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VICTOR 
BOOK 

of  tfie  1 

OPERA 


STORIES  ^Seventy 
Grand  Operas  wit6  THREE 

HUNDRED  ILLUSTRATIONS 
®,  DESCRIPTIONS  of 

Seven  Hunarea  VICTOR 

OPERA  RECORDS  ^^ 


•MS 


LIBRARY 

THE  UNIVERSITY 
OF  CALIFORNIA 

SANTA  BARBARA 

PRESENTED   BY 
HILTON   P.    GOSS 


VICTOR  BOOK 

of  t fie 

OPERA 

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 

VICTOR  TALKING  MACHINE  COMPANY 
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) 


INDEX— CONTINUED 


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 


361 


Vascello  Fantasma,  II  .    .    .    .115 

Walkiire,  Die 361 

William  Tell   .  37O     I 


Queen  of  Sheba 277       Zauberflote,  Die 


189 


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) 


FOREWORD— CONTINUED 

The  Victor  an  Excellent  Substitute  for  the  Opera 

For  every  person  who  can  attend  the  opera  there  are  a  hundred  who 
cannot.  However,  many  thousands  of  lovers  of  the  opera  in  the  latter 
class  have  discovered  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  Council—Act  I 
.^•eiif.  in  the  Prison— Act  11 


SCENES    FROM    L'AFRICAINE 

The  Slaasacre-Act  III 


The  Indian  Paradise     Act  IV 
Tut  Fatal   Tree— Act    V 


(Italian) 

L'AFRICANA 

(Laf-ree-kah'  -nah) 

DIE  AFRIKANERIN 

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


(French) 

L'AFRICAINE 

(Laf-ree-kahn) 
(English) 

THE  AFRICAN 


OPERA  IN  FIVE  ACTS 

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 

GRANDE  INQUISITORE 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. 

11 


VICTOR      BOOK     OF     THE     OPERA  — THE      AFRICAN 


ACT  I 

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. 

ACT  II 

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. 

ACT  III 
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. 


FAURE     AS     NELUSKO,      I  86$ 


Adamastor,  Re  deir  onde  profonde     (Ruler  of  Ocean) 


By  G.  Mario  Sammarco,  Baritone 
By  Francesco  Cigada,  Baritone 

NELUSKO: 

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 

sea. 
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 

deep, 

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 

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:corJ—Fort:tl:  o/oppoj/te  side  xe  DOUBLE-FACED  L  AFRICAN  A  RECORDS,  paSe  13. 

12 


VICTOR      BOOK      OF      THE      OPERA  —  THE      AFRICAN 


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 

VASCO: 

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. 

ACT  V—  SCENE  I 

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) 


DOUBLE-FACED  L'AFRICAFNE  RECORDS 

|  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 

13 


(Italian) 

AIDA 

(Ah-ee -Jah) 

OPERA  IN  FOUR  ACTS 

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 

THE  KING  OF  EGYPT Bass 

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 

A  MESSENGER Tenor 

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


The  scene  is  laid  in  Memphis  and  Thebes,  in  Pharaoh1  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. 

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. 

ACT  I 

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 

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


invasion  of  Ethiopia;  and  Ramfis  hints  that  some  young  and 
brave  warrior  may  be  chosen  to  command  the  expedition. 
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, 
beginning 


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. 


COPVT    MISH 


SLEZAK    AS    RHADAMES 


RHADAMES: 

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- 
ing. 

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

Thine  were  a  throne  next  the  sun  to  stand! 


MARTIN    AS    RHADAMES 


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: 

AMNERIS: 

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 
Amneris. 

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

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


Su  !  del  Nilo  (Nilus'  Sacred  Shores  !) 

By  Elena  Ruszcowska,  Soprano ;   Maria 
Cappiello,  Mezzo-Soprano;  Tapergi 
and  Davi  (In  Italian]  88266     12-inch,  $3.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 

AIDA: 

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 

name 

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

RAMFIS: 

Mortal,  beloved   of  the  gods,   to  thee 

Is   confided   the    fate    of    Egypt.      Let   the    holy 

sword 

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

RHADAMES: 

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

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

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

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

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


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. 

ACT  II 

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 

Preparing)  HOMER  AS  AMNERIS 

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: 

AMNERIS: 

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 
soldier. 

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: 


COPY'T     MISHKIN 

DALMORES    AS    RHADAMES 


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

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

AMNERIS:  AMNERIS: 

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 
Milan. 

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 

AMONASRO: 

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. 

ACT  III 

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. 

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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 
AIDA: 

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 

dispelling, 
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! 
AIDA: 

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. 

21 


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


AIDA    (terrified  and  suppliant): 

Pity! 
AMONASRO: 

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! 
AIDA: 

Pity! 
AMONASRO: 

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! 


ZEROLA    AS    RHADAMES 


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  not—curse  me  not; 
Thy   daughter  again  thou   canst  call  me — 
Of  my  country  I   will  be  worthy! 

AMONASRO: 

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 : 
AIDA: 

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

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

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 
forget! 

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: 
AMONASRO: 

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. 

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

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

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

priests 

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

revealed 
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 

him — 

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

COmeS.  RHADAMES    DENOUNCED    AS 


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


22 


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


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

Gia  i  sacerdoti  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  RAMFIS: 

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

Jealousy,   vile  monster,   thou   who   hast   doomed  Of  thy  country  the  secrets  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! 

PRIESTS: 

Defend  thyself! 

RAMFIS: 

Rhadames,       Rhadames:       and 

thou   hast   played 
The  part  of  a  traitor  to  King, 

and  to  honor! 

PRIESTS: 

Defend  thyself! 

RAMFIS: 

He   is   silent. 

ALL: 

Traitor  vile: 

RAMFIS: 

Rhadames,    we    thy    fate    have 

decided, 
Of    all    traitors    the    fate    shall 

be   thine — 
'Neath    the    altar    whose    God 

thou'st   derided 
Thou    a    sepulchre   living    shall 

find. 

AMNERIS: 

Find       a       sepulchre       living! 

Hated  wretches!  * 
Ever     venpeful,      blood-thirsty 
THE  DESPAIR  OF  AMNERIS — ACT   iv  and   blind! 


23 


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

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

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

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

(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! 
AIDA: 

My  heart  foreboded  this,  thy  dreadful  sen- 
tence. 

And  to  this  tomb  that  shuts  on  thee  its  portal, 

I  crept,  unseen  by  mortal. 

Here,  free  from  all, 

Where  none  can  more  behold  us, 
Clasp'd  in  thy  arms,  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! 

24 


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

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 

AIDA  AND  RHADAMES: 

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! 

(Curtain) 


DOUBLE-FACED  AND  MISCELLANEOUS  AIDA  RECORDS 


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 


12-inch, 
12-inch, 


March) 

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] 


1.25 

1.25 
1.00 

.75 


FINAL    SCENE    OF    AIDA 


25 


(Italian) 

IL  BARBIERE  DE  SIVIGLIA 

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

BARBER  OF  SEVILLE 

COMIC  OPERA  IN  TWO  ACTS 

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

Cast 

COUNT  ALMAVIVA  (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. 


26 


VICTOR    BOOK     OF    THE     OPERA  —  BARBER     OF     SEVILLE 


Overture 

By  La  Scala  Orchestra 


6801O     12-inch,  $1.25 


ACT  I 


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 


COUNT: 

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 

near. 

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!" 

27 


VICTOR    BOOK    OF    THE    OPERA  — BARBER    OF    SEVILLE 


THE   DISGUISED   COUNT   AND   BARTOLO 
IN    SCENE    II 


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- 
fection. 

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. 


MKI.IIA    AS    ROSINA 


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, 


VICTOR    BOOK    OF    THE     OPERA  — BARBER     OF    SEVILLE 


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 


COPY'!     DUPONI 

SEMBRICH    AS    ROSINA 


ROSINA: 

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

FIGARO: 

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)  , 

ROSINA: 

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

FIGARO: 

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? 

ROSINA: 

I   do   not  know. 

FIGARO: 

Take  courage,   pray   you. 


(In  Italian)      92501      12-inch.  $4.00 

ROSINA: 

I   could  not  so— 
FIGARO: 

A  few  lines   merely. 
ROSINA: 

I   blush  to  write. 
FIGARO: 

At   what?     Why   really — may   I   indite? 

Haste,  haste,  your  lover  quick  invite. 

(Going  to  the  desk.) 
ROSINA: 

A   letter!      Oh,   here   it  is. 

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

which  she  gives  him.) 
FIGARO: 

Already    written!      What    a    fool     (astonished) 

Was  I  to  think  to  be  her  master! 

Much  fitter  that  she  me  should  school: 

Her  wits,  than  mine,  can  flow  much  faster. 

Oh,  woman,  woman,   who  can  find. 

Or  fathom,  all  that's  in  thy  mind? 

(Exit   Figaro.) 


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: 


VICTOR    BOOK    OF    THE    OPERA^BARBER    OF    SEVILLE 


NIELSEN    AS    ROSINA 


Manca  un  foglio  (Here's  a  Leaf  Missing) 

By  Arcangelo  Rossi.  Bass 

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

BARTOLO  : 

To  a  doctor  of  my  rank. 
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 

ACT  II 

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  heard1  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. 


VICTOR    BOOK    OF    THE    OPERA  — BARBER    OF    SEVILLE 


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! 

(Curtain) 

SAMMARCO    AS    FIGARO 


DOUBLE-FACED  BARBER  OF  SEVILLE  RECORDS 


/Barber  of  Seville  Selection 

\     Prophete  Fantasie 

/Overture 

\     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 


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)) 


31 


(French) 

LA  BOHEME 

(La  Balf-ha\)m  ) 

OPERA  IN  FOUR  ACTS 


(English) 


THE  BOHEMIANS 


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, 
1899. 

Characters 

RUDOLPH,  a  poet Tenor 

MARCEL,  a  painter Baritone 

COLLINE.  a  philosopher Bass 

SCHAUNARD.   a   musician Baritone 

BENOIT,  an  importunate  landlord Bass 

ALCINDORO.  a  state  councilor  and  follower  of  MUSETTA Bass 

PARPIGNOL Tenor 

MUSETTA,  a  grisette Soprano 

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. 

ACT  I 

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 


THE    FOUR    BOHEMIANS 


32 


VICTOR    BOOK    OF    THE    OPERA— PUCCIN  PS    LA    BOHEME 


CAMPANARI     AS     MARCEL 


^ 


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- 
rative) 

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 


SEMBRICH    AS    MIMI 


33 


VICTOR    BOOK    OF    THE    OPERA  — PUCCINI'S    LA    BOHEME 


COfY'I  DUPOHI 


FARRAR    AS    MIMI 


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. 

ACT  II 

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. 

ACT  III 

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 


COFVT   MISMKIK 

CLUCK    AS    MIMI 


THE    CAF£    MOMUS — ACT    II 


'.'A 


VICTOR    BOOK    OF    THE    OPERA  — PUCCINI'S    LA    BOHEME 


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 
story. 

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 
fickleness. 


MARTIN     AS    RUDOLPH 


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 

35 


FARRAR     AND     SCOTTI     AS     MIMI     AND     MARCEL 
ACT    III 


VICTOR    BOOK    OF    THE    OPERA  — PUCCI N  I'S    LA    BOHEME 


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

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 


SAMMARCO    AS    MARCEL 


of 

charming  one. 


TRENTINI    AS    MUSETTA 


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 
admiration. 

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. 


THE    DEATH    OF    MIMI 


36 


VICTOR    BOOK    OF    THE    OPERA-PUCCINI'S    LA    BOHEME 


ACT  IV 

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!" 


CONSTANTINO    AS 
RUDOLPH 


DOUBLE-FACED  AND  MISCELLANEOUS  BOHEME  RECORDS 
Quartet,  Act  III  By  Sanipoli,  Passari,  Ciccolini  and     1 

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

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

By  Pryor's  Bandf3* 
By  Pryor's  Bandl. 


Badini 
C'e  Rodolfo  (Where  is  Rudolph?) 

Badini 

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. 

37 


12-inch.     1.25 


35077     12-inch,     1.25 


lO-inch,     l.OO 


IANCE ACT    IV 


CARMEN 

OPERA  IN  FOUR  ACTS 

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


Characters 

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, 
39 


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

BIZET 

Georges  Bizet  was  a  native  of  Paris,  -where  he  was  born  on  October  25,  1838.  Like 
Gounod  and  Berlioz,  he  -won  the  Prix  de  Rome  (Pree  de  Roam');  in  this  case  in  1857,  the  year 
that  his  first  opera,  Docteur  Miracle,  was  produced.  Among  other  productions  came  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. 

THE  PLOT 

I 

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

II 

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. 

Ill 

The  next  scene  finds  Jose  with  the  smugglers  in  the  rocky  camp  in  the  mountains.  The 
career  of  a  bandit,  however,  is  one  to  which  a  soldier  does  not  easily  succumb.  His  distaste 
offends  Carmen,  who  scornfully  bids  him  return  home,  she  also  foreseeing,  in  gypsy  fashion, 
with  the  cards,  that  they  will  end  their  careers  tragically  together.  In  the  midst  of  this  strained 
situation  two  visitors  arrive :  Escamillo,  the  toreador,  in  the  character  of  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. 

40 


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


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. 

ACT  I 

SCENE— A  Public  Square  in  Seville 

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

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

Among  the  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. 

41 


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


CARMEN    SINGING    "HABANERA*" ACT    I 

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

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 — 

42 


COPY'!   DUPOtl 


CAV    AS    CARMEN 


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


JOSE: 

Something  else? 

MICHAELA: 

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


copyr  DUPOur 

CALVE   AS    CARMEN 

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, 


JOSE: 

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

MICHAELA: 

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." 

JOSE: 

A  kiss   from   my   mother? 

MICHAELA: 
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.) 
JOSE: 

My  home  in  yonder  valley, 

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

Mem'ries   so   dear  yet  to   me. 

MICHAELA: 

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. 


THE     INN ACT      II 


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! 


43 


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


THE    INN    OF    PASTIA ACT    II 

Although  Jose  says  to  himself  that  the  girl  is  only  amusing  herself,  and  whiling  away 
the  time  with  her  gypsy  songs,  the  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 

ACT  II 

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. 

44 


CALVi    SINGING    THE    GYPSY 
SONG — ACT     U 


VICTOR    BOOK    OF    THE     OPERA  —  BIZET'S     CARMEN 


But  Carmen  is  thinking  of  the  soldier  who  went  to  prison  for 
her  sake  and  who,  now  at  liberty,  will  shortly  be  with  her.  Her 
musings  are  interrupted  by  the  arrival  of  a  procession  in  honor 
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 


DON      JOSE 


DON     JOSE 


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. 

45 


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


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 
12-inch, 
12-inch, 


1.5O 


1.50 


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. 


BRESSLER-G1ANOLI    AS   CARMEN 


1 


r.rr 


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. 

DON  JOSE: 

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. 

46 


COPYT  OUPOH 


DE    LUSSAN    AS    CARMEN 


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


JOSE: 

Carmen! 
CARMEN: 

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. 

C ARM  EX : 

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. 


MICAELA    PLEADS    WITH    JOSE ACT    III 

47 


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


CARD    SCENE — ACT    III 


ACT  III 

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 
deserted. 

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

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 


THE     CARDS     PREDICT     CARMEN'S     DEATH 
(EMMA    CALV£) 


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

48 


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


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

MICAELA: 

I   try  not  to  own  that  I   tremble; 

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

appear. 
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 
to  join  Carmen.  TRENTINI  AS  FRASQUITA 

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; 
ee! 


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? 
CARMEN: 

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

Yes,   that   thou    mayst   follow 

Another  lover — the   toreador! 

No,   Carmen,    I    will   not   depart ! 


MICHAELA: 

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. 

49 


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


ACT  IV 

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

Prelude 

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. 


JOSE    PLEADING    WITH    CARMEN ACT    IV 


PHOTO  B»»o« 


THE    DEATH    OF    CARMEN ACT    IV 

50 


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


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! 
JOSE: 

Ah !   weary  am   I   of  threats. 
CARMEN: 

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


Victory !    victory ! 
Yiv; 
JOSE: 


3 


Viva   Escamillo! 


MARTIN  AS  DON  JOSE 


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

Carmen's  last  refusal,  as  she  flings  him  back  his  ring,  rouses 
the  soldier's  jealousy  to  madness  and  he  stabs  her  to  the  heart. 
As  she  falls  the  success  of  the  Toreador  in  the  arena  is  announced  by  the  singing  of  his  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. 


.75 


DOUBLE-FACED  AND  MISCELLANEOUS  CARMEN  RECORDS 
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. 

51 


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

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) ,  oO52     i2  •     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  (M£tra)     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     jO  inch  75 

\     Boheme — Musetla  Waltz    (Whistling)  By  Guido  Gialdini) 


A    FAMOUS    OPEN-AIR    PRODUCTION    IN    FRANCE 

52 


THE    METROPOLITAN    OPERA    HOUSE    SETTING 


(Italian) 

CAVALLERIA  RUSTICANA 

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

RUSTIC  CHIVALRY 

OPERA  IN  ONE  ACT 

Libretto  adapted  from  the  book  of  Verga  by  Targioni-Torzetti  and  Menasci ;  music  by 
Mascagni.  First  production  in  Rome,  May  17,  1890,  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. 


Cast 

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. 

53 


VICTOR   BOOK   OF   THE   OPER  A—  C  A  V  ALLERI  A   RUSTICANA 


THE  COMPOSER 

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 
operas. 

THE  STORY 

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

Prelude 

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. 
TURIDDU: 

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

them, 

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

them; 

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. 

54 


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

beaming, 

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


VICTOR   BOOK   OF   THE    OPE  R  A—  CA  VALLERI  A    RUSTICANA 
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: 


AMATO  AS  ALFIO 


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 


[•  *  '" 


E£ 


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 


VICTOR    BOOK   OF    THE    OPERA— CAVALLERI A    RUSTICANA 


SANTUZZA: 

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, 
Baritone 

(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. 

Intermezzo 

By  Pryor's  Orchestra 

*62618     lO-inch,  $0.75 
By  Victor  Orchestra 

4184     10-inch,       .60 


SANTUZZA   PLEADING  WITH  TURIDDU ACT   I 

(DESTIXN  AND  CARUSO) 


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

56 


VICTOR    BOOK    OF    THE    OPERA— CAVALLERI A    RUSTICANA 


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

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. 

TUKIDDU: 

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 

thinking! 

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. 

57 


COP    'I  OUPONl 

TAMAGNO    AS    TURIDDU 


VICTOR    BOOK    OF    THE    OPERA— CA VALLERI A    RUSTICANA 


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. 
LUCIA: 

Why    speakest    thou    so   strangely  ? 

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

Oh,   nothing!   the   wine 

Has  filled  my  brain  with  vapors! 

O  pray  that  God   forgive  me! 

One    kiss,    dear    mother! 

And   yet   another! 

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. 


DOUBLE-FACED  AND  MISCELLANEOUS  CAVALLERIA 
RUSTICANA  RECORDS 


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 


.75 


58 


DAMNATION     OF     FAUST FOURTH     SCENE PARIS    OPERA 


LA  DAMNATION  DE  FAUST 

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

DAMNATION  OF  FAUST 

Hector  Berlioz's  dramatic  legend  in  four  parts ;  book  based  on  de  Nerval's  version  of 
Goethe's  poem,  partly  by  Gandonniere,  but  completed  by  Berlioz  himself.  First  performed 
December  6,  1846,  at  the  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, 


Cast 

MARGUERITE   (Mahr-guer-eet ')     Soprano 

FAUST  (Fowsi) Tenor 

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

BRANDER  . .  . .  Bass 


Place :  A  German  village. 


THE  COMPOSER 

No  one  to-day  doubts  the  genius  of  Berlioz,  and  critics  are  almost  unanimous  in  praising 
his  originality,  his  spontaneous  force  and  immense  creative  power.  Le  Damnation  de  Faust, 
his  best  known  work,  originally  written  as  an  oratorio,  but  which  has  since  been  adapted 
for  the  stage,  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. 

59 


VICTOR      BOOK      OF     THE      O  P  E  R  A  —  B  E  RL  I  O  Z*  S      FAUST 


AUERBACH  S    BEER    CELLAR 


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. 

THE  OPERA 

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 
harmony." 

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 

60 


RENAUD'S  STRIKING  CON- 
CEPTION OF  MEPHISTO 


VICTOR      BOOK      OF     THE      OPERA  —  BERLIOZ'S      FAUST 

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

Chanson  de  la  puce     (Song  of  the  Flea) 

By  Pol  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 
make!" 

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.         M»HMT.  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. 


61 


VICTOR     BOOK     OF     THE     O  P  E  R  A  — B  E  R  L  I  O  Z  "S     FAUST 


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 

thee? 
But    let    thy    lover    prove    the 

truth   of   his  advances; 
When     the     ring     brightly 

glances, 
Ah!     then     only,     believe     his 

love! 

Berlioz's  Mephistopheles  is 
a  much  more  sardonic  and 
less  gentlemanly  devil  than  the 
one  we  are  accustomed  to  see  in  Gounod's  opera.  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. 


FOURTH    ACT    SETTING — DAMNATION 


•All   OU  THMlRE 


THE    RIDE    TO     HELL — ACT    V 


62 


DINORAH 

(Din-oh' -rah) 

OPERA  IN  THREE  ACTS 

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. 


Cast 

HOEL,  a  goatherd Bass 

CORENTINO,  bag-piper Tenor 

DINORAH,  betrothed  to  Hoel Soprano 

HUNTSMAN Bass 

Place :  Breton  village  of  Ploermel. 

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

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 
object. 

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: 


FAURE    AS     HOEL,     1859 


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. 

63 


Amid  the  thorns! 

Ah!    wert    thou    to    be    seized    by    the    wolf — fear 

not! 

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! 


VICTOR    BOOK    OF    THE    OPERA— ME  YERBEE  R'S    DINORAH 


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. 


TETRAZZINI    AS    DINORAH 


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 


HOKL: 

'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. 

64 


(Italian) 

DON  GIOVANNI 


(French) 


(Don  Jee-oh-vahn'-ee) 


DON  JUAN 

(Don  Wahri) 


OPERA  IN  TWO  ACTS 


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 
Re-naud. 


Cast 

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. 

ACT  I 

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. 

65 


COPY'!    OUPOHI 

SCOTTI   AS   DON 


VICTOR      BOOK      OF      THE      OPERA  —  MOZART'S      DON      GIOVANNI 


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 

LEPORELLO  : 

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 

three! 

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 


LEPORELLO 


VAUDYK.    LONOOK 

NIELSEN    AS   ZERLINA 


66 


VICTOR      BOOK      OF     THE      OPERA  —  MOZART'S      DON      GIOVANNI 


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

DON  GIOVANNI: 

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

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

that  one  word  "yes." 
ZERLINA: 

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

misgive, 
Shouldst  thou  prove  false,  I  could  not,  become 

thy  scorn  and  live. 
DON  GIOVANNI: 

Come  then,   oh  come  then,   dearest. 
ZERLINA: 

Yet  should  thy  fondness  alter. 
DON  GIOVANNI: 

Nay,  love,  in  vain  thou  fearest. 
BOTH: 

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 
Fountain) 

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) 


4:. 


By  Geraldine  Farrar,  Soprano 

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


AROTT    AND    RKNAT-n    AS    ZERLINA    AN" 
DON     GIOVANNI 


By  Tvlarcella  Sembrich,  Soprano 


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


07 


VICTOR      BOOK      OF     THE      OPERA  —  MOZART'S      DON      GIOVANNI 


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


MAUREL    AS    DON    GIOVANNI 


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. 

ACT  II 

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 
DON   GIOVANNI: 
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? 


gr 

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. 

68 


VICTOR      BOOK      OF     THE      OPERA  —  MOZART'S      DON      GIOVANNI 


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. 


iDOUARD  DE  RESZKE  AS  LEPORELLO 


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 
abyss. 


$3.00 

of   the 


LEPORELLO 


DOUBLE-FACED  AND  MISCELLANEOUS  DON    GIOVANNI  RECORDS 


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 


THE    GARDEN — ACT    III 


(Italian) 


DON  PASQUALE 


(Don  Pas-kwah' -lay) 

COMIC    OPERA   IN    THREE    ACTS 

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. 


Characters 

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. 


70 


VICTOR      BOOK      OF      THE      OPERA— DONIZETTI'S      DON     PASQUALE 


ACT   I 
SCENE — A  Room  in  Don  Pasquale  's  House 

The  Don  is  eagerly  awaiting  the  arrival  of  Dr.  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- 
brain, 

See   what   it   is  the   wise  and  wary  gain ! 
(Looking   off.) 
Ah!   here  the  very  man   comes,   apropos! 


PASQUALE: 

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 


ERNESTO: 

Sweet,  holy   dreams  I   loved  to  cherish 
Of   early   youth,   adieu!    ye   vanish! 
If   I   e'er  long'd   for   riches,   splendor, 
It  was  but  for  thee,  love; 


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 


KORINA: 

"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. 


VORIXA: 

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. 


VICTOR      BOOK      OF     THE     OPERA— DONIZETTI'S     DON     PASQUALE 

A  servant  gives  her  a  letter  from  Ernesto,  just  as  the  Doctor  enters  and  informs  her  that 
he  has  conceived  a  scheme  to  force  her  lover's  guardian  to  consent  to  the  marriage.  Norina 
declares  she  will  have  nothing  to  do  with  it,  bidding  him  to  read  Ernesto's  despairing  letter, 
in  which  the  young  man  tells  her  he  is  disinherited  and  will  leave  Rome,  bidding  her  a  last 
farewell. 

The  Doctor  soothes  her,  telling  her  he  will  induce  Ernesto  to  remain,  and  then  reveals 
the  details  of  the  plot  against  Don  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 

NORINA:  DOCTOR: 

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." 

NORINA:  NORINA: 

We're   quite  agreed,  and   I'm   enlisted.  "I'm  quite  confus'd,  my  thoughts  take  wing — ' 

Would  you  have  me  gay  or  tearful?  DOCTOR: 

DOCTOR:  Oh,  clever  creature!     Just  the  thing! 

Listen,  and  you'll  all  be  told; —  BOTH: 

You   must   play   simplicity.  Of   this   old   fool,   all    sense   who' spurn'd; — 

NORINA:  This  time  the  head  will   be  quite  turn'd! 

I'll   lessons  give — leave  that  to  me. 

"I'm    so  confused — I'm   young,   you   know — 

Thank   you — Your    servant, — Yes,    sir, — Oh!" 

The  scene  is  continued  in  another  sprightly  duet,  which  closes  the  act. 

Vado  corro  (Haste  "We  !) 

By  Giuseppina  Huguet  and  Ernesto  Badini         (Italian)     *62O97     lO-inch,  $0.75 

ACT  II 
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. 

72 


VICTOR     BOOK      OF     THE     OPERA— DONIZETTI'S     DON     PASQUALE 
E  rimasto  la  impietrato  (He  Stands  Immovable) 

By  Linda  Brambilla,  Soprano;  Antonio  Pini-Corsi,  Baritone; 

Gaetano  Pini-Corsi,  Tenor;  Agusto  Scipioni,  Bass 
PASQUALE:  (In  Italian)     *16566      10-inch.     $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. 

ACT  III 

(Same  as  Act  I— On  the  floor  and  furniture  are  piled  up  dresses,  bandboxes,  furs,  etc.,  in  great  pro- 
fusion.    Servants  are  running  to  and  fro  with  bustle  and  excitement) 

Don  Pasquale  is  seen  amid  the  confusion,  looking  with  utmost  consternation  at  a  huge 
pile  of  bills.  He  throws  them  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.) 

VORINA:  PASQUALE: 

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. 

73 


VICTOR     BOOK      OF     THE     OPERA— DONIZETTI'S     DON     PASQUALE 

As  she  goes  out  she  intentionally  drops  a  note  which  Don  Pasquale  seizes  and  peruses. 
He  is  petrified  to  find  that  it  reads: 


"Adored   Sophrania — 
llct  ween     the     hours     of 


nine     and     ten     this 


evening, 
I    shall   be   at   the   bottom   of   the   garden — 


R_y   the   small   grated   gate. 

shall 
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: 

PASQUALE: 

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 


PASQUALE: 

Wait,    wait,    dear    little    wife, 
I    soon   reveng'd   will   be: 
E'en    now   'tis   near,    my   life. 
This  night,   without   delay, 
Thou   must  the  reckoning  pay! 
Thou'lt  see  what  little  use 
Now   will  be  each   excuse — 
Useless  thy   tender  smiles. 
Sighs,   and   tears — and   wiles — 
All   I   have  now  at   stake, 
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  Night—Ernesto  is  Discovered  Waiting 

This   scene    begins   with    the    beautiful    serenade,    the    most    melodious   of    the    airs   in 
Donizetti's  work. 


Serenata — Com'  e  gentil   (Soft  Beams  the  Light) 

By  Enrico  Caruso,  Tenor  (In  Italian)     85048     12-inch,  $3.OO 

By  Aristodemo  Giorgini,  Tenor,  and  La  Scala  Chorus 

(In  Italian)      7601O     12-inch, 


KRNESTO: 

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, 


2.00 


And  none  are  nigh,   with  curious  eye; 
Then   why,   my   love,   oh,   why   delay? 
Your  lattice   open   to  the   starry   night. 
And  with   your   presence  make  the   world   more 
bright! 


Two  renditions  of  this  exquisite  air  are  listed  here,  headed  by  Caruso's,  familiar  to 
admirers  of  the  great  tenor.  A  fine  record  by  Giorgini,  a  tenor  now  much  liked  in  Italy, 
follows. 

Norina  joins  Ernesto,  and  they  are  reconciled  in  a  duet,  Tell  Me  Again.  Pasquale  and  the 
Doctor,  with  dark  lanterns,  enter  softly  and  hide  behind  the  trees,  but  the  irate  old  man  can 
contain  himself  no  longer  and  rushes  out  to  denounce  the  lovers.  Ernesto  vanishes  and 
Norina  calmly  declares  there  was  no  one  with  her,  that  she  had  merely  come  out  to  get 
fresh  air.  Pasquale  is  so  beside  himself  with  rage  and  chagrin  that  Malatesta  considers  it 
time  to  end  the  farce,  and  proposes  to  rid  Pasquale  of  his  bride  by  marrying  her  to  Ernesto, 
revealing  that  the  first  marriage  was  not  a  real  one,  and  that  the  lady  was  not  his  sister  but 
Norina.  Pasquale  is  so  glad  to  be  rid  of  such  an  extravagant  termagant  that  he  pardons  the 
deception,  consents  to  the  union,  and  settles  an  income  on  the  happy  pair. 

74 


VICTOR     BOOK      OF     THE    OPERA— DONIZETTI'S      DON      PASQUALE 


DOUBLE-FACED  DON  PASQUALE  RECORDS 

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)} 


68O1O 


62104 


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 


SCENE    FOR    ACT    II    AT     METROPOLITAN    OPERA 

75 


(Italian) 

L'ELISIR  D'AMORE 

<  l.ayl-lccz  -cai'  dahm-oh'  -rail) 

THE  ELixnTop  LOVE 

OPERA  IN  TWO  ACTS 

Text  by  Romani.     Music  by  Gaetano  Donizetti.     First  produced  in  Milan  in  1832.     First 
London  production  December  10,  1836.     First  New  York  production  in  1838. 


Cast 

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. 

ACT  I 

SCENE — The  Homestead  of  Adina' s  Farm 

Adina  and  her  companion  are  seated  under  a  tree  reading.  Nemorino  is  near,  pensively 
observing  his  innamoraia,  and  sings  his  first  Cavatina. 

Quant'e  bella  !  (Ah !  How  Lovely) 

By  Emilio  Perea,  Tenor  (In  Italian)     *62626     lO-inch,  $O.75 

NEMORINO: 

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. 

76 


VICTOR     BOOK      OF     THE      OPERA  — ELIXIR     OF      LOVE 

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

DULCAMARA: 

I    cure    the    apoplectical, 

The  asthmatical,   the   paralytical, 

The  dropsical,  the  diuretical. 

Consumption,    deafness,    too, 

The  rickets  and  the  scrofula — 

All   evils  are  at  once  upset 

By  this  new  and  fashionable  mode! 

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. 

ACT  II 

SCENE  I — Interior  of  the  Farmhouse 

The  wedding  feast  is  in  progress,  but  the  notary  has  not  arrived.  Dulcamara  is  present, 
and  produces  the  latest  duet  from  Venice,  which  he  asks  Adina  to  sing  -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 
effect. 

"Take  another  bottle,"  says  the  Doctor,  "only  twenty  crowns."  Nemorino  says  he  has  no 
money,  so  the  Doctor  promptly  pockets  the  bottle  and  goes  in  to  the  dancers,  telling  the 
unhappy  youth  to  go  out  and  raise  the  amount. 

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 

77 


VICTOR   BOOK   OF   THE   OPERA  — ELIXIR   OF  LOVE 

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. 

ADINA:  ADINA: 

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  ! 


DOUBLE-FACED  L'ELISIR  D'AMORE  RECORDS 


(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)  \ 

78 


ERNANI     RESCUES     ELVIRA     FROM     THE     KING — ACT     I 


(Italian)  (French) 

ERNANI  HERNANI 

(Er-nah1 -nee)  (Her-nah' -nee) 

OPERA  IN  FOUR  ACTS 

Libretto  adapted  by  Maria  Piave ;  from  Victor  Hugo's  drama  "Hernani;"  music  by 
Giuseppe  Verdi.  First  production  in  Venice,  March  9,  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. 
79 


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


ACT  I 

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. 
ERNANI  : 

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. 
ELVIRA: 

'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 
SEMBRICH    AS    ELVIRA 


*  Double-FaceJ  Record—  For  title  of  opposite 


tee  DOUBLE-FACED  ERNANI  RECORDS,  page  85. 
80 


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


THE  KING  PLEADS  HIS  LOVE 


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. 

81 


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

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. 

ACT  II 

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. 

82 


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


La  vedremo,  o  veglio  audace     (I  W^ill  Prove,  Audacious 
Greybeard) 

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 
death. 

ACT  III 

SCENE — A  Vault  in  Aix-la-Chapelle  Cemetery 

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

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. 


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

The  third  act  occurs  in  the  Tomb  of  Charlemagne  at  Aix-la-Chapelle.  Carlos  con- 
ceals himself  in  the  tomb  of  his  ancestor  to  witness  the  meeting  of  the  conspirators  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. 

ACT  IV 
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. 

DOUBLE-FACED  ERNANI  RECORDS 

JInfelice  e  tu  credevi  By  Perello  de  Segurola,  Bassl  ,-oo_       .  2-inch      $1  5O 

I     Puritani—Sorgea  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. 

84 


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


) 


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 

oprano; 

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     } 

(In 
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)] 

VERDI'S  BIRTHPLACE   (OCTOBER   10,    1813),  RONCOLE,  DUCHY  OF  PARMA 
85 


OPERA  IN  FIVE  ACTS 


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. 


Characters 

FAUST  (Fount) Tenor 

MEPH1STOPHELES  (Mef-ia-tof1 -el.lccz)     Bass 
VALENTINE  (Vat -en-teen) Baritone 

BRANDER,  or  WAGNER  Baritone 

SlEBEL    (See' -bet)    Mezzo-Soprano 

MARGUERITE  (Mahr-guer*et') ....  Soprano 
MARTHA Contralto 

Students,  Soldiers,  Villagers, 
Sorcerers,  Spirits. 


The  action  takes  place  in  Germany. 


VICTOR    BOOK    OF    THE    OPERA  —  GOUNOD'S    FAUST 


TH.  IMPERIAL  DE  L  OPERA 


MUST 


»-  NILSSOH 
IT  MAODDIT 


FAUST 

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. 

Prelude 

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 


UM»ugm«nM»  <!••  \<  / 

•A   FIOBETT1.     FOHTAD/""EnOClA 
MABODET  BARATTE  MERAN  | 

''tn"i,^v"s:''"  FAUST  I 


f                                         pp 

J^  1  ±  ^ 

"r    "f*  r 

*T  *T 

^4      4    -4       "      fe.     h=>- 

ho-        i» 

lt»^ 

r    r- 


s 


£^^£d 


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. 
FAUST: 

If  I   pray  there   is  none  to   hear — 

To  give   me  back  my  love. 

Its  believing  and  its  glow. 

Accurst  be  all  ye  thoughts  of  earthly  pleasure! 

Fond   dreams   of   hope!    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! 
I'AUST: 

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? 


87 


P'lHTED   tr  KOtUHC 


The  Aged  Philosopher  Wearies  of  Life 


VICTOR    BOOK    OF    THE    O  P  E  R  A  —  G  O  U  N  O  D  '  S    FAUST 


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 
Vision) 

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 : 


FAUST     DREAMS    OF    YOUTH     AND     BEAUTY 

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 
Kermesse. 

'Double-Faced  Record—  For  title  of  opposite  side  see  DOUBLE-FACED  FAUST  RECORDS,  page  107. 

89 


VICTOR    BOOK    OF    THE    O  P  E  R  A  —  G  O  U  N  O  D  '  S    FAUST 


SOLDI  KRS: 

Red  and  white  liquor,  coarse  or  fine. 

What  can  it  matter,  so  we  have  wine? 
OLD  MEN: 

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! 
GIRLS: 

Only   look   how  they   do  eye  us, 

Yonder   fellows  gay! 

Howsoever  they  defy  us. 

Never  run  away! 


STUDENTS: 

How  those  merry  girls  do  eye  us 

We  know   what   it   means — 

To  despise  us,  to  decoy  us, 

Like   so  many  queens! 
MATRONS: 

Only  see  the  brazen  creatures 

With  the  men  at  play; 

Had  the  latter  choice  in   features, 

They  would  turn   this  way! 
SOLDIERS: 

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. 


PHOTO     BY»0» 


MEETING     OF     MARGUERITE     AND     FAUST ACT     II 


88203 
88174 
92043 
68275 


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. 

VALENTINE: 

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 

90 


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. 


VICTOR    BOOK    OF    THE    O  P  E  R  A  —  G  O  U  N  O  D  '  S    FAUST 


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. 


URNET    AS    MEPHISTO 


M     PHISTOPHELES: 

Calf  of  Goldl  aye  in  all  the  world 

'."o   your  mightiness  they  proffer, 

I  ncense  at  your  fane  they  offer 

lrrom  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. 


MEPHISTOPHELES     AND 


91 


VICTOR    BOOK    OF    THE    OPERA-GOUNOD'S    FAUST 
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. 

M  EPII 1  STOP II ELES  : 

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 

sword.) 

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. 

MKPHISTOPHELES: 

I   propose  the  health  of  the  dearest  of  all 
dears, 

Our   Margarita! 
VALENTINE: 

Enough ! 

Bridle  thy  tongue,  or  thou  diest  by  my  hand! 
MEPHISTOPHELES: 

Come  on !      (Both  draw) 
CHORUS: 

Come  on ! 
MEPHISTOPHELES    (mocking): 

So  soon  afraid,  who  so  lately  defied  me?  corrr  u. 

^IwoVd!     O  disgrace!     In  my  hand  is  SAMMARCO   AS  VALENTINE 

powerless! 

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. 
VALENTINE  AND  SOLDIERS: 

'Gainst  the  powers  of  evil   our  arms  assailing,     SOLDIERS   (imitating  him): 
Strongest  earthly  might  must  be  unavailing.  Look  hither! 

VALENTINE:  ALL: 

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-Faced—See  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. 

FAUST : 

High-born  and  lovely  maid, 
Forgive  my   humble  duty. 
Let  me,   your  willing  slave, 
Attend  you  home  to-day? 

She  modestly  declines,   saying : 
MARGUERITE: 

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. 

92 


VICTOR    BOOK     OF    THE     OPERA  —  GOUNOD'S    FAUST 


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 

EE 


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 
Hamlin. 

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. 

93 


VT  BURR   M'lHTOSH 
CARUSO    AS    FAUST 


VICTOR    BOOK    OF    THE    O  P  E  R  A  —  G  O  U  N  O  D  '  S    FAUST 


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., 


3.00 


AND     MEPHISTOPHELES     ENTERING 
MARGUERITE'S  GARDEN 


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: 


Adagio. 


*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 
feeling. 

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) 

94 


88O66 

88024 
88147 

oHloO 


12-inch.  $3.00 
12-inch,  3.OO 
12-inch, 
12-inch, 


3.OO 
1.25 


VICTOR    BOOK    OF    THE    O  P  E  R  A  —  G  O  U  N  O  D  '  S    FAUST 


FARRAR    AS     MARGUERITE 


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 
opera. 

Miss  Farrar's  brilliant  Marguerite  has  been  much 
admired  during  the  past  few  seasons,  and  this 
number  shows  well  the  loveliness  and  flexibility  of 
her  voice.  A  fine  record  at  a  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. 

95 


Marguerite's  Surrender 


VICTOR    BOOK    OF    THE    O P E R A  — G O U N O D  '  S    FAUST 


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- 
light. 

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. 


QUARTET ACT     III 


MEPHISTOPHELES: 
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! 

MARGUERITE: 

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 


MARGUERITE: 

The  hour  is  late! 


Farewell! 


'  FAUST: 

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. 

97 


VICTOR  BOOK  OF  THE  O  P  E  R  A  —  G  O  U  N  O  D  '  S  FAUST 


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. 

FAUST  : 

0  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)  : 
MARGUERITE: 

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! 
MARGUERITE: 

By  that  tender  vow  that  we  have  sworn, 

By  that  secret  torn  from  me, 

1  entreat  you  only  in  mercy  to  be  gone! 
FAUST: 

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! 
FAUST: 

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. 


COPVT    M1SHKIH 

CONSTANTINO    AS    FAUST 


MEPHISTOPHELES    (contemptuously)  : 

Thou   dreamer! 
FAUST: 

Thou   hast   overheard? 
MEPHISTOPHELES: 

I    have.      Your   parting   with    its    modest    word! 

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


FAUST: 

Let  me  pass! 
MEPHISTOPHELES: 

Not  a  step;  you  shall  stay  and  overhear 

That   which  she   telleth   the  stars! 

See!    She  opens  the  window! 


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! 

98 


VICTOR    BOOK    OF    THE    O  P  E  R  A  —  G  O  U  N  O  D  '  S    FAUST 


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 
phrases. 

Her  longing  for  the  passing  of 
night  and  the  return  of  Faust,  ex- 
pressed in  the  last  ecstatic  phrase,  is 
answered  by  the  cry  of  her  lover,  and 
Mephistofkeles,  who  has  been  holding 
Faust  back,  now  releases  him. 

FAUST    (rustling  to  the  window) : 

Marguerite! 
MARGUERITE: 

Ah!    (she  faints  in   his  arms). 
MEPHISTOPHELES    (with   sardonic   laughter): 
There!      Ha,    ha.    ha!    ha! 

(The    curtain    slowly    falls.) 

Fantasie    from   Garden 
Scene 

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: 


MARGUERITE     LONGS     FOR     FAUST  S     RETURN 


This  song  has  long  been  a  favorite  number  with  many  famous  contraltos,  and  its  lovely 
melody   is   frequently   used   in  our  churches  as  a  setting  to   "Come  Unto   Me,"  and   other 
sacred  words. 
SIEBEL: 

When    all    was    young    and    pleasant    May    was 

blooming, 
I,    thy    poor    friend,    took   part    with   thee    in 

play ; 
Now     that     the     cloud     of     Autumn     dark     is 

glooming, 
Now  is  for  me,  too,  mournful  the  day! 

The  scene  abruptly  changes  to  the  square  in  front  of  the  cathedral,  with  the  house  of 
Marguerite  shown  at  one  side.  The  victorious  soldiers,  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. 

99 


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. 


VICTOR    BOOK    OF    THE    O  P  E  R  A  -  G  O  U  N  O  D  '  S    FAUST 
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 


SOLDIERS'  CHORU 


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 

arms. 

To  old  age  of  old  time  glorious, 
To  talk  of  war's  alarms! 

Glory  and  love  to  the  men  of  old. 
Their  sons  may  copy  their  virtues  bold. 
Courage    in    heart    and    sword    in    hand. 
Ready  to  fight  or  ready  to  die.  for  Fatherland! 
Who    needs    bidding    to    dare,    by    a    trumpet 
blown? 


Who    lacks    pity    to    spare,    when    the    field    is 

won? 

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 

pale. 

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 


100 


VICTOR    BOOK    OF    THE    OPER  A— G  OUNOD'S    FAUST 


After  the  second  verse  occurs  this  famous  passage 
ad  lib. 

MKPHISTO.  f  & 


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. 

MEPHISTOPHELES: 

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. 

101 


MELBA    AS    MARGUERITE 

CHURCH    SCENE 


The  Death  of  Valentine 


VICTOR  BOOK  OF  THE  O  P  E  R  A  —  G  O  U  N  O  D  '  S  FAUST 


Morte  di  Valentino   <  Death 
of  Valentine) 

By  Antonio  Scotti,  Baritone,  and 
Grand  Opera  Chorus 
(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 
page. 

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 
church. 

Marguerite,  cursed  by  her  dying  brother,  abandoned  by  all    but  the  faithful    Siebel,   is 
kneeling  at  a  small  altar.     Fearing  to  enter,  and  endeavoring  to  seek  consolation  in  prayer, 
slie  supplicates  Heaven  to  accept  her  repentance. 
MARGUERITE: 

<  >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! 
("HURTS  OF  DEMONS: 

Marguerite! 
MARGUERITE    (faintly)  : 

Who  calls  me? 
DEMONS: 

Marguerite! 
MARGUERITE    (terrified)  : 


MKFJIISTOFHELES   (taunting  her): 

Recollect     the     old     time,     when     the     angels, 

caressing. 

Did  teach  thee   to  pray. 
Recollect     how     thou     earnest     to     ask     for     a 

blessing 

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 

altar 

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 

thee, 
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  ? 


103 


VICTOR    BOOK    OF    THE    OPER  A— G  OUNOD'S    FAUST 


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? 

MARGUERITE: 

And  I,  the  frailest  of  the   frail. 
Have  most  need  of  Thy  forgiveness! 

MEPHISTOPHELES: 

No!    Let  them  pray,  let  them  weep! 
Hut  thy  sin  is  deep,  too  deep, 
To   hope   forgiveness!      No! 

CHOIR: 

Where  shall  human  sinner  be, 
Mow  lie  hid  in  earth  and  sea, 
To  escape  eternity? 

MARGUERITE   (tvilJIy) : 

Ah,  the  hymn  is  around  and  above  me, 
It  bindeth  a  cord  'round  my  brow! 

MEPHISTOPHELES: 

Farewell,   thy  friends  who  love  thee! 

And  thy  guardians  above  thee! 

The  past  is  done!   the   payment  now! 

MARGUERITE  AND  CHOIR: 

O    Thou!    on    Thy    throne,    who    dost 

hear   me, 

Let  a  tear  of  mercy   fall  near  me, 
To  pity  and  save! 

MEPHISTOPHELES  : 

Marguerite!     Mine  art  thou  ! 

MARGUERITE:   Ah! 

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. 

104 


MARGUERITE    AND    THE    TEMPTER 


VICTOR    BOOK    OF    THE    OPERA  —  GOUNOD'S    FAUST 
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. 

ACT  V 

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! 

away! 
Marguerite!     Marguerite! 

She  forgets  all  but  that  her  loved  one  is  before  her,  and  sings  in  a  transport  of  love : 
MARGUERITE:  FAUST  (supporting  her  tenderly): 

Ah!     I  love  thee  only!  Yes,  I  love  thee  only! 

Since  thou  cam'st  to  find  me  Let  who  will,  now  goad 

No  tears  more  shall  blind  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! 

105 


The  Redemption  of  Marguerite 


VICTOR    BOOK    OF    THE    OPERA-GOUNOD'S    FAUST 

The  impassioned  duet  then  follows,  Faust  endeavoring  to  persuade  her  to  escape ;  but 
the  poor  weak  mind  cannot  grasp  the  idea  of  safety.  The  duet  is  interrupted  by  the  im- 
patient 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 

undone! 

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. 

\li  i> ii  ISTOPHELES:  MARGUERITE: 

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. 


DOUBLE-FACED  AND  MISCELLANEOUS  FAUST  RECORDS 
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  Macdonoughf3^  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)},  0~-~      ,  -,          i        ,  ~, 

\      Fanrita—Quando  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  Pasquale—Sogno  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' 


107 


(German)  (Italian) 

DIE  FAVORITIN  LA  FAVORITA 

(Dee  Fah-oe-ree' -tin)  (Lah  Fah-oo-rce'-tah) 

(English) 

THE  FAVORITE 

OPERA  IN  FOUR  ACTS 

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. 


Cast 

ALPHONSO  XI,  King  of  Castile Baritone 

FERDINAND,  a  young  novice  of  the  Convent  of  St.  James  of  Compostella, 

afterwards  an  officer Tenor 

DON  CASPAR,  the  King's  Minister Tenor 

BALTHAZAR,  Superior  of  the  Convent  of  St.  James Bass 

LEONORA  Dl  GUSMANN,  the  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. 

ACT  I 

SCENE — The  Monastery  of  St.  James 

The  rise  of  the  curtain  discloses  a  Spanish  cloister  with  its  secluded  garden  and  weather- 
stained  wall,  while  in  the  distance  is  a  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 

BALTHAZAR: 

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'ry1  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! 

BALTHAZAR:  BALTHAZAR: 

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! 

FERDINAND:  FERDINAND: 

I   know  her  not;  but  I   love  her!  Ah,   dear   Idol!    this   heart   so   enchaining, 

BALTHAZAR:  In  vain  thy  spell   I   strive  to  break! 

Begone!    too   profane!      Fly  these   cloisters  To   thee    only   my   truth   maintaining, 

Far,  far  from  hence! — avoid  my  sight.  My  cloister  I  forsake! 

108 


VICTOR      BOOK      OF      THE      OPERA        LA      FAVORITA 


The  Prior's  pleading  fails  to  restore  Ferdinand  to  his  duty, 
and  he  leaves  the  convent  to  search  for  the  beautiful  unknown. 
As  he  goes  he  turns  and  stretches  out  his  arms  toward 
Balthazar,  who  averts  his  head. 

The  scene  changes  to  the  Island  of  Leon,  where  Inez, 
an  attendant  of  Leonora,  and  a  chorus  of  maidens  are  gather- 
ing 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 : 


rt    DUPONT 

CARUSO     AS     FERDINAND 


FBXOIMAXD: 

Fly  from  thce!     Oh,  never! 
'Twere  madness  to  try 
From    thee   to   sever; 
'Twere  better  to  die! 
LEONOKA: 

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. 

ACT  II 

SCENE — Gardens  of  the  Alcazar  Palace 

The  King  enters  and  admires  the  beauty  of  the  palace,  which  he  has  just  acquired  from 
the  Moors  by  the  victory  of  his  army,  led  by  the  young  captain,  Ferdinand.  A  message  comes 
from  Balthazar,  the  King's  father-in-law,  who  is  at  the  head  of  the  powerful  Church  party, 
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. 

109 


VICTOR      BOOK      OF      THE      OPERA^LA      FAVORITA 


the     halls     of     my     father     you 


LEONORA: 

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 

beliey'd! 
KING   (with  tender  remorse): 

No  more!     No  more! 
LEONORA: 

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 ! 
KING: 

Hut  tell  me  the  first  cause   of  your  grief. 


LEONORA: 

Ah!  ask  not  to  know  it. 

Permit  me,   sir,   to   leave  this  court! 
KINO: 

No  man  can  love  thee  more  than  I; 

Thou  shall  see   how  my   heart  adores  thee! 
LEONORA: 

_  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! 


Pope. 


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 
numbers. 

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. 


$0.75 


BALTHAZAR: 

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 ! 
LEONORA: 

I   tremble   with  fear 

In   my   inmost   heart. 

Lest  this  terrible  blow 

Should  crush   my   fondest   hopes. 
KING: 

Still   this  sudden   tempest 


Shall  not  bend  me  nor  break  me; 

Calm   thee,   my   Leonora, 
,     Bright   is  thy   destiny. 
CHORUS: 

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. 

ACT  III 

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. 

110 


VICTOR      BOOK      OF      THE      OPERA— LA      F AV O R I TA 

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. 

ACT  IV 

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! 
BALTHAZAR  AND  CHORUS: 

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 

w.th  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. 

lit 


VICTOR      BOOK      OF      THE      OPERA  — LA      FAVORITA 

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. 

LEONORA:  LEONORA  (feebly): 

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! 

(Curtain) 


DOUBLE-FACED  AND  MISCELLANEOUS  FAVORITA  RECORDS 

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)  Lan<-,      ,  <•>  .--.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)} 

112 


62635      10-inch,        .75 


BEETHOVEN 


(German) 

FIDELIO 

(.Fee-Jay1  -lee-o) 

or,   CONJUGAL  LOVE 

GRAND    OPERA  IN  TWO  ACTS 

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. 


Characters 

DON  FERNANDO,  Minister Baritone 

DON  PlZARRO,  Governor  of  the  State  Prison     Baritone 

FLORESTAN.  a  prisoner Tenor 

LEONORE,  his  wife,  known  as  Fidelio Soprano 

ROCCO,  jailor Bass 

MARZELLJNE,  his  daughter Soprano 

JAQUINO,  gatekeeper Tenor 

CAPTAIN  OF  THE  GUARD Bass 

LIEUTENANT  Bass 

Soldiers,  Prisoners,  People,  etc. 


Place :     A  Spanish  State  prison  in  the  vicinity  of  Seville. 
113 


VICTOR    BOOK    OF    THE    OPERA  — BEETHOVEN'S     FIDELIO 

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 
Florestan. 

GOVERNOR: 

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. 


DOUBLE-FACED    FIDELIO    RECORD 


/Leonore  Overture  No.  3 
\     Attila  Selection 


Arthur  Pryor's 

Arthur  Pryor's  Bandf 


12-inch.     $1.25 


114 


THE    PHANTOM    SHIP 


(German) 


DER  FLIEGENDE  HOLLANDER 

(Dehr-gen-dih  Hot-lan-der) 

FLYING  DUTCHMAN 


I1'  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  r»n 
T.u*»    w*wrr«n  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. 


(Italian) 

II  Vascello  Fantasma 

(£e/  Vau-xl-low  Fahn-tahz  -mah) 

A  ROMANTIC  OPERA  IN  THREE  ACTS 

Text  and  score  by  Richard  Wagner.  First 
produced  at  the  Royal  Opera  in  Dresden,  January 
2,  1843,  with  a  Paris  production  the  following 
year  under  the  title  of  Le  Vaisseau  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. 


Cast 

DALAND,  a  Norwegian  sea  captain Bass 

SENTA,  his  daughter Soprano 

ERIC,  a  huntsman Tenor 

MARY,  Senta's  nurse Contralto 

DALAND'S  STEERSMAN Tenor 

THE  DUTCHMAN Baritone 

Sailors,  Maidens,  Hunters,  etc. 


ORIGINAL  PROGRAM DRESDEN,   1843 


Place  :     On  the  coast  of  Norway 


115 


VICTOR     BOOK     OF     THE     OPERA  — FLYING     DUTCHMAN 


THE  STORY 

One  of  the  most  melodious  of  Wagner's  operas,  and  the  most  popular  in  Germany 
to-day,  Fliegende  Hollander  is  also  the  one  which  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. 

ACT  I 

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 : 
STEERSMAN: 

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: 

116 


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! 


VICTOR     BOOK     OF     THE     OPERA  — FLYING     DUTCHMAN 


VAN    ROOY    AS    THE    DUTCHMAN 


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: 
DUTCHMAN  : 

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 
g.ve  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. 

ACT  II 

SCENE — A  Room  in  Daland' s 
Home 

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! 


FIRST    ACT    SETTING    L'SEU    IN     MUNICH 


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 
vail. 

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: 


117 


VICTOR     BOOK     OF     THE     OPERA  — FLYING     DUTCHMAN 


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    seair.an 

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. 

ACT   III 

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. 


119 


VICTOR     BOOK     OF     THE     OPERA  — FLYING     DUTCHMAN 


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- 
frain. 

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 


MISCELLANEOUS   FLYING    DUTCHMAN   RECORDS 


/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 : 


JT7T 


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. 


120 


(Italian) 

LA  FORZA  DEL  DESTINO 

(La  Forf-zah  del  Dei-tee 

THE  FORCE^'OF  DESTINY 

OPERA  IN   FOUR  ACTS 

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. 


CHARACTERS 

MARQUIS  OF  CALATRAVA.  (KaUhiraK -oah) Bass 

DONNA  LEONORA.I  ,  /Soprano 

DON  CARLO.  /  Hl8  Chlldren  iBaritone 

DON  ALVARO,  (Aht-oah'.roh) Tenor 

ABBOT  OF  THE  FRANCISCAN   FRIARS Bass 

MEUTONE,  a  friar Baritone 

CURRA,   Leonora's   maid 

TRABUCO,  muleteer,  afterwards  a  peddler Tenor 

A  SPANISH  MILITARY  SURGEON Tenor 

AN  ALCADE Bass 

Muleteers,  Spanish  and  Italian  Peasants  and  Soldiers, 
Friars  of  the  Order  of  St.  Francis,  etc. 


Scene  and  Period :    Spain  and  Italy  ;    about  the  middle  of  the  eighteenth  century. 


Verdi's  opera  of  La  Forza  del  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     .  0   .      ,      «,  -,< 

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. 

121 


VICTOR    BOOK    OF    THE    OPERA— LA    FORZA    DEL    DESTINO 

ACT  I 

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. 

ACT  II 

SCENE  I — An  Inn  at  Hornacuelos 

The  second  act  begins  in  a  village  inn,  where  Don  Carlo,  son  of  the  murdered  Marquis, 
is  disguised  as  a  student  in  order  to  better  avenge  his  father.  Leonora,  who  is  traveling  in 
male  attire,  arrives  at  the  inn,  and  is  horror-stricken  at  seeing  her  brother,  who  has  sworn 
to  kill  her  lover  Alvaro  and  herself.  She  flees  to  the  convent  of  Hornacuelos,  arriving  at 
night. 

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. 
LEONORA:  LEONORA: 

Oh,  Holy  Virgin,  O   sublime   song, 

Have  mercy  on  my  sins!  Which  like  incense, 

Send  help  from   Heaven  Ascends   heavenward. 

To   erase   from   my  heart  It  gives  faith,  comfort, 

That  ungrateful,  one.  And  quiet  to   my  soul. 

{The  friars  are  heard  in  their  morning  hymn.)         I -will  go  to  the  holy  sanctuary. 
THE  FRIARS:  The  pious   father  cannot   refuse  to  receive  me. 

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 
Leonora. 

THE  FRIARS:  LEONORA: 

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.) 

ACT  III 

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 

122 


VICTOR    BOOK    OF    THE    OPERA-LA    FORZA    DEL    DESTINO 

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 
occurs. 

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. 

ALVARO: 

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  : 

Dow  ALVARO  (CABUSO). 


mi       do  •  ve    •    te        Fv 
milk     lo    grant   me.       So 


DON  CABLOS  (Scorn) 

'=*rB5iBi 


Double-FaceJ  Record — For  titie  of  opposite  side  see  the  double-faced  list  on  page  1 25. 

123 


VICTOR    BOOK    OF    THE    OPERA— LA    FORZA    DEL    DESTINO 


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. 

ACT  IV 
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. 


CARLOS: 

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! 


CARLOS: 

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! 
ALVARO  : 

Leave  me!     By  this  holy  habit 

Thou   niay'st   see   my   repentance! 
CARLOS  (in  fury)  : 

Coward! 

Thou   shalt   not   hide  behind  thy   robes! 
ALVARO    (agitated): 

Coward!   Oh,   God 

Give  me  strength  to  forgive  thee! 


Le  minaccie,  i  fieri  accenti    (Thy  Menaces  "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 : 


4.00 


1.25 


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! 
CARLOS: 

Thou   hast  left   me 

A  sister  deserted  and  dishonored! 
ALVARO: 

No!    I    swear   it! 

I  adore  her  with  a  holy  love. 
CARLOS    (furiously)  : 

Thy   cowardly   pleadings 

Cannot  move   me   to  pity. 

Take  thy  sword  and  fight! 
ALVARO: 

Brother,   let  me   kneel   to  thee. 

(He  kneels.) 
CARLOS: 

Ah,  by  such  an   act 

Thou  showest   thy  base  origin! 


ALVARO    (rising,   unable   to   control   himself ): 

My   lineage  is  brighter  than  a   jewel — 
CARLOS   (sneeringly)  : 

A  jewel   flaw'd  and  discolored! 
ALVARO   (in  fury) : 

Thou   liest! 

Give  me  a  sword.     Lead  on ! 
CARLOS : 

At  last! 
ALVARO    (recovering   himself) : 

No,   Satan   shall   not  thus  triumph. 

(Throws  down   his  sword.) 
CARLOS  : 

Then   coward.   I  brand  thee   with   dishonor! 

(Strikes  him.) 
ALVARO: 

Oh,  God,  no  more! 

(To  Don   Carlos) 

Defend   thyself! 
BOTH: 

We   both   must   die, 

Our  hatred  will  be  appeased 

And  Satan  will  claim  us  for  his  own! 


124 


VICTOR    BOOK     OF    THE     OPERA— LA     FORZA    DEL     DESTINO 

ACT  V 

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 

LEONORA: 

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! 


DOUBLE-FACED  AND  MISCELLANEOUS  FORZA  DEL  DESTINO  RECORDS 

(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  Maschera—Ah  I  qual  soave  brMdo  ( Thy  Words,  Like  Dew)     fb< 
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)) 

125 


THE    WOLF  S    C.LEN     SCENE 


(German) 


(English) 


THE  FREESHOOTER 


DER  FREISCHUTZ 

(Der  Fry' -shoots) 

ROMANTIC  OPERA  IN  THREE  ACTS 

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. 

Cast 

PRINCE  OTTOKAR,  Duke  of  Bohemia Baritone 

CUNO,  head  ranger Bass 

MAX,  K  c  ,  ,  .  j  Tenor 
CASPAR,  )  tw°  young  foresters  servin8  under  him  •  '  {  Bass 
KlLJAN,  a  rich  peasant Tenor 

A  HERMIT Bass 

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. 

126 


VICTOR      BOOK      OF      THE       OPERA— DER      FREISCHUTZ 


Overture 

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 
moment. 

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. 

127 


VICTOR       BOOK      OF      THE      OPERA— DER      FREISCHUTZ 


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 
Youth. 

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. 

ANNIE: 

Comes  a  gallant  youth  towards  me, 

Be  he  golden  hair'd  or  dark, 
Eyes   that   flash   as   he   regards  me, 

Him  my  captive  I  will  mark! 

Eyes  bent  down   to  earth  for   shyness, 
As  befits  a  modest  maid, 

With   a   stolen   look   of   slyness 
Yet  may  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! 


PHOTO  BOYER 


AGATHA    AND    ANNA 


AGNES: 

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 
happily. 


DOUBLE-FACED  FREISCHUTZ  RECORDS 
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)} 

128 


350OO     12-inch,  11.25 


10-inch,       .75 


(CARUSO,   DESTJNN  AND  AMATO) 
(Italian) 

GERMANIA 

(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 

GIOVANNI  FILJPPO  PALM Bass 

FEDERICO  LCEWE)  Tenor 

CARLO  WORMS     [Students Baritone 

CRISOGONO  Baritone 

RlCKE Soprano 

JANE,  her  sister Mezzo-Soprano 

LENE  ARMUTH,  an  aged  beggar-woman Mezzo-Soprano 

JEBBEL,  her  nephew Soprano 

STAFFS,  Protestant   Priest Bass 

LUIGI  ADOLFO  GUGUELMO  LUTZOW Bass 

CARLO  TEODORO  KORNER Tenor 

SIGNORA  HEDVIGE Mezzo-Soprano 

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. 

129 


VICTOR    BOOK    OF    THE    OPERA  — FRANCHETTI 'S    GERMANIA 

PROLOGUE 

SCENE — -An  Abandoned  Mill  near  Nuremberg 

A  company  of  students,  under  the  leadership  of  Giovanni  Palm,  have  occupied  an  old 
mill,  and  are  shipping  sacks  of  grain,  which  really  contain  political  documents  intended  to 
rouse  the  people  to  revolt.  Prominent  among  the  students  is  Worms,  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. 

ACT  I 

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 
battle-scarred. 

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. 

ACT  II 
SCENE — A  Cellar  in  Konigsberg 

In  this  underground  retreat  Worms  is  again  plotting  against  Napoleon.  A  meeting  of  the 
Council  is  in  progress,  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. 

EPILOGUE 

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. 

130 


(Italian) 

LA  GIOCONDA 

(La/i  Jee-oh-kori -dah) 

OPERA  IN   FOUR  ACTS 

Libretto  by  Arrigo  Boito ;  music  by  Amilcare  Ponchielli.  It  is  an  adaptation  of  Victor 
Hugo's  drama,  "Angelo,"  and  -was  first  presented  at  La  Scala,  Milan,  April  8,  1876.  First 
London  production  in  the  summer  of  1883.  First  New  York 
production  December  20,  1883,  with  Christine  Nilsson, 
Scalchi,  Fursch-Madi,  del  Puente  and  Novara. 


Characters 

LA  GIOCONDA,  a  ballad  singer Soprano 

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 

A  PILOT Bass 

Monks,  Senators,  Sailors,  Shipwrights,  Ladies, 
Gentlemen,  Populace,  Masquers,  etc. 


The  action  lakes  place  in   Venice,  in  the  seventeenth  century. 


PROGRAM    OF    FIRST    PERFORMANCE 
(MILAN) 


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. 

ACT  I 

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 0  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. 

131 


"USICAL  AMERICA 

DESTINN    AS   GIOCONDA 


VICTOR  BOOK  OF  THE  OPERA— LA  GIOCONDA 


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 
LA  CIECA: 

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- 


To 


Here    recommence   thy    daily   life, 
In   calm   contentment  gliding. 
BARNABA   (aside)  : 

With    fiercest   joy    my    heart    would   be 

tared 

If   in    my  net   she   were  securely  captured! 
The   wildest   ecstafies   within    me   waken! 
Beware  thee,  moth,  if  in  my  net  thou'rt  taken! 


enrap- 


Heav'n  my  ceaseless  pray'rs  their  flight  are 
winging, 

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 — 


SCENE ACT    I 


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. 

132 


copvr  OUPONI 

HOMER    AS    LAL'RA 


VICTOR     BOOK      OF     THE      OPERA— LA      GIOCONDA 


LA  CIECA: 

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- 
sessing— 

Deign  to  accept  the  humble  gift,  'twill  bring 
to  thee  a  blessing, 

And  on  thy  head  may  bliss  descend;  I'll  ever 
pray  for  thee! 


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 ! 
BARNABA: 

What  magic  stupor  steals  away  thy  senses? 

"J'is  of   the   Lady   Laura,   Alvise's   wife,   thou'rt 

thinking. 
ENZO  (astonished)  : 

Who   art  thou? 
BARNABA  (impressively) : 

I   know  all ; 

Can   penetrate   thy   thoughts,   however   secret. 

'1  hy  birthplace  was  Genoa! 
ENZO: 

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

I  am  Dalmatian,  Enzo  Giordan. 
BARNADA: 

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. 


CARUSO    AS    £NZO 


I  NZO: 

I   have   pledged  my   faith   to   Gioconda. 
1  ARNABA: 

Poor   wand'ring   ballad-singer! 

Her  thou  dost  love  as  sister,  but  Laura  as  thy 

mistress. 
Thou    hadst   all    hope   abandoned,    dreamed   not 

to   see   her   features, 

I'.ut    here,    under    her    velvet    mask,    thy    beau- 
teous angel  saw  thee 
And   recognized   thee. 
FNZO  (joyfully): 
Oh,  happiness! 
I'.  ARNABA: 

Love   sees   through   disguises. 

All    this    night    will    her    husband    stay    at    the 

Doge's  palace. 
With    the   Great    Council.      Laura    shall   be   on 

board  thy  vessel. 

Love's  sweetest  consolations  await   thee! 
ENZO: 

Ah,  with  what  joy  my  heart  is  filled, 

Fortune  at  last  is  kind! 

But    who    art    thou,    oh,    gloomy    messenger    of 

joy? 
1' \RNABA: 

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


(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, 

(.Iside) 

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! 

(Exit.) 


*  Doubtc-Faced  Record— For  title  of  opoositeiiJc  see  DOUBLE-FACED  LA  GIOCONDA  RECORDS,  page  137. 

133 


VICTOR     BOOK     OF     THE     OPERA  — LA     GIOCONDA 


Barnaba  then  writes  to  Alvise  that  his  wife  plans  to  elope  with  Enzo.  He  speaks  the 
•words  aloud  as  he  writes,  and  is  heard  by  Gioconda,  who  is  overcome  at  this  evidence  of  her 
lover's  faithlessness,  and  heartbroken,  enters  the  church  with  her  mother. 

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 

ACT  II 

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 
watch. 

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. 


ENZO  S   VESSEL ACT    H 


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^^^    »n»ry.  *•  >     ^,  *~*-£- 

Especially  noticeable 
is  this  fine  passage —         "if —  v     '   *•    7  ..     „., 

«ic          nl     »l        b.  cloDel-b     ri  •  U    •     d«l  •  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 
offered. 

*  Doublt-Faad Record— For  title  of  opposite  side  xc  DOUBLE-FACED  LA  GIOCONDA  RECORDS,  page  137. 

134 


VICTOR     BOOK      OF      THE      OPERA       LA      GIOCONDA 


ENZO: 

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- 
proaching. 

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. 

ACT  III 

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. 

135 


VICTOR      BOOK      OF      THE      OPERA  — LA     GIOCONDA 


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! 
GIOCONDA: 

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. 


COPY'!   MISHKIN 

AN CON A   AS    BARNABA 


LA  CIECA: 

Thou  art  weeping,  O  Gioconda, 

Let  me  fold  thee  to  my  breast. 

Never   love,    like   love  maternal, 

Can  encounter  every  test. 
ALVISE: 

'Mid  the   splendor   this   fete   surrounding, 

Thou  art  unwelcome,  cavalier; 

But,  ere  long,  new  scenes  of  horror 

Shall   from   thee   attention   claim. 

Thou  shalt  soon  see  if  I  am  watchful 

Of  the  honor  of  my  name! 


THE     KUINEU     PALACE ACT     IV 


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. 

ACT  IV 

SCENE — A  ruined  palace  on  an 
island  in  the  Adriatic.  Venice 
visible  in  the  distance 

To  this  desolate  island 
Gioconda  has  managed  to  bring 
the  unconscious  Laura,  in  an 
endeavor  to  save  her.  As  the 


*  Double-FaceJ  Record— For  title  of  opposite  side  see  DOUBLE-FACED  LA  GIOCONDA  RECORDS,  page  137. 

136 


VICTOR     BOOK      OF      THE      OPERA  — LA      GIOCONDA 

curtain  rises  two  men  are  carrying  the  insensible  form  into  the  ruin.  Gioconda asks  the  men 
to  seek  out  her  mother,  -whom  she  fears  never  to  see  again.  Left  alone,  she  approaches  the 
table,  looks  fixedly  at  a  flask  of  poison,  and  begins  her  terrible  song,  one  of  the  most  dra- 
matic of  the  numbers  in  Ponchielli's  work. 

Suicidio   (Suicide  Only  Remains) 

By  Elda  Cavalieri     (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 
BAKU ABA: 

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.) 

nightly  LAST   NIGHT   THY    MOTHER  DID  OFFEND   ME: 

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.) 

DOUBLE-FACED  AND  MISCELLANEOUS  LA  GIOCONDA  RECORDS 

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] f5501  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  Sinfonicaf45033         Mnch'     l'°° 

|  Cielo  e  Mar !  By  Franco  de  Gregorio     (In  Italian) ) 

I      Manon  Lescaut—Ah,  Manon  f  mi  tradisce  [45O27      lO-inch.     l.OO 

By  Franco  de  Gregorio,   Tenor     (In  Italian)} 

137 


U  S    DEATH ACT     III 


(German) 

GOTTERDAMMERUNG 

(  Gol-ler-dahm'  -er-ung) 

THE  DUSK  OF  THE  GODS 

MUSIC  DRAMA  IN  THREE  ACTS  AND  A  PRELUDE 

Words  and  music  by  Richard  Wagner.  First  produced  at  Bayreuth,  August  17,  1876, 
with  Materna  and  Unger.  First  American  production  at  New  York,  January  25,  1888,  with 
Lehmann,  Seidl-Krauss,  Traubman,  Niemann  and  Fischer. 


Characters 

SIEGFRIED ." Tenor 

GUNTHER  (Goon'-ter)     Bass 

HAGEN  (Hati-gen)  Bass 

BRONNHILDE Soprano 

GUTRUNE    (Coot-troon -eh)     Soprano 

WOGLJNDA,   }  \  Soprano 

WELLGUNDA,  Rhine- Nymphs \  Soprano 

FLOSSHILDE,  J [Contralto 

PRELUDE 

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. 

138 


VICTOR  BOOK  OF  THE  OPERA— THE  DUSK  OF  THE  GODS 


EDOUARD    DE    RESZKE 
AS    HAGEN 


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 

hold. 
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. 

ACT  I 

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 

eye): 

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 
says: 

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. 

139 


TED  BY   ECHTER 

ALBEKICH    AND     HACKS' — ACT    II 


VICTOR    BOOK    OF    THE    OPERA— THE    DUSK    OF     THE     GODS 


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 : 

BRI'-NNHILDE: 

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. 


GAPSKI    AS    BRL'NNHILDE 


ACT  II 

SCENE — The  Rhine  near  Gunther 's  Castle 

Hagen  and  Alberich  discuss  the  progress  of  the  plot  to  regain 
the  Ring.  Hagen  swears  to  accomplish  it,  and  Alberich  vanishes. 
Siegfried,  in  his  own  form,  but  wearing  the  Tarnhelm,  arrives, 
greets  him  cheerily  and  says  he  has  gained  Gunther 's  wife  for 
him,  but  that  they  are  returning  home  more  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. 


SIEGFRIED: 

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. 

BRI-NNHILDE: 

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. 

ACT  III 

SCENE  I— A  Wild  Valley  near  the  Rhine 
The  Rhine  nymphs  rise  to  the  surface  of  the  water  and  sing  of  the  Rhinegold.     They 

140 


VICTOR    BOOK     OF     THE     OPERA— THE     DUSK     OF     THE     GODS 

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 : 


THE   RHINE    MAIDENS   WARN    SIEGFRIED ACT    III,    SCENE    I 


SIEGFRIED: 

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  : 


SIEGFRIED: 

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. 


141 


VICTOR    BOOK    OF    THE    OPERA— THE    DUSK    OF     THE     GODS 

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 
Valhalla. 

BRUNNHILDE: 

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. 


THE   DESTRUCTION    OF    THE   CODS 
142 


HAMLET 

OPERA  IN  FIVE  ACTS 

Book  by  Barbier  and  Carre,  based  on  Shakespeare's  play.     Music  by  Ambroise  Thomas. 
First  production  March  9,  1868,  at  the  Paris  Academic.     First  London  production  June  19,  1869. 


Cast 

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. 

ACT  I 
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. 

143 


VICTOR     BOOK     OF     THE     OPER  A— T  HOMAS'      HAMLET 


Nega  se  puoi  la  luce    (Love  Duet) 

By  Maria  Galvany,  Soprano,  and  Titta 
Ruffo,  Baritone         (In  Italian)     925OO 


12-inch,  $4.OO 


HAMLET: 

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." 
OPHELIA: 

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. 
HAMLET: 

Beloved  Ophelia! 
OPHELIA: 

In  thee  this  heart  doth  trust! 
HAMLET: 

My   heart  doth  beat  for  thee  alone! 
OPHELIA: 

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      and  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 : 

HAMLET: 

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 : 
HAMLET: 

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. 

ACT  II 

SCENE — Garden  of  the  Palace 
Ophelia  enters  and    is  much  dis- 
turbed because  Hamlet  seems  to  avoid     "•"  PICIO«'»1  HAMLET  AND  THE  GHOST 


144 


VICTOR     BOOK     OF     THE     O  P  E  R  A— T  H  O  M  A  S  '      HAMLET 


her.     The  Queen   finds  her  weeping,  and  after  questioning   her  says  that    Hamlet    has   also 
acted  strangely  toward  his  mother  and  fears  his  reason  is  affected. 

Hamlet,  seeking  to  entrap  the  King  in  some  manner  into  betraying  himself,  has  engaged 
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. 


THE    KING    REVEALS    HIS  GUILT ACT    II 


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 


HAMLET: 

O   wine!   the  gloom   dispel, 

That   o'er  my  heart  now  weighs; 

Come  grant  me   thine  intoxicating  joy; 

The   careless   laugh — the   mocking  jest! 

O   wine!    Thou   potent   sorcerer, 

Grant  thou   oblivion   to  my  heart! 

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 

sorrows; 

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. 

ACT  III 

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. 

145 


VICTOR     BOOK     OF     THE     O  P  E  R  A— T  H  O  M  A  S  '      HAMLET 


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. 

ACT  IV 

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. 


RUFFO   AS    HAMLET 


COPY1!  OUPONT 


DOUBLE-FACED  HAMLET  RECORDS 

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) 

146 


16572      10-inch,        .75 
lO-inch,        .75 


HANSEL  UND  GRETEL 


(Hahn'-sel  oondt  Gray'-tel) 


(Italian) 


(English) 


NINO  E  RITA         HANSEL  AND  GRETEL 

(Neen-yo  ay  Rce'-tah)  (Han-sel  and  Cray' -lei) 

(or  HANS  AND  GRETCHEN) 
A  FAIRY  OPERA  IN  THREE  ACTS 

Text  by  Adelheid  Wette.  Music  by  Engelbert  Humperdinck. 
First  produced  1893,  at  Weimar.  First  American  performance  at 
the  Metropolitan  Opera  House,  New  York,  1895. 


Cast 

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 
•works. 

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 
Crelchen. 

THE    CHILDREN    AT    HOME 


147 


VICTOR    BOOK    OF    THE    OPERA— HANSEL    AND    GRETEL 

Several  numbers  from 
this  interesting  opera  are  pre- 
sented here, — the  first  being 
the  beautiful  Prelude. 

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 
oven. 

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. 


HANSEL   AND    GRETEL    KNOCKING    AT    THE    WITCH'S    DOOR 


148 


/         (French) 

HERODIADE 

(Her-ro-dee-ah1 -d) 

OPERA   IN   FIVE   ACTS 

Words  by  Paul  Milliet  and  Henri  Gremont,  based  on  Gustave  Flaubert's  novelette, 
Herodias.  Music  by  Jules  Massenet.  First  production  December  19,  1881,  at  the  Theatre 
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. 

CAST 
JOHN  THE  PROPHET Tenor 

HEROD,  King  of  Galilee Baritone 

PHANUEL,  a  young  Jew Bass 

VlTELLJUS,  a  Roman  proconsul Baritone 

THE  HIGH  PRIEST ' Baritone 

A  VOICE  IN  THE  TEMPLE Bass 

SALOME Soprano 

HERODIAS Contralto 

A  YOUNG  BABYLONIAN  WOMAN 

Merchants,  Hebrew  Soldiers,  Roman  Soldiers,  Priests,  Levites,  Temple 

Servitors,  Seamen,  Scribes,  Pharisees,  Galileans,  Samaritans, 

Sadducees,  Ethiopians,  Nubians,  Arabs,  Romans. 


The  action  lak.es  place  in  Jerusalem — Time,  about  30  A.  D. 
149 


VICTOR  BOOK    OF   THE    OPERA— MASSENET'S    HERODIADE 


AS    SALOME    IN    HERODIADE 


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. 

ACT  I 

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 
Good) 

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. 

ACT  II 

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 

IN     HERODIADE 

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 


EENAUD   AS    HEROD 


150 


VICTOR    BOOK    OF    THE    OPERA— MASSENET'S    HERODIADE 

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. 

ACT   III 

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. 

ACT  IV 

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. 

(Curtain) 


MISCELLANEOUS    HERODIADE    RECORD 
Herodiade  Selection 

By  Arthur  Pryor's  Band  31786     12-inch,  $1.25 

151 


THE    GREAT    BALLROOM    SCENE ACT     IV 

(French)  (German) 

LES  HUGUENOTS  DIE  HUGENOTTEN 

(Leh  Hueg  -noh)  (Dee  Hoo-zen-olf -en) 

(Italian)  (English) 

THE  HUGUENOTS 


GLI  UGONOTTI 

(Glee  Oo-goh-not' -tih) 


(Hew-gen -ahls) 


OPERA  IN  FIVE  ACTS 

Libretto  by  Scribe  and  Emile  Deschamps.  Score  by  Giacomo  Meyerbeer.  First  pre- 
sented at  the  Academic  in  Paris,  February  29,  1836.  First  London  production  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. 


Cast 

COUNT  OF  ST.  BRIS,    (Sah  B«e')  )  -    ,    ,.         ,  ,  (  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. 

152 


VICTOR    BOOK    OF    THE    O  P  E  R  A-T  H  E    HUGUENOTS 

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. 

ACT  I 

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. 

RAOUL: 

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. 
M  \RCKL: 

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. 

153 


VICTOR    BOOK    OF    THE    OPER  A— T  HE     HUGUENOTS 


Piff!   Paff!    (Marcel's  Air) 

By  Marcel  Journet,  Bass 

(In  French)     74156     12-inch.  $1.50 

MARCEL: 

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! 

Refrain 

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! 

3*    PLAN^ON    AS    ST.    BRIS 

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. 


see 


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 
contralto. 

URBANO: 

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. 

154 


VICTOR    BOOK    OF    THE    OPER  A— T  HE     HUGUENOTS 


ACT   II 

SCENE  —  Castle  and  Gardens  of  Chenonceaux 

The  Queen  is  seated  on  a  kind  of  throne  surrounded  by  her  maids,  who,  with  Urbano, 
•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 

QUEEN  : 

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, 


COPVT    OUPOKT 


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 

oath.) 
We  swear  by  our  forefathers  bold, 


THE  NOBLES: 


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? 
MAKGAKKT: 

Why  this  astonishment? 
RAOUL: 

What!  is  this  the  bride  you  would  offer  to  me? 
MARC.ARET: 

Y'  t,    to   marry  and   to  love. 
RAOUL: 

What  perfidy  !   what  treachery  ! 

I  her  husband!     Never,  never! 

*  Double-Facet?  Record—  For  title  of  opposite  side  see  DOUBLE-FACED  HUGUENOTS  RECORDS,  page  158. 

155 


SCALCHI    AS    THE    PAGE 


VICTOR    BOOK    OF    THE    OPER  A— T  HE    HUGUENOTS 


NILSSON    AS    VALENTINE 


OALMORES   AS   RAOUL 


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. 

ACT  III 

(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 
plot. 

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. 

ACT  IV 
(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. 

156 


VICTOR    BOOK     OF    THE     O  P  E  R  A— T  H  E     HUGUENOTS 


The  number  begins  with  the  strain  sung  by  St.  Bris  in  his  recital  of  the  plan. 


a  -  Ic    -   tc 
U'ill      ye 


yoi, 


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 — 


JEAN    DE    RESZKE    AS    RAOUL 


D'un     sa    -    cro  rel        I'ar    do   -    re 
On  Heav'»'t  just  cause    re  •  ly  •  ing, 

ST.   BRIS: 

Do  you  wish  our   dear  country  to  save? 
MONKS   AMI   NOBLES: 

It   is  our   wish!   our   hearts'  desire! 
ST.  BRIS: 

TIP   serve  our  noble   King, 

\Vill  ye  the  traitors  destroy? 
MONKS   AND  NOBLES: 

The    King's   commands,   we   will   obey! 
ST.  BRIS: 

'Tis  well!   now  hear  the   King's  decree: 

These   Huguenots,   whose  vile  detested  race   we 
hate, 

Shall  from  this  day  by  the  sword  disappear! 
ST.    BRIS: 

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. 
ALL:  ST.   BRIS: 

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 ! 

ALL: 

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 
disperses. 

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 

RAOOL: 

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. 

157 


VICTOR    BOOK    OF    THE    OPER  A— T  HE     HUGUENOTS 


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. 


DOUBLE-FACED  AND  MISCELLANEOUS  LES  HUGUENOTS  RECORDS 

{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 


TJIE    FINAL    TRAGEDY 
158 


(French) 

LAKME 

(Lak'-meh) 

OPERA  IN  THREE  ACTS 

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. 


Characters 

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 
shortcomings. 

ACT  I 

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. 

150 


VICTOR    BOOK     OF     THE     OPER  A— D  ELIBES'     LAKME 

GERALD:  The  small  foot,  that  but  reposes 

Idle  fancy,  cradled  by  delusion,  ™,9n  mof ?  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: 
LAKM£: 

In   my   heart   now   I   feel  there's  a  murmur  so 

strange, 

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. 

I.AKMK: 

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! 

L.al(m£  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. 

ACT  II 

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. 

160 


VICTOR    BOOK     OF    THE     OPER  A-D  ELIBES'     LAKME 


(In  Italian) 
(In  French) 
(In  Italian) 
(In  French) 


88297 
88084 
88219 
74O9O 


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 
touches. 

LAKMK: 

Down    there,     where    shades    more    deep    arc 

glooming. 

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

illuming. 

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 

wear!  ABOTT  AS  LAKME 

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-faced—See  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. 

LAKM£: 

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. 

161 


VICTOR    BOOK    OF    THE     OPER  A— D  ELIBES'     LAKME 


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. 

ACT    III 

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. 
GERALD: 

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 
fastened; 

'Neath    your    breath    life    awoke    and    recovery 
hastened. 

O  my  charming  Lakme; 

Through   forest   depths   secluded, 

Love's  wing  above  us  has  passed; 

Earth-cares   have   not   been   intruded, 

And  heaven  on  us  falls  at  last. 

These   flow'ring   vines,    with    blooms   capricious, 

Bear   o'er   our  pathway   scents   delicious; 

Which   soft  hearts,   with   raptures  beset, 

While  all  else   we  forget! 

As  the  days  pass  and  Gerald  recovers  his  strength,  he  seems  to  forget  all  else  but  his 
love  for  the  Brahman  maiden,  but  one  day,  while  she  is  absent,  his  friend  Frederic  finds  him 
and  urges  him  to  return  to  his  duty.  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. 


DOUBLE-FACED  AND  MISCELLANEOUS  LAKME  RECORDS 


[ 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). 

162 


'Italian) 

LINDA  DI  CHAMOUNIX 

OPERA  IN  THREE  ACTS 

Words  by  Rossi;    music  by  Donizetti.      First  production  at  the  Karnthnerthor  Theatre, 
Vienna,  May  19,  1842;  in  Paris,  November  17,  1842;  in  London  at  Her  Majesty's,  June,  1843. 


Cast 

MARQUIS  OF  BOISFLEURY Baritone 

CHARLES  DE  SIRVAL,  his  son Tenor 

THE  PARISH  PRIEST Bass 

ANTONIO  LOUSTOLOT,  a  farmer Bass 

MADELINE,  his  wife    Mezzo-Soprano 

LINDA,  their  daughter Soprano 


Time  and  Place  :     Chamounix  and  Paris,   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 

LINDA  AND  CHARLES: 

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. 

163 


LOHENGRIN 

(Lou/ -en-grin) 

OPERA  IN  THREE  ACTS 

Words  and  music  by  Richard  Wagner.  First  produced  at  Weimar,  Germany,  August 
28,  1850,  under  the  direction  of  Liszt.  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 


rolog 


&  0  f)  r  n  g  r  i  n. 

•  '• 


tor-  :  ~  '. 


SIM  yyi  10  ilk 


Characters 
HENRI  THE  FOWLER.   King  of   Germany 

LOHENGRIN Tenor 

ELSA  OF  BRABANT Soprano 

DUKE  GODFREY,  her  brother Mute  Personage 

FREDERICK  OF  TELRAMUND,  Count  of  Brabant . .  Baritone 

ORTRUD.  his  wife Mezzo-Soprano 

THE  KING'S  HERALD Bass 

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


Scene  and  Period :     Antwerp,  first  half  of  the  Tenth  Century. 


PROGRAM      OF     ORIGINAL 
PRODUCTION 


questions  him,  and  in  fulfillment  of  his  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. 

Prelude 

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. 

164 


GADSKI    AS    ELSA 


VICTOR    BOOK     OF    THE     OPERA  —  WAG  NER'S     LOHENGRIN 


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. 

ACT  I 

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 


OORITZ    AS    TELRAMUND 


P«»EL    BY   HUGO   BRAUKE 


ELSA    RELATING    HER    DREAM 


FREDERICK: 

Thanks,    gracious    King,    that    thou    to 

judge   art   come! 
The   truth    I'll   tell   thee,    falsehood    I 

disdain. 
When    death    was    closing    round    our 

valiant   Duke, 
"Twas    me    he    chose    as    guardian    of 

his  children, 
Elsa    the    maiden,    and    Gottfried    her 

brother; 
Whose    dawning    with    tender    care    I 

guarded, 
Whose    welfare    I    have    treasured    as 

my   honor. 
My     sov'reign,     mark     now,     if     I'm 

aggrieved, 
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- 
turned. 
With   feign'd  lamenting,  questioned  of 

his   safety, 
Pretending    she    had    been    from    him 

divided, 
And     in     vain     his     traces     she     had 

sought, 
Fruitless   was   every   search   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- 
signed. 
And  chose  a  wife  full  pleasant  to  my 

sense, 


165 


VICTOR    BOOK    OF    THE    OPERA— 'WAGNER'S     LOHENGRIN 


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 : 
HEPALD: 

Who    will     do    battle    here    on    life    or 

death 
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. 


EI.SA    AND    LOH 


166 


VICTOR    BOOK    OF    THE    OPERA— "WAGNER'S    LOHENGRIN 


AM!   IVAL    OF     LOHENGRIN 

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 
ntelligent. 
Is  INC.   HKNRY: 

()    King  of  kings,  on  Thee  I  call; 
Look    down     on     us    in     this    dread 

hour! 

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 

smite: 

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 : 
LOHENGRIN  : 

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. 

LOHENGRIN  : 

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 ! 


THE     FIGHT     BETWEEN     LOHENGRIN     AND     TELRAMUND ACT     I 

167 


VICTOR    BOOK    OF    THE    OPERA  —  WAG  NER'S    LOHENGRIN 


ACT  II 
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. 

ELSA: 

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! 

TELRAMUND  AND  ORTRUD: 

'Tis    she!       Be    near,    ye    powers    of 
darkness! 

ELSA   (continuing  dreamily) : 

Thro'  heaven's  azure  ye  bore  him, 

Ye   wafted   him   to   me;  • 

'Mid  stormy  waves  watched  o'er  him, 

My  guide,  my  love  to  be! 
Where  er  thy  pinion  rusheth, 

The  mourner's  tears  are   dried; 
My  cheek  that  burns  and  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! 


168 


VICTOR    BOOK    OF    THE    OPERA— WAGNER'S    LOHENGRIN 


THE   KING   DENOUNCING   TELKAMU.N 


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- 


ELSA: 

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 

thee, 
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. 

ORTRUD: 

Your    stranger,    say,    as    what    doth    thou 

proclaim    him? 
If    I    have    heard    aright,    thou    canst    not 

name  him! 

ELSA    (indignantly): 

Thou   slanderer,   taunt   me  no  more, 
Let   my   reply   all   doubts  assure — 
So  pure  and  noble  is  his  nature. 
As  none  can  match  in  high  renown. 
Oh,  can  there  live  so  vile  a  creature 
As   to   asperse  all   honor's  crown  ? 

The  King  and  Lohengrin  now  enter  and  Elsa,  astonished  and 
gr  eved,  goes  to  Lohengrin,  saying: 


SC.  HVMAXX-IIF.IXK 
ORTRCD 


ELSA 


My     champion!     shelter    me     against     her 

wrath ! 

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

portal, 


And     in     compassion     harbor'd     her     this 

night. 
And  now  with  harsh  and  bitter  words  of 

hatred 
She  taunts  me  for  my  boundless  trust 

in  thee! 


VICTOR    BOOK    OF    THE    OPERA— WAGNER'S    LOHENGRIN 


ACT   III 

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 : 

CHORUS: 

Faithful  and  true,   we  lead  thee  forth 

Where  Love,  triumphant,   shall  crown  ye  with  joy! 

Star   of   renown,    flow'r   of   the   earth, 

Blest  be  ye  both   far  from  all  life's  annoy! 

Champion  victorious,   go  thou  before! 

Maid  bright  and   glorious,   go   thou  before! 

Mirth's   noisy   revel   ye've   forsaken, 

Tender  delights  for  you  now  awaken; 

Fragrant   abode   enshrine  ye   in   bliss; 

Splendor  and  state  in  joy  ye  dismiss! 

EIGHT  LADIES  (passing  around  the  bridal  pair}: 
As   solemn   vows  unite  ye 
We  hallow  ye  to  joy! 
This  hour  shall  still   requite  ye, 
When   bliss  hath  known  alloy! 

After  a  striking  and  effective  modulation  the 
first  strain  is  repeated  by  the  full  chorus. 

Faithful  and  true,   now  rest  you  here. 
Where  Love,  triumphant,  etc. 

The  party  goes  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. 


fff. 


-"'    s  : 


FRAGMENT      OF      THE      BRIDAL      CHORUS      IN 

ChorUS  WAGNER'S   OWN    HANDWRITING 

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. 

170 


COPY'T  DU»0»r 

HOMER    AS    ORTRUD 


VICTOR     BOOK    OF    THE     OPERA— WAGNER'S     LOHENGRIN 


Lohengrin  as  to  his  name  and  origin.  He 
remonstrates  -with  her,  at  first  gently  and 
then  with  authority,  reminding  her  that 
she  has  promised  not  to  ask  his  name. 
She  becomes  more  and  more  agitated, 
saj  ing : 

EI.SA  : 

No,  thou  shalt  not  compel   me  to  trust  by 

words   of    blame — 
^To,    not    unless    thou    tell    me    thy    country 

and  thy  name! 

Lo  IENGRIN : 

I'.lsa,  oh,  I  conjure  thee! 
EL;A: 

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 


PANEL    B1    BRAUNt 

TELRAMUND 


•  v    x 


INTERRUPTING      THE 
ACT     II 


BRIDAL      PROCESSION 


Lohengrin    enters    and    is 


co-vr  MISHKIN 

U.»L  MORES   AS   LOHENGRIN 


startled     by     t  h 
entrance     of      the 

nobles   bearing   the    body    of    Telramund. 
greeted  by  the  King  with  warmth : 
KIM,: 

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. 
LOHENGRIN  : 

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. 
LOHENGRIN: 

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. 
MEN: 

Elsa!  say,  oh,  what  hast  thou  done? 

Sentence  so  stern  how  hast  thou  won? 
LADIES: 

Woe  is  thine,  Elsa! 

171 


VICTOR    BOOK    OF    THE    OPERA— WAGNER'S     LOHENGRIN 

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 

LOHENGRIN : 

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. 

LADIES  AND  MEN:  LOHENGRIN: 

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!  PhJ.  thau  thiS  day  *   "e'fl  had  SKCn!' 

'    Oh,   help,  help!   oh,   me,  most  wretched!  L^0"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  meet  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. 


DOUBLE-FACED  AND  MISCELLANEOUS   LOHENGRIN   RECORDS 
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  \  16537     lO-inch,       .75 

\     Tannhauser — Pilgrims'  Chorus  By  Pryor's  Band) 

172 


(Italian) 

LUCIA  DI  LAMMERMOOR 

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

LUCY  OF  LAMMERMOOR 

OPERA  IN  THREE  ACTS 

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. 

Characters 

HENRY  ASHTON,  of  Lammermoor Baritone 

LUCY,  his  sister    Soprano 

SIR  EDGAR,  of  Ravenswood Tenor 

LORD  ARTHUR  BUCKLAW Tenor 

RAYMOND,  chaplain  to  Lord  Ashton Tenor 

ALICE,  companion  to  Lucy Mezzo-Soprano 

NORMAN,  Captain  of  the  Guard  at  Ravenswood Tenor 

Ladies  and  Knights  related  to  the  Ashtons  ;  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 
senses. 

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. 

ACT  I 

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. 

173 


VICTOR     BOOK     OF     THE    O  P  E  R  A— D  ON  I  Z  ETTI 'S     LUCIA 


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. 
LUCIA: 

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! 

(Despondently.) 

Oh,   what  horrid  omen  is  this? 

I    ought    to    banish    from    my    heart    this 

love, 

But  I   cannot;   it   is  my   life, 
And  comfort  to  my  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 


fatal 


CONSTANTINO    AS    EDGAR 


*  Double-FaceJ  RecorJ—  For  title  of  opposite  ,iJe  xe  DOUBLE-FACED  LUCIA  RECORDS,  page  179. 

174 


VICTOR     BOOK     OF    THE     O  P  E  R  A  — D  O  N  I  Z  ETT  I 'S     LUCIA 
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 

E:K;AR:  LUCY: 

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  sull1  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 

EDCJAR: 

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! 
LUCY: 

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; 
EDGAR: 

Fear   not!      Have  no   fear,   thou    shall   hear! 
Horn: 

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. 

ACT  II 

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: 
HENRY:  HIXRY: 

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 : 
I'ENRY  : 

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! 

Hymen, 

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. 

175 


VICTOR     BOOK     OF     THE     O  P  E  R  A—  D  ON  I  Z  ETT  I*  S     LUCIA 
II  pallor  funesto  (If  My  Cheek  is  Pale) 

By  Linda  Bratnbilla.  Soprano,  and  Francesco  Cigada,  Baritone 

(In  Italian)     *16574      lO-inch,  $0.75 

LUCY:  LUCY: 

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

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

Do  not  they  betray  too  plainly  HENRY: 

All   my  anguish,  all   my   despair?  '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 

HENRY:  LUCY: 

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. 

176 


VICTOR  BOOK  OF  THE  O  P  E  R  A— D  O  N  I  Z  ETT  I 'S  LUCIA 


IENRY  AND  EIM;AR: 

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, 
F.IH;AR: 

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? 

RAYMOND  AND  ALICE: 

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. 

AKTHUR: 

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: 

EDGAR : 

Hither  came    I 
For  my  bride — thy  sister 
Unto  me   her   faith  hath   sworn! 
RAYMOND: 

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. 

ACT  III 

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. 

177 


SALEZA   AS    EDGARDO 


VICTOR     BOOK     OF     THE     O  P  E  R  A— D  O  N  I  Z  ETT  I '  S     LUCIA 


(In  Italian) 

88299 

12-inch. 

$3.00 

(In  Italian) 

88O21 

12-inch, 

3.OO 

(In  Italian) 

88071 

12-inch, 

3.OO 

(In  Italian) 

88221 

12-inch, 

3.OO 

(In  Italian) 

76O06 

12-inch, 

2.00 

(In  Russian) 

61129 

lO-inch, 

l.OO 

LUCY: 

I    hear    the    breathing    of    his    voice    low    and 

tender, 

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 

shining, 

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 
command. 

The  role  of  the  unhappy  Lucy  is  also  admirably  fitted 
to  Tetrazzini's  peculiar  talents,  and  as  the  heroine  of  Donizetti's 
lovely  opera  she  has  made  quite  the  greatest  success  of  her 
career.  When  she  reaches  this  florid  and  difficult  Mad  Scene, 
the  listeners  are  absolutely  electrified,  and  such  a  torrent  of 
enthusiasm  bursts  forth  that  the  diva  is  usually  compelled  to 
repeat  a  portion  of  the  aria. 

Mme.  Sembrich's  rendition  proves  that  the  compass  of 
her  voice  is  all  but  phenomenal,  and  she  sings  the  difficult 
music  with  delightful  flexibility  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. 

178 


TETRAZZINI     AS     THE 
DEMENTED    LUCY 


VICTOR     BOOK     OF     THE     O  P  E  R  A- D  O  N  I  Z  ETT  I 'S     LUCIA 


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. 


EDGAR: 

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. 


DOUBLE-FACED  AND  MISCELLANEOUS  LUCIA  RECORDS 

(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. 

179 


16539     10-inch,  $O.75 


16574     10-inch,       .75 


62O89     lO-inch.       .75 


62644     10-inch.       .75 


621O6     10-inch.       .75 


lO-inch.       .75 


J.UCREZIA    AND    THE    SLEEPING    GENNARO ACT     I 


(Italian) 

LUCREZIA  BORGIA 

(Loo-kray1 ' -tzee-ah  Bor'-jee-ah) 

OPERA  IN  THREE  ACTS 

Text  by  Felice  Romani,  taken  from  a  work  of  the  same  name  by- Victor  Hugo.  Music 
by  Gaetano  Donizetti.  First  presented  to  the  public  at  La  Scala,  Milan,  in  1834;  given  at 
the  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. 


Characters 

LUCREZIA  BORGIA Soprano 

MAFF1O   ORSINI  (Maj'-fee-oh  Or-xe'-nee} Contralto 


GENNARO,  (Jen-nah -roh) 

LIVEROTTO, 

VlTELLOZZO. 

PETRUCCI, 
GAZELLA, 


(Tenor 

^yi 


Young  noblemen  in  the  service  of  the  Venetian 

r»        it*  si  enor 

Republic  I     D 

Bass 

1    Bass 

IL  DUCA  ALFONSO Baritone 

RUSTIGHELLO.  in  the  service  of  Don  Alfonso Tenor 

GUBETTA.l    .      ,              •         cr\           i             •  /Bass 

ASTOLFO  I    In          service  of  Donna  Lucrezia IBass 

BATTISTA Tenor 

LA  PRINCIPESSA  NEGRONI Soprano 

CHORUS 

Scene  and  Period:     Italy;  the  beginning  of  the  sixteenth  century. 
180 


VICTOR    BOOK     OF     THE     OPERA— DONIZETTI'S     LUCREZIA     BORGIA 


CCPVI  OUPON 

!>!.     MOSCII1     AS    LUCREZIA 


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. 

ACT  I 

At  the  opening  of  the  story  Lucrezia,  who  in  spite  of  her 
criminal  practices  has  still  the  mother's  yearning  towards  her 
own  child,  goes  in  disguise  to  Venice  to  visit  him. 

She  finds  her  son  in  the  company  of  some  gay  Venetian 
gallants.  She  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. 

ACT  II 

Gennaro  afterwards  shows  his  hatred  and  contempt  for  the  Borgias  by  tearing  down 
Lucrezia' s  coat  of  arms  from  her  palace  gates,  and  is  imprisoned  by  the  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. 

ACT  III 

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. 
pt.ee  182. 

181 


VICTOR    BOOK    OF    THE     OPERA— DONIZETTI'S    LUCREZIA     BORGIA 
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 : 

Brindisi 

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. 


LUCREZIA    DISCOVERS 


HAS    POISONED    HER    SON 


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  £)u£e  now  appears,  intending  to  share  in  Lucrezia's 
hideous  triumph,  but  finds  his  wife  surrounded  by  her  victims — some  dead,  others  dying. 
Lucrezia,  a  witness  to  the  horrible  result  of  her  crime,  suffers  the  keenest  remorse,  drinks 
some  of  her  own  poison  and  herself  expires. 


DOUBLE-FACED  AND  MISCELLANEOUS    LUCREZIA   BORGIA   RECORDS 


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 

182 


lO-inch.  $0.75 


63172     10-inch,       .75 


THE    MARRIAGE    SCENE ACT    I 


(Italian) 

MADAMA  BUTTERFLY 

1  Mah'  -dah-mah) 

MADAM  BUTTERFLY 

OPERA  IN  THREE  ACTS 

A  Japanese  lyric  tragedy,  founded  on  the  book  of  John  Luther  Long  and  the  drama  by 
David  Belasco,  with  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 
Scotti. 


Characters 

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 

CHO-CHO-SAN'S  MOTHER Mezzo-Soprano 

THE   AUNT Mezzo-Soprano 

THE  COUSIN Soprano 

TROUBLE.  Cho-Cho-San's  child 

Cho-Cho-San's  relations  and  friends — Servants. 


At  Nagasaki,  Japan — Time,  the  present. 
183 


VICTOR     BOOK    OF    THE     OPERA  — MADAM    BUTTERFLY 

The  Story 

Puccini's  opera,  which  from  the  first  aroused  the  keenest  interest  among  opera-goers, 
has  become  an  enduring  success.  The  original  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 
abandoned. 

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. 

ACT  I 

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. 


MARTIN    AS    PINKERTON 


184 


VICTOR     BOOK    OF    THE     OPERA  — MADAM    BUTTERFLY 


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 
thrilling. 

ACT  II 

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) 


BUTTERFLY  S    UNCLE    DENOUNCING    HER — ACT    I 


88113 
92O57 
70054 


LETTER    FROM    PINKERTON — ACT    II 
(CERALOINE     FARRAR) 


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 
home-coming. 

185 


VICTOR     BOOK    OF    THE     OPERA  — MADAM    BUTTERFLY 


PHOTO  WHITE 


BUTTERFLY    AND    "TROUBLE 


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 
beautiful. 


FARRAR    AND     HOMER     IN     ACT     II 


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. 

1S6 


VICTOR     BOOK    OF    THE     OPERA-MADAM     BUTTERFLY 


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 
tears. 

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 
opera. 

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- 
morse. 

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. 

187 


VICTOR     BOOK    OF    THE     O  P  E  R  A  — M  A  D  AM    BUTTERFLY 


DOUBLE-FACED  AND  MISCELLANEOUS  MADAM  BUTTERFLY  RECORDS 
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. 


BUTTERFLY  AND  SUZUKI  IN  THE  GARDEN 
188 


THE    BRILLIANT    MAGIC    FLUTE    REVIVAL    OF    I9II     IN 


(French) 

LA  FLUTE  ENCHANTEE 

(Lah  Fleut  Ahn-ihaa-tcy) 

(German)  9f 

DIE  ZAUBERFLOTE 

(Dee  Tiow-ber-floe' -teh) 


(English) 

THE  MAGIC  FLUTE 

(Italian) 

IL  FLAUTO  MAGICO 

(Eel  Flau'-tow  Mah'-jee-ko) 


OPERA  IN  TWO  ACTS 

Libretto  by  Schickaneder,  adapted  from  a  tale  by  Wieland,  "Lulu,  or  the  Magic  Flute." 
Music  by  Wolfgang  Amadeus  Mozart.  First  produced  in  Vienna,  September  30,  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.  _ 

Characters 

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 

THIRD  LADY,    I  I  Alto 

FIRST  BOY,        )  ,     ,  ,      T          .  ,    ,    IC11.         ,  (  Soprano 

SECOND  BOY.    [  belon8lng  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. 


189 


VICTOR     BOOK     OF     THE     OPERA-THE     MAGIC     FLUTE 


PHOTO   BERT 

PAPAGENA    AND    PAPAGENO 


"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. 

Overture 

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. 

ACT  I 

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 ! 

PAPAGENO: 


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. 

190 


VICTOR     BOOK     OF     THE     OPERA  — THE     MAGIC      FLUTE 

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. 

ACT  II 

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, 

191 


VICTOR     BOOK     OF     THE     OPERA  — THE     MAGIC     FLUTE 
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. 
ASTRIFLAMMANTE: 

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 

..  ,      J  .      *  TAMINO    AND    PAMINA 

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. 

DOUBLE-FACED  MAGIC  FLUTE  RECORDS 

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  ) 

192 


(French) 

MANON 

(Man-on') 

OPERA  IN  FOUR  ACTS 

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. 

Cast 

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. 

ACT  I 

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. 

193 


VICTOR    BOOK    OF    THE     O  P  E  R  A— M  A  S  S  E  N  ET'  S    MAN  ON 
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. 

GUILLOT:  DE    I'.RKTIC.NV  : 

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  moment- 

Young  lady,   I  am   Guillot  de   Morfontaine.      I  (To   Manon):     . 

am  rich  and  would  give  a  good  deal  to  hear  T^  My  llttle  one-  8Ive  Ine  a  word- 

a    word    of    love    from    you.      Now,    what    do  DF,.  I1*ETIG.Ny :  . 

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.  LEA*;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. 

LESCAUT    (to   Manon):  SECOND   GUARDSMAN: 

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. 

195 


VICTOR    BOOK    OF    THE     OPER  A— M  ASSENET'S    MANON 
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    4JS'  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    from    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   (f»i  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. 

MANON:  MANON: 

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. 

ACT  II 

SCENE — Apartment  of  Des  Grieux  and  Manon  in  Paris 
Des  Grieux  is  writing  at  a  desk,  while  Manon  is  playfully  looking  over  his  shoulder. 

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 : 
DES  GRIEUX:  DES  GRIEUX: 

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. 

MANON:  DES  GRIEUX: 

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  / . 

196 


VICTOR    BOOK    OF    THE    O  P  E  R  A— M  A  S  S  E  N  ET  '  S    MAN  ON 
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? 

MANON:  DES  GRIEUX: 

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. 

MANON  : 

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. 

197 


VICTOR    BOOK    OF    THE    O  P  E  R  A— M  ASS  EN  ET'S    MANON 

"  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!  MAN°N   (softly): 

Beneath   whose   peaceful   shadows  Tls  a  vlslon'    tls  but  a  fancy! 

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. 

ACT  III 

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 

MANON: 

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 
always! 


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. 

198 


VICTOR    BOOK    OF    THE    O  P  E  R  A— M  A  S  S  E  N  ET' S    MAN  ON 

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. 


THE   GAMBLING    SCENE — ACT    IV 

ACT  IV 
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. 

199 


VICTOR    BOOK    OF    THE    O  P  E  R  A— M  A  S  S  EN  ET  '  S    MANON 

Concertato  finale— 
O  dolor 

By  Aristodemo  Giorgini. 
Tenor ;  A.  Santoro,  So- 
prano; S.  Nicolicchia, 
Baritone ;  and  Chorus 

(In  Italian) 
87083      10-inch.     $2.OO 

ACT  V 

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 : 

LESCAUT: 

Sir,   I  have  done  my  best — 
DES  GRIEUX   (anxiously) : 

Go  on! 
LESCAUT: 

And  grieve  to  say  that  all  is  lost. 
DES  GRIEUX   (piteously)  : 

Lost! 
LESCAUT: 

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 ! 
LESCAUT:  \ 

Strike    if   you   will.      'Tis   soldier's    fare.      He's 
by   the   King  ill-paid;   and  then,   whate'er   his 
worth,   the   good   folks   shake   their   head   and 
call    him    "wretched    fellow." 
DES  GRIEUX    (violently)  : 
Away! 

The  voices  of  the  soldiers  are  now  heard  in  the  distance  singing  as  they  ride.  Des 
Grieux  and  Lescaut  listen  attentively,  and  the  former,  realizing  that  they  are  almost  at  hand, 
madly  tries  to  rush  forward.  Lescaut  dissuades  him,  saying  he  has  a  better  plan,  as  he  is  well 
acquainted  with  the  officer  in  command.  When  the  escort  arrives,  Manon  is  found  to  be 
very  ill  and  is  left  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. 


200 


VICTOR     BOOK     OF    THE     OPER  A— M  ASSENET'S    MANON 


55001      12-inch,       1.5O 


DOUBLE-FACED  AND  MISCELLANEOUS  MANON  RECORDS 

(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      FaMorita—Splendon  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 


• 


'  ?   •"  ' 

J 

14I    M  '     ' 


ACT    III — SCENE    I 


201 


SETTING    OF    ACT    I 


(Italian) 


MANON  LESCAUT 


(Man-on'  Les-ko') 

OPERA  IN  FOUR  ACTS 

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.  

Characters 

MANON  LESCAUT Soprano 

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. 


THE  STORY 

This  early  Puccini  opera  was  performed  by  a  struggling  opera  company  in  1898,  but  the 
performance  was  so  wholly  bad  that  we  have  made  no  mention  of  it  in  our  chronicle  at  the 
top  of  the  page.  The  real  New  York  premiere  was  of  course  the  Metropolitan  production  in 
1907,  when  Puccini  himself  was  present.  An  English  version  of  the  opera  was  given  in  Phila- 
delphia, however,  by  Gustav  Hinrichs  during  one  of  his  summer  seasons, — August  29,  1894. 

202 


VICTOR    BOOK     OF     THE     OPERA    MAN  ON     LESCAUT 


KARRAR     AS     MANON* 


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. 

ACT  I 

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 
evening. 

The  young  man  gazes  after  her,  and  says  to  himself  that  never  has  he  seen  so  lovely  a 
picture  of  youth  and  innocence.  He  expresses  his  emotion  in  a  fine  air,  one  of  the  loveliest 
of  the  numbers  allotted  to  des  Grieux.  (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. 

203 


VICTOR    BOOK    OF    THE    OPER  A— M  ANON    LESCAUT 


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. 

ACT  II 

SCENE — An  Apartment  in  Geronte 's  House  in  Paris 

Since  the  events  of  Act  I  Manon  is  supposed  to  have  left  des  Grieux  for  the  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. 


MANON     IN     LUXURY ACT     11 


*  Double-Faced Record-Far  title  of  ophite  side  xe  DOUBLE-FA  CED  MANON  LESCAUT  RECORDS,  page  205. 

204 


VICTOR    BOOK    OF    THE    OPER  A—  M  ANON    LESCAUT 
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 

s«rnt  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. 

ACT  III 
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. 

ACT  IV 
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. 

DOUBLE-FACED   AND   MISCELLANEOUS   MANON    LESCAUT    RECORDS 

|  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/f35'  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  QO 

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. 

205 


PAINTED    BT    BECKER 


MARRIAGE    OF    FIGARO    AND    SUSANNA 


(Italian) 

NOZZE  DI  FIGARO 


MARIAGE'DE  FIGARO 


(Nol'-zay  de  Fee  -gar-oh)  (Mah-ree-ahzh'  deh  Fee  -gah-nw) 

THE  MARRIAGE  OF  FIGARO 

OPERA  IN  FOUR   ACTS 

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. 

Cast 

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 

DON  CURZIO 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. 

206 


VICTOR   BOOK  OF  THE  OPERA— THE  MARRIAGE  OF    FIGARO 


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. 

ACT  I 

SCENE  I— Jl  Room  in  the 
Count's  Chateau 

Overture 

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. 


THE    GREAT    HALL    OF    BARTOLO'S    PALACE ACT     I,    SCENE    II 


*  Double-Faced  Record — For  title  of  opposite  side  see  double-faced  lid  on  page  211. 

207 


VICTOR  BOOK  OF  THE  OPERA-THE  MARRIAGE  OF  FIGARO 


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. 

ACT  II 

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  (D«ifcfc-/ace</.f«pa»e2//)  (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, 


3.00 


The  song  is  in  ballad  form,  to 
suit  the  situation,  the  voice  giving 
out  the  clear,  lovely  melody,  while 
the  stringed  instruments  carry  on  a 
simple  accompaniment  pizzicato,  to 
imitate  the  guitar;  and  this  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- 
sion—the whole  is  of  entrancing 
beauty. 


GADSKI    AND    EElr.ELMAN    AS    COUNTESS    AND    CHEtl'BINO 

208 


VICTOR  BOOK  OF   THE  OPERA-THE  MARRIAGE  OF    FIGARO 


(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. 

ACT   III 

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. 


SCENE — ACT   in 


THE    COUNT    IS   JEALOUS — ACT    II 

200 


VICTOR  BOOK  OF   THE  OPERA— THE  MARRIAGE  OF   FIGARO 
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. 
COUNT:  COUHT: 

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? 

COUNT:  SUSANNA: 

You'll  meet  me  in  the  grove,  then?  Oh,  no,  depend  on  me. 

SUSANNA:  COUNT: 

When  sunset's  on  the  lea.  In  the  garden? 

COUNT:  SUSANNA: 

And  do  not  mean  it  falsely?  Yes! 

SUSAN.HA:  COUNT: 

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. 

ACT   IV 

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. 

210 


VICTOR  BOOK  OF  THE  OPERA— THE  MARRIAGE  OF   FIGARO 


long    delay?    >jn-r<l.     ^pt-cd    thee 
away,     all     nature     seems     to 


THE    OAKDKN ACT    IV 

•  •  A  : 

Ah,     why 
hither! 
While     thou'rt 

wither. 
Tho"  bright  the  moon,  and  bright  the  stars  are 

glowing, 

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 

flying! 

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 : 
CHEKUBINO: 

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. 


UK    LVSSAN    AS    CHERUBINO 


MARRIAGE    OF   FIGARO    RECORDS 

351O9      12-inch.  $1.25 


DOUBLE-FACED 
Overture 

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)!** 

211 


.75 


It.hin  ' 


MARTA 


(En(lith) 

MARTHA 

(Mdk/4ftdU 

OPERA  IN  FOUR  ACTS 

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 

THE  SHERIFF  OF  RICHMOND    Bass 

THREE  SERVANTS  OF  LADY  HARRIET Tenor  and  Two  Basses 

THREE  MAIDSERVANTS Soprano  and  Mezzo-Soprano 

Chorus  of  Ladies.  Servants.  Farmers,  Hunters  and  Huntresses.  Pages,  etc. 


The  scene  is  laid,   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. 

Overture 

By  Pryor's  Band    *35133     12-inch.  $1.23 
By  Pryor's  Band      31478     12-inch.     l.OO 


ACT  I 

SCENE  I— Boudoir  of  Lady  Harriet 


l.li'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. 
212 


VICTOR     BOOK     OF     THE     O  P  E  R  A  —  F  LOT  O  WS     MARTHA 


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? 

LADY    HARRIET: 

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: 
LADY   HARRIKT: 

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! 


LADY    HARRIET: 

In    the   midst   of  gold  and  pleasures 

Weariness  alone  I  see. 
NANCY : 

This   is   really   too   distressing; 

Her's  is  called  a  brilliant  lot! 

If   love   does  not   work  a  wonder, 

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 


THE    FAIR    SCENE 


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. 


213 


VICTOR     BOOK     OF     THE     O  P  E  R  A—  F  LOTO  WS       MARTHA 

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 : 

LIONEL: 

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, 


BOTH: 


Can 


in  as  happy  this  heart   render 
As  the  friendship  fix'd  in  thine. 


PLL-NKETT: 

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. 

ACT  II 

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- 
mences. 

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 


LIONEL  AND  Pi.f  NKKTT: 

Surpris'd   I  am  and  astounded. 
Ana  I  can  say  no  more; 
Such  impudence  unbounded 
Was  never   seen  before! 


HARRIET  AXD  XAXCY: 

Surpris'd  they  are  and  confounded, 
Ana  sorely  puzzled   is  their  brain; 
This  blow  has  smartly  sounded. 
May  be  they'll  never  try  again! 


214 


VICTOR     BOOK     OF     THE     O  PE  R  A  —  F  LOTO  WS      MARTHA 


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   twi.st   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. 


C  IFT-T    DU'OHI 

KMBKICH     AS     MARTHA ACT     I 

Good  Night  Quartet 

By  The  Lyric  Quartet 
PLUNKETT  AND  LIONEL: 

Midnight  sounds! 
LADY   AND  NANCY: 

Midnight   sounds! 
LIONEL  (to  Martha): 

Cruel  one,  may  dreams  transport  thee 

To  a  future  rich  and  blest! 

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? 
MARTHA  AND  NANCY: 

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! 
ALL: 

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. 


215 


VICTOR     BOOK     OF     THE    O  P  E  R  A  —  F  LOTOWS    MARTHA 

ACT  III 

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 
affections. 

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. 

PLUNKETT: 

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. 
LIONEL: 

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! 
LIOXEL: 

LookeM  down  so  proudly: 

Yet  my  heart  knew  thee  at  once. 
HARRIET     (with  dignity): 

Knew  me?     You're  mistaken  ! 
LIOKEL: 

I've  hoarded  thy   fair  image 

Deep   in   iny   breast  —  No  — 


This  dress  does  not  deceive  mt  — 

Tis  thee,  thee!     Be  Heaven  blest! 
HARRIET: 

Madman,  you  dream! 
LIONEL: 

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.) 
HARRIET: 

Hold!   presumptuous  man! 

No  further!  thou  hast  rav'd  too  long  uncheck'd! 


216 


VICTOR     BOOK     OF     THE    OPERA      FLOTOW'S    MARTHA 


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. 

ACT  IV 

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. 


CARl'SO    AS    LIONEL 

PLUMKXTT: 

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. 


DOUBLE-FACED  AND  MISCELLANEOUS  MARTHA  RECORDS. 

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. 


.75 


.75 


217 


(Italian) 

BALLO  IN  MASCHERA 


(French)  f 

BAL.  MASQUE 

Hahf 


(Ea(luh) 

MASKED  BALL 


OPERA  IN  THREE  ACTS 

Text  by  M.  Somma.  music  by  Verdi.  First  produced  in  Rome  at  the  Teatro  Apollo, 
February  17,  1859;  at  Paris,  Theatre  des  Italiens,  January  13,  1861.  First  London  production 
June  15.  1861.  First  New  York  production  February  II,  1861. 


Characters 

RICHARD,  Count  of  Warwick  and  Governor  of  Boston Tenor 

REINHART,  his  secretary Baritone 

AMELIA,  wife  of  Reinhart Soprano 

ULRICA,  a  negress  astrologer Contralto 

OSCAR,  a  page Soprano 

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 
oone»te  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 
years. 

Richard.  Count  of  Warwick  and  Governor  of  Boston,  falls 
in  love  with  Amelia,  the  wife  of  Reinhart,  his  secretary  and 
intimate  friend.  This  love  is  returned,  but  the  wife's  conscience 
troubles  her.  and  she  consults  Ulrica,  a  black  sorceress,  hop- 
ing to  secure  a  drug  that  will  cause  her  to  forget  Richard. 
Ulrica  sends  her  to  gather  a  certain  herb  which  will  prove 
effective.  Richard,  who  had  also  gone  to  consult  the  astrolo- 
ger, overhears  the  conversation,  and  follows  Amelia  to  the  magic 
spot.  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 


218 


VICTOR     BOOK     OF     THE     OPERA-THE     MASKED     BALL 


ACT  I 

SCENE  I — A  Hall  in  the  Governor's  House 

The  hall  is  filled  with  people — officers,  deputies,  gentlemen,  etc. — waiting  for  the 
appearance  of  the  Governor.  He  enters,  is  warmly  greeted  by  those  assembled,  receives 
their  petitions  and  inspects  a  list  of  the  guests  invited  to  the  Masked  Ball.  He  sees  Amelia  's 
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 


ZEROLA    AS    RICHARD 


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 
plans. 

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    hissinK 

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. 

219 


VICTOR     BOOK     OF     THE     OPERA-THE     MASKED     BALL 


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. 
RICHARD: 

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- 
motion, 
I    go    now    to    steer    thro'    the    dark    waves    of 

ocean, 

The  anger  of  Ileav'n  and   I  loll   to  defy! 
Then      haste      with      thy      magic,      the      future 

exploring. 
No    power    have    the    thunder    or    angry    winds 

roaring. 
Or  death,  or  affection  my  path  to  deny! 

This  famous  Barcarolle  has  been  a  favorite  with  many  great 
tenors,  but  no  one  has  ever  sung  it  as  Caruso  has  given  it  here. 
Ulrica  rebukes  him,  and  examining  his  palm,  tells  him  he  is 
soon  to  die  by  the  sword  of  that  friend  who  shall  next  shake  his 
hand.      The  conspirators.  Samuel  and  Tom,  are  uneasy,  thinking 
themselves  suspected,  but  the  Governor  laughs  and  asks  who  will 
grasp  his  hand  to  prove  the  prophecy  false.     No    one   dares   to 
grant  his  request. 

Reinhart,  who  has  become  anxious  about  his  chief  and  has  come  in  search  of  him,  now 
enters,  and  seeing  the  Governor,  shakes  him  by  the  hand,  calling  him  by  name,  to  the 
astonishment  of  ail  those  not  in  the  secret.  Sir  Richard  tells  the  witch  she  is  a  false  prophet, 
as  this  is  his  most  faithful  friend. 

KICHAUD: 

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. 

ACT  II 

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/oppa«fc  rtfc  *c  DOUBLE-FACED  MASKED  BALL  RECORDS,  page 223. 
220 


GOBITZ    AS   «EINHA«T 


VICTOR     BOOK     OF     THE     OPERA     THE     MASKED     BALL 


Ma  dall'arido  stelo  divulsa  (Yonder  Plant  Enchanted 


By  Celestina  Boninsegna.  Soprano 
By  Lucia  Crestani.  Soprano 


In  Italian) 
(In  Italian) 


92000 
*68143 


12-inch.  $3.OO 
12-inch.      1.25 


EAMES    AS    AMKL1A 


Ah  !    qual  soave  brivido 
Heart 


AMKLIA: 

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 
duet. 

(Like  Dew  Thy  Words  Fall  on  My 


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

(In  Italian)     *68O26 


12-inch.  $1.25 


RICHARD: 

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! 

Ru  HARD: 

Amelia!  thou  lov'st   me! 

AMELIA! 

1    love  thee, 

I'.ut     thy     noble     heart 
mine    own! 


AMELIA: 

I-'rimi   out  the  cypress  bower, 

Where  I  had  thought  it  laid  in  death. 

Returns    with    K'ant    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. 

0] 


VICTOR     BOOK     OF     THE     OPERA-THE     MASKED     BALL 


Reinhart.   now  bent  on  revenge,  decides  to  cast  his  lot  with   the 
plotters,  and  the  act  closes  as  he  says  to  Amelia  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! 


ACT  III 
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 : 


88324 
92044 
85044 
*35179 

*62086 

12-inch.  51.00 
12-inch.  3.OO 
12-inch.  3.0O 
12-inch.  1.25 
10-inch.   .75 

SAM  MARCO    AS    BEIMIARt 


OSCAR: 

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? 
RUN  HART: 

A   doublet   blue. 

With  crimson  scarf 

t'pon   the  left  side  fastened! 


their   hearts  with   rapture  swelling! 
AMU.IA: 

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! 
RUN  MART: 

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! 
SAM  AND  TOM: 

Revenge     in     ma«k    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 RtcorJ—Fer  ntlt  of  oppotHe  ttdt  ««  DOUBLE-FACED  MASKED  BALL  RECORDS,  pagt  223. 

222 


VICTOR     BOOK     OF     THE     OPERA— THE     MASKED     BALL 

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. 


DOUBLE-FACED  MASKED  BALL  RECORDS 

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}] 

223 


SCENE   FROM    1IEFISTOFELE  —  ACT    III 


MEPHISTOPHELES 


MEFISTOFELE 

*  \fau-fetu-ioh-fch'  -lay) 

OPERA  IN  FOUR  ACTS 

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 
settings. 

Characters 

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. 


224 


VICTOR    BOOK    OF    THE    OPE  R  A  —  BOITO'S     MEFISTOFELE 

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 
Gretchen,  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. 

PROLOGUE 
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- 
breaking! 

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. 

ACT  I 
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. 

225 


VICTOR     BOOK     OF    THE    O  PER  A  —  BOlfTO'S    MEFISTOFELE 

FAUST:     Look  more  closely.     He  moves  slowly  on  in  lessening  circles;  and  with  each  spiral,  comes 

ever  nearer  and  nearer.     Oh!  as  I  gaze.   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. 
FAI-ST: 

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: 
MF.FISTOFELE: 

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. 

ACT  II 

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) 

228 


VICTOR    BOOK    OF    THE    OPE  RA  — B  Ol'TO'S    MEFISTOFELE 


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. 

M  i.i-  ISTOKELE: 

(.'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! 
FAVST : 

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! 


FARRAR    AND    MARTIN    IN    ACT   II 


THE    VISION    OF    MABOABtT 


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 
Kreling. 

ACT  III 
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 


VICTOR    BOOK    OF    THE    OPERA  —  BOITO'S     MEFISTOFELE 


MI.LIIA     AS     IILLEX 


She  raves  of  the  cruel  jailors,  whom  the  say*  threw 
her  babe  into  the  ocean  and  now  accuse  her  of  the  crime. 
HAMAUT: 

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. 
Ifinnonu: 

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 
MARGARET  AND  FAUST: 
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. 

ACT  IV 

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 


EXECUTION 


VICTOR    BOOK     OF     THE    OP  E  R  A-BO  I  TO 'S    MEFISTOFELE 

x? 

'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. 

EPILOGUE 

SCENE— Faust's  Studio 

Faust  has  returned  to  his  studio,  again  old  and  feeble  and  full  of  remorse  for  his  past  life. 
He  has  tasted  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 

FAI 

N  raring    the    utmost    limit    of    life's    extremist 

goal, 
In    a    vision    delightful    did    wander    forth    my 

soul. 
King  of  some  placid  region,  unknown  to  care 

and  striving, 
I   found  a   faithful   people  and  fain   would  aid 

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. 


DOUBLE-FACED  AND  MISCELLANEOUS  MEFISTOFELE  RECORDS 
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 


(German) 

DIE  MEISTERSINGER 


(Enfluh) 

THE  MASTERSINGERS 


l>e-  My -tk 


OPERA   IN  THREE   ACTS 


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. 


Master-Singers. 


FIRST       PROGRAM       OF       MEISTKR- 
SINGER,      MUNICH,      1 868 


Characters 
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, 

SIR  WALTER  VON  STOLZING.  a  young  Fran- 

conian  knight 

DAVID,  apprentice  to  Hans  Sachs. 
EVA,  Pogner's  daughter 

MAGDALENA,  Eva's  nurse 

A  NIGHT  WATCHMAN  . 


Bass 

Bass 

Tenor 

Bass 

Bass 

Bass 

Tenor 

Tenor 

Tenor 

Bass 

Bass 

Bass 

.  Tenor 
.  Tenor 
.  Soprano 
.  Soprano 
Bass 


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 

230 


OTTO    <X>R1TZ 
AS    HANS    SACHS 


VICTOR    BOOK    OF    THE    OPERA  — THE    M  A  S  T  E  R  S  I  N  G  E  R  S 


young  knight,  meet  and  fall  in  love.     When  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 
favor. 

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. 
WALTER'S  TRIAL — ACT  i 

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. 


|IAVII>     AM)     HANS     SM   II.- 


SACHS: 

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! 


231 


VICTOR    BOOK    OF    THE    OPERA       THE    M  A  ST  E  R  S  I  N  G  E  R  S 


UCKUKSU**!   SEJtENAOE 


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 : 
RECK  MESSES: 

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 — 

EVA: 

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: 

SACHS: 

To  find  the  man  before  too  late 
1  sought,  or  else  that  had  been   my  fate! 

232 


BEN AT U    AS    BECKMESSEB 


VICTOR    BOOK     OF    THE    OPERA  — THE     M  A  ST  E  R  S  I  N  G  E  R  S 

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: 


Se     •    • 
Brirkl 

1'C.       we 

die        Sun    •      -    oe      me 

—  S3  —  b  f  — 

•    on        Glli  •  eke* 

U.hl. 

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   theme5 
Hut   this   strain,    tho'    whiskered 
Will  greet  thine  ear  loud   and   ck 
'Mid   the    Master's  guild   shall    n-e. 
There   to   win    the    higlu—t    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        - 


CAN    PRODUCTION,    1 886 


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. 


HOMER     AS     MACDALEXA 


VICTOR     BOOK    OF    THE    OPERA       THE    M  A  ST  E  R  S  I  N  G  E  R  S 


When  all  are  assembled.  Sachs  rises,  and  in  a  noble  address 
states  the  terms  of  the  contest. 
SACHS: 

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 
moved.) 

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 
declares: 

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 


HAMS  SACHS    AND    EVA 


(In  Englith) 


74115 

74186 

*35O44 

*35I11 


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. 


234 


VICTOR    BOOK    OF    THE    OPERA  -THE     MASTERSINGERS 


WALTER   (-cho  has  ascended  to  the  platform  with 
firm  and  proud  steps): 
MotnitiK  was  gleaming  with  roseate  light, 

!i-i| 

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 
WALTKR: 

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! 
MASTERS: 

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 
enthusiasm. 

An  : 

Hail    Sachs!      Hans    Sachs! 

Hail    Nuremberg's   darling   Sach-' 

( The  curtain  falls) 


DOUBLE-FACED  AND  MISCELLANEOUS  MEISTERSINGER  RECORDS 


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) 


235 


•  French' 


MIGNON 


'Engli.h' 

MIGNON 


•Me-nuon'i  (A/in' -yon' 

OPERA  IN  THREE  ACTS 

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. 

Overture 

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. 

ACT  I 

SCENE — Courtyard  of  a  German  Inn 

Mignon,  a  daughter  of  noble  parents,  was  stolen 
when  a  child  by  gypsies,  and  as  the  act  opens  is  a 
girl  of  seventeen,  forced  to  dance  in  the  public  streets 
by  the  brutal  Giarno.  chief  of  the  gypsy  band. 

The  first  scene  shows  the  courtyard  of  a  German 
inn,  where  townspeople  and  travelers  are  drinking. 
After  the  vigorous  opening  chorus,  sung  here  by  the 
La  Scala  forces,  Lothario,  a  wandering  minstrel,  enters 
and  sings,  accompanying  himself  on  his  harp. 

Opening  Chorus  and  Solo,  "  Fuggitivo 
e  tremante"  (A  Lonely  Wanderer) 

By  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. 

236 


FARKAX    AS    MIu.Vo.V 


VICTOR    BOOK     OF    THE     OPERA— THOMAS'     MIGNON 


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. 


French) 

Connais-tu  le  pays? 

(German  > 

Kennst  du  das  Land? 


(Engluh) 

(Knowest  Thou  the  Land?) 

(Italian) 

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 


12-inch, 
12-inch. 
12-inch. 
lO-inch. 
12-inch. 
lO-inch. 


$3.OO 
3.OO 
3.OO 
2.00 
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dolCf. 


:u/.j ;  J  j  ug^ 


Con     -    nais 
Know    •    eit 


MOM 


le 

j/ojt 


pa  -  ys 

der   land 


oO     fleu 
u-here  the 


rit 


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/oppo»fc  tide  *x  DOUBLE* ACED  MIGNON  RECORDS.  tuge24l 

237 


VICTOR    BOOK    OF    THE    O  P  E  R  A— T  H  O  M  A  S*    MIGNON 


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! 

LOTHARIO: 

The  harp,   touched  by   her   gentle  hand 

A  melancholy   sound   mysteriously   gives  furth. 

MIGNON: 

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. 

MIONON: 

Stranger!   thou   didst   purchase   me — 

l)isposc   of   me,   henceforth,   e'en   a*   thou    wilt. 
WILHF.LM: 

In  this  very  town,  to  which  Fate  hath  brought 
thee. 

There   lives  an  aged   relative   of  mine. 

Who,   to   her   home,    will   gladly    welcome   thee. 
Mir. sow: 

Must  I  then  part  from  thee? 
WILHELM  : 

My  child,  thou  can'st   not  dwell  with  me; 

III  could  I   the  part  perform, 

Of  father! 
MIGNON: 

Could    I    not    disguise   myself. 

And  as  thy  servant,  travel   with  thee? 
WILHELM    (taking  her  hands): 

And  what  couldst  thou  do  then? 
Mir.xoN: 

With   love  and  gratitude, 

My  heart  is  filled. 

To  follow  ther.  O  master  mine. 

Indeed  were  happiness  to  me! 
WILHELM: 

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   foot»teps   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. 


FA*BAB     AS     MICNON ACT     II 


VICTOR    BOOK    OF    THE    OPER  A-T  HOMAS'    MIGNON 

ACT  II 

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 

smile! 
It  pains  me   much   to   leave  thee:   my   stricken 

heart 

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. 

239 


VICTOR    BOOK    OF    THE    OPER  A— T  HOMAS'    MIGNON 

wishes  that  fire  would  consume*  the  castle  in  which  Filina  had  won  her  master's  affections. 
Lothario  is  puzzled  by  this  and  goes  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) 
CHOEUS: 

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! 
FILINA: 

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 

hand.) 

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 

dance. 

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 

flowers, 

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. 

ACT  III 
SCENE— Count  Lothario's  Castle  in  Italy 

This  act  takes  place  in  the  castle  of  Lothario,  to  which  the  old  man  has  instinctively  re- 
turned with  Mignon,  followed  by  Wilhelm.  who  now  realizes  that  he  loves  his  youthful  ward. 
The  young  girl  is  recovering  from  a  dangerous  illness,  and  as  Lothario  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 

LOTHARIO: 

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  clo«ed  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. 

240 


VICTOR    BOOK    OF    THE    OPER  A-T  HOMAS'    MIGNON 

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  croya.it  pas   (Pure  as  a  Flower) 

By  M.  Regis.  Tenor  (In  French)     *45023     10-inch,     $1.OO 


\Vii.n 

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 

cob 

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. 


DOUBLE-FACED  AND  MISCELLANEOUS  MIGNON  RECORDS 


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)  \ 
Lak.me — 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)  16323 

\      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)) 

241 


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 


NORMA 

(/Vor'-moA) 

OPERA  IN  TWO  ACTS 

Book  by  Felice  Romani,  founded  on  an  old  French  story.  Score  by  Vincenzo  Bellini. 
First  production  December  26,  1831.  at  Milan.  First  London  production  at  King's  Theatre, 
in  Italian.  June  20.  1833.  In  English  at  Drury  Lane,  June  24.  1837.  First  Paris  production 
December  8,  1835.  First  New  York  production  February  25,  1841. 


Characters 

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. 

Overture 

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. 

242 


VICTOR    BOOK     OF    THE    OPERA  —  BELLINI'S    NORMA 


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 
written. 

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. 
NORMA  : 

•  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. 


C.RISI     AS     NoKMA 


( Weber) 


DOUBLE-FACED  AND  MISCELLANEOUS  NORMA  RECORDS 

12-inch.  $1.25 
12-inch. 

1 


By  Arthur  Pryor's  Band!-,.,  , 
By  Arthur  Pryor's  Band! 

By  Victor  Band\_-O2 
By  Victor  Bandl  35°29 


1.25 


(Overture 

[     Oberon  Overture 

(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. 
243 


ELYSIUM  —  ACT    II 


(Italian) 

ORFEO  ED  EURIDICE 

(Or'-fee-oh  ay  U.neJ*f*h*) 
(Enjluh) 

ORPHEUS  AND  EURYDICE 

(Or'-fye-ia  and  L'-ri-Jet'-chee) 


OPERA  IN  FOUR  ACTS 

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. 


Cast 

ORPHEUS Contralto 

EURIDICE Soprano 

LOVE Soprano 

A  HAPPY  SHADE Soprano 

Shepherds  and  Shepherdesses,  Furies  and  Demons,  Heroes  and 
Heroines  in  Hades. 


This  opera,  which  has  been  called  "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 


244 


HdMKR     AND     CADSKI      AS     ORPHEUS     AND 
ETRYDICE 


VICTOR    BOOK    OF    THE    OPERA-ORPHEUS    AND    EURYDICE 

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 
ago. 

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 
Eurydice) 

By  Ernestine  Schumann-Hcink.  Contralto 

(In  German)      88O91      12-inch.  »3.OO 

J'ai  perdu  mon  Euridice    (I  Have  Lost  "My 
Eurydice) 

By  Jeanne  Gerville-Reache.  Contralto 

(In  French)     88198      12-inch.     3.OO 

Che  faro  senza  Euridice    (I  Have  Lost  My 
Eurydice) 

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. 


245 


VICTOR    BOOK    OF  THE    OPERA— ORPHEUS    AND    EURYDICE 


THE   GATES   OF    HELL — ACT    IV 

"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. 
LOTS: 

Hold,  Orpheus!  Kurydice!   revive! 

ORPHEUS    (.despairingly):  To  embrace   the   fond  youth 

What  would  you   with  me?  Who  dared  so  much  for  the«! 

I»VE:  ORPHEUS: 

Thine  anguish  well  doth  prove  My  Eurydice! 

Thy  constancy  and  truth.  EURYDICE  {.reviving): 

'Tis  time  that  the  trial  be  ended!  My  Orpheus!     (They  embrace.) 

(Curtain) 


EfRYIMCE    RESTORED    TO    ORPHEUS — ACT     III 
246 


OTELLO    AND    DESDEMONA 


OTELLO 


Engli.h) 

OTHELLO 

(.Olh-thef -low) 


(Oh-tef-lowi 

OPERA  IN  FOUR  ACTS 
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. 

Characters 

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. 


VICTOR    BOOK    OF    THE    OPERA-VERDI'S    OTELLO 


VEBDI    AND    HAVRE!.    AT    FIRST 
PCBFOBMAKCE    OF    OTELLO 


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. 

ACT  I 

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 
Speakest) 

By  F.  Lotti.  Soprano :  F.  Conti.  Tenor 

(In  Italian)   *55O23      12-inch.  $1.5O 


M.l  /AH     AS    OTELLO 


ACT  II 

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  RecorJ—For  title  o/oppowlr  tide  tte  DOUBLE-FACED  OTELLO  RECORDS. 

248 


251. 


VICTOR    BOOK    OF    THE    O  P  E  R  A  -  V  E  R  D  I  '  S     OTELLO 


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. 

ACT  III 

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 
Heaven) 

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 


AMATO    AS    IAGO 


*  Double-Face  J  RecorJ—  For  lilk  of  oppotik  tiJt  tee  DOUBLE-FACED  OTELLO  RECORDS.  page  251. 

Jl'l 


VICTOR  BOOK  OF  THE  OPERA  — VERDI'S  OTELLO 


$1.50 


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 

Messengers 

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 ! 

ACT  IV 

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,  Mary1 

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 

250 


VICTOR    BOOK     OF    THE     OPERA      VERDI'S     OTELLO 


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. 


THE    MURDER    OF    OESDEMONA     (ALDA    AND    SI.K.ZAK) 


DOUBLE-FACED  AND  MISCELLANEOUS  OTELLO  RECORDS 


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! 

Ml 


55009     12-inch.  M.5O 


55O23      12-inch.     1.5O 


'Italian  i 


I   PAGLIACCI 


(En(lwh) 

THE   PLAYERS 


(£e 


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. 


LEONCAVALLO 


VICTOR   BOOK  OF   THE   OPERA     LEONCAVALLO'S   PAGLIACCI 

ANNOUNCEMENT 

The  Victor  Company  takes  pleasure  in  announcing  Leoncavallo's  famous  two-act  musical 
drama,  recorded  especially  for  the  Victor  under  the  personal  direction  of  the  composer. 
The  records  in  the  series  were  made  in  the  presence  of  Signor  Leoncavallo,  and  the  music 
conducted  by  him,  a  feature  which  should  make  this  collection  ever  valuable  and  unique. 
Any  question  arising  in  future  concerning  the  composer's  intentions  in  regard  to  the  opera 
may  be  decided  by  reference  to  this  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. 

THE  ARGUMENT 

During  the  orchestral  introduction  Tonio,  in  his  clown  costume,  suddenly  appears  in 
front  of  the  curtain  and  begs  permission  to  revive  the  ancient  Greek  prologue.  He  then 
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). 

253 


VICTOR  BOOK  OF  THE  OPERA-LEONCAVALLO'S  PAGLIACCI 


ARRIVAL    Of    THE     PLAYERS — ACT    1 

(Italian) 

I  PAGLIACCI 

(EtP, 


(Engluh) 

THE  PLAYERS 


(French) 

PAILLASSE 


(German) 

DIE  BAJAZZI 

(Dto«flaAW-*0 

DRAMATIC  OPERA  IN  TWO  ACTS 

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. 


Soprano 


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. 


254 


VICTOR    BOOK    OF  THE  OPERA -LEONCAVALLO'S  PAGLIACCI 


(  In  Italian) 

88326 

12-inch, 

$3.OO 

{In  Italian) 

88029 

12-inch. 

3.0O 

In  Italian) 

81021 

lO-inch. 

2.OO 

(In  Italian) 

88176 

12-inch. 

3.0O 

(In  English) 

*16157 

lO-inch. 

.75 

(In  EnglL'h) 

*35002 

12-inch. 

1.25 

31352 

12-inch, 

1.00 

*35158 

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1.25 

12-inch,  $1.25 


THE  PROLOGUE 

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 
Memories) 

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  0  _      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 

glory, 

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  RecorJ—For  {ilk  of  opposite  jiJe  tee  DOUBLE-FACED  PAGLIACCI  RECORDS,  page  265. 

255 


i.'&^vi^ 


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! 


VICTOR   BOOK  OF  THE  OPERA— LEONCAVALLO'S    PAGLIACCI 


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  Ll  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. 


SAMMAKCO    AS    TOMIO 


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 

M 


VICTOR  BOOK  OF   THE   OPERA— LEONCAVALLO'S   PAGLIACCI 


«  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 : 

CANIO: 

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. 


ARRIVAL    OF    THE    PLAYERS 


cuff 
The 


Lover? 
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.) 


HARLEQUIN 


Un  tal  gioco     (Such  a  Game  !) 


By  Antonio  Paoli  and  La  Scala  Chorus 
By  Nicola  Zerola.  Tenor 


(In  Italian) 
>  In  Italian) 


9201O 
64206 


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: 


257 


VICTOR   BOOK  OF  THE  OPERA— LEONCAVALLO'S  PAGLIACCI 


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: 


r 


LIT 


FARRAI    AS    NEODA 


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 
Bells) 

By  La  Scala  Chorus 

(In  Italian)  *35172  12-inch.  $1.25 
This  is  the  famous  Bell  Chorus,  or  "  Ding  Dong  " 
Chorus,  one  of  the  most  remarkable  numbers  in  the 
opera.  It  is  sung  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 : 


258 


VICTOtt  BOOK   OF  THE  OPERA— LEONCAVALLO'S    PAGLIACCI 


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 
insolently: 

NKDIJA: 

Tlu-ri-'s   tinif.    if   vim    likf, 

Once  more  to   tell   im-   this  evening 

When  you  will  be  acting  the  fool! 


CLUCK  AS  NEDDA 
TONIO: 

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: 

NCDDA: 

Conic,   or    I'll  be  calling  Canio! 


you  ! 
\rd   her.) 


12-inch,  $1.25 


TONIO    (screaming) : 


NFDOA   (watching  him): 


NF.DDA: 

A  threat,   t-h? 

I'.ut   not   until    I'vi    I 
(Rushing 

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) 


BOTH: 
NEDOA: 


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! 


VICTOR  BOOK  OF   THE  OPERA— LEONCAVALLO'S  PAGLIACCI 


The  lovers,  who  have  cast  aside  all  prudence  and  see  only 
each  other,  fail  to  observe  Canio,  who  has  been  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. 


SILVIO    AND    NEDDA 


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    tZEZHLJ~  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. 

CANIO: 

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)  : 

Me? 
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. 


CABUSO    SINGING    "VESTI    LA    GIUBBA*' 

Vesti  la  giubba  (On  With  the  Play) 

By  Enrico  Caruso.  Tenor 
By  Carlo  Albani.  Tenor 
By  Nicola  Zerola.  Tenor 


88061 
74097 
64169 


12-inch,  $3.OO 
12-inch,  1.5O 
10-inch,  l.OO 


260 


VICTOR  BOOK   OF  THE   OPERA— LEONCAVALLO'S  PAGLIACCI 


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! 


CANIO: 

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. 

CANIO: 

The    people    pay    you,    and    they    must    have 

their  fun! 
If    Harlequin    your    Columbine    takes    from 

you. 

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. 

ACT  II 

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 
begins. 

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  «*») 


NEDDA    AS    COLUMBINE 


side    in    the    FJ>= 
Serenade.be-      i^ 


CTT 


ginning: 


in  which  he  extravagantly  rhapsodizes  his  sweetheart. 

261 


Co  -ton. M-  nvil       to  -  ae  •  .o      1  •  d> Af-lee   -   <fcb 
CM  •  DB-bUM,  joor     B«  •  U  •  qoin    »     lura  wUk     JOB, 


VICTOR   BOOK  OF   THE  OPERA-LEONCAVALLO'S  PAGLIACCI 


La  Commedia     (The  Play)     Part  II,  E  dessa !     (Behold  Her !) 

By  Giuseppina  Huguet.  Soprano:   Francesco  Cigada.  Baritone:  and 

Gaetano  Pini-Corsi,  Tenor  (In  Italian)     *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, 
singing: 

Then    I    my   claim   surrender.      Bless   you,    my   children! 

This  scene  is  most  cleverly  done  and  the  three  records  depicting 
the  little  farce  are  among  the  most  enjoyable  of  the  series. 

Versa  il  filtro  nella  tazza  sua!     (Pour  the  Potion 
in  His  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 : 


HARLEQUIN: 

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  •  n«M,  tk»!  A«d  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? 
COLUMBINE: 

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! 

262 


VICTOR  BOOK  OF  THE   OPERA— LEONCAVALLO'S   PAGLIACCI 


The  audience  laughs  loudly,  which  enrages  the  unhappy  man,  and  forgetting  his  part 
he  turns  to  Nedda  and  fiercely  demands  the  name  of  her  lover : 

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. 

CANIO: 

No,  Pagliaccio,  I'm  not! 

If  my  face  be  white, 

'Tis  shame  that  pales  it 

And  vengeance  twists  my  fea- 
tures! 

****** 

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- 
ness! 

(Falls  in  a  chair,  over- 
whelmed.) 

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. 


COLUMBINE     AND     HARLEQUIN     AT     SUPPER 


Finale 


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 

263 


VICTOR   BOOK  OF  THE  OPERA— LEONCAVALLO'S    PAGLIACCI 


THE    PLAY — ACT    II 


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

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 

stayest. 
Until      thy      paramour's      vile 

name  thou   sayest! 

Nedda,  in  desperation, 
tries  to  continue  the  play,  and 
as  the  little  gavotte  movement 
is  resumed  in  the  accompani- 
ment, she  sings: 


NEDDA:  Oh  dear,  I  never  knew  that  you 
Were  such  a  fearful  man,  sir! 
There's  nothing  tragic  for  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  CT?*""""  '""'^""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. 

Curtain. 


264 


VICTOR  BOOK  OF  THE  OPERA— LEONCAVALLO'S   PAGLIACCI 


DOUBLE-FACED  AND  MISCELLANEOUS  PAGLIACCI  RECORDS 


(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 


LE    THEATRE 


THE  COMEDY  is  ENDED! 
265 


(Italian)  (English) 

PESCATORI  DI  PERLE        PEARL  FISHERS 

(Pet-kah-toh' -ret  Jee  Pair-laay) 

OPERA  IN  THREE  ACTS 

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%. 

Characters 

LEILA,  a  priestess Soprano 

NADIR,  a  pearl  fisher Tenor 

ZURGA,  a  chief Baritone 

NOURABAD,  high  priest Bass 

Priests,  Priestesses,  Pearl  Fishers,  Women,  etc. 


Scene  and  Period  :  Ceylon  ;  barbaric  period. 


Les  Pecheurs  de  Perles,  one  of  Bizet's  earlier  operas  and  the  first  one  to  achieve  success, 
is  a  work  dealing  with  an  Oriental  subject,  and  contains  much  music  of  charm  and  original- 
ity, showing  traces  of  that  dramatic  force  which  reached  its  full  development  in  Carmen. 
The  character  of  the  music,  less  passionate  and  highly  colored  than  Carmen,  is  yet  equally 
original  and  of  even  more  striking  beauty. 

The  story  tells  of  the  love  of  two  Cingalese  pearl  fishers  for  the  priestess  Leila,  and  of 
the  generosity  of  the  unsuccessful  rival,  who  helps  the  lovers  to  escape  at  the  cost  of  his 
own  life. 

THE   PRELUDE 

The  prelude  is  a  most  beautiful  number,  and  considered  one  of  the  finest  of  Bizet's 
instrumental  -writings. 

Preludio  (Prelude) 

By  La  Scala  Orchestra  *621OO     lO-inch.  $O.75 

ACT  I 

SCENE — The  Coast  of  Ceylon 

The  rise  of  the  curtain  discloses  a  company  of  Cingalese  pearl  fishers,  who,  after 
choosing  one  of  their  number,  Zurga,  to  be  their  chief,  are  enjoying  themselves  with  games 
and  dances.  Nadir  appears  and  Zurga  recognizes  him  as  a  friend  of  his  youth.  They 
greet  each  other  and  speak  of  the  days  when  they  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- 

£V»CA:  jjut  now  j^j.  vej|   sjle  <jrops 

Twas  a  vision  of  beauty!  And     passing   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 

ZURGA: 

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. 

266 


VICTOR    BOOK    OF    THE    OPERA— BI  ZET'S    PEARL    FISHERS 

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. 

ACT  II 

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. 

267 


VICTOR    BOOK    OF    THE    OPER  A— B I  ZET'S    PEARL    FISHERS 

ACT  III 

SCENE  I—  The  Camp  of  Zurga 

Zurga  is  discovered  alone,  brooding  over  the  impending  death  of  his  friend  and  the 
woman  he  loves.  His  mood  of  despair  is  interrupted  by  Leila,  -who  appears  at  the  entrance 
to  his  tent  and  asks  him  to  dismiss  the  guards  and  speak  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 : 
ZURCA: 

Farewell,   my  friend! 
Farewell,  my  Leila! 
For  thee  I   give  my  life! 

As  Zurga  dies  a  fiery  glow  reveals  that  the  forest  is  ablaze,  and  all  prostrate  themselves, 
fearing  the  displeasure  of  Brahma.  The  curtain  falls  as  the  flames  envelop  the  stage. 


DOUBLE-FACED  AND  MISCELLANEOUS  PEARL    FISHERS    SELECTIONS 
Del  tempio  al  limitar  (In  the  Depths  of  the  Temple) 

By  Giuseppe  Acerbi  and  Renzo  Minolfi     (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,         ,  0< 

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. 

268 


'Italian 


(French) 


'English) 


IL  PROFETA        LE  PROPHETE       THE  PROPHET 


(EelPro-fau'-tah) 


(Leh  Proh-fauf ) 


OPERA  IN  FIVE  ACTS 

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. 


Characters 
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 

ZACHARIAH,  1  (Bass 

JONAS,  >three  Anabaptist  preachers <  Tenor 

MATHISEN,    J  [Bass 

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. 

ACT  I 

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. 

ACT  II 

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  DUPO»T 


ALVAREZ    AS    THE    PROPHET 


269 


VICTOR    BOOK   OF   THE   O  P  E  R  A— MEYERBEER'S    PROPHET 
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 
expression. 

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 

FIDES: 

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. 

ACT  III 

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. 

271 


VICTOR    BOOK    OF  THE    O  P  E  R  A  —  ME  YERBEER'S    PROPHET 


ACT  IV 

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. 

ACT  V 

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 


JOHN     DENYING     HIS     MOTHER ACT     IV 


Whither   have   you   led 


Fmfes   (alone): 

O!    my   cruel   destiny! 

me? 
What,    the    wails   of   a    prison!    they    arrest   my 

footsteps. 

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

mother; 
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 

happy. 

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 


272 


VICTOR    BOOK    OF    THE    O  P  E  R  A  — MEYERBEER'S    PROPHET 


Fides  then  begins  the  second   part  of  her  great 
scene. 

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. 
FIDES: 

But  thou,  whom  the  world  detests. 

Yes,   thou,    braving   Heaven's   behests; 

Thou,   whose  fell   hand  is  reeking  with  blood; 

Go  thou,  my  son   no   longer  now! 

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. 


OBERTHAL: 

You  are   my  prisoner ! 
JOHN: 

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.) 
JOHN: 

My   mother ! 
FIDES: 

Yes,   receive  my  pardon;   I  will   die  with  thee! 
FIDES  AND  JOHN  : 

Welcome,    sacred   flame! 

To    yon    celestial    sphere    may    our    souls    take 

flight ! 
Adieu! 

(As  the  flames  mount  about  them  the  curtain 
falls.) 


DOUBLE-FACED  LE  PROPHETE  RECORDS 


/Fantasie 

\     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 


273 


(Italian)  (English) 

I  PURITANI  THE  PURITANS 

(Ee  Poo-ree-tah' -nee) 

OPERA  IN  THREE  ACTS 

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. 


Characters 

LORD  GAUTIER  WALTON,  Puritan Bass 

SIR  GEORGE,  Puritan Bass 

LORD  ARTHUR  TALBOT,  Cavalier Bass 

SIR  RICHARD  FORTH,  Puritan Baritone 

SIR  BRUNO  ROBERTSON,  Puritan Tenor 

HENRIETTA  OF  FRANCE,  widow  of  Charles  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. 

ACT  I 
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 
remembered. 

FORTH : 

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! 

274 


VICTOR    BOOK    OF    THE    O  P  E  R  A  —  B  E  LLI  N  I'S     PURITANI 


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. 

ACT  II 

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. 
ELVIRA: 

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 

temple? 

'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. 


ANCONA    AS    SIR    RICHARD 


275 


VICTOR    BOOK    OF    THE    O  P  E  R  A   -B  E  LL  I  N  I'S    PURITANI 

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 

SIR  RICHARD  AND  SIR  GEORGE: 

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: 
SIR  GEORGE: 

All   is  now  concluded, 

If  Arthur  is/  defenceless — 
RICHARD: 

He'll  find  support  and  succor. 
SIR  GEORGE: 

If  he  in  arms   returns — 
RICHARD: 

He  comes  to  shame  and  vengeance! 

ACT  III 

SCENE— A  Garden  near  Elvira's  House 

The  rise  of  the  curtain  discloses  Arthur,  who  is  fleeing  from  the  enemy,  and  has  come 
to  the  castle  in  the  hope  of  seeing  Elvira  once  more  before  he  leaves  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. 

ARTHUR: 

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 

(Curtain) 
276 


(Italian)  (Entflish) 

REG  IN  A  DI  SABA  QUEEN  OF  SHEBA 

(Ray-gee1 -nah  dee  Sah'-bah) 

OPERA  IN  FOUR  ACTS 

Text  by  Mosenthal,  founded  upon  the  Biblical  mention  of  the  visit  of  the  Queen  of 
Sheba  to  Solomon.  Music  by  Gold  mark.  First  production  1875,  in  Vienna.  In  New  York 
1885,  with  Lehmann  and  Fischer.  Revived  in  1905,  with  Walker,  Rappold,  Knote  and  Van 
Rooy. 

Characters 

KING  SOLOMON Baritone 

HIGH  PRIEST Bass 

SULAMITH,  his  daughter Soprano 

ASSAD,   Solomon's  favorite Tenor 

QUEEN  OF.  SHEBA Mezzo-Soprano 

ASTAROTH,  her  slave  (a  Moor) 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, 
Sulamith. 

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. 

277 


THE    THEFT   OF    THE    RHINEGOLD 


(German) 

DAS  RHEINGOLD 


THE  RHINEGOLD 


(Dahu  Rind-gold) 

MUSIC  DRAMA  IN  FOUR  SCENES 
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} 
DONNER, 

FROM, 

LOCI,    (Low'.jee) 

FASOLT, 
FAFNER, 
ALBERICH,  (Ahfj>er 

MIME.     (Mee'-mec) 
FRICKA,    (Free'-kah) 
FRElA    (Free'^h) 

ERDA  (Eh/jah) 

WOGUNDE, 

WELLGUNDE, 
FLOSSHILDE, 

Rheingold  is  not   a 


r    J 

G°ds Tenor 


/Giants 

/Nibelungs  (Gnomes) 


Bass 
Baritone 
Tenor 
(Soprano 

Goddesses (  Soprano 

[  Contralto 
(Soprano 

Nymphs  of  the  Rhine <  Soprano 

Contralto 


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. 

278 


VICTOR     BOOK     OF     THE     OPERA— THE     RHINEGOLD 

They  sing  their  quaint  songs  as  they  float  about  the  rock  which  conceals  the  treasure. 


MOTIVE    OF    THE    RHINE    MAIDENS 

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 

of  yyalhalla  THEFT  OF  THE  RHINEGOLD — SCENE  i 

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 
jest. 

WOTAN  : 

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 


PHOTO  HOFFEBT 


FREIA    AND    THE    GIANTS 


279 


VICTOR     BOOK     OF    THE     OPERA  — THE     RHINEGOLD 

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 

day, 

The   treasure's   lord   and   the   treasure's   slave: 
Till    within   my    hand   I    in   triumph   once   more 

behold    it! — 

So — stirred   by   the   hardest   need, 
The    Nibelung   blesses   his   ring! — 
I   give  it  thee, — guard  it  with  care — 
But  my  curse  canst  thou  not  flee! 


642O3      lO-inch,  $1.OO 


THE    CAPTURE   OF   ALBERICH — SCENE    III 


280 


VICTOR     BOOK    OF    THE     OPERA  —  THE     RHINEGOLD 


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 
Wolan. 


BATTLE    OF    THE    GIANTS SCENE    IV 


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 

wealth. 
WOTAN  : 

Who   speaks   such   menacing   words? 


ERDA: 

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.) 
WOTAN  : 

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.) 


281 


PHOTO   HALL 


MONTERONE    DENOUNCES   THE    JESTER — ACT    I 

RIGOLETTO 

OPERA   IN   THREE    ACTS 

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. 


Characters 

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 

COUNT  CEPRANO Bass 

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, 

282 


VICTOR    BOOK    OF    THE    OPERA  — VERDI'S    RIGOLETTO 


THE    METROPOLITAN" 


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. 

ACT   I 

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. 


DL-KE: 
'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 
display. 


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. 


283 


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


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 
house. 

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. 


SPARAFUCILE    OFFERS     HIS     SERVICES 
ACT    I,    SCENE    II 


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 
RIGOLETTO: 

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 
12-inch, 
12-inch, 

lO-inch, 


3.00 
3.00 
l.OO 


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-Facea1  Record—  For  title  of  opftostl:  «J:  xe  DOUBLE-FACED  RICOLETTO  RECORDS,  page  294. 

284 


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


SAMMARCO    AS    RIGOLETTO 


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 
threaten. 

RIGOLETTO:  GILDA: 

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 
devotion. 

DUKE: 

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

blighted; 

With  it   we  heed  not  what  fate  may  shower. 
Feeling  celestial,   no  joy  terrestrial 
Ever  to   me   can   such   sweet   joys   impart. 
Ah!    may   no   blight   ever   this   heart    from   thee 

sever ; 
Rest  in  my  bosom,   ne'er  to   depart! 

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 : 

285 


ABOTT    AS    GILDA 


VICTOR    BOOK    OF    THE    OPERA  — VERDI'S    RIGOLETTO 


ACT    I,    SCENE    II 


GILOA: 

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. 
GILDA: 

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 
balcony.) 

Oh,   dearest  name! 

Oh  name  beloved! 


Walter,   I   love   thee, 

Ev'ry  fond,  tender  thought  for  thee  I  cherish! 


(In  Italian) 

88295 

12-inch, 

$3.00 

(In  Italian) 

88017 

12-inch, 

3.0O 

(In  Italian) 

88078 

12-inch, 

3.OO 

(In  Italian) 

88O5O 

12-inch, 

3.00 

(In  Italian) 

76007 

12-inch, 

2.OO 

(In  English) 

*35067 

12-inch, 

1.25 

(In  Russian) 

61141 

10-inch. 

1.00 

(She     disappears,     but     can     be     heard     from 

U'ithin.) 

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. 

286 


VICTOR  BOOK  OF  THE  O  P  E  R  A  —  V  E  RD  I  *S  RIGOLETTO 


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. 

ACT  II 
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. 


COURTIERS: 

Unto   a   lonely  abode   directed, 

When    shades    of    evening    were    falling    fast, 

By    dark'ning   shadows   we    were    protected 

Until   our  game   we   spied  at  last; 

With  timid  footsteps  she  scarce  came  nigh  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 
her, 

The   startled  beauty   we   bore   away! 
DUKE  (aside): 

Wondrous!   it   must  be   my  love,   my   lost   one! 
COURTIERS: 

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 :, 
RIGOLETTO:  RIGOLETTO: 

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! 

287 


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

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. 
RIGOLETTO: 

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 
GILDA: 

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  *iJe  *•<•  DOUBLE-FACED  RIGOLETTO  RECORDS,  page  294. 

288 


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


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 : 

MONTERONE: 

Oh,   then,   'twas  in   vain   in   my  anger  I  cursed 

thee! 
No  thunder  from  Heaven  yet  hath  burst  down 

to  strike  thee. 
With    pleasure    triumphant    thy    days    yet    are 

crowned. 
(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: 


RIGOLETTO: 

But    'twill    not   be    long    thus,    the    avenger    is 
nigh. 

(Impetuously.) 

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. 
GILD  A: 

Oh   my   father,   a   joy   ferocious 

In  thy   words  doth   tell  of  danger — 
RIGOLETTO: 

To  vengeance! 


GILDA   (timidly) : 

Heav'n   doth  know  his  crime  atrocious, 

Oh,    might   I   avert   its   wrath — 
RIGOLETTO: 

To   vengeance ! 
GILDA: 

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

Yes,  to  vengeance  fierce  I  doom  thee — 

Thou  shall  feel  a  father's  wrath! 
GILDA: 

Oh,   forgive  him! 

Ah,   might  I  avert  the  wrath   of  Heaven! 

(They    depart.) 


SPARAFUCILE  S    DEN ACT     III 


*  Double-Faced  Record—  For  title  of  opposite  side  see  DOUBLE-FACED  RIGOLETTO  RECORDS,  page  294. 

289 


VICTOR    BOOK    OF    THE    O  PE  R  A  — VE  R  D  I 'S    RIGOLETTO 

ACT   III 

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 
exclaims: 


RIGOLETTO: 

Thou  lov'st  him? 
GILD A: 

Always. 
RIGOLETTO: 

Still  to  love  him  is  mere  infatuation. 
GILDA: 

I  love  him. 
RIGOLETTO : 

Ah,  tender  heart  of  woman '. 

Oh,  base  despoiler! 

Thou  my  child  shall  yet  have  vengeance. 


GILDA: 

Kay,   rather  pity. 

RIGOLETTO: 

And    if    I    could    convince    thee    that    he     is 
worthless,  wouldst  thou  still   then  love  him? 

GILDA: 

Perhaps.     Ah,  he  does  love  me! 

RIGOLETTO    (leads  her  towards  the  house  to  look 
through  a  fissure  in  the  wall): 
Come   here,  and  look  within. 


She  does  so,  and   is  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 


AUtgrtUo. 


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. 

DUKE: 

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 

kindly, 

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. 

290 


VICTOR    BOOK    OF    THE    O  P  E  R  A  — VE  RD  I 'S    RIGOLETTO 


CONSTANTINO    AS    THE    DUKE ACT     III 


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  Du£e 
tries  to  embrace  her  but  she  laughingly  escapes 
him.  Now  occurs  the  great  Quartet,  one  of  the 
most  famous  of  concerted  pieces. 

Quartet — Bella  figlia  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, 
Baritone 

(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 


singers. 


PHOTO   HALL 


THE    QUARTET ACT    III 


291 


VICTOR  BOOK  OF  THE  O  PE  R  A  — VE  R  D  I 'S  RIGOLETTO 


COPY'I  DUPOH 

HOMER   AS    MADOALENA 


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: 

DUKE: 

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: 
GILDA: 

Ah.  to  speak  of  love  thus  lightly! 
Words  like  these  to  me  were  spoken, 
He  is  false;  my  heart  is  broken! 

RIGOLETTO: 

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 

everywhere. 

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)u£e, 

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 

the  LJU^e.  PHOTO  BEIT  GILDA    FINDS    HER    LOVER    FALSE 


292 


VICTOR     BOOK     OF    THE     O  P  E  R  A  — VE  R  D  I '  S     RIGOLETTO 

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 : 

RIGOLETTO: 

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. 
DUKE: 

Woman    is    fickle,    false   altogether,    etc. 
RIGOLETTO   (tearing  his  hair) : 

That  voice!     Am  I  mad?     What  fiend  deludes 
me? 

No,   no,   no!   here   I   hold  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 : 
GILDA: 

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 ! 

RIGOLETTO:  GILDA: 

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. 

293 


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


RIGOLETTO: 

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! 
RIGOLETTO: 

Ah,  no,  no,  leave  me  not! 

Live,  my  child. 

Canst     thou     leave     me     alone,     despairing     to 
mourn? 


GILDA: 

Ah,   no — forgive   my   betrayer,   my   father,   for- 
give him. 
From   yonder   sky — there    we    wait — my    father, 

for —       (She  dies.) 
RIGOLETTO: 

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.) 
(Curtain) 


DOUBLE-FACED  RIGOLETTO  RECORDS 


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 


GILDA  S    DESPAIR — ACT    II 


294 


(Italian) 

ROBERTO  IL  DIAVOLO 

(Roh-J>ehr-toh  eel  Dee-ah' -ooh-loh) 

ROBERTLE  DIABLE     ROBERT  E|THE  DEVIL 

(Roh-behr-teh  Dee-ah'-bl) 

OPERA  IN  FIVE  ACTS 

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). 


CAST 

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. 

295 


VICTOR     BOOK     OF     THE     OPERA-ROBERT     THE     DEVIL 


BERTRAM: 

1    have    well    spread   my   toils,   another    soul    to 

capture! 

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 

sky, 

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. 


tery, 
To      Heaven's      cause      bequeathed      by      St. 

Rosalie, 
Here  lie  buried  the  false  daughters 


THE    RUINED    ABBEY ACT    III 


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. 


U96 


(French) 

LE  ROI  DE  LAHORE 

(Le  Rwah  Jeh  Lah-howr) 

THE  KINcToF  LAHORE 

OPERA  IN  FIVE  ACTS 

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. 


Cast 

AUM,  King  of  Lahore Tenor 

SCINDIA,  his  minister Baritone 

TlMUR,  a  priest Bass 

INDRA Bass 

SlTA Soprano 

KALED,  confidant  of  the  King Mezzo-Soprano 


Time  and  Place  :    India  ;   the  eleventh  century,  during  the  incursion  of  the  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. 

SCINDIA: 

The     Sultan's    barb'rous     horde,     who    had     so 

gladly   riven 
From  us   fair   Lahore. 

By    our    own    might    have    from    the    field   been 
driven. 


From  care  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. 

297 


(French) 


(English) 


ROMEO  ET  JULIETTE    ROMEO  AND  JULIET 

(Roh'-may-oh  ay  Joo-lee-ef) 

OPERA  IN  FIVE  ACTS 

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. 


Characters 

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 

FRIAR  LAURENCE Bass 

THE  DUKE  OF  VERONA Bass 

Guests ;  Relatives  and  Retainers  of  the  Capulets  and 
Montagues. 


The  action  tal^es  place  at  Verona. 


THE    LOVERS'    FIRST    MEETING 


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. 


299 


VICTOR    BOOK    OF    THE    OPERA-GOUNOD'S    ROMEO    AND    JULIET 


ACT  I 

SCENE — Ballroom  in  Capulel's  House,  Verona 

The  curtain  rises  on  a  scene  of  festivity.  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. 
JULIET: 

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. 


FARRAR    AS    JULIET 


Ange  adorable    (Lovely  Angel) 

By  Alice  Nielsen  and  Florencio  Constantino 


(In  French)      741O8     12-inch,  $1.50 


ROMEO: 

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. 
JULIET: 

Thy      hand,      good      pilgrim,      this      fine      but 
wrongeth 

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  ? 
JULIET: 

Yes;   but   only   for   prayer! 
Ro  M  EO  : 

Then    grant    my    pray'r,    dear    saint,    or    faith 
may   else  be   driven. 

Unto   deenest  despair! 
JULIET: 

Know,  the  saints  ne'er  are  moved. 

And     if    thev     grant    a    pray'r,     'tis    for    the 
prayer's  sake! 


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VICTOR    BOOK     OF    THE     OPERA— GOUNOD'S     ROMEO    AND    JULIET 


ROMEO: 

Then   move   not,   sweetest   saint. 

Whilst   the   effect   of   iny   pray'r,    from   thy   lips 
(He  kisses  her) 

I  shall  take! 
JULIET: 

Ah!  now  my  lips  from  thine  burning. 

Have   the  sin   that  they  have  taken! 
ROMEO: 

O   give   that   sin   back  again. 

To   my   lips   their   fault   returning. 
JULIET: 

No,  not  again!     No,  not  again! 
ROMEO: 

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. 

ACT  II 

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) 


(Arise, 


i.oo 


By  Charles  Dalmores,  Tenor 

(In  French)    85121      12-inch,  $3.OO 
By  Leo  Slezak,  Tenor 

(In  German)   61204     10- inch, 

ROMEO: 

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. 

JULIET: 

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! 


THE    BALCONY    SCENE 


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VICTOR     BOOK    OF    THE    OPERA-GOUNOD'S    ROMEO    AND    JULIET 


ROMEO    AND    JULIET 


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 
ROMEO  AND  JULIET: 

Ah!  go  not  yet.  but  stay  thee! 

Let  me  once  more  kiss  thy  dear  hand,   I  pray 

thee! 
JULIET: 

Silence!   a  step  is  near  us. 
Someone  I   fear  will   hear  us. 
Let  me  at  least  take  my  hand  from   thy  keep- 
ing. 

Good  night,  love. 
ROMEO: 

Good  night,  love. 
BOTH: 

Good    night!       Dearest,    this    fond    good    night 

is   such    sweet    sorrow 

That  I  would  say  good  night,  till  it  be  dawn! 
ROMEO: 

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! 

ACT  III 

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 


FRIAR    LAURENCE     AND    ROMEO 

but  is  insulted   and  forced  to  fight,  killing  Tybalt. 

302 


VICTOR    BOOK    OF    THE    OPERA-GOUNOD'S    ROMEO    AND   JULIET 


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. 

ACT  IV 

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 : 
FRIAR  LAURENCE: 

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 

dreaming. 

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. 

ACT  V 

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: 

JULIET:  ROMEO: 

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, 
ROMEO: 

Alas!    I   believed   thee   dead,    love,   and — 

I   drank  of  this  draught! 

(Shows  the  phial.) 
JULIET: 

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.) 
ROMEO: 

Hold!   Hold  thy  hand! 
JULIET: 

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. ) 


MISCELLANEOUS 
Selection  from  the  Opera 

By  Pryor's  Orchestra 


ROMEO   RECORDS 


31353     12-inch.  *1.0O 


303 


(French) 

SAMSON  ET  DALILA 

(Sahm'-sahn'  ay  Dah' -let-lah' ) 

SAMSON  AND  DELILAH 

OPERA  IN  THREE  ACTS 

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 

SAMSON Tenor 

HIGH  PRIEST  OF  DAGON Baritone 

AB1MELECH,  Satrap  of  Gaza First  Bass 

AN  OLD  HEBREW Second  Bass 

PHILISTINE  MESSENGER Tenor 

FIRST  PHILISTINE Tenor 

SECOND  PHILISTINE 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. 

ACT  I 

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. 

304 


TAMAGNO    AS    SAMSON 


VICTOR    BOOK    OF    THE     OPERA— SAMSON    AND     DELILAH 


Figlia    miei    v'arrestate      (Pause,    My 
Brothers) 

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 

fathers! 
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 


DALMORES    AS    SAMSON 


DELILAH  : 

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. 

ACT  II 

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 

DELILAH  : 


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. 

305 


VICTOR    BOOK    OF    THE     OPERA— SAMSON    AND     DELILAH 

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.) 
DELILAH: 

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. 

ACT  III 

SCENE  I — A  Prison  at  Gaza 

Samson  is  shown  in  chains,  blinded  and  shorn  of  his  hair.     As  he  slowly  and  painfully 
pushes  a  heavy  mill  -which  is  grinding  corn,  he  calls  on  Heaven  to  forgive  his  offence. 
A  file  of  guards  enter  and  conduct  him  to  the  Temple. 

SCENE  II — A  Magnificent  Hall  in  the  Temple  of  Dagon 

The  High  Priests  and  Philistines,  with  Delilah  and  the  Philistine  maidens,  are  rejoicing 
over  the  downfall  of  their  enemies.  The  music  of  the  opening  chorus  and  the  Bachanal  has 
been  given  here  in  a  fine  record  by  a  famous  Spanish  band. 

Coro  y  Bacanal  (Chorus  and  Bachanal) 

By  Banda  Real  de  Alabarderos  de  Madrid  *62660     10-inch,  $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. 

DOUBLE-FACED   SAMSON   AND   DELILAH    RECORDS 

/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)  6266O     10-inch        .75 

\     Minuet  from  2nd  Symphony     (Haydn)  By  Banda  Rcalf 

*  Double-Face  J  Record— For  Utk  of  opposite  tide  tee  above  litt. 

306 


(Italian) 

SEMIRAMIDE 

TRAGIC   OPERA   IN   TWO   ACTS 

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 

THE  GHOST  OF  NINUS Bass 

OROE,  chief  of  the  Magi Bass 

ASSUR,  a  Prince  of  the  blood  royal Bass 

AZEMA,  Princess  of  the  blood  royal Soprano 

IDRENUS,  of  the  royal  household Tenor 

MlTRANES,  of  the  royal  household Baritone 

Magi,  Guards,  Satraps,  Slaves 


GRISI     AS     SEMIRAMIDE 


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. 

Overture 

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. 

307 


VICTOR   BOOK   OF    THE   OPER  A— ROSSIN  I '  S   SEMIRAMIDE 

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 
Hope) 

By  Marcella  Sembrich,  Soprano 

(In  Italian)     88141      12-inch,     $3.0O 

SEMIRAMIDE: 

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 

dread! 

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. 


DOUBLE-FACED  SEMIRAMIDE  RECORD 

Overture      By    Police   Band   ofl 

Mexico  City  U<I*,T     T>   :„„»,    *i  -*< 

MarcheSla0e(Op.3l)  3M67      12-inch,  $1.25 

By  Arthur  Pryofs  Band] 


TAMBURI.M     AS     ASSUR 


308 


(German) 

SIEGFRIED 

(Seeg' -freed) 

MUSIC  DRAMA  IN  THREE  ACTS 
Second  Opera  of  the  Rhinegold  Trilogy 

Words  and  music  by  Wagner.  First  produced  at  Bayreuth,  August  16,  1876.  It  was 
given  in  French  at  Brussels,  June  12,  1891,  and  subsequently  at  the  Op£ra  in  Paris.  In  Lon- 
don (in  English)  by  the  Carl  Rosa  Company,  in  1898.  First  American  production  in  New 
York.  February  I.  1888.  

Characters 

SIEGFRIED Tenor 

MIME  (Mee'.mee) Tenor 

THE  WANDERER  (WOTAN) Baritone 

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 

Niblung. 

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. 

ACT  I 

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. 

309 


SIEGFRIED    AND    THE    SWORD 


COPY'T  DURON 


Siegfried  and  the  Dragon 


VICTOR    BOOK    OF    THE    O  P  E  R  A— WAG  N  E  R'S    SIEGFRIED 


SIEGFRIED,    MIME   AND   THE 
BEAR ACT    I 


Zwangvolle  Plage !     (Heartbreaking 
Bondage) 

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. 

ACT  II 

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. 


MIME    AT    THE    ANVIL — ACT    I 


311 


VICTOR    BOOK    OF    THE    O  P  E  R  A— WAG  N  E  R'S    SIEGFRIED 


The  young  hero,  left  alone,  sits  down  under  a  tree  and 
meditates  about  his  mother,  whom  he  pictures  as  gentle  and 
beautiful.  His  dreaming  is  ended  by  the  song  of  the  birds,  and 
he  regrets  that  he  cannot  understand  their  language.  He  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 
Reiss. 

Wohin  schleichst  du  ?     (Whither  Slinkest 
Thou?) 

By  Otto  Goritz,  Baritone,  and  Albert  Reiss,  Tenor 

(In  German)     642 15     10- inch,  $1.OO 


KRAUS    AS    SIEGFRIED 


ALBERIC: 

Wither    slinkest    thou,    hasty    and    sly,    slippery 

scamp  ? 
MIME: 

Accursed  brother,   what   brings  thee   here? 

I  bid  thee  hence. 
ALBERIC: 

Graspest  thou,  rogue,  towards  my  gold? 

Dost   lust  for  my  goods? 
MIME: 

Yield  the   position!     This  station  is  mine. 

What  stirrest  thou  here? 
ALBERIC: 

Startled   art   thou   from   stealthy   concerns,    that 
I've   disturbed? 


SIEGFRIED 


MIME: 

What   I    have   ihapcd   with   shrewdest  toil   shall 

not  be   shaken. 
ALBERIC: 

Was't  thou   that   robbed  the   golden   Ring   from 
the    Rhine? 

Or  charged  it   with  great   and  choice   enchant- 
ment around? 
MIME: 

Who   formed  the  Tarnhelm  which  to  all   forms 
can  turn? 

By    thee    'twas    wanted;    its    worker    wert    thou 

too? 
ALBERIC: 

What  couldst  thou   ere,   fool, 

By  thyself  have  fancied  and  fashioned? 

The  magic   Ring  made  the   dwarf  meet  for  the 

task. 
MIME: 

Where   now   is  thy   Ring? 

The  giants  have   robbed  thee.   thou   recreant ! 

What  thou  hast  lost,  by  my  lore,  belike,  I  will 

gain. 
ALBERIC: 

By   the  boy's   exploit 

Shalt  thou,  booby,  be  bettered? 

Thou  shall  have  it  not. 

For  its  holder  in  truth  is  he. 
MIME: 

I   nourished   him. 

And   his  nurse  now   shall   he  pay: 

For    toil    and    woe    long    while    have    I    waited 

reward. 
ALBERIC: 

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 ! 
MIME: 

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. 


VICTOR    BOOK    OF    THE    O  P  E  RA— WAG  N  E  R'S    SIEGFRIED 


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  ? 
ALBERIC: 

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! 


ALBERIC: 

Turn  thy  head  round; — 

From   the  cavern   toward  us  he  comes. 
MIME: 

Trivial   toys    have   tempted   him   there. 
ALBERIC: 

The   Tarnhelm    he   holds! — 
MIME: 

Aye,  and  the  Ring! — 
ALBERIC: 

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.) 
ALBERIC: 

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. 
THE  BIRD: 

Hey!     Siegfried     has     slain     now     the     sinister 
dwarf! 

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  BIRD: 

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. 

ACT  III 

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 : 


CAUTIN-BEPGEB 


SIEGFRIED: 

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! 


313 


VICTOR    BOOK     OF    THE    O  PERA— WAG  NER'S    SIEGFRIED 


NN'HILDE  S    FIERY    COUCH 


BRCNNHILDE: 

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 
Siegfried) 

By  Johanna  Gadski,  Soprano 

(In  German) 

BRUNNHILDE: 

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 : 

BRUNNHILDE: 

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 


MISCELLANEOUS  SIEGFRIED  RECORDS 

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. 

314 


(Italian) 


(Englishl 


LA  SONNAMBULA-THE  SOMNAMBULIST 

(La/i  Son-nahm  -bu-laht 

OPERA  IN  THREE  ACTS 

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 
Segurola.  

Characters 

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 

A  NOTARY Tenor 

Peasants  and  Peasant  Women. 


The  scene  is  laid  in  a  Swiss  village. 


How  our  grandfathers  and  grandmothers  doted  on  this  fine  old  opera  by  Bellini!  In 
the  *30's  it  was  a  novelty  by  a  young  and  gifted  composer;  by  1850  it  was  part  of  every 
opera  season  and  shone  through  a  halo  of  great  casts — Malibran,  Pasta,  Jenny  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. 

ACT  I 

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 

315 


VICTOR    BOOK    OF    THE    OPERA  — LA     SONNAMBULA 

her  jealousy  finds  expression  in  a  melodious  air,  Sounds  So  Joyful.  Alessio,  a  villager  who 
fancies  Lisa,  tries  to  console  her,  but  she  repulses  him.  Amina  and  her  friends  enter,  fol- 
lowed soon  after  by  Eloino,  and  the  marriage  contract  is  signed.  Elvino  places  the  ring  on 
his  bride's  finger,  and  they  sing  a  charming  duet,  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 

COUNT: 

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 
ghost. 

Ah  !  fosco  ciel !  (When  Daylight's  Going) 

By  La  Scala  Chorus  (In  Italian)     *62642     lO-inch.  $O.75 

CHORUS:  CHORUS: 

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. 

RUDOLPH:  RI-OOLPH: 

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. 

310 


VICTOR    BOOK    OF    THE    OPERA  — LA     SONNAMBULA 

ACT  II 

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 
Rudolph. 

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 

AMINA:  ELVINO: 

Not   in  thought's  remotest  dreaming,  Heav'n  forgive  ye.  this  guilt  redeeming; 

Was  a  crime  by  me  intended;  May  thy  breast  be   ne'er  thus  rended; 

Is  the  little  faith  now  granted,  With  what  love  my  soul  was  haunted, 

Fit  return  for  so  much  love?  Let   these   burning  tear-drops   prove! 

Finding  all  turned  against  her  except  her  mother,  she  runs  to  the  maternal  arms,  while 
Eloino  rushes  from  the  room.  The  curtain  falls. 

ACT  III 

SCENE  I— A  Shady  Valley  near  the  Castle 

Amina  and  Teresa  enter  on  their  way  to  the  castle  to  plead  with  the  Count  to  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. 

317 


VICTOR    BOOK    OF    THE    OPERA— LA     SONNAMBULA 
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 : 
AMINA: 

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 
admirable. 

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 

AMINA: 

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. ') 


DOUBLE-FACED  AND  MISCELLANEOUS  SONNAMBULA  RECORDS 
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) } 


318 


(French)  (English) 

CONTES  D'HOFFMAN         TALES  OF  HOFFMAN 

(Cont  'Doff'-man) 

(German) 

HOFFMAN'S  ERZAHLUNGEN 

(A  ir-tsau'-loong-en) 

OPERA  IN  THREE  ACTS 
WITH    PROLOGUE   AND   EPILOGUE 

Text  by  Jules  Barbier.  Music  by  Offenbach.  First  performance  in  Paris,  February  10, 
1881.  First  United  States  production  October  16,  1882,  at  Fifth  Avenue  Theatre.  Revived 
at  the  Manhattan  Opera  House,  New  York,  November  27,  1907. 


Cast 

THE  POET  HOFFMAN Tenor 

NlCLAUS,  his  friend Soprano 

OLYMPIA,   j 

A       ONI  A    '  [  the  various  ladies  with  whom  Hoffman  falls  in  love.  .  .  .Sopranos 

STELLA,   ' 
COPPELIUS, 


his  opponents.     (These  three  roles  are  usually  sung 
MIR  An  F  kv  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  op€ra  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. 

THE  PROLOGUE 

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 
PROLOGUE — THE  LEGEND  OF  KLEiNSACK  actual  performance. 

319 


VICTOR    BOOK    OF    THE    OPERA  — TALES    OF    HOFFMAN 


ACT  I 

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. 

ACT  II 

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. 


THE    MECHANICAL    DOLL — ACT 


DALMORES    AS    HOFFMAN 


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- 
mirably 
swaying 
the  boat 

320 


VICTOR    BOOK    OF    THE    OPERA  — TALES    OF    HOFFMAN 


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 1«09. 


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. 

ACT  III 

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 

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. 


DOUBLE-FACED   AND 

Contes  d'Hoffman  Selection 
(Barcarolle — O,  Night  of  Love! 
\     Fatinitza  Selection     (oon  Suppe) 


MISCELLANEOUS    HOFFMAN    RECORDS 

By  Victor  Concert  Orch.     31820     12-inch,  $1.0O 

By  Mr.  and  Mrs.  Wheeler)    ,„_ 
D     D        •    r>     jflOo27 
By  Jrryor  s  Band) 


in  ; 

lO- 


T<* 
.75 


TALES     OF     HOFFMAN ACT     III THE     BARCAROLLE 

321 


TANNHAUSER    AND    VENUS 


(German) 

TANNHAUSER 

(  Tahrt -hoy-zer) 

ROMANTIC   OPERA   IN  THREE   ACTS 

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. 


Characters 
HERMANN,  Landgrave  of  Thuringia Bass 

TANNHAUSER 

WOLFRAM  VON  ESCHENBACH 

WALTHER  VON  DER  VOGELWEIDE 

BITEROLF 

HEINRICH  DER  SCHREIBER 

REINMAR  VON  ZWETER 


Minstrel  Knights- 


Tenor 
Baritone 
Tenor 
Bass 
Tenor 
Bass 

ELIZABETH,  Niece  of  the  Landgrave Soprano 

VENUS    Soprano 

A  Young  Shepherd Soprano 

Four  Noble  Pages Soprano  and  Alto 

Chorus  of  Thuringian  Nobles  and  Knights,  Ladies,  Elder  and  Younger 
Pilgrims,  and  Sirens,  Naiads,  Nymphs  and  Bacchantes. 

Scene  and  Period :  Vicinity  of  Eisenach;  beginning  of  the  thirteenth  century. 

322 


VICTOR    BOOK    OF    THE    OPERA— WAGNER'S    TANNHAUSER 


THE  STORY 

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- 
goers. 

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  **•»  K»tm. 


.SSX.S'tSU* 


TANNHAUSER,   1845 


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 


SETTING    OF    ACT     ITT    AT    THE     METROPOLITAN 

323 


VICTOR    BOOK    OF    THE    OPERA— WAGNER'S    TANNHAUSER 

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 
admired. 

The  overture  depicts  the  struggle  between  good  and  evil,  and  as  Liszt  has  said,  is  a 
poem  on  the  same  subject  as  the  opera  and  equally  comprehensive. 

The  sombre  religious  motive  appears  first: 


I.J 


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. 

ACT   I 

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 : 
VENUS: 

What!    art    thou    wav'ring?      Why    these    vain 

lamentings? 

Canst  thou  so  soon  weary  of  the  blisses 
That  love  immortal  hath  cast  'round  thee? 
Can  it  be — dost  thou  now  repent  that  thou'rt 

divine? 

Hast   thou   soon    forgotten   how   thy   heart   was 
mourning, 

324 


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 

thine! 


VICTOR    BOOK    OF    THE    OPERA— WAGNER'S    TANNHAUSER 

He  rouses  himself  and  sings  the  Praise  to  Venus,  but  it  is  a  forced  effort,  and  throwing 
down  his  harp  he  exclaims: 

TANNHAUSER: 

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 : 

TANNHAUSER: 

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. 

WOLFRAM  : 

When  for  the  palm  in  song  we  were  contending, 

And  oft  thy  conq'ring  strain  the  wreath  had  won, 

Our   songs  anon   thy   victory,   suspending, 

One  glorious  prize  was  won  by  thee   alone! 

Was't  magic,  or  a  pow'r  divine, 

That  wrought  thro'   thee   the   wondrous  sign, 

Thy   harp  and  song  in  blissful   hour 

Enthrall'd    of    royal    maids    the    flower! 

For  ah,   when  thou  in  scorn   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. 


PHOTO   BENQUE 

RENAUD    AS    WOLFRAM 


325 


VICTOR    BOOK    OF    THE    OPERA— WAGNER'S    TANNHAUSER 


ACT  II 

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 

ELIZABETH: 

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. 


FARRAR    AS    ELIZABETH 


THE    HALL    OF    SONG ACT    II 

326 


VICTOR    BOOK    OF    THE    OPERA— 'WAGNER'S    TANNHAUSER 

The  Knights  and  Ladies  now  assemble  to  the  strains  of  the  noble  Fest  March,  given 
here  in  splendid  fashion  by  Sousa's  Band. 

Fest  March 

By  Sousa's  Band  31423     12-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. 
LANDGRAVE: 

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. 

WOLFRAM  : 

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 

TANNHAUSER: 

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 : 

KNIGHTS: 

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! 

327 


VICTOR    BOOK    OF    THE    OPERA— WAGNER'S    TANNHAUSER 

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. 
ELIZABETH: 

Away    from   him!      'Tis   not   for   you   to  judge 

him! 

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 

died! 

Oh,  let  a  spotless  maid  your  grace  implore! 
Let    Heav'n    declare    through    me    what    is    its 

will— 

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. 

ELIZABETH  : 

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. 

WOLFRAM: 
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. 


VICTOR    BOOK    OF    THE    OPERA— 'WAGNER'S    TANNHAUSER 


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] 


88154 

74006 

*35160 

31462 

*16813 

5336 

5412 


12-inch, 
12-inch, 
12-inch. 
12-inch. 
lO-inch. 
lO-inch. 
lO-inch, 


$3.0O 

1.5O 

1.25 

l.OO 

.75 

.60 

.60 


O  douce  etoile  (Song  to  the  Evening  Star) 

By  Maurice  Renaud.  Baritone  (In  French) 


91067      lO-inch.     $2.OO 


WOLFRAM  : 

Like    Death's   dark    shadow,    Night    her    gloom 

extendeth, 

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 

bearest; 

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 

Heaven.) 

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 : 

TANNHAUSER: 

Rome  I  gained  at  last;  with  tears  imploring, 

I  knelt  before  the  rood  in  faith  adoring. 

When  daylight  broke,  the  silv'ry  bells  were 
pealing; 

Through  vaulted  roof  a  song  divine  was 
stealing; 

A  cry  of  joy  breaks  forth  from  thousand 
voices — 

The  hope   of  pardon   ey'ry   heart   rejoices. 

I  told  what  mad  desires  my  soul  had  dark- 
ened, 

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. 

329 


NG   BY  KAULBACH 

THE    DEATH    OF    ELIZABETH 


VICTOR    BOOK     OF    THE    OPERA-WAGNER'S   TANNHAUSER 

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 

riven — 
Go,  enter  in  with  the  blest  in  His  Heaven! 

Curtain 


DOUBLE-FACED  AND  MISCELLANEOUS  TANNHAUSER  RECORDS 


{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 


lO-inch, 
10-inch, 


Id-inch, 


.75 


.75 


.75 


THE    REDEMPTION     OF    TANNHAUSER 


330 


(Italian) 

TOSCA 


OPERA  IN  THREE  ACTS 

Text  by  Illica  and  Giacosa  after  Sardou's  drama.  Music  by  Giacomo  Puccini.  First 
produced  at  the  Constanzi  Theatre,  Rome,  in  January,  1900.  First  London  production  July 
12,  1900.  First  American  production  February  4,  1901,  at  the  Metropolitan,  the  cast  including 
Ternina,  Cremonini,  Scotti  and  Gilibert.  Also  produced  in  English  by  Henry  W.  Savage. 


Characters 

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 

A  SACRISTAN Baritone 

SPOLETTA,  (Spo-Ief-tah)  a  police  agent Tenor 

SCIARRONE,  a  gendarme Bass 

A  JAILOR 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. 

331 


FARRAR    AS    TOSCA 


VICTOR    BOOK    OF    THE    OPER  A— P  UCCINI'S    TOSCA 


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. 

ACT  I 

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. 

JSCA    AND    MARIO    IN    THE    CHURCH ACT    I 

332 


VICTOR    BOOK    OF    THE     OPER  A— P  UCCINI'S    TOSCA 


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 
Earth) 

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 
prisoner. 

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. 

333 


VICTOR    BOOK    OF    THE    OPERA  -PUCCINI'S    TOSCA 


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. 

ACT  II 

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 


CLICHE   BOYER 


THE    TORTURE ACT 


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) 

334 


SCOTTI  AS  SCARPIA 


88O75 
88192 
88O1O 
76018 
45017 


12-inch, 
12-inch, 
12-inch, 
12-inch, 

lO-inch, 


I3.OO 
3.00 
3.00 
2.00 
l.OO 


VICTOR    BOOK    OF    THE    OPER  A— P  UCCINI'S    TOSCA 


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 
triumphs. 

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 

TOSCA     SECURING     THE     DAGGER      m°ck    e  X  C  C  U  t  i  O  n   is          

necessary. 

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. 


IE  THEATRE 

THE    MURDER    OF    SCARPIA ACT    II 


ACT  III 

(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. 

Prelude 

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. 

335 


MARIO    AND    TOSCA — ACT    III 


VICTOR    BOOK    OF    THE    O  P  E  R  A— P  U  C  C  I  N  I  '  S    TOSCA 


THE    EXECUTION ACT    III 


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 
future. 

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. 

336 


VICTOR    BOOK    OF    THE    O  P  E  R  A  — P  U  C  C  I  N  I  '  S    TOSCA 


By  Pryor's  Band\  _ ,  .     ,  ' 

By  Pryor't  BanJ(35<  12-inch,        1.25 


DOUBLE-FACED  AND  MISCELLANEOUS  TOSCA  RECORDS 

|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) } 


1.00 


lO-inch,       l.OO 


.75 


THE  TE  DEUM,   FINALE ACT   I 


337 


(Italian) 

LA  TRAVIATA 

(/,o/i  Trah-oee-ah' -tah) 

OPERA  IN  THREE  ACTS 

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. 

339 


FRANCESCO     PfAVE 

(1810-1876) 

LIBRETTIST    OF 

TRAVIATA 


VERDI    AT    THE    TIME    OF    THE 
KFRST      TRAVIATA      PRO- 
DUCTION 


VICTOR    BOOK    OF    THE    OPERA—VERDI'S    TR  A  VI  AT  A 

ACT  I 

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 


Chorus 

ALFRED: 

A     bumper     we'll     drain     from 

flowing. 

That  fresh  charms  to  beauty  is  lending, 
O'er  fleeting  moments,  so  quickly  ending, 
Gay  pleasure  alone  should  reign. 


the     wine-cuj) 


YIOLETTA: 

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. 
CHORUS: 

Enjoy     then      the      wine-cup     with     songs     of 

pleasure 

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) 

88293 

12-inch, 

$3.OO 

(In  Italian) 

88O18 

12-inch. 

3.OO 

(In  Italian) 

88064 

12-inch, 

3.OO 

(In  French) 

74132 

12-inch, 

1.50 

(In  Italian) 

*62084 

10-inch, 

.75 

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 
me? 


She  then   sings  the  plaintive  air,  Ah,  fors'  6  lui,  and  gives  herself  up  to  the  spell  of 
awakening  love : 


VIOLETTA: 

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. 

340 


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. 


VICTOR    BOOK     OF     THE     O  P  E  R  A- V  E  R  D  I 'S    TRAVIATA 


What  folly!  what  folly! 
For  me  there's  no   returning! 
In  ev'ry  fierce  and  wild  delight. 
I'll  steep  my  sense  and  die! 
fulfill 


I'll  ft 


the  round  of  pleasure, 


Joying,  toying  from  flower  to  flower, 
wil 


MELBA     AS     VIOLETTA 


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 

degree. 

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. 

ACT  II 

SCENE — Interior  of  a  Country  House  near  Paris 
Alfred  enters  and  soliloquizes  upon  his  new-found  happiness. 
ALFRED: 

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 
Youth) 


CONSTANTINO     AS    ALFRED 

(ACT  n,  SCENE  i) 


By  Aristodemo  Giorgini,  Tenor 

(In  Italian) 


76011      12-inch,  $2.OO 


341 


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


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 
ALFRED  : 

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 : 


CONSTANTINO'' 
AS      ALFRED 

(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. 

342 


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


VERMONT: 

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 


FARRAR  AS  VIOLETTA — ACT  III 


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 : 

ALFRED: 

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 
numbers. 

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 : 


GUESTS: 

Oh,   to  what  baseness  thy  passions  have  led 

To  wound  thus  fatally  one  who  has  loved  thee! 
GERMONT: 

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. 


BARON: 

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. 


VICTOR    BOOK     OF     THE     OPERA-VERDI'S     TRAVIATA 

ACT  III 

( 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 

YIOLETTA: 

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. 


DOUBLE-FACED  AND  MISCELLANEOUS  TRAVIATA  RECORDS 
/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_inch      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»  •  <T»T»I-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. 

344 


SCENES     FROM     TRISTAN 


(German)  (Italian) 

TRISTAN  UND  ISOLDE        TRISTANO  E  ISOTTA 

(.Tris  -tahn  oondt  Ees-sof -deh)  (Trees-tah1 -noh  ay  Ees-sof -tah) 

TRISTAN  EAND  ISOLDE 

(Tris-lan  and  Iss-of -dih) 

OPERA  IN  THREE  ACTS 

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. 

345 


VICTOR    BOOK    OF    THE    O  PE  R  A— TR I  STAN    AND    ISOLDE 


Characters 
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 

A  SHEPHERD .Tenor 

A  STEERSMAN Baritone 

A  SAILOR  LAD Tenor 

Chorus  of  Sailors,  Knights,  Esquires  and  Men-at-Arms. 


W;;J  JF 


ORIGINAL       PROGRAM       OF 
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- 

347 


KURVENAL 


VICTOR    BOOK    OF    THE    OPERA-TRISTAN    AND     ISOLDE 


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. 


COPfT  OU'OIT 

VAN    DYCK    AS    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! 


BRAGANE: 
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 

ISOLDE: 
Thy  act? 

0  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 

348 


GADSKI     AS     ISOLDE 


VICTOR    BOOK    OF    THE     OP  E  R  A— TR  I  ST  AN     AND     ISOLDE 


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: 


THE  LOVE  DEATH 
ft 


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 


PY'I   DUPONT 


JEAN    DE    RESZKE 
AS    TRISTAN 


ISOLDE  S    LIEBESTOD 


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 

drown'd — 

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.) 


DOUBLE-FACED  TRISTAN  AND  ISOLDE  RECORD 


/Prelude 

[Isolde's  Love-Death 


By  La  Scala  Orchestral,  ao   n 
By  La  Scala  Orchestra/68210 


.     ,     ..  _, 
-'nch'  $1'25 


349 


IL    TROVATORE FIRST    SCENE 


(Italian) 


(English) 


IL  TROVATORE 

(Eel  Troh-oa-toh!  -reh) 


THE  TROUBADOUR 


OPERA  IN  FOUR  ACTS 

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. 


Characters 

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. 


ACT  I 

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. 

350 


VICTOR     BOOK     OF     THE     OPERA  — IL     TROVATORE 


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, 


FERRANDO: 

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 

shining, 

From  her  pillow  she  rose, — 
Whro    was    found,    think    ye,    near    the    child 

reclining? 
(Impressively.) 

Sat   there   a   gypsy-hag,    witch-like   appearing; 
Of      her      dark      mysteries,      strange      symbols 

wearing. 
O'er     the     babe     sleeping — with     fierce     looks 

bending, 
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 

Palace 

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 
song. 


IL    TROVATORE — ACT    I,     SCENE     II 


*  Double-Faced  Record— For  title  of  opposite  side  see  DOUBLE-FACED  IL  TROVA  TORE  RECORDS,  page  360. 

351 


VICTOR     BOOK     OF     THE     OPERA  — IL     TROVATORE 


LEONORA: 

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  heard1 


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. 
MANRICO: 

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. 

ACT  II 

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 


CHORUS  OF  GYPSIES: 

See  how  the  shadows  of  night  are  flying! 

Morn     breaketh,     Heav'n's     glorious    arch     un- 
veiling: 

Like  a  young  widow,  who,   weary  of  sighing. 

Lays  by   her   garments   of   sorrow   and   wailing. 

Rouse  up.   to  labor! 

Take  each  his  hammer. 
MEN: 

Who   makes   the   gypsy's,   a   life   with    pleasure 
laden? 


WOMEN  : 

Who   makes  the   gypsy's,   a   life   with   pleasure 

laden,  who? 
ALL: 

The  gypsy  maiden! 

See   how   the   sunlight,    radiantly   glowing, 

Horrows  new  beams   from   our  wine   cups  o'er- 
flowing! 

Resume  our  labor!     Take  each   his   hammer! 

Who  makes  the  gypsy's  life,  etc. 


*Doubk-FaceJ  Record—  Fortilk  of  opftoiite tide 


:  DOUBLE-FACED  IL  TROVA  TORE  RECORDS,  page  360. 
352 


HOMER    AS    AZUCENA 


Robed  in  dark  garments,   ungirt,  unsandal'd; 

Fierce  cries  of  vengeance  from  that  dark  crowd 
arise; 

Echo  repeats  them  from  mountain  to  moun- 
tain. 

O'er  them  reflecting,  with  wild,  unearthly 
glare. 

Dark  wreaths  of  flame  curl,  ascending  to 
heaven! 


VICTOR     BOOK     OF     THE     OPERA—  I  L     TROVATORE 

Azucena,  the  gypsy,  who  now  appears,  proves  to  be  none 
other  than  the  -witch's  daughter  spoken  of  in  the  first  act.  In 
the  highly  dramatic  song  allotted  to  her  she  relates  to  Manrico 
the  dreadful  story  of  the  death  of  her  mother,  who  had  been 
burned  at  the  stake  as  a  witch  by  the  father  of  the  present 
Count  di  Luna. 

Stride  la  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- 
ing! 

By  guards  surrounded — forth  comes  a  woman ! 

While,  o'er  them  shining,  with  wild,  unearthly 
glare, 

Dark  wreaths  of  flame  curl,  ascending  to 
heaven! 

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 
Her) 

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. 


353 


VICTOR     BOOK     OF     THE     OPERA— IL     TROVATORE 


THE    CONVENT     NEAR    CASTELLOR ACT     II 


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 

Convent 

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. 


COUNT: 

Of  her  smile,  the   radiant 


leaming 


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 
altar. 


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. 


CHORUS  OF  NUNS: 

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. 

354 


VICTOR     BOOK     OF     THE     OPERA  — IL     TROVATORE 


COUNT: 

Triumphant  hour  impending, 

Thy  moments  urge  with   speed  elating, 

The  joy  my   heart's  awaiting, 

Is  not  of  mortal  birth, 

In   vain   doth   Heaven,   contending 

With  rival  claims,  oppose  me. 

If  once   these   arms   enclose   thee, 

No  power  in  heav'n  or  earth, 

No  pow'r  shall  tear  thee  from  me! 
FERRANDO  AND  RETAINERS: 

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 
Vision) 

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. 

ACT  III 

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 
assault. 

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. 


COPVT    DUPOUT 

MARTIN    AS    MANRICO 


64050     10-inch,  $1.0O 


355 


VICTOR     BOOK     OF     THE     OPERA— IL     TROVATORE 


SLEZAK     AS     MANRICO 


This  beautiful  lyrical  number  is  a  delightful  relief  after  so 
much  that  is  forcible  and  dramatic. 

MAVRICO: 

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 


Chorus 


(In  Italian) 

By  Enrico  Caruso,  Tenor  (In  Italian) 

By  Nicola  Zerola.  Tenor  (In  Italian) 

By  Giovanni  Vails,  Tenor,  and  La  Scala  Chorus 

(In  Italian) 


92O32 
87OO1 
6417O 


12-inch, 
lO-inch, 
lO-inch, 


3.00 
2.OO 
1.00 


*  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. 


MANRICO: 

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 
air. 

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. 

356 


VICTOR     BOOK     OF     THE     OPERA  — IL     TROVATORE 

ACT  IV 

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 
relieve. 

LEONORA: 

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. 

PRTESTS: 

Pray  that   peace  may  attend  a  soul   departing, 
Whither    no    care    or    thought    of    earth    can 

follow; 

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. 

LEONORA: 

What   voices   of   terror!      For   whom   are   they 

praying? 
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. 

MANRICO: 

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 
remembered. 


*  Double-Faced  Record— For  title  of  opposite  side  see  DOUBLE-FA  CED  IL  TROVA  TORE  RECORDS,  page  360. 

357 


VICTOR     BOOK     OF     THE     OPERA  — IL     TROVATORE 

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,  Hefs  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. 

MANBICO:  AZUCENA: 

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. 
MANRICO: 

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. 

358 


VICTOR     BOOK     OF     THE     OPERA— IL     TROVATORE 

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 

numbers, 
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 
close. 

MANRICO: 

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. 


DOUBLE-FACED  AND  MISCELLANEOUS  TROVATORE  RECORDS 

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)  „-»_,      .  0   .     «        .  ~, 

\     Traviata  Selection  By  Arthur  Pryor's  3* 

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

359 


VICTOR      BOOK     OF     THE     OPERA— IL     TROVATORE 


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* 

/Miserere 
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)} 

360 


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 


(German) 


(French^ 


DIE  WALKURE 


LA  VALKYRIE 


(Dee  Vahl-keu'-ri) 


(Lah  ya 


(English) 

THE  VALKYRIE 


MUSIC-DRAMA  IN  THREE  ACTS 

Text  and  music  by  Richard  Wagner.       First  presented  in  Munich  in  1870. 
York  production  at  the  Academy  of  Music,  April  2,  1877. 


First  New 


Characters 

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. 

ACT  I 

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 


FIRST    ACT    SCENE BAVREUTH 


361 


Brunnhilde  Bearing  a  Wounded  Warrior  to  Walhalla 


VICTOR    BOOK    OF    THE    OPERA— 'WAGNER'S    DIE    WALKURE 


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 : 


COPVT  DUPODT 


ir  -  me  wi  -  chen  dem  Won-nc-mond,    in     mil  -  dem  Lich  -  te  leuchtet  der  Lenz. 
r»j  have  waned,  to  the  winsome  moon.  In  mild  at-cen-dance  smilelh  the  Spring. 


VAN    DYCK    AS    SIEGMUND 

He  takes  her  hand,   seats  her  beside  him  on  the  rude  bench,  and 
continues : 

SIEGMUND: 

With   balmy   breezes,    soft  and   soothing, 

Wonders  weaving,   on   he  wends, 

Through       wood      and       meadow       wafts      his 

breathing, 

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 

blooming 


the 


Leaf  and  spray  spring  forth  at  his  voice. 
With     gentle     sceptre  s     sway     he     ruleth 

world; 
Winter     and     storm     wane     as     his     strength 

awakes: 

By  dint  of  his  hardy  striving 
The  stoutest  doors  he  is  cleaving, 
Which,  stubborn  and  strong,  once  held  us  from 

him! 

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 

brother; 

Destroyed  the  walls  that  held  them   apart; 
Joyous  meet  now  the  youthful  pair; 
United  are  Love  and  Spring! 


SIEGMUND    AND    SIEGLINDE 


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 

363 


VICTOR    BOOK    OF    THE    OPERA— 'WAGNER'S    DIE    WALKURE 


Hunding.     The  curtain  falls  as  they  pass  out  into  the  moonlit 
forest. 

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. 

ACT  II 

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  • 


GADSKI    AS   BRL'NNHILDE 


THE    RESCUE   OF    SIEGLINDE 


Mme.  Gadski,  however,  surmounts  these  difficul- 
ties •with  ease,  and  the  aria  is  a  really  •wonderful 
specimen  of  both  singing  and  recording. 

BRI'-NNHILDE: 

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 
punished. 

Fricka  then  triumphantly  calls  to  Briinnhilde 
that  Wotan  has  further  instructions  for  her.  Briinn- 
hilde finds  her  father  in  deep  dejection,  and  when 

364 


VICTOR    BOOK    OF    THE    OPERA— WAGNER'S    DIE    WALKURE 

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 
her. 

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. 

ACT  III 

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. 


THE    DEATH    OF    SIEGMUND 


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 
theme 


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 

365 


VICTOR    BOOK    OF    THE    OPERA— 'WAGNER'S    DIE    WALKURE 


VAN    ROOY   AS  WOTAN 


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. 

BRUNNHILDE:  . 

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- 
blade; 

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 ! 

SIEGLINDE: 

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 
weal! 

(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 
heard.) 

The  Valkyries  hurriedly  conceal  Brtinnhilde  in  their  midst  as  Wolan  springs  from  his  horse 
in  a  furious  rage. 

WOTAN  : 

Where    is   Briinnhilde?      Where   the    rebellious 

one? 

Dare  ye  to  veil   her  from  Wotan's  vengeance? 
(Briinniiilde    comes    out    from    the    group    and 

faces   her  father,   saying) : 

BRI  NNHILDE: 

Here   stand   I,    father,    to   suffer   my   sentence! 

WOTAN  : 

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! 

WOTAN: 

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 

366 


Wotan's  Farewell 


VICTOR    BOOK    OF    THE    OPERA— WAGNER'S    DIE    WALKURE 


WOTAN    INVOKING  THE   FIRE  GOD 


BRTNNHILDE: 

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 

thou 

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 


WOTAN: 

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 
eyes. 


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 

couch 

For   one   alone   freeth   the   bride; 
One  freer  than   I;   the  God! 


WOTAN  : 

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 


368 


VICTOR    BOOK    OF    THE    OPERA— WAGNER'S    DIE    WALKURE 

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. 

WOTAN  : 

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. 


A    FAMOUS    GROUP    OF    VALKYRIES    AT    BAYREUTH 


Then  follows  a  long  modulation  ending  in  E  major,  when  the 
fire  motive 

(Brioht  die  Flaokerloh*  »na.) 
(The fiamet  treak  out.) 


1 


MATERNA  AS  BRl'NNHILDE 
(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 
rocks. 


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. ) 


DOUBLE-FACED  WALKURE  RECORD 

/Cavalcata    (Ride  of  the  Valkyries)         By  La  Scala  Orchestral 
\     Lohengrin— Prelude,  Act  III  By  La  Scala  Orchestra^ 

369 


62693     lO-inch,  $O.75 


GUILLAUME   TELL 

'  Jcc-yaum  Tell} 

(Italian) 

GUGLIELMO  TELL 

(Cool-yet' -mo  Tell) 
(English) 

WILLIAM  TELL 

OPERA  IN  FOUR  ACTS 

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. 

370 


VICTOR     BOOK    OF    THE    OPERA-ROSSINI'S     WILLIAM     TELL 


ACADEMIE    ROVAI.E    DF.    MtSIQUv 


GLILLAUtlE 

TELL, 

i.  LES   ENTREES  1)1     MMIHMiM    M  •<;•!  M*  1  •>  ,. 


PROGRAM    OF    WILLIAM    TELL 
PREMIERE,    PARIS   OPERA,    1829 


Characters 

WILLIAM  TELL,  1  f  Bass 

ARNOLD,  suitor  of  Matilda,  [Swiss    Patriots]  Tenor 

WALTER  FORST,  (   Bass 

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  PLOT 

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 


371 


VICTOR    BOOK    OF    THE    OPERA— ROSSINI'S     WILLIAM    TELL 


OVERTURE 

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. 

ACT  I 
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 

FISHERMEN: 

Come   hither,    my   dearest   love! 

In   my   little  boat  embark; 

Ah!    hither  come,  and   with  thy 

smile 

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 

wild 

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- 
tect. 

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. 


FIRST    ACT    SCENE 


*  Double-Face  J  Record—  For  title  of  opposite  tide  «x  DOUBLE-FACED  WILLIAM  TELL  RECORDS,  page  375. 

372 


VICTOR    BOOK    OF    THE    OPERA— ROSSINI'S     WILLIAM     TELL 
Che  finger  tanto  invano     (Vain  is  the  Attempt !) 

By  Antonio  Paoli.  Tenor,  and  Francesco  Cigada,  Baritone 

(In  Italian)     92048     12-inch,  $3.OO 

ARNOLD:  ARNOLD: 

(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. 

ACT  II 

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 !  " 

373 


VICTOR    BOOK    OF    THE    OPERA— ROSSINI'S    'WILLIAM     TELL 


ACT  III 
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. 

ACT  IV 

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 


liORlTZ    AS    WILLIAM    TELL 


dl. 
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. 
ARNOLD: 

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. 

374 


VICTOR    BOOK    OF    THE    OPERA— ROSSINI'S     WILLIAM     TELL 


WILLIAM    TELL  S    FLIGHT 


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 
more. 

The  storm  breaks,  and  as  if  to  an- 
nounce liberty  to  Switzerland  the  sun 
bursts  forth,  revealing  the  glittering,  snowy 
peaks  of  the  Alps  in  all  their  dazzling 
beauty.  An  invocation  to  Freedom  comes 
from  every  throat : 

TELL: 

Let  us  invoke,  with  hearts  devout, 
Thee,  oh  Freedom,  to  sway  each  heart! 
Thou  gav'st  us  pow'r  to  strike  and  conquer, 
Do  thou  ne'er  depart! 
ALL: 

Thou  gav'st  us  pow'r  to  strike  and  conquer! 
We  are  free,  do  thou  ne'er  depart! 


DOUBLE-FACED    AND    MISCELLANEOUS  WILLIAM  TELL   RECORDS 


/Overture,  Part  I — At  Dawn 
(Overture,  Part  II— The  Storm 


By  Pryor's  Band) 
By  Pryor's  Band/ 


16380 


/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) 


16578 


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 


375 


FOR  REFERENCE 


NOT  TO  BE  TAKEN  FROM  THE  ROOM 


CAT.     NO.    23    OH