a door leading to Rhadames' prison cell 

The curtain rises, disclosing 
Amneris in an attitude of despair. 
She is torn between her love 
for Rhadames and a desire for 
vengeance, and finally orders 
the prisoner brought before her. 

AMNERIS (bitterly musing): 
My rival has escaped me 
And Rhadames awaits from the 


The punishment of a traitor. 
Traitor he is not, though he 

The high secret of war. He 

wished to fly 
To fly with her traitors all! 
To death, to death! 
Oh, what am I saying? I love 


Oh! if he could love me! 
I would save him but how? 
Let me try. Guards, Rhadames 


The brave men devoted to us; 
There the vows of thy heart 
Shall be crowned with love. 



Rhadames enters, and the first great duet of the act occurs. 

Gia i sacerdoti adunansi (The Priests Assemble) 

By Louise Homer and Enrico Caruso (In Italian) 89O50 12-inch, $4-OO 

By Pietracewska and Barrera (In Italian) 88269 12-inch. 3.OO 

Aida a me togliesti (Aida Thou Hast Taken) 

By Louise Homer and Enrico Caruso (In Italian) 89051 12-inch, $4.00 

Amneris tells him that Amonasro is dead, that Aida has disappeared, and offers to save 
his life if he will renounce his love. He scorns the proposal, resolving to die rather than 
be false to his Ethiopian Princess. 

AMNERIS: Renounce Aida forever 

And thou shalt live! 
RHADAMES: I cannot do it! 
AMNERIS: Wouldst die, then, madman? 
RHADAMES: I am ready to die. 

AMNERIS: Who saves thee, O wretch, 
From the fate that awaits thee? 
To fury hast thou changed 
A love that had no equal. 
Revenge for my tears 
Heaven will now consummate! 

The guards now appear and conduct Rhadames to the judgment room. The ensuing 
scene is a highly dramatic and impressive one. 

Ohime! Morir mi sento (Ah, me ! Death Approaches !) 

By Lavin de Casas, Mezzo-Soprano ; Rizzo Sant' Elia, 

Bass ; and Chorus (In Italian) 88270 12-inch, $3.OO 

Amneris, seeing Rhadames taken out by the Priests, repents her harshness and sinks 
down desolate on a seat. 

AMNERIS (falling on a chair, overcome): Ah, let me not behold those white robed 

Ah me! Death's hand approaches! who now phantoms! 

will save him? (Covers her face with her hands. The voice 

He is now in their power. of Ramfis can be heard within.) 

His sentence I have sealed Oh, how I curse R AM FIS: 

T l ^ ee > Rhadames, Rhadames: thou hast betrayed 

Jealousy, vile monster, thou who hast doomed Of thy country the sec rets to aid the foeman: 

him _ 
To death, and me to everlasting sorrow! 

(Turns and sees Ramfis and the Priests, who Defend thyself. 

cross the stage and enter the subterranean RAMFIS: 

hall.) Rhadames, Rhadames: and thou wast absent 

What see I? Behold of death From the camp the very day befoie the 

The ministers fatal, his merciless judges. combat! 


Defend thyself! 


Rhadames, Rhadames: and 

thou hast played 
The part of a traitor to King, 

and to honor! 


Defend thyself! 


He is silent. 


Traitor vile: 


Rhadames, we thy fate have 

Of all traitors the fate shall 

be thine 
'Neath the altar whose God 

thou'st derided 
Thou a sepulchre living shall 



Find a sepulchre living! 

Hated wretches! * 
Ever venpeful, blood-thirsty 



Sacerdoti, compiste un delitto ! (Priests, a Crime You Have 
Enacted !) 

By Lavin de Casas, Mezzo-Soprano : F. Rizzi, Bass: and 

Chorus In Italian) 88323 12-inch, $3.OO 

The priests now enter from the crypt and pass across the hall. The wretched woman 
denounces them. 

Priests of Heaven, a crime you have enacted, AMNERIS: 

Tigers even in bloodshed exulting, Impious priesthood, curses light on ye all! 

Earthly justice and Heaven's you are insulting, On your heads Heaven's vengeance will fall! 

On the guiltless your sentence will fall! (Exit wildly.) 
PBIESTS: (Departing slowly.) 
None can his doom recall! 

This is one of the most impressive records of the Aida series. The despair of the 
wretched Jlmneris, and the solemn reply of the unbending priests are wonderfully expressed 
by Verdi. 

SCENE II Interior of the Temple of Vulcan below a Subterranean Apartment 

' ' The work finishes in serenity and peace, and such terminations are the most beautiful. Above, 
the temple full of light, where the ceremonies continue immutable in the sanctuary of the indifferent 
gods ; below, two human beings dying in each other 's arms. Their song of love and death is among 
the most beautiful of all music. ' ' Camille Bellaigue. 

When we hear the expression " the duet from Aida," our thoughts always instinctively 
turn to this number at the close of the work. There are other duets in the opera, some of 
them fine numbers, but this is the great one perhaps the most intensely dramatic and 
melodiously beautiful of all Verdi's writings. 

La fatal pietra (The Fatal Stone) 

By Johanna Gadski, Soprano, and Enrico Caruso, Tenor 

(In Italian) 89O28 12-inch, $4.OO 
By Nicola Zerola, Tenor (Part of scene " To die, so 

pure and lovely !") (In Italian) 74225 12-inch, 1.50 

This last scene is a highly picturesque one. Above we see the splendid Temple of 
Ptah, where priests and priestesses are chanting their strange songs. Below, a dark vault, 
in whose depths Rhadames is awaiting with patience a slow death by starvation. 

RHADAMES (.despairingly) : 

The fatal stone upon me now is closing! 

Now has the tomb engulf'd me! 

The light of day no more shall I see! 

No more behold Aida! 

Aida, where art thou now? 

Whate'er befall me, may'st thou be happy! 

Ne'er may my frightful doom be told to thine 

(Then suddenly in the shadows he sees a 
form if is Aida, who has secreted herself in 
the crypt that she may die with her lover.) 

What moan was that? 

Is't a phantom, or vision dread? 

No! 'tis a human being! 

Heaven! Aida! 
AIDA: Yes! 
RHADAMES (in great desperation) : 

Thou, with me here buried! 

My heart foreboded this, thy dreadful sen- 

And to this tomb that shuts on thee its portal, 

I crept, unseen by mortal. 

Here, free from all, 

Where none can more behold us, 
Clasp'd in thy arms, love, 
I resolved to perish ! 
RHADAMES: To die! so pure _and lovely! 

To die! thyself thus dooming, 

In all thy beauty bloonvng. 

Fade thus forever! 

Thou, whom the gods alone for love created; 

Yet to destroy thee, was my love then fated! 

Thou shall not die! so much I love thee, 

Thou art too lovely! 



AIDA (transported) : I see heaven's gates are open wide 

See'st thou where death, in angel guise, Where tears are never streaming, 

With heavenly radiance beaming, Where only bliss and joy reside. 

Would waft us to eternal joys, The bliss and joy of never fading, endless 

On golden wings above! love! 

The lovers sing their plaintive farewell to earth in hauntingly lovely strains, while in 
strange contrast the heathen chanting continues above. 

O terra addio (Fare-well, Oh, Earth) 

By Johanna Gadski, Soprano, and Enrico Caruso, Tenor 

(In Italian) 89029 12-inch, $4.00 


Farewell, C earth, See, brightly opens for us, 

Farewell, thou dark vale of sorrow, Brightly opens now the sky, and endless mor- 

Brief dream of joy, row. 

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



Chi mai fra (His Glory Now Praise) By Maria 

Cappiello. Mezzo-Soprano, and Chorus (In Italian) 

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

By Maria Cappiello, Mezzo-Soprano, and Chorus 

(In Italian) 

Celeste Aida (Heavenly Aida) Trombone By Arthur Pryor) 
II Guarany Overture By Pryor's Band/ 

The Fatal Stone Cornet- Trombone 

By Arthur Pryor,Emil Keneke and Pryor's Band ^35 150 
Serenade ( Till) 'Cello-Flute By Louis Heine and Darius Lyons] 
Aida Fantasia 

Cascades of Roses Waltz 

I Aida Selection By Pryor's Band\ 351Q5 

By Kryl's Bohemian Band) 

55OO5 12-inch, $1.50 

12-inch, 1.25 

12-inch, 1.25 

By Police Band of Mexico!,,,- ,_ 10 . 
DL Dub D j n/f J-35O47 12-inch, 
By r'olice Band of Mexico) 

\ Attila Grand Trio 
Aida Selection (Finale, Act II) 
fMarcha Triunfal (Triumphal March) 

By Pryor's Orchestra 31359 



By Garde Republicaine Band [,_,_ . _ . . 

i T T- ] i 11 TM i- \ >o24O9 lO-inch, 

1 osca / osca awina I (In Italian) 

By Gustavo Berl-Resky, Baritone] 








(.Eel Bar-bee-yaii* day See-oeef -yah) 



Text by Sterbini, a Roman poet, founded on the celebrated trilogy of Beaumarchais. 
Music by Rossini. First presented at the Argentina Theatre in Rome, February 5, 1816. 
First London production March 10, 1818. First New York production November 29, 1825. 
The opera was at first called "Almaviva, or the Useless Precaution," to distinguish it from 
Paisiello's "Barber of Seville." 


COUNT ALMAVIVA (Ai-mah-oee -oah) Tenor 

BARTOLO, (Bahr -to-low) physician Bass 

ROSINA, his ward Soprano 

BASILJO, (Ba-zee -lee-oh) music master Bass 

MARCELUNE (Mar-cM-ie - na ) Soprano 

FIGARO (Fee -gah-nw) Baritone 

FlORELLO, servant to the Count Tenor 

A Notary, Chorus of Musicians, Chorus of Soldiers 

Scene and Period : Seville, the seventeenth century. 

Rossini's opera is a marvel of rapid composition, having been composed in about fifteen 
days! This seems almost incredible, but the fact is well authenticated. The composer had 
agreed to write two operas for the Roman carnival of 1816, the first of which was produced 
December 26, 1815, and on that day he was told that the second would be required on Jan- 
uary 20, 1816. He agreed to have it completed, although he did not even know what the 
subject was! The libretto was given to him by Sterbini in sections, and he wrote the music 
as fast as the verses were furnished. While the opera did not achieve an instantaneous suc- 
cess, it gradually found favor with opera- lovers on account of its brightness and the manner 
in which the humor of its action is reflected in the music. 

The plot of Barber of Seville is very simple. The Count Almavioa loves Rosina, the ward 
of Dr. Bartolo, a crusty old bachelor -who secretly -wishes to wed her himself. Almaviva per- 
suades the village barber, Figaro, to arrange a meeting for him, and gains entrance to the 
house disguised as a dragoon, but is arrested by the guardian. 

Not discouraged, he re- 
turns, pretending to be a sub- 
stitute for Rosina' s music 
teacher, who, he says, is ill. 
The appearance of the real 
Don Basilio spoils the plan, and 
the Count retreats for the 
second time, having, however, 
arranged a plan for elopement. 

Bartolo finally arouses 
Rosina's jealousy by pretend- 
ing that the Count loves 
another, and she promises to 
forget him and marry her 
guardian. When the time for 
the elopement arrives she 
meets the Count, intending to 
reproach him, but he con- 
vinces her of the base plot SETTING OF ACT i, SCENE I, AT LA SCALA 
of Barlolo, and the lovers are wedded by a notary, just as Bartolo arrives with officers to 
arrest the Count. 




By La Scala Orchestra 

6801O 12-inch, $1.25 


SCENE I A Street in Seville. Day is Breaking 

The Count, accompanied by his servant Fiorello and several musicians, enters to serenade 
the beautiful Rosina. Accompanied by the mandolins, he sings his serenade, Ecco ridente, 
considered one of the most beautiful numbers in the opera. 

Ecco ridente (Dawn, W^ith Her Rosy Mantle) 

By Fernando de Lucia, Tenor (Piano ace.) (In Italian] 760OO 12-inch, $2 OO 
By Florencio Constantino, Tenor (In Italian) 74073 12-inch, 1.50 


Lo! smiling in the Orient sky, 
Morn in her beauty breaking, 
Canst thou, my love, inactive lie 
My life, art thou not waking? 
Arise, my heart's own treasure, 
All that my soul holds dear; 
Oh! turn my grief to pleasure! 
Awake, my love, appear! 

Even such a lovely serenade as this fails to bring a response from the window, and the 
Count retires discomfited. Enter Figaro, the jack-of-all-trades of the village and general 
factotum in the house of Bartolo, with his guitar. He sings that gayest and most difficult of 
all airs, the joy or despair of baritones the world over, and which has been recorded for the 
Victor by three famous baritones. 

But, hush! methinks I view that face, 
And all my doubts are vanished; 
Thine eyes diffuse soft pity's grace. 
And all my fears are banished. 
Oh, rapturous moment of delight! 
All other blisses shaming; 
My soul's content, so pure and bright, 
On earth no equal claiming! 

Largo al factotum. (Room for the Factotum) 

By Pasquale Amato, Baritone 

(In Italian) 88329 12-inch. $3.OO 
By Emilio de Gogorza, Baritone 

(In Italian) 88181 12-inch, 3.OO 
By Titta Ruffo. Baritone 

(In Italian) 92039 12-inch, 3.0O 
Figaro is thoroughly satisfied with himself, and gives a 
long list of his numerous accomplishments, of which the 
following is a sample : 

FIGARO: Room for the city's factotum here, 
La, la, la, la, la, la. 
I must be off to my shop, for the dawn is 


La, la, la, la, la. la. 

What a merry life, what pleasure gay, 
Awaits a barber of quality. 

Ah, brave Figaro; bravo, bravissimo, brave. 
La, la, la, la, la, la. 

Of men, the happiest, sure, art then, bravo. 
AMPANAKI AS FIGARO La, la, la, la, la, la, etc. 

"Oh! what a happy life," soliloquizes the gay barber, "what pleasure 
awaits a barber of quality! Oh, bravo. Figaro, bravo, bravissimo: thou 
art sure the happiest of men, ready at all hours of the night, and, by day, 
perpetually in bustle and motion. What happier region of delight; what 
nobler life for a barber than mine! Razors, combs, lancets, scissors behold 
them all at my command! besides the snug perquisites of the business, with 
pay damsels and cavaliers. All call me! all want me! dames and maidens 
old and young. My peruke! cries one my beard! shouts another bleed 
me! cries this this billetdoux! whispers that. Figaro, Figaro! heavens, 
what a crowd. Fiearo, Figaro! heavens, what a tumult! One at a time, 
for mercy sake! Figaro here: Figaro there: Figaro above: Figaro below. 
I am all activity: I am quick as liehtning; in a word I am the factotum 
of the town. Oh, what a happy life! but little fatigue abundant amuse- 
ment with a pocket that can always boast a doubloon, the noble fruit of 
my reputation. Hut I must hasten to the shop!" 




Three fine records of this great air are given 
here. Ruffo, in his rendition, proves himself pos- 
sessed of an admirable sense of humor, and this, 
with his powerful and flexible voice, enables him 
to attack this difficult solo in the true opera 
bouffe vein. The result is as fine a performance 
of the Largo as one would wish to hear. The ex- 
treme difficulties are made a vehicle for the display 
of the baritone's ample vocal resources, which 
sweep everything before them ; he is indeed a 
little free with the text, and sings snatches of the 
accompaniment out of sheer bravado, while bits 
of comic characterization peep out at every avail- 
able opportunity. This rendition is a fine example 
of how the music of this air should be sung, and 
is a veritable triumph for the singer. 

Signer de Gogorza's version differs from 
Ruffo's in many respects. It is one of the finest 
records he has made for the Victor, and exhibits 
his fine voice and wonderful execution to per- 

The Count now returns and accosts Figaro, 
asking him to arrange a meeting with Rosina, 
telling him that his rank must not be known and that he has assumed the name of Lindor. 

II mio nome ? (My Name ?) 

By Fernando de Lucia, Tenor (Piano ace.) (In Italian) 6600O 10- inch, $1.5O 
Figaro consents to become his ally. Rosina and her guardian come on the balcony, and 
Rosina, perceiving the Count, manages to drop a note, which he secures. Bartolo leaves the 
house and orders that no one be admitted. 

Figaro now says that he is expecting a military friend to arrive in the village, and 
suggests the Count dress himself as this soldier and thus gain admittance to the house. He 
agrees, and retires to assume the disguise. 

SCENE II A Room in Bartolo's House 

Rosina is discovered holding in her hand a letter from the 
Count. She is agitated and expresses her feelings in her 
celebrated entrance song. 

Una voce poco fa (A Little Voice I Hear) 

By Marcella Sembrich, Soprano 

(In Italian) 88097 12-inch, $3.00 
By Luisa Tetrazzini, Soprano 

(In Italian) 88301 12-inch, 3.0O 
By Maria Galvany, Soprano 

(In Italian) 8706O 10-inch, 2.0O 
By Alice Nielsen, Soprano 

(In Italian) 74074 12-inch, 1.5O 
By Giuseppina Huguet. Soprano 

(In Italian) *68144 12-inch, 1.25 

The number is in the form to which most Italian compos- 
ers of the period adhered a slow opening section (here 
accompanied by occasional chords for the orchestra) succeeded 
by a quicker movement culminating in a coda which presents 
many opportunities for brilliant vocal display. Musically the 
aria is full of charm, and is deservedly popular with those singers whose method enables 
them to deliver it with the requisite lightness and bravura. 


ROSINA: A little voice I heard just now: 

Oh, it has thrill'd my very heart! 
I feel that I am wounded sore: 

And Lindor 'twas who hurl'd the dart. 
Yes. Lindor, dearest, shall be mine! 
I've sworn it, and we'll never part. 

My guardian sure will re'er consent; 

But I must sharpen all my wit: 
Content at last, he will relent, 

And we, oh. joy! be wedded yet. 
Yes, Lindor I have sworn to love! 

And, loving, we'll our cares forget. 

* Doubk-FaceJ Record For title of opposite s/A see DOUBLE-FACED BARBER OF SEYILLE RECORDS, 


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

Rosina runs out as her guardian and Don Basilio come in. 
Bartolo is telling Basilio that he wishes to marry his ward, either 
by love or force. Basilio promises to help him, and says that the 
Count is trying to make Rosina's acquaintance. They decide to 
invent some story that will disgrace him. "A calumny!" says 
Basilio. Bartolo asks what that is, and Basilio, in a celebrated 
air gives his famous description, which is a model of its kind. 

La calunnia (Slander's "Whisper) 

By Marcel Journet, Bass 

(In Italian) 74104 12-inch, $1.50 

BASILIO: Oh! calumny is like the sigh 

Of gentlest zephyrs breathing bv; 
How softly sweet along the ground, 
Its first shrill voice is heard around. 
Then passing on from tongue to tongue, 
It gains new strength, it sweeps along 
In giddier whirl from place to place, 
And gains fresh vigor in its race ; 
Till, like the sounds of tempests deep, 
That thro' the woods in murmurs sweep 
And howl amid their caverns drear, 
It shakes the trembling soul with fear. 
Thus calumny, a simple breath, 
Engenders ruin, wreck and death; 
And sinks the wretched man forlorn, 
Beneath the lash of slander torn, 
The victim of the public scorn! 
(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 who the young man was she observed 
that morning. Figaro tells her his name is Lindor, and that he is madly in love with a certain 
young lady, whose name is Rosina. 

Dunque io son (What ! I ?) 

By Maria Galvany, Soprano, and Titta Ruffo, Baritone 




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


Yes, Lindor loves you, lady; 

Oft he sighs for his Rosina, 

(As a fox she cunning seems, 

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


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


Poor man, he but awaits some sign 

Of your affection and assent; 

A little note, a single line, 

And he himself will soon present. 

To this, what say you? 


I do not know. 


Take courage, pray you. 

(In Italian) 92501 12-inch. $4.00 


I could not so 

A few lines merely. 

I blush to write. 

At what? Why really may I indite? 

Haste, haste, your lover quick invite. 

(Going to the desk.) 

A letter! Oh, here it is. 

(Calling him, she takes a note from her bosom, 

which she gives him.) 

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.) 

Bartolo 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 
n issing sheet of paper. She says she wrapped up some sweetmeats to send to a girl friend, 
and cut the pen to design a flower for her embroidery. Bartolo then denounces her in 
another famous air: 



Manca un foglio (Here's a Leaf Missing) 

By Arcangelo Rossi. Bass 

(In Italian) *68144 12-inch. $1.25 


To a doctor of my rank. 
These excuses, Signorina, 
I advise another time 
That you better should invent. 
Why is the paper missing? 
That I would wish to know. 
Useless, ma'am, are all your airs 
Be still, nor interrupt me so. 
Another time, sweet Signorina, 
When the doctor quits his house 
He will carefully provide 
For the keeping you inside. 
And poor innocent Rosina, 
Disappointed, then may pout: 
In her room shall she be locked. 
Till T choose to let her out. 
(He goes out in a rage, followed by Rosina, 
who is laughing.) 

A loud knocking is heard at the street door, it is the Count 
in his soldier disguise. He pushes his way in, and insists that the 
commandant has ordered him to put up in Bartolo 's house. A long 
scene follows, full of comedy, finally ending in the arrest of the 
Count, who, however, privately informs the officer who he is; and 
the astonished official salutes respectfully and takes his soldiers 
away. Bartolo is in such a rage that he can hardly speak, and the 
act ends with the famous quartet: 

Guarda Don Bartolo (Look at Don Bartolo) 

By Giuseppina Huguet, Soprano: Antonio Pini-Corsi. Baritone; Gaetano 

Pini-Corsi, Tenor ; Ernesto Badini, Baritone *63171 10-inch. $O.75 


SCENE A Room in Bar tola's House 

Barlolo is discovered musing on the affair of the soldier, and as he has learned that no 
one in the regiment knows the man, he suspects that he was sent by the Count. 

A knocking is heard 1 and the Count is ushered in, dressed as a music master. He 
greets Bartolo, beginning the duet, Pace e gioia. 

Pace e gioia (Heaven Send You Peace and Joy) 

By Antonio Pini-Corsi, Baritone, and Emilio Perea, Tenor 

(In Italian) *62105 10-inch. $0.75 

Barlolo says he is much obliged for these kind wishes and wonders -who this can be. 
The Count explains that Don Basilio is ill and he has come in the music master's place to 
give Rosina a lesson. He shows Bartolo the note Rosina had -written, saying he found 
it at the inn, and offers to make Rosina believe the Count has shown her note to another 
lady. Bartolo is pleased with the idea and calls Rosina. Then occurs the celebrated 
"Lesson Scene" in which Rosina usually interpolates an air. Rossini wrote a trio for this 
scene, but in some manner it was lost. . 

Figaro now comes in to shave Bartolo, and in the course of the scene contrives to secure 
the key to the balcony. At this moment all are petrified at the entrance of Don Basilio, 
who is supposed to be confined to his bed. Figaro sees that quick action is necessary and 
asks him what he means by coming out with such a fever. " Fever ? " says the astonished 
music master. "A raging fever," exclaims Figaro, feeling his pulse. "You need medicine," 
says the Count, meaningly, and slips a fat purse in his hand. Don Basilio partially compre- 
hends the situation, looks at the purse and departs. 

The shaving is renewed, and Rosina and the Count pretend to continue the lesson, but 
are really planning the elopement. Bartolo tries to watch them, but Figaro manages to get 
soap in the Doctor's eye at each of his efforts to rise. He finally jumps up and denounces 

* Doubk-Faced Rtcord For title of opposite side see double-faced list on page 31. 


the Count as an impostor. The three conspirators laugh at him, and go out, followed by 
BaTtolo, who is purple with rage. This scene is amusingly pictured in a fresco in the Vienna 
Opera, which is reproduced on page 26. 

Bertha, the housekeeper, enters, and in her air, // vecchietto, complains that she can no 
longer stand the turmoil, quarreling and scolding in this house. 

II vecchietto cerca moglie (The Old Fool Seeks a Wife) 

By Emma Zaccaria (Double-Faced See below) (In Italian) 62105 10-inch, $0.75 
" What kind of thing is this love which drives everybody crazy ? " she asks. This air 
used to be called in Rome Aria di sorbetto (sherbet), because the audience used to eat ices 
while it was being sung! 

Don Bartolo now desperately plays his last card, and shows Rosina the note, saying that 
her lover is conspiring to give her up to the Count Almaoioa. Rosina is furious and offers to 
marry Bartolo at once, telling him that he can have Lindor and Figaro arrested when they 
arrive for the elopement. Bartolo goes after the police, and he is barely out of sight when 
Figaro and the Count enter by means of the key which the barber had secured. Rosina 
greets them with a storm of reproaches, accusing Lindor of pretending to love her in order to 
sacrifice her to the vile Count Almaoioa. The Count reveals himself and the lovers are soon 
clasped in a fond embrace, with Figaro in a "Bless you, my children," attitude. 

Don Basilio, who had been sent for a notary by Bartolo, now 
arrives. The Count demands that the notary shall wed him to Rosina. 
Basilio protests, but the sight of a pistol in the Count's hand soon 
silences him. 

This scene is rudely interrupted by the arrival of Bartolo and the 
soldiers. The officer in charge demands the name of the Count, who 
now introduces Signor and Signora Almaoioa to the company. Bartolo 
philosophically decides to make the best of the matter. However, 
he inquires of Basilio : 

BARTOLO: But you, you rascal 

Even you to betray me and turn witness! 

BASILIO : Ah ! Doctor, 

The Count has certain persuasives 
And certain arguments in his pocket, 
Which there is no withstanding! 

BARTOLO: Ay, ay! I understand you. 

Well, well, what matters it? 
Go; and may Heaven bless you! 

FIGARO: Bravo, bravo, Doctor! 
Let me embrace you! 

ROSINA: Oh, how happy we are! 
COUNT: Oh, propitious love! 

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




/Barber of Seville Selection 

\ Prophete Fantasie 


\ Don Pasquale Sinfonia (Donizetti) 

By Pryor's Band) 
By Pryor's Band) 
By La Scala Orchestra\ 6golo 
By La Scala Orchestra) 

/Manca un foglio (Here's a Leaf Out) By A. Rossi, Bass) 


12-inch, $1.25 


12-inch, 1.25 

\Una voce poco fa By Giuseppina Huguet, Soprano 

IGuarda Don Bartolo (Look at Bartolo) By Huguet, A. and] 
G. Pini-Corsi, and Badini (In Italian) [631 71 10-inch, .75 

Fra 'Diavolo Agnese la Zietella By Pietro Lara (In Italian)} 

/1 1 vecchietto cerca moglie By Emma Zaccaria (In Italian)} ^2105 10-inch, .75 

(Pace e gioia By A. Pini-Corsi and Perea (In Italian)) 




(La Balf-ha\)m ) 




Text by Giacosa and Illica ; music by Puccini. First produced at the Teatro Reggio, 
Turin. February I, 18%. In English, as "The Bohemians," at Manchester (Carl Rosa Com- 
pany), April 22, 1897, and at Covent Garden with the same company, October 2d of the same 
year. In Italian at Covent Garden, July 1, 1899. First American production, November 28, 


RUDOLPH, a poet Tenor 

MARCEL, a painter Baritone 

COLLINE. a philosopher Bass 

SCHAUNARD. a musician Baritone 

BENOIT, an importunate landlord Bass 

ALCINDORO. a state councilor and follower of MUSETTA Bass 


MUSETTA, a grisette Soprano 

MlMl. a maker of embroidery Soprano 

Students, work-girls, citizens, shopkeepers, street venders, soldiers, 
restaurant waiters, boys, girls, etc. 

Scene and Period : Paris, about 1830. 

Puccini's Boheme is an adaptation of part of Mlirger's La Vie Boheme, which depicts 
life in the Quartier Latin, or the Students' Quarter, in 1830. It being impossible to weave a 

complete story from MUrger's novel, the librettists 
have merely taken four of the principal scenes and 
several of Mtirger's characters, and have strung them 
together without much regard for continuity. 

The principal characters in Puccini's delightful 
opera are the inseparable quartet described by 
Murger, who with equal cheerfulness defy the pangs 
of hunger and the landlord of their little garret. In 
the scenes of careless gaiety is interwoven a touch 
of pathos ; and the music is in turn lively and tender, 
with a haunting sweetness that is most fascinating. 

Rudolph, a poet; Marcel, a painter; Colline, a 
philosopher; and Schaunard, a musician, are four 
friends who occupy an attic in the Quartier Latin, 
where they live and work together. Improvident, 
reckless and careless, these happy-go-lucky Bohe- 
mians find a joy in merely living, being full of faith 
in themselves. 


SCENE A Garret in the Quartier Latin 
The opening scene shows the four friends with- 
out money of provisions, yet happy. Marcel^is at 
work on a painting, "Passage of the Red Sea," and 
remarks, beginning a duet with Rudolph, that the 
passage of this supposedly torrid sea seems a very cold affair! 

Questo mar rosso (This Red Sea) 

By Gennaro de Tura, Tenor, and E. Badini. Baritone 

(In Italian) 88233 12-inch, $3.0O 






Rudolph says that in order to keep them from freez- 
ing he will sacrifice the bulky manuscript of his tragedy. 
Marcel holds the landlord at bay until Schaunard arrives 
with an unexpected store of eatables. Having dined 
and warmed themselves, Marcel, Colline and Schaunard 
go out, leaving Rudolph writing. A timid knock at the 
door reveals the presence of Mimi, a young girl who 
lives on the floor above. She has come to ask her 
neighbor for a light for the candle, -which has gone out. 
They enter into conversation, and when Mimi artlessly 
asks Rudolph what his occupation is, he sings the lovely 
air usually termed the " Narrative." 

Raccpnto di Rodolfo (Rudolph's Nar- 

By Enrico Caruso, Tenor 

(In Italian) 880O2 12-inch, $3.0O 
By John McCormack, Tenor 

(In Italian) 74222 12-inch, 1.5O 
By Florencio Constantino, Tenor 

(In Italian) 74106 12-inch, 1.50 
By George Hamlin, Tenor 

(In Italian) 74185 12-inch, 1.50 
By Evan Williams, Tenor 

(In English) 74129 12-inch, 1-5O 

Caruso has never done anything more perfect in its way than his superb delivery of this 
number. It is one of his great scenes in the opera, and always arouses the audience to a 
high pitch of enthusiasm. He has sung it here with a fervor and splendor of voice which 
holds one spellbound. The tender sympathy of the opening " Your little hand is cold " ; 
the bold avowal " I am a poet " ; the glorious beauty of the love motive at the end all 
,ire given with characteristic richness and warmth of style by this admired singer, while the 
final high note is brilliantly taken. 

An entirely different interpretation, though also a very fine one, is given by Mr. 
McCormack, while three other versions in Italian by Constantino and Hamlin, and in 
English by Evan Williams complete a list in which every lover 
of this beautiful air can find a record to suit his taste and purse 

Mi chiamano Mimi (My Name is Mimi) 

By Nellie Melba, Soprano 

(In Italian) 88074 12-inch, $3.0O 
By Alice Nielsen, Soprano 

(In Italian) 74062 12-inch, 1.50 

Then follows the charming Mi chiamano Mimi, in which 
the young girl tells Rudolph of her pitifully simple life; of how 
she works all day making artificial flowers, which remind her of 
the blossoms and green meadows of the country, of the lonely 
existence she leads in her chamber up among the housetops. 

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

By Nellie Melba, Soprano, and 

Enrico Caruso, Tenor 95200 12-inch, $5.OO 

' ' Mimi 's delicate perfection enchanted the young poet especially 
hzr little hands, which in spite of her menial work, sne managed to 
k'ep as white as snow. " Miirger's La Vie de la Boherne. 

This lovely duet occurs just after the Mi chiamano Mimi. 
The young girl having finished her story, Rudolph hears the 
shouts of his friends in the courtyard below. He opens the 
window to speak to them, letting in a flood of moonlight which 






brightens the room. The Bohemians go off singing. As 
Rudolph turns to Mimi and sees her in the moonlight, he is 
struck with her beauty, and tells her how entrancing she 
appears to him. 

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

Mme. Melba's singing in this scene is of exquisite beauty, 
while Caruso's delivery of the passionate phrases of Rudolph 
is superb. The beautiful motive with which the duet begins 
is associated throughout the opera with the presence of Mimi, 
and is employed with touching effect in the death scene in 
Act 111. 

Mimi consents to go to the Caff Momus, 
where his friends are to dine, and after a 
tender scene at the door they go out, and 
the curtain slowly falls. 


SCENE A Students' Cafe in Paris 

This act represents the terraces of the 
Cafe Momus, where the artists are holding a 
carnival. Puccini has pictured with mas- 
terly skill the noisy, bustling activity of this 
scene, and the boisterous merriment of the 
gay revelers. The Bohemians of Act I are 
seated at a table with Mimi, when Musetta, 

an old flame of Marcel's, appears with her latest conquest, a foolish and 
ancient beau named Alcindoro. Marcel pretends not to see her, but 
Musetta is determined on a reconciliation, and soon gets rid of her elderly 
admirer and joins her old friends. 

The gem of this gay scene is the charming waltz of Musetta, which 
Mme. Viafora sings here with spirit and delightful abandon. 

Musetta Waltz 

By Gina C. Viafora, Soprano 

(In Italian) f>4085 10-inch. ll.OO 

Mme. Viafora's light soprano is heard to advantage in this pretty 
waltz, -which she sings with fluency and skill. 

The fun now becomes 
fast and furious, and Musetta is 
finally carried off on the shoul- 
ders of her friends, while the 
foolish old banker, Alcindoro, 
is left to pay the bills of the 
entire party. 


SCENE A City Gate of Paris 

This act begins in the 
cheerless dawn of a cold 
morning at the city gates, the 
bleakness of the scene being 
well expressed in Puccini's 
music. The snow falls, work- 
men come and go, shivering 
and blowing on their cold 
fingers. Mimi appears, and 
asks the officer at the gate if 






he will find Marcel, that good 
and kind-hearted Bohemian 
painter, now sojourning at the 
inn on the Orleans Road and 
painting, not landscapes, but 
tavern signs, in order to keep 
body and soul together. 
Marcel enters and is surprised 
to see Mimi, whom he sup- 
poses to be in Paris. Noticing 
that she is melancholy and 
apparently ill, he kindly ques- 
tions her and learns her sad 

Mimi, lo son ! 
(Mimi, Thou Here !) 

By Geraldine Farrar, So- 
prano, and Antonio 
Scotti, Baritone 

(In Italian} 

89016 12-inch, $4.0O 
By Dora Domar, So- 
prano, and Ernesto Ba- 
dini. Baritone 
88228 12-inch, 3.0O 
By E. Boccolini, Soprano, and E. Badini, Baritone 

(Double-faced See page 37) (In Italian) 55020 12-inch, 1.50 

This duet is one of the finest numbers in Puccini's 
opera, and Miss Farrar and Mr. Scotti have made a strikingly 
effective record of it, 
while other rendi- 
tions at various 
prices are furnished 
by La Scala artists. 
Mimi tells her 
friend that she can 
no longer bear the 
jealous quarrels 
with Rudolph, and 
that they must sep- 
arate. Marcel, much 
troubled, goes into 
the inn to summon 
Rudolph, but before 
the latter comes, 
Mimi secretes her- 
self, and when he 
enters she hears him 
again accuse her of 


Mimi e una civetta 

(Coldhearted Mimi !) 

By Laura Mellerio, Soprano : Gennaro 
de Tura, Tenor ; and Ernesto Ba- 
dini, Baritone 

(In Italian) 88227 12-inch, $3.00 




A distressing fit of coughing reveals her presence, and she appears 
and sings the sad little air which is one of the features of this act. 

Addio (Farewell) 

By Nellie Melba, Soprano (In Italian) 88072 12-inch, $3.OO 
By Alma Gluck. Soprano (In Italian) 64225 lO-inch. l.OO 
Most pathetically does the poor girl's " Farewell, may you be happy " 
come from her simple heart, and she turns to go. Rudolph protests, some- 
thing of his old affection having returned at the sight of her pale cheeks. 
Musetta now enters and is accused by Marcel of flirting. A furious 
quarrel follows, which contrasts strongly with the tender passages 
between Mimi and Rudolph as the lovers are partially reconciled. 

Quartet, "Addio, dolce svegliare" 
(Farewell, Sweet Love) 

By Geraldine Farrar, Soprano; Gina 
C. Viafora, Soprano; Enrico 
Caruso, Tenor; and Antonio 
Scotti, Baritone 
(In Italian) 96O02 12-inch, $6.00 

By Dora Domar. Soprano; Annita 
Santoro, Soprano; Ida Giaco- 
melli. Soprano ; and Ernesto 
Badini, Baritone 
(In Italian) 89048 12-inch, 4.00 

By Sanipoli, Passari, Ciccolini and Badini (Double- 
faced-See page 37) (In Italian) 55O20 12-inch, 1.5O 
Like the Rigoletto Quartet, this number is used by the com- 
poser to express many different emotions : The sadness of Mimi 's 
farewell to Rudolph ; his tender efforts to induce her to remain ; 
the fond recollections of the bright days of their first meeting - 
and contrasted to these sentiments is the quarreling of Musetta 
and Marcel, which Puccini has skillfully interwoven with the 
pathetic passages sung by the lovers. 

In Mimi Miss Farrar has added another role to the long list 
her successes in America, and her impersonation is a most 



charming one. 


She was in superb voice and has given this lovely music most effectively. 

Caruso sings, as he always 
does, with a beauty of voice 
and a sincerity of emotion 
which cannot fail to excite 

Mme. Viafora, who is al- 
ways a piquant, gay and inter- 
esting Muselta ; and Signer 
Scotti, whose admirable 
Marcel is one of his finest 
impersonations, both vocally 
and dramatically, round out 
an ensemble which could not 
be surpassed. 

Truly a brilliantly sung 
and perfect balanced rendi- 
tion of one of the greatest 
of concerted numbers. Two 
other versions by famous artists 
of La Scala are also offered. 





SCENE Same as Act I 

"Jtl this time, the friends for many Weeks had lived a lonely and melancholy 
existence. Musetta had made no sign, and Marcel had never met her, while no 
word of Mimi came to Rudolph, though he often repeated her name to himself. 
Marcel treasured a little bunch of ribbons which had been left behind by Musetta, 
and when one day he detected Rudolph gazing fondly at the pink bonnet Mimi 
had forgotten, he muttered : ' It seems I am not the only one I ' ' ' Mtirger. 

Act IV shows the same garret in -which the events of Act I took 
place. Bereft of their sweethearts, the young men are living sad and 
lonely lives, each trying to conceal from the other that he is secretly 
pining for the absent one. 

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

Ah Mimi, tu piu (Ah, Mimi, False One !) 

By Enrico Caruso, Tenor, and Antonio Scotti. Baritone 

(In Italiar) 89OO6 12-inch. $4.OO 

By McCormack and Sammarco (Italian) 89044 12-inch, 4-OO 
By Da Gradi and Badini (In Italian) *45013 lO-inch, l.OO 
Two records of this favorite duet are offered by Caruso and Scotti, 
and McCormack and Sammarco and both are splendidly given. 

The friends, however, pretend to brighten up when Schaunard and 
Colline enter -with materials for supper, and the four Bohemians make 
merry over their frugal fare. This scene of jollity is interrupted by the unexpected entrance 
of Musetta, who tells the friends that Mimi, abandoned by her viscount, has come back to die. 
The poor girl is brought in and laid on Rudolph's bed, while he is distracted with grief. 
The friends hasten to aid her, Marcel going for a doctor, while Colline, in order to get money 
to buy delicacies for the sick girl, decides to pawn his only good garment, an overcoat. He 
bids farewell to the coat in a pathetic song, which Journet delivers here with much feeling. 

Vecchia zimarra (Coat Song) 

By Marcel Journet, Bass (In Italian) 64O35 lO-inch, $1.0O 

Colline goes softly out, leaving Mimi and Rudolph alone, and they sing a beautiful duet. 

Sono andati? (Are "We Alone?) 

By Maria Bronzoni, Soprano, and Franco de Gregorio, Tenor 

(In Italian) *45013 10-inch. $ l.OO 

The past is all forgotten and the reunited lovers plan for a future which shall be free 
from jealousies and quarrels. Just as Mimi, in dreamy tones, recalls their first meeting in 
the garret, she is seized with a sudden faintness which alarms Rudolph, and he summons 
his friends, who are returning with delicacies for Mimi. But the young girl, weakened by 
disease and privations, passes away in the midst of her weeping friends, and the curtain 
falls to Rudolph's despairing cry of "Mimi! Mimi!" 


Quartet, Act III By Sanipoli, Passari, Ciccolini and 1 

ByBoccoSfn/ n)55020 "-inch. I1.5O 

(In Italian)) 
By Victor Sorlin\,, . _ 

By Pryor's Bandf 3 * 
By Pryor's Bandl. 

C'e Rodolfo (Where is Rudolph?) 


I Boheme Fantasie ( 'Cello) 
\ Calm Sea and Happy Voyage Overture 
/Boheme Selection 
\ Jolly Robbers Overture (Suppe) By Pryor's Bandl 

I Ah, Mimi, tu piu (Ah, Mimi, False One!) 

By Da Gradi and Badini (In Italian) \45O13 
I Sono andati? By Bronzoni and de Gregorio (In Italian) I 

* Double-Faced Record For title of opposite side see above lisl. 


12-inch. 1.25 

35077 12-inch, 1.25 

lO-inch, l.OO 




Text by Meilhac and Halevy, founded on the novel of Prosper Merimee. Music by 
Bizet. First production at the Opera Comique, Paris, March 3, 1875. First London produc- 
tion June 22, 1878. First New York production October 23, 1879, with Minnie Hauk. 
Some notable revivals were in 1893, being Calve's first appearance; in 1905 with Caruso; 
and the Hammerstein revival of 1906, with Bressler-Gianoli, Dalmores, Gilibert, Trentini and 


DON JOSE, (Don Ho-zay) a Brigadier Tenor 

ESCAMILLO, (Es-ca-meet -yo) a Toreador Bass 

DANCAIRO (Dan-kv -row) \ , ( Baritone 

REMENDADO (Rem-en-dah'-Jow) < s I Tenor 

ZUNIGA, (Zoo-nee -gah) a Captain Bass 

MORALES, (Moh-rah'-lez) a Brigadier Bass 

MlCAELA, (.Mih-ku-aiJ -lah) a Peasant Girl Soprano 

FRASQUITA (Frass-k^-tah) 1 _ f . ! Mezzo-Soprano 

. . ,- Gypsies, rnends or CARMEN < .. 

MERCEDES (Mer-c W -</z) / 1 .... Mezzo-Soprano 

CARMEN, a Cigarette Girl, afterwards a Gypsy Soprano 

An Innkeeper, Guide, Officers, Dragoons, Lads, Cigar Girls, Gypsies, Smugglers. 

Scene and Period : Seville, Spain; about 1820, 



Georges Bizet was a native of Paris, -where he was born on October 25, 1838. Like 
Gounod and Berlioz, he -won the Prix de Rome (Pree de Roam'); in this case in 1857, the year 
that his first opera, Docteur Miracle, was produced. Among other productions came Lea Pecheurs 
de Perles, in 1863, an opera recently revived at Covent Garden with Mme. Tetrazzini as Leila. 
Carmen was produced in 1875, 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 won 
it a place among the two or three most popular operas in the modern repertory. 

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

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



Carmen has its opening scene in a public square in Seville, showing at one side a guard- 
house, -where Jose, a young brigadier, keeps guard. Micaela, a peasant girl whom he loved 
in his village home, comes hither to seek him -with a message from his mother. As Jose 
appears, the girls stream out from the cigarette factory hard by, and -with them their leading 
spirit in love and adventure, Carmen, the gypsy, reckless and bewitching. Heedless of the 
pressing throng of suitors, and attracted by the handsome young soldier, Carmen throws 
him a flower, leaving him dazed and bewildered at her beauty and the fascinating flash of 
her dark eyes. A moment later a stabbing affray with a rival factory girl leads to the gypsy's 
arrest, and she is placed in the care of Jose himself. A few more smiles and softly-spoken 
words from the fascinating Carmen, and he is persuaded to allow her to escape. There is a 
sudden struggle and confusion the soldier lets go his hold and the bird has flown! 


Act II takes place in the tavern of Lillas Paslia, 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. 


The next scene finds Jose with the smugglers in the rocky camp in the mountains. The 
career of a bandit, however, is one to which a soldier does not easily succumb. His distaste 
offends Carmen, who scornfully bids him return home, she also foreseeing, in gypsy fashion, 
with the cards, that they will end their careers tragically together. In the midst of this strained 
situation two visitors arrive : Escamillo, the toreador, in the character of a new suitor for 
Carmen; and Micaela, with a message from Jose's dying mother. The soldier, frustrated in 
his attempt to kill Escamillo, cannot resist the girl's appeal and departs, promising to return 
later for his revenge. , 

The final act takes place outside the Plaza de Toros, at Seville, the scene of Escamillo 's 
triumphs in the ring. Carmen has returned here to witness the prowess of her new lover, 
and is informed by her friends that Jose, half crazed with jealousy, is watching, capable of 
desperate deeds. They soon meet, and the scene between the maddened soldier and the 
gypsy is a short one. The jealous Jose appeals to her to return to him, but she refuses with 
scorn, although she knows it means death. In a rage Jose stabs her, and thus the end comes 
swiftly, while within the arena the crowd is heard acclaiming the triumph of Escamillo. 



12-inch, $1.25 
10-inch, .75 

Prelude (Overture) 

By La Scala Orchestra 
By La Scala Orchestra 
The Prelude to Carmen opens with a 
quick march in 2-4 time, on the following 
theme : 

The march is of an exceedingly virile and fiery description and is taken from the music 
preceding the bull-fight in the last act. Following this stimulating march comes the 
" Toreador's Song," leading to the march theme again. These two sections, complete in 
themselves, are now followed by a short move- 
ment in triple time indicating the tragic con- 
clusion of the drama. Here, the appealing notes 
of the brass, heard beneath the tremolo of the 
strings, gives poignant expression to the pathos 
which lies in the jealous love of the forsaken Jose, and expresses the menace of the future 
death of Carmen. This movement breaks off on a sudden detached chord of the diminished 
seventh as the curtain rises. 


SCENE A Public Square in Seville 

The curtain rises on a street in Seville, gay with an animated throng. In the fore- 
ground are the military guard stationed in front of their quarters. The cigarette factory 

lies to the right, and a bridge 
across the river is seen in the 

Among the crowd which 
throngs the stage a young girl 
may be seen searching for a 
familiar face. It is Micaela, 
the maiden whom Jose has left 
behind in his native village. 
The soldiers accost her, and 
from them she learns of her 
lover's absence. She declines 
the invitation to remain, and 
departs hastily. 

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

SETTING OF ACT i among the men by singing the 

gay Habanera. 

Habanera (Love is Like a Wood-bird) 

By Jeanne Gerville-Reache, Contralto (In French) 88278 12-inch. $3.OO 

By Emma Calve, Soprano (In French) 88O85 12-inch, 3.00 

By Maria Gay, Mezzo-Soprano (In Italian) 92O59 12-inch, 3.OO 

This charming " Habanera" has always been a favorite Carmen number, its entrancing 

rhythm always being delightful to the ear ; and it does not seem strange that Don Jose found 

it irresistible when sung by Carmen. 

Though often attributed to Bizet, the air was not original with him, but was taken 
from Yradier's "Album des Chansons Espagnoles. " The refrain, 

Allegretto quati Andantino. 

L'a - mour est en - (ant de Bo - hfime II n'a ja - mais, ja-mais con-nu de . loi. 
And Love's a gyp - sy boy to true. He ev er was a rov-er free as air! 

is a particularly fascinating portion of the number. 

~* Do^ble-Faced Record For title of opposite side see DOUBLE-FACED CARMEN RECORDS, page 52. 




HABANERA. -"Love is Like a Wood-Bird Wild." 

Ah! love, thou art a wilful wild bird. Ah, love! 

And none may hope thy wings to tame, For love he is the lord of all. 

If it please thee to be a rebel. And ne'er law's icy fetters will he wear, 

Say, who can try and thee reclaim? If thou me lovest not, I love thee, 

Threats and prayers alike unheeding; And if I love thee, now beware! 

Oft ardent homage thou'lt refuse, If thou me lovest not, beware! 

Whilst he who doth coldly slight thee, But if I love you, if I love you, beware! 

Thou for thy master oft thou'lt choose. beware! 

To a large number of opera-goers and music-lovers there is but one emotional soprano 

but one exponent of such roles as Carmen and Santuzza. Calv6's Carmen, especially, is almost 

universally accepted as the greatest of all impersonations of the role. 
Gerville-Reache's Carmen is a fine impersonation, on quite 

original lines, her conception being based on a careful study 

of Merim6e's story and on the teachings of her Spanish mother. 

Carmen, according to Mme. Gerville-R6ache, was a passionate 

and fickle woman, but not a vulgar one. 

The men invite Carmen to choose a new lover, 

and in reply she flings a flower in the face of the sur- ^ Q"^,' 

prised Jose and laughingly departs. 

Mia madre vedo ancor (My Mother 
I Behold) 

By Fernando de Lucia, Tenor, and Giuseppina 
Huguet, Soprano (Piano ace.) 

(In Italian) 92O52 12-inch. $3.OO 

Now Micaela returns, and finds the soldier she seeks. Her song 
tells of the message of greeting she brings Jose from his mother, 
and with it a kiss. The innocence of Micaela is here a foil to 
the riper attractions of the gypsy, and the music allotted to the 
maiden possesses the same simple charm ; the conclusion of 
Micaela's air being a broad sustained melody of much beauty. 
Jose takes up the strain, as the memories of his old home crowd 
upon him, and the beautiful duet follows. 

JOSE: Ah! tell me of her my mother far away. 
MICHAELA: Faithful messenger from her to thee, 
I bring a letter. 
And some money also; 
Because a dragoon has not too much. 
And, besides that 






Something else? 


Indeed, I know not how to say 
It is something more 

copyr DUPOur 


Micaela leaves him after a tender 
farewell, and Jose begins to read his 
mother's letter, but is interrupted by a 
commotion within the factory. Carmen 
has stabbed one of her companions, and 
is arrested and placed under the guard 
of Don Jose. The soldiers drive away 
the crowd, and Carmen, left alone with 
Jose, brings her powers of fascination to 
bear on the young soldier, partly to facili- 
tate her escape, and partly because he 
has attracted her attention. Here she 
sings the Seguidilla, a form of Spanish 
country dance. 

Seguidilla ("Near the Walls 
of Seville) 

By Maria Gay, Mezzo- 
Soprano (In Italian) 

91085 lO-inch, $2.00 
The Seguidilla is one of Spain's most 
beloved dances, and its rhythm is most 
fascinating. Bizet has given us a brilliant 
example in this dainty number, which 
he has set to Michael Carre's words. 

CARMEN: Near by the ramparts of Seville 
There shall I go to find Lillas Pastia. 
And the wine-cup we'll share. 
We'll dance in the gay seguidille, 
There I shall find Lillas Pastia, 


Tell me what this may be: 
Come, reveal it to me. 


Yes, I will tell you. 

What she has given, I will to thee render. 

Your mother with me from the chapel came, 

And then, lovingly, she kissed me. 

"My daughter," said she, "to the city thou 

dost go: 

Not long the journey. 
When arrived in Seville, 
Thou wilt seek out Jose, my beloved son; 
Tell him Thou knowest that thy mother, 
By night, by day, thinks of her Jose: 
For him she always prays and hopes, 
And pardons him, and loves him ever. 
And then this kiss, kind one, 
Thou wilt to him give for me." 


A kiss from my mother? 

To her son. 

Jose, I give it to thee as I promised. 
(Michaela stands on tip-toe and kisses Jose 

a true mother's kiss. Jose is moved and 

regards Michaela tenderly.) 

My home in yonder valley, 

My mother lov'd shall I e'er see? 
Ah fondly in my heart I cherish 

Mem'ries so dear yet to me. 


Thy home in yonder valley, 

Thy mother lov'd thou yet wilt see, 

'Twill strength and courage give thee. 

That one sweet hope, 

That yet again thou wilt thy home 

And thy dear mother once more see. 


Yes, but 'tis folly to go alone; 
Where there's not two no love can be, 
So, to keep me from being dull, 
A handsome lad will come with me! 




Although Jose says to himself that the girl is only amusing herself, and whiling away 
the time with her gypsy songs, the words which fall on his ear of a meeting-place on the 
ramparts of Seville of a soldier she loves a common soldier, all these play upon the feel- 
ings of Jose and rouse in him a love for the changeful gypsy, who is fated to be the cause 
of his downfall. 

He unties her hands, and when the soldiers are conducting her to prison she pushes Jose, 
who falls, and in the confusion she escapes. 

Between Acts I and II is usually played a charming entr'acte, 
which has been rendered for this Carmen series by Mr. Herbert. 

Intermezzo (1st Entr'acte) 

By Victor Herbert's Orch. 60067 10-inch, $0.75 


SCENE A Tavern in the Suburbs of Seville 
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- 
acters here assembled are wont to take enjoyment and recreation. 

Les tringles des sistres (Gypsy Song) 

By Emma Calve, Soprano 

(In French) 88124 12-inch. *3.OO 

Carmen 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 the sound 
On the air in cadence ringing, 
Quickly forth the gipsies springing, 
To dance a merry, mazy round. 
While tambourines the clang prolong, 
In rhythm with the music beating. 
And ev'ry voice is heard repeating 
The merry burthen of glad song. 
Tra la la la, etc. 




But Carmen is thinking of the soldier who went to prison for 
her sake and who, now at liberty, will shortly be with her. Her 
musings are interrupted by the arrival of a procession in honor 
ot Escamillo, whose appearance is followed by the famous 
" Toreador Song," the most popular of all Carmen numbers. 

Cancion de Toreador (Toreador Song) 

By Titta Ruffo, Baritone, and La Scala Chorus 

(In Italian) 92065 12-inch, $3.OO 
By Emilio de Gogorza, Baritone, and New York 

Opera Chorus (In Spanish) 88178 12-inch, 3.0O 
By Pasquale Amato, Baritone 

(In Italian) 88327 12-inch, 3.00 
By Giuseppe Campanari, Baritone 

(In Italian) 85O73 12-inch, 3.00 
By Alan Turner, Baritone 

(In English) * 16521 lO-inch. .75 
By Francesco Cigada, Baritone: Giuseppina 
Huguet, Soprano; Inez Salvador, Mezzo- 
Soprano ; and La Scala Chorus 

(In Italian) *62618 10-inch, .75 
By Carlos Francisco, Baritone 

(In Spanish) 4074 10-inch, .60 
By Alan Turner, Baritone 

(In English) 5376 10-inch, .60 



No less than seven renditions of this universal favorite are offered 
by the Victor for the choice of customers. 

After Escamillo 's departure, Carmen 's comrades invite her to de- 
part upon a smuggling expedition, but she refuses to stir until she 
sees the soldier for whom she is waiting. Their efforts to persuade 
her has been put by Bizet into the form of a brilliant quintet. 

Quintet -" Nous avons en tete une affaire" 
(We Have a Plan) 

By Mmes. Lejeune, Soprano; Duchene, Mezzo- 
Soprano ; Dumesnil, Soprano ; Mm. Leroux, 
Tenor; Carlos Gilibert, Baritone 

(In French) 88237 12-inch, $3.00 

This is one of the favorite numbers in Bizet's opera, and at the 
same time one of the most difficult imaginable. When sung as the 
tempo indicates, it goes at break-neck speed, and it is only the most 
capable artists who can do it justice. 

For the present reproduction, the Victor has assembled a most 
competent corps of singers, who were under the direction of the late 
Charles Gilibert, himself the most famous of Remendados. 

Jose's voice being heard outside, Carmen pushes her compan- 
ions from the room and greets him with joy. She then tries her 
fascinations on the stolid soldier to induce him to join the band of 
smugglers, but without effect, as he is reminded of his duty when he 
hears the bugle in the distance summoning him to quarters. " Then 
go, I hate you ! " says Carmen, and mocks him, singing 

Ah, this is too mortifying! 

All to please you, sir, I gaily sang and danced. 
(Aside.) Hut now ta ra ta! he hears the trumpet call! 
Ta ra ta ra! and then off he flies 
Like a guest to a feast! 

* Double-FaceJ Record For title of opposite side see DOUBLE-FACED CARMEN RECORDS, fage 52. 



Air de la fleur (Flower Song) 

By Enrico Caruso. Tenor 

(In French) 88208 
By Enrico Caruso, Tenor 

(In Italian) 882O9 
By Charles Dalmores. Tenor 

(In French) 85122 
By Fernando De Lucia, Tenor 

(In Italian) 760O1 
By Evan 'Williams, Tenor 

(In English) 74122 
By John McCormack, Tenor 

(In Italian) 74218 

12-inch, $3.0O 
12-inch, 3.00 
12-inch, 3.00 
12-inch, 2.0O 



Desperate at the thought of losing her forever, "Don 
Jose shows her the flowers she threw him at their first 
meeting, and which he had preserved, then sings this 
lovely romance, beginning: 

Andantina. (J = 69.) 
ft eon amort. 




La fleur que tu ma-vais je - te e Dans ma pri - son m'e-tait res - 16 - e 
Tkit flow" r you gave to me. dt -grad ed 'Mid pri- son walls I've kept tko' fad td ' 

The struggle between love and duty which has been distracting the unfortunate lover is 
now seemingly forgotten, and he pours out his heart in this romanza, telling only of his great 
passion for the beautiful but heartless gypsy. 


This flower you gave to me, degraded 
'Mid prison walls, I've kept, tho' faded; 
Tho' withered quite, the tender bloom 
Doth yet retain its sweet perfume. 
Night and day in darkness abiding, 
I the truth, Carmen, am confiding; 
Its loved odor did I inhale, 
And wildly called thee without avail. 
My love itself I cursed and hated, 

Then alone myself I detested, 
And naught else this heart interested, 
Naught else it felt but one desire, 
One sole desire did it retain, 
Carmen, beloved, to see thee once again ! 
O, Carmen, mine! here as thy slave, love 
binds me fast, 

Carmen, I love thee! 

From Sclilrmer score. Cop.v't O. Schirmcr 

The number might have been written expressly for 
Caruso, so well does it suit his voice and style. One can 
but marvel at the masterful ease of phrasing, and the 
warmth of vocal coloring imparted by the singer. The 
changing moods of the lover are here indicated with dra- 
matic expression the regret at the havoc Carmen has played 
with his life mingling with the devotion for her he still feels. 
This is a remarkable and memorable performance, the whole 
song being lighted up with that rich vocal beauty and artis- 
tic genius which belong only to a Caruso. 

McCormack also makes a fine impression in this role, 
and his singing of this famous Flower Song is always 
greeted with enthusiasm. Dalmores' interpretation is a 
more vigorous one, his fine voice being shown at its best. Other fine renditions, at varying 
prices, in both Italian and English, are also offered. 

Carmen then paints the joys of the gypsies' life which might be Jose 's, if he would desert 
his regiment and follow her. 







Wilt come with me? 

Up yonder, up yonder, thus will we go 

Away, if thou lov'st me, together! 

Las bas dans la montagne (Away to Yonder Mountains) 

By Emma Calve, Soprano, and Carlos Dalmores, Tenor 

(In French) 89O19 12-inch, $4.OO 

The soldier listens with half-willing ears, his voice joining hers at the close, in a lovely 
duet passage. 


For roof, the sky a wandering life; 

For country, the whole world; 

Thy will thy master; 

And above all most prized of all 

Liberty! freedom! 

Up yonder, up yonder, if thou lov'st me, 

To the mountains, together we'll go. 

However, in spite of Carmen's fascinations, Jose is about to return to his duty, when the 
appearance of his superior officer Zuniga, who orders him back, decides the matter. 
Don Jose resents the overbearing tone his captain uses and defies him. Zuniga is finally 
overpowered and bound by the gypsies, and the smugglers all depart on their expedition. 

Aragonaise (2d Entr'acte) 

By Victor Herbert's Orchestra 7OO67 12-inch, $1.25 

By La Scala Orchestra (Double-faced See page 52) 62102 lO-inch, .75 

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

dreamy melody given to the flute, with a pizzicato accompaniment, is taken up by the other 

instruments in turn, the strings joining in the coda. 

Atuiantino quasi allegretto. 

This is one of the finest records made by the Herbert Orchestra, who have given an 
artistic and finished rendering of the interlude. 






SCENE A Wild and Rocky Pa* 3 ' n the Mountains 
As the curtain rises, the smugglers are seen entering their rocky lair. Here occurs the 

famous sextette, a portion of which is given in the "Gems from Carmen" (page 51). 

The smugglers prepare to camp for the night. It is evident that Jose is already repenting 

of his folly, and that Carmen is tiring of her latest lover. After a quarrel -with Jose, she joins 

Frasquita and M cedes, -who are telling fortunes with cards. 

En vain pour eviter (Card Song) 

By Jeanne Gerville-Reache, Contralto (In French) 87039 10-inch, $2.OO 

By Lavinde Casas, Mezzo-Soprano (Piano ace.) (In Italian) *62617 lO-inch, .75 

Carmen tells her own fate by the cards, 
reading death, first for herself and then for her 
lover. In vain she shuffles and re-tries the 
result ; the answer is ever the same. 

This highly dramatic air, one of the most 
impressive numbers in Bizet's opera, is effect- 
ively sung by Mme. Gerville-R6ache. 

The neighboring camp being ready, the 
smugglers retire, and the stage is once more 

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

By Emma Eames. Soprano 

(In French) 88O36 12-inch, $3.OO 
By Geraldine Farrar, Soprano 

(In French) 88144 12-inch, 3.00 
By Alma Cluck, Soprano 

(In French) 74245 12-inch, 1.5O 
Into this strange and wild scene now enters 
Micaela, the peasant sweetheart of Don Jose, 
who has forgotten her in his fascination for the 
wayward Carmen. Micaela has braved the 
dangers of the road to the smugglers' retreat, 
whither Don Jose has followed Carmen, to carry 
to the soldier a message from his dying mother. 
The innocent girl is frightened by the vast and 


* Double-Face d Record For title of opposite side see DOUBLE-FACED CARMEN RECORDS, page 52. 



lonely mountains, and in her aria appeals to Heaven to protect her, 
ingenuously confessing her love for Don Jose and her detestation of the 
woman who has led him away from his duty. 


I try not to own that I tremble; 

But I know I'm a coward, altho' bold I 

Ah ! how can I ever call up my courage, 

While horror and dread chill my sad heart 

with fear? 
Here, in this savage retreat, sad and weary 

am I, 

Alone and sore afraid. 
Ah! heav'n, to thee I humbly pray, 

Protect thou me, and guide and aid! 
I shall see the guilty creature. 

Who by infernal arts doth sever 
From his country, from his duty, 

Him I loved and shall love ever! 
I may tremble at her beauty, 

But her power affrights me not. 
Strong, in my just cause confiding, 

Heaven! I trust myself to thee. 
Ah! to this poor heart give courage. 

Protector! guide and aid now me! 

The young girl, hearing a shot fired, runs into a cave in fright. 
J<>se, who is guarding the smugglers' effects, has seen a stranger and 
fires at him. It proves to be Escamillo, the toreador, who has come 

Je suis Escamillo (I am Escamillo !) 

By Charles Dalmores and Marcel Journet (In French) 
By Leon Beyle, Tenor, and Hector Dufranne, Baritone 

(Double-faced -See page 52) (In French) 6275O lO-inch, .75 

The two men compare notes, and learning that they are rivals, Jose challenges the other 
to a duel with knives, which is interrupted by the timely arrival of Carmen herself. This 
dialogue, with the fiery duet at the close, well depicts this exciting scene. 

The Dalmores-Journet record is of especial interest because of the brilliant success 
Mr. Dalmores has achieved in the part of Don Jose. Journet sings Escamillo's music splen- 
didly, with that full resonant voice always pleasant to hear. A popular priced rendition 
by Beyle and Dufranne, of the Opera, is also listed above. 

Finale kl Mia tu sei" (You Command Me to Leave You) 

By Antonio Paoli, Tenor: Giuseppina Huguet, Soprano; 

Inez Salvador, and Francesco Cigada (In Italian) 92O35 12-inch, $3.00 

A dramatic scene between Carmen and Jose is interrupted by Micaela, who begs Jose to 

return to his mother; and Carmen, with fine scorn, echoes her request. Thus to leave his 

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

from the gypsy until death. 

85114 12-inch, $3.0O 

not here; 

CARMEN (to Jose) : 

Go, and go quickly; stay not 

This way of life is not for th 
JOSE (to Carmen) : 

To depart thou dost counsel me? 

Yes, thou shouldst go 
J^SE (fiercely): 

Yes, that thou mayst follow 

Another lover the toreador! 

No, Carmen, I will not depart ! 


Be not deaf to my prayers; 

Thy mother waits thee there. 

The chain that binds thee, Jose, 

Death will break. 
JOSE (to Michaela) : 

Go from hence ; 

I cannot follow thee. 

(To Carmen.) 

Mine thou art, accursed one! 

And I will force thee to know 

And submit to the fate 

That both our lives unites! 

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




(A Square in Seville, wilh the Walls of the 
Bull Ring shown at the back) 


By Victor Herbert's Orchestra 

7O066 12-inch, $1.25 
The fourth act opens with a 
momentary brightness. Outside the 
Plaza de Toros, in Seville, an animated 
crowd awaits the procession about to 
enter the ring. This short movement 
is a quick bustling one, only the plaint- 
ive oboe solo indicating the tragedy 
which is soon to occur. The playing 
of this striking prelude is on the same 
artistic level which marks each of the 
renditions by this famous orchestra. 

This scene, as the orange sellers, 
hawkers of fans, ices and the rest, 
press their wares on the waiting crowd, 
is extremely gay, and affords welcome 
relief from the intensity of the drama. 
Escamillo, who has returned to take part in the bull-fight, now enters, and all join in 
the refrain of the Toreador Song in his honor. 

Se tu m'ami (If You Love Me) 

By Inez Salvador, Mezzo-Soprano, and Francesco Cigada. Baritone 

(Double-faced See page 52) (In Italian) 62102 10-inch, $O.75 

ILscamillo takes farewell of Carmen before entering the arena. He promises to fight the 
better for her presence, and she, half conscious of what is coming, avows her readiness to 
die for him. This number is full of lovely melodies and one of the most beautiful records 
of the Carmen series. 

As the procession passes on, the warning comes to Carmen that Jose is here, to which 
she replies that she fears him not. 






Duetto e Finale (Duet and Finale) 

By Maria Passeri, Mezzo-Soprano ; 
Antonio Paoli, Tenor ; and La Scala 
Chorus 92O50 12-inch, $3.OO 

Jose now enters and makes a last appeal, which is dramatic 
in its intensity. It takes the form of a swinging melody to an 
insistent triplet accompaniment. To each request of her lover, 
Carmen adds her disdainful negative, reckless of the danger which 
threatens her. 

JOSE (in desperation) : 

Now thou refuses! my prayers, 

Inhuman girl! For thy sake am I lost! 

And then to know thee shameless, infamous! 

Laughing, in his arms, at my despair! 

No, no! it shall not be, by Heaven! 

Carmen, thou must be mine, mine only ! 
CARMEN (proudly) ; 

No, no, never! 

Ah ! weary am I of threats. 

Cease then, or let me pass! 
CHORUS (in bull ring) : 

Victory ! victory ! 


Viva Escamillo! 


Again I beseech thee. Carmen, 
Wilt thou with me depart? 

Carmen's last refusal, as she flings him back his ring, rouses 
the soldier's jealousy to madness and he stabs her to the heart. 
As she falls the success of the Toreador in the arena is announced by the singing of his well- 
known refrain. The last notes of the opera are a few pitiful tones from the stricken Jose 
addressed to the mute form of his beloved. 

This is another truly powerful record by Paoli, worthy of a climax such as this. The 
music is delivered with the realism and earnestness beyond the reach of all but the very 
few tenors, and it enables the listener to fully realize the stress and pathos of the moving 
dramatic picture which thus concludes the last act of Carmen. 


Carmen Selection By Pryor's Band 31562 12-inch, $1.OO 

I Carmen Selection By Sousa's Band\ ,._. 10 . k . , 

\ IT L , r\ r> c D jJ-35OOO 12-inch, 1.25 

I rreiscnutz Overture By oousa s Dana] 

j Carmen Selection By Pryor's Bandj ^575 10-inch 

( Manon Jlh ! fuyez douce image ! By M. T^pcca, Tenor) 

The selection begins with the brilliant and animated Prelude, the first part of which is 
given, including the refrain of the famous . o ^"^*~* '"*?"' _^,*__ *i. ^, : 
" Toreador Song." Then is heard (as a cornet L^ 'JT^S^TTl^^^^fJ^S^ 
solo) the quaint "Habanera," ^,'T/?, " '. J 'J^.^li. 1 * S."~.' *". '",&"?',. 

with its curiously varied rhythm, its chromatic melody and the changes from minor to major 
which are so effective. With the last note the full band takes up the rollicking chorus of 

street boys from Act I, and after a few measures there , p t p n_^y~"' jt T tf r fr i f 

appears suddenly the weird strain from Act IV when W 

Carmen hurls at Don Jose her last defiance. ~ ~ ~ >"" ' 

The spirited introductory strain returns, closing the selection. A fine record and splen- 
didly played. 

Gems from Carmen 

By Victor Light Opera Company (In English) 31843 12-inch, $1.OO 

Chorus. " Here They Are " Solo and Chorus. " Hibanera " (Love is Like a Bird) Duet, "Again 
He Sees His Village Home "Sextette, " Our Chosen Trade " Solo and Chorus, " Toreador 
Song" Finale. 

An amazing number of the most popular bits of Bizet's masterpiece have been crowded 
into this attractively arranged potpourri, which shows both the skill of Mr. Rogers and the 
remarkable talent of the Opera Company. 



Only such an organization as that of the Victor, which stands absolutely alone among 
record-making bodies, could successfully cope with the difficulties of Bizet's score. The 
record is one of the most striking and brilliant of the series, including as it does the rollick- 
ing chorus of boys in Act I ; the favorite Habanera, the lovely Jose-Micaela duet, the Sextette 
from the Smuggler Scene, the popular Toreador Song and the brilliant finish to Act 111. 

(Habanera (Whistling) By Guido Gialdinil . ,_, ._ . . 

.. v . ., /v i L \ D D, i 5-16752 10-inch, $O.75 

I / he Pretty Maiden (Xylophone) tiy r'eter Lewin) 

(Toreador Song By Alan Turner, Baritone (In English)} 

Trovatore Tempest of the Heart >16521 lO-inch, .75 

By t/llan Turner, Baritone (In English)} 

/Prelude (Overture) By La Scala Orchestra) , o O52 i 2 h 1 25 

\ Damnation of Faust Hungarian March By Sousa's Band) 

[Prelude (Overture) By La Scala Orchestra] 

| Scena delle carte (Card Song) By Lavin de Casas, Mezzo- ^62617 lO-inch, .75 

[ Soprano (Piano ace.) (In Italian)} 

| Canzone del Toreador (Toreador Song) By F. Cigada, Bari- ] 

tone: G. Huguet, Soprano; I. Salvador, Mezzo-Soprano; L-,-, Q , n - - t 

rat /-i_ if it i- \ f6261o lO-inch, .75 

La Scala Chorus (In Italian) 

[ Caoalleria Ruslicana Intermezzo By Pryor's Orchestra} 

{Intermezzo Acto III By La Scala Orchestral 

Se tu m'ami (If You Love Me) By Inez Salvador, Mezzo- ^62102 lO-inch, .75 
Soprano ; F. Cigada, Baritone (In Italian) } 

{Je suis Escamillo (I Am Escamillo!) By Leon Beyle, Tenor; ] 
Hector Dufranne, Baritone (In French) V62750 10-inch, .75 

Valse des looses (Mtra) By Mile. Korsoff, Soprano (In French)} 

[Preludio, Acto IV By La Scala Orchestral 

Norma Mira o Norma By Ida Qiacomelli, Soprano; Lina Mileri, 621O1 lO-inch. .75 
Contralto (In Italian)} 

fCarmen Selection (Xylophone) By Wm. Reitzl 16892 j O inch 75 

\ Boheme Musetla Waltz (Whistling) By Guido Gialdini) 






(Cao-al-teh-ree -ah Rus-ti-cah' -nah) 



Libretto adapted from the book of Verga by Targioni-Torzetti and Menasci ; music by 
Mascagni. First production in Rome, May 17, 1890, the opera having won the first prize 
offered by a music publisher for the best one-act work. First London production at the 
Shaftesbury Theatre under the direction of Signer Lago, October 19, 1891 ; and at Covent 
Garden (under Harris) May 16, 1892. First American production in Philadelphia, September 
9, 1891. 


SANTUZZA, (San-toot' -zah) a village girl Soprano 

LOLA, (Low -lah) wife of Alfio Mezzo-Soprano 

TURIDDU, ( Too-ree -doo) a young soldier Tenor 

ALFIO, (Al'-fee-oh) a teamster Baritone 

LUCIA, (Loo-chee'-ah) mother of Turiddu Contralto 

Chorus of Peasants and Villagers. Chorus behind the scenes. 

The scene is laid in a Sicilian village. 

Time The Present. 
NOTE The quotations from text and music of Caoatteria Rusticana are given by kind permission of C. Schirmer. 




Pietro Mascagni, son of a baker in Leghorn, was born December 7, 1863. Destined by 
his father to succeed him in business, the young man rebelled, and secretly entered the 
Cherubini Conservatory. He began composing at an early age, but none of his works at- 
tracted attention until 1890, when he entered a contest planned by Sonzogno, the Milan 

publisher. Securing a libretto based on a simple Sicilian 
tale by Verga, he composed the whole of this opera in 
eight days, producing a work full of dramatic fire and 
rich in Italian melody, and easily won the prize. Pro- 
duced in Rome in 1890, it created a sensation, and in 
a short time has become one of the most popular of 


Turiddu, a young Sicilian peasant, returns from the 
war and finds his sweetheart, Lola, has wedded Alfio, 
a carter. For consolation he pays court to Santuzza, who 
loves him not wisely but too well. Tiring of her, he turns 
again to Lola, -who seems to encourage him. 


By La Scala Orchestra *351O4 12-inch, $1.25 
By Vessella's Italian Band 

31831 12-inch, l.OO 

The Prelude takes the form of a fantasia on the 
principal themes of the opera. Mascagni's lovely melodies 
are played with exquisite tone and expression, while at 
the climaxes the entry of the brass is most artistically 
managed. This is band playing of a high order, and 
certainly the best record of the Prelude we have heard. The 
La Scala Orchestra record is also a most interesting one. 
During the prelude Turiddu 's voice is heard in the charming Siciliana, in which he tells 
of his love for Lola : ,j,u~* 

lO-inch, $2.OO 
lO-inch, 2.OO 
lO-inch, l.OO 
10-inch, .75 

Siciliana (Thy Lips Like Crimson Berries) 

By Enrico Caruso. Tenor (Harp ace.) (In Italian) 87O72 

By Enrico Caruso, Tenor (Piano ace.) (In Italian) 81O3O 

By Leo Slezak, Tenor (In German) 612O2 

By Carlo Caffetto, Tenor (Piano ace.) (In Italian) *62620 

It is sung behind the scenes, before the rise of the curtain, making it peculiarly effective. 

At the close of the number Turiddu's voice is heard dying away in the distance. This 

decrescendo passage is exquisitely sung by Caruso. This delightful serenade, one of the most 

popular of the Caruso records, is almost the only bright spot in Mascagni's passionate and 

tragic operatic melodrama. 

The best of the many translations (Schirmer Edition, copy't 1891) is given here. 

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


Cheeks of the hue of wild, blossoming cherries, 
Fortunate he who first finds favor to win 


A fine rendition in German by Slezak and one by Caffetto in Italian, at a lower price, 
are also offered. 

SCENE A Square in a Sicilian Village 

After the Siciliana the chorus of villagers is heard, also behind the scenes, and during 
this chorus the curtain rises, showing a square in the village, with the church at one side 
and the cottage of Turiddu's mother on the other. 

* Double-Faced Record For title of opposite side see double-faced list, page 58. 


Yet tho' I died and found Ileav'n on me 


Wert thou not there to greet me, grief I 
should cherish! 

Gli aranci olezzano (Blossoms of Oranges) 

By New York Grand Opera Chorus (In Italian) 64048 lO-inch, $1.OO 

By La Scala Chorus (In Italian) *68218 12-inch, 1.25 

This beautiful chorus is rendered here both by the famous 
organization of La Scala, Milan, and the New York Grand 
Opera Chorus. 

It is Easter Day and crowds of villagers cross the stage and 
enter the church. Santuzza enters, and knocking at Lucia's 
door, asks her if she has seen Turiddu. His mother replies 
that he is at Francofonte, but the jealous girl refuses to believe 
it, and suspects that he is watching for Lola. 

The cracking of a whip and shouts of the villagers 
announce Alfio, who appears and sings a merry song. 

II cavallo scalpita (Gayly Moves the 
Tramping Horse) 

By Renzo Minolfi, Baritone 

(In Italian) *45O03 lO-inch, $1.0O 

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 says he has just seen Turiddu, Lucia is 
surprised, but at a gesture from Santuzza she keeps silent. 

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

Regina Coeli (Queen of the Heavens) 

By La Scala Chorus 

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

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 Lucia and Santuzza, and the agitated girl now sings her 
touching romanza, beginning: 


lo u - pe te^o mam 
ty yon know. ok. mam 

vat go inf 

This is one of the most 

a,^ she pours out her sad history to the sympathetic Mamma Lucia. 
powerful numbers in Mascagni's work. 

Voi lo sapete (W^ell You Know, Good Mother) 

By Emma Calve, Soprano (In Italian) 88O86 12-inch, $3.0O 

By Johanna Gadski, Soprano (In Italian) 88136 12-inch, 3.OO 

By Emma Eames, Soprano (In Italian) 88037 12-inch, 3.OO 

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

[ * '" 


Itxitd atmf 

tmei Itimt Aft . 

Then the thought of her rival, Lola, returns and she gives way to despair, throwing herself 
at the feet of the gentle mother of Turiddu, who is powerless to aid her and who can only 
pi ay for the wretched woman. 

* Double-Faced Record For title of opposite side see double-faced list, page 58 



Well do you know, good mother, 

Ere to the war he departed 

Turiddu plighted to Lola his troth, 

Like a man true-hearted. 

And then, finding her wedded 

Loved me! I loved him! 

She, coveting what was my only treasure 

Enticed him from me! 

She and Turiddu love again! 

I weep and I weep and I weep still! 

Three fine renditions of this dramatic number, by three famous 
sopranos, are offered to music lovers. 

Lucia tries to comfort her and passes into the church just as 
Turiddu appears. He asks 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 nothing to him. 
This great duet has been recorded in its entirety by two famous 
artists of Milan. 

Tu qui Santuzza (Thou Here, Santuzza!) 

By B. Besalu, Soprano, and G. Ciccolini. Tenor 

(In Italian) *55022 12-inch, $1.5O 

No, No, Turiddu 

GADSKI AS SANTUZZA By B. Besalu. Soprano, and G. Ciccolini, Tenor 

(In Italian) *55O22 12-inch, 1.50 

This scene is now interrupted by Lola 's voice, heard behind the scenes. 
LOLA (behind the scenes): 
My king of roses, 
Radiant angels stand 
In Heav'n in thousands; 
None like to him so bright 
That land discloses, 
My king of roses! 

She enters, and divining the situation, shows her power by taking Turiddu into the 
church with her. Frantic with jealousy, Santuzza turns to Alfio, -who now enters, and tells 
him that his -wife is false. 

Two records are required to present this powerful scene, and of the first part two 
versions are offered for a choice. 

Turiddu mi tolse (Turiddu 
Forsakes Me !) 

By B. Besalu. Soprano, and E. Badini, 

(In Italian) *55021 12-inch. $1.5O 
By Clara Joanna, Soprano, and 
Renzo Minolfi, Baritone 

(In Italian) *45OO2 lO-inch, 1.00 

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

By Clara Joanna, Soprano, and 
Renzo Minolfi. Baritone 
(In Italian) *45O02 lO-inch, $1.OO 
Alfio swears vengeance, while Santuzza already 
regrets her disclosure, but is powerless to prevent 
the consequences of her revelation. They go out, 
leaving the stage empty, and the beautiful Inter- 
mezzo follows. 


By Pryor's Orchestra 

*62618 lO-inch, $0.75 
By Victor Orchestra 

4184 10-inch, .60 



* Double-Face J Record For tilk of opposite fide see double-faced lisl, page 58 



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

A casa, a casa ("Now Homeward) 

By La Scala Chorus (In Italian) *45014 lO-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 Brindisi. 

Brindisi (Drinking Song) 

By Enrico Caruso, Tenor (In Italian) *81O62 lO-inch, $2.0O 

In striking contrast to the prevailing tragic tone of Mascagni's opera comes this merry 

drinking song, which Turiddu sings as omaa^. ;r; 

gaily as if he had not a care in the world, ,o C 1C' 5 C'SlT'il II -rft* lft*'g S^?$\^~ I^L-Lu-T 

although at that moment the culminating Iffi I f ' f \ ' I B -\\ > I i f * f I I \\ 

tragedy of the duel was close at hand. oJlT^JT 
Turiddu calls to the crowd about the inn : 

(J= 80 To 

then sings the 
Brindisi, which 
has a most fas- 
cinating swing: 

At the close of the song occurs a C natural, which is taken by Caruso with consummate ease. 


Hail the red wine richly flowing, Hail the wine that flows and bubbles, 

In the beaker, sparkling, glowing, Kills care, banishes all troubles, 

I ike young love, with smiles bestowing, Brings peace, pleasure it redoubles, 

Now our holiday 'twill bless. Causes sweet forgetfulness! 

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

Thank you! but wine to drink with you 

I fear now, 
Poison I might be drinking, ere I was 


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 Siciliana 
fashion, Turiddu viciously biting Alfio's ear. Turiddu, 
sobered by the deadly earnestness of his neighbor, feels 
something of remorse, and says to him : 

Neighbor Alfio 
I own my wrong before you, 
But if through you I perish 
Poor hapless Santuzza 
Left without her lover 

(.Suddenly changing his tone) 

Yet will I drive my dagger in your heart! 
ALFIO (.coldly) : 

I will await you behind the garden! 

Turiddu now calls his mother from the cottage, and 
asks for her blessing, bidding her, if he does not return, 
to be a mother to Santuzza. 

Addio alia madre (TuriddtTs Farewell to His Mother) 

By Riccardo Martin. Tenor (In Italian) 88277 12-inch, $3.00 
By Gennaro de Tura, Tenor (In Italian) 76O15 12-inch, 2.0O 
By G. Ciccolini, Tenor (In Italian) *55O21 12-inch, 1.5O 
By Leo Slezak, Tenor (In German) 612O5 lO-inch, l.OO 
By Giorgio Malesci, Tenor (Piano ace.) (In Italian) *6262O 10-inch, .75 

* Double-Faced Record For title of opposite side see doable-faced list, page 58. 





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, 
Hut first, I pray you, 
Give your son your blessing 
As when I left you 
To become a soldier! 
And listen, mother! This also! 
If I return not, if I return not, 
You must not falter. 

To Santuzza be a mother! 

I have sworn to shield her 

And lead her to the altar. 

Why speakest thou so strangely ? 

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

Oh, nothing! the wine 

Has filled my brain with vapors! 

O pray that God forgive me! 

One kiss, dear mother! 

And yet another! 

Farewell now! If I return not 

Be a mother to my Santa. 

(He rushes off.) 

Finale to the Opera 

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

Soprano ; and Chorus (Double-faced See below) (In Italian) 45O03 10-inch, $1.OO 

Lucia is distressed and bewildered, and calls after him despairingly. Confused cries are 
now heard and a woman screams " Turiddu is murdered ! " Santuzza and Lucia sink down 
senseless, and the curtain slowly falls. 


Selection Part I By Victor Orchestra 31O57 

Selection Part II By Victor Orchestra 31 OS 8 

Turiddu, mi tolse (Turiddu Forsakes Me !) By 

B. Besalu, Soprano, and E. Badini, Baritone (In Italian) 

Mamma, quel vino e generoso (Mother ! the \Vine 

Cup too Freely Passes) By G. Coccolini, Tenor (In Italian) 
Tu qui Santuzza (Thou Here, Santuzza) By B. Besalu, 

Soprano, and G. Ciccolini, Tenor (In Italian' 

No, No, Turiddu By B. Besalu, Soprano, and 

G. Ciccolini, Tenor (In Italian) 

(Prelude By La Scala Orchestra] 

I Selection By Pryor's Band >35 104 

| Opening of Act, "Alfio's Song." "Easter Chorale," "Intermezzo." 
/Coro d' Introduzione By La Scala Chorus (In Italian)} 

IRegina Coeli By La Scala Chorus (In Italian)) 

Turiddu. mi tolse 1'onore (Turiddu Forsakes Me !) 
By Clara Joanna, Soprano, and Renzo Minolfi, 
Baritone (In Italian) 

Ad essi io non perdono By Clara Joanna, Soprano, 

and Renzo Minolfi, Baritone (In Italian) 

Finale dell' Opera By Clara Joanna, Soprano: Sra. 
Rumbelli, Mezzo-Soprano ; and La Scala Chorus 

(In Italian) 
II cavallo scalpita (Gayly Moves the Tramping Horse) 

By Renzo Minolfi, Baritone (In Italian) 

I A casa. a casa (Now Homeward !) 
By La Scala Chorus (In Italian) [4,5014 
Guglielmo Ratcliff Padre Nostro By A. Mussini, Soprano, 
and E. Molinari, Bass (In Italian)] 

I Intermezzo By Pryor's Orchestral 

Carmen Toreador (Bizet) By Francesco Cigada, Baritone; >62618 

Giuseppina Huguet, Soprano ; Inez Salvador, Mezzo- 
Soprano ; and Chorus (In Italian)] 
JAddio alia madre (Piano ace.) 
\Siciliana (Piano ace.) 

12-inch, $ l.OO 
12-inch. l.OO 

55O21 12-inch, 1.5O 

55022 12-inch, 1.5O 

12-inch, 1.25 

12-inch, 1.25 

450O2 lO-inch, 1.00 

45O03 10-inch, l.OO 

lO-inch, l.OO 

10-inch, .75 

\**t i i in lit 1 1 J 

By Giorgio Malesci, Tenorl,- ,. in ;__t, 
n ,-> i /-, ce i-r >o2o2O lO-incn, 
By Carlo Cafifetto, TenorJ 





(Lah Dan-nah-see-on' deh Foulst) 


Hector Berlioz's dramatic legend in four parts ; book based on de Nerval's version of 
Goethe's poem, partly by Gandonniere, but completed by Berlioz himself. First performed 
December 6, 1846, at the Opera Comique, Paris, in concert form, and in New York under 
Dr. Leopold Damrosch in 1880. It was given at Monte Carlo as an opera in 1903. First 
American performance of the opera, 


MARGUERITE (Mahr-guer-eet ') Soprano 

FAUST (Fowsi) Tenor 

MEPHISTOPHELES (W-'-^/ '-cl-leez) Baritone or Bass 

BRANDER . . . . Bass 

Place : A German village. 


No one to-day doubts the genius of Berlioz, and critics are almost unanimous in praising 
his originality, his spontaneous force and immense creative power. Le Damnation de Faust, 
his best known work, originally written as an oratorio, but which has since been adapted 
for the stage, was first produced in 1846 and met with a cold reception. Ten years after 
his death, however, what a change began ! A Berlioz memorial in Paris, at the Hippodrome, 
where thousands were turned away; Berlioz monuments erected in Grenoble and other 
cities of France; and finally, the production of Damnation of Faust as an opera at Monte Carlo 
in 1903, amid scenes of the -wildest enthusiasm. 




In his " Faust " Berlioz has 
given us a musical legend which 
has all the picturesqueness of 
the original work. 

Whatever severe critics may 
say of its merits in the highest 
artistic sense, it is nevertheless 
a wonderful work. Strange 
eccentricities and rare beauties 
are found side by side ; even 
the wild orgie of fiends called 
" Pandemonium," which almost 
transgresses the license of genius, 
must be admired for its astound- 
ing orchestral effects. On the 
other hand, there are melodies 
of purest beauty, such as the 
numbers for Marguerite. How- 
ever, the most striking numbers 
in the opera are those written by Berlioz for Mephislopheles, three of which have been 
most effectively rendered for the Victor by Planc.on. 


Berlioz, disregarding Goethe's poem, located the opening scene on a plain in Hungary 
simply to excuse the interpolation of the Rakoczy March. We quote Berlioz himself 
here: "The march on the Hungarian Rakoczy theme, written one night at Vienna, 
made such a sensation at Pesth that I introduced it into my Faust score, taking the liberty of 
putting my hero in Hungary and making him witness the passage of a Hungarian troop 
across the plain where he is wandering in reverie." But Raoul Gunsbourg, who adapted 
the cantata for the stage, changed the first scene to a room with open -windows showing the 
peasants dancing and the military passing by to the strains of the Hungarian March. Here 
Faust soliloquizes on the vanity of all things, while the people make merry outside, and the 
march of the soldiers makes an inspiring finish to the scene. 

Hungarian (Rakoczy) March 

By Sousa's Band 31424 12-inch, $1.00 

This is Berlioz's treatment of the famous "Rakoczy March," 
known as a national Hungarian melody for a hundred years. Its 
stirring measures so fascinated the composer that, contrary to his 
original intention, he laid the scene of his " Faust " legend in Hungary 
in order that he might make use of this wild and pulse-quickening 
melody. His treatment of it is brilliant in the extreme, and il 
remains one of the most effective portions of his "Faust." 

In this connection it is interesting to remember that Liszt, 
although a warm friend of Berlioz, considered himself aggrieved 
and wrote to Mme. Tardieu in 1882: "My transcription of the 
Rakoczy March * * is twice as long as the -well-known version 
of Berlioz, and it -was -written before his. Delicate sentiments of 
friendship for the illustrious Frenchman induced me to -withhold it 
from publication until after his death. '' In writing it he 

made use of one of my earlier transcriptions, particularly in the 

Scene II shows Faust alone in his study, as in the Gounod 
version. He is about to take poison, when the strains of the 
Easter hymn come from the adjoining church and arrest his purpose. 
Mephistopheles then appears and suggests that they go forth and 
see the world together, to which Faust consents. 

In the third scene Faust and Mephistopheles go to a beer cellar in 
Leipsic, where students and soldiers are carousing. Brander sings 
his song of the rat, which as in the Gounod opera, meets with 




but ironical praise from Mephistopheles, and he volunteers his famous "Romance 
of the Flea," a curiosity of music as effective as it is difficult 
to render. 

Chanson de la puce (Song of the Flea) 

By Pol Plancon, Bass 

(In French) 81O87 10-inch, $2.00 

Gounod's Mephisiopheles 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 flea, 
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 

Faust dislikes the scene, and the two vanish from the 
g;ize of the astonished students amid a fiery glow. 

12-inch, $3.0O 

Voici des roses ('Mid Banks of Roses) 

By Pol Plan?on, Bass 

(In French) 85117 
By ^lattio Battistini, Baritone 

(In Spanish) 92O23 12-inch, 3.OO 

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 
s< ductive words 

'Mid banks of roses, softly the light 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 Gounod, and shows a room 

in Marguerite's cottage. MHMT. Beat. 

The demon now sum- , 

mons the 

will - o*- the- 

un the wing* of *ir I 

wisps in this evocation: Y * '" <* in """"' <"' 

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, 

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

Then 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!" 

Serenade Mephistopheles 

By Pol Plancon, Bass (In French) 81O34 lO-inch, $2.OO 

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 crescendos for strings. 



Ml I'll 1ST) IP II ELES: 

Dear (Catherine, why to the 
door of thy lover, 

Drawest thou nigh? 
Why there timidly hover? why 

art there? 
Oh, sweet maiden, beware; 

come away do not enter; 
It were folly to venture. 

Refrain, nor enter there! 

Ah, heed thee well, fair lass. 
Lest thy lover betray thee; 
Then good night, alas! 

From ill-hap what shall stay 

But let thy lover prove the 

truth of his advances; 
When the ring brightly 

Ah! then only, believe his 


Berlioz's Mephistopheles is 
a much more sardonic and 
less gentlemanly devil than the 
one we are accustomed to see in Gounod's opera. Planc.on interprets this difficult character 
admirably, and delivers this sneering serenade with great effectiveness. 

While the sprites dance Marguerite apparently sleeps, but soon comes from the house in 
a kind of trance. She tries to enter the church, but the influence of Mephislopheles prevents, 
and she returns to the house and falls into the arms of Faust. 

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






(Din-oh' -rah) 


Libretto by Barbier and Carre. Music by Giacomo Meyerbeer. First production Paris, 
IH59. First London production July 26, 1859. First New York production November 24, 
1H64, with Cordier, Brignoli and Amodio. 


HOEL, a goatherd Bass 

CORENTINO, bag-piper Tenor 

DINORAH, betrothed to Hoel Soprano 


Place : Breton village of Ploermel. 

Although the name of Meyerbeer is usually as- 
sociated with Robert le Diable, Prophete and Huguenots, 
his opera, Pardon de Ploermel (afterwards revised and 
renamed Dinorah), was at one time a favorite work with 

The revival of Meyerbeer's sparkling opera during 
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 gifts 
of vocalism. 

Old opera-goers in America will remember the 
productions of the past that arranged for Marie Van 
Zandt in 1892; Patti's famous performance a dozen 
years before; and the fine impersonations of Gerster, 
di Murska and Marimon. But it is safe to say that no 
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 lover; the lover himself, who con- 
trary to operatic precedent is a baritone, and who 
spends a year chasing an imaginary treasure; a w^ak- 
kneed bag-piper. These are the principal characters. 

But in the music Meyerbeer has atoned for the 
triviality of the libretto, and the audience listens to the 
delightful melodies and pays little attention to the plot. 
The action is laid in Brittany. Dinorah, a maiden of he 
village of Ploermel, is about to be wedded to Hoel, a goat-herd, -when a storm destroys 
the house of the bride's father. Hoel resolves to rebuild it, and goes off to seek treasure 
in a haunted region, while Dinorah, thinking herself deserted, loses her reason, and wanders 
through the country with her faithful goat, seeking the absent Hoel. 

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

Si, carina caprettina (Yes, My Beloved One) 

By Giuseppina Huguet, Soprano (In Italian) *3518O 12-inch, $1.25 

Mme. Huguet has sung this pretty air with charming fluency, and the record is one of 
the most attractive in her list. The translation follows: 


Slumber, darling, sweetly slumber, 
Sleep, my belov'd one, sleep! 
Soft the evening breeze is playing, 
' Veath the cooling shadows here 
Mows a streamlet, fresh and clear, 
Swift, among the flowers straying. 
.'.las! six days has she been away, 
Xor yet returns! 
1 '(-reliance she has wandered on the hills 

* Double-FaceJ Record On opposite side is the Mad Scene from Hamlet, by Mme. Huguet. 


Amid the thorns! 

Ah! wert thou to be seized by the wolf fear 


I will be there to defend thee fear not! 
Yes, darling sleep in peace, 
Sweet little birds your warbling cease, 
My beauteous one must sleep. 
Awake her not! Yet softer still! 


Corenlino, a bag-piper, enters and is terrified at the sight of Dinorah, believing her to be 
an evil fairy about whom he had heard, who causes the runaway traveler to dance till he 
dies. Dinorah, in a spirit of mischief, makes him dance until he is exhausted, and runs 
away laughing. 

Hoel enters, still seeking the treasure, and confides in Corentino, telling him that the 
wizard with whom he had lived for a year had instructed him to seek for a white goat 
which would guide him to the gold. The bell of Dinorah's goat is heard, and Hoel pursues 
it, dragging with him the terrified Corenlino. 

The second act begins with the famous shadow dance, for which Meyerbeer has 
furnished some most beautiful music. Dinorah enters, and seeing her shadow in the 
moonlight, imagines it is a friend and sings and dances to it. 

Ombra leggiera (Shadow Song) 

By Luisa Tetrazzini, Soprano 88298 12-inch, $3.OO 
By Maria Galvany, Soprano 88222 12-inch, 3.OO 

Ombra Letftfiera 

(Light Flitting Shadow) 
Light flitting shadow, companion gay 

Go not away! 

Play here beside me, dark fears betide me 
When thou dost go far from me! 
Ah! go not away, go not away! 

Each coming morn I thee would find, 
Ah prithee stay and dance with me! 
If thou wilt stay, nor go away, 
Thou thus shall hear me sing. 

Know'st thou not that Hoel loves me? 
That as his bride he claims me! 
Love well hath known 
Our two hearts to unite! 
(A cloud passes over the moon the shadow disappears.) 

This dance is accompanied by a waltz, which is full 
of the most brilliant vocal effects, including a florid cadenza 
for voice and flute, as in Lucia. 

The act closes with the rescue of Dinorah by Hoel when 
the bridge, on which she was crossing a ravine, gives away. 

Act III opens with the famous "Hunter's Song," long a 
favorite concert number. 

Chant du Chasseur (Hunter's Song) 

By Pol Planjon, Bass (Piano ace. ) 

(In French) 81O65 10-inch, $2.OO 

On, on to the hunt! 

To follow the trace of beast or bird. 

The day is awake. 

The mist from the lake 

Rising, passes over, 

Hoel enters, bearing the form of Dinorah, who is still senseless. Thinking her dead, he 
bitterly reproaches himself in the great air, Sei oendicata. 


The fresh morning breeze 

Plays light in the trees. 

Like a young, a young and happy lover! 

Hunting is jolly, when night is over. 

Sei vendicata assai (Thou art Avenged !) 

By Mario Ancona, Baritone (In Italian) 88169 12-inch, $3.OO 


'Twas on this self-same spot a year ago 
When from the tempest an asylum my Dinorah 

sought : 

Within these arms I pressed her: and now! 
Dead! ah! heaven, I 11 not believe it yet! 

(He anxiously watches Dinorah, who gradu- 
ally recovers.) 

Great heaven! my pray'r hath risen unto thee! 
Yes! she breathes again: her eyes she opens! 
Rut why thus fixedly they gaze upon me? 
O heaven. I had forgotten 
That grief of reason had bereft her! 

Look up again, dear angel, thy pardon I im- 
plore ! 

Dinorah now opens her eyes and recognizes Hoel, her reason having been restored 
by the shock. The reunited lovers go to the village, are greeted by their friends, and the 
curtain falls on preparations for the wedding. 





(Don Jee-oh-vahn'-ee) 


(Don Wahri) 


Libretto by Lorenzo da Ponte. Music by Wolfgang Amadeus Mozart. First produced 
at Prague, October 29, 1787, and at Vienna, May 7, 1788. First London production April 
12. 1817; produced in New York May 29, 1826. Some notable revivals occurred in 1898 
with Sembrich, Nordica, Eames and Plancon, and in 1909 with Russ, Donalda, Bonci and 


DON GIOVANNI, a licentious young nobleman Baritone 

DON OCTAVIO, (Oct-tati -vee-oh) betrothed to Donna Anna Tenor 

LEPORELLO, (Lep-oh-rel'-loio) servant of Don Giovanni Bass 

DON PEDRO, (Pay-dro) the Commandant Bass 

DONNA ANNA, his daughter Soprano 

MASETTO, (Mas-xl'-to) a peasant Bass 

ZERL1NA, (Zer-lee -nah) betrothed to Masetto Soprano 

DON ELVIRA, a lady of Burgos Soprano 

Peasants, Musicians, Dancers, Demons. 

Scene and Period : Seville, in the middle of the seventeenth century. 

Mozart's Don Giovanni was written in 1 787 and produced during the same year at 
Prague. Da Ponte, the librettist, was a Viennese Court dramatist, who had also -written Le 
No.ize di Figaro. The plot of the opera was probably founded upon a play entitled El 
Burlador de Sevilla y Convirada de piedra, attributed to Tirso de Molina, a Spanish monk 
and prior of a monastery at Madrid. This had also served as a basis for numerous other 
"Don Juan" plays and operas by Fabrizzi, Gardi, Raimondi, Carnicer and latterly Dargo- 
myszky, the Russian composer. 


SCENE I The Courtyard of the Commandant's Palace at 
Seville. It is Night 

The wicked Don Giovanni, ever pursuing his gay 
conquests, attempts to enter Donna Anna 's apartments. 
She cries for help and he tries to escape, but is pursued 
by the angry girl, who endeavors to penetrate his dis- 
guise. Her father comes to the rescue and is mortally 
wounded by the Don, who makes his escape, followed 
by Leporello, his servant. Donna Anna is overcome with 
grief, and charges her betrothed, Don Oclavio, to avenge 
her father's death. 

SCENE II An Inn in a Deserted Spot Outside Seville 

Don Giovanni and Leporello enter and conceal them- 
selves as a lady approaches in a carriage. Hoping for 
a new conquest, the Don comes forward, hat in hand, 
but is surprised to find that it is Donna Elvira, a young 
woman whom he has lately deceived and deserted. 
She denounces him for his baseness and he makes his 
escape, leaving Leporello to explain as best he can. 
Lepo'ello rather enjoys the situation, produces his diary, 
and adds to the lady's anger by reading a list of the 
mistresses of the Don. This list is recited by Leporello 
in the famous // catalogo. 





Madamina, il catalogo (Gentle Lady, this List) 

By Marcel Journet. Bass (In Italian) 64 ISO lO-inch, $1.OO 

By Arcangelo Rossi. (Double-faced See page 69) (Italian) 62623 10-inch. .75 

Nella bionda (The Fair One) 

By Marcel Journet. Bass (In Italian) 74191 12-inch. 1.5O 


Ev'ry country, ev'ry township, fully confesses 
Those of the sex whom to his rank he presses. 
Gentle lady, this my catalogue numbers 
All whose charms lent my master beguiling. 
'Tis a document of my compiling, 
An it please ye, peruse it with me. 
In Italia, six hundred and forty : 
Then in Germany. double fifty seem plenty; 
While in old Spain here. we count thousands 


Some you see are country damsels, 
\Vaiting-maids and city ma'amselles, 
Countess', duchess', baronesses, 
Viscount' ev'ry kind of 'esses. 
Womenfolk of all conditions, 
Ev'ry form and ev'ry state! 

Journet's Leporello is a unique performance 
of its kind, and his characterization always stands 
forth as an admirable foil to the polished villainies 
of the suave and distinguished Don. This great 
buffo number, usually called the Catalogue Song, 
is full of the broadest humor, and is given by this 
artist with all the sly humor, gaiety, irony and 
sentiment which it requires. 

Donna Elvira is horrified and drives off, 
swearing vengeance. 

SCENE 111 In the Suburbs of Seville. Don 

Giovanni 's Palace Visible on the Right 
A rustic wedding party comprising Zerlina, Masetto and a company of peasants are enjoy- 
ing an outing. Don Giovanni and Leporello appear, and the Don is charmed at the sight of so 
much youthful beauty. He bids Leporello conduct the party to his palace and give them re- 
freshments, contriving, however, to detain Zerlina. 
Masetto protests, but the Don points significantly to 
his sword and the bridegroom follows the peasants. 

The Don then proceeds to flatter the young girl 
and tells her she is too beautiful for such a clown as 
Masetto. She is impressed and coquettes with him in 
the melodious duet, La ci darem, the witty phrases and 
delicate harmonies of -which make it one of the gems 
of Mozart's opera. 

La ci darem la mano (Thy Little 
Hand, Love !) 

By Geraldine Farrar, Soprano, and 
Antonio Scotti. Baritone 

(In Italian) 89O15 12-inch, $4.OO 
By Emma Eames, Soprano, and Emilio 
de Gogorza, Baritone 

(In Italian) 89OO5 12-inch. 4-OO 
By Graziella Pareto, Soprano, and Titta 
Ruffo, Baritone 

(In Italian) 925O5 12-inch. 4.OO 
By Mattia Battistini, Baritone, and 
Emilia Corsi. Soprano 

(In Italian) 92024 12-inch, 3.00 






This celebrated number, which has been sung by many 
famous artists during the one hundred and twenty years since 
its first hearing, is one of the best examples of the many spark- 
ling concerted numbers -which Mozart has written. Always 
interesting, it is wholly delightful when sung by such artists as 
those who have rendered it for the Victor. Not less than four 
versions, by famous exponents of the characters of Zerlina and 
Don Giovanni, are presented here. 


Nay, bid me not resign, love, coldly the hand 

I press, 
Oh! say thou wilt be mine, love, breathe but 

that one word "yes." 

I would and yet I would not, I feel my heart 

Shouldst thou prove false, I could not, become 

thy scorn and live. 

Come then, oh come then, dearest. 

Yet should thy fondness alter. 

Nay, love, in vain thou fearest. 

Yes, hand and heart uniting, each other's 

cause requiting, 
Our joy no bounds shall know! 

Miss Farrar's Zerlina is a dainty and fascinating character, 
and she sings the music brilliantly. It is hardly necessary to 
j :AN DE RESZKE AS DON cio- say anything about Scotti's Don Giovanni, as it is quite familiar to 

-A.XNI. HIS DEBUT AS A , . 1_ 1 . .. TU 

BARITONE (LONDON 187-) opera-goers, ranking among his best impersonations. 1 he 
rendition by Mme. Eames and Mr. de Gogorza is a most delight- 
ful one, while two other records by famous European artists are also offered. 

Giovanni is about to lead Zerlina away, when Donna Elvira, -who has been -watching, 
rescues the young girl and carries her off, to the chagrin 
of the Don, Donna Anna now enters with Oclaoio, 
who asks the help of his friend Don Giovanni in tracing 
the murderer of Donna Anna's father. The Don assures 
them of his devotion, and goes to his palace, -while 
Dinna Anna tells her lover that she recognizes by his 
voice that Don Giovanni is the one -who slew her father. 
They depart, and Leporello and the Don enter. ' The serv- 
ant tells his master that when Donna Elvira and Zerlina 
arrived at the palace, and Elvira attempted to tell the 
peasants the truth about the Don, he led her gently out- 
side the gate and then locked it. He is complimented 
by his master, who bids him prepare for the feast of the 
evening. Left alone, the gay Don sings his brilliant 
Drinking Song, famous in every land. 

Fin ch' han dal vino CWine, Flow a 

By Antonio Scotti, Baritone (Piano ace.) 

(In Italian) 85O31 12-inch, $3.OO 
The scene changes to Don Giovanni 's garden. Zerlina 
is endeavoring to make her peace with Masetto, but he 
is sulky. She then sings her lovely Batti, batli. 

Batti, batti, o bel Masetto (Scold Me, 
dear Masetto) 


By Geraldine Farrar, Soprano 

(In Italian) 88126 12-inch, $3.OO 


By Tvlarcella Sembrich, Soprano 

(In Italian) 88O26 12-inch, $3.OO 



This gentle number is in striking contrast to the brilliant 
writing in the lighter bits of Zerlina 's music. 


All! I see, love, you're relenting, 

Pardon, kneeling, I implore! 
Night and day, to thee, devoted, 

Here I vow to err no more. 

Masetto is only half appeased, but goes in to dance with 
his bride. Donna Anna, Donna Elvira and Don Octavio, disguised 
and masked, enter and sing a trio, in which they pledge them- 
selves to have revenge on the traitor. 

The scene changes to the interior of the palace, where 
the ball is in progress. Don Giovanni continues his efforts to 
get Zerlina away from her jealous and watchful lover, and 
finally succeeds, but Zerlina calls for help and Masetto and the 
three conspirators rush to her assistance. They denounce Don 
Giovanni, who defies them with drawn sword, and makes his 
escape from the palace. 


SCENE I A Square in Seville. Donna Elvira's Residence on the 
Left. It is a Moonlight Night 

Don Giovanni, followed by his servant, enters, wrapped in a mantle and carrying a 
mandolin. He has heard of a pretty servant whom Donna Elvira possesses, and is plotting 
to get the mistress out of the way. As Elvira sits at her window, he addresses her, pretending 
to be repentant, but when she comes out he pushes Leporello forward to impersonate him. 
While they are conversing, the Don makes a great outcry and the pair run off in fright. 
The coast clear, the Don sings his famous Serenade to the fair waiting maid. 

Serenata, "Deh vieni alia finestra " 
(Open Thy 'Window, Love) 

By Antonio Scotti. Baritone 

(In Italian) 88194 12-inch, $3.OO 
By M. Hector Dufranne. Baritone 

(In French) *45011 10-inch. l.OO 
By Giuseppe de Luca, Baritone (Piano 

ace.) (In Italian) *62623 10-inch. .75 
Ope, ope thy casement, dearest, 

Thyself one moment show; 

Oh, if my pray'r thou hearest. 

Wave but that arm of snow. 

Canst thou my ceaseless sighing 
With cold indif'rence greet? 


Ah! wouldst thou see me dying 

Despairing, at thy feet? 
Thy lip outvies Hymettian-honied bowers; 

Virtue worthy an aneel, thy heart doth 

cherish : 

Thy sigh were balm amid a heav'n of flowers: 
O, for one kiss, one word, this soul would 
perish ! 

Scotti's impersonation of Don Giovanni is admir- 
able in every respect. He is the profligate nobleman 
and irresistible wooer to the life, and sings the 
difficult score with ease. This famous serenade is 
given by the baritone with the grace and ease which 
never fail him. 

* Doublc-Faccd Record For title of opposite siJe see DOUBLE-FACED DON GIOVANNI RECORDS, page 69. 



His amours are rudely interrupted by Masetto, who appears 
with a company of villagers, all armed with muskets, seeking 
the villain. The Don, pretending to be Leporello, offers to put 
them on the right track. Then follows a series of amusing 
situations, ending with the capture of the supposed Don by the 
three conspirators, but it proves to be Leporello, who takes ad- 
vantage of the situation to make his escape. 

At the close of this scene occurs the beautiful air of Donna 
Elvira, in which she reproaches the Don for deserting her. 


In quali eccessi (Aria of Donna Elvira) 

By Johanna Gadski, Soprano 

(In Italian} 88253 12-inch, 

Mme. Gadski has long been recognized as one 
foremost exponents of Mozart 
in this country. The music of 
this master demands singers of 
great understanding and feeling, 
who must possess not only voice 
but intelligence and taste. 

That Gadski possesses these 
qualifications in ample measure 
is fully apparent to all who listen 
to this superb reproduction. 

The next scene shows the Cathedral Square, with the statue 
of the murdered Commandant in the centre. The Don and 
Leporello enter, and are discussing the events of the evening, 
when the statue speaks to them. Leporello is terrified, but the 
Don defies all spirits and boldly invites the statue to supper 
at his palace. 

The scene changes to the banquet hall in the palace of 
the Don. In the midst of the festivities a loud knocking is 
heard. The guests flee in terror, the lights go out, and the 
irigantic figure of the Commandant appears at the door. 
Leporello cowers in terror under the table, but Don Giovanni is 
defiant until the ghost seizes his hand, when he feels for the 
first time a terrible fear. The statue sinks, flames appear on 
all sides, and demons rise and seize the guilty libertine, who 
u tiers a fearful cry of agony as he is carried down into the fiery 


of the 



By Victor Dance Orchestra) _,, . . . 41 - 
n !/ * r\ /-> L , /35O6O 12-incn, $1.25 

By Victor Dance Orchestra) 

] Minuet 

1 Forward March Two Step 
Serenade By M. Hector Dufranne, Baritone (In French) | 

Si j'etais Roi On regard de ses yeux ! 45O1 1 

By Leon Beyle, Tenor (In French) } 

Madamina, il catalogo (Gentle Lady, This List) 

By Arcangelo Rossi. Bass (In Italian) 
Serenata Deh! vieni alia finestra (Open Thy 

\Vindow, Love) By Giuseppe de Luca, Baritone 

(Piano ace. ) (In Italian; 

lO-inch, l.OO 

62623 10-inch, .75 




(Don Pas-kwah' -lay) 


Text and music by Gaetano Donizetti. Libretto adapted from the older Italian opera, 
Ser Marc' Antonio, by Camerano. First presented at the Theatre des Italiens, Paris, on 
January 4, 1843. First London production June 30, 1843. First New York production March 
9, 1846. 

Recently revived at the Metropolitan with Sembrich, Scotti and Rossi ; and at the Bos- 
ton Opera House with Nielsen, Bourrillon, Antonio Pini-Corsi and Fornari. 


DON PASQUALE, an old bachelor Bass 

DR. MALATESTA, his friend, a physician Baritone 

ERNESTO, nephew of Don Pasquale Tenor 

NORINA, beloved of Ernesto Soprano 

A NOTARY Baritone 

Chorus of Valets and Chambermaids, Majordomo, Dressmaker and Hairdresser. 

Scene and Period : Rome ; the beginning of the nineteenth century. 

This brightest of genuine lyric comedies always appeals to that class of opera-goers who 
find the present-day comic opera or musical comedy to be cheap, gaudy and lacking in 
genuine humor. Don Pasquale 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. 



SCENE A Room in Don Pasquale 's House 

The Don is eagerly awaiting the arrival of Dr. Malalesta, who has promised to obtain 
for him a young and lovely bride. 

Son nov'ore CTis Nine O'Clock !) 

By Antonio Pini-Corsi, Baritone, and Ernesto Badini, Baritone 

(In Italian) *68273 12-inch. $1.25 

The Doctor enters, declares he has found the bride, and proceeds to describe the 
charmer. The Don is overjoyed, and insists on seeing the lady at once. When the Doctor 
leaves, Pasquale gives vent to his feelings in an amusing air. 

Un foco insolito (A Fire All Unfelt Before) 

By Antonio Pini-Corsi, Baritone, and Ernesto Badini, Baritone 

(In Italian) *62104 10-inch, $0.75 

Ah! hasten speedily, 
Sweet little bride, to me! 

Yes, I am born again! Now for my nephew, 
By playing thus the careless, heedless hair- 

See what it is the wise and wary gain ! 
(Looking off.) 
Ah! here the very man comes, apropos! 


A lire, all unfelt before, 
I'.urns in my heart's core: 
I can resist no more 
I'll strive no longer. 
Of old age enfeebling me, 
Forgot is the misery, 
Feeling still young to be 
Than twenty much stronger. 

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 


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; 

I>ut now, poor and abandon'd, 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 A Room in Norina 's House 

Norina is reading a romance, and at the beginning of her air quotes from the book: 

Quel guardo (Glances so Soft) 

By Alice Nielsen, Soprano (In Italian) 74O87 12-inch. $1.5O 

By Giuseppina Huguet, Soprano (In Italian) *68272 12-inch, 1.25 


"Glances so soft revealing 
The flame of truest love, 

To that sweet maiden kneeling 
He 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 lO-inch. $0.75 

She then declares that she too knows the value of a glance and smile. 


I, too. thy magic virtues know. 
Of glance wt-11 tim'd and tender, 
A gentle smile, burn l.i be.u-uilc, 
I know an old offender! 
A hidden tear, a languor near, 

I know the mode, oh, dear. 
Of love's bewitching \viU>, 
His facile arts and guiles. 
To lure with wanton smiles 
I know the modes, oh, dear! 

Double-FaceJ Record For title of opposite siJe see DOUBLE-FACED DON PASQUALE RECORDS, page 75. 


A servant gives her a letter from Ernesto, just as the Doctor 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 

The Doctor soothes her, telling her he will induce Ernesto to remain, and then reveals 
the details of the plot against Don Pasquale, in -which he proposes to play on the vanity of 
the old bachelor, by pretending to find him a young and lovely wife. They decide that 
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 role. 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) 89O02 12-inch, $4.OO 
By Giuseppina Huguet. Soprano, and Ernesto Badini, Baritone 

(In Italian) *68272 12-inch, 1.25 


My part I'll play, if not offending Uravo, bravo, capital! 

Against my lover's repose and quiet; It can't be better all goes well! 

Well the plot with me will fare! NORINA: 

DOCTOR: Head turned aside "Oh fie! oh fie!" 

Our plot but tends, you may believe, DOCTOR: 

Don Pasquale to deceive. Pursed-up mouth "Ashamed am I." 


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 sprightly duet, which closes the act. 

Vado corro (Haste "We !) 

By Giuseppina Huguet and Ernesto Badini (Italian) *62O97 lO-inch, $0.75 

SCENE A Richly Furnished Hall in Don Pasquale 's House 

Don Pasquale, in the most youthful of wedding garments, enters and struts up and 
down, admiring himself, until the Doctor arrives with Norina, -who is closely veiled. She 
pretends to be shrinking and frightened, and the Doctor, beginning a delightfully humorous 
trio, the first of the concerted numbers in this act, begs her to have courage. 

The pretended notary now arrives, and another comical scene ensues as the mock 
ceremony is performed. Pasquale, so much in love that his judgment is clouded, is not 
only induced to sign over one-half his property to his -wife, but agrees that she shall be 
absolute mistress of the house. As Norina is signing, Ernesto's voice is heard outside 
demanding admittance, having come to bid his uncle fare-well. 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 Malalesla. 

The moment Norina affixes her signature to the contract her manner changes, and when 
Pasquale attempts to embrace her she coldly asks him not to be so rude. Pasquale is aston- 
ished and Ernesto laughs, which enrages the old man so that he orders his nephew from the 
room. Norina stops him and says that as Don Pasquale is too old, fat and feeble to attend a 
young wife, she must have a young cavalier to attend her, and signifies that Ernesto is her 
choice. Don Pasquale is thunderstruck and attempts to protest, but Norina warns him that 
if her words are not sufficient to keep him in his place she will beat him ! 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. 

*Double-Faced Record For title of opposite side xe DOUBLE-FACED DON PASQUALE RECORDS, page 75. 


E rimasto la impietrato (He Stands Immovable) 

By Linda Brambilla, Soprano; Antonio Pini-Corsi, Baritone; 

Gaetano Pini-Corsi, Tenor; Agusto Scipioni, Bass 
PASQUALE: (In Italian) *16566 10-inch. $O.75 

Dream I? Sleep I? What's amiss? To know not if he wakes or dreams! 

Kicks cuffs: good a fine pretext He's like a man by lightning struck: 

'Tis well she warn'd me now of this what's No drop of blood runs in his veins. 

that mean? MALATESTA: 

We shall see what's coming next! Take heart. Pasquale, my old buck, 

I, Don Pasquale, she'd think meet Don't be discouraged, use your brains. 

To trample underneath her feet! NORINA: 

NORTNA AND ERNESTO: Now then, at least, my worthy friend, 

He stands petrified, and seems You must begin to comprehend. 

The great finale to Act II then follows, and the curtain always descends amid a gale of 
laughter from the audience. Norina rings a bell, summoning the servants, and announces that 
she is now sole mistress of the house. She orders new servants engaged, 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 !) 

By Giuseppina Huguet, Soprano; Antonio Pini-Corsi, Baritone; 

Gaetano Pini-Corsi, Tenor; Agusto Scipioni, Bass 

PASQUALE: (In Italian) *62097 lO-inch, $O.75 

I am betray'd, trod down and beat, ALL (pointing to Don Pasquale) : 

A laughing stock to all I meet; Don Pasquale, poor, dear wi&ht, 

Oh! with mingled rage and spite Is nearly suffocated quite! 

I am suffocating quite! MALATESTA (to Pasquale): 

NORINA (to Ernesto) : You're a little heated, really 

Now you see, ungrateful heart, Do go to bed, dear Don Pasquale. 

How unjust was your suspicion: (To Norina, in a tone of reproof.) 

Love, to bring him to submission, On my brother-in-law to play 

Counsell'd me to play this part. Thus. I'll not endure, I say! 

ERNESTO (to Norina): (To the lovers, who are embracing/ behind Von 

You are justified, dear heart; Pasquale' s back.) 

Momentary my suspicion. Silly ones, for Heaven's sake, pray, 

Love, to bring him to submission, Don't, I beg, yourselves betray! 
Counsell'd thee to play this part. 


(Same as Act I On the floor and furniture are piled up dresses, bandboxes, furs, etc., in great pro- 
fusion. Servants are running to and fro with bustle and excitement) 

Don Pasquale is seen amid the confusion, looking with utmost consternation at a huge 
pile of bills. He throws them down 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 : 

(li'ith great heat.) 
PASQUA;.E: Why, you impertinent! 

Prithee, where are you running in such haste, But there take what you well deserve, sir! 

Young lady, may I beg you will inform me? (Bo.rcs his ears.) 


Oh! that's a thing that very soon is told: Ah! 

I'm going to the theatre to divert me. (It is all over with you, Don Pasquale! 

PASQUALE: All that now remains for you to do 

But the husband, with your leave excuse me Is quietly to go and drown yourself!) 

^ Saying so may perchance object to it. NORINA: 
XORINA: (I must confess, 'tis rather hard a lesson; 

The husband sees, and wisely holds his tongue: Yet was required to have its due effect.) 

For when he speaks there's no one listens to (To Don Pasquale): 

him. I'm going now. then 

PASQUALE (zvitlt rising -warmth): PASQUALE: 

Not to put me to the trial, Madame, Oh, yes, certainly! 

It is for your own good that I advise you But do not take the trouble to return. 

You'll to your chamber go, this very instant NORINA: 

Remain content at home stay in the house. Oh. we shall see each other in the morning. 

NORINA (ironically): PASQUALE: 

Oh, really! A face of wood a closed door, you will find. 

* Double-Faced Record For title of oODosite side xe DOUBLE-FACED DON PASQUALE RECORDS, page 75. 



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 
llct ween the hours of 

nine and ten this 

I shall be at the bottom of the garden 

R_y the small grated gate. 

Thine to command thine faithfully; adieu." 

This is too much, and the unhappy man runs in search of Malalesta. 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: 


l!rotlier-in-la\v, 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 (^Vait, Wait, Dear Little W^fe) 

By Antonio Pini-Corsi, Baritone, and Giovanni Polese, Baritone 

(Double-Faced See page 75) (In Italian) 62103 lO-inch, $0.75 


Wait, wait, dear little wife, 
I soon reveng'd will be: 
E'en now 'tis near, my life. 
This night, without delay, 
Thou must the reckoning pay! 
Thou'lt see what little use 
Now will be each excuse 
Useless thy tender smiles. 
Sighs, and tears and wiles 
All I have now at stake, 
Concjuer'd, again I'll take! 

MALATESTA (aside): 
Oh, the poor fellow! 
Vengeance he's prating; 
Let the dolt bellow 
He knows not what's waiting! 
He knows not he is building rare 
Castles in the empty air: 
He sees not, the simpleton 
That in the trap, poor elf, 
He of his own accord 
Now goes to throw himself! 
(Exit together.) 

SCENE II Don Pasquale' s Garden // is NightErnesto is Discovered Waiting 

This scene begins with the beautiful serenade, the most melodious of the airs in 
Donizetti's work. 

Serenata Com' e gentil (Soft Beams the Light) 

By Enrico Caruso, Tenor (In Italian) 85048 12-inch, $3.OO 

By Aristodemo Giorgini, Tenor, and La Scala Chorus 

(In Italian) 7601O 12-inch, 


Oh! summer night, thy tranquil light 

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 

Two renditions of this exquisite air are listed here, headed by Caruso's, familiar to 
admirers of the great tenor. A fine record by Giorgini, a tenor now much liked in Italy, 

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. 




Signorina in tanta fretta (My Lady, Why This Haste ?) ] 

By Emilia Corsi and Antonio Pini-Corsi (In Italian) 
Son nov' ore ('Tis Nine O'clock!) 

By Antonio Pini-Corsi and Ernesto Badini (In Italian)} 
D'un guardo, un sorrisetto (Glances So Soft) I 

By Giuseppina Huguet, Soprano (In Italian) L a ~ ~~ 
Pronta io son (My Part I'll Play) 

By Giuseppina Huguet and Ernesto Badini (In Italian)} 



J Overture By La Scala Orchestral 

I Barbiere di Siviglia Manca un foglio By La Scala Orchestral 

Un foco insolito (A Fire All Unfelt Before) 

By Antonio Pini-Corsi and Ernesto Badini (In Italian) 
Vado, corro (Haste "We !) By Emilia Corsi, Soprano, and 

Ernesto Badini, Baritone (In Italian) 

E rimasto la impietrato (He Stands Immovable) 
By Linda Brambilla, Soprano ; Antonio Pini-Corsi, 

Baritone; Pini-Corsi, Tenor; Sc ip ion i, Bass (In Italian) 

Elisir d'amore Io sonno ricco (I Have Riches) By Passari, 

Soprano; A. Pini-Corsi, Baritone; and Chorus (In Italian) 

Cavatina So anch'io Io virtu magica (I, Too, Thy Magic 
Virtues Know) 

By Amelia Pollini, Soprano (In Italian) 

Aspetta aspetta cara esposina ("Wait, "Wait, Dear Little 
Wife) By Antonio Pini-Corsi, Baritone, and Giovanni 
Polese, Baritone (In Italian] 

Sogno soave e casto (Fond Dream of Love) 

By Giuseppe Acerbi, Tenor (In Italian) ^62624 
Faust Core de soldo Jos (Soldiers ' Chorus) La Scala Chorus 

Vado corro (Haste We) By Giuseppina Huguet, Soprano, 

and Ernesto Badini, Baritone (In Italian) 

Son tradito By Giuseppina Huguet, Soprano; Antonio ^62097 
Pini-Corsi, Baritone; Gaetano Pini-Corsi, Tenor; Ernesto 
Badini, Baritone (In Italian)} 

12-inch, $1.25 

12-inch. 1.25 
12-inch, 1.25 
lO-inch, .75 

16566 lO-inch, .75 

62103 lO-inch, .75 

lO-inch, .75 

lO-inch, .75 





< l.ayl-lccz -cai' dahm-oh' -rail) 



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. 


ADINA a wealthy and independent young woman Soprano 

NEMORINO, a young peasant, in love with Adina Tenor 

BELLCORE, sergeant of the village garrison Bass 

DOCTOR DULCAMARA, a quack doctor Buffo 

GlANNETTA, a peasant girl Soprano 

A Landlord, a Notary, Peasants, Soldiers, Villagers. 

Scene and Period : A little Italian village ; the nineteenth century. 

This delightful example of Donizetti's work is a real opera bouffe, and while simple and 
unconventional in plot, it has always been a favorite because of the lovely songs with 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. 


SCENE The Homestead of Adina' s Farm 

Adina and her companion are seated under a tree reading. Nemorino is near, pensively 
observing his innamoraia, and sings his first Cavatina. 

Quant'e bella ! (Ah ! How Lovely) 

By Emilio Perea, Tenor (In Italian) *62626 lO-inch, $O.75 


Ah! how 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. 
I5ut 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 Be/core, 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 Be/core 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 ruslici, the delight of buffos for more than eighty years. 

Udite, udite o rustic! (Give Ear, Ye Rustics) 

By Antonio Pini-Corsi, Baritone (In Italian) *68152 12-inch, $1.25 

By Emilio Perea, Tenor (In Italian) *62626 lO-inch, .75 

* Double-FaceJ RecorJ-For title of oppose side *< DOUBLE-FACED ELIXIR OF LOVE RECORDS, 
page 78. 



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


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! 

Nemorino exclaims, "Heaven itself must have sent this miraculous doctor to our village !" 
He draws the quack aside, and asks him if he has an elixir that can awaken love. The 
Doctor, of course, says that he is the original inventor of the liquid, and soon has Nemorino 's 
last coin in exchange for the coveted potion, which is in reality a bottle of strong wine. 

This scene is in the form of an amusing duet, Obbligato. 

Obbligato, obbligato (Thank You Kindly) 

By Fernando de Lucia, Tenor, and Ernesto Badini, Baritone 

(In Italian) 91O79 10-inch, $2.0O 

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, 
wh ch further enrages the lady, and she sets the -wedding for that very day. This sobers 
Nemorino, -who fears that the marriage may take place before the potion works, and he 
pie ids for delay. Adina and Be/core laugh at him, and the curtain falls as preparations for 
the wedding are begun. 


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 -with him. 

lo sono ricco e tu sei bella (I Have Riches, Thou Hast Beauty) 

By Mme. Passari, Soprano ; Antonio Pini-Corsi, Baritone ; La Scala Chorus 

(In Italian) 16566 10-inch, $0.60 

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 

"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. 

Be/core, the sergeant, comes in, and learning that Nemorino's distress is caused by lack 
of money, suggests that he enlist as a soldier and be richer the fee of twenty crowns. 
Nemorino jumps at the chance, signs the articles, runs in search of the Doctor, and drinks 
the second bottle ! 

The peasant girls, having heard that the death of Nemorino's uncle has just made him 
rich, begin to pay him attentions. The Doctor tells Nemorino that this popularity is the 
result of the elixir he has just sold him. Adina, woman-like, -when she sees her lover in 
such demand, promptly regrets having treated him so coldly, and runs out on the verge of 
tears. Nemorino, noting her downcast looks, feels compassion for her, and gazing after her 
sadly, sings the lovely romanza, famous in every land. 

Una furtiva lagrima (Down Her Cheek a Pearly Tear) 

By Enrico Caruso, Tenor (Piano ace.) (In Italian) 81O27 lO-inch, $2.00 

By John McCormack, Tenor (In Italian) 74219 12-inch, 1.5O 

By Florencio Constantino, Tenor (In Italian) 74O65 12-inch, 1.5O 

By Evan 'Williams. Tenor (In English) 7415O 12-inch, 1.5O 



Donizetti's delightful little comedy, in spite of the beauty of its music and the oppor- 
tunities it offers for a colorature soprano, is really a tenor opera, and requires a great artist 
in the role of Nemorino ; and it was the advent of Caruso which made the revival of this 
sparkling opera bouffe possible. 

Neglected as the opera, as a whole, has been for many years, this lovely romanza, Una 
furtioa lagrima, has proved meanwhile an always -welcome contribution to the concert stage, 
and as a test for tenors is comparable to the Com e gentil in Don Pasquale. All but four of 
Donizetti's fifty operas have lost their popularity, but the song which Nemorino sings to the 
tear that stood in his Adina's eye will always keep the opera from being forgotten. This is 
one of the most famous of the Caruso records, and his exquisite singing of this beautiful 
number is something to be long remembered. 

Down her soft cheek a pearly tear 

Stole from her eyelids dark, 
Telling their gay and festive cheer, 

It pained her soul to mark; 
Why then her dear presence fly_? 

When all her love she is showing? 
Could I but feel her beating heart 

Pressing against mine own ; 

Could I my feeling soft impart, and mingle sigh 
with sigh, 

But feel her heart against mine own, 
Gladly I then would die, all her love knowing! 

Mr. McCormack's rendition is also a most attractive one. Very few English singers are 
able to sing an Italian aria in a manner that would be acceptable to Italian audiences, but 
McCormack is one of these, and his rendering of Donizetti's exquisite air is an example of 
this mastery of the old school of vocalization. Other renderings, by Constantino in Italian, 
and a fine one in English by Williams, are also offered. 

The crafty Dulcamara now suggests to Adini that she try the wonderful elixir in order 
to win back her lover, but she says she needs not such aids. 


With respect to your elixir, With a tender look I'll charm him 

One more potent, sir, have I With a modest smile invite him 

Through whose virtues Nemorino, With a tear or sigh alarm him 

Leaving all, to me will fly! With a fond caress excite him. 

DULCAMARA (aside): Never yet was man so mulish. 

Oh! she's far too wise and cunning; That l could n J make him yield. 

These girls know even more than I. Nemorino s fates decided. 

When Nemorino has sung his air Adina comes on with the soldier's contract, -which she 
has bought back, and tells him that he must not go away. All misunderstandings are now 
cleared away, and Be/core arrives to find his bride-to-be embracing another. However, 
he is philosophical and saying, " There are other women ! " marches off, while the villagers 
tell Adina and Nemorino of the latter's good fortune. The Doctor claims credit for the 
reconciliation, and the curtain falls as he is relieving the peasants of their -wages in return for 
bottles of his -wonderful Elixir of Love ! 


(Udite. udite o rustici (Give Ear, Rustics!) 

By A. Pini-Corsi, Baritone (In Italian) 

68152 12-inch, $1.25 

j Una furtiva lagrima (A Furtive Tear) 

By Emilio Perea, Tenor (In Italian) 
I Quant'e bella ! (Ah, How Lovely !) 

By Emilio Perea, Tenor (In Italian] [62626 lO-inch, .75 
I Udite, udite o rustici By Arcangelo Rossi, Bass (In Italian) \ 
lo sono ricco e tu sei bella (I Have Riches, Thou Hast 
Beauty) By Maria Passari, Soprano; Pini-Corsi and 

Chorus (In Italian) 1 j, -, & iQ-inch 75 

Don Pasquale Quartet, Act I By Linda Brambilla. Soprano : | 
Antonio Pini-Corsi, Baritone; Gaetano Pini-Corsi, 
Tenor; and Augusto Scipioni. Baritone (In Italian) \ 



(Italian) (French) 


(Er-nah 1 -nee) (Her-nah' -nee) 


Libretto adapted by Maria Piave ; from Victor Hugo's drama "Hernani;" music by 
Giuseppe Verdi. First production in Venice, March 9, 1844. First London production at 
Her Majesty's Theatre, March 8, 1845. First New York production, 1846, at the Astor Place. 
At its Paris production, January 6, 1846, the libretto was altered at Victor Hugo's request, 
the characters being made Italians and the name of the opera changed to // Proscritlo. 

Cast of Characters 

DON CARLOS, King of Spain Baritone 

DON RUY GOMEZ DE SILVA, a Grandee of Spain Bass 

ERNANI, a bandit chief Tenor 

DON RlCCARDO, an esquire of the King Tenor 

lAGO, (Ee-ah'-go) an esquire of Don Silva Bass 

ELVIRA, (El-uee'-rah) betrothed to Don Silva Soprano 

GlOVANNA, (Gee-oh-vah' -nah) in attendance upon her Mezzo-Soprano 

Chorus of mountaineers and bandits, followers of Don Siha, ladies of Elvira, followers of 
the King, Spanish and German nobles and ladies, electors and pages. 

Scene and Period : Aragon ; about 1519. 



SCENE I The Mountains of AT agon 

Elvira, a Spanish lady of rank, is about to be married to the elderly Don Gomez de Siloa, 
a Grandee of Spain. Ernani, a bandit chief (in reality John of Aragon, become a brigand 
after his estates were confiscated), loves Eloira and resolves to prevent this unwelcome 
marriage. The first scene shows a mountain pass where Emani's men are encamped. 

Beviam, beviam (Comrades, Let's Drink and Play) 

By La Scala Chorus (In Italian) *35168 12-inch, $1.25 

The opera opens with this spirited chorus of bandits and mountaineers, who are drinking 
and gambling in their stronghold. With reckless satisfaction in their lot they sing : 

"What matters to the band't 
If hunted and branded 
So wine be his share!" 

Emani, their chief, appears on a neighboring height with a melancholy brow. His men 
remark at his gloomy appearance, and he tells them that he is powerless to prevent the mar- 
riage of his betrothed to the aged Siloa on the morrow. He describes the peerless Eloira in 
a fine aria, The Sweetest Flow'r. 

Come rugiada al cespite (The Sweetest Flow'r) 

By Luigi Colazza, Tenor (In Italian) *62627 10-inch, $0.75 

The bandits offer their lives, if need be, in the service of their chief, and it is decided to 
rescue Eloira that night. 

O tu che Talma adora (O Thou, >ly Life's Treasure) 

By Martinez Patti, Tenor, and La Scala Chorus (In Italian) 

*16567 lO-inch, $0.75 

Ernani, in this passionate aria, sings of the charms of his beloved. 

Oh thou, my life's sole treasure, I love thy starry glances. 

Come, come to my arms adoring, Thy smile my heart entrances, 

Death at thy feet were pleasure, Most blessed he of mortals ., 

The joy of heav'n is mine where'er thou art. To whom thou gav'st thy heart! 

Ernani and his men depart in the direction of Siloa's castle 
and the scene changes. 

SCENE II Elvira's Apartment in the Castle 
Ehira is discovered alone, brooding over the prospect of 
the sacrifice, which she seems powerless to prevent. 

'Tis near the dawning, and Silva yet returns not! Ah! would 
he came no more with odious words of loving, more deeply 
confirming my love for Ernani! 

Ernani involami (Ernani, Fly with Me) 

By Marcella Sembrich 88022 12-inch, $3.OO 

By Celestina Boninsegna 91O74 lO-inch, 2.OO 

By Maria Grisi *63173 lO-inch, .75 

In this beautiful but despairing number she calls on her 

lover to save her, singing : 

Ernani, fly with me; 
Prevent this hated marriage! 
With thee, e'en the barren desert 
Would seem an Eden of enchantment! 

Two brilliant renditions of this famous number are given, 
by Mme Sembrich and Mme. Boninsegna; while a popular- 
priced record is contributed by Mme. Grisi, of La Scala. 

Elvira's ladies-in-waiting now enter, bringing her wedding 
gifts, and in the graceful chorus with which this record begins, 
congratulate her. 

r DUPOm 

* Double-FaceJ Record For title of opposite 




Quante d'Iberia giovani (Noble His- 
pania's Blood; 

By Ida Giacomelli and La Scala Chorus 

(In Italian) *16567 10-inch, $0.75 
She thanks them, saying : " Each kindly wish awakes 
a response in my own heart ;" then sings, aside, a second 
number, "Tutto sprezzo che d'Ernani, " in which she tells 
of her hope of rescue. The chorus joins in the con- 
cluding strain. 

Da quel di che t'ho veduta (From 
the Day when 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. Elvira, who has left the room with the ladies, 
returns and is amazed to discover in her boudoir the 
King, who has been secretly in love 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 Ernani!) 

By Giacomelli, Martinez-Patti and Pignataro (Italian) *16568 lO-inch, $O.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 !" 
Tlie King is about to summon his guard, when suddenly a secret panel door opens and 
Ernani appears. Carlos recognizes him and exclaims : " Thou art Ernani, the assassin and 
bandit," and in the spirited trio which follows the rivals declare their hatred, while Elvira, 
almost distracted, endeavors to protect her lover. 

Infelice e tu credevi (Unhappy One !) 

By Marcel Journet, Bass (In Italian) 74O08 12-inch. $1.5O 

By Perello de Segurola, Bass (In Italian) 55O07 12-inch, 1.5O 

By Marcel Journet, Bass (In Italian) 64077 lO-inch. l.OO 

By Aristodemo Sillich, Bass (In Italian) *63421 10-inch, .75 

In the midst of this thrilling tableau now appears Silva, 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 Ernani are so distorted as 
to Ije almost meaningless. The few extracts which are given have been revised and made 
somewhat intelligible. "Opera in English," about which we hear so much nowadays, 
would be simply impossible without new translations for some of the older works. For in- 
stance, 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 bosom. 

VA inter lords it within this my bosom. Far congealing, far congealing to the core, 

Far congealing, far congealing to the core, Unto the core, congealing unto the core! 

Fir congealing unto the core, 

' Double-Faced Record For title of opposite tide see DOUBLE-FACED ERNANI RECORDS. f>a : e 85. 



Now anyone who can tell just what this means is certainly a highly gifted individual! 

In this connection, however, it should be stated that several American music publishers 
are entitled to praise for their efforts to improve opera translations, especially G. Schirmer, 
with many beautiful new editions of the older operas and collections of opera airs ; and Oliver 
Ditson Company, 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. 

Vedi come il buon vegliardo (Well I Knew My Trusty Vassal) 

By Maria Grisi, Soprano; Carlo Ottoboni. Bass; Remo Sangiorgi. Tenor; 

and Giuseppi Sala, Baritone (In Italian) *35169 12-inch, $1.25 

Having reproached his bride for her supposed treachery, Silva thinks of vengeance, and 
calling for his armor and a sword, demands that the intruders follow him to combat. 
Before they can reply, the King's squires enter and salute their sovereign. The astounded 
Siloa, though secretly enraged, kneels to his King, saying : " Duty to my King cancels all 
offences." The great finale then begins with Carlos' solo, sung aside to his squires: 

"Well I knew my trusty vassal Would his wrath and love surrender 

Fierce in hate, in passion tender In the presence of his King." 

This is one of the most impressive records of the Ernani series. 

Finale, Act I 

By Maria Grisi, Soprano; Carlo Ottoboni, Bass; Remo Sangiorgi. Tenor; 

and Giuseppi Sala, Baritone (In Italian) *16568 lO-inch. IO.75 

The finale to Act I is continued in this record. The situation at the close of the act 
may be understood by these quotations from the words the librettist has given to the various 
characters : 

CARLOS (to Ernani): CARLOS: 

1 will save thee! Power, dominion and love's delights, 

(Aloud to Sili-a) : All these are mine all my will must obey! 

Let this trusty friend depart. SILVA: 

ERNANI. From my eyes a veil has fallen . . . 

I thy friend? Never! unto death my ven- I can scarce believe my senses! 

geance will pursue thee! COURTIERS: 

ELVIRA: Well doth Silva hide his anger 

Fly, Ernani, let love teach thee prudence! l>ut within it still doth smolder! 

Ernani yields to Elvira 's pleadings and in the confusion makes his escape. The curtain 
falls on an impressive tableau. 


SCENE A Hall in Siloa's Castle 

After his escape from the castle, nothing has been seen of Ernani. Elvira believes the 
rumors of his death and despairingly consents to wed Don Siloa. 

Esultiam (Day of Gladness) 

By La Scala Chorus (In Italian) *16569 lO-inch. $O.75 

The first scene of Act II occurs in a magnificent hall in the castle. The company of 
knights and pages of Silva, and ladies in attendance on Elvira sing the opening chorus in 
praise of the noble Silva and his peerless bride. 

Oro quant' oro (I am the Bandit Ernani) 

By Maria Bernacchi. Soprano; Luisi Colazza. Tenor ; and Torres de Luna. 

Bass (In Italian) *16569 lO-inch, $O.75 

Siloa, attired as a Grandee, enters. His squire, Jago, announces a holy man, who craves 
the hospitality of the castle. Ernani, disguised as a pilgrim, enters, then throws off his disguise 
and exclaims, beginning this fine trio : 

"I am the bandit Ernani . . . My men are dead or in chains . . . My 
enemies are without the castle . . . Seize me and deliver me up, for I am 
weary of life!" 

Siloa, 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. 

* Double-FaceJ Record For title of opposite side see DOUBLE-FACED ERNANI RECORDS, pages 84 and 85. 



La vedremo, o veglio audace (I W^ill Prove, Audacious 

By Mattia Battistini, Baritone, and Aristodemo Sillich, Bass 

(In Italian) 920O7 12-inch, $3.00 
By Ernesto Caronna, Baritone, and Torres de Luna, Bass 

(In Italian) *1657O 10-inch, .75 

The retainers bring news that the King and his warriors are without the castle. Silva 
hides Ernani in a secret passage and orders that the King be admitted. Don Carlos inquires, 
with irony, why Silva's castle is so well guarded, and demands that he surrender Ernani or 
lose his own life. Silva refuses. The soldiers are ordered to search the castle. 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 meco (Come, Thou Dearest Maiden) 

By Emilia Corsi, Soprano; Mattia Battistini, Baritone: and La Scala 

Chorus (In Italian) 920O8 12-inch, $3.00 

By Maria Grisi, Soprano ; Francesco Cigada, Baritone; Carlo Ottoboni, 

Bass; and La Scala Chorus (Inltalian) *1657O lO-inch, .75 

This record begins with a chorus of soldiers, who have explored the castle but have found 
no trace of Ernani. The King is about to torture Silva 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 Sword, and Follow!) 

By Luigi Colazza. Tenor, and Torres de Luna, Bass 

(Inltalian) *35169 12-inch. $1.25 

The King, his followers, and the Lady Elvira having retired, Silva exclaims : " Hell cannot 
hate with the hatred I bear thee, vile King!" He then takes down two swords from the 
armory, and releasing Ernani from his hiding place, challenges him to 
combat. Ernani refuses, saying that his life belongs to Silva, who has 
saved it. Silva taunts him with cowardice and Emani consents to 
fight, but asks for one look at Elvira. Silva replies that the King has 
taken her away. "Fool!" cries Ernani to the astonished Grandee, 
" the King is our rival ! " and agrees to combine with Silva against 
their mutual foe. Once their revenge is accomplished, Ernani agrees 
to yield his life at Silva's call, and gives him a hunting horn whichj 
shall be the signal for his (Ernani's) death. For this magnificent num- 
ber Verdi has written some of his most dramatic music. 

In arcion, cavalieri (To Horse, Ye "Warriors) 

By Giuseppi Sala, Tenor; Cesare Preve, Baritone; 

and La Scala Chorus (Italian) *16571 lO-inch, $O.75 
The act closes with the spirited duet and chorus by Ernani, Silva 
and the warriors of the Don, who prepare to pursue the King to the 


SCENE A Vault in Aix-la-Chapelle Cemetery 

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

By Giuseppi Campanari, Baritone 

(In Italian) 85087 12-inch, $3.OO 
By Mario Ancona, Baritone (Italian) 88O62 12-inch, 3.OO 

* Doable-Faced Record For title of opposite side see DOUBLE-FACED ERNANI RECORDS, pages 84 and 85. 


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 verd, 
in which he pledges himself to better deeds should the Electors, then in session, proclaim 
him Emperor. 

Si ridesti il Icon di Castiglia (Rouse the Lion of Castile) 

By La Scala Chorus (In Italian) *16571 10-inch, $O.75 

The conspirators, among whom are Ernani and Siloa, assemble at the tomb. Ernani is 
chosen to assassinate Carlos, and greets the decision with joy, exclaiming that his dead father 
will at last be avenged. The great ensemble then follows. 

O sornrno Carlo (Oh Noble Carlos) 

By Mattia Battistini. Baritone; Emilia Corsi, Soprano; Luigi Colazza, 
Tenor; Aristodemo Sillich. Bass; and La Scala Chorus 

(In Italian) 92046 12-inch, $3.0O 
By Maria Grisi, Soprano; Rerno Sangiorgi, Tenor; Francesco Cigada. 

Baritone; and La Scala Chorus (In Italian) *3517O 12-inch, 1.25 

The booming of cannon having announced that Carlos is proclaimed Emperor, he comes 
from the tomb and surprises the conspirators. At the same time the Electors and the King's 
courtiers enter from a secret door. Carlos condemns the plotters to death, when Elvira rushes 
to him and asks for mercy. The Emperor heeds her, pardons them all, and unites Elvira 
and Ernani. In this great finale all glorify the Emperor except Siloa, who still secretly cries 
for vengeance. 

SCENE Terrace of a Palace in Aragon 

Festa da hallo (Hail, Bright Hour of Gladness) 

By La Scala Chorus (In Italian) *16572 10-inch. $O 75 

The lovers are now happily united, and this scene shows them at Ernani' 's palace, which, 
with his estates, has been restored to him. A chorus of ladies, masks and pages greets the 
happy pair. 

Ferna crudel, estinguere (Stay Thee, My Lord !) 

By Maria Bernacchi, Soprano ; Luigi Colazza, Tenor: and Torres de Luna, 

Baritone (In Italian) *3517O 12-inch, $1.25 

Elvira and Ernani are alone on the terrace, oblivious to all but each other, when a blast 
from a horn is heard. Ernani awakes from his dream of bliss and recognizes the sound of 
his own hunting horn, which he had given to Siloa as a pledge to die when the revengeful 
Don should demand his life. The distracted Eloira pleads with Siloa for her husband, but 
in vain. After an affecting farewell Ernani fulfills his vow, stabs himself and dies, while 
Eloira falls lifeless on his body. The curtain falls as the cruel and remorseless Siloa is gloat- 
ing over his terrible revenge. 


JInfelice e tu credevi By Perello de Segurola, Bassl ,- oo _ . 2-inch $1 5O 

I PuritaniSorgea la nolle By Perelld de Segurola, Bass (In Italian) \ 
Ferna. crudel By Maria Bernacchi, Soprano; Luigi 

Colazza. Tenor; and Torres de Luna, Bass (In Italian) _, . _,, . _ .__!, 17* 

/-v /- i * */- o r c 3517O 12-incn, I.ZD 

CJ sornmo Carlo By Maria Grisi, Soprano; Remo dangiorgi. 

Tenor; Francesco Cigada. Baritone; and Chorus (Italian) 
Ernani Selection By Pryor's Band\ , i i i 1 2-inch 1.23 

Meister singer Prize Song By Victor Sorlin, 'Cellist I 

A te scegli. seguimi By Luigi Colazza. Tenor, and 1 

Torres de Luna. Bass (In Italian) 

Vedi come il buon vegliardo By Maria Grisi, 35169 12-inch. 1.25 

Soprano; Remo Sangiorgi, Tenor ; GiuseppiSala. Tenor; 

and Carlo Ottoboni, Bass (In Italian)] 

* Double-Faced Record For title of opposite ,iJe xe DOUBLE-FACED ERNANI RECORDS, page, 84 and 85. 




Beviam, beviam By La Scala Chorus (In Italian)} 

Da quel di che t'ho veduta By Angela de Angelis, J35168 

Soprano, and Francesco Cigada, Baritone (In Italian) j 

O tu che Talma adora By Martinez-Patti, Tenor, 

and Chorus (In Italian) 

Quante d'Iberia giovani By Ida Giacomclli, Soprano, 

and Chorus (In Italian) 

Finale. Act I By Maria Grisi, Soprano; Carlo Ottoboni, 

Bass; Remo Sangiorgi, Tenor; and Giuseppi Sala, Tenor) . ,,,,,, 
Tu se' Ernani By Ida Giacomelli, Soprano ; Martinez- 

Patti.Tenor; and Enrico Pignataro, Baritone (In Italian)) 
Esultiam ! By La Scala Chorus (In Italian) I 


Luigi Colazza, Tenor ; and Torres de Luna, Bass (In Italian) \ 
La vedremo By Ernesto Caronna, Baritone, and 

Torres de Luna, Bass (In Italian} 

Vieni meco By Maria Grisi, Soprano; Francesco Cigada, 

Baritone ; Carlo Ottoboni, Bass ; and Chorus (In Italian) 

In arcion, cavalieri ! By Giuseppi Sala, Tenor; ] 

Cesare Preve, Bass ; and Chorus (In Italian) \ 

Si ridesti il Icon di Castiglia By La Scala Chorus (Italian) j 

Fcsta da ballo "O come felici" By La Scala Chorus } 

Hamlet O vin, discaccia la trislezza 

By Francesco Cigada, Baritone, and Chorus 
Ernani involami (Ernani, Fly -with Me) 

By Maria Grisi, Soprano 
Ballo in Maschera O Figlio d' Inghilterra 

By Huguet, Salvador, Cigada, Sillich, and Chorus 
Infelice e tu credevi (Unhappy One!) 

By Aristodemo Sillich, Bass 
Manon Oh, Manon, sempre la stressa 

By Giorgio Malesci, Tenor 

Come rugiada al cespite By Luigi Colazza 

O tu che 1'alma adora 

By Martinez-Patti, Tenor, and Chorus 

12-inch, $1.25 

16567 lO-inch, .75 

lO-inch, .75 

By Maria Bernacchi, Soprano; il6569 10-inch, .75 

16570 lO-inch, .75 

16571 lO-inch, .75 

lO-inch, .75 

(In Italian) 


(In Italian) 

63173 lO-inch, .75 

(In Italian) 


(In Italian) 

63421 lO-inch, .75 

(In Italian) 

(In Italian) 1 
62627 10-inch, .75 

(In Italian)] 



Words by Barbier and Carre, founded upon 
Goethe's tragedy. Music by Charles Gounod. 
First produced at the Theatre Lyrique, Paris, 
March 19, 1859. First performance in London 
June II, 1863; in New York November 26, 
1863, at the Academy of Music, with Kellogg, 
Mazzoleni, Biachi and Yppolito. 

Some famous American productions 
were in 1883, with Nilsson, Scalchi, and 
Campanini ; and the same year with Nor- 
dica (debut) as Marguerite; in 1892 with 
Eames, the de Reszkes and Lasalle ; 
and recently with Caruso and Farrar. 


FAUST (Fount) Tenor 

MEPH1STOPHELES (Mef-ia-tof 1 -el.lccz) Bass 
VALENTINE (Vat -en-teen) Baritone 

BRANDER, or WAGNER Baritone 

SlEBEL (See' -bet) Mezzo-Soprano 

MARGUERITE (Mahr- g uer*et') .... Soprano 
MARTHA Contralto 

Students, Soldiers, Villagers, 
Sorcerers, Spirits. 

The action takes place in Germany. 






Fifty-two years have elapsed since the first production 
of this masterpiece by Gounod ; and it is to-day sung 
throughout the world more than any other five operas 
combined. At the Paris Opera alone it has been given 
more than 1500 times, and the new setting recently pro- 
vided for it there cost not less than 150,000 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 Paris, and all but failed in Milan. The London 
production, however, with Titiens, Giuglini, Trebelli, 
Gassier and Santley, was quite successful; and in the 
following June Patti sang Marguerite for the first time, the 
opera receiving a tremendous ovation. 

The story is familiar to almost every one and will be 
but briefly sketched here. The libretto by Barbier and 
Carre does not attempt to follow the Goethe drama, but 
merely makes use of the Faust- Marguerite incident. This 
is sufficient, however, to provide an intensely interesting 
-RI CRAM OF A FAMOUS REVIVAL ( 1 869) subject for Gounod's lovely music. 


By L'Orchestre Symphonique, Paris 58016 12-inch, $1.OO 

The prelude to Faust is a short one, merely giving a clue to the drama which is to 

follow. The fateful single note of the full 

orchestra with which it opens and the mysteri- 

ous chromatic chords stealing in from the 

strings form a fitting introduction to a drama 

of such unusual portent. 

The tempo is then accelerated and a pas- 

sage suggesting Faust's mental struggles leads | 

to the lovely melody in F major ( Dio possente) . 

. .!,/. J. llarkir 

. M. rii. <;oi MHI 

UMugmnM <! \< / 


''tn"i,^v"s:''" FAUST I 

f pp 

J^ 1 ^ 

"r "f* r 

*T *T 

^4 4 -4 " fe. h=>- 

ho- i 


r r- 



The prelude closes with sustained chords, solemn and impressive. 

This number is rarely heard apart from the opera, and so excellent a reproduction as 
this one by the orchestra will be highly appreciated. 

ACT I The Compact 

The first act reveals the studio of Faust, an aged philosopher and alchemist, who is 
se<;n surrounded by musty parchment rolls and the rude scientific apparatus of the fifteenth 
century. The fitful light of the expiring lamp is a symbol of the despair in the heart of the 
aged Faust, as after a lifetime spent in the pursuit of learning, he realizes that he knows 
but little of true knowledge. Tired of the struggle, he resolves to end it with a poisonous 
dr.-iught, and raises the goblet to his lips; but pauses as the songs of the happy peasants 
float through the open window. He goes to the window, and filled with rage at the sight 
of human happiness, he curses all earthly things and calls on Satan to aid him. 

This scene is given in a most impressive record by De Tura and the La Scala Chorus. 

La vaga pupilla 

By Gennaro De Tura and La Scala Chorus (In Italian) 76O19 12-inch, $2.OO 

CHORUS OF PEASANT GIRLS (passing without the 

window): CHORUS OF REAPERS (without): 

Cometh forth, ye reapers, young and hoary ! 
The earth is proud with harvest glory! 
Rejoice and pray. 

If I pray there is none to hear 

To give me back my love. 

Its believing and its glow. 

Accurst be all ye thoughts of earthly pleasure! 

Fond dreams of hope! ambitions high, 

And their fulfillment so rare! 

Accurst, my vaunted learning, 

And forgiveness and prayer! 

Infernal kin?, appear! 

(Mephistopheles appears.) 

All ! careless, idle maiden, 
Wherefore dreaming still? 
Day with roses laden 
Cometh o'er the hill. 
I5rooks and bees and flowers 
Warble to the grove. 
Who has time for sadness? 
Awake to love! 

Foolish echoes of human gladness, 
Go by, pass on your way ! 
(His hand trembles.) 

Goblet so often drained by my father's hand 
so steady. 

Why now dost thou tremble in mine? 



The Aged Philosopher Wearies of Life 


Mephistopheles, attired in the dress 
of a gallant, promptly appears in re- 
sponse to the call and proposes that 
the good Doctor shall enter into a com- 
pact with him. In return for riches, 
glory, power, anything he desires, Fausl 
shall merely give up his soul. The 
aged philosopher, spurning gold or 
power, cries out for youth, only youth ! 

lo voglio il piacer (The 

Pleasures of Youth) 

By Gaetano Pini-Corsi, Tenor ; 
Aristodemo Sillich, Bass 
(In Italian) *63174 lO-in., $0.75 

The bargain is soon agreed upon 
and Faust is about to pledge his soul 
in return for youth and love, but as he 
still hesitates, Mephisio says, " S~e how 
fair youth invites you! Look!" 

O merveille (Heavenly 

By Enrico Caruso, Tenor; 
Marcel Journet, Bass 
(In French) 89O39 12-in., $4.OO 

Then follows the delicate passage 
for strings which accompanies the vis- 
ion. Faust, gazing rapturously on the 
beautiful Marguerite, sings : 


The scroll is signed in letters of fire, Faust 
drains the magic potion and is transformed 
into a youth. The spirited duet which follows, 
ending the first act, is sung with fine effect; 
both of the Victor renditions being most 
atti active ones. 

ACT II The Fair 

( The scene shows a fair in progress in the public square of a German town) 

A motley crowd of students, soldiers, old men, young women and matrons are disport- 
ing themselves drinking, talking, flirting, quarreling; and this animated chorus, with which 
the Kermesse Scene begins, graphically pictures the whole. 

(In Italian) 74213 
(In Italian) *6816O 

12-inch, $1.50 
12-inch, 1.25 

Kermesse Scene 

By New York Grand Opera Chorus 
By La Scala Chorus 

Each group delivers its quota in distinctive fashion, the soldiers' sturdy declaration con- 
trasting with the laughing, chattering passages allotted to the women ; the high-pitched 
falsetto of the gossiping old men always proving a favorite portion of this number. At the 
close the different groups combine into a chorus of six parts. This wonderful piece of 
choral writing is reproduced in a striking manner, and gives a most realistic picture of the 

'Double-Faced Record For title of opposite side see DOUBLE-FACED FAUST RECORDS, page 107. 




Red and white liquor, coarse or fine. 

What can it matter, so we have wine? 

Each new feast-day brings the old story, 

Danger gone by, how we enjoy it! 

\Vhile to-day each hot-headed boy 

Fights for to-day's little glory! 

Only look how they do eye us, 

Yonder fellows gay! 

Howsoever they defy us. 

Never run away! 


How those merry girls do eye us 

We know what it means 

To despise us, to decoy us, 

Like so many queens! 

Only see the brazen creatures 

With the men at play; 

Had the latter choice in features, 

They would turn this way! 

Long live the soldier, 

The soldier gay! 

Be it ancient city, be it maiden pretty, 

Both must fall our prey! 

Here Valentine, the brother of Marguerite, is found among the crowd of soldiers just 
about to depart for the war, and he sings the noble Dio possente, a farewell to his sister 
and his home. 




12-inch. $3.OO 
12-inch. 3.OO 
12-inch, 3.OO 
12-inch. 1.25 

Dio possente (Even the Bravest Heart) 

By Antonio Scott i. Baritone (In Italian) 

By Emilio de Gogorza. Baritone (In Italian) 

By Titta Ruffo. Baritone (In Italian) 

By Francesco Cigada (Double-faced See page 107) (Italian) 
In the preceding recitative he speaks of his fears in leaving his sister Marguerite alone, 
and contemplates with affection the amulet she has given him to bring good fortune. 


Dear gift of my sister. 
Made more holy by her pray'r. 
However great the danger. 
There's naught can do me harm, 
Protected by this charm! 

The familiar "Cavatina" then follows: 

Even bravest heart may swell, 
In the moment of farewell. 
Loving smile of sister kind. 
Quiet home I leave behind; 

Oft shall I think of you. 
Whene'er the wine-cup passes 'round. 

When alone my watch I keep 

And my comrades lie asleep 


Upon the tented battleground. 

But when danger to glory shall call me, 

I still will be first in the fray. 

As blithe as a knight in his bridal array, 
Careless what fate may befall me, 
When glory shall call me. 

Oft shall I sadly think of you 

When far away, far away. 


This Dio possente was not in the original production of the opera, 
but was written by Gounod especially for Santley in the English 
production at Her Majesty's Theatre, 1864. 

The Victor offers a wide choice to buyers of this fine " Cavatina." 
Scotti's Valentine is always a revelation in dramatic possibilities. This 
role, too often allotted to a mediocre artist, is filled by him with 
dignity ; and he makes a serious and soldierly Valentine, singing the 
music with admirable richness of tone and beauty of expression. 

Although Mr. de Gogorza has not sung the number in opera, it is 
frequently seen on his concert programs, and he sings it superbly. 
Other fine renditions in Italian are the ones by Ruffo and Cigada, two 
famous European baritones, who have not yet visited America. 

Le veau d'or (The Calf of Gold) 

By Pol Plancon, Bass (In French) 81O38 lO-inch, $2.OO 
By Marcel Journet, Bass (In French) 64O36 lO-inch, l.OO 

We are now in the full bustle of the Fair Scene, where in front 
of an inn a crowd of drinkers are listening to one of their number, 
Wagner, singing a some what coarse ditty concerning a rat. Mephisto- 
pheles breaks in upon the revelers, and offers to sing a song of his 
own, "The Song of the Golden Calf." After the diabolically sug- 
gestive introduction by the orchestra, with its semi-quavers and 
descending chromatics, we hear the bold opening passage of this 
anthem in praise of Mammon, of which the calf is symbolic. 



Calf of Goldl aye in all the world 

'."o your mightiness they proffer, 

I ncense at your fane they offer 

l r rom end to end of all the world. 

And in honor of the idol 

Kings and peoples everywhere 

To the sound of jingling coins 

Dance with zeal in festive circle, 

Round about the pedestal, 

Satan, he conducts the ball ! 

('alf of Gold, strongest god below! 

To his temple overflowing 

Crowds before his vile shape bowing, 

As they strive in abject toil. 

As with souls debased they circle 

Hound about the pedestal. 

Satan, he conducts the ball ! 

Two renditions of this effective bass 
song are offered by the Victor. Plancon's 
rendition is a spirited one, the number 
always being sung by him with a full 
appreciation of its caustic raillery. Jour- 
net's record is also a splendid one in 
many respects, and shows the magnificent 
voice of this artist to great advantage. 

Mephistopheles now proceeds to aston- 
ish the company by his feats of magic, 
first reading their palms and then draw- 
ing wine from the barrel of Bacchus the 
inn sign perched up aloft each man 
drawing the wine he likes the best. 

The scene which follows, a most 
dramatic one, is given in a splendid 
record by Amato, Journet and the Metro- 
politan Chorus. 



Faust Scene des Epees (Scene of the Swords) 

By Pasquale Amato, Baritone; Marcel Journet, Bass; and 
Metropolitan Opera Chorus 

(Giulio Setti. Director) 

(In French) 89O55 12-inch, $4.OO 
The record begins with the invocation to Bacchus. 


I drink to you all! 

(Throwing it out with a wry face.) 

Bah ! what rubbishy wine. 

Let me see if I cannot find you better! 

(Striking the image of Bacchus with his 


What ho, Bacchus! up there! some liquors! 
Come while you can, 
And each one drink the wine he likes the best! 

He then affronts Valentine by proposing the health of Marguerite, 
and the soldier draws his sword, only to find that some unforeseen 
force has made it powerless in his hand. 


I propose the health of the dearest of all 

Our Margarita! 

Enough ! 

Bridle thy tongue, or thou diest by my hand! 

Come on ! (Both draw) 

Come on ! 

So soon afraid, who so lately defied me? corrr u. 

^IwoVd! O disgrace! In my hand is SAMMARCO AS VALENTINE 


Valentine, however, turns the handle upwards, thus making the Sign of the Cross, the 
soldiers doing likewise, and they now face the Tempter with confidence. 

'Gainst the powers of evil our arms assailing, SOLDIERS (imitating him): 
Strongest earthly might must be unavailing. Look hither! 


But know thou art powerless to harm us! Whilst this blest sign we wear 

VALENTINE: Thou canst not harm us! 

Look hither! Whilst this blest sign we wear 

(Holds up his su'ord to form a cross.) Thou canst not harm us! 

Mephistopheles is discomfited, and cowers in terror as the soldiers sing the choral, with its 
striking unison passage for male voices, alternated with bursts of harmony. 

This is a remarkably fine reproduction, the men's voices being rich and sonorous, and 
the dramatic feeling intense. 

The delightful waltz, which has been a model of its kind ever since the first per- 
formance of Faust, now begins. 

"Waltz from Kermesse Scene 

By Pryor's Band (Double-FacedSee page 1 07) 16552 lO-inch. $O.75 

This favorite number is played by the band with the absolute precision and daintiness 
which are indispensable to its proper performance. 

Faust now observes Marguerite and approaching her, greets her respectfully, offering 
his escort. 


High-born and lovely maid, 
Forgive my humble duty. 
Let me, your willing slave, 
Attend you home to-day? 

She modestly declines, saying : 

No, my lord, not a lady am I, FAUST (gasing after her): 

Nor yet a beauty; By my youth! what a charm! 

And do not need an arm, She knows not of her beauty. 

To help me on my way. Oh! darling child, I love thee! 

The waltz now re-commences and the act ends in a wild and exciting dance, in which 
all join students, soldiers and women. 



ACT III The Garden Scene 

The Garden Scene of Faust is undoubtedly Gounod's finest inspiration; and the sensuous 
beauty of the music with which the composer has surrounded the story of Marguerite's 
innocence and trust betrayed, has held many millions in rapt attention during the fifty 
years since it was first heard. 

Flower Song Le parlate d'amor (In the Language of Love) 

By Louise Homer, Contralto (In Italian) 87O75 lO-inch, $2.OO 

By Corinne Morgan, Contralto (In English) *35086 12-inch, 1.25 

By Rita Fornia, Soprano (In French) 64162 10-inch, 1.00 

By Corinne Morgan, Contralto (In English) 3127O 12-inch, l.OO 

By Emma Zaccaria, Mezzo-Soprano (In Italian) *62O85 lO-inch, .75 

This fresh and dainty song of Siebel ushers in the act. The gentle boy enters Marguerite's 

garden, thinking of the dark prophecy of Mephistopheles, who had told him (in Act 11) : 

"Each flower that you touch, 
Every beauty you dote on 
Shall rot and shall wither!" 

Siebel now thinks to put this curse to a test, and prepares to send a message of love to 
Marguerite by means of a flower, singing 

"In the language of love, oh gentle flow'r, 
Say to her I adore her." 

Then gath- Andante. Seeit. 
ertng a bios- , fl ., . ,-^.S; - srr - l -^-* I * wia 


som he ex- 

claims, as 
he sees it 
fade : 


Son viz - zi, ahi - mS lo stre-go ma - le del to met di - ce - va_pr 
' TUs vjiih-er'd! A-las.' that dark slran-gerfore told me What my fate must 

or. ... 

be. . , . 

But the happy thought occurs to him to dip his fingers in the font of holy water by the 
side of the cottage. He does so, and is delighted to find the spell broken. The first strain 
then reappears, closing the aria. 

This popular number is offered in Italian by Homer and Zaccaria, in French by 
Fornia and in English by Miss Morgan. 

Salut demeure (All Hail, Thou Dwelling) 

By Enrico Caruso (In French) 88003 12-inch, $3.OO 

By John McCormack (In Italian) 7422O 12-inch, 3.OO 

By George Hamlin (In English) 74139 12-inch, 1.50 
Mephistopheles and Faust, -who have been secretly watching 
Siebel, now appear; the Tempter being in high spirits at the appar- 
ent success of his schemes, while Faust gazes in rapture at the 
garden where his beloved one is wont to walk, and sings his lovely 
cavatina. He thus rhapsodizes the modest dwelling of Marguerite 

All hail, thou dwelling pure and lowly! 

Home of an angel fair and holy, 

What wealth is here, what wealth outbidding gold, 

Of peace and love, and innocence untold! 

ISotinteous Nature! 

'Twas here by day thy love was taught her, 

Here thou didst with care overshadow thy daughter 

In her dream of the night! 

Here, waving tree and flower 

Made her an Eden-bower of beauty and delight. 

The Caruso record of this number already familiar to the 
public is one of the finest in his entire list ; while other renditions 
are an Italian one by McCormack and an English version by 

While Faust is singing his apostrophe to Marguerite's dwelling, 
Mephistopheles, with an eye to more practical things, has replaced 
Siebel's humble nosegay with a splendid bouquet, a more fitting accompaniment to the 
casket of jewels with which Marguerite is to be tempted. 

> Double-FaceJ Record For {Hie of opposite side see DOUBLE-FACED FAUST RECORDS, page 107. 




Marguerite enters the garden, pen- 
sively dreaming of the handsome stran- 
ger she had met in the market place. 
Her entrance is announced on the clari- 
nets and violins in a lovely strain sug- 
gesting the coming song. 

She seats herself at the spinning 
wheel and murmurs dreamily : 

I wish I could but know who was he that 

addressed me: 
If he was noble or at least what his 

name is. ... 

Le Roi de Thule (Ballad of 
the King of Thule) 

By Geraldine Farrar. Soprano 
(French) 88229 12-in., $3.00 

By Emma Eames, Soprano 
(French) 88O45 12-in., 



Then rebuking herself for her idle 
fancies, she applies herself to her spin- 
ning and begins this plaintive chanson : 

"Once there was a king in Thule 
Who was until death always faithful, 
And in memory of his loved one 
Caused a cup of gold to be made." 

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


* T r 

II - vait ton ne gra ce, 4 ce - qu'il me sem - 

Ht mat so fen tie in tear ing his voice was so kind. 

Again impatient with her wandering mind, she finishes the ballad. 

Miss Farrar sings this beautiful folk-song with surpassing loveliness of voice, and in 
the dreamy sentimental style which it requires, while Mme. Eames' rendition is a fine 
example of the consummate art of this singer vocally perfect and sung with exquisite 

Finding herself in no humor to spin. Marguerite moves toward the house and sees 
the flowers, which she stops to admire, thinking them from Siebel. The box of jewels 
then catches her eye, and after some misgivings she opens it. Then follows the bright 
and sparkling "Jewel Song," or Air des bijoux, in which childish glee and virginal coquet- 
tishness are so happily expressed. 

"Oh Heav'n! what brilliant gems! 
Can they be real ? 

Oh never in my sleep did I dream of aught 
so lovely!" 

exclaims the delighted Marguerite. 

Air des bijoux (Jewel Song) 

By Nellie Melba. Soprano (In French) 

By Marcella Sembrich. Soprano (In French) 

By Geraldine Farrar, Soprano (In French) 

By Giuseppina Huguet (Double-faced See page 107) (Italian) 





12-inch. $3.00 
12-inch, 3.OO 




No less than four fine records of this -well- 
known and popular air are presented for the choice 
of Victor opera lovers. 

Melba's rendition is a most delightful one, her 
voice exhibiting the most entrancing smoothness ; 
in its loveliness, flexibility and brilliancy it seems 
absolutely without a flaw. 

Sembrich's Marguerite was always a fine imper- 
sonation, and her delivery of the number is exceed- 
ingly artistic, being one of the cleanest and most 
finished bits of colorature singing ever heard in 

Miss Farrar's brilliant Marguerite has been much 
admired during the past few seasons, and this 
number shows well the loveliness and flexibility of 
her voice. A fine record at a lower price is con- 
tributed by Mme. Huguet, doubled with the Ker- 
messe record described in Act II. 

Quartet Seigneur Dieu ! (Saints 

Above, "What Lovely Gems !) 

By Geraldine Farrar, Soprano ; Enrico 
Caruso, Tenor: Marcel Journet, Bass; 
and Mme. Gilibert, Mezzo-Soprano 

(In French) 95204 12-inch, $5.00 

The first of the great quartet records begins with the entrance of Martha, a susceptible 
matron who is companion to the motherless girl. The duenna is struck with astonishment 
at the sight of the jewels, and begins to question Marguerite, when she is interrupted by 
Mephistopheles, who appears with Faust ; and to excuse his entrance tells Martha that her 
husisand is dead. This announcement is received with cries of grief and sympathy from 
the women, and the impressive pause which ensues is followed by the beautiful quartet, in 
which Gounod expresses the various emotions of the characters. 

Mephistopheles then begins to flatter the vain matron and pay her mock attentions, so 
that Faust may have an opportunity to plead his cause without interruption. This dialogue 
with the susceptible duenna furnishes the only touch of comedy in the opera. 

MEVHISTOPHELES: Happy will be the man 

Whom you choose for your next! 
I trust he may be worthy ! 

Faust urges the timid girl to take his arm, at which she demurs, while the crafty 
Tempter continues his flattering attentions to Martha. The second quartet bit then follows, 
closing the record. 

Quartet Eh quoi toujours seule ? (But Why So Lonely ?) 

By Geraldine Farrar, Soprano: Enrico Caruso, Tenor; Marcel Journet, 
Bass ; and Mme. Gilibert, Mezzo-Soprano 

(In French) 95205 12-inch, $5.0O 

The second part of the scene begins with the beautiful dialogue between Marguerite 
and Faust. She confides to him her loneliness, and in an exquisite passage speaks of her 
dead sister. 

MARGUERITE: My mother is gone; 

At the war is my brother; 
One dear little sister I had. 
But the darling, too, is dead! 

j"aust is tender and sympathetic, and the impressionable girl's heart turns more and 
more toward the handsome stranger, who seems all that a lover should be. 

The record closes with the final quartet passage, by far the most effective bit of con- 
certed writing in the opera. It is magnificently sung here, the balance of the voices 
bein^.; absolutely perfect. 


Marguerite's Surrender 


The recording of so complex and varied a 
piece of concerted music as is contained in these 
two records is a marvelous piece of work, and 
one of the most amazing achievements in the 
reproduction of operatic music yet heard. The 
solo, duet, and quartet parts which constitute it, 
the short pieces of dialogue between various 
persons, not forgetting the important orchestral 
interludes all these are portrayed with the utmost 
fidelity, making a marvelous musical picture of 
one of the most interesting pages of Gounod's 
charming score. 

Mephistopheles has succeeded in getting rid of 
Martha, who vainly looks for him in the garden, 
and he now watches with satisfaction the lovers, 
who are wandering among the trees in the moon- 

The Tempter now sings the famous Incanta- 
tion, in which he calls upon night and the 
flowers to aid him in his diabolical plot against 
the soul of Marguerite. 

Invocation Mephistopheles (Oh 

Night, Draw Thy Curtain !) 

By Marcel Journet, Bass 

(In French) 64119 10-inch, $1.OO 

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. 


It was high time 
See, 'neath the balmy linden. 
Our lovers devoted approaching; 'tis well! 
Better leave them alone. 
With the flow'rs and the moon. 

O night! draw around them thy curtain! 
Let naught waken alarm, or misgivings ev r! 
Ye flowers, aid the enchanting charm, 
Her senses to bewilder; till she knows not 
Whether she be not already in Heaven! 

This is the most impressive passage in the whole part of Mephistopheles, and it is mag- 
nificently sung by Journet. 

The lovers appear again, and Mephistopheles discreetly retires from view. The first part 
of the exquisite duet then follows. 

Tardi si fa ! (The Hour is Late !) 

By Geraldine Farrar, Soprano, and Enrico Caruso, Tenor 

(In French) 89032 12-inch, $4.OO 
By Giuseppina Huguet, Soprano, and Fernando de Lucia, Tenor 

Piano Ace. (In Italian) 92O53 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. 

Bright and tender, lingers o'er me! 
To love thy beauty too! 


Oh! how strange, like a spell, 
Does the evening bind me! 
And a deep languid charm 
I feel without alarm, 
With its melody enwind me, 
And all my heart subdue! 

lovely Sempre amar, in which Marguerite 


The hour is late! 



Oh, never leave me, now, I pray thee! 

Why not enjoy this lovely night a little longer? 

Let me gaze on the form before me! 

While from yonder ether blue 

Look how the star of eve, 

The second part of the duet begins with the 
and Faust pledge their love. 



Dam mi an cor (Let Me Gaze on Thy Beauty) 

By Alice Nielsen, Soprano, and Florencio Constantino, Tenor 

(In Italian) 74O76 12-inch. $1.5O 

Eternelle (Forever Thine) 

By Geraldine Farrar, Soprano, and Enrico Caruso, Tenor 

(In French) 89O31 12-inch, $4.0O 

And now the lovers plight their troth in the fateful word " Eternelle," which, with the 
solemn chords in the wood wind, sounds like a true lover's sigh. 

Faust, in an exquisite strain, calls on Heaven, the moon and stars to witness that his 
love is true. 


tender moon, O starry Heav'n 

Silent above thee where angels are enthron'd, 

Hear me swear how dearly do I love thee! 
(Struck with a sudden fear, the timid girl begs 

Faust to depart) : 

Ah! begone! I dare not hear! 

Ah! how I falter! I faint with fear! 

Pity, and spare the heart of one so lonely! 
FAUST (tenderly protesting): 

Oh, dear one, let me remain and cheer thee, 

Nor drive me hence with brow severe! 

Marguerite, I implore thee! 

By that tender vow that we have sworn, 

By that secret torn from me, 

1 entreat you only in mercy to be gone! 

Oh, fair and tender child! 

Angel, so holy, thou shalt control me. 

I obey but at morn ? 
MARGUERITE (eagerly): 

Yes, at morn, very early! 

At morn, all day! 

One word at parting! Thou lov'st me? 
(She hastens to-vard the house, but stops at the 

door and wafts a kiss to Faust) I love thee! 
FAUST (in rapture): 

Were it already morn! Now away! 

Elle ouvre sa fenetre (See ! She Opens the Window !) 

By Geraldine Farrar, Soprano, and Marcel Journet, Bass 

(In French) 89O4O 12-inch, I4.OO 

Ei m'ama (He Loves Me !) 

By Celestina Boninsegna. Soprano (In Italian) 88256 12-inch, 3.0O 

(This is the same selection as 89040 with the short dialogue between Faust and 
Mephistopheles omitted) 

Hurrying away full of thoughts of the morrow, when he will see his Marguerite again, 
Faust is confronted by the sneering Mephistopheles, who bars his way. 



MEPHISTOPHELES (contemptuously) : 

Thou dreamer! 

Thou hast overheard? 

I have. Your parting with its modest word! 

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


Let me pass! 

Not a step; you shall stay and overhear 

That which she telleth the stars! 

See! She opens the window! 

Marguerite had entered the house, but returns to the window, looks out at the night and 
stars, and pours forth her soul in song. 

MARGUERITE (leaning out in the moonlight): And more than Heaven above! The air is 

He lores me! He loves me! balmy 

Repeat it again, bird that callest! With the very breath of love! 

Soft wind that tallest! How the bows embrace and murmur! 

He loves me! Ah, our world is glorious, Ah, speed, thou night, away! 



One of the most original and 
beautiful of the Faust melodies, this 
makes a fitting termination of the ex- 
quisitely beautiful Garden Scene. A 
lovely melody in 98 time, divided 
between flute and clarionet, forms the 
basis of the movement, and in this 
the soprano joins in short dreamy 

Her longing for the passing of 
night and the return of Faust, ex- 
pressed in the last ecstatic phrase, is 
answered by the cry of her lover, and 
Mephistofkeles, who has been holding 
Faust back, now releases him. 

FAUST (rustling to the window) : 


Ah! (she faints in his arms). 
MEPHISTOPHELES (with sardonic laughter): 
There! Ha, ha. ha! ha! 

(The curtain slowly falls.) 

Fantasie from Garden 

By Mischa Elrnan, Violinist 

(Piano ace.) 
64122 10-inch, $1.0O 

For those -who wish to enjoy some 
of the exquisite melodies of this act in 
an instrumental form only, the potpourri 
by Elman is included here. 

In this record the young artist 
does not show us feats of execution, but brings out all the sensuous beauty of the music 
which Gounod composed for this immortal scene. It is one of the loveliest bits of violin 
pliying imaginable. 

ACT IV The Desertion 

Quando a te lieta (When All 'Was Young) 

By Louise Homer, Contralto (In Italian) 8820O 12-inch, $3.00 

The opening of the fourth scene shows the unhappy Marguerite seated at her spinning 
wheel, brooding over the sorrows which have overtaken her young life. Siebel, her faithful 
friend, enters and talks of vengeance against the absent Faust, but Marguerite defends him 
an \ sadly goes into the house. Left alone, Siebel, t _^ '***"* ,. n , 

with gentle melancholy, sings this exquisite ro- Iffi '' J f* * I '"..J' r 5 i~~ i 5 I * ^~ 
mance, beginning: 


This song has long been a favorite number with many famous contraltos, and its lovely 
melody is frequently used in our churches as a setting to "Come Unto Me," and other 
sacred words. 

When all was young and pleasant May was 

I, thy poor friend, took part with thee in 

play ; 
Now that the cloud of Autumn dark is 

Now is for me, too, mournful the day! 

The scene abruptly changes to the square in front of the cathedral, with the house of 
Marguerite shown at one side. The victorious soldiers, returning from the war, enter, 
accompanied by delighted wives and sweethearts, and sing their famous Soldiers' Chorus, 
a jubilant inspiring number, and one of the finest marches ever composed. 


Hope and delight have pass'd from life away! 

We were not born with true love to trifle! 
Nor born to part because the wind blows cold: 

What tho' storm the summer garden rifle, 
O Marguerite! Still on the bough is left a 
leaf of gold! 

From Ditson libretto, copv'11896. 

Deponiam il brando (Soldiers' Chorus) 

By New York Grand Opera Chorus (In Italian) 74214 12-inch, $1.5O 

By Pryor's Band 165O2 10-inch, .75 

By La Scala Chorus (Douhlc-Faced See page 107) (Italian) 62624 10-inch, .75 

By Mountain Ash Party of Wales (In English) 5689 10-inch. .60 


This number was written for a previous opera by Gounod, but was taken bodily and 
added to Faust, a happy thought which added another splendid touch to a successful work. 

Several renditions of this great chorus are offered, both vocal and instrumental, and a 
complete translation of the words is given. 

Fold the flag, my brothers, 

Fold the flag, my brothers, 

Lay by the spear! 

We come from the battle once more; 

Our pale praying mothers, 

Our wives and sisters dear, 

Our loss need not deplore, 

Yes! 'tis a joy for men victorious. 

To the children by the fire, trembling in our 


To old age of old time glorious, 
To talk of war's alarms! 

Glory and love to the men of old. 
Their sons may copy their virtues bold. 
Courage in heart and sword in hand. 
Ready to fight or ready to die. for Fatherland! 
Who needs bidding to dare, by a trumpet 

Who lacks pity to spare, when the field is 


Who would fly from a foe, if alone, or last? 
And boast he was true, as cowards might do 
When peril is past? 
Glory and love to the men of old, etc. 

Now to home again we come. 

The long and fiery strife of battle over; 

Rest is pleasant after toil as hard as ours 

Beneath a stranger sun. 

Many a maiden fair is waiting here 

To greet her truant soldier lover. 

And many a heart will fail and brow grow 


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

The unhappy Marguerite, shunned by her companions and deserted by all save the 
faithful Siebel, is brooding within the cottage, fearing to meet her brother, who has just 
returned from the war. Mephittopheles, not content with the evil he has already wrought, 
returns to taunt the maiden with her fault, and sings this insulting and literally infernal 
song, each verse of which ends with a mocking laugh. 

Serenade "Mephistopheles 

By Pol Plancon, Bass 
By Pol Plancon. Bass 
By Marcel Journet, Bass 
By Marcel Journet, Bass 

(In French) 851OO 12-inch. $3.OO 

(In French) 81O4O lO-inch, 2.OO 

(In French) 74O36 12-inch, 1.5O 

(In French) 64137 lO-inch, l.OO 



After the second verse occurs this famous passage 
ad lib. 


J J 

Ha! ha! ha! ha! ha! ha! ha! ha! ha! ha! ha! ha! ha! ha! ha! ha! ha! ha! ha! 

with its beginning on a high G and its octave jumps to the low G, concluding with a peal of 
Mephistophelean laughter. 

Two versions, by two famous exponents of the part of Mephistopheles, are offered 
lor your choice. 


Thou who here art soundly sleeping, 

Close not thus thy heatt, 

Close not thus thy heart! 

Caterina! wake thee! wake thee! 

Caterina! wake! 'tis thy lover near! 

Hearken to my love-lorn pleading; 

Let thy heart be interceding, 

Awake, love, and hear! 

Ha, ha, ha, ha, ha! ha! ha! ha! ha! ha! 

Don't come down until, my dear, 

The nuptial ring appear 

On thy finger sparkling clearly 

The wedding-ring the ring shineth clear. 

Ha ! ha ! ha ! ha ! etc. 

Caterina! cruel, cruel! 

Cruel to deny to him who loves thee 

And for thee doth mourn and sigh 

A single kiss from thy rosy lips. 

Thus to slight a faithful lover, 

Who so long hath been a rover, 

Too bad, I declare! 

Ha, ha, ha, ha, ha! 

Not a single kiss, my dear,. 

Unless the ring appear! 

Ha, ha, ha, ha! etc. 

Plancon's Mephistopheles was invariably a finished performance 
witty, elegant, debonaire and sonorous. It is a polished Devil that 
he pictured ; yet beneath the polish we could see the sinister Satan 
ever present. In his record of this mocking serenade he is at his best, 
and it is sung with the brilliancy and vocal 

..AMMARCO AS VALENTINE finish to be expected of this fine artist. 
Journet's impersonation has also been highly praised, and he 
sings the music superbly, acting with freedom and with an ele- 
gance 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 is 
Your Will?) (Duel Scene) 

By Enrico Caruso, Tenor: Antonio Scotti, 
Baritone; and Marcel Journet. Bass 

(In French) 952O6 12-inch, $5.00 
By Ellison Van Hoose. Tenor; Marcel Journet, 
Bass; and Emilio de Gogorza, Baritone 

(In French) 74OO4 12-inch. 1.5O 

Valentine, smarting with shame of his sister's disgrace, comes 
from the house and exclaims, " What is your will with me ? " 
Afephislopheles replies in his most mocking voice that their 
"serenade" was not meant for him. "For my sister, then!" 
cries Valentine 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 followed by the duel, in which Valen- 
tine is wounded. 




The Death of Valentine 


Morte di Valentino < Death 
of Valentine) 

By Antonio Scotti, Baritone, and 
Grand Opera Chorus 
(InFrench) 88282 12-inch, $3.OO 
Leaving the wounded Valentine on 
the ground, the assailants rapidly de- 
part, and the crowd of soldiers and 
women assemble around the dying 
soldier, the chorus here crying out in 
accents of pity, in which Marguerite joins. 
Valentine, seeing his sister, utters curses 
upon her, the solemnity of which is 
enhanced by the sustained trumpet 
tones in the accompaniment. The 
throng endeavor to mitigate the dying 
man's anger, and Marguerite begs for- 
giveness, but Valentine dies with the 
curse upon his lips. 

This dramatic scene is vividly pic- 
tured in the wonderful painting by 
Kreling, reproduced on the opposite 

Scene de L'Eglise (I) 

(Church Scene, Part I) 

By Geraldine Farrar, Soprano, and 
Marcel Journet. Bass 
(InFrench) 89035 12-inch, $4.0O 
We now come to the impressive 
and almost terrible scene outside the 

Marguerite, cursed by her dying brother, abandoned by all but the faithful Siebel, is 
kneeling at a small altar. Fearing to enter, and endeavoring to seek consolation in prayer, 
slie supplicates Heaven to accept her repentance. 

< >h, Thou who on Thy throne 
liiv'st an ear for repentance! 
Here, before Thy feet, let me pray! 
M i I'M ISTOPHELES (invisible) : 
No! them shalt pray no more! 
I.'t her know ere she prayeth. 
1 lemons of ill, what is in 'store! 

MARGUERITE (faintly) : 

Who calls me? 

MARGUERITE (terrified) : 

MKFJIISTOFHELES (taunting her): 

Recollect the old time, when the angels, 


Did teach thee to pray. 
Recollect how thou earnest to ask for a 


At the dawn of the day! 
When thy feet did fall back, and thy breath 

it did falter 

As though to ask for aid; 
Recollect thou wast then of the rite and the 


In thine innocence afraid! 
And now be glad and hear 
Thy playmates do claim thee from below, to 

their home! 
The worm to welcome thee, the fire to warm 

Wait but till thou shalt come! 

I falter afraid 
Oh! save me from myself! 
Has even now the hour of torture begun 
As this terrible prophecy is heard from the invisible Evil Spirit, Marguerite is overcome 
with terror and sinks down almost fainting. 

Scene de L'Eglise (II) (Church Scene, Part II) 

By Geraldine Farrar, Soprano; Marcel Journet, Bass; and 

Metropolitan Opera Chorus (In French) 89O37 12-inch, $4.0O 

The unhappy girl, beside herself with terror, cries out wildly : 

Ah ! what sound in the gloom, 
Is beneath me, around me? 

Ant-els of wrath? is this your sentence of 
cri'el doom ? 



Then as the chorale is heard 
from within the church, she endeavors 
to break the encircling Satanic spell 
and kneels again in prayer. 

CHOIR (within the church) : 

When the book shall be unseaied, 
When the future be revealed, 
What frail mortal shall not yield? 


And I, the frailest of the frail. 
Have most need of Thy forgiveness! 


No! Let them pray, let them weep! 
Hut thy sin is deep, too deep, 
To hope forgiveness! No! 


Where shall human sinner be, 
Mow lie hid in earth and sea, 
To escape eternity? 


Ah, the hymn is around and above me, 
It bindeth a cord 'round my brow! 


Farewell, thy friends who love thee! 

And thy guardians above thee! 

The past is done! the payment now! 


O Thou! on Thy throne, who dost 

hear me, 

Let a tear of mercy fall near me, 
To pity and save! 


Marguerite! Mine art thou ! 


Tormented beyond further en- 
durance, the unhappy girl's reason 
gives way, and with a terrible cry she 
falls lifeless before the church. 

Words are pitiful things in de- 
scribing such a scene as this, given 
as these two artists render it. The conflict in the soul of Marguerite, the taunting apos- 
trophe of Mephistopheles as he strives to prevent his victim from praying, while the sombre 
strains of the Dies irae issue from the church, form a musical picture which cannot be 
adequately described. 

The two records on which this great scene have been impressed are among the most 
effective in the Faust series. ^ WALpuRGIS NIGHT 

At the period of the first production of Faust, a ballet was an absolutely essential part 
of an opera, if it were to be given at the Paris Opera, though to-day it is seldom performed. 

Gounod placed his ballet between the death of Valentine and the Prison Scene ; called 
it a Walpurgis Night, set it in a mountain fastness amid ruins, and called to the scene the 
classic queens, Helen, Phryne and Cleopatra, who danced to weird and distorted versions of 
melodies from the opera. 

Ballet Music (Part I Valse, "Les Nubiennes ") 

By L'Orchestre Symphonique. Paris 58015 12-inch. $1.OO 

The first part, which in the opera ac- 
companies the dance of the Nubian Slaves, / 
is a most striking portion, beginning with 
introductory chords, followed by the violins 
in this delicious melody : 
afterward repeated with bassoon obbligato. 

Ballet Music No. 2 Adagio (Cleopatra and the Golden Cup) 

By L'Orchestre Symphonique, Paris 58O18 12-inch, $1.OO 

The second part is the adagio movement accompanying the scene in which the 
Nubian Slaves drink from golden cups the poisons of Cleopatra, who herself moistens her 
lips from a vase in which she has dissolved her most precious pearls. 



Ballet Music Nos. 5 and 6 (Les Troyennes et Variation) 

By L'Orchestre Symphonique, Paris 5802O 12-inch, $1.OO 

These two parts are heard during the appearance of the goddess Phryne, who rises, a 
veiled apparition, and commands the dance to recommence. 

Ballet Music Finale, ** Danse de Phryne " 

By L'Orchestre Symphonique. Paris 58O21 12-inch, $1.OO 

The tinale 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 Faust, arousing 
the anger and jealousy of the courtesans Helen, Cleopatra, Aspasia and Lais and the dance 
develops into a bacchanalian frenzy, graphically pictured in Gounod's music. 


SCENE The Prison Cell of Marguerite 

The short final act of Faust is truly one of the grandest of operatic compositions, 
Goethe's story giving Gounod ample opportunity for some most dramatic writing. 
Marguerite's reason is gone grief and remorse have driven her insane, and in a frenzy she 
has destroyed her child. Condemned to death, she lies in prison, into which Mephistopheles 
and Faust, defying bolts and bars, have entered. 

"Mon coeur est penetre d'epouvante ! " My Heart is Torn 
with Grief ) 

By Geraldine Farrar and Enrico Caruso (In French) 89033 12-inch, I4.OO 

Gazing at the unhappy girl, who is sleep- 
ing on a pallet of straw, Faust cries : 

and, as the full measure of his own guilt comes to him, continues : 

FAUST: MARGUERITE (aivaking) : 

Oh, what anguish! She lies there at my feet Ah, do I hear once again, the song of time 

A young and lovely being, imprisoned here gone by 

As if herself, not I, were guilty! 'Twas not the cry of the demons 

No wonder that her fright has reason ta'en 'Tis his own voice I hear! 

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 me! Or mock me, or upbraid. 

Take me up to Heaven, Earth will grow as Heaven. 

To Heaven by thy aid! By thy beauty made! 

Attends ! voici la rue (This is the Fair) 

By Geraldine Farrar and Enrico Caruso (In French) 89O34 12-inch, $4-OO 

Marguerite's mind wandering, she sings dreamily of the Fair, where first Faust appeared 
to her: "fis the Fair! 

Where I was seen by you, in happy days 

Cone by. 
The day your eye did not dare 

To meet my eye! 

Marguerite now rehearses the first meeting with Faust, 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 

Let me your willing slave, attend you home A cloud of dew, with perfume wreathing; 

to-day?" Hark! how the nightingale above 

"No my lord! not a lady am I, nor yet a To every glowing crimson rose 

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! If thou lov'st me! Marguerite! Thou shalt not perish! 

MARGUERITE (dreamily, her thoughts in the MARGUERITE (listlessly) : 

past): 'Tis all too late! Here let me die! 

How my garden is fresh and fair! Farewell! My memory live to cherish! 


The Redemption of Marguerite 


The impassioned duet then follows, Faust endeavoring to persuade her to escape ; but 
the poor weak mind cannot grasp the idea of safety. The duet is interrupted by the im- 
patient Mephistopheles, whose brutal "Alerle " begins the final trio. 

Trio Alerte ! ou vous etes perdus ! (Then Leave Her !) 

By Farrar, Caruso and Journet (In French) 952O3 12-inch, $5.0O 

By Giuseppina Huguet, Soprano; Pietro Lara, Tenor: and Torres 

De Luna. Baritone (Double-faced See below) (In Italian) 62085 lO-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 MKPII ISTOPHELES (to Faust): 

game! Let us go, ere with dawn 

MARGUERITE (in horror, recognizing the Evil Doth justice come on; 

One. tin' cause <>f 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 away! 

With an eye like a coal of fire! Come, ere 'tis day; or stay and behold her 


As he sings, the tramping and neighing of horses are heard in the accompaniment. 

M.\Ri;ri'.RiTi-: <<t'i'//i fresh courage, defying him): 

Away, for I will pray ! (in rapture) 

Holy Angels, in Heaven bless'd 

My spirit longs with thee to rest! 
FUST: Come, mine own, 

Ere 'tis too late to save thce! 

The inspiring trio, perhaps the most thrilling and moving of all operatic compositions, 
then commences; Marguerite continuing her prayer, Faust urging her to follow him, while 
Mephistopheles, in desperation, repeats his warning to Faust. 


Let us leave her! Come or be lost, for the Holy angels, in Heaven bless'd, 

day is near! My spirit longs with thee to re-i ! 

Come away! the dawn is grey, (Ireat Heaven, pardon grant. I implore thee, 

Come, ere they claim thee! For soon shall I appear before thee! 

FAUST: O save me! ere I perish forever; 

Come with me! Come, wilt thou not hear? To my despair give ear. I pray thee! 

Lean on my breast. The early dawn is grey. Holy angels, in Heaven bless'd. 

O come! I'm here to save thee! My spirit longs with thee to rest! (She dies.) 

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, 
diagging Faust with him, disappears in a fiery abyss. 

Selection from Faust By Sousa's Band 311O4 12-inch, $1.OO 

(Selection from Faust By Victor Band U,_. , ._ . . . ,,. 

( Crown Diamonds Overture By Victor Bam/( 35 16 12 -' nch ' 1 ' 25 

(Flower Song By Corinne Morgan (In English}} , 

\ Drink To Me Only With Thine Eyes By Harry Macdonoughf 3 ^ mch ' 1-25 

(Aria dei gioielli (Jewel Song) By Huguet (In Italian)}, ( 

ILa Kermesse (Kermesse Scene) By La Scala Chorus (In Italian)^ 

(Dio possente By Francesco Cigada (In Italian)}, ~-~ , -, i , ~, 

\ FanritaQuando le soglie By Mileri and Minolfi (In Italian I bt 

(Alerte! ou vous etes perdus! Huguet, Lara and De Luna\, or . e , . _ . , _, 

\I,e parlate d'amor (Flower Song) By Emma Zaccaria/ b ' 

/Deponiam il brando (Soldiers' Chorus) By La Scala Choi ,_,_- . , _- 

I Don PasqualeSogno soave e caslo By Acerbi, Tenor (In Italian I ' 

/Io voglio il piacer By Pini-Corsi and Sillich (In Italian)}, 3l . IQ inch 75 

\ Forza del Destino Solenne in quest' ora Colazza and Caronnaf 

/Soldiers' Chorus Pryor's BandK ,,,, 

\ Devil's March (von Suppe) Pryor's Band! 165 2 

(Waltz from Kermesse Scene Pryor's Band) , , 

\ In Happy Moments (from Maritana) jllan Turner( lt>552 l ~ inch ' 


(German) (Italian) 


(Dee Fah-oe-ree' -tin) (Lah Fah-oo-rce'-tah) 




Text by Alphonse Royer and Gustave Waez, adapted from a drama of Baculard- 
Darnaud, " Le Comle dt Comminges." Music by Gaetano Donizetti. In its present form it 
was first produced at the Academic, Paris, December 2, 1840. First London production Feb- 
ruary 16, 1847. Produced in America July 29, 1853. 


ALPHONSO XI, King of Castile Baritone 

FERDINAND, a young novice of the Convent of St. James of Compostella, 

afterwards an officer Tenor 

DON CASPAR, the King's Minister Tenor 

BALTHAZAR, Superior of the Convent of St. James Bass 

LEONORA Dl GUSMANN, the King's favorite Soprano 

INEZ, her confidante Soprano 

Courtiers, Guards, Monks, Attendants, etc. 

Scene and Period: The action is supposed to tal^e place in Castile, about the year 1 340. 

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 1905, with Caruso, Walker, Scotti and Plancon, but has not since been given. 

However, for the consolation of those who admire Verdi's beautiful work, the Victor 
has rendered all the best airs and several of the stirring concerted numbers, so that the 
opera, given by famous artists, may be enjoyed in the comfort and seclusion of the home. 


SCENE The 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 glimse 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 fair one in a 
lovely song, Una oergine. 

Una vergine (Like An Angel) 

By Florencio Constantino. Tenor (In Italian) 64090 lO-inch, $1.00 

The good Prior is horrified and urges him to confess and repent. 

Non sai tu che cTun giusto (Know'st Thou) 

By Gino Martinez-Patti, Tenor, and Cesare Preve. Bass 

(Double-FaccJ See page 1 12) (In Italian) 62635 10-inch. $O.75 


Ah, my son, my life's latest solace, FERDINAND (MI 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 1 tie! 

And all my solemn duties fill. To thet- all my soul I surrender 

FERDINAND: At thy dear feet content to die! 

Ah, father, I love her! Forgive me! Father, I go! 


This woman, wretched one! oh, knowest thou Hence, audacious! away in madness! 

\Yho 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'lt hither bring a broken heart! 


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! 



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 raggi lucenti (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 Leonora's request. 

Ferdinand, who, shortly after his departure from the 
monastery, had received a note bidding him come to the 
Isle of Leon, now arrives in a boat, blindfolded, is assisted 
to land by the maidens, and the bandage removed. He 
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. 

Fia vero ! lasciarti ! (Fly From Thee!) 

By Clotilde Esposito and Sig. Martinez-Patti *683O9 12-inch. $1.25 
Ferdinand, beginning the duet, indignantly refuses, saying : 




Fly from thce! Oh, never! 
'Twere madness to try 
From thee to sever; 
'Twere better to die! 

Farewell! Go; forget me! 

Thy vows and thy love! 
No longer regret uu 
Mine image remove. 
The rose tho' she fair be, 
A canker that wears, 
("an never restor'd be 
I'.y anguish or tears! 

Inez enters and whispers to Leonora that the King has arrived at the villa. Leonora gives 
Ferdinand the parchment and exits hastily. He reads it and is delighted to find that it is a 
c \ptain's commission, and declares that he will win great honors to lay at the feet of his love. 


SCENE Gardens of the Alcazar Palace 

The King enters and admires the beauty of the palace, which he has just acquired from 
the Moors by the victory of his army, led by the young captain, Ferdinand. A message comes 
from Balthazar, the King's father-in-law, who is at the head of the powerful Church party, 
aiid Alfonso is threatened with the wrath of the Church if he does not give up Leonora. In a 
fi ic air he declares he will not submit. 

Vien Leonora (Leonora, Thou Alone) 

By Francesco Cigada, Baritone (In Italian) *68O61 12-inch. $1.25 

Leonora enters and the King tenderly asks the cause of her melancholy. She tells him 
h<;r position is intolerable, and asks that she be allowed to leave the Court. She begins 
the duet, QuanJo le soglie. 

Quando le soglie (From My Father's Halls) 

By Lina Mileri, Contralto, and Renzo Minolfi. Baritone 

(In Italian) *68275 12-inch. $1.25 
Leonora recalls the circumstances connected with her departure from her father's home. 

*Double-Faced Record For title of opposite side see DOUBLE-FACED LA FA VOR1TA RECORDS, page 1 12. 



the halls of my father you 


When from 
bore me. 

A poor simple maiden, betray'd. deceived. 

Alas! within these walls 1 hop'd. fulfilled 

Would he those vows so sworn, and so 

KING (with tender remorse): 

No more! No more! 

Silent and alone, shunned by the world, 

Live I in the dark: the mistress of the King. 

Vainly glitter these jewels. 

Vainly bloom these flowers around me. 

(lod knows my afflictions! 

E'en if the lip may smile, the heart is 

weeping ! 

Hut tell me the first cause of your grief. 


Ah! ask not to know it. 

Permit me, sir, to leave this court! 

No man can love thee more than I; 

Thou shall see how my heart adores thee! 

_ I dare not look so high as thee. 
KING (aside) : 

Oh, love! soft love! her bosom filling. 

With sweet response each fibre thrilling. 

Inspire her heart! 
LKONORA (aside): 

Oh, love, alas! this bosom filling. 

With secret woe each fibre thrilling! 


Disperse this gloom; enjoy the feasts 
Spread 'round thee by my tender love! 
They are interrupted by the entrance of Balthazar, who brings the mandate from the 

The King defies him, saying : 

KIM.: This lady I shall wed. and whoever 

My will is sacred! On my brow Doubts my right shall feel 

Rests the royal diadem! The anger of a monarch! 

Balthazar then begins the great finale, one of the most impressive of the concerted 

Ah! paventa il furore (The 'Wrath of Heaven) 

By Amelia Codolini, Mezzo-Soprano ; Francesco Cigada, Baritone : 
Aristodemo Sillich. Bass ; La Scala Chorus 

(In Italian) *16536 10-inch. 



Do not call the wrath of God, 

Avenging upon thee; 

For it visiteth terribly 

Those who do not bow to His will. 

Hasten, pacify Heaven 

Before the curse descendeth ! 

I tremble with fear 

In my inmost heart. 

Lest this terrible blow 

Should crush my fondest hopes. 

Still this sudden tempest 

Shall not bend me nor break me; 

Calm thee, my Leonora, 
, Bright is thy destiny. 

We tremble with fear 

In our inmost hearts. 

Lest he call down upon himself 

The wrath of Heaven! 
BALTHAZAR (denouncing Leonora): 

All ye that hear me 

Shun the adultress; 

Avoid the outcast, 

Accurs'd of Heaven is she! 

The curtain falls on a dramatic tableau, Leonora weeping with shame, the King hesita- 
ting between love and ambition, while the terrible Balthazar thunders the papal curse down 
upon the guilty pair. 


SCENE A Room in the Palace 

Ferdinand is received by the King, who praises him for his great victories, and asks him 
to name his own reward. The young captain asks for the hand of a noble lady to whom 
he owes all his renown, and when the King asks her name he points to Leonora. Alfonso 
gazes at her coldly and sternly and sings his ironical air. 

A tanto amor (Thou FlowV Beloved) 

By Mario Ancona, Baritone 
By Mattia Battistini, Baritone 
By Francesco Cigada, Baritone 

(In Italian} 88O63 
(In Italian) 92O45 
(In Italian) * 16536 

12-inch. $3.OO 
12-inch. 300 
10-inch, .75 

ALFONSO: Both night and morn: 

Thou flow'r belov'd, Fad'st from my breast. 

And in hope's garden cherish'd. Thine ev'ry beauty perished. 

With sighs and tears refresh'd, And in thy stead alone have left a thorn! 

He consents to the marriage, however, and announcing that they must prepare to wed in 
an hour, goes out -with Ferdinand. Leonora is distracted with the knowledge that she must 
tell her secret to her lover. She calls Inez, and bidding her seek out Ferdinand and reveal 
all, goes to her apartments to prepare for the wedding. Inez prepares to obey, but on her 
way is arrested by the order of the King. 

* Double-Faced Record For titk of opposite side see DOUBLE-FACED LA FA VORITA RECORDS, page 1 12. 



The King enters with Ferdinand, to whom he gives the title of Count of Zamora. Leonora 
appears and is overjoyed to see Ferdinand still looking at her lovingly, not knowing that Inez 
\ as 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 
rjmorse, begins the great finale to Act III. 

Orsu, Fernando (Stay! Hear Me, Ferdinand!) 

By Maria Cappiello, Mezzo-Soprano: Giuseppe Acerbi, Tenor; 

Francesco Cigada, Baritone (Jn Italian) *62659 10-inch, $0.75 

Ferdinand hurls at the King's feet his badge of honor and his broken sword and leaves 
the Court, followed by Balthazar. Leonora faints as the curtain falls. 


SCENE The Cloisters of the Monastery 

The opening number in this act is the impressive Splendon piu belle, considered by many 
c "itics to be the finest of the Favorita numbers. The scene represents the cloister at the 
Convent of St. James of Compostella, illumined by the rays of the rising sun. The monks 
have assembled to welcome back the prodigal Ferdinand, who, heartbroken at the falseness 
o- Leonora, is returning to renew his vows. The ceremonies are conducted by Balthazar, who 
bjgins 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) *68O61 12-in.. 1.25 

By Perello de Segurola. Bass, and La Scala Chorus (Italian) *16551 lO-in.. .75 

Balthazar entreats him to lift his eyes from earthly things and contemplate the stars, 

\\ hich typify a forgiving Heaven. 

CHORUS (to Ferdinand) : 

Turn thou to Heaven, where there is no grief! 

Look at the stars' heavenly splendor above! 

Up to them the penitent prayers 

Of a purified soul ascend. 

And carry back peace and happiness! 

The monks now go into the chapel to prepare for the final rites, and Ferdinand, left alone, 
c; sts a look behind him to the world he has left forever, and sings his lovely Spirto gentil. 

Spirto gentil (Spirit So Fair) 

By Enrico Caruso, Tenor (In Italian) 88O04 12-inch, $3.00 

By Gennaro de Tura, Tenor (In Italian) 76O12 12-inch, 2.OO 

By Evan Williams, Tenor (In English) 74141 12-inch. 1.5O 

Caruso's Spirto gentil, which was the gem of the recent Metropolitan revival, is given dazzling brilliancy and with that luscious quality of voice so satisfying to the ear. The 

re ;ord is a supremely beautiful one, while the accompaniment is most delicate and pleasing. 

"KRDINAND: In thee delighting, all else scorning, 
Spirit so fair, brightly descending. A father's warning, my country, my fame! 

Then like a dream all sadly ending. Ah. faithless dame, a passion inviting. 
Hence from my heart, vision deceiving. Fair honor blighting, branding my name. 

Phantom of love, grief only leaving, Grief alone thou leav st, phantom of love! 

Signor de Tura furnishes a lower priced Italian version, while Mr. Williams' rendering 
is also one of beauty and power. 

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 
pl<;ads for mercy. 

* Double-Faced Record For title of opposite ,ide xe DOUBLE-FACED LA FA VORITA RECORDS, page 1 12. 



LEONORA: (Impetuously.) 

Ah, heavenlike, thy mercy showing, I love thee! 

Turn not thy heart away from me, Co'ne, ah, come, 'tis vain restraining 

Whose bitter tears ne'er ceas'd from flowing Passion's torrent onward that dashes, 

When parted, dear, from thee. O'er my bosom still art thou reigning 

FERDINAND (his lore returning): And we together will live and die! 

From tears thy words persuasion borrow, One thought on me like lightning flashes, 

Like a spell their softness impart, One voice hear I in thunder speaking. 

Those sighs, the hope of some bright morrow Fly we hence, some calm shelter seeking, 

Waken once more in my heart! Loving share we life's care and joy! 

Pietoso al par d'un Nurne (As Merciful as God) 

By Clotilde Esposito, Soprano, and Martinez-Patti, Tenor 

(Double-faced See below) (In Italian) 62659 lO-inch. $0.75 

Again gently reminding him of his vows, she falls from weakness and privation. 


No, no! Heav'n forgive me, now I'm dying, 

'Tis Heaven calls thee! Ferdinand, I am happy, 

FERDINAND (recklessly) : We shall hereafter meet no more to be parted, 

Yet more power hath love; Farewell, now, farewell! 

Come, could I possess thee (She dies.) 
There's naught I would not brave, 
Aye, here and hereafter! 



Quando le soglie (From My Father's Halls) By Lina 
Mileri, Contralto, and Renzo Minolfi, Baritone 

(In Italian)\to827S 12-inch, $1.25 
Faust Dio possente (Gounod) By Francesco Cigada, Baritone 

(In Italian)) 

Fiavero! lasciarti! (Fly From Thee!) By Clotilde ] 
Esposito, Soprano, and Sig. Martinez-Patti, Tenor 

(In Italian) 683O9 12-inch, 1.25 
Norma In mia mono alfin tu set By Ida Giacomelli, Soprano, 

and Gino Martinez-Patti, Tenor (In Italian)) 

Vien Leonora (Leonora, Thou Alone) By Francesco 1 

Cigada, Baritone (In Italian) L an< -, , <> .--.i, i ->* 

01 i i i i 1 1 i j i i \ TI i oouoi iz-incn, i.zj 

Splendon piu belle in ciel (In Heavenly Splendor) By 

Torres de Luna, Bass, and La Scala Chorus (In Italian) \ 
A tanto amor (Thou Flow'r Beloved) 

By Francesco Cigada, Baritone (In Italian) 
Ah! paventa il furore (The "Wrath of Heaven) By [l6536 lO-inch, .75 

Amelia Codolini, Mezzo-Soprano: Francesco Cigada. 

Baritone; Aristodemo Sillich, Bass (In Italian)} 

Non sai tu che d'un giusto (Know'st Thou) By Gino 

Martinez-Patti, Tenor, and Cesare Preve, Bass 

(In Italian) 
Bei raggi lucenti (Ye Beams of Gold) By Ida Roselli, 

Soprano, and La Scala Chorus (In Italian) 

Orsu, Fernando (Stay ! Hear Me, Fernando !) By Maria 

Cappiello, Mezzo-Soprano; Giuseppe Acerbi, Tenor; 

Francesco Cigada. Baritone (In Italian) L,,- Q , n :_-u 

r- *. i _ -VT /A -VT -t 1 i-* j n 62659 lO-inch, 

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 Segurola, Bass, and Chorus (In Italian) | 1& 55! iQ-inch .75 

Manon Et je sais Ootre nom (If I Knew But Your Name) 

By Mile. Korsoff, Soprano, and Leon Beyle, Tenor (In French)} 


62635 10-inch, .75 




(.Fee-Jay 1 -lee-o) 



Words adapted by Joseph Sonnleithner from Bouilly's Leonore, oa V Amour Conjugal 
(Leonora, or Conjugal Love). Music by Ludwig von Beethoven. First produced at the 
Theatre an o'er Wein, Vienna, November 20, 1805, in three acts, the cast including Weinkoff, 
Meier, Demmer, Milder and Rothe. A revised version was given in 1806 and a third 
production in 1814. Produced in London, at the King's Theatre, May 18, 1832. In English 
at Covent Garden, June 12, 1835. In Italian at Her Majesty's, May 20, 1851. In Paris at 
the Theatre Lyrique, translated by Barbier and Carre, and in three acts, May 5, 1860. 
First American performance in New York, September 9, 1839, with Giubilei, Manvers and 
Poole. Other notable productions were in 1857, with Johannsen, Weinlich and Oehrlein ; in 
1858, with Mme. Caradori and Karl Formes; in 1868, with Mme. Rotter, Habelmann and 
Formes ; the Damrosch production of 1884, with Mme. Brandt, Mile. Belz and Herr Koegel ; 
and in 1901, with Ternina as Leonore. 


DON FERNANDO, Minister Baritone 

DON PlZARRO, Governor of the State Prison Baritone 

FLORESTAN. a prisoner Tenor 

LEONORE, his wife, known as Fidelio Soprano 

ROCCO, jailor Bass 

MARZELLJNE, his daughter Soprano 

JAQUINO, gatekeeper Tenor 



Soldiers, Prisoners, People, etc. 

Place : A Spanish State prison in the vicinity of Seville. 


Fidelia must ever be regarded with great interest as being the only opera written by one 
of the greatest composers. Originally given as Fidelia, it was rewritten and condensed into 
two acts by Breuning, still a third revision being made in 1814 by Treitschke. At the time 
of the second production in 1806 the title was changed to Leonore, Beethoven writing a new 
overture, now known as Leonore No. 3. A portion of this splen- 
did number has been played here by Pryor's Band. 

Leonore Overture No. 3 

By Arthur Pryor's Band (Double-faced See 4e/on>) 

35181 12-inch. $1.25 

The action of the opera occurs in a fortress near Seville. 
Don Florestan, a Spanish nobleman, has been imprisoned here for 
life, and to make his fate certain his mortal enemy, Don Pizarro, 
Governor of the prison, has announced his death, meanwhile 
putting the unfortunate man in the lowest dungeon, where he is 
expected to die by gradual starvation, thus rendering unnecessary 
a resort to violent means. 

One of the best numbers in the opera is this fine air in D 
minor, which has been sung for the Victor by Mr. Goritz. 

BEETHOVEN (1770-1827) 

Ha, welch ein Augenblick (Fateful Moment) 

By Otto Goritz, Baritone (In German) 64165 lO-inch, $1.OO 

In this the wicked Governor unfolds his hatred and his malignant intentions toward 


Fateful moment! My revenge is near! 

Long I've waited for this hour, 

Fearful lest he should escape me! 

Over my enemy I triumph; 

He who would my life have taken! 

Oh, fateful moment! 

Ah, what a day is this! 

My vengeance shall be sated, 

And thou, thy doom is fated. 

Once in the dust I trembled 

Beneath thy conquering steel. 

But fortune's wheel is turning 

In torments thou art burning 

The victim of my hate! 

An extremely pleasant and agreeable person this Spanish Governor must have been ! 
Goritz, whose Pizarro is one of his greatest impersonations, sings this striking air in a 
highly effective manner, fairly exuding the spirit of revenge. 

Don Florestan, however, has a devoted wife who refuses to believe the report of his 
death. Disguising herself as a servant, and assuming the name of Fidelia, she secures 
employment with Rocco, the head jailor. Rocco's daughter falls in love with the supposed 
handsome youth, and he is soon in such high favor that he is permitted to accompany 
Rocco on his visits to the prisoner. 

Hearing that the Minister of the Interior is coming to the prison to investigate the sup- 
posed death of Florestan, the Governor decides to murder him, and asks Rocco 's help. Fidelia 
overhears the conversation and gets Rocco to allow her to dig the grave. Just as Don Pizarro 
is about to strike the fatal blow, Fidelia rushes forward, proclaims herself the wife of the 
prisoner and shields him. The Governor is astonished for a moment, but recovers himself 
and is about to sacrifice both, when a flourish of trumpets announces the coming of the 
Minister, and Don Pizarro is soon disgraced, while Florestan is pardoned and given back to 
his faithful wife. 


/Leonore Overture No. 3 
\ Attila Selection 

Arthur Pryor's 

Arthur Pryor's Bandf 

12-inch. $1.25 





(Dehr-gen-dih Hot-lan-der) 


I 1 ' 3?or(lf(funfl ira pimtn W'omirmfnt. 

at;, Nil 2. .Jnnuar 1843. 

,VJ r r II 1 1 W 1 1 1 : 

Mcmantifdx Cprt in tm Sinn, ten Suburb SBajnrr. 

Dei rn 
T.u* w*wrrn 9)^4*^. - - f-:t 7i'(.. 

1*1 11 1< S M*' Jnli >i* Ki to Ixilwtn iititliuuri 
M^nlw!' fltfDMijnii'tttVnfn ti>fHiVllallttn fd'JituiwI > 

urn 5 Ubr. Slmnug urn 6 Utr. 

i&nN qujrn 9 llbt. 


II Vascello Fantasma 

(e/ Vau-xl-low Fahn-tahz -mah) 


Text and score by Richard Wagner. First 
produced at the Royal Opera in Dresden, January 
2, 1843, with a Paris production the following 
year under the title of Le Vaisseau Fantdme. First 
London production July 23, 1870; and in English 
by Carl Rosa in 1876; first New York production, 
in English, January 26, 1877; in German, March 
12. 1877. 


DALAND, a Norwegian sea captain Bass 

SENTA, his daughter Soprano 

ERIC, a huntsman Tenor 

MARY, Senta's nurse Contralto 



Sailors, Maidens, Hunters, etc. 


Place : On the coast of Norway 




One of the most melodious of Wagner's operas, and the most popular in Germany 
to-day, Fliegende Hollander is also the one which was most promptly condemned by the 
critics after its production. Its present vogue is a notable example of the change in 
musical taste since 1843. 

Wagner was led to write the Flying Dutchman after reading Heine's legend of the 
unhappy mariner, who, after trying long in vain to pass the Cape of Good Hope, had 
sworn that he would not desist if he had to sail on the ocean to eternity. To punish his 
blasphemy he is condemned to the fate of the Wandering Jew, his only hope of salvation 
lying in his release through the devotion unto death of a woman ; and to find such a 
maiden he is allowed every seven years to go on shore. 

Flying Dutchman Overture 

By Pryor's Band 31787 12-inch, $1.0O 

The overture is a complete miniature drama, em- 
bodying the events of the opera to follow. Driven by 
the gale, the Phantom Ship approaches the shore, while 
amid the fury of the tempest is heard the theme of The 
Curse : 

The storm increases and reaches its height in a won- 
derful piece of writing. No composer ever succeeded 
in portraying a raging storm with such vivid effect. 
Amid a lull in the tempest, we hear the melancholy 

complaint of the Dutchman from the great air in the first CAST OF THE OPERA IN WAGNER'S 
act, "Wie oft . . . Mein Grab, es schloss sich nicht ? " HANDWRITING 

(My grave I find it not I) A gleam of hope appears in the Redemption theme, and a joyous 
strain is heard from the sailors of Daland "s ship, which is safe in the harbor. 

Thus the various events of the drama are presented in miniature ; and the overture is 
in fact a complete resume of the opera, summarizing the leading motifs. It is superbly 
played by Mr. Pryor's fine organization. 


SCENE The Coast of Norway 

The curtain rises showing a rocky sea coast in Norway, with the ship of Daland anchored 
near the shore. As the crew furl the sails, Daland goes ashore, and climbing the cliff, 
sees that he is only seven miles from home, but as he must wait for a change in the wind, 
bids the crew go below and rest. 

The Steersman remains on watch, and to keep awake sings a sailor ballad : 

From the shores of the south, in far-off lands, 

I oft on thee have thought; 
Through thunder and waves from Moorish strands, 

A gift I thee have brought. 
My maiden, praise the sweet south wind 

I bring thee a golden ring. 
O fair south wind, to me be kind! 
My maiden doth spin and sing. 

Ho-yo-ho! Hallo-ho! 

He soon falls asleep, however, and fails to see the Flying Dutchman, which now appears, 
with blood-red sails and black masts, for one of her periodical visits. 

Wie oft in Meeres tiefsten Schlund (In Ocean's Deepest Wave) 

By Otto Goritz, Baritone (In German) 7423O 12-inch, I1.5O 

The spectral crew furl the blood-red sails and drop the rusty anchor. The Dutchman 
stands on the deck, and delivers his great soliloquy. He gloomily gazes at the land, and 
sings his preliminary recitative: 


Through thunder and wars of distant seas, 

My maiden, come I near! 
Over towering waves, with southern breeze, 

My maiden am I here! 
My maiden, were there no south wind, 

I never could come to thee; 
O fair south wind, to me be kind! 

My maiden, she longs for me! 
Ilo-yo-ho! Hallo-ho! 



The term is past, and once again are ended the seven long years; 

The weary si a east-- me upon the land. 

I la! ha UK lit y ocean! 

A little while and thou ngain wilt bear me! 

Though thou art changeful, unchanging is my doom! 

< . which on the land I seek for, 
Never shall I meet with! 
True, thou heaving ocean, am I to thee 
Until thy latest billow shall break, 
I'ntil at last thou art no more! 

An introduction in 6-8 allegro molto leads to the aria: 

Kngulf'd in ocean's deepest wave, 

Oft have I long'd to find a grave; 

But ah! a grave, I found it not! 

I oft have blindly rushed along, 

To find my death sharp rocks among; 

But ah! my death, I found it not. 

And oft, the pirate boldly daring. 

My death I've courted from the sword, 

Here, cried I, work thy deeds unsparing. 

My ship with gold is richly stor'd! 

/ las, the sea's rapacious son, 

1 ut sign'd the cross, and straight was gone 

> owhere a grave, no way of death ! 

Mine is a curse of living breath. 

T hee do I pray 

1 rij.'ht angel sent from Heaven. 

\.as there a fruitless hope to mock me given, 

Daland comes on deck 
arid is astonished to see the 
s- range ship. He wakes the 
Steersman and they hail the 
s' ranger, who asks Daland to him shelter in his home, 
o Bering him treasure from his 
s'uip. On hearing that Daland 
has a daughter, he proposes 
marriage. The simple Nor- 
wegian is dazzled by such an 
honor from a man apparently 
so wealthy, and freely con- 
sents, providing his daughter 
is pleased with the stranger. 

The wind changes and 
Daland sails for his home, the 
Dutchman promising to follow 
a:: once. 


SCENE A Room in Daland' s 

Traft ihr das Schiff (Senta's Ballad) 

By Johanna Gadski, Soprano (In German) 

When thou didst tell me how to gain release? 

A single hope with me remaineth, 

A single hope still standeth fast; 

When all the dead are raised again. 

Destruction then I shall attain. 

Ye worlds, your curse continue not! 

Endless destruction be my lot! 


88116 12-inch. *3.OO 

The maidens are busily spinning all but Senta, Daland's daughter, who is idly dream- 
ir g, with her eyes fixed on the fanciful portrait of the Flying Dutchman which hangs on the 

The legend of the unhappy Hollander has made a strong impression on the young girl, 
and he seems almost a reality to her. The maidens ridicule her, saying that her lover, 
Eric, will be jealous of the Dutchman. Senta rouses herself and commences the ballad, 
which begins with the motive of The Curse. With growing enthusiasm she goes on, 
dsscribing the unhappy lot of the man .i.j> = ioo ^~~ 

condemned to sail forever on the sea un- \Jjjp r p * \r _!* ~* Jl I s J* r fT |l* Sff*\ 

">-*-l*lv,\^ w oall BMVWfl *_*! UUV Ot Ull- \-jO^ 

less redeemed by the love of a woman. * 
Then with emotion she cries: 



This is the theme of Redemption by Woman 's Love, and 
a i Sen/a sings the beautifully tender and melodious phrase, 
she runs toward the portrait with outstretched arms, hardly 
conscious of the now alarmed maidens. 

S ; s i \ : 
Yo-ho-hoe ! 

Yi>-lu>-hoi-! Yii-h.i-hiH-! Yo-ho-hoe! 

Saw ye tin- ship on the rating deep 

I:; lied tlu- canva>, black tin- ina.-t ? 

On hoard unccasin.; watch doth k< -i '\> 

Tlu- vessel's master pale and jjlia^t' 

Hui! How roars tin- wind! Yo-ho-hoe! Yo-ho-hoe! 

Ilui! How bends the mast! Yo-hn-hoe! Yo-ho-hoe! 

Hui! I. ike an arrow she Hies 

\\'ithout aim, without goal, without rest! 

(.V/H- (/uses ill the portrait i^'itli yruwiinj excitement) 

Yet can tile spectre 

1'e freed from the curse infernal. 

Find he a woman on eaith 

\\'ho'll pit-due him her love eternal. 

Ah! that the unhappy man may find her 

Pray, that llea\eii may >oon 

In pity grant him this boon: 

Mme. Gadski, whose Senta is always a fine impersona- 
tiDn, sings this dramatic number most expressively. The 
d.fficult attack on the high G, which occurs several times, 
is beautifully taken and perfectly recorded. 

The maidens are so alarmed at Senta's outburst of passion that they run out and 
call Eric, who meets them at the door with news of the Dutchman's arrival. They 

run to the shore while Eric remains and reproaches 
Senta. She refuses to listen and the distracted lover 
runs out. 

Suddenly the door opens and the Dutchman appears. 
Senta is transfixed with surprise as she involuntarily com- 
pares the portrait with the living man. A long silence fol- 
lows. The Dutchman, his eyes fixed on the glowing face 
of the maiden, advances toward her. Daland soon observes 
that the others pay no attention to him, and well satisfied 
with the apparent understanding between the stranger and 
his daughter, leaves them together. 

The Hollander sees in Senta the angel of whom he had 
dreamed and who is to banish the curse, and she sees the 
original of the portrait on which the sympathy of her 
girlish and romantic heart had been lavished. The Hol- 
lander asks Senta 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 is "faith above all." 

Daland re-enters and is delighted to find such a com- 
plete understanding between the two. He invites the Dutch- 
man to the fete that evening in celebration of the safe arrival 
of the Norwegian ship. Senta repeats her vow unto death, 
DESTINN AS SENTA and a magnificent trio closes the act. 


SCENE Daland 's Harbor 

This scene shows the ships anchored in the bay near Daland's home. Daland's vessel 
is gay with lanterns, in contrast to the gloom and silence which marks the Dutchman's 
ship. A gay Norwegian chorus is followed by a spirited hornpipe with a most peculiar 
rl ythm. Bits of these numbers are to be heard in the Pryor's Band records of the Overture 
and Fantasia. 

The maidens now appear with baskets of eatables, and are joyfully received by the 
sailors. Having supplied the wants of their own countrymen, they approach the Dutchman's 
si ip and call to the sailors, but only a ghostly silence rewards them. Piqued at this neglect, 
they turn their remaining baskets over to the Norwegian sailors and return home. 

Suddenly the sea around the Dutchman begins to rise, and a weird glow lights the ship. 



The crew appear and begin a sepulchral chant, which causes the gay Norwegians to cease 
singing and cross themselves in terror, and finally to go below. With mocking laughter, the 
crew of the Dutchman also disappear and the ship is in darkness. 

Senta and Eric appear and a stormy scene ensues. He has heard of her engagement to 
the strange captain, and is beside himself. He kneels and begs her to have pity on him. 
Suddenly the Hollander comes upon the scene and is horror-stricken at the tableau. 
Believing Senta to be false, he cries, "All is lost; Senta, farewell!" 

The crews of both ships appear and the townsmen rush to the scene. The Dutch- 
man reveals his identity and 
declares himself cursed for- 
ever. He springs upon his 
ship the crimson sails ex- 
pand as if by magic and the 
ship departs, -with the crew 
chanting their weird re- 

Senta, in wild exaltation, 
rushes to the highest rock, 
calling to the departing vessel, 
"I am faithful unto death," 
and throws herself into the 
sea. The Flying Dutchman 
sinks beneath the water, and 
rising from the wreck can 
be seen the forms of Senta 
and the Dutchman clasped 
in each other's arms. The 
curse has been banished 
true love has triumphed! SENTA IS FAITHFUL UNTO DEATH 


/Flying Dutchman Fantasia 
( Pagliacci Prologue 

By Pryor's Band \ 
By Pryor's Band } 

35158 12-inch. $1.25 

This brilliant selection contains some of the finest music of this wonderful masterpiece, 
in which Wagner has portrayed the story of the Dutchman condemned to sail forever on the 
stormy sea unless redeemed by the love of a woman. 

Two variations of the exquisite theme representing Redemption by Woman's Love are 
given. We first hear the magnificent strain played by the orchestra in Act III when Senta 
plunges into the sea, after the Dutchman, believing her false, has sailed away; then follows 
the theme first heard in Senta 's ballad, one of the finest numbers in the opera. Then appears 
the second of the two principal themes : the Flying Dutchman motive : 


a weird melody representing the restless wanderer. In strong contrast comes the rollick- 
ing chorus of Daland's sailors, "Steersman, Leave the Watch," and the fantastic dance 
which follows: 

Junute. M ~ 

*"> ^ 

The Fantasia is brought to an effective close with a portion of the great duet between 
Senta and the Dutchman, leading up to a splendid climax. 




(La Forf-zah del Dei-tee 



Book by Piave; music by Giuseppe Verdi. First produced at St. Petersburg, Novem- 
ber II, 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. 




DON CARLO. / Hl8 Chlldren iBaritone 

DON ALVARO, (Aht-oah'.roh) Tenor 


MEUTONE, a friar Baritone 

CURRA, Leonora's maid 

TRABUCO, muleteer, afterwards a peddler Tenor 



Muleteers, Spanish and Italian Peasants and Soldiers, 
Friars of the Order of St. Francis, etc. 

Scene and Period : Spain and Italy ; about the middle of the eighteenth century. 

Verdi's opera of La Forza del Destino was never a great success ; its story, which is 
taken from a drama of the Duke of Rivas, entitled Don Alvaro o la Fuerzer del Sino, being 
doleful and so crowded with horrors that not even the beautiful music could atone for the 
gloomy plot. Old opera-goers well remember the last production of the opera at the 
Academy in 1881, with Annie Louise Gary, Campanini, Galassi and Del Puente in the cast. 

The only production in America subsequent to that time was that of the Lombardi 
Opera Company in San Francisco several years ago. 

The overture is a most interesting and rather elaborate one. 

/Overture, Parti La Scala Orchestral , flnno . . , , -,< 

r, . TT i c i <"v t. , o8OO9 12-inch. $1.25 

(Overture, Part II La Scala OrchestraJ 

It opens with a trumpet blast which sufficiently foreshadows the tragic character of the 
opera, this 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 Pietosa, afterwards heard with such mag- 
nificent effect in the opera. 

Part II opens with a light and pretty pastoral melody quite in the Italian vein. A 
notably brilliant passage for strings brings us again to the Madre Pietosa melody, this time 
delivered in a triumphant fortissimo, after which the overture works up to a truly animated 
and powerful finale. 




SCENE Drawing Room in the House of the Marquis of Calatraoa 

Don Aloaro, a noble youth from India, becomes enamored with Donna Leonora, the 
daughter of the Marquis of Calatrava, who is strongly opposed to the alliance. Leonora, 
knowing her father's aversion, determines to make her escape with Alvaro, 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 dying breath. 


SCENE I An Inn at Hornacuelos 

The second act begins in a village inn, where Don Carlo, son of the murdered Marquis, 
is disguised as a student in order to better avenge his father. Leonora, who is traveling in 
male attire, arrives at the inn, and is horror-stricken at seeing her brother, who has sworn 
to kill her lover Alvaro and herself. She flees to the convent of Hornacuelos, arriving at 

SCENE II The Concent of Hornacuelos 

Kneeling in the moonlight, she prays to the Virgin to protect her. This beautiful 
prayer is splendidly sung here by Mme. Boninsegna, accompanied by the chorus of La Scala. 

Madre, pietosa Vergine (Holy Mother, Have Mercy) 

By Celestina Boninsegna, Soprano, and La Scala Chorus 

(In Italian) 92031 12-inch, $3.00 

The effect produced by the solo voice with the background of male voices singing the 
Venite in the chapel is powerful and thrilling, and forms one of the finest of the Victor 
reproductions of Verdi's scenes. 

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. 

Vcnite, adoremns et procelamus O Lord! Have mercy on me, 

An te Deinn, ploremus, ploremus Nor abandon me. 

Corain Domino, corain Domino qui fecit nos. (She rings the bell of the convent.) 

Leonora is admitted to the convent by the Abbot, to whom she confesses. He procures 
her a nun's robe and directs her to a cave, assuring her that a curse will rest upon anyone 
who seeks to know her name or to enter her abode. In her gratitude she sings the second 
great air. 

La Vergine degli angeli (May Angels Guard Thee) 

By Celestina Boninsegna, Soprano, and La Scala Chorus 

(In Italian) 91O75 10-inch, $2.OO 

Again we have the effect of the solemn chant of the priests blending with the prayer of 


La Vergine degli Angeli Let the Holy Virgin 

Vi copra del sito manto, Cover you with her mantle, 

/: roi protegga vigile And the angels of God 

Di Dio I' Angela santo. Watch over you! 

(Leonora kisses the hand of the Abbot and 

goes to her retreat. The monks return to 
the church.) 


SCENE A Military Camp near Vellelri 

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.OO 



ALVARO: pri-on. . . . The desert educated me; nn- 
l.ife is a misery ... In vain I seek known is my royal descent! My ancestors 
death. . . . Seville! . . . Leonora! aspired to a throne. Alas! They were bc- 
Oh, memories! Oh, night! Thou headed! Oh, when will my misfortune cease? 
ha^-t taken from me all my happiness! I Thou who hast ascended in heaven, all beau- 
shall ever be unhappy. ... So it is writ- tiful and pure from mortal sins, do not for- 
ten. . . . My father tried to make his get to look on me, a poor sufferer, who with- 
country free, and to wear a crown by marry- out hope fights eagerly for death against 
ing the only daughter of Ineas. He was destiny! Leonora, help me and have mercy 
foiled in his design. ... I was born in 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 
<-ach 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 

Solenne in quest'ora (Swear in This Hour) 

By Enrico Caruso, Tenor, and Antonio Scotti. Baritone 

(In Italian) 89OO1 12-inch. *4.00 
By Carlo Barrera, Tenor, and Giuseppe Maggi, Baritone 

(In Italian) *68213 12-inch, 1.25 
By Luigi Colazza. Tenor, and Ernesto Caronna, Baritone 

(In Italian) *63174 10-inch, .75 

The wounded man confides a case of letters to his friend Don Carlo to be destroyed, 
making him swear that he will not look at the contents. Carlo swears, and the friends bid 
each other a last farewell. 


My friend . . . swear that you will grant with me .... when I am dead destroy 

my last wish. the letters. 

CARLO: I swear! ALVARO: Look at my breast. CARLO: 

CARLO: A key! So be it. 

ALVARO: ALVARO (feebly): 

Open this case and you will find a sealed Now I die happy .... let me embrace 

parcel. ... I trust it to your honor you .... farewell ! 

It contains a mystery which must die CARLO: Put thy trust in heaven! I'OTII : Adieu! 

The Caruso and Scotti rendition of this number is considered by many to be one of the 
most perfect and beautiful of all the Red Seal Records. It is certainly the most wonder- 
fully lifelike reproduction of these two great voices which could be imagined. 

Just at this point it may be well to settle a controversy -which has been raging ever since 
the issue of this record in 1906. This argument concerns the identity of the voices in the 
opening measures, and is the natural result of a remarkable similarity between Caruso's 
lower register and the medium tones of Scotti's voice. The Victor Catalogue Editor now 
appoints himself a court of final appeal, and declares that contrary to the usual impression 
it is Caruso, not Scotti, who begins the record. Here are the opening measures just as sung 
by the artists : 


mi do ve te Fv 
milk lo grant me. So 


'=* r B5iBi 

Double-FaceJ Record For titie of opposite side see the double-faced list on page 1 25. 



Aloaro, 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. 

SCENE Same as Act II, Scene II 

Five years have now elapsed and the last act reveals again the cloister of Hornacuelos, 
where Aloaro, 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) 89O52 12-inch, $4.0O 

The host of Victor opera-lovers who are familiar with the wonderful duet from Act HI, 
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. 


In vain, Alvaro, 

Thou hast hid from 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 iny honor; 

That I swear before God! 
ALVARO (recognizing him) : 

Don Carlos! Thou livest! 


Yes! and for long years 

I have sought and now find thee. 

By thy hand I fell, 

But God restored my strength 

That I may avenge thy crimes! 

Here are two swords, 

Thy choice now make! 

Leave me! By this holy habit 

Thou niay'st see my repentance! 
CARLOS (in fury) : 


Thou shalt not hide behind thy robes! 
ALVARO (agitated): 

Coward! Oh, God 

Give me strength to forgive thee! 

Le minaccie, i fieri accenti (Thy Menaces "Wild !) Part II 

By Enrico Caruso, Tenor, and Pasquale Amato, Baritone 

(In Italian) 89O53 12-inch. $4.OO 
By Titta Ruffo, Baritone, and Emanuele Ischierdo, Tenor 

(In Italian) 92504 12-inch, 
By Carlo Barrera, Tenor, and Giuseppe Maggi, Baritone 

(Double-faced See page 125) (In Italian) 68213 12-inch, 

Aloaro recovers his poise and endeavors to appeal to the reason of his enemy, showing 
him the futility of reopening the feud. Part II begins as follows : 



ALVARO (firmly) : 

Thy menaces wild 

Be heard only by the winds, 

I cannot listen ! 

Brother, let us submit to fate 

And the will of God! 

Thou hast left me 

A sister deserted and dishonored! 

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 fight! 

Brother, let me kneel to thee. 

(He kneels.) 

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 ! 

At last! 
ALVARO (recovering himself) : 

No, Satan shall not thus triumph. 

(Throws down his sword.) 

Then coward. I brand thee with dishonor! 

(Strikes him.) 

Oh, God, no more! 

(To Don Carlos) 

Defend thyself! 

We both must die, 

Our hatred will be appeased 

And Satan will claim us for his own! 




SCENE A Wild Spot Near Homacuelos 

The scene changes to the vicinity of Leonora's cave. Pale and worn, the unhappy 
\\oman comes from the cave, and in another great air implores Heaven to let her die, as 
she is unable to forget her lover. 

Pace mio Dio (Mercy, O My Lord) 

By Celestina Boninsegna, Soprano (In Italian) 92O27 12-inch, $3.OO 


Mercy, oh Lord! 

My 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 Alvaro and Carlo ap- 
pear for the final combat. Alvaro 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 Alvaro, who is 
known as Father Raphael, to confess him, but the monk is under the curse of the cave and 
c mnot. He goes to call the friar who dwells in the cave ; Leonora rushes forth, sees her 
brother wounded and embraces him, but true to his vow made in Act 1 he makes a dying 
e^ort and stabs her to the heart. 

This dramatic scene has been put by Verdi into the form of a trio. 

Non imprecare, umiliati (Swear Not, Be Humble) 

By Ida Giacomelli. Soprano; Gino Martinez-Patti, Tenor; Cesare Preve, 

Bass (Double-faced See below) (In Italian) 68026 12-inch, $1.25 

Don Alvaro then completes the catalogue of horrors by throwing himself from a cliff 

just as the monks arrive singing the Miserere. The curtain then falls, evidently because, as 

one critic has said, every member of the cast being dead, there seems to be no reasonable 

excuse for keeping it up any longer! 


(Overture, Part I By La Scala Orchestral, Rftno ,~ 

I Overture, Part II By La Scala Orchestra f 6 

Le minaccie. i fieri accenti (Let Your Menaces) 
By Carlo Barrera, Tenor, and Giuseppe Maggi, Baritone 

(7n//a//an)[68213 12-inch. 1.25 

Solenne in quest'ora (Swear in This Hour) By Carlo 

I Barrera, Tenor, and Giuseppe Maggi. Baritone (In Italian)} 

Non imprecare, umiliati By Ida Giacomelli. Soprano ; 

Gino Martinez-Patti, Tenor; Cesare Preve. Bass 

(In Italian) anoft ,, ; 
Ballo in MascheraAh I qual soave brMdo ( Thy Words, Like Dew) f b< 
By Ida Giacomelli, Soprano, and Gino Martinez- Patti, Tenor 

(In Italian) 
Solenne in quest'ora (Swear in This Hour) By Luigi 

Colazza. Tenor, and Ernesto Caronna. Baritone (Italian) I , 

n- ;. ., . ,TL DI r \s . D >63174 lO-inch. .75 

raust lo voglio il piacer (I he Pleasures of Youth) By 

G. Pini-Corsi, Tenor, and Aristodemo Sillich, Baritone (Italian)) 







(Der Fry' -shoots) 


Words by Friedrich Kind ; music by Carl Maria von Weber (his eighth opera) ; com- 
pleted as Die Jagarsbraut, May 13, 1820. Produced at Berlin, June 18, 1821 ; in Paris, (as 
Robin des Bois, with new libretto by Blaze and Sauvage, and many changes) at the Oddon, 
December 7, 1824. Another new version, with accurate translation by Pacini, and recita- 
tives by Berlioz, at the Academic Royale, June 7, 1841, under the title of Le Franc Archer. 
In London as Der Freischutz or The Seventh Bullet, with many ballads inserted, July 23, 
1824; In Italian, as // Franco Arciero, at Covent Garden, March 16, 1850 (recitatives by 
Costa) in German, at King's Theatre, May 9, 1832. It was revived at Astley's Theatre with 
a new libretto by Oxenford, April 2, 1866. First New York production, in English, 
March 12, 1825. 


PRINCE OTTOKAR, Duke of Bohemia Baritone 

CUNO, head ranger Bass 

MAX, K c , , . j Tenor 
CASPAR, ) tw young foresters servin 8 under him ' { Bass 
KlLJAN, a rich peasant Tenor 


ZAMIEL, the fiend huntsman . . . . Speaking Part 

AGNES, Cuno's daughter Soprano 

ANNIE, her cousin Soprano 

Chorus of Hunters, Peasants, Bridesmaids, and invisible Spirits. 

Scene and Period : The scene is laid in Bohemia, shortly after the Seven Years ' War. 

The word freischutz, probably better translated as " free marksman," means a Schiitz or 
marksman who uses "free bullets," or charmed bullets which do not depend on the aim of 
the shooter. 




By Sousa's Band * 3500O 12-inch. $1.25 

By La Scala Orchestra * 62636 lO-inch, .75 

The overture presents the story of the opera in a condensed form. 
L An introduction with a tender horn passage leads us into the forest, 

^u Night is falling and mysterious sounds are heard. The allegro, represent- 

~^L ing the doubts of the good but vacillating young hunter, begins, and the 

^^ sound of the magic bullets can be heard as they drop in the melting pot. 

Next a beautiful melody, portraying love and happiness, appears, but 
^^- this in turn is succeeded by another mood of distress. At length the 

triumphant strain indicative of the final victory is sounded, leading up to 
a splendid climax. 

Sousa's Band has given a stirring performance of this brilliant over- 
ture, -while the rendition by La Scala Orchestra will please those who 
prefer orchestral music. 

The story of the opera is founded on a German tradition, told among 
huntsmen, that whoever will sell his soul to Zamiel, the Demon Hunter, 
may receive seven magic bullets, which will always hit the mark. For 
each victim whom he succeeds in securing for the Demon, his own life 
is extended, and he receives a fresh supply of the charmed missiles. 

Cuno, head ranger to Ottokar, a Bohemian prince, has two assistants, 
Max and Caspar, both excellent marksmen. Max is in love with 
Agnes, Cuno's daughter, who has promised to be his bride only on con- 
dition that he proves himself the best shot at a forthcoming contest. This 
contest, however, is -won by Kilian, a peasant. Max, in a dramatic air, 
bitterly bewails his bad luck. 

MAX Durch die Walder (Thro* the Forest) 

By Daniel Beddoe, Tenor (In English) 74244 12-inch, $1.5O 

He believes he is cursed by an evil spirit which causes his hand to fail at the critical 

MAX: O, I can bear my fate no longer! 

E'en hope is banished from my soul ! 
What unknown grief thus haunts my spirit, 

And o'er me works its dark control? 
Thro' the forests, thro' the meadows, 

Joy was wont with me to stray, 
While my rifle, never failing, 

Made each bird and beast my prey. 
When at length from chase returning, 

Ere home rose before my sight, 
Agnes, smiling met me, 

Cloth'd in beauty's heavenly light. 
But now am I by Heaven forsaken 

And left the power of chance to know? 
Will hope's long slumber ever waken, 

Or am I doomed to endless woe? 
Now, methinks, beside her lattice, 

I my lovely fair one sic : 
While her ear seems fondly list'ning, 

Every coming sound for me: 
See, she fondly waves a welcome, 

Fancy's eye her lover sees; 
But her signal gains no answer. 

Save the sigh of whispering trees! 
What dark'ning power is ruling o'er me? 

My anxious bosom fear hath riven, 
Despair hath spread her snares before me: 

Does fate rule blindly? 
Aid me, Heaven! 

Caspar, who has already put himself in the power of Zamiel, sees 
here an opportunity to extend his own days of grace, and advises PHOTO oit* 
Mix to seek the magician and secure some of the magic bullets. CASPAR 

' ~Doubk-Faced Record-Far title of ophite side see DOUBLE-FA CED DER FREISCHUTZ RECORDS, page 128. 



In the meantime Agnes is anxiously awaiting her lover and is much alarmed at his non- 
appearance. Annie, her cousin, endeavors to cheer her by singing a gay air, Comes a Gallant 

Annie's Air, '* Conies a Gallant Youth " 

By Marie A. Michailowa, Soprano 

(In Russian) 61134 10-inch, $1.0O 

She describes playfully the attitude a shy maiden should assume when the right young 
man happens along. 


Comes a gallant youth towards me, 

Be he golden hair'd or dark, 
Eyes that flash as he regards me, 

Him my captive I will mark! 

Eyes bent down to earth for shyness, 
As befits a modest maid, 

With a stolen look of slyness 
Yet may ev'rything be said! 

And if swift emotion rushes, 

Shot from answ'ring lip and eye, 

Nothing worse than maiden blushes 
Need the gallant stranger spy! 

Annie begs Agnes to retire, but the young girl says 
she will wait for her lover. Left alone, she draws the 
curtains aside, revealing a starlight night. She ex- 
claims at the beauty of the night, and folding her 
hands in prayer she delivers the lovely air which is 
the gem of the opera. 

Preghiera di Agatha (Agatha's 

Prayer) (Double-faced See below) 

By Emilia Corsi, Soprano (Piano ace.) 

(In Italian) * 62636 10-inch, $O.75 
She prays for the safety of her lover, and asks 
Heaven to watch over them both. 

Earth has lull'd her care to rest; 
Why delays my loitering love? 
Fondly beats my anxious breast: 
Where, my Rudolph, dost thou rove? 
Scarce the breeze among the boughs 
Wakes a murmur thro' the silence, 
Save the nightingale lamenting, 
Not a sound disturbs the night! 




Softly sighing, day is dying, 
Soar my prayer heay'nward flying! 
Starry splendor shining yonder, 
Pour on us thy radiance tender! 
How the golden stars are burning 
Thro* yon vault of ether blue, 
Rut lo, gath'ring o'er the mountains 
Is a cloud, foreboding storm, 

Max arrives, followed by Annie, but seems embarrassed and says he must go to bring 
in a stag he has shot near the Wolf's Glen. Agnes begs him not to go near that haunted spot, 
but he disregards her warning and goes out. 

The scene changes to the Wolf's Glen, where Max meets Caspar, and the magic bul- 
lets are cast amid scenes of horror, while the demon Zamiel hovers near awaiting his prey. 
Max is returning with his prize when he meets the Prince, who asks him to shoot a dove. 
The hunter complies, just missing Agnes, who has come to the wood in search of her lover. 
Caspar is wounded by the very bullet which he had intended should slay Agnes at the hands 
of Max. Zamiel rises and carries off his victim, while Max is forgiven and all ends 

By Sousa's Band 

fOverture By Sousa's Band! 

I Carmen Selection By Sousa's Band) 

fOverture By La Scala Orchestral 

j Preghiera di Agatha (Agatha's Prayer) f 62636 

[ By Emilia Corsi, Soprano (Piano ace.) (In Italian)} 


350OO 12-inch, 11.25 

10-inch, .75 



(Jer-man' -ce-ah) 

A Lyric Drama in a Prologue, Two Scenes and Epilogue 

Text by Luigi Illica. Music by Alberto Franchetti. First production at Milan in 1902 
First American production. New York, January 22, 1910, with Caruso, Destinn and Amato. 

Cast of Characters 



CARLO WORMS [Students Baritone 


RlCKE Soprano 

JANE, her sister Mezzo-Soprano 

LENE ARMUTH, an aged beggar-woman Mezzo-Soprano 

JEBBEL, her nephew Soprano 

STAFFS, Protestant Priest Bass 




PETERS, a herdsman Bass 

Chief of German Police Bass 

Historical Personages, Students, Soldiers, Police officers, Members and 

Associates of the "Tugendbund," "Louise-Bund" 

and " Black Knights " ; Forest Girls. 

Time: 1813. 

The opera is the work of an Italian nobleman, who, although a very wealthy man, is 
ambitious and makes the writing of operas his hobby. Cermania is a picturesque and in- 
teresting opera, full of local color, describing the Germany of the time of Napoleon, with its 
many conspiracies ; and for this the Baron has written much effective and agreeable music. 
The action takes place in 1813, at the time of the battle of Leipzig. 




SCENE -An Abandoned Mill near Nuremberg 

A company of students, under the leadership of Giovanni Palm, have occupied an old 
mill, and are shipping sacks of grain, which really contain political documents intended to 
rouse the people to revolt. Prominent among the students is Worms, who previously had 
a love affair with Rict^e, a young girl who is now betrothed to Loewe, the poet and warm 
friend of Worms. Loewe is expected to arrive at any moment, and Ric^e dreads his coming, 
as she has made up her mind to tell him her guilty secret. Worms, however, divines her 
purpose and bids her keep silent, as in the duel which was sure to occur Loewe would 
likely be the one to die. 

Loewe arrives and is joyfully greeted by the conspirators. He encourages them to fresh 
efforts in his noble aria. 

Studenti, udite ! (Students, Hear Me !) 

By Enrico Caruso, Tenor (In Italian) 87O53 10-inch, $2.OO 

Caruso delivers this inspiring number with splendid effect, showing well the beauty and 
power of his marvelous voice. 

The enthusiasm which follows Loewe' s great address is rudely interrupted by the ar- 
rival of the police, who seize Palm and take him away to his death. 


SCENE A Cottage in the Black Forest 

Seven years have elapsed. Hither Loette has come after the disastrous campaign of 
1806, which followed the plotting in the old mill. He lives in this hut with his aged mother 
and the two girls, Ric^e and her sister Jane. Worms has disappeared and is supposed to 
be dead. 

Loewe is about to be married to Ric^e, and the bridesmaids now arrive to deck the 
cottage with flowers. Rict^e, thinking of her past, is melancholy, but the marriage ceremony 
is performed and the bride and bridegroom are left alone. Federico clasps her in his arms 
and sings his beautiful air to the eyes of his bride. 

Non chiuder gli occhi vaghi (Close "Not Those Dreamy Eyes) 

By Enrico Caruso, Tenor (In Italian) 87O54 10-inch, $2.OO 

Forgetting the past, Ric^e yields herself to the joy of the moment and tenderly kisses 
him, -when suddenly from the forest is heard a familiar voice singing an old student song. 
" Worms!" joyfully cries Federico, and runs out to meet his old friend, who is wasted and 

Worms comes in and is astonished to see Ricke. She looks coldly at him and he uneasily 
says he must be on his way. Federico protests, but Worms insists and departs. Ric^e, over- 
come by this reminder of her past misfortune, resolves to leave her husband, and writes 
him a note and flees into the forest. Federico returns, reads the note, and wrongfully con- 
cludes that she has fled with Worms. 

SCENE A Cellar in Konigsberg 

In this underground retreat Worms is again plotting against Napoleon. A meeting of the 
Council is in progress, when Federico appears and demands that Worms shall fight with him 
to the death, but Worms, kneeling, asks Federico to kill him. Federico replies with a violent 
blow in the face, at -which Worms decides to fight him, and preparations for the duel are 
begun. They are interrupted by the entrance of Queen Louise, who suggests that such brave 
men had better be using their swords for their country. Fired with enthusiasm, the 
enemies embrace each other and swear to die for Germany. 


SCENE The Battlefield of Leipzig 

The awful three days' conflict is over and the field is a mass of ruins, battered wheels 
and dead and wounded men. Ricke searches for the body of Federico that she may look 
upon his face once more. She finds him dying, but he recognizes her, and telling her that 
the body of Worms is nearby, asks her to forgive him as he himself has done. Ric^e looks 
on the face of the man who had ruined her life and forgives him. She returns to her hus- 
band and when he dies in her arms -waits beside his body for her own death, which she 
feels approaching. As the sun sets the defeated Napoleon -with the shattered remains of his 
army is seen retreating. 




(La/i Jee-oh-kori -dah) 


Libretto by Arrigo Boito ; music by Amilcare Ponchielli. It is an adaptation of Victor 
Hugo's drama, "Angelo," and -was first presented at La Scala, Milan, April 8, 1876. First 
London production in the summer of 1883. First New York 
production December 20, 1883, with Christine Nilsson, 
Scalchi, Fursch-Madi, del Puente and Novara. 


LA GIOCONDA, a ballad singer Soprano 

I*A ClECA, (See-ai/-kah) her blind mother Contralto 

ALV1SE, (Al-oee ' -zay) one of the heads of State Inquisition . . Bass 

LAURA, his wife Mezzo-Soprano 

LNZO GRIMALDO, a Genoese noble Tenor 

HARNABA, a spy of the Inquisition Baritone 

ZUANE, a boatman Bass 

15EPO, public letter- writer Tenor 


Monks, Senators, Sailors, Shipwrights, Ladies, 
Gentlemen, Populace, Masquers, etc. 

The action lakes place in Venice, in the seventeenth century. 


Gioconda is a work of great beauty, full of wonderful 
arias, duets and ensembles, with fine choral effects, and a 
magnificent ballet. The book is founded on Hugo's "Tyrant of Padua," and tells a most 
c ramatic story, which, however, cannot be called inviting, as the librettist has crowded 
into it nearly all the crimes he could think of ! 

But the average audience does not concern itself much 
with these horrors, being engaged in listening to the beautiful 
music, and admiring the splendid scenes and colorful action. 
Therefore the story will be but briefly sketched here. 


SCENE Street near the Adriatic Shore, Venice 
Gioconda, a ballad singer who is in love -with Enzo, a Gen- 
oese noble and captain of a ship now in the harbor, supports 
her blind mother, La Cieca, by singing in the streets of Venice. 
She has attracted the attention of Bamaba, an influential police 
spy, and he plans to gain her affections. 

This is the situation at the rise of the curtain. The stage is 
filled with people: peasants, sailors, masquers, all in holiday at- 
tire. Barnaba is leaning against a pillar, watching the gay scene. 
The chorus sing their opening number, Sports and Feasting. 

Feste ! pane ! (Sports and Feasting !) 

By La Scala Chorus (In Italian) *450 1 1 0-inch, $ 1 .00 
At the close of this number, Barnaba advances and an- 
nounces the commencement of the Regatta. All hasten to the 
shore, while Barnaba remains to soliloquize on his plot to secure 
the lovely Gioconda. Gioconda enters, leading her mother. La 
Cieca, by the hand, and Barnaba hastily hides behind a column 
to watch them. La Cieca sings a beautiful air, blessing her 
daughter for her tender care, and this leads to a trio. 

Double-Faced RecorJ For title of oppoi/fc side j DOUBLE-FACED LA GIOCONDA RECORDS, page 137. 





Figlia che reggi tremulo pie (Daughter, My Faltering Steps) 

By A. Rossi Murinq, Soprano ; Lopez Nunes, Soprano ; 

(In Italian) *550ir 12-inch, $1.5O 

GIOCONDA (tenderly) : 

Place thy dear hand once more in mine 
Thy steps I'm safely guiding; 

Ernesto Badini, Baritone 

Daughter, in thee my faltering steps 

Find guidance and protection; 

I gratefully bless my loss of sight, 

That heightens thy affection ! 

While thou unto mankind thy songs are sing- 


Here recommence thy daily life, 
In calm contentment gliding. 
BARNABA (aside) : 

With fiercest joy my heart would be 


If in my net she were securely captured! 
The wildest ecstafies within me waken! 
Beware thee, moth, if in my net thou'rt taken! 


Heav'n my ceaseless pray'rs their flight are 

For thee I pray and render thanks to Fate 

That left me sightless, but not desolate! 

Gioconda leaves to seek 
Enzo, but Barnaba stops her 
and boldly declares that he 
loves her. She shudders with 
an instinctive aversion, and 
bids him stand aside. He at- 
tempts to seize her, but she 
eludes him and makes her 
escape, leaving the spy furious 
and planning revenge. 

The people now return 
from the Regatta, bearing the 
victor on their shoulders. 
Barnaba, seeing the defeated 
combatant, Zuane, conceives 
a plan to deprive Gioconda of 
her mother, thus leaving him 
free to carry out his plans. 
He takes Zuane aside and tells 
him that the blind La Cieca is a witch who has cast a spell over him, causing his defeat. 
The old woman is being roughly handled by Zuane and his friends when Enzo suddenly 
appears and protects her, holding the mob at bay. 

Alvise, Chief of the Council, enters with his wife Laura, formerly betrothed to Enzo. 
Laura pleads for Cieca, and she is protected by Aloise. The blind woman voices her grati- 
tude in this lovely song, which is familiar to most concert- goers. 

Voce di donna (Angelic Voice) 

By Louise Homer, Contralto (In Italian) 851O4 12-inch, $3.OO 

Although the part of the blind mother, La Cieca, has never been 
sung by Mme. Homer, she being usually cast for Laura (the superb 
lady of Venice and rival of Gioconda), this beautiful air has always 
appealed to her. It is considered the finest single number in 
Ponchielli's work, and is undoubtedly one of the loveliest gems in 
this or any other opera. 

Certain it is that no Cieca of present memory has ever delivered 
this romance with such richness of voice and such touching pathos. 
This beautiful passage 


P **.. pr~ 

ro u rio 

tkff. Kommtt it 

which is sung as La Cieca presents the rosary, is perhaps the most 
effective part of the aria. 

Mme. Homer's singing of this Voce di donna makes this record 
one of the gems of the Victor's fine production of La Qtoconda, and it 
should form part of every opera collection. 

* Double-FaceJ Record For title of opposite *iJe xe DOUBLE-FACED LA GIOCONDA RECORDS. t>age 137. 


copvr OUPONI 




Thanks unto thee, angelic voice, 
My fetters asunder are broki 11 ; 
I cannot see the face of her 
By whom those words were spoken. 
(Takes the rosary from her belt.) 

This rosary I offer thee no richer boon pos- 

Deign to accept the humble gift, 'twill bring 
to thee a blessing, 

And on thy head may bliss descend; I'll ever 
pray for thee! 

All go into the church except Enzo, who stands gazing after Laura, having recognized 
Us former love. Barnaba approaches him and tells him that Laura plans to visit the Genoese 
noble's ship that night. Enzo, whose love for Laura has revived at the sight of her, is 
c.elighted at this news, and forgetting Gioconda, he returns to his ship. 

This scene has been put by Verdi into the form of a dramatic duet, sung here by Conti 
and Badini, of the La Scala forces. 

EnZO Grimaldo (Duet Enzo and Barnaba) 

By F. Conti, Tenor, and E. Badini, Baritone 

(In Italian) *45033 lO-inch. $1.00 

BARNABA (approaching Enso) : 

Enzo Crimaldo, 

Prince of Santa Fior, thou art pensive. 
ENZO (aside) : 

I am discovered ! 

What magic stupor steals away thy senses? 

"J'is of the Lady Laura, Alvise's wife, thou'rt 

ENZO (astonished) : 

Who art thou? 
BARNABA (impressively) : 

I know all ; 

Can penetrate thy thoughts, however secret. 

'1 hy birthplace was Genoa! 

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

I am Dalmatian, Enzo Giordan. 

For others, but not for me. Proscribed thnu 
wert by Venice, 

Yet hither thou art led, by chainless impulse, 

Thy life to peril. Thou didst love a maiden 

Yonder, in thine own Genoa, but she another's 
bride became. 



I have pledged my faith to Gioconda. 

Poor wand'ring ballad-singer! 

Her thou dost love as sister, but Laura as thy 

Thou hadst all hope abandoned, dreamed not 

to see her features, 

I'.ut here, under her velvet mask, thy beau- 
teous angel saw thee 
And recognized thee. 
FNZO (joyfully): 
Oh, happiness! 

Love sees through disguises. 

All this night will her husband stay at the 

Doge's palace. 
With the Great Council. Laura shall be on 

board thy vessel. 

Love's sweetest consolations await thee! 

Ah, with what joy my heart is filled, 

Fortune at last is kind! 

But who art thou, oh, gloomy messenger of 

1' \RNABA: 

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

(Ot>ens his dress and slioii'S the letters "C. X." 
(Council of Ten) embroidered in silver on 
his rest.) 
F.N7n (starting back): 

Oh, horror! 
BARNABA (fiercely) : 

To thy doom at once I could bring thee, but 
I spare thee. 

Gioconda loves thee, hates me fiercely; 

I have sworn to crush her heart. 

Enzo's death would little serve me; 

She must learn how false thou art. 
ENZO (aside): 

Kind Heaven, to her thy mercy show, 

Save her from grief and pain; 

I!nt all, sweet Laura, my adored, 

Bring to my arms again! 
BARNABA (to Enso) : 

Go! not a moment lose. 

Spread thy white sails to the skies, 


I can my triumph read 

Jn each glad glance of thine eyes! 
ENZO (going) : 

When the dark night falls, 

On board my ship I shall await my Laura. 
BARNABA (sneeringly) : 
' Good luck attend you! 


* Doubtc-Faced Record For title of opoositeiiJc see DOUBLE-FACED LA GIOCONDA RECORDS, page 137. 



Barnaba then writes to Alvise that his wife plans to elope with Enzo. He speaks the 
words aloud as he writes, and is heard by Gioconda, who is overcome at this evidence of her 
lover's faithlessness, and heartbroken, enters the church with her mother. 

The act closes -with a famous dance, the Furlana, played here by the famous Orchestra 
Sinfonica of La Scala. 

Furlana (Finale, Act I) 

By Italian Orchestra *45O33 lO-inch, $1.0O 


SCENE A Lagoon near Venice it is night. Enzo's ship is shown at anchor, 

with sailors grouped on deck,, resting 

Barnaba, disguised as a fisherman, appears in his boat, hails the sailors, and sings them 
a merry ballad, Ah, pescator! 

Ah, pescator affonda Tesca (Fisher Boy, Thy Bait Be Throwing!) 

By Pasquale Arnato, Baritone, and Metropolitan Opera Chorus 

(In Italian) 87O93 10-inch, $2.OO 
By Ernesto Badini, Baritone, and Chorus (In Italian) *45O1O 10-inch, l.OO 

This is one of the most 
popular numbers in the opera, 
its beautiful melody and 
rhythmical swing being a wel- 
come relief in the midst of so 
much that is gloomy. It is 
superbly sung here by Amato, 
one of the greatest of Barnabas, 
who is assisted by the Metro- 
politan Opera Chorus. A 
popular priced rendition is 
furnished by Badini and the 
chorus of La Scala. 

After taking careful note 
of the strength of the crew, 
Barnaba sends his aide for the 

Eolice galleys and leaves in 
is boat. 

Enzo now appears, and is 
greeted by his men with en- 
thusiasm. He is in a gay hu- 
mor, thinking of Laura's expected visit, and bids the sailors go below while he keeps the 

Left alone, he gives expression to his joy in this great aria, one of the most beautiful 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 

By Florencio Constantino, Tenor 

By Franco de Gregorio, Tenor 

(In Italian) 88246 12-inch, *3.0O 
(In Italian) 64O7O lO-inch, l.OO 
(In Italian) *45O2Z 10- inch, l.OO 

ta ffm^^^ nry. * > ^, *~*-- 

Especially noticeable 
is this fine passage "if v ' * 7 .. ., 

ic nl l b. cloDel-b ri U dl r-mo- re. del 

tomt to t*t **JJ ft Tkat mould mail Ititc all. tvomld mike titg ill I mjr oumf 

which the tenor delivers in splendid style, fairly thrilling his hearers. 

Other fine records of this effective number, by Constantino and de Gregorio, are also 

* Doublt-Faad Record For title of opposite side xc DOUBLE-FACED LA GIOCONDA RECORDS, page 137. 




I leave 11 and (it-can! yon ethereal veil 

K radiant as a holy altar, 

My angel, will she fonit- 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! 

Oh come, taste the kisses that magic bliss 
impart ! 

Oh come! Oh come! Oh come! 

Laura now appears, and after a rapturous embrace, the lovers 
plan to set sail when the wind rises. Enzo goes below to rouse the 
men, when Gioconda, disguised, enters and denounces 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 !) 

By Elena Ruszcowska, Soprano, and Bianca 
Lavin de Casas, Mezzo-Soprano 

(In Italian) 88271 12-inch, $3.OO 

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, summoned by Barnaba is ap- 

CONSTANTINO AS ENZO Enzo appears and is greeted with reproaches by Gioconda, who 

tells him that the war galleys, led by Barnaba, are coming to capture the ship. Enzo, stung 
by Gioconda's scorn, and heartbroken at the loss of Laura, fires his ship to prevent it falling 
i nto the hands of Barnaba. 


SCENE A Room in the Palace of Alvise. Night 

Alvise is discovered alone, in violent agitation, planning the death of Laura because of 
her attempted elopement with Enzo. 

He sings a dramatic air, picturing his fearful revenge. 

Si ! morir ella de" \ (To Die is Her Doom !) 

By Arnleto Galli, Bass (In Italian) 

*55019 12-inch, 51.5O 

ALVISE (in violent agitation) : 

Yes, to die is her doom ! My name, my honor, 

Shall not with impunity be disgraced. 

From Badoers, when betrayed, 

Pity 't were vain to hope. 

Though yesterday upon the fatal isle 

She 'scaped this vengeful hand, 

She shall not escape a fearful expiation. 

Last night a sharp poniard should have 

pierced her bosom ; 
This night no poniard I'll use; she dies by 

poison ! 

(Pointing to the adjoining room.) 
While there the dancers sing and laugh, 
In .ciddy movements flvinir. 
Their mirthful tones shall blend with groans, 

Brcath'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, 

Tn 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! 

Kxtilt. 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 as Alvise 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. 

* Double-FaceJ Record For title of opposite side xe DOUBLE-FACED LA GIOCONDA RECORDS, page 137. 



Dance of the Hours 

By Victor Orchestra 31443 12-inch. $1.00 

This is one of the most beautiful of ballets and symbolizes, 
like many other modern Italian ballets, the struggle between the 
conflicting powers of light and darkness, progress and ignorance. 
The music is fascinating in the extreme, and is one of the most 
popular parts of the opera. 

Enzo is present among the maskers, and when Barnaba whis- 
pers in his ear that Laura is dead, he unmasks and denounces Alvise, 
who causes his arrest. The great finale begins with Enzo's solo, 

Gia ti vedo (I Behold Thee) 

By F. Lotti, Soprano ; de Gregorio, Tenor ; 
Badini, Baritone ; and Chorus 

(In Italian) *55O19 12-inch, $1.5O 

The emotions of the various characters may be understood 
by the quotations below. 
ENZO (aside) : 

1 behold thee motionless, pallid, 
Shrouded in thy snowy veil ! 
Thou art dead, love! thou art dead, love! 
Ah, my darling, hopeless I wail. 
The sharp axe for me is waiting, 
Opens wide a dark abyss; 
But to thee shall torture guide me, 
Soon we'll share celestial bliss! 

Sadly fall the tear-drops, 
In the silence of despair; 
Break, oh heart! sad eyes, rain torrents! 
Fate, thy sharpest doom prepare! 
BARNABA (aside to Gioconda) : 

Yield thee, yield thee! all around thee 
See what pow'r I have for ill! 
Well may st thou fear me; pow'rs infernal 
To ill deeds attract me still! 
GIOCONDA (aside to Barnaba') '. 

Do thou save him, bring him safe out there, 
Close by the Redentor, and then 
Myself I will surrender 
To thee, fearfulest of men. 
BARNABA (to Gioconda) : 

Though despair may prompt thy offer, 
I accept it for my part. 
And the bitterest fate will welcome, 
Once to press thee to this heart. 




Thou art weeping, O Gioconda, 

Let me fold thee to my breast. 

Never love, like love maternal, 

Can encounter every test. 

'Mid the splendor this fete surrounding, 

Thou art unwelcome, cavalier; 

But, ere long, new scenes of horror 

Shall from thee attention claim. 

Thou shalt soon see if I am watchful 

Of the honor of my name! 


To complete his revenge, 
Alcise now draws aside a cur- 
tain and shows the guests the 
body of Laura, acknowledging 
that he took her life. Horror 
and indignation are expressed 
by those present, and Enzo 
attempts to kill Alvise. He 
fails, is seized by the guards, 
and is led away to prison as 
the curtain falls. 


SCENE A ruined palace on an 
island in the Adriatic. Venice 
visible in the distance 

To this desolate island 
Gioconda has managed to bring 
the unconscious Laura, in an 
endeavor to save her. As the 

* Double-FaceJ Record For title of opposite side see DOUBLE-FACED LA GIOCONDA RECORDS, page 137. 



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 (Double-Faced See below) (In Italian) 55O15 12-inch, $1.50 

For a moment the unhappy girl is tempted to complete Aloise's work by giving the poison 

to Laura, but banishes the temptation and throws herself down in a passion of weeping. 

(.'ioconda 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. 

,ni,l retains il to the end): May Heaven in mercy withhold condein- 
Yi-s. I keep to my compact; we both s\v<m- nation, 

to keep it, And pardon us both ! 

Barnaba is overjoyed and begins the final duet, the most dramatic scene in the opera. 

Vo' farmi piu gaia (ThotTrt Mine Now !) 

By A. Rossi Murino, Soprano, and E. Badini, Baritone 

(In Italian) 55017 12-inch, $1.5O 

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- (She stabs herself in 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! BARNABA (in horror): 

'1 hou soon shall in splendor Gioconda behold! Ah, stay thee! "Tis a jest! 

For thee I am braiding my clustering tresses (tt'ith fiendish joy.) 

With purple and gold! Well, then, thou shall hear this, 

(.Concealing her terror, she begins to adorn And die ever damned! 

herself.) (Bending over the corpse of Gioconda, and 

With glittering jewels, the gay tinsel worn screaming furiously into her ear.) 


1'y madcaps theatrical, cover'd I'll be: I HAVE STRANGLED HER! 

Now list to the song that this ardent young siren (H'i'/d/v.) 

Will sing unto th : She hears me not! 

I keep to my compact, no falce oath was mine; (With a cry of half-choked rage he rushes 

(Changing her tone.) from the ruin. The curtain falls.) 


Figlia che reggi tremulo pie (Daughter. My Faltering Steps) 1 

By Murino, Nunes and Badini (In Italian) \ , -_. . 
Vo' farmi piu gaia (Thou'rt Mine Now) 

By A. Rossi Murino, Soprano; E. Badini, Baritone) 
jGii ti vedi (I Behold Thee) By F. Lotti, Soprano: | 

de Gregorio, Tenor ; E. Badini. Baritone (In Italian) 55019 12-inch. 1.5O 
! Si ! morir ella de' ! By Amleto Galli, Bass (In Italian)} 

i Suicidio! (Suicide Only Remains) By Elda Cavalieri\,, 

Mefistofele L' ultra nolle By Elda Caoalieri] f 5501 5 12 - mch - 1 ' 50 

Selection By Arthur Pryor's Band 31384 12-inch, l.OO 

Opening Chorus "Feste ! pane!" La Scala Chorus) ,,._., 

Barcarola " Pescator affonda 1'esca " By E. Badini/ 4 ' mch< IXIC 

Enzo Grimaldo By Conti and Badini (In Italian)} . , _, 

Furlana (Finale. Act I) By Orchestra Sinfonicaf 45033 Mnch ' l ' 

| Cielo e Mar ! By Franco de Gregorio (In Italian) ) 

I Manon LescautAh, Manon f mi tradisce [45O27 lO-inch. l.OO 

By Franco de Gregorio, Tenor (In Italian)} 





( Gol-ler-dahm' -er-ung) 



Words and music by Richard Wagner. First produced at Bayreuth, August 17, 1876, 
with Materna and Unger. First American production at New York, January 25, 1888, with 
Lehmann, Seidl-Krauss, Traubman, Niemann and Fischer. 



GUNTHER (Goon'-ter) Bass 

HAGEN (Hati- gen ) Bass 


GUTRUNE (Coot-troon -eh) Soprano 

WOGLJNDA, } \ Soprano 

WELLGUNDA, Rhine- Nymphs \ Soprano 

FLOSSHILDE, J [Contralto 


SCENE The Walkure's Rock 

The Dusk of the Gods, the last part of the tetralogy, consists of three acts and a prelude. 
In the prelude we once more see Briinnhilde on the rock, where she had lain during her 
magic sleep, and where Siegfried had found her and taken her as his bride. Siegfried, after 
a brief period of domestic happiness in a cave near by, decides to leave her for awhile in 
search of adventures, and gives her the Nibelung's Ring as a pledge of faith. This ring he 
had obtained -when he slew the dragon Fafner, and as the opera progresses it will be seen 
that he is doomed to suffer the consequences of the fatal curse, invoked on every possessor 
of the Ring by Alberich, from whom it was forcibly taken by Wotan. 




As the curtain rises Briinnhilde and Siegfried come out of the cave, 
Siegfried in full armor and the Valkyrie, leading her horse by the 
bridle. She begins her tender address of farewell : 

Hid I not send tlicc, sweetest hero, to fresh exploits, frail were my love. 
But one misgiving fights against it, for fear not wholly thy heart I 

I gave to thee all that gods had taueht : heavenly runes, the richest 

hoard; but my restoreless maidenhood's strength snatch'd thou from 

UK, who but seek to serve thee. 
My wisdom fails, but good will remains; so full of love, but failing 

in strength, thou wilt despise perchance the poor one, who having 

giv'n all, can grant thee no more! 

Zu neuen Thaten (Did I Not Send Thee ?) 

By Johanna Gadski, Soprano 

In German 87O98 10-inch, $2.0O 

This lovely air is delivered by Mme. Gadski -with tenderness and 
feeling, and the record is an unusually fine example of the perfect 
recording of a beautiful soprano voice. 


SCENE Castle of King Cunther 

Siegfried joyously sets out on his journey and soon comes to the 
Court of King Gunther on the Rhine, where dwells also Gunlher's sister 
Gulrune, and their half-brother Hagen, who is a son of Alberich, the 
dwarf. Hagen knows the history of the Ring and is anxious to re- 
store it to his father, so he artfully tries to win the help of Gunther. 
Knowing that the hero is approaching the castle, he outlines this 
scheme, which is to give Siegfried a drink which will make him 

forget Briinnhilde and fall in love with Gutrune, after which Gunther can win the peerless 
Itriinnhilde for himself. Gunther is tempted, and when Siegfried's horn announces his approach 
l.e consents. 

Siegfried greets them as friends, and when offered the magic drink he accepts and 
immediately loses all recollection of Briinnhilde. Seeing the lovely Gutrune, who stands with 
lowered eyes, he exclaims: 

SIEGFRIED (gazing on Gutrune with a kindling 


Thou fair one, whose beams 
My breast have enflamed, 
\Vhy fall thus thine eyes before mine? 
(Gutrune looks up at him, blushiny.) 
Ila! sweetest maid! 
Screen those bright beams! 
The heart in my breast 
Burns with their strength. 

Gutrune, trembling with emotion, leaves the 
Hall, and Siegfried, gazing after her, asks Gunlher 
if he has a wife. The King, prompted by Hagen, 
replies that he knows of one he would wed, but 
that she is surrounded by a magic fire which he 
c.mnot pass. Siegfried seems trying to remember 
h:s past, but fails, looks confused, then suddenly 

SIEGFRIED (with a sudden start): 

I fear not the fire, 

And thy bride fain will I fetch; 

For thy own am I 

And my arm is thine: 

If Gutrune for wife I may gain! 

In order that Briinnhilde may think that it is 
Gunther who has won her, it is agreed that 
Siegfried shall, by means of the Tarnhelm, change himself into Gunther's form. Thinking 
only of his reward, Siegfried eagerly departs. 





SCENE II The Walkure's Rock 

The scene changes to the Valkyrie Rock again, -where 
Briinnhilde 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 Gunlher. He announces that he is Gunther come 
to win her for his wife. Briinnhilde, in horror and despair, holds 
up the Ring, exclaiming : 


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 Briinnhilde 
into the cave the curtain falls. 



SCENE The Rhine near Gunther 's Castle 

Hagen and Alberich discuss the progress of the plot to regain 
the Ring. Hagen swears to accomplish it, and Alberich vanishes. 
Siegfried, in his own form, but wearing the Tarnhelm, arrives, 
greets him cheerily and says he has gained Gunther 's wife for 
him, but that they are returning home more slowly. Gulrune 
comes to meet Siegfried, and a long duet follows, after which they go to the Hall. Hagen 
sounds his horn to summon the vassals and bids them prepare for a feast, as Gunther has 
taken a bride. 

Gunther now arrives in his boat, leading Briinnhilde, who is pale and downcast. Siegfried 
and Gutrune come out to meet them and Briinnhilde sees Siegfried in his rightful form. She 
recoils in horror at seeing him 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. Briinnhilde, beginning to 
comprehend what has occurred, denounces him, and Gunther, beginning to doubt -whether 
Siegfried had kept his oath to respect Briinnhilde as a brother's bride, looks threateningly at 
him. Siegfried, eager to set himself right, swears the oath of the spear. 

The vassals make a ring round Siegfried and Hagen. Hagen holds out his spear ; Siegfried 
lays two fingers of his right hand on its point. 


Haft of war, hallowed weapon! 

Hold thou my oath from dishonor! 

On this spotless spear-head 

I speak the oath: 

Spear-point, aid thou my speech ! 

Where steel e'er can strike me, 

Strike thou at me: 

VVher'er death can be dealt me 

Deal it to me, 

If fhe is really wronged. 

If I have injured my friend! 

Briinnhilde, unable to contain herself at this evidence of Siegfried's baseness, repeats his 
oath and denounces him. 

HelleWehr! Heilige Waffe ! (Haft of War! Hallowed Weapon) 

By Johanna Gadski, Soprano (In German) 87O52 lO-inch, $2.OO 

Siegfried looks at her in pity, thinking her mad, and goes to the Hall -with Gulrune. 
Briinnhilde, Hagen and Gunther remain behind, the latter in deep depression. Hagen tells 
Briinnhilde that he will avenge her wrongs. " Thou ? " says Briinnhilde, contemptuously. 


One angry glance of his glittering eyeball 
That, e en through his fraudulent shape, 
Fell unshadowed on me, 
Would subdue thy most mettlesome daring! 

She then tells him that only in his back is he vulnerable, and that no magic pro- 
tection -was placed there because she knew that never -would he retreat. Gunther now 
rouses himself and the three decide that Siegfried must die for his treachery. 


SCENE I A Wild Valley near the Rhine 
The Rhine nymphs rise to the surface of the water and sing of the Rhinegold. They 



spy Siegfried 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 as he watches them swim away, 
.says lightly : 



Alike on land and water. 
Woman's ways I've learnt to know. 
The man who resists their smiles 
They seek by threats to frighten. 

And when these both are scorned 
They bait him with bitter words. 
And yet were Gutrune not my wife, 
I must have promptly captured 
One of those pretty maids! 

Hunting horns are heard and Siegfried gayly answers with his own. Gunther, Hagen and 
the hunters descend from the hill and greet him. They camp and begin to eat and drink. 
Siegfried tells them of his adventure with Mime and the Dragon. Hagen gives him a magic 
drink which brings back his memory and he goes on to tell of the forest bird and his quest 
of the lovely Brunnhilde. Gunther begins to listen attentively, but when Siegfried reaches this 
part of his narrative, Hagen plunges his spear in Siegfried's back and he falls. Gunther, in 
pity* for the dying man, leans over him, and Siegfried faintly says : 


Rriinnhilde! Heavenly bride! 

Look up! Open thine eyelids! 

What hath sunk thee once more in sleep? 

\Yho drowns thee in slumber so drear? 

The wak'ner came, his kiss awoke; 

Again now the bride's bonds he has broken; 

Enchant him Briinnhilde's charms! 

Ah! now forever open her eyelids! 

Ah! and what od'rous breeze is her breath! 

Thrice blessed ending 

Thrill thnt d'smays not 

Brunnhilde beckons to me! (He dies.) 

SCENE II Hall in Gunther' s Palace 

Siegfried's body is borne mournfully to the Hall, where the weeping Gutrune meets them 
and clasps her husband's lifeless form. Hagen now demands the Ring as his booty, but 
Qunther refuses to yield it and they draw their swords, Qunther being killed by Hagen. 

Hagen now attempts to withdraw the Ring from Siegfried's finger, but as he approaches, 
the arm of the dead hero is raised threateningly. All recoil in terror and Brunnhilde ap- 
proaches. She gazes long and sadly at Siegfried's face, then orders a funeral pyre erected to 
burn the hero's body. The vassals obey and build a huge pyre on the bank of the Rhine, on 
which the body is laid. Brunnhilde summons two ravens from the rocks, and begins her 
great Immolation Scene. 



Fliegt heim (Immo- 
lation Scene) 

By Johanna Gadski, 
Soprano (In German) 
88185 12-inch, $3.0O 

She bids the ravens fly 
to Lof(i, god of fire, that he 
may complete the downfall 
of the gods by burning 


Draweth near in gloom 
The Dusk of the gods. 
Thus, casting my torch, 
I kindle Valhalla's tow'rs! 

She kindles the pile, 

ACT II AT BAYREUTH ^.^ ^^ rap { dly> and 

the two ravens disappear in the distance. Briinnhilde's horse is brought in, and she takes 
off the bridle. 

BRL ; NNHILDE (to the horse): 

Grani, my horse, greet thee again! Feel how my breast too hotly doth burn; 

Wouldst thou know dear friend, Sparkling fureflame my spirit enfolds. 

What journey we follow? O, but to clasp him 

By flame illumined lies there thy lord, Recline in his arms! 

Siegfried, the star of my life. In madd'ning emotion 

To meet with thy master neighest thou Once more to be his! 

merrily? Heiajaho! Grano! Greet we our hero! 

Lo! how the flame Siegfried! Siegfried! see! 

Doth leap and allure thce! Sweetly greets thee thy wife! 

She swings herself on the steed and rides straight into the burning pile, which flames 
up mightily, half consuming the Hall itself. The Rhine then rises and puts out the flames, 
and on the surface are seen the Rhine daughters, who seize the Ring from the embers. 
Hagen, -who has been anxiously watching, now rushes into the waters, crying : " The Ring is 
mine ! " The nymphs seize him and drag him down in the flood. An increasing red glow- 
is seen in the sky, and Valhalla appears in flames, with the gods and heroes calmly await- 
ing their doom. As the flames envelop all, the curtain falls. 




Book by Barbier and Carre, based on Shakespeare's play. Music by Ambroise Thomas. 
First production March 9, 1868, at the Paris Academic. First London production June 19, 1869. 


HAMLET Baritone 

CLAUDIUS, King of Denmark Bass 

LAERTES, Polonius" son Tenor 

Ghost of the dead King Bass 

POLONIUS, Chancellor Bass 

GERTRUDE, Hamlet's Mother, Queen of Denmark Mezzo-Soprano 

OPHELIA, daughter of Polonius Soprano 

Lords, Ladies, Officers, Pages, Peasants, etc. 

Scene : Elsinore, in Denmark. 

The story of Hamlet, Prince of Denmark, is so -well known that it -would seem hardly 
necessary to describe the plot at any length. However, for operatic purposes the librettists 
were obliged to modify and reconstruct certain portions of the tragedy, and the revised ver- 
sion will be briefly sketched here. 

The present King of Denmark, Claudius, has seized the throne, after having murdered 
:he late King, Hamlet's father. At the opening of the opera Hamlet knows nothing of the 
"nurder, but is highly incensed at his mother for having married Claudius before she had 
been two months a widow. 

SCENE 1 A Room of State in the Palace 

The new Queen is being presented to the Court at a public reception. She is annoyed 
because Hamlet shows his displeasure by absenting himself from the ceremony. After the 
presentation is over, Hamlet enters slowly, in a melancholy mood. 

HAMLET: Ah! vain indeed is grief! 

Affection, too, doth seem short lived indeed. 

My much-loved father but two months dead: 

And yet, unto another wedlock, my mother hath consented; 

"Frailty, thy name is woman." 

His bitter musing is interrupted by the entrance of Ophelia, his betrothed. She has heard 
that Hamlet intends to leave the kingdom and asks if he has ceased to love her. In the beautiful 
love duet he reassures her, and tells her why the palace has become intolerable to him. 



Nega se puoi la luce (Love Duet) 

By Maria Galvany, Soprano, and Titta 
Ruffo, Baritone (In Italian) 925OO 

12-inch, $4.OO 


Celestial maiden, 'tis not thee I' chide, 

The purity of thy mind doth speak through 
those sweet eyes! 

"Doubt that the stars are fire, 

Doubt that the sun doth move, 

Doubt truth to be a liar; 

But never doubt my love." 

It may be so, but such excess of love 

Hath no enduring power; 

Thou couldst not leave me to my sorrow, 

Did thy heart know such love as mine! 

Ye heavenly powers, celestial choir, 

That aye surround the eternal throne, 

From your bright homes above, 

Bear witness to my truthful love. 

Beloved Ophelia! 

In thee this heart doth trust! 

My heart doth beat for thee alone! 

Ah! never will we part! 

SCENE II Esplanade of the Palace. It is Night 
Horatio and Marcellus are discovered excitedly discussing the 
PHOTO DU su appearance of the spectre of the murdered King. They greet Hamlet 

RENAUD AS HAMLET a nd tell him of the ghostly visitor, which appeared just at mid- 
night. Hamlet is much affected, and suggests that as it is nearly 
twelve the ghost may come again. 

The clock strikes, and the figure of the murdered King appears. Hamlet speaks to the 
spectre : 


Thou spirit dread, thou shade revered, Wherein we saw thee peacefully entombed, 
Hear thou thy hapless son's lament. Hath op'd his ponderous and marble jaws, 

In pity answer, speak to me! To cast thee forth again? 

Tell me why the sepulchre, 

The ghost motions Horatio and 
Marcellus to withdraw, and when they 
are gone he tells Hamlet of the murder 
and bids him become the avenger, but 
asks him to leave his mother's pun- 
ishment to God. Hamlet is much 
affected and exclaims : 

Yes! Shade revered! Thy bidding 

shall be done. 
O light, O sun, O glory, O love to me 

so dear, 
Farewell! Farewell! 

The ghost, before disappearing, 
pauses at the back of the stage, and 
stands with one hand extended toward 
Hamlet; at this moment Horatio and 
Marcellus re-enter, and appear terror- 
stricken at the spectacle before them. 
Trumpets and joyous music are heard 
without as the curtain falls. 


SCENE Garden of the Palace 
Ophelia enters and is much dis- 
turbed because Hamlet seems to avoid "" PICIO ' 1 HAMLET AND THE GHOST 



her. The Queen finds her weeping, and after questioning her says that Hamlet has also 
acted strangely toward his mother and fears his reason is affected. 

Hamlet, seeking to entrap the King in some manner into betraying himself, has engaged 
i troupe of players to present a play which shall enact a similar crime. The King and 
Queen are delighted that he seems to seek amusement, and gladly accept his invitation to 
witness the play. 


When the royal pair have departed, the players come on and are instructed by Hamlet 
i n the plot he has conceived. The Prince then calls for wine and bids the players be merry, 
offering to sing them a drinking song. 

O vin, discacciala tristezza (Brindisi) ("Wine, This Gloom Dispel) 

By Mario Sammarco, Baritone (In Italian) 88312 12-inch, $3.0O 

By Emilio de Gogorza, Baritone (In French) 88180 12-inch, 3.0O 

By Titta Ruffo, Baritone, and La Scala Chorus (Italian) 92O37 12-inch, 3.OO 

By Francesco Cigada, Baritone, and La Scala Chorus *16572 lO-inch, .75 


O wine! the gloom dispel, 

That o'er my heart now weighs; 

Come grant me thine intoxicating joy; 

The careless laugh the mocking jest! 

O wine! Thou potent sorcerer, 

Grant thou oblivion to my heart! 

Yi--, life is short, death's near at hand, 

We'll laugh and drink while yet we may. 

Each, alas, his burthen bears. 

Sad thoughts have all ; grim thoughts and 


But care avaunt, let folly reign, 
The only wise man he, 
\Vho wisdom's precepts ne'er obeys! 
(The curtain falls on a scene of merriment.) 

SCENE II The Palace Hall. On one side a stage has been erected 

The court assembles and the play begins, Hamlet placing himself where he can watch 
the King closely. As the action proceeds the guilty man shows unmistakable evidence of 
agitation, and finally in a rage he orders the players away. Hamlet rushes forward and 
denounces the murderer, but the Court believes his accusation to be the ravings of a mad- 
rian, and all leave the room as he faints in Horatio's arms. 


SCENE The Queen's Apartments 
Hamlet enters and sings his farewell soliloquy. 

Monologo (Soliloquy) 

By Titta Ruffo, Baritone (In Italian) 92O42 12-inch, $3.OO 

This is Thomas' splendid setting of the well-known soliloquy and one of the most con- 

SDJCUOUS numbers in the opera. Although the librettists took many liberties with Shake- 

saeare s drama, they did not venture to alter such a well-known excerpt as this. Ruffo sings 

this famous monologue in a superb manner, delivering it with great dramatic power. 

* Double-FaceJ Record For titk of opposite side see DOUBLE-FACED HAMLET RECORDS, page 146. 



HAMLET: To be, or not to be, that is the question. 

To die, to sleep; perchance to dream; 

Ah! were it allowed me to sever 

The tie that binds me to mortality, 

And seek "the undiscovered country 

From whose bourne no traveler returns!" 

"Ay! to be, or not to be? 

To die, to sleep; perchance to dream." 

The Queen and Ophelia enter and plead with Hamlet to 
banish his wild imaginings. He sternly rebukes them, advises 
Ophelia to retire to a convent, and accuses his mother of being 
an accomplice. The ghost again appears, visible only to Hamlet, 
bids him spare his mother, and slowly disappears. The Prince 
conducts the Queen to the door, urging her to pray and repent. 


A rural scene near a lal^e. Willows line the shore 
Ophelia, driven insane by Hamlet's desertion of her, has 
wandered to the lake. She plays with a garland of flowers, 
and sings her wonderful aria, usually known as the Mad Scene, 
one of the most difficult of all florid compositions. 

Ballata d'Ofelia (Mad Scene) 

By Nellie Melba (In French) 88251 12-inch, $3.OO 
By Maria Galvany (In Italian) 88235 12-inch, 3.0O 
By Giuseppina Huguet (7/a//W)*35 180 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 
tells them childishly of the lark -which she heard at dawn, fol- 
lowing with a brilliant display of bird-like trills and staccatos. 

Ophelia then turns to the shepherds and asks them to listen 
to her song, a strange, sad melody, which is interrupted at 
intervals by wild laughter and weeping. Presently she seems 
to forget, and placidly plays with her flowers, until the magical 
siren's song is heard luring her to the water's edge, and she 
plunges in and floats away, singing of Hamlet's 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 The Churchyard 

Hamlet comes hither to attend the funeral of Ophelia. He 
sings his beautiful song to her memory and resolves to take his 
own life upon her grave. 

Come il romito fior (As a Lovely Flower) 

By Titta Ruffo, Baritone, and La Scala Chorus 

(In Italian) 92O64 12-inch, $3.OO 
CALV AS OPHELIA By Enrico Pignataro, Baritone 

(In Italian) *63424 10-inch. .75 

When the cortege has arrived, the ghost again appears and looks reproachfully on Hamlet, 
who stabs the King, and as the curtain falls the people, now convinced of their monarch's 
guilt, acclaim Hamlet as his successor. 




fBallata d'Ofelia (Mad Scene) By Huguet, Soprano (Italian)} 
\ Dinorah Si, carina caprettina By Giuseppina Huguet, Soprano I 

12-inch, $1.25 

JBrindisi By Francesco Cigada and Chorus (In Italian)} 

\ Ernani Festa da hallo By La Scala Chorus (In Italian) f 

(Come il romito fior By Enrico Pignataro (In Italian) 

\ Pallide Mammole Romanza By Lavin de Casas (In Italian) 


16572 10-inch, .75 
lO-inch, .75 


(Hahn'-sel oondt Gray'-tel) 




(Neen-yo ay Rce'-tah) (Han-sel and Cray' -lei) 


Text by Adelheid Wette. Music by Engelbert Humperdinck. 
First produced 1893, at Weimar. First American performance at 
the Metropolitan Opera House, New York, 1895. 


PETER, a broom-maker Baritone 

GERTRUDE, his wife Mezzo-Soprano 

HANSEL, I , . ,.,, / Mezzo-Sop rano 

GRETEL, i their chlldren \ Soprano 

THE WITCH who eats children Mezzo-Soprano 

SANDMAN, the Sleep Fairy Soprano 

DEWMAN, the Dawn Fairy Soprano 

It is now some seventeen years since Humperdinck's lovely fairy 
opera was brought out in America by Augustin Daly, and it has 
HUMPERDINCK since been firmly established in the reper- 

toire of every producer of grand opera. 
Hansel and Gretel has been called the Peter Pan of grand 

<pera; the audiences -who witness it being invariably delighted -with 

tiie childish joyousness and fairy charm of Humperdinck's work. 
This delightful opera is built upon the simple Grimm tale of 

Babes in I he 
Woods, and first 
suggested itself 
to the composer 
to amuse his sis- 
ter's children. It 
was afterward 
elaborated into a 
complete opera, 
which has be- 
come one of the 
most important 
and interestingof 
modern German 

Two German 

peasant chil- ALTEN AS GRETEL 

dren, Hans and 

Grelchen, are sent to the woods for straw- 
berries and get lost. The Sandman finds 
the babes and sings them to sleep, while 
angels and fairies watch over them. They 
are awakened by the Dew Man, and go 
for breakfast to the house of the IVilch, 
who plans to eat them ; but when she 
opens the oven to see if it is hot enough 
to cook Hans, she herself is pushed in by 




Several numbers from 
this interesting opera are pre- 
sented here, the first being 
the beautiful Prelude. 


By Arthur Pryor's Band 
31853 12-inch, $1.OO 
This Prelude is an es- 
pecially beautiful number. It 
opens with the Prayer of the 
Children, 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 forest, and upon this pas- 
toral scene there breaks in 
rudely the Hocus focus, or 
Witches' motive. The Prelude 
is brought to a close with a 
return of the Prayer theme. 

The delicacy and charm 
of this music is well brought 
out by the band under Mr. 
Pryor's masterly baton. 

The second number is 
Peter's air in Act I. 

Eine Hex' steinalt (The Old Witch) 

By Otto Goritz, Baritone (In German) 64164 10-inch, $1.OO 

This is sung when Peter returns to his cottage and finds the children gone after straw- 
berries. 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 gingerbread in her 

Mr. Goritz's admirable character study as Peter, the tipsy, kind-hearted and super- 
stitious father, is one of the features of the Metropolitan revival, and this odd number is 
given with much effectiveness. 

The third number is the famous Hexenritt, or Witch's Ride, which occurs in Act III. 

Hexenritt (Witch's Ride) 

By Albert Reiss, Tenor (In German) 64188 lO-inch. $1.OO 

The curtain rises, showing Hansel and Gretel still asleep in the wood. The Dawn Fairy 
shakes dewdrops on the children and wakes them just as the mist clears away, revealing 
the house of the Witch. 

The children approach cautiously and begin to nibble at the gingerbread fence, when 
the Witch comes out and casts a spell over them. She makes a good fire in the stove for 
the purpose of roasting the babes, and in her joy she rides wildly around the room on a 
broomstick, singing this unique Hexenritt. 

Mr. Reiss tries his best to conceal his naturally sweet tenor when delivering this 
number, but only partially succeeds. However, the Witch 's part is not intended to be 
sung but " squeaked," and as a humorous performance this rendition is a masterpiece. 



/ (French) 


(Her-ro-dee-ah 1 -d) 


Words by Paul Milliet and Henri Gremont, based on Gustave Flaubert's novelette, 
Herodias. Music by Jules Massenet. First production December 19, 1881, at the Theatre 
Je la Monnaie, Brussels. Produced in Paris at the Theatre Italien, February I, 1884, with 
Jean and Eduard de Reszke, Maurel, Tremelli and Devries. Revived at the Theatre Je la 
Qaite' in 1903, with Calve and Renaud. First German production in Hamburg, 1883, with 
Sucher, Krauss and Winkelmann. First London production 1904, under the title Salome, 
with the locale changed to Ethiopia by the British censor's orders. First American produc- 
tion at the Manhattan Opera House, New York, November 8, 1909, with Cavalieri, Gerville- 
R6ache, Duchesne, Dalmores and Renaud. 


HEROD, King of Galilee Baritone 

PHANUEL, a young Jew Bass 

VlTELLJUS, a Roman proconsul Baritone 



SALOME Soprano 

HERODIAS Contralto 


Merchants, Hebrew Soldiers, Roman Soldiers, Priests, Levites, Temple 

Servitors, Seamen, Scribes, Pharisees, Galileans, Samaritans, 

Sadducees, Ethiopians, Nubians, Arabs, Romans. 

The action place in Jerusalem Time, about 30 A. D. 



Herodiade was first produced in Brussels in 1881. 
The first Paris production of this opera was especially 
interesting because of the first appearance of Jean de 
Reszke as a tenor (he was formerly a baritone). It was 
not until 1904, however, that the opera was brought 
out in London (under the title of Salome) with Mme 
Calv6, Dalmores and Renaud in the leading roles. Mr. 
Hammerstein's brilliant production of this work was 
one of the events of a recent season at the Manhattan. 

The opera contains much of the best music 
Massenet has written ; and several of the most melodi- 
ous of these airs have been recorded by the Victor. 

The plot, while based on the well-known Scrip- 
tural story, does not follow the Bible or tradition very 
closely, and differs quite largely from Salome. 


Salome enters and is greeted by Phanuel, a young 
Jew, who is astonished that she should be in the Palace, 
and -wonders if she can be ignorant of the fact that 
Herodias is her mother. Salome tells him she is seeking 
John the Prophet, and in this air she describes how 
he had saved her from the desert -when a child, and 
how good and kind he is. 

II est doux, il est bon (He is Kind, He is 

By Emma Calve, Soprano 

(In French) 88130 12-inch. $3.00 

Salome goes out just as Herod enters searching for her. 
Herodias rushes in and demands John's head, saying that he 
had insulted her. John appears, denounces them both and 
drives them out, terrified. Salome enters and tells John of her 
love for him, but he bids her turn to God. 


Herod lies on his luxurious couch, while attendants sing to 
him. He can think of no one but Salome, and bids the slaves 
dance to distract his mind. A love potion is given him by a 
slave, who says it will make him see the face of the one he loves. 
He then sings the famous Vision fugitive, considered the 
most beautiful of the airs in the opera. 

Vision fugitive (Fleeting Vision) 

By Emilio de Gogorza. Baritone 

(In French) 88153 12-inch. $3.0O GER^E-REACHE AS HERODIAS 


Herod describes the vision 
of Salome which haunts him 
night and day, and declares that 
to possess her he would gladly 
surrender his soul. He drinks 
the love potion, and falls on the 
couch in a delirious sleep. 

The scene changes to the 
great square at Jerusalem, where 
Herod receives messages from 
the allies, and denounces Rome. 
Herodias enters and announces 
that the Roman general, Viiellius, 
is approaching. The people are 




terrified, but Vitellius declares that Rome desires the favor of the Jews and will give back the 
Temple of Israel. 

John and Salome enter and Vitellius is surprised at the honor paid to the Prophet. 
Herod gazes with eyes of love at Salorm, while Herodias watches her jealously. John 
c enounces Vitellius as the curtain falls. 


The third act begins in Phanuel's house. He is gazing at the city, -which lies silent 
under a starry sky, and prophesies the fate which is to overwhelm it. 

Air de Phanuel (Oh, Shining Stars) 

By Marcel Journet. Bass (In French) 74152 12-inch, $1.50 

He calls upon the stars to tell him what 
manner of man is this John, who speaks with 
such authority. " Is he a man or a god ?" he 
cries. Herodias enters, much agitated. Phanuel 
inquires what has brought the Queen to his 
house, and she cries, "Vengeance on the woman 
who has stolen Herod's love!" He reads her 
fate by the stars, and sees nothing but blood 
in the horoscope. She asks him about her child, 
lost so long ago, and he takes her to the window 
and shows her Salome, who is just entering the 
Temple. Horrified, Herodias cries, " My daugh- 
ter? Never! That is my rival !" 

The second scene shows the entrance of 
the Temple. Salome enters half fainting, having 
heard that John has been cast in prison, and 
falls exhausted at the prison entrance. Herod 
enters, and seeing Salome, breaks out into a mad 
declaration of his love, but she repulses him 
with horror, and tells him she loves another. 
He declares he will find this lover and kill him, 
and goes out as the people enter the Temple. 
John is brought in and denounced by the 
priests, but prays for them as they demand 
his death. Salome runs to John and falls at his 
feet, -wishing to die with him. Herod, seeing 

DUFRANNE AS PHANUEL that it is John whom Salome loves, orders them 

both put to death, and they are seized and 
borne out by guards as the curtain falls. 


In Act IV John and Salome are seen in prison. John admits that he loves her, and urges 
her to fly and save her life, but she refuses, declaring she will die with him. Priests appear 
a:id order John to death, and command Salome to be taken to the Palace by Herod's com- 
n.ands. She resists desperately, but is dragged away. 

In the second scene occurs the great festival in honor of the Roman Empire. Salome is 
b -ought in and again entreats to be allowed to die with John. She appeals to the Queen, 
spying, "If thou wert ever a mother, pity me." Herodias trembles at the word, and gazing 
0:1 her daughter, seems about to yield, when the executioner appears at the back with a 
d -ipping sword and cries, " The Prophet is dead." Salome gives a terrible cry and tries to 
k:ll the Queen, who screams: "Mercy! I am thy mother!" Salome recoils in horror, curses 
h jr mother and stabs herself. 


Herodiade Selection 

By Arthur Pryor's Band 31786 12-inch, $1.25 



(French) (German) 


(Leh Hueg -noh) (Dee Hoo-zen-olf -en) 

(Italian) (English) 



(Glee Oo-goh-not' -tih) 

(Hew-gen -ahls) 


Libretto by Scribe and Emile Deschamps. Score by Giacomo Meyerbeer. First pre- 
sented at the Academic in Paris, February 29, 1836. First London production July 20, 1848. 
First New York performance June 24, 1850. Some notable American productions were in 
1858, with La Grange, Siedenburg, Tiberini and Karl Formes; in 1872, with Parepa-Rosa, 
Wachtel and Santley; in 1873, with Nilsson, Gary, Campanini and del Puente; in 1892, with 
Montariol, de Reszke, Lasalle, Albani and Scalchi; in 1905, with Sembrich, Caruso, Walker, 
Plancjon, Scotti and Journet; in 1907, with Nordica, Nielsen, Constantino andi de Segurola; 
and the Manhattan production in 1908, with Pinkert, Russ, Bassi, Ancona and Arimondi. 


COUNT OF ST. BRIS, (Sah Be') ) - , ,. , , ( Baritone 

r^r\i TNI-T* r\r- MI-* /r-i->o /r . /\ f v^atnolic noblemen \ n . 

COUNT OF NEVERS, (Nev-airz ) j ( Baritone 

RAOUL DE NANGIS, (Rah-oof day Non-zhee'} a Protestant gentleman Tenor 

MARCEL, (Mahr-chet) a Huguenot soldier and servant to Raoul Bass 

MARGARET OF VALOIS, (Val-ooati) betrothed to Henry IV Soprano 

VALENTINE, daughter of St. Bris Soprano 

URBANO, (Ur-bah' -noh) page to Queen Margaret Mezzo-Soprano 

Ladies and Gentlemen of the Court, Pages, Citizens, Soldiers, Students, etc. 

Scene and Period : Touraine and Paris ; during the month of August, 1572. 



This opera is considered the composer's masterpiece, and is indeed a wonderfully 
imposing work, with its splendid scenes, beautiful arias and concerted numbers, and its 
thrilling dramatic situations. The romance as well as the fanaticism of the period are 
faithfully pictured, and the whole presented on a magnificent scale. The work, however, 
;s undeniably too long for a single evening's performance, requiring fully five hours when 
ijiven entire; and it is to be regretted that some courageous impresario does not prune 
,md pare it until it becomes of reasonable length. The 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 1572, and of the efforts of Margaret of Valois, the betrothed of 
Henry IV, to reconcile the disputes between the Protestants and the Catholics. 


SCENE I House of the Count of Nevers 

The overture is a short one and consists mainly of the Lutheran chorale, -which occurs 
;.everal times in various portions of the opera. The curtain rises, disclosing a magnificent 
salon in the house of Necers, 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 
^vith courtesy. Raoul arrives and makes a favorable impression on the guests. Nevers 
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 Valentine, St. Bris' daughter) from some drunken revelers. 
: n this air he tells of her beauty and the deep impression she made on him. 

Piu bianca Romanza (Fairer Than the Lily) 

By Enrico Caruso, Tenor (In Italian) 88210 12-inch, $3.OO 

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 

vhich a short introduction brings us to the romanza, beginning 

Andantino Grazioto. 

bian ca, del piu bian -co ve lo. 

. er far e'fn than fair tst lit y. 

Nothing could be more tender and beautiful than Caruso's singing of this number. 


Fairer far e'en than fairest lily. And in her eyes the love-light gleamed. 
Than spring morr 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 

Hurst upon my ravish'd J-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 shad I love none but thee!" 

A French rendition by M. Gautier, of the Paris Opera, is offered at a popular price, and 
he record is a most excellent one. 

The applause which greets this recital is interrupted by the entrance of Marcel, who 
nakes 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 
he guests call on Marcel for a song. The grim soldier offers to sing an old Huguenot song 
of warning both against Rome and the wiles of woman. 

Sirs. I will: an old Huguenot song against the snares of Rome and the 
dark wiles of woman. You, sirs, should know it well it is our battle 
song: you heard it at Rochelle. for there 'twas sung, 'mid the din of 
drums and trumpets; with a full accompaniment piff, paff, piff, paff, 
of bullets from our ranks, thus out it rang: 

*Double-FaceJ RecorJ For title of opposite side xe DOUBLE-FACED HUGUENOTS RECORDS, page 158. 



Piff! Paff! (Marcel's Air) 

By Marcel Journet, Bass 

(In French) 74156 12-inch. $1.50 


Old Rome and her revelries, 
Her pride and her lust, boys, 
The monks and their devilries, 
We'll grind them to dust, boys! 
Deliver to fire and sword 
Their temples of Hell, 
Till of the black demons 
None live to tell! 
Woe to all defilers fair! 
I ne'er heed their shrieking 
Woe to the Dalilahs fair, 
Who men's souls are seeking! 
Deliver to fire and sword 
Those children of Hell, 
Till of the black demons 
None live to tell! 


Piff, paff, piff; slay them all, 
Piff, paff, piff, ev'ry soul! 

Piff, paff, piff; paff; piff; piff, paff, piff, paff! 
All vainly for aid or for mercy they call ; 
No pity for them! No they die slay all! 
No, no, no, no, no, no, no; slay all! 


Journet *s portrayal of the grim, stubborn old serv- 
ant is a very fine one, and his rendition of the Piff, Paff is remarkable in its rugged force 
and stern simplicity. 

A servant of Neoers announces a veiled lady to see him and he retires to an adjoining 
room. Raoul catches sight of the lady through the window as she lifts her veil, and is 
astonished and grieved to recognize the beauty he had saved from the ruffians. 

A young page now enters, and in a lovely air, familiarly called the Page Song, 
announces that she has a message for one of the cavaliers present. 

Nobil Signori salute ! ("Noble Sirs, I Salute You) 

By Louise Homer, Contralto (In Italian) 851O7 12-inch, $3.OO 

This gay and brilliant cavatina is considered one of the most difficult of contralto num- 
bers. It begins with a long and very ornamental cadenza, followed by this graceful melody : 

Andantino Canlabile, con ffrazia. 


No - bil don-na e tan - to o n 
From a la dj/ fair and la 

che far lie-to un re 
For whose smiles a kin 

po - tria. 
tight woo. 

worked up with much spirit and reintroduced after a striking series of vocal figures sung 
on the -word "no." Mme. Homer's execution of this florid air exhibits well the great flexi- 
bility of her fine voice. 

Meyerbeer intended this part for soprano, but it is usually transposed and sung by a 


A most charming noble lady. 

Whom with envy kinys might view, 

\Yith a message here has charged me, 

Cavaliers, cavaliers, to one of you. 

I do not name him; but honor be 

Unto the good knicht, whoe'er be he! 

And until now. sirs, there ne'er hath been 

Mortal so favor'd by beauty's queen! 

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 is puzzled 
but decides to obey, and shows the note to the others. They recognize the seal of Margaret 
of Valoii, and cast looks of envy at him as he follows the page. 




SCENE Castle and Gardens of Chenonceaux 

The Queen is seated on a kind of throne surrounded by her maids, who, with Urbano, 
ire assisting in her toilet. She rises and sings her 
jreat air in praise of fair Touraine. Two fine records 
of this florid number, by two famous sopranos, are 
^resented here. 

O, vago suol della Turenna (Fair 
Land of Touraine) 

By Maria Galvany, Soprano 

(In Italian) 88234 12-inch. $3.OO 
By Giuseppina Huguet. Soprano 

(In Italian) *35123 12-inch, 1.25 


Oh, lovely land of fair Touraine! 

Thy vine-clad hills, thy sparkling fountains, 

Thy green banks and thy murm ring zephyrs, 

All fill my soul with peace and love! 

Yet, for a difference in belief, 

This fair scene may by war be stain'd! 

Oh, that men would observe the moral, 

To love and fear the all-powerful Being! 

I'.ut hence with sorrow! 

Care we will banish; 

Ouick, let it vanish, far, far away! 

In the land where I reign, _ 

From the mount to the main, 


The maids disperse, and Valentine enters and tells the Queen that she has seen the 
Count de Neoers, who has promised to release her from the engagement which had been 
arranged. Margaret informs her that she has another cavalier in mind meaning Raoul, 
,vho is now conducted to the ladies and his mask removed. He is much astonished to find 
hat it is the Queen who has sent for him, and pledges his honor and his sword to her service. 
i4e does not, however, perceive Valentine, who has retired at the moment of his entrance. 

The nobles of the Court, Protestant and Catholic, now enter, 

^flB^ 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. 

MARGARET: Swear that, by the marriage vow, 
Which each this day shall pjight, 
No more shall enmity prevail, 
No more each other s lives assail. 
In party feud or nght! 
(Raoul, Nevers. St. Bris and the Nobles, 

gather around the Queen and take the 

We swear by our forefathers bold, 


The Queen and all her powers, 

That Tcindly acts and generous thoughts 

Shall evermore be ours! 

Valentine is now led in by her father and presented to Raoul. 
He starts in astonishment, having recognized the lady he had res- 
cued, and whom he had seen meeting Nevers. 

RAOUI. (in a stifled roice) : 

Great Heaven! what do I see? 

Why this astonishment? 

What! is this the bride you would offer to me? 

Y' t, to marry and to love. 

What perfidy ! what treachery ! 

I her husband! Never, never! 

* Double-Facet? Record For title of opposite side see DOUBLE-FACED HUGUENOTS RECORDS, page 158. 






A terrible scene follows, St. Bris challenging Raoul, 
who is ordered under arrest by the Queen. Valentine is 
overcome with shame, and the Catholics are furious. 
Marcel is delighted that his master has escaped marriage 

with a Catholic, and the curtain 

falls as the Lutheran chorale is 

again heard in the orchestra. 


(A Square in Paris) 
A wedding procession passes 
on its way to the church ; it is 
for Valentine, who has been 
persuaded to wed Nevers. 
Valentine asks that she be per- 
mitted to spend the day in the 
chapel in prayer. While there 
she overhears a plot to assas- 
sinate Raoul, and at once goes 
in search of Marcel to inform 
him of the plan. She meets 
him in the square and in a 
great duet tells him of the 

Nella notte io sol qui veglio (Here By Night Alone I Wander) 

By Maria Grisi, Soprano, and Perello De Segurola, Bass 

(In Italian) *634O4 lO-inch, $O.75 

Marcel thanks her for the warning and goes with his friends to the rescue. A general 
conflict is threatened but is prevented by the Queen, who appears just in time. She tells 
Raoul that Valentine is innocent of wrong, having merely gone to Nevers' house to ask him 
to release her. Raoul is overcome with remorse, but the knowledge comes too late, as 
Valentine is already the wife of Nevers. 

A richly decorated boat approaches, occupied by the nuptial suite. Nevers leads Valentine 
to it, and as all salute the bridal couple the boat moves away, 
while Raoul, overcome by grief, is supported by Marcel. The 
curtain falls. 

(A Room in Nevers' Castle) 

Valentine, alone, broods over her sorrows, confessing to her- 
self that although -wedded to another, she still loves Raoul. She 
is astounded to see her lover appear, he having braved death 
and entered the castle to see her again. Valentine hears her 
father's voice, and hastily conceals Raoul behind the tapestry. 
The Catholic nobles enter to discuss the plot outlined by St. Bris. 
They finally agree to his fiendish proposal, and swear to slaughter 
the Huguenots. Nevers is horrified at the bloody scheme to 
exterminate all Protestants, and refusing to become an assassin, 
he breaks his sword, and is led away by the guards. 

The conference closes with the famous Benediction of the 
Swords, perhaps the greatest and most thrilling of all operatic 
scenes. A magnificent record of this number has been given by 
Journet and the Opera chorus. 

Benediction of the Swords 

By Marcel Journet, Bass, and Metropolitan 

Opera Chorus (In Italian) 74275 12-inch, $1.5O 
By Sousa's Band *35118 12-inch, 1.25 

By Sousa's Band 31574 12-inch, l.OO CONSTANTINO AS RAOUL 

*Double-FaceJ Record For title of opposite side see DOUBLE-FACED HUGUENOTS RECORDS, page 158. 



The number begins with the strain sung by St. Bris in his recital of the plan. 

a - Ic - tc 
U'ill ye 


col pi 
Iht Ira, 

Eb - ben ! 
Tit well! 

This is followed by the noble strain of the Benediction, one of the best known passages 
in Meyerbeer's work 


D'un sa - cro rel I'ar do - re 
On Heav''t just cause re ly ing, 


Do you wish our dear country to save? 

It is our wish! our hearts' desire! 

TIP serve our noble King, 

\Vill ye the traitors destroy? 

The King's commands, we will obey! 

'Tis well! now hear the King's decree: 

These Huguenots, whose vile detested race we 

Shall from this day by the sword disappear! 

On Heaven's just cause relying, 

This impious race defying, 

'Mid thousands round thee dying, 

Now swear that no mercy thou'lt show! 

A sacred zeal inspiring. 

All hearts with courage firing, 

To compass Heav'n's desiring, 

NIIW for vengeance we go! 

Then comes the furious and fanatical chorus of priests and lords, one of the most 
difficult of ensembles. 

Strike them down, men and children, all! Be silent, my friends, and breathe not e'en a 

And let no mercy ever be shown! murmur 

By the sword they shall perish. To wake our slumb'ring foe! 

And their temples be o'erthrown ! 


Whisper low, not a word. 

Not a breath or sign revealing, while we, 

silent stealing. 
Strike the impious foe! 
( ll'ith fury.) 
Now for vengeance! we will go! 

The number closes with the famous passage for the basses which 
finishes on a low E natural, sung very pianissimo, as the company 

The nobles having gone, Raoul comes out, horrified at what he 
has heard, and wishes to warn his friends, when Valentine, thinking 
to save his life, urges him to remain, telling him that she loves him. 
In a transport of delight he begins the great duet. 

Dillo ancor (Speak Those \^ords Again !) 

By Ida Giacomelli, Soprano, and Gino Martinez- 

Patti, Tenor (In Italian) *35123 12-inch, $1.25 


Ah! say again thou lov'st me! 
From darkness drear I have awakened to bliss! 
Forever now we're united. 
Thou hast link'd thy fate t-.i mine 
Forever, forever, forever! 
LA SALLE AS NEVERS Say once again thou lov'st me! 

* Double-FaceJ Record For title of opposite si Je see DOUBLE-FACED HUGUENOTS RECORDS, page 158. 



The great bell of St. Germain, the signal to prepare for the slaughter, is heard tolling, 
and Raoul makes a fresh effort to go to the aid of his people. He rushes to the window, 
while Valentine clings to him, and shows her that the massacre has already begun ; then 
tears himself from her arms and leaps from the window, while she falls fainting. 

In recent productions in America, because of the great length of Meyerbeer's work, the 
opera has ended with the shooting of Raoul by the mob as he leaps from the window; but 
in the original version a fifth act occurs, in which Nevers is killed, and Valentine, renouncing 
her faith, is united by Marcel to Raoul. St. Bris and his party enter the street, and not 
recognizing Valentine, 'fire upon the three and kill them. The curtain falls as St. Bris dis- 
covers that he has murdered his daughter. This final tragedy is graphically pictured in 
the accompanying reproduction from an old drawing. 


{Benediction of the Poignards By Sousa's Band) 

Trovatore Home to Our Mountains By Corinne Morgan, ^35118 12-inch, $1.25 

Contralto, and Harry Macdonough, Tenor (In English) ] 

O vago suol delta Turenna (Fair Land of Touraine) 

By Giuseppina Huguet, Soprano (In Italian) 
Ditto ancor (Speak Those "Words Again) By Ida 

Giacomelli, Soprano, and Gino Martinez-Patti, Tenor 

(In Italian) 

(Huguenots Selection By Victor Bandi , 

I Norma Overture By Victor Band)*' 

Plus blanche (Fairer Than the Lily) 1 

By M. Gautier, Tenor (In French) \ 
Guillaume Tell Jlsile. Hereditaire 

By M. Gautier, Tenor (In French)) 

Nella notte io sol qui veglio (Here By Night Alone 
I "Wander) By Maria Grisi, Soprano, and Perello 

de Segurola, Bass (In Italian) \634O4 lO-inch, l.OO 

Lucrezia Borgia Vieni la mia vendetta (Haste Thee, To 

Glut a Vengeance) By Giulio Rossi, Bass (In Italian)^ 

35123 12-inch, 1.25 

[35O29 12-inch. 1.25 

lO-inch, l.OO 






Book by Goudinet and Gille, taken from the story Le Manage de Loli. Music by Leo 
Delibes (Day-leeb'). First production Paris, April 14, 1883. First London production at 
tie Gaiety Theatre, June 6, 1885. Produced in New York November 28, 1888. 


GERALD, , Tenor 

officers or the British army in India ................ < 

t Baritone 

NILAKANTHA, a Brahman priest .................................. Bass 

HADJI, a Hindoo slave ......................................... Tenor 

LAKME, daughter of Nilakantha ............................... Soprano 

ELLEN, daughter of the Governor ............................... Soprano 

ROSE, her friend ............................................. Soprano 

MRS. BENSON, governess of the young ladies ................ Mezzo-Soprano 

MALLJKA, slave of Lakme .............................. Mezzo-Soprano 

A FORTUNE TELLER .............................................. 

A CHINESE MERCHANT ........................................... 

A SEPOY ........................................................ 

Hindoos, Men and Women, English Officers and Ladies, Sailors, 
Bayaderes, Chinamen, Musicians, Brahman, etc. 

Scene and Period : India, at the present time. 

This opera, with its graceful music and scenes of Oriental splendor, was first given in 
America by the American Opera Company in 1886. (The Emma Abbott version in 1883 
n>:ed not be considered seriously.) Since then it has had three revivals the Patti production 
oi 1890; that of 1895 for Marie Van Zandt, and the Metropolitan revival of 1906-7. The 
rr.usic of the opera is wholly beautiful, and the principal numbers are exquisite composi- 
tions lovely in idea and execution. 

The story resembles in some points both Aida and Africaine ; all three are more or less 
Oriental; Lakme, like Aida, loves her country's enemy; Nilakantha and Nelus^o possess simi- 
lar traits; while Lakme' and Selika both poison themselves botanically. 

The Oriental atmosphere is somewhat spoiled by the introduction of the modern and 
somewhat commonplace English characters, but the romantic ending atones for any 


SCENE A Qarden in India 

Nilankatha, Lafyne's father, hates the English invaders and resists their presence in India. 
C'.rald and Frederic, English officers, while sauntering with some English ladies, venture on 
sacred ground near Nilakantha 's temple, and when rebuked they all depart but Gerald, who 
remains to sketch some Oriental jewels which L,akm had left in the garden. He takes up 
the trinkets and sings his charming air, Idle Fancies. 

Fantaisie aux divins mensonges (Idle Fancies) 

By M. Rocca, Tenor (Double-faced See page 162) (In French) 16573 lO-inch. $O.75 

He is struck with the daintiness and beauty of the gems and tries to picture the 
unknown beauty to whom they belong. 



GERALD: The small foot, that but reposes 

Idle fancy, cradled by delusion, ,9 n mo f ? banks or b ?ds of flowers. 

You mislead me now as of old. Thls necklace, too, with her own perfume 

Go to dreamland, turn back in confusion, scente^ d. 

Fair dove fantastic, with wings of gold. Embalm d as yet with sweets from her lips 

,_. . . , . t ^ that came, 

(Taking up a bracelet.) Has felt the true heart, beating, glad, con- 

Of some fair maid round her arm folding, tented 

This bracelet rich must oft entwine. Trembling with joy at the one well-loved 

Ah! what delight would be the holding, name 

The hand that passes there, in mine. Away, fly', fond illusions, 

(Taking /> a ring.) Swiftly passing visions that my reason dis- 

This ring of gold, my dream supposes, turb! 

Oft has followed, wand'ring for hours, Idle fancy, cradled by delusion, etc. 

(From the Ditson Edition.) 

This beautiful air has been sung for the Victor by a brilliant and accomplished young 
tenor, M. Rocca, of the Opera Comique. 

Hearing some one approaching, he hides himself in the shrubbery. La^me enters and 
lays flowers at the feet of an idol. She is about to go when she pauses and tries to analyze 
a strange feeling which has come over her, saying: 

In my heart now I feel there's a murmur so 


The flow'rs are more lovely appearing, 
And Heaven's more radiant now. 
From woods a new song I am hearing, 
Fond zephyrs caress my brow. 
And a fragrance that's rare is filling, 
All my senses with a rapture so thrilling! 
She then sings her first lovely song, 

Pourquoi dans les grands bois (Why Love I Thus to Stray ?) 

By Alice Verlet, Soprano (Double-faced See page 162) (French) 45OO6 lO-inch, $ 1 .00 
and asks herself why she loves to wander in the forest and why she is both sad and glad. 


Why love I thus to stray, Ah! why? 

In woods here, day by day, Why look for reasons here, in the song of 

While tears have sway? the stream, 

Why doth the dove's note sadden, Where roses dream? 

And fill my heart with sighing; In leaves that fall around? 

As doth a fading flow'ret. In my heart soft reposes, like a lily at rest, 

Or a leaf eastward flying? Sweeter balm than yield roses, by gentle winds 

Yet are these tears most sweet to me, caressed, 

Tho' sad they be! Or by loving lips pressed. Tho" I sigh, I'm 

And my heart is gladsome, gladsome, 

Tho' I m sighing, I'm gladsome. Ah, why? 

She suddenly sees Gerald among the trees and utters a cry of fear. Her attendants run 
in, but some intuition tells her not to reveal Gerald's presence, and she sends them away. 
Going to his hiding place she denounces him for trespassing on sacred ground, and bids 
him begone. He begs her for a few moments' conversation, and tells her of the impression 
she has made on his heart. 

GERALD: Ah! linger, go not yet, so thoughtful, sweet, unchiding! 
Let blushing charms that mine eyes now have met, 
O'ermantle thy cheek. 
Its lily pallor hiding! 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 just as Nilalfantha, summoned by Lafyme's attendants, enters, and 
seeing traces of a trespasser, declares that he must die. They go in pursuit of Gerald, 
leaving Lat^ml motionless with fear. 


SCENE A 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. Nilat^antha, disguised as a 
beggar, is seeking traces of the intruder, whom he has sworn to kill. La^rnf is with him, 
wearing the dress of a dancing girl. He orders his daughter to sing, hoping that the Eng- 
lishman will recognize her voice and betray himself. She sings the famous Bell Song. 
NOTE Quotations are from the Ditson libretto by permission Copy't 1 890, Oliver Ditson Co. 



(In Italian) 
(In French) 
(In Italian) 
(In French) 


12-inch. $3.OO 
12-inch. 3.OO 
12-inch. 3.OO 
12-inch, 1.5O 

Ou va la jeune Hindoue (Bell Song) 

By Luisa Tetrazzini, Soprano 
By Bessie Abott, Soprano 
By Maria Galvany. Soprano 
By Ellen Beach Yaw. Soprano 

Delibes has ingeniously used bells to give character to this 
number, -which is a most intricate one, especially in the refrain, 
where voice, woodwind and bells blend with many charming 


Down there, where shades more deep arc 


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


Hut on he journeys, as by chance, on the way! 
The wolves in their wild joy are howling, 
As if for their prey they were prowling; 
The young girl forward runs, and doth their 

fury dare. 

A ring in her grasp she holds tightly, 
Whence tinkles a bell, sharply, lightly, 
A bell that tinkles lightly, that charmers wear! 
(Site 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 ringing, 

The legend back to him bringing, 

A small bell ringing like those the charmers 


Mme. Tetrazzini's rendition of this beautiful air is -wholly 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 Nilakantha had planned, Gerald recognizes Lakm and betrays himself. The Brahman 
goes to collect his Hindoos, intending to kill the Englishman, while Latynt finds Gerald 
and warns him of the plot. She begins the duet: 

Dans la foret, pres de nous (In the Forest) 

By Mme. Vallandri. Soprano, and M. Rocca, Tenor 

(Double-facedSee page 1 62) (In French) 45OO5 lO-inch. $1.OO 

and tells him of a hut in the forest where he may be free from pursuit. 


In the forest near at hand, 
A hut of bamboo is hiding, 
'Neath a shading tree doth stand. 
This roof of my providing. 
Like a nest of timid birds, 
In leafy silence abiding. 
From all eyes secret it lies, 
And waits it there a hanpy pair! 
Far away from prying sight. 
Without there's naught to reveal it, 
Silent woods by day and night. 
Ever jealously conceal it; 
Thither shalt thou follow me! 
When dawn earth is greeting, 
Thee with smiles I shall be meeting. 
For 'tis there thy home shall be. 



Gerald at first refuses thus to hide, declaring it unworthy of a British officer, but La^me" 
pleads with him and he consents ; but as he attempts to follow her he is stabbed by Nila- 
kantha, who then escapes. Lafame runs to Gerald, and overjoyed to find his wound is not 
serious, she prepares, with the help of her faithful attendant Hadji, to bear him to the 
forest retreat. 


SCENE An Indian Forest 

Act III shows the hut in the tropical forest. Gerald is lying on a bed of leaves while 
La^me' watches over him, singing soothing melodies. He opens his eyes and greets her 
with rapture, singing his beautiful In Forest Depths. 

Vieni al contento profondo (In Forest Depths) 

By John McCormack, Tenor (In Italian) 64171 lO-inch, $2.OO 

This lovely cantilena is given in delightful style by Mr. McCormack. 

I too recall, still mute, inanimate, 

I saw you bent o'er my lips; while thus lying, 

My soul upon your look was attracted and 

'Neath your breath life awoke and recovery 

O my charming Lakme; 

Through forest depths secluded, 

Love's wing above us has passed; 

Earth-cares have not been intruded, 

And heaven on us falls at last. 

These flow'ring vines, with blooms capricious, 

Bear o'er our pathway scents delicious; 

Which soft hearts, with raptures beset, 

While all else we forget! 

As the days pass and Gerald recovers his strength, he seems to forget all else but his 
love for the Brahman maiden, but one day, while she is absent, his friend Frederic finds him 
and urges him to return to his duty. When La^me' comes back she finds Gerald changed. 
She asks the reason, but before he can answer the distant sound of bugles calling the regi- 
ment together is heard. She sees by his face that he means to go back to his friends, and 
in despair she eats some flowers of the deadly stramonium tree and dies in his arms. 


[ Pourquoi dans les grands bois ( Why Love I Thus to Stray ?) 1 

By Alice Verlet. Soprano (In French) U5OO6 
Mignon Polonaise By Mile. Korsoff, Soprano (In French)} 

Dans la foret, pres de nous (In the Forest) By Mme. 

lO-inch, $1.OO 

Vallandri, Soprano, and M. Rocca, Tenor 
Manon J'icris a mon pere 

By Mile. Korsoff, Soprano, and Leon Beyle, Tenor (In French) 
Fantaisie aux divins mensonges (Idle Fancies) 

By M. Rocca, Tenor (In French) 
Rigoletto Cortigiani, oil razza dannata 

By Renzo Minolfi, Baritone (In Italian) 

45OO5 10-inch, l.OO 

16573 lO-inch. .75 

NOTE Quotations from the text of Lakme are printed by kind permission of Oliver Ditson Company 
(Copy't 1890). 





Words by Rossi; music by Donizetti. First production at the Karnthnerthor Theatre, 
Vienna, May 19, 1842; in Paris, November 17, 1842; in London at Her Majesty's, June, 1843. 



CHARLES DE SIRVAL, his son Tenor 



MADELINE, his wife Mezzo-Soprano 

LINDA, their daughter Soprano 

Time and Place : Chamounix and Paris, 1760, during the reign of Louis XV. 

The story tells of an aged couple, Loustoloi 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 Louslolot'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. 

Two renditions of this lovely air, by Sembrich and Huguet, are given here, the Huguet 
record being doubled with the Trentini-Caffo duet below. 

O luce di quest' anima (Guiding Star of Love !) 

By Marcella Sembrich, Soprano (In Italian) 88142 12-inch. $3.OO 

By Giuseppina Huguet, Soprano (In Italian) 62O9O 10-inch. .75 

LINDA: Oh! star that guidest my fervent love, 

Poor are 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, Kntwin'd our hearts will be. 

Yet by his genius he will rise. Oh, come, then, come, my best belov'd! 

And I his happy wife shall be! Oh, what joy! My every pulse is thine! 

Charles enters, and the lovers sing their charming duet. 

A consolarmi affrettati (Oh, That the Blessed Day "Were Come) 

By Emma Trentini, Soprano, and Alberto Caffo, Tenor 62090 10-inch, $O.75 


Oh! that the blessed day were come, And then, my love, we'll never part, 

When standing side by side. But each a treasure find 

We before God and man shall be In having brought a faithful heart 

As bridegroom and as bride. To heav'nly love resigned! 

The 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. 



(Lou/ -en-grin) 


Words and music by Richard Wagner. First produced at Weimar, Germany, August 
28, 1850, under the direction of Liszt. First London production, 1875; Paris, 1887. First 
American production in New York, in Italian, March 23, 1874, with Nilsson, Gary, Campanini 
and Del Puente; in German, in 1885, with Brandt, Krauss, Fischer and Stritt this being 
Anton Seidl's American debut as a conductor. 

HI.ii.i4Xi 2 *! ISiO 


& f) r n g r i n. 


tor- : ~ '. 

SIM yyi 10 ilk 

HENRI THE FOWLER. King of Germany 



DUKE GODFREY, her brother Mute Personage 

FREDERICK OF TELRAMUND, Count of Brabant . . Baritone 

ORTRUD. his wife Mezzo-Soprano 


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

Scene and Period : Antwerp, first half of the Tenth Century. 


questions him, and in fulfillment of his vow, but in 
deep grief, he leaves her and departs in his boat 
drawn by a dove. The ethereal Grail harmonies, the 
lovely Swan Motive, the noble Prayer of the King and 
the Bridal Chorus make this one of the most melodious 
of all the master's operas. 


By La Scala Orchestra 31779 12-inch, $1.0O 

The prelude, one of the most beautiful of all 
Wagner's compositions, symbolizes the descent from 
Heaven of a group of angels bearing the Holy Grail. 
The number begins with soft A major chords in the 
highest register of the violin. The motive of the Grail 
is then announced : 

Most of us are familiar with the story of the Knight 
Lohengrin, who comes in his boat, drawn by a swan, to 
defend Elsa from the charge (preferred by Telramund and 
Ortrud, who covet Elsa's estates) of having murdered her 
young brother, Godfrey. 

Telramund is vanquished and disgraced by Lohengrin, 
who wins Elsa as his bride. One condition he exacts 
from her that she shall never ask who he is or whence he 
came. By the influence of Ortrud, however, she rashly 

Coming nearer and nearer, the light of the Grail is seen 
in the sky, while the air is filled with the blessings dis- 
pensed by the holy cup. As the sounds grow louder, 
the senses are overwhelmed, until at the tremendous 
climax thundered out by the full orchestra the mystic 
light of the Grail is seen in all its glory. 




The mysterious Grail motive then fades away, being played 
at the end by muted strings ; and the number ends with the 
t;ame A major chords pianissimo. 

The performance of this wonderful prelude, which is 
written almost wholly for strings, shows why this organization 
has become famous for the exquisite playing of its string section. 


SCENE Banks of the Scheldt, near Antwerp 

King Henry of Germany arrives at Antwerp and finds 
Brabant in almost a state of anarchy. He summons the counts 
and nobles of Saxony and Brabant to meet under the Oak of 
Justice, and calls on Frederick f Telramund for an explanation, 
.saying : 

KIM.. Here, to my grief, I meet with naught but strife, 
All in disunion, from your chiefs estranged! 
Confusion, civil warfare meet we here. 
On thee I call, Frederick of Telramund! 
I know thee for a knight as brave as true, 
I charge thee, let me know this trouble's cause. 

Frederick now advances and begins his narrative, boldly 
accusing Elsa of the murder of her brother. 

Dank, Kbnig, dir, dass du zu richten kamst! 
(Frederick's Charge Against Elsa) 

By Anton Van Rooy, Bass 

(In German) 92062 12-inch, $3.00 





Thanks, gracious King, that thou to 

judge art come! 
The truth I'll tell thee, falsehood I 

When death was closing round our 

valiant Duke, 
"Twas me he chose as guardian of 

his children, 
Elsa the maiden, and Gottfried her 

Whose dawning with tender care I 

Whose welfare I have treasured as 

my honor. 
My sov'reign, mark now, if I'm 

When of my honor's treasure I am 

robbed ! 
One day, when Elsa had with her 

brother wandered forth, 
Without the boy, trembling, she re- 
With feign'd lamenting, questioned of 

his safety, 
Pretending she had been from him 

And in vain his traces she had 

Fruitless was every search we made 

to find him; 
And when I questioned her with 

words severe. 
Her pallor and her falt'ring tongue 

betray'd her. 
Her crime in its guilty blackness 

stood confess'd! 

A horror fell upon me of the maid; 
The claim upon her hand her father 

had conferr'd 

With willing heart, I straight re- 
And chose a wife full pleasant to my 




Ortrud, daughter of Raclbod, true in death. 

I here arraign her, Princess Elsa of Brabant ; 

Of fratricide be she charged! 

I claim dominion o'er this land by right; 

My nearest kinsman was the valiant duke, 

My wife descended of the race 

That gave this land their rulers thro' long ages past. 

O King, give judgment! All now thou hast heard! 

The host of admirers of this famous Dutch artist, whose 
sonorous bass is now at its best, will be greatly pleased by the 
issue of this record of the dramatic air of Telramund. Mr. 
Van Rooy, whose fine impersonations of Wagnerian roles are 
familiar to opera goers, is always an effective Frederick, acting 
the part with the ruggedness it demands and singing the diffi- 
cult music in the true Wagnerian style. 

The King is much disturbed, and says : 

KING: A dreadful accusation thou hast brought! 
A crime so deadly, how can I believe? 

Frederick, vehemently repeats his accusation, and demands 
that the King choose between them. The King asks that Elsa 
be sent for, and when she enters timidly with downcast eyes, he says kindly : 

KING: Canst thou meet this accusation? 

Speak, Elsa, in thy King thou may'st confide! 

The young girl seems bewildered and dreamily sings the lovely Traum, telling of her 
vision of a splendid Knight who came to be her defender. 

Elsa's Traum (Elsa's Dream) 

By Johanna Gadski, Soprano (In German) 88038 12-inch, $3.OO 

By Emma Juch, Soprano (Piano ace.) (In German) 74014 12-inch, 1.5O 

ELSA: Oft when the hours were > lonely, 
I unto Heav'n have pray'd, 
One boon I ask'd for only, 
To send the orphans aid; 
I pray'd in tears and sorrow, 
With heavy heart and sore, 
Hoping a brighter morrow 
Yet was for us in store. 
Away my words were wafted, 
I dreamt not help was nigh, 
Rut One on high vouchsaf'd it, 
While I in sleep did lie. 
(with growing enthusiasm) 
I saw in splendor shining, 
A knight of glorious mien, 
On me his eyes inclining, 
With tranquil gaze serene. 
A horn of gold beside him, 
lie leant upon his sword. 
Thus when I erst espied him, 
'Mid clouds of light he'soar'-d; 
His words so low and tender, 
Brought life renew'd to me. 
(with rapture) 
My guardian, my defender, 
Thou shalt my champion be. 

The King is much moved, and calls 
for a judgment of God after the fashion 
of the time. The trumpeters blow the 
summons to the four points of the 
compass, and the Herald calls : 

Who will do battle here on life or 

For Elsa of Brabant! Let him appear! 

At first there comes no response, 
and Elsa is in despair, but after a 
second call a knight in shining armor 
is seen approaching in a boat drawn 
by a swan. 





The King bids the nobles pre- 
j3are to fight, and in this noble 
Gebet calls upon Heaven to judge 
oetween the combatants. 

Mem Herr und Gott 
Koenig's Gebet 
(King's Prayer) 

By Marcel Journet, Bass 
(In German) 

64013 lO-inch, $1.00 
The King is one of Journet's 
oest parts, and he always sings it 
:nagnificently, his great voice rolling 
out in tremendous volume. His 
delivery is always easy and grace- 
ul, and his acting dignified and 

() King of kings, on Thee I call; 
Look down on us in this dread 


Let him in this ordeal fall 
Whom Thou know'st guilty, Lord 

of pow'r! 
To stainless knight give strength 

and might, 
With craven heart the false one 


Do Thou. O Lord, to hear us deign, 
For all our wisdom is but vain! 

Frederic^ is soon stricken to 
I he earth by Lohengrin, who is pro- 
claimed a hero. Elsa is pro- 
nounced innocent, plights her troth 
to her brave defender, and the cur- 
lain falls amid general rejoicing. 

Nun sei bedankt, mein 
lieber Schwan ! (Thanks, 
My Trusty Swan !) 

By Fernando de Lucia. Tenor 

(In Italian) 760O2 12-inch. $2.OO 

By Leo Slezak, Tenor 

(In German) 61203 10-inch, l.OO 
Lohengrin steps out, then turning and caress- 
ing the swan, sings : 

1 give thee thanks, my faithful swan! 

Turn thee again and breast the tide, 

Return unto that land of dawn 

Where joyous we did long abide. 

Well thy appointed task is done! 

Farewell ! farewell ! my trusty swan ! 

(to the Kinii) 

Hail, gracious sov'reign ! 

Victory and honor by thy valor's meed! 

Thy glorious name shall from the land 

That chose thee ruler, ne'er depart. 

The knight now announces that he has 
come to defend the maiden, who is unjustly 
accused by her enemy. 


Ye knights, nobles and freemen of this land, 
Guiltless and true is Klsa of lirabant! 
Thy tale was falsehood, Count Telramund, 
By lleav'n's assistance all thou shall recant ! 




SCENE Court of the Palace 

This scene shows the 
inner court of the palace at 
Antwerp. It is night. Fred- 
erick an l Ortrud, disgraced and 
dressed in sombre garments, 
are seated on the church 
steps. They upbraid each 
other, Frederick accusing 
Ortrud of inventing the story 
of Elsa 's crime. A long duet 
follows, ending in a terrible 
plot for vengeance. 

Elsa appears on the bal- 
cony of the palace, all un- 
conscious of the wretched 
and disgraced Telramund and 
Ortrud, who are hidden in the 
shadow. In a blissful reverie, 
the young girl sings to the 
soft breezes of the knightly 
THE PLOT ACT ii Lohengrin, to whom she is 

now betrothed. 


Ye wand'ring breezes heard me, 

When grief was all I knew; 
Now that delight hath stirred me, 

My joy I'll breathe to you! 


'Tis she! Be near, ye powers of 

ELSA (continuing dreamily) : 

Thro' heaven's azure ye bore him, 

Ye wafted him to me; 

'Mid stormy waves watched o'er him, 

My guide, my love to be! 
Where er thy pinion rusheth, 

The mourner's tears are dried; 
My cheek that burns and flusheth 

With love, oh cool and hide! 

Du Aermste (Thou Un- 
happy One) 

By Emma Eames, Soprano, 
and Louise Homer. 
Contralto (In German) 

89021 12-inch, $4.00 
Elsa, who has finished her raptur- 
ous soliloquy to the -wandering breeze, 
still lingers on the balcony, enjoying the 
balmy night and dreaming of her be- 
trothal on the morrow. Ortrud, pursuing 
the plot agreed upon with Frederick, 
appears and calls to Elsa, -who hearing 
her name, cries: 

Who calls? How strangely 

My name resoundeth thro' the night! " ORTRUD KNEELING TO ELSA 

Ortrud feigns repentance, and Elsa, in the flush of her new-found happiness forgives 
her, saying: 

Unhappy one, that thy heart could know No child of earth that bliss can measure 

the treasure Who doth not dwell in faith devout! 

Of love that knows not fear or doubt! Rest thee with me! 




Ortrud warns Eha against trusting her husband too blindly, hinting of the mystery 
in his life, and thus plants a seed of suspicion in the young girl's heart. The duet 
th ;n follows- 


Oh, let me teach thee 

How trust doth hallow joy and love. 

Turn, then, to our faith, I beseech thee, 

( )h. turn unto our faith divine, 

For God is love! 

ORTRUD (aside with fierce joy) : 

Oh! pride of heart, I yet will teach thee, 

That an illusion is this love, 

The gods of vengeance soon shall reach 

Their wrath-destroying thou shall prove! 

Elsa enters the palace and the dark plotters renew their vow 
of imprecation. 

Day breaks, and the Herald appears and announces the 
banishment of Telramund. Elsa, attended by her ladies, passes 
on her -way to the minster but is suddenly confronted by 
Oitrud, who has arrayed herself again in splendid garments. 
She taunts Elsa with the fact that her knight has no name. 


Your stranger, say, as what doth thou 

proclaim him? 
If I have heard aright, thou canst not 

name him! 

ELSA (indignantly): 

Thou slanderer, taunt me no more, 
Let my reply all doubts assure 
So pure and noble is his nature. 
As none can match in high renown. 
Oh, can there live so vile a creature 
As to asperse all honor's crown ? 

The King and Lohengrin now enter and Elsa, astonished and 
gr eved, goes to Lohengrin, saying: 



My champion! shelter me against her 

wrath ! 

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


And in compassion harbor'd her this 

And now with harsh and bitter words of 

She taunts me for my boundless trust 

in thee! 



SCENE I The Bridal Chamber in the Palace 
The act opens with the Wedding March, played by the orchestra. 

Prelude to Act III The Wedding March 

By La Scala Orchestra *62693 lO-inch, $0.75 

This is followed by the beautiful Bridal Chorus, one of the loveliest numbers in the 
opera. As the curtain rises, showing the bridal chamber, the strains of the march continue, 
but in a softer mood. The great doors at the back open, and the bridal party enters, 
the ladies leading Elsa and the King and nobles conducting Lohengrin, they come to the 
front and the chorus begins : 


Faithful and true, we lead thee forth 

Where Love, triumphant, shall crown ye with joy! 

Star of renown, flow'r of the earth, 

Blest be ye both far from all life's annoy! 

Champion victorious, go thou before! 

Maid bright and glorious, go thou before! 

Mirth's noisy revel ye've forsaken, 

Tender delights for you now awaken; 

Fragrant abode enshrine ye in bliss; 

Splendor and state in joy ye dismiss! 

EIGHT LADIES (passing around the bridal pair}: 
As solemn vows unite ye 
We hallow ye to joy! 
This hour shall still requite ye, 
When bliss hath known alloy! 

After a striking and effective modulation the 
first strain is repeated by the full chorus. 

Faithful and true, now rest you here. 
Where Love, triumphant, etc. 

The party goes slowly out, leaving the bridal 
pair alone, while the strains of the nuptial air die 
away in the distance. 

The full strength of the Victor organization has 
been used for the vocal rendition, and the result is a 
record of surpassing beauty. An instrumental record 
of this number is also offered. 


-"' s : 



By Victor Opera Chorus 

(In English) 31846 12-inch, $1.0O 

By Arthur Pry or's Band 31227 12-inch. l.OO 

By La Scala Chorus (In Italian) *16537 10-inch, .75 
The bridal pair are 'left alone and a long duet occurs, part of 
which is recorded here by two famous artists of La Scala. 

Cessero i canti alfin (The Song Has Died Away) 

By Giuseppina Huguet, Soprano: Fernando 

de Lucia, Tenor (In Italian) 92055 12-inch, $3.00 
The beautiful air which Lohengrin sings in the duet, Dost Thou 
Breathe the Incense, is also given here by Dalmores. 

Athmest du nicht mit mir die siissen Diifte ? 
(Dost Thou Breathe the Incense Sweet ?) 

By Charles Dalmores, Tenor 

(In German) 87O88 10-inch, $2.0O 

This duet is scarcely over when the poison instilled in Elsa's 
mind by Ortrud causes her, in violation of her promise, to question 

* Doubk-FaceJ Records For title of opposite tide see DOUBLE-FACED LOHENGRIN RECORDS, page 172. 





Lohengrin as to his name and origin. He 
remonstrates -with her, at first gently and 
then with authority, reminding her that 
she has promised not to ask his name. 
She becomes more and more agitated, 
saj ing : 

EI.SA : 

No, thou shalt not compel me to trust by 

words of blame 
^ T o, not unless thou tell me thy country 

and thy name! 


I'.lsa, oh, I conjure thee! 

What fatal spell is thine? 

] n vain wouldst thou assure me 

Declare thy race and name! 

They are interrupted by the entrance 
of Frederick, and four associates, who break 
in with drawn swords. Elsa shrieks and 
ha ids Lohengrin his sword, with which 
he strikes Frederick dead. The nobles 
surrender, and Elsa falls senseless in 
Lohengrin's arms. After a long silence, 
Lohengrin orders the body into the Judg- 
ment Hall, and gives Elsa in charge of 
her ladies. 

SCENE II Same as Act I 

A quick change of scene shows again 
the banks of the Scheldt at Antwerp, as 
in Act I. The King and his nobles await 
the coming of Lohengrin, who is to ac- 
company them to battle. They are 



v x 



Lohengrin enters and is 

co-vr MISHKIN 


startled by t h 
entrance of the 

nobles bearing the body of Telramund. 
greeted by the King with warmth : 

Hail, heav'n-sent hero, welcome here! 

Thy loyal vassals all are near, 

Waiting for thee to give the word, 

And fight by thy all-conq'ring sword. 

All are surprised when the knight announces that he is forced to de- 
cline the command of the expedition, and tells of the attempt on his life. 

My gracious sov'rcign, bear me blameless, 

Reasons have I that must be nameless, 

The destin'd campaign I suspend! 

To lead ye forth to battle here I came not; 

Hut judge me, for your leniency I claim not. 

Then, firstly, do ye hold that I am guilty? 

Your just decree to me is due. 

Tie sought my life despite honor and fealty 

Say, did I right when him I slew? 

The King declares Telramund to be justly slain, and Lohengrin 
now reveals with reluctance that Elsa has broken her promise. 

And further, I declare in face of Heav'n, 

Though bitter grief to me it bode, 

That from her fair allegiance hath been driven 

The wife that Heav'n on me bestow'd. 

Elsa! say, oh, what hast thou done? 

Sentence so stern how hast thou won? 

Woe is thine, Elsa! 



LOHENGRIN: Vainly I hop'd she would fulfil her task! 

Ye all have heard her give her word in token Now mark me well, I will no more withhold it, 

That she my name and 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 most dramatic declamations 
in all opera. 

Lohengrin's Narrative 

By Evan Williams, Tenor (In English) 7413O 12-inch, $1. SO 


In distant land, by ways remote and hidden, 
There stands a mount that men call Monsalvat; 
It holds a shrine, to the profane forbidden : 
More precious there is nought on earth than that, 
And thron'd in light it holds a cup immortal, 
That whoso sees from earthly sin is cleans'd; 
'Twas borne by angels thro' the heav'nly portal 
Its coming hath a holy reign commenc'd. 
Once every year a dove from Heav'n descendeth, 
To strengthen it anew for works of grace; 
'Tis called the Grail, the pow'r of Heav'n attendeth 
The faithful knights who guard that sacred place. 
He whom the Grail to be its servant chooses 
Is armed henceforth by high invincible might; 
All evil craft its power before him loses, 
The spirits of darkness where he dwells take flight. 
Nor will he lose the awful charm it blendeth, 
Although he should be called to distant lands, 
When the high cause of virtue he defendeth: 
While he's unknown, its spell he still commands. 
By perils dread the holy Grail is girded, 
No eye rash or profane its light 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. 


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 
FLSA- nat ' been! 

''Tis dark around me! Give me air! P h J. tha u th i S day * " e 'fl had S K Cn! ' 

' Oh, help, help! oh, me, most wretched! L^ " 8 *^ the ? ca - r would *? n be er . 

,. . When thy probation would have pass d; 

LADIES AND MEN (in great excitement): Then b the Grail's transcendent pow'r, 

The swan! the swan ! the swan! In thv true shape we ' d mee t at last! 

The stream he floateth down. Oh ]sa 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? 

Ortrud, in triumph, now reveals the fact that the swan is really Elsa's brother, whom 
she had transformed by magic. Lohengrin kneels in prayer, and as the dove of the Grail is 
seen descending, the swan sinks, and Gottfried, the young Duke, arises, restored to human 
form. Lohengrin's boat is drawn away by the dove as Elsa faints in her brother's arms. 

Selection, No. 1 By Sousa's Band 31425 12-inch, $1.0O 

/Selection. No. 1 By Sousa's Band 1 _,. ^, 12 inch 1 25 

\ Flower Song (BlumenlieJ) By Victor Sorlin, 'Cellist ) 

(Selection. No. 2 By Pryor's Band | 

< Meditation from Thais Intermezzo Religieuse > 35147 12-inch, 1.25 

By Howard Rattay, Violinist } 
Fantasie By Victor Sorlin, 'Cellist 31785 12-inch, l.OO 

/Prelude, Act III By La Scala Orchestra \ ,-,.,, m :--t. r< 

< ,,, ,,.. /-* i , D7c//-kij > o2o93 lO-incn, .75 
I W allure Laoalcaia ay La oca/a Orchestra ) 

/Coro delle nozze (Bridal Chorus) By La Scala Chorus \ 16 5 37 lO-inch, .75 

\ Tannhauser Pilgrims' Chorus By Pryor's Band) 




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



Text by Salvator Cammerano, derived from Scott's novel, "The Bride of Lammermoor." 
Music by Gaetano Donizetti. First production at Naples, September 26, 1835. Performed 
in London, April 5, 1838; Paris. 1839; New York, in English, at the Park Theatre. 1843; and 
in Italian, 1849. 


HENRY ASHTON, of Lammermoor Baritone 

LUCY, his sister Soprano 

SIR EDGAR, of Ravenswood Tenor 


RAYMOND, chaplain to Lord Ashton Tenor 

ALICE, companion to Lucy Mezzo-Soprano 

NORMAN, Captain of the Guard at Ravenswood Tenor 

Ladies and Knights related to the Ashtons ; Inhabitants of Lammermoor ; 
Pages, Soldiery, and Domestics in the Ashton family. 

Scene and Period : The action takes place in Scotland, part in Ravenswood Castle, part in 
the ruined tower of Wolf scrag. The time is the close of the sixteenth century. 

The prolific Donizetti (1797-1848) wrote no fewer than sixty-three operas, the most 
popular of these being, of course, Lucia di Lammermoor. It has long been the custom with 
a certain class of critics to run down the old Italian school of opera represented by Lucia, and 
talk about the artificiality of the music, thinness of the orchestration, etc. But the public in 
general pays very little attention to these opinions, because they love the music of Lucia, as 
tneir grandfathers did, and realize that throughout the whole work there runs a current of 
tenderness and passion, expressed in simple melody that will ever appeal to the heart and 

Let us now forget the critics and tell the simple and sorrowful story, and listen to the 
melodious airs which have given pleasure to many millions in the seventy-six years 
since its production. 

The plot of Lucia is founded on Sir Walter Scott's novel, The Bride of Lammermoor. 
Lord Henry Ashton, Lucy's brother, knowing nothing of her attachment to his enemy, Edgar 
of Ravenswood, has arranged a marriage between Lucy and the wealthy Lord Arthur, in order 
to retrieve his fallen fortunes. Learning that Lucy is in love with Edgar, he intercepts her 
lover's letters and executes a forged paper, which convinces Lucy that Edgar is false to her. 
Convinced of her lover's perfidy, and urged by the necessities of her brother, she unwillingly 
consents to wed Sir Arthur. 

The guests are assembled for the ceremony, and Lucy has just signed the contract, 
when Edgar appears and denounces Lucy for her fickleness. Edgar is driven from the castle, 
and the shock being too much for the gentle mind of Lucy, she becomes insane, kills her 
rusband and dies. Edgar, overcome by these tragic happenings, visits the churchyard of 
Ravenswood and stabs himself among the tombs of his ancestors. 


SCENE I A Forest near Lammermoor 

The curtain rises, disclosing Norman, and followers of Sir Henry. Norman tells the 
retainers to watch carefully and ascertain who is secretly meeting Lucy. In the opening 
chorus they promise to watch with diligence. 



Opening Chorus, Act I 

By La Scala Chorus (In Italian) *621O6 lO-inch, $O.75 

Sir Henry enters and talks with Norman of his suspicion that Lucy has formed an attach- 
ment for some unknown knight. Norman suggests that it may be Edgar. Henry is furious and 
declares he will have a deadly vengeance. 

SCENE II A Park near the Castle 

Lucy enters, accompanied by her faithful attendant, 
Alice. She has come from the castle to meet her lover, Edgar ; 
and -while -waiting for him, tells Alice of the legend of the 
fountain, -which relates how a Ravens-wood lover once slew 
a maiden on this spot. 

Regnava nel silenzio (Silence O'er All) 

By Luisa Tetrazzini, Soprano 

(In Italian) 88303 12-inch, $3.OO 
By Giuseppina Huguet, Soprano 

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

Silence o'er all was reigning 

Dark was the night and low'ring, 

And o'er yon fountain her pallid ray 

Yon pale moon was pouring, 

Faintly a sharp but stifled sigh 

Fell on my startled ear, 

And straightway upon the fountain's brink, 

The spectre did appear! 

But slow on high its skeleton hand, 

Threat'ning it did uprear, 

Stood for a moment immovable, 

Then vanish'd from my view! 


Oh, what horrid omen is this? 

I ought to banish from my heart this 


But I cannot; it is my life, 
And comfort to my suffring soul! 

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

This is followed by the second part, the beautiful 
Quando rapita, 

Quando rapita in estasi (Swift as Thought) 

By Graziella Pareto, Soprano 

(In Italian) 76OO9 12-inch, $2.00 
By Giuseppina Huguet, Soprano 

(In Italian) *63172 10-inch, .75 

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

Edgar appears and tells Lucy that he has been summoned 
to France, and proposes that he seek out Henry and endeavor 
to end the mortal feud which exists between the families. 
Lucy, knowing her brother only too well, entreats him to keep 
their love secret or they will be forever parted. Edgar, 
roused to fury by this evidence of Henry's mortal hate, re- 
news his vow of vengeance, beginning this dramatic duet, 
Sulla tomba. LUCY AND EDGAR 



* Double-FaceJ RecorJ For title of opposite ,iJe xe DOUBLE-FACED LUCIA RECORDS, page 179. 


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

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

(In Italian) *16574 lO-inch, $0.75 


I'.y the lone tomb, o'er the cold grave Ah! pray calm thee, ah, restrain thee; 

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

With thy kindred eternal warfare I can scarce from fear sustain me; 

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

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

Of my dark vow I half repented; affection, 

I'ut my oath remains unbroken, "Pis a nobler, purer passion, 

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

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

Verranno a te sull 1 aura (Borne on Sighing Breeze) 

By Alice Nielsen, Soprano, and Florencio Constantino, Tenor 

(In Italian) 74O64 12-inch, $1.50 

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

(In Italian) *62106 10-inch, ,75 


My sighs shall on the balmy breeze 

That hither wafts thee, be borne, love; 

Kadi murm'ring wave shall echo make. 

How I thy absence do mourn, love! 

Ah! think of me when far away, 

With nought my heart to cheer; 

I shall bedew each thought of thee 

With many a bitter tear! 

The balmy breeze that bears thy sigh, 

Will waft one back from me, love; 

The murm'ring waves re-echoing still 

I'm ever constant to thee, love! 

Ah! think of me when far away, 

With nought my heart to cheer; 

I shall bedew each thought of thee 

With many a bitter tear! 

Ah! thou wilt not fail to write me, 

Many a lonely hour 'twill cheer; 

Fear not! Have no fear, thou shall hear! 

My sighs shall on the balmy breeze MCCORMACK AS EDGAK 

1 hat hither wafts thee be borne, love; etc. 

Edgar tears himself from her arms and departs, leaving the half-fainting Lucy to be con- 
soled by her faithful Alice. 


SCENE I An Ante-room in the Castle 

Sir Henry and his retainer Norman are discussing the approaching marriage of Lucy to 
Arthur. The events which have occurred since Act 1 are indicated by this extract from the text: 

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

In opposing me letter, 

NORMAN: Give it me. Now haste thee to the northern 

Have no fear! The long absence -, entra , nce ' 

Of him she mourneth, the letters There keep watch and await 

We've intercepted, and the false news The approach of Arthur, and with all speed, 

thou'lt tell her, on his arrival 

Will quench all hope that yet may linger. Conduct him hither! 

l.elieving Edgar faithless, from her bosom (Exit Norman ) 
love will vanish! 

Lucy enters, pale and listless, and to her brother's greeting : 

Draw nearer, my Lucy. 

On this fair day accept a brother's greeting! Auspicious prove to thee. Thou hear'st me? 
May this glad day. sacred to Love and Thou'rt silent! 


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

* Doubk-Faced Record For title of opposite side see DOUBLE-FACED LUCIA RECORDS, page 179. 


II pallor funesto (If My Cheek is Pale) 

By Linda Bratnbilla. Soprano, and Francesco Cigada, Baritone 

(In Italian) *16574 lO-inch, $0.75 


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

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

Do not they betray too plainly HENRY: 

All my anguish, all my despair? 'Tis well! 

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

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

HENRY: Read it. 

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

Both to me and thee degrading, LUCY: 

Of the past be thou but silent! How beats my flutt'ring heart! 

I, thy brother, will no further make complaint! (Reads): 

Flown has my anger! Banish thy dejection! Ah! great Heaven! 

Buried be all that thine honor could taint. 

A noble husband, thou wilt have. 

Henry, 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 (I'm Thy Guardian) 

By Giuseppina Huguet, Soprano, and Francesco Ciga'da. Baritone 

(In Italian) *62O89 lO-inch. $0.75 


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

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

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

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

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

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

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

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

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

SCENE II The Great Hall of the Castle 

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

> Lucy enters and is escorted to the table 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 Lucy and the deadly enemy of her brother, appears at the back of the room dressed 
in a sombre suit of black. The wedding guests are dumb with amazement at the daring of 
the young noble in thus presenting himself unbidden at the house of his enemy. The great 
sextette, the most dramatic and thrilling number in the entire range of opera, now begins. 
Unlike many operatic ensembles, this sextette is not merely a most remarkable bit of 
concerted 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, Soprano: Enrico Caruso, Tenor: Antonio Scotti, 
Baritone: Marcel Journet, Bass; Mme, Severina, Mezzo-Soprano: 
Francesco Daddi, Tenor (In Italian) 962OO 12-inch, $7.00 

By Victor Opera Sextette (In Italian) 7OO36 12-inch, 1.25 

By Victor Band 3102O 12-inch, l.OO 

By Pryor's Band 31460 12-inch, l.OO 

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 Henry, with suppressed emotion, sing their short duet: 

* Double-Faced Record For title o/oppojrte aide, see DOUBLE-FACED LUCIA RECORDS, page 179. 




Instant vengeance, what rcstraineth, 
What thus stays my sword in scabbard? 
Is't affection that still rcmaincth. 
And each angry tho't enchaineth? 

Of mine own blood | \^ u ' rt } betrayer, 

And despair s m ^. > heart doth wither, 

Yet, ungrateful one, I love thee still ! 
1 1 KXRV : 

LUCY (despairingly) : 

I had hop'd that death had found me, 
And in his drear fetters bound me, 
l!ut lit- conic-- not to relieve me! 
Ah! of life will none bereave me? 


Ah! like a rose that withers on the stem, 
She now is hovering 'twixt death and life! 
He who for her by pity is not mov'd, 
Has of a tiger in his breast the heart. 


Hence, thou traitor, hence betake thee, 
Ere our rage shall o'erwhelm thee! 

And remorse my breast doth fill! 
One by one the characters in the scene take up their portions of the sextette until the 
great climax, one of the most dramatic moments in opera, is reached. 

Several records of this magnificent number are offered to Victor audiences. Besides 
the splendid Caruso-Sembrich rendition, which made such a sensation on its appearance 
several years ago, the Victor has recently issued a superb record by the Victor Opera forces 
at the popular price of $1.25, while for those who prefer an in- 
strumental rendition two fine band records are offered. 

Henry and Edgar, who have drawn their swords, are separated 
by Raymond, who commands them in Heaven's name to sheath 
their weapons. Henry asks Edgar why he has come, and the 
knight replies: 


Hither came I 
For my bride thy sister 
Unto me her faith hath sworn! 

Thou must all hope of her relinquish; 
She is another's! 

He exhibits the signed contract, but Edgar refuses to believe 
the evidence of his eyes and asks Lucy if she had signed it. With 
h<:r eyes fixed on him she tremblingly nods her head in assent. 
Edgar, in a furious rage, tears the contract in pieces, flings it at the 
fainting maiden, and rushes from the castle as the curtain falls. 


SCENE I The. Tower of Ravenswood Castle 

Edgar is brooding on his misfortunes when a horseman rides 
up, dismounts and enters the tower. It proves to be Sir Henry, 
who has come to challenge Edgar to a duel to the death. They 
at;ree to fight the following morning, and in this duet ask the night 
to hasten away, that their vengeance may be consummated. 

O sole piu rapido (Haste, Crimson Morning) 

By Giuseppe Acerbi, Tenor, and Renzo Minolfi, Baritone 

(In Italian) *62644 10-inch, $O.75 

Why the gentlemen do not take advantage of the present moment the librettist does 
not reveal ! This scene is so melodramatic that it borders on the absurd, and it is usually 
omitted in this country, although it is well worth hearing from a musical point of view. 

SCENE II Hall in Lammermoor Castle 

The peasants and domestics of the castle are making merry at their feast in honor of 
the marriage when Raymond enters, greatly agitated, bearing the fearful news that Lucy has 
become insane and has killed her husband. This gives opportunity for a dramatic air, 
sung here by Signor Sillich and the La Scala Chorus. 

O qual funesto avvenimento (Oh ! Dire Misfortune) 

By Aristodemo Sillich. Bass, and Chorus (In Italian) *62644 lO-inch. $O.75 
Raymond's tidings have scarcely been spoken when Lucy enters, a pale and lovely figure 
ir white, and all unconscious of the horror-stricken servants, begins her famous so-called 
Mad Scene. 

* Double-FaceJ Record For title of opposite side see DOUBLE-FACED LUCIA RECORDS, page 179. 




(In Italian) 




(In Italian) 




(In Italian) 




(In Italian) 




(In Italian) 




(In Russian) 





I hear the breathing of his voice low and 


That voice beloved sounds in my heart forever. 
My Edgar, why were we parted? 
Let me not mourn thee ; 
See, for thy sake, I've all forsaken! 
What shudder do I feel thro' my veins? 
My heart is trembling, my senses fail! 
(She forgets her trouble and smiles.) 
Come to the fountain; 
There let us rest together, 
Ah me! see where yon spectre arises, 
Standing between us! Alas! Dear Edgar 

Mad Scene (With Flute 

By Luisa Tetrazzini, Soprano 
By Marcella Sembrtch, Soprano 
By Nellie Melba, Soprano 
By Maria Galvany, Soprano 
By Graziella Pareto, Soprano 
By Marie Michailowa, Soprano 
Forgetting her marriage, the demented maiden speaks one moment of the happy day 
when she will be Edgar's wife, and next is terrified by a vague feeling that something has 
come between them. 

This famous number must be judged solely as a brilliant piece of vocalism ; it can hardly 
be considered dramatically, because when the prima donna loses her reason in this style of 
opera, it only means that the scales become more rapid and the roulades more difficult! 
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 aghast ! In short, Donizetti forgot his dramatic mission temporarily in his efforts 
to write a show piece of musical execution. 

See yon phantom rise to part us! 

(Her mood again changes.) 

Yet shall we meet, dear Edgar, before the altar. 

Hark to those strains celestial! 

Ah! "Tis the hymn for our nuptials! 

For us they are singing! 

The altar for us is deck'd thus, 

Oh, joy unbounded! 

'Round us the brilliant tapers brightly are 


The priest awaits us. 
Oh! day of gladness! 
Thine am I ever, thou mine forever! 
(She falls fainting into the arms of Raymond.) 
Donizetti's scene seems especially set apart for the display 
of such a coloratura as Melba possesses, and she sings this 
florid music with such brilliancy and graceful fluency that 
the listener is dazzled. Her runs, trills and staccato notes 
glitter and scintillate, and compel a new admiration for the 
wonderful vocal mechanism over which she has such absolute 

The role of the unhappy Lucy is also admirably fitted 
to Tetrazzini's peculiar talents, and as the heroine of Donizetti's 
lovely opera she has made quite the greatest success of her 
career. When she reaches this florid and difficult Mad Scene, 
the listeners are absolutely electrified, and such a torrent of 
enthusiasm bursts forth that the diva is usually compelled to 
repeat a portion of the aria. 

Mme. Sembrich's rendition proves that the compass of 
her voice is all but phenomenal, and she sings the difficult 
music with delightful flexibility and with an intonation which 
is faultless. 

Other renditions of this well-known scene are given by 
Mme. Galvany and Mme. Pareto, the famous Italian prima 
donnas, and by Michailowa, 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 unhappy Lucy, after having in this scene again 
enacted the terrible events of the previous day, falls insensible 
and is carried to her room by Alice and Raymond. 

SCENE II The Tombs of the Raoenswoods 

Edgar, weary of life, has come to the rendezvous arranged with Henry, intending to 
throw himself on his enemy's sword, the last of a doomed race. But he waits in vain, for 
Henry, filled with remorse at the consequences of his schemes, has left England, never to return. 

Edgar sings the first of the two beautiful airs written by Donizetti for this scene. 




Fra poco a me ricovero (Farewell to Earth) 

By John McCormack, Tenor (In Italian) 74223 12-inch $1.5O 

His attention is now attracted by a train of mourners corning from the castle, accom- 
panied by Raymond, who reveals to the unhappy man that Lucy is dying, and even while 
tKey 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 \^ings to 
Heaven) (O Dell' alma innamorata) 

By John McCormack. Tenor (In Italian) 74224 12-inch. $1.50 

By Florencio Constantino. Tenor (In Italian) 74O66 12-inch. 1.50 

By Gino Martinez-Patti. Tenor (In Italian) *62O89 lO-inch. .75 

The dramatic interest deepens as the air proceeds, until the finale, when Edgar, in an 

excess of penitence, prays that not even the spirit of the wronged Lucy may approach so 

accursed a tomb as that of Ravenswood. 


Tho' from earth thou'st flown before me, 
My ador'cl, my only treasure; 
Tho' from these fond arms they tore thee. 
Soon, soon, I'll follow thee. 

I'll follow thee above. 
Tho' the world frown'd on our union, 
Tho' in this life they did part us. 
Yet on high, in fond communion. 
Shall our hearts be turned to love! 

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 bell' alma 
it namorata, and lifting his hands to Heaven, as if to greet the spirit of Lucy, he expires. 


(In Italian)\ 

(In Italian) 

Regnava nel silenzio (Silence O'er All) 

By Giuseppina Huguet, Soprano 
Norma Casta Diva (Queen of Heaoen) 

By Giuseppina Huguet, Soprano 
II pallor funesto (If My Cheek is Pale) 
By Linda Brambilla, Soprano, and Francesco Cigada. 

Baritone (In Italian) 

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

By Emma Trentini, Soprano, and Gino Martinez-Patti. 
Tenor (In Italian) 

Se tradirme su potrai (I'm Thy Guardian) 

By Giuseppina Huguet, Soprano, and Francesco Cigada, 

Baritone </n Italian) 

Tu che a Dio spiegasti 1'ali (Thou Hast Spread Thy ^JVings 
to Heaven) (O bell' alma innamorata) 

By Gino Martinez-Patti. Tenor (In Italian) 
O qual funesto avvenimento 

By Aristodemo Sillich, Bass, and Chorus (In Italian) 
O sole piu rapido (Haste. Crimson Morning!) 
By Giuseppe Acerbi, Tenor, and Renzo Minolfi, 

Baritone (In Italian) 

Opening Chorus By La Scala Chorus (In Italian 

Verranno a te sull' aura (Borne on Sighing Breeze) 
By Emma Trentini, Soprano, and Gino Martinez- 

Patti, Tenor (In Italian) 

Quando rapita in estasi (Swift as Thought) 

By Giuseppina Huguet, Soprano (In Italian)\ , _ . __ 
Lucrezia Borgia Rischiarata I la fineslra 

By La Scala Chorus (In Italian)] 

* Double-Faced Record For title o/ opposite side tee above list. 


16539 10-inch, $O.75 

16574 10-inch, .75 

62O89 lO-inch. .75 

62644 10-inch. .75 

621O6 10-inch. .75 

lO-inch. .75 




(Loo-kray 1 ' -tzee-ah Bor'-jee-ah) 


Text by Felice Romani, taken from a work of the same name by- Victor Hugo. Music 
by Gaetano Donizetti. First presented to the public at La Scala, Milan, in 1834; given at 
the Thidtre Italien, Paris, October 27, 1840. First London production at her Majesty's 
Theatre, June 6, 1839; in English at the Princess' Theatre, December 30, 1843. Produced 
in New York at the Astor Place Opera House, 1847. 



MAFF1O ORSINI (Maj'-fee-oh Or-xe'-nee} Contralto 

GENNARO, (Jen-nah -roh) 






Young noblemen in the service of the Venetian 

r it* si enor 

Republic I D 


1 Bass 


RUSTIGHELLO. in the service of Don Alfonso Tenor 

GUBETTA.l . , cr\ i /Bass 

ASTOLFO I In service of Donna Lucrezia IBass 




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




The plot of Donizetti's opera cannot be called a cheerful one it is, in fact, crowded with 
horrors. However, it was a great favorite with American audiences for many years, being 
one of the stock operas of Emma Abott during nearly her whole career. The opera was 
revived in 1904 for Caruso, but failed to score, and it is quite likely that those who admire 
its few fine airs must depend on their Victors if they wish to hear them. 

Lucrezia, the heroine, was a conspicuous member of the 
notorious patrician family the Borgias celebrated for their 
diabolical success as poisoners. 

Lucrezia Borgia married as her second husband Don Alfonso, 
Duke of Ferrara. By her former marriage she had a son named 
Gennaro, of whose existence the Dul^e is ignorant. This son had, 
at birth, been placed in the care of a fisherman who brought 
him up as his own child. 


At the opening of the story Lucrezia, who in spite of her 
criminal practices has still the mother's yearning towards her 
own child, goes in disguise to Venice to visit him. 

She finds her son in the company of some gay Venetian 
gallants. She 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 prepares 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 pescatore. 

Di pescatore ignoble (In a Fisher's Lowly Cot) 

By Francesco Marconi, Tenor (In Italian) 76OO4 12-inch, $2.OO 

By Carlo Albani, Tenor (In Italian) 74O98 12-inch, 1.50 

She bids him farewell, and is about to take her leave when Orsini appears, recognizes 

h<:r, and after brutally reciting her crimes one by one, tells the horror-stricken Gennaro that 

it is the Borgia. All turn from her in horror, and Lucrezia falls fainting. 


Gennaro afterwards shows his hatred and contempt for the Borgias by tearing down 
Lucrezia' s coat of arms from her palace gates, and is imprisoned by the Dune's orders. 
Lucrezia, ignorant of the identity of the individual who has insulted her, complains to the 
Dur^e, who promises that the perpetrator shall be immediately punished. He gives vent to 
his feelings in his air, Vieni la mia vendetta. 

Vieni, la mia vendetta (Haste Thee, for Vengeance) 

By Giulio Rossi, Bass (In Italian) *634O4 lO-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 Dut^e is relentless and compels Lucrezia 
herself to hand a poisoned cup to her son. She obeys, but afterward contrives to give the 
youth an antidote. He suspects her of treachery, but she pleads so tearfully with him that 
h<; trusts her and drinks the remedy. 


This act opens with a chorus of bravos, who have been set to watch the dwelling of Gennaro. 

Rischiarata e la fmestra (Yonder Light is the Guiding Beacon) 

By La Scala Chorus (In Italian) *63172 10-inch, $0.75 

Gennaro, whose life has been saved by the antidote Lucrezia had given him, instead of 

escaping from the city as she had advised him, accompanies Orsino to a banquet which has 

b-;en secretly arranged by Lucrezia, and to which have been invited the young men who 

h id recognized and denounced her in Venice. 

In this scene occurs the famous Brindisi, or drinking song. 

"~ *Double-Faced Record For title of opposite siJe see DOUBLE-FACED LUCREZIA BORGIA RECORDS. 182. 


Brindisi (It is Better to Laugh) 

By Ernestine Schumann-Heink, Contralto (In German) 88188 12-inch, $3.OO 

This air is a very -well known one, and has been frequently sung, but Mme. Schumann- 
Heink puts such brilliant spirit into it, and sings it -with such wealth of gayety, such astonish 
ing range and such agility, that the rendition amazes the listener. It is certain that no music- 
lover of the present generation has ever heard it sung so brilliantly. The high notes are 
taken with the ease of a soprano, and altogether this familiar drinking song has never been 
so well delivered. 

The role of Mqffio Orsini was always one of Mme. Schumann-Heink's favorites, and she 
makes a gallant figure as the gay Roman youth. The words are well suited to the gayety 
of the music, and have been translated as follows : 


It is better to laugh than be sighing. In the world we some beings discover, 

When we think how life's moments are flying; Far too frigid for friend or for lover; 

For each sorrow Fate ever is bringing, 
There's a pleasure in store for us springing. 
Tho' our joys, like to waves in the sunshine, 

Gleam awhile, then are lost to the sight, 
Yet, for each sparkling ray 
That so passes away, 

Conies another as brilliant and light. 

Souls unblest, and forever repining, 

Tho' good fortune around them be shining. 

It were well, if such hearts we could banish 

To some planet far distant from ours; 
They're the dark spots we trace, 
On this earth's favored space; 

They are weeds that choke up the '-fair flow'rs! 

Then 'tis better to laugh than be sighing; 

They are wise who resolve to be gay; 
When we think how life's moments are flying, 

Enjoy Pleasure's gifts while we may! 

In the midst of the feast the door opens, the Borgia appears and tells them that they 
are doomed, as the wine has been poisoned by her. 



To her horror she sees Gennaro among the guests. He, too, has drunk of the fatal 
wine. She again offers him an antidote, -which he refuses, because the amount is insufficient 
to save the lives of his friends. Lucrezia confesses the relationship between them, but 
Gennaro spurns her and dies. The )ue now appears, intending to share in Lucrezia's 
hideous triumph, but finds his wife surrounded by her victims some dead, others dying. 
Lucrezia, a witness to the horrible result of her crime, suffers the keenest remorse, drinks 
some of her own poison and herself expires. 


IVieni, la rnia vendetta By Giulio Rossi, Bass (In Italian)} 

Qli Ugonotli Duetto Valenlina Marcello >63404 

By Maria Gjrisi, Soprano, and Perello De Segurola, Bass] 
(Rischiarata e la finestra (Yonder Light is the Guiding 
Beacon) By La Scala Chorus (In Italian) 

Lucia di Lammermoor Quando rapita in estasi 
By Qiuseppina Huguet, Soprano 


lO-inch. $0.75 

63172 10-inch, .75 




1 Mah' -dah-mah) 



A Japanese lyric tragedy, founded on the book of John Luther Long and the drama by 
David Belasco, with Italian libretto by Illica and Giacosa. Music by Giacomo Puccini. First 
produced at La Scala, Milan, in 1904, it proved a failure. Revived the following year in 
slightly changed form with much success. First American presentation (in English) occurred 
in October, 1906, in Washington, D. C., by Savage Opera Company. First representation in 
Italian at Metropolitan Opera House, February II, 1907, with Farrar, Caruso, Homer and 


MADAM BUTTERFLY (Cho-Cho-San) Soprano 

SUZUKI, (Soo-zu -key) Cho-Cho-San's servant Mezzo-Soprano 

B. F. PlNKERTON, Lieutenant in the United States Navy Tenor 

KATE PlNKERTON, his American wife Mezzo-Soprano 

SHARPLESS, United States Consul at Nagasaki Baritone 

GORO, a marriage broker Tenor 

PRINCE YAMADORI. suitor for Cho-Cho-San Baritone 

THE BONZE, Cho-Cho-San's uncle Bass 


THE AUNT Mezzo-Soprano 


TROUBLE. Cho-Cho-San's child 

Cho-Cho-San's relations and friends Servants. 

At Nagasaki, Japan Time, the present. 


The Story 

Puccini's opera, which from the first aroused the keenest interest among opera-goers, 
has become an enduring success. The original Metropolitan production in Italian was under 
the personal direction of Puccini himself, who refined and beautified it according to his own 
ideas into one of the most finished operatic productions ever seen here. 

The story of the drama is familiar to all through John Luther Long's narrative and the 
Belasco dramatic version. The tale is the old one of the passing fancy of a man for a woman, 
and her faithfulness even unto death, which comes by her own hand when she finds herself 

Puccini has completely identified his music with the sentiments and sorrows of the 
characters in John Luther Long's drama, and has accompanied the pictorial beauty of the 
various scenes with a setting of incomparable loveliness. Rarely has picturesque action 
been more completely wedded to beautiful music. 


SCENE Exterior of Pinkerton 's house at Nagasaki 

At the rise of the curtain GOTO, the marriage broker who has secured Pinkerton his bride, 
is showing the Lieutenant over the house he has chosen for his honeymoon. Sharpless, the 
American Consul and friend of Pinkerton, now arrives, having been bidden to the marriage. 
Then occurs the fine duet, which Caruso and Scotti have sung here in splendid style. 

Amore o grille (Love or Fancy ?) 

By Enrico Caruso, Tenor, and Antonio Scotti, Baritone 

(In Italian) 89043 12-inch, $4.OO 
By Riccardo Martin, Tenor (In Italian) 87O81 lO-inch, 2.OO 

NOTE. Mr. Martin sings only Pinkerlon'f solo from above duet. 

Pinkerton, joyous in the prospect of his marriage -with 
the dainty Japanese girl, and quite careless of the conse- 
quences which may result from such a union, describes his 
bride to the Consul, who gives the young lieutenant some 
good advice, bidding him be careful, that he may not break 
the trusting heart of the Butterfly who loves him too well. 

The number closes with a splendid climax, as Pinkerton 
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 is to come. 

Now is heard in the distance the voice of Butterfly, who 
is coming up the hill with her girl friends ; and she sings a 
lovely song, full of the freshness of youth and the dawning 
of love. 

Entrance of Cio-Cio San 

By Geraldine Farrar, Soprano 

(In Italian) 87OO4 lO-inch, $2.OO 

This dainty little number is given by Miss Farrar with 
the nalvet6 and grace of a fascinating child of fifteen, as she 
pictures the young girl in Act I. 

The friends and family having been duly introduced to 
Pinkerton, they go to the refreshment table, while Butterfly 
timidly confides to Pinkerton, in this touching number, that 
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 Farrar, Soprano (In Italian) 87O31 10-inch, $2.OO 

The contract is signed and the guests are dispersing -when Butterfly 's uncle rushes in and 
denounces her, having discovered that she has been to the Mission, renounced her religion, 
and adopted that of her husband. 




She is cast off by the family, who flee from the scene in horror. Butterfly at first weeps, 
tut is comforted by the Lieutenant, who tells her he cares nothing for her family, but loves 
rier alone. 

Then occurs the incomparably beautiful duet which closes the first act, and which is 
beyond all question the finest of the melodious numbers which Puccini has composed for 
the opera ; and the effect of this exquisite music, given on a darkened stage amid the 
flashing of fireflies, is wholly beautiful. 

O quanti occhi fisi (Oh 
Kindly Heavens) (Love 
Duet from Finale, Act I) 

By Geraldine Farrar, 
Soprano, and Enrico 
Caruso, Tenor 

(In Italian) 89O17 12-in., $4.0O 
Miss Farrar sings all of Puccini's 
music fluently and gracefully, but is al- 
vays at her best in this exquisite love 
duet, while the number is Caruso's finest 
opportunity in the opera, and he makes 
the most of it. 

The blending of the voices of the 
artists is remarkably effective, and the 
ecstatic climax at the end is splendidly 
given, both singers ending on a high 
C sharp ; the effect being absolutely 


SCENE Interior of Butterfly 's Home at the back <* Garden with Cherries in Bloom 
Three years have now elapsed, and Butterfly, with her child and faithful maid, Suzuki, 
are awaiting the return of Pinkerton. Suzuki begins to lose courage, but Butterfly rebukes her 
and declares her faith to be unshaken. 

Un bel di vedremo (Some Day He'll Come) 

By Geraldine Farrar, Soprano (In Italian) 

By Emmy Destinn, Soprano (In Italian) 

By Agnes Kimball (In English) 




12-inch. $3.OO 
12-inch. 3.OO 
12-inch. 1.25 

This highly dramatic number is sung after Butterfly 
has reproached Suzuki for her doubts, and in it she 
proudly declares confidence in her husband. In the 
English version this is called the " Vision Song," as it 
describes her vision of the arrival of Lieutenant Pinker- 
ton 's ship. 

Ora a noi ! (Letter Duet) 

By Geraldine Farrar, Soprano, 
and Antonio Scotti, Baritone 

(In Italian) 89014 12-inch. $4.OO 
Butterfly is visited by Sharpless, who has received a 
letter from Pinkerton, and has accepted the unpleasant 
task of informing Butterfly that the Lieutenant has de- 
serted her. He finds his task a difficult one, for when 
he attempts to read Pinkerton' s letter to her, she mis- 
understands its purport and continually interrupts the 
Consul with little bursts of joyful anticipation, thinking 
that Pinkerton will soon come to her. Finally real- 
izing something of his message, she runs to bring her 
child to prove to Sharpless the certainty of her husband's 





Sai cos' ebbe cuore (Do You 
Know, My Sweet One) 

By Geraldine Farrar, Soprano 

(In Italian) 87055 lO-in., $2.OO 

By Emmy Destinn, Soprano 

(In Italian) 91084 10-in., 2.OO 

In this pitiful air she asks little "Trouble" 
not to listen to the bad man (Sharpless), who is 
saying that Pinlferlon has deserted them. 

Shocked at the sight of the child, which he 
knew nothing about, Sharpless gives up in despair 
the idea of further undeceiving her, knowing that 
she will soon learn the truth, and leaves Butterfly, 
who refuses to doubt Pinkerlon, in an exalted state 
of rapture over the idea of her husband's return. 

Throughout the duet may be heard the 
mournfully sweet "waiting motive" played softly 
by the horns, and accompanied by strings pizzicati. 
This is beautifully given here, and the record is a 
most impressive one. 

The sound of a cannon is heard, and with 
aid of'a glass the two women see Pinkerton 's ship, the 
Abraham Lincoln, entering the harbor. 

Duet of the Flowers 

By Geraldine Farrar, Soprano, 
and Louise Homer, Contralto 

(In Italian) 89008 12-in., $4.0O 

Greatly excited, Butterfly bids the maid strew 
the room with flowers, and they scatter the cherry 
blossoms everywhere, singing all the while weird 
harmonies which are hauntingly beautiful. 

Miss Farrar's impressive Go-Cio-San, childish 
and piquant in its lighter aspects and pitifully 
tragic in its final scenes, and Mme. Homer's 
Suzuki, the patient handmaiden, who loves and 
protects her mistress through all the weary years 
of waiting, are two most powerful impersonations. 
Of the music written for these two roles, this 
exquisite duet is especially attractive. 

Night is falling, and not expecting Pinkerton 
until morning, Butterfly, Suzuki and the child take 
their places at the window to watch for his com- 
ing. As the vigil begins, in the orchestra can be 
heard the " Waiting Motive," with its accompani- 
ment by distant voices of the sailors in the har- 
bor, producing an effect which is indescribably 


SCENE II Same as the Preceding 

The curtain rises on the same scene. It is daybreak. Suzuki, exhausted, is sleeping, but 
Butterfly still watches the path leading up the hill. Suzuki awakes and insists on Butterfly 
taking some rest, promising to call her when the Lieutenant arrives. 

Sharpless and Pinkerlon now enter, and question Suzuki, the Lieutenant being deeply 
touched to find that Butterfly has been faithful to him, and that a child has been born. 

Suzuki, seeing a lady in the garden, demands to know who she is, and Sharpless tells her 
it is the wife of Pinkerton, he having married in America. 



The introduction by Puccini's librettist of this character has been severely criticised, 
IT. any considering it of doubtful taste, and forming a jarring note in the opera. So strong 
is this feeling in France, that the part of Kate has been eliminated from the cast. 

The faithful maid is horrified, and dreads the effect of this news on her mistress. 
Weeping bitterly, she goes into Butterfly's chamber, while the friends are left to bitter 
reflections, expressed by Puccini in a powerful duet. 

Ve lo dissi ? (Did I Not Tell You ?) 

By Enrico Caruso, Tenor, and Antonio Scotti, Baritone 

(In Italian) 89047 12-inch. $4.0O 

Pint^erton realizes for the first time the basenes of his conduct, while the Consul reminds 
him of the warning he had given him in Act I, to beware lest the tender heart of Butterfly 
be broken. 

The part of the Consul is not a great one, but Scotti almost makes it one with his care- 
ful portrayal, singing with dignity and tenderness and giving the part its full dramatic value. 

With the re-entrance of Suzuki occurs the trio for Pinfyerton, Sharpless and Suzuki. 

Lo so che alle sue pene ("Naught Can Console Her) 

By Riccardo Martin, Tenor ; Rita Fornia, Soprano: Antonio 

Scotti. Baritone (In Italian) 87503 10-inch. $3.OO 

This trio is dramatically given by Martin, Fornia and Scotti, who have this season made 
successes in the several roles of Pinfcerton, Suzuki and Sharpless. 

Finale Ultimo (Butterfly's Death Scene) 

By Geraldine Farrar, Soprano (In Italian) 8703O lO-inch, $2.OO 

By Emmy Destinn, Soprano (In Italian) 91OS6 10-inch, 2.OO 

Now comes the pathetic death scene at the close of the opera. Butterfly, convinced 
that Pinfyerlon has renounced her, blindfolds her child that he may not witness her suicide, 
takes down the dagger with which her father committed hari-kari, and after reading the 
inscription on the handle, "To die with honor when one can no longer live with honor," 
she stabs herself. 

In her death struggle she gropes her way to the innocent babe, who, blindfolded 
and waving his little flag, takes it all in the spirit of play. The tragic intensity of this 

scene always moves many to 

Miss Farrar puts into this 
final number all the pathetic 
despair of Cio-Cio-San's over- 
burdened heart; her rendition 
being a most impressive and 
wholly pathetic one ; while 
Mme. Destinn gives a most 
dramatic interpretation of this 
scene, perhaps the most heart- 
rending in the entire range of 

Pinkerton enters to ask 
Butterfly's forgiveness and bid 
her farewell, and is horrified 
to find her dying. He lifts 
her up in an agony of re- 

In the orchestra, strangely 
mingling with the American 
motive, the tragic death 
motive may be heard as the 

THE DEATH OF BUTTERFLY CUrtain slowly falls. 



Madame Butterfly Selection By Victor Orchestra 31631 12-inch. $1.OO 

This selection begins with the entrance music of Pink.erton, accompanied by the 
American theme for which Puccini has utilized the " Star Spangled Banner." 

Then in succession are heard the gay air of the thoughtless Lieutenant (as a cornet 
solo) in which he describes the characteristics of his countrymen ; the principal strain of the 
love duet with which the act closes; the exquisitely poetical "Duet of the Flowers," part 
of which is given on the orchestra bells ; and the beginning of the supremely beautiful scene 
where Butterfly, her maid and little son, take their places at the window to watch until 
morning for the husband's coming, while in the distance can be heard the faint voices of 
singers in the night, producing a mournful and indescribable effect. 

Then from the last scene we hear the return of Pint^erton announced just as Butterfly has 
taken her life; the American motif strangely contrasting with the tragic music of the death 
scene ; and a few measures of the final curtain music, with its ancient Japanese melody. 

(Madame Butterfly Selection 
\ Bartered Bride Overture 
Madame Butterfly Selection 

By Pryor's Band ) 
D D ' D ji 
By rryor s Band ) 

By Pryor's Band 

, ,, *,-,,= 
12-inch, $1.25 

31697 12-inch, 1.00 

The interest of the public in this exquisite Puccini opera continues to grow, and the 
fine records the Victor has offered of the music have been much enjoyed and favorably 
commented upon. This really beautiful twelve-inch fantasia, composed of the most 
effective portions of the opera, is splendidly played, as usual, by this fine concert band. 

Madame Butterfly Fantasie By Victor Herbert's Orch 70055 12-inch, $1.25 
Madame Butterfly Fantasie By Victor Sorlin 'Cello 31696 12-inch, l.OO 

Some of the most beautiful passages in this fascinating Puccini opera have been 
combined in this attractive fantasie. Among the themes used are the last part of Butterfly's 
"Song of Devotion" in Act 11, sometimes called the "Vision Song"; and the mournful but 
beautiful " Waiting Motive." This motive, -which is also sung by a distant chorus with 
a peculiarly charming and mysterious effect, is one of the composer's happiest inspirations. 
The pizzicati passages on the violin -which accompany this strange melody are most effectively 
given by the orchestra. 





(Lah Fleut Ahn-ihaa-tcy) 

(German) 9f 


(Dee Tiow-ber-floe' -teh) 





(Eel Flau'-tow Mah'-jee-ko) 


Libretto by Schickaneder, adapted from a tale by Wieland, "Lulu, or the Magic Flute." 
Music by Wolfgang Amadeus Mozart. First produced in Vienna, September 30, I 791 , Mozart 
directing. First Paris production as " Les Mysleres J'Isis," August 20, 1801. First London 
production, in Italian, in 1811; in German, 1833; in English, 1838. First New York pro- 
duction April II, 1833. _ 


SARASTRO, (Sahr-as-tro) High Priest of Isis .......................... Bass 

TAMINO, (Tah-mee ' -noh} an Egyptian Prince ......................... Tenor 

PAPAGENO, (Pap-ah-gay' -noh) a bird-catcher ....................... Baritone 

THE QUEEN OF NIGHT ..................................... Soprano 

PAMINA, (Pam-cc'-nah) her daughter ............................. Soprano 

MONOSTATOS. (A/oA-noW-ow) a Moor, chief of the slaves of the Temple 

of Isis ......................................................... Baritone 

, (Pap-ah-gay-nah) .................................... Soprano 

FIRST LADY, j t Soprano 

SECOND LADY, , attendants on the Queen of Night ....... Mezzo-Soprano 


FIRST BOY, ) , , , T . , , IC11 . , ( Soprano 

SECOND BOY. [ belon 8 ln g l the Temple, and fulfilling the 1 Mezzo-Soprano 
THIRD BOY, I designs of Sarastro \ AUo 

Priests and Priestesses of the Temple of Isis ; Male and Female Slaves ; 
Warriors of the Temple, Attendants, etc. 

The scene is laid in the vicinity of and in the Temple of Isis at Memphis. The action 
is represented as taking place about the time of Ramses I. 





"A fantastic fable was the groundwork; 
supernatural apparitions and a good dose of 
comic element were to serve as garnish. 
But what did Mozart build on this prepos- 
terous foundation ? What godlike magic 
breathes throughout this work, from the 
most popular ballad to the noblest hymn! 
What many-sidedness, what marvelous va- 
riety ! The quintessence of every noblest 
bloom of art seems here to blend in one un- 
equaled flower." Richard Wagner. 

Strictly speaking, the Magic Flute is not 
an opera, but rather a fairy extravaganza ac- 
companied by some of the most delightful 
music imaginable. To fully appreciate 
Mozart's work it should be heard in some 
German town on a Sunday evening, where 
middle-class families and sweethearts find 
much enjoyment in the mixture of mystery, 
sentiment, comedy and* delightful music 
which make up the opera. The libretto is, 
of course, utterly absurd, describing as it 
does the magic of the pipes of Tamino which 
had the power to control men, animals, birds, reptiles and even the elements, and as the 
flute is continually playing throughout the work, the results may be imagined. 


By Victor Band 31012 12-inch, $1.00 

By Pryor's Band *35135 12-inch, 1.25 

By La Scala Orchestra *682O7 12-inch, 1.25 

The overture is not only one of the greatest of its kind, but one of the most generally 

appreciated. Its wonderful fugue, "in which Mozart sports with fugal counterpoint as 

though it -were mere child's play," is played by the band in a striking manner. This fugue 

is announced first by the clarinets and a few bars later the cornets take up the theme, 

followed by every instrument in the band in the marvelous finale. 


The scene shows a rocky landscape with the Temple of the Queen of the Night visible 
in the background. Tamino, an Egyptian prince who is traveling -with his friends, becomes 
separated from them, is pursued by a huge serpent, and finally faints from fright and fatigue. 
Three veiled ladies, attendants on the Queen, come from the Temple to his rescue and 
stab the snake with their javelins. While they go to tell the Queen of the occurrence, 
Tamino revives, sees the dead serpent and hides as he hears a flute. 

Ein Vogelfanger bin ich ja (A Bird Catcher Am I) 

By Otto Goritz, Baritone (In German) 64163 lO-inch, $1.00 

Papageno, a bird catcher, admirer of damsels, and all-around rogue, enters and sings 
a merry lay, piping at every pause. In his song the fowler describes his occupation of 
snaring birds, but says he would like catching women better ! 


The fowler comes, in spite of rain, 

And sings his song in merry strain; 

This merry fowler, too, is known 

]>y young and old, from zone to zone. 

Knows how to whistle every sound 

That birds may sing the whole year round. 

Oh, none can be more blithe than I, 

With these sweet warblers of the sky. 

The fowler comes, in spite of rain. 
And sings his song in merry strain ; 
This merry fowler, too, is known 
By young and old, from zone to zone. 
A net for maidens I should like 
Would catch the pretty dears by dozens, 
I'd shut them safely up at home. 
And never let them forth to roam. 

In the part of Papageno Mr. Goritz has few rivals, and his impersonation was one of the 
great features of the recent revival at the Metropolitan. 

Tamino now comes forward and gives Papageno credit for having killed the serpent, an 
honor -which he promptly accepts. The three ladies now return, rebuke Papageno and show 
Tamino a photograph of the Queen of Night's daughter, the lovely Pamina, who has been 

*Doablc Faced Record For tltk of opposite side see DOUBLE-FACED MAGIC FLUTE RECORDS, pa-e 192. 



taken from her mother by Sarastro, the Priest of I sis, to save her from evil influences. Tamino 
falls in love with the picture and offers to rescue the maiden. He is given an all-powerful 
magic flute, and accompanied by Papageno sets out for Sarastro's palace. 

The scene changes to a room in the palace of the High Priest, where Pamina is dis- 
covered in charge of Monostatos, a Moor. 

The Moor is betraying his trust by persecuting Pamina with his attentions, -when Papageno 
enters and frightens him away. The bird catcher then tells Pamina of Tamino 's love for her, 
and offers to conduct her to this mysterious lover. 

La dove prende (Smiles and Tears) 

By Emma Earnes, Soprano, and Emilio de Gogorza, Baritone 

(In Italian) 890O3 12-inch. $4.0O 

This charming duet, with its grace and inimitable gaiety, introduces the melody of an 
old German song, Bei Mannern Welche Liebe fuhlen. 

Smiles and Tears 

The smile, that on the lip is playing, 
How oft 'twill hide a hearts deep woe! 

The tear, that down the cheek is straying, 
From purest springs of joy may flow. 

And smiles and tears, so legends say, 

Makt' up the sum of Life's brief day. 

Yet, whilst that smile the brow is wreathing, 
One word shall change it to a tear, 

And one soft sigh's impassion'd breathing 
Shall bid the tear-drop disappear, 

\Ylu-n each alike misleads in turn, 

Oh, who the heart's deep lore shall learn! 

Fair seems false! and false seems fair! 
Still, what bliss, what joy are there! 

After many adventures Tamino and Pamina 
meet, and by means of the magic flute they are 
about to escape, but are interrupted by Sarastro, 
who agrees to unite the love'rs if they will remain 
and be purified by the sacred rites ; and as the 
priest separates them and covers their heads with 
veils, the curtain falls. 


The first scene shows a noble forest showing 
the Temple of Wisdom. The priests assemble, and 
Sarastro orders the lovers brought before him. He 
then sings this superb Invocation, one of the most 
impressive numbers in the opera. 

Invocation (Great Isis) 

By Pol Plancon. Bass (Piano ace.) 

(In Italian) 85O42 12-inch. $3.0O 
In the Invocation, Saraslro calls on the gods 
Isis and Osiris to give Tamino and Papageno strength 
to bear the trial now at hand. 

Great Isis, great Osiris! 

Strengthen with wisdom's strength this tyro pair; 
Ye who guide steps where deserts lengthen, 

Uracc theirs with nerve, your proof to bear! 
Grant them probation's fruit all living; 

Yet, should they find a grave while striving, 
Think on their virtues, gracious gods, 
SARASTRO Take them elect to your abodes! 

In the noble role of Sarastro Plancon is especially effective, and his dignified impersona- 
tion of the benignant High Priest, who smooths out all the fantastic tangles in the situations 
wKich occur in Mozart's opera, is always singularly impressive. 

The lovers are admitted to the Temple and begin their probation. 

In the next scene Pamina is discovered asleep in a bower of roses. The Queen suddenly 
rises from the earth and gives Pamina a dagger, telling her to kill Sarastro or Tamino can 
never be hers. Pamina hesitates, and her mother, in a terrifying and dramatic song, 
threatens vengeance on all concerned, 


Aria della Regina (The Queen's Air) 

By Bessie Abott, Soprano (In Italian) 88O51 12-inch, $3.00 

By Maria Galvany, Soprano (In Italian) 87059 10-inch. 2.OO 

The Queen of Night, Aslriflammante, is one of the most striking characters in Mozart's 
opera, and the few numbers allotted to her are difficult and florid ones. This great aria is 
one -which the most experienced of sopranos always approaches with misgiving, because of 
its excessive demands on the vocal powers. Miss Abott and Mme. Galvany completely 
meet these demands, both singing the air gracefully and with superb execution. 

The pangs of hell are raging in my bosom, I spurn thee and renounce thee. 

Death and destruction wildly flame around! If thoti dar'st to brave my wrath: 

Go forth and bear my vengeance to Sarastro, Through thee Sarastro is to perish! 

Or as my daughter thou shall be disown'd! Hear, gods of vengeance! 

I cast thee off forever, Hear a mother's vow! (Site disappears. ) 

Sarastro enters and soothes Pamina, saying that he will take a righteous revenge on the 
Queen by obtaining the happiness of her daughter. He then sings the noble Cavatina, con- 
sidered one of the greatest of bass arias. 

Qui sdegno non s'accende (Within These Sacred 'Walls) 

By Pol Plancon. Bass (Piano ace.) (In Italian) 85O77 12-inch. $3.OO 

In this number the singer is at his best, and the noble strains are delivered in the broad 

sonorous style which the music requires. 

SARASTRO: Within this hallowed dwelling 

Revenge and sorrow cease; 
Here troubled doubt dispelling. 

The weary heart hath peace. 
If thou hast stray'd, a brother's hand 
Shall guide thee t'ward the better land. 
This hallow'd fane protects thee 

From falsehood, guile and fear; 
A brother's love directs thee, 

To him thy woes are dear. 

The probationary trials of the lovers continue through 
many strange scenes, in one of which Pamina meets Tamino, 
and not knowing that he has been forbidden to speak to any 
woman, cries out that he no longer loves her. She then sings 
this pathetic little air, which Mme. Gadski has interpreted 
here so beautifully. 

Ah lo so (All Has Vanished) 

By Johanna Gadski, Soprano 

(In Italian) 88254 12-inch. $3.00 

Mme. Gadski has long been recognized as one of the 
foremost exponents of Mozart in this country. The music 
of this master demands singers of great understanding and feel- 
ing, who must possess not only voice but intelligence and taste. 
That Gadski possesses these qualifications in ample 
measure is fully apparent to all who listen to her superb 


Mozart reproductions. 
PAMINA: Wretch that I am, too well I know Oh. Taniino, if for thee. 

Nought is left me but to mourn, My sighs and bitter tears are vain, 

Condemn'd to drain the cup of woe, Come, kind death, in pity free 

Joy to me will ne'er return. My weary bosom from its pain! 

The trials being finally completed, the lovers are united in the sacred Temple. The Queen 
and her accomplices attempt to prevent the ceremony, but the scene suddenly changes to 
the Temple of the Sun, where Sarastro is seen on his throne with Tamino and Pamina 
beside him, while the baffled Queen and her train sink into the earth. 


f Magic Flute Overture By Pryor's Band ' 35 j 35 j 2 -inch, $ 1 .25 

\ My Queen Waltz By Victor Dance Orchestra I 

/ Magic Flute Overture La Scala Orchestra \ . a , nr 

s i? . , r> i j i c i f\ t. i c OO2O7 

I. Meistersinger Prelude La oca/a Orchestra ) 






Words by Meilhac and Gille, after the novel of Abbe Prevost. Music by Jules Massenet. 
Fi'st production at the Ope'ra-Comique, Paris, January 19, 1884. First London production 
M.iy 7, 1885; in English by the Carl Rosa Company, at Liverpool, January 17, 1885. In 
French at Covent Garden, May 19, 1891. First American production at New York, Decem- 
ber 23, 1885, with Minnie Hauk, Giannini and Del Puente. Some notable revivals were 
in 1895 with Sybil Sanderson and Jean de Reszke ; in 1899 with Saville, Van Dyk, Dufriche 
and Plancon ; and at the recent production (in 1909) at the Metropolitan, with Caruso, 
Scotti, Farrar and Note. 


CHEVALIER DES GRIEUX (5/ieo-a/W deh GreeV) Tenor 

COUNT DES GRIEUX, his father Bass 

LESCAUT (Les-koh') Manon's cousin, one of the Royal Guard Baritone 

GUILLOT MORFONTEIN, a roue, Minister of France Bass 

DE BRET1GNY ( Bray-lee-vnee') a nobleman Baritone 

MANON, a school girl Soprano 

People, Actresses, and Students 

Time and place : 1 72 1 ; Amiens, Paris, Havre. 

The story of Manon is, of course, taken by Massenet's librettists from the famous novel 
of the Abbe Prevost, but for operatic purposes several changes have been made, notably in 
the events of the fourth act, which takes place in France instead of America. Although the 
ta e is very well known, a brief sketch will be included here. 

Manon is a country girl, gay, pretty and thoughtless, who meets a handsome young 
cavalier, des Grieux, while on her way to a convent to complete her education. He falls in 
lo-/e with her and she with him as far as her nature will allow, and when he tells her of the 
gaieties and pleasures of Paris, she needs little persuasion to induce her to elope with him 
to the Capital, to the chagrin of Guillot, whose carriage the lovers appropriate. 

Soon tiring of love in a cottage, however, the young girl encourages the attentions of a 
rich nobleman, de Bretigny, and when des Grieux is taken away forcibly by his father, she 
siczes the opportunity and leaves with her new lover. 

In Act 111 she learns that des Grieux, despondent because of her faithlessness, has resolved 
to enter a monastery. Her fickle affections turn again to him, and she visits him at the 
S( rninary of St. Sulpice. He at first repulses her, saying his love is dead, but is unable to 
resist her, and they depart together. 

The next act occurs in a gambling house, where des Grieux is endeavoring to win money 
to support Manon in the luxury she demands. Guillot, in revenge for the trick played on 
him in Act I, causes their arrest, des Grieux for cheating and Manon as a dissolute woman. 

The last scene occurs on the road to Havre, where des Grieux and Lescaut, Manon's 
brother, plan to rescue Manon as she is being taken to the ship, en route to the prison colony 
in Louisiana. The soldiers appear, but it is a dying Manon they escort, and the unfortunate 
girl, after repenting and asking forgiveness of des Grieux, dies in his arms. 


SCENE I Courtyard of an Inn at Amiens 

As the curtain rises the crowd of villagers, including Lescaut, are waiting the coming 
of the coach, which presently arrives and discharges Manon. The young girl regards the 
animated scene with much interest, and soon espies Lescaut, her cousin, who was to meet 
her at this point and escort her to the convent school. He greets her and compliments her 
on her charming appearance. She blushes and then artlessly tells him of her impressions 
during the journey from her country home. The scene from this point has been recorded 
bj the Scala singers. 


Restate qui (Wait a Moment) 

By Elisa Tromben, Soprano; Federico Federici, Tenor: G. Pini-Corsi, 

Tenor; Riccardo Tegani. Baritone (In Italian) *55OOO 12-inch, $1.5O 

Lescaut asks Manon to excuse him for a while as he must go to see after her luggage. 

LESCAUT (to Manon) : 
Wait a moment. 
Be prudent; I am going to find your luggage. 

He goes out, and the townspeople desert the square, leaving Manon alone. The roue, 
Guillot, appears on the balcony of the hotel, crying : " Miserable landlord ! Are we never to 
have any wine ? '' 

He sees Manon, and his evil eyes light up at this vision of youth and beauty. 


Heavens! What dp I see? Young lady! This time I swear the dog has by chance found 

Ahem! Ahem! Young lady! a pri/r. 

(Aside) Never did sweeter look light up a woman's 

Really, my head is turning round! face! 

Now then, Guillot, let the girl alone and come 

MANON (aside and laughing): ; n Vv'e are calling you. 

What a funny man! GUILLOT: 

GUILLOT' ^-'- av> ' n a momen t- 

Young lady, I am Guillot de Morfontaine. I (To Manon): . 

am rich and would give a good deal to hear T ^ M y llttle one - 8 Ive Ine a word - 

a word of love from you. Now, what do DF ,. I 1* E T IG . N y : . 

you say to that? _ Guillot, let the girl alone. 

GUILLOT (softly to Manon): 

MANON: A postillion is coming directly; when you see 

That I should be ashamed, if I were not more him, understand that a carriage is at your 

disposed to laugh. service. Take it, and afterwards you shall 

n T, know more. 

LIE HRETIGNY: LESCAUT (who lias just entered): 

.NOW then, Guillot, what s the game? We are What do you say? 

waiting for you. GUILLOT (confuted): 

GI-ILLOT: _ Oh - sir! nothing, sir! 

Oh, go to the Devil. LE A*; AUT . (boisterously): 

Oh, sir! Did you say 

POUSETTE (to Guillot): GUILLOT (returning to the farillion) : 

Are you not ashamed? At your age! Nothing, sir, I said. 

Guillot is frightened by the gruff 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. 


He spoke to you, Manon. Both cards and dice are waiting your pleasure 

MANON (lightly): below. 

Well, can you say 'twas my fault? LESCAUT' 

LESCAUT: I come; but first to this young lady, with your 

That's true; and in my eyes you are so good leave, good sirs, 

that I won't trouble myself. I must speak some words of counsel full of 

(The two guardsmen enter.) wisdom. 

FIRST GUARDSMAN (to Lescaut): GUARDSMEN (in mock resignation): 

How now! Thou comest not! To his wisdom we'll listen. 

Mi raccomando (W^ait for Me) 

By Elisa Tromben, Soprano ; Federico Federici. Tenor ; Chorus 

(In Italian) *5500O 12-inch. $1.5O 

The young girl promises to be prudent and Lescaut leaves with the guardsmen. 

LESCAUT (to Manon): Should whisper folly in your ear. 

Give good heed to what I say !'< have as though you did not hear. 

Duty calls me now away. For safety's sake adopt that plan. 

To consult these comrades here (To the Guardsmen, aside) 

Upon a point that's not quite clear. Now let us go and see on which of us the 

Wait for me, Manon, just a moment, no more. goddess of the game will look with loving 

Make no mistake, but prudent be, eyes. 

And if, forsooth, some silly man (They go out.) 

Des Grieux now enters, and seeing Manon, is much impressed with her beauty and 
modest bearing. He addresses her respectfully, beginning the lovely duet, Et je sais \>otre 

*Double.FaceJ Record-Far title of opposite siJe see DOUBLE-FACED MANON RECORDS, page 201. 


Et je sais votre nom (If I Knew But Your Name) 

By Mile. Korsoff, Soprano, and Leon Beyle. Tenor 

(In French) * 165 51 10-inch. $O.75 

The young girl answers simply, but feels herself strangely drawn to the young student. 
The transition from strangers to lovers is a quick one, as will be seen by the translation. 

DES GRIEUX: (Sadly) 

If I knew but your name I am now on my way to a convent, 

MANON (with simplicity) : That, sir, is the story of Manon, 

I am called Manon. (With simplicity) 

DES GRIEUX (with emotion): Of Manon Lescaut! 

Manon! DES GRIEUX (with ardor): 

MANON (aside) : No, I will not believe that fate can be so 

How tender are his looks, hard! 

How delightful his voice to my soul! That one so young and so fair can be destined 

DES GRIEUX- to dwell in a living tomb. 

All my fond foolish words, MA , NON , : . 

I pray you forgive! ut 4 J S ' alas! the sovereign will of Heaven, 

-.. To whose service I m devoted, 

MANON (nairely): And no one from this fate can deliver me. 

How condemn your words when they charm j) ES QRIEUX (firmly)- 

my heart; j^ o> no ; j^ ot f rom you Manon, shall hope 

To my ears they are music! and joy be torn 

Would to Heav n such language were mine, MANON (jovfiillv) 

You fit answer to make. Oh Heaven ! 

DES GRIEUX (fi a transport of Joy): DES GRIEUX: 

Lovely enchantress, all-conquering beauty, For on my will and power you can safely 

Manon, from henceforth thou art mistress of depend. 

my heart! MANON (with energy): 

MANON- Ah', to you I owe far more, far more than life. 

Oh! what joy! I>ES GRIEUX (.passionately)'. 

I'm henceforth the mistress of his heart! A . h! Manon you shall never leave me now! 

p. p Since I would gladly roam thro all the world, 

?, , Seeking for you, love, an unknown retreat, 

Ah, speak to me. ^nd carry you there in my arms. 


I am only a simple maiden. To you, my life and my soul! 

(Smiling) To you I give my life for evermore! 

Believe me, I'm not wicked, DES GRIEUX: 

But I often am told by those at home, Light of my soul! Manon, 

That I love pleasures too well; The mistress of my heart for evermore! 

Manon now observes the carriage of Guillot, which had been offered her, and suggests 
that they take it and fly together. Des Grieux joyfully agrees and they sing their second duet. 

Nous vivrons a Paris ("We 'Will Go to Paris) 

By Mile. Korsoff, Soprano, and Leon Beyle, Tenor 

(In French) *45OO9 lO-inch, $1.0O 

MANON AND DES GRIEUX: 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 Lescaut 's voice from within the hotel, where 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. 


SCENE Apartment of Des Grieux and Manon in Paris 
Des Grieux is writing at a desk, while Manon is playfully looking over his shoulder. 

J'ecris a rnon pere (This Letter's for My Father) 

By Mile. Korsoff, Soprano, and Leon Beyle, Tenor 

(In French) *45005 lO-inch, $1.00 
He tells her he is writing to his father : 

This letter's for my father, and I tremble lest Yes, Manon, I'm afraid, 
he should read in anger what I write from MANON: 

my heart. Ah, well, then we'll read it together. 


You are afraid? Yes, that's the way. Together we'll read. 

* Double-Faced Record For litk of opposite * de see DOUBLE-FACED MANON RECORDS, page 20 / . 


On Tappelle Manon (She is Called Manon) 

By Mile. Korsoff. Soprano, and Leon Beyle, Tenor 

(In French) *45009 10-inch, $1.00 

Continuing this charming scene, she takes the letter from him and reads with simplicity: 

MANON: the spring, so her young soul to life i 

"She is called Manon, and is young and fair. open. Her lips, like flowers. >inile aii'l 
In her all charms unite. She has grace, speak to the zephyrs that kiss them in pass- 
radiant youth and beauty; music Hows in a ing." 
stieam from her lips; in her eyes shines MASON (repeating)'. 

the tender light of love." "To the zephyrs that ki>s them in passing." 

DES GRIEUX (ardently): (I'ensircly) 

In her eyes shines the tender light of love. I'o you think your father will give his con- 

M. \XUN: sent? 

Is this true? Ah, I knew it not. Di.s GRIKI/X: 

(Tenderly) Ye-: he will never in such a matter as this 

l>ut I know how much T am loved. oppose me. 

DKS GRIEL-X (wif/i passion): MANON: 

Thou art loved! Manon, I adore thee! Dost thou desire it? 


Come, come, good sir, there's more to read I desire it, with all my soul! 

yet. MANON: 

DES GRIEUX: Then embrace me. Chevalier. (They embrace.) 

"Like a bird that through all lands follows And now, go; send thy letter. 

Des Grieux starts to go, but seeing some beautiful flowers on the table asks who sent 
them. Manon replies evasively, and asks if he does not trust her and if he is jealous. He 
i.ssures her of his perfect confidence. 

A noise is heard outside, and Lescaut, accompanied by de Bretigny, a French nobleman, 
tenters, the former loudly demanding satisfaction from des Grieux for the abduction of his 
< ousin. Des Grieux at first defies him, but remembering that he is a member of Manon's 
tamily, shows him the letter he had written to his father asking her hand in marriage. 
Lescaut engages him in conversation, thus giving de Breligny an opportunity to speak to Manon 
<iside. 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 and pleasure, the young girl hesitates. 
Lescaut now loudly expresses satisfaction with the attitude of des Grieux, and departs with 
<!e Bretigny. 

Des Grieux goes out to post the letter and Manon struggles with the temptation which 
iias come to her; the pathetic air, Adieu noire, petite table, indicating that she is yielding. 

Adieu notre petite table (Farewell Our Little Table) 

By Geraldine Farrar. Soprano (In French) 88146 12-inch. $3.OO 

By Mme. Vallandri, Soprano, and Leon Beyle, Tenor 

(In French) *45008 lO-inch. l.OO 

NOTE. In record 45008 Mme. Vallandri sings a portion of the " Farewell " solo and this is 
followed by the short duet which precedes the " Dream." 

She regards the little table at which they had served their simple meals and bids it 


Farewell, our pretty little table! So small and space we lovers filled. A single glass served 

yet so large for us. Side by side so often both of us, and each, in drinking, sought 

there we've sat. ili'ttli a sad smile.) I upon its margin where dear lips had been, 

smile as now I call to mind what narrow Ah! best of friends, how thou hast loved! 

Hearing des Grieux approaching, she hastily tries to conceal her tears. He observe* 
them, however, and tries to soothe her by relating a dream he has had. 

(Italian) (English (French) 

II sogno The Dream Le Reve 

By Enrico Caruso, Tenor (In Italian) 81O31 lO-inch, $2.OO 

By "Edmond Clement. Tenor, (In French) 74258 12-inch, 1.5O 

By Fernando de Lucia, Tenor (Piano ace.) (In Italian) 66OO1 lO-inch. 1.5O 

By Leon Beyle. Tenor (In French) *45OO8 lO-inch, l.OO 

By Leo Slezak, Tenor (In German) 612O6 lO-inch. l.OO 

* Double-Faced Record For titU of opposite tide tee DOUBLE-FACED MANON RECORDS, page 201. 



" Listen, Manon," he cries, " On my way I dreamed a lovely dream." 

DES GRIEUX: 'Tis paradise! Ah,, no. 

With fancy's eye I saw, Manon, All is sad, so sad and dreary, 

A sweet and lowly cot, For, O my only love, thou art not there. 

Its white walls, deck'd with flowers fair, ,, . ... . 

Gleam'd thro' the wood! M ANN (softly): 

Beneath whose peaceful shadows Tls a vlslon ' tls but a fanc y ! 

Ran clear the babbling brook; DES GRIEUX: 

Overhead, 'mid verdant leaves No! for thus we'll pass our life, 

Sang so sweet and full the joyous birds, If but thou wilt, O Manon! 

A knock is heard and Manon exclaims, aside, " Oh, Heaven, already they have come 
for him ! " She tries to prevent him from opening the door, but he insists, and is seized 
and carried away, while Manon, suddenly repenting, is overcome with grief. 


SCENE A Street in Paris on a Fete Day 

Manon enters, accompanied by de Bretigny and several gallants. She is in a gay mood and 
extols youth and love in a fine vocal gavotte, charmingly given here by Miss Farrar. 

Gavotte Obeissons quand leur voix appelle (Hear the Voice 
of Youth) 

By Geraldine Farrar, Soprano (In French) 87023 10-inch, $2.0O 


List to the voice of youth when it calleth, 
It bids ye to love for aye! 
And ere the pride of beauty falleth, 
Love then while you may. 
Profit then by the time of youth, 
And do not stay to count the days, 
Remember well this adage be merry and gay 

Manon, seeing des Grieux's father, timidly approaches him and asks if des Grieux has 
forgotten her. She learns that the young man has forgiven her, buried his love, and is 
planning to enter a monastery. When the Count has departed, the capricious girl resolves 
to go to St. Sulpice and see for herself if she has been so easily forgotten ; and as the cur- 
tain falls she is calling to Lescaut to conduct her thither. 

SCENE II Reception Room at St. Sulpice 

At the beginning of this scene the Count pleads with his son not to retire from the 
world, but des Grieux says he is resolved, and his father takes a sorrowful leave. 

Left alone, des Grieux sings his lovely song of renunciation, which the Victor offers in 
Italian, French and German by five famous tenors, the Caruso record also including the 
preceding recitative. 

(French) (Italian) (German) (English) 

Ah, fuyez, douce image! Dispar, vision Flieh o flieh! (Depart, 

Fair Vision !) NOTE The Caruso record is preceded by the Recitative, 
"Je suis seul" 

(Alone at Last!) 

By Enrico Caruso, Tenor (In French) 88348 12-inch, $3.0O 

By Gino Giovannelli, Tenor (In Italian) * 5 SOOl 12-inch, 1.50 

By Florencio Constantino, Tenor (In Italian) 74174 12-inch. 1.50 

By Leo Slezak, Tenor (In German) 64116 10-inch, l.OO 

By M. Rocca, Tenor (In French) * 165 7 5 lO-inch, .75 

*Double-Faced Record For title of opposite side see DOUBLE-FACED MANON RECORDS, page 201. 



He declares he will now seek the peace of mind which only faith in Heaven can give. 

DES GRIEUX: I'm alone at last! The supreme moment now has 
come. From earthly ties I'm free, and only seek the rest 
which faith in heaven can give! 

Ah! depart, image fair, 

Leave me now at ri-M ; 

Have regard to my prayer, 

Ease my poor tortured breast. 

To the dregs I have drain'd 

Life's most bitter cup, 

Nor to Heaven once complain'd, 

Though heart's blood filled it up. 

Dead to me now are love and ail that men call glory. I de- 
sire to banish from my memory an evil name a name 
which haunts me! Oh Heaven! with flame all searching, 
my soul now purge from stain! Oh! let thy pure and glo- 
rious light chase far away the gloom that lays on my heart. 

He goes slowly out and Manon enters, shuddering at the gloomy walls and wondering 
i : her lover has quite forgotten her. Des Grieux soon returns and is astounded to see Manon, 
Lidding her begone, saying his love is dead. She says she cannot believe it. 

MANON: my weeping! Am I not myself? Do not 

These eyes that oft thou hast kissed with turn away, but look on me. Am I not 

ardor, do they shine no more, even through Manon? 

Des Grieux is deeply moved, but asks Heaven for strength to resist her. Her plead- 
ings finally have their effect, and he cries : "Ah ! Manon ! No longer will 1 struggle against 
Myself!" and they depart together. 


SCENE A Gambling Room in Paris 

Des Grieux has been persuaded by Manon to come to this place in the hope of winning money 
to satisfy her desire for luxury. He plays for high stakes and wins large sums from Guillot, 
who leaves in a rage. As des Grieux is showing Manon the gold he has won, a loud knock- 
ing is heard and the police enter with Guillot, who denounces des Grieux as a swindler and 
Manon as his accomplice. They are arrested and taken to prison, but des Grieux is after- 
ward released through his father's influence, while Manon is ordered to be deported to 
America by way of Havre. 



Concertato finale 
O dolor 

By Aristodemo Giorgini. 
Tenor ; A. Santoro, So- 
prano; S. Nicolicchia, 
Baritone ; and Chorus 

(In Italian) 
87083 10-inch. $2.OO 


SCENE On the Road to Havre 
Des Crieux and Lescaut are 
on the Havre road, waiting 
for the soldiers who are es- 
corting the prisoners to the 
ship bound for America, des 
Crieux having conceived the 
mad idea of rescuing Manon. 
Beginning the duet he sings 

ON THE HAVRE ROAt^ACT V Hl > *"* ? remOr3eful *"> 

Manon in (Chains I 

Manon, la catena (Manon in Chains !) 

By Remo Andreini, Tenor ; Riccardo Tegani, Baritone ; and Chorus 

(Double-Faced, see page 201) (In Italian) 55OO1 12-inch, $1.5O 

DES GRIEUX (discovered seated by the wayside) : 

Manon, poor Manon ! Must I see thee herded with these wretched beings and be power- 
less to aid? O Heaven! Merciless Heaven! Must I then despair! (He sees Lescaut 
approaching.) He comes! (Advancing impetuously to Lescaut.) Thy fellows now 
make ready; the soldiers will soon reach this place. Thy men are fully armed; they 
will rescue Manon and give her back to me! What! can it not be done? Are all my 
fond hopes vain? Oh! why dost thou keep silence? 

Lescaut hesitates and finally says : 


Sir, I have done my best 
DES GRIEUX (anxiously) : 

Go on! 

And grieve to say that all is lost. 
DES GRIEUX (piteously) : 


Scarce had the sun shone on the arms of the 

soldiers ere all our men fled! 
DES GRIEUX (distracted) : 

'Tis false! 'Tis false! Great Heaven hath 
taken pity on my suffering, and at last conies 
the hour expected! In a moment my Manon 
shall be free! 
LESCAUT (sadly) : 

Since I have told the truth 
DES GRIEUX (about to strike him): 

Away ! 

Strike if you will. 'Tis soldier's fare. He's 
by the King ill-paid; and then, whate'er his 
worth, the good folks shake their head and 
call him "wretched fellow." 
DES GRIEUX (violently) : 

The voices of the soldiers are now heard in the distance singing as they ride. Des 
Grieux and Lescaut listen attentively, and the former, realizing that they are almost at hand, 
madly tries to rush forward. Lescaut dissuades him, saying he has a better plan, as he is well 
acquainted with the officer in command. When the escort arrives, Manon is found to be 
very ill and is left behind by the officer at Lescaut' s suggestion. During a heart-rending 
scene Manon asks and receives the forgiveness of des Grieux, repents her sins and dies in 
his arms. 



55001 12-inch, 1.5O 


(Restate qui (^X^ait a Moment) By Elisa Tromben. 

Soprano; Federico Federici, Tenor: G. Pini-Corsi, 

Tenor ; Riccardo Tegani, Baritone (In Italian) ! 55OOO 12-inch, $1.5O 
Mi raccomando (Wait for Me) By Elisa Tromben. 

Soprano: Federico Federici, and Chorus (In Italian)} 
lo son solo (I'm Alone at Last) 

By Gino Giovannelli. Tenor (In Italian) I 

Manon. la catena (Manon in Chains!) By Remo Andreini, I 
Tenor ; Riccardo Tegani, Baritone ; Chorus (In Italian)) 
Nous vivrons a Paris fWe Will Go to Paris) 

By Mile. Korsoff, Soprano; Leon Beyle, Tenor' . 
On 1'appelle Manon (She is Called Manon) By Mile. ch ' l ' 

Korsoff, Soprano ; Leon Beyle, Tenor (In French)] 
Adieu, notre petite table (Farewell, Our Little Table) 
By Mme. Vallandri, Soprano ; Leon Beyle, Tenor 

(In French) 

Le reve (The Dream) By Leon Beyle, Tenor 
J'ecris a mon pere (This Letter's for My Father) 
By Mile. Korsoff, Soprano; Leon Beyle 
Lakme Dans la foret, pres de nous 

By Mme. Vallandri, Soprano; M. Rocca, Tenor 
Et je sais votre nom (If I Knew But Your Name) 

By Mile. Korsoff, Soprano ; Leon Beyle (In French) 
I FaMoritaSplendon piu belle in del le stelle 

By Perello de Segurola, Bass, and Chorus (In Italian) 
I Ah! fuyez douce image ! (Depart Fair Vision) 

By M. Rocca. Tenor (In French) } 16575 
Carmen Selection (Bizet) By Pryor's Band] 

45008 10-inch, l.OO 

(In French)] 
(InFrench)\ 45005 
(In French)] 

lO-inch, l.OO 

16551 10-inch, .75 

10-inch, .75 

' ? " ' 


1 4 I M ' ' 






(Man-on' Les-ko') 


Music by Giacomo Puccini, the libretto (founded on Abb6 Prevost's novel) being the 
work of the composer and a committee of friends. English version by Mowbray Marras. 
First presented in Milan in 1893. Produced at the Op6ra-Comique, Paris, January 19, 1884; 
in English by the Carl Rosa Company, at Liverpool, January 17, 1885; at Drury Lane, May 
7, 1885. In French at Covent Garden, May 19, 1881. First New York production, January 
18, 1907. 



LESCAUT, sergeant of the King's Guards Baritone 

CHEVALIER DES GRIEUX (Jet, Cree-uay') Tenor 

GERONTE DE RAVOIR, Treasurer-General Bass 

EDMUND, a student Tenor 

An Innkeeper, a Singer, a Dancing-master, a Sergeant, a Captain. Singers, 
Old Beaux and Abbes, Girls, Citizens, Villagers, Students, People, Cour- 
tezans, Archers, Sailors. 

Scene and Period : Paris and vicinity ; second half of the eighteenth century. 


This early Puccini opera was performed by a struggling opera company in 1898, but the 
performance was so wholly bad that we have made no mention of it in our chronicle at the 
top of the page. The real New York premiere was of course the Metropolitan production in 
1907, when Puccini himself was present. An English version of the opera was given in Phila- 
delphia, however, by Gustav Hinrichs during one of his summer seasons, August 29, 1894. 




The Abbe Prevost romance has been treated operatically 
by several composers, the first being Halevy, -who wrote a bal- 
let on the subject in 1830. Other settings followed by Balfe, 
1836; Auber in 1856 and Massenet in 1884. 

Puccini's version consists of four detached scenes selected 
from the novel, and the hearer should possess some knowl- 
edge of the story to fully understand the action of the opera. 

The first act shows the courtyard of an inn at Amiens. 
Manon's brother, Lescaul, a dissolute soldier, is escorting his 
pretty little sister to the convent where she is to complete her 
education. While Lescaut is carousing with some chance 
companions, Manon meets a handsome gallant, des Crieux, 
who chances to be dining at the inn, dressed as a student. 
1 he prospect of school not appealing strongly to the young 
girl, she readily agrees to elope with des Crieux, thereby spoil- 
ing the plans of the old roue, Geronle, who had planned to 
abduct the pretty school girl. Manon soon tires of des Grieux 
and his poverty, and leaves him for the wealthy Geronte ; but 
even this luxury fails to bring her happiness, and when des 
Grieux appears again she runs away with him. 

Geronte is furious and denounces Manon to the police as an abandoned woman. She is 
condemned to be deported to the French possessions in Louisiana. Des Grieux and Lescaul 
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 Abbe 
Prevost's knowledge of American geography was evidently limited!) Des Grieux leaves 
Manon to search for water, and returns just in time to see her die in his arms, after a most 
effecting scene. 


SCENE A Street in front of an Inn at Amiens 

Des Grieux, dressed as a student, strolling among the crowd, meets Edmund and a party 
of students, who -warmly greet him. He is in a gay mood and addresses some of the girls 
who are passing, asking them, in this charming air, if there is one among them who will 
take pity on his lonely condition. 

Tra voi belle brune (Now Among You) 

By Franco de Gregorio, Tenor (In Italian) *45O15 lO-inch, $1.OO 

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 Geronte, a chance traveling 
c ompanion, alight. Des Grieux is struck with the beauty of the young girl, and when 
Lescaut and Geronte have gone into the inn to arrange for quarters, he questions her respect- 
fully. She tells him that she is bound for a convent, but does not wish to go. Lescaut 
now calls to his sister, and she enters the inn after promising to meet des Grieux later in the 

The young man gazes after her, and says to himself that never has he seen so lovely a 
picture of youth and innocence. He expresses his emotion in a fine air, one of the loveliest 
of the numbers allotted to des Grieux. (On the reverse side is an air from Tosca.) 

Donna non vidi mai (Never Did I Behold) 

By Egidio Cunego, Tenor (In Italian*) *45O16 lO-inch, $1.OO 

The students now gather round, bantering des Grieux on his new conquest, but he is in 
110 mood for joking and goes into the inn. Lescaut now joins a crowd of soldiers who are 
{{ambling, and soon becomes absorbed in the game. Geronte, seeing the brother thus 
engaged, seeks the landlord and plots to abduct Manon. Edmund overhears the scheme and 
informs des Grieux, who finds Manon and induces her to elope with him. They take 
the carriage which Geronte had ordered and make their escape, leaving him furious. How- 

*Doublc-FaceJ Record-Far title of opposite ,ide see DOUBLE-FA CED MANON LESCA UT RECORDS, page 205. 



ever, he finds Ltscaul and suggests that they go to Paris in search of the runaways. Lescaut, 
who has been drinking, consents, delicately hinting that if Geronte will admit him into the 
family group, he will use his influence to induce Manon to desert ties Grieux for the older 
but wealthier suitor. 


SCENE An Apartment in Geronte 's House in Paris 

Since the events of Act I Manon is supposed to have left des Grieux for the 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 whether 
he is grieving or whether he has already forgotten her. Lescaut tells her that the young 
man is disconsolate, and is gambling in order to get wealth to win her back to him. 

Manon gazes pensively at the rich hangings, and in a fine air expresses her longing for 
the humble cottage she has left. 

In quelle trine morbide (In Those Silken Curtains) 

By Gina C. Viafora, Soprano (In Italian) 64094 10-inch, $1.OO 

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. 

Madrigale Sulla vetta del monte (Speed O'er Summit) 

By Lopez-Nunes, Soprano, and Chorus (In Italian) *45O15 10-inch, $1.00 
When the singers have departed, the dancing master appears to teach Manon the minuet. 
She takes her lesson, while Geronte and several friends watch her admiringly. In a gay mood 
she sings a little song to the air of the minuet. 

Minuetto di Manon, "L'ora o Tirsi" (Joyful Hours) 

By Frances Alda, Soprano (In Italian) 87O79 lO-inch, $2.OO 

Des Grieux now enters and reproaches Manon bitterly. At the sight of him her love 
returns, and she begs him to take her away from all this luxury. They sing a passionate 
duet, followed by a lovely solo for des Grieux, -who reproaches Manon for her fickleness. 


* Double-Faced Record-Far title of ophite side xe DOUBLE-FA CED MANON LESCAUT RECORDS, page 205. 


Ah! Manon, mi tradisce (Manon, Kind and Gentle) 

By Franco de Gregorio, Tenor (In Italian) *45O27 lO-inch. $1.OO 

By Giorgio Malesci. Tenor (In Italian) *63421 lO-inch. .75 

Geronte surprises them, but controls his rage, and sarcastically wishing them a pleasant 

tete-d-lele, goes out. Lescaut shortly afterward rushes in and announces that Geronte has 

srnt for the police. Des Grieux begs Manon to escape at once, but she insists on collecting 

her jewels first. This delay is fatal, and she is arrested and taken to prison, charged with 

being an abandoned woman. 

Intermezzo (Between Acts II and III) 

By Arthur Pryor's Band *350O3 12-inch, $1.25 

Now comes the exquisite intermezzo, which gives a musical picture of the journey to 
Havre of Des Grieux to secure the release of Manon, and of his resolution to follow and 
protect her wherever she may be sent "Even to the end of the world!" cries the 
unhappy lover. 

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. 

SCENE The Harbor at Haore 

Manon has been banished from France, and is now embarking on the ship for the 
French colony in Louisiana. Des Grieux, unable to secure her release, entreats the officers 
to permit him to go on board. The captain, touched by the grief of the unhappy lovers, 
consents, and with a cry of joy Des Grieux embarks just as the ship is sailing. 

SCENE A Desolate Spot in Louisiana 

This act is merely a long duet in -which the sad, but very human, tragedy is ended. 
1 he music portrays the failing strength of Manon, the despair of Des Grieux when he is 
powerless to aid her, the last farewell of the lovers, and the bitter grief of the unhappy 
young man when Manon dies. As she expires, unable to bear more, he falls senseless on 
her body. 


| Intermezzo (Between Acts II and III) 

By Pryor's Band 35OO3 12-inch. $1.25 
I Tosca Selection By Arthur Pryor's Band] 

I Manon Selection By Arthur Pryor's Band) ,- n< , ,~ . , ,- 

'\ El Capitan March (Sousa) By Sousa's Bam/f 35 ' mch ' 1 ' 25 

Tra voi belle brune (Now Among You) 

By Franco de Gregorio. Tenor (In Italian) \. , , . . , 
Madrigale Sulla vetta del monte (Speed O'er Summit 

By Lopez-Nunes, Soprano, and Chorus (In Italian)} 
Donna non vidi mai (Never Did I Behold I 

By Egidio Cunego, Tenor (/./taltaj 1Q _ inch l Q O 

1 osca O/a mi struggea 

By Ernesto Badini, Baritone ' In Italian i } 
I Ah! Manon, mi tradisce (Manon, Kind and Gentle) 

By Franco de Gregorio. Tenor (In Italian) \. , n ~- , n . 

/" J f- i jr / LJ j r\ ,45027 lO-inch, l.OO 

(jtoconda L/e/o e Mar! (Heaven and Ocean) 

By Franco de Gregorio, Tenor (In Italian)} 
Ah ! Manon, mi tradisce 

By Giorgio Malesci, Tenor (In Italian) L ~.~ , ln i -, 

c w / i. j-iiii 1 1>342 1 lO-inch, .75 

tLrnant Injelice e lu credeci (Unhappy One !) 

By Aristodemo Sillich, Bass < In Italian)} 
* Double-FaceJ Record For title of opposite side see aboor list. 







(Nol'-zay de Fee -gar-oh) (Mah-ree-ahzh' deh Fee -gah-nw) 



Text by Lorenza da Ponte, founded on a comedy by Beaumarchais of the same name. 
Music by Mozart. First production at the National Theatre, Vienna, May 1 , 1 786. In Paris 
as Le Manage de Figaro, in five acts, -with Beaumarchais' spoken dialogue, at the Academic, 
March 20, 1 793 ; at the Theatre Lyrique, as Les Noces de Figaro, by Barbier and Carre, in 
four acts, May 8, 1858. In London, in Italian, at the King's Theatre, June 18, 1812. First 
American production April 8, 1835, in English. Some notable revivals were in the 70's, 
with Hersee, Sequin and Parepa-Rosa; in 1889, with Nordica, Eames, de Reszke, Ancona 
and Arnoldson ; in 1902, with Sembrich, Eames, Fritzi Scheff, de Reszke and Campanari ; 
and in 1909, with Sembrich, Eames, Farrar and Scotti. 


FIGARO, (Fee -gah-roh) the Barber, valet to the Count Bass 

COUNT ALMAVIVA, (Al-mah-^e -oah) a Spanish noble Baritone 

COUNTESS ALMAVIVA, his wife Soprano 

SUSANNA, maid of the Countess, betrothed to Figaro Soprano 

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

MARCELLINA, (Mar-chel-lee -nah] servant to Bartolo Contralto 

BARTOLO, a rejected lover of Susanna Bass 

BASILIO, (Bah-ze'e -lee-oh) a busybody Tenor 


ANTONIO, gardener to the Count 

Servants, Country People, Guards. 

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



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

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

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


SCENE I Jl Room in the 
Count's Chateau 


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


* Double-Faced Record For title of opposite side see double-faced lid on page 211. 



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


SCENE \ Apartment of the Countess 
At the beginning of Scene II, the Countess sings her lovely appeal to Cupid. 

Porgi amor (Love, Thou Holy Impulse) 

By Johanna Gadski. Soprano {In Italian) 88275 12-inch. 93.OO 

By Teresa Arkel. Soprano (Difcfc-/ace</.fpae2//) (Italian) 63419 lO-inch. .75 

The Countess is one of Mme. Gadski's most effective impersonations, and she makes an 
imposing figure in her royal garb, singing the Mozart music with a richness of voice which 
is always a delight to the ear. The Porgi amor, with its melancholy undertone, never seems 
to be heard at its best at the opera, as it is introduced under rather trying conditions at the 
very beginning of a scene and without preparatory recitative. Certainly Mme. Gadski has 
never sung this lovely air better than at this time, it being delivered with much purity of 
tone and genuine sentiment. The record will be pronounced one of the most satisfactory 
and appealing interpretations in the artist's entire list. 

Susanna tells the Countess of her husband's fickleness and they consult Figaro, who plans 
to make the Count jealous by telling him that the Countess is to meet a lover that evening in 
the garden. It is planned to send Marcellina in the Countess ' place, and Chcruoino, dressed 
as a young girl, to meet the Count in Susanna's place. 

Figaro departs, and Cherubino enters. Seeing his mistress, he begins to heave deep sighs, 
but Susanna mocks him and tells the 
Countess he has written a song about 
his lady love. The Countess bids him 
sing it, and he takes his guitar and 
describes the delights and torments 
caused by Cupid's arrow. 

Voi che sapete ("What is 
This Feeling?) 

By Nellie Melba. 
Soprano (In Italian) 

88067 12-inch. 3.OO 

By Luisa Tetrazzini. 
Soprano (In Italian) 

88300 12-inch, 


The song is in ballad form, to 
suit the situation, the voice giving 
out the clear, lovely melody, while 
the stringed instruments carry on a 
simple accompaniment pizzicato, to 
imitate the guitar; and this delicate 
outline is shaded and animated by 
solo wind instruments. 

It is difficult to say which to 
admire most the gracefulness of the 
melodies, the delicacy of disposition 
of the parts, the charm of the tone- 
coloring, or the tenderness of expres- 
sionthe whole is of entrancing 




(in KI iiivo: 

What is tills feeling makes me so sad ? 
What i^ this feeling makes mr so glad? 
I'.iin that delights mi-, How can it be? 

I'liasim that pains me! 

l-Yttei'd though free! 

Wheno. to,), these yearnings, 

Strange to myself? 

Tc-ll me their meaning, spirit or elf! 

Why am 1 burning? Why do I freeze? 

All is so alien il. nothing's at rest, 
tli ate these chaiiKes lint ill my In 
Centler the liree/es, <lay is more bright: 

the moonbeams shine on the night: 

r the hill. 
Soft, too, the music flows from each rill. 

The women now dress 
up the page to represent Su- 
sanna, and have no sooner fin- 
ished when the Count knocks, 
and Cherubino hides in the 
closet. The Count observes 
his wife's confusion, and hear- 
ing noises in the closet, be- 
comes jealous. He demands 
that she open the closet door, 
and when she refuses he goes 
for a crowbar. The moment 
he is out Cherubino, aided by 
Susanna, slips out and escapes 
through the window, and Su- 
sanna enters the closet in his 
place. When the Count returns 
and opens the door, the maid 
c omes out and the husband is forced to apologize for his suspicions. 

Marcellina now enters with her lawyer and demands that Figaro shall keep his promise 
t > marry her. The Count promises to look into the matter. 


SCENE I jl Cabinet in the Count 's Residence 

The third act opens -with a scene between Susanna and the Count. He plans to force 
}.er to accept his attentions by threatening to make Figaro wed the ancient Marcellina, while 
Susanna endeavors to gain time. This scene is continued in a charming and graceful duet. 




Crudel pcrchc finora (Too Long You Have Deceived Me) 

By Geraldine Farrar. Soprano, and Antonio Scotti. Baritone 

(In Italian) 89O27 12-inch. 4.<>o 

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. 

Too long you have deceived me; Then, by the garden bower? 

Hope, weary, bids farewell. SUSANNA: 

SUSANNA: At twilight I will be. 

What passe* in her bosom COUNT: 

A maiden dreads to tell. You'll not forget the hour? 


You'll meet me in the grove, then? Oh, no, depend on me. 


When sunset's on the lea. In the garden? 


And do not mean it falsely? Yes! 


Oh. no; rely on me! You'll not forget? 

COUNT (aside): SUSANNA: 

What trans|xirt now i* flying No! No! No! Oh, no, depend on me! 

Thro' this enraptured breast! COUNT (retiring): 

SUSANNA (aside): I have won her! 

Oh. may the scheme I'm trying, SUSANNA (aside): 

Ilring all to peace and rest! Well, cunning as you are, sir. 

This time you've met your match! 

Of the seven duets in which Susanna takes part in the opera, the CruJel perche is the 
most effective, and Miss Farrar and Mr. Scotti, both accomplished Mozart singers, deliver it 
delightfully. The accompaniment, so all-important in Mozart's works, is perfectly played 
under Mr. Rogers' direction. 

They 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 discovery 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 i 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 the delicate 
Letter Duet. 

Che soave zeffiretto (Letter Duet Sontf to the Zephyr) 

By M jrvdlj Sembrich. Soprano, and Emma Eamet. Contralto 

(In Italian) 952O2 12-inch. 5.OO 

This number is always greatly enjoyed in representations of the opera, being a fine 
example of the Mozartian style and full of beauties, not only in the vocal parts, but in the 
masterly orchestration. 

SCENE \\-Holl in /Ae Chateau 

In this scene Figaro and Susanna are married, and in the course of the festivities Susanna 
contrives to slip the note to the Count, who is overjoyed. 


SCENE The Garden of the Chateau 

The last setting shows the garden where the most delightful of the comedy scenes takes 
place. Susanna, disguised as the Countess, and the Countess disguised as Susanna, enter. 
The mistress conceals herself, while Susanna, awaiting the Count, and knowing that Figaro is 
listening, sings her famous soliloquy. 

Deh vieni non tardar (Oh, Come, My Heart's Delight) 

By Marcella Sembrich. Soprano (In Italian} 88O2O 12-inch. $3.OO 

She pours out her whole soul in this address to the imaginary lover, in order to 
increase the jealousy of Figaro, who is hidden near by. This is one of the most exquisite 
numbers in the opera, and Mme. Sembrich's singing of it always remains long in the mem- 
ory of those who hear her in Nozze. 



long delay? >jn-r<l. ^pt-cd thee 
away, all nature seems to 


A : 

Ah, why 
While thou'rt 

Tho" bright the moon, and bright the stars are 


Deeper around the wood its shade is throwing. 
In ev'ry gentle murmur of the river. 
In the rustling reeds that near it quiver, 
A voice to love invites, the bosom filling 
\Vith love alone, all other passions stilling: 
Come then, my dearest, the hours are quickly 


I.i-t mi- with roses bind now thy lu-ml! 

Cherubino, having an appointment with the maid Barbarina, 
now enters, and seeing the Countess, thinks it is Susanna and 
kisses her. The Countess struggles, and the little rascal says : 

Why to me a kiss deny? 
\Vith the Count you are not shy! 
Come, come, give o'er, then. 
And strive no more, then: 
One kiss to your little friend! 

The Count arrives just in time to see this, and giving 
Cherubino a box on the ear, sends him flying. He then makes 
love to the supposed Susanna, the Countess disguising her voice 
and encouraging him. Figaro now sees Susanna, whom he 
of course takes to be the Countess, and tells her that her husband and Susanna are together. 
.Susanna reveals herself and Figaro embraces her. The Count sees this embrace and his 
jealousy making him forget his new conquest, he seizes Figaro and calls for help. The 
plot is now revealed, and the Count, confessing he is conquered, begs the Countess' forgiveness 
;jid promises to be a model husband. As the curtain falls the three happy couples are 
ntering the house to continue the marriage festivities. 



351O9 12-inch. $1.25 


Fra Diaoolo Overture By Arthur Pryor's Band I 

Porgi amor By Teresa Arkel. Soprano (In Italian >\ , A 10 ._ . 

I Toglietemi la vita ancor-Romanza By Teresa Arkel (In Italian)!** 



It.hin ' 






Libretto by St. George and Friedrich. Music by Friedrich von Flotow. The opera i 
an elaboration of "Lady Henrietta, or the Servant of Greenwich." a ballet-pantomime, with 
text by St. George and music by Flotow. Burgmuller and Deldevez. which was suggested by 
an actual incident and presented in Paris in 1844. Martha was first produced at the Court 
Opera, Vienna. November 25. 1847. First London production July I. 1858. at Covent 
Garden, in Italian. First American production 1852, in German. 

Characters of the Drama 

LADY HARRIET DURHAM. Maid-of-honor to Queen Anne Soprano 

NANCY, her friend Mezzo-Soprano 

SIR TRISTAN MICKLEFORD. Lady Harriet's cousin Bass 

PLUNKETT. a wealthy farmer Bass 

LIONEL, his foster-brother, afterwards Earl of Derby Tenor 



THREE MAIDSERVANTS Soprano and Mezzo-Soprano 

Chorus of Ladies. Servants. Farmers, Hunters and Huntresses. Pages, etc. 

The scene is laid, at fint, in the Cattle of Lady Harriet, then in Richmond 
and environs, during the reign of Queen Anne. 

Flotow's melodious opera has always been a most popular one, with its spirited Fair Scene, 
its beautiful duets and quartet, the famous third act 
finale and the beloved "Last Rose of Summer." 

The composer was of noble birth, a son of 
Baron von Flotow of Mecklenburg, and was born 
in 1812. His father destined him for a diplomat, 
but the boy loved music, and went to Paris to 
study. His first attempt at opera was Pierre el 
Catharine, followed by Stradella and others. 

Many great prima donne have sung the role of 
Martha Patti. Nilsson. Kellogg. Gerster. Richings. 
Parepa Rosa ; and in the present day Sembrich, 
have charmed their audiences with Flotow's beau- 
tiful strains. 

The fine overture, which contains many of 
the best known melodies, is splendidly played 
here by the band. On the reverse side of the 
double-faced (35133) is a 'cello solo by Sorlin. 


By Pryor's Band *35133 12-inch. $1.23 
By Pryor's Band 31478 12-inch. l.OO 


SCENE I Boudoir of Lady Harriet'NU. AND PLL'HKETT ACT I 

Lady Harriet, maid -of -honor to Queen Anne, is weary of the monotony of court life. 
She is bored by her admirers, and jewels and flowers pall upon her. " Why do you weep ?" 
says her faithful maid, Nancy. " I do not know." exclaims Harriet. Nancy, beginning the 
duet, ventures to guess. 

or ink of ountHt tiJe ** DOUBLE-FACED MARTHA RECORDS, page 217. 


Mesta ognor (Ah, These Tears 

By Louise Homer, Contralto, and Bessie Abott. Soprano 

i In Italian) 89O09 

12-inch. $4.OO 

N \ N < \ : 

Of tlu- knight- -o III.IM- ami i-hai tiling 
Who surround mir graciou- M> ll 'cn. 
Ami thfin-el\e- with wit arc arming, 
Some out ha> -ii lucky In in 
Ynur cold and haughty heart to win! 
1- there aught in this alarming? 


Vain belief! How can rejoice me 
Such insipid, idle |n\ 
For to please and interest me 
Flattery is not enough! 

NAM ^ : 

Riches heap on you their treasures, 
llinmr high is offered you. 

This tlou. not! 

Hall- and tournament;, are giMiin. 
And your colors win the \<- 
Proudly from the banners waving. 
While the victor vainly sighs 

. -mile from your fair eyes, 
Which hi* armor penetrated: 

All my glowing ardent \M 
Please me not when they're fulfill'd! 
What of h;i]ipine I dreamed 
Always has disgust instill'd. 
The homages they offer, 
1'iaise ana honor they bestow, 
Leave me joyless, once obtained 
Make me not with pride to glow. 

Then, from ennui to save you, 

Nothing is for you remaining 

Hut to let your heart be con<nier'd. 

Not a particle retaining! 


In the midst of gold and pleasures 

Weariness alone I see. 

This is really too distressing; 

Her's is called a brilliant lot! 

If love does not work a wonder, 

Tristan, Harriet's cousin, a gay but rather ancient beau, is now announced and proposes 
long list of diversions for Harriet's amusement. She declines them all and teases him un- 

icrcifully. The song of the servant maids, on their way to the Richmond Fair, now floats 

i through the window; and hearing these strains of the happy peasants, Harriet conceives 
madcap desire to accompany them. Nancy and Tristan protest, but she orders them to go 

.ith her. Dresses are procured and they start for the fair, the ladies in the disguise of 

ervant girls, and Tristan garbed as a farmer. 

SCENE II The Fair at Richmond 

The scene changes to the Richmond Fair, where a motley crowd of men and maidens 
re looking for positions. Two young farmers, Plunkett and Lionel, now enter, the latter 


teing an orphan and adopted brother of Plunkett. Lionel's father, on his deathbed, had 
liven Plunkett a ring, which was to be presented to the Queen should the son ever be 
i ivolved in difficulties. 

In this fine duet, one of the gems of Flotow's popular romantic opera, the friends speak 
i'f Lionel's father and the incident of the ring. 



Solo, profugo (Lost, Proscribed) 

By Enrico Cariuo and Marcel Journet (In Italian) 89O36 12-inch. M.OO 

By Van Moose and de Gogorza (7n Italian) 74OO5 12-inch. 1.50 

By Reinald Werrenrath, Baritone; Harry Macdonouf h. Tenor 

(In English) 31769 12-inch. I .OO 
Lionel tells the story of hi* adoption by Plun^ett's family in the fine aria beginning 

iMii irr.i fri.i a 

i n n ,. M _ <M t~t . tm * Mi 

This air it universally popular and has been used for many poems, including several 
hymns. Plun^ett then sings 

nd tells of the great love he has for his adopted brother. 
The duet, which is a very beautiful one, then follows : 


Here in peace and sweet contentment 

Have I passed my life with you; 
Stronger, daily, grew a friendship 
That forever lasts, when true. 
Brother, think not wealth and splendor, 
If perchance they e'er be mine, 



in as happy this heart render 
As the friendship fix'd in thine. 


We have never learnt his station. 

Never knew your father's rank; 
All he li-it to tell the secret 

Was the jewel on your hand. 
"If your fate should ever darken," 

Quoth he, "Show it to the Queen; 
She will save you. she will guard you 

When no other help is seen." 

The disguised ladies now appear, accompanied by the unwilling and disgusted Tristan, 
who considers the whole affair a joke in very bad taste. The two young farmers spy the 
girls, and being much taken with their looks, offer to hire them. The ladies, carrying further 
their mad prank, accept the money which is offered them, not knowing that they are legally 
bound thereby to serve their new masters for a year. Tristan loudly protests, but is hooted 
off the grounds, and the frightened girls are taken away by the farmers. 


SCENE A Farmhouse 

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

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 com- 

The maidens determine 
to lead their captors a stren- 
uous life, and when they are 
ordered to get supper they 
promptly refuse. 

Spinning 'Wheel Quartet 

By Victor Opera Quartet > In English) 7OO52 12-inch. $1.25 

Astonished at such revolutionary conduct from servants, the young men exclaim : 

THE M-iNNixi. wiii.M. QUAKTSTTB 


Surpris'd I am and astounded. 
Ana I can say no more; 
Such impudence unbounded 
Was never seen before! 


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 girls are then requested to show their skill at the spinning wheels. When they 
confess ignorance of the art the young men offer to teach them: 
LIONEL AND PLUNKETT (spinning): HARRIET AND NANCY (silting at the wheels): 

When tin- foot the wheel turns lightly \\ 'hat a charmiriK mi-iipation 

Let tlu- hand the thread entwnu ; Tlui> to make the tin cad entwine; 

liiaw and it. neatly, tightly, (iently guided, drawn and \v. 

Th<n 'twill he both strong and fine. It becomes both strong and fine! 

Nancy leads Plunlfett a merry chase, causing him to lose his temper, while Lionel finds 
h mself falling in love with the beautiful Martha. She laughs at him, but is nevertheless 
inpressed with his good looks and manly bearing; so much so that when he asks her 
t< sing she consents, and taking the rose from her bosom she sings the exquisite " Last 
Rose of Summer." 

Last Rose of Summer 

By Adelina Patti. Soprano (In English) 9503O 12-inch. $5. OO 

By Luisa Tetrazzini. Soprano (In English) 883O8 12-inch. 3.OO 

By Marcella Sembrich. Soprano (In English) 881O2 12-inch, 3.00 

By Alice Nielsen, Soprano (In English) 74121 12-inch, 1.5O 

By Elizabeth "Wheeler, Soprano ( Double-Faced) (In English) 16813 lO-inch, .75 

By Elizabeth Wheeler. Soprano (In English) 5739 lO-inch, .60 

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 sleep thou with them. 
Thus kindly I scatter 

Thy leaves o'er the bed 
Where thy mates of the garden 

Lie scentless and dead: 

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. 



Good Night Quartet 

By The Lyric Quartet 

Midnight sounds! 

Midnight sounds! 
LIONEL (to Martha): 

Cruel one, may dreams transport thee 

To a future rich and blest! 

And tomorrow, gently yielding, 

Smile upon me! sweetly rest! 
PLVNKETT (to Nancy): 

Sleep the_e well, and may thy temper 

Sweeter in my service grow; 

(In English) 5855 10-inch. $0.60 
Still your sauciness is rather 
To my liking do you know? 

Yes, good-night! such night as never 
We have lived to see before; 
Were I but away, I'd never 
Play the peasant any more! 

Good-night ! 

(Harriet and Nancy retire to their chamber, 
and Plunkett and' Lionel leave by the large 
door, locking it after them.) 

The maidens now peep out from their room and seeing no one, come out, and are ex- 
citedly discussing their chances of escape, when Tristan's voice is heard outside softly calling 
ts them. Overjoyed, they make their escape through the window, and return to their 
Lome in the carriage provided by Tristan. 




SCENE A Hunting Park i" Richmond Forest 

Act HI 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 

The act opens with the spirited apostrophe to porter beer, sung by Plunktll. 

Canzone del porter (Porter Song) 

By Pol Plancon. Bass (In Italian) 81086 lO-inch. 92.00 

By Marcel Journet. Bass (In Italian) 64O14 lO-inch. l.OO 

By Carlos Francisco (Double-Faced. page 217} (In Italian) 16812 lO-inch. .75 

This most famous of old English beverages is highly praised by the jovial Plun^elt. who 

gives it credit for much of Britain's vigorous life. 


I want to ask you, can you not tell me. And that explaineth where'er it reigneth 

What to our land the British strand Is joy and mirth! At ev'ry hearth 

(iives life and power? say! Resounds a joyous sonic ! 

It is old porter, brown and stout, Look at its goodly color here! 

We may of it be justly proud. Where else can find you such good beer? 

It guides John Bull, where'er he be. So brown and stout and healthy, too! 

Through togs and mists, through land and sea! The porter's health I drink to you! 

Yes, hurrah: the hops, and hurrah! the malt, 
They are life's flavor and life's salt. 
Hurrah: Tra, la, la, la, la, la, la, la! 

Three records of this number are offered the first by Plancon. whose PlurJtetl was ^ 
familiar figure to opera-goers a few years ago ; while Journet has also made a great success 
in the part, which suits his robust voice and style admirably. His singing of this " Porter 
Song" is a fine performance spirited and magnetic. A lower-priced rendition, and a most 
excellent one. is furnished by Carlos Francisco. 

The farmers disperse, leaving Lionel alone, and he sings his famous "M'appari," the 
melodious air of the broken-hearted lover, in which he tells of his hopeless passion for the 
fair Lady Harriet, whom he knows only as Martha. 

M'appari (Like a Dream 

By Enrico Caruso. Tenor (In Italian) 88OO1 12-inch. $3.OO 

By Evan 'Williams. Tenor (In English 74128 12-inch. 1.5O 
Caruso sings this lovely air with a glorious outpouring of voice, giving it all the pathos 
and tenderness which it requires; while Mr. Williams' rendition (in English) is also a very 
fine one. 

Like a dream bright and fair. Oh! return happy hours fraught with hope 

Chasing ev'ry thought of care, so bright; 

Those sweet hours pass'd with thee Come again, sunny davs. 

Made the world all joy for me. Sunny days of pure delight. 

But. alas! thou art gone. Fleeting vision cloth'd in brightness, 

And that dream of bliss is o'er. Wherefore thus, so soon depart: 

Ah! I hear now the tone O'er my pathway shed thy lightness 

Of thy gentle voice no more; Once again, and cheer my heart. 

Lionel suddenly encounters Lady Harriet, and although amazed at seeing her in the 
dress of a lady, warmly pleads his love. 


Yes, 'tis thee! 

Once more I do behold thee! 

Praised be God; it is no dream! 
HARRIET (atide) : 

My heart! 

LookeM down so proudly: 

Yet my heart knew thee at once. 
HARRIET (with dignity): 

Knew me? You're mistaken ! 

I've hoarded thy fair image 

Deep in iny breast No 

This dress does not deceive mt 

Tis thee, thee! Be Heaven blest! 

Madman, you dream! 

Ah! If but a dream, 

This, a creation, of my brain. 

Then, oh Martha, let me enjoy 

This delusion while it lasts! 

(He attempt! to seise htr hand.) 

Hold! presumptuous man! 

No further! thou hast rav'd too long uncheck'd! 



Lady Harriet is forced to call the hunters, to whom she declares 
that Lionel must be mad. He is distracted, while Plun^ett endeavors to 
console him. The great finale, a part of which closes the Opera Medley 
(see below), then occurs. It is a magnificent piece of concerted music. 


SCENE I Plunkelt's Farm House 

Plunkctt is discovered alone, musing on the unhappy plight of his 
foster brother, who, since his rejection by Harriet, is inconsolable. He 
sings his great air, which is often omitted in American presentations of 
the opera. 

II mio Lionel (My Unhappy Lionel) 

By Mania Battistini. Baritone 

(In Italian) 920O5 12-inch, $3.OO 

It is a fine number, superbly sung by Battistini, whose great 
success in this role at Covent Garden is well remembered. 



Poor Lionel! he sighs, he lament-, 

He flics from his friend; 

Hi- is beside himself with love 

Accursed be the hour 

When first \\e -aw that girl. 

When first we brought her beneath our roof! 

Soon will my Lionel die. 

If no aid come from on high; 

Fatal the hour. 

When first his heart felt love's pow'r; 

Weeping, he wanders in grief. 

Nought to hi- pain brings relief; 

Merciful (iod. hear my cry, 

Kl-e must my Lionel die! 

Nancy now enters, and she and Plunlfett soon come to an understanding. They decide 
tc present Lionel's ring to the Queen, hoping thus to clear up the mystery of his birth. 

SCENE II A Representation of the Richmond Fair 

Lionel's ring has been shown to the Queen, who discovers that the young man is 
r< ally the son of the banished Earl of Derby. However, he refuses to accept his rightful 
r, nk and continues to brood over the insult offered him in the forest. As a last resort a 
complete reproduction of the Fair Scene of Act II is arranged, with booths and the crowd 
o! servants all represented. Harriet, Nancy and Plun^ett are dressed in the costumes worn 
at their first meeting. 

Lionel is led in by Plunl^ett, and when he sees Harriet in the dress of a servant, the 
cloud seems to pass from his mind and he embraces her tenderly. The two couples pledge 
tl eir troth and all ends happily. 


Overture By Pryor's Band] 

Nocturne in El (Opus 9) (Chopin) [35133 12-inch. $1.25 

By Victor Sorlin. 'Cellist (Piano ace. ) I 
l^ast Rose of Summer By Elizabeth Wheeler. Soprano I 

I In English) 1 68 1 3 1 0-inch. 

^ Tannhauser The Evening Star By Victor Sorlin, 'Cellist] 

Canzone del porter (Porter Song) 

By Carlos Francisco. Baritone (In Italians 
| Trooatore // balen del suo sorriso (The Tempest of the Heart) 

By Francesco Cigada. Baritone (In Italian) 

Gems from Martha 

Chorus of Servants Quartet, "Swains So Shy" "Last Rose of Sum- 
mer" -"Good Night Quartet" "May Dreams Transport Thee" Finale. 
" Ah, May Heaven Forgive Thee." 
By the Victor Light Opera Company (In English) 31797 12-inch. 1.OO 

Martha Selection 

By Victor Orchestra 31O29 12-inch. l.OO 

16812 lO-inch. 






(French) f 






Text by M. Somma. music by Verdi. First produced in Rome at the Teatro Apollo, 
February 17, 1859; at Paris, Theatre des Italiens, January 13, 1861. First London production 
June 15. 1861. First New York production February II, 1861. 


RICHARD, Count of Warwick and Governor of Boston Tenor 

REINHART, his secretary Baritone 

AMELIA, wife of Reinhart Soprano 

ULRICA, a negress astrologer Contralto 

OSCAR, a page Soprano 

of the Count 

Scene and Period : In and near Boston, end of the Seventeenth Century. 

The opera was composed for the San Carlo, Naples, and first called Gustavo HI (after an 
assassinated Italian monarch), but after the announcement had almost created a riot in Naples, 
Verdi was forced to change the scene from Stockholm to Boston, and the name to Masked 
Ball. Finally it was thought best to abandon the Naples premiere altogether, and the opera 
was taken to Rome. 

There are many, of course, who consider this work old- 
fashioned and so it is, not pretending at all to be a great 
music drama ; but there are many far more ambitious works 
with certainly less real music. The familiar En tu and Saper 
oonete and the fine concerted numbers in Acts II and III are 
well worth hearing. The Victor has assembled a very fine 
collection of the best music in the opera, and presents it 
with the belief that this revival is the best heard in recent 

Richard. Count of Warwick and Governor of Boston, falls 
in love with Amelia, the wife of Reinhart, his secretary and 
intimate friend. This love is returned, but the wife's conscience 
troubles her. and she consults Ulrica, a black sorceress, hop- 
ing to secure a drug that will cause her to forget Richard. 
Ulrica sends her to gather a certain herb which will prove 
effective. Richard, who had also gone to consult the astrolo- 
ger, overhears the conversation, and follows Amelia to the magic 
spot. Amelia '3 husband, who has come in search of Richard to 
warn him of a conspiracy to assassinate him, now appears, and 
Richard makes his escape, after requesting Reinhart to escort 
the veiled lady to her home without attempting to leam her 
identity. On the way, however, they are surrounded by the 
conspirators and Amelia is revealed. Reinhart swears vengeance 
on his false friend and joins the plotters. 

At the Masked Ball. Richard is stabbed by Reinhart, but 
the dying man declares the innocence of Amelia and forgives 
his murderer. CAKUSO AS BICHAKD 

cawi eutoif 




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 
n inic, and in an aside sings his rapturous air. 

La rivedra nell'estasi (I Shall Behold Her) 

By Nicola Zerola, Tenor 

(In Italian) 64167 lO-inch. $1.OO 

This, the first of the lovely gems with which the score 
of Ballo in Maschera is studded, is effectively given by Zerola, 
v hose beautiful voice is shown to great advantage. 

KiClIARn (rfaiiinij asiili'): 
Amelia <li.u. -\\ii-t name! 
Its nirit Miuiul lilK my lira it with joy! 
HIT In -anti-oils, charming image 
Inspires my soul with love; 
llcic soon shall I hrhol'l 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 
\ is life. 

(On the Life Thou 


Alia vita che t'arride 
Now Dost Cherish) 

By Mattia Battistini. Baritone 

(In Italian) 88232 12-inch. $3.00 
In this fine air he enthusiastically praises Richard's noble acts, and tells him his friends 
; nd faithful subjects will defeat the plans of the conspirators. 

A negro woman, Ulrica, is now brought in and accused of being a witch. Richard 
1 aughs at the accusation and dismisses the woman. He calls his courtiers around him, and 
suggests that for a lark they go disguised to the hut of the sorceress and consult her. The 
friends agree, and the plotters, headed by Samuel and Tom, see a chance to further their 

SCENE II The Hut of Ulrica 

The hut is crowded with people who have come to have their fortunes told. The 
.-orceress stands over her magic cauldron and sings her incantation. 

Re dell' abisso (King of the Shades) 

By Carolina Pietracewska, Contralto In Italian) 76OO5 12-inch. $2.OO 

She calls on the abyssmal king to appear and aid in her mystic rites. 

ULRICA (05 if inspired): 

Hasten. () King of the Abyss! 

Fly through the ambient air 

And enter my abode. 

Three times has been heard screeching. 

The ominous lapwing. 

Three times, too. has been hissin K 

Tile venomous red drapon. 

And three times have been groaning 

The spirits from the K ! 

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 corner. 

Amelia enters and asks the sorceress to give her peace of mind by banishing a love 
vhich she cannot control. The witch promises speedy relief if Amelia will gather a certain 
iierb from -which can be brewed a magic liquor. 

Delia citta all'occaso (Hard by the Western Portal) 

By Ida Giacomelli. Soprano; Lina Mileri. Contralto: Gino 

Martinez-Patti. Tenor (In Italian) *68143 12-inch, $1.25 

Doubk-FaceJ Record For title ofoppouk dJe *e DOUBLE-FACED MASKED BALL RECORDS, page 223. 



Amelia asks for directions, and the witch proceeds : 

UUMCA: Accurs'd, abhor'd. deserted. 

Then pause and listen. And cull the flowers lowly 

<io from the city eastward. From those black rocks unholy. 

To where by gloom engirted Where crimes have dark atonement made 

Fall the pale moonbeams on the field. With life's departing sigh! 

The frightened 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 fidele (The Waves Will Bear Me) 

By Enrico Caruso. Tenor, and Metropolitan Opera Chorus 

(In Italian) 87O91 lO-inch. 92.OO 

By Nicola Zerola. Tenor (In Italian) 64166 lO-inch. l.OO 

This attractive ballad is full of humor, the staccato passages 
towards the close exhibiting 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. 

Declare if the waves will faithfully hear me; 
If weeping the lov'd one from whom I now 

tear me. 

Farewell, to me saying, my love is betraying. 
With sails rent asunder, with soul in com- 
I go now to steer thro' the dark waves of 


The anger of Ileav'n and I loll to defy! 
Then haste with thy magic, the future 

No power have the thunder or angry winds 

Or death, or affection my path to deny! 

This famous Barcarolle has been a favorite with many great 
tenors, but no one has ever sung it as Caruso has given it here. 
Ulrica rebukes him, and examining his palm, tells him he is 
soon to die by the sword of that friend who shall next shake his 
hand. The conspirators. Samuel and Tom, are uneasy, thinking 
themselves suspected, but the Governor laughs and asks who will 
grasp his hand to prove the prophecy false. No one dares to 
grant his request. 

Reinhart, who has become anxious about his chief and has come in search of him, now 
enters, and seeing the Governor, shakes him by the hand, calling him by name, to the 
astonishment of ail those not in the secret. Sir Richard tells the witch she is a false prophet, 
as this is his most faithful friend. 


The oracle has lied! 
That man who gra*|>ed my hand 
Is my most faithful frieno! 

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 
Cigada. Baritone : Aristodemo Sillich. Bass : La Scala Chorus 

(In Italian) *63173 lO-inch. O.75 

This noble concerted number, which closes the first act. is sung in a splendid manner 
by Huguet, Salvador. Cigada and Sillich of La Scala forces, assisted by the famous chorus 
of that opera house. 


SCENE I A Field near Boston on one side a Callows 

Amelia, much frightened by her lonely surroundings, enters in search of the magic herb. 
She sings her dramatic air. Yonder Plant Enchanted. 

'ForlUie o/oppafc rtfc *c DOUBLE-FACED MASKED BALL RECORDS, page 223. 



Ma dall'arido stelo divulsa (Yonder Plant Enchanted 

By Celestina Boninsegna. Soprano 
By Lucia Crestani. Soprano 

In Italian) 
(In Italian) 


12-inch. $3.OO 
12-inch. 1.25 


Ah ! qual soave brivido 


When :il l.'i-l fuiiii it- stem I lia!l -. 
Yoiidct weed <>t dicad virtue enchanted, 
I'tnin my tempest-torn bo-nm f" 
\\'lu-n that image so ethereal shall peri-h. 
What remain- to tlice tlu-ii, oh, my I. 
Ah. tear-- blind nit ! 
Tin- weight of my sorrow 
Chains my sti-ps on their desolate jm:- 
Hi. ut. have courage; 

1'ioin tlu--i- rui-ks their hardnes- borrow! 
'. oh. Drath. let thy mereiful dart, 
Still forever my poor throbbing heart! 
(./ distant dock strikes.) 
Hark! 'tis midnight! Ah. yon vision! 
Moving. hicathiriK. lo! a figure, 
All mist-like upward wreathing! 
Ha! in those orbits baleful anger is seething; 
I'ix'd on me they angrily burn! 
Deign, oh. Heaven. Thy strength to impart 
To this fainting, fear-stricken heart. 

The vision resolves itself into Richard, who now 
approaches. The unhappy girl confesses that she loves 
him, but begs him to leave her. They sing a fine 

(Like Dew Thy Words Fall on My 

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

(In Italian) *68O26 

12-inch. $1.25 


Like dew thy words fall on my heart. 

Aglow with love's fond pa- 

Ah, murmur with compassion those gentle 

words again! 

liright star that bidst all gloom depart, 
My hallow'd love enshrining; 
While thus on me thou'rt shining, 
Ah. let night forever reign! 


Amelia! thou lov'st me! 


1 love thee, 

I'.ut thy noble heart 
mine own! 


I-'rimi out the cypress bower, 

Where I had thought it laid in death. 

Returns with K' an t power, the love my heart 

doth fear! 

Ah. would hv Heaven 'twere granted. 
To sigh for him my latest breath. 
Or in death's sleep enchanted rest my weary 

spirit here! 

will protect me from 

They are interrupted by the appearance of Reinharl, who comes to warn Richard that 
1 is enemies are lying in wait to murder him. Richard, unwilling to leave Amelia, is forced 
t 5 ask Reinhart to escort the veiled lady to the city without seeking to discover her identity. 
Reinhart swears to obey, and Richard makes his escape. The couple start for Boston, but 
jire surrounded by the conspirators, who take Reinhart to be the Governor. Disappointed 
i - their prey, they tear the veil from the unknown lady and Reinhart is astounded to see that 
i : is his wife. The great finale to Act 11 now occurs. 

W se di notte qui con la sposa (Ah ! Here by Moonlight) 

By Ida Giacomelli, Soprano; Renzo Minolfi. Baritone; Cesare Preve. Bass: 

Chorus In Italian) *35179 12-inch. 1.25 

Amelia is overcome with shame, but protests her innocence. Reinhart bitterly upbraids 
her and denounces his false friend Richard, while the conspirators depart, anticipating the 
sensation which the city will enjoy on the morrow. 

* Doublc-FaceJ Record For title ofooooute tiJe .- DOUBLE-FACED MASKED BALL RECORDS, page 223. 



Reinhart. now bent on revenge, decides to cast his lot with the 
plotters, and the act closes as he says to Amelia with deep meaning : 

REIXHAIT (alone with Amelia): 
I hall fulfill my promise 
To take thcc to the city! 

AMELIA (aside): 

His voice like death warrant 
Doth sound in my ear! 

SCENE I A Room in Reinhart' s Hoax 

Reinhart is denouncing Amelia for her supposed crime, and finally 
decides to kill her. She begs to be allowed to embrace her child 
once more, and her husband consenting, she goes out. Left alone, 
the unhappy man repents his resolution, and resolves to spare the 
guilty woman's life. In the greatest of the airs allotted to Reinhart he 
swears to avenge his wrongs. 

Eri tu che macchiavi quell'anima (Is It Thou ?) 

By Ernilio de Gogorza, Baritone 

In Italian) 
By Mattia Battiatini. Baritone 

(In Italian) 
By Antonio Scotti. Baritone 

In Italian) 
By Francesco Cigada. Baritone 

(In Italian) 
By Giuseppe de Luca. Baritone 

In Italian) 

Samuel and Tom enter and Reinhart tells them he knows of their plots, and will assist 
them, as he desires the Governor's death. They draw lots, and Reinhart is chosen to be the 
assassin. Amelia enters in time to realize the state of affairs, and is about to plead for the 
Governor's life, when Oscar, the page, enters bearing an invitation to the Masked Ball. The 
page, beginning an effective quartet, tells of the brilliancy of the occasion. 

Di che fulgor ('What Dazzling Light) 

By Giuseppina Huguet. Soprano: Francesco Cigada. Baritone: Carlo 

Ottoboni. Bass: Maria Grisi. Soprano (In Italian) *b2O8to 10-inch. JO. 73 
The varied emotions of the characters are expressed by the librettist as follows : 



12-inch. 51.00 
12-inch. 3.OO 
12-inch. 3.0O 
12-inch. 1.25 
10-inch. .75 



What brilliant lights, what 
fill the joyous dwelling! 

music gay, will 

What crowds of youths and maidens fair AMELIA (aside): 

Amid the crush of dancers gay there'll be no 
chance of failing! 

(".in I not prevent this crime 

Without my husband betraying? 
OMAR (to Amelia): 

You wilt be queen of the dance. 
AMELIA do herself): 

L'lrica can perchance assist me. 
SAM AND TOM it R fin hart): 

What shall be our style of costume? 

A doublet blue. 

With crimson scarf 

t'pon the left side fastened! 

their hearts with rapture swelling! 

And I. myself, ah. hapless me! the fatal 

scroll so blindly 

Drew from the vase at his command: 
Now by his hand the C'ount must die! 

There 'mid the sounds of music light the 

coward traitor meeting. 
I'll strike the vengeful dagger home and stay 

his vile heart's beating! 

Revenge in mak and domino! 'Twill thus 
!>< more availing. 

The conspirators go out after agreeing on the password, "Death!" 

SCENE II The Governor's Private Office 

Richard, alone, resolves to tear the unworthy love from his heart and send Amelia and 
Reinhart to England. A page brings a note to the Governor from an unknown lady who 
warns him of the plot, but Richard resolves to brave his enemies and attend the ball. 

* Doukk-FoctJ RtcorJFer ntlt of oppotHe ttdt DOUBLE-FACED MASKED BALL RECORDS, pagt 223. 



SCENE HI Grand Ballroom in the Governor's House 

Reinhart, mingling with the guests, meets the page Oscar, and attemps to learn how the 
Governor is dressed. The page teases him, singing his gay air, Softer oorreste. 

Saper vorreste Canzone (You W^ould be Hearing) 

By Luisa Tetrazzini. Soprano In Italian) 883O4 12-inch, *3.0O 

In reply to Reinhart 's questions the merry page tauntingly sings: 

< >-i \K: 

You'd fain be hearing, what dre-> In-'- wearing 

\Vlun In- h.-i- bidden, the fact he hidden? w 

1 know right well but may not tell 

Tra la la la, la la la! 
Of love niv heart feels all the smart, 
Yet watchful ever, my >.ecret never 
Rank nor bright eyes shall e'er surprise! 

Tra la la la, la la la! 

This gay number is brilliantly sung by Tetrazzini, the high B in the cadenza being taken 
vith ease. 

The page finally reveals to Reinhart that the Governor is dressed in black, with a red 
i bbon on his breast. 

Amelia meets the Governor and warns him against the plotters. He bids her farewell 
and is about to go, when Reinhart stabs him. The dying Governor, supported in the arms of 
1 is friends, tells Reinhart that his wife is guiltless, and that to remove her from temptation 
1 e had planned to send Reinhart to England to fill an honored post. 

The secretary is overcome with remorse, and Richard dies, after declaring that Reinhart 
i lust not be punished. 


Delia citta all'occaso (Hard by the Western Portal) 
By Ida Giacomelli. Soprano; Lina Mileri. Contralto: 

Gino Martinez-Patti, Tenor < In Italian] \ 68 143 12-inch, $1.25 

Ma dall'arido stelo divulsa (Yonder Plant Enchanted) 

By Lucia Crestani. Soprano In Italian)} 

Ve' se di notte qui con la sposa (Ah! Here By Moon- 
light) By Ida Giacomelli. Soprano; Renzo Minolti. 
Baritone; Cesare Preve, Bass; Chorus In Italian) J351 79 12-inch, 1.25 

Eri tu che macchiavi quell* anima (Is it Thou ?) 

By Francesco Cigada, Baritone In Italian)] 

Ah ! qual soave brivido (Like Dew Thy Words Fall on 
My Heart) By Ida Giacomelli, Soprano, and Gino 

Martinez-Patti, Tenor In Italian)], ~ n -, ._ . , . .,, 

i? i i i\ , \r ; , D tj f- OoOZO 12-incn, 1.25 

rorza del Uestino /Von tmprecare umiltali tiy Ida (jiacomellt. 

Soprano; Gino Martinez-Patti, Tenor; Cesare Preve, Bass 

(In Italian ) 

O figlio d'Inghilterra (Oh. Son of Glorious England i 
By Giuseppina Huguet. Soprano; Inez Salvador. Mezzo- 
Soprano; Francesco Cigada. Baritone: Aristodemo , C>3173 lO-inch, .75 
Sillich. Bass ; La Scala Chorus In Italian) 

Ernani Ernani involami By Maria Grisi, Soprano (In Italian > \ 

Eri tu che macchiavi quell'anima (Is it Thou?) 

By Giuseppe de Luca. Baritone In Italian 
Di che fulgor 'What Dazzling Light) By Giuseppina J62O86 lO-inch. .75 

Huguet. Soprano; Francesco Cigada. Baritone; Carlo 

Ottoboni. Bass; Maria Grisi, Soprano (In Italian}] 





* \fau-fetu-ioh-fch' -lay) 


Text and music by Arrigo Bolto ; a paraphrase of both parts of Goethe's " Faust," with 

additional episodes taken from the treat- 
ment of the legend by other authorities. 
The first production at La Scala, Milan, 
1 868, was a failure. Rewritten and given 
in 1875 with success. First London pro- 
duction July 6, I860. First American 
production at the Academy of Music, 
November 24, 1880. with Campanini, 
Gary and Novara. Other productions 
were in 18%. with Calv, and in 1901 
with Mclntyre, Homer and Planc.on. 
Some recent notable revivals: At the 
Metropolitan, when the opera was 
brought out for Chaliapine, the cast 
including Farrar and Martin, and the 
Boston Opera production of 1910. 
both noteworthy for their splendid 


MEFISTOFELE ................ Bass 

FAUST .................... Tenor 

MARGARET ....... . ...... Soprano 

MARTHA ................ Contralto 

WAGNER ................. Tenor 

HELEN .................. Soprano 

PANTAUS ............... Contralto 

NEREUS . . Tenor 

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



Arrigo Bolto well deserves a conspicuous place among the great modern composers. His 
Mefistofele ranks with the masterpieces of modern Italy, and contains scenes of great beauty, 
notably the Garden Scene, -with its lovely music, and the Prison Scene, in which the pathos of 
the demented Margaret's wanderings, the beautiful duet and the frenzy of the finale are 
pictured by a master hand. 

Bolto is not only a composer, but a poet of ability and a clever librettist. Notable among 
his writings are the librettos of Verdi's Otcllo and Fahtaff, which should rather be called 
diamas set to music, for it is unfair to class them with the old-fashioned Italian librettos. 

The story of Boito's opera is directly drawn from Goethe's Faust, but the composer has 
chosen episodes from the whole of Goethe's story, not confining himself to the tale of 
G r etchen, but including the episode of Helen of Troy. In his Mefistofele Bolto has followed the 
gieat poet's work more closely than did Gounod's librettist, and the work is a deeper one in 
many respects. 

SCENE The Regions of Space 

The prologue to Boito's opera is a most impressive scene, which takes place in the indef- 
ir ite regions of space. Invisible angels and cherubim, supported by the celestial trumpets, 
sing in praise of the Ruler of the Universe. 

Mefistofele is represented hovering between Hell and Earth, denying the power of God. 
r- e addresses the Almighty in his Hail, Great Lord! 

Ave Signer (Hail, Sovereign Lord) 

By Marcel Journet. Bass (In Italian) 64126 10-inch. ll.OO 

The Devil contends that man is but a weakling, easily cheated of his salvation. Standing 

o \ a cloud Mefistofele mockingly addresses the Creator : 

Hail. Sovereign Lord, 
Forgive me if my bawling 
Somewhat behind is falling 
Those sublime anthems sung 
In heavenly places! 
Forgive me if my face i- 
Now wanting the radiance 
That, as with a garland. 
The cherub legion grit 
Forgive me if in speaking, 

Some risk I'm taking of irrcv'rent out- 

The puny king of puny earth's dominions, 
Erreth through wrong opinions 
And like a cricket, with a long leap rushing 
'.Mnl stars his nose is pushing. 
Then with superb fatuity 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, 
No more have I the will, 

While in that station. From ih<- nit>nn K.ililon 

Him to tempt to ill! >'[; i i*-i, uh..r mi-uu <. JOI-RXET AS UEFISTOFELE 

Then, discussing Faust with the Mystic Chorus. Mefistofele wagers that he can entice the 
philosopher from the path of virtue. The challenge is accepted, and Mefistofele disappears 
to begin his plots against the soul of Faust. 

Journet sings this great number splendidly, and it will be pronounced one of the most 
s'riking features of his Victor list. 

SCENE I A Square in Frankfort Piaster Sunday 

The aged philosopher. Faust, and his pupil Wagner, while mingling with the crowd, 
oDserve a grey Friar who seems to be shadowing their movements. Faust is alarmed and 
s.ys to Wagner: 

1 AI-.ST: Observe him closely. Tell me. who is he? 

V/ACNEK: Some lowly Friar, who OCRS alms from those he passes. 



FAUST: Look more closely. He moves slowly on in lessening circles; and with each spiral, comes 

ever nearer and nearer. Oh! as I gaze. I see his footprints marked in fire! 
W.M.MB: 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 stranger*. 
FAVST: Now he seems as though he wove nets about our path. His circle* grow smaller! He 

draweth close! Ah! 
WACNU (carelessly) : Look calmly. 'Tit a grey friar, and not a specter. Muttering his prayers. 

he tells his brads as he journeys. Come hence, good master. 

As they leave the square, followed by the Friar, the scene changes to Faust's laboratory. 

SCENE II - The Studio of Fautl. It Is Night 

Faust enters, not observing that the Friar slips in behind him, and conceab himself in 
an alcove. The aged philosopher delivers his soliloquy, Dal camp/. 

Dai campi, dai prati (From the Green Fields) 

By Alberto Amadi. Tenor (In Italian) *63313 lO-inch. O.75 

He speaks of his deep contentment, his love for Cod and his fellow man. 

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 Kvangels; 

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 readina 

The passions, the heart rudely trying, desk. At he begins to meditate he is 

In quiet oblivion arc lying; startled by a cry from the Friar in the 

My spirit knows only its love for its fellows; alcove.) 

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) 7421O 12-inch. M.5O 

Mefistofele says that he is that great force which forever thinketh ill but doeth well, and 
then continues: 

I'm the spirit that denieth all things, always; On I go. whistling! whistling! Eh! 

Stars or flowers that by sneers and strife Part am I of that condition, 

supplieth Of the whole obscurity. 

Cause to vex the Heavenly powers. C'hild of darkness and ambition, 

I'm for Naught and for Creation, Shadows hiding, wait for me. 

Ruin universal, death! If the light usurps, contending, 

And my very life and breath. On my rebel scepter's right. 

Is what here they call transgression, sin and Not prolong'd will be the fight, 

Death! Over sun and earth is pending. 

Shouting and laughing out this word I throw: Kndless night! 

"No!" Sland'ring, wasting, howling, hissing. Shouting and laughing, etc. 

This is sometimes called Ballata del fischio, or Whittling Ballad, because of the peculiar 
whistles Bolto has introduced in the number. Journet 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 224. 


SCENE The Garden of Margaret 

Faust (now a handsome young man known as Henry) is strolling in the garden with 
Margaret, while Mefistofele, 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, 
but she dares not consent because her mother sleeps lightly. He gives her a sleeping 
draught, assuring her that it will not harm her mother, but merely cause her to sleep soundly. 
The four then sing a fine quartet, and the scene suddenly changes to the Brocken. 

DoaUt-FoctJ Record For title ofoppotUe rf* e DOUBLE-FACED MEFISTOFELE RECORDS, page 2 29. 
NOTE Mefistofele quotation* are from the Diuon libretto, by penrnMOQ. (Copy't 1 880. Oliver Diuon Company) 



SCENE II The Summil of the Bracken The Night of the 

Witches' Sabbath 

This scene shows a wild spot in the Brocken moun- 
tains by moonlight. The wind is whistling in weird gusts. 
A.'e/?a/o/e/e is helping Faust to climb the jagged rocks, from 
which flames now and then dart forth. Will-o-the-wisps 
fl itter to and fro, and Faust welcomes them, grateful for 
t! e light they give. 

Folletto, folletto (Sprites of Hades) 

By Gennaro de Tura, Tenor, andGaudio 
Mansueto, Bass 

(In Italian) 87O67 lO-inch. $2.OO 
Mefistofele echoes him, ever urging him to climb higher. 


(.'onie up higher, and higher, and higher, 

Farther y t 'tis more dreary the road 

That will lead us to Satan's abode, 

Dark the i-ky is, the accent grows steeper; 

Come up higher, and higher, and higher! 

Ah! wild-fire, pallid light, 

Now so dim, now so bright, 

Flash o'er us thy ray 

To illumine our way, 

Come nigher, come nigher 

For dark is the ascent 

As higher and higher. 

We're upward advancing, 

Come flame wildly dancing, 
Come nigher, and nigher! 



Arriving at the summit, Mefistofele 
summons the infernal host demons, 
witches, wizards, goblins, imps and 
presides over the satanic orgies as King. 
All pay him homage and dance in wild- 
est joy as he breaks into fragments a 
glass globe, typifying the earth, crying : 
"On its surface vile races dwell, de- 
graded, toilsome, quarreling among 
themselves. They laugh at me, but I 
can laugh also!" 

Faust now sees a vision of Margaret, 
on her way to prison for the murder of 
her mother and her babe. A red stain 
on her neck horrifies him, but Mefistofele 
laughs and says, "Turn away your 
eyes." The act closes in a riotous orgy, 
the demons whirling and dancing in 
a mad revelry. This wild scene is 
graphically pictured in the painting by 

SCENE The Prison of Margaret 

The demented girl is lying on a 
straw bed. She rouses herself and sings 
her sad ballad, L 'altra nolle. 

L'altra notte (Last Night in 
the Deep Sea' 

By Geraldine Farrar. Soprano 
(Italian) 88114 12-inch. 3.OO 



She raves of the cruel jailors, whom the say* threw 
her babe into the ocean and now accuse her of the crime. 

To the sea. O night of sadness! 

They my babe took and in it threw him! 

Now to drive me on to madneM. 

They declare 'twas I that slew him! 

Cold the air is. the dark cell narrow, 

And my spirit broken to-day. 

Like the timid woodland Mtarrow, 

Longs to fly ; ah. to fly oft, far, far away. 

Father, pity me! 

In a deal lily slumber falling. 

Died my mother, no aid could save her; 

And to crown the woe appalling. 

They declare 1 poison gave her! 

Mefistofele now enters, followed by Faust, who begs 
the demon to save Margaret. The fiend reminds Faust 
that it is his own fault, but promises to try. 

To this condition, who lias bro't her? 

I or you? I will do what 1 can. 

Here is the cell key. 

Sleeping are all the jailers. 

And the coursers infernal for speedy fli.-ht 

arc ready! 

However, he promises to try, and goes out. 
Faust goes to Margaret, who does not know him and 
is frightened, thinking her jailers have come for her. 
He urges her to fly with him, and they sing a tender 
duet. Far Away. 

Lontano, lontano (Away 
From All Strife) 

By Giuaeppina Hujfuet. Soprano. 

and Gennaro de Tura. Tenor 

I n Italian) 

87056 10-inch, >2.OO 
Away, far from strife and commotion, 
O'er wave* of a wide-spreading ocean, 
'Mid perfumes exhaled by the sea, 
'Mid palm trees and flow'rs in profusion, 
The portal of peace and seclusion. 
The blue isle seems waiting for me. 
There, skies in their beauty transcendent, 
Si < in girt with a rainbow resplendent, 
Reflecting the sun's loving smile. 
The flight of all hearts that arc loving. 
And hopeful and moving and roving, 
I* turned towards that life-giving island. 
Away to that island far distant! 

The return of Mefistofele drives 
Margaret into a frenzy, and she refuses 
to leave the prison, finally falling into 
Faust's arms in her death agony. Her 
senses returning for a brief period, she 
forgives him and dies, while a chorus 
of celestial beings announce that her 
soul is saved. Faust and Mefistofele dis- 
appear just as the headsman and jailers 
come to conduct Margaret to execution. 


The Night of the Classical Sabbath A 
Moonlit View in the Vale of Temfte 

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




'he beautiful Helen of Troy for the further temptation of Fausl. The scene shows an en- 
chanting spot on the banks of the Peneus, with the moon shedding a golden light upon 
Helen. Pantalis and groups of Sirens. Helen begins her enchanting ode to the moon, fol- 
owed by the trio. 

Scena della Grecia La luna immobile (Moon Immovable!) 

By N. Ardoni, Soprano; Lavin de Casas. Mezzo-Soprano: Gaetano 

Pini-Corsi. Tenor (In Italian) 87O68 10-inch. $2.OO 

Fausl and Mefislofele enter and the former soon forgets all else in the love of the fair 

Grecian. Mejistofclc, however, feels out of place in this classic neighborhood, and leaving 

Faust in the arms of Helen, returns to the Brocken, where he amuses himself with his 

iatanic crew. 


SCENE Faust's Studio 

Faust has returned to his studio, again old and feeble and full of remorse for his past life. 
He has tasted all the pleasures of the earth and found them empty. He sings his famous 
epilogue : 

Giunto sul passo (Nearing the End of Life) 

By Florencio Constantino. Tenor (In Italian) 74O84 12-inch. $1.5O 

By Alberto Amadi (Double-faced See Mow) (In Italian) 63313 lO-inch, .75 


N raring the utmost limit of life's extremist 

In a vision delightful did wander forth my 

King of some placid region, unknown to care 

and striving, 
I found a faithful people and fain would aid 

their living. 
Ah', would then that this fair vision could 

but be my last dream ! 
Look you the crowds now come within my 

observation ! 
Lo, the crowds turn t'wards cities IK-av'n- 

ward turn the nation! 
Holy songs now I hear. 
Now I bathe in the radiant splendor of 

Heaven's glorious morning! 

n my soul is already dawning! 

Mefislofele enters for his final triumph, but Faust turns to the Bible and seeks salvation. 
Mefislofele. in desperation, summons the Sirens to his aid, but Fausl, leaning on the sacred 
book, prays for forgiveness, and the defeated Mefislofele sinks into the ground. A shower 
of roses, a token of Faust's salvation, falls on the dying man as the curtain descends. 

Selection By Pryor's Band 31458 12-inch. $1.OO 

(Dai campi. dai prati From the Green Fields) 

By Alberto Amadi. Tenor (In Italian} 
) Giunto sol passo < Nearing the End of Life) 

By Alberto Amadi, Tenor (In Italian) 

63313 lO-inch. .75 





l>e- My -tk 


Both text and music of Die Meistersinger von NUrnkerg are by Wagner. The idea 
of the opera was suggested to the composer in boyhood, as was Tannhauser, by the reading 
of one of Hoffmann's novels, and was planned as a kind of burlesque of the Minnesinger con- 
test in Tannhauser. First production in Munich, June 21, 1868. 

The first performance in England took place under Richter. at Drury Lane. May 30, 
1882; an Italian version was given at Covent Garden, July 13, 1889. and an English produc- 
tion by the Carl Rosa Company at Manchester, April 16, 16%. 

In 1888 it was given for the first time at Bayreuth; and the first American production 
took place in New York, January 4, 1886. 



HANS SACHS, cobbler, 
POGNER, goldsmith, 
VOGELGESANG, furrier, 
NACHTIGAL, buckle maker, 

BECKMESSER. town clerk. 

KOTHNER, baker, 
ZORN, pewterer, 
DSSUNGER, grocer. 
MOSER, tailor. 
OR TEL. soap boiler, 
SCHWARZ, stocking weaver. 
FOLZ, coppersmith, 


conian knight 

DAVID, apprentice to Hans Sachs. 
EVA, Pogner's daughter 

MAGDALENA, Eva's nurse 














. Tenor 
. Tenor 
. Soprano 
. Soprano 

Burghers of all Guilds. Journeymen, Apprentices. Girls and People. 

Scene : Nuremberg in the middle of the sixteenth century. 

To the opera-going public in general Meistersinger is the most 
entertaining of all the Wagner operas. Its gaiety and tunefulness are 
charming, and its story easily understood by an audience, which 
cannot be said of most of the works by the master. 

The humor is essentially German, an intermingling of play- 
fulness, satire, practical jokes, and underneath all something of 
seriousness and even sadness, while the romantic element, provided 
by the lovers. Eva and Walter, is not lacking. 

The opera is a satire on the musical methods of the days of 
the Reformation, the mediaeval burgher's life in Nuremberg being 
pictured with a master hand. The loves of Walter and Eva; the 
noble philosophy of Sachs, the cobbler-poet; the envy of the ridicu- 
lous Beclpncuer ; and the youthful frolics of David all are surrounded 
by some of the most glorious music imaginable. 

The first act opens in St. Catherine's Church at Nuremberg, 
where IMI. daughter of the wealthy goldsmith Pogner. and Walter, a 




young knight, meet and fall in love. When Waller learns that Eva's hand has been promised 
by her father to the winner of the song contest, he resolves to compete, and remains 

for the examination before 
the meeting of Master- 
singers. Beckmesser, who also 
wishes to marry Eva, is chosen 
marker, and under the rigid 
rules of the order gives Walter 
so many bad marks that he is 
rejected in spite of the influ- 
ence of Hans Sachs in his 

Act II shows a street, with 
the houses of Hans Sachs and 
Pogner on opposite sides. The 
apprentices, who are putting 
up the shutters, plague David 
on his affection for Magdalena, 
Eva's nurse. Sachs drives 
them away and sends David 
to bed, then sits down in his 
door-way and soliloquizes. 

Was duftet doch der Flieder (The Scent of Elder Flowers) 

By Herbert "Witherspoon. Bass (In German) 74145 12-inch. 51. 5O 

He cannot forget the song which Walter delivered before the Mastersingers, its beauty 
haunts him. 

>A< MS: 

The elder's scent is waxing 
So mild, so full and strong! 
It- charm my limbs relaxing: 
Words unto my lips would throng. 
NVIiat boot such thoughts a- I can span 
I'm but a |>oor. plain-minded man! 
When work'- dc-pi-ed altogether, 
Thou, my friend, -etti st im- free; 
Hut I'd better stick to my leather 
And let all this poetry be! 
(He tries again to work. Leaves off and 

reflects. ) 

And yet it haunts me still. 
I feel, but comprehend ill: 

Cannot forget it, and yet cannot grasp it; 
I measure it not, e'en when I cla-p it. 
It -ccmed so old, yet new in its chime. 
Like songs of birds in sweet May-time: 
Spring's command 
And gentle hand 
\\\- -mil with this did entruM : 

lie must ! 

His power n>-e as needed; 
That virtue well I heeded. 
The bird who sang to-day 
Ha- got a throat that rightly waxes; 
Masters may feel dismay. 
Hut well content with him Hans Sach- i-! 

Eva learns of Waller's rejection, and is so indignant that she promises to elope with him. 
The lovers are interrupted and forced to hide by Beckmesser, who comes beneath Eva's 
v indow for the double purpose of serenading her and rehearsing the song he is to sing for 
the prize on the morrow. Hans Sachs, hearing the tinkling of the lute, peeps out, and just 
a } Beckmesser begins to sing Sachs breaks out into a jolly folk song. 



Tooral looral ! 
Tiddy fol de rol ! 
Oho! Tralala! oh.. 1 

When mother Eve from Paradise 

. the Almighty driven. 
Her naked feet so small and nice, 
I'.v -tones were sorely riven! 




r i greatly annoyed and says Sachs must be drunk. After a long altercation with 
the cobbler. Bed(messer finally start* his song, but as Sachs continues to hammer on his shoe at 
each mistake or wrong accent, fledtmeuergets badly mixed, and delivers himself of this doggerel : 

the dawning dayliaht. 
\\iih great pleasure I do; 
For now my heart takes a right 
I'ourujK both fresh and new. 
I do not think of dying. 
Rather of trying 
A young ni.-ii./.-ti to win. 
Oh. wherefore doth the weather 
Then fo-day so excel ? 
1 to all my together 
Tis 6rcause a daituf/ 
My her loved father. 
At Ins wish rather. 
To be wed doth go in. 

The bold man who 

Would come and view. 
May sec the maiden there so true, 
On whom my hope* I (irmly glue. 
There/or* is the sky so bright blue, 

As I said to begin. 

The neighbors now begin to put their heads out the 
windows and inquire who is bawling there so late. Magdalena 
opens Eca's window and signals to Bec^mtsser to go away ; 
but David, thinking she is waving her hand at the marker, 
becomes jealous and attacks Beckmesscr. The noise brings 
everyone into the street, and the curtain falls on something 
resembling a riot. 

Act III opens in Sachs' workshop. Walter, who had 
spent the night with Sachs, comes in and tells the cobbler 
of a wonderful melody which had come to him in a dream. 
They write it down and leave it on the table. Walter goes out 
and Be.ckme.sser enters, sees the song, and questions Sachs about 

it. Sachs makes him believe it is his own and offers to give it to him, having conceived a 
plan to force the Mastersingers to consent to the appearance of Waller. Bec^meuer is 

overjoyed and runs out to learn the song. Eva enters to 
get a shoe fitted, and then occurs the great scene in which 
the famous quintet, one of the finest numbers in the opera, 
is sung. 

Quintette Selig wie die Sonne (Brightly 
as the Sun) 

By Johanna Gadski. Soprano; Marie Mattfeld. 
Soprano: Ellison Van Hoose. Tenor; Marcel 
Journet. Bass: Albert Reiss. Baritone 

In German) 95201 12-inch. $5.OO 
The young girl, who has just had fully revealed to her 
the noble character of Hans Sachs, turns to the good shoe- 
maker, and with a grateful heart sings 


Through thec life's treasure 

1 control. 

Through thee I measure 

First my soul. 

And were my choice but free, 

Tis you would please my eyes; 

My nunband you should be. 

None else should win the prize! 

Sachs then alludes to the fate of King Mark in Tristan, 
who married Isolde only to find too late that she loved 
another, and says: 


To find the man before too late 
1 sought, or else that had been my fate! 




He calls in Magdalena and David, who are dressed for the festival, and tells them he 
wishes them for witnesses for a christening. All look amazed, and Sachs explains that he 
wishes to christen Sir Walter's Master Song. As no apprentice can be a witness, Sachs sur- 
pr ses David by creating him a journeyman. Eva then commences the Quintette of Baptism 
with a short solo, beginning: 


1'C. we 

die Sun - oe me 

S3 b f 

on Glli eke* 


In the rapture of her new-found love she sings of 
the Prize Song: 

I-'.v v : 

In this sweet and holy strain 

>t hidden; 
Stilling all the welcome pain 

That fills my heart unbidden; 
M \<;DALENA AND DAVID (btwildfred) : 

Am I awake <>r dreaming still? 
WALTER (tenderly to I 

I- it still tin- morning dream? 
Dan- I try tn rede its theme 5 
Hut this strain, tho' whiskered 
Will greet thine ear loud and ck 
'Mid the Master's guild shall n-e. 
There to win the higlut j 
IIvss SAI us (u'ir/i deep emotion): 
To the maid I fain would sing 

( >f my secret hidden; 
But to tell my heait'^ -<it pain, 
Now it is forbidden! 

Mme. Gadski's Eca is quite familiar to opera- goers 
and is one of the most delightful of her impersonations. 
'" GAUSKI AS EVA Mr. Van Hoose's delivery of Sir Walter's music is a 

n ost artistic one, while the part of Sachs is splendidly sung by Journet. Miss Mattfeld, who 
a ways makes a pretty, coquettish Magdalena, and Herr Reiss, whose clever and amusing 
/ 'avid is perhaps the best of his impersonations, sing the music of these characters most 
f ? ectively. 

During the Quintette, the beautiful theme of the Preislied frequently appears. 

I - 


SCENE \\-Jl Field on the Shores 

of the River Pcgnitz 
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 decor- 
ated boats discharging the vari- 
ous Guilds, with the wives and 
families of the members. It is in 
this scene that the famous March 
of the Guilds is played. A fine 
rendition of this number has been 
given by Sousa's Band. 

March of the Guilds 

By Sousa's Band 

35044 12-inch. $1.25 
The Mastersingers now arrange their procession and 
march to take their places on the platform. 



When all are assembled. Sachs rises, and in a noble address 
states the terms of the contest. 

A Master, noble, rich and wine, 
Will provr you thik with pleasure: 
Hi- only child, the highest prize 
With all his wealth and treasure, 
He offers as inducement stron;: 
To him who in the art of song 
Hefore the people here 
As victor shall appear. 
Ye Masters who comjiete to-day, 
To you before all here I say : 
Ilethink you what a prize this is! 
I.< t each if he would win it. 
lie sure a guileless heart is his; 
Pure love and music in it. 
This crown's of worth infinite, 
And ne'er in recent days or olden, 
P.y any hand so highly holden. 
As by this maiden tender: 
(iood fortune may it lend her! 
Thus Nuremberg gives honor due 
To Art and all her Masters too. 
(Great stir among all present. Sachs got* 
up to I'ogner. iclto presses his hand, deeply 

Beckmeuer. who is in an awful state with his efforts to commit 
Walter's song to memory, wipes his heated brow and begins. He 
confuses his old melody with the new one. loses his place, mixes 
his lines, and is forced by the laughter of the people to stop 
In a towering rage he accuses Sachs of plotting his defeat, then flings down the song and 
rushes off. Sachs calmly picks up the scroll and remarks that the song is a very fine one, 
but that it must be rendered properly. The Mastersingers accuse him of joking, but he 

SACHS: 1 tell you, sirs, the work is fine; 
Hut it is easy to divine 
That lieckmesser has sung it wrong. 
I swear, though you will Tike the song 
When someone rehearses 
The rightful tune and verses. 
And he who does will thus make known 

That he composed them, clearly; 
A Master's name. too. he should own 

Were he but judged sincerely. 
I am accused and must defend: 
A witness let me bid attend! 
Is there one here who knows I'm right, 
Let him appear before our sight. 
(Walter advances amid a general stir.) 

TMr MASTEM: Ah. Sachs! You're very sly indeed! 

Hut you may for this once proceed. 
SACHS: It shows our rules are of excellence rare 

If now and then exceptions they'll bear. 
Prnptr.: A noble witness, proud and bold! 

Mt thmk- he should some good unfold. 
SACHS: Master* and people all agree 

To piye my witness liberty. 

Sir Walter von Stplzing, sing thr ong! 

You. Masters, see if he goes wrong. 

The Mastersingers agree that Walter may attempt 
the air, and he mounts the platform and sings the noble 
Prize Song. 

Preislied (Prize Song) 

By Evan Williams 

By Mischa Elman. Violinist 

By Sousa's Band 

By Victor Sorlin. 'Cellist 


(In Englith) 





12-inch, M.5O 
12-inch. 1.5O 
12-inch. 1.25 
12-inch, 1.25 

Dcvlk-FoctJ RecorJ-ForUtk o/o*PoWir *fc * DOUBLEJACED MASTERSINCER RECORDS, page 235. 



WALTER (-cho has ascended to the platform with 
firm and proud steps): 
MotnitiK was gleaming with roseate light, 


With M-cnt distilled 
Whci c. beauty beaming, 
all dreaming, 

A garden did invite. 

(I lie Masters here, absorbed, let fall the 
scroll they are -catching to prove that 
It'alter knotes the song; he notices it with- 
out seeming to do so, and note proceeds in 
a freer .<: 

Wherein, beneath a wondrous tree 

With fruit superbly lailrn. 

In blissful love-dream I could see 

The rare and trncU-r niaiili-n. 

Whose charms beyond all price, 

Entranced my heart 

Kva, in Paradise! 
THK I'KOPLK (softly to one another): 

That is <|uitc different! \\'ho would surmise 

That so much in performance lv 

Evening fell and night closed around; 

Hv rugged way 

My f<-et did -tray 

Towards a mountain. 

Where a fountain 
Knslaved me with its sound: 
And there beneath a laurel tree, 
With starlight glinting under. 
In waking vision greeted me 
\ *wcct and solemn wonder; 
She dropped on me the fountain's dews, 
That woman fair 
Parnassus's glorious Muse. 
' ll'ith (treat exaltation): 
Thrice happy day. 

To which my poet's trance gave place! 
That Paradise of which I dreamed. 
In radiance before my face 

Glorified lay. 
To point the path the brooklet streamed: 

She stood beside me, 
Who shall my bride be. 
The fairest sight earth ever gave, 
My MUM-, to whom I bow, 

So angel \\ect and grave. 

I woo her boldly now, 
Before the world remaining, 
I'.y might of music gaining 
Parnassus and Paradise. 

PEOPLE (accompanying tltc close, -eery softly): 
I feej as in a lovely dream. 
Hearing but grasping not the theme! 

(live him the prize! 

glorious singer! Victor. ri-< ' 
Your song has won the Master-prize! 

Several vocal and instrumental renditions of this lovely song are given. Mr. Williams 
si igs it beautifully in the purest of English, -while the instrumental performances by Sousa 
ai d Sorlin are most pleasing. Elman gives the arrangement by Wilhelmj of the PreislieJ, 
which has often been played in America in fact, as one critic has said, "it has been sawed 
ai.d scratched almost to annihilation." But Elman recreates it, and plays it with a mar- 
velous softness and purity of tone which will delight every listener. 

Eva, who has listened with rapt attention, now advances to the edge of the platform 
and places on the head of Walter, who kneels on the steps, a wreath of myrtle and laurel, 
tl en leads him to her father, before whom they both kneel. Pogner extends his hands in 
benediction over them. 

Waller and Eva lean against Sachs, one on each side, while Pogner sinks on his knee before 
h m as if in homage. The Mastersingers point to Sachs, with outstretched hands, as to their 
chief, while the 'prentices clap hands and shout and the people wave hats and kerchiefs in 

An : 

Hail Sachs! Hans Sachs! 

Hail Nuremberg's darling Sach-' 

( The curtain falls) 


J Prize Song 

I M eistersinger March 

| Prize Song 

\ Ernani Selection 

By Sousa's Band) 44 12 . inch< $1 . 25 
By Sousa s Band! 

By Victor Sorlin. 'Cellist] 35111 12 . incht 1>25 
By Pryor s Band) 






Me-nuon'i (A/in' -yon' 


Text by Barbier and Carre, based upon Goethe's IVilhtlm Meisler. Music by Ambroise 
Thomas. First production at the Optra Comiguc, Paris, in 1666. In London at Drury Lane. 
1870. First New York production November 22. 1872, with Nilsson, Duval and Capoul. 

Character* of the Drama 

MlCNON. a young girl stolen by gypsies Mezzo-Soprano 

FlUNA, (Fil-te'-nafi* an actress Soprano 

FREDERICK, a young nobleman Contralto 

WlLHELM ME1STER. a student Tenor 

LAERTES, I/.<U/-T' -<<**> an actor Tenor 

LOTHARIO. (lM4Mf-MMA) an Italian nobleman Basso Cantante 

QARNO, (G^Ar'.no) a gypsy Bass 

Townsfolk. Peasants, Gypsies, Actors and Actresses. 

The scene of Acts I and II is laid in Germany ; of Act III in Italy. 


Part I and Part II By La Scala Orchestra *68025 12-inch. 

By Pryor's Band 31336 

The overture is full of the grace and delicacy for 
which Thomas' music is celebrated, and contains the 
principal themes, notably Filina's dashing "Polonaise." 
The Pryor record is a fine example of the perfection at- 
tained in the playing of this organization. Every detail 
of the wonderful instrumentation which Thomas has 
written, and especially the passages for the wood-wind, 
is clearly brought out. A fine orchestral rendition by 
the La Scala players, in two parts, is also offered. 


SCENE Courtyard of a German Inn 

Mignon, a daughter of noble parents, was stolen 
when a child by gypsies, and as the act opens is a 
girl of seventeen, forced to dance in the public streets 
by the brutal Giarno. chief of the gypsy band. 

The first scene shows the courtyard of a German 
inn, where townspeople and travelers are drinking. 
After the vigorous opening chorus, sung here by the 
La Scala forces, Lothario, a wandering minstrel, enters 
and sings, accompanying himself on his harp. 

Opening Chorus and Solo, " Fuggitivo 
e tremante" (A Lonely Wanderer) 

By Perelld de Sefurola. Bass, 
and La Scala Chorus 

(In Italian) *S5OO4 12-inch. 1.5O 

Fuggitivo e t re m ante (A Lonely "Wanderer) 

By Cesare Preve. Bass (In Italian) *6265O lO-inch. O.75 

The minstrel is in reality Mignon 's father, whose mind was affected by his daughter's 
abduction, and he wanders about seeking her. 

LOTHARIO: A lonely wanderer am I! I Mray from door to door. 

As fate 'loth guide, or a* the storm d >th hurry in-. 
Far, far I'll roam in search of her! 

* DoukkFaaJ Rttonl-ForlUk of oppotik tiJt we DOUBLE-FACED MlCNON RECORDS, page 241. 




The gypsy band appears and Mignon is ordered to dance by Giarno, who threatens her 
will his stick when she wearily refuses. Wilhelm, a young student, protects her from the 
gyp >y and questions her about her parents. She remembers but little, but tells him of her 
impression of home in this lovely Connais-tu le pays, full of tender beauty. 


Connais-tu le pays? 

(German > 

Kennst du das Land? 


(Knowest Thou the Land?) 


Non conosci il bel suol ? 

(In French) 88O98 

(In German) 88O9O 

(In French) 882 1 1 

(In German) 91O83 

(In Italian) *35178 

(In French) 64OO5 




:u/.j ; J j ug^ 

Con - nais 
Know eit 




pa - ys 

der land 

oO fleu 
u-here the 


I'o - ran ger?... 
*ge grows! 

By Marcella Sembrich. Soprano 

By Ernestine Schumann-Heink. Contralto 

By Geraldine Farrar, Soprano 

By Emmy Destinn. Soprano 

By Giuseppina Huguet. Soprano 

By Zelie de Lussan. Soprano (Piano ace.) 
Six records of this beautiful air. in French, German and Italian, by six famous singers, 
ranging in price from $1.00 to $3.00, are listed here for a choice. 

This air is one of the happiest inspirations of the composer. It is said that much of its 
charm comes from Thomas' intimate study of Scheffer's painting, " Mignon." At any rate he has 
caught the inner 

sen ,e of Goethe's ****~ V = 13 

pot in and has 
exp ressed it in 
exc uisite tones. 
Th : opening 
pa; sage : 

giv :s us an idea of the melody, one of the most beautiful in the entire range of opera. The pas- 
sin late longing 
of the orphan - Miosox. 

child for her 
childhood home 
is :ffectively ex- 
pr< ssed in this 
superb climax: 

in which Mignon seems to pour forth her whole heart in a 
flood of emotion. The words are most beautiful ones. 

Knowest Thou the Land ? 

M G*ON: 

Knowest thou yonder land where the orange grows. 
Where the fruit is of gold, and so fair the n 
Where the breeze gently wafts the song of birds, 
Where the season round is mild as lover's words? 
Where so calm and so soft, like Heaven's blessing true, 
Spring eternally reigns, with the skies ever blue? 
Alas, why afar am I Miayin--, why ever linger here? 
AJth thcc I would fly! 

there I Tb there! my heart's love obeying, 
'Twere bliss to live and die! 
'Tis there my ' In-art'- love obeying, 
I'd live, I would die! 

Wilhelm, full of pity for the helpless girl, offers Giarno 
a -ium of money to release her, and goes into the inn to 
co nplete the bargain. Lothario comes to Mignon to bid her 
faiewell, saying he must go south, following the swallows. 

Then occurs the beautiful "Swallow Duet," one of the 
ge-ns of the opera. 

Les hirondelles (Song of the Swallows) 

By Geraldine Farrar. Soprano: Marcel Journet. 

Bass (In French) 89O38 12-inch, $4.OO ABOTT AS F,L,*A 

' Doublt-Faced Record- For title o/oppofc tide *x DOUBLE* ACED MIGNON RECORDS. tuge24l 



Mli.Xi'N AM 

MK. SON: (accompanying herself OH the harp): 
Oh swallows gay and blithe, 
Ye joy of every land. 
I'nfold your gentle wings. 
Speed quickly on your way! 


The harp, touched by her gentle hand 

A melancholy sound mysteriously gives furth. 


Ye blithe and gentle swallows, 
I'nfold your nimble wings; 

8uick, hasten to the land 
'here winter never reigns. 
Thrice happy bird, thrice happy bird. 
Who first the wished-for good 
Right joyously shall reach. 

The effectiveness of Thomas' exquisite score de- 
pends very much on the perfection of its rendering; 
and this is especially true of the first act music the 
Connais-tu, Lothario's song, and this serene and beauti- 
ful duet, given so charmingly here. 

Very little need be said about Miss Farrar's 
familiar impersonation of Mignon. It is always de- 
lightful, both to eye and ear. Journet sings the music 
of Lothario with dignity and beauty of voice; while 
Farrar's every note is exquisite in its loveliness. 

Wilhelm is now invited to go to the Castle of Prince 
Tieffenbach with the troupe of players, headed by the 
lovely Filina, who has observed the handsome student 

with an appreciative eye. He hesitates, thinking of Mignon, but she begs to be allowed to 

accompany him disguised as a servant. 


Stranger! thou didst purchase me 

l)isposc of me, henceforth, e'en a* thou wilt. 

In this very town, to which Fate hath brought 

There lives an aged relative of mine. 

Who, to her home, will gladly welcome thee. 
Mir. sow: 

Must I then part from thee? 

My child, thou can'st not dwell with me; 

III could I the part perform, 

Of father! 

Could I not disguise myself. 

And as thy servant, travel with thee? 
WILHELM (taking her hands): 

And what couldst thou do then? 

With love and gratitude, 

My heart is filled. 

To follow ther. O master mine. 

Indeed were happiness to me! 

Would'st thou anew thy liberty renounce, 

And be a slave once more? 
MICXOH (sadly): 

Well since mv prayers thou wilt not hear, 

(pointing to Lothario, who approaches) 

I 11 e'en depart with him! 

LOTHARIO (rushing to Mignon, and encircling 
her with his arms) : 

Come! my footteps follow; 

Through by-paths tone and wild! 

(.Attempts to draw Mignon with him.) 

Wilhelm finally yields a reluctant consent, 
not knowing what else to do, and the act 
ends with the departure of the players. 




SCENE I A Boudoir in Tieffenbach Castle 

Act II represents a room in the Prince's castle. Filina is seated in front of her toilet 
talle, musing on the handsome Wilhelm, who has made a deep impression on her some- 
wl at volatile affections. Wilhelm enters with Mignon, who meets with a cool reception 
from the gay actress. Wilhelm 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." 

Scyrienne, " Je connais " (I Know a Poor Maiden) 

By Geraldine Farrar. Soprano In French) 88152 12-inch. $3.OO 
Miss Farrar has given us a charming rendition of this Mignon air, which (next to the 
th<: well-known Connais-tu) is the favorite one in the opera. 

i x : 

\\Y11 I know a poor young child, I fain would turn away, 

A -ad young child of Bohemia, I'.ut so improved am seeming. 

On \vh<e pale sunken checks joy ne'er rested, Am I the same, or dreaming? 

Ah! ah! ah! ah! what a dull story! Ah! All! la la 

I cannot leave the glass, Am I still Mignon? 

So much improved I'm seeming, N<>! no! 'ti- I no longer! 

Am I the same, or dreaming? Hut 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): 

("an it be Mignon that I sec? 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, a- well? 

To the master's good pleasure applying. What idle folly ! (From the nitron wore. 

Ah! ah! ah! what a foolish story! "Tis a demon now tempts me! Copv'tiMO.) 

Miss Farrar sings this quaint and fascinating "Styrienne" with the child-like gaiety and 
< 1 arm which belong to it ; and her voice is as pure and true as a flute when she reaches 
th; high D at the end of the air. 

Mignon now goes into the closet, and after Wilhelm has returned makes her appearance 
in one of Filina's dresses. He tells her in a beautiful air that he must leave her. 

Addio, Mignon (Farewell, Mignon) 

By M. Regis. Tenor (In French) *45O23 lO-inch. $1.OO 

By Emilio Perea. Tenor (Piano ace.) (In Italian) *6342O lO-inch, .75 

Mignon utters a cry of grief and begins to weep, while Wilhelm tenderly says : 

\V 1 1. HELM : 

Farewell, Mijrnon, take heart! 

Thy tears restrain! 

In the bright years of youth no i;ricf doth 

linger long. 

! not, Mignon ! 
tlu-e just Heaven will watch with f 

ring care. 
Oh, niay'st thott thy dear native land mice 

more regain ! 
May fortune on thy fate henceforth 1>< ni^nly 

It pains me much to leave thee: my stricken 


With thy lone destiny will ever sympathize! 
Farewell. Minnmi. take heart! 
Then dry thy ! 

Mignon refuses money -which he offers her, and is about to bid him farewell when 
F Una enters, and seeing Mignon in one of her own dresses, eyes her with sarcastic amuse- 
ment, which puts Mignon into a jealous rage and she rushes into the cabinet, tears off the 
borrowed finery and puts on her gypsy 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 

* Doubte-Faced Record For title of opposite tiJe tee DOUBLE-FACED MIGNON RECORDS, page 24 1. 



wishes that fire would consume* the castle in which Filina had won her master's affections. 
Lothario is puzzled by this and goes oft 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 Polonesc or polacca (French Polonaise), 
one of the most difficult and showy of all soprano airs. 

Polonese, " lo son Titania" (I'm Fair Titania !) 

By Luiaa Tetrazzini. Soprano (In Italian) 88296 12-inch, 93.OO 

By Giuaeppina Hutfuet, Soprano (In Italian) *35178 12-inch. 1.25 

By Mile. Korsoff. Soprano (In French) *45OO6 ID-inch. l.OO 

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 Optra 

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 Titania 
(Behold Titania f) 

She is truly divinr. Filina! 
At her ffi-t we lay our hearts and our flowers! 
What charms, what heautics are hers! 
Ah! what success! Bravo! Honor lo Titania! 

Yes; for to-night I am quern of the fairies! 

Observe ye here, my sceptre bright, 

(Raiting the u-and which she holds in her 


And behold my num'rous trophies! 
(Pointing to the wreath which hc.s been pre- 
sented to her.) 

I'm fair Titania, glad and gay. 
Thro' the world unfctter'd I blithely stray. 
With jocund heart and happy mien, 
I cheerily dance the hours away. 
Like the bird that freely wings its flight. 
Fairies dance around me. 
Elfin sprites on nimble toe around me gaily 


For I'm fair Titania! 

Both night and day. My attendants rver sing. 
The achievements of the god of Love! 
On the wave's white foam, 
'Mid the twilight grey, 'mid hedges, 'mid 


I blithely do dance! 
Behold Titania, glad and gay! 

Wilhelm 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 Wilhelm. 
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' 3 jealous wish. 

H'ilhelm rushes into the burning castle and soon reappears with the unconscious form 
of Mignon, while the curtain falls on a magnificent tableau. 

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 watches outside her 
sick room, he sings a beautiful lullaby or berceuse, 

Berceuse (Lullaby) (Ninna nanna) 

By Pol Plancon. Bass (In Italian) 85126 12-inch. 3.OO 

By Gaudio Mansueto. Bass (In Italian) *55OO4 12-inch. 1.5O 

By Cesarc Preve. Bass (In Italian) *6265O lO-inch. .75 


I've soothed the throbbing of her aching he< By day and night some heav'nly spirit 

And to her lips the smilr I have restored. The maiden doth protect ; 

Her weary eyes at last have cloed On wings celestial, it doth hover round 

In gentle slumber; Protecting her from harm! 

DvMt-FoctJ Recorl-Fo, Hlk of OH*** *iJe tee DOUBLE-FACED Af/C.VO.V RECORDS, page 241. 



H'ilhclm takes Lothario's place as watcher, and tells of his new-found affection in this 
beautiful air, given here by M. Regis, of the Paris Optra Comique. 

Kile ne pas (Pure as a Flower) 

By M. Regis. Tenor (In French) *45023 10-inch, $1.OO 


In -imtliinK yon poor. haiilexs maiden 

At l;i-t 1 II.IM dtSCOW >ret : 

From her ><! li|>- my name < 

Ah! littli- thought the maid. 

In innocence arrayed. 

What she in her breast had nurtured, 

Would ardent love become, 

And thus pervert the peaceful current 

( >l~ her peaceful life. 

< Hi haltny April, 

Who to the wither'd flowers r< -t..ietli their 


Ki" her fair cheek. 
And a grateful sigh of love cause to escape! 

Mignon now comes with feeble step on the balcony, and seeing Wilhelm, is much agi- 
t.ited. 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 
t!ie familiar scenes of his ancestral home. He shows them the jewels and prayer book of 
his lost daughter, and tells them her name was Sperata. Mignon starts at the name and 

riurmurs : 

Ah. that sweet name to my car is familiar, 

A memory of my childhood 

It may be, that's gone forcvci ! 

She then begins to read from the book a little prayer, but soon drops the book and 
continues from memory, her hands clasped and her eyes raised to Heaven. Lothario is much 
agitated and when she has finished, recognizes her as his lost daughter. Father and 
c aughter are reunited, while a blessing is bestowed on the young people by the happy 

7 othario. 


12 _ inch $1 50 

Opening Chorus and Solo, " Fuggitivo e tremante " 

By Andrea Perello de Segurola, Bass, and 

La Scala Chorus 

Ninna nanna By Gaudio Mansueto. Bass 

Preludio. Parte 2a (Overture. Parte 2) 

By La Scala Orchestra , Rn ,< ,, , 

n r\ //- r ,DoO25 12-incn. 

Preludio, Parte la (Overture, Parte 1) 

By La Scala Orchestra 
Poloncse lo Son Titania ! (I'm Fair Titania ! 

By Giuseppina Huguet. Soprano (/n Italian} 
Non conosci il bel suol ? (Dost Thou Know That Fair 

Land?) By Giuseppina Huguet, Soprano (In Italian] 

Polonaise lo Son Titania! 

By Mile. Korsoff. Soprano (In French) \ Pourquoi Jans lea grands hois 

By Alice Verlel, Soprano i In French ) 

Adieu, Mignon. Courage (Farewell, Mignon) 

By M. Regis. Tenor (In French 
Kile ne croyait pas (Pure as a Flower 

By M. Regis. Tenor (In French i 
I Fuggitivo e tremante 
1 Ninna nanna 

I Gavotte By Victor String Quartet) 1632 3 

\ Norma Selection (Bellini) By Pryor's Bandl 

I Addio. Mignon (Farewell. Mignonl 

By Emilio Perea. Tenor (In Italian) 6342O 
I Stelle a"Oro Romanza By Siloano Isalberti, Tenor (In Italian)) 


35178 12-inch. 1.25 

lo _ inch> 1-OO 

45O23 Id-inch. l.OO 

By Cesare Preve. Bass),-, -_ ._ . . _, 

T> /- ii n , O2O5O lO-incn. .75 
By Cesare Preve, Bass) 

lO-inch. .75 

lO-inch. .75 




Book by Felice Romani, founded on an old French story. Score by Vincenzo Bellini. 
First production December 26, 1831. at Milan. First London production at King's Theatre, 
in Italian. June 20. 1833. In English at Drury Lane, June 24. 1837. First Paris production 
December 8, 1835. First New York production February 25, 1841. 


NORMA, High Priestess of the Temple of Esus Soprano 

ADALGISA, a Virgin of the Temple Soprano 

CLQT1LDE, attendant on Norma Soprano 

POLLJONE, a Roman proconsul commanding the legions of Gaul ... Tenor 

FLAVIO. his lieutenant Tenor 

OROVESO. the Arch-Druid, father of Norma Bass 

Ministering and Attendant 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 Caul, 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" with which we are surrounded of late. Especially charm- 
ing is the spirited overture, always a favorite on band programs. 


By Arthur Pryor's Band * 351 fab 12-inch. $1.25 

By Victor Band * 35O29 12-inch. 1.23 

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 peace 
from the moon in the exquisite prayer, Casla Diva. 

Casta Diva (Queen of Heaven) 

By Marcella Sembrich. Soprano (In Italian) 881O4 12-inch. 3.OO 

By Celestina Boninsefna. Soprano (In Italian) 92O25 12-inch. 3.OO 

By Giuseppina Huguct. Soprano (In Italian) * 16539 lO-inch. .75 

This lovely air still holds a high place in popular favor, its beauty and tenderness mak- 
ing it well worthy of a place among modern airs. As evidence of the great popularity of 
this number, three famous prima donnas have selected it for their Victor lists. 

Not MA: 

Queen of Heaven, while thou art reigning Queen of Heaven, hallow'd l>y thy presence, 

Love upon us is still remaining. Let its holier, sweeter essence. 

Clad in purrnc. alone disdaining Quelling ev'ry lawless licence. 

As above, so 

jpon us is still rematmnvr. 
n pureness. alone disdainir_ 
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 

' Dovkk-FoctJ Record For Nile of opptuttc liJe tee mil page. 



jield her husband and children to AJalgisa and expiate her offences on the funeral pyre. 
. I./u/gMci pleads with her, urging her to abandon her purpose, and offers to send Pollione 
I ack to her. 

This scene is expressed in the exquisite Hear Me, Norma, familiar to every music-lover. 

Mira o Norma (Hear Me, Norma 

By Ida Giacomelli. Soprano, 
and Lina Mileri, Contralto 

(In Italian) * 62101 lO-inch. $O.75 
By Arthur Pry or's Band * 16323 lO-inch. .75 
The lovely strains of this melodious number have 
delighted countless hearers in the eighty years since it was 

A i) A i.e. ISA: 

I>earest Norma, before thee kneeling, 
Virw these darlings, thy precious treasures; 
I.i-t that sunbeam, a mother's, feeling, 
Kreak the night around thy soul. 

l-t win that soul, by this entreating 
Ilack to earth's delusive pleasu: 
I-'iotn the phantoms, far more fleeting. 
Which in death's deep ocean shoal? 

Pollione refuses to return to Norma and attempts to seize 
Adalgisa against her will. Norma foils this attempt and 
reasons with him. telling him he must give up his guilty love 
or die. This is expressed in a dramatic duet. 

(n mia mano (In My Grasp) 

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

(In Italian) * 683O9 12-incn. $1.25 

Pollione still refuses, and Nornta strikes the sacred shield to summon the Druids. She 
Icdares war on Rome and denounces Pollione, but offers to save his life if he will leave the 
ountry. He refuses, and she is about to put him to death, when love overcomes justice 
.md the Priestess denounces herself to save Pollione. Norma's noble sacrifice causes his love 
to return and they ascend the funeral pyre together. As the flames mount about them 
hey are declared purified of all sin. 


( Weber) 


12-inch. $1.25 


By Arthur Pryor's Band!-,., , 
By Arthur Pryor's Band! 

By Victor Band\_- O2 
By Victor Bandl 35 29 



[ Oberon Overture 


I Huguenots Selection 

| In mia mano alfin tu sei (In My Grasp) 

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

Tenor (In Italian) I , a ~ na , , 

r- c> i ., ci HIT TI t\ OO3O9 12-incrt. 1.25 

ravonta ria oero lasciarli (ona// / Leave I nee Pi 

By ClotilJe Esposito, Soprano, and Gino Martincz-Patti, Tenor 

( In Italian) 

I Norma Selection (Hear Me. Norma!) By Pryor's Band! .,__,. in-'nch 75 

{ Mignon Gavotte By Victor String Quartet I 

(Casta Diva (Queen of Heaven) 

By Giuseppina Huguet. Soprano (In Italian) 11^530 IQ inch 75 
| Lucia Regnava net silenzio (Silence O'er All) 

By Giuseppina Huguet, Soprano (In Italian)) 
jMira o Norma (Hear Me. Norma) By Ida Giacomelli. 

Soprano, and Lina Mileri, Contralto (In Italian) >621O1 lO-inch. .75 

Carmen Preludio, Act IV By La Scala Orchestra] 

* Double-FactJ Record For titk of opposite 

' above till. 




(Or'-fee-oh ay U.neJ*f*h*) 


(Or'-fye-ia and L'-ri-Jet'-chee) 


Book by Ramieri De Calzabigi ; music by Chriatoph Willibald von Cluck. First pro- 
duction in Vienna. October 5, 1762. First Paris production. 1764. First London production 
at Covent Garden, June 26. 1860. Other revivals were during the Winter Garden season of 
1863; in 1885 (in German), by the Metropolitan Opera under Walter Damrosch ; the English 
production in 1886 by the National Opera Company, and the Abbey revival in Italian in 
1892; and the Metropolitan production of 1910. with Homer. Gadski and Cluck. 


ORPHEUS Contralto 


LOVE Soprano 


Shepherds and Shepherdesses, Furies and Demons, Heroes and 
Heroines in Hades. 

This opera, which has been called "Cluck's incomparable masterpiece," and^of which 
the great Fetis wrote, "it is one of the most beautiful productions of genius." may be 
properly termed a purely classical music drama. The music is exquisite in its delicacy and 




grace, while the story is an interesting and affect- 
ing one. Orpheus may be called the grandfather 
of grand opera, it being the oldest work of its 
kind to hold its place on the stage, the first repre- 
sentation occurring one hundred and fifty years 

The opera has had only one adequate Ameri- 
can production previous to the Metropolitan 
revival, and that was during the American Opera 
Company season of 1886 the Abbey revival of 
1892 meeting with but indifferent success. Such 
has been the interest aroused by the recent per- 
formances, that it is likely to be heard quite 
frequently in the future. 

The story concerns the Greek poet Orpheus, 
who grieves deeply over the death of his wife 
Euridice, and finally declares he will enter the 
realms of Pluto and search for her among the 
spirits of the departed. The goddess Love appears 
and promises to aid him, on condition that when 
he has found Euridice he will return to earth 
without once looking back. 

Orpheus journeys to the Gates of Erebus, and 
so softens the hearts of the Demon guards by his 
grief and his exquisite playing of his lyre, that he 
is permitted to enter. He finds Euridice^ and 
without looking at her, takes her by the hand and 

b ds her follow him. She obeys, but failing to understand his averted gaze, upbraids him 
f i T his apparent coldness and asks that he shall look at her. 

Su e con me vieni cara (On "My Faith Relying) 

By Johanna Gadski. Soprano: Louise Homer. Contralto 

(In Italian) 89O41 12-inch. $4.0O 

Orpheus, knowing that to cast a single look at his loved one means 
death to her, keeps his face averted. The dialogue portrays the emotions 
o" the characters, while Gluck's music suggests the present perplexity 
a id the tragedy which is to follow. 

Unable to endure longer the reproaches of his wife, he clasps her 
KI his arms, only to see her sink down lifeless. 

Ach, Ich habe sie verloren (I Have Lost My 

By Ernestine Schumann-Hcink. Contralto 

(In German) 88O91 12-inch. 3.OO 

J'ai perdu mon Euridice (I Have Lost "My 

By Jeanne Gerville-Reache. Contralto 

(In French) 88198 12-inch. 3.OO 

Che faro senza Euridice (I Have Lost My 

By Louise Homer. Contralto 

(In Italian) 88285 12-inch. 3.OO H..MKR AS ORPHEUS 

"Malheureux! qu'ai-je fail? El Jans quel precipice m'a plongt" mon funesle amour!' 
( 'Wretched one, what have I done! Into what gulf has my fatal love cast me?") cries the 
hapless youth, and breaks into his pathetic lamentation, the beauty and pathos of which have 
never been questioned. 




"I hare lost my Eurydice It is your faithful husband. 

My misfortune is without its like. Hear my voice, which calls you. 

(>uel fate! I shall die of my sorrow. Silence of death! vain hope! 

kurydicc, Eurydice, answer me! What suffering, what torment, wrings my heart!" 

Of the many beautiful numbers in Cluck's drama this lovely aria of mourning, (best 
known by the Italian title Che faro senxa Euridice) is the most familiar. No fewer than three 
renditions, in German. French and Italian, by three famous exponents of the part of Orpheus. 
are offered for the choice of opera lovers. 

The grief -stricken poet is about to take his own life when the goddess again appears and 
arrests his arm. 

Hold, Orpheus! Kurydice! revive! 

ORPHEUS (.despairingly): To embrace the fond youth 

What would you with me? Who dared so much for the! 


Thine anguish well doth prove My Eurydice! 

Thy constancy and truth. EURYDICE {.reviving): 

'Tis time that the trial be ended! My Orpheus! (They embrace.) 







(.Olh-thef -low) 


Text by Arrigo Boito after the drama of Shakespeare. Music by Giuseppe Verdi, 
irst production February 5, 1887. at La Scala, Milan. First London production May 18. 
1889. First American production April 16, 1888, with Campanini as Otello. Some notable 
evivals occurred in 1894, with Tamagno and Maurel ; in 1902, with Eames, Alvarez and 
Scotti ; and in 1908 at the Manhattan, with Melba, Zenatello and Sammarco. 


OTELLO, a Moor, general in the Venetian army Tenor 

lAGO, (Ee-<th'-go) his ensign Baritone 

CASSIO, (Cau -et-oh) his lieutenant Tenor 

RODERIGO, (Roh-der-ee'-go) a Venetian gentleman .Tenor 

LODOVICO. ambassador of the Venetian Republic Bass 

MONTANO, predecessor of Othello in the government of Cyprus . Bass 

A HERALD . Bass 

DESDEMONA, wife of Othello Soprano 

EMILIA, (Au-met'-lee-ah) wife of lago . Mezzo-Soprano 

Soldiers and Sailors of the Republic ; Venetian Ladies and Gentlemen ; 

Cypriot Men, Women and Children ; Greek, Dalmatian 

and Albanian Soldiers; an Innkeeper. 

Scene and Period : End of the fifteenth century ; a seaport in Cyprus. 



After having given the world his splendid Aida, Verdi 
rested on his laurels and was silent for sixteen years ; 
then, at the age of seventy- four, he suddenly astonished 
the world with his magnificent Otello. a masterly music- 
drama which alone would suffice to make him famous. 

The change from the Verdi of 1853 and II Trovatore, 
to the Verdi of 1867 and Otello. is amazing. Each opera 
produced by him shows a steady advance, until something 
approximating perfection is reached in Otello. the writing 
of which was an astonishing feat for a man of nearly eighty 
years of age. 

The text, by that accomplished scholar and master 
librettist. Boito. follows closely the tragedy of Shakespeare. 


SCENE Otello's Cattle in Cyprus. A Storm is Raging 

and the j4ngry Sea is visible In the Background 
Venetians, soldiers, including logo, RoJerigo and Cassia, 
are awaiting the return of Otello. His vessel arrives safely, 
and amid much rejoicing the Moor announces that the war 
is over, the enemy's ships having all been sunk. He goes into the castle, and logo and 
RoJerigo plan the conspiracy against Cassia and Otello. by which RoJerigo hopes to secure 
DesJemona for himself and logo to be revenged on Otello. 
They join the soldiers and try to induce Cassia 
to drink. He refuses, but when logo toasts DesJemona, 
he is compelled to join. logo sings the rousing BrinJisi : 

Brindisi Inaffia 1'ugola (Drinking Song 
Let Me the Cannakin Clink) 

By Pasquale Amato. Baritone, and Chorus 

In Italian) 88338 12-inch. $3.OO 
By Antonio Scotti. Baritone 

(In Italian) 88082 12-inch. 3.0O 
By Antonio Scotti, Baritone (Piano ace.) 

(In Italian) 87O40 10-inch. 2.OO 

during which he continues to fill Cassia's glass. When 
the latter is quite drunk they pick a quarrel with him. 
and he draws his sword, wounding Montana, while 
/ago and Cauio rouse a cry of "riot," which brings 
Otello from the castle. He disgraces Cassia and orders 
all to disperse, remaining alone with DesJemona for a 
long love scene. Part of this scene has been recorded 
here by Mme. Lotti and M. Conti, of Milan. The cur- 
tain falls as husband and wife go slowly into the castle. 

Quando narravi (\Vhen Thou 

By F. Lotti. Soprano : F. Conti. Tenor 

(In Italian) *55O23 12-inch. $1.5O 



SCENE A Room in the Cattle 

The crafty logo is advising Cassia how to regain the favor of Otello, telling him that he 
must induce DesJemona to intercede for him. Cassia eagerly goes in search of DesJemona, 
while lago gazes after him, satisfied with the progress of his schemes, and then sings the 
superb Credo. 

DoaUt-FoctJ RecorJFor title o/oppowlr tide tte DOUBLE-FACED OTELLO RECORDS. 




Credo (Otello's Creed) 

By Antonio Scotti. Baritone In Italian) 88O3O 12-inch. $3.OO 

By Pasquale Amato. Baritone ' In Italian) 88328 12-inch. 3.OO 

By Ernesto Badini. Baritone (In Italian) *55023 12-inch. 1.5O 

This is a free adaptation of logo's last speech with Cassia 
in Shakespeare, Act 11. In his setting Verdi has expressed 
fu ly the character of the perfidious logo : cynical, vain, 
weak and subtle. He declares that he was fashioned by a 
cnel God who intended him for evil, and that he cares 
naught for the consequences, as after death there is nothing. 

Scotti's singing of this number is a most impressive one; 
wliile the wonderful rendition by Amato will be pronounced 
one of the most striking in his list. 

logo sees DesJemona approach and Caui'o greet her, and 
as soon as the young officer is earnestly pleading with her 
to intercede for him, logo runs in search of Otello, and sows 
the first seeds of jealousy in the heart of the Moor, bidding 
him watch his wife well. Otello, much troubled, seeks 
D:sJemona and questions her. She begins to intercede for 
Cissr'o, but the Moor repulses her, and when she would wipe 
his perspiring brow, roughly throws down the handker- 
cl.ief, which is picked up by /ago. 

Left alone with /ago, Otello gives way to despair, and 
expresses his feelings in the bitter Ora e per semprn. 

Ora e per sempre addio (And Now, 
Forever Farewell) 

By Francesco Tamagno, Tenor 

(In Italian) 95O03 lO-inch. $5.OO 
By Enrico Caruso 87O71 10-inch. 2.OO 

By Nicola Zerola 64168 lO-inch. l.OO 

Now finally convinced that DesJemona is deceiving him, he 
bids farewell to peace of mind, ambition and the glory of conquest. 
Caruso delivers the number magnificently, being especially 
effective in the closing passage. Other renditions are the famous 
one by Tamagno, and a popular-priced record by Zerola. 

logo further says that he has seen Desdemona's handkerchief 
in Cassia's room, at which news Otello is beside himself with rage. 
The act closes with the great scene in which /ago offers to help 
Otello secure his revenge, and they swear an awful oath never 
to pause until the guilty shall be punished. 


SCENE The Great Hall of (he Castle 

Otello now seeks DesJemona and contrives an excuse to borrow 
her handkerchief. She offers it, but he says it is not the one, and 
asks for the one he had given her, with a peculiar pattern. She 
says it is in her room and offers to bring it, but he at once de- 
nounces her, and sends her 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 mi potevi. 

Dio mi potevi scagliare (Had it Pleased 

By Antonio Paoli, Tenor 

(In Italian* 8824O 12-inch. $3.OO 
By Carlo Barrera. Tenor 
ALDA AS DESDEMONA In Italian) *55OO9 12-inch. 1.5O 


* Double-Face J RecorJ For lilk of oppotik tiJt tee DOUBLE-FACED OTELLO RECORDS. page 251. 




now arrive 

" Had Heaven seen fit to send me sorrow, shame, poverty," he says. " I could have 
endured it with patience, but this blow is too much to bear." 

logo now tells Otcllo how he had slept in Cassia's room lately and had heard Cassia talking 
in his sleep, bemoaning the fate which had robbed him of Desdemona and given her to the 
Moor. This dream is related in a highly dramatic air : 

Era la notte (Cassio's Dream) 

By Mario Ancona. Baritone (In Italian) 87O15 10-inch. 92.OO 

Cassio enters, and /ago, bidding Otcllo watch behind a pillar, goes to the young officer, 
and with fiendish ingenuity induces him to talk of his sweetheart Bianco. Otello, listening, 
thinks that it is of Desdemona that Cassia speaks. Cassia produces the fatal handkerchief, 
telling logo he had found it in his room, and wondering to whom it can belong. Otello, 
seeing the handkerchief and not hearing the conversation, has no further doubt of Desdemona j 
guilt, and when Cassia departs he asks logo how best can he murder them both. The villain 
suggests that Desdemona be strangled in her bed, and says he will himself kill Cassio. In a 
highly dramatic duet, given here by Barrera and Badini, they swear a solemn oath of vengeance. 

Ah! millc vite (A Thousand Lives!) 

By Carlo Barrera, Tenor; E. Badini. Baritone (In Italian) *55OO9 12-inch 


from the Senate bearing orders 
for Otello, who has been re- 
called to Venice, and Cassio 
appointed Governor of Cyprus 
in his stead. He announces 
his departure on the morrow, 
and then unable to control his 
rage and jealousy he publicly 
insults DesJemona and flings 
her to the ground. As she 
is being led away by her 
maids he falls in a fit. The 
people, considering the sum- 
mons to Venice an additional 
honor for the Moor, rush in. 
shouting "Hail to Otello," 
when logo, pointing with 
fiendish triumph to the pros- 
trate body, cries, '^Behold 
SCOTTI, WICKIIAM, ALDA AKD SLEZAK i* oTKi i " your Lion of Venice ! 


SCENE DesJemona's Bedroom 

The heartbroken DesJemona is preparing to retire, assisted by her maid, Emilia. She 
tells Emilia that an old song of her childhood keeps coming into her mind. Then she sings 
the sad and beautiful Willow Song. 

Salce, salce (Willow Song) 

By Nellie Melba. Soprano (In Italian) 88146 12-inch. >3.OO 

By Frances Alda. Soprano (In Italian) 88214 12-inch. 3.OO 

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 Aoe, one of the most inspired portions of the wonderful fourth act, in which 
Verdi has risen to his greatest height. 

Ave Maria (Hail, Mary 1 

By Nellie Melba. Soprano (In Italian) 88149 12-inch *3.OO 

By Frances Alda. Soprano (In Italian) 88213 12-inch. 3.OO 

Doabk-FcccJ RtcorJ For title of app^Oc tiJt *, DOUBLE-FACED OTELLO RECORDS, page 25 1 



This prayer occurs in the last act of the opera, and is sung by DesJemona as she retires 
to the couch from which she is fated never to rise. The "Ave Maria" is introduced by a 
characteristic monotone for the voice, accompanied by some organ-like harmonies which 
steal in with exquisite effect from the strings of the orchestra. 

The portrayal of the mingled apprehension and resignation of DesJemona in this scene 
through the medium of the voice is worthy to rank with Melba's most celebrated operatic 
creations her Marguerita her Juliet her Mimi. The purity and youthfulness of the feeling 
in parted, apart from the freshness and delicate perfection of the tones themselves, is amaz- 
in j, filling the mind with wonder at the perpetual miracle of Melba's perfect art. Mme. 
A da, whose DesJcmona has been one of the finest of her impersonations at the Metropoli- 
ta i, sings the number beautifully. 

At the close of the air Desdemona remains kneeling and prays in broken accents, her 
voice being almost inaudible. 

And now we come to the most dramatic scene of the opera, one in which the nerves 
of the spectators are strained to the breaking point. 

Otello enters and rushes 
toward the bed, but stops 
and gazes at his sleeping wife 
a long time, then approaches 
and kisses her. She wakes 
and speaks his name. He 
accuses her again of an in- 
trigue with Cassia, but she 
swears that it is false and 
that the handkerchief was 
not given by her to Cassia. 
He disregards her cries for 
mercy and strangles her. 
Emilia knocks at the door and 
is admitted by Otello, who is 
in a kind of daze, not realiz- 
ing what he has done. 
Seeing Desdemona lifeless, she 
accuses him of the crime 
and calls loudly for help. All 
rush in and Emilia, seeing 
logo, denounces him as the 
author of the plot, and tells 
Otello that Desdemona was 
i-inocent. The Moor is torn with remorse, and tenderly gazing on his dead wife, sings 
t ic passage with which his last air begins. 

Morte d'Otello (Death of Otello) 

By Francesco Tamatrno. Tenor (In Italian) 95OO2 lO-inch. $5.OO 

By Nicola Zerola. Tenor (In Italian) 74217 12-inch. 1.50 

He then draws a dagger and stabs himself, and with a final effort to embrace the 
Desdemona he has so cruelly wronged, he dies. 



Dio mi potevi scatfliare (Had It Pleased Heaven) 

By Carlo Barrera. Tenor (In Italian 
Giuramento Ah ! mille vite (A Thousand Lives) 

By Carlo Barrera, Tenor; Ernesto Badint. Baritone 

(In Italian) 
Quando narravi i When Thou Speakest 

By F. Lotti. Soprano: F. Conti. Tenor (In Italian I 
Credo (Otello's Creed) 

By Ernesto Badini. Baritone In Italian! 


55009 12-inch. M.5O 

55O23 12-inch. 1.5O 

'Italian i 





Drama in Two AcU. Words and Music by R. Leoncavallo 
The English version quoted from is by Henry Grafion Chapman 

QuoUboo* from text and miuie (<rzcep( the Prologue) by kind primiaion of G. Schwmcr. (Copy' I 1906) 

^__ Ruggiero Leoncavallo was born at Naples. 

March 8, 1658, and waa the son of a magistrate, 
the Chevalier Vincont, president of the tribunal 
of Potenza. His mother was a daughter of the 
celebrated artist, Raffaele d'Auria, famous for 
his decorations in the royal palace at Naples. 
He took up the pianoforte at an early age 
with Simonetti, a well-known teacher of Naples, 

; m^m H and entered the Neapolitan Conservatoire, where 

If j* he studied under Cesi, Ruta and Rossi. At sixteen 

4ft. he made a concert tour as a pianist with some 

success. Leaving the Conservatoire at eighteen 
he promptly showed his leaning toward operatic 
composition by beginning to write an opera, the 
libretto based on de Vigny's well-known drama, 
Chatter ton. Finding an impressaiio, the produc- 
tion of this opera was promised, but at the last 
moment he was deserted by 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 cafe concerts, finally 
becoming a concert pianist, the latter occupation 
taking him to many countries England. France, 
Holland, Germany and Egypt. Returning to Italy 
after several years of these wanderings, he proved 
that he had not been idle by submitting to the house of Ricordi the first part of a tremen- 
dous trilogy based on the subject of the Renaissance in Italy. 

This monumental work he entitled Crepusculum (Twilight), and the three parts were 
called : I Medici ; II Girolamo Savonarola ; III Cezare Borgia. This Ricordi accepted, agreeing 
to produce the first part, and Leoncavallo spent a year in its completion. Three years passed 
by and the production 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. The young 
composer went to work and in the space of five months completed his opera, basing the 
plot on an actual occurrence in the court where his father was presiding as judge. 

The production of Pagliacci was made on May 21, 1892, at the Teatro dal Verme, 
Milan. Its 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, 
Medici ; but it was not well received. Other operas by Leoncavallo which have been pro- 
duced with more or less success are: Chatterton (produced 1896); Boheme (1897); Zaza 
(1900); and finally Roland, written at the request of the German Emperor (1904). He has 
written also a symphonic poem, Serafila ; a ballet (La Vita d'una Marionella) and several 
comic operas. 

But it is Pagliacci which will keep the name 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. 




The Victor Company takes pleasure in announcing Leoncavallo's famous two-act musical 
drama, recorded especially for the Victor under the personal direction of the composer. 
The records in the series were made in the presence of Signor Leoncavallo, and the music 
conducted by him, a feature which should make this collection ever valuable and unique. 
Any question arising in future concerning the composer's intentions in regard to the opera 
may be decided by reference to this 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 settled many controversies. But now, by means of the Victor, the composer's 
ideas may be imperishably recorded. 

The artists selected by Signor Leoncavallo to interpret his great work are well known 
and most competent ones. Mme. Huguet, one of Italy's most beloved prima donne, has a 
voice of ample range and power, and sings the music of Nedda most beautifully. Cigada's 
Tonio is a remarkable performance, the richness and beauty of his voice being especially 
noticeable in the Prologue and the duet with Nedda. As Canio a choice of tenors is offered, 
t u- more delicate voice of Barbaini being contrasted with the splendid fire and intensity of 
F'aoli's singing. Badini as Silvio is fully adequate, -while the smaller parts are well filled. 
Nothing need be said about the orchestra and chorus of La Scala, as their reputation is 
\vorld 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 was made under the composer's direction, 
i iany other Pagliacci records are listed in their proper places. 


During the orchestral introduction Tonio, in his clown costume, suddenly appears in 
front of the curtain and begs permission to revive the ancient Greek prologue. He then 
tomes 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 
i itroduce. He then orders up the curtain. 

The first act shows the entrance to an Italian village. Canio and his troupe of strolling 
I layers, or pagliacci, having paraded through the village, return to their traveling theatre. 
I allowed by a noisy crowd of villagers. Canio announces a performance for that evening at 
s:ven, then goes with Peppe into the tavern. Tonio, the clown, remains behind ostensibly 
t > care for the donkey, but takes advantage of his master's absence to make love to Nedda, 
Canto's wife. She repulses him scornfully, striking him with her whip, and he swears to be 
i svenged. Silvio, a rich young villager, in love with Nedda, now joins her and begs her to 
t:y 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 Silvio, but hears 
. '.Wi/u 'a parting words, " Forever I am thine 1 " Mad with jealousy, he demands the lover's 
name, and when Nedda refuses, tries to kill her, but is restrained by the others. Nedda 
yoca to dress and Canio is in despair at the thought of being obliged to play while his heart 
i i breaking. 

Act II : The curtain rises on the same scene and the play is about to begin. This 
f roves to be the usual farce in which the Clown makes love to Columbine during the 
absence of her husband, Punchinello, but is laughed at and resigns his pretensions, finally con- 
s:nting 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 
tie 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 
re 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 passion begins to 
terrify them. The other players endeavor to silence him, but in vain. Finally, stung by his 
t.mnts, Nedda defies him and is stabbed. Canio hoping that in her death agony she will reveal 
t ic name of her lover. She falls, calling upon Silvio, who rushes from the crowd only to 
riceive in turn the dagger of the outraged husband. As Canro is disarmed by t'.ie peasants 
he cries as if in a dream. "La commcJia e finita" (The comedy is ended). 















Libretto and music by Ruggiero Leoncavallo. First performed at the Teatro dal Verme, 
Milan, on May 21, 1892; in London. May 19. 1893. First New York production June 15. 1894. 
with Kronold, Montegriffo and Campanari. Some famous casts of recent years at the Metro- 
politan and Manhattan opera : Caruso, Farrar, Stracciari Alvarez, Scheff, Scotti Farrar. 
Bars, Scotti Cavalirri. Rousseliere, Scotti Deveyne, Martin, Campanari Donalda, Basnt, 
Sammarco. etc. 


Character* in the Drama 

NEDDA (/W^A* (in the play "Columbine"), a strolling player, 

wife of CANIO 

CANIO (KaA'-nee-oA) (in the play "Pagiiacdo " [Punchinello]), 

master of the troupe Tenor 

TONIO ( roA'-n.oA> (in the play "Taddeo"). the clown Baritone 

PEPPE (Pct>'.pag) (in the play "Harlequin") Tenor 

SILVIO. (S/r^w-oA) a villager Baritone 

Villagers and Peasants 

The scene it laid in Calabria, near Montallo, on the Feast of the Assumption. 
Period, between 1865 and 1870. 



( In Italian) 




{In Italian) 




In Italian) 




(In Italian) 




(In English) 




(In EnglL'h) 










12-inch, $1.25 


Leoncavallo chose a novel way to introduce his characters, and wrote this number in the 
midst of the orchestral prelude, when Tonio comes forward, like the prologue of ancient 
Gieek tragedy, and explains 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. 

Prologo (Prologue) 

By Pasquale Amato. Baritone 
By Antonio Scotti, Baritone 
By Antonio Scotti. Baritone 
By Emilio de Gogorza. Baritone 
By Alan Turner. Baritone 
By Alan Turner. Baritone 
By Pryor's Band 
By Pryor's Band 

PfologO (Prologue) (Complete in two parts) 
i a) Part I Si puo ? (A Word) 

By Francesco Cigada, Baritone (In Italian 

(b) Part II Un nido di memorie (A Song of Tender !*351 71 

H By Francesco Cigada, Baritone (In Italian \ 

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 r^. i^ u.=i * _ k V 

always accompanies the appearance | 
of the players or pagliacci : 

The second theme represents 
Canio 's jealousy and is a sombre i 
strain suggestive of revenge : 
The third repre- c^j 
ssnts the guilty love j _ t 
of Nedda and Silvio: 1ft 3 
and appears f re- t> 
c| icntly 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, 
w Ho peeps through the curtain and says : 

and (.-cntlemen! 
Ion me if alone I appear. 
I am the Proln 

He then comes in front of the curtain and explains the author's purpose, which is to 
pi esent 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 st.iiy, 
And as he would revive for you the ancient 


He sends me to speak before ye! 
Hut not to prate, as once of old. 
That the tears of the actor are false, unreal, 

He then goes on to speak of the author's inspiration, and says : 

i; of tender metn'ries 

Peep in his Itst'niiiR heart ->ne day was ringing; 
Anil then with a trembling hand he wrote it, 
And he marked the time with sivhs and tears. 
Come, then: 

Here on the stage you shall behold us in human fashion. 
Ami d passion 

lli-art* that weep and languish, cries of rage and anguish. 
And bitter laughu i ! 

* Double-FaceJ RecorJFor {ilk of opposite jiJe tee DOUBLE-FACED PAGLIACCI RECORDS, page 265. 



That hi siiihs and the pain that i- told. 

lie has IKI 1 

No! our author tn-night a chapter will borrow 

From life with its laughter and Ml 

Is not the ai tor a man with a heart like you? 

So 'tis for men that our author has written. 

And the story he tells you is true! 


The beautiful andante which follows is the most admired portion of the aria, and is 
indeed a noble strain. 

Ah. think then, tweet people, when ye look on u, 

Clail in our motlc) anr 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!" (They're Here!) 

By La Seal* Chorus (Doubk-foceJ See por< 265) (In Italian) 16814 lO-inch.tO.75 

The first scene, representing the edge of a small village 
in Calabria, is now revealed to the audience. The people 
engaged in celebrating 

are engaged in 

^^^ the Feast of the Assumption, 
^r ^^^^ y^jt 9 * n< ^ among the attractions of- 
^ J^^ ' ' fered to the crowds who have 

m Js^K ^J flocked to the village is the 

troupe of strolling players head- 
ed by Canto. These wandering 

mountebanks are common in 

the rural districts of Italy and are 

known as pagliacci. 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 anywhere that they 

see a prospect for the earning 

of a modest living. 

A number of the towns- 
people have assembled in front 

of the little theatre and are 

awaiting the return of the 

clowns, who have been parad- 
ing through the village to 

announce their arrival, as is the custom. As the curtain rises, 
the sound cf a drum and trumpet is heard from a distance, and the villagers are full of 
joy at the prospect of a comedy performance. They express their excitement in a vigorous 
opening chorus. This is a clever bit of writing, but so difficult that it is seldom well given. 
The famous chorus of La Scala. however, under the hfAJESEgifc , ^T f f L l i ml 
leadership of Maestro Sabaino, have given this stirring *y r *- *' * < l t * *_ *^ 

.... | -T-i r L f> * #i 

number in splendid style. 1 his on-recurring phrase: LM M. S w. >*... * " **: 

which is presented with many odd modulations, produces a peculiar and novel effect. 


Bors: Hi! They're here! 

They're coming back! 

Fagliaccio's there 

The grown-up folks and boys 

All follow after! 

Their jokes and laughter 

They all applaud. 

WOMEN: See, there's the wagon! 
My. what a fiendish din! 
The Lord have mercy on us! 
ALL: Welcome Papliaccio; 
Long life to him. 
The prince of all pagliaccio*. 
Vnti drive our cares away 
With fun and laughter! 

The little troupe has now come into view and the noise is redoubled. Canto appears at 
the head of his company, his wife, Nedda, riding in the cart drawn by a donkey, while 
Tom'o and Prop* make hideous noises on the bass drum and cracked trumpet, which con- 
stitute the orchestra of the players. Canto 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 



ddress the crowd, but the noise is tremendous. 
'OHIO beats the drum furiously to silence the 
voices, but it is not until Canio has raised his 
hand to command attention that he is allowed 
to speak. 

Un grande spettacolo! (A 
Wond'rous Performance !) 

By Antonio Paoli. Tenor: Fran- 
cesco Cigada. Baritone : Gaetano 
Pmi-Corsi. Tenor: and Sig. 
Rosci. Baritone 
(In Italian) 92O09 12-inch. $3.00 

He begins to address the peasants in this 
fashion : 


A wondrous performance 

I say will be given, 

By your humble servants 

This evening at seven. 

The wrath of Pagliaccio 

\Vi!l there be presented 

What vengeance he took, 

And the trap he invented! 

You'll witness tin- carcass of Tonio tremble, 

And see him dissemble and pile up the plot! 

So honor us by coming this even; 

Come all, then, at seven : 

The crowd boisterously express their joy 

it the prospect of an evening's entertainment. 

Canio now turns to assist Nedda to alight from 

the cart, but finds Tonio, the Fool, there before him. Giving him 
on the ear, he bids him be off, and Tonio slinks away muttering, 
boys in the crowd jeer him, saying: 

Does that suit you, Mr. 



He goes grumbling into 

Tonio threatens the boys, who run away, 
the theatre, saying, aside : 

He'll pay for this ere it's over! 

One of the peasants invites the players to the wine shop for a 
friendly glass. They accept, and Canio calls to Tonio to join them, but 
he replies from within : " I'm rubbing down the donkey," which causes 
a villager to remark, jestingly : 

A PEASANT: Careful, Pagliaccio! 

He only stays behind there 
For making love to Nedda! 

/ Canio smiles, but knits his brow and is 

evidently impressed by the thought. 

CANIO: Eh! What? 

You think so? 

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


Un tal gioco (Such a Game !) 

By Antonio Paoli and La Scala Chorus 
By Nicola Zerola. Tenor 

(In Italian) 
> In Italian) 


12-inch. $3.OO 
10-inch. 1.00 

The first trace of Canio' s jealous nature is now shown, as he takes with apparent 
seriousness the idle joke of the peasant, and begins to warn the spectators as follows: 



CAN 10 : Such a game. I'd have you know. 

Twcrc better not to play, my neighbors! 

To Tonio. aye. to you all I say it! 

For the stage there and life, they are different altogether! 

If up there, (pointing to the theatre) 
Pagliaccio his lady should discover 
With some fine fellow in her room. 

He'd give the two a rating 
And take a jolly beating! 

(With a sudden change of tone) 

or resign himself. 

Hut if Nedda I really should surprise so. 
What came after were a far different story! 

Nedda, who is listening, is surprised and says aside : " What does he mean ?" The 
villagers, rather puzzled at his earnestness, ask him if he is serious. With an effort he rouses 
himself from his gloomy mood and says lightly : 

Not I I love my wife most dearly! 

(He approaches Nedda and kisses her on the forehead. ) 
1 he sound of bagpipes (oboe) is heard in the 
distance, telling of the merrymaking in the village, 
and the church bells begin to toll the call to vespers. 
1 he people commence to disperse, and Canto again 
repeats his melodious strain of invitation: 




M* H n . i. ** r"r . . . HI 

M i . r . "! IMfM-Ult ! 

(He goes with seoc.ral peasants into the inn.) 

Coro della campane (Chorus of the 

By La Scala Chorus 

(In Italian) *35172 12-inch. $1.25 
This is the famous Bell Chorus, or " Ding Dong " 
Chorus, one of the most remarkable numbers in the 
opera. It is sung with spirit, and the chiming bells are 
introduced in a most effective manner. The people go 
off singing and the measures die away in the distance. 

Ballatella, "Che volo d'antfelli!" (Ye 
Birds 'Without Number!) 

By Alma Cluck. Soprano (In Italian) 74238 12-inch. 1.3(> 

By Giuseppina Huguet, Soprano (In Italian) *35172 12-inch. 1.25 

Nedda. left alone, is troubled by her remembrance of Canio's manner and wonders 
if he suspects her. She speaks of the fierce look he had given her, and says : 

I dropt my eyes, fearful lest he should have read there 
What I was secretly thinking. 

But shaking off her depression, she becomes once more alive to the brightness of the 
day, which fills her with a strange delight. A gay tremolo in the strings announces the 
theme of the birds, and Nedda speaks of her mother, whom she said could understand their 
language. NEDDA: Ah. ye birds without number! 

What countless voices! 

What a*k ye? Who knows? 

My mother. hr that was skillful at telling one's fortune, 

Understood what they're singinr. 

And in my childhoofl, thus would she sing me. 

Then follows the brilliant Balatella or Bird Song, beginning : 



It is a most beautiful number with an exquisite accompaniment, mainly of strings. 
Mme. Cluck gives it here in delightful fashion, singing with dazzling brilliancy, while a very 
me rendition by Mme. Huguet is offered as part of a double-faced record. 

So ben che deforme (I Know That You 
Hate Me) 

By Giuseppina Huguet, Soprano, and Fran- 
cesco Cigada. Baritone 

(In Italian) *35173 12-inch, $1.25 

At the close of her song Nedda finds that the hideous 
Tonio has been listening, and now seeing the handsome 
Columbine alone, begins to make love to her; but she 
scornfully orders him away. He persists, but his protesta- 
tions are greeted with mocking laughter, and Nedda says 


Tlu-ri-'s tinif. if vim likf, 

Once more to tell im- this evening 

When you will be acting the fool! 


You mock me? Wretched creature! 

By the cross of the Savior 

You shall pay for this, and dearly! 

Just now, it is painful. 

In a furious rage, Tonio swears she rr.uct listen to him 
and cries: 


Conic, or I'll be calling Canio! 

you ! 
\rd her.) 

12-inch, $1.25 

TONIO (screaming) : 

NFDOA (watching him): 


A threat, t-h? 

I'.ut not until I'vi I 

Nulla scordai ! (Naught I Forget !) 

By Giuseppina Huguet, Francesco Cigada, and Ernesto Badini 

(Doubled with above duet) (In Italian) *35 1 73 

Tonio, driven almost to madness by Nedda's scorn and ridicule, 
seizes and tries to kiss her. She strikes him across the face with her 
whip, crying: 

Oh. you would, you cur! 

I'.y tin III, --,! Virgin of Assumption, 

Nedda. I swear it, 

You -hall pay me for it! (Rushes off.) 

Scorpion! at last you've shown your nature! 

Tonio. the clown. 

The heart of you is just as crooked as your body! 

The young villager, Silvio, whom Nedda has secretly met on 
previous visits to the town, now jumps over the wall. Nedda, 
alarmed, cries : SILVIO 

NFDDA: Silvio! In the daytime? What folly! 
SILVIO (smiling): I fancy it's no great risk I'm taking! 

Canio I spied from afar with Pcppe yonder. 
Ay! at the tavern I saw them! 

She tells him of Tonio's behavior and bids him beware, as the clown is to be feared. 
Her lover cheers her and laughs at her fears, and they sing the beautiful love duet, in 
which Silvio urges her to fly with him ; but she is afraid and begs him not to tempt her. 
He persists, and reproaches her for her coldness, until finally in a passion of abandon- 
ment she yields, singing the beautiful passage which begins the record : 

Then together they aing the lovely duet : 

mnu (O uu*,m*i*u*t) 


All. all forgot! 
Look into my eyes, love, 
All is forgotten! 
Then kiss me. dear! 

kit T > - rm 

SILVIO; Thon'lt come? 
NEDDA (passionately ) : 

kiss me once more! 
BOTH: I love thee! 


The lovers, who have cast aside all prudence and see only 
each other, fail to observe Canio, who has been warned by Tonio 
and has hurried from the tavern. 

TONIO (holding Canio back) : Now just step softly. 

And you will catch them now! 
SILVIO (disappearing over the wall): 

To-night at midnight, 
I'll be there below! 
NEDDA: 'Till to-night then. 

And forever I'll be thine! 

(She sees Canio and giocs a cry of fear. ) Ah I 

Aitalo Signer! (May Heaven Protect Him!) 

By Antonio Paoli Tenor; Giuseppina Huguet, 
Soprano; Francesco Cigada, Baritone ; Gaetano 
Pini-Corsi. Tenor (In Italian) 92O11 12-inch, I3.0O 
Canio, who has not seen Silvio, but has heard Nedda's part- 
ing words, now rushes toward the wall. Nedda bars his way. 
The record begins with the melodramic music written by Leonca- 
vallo for this exciting struggle, during which Canio pushes her 
aside and runs in pursuit of Silvio. 


NEDDA (listening anxiously) : 

CANIO (from behind): 

TONIO (laughing cynically): 

NEDDA (turning to Tonio with loathing) : 

TONIO (with fiendish satisfaction) : 

May Heaven protect him now! 
Scoundrel! Where hidest thou? 

Ha! Ha! Ha! 

Bravo! Well done, Tonio! 

All that I C9uld do! 

But I hope in the future to do better! 
Canio re-enters, out of breath and com- 
pletely exhausted. As he turns to Nedda with Q t ZEZHL J ~ 4> ^ 

suppressed rage we hear again in the accom- lq> 4 J pJ~jlJ ftJ I J*n!n /Ja3J! 
paniment that dismal theme of revenge : 

which throughout the opera always accompanies the scenes of Canio 's jealousy and passion. 


No one! 

That shows how well he knows that path. 

But no matter! 
(Furiously) : 

Because right now you'll tell me his name! 
NEDDA (indifferently) : 

CANIO (in frensy) : 

You ! By God in Heaven ! 

And if up to this moment I have not cut your throat, 

'Tis because I'd have you name him ! 
Speak now! 

Nedda proudly refuses. Filled -with joy because of 
S'lvio's escape, she cares not what may be her own fate. 
Canio, beside himself, rushes on her with the knife, but 
Peppc holds him back and takes away his weapon. Tonio 
comes to Peppe 's assistance, saying : 

Restrain yourself, good master, 
'Tis best to sham awhile. 
The fellow will come back, 
You take my word for it! 

They finally persuade him to restrain himself, and 
beg him to make ready for the play, as the audience is 
already assembling. Nedda goes into the theatre and Canio 
remains alone, his head bowed with shame and baffled 
revenge in his soul. 


Vesti la giubba (On With the Play) 

By Enrico Caruso. Tenor 
By Carlo Albani. Tenor 
By Nicola Zerola. Tenor 


12-inch, $3.OO 
12-inch, 1.5O 
10-inch, l.OO 



We now come to the most famous of the numbers in 
Leoncavallo's opera, the great Lament of Pagliaccio. Its heart- 
breaking pathos never fails to touch the listener, -when sung by 
such artists as the Victor offers. 

The unhappy Canio, left alone after the exciting scene with 
Nedda, wrings his hands and cries : 

Yet I must force myselfJ 
I am not a man, 
I'm but a Pagliaccio! 


To play! When my head's whirl- 
ing with madness, 

Not knowing what I'm saying or 
what I'm doing! 

The great aria now follows, in -which the unfortunate Pagliaccio 
describes how he must paint his face and make merry for the public 
while his heart is torn with jealousy. 


The people pay you, and they must have 

their fun! 
If Harlequin your Columbine takes from 


Laugh loud, Pagliaccio! 
And all will shout, well done! 

Laugh, Pagliaccio, for the love that is- ended! 
(Sobbing): CANI 

Laugh for the pain that is gnawing your 
heart ! 

(He mooes slowly toward the theatre, weeping; he stops at the entrance and hesitates. Seized 
by a new fit of sobbing, he buries his face in his hands ; then as the curtain slowly falls, rushes 
into the tent. ) 

Caruso's Canio is still the great feature of Pagliacci, and his magnificent singing of this 
famous lament cannot be described it must be heard. In all that this artist has done there 
is no piece of dramatic singing to equal in emotional force his delivery of the reproaches of the 
clown, which he pours out not only on his faithless wife, but on himself and the occupation 
that bids him be merry when his heart is breaking. Sometimes Caruso's voice merely delights 
the ear here he searches the heart ; and is not merely the greatest of tenors, but is the clown 
himself, full of the most tragic emotion. 


SCENE Same as Act I 

La Commedia (The Play) Part I, S ere n at a cTAr- 
lecchino (Harlequin's Serenade) 

By Giuseppina Huguet and Gaetano Pini-Corsi. 

(Double-faced See page 265) (In Italian) 35174 12-inch, $1.25 
Passing over the preparations for the play and the quarreling 
chorus of the peasants as they fight for the best seats, which is not 
interesting without the action, we come to the commencement of the 
comedy. The curtain is drawn aside, disclosing a small room with 
two side doors and a window at the back. Nedda as Columbine is 
discovered walking about anxiously. The tripping minuet movement 
which runs throughout the 
action of the comedy now 

Columbine rises and looks out of the window, saying: 
Papliaccio, my husband, till late this evening 
Will not be at home. 

The sound of a guitar, cleverly imitated by the violins, pizzicato, 
causes Columbine to utter a cry of joy, and the voice of Harlequin 
is heard out- H^wm* (p^ppe. betim *) 


side in the FJ>= i^ 



in which he extravagantly rhapsodizes his sweetheart. 


Co -ton. M- nvil to - ae .o 1 d> Af-lee - <fcb 
CM DB-bUM, joor B U qoin lura wUk JOB, 


La Commedia (The Play) Part II, E dessa ! (Behold Her !) 

By Giuseppina Huguet. Soprano: Francesco Cigada. 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 
exaggerated ly, 

with a comical t^SE'r 1^*^^ 
cadenza : 

The audience laughs in delight as Tonio tries to express his love 
by a long exaggerated sigh. Columbine tries to suppress him by 
inquiring about the chicken he had been sent for, but Tonio kneels, 
and holding up the fowl says : 

See, we 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, 

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 W^ine, Love !) 

By Antonio Paoli, Tenor: Giuseppina Huguet. Soprano: 

AMATO AS TONIO Francesco Cigada. Baritone : and Gaetano Pini- 

Corsi, Tenor (In Italian) 91O73 lO-inch, $2.OO 

By Augusto Barbaini. Tenor; Giuseppina Huguet. Soprano; Francesco 
Cigada. Baritone: and Gaetano Pini-Corsi, Tenor 
(Double-faced See page 265) (In Italian) 35175 12-inch, 1.25 

The lovers now partake of their feast and make merry together. Harlequin takes from 
his pocket a little vial, which he gives to Columbine, saying : 


Take this little sleeping draught, 
'Tis for Pagliaccio! 
Give it him at bedtime. 
And then away we'll fly. 

COLUMBINE (eagerly): 
Yes, give me! 

Upon the scene suddenly bursts Tonio, in mock alarm crying : 

TONIO (bau-ling loudly) : 

lie careful! Pagliaccio is here! 
Trembling all over, he seeks for weapons! 
He has caught you, and I shall fly to cover! 

The lovers simulate the greatest alarm, at -which the excited audience is highly pleased, 
and applaud lustily. Harlequin leaps from the window, and Nedda continues the scene by 
repeating C-olumbine's next lines, which by a strange chance are the very words she 

had spoken to SSfffSttr , ._ 

Siloio earlier in |f t * < >r~> I * r ' rjE?V r r r \ * *r p f i'"'g 
the day : * . - M - M E ^ **-* ***> 

TUl to nM, tk! Ad la n . m I stall b. tfclnl 

Can'.o, dressed as Punchinello, now enters from the door on the right. 

CANIO (u-ith suppressed rage): 

Hell and damnation! 

And the very same words, too! 
(Recovering himself) : 

liut, courage! 
(Taking up his part): 

You had a man with you ! 
COLUMBINE (lightly): 

What nonsense! You are tipsy! 

PAGLIACCIO (restraining himself u'ith difficulty) : 

Ah. if tiiou wast alone here 

Why these places for two? 

Taddeo was supping with me. _ 

He's there you scared him into hiding! 
TADDEO (from within) : 

Believe her, sir! She is faithful! 
(Sneering) : 

Ah, they could never lie, those lips so truthful! 



The audience laughs loudly, which enrages the unhappy man, and forgetting his part 
he turns to Nedda and fiercely demands the name of her lover : 

CANIO: Woman, 'tis thy lovi-r's name I want, 

The wretched scoundrel from whose arms thou comest! 
Oh, shameless woman! 
NEDDA (faintly, much alarmed): Pagliaccio! Pagliaccio! 

No, Pagliaccio non son ! 
(No, Punchinello No 
More !) 

By Enrico Caruso, Tenor 

(Italian) 88279 12-inch, $3.0O 
By Antonio Paoli, Tenor 

(Italian) 92O12 12-inch, 3.0O 
By Nicola Zerola, Tenor 

(Italian) 74247 12-inch, 1.5O 
By Augusto Barbaini, Tenor 

(Italian) *35175 12-inch, 1.25 

Throwing off entirely the mask 
of the player, Canio becomes again 
the jealous husband, and sings this 
great aria, which is second only to 
the Vesti la giubba in dramatic power. 


No, Pagliaccio, I'm not! 

If my face be white, 

'Tis shame that pales it 

And vengeance twists my fea- 


I am that foolish man 

Who in poverty found and 
tried to save thee! 

He gave a name to thee, 

A burning love that was mad- 

(Falls in a chair, over- 

The people, while a little puz- 
zled by such intensity, loudly ap- 
plaud what they think is a piece of 
superb acting. 

CANIO (recovering himself): All my life to thee I sacrificed with gladness! 

Full of hope and believing far less in God than thee! 

Go! Thou'rt not worth my grief, 
O thou abandoned creature! 
And now, with my contempt, 
I'll crush thee under heel! 

Caruso's rendering of this great scene is a magnificent one. The opening passage is 
delivered -with tremendous power, as Canio pleads his defense, saying that he is no 
longer a player, but a man, and protests as a man against the wrong inflicted upon him. 
His passion gives place to a softer strain as he speaks of his love for Nedda, his faith- 
fulness and his sacrifices for her. At the close is the intense climax, with its splen- 
did high B flat. Other fine renditions of the air are by Paoli, Zerola and Barbaini. 



By Antonio Paoli, Tenor; Giuseppina Huguet, Soprano; Francesco 
Cigada, Baritone; Gaetano Pini-Corsi, Tenor; Ernesto Badini, 
Tenor; and Chorus (In Italian) 92O13 12-inch. $3.OO 




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

Nedda is now thoroughly 
alarmed, but courageously 
faces her husband with out- 
ward calm. 

NEDDA (coldly but seriously) : 
'Tis well! 

If thou think'st me vile, 
Send me off, then, 
Before this moment's over! 

CANIO (laughing loudly): 
Ha! Ha! 
Oh, nothing better would'st 

thou ask. 
Than to be let run to meet 

thy lover! 
No! by Heaven, for here thou 

Until thy paramour's vile 

name thou sayest! 

Nedda, in desperation, 
tries to continue the play, and 
as the little gavotte movement 
is resumed in the accompani- 
ment, she sings: 

NEDDA: Oh dear, I never knew that you 
Were such a fearful man, sir! 
There's nothing tragic for you here. 
Come now, Taddeo, answer! 

The crowd begins to laugh, but is checked by Canio's appearance, which is alarming. 
CANIO (violently): Ah, you defy me! 

You'll name him, or else I'll kill you! 
(Shouting): Who was it? 
NEDDA (throwing off her mask defiantly): 
No, by my mother, 

I'm faithless, or whatever you choose to call me; 
(Proudly): But cowardly, no, never! 

I will not speak! 

No, not even if you kill me. 
As she sings we hear triumphantly appearing above her 

voice the C T?*"""" '""'^""i . 

love motive: , a , ^~r*8.iJ> 4. . , !>l^" V -iHTfr . . 

' ff^PC I t* I ~] i li^y yf I 

p-= I 

telling of her passion for Silvio, which is to endure even unto death. 
Canio now rushes toward her, but is restrained by Tonio and Peppe. 
Nedda tries to escape, but Canio breaks away and stabs her, crying : 
CANIO: Take that! 

Perhaps in death's last agony, 
You will speak! 
Nedda falls, and with a last faint effort calls: 

"Oh, help me, Silvio." 
Siloio, who has drawn his dagger, rushes to her, when Canio cries : 

Ah, 'twas you! 'Tis well! (Stabs him.) 
CANIO (as if stupefied, letting fall his knife) : 

The comedy is ended! 

Then once more is heard the tragic motive of jealousy and death, now thundered out 
by the orchestra as if rejoicing at its final triumph. 





(In Italian) 

[Prologue, Part I Si puo 

By Francesco Cigada. Baritone 
[Prologue, Part II Un nido di memorie 

By Francesco Cigada, Baritone (In Italian) 

(Prologue By Alan Turner, Baritone (In English) \ 

\ Come into the Garden, Maud By Harold Janis, Tenor) 

fPrologue By Pryor's Band! ,, 1 ,_ 

\ Flying Dutchman Fantasia By Pryor's Band) 

Coro della campane By La Scala Chorus (In Italian) I 

Che volo d'angelli [35 1 72 

By Giuseppina Huguet. Soprano (In Italian)} 

So ben che deforme By Giuseppina Huguet, Soprano, i 

and Francesco Cigada, Baritone (In Italian) I 

Nulla scordai ! By Giuseppina Huguet, Soprano; Francesco | 

Cigada, Baritone; Ernesto Badini, Tenor (In Italian)] 

La Commedia Part I By Giuseppina Huguet, Soprano, 

and Gaetano Pini-Corsi, Tenor (In Italian) 
La Commedia Part II By Giuseppina Huguet. Soprano; 
Francesco Cigada, Baritone ; Gaetano Pini-Corsi, Tenor 

(In Italian) 

Versa il filtro nella tazza sua ! By Augusto Barbaini, 

Tenor; Giuseppina Huguet, Soprano; Francesco Cigada, 

Baritone ; Gaetano Pini-Corsi,Tenor (In Italian) 
No, Pagliaccio non son! 

By Augusto Barbaini, Tenor (In Italian) 

Pagliacci Selection By Pryor's Band 31799 

f Prologue By Alan Turner. Baritone (In English) \ . , 1 , _ 

\ Brown Eyes By Alan Turner, Baritone (In English)) 

Opening Chorus, "Son qua" 

By La Scala Chorus 
Trovatore Per me ora fatale 

By Ernesto Caronna, Baritone, and Chorus 

35171 12-inch, 1 1.25 

12-inch, 1.25 

12-inch. 1.25 

12-inch, 1.25 

35173 12-inch, 1.25 

35174 12-inch, 1.25 

35175 12-inch, 1.25 

12-inch, l.OO 

lO-inch, .75 

(In Italian) | 168U 
(In Italian}] 

lO-inch, .75 



(Italian) (English) 


(Pet-kah-toh' -ret Jee Pair-laay) 


Text by Carre and Cormon. Music by Georges Bizet. First production at the Theatre 
Lyrique, Paris, September 29, 1863. First London production, entitled "Leila," at Covent 
Garden, April 22, 1887; and as Pescafori di Perle, May 18, 1889. First New York production 
January 1 1, 18%. 


LEILA, a priestess Soprano 

NADIR, a pearl fisher Tenor 

ZURGA, a chief Baritone 

NOURABAD, high priest Bass 

Priests, Priestesses, Pearl Fishers, Women, etc. 

Scene and Period : Ceylon ; barbaric period. 

Les Pecheurs de Perles, one of Bizet's earlier operas and the first one to achieve success, 
is a work dealing with an Oriental subject, and contains much music of charm and original- 
ity, showing traces of that dramatic force which reached its full development in Carmen. 
The character of the music, less passionate and highly colored than Carmen, is yet equally 
original and of even more striking beauty. 

The story tells of the love of two Cingalese pearl fishers for the priestess Leila, and of 
the generosity of the unsuccessful rival, who helps the lovers to escape at the cost of his 
own life. 


The prelude is a most beautiful number, and considered one of the finest of Bizet's 
instrumental -writings. 

Preludio (Prelude) 

By La Scala Orchestra *621OO lO-inch. $O.75 


SCENE The Coast of Ceylon 

The rise of the curtain discloses a company of Cingalese pearl fishers, who, after 
choosing one of their number, Zurga, to be their chief, are enjoying themselves with games 
and dances. Nadir appears and Zurga recognizes him as a friend of his youth. They 
greet each other and speak of the days when they were rivals for the hand of a beautiful 
woman. Nadir, beginning the duet, recalls the moment when the friends first beheld 
the lovely Leila. 

Del tempio al limitar (In the Depths of the Temple) 

By Enrico Caruso, Tenor, and Mario Ancona, Baritone 

(In Italian) 89OO7 12-inch, $4.OO 

By Giorgini and Federici (In Italian) 88319 12-inch, 3.OO 

By John McCormack and G. Mario Sammarco (Italian) 87082 lO-inch, 2.OO 
By Giuseppe Acerbi and Renzo Minolfi (In Italian) *68O63 12-inch, 1.25 

In an impressive strain he describes the scene within the Temple of Brahma : 
NADIR: Lifts her veil, revealing 

In the depths of the temple A face that haunts me still 

A lovely form we beheld, With its beauty ethereal! 

That form I still can seel NADIR- 

VCA: jj ut now j^j. ve j| s j le <jrops 

Twas a vision of beauty! And pass i ng through the wandering crowd 

T^ R: t, i- u j She disappears. 

The kneeling worshipers astonished Now a s {,! anpe emotion overpowers me, 

Now murmur. The goddess comes! j fear to touch thy hand 


She descends from the altar ZUPGA: 

And, moving near to us A fatal love both our souls possess. 

*Double-Faced Record For title of opposite side see DOUBLE-FACED PEARL FISHERS RECORDS, page 268. 



They speak of their sudden realization of the fact that they had both fallen in love at 
sight with the priestess, and fearing their friendship was in danger, they swore never to see 
her again. The comrades, now pronouncing themselves entirely cured of their infatuation, 
pledge anew their friendship and swear to be brothers to the end. 

A fisherman now enters and announces the arrival of the mysterious veiled lady who 
comes once a year to pray for the success of the fisheries, and whom the Ceylonese have 
adopted as their guardian saint. She enters and begins her prayer. Nadir recognizes her 
voice and realizes that it is the priestess Leila. The pearl fishers sing a chorus of appeal to 
Brahma for a blessing, in which Leila joins. 

Brahma gran Dio (Divine Brahma !) 

By Linda Brambilla, Soprano, and La Scala Chorus 

(In Italian) *68O62 12-inch, $1.25 

This is a most impressive record, the lovely voice of Mme. Brambilla showing to great 
advantage above the choral background. 

Leila goes into the temple and the people disperse. Nadir, left alone, is agitated by his 
discovery, realizing that he still loves the maiden. He recalls the memories of his first sight 
of her in a lovely song. 

Mi par d'udir ancora (I Hear as in a Dream) 

By Florencio Constantino, Tenor (In Italian) 74O67 12-inch, $1.50 

Leila reappears and the act closes with her prayer to Brahma for the good fortune of the 
fishermen. Just as the curtain falls she recognizes Nadir, and contrives to let him know 
that she loves him. 


SCENE A Ruined Temple 

As the curtain rises Leila and Nourabad, the high priest, are seen, they having sought 
shelter in the ruins of an ancient temple. The high priest, in a fine air, reminds Leila of her 
oath to renounce love and marriage and devote herself to the welfare of the people. She 
says that she will keep her promise and tells him of a vow 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. 

Siccome un di caduto (A Fugitive, One Day) 

By Giuseppina Piccoletti, Soprano (In Italian) *68307 12-inch. $1.25 

The high priest sternly recites the punishment which will overtake her should she 
prove false to her vow. "Shame and death be thy portion !" cries the stern priest. Left 
alone, the miserable woman broods over her unhappy plight. Bound by an oath which she 
now regrets, and conscious of her love for Nadir, which may mean death for them both, she 
sinks down in an agony of despair. Nadir enters and asks her to fly with him, defying 
Brahma and the priests. She at first repulses him, but love is finally triumphant and the 
lovers rapturously embrace, while a fearful storm rages, unheeded, without the ruins. 

This scene is expressed by a splendid duet, two records of which are given here for 
a choice. 

Non hai compreso un cor fedel (You Have Not Understood) 

By Giuseppina Huguet, Soprano, and Fernando de Lucia, 

Tenor (In Italian) 92O54 12-inch, $3,00 

By Giuseppina Piccoletti, Soprano, and Ivo Zaccari, 

Tenor (In Italian) *68062 12-inch, 1.25 

The lovers are surprised by Nourabad, and Nadir flees, closely pursued by the priests. 
He is captured and brought back, while Zurga is summoned to pronounce sentence on the 
guilty lovers. His friendship for Nadir moves him to mercy, and he spares their lives and 
bids them fly the country. As they go, however, the high priest tears the veil from Leila, 
and when Zurga realizes that it is the woman Nadir has sworn never to see, he is enraged 
and sentences them both to death. 

*Douole-Faced Record For title of opposite side see DOUBLE-FACED PEARL FISHERS RECORDS, page 268. 




SCENE I The Camp of Zurga 

Zurga is discovered alone, brooding over the impending death of his friend and the 
woman he loves. His mood of despair is interrupted by Leila, -who appears at the entrance 
to his tent and asks him to dismiss the guards and speak with her alone. She asks mercy 
for Nadir in a dramatic aria. 

Temer non so per me (I Fear Not) 

By Emilia Corsi, Soprano (In Italian) *63394 lO-inch, $0.75 

She proudly refuses to plead for her own life, but begs that he spare the friend whom 
he loves. Zurga refuses and summons the guards to conduct her to execution. 

SCENE II The Place of Execution 

The scene shows the wild spot where the funeral pile has 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 enters crying that the camp is on fire, and bids the people fly to save their children 
and effects. All run out except Leila, Nadir and Zurga, and the high priest, who, suspecting 
a plot, hides to hear what Zurga will say. The latter confesses that he kindled the fire in 
order to save the lovers. Unfastening their chains, he bids them escape, while Nourabad 
runs to warn the Indians, and Leila and Nadir, beginning the great trio, voice their gratitude. 

Terzetto finale Fascino etereo 

By Linda Brambilla, Soprano: Giuseppe Acerbi.Tenor; 

Francesco Cigada, Baritone (In Italian) *68O63 12-inch, $1.25 

The lovers praise the generosity and greatness of Zurga, who for the sake of friendship 
has committed an act which may cost him his own life. He bids them fly at once, and they 
go as the voices of the enraged Indians are heard returning for vengeance. Nourabad 
denounces Zurga for the escape of the victims and for the destruction of the camp, and he 
is forced to mount the funeral pyre. As the flames mount about him he cries : 

Farewell, my friend! 
Farewell, my Leila! 
For thee I give my life! 

As Zurga dies a fiery glow reveals that the forest is ablaze, and all prostrate themselves, 
fearing the displeasure of Brahma. The curtain falls as the flames envelop the stage. 

Del tempio al limitar (In the Depths of the Temple) 

By Giuseppe Acerbi and Renzo Minolfi (In Italian) 

Terzetto finale Fascino etereo 

By Linda Brambilla. Soprano : Giuseppe Acerbi, 

Tenor ; Francesco Cigada, Baritone (In Italian) 
(Non hai compreso un cor fedel (You Have Not Under- 
stood) By Giuseppina Piccoletti, Soprano, and 
Ivo Zaccari. Tenor (In Italian) 

68063 12-inch. $1.25 

68O62 12-inch, 1.25 

Brahma gran Dio (Divine Brahma !) By Lina Brambilla. 

Soprano, and La Scala Chorus In Italian) 
[Siccome un di (A Fugitive, One Day) 1 

By Giuseppina Piccoletti, Soprano (In Italian) V68307 12-inch, 1.25 
Hermes S'io t'amo By Melis and Taccani (In Italian)} 

/Pearl Fishers Selection Sousa's Band) --. ><, ;__t, , < 

i c^- M/-L i /c ji \ r> D j/35033 12-inch, 1.25 

I Spinning Wheel (Spindler) Pryor s Band] 

(Preludio (Prelude) By La Scala Orchestral 

< Ebrca Rachele allor che Iddio [621OO 10-inch, .75 

By Gino Martinez-Patti, Tenor (In Italian) } 
[Temer non so per me (I Fear Not) 1 

By Emilia Corsi. Soprano (In Italian) [63394 lO-inch, .75 
Jana Si dannato mono By Taccani (In Italian)} 


*'Doubk-Faced Records For title of opposite side see above list. 







(Leh Proh-fauf ) 


Text by Scribe. Music by Giacomo Meyerbeer. First presented in Paris, April 16, 
1849. First London production July 24, 1849. First New York production November 25, 
1854. Revived at the Manhattan Opera in 1909 with d' Alvarez, Lucas and Walter- Villa. 

JOHN OF LEYDEN, (Ly'-den) the Prophet, chosen leader of the Anabaptists . . Tenor 

BERTHA, his sweetheart Soprano 

FIDES, (Fee'-dayz) mother of John of Leyden Mezzo-Soprano 

COUNT OBERTHAL, ruler of the domain about Dordrecht Bass 


JONAS, >three Anabaptist preachers < Tenor 


Nobles, Citizens, Peasants, Soldiers, Prisoners. 

Scene and Period : Holland and Germany ; in 1 543, at the lime of the Anabaptist uprising. 

Meyerbeer's great work is certainly entitled to 
be called a grand opera, for it is grand to the utmost 
in theme, character and scenes ; and with its brilliant 
and impressive music, at the time of its production 
sixty years ago was a model of its kind, as opera- goers 
demanded melodramatic action, tuneful music and 
opportunity for ballet ; and all these requirements 
are fully met with in Le Prophete. 

The plot is based on the Anabaptist fanaticism 
of the sixteenth century, which agitated a large part 
of Germany and Holland, and the leader of which 
was one Bockelson, commonly called John of Leyden. 


SCENE A Suburb of Dordrecht, Holland 

The story furnished by the librettists describes 
John as the son of the widow Fides, an innkeeper of 
Leyden. At the opening of the opera he is about 
to wed Bertha, an orphan. She, being a vassal of 
the Count Oberthal, is obliged to ask his permission 
before marrying, and goes with Fides, John's mother 
to beg the Count's consent. The Count, struck with the young girl's beauty, covets her 
for himself, refuses his consent and orders Fides and Bertha into the castle. 


SCENE The Inn of John in the Suburbs of Leyden 

Three Anabaptists enter and being struck with the resemblance of John to the portrait 
of the guardian saint, David, at Munster, they try to induce him to become their leader. He 
refuses, but tells them of a strange dream he has had. 

JOHN: Under the vast dome of a splendid temple 

I stood the people at my feet were prostrate 
The royal coronal adorn'd my brow! 

The Anabaptists declare that Heaven has spoken in the dream, and promise that he shall 
yet be a ruler; but John's thoughts turn to his beloved Bertha, and in this beautiful Pastorale 
he tells them that another and sweeter life calls to him. 

copyr DUPOT 



Pastorale (There's a Sweeter Empire) 

By Leo Slezak, Tenor (In German) 64112 lO-inch >1.OO 

Slezak, whose John is one of his greatest roles, sings this lovely romanza with beautiful 

JOHN: Less than this thatch'd roof 

Oh, there's a sweeter empire, far. My hopes would bless, 

Which long has been my guiding star; Sweet home of calm felicity. 

Oh, thou my joy, my greatest gain, Where I would gladly live and die, 

If in thy faithful heart I reign! Where Bertha will forever prove 

For me, the proudest kingdom, Alike my bosom's queen and love! 

Bertha, who has escaped from the castle, now runs in, asking John to save her. She is 
concealed by him as the Count's soldiers enter and threaten to kill Fides unless John delivers 
up the maiden. To save his mother's life he is forced to yield, and sees his bride carried 
off to become the Count's mistress. 

Fides, in her gratitude, sings this most dramatic and intense of Meyerbeer's airs, which 
has attained a world-wide popularity. 

Ah, mon fils ! (Ah, My Son !) 

By Louise Homer, Contralto (In French) 88284 12-inch, $3.OO 

By Ernestine Schumann-Heink, Contralto (In French) 88187 12-inch, 3.OO 


Ah, my son! Blessed be thou! 

Thy loving mother to thee was dearer 

Than was Bertha, who claim'd thy heart! 

Ah, my son! For thou, alas, 

Thou dost give for thy mother more than life, 

For thou giv'st all the joy of thy soul! 

Ah, my son! now to heav'n my pray'r ascends 

for thee ; From Operatic Anthology, by permission of 

My son, blessed be forever more! G. Sciiirmer. (C'opj't law.) 

The part of Fides, the most interesting in the opera, is one of Mme. Schumann-Heink's 
great successes, and the Ah, mon fils, a dramatic aria full of real passion, she sings with 
exquisite tenderness. 

This role being originally written for a soprano, requires a voice of wide compass and 
great power. Mme. Homer's voice not only possesses these qualities, but is brilliant in the 
higher register and full and musical in the lower, and she sings this wonderful music just as 
Meyerbeer wrote it, delivering the beautiful words with real pathos. 

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 compact is soon made 
and they depart, leaving some blood-stained garments to lead Fides to believe John has been 
slain by the Count's assassins. 


SCENE Camp cf Anabaptists in the Westphalia Forest 

The city of Munster is about to be besieged by the rebels, and before proceeding to the 
charge, John, now the Prophet, and in command of the rebels, makes them kneel and pray for 
victory. They chant the Miserere, and John sings this noble Inno or hymn. 

Re del cielo e dei beati (Triumphal Hymn, " King of Heaven") 

By Francesco Tamagno, Tenor (Piano ace.) (In Italian) 95O05 10-inch, $5.OO 
By Antonio Paoli, Tenor, and La Scala Chorus (Italian) 91O8O lO-inch, 2.0O 
By Luigi Colazza, Tenor (Double-faced-See t>. 273) (Italian) 16578 10-inch, .75 

JOHN: Let's unfurl the sacred flag, 

King of Heaven and of the angels, He whom we serve is Lord 

I will praise Thee, Of Heaven and earth. 

Like David, Thy 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 Chorus. 




SCENE I A Public Square in Munslef 

The insurgents have captured the city. The Prophet is received with mixed feelings, 
some denouncing him as an impostor. Fides, reduce to beggary, meets Bertha, who had 
escaped from the Count and come to Munster to seek John. Fides tells her John is dead, and 
Bertha, thinking the Prophet is respon- 
sible, swears to have vengeance. 

SCENE II The Munster Cathedral 

This magnificent cathedral scene is 
one of Meyerbeer's most brilliant com- 
positions. It forms a striking contrast 
to the rest of the opera, so gloomy with 
religious and political fanaticism, and 
as a piece of glittering pageantry with 
gorgeous decoration, pealing bells, 
solemn chants, and the stately Corona- 
tion March, has seldom been equaled. 

Coronation March 

By Arthur Pryor's Band 

31503 12-inch. $1.OO 
By Garde Republicaine Band 

4115 10-inch, .60 
The great symphonic march which 
occurs in this scene is by far the most 
striking instrumental number in Meyer- 
beer's opera. It is brilliant and power- 
ful, with superb instrumentation, and 
even without the dramatic setting in 
which it is played in Prophete, always 
produces a marked effect on the listener. 
Of the performance of this noble 
and stately march by Pryor's Band, we 
can only say that it is superb in every 
respect, and the record has a volume 
of tone which makes one marvel that it all could come from the minute disc vibrations. 
As John passes into the church, Fides sees him, and in a transport of joy greets him 
as her son. He declares she is mad, knowing it is death to both if he acknowledges her. 
She finally realizes the situation, confesses that she is mistaken, and is led away to prison. 


SCENE I The Crypt of the Palace at Munster 

The first scene takes place in the prison vaults beneath the palace, where Fidts, feeling 
certain that John will contrive to see her, patiently awaits his coming. She at first denounces 
him as an ungrateful son, then, repenting, prays that Heaven may soften his heart and lead 
him to repent. 

Prison Scene, Part I 

By Ernestine Schumann-Heinle, Contralto (In French) 88094 12-inch, $3.OO 


Whither have you led 

Fmfes (alone): 

O! my cruel destiny! 

What, the wails of a prison! they arrest my 


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

On his head let the wrath of Heaven fall ! 

(Her wrath subsides.) 

Though thou hast abandoned me, 

But my heart is disarmed, 

Thy mother pardons thee. 

Yes, I am still a mother. 

I have given my cares that thou may'st be 


Now I would give my life. 
And my soul exalted, will wait for thee in 

heaven ! 
An officer enters and announces the arrival of the Prophet. 

Prison Scene, Part II 

By Ernestine Schumann-Heink. Contralto 

(In French) 88O95 12-inch, $3.00 



Fides then begins the second part of her great 

FIDES (joyfully) : 
He comes! 

I shall see him, delightful hope! 
Oh, truth! daughter of heaven, 
May thy flame, like lightning. 
Strike the soul of an ungrateful son. 
Celestial flame restore to him calmness! 
Restore, bless'd Heaven, his guardian angel! 
Immortal grace, Oh! conq'ring come; 
With thy pure love his heart reprove; 
Tho' he be guilty, save him now 
From that dark abyss which threatens to 

engulf him; 

Let thy light pierce this ingrate son, 
Conscience riv n, his soul soften, 
Like brass in furnace fierce,' 
That he may ascend and reign in Heav'n! 

When John enters, Fides denounces the bloody 
deeds of the Anabaptists and calls on her son to 
repent and renounce his false robes. 

But thou, whom the world detests. 

Yes, thou, braving Heaven's behests; 

Thou, whose fell hand is reeking with blood; 

Go thou, my son no longer now! 

Far from my heart, far from my eyes 

Blood-stain'd, go! 

John confesses his sins and pleads for forgiveness, 

uu SUT. CAKIS JOHN THE PROPHET finally kneeling and receiving her blessing, just as a 

faithful officer enters and informs John that the Ana- 
baptists are plotting to deliver him to the Emperor's forces, which are marching on the city. 

Bertha enters through a secret passage, revealed to her by her grandfather, who was 
once keeper of the palace. She has resolved to blow up the palace and the false Prophet, 
and is horrified to learn that John is the Prophet. She denounces him for his crimes, 
and declaring she has no longer reason to live, stabs herself. 

John, in despair, resolves to die with his enemies, and sending away his mother, plans to 
have the palace set on fire, and goes to the banquet hall. 

SCENE II The Great Hall of the Palace 

After the Emperor's forces have entered, crying, " Death to the Prophet," John orders 
the gates closed. An explosion occurs and the palace falls, carrying down to death John 
and all his enemies. 


You are my prisoner ! 

Nay, ye are all my captives! 

(An ex-plosion takes place, the walls fall and 
flames spread on every side.) 

JOHN (to done and Oberthal) : 

Thou, traitor! and thou, tyrant! shalt perish 
with me; 

Justice has sealed our doom; 
am the instrument. 
We, all guilty, are all punished! 

(A woman with dishevelled hair rushes through 
the ruins into John's arms. He recognises 
his mother.) 

My mother ! 

Yes, receive my pardon; I will die with thee! 

Welcome, sacred flame! 

To yon celestial sphere may our souls take 

flight ! 

(As the flames mount about them the curtain 



\ Barber of Seville Selection 

/Re del cielo (King of Heaven) 

\ William Tell Ballet Music Part III 

By Pryor's Bandl 
By Pryor's Band I 

35125 12-inch, $1.25 

By Luigi Colazza, Tenor), , , _ a 

i/ 1 OD i O 

By Pryor's Band) 

ID-inch, .75 


(Italian) (English) 


(Ee Poo-ree-tah' -nee) 


Book by Count Pepoli ; music by Vincenzo Bellini. First presented at the The'dtrc 
Italien, Paris, January 25, 1835, with a famous cast Grisi, Rubini, Tamburini and Lablache. 
First London producton. King's Theatre, May 21, 1835, under the title of Puritani ediCaoalieri. 
First New York production, February 3, 1844. Revived in 1906 at the Manhattan Opera, 
with Pinkert, Bonci and Arimondi. 



SIR GEORGE, Puritan Bass 


SIR RICHARD FORTH, Puritan Baritone 


HENRIETTA OF FRANCE, widow of Charles I Soprano 

ELVIRA, daughter of Lord Walton Soprano 

Chorus of Puritans, Soldiers of Cromwell, Heralds and Men-at-Arms of Lord 
Arthur, Countrymen and Women, Damsels, Pages and Servants. 

Scene and Period : England in the neighborhood of Plymouth, in the period preceding 
the impeachment and execution of Charles II by Parliament. 

Previous to Mr. Hammerstein's revival in 1906, Puritani had not been given in America 
since the production of 1883, with Gerster as Elvira. This is not strange, as the opera on 
the whole is somewhat dreary, only the few numbers the Victor has collected being really 
worth hearing. 

The plot is rather a foolish one: the libretto being one of the poorest ever 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 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 Wallon, the Puritan Governor-General, has a daughter 
Elvira, whom he wishes to marry to Richard Forth, a Puritan colonel, but the young girl loves 
an enemy, Lord Arthur. 

SCENE 1 Exterior of a Fortress near Plymouth 

At the beginning of Act I, Forth, learning that Elvira loves Arthur, and that her father 
refuses to force her into an unwelcome marriage, is disconsolate and gives vent to his feel- 
ing in a famous air: 

Ah per sempre (To Me Forever Lost) 

By Mario Ancona, Baritone (In Italian) 87014 lO-inch, $2.OO 

given here by Signor Ancona, whose success in this part at the Manhattan revival is well 


Ah ! to me forever lost, 

Flow'r of love, and hope the dearest! 

Life, to me thou now appearest, 

Gloomy 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 vanish'd love! 



SCENE II Elvira '3 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 notte (The Night Was Growing Dark) 

By A. Perello de Segurola, Bass (In Italian) 55O07 12-inch, I1.5O 

The night was growing dark. 

And Heav'n and earth were silent, 

Favorable the sad hour, 

Thy pray'rs gave courage to my soul, 

And to thy sire I went. 

Thus I began, "My brother" 

"Your angel-like Elvira 

Is for the valiant Arthur pining 

Should she another wed, 

Oh, wretched one! she dies!" 

Said thy father 

"She is to Richard promised!" 

"Thy unhappy child," repeated I, "will die." 

"Oh! say not so," he cried, 

"I must yield, let Elvira live, 

Ah! may she be happy 

Let her live in love!" 

Elvira is overjoyed, and expresses her gratitude. Trumpets 
are now heard, and Elvira'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 I is in the castle under sentence of death, and his sense of 
duty toward the late Queen impels him to contrive her escape 
by concealing her in Elvira's veil, the guards thinking it is the 
bride. The escape is soon discovered and Elvira, supposing that 
her lover has deserted her on the eve of her bridal day, becomes 
insane. All denounce Arthur and swear to be revenged. 


SCENE The Puritan 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. Elvira enters, 
demented, and sings her famous air, much like the Mad Scene in Lucia. 

Qui la voce (In Sweetest Accents) 

By Marcella Sembrich, Soprano (In Italian) 881O5 12-inch, $3.OO 

She recalls her first meeting with Arthur and repeats the vows he swore. 

It was here in accents sweetest, 

He would call me he calls no more! 

Here affection swore he to cherish, 

That dream so happy, 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 


'Tis no dream, my Arthur, oh, my love! 
Ah, thou art smiling thy tears thou driest, 
Fond Hymen guiding, I quickly follow! 
Then dancing and singine. 

All nuptial feasts providing. 
(Dancing toward Richard, whom she takes by 

the liand.) 

And surely you will dance with me 
Come to the altar. 




Elvira 's 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. 5i> 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 Mario Ancona, Baritone, and Marcel Journet. Bass 

(In Italian) 88SOO 12-inch, $3.OO 

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 I 


Sound, sound the trumpet loudly! 

Bravely we'll meet the foemeii, 

'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: 

All is now concluded, 

If Arthur is/ defenceless 

He'll find support and succor. 

If he in arms returns 

He comes to shame and vengeance! 


SCENE A Garden near Elvira's House 

The rise of the curtain discloses Arthur, who is fleeing from the enemy, and has come 
to the castle in the hope of seeing Elvira once more before he leaves England forever. She 
comes from the castle and at the sight of Arthur her reason suddenly returns. The lovers 
are reconciled after Arthur explains that it 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, $4.0O 

Forgetting their present danger, they think only of their love and that they are in each 
other's arms again. 


Come, come to my arms, 
Thou my life's sole delight! 
And thus press'd to my heart, 
We'll no more disunite! 
Thrill'd with anxious love and fear, 
On thee I call for thee I sigh; 
Come, and say the love is dear 
That soareth to boundless height! 

The sound of a drum is heard, and Elvira again becomes delirious, which so alarms 
Arthur 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 saying that the Stuarts were defeated and a pardon had been granted to all captives. 
Elvira's reason returns, and the lovers are united, no more to part 


(Italian) (Entflish) 


(Ray-gee 1 -nah dee Sah'-bah) 


Text by Mosenthal, founded upon the Biblical mention of the visit of the Queen of 
Sheba to Solomon. Music by Gold mark. First production 1875, in Vienna. In New York 
1885, with Lehmann and Fischer. Revived in 1905, with Walker, Rappold, Knote and Van 




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. 

Goldmark's opera, which was his first successful work, was revived on a sumptuous 
scale by the Metropolitan Company a few years ago, but since that time the only opportunity 
opera-lovers have had of hearing the beautiful airs has been that offered by their Victors. 

The plot 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, 

For this text Goldmark furnished some of the most beautiful and sensuous music in the 
entire range of opera. 

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, Sulamilh, is aston- 
ished to find him pale and embarrassed, and trying to avoid her. Assad afterward confesses 
to Solomon that he had met a beautiful woman at Lebanon and had fallen in love with her. 
When the Queen of Sheba arrives and removes her veil, Assad is astounded to recognize in her 
the mysterious woman who had captured his senses. Involuntarily he rushes toward her, 
but she coldly repulses him and passes on with the King. 

In Act II the Queen discovers that she loves Assad, and seeing him in the garden, bids 
her maid attract his attention -with a weird Oriental song. Assad starts when he hears the 
mysterious air, as it seems to bring back memories of the night at Lebanon. He sings his 
beautiful air, Magic Tones. 

Magiche note (Magic Tones !) 

By Enrico Caruso. Tenor (In Italian) 87041 10-inch, $2.OO 

By Leo Slezak, Tenor (In German) 64115 10-inch, l.OO 

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. 

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. 






(Dahu Rind-gold) 

Prelude to the Trilogy : " The Nibelungs' Ring " 

(Nee -bcl-oons) 

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

WOTAN, (Vo'-tahn} 


LOCI, (Low'.jee) 

ALBERICH, (Ahfj>er 

MIME. (Mee'-mec) 
FRICKA, (Free'-kah) 
FRElA (Free'^h) 

ERDA (Eh/jah) 



Rheingold is not a 

r J 

G ds Tenor 


/Nibelungs (Gnomes) 


Goddesses ( Soprano 

[ Contralto 

Nymphs of the Rhine < Soprano 


society" opera. Played in complete darkness and with no inter- 
missions during the two hours required for its presentation, it is a -work only for real music- 
lovers who understand something of the story and appreciate Wagner's wonderful music. 

This first part of the T^ing is an introduction to the Trilogy proper, and a full under- 
standing of its incidents is necessary to properly appreciate the other Ring operas. 

SCENE I The Bottom of the Rhine 

The stage is in semi-darkness, representing the murky depths of the Rhine, and the 
light glimmering on the surface of the water above shows but faintly the three Rhine 
maidens guarding the Rhinegold. 



They sing their quaint songs as they float about the rock which conceals the treasure. 


Alberich, prince of the Nibelungs, a strange race of 
dwarfs who dwell deep in the earth, observes the 
beauty of the maidens and tries to make love to 
them. They laugh at him and evade with ease 
his clumsy endeavors to catch them. Suddenly, as 
the sun rises, the gleam of the Rhinegold is seen. 
Alberich, dazzled by the splendor of this glow, asks 
what it is, and the maidens foolishly inform him that 
whoever can secure this treasure and form it into a 
ring can become lord of all the world. One condi- 
tion, however, is that the possessor cannot wield this 
power unless he renounces forever the joys of love. 

Alberich, having failed in his amorous attempts 
towards the Naiads, now conceives an ambition 
for power. He cries, " Then love I renounce for- 
ever," and swimming 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 maidens who 
are moaning for their lost treasure. 

SCENE II A Mountain Top, Showing the Castle 


During this darkness the scene changes and as the stage becomes lighter we see Wal- 
halla, the abode of the gods, a -wonderful castle built for Wolan by the giants. 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 practi- 
cal Frieda reminds him of the price -which he had agreed to pay the giants for this godly 
dwelling ; this being the surrender of Freia, goddess of youth and beauty. Wolan tells her 
that he never intended to keep his agreement, the god Loge having promised to show him a 

way to evade payment. 

Freia now hastily enters, closely pur- 
sued by the giants Fasolt and Fafner, who 
call upon Wolan to deliver the goddess 
to them as agreed. Wolan repudiates his 
promise, saying that it -was made only in 


How sly to take for truth 

What only in sport we had settled! 

This beauteous goddess, light and bright, 

What use to you are her charms? 

Froh and Donner, Frieda's brothers, 
enter, also Loge, and a long argument en- 
sues, Wolan finally realizing that he must 
give up Freia to the giants. Loge, however, 
tells them of the Rhinegold, saying that if 
this treasure could be stolen from Alberich 
by Wolan, it might be accepted by the 
giants in place of Freia. Wolan refuses to 
entertain this plan and the giants seize Freia 
and carry her off, declaring that if the 
Rhinegold is not in their hands by night the 
original bargain must stand, and Freia be 
lost to the gods forever. 

Left alone, the gods realize the serious 





predicament they are in, especially as it is seen that, deprived of their youth goddess, 
they are suddenly aging. Woian thereupon decides to secure the Nibelungs' gold, and 
goes with Loge in search of Aiberich. A vapor arises from the earth, concealing the stage, 
and when it disappears the scene has changed. 

SCENE III Aiberich', Cave 

Aiberich, since he has acquired the RhinegolJ, has become more arrogant and cruel than 
ever, and compels Mime and the other Nibelungs to continually toil and slave to bring him in 
more gold. At the beginning of the scene he is berating Mime for loitering over his task of 
making a Tamhelm, or magic cap, fashioned from the Rhinegold, and which gives the wearer 
the power to become invisible. Woian and Loge now enter on this scene and are rudely 
greeted by Aiberich, who demands their business, and holding out the Ring bids them 
tremble at his power. They at first craftily flatter him, but he is surly and says that naught 
but envy could have brought them here. Wotan is angry and is about to voice his -wrath 
when the crafty Loge makes him a sign to be quiet and begins to taunt Aiberich, doubting his 
power. Aiberich is so enraged that he offers to change himself into any shape required to 
prove the magic of the Tarnhelm, and immediately becomes a huge dragon. Loge affects 
extreme terror, at which Aiberich laughs and resumes his 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 Tarnhelm, thus robbing Aiberich of his power. His 
natural form returns and they bind him and start for the upper earth. The scene changes 
again to the mountain summit. 

SCENE IV Same as Scene II 

Woian and Loge enter, dragging the helpless Aiberich, who is beside himself with rage. 
They demand that he give them his hoarded store of gold as the price of his freedom. He 
reluctantly obeys and summons the Nibelungs, who instantly swarm up from below carrying 
the hoard. He then asks to be set free, but Woian demands also the Ring. Aiberich is 
horrified, but is finally compelled to add it to the pile of gold. He then sings his bitter 
and ironical air, Bin ich nun fret ? 

Bin ich nun frei? (Am I Now Free?) 

By Otto Goritz, Baritone (In German) 

He lays a frightful curse on the Ring, pre- 
dicting that it will bring misery and death to each 
possessor until it is restored to him again. 

ALBERICH (ivith bitter irony) : 
Am I now free? 
Really free? 
Then listen, friends, 
To my freedom's first salute! 
As at first by my curse 'twas reached, 
Henceforth cursed be this ring! 
Gold which gave me measureless might, 
Now may its magic deal each owner death! 
No man shall e'er own it in mirth, 
And to gladden no life shall its luster gleam. 
May care consume each several possessor, 
And envy gnaw him who neareth it not! 
All shall lust after its delights, 
But none shall employ them to profit him. 
To its master giving no gain, 
Aye the murdVer's brand it shall bring. 
To death he is fated, 
Its fear on his fancy shall feed; 
Though long he live shall he languish each 


The treasure's lord and the treasure's slave: 
Till within my hand I in triumph once more 

behold it! 

So stirred by the hardest need, 
The Nibelung blesses his ring! 
I give it thee, guard it with care 
But my curse canst thou not flee! 

642O3 lO-inch, $1.OO 




He vanishes and Wolan, 
who has paid little attention 
to his cursing, dons the 
Ring, gazing at it in admira- 
tion. The giants now return 
for their pay, and demand 
that enough gold shall be 
piled around Freia to hide 
her completely from sight. 
This is done, but when all 
the gold is piled up Fafner 
says there is still one small 
crevice visible, and insists 
that it be filled with the 
Ring. Wolan refuses, and 
the giants are about to seize 
Freia again, when Erda, the 
earth goddess, rises and 
delivers her appeal to 


W^eiche, W^otan, weiche ! (W^aver, 

By Ernestine Schumann-Heink, Contralto (In German) 88O92 12-inch, $3.OO 
(Wolan's responses are sung by Mr. Witherspoon) 

She warns him solemnly that the Ring is cursed and charges him to give it up. 

ERDA (stretching her hand) : 

Waver, Wqtan, waver! 

Quit the Ring accursed! 

(She continues her solemn warning) 

Ruin and dismalest downfall wait thee in its 


Who speaks such menacing words? 


Whatever was, was I; what is, as well; 

What ages shall work all I show; 

The endless world's All-wise one, Erda, opens 

thine eyes. 

Three, the daughters born to me 
E'er the world was made; all I notice 
Nightly thou know'st from the Nornir. 

But hither in dire danger haste I to thy help. 

Hear me! Hear me! Hear me! 

All that exists, endeth! 

A dismal day dawns for the ^Esir: 

O render wisely the ring! 

(She begins to sink slowly into the earth.) 

A secret spell speaks in thy words: 

Wait and impart more wisdom. 
ERDA (disappearing) : 

I've warned thee now; thou wott'st enough; 

Pause and ponder truth! 

(She completely disappears.) 

Mme. Schumann-Heink sings this powerful number with dignity 
and dramatic force. 

Wolan at last yields and throws the Ring on the heap of gold. 
The giants, as if to prove the curse, immediately begin to quarrel 
about its possession, and Fasolt is killed by Fafner; after which the 
murderer coolly proceeds to collect the gold and then departs. 

Donner, the god of thunder, now calls up a storm and causes a 
rainbow bridge to form, making a passage to the castle. As the gods 
proceed across the bridge to Walhalla the voices of the Rhine 
maidens can be heard from below, still bewailing the loss of their gold. 

RHINE-NYMPHS (from below) : 
Rhinegold! Rarest gold! 
O might but again 

In the wave thy pure magic wake! 

What is of worth dwells but in the waters! 

Base and bad those who are throned above. 

(As the gods slowly cross the bridge to the castle, the curtain falls.) 






Text by Piave, adapted from Victor Hugo's drama Le Rot s' Amuse. Music by Giuseppe 
Verdi. First produced in Venice, March 11, 1851. First London production at Covent 
Garden, May 14, 1853; at the Italiens, Paris, January 19, 1857. First New York production 
November 2, 1857. 


RIGOLETTO, a hunchback, jester to the Duke Baritone 

DUKE OF MANTUA, a titled profligate Tenor 

GlLDA, (Jeef -dah) daughter of Rigoletto Soprano 

SPARAFUCILE, (Spahr-ah-foo-chccf) a hired assassin Bass 

MADDALENA, (MaJ-Jah-lay -nah) his sister Contralto 

COUNT MONTERONE (Mon-ur-oh' - nau ) Baritone 


Courtiers, pages, servants. 

Scene and Period : Mantua and vicinity ; sixteenth century. 

The story tells of the gay and unprincipled Duke of Mantua, who is assisted in his 
crimes by his jester, Rigoletto, a hunchback. The father of one of the Dune's victims is 
mocked by Rigoletto and launches upon him a father's awful curse, -which stuns and sobers 
the jester, as he, too, has a daughter, Gilda, unknown to the court. 

On his way home Rigoletto meets a professional assassin, Sparafucile, who offers, for a 
price, to kill any enemy he may have. Rigoletto says he may need him later. The Duke, 
in the guise of a young student, has already met Gilda, not knowing who she is, and the 
young girl has fallen in love with him. When Rigoletto has left the house the Dune's 
courtiers abduct Gilda and take her to the Palace. The father's rage is terrible to witness, 
and he goes to the Palace, but too late to save his daughter. She pleads for the Duke's life, 
but Rigoletto swears to kill him, and arranges with the assassin, Sparafucile, to accomplish 
the deed. The Duke is lured to a lonely inn by Sparafucile's attractive sister, Maddalena, 
and is about to be murdered when Maddalena, -who has taken a fancy to him, begs for his 
life. Sparafucile consents provided a substitute should happen along before midnight. Gilda, 




whom Rigoletto had brought hither (disguised as a page) in order that she might witness the 
fickleness of her lover, has been listening to the conversation, and now resolves to save the 
Dune's life at the cost of her own. She enters the hut, is stabbed by Sparafucile, who 
delivers the body to Rigolelto according to agreement. Rigoletto is about to cast the body 
into the river when he hears the Duke's voice in the distance. The wretched man opens 
the sack, sees his daughter and falls senseless on her body. 


SCENE I Ballroom in the Duke's Palace 

As a fete is in progress in the ducal residence, the Duke confides to one of his courtiers 
that he is about to make a new conquest. For some months he has seen a young and 
beautiful girl at church, but knows nothing of her except that she is visited often by a man 
who is supposed to be her lover. The Duke then sings his first air, Questo o quella. 

Questa o quella ('Mid the Fair Throng) 

By Enrico Caruso, Tenor (In Italian) 87O18 lO-inch, $2.OO 

By Florencio Constantino, Tenor (In Italian) 64O69 lO-inch, l.OO 

This melodious number is perhaps the best of the Duke's solos, though usually cast 

somewhat in the background by the popular La donna e mobile. In it the Duke announces 

himself as a man of pleasure, sets forth his code of morals, and boasts of his conquests. 

'Mid the fair throng that sparkle around me, 

Not one o'er my heart holds sway; 
Though a sweet smile one moment may 

charm me, 
A glance from some bright eye its spell 

drives away. 
All alike may attract, each in turn may please; 

Now with one I may trifle and play, 
Then another may sport with and tease 
Yet all my heart to enslave their wiles 

As a dove flies, alarm'd, to seek shelter, 

Pursued by some vulture, to bear it aloft 

in flight. 
Thus do I fly from constancy's fetter: 

E'en women's spells I shun all their efforts 

I slight. 

A husband that's jealous I scorn and despise, 
And I laugh at and heed not a lover's sighs; 
If a fair one take my heart by surprise, 
I heed not scornful tongues or prying eyes. 

Caruso's interpretation of the Duke is quite different from the one to which opera-goers 
have been accustomed. He does not picture Mantua as a deliberate villain, a fiend in 
human guise, but as a light-hearted, careless and irresponsible devotee of pleasure, so 
attractive that the infatuation of Gilda seems wholly natural. This air is always sung by the 
tenor with perfect ease and extreme brilliancy, and the record is a superb one, not sur- 
passed by any in his list. 



Constantino has made a great success as the Dulfe, both at the Manhattan Opera and in 
Boston during the past season. He sings this gay air with grace and abandon. 

After making another enemy in the person of the Count Ceprano, by his marked atten- 
tion to the latter's wife, the Dufcc departs. Manilla enters and eagerly announces to the 
courtiers a rich discovery. RigoleUo, the Dune's jester, is in love! The courtiers refuse to 
believe this, as Rigolello is known as a confirmed woman-hater. Manilla insists that the 
jester makes frequent visits to a young girl. The nobles, who all hate Rigoletto for his cruel 
tongue, are eager to turn this knowledge into a means of revenge, and agree to meet Ceprano 
the next evening for a rare adventure. 

The voice of the aged Count Monterone, -whose daughter is one of the recent victims of 
the Duk.e, is now heard outside demanding admittance. He throws aside the guards who 
seek to stop him, and entering, denounces the Duke for his crimes. 

Ch'io le parli (I Will Speak to Him) 

By Francesco Cigada, Baritone: Aristo- 
demo Sillich, Bass; La Scala Chorus 

(In Italian) *6819O 12-inch. $1.25 

Rigoletto ridicules and mocks the old man, -who 
calls him a "vile buffoon," and then, in an awful 
rage, utters so terrible a curse upon him, the 
curse of a father, that all are horrified. 

Rigoletto is stunned and sobered by this terri- 
ble malediction, for he, too, has a daughter, un- 
known to the court, and love for his child and 
respect for her dead mother are the sole redeem- 
ing traits in his cruel nature. 

Monterone is removed by the guards, and the 
scene changes to the street in front of Rigoletto' 's 

SCENE II A Street ; Rigoletto 's Cottage on one side, 

opposite the Palace of Count Ceprano 
The jester enters, brooding with superstitious 
fear over the curse which had been laid upon 
him. He is accosted by Sparafucile, a professional 
assassin, who offers to rid him of an enemy if he 
has one. Rigoletto looks at him thoughtfully and 
says that if he has need of his services he will 
inform him. Sparafucile departs and Rigoletto 
delivers his famous monologue. 


Monologo Pari siamo ("We 

By Mario Sammarco, Baritone 
By Antonio Scotti, Baritone 
By Emilio de Gogorza, Baritone 
By Titta Ruffo, Baritone 
By Ernesto Badini, Baritone 
He looks at the retreating form of the 

Yon assassin is my equal 

He stabs in darkness, 

While I with a tongue of malice 

Stab men by daylight! 

(He thinks of Monterone's curse.) 

He laid a father's curse on me. . . . 

(Continuing in a burst of rage.) 

Oh hideous fate! Cruel nature! 

Thou hast doom'd me to a life of torment. 

1 must jest. 1 must laugh. 

And be their laughing stock! 

Yonder the Duke, my master, 

Youthful and brilliant, rich and handsome, 

Are Equal) 

(In Italian) 88320 

(In Italian) 88O32 

(In Italian) 88179 

(In Italian) 9204 1 

(In Italian) *45032 
bravo and says : 

12-inch, $3.OO 
12-inch. 3.0O 



Tells me, between sleeping and waking: 

"Come, buffoon, I would laugh now!" 

Oh shame, I must obey him! 

Oh life accursed! How I hate ye. 

Race of vile and fawning courtiers! 

'Tis my only joy to taunt ye! 

For if I am vile, 'tis to your vice I owe it! 

(He thinks of his home and daughter.) 

In that blest abode my nature changes! 

(Again he remembers the curse.) 

How heavy was that old man's curse! 

Still I hear it; 'tis ringing in my ears! 

My soul is troubled fear I some misfortune? 

Ah, no, this is folly! 

* Doubk-Facea 1 Record For title of opftostl: J: xe DOUBLE-FACED RICOLETTO RECORDS, page 294. 




Five records of this great number are here presented, 
sung by famous exponents of the part of Rigoletto. 

The jester enters the court-yard and is affectionately 
greeted by Gilda, who comes from the house. She notes 
his anxious looks and begs him to confide in her. She 
asks him about her mother, whom she but dimly remem- 
bers. Rigoletto avoids her question and sings a pathetic air : 

Deh non parlare al misero (Recall Not 
the Past) 

By Antonio Scotti, Baritone 

(In Italian) 85O31 12-inch, $3.0O 

in which he begs her to refrain from questions regarding 
their past life. 

He embraces her tenderly, then, recalling the curse, 
solemnly enjoins her to keep within the house and never 
venture into the town. Gilda says she has only been to 
Mass each Sunday, but does not tell him of the student 
with whom she had exchanged fond glances. Rigoletio 
summons the maid, Giooanna, and questions her, begin- 
ning a lovely duet, full of pathos. 

Veglia o donna (Safely Guard This Tender Blossom) 

By Maria Galvany, Soprano, and Titta Ruffo, Baritone 

(In Italian) 9150O 10-inch, $3.0O 

He warns the maid to always closely guard her mistress from any danger which may 


Safely guard this tender blossom, Ah ! such fear for me revealing, 

Which to thee I now confide; Father dear, why thus display? 

In her guileless heart and bosom One from whom there's no concealing 

May no thought of ill betide; Guides me ever on my way 

From the arts of vice protect her, From on high my mother's spirit 

May its snares be laid in vain; Leads me on with tender care; 

Her father will from thee expect her While this heart bears life within it, 

Safely brought to him again. 'Twill defy each artful snare! 

Rigoletto bids his daughter a tender farewell and takes his departure. The Duke, again 
dressed as a student, now enters, having previously purchased the silence of Giooanna. 

Gilda 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 duet. 

E il sol deir anima (Love is the Sun) 

By Giuseppina Huguet, Soprano, and 
Fernando de Lucia, Tenor 

(In Italian) 92O56 12-inch, $3.00 
By Alice Nielsen, Soprano, and Florencio 
Constantino, Tenor 

(In Italian) 74O63 12-inch. 1.5O 

He soothes her fears, telling her he loves her with a pure 


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


With it we heed not what fate may shower. 
Feeling celestial, no joy terrestrial 
Ever to me can such sweet joys impart. 
Ah! may no blight ever this heart from thee 

sever ; 
Rest in my bosom, ne'er to depart! 

Footsteps are now heard, and after a tender farewell he 
leaves, after telling her that his name is Walter Malde. 

Gilda remains pensively gazing at the gate through which 
the pretended student has departed. In rapturous soliloquy 
she sings : 






Walter Malde! That romantic name! 
Already it is on my heart engraven! 

Caro nome (Dearest Name) 

By Luisa Tetrazzini, Soprano 
By Marcella Sembrich, Soprano 
By Nellie Melba, Soprano 
By Bessie Abott. Soprano 
By Graziella Pareto. Soprano 
By Edith Helena. Soprano 
By Marie Michailowa, Soprano 
Then the lovely air, Caro Nome, begins. 

Carv'd upon my inmost heart 

Is that name forevermore 

Ne'er again from thence to part, 

Name of love that I adore, 

Thou to me are ever near, 

Ey'ry thought to thee will fly, 

Life for thee alone is dear, 

Thine shall be my parting sigh! 

(Cilda enters the house, but reappears on the 

Oh, dearest name! 

Oh name beloved! 

Walter, I love thee, 

Ev'ry fond, tender thought for thee I cherish! 

(In Italian) 




(In Italian) 




(In Italian) 




(In Italian) 




(In Italian) 




(In English) 




(In Russian) 




(She disappears, but can be heard from 


Oh ! name beloved ! 
Dear name, within this breast, 
Thy mem'ry will remain! 
My love for thee confess'd, 
No power can restrain ! 
Carved upon my inmost heart 
Is that name for evermore. 
Thine shall be my parting sigh, 
Oh Walter mine! 

This delightful song, with its grace, delicacy and coloring, has never been surpassed 
and the scoring for orchestra, especially in Verdi's use of the -wood-wind, is admirable. 

Melba's rendition is worthy of so exquisite a number, and she has surpassed herself 
here. The ease with which she sings is wonderful, and her voice shows in an unusual de- 
gree that luscious smoothness, golden purity and perfect equality for which it is noted. 

The character of Gilda is 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 the pretended student, 
Walter Malde, who has secretly won her heart. Nothing could be more perfect in its way 
than Mme. Sembrich's singing of this beautiful number. 

Tetrazzini's delivery of this lovely air is marked by surpassing beauty of tone, the 
roulades, trills and staccatos in the concluding portion being poured out lavishly and with 
the utmost ease and fluency. Other adequate renditions, at lower prices, are also listed above. 

* Double-FaceJ Record For title of opposite siJe tee DOUBLE-FACED RIGOLETTO RECORDS, page 294. 



Night has now fallen and 
the courtiers, led by Ceprano, 
enter, wearing masks. Rigo- 
letto returns and is much 
alarmed to see them in this 
neighborhood, but his fears 
are allayed when they an- 
nounce that they have come 
to carry off Ceprano 's wife, as 
he is well aware that the Duke 
has had designs on that lady 
for some time past. He tells 
them Ceprano 's palace is on 
the opposite side and offers to 
help them. They insist that 
he must be disguised and 
contrive to give him a mask 
which covers his eyes and 
ears, and lead him in a circle 
back to his own balcony, giv- 
ing him a ladder to hold. 
Gilda is seized, her mouth THE ABDUCTION OF GILDA 

gagged with a handkerchief, and she is carried away. 

Rigoletto, suddenly finding himself alone, becomes suspicious, tears off his mask and 
finds himself at his own balcony. Frantic with fear he rushes in, finds his daughter gone, 
and falls in a swoon as the curtain descends. 

SCENE A Hall in the Duke's Palace 

The courtiers enter and tell the Duke that they have captured Rigolello 's mistress. He 
expresses his appreciation of the adventure, not knowing they had abducted the young girl 
he had just left, and asks for particulars. They sing their chorus, Scorrendo unite, 

Scorrendo unite remota via (On Mischief Bent) 

By New York Grand Opera Chorus (In Italian) 64049 lO-inch, $1.00 

which gives the details of the huge joke they have played on Rigoletto by making him assist 
in the capture of his own mistress. 


Unto a lonely abode directed, 

When shades of evening were falling fast, 

By dark'ning shadows we were protected 

Until our game we spied at last; 

With timid footsteps she scarce came nigh us, 

We were preparing our prey to seize 

When Rigoletto just then came by us, 

With angry brow and ill at ease. 

And that the joke might be all the madder, 

We said Ceprano's wife should be our prey, 

We then desir'd him to hold the ladder; 

His eyes were bandag'd, he did obey. 

We swiftly mounted to the room, and found 

The startled beauty we bore away! 
DUKE (aside): 

Wondrous! it must be my love, my lost one! 

When he discover'd how we'd fooled him, 

No doubt he curs'd till break of day! 

When the Duke learns that Gilda is in an adjoining room he joyfully goes to her, saying 
that her fears will be soothed when she discovers he is the WalteT Malde she loves. 

Then occurs one of the most dramatic scenes in the opera, and the greatest opportunity 
for Rigoletto. This scene has been recorded in its entirety by Amato, one of the greatest of 
Rigolettos, assisted by Bada, Setti and the Metropolitan Chorus. 

Povero Rigoletto ! (Poor Rigoletto !) 

By Pasquale Amato, Baritone, with Bada, Setti and Metropolitan 

Chorus In Italian 88340 12 $3.0O 

Rigoletto' s voice is now heard outside, singing a careless air. He enters, affecting in- 
difference, but trying to find some clue to Gilda' s whereabouts. A page enters with a mes- 
sage for the Duke and the courtiers tell him their master cannot be disturbed. Rigoletto 
listens, his fears becoming confirmed, and he exclaims :, 

Ah, she must be here then! The maid whom you last night 

In yonder chamber! From my roof carried hither. 

COURTIERS: (affecting surprise): Who? Ah, she is there, I know it! 



COURTIERS: If a sweetheart you've lost, RIGOLETTO: 

Go somewhere else lo seek her! Yes, my daughter! 

RIGOLETTO (with 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 is there! stand back, I tell ye! 

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.OO 

By G. Mario Sammarco, Baritone (In Italian) 88315 12-inch, 3.OO 

By Titta Ruffo, Baritone, and La Scala Chorus (Italian) 92066 12-inch, 3.OO 

By Emilio Sagi-Barba, Baritone (In Spanish) 74161 12-inch, 1.50 

By Renzo Minolfi, Baritone (Double-faced See page 294) 16573 lO-inch. .75 

He at first denounces them as abductors and assassins, then breaking down, asks for pity. 

Race of courtiers, vile rabble detested, (He weeps.) 

Have ye sold her, whose peace ye molested? Ah, I weerj before ye. Marullo, so kindless? 

Gold and favor will buy ye, I know it Others' grief never yet saw thee mindless, 

E'en the treasure that nought can restore. Tell, oh tell where my child they have hidden, 

Ah, where is she? do not rouse me to mad- Marullo, have pity, 

ness Say the word where my daughter is hidden! 

Though unarm'd, of my vengeance beware Is't there? say in pity thou'rt silent! alas! 

ye; (In tears.) 

For the blood of some traitor I'll pour! Oh, my lords, will ye have no compassion 

(Again making for the door, and again inter- On a father's despairing intercession? 

ruptcd.) Give me back my belov'd only daughter, 

Let me enter, ye assassins, stand back! Dearer far than my life, give her back, I 

That door I must enter! implore! 

(He struggles again with the courtiers but Have pity, oh give me back my child, 

is repulsed and gives up in despair.) In pity, oh hear me implore! 
Ah, I see it all against me have pity! 

This affecting scene is ended by GilJa, who now enters, in tears, and embraces her father. 

RIGOLETTO (overjoyed): GILDA (hiding her face): 
Gilda, my daughter! Dishonor, oh my father! 

My lost one my treasure! RIGOLETTO: Horror! what say'st thou? 

My lords, she is all I cherish. GILDA: 

Now we need fear nothing, Father, oh hide me from ev'ry eye but thine! 

Angel, I've found thee! RIGOLETTO (imperiously, to the courtiers): 
Come tell me. 'twas but jesting? Hence, I command, and leave us! 

(To the courtiers.) If the worthless duke ye serve dares approach, 

I who was weeping rejoice now. I forbid him to enter! 

(To Gilda.) Say that, I charge ye! 

Hut why art thou weeping? 

The courtiers, somewhat ashamed at the turn of affairs, obey, and GilJa begins her 
pitiful confession. 

Tutte le feste al tempio (On Every Festal Morning) 

By Marcella Sembrich, Soprano, and G. Mario Sammarco. Baritone 

(In Italian) 89O42 12-inch, $4.OO 

By Olimpia Boronat, Soprano (In Italian) 88242 12-inch, 3.00 

By Laura Mellerio. Soprano, and Ernesto Badini, Baritone 

(In Italian) *45OOO lO-inch, 1.00 

By Giuseppina Huguet, Soprano (In Italian) *62083 lO-inch, .75 

On ev'ry festal morning Ah, in my hopeless misery. 

Near to the holy altar. My saint I have enshrined thee. 

I saw a youth observing me. In horror and anguish here I must find thee, 

Iteneath whose gaze mine did falter, Thy future all turned to woe! 

Though not a word he said to me, (To Gilda.) 

My heart his meaning well did know! Daughter come, let me comfort thee in thy 

When twilight shades were darkening, sorrow 

Last night he stood before me, GILDA: 

Fondly he vow'd to love me. Father! 

And I gave him vow for vow. RIGOLETTO: 

RIGOLETTO (despairingly): Weep here, weep, on my heart thy tears may 

Ah! that thou be spared my infamy flow. 

I've wearied Heaven with praying, GILDA: 

That every good may lipht on thee Father, in thee an angel doth comfort bestow. 
Far from the world's betraying, 

* Doukle-FaceJ Record For title of opposite *iJ e *< DOUBLE-FACED RIGOLETTO RECORDS, page 294. 



Piangi fanciulla (Weep, My Child) 

By Maria Galvany, Soprano, and Titta Ruffo, Baritone 

(In Italian) 925O2 12-inch, $4.OO 
By A. Cassani, Soprano, and F. Federici, Baritone 

(In Italian) *45O32 lO-inch, l.OO 

The Count Monlerone now passes through the hall under guard. He pauses before the 
I)u/,-c 's portrait and exclaims : 


Oh, then, 'twas in vain in my anger I cursed 

No thunder from Heaven yet hath burst down 

to strike thee. 
With pleasure triumphant thy days yet are 

(Exit, guarded.) 

Rigoletto, gazing after Monterone, grimly says that vengeance will not be long delayed. 

Si vendetta (Yes, My Vengeance) 

By Maria Galvany, Soprano, and Titta Ruffo, Baritone 

(In Italian) 915O1 lO-inch, I3.0O 
By Laura Mellerio, Soprano, and Ernesto Badini, Baritone 

(In Italian) *45OOO lO-inch, l.OO 

He in turn gazes on the Dulse's portrait and sings fiercely: 


But 'twill not be long thus, the avenger is 


Yes, my vengeance hath doomed thee. 

Heartless fiend, 'tis my sole consolation, 

That ere the flames of Hell entomb thee, 

Thou shall feel a father's wra(h. 

Oh my father, a joy ferocious 

In thy words doth tell of danger 

To vengeance! 

GILDA (timidly) : 

Heav'n doth know his crime atrocious, 

Oh, might I avert its wrath 

To vengeance ! 

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

Yes, to vengeance fierce I doom thee 

Thou shall feel a father's wrath! 

Oh, forgive him! 

Ah, might I avert the wrath of Heaven! 

(They depart.) 


* Double-Faced Record For title of opposite side see DOUBLE-FACED RIGOLETTO RECORDS, page 294. 




SCENE 1 A Lonely Spot on the Rioer Mincio. A House, Half in Ruins, at one Side. 
The front of the house, open to the spectator, shows a rustic inn on the ground floor ; a broken 
staircase leads from this to a loft, where stands a rough couch. On the side towards the street is a 
door, and a low wall extends backwards from the house. The Mincio is seen in the background, 
behind a mined parapet; beyond, the towers of Mantua. It is night. Sparafucile in the house, 
seated by a table polishing his belt, unconscious of what is spoken outside. 

Rigoletto and Cilda, the latter in male attire, now approach the inn. Rigoletto pityingly 
asks his daughter if she still can love the Duke. She confesses that she does, and he 


Thou lov'st him? 


Still to love him is mere infatuation. 

I love him. 

Ah, tender heart of woman '. 

Oh, base despoiler! 

Thou my child shall yet have vengeance. 


Kay, rather pity. 


And if I could convince thee that he is 
worthless, wouldst thou still then love him? 


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 startled to see the Duke, who comes in disguised as a soldier, 
demand some wine and sing his famous La donna e mobile. 

La donna e mobile (Woman is Fickle) 

By Enrico Caruso, Tenor 
By Florencio Constantino, Tenor 
By Giuseppe Acerbi, Tenor 
This familiar canzone, beginning 

(In Italian) 87017 
(In Italian) 64O72 
(In Italian) *>2083 

10-inch, $2.00 
10-inch, l.OO 
lO-inch, .75 


La don-na mo-bi - le qual piu-ma al ven to, mu-ta d'ac cer. - to 
H'om-an ~it fick . le, false al - to'- gctli-er. Mm' d like Ike fea-lher borne bytht tree- let 

is perhaps the best known of all the airs of the opera. Its spontaneous melody pictures the 
gay, irresponsible character of the young noble who thus sings of changeable womankind. 


Woman is fickle, false altogether, 
. t Moves like a feather borne on the breezes; 
'Woman with, guiling smile will e'er deceive 
. you,. #. ; 

Often fop grieve you, yet e'er she pleases, 
Her hearth, unfeeling, false altogether; 
Moves l4ke''A.. feather borne on the breeze. 
Borne on 'the bfeeze, borne on the "Breeze! 
Wretched the dupe is, who when sh'e looks 


Trusts to her hjfcidly. TZ|lus life is wasted! 
Yet he must surely be dulf beyond measure, 

Who of love's pleasure pever has tasted. 
Woman is fickle, false aljpgether, 
Moves like a feathet . borue on the breeze! 

Caruso delivers the gay air with an ease and abandon which are infectious, and sings 
the difficult cadenza in the second verse with^ unusual effectiveness. 
Other renditions are given at varying priced ^. .t 4 

* Doubk-FaceJ Record For title of opposite *iJc ** DOUBLE-FACED RIGOLETTO RECORDS, page 294. 




By Arthur Pryor's Band 
By Arthur Pryor's Band 

At the close of the Duke's song Sparafucile 
enters with the wine. He knocks twice on the 
ceiling and a young girl comes down. The Due 
tries to embrace her but she laughingly escapes 
him. Now occurs the great Quartet, one of the 
most famous of concerted pieces. 

Quartet Bella figlia dell'amore 

(Fairest Daughter of the Graces) 

By Bessie Abott, Soprano; Louise 
Homer, Contralto; Enrico Caruso. 
Tenor; Antonio Scotti, Baritone 

(In Italian) 96OOO 12-inch. $6.OO 
By Marcella Sembrich, Soprano; 
Mme. Severina, Contralto; Enrico 
Caruso, Tenor; Antonio Scotti, 

(In Italian) 96O01 12-inch, 6.OO 
By Giuseppina Huguet, Soprano; 
Emma Zaccaria, Mezzo-Soprano; 
Carmelo Lanzirotti, Tenor ; Fran- 
cesco Cigada, Baritone 

(In Italian} *68O67, 12-inch, 1.25 
By Giuseppina Huguet Soprano ; 
Emma Zaccaria, Mezzo-Soprano ; 
Carmelo Lanzirotti, Tenor ; Fran- 
cesco Cigada, Baritone 

(In Italian) 58359 12-inch, l.OO 

31471 12-inch, l.OO 

*16276 10-inch, .75 

Among the musical gems with which the score of Rigoletto abounds, none is so well 
known and universally admired as this fine number, sung by the Dulfe, Gilda, Maddalena 
and Rigoletto. It is undoubtedly the most brilliant and musicianly of all Verdi's concerted 
pieces, and the contrasting emotions the tender addresses and coquetry on the one side, 
and the heart-broken sobs of Gilda and the cries for vengeance of her father on the other 
are pictured with the hand of a genius. 

No less than four records of this great number, at varying prices, also two instrumental 
renditions, are offered by the Victor. The singers who have been engaged for these records 
are all noted for their artistic interpretations of the characters represented. Caruso's 
with its glorious outpourings 
of luscious voice in the lovely 
airs; Sembrich 's perfect por- 
trayal with its wonderful 
vocalization ; Abott's girlish 
and brilliantly sung imper- 
sonation ; Homer's Maddalena, 
which is fascinating enough 
to attract any Duke, and whose 
one vocal opportunity occurs 
here ; Scotti's truly wonderful 
and superbly sung Jester, one 
of the most powerful im- 
personations on the operatic 
stage all these are familiar 
and admired portrayals; while 
the artists who render the 
low - priced record are all 
well-known and competent 








The situation at the opening of the act is a most dramatic one. The Duke, gay and 
careless, is making love to Maddalena in the inn of Sparafucile, the bandit, all unconscious 
that the assassin hired by RigoleUo is waiting for his opportunity. 
He sings, beginning the quartet: 


Fairest daughter of the graces, 

I thy humble slave implore thee, 

With one tender word to joy restore me, 

End the pangs, the pangs of unrequited love. 

Of my anguish see the traces, 

Thee I treasure all above. 

With one tender word to joy restore me, 

End the pangs, the pangs of unrequited love! 

MADDALENA (repulsing him) : 
I appreciate you rightly, 
All you say is but to flatter. 
Ah, I laugh to think how many 
Yet your tender tale may move! 

Rigolelto, who desires to prove to CilJa that her lover 
is false, bids her look through the window of the inn at 
the scene within. The unhappy girl, convinced, exclaims: 

Ah. to speak of love thus lightly! 
Words like these to me were spoken, 
He is false; my heart is broken! 


Silence, thy tears will not avail thee, 
It were baseness to regret him! 
Thou must shun him and forget him. 
(With fierce joy.) 
Thy avenger I will prove 
The strength to punish will not fail me 
That I vow to every power that rules above! 
The blending of the four voices is marvelous in its smoothness, and the manner in 

which every syllable and every note of the difficult music is brought out, is most remarkable. 

The sales of these wonderful reproductions have been enormous, and copies of the records have 

made their way to every part of the world, and are in the collections of music lovers 


The Duke now goes to his bedroom and is soon asleep. Rigolelto bids his daughter go 

to Verona with all speed and 

he will meet her there. She 

reluctantly departs and Rigo- 
lelto pays Sparafucile half his 

price, the remainder to be 

paid on the delivery of the 

body of the Duke at midnight 

Rigoletto goes away just as 

Gilda, who has disobeyed her 

father, returns and tries to see 

what is going on inside the 

house. Sparafucile enters the 

house and Maddalena, who 

has taken a fancy to the Z)ue, 

begs her brother to spare his 

life, delicately suggesting that 

he kill Rigoletto and take 

the money from him. Spara- 
fucile is indignant and pro- 
tests that he has never yet 

failed in his duty to his em- 

ployers. Maddalena pleads 

with him and he finally says 

if another guest should enter 

he will kill him instead of 




During this dramatic scene a storm is raging, and in addition to the stage effects of 
thunder and lightning Verdi has used the effective device of the chorus humming in chro- 
matic thirds to illustrate the moaning of the wind. This scene is given here in a wonder- 
fully impressive record by Brambilla, Cappiello and Sillich, assisted by La Scala Chorus. 

Tempesta Somiglia un Apollo (He's Fair as Apollo) 

By Linda Brambilla, Soprano; Maria Cappiello. Mezzo-Soprano ; Arista- 
demo Sillich, Bass ; and La Scala Chorus (In Italian) *6819O 12-inch, $1.25 
Gilda hears this terrible agreement and the broken-hearted girl resolves to sacrifice her 
own life to save that of her false lover. She knocks at the door, is seized and stabbed by 
the bandit and her body wrapped in a sack. Rigoletto soon returns, pays the remainder of 
the price agreed upon, and receives the body. Sparafucile, fearing that Rigolello 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 : 


lie is there, pow'rless! Ah, I must see him! Yes, 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! 

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. 

Woman is fickle, false altogether, etc. 
RIGOLETTO (tearing his hair) : 

That voice! Am I mad? What fiend deludes 

No, no, no! here I hold hirr^ 

(Calling to the house.) 

Hola, thou thief, thou bandit! 

(The Duke's roice dies in the distance.) 

Then whom have I within here? 

I tremble the form is human! 

(With utmost horror, recognizing Gilda.) 

My daughter, oh, Heav'n, my daughter! 

Ah, no! Not my daughter! She is in Verona! 

'Twas 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 owner, more fortunate than the opera-goer, may hear it at his pleasure. 

Lassu in cielo (In Heaven Above) 

By Graziella Pareto. Soprano, and Titta Ruffo, Baritone 

(In Italian) 92506 12-inch, $4.00 
By Giuseppina Huguet, Soprano, and Renzo Minolfi, Baritone 

(In Italian) *68067 12-inch, 1.25 

RIGOLETTO: The assassin deceived me. Hola! 

'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 : 

Ah, who calls me? RIGOLETTO: 

RIGOLETTO: Heaven's avenging wrath has undone me, 

Ah, she hears me! She lives then! Must I lose all on earth that was left me! 

Oh, thou, my heart's only treasure, (To Gilda.) 

Behold thy father despairing! Turn thine eyes, oh my angel, upon me, 

GILDA: Speak, oh speak to me, who hath bereft me? 

Dearest father ! 


Who was't that struck thee? Father, oh ask not, 

GILDA: Bless thy daughter and forpive her. 

Oh, my father, for him that I cherish, From yonder sky, with the blest angels flying, 

I deceived thee, and for him I perish. Comes my mother to welcome me home! 

* Double-Faced Record For title of opposite side see DOUBLE-FACED RIGOLETTO RECORDS, page 294. 




Child, in pity, oh speak not of dying; 

Stay them to bless me, oh leave me not alone. 
GILDA (feebly): 

There we wait, my father, for thee! 

Ah, no, no, leave me not! 

Live, my child. 

Canst thou leave me alone, despairing to 


Ah, no forgive my betrayer, my father, for- 
give him. 
From yonder sky there we wait my father, 

for (She dies.) 

Gilda! my Gildat I've lost her! 

(Ht recalls the curse.) 

Ah! 'twas a father cursed me! 

(Tears his hair and falls senseless on the body 

of Gilda.) 


Ch 'io le parli (I Will Speak to Him) 

By Cigada. Sillich. and La Scala Chorus (In Italian) 
Tempesta Somiglia un Apollo (He's Fair as Apollo) 

By Linda Brambilla. Maria Cappiello, Aristodemo Sillich. 
and La Scala Chorus (In Italian) 

fCaro nome (Dearest Name) By Edith Helena (In English) 
\ Sonnambula Ah, non giunge By Edith Helena (English) 

Quartet Bella figlia dell' amore (Fairest Daughter of the 
Graces) By Giuseppina Huguet, Emma Zaccaria, Carmelo 
Lanzirotti, and Francesco Cigada (In Italian) 

Lassu in cielo (In Heaven Above) By Giuseppina 

Huguet, Soprano, and Renzo Minolfi, Baritone In Italian) 

f Monologo Pari siamo By Ernesto Badini (In Italian) \ 

(Piangi fanciulla By Cassani and Federici (In Italian)) 

Tutte le feste al tempio (On Every Festal Morning) 

By Laura Mellerio and Ernesto Badini In Italian) I 
Si vendetta (Yes. My Vengeance) 

By Laura Mellerio and Ernesto Badini (In Italian)) 
Cortigiani. vil razza dannata (Vile Race of Courtiers) 

By Renzo Minolfi. Baritone (In Italian) 1 165 73 
Lat^me Fantaisie aux divins By M. Rocca, Tenor ( In French) ] 

Tutte le feste al tempio (On Every Festal Morning) 

By Giuseppina Huguet, Soprano (In Italian) >62O83 
La donna e mobile By Giuseppe Acerbi. Tenor {Italian)] 
/Rigoletto Quartet By Arthur Pryor's Band 

I Peaccmaket March 

) .,__, 
By Arthur Pryor's Band] 

68190 12-inch. 51.25 

35O67 12-inch. 1.25 

68067 12-inch. 1.25 

45032 10-inch, l.OO 

lO-inch, l.OO 

lO-inch, .75 

10-inch. .75 

10-inch. .75 





(Roh-J>ehr-toh eel Dee-ah' -ooh-loh) 


(Roh-behr-teh Dee-ah'-bl) 


Words by Scribe and Delavigne ; music by Giacomo Meyerbeer. First presented at the 
Acad6mie, Paris, November 21, 1831. In London, and in English, imperfectly, as The 
Demon, or the Mystic Branch, at Drury Lane, February 20, 1832; and as The Fiend Father, or 
Robert of Normandy, at Covent Garden the day following; as Robert the Devil at Drury 
Lane, March I, 1845. In French at Her Majesty's Theatre, June 1 I, 1832. In Italian at Her 
Majesty's Theatre, May 4, 1847 (first appearance of Jenny Lind and Staudigl). 


ROBERT, Duke of Normandy Tenor 

BERTRAM, the Unknown Bass 

RAMBALDO, a minstrel Tenor 

ISABELLA, Princess of Sicily . . Soprano 

ALICE, foster sister of Robert Soprano 

Knights, Courtiers, Heralds, Pilgrims, Peasants, Chaplains, Priests, Nuns, etc. 

Although Meyerbeer had 
produced several operas, most- 
ly unsuccessful, it was not 
until the production of Robert 
le Diable in 1831 that the 
genius of the composerbecame 
known. The opera met -with 
an unparalleled success and 
really made the fortune of the 
Paris Opera with its splendid 
scenic effects, brilliant instru- 
mentation, vigorous recitative 
and its heroic and partly 
legendary story. 

Robert, Dul^e of Normandy, 
who -was called Robert the Devil 
because of his courage in 
battle and his successes in 
love, is banished by his sub- 
jects and goes to Sicily, where 
he continues to struggle with 
an Evil Spirit, which seems 
to tempt him to every kind of 

excess. Alice, his foster sister, suspects that his supposed friend Bertram, is in reality this 
evil influence. At the close of Act I Robert, led on by Bertram, gambles away all his 
possessions, and failing to attend the Tournament, loses the honor of a knight and greatly 
displeases the Lady Isabella, 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 Bertram and the chorus of fiends. 

Valse Infernal, ** Ecco una nuova preda " (I Have 'Well Spread 
My Toils) 

By Marcel Journet, Bass, and Metropolitan Opera Chorus 

(In French) 74282 12-inch, $1,5O 

Bertram promises the Demons that he will complete the ruin of Robert and the fiends 
rejoice at the prospect of adding another soul to their company. 




1 have well spread my toils, another soul to 


One more gained! glorious conquest, 
At which demons must rejoice! 
(./ subterraneous noise is heard; darkness 

falls. Bertram, under the control of the 

evil one. feeis an unholy joy.) 
King of fallen angels! ruler mine! * 
He is here! * * He awaits me! * 

1 hear the noise 

Of their infernal joy the fallen 

spirits seek 

To drown their remorse in hellish mirth! 
INFERNAL CHORUS (from the cavern): 

Ye demons, who Heaven and its laws defy, 
The sound of your revels now mounts to the 


Your voices lift high! 
Praise the master who reigns over us, 
Sing aloud in lusty chorus! 
Praise the Master, yes praise! 

Journet gives an impressive rendering of the utterances of the fiend, Bertram, while the 
chorus of demons, supposed to proceed from the Cavern of Satan, is strikingly sung by the 
Opera Chorus. 

Alice, -who has come to the vicinity of the cave to meet her lover, overhears this infernal 
bargain and determines to save him. Robert, dejected over the loss 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 ruined abbey and secure a magic branch, which can give wealth, power 
and immortality. 

The next scene shows the ruins, where Bertram invokes the aid of the buried nuns in 
completing the downfall of Robert. This famous invocation is sung here by Plan^on with 
spirit and power. 

Invocation Nonnes, qui reposez (Ye Slumbering Nuns) 

By Pol Planson, Baritone (In French) 85125 12-inch, $3.OO 

Bertram speaks of the founding of the convent and of the false nuns who lie buried 
here, and calls upon them to arise. 

liKRTRAM : Whose unholy devotion was offered to other 

Here then are the nuns of the ancient monas- gods. 

To Heaven's cause bequeathed by St. 

Here lie buried the false daughters 


Nuns, who beneath this cold stone repose, 
For an hour forsake your sepulcher beds, 
King of Hell, it is I who calls you. 

The spectres arise, and 
when Robert appears they 
dance around him and lead 
him to the grave of St. 
Rosalie, where he is shown 
the magic branch. Overcom- 
ing his fears, he grasps it, and 
by its power defeats the mul- 
titude of demons who arise 
from the infernal regions to 
prevent his escape. 

In the next scene Robert 
uses the branch to become 
invisible, and goes to Lady 
Isabella's room to carry her 
off. In this scene occurs the 
famous air for Isabella, "Oh, 
Robert, My Beloved," part of 
which will be found in this 
selection by Pryor. 

Selection, including " Oh, Robert, My Beloved" 

By Arthur Pryor's Band (Double-faced) 35O64 12-inch, $1.25 

Moved by her entreaties, he yields to the promptings of his good angel and breaks the 
branch, thus destroying the spell. 

In the last act Bertram renews his efforts to induce Robert to sign an eternal contract. 
Tired of 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 Robert's father. The clock strikes 
twelve, and the baffled Fiend disappears, while the cathedral door opens showing the 
Princess waiting for the reformed Robert. 




(Le Rwah Jeh Lah-howr) 



Libretto by Louis Gallet ; music by Jules Massenet. First production at the Grand 
Opera, Peris, April 27, 1877; and at Covent Garden, Royal Italian Opera, June 28, 1879. 


AUM, King of Lahore Tenor 

SCINDIA, his minister Baritone 

TlMUR, a priest Bass 


SlTA Soprano 

KALED, confidant of the King Mezzo-Soprano 

Time and Place : India ; the eleventh century, during the incursion of the Mohammedans. 

This early work of Massenet's is founded upon an Indian subject, and deals with the 
Mussulman invasion. It is noted for its brilliant ballet, illustrative of an Indian paradise. 

Sita, niece of the high priest, Timur, is beloved by Alim, King of Lahore. His rival, 
Scindia, accuses her of profaning the Temple and she is condemned to death, but is saved 
by the King, who asks her hand in marriage. 

In the second act Alim, at war with the Mussulmans, is betrayed to the enemy by 
Scindia, and is killed in battle, while Scindia seizes his throne and carries away Sita. 

Alim is transported to the celestial realm of India, but is not contented, and begs the 
divinities to allow him to return to earth. His request is granted on condition that he does 
not resume his rank and returns to India when Sita dies. On his return he finds that 
Scindia has secured the throne and forced Sita to become his wife. Alim declares himself, 
but Scindia denounces him as an impostor. Alim is obliged to flee, but Sita goes with him, 
and 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 (In French) 88172 12-inch, $3.OO 

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. 


The Sultan's barb'rous horde, who had so 

gladly riven 
From us fair Lahore. 

By our own might have from the field been 

From care my people free, 
Loudly sound forth 

lly sound forth my praises! 
O promise fair of joy divine, Sita, 

Thou dream of all my life, Sita, my queen thou soon shall be! 

O beauty torn from me by strife, To thee the world its glory offers, 

At last', thou shall be mine! O Sita! To thee a king his crown now proffers; 

O fair one, charm my loving heart, Come, Sita, O come! ah! be mine! 
And ne'er again from me depart ! 

A fine rendition of this air is given here by Mr. de Gogorza, whose beautiful voice and 
perfect French diction are well exhibited. 





(Roh'-may-oh ay Joo-lee-ef) 


Words by Barbier and Carr6, after Shakespeare's drama. Music by Charles Gounod. 
First produced at the Thtdtre Lyrique, Paris, April 27, 1867. First London production July 
11, 1867. Presented in America, 1868, with Minnie Hauk. 

Some famous American productions occurred in 1890, -with Patti, Ravelli, del Puente and 
Fabri ; in 1891, with Eames (debut), the de Reszkes and Capoul; in 1898, with Melba, 
Saleza, de Reszke and Plancon ; and more recently with Farrar as Juliet. 


JULIET, (Joo-lee-et') daughter of Capulet Soprano 

STEPHANO, (Stef' -ah-noh) page to Romeo Soprano 

GERTRUDE, Juliet's nurse Mezzo-Soprano 

ROMEO Tenor 

TYBALT, (Tee-bahf) Capulet's nephew Tenor 

BENVOLJO, (Ben.vo'-/ee-oA) friend of Romeo Tenor 

MERCUTIO, (Mer-kem -shee-oh) friend of Romeo Baritone 

PARIS, (Pah-ree) Capulet's kinsman Baritone 

GREGORIO, Capulet's kinsman Baritone 

CAPULET, (Cap-u-/eA') a Veronese noble Basso-Cantante 



Guests ; Relatives and Retainers of the Capulets and 

The action tal^es place at Verona. 


Romeo and Juliet over- 
flows with charming music, 
Gounod having written for the 
lovers some of the most emo- 
tional passages ever composed, 
and the opera has even been 
called "a love duet with occa- 
sional interruptions." It is of 
course not another Faust, no 
composer could write two such 
works, but it is a most beau- 
tiful setting of the story of 
the ill-fated Italian lovers, 
which will always be listened 
to -with pleasure. 

Several of the Shake- 
spearean personages have 
been omitted from the opera 
cast by the librettists, and a 
new character, that of the 
page Stephana, has been added. 




SCENE Ballroom in Capulel's House, Verona 

The curtain rises on a scene of festivity. Capulet, a 
Veronese noble, is giving a masked fete in honor of his 
daughter Juliet '3 entrance into society. 

Juliet is presented to the guests by her father, and 
Capulet calls on his guests to make merry in a rousing air. 

Couplets de Capulet (Capulet's Air,) 

By Pol Plancon, Bass (Piano ace. ) 

(In French) 81O35 JO-inch, I2.OO 
When the guests have gone to the banquet hall, 
Juliet lingers behind and gives expression to her girlish joy 
in the famous waltz. 

Valse (Juliet's "Waltz Song) 

By Louise Tetrazzini, Soprano 

(In Italian} 88302 12-inch, $3.0O 
By Emma Eames, Soprano 

(In French) 88OJ 1 12-inch, 3.OO 
By Blanche Arral, Soprano 

(In French) 74151 12-inch, 1.5O 
It is maintained by some critics that 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 most hearers are too delighted to inquire very closely into questions of dramatic fitness. 

Song, jest, perfume ar >d dances. Sprites from fairyland olden. 

Smiles, vows, love-laden glances On me now bend. 

All that spells or entrances Forever would this gladness 

In one charm blend Shine on me brightly as now. 

As in fair dreams enfolden Would that never aee or sadness 

Born of fantasy golden, Threw their shade o'er my brow! 

Three records of this delicate waltz, -with its ear-haunting melody, are offered for a 
selection. Mme. Tetrazzini gives it with much animation, its difficult requirements being 
met with a perfect ease and grace. 

Mme. Eames, -whose Juliet is remembered with pleasure, sings the number with much 
charm ; while a lower-priced rendition is contributed by Mme. Arral. 

Juliet is about to leave the room when Romeo enters, having ventured masked into 
the house of his enemy. He is much impressed with her beauty and grace, and contriving 
to speak with her, asks her to remain a moment. They sing the first of their duets, the 
opening portion of which is full of airy repartee. As the number progresses a mysterious 
attraction seems to draw the youth and maiden toward each ether, and the duet becomes 
an impassioned love scene. 


Ange adorable (Lovely Angel) 

By Alice Nielsen and Florencio Constantino 

(In French) 741O8 12-inch, $1.50 


Angel that wearest graces the fairest. 

Forgive, if to touch I dare. 

The marble whiteness of thy hand 

That Heav'n hath formed so fair! 

Claim, then, unsparing, that for my daring 

I one soft kiss be fined. 

Kiss, that effaces unworthy traces, 

This hand hath left behind. 

Thy hand, good pilgrim, this fine but 

For thou dost blame it o'ermuch. 

To pure devotion surely belongeth. 

Saintly palm that thou may'st touch. . < 

Hands there are, sacred to pilgrim's greeting, 

I'ut, ah me! I not such as this. 

Palm unto palm, not red lips meeting. 

Is a holy palmer's kiss! 
Ro M EO : 

To palmer and to saint, have not lips too 

been given ? 

Yes; but only for prayer! 
Ro M EO : 

Then grant my pray'r, dear saint, or faith 
may else be driven. 

Unto deenest despair! 

Know, the saints ne'er are moved. 

And if thev grant a pray'r, 'tis for the 
prayer's sake! 




Then move not, sweetest saint. 

Whilst the effect of iny pray'r, from thy lips 
(He kisses her) 

I shall take! 

Ah! now my lips from thine burning. 

Have the sin that they have taken! 

O give that sin back again. 

To my lips their fault returning. 

No, not again! No, not again! 

O give the sin to me again ! 

Tybalt, a hot-headed member of the Capulet family, recog- 
nizes Romeo through his mask, and threatens to kill him for 
his presumption in coming to the house of his enemies. 
Capulet restrains Tybalt and the dancing recommences as the 
ABOTT AS JULIET curtain falls. 


SCENE Capulet 's Garden ; Juliet 's Apartments Above 

This balcony scene is taken almost literally from Shakespeare, about the only variation 
being the entrance of Gregorio and the servants, which serves merely to divide the long love 
duet into two parts. 

Romeo appears, and gazing at the balcony, 
sings his lovely serenade. 

Ah ! leve toi soleil 
Fairest Sun) 



By Charles Dalmores, Tenor 

(In French) 85121 12-inch, $3.OO 
By Leo Slezak, Tenor 

(In German) 61204 10- inch, 


Rise, fairest sun in heaven! 

Quench the stars with thy brightness, 

That o'er the vault at even 

Shine with a feeble lightness, 

Oh! rise again! Oh! rise again! 

And banish night's dark shades. 

She is watching, ah! ever untwining 

From their bonds her tresses shining! 

Now she speaketh. Ah! how charming! 

By her beauty's brilliant ray, 

As burneth, ashamed and jaded, 

A lamp by the light of day! 

At her window, on her fair hand, 

See now she leaneth her cheek. 

On that hand, were I a glove. 

That I might touch that cheek! 

Juliet appears on the bal- 
cony and Romeo conceals him- 
self. She speaks to the stars 
of her new-found happiness. 


Ah, me and still I love him! 
Romeo, why art thou Romeo? 
Doff then thy name, for it is 

no part, 
My love, of thee! What rose 

we call 
By other name would smell as 

sweetly : 
Thou'rt no foe, 'tis thy name! 





A long scene between the lovers is interrupted 
by Grtgorio and some retainers, who are searching 
for Romeo. He conceals himself, and on their de- 
parture the duet is resumed. 

Ne fuis encore (Linger Yet a Moment) 

By Alice Nielsen. Soprano, and Florencio 
Constantino, Tenor 

(In French) 64091 lO-inch. $1.OO 

Ah! go not yet. but stay thee! 

Let me once more kiss thy dear hand, I pray 


Silence! a step is near us. 
Someone I fear will hear us. 
Let me at least take my hand from thy keep- 

Good night, love. 

Good night, love. 

Good night! Dearest, this fond good night 

is such sweet sorrow 

That I would say good night, till it be dawn! 

Soft be thy repose till morning! 
On thine eyes slumber dwell, and sweet peace 
In thy bosom: would I were sleep and peace 
So sweet to rest! 


SCENE I The Cell of Friar Laurence 

Romeo and Juliet meet by appointment in the Friar's cell to ask him to marry them. He 
at first protests but finally consents, hoping the union will bring the rival houses to- 
gether in friendship. The marriage takes place, and Juliet returns home with her nurse. 

SCENE II A Street in Verona 

Stephana enters, seeking his master. Observing the residence of Capulet, he decides to 
sing a song, thinking Romeo may still be lingering near the house. A fine rendition of this 
air has been given by Rita Fornia. 

Chanson de Stephano (Page Song) 

By Rita Fornia, Soprano (In French) 74211 12-inch, $1.50 

This brilliant young so- 
prano, -who has just been en- 
gaged by the Victor, has made 
an especial success at the 
Metropolitan in this role, her 
fresh and youthful voice being 
admirably suited to the music 
of the Page, while in the 
recent revival of Romeo her 
singing of Stephana's air -was 
pronounced one of the best 
features of the performance. 
Gregorio 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 
interrupted by Mercutio and 
Tybalt, who begin to quarrel 
with Gregorio. Romeo enters 
and tries to act as peacemaker. 
The action comes to the ears of the 


but is insulted and forced to fight, killing Tybalt. 



of Verona, who happens to be passing with his suite, and he banishes Romeo from 
the kingdom. The unhappy youth yields to the decree, but secretly vows to see/u/ie/ again. 


SCENE Juliet 's Room 

Romeo has made his way into Capulct's house at imminent risk of death, and has 
penetrated to the room of his bride. As the curtain rises he is taking leave of her, and in 
another exquisite duet she begs him not to go. He finally departs after a tender farewell, 
just as Capulel and Friar Laurence enter to tell her that it was Tybalt's 
dying wish that she should marry Paris. Left alone with the good 
priest she tells him she will die rather than be separated from Romeo. 
The Friar tells her to have patience, as he has a plan by which they 
are to be reunited. He then gives Juliet a potion, commanding her 
to drink it when her marriage with Paris seems imminent, and tells 
her she will go into a death-like trance. He continues : 

Loud will they raise the sound of lamentation, 
"Juliet is dead! Juliet is dead!" For so 
Shall they deem thee reposing. But 
The angels above will reply, "She but sleeps!" 
For two-and-forty hours thou shall lie in 

death's seeming, 
And then, to life awaking as from a pleasant 


From the ancient vault thou shalt haste away; 
Thy husband shall be there, In the night to 
watch o'er thee! 

The good priest leaves her and shortly afterward, seeing her 
i father and Paris approaching, she drinks the contents of the phial, and 
[growing faint, apparently expires in Capulet's arms. 


SCENE The Tomb of Juliet 

The curtain rises, showing the silent vault of the Capulets, 
where Juliet is lying on the bier still in her trance. Romeo, who has 
failed to receive Friar Laurence's message, and believes Juliet is dead, 
now forces the door with an iron bar and enters. 

He sees his bride apparently dead, and flings himself on her body. 
CONSTANTINO AS ROMEO After a mournful air in which he bids her farewell, he drinks poison, 
but is soon startled to see signs of life in the body of Juliet. For- 
getting the poison he had taken, he embraces her joyfully and they sing their final duet: 


Ah! methought that I heard Come, let's fly hence! 

Tones that I lov'd, soft falling! JULIET: 

ROMEO: Happy dawn! 

'Tis I! Romeo thine own ROMEO AND JULIET: 

Who thy slumbers have stirr'd, Come, the world is all before us, 

Led by my heart alone, two hearts, yet one ! 

Thee, my bride, unto love_ Grant that our love 

And the fair world recalling! Be now and ever 

(Juliet falls into his arms.) Holy and pure, till our life shall end. 

Suddenly remembering the fatal draught, 

Alas! I believed thee dead, love, and 

I drank of this draught! 

(Shows the phial.) 

Of that draught! It is death! 

(Taking the phial.) 

Ah! thou churl 

To drink all! No friendly drop thou'st 
left me, 

So I may die with thee! 

(She flings the phial away, then remember- 
ing the dagger, draws it out.) 

Ah! here's my dagger still! 

Romeo cries out in horror : 

Now, happy dagger, behojd thy sheath ! 

(She stabs herself. With a supreme effort 
Romeo half raises himself to prevent her.) 

Hold! Hold thy hand! 

Ah, happy moment. 

My soul now with rapture is swelling. 

Thus to die, love, with thee. 

(She lets fall the dagger.) 

Yet one embrace ! I love thee ! 

(They half rise in each other's arms.) 

O heav'n grant us thy grace! 

( They die. ) 

Selection from the Opera 

By Pryor's Orchestra 


31353 12-inch. *1.0O 




(Sahm'-sahn' ay Dah' -let-lah' ) 



Text by Ferdinand Lemaire; music by Camille Saint-Safins (Sahn'-Sahnz'). First produc- 
tion at Weimar, under Liszt, December 2, 1877. In France at Rouen, 1890. Performed at 
Covent Garden, in concert form, September 25, 1893. First American production February, 
1895, with Tamagno and Mantelli (one performance only). Revived by Oscar Hammerstein, 
November 13, 1908. 

Cast of Characters 

DEULAH Mezzo-Soprano 



AB1MELECH, Satrap of Gaza First Bass 

AN OLD HEBREW Second Bass 




Chorus of Hebrews and Philistines. 

Time and Place : I 1 50 B. C. ; Gaza in Palestine. 

Camille Saint-Saens has been for two generations the foremost figure in music in 
France. Poet, astronomer, traveler, excelling in every branch of the art of music, he is 

undoubtedly the most versatile musician of our time. He 
has held a commanding position on the concert stage 
since 1846, when at the age of ten he gave a concert in 
Paris. On October 15, 1906, he played one of his own 
concertos at the Philharmonic concert in Berlin. Sixty 
years before the public I In all the history of music 
there is no more wonderful career than that of the com- 
poser of Samson, who a few years ago visited America 
for the first time. 

Samson et Dalila may be called a biblical opera, 
almost an oratorio, and the polished beauty and grace of 
this great composition has caused it to be pronounced 
Saint-Safins* masterpiece. The religious and militant 
flavor of the Jewish nation is finely expressed in the 
score, and the exquisite love music is more or less familiar 
by its frequent performance on the concert stage. 


SCENE A Public Square in Gaza 

The opera has no overture. The first scene shows a 
square in the city of Gaza, where a crowd of Hebrews 
are lamenting their misfortunes, telling of the destruction 
of their cities and the profanation of their altars by the Gentiles. 
Samson speaks to the people and bids them take courage. 




Figlia miei v'arrestate (Pause, My 

By Charles Dalmores. Tenor 

(In French) 87O87 lO-inch, >2.OO 
By Antonio Paoli, Tenor 

(In Italian) 91078 lO-inch. 2.OO 
By Nicola Zerola 64173 lO-inch. l.OO 

SAMSON (coining out from the throng): 
Let us pause, O my brothers, 
And bless the holy name of the God of our 

For now the hour is here when pardon shall 

be spoken. 

Yes, a voice in my heart is the token. 
Tis the voice of the Lord, who by my mouth 

thus speaketh. 

Our prayers to him have risen, 
And liberty is ours. 
Brothers! we'll break from bondage! 
Our altars raise once more 
To our God, as before! 

The Hebrews are cheered by Samson's words, but 
their mood soon changes when a number of Philistines 
enter and revile them. A fight occurs, and Samson 
wounds Abimelech. The High Priest of Dagon comes 
out of the Temple and curses Samson. 

From the Temple now comes Delilah, followed by 
the Priestesses of Dagon, bearing flowers and singing of 
Spring. Delilah speaks to Samson and invites him to the valley where she dwells. He prays 
for strength to resist her fascinations, but in spite of himself he is forced to look at her as 
she dances with the maidens. As the young girls dance Delilah sings to Samson the lovely 
Song of Spring. 

Printemps qui commence (Delilah's Song of Spring) 

By Gerville-Reache, Contralto (In French) 88244 12-inch. $3.OO 



Spring voices are singing, 
Bright hope they are bringing, 
All hearts making glad. 
And gone sorrow's traces, 
The soft air effaces 
All days that are sad. 
The earth glad and beaming, 
With freshness is teeming. 

In vain all my beauty: 
I weep my poor fate! 
(She gazes fondly at Samson.) 
When night is descending, 
With love all unending, 
Bewailing my fate, 
For him will I wait. 
Till fond love returning, 
In his bosom burning 
May enforce his return! 
Samson shows by his hesitation and troubled bearing that Delilah has shaken his 
resolutions, and as the curtain falls he is gazing at her, fascinated. 


SCENE Delilah's Home in the Valley of Soreck 

Delilah, richly attired, is awaiting the coming of Samson, and muses on her coming 
triumph over his affections, and the plot to secure his downfall. In a fine air she calls on 
Love to aid her. 

Amour viens aider (Love, Lend Me Thy Might) 

By Louise Homer, Contralto (In French) 882O1 12-inch, $3. OO 


Could he only drive out the passion 
That remembrance doth now preserve. 

But he is under my dominion; 
In vain his people may entreat. 

'Tis I alone that can hold him 
I'll have him captive at my feet! 

O Love! in my weakness give power! 
Poison Samson's brave heart for me! 
'Neath my soft sway may he be vanquished; 

Tomorrow let him captive be! 
Ev'ry thought of me he would banish, 
And from his tribe he would swerve, 

After a scene between Delilah and Dagon, who urges her not to fail in her purpose, 
Samson arrives, impelled by a power he cannot resist. 

Delilah greets him tenderly, and -when he bitterly reproaches himself for his weakness, 
she sings that wonderfully beautiful song of love and passion. 

NOTE. Text on this page from Ditson Edition by permission. Copy't 1895, Oliver Ditson Co. 



Mon coeur s'ouvre a ta voix (My Heart 
at Thy Sweet Voice) 

By Louise Homer, Contralto 

(In French) 88199 12-inch. $3.OO 
By Schumann-Heinle. Contralto 

(In German) 8819O 12-inch, 3.OO 
By Jeanne Gerville-Reache, Contralto 

(In French) 88184 12-inch, 3.00 
By Elsie Baker, Contralto 

(In English) * 161 92 10-inch. .75 
This lovely air of Delilah, perhaps the most beautiful 
contralto air ever written, and the most familiar of the 
numbers in the opera, is in the repertoire of almost 
every contralto. 

This quotation from the effective translation by 
Nathan Haskell Dole is from the Schirmer libretto. 
(Copyright 1892, G. Schirmer.) 

My heart at thy sweet voice opens wide like the flower 

Which the morn's kisses waken'. 
But. that I may rejoice, that my tears no more shower, 

Tell thy love still unshaken! 
O, say thou wilt not now leave Delilah again ! 
Repeat thine accents tender, ev'ry passionate vow, 
O thou dearest of men! 

COPY-I MISMKII Four records of this well-known air are listed here. 

GEHVILLE-RE\CHE AS DALiLA Mme. Schumann-Heink sings it in a manner which dis- 

plays her rich, melodious contralto, and she delivers the 

lovely music with warmth and feeling; while it is sung by Mme. Homer with an intensity 
of sentiment and a beauty almost incomparable. Mme. Gerville-Re'ache's performance of 
Delilah was one of the sensations of the late Hammerstein season, her rendition of Delilah 's 
song being particularly admired ; while a record in English is contributed by Miss Baker. 

Delilah now asks that Samson confide to her the secret plans of the Hebrews, and when 
he refuses she calls the Philistines, -who are concealed, and Samson is overpowered. 


SCENE I A Prison at Gaza 

Samson is shown in chains, blinded and shorn of his hair. As he slowly and painfully 
pushes a heavy mill -which is grinding corn, he calls on Heaven to forgive his offence. 
A file of guards enter and conduct him to the Temple. 

SCENE II A Magnificent Hall in the Temple of Dagon 

The High Priests and Philistines, with Delilah and the Philistine maidens, are rejoicing 
over the downfall of their enemies. The music of the opening chorus and the Bachanal has 
been given here in a fine record by a famous Spanish band. 

Coro y Bacanal (Chorus and Bachanal) 

By Banda Real de Alabarderos de Madrid *62660 10-inch, $O.75 

They have sent for Samson to make sport of him. Delilah approaches him and taunts 
him with his weakness. He bows his head in prayer, and when they have -wearied of their 
sport Samson asks the page to lead him to the great pillars which support the Temple. He 
offers a last prayer to God for strength to overcome his enemies, then, straining at the 
pillars, he overthrows them. The Temple falls amid the shrieks and groans of the people. 


/My Heart at Thy Sweet Voice By Elsie Baker (In English)} . , 10 , ._ . , in _- 
\ Manon Laughing Song By Edith Helena (In English)} 1 * 1 ' 

/Chorus and Bachanal By Banda Real de Alabarderos) 62 66O 10-inch .75 

\ Minuet from 2nd Symphony (Haydn) By Banda Rcalf 

* Double-Face J Record For Utk of opposite tide tee above litt. 





Text by Rossi; music by Gioachino Antonio Rossini. It is founded on Voltaire's 
tragedy Semiramis. First produced at the Fenice Theatre, Venice, February 3, 1823; in 
London at the King's Theatre, July 15, 1824. In French, as Semiramis, it appeared in Paris, 
July 9, 1860. First American production occurred in New York, April 25, 1826. Some 
notable American revivals were in 1855 with Grisi and Vestvalli; in 1890 with Adelina 
Patti as Semiramide ; and in 1894 with Melba and Scalchi. 

Cast of Characters 

SEMIRAMIDE, or SEMIRAMIS, Queen of Babylon Soprano 

ARSACES, commander in the Assyrian army, after- 
ward the son of Ninus and heir to the throne. .Contralto 


OROE, chief of the Magi Bass 

ASSUR, a Prince of the blood royal Bass 

AZEMA, Princess of the blood royal Soprano 

IDRENUS, of the royal household Tenor 

MlTRANES, of the royal household Baritone 

Magi, Guards, Satraps, Slaves 


Semiramide is perhaps the finest of Rossini's serious 
operas, but although it was a great success in its day, its 
splendid overture and the brilliant Bel raggio are about the 
only reminders of it which remain. 

The story is based on the classic subject of the murder 
of Agamemnon by his wife, called Semiramis in the Babylonian 
version. It is a work which the composer completed in the 
astonishingly short time of one month, but which shows his 
art at its ripest. 

The action takes place in Babylon ; Semiramide, the Queen, 
assisted by her lover Assur, has murdered her husband, King Ninus, who, in the second act, 
rises in spirit from the tomb and prophesies the Queen's downfall. 


By Police Band of Mexico City *35167 12-inch, $1.25 

By Police Band of Mexico City 31676 12-inch, l.OO 

By Arthur Pryor's Band 31527 12-inch, l.OO 

The overture opens with an unusually brilliant introduction, followed by a beautiful 

chorale for brass which is one of the most admired portions of the work. The familiar 

melody -which forms the principal theme of the overture then appears as a clarinet passage. 

It begins: 

The finale is rather long drawn out for modern ears, but is a fine example of its kind, 
and the overture is a most showy one, very popular on band and orchestra programs. 
Three splendid records of this famous number are presented here, and a comparison of the 
playing of these two great organizations is most interesting. 

* Double-FactJ Record For title of opposite side see next page. 



The Bel raggio, a favorite cavatina with all prirna 
donnas, and a brilliant and imposing air, occurs in the 
first act. The scene shows the Temple of Belus, where a 
religious festival is in progress. Semiramide is about to 
announce an heir to the throne and has secretly deter- 
mined to elect Arsaces, a young warrior, with whom she has 
fallen in love, unaware that he is in reality her own son. 

Bel raggio lusingkier (Bright Gleam of 

By Marcella Sembrich, Soprano 

(In Italian) 88141 12-inch, $3.0O 


Here hope's consoling ray 

Bids sorrow hence away. 

And joy calls from above! 

Arsaces to my love soon will return dejected. 

But ere while with grief 1 drppp'd my head, 

Now once more beams my smile! 

Hence all my doubts have fled. 

No more I feel the sway of grief and anguish 


Yes! now hope's consoling ray 
Bids dark sorrow hence away. 
And calls down joy from above, 
Awhile in this breast to stay. 
Arsaces will return! 

Vision enchanting, my spirit haunting, 
With fond emotion thou fill'st my heart, ALBO.M AS ARSACES 

Ah, bright smiles the morn 
When dark waves of sorrow 
Like some wild ocean sink and depart! 

Rossini, -who objected to the ornamentation of his 
music by famous singers, is said to have written this 
air in so elaborate a fashion as to make further additions 
impossible. But even as left by Rossini, Bel raggio is not 
sufficiently elaborate to show the skill of a Sembrich, 
and the additions -with which the diva has embellished it 
not only make it more dazzling, but belong also to the 
true spirit of the air. Thus the inspiring declamatory 
passages, with their brilliant runs, receive a lavish addition 
of the singer's splendid high notes, notably the high B 
on the alfin perme brillo, and the astonishing arpeggio up 
to C sharp on the dal mio pensier which follows. The ensuing 
canlabileis sung with all the legato and grace which it requires, 
its principal figure being also additionally embellished. 


Overture By Police Band ofl 

Mexico City U<I*,T T> :, *i -*< 

March e Sla 0e (Op.3l) 3M67 12-inch, $1.25 

By Arthur Pryofs Band] 





(Seeg' -freed) 

Second Opera of the Rhinegold Trilogy 

Words and music by Wagner. First produced at Bayreuth, August 16, 1876. It was 
given in French at Brussels, June 12, 1891, and subsequently at the Opra in Paris. In Lon- 
don (in English) by the Carl Rosa Company, in 1898. First American production in New 
York. February I. 1888. 



MIME (Mee'.mee) Tenor 


ALBERIC (Ahf-ber-ik) Baritone 

FAFNER (Faf-) Bass 

ERDA (Eh/.Jah) : Contralto 

BRUNNHILDE (&*&? -&k) Mezzo-Soprano 

There is little of tragedy and much of lightness and the joy of youth and love in this 

most beautiful of the Ring Cycle, which tells of the young Siegfried, impetuous, brave, joy- 
ful and handsome ; and Briinnhilde, the god- like maid 

unselfish, lovely, innocent, who finds she is but a woman 

after all. 

After Sieglinde had been saved from the wrath of Wolan 

by Briinnhilde (related in the last part of Walkiire), she 

wanders through the forest and dies in giving birth to the 

child Siegfried, who is found and brought up by Mime, the 


In the first two acts of Siegfried the hero is shown in 

his forest home, where he forges the sword with which he 

slays the dragon. Having accidentally tasted the dragon's 

blood, he becomes able to understand the language of the 

birds, which tells him of Briinnhilde, the fair maiden who 

sleeps on the fire-encircled rock. He follows the guidance 
of one of the birds, cuts through 
the spear of Wolan, who endeav- 
ors to stop him, and penetrates 
the flames. On the top of the 
rock he beholds the sleeping 
Valkyrie covered with her shield. 
He removes the armor, and Briinn- 
hilde lies before him in soft, wo- 
manly garments. She is the first woman he has ever seen, and he 
kneels down and kisses her long and fervently. He then starts 
up in alarm ; Briinnhilde has opened her eyes. He looks at her in 
wonder, and both remain for some time gazing at each other. She 
recognizes him as Siegfried, and hails him as the hero who is to 
save the world. This part of the trilogy ends in a splendid duet. 


SCENE A Forest. At One Side a Cave 

Mime, the Niblung, brother of Alberic, found Sieglinde in the 
forest after she had escaped from Wotan, and brought up her 
child, knowing that it was Siegfried, who -was destined to kill Fafner 
and regain the Ring. The opera opens with an air by Mime, who 
is discovered at the anvil in his forest smithy trying to forge a 
REISS AS MIME sword for Siegfried. 




Siegfried and the Dragon 



Zwangvolle Plage ! (Heartbreaking 

By Albert Reiss, Tenor 

(In German) 74235 12-inch, $1.50 
Mr. Reiss* wonderful character study of Mime, the 
dwarf, has been one of the most impressive features of 
the Metropolitan performances during the past few 
years. His impersonation gains each year in the sar- 
donic and malignant side of Mime 's nature, but is always 
amusing, nevertheless. The artist's portrayal, dramatic- 
ally and vocally, leaves nothing to be desired, and in 
the episodes where the dwarf is most abject and fawn- 
ingly malicious he is superb. 

Siegfried, in forest dress, with a horn around his 
neck, bursts impetuously from the woods. He is driv- 
ing a great bear and urges it with merry roughness to- 
wards Mime, who drops the sword in terror and hides 
behind the forge. Taking pity on the frightened dwarf, 
Siegfried drives the bear back into the wood, and seeing 
the sword, breaks it over the anvil, as he has broken all 
of the others. He questions Mime about his childhood, 
and the dwarf tells him reluctantly about his mother 
and about the sword his father had broken in his last 
fight. Siegfried demands that Mime shall mend his 
father's sword without delay, and goes back into the forest. 

Wolan now enters and in answer to Mime 's questions says he is the Wanderer, and speaks 
to Mime of the sword, telling him that only he who knows no fear will be able to forge the 
broken weapon. After the Wanderer has departed, Siegfried returns, and Mime, -who is now 
beginning to be afraid of the youth, tells him that it was his mother's wish that he should 
learn fear. " What is this fear ?" says Siegfried, and Mime attemps to describe it. 

MIME: Feltest thou ne'er in forest dark, 

At gloaming hour in gloomy spots, 

Feltest thou then, no grisly gruesomeness grow 

o'er thy fancy? 

Balefullest shudders shake thy whole body, 
All thy senses sink and forsake thee, 
In thy breast bursting and big 
Beat thy hammering heart? 

Siegfried regretfully admits that he has never felt 
any such sensation. Mimi, in despair, then tells him 
of the Dragon -which dwells near by. Siegfried eagerly 
asks Mime to conduct him hither, but says he must 
have his sword mended first, and, -when Mime refuses, 
he forges it himself. When it is finished, to try the blade, 
he strikes the anvil a mighty blow and splits it in half, 
while Mime falls on the ground in extreme terror. 
Siegfried brandishes the sword and shouts with glee 
as the curtain falls. 


SCENE The Dragon's Cave in the Forest 
Fafner, who has changed himself into a dragon, 
the better to guard his gold, dwells within a cave, keep- 
ing constant watch. Alberic is spying near by, hoping to 
regain the treasure by killing the hero whom he 
knows will overcome the Dragon. The Wanderer en- 
ters and warns jJlberic of the approach of Siegfried. 
Alberic wakes the Dragon and offers to save its life in return for the Ring. Fafner contempt- 
uously refuses, and makes light of the hero's prowess. Wolan departs, laughing at the dis- 
comfited Alberic, who hides as Siegfried and Mime approach. The latter is still trying to 
terrorize Siegfried with awful descriptions of the Dragon, but Siegfried laughs at him and 
finally drives him away. 




The young hero, left alone, sits down under a tree and 
meditates about his mother, whom he pictures as gentle and 
beautiful. His dreaming is ended by the song of the birds, and 
he regrets that he cannot understand their language. He answers 
their song with a blast of his horn, which disturbs Fafner and the 
Dragon utters an awful roar, which, however, only makes the 
youth laugh. The Dragon rushes upon him, but Siegfried jumps 
aside and buries his faithful sword in the reptile's heart. 

Having accidentally tasted of the Dragon's blood by carrying 
his stained hand to his lips, he finds to his astonishment that he 
is able to understand the song of the bird, which tells him to go 
into the cave and secure the Ring. Siegfried thanks the warbler 
and goes into the cavern. Mime comes back and, seeing the dead 
Fafner, is about to enter the cave when Alberic stops him and a 
heated argument occurs. This scene has been given for the 
Victor by two celebrated impersonators of these rdles, Goritz and 

Wohin schleichst du ? (Whither Slinkest 

By Otto Goritz, Baritone, and Albert Reiss, Tenor 

(In German) 642 15 10- inch, $1.OO 



Wither slinkest thou, hasty and sly, slippery 

scamp ? 

Accursed brother, what brings thee here? 

I bid thee hence. 

Graspest thou, rogue, towards my gold? 

Dost lust for my goods? 

Yield the position! This station is mine. 

What stirrest thou here? 

Startled art thou from stealthy concerns, that 
I've disturbed? 



What I have ihapcd with shrewdest toil shall 

not be shaken. 

Was't thou that robbed the golden Ring from 
the Rhine? 

Or charged it with great and choice enchant- 
ment around? 

Who formed the Tarnhelm which to all forms 
can turn? 

By thee 'twas wanted; its worker wert thou 


What couldst thou ere, fool, 

By thyself have fancied and fashioned? 

The magic Ring made the dwarf meet for the 


Where now is thy Ring? 

The giants have robbed thee. thou recreant ! 

What thou hast lost, by my lore, belike, I will 


By the boy's exploit 

Shalt thou, booby, be bettered? 

Thou shall have it not. 

For its holder in truth is he. 

I nourished him. 

And his nurse now shall he pay: 

For toil and woe long while have I waited 


For a bantling's keep 

Would this beggarly, niggardly boor. 

Bold and blustering, 

Be well nigh as a king? 

To rankest of doge booteth the ring 

Far rather than thee: 

Never, thou rogue, shall reach thee the magic 

round ! 

Then hold it still and heed it well, 

Thy hoarded Ring. 

Be thou head, and yet hail me as a brother! 

For my own Tarnhelm. 

Excellent toy, I'll tender it thee! 

'Twill boot us twain. 

Twin we the booty like this. 


ALBERIC (laughing scornfully) : 

Twin it with thee? 

And the Tarnhelm too? 

How sly thou art! 

Safe I'd sleep then 

Never from thy ensnarings. 
MIME (beside himself) : 

Wilt not bargain? Wilt not barter? 

Bare must I go, gaining no boon? 

Giv'st thou to me no booty ? 

Not an atom, not e'en a nail's worth: 

All I deny thee. 
MIME (furiously): 

In the Ring and Tarnhelm 

Ne'er shalt thou triumph ! 

Nought talk we of shares! 

Unto thee I'll call 

For Siegfried to come: 

With his carving sword 

The caustic boy 

Shall crush thee, brother of mine! 


Turn thy head round; 

From the cavern toward us he comes. 

Trivial toys have tempted him there. 

The Tarnhelm he holds! 

Aye, and the Ring! 

A curse! the Ring! 
MIME (with an evil laugh): 

Let him the Ring to thee render! 

I ween full soon I shall win it. 

(He slips back into the wood.) 

And yet to its lord 

Shall it alone be delivered! 

(He disappears in the cleft.) 

They hide themselves as Siegfried comes from the cave with the Ring, the value of 
which he does not yet comprehend. The bird's voice is again heard explaining its history, 
and revealing the intended treachery of Mime. When the dwarf approaches, Siegfried 
is able, by the magic of the Ring, to read his thoughts. Horrified to 
learn that Mime is planning to kill him, he strikes down the dwarf 

and throws his corpse in the cave, rolling the body of the Dragon - - ~^- 

before the entrance. 

Wearying of his adventures Siegfried reclines under the tree and 
asks the bird to sing again. This time the songster reveals to him 
that Briinnhilde lies sleeping, waiting for the hero who is able to 
reach the fire- encircled spot. 

Hey! Siegfried has slain now the sinister 

I wot for him now a glorious wife. 

In guarded fastness she sleeps, 

Fire doth emborder the spot: 

O'erstepped he the blaze, 

Waked- he the bride, 

Briinnhilde then would be his! 
SIEGFREID (starting impetuously to his feet): 

O lovely song! Sweetest delight! 

How burns its sense mv suffering breast! 

But once more say to me, lovely singer, 

May I the furnace then break through? 

And waken the marvelous bride? 

The bride is won, 

Briinnhilde awaked by faint-heart ne'er: 

But by him who knows not fear. MIME 

He laughs with delight, saying, " Why, this stupid lad who knows not fear, it is I ! " 
and follows the bird, who flies ahead to guide him to Brunnhilde's fiery couch. 


SCENE A Wild Region at the Foot of a Rocky Mountain 

The act opens with a long scene between Erda and Wolan. The god summons his 
earth goddess wife and tries to consult her regarding the coming deliverance of the world 
through Siegfried and Briinnhilde. The goddess, however, is confused and bewildered by 
Wotan's eager questions and fails to give counsel, asking only to be allowed to return to her 
sleep. Wolan, wearying of the struggle against fate, renounces his sway over the world, 
realizing that the era of love must supplant the rule of the gods. 

Siegfried approaches and Wotan attempts to bar his way as a final trial of his courage. 
The youth, however, makes short work of the weary god, shatters his spear at a single 
stroke, and continues on his way singing : 



Ha! Heavenly glow! brightening glare! 
Roads are now opening radiantly round me! 
In fire will I bathe, 

Through fire will I fare to my bride! 
Oho! Oho! Aha! Aha! Gaily! Gaily! 
Soon greets me a glorious friend! 





No god e'en has touched me! 
As a maiden ever heroes revered me: 
Virgin I hied from Valhalla! 

As the hero plunges fearlessly through 
the fire the flames gradually abate, and -when 
he reaches the sleeping BriinnhilJe they die 
out completely. Siegfried approaches the 
unconscious maiden with awe and removes 
her helmet. He is speechless with admira- 
tion, and naively asks if the strange emotion 
which he feels can be fear. Finally, when he 
presses an ardent kiss on her lips she awakes 
and greets him joyfully as the hero Siegfried 
who is to save the world. After a long scene 
in which Siegfried's ardent wooing is gently 
repressed by Briinnhilde, he finally seizes her 
in his arms. Frightened, she repulses him, 
crying : 

Woe's me! Woe's me! 

Woe for the shame, the shunless disgrace! 

My wak'ning hero deals me this wound! 

88186 12-inch, $3.OO 

Siegfried pleads his love and asks her to be his bride, but she begs him to spare her in 
a wonderful plea, Deathless Was I, sung here by Mme. Gadski. 

Ewig war Ich (Deathless "Was I) (Briinnhilde's Appeal to 

By Johanna Gadski, Soprano 

(In German) 


Deathless was I, deathless am I, 
Deathless to sweet sway of affection 
But deathless for thy good ! 
O Siegfried, happiest hope of the world! 
Life of the universe! Lordliest hero! 
Leave me in peace! 

Press not upon me thy ardent reproaches! 
Master me not with thy conquering might! 
Saw'st e'er thy face in crystal floods? 
Did it not gladden thy glance? 
When into wavelets the water was roused. 
The brook's glassy surface broken and flawed, 
Thy face saw'st thou no more: 
Nought but ripples swirling round! 
'. So disturb me no more, trouble me not: 
Ever then thou wilt shine 
In me an ima^e reflected. 
Fair and lovely, my lord! 
O Siegfried! Siegfried! Light of my soul! 
Destroy not thy faithful slave! 

But the impetuous hero resumes his wooing, and love finally 
conquers the god-like maiden. She laughs in a transport of love, 
exclaiming : 


O high-minded boy! O blossoming hero! Gladly glide to destruction, 

Thou babe of prowess, Gladly go down to death ! 

Past all that breathe! Far hence, Walhall' lofty and vast. 

Gladly love do I glow with. Let fall thy structure ot stately tow'rs; 

Gladly yield to thee blindly, Farewell, grandeur and pride of gods! 

and throws herself into Siegfried's arms as the curtain falls. 



Siegfried Fantasie By Sousa's Band 31621 12-inch, M.OO 

A superb record of some of the most famous portions of Wagner's great music drama, 
including several of the leit motive Siegfried's Hunting Call, The Sword, The Bird, and Casting 
of the Steel, with part of Siegfried's wonderful Song of the Forge. 





(La/i Son-nahm -bu-laht 


Libretto by Felice Romani ; music by Vincenzo Bellini. Produced at the Teatro Carcano, 
Milan, March 6. 1831 ; Paris, October 28, 1831 ; and at the King's Theatre, London, July 28th 
of the same year. At Drury Lane in English, under the Italian title, May 1, 1833. First 
performance in New York, in English, at the Park Theatre, November 13, 1835, with Brough, 
Richings, and Mr. and Mrs. Wood. First performance in Italian in New York, Palmo's 
Opera Company, May 11, 1844. Revived in 1905 at the Metropolitan with Caruso, Sembrich 
and Plancon; at the Manhattan Opera, 1909, with Tetrazzini, Trentini, Parola and de 


COUNT RUDOLPH, lord of the village Bass 

TERESA, milleress Mezzo-Soprano 

AMINA, orphan adopted by Teresa, betrothed to Elvino Soprano 

ELVINO, wealthy peasant Tenor 

LISA, inn-keeper, in love with Elvino Soprano 

ALESSIO, peasant, in love with Lisa Bass 


Peasants and Peasant Women. 

The scene is laid in a Swiss village. 

How our grandfathers and grandmothers doted on this fine old opera by Bellini! In 
the *30's it was a novelty by a young and gifted composer; by 1850 it was part of every 
opera season and shone through a halo of great casts Malibran, Pasta, Jenny Lind, Gerster, 
Gampanini, Grisi and in the '60's and '70's it continued to be popular. Then came the 
Wagnerian era, and the pretty little pastoral work was all but forgotten. 

Now, however, Italian opera of the old-fashioned kind has begun to be appreciated once 
more, and even the Wagnerites admit that there may be some pleasure in witnessing this 
charming little opera. 


SCENE A Village Green 

The peasants are making merry in honor of the marriage of Amina and Elvino. Lisa, 
the hostess of the inn, enters and gives way to bitter reflections. She also loves Elvino, and 



her jealousy finds expression in a melodious air, Sounds So Joyful. Alessio, a villager who 
fancies Lisa, tries to console her, but she repulses him. Amina and her friends enter, fol- 
lowed soon after by Eloino, and the marriage contract is signed. Elvino places the ring on 
his bride's finger, and they sing a charming duet, Tak.e Now This Ring. 

Prendi Tanel ti dono (Take Now This Ring) 

By Maria Galvany, Soprano, and Fernando De Lucia. Tenor 

(Piano accompaniment) (In Italian) 89045 12-inch, $4-OO 
By Emilio Perea. Tenor (In Italian) *62092 10-inch. .75 

Two renditions of this number, at widely varying prices, are given here, the latter 
including only Eloino's solo at the beginning of the duet. The words are not given, being 
merely a succession of flowery phrases to which Bellini has written his delightful melodies. 
The nuptial celebration is interrupted by the sound of horses' hoofs, and a handsome and 
distinguished stranger enters, inquires the way to the castle, and learning that it is some 
distance, decides to remain at the inn. He looks around him, appearing to recognize the 
scene, and sings his fine air, Vi raooiso. 

Vi ravviso (As I View These Scenes) 

By Antonio Scotti, Baritone (In Italian) 88O28 12-inch. $3.OO 

By Antonio Scotti. Baritone (In Italian) 87034 10-inch. 2.OO 

By Perello de Segurola, Bass (In Italian) *62O92 10-inch, .75 


As I view the scene, how familiar that mill- Where my childhood serenely glided, 

stream, yon fountain, those meadows! Where the joyous moments flew; 

Oh remembrance of scenes long vanish'd, Oh how peaceful have ye abided. 

Soft enchantment long lost and banish'd, While those days nought can renew! 

Two versions of this noble air are given here one by Scotti, whose Rudolph is always 
a fine impersonation ; and a lower-priced rendition by de Segurola, who sang the character 
at the Manhattan when the opera was revived for Tetrazzini. 

The stranger inquires the reason for the festivities, and is presented to the pretty bride, 
in whom he is much interested. He tells the peasants that in his childhood he lived with 
the lord of the castle, and now brings news of the lord's only son, who disappeared some 
years since. 

Amina's mother, Teresa, now says that as night is falling they must go within, as the 
phantom may appear. The stranger is told that a spectre has been often seen of late, and 
he scoffs at the tale, but the peasants, in an effective chorus, describe the appearance of the 

Ah ! fosco ciel ! (When Daylight's Going) 

By La Scala Chorus (In Italian) *62642 lO-inch. $O.75 


When dusky nightfall doth shroud the sun- Ah, no such folly in our relation ; 

beam. We all have seen it, in very truth. 

And half repulses the timid moonbeam, And wheresoever its pathway falleth 

When thunder boometh; where distance loom- A hideous silence all things appalleth; 

eth; No leaflet trembles, no 7ephyr rambles, 

Floating on mist, a shade appears! As 'twere a frost the brook congeals. 

In filmy mantle of pallid whiteness. The fiercest watchdog can nought but cower, 

The eye once gentle now glaring brightness, A mute true witness of its fell power. 

Like cloud o'er Heaven by tempest driven, The screech-owl s-hriekini?, her haunt seeking. 

Plainly confest the phantom wear:.! Far from the ghost her dark wing wheels. 


You are all dreaming; 'tis some creation 'Tis fripht for youth. I will discover 

Of mere gossips, to frighten youth. What hidden mystery your tale conceals. 

The stranger now desires to retire and is shown to his room. Amina and Eltiino remain, 
and the latter reproaches his bride for her interest in the guest ; but at the sight of her tears 
he repents his suspicions, and the act closes with a duet by the reconciled lovers. 

* Double-Faced Record For title of opposite siJe see list on page 318. 




SCENE The Apartment of the Stranger 

The guest muses that he might have done -worse than stop at this little inn the people 
are courteous, the -women pretty, and the accommodations good. Lisa enters and asks if he 
is comfortable, calling him " my lord," the villagers having suspected that he is the Count 

The Count, although somewhat annoyed that his identity is revealed, takes it good- 
naturedly, and even flirts a little -with the buxom landlady. She coyly runs away, dropping 
her veil as she does so. 

Amina now appears at the -window, walking in her sleep. She unlatches the casement 
and steps into the room, saying in her sleep, "Elvino, dost thou remain jealous? I love but 
thee." The Count is at first astonished, but soon sees that the young girl is asleep. Just 
here Lisa peeps into the room, and seeing Amina, runs off scandalized. Amina, in her 
dream, again goes through the marriage ceremony, and entreats Elvino to believe that she 
loves him, finally throwing herself on the bed in a deep sleep. The Count is somewhat 
puzzled at the situation, and finally deciding to leave the young girl in possession of the 
room, goes out by the window. 

Elvino and the villagers, who have been summoned by Lisa, now enter and are aston- 
ished to see Amina asleep in the Count's room. She wakes at the noise, bewildered, and 
runs to Elvino, who repulses her roughly. She is met with cold looks on every hand, and 
sinks down in despair, crying bitterly. Rousing herself, she begins the duet, D'un pensiero. 

D'un pensiero (Hear Me Swear, Then) 

By Giuseppina Huguet, Soprano: Aristodemo Giorgini, Tenor: 

and Chorus (In Italian) 88255 12-inch, $3.OO 


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, while 
Eloino rushes from the room. The curtain falls. 


SCENE I A Shady Valley near the Castle 

Amina and Teresa enter on their way to the castle to plead with the Count to clear the 
girl's good name. Seeing Eloino, Amina makes another effort to convince him she is still 
true, but he reproaches her bitterly, takes the ring from her finger, and rushes away. 

SCENE II A Street in the Village. Teresa's mill on the left 

The villagers enter and inform Lisa that Elvino has transferred his affections to her. He 
enters and confirms the good news, and they go toward the church. The Count stops 
them, and assures Eloino that Amina is the victim of a dreadful misunderstanding. Eloino 
refuses to listen to him and bids Lisa follow him to the church, but they are again inter- 
rupted by Teresa, -who has learned of the proposed marriage, and now shows Lisa's veil 
which she had found in the Count's room. "Deceived again," cries Eloino, and asks if any 
of these women are to be trusted. 

Rudolph assures him again that Amina is guiltless, and Eloino desperately says, " But where 
is the proof?" "There," cries the Count, suddenly pointing to Amina, who in her night 
dress comes from a window in the mill roof, carrying a lamp. All watch her breathlessly, 
fearing to -wake her lest she fall. She climbs down to the bridge over the wheel, and de- 
scends the stairs. 

AMINA (advancing, still in her sleep, to the mid- (Amina, clasping her hands on her bosom, 
die of the stage) : takes from it the flowers given her by 

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! Sweet flowers, tenderest emblems, 

RUDOLPH (to Elvino) : Pledging his passion, from ye ne'er will I 

Hear her sever. 

TERESA: Still let me kiss you 

She is thinking, speaking of thee! But your bloom is fled forever! 

The first of the two lovely airs for Amina in this act now occurs. 


Ah ! non credea mirarti (Could I Believe) 

By Luisa Tetrazzini. Soprano (In Italian) 88305 12-inch, $3.OO 

By Graziella Pareto, Soprano (In Italian) 76OO3 12 -inch, 2.OO 

Perhaps the most effective part of the opera lies in this sleep-walking scene, when Amina, 

in a state of somnambulism, walks along the roof of the building, and finally climbs down to 

the ground. This act establishes her innocence, and clears up a mystery which had caused 

her good character to be doubted. 

Ah ! non credea is sung by the sleeper as she descends from her dangerous position, 
while her lover and friends watch in terror, fearing to awaken her. It opens with a beauti- 
ful cantabile in the key of A minor, its pathos being fully in keeping with the plight of Amina, 
who, being discarded by her lover and doubted by her friends, weeps over her short-lived 
love and happiness. At the words " Potrio novel oigore, '' the pathetic note gives place to a 
more ardent emotion, as hope is mingled with her despair. 

Regarding the flowers which her lover had given her, and which are now faded, she 
exclaims : 

Ah ! must ye fade, sweet flowers, But tho" no sunshine o'er ye, 

Forsaken by sunlight and showers, These tears might yet restore ye, 

As transient as lover's emotion But estringed devotion 

That lives and withers in one short day! No mourner's tears have power to stay! 

From the Dllgou Edition. 

The singer's aim has been to illustrate the simple charm of the character of Amina and 
the pathos of the scene, rather than exhibit brilliance of ornament. The cadenza at the 
close, although typical of Tetrazzini's marvelous powers of execution, is well subordinated 
to the character of the song, and pleases as much by its delicate beauty as by its amazing 
technical perfection. 

Eioino can restrain himself no longer, and rushes to Amina, who wakes, and seeing 
Elvino on his knees before her, utters a cry of delight and falls in his arms. 

The opera then closes with the joyous, bird-like air, Ah ! non giunge, which is a fitting 
close to this charming work, with its graceful and tender music and peaceful pastoral scenes. 
In Amina, Mme. Tetrazzini finds a most congenial role, and for her sake alone Sonnambula 
would always be worth hearing. She has the voice, style and technical skill to make such 
music as this captivating; while Sembrich's impersonation of the ingenuous village beauty, 
who is all liveliness and joy, leaves nothing to be desired. Hers is a graceful and natural 
impersonation, and the delightful sleep-walking scene is given with a delicacy which is 

Ah non giunge (Oh Recall Not One Earthly Sorrow) 

By Luisa Tetrazzini, Soprano (In Italian) 88313 12-inch, $3.OO 

By Marcella Sembrich, Soprano (In Italian) 88027 12-inch. 3.OO 


Do not mingle one human feeling Ah. embrace me, and thus forgiving. 

With the rapture o'er each sense stealing; Each a pardon is now receiving; 

See these tributes, to me revealing On this bright earth, while we are living, 

My Elvino, true to love. Let us form here a heaven of love! 

( Curtain. ') 

fVi ravviso (As I View These Scenes) 

By Perello de Segurola. Bass i In Italian) 

62O92 lO-inch, $0.75 

IPrendi Panel ti dono (Take Now This Ringi 
By Emilio Perea. Tenor (In Italian) 

I Ah! fosco ciel! (When Daylight's Going) 
By La Scala Chorus l/n Italian) ^62642 lO-inch. .75 
Lohengrin Core Nuziale By La Scala Chorus (In Italian) } 


(French) (English) 


(Cont 'Doff'-man) 



(A ir-tsau'-loong-en) 


Text by Jules Barbier. Music by Offenbach. First performance in Paris, February 10, 
1881. First United States production October 16, 1882, at Fifth Avenue Theatre. Revived 
at the Manhattan Opera House, New York, November 27, 1907. 



NlCLAUS, his friend Soprano 


A ONI A ' [ the various ladies with whom Hoffman falls in love. . . .Sopranos 


his opponents. (These three roles are usually sung 
MIR An F k v the same artist) Baritone 

LUTHER, an innkeeper Bass 

SCHLEMIL, Giulietta's admirer Bass 

SPALANZANI, an apothecary Tenor 

COUNCILLOR CRESPEL, father of Antonia Bass 

Offenbach's delightful and fantastic opra comique, first produced at Paris in 1881, has 
been a success wherever performed, although it was tabooed in Germany for many years 
after the disastrous fire at the Ring Theatre in Berlin, which occurred during the presenta- 
tion of the opera at that house. Its American successes are familiar to opera- goers, 
especially the brilliant and altogether admirable Hammerstein production, which drew large 
and delighted audiences for several years. 


This introductory scene occurs in Nuremberg at Luther's tavern, a popular student 

resort. H offm a n , 
the favorite of all, 
enters with his 
friend Nicholas and 
joins in the merry- 
making. In response 
to calls for a song, 
Hoffman sings the 
Ballad of Kldn-Zach, 
and then volunteers 
to relate his three 
love affairs. This 
proposal is greeted 
with enthusiasm, 
and as Hoffman be- 
gins by saying "The 
name of my first was 
Olympia," the cur- 
tain falls. When it 
rises, the first tale of 
Hoffman is seen in 




Spalanzani, a wealthy man with a mania for au- 
tomatons, has perfected a marvelous mechanical figure of 
a young girl which he calls Olympia, pretending it is his 
daughter. Hoffman and Nicholas call upon him, and during 
Spalanzani's absence, Hoffman discovers Olympia, and falls 
in love at sight. Unable to take his eyes from the doll- 
like perfection of the figure, he expresses his infatuation 
in a beautiful air. 

C'estelle CTisShe!) 

By Charles Dalmores. Tenor 

(In French) 87089 10-inch, $2.00 

Dalmores makes a great 
success in the part of Hoffman. 
This role calls for a handsome 
appearance, a gallant bearing, 
and enduring vocal powers, 
and this tenor fills these re- 
quirements admirably. He 
sings this beautiful air with 
graceful fluency and much 
warmth of tone. 

Nicholas tries in vain to 
prevent his friend from mak- 
ing a fool of himself, but Hoff- 
man, owing to the magic glasses Spalanzani has induced him to 
wear, sees only a lovely woman instead of an automaton ; but is 
undeceived when he dances with the figure and she falls to pieces 
before his astonished eyes. 


This adventure concerns the Lady Giulietla, who resides in 
Venice. Among her many friends are Hermann and Nathanael, 
and the latter, fearing the power of the lovely coquette, tries to 
get Hermann away, but he insists that he is proof against her fascinations. Daperiutto, the 
real lover of the lady, hearing this boast, induces Giulietla to try her arts on the young 
man. She succeeds, and Hoffman, madly in love, challenges Giulietta's protector, Schlemil, 
and kills him in a duel. Hoffman rushes back to his charmer's residence only to find that 
she has fled with her chosen admirer. 

This second tale introduces that lovely gem, the Barcarolle, with its languorous, fascinating 
rhythm and charming melody. 



Barcarolle Belle Nuit (Oh, Night of Love) 

By Geraldine Farrar and Antonio Scotti (In Italian) 875O2 lO-inch, $3.0O 

By Mr. andMrs. Wheeler (DouA/e-Face</ See p.32/) (English) 16827 10-inch, .75 

By the Victor Orchestra, with duet for two violins 5333 10-inch, .60 

By the Vienna Quartet 5754 lO-inch, .60 

This popular Offenbach number, which is given as a duet in the Venetian scene and 
afterwards as an instrumental intermezzo, is one of the best known examples of the barcarolle. 
As the name implies, it was originally a song or chant used by the Venetian gondoliers. 

The music, 
in 6-8 time, 
portrays ad- 
the boat 



and its dreamy melancholy suggests the calm of a perfect moonlight night. Mr. Scotti 
and Miss Farrar have sung it delightfully, their voices blending in the lovely serenade with 
charming effect. The instrumental renditions are exquisitely played with a graceful light- 
someness wholly pleasing, while those who prefer a vocal record at a popular price will 
find the rendition by the Wheelers a very fine one. 

Beauteous night, O night of love, 
Smile thou on our enchantment; 
Radiant night, with stars above, 
O beauteous night of love! 
Fleeting time doth ne'er return 
But bears on wings our dreaming. 

O Night of Love 

Far away where we may yearn, 
For time doth ne'er return. 
Sweet zephyrs aglow, 
Shed on us thy caresses 
Night of love, O night of love! 

From Diuou Krtltion Copj t 109. 

In this act is also the air sung by Daperlutto to the sparkling diamond, which he says 
never yet failed to tempt a woman. 

Air de Dapertutto (Dapertutto's Air) 

By Marcel Journet. Bass (In French) 741O3 12-inch. $1. SO 

Journet delivers this song of the swaggering, garrulous Venetian bravo with much spirit. 


The third adventure of Hoffman introduces us to an humble German home where 
Antonia, a young singer, has become the victim of consumption. She is forbidden to sing 
by her father, but a Dr. Miracle, who is the secret enemy of the family, Svengali-like, urges 
her on, and Hoffman, -who knows nothing of the poor girl's affliction, sees her literally sing 
herself to death, and she dies in his arms. 


The epilogue shows again the tavern of the prologue, where Hoffman is apparently just 
concluding his third tale. Having tried three kinds of love the love that is inspired by 
mere beauty, the sensuous love, and the affection that springs from the heart he says he 
has learned his lesson, and will henceforth devote himself to art, the only mistress who will 
prove faithful. He bids farewell to another of his flames, Stella, an opera singer, and as the 
curtain falls is left alone, dreaming, while the Muse appears and bids him follow her. 


Contes d'Hoffman Selection 
(Barcarolle O, Night of Love! 
\ Fatinitza Selection (oon Suppe) 


By Victor Concert Orch. 31820 12-inch, $1.0O 

By Mr. and Mrs. Wheeler) ,_ 
D D r> jflOo27 
By Jrryor s Band) 

in ; 








( Tahrt -hoy-zer) 


Words and music by Richard Wagner. First presented at the Royal Opera, Dresden, 
October 20, 1845; at the Grand Opera, Paris, March 13, 1861. First London production at 
Covent Garden, in Italian, May 6, 1876. First performance in English took place at Her 
Majesty's Theatre, February 14, 1882. First New York production April 4, 1859. 

HERMANN, Landgrave of Thuringia Bass 







Minstrel Knights- 


ELIZABETH, Niece of the Landgrave Soprano 

VENUS Soprano 

A Young Shepherd Soprano 

Four Noble Pages Soprano and Alto 

Chorus of Thuringian Nobles and Knights, Ladies, Elder and Younger 
Pilgrims, and Sirens, Naiads, Nymphs and Bacchantes. 

Scene and Period : Vicinity of Eisenach; beginning of the thirteenth century. 




There are a great many people -who love to go to the 
opera, but who do not care for Wagner's Ring Operas, with 
their Teutonic myths and legends, and their long and some- 
times undeniably tedious scenes. But Tannhauser, with its 
poetry, romance and passion, and above all its characters, 
who are real human beings and not mysterious mythological 
gods, goddesses and heroes, appeals strongly to these opera- 

To show the wonderful vogue of this work, it is esti- 
mated that more than one thousand performances of the 
opera take place annually throughout the world. 

The story is quite familiar, but the chief events will be 
noted here in brief. It tells of conflict between two kinds 
of love: true love of the highest human kind as distin- 
guished from mere sensuous passion; and relates how the 
higher and purer love triumphed in the end. 

Tannhauser, a knight and minstrel, in an evil moment, 
succumbs to the wiles of Venus and dwells for a year in 
the Venusberg. Tiring of these monotonous delights, he 

fcrGfegflfrkg of Boffin! 

of await C*T 1 Itm M ** Ktm. 



leaves the goddess and returns to his home, where he is FIRST PROGRAM 
warmly received and told that the fair Elizabeth, niece of 

the Landgrave, still mourns for him. He is urged to compete in the Tournament of Song 
not far distant, the prize being the hand of Elizabeth. The theme of the contest is The Nature 
of Love, and when Tannhauser' s turn arrives the evil influence of the Venusberg is appa- 
rent when he delivers a wild and profane eulogy of passion. Outraged by this insult the 
minstrels draw their swords to slay him. Coming to his senses, too late, he repents, and 
when a company of Pilgrims pass on their way to Rome, he joins them to seek pardon for his 
sin. In the last act we see Elizabeth, weary and worn, supported by the noble Wolfram, who 




also loves her, watching for the Pilgrims to return, but Tannhauser is not among them. 
Elizabeth is overcome with disappointment and feebly returns to her home. 

Tannhauser now appears, in a wretched plight, on his way to re-enter the Hill of Venus. 
He tells Wolfram that he appealed to the Pope for pardon, but was told that his redemption 
was as impossible as that the Pope's staff should put forth leaves. Wolfram 's remonstrances 
are in vain, and Tannhauser is about to invoke the goddess, when a chant is heard and he 
Pilgrims appear, announcing that the Pope's staff had blossomed as a sign that the sinner 
was forgiven. Tannhauser kneels in prayer as the mourners pass with the body of Elizabeth, 
who, overcome by her bitter disappointment, had suddenly passed away. 

Overture Part I 

By Arthur Pryor's Band 

The Overture 

31382 12-inch. $1.OO 

Overture Part II 

By Arthur Pryor's Band 31383 12-inch. l.OO 

This overture, with its sombre opening chorus, its weird music of the Venus Mount, 
and the final return of the penitents, when the chant is accompanied by a striking variation 
for clarinets, is one of the greatest works of Wagner. It has become quite familiar by its 
frequent repetitions in orchestra and military band concerts, and no concert piece is more 

The overture depicts the struggle between good and evil, and as Liszt has said, is a 
poem on the same subject as the opera and equally comprehensive. 

The sombre religious motive appears first: 


beginning softly and gradually swelling to a fortissimo. 
denly interrupted by the Venusberg motive : 

Then, as it is dying away, it is aud- 

with its rising tide of sensual sounds. This motive continues with terrible persistence, lead- 
ing into Tannhauser 's hymn to Venus, after which the enchanting Venus motive returns and 
is developed with various changes. The tide now changes again and the majestic pilgrim 
theme predominates, finally reaching a climax in the final hymn of triumph. 


SCENE I The Hill of Venus Nymphs, Sirens, Naiads and Bacchantes dancing or reclining on 

mossy banks 

The rising of the curtain discloses Venus reclining on a couch gazing tenderly at 
Tannhauser, who is in a dejected attitude. The goddess asks him why he is melancholy, 
and he tells her he is weary of pleasure and would see the earth again. She reproves him 
fondly : 

What! art thou wav'ring? Why these vain 


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 


Hast thou soon forgotten how thy heart was 


Till by me thou wert consoled? 

My minstrel, come, let not thy harp be silent; 

Recall the rapture sing the praise and bliss 

of love 
In tones that won for thee love's self to be 

thy slave! 
Of love sing only, for her treasures are all 



He rouses himself and sings the Praise to Venus, but it is a forced effort, and throwing 
down his harp he exclaims: 


For earth I'm yearning, 

In thy soft chains with shame I'm burning, 

"Tis freedom I must win or die 

For freedom I can all defy; 

Venus in a rage, then tells him to go if he -will, but predicts his return and disappears 
with all her train, while the scene instantly changes. 

To strife or glory forth I go, 

Come life or death, come joy or woe, 

No more in bondage will I sigh! 

Oh queen, beloved goddess, let me fly! 

SCENE II A Valley 

Tannhauser suddenly finds himself in a beautiful valley near the Wartburg. On the 
peaceful scene there break in the notes of a shepherd's pipe, and tinkling sheep bells 
sound from the heights. A company of Pilgrims pass, singing their chant, while the little 
shepherd pauses in his lay, and begs them utter a prayer for him in Rome. 

A fine rendition of the music of this inspiring chorus is given here by Pryor's Band. 

Pilgrims' Chorus 

By Pryor's Band 
By Pryor's Band 

(Double-faced See page 330) 

31160 12-inch, $1.00 
16537 10-inch, .75 

TANNHAUSER (kneeling in ecstasy): 
Almighty, praise to Thee ! 
Great are the marvels of Thy mercy ! 
Oh, see my heart by guilt oppress' d 

I faint, I sink beneath the burden! 
Nor will I cease, nor will I rest, 
Till heav'nly mercy grant me pardon! 

The Landgrave and several minstrels now enter, and seeing a knight kneeling in prayer, 
accost him. They are amazed and delighted to see that it is the long lost Henry, their 
brother knight. They question him, but he gives evasive replies : 

TANNHAUSER: In strange and distant realms I wandered far, 
Where neither peace nor rest was ever found. 
Ask not! at enmity I am with none; 
We meet as friends let me in peace depart! 

The Knights urge him to return -with them, and speak 
the name of Elizabeth. Tannhauser joyfully exclaims : 


Elizabeth! oh, Heaven! 

That name ador'd once more I hear! 

Wolfram then tells him that he is beloved by the Land- 
grave' s fair niece. 


When for the palm in song we were contending, 

And oft thy conq'ring strain the wreath had won, 

Our songs anon thy victory, suspending, 

One glorious prize was won by thee alone! 

Was't magic, or a pow'r divine, 

That wrought thro' thee the wondrous sign, 

Thy harp and song in blissful hour 

Enthrall'd of royal maids the flower! 

For ah, when thou in scorn hadst left us, 

Her heart was closed to joy and song, 

Of her sweet presence she bereft us, 

For thee in vain she wearied long. 

Oh! minstrel bold, return and rest thee, 

Once more awake the joyous strain! 

Cast off the burden that oppressed thee, 

And her fair star will shine again! 

Tannhauser joyfully consents to return and promises to compete in the forthcoming 
Tournament of Song, the prize for which is to be the hand of Elizabeth. The remainder of 
the hunting train of the Landgrave now arrives, and as Tannhauser is being greeted by his 
friends, the curtain falls. 






SCENE The Great Hall in the Warlburg 

Elizabeth enters, full of joy over the return of Tannhduser, 
and greets the Hall in a noble song. 

Dich, theure Halle (Hail, Hall of Song) 

By Johanna Gadski, Soprano 

(In German) 88057 12-inch, $3.OO 
By Louise Voigt, Soprano 

(German) 31849 12-inch, l.OO 


Oh, hall of song, I give thee greeting! 
All hail to thee, thou hallowed place! 
'Twas here that dream so sweet and fleeting, 
Upon my heart his song did trace. 
But since by him forsaken 
A desert thou dost seem 
Thy echoes only waken 
Remembrance of a dream. 
But now the flame of hope is lighted, 
Thy vault shall ring with glorious war; 
For he whose strains my soul delighted 
No longer roams afar! 

Mme. Gadski, whose superb impersonation of Elizabeth, replete 
with tenderness and vocal charm, is a familiai one to opera-goers, 
sings this glorious air in a surpassingly beautiful fashion, while 
a splendid rendition, at a lower price, is given by Miss Voigt. 

Tannhduser enters and kneels at the feet of Elizabeth, who in 
blushing confusion bids him rise. With that frankness -which 
seems characteristic of Wagner's heroines, the young girl makes 
no secret of her partiality for the Knight, and a long scene between the lovers ensues, inter- 
rupted by the entrance of the Landgrave, who greets Tannhduser cordially and welcomes him 
to the contest. 





The Knights and Ladies now assemble to the strains of the noble Fest March, given 
here in splendid fashion by Sousa's Band. 

Fest March 

By Sousa's Band 31423 12-inch, $1.OO 

By Sousa's Band (Double-faced See page 330) 16514 lO-inch, .75 

When the company is seated, the Landgrave rises and makes the address of welcome. 

Minstrels assembled here, I give you greeting, To what we owe his presence here amongst 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, 

They ever gladdened every list'ning heart. Therefore near now the song you all shall 

And though the sword of strife was loosed sing. 

in battle. Say, what is love? by what signs shall we 

Drawn to maintain our German land secure, know it? 

Unto the harp be equal praise and glory! 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 s>ive the prize. 

For these you fought with word and voice; He may demand the fairest guerdon: 

The meed of praise for this is due. I vouch that whatsoe'er he ask is granted. 

Your strains inspiring, then, once more Up, then, arouse ye sing, oh, gallant min- 

attune, strels! 

Now that the gallant minstrel hath returned, Attune 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 Wolfram is to 
begin the contest. He rises and delivers his Eulogy of Love. 

Wolfram's Ansprache (Wolfram's Eulogy of Love) 

By Otto Goritz, Baritone (In German) 74215 12-inch, $1.50 
The singer gives his conception of love, which he describes as pure and ethereal, com- 
paring it to a crystal spring. 


Gazing around upon this fair assembly, My heart was sunk in prayerful holy dreams. 

How doth the heart expand to see the scene! And lo! the source of all delights and power 

These gallant heroes, valiant, wise and gentle Was then unto my listening soul revealed, 

A stately forest soaring fresh and green. 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 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. 

Tannhauser, 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. 

TANNHAUSER: (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- And in these arms I may unfold 

tion This is for joy. and knows no measure, 

They were not made to be belov'd: For love's fulfillment is its pleasure! 

At this definition of love, strange for such an occasion, Biterolf, a hotheaded Knight, 
rises and challenges Tannhauser, who excitedly retorts that such a grim wolf as Biterolf can 
know nothing of the delights of love! He then, in wild exultation, sings his blasphemous 
Praise of Venus, saying 


Dull mortals, who of love have never tasted 
Go forth! Venus alone can show ye love! 

At this the Knights rush toward him with drawn swords, exclaiming : 


Ye all have heard. In Venus' 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 his traitor life-blood flow! 



Elizabeth throws herself in front of the unhappy 1 annhuuser, who stands as if in a 
trance. She begs for his life in a touching plea. 

Away from him! 'Tis not for you to judge 


Shame on you! He is one against you all! 
I pray for him spare him, oh, I implore ye! 
Let not the hore of pardon be denied! 
To life renew'a his sinking faith restore ye. 
Think that for him, too, once the Saviour 


Oh, let a spotless maid your grace implore! 
Let Heav'n declare through me what is its 


The erring mortal, who hath fallen 
Within the weary toils of sin, 
How dare ye close the heav'nly portal! 
On me, a maiden young and tender. 
Yon knight hath struck a cruel blow 
I, who so deeply, truly loved him, 
Am hurl'd in dark abyss of woe! 

The Landgrave pronounces judgment and declares Tannhauser banished, suggesting that 
he join the band of Pilgrims about to start for Rome. In the distance is heard the Pilgrims' 
chant, and the strains seem to bring the erring knight to his senses. He cries: "To Rome," 
and dashes from the hall. ACT TTT 

SCENE The Valley beneath the Wartburg at one side a Shrine 

As the curtain rises Elizabeth is seen kneeling at the shrine in prayer. Wolfram comes 
down by the path, and observing her, sadly notices her changed appearance, and muses 
of his own hopeless love. The song of the Pilgrims is heard in the distance, and 
Elizabeth eagerly rises and scans the approaching band. Tannhauser is not among them, and 
the despairing maiden kneels again at the shrine, and offers her prayer to the Virgin. 

Elizabeth's Gebet (Elizabeth's Prayer) 

By Geraldine Farrar, Soprano (In German) 88O53 12-inch, $3.OO 

By Elizabeth 'Wheeler, Soprano (In English) *35O96 12-inch, 1.25 

This prayer of the sainted Elizabeth is one of the 

most beautiful and touching of the master's, compositions. 

"He will return no more!" cries the unhappy girl, and 

falls on her knees. 


Oh, blessed Virgin, hear my prayer! 
Thou star of glory, look on me! 
Here in the dust I bend before thee 
Now from this earth, oh, set me free! 
Let me, a maiden pure and white, 
Enter into thy kingdom bright! 
If vain desires and earthly longing 
Have turn'd my heart from thee away. 
The sinful hopes within me thronging, 
Before thy blessed feet I lay; 
I'll wrestle with the love I cherish'd. 
Until in death its flame hath perish'd, 
If of my sin thou will not shrive me. 
Yet in this hour, oh grant thy aid! 
Till thy eternal peace thou give me, 
I vow to live and die thy maid. 
And on thy bounty I will call. 
That heav'nly grace on him may fall ! 

She remains for a long time in prayerful rapture ; as 
she slowly rises she glances at Wolfram, who is approach- 
ing. She bids him by gesture not to speak to her, but he 
asks that he may escort her. 

ELIZABETH AT THE SHRINE O royal maid, shall I not guide thee homeward? 

Elizabeth again expresses to him by gesture that she thanks him from her heart for his 
faithful love; her way, however, leads to Heaven, where she has a high purpose to fulfill; 
she wishes him not to accompany or follow her now. She slowly ascends the height and 
disappears gradually from view. 


Wolfram gazes sadly after her for a long time, then seats himself at the foot of the hill, 
begins to play upon his harp, and finally sings the noble and beautiful ode to the evening star. 

O du mein holder Abendstern 

By Emilio de Gogorza, Baritone 

By Marcel Journet, Bass 

By Reinald Werrenrath. Baritone 

By Reinald Werrenrath, Baritone 

By Victor Sorlin. 'Cellist 

By Alan Turner. Baritone 

By Victor Sorlin, 'Cellist 

(Song to the Evening Star) 

(In German) 
(In German) 
(In German) 
(In German) 

(In English] 
















O douce etoile (Song to the Evening Star) 

By Maurice Renaud. Baritone (In French) 

91067 lO-inch. $2.OO 


Like Death's dark shadow, Night her gloom 


Her sable wing o'er all the vale she bendeth; 
The soul that longs to tread yon path of light, 
Yet dreads to pass the gate of Fear and Night, 
I look on thee, oh, star in Heaven the fairest, 
Thy gentle beam thro' trackless space thou 


The hour of darkness is by thee made bright, 
Thou lead'st us upward by pure light. 
O ev'ning star; thy holy light 
Was ne'er so welcome to my sight, 
With glowing heart, that ne'er disclos'd; 
Greet her when she in thy light reposed; 
When parting from this vale a vision, 
She rises to an angel's mission. 
(He continues to play, his eyes raised to 


Tannhauser now appears, wearing a 
ragged Pilgrim's dress, his face pale and 
drawn, and supporting himself with diffi- 
culty by means of a staff. Wolfram greets 
him with emotion and learns that he is 
still unforgiven and has resolved to re-enter 
the Venusberg. 

The unhappy Tannhauser tells of the 
Pope 's refusal of a pardon : 


Rome I gained at last; with tears imploring, 

I knelt before the rood in faith adoring. 

When daylight broke, the silv'ry bells were 

Through vaulted roof a song divine was 

A cry of joy breaks forth from thousand 

The hope of pardon ey'ry heart rejoices. 

I told what mad desires my soul had dark- 

By sinful earthly pleasure long enslav'd 

To me it seein'd that he in mercy harken'd 

A gracious word in dust and tears I crav'd. 

Then he who thus I prayed replied : 

"If thou hast shared the joys of Hell 

If thou unholy flames hast nurs'd 

That in the hill of Venus dwell, 

Thou art forever more accurs'd! 

And as this barren staff I hold 

Ne'er will put forth a flower or leaf, 

Thus shall thou never more behold 

Salvation or thy sin's relief!" 

* Double-Faced Record For title of opposite side xe DOUBLE-FACED TANNHAUSER RECORDS, page 330. 





Wolfram, in horror, urges him to remain, but Tannhauser refuses until Wolfram mentions 
the name of Elizabeth. The unhappy man, in sudden repentance, sinks to his knees, while 
in the distance is seen a company of minstrels bearing the body of Elizabeth, who has passed 
away. As the procession approaches, a company of Pilgrims enter and announce that the 
staff of the Pope had put forth green leaves as a sign that Tannhauser was pardoned. 

The Minstrel, supported by Wolfram, gazes on the saintly face of the dead Elizabeth, 
then expires, while the Pilgrims and minstrels with great emotion exclaim : 

The Lord Himself now thy bondage hath 

Go, enter in with the blest in His Heaven! 



{Elizabeth's Prayer By Elizabeth Wheeler, Soprano] 

A Night in Venice >35O96 

By Elizabeth Wheeler, Soprano, and William Wheeler, Tenor] 
.|O du mein holder Abendstern (Evening Star) 

(In German) By Reinald W^errenrath, Baritonel- , 6O 
Treue Liebe Ach, wie ist 's moglich dann 

(In German) By Emil Muench, Tenor) 

/Overture Part I By La Scala Orchestral , Q __, 

I Overture Part II By La Scala Orchestra/** 

/Fest March By Sousa's Band) 

\ La Marseillaise National Air of France By Sousa's Bandf 

(The Evening Star By Victor Sorlin. 'Cellistl . , fi . 

\ Last Rose of Summer By Elizabeth Wheeler, Soprano} 

I Pilgrims' Chorus By Pryor's Band) 

Lohengrin Coro delle nozze (Bridal Chorus) >1 65 3 7 

(In Italian) By La Scala Chorus] 

12-inch, $1.25 

12-inch, 1.25 

12-inch, 1.25 











Text by Illica and Giacosa after Sardou's drama. Music by Giacomo Puccini. First 
produced at the Constanzi Theatre, Rome, in January, 1900. First London production July 
12, 1900. First American production February 4, 1901, at the Metropolitan, the cast including 
Ternina, Cremonini, Scotti and Gilibert. Also produced in English by Henry W. Savage. 


FLORIA TOSCA, (Floh'-rce-ah Tou'-kah) a celebrated singer Soprano 

MARIO CAVARADOSSI, (Ma/i'-ree-oA Cao-a-raA-<W-ee) a painter Tenor 

BARON SCARPIA, (Sca/-pee-ah) chief of the police Baritone 

CESARE ANGELOTTI, (See-zaM-auAhn.jel-M-tee) Bass 


SPOLETTA, (Spo-Ief-tah) a police agent Tenor 

SCIARRONE, a gendarme Bass 


Judge, Cardinal, Officer, Sergeant, Soldiers, Police Agents, Ladies, Nobles, Citizens. 

Scene and Period : Rome, June, 1800. 

The Story 

Tosca is Puccini's fifth opera, and by far the most popular, next to Mme. Butterfly, 
which probably holds first place in the affections of opera-goers. The opera is a remarkable 
example of Puccini's skill in adjusting both instrumental and voice effects to the sense of 
the story, interpreting both the characters and the situations. 

The plot is gloomy and intensely tragic, following closely the Sardou melodrama, but 
is relieved somewhat by the beauty of the musical 
setting, which confirmed Puccini's place in the first 
rank of modern operatic composers. The three acts 
of the opera are crowded with sensational events and 
highly dramatic situations. 

The work has neither introduction nor overture. 
The first scene occurs in the church of San Andrea, 
where the painter, Mario Caoaradossi, is at work on 
the mural decorations. Here he has been accustomed 
to meet his fiancee, the beautiful Floria Tosca, a singer. 
While awaiting her, he contemplates the Magdalene 
he is at work on, the face being that of the unknown 
beauty who had frequently prayed at the altar. 

Suddenly a political refugee, Angelotti, who has 
just escaped from the castle, appears, recognizes his 
friend Caoaradossi, and asks his assistance. The painter 
gives him food and sends him to his (Cavaradossi' s) 
villa, just as Tosca arrives. Her lover's confused man- 
ner arouses her curiosity, and when she sees the like- 
ness on the easel, she is jealous. He soothes her, and 
after her departure hurries out to guide Angelotti, a 
cannon shot from the castle meanwhile announcing 
the escape of the fugitive. 

Scarpia and his police enter in search of the pris- 
oner, who has been traced to the church. Cavaradossi 
is suspected as an accomplice, and Scarpia, who is 
secretly in love with Tosca, plans his ruin, with a view 
to removing from his path a dangerous rival. 




In the second act Scarpia, putting into execution 
his schemes, orders Mario's arrest, and when the 
painter is brought in, sends for Tosca and contrives 
that she shall hear the cries of her lover as he is being 
tortured to induce him to reveal AngelottCs hiding place. 
Unable to endure Marios agony, she tells Scarpia where 
the refugee is concealed. Mario is sent to prison, and 
Scarpia tells Tosca that unless she looks with favor on 
him, her lover shall die -within an hour. To save his 
life she consents, but demands that they be allowed to 
depart in safety the next day. A mock execution is 

Elanned by Scarpia, who writes out a pass for the 
>vers. As he gives it to Tosca, she stabs him and runs 
to Mario with the release. 

In Act III the mock execution takes place as plan- 
ned, but through Scorpio's treachery, it proves to be a 
real one, and Mario is killed. Tosca afterwards throws 
herself from the castle parapet as they attempt to 
arrest her for Scarpia 's murder. 


SCENE Interior of the Church of St. Andrea 
Mario CavaraJossi, the painter, enters the church, 
where he has been at work on a Madonna. As he 
uncovers the portrait, the Sacristan, who is assisting 
Mario, is surprised to discover in the face of the 
painting the unknown beauty whom he had noticed 

of late in the church. Mario smilingly confesses that while she had prayed he had stolen 
her likeness for his Madonna. Then taking out a miniature of his betrothed, Tosca, he 
sings a lovely air in -which he compares her dark beauty -with the fair tresses and blue 
eyes of the unknown worshipper, calling it "a strange but harmonious contrast." 

Recondita armonia (Strange Harmony) 

By Enrico Caruso, Tenor (In Italian) 87043 10-inch. $2.OO 

His musings are inter- 
rupted by the hurried entrance 
of a man in prison garb, pant- 
ing with fear and fatigue, 
whom Mario recognizes as an 
old friend, Angelotti, a political 
prisoner. Mario, in response 
to his friend's appeal for assist- 
ance, hastily closes the outer 
door, and conceals Angelolli in 
the chapel, just as Tosca's 
voice is heard impatiently de- 
manding admittance. 

He admits her, but is 
anxious and ill at ease, fearing 
to intrust even Tosca -with so 
dangerous a secret, but she 
notices his preoccupation and 
is somewhat piqued because 
he is not as attentive as usual. 
She is at first jealous and asks 
him if he is thinking of another 
woman ; but soon repents, and 
in the charming love scene 
which follows endeavors to 
smooth his brow by planning 
an excursion for the morrow. 




Ora stammi a sentir (Now Listen to Me) 

By Geraldine Farrar, Soprano 

(In Italian) 88287 12-inch, I3.OO 
She sings of the delights of the proposed visit to the 
villa, and the romantic forest where they will wander and 
forget the cares and troubles of their professional life. 

He listens but seems absent-minded, and she con- 
tinues her recital of the joys of their secluded little retreat 
among the hills. Mario says she is an enchantress, and 
in this duet they exchange anew their vows of love. 

Non la sospiri la nostra casetta (Our 
Cottage Secluded) 

By Ruszcowska, Soprano : Cunego, Tenor 

(In Italian) 88272 12-inch, $3.OO 
Tosca now perceives the Madonna and recognizes the 
face as that of the Attavanti, sister of Angelolti. Her jeal- 
ousy revives, and she declares that Mario has fallen in love 
with the blue eyes. Beginning another duet, he swears 
that none but Tosca's eyes are beautiful to him. 

Qual occhio al mondo ("No Eyes on 

By Elena Ruszcowska and Egidio Cunego 
EAMES AS TOSCA (In Italian) 88273 12-inch, $3.0O 

Mario promises to meet her at the stage door that evening, and she bids her lover a 
tender farewell and departs. 

The painter hurries to the chapel and bids Angelotti escape, showing him the path to 
the villa, where he will be safe. A cannon shot from the fortress tells that the escape of 
the prisoner has been discovered. 

He is no sooner gone than the Sacristan and choir 
enter, followed soon after by Scarpia and his police, who 
have traced Angelotti to the church. The Attavanti's 
fan and Mario's empty basket are found in the 
chapel, and when the Sacristan says it should contain 
the painter's lunch, Scarpia suspects Mario of aiding the 

Tosca now returns, still doubting her lover, and 
Scarpia, divining the state of affairs, decides to add 
fuel to the flame of jealousy. He approaches her 
respectfully and sings his first air, Divine Tosca. 

Tosca Divina (Divine Tosca !) 

By Gustav Berle-Resky, Baritone 

(In Italian) *16745 10-inch, $0.75 
He praises her noble character and devout habits. 
She is inattentive and scarcely hears him, until he 
insinuatingly says that she is not like other women 
who come here to meet their lovers. She asks him 
what he means and Scarpia shows her the fan which 
he had found in the church. Tosca is now convinced 
that Mario has been deceiving her, and in a jealous 
rage she leaves the church, weeping. 

Te Deum 

By Giuseppe Magge, Bass, and La Scala COPY '' DUPONI 

Chorus (In Italian) *55008 12-inch, $1.5O MARTIN AS MARIO ACT i 

* Double-FaceJ Record For title of opposite side see DOUBLE-FACED TOSCA RECORDS, page 337. 



The act closes with a Te Deum, sung in celebration of the defeat of Bonaparte, and the 
scene at the fall of the curtain is a most impressive one, the solemn strains of the service 
sounding through the church, while Scarpia kneels, apparently in reverence, but secretly 
plotting his diabolical crimes. 


SCENE A Room in Scorpio's Apartments in the Farnese Palace 

When the curtain rises Scarpia is shown at his supper, restless and agitated, awaiting the 
report of his police, who have been sent to arrest Mario and Angelolti. Hearing Tosca's 
voice in the apartments of the Queen below, where she is singing at a soiree, he sends her a 

note saying he has news of 
her lover. He is certain she 
will come for Mario's sake, 
and sure that his plans will 
succeed. He then sings his 
celebrated soliloquy. Scarpia 
loves such a conquest as this 
no tender vows in the moon- 
light for him! He prefers 
taking what he desires by 
force, then when -wearied he 
is ready for further conquest. 
This, in short, is his creed 
God has created divers wines 
and many types of beauty 
he prefers to enjoy as many 
of them as possible! 

Mario is brought in by the 
police,who report that Angelolti 



cannot be found. Scarpia 
is furious, and tries to force 

Mario to reveal the hiding place of the fugitive; but he refuses to speak, and is ordered 

into the torture chamber adjoining. Tosca comes in answer to Scorpio's summons and is 

told that Mario is being tortured into a confession. Unable to bear the sound of his groans, 

she reveals the hiding place of Angelolli. 

Scarpia, in triumph, orders the torture to cease, but sends Mario to prison, telling him he 

must die. Tosca tries to go with him but is forced to remain. 
Then begins the great scene of the opera, which Scarpia 

begins by offering to save Mario's life. She scornfully asks 

him his price, and he proposes that Tosca shall accept his 

attentions in order to save her lover's life. He then sings his 

famous Cantabile, given here in two parts. 

Cantabile Scarpia 
Call Me) 

By Antonio Scotti. Baritone 88122 12-inch, $3.OO 

Gia mi struggea (You Have Scorned Me) 

(Last Part of Cantabile) 

By Ernesto Bad ini (In Italian) 45016 lO-in., $1.0O 

He tells her that he has long loved her and had sworn to 
possess her. She scorns him, but when he tells her that Mario 
shall die in an hour and exults in his power, her spirit is broken, 
and weeping for shame, she sings that loveliest and most 
pathetic of airs, Vissi d'arte. 

Vissi d'arte e d'amor 

(Venal, My Enemies 

(Love and Music) 

By Nellie Melba, Soprano (In Italian) 

By Geraldine Farrar, Soprano (In Italian) 

By Emma Eames. Soprano (In Italian) 

By Lucille Marcell. Soprano In Italian) 

By Maria Bronzoni, Soprano (In Italian) 








One of the most interesting comparisons to be found in the 
Victor's opera list is in a hearing of these five renditions, by five 
famous Toscas Melba, the Australian ; Farrar and Eames, the 
Americans; Marcell, the Frenchwoman; and Bronzoni, the 
Italian, the latter record being doubled with Mario 'a 3d Act air. 

This highly impassioned number is given its full dramatic 
value by Mme. Melba, whose performance of the ill-fated Fiona 
Tosco is always an impressive one. 

Farrar, in her rendition, delivers this touching appeal of the 
unfortunate Tosca with much pathos and simplicity. It is 
probably the most perfect and beautiful of all the Farrar records. 

The air is also a fine test of Mme. Eames' dramatic ability, 
and this scene is one in which she has made one of her greatest 

The unhappy woman asks what she has done that Heaven 
should forsake her. Scarpia, who is watching her intently, calls 
her attention to the sound of drums, summoning the escort for 
the condemned prisoners, and demands her answer. She yields, 
bowing her head for shame. Scarpia is overjoyed, and when 
she insists that Mario shall be set free he consents, but says a 



It is agreed that after this pretended execu- 
tion, Mario shall have his liberty, but Tosca 
demands a safe escape from the country for 
them both. While Scarpia is writing the docu- 
ment, Tosca contrives to secure the dagger 
from the table, and as Scarpia approaches to 
give it to her and then take her in his arms, she 
stabs him, crying that thus she gives him the kiss 
he desired. In a prolonged and highly dramatic 
scene she takes the paper from Scorpio's dead 
fingers, then washes her hands in a bowl on the 
table, places the two candles at the dead man's 
head and the cross on his bosom, then goes out, 
turning for a last look at the lifeless body as 
the curtain falls. 




(A terrace of San Angela Castle, outside 'he prison cell of 

Cavaradossi. View of Rome by night) 
The music of the opening act is most effective, with 
its accompaniment of pealing church bells, and it is 
splendidly played by Mr. Pryor in the Tosca Selection. 
This entire prelude is also given by an Italian orchestra 
under the direction of Sabaino, doubled with the Te 
Deum of Act I. 


By Italian Orchestra, M. Sabaino, Director 

55OO8 12-inch, $1.50 

Mario is brought out from his cell, is shown the official 
death warrant, and told he has but one hour to live. He 
asks permission to write a note to Tosca, and is given 
paper and pen. He begins to write, but engrossed with 

memories of the past, he pauses and sings passionately of his loved one, whom he expects 
never to see again. 





E lucevan le stelle (The Stars 'Were Shining) 

By Enrico Caruso, Tenor (Piano ace.) (In Italian) 87044 lO-inch, $2.0O 

By Riccardo Martin, Tenor (In Italian) 87050 lO-inch, 2.00 

By Franco de Gregorio, Tenor (In Italian) 45017 lO-inch, l.OO 

Mario at first recalls their former meetings on starlight nights in quiet gardens ; then, feel- 
ing the bitter regret of loss of life and all that he holds dear, the voice rises in passages of 
tragical import and power as the air proceeds. The regret, the grief and the hopelessness 
of the situation are depicted by Caruso with intense pathos, the air closing with a sob an 
effect by which this singer can effectively express the extremity of passionate grief. 

In Martin's rendition this tenor is at his best, singing the lovely Puccini music with 
much beauty of tone. The de Gregorio record is a double-faced one, being paired with 
Mme. Bronzoni's Vissi d'arte. 

Tosca now enters, and joyfully telling Mario he is to be free, shows him the safe 
conduct, telling him how she has killed Scarpia. He gazes at her with compassion and 
regrets that these hands such tender and beautiful hands should be compelled to foul 
themselves with a scoundrel's blood. She then explains that a mock execution has been 
arranged, and instructs him to fall down when the volley is fired, and when the soldiers are 
gone they are to escape together. 

In a beautiful duet, recorded here in two parts, they rejoice in their hopes for the 

Amaro sol per te m'era il morire (The Bitterness of Death) 

By Elena Ruszcowska, Soprano, and Egidio Cunego, Tenor 

(In Italian) 88274 12-inch, $3.0O 

Trionfa di nuova speme 

By Elena Ruszcowska and Egidio Cunego (In Italian) 87O69 lO-inch. 2.OO 
The squad of soldiers now enter and the pretended execution takes place as planned ; 
the shots are fired and Mario falls as if dead. Tosca waits till the firing party is gone, whis- 
pering to her lover not to get up until the footsteps have died away. ' 'Now, Mario, all is safe, 
she cries, but is astounded that he does not obey her. She rushes to him, only to find that 
Scarpia had added another piece of treachery to his long list, having secretly ordered Mario 
to be killed. She throws herself on his body in an agony of grief. 

Spoletta and soldiers now come running in and announce the murder of Scarpia; but 
when they attempt to arrest Tosca she leaps from the castle wall and is killed. 



By Pryor's Band\ _ , . , ' 

By Pryor't BanJ( 35< 12-inch, 1.25 


|Te Deum By Giuseppe Maggi and Chorus (In Italian)} ,, . , 

IPreludio Alto III By Italian Orchestra/ 5 ' 12-inch. $1.50 

(Tosca Selection 
\ Manon Lescaut Intermezzo 

IGia mi struggea By Ernesto Badini. Baritone (In Italian)} 
Manon Lescaut Donna non vidi mat (Puccini) /45016 lO-inch, 

By Egidio Cunego, Tenor (In Italian)] 

JVissi d'arte By Maria Bronzoni, Soprano (In Italian)} 

\E lucevan le stelle By De Gregorio, Soprano (In Italian)(' 

I Tosca Tosca Dioina By Berl-Resky, Baritone (In Italian)} 
Preghiera Alia rnenle confusa (Tosti) V16745 lO-inch, 

By Gustav Berl-Resky, Baritone (In Italian) } 


lO-inch, l.OO 






(/,o/i Trah-oee-ah' -tah) 


Text by Piave, founded on Dumas' "Lady of the Camelias," but the period is changed 
to the time of Louis XIV. Score by Giuseppe Verdi. First presented in Venice, March 6, 
1853. First London production May 24, 1856. First New York production December 3, 1856. 

Characters of the Opera 

VIOLETTA VALERY, a courtesan Soprano 

FLORA, friend of Violetta Mezzo-Soprano 

ANNINA, confidante of Violetta Soprano 

ALFREDO GERMONT. (Zhermau,) lover of Violetta Tenor 

GIORGIO GERMONT, his father Baritone 

GASTONE, Viscount of Letorieres Tenor 

BARON DOUPHOL, a rival of Alfred Baritone 

DOCTOR GRENVIL, a physician Bass 

GIUSEPPE, servant to Violetta Tenor 

Chorus of Ladies and Gentlemen, friends of Violetta and Flora. 

Mute Personages: Matadors, Picadors, Gypsies, Servants, Masks, etc. 

Scene and Period : Paris and environs, about the year 1 700. 

Verdi's La Traviata is based upon a well-known play by Alexandre Dumas, La Dame 
awe camelias, familiar in its dramatic form as Camille. It is one of the most beautiful works 
of its class, and is full of lovely melodies; while the story of the unfortunate Violetta has 
caused many tears to be shed by sympathetic listeners. 

The opera met with but indifferent 
success at its first production. Several 
ludicrous incidents aroused the laughter 
of the audience, the climax being reached 
when the Violetta (Mme. Donatelli), -who 
happened to be very stout, declaimed in 
feeble accents that she was dying of con- 
sumption! This was too much for the 
Venetian sense of humor, and the house 
exploded with mirth, utterly spoiling the 
final scene. 

The opera was then revised, eight- 
eenth century costumes and settings being 
substituted for the modern ones first used ; 

and the new version was produced in various cities with suc- 
cess, the London season being particularly brilliant. 

The plot, being quite familiar, will be but briefly sketched 
here. Violetta, a courtesan of Paris, is holding a brilliant 
revel in her home. Among the guests is a "young man from 

Provence, Alfred, who is in love with Violetta, and after much persuasion, the spoiled beauty 
agrees to leave her gay life and retire with him to an humble apartment near Paris. After 
a few brief months of happiness, the lovers are discovered by Alfred's father, who pleads 
with Violetta to release his son from his promises. She yields for his sake, and resumes her 
former life in Paris. Alfred, not knowing the real cause of her desertion, seeks her out and 
publicly insults her. Too late he discovers the sacrifice Violetta has made, and when he 
returns, full of remorse, he finds her dying of consumption, and she expires in his arms. 

Prelude to Act I 

By La Scala Orchestra *68O27 12-inch, $1.25 

The prelude, .one of the loveliest bits in the opera, is played in fine style by the famous 
orchestra of La Scala. 

*Doubk-Faced Record For title of opposite side see DOUBLE-FACED LA TRA VIA TA RECORDS, page 344. 









SCENE Drawing-room in ihe House of Violetta 

A gay revel is in progress at the house of Violelta, and the act opens with a lively 
chorus, followed by a rousing drinking song, given by Alfred, in which Violetta joins. 

Libiam nei lieti calici (A Bumper We'll Drain) 

By Amelia Rizzini, Soprano; Emilio Perea, Tenor; and La Scala 

(In Italian) *62415 10-inch, $0.75 



A bumper we'll drain from 


That fresh charms to beauty is lending, 
O'er fleeting moments, so quickly ending, 
Gay pleasure alone should reign. 

the wine-cuj) 


Enjoy the hour, for rapidly 
The joys of life are flying 
Like summer flow'rets dying 
Improve them while we may! 
The present with fervor invites us. 
Its flattering call obey. 

Enjoy then the wine-cup with songs of 


That make night so cheerful and smiling, 
In this charming paradise, beguiling, 
That scarcely we heed the day. 

The dance commences, and all go into the ballroom except Violetta and Alfred, who 
remain for a charming love scene. In a beautiful duet the lovers speak of their first meeting. 

Un di felice (Rapturous Moment) 

By Marie A. Michailowa, Soprano, and A. M. Davidow, 

Tenor (In Russian) 61138 lO-inch, $1.00 

By Emma Trentini, Soprano, and Gino "Martinez-Patti. 

Tenor (In Italian) *62O67 10-inch, .75 

Alfred now bids her a tender farewell and takes his departure, and Violetta sings her 
great air, one of the most brilliant of all colorature numbers. 

Ah, fors' e lui (The One of Whom I Dreamed) 
Sempre libera (The Round of Pleasure) 

By Luisa Tetrazzini, Soprano 

By Marcella Sembrich, Soprano 

By Nellie Melba, Soprano 

By Blanche Arral, Soprano 

By Giuseppina Huguet, Soprano (Part I) 

By Giuseppina Huguet, Soprano, and Pietro Lara, Tenor 

(Part II) (In Italian) *62084 

(In Italian) 




(In Italian) 




(In Italian) 




(In French) 




(In Italian) 




10-inch, .75 

The aria occurs at the close of the act. Violetta, wonderstruck at finding herself the 
object of a pure love, begins the soliloquy, E strano, saying : 

How wondrous! 

His words deep within my heart are graven! 

No love of mortal yet hath moved me. 

Shall I dare disdain it, 

And choose the empty follies that now surround 

She then sings the plaintive air, Ah, fors' 6 lui, and gives herself up to the spell of 
awakening love : 


Ah, was it he my heart foretold, when in the 

throng of pleasure, 
Oft have I joy'd to shadow forth one whom 

alone I'd treasure. 
He who with watchful tenderness guarded my 

waning powers, 

The animated last movement follows, as the unhappy woman shakes off the illusion 
and once more vows to devote her life to pleasure. 

* Doubk-Faced Record For titk of oppo,lte tide tee DOUBLE-FA CED LA TRA VIA TA RECORDS, page 344. 


Strewing my way with flowers, 

Waking my heart to love! 

Ah, now I feel that 'tis love and love alone, 

Sole breath of all in the life, the life universal, 

Mysterious power, guiding the fate of mortals. 

Sorrow and sweetness of this poor earth. 


What folly! what folly! 
For me there's no returning! 
In ev'ry fierce and wild delight. 
I'll steep my sense and die! 

I'll ft 

the round of pleasure, 

Joying, toying from flower to flower, 


ill drain a brimming measure from the cup 
of rosy joy. 

Never weary, each dawning morrow 
Flies to bear me some new rapture 
Ever fresh delights I'll borrow, 
I will banish all annoy! 

The Victor owner has no fewer than five 

renditions of this great air to choose from and 

is likely to be embarrassed in his attempt to choose 

the best, but will probably compromise by selecting 

two or more of them. 

Melba's singing of this air, which is one of the 

supremely beautiful songs that stand out strongly 

among much that is commonplace in compositions 

of its class, is marked not only by great brilliancy, 

but by dramatic fervor, and she makes a marked 

contrast between the sadness of the prelude and 

the forced gayety of the finale. 

It is a fact worthy of note in connection with 

Melba's rendition that both portions of the aria 

(formerly issued in two parts) now are included in 

one record. 

Mme. Tetrazzini chose this opera for her first 

appearance both in London and New York, and the 

choice was an admirable one, as Verdi's work exhibits all the soprano's fine qualities 

not only her wonderful coloratura but the warmth and color which she possesses in a high 


Many operatic sopranos regard the part of Violetta merely as a background for a vocal 

display. Tetrazzini on the other hand, while not neglecting the opportunities for coloratura, 

brings to the part a human tenderness and a pathos which are most affecting. Her render- 
ing of this familiar Ah, fors e lui is a most musical one, with its astonishing feats of 
execution; and the ease with which she trills an E in alt can only be 
described as amazing. 

Mme. Sembrich in her turn fully realizes the composer's ideal in 
the presentation of this florid and ornamental air, and seldom has a 
more vital and satisfying rendition been heard than that of this mistress 
of vocal art. She sings it with such purity and mellowness of voice 
and such a brilliancy of vocalization that we can but wonder at the 
perfection of art which makes such a record possible. 

Other lower-priced, but nevertheless very fine renderings, are 
provided by Mme. Arral and Mme. Huguet these records, however, 
including only part of the air. 


SCENE Interior of a Country House near Paris 
Alfred enters and soliloquizes upon his new-found happiness. 

Three months have already flown 

Since my belov'd Violetta 

Left for me her riches and admirers. 

Yet now contented in this retreat, so quiet 

She forgets all for me. 

He then sings his Dei miei bollenli. 

Dei miei bollenti spiriti ("Wild My Dream of 


(ACT n, SCENE i) 

By Aristodemo Giorgini, Tenor 

(In Italian) 

76011 12-inch, $2.OO 



By Florcncio Constantino. Tenor 

(In Italian) 74O83 12-inch, $1.50 
By Emilio Perca, Tenor 

(In Italian) *68156 12-inch, 1.25 
By Alberto Amadi. Tenor 

(In Italian) *63314 lO-inch, .75 

Fever'd and wild my dream of youth, 

No star on high to guide me. 

She shone on me with ray benign, 

And trouble fled away! 

When low she whisper'd: "Live for me, on 

earth I love but thee," 
Ah, since that bright, that blessed day, 
In Heaven, 'mid joys celestial. 
In Heaven I seem to be! 

Alfred learns from Violetta' s faithful maid that she has been obliged 
to sell her jewels for their support. He is much ashamed and leaves for 
Paris to secure some money. 

Violetta returns and is surprised at Alfred's sudden departure. A 
visitor is announced, who proves to be Germont, the father of Alfred. He 
has been greatly distressed at his son's entanglement, and comes to beg 
Violetta to release the young man from his promises. She is much moved, 
and her bearing makes a favorable impression on Germont, especially when 
he learns that she has sold her property for Alfred's sake. 

Pura siccome un angelo (Pure as an Angel) 

By G. Battaglioli, Soprano, and Ernesto Badini, 

Baritone (In Italian) *450O1 lO-inch, $1.OO 

By Renzo Minolfi. Baritone (In Italian) *624 15 lO-inch, .75 

Non sapete (Ah, You Know Not) 

By Ernesto Badini, Baritone (In Italian) * 45028 10-inch, $1.0O 

In this air Germont pleads for his own daughter, -whose engagement to a youth of 
Provence will be broken if Alfred does not return home. Violetta at first refuses, saying 
that her love for Alfred is above all other considerations, but when Germont says : 


(ACT u, SCENE n) 

Be to my home and lov'd ones 
Our angel, good, consoling. 
Violetta, oh, consider well 

While yet there may be time. 

'Tis Heav'n itself that bids me speak, 

These words in faith sublime! 

she finally yields, agreeing to leave Alfred forever, and they sing a melodious duet: 

Dite alia giovine (Say to Thy Daughter) 

By Maria Galvany, Soprano, and Titta Ruffo, Baritone 

(In Italian) 925O3 12-inch. $4.OO 

Germont expresses his gratitude, embraces the weeping Violetta and departs, while the 
unhappy woman writes to Alfred of her decision and returns to Paris. 

When the young man returns he is driven to despair by Violella's note, and repulses 
his father, who pleads with him to return. Germont then sings his most beautiful number, 
the Di Prooenza. 

Di Provenza il mar (Thy Home in Fair Provence) 

By G. Mario Sammarco, Baritone (In Italian) 88314 12-inch, $3.OO 

By Mario Ancona, Baritone (In Italian) 87O06 lO-inch. 2.OO 

By Giuseppe Campanari, Baritone (In Italian) 81071 lO-inch, 2.OO 

By Ernesto Badini, Baritone (In Italian) *45O01 10-inch, l.OO 

In this touching appeal he asks his son to return to his home in Provence and to his 

father's heart. 

Sammarco sings the number with a wealth of tenderness and expression, revealing a 
smooth, rich and resonant baritone -which is good to hear, -while a fine rendition by Ancona 
and a popular-priced record by Badini are also offered. 

* Double-Faced Record For title of opposite, idexe DOUBLE-FACED LA TRAVIATA RECORDS, page 344. 




From fair Provence's soil and sea, 

VV'lio hath won thy hear., away? 

From thy native sunny clime, 

What strange fate caus'd thee to stray? 

Oh, remember in thy woe 

All the joy that waits for thee, 

All the peace thy heart would know, 

Only there, still found may be. 

Ah, thy father old and worn. 

What he felt thou ne'er canst know, 

In thine absence, so forlorn 

Seem'd his home, with grief and woe. 

But I find thee now again, 

If my hope doth not mislead, 

If yet honor doth remain 

With its voice not mute or dead, 

Ileav'n sends me aid! 

Alfred refuses to yield to his father's plea, 
and departs for Paris in search of Violella. 

SCENE II A Richly Furnished Salon in Flora 's 
Palace. On the Right a Gaming Table 


As the curtain rises Flora and her friends are discussing the separation of the lovers 
and Flora says she expects Violella will soon arrive with the Baron. Alfred enters, and 
remarking -with assumed indifference that he knows nothing of Violetta's whereabouts, 
begins to gamble and wins heavily. The Baron appears, accompanied by Violella, who is 
agitated at the sight of Alfred, but he pretends not to see her and challenges the Baron to 
a game, again winning large amounts. Supper is announced and all leave the room except 
Violella and Alfred, who linger behind. He charges her with her falseness, and, in 
furtherance of the promise made to Germont, she pretends to him that she loves the Baron. 
Alfred then loses all control over himself, and throwing open the doors, he calls to the guests 
to re-enter. 

Questa donna conoscete (Know Ye All This Woman ?) 

By Alberto Amadi, Tenor (In Italian) *63314 10-inch, $O.75 

Pointing to Violella, Alfred cries wildly : 


All she possess'd, ihis woman here, But there is time to purge me yet 

Hath for my love expended. From stains that shame, confound me. 

I, blindly, basely, wretchedly. Bear witness all around me 

This to accept, condescended. That here I pay the debt! 

and completes the insult by throwing at her feet the money he had just won. 

At this moment Alfred's father, Germont, enters, and is horrified at the scene which con- 
fronts him. Then follows the splendid finale, one of the greatest of Verdi's concerted 

Alfredo, di questo core (Alfred, Thou Knowest Not) 

By Giuseppina Huguet, Soprano; G. Pini-Corsi, Tenor; Ernesto 

Badini, Baritone ; and Chorus (In Italian) *58392 12-inch, $1.OO 

The emotions of the various characters are expressed by the librettist as follows : 


Oh, to what baseness thy passions have led 

To wound thus fatally one who has loved thee! 

Of scorn most worthy himself doth render 

Who wounds in anger a woman tender! 

My son, where is he? No more I see him; 

In thee, Alfred, I seek him; but in vain! 
ALFRED (aside) : 

Ah! yes, 'twas shameful! a 'deed abhorrent! 

A jealous fury love's madd'ninR torrent. 

But now that fury is all expended, 

Remorse and horror to me remain. 


This shameful insult against this lady 
Offends all present; behold me ready 
To punish the outrage! 
YIOLETTA (reviving) : 

Ah, lov'd Alfredo, this heart's devotion 
Thou canst not fathom yet its fond emotion! 
When, hereafter the truth comes o'er thee 
May Heaven in pity then spare thee remorse ! 
(Germont goes otit srpporting Alfred, who is 
almost in a state of collapse. The fainting 
Violetta is led aivav by her friends, and the 
guests begin to disperse as the curtain falls.) 

* Double-Faced Record For title of opposite iidexe DOUBLE-FACED LA TRAVIATA RECORDS. page344. 



( Violclla 's apartment. She is asleep on the couch, while her maid dozes by the fire) 
As the curtain rises the doctor's knock is heard, and Dr. Grenoil, Violtila 's physician, 
enters and attends his patient, afterwards telling the maid that she has not long to live. 
Left alone, Violctta reads again a letter she has received from Germont. 

" Thou hast kept thy promise. The duel took place and the Baron was wounded, but is 
improving. Alfredo is in foreign countries. Your sacrifice has been revealed to him by me, and he 
will return to you for pardon. Haste to recover; thou deservelh a bright future. " 

Georgio Germont 
"Alas, it is too late," she exclaims, and sings her beautiful and pathetic "Farewell." 

Addio del passato (Farewell to the Bright Visions) 

By Alice Nielsen, Soprano (In Italian) 64O68 lO-inch, $1.0O 

By Marie Michailowa, Soprano (In Russian) 61178 10-inch, l.OO 


Fare-well to the bright visions I once fondly Pity the stray one, and send her consolation, 

cherish'd, Oh, pardon her transgressions, and send her 

Already the roses that deck'd me have per- salvation. 

ish'd; . The sorrows and enjoyments of life will soon 

The love of Alfredo is lost, past regaining, be over, 

That /frheer'd me when fainting, my spirit sus- The dark tomb in oblivion this mortal form 

taining. will cover! 

Alfred now enters, filled with remorse, and asks forgiveness, which is freely granted ; 
and Violetta, forgetting her illness, plans with Alfred to leave Paris forever. They sing this 
melodious duet, "Gay Paris We'll Leave With Gladness." 

Parigi o cara (Far from Gay Paris) 

By Alice Nielsen and Florencio Constantino (Italian) 74O75 12-inch, $1.5O 

By Amelia Rizzini. Soprano, and Emilio Perea, Tenor *62067 10-inch, .75 

At the close of the duet Violetta's overtaxed strength gives way, and she collapses in her 

lover's arms. He notices for the first time her paleness, and is much alarmed, sending the 

maid to call the doctor. Dr. Grenoil soon enters, accompanied by Germont, and after an 

affecting scene, in which Germont blames himself for all that has occurred, Violelia expires, 

and the curtain falls on a sorrowful tableau. 

/Prelude By La Scala Orchestral , Rn ,_ . , . , *, -,< 

I L'jlfricana Marcia Indiana By La Scala Orc/ias/raf 12-"ch. $1.23 

jTraviata Selection By Pryor's BandU, ft _, _ . , , 

\Ttcti- D D D j(35O76 12-inch, 1.25 

1 rovatore Selection tfy rryor s Hand) 

/Alfredo, di questo core By Huguet, Pini-Corsi and Badini\,. go _ o ._ . ^ . $ 
\ Ruy Bias O dolce volulla By Qrisi and Lara (In Italian]) 

/Dei miei bollente (Wild My Dream) By Perea (In Italian)} ^ 815() 12 _i nc h 125 
| Emani Ferma crudele By Bernacchi, Colazza and de Luna) 

/Non sapete (Ah, You Know Not) By Ernesto Badini | . An ~ a , n t , nn 

\ \/i /- r> /-> u ft 1,1- xJ45O2o lO-mcn, l.OO 

Manon (javolta ay (jiuseppma Huguet (In Italian)} 

/Di Provenza il mar By Ernesto Badini (In Italian)\ ^, rtr ., , ~ u i nn 

>r <TTI-I- j r j- /? F* i. (J-45OO1 lO-mcn, l.OO 

IPura siccome un angelo By Battaghou and Badini (In Italian)) 

/Ah, fors* e lui By Giuseppina Huguet ( In Italian) \,^ no . , n . __ _* 

>c i-t- T> u j t 1 1 i, i- (J62O84 lO-inch, .75 

loempre hbera By Huguet and Lara (In Italian)) 

[Un di felice, eterea ByTrentini and Martinez-Patti 

! Parigi o cara By Amelia Rizzini, Soprano, and 62O67 lO-inch. .75 

Emilio Perea, Tenor (In Italian) 

IPura siccome un angelo By Renzo Minolfi (In Italian)] 

Libiam nei lieti calici (A Bumper "We'll Drain) 62415 10-inch, .75 

By Rizzini, Perea and Chorus (In Italian)) 

/Dei miei bollenti spiriti By Alberto Amadi (In Italian)\^^^ . lO-inch 75 

(Questadonna conoscete By Alberto Amadi (In Italian)) 

* Double-Faced Record For tilk of opposite side tee abooe lisl. 



(German) (Italian) 


(.Tris -tahn oondt Ees-sof -deh) (Trees-tah 1 -noh ay Ees-sof -tah) 


(Tris-lan and Iss-of -dih) 


Words and music by Richard Wagner, the plot being derived from an old Celtic poem 
of the same name, -written by Gottfried of Strasburg, who flourished in the thirteenth 
century though Wagner has changed the narrative sufficiently to make it his own. Tristan 
is one of the most popular of legendary heroes and has been treated of by numerous 
writers, among them Tennyson, Matthew Arnold and Swinburne. 

Wagner's Tristan und Isolde was first presented in Munich, June 10, 1865. First London 
production June 20, 1882. First American performance in New York, December 1, 1885. 



TRISTAN, a Cornish knight, nephew of King Mark. .Tenor 

KING MARK of Cornwall Bass 

ISOLDE, Princess of Ireland Soprano 

KURVENAL, Tristan's devoted servant Baritone 

MELOT, (May -/o<) one of King Mark's courtiers. . . .Tenor 
BRANGANE, (Bran-gay -neh) Isolde's friend and 

attendant Soprano 




Chorus of Sailors, Knights, Esquires and Men-at-Arms. 

W;;J JF 

MUNICH, 1865 

Although completed in 1859, Tristan was not produced 
until six years later. Through the strenuous efforts of King 
Ludwig II of Bavaria, it was ultimately brought out in 
Munich with distinct artistic success Schnorr, the tenor, 
scoring brilliantly in the role of Tristan. Previous to this 
time, however, it had been underlined for performance in 
Vienna, but was abandoned after fifty-seven rehearsals. 

The opera did not find its way to America until it was 

more than twenty years old, but since that time 
has grown steadily in popularity. Some notable 
productions occurred in 1895 with Sucher, Alvary, 
Brema and Fischer; in 1896 with the De Reszkes, 
Nordica and Brema; in 1901 with Ternina and 
Van Dyke; and in 1910 with Fremstad, Knote, 
Homer and Van Rooy, this being Gustave Mah- 
ler's American debut as a conductor. 

This great drama of love and hatred, with 
its wonderful music, is now quite generally ad- 
mitted to be the finest of the master's operas. 
Written at the time of Wagner's own love affair 
(with Mathilda Wesendonck), it is supposed that 
he sought to emphasize the fact that love cannot 
always be bound by conventions. 

This wonderful tragedy of love and fate re- 
quires for its adequate production artists who can- 
not only act with intelligence, but who are able to 
make the music itself express the tremendous 
tide of human passion, from fiercest hate to fiercest 
love, which sweeps through the opera. Such an 
artist is Gadski, whose Isolde is one of the great- 
est impersonations of recent years. She is in 
every way the embodiment of Wagner's heroine, 
and sings this wonderful music with great skill, 
making it express in turn tenderness, disdain, 
scorn and passion. 

Two numbers from the opera have been sung for the Victor by Mme. Gadski, and will 
be considered in their proper places in the story briefly sketched here. 

Tristan, a Cornish knight, has a quarrel with Morold, 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, Isolde. Tristan himself had 
received a dangerous wound which fails to heal, and he resolves to assume the name of 
Tantris and seek the assistance of Isolde, who is famed for her knowledge of the art of heal- 
ing. Isolde, however, recognizes him by a notch in his sword, which fits exactly a piece of 
metal she had extracted from the head of Morold. She plans to kill him, but falls in 
love instead, while he merely sees in her a good wife for his uncle, King Mark- 




Preludio (Prelude) 

By La Scala Orchestra 

682 1O 12-inch, 11.25 

The first act shows the deck of the ship which is conveying Isolde 
and Tristan to Cornwall, she having accepted King Mark's proposal, 
made through his nephew. During the voyage, however, the refusal 
of Tristan to see her, the exultation of the sailors over the killing of 
Morold (which freed Cornwall from its subjection to Isolde's royal 
father), and detestation of the loveless marriage she is about to con- 
tract, infuriate the Princess, and she resolves to die and drag Tristan 
down to death with her. She tells Tristan she is aware of his crime 
in killing her lover, and demands vengeance. He admits her right 
to kill him and offers his sword, but she bids her maid, Brangdne, 
prepare two cups of poison from her casket. Brangdne, unwilling to 
see her mistress die, secretly substitutes 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 approaches the shore and the King 
arrives to claim his bride. 

Act II takes place in the garden outside Isolde's chamber. 
The King has gone on a hunting expedition, but Brangdne fears that 
it is merely a ruse, and thinks the King's courtier, Melot, suspects 

the true state of affairs. Brangdne then confesses that she intentionally substituted the philtre 

for the poisoned cup intended for Tristan. 



Had I been deaf and blind. 

Thy work were then thy death! 

But thy distress. 

Thy distraction of grief. 

My work has contrived them, 

I own it! 

Fatal folly! 

The fell pow'r of that potion! 
That I framed 
A fraud for once 
Thy orders to oppose! 

This confession meets with but faint reproaches from Isolde, who gives herself up 
wholly to the intoxication of the potion, and sings with growing exaltation : 

Dein Werk (Thy Act) 

By Johanna Gadski. Soprano 

(In German) 88165 12-inch, $3.00 

Thy act? 

foolish girl! 

Love's goddess dost thou not know ? 
The witch whose will the world obeys; 
Life and death she holds in her hands, 
She waketh hate into love! 
The work of death 

1 took into my own hands; 
Love's goddess saw 

And g^ave her good commands. 

Planning our fate in her own way. 

How she may bend it, how she may end it, 

Still hers am I solely; 

\Yhat she may make me. whereso'er take me 

So let me obey her wholly! 

Refusing to heed Brangdne's warning, Isolde gives 
the signal for Tristan's coming by extinguishing the 
torch. He appears, and a long love scene ensues, inter- 
rupted by the return of the King, who surprises the 
lovers in a fond embrace. Mark bitterly reproaches 
his nephew, and Melot, shouting " treason," stabs Tristan, 
inflicting a fatal wound. 

The third act shows Tristan dying of the wound at his castle in Bretagne, whither he 
has been carried by his faithful servant, Kuroenal, who has sent for Isolde, knowing that 
she alone can cure his master's wound by means of her healing arts. 

Despairing of her coming, Tristan in his delirium tears off his bandages and is at the 
point of death when Isolde arrives, and dies in her arms. King Mark and his courtiers, 
closely pursuing Isolde, now arrive and are attacked by Kunenal, who kills Melot and is 
himself slain by Mark's soldiers. Mark, seeing Tristan dead and Isolde senseless on his 




body, repents his rage and gives way to grief. Isolde revives, 
and when she realizes that Tristan is dead, her grief bursts forth 
in the heartrending Love-Death motive: 


Then she sings this wondrous death song, so full of touching 
sadness and inexpressible sweetness, and expires upon the body 
of Tristan. 

Isolde's Liebestod (Isolde's Love-Death) 

By Johanna Gadski, Soprano 

(In German) 88O58 12-inch, $3.00 
By La Scala Orchestra (Double-faced See below) 

68210 12-inch, 1.25 




ISOLDE (unconscious of all around her, 
turning her eyes with rising inspira- 
tion on Tristan's body) : 
Mild and softly he is smiling; 
How his eyelids sweetly open ! 
See, oh comrades, see you not 
How he beameth ever brighter 
How he rises ever radiant 
Steeped in starlight, borne above? 
See you not how his heart 
With lion zest, calmly happy 
Beats in his breast? 
From his lips in Heavenly rest, 
Sweetest breath he softly sends. 
Harken, friends! 
Hear and feel ye not? 
Is it I alone am hearing 
Strains so tender and endearing? 
Passion swelling, all things tellinp. 
Gently bounding, from him sounding, 
In me pushes, upward rushes 
Trumpet tone that round me gushes. 
Brighter growing, o'er me flowing, 
Are these breezes airy pillows? 
Are they balmy beauteous billows? 
How they rise and gleam and glisten! 
Shall I breathe them? Shall I listen? 
Shall I sip them, dive within them? 
To my panting breathing win them? 
In the breezes around, in the har- 
mony sound. 
In the world's driving whirlwind be 


And, sinking, be drinking 
In a kiss, highest bliss! 
(Isolde sinks, as if transfigured, in 
Brangane's arms upon Tristan's 
body. Profound emotion and grief 
of the bystanders. Mark invokes 
a blessing on the dead. Curtain.) 



[Isolde's Love-Death 

By La Scala Orchestral, ao n 
By La Scala Orchestra/ 68210 

. , .. _, 
-' nch ' $1 ' 25 






(Eel Troh-oa-toh! -reh) 



Words by Salvatore Cammanaro, the story being suggested by a Spanish drama of the 
same name. Music by Giuseppe Verdi. Produced at the Teatro Apollo, Rome, January 19, 
1853; at the Theatre des Italiens, Paris, December 23, 1854; at the Optra, Paris, as 
Le Trouvere, January 12, 1857; at Covent Garden, London, May 17, 1885; in English as The 
Gypsy's Vengeance, Drury Lane, March 24, 1856. First New York production May 17, 1855. 


LEONORA, (/-ee-oA-noA'-raA) a noble lady of theCourt of an Aragon Princess . . Soprano 

AZUCENA, (Ahz-you-sau -nah) a wandering Biscayan gypsy Mezzo-Soprano 

INEZ, (Ee'-nez) attendant of Leonora Soprano 

MANRICO, (Man-tee -koh) a young chieftain under the Prince of Biscay, 

of mysterious birth, and in reality a brother of Count di Luna Tenor 

COUNT Dl LUNA, (dee Loo' -nah) a powerful young noble of the Prince 

of Arragon Baritone 

FERRANDO, a captain of the guard and under di Luna Bass 

RUIZ, a soldier in Manrico's service Tenor 

AN OLD GYPSY Baritone 

Also a Messenger, a Jailer, Soldiers, Nuns, Gypsies, Attendants, etc. 

Scene and Period : Biscay and Aragon ; fifteenth century. 


SCENE I Vestibule in Aliaferia Palace 

As befits a tragic -work, // Trooatore opens in an atmosphere of romance and mystery. 
The retainers of Count di Luna await the arrival of their master, and to beguile the time Fcr- 
rando relates the history of the Count's childhood and the loss of his brother. 



Abbietta zingara (Swarthy and Threatening) 

By Torres de Luna, Bass, and La Scala Chorus 

(In Italian) *62416 lO-inch, $0.75 

The brother, as an infant, came under the evil eye of a witch, who was seized and con- 
demned to the stake. This witch had a daughter, who determined to avenge her mother's 
fate, with the result that the Count's younger son disappeared ; and after the witch's burning 
there was discovered upon the pile of charred embers the bones of a child. This story is 
told in the Abbietta to a fierce rhythmical tune, expressing all shades of horror. 

Horror profound seized the nurse at that 

dark vision; 

And the dark intruder was soon expelled. 
Soon they found the child was failing, 
Coming darkness appall'd him, 
The hag's dark spell enthrall'd him! 
(All appear horrified.) 

Sought they the gypsy, on all sides turning, 
Seiz'd and condemn'd her to death by burning. 
One child, accursed, left she remaining, 


With two sons, heirs of fortune and affection, 
Liv'd the Count in enjoyment; 
Watching the younger for his safe protection 
A good nurse found employment. 

Quick to avenge her, no means disdaining. 
Thus she accomplished her dark retribution ! 
Lost was the Count's child; search unavailing; 
But on the site of the hag's execution 
They found, 'mid the embers, 
The bones of a young infant, 
Half consumed and burning! 

One morning, as the dawn's first rays were 


From her pillow she rose, 
Whro was found, think ye, near the child 


Sat there a gypsy-hag, witch-like appearing; 
Of her dark mysteries, strange symbols 

O'er the babe sleeping with fierce looks 

Gaz'd she upon him, black deeds intending! 

In the second part Ferrando concludes his narrative, which is mingled -with the comments 
of the listeners, who tell of the reputed appearance of the witch in ghostly shape. 

Suir orlo dei tetti (As a Vampire You May See Her) 

By Torres de Luna, Bass, and La Scala Chorus 

(Inltalian) *16655 10-inch, $0.75 

To the voice of the narrator is added the awe-stricken whispers of the chorus, which 
afterwards swell into a cry 
of fierce denunciation. The 
foreboding bell and an instru- 
mental diminuendo complete 
the picture, which makes a 
fitting conclusion to a grue- 
some story. 

The clock strikes twelve, 
and with cries of "Cursed be 
the \vitch infernal ! " the retain- 
ers disperse. 

SCENE II The Gardens of the 


The fair Leonora now ap- 
pears with her faithful com- 
panion, Inez. She confides to 
Inez her interest in the un- 
known knight whom she had 
first seen at the Tournament, 
and sings her first number. 

Tacea la notte placida (My Heart is His Alone; 

By Celestina Boninsegna, Soprano (Inltalian) 92026 12-inch, $3.OO 

By Gina Viafora. Soprano (Inltalian) 74116 12-inch, 1.5O 

By Lucia Crestani, Soprano (Inltalian) *16655 10-inch, .75 

In this wistful air, so unlike the weird music preceding it, she speaks of the Troubadour 
who serenades her nightly, and of the feelings which have been inspired in her breast by his 


* Double-Faced Record For title of opposite side see DOUBLE-FACED IL TROVA TORE RECORDS, page 360. 




How calm, how placid, was the night! 
The cloudless sky, how clear, how bright! 
The moon in splendor shed her light. 
And all was hushed in peace around! 
Suddenly, on the midnight air, 

In tones so sweet and thrilling, 
Breathing to Ileav'n an earnest pray'r, 
My hca_rt with deep joy filling, 
oft heard 1 

I heard a voice oft heard before. 
My long-loved knightly Troubadour! 

The ladies go into the house just as the Count, who is also wooing the fair Leonora, ap- 
pears to watch under her window. He has barely taken his station when the lovely song 
of the Troubadour is heard : 

Deserto sulla terra (Naught on Earth is Left Me) 

By Carlo Albani, Tenor (In Italian) 64O81 10-inch, $1.OO 

By Nicola Zerola, Tenor (In Italian) 64172 10-inch, l.OO 

In this beautiful serenade, one of the gems of the opera, the Trouba- 
dour sings of his lonely life and the one hope that remains to him. 

Lonely on earth abiding, 

Warring 'gainst fate's cruel chiding, 

Hope doth one heart implore, 

To love the 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 (Now My Vengeance) 

By Antonio Paoli, Tenor ; Clara Joanna, Soprano; Francesco 

Cigada. Baritone (In Italian) 91O82 lO-inch, 52.OO 

By Maria Bernacchi, Soprano; Luigi Colazza.Tenor ; Ernesto 

Caronna, Baritone (In Italian) *16808 lO-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 
which inspires the rivals, and after the powerful and exciting trio they 
rush out with drawn swords, while Leonora falls senseless. 


SCENE I -A Gypsy Camp in the Biscay Mountains 

We are now in the gypsy encampment at early morning, as the shad- 
ows of night are passing away before the dawn. The men are beginning 

ZEROLA AS MANRICO i /I -I /"!. ..U L *L ' 

work, and in this, the famous AnOil Lnorus, they hammer as they sing. 

La zingarella (Anvil Chorus) 

By La Scala Chorus In Italian) 

By Victor Male Chorus (In English) 

By Victor Orchestra 

The swinging tune is accompanied by the ring of blows on the anvil, and the rough 
voices of the men and the sound of the hammers make a truly impressive musical picture. 

*62418 lO-inch, $0.75 
1258 10-inch. .60 
2146 10-inch, .60 


See how the shadows of night are flying! 

Morn breaketh, Heav'n's glorious arch un- 

Like a young widow, who, weary of sighing. 

Lays by her garments of sorrow and wailing. 

Rouse up. to labor! 

Take each his hammer. 

Who makes the gypsy's, a life with pleasure 


Who makes the gypsy's, a life with pleasure 

laden, who? 

The gypsy maiden! 

See how the sunlight, radiantly glowing, 

Horrows new beams from our wine cups o'er- 

Resume our labor! Take each his hammer! 

Who makes the gypsy's life, etc. 

*Doubk-FaceJ Record Fortilk of opftoiite tide 



Robed in dark garments, ungirt, unsandal'd; 

Fierce cries of vengeance from that dark crowd 

Echo repeats them from mountain to moun- 

O'er them reflecting, with wild, unearthly 

Dark wreaths of flame curl, ascending to 


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 vampa (Fierce Flames Are Soaring) 

By Louise Homer, Contralto 

(In Italian) 87O33 lO-inch, $2.00 
By Jeanne Gerville-Reache, 

Contralto (In Italian) 87065 lO-inch, 2.0O 
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- 

By guards surrounded forth comes a woman ! 

While, o'er them shining, with wild, unearthly 

Dark wreaths of flame curl, ascending to 

Upward the flames roll! on comes the victim 
still ; 

The two renditions of this thrilling air, by Mme. Homer and Mme. Gerville-R6ache, are 
most dramatic and impressive ones ; -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 ell'era in ceppi (In Chains to Her Doom They Dragged 

By Lina "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 gypsy, -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. 

Mai reggendo all'aspro assalto (At My Mercy Lay the Foe) 

By Louise Homer, Contralto, and Enrico Caruso, Tenor 

(In Italian) 89049 12-inch, $4.00 
By Clotilde Esposito, Contralto, and Luigi Colazza, Tenor 

(In Italian) *1655O 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 

* Doulle-Faced Record For title of opposite side nee DOUBLE-FACED 1L TROVATORE RECORDS, pages 
359 and 360. 




bold martial air, the gypsy's 
incitements to vengeance be- 
ing heard at the same time, 
leading to the vigorous climax 
of the duet. 

SCENE II The Cloisters of a 


In this scene we return 
to the fortunes of the Count 
and Leonora. She, believing 
the Troubadour to have been 
killed, presumably in a recent 
duel with his rival, has deter- 
mined to enter a convent. Di 
Luna appears in front of the 
convent with the intention of 
carrying her away before the 
ceremony shall have taken 
place, and sings his famous 
air, "11 balen." 

II balen del suo sorriso (The Tempest of the Heart) 

By Emilio de Gogorza. Baritone (In Italian) 88175 12-inch, $3.OO 

By Francesco Cigada. Baritone (In Italian) *16812 10-inch. .75 

By Alan Turner, Baritone (In English) * 16521 lO-inch. .75 

This solo almost wins the Count our sympathy, in spite of ourselves, so genuine and heart- 
felt an expression of the tender passion it is. 


Of her smile, the radiant 


Ah! this love within me burning. 

More than words shall plead on my part, 
Her bright glances on me turning, 

Calm the tempest in my heart! 

)l ner smile, the radiant gleaming 

Pales the starlight's brightest reflection, 
While her face with beauty beaming. 

Brings me fresh ardor, lends to my affection. 

The convent bell is heard tolling as a signal for the final rites which make Leonora a 
nun. The Count, in a burst of passion, declares they must seize her before she reaches the 

Per me ora fatale (This Passion That Inspires "Me) 

By Ernesto Caronna. Baritone (In Italian) *16814 

This declaration is expressed in a vigorous air. 

lO-inch, $O.75 

COUNT (furiously): 

Oh, hour of fate to me. 
Hasten thy lagging moments. 
The joy that I anticipate 
Is of more than mortal worth! 

No rival can I have; 
No one dare my love to thwart! 
For me hath fate design'd her, 
And to me she shall belong! 

They conceal themselves among the trees as the chant of the nuns is heard. 

Ah ! se Terror t'ingombra ('Mid the Shades of Error) 

By Francesco Cigada, Baritone, and La Scala Chorus 

(In Italian) *1655O lO-inch. $O.75 

They sing of the coming retirement of Leonora from the world, while from their place 
of concealment the Count and his retainers speak of their coming triumph. 


Ah! when the shades of night, 

Oh, daughter of Eve, shall close on thee, 

Then wilt thou know that life 

Is but a shadow, a fleeting dream; 

Yes, like the passing of a shadow 

Are all our earthly hopes! 

Come, then, and let this mystic veil 
From human eye enshroud thee; 
Hence let care and worldly thought 
For evermore be banish'd. 
To Heaven now turn thee, and Heaven 
Will open to receive thee! 

* Doublc-FauJ Record For title ofopfoMc side ** DOUBLE-FACED IL TROVA TORE RECORDS. t>age360. 




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 me. 

If once these arms enclose thee, 

No power in heav'n or earth, 

No pow'r shall tear thee from me! 

How bold! 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 di 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 deggio e posso crederlo (Oh, Blessed 

By Maria Grisi, Soprano ; Rerno Sangiorgi, Tenor ; 
Francesco Cigada, Baritone ; La Scala Chorus 

(In Italian) *35176 12-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's followers. 


SCENE I The Camp of di Luna 

Squilli echeggi la tromba (Soldiers' Chorus) 

By New York Grand Opera Chorus (In Italian) 

Act III opens with the chorus of di 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. 

Giorni poveri vivea (In Despair I Seek My Son) 

By Ida Mamelli, Soprano ; Renzo Minolfi, Baritone ; Cesare Preve, 

Baritone; La Scala Chorus (In Italian) *35177 12-inch, $1.25 

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. The gypsy's pleading, the Count's threatening anger and triumph, 
with the accompanying chorus, combine to make a moving and dramatic ensemble. 

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 fare-well to his beloved ere he departs to repel his rival's 

Ah, si ben mio (The Vows We Fondly Plighted) 

By Enrico Caruso, Tenor (In Italian) 88121 12-inch, $3.OO 

By Charles Dalmores, Tenor (In Italian) 85123 12-inch. 3.OO 

By Giorgio Malesci, Tenor (In Italian) *168O9 ID-inch, .75 

* Double-FaceJ Record For title of opposite side see DOUBLE-FACED IL TROVATORE RECORDS, pages 
359 and360. 



64050 10-inch, $1.0O 




This beautiful lyrical number is a delightful relief after so 
much that is forcible and dramatic. 


Tis love, sublime emotion, at such a moment 

Hids thy heart still be hopeful. 

Ah! love; how blest our life will be 

Our fond desires attaining. 

My soul shall win fresh ardor, 

My arm new courage gaining. 

Hut, if, upon the fatal page 

Of destiny impending, 

I'm doom'd among the slain to fall, 

'Gainst hostile arms contending, 

In life's last hour, with fainting breath, 

My thoughts will turn to thee. 

Preceding thee to Heaven, will death 

Alone appear to me! 

Quietness soon departs, for the news comes that the attacking 
party have captured Azucena, and are piling up faggots around 
the stake at -which she is to be burnt. Maddened at the approach- 
ing outrage upon one whom he believes to be his mother, Mahrico 
prepares to rush to her assistance. The air with chorus which 
forms the climax to this scene is full of martial fire. 

Di quella pira (Tremble Ye Tyrants) 

By Francesco Tamagno. Tenor 

(In Italian) 95OO6 10-inch, $5.0O 
By Antonio Paoli, Tenor, and La Scala 


(In Italian) 

By Enrico Caruso, Tenor (In Italian) 

By Nicola Zerola. Tenor (In Italian) 

By Giovanni Vails, Tenor, and La Scala Chorus 

(In Italian) 




* 16809 10-inch, .75 

It is led up to by a very powerful introductory passage, and the high notes at the end, 
delivered in robust tones, never fail of their effect. 


Ah! sight of horror! See that pile blazing 
Demons of fury round it stand gazing! 
Madness inspiring, Hate now is raging 
Tremble, for vengeance on you shall fall. 

Oh! mother dearest, though love may claim me, 
Danger, too, threaten, yet will I save thee; 
From flames consuming thy form shall snatch'd be, 
Or with thee, mother, I too will fall! 

Caruso's singing of this number is absolutely electrifying in its effect on the listener, 
the two famous high C's being easily taken and with the full power of his great voice. 

Tamagno's Manrico was a 
figure of noble proportions, 
and he endowed it with all his 
splendid vitality. Such a high 
C had never before been 
heard, and it electrified the 
audiences. The record of Di 
quella pira is a faithful repro- 
duction of the great singer's 
rendition of the famous aria. 
Paoli, the famous Milan 
tenor, also gives a vigorous 
performance of this great 

Other fine renditions, at a 
lower price, are given by 
Zerola and by Signer Vails, 
assisted by La Scala Chorus. 

* Douok-Faced Record For title of opposite side ice DOUBLE-FACED IL TROVA TORE RECORDS. page360. 




SCENE I Exterior of the Palace of Aliaferia 

The last act brings us outside the palace of Aliaferia, -wherein Manrico, defeated by 
di Luna 's men, and the gyspy, are confined in the dungeons. Hither Leonora has wended her 
way to be near her lover, and she now sings the plaintive D'amor. 

D'amor sull* ali rosee (Love, Fly on Rosy Pinions) 

By Lucia Crestani, Soprano (In Italian) *1681O 10-inch, $O.75 

This sad but melodious air reveals her heartfelt grief for the sorrows which she cannot 


In this dark hour of midnight Console his spirit failing. 

I hover round thee, my love! Let hope's soft whispers wreathing 

Ye moaning breezes round me playing, Around him, comfort breathing, 

In pity aid me, my sighs to him conveying! Recall to his fond remembrance 

On rosy wings of love depart, Sweet visions of his love; 

Bearing my heart's sad wailing, But, let no accent reveal to him 

Visit the prisoner's lonely cell, The sorrows, the griefs my heart doth move! 

And now comes Verdi's most famous operatic scene, the great Miserere. 

Miserere (I Have Sighed to Rest Me) 

By Enrico Caruso, Tenor: Frances Alda, Soprano; 

Chorus of the "Metropolitan Opera (In Italian) 89O30 12-inch, $4.OO 

By Ida Giacomelli, Soprano ; Gino Martinez-Patti, 

Tenor; La Scala Chorus (In Italian) 58366 12-inch, l.OO 

By Elise Stevenson, Soprano; Harry Macdonough, 

Tenor; Victor Male Chorus (In English) 31703 12-inch, l.OO 

By Elise Stevenson, Soprano; Harry Macdonough, 

Tenor; Victor Male Chorus (In English) *16013 10-inch, ,75 

By Arthur Pryor and Emile Keneke (Trombone-Cornet) *16371 10-inch, .75 

By "Walter Rogers and Arthur Pryor (Cor net- Trombone) *16794 10-inch, .75 

By Walter Rogers and Arthur Pryor (Cor net- Trombone) 4513 10-inch, .60 

Leonora is terror-stricken at the solemn tolling of a deep-toned bell and the mournful 

chorus of priests chanting for the soul of a doomed prisoner. 


Pray that peace may attend a soul departing, 
Whither no care or thought of earth can 


Heav'nly mercy allays the pangs of parting, 
Look up beyond this life's delusions hollow. 

Then follows an impressive series of chords in the 
orchestra, leading to a sobbing lament of Leonora. 


What voices of terror! For whom are they 

With omens of fear unknown, they darken 

the air, 

New horrors assail me, my senses are straying, 
My vision is dim, is it death that is near? 

In upon this there breaks the beautiful air of the 
Troubadour, sung within the prison, followed by a joyful 
cry of devotion from his beloved. 


Ah! I have sighed to rest me; deep in the 

quiet grave 
CAMPANINI AS MANRICO Sighed to rest me, but all in vain I crave. 

Oh fare thee well, my Leonora, fare thee well! 

These fragments, first given separately, are next combined and heard together, forming 
a most impressive scene of touching beauty, for which the opera of // Trovatore will ever be 

* Double-Faced Record For title of opposite side see DOUBLE-FA CED IL TROVA TORE RECORDS, page 360. 



The entrance of di Luna brings from Leonora a prayer for mercy for the prisoner. The 
appeal is unheeded, or rather it appears to increase the triumph which belongs to the Count's 
vengeance. The appeal of the unhappy woman and the fierce joy of the gratified noble are 
powerfully expressed in this magnificent duet. 

Mira d'acerbe lagrime (Oh, Let My Tears Implore Thee) 

By Emma Eatnes, Soprano, and Emilio de Gogorza. Baritone 

(In Italian) 89O22 12-inch, $4.00 
By Celestina Boninsegna, Soprano, and Francesco Cigada. Baritone 

(In Italian) 91077 10-inch. 2.00 
By Maria Bernacchi. Soprano, and Ernesto Caronna. Tenor 

(In Italian) "16810 lO-inch. .75 

In the extremity of despair, Leonora makes one last effort. If the Count will spare the 
one she loves, she will consent to become di Luna's wife. She swears to perform her 
promise, at the same time intending to take poison as soon as Manrico is free. Di Luna 's 
wrath is now changed into joy, -while Leonora, forgetting her own fate, is filled with happiness 
at the thought of the Troubadour's release. This situation gives opportunity for another 
wonderful duet of a most thrilling character. 

Vivra ! Contende il giubilo (Oh, Joy, He f s Saved) 

By Celestina Boninsegna, Soprano, and Francesco Cigada, Baritone 

(In Italian) 91O71 lO-inch. $2.00 
By Angela de Angelis, Soprano, and Francesco Cigada. Baritone 

(In Italian) *16811 10-inch. .75 

In this number the Count expresses his rapture at the success of his conquest, while 
Leonora exclaims, aside : " Thou shall possess but a lifeless bride." As the scene changes 
they enter the tower to secure the release of Manrico. 

SCENE II The Prison Cell of Manrico 

Yet a third duet the famous Home to Our Mountains. The scene has changed to the 
prison interior, where Azucena and Manrico are together, and the gypsy, with the second- 
sight of her race, predicts her approaching end. 

Ai nostri monti (Home to Our Mountains) 

By Louise Homer, Contralto, and Enrico Caruso, Tenor 

(In Italian) 89O18 12-inch, $4.00 
By Corinne Morgan, Contralto, and Harry Macdonough, Tenor 

(In English) *35118 12-inch, 1.25 
By Corinne Morgan, Contralto, and Harry Macdonough, Tenor 

(In English) 31555 12-inch, l.OO 
By Clotilde Esposito, Soprano, and Luigi Colazza, Tenor 

(In Italian) * 168 11 lO-inch, .75 
By Corinne Morgan. Contralto, and Harry Macdonough, Tenor 

(In English) *164O7 lO-inch, .75 

This familiar duet is considered by many to be the gem of Verdi's opera, and especially 
when given by such artists as Caruso and Homer, it is doubly enjoyable. 

Manrico is watching over the couch of Azucena, whose strength is exhausted, and who 
is full of vague terrors ; and he endeavors to soothe her fears. 


If any love remains in thy bosom, Yes, I am grief-worn and fain would rest me. 

If thou art yet my mother, oh, hear me! But more than grief have sad dreams 

Seek thy terrors to number, oppressed me; 

And gain repose from thy sorrows in soothing Should that dread vision rise in slumber 

slumber. Rouse me! its horrors may then depart. 

Rest thee, oh mother! I'll watch o'er thee, 
Sleep may restore sweet peace to thy heart. 

A fierce and avenging gypsy no longer, but a broken woman whose consuming passions 
of remorse and revenge have died away, she dreams of the happy days gone by. 

* Doublc-Faced Record For title of opposite side see DOUBLE-FACED IL TROVATORE RECORDS, pages 
359 and 360. 



AZUCENA (dreaming) : Home to our mountains, let us return, love, 

There in thy young days peace had its reign: 
There shall thy song fall on my slumbers. 
There shall thy lute, make me joyous again. 
MAN Kim: Rest thee, my mother, kneeling beside thee, 

I will pour forth my troubadour lay. 
AZUCENA: O sing and wake now thy sweet lute's soft 

Lull me to rest, charm my sorrows away. 

BOTH: Lull | t ^J| jto rest! 

Caruso sings this beautiful scene -with that tenderness of voice which he can assume 
when he will; while Mme. Homer delivers Azucena's music with exceptional purity and 
charm. Altogether one of the most beautiful records in the Red Seal List. 

Matters now move swiftly to a climax. Leonora arrives on the scene, bringing Manrico 
the news of his freedom. The joy of meeting is all too soon destroyed when the prisoner 
finds his liberty to have been purchased at the cost of a happiness which is to him dearer 
than life itself. He accuses Leonora of betraying his love. 

Ha quest' infame (Thou Hast Sold Thyself) 

By Ida Giacomelli, Soprano; Lina Mileri, Contralto; Gino 

Martinez-Patti, Tenor (In Italian) *35177 12-inch, $1.25 

Here Azucena, who cares nothing for his passion, counsels flight. This gives the ele- 
ments of the closing trio : Manrico 's reproaches, Leonora 's ineffectual protestations, and the 
gypsy's voice through all, singing dreamily of her mountain home. With these mingled 
voices dying away into soft peaceful harmonies the musical portion of the opera draws to a 


Thou giv'st me life? No! I scorn it! 'Twas from my rival thou purchased thy 

Whence comes this power? what price has mission! 

bought it? Ah! thou hast sold him thy heart's affection! 

Thou wilt not speak? oh, dark suspicion! Barter'd a love once devoted to me! 

Leonora, who had already taken the poison, now sinks dying at Manrico's feet, and he 
pleads forgiveness as he learns the truth. Di Luna now enters, and furious at finding him- 
self cheated of his promised bride, orders the Troubadour to instant execution. Manrico is 
taken out by the guards and beheaded. 

At the moment of his death, the gypsy awakes, and not seeing Manrico, realizes that 
he has gone to his execution. She drags the Count to the window and cries to him : " You 
have killed your brother !" Di Luna utters a wild cry of remorse and falls senseless as the 
curtain slowly descends. 


Condotta ell'era in ceppi (In Chains to Her Doom) 1 

By Lina Mileri, Contralto (In Italian) 
E deggio e posso crederlo (Oh, Blessed Vision) By >35176 12-inch, $1.25 

Maria Grisi, Soprano ; Remo Sangiorgi, Tenor ; Francesco 

Cigada, Baritone; La Scala Chorus (In Italian)) 

Giorni poveri vivea (In Despair I Seek My Son) By 

Ida Mamelli, Soprano; Renzo Minolfi, Baritone; Cesare 

Preve, Baritone ; La Scala Chorus (In Italian) 

35177 12-inch, 1.25 

Ha quest' infame (Ah, Thou Hast Sold Thyself) By 
Ida Giacomelli, Soprano ; Lina Mileri, Contralto ; Gino 
Martinez-Patti, Tenor (In Italian) 

IAi nostri monti (Home to Our Mountains) By Corinne 1 
Morgan and Harry Macdonough (In English) p51 18 12-inch, 1.25 

Huguenots Selection, Act IV By Sousa 's Band] 

JTrovatore Selection By Arthur Pryor's Band) -_, . . . ~, 

\ Traviata Selection By Arthur Pryor's 3 * 

* Double-Faced Record For title of opposite side see above list. 



Abbietta zingara (Swarthy and Threatening) By Torres 

de Luna. Bass, and La Scala Chorus (In Italian) 

Sull' orlo dei tetti (As a Vampire You May See Her) 

By Torres de Luna and La Scala Chorus In Italian) 

Sull' orlo dei tetti (As a Vampire You May See Her) 

By Torres de Luna and La Scala Chorus (In Italian) 
Tacea la notte placida (My Heart is His Alone) 

By Lucia Crestani. Soprano (In Italian) 
Di geloso amor sprezzato (Now My Vengeance) 

By Bernacchi, Soprano; Colazza, Tenor; and Caronna. 
Baritone (In Italian) 

Stride la vampa (Fierce Flames Are Soaring) 

By Lina Mileri, Contralto (In Italian) 
Mai reggendo all'aspro assalto (At My Mercy Lay the 

Foe) By Clotilde Esposito and Luigi Colazza (In Italian) 
Ah ! se le error t' ingombra ("Mid the Shades of Error) 

By Francesco Cigada and Chorus (In Italian) 
II balen del suo sorriso (The Tempest of the Heart) 

By Francesco Cigada, Baritone (In Italian) 16812 
Martha Porter Song By Carlos Francisco (In Italian) J 

II balen del suo sorriso (The Tempest of the Heart) 

By Alan Turner, Baritone (In English) \ 16521 
Carmen Toreador Song By Alan Turner (In English) j 

Per me ora fatale (This Passion That Inspires Me) 

By Ernesto Caronna, Baritone In Italian) 
Pagliacci Opening Chorus, Son qua 

By La Scala Chorus (In Italian) 
Ah, si ben mio (The Vows "We Fondly Plighted) 

By Georgio Malesci, Tenor (In Italian) 
Di quella pira (Tremble Ye Tyrants) By Giovanni 

Vals. Tenor, and La Scala Chorus (In Italian) 

D'amor sull ali rosee (Love, Fly on Rosy Pinions) 

By Lucia Crestani, Soprano (In Italian) 
Mira d'acerbi lagrime (Oh, Let My Tears Implore Thee) 

By Maria Bernacchi and Ernesto Caronna (In Italian) 
Miserere By Elise Stevenson, Soprano, and Harry Mac- 

donough. Tenor (In English) 

I Would That My Love By Elise Stevenson, Soprano, and 

Harry Macdonough, Tenor , (In English) 

/Miserere By Pryor and Keneke (Trombone-Cornet)}. , _. 

I Spring Song (Mendelssohn) By Victor Siring Quartet] 1 * 

I Chant sans paroles 
Vivra ! contende il giubilo (Oh, Joy, He's Saved) By 

Angela de Angelis and Francesco Cigada (In Italian) 
Ai nostri monti (Home to Our Mountains) By Clotilde 

Esposito, Soprano, and Luigi Colazza, Tenor (In Italian), 

Ai nostri monti (Home to Our Mountains) By Corinne 
Morgan, Contralto, and Harry Macdonough. Tenor 

(In English) 
Bohemian Girl Heart Bow 'd Donn 

By Alan Turner, Baritone (In English) 
Di geloso amor sprezzato (Now My Vengeance) ] 

By Maria Bernacchi, Soprano; Luigi Colazza, Tenor; 

and Ernesto Caronna, Baritone < In Italian) >62418 

La zingarella Anvil Chorus) 

By La Scala Chorus In Italian)} 


62416 10-inch. $0.75 

16655 10-inch, .75 

16808 lO-inch. .75 

1655O lO-inch. .75 

10-inch, .75 

10-inch, .75 

16814 10-inch, .75 

16809 10-inch, .75 

16810 10-inch, .75 
16O13 10-inch, .75 

By Rogers and Pryor (Comet- Trombone)} . , __ . 
(Tschait(pwsky} By Vienna String Quartel) 

lO-inch, .75 
10-inch, .75 

16811 10-inch, .75 

16407 10-inch, .75 

lO-inch, .75 





(Dee Vahl-keu'-ri) 

(Lah y a 




Text and music by Richard Wagner. First presented in Munich in 1870. 
York production at the Academy of Music, April 2, 1877. 

First New 


SIEGMUND (Sccg'-moond) Tenor 

HUNDING (Hoond'-ing) Bass 

WOTAN (Voti-tahn) Baritone 

SIEGL1NDE (Seeg-lin -duh) Soprano 

BRONNHILDE (Bmon.heet -duh) .* Soprano 

FRICKA (Fiik'-ah) Soprano 

VALKYRIES Gerhilda, Ortlinda, Valtrauta, Sverleita, Helmviga, Siegruna, 
Grirngerda, Rossvisa. 

Walkure is the second in the series of music-dramas composing the Niebelung Ring, and 
from a popular standpoint perhaps the most melodious and pleasing. The story is beauti- 
ful and compelling, the situations by turn thrilling and pathetic, -while the glorious music 
written by the master to accompany the adventures of his mythical personages is easily un- 
derstood and appreciated by the average listener. 

A perusal of the . preceding description of the story of the Niebelung in Rhinegold 
(page 279) will help the reader to understand more fully the Victor synopsis of Walkure. 

Wolan has been warned by Erda, the Earth Goddess, that if Alberich regains the Ring the 
gods must perish. Brooding over this impending fate, Wolan descends to earth and weds the 
goddess; this union resulting in nine splendid daughters, the Walkure, who are to aid in 
the salvation of the gods. Riding forth each day among the tumult and the strife which 
prevail on the earth as a result of the Curse of the Ring, they carry to Walhalla, on their 
flying horses, the bravest of the warriors who fall in battle. These revived heroes keep 
themselves ready to defend Walhalla from the Niebelungs. But in order to regain the Ring, 
a brave hero is necessary, who shall be free from the universal curse and who can take it 
from Fafner, now changed into a dragon the better to guard the treasure. With this in mind 
Wolan visits the earth again and weds a mortal who bears him twins, Siegmund and Sieglinde. 

While these children are quite 
young, the brutal Handing 
finds their cottage, burns it, 
kills the mother and carries off 
Sieglinde, -whom he afterward 
forces to become his bride. 

The father and son return 
and swear vengeance on 
Handing. Wolan (known as 
Volse on earth) returns to 
Walhalla, leaving the young 
Siegmund to fight alone and 
become a self-reliant hero. 
This is the situation when the 
action begins. 


SCENE I Interior of Handing's 
Hut in the Forest a Large 
Tree rises through the Roof 
The prelude represents a 

fearful storm in the forest, in 



Brunnhilde Bearing a Wounded Warrior to Walhalla 


the midst of -which Siegmund rushes in exhausted, and falls by the fire. 
Sieglinde gives him refreshment and feels drawn to him by some 
strange attraction. While they are conversing, Hunding enters, and 
after questioning the stranger, recognizes in him his mortal enemy. 
He says, "Thou shall have shelter from the storm to-night, but to- 
morrow thou diest!" and goes to his room, bidding Sieglinde prepare 
his evening drink. She does so but puts a drug in it to make him 
sleep soundly, and returns to SiegmunJ, unable to control her interest 
in tho mysterious youth who has so strangely affected her. 

Then occurs the lovely Liebeslied, the gem of this beautiful first act. 

SiegmuncTs Liebeslied (SiegmuncTs Love Song) 

By Riccardo Martin, Tenor 

(In German) 88276 12-inch, $3.0O 
By George Harnlin, Tenor 

(In German) 74111 12-inch, 1.50 

The hut, which has been in semi-darkness, is suddenly illumined 
by the 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, so that they see each other clearly for 
the first time. Siegmund, in ecstasy, rhapsodizes Spring and Love : 


ir - me wi - chen dem Won-nc-mond, in mil - dem Lich - te leuchtet der Lenz. 
rj have waned, to the winsome moon. In mild at-cen-dance smilelh the Spring. 


He takes her hand, seats her beside him on the rude bench, and 
continues : 


With balmy breezes, soft and soothing, 

Wonders weaving, on he wends, 

Through wood and meadow wafts his 


Wide and lustrous laughs his eye; 
In songs of birds his silv'ry voice resounds, 
Wondrous fragrance he outbreathes; 
From his living blood the loveliest flowers are 



Leaf and spray spring forth at his voice. 
With gentle sceptre s sway he ruleth 

Winter and storm wane as his strength 


By dint of his hardy striving 
The stoutest doors he is cleaving, 
Which, stubborn and strong, once held us from 


To greet his sister swiftly he flies; 
Thus Love the spring hath allured. 
Within our bosoms Love lay asleep 
That now laughs out to the. light 
The bride and the sister is freed by the 


Destroyed the walls that held them apart; 
Joyous meet now the youthful pair; 
United are Love and Spring! 


Although the true charm of this poetry can be realized best by those on intimate terms 
with the German tongue, this excellent translation from the Ditson Wagner Lyrics for Tenor 
will add to the enjoyment of the record. 

Sieglinde then tells Siegmund the story of the Sword how at her wedding a stranger had 
suddenly appeared and thrust into the trunk of the tree a magic sword -which should belong 
only to him -who could take it out. The stranger had secretly told Sieglinde that no one 
but Siegmund -would have power to remove it. 

Siegmund rises eagerly, and going to the tree -withdraws the sword with a mighty effort. 
The reunited brother and sister embrace each other and agree to fly from the power of 



Hunding. The curtain falls as they pass out into the moonlit 

The love scenes between Sieglinde and Siegmund should 
be considered in their allegorical and poetical sense, and 
not judged by modern ethical standards. Wagner intended 
this episode to represent the union of Love and Spring. 


SCENE I A Wild and Rocky Pass 

Wotan and his favorite Valkyrie daughter, Briinnhilde, 
are discovered in full armor. He tells her to go to the 
rescue of the Volsung (Siegmund), whom Hunding is pursuing. 

WOTAN: Make ready thy steed, warrior maid, 
Soon will come battle and strife; 
Briinnhilde. haste to the field, 
Give aid to Volsung to-day! 

The Valkyrie eagerly prepares for her flight, and sings 
her famous Battle Cry. 

Ho, yo, to, ho ! (Briinnhilde's Battle Cry) 

By Johanna Gadski. Soprano 

(In German) 87O02 10-inch, $2.OO 
Gadski is always a statuesquely beautiful Briinnhilde, 
and her voice glorifies this music, in which many persons, insensible to the poetic depth and 
power of the story, hear only noisy declamation. In this first scene especially, she brings 
into beautiful relief the joyful nature of the Valkyrie, and her cries are full of eager, happy 
vitality. Some idea of 

the difficult nature of Rmmusimnii x^ x .- 

this famous Battle Cry r PftJ j EzZg-^ aCjtg' b . E..lC G^ 

\ i j r .1 t<fK Vf> '* *T.-- J* P ' 1 \V * JS ' ' ** 1 |l* I* Jiff ' r 11 1 

may be had rrom these TO) H*r I W * j I *| t 

few measures Ho yo to ho. . . . HO yo to ho . . . HO 



Mme. Gadski, however, surmounts these difficul- 
ties with ease, and the aria is a really wonderful 
specimen of both singing and recording. 


Ho-yq-to-ho ! Ho-yo-to-ho ! Hei-aha ! 
But listen, father! care for thyself; 
For a storm o'er thee will break; 
Fricka, thy busy wife, approacheth in her 

ram-impelled car. 

Ha! how she swings her golden whip! 
The frighten'd goats are fainting with fear, 
Wheels rattling and rolling whirl her here to 

the fight. 

At such a time away I would be, 
Tho' my delight is in scenes of war! 
Take heed that defeat be not thine, 
For now I must leave thee to fate! 

Briinnhilde is right Wotan is in for a scolding, 
as Fricka now appears in an extremely bad 
humor. Hunding has appealed to her, the guardian 
of marriage, for help, and she insists that Siegmund 
be punished. Wotan protests that this true love 
romance should not be interfered with, but the 
wrathful -wife reminds him that the whole difficulty 
is but the result of his own infidelity, and he is 
finally forced to swear that Siegmund shall be 

Fricka then triumphantly calls to Briinnhilde 
that Wotan has further instructions for her. Briinn- 
hilde finds her father in deep dejection, and when 



she questions him he confides to her his efforts 
to find a hero who shall banish the curse, but 
says his quest has been in vain. He bids her 
see that victory goes to Handing. She protests, 
but he sternly commands obedience and leaves 

Siegmund and Sieglinde now appear, fleeing 
from the wrath of Hunding. Sieglinde 's strength 
has failed her, and she falls down exhausted. 
Briinnhilde comes to the lovers and tells Siegmund 
he must die. He scorns her prophecy and says 
his sword will not fail him. Hunding' s voice is 
now heard, and in a sudden wave of sympathy 
Briinnhilde resolves to defend the young lovers. 

Siegmund rushes to meet Hunding, and amid 
flashes of lightning the warriors can be seen in 
deadly combat, while Briinnhilde is visible flying 
above Siegmund and protecting him. Wotan, 
seeing the situation, then appears and causes 
Siegmund to fall by his opponent's sword. 

Briinnhilde retreats in terror from her father's 
wrath, and runs to protect Sieglinde. She lifts the 
helpless maiden on her horse and they disappear. 


SCENE I The Summit of a Rocky Mountain 

The act opens with the wonderful Ride of the 
Valkyries, one of the most striking of all the mas- 
ter's compositions. This is graphically pictured 
in the splendid Fantasia by Pryor's Band, and in the La Scala record. 


Cavalcata (Ride of the Valkyries) 

By La Scala Orchestra (Double-faced, see page 369) 

Fantasie (Including Ride of the Valkyries) 
By Arthur Pryor's Band 

62693 lO-inch, $O.75 

31333 12-inch, l.OO 

The Fantasie contains some of the finest portions of this second opera of the Niebelun- 
gen Ring. At first we hear the motive of The Sword 

by full band, followed by the tumultuous Ride of the Valkyries, one of the most tremendous 
compositions in existence. The wild shouts of the goddesses as they ride their winged 
steeds through the air to the Rock, the warlike cries of Briinnhilde and the neighing of the 
war horses are splendidly portrayed. 

A skillful modulation brings us to the last act, and a part of the great scene between 
Wotan and Briinnhilde is given, beginning with the wonderful Siegfried, Guardian of the Sword 

on the trombone and which is repeated magnificently by the basses in another key. 

The closing line of Wotan's Farewell, So uss< er die Gottheit von dir ("with a kiss I 
divest thee of godhead "), is heard on the cornet, followed by the Fire Music, an exquisite 
blending of the two fire motive with Briinnhilde' s Sleep. 

The Valkyries see Briinnhilde flying toward them, evidently in great distress. She alights 




and asks her sisters to shield her from the wrath of 
Woian, who is riding in pursuit; but they dare not 
help her. She then bids Sieglinde flee alone, telling 
her that she is destined to bear a son who shall be 
the hero Siegfried. 


Fly then swiftly, and speed to the east! 

Bravely determine all trials to bear. 

Hunger and thirst, thorns and hard ways, 

Smile through all pain while suffering pangs! 

This only heed and hold it ever: 

The highest hero of worlds hidest thou, 
O wife, 

In sheltering shrine! 

(She produces the pieces of Sicgmnnd's sword 
from tinder her breastplate and hands them 
to Sieglinde.) 

For him keep these shreds of shattered sword- 

From his father's death-field by fortune I 
saved them : 

Anon renewed this sword shall he swing; 

And now his name I declare Siegfried, of 
vict'ry the son ! 


O marvelous sayings! maiden divine! 

What comfort o'er my mind thou hast cast! 

For his sake I live and save this belov'd one! 

May my blessing frame future reward! 

Fare thee well! Be Sieglinde's sorrow thy 

(She hastens away. The rocky peak is en- 
veloped in black thunder-clouds; a fearful 
tempest roars up from the back; between 
the peals of thunder Wotan's voice is 

The Valkyries hurriedly conceal Brtinnhilde in their midst as Wolan springs from his horse 
in a furious rage. 


Where is Briinnhilde? Where the rebellious 


Dare ye to veil her from Wotan's vengeance? 
(Briinniiilde comes out from the group and 

faces her father, saying) : 


Here stand I, father, to suffer my sentence! 


I sentence thee not; thou hast shaped the 

stroke for thyself. 
Wish-maid art thou no more. 
One time a Valkyrie wert thou, 
Remain henceforth but merely thyself! 

BRI'-NNHILDE (violently startled): , 

Thou disownest me? Thine aim I divine! 


From heavenly clans art thou excluded, 
Eann'd, degraded from thy blessed degree; 
For broken now is our bond; exiled for aye 
Art thou banished from bliss. 

He then tells her that she must be put in a deep sleep, 
and shall be wakened by the first man who passes. She 
pleads with him in a beautiful appeal. 

Briinnhilde's Bitte (Briinnhilde's Appeal 
to Wotan) 

By Johanna Gadski, Soprano PHOTO BIRT 

(In German) 88183 12-inch, $3.00 JOURNET AS WOTAN 


Wotan's Farewell 




Was it so shameful, what I have done. 

That for my deed I so shamefully am 

scourged ? 
Was it so base to warp thy command, that 


For ( me such debasement must shape? 
Was't such dishonor what I have wrought 

That it should rob me of honor for aye? 

O speak, father! see me before thee: soften 

thy wrath; 
Wreak not thine ire, but make to me clear 

the mortal 

Guilt that with cruel firmness compels thee to 
Cast off thy favorite child! 

Wotan, deeply moved, softens his stern decree, and consents that she shall be won only 
by a great hero who can brave the flames with which she is to be surrounded. He then 
bids her farewell in the splendid Abschied. 

Wotan's Farewell 


Farewell, my brave and beautiful child! 

Thou once the light and life of my heart! 

Farewell! Farewell! Farewell! 

Loth I must leave thee; no more in love 

May I grant thee my greeting; 

Henceforth my maid no more with me rideth, 

Nor waiteth wine to reach me! 

When I relinquish thee, my beloved one, 

Thou laughing delight of my eyes, 

Briinnhilde sinks, wrapt and transfigured, on Wotan '3 breast ; he holds her in a long em- 
brace. She throws her head back again and gazes with solemn emotion into her father's 

Thy bed shall be lit with torches more brilliant 

Than ever for bridal have burned! 

Fiery gleams shall girdle the fell, 

With terrible scorchings scaring the timid. 

Who, cowed, may cross not Briinnhilde's 


For one alone freeth the bride; 
One freer than I; the God! 


Those eyes so lustrous and clear, 

Which oft in love I have kissed, 

When warlike longings won my lauding, 

Or when with lisping of heroes leal thy 

honied lips were inspired; 
Those effulgent, glorious eyes. 
Whose flash my gloom oft dispelled. 
When hopeless cravings my heart discouraged, 

Or when my wishes t'wart wordly pleasure 
fiom wild warfare were turning 

Their lustrous gaze lights on me now as my 
lips imprint this last farewell! 

On happier mortal here shall they beam; 

The grief-suffering god may never henceforth 
behold them! 

Now heart-torn, he gives thee his kiss, 

And taketh thy godhood away! 

He imprints a long kiss on her eyes ; she sinks back in his arms with closed eyes, her 



powers gently departing. He 
tenderly helps her to lie upon a 
low mossy lounge, closes her 
helmet and completely covers 
her with the great steel shield 
of the Valkyrie. He slowly 
moves away, then directs the 
point of his spear toward a 
huge stone, and summons the 
God of Fire. 


Loki, hear! Listen and heed! 
Appear, wavering spirit, and 

spread me thy 
Fire round this fell! 
Loki ! Loki ! Appear ! 

A stream of fire issues 
from the stone, which swells 
to an ever brightening glow 
of flame; bright flames sur- 
round Wotan, leaping wildly. 

Magic Fire Spell (Feuerzauber) (Transcription by Brassin) 

By Alfred Griinfeld, Pianist 58006 12-inch, $1.0O 

The leave-taking and the breaking out of the flames are 
musically pictured in one of those marvelous bits of writing 
which only Wagner could produce, and this beautiful transcrip- 
tion is artistically played here by Herr Griinfeld. The record be- 
gins with the passage just preceding Wolan 's summons to Loge. 


Then follows a long modulation ending in E major, when the 
fire motive 

(Brioht die Flaokerloh* na.) 
(The fiamet treak out.) 


(BAYREUTH, 1876) 

begins and continues with all its varied changes and modulations 
to the close of the opera. 

Wotan directs, with his spear, the fiery flood to encircle the 

WOTAN : He who my spear in spirit f eareth, 

Ne'er springs through this fiery bar! 
He casts a last look on Briinnhilde and disappears through the fire. 

( The curtain falls. ) 


/Cavalcata (Ride of the Valkyries) By La Scala Orchestral 
\ Lohengrin Prelude, Act III By La Scala Orchestra^ 


62693 lO-inch, $O.75 


' Jcc-yaum Tell} 



(Cool-yet' -mo Tell) 



Words by Etienne Jouy, Hippolyte Bis and Armand Marast, taken from Schiller's 
drama of the same name. Music by Gioachino Rossini. First presented at the Academic, 
Paris, August 3, 1829. First London production, in English, at Drury Lane, 1830, and in 
Italian at Her Majesty's, 1839. 






i. LES ENTREES 1)1 MMIHMiM M <;! M* 1 > ,. 




ARNOLD, suitor of Matilda, [Swiss Patriots] Tenor 


MELCTH AL, Arnold's father Bass 

GESSLER, Governor of Schwitz and Uri Bass 

RUDOLPH, Captain of Gessler's bodyguard . Tenor 

RUODI, a fisherman Tenor 

LEUTHOLD, a shepherd Bass 

MATILDA, daughter of Gessler Soprano 

HEDWIGA, Tell's wife Soprano 

JEMMY, Tell's son Soprano 

Chorus of Peasants of the Three Cantons; 

Knights, Pages and Ladies of the train 

of Matilda; Hunters, Soldiers and 

Guards of Gessler. 

Scene and Period : Switzerland; thirteenth century. 


The story of Tell, the distinguished patriot, and chief instrument of the revolution 
which delivered the Swiss cantons from the German yoke in 1207, has been taken by 
Rossini for the theme of one of his most admired operas, the dramatic interest being 
heightened by the introduction of love scenes and other episodes. 

In the libretto by Jouy and Marast Gessler is endowed with a beautiful and amiable 
daughter, Matilda, who has been saved from a watery grave by Arnold, son of Melcthal, the 
patriarch of the country, and a determined opponent of the tyrannies of Gessler. As a 
matter of course, mutual attachment ensues, and leads to the troubles which might have been 
expected from so ill-sorted a connection. 

At the opening of the opera we learn that an agent of Gessler's has attempted an out- 
rage on the daughter of a herdsman, and been slain by her father, Leuthold. Obliged to fly 
the country after this act of vengeance, it becomes necessary to cross Lake Lucerne while 
the weather is so adverse that none of the boatmen will row the old man across the 
tempestuous waters. William Tell finally undertakes the rescue, and by so doing incurs the 
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 
severe 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 Tell's cloak, asks him for what purpose it was in- 
tended. To which he boldly replies, "To have shot you 
to the heart, if I had killed my son ! " The enraged governor 
orders him to be hanged ; but the Swiss, animated by 
such fortitude and patriotism, flew to arms, attacked and 
vanquished Gessler, who was shot by Tell. Matilda and 
Arnold were united, and the independence of the country 
was assured. THE TYRANT GESSLER 




This great overture, which Berlioz has called a symphony in four parts, is a fitting 
prelude to such a noble and serious work, and is full of beautiful contrasts. 

The first movement is reposeful, expressing the solitude of Nature, and is followed by 
the contrasting Slorm, a majestic and awe-inspiring tone picture. To the Storm succeeds a 
beautiful pastoral with a delicious melody for the English horn, and as Berlioz says, "with 
the gamboling of the flute above this calm chant producing a charming freshness and 
gayety." As the last notes of the melody die away, the trumpets enter with a brilliant fan- 
fare on the splendid finale, a fitting climax to a great work. 

Part I At Dawn 

By Pryor's Band 

Part II The Storm 

By Pryor's Band 

Part III The Calm 

By Pryor's Band 

Part IV Finale 

31218 12-inch. $1.OO 

31219 12-inch, l.OO 

31220 12-inch, l.OO 

By Pryor's Band 

31221 12-inch, l.OO 

Note. This series is also issued in Double-Faced form. See page 375. 

SCENE A Village in the Canton of Uri 

The curtain rises on a peaceful scene, showing a charming village with the house of 
William Tell in the foreground. Tell and his family are engaged in rural occupations, and 
the fishermen, while they prepare to put out the boats, sing a lovely barcarolle. 

Accours dans ma nacelle (Come, Love, in My Boat) 

M. Regis. Tenor (In French) *45026 10-inch, $1.00 


Come hither, my dearest love! 

In my little boat embark; 

Ah! hither come, and with thy 


My loving heart rejoice. 
Though leave I must, Eliza, dear, 
Do not let me alone depart; 
See how the shining sky above 
A brilliant day doth augur. 
Gentle as the bending rosebud, 
Born in the morning's early dew, 
Heaven's threaten d tempests 


Will thy presence, love, appease; 
When by your side I'm seated. 
What new life my soul receives! 
There's a Providence above us 
Our heart's affections will pro- 

A horn sounds as the sig- 
nal for the beginning of the an- 
nual Shepherds' Festival, at 
which three marriages are to 
be celebrated by Melcthal, 
the patriarch of the village. Arnold, Melcthal' s son, is saddened at the signal, thinking of 
his own love, Matilda, who is the daughter of the tyrant Gessler. 

Tell confides to Arnold some of his plans for overthrowing the power of Gessler, and 
asks Arnold to assist. 


* Double-Face J Record For title of opposite tide x DOUBLE-FACED WILLIAM TELL RECORDS, page 375. 


Che finger tanto invano (Vain is the Attempt !) 

By Antonio Paoli. Tenor, and Francesco Cigada, Baritone 

(In Italian) 92048 12-inch, $3.OO 


(Ah! vain is all dissembling.) What power do we possess? 

While the tyrant's yoke continues, TELL: 

My heart is o'erwhelm'd with grief. Strength enough has he who doubts not 

What dost thou desire? If our valor fail us not, 

TELL: The tyrant will surely fall. 

To recall you, Arnold, to your duty. ARNOLD: 
ARNOLD: But, if conquer'd, where our refuge? 

Ah! Matilda, dearly do I love thee; TELL: 

Hut from my heart the passion I must root, In the tomb! 

If my country and my honor so demand. ARNOLD: 
TELL (aside): And who will avenge our fall? 

If to us unfaithful he has been, TEI.L: 

His grief his repentance doth attest. Heaven! 

(To Arnold): ARNOLD: 

We have no need for doubt or fear When the hour of danger comes, 

If true to ourselves, we must conquer. Faithfully I will stand by you. 

The young man hesitates between duty to his country and his love for 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 Leulhold, 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 burn the village, devastate the 
fields, and strike down the aged Melcthal. 


SCENE A deep valley in the Alps. On the left the Lake of the Four Cantons. Twilight 

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 Antonio Paoli, Tenor ; Francesco Cigada, Baritone : Aristodemo 

Sillich, Bass (In Italian) 92O51 12-inch, $3.0O 

ARNOLD: Our cause propitious Heaven will aid; 

His life the tyrant wickedly hath taken, The shade of your father our 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 martyr's tomb shall hallow, 

May glory our hearts with courage exalt Of virtue such as his the fit recompense. 

Berlioz writes of his attempt to analyze this great trio: "What! Analyze the awful 
despair of a son who learns his father is brutally slain ? Note the details of a flute or 
second violin passage! No, I can only cry, 'Wonderful, superb, heart-rending!'" 

The men of the cantons now assemble, and in a splendid finale swear to conquer or die. 

Domo, o ciel, da uno straniero (By a Vile Foreigner Subdued) 

By Nestore Delia Torre, Baritone (In Italian) 76013 12-inch, $2.0O 

The curtain falls to a magnificent outburst of patriotism, " To arms ! To arms ! " 



SCENE The Grand Square of Altorf Gessler's Castle in the background. 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 

It is here that the superb ballet, one of the 
This has been recorded in three parts, by 

amusements are given for their entertainment, 
most beautiful ever composed, is introduced. 
Pryor's Band. 

/William Tell Ballet Music Part I By Pryor's Band)*-, . . 

\William Tell Ballet Music Part II By Pryor's Band/ 35i:>42 12-inch, 11.29 
William Tell Ballet Music Part III By Pryor's Band * 165 78 lO-inch, .75 

The band, under Mr. Pryor's masterly baton, has played this brilliant music in a man- 
ner which brings out all its beauties. 

Gessler, who, -with much satisfaction, has been watching the populace bow to the cap 
which he has had placed on a pole as a symbol of his authority, suddenly notices that Tell 
and his son fail to pay honor to the standard. He orders them seized and brought before 
him, and when he is told that Tell is the man who aided Leulhold to escape, his rage is 
intensified. He asks if the boy is Tell's son, and when Tell replies, "My only son," a fiend- 
ish idea strikes the tyrant. He orders Tell to shoot an apple from the boy's head on pain 
of instant death for both. Tell refuses, but Jemmy urges his father to obey, saying, "Father, 
remember your skill! Fear not, I will not move!" 

Tell embraces his boy, and selecting an arrow, manages to 
conceal another in his coat. He casts a fierce look at the tyrant, 
then aims with care and strikes the apple fairly in the centre. 
When he realizes Jemmy is safe, Tell faints and the concealed 
arrow is discovered. " For whom was the second arrow ? " de- 
mands Gessler. " For you, tyrant, if I had harmed my child ! " 

Gessler then orders both put to death, but Matilda, who has 
entered, demands the life of the boy and takes him under her 
protection. Tell is taken to prison amid the curses of the Swiss. 


SCENE The Ruined Village of Act I. At the Right 
the partially burned Cottage of Melcthal 

Arnold, who knows nothing of the capture bf Tell, has come 
to his native village to bid farewell to the home of his boyhood. 
He gazes at the desolate cottage and sings his charming and pathetic air, Ch, Blessed Abode. 

O muto asil (Oh, Blessed Abode) 

By Francesco Tamagno, Tenor (In Italian) 95009 10-inch, $5.OO 

By M. Gautier, Tenor (In French) *45007 lO-inch. l.OO 

By Leon Beyle, Tenor (In French) *45026 lO-inch, l.OO 

This number is one of the most effective of those allotted to Arnold. It begins with the 

beautiful passage 


Ok! bteti'd a bode, with in whose walls mine eyei firtt saw the HfM. 

This aria is reposeful and offers a fine contrast to the tumult of the last scene. 

Oh! bless'd abode, within whose walls In vain I call; no father's greeting, 

Mine eyes first saw the light, Which fancy now to me's repeating, 

Once so belov'd, yet now thy halls, Will e'er again these ears be meeting. 

Bring mis'ry to my aching sight. Then home once lov'd, forevermore, farewell ! 

Tamagno brought all his strength and vitality to the part of Arnold, singing it superbly, 
and this fine air is given with wonderfully truthful and impressive declamation. 

A company of Swiss patriots enter hurriedly and tell Arnold of the events at Altorf. He 
calls on them to follow him to the rescue of Tell, and departs in the direction of the capital. 

Doubk-FaceJ Record For title ofoppottte tide ter. DOUBLE-FACED WILLIAM TELL RECORDS, page 375. 




SCENE II Lake of Four Cantons. 
A Storm is Gathering 

Tell's wife is resting here on her way 
to demand of Gessler her husband and son. 
She hears her son's voice and is overjoyed 
to see him brought to her by Matilda. She 
clasps him in her arms, and anxiously in- 
quires for her husband. Matilda says that 
Tell has been removed from Altdorf Prison, 
and taken across the lake. She has no 
sooner spoken than Tell appears, 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 

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 : 


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! 

Thou gav'st us pow'r to strike and conquer! 
We are free, do thou ne'er depart! 


/Overture, Part I At Dawn 
(Overture, Part II The Storm 

By Pryor's Band) 
By Pryor's Band/ 


/Overture, Part III The Calm 

(Overture, Part IV Finale 

/Overture, Part I At Dawn 

\Overture, Part II The Storm 

(Overture, Part III The Calm 

\Overture, Part IV Finale 

/Ballet Music, Part I 

\Ballet Music, Part II 

/Ballet Music, Part III 

\ Profeta Re del cielo By Luigi Colazza, Tenor 

(Asile hereditaire (Oh ! Blessed Abode) 
By M. Gautier, Tenor 
Les Huguenots Plus blanche (Meyerbeer) 
By M. Gautier, Tenor (In French) 

{Accours dans ma nacelle Barcarola (Come, Love, In My 
Boat) By M. Regis, Tenor (In French) 

Asile hereditaire (Oh ! Blessed Abode) 
By Leon Beyle, Tenor (In French) 

By Pryor's Band) ,_. 
By Pryor's Band/ 1 * 
By Pryor's BandU,._ o 
By Pryor's Band/ 3 ' 
By Pryor's Band\, ,.,,. 
By Pryor's Band/ 3 * 
By Pryor's Band\,,_ . 
By Pryor's Band/ 3 ' 
By Pryor's Band 

(In Italian) 
(In French) 


lO-inch, $0.75 
10-inch, .75 
12-inch, 1.25 
12-inch, 1.25 
12-inch, 1.25 
10-inch, .75 

450O7 10-inch. l.OO 

45026 lO-inch, 1.00 




CAT. NO. 23 OH